Chris Dave And The Drumhedz’s Self-titled Debut Album

Chris Dave, the recognized drummer who supported amongst other Adele and Justin Bieber, released his self-titled debut album with a large group of experienced musicians called the Drumhedz in 2018. With it, he exhibits things he couldn’t before. The album is a contemporary oeuvre. One in which elements of funk, soul, gospel, R&B, and hip-hop are fused with jazz.

The drummer got exposed to various music genres from a young age. His father was a soul and jazz fan, his mother listened mainly to gospel, and his brothers were obsessed with the funk sound from the seventies. Thanks to this daily exposure to various but related musical styles, he created a distinctive approach to the drum kit. It enabled him to adapt to any musical setting. Whether he plays jazz or soul, hip-hop or pop, Chris Dave has no issues adjusting.

Chris Dave And The Drumhedz might be playing music powered by various music genres, in their debut album they remain committed to the jazz traditions. It is one of those bands that supported jazz in entering the mainstream.

Chris Dave And The Drumhedz: NPR Music Tiny Desk Concert

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Alfa Mist’s “Bring Backs” Blends Jazz with Spoken Word

With his third studio album, the British producer, songwriter, and self-thought pianist Alfa Mist reflects upon his sampling and hip-hop days on the streets of London. After self-releasing his two previous albums – Antiphon and Structuralism – Alfa Mist partners with the American independent record label Anti- for his next body of work, Brings Back.

Alfa Mist is a London-based producer, rapper, and pianist. To be both a hip-hop rapper and a jazz pianist is unique on its own. Learning that both skills are self-thought makes him inspiring. Alfa Mist started to create music on the streets of East London when he was only 15 years old. Being a teenage hip-hop producer eventually led to the discovery of jazz music. ”There’s no access to jazz where I’m from,” Alfa says. “There’s no way I would have come to it without finding those hip-hop records and wanting to understand them.” Learning the piano enabled him to improvise and creatively fuse jazz with hip-hop. By 2015, he built his network and established himself as a leading figure within the vibrant and rapidly evolving London jazz scene.

Change is inevitable
The isms and schisms, questionable
The future is out there, a matter of time

Hilary Thomas

Alfa Mist’s first official release was the collaboration project with singer Emmavie titled Epoch. This independent release from 2014 is strongly influenced by avant-garde R&B and, it already blends jazz, soul, and hip-hop. His first solo release came in 2015 with the extended play Nocturne and, two years later, he released his breakthrough album titled Antiphon. In 2017, he followed up with his second full-length album, Structuralism. Bring Backs is the third in a series of recognized and welcomed Alfa Mist albums. The album captures Alfa Mist’s rap and piano skills. It blends contemporary jazz with R&B, soul, hip-hop, classical, and spoken word.

The reflective musical voyage alters between an instrumental atmosphere and vocals in the form of rap and spoken word. The lyrics, a poem by Hilary Thomas, is what binds the album together. A total of four vocalists support the album. On the opening track, “Teki,” we hear Hilary Thomas open her poem with a spoken-word piece: “Change is inevitable. The isms and schisms, questionable. The future is out there, a matter of time.” In the song “People,” Kaya Thomas-Dyke sings in what is more a guitar-driven ballad. Alfa Mist is the third vocalist we hear, and he does it the way we expect. “Mind the Gap” dives into hip-hop and rap but keeps the loungy jazz backing. Alfa Mist’s rap gets support from the rapper Lex Amor who brings a softer touch to the track.

Alfa Mist in the studio during the Bring Backs recordings

Bring Backs got recorded in London together with an ensemble consisting of close friends and longtime collaborators, which makes things more personal. For the album’s title, Alfa Mist drew inspiration from a card game he played as a child. In the game, after winning a round, you can be brought back to play again, meaning that winning is never a sure thing. With it, Alfa Mist refers to his childhood. He lived in a constant state of uncertainty and instability. “You can be doing okay for a while but, that can change. You know that’s always a possibility,” he explains. The unpredictable and inevitable future is a recurring theme on the album.

The album is a confirmation that Alfa Mist will have more to offer in the future. He shows his ability to blend various musical styles and instruments into one meaningful oeuvre. Being a leading figure in the London music scene definitely influenced the album’s creativity.

Alfa Mist – Bring Backs (Live at Metropolis)

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There Is No End: Tony Allen’s Final Drumroll Is a Message For the Next Generation

There Is No End is the album Tony Allen was working on before passing away at the age of 79. His fellow collaborators finished the recording and posthumously released the album on April 30, 2021. It’s the afrobeat pioneer’s final drumroll, one in which he created a platform for the next generation of rap and hip-hop.

Tony Allen’s beats on the drum are the foundation for There Is No End. It is the message he left behind. Allen spoke about his aspiration of working with young and rising musicians. He intended to share his rich knowledge and experience while promoting new talent. However, the drummer did not live to collaborate with this next generation. Tony Allen passed away on April 30, 2020, but the project was kept alive.

“I want to take care of youngsters; they have messages and I want to bring them on my beat. The idea is to transmit to the young generation, to mix different universes: the hip-hop world to the Afrobeat world.”

Tony Allen

His advanced and accomplished drum skills got recorded and sampled into tracks by producer Vincent Taeger, who also arranged and released the album. As intended by Tony Allen, various musical artists such as Zambian-born rapper Sampa The Great or the Nairobian singer Nah Eeto, recorded vocals over Allen’s beats. The result is a hip-hop album with a clear afrobeat presence.

Nigerian poet Ben Okri said, “This man could have lived another 150 years and kept creating new worlds … he wanted the album to be open to the energies of a new generation.” If Allen would have lived another 150 years, there is no doubt he would go on and inspire others. There Is No End, but also his previous albums Rejoice and The Source, are a demonstration of Allen’s remarkable musical understanding and, at the same time, give a tantalizing peek into his future as a musician.

Tony Allen ft. Sampa The Great – Stumbling Down

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A Collective of Musicians Re:imagined the Blue Note Catalogue

Ever since its birth, jazz music has continuously evolved into various subgenres. The American record label Blue Note Records, which got established in 1939, played a significant role in this evolution. The company is a landmark in jazz music and has an extensive song catalog that includes many acclaimed jazz standards. Their new release Re:imagined is a compilation of Blue Note originals brought to you by a unique selection of musicians who’ve taken on jazz, soul, hip-hop, and R&B as their musical narrative.

Blue Note describes the album as “a bridge between the ground-breaking label’s past and future“. The driving force behind this highly anticipated project is a new and vibrant scene of mostly UK-based musicians. They are a group of forward-thinking artists that innovate, even reinvent, the genre through sampling, hip-hop, afrobeat, and dance music.

The compilation album features, among others, Shabaka Hutchings, Nubya Garcia, Alfa Mist, and Jorja Smith. They perform their take on Blue Note classics, often transformed into an easy-to-absorb contemporary remake.

“This 16-track compilation finds today’s youthful, often London-based renaissance in dialogue with the revered New York label’s deep back catalogue.”

The Guardian (review by Kitty Empire)

Not all songs on the album are adaptations of historic jazz standards. Singer-songwriter Jorja Smith opens the album with an electronic and upbeat transformation of St Germain‘s hit song Rose Rouge.

Inner sleeve artwork

Noticeable are the transformations of four original compositions by Wayne Shorter. The American jazz saxophonist composed many acclaimed jazz standards and, it’s no surprise that he is listed here multiple times. He had an influential career and, his contributions to jazz were paramount. In 1959, he joined Art Blakey & The Jazz Messengers, where he replaced Hank Mobley. And in 1964, he joined Miles Davis‘ second (great) quintet and co-founded jazz fusion.

His compositions spotlighted on Blue Note‘s Re:imagined are Footprints, Armageddon, Speak No Evil, and Night Dreamer.

Footprints is a composition that was originally recorded for his album Adam’s Apple. The track got reworked by the London-based Ezra Collective, who are adding beats to the original. The jazz standard Armageddon got transformed by the Norwegian group Fieh into something that best can be described as neo-soul. The last two, Speak No Evil and Night Dreamer, are cleverly fused into one by Emma- jean Thackray. The songs transform into an adventurous arrangement where, also here, beats dominate.

London Jazz News writes in their review that “for some heritage-loving jazzers this whole vault-raiding exercise will be sacrilege“. They also comment on the life expectations of these adaptations versus the originals: “Some of Blue Note Re:Imagined‘s supposed updates will vanish long before the originals fade and the results often aren’t “jazz” – but the spirit of adventure and imagination in a good number most definitely is.

All in all, despite how the album is being viewed by “heritage-loving jazzers“, and despite it being a compilation, the record is spirited and exhilarating. It’s shelved among the best albums released in 2020 as it spotlights a new wave, and helps you discover the latest in music.