All is Yes

  • Schlüssel: CACD78550
  • den Hersteller: Cake Music (UK)
  • Herstellerschlüssel: 708857855025
  • Preis: 55,80 zł
  • Produkt empfehlen

premiera polska:
kontynent: Europa
kraj: Anglia
opakowanie: plastikowe etui

Debiutancki album post-jazzowej załogi z Bristolu, miasta, w którym narodził się trip-hop to nad wyraz udany krążek. The Blessing załozony został przez dwóch muzyków z podstawowego składu kultowej formacji Portishead, perkusistę Clive'a Deamera i basistę Jima Barra, można ich usłyszeć chociażby na najnowszej płycie zespołu 'Third'.

Oczywiście muzycznie The Blessing skręca w zupełnie innym kierunku niż trip-hopowe gwiazdy z Bristolu. Jazz-rockowa stylistyka została tutaj wzbogacona o post-rockowe dokonania takich zespołów jak Tortoise czy Labradford. Włączenie do grupy dwóch muzyków o czysto jazzowych korzeniach: trębacza Pete'a Judge'a i saksofonistę Jake'a McMurchie dało powalający efekt, muzyka zespołu pulsuje niewiarygodną energią a kompozycyjne pomysły Deamera i Barra [sekcji rytmicznej Portishead] nadają tej muzyce nowy wyraz, warto otworzyć uszy na takie dźwięki.
Krzysztof Szamot
'All is Yes' - album ze znakiem jakości JazzGazety

Jazzwise #118
The rhythm section may be familiar from Portishead, but it's hard to imagine a band further along the musical spectrum than The Blessing. This west country agglomeration play with a verve and clatter that reflects the sheer relish of their playing. Songs such as 'Cake Hole' or the single 'Bleach Cake' are all rattling high energy and crashing bass, which leave you breathless, with Judge and McMurchie barely given room to spit out a theme let alone solo.

The Acoustic Ladyland/Led Bib vibes are nakedly on view, but The Blessing also have their own voice, not to mention a scurrilous sense of humour, lack of pretension and joy in playing that sucks you along like poor Toto stuck in the tornado. Nor are the band just bang and clammer: Deamer has a wide vocabulary and tough but tender dynamic range, while songs like 'Loubia' have an unexpected African mystery, 'Thermos' has an extended groove and the hidden 'Small Fish Pond' is lounge jazz gone wonk. Enjoy, and catch live.
by Andy Robson

At last, a jazz-rock band that refuse to be called jazz- rock. They love food, they have links with people as diverse as Roni Size, Portishead and Robert Plant and describe themselves as 'jazz, not jazz'. Ladies and gentlemen, make room in your lives for Bristol's The Blessing…

Of course Bristol's always had something different in the water. It makes perfect sense that the Blessing's rhythm section has served time in Portishead (whose Adrian Utley makes a guest appearance here). That band's mixture of beats, torch jazz and full-on noise attack became notorious because it dared to ignore boundaries. In a similar fashion, the Blessing can be pigeon-holed as 'jazz', but there's so much more at work here. '60s spy movies, ska, surf instrumentals, mariachi vamping (Can't Believe In Faith), noise terror and even a touch of fusion (well, they can play in seven).

A lot of what they do revolves around some mighty riffing. It's all like the soundtrack to some hipster car chase; at once cinematic and still infused with a healthy dose of humour. Like other UK mavericks like Polar Bear and Acoustic Ladyland, this is music that's quintessentially English. Yet The sly references are never allowed to overwhelm the groove. This is music for head and feet.

Jim Barr's bass lines serve as both support and as crunchy lead instrumentation at times. The intro to opener Bleach Cake kicks in like The Attractions in 1978 and Clive Deamer's drums are as tight and springy or softly brushed as needed. Where they succeed best is on the numbers that take their time to evolve and finally break free: Loubia being the best example, with its eastern shuffle building from murmur to squall and back again. The trick's also utilised on the mighty Suzi's Suzuki, which manages to bridge the gap between Canterbury and Castle Donnington quite seamlessly.

While the odd combination of sax, trumpet, bass and drums may not seem like a likely place to start a juggernaut as playful as this, Jake McMurchie (sax) and Pete Judge (trumpet) manage to compliment each other wonderfully, with McMurchie happy blow free or simply maintain the riff while Judge coaxes any number of growls and squeaks from his horn.

Music industry types will struggle to market music as inventive and fun as this. But if you want a good time that doesn't rely on skinny boys with guitars or endless technical showboating, you could do a lot worse than buy this little gem
by Chris Jones

This Bristol based group of musicians will be most famously identified for their ties to 90's Trip-Hoppers Portishead. Drummer, Clive Deamer, and bassist, Jim Barr, have brought that same genre-welding, inventive mentality to The Blessing. Joined by saxophonist Jake McMurchie and trumpeter Pete Judge, they'll look to expand a new generation of minds with their new release, All Is Yes, and its accompanying tour. The band formed in 2000, and spent most of their time working out Ornette Coleman covers. This slowly evolved into creating material of their own, and when they finally hit the recording studio in 2006, they discovered a sound to match and expand on their diverse collection of musical tastes.
Cage The Elephant - 'A'nt No Rest For The Wicked'

The group's work is structurally unique, implementing the use of improvisation where a set of chords would generally be found. The result is as moody and atmospheric as any of their previously recorded material. The horns bounce joyfully, roll thunderously, and conjure images of all varieties. The Portishead rhythm section is back on track, in old form once again. Barr's bass entrances, changing pace on a dime; never out of step with the head bopping beats laid forth by Deamer. Whether a fan of Jazz, or of progressive music as a whole, this is surely an album to pick up, and live show to catch.
reviewer: Carl Capenter

Jim Barr: bass, vibes
Clive Deamer: drums
Pete Judge: trumpet, glockenspiel
Jake McMurchie: saxes, gong
Adrian Utley: guitar
Tammy Payne: vocal
Gina Griffin: violin

1. Bleach Cake
2. That Ain't It
3. Another Brother's Mother
4. Cake Hole
5. Loubia
6. Can't Believe In Faith
7. Thermos
8. Suki's Suzuki
9. Equal and Opposite

wydano: 2008-02-07
more info: www.candidrecords.com
more info2: www.theblessing.co.uk

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