All The Way (feat Tyler Daley & Kaidi Tatham) (4:00)
All The Way (feat Tyler Daley & Kaidi Tatham - Flutestrumental) (3:59)
Review: A warm welcome back to the Darkhouse Family, Cardiff's finest purveyors of soul-fired instrumental hip-hop and jazz-funk flavoured broken beats. The good news is that "All The Way", which features the combined talents of guests Tyler Daley and Kaidi Tatham, is every bit as good as anything on their superb 2017 album "The Offering". The A-side original version, in particular, is superb - a languid chunk of head-nodding hip-hop soul rich in double bass, drowsy jazz horns, twinkling pianos and impassioned, emotive vocals. That said, the instrumental flipside revision, which includes extended flute solos where the vocals once say, is also impeccable.
Festa Para Um Rei Negro (Samba Enredo Do Salgueiro/71) (3:42)
Selecao De Mangueira (4:57)
Refem Da Solidao (2:19)
Review: Little is known about DIla, a Brazilian singer who tragically died in a car crash weeks after the release of her self-titled debut album in 1971. All that remains is the album - here reissued for the first time by Far Out Recordings - and a handful of references in the Brazilian media to her tremendous talents. "DIla" is a sensationally good album; a wonderfully summery, sun-kissed and soulful collection of samba songs that veers from bluesy jazziness (see the laidback and smoky "O Morro Nao Tem Vez"), to sweaty, carnival-ready dancefloor workouts (the brilliant "Saberas"), via the attractive, horn-heavy jauntiness of "As Paredes Tem Ouvidos").
Review: London's contemporary jazz scene is so strong right now that there's not a week that passes without the release of a killer new album from one of its leading protagonists. The latest comes from Ezra Collective, which finally delivers its' debut album following a string of inspired live performances and a handful of must-have singles. Kicking off with a breezy chunk of hip-hop-jazz, "You Can't Steal My Joy" sees the hyped five-piece confidently bounce between intense, spiraling epics ("Why You Mad?"), reggae-influenced aural sunshine ("Red Whine"), polyrhythmic Afro-jazz ("Quest For Coin"), bespoke soul (Jorja Smith hook-up "Reason In Disguise"), live boom-bap hip-hop (Loyle Carner collaboration "What Am I To Do"), bustling Afro-Cuban jazz ("Chris & Jane"), picturesque piano pieces ("Philosopher II") and much more besides. As debuts go, it's mighty impressive.
Review: George Otsuka Quintet were active in the Japanese jazz scene of the early to mid 70s, led by famed jazz drummer George Otsuka and with a modest grip of LPs to their name. It's been a while since anyone turned their attention to this visionary outfit, but now the stunning, freewheeling 1976 album "Physical Structure" has received the reissue treatment via Le Tres Jazz Club, and it's a good thing too. This incredible session finds Otsuka leading his band down limber, energised avenues of rhythm and groove, constantly skittering from scene to scene without missing a beat. The album even wraps up with a take on John Coltrane's evergreen "Naima" that leaps off the platter with joy in a fitting homage to the original.
Review: The Brazilian singer-songwriter and guitarist Joyce Silveira Moreno was born and raised in the middle of Copacabana, a short beach stroll from the epicentre of the bossa nova universe.Her father was a Dane that had settled in Brazil, but she was raised by her mother and step-father in a typical Portuguese-Brazilian household. Since her older brother was friendly with leading lights of the bossa nova movement such as Roberto Menescal and Eumir Deodato,she was steeped in the form at an early age and witnessed its key evolution first-hand. At theage of 16 in 1964, she was taken to the studio by Menescal to contribute to the coveted debut album by the mythical group Sambacana, assembled to record the work of composer Pacifico Mascarenhas when the meagre budget would not allow the vocalists he preferred. Knowingthat a full-time career in music was certainly not guaranteed, she began studying journalism in 1967, shortly before her controversial song "Me Disseram" reached the finals of Rio's second International Song Competition. The following year, her self-titled debut album was released by Philips, produced by Armando Pittigliani, with orchestration by Dorival Caymmi and arrangements by Gaya; along with her own compositions, the album also featured songs by her rising-star friends, including Caetano Veloso and Marcos Valle.