Floating Points’ personal collection of global soul, ambient, jazz and folk treasures form the latest in the warmly revered Late Night Tales series. His Late Night Tales excursion into the depths of the evening reflects his broad tastes. The globally-travelled producer has collected untold treasures on his travels from dusty stores in Brazil to market stalls near his hometown. There’s the gorgeous Via L?ctea, culled from Carlos Walker’s debut album, Abu Talib’s (Bobby Wright) plaintive Blood Of An American and Robert Vanderbilt’s gospel reworking of Manchild’s Especially For You. Raw soul and feeling oozing from each song’s pores. At the other end of the music scale are the modernists, such as Qu?b?coise Kara-Lis Coverdale who weighs in with the indelible Moments In Love, Kaitlyn Aurelia Smith whose Milk is an exercise in tranquility, while Sarah Davachi’s meditative mix-opener offers respite from a weary world. There are some exclusive tracks for Late Night Tales; alongside Davachi’s offerings there is also Toshimaru Nakamura’s Nimb #59, as well as the now traditional cover version. Shepherd delved into his childhood memory for this one, a track taken from the first album his parents bought him, Kenny Wheeler’s Music For Large and Small Ensembles: Sam offers up his interpretation of Opening Part 1. Wheeler also contributes horns to Azimuth track The Tunnel, written and performed by Norma Winstone and John Taylor who, coincidentally, are the parents of Floating Points’ drummer Leo Taylor. Closing the album, Lauren Laverne reads the suitably nocturnal poem Ah! Why, Because The Dazzling Sun by Emily Bront?.
