Reviews...

Ammoncontact "With Voices" This release is b-a-a-a-d!!! Chancing this on the reputation of the Ninja Tune label, I had no clue this would be a vocal Hip Hop release since it wasn't on the Big Dada sister imprint. This long player has held my attention since I first loaded the mp3s. It's been some time since I've heard anything this refreshing and consistently engaging in Hip Hop. While the vibe is very reminiscent of the Native Tongues output the similarities end there as abstract beats, squelching bass lines and even bossa nova all seem to co-exist on this tiny island of a CD. I was even more surprised when I discovered the duo of Carlos Nino and Fabian Ammon reside in Los Angeles. The LP isn't so much Afrocentric as it is Humanistic and Existential. And while they come at you with great beats it's the roster of L.A. Underground Hip Hop talent that's just as impressive. From Lil' Sci on the title cut, X-Clan member Brother J on the "Drum Riders", the majestic poetry of Kamau Daaood (who respectfully declined membership from the Last Poets back in the day to start projects in Los Angeles) is pure excellence!! And that's just the beginning the album seems to get better as it progresses. The triple threat of Yusef Lateef, Dwight Trible and Prince Po on "Beautiful Flowers" is affecting while Abstract Rude's performance on the funkified "Worth It" boasts a swagger that implies cool. Imiuswi's "Love Needs No Destination To Have Made It" rounds out the final blow of solid stellar vocal tracks. There's great instrumentals sandwiched between these vocal performances while the 16 tracks clock in at barely 46 minutes you may find yourself questioning where all the time went. Just hit the repeat button!! Jhelisa "A Primitive Guide To Being There" Travelling, rebirth and resilience of human spirit... "A Primitive Guide To 'Being There'" is an album that bubbles with restlessness even if it is sometimes restrained. This affair is not just a downtempo one as "live" instruments really play a full part in most of the mix. The album opener "Freedom's Land" immediately reveals her stance and it's no coincidence that a Civil Rights song would be at it's core. Other numbers shift tempos and unfold within their duration. The slow bass swagger of "Culture of Silence" may hint at complacency but ultimately explodes in a vocal cry for resolution in double time tempo hinting at brokenbeat rhythms. "Far I Have Come" is a majestic proclamation of life which brings to mind acceptance, peace and African sunsets through meditative percussion. Throughout this LP there are nods to House music, Eastern music, Hip Hop, Electronica, Brazilian Batucada, Blues and Folk all topped off with vocal arrangements which blanket the listener in sound. It may sound overindulgent but it's crafted very well in her hands. This rootlessness is what makes each Jhelisa long player so unique. Travelling and utilizing all resources, she's a conduit for genres and cultures she's experienced. While the album is nine tracks long don't let that put you off. There is plenty of substance in the arrangements and her "harmonic designs" to occupy with repeated listens. NOTE: A limited edition DVD is featured depicting the making of the album, originally titled "The Discovery of Amazing", up to the time they had to evacuate New Orleans. It's a nice companion piece to the album showing collaboration with local musicians and a little bit of New Orleans culture. While evacuating some of the source material for the album was lost thus resulting in a renamed album. Recloose "Hiatus On The Horizon" This album seems a little more played down than it's predecessor. 'Cardiology' was an album that stretched songs out and played with build ups significantly more. So my only gripe would be there isn't enough of that this go round. That, however, is a minor complaint. The downtempo tracks really shine on this. He definitely makes use of the space available to work with...stretching samples and bass lines that really shine on these numbers, especially with headphones. Bringing a bit of electro, funk and jazz. "Still Beyond Me" is a great example and one for the repeat button. Aside from Hollie Smith's great vocal the beats, keys, guitar licks and horns are a real treat. The house tracks that are good are A+. The album opener "Landed" is such a slice of funk that you can't help but wanna crank it up. It ranks up there with his "Soul Clap 2000" track from the Spelunking ep. Joe Dukie does a great job on the first single "Dust". Chicoine's love for jazz really shines through on his take of 'Makutu Man'. 'Mana's Bounce' even flaunts a little Ska. The album closer 'Why I Otta' is great track and return to the stretched out production of the past. It's a appreciable trek through latin percussion, bass line, horns and a tweaked vocal that shows deft skills at gradually building a track. The album definitely grows on you the more you listen. While I don't think its superb it's still pretty damn refreshing!! Makes me look forward to his next release. You know he's got a lot more to offer. The Brand New Heavies "Get Used To It" I actually thought this day would never come. By the time "All About The Funk" with Nicole Russo came out I was sure we would never see N'Dea reunite with the Heavies...But the stars must've been aligned. Once of the forerunners of the Acid Jazz movement after Soul II Soul made a splash, the Heavies have had a difficult time getting anything released in the U.S. There last albums were import only status. Early hits like "Dream Come True", "Dream On Dreamer" and "Stay This Way" may ring bells. Their music definitely strikes a chord with a specific group who remembers their retro brand of funk enough to miss them almost 15 years later. This LP still proves their relevance as they are no less vital and sorely missed considering the music industry's decline in musicianship. This album is a welcome surprise. It feels less polished. It's nice to hear the rawness of lead, N'Dea playing drums on "Sex God". "Music" sounds like the only song that may be programmed but it's live elements are just kickin'!! "Get Used To It", "Love Is" "I Don't Know Why" are solid. They did a great job lyrically and musically. I am not knocking past contributors like Siedah Garrett or Carleen Anderson. I truly enjoyed "Shelter" and "Trunk Funk" with Carleen's contributions. Every vocalist they've had have more than held their own but it's so great to hear them together. Welcome back!!! If you want a change of pace with RnB or Soul this won't disappoint. Did I say it was great to see/hear them back together?