The Intersection: This Ain't Chicago

Various Artists

This Ain't Chicago (Strut Records; 2012)

I guess it's probably fitting to discuss a dance record on Friday. Usually club night for the younger generation. What's not common is to be reading about it on JazzWrap. Well that's because every once in awhile I like to kick one into the terraces.


So drifting back into my youth came the new compilation, This Ain't Chicago guided by the stealth hand of DJ Richard Sen. And it is killer education into the early roots of the UK House scene. This collection isn't out until July 10th, but I couldn't hold back talking about it.

While everyone may know my affinity for Detroit and Chicago dance music and its subsequent effect on the UK (in particular A Guy Called Gerald); you may not know or remember the majority of stellar releases from the UK during the early years. We are talking mostly 12'' and maybe a few EPs. Sen has deftly compiled these into a smooth and cohesive document that is as enlightening as it is danceable.

Ability II drop an extended trance beat with "Pressure Dub" which features a pulsating bass, crunching synth patterns wrapped inside some beautifully looped vocals and hand claps. "Bang Bang, You're Mine," from Bang The Party comes crashing down sensually with what feels like a sample of New Order's "Thieves Like Us" hiding underneath (I'm not sure about that but that's what I felt). One of those late night tracks that should play work well during a live DJ set.

One of my favourite groups/artist during this period was Babyford. Here during his early period with a typical statement piece "Crashing" which is hypnotic and reverberates long after it's over. "Iron Orbit" and "1966" (by Static and M.D. Emm respectively), start a period of haunting house beats. Very electrifying and fast paced with pounding hand claps and drum effects. Excellent.

Rio Rhythm Band adds a Latin flavour to this collection. Their track "Cubba Jakkin'" has percussion layered over a furious yet fun-natured keyboard pattern and high whistles. Funky and jacked up for the floor.

With This Ain't Chicago, what Richard Sen has assembled is a stellar collection of UK house tracks that seriously stand the test of time. With a nice mixture of heavy beat tracks, vocals and dub, Sen curates a musical journey that moves with the night. This Ain't Chicago is a perfect and probably only way to get some of these gems without paying through the arse. But for the most part its a great education on what was happening as Detroit and Chicago began to influence it's counterparts across the way. Highly Recommended.

Zero Centigrade: Umber

Zero Centigrade (duo)

Umber (Obs Music; 2012)

Tonino Taiuti (guitars)

Vincenzo de Luce (trumpet; electronics)

Crafting harmonies from nowhere is what improvisation is all about. But the duo Zero Centigrade seems to make it an easy habit. With Umber, their third release, they yet again conjured up sounds and moods that are haunting, inviting and beautiful.

Silence and the search of sound tend to make up the structure of each Zero Centigrade project. And this manifests itself early on "Tumble Down," where sudden bursts of acoustic one notes alongside stretches, creaks and found noise slowly break into your psyche like a bad nightmare.

"A Strange Season I" showers with the continued influence the blues has had on the duo. Slow patterns emerge but always evolving around Taiuti's heart tugging yet distant melody. Raw, emotional and still forward thinking. Imagine if American alt-blues guitarist Chris Whitley played with Throbbing Gristle (I sure hope some of you get that). 

The inward nature of "Stalk" and "Reflections" makes for a compelling listen. You will hear the strains of forgotten notes passing between each musician. "Far Horizon" feels distant and aching. Propelled by de Luce's superb use of electronics and Taiuti almost folkish improvisation this piece travels a long way very quickly before fading. 

Another stellar almost "third-stream" outing for Zero Centigrade that shows a continued growth and desire to see what soundscapes they can capture in a short period of time. Umber is an album that won't treat you nicely unless you let it. The beauty lies in the details. Not designed for everyone but you will find elements that will affect you in different ways. Worth seeking out.

The Intersection: Ebo Taylor

The Intersection is an ongoing feature on JazzWrap that looks at artists that have blended jazz, world and electronica in new and highly creative ways.


Ebo Taylor (vocals; guitar)

Appia Kwa Bridge (Strut Records; 2012)

Pretty much since arriving back on the scene (acclaim-wise) in the last five years, Ebo Taylor has become one of most notable world music/Afrobeat artists around. His last record, Love And Death was one of JazzWrap's records of the year in 2010. Now Taylor has done it again for us with the release of Appia Kwa Bridge.

A terrific blend of jazz, Africa and folk rhythms that is emotional powerful and musically stunning. Built around love, loss, fear and rejuvenation, Taylor takes you on a journey that is for brave. Beginning brightly is "Ayesama," a victory song of the Ghanain ethic group Taylor belongs to, the Akan people. This group holds great stature throughout the community, not in the sense of elites but in sense of standing up for what they believe. This anthem could easily be adopted as the sign of strength for others feeling oppressed and need to be uplifted and reach higher for victory.

"Nsu Na Kwan" builds on a number of percussive beats but is also driven by Taylor's soft and enthralling delivery both on guitar and vocals. "Appia Kwa Bridge" is a meeting place for friends, lovers and more to express their views and outlook on life, love and beyond. Boyuant and filled with dreams, this bridge could tell the story of many Ghanaians.

"Barrima" is the most affecting track on the album. Speaking directly to the loss of his wife just a few months ago, this track has all the emotional impact that live on its own from the rest of the album.  The piece is Ebo alone, on acoustic guitar with only his soul on show. Touching and embodying why music is important to our lives.

With Appia Kwa Bridge, Ebo Taylor has going back to his acoustic and lyrical roots. It's even more dynamic than Love And Death but shows the living legend has more messages to deliver to us all about life and how to live it. One of our albums of the year. HIGHLY RECOMMENDED!

Tom Tallitsch: Heads Or Tales

Tom Tallitsch (sax)

Heads Or Tales (Posi-Tone Records; 2012)

Dave Allen (guitar)

Mark Ferber (drums)

Jared Gold (organ)

You know those albums that you fall in love with immediately after about two songs in--well this one of those albums. Tom Tallitsch delivers a killer does on hard bop that is fueled by both some heavy chops as well as crisp songwriting. His fourth album (first for Posi-Tone), Heads Or Tales is simply an awesome display of muscle and dynamics.

Like a late night jam session, Heads Or Tales kicks off in fine form with "Coming Around," a real barn-burner. Tallitsch rips through a number of chords and his newly assembled quartet adds fuel to the fire with Allen and Gold sparking hot exchanges that match the saxophonist's muscle.


The luscious ballad, "Perry's Place," is absorbing. Tallitsch gives a deep soulful performance that instantly grabs you. Gold's organ stays close with a rhythm providing strong effect. Feber's drums are tempered here but still add soft touches just under the melody.

"Travel Companion" is a well paced midtempo piece in which Tallitsch allows Gold and Allen to show-off some solid individuality. Tallitsch comes back in to bring the band home with some warm tones as closing notes.


"Dunes" moves along swiftly and sweetly. Ferber conjures up some nice patterns that rise and fall alongside Tallitsch rhythms. Allen lays down some chords that felt almost early George Benson-esque. For some reason I kept gravitating back to this track. There's something quietly entrancing and beautiful about the harmonies that you might find as well.

Closing out on Neil Young's "Don't Let Bring You Down" is pretty brave. And you almost don't recognize it until you get to the chorus. This introspective ballad gets a heavy treatment that ends up being more surprising than you would originally imagine. It's treated with care but still creating its own identity.

Heads Or Tales is more than just another solid session for Tom Tallitsch. It's a document that really should awaken the eyes and ears of many would need to know his name and his skill as a composer and musician.