Ropeadope Us 黑胶唱片和CD

Review: Earlier in the year, British-Bahraini jazz musician Yazz Ahmed delivered her second album, a set so good that one critic (rightly) described it as "a modern jazz masterpiece". This surprisingly speedy follow-up is almost as good, and sees the masterful trumpeter and her musical accomplices guide us through a series of inventive original "fusion" compositions that variously fuse elements of big band jazz, Arabic musical culture, spiritual jazz, cinematic soundscapes, Afro-Cuban jazz and Blaxploitation-era jazz-funk. In other words, it's another strong set that confirms that looming superstar status of the effortlessly brilliant Ahmed.

Review: Earlier in the year, British-Bahraini jazz musician Yazz Ahmed delivered her second album, a set so good that one critic (rightly) described it as "a modern jazz masterpiece". This surprisingly speedy follow-up is almost as good, and sees the masterful trumpeter and her musical accomplices guide us through a series of inventive original "fusion" compositions that variously fuse elements of big band jazz, Arabic musical culture, spiritual jazz, cinematic soundscapes, Afro-Cuban jazz and Blaxploitation-era jazz-funk. In other words, it's another strong set that confirms that looming superstar status of the effortlessly brilliant Ahmed.

Review: New Orleans trumpeter Christian Scott aTunde Adjuah returns with his first album in almost two years, an essential set of spiritually conscious Afro-jazz that wraps his bold, mesmerizing and memorable trumpet solos around a variety of skittish tribal rhythms, Mariachi style horn riffs, soulful vocal arrangements and 21st century jazz instrumentation. It's a unique and thoroughly absorbing signature sound, with the assembled guests - most notably Saul Williams, Elena Pinderhughes and Logan Richardson - adding much to Scott aTunde Adjuah's intoxicating sound soup. Highlights come thick and fast throughout, from the slow burn soundscape of "Diviner (Devan)" and wonderfully percussive "Ritual (Rise Of Chief Adjuah)", to the intergalactic drowsiness of "Prophecy" and breezy "Double Consciousness".

Review: New Orleans trumpeter Christian Scott aTunde Adjuah returns with his first album in almost two years, an essential set of spiritually conscious Afro-jazz that wraps his bold, mesmerizing and memorable trumpet solos around a variety of skittish tribal rhythms, Mariachi style horn riffs, soulful vocal arrangements and 21st century jazz instrumentation. It's a unique and thoroughly absorbing signature sound, with the assembled guests - most notably Saul Williams, Elena Pinderhughes and Logan Richardson - adding much to Scott aTunde Adjuah's intoxicating sound soup. Highlights come thick and fast throughout, from the slow burn soundscape of "Diviner (Devan)" and wonderfully percussive "Ritual (Rise Of Chief Adjuah)", to the intergalactic drowsiness of "Prophecy" and breezy "Double Consciousness".

Review: Mark de Clive-Lowe's legacy reaches right back to the early 90s, when he was involved in a variety of groups in his native New Zealand. Having covered a lot of ground since then, including working with Theo Parrish, he's now dropping this stunning live session recorded in his current home of Los Angeles with a band that includes Ammoncontact's Carlos Nino on percussion. From tender lulls to stormy peaks, this is a broad tapestry of contemporary jazz rooted in the thrill and energy of performance. Mark de Clive-Lowe is rightly considered a master in his field, and this is the perfect example of his craft.

Review: Although Kiwi keys-man Mark de Clive-Lowe is currently a producer and session musician in demand, he still somehow finds time to pursue a solo career. Earlier in the year he delivered the contemporary jazz/jazz-funk classic in waiting "Heritage", and here we're treated to its sequel (or, more accurately given the short gap between sets, companion album). It's another belter, with highlights including the outer-space jazz/live drum and bass fusion of "Bushido II", the string-laden dreaminess of "Ryugu-Jo", the atmospheric Jap-Jazz epic "Shitenno" and the slick downtempo jazz-funk warmth of "Mirai No Rekishi".

Review: Although Kiwi keys-man Mark de Clive-Lowe is currently a producer and session musician in demand, he still somehow finds time to pursue a solo career. Earlier in the year he delivered the contemporary jazz/jazz-funk classic in waiting "Heritage", and here we're treated to its sequel (or, more accurately given the short gap between sets, companion album). It's another belter, with highlights including the outer-space jazz/live drum and bass fusion of "Bushido II", the string-laden dreaminess of "Ryugu-Jo", the atmospheric Jap-Jazz epic "Shitenno" and the slick downtempo jazz-funk warmth of "Mirai No Rekishi".

Review: Mark de Clive-Lowe's legacy reaches right back to the early 90s, when he was involved in a variety of groups in his native New Zealand. Having covered a lot of ground since then, including working with Theo Parrish, he's now dropping this stunning live session recorded in his current home of Los Angeles with a band that includes Ammoncontact's Carlos Nino on percussion. From tender lulls to stormy peaks, this is a broad tapestry of contemporary jazz rooted in the thrill and energy of performance. Mark de Clive-Lowe is rightly considered a master in his field, and this is the perfect example of his craft.

Review: Last year, civil rights era proto-hip-hop group The Last Poets marked their 50th anniversary with their first album in 20 years. 12 months on they return with "Transcending Toxic Times", an expansive double album that sees the pioneering prototype rap group take aim at America's ills in the same incendiary, hard-hitting fashion that once provided inspiration for Public Enemy and many other early hip-hop pioneers. Musically, it's rich, warm and varied, with the involvement of avant-jazz bassist Jamaldeen Tacuma ensuring a heady mix of jazz, hip-hop, jazz-funk, soul, folk and art-rock grooves. In other words, it's a triumph.

Review: Brooklyn troupe Underground System comes correct with this awesome doublet. One vocal, one instrumental... Both total homages to the Fela Kuti legacy. "Bella Ciao" references a classic Latin anti-war song over a thumping Afrobeat hook that's home to a series of bright, tight guitars and subtle instrumentation in the background. "DON", meanwhile, fuses electronic elements with sounds that manage to scream Rio and Lagos instantly. Strutting with a luxuriously simple bassline, the horns cast serious spells countered by the positivity of highlife guitars. Ciao for now.