The transgender singer with the unique voice made a name for herself in the early 2000s under her birth name: Antoni. The Johnsons are named after Marsha P. Johnson, an American transgender activist. The album cover is a portrait of the latter, whom Anohni met a few days before her death, and who was to have a decisive influence on her career and the positions she took. Musically, even if you’ve never studied her discography, chances are you’ve already heard her sing, as she’s taken part in tracks by so many renowned artists, including Björk and Lou Reed. With this album, Anohni moves into a new style: after the neo-folk of her debut and the electro of “hopelessness”, we’re here in a very soulful universe with a decidedly trendy sound. The themes addressed, such as ecology and the position of trans people, are always committed and demonstrate the artist’s sensitivity. The tracks, often quiet, sometimes upbeat, allow the artist’s distinctive voice to hit the mark once again.
Sure, it’s only 12 minutes of music, but it’s also an opportunity to take a closer look at the career of this French jazz drummer. As a leader of various groups since 2008, she has released a dozen albums and taken part in numerous projects. Both within the jazz movement, on recordings by Christian Escoudé and Rhoda Scott, and outside it, accompanying Mélissa Laveaux and Jeanne Added on stage. Open to many influences, she can be seen collaborating with Burmese musicians or being inspired by Persian poems. Her records feature sounds from diverse worlds, ranging from pop to folk music. The titles on this EP come from the sessions on her magnificent album S.H.A.M.A.N.E.S. As the name almost suggests, shamanism and spirituality are the main inspirations. His work on rhythm, of course, as well as on timbre, melodies and vocals, succeeds in making contemporary jazz, sometimes flirting with the avant garde, accessible. A masterfully maintained balance that confirms the percussionist as an important artist on today’s jazz scene and beyond.
This violinist by training is the author of more than twenty albums, both solo and collaborative. He is a regular contributor to country-folk groups such as Neko Case and Handsome Family. From his earliest productions, he has established himself as a gifted multi-instrumentalist with a distinctive fiddle style. His style ranges from sentimental pop to neo-folk laden with diverse influences, even traditional folk as on his album with Jimbo Mathus. On this album, the tracks are based on improvisations recorded on location. As on some of his concerts, Andrew Bird uses pedals to create loops with his violin and guitar, over which he plays back live. Alan Hampton’s bass and, depending on the track, maracas, humming or whistling melodies and a track on which he sings, are added to the mix. While remaining approachable, this is one of his most radical albums, with motifs and sounds shifting from jazz to plucked strings reminiscent of traditional African music and the kora. On certain passages, we’re on the verge of contemporary music, without being hermetic. On these recordings, the musician goes further in his experimentation, but never forgets to take us with him.
The band met at design school in the ’70s, and are credited with opening the doors to world music by mixing white music with African rhythms. Whatever the case, they produced a handful of essential albums, and their sound had a considerable influence on the New York scene, right up to the likes of Franz Ferdinand and Fool’s God. In 1983, film director Jonathan Demme attended one of the shows following the release of the Speaking In Tongues album; blown away by what he saw, he convinced the band to film the last concerts of the tour. The result is simply cult, and even today it’s considered one of the best filmed concerts of all time. The set design, the visual surprises, the band’s energy, the director’s bias towards what happens on stage, all combine to make this an exceptional piece of work. Of course, the music on this disc is the central pivot. As with many concerts, here we find a succession of the band’s best tracks, with that extra soul and cohesion that live recordings bring, the songs are transcended. Listening to these 18 tracks, it’s easy to see the difference between a good album and an unmissable classic.
Florida-born Kendra Morris has been passionate about music and singing since childhood. She found happiness in the soul classics of the 60s and 70s. She cut her teeth singing in bars and took part in the reality TV show Redemtion Song. Her debut album “Banshee” was released in 2012. But it was with her cover of Shine On You Crazy Diamond, included on the soundtrack of the film Dead Man Down, that she broadened her audience. Her powerful, gravelly voice has led her to collaborate with hip hop artists and to provide vocals on a Denis Coffey tour. Far from contenting herself with the role of performer, she also excelled at writing and composing. On this latest album, she stays close to her preferred style, bringing a modern touch to the arrangements and adding traces of pop and rock. Her voice gains in character, its tessitura a little more reminiscent of Amy Winehouse’s, while remaining identifiable and avoiding the impression of a copy. In such a setting, soul remains a sure bet in 2023.
