- Followers of London’s burgeoning modern jazz scene will have heard of Yussef Kamaal. The short-lived collaborative project between virtuoso drummer Yussef Dayes and keyboard playing producer Henry Wu (a.k.a Kamaal Williams) only yielded a single full-length release before breaking up mid-2017. Black Focus attracted widespread attention for its unique use of breakbeat rhythms within the smooth framework of jazz-funk jams.
The record was distinct and immediate, with Dayes’ powerful drum work anchoring complex group improvisation. After parting ways, both Yussef and Kamaal formed separate ensembles to pursue solo work. The Return is an aptly titled first taste of this material.
Joining Henry’s keys are London bassist Pete Martin and celebrity drummer MckNasty, both new additions to the group. This strange lineup effectively builds upon Kamaal’s existing sound to produce a disjointed sequel.
Instantly recognizable keyboard ambience kicks things off on Samaal, establishing a sedated groove. The band settle upon a repeated phrase, stuttered rhythms launching them into proceedings. Much of this record explores familiar ground: drum-centric jams rooted in grooving funk basslines and atmospheric progression. However, what Return lacks in innovation it makes up in an abundance of compelling musical moments, where each member’s contribution is immediately gratifying.
Saying that, Yussef Dayes’ absence is impossible to ignore. Given his drumming style practically birthed this sound, any replacement is doomed to imitation. MckNasty’s raw skill is evident, but even his highlights feel like they’d sound better coming from someone else. This restricted artistic freedom results in drumming that merely accommodates the other players, rather than enhancing them.
Given this lack of ambition, it should come as no surprise that The Return’s standout comes from its lone feature: former band mate Mansur Brown brings an explosive barrage of colourful guitar tones to close out LDN Shuffle. His performance is unmissable, dominating the track while also shoving the band outside their comfort zone.
Overlooking shortcomings, this record actually makes some promising improvements upon its predecessor. Fully realised shorter moments help to connect longer jams and provide well-timed respite. High Roller is a bite-sized dose of slick lounge funk, while Rhythm Commission demonstrates Wu’s skill as a genre-fusing producer.
The Return is a confusing album. It plays like a sequel where new actors replace the lead roles. It’s Kamaal’s consistently improved songwriting which elevates them from sounding like a Yussef Dayes cover band. Ignoring prior context, MckNasty’s playing is proficient, but comparisons to Dayes show him as inferior. Assuming the group stay together, I’m looking forward to their developing improved musical rapport.
Kamaal’s formula is a proven one and I can’t help but love most of these tracks. The trio’s jams are nimble and complex without compromising accessibility, making The Return an effortlessly enjoyable listen.
- Boddhi Farmer.