ALS - Every Day - Independent

Along with the Kendra Ross album this is one of THE albums of the moment and, again, delightfully intertwines soul, jazz and a drizzle of funk. Again, this is mainly live instrumentation and I feel is definitely one for those into the likes of Ledisi, Bridgette and Kathleen Bertrand. Being an independent outfit, too, there is no pressure to conform to what the suits want – hence why I am so passionate about it. This particular young Lady has a smooth, refreshing home-made feel to her and the warm, tight musical support is defiantly what is important here. The voice is an instrument and on songs such as “Through My Door” it takes its rightful place amongst plenty of instrumental action, the solo sax prominent. I guess you could call it music for a summer's day. “Possibilities” has more of a bassy programmed backbeat, but the melancholic early 80s keyboards and Rhodes, flute and heavenly vocals elevate this no end...you won't find much stronger than this at the moment. The flute – one of my favourites – takes a strong supporting role on the deliciously relaxed and summery “Flyin' Bird” - a song with equally delightful lyrics. I am so in love with the atmospheric “Free” I cannot wait for some hot weather to come along. With the cool, perfectly punctuated muted trumpet and idyllic tinkling Rhodes, this is perfect 'cruisin' along the seafront' music. I hear echoes of JK and Ledisi on the jazzy “Let Me In”, and to say I have fallen in love with “Nu-Feel Higher” is an understatement. The mean, rumbling bassline, crisp beats and dreamy Rhodes hark back to better musical times. This is so early 1980s that it has to be heard to be believed. I would recommend this album on the strength of this song alone, and complements to producers Soulside and ALS for it. I also like the refreshing interchange with a slinkier jazzier funk style a la Steve Butler / Ron Haynes where the horns have more to say. “Livin' Water” will please, and that's for sure. Vocally I hear shades of Deniece Williams merged with Val Watson within the confines of “Kick It” which is both interesting and different. Think “Earth Wind & Fire” and “Flower” from Val's essential "Urbal” set and you will get a flavour of what ALS is all about. As I said, this is one of THE albums at the moment. Ignore it at your peril.

Barry Towler

O'Bryan - F1RST - Independent

Hands up if you remember O’Bryan. Yes, he’s the high-pitched vocalist whose strained tones enjoyed some success in the 80s on Capitol. Then, his music was quasi-disco, quasi-Prince energy-fuelled black dance, but now it seems he wants to put all that behind him and start again – hence the name of this brand new set (the spelling of the title by the way is Mr. O’s not mine). For the new start we get a new sound – O’Bryan now sees himself as a lurve man and ‘F1rst’ is distinctly down tempo and in places reminds me of Maxwell in ballad mode or even Gary Taylor when he goes off on one of his self-indulgent rambles. In truth though, O’Bryan’s voice matches neither of those two gents. In places it sounds thin, unsubstantial even, but there are some pleasing moments. Best of the eleven cuts for me is ‘Gotta Let You Go’. It’s a ballad of course but the melody’s very pleasant and some nice chorus work. To my ears it’s the kind of thing the Temptations should be recording. Elsewhere ‘Virtual Reality’ has a semi-pastoral classical feel to it while ‘Caught In the Middle’ is possibly the most “up” and Gary-Taylor-alike. You also get some instrumental fillers which didn’t inspire me, but if you’re looking for some reasonable quiet storm moments, you may want to at least investigate.

Bill Buckley

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Rene Jones - Chill Factor - Independent

Rene Jones is a new indie singer whose debut set demands attention from all discerning soul fans. Hailing from Columbus, Georgia, Rene had her musical initiation in the church (her father was the local choir’s piano player) – and it shows. For one so young (I presume) her voice is warm, mature and soulful – instantly recalling the wonderful Anita Baker. That Baker link will be most obvious on the album’s immediate grabber – ‘Everything I Need’. It’s a wonderful mid-tempo item with tight beats and scorching sax interludes that will remind you of Kirk Whalum, even David Sanborn. But it’s the pleading vocal that makes the cut what it is. Elsewhere there’s plenty of sultry ballads – best typified by ‘Sensuality’. Sub-titled ‘Kama Sutra Love’ its hot stuff for a church–reared girl. Dancers might be tempted off the wall by the mid-tempo title track or the two step shuffle that is ‘You Know’ – this one really builds towards the end. Other goodies include the light vibe that is ‘Summer Day’ (with a quasi-rap that may recall Jazzy Jeff’s similarly named epic) and ‘Stay’ which features some great interplay with the backing singers. Indeed for an indie album, there’s been no stinting on the production and the songs aren’t the usual self-written, self-produced plodders you often get with indie sets. Take my word for it, here’s an album and an artist that deserves to be right up there with the big soul players.

Bill Buckley

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