With a song in her heart and some sense in her head!

This evening I had the pleasure of speaking to one of the UK's most talented and underrated vocalists in a no-holds-barred interview on the state of jazz music today.

Gill Manly is a jazz artist who's just released her second album "With A Song In My Heart" to much critical acclaim. Having been in the industry for a couple of decades, Gill spoke honestly and refreshingly about her experiences in music and her thoughts on the industry, warts and all. After a sabbatical of a few years, Gill returned to the stage and the recording studio to find not much has changed since she exited the business and found spiritual enlightenment.

Look out for Gill and other talented women in jazz in a feature on the rise and rise of women in jazz in the next issue of Lucid Magazine, online on Monday, 4th May.

Lucid exclusive! Eric Benet: Chocolate Legs

Check out our review of Eric Benet live at the Jazz Cafe in the April Lucid Update. Sign up to receive it here.

Truly Hypnotic Brass

Hypnotic Brass Ensemble is a 9-piece, Chicago-based jazz group featuring 8 sons of Phil Cohran on horns. Originally from Chicago, the brothers started as a street ensemble before recording in 2004. They have performed with Mos Def, Aquilla Sadalla and Phil Cohran. In late 2007 they recorded with Erykah Badu and Maxwell and played at the North Sea Jazz Festival.

One to watch: Jazz: The Gift

Sky Arts new jazz series begins Monday, 5 January, 2009.

Jazz: The Gift explores the evolution and the genius of America’s greatest original art form. Not simply a chronicle of musical fact or lore, Jazz shows this remarkable music in the context of the complicated country that gave birth to it and shows how this remarkable art form became a part of world culture. Jazz raises questions about race and class, art and commerce, virtuosity and collaboration, the individual and the community, the confluence of cultures and the universality of experience. Jazz: The Gift introduces jazz legends like Louis Armstrong and Duke Ellington, employing engaging and detailed portraits of the great men and women of jazz to demonstrate how and why they make their music.

A Twisted Affair

Twisted Christmas, Barbican Hall, 11 December
Jarvis Cocker was the headliner at the Barbican’s alternative yuletide celebration but unfortunately for the audience the former Pulp frontman wasn’t the highlight. After two and a half hours of a bewildering mix of music, comedy and shadow puppetry – some of which worked, some of which didn’t - Jarvis sloped on stage to perform two brief and forgettable songs. Luckily, there were other revelations to enjoy.

Illinois-based singer-songwriter Daniel Knox was one of them. His deep melancholic vocals called to mind cold winter nights in front of the fire and were perfect for his heart-warming rendition of the classic, Have Yourself a Merry Little Christmas. Blues-folk duo The Smoke Fairies were ubiquitous on stage, and proved to be even better on their own than when performing back up for others. Patrick Wolf, a piano playing ex-chorister turned art-rocker, was sensational while unbilled songstress Camille O’Sullivan was reminiscent of a pre-tabloid era Amy Winehouse.

As well as the eclectic there was also the eccentric. Canadian singer Mary Margaret O’Hara and American Sandy Dillon provided much needed light relief, though it wasn’t entirely clear whether this was intentional.

What was intentional, however, was the wry comedy of Radio 4 presenter Jeremy Hardy, who ably steered proceedings from one fragmented act to another. But the night belonged to the shadow puppetry and accompanist Matthew Robbins who together earned plaudits in an otherwise borderline show.

Seun Kuti and Egypt 80 live at Cargo

I'd been looking forward to seeing Seun Kuti live with such anticipation that the show was in danger of being a massive anticlimax. Luckily for me, Seun and his father's original Egypt 80 had tuned in to my expectancy and delivered a storming performance that left all in awe.

Playing at Cargo in Shoreditch, the former warehouse was the perfect venue for Seun's highly politicised Afrobeat, a blend of high-life, jazz and traditional African rhythms. Reminiscent of his father Fela, Seun emerged from the shadows of his legacy to put his stamp mark on the scene despite performing much of Fela's most famous back catalogue. In fact, the highlight of the night was the title track from Kuti's new album Many Things, a bold, original anthem that puts the world to rights.

Having played at the Barbican earlier in the year to a sell out crowd, Cargo was an intimate setting for the ten man band - the hot, sweaty atmosphere was thick with the sound of the solid brass section with rythmically pulsating bodies jamming shoulder to shoulder to the beat. It was standing room only and those who couldn't dance were forced along by the push of the crowd.

After a somewhat brief hour and a half set we were left eagerly wanting more but the pre and post show DJ set was the perfect antidote. All in all, a near perfect night that will go down as one of the shows of the year.

Seun Kuti and Egypt 80 performed at Cargo in East London on Monday, 15th December.

Robert Glasper: Live at Cargo

Doo-rags, hoodies and baseball caps aren’t the usual attire of jazz aficionados but Robert Glasper’s crowd is as notable for its youth as its urban fashion sense. He, himself, is dressed like one of his tribe – oversized T-shirt, baggy jeans and obligatory glass of liquor in hand. “Don’t let this jazz thing fool you,” he jokes mid-gig as he threatens to break in to a rap after seizing the mic from guest MC, Kashmere. And it wouldn’t have been out of place if he had. For Glasper, it seems hip hop is as intrinsic to his being as his first love, jazz. The fact that his show is taking place in a smoke-filled nightclub rather than a venerable jazz venue is testament to his street cred. His warm-up act isn’t some young pretender polishing his bebop chops but a DJ whose vinyl cases are crammed with Soul and Old Skool Hip-Hop. It could so easily be a cliché if Glasper wasn’t the real deal.

Website: www.myspace.com/therealrobertglasper

Still Black, Still Proud: An African Tribute to James Brown

The Barbican was the setting for a thrilling night of funk and frolics as legendary saxophonist Pee Wee Ellis led an all-star tribute to his long time collaborator, James Brown, at Still Black, Still Proud: An African Tribute to James Brown.

Proving that good music never dies, celebrated musicians including Senegalese guitarist Cheikh Lo, Afrobeat pioneer Tony Allen and Vieux Farka Toure joined trombonist Fred Wesley and others to salute the Godfather of Soul. And what a night it was!

Interspersing traditional African music with Brown’s extensive back catalogue, the band - accompanied by singer Fred Ross, vocalist and dancer Wunmi and UK rapper Ty - put in a pulsating performance that had the audience dancing in the aisles, bringing the house down with interpretations of classics like I Got You (I Feel Good) and Say It Loud: I’m Black and Proud. But it was Cheikh Lo’s (above) hauntingly beautiful rendition of It’s A Man’s World that was the highlight, combining awesome musicianship with Brown’s signature showmanship. South African songstress Simphiwe Dana’s bluesy homage was also a revelation.

With each band member a star in their own right, Still Black, Still Proud was an awe-inspiring evening that’s testament not only to Brown’s indisputable legacy but also to the rich vein of African musical talent. It may be nearly two years since he passed away but the spirit of James Brown truly lived on in this wonderfully captivating show.

___

Still Black, Still Proud took place on Saturday, 14th June as part of the Barbican's Groove Nations Season.

Fire in the dark: Mos Def live

Dante Smith, the brilliant rapper that is Mos Def was in town last week to showcase some tracks from his forthcoming album The Ecstatic and run through a selection of his greatest hits. Playing two sold-out shows at London's Shepherd's Bush Empire and Islington Academy, Mos worked his knowledgeable crowd in to a frenzy with classic cuts like Umi Says, Ms Fat Booty and Sex, Love and Money. Despite coming on stage at approx. 10.30pm on a Sunday night, Mos gave a solid performance in front of an audience that was clearly in awe of the talented Brooklynite. After the poorly-received The New Danger and True Magic Mos appears to have returned to form as one of the finest and most credible MCs in the game. Support was ably provided by London's own Pyrelli and Swedish-American hip-hop group OneSelf.

On another note, today I had the pleasure of interviewing an unusual rising star in the shape of British saxophonist YolanDa Brown. Brown is different because not only is she a black female instrumentalist in a male-dominated genre but she's also highly-educated. The 25 year old musician is studying for a PhD as well as regularly performing on the tour circuit and working on her debut album. Check out http://www.sylviaarthur.co.uk/ for more info on this woman to watch.

Until next week...

Lessons in transcendence: Rahsaan takes it to another level

Picture the scene: It's 9.30pm on a mild October Wednesday. A hardcore contingent of soul music aficionados are gearing up for a short but satisfying gig from one of the genre's most gifted artists. By 11 o'clock it'll all be over and we'll go our separate ways, content until we meet again. Job done. Now for what really happened. Enter the world of Rahsaan Patterson:

In Rahsaan's world there are no worries about getting up for work in the morning or how to make the long journey home when the underground shuts down. No. In Rahsaan's world, where he is the Pied Piper and we are his followers, time stands still as he guides us through his outstanding collection of finely-crafted material, from his eponymous 1997 debut through to Wines and Spirits, his latest offering. Locked in transcendence for two-and-a-half hours of pure musical ecstasy, Patterson's rapt audience are consumed by the sheer force of his talent. If heaven were a sonic construct this would be it.

Patterson's voice is the central tool in a superior six-piece band that features two fine backing singers and a keyboardist who's notable, not as the lone white guy in the ensemble, but as a brilliant multi-instrumentalist. With undertones of Prince that speak of admiration not imitation, Patterson is an exceptional vocalist who epitomises soul. He simultaneously provides a lesson in artistry for wannabes while raising the bar for his peers.

At a time when it's the norm for artists to race through a set with little regard for their audience, Patterson is an utterly unselfish performer who clearly sees his role as paying his dues to his loyal fan base. And we were certainly repaid in full. Extended renditions of Sure Boy, Don't Run So Fast and the Van Hunt After Hours collaboration The Best were particular peaks in an evening full of highs. This is a man at the top of his game. There's Rahsaan Patterson, then there's everyone else.

At the end of the night I was disappointed to be leaving the Jazz Café. Forced back out in to the real world, the problem of getting home and being at work in just a few hours brought me back down to earth with a thud.

But I, like the rest of the crowd knew that for a time we were in the presence of greatness, treated to a very special show from a consummate artist who's truly out of this world. I can't wait for Rahsaan to return. "Earth to Planet Patterson... Beam me up Scotty!"

Wines and Spirits is out now on Dome Records.

Kanya King, Queen of the MOBOs

It’s 7pm on a Friday night and while most of us are winding down for the weekend Kanya King, the dynamic founder of the Music Of Black Origin (MOBO) Awards has hours of work ahead of her. But hers is no average nine-to-five. In the weeks running up to the prestigious annual affair, the half-Irish, half-Ghanaian media mogul is juggling calls from the press, the public, artist liaison and show sponsors all at the same limited time. Yet after eleven years of organising the hottest event on the British music calendar King still has a palpable passion for her job.

King is a warm and personable character who is graceful under obvious pressure. As a businesswoman and role model she takes her responsibilities seriously and speaks freely about her steady rise up the corporate ladder. “We’re always looking for new ways to innovate and new categories to incorporate,” King says, in response to a question about the African Music award that’s running for the second year. “The African music category came at the right time. It was a big year for Africa in 2005 and African music is getting bigger every year so we have to respond to the mood of the market. Also, the MOBOs being the music of black origin started in Africa so it’s only right to have an African category.”

2005 was a landmark year for African music. MTV launched its regional satellite MTV Base Africa at the beginning of the year and later introduced the Best African Music Act award at the MTV Europe VMAs. This year’s contenders for the Best African Act MOBO award, which was also introduced in to the MOBO portfolio in 2005 include Nigerian artist Tony Tetuila and Ghanaian raglife star Batman. Asked whether she has a favourite in the fiercely contested category King shies away from any cultural nepotism, laughs and says diplomatically, “I couldn’t possibly say.” SA.

(© This is an edited extract from the forthcoming issue of What's On Ghana magazine, on sale mid-September 2006)

Africa Plays On... And why you should be listening

Africa Plays On… was originally released to commemorate Africa’s participation in the 2006 World Cup but the songs on this disc will far outlive the Summer of ‘06. The album’s standout cuts are the opener Please Don’t Stop, a sublime collaboration between US R&B singer John Legend and Cameroonian bassist Richard Bona and the brilliantly epic 2000 Blacks Got To Be Free by Roy Ayers and Fela Kuti. Wahala Project’s Wahala, a groovy slice of Afro-funk also rates an honourable mention. The ubiquitous Akon makes an understated appearance on Amadou and Mariam’s Coulibaly while reggae fans can choose between Alpha Blondy’s rootsy Cocody Rock or Waldemar Bastos’ dancehall-tinged Pitanga Madurinha II. Man of the Moment K’naan shines on Ba Sissoko’s Silani and Osibisa show they haven’t lost any of their old sparkle on Watusi.

Africa Plays On… is an excellent introduction to the eclectic sounds and talents of a diverse continent. For neophytes it serves as a delectable taster of what Africa has to offer and perfectly enunciates how African music could compete in the international mainstream. Don’t worry if you don’t understand any of the many languages on this disc. The beauty of this compilation is that the truly universal rhythms transcend linguistic boundaries, taking the listener on a compelling journey through a musical soundscape.
A true aural delight! SA.