Boom Yeh: Near-Earth Objects (Cosmosium Records)
Immediately the music of London-based group Boom Yer reminds of those late 90s bands Jamiroquai and The Brand New Heavies so it’s no surprise that some of the musicians on show here have toured and played with these bands. It’s toe-tapping, percussive-heavy instrumental music with the emphasis on getting you on the dance floor. This is music to move to and the whole album benefits from this commitment. I’m sure this music used to be described as Acid Jazz. I’m not sure if this is still the correct term for it but whatever it is (and although a stricter jazz style is adopted on Othership), I like it.
The groove comes complete with with Nile Rogers-esque twangy guitar, cool bass, brass parts that keep the flow going and a drummer that is having a great time. I hear a nostalgic vibe throughout the whole album but where the music really works is the fact that the songs don’t feel overworked or overlong, they come in, they get you moving and then they move on to the next. I would love to see this band live; this is a solid party band with the ability to stretch out and let go. Brilliant stuff.
Jazz Sabbath: The 1968 Tapes (Blacklake BL411391)
I think this album describes itself; if you’re thinking “This sounds like a jazz cover album of a selection of Black Sabbath songs” then you are correct, and I think it’s best to open this review with the declaration that I am not a big fan of Black Sabbath. My knowledge of Ozzy Osbourne really started when he was the focal point in the MTV reality TV show The Osbournes some 20 years ago so I come to this album with little awareness of how loyal the music might be to the originals.
I think perhaps this is an advantage because as a jazz album, it’s good. Actually, I really like this album. It sounds like it was recorded in the late 50s or early 60s, it’s piano-centred, and by Jove it rattles along nicely.
I particularly like The Wizard, which starts with a fantastic drum solo before the piano takes control, leading us into a sleazy groove where the drums tick alone with sparse piano. This song benefits from patience and a slow build including bass, percussion and an organ behind the main riff. It’s late-night, jazz-club music and sits in the middle of the album.
Electric Funeral is drum brushes and 60s cool before you’re tempted into thinking that Supernaut will offer the same, and, in fairness for the first 30 seconds or so, it does; but then we’re given driving bass (that sounds brilliant) alongside tippy-tappy cymbals and we’re off again (thanks to a welcome trumpet solo and – surprise, surprise – a guitar solo).
I didn’t know the music of Black Sabbath could be so rich that it could be moved into the jazz world but clearly, I haven’t given enough time to the boys from Birmingham. This album has been talked about among my friends for the last few weeks, partly because of the novelty of it, but also because it keeps finding its way into my CD player. Surprisingly superb. There’s more information on Jazz Sabbath here: jazzsabbath.net
David Bitelli and Ollie Usiskin: Harlesden Sessions (SLAM Productions SLAMCD2116)
Next up is Harlesden Sessions from saxophonist David Bitelli and drummer Ollie Usiskin. This is something different for me and probably not something that I would reach for but the story of how the album came about left me feeling curious enough to want to hear it.
Simply put, these two musicians would meet up, play some music and, in time, the understanding between the two grew until they had enough material to record their joint efforts. I like this kind of thing because it raises the chicken and egg question – what came first, the sax or the drums? Was there a brief idea that was just expanded on? And how do you fill the spaces left by bass, piano or vocals?
The answer to that last question is they don’t. The space that remains is ignored, and rightly so, but what remains is a to and fro, push and pull understanding that at one moment one is needed to support and, at other times, to lead. It works remarkably well because each musician remains spontaneous and reactive to what the other is doing. In some ways it reminds me of the American band Too Many Zooz in that the music is playful and energetic and changes course three or four times during the same track.
Obviously, your feelings about the album will come down to whether or not you like this stripped-back approach, but if you like your jazz to be explorative and dripping with creativity, this is definitely for you.
Les Hommes: Si, Cosi (Sudden Hunger Records SHLP006)
They say that great art has the power to transport you and if this is the case then Si, Cosi can be considered as great art because immediately this music takes me to a cliff road overlooking the Mediterranean. I’m driving a classic car, the top is down, the sky is blue, and this music is the soundtrack. It’s effortlessly cool and drips with sun, sea, sand and saucy whispered conversations at the bar as the afternoon turns to the evening and the sun slowly goes down.
What makes it more impressive is that the band comes from less-than-sunny London, which isn’t exactly in keeping with the overall mood of the album. This is dreamy, laid-back, chill-out jazz complete with organ, flute, smart percussion, floaty drum beats and a carefree groove that invites you to drink it all in – all a long way from a gloomy northern city.
I really like it; it makes a nice change of pace from breathless horn solos and musicians vying for attention. It might not the ideal time to release an album perfectly suited to the sunshine but hey, this is escapism, maybe now is exactly the right time. Just throw this on and be instantly transported to a Sardinian coastline or a Spanish island.