The Return by Kamaal Williams, released 25 May 2018 1. “Pigalle” morphs in its final third into a slow funk, with drummer Greg Paul doing a reasonable facsimile of James Brown’s “Funky Drummer” lick (whose samples have girded forty years of hip-hop and dance music). iamisme, Sankofa Seasonby Andrew Ashong & Kaidi Tatham, supported by 260 fans who also own “The Return”, It feels like the beautiful mix of keyboard and sax massages my brain. Even the constant presence of Quinn Mason’s Gato Barbieri-esque tenor sax doesn’t do the trick. So many flavours I’m loving this album on so many levels ❤️. Miguel Atwood-Ferguson) 5. Not all the transitions were great but some were just flat out amazing; therefore you got to listen to the album.
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The pair, made up of Yussef Dayes and Kamaal Williams (aka Henry Wu), have had little in the way of formal training. Medina 9. London, UK. Austin Pinneke, Bandcamp Daily your guide to the world of Bandcamp, Kamaal Williams on Life After “Black Focus” and How He Defies the Jazz Fusion Label, Essential Releases: Taiwanese Grind, Vaporwave Rock, Jazz Fusion and More, Drum'n'Bass pioneer Krust in conversation.
Due for release on November 8th, it features four of his own brand new and exclusive tracks and hints at the wide world of influences that have made him one of the most prominent artists of the last few years. Broken Theme 3. Can't stop listening. Cotter 4. Callahan 2. Game-changing multi-instrumentalist Kamaal Williams has put together the latest DJ-Kicks mix. Pallbearer’s Joseph D. Rowland Picks His Bandcamp Favorites, Actress Walks Us Through His Moody, Atmospheric Albums, After Two Decades of Grinding, Rochester Rapper Eto Breaks Through, “UPRIZE!” Is A Haunting Score From South African Collective SPAZA, Essential Releases: Jungle, Coldwave, Brazilian Fusion and More, Taiwanese Film Composer Lim Giong Revives a Cult Classic in New Tribute Compilation, Touché Amoré’s Jeremy Bolm Picks His Bandcamp Favorites.
Kamaal Williams made his name as half of the duo Yussef Kamaal, recasting the “fusion” part of jazz fusion for the underground dance club scene that has defined London for thirty years. The insinuation is careful, but complete: by the time we reach the closing “Early Prayer,” with a beatless combination of improv sax and electro-gauze that would otherwise stand in relief against the rest of. Wu,” he mines jungle and grime grooves as well, pairing house beats with abrasive electronic textures to propulsive effect. Big Rick 7. Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Miguel Atwood-Ferguson) 2. 1989 (feat. The insinuation is careful, but complete: by the time we reach the closing “Early Prayer,” with a beatless combination of improv sax and electro-gauze that would otherwise stand in relief against the rest of Wu Hen, we can’t imagine the album ending any other way.
Pigalle 6. Williams has taken his long standing love of seventies jazz fusion and mixed it up with the contemporary sound of the London underground to devastating effect.
Not all the transitions were great but some were just flat out amazing; therefore you got to listen to the album.
The Return 4. It’s the smoky late-night vibe that lurks beneath “Toulouse’s” trip-hop and “Hold On’s” slow-jam R&B (with a haunting vocal by Lauren Faith) like the brown undercoat in a Rembrandt painting. The drum solos on either of the "Hold" tracks are a thing to behold. On follow-up Wu Hen, Williams has embraced jazz at least enough to render one straightforward, acoustic swinger (“Pigalle”), and to scatter jazz harmonies throughout the album—including three tracks on which guest Miguel Atwood-Ferguson’s violins, violas, and cellos apply jazz-with-strings language.
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