Jazz Recommends Jazz: September 2024

Review: The album effortlessly merges 1960s cool with classical music elements, creating a distinctive and original sound. What stands out most is the harp's role as the lead instrument, bringing a fresh, mystical dimension to the jazz genre that is rarely heard in traditional quartets or duos. Throughout the record, Ashby demonstrates the harp's versatility in evoking different moods. In her rendition of Freddie Hubbard's 'Little Sunflower,' the harp replaces the trumpet's warmth and power with a cool, elegant touch that transforms the piece. Ashby's intricate harp work introduces new harmonies and thematic elements, particularly on the track 'Games,' where the rhythm section's pulsating beat allows the harp's melody to take center stage. Afro-Harping is a hidden gem, encapsulating the essence of 1960s jazz with a nod to Afrofuturism and innovation. The fact that this groundbreaking album is led by a woman, especially in a genre where women often take on vocal roles, adds to its significance. This album is highly recommended for both seasoned jazz enthusiasts and newcomers - a gateway to Ashby's remarkable discography.

Review: American jazz pianist Gene Harris first released 'Losalamitoslatinfunklovesong' and its counterpart 'Summer' in 1974, when both initially appeared on the classic soul jazz album Astral Signal. Thereafter, it enjoyed a second bout of popularity after being picked up by the trailblazing rare groove scene in London. Now for a third: Selector Series now proffer another reissue of this rare groove workout, a Latin funk gem for an age not yet properly recorded or recognised. Snappy, pugilist drums, wowwing synths and filling choral counterpoints make this a real funk treat.

Review: Nicola Conte's 'Do You Feel Like I Feel' and 'Ghana' were initially part of his 2011 album, 'Love & Revolution,' a project that showcased a vibrant mix of Italian and international jazz talent. Produced during sessions at Tommy Cavalieri's studios, this album never saw a vinyl releaseiuntil now. Schema Records is rectifying this with a new 2-LP edition, set to include these standout tracks. The 45rpm single, featuring 'Do You Feel Like I Feel' and 'Ghana,' highlights the core of Conte's vision: the soulful resonance of the former and the Latin-jazz flair of the latter. Both tracks are enhanced by Magnus Lindgren's arrangements and feature Gregory Porter, whose vocals, though still emerging at the time, are already a testament to his rising status in the jazz world. With this vinyl release, Conte's modern jazz masterpiece receives the physical format it deserves, offering a fresh opportunity to appreciate its intricate compositions and collaborations.

Review: Elemental Music's latest release brings a long-awaited reissue of Pharoah Sanders' 1973 album Village of the Pharoahs, finally available on vinyl after decades. This record stands as one of Sanders' most groundbreaking works, blending spiritual jazz with free improvisation. The album is a masterclass in musical exploration, featuring a stellar lineup including Joe Bonner, Cecil McBee, and Stanley Clarke. Side-1 launches with the pulsating title track, a three-part suite that immerses listeners in complex rhythms and modal saxophone lines. Side-2 continues with the ethereal 'Mansion Worlds,' before shifting into the balladic 'Memories of Lee Morgan,' and concluding with the lively 'Went Like It Came,' a surprising, foot-tapping closer. Considered one of his best releases by the majority, this listen is ideal for both seasoned jazz lovers and those new to the genre.

Review: The Royal Organ Duo is an exceptional name for a project and the music they cook up is no less good either. It comes on Funk Night out of the Us in the form of this tidy 7" and opens up with a new take on a stone-cold hip-hop classic. 'White Lines' sounds the same but different here - the main melodies are intact but replayed on a Hammond organ while the dusty drums are live and jazzy with some extra flourishes added for good measure. The flipside is a deeper cut but one that will still work floors into a frenzy.

Review: Active since the late 80s, DJ Yoshizawa Dynamite is a celebrated DJ, remixer, compiler, and producer in Japan. An avid record collector and Wamono expert, he published the sold-out Wamono A to Z records guide in 2015, revealing rare Japanese groove records. DJ Chintam, a member of the Dayjam Crew and specialist in soul, funk, rare groove, and disco, opened Blow Up shop in Shibuya in 2018. Together, they created the Wamono A to Z guide. In this second volume of the Wamono series, Yoshizawa and Chintam showcase the best and rarest seventies' Japanese jazz, funk, soul, rare groove, and disco tunes.

Review: A Sound Heart by Jaubi is a profound and stunning album that delves into the realms of spiritual jazz-fusion and psychedelic Hindustani classical music. Building on their critically acclaimed debut, the collective creates a mesmerising tapestry of sound that is both sonically rich and spiritually profound. The album's title, inspired by a verse from the Holy Qu'ran, sets the tone for a deeply introspective and heartfelt journey. Through a blend of meditative ragas, Herbie Hancockesque motifs and contemporary melodies, Jaubi crafts a masterpiece that transcends genres and cultural boundaries. Each track offers exceptional musicianship and their ability to create music that is not only beautiful but also spiritually uplifting. A Sound Heart is a true gem that showcases Jaubi's unique blend of traditional and modern influences.

Review: Originally released in 1963 under the Contemporary Records label, The Cry! still stands tall as a hallmark of free jazz by saxophonists Prince Lasha and Sonny Simmons. The timeless album which is now reissued on the Craft label, also showcases the talents of Gary Peacock and Mark Proctor on bass, and Gene Stone on drums. This Acoustic Sounds Series edition boasts AAA lacquers cut from the original master tapes by Bernie Grundman, pressed onto 180-gram vinyl at QRP and housed in a tip-on jacket for a deluxe presentation, making it a fantastic-sounding record.

Review: Misha Panfilov, the Estonian contemporary jazz mover whose many Janus faces amount to more than just two, resulting in many album avatars - here shares a live recorded rendition of a recent pair of shows, played back to back in Stockholm, then Tallinn. The first recorded at Fasching, Stockholm, on August 16, 2023, and the second recorded at Paavli Kultuurivabrik, Tallinn, August 19, 2023, this live record is composed of pieces otherwise heard on Panfilov's earlier albums, and they're chopped and changed to an exclusive running order here. Every track herein brims with a moonwalking lackadaisy, with Panfilov's live sensibility shedding light on his odic borrowing of classic bop and modal, and lending them a lunar reverential twist.

Review: Building on the success of their acclaimed 2021 debut, this second volume deepens the creative synergy between Stephen Bunn, Jon DeBrett, and their ensemble. Six Weeks in June features core members Neil Corcoran, Alan Barnes, Roger Beujolais, and the compelling spoken word of Tenesha the Wordsmith. The album also introduces contributions from instrumentalists Nathan Haines, Crispin Taylor, Alastair Martin, and poet Daniel B. Summerhill. Spanning six tracks and nearly 40 minutes, Vol. 2 blends spiritual, modal, and modern jazz elements into a fluid and engaging listen. Born from a chance reunion on London's 94 Night Bus, Bunn and DeBrett's collaboration continues to thrive, resulting in an album that transcends boundaries and resonates with jazz enthusiasts and beyond. This is an essential addition for any serious music collector.

Review: The search for The Quest is finally over. This rare album, a true first pressing with the Abbey ring and deep grooves, is now on the shelf and sounding fantastic. It ranks among the top jazz albums, alongside Basra and Far Cry. The Quest is a stunning showcase of soul, musicianship, and composition, with all tunes penned by Mal Waldron, who is a master of sparse, dark, delicate beauty on the piano. Featuring Eric Dolphy on alto and clarinet, Booker Ervin on tenor, Ron Carter on cello, Joe Benjamin on double bass, and Charlie Persip on drums, the ensemble is top-notch. Standout tracks include the mellow and reflective 'Warm Canto' and the energetic 'Status Seeking,' Every tune is unique, making it an album worth revisiting. This reissue rightly restores leadership to Waldron, and with the support of Benjamin and Persip, the complex music, bridging hard bop and avant-garde, is beautifully interpreted. Highly recommended.

Review: With their name, London's four-piece jazz group Unknown To Known seem to prophesy their own rise to prominence, one that is especially more likely to unfold in a continual way now that they've released their next LP Lightship. As with their prior EP 'River Crossing', Lightship was also made on a lightship, which happened to double up as a recording studio. Staying true to their craft so far, this iteration of the project was once again born of a session. The record meanders through neo-folk, international and cinematic music , and jazz, moving from the erratic but calming bamboo flutes of 'Wide Waters' to the matte steel-string slides and gourds of 'Good Morning Moon', ending on the fervent flute and cymbal devotional 'Lightship'.

Review: Recorded in the early hours of Good Friday 1960, Good Friday Blues captures the spontaneous brilliance of The Modest Jazz Trio, led by Jim Hall on guitar, Red Mitchell on piano and Red Kelly on bass. Originally intended to record a single track for a blues anthology, the session evolved into a full album as the trio's effortless chemistry and musical inspiration turned the night into a memorable session. The resulting six tracks include Mitchell's originals and interpretations of standards like 'Willow Weep For Me' and 'I Remember You.' The absence of drums highlights Hall's delicate guitar tones and Mitchell's surprising piano talents, with Kelly's bass providing a solid foundation. One of the more underrated jazz albums for the time, this reissue should help catapult it to the level of attention it deserves.

Review: The New Miles Davis Quintet album simply referred to as Miles represents a pivotal moment in jazz history that showcases the legendary trumpeter at the peak of his creative prowess. Recorded in 1955 for Prestige Records, this album features Davis alongside an extraordinary lineup of musicians, including John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Their synergy is palpable as they navigate through a series of wild compositions with virtuosity and innovation. From the infectious grooves to the emotive solos, Miles captivates listeners with its timeless appeal, cementing its status as an essential cornerstone of the jazz canon.

Review: With a Yamaha organ and a vision, South African artist Pops Mohamed embarked on his musical journey in the mid-1970s as the bandleader and composer of Black Disco. He crafted an enthralling blend of chill-out jazz infused with futuristic drum machine sounds and spiritual nuances. His celestial organ melodies were complemented by two of the most esteemed session musicians on the South African scene: saxophone and flute virtuoso Basil Coetzee, renowned since 1974 for his solo on the hit 'Mannenberg,' and Sipho Gumede, the prodigious bassist already making waves among the veterans of the industry. Initially backed by polyphonic beats from Mohamed's electric organ and later incorporating a live drummer, Black Disco forged a distinctive sound, producing a trilogy of pioneering albums in a creative surge between 1975 and 1976. This first full reissue of their debut album, sourced from the original masters, captures the essence of their innovative spirit and showcases their groundbreaking contributions to the musical landscape. This release embodies the group's vibrant creativity and timeless artistry.

Review: Jackie McLean's Let Freedom Ring (1962) marks a pivotal moment in his career, where he boldly steps into uncharted territory, blending hard bop with avant-garde elements. The album, recorded at Van Gelder Studio, features McLean on alto sax, supported by Walter Davis Jr. on piano, Herbie Lewis on bass, and Billy Higgins on drums. The track 'Omega' stands out for its innovative approach, blending syncopated bass and piano rhythms with sharp, high-register saxophone lines. The song shifts effortlessly between tempos, showcasing the tight interplay between McLean and his band, particularly Higgins' relentless drumming and Davis' rhythmic accents. While 'Melody for Melonae' often receives attention for its emotive power, 'Omega' exemplifies McLean's forward-thinking vision, offering a spacious and harmonically rich canvas that predates many later "modern" jazz experiments. The album's overarching theme of "freedom" resonates on multiple levelsimusical, expressive, and perhaps even socialireflecting McLean's journey beyond traditional hard bop into a more liberated, dissonant sound. McLean's collaboration with Blue Note during this period produced a series of groundbreaking records, with Let Freedom Ring standing as a testament to his willingness to challenge conventions while staying rooted in the vibrant energy of jazz.

Review: The reissue of Oneness Of Juju's 1976 album Space Jungle Luv stands as a crucial addition to the Black Fire Records reissue series. When James "Plunky" Branch founded Oneness Of Juju in 1975, he had already spent years engulfed in the vibrant jazz scenes of both coasts. The group, previously known as Juju, was deeply rooted in New York's avant-garde jazz scene. However, upon relocating to Richmond, Virginia, Plunky gathered a fresh ensemble, blending African rhythms with funk and r&b. This lineup produced two of their most acclaimed albums, African Rhythms and Space Jungle Luv. This era marked the band's peak, with Space Jungle Luv embodying a shift towards a more serene, spiritual sound. The album showcases Lady Eka-Ete's enchanting vocals and guitarist Melvin Glover's celestial tones. Plunky's vision for this record was influenced by artists like Pharoah Sanders, aiming to deliver a message of spiritual upliftment through "space music, jungle music, love songs." Tracks like 'River Luvrite' and 'Follow Me' explore themes of unity and exploration.

Review: Phi-Psonics, a contemplative jazz ensemble from Los Angeles, is helmed by bassist Seth Ford-Young and features the talents of Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their music, rich in soulful depth, weaves together influences from jazz, classical, and Ford-Young's personal journey through spirituality, yoga, and philosophy, creating a soundscape that is both unique and profoundly meditative. Hailing originally from the Washington D.C. area, Ford-Young relocated to California in the early '90s, where he developed a deep affection for the upright bass and the works of jazz legends like Charles Mingus, John and Alice Coltrane, and Duke Ellington, alongside classical composers such as Bach, Chopin, Part, and Satie. His musical journey has been one of continuous exploration, marked by collaborations with artists like Tom Waits and Beats Antique. The recently announced limited 12" 'Morning Sun/Arrival', drawn from sessions that produced Phi-Psonics' second album Octava, showcases the group's introspective and innovative approach to meditative jazz. These tracks offer a space for serene reflection, encapsulating a spiritual journey through warm melodies and intricate instrumental dialogues, embodying Ford-Young's vision of personal evolution and higher vibrational states.

Review: The Cosmic Tones Research Trio's All Is Sound is a profound blend of healing music rooted in gospel, blues, and spiritual jazz. Led by alto saxophonist Roman Norfleet, alongside cellist Harlan Silverman and pianist Kennedy Verrett, the trio creates an immersive soundscape perfect for meditation and mindfulness. Each track unfolds with a peaceful, meditative quality, gently building layers of sound through the interplay of sax, cello, piano, flutes and even didgeridoo. The album's melodies are delicate yet rich, reminiscent of the spiritual jazz of Sun Ra, Alice Coltrane, and Pharoah Sanders. Tracks like 'Creation' and 'Black Rest' invite deep introspection, while 'Peace Prayer' and 'Nada Brahma' echo with a restorative, almost mystical atmosphere. With its slow-building compositions and organic instrumentation, All Is Sound offers a unique, serene listening experience a d a powerful healing force. The trio's commitment to creating purposeful, mindful music shines through, making this a great example of work in the contemporary spiritual jazz genre.

Review: Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra is a tribute to the legendary Sun Ra, the fourth in a series inspired by his music and vision and bringing together an eclectic group of musicians, composers, producers, and emcees, all converging to honor the cosmic spirituality and innovative genius of Sun Ra. Harrington aimed to place Sun Ra alongside American music giants like Charles Ives and Duke Ellington. The project features a diverse lineup, including Jlin, Nicole Lizee, Zachary Watkins, Trey Spruance, Victoria Shen, and Jacob Garchik. The album's collaborative spirit is highlighted by contributions from Marshall Allen, Georgia Anne Muldrow, RP Boo, Armand Hammer, and 700 Bliss, among others. Harrington and his team sought to create a sonic landscape that reflects Sun Ra's world, blending genres and pushing the boundaries of music, much like Sun Ra himself did throughout his career. The result is a forward-thinking, cosmic journey that truly captures the expansive and boundary-defying essence of Sun Ra's work.

Review: The Three Sounds, one of Blue Note's most productive acts, evolved significantly by 1970. Under the leadership of pianist Gene Harris, the trio welcomed bassist Henry Franklin and drummer Carl Burnett into its ranks, infusing their blues and gospel foundations with a funkier, more vibrant rhythm. This shift is brilliantly captured in Live at the 'It Club', a rousing live recording that highlights their transformation. The record demonstrates how the trio, especially through Burnett's drumming and Franklin's basslines, pushed their sound into funkier territories while maintaining their soulful hard-bop roots. The rhythm section's infectious groove drives the music, giving it a loose, swinging feel where the groove is paramount. Tracks like 'Funky Pullett' and 'Love for Sale' showcase this new dynamic, where the interplay between the trio adds layers of grit and soul to their performances. Live at the 'It Club' remains a thoroughly enjoyable listen with the trio's unique blend of soul-jazz with a fresh, funky twist proudly presented.

Review: Jutta Hipp's At The Hickory House Vol. 1 is a window into a world where jazz piano can swing without fanfare and charm without overstatement. Recorded live in 1956, it captures a moment in time where Hipp, a little-known German transplant to New York, performed with bassist Peter Ind and drummer Ed Thigpen in a tight, energetic trio format. Hipp's lightly-swinging style moves effortlessly through bebop themes and standards, showing a deftness that feels unforced and natural, with just the right amount of flair. This Blue Note Classic Vinyl Edition is about the purity of soundimono, all-analogue, and mastered from the original tapes by Kevin Gray. The 180g pressing at Optimal guarantees that every note rings out with clarity, allowing listeners to experience Hipp's playing as it was meant to be heard. It's as close to stepping into that intimate club setting as you'll get without a time machine. There's a reason this release still resonates: the understated brilliance of a pianist who never quite got the limelight she deserved, but certainly made a lasting impression on those who tuned in.

Review: Strut's 2024 reissue of Sun Ra's Lanquidity, an iconic 1978 release, celebrated for its fusion of cosmic jazz and avant-garde experimentation. Recorded in a single night at Bob Blank's studio, the album shows off the rich Arkestra's blend of sound with eight horns, four percussionists, and electric guitars.'There Are Other Worlds (They Have Not Told You Of)' stands out as a hypnotic, dream-like piece that subverts traditional forms with its blend of ambient and vibrant passages. The album is a standout in Ra's extensive catalog for its fusion-inspired, freeform approach. The single LP version includes five tracks, akin to the original. Starting with the smooth, cosmic exploration of 'Lanquidity,' is like a celestial mapping akin to an Ancient Egyptian stargazing ceremony. 'Where Pathways Meet' follows with a funky, march-like rhythm reminiscent of a Pharaoh's pep-talk, showcasing Ra's unique fusion of Egyptian motifs and jazz. The groove deepens with 'That's How I Feel,' featuring reflective trumpet lines and intricate solos. 'Twin Stars Of Thence' highlights Richard Williams' celebrated bass with its funky, elastic rhythm. The album closes with the haunting 'There Are Other Worlds (They Have Not Told You Of),' a piece steeped in space music that poet Mama Nzinga likened to a journey through the essence of light and deep space.

Review: Roland Haynes Jr. and his band Phenix may have only released one 45 in 1983, but their legacy extends far beyond that solitary record. This new collection of live recordings from the Quarter Moon club in Orangeburg, South Carolina, reveals the brilliance of Haynes and his ensemble. The album features a vibrant mix of originals and covers, including renditions of tracks by Marvin Gaye, Santana, Hubert Laws and The Jeff Lorber Fusion. These recordings, drawn from Haynes' personal archive, showcase the band's exceptional talent and ability to reinterpret classics while adding their own unique flair. The collection allows Haynes to assert his place among the most innovative jazz and soul artists of his time, capturing the energy and creativity of Phenix in their prime.

Review: Ella Fitzgerald, the First Lady of Song, and legendary jazz guitarist Joe Pass reunited for their second duet album, Fitzgerald & Pass... Again, originally released in 1976. This collaboration has become a jazz classic, with Fitzgerald winning the 1977 Grammy Award for Best Jazz Vocal Album for her performance. Fitzgerald's impeccable musicianship shines through, showcasing her unparalleled ability to convey the essence of a lyric. Pass complements her perfectly, displaying his virtuosity and strength as an accompanist. The album features four Duke Ellington classics, reimagined versions of 'Tis Autumn' and 'Tennessee Waltz,' and mesmerising wordless performances of 'Rain' and ''One Note Samba.' This 180-gram reissue by Analogue Productions, cut from existing metal parts mastered by Doug Sax from the original analog master tape and pressed at Quality Record Pressings, ensures optimal sound quality. The album is housed in a single pocket Stoughton Printing tip-on jacket.

Review: The Original Jazz Classics series continues to uphold its legacy with the reissue of Clark Terry's seminal album, In Orbit. Originally recorded in New York in 1958 and featuring the legendary Thelonious Monk in his sole Riverside outing as a sideman, this album is a cornerstone of Terry's discography. Accompanied by Sam Jones on bass and Philly Joe Jones on drums, In Orbit features Terry's inept talents as a trumpeter and leader. This reissue, pressed on 180-gram vinyl at RTI, benefits from AAA lacquers meticulously cut from the original master tapes by Kevin Gray at Cohearent Audio. The packaging also features a high-quality Tip-On Jacket, reflecting the series' commitment to preserving the integrity of the original release, from cover art to liner notes. Since its inception in 1982, the Original Jazz Classics (OJC) series has been the benchmark for collectible jazz reissues. In Orbit is a prime album to reissue, offering a pristine listening experience that honors the timeless artistry of Clark Terry and his collaborators.

Review: Japanese-British avant-jazz greatness notably graced the singular hall of London's Cafe OTO in September 2019; drummer Takeo Moriyama and pianist Masahiko Satoh performed for the first time at the esteemed experimental music venue as part of Peter Brotzmann's four-day festival at the venue, and saw their peers, bassist Leon Brichard and tenor saxophonist Idris Rahman, join them for several pieces. While Satoh and Moriyama both formed part of the blistering Yosuke Yamashita Trio - whose output helped spur a critical period in the development of free and modern jazz in Japan - Rahman and Brichard functioned, for a moment, as their contemporary British doppelgangers as splinter members of one of the UK's most notable experimental jazz groups, Ill Considered. The result is a blisteringly free, metrically rule-flouting live performance born of a real confluence of greats.

Review: Movements Vol.12 fills a bag of rare rhythm & blues, mod-jazz, and mid '70s funk. Launching on a note of obscure rhythm and blues from the 60s, most of the tracks heard thence were sifted from "hopelessly obscure" 7" singles; hopelessly obscure, that is, until now, when many a ravenous compilation curator seek to restore their honour. With most of the tracks doused in vocal reverb, and coming filled with oodles of commonsensical wisdom and everyday tootling advice, we segue from deepfunk to big band to mood jazz and then back to funk, the most impressive in the lattermost category having got to be the 4 Dimensions' 'Hipper Snapper' and Gus Brendel's 'Sax On The Rocks'; the instrumental side of the record is especially great.

Review: Freddie Hubbard's final release for Impulse was The Body & The Soul, an album he released in 1963 and that features both an all-star septet and a string orchestra. Hubbard originals feature and showcase notable musicians such as Curtis Fuller on trombone, Wayne Shorter on tenor saxophone, Eric Dolphy on alto saxophone, Cedar Walton on piano, Reggie Workman on bass and Louis Hayes on drums. This release stands out in Hubbard's fine discography and highlights Wayne Shorter's exceptional arranging skills, all now pressed up to 180-gram vinyl at Third Man in Detroit.

Review: The upcoming reissue of Sarah Vaughan's Sassy on 180g mono vinyl is ideal for jazz fans. This edition promises a truly remarkable listening experience, thanks to the meticulous mastering by Ryan K. Smith at Sterling Sound. Sourced from the original analog tapes, the album is pressed at Quality Record Pressings, ensuring exceptional sound quality. Sarah Vaughan, affectionately known as "Sassy" or "The Divine One," showcases her extraordinary vocal talent on this 1956 classic, recorded with Hal Mooney and his orchestra. Vaughan's dynamic range, rich tone, and remarkable control are on full display, delivering stunning renditions of standards like 'Lush Life', 'Only You Can Say', 'The Boy Next Door' and 'I'm the Girl.' The album's analogue warmth and 'Tubey Magic' make it feel as though Vaughan is performing live right in your living room. Part of Verve's Acoustic Sounds Series, this reissue stands out for its audiophile-grade production. With 180-gram vinyl, a high-quality gatefold sleeve, and tip-on jackets crafted by Stoughton Printing Co., this release is designed for both serious collectors and those new to Vaughan's timeless artistry.