Customer Reviews

Every Day

5 star:		(20)
4 star:		(6)
3 star:		(3)
2 star:		(1)
1 star:		(1)

 

 

It's funny how some people get put off when you mention 'jazz'. I suppose they see it as being wanky music for bohos to stroke their chins to at 'exclusive' arty gatherings and such. Well, when someone told me that this album was a pure jazz album, I had my doubts. However I gave it a chance (purely cos I had a couple of weeks to wait for the new DJ shadow album and I was in the record shop with a pocketful of money) and I have to say it's one of the best albums I've heard in the last twelve months or so! It's mellow, but not some sterile chill out sort of sound, it's got warmth and soul, whilst also being a little creepy. I would have to say 'all things to all men' is my favourite song, Roots manuva's vocals fit perfectly and are very affecting. All the songs are good though, and I would recommend this for smoky late night sessions or an evening at home with the one you love.

It would be really crass to try and compare this with something, but I would say that although perhaps not in sound, this album is like a live equivalent of 'endtroducing' in terms of mood and (I'm gonna hate myself for this one) 'vibes'.

Cinematic Orchestra's "Everyday" is a journey into soul and jazz of the 'cinematic' variety. Often, the music is dark and conspiratorial. Previous output by this band has verged on abstract and moody -- for those dark thriller-type films.

However, three tracks on this album feature the deep, soulful vocals of Fontella Bass and one track: "All Things to all Men", features rapper Roots Manuva. That leaves only three tracks without vocals. So, it is not too abstract this time; the 'cinematic sweeps' are more restrained. Necessarily, because of the human vocals, there is a slightly more tangible emotional connection. Fontella Bass's voice imparts a certain rugged majesty to things.

It is not that she sings -- really. Her voice and words are there for mood and atmosphere purposes. The framework is jazz, abstract, and voyeuristic. But less so of the latter than before. This perhaps can be a selling point. Hopefully more people will come on board the ship!

This album is certainly a Cinematic Orchestra one, you know it very soon after you start listening; fans will not be disappointed. The trademark things are here: the long build-up intros, the sweeping horns, the introspection, the long tracks. This time though, there is much improved rhythm. One track in particular: "Flite", is just a great, fast, driven piece with excellent contribution from the drums, perhaps my favourite on the CD.

If there is a sound that may well be the signature tune of the Cinematic Orchestra it is the one that appears in about the third minute of "The Man with the Movie Camera". We've heard it before on the previous "Motion" album but here it is reworked and presented again, with a lot more drums and rhythm and, therefore, arouses feeling of gusto and purpose. The track gradually becomes soundtrack for a chase of some kind, then it relents. The Cinematic Orchestra's tracks can sometimes be almost disjointed pieces stitched together seamlessly so that if you aren't paying attention you think it is all one long stream.

Overall, this album is very listenable and a better-crafted product than their previous output. It is good that they have included vocal elements into their experiences. I hope they carry on with their voyeuristic explorations: better, more.

Prior to my acquisition of this album, I had no idea as to who this group was. I was just starting to branch out with my musical tastes from 90's alternative rock, and the only jazz I knew of was Pat Metheny.
I was standing in a record store killing time before my bus came to take me home, and the "Man with the Movie Camera" track was playing. I was frozen in the aisle; I must have looked like a fool, but I could have cared less. I was engrossed in the music. After it was over I immediately found the only remaining copy in the store (after asking the clerk as to who they were), and I ended up missing my bus.
It was a fantastic introduction to a group that plays such an interesting style, and can pull you through a range of emotions. I now have all the albums they have produced, and I am looking to more artists on the Ninja Tunes label.
It is hard to find news on this group, but I cannot wait for their next release.
I would not call what they play "jazz", as I am loathe to pigeon-hole music into genres. It seems to me that after "pop", "hip-hop", "country", and any other Top-40 genre, jazz is what is left over. This does not give credit to the artists that can create such cool and innovative music.
Recommendation: Buy this album, pour a drink, turn it up and relax.

I finally found a record that made me stop complaining about the current state of jazz. London's Cinematic Orchestra has made a record that will satisfy both the jazz purist and the jazz experimentalist. Their 2002 release Every Day is rooted in straight-ahead jazz, yet meanders to the side of the road just enough to engage your sense of adventure. This record combines elements of classical and r&b to lull you into thinking its a different kind of record -- and then bam--the music segues into full fledged, unmistakable jazz.

The first cut, All That you Give, is a R&B number with interesting instrumentation, which includes an original use of a harp to keep rhythm and is also used as a lead instrument during the solos. It doesn't begin to hint at the rest of the record. The second track, Burn Out, starts of with a modern classical intro, think Craig Armstrong or Tubular Bells, then transitions effortlessly into a smooth, organic jazz track reminiscent of a late 60's Pharaoh Sanders cut. Add an understated electric piano and muted, haunting horns and you have what might be the best track on the CD.

The third and fourth tracks, Flite and Evolution, respectively use the same modern classical intro motif but the similarity ends there. Flite is a 70s-ish fusion journey that sort of reminds me of Brand X, while Evolution is an emotive jazz-funk record featuring the vocals of Fontella Bass (she is also featured on track 1).

Man with the Movie Camera starts with a cello, woodwind, and triangle intro borrowed from the Mission Impossible theme, then segues into a searing alto sax solo that merges with a funky percussion rhythm section before eventually giving way to fusion-like second movement.

All Things to All Men, starts with a lush string and horn arrangement then morphs into an in-your-face vocal lesson, by rapper Roots Manuva, a conscious, if stilted lyricist. The rhythm and lead harp reappears on the last third of this track complementing a funky percussion section and intermittent horns.

The title and final track on the CD, Every Day, is a mellow acoustic bass driven, afro jazz influenced song that allows you to come down from the rest of the album and figure out what songs to replay.

The seven songs average about eight and a half minutes, which give the musicians ample time to do each track justice. J. Swinscoe and Phil France, the creative influences behind this record, have a made an original and delicious nu-jazz record. Their take is so different that you end up saying after you finish listening - Damn that's a jazz record!

I find myself in complete agreement with Gilles Peterson's liner notes on this album: "I have been waiting for this record for the longest time..." So had I, for that matter. This is one of those rare albums that - even with all that may be going wrong in the world or even with your life - takes you by surprise and makes you realize that there is plenty of beauty and serenity to be found. 'Everyday' manages to evoke so many different emotions at once, it's almost overload at times. Take 'Evolution', for instance. Even with minimal lyrics, the way in which Fontella Bass manages to go from a quiet murmur to a primal cry of "Evolution!" really just makes you sit back in awe. I wish she had lent her voice to a few more tracks, but I'm not complaining with the work she has done here. Her performance on 'All That You Give' fares just as well. Roots Manuva makes a rather sublime appearance on the epic 'All Things To All Men', which has one of the most stirring openings I've heard in a long time. And then there are the instrumental tracks...especially 'Flite' and 'Man With the Movie Camera'. The musicianship displayed on these songs is nothing short of astounding. There is absolutely no filler on this album; 7 (long) songs, one for each day of the week (if you go by the band's website theme). If you can find it, pick up the Japanese version of this CD, which has two additional songs on it ('Oregon' and 'Semblance'), both equally as gorgeous as anything else on the album. I'm not sure why they were dropped; it may have had something to do with the "7 songs, 7 days" thing. Almost makes me wish there were 9 days in a week! 'Everyday' is quite an achievement, especially for a sophomore album. Without question, album of the year. 5 stars just aren't enough...

I already owned and loved "Motion" when I went to the "International Jazz Festival" in Montreal and saw that "Cinematic Orchestra" was performing, along with the "Gotan Project", at the "Metropolis". I was not as familiar with "Gotan Project" but I knew I really enjoyed "Cinematic Orchestra" from listening to "Motion" so I went. All of a sudden all the planets lined up and time stood still! I was completly blown away by both groups but especially "Cinematic Orchestra". The music, the setting, the apreciative and energetic vibe in the room -it was a seminal event for me.
I have attended many concerts in the years I have been going to this excellent festival and I often buy the CD of an artist whose show I really enjoyed. More often than not what I enjoyed in the live show has not translated well to CD -even after invoking my 5 listen rule (something I recommend to anyone before discarding a CD they think they don't enjoy). "Everyday" (I also bought and love "Man With A Movie Camera" by this group) is, however, every bit as fantastic on CD as the live show. As is mentioned often in other reviews here, these are very accomplished musicians who are performing there craft a very high level. The drummer in particular is excellent. I had zero-ed in on this while listening to "Motion" and at the show I noticed that they featured the drummer, Luke Flowers, by putting the drumset front center on the stage. A clear indication that they share my sentiment that he is something special
Each of the 7 songs on ""Every Day" is a finely crafted piece of art that takes elements of R&B, D&B and Hip-Hop in varing degrees on each cut and blends them into a base of smoky hot nu-bop jazz. Other reviewers here have done a good job of documenting the highlights of the individual tracks so I won't. Overall, the best live show I've seen in....maybe ever! and certainly the best CD of the year -for jazz and/or any of the electronica sub-genres.

I have been listening to this recording for several spins now. It is not quite as dark as Motion but equally intense and in some ways more satisfying! The new singer, Fontella, is wonderfully different than the first- yet both have their separate appeals. Fontella has better execution of the lyrics and vocal intonations, yet less of the trip hop element than the first singer. The rythmns are more distinct on this record and ther band sounds tighter. I would like to hear more. NOTE: I first had this review with four stars. The CD is really, REALLY excellent and stays with you over time. Even with the rap part on All Things To All Men (which kills the song unfortunately), I still changed it to Five stars. Great spin!

this is very beautiful music, and quite unusual despite being consistently grounded in several conventional styles. i'd never heard of Cinematic Orchestra before, but i can tell that if they keep up the creativity level that this album has, they could really go some amazing places musically.

This is some of the best musicianship I've ever heard! J. Swinscoe and Phil France, the main guys, worked very well together to bring out this top notch album. The rhythm and melodies are unequaled only by their first album. This one paves the way for more works with featured Mcs, singers. "Burn Out" and "All Things to All Men" are beautiful songs, while "Everyday" hints at the African type music that Swinscoe wants to explore. Every song is a masterpiece. When you hear the Cinematic Orchestra, you'll awaken to a higher level of music that emits powerful fresh air.

After the orchestra styles of previous album "Motion", the Cinematic Orchestra move the goal post slightly to incorporate Jazz & vocals on most of their tracks to with a majestic confidence...(although several non-vocal orchestral tracks still remain for purists), and this is definitely a step in the right direction for the band, with "Flite's" scratchy sampling, to soul singer `Fontella Bass's' revelatory vocals stamping authority over every track she features on...even `Ninja Tune' Mainstay "Roots Manuva" lends his gritty urban vocals to "All Things To All men", which sees Roots eulogizing over a orchestral number to staggering effect...again The Cinematic Orchestra provide an album that is the prefect synergy of Live percussion, String Arrangements, accomplished composing, and proficient programming.