Latest Reviews: J-L

James Luther Dicksinson: Free Beer Tomorrow

Artemis

Jim Dickinson's an American music legend. He's been called on by major names in soul and rock over the years, as pianist and producer. On his second solo album (just 30 years after his first), he tours American roots music - soul, country, blues, touches of jazz - while keeping on the lyrical dark side of the street. Great backing (including his sons in the North Mississippi Allstars) for a voice that sounds as if it's been aged in moonshine, and some great, largely unknown songs that prowl restlessly, looking for a home in modern America.

Jamie Laval: Shades of Green

Tartan Records

Champion Scottish fiddler, now living in Seattle, proves how lyrical he can be. With minimal additional instrumentation (Hannsjoerg Scheid's guitar sparkles), he creates a full instrumental feel. There's a rare delicacy to his playing, and a real ache in the tunes that's reminiscent of Martin Hayes, although their traditions are different. Simply a gorgeous record from a man who deserves stardom, and soon.

Jarek Adamow: Songs of the Medieval Polish Bards

Global Village

The title is a bit misleading, since much of the music is actually from Adamów's pen. But it still makes for an interesting listen. Accompanying himself on hurdy-gurdy, clarinet, sopilka, whistle, and bass drum, he's a veritable one-man band, and the music, especially on the traditional pieces, is often fascinating.

Jim Morray: Sweet England

Niblick

The 21 year old reinvents traditional English folk music as pop - which is what it was in the first place. Gorgeous arrangements, accomplished programming and playing, and a selection of material that's probably fairly deliberately obvious and familiar (with a couple of odd ones, too). His slightly fey, rather '80s voice might not be to everyone's taste, but he makes it work. It's not the hardcore folk of Eliza Carthy et al, but something sweeter - and just as important. This is the type of sound that will draw people into the music, much as Liege and Lief from Fairport did in the '60s. Very listenable, and still wonderful after repeated plays.

Juaneke: Linaje

Harmonia Mundi

The debut from a flamenco singer (and a fine guitarist in his own right, incidentally) who's been performing for several years. His voice has the rought, pure passion which the genre demands, and his foil, guitarist Chicuelo, is a powerful, inventive player. While not completely traditional, neither is this watered-down nueva flamenco; instead it's the real deal, aware of its past, but looking ahead. With a deep soul, and acres of talent, Juaneke is definitely going to be a talent to watch.

Kal: Kal

Asphalt Tango

21st century Romany music, with subtle beats put in, occasional dancefloor rhythms (most noticeable on "Duj Duj"), and some killer material. Guests fill out the sound, but the core band has a great deal going on. At times reminiscent of Tom Waits - not a huge stretch, really - they retain a strong devotion to roots, but bring a real freshness to them. A great disc that deserves a wide hearing.

Kenny Brown: Stingray

Fat Possum

R.L. Burnside's right hand man steps out and delivers something down home, heartfelt, and greasy. He covers a few of his employer's tunes, gets into the traditional material, and proves himself to de equally adpet on acoustic and slide, a master of moods, whether it's the ache of "Fare Thee Well Blues" or the shuffle of "Goin" Down South." He's very much the real deal (and not just because of his pedigree, which includes studying with some greats), with a deep rooted feel for the blues, and a sense of expression that's second to none.

Kimmo Pohjonen: Kluster

Rockadillo

Think you've heard the accordion? Until you've heard Pohjonen's high individual take on the instrument, you haven't. He can make it into total techno, a sighing wind, an aching melody, and almost anything in the imagination - except a standard accordion. Okay, so it's not world music in the strictest sense, but it's a true adventure, and someone doing something new, startling, and utterly exciting. So forget any roots for once, and hear the man who really is the future of the accordion.

Kristi Stassinopolou: The Secret of the Rocks

Tinder

Calling this a love song to the Greek islands is correct, but hardly does it justice. Musically it's one of the most imaginative, adventurous albums of the year. Stassinopolou has hinted at this with her last two releases, but this is far beyond anything she'd promised before. Working over soundscapes, which are often miminal but lush, she creates a universe that's poetic and satisfying. And it still manages to keep its Greek roots intact; there's no way this could be from anywhere but the Aegean. A stunning achievement.

Kultur Shock: Kultura-Diktatura

Kool Arrow

This time around the Balkan Gypsy punk has more of a metal take and hardness in the guitars, but also draws from wider circles, including the Middle East. There's more confidence and fire in the sound, and a better production. They might wander from tradition, but at the heart they don't go that far; their fire still burns for MittelEuropa, and that's no bad thing. How can you go wrong with power chords and villahe brass?

Ladysmith Black Mambazo: Raise Your Spirit Higher (Wenyukela)

Heads Up

A refigured version of the album of the same name that appeared in Europe, shwcasing those wonderful harmonies. Without a doubt South Africa's best-known contemporary musical export, they do what they do with wonderful sensitivity, even in the light of the murder of leader Joseph Shabalala's wife (she's commemorated on the final track, a rap by her grandchildren). They capture the spirit of a better word, and really do raise the spirit higher.

Les Boukakes: Bledi

Mosaic

Arab rock from a French-based multi culti band than can crank it up and keep it going. Think of Rachid Taha as a base, but rocked up a bit more, and you're getting into Les Boukakes' territory. They rock and riff like their lives depend on it on this disc, which is not their first - but the first to gain any international attention. On the basis of this, with strong writing and vocals, their global career is just beginning.

Lila Downs: One Blood/Una Sangre

Narada

With her third album, Downs takes on a towering stature in world music. Her music has become more Mexican than ever, but also more adventurous, while her voice has grown into a timeless instrument. Back by a superb, flexible band she's not afraid of classics like "La Cucaracha" or "La Bamba," making them her own, while the two versions of her own title cut take radically different approaches to the song. She's become one of the best, and most interesting, performers around, part of the continuum of Mexico whilestill very much her own person.

Lucky Dube: The Other Side

Heartbeat

He's probably Africa's greatest exponent of roots reggae (Alpha Blondy fans might disagree), and every new album is welcome, this being more exception. By now he's passed his Bob Marley fixation, and his music has a personal touch that serves it well, without ever straying too far from roots reggae precepts. Enjoyable in the extreme - but maybe something a little more daring next time?

Luke Daniels & Jonathan Preiss: Above the Bellow

Gael Music

Squeezbox and guitar duo with a lovely light touch on a mix of original and traditional material. Daniels possesses a lovely, warm voice, and together they weave little spells over the songs and tunes, light as air, but with plenty of resonance. It's a record that probably won't make a lot of waves, more's the pity, but it's one to play and enjoy regularly - it doesn't pall quickly.