Black String

Karma

Yoon Jeong Heo (geomungo), Jean Oh (g, elec, beat mixing), Aram Lee (daegeum, yanggeum, tungso, danso, taepyeongso) and Min Wang Hwang (v, janggu, perc, taepyeongso), plus Nguyên Lê (g). Rec. 25 January and 26 April 2019

There’s more to the South Korean music scene than K-pop, you know. That’s just part of Hallyu, or the Korean Wave – the name given to the phenomenon of South Korean culture’s increasing global popularity. Black String, who bagged a 2018 Songlines award after releasing their debut album, Mask Dance, the previous year, are a fine and notable expression of this tendency. The four-piece’s second album, Karma, is full of music that is deeply rooted but at the same time knows no boundaries and is relentless in its exploration of ever-fresh ingredients for sonic fusion. Robert Shore

Read the full review in the February 2020 issue

Roberto Fonseca

Yesun

Roberto Fonseca (v, p, ky, perc), Yandy Martínez Rodríguez (db, bv), Raúl Herrera (d, bv), Inor Sotolongo (perc), plus Joe Lovano (s), Ibrahim Maalouf (t), Danay Suarez, Gema 4 (v), Mercedes Cortés and Yipsi Li Avila (bv). Rec. 2019

Afro-Cuban pianist, composer and bandleader Fonseca played a blinder at EartH in Hackney last December, buoyed by the same trio that features on this current ninth album and revelling, it seemed, in the praise that continues to vindicate a work that combines everything from jazz and classical music to rap, funk, reggaeton and electronica – specifically, Head Hunter-ish wigouts on Moog, Hammond, Wurlitzer, Fender Rhodes – and is held to be the album he always wanted to make. Jane Cornwell

Read the full review in the February 2020 issue

Pat Metheny

From This Place

Pat Metheny (g, synclavair), Gwilym Simcock (p), Linda Oh (b), Antonio Sanchez (d) Gregoire Maret (hca), Luis Conte (perc), Meshell Ndegeocello (v), Hollywood Studio Symphony and Joel McNeely (cond). Rec. 2018-19

Metheny’s first album of new material since 2014’s Kin (Nonesuch), From This Place is for my money the guitarist/composer/bandleader’s finest album to date. That’s a big claim, considering he has won 20 Grammy awards in 12 separate categories, which includes an amazing streak where he became the only bandleader in the history of the Grammys to win seven awards for seven consecutive releases. But I stick by it. Stuart Nicholson

Read the full review in the February 2020 issue

Nat King Cole

Hittin’ The Ramp: The Early Years (1936-1943) 

Nat King Cole (p, v), Kenneth Roane, Harry Sweets Edison (t), Tommy Thompson (as), Bill Wright, Lester Young, Dexter Gordon (ts), Oscar Moore (g, v), Johnny Moore (g), Eddie Cole, Wesley Prince, Red Callender, Johnny Miller (b, v), Jimmy Adams, Lee Young, Al Spieldock, Clifford Juicy Owens (d), Bonnie Lake, Juanelda Carter, Anita Boyer, Maxine Johnson, Pauline (Byrns) and Her Perils, The Dreamers (v). Rec. July 1936 – November 1943

This exceptional 7CD/10LP set keeps up the extraordinary standards that Resonance has set in issuing previously unheard or obscure material in a beautifully curated package. Here we get the opportunity to track the early career of Nat Cole from his family band in Chicago, via his first trio, right up to the moment when he was signed to Capitol. Alyn Shipton

Read the full review in the February 2020 issue

The Miles Davis Quintet

The Legendary Prestige Quintet Sessions 

Miles Davis (t), John Coltrane (ts), Red Garland (p), Paul Chambers (b) and Philly Joe Jones (d). Rec. November 1955-May 1958

This vinyl box, actually presented in the form of ‘an album’ in the way a collection of 12-inch 78rpm records were presented during the shellac age, replicates the CD set of the same name first released in 2006. The cover art and CD liner notes are carried forward to vinyl presentation, as is a compilation of live radio recordings – which had been previously unreleased prior to the CD compilation – are heard on the sixth and final disc here. These 180gm albums comprise all the tracks from Miles: The New Miles Davis Quintet, Workin’, Relaxin’, Steamin’ and Cookin’, with one track – ‘’Round Midnight’ – taken from Miles Davis and the Modern Jazz Giants. Stuart Nicholson

Read the full review in the February 2020 issue

Buddy Rich Orchestra

Just in Time: The Final Recording

Buddy Rich (d), Eric Miyashiro, Kevin Richardson, Greg Gisbert, Dana Watson (t), Rick Trager, Tom Garling, Jim Martin (tb), Bob Bowlby (as), Mike Rubino (as, f), Steve Marcus, Chris Bacas (ts), Jay Craig (bs), Matt Harris (p, arr), Rob Amster (b) and Cathy Rich (v). Rec. 19/20 November 1986

Daughter Cathy Rich’s note reports that this session was recorded at Ronnie Scott’s in 1986 using the Rolling Stones’ mobile recording studio. It turned out to be her father’s final recording. He died just five months later. Club-owner Scott’s introduction names Rich as “the world’s greatest drummer” and off they go, Rich setting the pace as the band roars in, electric bassist Amster’s huge sound and drive only matched by that of his leader, the overall rhythmic effect positively volcanic. Peter Vacher

Read the full review in the February 2020 issue