‘The Vampires meet Lionel Loueke’ – The Vampires, Lionel Loueke

The Vampires

AUSTRALIAN quartet The Vampires have a good ear for a vamp… and for a key collaborator in respected US-based guitarist/vocalist Lionel Loueke.

Headed up by saxophonist Jeremy Rose and trumpeter Nick Garbett, and driven by the heady rhythms of double bassist Jonathan Zwartz and drummer Danny Fischer (with guest percussionist Alex Masso), this fifth release features Loueke’s distinctive guitar palette of synthy octave-enhanced improvisations and chordal sparkiness, combined with the colourful African vocalisations of his Benin homeland. Rose and Garbett have an affinity with strong melody, rising from the groove of each of their ten original numbers with increasing memorability; and their festal dual-horn lead especially imbues the air with mariachi, reggae, funk, European folk and flavours of Cuba and the Balkans.

So a genuine feel-good album which has long been in the pipeline, it’s myriad influences soon draw the attention and don’t let go. Take Freedom Song, for example, where an Ennio Morricone-style tijuana figure announces and infiltrates an irresistible Police-like reggae pulse, pulled in different directions by Loueke’s quirky modal explorations and bleepy improv, with tenor and trumpet acclamations soaring above. Bendalong, too, ripples and darts with dance-like fervour, yet gear-changes alter the landscape to allow space for Loueke’s characterful blend of guitar and ‘vocal percussion’.

The ebb and flow of rhythm and mood, across fifty-five minutes, is well considered; so lazy, grunging Hard Love (like a beautifully sedated ‘Spanish Flea’) contrasts markedly with the picked African guitar rhythms and side-stepped meanderings in Brand New – the jiving bass ground here is a winner, inspiring salsa celebrations. In Torta Salata, Zwartz’s pliant double bass also sets up a playful partnership with Loueke’s wah-wah fun, as trumpet and sax again eke out a melody that might still be in your head by daybreak; and an ease-back acoustic-styled tribute to Al Green – Green Green Green – somehow keeps a lid on its full-blown Latin potential, resisting a double-time step-up despite its varicoloured interest.

A rare moment of repose is delivered in bass-clarinet-hued Ubud Bubble, said to evoke the time-paused magic and mystery of Gamelan echoes in Bali streets, its smokiness suggested by Fischer’s brushed snare. Suck a Seed‘s attractive African sonorities are pounced on by the increasing clamour of frenetic horn improv and wailing, synthesised guitar; and Endings and Beginnings top and tails with intended softly-breathing ‘circle of life’ continuity.

The Vampires’ music feels visual, thanks to its fabulous grooves and differing atmospheres. In the UK, sight and sound can be experienced in Edinburgh on 13 October 2017, and again on 15 October as the album officially launches at London’s Pizza Express Jazz Club.

The Vampires meet Lionel Loueke is available as CD or digital download at Bandcamp.

 

Jeremy Rose alto sax, tenor sax, bass clarinet
Nick Garbett trumpet
Jonathan Zwartz double bass
Danny Fischer drums
featuring
Lionel Loueke acoustic guitar, electric guitar, vocals
with
Alex Masso drums, cajon, bongos, pandeiro, wood block, cowbells, shakers (tracks 3, 5)

thevampires.com.au

Earshift Music – EAR017 (2017)

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‘All Things’ – Slowly Rolling Camera

src_allthings

SLOWLY ROLLING CAMERA’s eponymous 2014 debut release made a strong impression, garnering an enthusiastic, international fanbase – and follow-up All Things powers to still greater heights with its dynamic blend of soul, electronica, trip hop, jazz and rock.

Fronted by charismatic vocalist, vocal arranger and lyricist Dionne Bennett – whose deep, emotional timbres are the band’s signature – the central quartet completed by Dave Stapleton (keyboards), Deri Roberts (sound design, electronics, percussion) and Elliot Bennett (drums, percussion) calls upon an impressive complement of musicians to assist in realising their ambitious, lush, almost rock-symphonic imaginings. Echoes of The Cinematic Orchestra are authenticated by the presence of guitarist Stuart McCallum; jazz collaborators Ben Waghorn and Laura Jurd provide improvisational flair; and strings enhance the cinemascopic fervour whilst also providing contrasting tranquillity.

Dionne Bennett’s intense, often angsty delivery is perfect for this album’s pervading themes of ‘relationships and the human condition’, and her inflected control, vibrato and sumptuous harmonies feel matchless on the current scene. Scintillation, for example, smoulders over searing strings before erupting into darting rhythms and instrumental soloing over tremulant Fender Rhodes, with tensile “I feel your fire” vocals at snapping point; and McCallum’s reverberant electric guitar paints the sky with incandescent white light. Key to the band’s percussive drive is Elliot Bennett, whose intricacy and energy is always so compelling to watch and hear – opener The Fix is typical of his kaleidoscopic approach, combining weighty, held-back lurching with pin-sharp, cymbal-thrashing accuracy.

It’s difficult to overstate how slick and how layered this production is. Delusive‘s catchy core riff recalls Harold Faltermeyer’s ‘Axel F’; Dave Stapleton’s introduction of the Moog synth, especially in High Praise and Room with a View, is inspired – evocative of ’70s prog, it adds so much to this tumultuous, energising 21st Century landscape; and Deri Roberts’ sound manipulation in Oblivion, supporting Dionne Bennett’s frenetic, shouted choruses of “Leave me alone” confirm that any one of this album’s nine tracks could be the dramatic backdrop to a blockbuster thriller (and equally at home on BBC 6 Music’s playlists).

The transformation of one of Stapleton’s earlier, minimalist, Gorecki-inspired piano works (from his own album Flight) into the soulful vocal outpouring of Unsetting Sun is effective, with string quartet intensifying the heart-wrenched emotion; The Brink is a standout, pulsating, soul/rock episode, with McCallum’s cascading guitar lines enhancing its exciting cacophony; and wind-down end-piece All Things, complete with oscillating synth sirens, wraps up this breathtaking 46-minute visceral explosion.

The ‘difficult second album’? Not… a… chance!

Released on 4 November 2016, All Things is available as LP, CD and digital download from Edition Records at Bandcamp.

 

Dionne Bennett lyrics, vocals, vocal arrangements
Dave Stapleton Fender Rhodes, Moog, string arrangements, piano
Deri Roberts sound design, electronics, production, pandeiro, cuica, berimbau, udu, cabasa, calabash, ghungharu bells, finger cymbals, seed pod shaker
Elliot Bennett drums, tumbadores, bongos, shakers, ribbon crasher, bells
with
Stuart McCallum guitar
Aidan Thorne double bass, electric bass
Ben Waghorn saxophones, bass clarinet
plus
Laura Jurd trumpet
Gareth Roberts trombone
Simon Kodurand violin
Christiana Mavron violin
Katy Rowe violin
Victoria Stapleton violin
Ilona Bondar viola
Niamh Ferris viola
Sarah Davison cello
Abigail Blackman cello
and (on Unsetting Sun)
David Brodowski violin
Catrin Win Morgan violin
Felix Tanner viola
Reinoud Ford cello

slowlyrollingcamera.com

Edition Records – EDN1080 (2016)

‘Culcha Vulcha’ – Snarky Puppy

Culcha

THE PHENOMENON known as Snarky Puppy is a grooving ‘must see’ if they’re in town!

Over the past few years, the infectious exuberance of this Brooklyn-based collective has spread out over the globe. Led by charismatic electric bassist Michael League, their seemingly inexhaustible energy has found them performing across six continents, wowing audiences from Bremen to Buenos Aires, from Manchester to Mumbai; and the sense of ‘community’ in their musical outlook has spawned residency programmes as well as many musical collaborations (most recently their second Family Dinner album featuring the likes of David Crosby, Laura Mvula and Jacob Collier).

For eleventh release Culcha Vulcha, the guys (not a snarky character amongst them!) relocated to a remote Texan pecan orchard – Sonic Ranch Studios – to record their first pure studio album in eight years. As a live band, League and colleagues fill their demographically wide audiences with an inescapable feel-good – a combination of astonishing, eclectic artistry and elated self-bemusement at the energy and new ideas they forge together on stage; but it’s also exciting to discover the sounds they carefully craft whilst spending a week in each others’ pockets. The result – well, possibly their best recorded account yet.

The personnel and instrumentation listed below only begin to indicate the heady, groove-laden ‘riffage’ that makes up this hour-plus, nine-track celebration. Often possessing an anthemic quality, the Snarkys’ memorable performances here begin to activate a ‘fave’ rush – that intro recognition which settles you in for a good time, as in the lurching groove of opener Tarova. Twang-tight horns and multifarious percussion are frequently in evidence, but its also the varied palette of pitch-bent synth improv, along with flamboyant guitar lines and League’s inherent bass impetus, which make up this potent brew.

Semente‘s Brazilian vibrancy is coloured by Chris Bullock’s peppy flute melodies and zazzy repinique triplet clattering; Grown Folks has a grungy big band urgency, full of bold horn and guitar phrases; and Gemini‘s cool, sidewalk demeanour, with mellotron and bottleneck guitar, is one of the classiest grooves heard for some time. Electronics, slow-attack synth and alto flute in Beep Box change the pace with retro space-age charm, and sophisticated clav/moog bass-driven , with so many individual instrumental highlights (at times, even redolent of Level 42 at their mid-80s live best), is a first-listen standout which has cemented itself as a ‘go-to’ to lift the spirits.

And that’s the way it continues, each track a winner – reggae-synth The Simple Life (with gritty, David Gilmour-like slide guitar) totally addictive; Cory Henry’s organ dream Palermo (written by percussionist Marcelo Woloski, and featuring haunting flugel) suggesting a gamelanese hypnotism; and Big Ugly‘s soulful, prog-tinged synth-fest a superb closer.

This album has been spinning around for a few weeks now, yet never needs a second invitation to enjoy another complete, loud play-through. Keep on doing what you’re doing, boys!

Released on 29 April 2016, Culcha Vulcha is available from the GroundUP Music website and all good retailers.

 

Cory Henry organ, Clavinet, Mellotron, Moog
Bill Laurance piano, Fender Rhodes, Synthex
Justin Stanton piano, Fender Rhodes, Omni, Prophet 6, Synthex, Arp Axxe
Bobby Sparks Clavinet, MiniMoog, Moog Bass
Michael League electric bass, nylon-string guitar, baritone guitar, Moog Sub Phatty, Moog Bass, Mellotron
Bob Lanzetti electric guitar
Mark Lettieri electric guitar, baritone guitar
Chris McQueen guitar
Jay Jennings trumpet, flugelhorn
Mike “Maz” Maher trumpet, flugelhorn
Chris Bullock tenor saxophone, flute, alto flute, keyboards
Bob Reynolds tenor saxophone
Zach Brock violin
Jason “J.T.” Thomas drums
Robert “Sput” Searight drums
Larnell Lewis drums
Nate Werth trap set, cowbells, chimes, caixa, floor tom, tambourine, shaker, angklung, cymbals, percussion, clapping
Keita Ogawa timbal, repinique, kanjira, caixa, congas
Marcelo Woloski djembe, shakers, surdo, triangle, caixa, angklung, Tang-Tang, Reco-reco cowbell, Bombo Legüero, donkey jaw, kalimba, daf, effects, clapping

snarkypuppy.com

GroundUP Music / Universal Music Classics  (2016)