Nat Birchall meets Al Breadwinner: Tradition Disc in Dub

The British saxophonist / flutist Nat Birchall celebrated his twentieth anniversary as a band leader in 2019. His specialty is actually contemporary, spiritual jazz in the style of John Coltrane. Before Nat Birchall switched to jazz, reggae was his great passion and in a sense it still is today. He grew up in the 1970s, Reggae Belle Epoque, when the style set the tone that would go down in music history as "Roots Reggae". Birchall went shopping almost weekly from his rural home in Lancashire in the north of England to nearby Liverpool to buy the latest Jamaican imports in the city's specialty shops. In an interview, Nat Birchall said: “I spent all my money on these records and most of the people in my village commented on my taste in music:“ What the hell is that? But you're on the wrong side! "
Also formative for Birchall's musical development was Count Ossie (Oswald Williams), the man who developed the typical Nyahbinghi percussion style that Rastas play in their day-long grounations. An essential and exemplary example of these fabulous grounations, in Rockfort near Wareika Hill in east Kingston, is "(Count Ossie &) The Mystic Revelation Of Rastafari - Grounation" (Ashanti, 1973), which was recorded in just three consecutive nightly sessions. This triple LP enjoys a very high status in Birchall's record collection as well as his music world. On most of these legendary recordings, Cedric "IM" Brooks was both arranger and tenor saxophone. On the milestone “Grounation”, which should not be missing in any serious collection, the jazz influence is evident and gushes out of every groove - except for the narrations. The leading saxophonists of this era: Cedric "IM" Brooks, Tommy McCook, Roland Alphonso aroused Nat Birchall's interest in this instrument and greatly influenced his decision to play the saxophone.
In 2018 Nat founded Birchall together with the Manchester-based company Dub-Producer Al Breadwinner “Tradition Disc”. So far, the label has released the two albums Nat Birchall meets Al Breadwinner feat. Vin Gordon: "Sounds Almighty" and Vin Gordon: "African Shores".
Now the third trick follows: Nat Birchall meets Al Breadwinner: "Tradition Disc in Dub”(Tradition Disc). What we are being served this time is really relaxed Dub-Album with beautiful Nyahbinghi percussions à la Mystic Revelation Of Rastafari and classic Dub à la King Tubby. As expected, “Tradition Disc is in Dub”Has become a very nice, high quality album again, which will surely please all those who already know / knew to appreciate“ Soul Almighty ”and“ African Shores ”.
“Tradition Disc in Dub”Was recorded again with tape and analog equipment. Just as we have been used to from Al Breadwinner for several years. Nothing essential has been changed in the line-up: Nat Birchall and Al Breadwinner play all instruments except trombone (Vin Gordon) or trumpet (David Fullwood from the Crispy Horns). In my opinion, the new work will evoke a similar level of enthusiasm as its predecessor, which I can only recommend to everyone. Wonderfully rooty riddims, beautiful horn sections, heavy bass lines, Nyahbinghi percussions and drums hissing like in a snake pit in the classic flying cymbals style cast a spell over you. As expected on the album cover, we hear a homage to the good old King Tubby / Bunny Lee / Augustus Pablo / Aggrovators times. There is a mild, almost gentle, magical atmosphere. Definitely do this Dubs are still in a good mood in the classic style and are so gorgeous that they could put a smile on the face of a stone head statue on Easter Island.

Rating: 4 out of 5.

2 responses to “Nat Birchall meets Al Breadwinner: Tradition Disc in Dub"

High Ras

Space and time are really inseparable. In any case, I am now back in the room where I find the time to make a few comments.
Nevertheless, I would like to be brief as I am thirsty for many comments.
Nat Birchall and Al Breadwinner have already driven me to white heat because they are excellent Dubs in high grade style through their preference for the flying cymbals inaudible to me. On “Tradition Disc In Dub“I actually only take the cymbals on two DubVersions than was really negative. Overall, the “high grade style”, that's what I call everything that is the best for me, is very well preserved. I still can't describe it well, but this is a particularly crisp one DubEffect used. I also perceive it as a hissing but refer not only to the hissing cymbals (cymbals don't hiss, they rattle ;-)), but also to other instruments, which here often change into a hissing, sparkling effect and are carried to infinity. Of course, that's not the only reason why I do most DubI really like it here, but for me it is the most striking stylistic device that flashes me the most.

I would like to exchange the record for the Breadwinners record that I have at home ………………… .. lemmi

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