Imada’s Bosendorfer piano talks to you. Fluid and flowing, eloquent like a high-class orator. This reissue from 1977 feels as if yesterday has been reborn into tomorrow. Contemporary always. Try, Planets at the beginning. Moods along with tempos lift and fall as the album then progresses packed full of life enhancing sequences, exploring texture and rhythm. Try the closing moments occupying, Sea’s Pasture drifting through shimmering cascades of keys and wonderful double-bass by Kunimitsu Inaba alongside punctuating percussion and drums from Yuji Imamura, Tetsujiro Obara. A perfect afternoon. This new edition also contains up to date sleeve notes by Tony Higgins, plus an interview with Masaru Imada.
Sometimes nothing else will do. Jazz when played with purposeful ferocity blows away cobwebs recharging moods with a unique air. This release dates back to 1976 yet channels living, breathing history into its rhythms and grooves, perhaps none more so than on the opening number, the fiery horn driven, Au Privave/ Bloomdido. What also proves exceptional here are the lost, quite moments like those informing the breezy melancholy of Novke – the perfect accompaniment to reclining, smoky evenings. The proceeding numbers then seek to explore and capture the contrasts and emotional roller-coaster of those two disciplines with great success. Try the cinematic charges of the heart-warming title track below. Feeling genuinely eloquent Peacemaker remains at ease with itself as you will no doubt here for yourself.
Release: October 21
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I was having one of those awkward days when moments didn’t add up to making much sense. The thought of listening to the twist of Modern Jazz did not seem like the answer or even a remotely helpful proposition given the circumstance. But of course, I did so anyway. Funny then that everything suddenly made sense connecting a mind-field of thoughts to the figurative frenzy of free flowing energy greeting me from Kohsuke Mine’s 1970 release. This latest version in the J Jazz Masterclass Series, curated by Tony Higgins and Mike Peden for BBE Music, testifies to the inherent timeless qualities contained within this abundance of music and I would urge you listen to its rolling, unfolding answers as each skilful player asks the next to respond in kind. Also contained is a 4500 word sleeve note and interview with Kohsuke Mine so all the detail required is here. Again there’s little point in pinpointing certain numbers as this eloquent album merits an entire listen to soak it all up in one listen. Revisiting again.
Release: April 30
Curated by Tony Higgins and Mike Peden the BBE J Jazz Masterclass Series is a blessing in transcendent music. In this case from 1983 and drummer Takeo Moriyama’s blinding East Plants long player. If the albums shuffling sensibilities that drive the combination of percussion, bass and reeds forward are of note then look no further than the albums opening title track. Drenched in telling atmosphere, yet robustly punchy care its deft array of percussion and breezy sax. The more unforgiving ç«¹ (Take) then follows in a blaze of pacey, excitable rhythms that cumulate in a rush of fiery instrumentation. Leaving the remaining tracks to play in-between the two sides of the coin. Completion occurs via the also excellent é (Tooku) which sees suggestive, unnerving meanderings tie in with punctuating drums and the gentle whir of double bass. Available in both vinyl and cd format with the originals accompying sleeves notes plus art work now is your chance to experience something out of the ordinary. Not necessarily for the faint hearted but why should music be anything less than intense.
Release: September 28
Hi Pauline, thanks for taking time out to do this for Magazine Sixty. I wanted to begin by asking what do the words â€˜Soul Music’ mean for you in 2016.
Feeling is the language of the Soul. I love when an Artiste have the ability to convey feelings through music, melody and words. In 2016 I find I am quite moved by Disclosure. They are extremely talented musicians. The sound of their production is quite unlike anything around. The â€˜Omenâ€ Disclosure Ft Sam Smith is very moving and soulful to me. I have noted that Disclosure only work with singers who sing from the soul, very expressed. It is my favorite Sam Smith rendition. When Disclosure collaborated with Mary J. Blige â€œF FOR YOUâ€ it was apparent that these Uber Cool Cats really understood the language of Soul Music. I have a lot of admiration for their keen eye on quality Soulful productions. I would LOVE LOVE LOVE to collaborate with Disclosure. The double billing at the 02 in October with Mary J. Blige and Maxwell was phenomenal. I was in a world of Pure Soul Music and possibly the best concert I have ever seen in a long time bar Michael Jackson’s showmanship. I was left feeling truly inspired.
On a slightly different note, the â€œHouse Gospel Choirâ€, where Gospel Singing meets House Music.Â Labrynth is not the only musical member in his family. His sister Shezar, who has also had a successful solo career, leads the band, innovatively mixing House music with quality vocals and amazing harmonies. This is as good as â€œSoulful Modern Musicâ€ gets. Gospel fused with uplifting energetic House tracks is VERY COOL. One of my the songs they Sing to is the outstanding House track â€œFollow Me – Aly us â€ I get goose bumps just thinking about it. Shezar introduced me to Amede Unabona from the band, he now does back up vocals for me. He is absolutely awesome and an amazing person, and now a permanent member of my team as we also work together in other areas. The House Gospel Choir is performing at Jazz cafÃ© in December 2016. Don’t miss it. ..I can’t wait!!
And how do you find working in today’s music industry and the digital age compared with when you were in The Chimes?
The technology that you got to keep up with is exasperating. It is a strain because of the speed of progress. The challenge is keeping abreast of the rapid pace. The advancements are frighteningly fast. Computer and Social media Specialists are now staples requirements for a successful music career.
In the Chimes so much more physical interactions and movement was necessary to produce a record. I spent long periods away from home, from my family and friends while working on the Chimes album, terribly lonely times I recall. I lost out on important occasions and ontact with so many of friends because of this, especially my friends America where I live for a year. Now, it is amazing to be able to communicate with Family, Friends, Fans and the Music Industry at large via all the advanced technology at our fingertips most of which is free.
Digital production massively reduces the costs and time of producing music. I worked with â€œStonebridgeâ€ in Sweden and â€œDJSpenâ€ in USA on House mixes of â€œHEAVEN’ found on Disk 2. I never left London.
There is also the growth of independent music. Independent Artistes are FREE to do what they want to do, without constraints or dictates, and LIVE their lives accordingly. This is particularly important for a mature artiste like myself. I have a family now and want to perue other interests outside music. Major labels are no longer the only vehicle to get music out there. If you have a computer and know how to use Logic for example, you are effectively a producer and can sell music via online aggregators. Everything from marketing, promotion and sales can be done at the click of a button. All you need is an account. This is phenomenal freedom.
YouTube is such an amazing medium. So much information is available freely on line. Where it works for artiste, it reaches people who share the same musical interests all over the world and acts as a â€˜High Visibility Calling Cardâ€ where you can promote yourself, build your fan base and following.We are so privileged to live in an ere where available where infinite amount information is available freely. We live virtually, computers run out lives, that’s leaves us open to a level of intrusion in our private lives which is a necessary evil.
There is a small percentage of People who upload other people’s work online AND make money from it. This needs to be challenged so that the benefits go the right people who have created it, invested time and money in producing it. Much scrutiny and specialist knowledge is needed to safe guards your music in the digital era, because as it stands there is no requirement or proof of Ownership / ID for the Right to use another’s image or Copyright material. Proof is not a requirement when uploading content, which is â€œCopyright Theftâ€ of other people’s work, and the Law so far seem inadequate to combat this.
Producing music is a fraction of the cost, it is also easy to buy just the track you want so purchase cost is also minimal, profits made in online sales, but available for sale at minimal cost for infinity once uploaded. There is no going back with Technology, models like Spotify creates the right platform, where music is freely enjoyed but they pay a revenue to the owners of the music. Compared with the days of the Chimes, we don’t make the kind of money we were used to making from the physical production of music. It was a huge financial undertaking for Major labels, but it was the golden era of Live Performances and Cd Album sales. I commend Big Break Records for taking the decision to manufacture physical copies only of â€˜Chimes Re mastered .â€ There is also a new found of appreciation for physical CDs. Vinyl records, and Live Performance of good Music, somewhat lost in the emergence of the digital era.
Big Break Records have re-released and re mastered The Chimes debut album. How would you place the importance of the group in the context of when it was released? And if possible is there a particular track that holds a special memory for you from it?
A huge Thank YOU to Big Break Records and the team at Cherry Red for re mastering and re releasing the Chimes Double CD Album. Now 26 years old, I feel a sense of pride, as it is a testament that our music stood the test of time. A dream come true for me, in respect to paying homage to timeless music rhythms. On CD2 there are so many fresh mixes, never been released. They still sound relevant today.Â I will be focusing on those in my live shows. Singing familiar song with a fresh twist will be very enjoyable. I am encouraged by the interest. Re working the songs feels so surreal, a sense of DeJaVou.
When the Chimes Album was first released, it was well received by the general public. We were riding the crest of a new wave and appetite for Live Soulful yet Urban style Club Music. Where Street meets Musical Craftsmanship. Classical string productions and Brass sections were â€œInâ€â€¦. and Phat Drums with Heavy Base lines were the order of the day.
Mike, James and I, had all served our apprenticeship in music, developing our craft, they were accomplished musicians and for me, a musical heritage inspired by the 70s era of Motown and Soulful Legends. Consisting of Raw Talent- Organic Live Sounds Musical Craftsmanship and Timeless rhythms. This was my aspiration, so it was a perfect time for the Chimes to emerged. The cream of Soul Singers, Song writers and Producers like, Family Stand- â€œGhetto Heavenâ€, Young Disciples â€œApparently Nothingâ€ and En Vogue â€“ â€œHold Onâ€ – are joyously a few of my Peers in the late 80’s to 90’s. Soul II Soul being the forerunners, encapsulated all the above. They had a massive impact on the Street Soul cross over. The Chimes were privileged to work with Jazzie B and Nellie Hooper on two songs, â€œ1-2-3â€ and â€œTrue Love So Strongâ€. Few bands went on to break America and the Chimes did that successfully, in particular with the USA mix of â€œI Still Haven’t Found What I â€˜Am Looking Forâ€ on (Disc 1).
Bono making THAT comment about our version and my interpretation of
the song was quite remarkable, now a memory for others too, it always crops up in interviews, and in light of new information I stumbled across on YouTube, with Bono saying they used the Harlem Gospel Choir to get a Soulful feel, now make much more sense to me. It marked global success and achievement for the Chimes, such that it separated us from the norm and carved out our very own USP crossing Rock with RnB.
But..Â the track that holds a special but â€œstrangeâ€ memory is â€œLove Comes To Mindâ€. I still really enjoy performing it this song. The extended mix (CD2) is also a favorite of mine with the extended Base Line Groove. I am really not sure where the saying comes from. but babies are said to have been made due to this Love Song. I love it from the very Tile.. The thing I praise and acknowledge James Lock for.. Boy he could Pen a lyric. I fell in love with his poetic flow of words, hours and hours of crumpling paper until he was happy. We all took it in turns to write parts but the final editing was always down to James. This I consider HIS baby. What is more incredible, I don’t sound Drunk on â€œLove Comes To Mindâ€. WHY..? because my A&R (artiste representative) got me drunk then asked me to sing the vocals again. I DID NOT KNOW THAT WAS COMING. Seems he wanted something different from my performance that he did not hear when I was sober. Very unorthodox I know but it seemed to have done the trick. He left the studio â€˜Grinningâ€ like a Cheshire Cat. Now there is a man who knows what he want to hear and how to get the results. I on the other hand, was very proud of myself to have pulled that off. I happen to think it is one of my best vocal recordings. When I stepped into the recording booth for the second time, Marvin Gaye (my musical ancestor and guide) stepped in the studio with me like an Angel, serving as my inspiration and filling my head with melodies and harmonies in abundance.., layers and sub layers of the stuff,, Me grooving and feeling every impassioned word and nuance, state of mind is euphoric, and very relaxed while inebriated with Mike’s Peden’s Hypnotic base line keeping me in the Groove. A real master piece I think. The video to â€œLove Comes To Mindâ€ is also one of my favorites. It is beautifully shot with happy loved up couples, even Myself, Mike and James appear to have a Aaaahhh moment altogether, which lends itself perfectly to the sentiment of the song. There are also members of my family in the Video, including my dear Aunt now passed. Fund memories all round.
Can you tell us about how you approach a song, either writing or singing? Do you have a preference as to what type or tempo of music you like to sing to?
I generally have a lot of energy and love to Dance. I enjoy performing songs like Heaven, and think people like songs that makes them want to move. It is no surprise that â€œHEAVENâ€ was selected for extra reworking by GRAMMY nominated StoneBridge. The producer of the Robin S classic â€˜Show Me Love’ who has many Bill Board Chart toppers to date, and also with renowned US re-mixer DJ Spen (& Reelsoul Rodriquez) having worked with Diana Ross, Michael Jackson, Everything but the Girl. They both bring a modern Dance twist to be found on CD2.
When I worked in the Chimes, we had a fixed way of writing. Mike and James would prepare sketches of music. I would then fly to Scotland and spend two to three weeks there. On hearing the sketches I would gravitate to one or the other, usually lyrics would flow from there. As a result I have always written that way, with a producer sending me a backing track I like then write to.
Recently I have been collaborating on new material with Carl Mackintosh who wrote for Loose Ends. He took me out of my comfort zone and challenged me to write a story first. It was like a therapy session. I realize I could no longer hide behind singing only positive pretty love songs. Carl wanted the negatives too, as without it there really was no depth. This was one of the hardest things I had ever had to do in my writing career, write about real life experiences, usually involving pain or darkness of a kind, as opposed to working from a vibe I liked which would naturally stimulate positive feelings to sing about. After challenging myself to write more honestly, I loved the end results, and very different. There is nothing wrong with either formats, just different process. I read once that David Bowie would tear words he liked from news papers and formulate his lyrics that way. So ultimately what ever works for the individual. When I wrote from the heart, the lyrics had more meaning. I can readily inform my audience what inspired me to write that song.
What is your favorite instrument? And do you own one?
I would have to say a Grand Piano. I do own both a Guitar and Piano.
What advice would you give to someone starting out as an artist?
Expect the Unexpected. If you expect to find overnight fame and fortune, think again. A lot of soul searching is needed first. A starting point would be to examine your heart. Ask yourself why you want to succeed in the music business? What do you know about the industry? The old adage, â€œIF YOU FAIL TO PREPARE, YOU PREPARE TO FAILâ€. Make it your business to learn about every part of the business because if you don’t someone WILL take advantage of you along the way.
Because of what happened in the past with myself, not understanding the business, I am having to put on seminars to help educate artiste and musicians alike, imparting my knowledge and wisdom gained from many years working in the industry both as an artiste and as an entrepreneur. Education is key, the knowledge you gain will dictate the kind of money you earn, and your sustainability. I have a website you can visit and find out more http://paulinehenry.com
Who remains your biggest influence and why?
My Father Charles Henry remain my biggest influence to date. He instilled in me the quest for Knowledge, Wisdom, Drive, and Determination, and to be the best I can be. I have inherited his love of learning, such that I went on to study Law, did my Masters in IP Law, did a Chef Degree, also one of my passions, while raising my daughter. The extra knowledge I have invested in has helped me to grow. There is still so much more I am interested in, Horticulture, Spiritual Growth, being proficient in IT, and expand my music seminars in developing artiste alike and still mentioning my primarily passion and life’s purpose, which is MAKING MUSIC.
There will be plenty of time to relax when I am old and frail. My Dad was the same, a ball of energy always on the go, which made him an interesting and vibrant personality to be around, helping the community and inspiring young people.
My gratitude and appreciation for my Father, extends to the things that he did that were great, and the things that he did that were not so great, especially in appreciation of all the negative stuff, it turned out to be an opportunity for me to learn and grow, and the importance of developing emotional maturity to help me to be a better example to my Family.Â I have become all the more because of them. He is a huge part of who I am today.
What have you got planned for 2017?
2017 is going to be an amazing year. From now through to 2017 I am currently promoting the CD, with interviews press and radio promotions.
I am working with my agent on plans for some Live Tour dates and Appearances soon to be announced. Updates can be found on my website http://paulinehenry.com
The Chimes are also planning to do some Re Union shows in Australia, NYC and London. Between our crazy schedules and wide demographics, a new record is planned in 2017. It will be fun working with Mike and James after all this time.
I am also working on completely new recordings to be released in 2017, and look forward to bringing something new to the industry and taking to the Live Stage in a venue near YOU…..Thank you to everyone how have supported our Music.
The Chimes burst onto the world in the late 1980’s with a sound that fused soulful, soaring melodies together with sure-fire rhythms which at times delved emotional depths, while at others tearing up the dancefloor. The sheer intensity of Heaven blew things wide open when released in 1989 gaining acceptance across the Dance board, not least of all because of the funk-fueled breaks but also, of course, due to Pauline Henry’s superlative vocal delivery. This two CD collection features the hits plus a whole lot more in terms of remixes etc and inevitably includes their excellent version of U2’s â€˜I Still Haven’t Found What I’m Looking For’.Â The package also includes exhaustive sleeve notes from Stewart Allan with full credit due to Mike Peden and James Locke who completed the threesome. On a personal note David Morales Red Zone version of Stronger Together is also featured and is in my mind one of his best remixes to date. An essential release for fans and friends alike.