Ilhan Ersahin’s Afternoon In Rio
This is the newest project, born in Rio De Janeiro. Ersahin has already presented the Brazilian version of his Nublu Jazz Festival, and this disc probably reflects the urban electronica advances of São Paulo in equal measure. There are supremely individual vocals from Nina Becker, Thalma de Freitas, China and Junio Barreto. Also involved are Kenny Wollesen and Alberto Continentino on the rhythm sections, and the massively influential (and innovative) producer/instrumentalist Kassin and guitarists Catatau and Muzak. As if this wasn’t sufficiently impressive, there are the rappers Rodrigo and Lourdes de Luz from Mamelo Soundsystem. Acidic guitars contrast with dreamy vocals and tumbling drums. This is an organic funk with resonant basslines, harmonised saxophone and skittering drums. It’s a swirling brew of vocals, vibes and stinging guitar parts. The sound of an experimenting Brazil that remains in touch with its pop, rock, bossa and samba roots.
In the year 2000, Wax Poetic were on the brink of making their debut on the Division 1 imprint of Atlantic Records. Call this bad timing, but a decision was made to shut down this alternative corner of the label, so the album was abruptly shelved. Norah Jones was their lead singer for two years, until the dawning of her solo career with the Blue Note label. Ersahin views Wax Poetic as the genesis of the Nublu scene, both club and label. The album embodies the deeply-funked Manhattan jazz-dance scene, with Ersahin’s breathily-phrased tenor saxophone striations slinking around drum’n’bass stutters, casual Jones vocals sliding by, as basslines lurk in their slumbering depths. Could this be slow-hop rather than trip hop? Deft scratching, dub wobble, reggae-style horn section blasts, shimmering keyboards: all tautly creeping. This is the seductive cocktail.
Ilhan Ersahin – Wonderland