01 N Grimoire

With an original line-up of trombone, electric guitar, double bass and drums, N∆BOU is a breath of fresh air on the Belgian jazz scene. On the trombone, bandleader and composer Nabou Claerhout is looking for a sound all her own: by means of all sorts of effects, she creates a dreamy musical framework with a strong atmospheric and melancholic resonance. The group’s debut EP Hubert – for which Claerhout was nominated for the Sabam For Culture ‘Jazz Composer 2019’ prize – was already a fine demonstration of its unique sound, which is now further refined and specified on its first full album You Know . Lush and intimate sounds alternate with strongly rhythmically based compositions, while groovy bass riffs from Trui Amerlinck, Mathias Vercammen’s elaborate drum patterns and the modern, virtuoso guitar playing of Roeland Celis play their part in this musical adventure full of highlights – all created in combination with Claerhout’s distinctive trombone playing ‘that sings, cries, pulsates, narrates and knows how to make many hearts weak through well-constructed contemporary pieces’.

This second volume of producer Steve Hoffman's discoveries in the Chess Records vaults features some less-prominent Chuck Berry tunes, again in the form of demos, unreleased alternate takes, and stereo remixes. Listeners are getting into collector territory here, but there are still some enjoyable examples of the Berry repertoire.

This 16-track compilation covers Senegalese singer/songwriter and multi-instrumentalist Youssou N'Dour's Columbia Records period, from 1991 to 1996. Perhaps the most popular pop culture figure in Senegal's history, N'Dour created a music of his own from various sources, which he called "mbalax" and which incorporates everything from jazz, soul, hard R&B styles, hip-hop, and even Cuban samba, and juxtaposes them with the folk melodies and polyrhythms of his native land. The cuts here, particularly "Old Man," "New Africa," "Yo le Le, (Fulani Rhythm)," and the covers of Smokey Robinson's "Don't Look Back," and Lennon and McCartney's "Ob-La-Di-Ob-La-Da," reveal N'Dour's idiosyncratic, yet very accessible grasp and integration of Western and African pop styles.

Prior to the 1992 release of the five-disc box set The King of Rock 'n' Roll: The Complete 50's Masters, RCA's approach to reissuing Elvis Presley on CD - or on LP, for that matter - was rather scatter-shot, seeming to follow the dictates of the market more than the demands of history. There were some excellent releases of archival material and in 1987, on the tenth anniversary of the King's death, there was a stellar series of compilations, but most of what was released was a constant stream of recycled hits, which this box most certainly is not. This set is sharply and expertly assembled, presenting Elvis' peak as a creative and cultural force in staggering detail…

Really appreciated both by listeners & critics, more than just a compilation, Break n' Bossa has been, during the years, the exact mirror of a music scene, rather, it was the project that literally invented a new music genre, giving a connotation & a point of reference to the growing up scene. Schema Records helped in its development with all its artists.

To discover the origins of rock & roll, one has to return to the music of the 1930s and '40s, when the blues and rhythm & blues ruled the airwaves. The musical geniuses of these genres were primarily African American, although a few Anglo artists crossed over into the earthy music played in dance halls and on the radio. Few of these artists cashed in like their spiritual descendants a generation later. Nonetheless, they have left a legacy in song of their rich tradition. This CD is part of a series that traces the colorful history of rock & roll to its source. Making an appearance are New Orleans R&B giants Fats Domino and Dave Bartholomew. Other well-known artists include B.B. King, Wynonie Harris, Tennessee Ernie Ford, Louis Jordan, Champion Jack Dupree, and the Sons of the Pioneers…

This is the eighth (and last) volume in a series of double-disc anthologies from French label Fremeaux Records that chronicles the years that led up to the birth of rock & roll. While the magic year of 1954 is usually accepted as the dawn of the rock & roll age, the whole matter has always generated a good deal of debate, and this installment in the Fremeaux series only muddies the waters, since the year it covers, 1952, shows things rocking along pretty well. One could argue that some of the tracks here, like Wally Mercer's wonderful "Rock Around the Clock," are really just speeded-up R&B, and technically, that's probably so, but there's no denying that something resembling the rock & roll attitude is already in full swing in 1952…

Rock & roll music scholars debate when the genre really began and which artist produced its first recording. But critics can agree that the music which defined a generation had its roots in the blues and rhythm & blues artists of the 1940s. Many of those early artists were African Americans who saw their songs recorded by young white musicians who liked their music so well they thought they wrote it. Setting aside the important issues of copyright piracy and musical equities, the kaleidoscope of contributors to the rock & roll idiom makes for interesting listening. This CD is part of a series that goes back to those days in the 1940s before rock & roll had a name and started a cultural revolution. This volume focuses on the year 1948, when an avalanche of great music was released, all bearing the throbbing beat that was to characterize the music later called rock & roll…