Playlist/Dominic Valvona/Matt Oliver/Brian ‘Bordello’ Shea





By now we’ll probably all aware and getting jaded by the constant newsroll of Covid-19 horror stories, and the ominous stench of pandemic armageddon. To return to some sort of normality, the Monolith Cocktail promises to keep finding all the best new music for you to enjoy, dance to, contemplate and mull over. No cheap epidemic cash-ins and no tenuous links to self-promotional lockdowns here. Just great music, which we hope you will all keep supporting during these anxious uncertain times. And remember, if you do find anything on this playlist that you’d love to purchase, please root the artist, band out on Bandcamp tomorrow (Friday 1st May 2020), as the platform is once more waiving their cut of the fees.

For those of you that have only just joined us as new followers and readers, our former behemoth Quarterly Playlist Revue is now no more! With a massive increase in submissions month-on-month, we’ve decided to go monthly instead, in 2020. The April playlist carries on from where the popular quarterly left off; picking out the choice tracks that represent the Monolith Cocktail’s eclectic output – from all the most essential new Hip-Hop cuts to the most dynamic music from across the globe. New releases and the best of reissues have been chosen by me, Dominic Valvona, Brian ‘Bordello’ Shea and Matt Oliver.



Tracks in full are:

Hanni El Khatib  ‘ALIVE’
Mashmellow  ‘Share It’
3 South & Banana  ‘Rush Hour’
Supergombo  ‘Alien Felines From Beyond The Galaxy’
iyatraQuartet  ‘Chandra’
Santrofi  ‘Africa’
Damily  ‘Zaho Va’
Holy Hive  ‘Didn’t You Say’
Euan Hartley And Friends  ’30/1′
Twisted Ankle  ‘Landlord Laughs’
Lucidvox  ‘Knife’
Pabst  ‘Skyline’
Senji Niban  ‘Where The Birds Fly Now?’
Higamos Hogamos/Spacerocks  ‘Crome Yellow’
Raw Poetic & Damu the Fudgemunk  ‘Head On’
Tanya Morgan  ‘Resurrection’
Evidence  ‘Unlearning’
The Doppelgangaz  ‘Cloak Makes The Man’
Antti Lotjonen  ‘Pocket Yoga’
R.A. The Rugged Man ft. Chuck D  ‘Malice Of Mammon’
Dope Knife  ‘Face Fuck’
Cambetta & Apollo Brown  ‘Nightmare’
Makoto Kino  ‘West Madoka’
Bodyvox  ‘Yeah Yeah (D Ramirez Vocal Radio Edit)’
RJD2 ft. Homeboy Sandman  ‘One Of A Kind’
Sparks  ‘One For The Ages’
Mick Harvey  ‘The Journey: Part 1: Conflict’
Alex Stolze ft. Ben Osborn & Anne Muller  ‘Babylon’
Chicago Underground Quartet  ‘Orgasm’
Aksak Maboul  ‘Silent Silhouettes’
Halftribe  ‘Subliminal’
Clovvder  ‘My Mother Was The Moon’
Nick Cave  ‘Cosmic Dancer’
Die Wilde Jagd  ‘Himmelfahrten’
David Ahlen  ‘If I Have You’
Big Thief  ‘Love In Mine’
Yakima  ‘It Helped’
Murmur Tooth  ‘A Fault In This Machine’
Farezi & Sinan Oktem  ‘Dionysian’
So Beast  ‘Multiplayer’
Simon McCorry  ‘Pieces Of Mind’
Kahil El’Zabar & David Murray  ‘In My House’
Roedelius  ‘Geruhsam’



Hi, my name is Dominic Valvona and I’m the Founder of the music/culture blog monolithcocktail.com For the last ten years I’ve featured and supported music, musicians and labels we love across genres from around the world that we think you’ll want to know about. No content on the site is paid for or sponsored and we only feature artists we have genuine respect for /love. If you enjoy our reviews (and we often write long, thoughtful ones), found a new artist you admire or if we have featured you or artists you represent and would like to buy us a coffee at https://ko-fi.com/monolithcocktail to say cheers for spreading the word, then that would be much appreciated.


Album Feature: Dominic Valvona



Ethnic Heritage Ensemble ‘Be Known Ancient/Future/Music’
(Spiritmuse Records) 21st June 2019


I’d readily admit I still find it a daunting task reviewing jazz, in all its different forms. Further along in my education of course, beyond the rudiments, but in no way an aficionado. I’m constantly discovering and exploring pieces in the jazz story. And yet, it seems almost unforgivable that such a doyen of the Chicago scene and alumni of that city’s famous hothouse of talent, the School of the Association for the Advancement of Creative Musicians, drummer/percussionist and bandleader Kahil El’Zabar has until now escaped me. Such is his vital contribution to Spiritual and African imbued jazz that he really shouldn’t have.

Renowned most notably for the ensemble he formed after graduating and still plays with, Kahil’s impressive CV also includes various roles playing with such luminaries as the great Pharaoh Sanders, Kalaparusha Maurice McIntyre and “Light” Henry Huff, and tour spots with titans, Dizzy Gillespie, Archie Shepp, Nina Simone, Stevie Wonder and Lester Bowie.

 

Leading a myriad of different lineups of the Ethnic Heritage Ensemble since their inception in the early 1970s, Kahil and the current troupe of Corey Wilkes (trumpet), Alex Harding (baritone saxophone) and Ian Maksin (cello) together celebrate a prestigious 45-year career whilst also, and always, looking forward on the latest collection Be Known Ancient/Future/Music.

Spanning live performances, recordings and even a track from the 2015 documentary that forms part of the title of this LP, Dwayne Johnson-Cochran’s exploration Be Known, Kahil’s ensemble once more explore the ever-developing Chicago rhythm that has marked this city out for its unique, often raw, take on R&B, Soul, Dance Music and of course jazz.





Atavistic with a modern pulse, improvising and riffing off repetition, the “ancient” in the title stands for the EHE’s African roots and inspiration; heard through the rustic waterhole evoked bottle pouring and wooden percussion, tribal drum patterns and Egyptology invocations. In theory, it runs throughout Western music, but is felt keenly in the ensemble’s floorless integrations here, which flow and adopt a wealth of genres: a Louisiana feel, be bop skip and dance hall swing on ‘Freedom Jazz Dance’, hints of prime Savoy label jazz, Cab Calloway and Dizzy himself on the homage tumbling drums take on Freddie Hubburd’s ‘Little Sunflower’ standard, and Hugh Masekela in his Hedzoleh Soundz phase, on the Serengeti shuffler ‘Wish I Knew’.

 

Looking back not only to the “ancients”, this album mourns the loss and pays homage to a catalogue of notaries and progenitors, including a host of jazz stars lost in 2018; a trio of which, Randy Weston, Jerry Gonzalez and Cecil Taylor, are given a nod on the opening peregrination ‘N2Deep’, a primitive House music meets gospel and deep serenaded saxophone bounce of a performance that imagines the Modern Jazz Quartet hooking up with a time-travelling Marshall Jefferson.

From Leon Thomas like pronouncements, shamanistic magic, arcane fiddles, elephant heralded honked baritone and spiritual yearnings, all the African bases are confidently covered.

 

The ‘future” that is shared in this album’s title, attached to Afro-Futurist, is represented by both the amorphous blending of sounds, from Swing to Hard Bop to Avant-garde, and in the freeform ease of improvised playing; built around repeating but constantly evolving rhythms and motifs. At times Kahil and his troupe soulfully pine over a stripped acoustic dance beat bordering on gospel-House music and at other times, cleverly merge two different distinct rhythms, one more elliptical the other off-kilter, together simultaneously until final syncopation.

 

Less cosmic than Sun Ra, and less out-of-the-park than the Art Ensemble Of Chicago, Kahil and the EHE tread a different path towards enlightenment; spreading the gospel of positive Afrocentric jazz to ever more dizzying and entrancing heights. Spiritual music with a message doesn’t come much better than this, the EHE showing no signs of waning after 45 years in the business. I’m off to hunt down and digest that lengthy cannon now and suggest you do too.




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