CAMILLA GEORGE - Isang
Ubuntu Music UBU0004
Camilla George - alto sax; Sarah Tandy - piano; Daniel Casimir - bass; Femi Koleoso - drums; Zara McFarlane - vocals
Camilla George has emerged out of the fertile scene, nurtured by the Tomorrow’s Warriors organisation, where young, multi-cultural London musicians meet the jazz establishment, as embodied by the Trinity College of Music and Ronnie Scott’s jam sessions. Though this is her debut as a leader, she’s already got a decade of experience in the biz, not only with the Warriors but also with such evocatively-named acts as Courtney Pine’s Venus Warriors, the Nu Civilisation Orchestra, and with the award-winning cultural institution that is Jazz Jamaica.
‘Mamai Wata’ is a fast minor blues, of the kind that Jackie Mclean might have favoured, and showcases George’s light, smooth tone and nimble rhythmic sense. ‘Lunacity’ has a township-meets-calypso feel, complete with Carnival quotes - there’s lots of engaging playing, though George is perhaps too polite to preach. ‘Song For Red’ is a highlight - a timeless old-school ballad, with George displaying an effortless sincerity in her melting tone, and pianist Tandy working in a beautifully poised statement reaching back to the stride tradition. Tandy lays out for the title track, allowing for some nimble exchanges with bassist Casimir, and giving George a chance to show how her melodic sensibilities are equal to sustaining an improvisation without the safety net of a harmonic instrument. Kenny Garrett’s ‘Ms Baja’ is one of only two non-originals and benefits from a scat by fellow Jazz Jamaica artist Zara McFarlane - ‘Dreams Of Eket’ has a similar contemporary mellow straight-8s feel. ‘Night Has A Thousand Eyes’ is taken at a cooler temperature than the Coltrane version that popularised the tune - Tandy shines again on piano - as she does throughout the record - and Casimir cooks quietly but effectively with drummer Femi Koleoso - another Warriors graduate whose own Ezra Collective present another version of the mixed traditions of the African diaspora and urban UK. ‘Mami Wata Returns/Usoro’ brings in electric bass and piano for a Afrobeat workout.
This is an honest, warm and unpretentious album; the band sound great together, and George’s poise and the character and sincerity in her voice mark her as one to watch out for.
Reviewed by Eddie Myer
Ubuntu Music UBU0004
Camilla George - alto sax; Sarah Tandy - piano; Daniel Casimir - bass; Femi Koleoso - drums; Zara McFarlane - vocals
Camilla George has emerged out of the fertile scene, nurtured by the Tomorrow’s Warriors organisation, where young, multi-cultural London musicians meet the jazz establishment, as embodied by the Trinity College of Music and Ronnie Scott’s jam sessions. Though this is her debut as a leader, she’s already got a decade of experience in the biz, not only with the Warriors but also with such evocatively-named acts as Courtney Pine’s Venus Warriors, the Nu Civilisation Orchestra, and with the award-winning cultural institution that is Jazz Jamaica.
‘Mamai Wata’ is a fast minor blues, of the kind that Jackie Mclean might have favoured, and showcases George’s light, smooth tone and nimble rhythmic sense. ‘Lunacity’ has a township-meets-calypso feel, complete with Carnival quotes - there’s lots of engaging playing, though George is perhaps too polite to preach. ‘Song For Red’ is a highlight - a timeless old-school ballad, with George displaying an effortless sincerity in her melting tone, and pianist Tandy working in a beautifully poised statement reaching back to the stride tradition. Tandy lays out for the title track, allowing for some nimble exchanges with bassist Casimir, and giving George a chance to show how her melodic sensibilities are equal to sustaining an improvisation without the safety net of a harmonic instrument. Kenny Garrett’s ‘Ms Baja’ is one of only two non-originals and benefits from a scat by fellow Jazz Jamaica artist Zara McFarlane - ‘Dreams Of Eket’ has a similar contemporary mellow straight-8s feel. ‘Night Has A Thousand Eyes’ is taken at a cooler temperature than the Coltrane version that popularised the tune - Tandy shines again on piano - as she does throughout the record - and Casimir cooks quietly but effectively with drummer Femi Koleoso - another Warriors graduate whose own Ezra Collective present another version of the mixed traditions of the African diaspora and urban UK. ‘Mami Wata Returns/Usoro’ brings in electric bass and piano for a Afrobeat workout.
This is an honest, warm and unpretentious album; the band sound great together, and George’s poise and the character and sincerity in her voice mark her as one to watch out for.
Reviewed by Eddie Myer
