Bass CDs
Bassist Michael Olatuja to Release Lagos Pepper Soup
Bassist Michael Olatuja Enlists a Star-studded Line-up to Celebrate the Intertwinings of West African Afrobeats and Jazz on New Cinematic Album, Lagos Pepper Soup…
Whirlwind Recordings is proud to announce the June 12th release of Lagos Pepper Soup, the new album from bassist and composer Michael Olatuja. On this, his third release as a bandleader, Olatuja presents his spectacular blend of West African Afrobeats and jazz, with the support of a string orchestra – arranged by iconic film score orchestrator Dave Metzger – alongside an international all-star cast which features Angelique Kidjo, Dianne Reeves, Brandee Younger, Lionel Loueke, Regina Carter, Joe Lovano, Laura Mvula, Gregoire Maret and Becca Stevens.
Almost five years in the making, Lagos Pepper Soup– named after a zesty, West African meal, with lyrics mostly in Yoruba and English, and recorded between London and New York – is Michael Olatuja’s most comprehensive and compelling album to date. While the bassist’s first two albums – Speak (2009) and The Promise (2011) – displayed his skills as more of a composer and producer than an instrumentalist, this twelve-track collection showcases his ebullient and bone-deep bass tones – a combination of Abraham Laboriel’s percussive approach, John Patitucci’s acoustic and electric fluency, and Richard Bona’s Cameroonian-derived inventions are in the foreground. On Lagos Pepper Soup, the London-born, Lagos, Nigeria-raised, New York-based electric and acoustic bassist is supported by an impressive, international and accomplished core band consisting of keyboardists Aaron Parks and Etienne Stadwijk (a native of Suriname), saxophonist/vocalist Camille Thurman, drummer Terreon Gully and Senegalese percussionist Magatte Sow – praised for his work on the Black Panther soundtrack.
“The themes [on this new record] are hope, inspiration, and new beginnings,” Olatuja says. “This recording started at a very tough time in my life, and it’s cathartic and healing. I had to separate myself into two people: my older self, and my younger self, as if the older me were speaking to the younger me, encouraging me, and thus, encouraging whoever’s listening. That was the motivation for how this album happened. Most of my recordings are like that: Whatever season or journey I’m going through in my life, the music speaks to myself [and] others.”
The special guests on this recording have either employed Olatuja as a sideman, or became friends with him on the scene. “Lionel and Angelique are like my big brother and sister,” Olatuja says. “I toured with him, and we just hit it off. His mum speaks Yoruba. I met Angelique two years ago, and have toured with her since. She’s always been one of my heroes. She’s Mama Africa: She’s the queen! Dianne Reeves has been an inspiration and supporter for years. She’s been my hero since my teenage years. I was doing a show with Brandee Younger in DC at the Kennedy Center and on the way back, she jokingly said ‘oh, I see you finished your album, but you didn’t ask me to play a song [laughs]. So I asked her to do it, and she said yes. And I know Joe Lovano loves African music, because I’m in one of his bands called The Village Rhythms.”
Lagos Pepper Soup, contains an assortment of sonically sumptuous African rhythms with jazz improvisation, albeit in a different sonic setting. “On Speak, which I recorded in London, I was mixing Afrobeats with jazz and gospel, and I took that experiment further on the second album, The Promise,” Olatuja says. “Now, what makes this album, Lagos Pepper Soup different, is that I was thinking of it as cinematic Afrobeat! When I worked on this album, I was playing in the orchestra of the Broadway musical, Frozen, which is arranged by Dave Metzger. While touring with trumpeter Chris Botti, we’d have large orchestras behind us, so those orchestral sounds – the kind you hear in Hollywood movies – started to get into my head. So for this album, the question was: how can I fuse this mix of Afrobeat and jazz as if it was a Hollywood film soundtrack?”
You can hear the answer to Olatuja’s question on the album’s orchestrated tracks, mostly arranged by Metzger, and conducted by Joseph Joubert. “The Hero’s Journey,” which Olatuja proclaims is the most “cinematic” track, is a sublimely syncopated selection in 6/4 time, enhanced by Metzger’s arrangement, with violinist Regina Carter’s vivid solo, dedicated to Olatuja’s late mother, Comfort Bola. “Soki,” arranged by Jason Michael Webb, is propelled by a popular Nigerian rhythm genre in 6/8 entitled woro. “A lot of African countries have their own version of it,” Olatuja says. “And what I love about “Soki” is that it [also] features woro styles from Mali, Cameroon, and Senegal. It’s more like a Pan-African 6/8.” Joubert’s arrangement of “Brighter Day,” co-written by Olatujaand Kate Kelsey-Sugg, showcases vocalist Laura Mvula’s stately vocals, while the heartwarming tribute toOlatuja’s mother, “Bola’s Song,” is laced with Gregoire Maret’s luscious harmonica.
The remaining tracks feature small ensembles. The opening opus, “Even Now Prayer,” sounds like a collaboration between Jaco Pastorius and Fela Kuti. The title track is another shout-out to the leader’s mother, featuring the Beninese dynamic duo of Kidjo and Loueke, propelled by an anthemic Afrobeat Tony Allen would approve of, while Loueke’s “Mivakpola,” originally released on his 2005 album, In a Trance is recast with an infectious drum-n-bass arrangement, reminiscent of Weather Report. “Ma Foya” was originally recorded on Speak, and is rendered here, in a hi-life beat with Brandee Younger’s evocative and ethereal harpistry. Vocalist Onaje Jefferson, who was also featured on Speak, returns for an impassioned performance on “Shadows Fade” (co-written by Jefferson and Olatuja). Joe Lovano’s towering tenor saxophone reigns supreme on “Leye’s Dance,” which is pulsed by a Nigerian musical genre called Fuji. Becca Steven’s pithy vocals navigate the complex rhythmic waters on “Home True,” composed by U.K. pianist Robert Mitchell. “I heard this song when I played in his trio when I was a teenager,” Olatuja says, “and I said to myself if I ever have the opportunity to record it, I would have him on the [track]. It’s got odd meters: some of it is in 11/4, some of it is in 17/4. There’s a lot happening, rhythmically.”
The album’s final track, the plaintive postlude, “Grace,” concludes this momentous recording of depth and complexity. “Thinking as a producer, I wanted different textures,” Olatuja says. “That’s why I had “Ma Foya” stripped down, with me and Brandee Younger on harp, and then another [track] would feature an orchestra. So I was very conscious of dynamics. I really wanted some songs to sound epic, and the small ensembles to sound like a whisper. So I ended with “Grace” because it sounds like a benediction. The word grace means unlimited favor. And I feel that there’s been a lot of favor shown to me on this project … because of the way people came together – their hearts, their attitudes, made me feel that there was something bigger happening.”
Indeed, Lagos Pepper Soup captures something bigger than an all-star group, led by a twenty-first century virtuoso who the BBC proclaimed, “had a firm handle on the music of the ‘motherland’ and diaspora.” It unveils the extraordinary musical life of Michael Olatuja – from his early days playing percussion in his Lagos Yoruba Christian church and his life with his pioneering mother to his first lessons on bass as a teenager, and his music studies in the U.K at Sussex University, as well as at The Manhattan School of Music, to his work as a sideman and leader. This recording aurally illustrates the places and spaces Michael Olatuja has been, and it forecasts the shape of his Afrocentric jazz to come.
Visit online at michaelolatujamusic.com
Acclaimed bassist and composer Ben Wolfe is thrilled to announce the August 9, 2024 release of The Understated.
This evocative new album features a collection of new original compositions by Wolfe paired, with re-imaginings of some of the composer’s classic material, with a particular emphasis on the ballad song-form. The album features ten tracks, five of which are ballads – a bold move for any composer – Wolfe creates a cohesive narrative here that challenges the listeners perception of the classic ballad. The Understated features Wolfe alongside artists who make up the very frontline of modern jazz, including pianist Orrin Evans, tenor saxophonist Nicole Glover, drummer Aaron Kimmel, guitarist Russell Malone and pianist Sullivan Fortner.
Wolfe has always been drawn to finding beauty in subtlety. He perceives a certain tranquility and elegance in the Coltrane Quartet, Louis Armstrong’s Hot Fives and Sevens, the legendary Miles Davis bands and rhythm sections, and the music of Charlie Parker. While he, of course, revels at the immense world-building energy of this music, it’s the “other side” – the elusive, magical aspect that endlessly captivates him – the understated. The composer draws inspiration most from the ensemble work of these hallmark jazz ensembles. Despite the individual parts being extraordinarily beautiful on their own, the musicians in these archetypal ensembles play only what is needed to serve the music, paying particular attention to the band-sound more-so than their individual sound. The Understated embodies this ethos with a tremendously impactful ensemble-oriented approach.
Wolfe sought to continue the thread started by “Lullaby in D” from his previous critically acclaimed release Unjust. Wolfe indicates, “Something about that take was so perfect to me. It had been brought to life, and it had that ensemble thing.” Wolfe assembled the quartet who recorded “Lullaby” (including longtime collaborator Orrin Evans, as well as recent frequent collaborators Aaron Kimmel and Nicole Glover) and two very special guests, Russell Malone and Sullivan Fortner. The recording process took place in one room with no headphones or isolation booths, further emphasizing the group’s collective awareness.
This record succeeds in bringing Wolfe’s expansive music to life through extremely conscientious group playing. Nothing is forced or pushed; everything that needs to be stated is stated. The single from the album, “Waltz,” encapsulates the spirit of the project. Wolfe says, “I view albums like a complete painting, so singles have been difficult for me. This song is very much in the spirit of the whole but doesn’t give away the record.” The piece features a sentimental melody delivered with grace by tenor saxophonist Nicole Glover, before Glover and Evans embark on stirring solos dancing in and out of the tune’s harmony.
Other new original compositions featured here include “Ballad in B”, which perhaps best demonstrates the group’s stunning cohesion. This tune is a refreshing diversion as it features a serene repeated melody without overt melodic improvisation. The following track, “Anagram”, begins with Kimmel’s rhythmic refrains and a unison melody played by Glover and Wolfe and is a true ensemble piece. On this track, Wolfe shines with a lyrical solo. The moody short interlude “So Indeed” is a lyrical masterwork that leaves the listener wanting even more. “Beautiful You” features master guitarist Russell Malone on the track’s melody. The emphasis here on restrained lyricism is a prime reminder of the old adage “it’s not the notes you play, it’s the notes you don’t play”. Each pocket of space in between melodic moments leaves room for the listener to breathe deeper and deeper into the song. The driving “Triangle Man” features fantastic improvisation from Glover and Kimmel. The tender “Barely Spoken” concludes the album with a feature for pianist Sullivan Fortner.
The album also weaves in references to Wolfe’s past works, creating a personal musical universe. “The Poet Speaks” is the opening track on his first record, 13 Sketches. “Occam’s Razor” was composed years ago for a collaboration with a choreographer and painter, and was a much different composition in its original form. “Love Is Near” was originally found on The Whisperer. With ballads in particular, Ben uses voicings and sounds that represent certain things to him, intentionally referencing his other compositions to generate connections between his songs.
Wolfe’s tremendous compositions on this album are also influenced by the group of musicians that he assembled for this release. Wolfe remarks “One of the things these five musicians share in common is that not only are they true ensemble players, they will always play something unexpected and special.” Listeners will find calm and beauty within the ensemble performances throughout The Understated.
Visit online at benwolfe.com/
Bassist, band leader, and composer Orlando le Fleming continues to make music that crosses genres as readily as he crosses the Atlantic, with this new album ‘Wandering Talk’, to be released physically on 23rd August via the UK’s premiere jazz label, Whirlwind Recordings.
After 20 years in New York City, he’s back in his native UK, forging new pathways and renewing old partnerships. His love for the acoustic tradition continues unabated alongside his deep affection for the robust, muscular electric fusion that emerged in the 1980s, and he has received critical acclaim from media including The Guardian, Financial Times, Jazzwise, and All About Jazz among others. He has also toured and recorded with some of the world’s greatest jazz musicians including Branford Marsalis, Kurt Rosenwinkel, Antonio Sanchez, Ari Hoenig, and Wayne Krantz.
The Romantic Funk project was born in New York’s legendary 55 Bar to explore that legacy: now the new album ‘Wandering Talk’ builds on the critical acclaim generated by ‘The Unfamiliar’ (2020), building on the framework with a set of collaborators that brings together London and New York, past and present, acoustic, and electric, and merges it all into a spectacular whole.
Following the same principles that served the project in NYC, le Fleming booked four Friday nights at London’s renowned Vortex Club to workshop the music that would become the album, with a rotating cast of players which he honed down into the final line-up. Old London friends Tom Cawley (piano/keys) and James Maddren (drums) completed the rhythm section. New acquaintance Nathaniel Facey was picked from the ranks of the UK’s brightest young saxophone players. NYC stalwart Philip Dizack flew in from the US to play trumpet and reaching back to Orlando’s school days and forward to his own family, one-time classmate Chris Martin (Coldplay) and his own daughter Nadia combined to provide vocals on a special setting of Rumi’s poetry.
As before, the music combines fusion’s flash and fire with a contemporary sensibility. This time, Orlando’s questing spirit sends his superb band forward to investigate fresh areas of creativity in dynamic and texture.
Visit online at orlandolefleming.com
Album: John Entwistle, Rarities Oxhumed – Volume Two
Rarities Oxhumed – Volume Two is the second of the series of posthumous releases coming from John Entwistle.
Rarities Oxhumed – Volume Two is a compilation that was curated by drummer Steve Luongo, who served as John Entwistle’s producer, bandmate, business partner and good friend for many years. As Luongo states, “When I agreed to do two volumes of John Entwistle rarities, I knew volume two had to be even better than volume one. It is!” The collection of songs on Volume Two are from his years with the John Entwistle Band and include re-mastered versions of studio tracks including “Endless Vacation”, alternate mixes of tracks like “Sometimes”, and live tracks including The Who cuts “Real Me”, “Long Live Rock” and an epic version of “Young Man Blues”. The latest preview track to be released is the Who cut “Had Enough.”
Listen to “Had Enough” here: push.fm/ps/hadenough
Rarities Oxhumed – Volume One was quickly embraced by longtime fans as it featured gems like “Bogey Man” featuring Keith Moon, “Where You Going Now” (demo for the Who), and a raw live version of “Trick of the Light” recorded during the John Entwistle Band’s final tour in 2001. Deko Entertainment is thrilled to have been able to bring both volumes of this unearthed music of John Entwistle to the fans and forever solidify him as one of the greatest rock musicians ever.
For more information, visit online at dekoentertainment.com/john-entwistle
Mark Egan, Cross Currents…
It is exciting every time I get a new album from Mark Egan as he is such an amazingly versatile player and I never know what to expect (except for excellent artistry!) In his latest release, Mark has teamed up with Shawn Peyton on drums and Shane Theriot on guitar to bring us “Cross Currents”.
This collection of eleven tracks transports me to the Gulf Coast (New Orleans specifically). Mark’s fretless basses lay down a solid groove and lots of juicy solo work for this rootsy collection of funk, ambient, swamp-rock, second line, ballads, Cajun and even Indian Raga.
This trio is super-tight and the musicianship is flawless as each member has ample opportunity to shine. Even though each player is very talented in their own right, I feel that the collective energy is greater than just the sum of the players on this album. Each musician contributed to composing music for this project but the lion’s share are Mark’s original pieces.
I spent the summer of 1981 in New Orleans and this wonderful music takes me back to those fond memories. I participated in a wacky raft race on Lake Ponchatrain and this opening track elicits images of fun, sunshine, music, and great food.
This is another superb album that everyone will enjoy. Get your copy today! Cross Currents is available online at Amazon.com. Visit Mark online at markegan.com.
ALBERTO RIGONI’s New Project NEMESIS CALL Announce “Kingdom of Shred” Album, Feat. Super Talented Guests Such as Mike Terrana, Alexandra Zerner + Many Others
Worldwide known Italian bassist and composer ALBERTO RIGONI (soloist, BAD As, Kim Bingham, Vivaldi Metal Project, etc.) announces the new album “Kingdom of Shred” of his new project NEMESIS CALL.
Alberto says:
“Even if my latest album “Unexpected Lullabies”, dedicated to my newborn Vittoria Parini Rigoni, was released on June 4th 2024, I felt the need to compose new music (yes, I really can’t stop!). This time will be quite challenging because I’m willing to release an instrumental shred/prog/rock/metal/melodic album, that will feature many talented top-notch musicians such as drummer Mike Terrana, Alexandra Zerner, Alexandra Lioness, Aanika Pai (11 years old!), Keiji by Zero (19 years old!), SAKI and many others TBA/TBC). It won’t be easy to manage all such great musicians but I will make it! Are you ready to face a new prog experience? The album will be released in Digipack CD and in high-quality digital format approximately at the beginning of 2025 or maybe for Christmas!.”
As an independent artist, Alberto Rigoni has launched a fundraising campaign to support the project. Support at www.albertorigoni.net/nemesiscall. 20% of the income will be donated to Lega del Filo d’Oro (www.legadelfilodoro.it/it), an Italian association that helps deaf and blind children!
Visit online at www.albertorigoni.net | albertorigoni.bandcamp.com | facebook.com/albertorigonimusic | www.badas.rocks