Mark de Clive~Lowe — Heritage II (April 5, 2019)            Mark de Clive~Lowe — Heritage II (April 5, 2019) Pamela MÃÃÃÃÃÃÃéndez ÃÃÃÃÃÃâ Time (22 Feb 2019)Location: Los Angeles, California
Album release: April 5, 2019
Record Label: Ropeadope Records
Genre: Contemporary Jazz
Duration:     38:41
1. O~Edo Nihonbashi   7:34
2. Bushidō II   6:08
3. Ryūgū~jō   7:07
4. Isan   1:04
5. Shitennō   5:55
6. Mizugaki (reprise)   1:43
7. The Silk Road   6:36
8. Mirai no Rekishi   2:34
• “ Clive~Lowe is a musical force unlike any other.” —
• “(the) avant~garde soulful Pianist/DJ/Producer delivers his lifetime of journeys to different musical ports in a concise package, seamlessly... transporting not just in genre but in emotion and spirit.” — Huffington Post
• “an underground phenom...” — Okayplayer
• “...a timely reminder that some of the greatest producers, in line with the likes of Quincy and Stepney, are also musicians with chops as well as smart adventurers in sound.” — Echoes (UK)
Mark de Clive~Lowe — piano, rhodes, synths, live electronics, programming
Josh Johnson — alto sax, flute
Teodross Avery — tenor sax (“Bushido II”, “Isan” and “The Silk Road” only)
Brandon Eugene Owens — bass
Carlos Niño — additional percussion
Brandon Combs — drums
Tylana Enomoto — violin (“Ryūgū~jō” only)
• Produced by Mark de Clive~Lowe
• All compositions by M. de Clive~Lowe (Mashibeats/Songs of Defend) except “O Edo~Nihonbashi” (trad., arr M. de Clive~Lowe), “Mirai no Rekishi” by M. de Clive~Lowe (Mashibeats/Songs of Defend) / B. E. Owens (Eugenepusher ASCAP)
• Recorded live at The Blue Whale, Los Angeles June 22, 23, 24, 2018 and NRG Studios, Los Angeles July 10, 2018
• Live Engineer: Maximillian Sink
• Live Recording Engineer: Benjamin Tierney
• Studio Recording Engineer: Daniel Pampuri
• Mixed by Clinton McCreery of Toni Economides Music, London
• Mastered by Neil Pickles at Reveal Sound, London
• Original Artwork by Tokio Aoyama
• Design and Layout by Jaime Robertson
• Heritage II is the second installment of the duology begun in February. The composer, producer, and instrumentalist Mark de Clive~Lowe who is half~Japanese and half~New Zealander and is currently based in Los Angeles did a brilliant job of melding acoustic and electronica on the first installment. This continues to explore his ancestry and roots with the music leaning more aggressively not just toward jazz but to the urban feel of beats and hip~hop. Both installments were recorded live at LA’s Blue Whale jazz club over three nights and one additional day in a North Hollywood studio. Apart from the opening “O~Edo Nihonbashi” where you hear applause at the end, it’s impossible to know where the live recording stops, and the studio recording begins. This is the masterful and purposeful editing work of de Clive.
• “O~Edo Nihonbashi” is a traditional Japanese folk song, begun with a meditative solo piano introduction that morphs into J Dilla territory. The live audience is treated to seeing de Clive~Lowe programming beats and basslines while playing piano and keyboards live with his band. We then segue into “Bushido II,” about Japanese Samurai warriors, repositioning the original into dramatic rhythmic drum and bass interplay. Already the listener senses a slight departure in sound from the first installment.
• He expounds on these soundscapes, “I came up loving jazz, hip hop, drum ‘n bass, house, broken beat and so much more. I like to lean into those different inspirations at the same time, balancing the sonic aesthetics and stylistic approaches in unexpected ways. That’s a huge part own ‘in’ and ‘yo” (yin and yang in Japanese) balance in my process and creativity. To be able to bring all of this together with musical stories of my ancestry, roots, and identity is something that’s very special to me.”
• de Clive~Lowe has the fortuitous advantage of tapping into the many great musicians in LA. The same musicians are aboard this time with the addition of violinist Tylana Enomoto (Kamasi Washington/Bonobo) for “Ryugu~jo.” Josh Johnson (alto sax, flute) (Leon Bridges, Esperanza Spalding), Teodross Avery (tenor sax) (Talib Kweli/Mos Def), Brandon Eugene Owens (bass) (Terrace Martin/Robert Glasper), Brandon Combs (drums) (Moses Sumney/Iman Omari), and Carlos Nino (additional percussion) (Build an Ark/Lifeforce Trio) all return. De Clive~Lowe lists the following, amazing when considered that most of it is live: piano, Rhodes, synths, live electronica, programming.
• Some of these are childhood folk~tales such as “Ryugu~jo,” — The Dragon Palace. There is a Buddhist myths (“Shiteno” – The four Heavenly Kings) and “The Silk Road,” a broken~beat tune derived from de Clive~Lowe learning of the identical scales used in both traditional Japanese and Ethiopian music. “Mizugaki (reprise) is a brief interlude building on the original. The concluding “Mirai no Rekishi” is the theme of the album — the history of the future, of how the past informs the future. Throughout flute, keys, sax, electronica, and beats all mesh together for the unique, transportive genre~defying sound that only Mark de Clive~Lowe can bring.