An introduction to The Watersons, Waterson:Carthy
The Watersons
Come home the kids miss you
Jack Harlow
Damn
Kendrick Lamar
In the court of the Crimson King : an observation
King Crimson
Black to the future
Sons of Kemet
Be the cowboy
Mitski
You want it darker
Leonard Cohen
And nothing hurt
Spiritualized
Ciara
Ciara
Aviary
Julia Holter
d. 21. feb. 2018
af
af
Chris May
d. 21. feb. 2018
"During its heyday, Impulse was the home of John Coltrane, Alice Coltrane and Pharoah Sanders and as such was the chief platform for the cosmic/spiritual jazz movement of the 1960s and 1970s and that movement's demand for white-majority society's recognition of black culture and respect for black people. In 2018, the multi-racial Sons of Kemet, led by tenor saxophonist and composer Shabaka Hutchings, is a prominent British driving-force behind a similarly politically-assertive genre reboot ... "Your Queen Is A Reptile" offers a stripped-down alternative to the sometimes overlong and overbaked cosmic offerings of artists such as Kamasi Washington ... The Sons of Kemet's music is explicitly grounded in everyday life, specifically the everyday life of people of African-Caribbean heritage living in Britain. Performance poet Josh Idehen adds excoriating verses to "My Queen Is Ada Eastman" and "My Queen Is Doreen Lawrence," and toaster Congo Natty rides "My Queen Is Mamie Phipps"dubstyle. All nine tracks are named after women of African heritage, and the sleeve notes contain a hard-hitting refutation of the relevance of the British monarchy to Britain's immigrant diaspora".
2018
af
af
Thom Jurek
2018
"Despite the charged nature of the concept, these sounds are not easily categorized as "angry." In fact, if one knew nothing about the motivation here, she would swear these sounds reflected only black celebration and joy. Herein lies the terrain where the carnival tradition of the Caribbean stretches west and north simultaneously to New Orleans marching bands and South London's adventurous, well-integrated contemporary music scene; it's where modern avant-jazz meets funk, folk tradition, grime (thanks to two raps by poet Joshua Idehen), and reggae (courtesy of toaster Congo Natty) ... On "My Queen Is Albertina Sisulu," the drumming and stretched harmony delineate where South African township jive meets avant-jazz (and traces a direct line from Brotherhood of Breath). Hip-hop, funk, and Fela all meet in closer "My Queen Is Doreen Lawrence" (titled for the Labour MP) ... Your Queen Is a Reptile is easily Sons of Kemet's most compelling outing. It offers inspiredstylisticcontrasts, canny improvisation, and killer charts. It's tight, furious, joyous, and inspirational".
d. 21. feb. 2018
af
af
Chris May
d. 21. feb. 2018
"During its heyday, Impulse was the home of John Coltrane, Alice Coltrane and Pharoah Sanders and as such was the chief platform for the cosmic/spiritual jazz movement of the 1960s and 1970s and that movement's demand for white-majority society's recognition of black culture and respect for black people. In 2018, the multi-racial Sons of Kemet, led by tenor saxophonist and composer Shabaka Hutchings, is a prominent British driving-force behind a similarly politically-assertive genre reboot ... "Your Queen Is A Reptile" offers a stripped-down alternative to the sometimes overlong and overbaked cosmic offerings of artists such as Kamasi Washington ... The Sons of Kemet's music is explicitly grounded in everyday life, specifically the everyday life of people of African-Caribbean heritage living in Britain. Performance poet Josh Idehen adds excoriating verses to "My Queen Is Ada Eastman" and "My Queen Is Doreen Lawrence," and toaster Congo Natty rides "My Queen Is Mamie Phipps"dubstyle. All nine tracks are named after women of African heritage, and the sleeve notes contain a hard-hitting refutation of the relevance of the British monarchy to Britain's immigrant diaspora".
2018
af
af
Thom Jurek
2018
"Despite the charged nature of the concept, these sounds are not easily categorized as "angry." In fact, if one knew nothing about the motivation here, she would swear these sounds reflected only black celebration and joy. Herein lies the terrain where the carnival tradition of the Caribbean stretches west and north simultaneously to New Orleans marching bands and South London's adventurous, well-integrated contemporary music scene; it's where modern avant-jazz meets funk, folk tradition, grime (thanks to two raps by poet Joshua Idehen), and reggae (courtesy of toaster Congo Natty) ... On "My Queen Is Albertina Sisulu," the drumming and stretched harmony delineate where South African township jive meets avant-jazz (and traces a direct line from Brotherhood of Breath). Hip-hop, funk, and Fela all meet in closer "My Queen Is Doreen Lawrence" (titled for the Labour MP) ... Your Queen Is a Reptile is easily Sons of Kemet's most compelling outing. It offers inspiredstylisticcontrasts, canny improvisation, and killer charts. It's tight, furious, joyous, and inspirational".
d. 26. mar. 2018
af
af
Ammar Kalia
d. 26. mar. 2018
"Sons of Kemet don't shy away from sharing views on the political and societal status quo ... Their cutting edge sounds are as sharp as their wit. Tenor sax player Shabaka Hutchings leads [his bandmates] in a move to Impulse Records, sharing ground with some of their predecessors, like John Coltrane and Pharoah Sanders, to whom The Sons doff to their caps ... Diaspora beats frame Hutchings' adept tenor as its sidewinding line connects an earthy ancestral link to the past with an improvised feel through their compositions. The tunes represent Hutchings' diverse background (UK born, Barbados raised) and the breadth of what the name-checked 'Queens' have brought to us, expressed through the pace and synergy we've come to expect from this syncopated squad. Peers readily associate and collaborate: Congo Natty and Nubya Garcia happily lending and blending their dub and jazz vibes".
d. 28. mar. 2018
af
af
Giovanni Russonello
d. 28. mar. 2018
"The easiest answer to that pesky question: What's keeping jazz vital these days? - appears to lie in London. And much of the serious activity there runs through Shabaka Hutchings. The 33-year-old tenor saxophonist anchors a handful of his own bands and served as the musical director for "We Out Here," a Brownswood Recordings compilation with tracks from nine British groups, like a book of hours for the thriving young scene ... This band has a rare instrumentation - tenor saxophone, tuba, two drummers - and a relentless, jouncing sound anchored in rhythms of the Caribbean ... It's acoustic music, but adamant and dance-driven ... The interplay between Hutchings and [tubaist Theo] Cross immediately calls you to attention, but as songs progress your focus drifts to the twin drummers (...) as they start to shift the flow from beneath ... In order to get a new generation invested, it's not enough to play the horn a little differently than before. You've got to reshuffle thedeck,renew the context entirely. As Hutchings spreads his wings, he is presenting an opportunity for listeners to fall in love with a sound that's got the timeless assets of jazz - rebellion, collectivity, emotive abstraction - but doesn't feel weighed down by its own past".
d. 26. mar. 2018
af
af
Ammar Kalia
d. 26. mar. 2018
"Sons of Kemet don't shy away from sharing views on the political and societal status quo ... Their cutting edge sounds are as sharp as their wit. Tenor sax player Shabaka Hutchings leads [his bandmates] in a move to Impulse Records, sharing ground with some of their predecessors, like John Coltrane and Pharoah Sanders, to whom The Sons doff to their caps ... Diaspora beats frame Hutchings' adept tenor as its sidewinding line connects an earthy ancestral link to the past with an improvised feel through their compositions. The tunes represent Hutchings' diverse background (UK born, Barbados raised) and the breadth of what the name-checked 'Queens' have brought to us, expressed through the pace and synergy we've come to expect from this syncopated squad. Peers readily associate and collaborate: Congo Natty and Nubya Garcia happily lending and blending their dub and jazz vibes".
d. 28. mar. 2018
af
af
Giovanni Russonello
d. 28. mar. 2018
"The easiest answer to that pesky question: What's keeping jazz vital these days? - appears to lie in London. And much of the serious activity there runs through Shabaka Hutchings. The 33-year-old tenor saxophonist anchors a handful of his own bands and served as the musical director for "We Out Here," a Brownswood Recordings compilation with tracks from nine British groups, like a book of hours for the thriving young scene ... This band has a rare instrumentation - tenor saxophone, tuba, two drummers - and a relentless, jouncing sound anchored in rhythms of the Caribbean ... It's acoustic music, but adamant and dance-driven ... The interplay between Hutchings and [tubaist Theo] Cross immediately calls you to attention, but as songs progress your focus drifts to the twin drummers (...) as they start to shift the flow from beneath ... In order to get a new generation invested, it's not enough to play the horn a little differently than before. You've got to reshuffle thedeck,renew the context entirely. As Hutchings spreads his wings, he is presenting an opportunity for listeners to fall in love with a sound that's got the timeless assets of jazz - rebellion, collectivity, emotive abstraction - but doesn't feel weighed down by its own past".
