MUSIC | Records – Jazz & World
JAZZ & WORLD EXPOSURE
JAZZ FREE NELSON MANDOOMJAZZ The Organ Grinder (RareNoise) ●●●●● Edinburgh’s Free Nelson Mandoomjazz are still burdened with that awful name, but their second album is a marked improvement on their underpowered debut, making good on their fusion of free jazz and doom metal. Recorded in the capital’s Reid Hall, The Organ Grinder benefits from the big room sound, with Rebecca Sneddon’s saxophone burning up the air around her. Rather than pile on the fuzz, the rhythm section uses the space to build atmosphere. The addition of trumpeter Luc Klein and trombonist Patrick Darley on several tracks is particularly effective, drawing agitated yelps and altissimo squeals from Sneddon.
JAZZ DONNY MCCASLIN Beyond Now (Motéma Music) ●●●●● Donny McCaslin shot to fame as the bandleader on David Bowie’s magnificent swan song, Blackstar. For his own group’s latest album, the New York saxophonist has dug deep into the Thin White Duke’s songbook, re- working 'A Small Plot Of Land' from 1995’s underrated 1. Outside, and the monumental 'Warszawa' from 1977’s Low. Featuring Jeff Taylor on vocals, the former provides an intriguing glimpse of what further Bowie/ McCaslin collaborations might have sounded like, while the latter is imaginatively reworked as brooding ambient jazz. McCaslin’s originals are energetic affairs, combining post-bop blowing with funk synths and a rock attack.
JAZZ NICOLE MITCHELL Moments of Fatherhood (Rogue Art) ●●●●●
The flautist and composer Nicole Mitchell is perhaps best known for her series of suites inspired by the visionary African-American science-fiction writer Octavia Butler. As its title suggests, Moments of Fatherhood is more earthly in its concerns. A collaboration between Mitchell’s own Chicago-based Black Earth Ensemble and the French contemporary music group Ensemble Laborintus, this new suite seeks to explore parallel experiences of African-American and French fatherhood. Seamlessly blending composed vignettes and guided improvisation, the seven pieces here are tender, playful and terrifically inventive, embedding often charming melodic cells within a web of avant-garde sounds.
WORLD GAYE SU AKYOL Hologram ĭmparatoluğu (Glitterbeat) ●●●●● Hologram Ĭmparatorluğu (Hologram Empire) is the first international album release by Istanbul singer Gaye Su Akyol, and it’s an intoxicating listen, blending traditional Turkish song with surf rock and desert noir atmospherics. Akyol cites Nick Cave as an influence, and it’s tempting to think of backing band Bubituzak as her Bad Seeds, draping a dark velvet cape around her gorgeous vocals. But Hologram Ĭmparatorluğu has a character all its own. Comparisons can be drawn to great Turkish singers like Selda Bağcan, whose psychedelic funk arrangements of Anatolian folk songs have gained a cult Western following, but Akyol’s melodies have a sensuous quality which recalls older forms of Turkish pop.
WORLD VARIOUS ARTISTS Real Rio (Mais Um Discos) ●●●●●
Compiled by Chico Dub, director of the Novas Frequencias festival, Real Rio gathers new sounds from the Brazilian capital. Disc one samples broadly from the city's alternative scene, taking in Ava Rocha’s awesomely noisy electronic samba, Negro Leo’s jittery post-punk poetry, and Opala’s glistening electro-pop. The presence of Caetano Veloso collaborator Ricardo Dias Gomes and 79-year-old samba sujo (dirty samba) legend Elza Soares underlines the Brazilian mainstream’s openness to sonic adventure. Disc two focuses on electronic music, before taking a final detour into experimental noise courtesy of Chelpa Ferro and the doomy Bemônio. João Brasil's 'Pai Amor' is gloriously demented, setting helium voices against MC Sabará’s dosed sing-song rapping, while rave klaxons go off over trap snares and handclaps. (All reviews by Stewart Smith) 106 THE LIST 3 Nov 2016–31 Jan 2017
VITAL IDLES
Where Glasgow’s visual art and music undergrounds meet, that’s where Vital Idles emerged, fully formed and ready to shake things up. Touting dancy, biting sounds inspired by the likes of Kleenex and the Smiths, their 7” is released in November. We caught up with drummer Matt to chat about the Scottish scene, pals helping pals, and what other bands we should be keeping an eye on.
On their new release We're very honoured to be releasing a 7" via Not Unloved Records, the first release on the (re)new(ed) label from David 'Brogues' Brogan. We've been churning out songs over several cassettes now which Brogues has been very fond of, so it’s such an amazing thing to be asked to do something from a friend we regard so highly. In terms of what people should expect? Two songs of average speed, one a little faster than the other. Minimal racket on the A side; flamboyant pop on the B side.
On songwriting It’s generally a team effort. To be perfectly honest with you, Ruari, who plays bass, is both a genius and very stubborn musically, so he’ll more often than not have something to work on and we’ll keep chipping away at it through practice, hanging out, and drinking beers. I think we’re all playing in ways we like and that counts for a lot. When it comes to lyrics, that’s all Jessica's work, and, with the highest respect to everyone else, she’s the best at writing smart words in Glasgow in my opinion. On repping their peers Glasgow is definitely great for bands right now. In no order, I love Anxiety, Apostille, Asparagus Piss Raindrop, CRU Servers, Current Affairs, Gummy Stumps, Jutland Songs, Mordwaffe, Pigs Nest, and Spinning Coin. Further afield, we all really want to see the Secret Admirer full band experience, we’re looking forward to the new Irma Vep record, and are always waiting for the Waiters comeback. The Scottish music scene is great right now, from contemporaries in labels and promotions to everybody turning out to shows and buying records. (As told to Kirstyn Smith)