INCOGNITO TOUR DATES Date: Country: City: Venue: Venue Web Site: 21/01/2010 Italy Rome Piper Club Link 22/01/2010 Italy Cesena Teatro Verdi Link 23/01/2010 Italy Padova Gran Teatro Link 25/01/2010 Italy Catania Catania Jazz Link 27/01/2010 Italy Milan Blue Note Link 28/01/2010 Italy Milan Blue Note Link 29/01/2010 Italy Milan Blue Note Link
ACID JAZZ:DOES IT REALLY EXIST? A
CIEEED! My god, it looks like jazz is finally moving out of the middle class drawing rooms and late night dinner clubs and back where it belongs – on the streets! Youth and arrogance are hijacking a long since stagnant form of music, and injecting it with fresh life – and not a little cappucino. Watch out, here come the Sex Pistols of jazz. It’s happening in the clubs, it doesn’t involve smiley shirts and ecstasy trips, it hasn’t appeared overnight, and it isn’t going to go away. Jazz has always been alive, but now it’s got a new marketing policy, a new image and a new spirit. Jazz is bouncing back into youth vogue! And whenever ‘youth’ is mentioned, the ears of the big corporations buzz. The cash register rang and Polydor picked up the tab, deciding to take-on the new dancefloor craze – even before it was out of the hip London clubs – by releasing the compilation ‘Acid Jazz And Other Illicit Grooves’ into a marketplace that is ready to tire of acid house. The gamble paid off and now there’s a second Acid Jazz album, along with an album entitled ‘The Original Illicit Grooves’ scheduled for release. It’s new, it’s exciting and it’s got spirit, but what exactly is Acid Jazz?
“I don’t really know what it is,” he apologises. “What is it? What is Acid Jazz? Apparently I’m part of it, but I don’t know what it is, I really don’t.”
Surely he’ll know what this thing is all about. Galliano?“Acid jazz is just a phrase, a name – it means nothing,” he says. “It just gets more young people listening to it.” “It’s a scam,” whis“What’s this acid jazz pers James Taylor as he thing all about? passes between Quartet A sharp looking geezer and bar. “It’s a way of passes eating a burger. selling records, it’s a Why it’s Alan’s drumway of making money.” mer-in-crime, and exWhat? Then that Style Councilor, Steve makes acid jazz the White. If anyone’s going new balaeric beat?“It’s to know what’s going actually pre-Balaeric,” on, then surely this cat says James as he returns will, as he’s simultanewith his Perrier. “And ously the current sticks what’s good about it is and brushes man with that there are quite a both the Jazz Renegades few bands involved, it’s and the James Taylor not just a DJ thing.” As Quartet – and as such, if in vindication of this he gets to both open and theory, James points headline today’s festival. me in the direction of Steve mate, what’s this jazz DJ Gilles Peterson, acid jazz thing all about? the executive producer, “I don’t know,” he says, together with Working A sharp looking geezer “but I wouldn’t worry Week’s Simon Boothe, passes eating a burger. too much about that laof the Polydor compilaWhy it’s Alan’s drumbel, I think I’d just look tion, and apparently the mer-in-crime, and exat the bands individually young man who coined Style Councilor, Steve the term acid jazz. White. If anyone’s going and decide which ones that you like.” Gilles looks about 13, to know what’s going but is in fact 23. As the on, then surely this cat voice of Radio Lonwill, as he’s simultanedon’s lamented ‘Mad ously the current sticks Up on stage, there’s an On Jazz’ show and long and brushes man with term WAG Club DJ, I both the Jazz Renegades angry looking jazz rapper, burning with feeling expected Gilles be much and the James Taylor and intensity. He spouts older, and probably have Quartet – and as such, he gets to both open and angry rhymes with laid- a beard. But in keeping headline today’s festival. back venom, holding the with the idea of the new attention of everyone young jazz, he doesn’t Steve mate, what’s this in the club. The dancin fact have a beard, acid jazz thing all about? just a bizzarre lop-sided “I don’t know,” he says, ing has stopped as all eyes watch this flame of beatnick wedge hair“but I wouldn’t worry rhyming passion. This style. Any man who too much about that lahas a haircut like this bel, I think I’d just look is Galliano, Britain’s best orator of jazz-oetry, must surely be able to at the bands individually and the man behind enlighten me as to the and decide which ones the exciting ‘Fredrick origins of acid jazz. that you like.” Lies Still’ indie release. Please, Gilles – what’s it Alan Barnes looks puzzled by the question as he stands in the hallway of Camden’s Dingwalls dancehall. Behind him, the second London Jazz Alldayer is in full swing, a showcase for most of the talent on the Polydor compilation, and a chance for the converted to dance all day. Alan’s band, the Jazz Renegades, are featured on the new compilation – therefore they must be Acid Jazz! Put your saxophone down a minute Alan, tell me all about it. What the hell is Acid Jazz?“I don’t really know what it is,” he apologises. “What is it? What is Acid Jazz? Apparently I’m part of it, but I don’t know what it is, I really don’t.”
As if in vindication of this theory, James points me in the direction of jazz DJ Gilles Peterson, the executive producer, together with Working Week’s Simon Boothe, of the Polydor compilation, and apparently the young man who coined the term acid jazz. Gilles looks about 13, but is in fact 23. As the voice of Radio London’s lamented ‘Mad On Jazz’ show and long term WAG Club DJ, I expected Gilles be much older, and probably have a beard. But in keeping with the idea of the new young jazz, he doesn’t in fact have a beard, just a bizzarre lop-sided beatnick wedge hairstyle. Any man who has a haircut like this must surely be able to enlighten me as to the origins of acid jazz. Please, Gilles – what’s it all about? “Well, the jazz scene is very strong now, but we felt that it needed a little boost to keep it up there. By calling it acid jazz, people are going to say, ‘Oh, this must be interesting’ and then dance to it. So, subtley you are introducing them to new forms of music and new forms of jazz.”Ah, I think I’m beginning to understand. It’s a bit like the Meat Marketing Board taking out TV space to promote the sales of meat as a whole, with no brand names involved. Acid jazz is a way of giving a loose and diverse collection
of musicians a new and trendy tag. It’s a way of making jazz more acceptable to those people who have not already discovered the delights of the jazz dance scene. To the man on the street, jazz is still seen in terms of corduroys, beards and 20 minute solos. But this isn’t what jazz is really about. It’s young, vigorous, exciting, and currently the soundtrack to a whole new dance explosion and jazz culture in London. Exaggeration? Who cares! Every journalist’s allowed a little license.Dancing to jazz, it would seem, is an Eighties evolution, and apparently the dance aspect was the central catalyst for the development of this latest reincarnation. “Already a lot of the older generation who didn’t grow up in a club culture don’t understand how people can dance to jazz,” suggests Peterson, “but jazz is just a way of saying ‘freedom’ really.” Freedom of movement, freedom from musical restraints and freedom of spirit. Sadly not freedom of pigeon-holing, hence Acid Jazz.
Written by Chris Hunt
* We review two albums from bands that coined the phrase ‘Acid Jazz’!* INCOGNITO Tales from the Beach is a return to form for Incognito...the fusion of funk will make you groove...
JTQ...A Bigger Picture
On “I Come Alive (Rimshots and Basses),” a track off Incognito’s latest CD, Tales from the Beach, lead singer Joy Rose sings, “I come alive, when the backbeat starts to hit me/Takes me home and feeds my soul.” Those lyrics not only define music as inspiration, but also summarize the Incognito sound. Listening to their albums is like comfort food, an experience that relaxes you through its consistency and gentle grooves. Longtime fans know exactly what to expect when picking up a new Incognito album, and that’s not a bad thing; the band excels at its particular sound, a unique fusion of funk and jazz. Although Tales from the Beach marks their debut on new label Heads Up, longtime fans can be reassured that the move has not altered their musical style. Incognito’s particular style, however, is difficult to classify. JeanPaul “Bluey” Maunick (along with co-founding member Paul “Tubbs” Williams) formed the band in the early ‘70s, eventually releasing their landmark work, Jazz Funk, in 1981. Melding world music with funky bass patterns and complicated chord changes, this work foreshadowed the U.K.’s burgeoning “acid jazz” movement, which reached its peak in the ‘90s (its best-known practitioners in the U.S. being Jamiroquai and the Brand New Heavies). Williams subsequently left the group, so Incognito transformed into a music project helmed by Maunick and featured a rotating group of musicians and vocalists. Returning after a ten-year absence with 1991’s Inside Life, Incognito released a steady stream of albums in the ‘90s and the early 2000s. After scoring a minor hit on U.S. contemporary R&B radio with “Deep Waters” in 1994, the group gained a devoted following in America as well as throughout the world, continuing to perfect their version of acid jazz. Incognito’s lyrics typically describe both heartache and optimism, and their latest album has both types in abundance. “I Remember a Time” laments a past romance, while “N.O.T.” chronicles the end of a relationship. These expressions of sadness are balanced by uplifting numbers such as “Love, Joy, Understanding” and “Freedom to Love,” with lines such as “You can do it if you wanna, make it happen if you try.” “Happy People” reads like an Oprah episode, with lyrics about controlling one’s life: “In your hands you hold your destiny/Take your troubles make them disappear.” As usual, Maunick has recruited top musicians and singers to participate in the latest Incognito incarnation. Intermittent Incognito member Joy Rose as well as Maysa Leak, Imani, and Tony Momrelle provide funky vocals that nicely complement the driving beats and bass lines. Having recorded the album in England, Italy, Germany, and Indonesia, Incognito continues its tradition of incorporating world beats into its sound. The album’s title track sounds like a slice of Afro-pop, while “Happy People” holds a hint of Latin rhythm. They do not neglect their R&B roots, however. Maunick has long admired R&B acts such as Earth, Wind, and Fire, Kool and the Gang, Tower of Power, and the Average White Band; echoes of their music lace songs like “When the Sun Comes Down” and the horn section of “Feel the Pressure.” Overall, Tales from the Beach fits quite well within the Incognito catalog. Longtime fans will enjoy their familiar sound, while new listeners will enjoy their cool, laid-back beats. The band has never departed from their signature sound, and in this case, this familiarity is quite welcome.
T
he Bigger Picture is a polished production performed by the legendary James Taylor Quartet. This is the 12th release in the quartet’s 15-year career and should embrace both new and old fans because of their savory mix of funk, soul, jazz, and groove that is brought to life by excellent arrangements and a brand new singer, Yvonne Yaney. Along with additional help from a master of the vibes, Roy Ayers, the James Taylor Quartet consistently evokes their modern groove on 13 songs -- 12 of them either written or co-written by Taylor. Taylor’s brand of funk on Bobby Womack’s “TKO” is given a fresh treatment with Yaney’s smooth vocals. “Chasing Dragons” is a synth smash, with excellent keyboards and organ by Taylor rounded out by excellent solos from John Willmott on flute and Don Glover on trumpet. On the final three selections, labeled “The Smaller Picture,” Taylor provides a generous anointment of synthesized sounds on “Decoding the Pyramids,” “First Time,” and “Change Your Mind.”. The James Taylor Quartet’s first single, “Blow-Up” (a funked up version of Herbie Hancock’s main theme from the seminal 60s film of the same name), was released in 1985 on the Re Elect The President label, which would later become the Acid Jazz label. The track was
championed by the NME and John Peel, appearing in Peel’s Festive Fifty chart for 1987. The band’s debut album, Mission Impossible was released the following year and predominantly consisted of covers of Sixties film themes such as “Alfie”, “Mrs. Robinson” and “Goldfinger” in a rough, up-tempo, almost punk-like style that was primarily focussed on Taylor’s Hammond organ playing. Their second album, The Money Spyder, was the soundtrack to an imaginary spy film, applying the band’s distinctive style to Taylor’s own compositions. Whilst promoting these albums The James Taylor Quartet developed a strong reputation as a live band that remains to this day. The live set focuses on accessible rhythm driven music that some classify as having elements of modern dance music, despite including a lot of improvised solos. During this period a contract with a major record led to them playing to ever increasing audiences. The band also recorded their signature tune “The Theme from Starsky and Hutch” during this period. This led to the release of the live album Absolute in 1991, which attempted to capture the experience of the band in concert (even though it was recorded ‘live’ in the studio, the audience cheering being overdubbed later). Reportedly the band whose music coined the term acid jazz
(when a British journalist struggled to describe it), the James Taylor Quartet has explored spy-soundtrack soul-jazz and funk since the group’s beginnings in the mid-’80s. Originally playing the Hammond B-3 organ in the U.K. mod revival band the Prisoners, James Taylor formed his own jazz quartet in 1985 and began playing music similar to the rare-groove jazz-funk then in vogue around London. By the early ‘90s, that movement had spawned acid jazz and the James Taylor Quartet found itself at the forefront of a vibrant young club scene, even though Taylor was a decade-long veteran by that time. The Prisoners had emerged from Kent in 1982, and released two albums, A Taste of Pink and The Wisermiserdemelza, before Taylor quit in the mid-’80s (the group imploded after just one more studio album). Taylor quickly formed a quartet around ex-Prisoner Allan Crockford on bass, drummer Simon Howard, and James’ own brother David on guitar. The James Taylor Quartet recorded for several small labels during 1985, but a 1986 session for Radio 1 DJ John Peel got the group signed to Re-Elect the President Records, which released a 1987 mini-LP of covers, Mission Impossible. After The Money Spyder appeared that same year, the James Taylor
Quartet moved to Urban/Polydor for 1988’s Wait a Minute. Not long after, however, Howard and Crockford left to play with another ex-Prisoner, Graham Day, in the Prime Movers. Now just a duo, James and David began recruiting studio musicians to fill in the instrumental gaps from album to album, later building the band up to a sextet (though the name stayed the same) with John Willmott on saxophone and flute, bassist Gary Crockett, drummer Neil Robinson, and trumpeter Dominick Glover. A contract with Acid Jazz Records resulted in increased American distribution through Hollywood Records, which reissued Mission Impossible and The Money Spyder as well as the group’s 1995 album In the Hand of the Inevitable. The Penthouse Suite and (A Few Useful Tips About) Living Underground both followed in 2000. Bigger Picture was issued earlier the next year. In the early 1990s the band changed direction and released a string of song-based albums to appeal to the then fashionable Soul and Acid Jazz scene in the UK. They featured vocalists such as Rose Windross of Soul II Soul, Alison Limerick and Noel McKoy. McKoy became a permanent member of the band for part of this period. The single “Love The Life” reached the Top 40 and the accompanying album Supernatural Feeling reached the top 30 in the UK charts. The next album In The Hand of The