ATA Vinilo y CD

Review: Helmed by The Haggis Horns saxophonist Rob Mitchell, the Abstract Orchestra is a "hip-hop big band" from Leeds that specializes in jazz-fired cover versions of classic head-nodding beats. Having first impressed with a set of J Dilla interpretations in 2017, last year they turned their attention to Madlib and MF Doom's collaborative Madvillain project. As the title suggests "Madvillain 2" picks up where its predecessor left off, offering up sumptuously orchestrated, funk-fuelled and jazz-wise takes on such familiar cuts as "Meat Grinder", "Rainbows", 'Fire In The Hole" and "Operation Lifesaver". There's a tasty bonus cut, too, in the shape of the Abstract Orchestra's remix of their collab with Dabrye and MF Doom (yes, that MF Doom), "Air".

Review: Leeds' Abstract Orchestra came through in 2017 with their debut album, Dilla, and it was clear form the start that the ATA imprint knew what they were doing. Led by Rob Mitchell (the saxophonist of The Haggis Horns), the hip-hop ensemble are poised to strike a chord among the house heads and the jazz-dance fanatics, tapping into the core of sample-based music and percussive rhythm. This LP, as the name implies, is a live, orchestral rendition of J Dilla's best and most coveted work; the tracks chosen come from a variety of the legend's recordings, such as Welcome 2 Detroit, Donuts, and the multitude of successive releases that have been released since his untimely passing, back in 2006. For an artist who dedicated so much of his life and passion to live music and organic percussion, this is the perfect ode and a touching way to get closer to the ideas that made these tunes so special in the first place. A collector's delight.

Review: ATA Records, camped out in Leeds, formed in 2014 by Neil Innes in a formerly disused garage on the outskirts of town. Described as an "Aladdin's Cave of vintage 1960s recording equipment", we've little intel on how exactly Innes chanced upon ownership of such a stockpile, but what we do know is that he soon set about recording these songs exclusively to 2" tape, and using mid-century recording techniques to yield that ever-so-knowable vintage crunch, so native to 60s and 70s funk, soul and soundtrack music. Perhaps a somewhat fictive alias, Kaunas Baltic Connect and the Sorcerers are two such tributary acts to the library archives of yore (KPM, Cavendish, Burton, etc.), and here they lay down 'Baby, I Don't Care' and 'Kaunas Baltic Connect', two fervent fracases packing riffy synth leads and seat-edge strings, nodding to the "brooding menace of Poliziotteschi and Euro-crime movies".

Review: After an impressive first volume last year, ATA Records are back with more of their Library Archive sounds. Inspired by greats such as KPM and DeWolfe but with a raw Leeds twist, this collection was produced on an array of old analogue gear across a series of sessions. Opener 'The Glass Eye' sets a psyched-out 60s funk feeling from the off then there are more upbeat and prickly pieces with lush flute leads likes like 'Windie Man' and raw, break-driven joints like the deep cut 'Fight Or Fuzz.' Word is that more volumes of this are planned in future, which we're glad to hear.

Review: The classic sound of British library music is the inspiration for this third volume in ATA's The Library Archive series. It's another magnificently seductive and sophisticated collection of funk, jazz, spy-thriller soundtracks, late-night lounge moments and evocative atmospherics. Blaxploitation era composers such as Willie Hutch and Melvin Van Peebles and the genius of Roy Bud are particular preference points in this one and each cut is brilliantly authentic and lovingly crafted. This series started back in 2019 and four years later it is still going strong.

Review: The Leeds-based ATA Records continues to bring us the very best in contemporary soul and jazz, this time with a debut album from a local group, The Lewis Express. Taking inspiration from the 60s, through the likes of Ramsey Lewis, the band's self-titled LP has something of the oracular about it, while still sounding vintage in aesthetic and raw in its execution. The band consists of George Cooper, Piano (Abstract Orchestra) Neil Innes, Bass (The Sorcerers, The Magnificent Tape Band, Tony Burkill), Sam Hobbs, Drums (Dread Supreme, Tony Burkill, Matthew Bourne) and Pete Williams, Percussion (The Sorcerers, The Magnificent Tape Band, Tony Burkill) - together they make some sweet-ass, break-centric music that'll undoubtedly appeal to both the hip-hop heads and the psych freaks. What a beautifully composed modern jazz album. Recommended.

Review: A joyous, groove-laden tribute to the golden era of soul jazz, this album - recorded live to two-inch analogue tape at All Things Analogue Studios in Leeds - embraces the raw, organic feel of vintage jazz, evoking the smoky clubs and deep grooves of the 60s. Featuring flautist Chip Wickham, the record channels the spirit of Ramsey Lewis, Les McCann and Galt MacDermot, bringing a fresh revival rather than mere nostalgia. At the core is a tight rhythm section: Sam Hobbs (drums), Neil Innes (bass), Sam Bell (congas) and John Ellis (piano/Wurlitzer). Their interplay is seamless, building a rhythmic foundation that allows Wickham's flute to weave from whispering melodies to soulful wails. The album explores seven shades of soul jazz, from the strutting 'Walk On' and gospel-infused 'Run Tell That' to the cinematic tones of 'The Saint And The Stranger'. The playful 'Sliced, Diced and Fried Twice' nods to the connection between soul music and food, while 'Snick Snack' delivers greasy, blues-drenched swagger. Closing with the moody 'How Long Before You're Gone', this is a celebration of feel, groove and the rich musical heritage thriving in the North of England.

Review: An homage to the golden era of soul-jazz, and recorded live to two inch analogue tape at All Things Analogue Studios in Leeds, Doo Ha! sizzles with an electric soul undercurrent - perfect nourishment for the meditative but motivated dancefloor. Flaunting flautist Chip Wickham front and centre, it's the perfect complement for a lazy Sunday afternoon listen, whence groove and grit need not succumb to nostalgia. Inspired by jazz greats like Ramsey Lewis and Les McCann, the album's soul-stirring rhythms are driven by ATA's Sam Hobbs (drums) and Neil Innes (bass), plus contributions from Sam Bell, John Ellis, and Wickham on flute. The seven tracks range from the down-home swagger of 'Walk On' to the cinematic vibes of 'The Saint And The Stranger,' celebrating the totemic spirit of soul-jazz in the North of England.

Review: While initially inspired by some of the greats of Ethio-jazz, Leeds outfit The Sorcerers has recently expanded its repertoire to include sounds inspired by 1960s/70s soundtracks (particularly those by Ennio Morricone and Roy Budd), obscure Italian library music and Blaxploitation funk. The band's latest album riffs extensively on these vintage influences, delivering an "original soundtrack" to an imaginary film inspired by a headline in The National Geographic. It's a wonderfully atmospheric and evocative affair, with all 12 tracks sounding so authentically vintage and emotive that they could easily have been made and released 50 years ago. Whether you've checked their previous releases or not, this is well worth a listen.

Review: Leeds post-punk mystics The Sorcerers deliver their latest album-length aporia, I Too Am A Stranger. With the compositional vision and timeless lines of bassist Neil Innes, truly rare grooves from drummer Joost Hendrickx (Gott Street Park, Eddie Chacon) and a little cosmos of tones and melodies from reed, flute, vibraphone and keyboard player Richard Ormrod - with the up-and-coming Leeds trumpeter Olivia Cuthill chosen to augment the brass sections and regular collaborator Danny Templeman filling out the percussion palette - the overall five-piece lay down nine instrumental funk eccentrics, drawing on everything from classic Ethiopiques, to the chanbara soundtracks of Fumio Hayasaka, to the oddball genius of Moondog. An implicit dedication to cosmopolitanism in album form.

Review: The Sorcerers usher in something of a new era here with Exit Athens, which is a further investigation of the worlds of Ethio-jazz and library music from the 60s and 70s. Now the group consists of Joost Hendrickx who has made his mark with the likes of Kefaya, Shatner's Bassoon and Abstract Orchestra, as well as Richard Ormrod on saxes, keys and flutes and ATA label head and bassist Neil Innes. The rhythms here are driving and funky with exotic percussion and plenty of vintage keys as well as great combinations of horns, flutes and vibes. It's a maximal sound but one drenched in soul and which immediately transports you to another world.

Review: Back in 2014, Here & Now Records released a sampler for an as-yet unfounded Leeds-based label called ATA Records. The compilation featured "rare soul, funk and Afro" tracks from friends and regular bandmates Neil Innes and Pete Williams under a variety of pseudonyms. ATA emerged a year later, so to celebrate the label's imminent fifth birthday, ATA chiefs Innes and Williams have decided to reissue the compilation under a tweaked title. There's much to enjoy throughout, from the sweaty, James Brown-inspired "The Flip" and the breezy, easy listening-influenced soul shuffle of "Brother Move On", to the deep funk hustle of "Cookie Jar" and the Mod-style soundtrack slowness of "Moscow Central".

Review: Much needed reissue of this super collection from ATA Records. The first volume was class and so we welcome them back with more of their Library Archive sounds. Inspired by greats such as KPM and DeWolfe but with a raw Leeds twist, this collection was produced on an array of old analogue gear across a series of sessions. Opener 'The Glass Eye' sets a psyched-out 60s funk feeling from the off then there are more upbeat and prickly pieces with lush flute leads likes like 'Windie Man' and raw, break-driven joints like the deep cut 'Fight Or Fuzz.' Word is that more volumes of this are planned in the future, which we're glad to hear.

Review: In 2017, saxophonist Tony Burkill asked musical collaborator Neil Innes to put together a backing band to play on his debut album, Work Money Death. Now officially a musical collective named in honour of the album, Burkill and his band returned to the studio last year - in a socially distanced manner, with each player being recorded separately, one after another - to record two epic slabs of spiritual jazz inspired by the works of Pharoah Sanders and Alice Coltrane. Both the expressive 'Dusk', which makes great use of tampura and harmonium and well as some stellar improvisation, and the more laidback and picturesque 'Dawn' are really rather good and should delight anyone who loves lengthy but focused jazz excursions.

Review: A slew of jazz has made it through our doors this week, but little of it toes the realm of the spiritual. The exception to this observation is Work Money Death's 'Thought Action Reaction Interaction', a four track spiritual jazz album fashioned after the release stylings and sound of the infamous Pharoah Sanders. Each track has its own mood ('Freedom As A Heartfelt Song' is our highlight), at once encircling senses of happy urgency, ¾ walztes, and sifts through peaceful unknowns.

Review: A true exploration in spiritual jazz that follows Work Money Death's acclaimed previous albums, with pianist Richard Ormrod, bassist Neil Innes and drummer Sam Hobbs creating a powerful trio foundation for Tony Burkill's soulful tenor saxophone. Blending influences from Indian ragas to African rhythms, its intricate layersiharmonium, congas, trilling fluteibring warmth and depth to tracks like 'Headwaters Of The Soul' and 'The Fast Flowing River.' Spiritual jazz at its most immersive and authentic, capturing a rich, globally-inspired sound.