Year: 2018
File: MP3@320K/s
Time: 117:29
Size: 270,0 MB
Art: Front
(5:52) 1. What's Going On
(4:50) 2. Harolds House of Jazz
(7:43) 3. Spirit of Truth
(4:01) 4. The Angels
(6:49) 5. Spirit's Samba
(2:55) 6. Someone to Light Up My Life
(4:12) 7. Zamba
(5:52) 8. To Let You Know I Care
(7:52) 9. The Samba Express
(6:30) 10. Murilley
(3:56) 11. New York Afternoon
(5:13) 12. Empty Faces
(6:06) 13. Ponteio
(6:00) 14. Flying Colors
(8:37) 15. Image
(5:22) 16. Vera Cruz
(6:35) 17. Morning Song
(4:35) 18. El Exi-Hente
(6:45) 19. Demon Upstairs
(7:35) 20. Samba Do Brilho
Well, you wait for a decent Jazz compilation to come along and then two come along at once. In a previous review we talked about Mike Peden and Tony Higgins’ J Jazz compilation on BBE and gave it top marks and now DJ and music collector supreme Colin Curtis has compiled another blinder out now on Joey Negro’s Z Records.
Before reviewing this selection it is important to put it into a context. The Jazz scene in the UK is so strong at present with DJ events such as Shiftless Shuffle, The Return of the Illicit Groove’s nights, Another Sunday At Dingwalls and Out To Lunch. Coupled with live acts such as Sons of Kemet, Nubya Garcia, Moses Boyd and their various collaborative incarnations and we are truly living in an era which bridges the Jazz dance and Rare Grooves scenes of the 80s to the New Jazz of today. The bands featured on the Brownswood compilation ‘We Out Here’ and who appear at the weekly Jazz Re:Freshed are testament to that link.
So where does Jazz Dance Fusion fit into this? Well, first off this is not an excuse to bury oneself in a retro pique of nostalgia. Indeed, what this compilation represents is an underpinning of what is new now. Always a leftfield sub-genre within the leftfield genre of Jazz, Jazz dance was, and is, the music which bridged the gap between soul, funk and latin grooves and which gave the dancers the chance to throw down moves or simply just lose themselves in rythyms which screamed out at them.
My personal journey into this came in the 80s when, as an extremely hung over soulboy, I went into the Saturday afternoon jazz room session at a weekender expecting to be able to get a hair of the dog and nurse my way into the night to come. I have no idea who was on the decks that moment I walked in but what was playing was Charles Earland’s brilliant track Murilley and what happened was I never made it across the dancefloor to the bar. Three hours of dancing later I was hooked. This album brings that day back to me in an almost visceral way.
However, as I said earlier, this album along with other recent compilations (J Jazz, Kev Beadle’s Private Collection etc) are so important for the thriving scene that exists right now with the new acts, DJs, bands, events already outlined. From Track 1, the sublime version of Marvin’s What’s Going On by Michele Hendricks to Track 20, Bill Hardman’s Samba Do Brihlo there is a massive hint to to the new Jazz of today with rythyms and drum breaks that are clear pre-cursors to Drum & Bass, Hip-Hop and House music. The vocal tracks, Richie Cole’s seminal New York Afternoon, the aforementioned Michele Hendricks and Mark Murphy’s Empty Faces, reach out in a way that vocalists of the calibre of Asheber, Saul Williams & Zara Macfarlane do now....More
https://illicitgroove.wordpress.com/2018/03/01/colin-curtis-presents-jazz-dance-fusion-a-review-by-bob-hill/
Before reviewing this selection it is important to put it into a context. The Jazz scene in the UK is so strong at present with DJ events such as Shiftless Shuffle, The Return of the Illicit Groove’s nights, Another Sunday At Dingwalls and Out To Lunch. Coupled with live acts such as Sons of Kemet, Nubya Garcia, Moses Boyd and their various collaborative incarnations and we are truly living in an era which bridges the Jazz dance and Rare Grooves scenes of the 80s to the New Jazz of today. The bands featured on the Brownswood compilation ‘We Out Here’ and who appear at the weekly Jazz Re:Freshed are testament to that link.
So where does Jazz Dance Fusion fit into this? Well, first off this is not an excuse to bury oneself in a retro pique of nostalgia. Indeed, what this compilation represents is an underpinning of what is new now. Always a leftfield sub-genre within the leftfield genre of Jazz, Jazz dance was, and is, the music which bridged the gap between soul, funk and latin grooves and which gave the dancers the chance to throw down moves or simply just lose themselves in rythyms which screamed out at them.
My personal journey into this came in the 80s when, as an extremely hung over soulboy, I went into the Saturday afternoon jazz room session at a weekender expecting to be able to get a hair of the dog and nurse my way into the night to come. I have no idea who was on the decks that moment I walked in but what was playing was Charles Earland’s brilliant track Murilley and what happened was I never made it across the dancefloor to the bar. Three hours of dancing later I was hooked. This album brings that day back to me in an almost visceral way.
However, as I said earlier, this album along with other recent compilations (J Jazz, Kev Beadle’s Private Collection etc) are so important for the thriving scene that exists right now with the new acts, DJs, bands, events already outlined. From Track 1, the sublime version of Marvin’s What’s Going On by Michele Hendricks to Track 20, Bill Hardman’s Samba Do Brihlo there is a massive hint to to the new Jazz of today with rythyms and drum breaks that are clear pre-cursors to Drum & Bass, Hip-Hop and House music. The vocal tracks, Richie Cole’s seminal New York Afternoon, the aforementioned Michele Hendricks and Mark Murphy’s Empty Faces, reach out in a way that vocalists of the calibre of Asheber, Saul Williams & Zara Macfarlane do now....More
https://illicitgroove.wordpress.com/2018/03/01/colin-curtis-presents-jazz-dance-fusion-a-review-by-bob-hill/
Colin Curtis Presents Jazz Dance Fusion
