Album review overview: Ryuichi Sakamoto, Bill Wyman and more

Dozens of new albums arrive at Maxazine’s editorial staff every week. There are way too many to listen to them all, let alone review them. It ensures that too many albums are left behind. And that’s a shame. That is why today we post an overview of albums that arrive at the editors in short reviews.

Jonathan Powell – Mambo Jazz Party

Jonathan Powell’s new album, “Mambo Jazz Party”, is a vibrant and energetic exploration of Latin and electric jazz. Powell, perhaps known as a band member of legends like Eddie Palmieri, Oscar Hernandez and the Spanish Harlem Orchestra, and Tito Puente Jr., knows exactly what he’s doing. From the very first note, it’s clear that this album is a celebration of rhythm, groove, and tradition, combined with modern influences. The seasoned musician from the New York Latin jazz scene brings his experience and passion to every track, supported by an 18-piece ensemble that radiates energy. Several tracks on the album stand out. “Juancito” is a heartwarming tribute to Puerto Rican trumpeter Juancito Torres, where Powell’s trumpet blends seamlessly with the powerful playing of trombonist Jimmy Bosch. Hope exudes a serene, almost meditative atmosphere, heightened by the fiery guitar solo from Nir Felder. Powell’s version of Chick Corea’s “You’re Everything” gives a fresh twist to the classic by dressing it in a salsa style, with Ariacne Trujillo’s vocals fitting perfectly into the arrangement. Whether it’s the rousing rhythms of the campana or the dreamy vibes of electric jazz, “Mambo Jazz Party” is a masterpiece that innovatively blends culture and music. This album is a must-listen for both seasoned jazz enthusiasts and curious newcomers looking to explore the genre. (Norman van den Wildenberg) (8/10) (Circle 9)

Ryuichi Sakamoto – Opus

The album “Opus” by the Japanese master Ryuichi Sakamoto is an absolute masterpiece that solidifies his legacy as one of the most influential modern composers. Opus, a recording of his final performance before his passing, impressively weaves elements of classical music with ambient and minimalist influences, evoking a deep emotional resonance. This album, which was earlier released as a film, offers listeners an intimate glimpse into the soul of the composer. Sakamoto’s masterful control of atmosphere and sound makes “Opus” a timeless creation that is both meditative and enchanting. Sakamoto’s influence extends far beyond just his music. As a composer, he bridged the gap between traditional Japanese sounds and Western musical forms, inspiring artists worldwide. His work, ranging from cinematic scores to avant-garde experiments, demonstrates a profound musicality and a refined sense of emotion. With “Opus”, his legacy as a visionary composer is both strengthened and celebrated. This album is a fitting tribute to Sakamoto’s incredible artistic heritage and a must-have for any music lover. With perfectly balanced compositions and deep emotional undertones, “Opus” deserves nothing less than a 9 out of 10. It’s a listening experience that is both understated and grand, and that resonates long after the last note has sounded. (Jan Vranken) (9/10) (KAB America Inc)

Charlie Overbey – In Good Company

Charlie Overbey, a seasoned singer-songwriter from Los Angeles, has encapsulated his career so far in the album “In Good Company”. This retrospective work showcases how Overbey’s musical journey has evolved, from his beginnings in the cowpunk scene with Custom Made Scare to his current status as a respected name in Country, Americana, and Southern rock. The album features contributions from an impressive list of musicians, including Nils Lofgren, Marcus King, and Duane Betts. These collaborations add an extra layer of authenticity and craftsmanship to Overbey’s already strong songwriting. “Champagne, Cocaine, Cadillacs & Cash”, the first single from the album, is a Southern rock track with a raw edge, featuring Marcus King’s guitar work and the powerful vocals of Jaime Wyatt. The second track, “Life Of Rock & Roll”, is a tribute to rock legends and shows Overbey’s deep connection to music history. With Nils Lofgren playing on “The Innocence”, expectations are high. Yes, it turns out to be the strongest track, but even this track barely passes. “If We Ever Get Out”, a hopeful yet desperate ballad, closes the line of singles and offers a glimpse into Overbey’s reflective side. “In Good Company” is an album that gives both newcomers and longtime fans a good sense of Charlie Overbey’s oeuvre, but not much more than that. (William Brown) (5/10) (Lone Hawk Records)

Bill Wyman – Drive My Car

Bill Wyman’s album “Drive My Car” marks an important return for the former bassist of the Rolling Stones. The album blends Anglo-American rhythm and blues with a relaxed JJ Cale influence, opening with a unique cover of Bob Dylan’s “Thunder On The Mountain”, which evokes a laid-back atmosphere reminiscent of Ry Cooder. “While Drive My Car” offers pleasant moments and highlights Wyman’s connections in the music world, it doesn’t bring groundbreaking new music. All in all, the album is a solid collection of tracks, worthy of a respectable 7 out of 10. Fans of Wyman’s style will appreciate it, though it may not resonate as strongly with a broader audience. (Anton Dupont) (7/10) (Ripple Productions)

Sex Magic Wizards – Death Grip

Sex Magic Wizards is a bold rock-jazz band from Oslo, Norway, known for their quirky style and independent releases. Their latest album, “Death Grip”, confirms their reputation as innovators in the music world. From the first notes, it’s clear that the band doesn’t care about conventions or rules. The distorted bass, which finds its beauty precisely in the roughness of the sound, and the messy but brilliantly inventive drums, provide a refreshing experience that feels like a breath of fresh air in the often predictable world of pop music. The title track, “Death Grip”, is a highlight of the album. Although the album only has eight tracks, it’s packed with adventurous music that pushes boundaries and crosses lines. Despite its limited length, it leaves a strong impression. The saxophone parts on the album, although strong, make you long for a collaboration with someone like Hans Dulfer, who could undoubtedly have added an extra dimension. For fans of music with rough edges and unconventional structures, “Death Grip” is highly recommended. The album is a powerful affirmation of Sex Magic Wizards’ ability to create music that colours outside the lines while remaining musically sophisticated. (Jan Vranken) (8/10) (Sex Magic Wizards)