NEW MUSIC: Orchestra Gold – Maribayassa

a2528575703_10

The sounds of Africa have been explored, excavated and reissued with great enthusiasm in recent years – from the Soundways compilations to Soul Jazz’s Nigeria series and many more. The sound has filtered through into plenty of contemporary acts too – Goat come to mind with their mix of African, psych and Krautrock sounds and this Oakland CA USA group Orchestra Gold are another fine example, with singer/dancer Mariam Diakite and the arranger and guitar player Erich Huffaker, plus an all-star cast comprised of musicians from the Bay Area and Santa Cruz.

II is their third EP, following 0 and I which were released in April this year. Authentic sounds and production, endlessly rhythmic and infectious sounds!

For fans of Khruangbin and Goat.

French Disco Boogie Sounds (1975-1984)

a2012493209_10

For total indulgence and unabated dance floor pleasure you can’t go past this compilation of French soul, pop, funk and disco tracks from 1975-1984. Selected by Charles Maurice, the album was released last year on the Favorite label. Hit the Bandcamp link below to stream and/or buy the album on 2LP, CD and digital formats.

In their words:

Helped by a close connoisseur friend, DJ and collector Charles Maurice presents a fine selection of what he thinks represent best the amazing energy of this specific movement and period. With 10 rare titles, all produced between 1975 and 1984, he shows a perfect picture of what you could find in French record stores at that time.

On one hand, tracks by Overdrive, Marché Noir, Didier Makaga or France-Lise, were produced by underground artists and labels from the French Caribbean and African community and also filled with the raw spirit of this Tropical stamping. On the other hand, tracks by Beckie Bell, Kelly, Le Club, or Bernard Guyvan, were released by major labels such as Trëma, Carrere, Disques Vogue, or Pathé Marconi, thanks to confirmed independent producers, acting not only in France, but also in Canada and the US. 

Today, Favorite Recordings and Charles Maurice are very proud to shed some light again on these gems, and hopefully offer them a new life on your turntable.

Dr. John, Aaron Neville @ State Theatre, Sydney (24/04/14)

live-concert-in-milwaukee-dr-john-and-aaron-neville

They are both heavyweights of soul, jazz, funk and blues-rooted American music but it was still a surprise to see Dr. John open a show on which he was billed the headliner. He kicked things off with one of his signature songs in Iko Iko, a New Orleans classic, before giving the audience a trip through his back catalogue. Looking somewhat more frail than the voodoo styled Mardi Gras Indian of many of his album covers he occasionally shuffled/sauntered across the stage to play impressive guitar solos but for the most part it was his piano playing that commanded proceedings through Mess Around, Let The Good Times Roll and the highlight of the set in I Walk on Gilded Splinters. His band were accomplished players but it meant we got a fairly sanitised version of Dr. John’s music. It the lacked bayou spookiness of his Gris Gris persona and had a whiff of going-through-the-motions much of the time.

Aaron Neville’s band showed off their impressive musical chops before the singer entered the fray looking a few decades younger than the man who preceded him (they are both 73). His was also a greatest hits set that swung from the sublime to the saccharine with the adult contemporary sound of Don’t Know Much, Everybody Plays the Fool and the medley of soul classics like Stand By Me and Chain Gang a tad staid against devastatingly good renditions of Tell It Like It Is, Summertime and Bill Withers’ Ain’t No Sunshine. Brother Charles Neville was on hand providing sublime saxophone solos throughout, showing that melodic control and sensitivity runs in the family. There was no Hercules, no doubt a big disappointment for many but Neville showed what a magical voice he still has and how effectively he can apply it to a range of timeless classic songs.

Chris Familton

this review was first published in The Music

LIVE REVIEW: Charles Bradley @ Factory Theatre, Sydney (16/03/12)

written by Chris Familton

Warming up the arriving punters was ten piece band The Cactus Channel, fresh out of Princes High School in Melbourne. Even before I knew their history their young appearance and demeanor felt like that of a school band but as soon as they started playing any notion of a curriculum music project went out the window. All were great players, especially the core of drums, bass, keys and guitar. They are primarily an instrumental outfit and though some tracks lacked the primal kick that the best funk possesses they won over the crowd and musically punched way above their age.

Old school was the flavour of the night as soon as Charles Bradley’s band took the stage to play a couple of intro tracks to set the mood ahead of the announcement and welcoming to the stage of the late in life success story that is Bradley.  Resplendent in sequined waistcoat, feather adorned jacket and sporting a tight afro and beaming smile Bradley looked like he had stepped straight out of a 60s/70s soul funk nightclub. Those were times where stage bravado, drama and visceral sexual innuendo were essential to any successful act and though Bradley is in his 60s he still knows that is the key to getting an audience on his side. There is a bucket load of James Brown in most of what he does, complete with knee drops, flung mic stands and shimmies and smiles. He does it exceptionally well though and his voice is capable of switching from a soulful serenade to a guttural  scream in a nanosecond.

Much of Bradley’s act verges on pastiche and parody of many of soul music’s trademark tricks and stage moves yet he showed he has mastered a balance between amusing the audience and then slaying them with tender and heartfelt lyrics and that voice that gave everyone no reason to doubt he sings from the heart. Most of the set was comprised of tracks from his album No Time For Dreaming with multiple highlights including I Believe In Your Love, How Long and the devastating encore of Why Is It So Hard where he sang about the hardship so many face when trying to make it in the supposed land of milk and honey and the trials and tribulations he himself has faced through his life. In between his songs of love and heartache he added a wonderfully soulful take on Neil Young’s Heart Of Gold, making it sound even more emotionally bruised than the original.

Backed by the superb Extraordinaires, Bradley was given the space and perfect backdrop to sing his songs. Having released music on Daptone Records and recorded with Bradley on No Time For Dreaming, they proved to be much more than just a backing band, executing every song with just the right mix of sass, soul and funk grit. In particular the trumpet solos were exquisite while the free-flowing styles of the guitarist and bassist made for a very fluid, effortless sound.

Bradley had the audience in the palm of his hand right from the outset and when he descended into the front rows, dispensing hugs and handshakes, you sensed their reciprocal love meant the world to him. Yes it was soul music from a bygone era but it felt like you were transported back to that heyday rather than just observing it from the present through rose tinted spectacles. Fascinating life story aside, Charles Bradley proved he is the living, breathing real deal.

 this review was first published on Drum Media