Sax/flute man Nathan Haines moved to London (via New York) from his native New Zealand just in time to catch the mid-90s dance music boom.
Inspired by the hi-octane riddims of drum & bass, he began a quest to fuse the complex nuances of jazz with the hyper-kinetic club pulse via his Sci-Clone project (Metalheadz).
Over the last few years he has shed his junglist leanings and immersed himself in the 'broken-beat' scene - a creative community made up of other talented musicians, vocalists and forward-thinking producers - where he has become the man everyone calls on to get some serious wind on their tunes.
'Squire For Hire' is hence a fitting title for his third LP. Being a squire for hire has advantages though, such as being able to recall the favours back in, which Haines has done to great effect here.
Produced principally by Phil Asher (who oversaw Nathan's last album 'Sound Travels'), the album features a veritable banquet of beatmakers, MC's, musicians, poets and singers from the London muso's circuit, including Chris Franck, fellow Kiwi Mark De Clive Lowe, Reel People's Mike Patto, Phillie resident Rich Medina, and the inimitable Marcus Begg.
Perhaps more surprising is the presence of two not-so-underground names. On the opening cut, the legendary Marlena Shaw pops up to wax lyrical; and featured on an erudite cover of Steely Dan's 'FM', is none other than Damon Albarn - cunningly disguised as D2 - who provides a sterling vocal performance.
Musically and vibes-wise, the LP continues along much the same lines as 'Sound Travels' - i.e. an ever-evolving tapestry of flavours that marry Asher's club ethic and Haine's musicianship with myriad layers and colours.
That said, the feeling is of a bigger, more confident approach, as the two take their influences - everything from old school soul, perky house tracks, sitar-laden folk funk and phusionistic grooves - and create their own feelgood river of sophisticated grooves.
Overall it's another great Haines/Asher cocktail, to be enjoyed slowly and completely.
