Juno Recommends Brokenbeat / Nu Jazz April 2020

Review: Before his tragic death in a car accident in 2010, beat-maker Nujabes was renowned as one of Japan's best exponents of hip-hop/jazz fusion. He released numerous albums in this style, with 2005's "Modal Soul" being widely accepted as the finest example. Here it gets the reissue treatment, remarkably appearing on vinyl for the very first time. Featuring some notable collaborations with both rappers and vocalists (see Terry Callier's re-recorded vocal on Nujabes' cover of his "Ordinary Joe"), the album blends both live and programmed beats (some hip-hop, others looser and jazzier) with impeccable jazz instrumentation, drowsy electronics, deep samples and more intricate musical touches than you can shake a stick at. In other words, it's a genuine fusion classic that has arguably long been overlooked.

Review: Applied Arts party promoter and Cashmere Radio co-founder Ed Longo has spent much of the last 12 months criss-crossing Europe for recording sessions with a wide array of jazz-leaning musicians. The result is "The Other Fantasy", a debut mini-album that's said to be, "conceptualized around the quest for otherness in the schizophrenia of the digital age". Regardless of the concept, the resultant music is rarely less than magical, with Longo and his collaborators effortlessly joining the dots between jazz-funk, fusion, boogie and '80s soul. Highlights are plentiful, from the Dayton style early '80s jazz-funk perfection of "Love On The Line" and drowsy new age ambient/jazz fusion of "Arcadian Dream", to the synthesizer-powered '80s smoothness of "A Palm In The Closet" and horizontal bliss of "Trouble In Paradise".

Review: Astonishingly, eight years have passed since NYC soul man Jose James released the brilliant "No Beginning No End" album on Blue Note. He's released plenty of other impressive sets since, though few quite as effervescent and sonically perfect. This belated sequel is therefore hotly anticipated. Happily we can report that it's superb, with James offering up a suite of super-strong soul songs that variously join the dots between neo-soul, summery sing-alongs (see the catchy "You Know What It Do"), jazz-funk, flash-fired hip-hop-soul, slow jams and the kind of slick but bustling soul-jazz gems that he's always done so well. It's still only March, but we have no doubt this will be one of the soul albums of the year.

Review: D'Angelo's classic "Voodoo" is now 20 years old and still sousing gold. As a mark of respect and tribute, Amerigo Gazaway has reworked several of his favourite cuts from it using live instruments and samples. He plays electric guitar, synth bass, clavinet, organ, synth horns, electric bass, Rhodes, wurlitzer and much more to make this a woozy, silky update of the original sound with a little fresh life breathed into it from these various samples. The grooves remain recognisable with new elements of hip-hop, gospel, neo-soul and r&b all layered in.

Review: Veteran producer, selector and all round champion of impeccable grooves Alex Attias is back on BBE with a second volume of his "Lillygood Party" collection. These are some seriously tasteful jams skirting house but with an emphasis on soul. Peven Everett sounds resplendent on Stacy Kidd's "How Bad I Want Ya" while The Elements Of Life's "Children Of The World" is a soaring slice of jazz funk strapped to a smooth house beat. There's even Pharoah Sanders jamming his sax over a peppy rhythm section and spiritually charged house meanderings from Universal Tongues featuring Elle. It's a collection that surprises and satisfies at every turn.

Review: James Taylor Quartet have been doing their thing since the late 80s, spanning styles but always anchored by a heavy groove and Taylor's keys and Hammond organ lines. The sound on this latest album, recorded at Abbey Road in October 2019, is full-bodied and joyous, especially on "Who's Gonna Break The News?" featuring vocals from Natalie Williams. Some of the Quartet's beloved cop show themes can be heard in the dramatic brass stabs, while there's plenty of funk and disco spilling out of the rhythm section. Spotless production and polished playing make this an immensely satisfying listening experience all round - another sure shot from James Taylor and crew!

Review: Paris-based band Underground Canopy have been toiling away on endless studio sessions of live improvisation in which they work to reinterpret their heroes. Now their first official release comes produced and mixed by Jakarta Records artists Bluestaeb and S. Fidelity and is sure to immediately win them a wealth of fans. It's a selection of jazz tinged instrumentals, neo-soul vibes and hip hop beats that brim with soul and charm. It's romantic, late night and feels alive from start to finish and an essential addition to the shelves of anyone who appreciates neo-jazz greats like BadBadNotGood.

Review: Emma-Jean Thackray is a real all rounder - she composes, producers, sings, leads a band and plays a wide range of instruments. Her work will move you inside and out thanks to its thoughtfulness and immediacy. The majestic a-side "Rain Dance/Wisdom" is Roy Ayers, Sun Ra, Kamaal Williams all rolled into one. The horns pull you one way while the keys rain down in another. The feathery drums are a perfect pillow to sink into and the mood changes often, and freely. This EP proves that Thackray is one of the most fascinating voices in the current jazz revival.

Review: Following a handful of killer nu-jazz singles over the last couple of years, Damian Botigue is finally ready to release his debut album as Karmasound. As you might expect, "La Busqueda" is a vibrant, colourful and musically rich affair, with Botigue doing a stellar job of delivering tracks that variously join the dots between jazz, broken beat, soul, early house, boogie, jazz-funk, samba (see the wonderfully warm "Lo Unico Que Quiero") and what some might consider Balearica. The Latin influence is particularly strong throughout, though it never dominates (even some of the most obviously Brazilian-centric cuts are really broken beat jams with added samba swing). As a result "La Busqueda" is an impressively diverse set of 21st century fusion jams.

Review: Those who've discovered Jimi Tenor in the last two decades would be well advised to check out this fine early retrospective from the eccentric Finnish musician. It focuses on the early years of his career (1994-2001), when he was known for serving up a bizarre but brilliant take on jazz, easy listening and lounge music - sometimes mixed with contemporary electronic sounds - for both Sahko and Warp Records. The collection contains a number of skewed, must-have late '90s underground hits (see "Outta Space", "Year Of The Apocalypse", "Sugardaddy" and the wonderfully sleazy "Take Me Baby") but also some lesser-known gems, experimental outings and even a track made with the Riga Symphony Orchestra.