1 	So It Goes 	5:20
2 	Tell You One Thing 	3:59
3 	Nothing’s Really Changed 	3:34
4 	Fairytale Ending 	3:50
5 	Miss You Madly 	5:09
6 	Don’t Give Up 	3:41
7 	Walk On By 	3:13
8 	To Love Somebody	4:06
9 	Change 	3:42
10 	I’m Ready 	4:49
11 	Love’s Work	4:30
12 	I’m A Fool To Want You 	4:50

Arranged By – Ben Stivers, Robin McKelle
Bass – Derek Nievergelt
Drums – Adrian Harpham
Guitar – Al Street
Keyboards – Ben Stivers
Saxophone – Pee Wee Ellis
Tenor Saxophone – Mike Tucker
Trombone – Clayton DeWalt, Fred Wesley
Trumpet – Scott Aruda
Vocals – Gregory Porter (tracks: 11), Lee Fields (tracks: 8), Robin McKelle

First, Robin McKelle & The Flytones Soul Flower is not neo-soul. Neo-soul is what Amy Winehouse was and Cee Lo Green is (at least on his "Forget You"). Neo-soul is a cheeky attempt to cash in on a classic style while, at the same time, not taking it seriously. Second, Soul Flower might be better termed retro-soul, except that McKelle avoids the pitfall of clinging too tightly to the old style that has plagued other artists trying to put a new spin on the soul canon. A mixture of originals with some clever covers make up Soul Flower. McKelle is a more than capable composer—a roll she shares with Sam Barsh (bassist Avishai Cohen's former pianist).

For any Baby Boomer, Soul Flower can be eaten with a spoon. It is more Motown than Memphis by way of Muscle Shoals, and smacks of Bobbie Gentry having a pool party with Gladys Knight and the Pointer Sisters. McKelle possesses a contemporary authenticity that manifests in her assimilation of multiple older styles presented with a freshness that has the fragrance of experience re-imagined. Pianist Beat Kaestli Ben Stivers ' use of the electric piano lends this collection of a dozen songs that sound, which is at once retro and chic. This, coupled with McKelle's honesty, makes this a recording that should encourage a reappraisal of period soul and that being made today. And isn't that what all art is supposed to do? ---C.Michael Bailey, allaboutjazz.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

01. Do You Believe (3:27)
02. Lyla (5:55)
03. Come To Me (5:29)
04. Your're No Good (5:13)
05. Swing Low, Sweet Chariot (5:38)
06. Simple Man (5:29)
07. The Sun Died (4:23)
08. Yes We Can Can (6:12)
09. It Won't End Up (5:44)
10. Il est Mort le Soleil (4:28)

Robin McKelle - vocals
Chris Potter - saxophone
Avishai Cohen - trumpet
Ben Street - bass
Adam Cruz - drums
Roman Diaz - percussion

2018 is only three short months long and already we've been treated to some fabulous music from the distaff side of the soul scene.... I mean Kathy Kosins' 'Uncovered Soul', Diane Shaw's 'Second Chance', Lisa Stansfield's 'Deeper' and Lindsey Webster's 'Love Inside'. There's enough there to satisfy each and every soul glutton but now to add to the sumptuousness of that banquet songstress Robin McKelle is all set to release this brand new collection.

The soul world first got to know and love Ms McKelle back in 2013 via her still relevant 'Soul Flower' album. The set boasted the evergreen 'Fairytale Ending' (picked up by Expansion as one of THE tunes of that year) and the lovely 'Love's Work' – a duet which helped introduce a relatively unknown Gregory Porter to a wider audience. Since then Robin's consolidated her position as a major leaguer with the album's 'Heart Of Memphis' and 'Looking Glass'.

This new long player, 'Melodic Canvas', sees Robin make a subtle change of musical direction – just as she did in 2013 with 'Soul Flower'. Before that Ms McK had released three albums –all in the jazz idiom and for 'Melodic Canvas' she revisits those jazzier roots. She says that after 'Looking Glass' (her 2016 album) she worked a lot with jazz musicians on the European circuit (Robin is a major name in France in particular) and decided that the time was right to reconnect with jazz and she focused on crafting new songs that would allow her that extra degree of freedom of expression that jazz brings.

And of those songs, there's none finer than 'Lyla'. This is a stark yet beautifully sympathetic look at the difficulties facing young people in the flim/flam, superficial world of social media and digital messaging; it's about dreaming; it's about the passion of reality and a whole lot more.... if it doesn't move you, nothing will.

'Simple Man' is also set to become one of the best tunes of 2018. This one is about the difficulties and prejudices that face immigrants every day and though from that description it might sound heavy; it isn't... it's light and lithe with a hint of optimism; a delight.

Elsewhere, well the most interesting track, I guess, is 'Il Est Mort Le Soleil'. Yep, that's right a French song.... Robin, as we said is "big in France" and this, her first recording in French, is her thank you to her loyal French fans. It's a melancholic meander that befits the title with more beautiful piano from Shedrick Mitchell. Interestingly the song is a French original. It was introduced to US jazz audiences when Ray Charles recorded an English version; Robin offers an English version too.

Other covers include a take on the spiritual 'Swing Low' (Robin's mother sang gospel) and a look at Allen Toussaint's 'Yes We Can' with some funky sax from Chris Potter. So, yes –'Melodic Canvas' is ostensibly a jazz album but be sure the soul is never far away. Whatever, it will be remembered as one of 2018's best. ---soulandjazzandfunk.com

download (mp3 @320 kbs):

yandex mediafire uloz.to gett

back

1 	About To Be Your Baby 	4:22
2 	Good Time 	2:45
3 	Please Don't Let Me Be Misunderstood 	4:10
4 	Control Yourself 	3:52
5 	Forgetting You 	2:29
6 	Heart Of Memphis 	4:43
7 	Like A River 	4:14
8 	Easier That Way 	4:16
9 	What You Want 	3:32
10 	Good & Plenty 	3:08
11 	Baby You´re The Best 	3:07
12 	Down With The Ship 	4:02
13 	It's Over This Time 	3:18

Yennifer Correia 	Violin
Mark Franklin 	Flugelhorn, Horn Arrangements, String Arrangements, Trumpet
Anthony Gilbert 	Viola
Adrian Harpham 	Drums, Percussion
Danielle Hill 	Vocals (Background)
Jonathan Kirkscey 	Cello
Susan Marshall 	Vocals (Background)
Susanne Marshall 	Vocals (Background)
Robin McKelle 	Percussion, Primary Artist, Producer, Vocals (Background)
Jessica Munson 	Violin
Derek Nievergelt 	Bass (Electric)
Kirk Smothers 	Flute, Sax (Baritone), Sax (Tenor)
Ben Stivers 	Celeste, Clavinova, Farfisa Organ, Fender Rhodes, Organ, Piano, Wurlitzer
Al Street 	Guitar (Acoustic), Guitar (Electric) 

It certainly is rare to read about a soul/blues singer who once finished third in the Thelonious Monk International Jazz Vocal competition. Originally from Rochester, NY, vocalist Robin McKelle migrated to France, where two recordings of big band swing material made her a star. Five years ago she began a transformation that took her through songs from composers like Willie Dixon and Doc Pomus to this latest recording that celebrates the musical legacy of the city of Memphis.

McKelle’s band, the Flytones, quickly serve notice that they have an innate understanding of sweet soul music with Al Street on guitar, Ben Stivers on a multitude of keyboards, Derek Nievergelt on bass and Adrian Harpham on drums 7 percussion. Producer Scott Bomar certainly brings a wealth of experience to the project. He is the bass player for the Bo-Keys and learned how to work a studio alongside the legendary Willie Mitchell, leading to Bomar engineering two Al Green recordings. Two other members of the Bo-Keys add their considerable talents to the mix – Mark Franklin on trumpet & flugelhorn and Kirk Smothers on saxophones & flute.

Sounding like a modern-day version of Dusty Springfield, McKelle possesses a rich, resonant voice that is used to tell stories, minus most of the vocal gyrations that infect many current vocal performances. She is a singer’s singer with a voice that can break your heart on “Easier That Way,” which borrows a horn riff from Rev. Green, or breathe fire into the dance-floor stomper, “Good Time”. On the title track, McKelle offers a reverential tribute to the people and magical sounds of the famed city over an easy-rolling rhythm punctuated by horn accents.

“About To Be Your Baby” sounds like it was borrowed from one of Ann Peebles classic recordings on Hi Records. The full scope of the singer’s voice is revealed on “It’s Over This Time,” which starts out simmering at a slow boil as it builds to the climatic coda. The addition of a string section give tracks like “Control Yourself” and “Down With The Ship” a more contemporary R&B feel. McKelle’s powerful voice cuts loose on “What You Want” as she demands some answers from a reluctant lover.

Two covers head in opposite directions. O.B. McClinton’s “Forgetting You” adds a soulful country flavor while the Animal’s hit, “Don’t Let Me Be Misunderstood,” gets an updating complete with Stivers on Farfisa organ injecting an eerie feel to the proceedings. The band is hitting on all cylinders on the up-tempo romp “Good & Plenty” while “Like A River” sports a stone-cold, seductive Memphis groove for more of McKelle’s forthright testimony on love and happiness.

This project validates McKelle’s decision to move on from her jazz roots and embrace a new career course. Her gorgeous voice and spirited delivery combined with an exceptional brew of original material puts this one in the “Highly Recommended “category! ---Mark Thompson, bluesblastmagazine.com

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back