Pop & Rock News

When Jimmy Scott died in 2014, dozens of musicians, hundreds of journalists and thousands of fans mourned the passing of a jazz legend. Not only had a link back to the era of Billie Holiday, Charlie Parker and Lionel Hampton been lost, but so had the chance to bring the fame and respect denied to him throughout his long and rich life. Now, as if sent from some righteous deity, comes "I Go Back Home", an album full of life recorded by Jimmy Scott years before his death. Created by German producer Ralf Kemper, Jimmy Scott and with mixes produced by Phil Ramone, no expense was spared in giving Scott the lushest musical backdrops possible, creating an album that, like Scott's inimitable vocal style, comes late but but right on time.

This is Jimmy Scotts very last album!
Many of the most talented musicians of the worldwide jazz scene are paying tribute to him on this album: Dee Dee Bridewater, James Moody, Kenny Barron, Peter Erskine, Arturo Sandoval, Joey DeFrancesco, Monica Mancini, Till Brönner, Oscar Castro Neves, Bob Mintzer, John Pisano, Renee Olstead, Gregorie Maret, the legendary HBR Studio Symphony Orchestra are guests and even the actor Joe Pesci got two songs with Jimmy Scott.
Mixes produced by Phil Ramone
The double-LP-vinyl comes with 180g vinyl cut by Abbey Road, gatefold-sleeve, audiophile pressing, handnumbered LIMITED EDITION to 2000 units worldwide and a Jimmy Scott picture included.
The CD comes with in slipcase with a 24 pages booklet plus additional digipak.
Both formats will be stickered with names of the featured artists.

Limited LP (500 copies)

KABANJAK is one half of ANCIENT ASTRONAUTS, and The Dooza Tapes Vol. 1 is a Kabanjak album in the tradition of those beloved old beat cassettes, presenting tracks and tunes which have come together over the last eight years. Whenever the Dooza strikes, there is bound to be a dirty, funky and dope sonic result. Instead of bricks and mortar structures, Dooza builds heavy grooves with a strong foundation in Hip Hop.

A true studio nut, he combines playing real instruments like guitar, bass, flute, piano, drums and percussion with his very own approach to sampling from the most varied sources. With its 15 skits, tracks and proper songs, The Dooza Tapes Vol. 1 is a journey into the realms of the Dooza - funky, funny, deep, dope and different.

High Plains is the duo of Scott Morgan and Mark Bridges.

Morgan, based in the Canadian Pacific Northwest, is predominantly known for his drifting, textured soundscapes released under the pseudonym LOSCIL.

Bridges is an accomplished, classically-trained cellist residing in Madison, Wisconsin.

The two met in Banff, Alberta while they were simultaneously there on residencies at the Banff Centre for the Arts in 2014. They first collaborated when Bridges contributed cello parts to Morgan's generative music app ADRIFT, recorded in Seattle in 2015.

In early 2016, the duo embarked on a collaborative set of compositions in the oxygen thin air of Wyoming, spending two weeks holed up in a refurbished school house in the town of Saratoga, where this album was recorded.

Inspired by Schubert's Die Winterreiseand the rolling landscapes of
their surroundings, the collaboration culminated in a collection of recordings that evoke a shadowy, introspective and dizzying winter journey.

Cinderland takes cues from classical, electronic and cinematic
musical traditions but is mostly a product of the rugged, mythic landscape; vast and sprawling with a wild, uncertain edge.

The recording was made with a portable studio and all sounds were sourced on site, most notably from Bridges' cello, the resident Steinway D piano, and field recordings collected from the local soundscape.

The results are a site specific, wide scope view of thehigh valley terrain the duo worked in, a mix of analog and digital, neoclassical and modern electronic sounds, a complemental series of tracks to become absorbed in, a truly deep listening experience.

The cover art forCinderland was created by London-based artist, Peter Liversidge.

Sous Influences is a brand new studio album from Isabelle Antena, the French jazz-pop-bossa polymath who first found fame with electro-samba trio Antena and influential debut album Camino del Sol.
Mostly produced by husband Denis Moulin in Brussels, Goa and Soumont (France), the 12 track album began life as an album by occasional band Pause Cafe. 'But then Denis lost his father Marc,' explains Isabelle, 'and the project had to be put on hold. The other members of Pause Cafe worked on other projects, while I released a lot of dance tracks via Beatport as Antena-Solar. That's how I met the DJ and House music producer J.T. Donaldson, from Dallas. He wanted to produce some jazzy music with me and that lead to My Lexicon and Aht Uh Mi Hed.'
In 2016, with Denis back on board, the couple decided to round up all these tracks as a new Isabelle solo album, Sous Influences, mixing jazz and bossa nova styles. The working template was an old skool vinyl album. 'With two distinct sides,' says Isabelle. 'Our own original material, and also covers of key songs that have influenced my current musical direction, arranged by Denis a la Bill Evans, thus fulfilling a musical dream.'
Sous Influences is Isabelle's first new album on Les Disques du Crepuscule since 2001. Welcome home!

- The legendary Annie Ross is arguably the finest jazz singer Britain has produced.
- Annie Ross first came to prominence in 1952 with her song Twisted, a satire on the world of psychoanalysis, sung in the style of vocalese. In the late 1950s Ross teamed up with Dave Lambert and Jon Hendricks to form a trio that would take vocalese to new heights of accomplishment. From 1957, they recorded seven successful albums informed by Lambert's gymnastic vocal arrangements, Hendricks' impish jazz lyrics, and, as writer Will Friedwald put it, Annie Ross' vocal muscle.'
- Exhausted by touring, Annie departed Lambert Hendricks & Ross in 1962 to resume the solo career that had begun a decade earlier, and over the ensuing years she collaborated on albums with such masters as The Modern Jazz Quartet, Gerry Mulligan, Chet Baker and Zoot Sims.
- A Handful of Songs was recorded in 1963, a highly accomplished album arranged and conducted by Johnny Spence under the guidance of producer John Barry. It is typical of the high standards established by Barry during his tenure as 'associate producer and creative A&R man' at Ember, when the cost of his use of the best London studios and recording technicians was consistently justified by superior artistry, if not always sales.

hand-numbered edition of 1000. Double-LP, gatefold.

(...)The music on this album, in spite of the unorthodox instrumentation and exotic titles, should prove itself readily accessible to any listener with an open mind and an interest on the fascinating and original fusion of different musical cultures which it represents. (...) from original liner notes

One of the most compelling albums ever recorded by Ahmed Abdul-Malik! The set's got a style that's very strongly in keeping with the eastern moods' of the title - with less of a jazz sound than some of Abdul Malik's other work, and more spare, exotic instrumentation overall. The group on the set is a trio - Ahmed on bass and oud, Bilal Abdurrahman on alto, Korean reed flute, and percussion, and William Henry Allen on bass and percussion. With that kind of lineup, you can imagine the feel - lots of spare rhythms, with snaking reed work over the top, done in a very evocative way - and although there's less jazz than usual, the alto sax solos still give the record enough of a jazz component to set it apart from straight world music. The album kicks off with a surprisingly great, and incredibly haunting take on Summertime', then rolls into some really wonderful original tunes that include Ancient Scene', Magrebi', and Shoof Habebe'.

Taken from the same legendary sessions that resulted in A Night in Tunisia, this classic LP features the 1960 version of The Jazz Messengers starring trumpeter Lee Morgan, tenor saxophonist Wayne Shorter and pianist Bobby Timmons. The title cut is the most impressive performance, but this excellent program of high-quality hard bop also allows listeners to hear three obscure Wayne Shorter compositions and Lee Morgan's forgotten Johnny's Blue. (...) (AllMusic)

Re Mastered limited edition vinyl with bonus Cd which contains 2 bonus tracks Take 3 of the title track & Take 3 of Memories of You

The music stretches the boundaries of bop, is never predictable and, even if this is not one of Mingus' more acclaimed dates, it is well worth acquiring for the playing is quite stimulating.



This sextet session dates from 1957, when the volcanic bassist and composer was first assembling his Jazz Workshop. Mingus had already put together the core of the band that would reach its summit two years later with Mingus Ah Um, including saxophonist Shafi Hadi, trombonist Jimmy Knepper, and drummer Dannie Richmond, who would be with Mingus's bands for the next two decades. The music has Mingus's distinct stamp, the rhythmic aggressiveness, sudden time (and mood) shifts, contrapuntal themes, and a palette of sounds that reaches back through bop to early jazz for the vocalizing, plunger-muted horns. His bass often sounds like articulate thunder as he presses his musicians toward a unique musical vision. Completing the group are two striking soloists: the seldom-heard trumpeter Clarence Shaw, best known for his work on Mingus's contemporaneous New Tijuana Moods, who combines thoughtful hesitancy and melodic daring, and pianist Bill Evans, whose distinctive musical presence and lyric imagination add to Mingus's often dense harmonies. The turbulent "West Coast Ghost" and the emotionally charged "Celia" stand out.

On February 9, 1953, Dizzy Gillespie played a live concert at the Salle Pleyel in Paris that was recorded, though when excerpts were first released, there were only enough used to fill one 10" LP. Gillespie close to his best -- as he is here -- is very good indeed,

The first ten of the 16 Gillespie-led studio tracks are much in the same vein, though not quite as lively as the concert material. This studio version of "Clappin' Rhythm" stands out as a highlight. The final six of the Gillespie-led studio recordings finds the sextet supplemented by the Paris Operatic String Orchestra (with arrangements by Michel Legrand), and are good as bop-meets-orchestration goes, though orchestral arrangements don't play to Gillespie's strengths. The eight final cuts on disc two represent pianist Wade Legge's sole session he did as a leader, with the rhythm section of bassist Lou Hackney and drummer Al Jones. Though not too similar in tone to the Gillespie-led numbers that dominate this compilation -- it's well-done if typical early-'50s bop, with the piano to the fore -- it does round out this extended snapshot of the music Gillespie and his band were creating in Paris during this month.

On February 9, 1953, Dizzy Gillespie played a live concert at the Salle Pleyel in Paris that was recorded, though when excerpts were first released, there were only enough used to fill one 10" LP. Gillespie close to his best -- as he is here -- is very good indeed,

The first ten of the 16 Gillespie-led studio tracks are much in the same vein, though not quite as lively as the concert material. This studio version of "Clappin' Rhythm" stands out as a highlight. The final six of the Gillespie-led studio recordings finds the sextet supplemented by the Paris Operatic String Orchestra (with arrangements by Michel Legrand), and are good as bop-meets-orchestration goes, though orchestral arrangements don't play to Gillespie's strengths. The eight final cuts on disc two represent pianist Wade Legge's sole session he did as a leader, with the rhythm section of bassist Lou Hackney and drummer Al Jones. Though not too similar in tone to the Gillespie-led numbers that dominate this compilation -- it's well-done if typical early-'50s bop, with the piano to the fore -- it does round out this extended snapshot of the music Gillespie and his band were creating in Paris during this month.

(...) This album points the way to the future. It is prophetic because George Russell felt compelled to make it so. Jazz is changing, the sixties could well be a crucial decade,' says the composer. One thing is certain. A variety of sound and rhythms, many of which are alien to what audiences are used to, will nd their way into jazz. Unaccountably, things we hear around us every day, very humans things, have either disappeared or been left out of jazz as we know it.

Progress is inevitable. Today's musical palette is just not adequate. ALL feelings relative to life and beauty cannot be validly expressed with techniques now in vogue. What is more, jazz is an evolving art, it is not meant to be restricted. The very nature of the music and its history indicate this The jazz music of the future What will it be like Well, the techniques are going to get more complex, and it will be a challenge for the composer to master the techniques and yet preserve his intuitive approach. And it will be a challenge to the improviser to master these techniques and also preserve the intuitive, earthy dignity of jazz (...) From the original liner notes of Burt Korall you can understand the revolutionary meaning of this wonderful LP from the great George Russell! Finally available again on ACV!

FLIES 12 Amedeo Tommasi - H. Caiage (Gerardo Iacoucci) CARNET TURISTICO Lp 180gr. Ltd. Ed.

From the legendary DENEB series, one of the grooviest Italian library ever. Amedeo Tommasi and Gerardo Iacoucci (alias H. Caiage) at their best. An explosion of heavy organ sounds, jazz & psych-beat, with killer drumming breaks and mellow tunes. Highly recommended for dj! Original Artwork by Luca Barcellona and exclusive liner notes by Gerardo Iacoucci himeself.

Mulligan Meets Monk documents the 1957 meeting of two sharp musical minds. Though the pairing may seem unlikely, baritone saxophonist Gerry Mulligan -- whose cool, West Coast style blends dexterity with laid-back grace -- and Thelonious Monk -- whose radical, angular piano playing and thoroughly modern compositions are blueprints for the possibilities of bop -- sound remarkable together. In fact, it is the contrast between the players' styles that lends this set its balance and appeal. The program, which includes four compositions by Monk and one by Mulligan, is unassailable. Mulligan acquits himself admirably on the Monk classics "'Round Midnight," "Rhythm-a-ning," and "Straight, No Chaser," unfurling his smooth tone over their zigzagging melodies and ambitious scalar architecture. Mulligan's "Decidedly," a bright bop workout, fits easily alongside Monk's tunes, especially with the help of Monk's off-kilter, accented comping. Bassist Wilbur Ware and drummer Shadow Wilson lend solid support to the spirited playing of the two leaders, making this top-notch session -- with its great tunes, chemistry, and soloing -- a true classic.

The sound visionary Jean-Paul 'Bluey' Maunick has been pioneering in the mercurial acid jazz scene, and as a talent factory, Incognito has rolled out the red carpet for vocal prodigies, such as Jocelyn Brown and the best musicians from the British groove community.



Short-lived musical trends have done nothing to damage the popularity of this multi-cultural band with their driving rhythms and elegant melodies and they have become a trademark all over the world, especially live.



In this vein, Bluey Maunick celebrated Incognito's 30th birthday on stage at the London INDIGO2 with a thrilling concert in summer 2009. It was a fantastic night: with their blend of soul and jazz, funk and fusion almost 30 musicians, with several surprise guest appearances, electrified the audience. Thanks to the contagious energy and the virtuoso solo numbers, each song became something special. And as if this band hadn't given us enough variety already, the strings of the Millenia Ensemble provided a delightful additional interplay of sound.

Are you ready to swing with the great Lester Young A bunch of killer tracks from one of the all-time great tenor saxmen teaming up with pianist Oscar Peterson and his trio: guitarist Barney Kessel, bassist Ray Brown, and drummer J.C. Heard. Includes his finest performances of the '50s Ad Lib Blues, Just You, Just Me, Tea for Two, (Back Home Again in) Indiana, On the Sunny Side of the Street, Stardust, There Will Never Be Another You, I Can't Get Started , and more. A really great collection!

STATI D'ANIMO vol.2 aka FEELING originally released on CAM CmL series in 1973. A totally KILLER Italian Library album with the most outstanding Funk & Jazz-Funk vibes and female vocals to die for, knitted drum patterns and top-notch Vintage dancefloor Funk tunes ever. Moody & Funky Score music for action, movement and romantic scenes. Some of the real best came out from Italy - ITALIAN FUNK LIBRARY KILLER!

This 1962 recording is one of the prize items of the free-jazz movement as it flowered in California. It teams flutist Prince Lasha and alto saxophonist Sonny Simmons, who cowrote all the songs and play with an esprit de duo that reflects their long-term partnership. Lasha, who also played saxophone, was a childhood friend of Ornette Coleman and became part of his circle in Los Angeles. Simmons, a Louisiana native who grew up in Oakland, came under Coleman's influence while honing his own terse, lyrically heated style. Though the overall sound of The Cry! very much proceeds from Ornette's harmolodic new thing' (while absorbing earlier styles ranging from Ellington 'exotica' to Waller 'erotica') it's a racier vehicle that takes hairier turns. Propelled by the clean and steady dual basses of Gary Peacock and Mark Proctor (on three tracks, Peacock goes it alone), Lasha and Simmons harmonize with as much zip and warmth as they put into their solos. (Lloyd Sachs)

This was Billie Holiday's penultimate recording and the last of her albums to appear during her lifetime. It is one of her most flawed, yet, at the same time, an essential recording. Timeless and unbearably emotional, this is an album that somehow documents her life in a manner never achieved by the many penned portraits or that glossy Hollywood on-screen portrayal. An essential - often astounding - recording, it was finally inducted into the Grammy Hall Of Fame in 2000.

If you're looking for the influence of Italy on popular music it's interesting to compare the careers of two great Italian-American singers, Frank Sinatra and Dean Martin. While Ol' Blue Eyes steered clear of recording much Italian-based music, his pal was happy to embrace his cultural heritage. This is a compilation of well-loved Italian love songs - second nature to a man who, like Sinatra, was the proud product of Italian immigrant parents. The result is a happy hour (and more) in the company of an acknowledged master. Enjoy this superb collection including "Volare", "Sway", "Arrivederci, Roma" and many more in coloured vinyl.

John William Coltrane is today recognised as one of the most influential figures in the history of jazz. Yet when he first appeared in the ranks of Dizzy Gillespie's orchestra at the end of the 1940s, no-one would have predicted this diffident young man in his early twenties would, within a decade, become an iconic musician dedicated to taking music into hitherto undreamt-of dimensions. This album captures John Coltrane at the peak of his solo career, though of course, there was more significant music to come.

Recorded in 1957 and released in 1961, Soul Meeting is the second studio album by Ray Charles and Milt Jackson. The two men, one a jazz icon and the other a true giant of American music combine on this marvellous record to make a highly memorable album. A must have for any jazz enthusiast.

Gill Scott Heron, Live from the Village Gate, New York, 1976.
New York's WRVR-FM captured a treasured broadcast by Gil-Scott Heron. A highly-revered artist whose work has remained headily influential over many respected hip hop contemporaries. His appearance alongside Brian Jackson and the Midnight Band at the Village gate in 1976 has since garnered widespread affection and admiration amongst collectors, fans and critics alike. This landmarkappearance was primarily aimed at promoting Arista's imminent release of their 1976 LP It's Your World. This monumental performance comprised of only six songs in comparison with the ten of It's Your World, but the energy and spirit of that performance evoked acute political and spiritual awareness, rampaging through global and local injustices with humility and conscience firmly intact. Live On Vinyl's retrospective spotlight captures Heron's on-stage persona and energy exposing an explosive chapter in the life and career of a lyrical legend. Featuring the complete WRVR-FM broadcast, fully re-mastered.

Following the success of SLEEP, Max Richter reveals his latest recording project - a new album entitled Three Worlds: music from Woolf Works. It's drawn from his music to Wayne McGregor's award-winning Royal Ballet production Woolf Works - inspired by the works of Virginia Woolf. Woolf Works returns to the Royal Opera House, London, from 21st January to 14th February, with a worldwide cinema broadcast on 8th February.

COMPILED BY PETE PASQUAL, ERICA OLSON & DJ KINETIC

Following on from acclaimed compilations like 'Down Under Nuggets' and 'Heavy Soul' (and two other new titles 'Running The Voodoo Down' and 'Dodgy Bossa (& Silly Sambas)' - details below), Festival Records presents another deep dig into the archives, this time shining a light on rare Australian soul-jazz, jazz-funk, and freaked-out groove rock from the late '60s and '70s.

BACK ON THE STREET AGAIN - AUSTRALIAN FUNK, SOUL & PSYCH (MOSTLY) FROM THE FESTIVAL VAULTS is a stunning 20 track CD and 2LP release that highlights a point when the previously disparate styles of rock, jazz and soul all started influencing each other, and exciting new genres were created. To quote the liner notes (by DJ Kinetic):

Australia produced some amazing music during the 60s and 70s that sat outside of the normal rock mould. Avant guard artists like John Sangster pushed boundaries and experimented with the fusion of local and overseas influences, artists like Dalvanius recorded soaring disco music that was lost amongst the popular music of the time, only to be rediscovered by DJs overseas who were searching for unknown sounds, composers like Brute Force and His Drum took risks and recorded left-field funky sounds hidden within their more mainstream compositions, and popular artists like Billy Thorpe occasionally strayed from their A&R directions and took leaves from the books of American artists who were largely unknown in Australia at the time. Beneath the veneer of bland rock and roll lay an unknown multitude of funky sounds hidden from mainstream view.

In addition to the artists that Kinetic mentions (and the compilation features two John Sangster tracks - stunning versions of 'Hair' and the Beatles' 'A Day In The Life'), the collection includes iconic names of the era like the Daly-Wilson Big Band (featuring Kerrie Biddell), Renee Geyer and the Johnny Rocco Band. '60s sides from Ross D Wyllie and The ID (featuring Jeff St John) reveal the various styles' roots in American rhythm & blues, and the unexpected inclusion of some legendary Australian rock outfits like Tamam Shud and Blackfeather reveals the psychedelic and progressive rock influences at play. The full range of the music is highlighted by the inclusion of both cabaret/daytime TV performer Al Styne and outrageous Kings Cross club act Count Copernicus & The Cosmic Fire as well as the in-house studio 'pops' orchestra, Festival Studio 24 Orchestra.

Co-compilers Pete Pasqual, Erica Olson and DJ Kentic to undertake interviews with specialist media around release. Facebook ad's around release.

COMPILED BY PETE PASQUAL, ERICA OLSON & DJ KINETIC

Following on from acclaimed compilations like 'Down Under Nuggets' and 'Heavy Soul' (and two other new titles 'Running The Voodoo Down' and 'Dodgy Bossa (& Silly Sambas)' - details below), Festival Records presents another deep dig into the archives, this time shining a light on rare Australian soul-jazz, jazz-funk, and freaked-out groove rock from the late '60s and '70s.

BACK ON THE STREET AGAIN - AUSTRALIAN FUNK, SOUL & PSYCH (MOSTLY) FROM THE FESTIVAL VAULTS is a stunning 20 track CD and 2LP release that highlights a point when the previously disparate styles of rock, jazz and soul all started influencing each other, and exciting new genres were created. To quote the liner notes (by DJ Kinetic):

Australia produced some amazing music during the 60s and 70s that sat outside of the normal rock mould. Avant guard artists like John Sangster pushed boundaries and experimented with the fusion of local and overseas influences, artists like Dalvanius recorded soaring disco music that was lost amongst the popular music of the time, only to be rediscovered by DJs overseas who were searching for unknown sounds, composers like Brute Force and His Drum took risks and recorded left-field funky sounds hidden within their more mainstream compositions, and popular artists like Billy Thorpe occasionally strayed from their A&R directions and took leaves from the books of American artists who were largely unknown in Australia at the time. Beneath the veneer of bland rock and roll lay an unknown multitude of funky sounds hidden from mainstream view.

In addition to the artists that Kinetic mentions (and the compilation features two John Sangster tracks - stunning versions of 'Hair' and the Beatles' 'A Day In The Life'), the collection includes iconic names of the era like the Daly-Wilson Big Band (featuring Kerrie Biddell), Renee Geyer and the Johnny Rocco Band. '60s sides from Ross D Wyllie and The ID (featuring Jeff St John) reveal the various styles' roots in American rhythm & blues, and the unexpected inclusion of some legendary Australian rock outfits like Tamam Shud and Blackfeather reveals the psychedelic and progressive rock influences at play. The full range of the music is highlighted by the inclusion of both cabaret/daytime TV performer Al Styne and outrageous Kings Cross club act Count Copernicus & The Cosmic Fire as well as the in-house studio 'pops' orchestra, Festival Studio 24 Orchestra.

Co-compilers Pete Pasqual, Erica Olson and DJ Kentic to undertake interviews with specialist media around release. Facebook ad's around release.

Metromonk is the third solo album from celebrated Hang player, percussionist, producer and composer, Manu Delago. The LP finds this boundary-testing artist distilling and delicately exploring extremes of dynamics and mood, manipulating the Hang in experimental and inventive ways, the many voices and tones of this rare instrument are given top billing among a minimalistic palette of beats and acoustic sources. Additional touches come from vocalists Douglas Dare (Erased Tapes), Pete Josef (Sonar Kollektiv, Reprazent) and Isa Kurz, and legendary trumpeter Erik Truffaz (Blue Note), while Matt Robertson (Björk, The Streets, Bat For Lashes) reprises his regular role as co-producer.
I wanted to create fresh, electronic soundscapes that are generated through live performance and therefore feel organic and human', Delago explains. Almost all of the effects on the Hang are applied live during one-take performances. It may initially sound like programming or production, but it's all happening there in the moment'.
In its deft treatment of temperaments and dynamics, the album diverges into two sections, which Delago thinks of as the inner world of head, heart and soul versus the lively hips and feet - or, alternatively, mountains versus metropolitan city (the two main geographical backdrops to his life). This meeting of worlds is reflected in the album title, which he hit upon when he saw a Buddhist monk gliding through the busy streets of Bangkok.
The world's leading Hang player, Manu Delago has had over five million YouTube views and featured heavily in BBC Radio documentary on the instrument. While his last album saw him diversifying with multiple layers of synths, electronic production and a wide range of instruments, 'Metromonk' restores his virtuosic Hang playing to centre stage.