Journey To The Mountain of Forever (Gearbox)

Binker & Moses

Released February 6, 2017

The Guardian 10 Best Jazz Albums of 2017

YouTube:

https://music.youtube.com/playlist?list=OLAK5uy_l9Kr43g77uIjYlSxeYE4N5jmBLanizT6Q

Spotify:

About:

When Binker Golding and Moses Boyd’s debut album Dem Ones was released in Summer of 2015 it kickstarted a sensational year for the young saxophone and drums duo, who won a string of awards including 2015 MOBO Awards: Best Jazz Act, Jazz FM Awards 2016: UK Jazz Act of the Year and Breakthrough Act of the Year and the 2106 Parliamentary Jazz Awards: Jazz Newcomer of the Year.
Their new record Journey to the Mountain of Forever is a story album on two discs: the first features the duo on their own while for the second they are joined by saxophonist Evan Parker, trumpeter Byron Wallen, harpist Tori Handsley tabla player Sarathy Korwar and drummer Yussef Dayes. The sessions took place on 21-22 July 2016, and were recorded completely live from Mark Ronson’s Zelig studio direct to a 1960’s Studer C37 1/4” tape machine at Gearbox’s studio – no edits, drop-ins or mixing down.
So, travel with us from the “realm of the now” to “the realm of the infinite” meeting along the way Shamans, the great Besbunu, the Ultra Blacks & various other tribes, monsters & characters whilst immersing yourself in their strange rituals, potions, music & a world which has no end. But, beware of the Jahvmonishi plant! 

Track Listing:

Disc 1
1. The Departure (Moses Boyd / Binker Golding) 7:25

2. Intoxication From the Jahvmonishi Leaves (Moses Boyd / Binker Golding) 6:25

3. Fete by the River (Moses Boyd / Binker Golding) 5:24

4. Trees on Fire (Moses Boyd / Binker Golding) 6:45

5. The Shaman’s Chant  (Moses Boyd / Binker Golding) 5:43

6. Leaving the Now Behind (Moses Boyd / Binker Golding) 7:01

Disc 2

1. The Valley of the Ultra Blacks (Moses Boyd / Yussef Dayes / Binker Golding / Sarathy Korwar / Evan Parker) 3:56

2. Gifts From the Vibrations of Light (Moses Boyd / Binker Golding / Tori Handsley / Sarathy Korwar) 5:18

3. Mysteries and Revelations (Moses Boyd / Binker Golding / Evan Parker) 5:14

4. Ritual of the Root (Moses Boyd / Binker Golding / Byron Wallen) 3:06

5. The Voice of Besbunu (Binker Golding / Evan Parker) 2:37

6. Echoes From the Other Side of the Mountain (Moses Boyd / Binker Golding / Tori Handsley / Sarathy Korwar) 4:33

7. Reverse Genesis (Moses Boyd / Binker Golding / Evan Parker) 5:58

8. Entering the Infinite (Moses Boyd / Binker Golding / Byron Wallen) 3:15

9. At the Feet of the Mountain of Forever (Moses Boyd / Binker Golding / Tori Handsley / Sarathy Korwar) 8:53

Personnel:

Disc 1

Binker Golding: tenor saxophone

Moses Boyd: drums

Disc 2

Binker Golding: tenor saxophone

Moses Boyd: drums

Evan Parker: soprano saxophone, tenor saxophone

Byron Wallen: trumpet

Tori Handsley: harp

Sarathy Korwar: table

Yussef Dayes: drums

Recorded July 21-22, 2016, at Zelig Studios, London, UK

Producer: Darrel Sheinman

Recorded by Caspar Sutton-Jones

Mastered by Caspar Sutton-Jones, Darrel Sheinman

Engineer: Ricky Damian

Cover Artwork: Jim Burns

Review:

It may have a portentous title (a genuflection to the spiritual and very influential 1960s jazz of John Coltrane), but the second album by the prize-winning young London sax-and-drums pairing of Binker Golding and Moses Boyd is the diametric opposite of earnest: it’s the seductive sound of spirited improvisers letting off steam. Binker and Moses emerged from vocalist Zara McFarlane’s backing band, and this double-vinyl set continues their duologue – soulful tenor sax sermons plus earthily funky drumming, fusing jazz, hip-hop and grime. It adds an expanded lineup on the second disc, including free-sax pioneer Evan Parker, trumpeter Byron Wallen and harpist Tori Handsley.

The duo’s tracks winningly mix dark, classic Coltrane raptures, infectious hook-rooted rockers and Sonny Rollins-like calypsos (Fete By the River). The larger group sets up thrilling rhythm textures merged from Parker’s seamless soprano lines and a chatter of snare drums and tablas; there are atmospheric guitar-like harp figures, and dramatically spontaneous two-tenor tussles for Golding and Parker. The no-frills, no-edits production only adds to the incandescent immediacy. 

John Fordham (The Guardian)