Track Listing

1. Intro
2. Doxology
3. Conversations With The Unseen
4. Elision
5. Spokes And Pedals
6. Intermission (Split Decision)
7. Snakeships
8. Mungo's Adventure
9. Flame Thrower
10. Equiano's Tears
11. Good Nyooz
12. Outro

Product Details

• Amazon Sales Rank: #91096 in Music
• Released on: 2004-03-15
• Number of discs: 1
• Dimensions: .23 pounds

Amazon.co.uk Review
Conversations with the Unseen marks the striking debut of this Birmingham-based alto saxophonist. In 2002, Kinch had already managed to claim the Rising Star category in the BBC Radio Jazz Awards and International Saxophonist of the Year at the Montreux Festival. Soweto's trio with bassist Michael Olatuja and drummer Troy Miller had a deep rapport in place, but guitarist Femi Temowo was inducted just prior to these recording sessions, making up a regular touring quartet. Produced by saxophonist Jason Yarde, this disc rejoices in a superbly recorded and powerfully pushy sound, adopting the old-fashioned stereo-split with guitar and saxophone leaping out of separate speakers.

Kinch's rap skit intro jokily sets out the rules of play for a jazz gig, then it's straight into the main heavyweight body, certainly not succumbing to any temptations for an overly commercial grooming. Kinch retains the fierce aggression of his live shows, symbiotically entwined with Temowo's ringing guitar during the tightly tingling themes. Then, when it's time to solo, Soweto's flying loose into space, inflamed with speeding passion. His substantial torrents are informed by a quick-thinking wit, crammed with detailed invention. The emphasis is on original material, worked over at length. "Doxology" and "Equiano's Tears" only take three or four airings to fully ensnare the listener. The title track's cool tones hang in a luminous space, while "Elision" is fairly traditional in its boppish bent. The "Split Decision" intermission weaves a rapping tale with some nimble wordplay, but tends to weaken its impact after repeated hearing. "Mungo's Adventure" has a sprightly bass-and-drums section, and some particularly abrasive soling from Kinch himself, then the outro track reprises Soweto's rap flava, but not without an ironic smile covering its list of shout-outs. --Martin Longley

CD Description
'Conversations With The Unseen' is the the debut album by London-born alto sax player, Soweto Kinch. The material featured here takes influence from classic jazz, hip-hop and Jamaican folk music. It was produced by Jason Yarde, frontman with another Dune act, J-Life.

Customer Reviews

Conversations With the Unseen
Last night I saw these guys perform at the Bedales Olivier Theatre. They are wicked. This album's strong lyrics, fierce drumbeat and powerful solos with backing makes it a must-buy item. If you are looking for smooth, calm jazz this is not it, but is modern music without the pop influence that makes most of today's music hard to listen to. This is perfect jazz. A hint of tradition added to Soweto's own contemporary style makes you want to keep on listening long after it has finished.

If jazz ruled the world
After seeing Soweto at the Mick Jagger Centre last night I just had to write this review. His style of rap with jazz coupled with dramatic drum and double bass is truly inspired. He has a phenomenal presence on stage that comes through when listening. Teamed with Abram Wilson on trumpet you have something magical. When the two of them perform together you have the lyrcal prowess of Soweto accentuated with the wonderfully rich voice of Abram and that is before the pair start playing. If you buy just one modern jazz CD this year, make it this one and then make sure you see him live. Awesome is an understatement.

Neo-bop?
More like anti-fusion. Soweto Kinch makes a circular tour of forms here, cornering at full speed, clipping a sign-post and nearly knocking down several pedestrians. A few tunes lapse into the familiar tones of sophisticated elevator music that we call 'contemporary jazz', but even then, like the encounter with McCoy Tyner's ghost in the title track, you're left wondering whether he's not just opening it up to shut it down. I'm not sure he can do what he wants to on the middle track, that is, I'm not sure he's allowed to, set free the elegant swing of the old legends in the quick-hitting grooves of the modern commercial world. But if he makes it down that road, no-one could foresee what kind of land he might discover.