kamaal williams wu hen review

[Aug 2020, p.39]. Yet, with each passing year, Black Focus grows in importance and resonance. Williams’ music emphasizes the malleability and evolution of sound across styles and eras, even drifting into an R&B track voiced by the up-and-coming Lauren Faith stashed away near the album’s end. Studio 31, Information Privacy Policy With a push and pull of sonics but an underlying, undeniable groove throughout, Wu Hen finds Kamaal Williams as explorative as ever, the kind of album you’d only get from a proper crate-digger. All rights reserved. But Dayes and Williams soon splintered, never building on that keystone. by . It’s a selfish, self-defined spiritual revolution, examining his British-Taiwanese heritage and identity through the childhood nickname given to him by his Grandma. Aug 2020, p.68]. But while that album also established him as the king of the dazed meander, here he skewers Coltrane-era jazz with Pigalle, an exuberant reimagination of how a night out in 1950s Paris might have sounded. [Aug 2020, p.91], It's fastidiously realised, taking in gorgeously orchestrated jazz, hi-octane funk and a pristine slow jam featuring Lauren Faith. With a push and pull of sonics but an underlying, undeniable groove throughout, Wu Hen finds Kamaal Williams as explorative as ever, the kind of album you’d only get from a proper crate-digger. The songs themselves seem aware of that disparity, with neighboring tunes serving as subtle variations on a shared theme. Critic Reviews It was a promising, if tentative, first offering, one that lacked the confidence to establish itself beyond the incisive legacy of Yussef Kamaal’s album Black Focus. Simple Things © 2020 Guardian News & Media Limited or its affiliated companies. Following from 2018’s The Return, Wu Hen forges further into jazz-funk territory, staking out a middle ground between the spiritual fire and the glossy textures of smooth jazz, a terrain that keyboardist Lonnie Liston Smith himself mapped back in the 1970s. Atwood-Ferguson’s arrangements to the set are the clear stand-outs, adding yet another era of musical tradition for Williams to draw upon (in this instance, the opulent charts crafted by the likes of David Axelrod and Gil Evans) and new textures for his group to react to. Plinth Cookie Notice “Toulouse” and the subsequent “Pigalle” evolve in similar fashion. It’s a musical melting pot where funk, rap, R&B and jazz converge into William’s unique space of ‘Wu Funk’ and it’s breathless yet ethereal in equal measure. Find album reviews, stream songs, credits and award information for Wu Hen - Kamaal Williams on AllMusic - 2020 - South London's Peckham is England's center for… Though undoubtedly a posterboy for the London jazz explosion, Kamaal Williams has always resisted categorisation. Taking on the driving force of 1950s jazz could hold the key to Williams’ independent development – one which would rely on him honing his keyboard skills to convince as a bandleader, rather than just a producer. For all of Williams’ penchant for blending together the electronic textures of different eras, the in-the-studio feel of this post-bop jazz throwback stands out, feeling spontaneous rather than carefully deliberated. Wu Hen Kamaal Williams: Wu Hen review – genre-bending prodigy strikes again (Black Focus) The London keys player and house DJ brings together funk, club culture and cool jazz Williams’ music emphasizes the malleability and evolution of sound across styles and eras, even drifting into an R&B track voiced by the up-and-coming Lauren Faith stashed away near the album’s end. Kamaal Williams : Wu Hen By: Adam Blyweiss London-based musician Kamaal Williams is on the record disliking his instrumental work slotted as “jazz,” and I suppose I can understand why: He also performs under the stage name Henry Wu, creating a catalog of critically acclaimed funky house with many more releases and even a DJ Kicks mix to his credit. July 24, 2020 ... 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. Add Review. He succeeds, with some surprises, flirting with glittering soul on Hold On, featuring the slurry-smoky vocals of Lauren Faith. Kamaal Williams ’ Wu Hen is a richly textured album in which sincerity takes precedent. July 24, 2020 ... 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. Watch the video for 1989 by Kamaal Williams. Landmrk Data, An independent platform for contemporary culture, Kamaal Williams Sweet street dreams indeed. Diversity Policy Atop a gauzy sax a man’s voice is heard effusively telling a slang-filled story about swerving the police. Reception. Kamaal Williams’ Wu Hen knows what it is and what it doesn’t want to be. Williams’ music emphasizes the malleability and evolution of sound across styles and eras, even drifting into an R&B track voiced by the up-and-coming Lauren Faith stashed away near the album’s end. - Jazz. 8 But the continual stylistic shifts make stretches of Wu Hen feel fidgety, hurriedly racing off to somewhere different rather than lingering and deepening its focus. Powered by drummer Yussef Dayes and keyboardist Henry “Kamaal” Williams, 2016’s Black Focus —the duo’s lone release as Yussef Kamaal—neatly mirrored the renaissance of jazz out on the West Coast helmed by Kamasi Washington.

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