Just one of many great records to be released by Jazz Re:freshed of late, this EP from trombonist and composer Rosie Turton (Nérija, Where Pathways Meet) is another fine example of the flourishing UK jazz scene. Giving each and every musician the space and time to shine, Turton moves with confidence and ease through the realms of raga-inspired, spoken-word jazz via heavier violin, piano and drum-led compositions. Be sure to check her lovely revision of Herbie Hancock’s ‘Butterfly’ too.
The Leaf Label
Lifted from the forthcoming ‘Temporal’ LP, the follow-up to her 2015 opus ‘Asperities’, ‘Crepuscolo’ is another string induced moment of melancholy composed by cellist Kent. Originally derived as a set for theatre, you can easily hear the emotive tones and how this would transcend to live performance. Rich in tone and structure, with plenty of spatial awareness, there is a definite depth to her playing and composition that leaves the listener in a plaintive mood.
'December-ish You '
Now up to album 14 (they decided to skip No.13 apparently), Lambchop are back, not with so much of a bang, but more a ponderous whimper, as they tip-toe into the world of Auto-tuned pop inhabited by Bon Iver and James Blake. It’s sufficiently different to each of the above, and naturally bears all the usual trusty Lambchop audio identifiers, including Kurt Wagner's iconic vocal. But it’s just a little lacklustre and uninspired, especially when you consider what they are capable of. Country got soul… and Auto-tune.
Hak Attack Records
There has already been a plethora of hackneyed descriptions thrown at the sound made by this 26-year-old Londoner. Sure, there are definite sonic markers such as The Streets, Billy Bragg, Michael Kiwanuka and Damian Marley (and the fact that he was once a member of the grime collective B.O.M.B squad will likely confuse matters even more), but essentially, Baker is a singer/songwriter with an exciting approach to story-telling. Honest, disarming and plain-speaking social commentary — Baker calls it “G-folk", and why not?
'Fruits Of Disillusion '
Formally the man behind Le Blonde, Jarvis takes another nom de plume to exorcise another sound from within. Coming from the ‘The Same But By Different Means’ LP, where tracks range from seconds to over eight minutes, it’s somewhat of a sketchbook sound that relies on found sounds, field recordings and his own narrative to knit the pieces together. ‘Fruits Of Disillusion’ is possibly one of the more coherent offerings on the LP, but it falls short in being able to engage fully, unfortunately.
Grebenstein & Seefried
For fans of the post-punk aesthetic, Grebenstein & Seefried echo many moments from music’s rich heritage, be that the musings of Laurie Anderson or the abstract leanings of Annette Peacock. Restricting themselves to one synthesiser, one drum and one voice, it’s a crystalline production that cuts through with razor-sharp accuracy and surprising warmth. ‘Raging Tender’ and the X-rated ‘Body Electric’ are the gems worth seeking out here.
Angelo De Augustine
There has been a wealth of lovely acoustic records released over the past month or so, but this single lifted from Augustine’s latest album has a certain resonance, beauty and heartfelt originality that makes it super, super special. Produced by Thomas Bartlett (St. Vincent, Sufjan Stevens, Antony And The Johnsons), the entire album was apparently made in five days, but by way of a perverse contradiction, you couldn’t wish to hear a more unhurried, un-rushed and achingly beautiful record.