Album review overview: Mamas Gun, Linda Perry 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.

Bobby Broom – Notes of Thanks

There are a few jazz giants who have delivered such rock-solid compositions that they hold up on almost any instrument. Thelonious Monk belongs in that category: our own Sven Figee already created a beautiful tribute album called “Sphere” featuring Monk’s work. Another great is Sonny Rollins. The now 95-year-old saxophonist is regarded as one of the most influential jazz composers. Rightly so, Rollins received a Grammy for Lifetime Achievement in 2004. It takes quite a dose of courage to reinterpret compositions of that stature. Bobby Broom does exactly that with ten compositions, reimagining them for guitar. The key question is whether it works. The simple answer is yes. It sounds as if the pieces were originally written for six strings, so natural are the arrangements. Broom’s playing on a hollow-body guitar sounds simple, but it captures the essence of every composition. “Alfie’s Theme”, “Doxy” (which is included in the jazz standards catalogue) and “Pent Up House” remain recognisable, but are enriched, with respect for the original and enough boldness to give each piece its own Broom identity. “Notes of Thanks” has therefore become a worthy tribute, more a deep bow, a sincere ‘thank you’. A very stylish bow. (Jeroen Mulder) (8/10) (Clean Sweep Music)

Einar Solberg – Vox Occulta

The cinematic “Vox Occulta” is the second solo album by Einar Solberg (Leprous). From the very first second, I am captivated. The intros are all remarkable. The endings are often sudden, yet beautiful. Every track is very different, yet they are all complex. Einar’s vocals are extremely versatile. Both his soft and his powerful singing are at times intense and emotional. Sometimes his voice suddenly shifts from very restrained to almost screaming. At one moment he sings melodically and at other moments staccato, and the vocals are sometimes layered. Despite, or perhaps because of these differences, everything remains in balance. The lyrics can be interpreted in multiple ways. The music also contains countless, sometimes sudden changes in tempo, volume and emotion. I am repeatedly moved or get goosebumps. Both the interplay and the alternation between symphony and metal are sublime. After the impressive epic “Grex” comes the final track, with its sudden ending. I let the silence sink in for a moment, because “Vox Occulta” is special and impressive. (Esther Kessel Tamerus) (9/10) (InsideOut Music)

Meatshell – The Elevator Child

Our country has a reputation to uphold when it comes to artistic freedom. Institutions such as the Amsterdam Conservatory are magnets for jazz musicians who want not only to push boundaries, but to redraw them completely. Singer and bassist Helen Svoboda and saxophonist Andrew Saragossi are a good example. The duo left Brisbane in Australia behind and have been making waves as Meatshell since 2018, including winning the Maastricht Jazz Awards in 2020. “The Elevator Child” is their third album and so far their most experimental work. Whereas earlier work relied heavily on acoustic material, this record makes extensive use of electronics, although tenor sax and vocals remain the core. The album largely emerged from improvisation, which is audible in the irregular, diffuse structure of the compositions, sometimes fragmentary and even chaotic, yet still intriguing enough to keep listening. On “Scrape It Off” the duo is joined on drums by the experienced Dylan van der Schyff, a Canadian, and this immediately provides direction. With that, Meatshell could have done itself and a wider audience a favour. All things considered, “The Elevator Child” is a perfect reflection of the times we live in. Chaotic and sometimes almost absurd. Sometimes very uncomfortable. A time that demands alertness. Just like this music. (Jeroen Mulder) (7/10) (Earshift Music)

Mamas Gun – Dig!

Mamas Gun released their debut album “Routes To Riches” in 2009. The band found particular success in Asia and even became the most-played international album on Japanese radio. The band with Andy Platts, whom some may better know as the young gun in Young Gun Silver Fox, releases their sixth full-length with “Dig!” and continues in the same style we know from the band and Young Gun Silver Fox. Delightfully smooth West Coast soul. Mamas Gun leans more towards soul in this. An ideal record as we move towards summer. Platt’s vocal skills remain enviable. It seems effortless. What a pleasant voice. The album is full of musical craftsmanship. On a summer evening, enjoying a nice craft beer as the sun sets. What more could you want? (Rik Moors) (7/10) (Monty Music Ltd)

Linda Perry – Let it Die Here

Linda Perry will be best known to the general public as the woman with the tall hat and aviator glasses. “What’s Up?” was a worldwide hit, and 4 Non Blondes scored with the album “Bigger, Better, Faster, More!” (1992), but remained labelled as a one-hit wonder. That does not do her career justice. The now 61-year-old Perry has built an impressive body of work as a songwriter and producer. Songs such as “No Bravery” (James Blunt), “Superwoman” (Alicia Keys), “Get the Party Started” (P!nk) and “Beautiful” (Christina Aguilera) come from her pen. That last song returns on “Let It Die Here”, this time sung by Perry herself. That same versatility of artists translates into a rich and varied colour palette on this album. Perry moves effortlessly between styles and shows she still masters writing a strong song. Her voice is flexible: low, raw, powerful and at the same time sensitive. Combined with the sharp compositions, this results in a very enjoyable record. With seventeen tracks and a running time of 57 minutes, “Let It Die Here” feels surprisingly compact and fluid. The album still radiates vitality and creative energy. Perry proves she is far from finished. What’s Next? (Bart van de Sande) (7/10) (Kill Rock Stars 670 Records)