ANUTHA YES MI SELEKTAH… SUMMER JUST ARRIVED… yes, it’s June and it’s glorious out there – London is bathed in sunshine.


OK, following on from the New York City vibe of the Vivien Goldman story, we touch down on Snowboy & The Latin Section’s ‘New York Afternoon’. This album celebrates Mark ‘Snowboy’ Cotgrove’s three decades as a DJ and musician. It’s Southend meets the Bronx, and for this scribbler, it’s the congalero’s finest musical moment to date. The album kicks of in a breezy fashion with the title track – a version of Richie Cole’s jazz dance classic – and it showcases the vocals of Baltimore based Marc Evans – a jazz singer who I’m more familiar with from his deep house output.

After a short interlude that offers a musical snapshot those live 1970’s Tico and Fania sessions the Latin Section weighs in with a muscular and firing salsa ‘Tres Tamores’. Another vocalist featured on the LP is Boston’s Jen Kearney whose phrasing offers more than a hint of Stevie Wonder during ‘Better’ – a streetwise tale of addiction. Neil Angilley’s keys underpin and provide the driving force to ‘Cala Espardo’ before we connect with the music of the legendary Trindadian band leader and UK Latin music pioneeer, Edmundo Ros on ‘Ole Mambo.

After a kicking homage to the legendary home of the mambo, NYC’s Palladium and another cut from Jen Kearney we get to savour Snowboy’s passion for the darker side and the music – ‘The Triple Bluff’. Think Eddie and Charlie Palmieri. Adventurous keyboards, bubbling but solid and insistent percussion from Snowboy and a tough sax break from Polar Bear’s Pete Wareham. ‘The Triple Bluff’ is a fitting end to a ‘New York Afternoon’ and a righteous celebration of Snowboy’s commitment to the music he loves.

cappe - space echo ‘Space Echo – The Mystery Behind the Cosmic Sound of Cabo Verde Finally Revealed!’ is the latest offering from the most excellent Analog Africa imprint and it’s compiled by the Celeste / Matisposa Crew – a Lisbon Based Sound System, Mexico-based producer Deni Shain, and label founder Samy Ben Redjeb. When the first track kicked in on the hi-fi I wasn’t sure if the CD was fucked up and jumping… I stopped it, re-pressed play and turned up the volume. Wow… different stylee… and then the voice of Antonio Sanches, it has echoes raw Paranda, kicks in over a galloping riddim. All I knew of Cabo Verdean music was the smokey, melancholy vocals of the Barefoot Queen Of Morna – Cesaria Evora and what will filling my kitchen was from another dimension.

Maybe it all goes back to the spring of 1968. Word has it that a cargo ship laden with an important shipment of musical instruments was heading for Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was due to be held. It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in the field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, to name just a few, were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia. The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day.

One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline. Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research it was concluded that the ship had fallen from the sky. Mystery permeated the event.

cape verde amilcarFinally, a team of welders arrived to open the containers and the whole village waited impatiently. It is said that charismatic anti-colonial leader Amílcar Cabral ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools. This distribution was best thing that could have happened – keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. They modernised local rhythms such as Mornas, Coladeras and the highly danceable Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality! One of those kids was Paulino Vieira, who by the end of the 70s would become the country’s most important music arranger.

Paulino Vieira making good use of those lost synths & keys!

Paulino Vieira making good use of those lost synths & keys!

So, returning to ‘Space Echo – The Mystery Behind the Cosmic Sound of Cabo Verde Finally Revealed!’ we discover that 8 out of the 15 songs presented in this killing compilation have been recorded using a backing band called Voz de Cabo Verde, which is led by local master musician Paulino Vieira! Enuff said! It’s on download, CD and double vinyl – Welcome to “The Cosmic Sound of Cabo Verde”.

cape - bitori cdCoinciding with the Cosmic Sound Of Cabo Verde we have another Cabo Verdean classic. It also arrives courtesy of Analog Africa and ‘BITORI – Legend Of Funaná ‘ explores the sensual, forbidden music of these remote islands. Recorded in the Netherlands in 1997, this album features accordion master Victor Tavares aka ‘Bitori’ alongside singer Chando Graciosa and the flawless rhythm section of drummer Grace Evora and bass-man Danilo Tavares. This is roots music – the music of Cabo Verde’s so called “uneducated peasants” which became synonymous with the armed struggle for independence from their Portuguese colonial masters. While the Cosmic Sound album gave us a revised take on traditional Funaná this album gives us a taste of raw, passionate, undiluted Funaná where the music underpins lyrics rooted in the harsh daily lives of the working people of the the seemingly idyllic Cape Verde archipelago. During the 60s and early 70s singing these lyrics and playing the music of Funaná could get you arrested and tortured. It was 22 years after the islands gained independence from Portugal that Bitori’s album was first heard in the urban dancehalls of the Cape Verdean islands. Many of the songs became local classics and thanks to Analog Africa they finally get to travel to other people around the globe.




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THE GREATEST: Muhammed Ali – 1942 – 2016

It began with a 1960 teenage Olympic light heavyweight boxing champion declaring “I am the Greatest!” and that he “Floats like a butterfly, stings like a bee!” He dropped his slave name, embraced Islam, refused to fight in Vietnam. Muhammed Ali was vilified for his beliefs and stripped of his World titles. He remained staunchly unrepentent. He fought back and returned to the ring for the Rumble In The Jungle & the Thrilla in Manila and upon his passing we have to say that he turned out to be one of the most important, inspiring and globally loved figures if the 20th century.



STOP PRESS: This print is now available to buy and 100% of the profit will be donated to the charity Order today from

Nice one Mitch!

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There was a little wave of anticipation and excitement in NYC last week over the official launch of two long-cherished projects from my good friend Vivien Goldman. First up is ‪‘‎Cherchez‬ La Femme – The Musical’ which she co-wrote with the ever sartorially elegant August Darnell aka Kid Creole. The production which is on at La MaMa Experimental Theatre Club is set in both NYC and somewhere in the Caribbean in the 80s. It features the music from Dr. Buzzard’s Original Savannah Band and Kid Creole & The Coconuts plus a few new compositions. August Darnell originally hails from the Bronx and his musical offerings are rooted in those classic musicals of the Fifties and Sixties  like Guys & Dolls, South Pacific and West Side Story. Darnell is an one-off and I still have vivid memories of the hi-energy – beyond all expectations – show that I witnessed at the Lyceum to promote that first Kid Creole album. The combination of August Darnell,  Vivien Goldman and musical director,Angie Kristicis, sounds like a winning combination to me.

August Darnell & Vivien G 2016

August Darnell & Vivien G 2016

So, for a deeper insight into ‪’‎Cherchez‬ La Femme – The Musical’  check out this piece by esteemed NY Times journo John Pareles here:

Vivien by Jean Bernard Sohiez

Vivien by Jean Bernard Sohiez

The second project of Vivien Goldman’s is a compilation of her songs on an CD entitled ‘Resolutionary’ that Staubgold Records have released. It’s nice to have all these songs on one CD and in the context of today’s increasingly eclectic musical scene they still sound remarkably fresh and relevant. I’m still the proud owner of the ‘Private Armies’/’Launderette’ 12″ single, which had a photo story cover featuring Viv and Archie Pool (check the classic movie Babylon) taken by my co-p at that time, Jean Bernard Sohiez and , for me, what Viv’s music represents is the uninhibited creative reality of that time. People were militant. Barriers had been broken down. Don Lett’s had introduced an alternative soundtrack via the Roxy,  John Lydon identified with Dr Alimantado’s ‘Born For a Purpose’, Rock against Racism was on the rise and a host of UK reggae artists like Aswad, Cimarons, Linton Kwesi Johnson, Black Slate, Matumbi, Steel Pulse and Misty In Roots took to the road. In ’76 Carnival kicked off massively. Vivien was (is) a Ladbroke Grove-ite, a regular at Weasel’s shebeen, a journo who was immersed in the punk and reggae scene and all things beyond. She conversed with, and was friends with, late great modern master musicians like Bob Marley, Don Cherry, Ornette Coleman and Fela Kuti and as a woman she had unique and very strong bonds with other strong women on the scene like The Slits, Chrissie Hynde, Rip Rig & Panic’s Andi Oliver and Neneh Cherry.

A scan of those involved in the making of the songs on ‘Resolutionary’ reveals the cross pollination taking place on the music scene at that time. It was John Lydon who helped set the ball rolling by bank rolling ‘Private Armies’ and ‘Lauderette’. The latter is pure bass-line, percussion with shades of Velvet Underground. Viv rides the ridim and tells her tale. Basically, it’s wayward avante-garde pop –  edgy but sweet! ‘Private Armies’ still sounds good me with those early drum machine licks and George Oban’s bass line underpinning classic lyrics like… “Sat in the Mini while skinheads beat the shit out of a person on the pavement”… “blood everywhere”. Adrian Sherwood’s dubbed out production is one of his finest moments.

The Flying Lizards tracks on the CD offer a fresh, playful, free-style energy and add another musical dimension to that period of time in London. Joining The Raincoats’ violinist, Vicky Aspinall, are the pure improvising duo of David Toop and Steve Beresford – both well known for their toy instruments. Be not deceived by these two musicians – they were also the force behind the excellent and eclectic Collusions magazine which ran the very first UK reports on electro and hip hop. A visit their place in Stoke Newington revealed an incredible collection of global music – stacked floor to ceiling on cassettes (which are strangely back in fashion!) . The Flying Lizards were offbeat and on it and don’t be surprised to find Robert Wyatt in the mix. The haunting PIL produced ‘Windows’ is pure bass, percussion and harmonies.

Chantage - VIVA + EVE

Chantage – VIVA + EVE

Post Flying Lizards came Chantage which unites Vivien and her Afro-Parisian spar Eve Blouin. Over three songs we find them in 80’s Euro-mode bouncing off a meltdown of post colonial British and French influences. This was the dawn of the ‘World Music’ era and Paris – thanks to Martin Messonier and Radio Nova – was awash with Soukous, Zouk and Haitian Compas. Fusion was in the air. ‘Same Thing Twice’ is a twist on a Robert Nesta Marley classic with steel pan, acoustic guitar and rowdy, uplifting Yard style horns. ‘It’s Only Money’ has that bouncy Latin Kid Creole feel combined with melancholy klezmer violin and steel pan, and it’s all pushed along by plucked bass and their breathy vocals.

Following last year’s ‘Professor of Punk’ tour and her current foray into the world of musicals it would be fascinating to see what Vivien and her friends would come up with today. And that might just happen as Vivien is adamant that, “Music is strong in me. I intend to do more.”

BELOW: A 2006 track that’s not on the the album – ‘Seven Days’ from the COS  “Girl Monster” Compilation.

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Iron-Skills-Cover-Mockups_Page_2HAVING PICKED UP A SOME HEAVY BRUISING during a lively and most enlightening Chin Na session (Chin Na is basically the Art Of Seizing & controlling an opponent), that took place during our regular Sunday morning Da Xuan training, I found myself in need of some Dit Da Jau liniment and reflecting on the need to toughen up my wirey, ageing arms. Obviously within the Da Xuan school there are methods to do this but later that afternoon I also found myself perusing Dale Dugas’ excellent Fundamental Iron Body Skills: Tempering Body & Limbs With Ancient Methods.

I like this book because it doesn’t beat about the bush – it’s old skool and reminds me of the days when I was an avid reader of Inside Kung Fu magazine. Anyone who is a fan the Shaw Brothers Hong Kong Movies will be familiar with the mysteries surrounding Iron Body skills. We’ve all seen martial arts people breaking stacks of bricks. But basically, anyone practicing martial arts will find it useful to be able to absorb the blows of a training partner or an actual attacker. In his book, Dale Dugas digs into the China’s ancient Iron skills tradition and based on his own experiences shows you how to develop these skills in a safe, step-by-step manner.

I can’t think of any other book that covers all aspects of iron skills training in one volume, including solo training, use of auxiliary training equipment, herbal liniments and soaks, breaking techniques and fighting applications. Over eight chapters, he offers guidance on training Iron Palm from beginning to the intermediate level. Herbal medications for external use are discussed in detail and formulas/recipes for Iron Palm Training Liniment (Dit Da Jau) and soaks are included – so, you can brew your own!

Iron Palm master Gu Ruzhang

Iron Palm master Gu Ruzhang

Though I have no intention of doing this, there is a section on testing your development by breaking objects like wood, paving blocks, and coconuts. There’s also a useful insight into the short-power art of Jook Lum Southern Mantis. I like the fact that Dugas maintains that three quarters of the training is internal even though the objective seems external.

Fundamental Iron Body Skills is most definitely a useful book to include in anyone’s martial arts library.

The Book

The Book

Robert James Coons’ Internal Elixir Cultivation – The Nature Of Daoist Meditation‘ is also published by Tambuli and it’s a welcome addition to the growing body of books on Daoist Meditation that Singing Dragon have recently published.

Thousands of years ago Chinese sages learned how to hack into the human nervous system for a lifetime of greater health, happiness and wisdom and Robert James Coons – a student of Montreal based martial artist and Daoist master Yang Hai – delivers a modest, straight forward, experience based 150 page book that could provide the launch pad for your own journey. In these stressful times wellness practices are simply a very good idea and meditation begins and ends with simply paying attention to your breathing. Coons offers clear instructions on how to proceed with your practice and its mercifully free of any new age jargon. His teachings are based on classical Daoist documents as passed down through the White Cloud Temple in Beijing via Cao Zhenyang to Yang Hai and they open the way to techniques whereby you can develop and circulate human energy (Qi) while, in the long term, setting your sights on achieving Daoism’s legendary “Internal Elixir.”

Dr Yu Yongnian - Yi Quan master.

Dr Yu Yongnian – Yi Quan master.

I’ve also just noticed that the late Dr Yu Yongnian’s ‘Zhan Zhuang – The Art Of Nourishing Life’ had just been freshly translated and published in book form by Discovery Publisher. I believe this book, by the much celebrated Yi Quan master, was previously available only in PDF form and due a poor translation quite difficult to understand. So, if you’re interested in spending a portion of your day exploring standing postures this slim – 165 page – volume can be added to your want list!

More Info:

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Memories of Rahsaan Roland Kirk & The film – ‘The Case Of The Three Sided Dream’

Rahsaan Roland Kirk: The Case Of The Three Sided Dream is a must-see documentary directed by Adam Kahan that gives us an insight into creative world of a wayward master musician.

The music of Rahsaan Roland Kirk have travelled with me since my late teens. I first saw him play at the Free Trade Hall In Manchester around the time of ‘Volunteered Slavery’ and back then he transcended musical boundaries attracting an audience that consisted of rock freaks and jazzbos. During the Seventies Rahsaan was a regular at Ronnie Scott’s so, along with a couple of art college mates, we’d hit road from Cheltenham for a long night in Soho.

A visit to Dobell’s record shop was a pre-requisite to the gig and by chance we encountered the man himself, accompanied by Joe ‘Habad’ Texidor – The Shepherd- wending their way down Charing Cross Road. While the latter was armed a serious shepherd’s crook, Rahsaan sported a rainbow coloured poncho and was pushing that walking stick which was adorned with bells, had a horn that you squeezed and featured a wheel on the end. It was a sight to behold. Brothers from another planet! In the shop I nervously approached Rahsaan and told him we’d travelled from out of London for the gig. He asked what I was about to buy. I said, John Coltrane’s ‘Ascension”. His response – wrapped in that inimitable voice – was, “Buy ‘Chasin’ The Trane’ maan. ‘Live at the Village Vanguard’. ‘Chasin’ The Trane’!!”I bought both.

We’d arrive at Ronnie’s early and capture a table near the front. Being financially challenged you had to be mentally prepared to stretch out a couple of pints of lager over both sets. Inevitably we were the butt of Ronnie’s jokes – you know the ones – “bunch of guys her from rent a corpse” etc – but it was always worth it. Rahsaan never failed to deliver and the band was always slammin’, ready to go with whatever the man might do – like, vanish from the downstairs club only to appear in the funk session upstairs playing along with whatever was rockin’ the dancefloor.


I managed to catch this documentary film – The Case Of The Three Sided Dream – when it was shown one Sunday afternoon at The Barbican, last November, during the Jazz Festival. I should have written it up straight away but somehow it got lost in time. Clearly, the film is a labour of love and over 88 minutes it was a joy to travel back in time and revel in the music and memories of others like trombonist Steve Turre – I did a deep interview with Steve in Straight No Chaser so, if you’ve got it, dig it out and check that Rahsaan story! Not long ago I was wondering what might have happened to the film and, today, as I scan their vimeo page I now see that it was notching up props at festivals worldwide before eventually becoming available to be streamed or downloaded. Whether a devotee or just curious The Case Of The Three Sided Dream is most definitely worth a visit and following its showing at the Barbican I vividly recall chatting and bonding with an elderly American woman as we left the cinema. We traded tales and things we loved about Rahsaan… he snatched from us at the modest age of 42 but Rahsaan’s energy and spirit was most definitely in the house that afternoon.

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Union Chapel: 50th Anniversary of the recording of A Love Supreme!

Union Chapel: 50th Anniversary of the recording of A Love Supreme!

OK Brothers & Sisters…. ‘Enlightenment’- an original composition penned by master flautist Rowland Sutherland with support from the PRSF and inspired by the spirit of John Coltrane – returns to the capital this summer and the Ensemble can’t wait to perform it again!

Despite our performing to well over 2000 people in London in 2014 and having been aired live on Jez Nelson’s BBC Jazz on 3 we’ve so far failed to get a festival or venue outside of the metropolis to host a performance! And it’s not without trying. (Big up & thanx to Jeremy D for your tireless efforts!) However, we haven’t given up…. we’re still looking for a couple or more visionaries with a belief in the power of ‘Enlightenment’ and an uncontrollable impulse to transport the incredible 15 piece Enlightenment Ensemble to a Sacred Space near you.

Enlightenment Flyer - warriors

Tickets are on sale now £25.00 via

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SOON COME! The Professor: Tai Chi’s Journey West


The Professor: Tai Chi’s Journey West is a feature documentary about Tai Chi and one of its greatest masters, Cheng Man-Ching, a man who brought Tai Chi and Chinese culture to the West during the swinging, turbulent 60’s. This documentary film tells his remarkable story and features Tai Chi as a martial art and a spiritual practice.

Looking forward to seeing the film on the big screen! Master Cheng’s short form was the first taijiquan form I learned back in the late 70s/early 80s and vividly recall, myself, Simon Cousins and Steve Judges, being hyped at the opportunity to see those then closely guarded 16mm films which would arrive in London carried by one of Master Cheng’s zealous New York City disciples.

“The Professor” premieres in Los Angeles on May 6 and in New York City on June 9.

cheng man ching sword play

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I have fond memories of interviewing Papa Wemba at the Real World studios in Box while Peter Williams did the shots. Papa was wearing a wikkid trad-African print suit when we arrived but refused to be photographed in it. In line with his role as SAPEUR Numero Uno he switched into Designer mode. I also have powerful memories of a stunning afternoon gig in small but classic Parisian theatre – hardly anyone there but a spectacular session. So, this is how I like remember Papa Wemba – sharing the vocal honours with Reddy Amisi and Stino Mubi…. nice clip… Viva la Musica!

Papa Wemba (14 June 1949 – 24 April 2016)

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After decades of both collaboration and mutual respect, jazz legends Wayne Shorter and Herbie Hancock have penned an extraordinary and thought provoking open letter to the next generation of artists. It reflects their feelings on recent world events and how they visualise a response. Referring to events in Paris, Syria and terror attacks at home in the U.S. the pair have co-written an extensive manifesto which is set out below:

Herbie Hancock & Wayne Shorter

Herbie Hancock & Wayne Shorter

To the Next Generation of Artists,

We find ourselves in turbulent and unpredictable times.

From the horror at the Bataclan, to the upheaval in Syria and the senseless bloodshed in San Bernardino, we live in a time of great confusion and pain. As an artist, creator and dreamer of this world, we ask you not to be discouraged by what you see but to use your own lives, and by extension your art, as vehicles for the construction of peace.

While it’s true that the issues facing the world are complex, the answer to peace is simple; it begins with you. You don’t have to be living in a third world country or working for an NGO to make a difference. Each of us has a unique mission. We are all pieces in a giant, fluid puzzle, where the smallest of actions by one puzzle piece profoundly affects each of the others. You matter, your actions matter, your art matters.

We’d like to be clear that while this letter is written with an artistic audience in mind, these thoughts transcend professional boundaries and apply to all people, regardless of profession.


We are not alone. We do not exist alone and we cannot create alone. What this world needs is a humanistic awakening of the desire to raise one’s life condition to a place where our actions are rooted in altruism and compassion. You cannot hide behind a profession or instrument; you have to be human. Focus your energy on becoming the best human you can be. Focus on developing empathy and compassion. Through the process you’ll tap into a wealth of inspiration rooted in the complexity and curiosity of what it means to simply exist on this planet. Music is but a drop in the ocean of life.


The world needs new pathways. Don’t allow yourself to be hijacked by common rhetoric, or false beliefs and illusions about how life should be lived. It’s up to you to be the pioneers. Whether through the exploration of new sounds, rhythms, and harmonies or unexpected collaborations, processes and experiences, we encourage you to dispel repetition in all of its negative forms and consequences. Strive to create new actions both musically and with the pathway of your life. Never conform.


The unknown necessitates a moment-to-moment improvisation or creative process that is unparalleled in potential and fulfillment. There is no dress rehearsal for life because life, itself, is the real rehearsal. Every relationship, obstacle, interaction, etc. is a rehearsal for the next adventure in life. Everything is connected. Everything builds. Nothing is ever wasted. This type of thinking requires courage. Be courageous and do not lose your sense of exhilaration and reverence for this wonderful world around you.


We have this idea of failure, but it’s not real; it’s an illusion. There is no such thing as failure. What you perceive as failure is really a new opportunity, a new hand of cards, or a new canvas to create upon. In life there are unlimited opportunities. The words, “success” and “failure”, themselves, are nothing more than labels. Every moment is an opportunity. You, as a human being, have no limits; therefore infinite possibilities exist in any circumstance.


The world needs more one-on-one interaction among people of diverse origins with a greater emphasis on art, culture and education. Our differences are what we have in common. We can work to create an open and continuous plane where all types of people can exchange ideas, resources, thoughtfulness and kindness. We need to be connecting with one another, learning about one another, and experiencing life with one another. We can never have peace if we cannot understand the pain in each other’s hearts. The more we interact, the more we will come to realize that our humanity transcends all differences.


Art in any form is a medium for dialogue, which is a powerful tool. It is time for the music world to produce sound stories that ignite dialogue about the mystery of us. When we say the mystery of us, we’re talking about reflecting and challenging the fears, which prevent us from discovering our unlimited access to the courage inherent in us all. Yes, you are enough. Yes, you matter. Yes, you should keep going.


Arrogance can develop within artists, either from artists who believe that their status makes them more important, or those whose association with a creative field entitles them to some sort of superiority. Beware of ego; creativity cannot flow when only the ego is served.


The medical field has an organization called Doctors Without Borders. This lofty effort can serve as a model for transcending the limitations and strategies of old business formulas which are designed to perpetuate old systems in the guise of new ones. We’re speaking directly to a system that’s in place, a system that conditions consumers to purchase only the products that are dictated to be deemed marketable, a system where money is only the means to an end. The music business is a fraction of the business of life. Living with creative integrity can bring forth benefits never imagined.


Your elders can help you. They are a source of wealth in the form of wisdom. They have weathered storms and endured the same heartbreaks; let their struggles be the light that shines the way in the darkness. Don’t waste time repeating their mistakes. Instead, take what they’ve done and catapult you towards building a progressively better world for the progeny to come.


As we accumulate years, parts of our imagination tend to dull. Whether from sadness, prolonged struggle, or social conditioning, somewhere along the way people forget how to tap into the inherent magic that exists within our minds. Don’t let that part of your imagination fade away. Look up at the stars and imagine what it would be like to be an astronaut or a pilot. Imagine exploring the pyramids or Machu Picchu. Imagine flying like a bird or crashing through a wall like Superman. Imagine running with dinosaurs or swimming like mer-creatures. All that exists is a product of someone’s imagination; treasure and nurture yours and you’ll always find yourself on the precipice of discovery.

How does any of this lend to the creation of a peaceful society you ask? It begins with a cause. Your causes create the effects that shape your future and the future of all those around you. Be the leaders in the movie of your life. You are the director, producer, and actor. Be bold and tirelessly compassionate as you dance through the voyage that is this lifetime.

Wise words from two masters who have lived a life to reflect upon. Pass their message on to that new generation! PB/Ancient To Future

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IS THAT JAZZ? Larry Young, Kalaparusha, Pat Patrick & The Baritone Saxophone Retinue, Jaimeo Brown….

Whaoah! I seem to have a lot of catching up to do as, sitting by the hi-fi, there’s a small mound of recent releases that deserve a few words…. Larry Young, Kalaparusha, Pat Patrick & The Baritone Saxophone Retinue, Jaimeo Brown….

LarryYoung ORTF

OK… gonna try and keep each one short if possible….so, kicking off is the Larry Young ‘In Paris’ double CD – a set of previously unreleased recordings that Resonance records discovered in the vaults of the world famous RTF/ORTF vaults in France. This is a serious exercise in crate digging that may just be the tip a musical iceberg.

Of that generation of early 60’s Hammond B3 players, Larry Young is, for me, the most free and exhilarating. His ‘Into Something’ LP on Blue Note is a classic and this set follows in its wake. These slammin’ recordings are built around a quartet led by the very excellent Nathan Davis on tenor, a stunning 21 year old Woody Shaw on trumpet and drummer Billy Brooks who shift combinations to include a group of Paris based musicians including drummer Franco Manzecchi, pianists Jack Dieval & Jacques B Hess, tenor-man Jean Claude Fohrenbach and excellent Guadeloupean conga player “Jacky Bamboo”.

This double CD set comes with a fat little booklet of extensive notes and photos and the music itself is completely compelling. Writing credits go to Nathan Davis (‘Trane Of Thought’), Larry Young (‘Talking about JC’ – a blinding 15 minute version) ), Woody Shaw (Beyond All Limits’), Jack Dieval (La Valse Grise’ – another expansive 16 minute journey!) and Wayne Shorter (‘Black Nile’ – which is handled beautifully by the quartet over 14 glorious minutes).

The free spirit of Trane resides in all these recordings but when the infectious, hard-swinging grooves these musicians deliver does kick in this music is guaranteed to up the vibe on the dancefloor of any hard core jazz dance session. Basically, Larry Young is deep… Woody Shaw is amazing… and if you’re vibed on mid Sixties Blue Note era jazz – this set is VITAL!

Pat Patrick

Next up is Pat Patrick and his Baritone Saxophone Retinue – ‘Sound Advice’ which has just been released via the excellent Art Yard imprint. Originally released via Sun Ra’s El Saturn label in 1977 this 8 baritone sax ensemble + flutes, bass, piano, drums and congas is joyful listening. The ensemble was initiated by Arkestra veterans ‘Pat’ Patrick and Charles Davis and made their first appearance at a tribute to Duke Ellington’s majestic baritone sax player Harry Carney. The music/arrangements on ‘Sound Advice’ reflects that legacy – it’s a set that’s steeped in the tradition. It’s great to have both Latin maestro Mario Rivera and 70’s/80’s baritone pioneer Hamiett Bluiett in the mix. The quality of the recordings might not be sup-dupa but they are what they are. As Pat Patrick says in the notes the album he dedicates “these sounds to the great pioneers (in the idiom) of Baritone Saxophone” and I suggest you just turn up the volume on the hi-fi and tune in. (Big thanx to James Gilbert for turning me on to this LP!)

After a lot of detective work I finally tracked down a copy of Kalaparusha Maurice McIntyre‘s final recording – ‘Musical Blessing’. One of the first posts I did on Ancient To Future was devoted to a deeply moving documentary by Danilo Parra called ‘The Untold Story Of Kalaparusha’ and in it the saxophonist gets the test press of an album he’s just recorded and reflects with some surprise that he sounds like Coltrane. After Kalaparusha passed away, I tried in vain to find the album with no joy but more recent enquiries revealed it was released by a label called Creative Improvised Music Projects (CIMP) and available via Cadence in NYC. So, I bought a copy! Recorded in over two days in January 2010 in the Spirit Room in NYC and featuring two bassists – Michael Logan and RaDu Ben Judah, drummer Warren Smith and Kalaparusha on tenor sax, this album is a raw but deeply engaging trip into what people now define as ‘Spiritual jazz’. Physically, Kalaparusha wasn’t in great shape when he made this record, long term drug usage had taken its toll but despite the odd reed problem his playing is as reflective as ever. From the opening cut of ‘Mystical Blessing’ you are dropped into one deep session that takes us through nine compositions that include the drum and tenor duet of ‘Southside Loop’ and a rendition of Trane’s ‘Impressions’. This might just be an album for devotees but I’m glad I finally got engage with the final musical journey of a man who’s other offerings have have generated much joy.


ABOVE: Kalaparusha Maurice McIntyre RIP

Jaimeo Transcendence jpgOn a different tip comes Jaimeo Brown’s second offering in his ‘Transcendence’ series- ‘Work Songs’. This is a new generation offering that parallels the increasingly challenging works of Matana Roberts. The liners notes commence with the sentence: “Throughout history, human beings have chanted, hummed and sung their way through the drudgery of labour. These sounds are the living tapestry of our human way.” Along with his co-writer /co-producer, Chris Sholar, Jaimeo Brown combines modern technology and the artistic sensitivities of a generation schooled on hip hop with the the “forgotten voices of coal miners, southern prisoners, gandy dancers, stone masons and cotton pickers”. ‘Work Songs’ is rooted in the African American experience but makes global connections to workers elsewhere via Indian vocals and samples from Smithsonian/Folkways recordings from Japan. Jaimeo also embraces samples recorded from the building site opposite his apartment and as a drummer he readily responds to the pulse of those lost voices and sounds. He even strays into the rhythmic terrain of drum’n’bass but overall there is a filmic quality to his compositions which remains underpinned by the warm resilience of global humanity. One of my top albums of the last 12 months.

Chris Sholar & Jaimeo Brown

Chris Sholar & Jaimeo Brown

To be continued! More reviews to come… Snowboy, Inner City, Comet Is Coming, United Vibrations….

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