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KALIMA, "NIGHT TIME SHADOWS"
Kalima used to be Swamp Children, a Mancunian post-punk funk ensemblesigned to Factory Records. A few of the band members did double duty aspart of A Certain Ratio. Despite releasing two well-received singlesand an LP, the Swamp Children could not rise above the C-list ofFactory artists, perhaps because there was nothing particularlygroundbreaking or unique about their sound.LTM
In 1983, Swamp Childrendecided to re-brand themselves Kalima, and proffer up a new soundheavily informed by Latino jazz and pop. Lead singer Ann Quigleyfancied herself the reincarnation of Yma Sumac (or Carmen Miranda?),and with an expanded seven-piece backup band (containing all of ACertain Ratio except for Donald Johnson), she attempted to out-Babaluthe best and brightest of the Latino scene. God only knows why a groupof painfully white English people from gloomy, overcast, industrialManchester would try to reinvent themselves as a tropical-flavored bigband, but in retrospect it seems an unnatural and ill-advised move,especially for a Factory label band. I suspect Kalima were trying tostake out their own unique territory, and kick-start the Latino jazzrevival they were sure was about to sweep Europe. Unfortunately, theirmusic won't make much sense to those looking for something similar to ACertain Ratio, or any of the rest of the Factory roster, for thatmatter. It is competent, smoothly rendered tropical vocal jazz thatwouldn't sound out of place in an elevator, at a dentist's office, orat a local old farts jazz room near you. It infuses the Latino idiomwith some of the "cool jazz" and bebop style that I associate withMingus and early Miles Davis: smooth muted trumpets and horns impartingan urban feel to the music. Quigley's vocals are also polished,growling and cooing in the style of the aforementioned Sumac or SaraVaughn. Night Time Shadowswas the first full-length LP release by Kalima, and LTM has done theirusual meticulous job of remastering and packaging the album with bonustracks and biographical information. I suspect this album would appealto easy-listening fans, or those who really like predominantlyCaucasian, post-rockish jazz ensembles like HIM or Tortoise. I find itall a bit bland and faceless, and all I can think while listening tothis album is what a bizarre and unfortunate career move this was for aMancunian post-punk band.
In 1983, Swamp Childrendecided to re-brand themselves Kalima, and proffer up a new soundheavily informed by Latino jazz and pop. Lead singer Ann Quigleyfancied herself the reincarnation of Yma Sumac (or Carmen Miranda?),and with an expanded seven-piece backup band (containing all of ACertain Ratio except for Donald Johnson), she attempted to out-Babaluthe best and brightest of the Latino scene. God only knows why a groupof painfully white English people from gloomy, overcast, industrialManchester would try to reinvent themselves as a tropical-flavored bigband, but in retrospect it seems an unnatural and ill-advised move,especially for a Factory label band. I suspect Kalima were trying tostake out their own unique territory, and kick-start the Latino jazzrevival they were sure was about to sweep Europe. Unfortunately, theirmusic won't make much sense to those looking for something similar to ACertain Ratio, or any of the rest of the Factory roster, for thatmatter. It is competent, smoothly rendered tropical vocal jazz thatwouldn't sound out of place in an elevator, at a dentist's office, orat a local old farts jazz room near you. It infuses the Latino idiomwith some of the "cool jazz" and bebop style that I associate withMingus and early Miles Davis: smooth muted trumpets and horns impartingan urban feel to the music. Quigley's vocals are also polished,growling and cooing in the style of the aforementioned Sumac or SaraVaughn. Night Time Shadowswas the first full-length LP release by Kalima, and LTM has done theirusual meticulous job of remastering and packaging the album with bonustracks and biographical information. I suspect this album would appealto easy-listening fans, or those who really like predominantlyCaucasian, post-rockish jazz ensembles like HIM or Tortoise. I find itall a bit bland and faceless, and all I can think while listening tothis album is what a bizarre and unfortunate career move this was for aMancunian post-punk band. samples:
