Dancechart, volume 37
Keywords
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Reviews (2)
The jazz Mann
d. 3. May 2018
By
By
Ian Mann
d. 3. May 2018
"With its two bass line up (...) and twin drummers it comes as no surprise to find that Shake Stew's music is highly rhythmic. Elements of jazz, rock, funk and Afro-beat inform their music and the group's sound also owes something to the spiritual jazz of the 1960s (John and Alice Coltrane, Pharaoh Sanders etc.) and the futuristic Pan-African space jazz of Sun Ra. All of the six pieces on "Rise And Rise Again" are written by Kranzelbinder, who impresses with his compositional skills. Stylistically it's not a million miles away from some of the groups that [Shabaka] Hutchings has been involved with in recent years including The Comet Is Coming, Shabaka and the Ancestors, Melt Yourself Down, and of course Sons of Kemet, another band with a twin drums line up. I think it's fair to say that Hutchings is something of a kindred spirit and fits in very nicely ... Shake Stew are a big deal in their native Austria, regularly selling out Porgy & Bess [Jazz Club, Vienna], and its easy to see why".
LondonJazz news
d. 1. Apr. 2018
By
By
Peter Slavid
d. 1. Apr. 2018
"The sound is consistently funky with strong and often hypnotic Afrobeat rhythms throughout. The key to the sound is a driving rhythm section made up of two drummers and two basses. It's no surprise that Shabaka Hutchings guests on two tracks - the line-up provides a similar drive to his own band Sons of Kemet ... The third, and longest track, "Goodbye Johnny Staccato", was apparently written specifically for [Johannes] Schleiermacher [tenor sax] and (...) his soloing here is outstanding. Still only 34 he's spent a lot of time on study tours and is clearly influenced by the spiritual jazz of people like Pharoah Sanders and Archie Shepp and apparently by the music of the Gnawa, Isawa and Berber of Morocco ... "Fall down seven times, get up eight" (...) [starts as] a ballad feature for Mario Rom [trumpet], leading in to the powerful rhythms of the second part with a South African and Gospel feel which gradually builds in intensity as Shabaka Hutchings' sax comes to the fore. The final track features a hypnotic bass line with Moroccan field recordings and [Clemens] Salesny's alto taking the lead".
