Thankfully, Nailah chose to dedicate herself to music after a promising career as an attorney in North Carolina. The transition to succeed in the music industry was tough, but after some initial doubts it seems Nailah is destined for success.

Nailah was drawn to music by the local church choirs, and tapped a wide range of musical influences to create her own form. She gives Cassandra Wilson the credit for “making her feel it was ok to bring southern roots into it”, Sarah Vaughn for being inspiring with her fierceness and elegance, and Curtis Mayfield and Gil scott-Heron for their songwriting, political insights and courage.

Nailah’s describes her music as being “a blending of genres…music that is Rooted in Spirit…Based on Jazz.” She is true to jazz in the way that she lets the musicians express themself – leaving a prominent place on the stage to her band – before letting her voice reclaim the space.  ”He speaks” is a good example of this – with its engaging rhythm section being the foundation for musical expression. As far as I have found out, her band features Deron Johnson on piano, Justin DiCenzo on bass, Paul Legapsi on drums, and Matt DeMerrit and Tracy Wannomae as a two man horn orchestra.

“Transcending” slowly introduce a slow bouncy treat, with its bossa rhythms leading a well composed selection of musical instruments.  ”Breathe”, “Hands”  and “Lillies and Birds” are all beautiful low key ballads, with the latter more expressive and powerful. The sound is warm and uplifting, sincere and emotional – creating a powerful musical experience.

“Life in session” is a fantastic collection of songs, but my favorite by miles is “Sacred“. Nailah really shows her songwriting talents and have crafted a beautiful, rich and uplifting number that show why Gilles Peterson has dubbed her “Female voice of the year”. The atmosphere reminds me of what Craig Armstrong compose on top form, built on a foundation of roots and jazz.

Debut album “ConJazzNess” being released later this year on NaiMuse.

Fast Tube by Casper

Listen to the full EP at Reverbnation.com

His engagement in society, politics and afro-american rights a key theme in his music. “The revolution will not be televised” is in that context  a great example, as it is an exquisite piece of soul music. A key piece of the album “Pieces of a man”, it was released on Flying Dutchman in 1971 and spans the early years of Gil’s career before he left the label for Arista. Working with Bob Thiele he got the mix of jazz, soul and poetry just right. His social awareness so apparent in his lyrics, dealing with the superficiality of television and mass consumerism, the hypocrisy of some would-be Black revolutionaries, white middle-class ignorance of the difficulties faced by inner-city residents, and homophobia.

My personal favorites from the album are “Lady Day and John Coltrane” (cheekily sampled by Kjell for the drum’n'bass heads), “Pieces of a man”, and not least the fantastic “Save the children”.

“I’m new here“, Gil’s first album in 16 years hit the shelves this february and was indeed impressive. Released on XL Recordings it has got that unmistakably soul of Scott-Heron all over it. Do not miss out on the opportunity to see a true legend live on stage in Oslo!

Tickets are still available here

José James came to prominence when Gilles Peterson signed him to Brownswood Recordings a couple of years ago. His debut album, “The Dreamer“, has been one of my most frequently played records over the last two years, and I think it is now widely recognised for the great piece of music that it is. Finally, his new album, “Black Magic” is here.

His voice comes across as a modern Gil Scott-Heron, with influences ranging from Marvin Gaye to the unmistakable John Coltrane. ”Black magic” as José describes in the booklet, conveys a lot of meaning, from the roots of black music across genres with its emotional expression ranging from passionate uproar to the beauty of love.

The mission for José James is in his own words, “to create something classic, that is also relevant for todays people”. With “Black magic” he continues the journey he set out on “The Dreamer” this time drawing on a solid group of producers for assistance.

Not that he needed assistance, because one of the biggest strengths of the debut was the feel of the soundscape, the completeness of the production and how it perfectly arranged the vocals with the instruments, making it sound polished without loosing a live feel to it.

But the willingness to experiment and push himself further is a true feature of José James, and also one of the reasons he is such a good fit with Gilles Petersons Brownswood label. As label manager Emily says; “he has always been open and willing to work with different people and get completely out of his comfort zone. Not many vocalists of this sort of seriousness and pedigree can be found covering a dubstep classic, Mc-ing for Flying lotus at Brainfeeder events, having their vocals pitched up and twisted out by Basement Jaxx, or throwing down a rap for SOIL&”PIMP”’s ubercool trio side project J.A.M.”

The Productions by Flying Lotus Dj Mitsu the Beats, and Moodyman should increase his reach to further audiences without loosing his base. Of the producers, it is Flying Lotus that has the largest footprint on the record. Being involved from an early stage in the writing and recording process, his slow hip-hop grooves and atmospheric sounds is apparent on a number of tracks. Of his three  productions, “Code”, “Made for love” and “Blackmagic”, the latter is my favourite.

But the standout track for me is “Promise in love”. Produced by Dj Mitsu The Beats, the slow, warm beats and trumpet creates the perfect base to highlight José’s fantastic voice. Another great example is “Lay you down” – where bouncy and slow funk groove really accompany the vocal, this time with staying slightly more prominent in the soundscape.

“Touch”, “Save your love for me”, “The greater good”, “Beauty” and “No tellin’” is the tracks that mostly resembles the debut, whereas Moodyman develops the classic José James voice with a characteristic production on “Detroit Loveletter”. Worth mentioning is “Love conversation” the only track on the record with a vocal collaboration. The conversation with Jordana De Lovely is an example of how José also fits well with other artists in a more supporting role.

James has even adapted of Benga’s dubstep anthem “Emotions,” adding his own vocals and re-titling the track “Warrior” – after the title of Bengas album “Diary of an afro warrior”. The dark and slightly paranoid foundation of beats blends well with the smooth jazz piano and Josés vocals – taking it into a new exciting territory.

Again, if you haven’t checked out José James yet – you are in for a treat. The video is a great introduction.

Brownswood Recordings | Amazon | MySpace | Juno Download |

The Sunburst Band is a collective born out of Dave Lee aka Joey Negro’s passion for boogie, funk, disco and jazz.The band are taking the live circuit by storm playing sell out venues across the UK and Europe with a highly polished and unique live sound that is missing from much of today’s dance music. In Dave’s words; “It’s not like I’m the guy who harps on that it was so much better back in ’78, but at the same time I’m a bit of a polar resistor who goes against the flow. So many dance acts are making electro I’ve gone the other way with this project. I’ve missed the performance thing, the intensity of a band playing together.”

Indeed, house music needs to rediscover the live performance. Seeing seven talented musicians play off each other, the vocalists, the saxophone, the bass, the drums, the guitar, the keys and the electronic elements all blended together with enthusiasm and joy – It certainly was a great experience.

As always, I highly recommend you to visit the Jazz Café if you are in London.

Jon Lucien captures the essence of romance. His rich and expressive voice are a perfect channel for poetic tales of devotion, trust, hope, harmony and spirituality. The atmosphere is just right, drawing inspiration from rhythm and blues, jazz, caribbean beats (he was born on the island of Tortola – the largest of the British Virgin Islands) and Brazillian bossa to create his own unique blend soul.

These two cuts are finally to be found on on 45! Two huge Jon Lucien cuts, “Searching For The Inner Self” and “Would You Believe In Me”.

What a track “Searching for the inner self” is! It rose to prominence when Gilles Peterson dug the crates and included it in his Digs America compilation back in 2005. The b-side, “Would you believe in me“, is taken from the longplayer “Rashida” and is, as the main cut, a slow groove with Lucien’s majestic voice supported with the right amounts of horns and classic drumbreaks.

Fat City | Official Site |

This an absolutely massive cut – so happy you can’t help smiling. From the very start the horns lead you into a cheerful vibe, the chorus just brings you along and then it breaks down into psychedelic rock guitars and classic drumbreaks. Add some sax and you’ve got a feast! What a track to end the night with.

The original was released on Shadybrook Records back in 1976 and was produced by Gene Russell. Cheyenne Fowler is the name of the vocalist and her records also go under the name “Cheyenne”. The track was part of the album “Cheyenne’s coming”  - and judging by the the few cuts I’ve heard from it, it’s a brilliant record. If you have the full album, let me know as I want a copy!

I don’t know whether it also was released as a single back in 1976, but it was re-issued ten years ago as a 7″ vinyl on Dom Servinis excellent label Wah Wah 45s.

However, it was the recent re-release on Black Cat with “Hanson – Take Me To Your Home” on the B-side that brought the song to my attention. “Take me to your home” is a rhodes-driven, psychedelic funk-rock cut from their obscure LP on Emerson, Lake & Palmers’ Manticore label. Sweet downtempo, smokefueled funk for the late hours. Both tracks are quality and obscure, so don’t miss out on this release.

You can get your copies from Fat City, Juno and Phonica.

Listen to “Come back to me on YouTube |

It is finally here. The hugely anticipated debut album from Mayer Hawthorne and the County. The long player is definitively my number one record of 2009. “A strange arrangement” is packed with classic soul of the finest Motown vintage, only with the magnificent feat of being recorded today.

I first wrote about Mayer back in November last year and have recommended the first two singles – “Just ain’t gonna work out” and “Maybe so, maybe no” –  The first one catching everyones attention with its characteristic red heart-shaped 7″ vinyl. I still can’t speak highly enough of this artist.

Born Andrew Mayer Cohen, Mayer Hawthorne grew up in Ann Arbor, Michigan, just outside of Detroit, and was raised on the rich soul and jazz history the region provided. Curtis Mayfield, Smokey Robinson, Isaac Hayes and others provided the inspired Hawthorne playing instruments from an early age, but he never intended to become a singer. He isn’t formally trained, and never went the traditional route of singing in the church choir. More than anything, it was hip-hop that brought him onto production and dj’ing and that put him in touch with Stones Throw head honcho Peanut Butter Wolf.

The stage name “Mayer Hawthorne” is a combination of Cohen’s real middle name (Mayer) and the name of the street he grew up on in Michigan (Hawthorne Rd). “Mayer Hawthorne and The County” is a name Cohen often uses when performing live or recording as Mayer Hawthorne with other artists. In Cohen’s words, “The County” is basically anyone who plays an instrument or sings on his album.

It is easy to brand the sound “neo-soul” or “retro”. Personally, I think timeless would be a better term. He pays homage to his musical roots, yet clearly establishes his own authentic and personal musical expression. In an interview with L.A. Weekly he recently expressed this intent – “I really wanted to make sure that I put my own stamp on it, and I moved the music forward, and I’m bringing it to a new generation of kids who didn’t grow up on that music, or missed out on it.”

“A strange arrangement” is packed with soul-gems, and it is the strength of the overall package that is most impressive. There are no fillers on the album, the singles are complemented with equally good hits such as personal favorites “The Ills”, “Make her mine”, “One track mind” and the title track. The heart-melting ballads about love won and lost blends well with more uptempo, horn and breaks fueled songs for the dancefloor. The distinctive elements of Motown, such as the orchestration, string and horn sections, tambourines, the interplay between the lead singer and his backing vocalists, and of course foot-slapping drum breaks are all vividly present and arranged perfectly by Hawthorne himself.

MySpace | Spotify | Amazon | iTunes | StonesThrow

If your new to the Bubblers series, then this will give you a taste of what they are all about. If your a seasoned Bubbler then this mix is sure to push all the right buttons and set you up nicely for BB4.

The Tracklist is as follows:
1. Soundspecies – Can We Call It Love (with Ahu) [BB4]
2. Simbad feat. Steelo – Soul Fever [BB1]
3. Bullion – Get Familiar [BB3]
4. NSM – The Hype [BB2]
5. Katalyst feat. Steve Spacek – How Bout Us [BB3]
6. Cornish Waters feat. Duchess – Walking [BB2]
7. Ayak & First Man – Can We Go Back? [BB1]
8. DJ Day – A Place To Go [BB3]
9. Mayer Hawthorne – Maybe So, Maybe No [BB4]
10. Iman – Who Was I Trying To Fool [BB1]
11. Flying Lotus – Tea Leaf Dancers [BB2]
12. New Look – Everything [BB4]

For me, the label have provided quality from day one, including compilations, singles and albums. If you haven’t checked out the label yet, I suggest you do!

Download the mix HERE

I’ll start off by quoting King Britt, as I feel his words neatly express my initial reaction to the album one and a half year ago - ”Just when you think that real voices are gone and replaced by synthesized vocoders or perfectly melodined melodies, comes a real voice. A voice who’s texture, tone and timbre seem to trace the history of real jazz greats. A voice that when you hear it, you know that’s what defines the word voice. Ladies and Gents José James”.  

The soulful warmth and intimate presence is up there with the great Terry Callier, Jon Lucien and Gill Scott-Heron. That is no little feet for an artist that cites John Coltrane, Marvin Gay and Billie Holliday as his musical mentors. So who is José James? He is a talented Brooklyn based Irish/Panamanian jazz singer that blends the sounds of jazz and soul, without being trapped within any artificial genre boundaries. In addition to the debut album, José has also featured on music by artists such as Jazzanova, Flying Lotus, JAM, and Dj Mitsu the Beats and Nicola Conte. José sings as part of a basic quartet made up of him, Nori Ochiai on piano, Alexi David on bass and Steve Lyman on drums, but there are slight variations on different tracks. José produced and arrange most of the compositions himself.

There should be no surprise that José first was picked up by BBC music maestro Gilles Peterson. After establishing his Brownswood Recordings record label back in 2006 he have signed artists such as Ben Westbeech and Elan Mehler. The label was set up with the simple aim of releasing good new music, music with soul – no matter where it’s from or what the style. Easily a value proposition to my liking. Check out Gilles great podcasts (available for free through iTunes) for truly inspirational sessions with musicians or just listening to Gilles digging out music from his collection.

The album starts off with the title track “The Dreamer“. The sensual, powerful, yet subtle trumpet gets the mood just right before José’s warm and rich baritone voice enters the frame. “Velvet” and ”Blackeyed Susan” continues the innocent, sensual atmosphere. Loads of emotions expressed in an fragile and honest manner. Picking out favorites is easy on such a complete and accomplished album, yet I would dedicate a few extra words to his cover of Freestyle Fellowship‘s “Parkbench People”. It is accompanied by a great video shot by Josh Rothstein and filmed on location at a homeless shelter in New York.

“Spirits up Above” takes a slightly different angle, using the range of his voice with a more bouncy, tag-along jazz number to revise Rahsaan Roland Kirk’s little known but wonderful composition. The next track is another cover version – this time the theme song from Spike Lee’s She’s Gotta Have it - Bill Lee’s “Nola”. ”Red”, more than the other tracks on the album, pays homage to his hero Coltrane and is more live, experimental. 

“Winter wind” got that lovely acoustic piano accompanied with slow drums and a intimate presence before José’s lovely voice completes the romantisism with a story of lost love and loneliness, a theme that continues into the nostalgic “Desire”. Yet the two closing tracks are filled with a positive message. ”Love” ends the record on the sensual, spiritual note, with a drumbreak that ups the tempo and adds that little extra to the closing number.

The talents of José James should be apparent to every listener – he could easily be one of the greatest of his generation.

MySpace | Brownswood Recordings | Josejames.com |

Homecut is the brainchild of Hip-Hop MC/producer Testament. His lyricism, live instrumentation and mix of soul, hip-hop and experimentation recently came to my attention. Four years since the release of his debut single “Come the Revolution” (which I missed), the debut album ”No Freedom Without Sacrifice” just hit the market. 

I always love the sound of organic hiphop, and Homecut get the vibe you know from the soul and jazz orchestration in his productions, and he even performs live as a full seven-piece band.

The first single is “I don’t even know” using the wonderful vocal talents of fellow Leeds resident Corinne Bailey Rae (who also did the vocals on Amp Fiddlers excellent “If I don’t” – remember?) and Soweto Kinch. I love the easy jazz piano, and the sax and clarinets accompanying the slow, yet steady beat. The vocals blend in perfectly, not taking up too much space, yet having a prominent place in arrangement. 

But Homecut have ensembled a cast of contributors that reaches even further. J-Live (BBE), Andreya Triana (Flying Lotus, Bonobo), John Ellis (Cinematic Orchestra), kidkanevil (Stateless) and Ty (Mercury Music Prize Nominee) all play their part on the album. Other tracks that stand out are “Bring it all together”, “Not far to go”, “Breakdown” and “Innovators”. 

“Not far to go” is a varied, yet holistic album that is solidly placed in the UK sound, yet drawing on a wide range of genres. You can say what you want about british hip-hop, but I really respect how the scene has built its own original soundscape, not borrowing too much from the US as many other scenes inevitably do. 

MySpace | Soul Seduction | Play.com | Facebook | Fat City |