Incognito: No Time Like The Future
No Time Like The Future
CD
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
Derzeit nicht erhältlich.
Lassen Sie sich über unseren eCourier benachrichtigen, falls das Produkt bestellt werden kann.
Lassen Sie sich über unseren eCourier benachrichtigen, falls das Produkt bestellt werden kann.
- Label: Polydor, 1999
- Erscheinungstermin: 19.4.1999
Album digital in HD (Werbung)
Online anhören
Ähnliche Artikel
With their seventh album titled No Time Like the Future, British soul / jazz / funk group Incognito continues to develop its brand of ahead-of-its-time musical magic under the innovative direction of brain trust Jean-Paul "Bluey" Maunick. The future is a perfect vantage point from which to approach a listen to the new album, which successfully melds cinematic dreamscores, Moroccan chants, Latin sambas, and new age liquidity with Incognito's well-known flair for Philly International-influenced soul, dance floor bravado, and electric-fusion-fueled improvisations.
The new album features previous Incognito personnel, the horn section of Cuban band Irakere, and the welcome phrasings of Maysa Leak and Jocelyn Brown. This project also introduces new vocalist Karen Bernód, and features well over 50 musicians, many of them lending Bluey a hand after his newly built basement recording studio was destroyed by flooding after a series of rainstorms.
"In adversity people rally around you, and you really realize who are your friends, and which are the people who don't want to get their hands dirty," says Bluey of the cleanup, equipment move, and makeshift studio setups he was able to achieve after the disaster. "There are so many musicians on this album because wherever I was set up again, musicians I hadn't seen in years were coming around saying, 'Can I help you?' and I would say, 'Since you're here, do you fancy playing a little?'"
The band's name is the clue to its ever-evolving style, says Bluey, who produced all 12 tracks with partner / engineer Simon Cotsworth. "Incognito means 'in disguise,'" he explains, "so it's anything we want to be ... it doesn't have to have the same members, you don't know which sound is hidden in the play, you don't know where it's coming from until I go and do it. It is whatever it is at the time, like everything in art. It evolves with whatever is around me at that particular moment." Bluey adds that some of the album's acid-jazz and trip-hop rhythms come from the influence of his 20-year-old son, Daniel, who handles drum programming and atmospheric textures on various cuts. Influenced by such diverse acts as Tower Of Power, Earth Wind & Fire, Chicago, Quincy Jones, and the scores of Lalo Schifrin, Bluey has created a lush journey to a multi-cultural, multi-rhythmic, one-world future. The soulful sway of the album's leadoff U. S. single, "More Of Myself," is blessed by Bernód's poignantly expressive voice.
On album opener "Wild And Peaceful," Maysa stylishly fronts a swirling, fusionist arrangement marked by insistent piano chords and virtuoso drumming by Richard Bailey; on "Get Into My Groove," a danceable mix of funk-edged fusion, Maysa scolds the powers that be for their lack of understanding of the common man; "Marrakech," the instrumentalization of a cinematic dream, features the gently interpretive tones of Bernód; while Jocelyn Brown, the American diva best known for belting hits like "Somebody Else's Guy," gives a controlled yet full-bodied performance on the love lament "It Ain't Easy." The full impact of Incognito's incomparable sound can be felt in the instrumental voyage to new worlds on "Fearless." Incorporating an iron-clad samba rhythm, monastic chants, and the full brass fury of Irakere, this track conveys an almost transcendental joy in its tempo and innovation.
The album took two years to record, and represents a three-year break since the last album, Beneath The Surface. During that interval, Bluey was busy setting up the studio, producing other artists, writing new songs, and setting up his own label, Rice Records, on which he plans to release vocalist Maysa Leak.
The story of Incognito is 18 years in the making. Born on the island of Mauritius, off the east African coast, Bluey was raised in London by his mother and his adored "aunties." "I don't believe in the boy's club [in music], because I'd been brought up by women, they find me easy to communicate with." His love of music started as a teenager, when he worked in a record store in Tottenham, North London, where he developed deep interest in jazz and soul. By the late '70's he formed his own musical groups, Light Of The World and Freeze, with which he began playing around London and releasing early singles. At a time when other British bands were only experimenting with elements of funk, soul, and fusion, Incognito emerged with the definitive album Jazz Funk in 1980 and helped start--and keep alive--the acid jazz movement. It was London DJ Gilles Peterson who "discovered" the struggling Incognito, signing the group to his Talkin' Loud label and launching their blistering remake of Ronnie Laws' "Always There" in 1991. Incognito has continued to evolve with a unique sound and a loyal following, with the albums Inside Life, Tribes, Vibes, And Scribes, Positivity, 100, And Rising, and Beneath The Surface; if there is anything constant about the band, it's Bluey's insistence on breaking new even ground while always covering old R&B classics.
Bluey's choice for No Time Like The Future is the old Jones Girls groove, "Nights Over Egypt," a tune penned and produced by legendary Philadelphia International pianist Dexter Wansel. "I've done several covers, but it isn't about 'we need a cover,'" Bluey explains. "'Always There,' 'Don't You Worry Bout A Thing,' and 'Nights Over Egypt,' are well-known songs by three great songwriters, and I've always admired the great arrangements of Dexter Wansel. My versions of these songs are paying tribute to them.
"Every time I've worked on somebody's song, I get to meet and speak with them and my heroes become people in my life! When I remake somebody's song, I never take it lightly." There was one problem--just what was that lyric at the start of the second verse? Bluey found himself trying to track down the elusive Wansel, and was finally able to do it through performance rights organization ASCAP. Upon contacting one of his musical idols, Bluey was amazed to discover that Wansel was in the process of recording a new album, on which he had decided to cover one of Bluey's songs, "Deep Waters," with Billy Paul. "I truly believe that there is a connection out there that is far beyond my own reach, that happens to be a surprise sixth sense when I do something. The spirits are at work!" he says.
The spirits are indeed at work, keeping the magic and power of Incognito alive. Bluey plans to take the massive musical organization on yet another world tour in support of this album. Future plans include more Incognito albums, more songs and productions for other artists, Maysa's new album, and a continued dedication to the craft of great music. "For me, this might be as good as it gets," Bluey says easily. " I may never become a millionaire. Music is my lifestyle, and I'm rich already for it."
No Time Like The Future is now available on enhanced CD (includes "Nights Over Egypt
The new album features previous Incognito personnel, the horn section of Cuban band Irakere, and the welcome phrasings of Maysa Leak and Jocelyn Brown. This project also introduces new vocalist Karen Bernód, and features well over 50 musicians, many of them lending Bluey a hand after his newly built basement recording studio was destroyed by flooding after a series of rainstorms.
"In adversity people rally around you, and you really realize who are your friends, and which are the people who don't want to get their hands dirty," says Bluey of the cleanup, equipment move, and makeshift studio setups he was able to achieve after the disaster. "There are so many musicians on this album because wherever I was set up again, musicians I hadn't seen in years were coming around saying, 'Can I help you?' and I would say, 'Since you're here, do you fancy playing a little?'"
The band's name is the clue to its ever-evolving style, says Bluey, who produced all 12 tracks with partner / engineer Simon Cotsworth. "Incognito means 'in disguise,'" he explains, "so it's anything we want to be ... it doesn't have to have the same members, you don't know which sound is hidden in the play, you don't know where it's coming from until I go and do it. It is whatever it is at the time, like everything in art. It evolves with whatever is around me at that particular moment." Bluey adds that some of the album's acid-jazz and trip-hop rhythms come from the influence of his 20-year-old son, Daniel, who handles drum programming and atmospheric textures on various cuts. Influenced by such diverse acts as Tower Of Power, Earth Wind & Fire, Chicago, Quincy Jones, and the scores of Lalo Schifrin, Bluey has created a lush journey to a multi-cultural, multi-rhythmic, one-world future. The soulful sway of the album's leadoff U. S. single, "More Of Myself," is blessed by Bernód's poignantly expressive voice.
On album opener "Wild And Peaceful," Maysa stylishly fronts a swirling, fusionist arrangement marked by insistent piano chords and virtuoso drumming by Richard Bailey; on "Get Into My Groove," a danceable mix of funk-edged fusion, Maysa scolds the powers that be for their lack of understanding of the common man; "Marrakech," the instrumentalization of a cinematic dream, features the gently interpretive tones of Bernód; while Jocelyn Brown, the American diva best known for belting hits like "Somebody Else's Guy," gives a controlled yet full-bodied performance on the love lament "It Ain't Easy." The full impact of Incognito's incomparable sound can be felt in the instrumental voyage to new worlds on "Fearless." Incorporating an iron-clad samba rhythm, monastic chants, and the full brass fury of Irakere, this track conveys an almost transcendental joy in its tempo and innovation.
The album took two years to record, and represents a three-year break since the last album, Beneath The Surface. During that interval, Bluey was busy setting up the studio, producing other artists, writing new songs, and setting up his own label, Rice Records, on which he plans to release vocalist Maysa Leak.
The story of Incognito is 18 years in the making. Born on the island of Mauritius, off the east African coast, Bluey was raised in London by his mother and his adored "aunties." "I don't believe in the boy's club [in music], because I'd been brought up by women, they find me easy to communicate with." His love of music started as a teenager, when he worked in a record store in Tottenham, North London, where he developed deep interest in jazz and soul. By the late '70's he formed his own musical groups, Light Of The World and Freeze, with which he began playing around London and releasing early singles. At a time when other British bands were only experimenting with elements of funk, soul, and fusion, Incognito emerged with the definitive album Jazz Funk in 1980 and helped start--and keep alive--the acid jazz movement. It was London DJ Gilles Peterson who "discovered" the struggling Incognito, signing the group to his Talkin' Loud label and launching their blistering remake of Ronnie Laws' "Always There" in 1991. Incognito has continued to evolve with a unique sound and a loyal following, with the albums Inside Life, Tribes, Vibes, And Scribes, Positivity, 100, And Rising, and Beneath The Surface; if there is anything constant about the band, it's Bluey's insistence on breaking new even ground while always covering old R&B classics.
Bluey's choice for No Time Like The Future is the old Jones Girls groove, "Nights Over Egypt," a tune penned and produced by legendary Philadelphia International pianist Dexter Wansel. "I've done several covers, but it isn't about 'we need a cover,'" Bluey explains. "'Always There,' 'Don't You Worry Bout A Thing,' and 'Nights Over Egypt,' are well-known songs by three great songwriters, and I've always admired the great arrangements of Dexter Wansel. My versions of these songs are paying tribute to them.
"Every time I've worked on somebody's song, I get to meet and speak with them and my heroes become people in my life! When I remake somebody's song, I never take it lightly." There was one problem--just what was that lyric at the start of the second verse? Bluey found himself trying to track down the elusive Wansel, and was finally able to do it through performance rights organization ASCAP. Upon contacting one of his musical idols, Bluey was amazed to discover that Wansel was in the process of recording a new album, on which he had decided to cover one of Bluey's songs, "Deep Waters," with Billy Paul. "I truly believe that there is a connection out there that is far beyond my own reach, that happens to be a surprise sixth sense when I do something. The spirits are at work!" he says.
The spirits are indeed at work, keeping the magic and power of Incognito alive. Bluey plans to take the massive musical organization on yet another world tour in support of this album. Future plans include more Incognito albums, more songs and productions for other artists, Maysa's new album, and a continued dedication to the craft of great music. "For me, this might be as good as it gets," Bluey says easily. " I may never become a millionaire. Music is my lifestyle, and I'm rich already for it."
No Time Like The Future is now available on enhanced CD (includes "Nights Over Egypt
- Tracklisting
- Mitwirkende
Disk 1 von 1 (CD)
- 1 Wild And Peaceful
- 2 Get Into My Groove
- 3 It Ain't Easy
- 4 Marrakech
- 5 Fearless (Instrumental Version)
- 6 Nights Over Egypt (Bluey's Mix)
- 7 Centre Of The Sun
- 8 More Of Myself
- 9 I Can See The Future
- 10 Black Rain (Instrumental Version)
