Tag Archives: Moses Boyd

Album of the Day: Binker & Moses, “Alive In the East?”

“I see jazz as a way of approaching things creatively,” South London drummer Moses Boyd told Bandcamp last year. At the forefront of the U.K.’s youthful jazz renaissance, Boyd’s most revolutionary work has been recorded alongside saxophonist Binker Golding. The two met on the jazz education program Tomorrow’s Warriors, which also nurtured the likes of Shabaka Hutchings and Nubya Garcia.

Continue reading

On “When We Are,” Bandleader Nubya Garcia Explores New Sonic Terrain

Nubya Garcia

Photo by Adama Jalloh

Nubya Garcia is a leader in London’s young, club-conscious jazz renaissance. An accomplished tenor saxophonist, composer, and bandleader, she appeared on five tracks on Brownswood’s We Out Herethe recent, era-defining compilation featuring fellow stars of the London jazz scene: drummer Moses Boyd, tuba player Theon Cross, and saxophonist/clarinet player Shabaka Hutchings (who curated the project). Garcia personifies the collaborative spirit at the heart of the scene as part of a number of collectives and a regular player at some of the capital’s most creative nights. And, alongside the likes of saxophonist Tamar Osborn and trumpeters Yazz Ahmed and Laura Jurd, she’s challenging the jazz scene’s long-running gender imbalance.

[Listen to an interview with Nubya Garcia on Bandcamp Weekly.]

Continue reading

The Best Electronic Albums of 2017

YE-Electronic-1244

Dark times call for music that’s strange, wonderful, and yes, even dark, and we’ve certainly been getting plenty of that in 2017’s club sounds. Sometimes, that means adding urgency to escapist music, and that’s OK. But there’s also been a huge drive towards music that transmits powerful messages, or contributes strongly to real-world community building. Dance culture has, at its best, provided voices for the voiceless, spaces for expression, and a level playing field for people who wouldnt’t otherwise meet to connect. As we adapt to the radically networked world, electronic music is finding new ways of expressing those principles. Continue reading

Moses Boyd Is An Old Soul At The Forefront of U.K. Jazz

Moses Boyd

Drummer Moses Boyd cut his musical teeth as a teenage member of the jazz music education program Tomorrow’s Warriors (the younger incarnation of the Jazz Warriors), playing alongside renowned jazz bassist Gary Crosby. Now, at 25, Boyd is bandleader of the Moses Boyd Exodus, as well as one-half of Binker & Moses with tenor saxophonist Binker Golding, and is considered one of the best innovators in the U.K.’s new jazz movement.

The South Londoner first picked up the sticks at age 13 at his school in Lewisham, where he was taught by British jazz drummer Bobby Dodsworth. While studying at Trinity Laban College, he became a regular at Tomorrow’s Warriors jam sessions at Soho’s Spice of Life pub. Raised on both Miles Davis’s Kind of Blue and Dizzee Rascal’s Boy in da Corner, Boyd’s musical journey has been shaped as much by club nights in Peckham as it was listening to old Blue Note LPs. Binker & Moses’ 2015 LP Dem Ones received a Best Jazz Act at the urban MOBO (Music of Black Origin) Awards, and introduced them to an audience schooled on grime acts Wiley and Skepta.

Released last year on his own Exodus imprint, his debut 12” with his Moses Boyd Exodus Ensemble (including Binker) “Rye Lyne Shuffle” was mixed by Kieran Hebden and Floating Points. Named after the Peckham street where African butchers sit next to clubs like The Bussey Building, the storming jazz shuffler was premiered by Gilles Peterson (who called Boyd “the next Art Blakey”) and played by DJs like Alexander Nut of Eglo Records and Four Tet on his Boiler Room mix. Whether he’s dropping a live set with Exodus for Boiler Room TV or fusing electronics with world music with his Solo Exodus improvisational project, Boyd is a very 21st century South London jazzman.

We spoke with Boyd about his new Absolute Zero EP, how jazz titans like Tony Williams and Bobby Dodsworth shaped his musical perspective, and why jazz isn’t really jazz in 2017.

Continue reading