kamaal williams interview

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Signé par Gilles Peterson alors même qu’une partie de la presse française continue de le snober, Kamaal Williams revient aux affaires avec l’excellent Wu Hen, un hommage appuyé à sa mère, originaire de Taiwan.Achevé au Maroc en pleine crise du Covid, ce troisième album s’inscrit dans la lignée du classique Black Focus et du plus sombre The Return sans tomber dans la facilité. “I wouldn’t even call it jazz, to be honest.” He doesn’t call it EDM, either—or dance music, club music, hip-hop, or even funk. Yet The Return does even more. “It’s not what you’d think of in a traditional sense of a saxophone player or a keys player soloing over the top of a groove. It’s for this reason that Williams regards Samuels as a member of the band: “He’s my right-hand man.”, If The Return refers to Williams’s phoenix-like resurrection from the ashes of Yussef Kamaal, it also signifies other returns: to his childhood home, to the genres that first inspired him and his bandmates, to an intuitive music-making process that is also, he says, nearly telepathic. The serene mood is as timeless as whiskey and bitters, and Williams caresses the keys like he has all the time in the universe.

Summary: Troisième album de haute volée pour le claviériste-producteur phare de la scène jazz-funk londonienne. Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Click to share on Google+ (Opens in new window), “Jazz Is About A Representation Of The Time”: An Interview With Yussef Kamaal. “The four of us who make up the album, we’re all from a different part of London.”. Too many trips to the dentist office left listeners anesthetized to the smoothness. At live shows, people are dancing to our music.

When Kamaal Williams first started recording The Return, his first full album under that name (he’s also known as Henry Wu), he knew the bar was incredibly high. It’s more intense, darker, and colder. Pallbearer’s Joseph D. Rowland Picks His Bandcamp Favorites, Actress Walks Us Through His Moody, Atmospheric Albums, After Two Decades of Grinding, Rochester Rapper Eto Breaks Through, “UPRIZE!” Is A Haunting Score From South African Collective SPAZA, Essential Releases: Jungle, Coldwave, Brazilian Fusion and More, Taiwanese Film Composer Lim Giong Revives a Cult Classic in New Tribute Compilation, Touché Amoré’s Jeremy Bolm Picks His Bandcamp Favorites.

There were always exceptions. “People were saying, ‘Has he got it, man? 24 August – Madlib x Kamaal Williams, Marble Factory Tickets // marblefactorybristol.com.

One of the lone lamplighters was the stellar UK DJ, Gilles Peterson, whose Brownswood Recordings imprint has released two of the most compelling jazz records of the year in Shabaka & The Ancestors and now, Yussef Kamaal’s Black Focus. Previous St George’s intimate new series launches with Kate Stapley Next INTERVIEW // Swindle gathers the X-Men for new album No More Normal Related Posts. But the band members’ respective pedigrees make them at best tangential to that scene, and resistant to any attempt to fit them nicely into one slot. “I wouldn’t call it jazz fusion,” he says.

I did some early band stuff where I was playing drums. CASisDEAD, Gigz, Skepta, and Wiley are my favorite UK MCs of all-time. Henry Wu, dans le civil, s’est adjoint les services de Miguel Atwood-Ferguson, collaborateur réputé de Seu Jorge et Thundercat, entre autres. “Medina” opens on a musing electric piano introduction with a few streaks of bass running through it, then settles into a trancelike 3/4 rhythm with Williams developing melodic motifs on top. Kamaal is my chosen Arabic name when I converted to Islam about 8 years ago now. “There’s no plan, as such,” says Williams. Williams was the keyboardist in Yussef Kamaal, a duo with drummer Yussef Dayes that exploded out of London and made waves around the globe with their 2016 album. Kamaal Williams And ‘The Return’ Of Acid Jazz. I have massive respect for early Skream and Benga, but I was always really kind of a hip-hop kid. As the outro of the record says, “jazz was always about creating your own technique.” In Black Focus, Yussef Kamaal have done that, creating something that puts them at the forefront of jazz alongside Thundercat, Kamasi Washington, BadBadNotGood, and Billy Cobham — wherever he is right now. The powerful strings build to a tantalising crescendo, only to fade into the sound of William’s voice. What they’ve created is funky and futuristic, rooted in the past but imbued with a modern swing. We’re trying to do what they did 50 years ago. There is one aspect of their music, though, that bears the clear influence of jazz: everything is improvised. Then, a year ago this week—and one week after the 2017 Jazz FM Awards had crowned them the year’s Breakthrough Act—Yussef Kamaal dissolved as suddenly as they had arrived. I think a younger generation can sees a reflection of themselves in it a bit more. “I wouldn’t call it jazz fusion,” he says. The latter group is compromised of the London duo, Henry Wu (Kamaal Williams) and Yussef Dayes, who cut their teeth backing Katy B and playing Boiler Rooms, but whose aesthetic sweeps through broken beat, jungle, and the fusion of Herbie Hancock and the Maravishnu Orchestra. We’re improvising rhythmically,” he says. I was never really a dubstep kid though. The Return sees Williams playing keyboards as part of a group that includes bassist Pete Martin and drummer MckNasty, along with sound engineer Richard Samuels. Williams (who also produces soulful house as Henry Wu) first laid out his smooth remit alongside drummer Yussef Dayes in the duo Yussef Kamaal.

Following the dissolution of the jazz-funk duo Yussef Kamaal, the London keyboardist returns with an urbane, dynamic album that’s deeply rooted in the city’s rhythms. When Kamaal Williams first started recording The Return, his first full album under that name (he’s also known as Henry Wu), he knew the bar was incredibly high. I think right now, it’s a combination of that and those crossover artists. His latest project, the aptly named ‘The Return’ confirms Kamaal’s position as the leader in this recent surge in UK jazz. Spanning both sides of the Atlantic, this kaleidoscopic vision of jazz comes cut with a motley set of groovy throwback influences. The whole album is a dialogue between the three of us. Funk★U, le magazine 100% soul-funk depuis 1995.

For most of the millennium, jazz fusion was fairly maligned.
“Or, ‘Oh wow, that bit sounded amazing, let’s take that bit out and put it with this bit over here.’ That’s the most natural way to do it, and we like to keep it natural.”.

My dad was a bass player, who played reggae music with a little bit of ska elements in there. This is music that connects Camberwell to Cali, not just in its affinity for the pioneering cats of classic West Coast sounds but its spiritual kinship to Kamasi Washington, Ryan Porter, Terrace Martin, Thundercat, and other latter-day LA artists. The hot pot of grooves coming out of the capital from the likes of Kamaal Williams, Sons Of Kemet, Blue Lab Beats and Nubya Garcia is mirrored in equal measure by Kamasi Washington and Terrace Martin across the pond. “We’re improvising with groove. We’re not just three musicians that have been put together for the sake of making an album. More funk stuff.

As soon as Williams’ celestial keys begin to percolate and swirl on the opening “Salaam,” it’s clear that little has changed. It flows organically. A l’écoute, le « Wufunk » de Kamaal Williams a gagné en densité et en richesse harmonique avec des clins d’oeil appuyé à la France. Much of The Return highlights Williams as a master arranger. It’s for this reason that Williams regards Samuels as a member of the band: “He’s my right-hand man.”, If The Return refers to Williams’s phoenix-like resurrection from the ashes of Yussef Kamaal, it also signifies other returns: to his childhood home, to the genres that first inspired him and his bandmates, to an intuitive music-making process that is also, he says, nearly telepathic. It’s a cool way to work. Williams, however, doesn’t feel comfortable with that label. , which fused jazz with electronic dance, creating a crossover path between those scenes in the United Kingdom. The calming “Medina,” meanwhile, is the song most rooted in the tradition of basement jazz clubs. That bit there, from minute 12 to minute 18, that’s a tune!’” says Williams. When they’ve finished recording, they review it and pick out what they like. A lot of the time, we’re just improvising and know where it’s going to head.


Can he come back and do it again?’”. From there, it was non-stop. refers to Williams’s phoenix-like resurrection from the ashes of Yussef Kamaal, it also signifies other returns: to his childhood home, to the genres that first inspired him and his bandmates, to an intuitive music-making process that is also, he says, nearly telepathic. “Medina” opens on a musing electric piano introduction with a few streaks of bass running through it, then settles into a trancelike 3/4 rhythm with Williams developing melodic motifs on top. Everyone seems to be working with everyone.

The main thing now and always has been the groove. It focuses on pure groove, augmented with loop-like repeated motifs but achieves them with live drums, funk-driven bass, and smooth, twinkling Fender Rhodes lines.

“It’s not what you’d think of in a traditional sense of a saxophone player or a keys player soloing over the top of a groove. That’s the spiritual aspect—all of us have a spiritual connection, and we use it. Once the dust had settled, he immediately sought to build on the success of the critically acclaimed 'Black Focus', the 2016 record that put British jazz back on the map. In his attempt to be the more stoned modern Sun Ra, Madlib created an alternate cosmology of imaginary bands that paid tribute to Weldon Irvine and Stevie Wonder. “The four of us who make up the album, we’re all from a different part of London.”. We’re not just three musicians that have been put together for the sake of making an album. Pallbearer’s Joseph D. Rowland Picks His Bandcamp Favorites, Actress Walks Us Through His Moody, Atmospheric Albums, After Two Decades of Grinding, Rochester Rapper Eto Breaks Through, “UPRIZE!” Is A Haunting Score From South African Collective SPAZA, Essential Releases: Jungle, Coldwave, Brazilian Fusion and More, Taiwanese Film Composer Lim Giong Revives a Cult Classic in New Tribute Compilation, Touché Amoré’s Jeremy Bolm Picks His Bandcamp Favorites. I started playing keyboards on Logic and producing music in that sense. There was room for this album to grow. “Sign Of The Times Super Deluxe” de Prince en septembre, Dans les coulisses de “Sign of the Times Super Deluxe” avec l’archiviste Duane Tudahl, “Sign of the Times” par l’ingénieure du son Susan Rogers, Stevie Wonder crée son label et publie deux nouvelles chansons, Disparition du bassiste Rocco Prestia (Tower of Power), Audio : Bootsy Collins feat. It’s a sweet snapshot of London 2018—an encapsulation of a newly brewing jazz community, uniting numerous cultural strands that make up the city. In doing so, Yussef Kamaal positioned themselves alongside the likes of Shabaka Hutchings, Zara McFarlane, and the Ezra Collective as old-school-minded Londoners who made music that gloriously distilled the city’s plurality.

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