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Sons Of Kemet Lest We Forget What We Came Here To Do

  • Jeremy Saville. That takes a long time, and now both players have refined their relationship within the music, equally comfortable switching between anchoring the groove and decorating it with overlying polyrhythms. Expanse by Sefi Zisling. Mo' Wiser. Sons Of Kemet are born of many vital elements — including a name that nods to ancient Egyptian culture, and a line-up that comprises some of the most progressive 21st-century talents in British jazz and beyond. Artwork by Daniela Yohannes.

    Sam S. Amanda Frontany. Christopher Proudfoot. Rob Burrows. Brian Davy. Jon Holden-Dye. William Fields. Nick Weckman. Chaly Chalio. Roberto Duran. Jason Butterworth. Dirk Damaschun. Ian Carss. All the buttons, all at once. Luc Paredis. Kamil Azhar. Androo Boo. Tris Kayo. Purchasable with gift card. Sold Out. In Memory Of Samir Awad Tiger Mo' Wiser Breadfruit The Hour Of Judgement Afrofuturism Play Mass Sons Of Kemet are born of many vital elements — including a name that nods to ancient Egyptian culture, and a line-up that comprises some of the most progressive 21st-century talents in British jazz and beyond.

    Band-leader, composer and sax and clarinet don Shabaka Hutchings himself named after a Nubian pharaoh-philosopher brings together his fiery vision alongside London-based bandmates Tom Skinner and Seb Rochford forming a dynamo duo on drums here and latest addition Theon Cross taking over from Oren Marshall on tuba. We can let our musicality take on a life of its own. When we play live, we know what the end result is: everyone in hysteria.

    I think it could be a Caribbean thing: to express something with deep meaning about society, that might come from having experienced trauma, within a form that might feel quite light-hearted. You get the same thing in calypso music. When I was in the Caribbean, kids my age saw jazz as music for old people or rich people.

    All songs published by Touch Tones Music Ltd. Rochford also produced the album, and his clever mixing of the percussionists has resulted in them occupying different spaces, avoiding any lack of clarity that has often plagued attempts at having two drummers.

    Rochford's use of tape delay adds another dimension, subtle though it is. The faint flutter on the clarinet lines of "Breadfruit" coupled with the warm distortion on the percussion gives the album a dub-like feeling -- techniques already explored on their first album -- but here, studio effects are used more sparingly in conjunction with a raw live sound.

    The filtering and distortion and subsequent cut on "Afrofuturism" are especially effective. Hutchings ' improvising is impressively varied throughout, from the visceral attacks that entice retaliations from the drummers or from tuba powerhouse Theon Cross on the opening of "Tiger" to the atmospheric wanderings over the brooding "Mo' Wiser," again the tape delay on the clarinet phrases lapping at their resolutions.

    There's no requirement for the robotic post-bop language found under the fingers of many a contemporary sax player; instead, the harmonically simple melodies serve as a platform for interaction rather than a complicated roadmap of changes to be navigated. The bandleader's upbringing in Barbados clearly influences the record, not least the raucous "Afrofuturism," which borrows bass and snare styles from Barbadian tuk bands.

    Postcolonial identity is further reflected on "In the Castle of My Skin," a title taken from George Lamming's novel, but the album's opener is perhaps the most poignant tribute -- a dedication to a Palestinian teen shot in the back by Israeli forces while attempting to flee. Lest We Forget Similar themes are explored but with added focus, a heightened interdependence on each other as group improvisers that makes this record feel like a rich progression.

    Hopefully there's more to come -- the conviction of their collective sound, not to mention their popularity amongst fans not typically interested in jazz, suggests further exploration of this path could yield even more exciting results. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age.

    Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes.


  • Explore music. Dj Spinna. Engelram Be on your guards - the tension never releases but comes in different flavors. Great exotic jazz album. Ryan Daley. Ryan Daley Smoking from start to finish. Danceable, raise your handsable:. Jackson Clawson. Chris Guilfoyle. Nimish Dhawan.

    Sam S. Amanda Frontany. Christopher Proudfoot. Rob Burrows. Brian Davy. Jon Holden-Dye. William Fields. Nick Weckman. Chaly Chalio. Roberto Duran. Jason Butterworth.

    Dirk Damaschun. Ian Carss. All the buttons, all at once. Luc Paredis. Kamil Azhar. Androo Boo. Tris Kayo. Purchasable with gift card.

    Sold Out. In Memory Of Samir Awad Tiger Mo' Wiser Breadfruit The Hour Of Judgement Rochford also produced the album, and his clever mixing of the percussionists has resulted in them occupying different spaces, avoiding any lack of clarity that has often plagued attempts at having two drummers.

    Rochford's use of tape delay adds another dimension, subtle though it is. The faint flutter on the clarinet lines of "Breadfruit" coupled with the warm distortion on the percussion gives the album a dub-like feeling -- techniques already explored on their first album -- but here, studio effects are used more sparingly in conjunction with a raw live sound. The filtering and distortion and subsequent cut on "Afrofuturism" are especially effective. Hutchings ' improvising is impressively varied throughout, from the visceral attacks that entice retaliations from the drummers or from tuba powerhouse Theon Cross on the opening of "Tiger" to the atmospheric wanderings over the brooding "Mo' Wiser," again the tape delay on the clarinet phrases lapping at their resolutions.

    There's no requirement for the robotic post-bop language found under the fingers of many a contemporary sax player; instead, the harmonically simple melodies serve as a platform for interaction rather than a complicated roadmap of changes to be navigated.

    The bandleader's upbringing in Barbados clearly influences the record, not least the raucous "Afrofuturism," which borrows bass and snare styles from Barbadian tuk bands.

    Postcolonial identity is further reflected on "In the Castle of My Skin," a title taken from George Lamming's novel, but the album's opener is perhaps the most poignant tribute -- a dedication to a Palestinian teen shot in the back by Israeli forces while attempting to flee. Lest We Forget Similar themes are explored but with added focus, a heightened interdependence on each other as group improvisers that makes this record feel like a rich progression.

    Hopefully there's more to come -- the conviction of their collective sound, not to mention their popularity amongst fans not typically interested in jazz, suggests further exploration of this path could yield even more exciting results.

    AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes.