21st Century Grasslands by Kai Alami is an enlightening emotive album and the first chance I have had to listen to
With a variety of sounds and instruments mostly in a folk Celtic direction. Kai Horsthemke’s fretless bass sound is full rounded and satisfying. It’s the first fretless bass I have listened to extensively and I love it!
Rhakim's voice is entrancing and haunting. One feels they are in a modern mythic fairytale -perhaps by a fireside, in an Ancient Town or in the gentle rain
I particularly enjoyed the Irish Flute!
The Magic Farmer/Sam's Song/Heartland is probably my favourite, along with Om Mani Padme Hum and Irgendwie and Taus Lullaby…I can’t choose

Right, onto the music! I don't know who was responsible for writing, arranging or producing - I would love to have named these people, because
every track on Dambuster is thoroughly enjoyable, imaginative, well produced and wonderfully played.

For my money, the songs have that essence that makes them appealing to listeners across generations and walks of life. Llewellyn's fine bass-playing can be heard beautifully throughout the album, but my favourite track for showing off his machine-gun precision is Ponte Pilot - have a listen to the straight 8ths grooving effortlessly into a reggae riff...can't wait to see this live. The songs are subtly crafted to lift you and drop you, mellow you out and even fill you with rage. I love the sense of humour on this album: Tot Scenes is all about good-byes, Cuffs 'n Dogs covers that embarrasing police-dog incident, and Click Click...well, it just appealed to me. Another track I really enjoyed was Fossil Fuel, making use of some great vocal and "audience" effects. Unfortunately, Quicksand ran out a bit soon on my copy of the cd due to some glitch in the matrix...or was this planned? I'm not sure. But what I am sure about is that this album is a fantastic piece of work, as far as I'm concerned, and I'd love a signed copy (hint, hint).

Each musician is absolutely spot-on with their playing and I am pleased to report that not only is the edgy voice of Mac Vandermeer a pleasure to listen to, but he annunciates beautifully as well. The vocals are also mixed just right - not masked by guitars, nor "cabaret" and too high above the level of the band.

‘Abstractions’, recorded in 1988, after Carlo’s move to Germany, with Jürgen Seefelder on tenor and soprano saxophones, guitarist Peter O’Mara and drummer Billy Elgart, reprises some of the tunes from ‘On the Other Side’ – in fact all apart from Princess and Deep Impressions (with the latter reappearing on ‘Happy Sad’). Like the LP, it is testimony to Carlo’s infatuation with ECM-style/ sound chamber jazz. It’s Cold, I said begins with that weirdest of intervals, a flattened second (my ears make it Eb-D), before Carlo sets up the theme and pulse that has Seefelder soaring, with the initial theme neatly book-ending the piece. It’s For You belongs to the genre ‘new improvised music’, yet not quite ‘squarely’ so, as it is peppered with themes and hooks, a tune that wouldn’t have sounded out of place on an Eberhard Weber recording. One-minute jewel Abstractions shows Carlo’s unique and distinct bass voice – gliding, shimmering fretless –, before My Inspiration demonstrates his more conventional side. A relaxed bossa, it still contains enough weirdness, however, to make it slightly un-easy listening. A gem. On the Other Side has Seefelder assuming Duke Makasi’s not inconsiderable mantle from the original recording. Angular, a celebration of alterity, it contains a killer solo by Carlo. Journey of My Dreams is a completely left-of-centre march that gets to rock out in a big way, with Seefelder flying and O’Mara, too, turning in a blistering solo. Dancing Thoughts, well, dances and shimmies, and Wailing has Seefelder and O’Mara ‘keening’ in lament over Carlo’s hyper-elastic fretless and Elgart’s drum bombs.

1990’s ‘Happy Sad’ features the same band, with the sole exception of the saxophonist, Seefelder’s role having been assumed by Charlie Mariano on alto sax and flute. Deep Impressions introduces the wind tube, so popular during Abstractions’ SA performances, shadowed by Mariano’s flute, before Carlo sets the tone for the album, with that strange combination of rubbery-yet-reflective bass playing, on a gorgeous 12-minute journey. Happy Sad is a beautiful happy-sad ballad on which Mariano shines, as does O’Mara. I Drank My Coffee and Dreamt and My Friends and I were ‘popular favourites’ (if I can use this phrase here) of coffeeholic Carlo’s JHB gigs and are reprised to great effect here. Coffee is angular, jerky, and soon goes into breakneck swing, with Mariano squealing and wailing and O’Mara on piercing lead. The rhythm section’s propulsive energy is quite exhilarating here, on a track that reminds me of Ronald Shannon Jackson’s Decoding Society. By contrast, Friends is gentle, wistful, with O’Mara’s acoustic guitar anchoring the tune in Methenyland. Somewhere, Out There – well, isn’t quite as ‘out there’ as some of Carlo’s music, but it is still generously boundary-nudging. Zambezi is instantly, recognisably Mombelli, providing a hint of a longer river journey that would be embarked on by the bassist’s later outfits. Remember Lucia also makes its first appearance here, a meditative vehicle for Carlo’s unorthodox bass solo and Mariano and O’Mara’s sympathetic excursions over a (broadly) bossa rhythm.

Although ‘Bats in the Belfry’ is credited to The Prisoners of Strange, it is not yet Carlo’s cohesive South African unit of the same name. The last of his ‘German’ albums, it is a 1996 live recording, courtesy of Bayerischer Rundfunk, that also features Roberto Di Gioia on piano, trombonist Adrian Mears and drummer Wolfgang Haffner. My Friends and I is performed here as a gentle, piano-led ballad. Carlo’s bass sounds more upright than growly, as it did for example on the earlier recordings. Wailing is no less intense than the original, with Di Gioia and Mears now carrying the lament over the rhythm section’s sparse-yet-elastic backing. Requiem is a brilliant composition, a moving dirge, before Carlo interrupts proceedings with a very acoustic-sounding fretless break and then introduces a second, minimalist lament that allows Mears to get down and tearful on the ‘bone and ends with Di Gioia’s piano in quiet reflection and acceptance. A superb piece. The less-than-concisely monikered The Hurricane of Silence was the Author of My Tears follows almost logically, certainly in terms of mood. The tune is a little more angular, ending in voice/ body percussion – perhaps a little implausibly so. The tongue-in-cheek vignette Battery Powered Life is followed by The Marathon Runner, a band version of Carlo’s tribute to Jaco (on the bass anthology ‘Basstorius’). Untitled Prayer has a gorgeous melody, and while Carlo’s singing is an acquired taste his moody whisper is wholly appropriate here. The second part of the piece is more exuberant, with full-blown Cape Jazz elements. I Drank My Coffee reprises the Abstractions favourite, a celebration of the inspirational properties of caffeine, that gives Mears a chance to shine, utilising trombone delays. Interestingly, Carlo decides to dispense with the caffeine-fuelled swing of the studio original. Comma … is a solo bass miniature that ends the album on a gently melancholic note.

‘When Serious Babies Dance’ features The Prisoners of Strange as we’ve come to know them. Recorded in 2002, it indicates a broadening of Carlo’s vision. Perhaps equal parts ‘world’ and chamber jazz, it contains a series of gems in the bassist’s compositional catalogue. Basil, Roses, Lemons, Love is an instantly engaging tune that features Nontuthuzelo Puoane and Siya Makuzeni on vocals and segues seamlessly into Unlock the Wisdom Door. Bass Spirits has bass improvisation over bass harmonic loops and effects. The band, Marcus Wyatt on trumpet and flugelhorn, Sydney Mnisi on tenor and soprano saxes and drummer Lloyd Martin, is in cracking form here, as elsewhere. Remember Lucia is reprised with an intriguing quote from Duke Ellington’s Mood Indigo. Sunlove, dedicated to Carlo’s wife Sandra, has an engaging melody and is sung by Siya. Observations from the Hideout is an excerpt from a longer piece Carlo was commissioned to write for ‘new music’ stalwarts Stockholm Saxophone Quartet. An evocation of dusk in the African bush, with its many surprises and indelible images, it also features valve trombonist John Davies and Allan Thomson on bass clarinet. Maria, Are You Dreaming Again? introduces Carlo’s daughter Maria on birthday wish voice and John Fourie on scintillating guitar, over Carlo’s bass-chordal accompaniment. 87/99 is a piece the bassist began in 1987 and finished in 1999 – and spans the time he spent in Germany, presumably. Siya’s voice and Marcus’s muted trumpet are used to great effect here. Zambezi is all snaky bass, suggesting Southern African harmonic content, with Mnisi and Wyatt in tight ensemble playing. Fourie features on guitar and Siya turns in another memorable vocal on Me the Mango Picker, Carlo’s ‘homecoming’ tune. Surdo is a bass miniature, bass imitating percussion instrument, that leads directly into Gismonti, a tribute to the Brazilian guitarist/ pianist that features Carlo on chordal bass, showcasing his impressive harmonic knowledge, over and above flawless technique. Both the bossa ensemble playing and the jerky middle section indicate just how tight the band is (which is a joy to experience live!). The title track has Carlo experimenting with e-bow and loops, and the groove is – well, the sound of serious babies dancing: full marks for an appropriate title here. Fourie is again on sprightly guitar, and the tune’s stuttering funk is another showcase for the well-oiled brass and rhythm section. Carlo intros the last number, Mombellibutton Sketches, on electric piano. It is, indeed, a series of sketches, in stark contrast to the more accessible piece that opens the CD: a further indication that Carlo won’t be content with resting on his laurels or doing what everyone expects: he is likely to continue defying listeners’ expectations.

At least that is something we’ll be able to expect. Now will someone please reissue ‘On the Other Side’ on CD!? Damon Forbes? Benjy Mudie? Anyone?

Martin Simpson (bass guitars, keyboards and drum programming) and David Hearfield’s (guitars, vocals) project is, in essence, a serviceable set of demos. The tunes and the vocal arrangements are pleasant enough, and Martin turns in suitable bass lines throughout. Skin Deep, the title track, is a good tune – Martin’s bass plays a pivotal part here, and the growly, early 70s synths are used to great effect. The piece ends rather abruptly, which is unfortunate. Her Darkest Hour is a Rare Bird cover – so Martin tells me (I’m only familiar with the band’s ‘Epic Forest’, ‘Born again’ and ‘Somebody’s watching’ albums): a beautiful song, but essentially a demo. It cries out for harmony vocals, live drums and a more anchoring role in the bass department. Does it have to be Goodbye? Is my next favourite among the original compositions – great tune and vocal arrangement, but the bass and keyboard lines are waging avoidable rhythmic warfare here. And be Lonely and the final track, What I Say Today, too, are enjoyable. This ostensively being Martin’s first venture into drum programming and keyboarding, the programming is leaden and fairly pedestrian throughout, while the keyboard parts have, well, the ‘Look, Ma: one finger!’ charm of late 70s New Wave. In short, then, song-wise there is not a single dud here, and the tunes really deserve to be re-recorded and produced more imaginatively.

Okay, here are my favourites on Martin Simpson’s ‘Lost in Space’. The Quarterican is pretty much Martin’s signature tune, a focused little number that has the bassist’s hands all over the fretboard, a concise solo bass feature that clocks in at just under two minutes. Get Lost is a great prog epic, with sterling contributions by guitarist Mauritz Lotz and drummer Larry Rose, and Martin himself on huge bass and bubbling, growling keyboards. My suggestion would be to edit out Judy Marshall’s vocal interjections, which are just plain irksome, as they are on all the other tracks – bar the solo bass feature. Midway through the piece, things really start percolating, and even at over nine minutes, there’s no room for tedium here. My third favourite is Orbit, balls-to-the-wall rock, with an enticing flute feature, courtesy of Annerine Tomlinson. The piano coda (Dave Sharp) works less well for me: it somehow appears to be tagged on as a bit of an afterthought, but it doesn’t detract from the overall spirit of the piece. The two versions of Space Rock are marred by the drum programming, vocal bits and by Heinz Schrader’s saxophone (on Splash Down) that, well, never really lifts off.

In summary, then, these CDs comprise two good sets of demos and a satisfactorily produced set of tunes that would benefit from some doctoring, by way of adding live drums, excising the vocal bits and adding a really stratospheric horn. (You owe the bass world that prog album, Mart!)

Firstly the disk didn't work on any of my home HiFi's (that’s because It was a pirate copy burnt on a dodgy cd – Mart) - but it did work in my car system. That's cool because I can only listen to it when I go to gigs (or visit the lady friend) and get inspired.

This disk really consists of love songs with a late 80s feel (correct me if Im wrong).The kind of stuff played on 'Webster or the Cosby show',-I loved these shows. I liked tracks 3 to 7 the most though!

Track 4 :'the island' has a really catchy solo bass melody.

Track 5: 'Call on me' is also a catchy pop/love song and had me singing the chorus in the car.

Track 7: 'Sweet dream shuffle' has some cool slapping, perfectly suited to the song.

Tracks 8 to 11 are where things slow down a bit-(great for those picnics on Clifton beach with the one you love).

Technically one cannot fault Trevor’s playing and his phat tone. Looks like the one and only white Jazz bass on the inside cover loaded with active pickups.

To conclude: This is a great album giving us the public, love songs (is that Barry White I hear) and a small taste of what Trevor has to offer on the bass and vocals. A strong focus on the songs and arrangement as opposed to hectic 'bass in ‘ur face bombardment! (Which also has its place somewhere).

I look forward to meeting and watching Trevor play again in the near future, I believe he has other live projects at the moment!

Till the future, check you in the spotlights!!!

I love odd-meter stuff, and Ekaya (Track 2) and the aptly-named 5/4 Groove (Track 3) made me feel instantly warm and fuzzy all over. Watch
the odd-meter straighten out seamlessly into an instrumental section in Ekaya - pure magic! The vocals in 5/4 Groove got a bit lost in the mix (although they are just background), but some marvellous solo-ing and lovely ear-bending riffs over the time signature. And then, just when I thought I was ready to dance naked in the streets with sheer odd-meter delirium, wonderful mellow notes came floating across the room at me from Tony Cox's accoustic guitar. The track is called Lidzime (Tongue) - I'm not sure whether it relates to language or kissing, but I found myself thinking of romantic opportunities to play this piece. But then, I am a girl...

The song ends rather abruptly and launches into Asian Trip, with its funky slap-bass intro and wild chord progressions, followed by Iklanganile i Afrika (Africa is One), showing off Gito's incredible vocal range. I've always been amazed at his voice, capable of soaring to incredible heights with ease, and this song shows his voice off beautifully. The song is made all the more attractive by its simplicity: purely Gito on vocals and bass with Tony Cox on accoustic guitars. Lovely stuff.

Caribbean Fusion is my favourite track on this album and features tuneful steel drumming by Dave Reynolds. I can imagine many a hotel band covering this song - it just has that kind of easy-listening appeal, especially if you're sipping pina colada and smelling of suntan oil on some exotic beach. But I digress...Gito really knows how to capture moods and flavours and translate them into notes to be easily savoured by the listener. Anyone for pineapple?

Ifikile Inkululeko (Freedom is Here) is a celebration and Busi Mhlongo does a stirling job on backing vocals, lifting this song with almost gospel fervour. Damn fine musicianship is evident all over this album and I applaud Gito for using different musicians on various tracks to
get the best out of each piece. (I wish some of our pop artists would learn that lesson.) And speaking of gospel fervour, Ampvula ya Vuyo (The Rain Is Coming) keeps you celebrating with bass and sax solos, and the stunning voice of Ms Mhlongo.

Vaughan Tromp's saxophone features beautifully in Yimbela, Johnny Choncho's fingers fly all over his guitar fretboard in Kuluma Nami (Talk To Me), and Saskia Juhasz (violin) and Tony Cox (accoustic guitar) come to the fore in Ancestors - all testimony to Gito's willingness to let others have a share of the spotlight. Isn't that, after all, what music is all about? PS: Who is the mouth-organist in Ancestors? No, this is not another competition - I genuinely want to know!

Gito Baloi’s third album – a tribute to his late father, Serafirm – consists of thirteen compositions culled ‘from hundreds’ of songs written and recorded between 1998 and 2001, and with a variety of musicians. His bass playing here is never anything less than masterful – his tone is, with a single exception, bright and full, his melodies beautifully structured and executed, his solos committed and ‘straight from the heart’ (as on Tiva, dedicated to his second daughter, where he really permits himself to let loose). To my ears, admittedly, the album is a bit of a patchy affair, compositionally and in terms of recording. The piano on Tiva has all the murkiness of what we used to understand by ‘home recording’, the programming on track 6, Zumba Funky, leaves a considerable amount to be desired, and on Sad Melody the bass has a very tinny sound. The version of Ntyilo Ntyilo is both schmaltzy and pompous – this is one track definitely to be avoided. (I would have loved to hear a solo bass take on this essentially pretty traditional piece.) I have never been a huge fan of the three-chord major-tonality tunes characteristic of many traditional and popular southern African musics. There are a fair number of these on Herbs & Roots – but the album also contains what are probably my most cherished tunes by Gito. My personal favourite is Verdade (the tune with which Gito and his band opened his SA Bassplayers website launch party gig at the Bassline), a simply gorgeous melody over a reggae groove that has ‘standard’ written all over it. The three tracks that follow, too, are highly listenable. The title track features Dave Reynolds on steel pans and Vaughan Tromp on sax. Vaughan also co-wrote Harrow Road, on which sax and bass perform the push-&-shove, call-&-response of taxis in traffic. Sad Melody, too, is a strong piece, despite the tinny bass – Gito’s voice here is hauntingly beautiful. Drone, the last track, is my second favourite piece, an evocative meditation that features the never less than compelling Marcus Wyatt on trumpet and flugelhorn, in an appropriate finale.

Missiles (get it?) by Kerry Hiles is a sunny six-track affair, though not without its dark and slightly more disturbing moments. Bartholomew Street (inspired by her aunt’s abode in Grahamstown) is a Fairground Attraction-type of folk-pop waltz with swirling strings. In fact, the Fairground Attraction/ Eddi Reader ‘influence’ (I don’t know if it is that, conscious or subconscious) is also audible on Lover’s Knot, a ditty whose cheerful swing disguises the underlying conflict situation referred to in the title and elaborated on in the clever, catchy lyrics. Former Jazz Ace Roy Burrows is featured here on genre-appropriate clarinet. Sending my Love (written, I seem to recall, by David ‘Doggit’ Manchip for his sister who resides in the US) is a rhythmically and harmonically complex piece, without ever sounding contrived, enhanced by intelligent double-tracked juxtaposition of chorus and middle 8. Our Love is one of my two favourites on the album: a sensual, deep-funky paean to carnal fulfillment, with a pertinently snaky bass line (which Kerry pulls off live, vocal and all!). Salesman is another favourite, a sinister little piece with a deceptively bright chorus reminiscent of Carly Simon. Lyrically, too, it is captivating; the punch line alone is worth listening out for. The closest Miss ‘iles gets to rock chick mode is on Insane. Yet here, too, she avoids the trappings of obvious harmonic movement and trite lyrics, opting for a funky verse/ bridge section before rocking out on the choruses. David Manchip’s engineering, remarkable contributions on guitar, keyboards and programming, and in terms of composition and production, complete a mini album on which there is not a single dodgy cut. (Doggit, by the way, is the writer of a near-perfect 70-second bass piece entitled ‘I wish’ – which is not on this album, but which he will hopefully release in some form before long.)

In a sense, the debut release by Concord Nkabinde is a concept album. Early 70s clichés and pretensions almost ruined the concept of a concept album (with the notable exception, say, of What’s Going On? and Dark Side of the Moon), but Concord – whether or not this is intentional – manages to resurrect it and reestablish its viability. Bookended by Peace on the Wind, his debut album is a celebration of interculturalism, peace, tolerance, respect, and a plethora of musical and spiritual influences. Yet, there is strong sense of identity, a ‘narrative thread’, so to speak, that pervades the album. Essentially a pop record, it contains an abundance of catchy lyrics, infectious rhythms and haunting melodies. Concord is much more concerned with getting the listener to move than with impressing her/ him with dazzling displays of virtuosity. (Which he manages to do anyway: not only his bass playing throughout but his vocals and production skills, too, are frequently astounding.) As on Herbs & Roots, there are several three-chord-type tunes on this album that I personally enjoy less. For example, after an impressive opening, The Hola Song just meanders along and would have benefited from some judicious editing. But these are minor gripes: there is much to enjoy here! Personal favourites are Peace on the Wind, the thematic opening, U make me fly (featuring Janine Price on vocals), No Seed no Life (Concord on gorgeous fretless), Canciones de Amor (with Gito on vocals and a tasteful bass workout by Concord), Sitting on Top of the World (a vocal collaboration with Lili Feng), Africa (iThemba Lethu) (featuring Brendan Ross on soprano sax, Seppo Kantonen on piano and Efrain Toro on percussion) and Let the Walls fall down (featuring Janine Price and some more impressive solo bass work).

It is on a note, simultaneously, of great regret and also exuberant optimism that I end this review. Even though he has left us with an impressive body of work that is going to inspire us for years to come, the mere fact that that we have lost Gito will continue to pain and sadden us. On a positive note, there is much to look forward to: like Kerry and Concord’s follow-up albums, after two hugely enjoyable debuts.

Always Being kicks off with Looking for Adventure, an excellent track that starts off with some bluesy guitaring before exploding into a real “Born to be Wild” feel. Kai and the drums lay down an awesome foundation that leaves plenty of room for Mike to show that he’s indeed “got the blues”. Add some great female backing vocals (courtesy of Lynne Poulsen and Debbie Rivett) and tenor sax, and you have yourself a need to ride. In short, if this song doesn’t make you want to, no, let me rephrase, need to own a Harley, nothing will.

Track 2, Always Been, slows you down immediately with a deep and slow bass feel supported by steady drumming and periodic whining (in a good way) sax. If track one made you want to ride, this one will make you want to sit in a corner in a dark and smokey club, sipping on a JD, and pondering the authenticity of love and your life in general. Always Been features a great bass solo roughly half way into the song that allows Kai to very successfully step into the spotlight before a very jazzy interlude leads you deeper into the corner.

Skipping ahead through the very nice Dave Matthews-ish It Means Nothing, you find the much more upbeat Down, a great track that merges rock and blues beautifully and handles a topic quite close to the heart of many blues musicians – the femme fatale. Now, in my almost 25 years on this planet, I have learnt the hard way that it is rather wise for me to tread lightly around this subject, so suffice to say that it handles the subject matter splendidly while combining all the elements of great blues-rock – sweet interludes, throbbing bass and drums, and shredding guitar solos, all the while polished off with razor lead vocals and highly appropriate sax ‘licks’.

Following on Hot Blood - which effortlessly blends jazz with a 1920s-Swing feel - and Chasing Rainbows - a great bluesy ballad with a rather intense jazz-meets-rock interlude and a continuous alto-recorder (saxophonist Ekkie Eckhart) creating sounds that would make Ian Anderson proud - is Mike Meiring’s adaptation of Master Beck’s Highway Jam. Starting off with and being driven by the bass down there, this song glides on with some amazing sax, guitar and organ work (Lynne Poulsen). Again, Kai doesn’t disappoint - amidst the merciless thumping, he steps up to show off some great bass work in the front before gracefully stepping back to make some room for a great guitar/organ duet, the likes of which I last experienced in the Ritchie Blackmore days of Deep Purple. This is definitely a highlight on the album for me.

Track 8 is called Out in the Woods, which is very aptly titled if the intention was to create a feeling of desolation. Very slow, very bluesy, and very it’s-3a.m-and-I-don’t-think-I-should-drive-(or-even-walk)-in-this state, this track may just be best enjoyed on a leather couch, sipping red wine (is it just me or do I talk a lot about alcohol in my columns?) and enjoying great company (see Down).

I Will Survive tears you away from your sinful couch and glass of red wine with very funky bass lines, equally funky guitaring and drums, some Lenny Kravitz-ish sax, and Mike Meiring displaying a rather (yes, you guessed it) funky and upbeat vocal style that is rather different from most of the rest of the album.

Run takes this upbeat feel up a few more notches up with some more Deep Purple-ish guitar/organ duets, great guitar solos nicely interrupted by a mouth harp (Mike), and yet another series of great bass riffs, and excellent female backing vocals.

Track 11, Fire and Rain, slows us down a bit again to somewhere between Out in the Woods and I Will Survive by creating for me a feel of a river flowing alongside an open field somewhere.

Finally, Seeds of Greed combines many of the elements found in the other tracks – a continuous slow feel with great “flute” work supported by the bass and percussion work – to round off the album beautifully.

Highway Jam: Grasslands

I reviewed Grasslands on New Year’s Day itself. Of course, this did not seem like a good idea at first, but it turned out to be just the right kind of album to sooth the savage agony within my fragile head. 

Kai and his drummer, Davis Novis, work hard throughout the entire album and, in my opinion (the only one that counts in this review hahaha), succeed at laying down a foundation that would survive a nuclear holocaust. Not once do any of the songs sound ‘empty’ or even like there is ‘something missing’ on the bottom line; yet it never becomes overbearing. The bass and drums truly mould and set the scene for every song. Add all the frills of different percussion elements (ranging from bongos and cowbells to Masai ankle bells and goat hooves – say, how did you get the goats to do that?), excellent keyboards and sax, and of course some really awesome guitar playing (Mike Meiring), and you have yourself an excellent blues-meets-rock-meets-jazz album. Here are some highlights:

The album kicks off with a song called Smoothies, which immediately tells you that these guys know exactly what they are doing. Really solid bass riffs drive the song, with excellent drums and percussion, allowing the guitar and sax to explore as many jazzy and bluesy avenues as they choose. Directly after this song, you meet Mongoose, a calmer track that presents a nice blend of an island-reggae-type-feel with some solid bluesy-rock, again driven by the bass and percussion.

I started listening to track 3 before I looked at the title, and the first feeling I had was that of a hot sun burning down mercilessly in rattlesnake country. So imagine my surprise when I saw that the track is titled Paris, Texas. My heavy-metal based ignorance, unfortunately, makes me miss the ‘Paris’ part entirely, although I do get some visions of a smoky Paris night club (please help me out here!), but the part of me that is into bands like Cinderella immediately ‘got’ the slide guitar and feels-like-I-had-too-much-tequila bass riffs. Very bluesy, and one of my favourite tracks on the album.

The long trip through the desert is briefly interrupted by the excellent Bacterial Witness, which to me would suit a fast-paced car chase through the streets of San Francisco. It is followed by Sun Dance, again, a very aptly named track, as it creates the vivid image of a Shaman and North American Indian tribe bringing honour to their sun gods, just like a (authentic) dream catcher blowing in the wind does. This track is beautifully crafted, with just the right audio-imagery to put you right in the middle of the sun dance. I think Jim Morrison would have liked this one.

Blue Cigar Suit is up next, another aptly titled song, another song that is rich with sounds that create visual imagery: an up-beat blues room where the cigar smoke hangs thick and blue in the air; the kind of song that the band plays while waiting for a jazz diva to make her presence known on stage.

To prevent myself from taking up all the space in this month’s edition before I even get to reviewing the next CD, I will stop here and leave you to explore the rest of I yourself – the five remaining tracks are all good - some fast, some slow. To single out one more, I enjoyed the last track - In a Sacred Manner I Live’– immensely, for the same reasons I like Sun Dance – it is mysterious and takes you to places you may never have been. In sum, even to a metalhead with extreme tunnel vision when it comes to what I listen to, this album rocks. Very well done.

Titus: “Fade”

And on to an album that falls more into my immediate frame of reference – Fade, by Julian’s band, Titus. 

Because people nowadays are so fond of categorising metal and rock, I thought I would start off by doing the same with this album. To me, Fade falls in the category of ‘Progressive Rock’, particularly due to the driving role of the keyboards throughout. I am sure these guys are fans of bands like Dream Theater, as they just as comfortably merge slow acoustic bits and melodic solos with chunks of grinding riffs and fast guitar shredding. Nevertheless, some of the riffs hearken back to the so-called ‘Old School’ bands – Priest, Maiden, etc. What follows is a brief overview of the album, as well as of a few things that stuck out for me.

The album kicks off with a song called Breath of Life, which is introduced with a nice and eerie piece on the keyboards before the drums and guitars enter to let you know that something heavy can be expected. Like many of the other songs, this one also features a multitude of riffs and melodies in and among the vocal parts. These to me are often some of the most exciting elements of songs, stating that ‘we don’t need lyrics to tell a story’. Furthermore, they blend gracefully into verses and choruses, helping to create the mood intended by the lyrics.

On to track 2, Myself Denied, where Titus builds on their keyboards-guitar combination into a very serene yet rocking verse that to me creates a sense of loss and despair (I might be wrong, of course!). This, however, gives way to heavier and faster bits quite soon, and also features a ripper of a melodic guitar solo supported and then surpassed by the keyboards.

Whereas track 3, Litany, follows much the same formula as Myself Denied, the next track, In My Secret World, utilises more soothing piano along with more prominent bass to introduce a feeling of seclusion, almost like being under water. The guitar and vocals follow shortly to give more body to the song, somewhat compromising the initial feel but taking it into a more powerful direction. This effective piano-bass combination is again utilised to introduce the title track, Fade. I particularly enjoyed this track, which blends melodious rock with moments of both ballad-like and jazzy piano, as well as nice acoustic bits that feed into very funky gallop riffs. Despite these more up-beat musical moments, however, the vocal and a bleeding guitar solo succeed in maintaining the more sombre picture initially painted by the piano.

Tracks 6-13 are titled The Chronicle parts I-VIII. These 8 tracks together tell a story that starts with birth and ends with meeting the Messiah, a story that is cleverly put together with a number of different riffs, sounds, and melodies. Three of the eight parts are instrumentals, each different yet similar enough to recognise it as part of the same story. I have always liked multi-song sagas (see Iced Earth!), so this was very interesting for me.

Martin Simpson is one of the few shining lights in our local music industry. He brings out self-financed, self-produced and often self-recorded albums that are always a fun listen. Bass to Bass is no exception, and features some of South Africa’s finest musicians, including drummer Larry Rose and guitarist extraordinaire Mauritz Lotz.

The album kicks of with Space Rock (Lift Off), a track that brings to mind a Jethro Tull demo sans real drummer and some of the 80’s guitar albums a mate of mine so dearly loved to make me listen to. Only some very cool flute playing by Annerine Tomlinson helps to rescue this otherwise bland opener.
Some very cool bass ostinatos and Heinz Shrader’s sax make The Bass Remains the Same (Sax Appeal) a track to take note of. I thought the drums might have been played in half time to build more tension and emotion, but otherwise it’s a really good song, which brings to mind some 80’s fusion, a la Spyra Gyro.
Werewolf by Night would, I think, have been better served by omitting the somewhat cheesy vocals. There are parts of this song though that smack of Level 42 meets Duran Duran, and with some nice bass parts it’s a fun, well thought out piece. Nicely put together, though, despite the vocals, and a nice JP Destefani guitar solo too.
The Quinterican has popped up on a couple of recordings of late (on the Bass in Your Face sessions), and this two part bass solo piece is where Martin can deliver. Or can he? …I’m happy to say that although (like the rest of us mere mortals), Martin is no Stu Hamm, he is clever enough to hold our attention just long enough on this very smart and well executed two handed tapping piece.
Get Lost, a track penned with Mauritz Lotz, is one of my favourite pieces of local music. Although Lotz takes centre stage here (deservedly so), Martin holds his own in this dark, back-and-forth piece with some solid playing, some tasty tapping, and a very nice bridge section. Again, Martin’s solid tone cuts through, even when Mauritz takes a scorching solo. Some very nice drumming by Larry Rose makes this the highlight of the album.
Orbit immediately reminded me of early 80’s band Quaterflash, with Heinz Schrader’s sax lines sounding very much like Rindy Ross’s, but then the B section kicks in and I’m thinking “Iron Maiden?” It’s a cool mix of pop sensibilities and shows what a rocker can do with the right tools.
A track familiar to anyone who has heard any of Martin’s Bass In Your Face compilations, The Bass Remains the Same (Bass to Bass) is a bass dominant track that smacks of 70’s glam and the vibe of some 80’s “alternative” bands. It’s a happy tune that makes the foot tap, and I’m told that that is the point of being a bass player, so ‘nuff said!
Some cool two handed tapping introduces The Death March Boogie, which moves quickly into a southern boogie/rock feel, complete with blues harp – but then, according to the liner notes there is no bass! Synth bass? A sad day indeed I’m afraid. Not much here to inspire.
Tuesday Morning (Brunch) - a great title is about all I can say about this one. There is some interesting bass work, but after a couple of listens I can only say “bring in a real drummer mate”, as the synth drummer is really a low point in an otherwise nice piece. Good intentions are so often fraught with scandalously bad ideas.
Remember being in primary school, and watching a very young Michael J. Fox, or a Tom Cruise movie – well Oh Yeah! is the film’s soundtrack. Remember those transformation scenes where the ugly girl becomes the prom queen? Well this is the theme music in one overly long montage scene…
The Bass Remains the Same, again, only this time its reprise, Blow by Blow, is a more calculated and interesting piece with Tomlinson’s flute adding depth to what might otherwise have been a possible sleeper. On second and third listens I heard more of what Simpson was playing and began to enjoy it more and more. Again the Jethro Tull-ish vibe (no Ian Anderson’s scathing lyrics unfortunately), which I think works well here.
Space Rock (reprise?) (Splash Down) closes the album, and unlike its name suggests, it doesn’t splash down. But that’s because it never really gets going, despite some funky (???) harmonica work and a tasty bridge (what is it with bridges?).

On a whole, the album has some really happening moments and some that might have served Martin better by being left out. But the overall picture is what it’s all about, and Bass to Bass is a nice listen, introducing us to more of the energetic madness that is Martin Simpson. At least he’s doing something positive for us bottom end dwellers…not many others are!

Comments from the artist.

I loved track 2! "The Quarterican" is beautifully sparse and shows off some nice, neat, clean playing. Martin clearly loves what he does.

Again, "Get Lost" (track 3) had me thinking of an exciting piece of documentary footage, or driving really fast through the Limpopo Province with the top down (I'm not sure why...my car has a very solid top, but therein lies the power of music!). Great touches to this track included Judy Marshall popping in every now and then with a voice that sounded like it was right in my ear - lovely mixing! Larry Rose got to show off his percussive prowess with a bit of a drum interlude, segmenting "Get Lost" rather nicely. And then, just after Mauritz Lotz' burning guitar solo came a lovely change in groove and sound that got me thinking of martians for the first time on "Lost In Space". Finally, the wild African outdoors left me alone to explore the stars and it was during this track that outer space truly came home - the freedom, the openness, the eerieness of it all (a bit like the "bush", really. Or speeding along the highway...anyway, I digress). Strangely enough, while this particular track inspires maniacal tarmac behaviour, it is equally at home in a darkened room with incense burning and a horizontal human chilling with his/her eyes shut. Makes you think, doesn't it? Well done, Martin!

Orbit - track 4...bring on the bikers! This is reminiscent of some of the music my parents raised me on. They were avid motorcyclists and
great Jethro Tull fans (thanks to Annerine Tomlinson on flute for stirring up some childhood memories!). This is a song my parents would appreciate, but for me, it became a bit repetitive, despite interesting flute-ing and Judy's voice visiting occasionally.

"Space Rock- Splash Down" (track 5) is a much later recording (2000 as opposed to the previous tracks, which date from 1997) and I felt the lack of live drumming let the track down. Superb keys playing by Dave Sharp, though, and a lovely bit of sax from Heinz Schrader. I do like the fact that "Space Rock - Lift Off" was recorded so many years before "Space Rock - Splash Down": it parallels so well with the "return to Earth"- people are different, styles have changed, technology has advanced.

I don't consider this a BASS cd, rather a COMPOSITION cd. I enjoyed the bass-playing, but it was understated enough that it played the exact role that bass is designed for: support and enhancement of the higher frequencies. We all know that bass is the ONLY sound that counts, but it is a humble sound. Martin captured this perfectly for me. This isn't an inspirational album, but it is inspired and allows a wonderful view of our Mr Simpson - thank you, Martin. And here's to many more!

Kerry Hiles

Comments from the Artist.

Basses Used:
Ibanez Musician
& Warwick Streamer

We’re not exactly sure what Martin wanted to accomplish with this disc. Reviewing a cd of a known artist is a lot easier, simply because you can compare it to their other releases, fans, media attention etc. All we know about Martin is that he seems to be the main bloke in charge here at the S.A.B.P.C. Anyway, this is what we thought.

Quinn: “When I started to listen to the first track, it immediately sent me back to the 80’s, where everyone was wearing neon track suits and played games in the video arcade.

Frank: On first listen I thought it sounded like a soundtrack to an 80’s karate movie, but I did enjoy it after a few more listens.

A major disappointing factor (especially considering Martin’s calibre) is that a real live drummer is only used on two tracks - Werewolf By Night & Oh Yeah!

Frank: This disc seems to wander about doing nothing. I would have speeded up all the tracks (only by about 100 bpm or so) used looser high hats and a touch more distortion to give the songs more drive. Some of the keyboard layers sounded cheesy to me and I’d have preferred to hear more natural sounding tones.

As a product, we are not sure what the lyrics to Werewolf By Night had in common with the disc title. This track did seem to have more direction than the others and made us think of being in a horror house at a carnival.

Frank: Tuesday Morning (Around Breakfast Time) made me think of driving down a straight 1000

mile highway in a saloon car while drinking buckets of booze.

Quinn: The keyboard sounded better in this song and suited it. The arrangement wasn’t too bad either. It’s just a pity that a real drummer wasn’t
used – it would have given the song more character and drive.

The only thing we thought this disc lacked was direction and drive.
Overall we think that this disc is technically well composed and a real 80’s piece of art.

The artist’s response.

Firstly, some general comments about the album. Pity about the lack of sleeve notes or credits which leaves me clueless as to the identity of the other musicians featured, their contribution is significant. Generally though, I found the disc to be a very lively and vibrant collection of 13 songs. I caught myself thinking of the playing of Johan Asmundsen throughout the review.

The CD opens with the lovely, jaunty up-tempo “Trust No One”. Following that is the hauntingly beautiful “Nontuthuzelo”. The arrangement on this track has a Lee Ritenour type of feel. The composition of the chord structure becomes a little laboured after a few minutes of listening with it’s “All Along the Watchtower” chord progression. Very beautiful piano work on this one.

“Down South” is a hip-hop type of dance tune which would not be out of place in any township jive venue. The muted, ala Al Di Meola, bass guitar soloing is a very impressive piece of playing. The 4th track “Herdman” features some stunningly quick soloing on the bass. Some finger fret-buzz was prevalent on the recording which occurs from time to time throughout the CD.

Recollections of a Mango Groove type of chord progression came to mind listening to “Emkhumbane”. A pleasant tune to listen to but the rather monotonous repitition made me skip to the next track. This is not to detract from the great soloing which obviously the song was composed for. Maybe it’s the constantly changing tempo which gave rise to “Oops”, the name of the next track.

Given the lack of sleeve notes, one can only assume that the vocals on “Phumula” are those of Sipho himself. Lacking the ability to understand the lyrics, much of the intent of the song was obviously lost on me. “Thundershowers” is a stunning song, possibly my favourite on the album. I particularly liked the collective riffing of the various instruments. Great soloing on the bass.

The 9th track “Sithethelele” features the most vocal arrangement on the album. “Dedara” is a rather forgetable track but again I found myself wondering who the synthesizer solo was performed by. “Afternoon Breeze” seems to be on the CD only as a filler. The title track “From Me to You” is a rather sensitive song with a strong dominant melody line played on the bass. Nice balanced chordal composition overall. The last song, “I Thought I Knew You Well”, is a laid-back exit song for the album.

There is some great bass playing on this album with some talented musicians backing Sipho, overall I feel the mix and production (especially the drum programming) is a bit weak, but still some enjoyable listening from this album.

1) Straight Home: has a good melodic bass line (with the very recognisable Warwick bass tone) with great accompanying guitar and sax lines. The production and mix is a tad boring, as well as drum programming that is not very dynamic.
2) Phambili: a “live” mix, afro jazz song with vocals, not featuring the bass but with interesting brass and piano lines.
3) A Whisper: again not featuring much bass but has a well played nylon stringed guitar throughout. Drum programming again a bit weak.
4) African Sunrise: a catchy melody, however I find the flute out of tune with the bass (I hope not purposely). Great live drums by Rob Watson with traditional vocals that really work for the song, the mix is also pretty good.
5) Peacocks Today, Feather Dusters Tomorrow: house mix with nice bass lines, however the song and especially the drums get quite boring.
6) Song for a friend: this one has potential but could do with a better production and again drum programming.
7) Welcome Home: a vibey song with a well played live feel, the overall mix quality pulls the song down a bit.
8) Song for Johnny Dyani: a very soulful song played with a lot of feel, for me though the sound of the bass melody does not work in the context of the song. Some beautiful sax playing in this one.
9) Limpopo Jive: happy and vibey song.
10) Mamaye: a lovely percussion and vocal piece.
11) Nikiwe: nice live feel but mix a bit weak and some brass tuning problems.

By Dave Askes 2006

Overall the vocals are amazing and the bass lines generally work well, especially considering that she sings and plays these lines at the same time. There is room for improvement in the production and engineering but as usual I am sure budget plays a big roll, otherwise a good CD, easy listening.

Titus’ line-up on this album is somewhat different of the one on “Fade” (see my review in an earlier edition). Here, Titus consisted of Benjamin Carrancho (vocals and guitar), Jon Buckley (lead guitar), Enoque Carrancho (keyboards), Abel Ferreira (Bass), and Louis Cordeiro (drums). “Times Flying” was recorded in December 1997 at B# Studios, where it was engineered and produced by J.P. Destefani.

“Times Flying” kicks off with the title track, which is introduced by Enoque’s cathedral- like keys before muted guitar strumming turn it into something between pop-rock and progressive rock. These tones are interrupted by bridges (or are they interludes?) that are heavier – particularly in terms of riffing and drums. All throughout, Enoque shows off some flexible finger-work on synth (note to self: find out if this is the same Enoque that played for Agro before deserting us for the Northern Hemisphere). In true prog-rock fashion, however, the guitars do not allow this to go on without some sleek soloing – Mr. Buckley shows off with some great shredding. A great part of the song to me comes at the end – a repeat of the heavier bridge/interlude with a very tight metal edge to it.

Next up is ‘Rotten Apple’, another prog-rock song with a 80s-like edge mainly brought about by the riffing and the synth melodies. This is quite a long track, stretching well over seven minutes, but thanks to professional arrangement and a combination of a wide array of original ideas, the song does not become too long. Although the guitars and keyboards work hard to lead the song, the drums and bass manage to lay down a firm foundation throughout, especially during many clever time-changes and solo-pieces.

Track three is called “Too late when You’re Dead”, and opens with some awesome keyboards that creates an aura that is somewhat mystical. This is polished off with some blues-like guitar work before a sudden snare introduces a verse that brings together some key rock elements. Again, this is replaced with a heavier instrumental interlude dripping with old-school metal (thus obviously catching my attention!), before leading into some more progressive melodies. For some reason the vocals here remind me of Sugardrive, bringing a unique quality without dominating the song.

“Times Flying” signs off with an instrumental known as ‘Pharaohs Tomb’, a great piece of music that combines elements of those-old-Egyptian-sounds with great rock and metal guitar work and drums. This is without a doubt my favourite track on the album, not only because it displays so many great riffs, novel melodies, and awesome rhythm work, but also because it is arranged in such a way that it never degenerates into a boring instrumental like so many others do. This track is filled with both power and pathos – very well executed!

What’s extremely encouraging is that young Véronique has written most of the songs here and although I occasionally found some of the lyrics clichéd, the songs are beautiful and well-deserving of the radio play they are getting.

1. It’s About You – from the first strum of the acoustic guitar, you just know you’re in for an impressive album when you hear this track. It’s a lovely mellow song that warms your heart, complimented by tasteful string lines.
2. Never Far Away – a smooth r’nb track which shows Véronique’s vocal technique off wonderfully. Her voice is well-suited to this style and she really nails it with confidence.
3. Right Here With Me – reminiscent of The Corrs. A great easy-listening song that soon has you singing along to the chorus. Véronique’s vocals are stunning on this track. My absolute favourite.
4. Free (Da Da Da) – a reggae-style track which, despite its catchy chorus, doesn’t quite live up to the standard set by the rest of the album, I think.
5. Love Me Or Love Me Not – Funky! This song features an interesting, serpentine melody. I get the feeling that V has really explored her vocal ability here and, as a result, every rasp or pure bell-toned note is sung with conviction. There are no mistakes and it is refreshing to hear a vocalist who is so in tune with her gift.
6. I Must Still Love You (with Gift Gwe) – Gift’s voice blends with V’s very well, resulting in great harmonies on this track. It reminds me of Aretha Franklin/George Michael’s, “I Knew You Were Waiting”.
7. Closure – Heart-felt lyrics in this song allow us a peek into V’s bruised side.
8. Man Down! (ft Cee Rock) – another one of my favourites on this album. V does “girlfriend with attitude” well and even slips in a bit of rap. I was lucky enough to catch V on stage at an arts fest a few years back, covering the Moulin Rouge version of “Lady Marmalade”, and she pulled off the rap in the middle of that song SO well. You go, girl!
9. Goodbye – a real tear-jerker.
10. Spring Again – I played this song at the office, and the moment it started, other ears in the room began listening with great concentration. I believe that to be a sign of a good song. The dramatic musical arrangement underneath the dark vocals could easily be twisted into something Evanescence would be proud of.
11. This Is What I Like – Super funky track that had everybody bopping in seconds. The staccato vocals really work beautifully with the musical arrangement and this is one of the reasons I like to use the term “vocalist” rather than “singer”, when referring to V. She uses her voice as an instrument, a part of the music, rather than the cherry on the top of the song-cake. This song sticks in my head a lot.
12. Something’s Only Something – this song is purposely laden with all the greatest cliché phrases in the world (like, “out of sight, out of mind”, and “you never know what you’ve got til it’s gone”) and V has used them very well.
13. Tell Me What Is Real – Step aside Dixie Chicks…The V is on the airwaves and she’s showing you how it’s done!
14. Secret Places – awesome stuff.

Leon Bosch demonstrates a natural affinity with the origins, aims and virtuosity of Bottesini’s music. He finds an admirable partner in pianist Sung-Suk Kang, who moulds her contribution faithfully and sensitively to his lead.

Bosch’s programme particularly highlights his sonorous, lyrical playing style and musicianship, as demonstrated in his performances of the Meditazione (Aria di Bach), the quasi-operatic Elegy, the Romanza Patetica (Mélodie), with it telling phrasing and crystal clear harmonics, and the contemplative Réverie. His readings of the solemn Romanza Drammatica (Elégie) and the passionate Adagio par Ernst further emphasises his expansive lyricism and careful shaping of the line, allowing for the introduction of some agreeable rubato. His characterful account of the Gavotta contrasts elegance with humour and his Tarantella combines a laudably flexible approach to the introduction with a relatively steady version of the main dance section. Nevertheless, Bosch is musically commanding throughout, even if some imperfections of intonation remain and his dynamic range seems relatively small.