Undiscovered Soul: The Right Now

The Right Now (group)

Gets Over You (Right Now Music; 2012)

Stefanie Berecz (vocals)

Chris Corsale (guitar)

Jonathan Edwards (sax)

John Smillie (drums)

Greg Nergaard (bass)

Brendan O'Connell (keyboard, guiar)

Jim Schram (sax)

You remember the first time you heard Brand New Heavies, Beverley Knight or New Mastersounds? Well, that same excitement and awe is what you might feel when you take listen to the Chicago band The Right Now. I'm not sure how I stumbled upon them but I'm glad I did. A real sense of 70's and 80's soul that is balanced but is energized by the modern (yet retro) vocals of Stefanie Berecz.

The band's first album, Carry Me Home said a lot about the sextet's intentions. Here was a serious soul band emerging from one the most important soul hubs of America's Midwest with a vibe that is completely universal. It was fun, raucous and oozing with deep sumptuous vocals, lyrics of empowerment and funky beats.


The new album, Gets Over You is killer from the opening chords of 'Can't Speak For You." I almost felt like I was listening to Beverley Knight fronting BNH. The big fighting words of "speak for yourself, 'cause I can't speak for you" tower over you like giant wave. It may be a girlfriend speaking to another girlfriend about standing up but it can also tell all of us that we can all stand up against our own personal demons.

"Can't Keep Running," another song of love and loss pulls you into the Chicago Rhythm and Blues mode with passionate delivery from Berecz. The guitars from Corsale and keyboard work from O'Connell give the piece a dreamlike atmosphere which is balanced by the low toned horn work in the background.


"I Could Kiss You" is another deep soul groove packed with dense playing from Edwards, Schram and Nergaard. Berecz's presence reminds me of the more recent Bettye LaVette material - slightly raspy and a screaming representative for the lovelorn.

"Half As Much" is a massive punch in the face with a soul-hammer! All instruments are in unison here and the group just project a solid roundabout of R&B that if you aren't infected by the end of this 3 minute dissertation on love, there's something seriously wrong with you. Smillie's drums go from funkier to penetrating at the flip of a switch.


And if that weren't enough, they blast off with "Call Girl," a soaring piece of funk that will definitely get you thinking Brand New Heavies (with N'dea Davenport). Closing out the disc is the midtempo romp "Til It Went Wrong." Flowery melodies and groovin' hooks will definitely set you in place with the best soul tracks from the '80s. 

An absolutely perfect collection that balances out the past and future of soul. Chicago's answer to Sharon Jones and the Dap Kings? Maybe. But really these two bands go in very different directions on the soul scale. Gets Over You is a confident and well accomplished effort from The Right Now that should be on everyone's list by the end of 2012. It is definitely one of JazzWrap's Albums of the Year. Highly, Highly, Highly Recommended!...Oh, wait....Highly Recommended!

Phronesis: Walking Dark

Phronesis (trio)

Walking Dark (Editions Records; 2012)

Jasper Hoiby (bass)

Anton Eger (drums)

Ivo Neame (piano)

The blistering rise of Phronesis over the last few years is astounding and well justified. The trio along with the Neil Cowley Trio and Kit Downes Trio have been one of leading lights of the modern British jazz scene. Their counterparts Polar Bear, Get The Blessing and Led Bib take a more avant garde approach but Phronesis have set out in more contemporary fashion and developed into a tight knit outfit that delivers a solid statement each time out.

Their latest, Walking Dark stands as another important piece in the work of a trio that is ready for the next level recognition. "Democracy" spells it out for this dynamic trio. Neame's playing is nimble, playful and wrapped in crisp precision. Hoiby's bass fills the room with a warm resonance that holds the listen tight to attention. The drums are soft and Eger compliments his bandmates supreme agility. "Charm Defensive" is an introspective piece that is calm and revolves around the subtle notes of Neame and bold hues brilliantly executed by Hoiby.

"The Economist" is slightly more uptempo with some propulsive beats and rhythms constructed by Neame and Eger. The pace is strong with intense velocity. The pieces change pace and timing quickly but it's never jarring. There are complicated notes throughout "The Economist" but Hoiby and his mates project a flexibility to the number that you glide perfectly through it. "Eight Hours", which originally appeared on the live album, Alive, solemnly closes the album with joyful melancholia that has a lovely breath and depth that feel more in the studio than from it's predecessor.

Walking Dark is again another step in the right direction for Phronesis. They have already separated themselves from the pact; but hopefully this is the record that capitalizes on what many of us already know. Phronesis are a one of best bands in England. And deserves your undivided attention.

Plaistow: Lacrimosa

Plaistow (trio)

Lacrimosa (Insubordinations Netlabel; 2012)

Cyril Bondi (drums)

Johann Bourguenez (piano)

Raphael Ortis (bass)

Swiss trio, Plaistow have only been on the scene since 2007, but have slowly developed and crafted a style that has become more experimental and adventurous with each release. Starting in a post-bop style similar to E.S.T., RGG or Keith Jarrett Trio this trio have continually branched out. Plaistow's last album, The Crow set the tone for what would come today. A mixture of soft tones and forward thinking themes. In some ways you could liken it The Necks. But slightly different than their Australian counterparts, Plaistow add a bit of melody into the mix. Melodic but moving. 

On the bands fifth release, Lacrimosa, they have achieved a combination of existential bliss and infectious grooves. Plaistow exemplify this with the two lengthy tracks that make up this spellbinding document. The title track moves gently in a revolving pattern that is reminiscent of The Necks or Philip Glass solo. Bourguenez has displays a steady yet fast coordination at the piano. While Ortis' bass melds into the notes like a calm heartbeat. As the piece moves into its middle stages Bondi's drums become more apparent and the trio starts to build on a groove. And just when you think it's going in a more song structured direction,  the trio stop cold and return to an ambient pace and ride you out to the finale.

The second piece, "Cube" is more uptempo (so to speak) with Bondi and Ortis being the focal point in open chords. The notes of circular but present almost an indie rock feel to them. Bondi hits the kit with fury and Ortis becomes almost haunting in what feels like a deep two note plucking. Bourguenez joins in late on to add a tanscendent tone to the piece. Then "Cube" begins to get very experimental with Ortis and Bourguenez stretching and bending the sound barrier on their instruments with swirling psychedelic and eerie effects. The piece closes on the rock theme note in which it opened. Stellar to say the least.

Plaistow are really finding their voice and developing into a band with great ideas. If you haven't discovered them yet, now is the time. Lacrimosa is an album that should not be missed. And if you are in a European country, you must see them live (and let me know about it). I only wish I had the chance. 

Plaistow - Lacrimosa (Live In Strasbourg, 17 nov 2011) from Plaistow on Vimeo.

Jonathan Blake: The Eleventh Hour

Jonathan Blake (drums)

The Eleventh Hour (Sunnyside; 2012)

Ben Street (bass)

Kevin Hays (piano, fender rhodes)

Jaleel Shaw (sax)

Mark Turner (sax)

Tom Harrell (trumpet)

Gregoire Maret (harmonica)

Robert Glasper (piano, fender rhodes)

Tim Warfield (sax)

While the most popular jazz musician around at the moment might be Robert Glasper, I wanted to discuss another musician who is utilizing the urban landscape as part of his journey in transforming the view of jazz.


I first came across Jonathan Blake on a couple albums by Japanese American soul singer, Monday Michiru (who you really need to check out as well). He has also worked with a number of jazz artists including Tom Harrell, Russell Malone, Kenny Barron and Oliver Lake. From all of these and more sessions, his playing has expanded with a gentle, soulful tone that can turn fierce at the blink of an eye.

It's amazing that its taken over 15 years to emerge with this debut, The Eleventh Hour. But it is an impressive debut that was worth the wait. Blake's diversity has shown an array of musicians that sit in on this session (including the aforementioned Glasper). The title track opens the album with a soulful, almost acid jazz vibe. Glasper's fender rhodes adds that funky psychedelia to this fine throwback piece. Blake's beats are infectious and well matched by deep reaching tones from the always focused Hays, Shaw and the incomparable, Mark Turner. 

"Rio's Dream" is more understated and romantic. A midtempo ballad where Blake's performance is subtle, he allows Hays to perform a rhythmic stance in guiding the group. Shaw and Turner are in solid conversation and provide a dynamic that is of the highest order.

"Of Things To Come" is a fast paced hard bop number in which Blake's rapid fire precision is essential. His writing also allows rest of the group an opportunity to fly; like street sounds, almost beatnik in some of the plucking. Shaw and Turner sound so in tune with each other that you wonder why they don't record together more often.

"Canvas" is an optimal closing number that brings the outing back into soulful focus. A soft bluesy ballad that has some free flowing element to it is also highlighted by Gregoire Maret and Robert Glasper's emotional yet abstracting constructions. A solid closing argument.

With The Eleventh Hour, Jonathan Blake has created a document that is moving, melodic, diverse and soulful. It's an album that should garner the same praise Glasper's effort in re-imagining the popular scene of American jazz. Highly Recommended.