At the moment, under the aspect of fusion of reggae /Dub and jazz happily a lot. The final turnaround began for my feeling with the releases of the jazz trumpeter Nils Petter Molvaer together with Sly & Robbie, followed by the saxophonists Nat Birchall and Jan "King" Cooper as well as the Chronicles Dub Trio / The Dub Chronicles (duo). All seasoned jazz musicians, who with their albums of the "jazzy side of reggae /Dub“Pay the tribute it deserves. Now the debut album "Dubsouls in session"(Youthsounds.net) by Andrew" Murph "Murphy, a jazz guitarist from Bath (GB), who has played in all genres with various bands (Robert Plant / Jimmy Page, Rhythmites, Goldfrapp, King Prawn, Lee Perry, Radical Dance Faction, Black Box), but mainly in jazz as a duo / trio or quartet.
The album "Dubsouls in session ”has just been released on the independent record label Youth Sounds based in London, which was founded by Killing Joke bassist Martin“ Youth ”Clover.
Andrew "Murph" Murphy's musical spectrum includes styles from swing and Latin to cool and gypsy jazz. His unmistakable role models are Wes Montgomery, Django Reinhardt and of course the legendary Jamaican guitarist Ernest Ranglin. Reggae has been accompanying “Murph” his entire life, and this time he has a septet of all stars who Dubsouls has put together his self-composed instrumental reggae with light Dub- Sounds interpreted very relaxed. The influential influences for Andrew "Murph" Murphys range from early Jamaican Ska to Rocksteady to Dub- and the sound system culture of the 70s.
The session was played live and recorded on 4-track tape, which gives the recordings an authentic old-school feel. The album was then mixed by Jamie Grashion. The pieces were recorded in classic jazz format, the melody is followed by improvisation, which then returns to the original melody towards the end of the piece.
A nice instrumental album, but without much DubAs the title would actually suggest, it doesn't let any hectic rush arise, comes along completely relaxed and also (only) as background sound for a cultivated candlelight dinner or a relaxed evening fits like a fist on the eye.
3 replies to "Dubsouls: Dubsouls in session "
First of all, I'll write something absurd.
If, like me, you are totally into reggae and also and often especially celebrate the wind parts in the reggae tunes and then get tired of the "blower" elsewhere, you sometimes have a really hard time with yourself. I also often feel with Love Bigger like that and also at the Skatalites I often had problems here and there, at least dealing with the main topic. For me, improvisations are “the icing on the cake”.
It is the same here with "Dubsouls in session ”. I think the riddims are all extra class! Also the DubEffects are in exactly the right place and provide that certain something that is only and only there DubMusic there. The wind melodies, which form the main theme, so to speak, sound to me, as so often, too much like James Last… ..oh, oh….
The improvisations then tear it out again and it (me) wobbles in time.
By the way, none of this is a new concept. everything was already there! What did the singer say back then when he was asked about the music style of UB 40 ?!
“We play JAZZ DUB Reggae".
Well I know, you can't really compare it, but I just wanted to say something again ;-)
Anyway, the disc has a very good groove !!! Bass and drums do a great job here. It doesn't sound or feel like work in the least.
Did I actually mention that I never listen to music while eating (unless other people really want it). For me it doesn't go together at all. Candlelight dinner, the woman of my dreams sits across from me and that too DubMusic. That overwhelms my attention exorbitantly. That would be multitasking at the very highest level. Can not make it ….
Cheers ……………. lemmi
Greetings
Before the music of Jamaica developed into Ska, Rocksteady and later Reggae, Jamaica preferred to have a flourishing jazz dance band scene in the holiday resorts and on the luxury liners, at that time primarily for the Americans. Many of the later “stars” provided support for the new dance music with their contributions. Anyone who played in the Eric Deans Orchestra or Colony Club Orchestra in the 40s and 50s reads like a who's who: Don Drummond, Tommy McCook, Ernest Ranglin, Lloyd Brevett, Roland Alphonso and Rico Rodriguez.
Therefore, your comparison with James Last is not that far-fetched at all and, I think, aptly to the point.
I have to admit that I found James Last quite good here and there, or not so bad at all.
But stop with James Last! This is even now too off-topic for me ……………. lemmi