Juno Recommends Brokenbeat / Nu Jazz: October 2024

Review: Def Radio marks the return of Marc Mac's long-running Visioneers project. As ever with Visioneers, this record reimagines the default stock of hip-hop's best-stocked jukebox, often beginning from scratch and/or working around a central sample, to either recontextualise a classic or come up with a new song; whatever the case, the key hallmark of a Visioneers album is its live instrumentation, with flaunts a *gauche et droite* mastery over hip-hop's laggard swing. Where this would usually handled by the chance placement of the sample snippet on the timeline alone, here it (sounds) actually drummed in. On Def Radio, lead tune 'The Look Of Love' predominates with its three-note ostinato and unhurried beat flaneur, whilst runner-ups 'Layin' Low, Gettin' High' and 'Cuban Candy Sticks' also stick out as salient among the troupe.

Review: Mukatsuku is hurtling towards its 100th release but ahead of that comes another vital and hand-numbered 7'' featuring a brace of tunes taken from the Resolution album from back in 2003 by Sidewinder aka Reading-born Glasgow resident Alan Bryden. 'Stanway's Revenge' you might recognise from Groove Armada's Back To Mine compilation and here, in edited form, it is as lush as seductive as ever with the smoochy horns and gentle grooves. On the flip, 'Plain Song' has late-night chords making a sombre vibe while muted trumpet, organic percussion and classy strings all embellish the mood.

Review: Hey everybody, here's... Nautilus! This prolific contemporary jazz trio are at the top of their game. Regular contributors to their patrons Urban Discos and Oonops Drops, their repertoire extends to everything from full-length EPs' and albums' worths of original material to one-off guilty pleasure covers. This new rendition of Oasis' 'Wonderwall' definitely falls into the latter category. This slick new version abounds in gut-grasping major chords and spine-tingling drum brush caresses, and features passionately candid yet no less elegant vocals by Ray Yamaoda. On the B comes the comparatively funky knockout and jazz original, 'Through The Night'.

Review: The Allergies' latest offering is a double dose of sample-heavy goodness, a testament to their cratedigging prowess and knack for flipping vintage sounds into dancefloor gold. 'Knock Me Off My Feet' is a glorious reimagining of a late-sixties Southern soul 45. The original Motown-influenced arrangement is already a potent brew, but The Allergies inject it with a booster shot of fat drums, beefy bass, punchy percussion, and soaring horns, propelling it into another dimension entirely. It's a vibrant, energetic track that's sure to get any party started. On the flip side, 'Let Me Hear You Say' transports us back to the sweaty, pulsating energy of the early-80s New York club scene. Old-school MC chants intertwine with strutting disco loops, creating a sleek, slinky groove that's pure retro realness. The beat is infectious and relentless, a hypnotic pulse that demands movement. This 7" single is a delightful double-header of dancefloor delights, a testament to The Allergies' ability to breathe new life into vintage sounds. It's a must-have for any self-respecting vinyl enthusiast and a guaranteed mood-booster for any occasion. The Allergies have once again proven their mastery of the sample-based art form, delivering two tracks that are both respectful of their source material and utterly transformative. A joyous celebration of music's past, reimagined for the present.

Review: If Detroit as a collective mind knows what's good for it, it'll note 8 Miles To Moenart as one of its most prized dance albums. Tall Black Guy's debut LP hears a tenth anniversary reissue edition via First Word; the artist known personally as Terrel Wallace recalls his humble Detroit beginnings; he was raised on an early staple diet of Motown, and the phono-dubbed source material of which is here heard breezily funnelled and assembled into ten gaunt, sample-flipping house numbers. But this new edition doesn't fail to switch things up either, in fact presenting it almost as a different record; two new tracks feature, 'From Home To Work, And Back' and 'Running The Motor', on top of an alt-mix of the single 'Mon Amie De'troit', previously only available on 7" vinyl. "While it's nice to reminisce,", says Wallace, "it's important to look forwards, so I wanted to include something new here to represent my progression as an artist, so there's some new versions included, that I created with the help of some jazz musician friends of mine."

Review: At the start of 2024, BADBADNOTGOOD channeled their renewed creative energy into the Mid Spiral series. Fresh off a string of international tour dates and collaborations with artists like Daniel Caesar, Charlotte Day Wilson, and Turnstile, the Canadian trio - Al Sow, Chester Hansen, and Leland Whitty - returned to the studio with a vibrant sense of purpose. Joined by touring member Felix Fox-Pappas and key Toronto jazz musicians Kaelin Murphy, Juan Carlos Medrano, and LA's Tyler Lott, they embarked on an intensive recording session at Valentine Studios in Los Angeles. The result is the Mid Spiral series, initially released digitally in three parts - Chaos, Order, and Growth - and now available as a double LP and CD. These suites mark a return to their instrumental jazz roots while seamlessly blending elements of hip-hop, neo-soul, psychedelic and funk.

Review: Rising Canadian guitar dexter Bobby Bazini presents the 7" vinyl edition of one of his latest singles, 'Waterfallin'', which features none other than Gilles Peterson on an even rarer remix. With source material from one of five of Bazini's Spanish guitar debuts - 'Waterfallin'' having emerged from the affective foams and mistings-up of a friend, Connor, whose performance in front of him on the nylon guitar conjured images of a waterfall in Bazini's head - Peterson brings a folktronic verve to Bazini's originally vintage, Latin disco vision, dousing it in evermore pipe reverb as if to liken it to a steep cataract's rapids.

Review: Since 2019, Ryozo Band have attracted the attention of fans both in their native Japan and overseas, owing to their deft workings in the realm of jazz-funk and fusion, all tempered by a buzzing affective irreverence. In 2023, they released the 'Utopia' EP, and now follow up said award-winner with yet another, equally affecting EP-form homage to all things felicific and dopaminergic: 'Pleasure'. Kicking off with an impressive, minimalist keyboard exposition, the Ryozo formula soon unfurls as a counterpoint of uptempo wrist-flicked drumming and two horns in unison, overlaid further by sax, trumpet and synth saw. Heavily borrowing from rhythmic and vibeish trends in the current UK jazz scene, 'Pleasure' is a synaptic surge of various sonic serotonins and oxytocins, amounting to what is best describable both as a qualitative and quantitative hedonic calculation in jazz.

Review: Marc Mac revives the Visioneers for Def Radio, a fresh spin on hip-hop classics reimagined through his distinct touch. On this CD release, Mac's vision moves beyond sampling to build layers of live instrumentation, giving these beats that loose, lagging swing hip-hop is loved for. Lead track 'The Look of Love' slips in smoothly with a three-note riff and laid-back beat, while 'Layin' Low, Gettin' High' and 'Cuban Candy Sticks' bring the groove. Def Radio feels like a soundtrack for mellow afternoons, blending nostalgia with newness in true Visioneers style.

Review: Rome's contemporary jazz maestro Stefano De Santis is back with his 'New Beginning' EP on the esteemed Quattro Bambole Music. Across four stunning tracks, Stefano's musicianship shines as he explores jazz-infused broken beat, boogie, deep house and lo-fi hip-hop. Highlights come thick and fast and include the mellow jazz landscapes of 'Roy,' the lush blend of slow-motion house and broken beats on 'Lie#3', the emotive, piano-driven 'Paths' and the 80s boogie vibe of 'Tokyo 80.' UK producer Sean McCabe mastered the EP but also delivers a deep house dub of 'Lie#3.'

Review: The Jazzbois return to the studio to cook up a mellow, live-feel eleven-tracker, Still Blunted. Conjuring images of a proverbial "beat-kitchen" - visually somewhere between a sonic architect's atelier and a beanbag-laden jazz chillout room with the AC on full blast - the supergroup of Tamis Czirjak, Bencze Molnar, Viktor Sagi and Dominik Kosztolanszki prove adept at the ideal of unbothered cool central to much contemprary jazz fusion, yet neither do they hold back from the various effervescings and splurges of climactic energy to which said jazzy sound-form gives rise. 'Chrome' is one such track, peaking on a sizzling note of held noise-chord after a florid conflagration of sax and rapidfire drum fill.

Review: One year on from making history as the first ever jazz band to be awarded the Mercury Prize, Ezra Collective are continuing to pump out their sensational, unique blend of jazz, roots, afrobeat and calypso. 'Dance No One's Watching' is the highly anticipated follow-up to the aforementioned award-winning 'Where I'm Meant to Be'. Set to release in September, the two singles 'God Gave Me Feet For Dancing' and 'Ajala' set the bar high. The prior is a jazzy, drum-led groove backing the buttery smooth Yazmin Lacey, a name to watch in the soul scene (famously she was scouted after being persuaded to sing on a drunken night out.) The track is a sunny interpolation of Cy Grant's 'Feeling Good' (though let's face it, Nina Simone truly made that record) with a quintessential British soul sound that brings to mind the stylings of Greentea Peng, early Jorja Smith work etc. To boil it down to 'easy listening' would feel reductive but, my God, it's easy on the ears for sure. Single number two, 'Ajala' is quite a stark contrast. Incorporating the hectic feeling of bebop classics, it's a blaring and fast-paced brass session with some great high-tempo percussive afrobeat. Taking its name from the Yoruba slang for fidgety, derived from the Nigerian journalist who one day decided to travel the world on a moped, the track does just that: it begs you to get up and move. If these two tracks are anything to go by, the world is set for a future award winner this Autumn.

Review: Audrey Powne's eagerly anticipated debut album already had us all 'Souled Out', and now we find ourselves served more soul food than our dharmas can handle, with this new remix bundle from Atjazz, Joe Claussell and Musclecars. First comes Claussell with three exquisite and spiritual remixes, each highlighting unique elements of Audrey's original production. Joaquin's Deep Version is quintessential Claussell, merging the bassy textures of a vintage King Tubby dub with vibrant percussion and entraining beats. The 'Sacred Rhythm Mix' is especially apical and peaktime, weaving a threnody of layers that culminate in a boogied-out crescendo. Then come two new versions of Powne's album cut 'Feed The Fire', first by jazzdance maven Atjazz, then by the New York duo Musclecars.

Review: Jessica Lauren is a cornerstone of the UK jazz scene who has spent decades enhancing recordings and performances for legends like Jean Carne, Dexter Wansel and The Heliocentrics. As a core member of Emanative, her talents are well-known and her latest release, Film, affirms her status as a forward-thinking artist. Originally recorded in 1997 and released on CD in 1999, Film has been remastered and is now reissued on gatefold vinyl. The album's fusion of modal jazz, electronica, library music and field recordings feels remarkably current and blends acoustic and electric pianos, harpsichord and synths in a beguiling fashion. As such, Film cements Jessica's place as an innovative musical visionary.

Review: The Mercury Prize-winning British jazz group returns this September with the greatly anticipated follow-up to the award-winning 'Where I'm Meant to Be'. The first jazz group ever to win the prestigious accolade, their unique blend of jazz, calypso, afrobeat and roots has carried over into the two singles 'God Gave Me Feet For Dancing' and 'Ajala'.The former features up-and-coming star Yazmin Lacey, whose sudden scouting has made her a necessary one to watch in the British soul scene. Interpolating Nina Simones's 1965 classic 'Feeling Good', the track proposes the group's manifesto of dancing not just as an activity confined to the club, but as a God-given ability - an act of spirituality and community. 'Ajala', by contrast, is a fast-paced afrobeat-cum-bebop jam named after the Yoruba slang for being unable to sit still. Lucky fans were able to hear the recording live at the 'Beyond the Bassline' exhibition at the British Library - with some of the live adlibs and crowd work being included in the single version currently on streaming. Pressed on an indie-exclusive deep red stain disc.

Review: In early 2024, contemporary jazz cats BADBADNOTGOOD reported that they returned to the studio energised by recent international shows and collaborations with artists like Daniel Caesar, Charlotte Day Wilson and Baby Rose. The Canadian trio of Al Sow, Chester Hansen and Leland Whitty then joined with friends including Felix Fox-Pappas, Kaelin Murphy and Tyler Lott for an intensive recording week at Los Angeles' Valentine Studios. The result was the Mid Spiral series which explores distinct themes of Chaos, Order and Growth. Released initially in three digital parts, this genre-blending project now arrives on CD via XL and is another superb listen that explores how their roots in instrumental jazz fuse with hip-hop, neo-soul and funk.

Review: Embarking on a reissues campaign of lo-fi hip-hop pioneer Nujabes' earliest material, Hydeout Productions share a new edition of the storied producer's second record, Modal Soul. In contrast to his debut Metaphorical Music, Modal Soul is the full-length that really took the world by quiet storm. Laid down after both the solo debut and the release of two Samurai Champloo soundtracks, Modal Soul marked a return to source, and is another testament to what Nujabes did best. Most hip-hop fans will preconsciously, instantly recognise the central, flourishing piano movement of the opener 'Feather', which sticks to the four-bar formula whilst inviting fellow rappers Cise Starr and Akin to wax freely, the central theme being lightness of being: "drifting away like a feather in air / Letting my words take me away from the hurt and despair". The maudlin mood is kept throughout, with cumulative standouts such as 'Reflection Eternal' having also inscribed themselves in collective memory, and more swung experiments like 'Sea Of Cloud' showcasing Nujabes' slowly but surely disclosing a skilful abstraction of breakbeat roots.

Review: Whether you like it or not, the festive season is fast approaching which means we are starting to get a number of seasonal classic land, new and old. This one is a rather non-traditional holiday release that brings a weight and musical funkiness to a genre and time of year that is often seeped in campy or classic holiday motifs. It is the work of modern jazz heavyweight Robert Glasper and finds him working with a top list of frequent collaborators including PJ Morton, Sevyn Streeter, Cynthia Ervo, Tarriona Tank Ball, Alex Isley, Andra Day and The Baylor Project. It is a real joy to listen to and brings great warmth to the cosy months.

Review: Cromagnon Band's Mode is a deeply immersive journey into instrumental creativity, crafted through a unique process of live jamming and reverse engineering. The trioidrummer Tom Watt, bassist Lenny Walker, and multi-instrumentalist Bert Pageitake grooves from their favourite tracks, jam until something fresh emerges, then reshape it into fully produced pieces. The result is a psychedelic blend of dark funk, Nordic psych/jazz, boom-bap hip-hop breaks and riff-heavy rock reminiscent of early Black Sabbath. With no specific narrative, Mode leaves room for listeners to interpret and create their own mental imagery. Its sound is cinematic, layered, and transcendental, showcasing the band's broad musical influences and love for sonic experimentation. This second album, and their debut release on BBE Music, is a testament to their live jamming technique and musical pedigree, with Bert Page's Moog and Rhodes providing rich textures alongside his sax and clarinet. Mode is a must-listen for fans of boundary-pushing instrumental music.

Review: Alfa Mist and Amika Quartet share a new ennead of never-heard-before tracks, alongside a few expansions on earlier releases: Recurring. An eternal return of saintly jazz and storytelling hip-hop, the record comes hot on the heels of Mist's recent Variables LP (2023) and the Manchester quartet's Amika's earlier 'Exist' release from earlier in 2024. The latter group have toured extensively with Alfa Mist in recent years, and the new live record notably foreruns its full release with a new exclusive, 'Checkpoint (Violence)', on which Mist not only drums, but at the same time MCs, with verve and flair. Here Mist concept-checks everything from modern-day apartheid to astrology (and exasperations thereof - "don't ask me your starsign"). Amika, meanwhile, embellish each mix with searing string arcos and long fibrous tugs, which seem, ironically, to assure us about the future, though they do lend the songs a demure mood: "don't fret".

Review: A strikingly unique dance music project from Nagasaki producer, DJ and sound director Keisuke Yamazoe, Aflex Combo has always been an impressive project, straddling several EPs stretching back to 2002 - and all centring, in the artist's own words, on heavy funk beats and obscure jazz and Latin grooves. Jazz Roomn Records now release his cover-remix of the underground club classic 'Hibaros', originally by B&G Rhythm (Donny Beck & Steve Gutierrez, featuring Bobby Lyle). Several unusual time signatures modulate across its A-sided, dancey groove - don't be fooled, things need not settle into a 4/4 repetition to be worthy of a ball - whilst B-sider 'Something Special' lets things slack a little more, letting several, live-recorded drum loops rest on top of one another, while a sort of glockenspiel/celeste-esque instrument tinkles over the top. Something special indeed.

Review: Dance, No One's Watching is a joyous celebration of the unifying power of dance. Written during Ezra Collective's world tour in 2023, which also saw them become the first jazz act to win the Mercury Prize, this album is full of vibrant energy, a complete sonic journey through a night out in the city, this album succeeds from the opening anticipation to the dawn's quiet conclusion. Recorded at Abbey Road Studios amidst a live communal celebration, Dance, No One's Watching resonates with love, music, and the infectious spirit of dancing. The band's dynamic compositions and rhythmic power are showcased in every track, making it a powerful addition to contemporary British music. The Deluxe 2 LP set on black vinyl, housed in a gatefold jacket with exclusive artwork and a fold-out poster, makes this limited edition the copy to have. Ezra Collective's are innovative with a unifying musical vision.

Review: Freak The Speaker marks a vibrant evolution in The Allergies' sound, showcasing their deep-rooted love for diverse musical styles. Producers Moneyshot and Rackabeat have upped the ante, delivering their biggest beats yet and enlisting an array of talented MCs and vocalists to bring their vision to life. Afrobeat star K.O.G. injects energy into the lively 'Koliko,' while Ohmega Watts delivers sharp, impactful verses on the hard-hitting 'No Flash.' UK rappers Dr Syntax and Skunkadelic trade dynamic bars over booming 808s on 'My Own Way,' and Dynamite MC shines on the soulful, infectious 'One Time.' Fans of The Allergies' signature funky, sample-heavy production won't be disappointed. Tracks like 'Let Me Hear You Say' channel vintage roller disco vibes, while 'Knock Me Off My Feet' is a 60s soul-inspired banger that's already garnered praise. Andy Cooper of Ugly Duckling brings his trademark flair to his features, complemented by the lively contributions of saxophonist James Morton and soulful singer Marietta Smith. Freak The Speaker is a celebration of music's global diversity, wrapped in The Allergies' unmistakable style.

Review: Dana & Alden are an acid jazz duo consisting of a TikTok comedian and an organic farmer, blends personal muses with musical innovation in this vibrant collection. Coyote You're My Star is their second release together. The album starts off with the title track, 'Coyote, You're My Star', which starts as a charming ode to love before evolving into a passionate anthem. This theme of celebration continues with 'You Can Do Anything', a motivating piece that exudes creativity and resolve. The track 'Ivan's Theme' offers a cinematic shift, reminiscent of classic soundtrack motifs. Mid-album, Dana & Alden deliver standout tracks like 'Garden Famil,' featuring Melanie Charles, which pays tribute to nature's healing role, and 'Bourdain,' a poignant homage to Anthony Bourdain. 'Maria' stands out with a great groove, while 'PB' acts as a transitional interlude. The final tracks, including 'Chocobanano' and 'Popular Front', present dynamic and thought-provoking fare. Closing with 'Return of the Coyote', the album revisits its central themes, expanding the emotional and sonic landscape. Coyote, You're My Star is a unique trip that masterfully intertwines the old and the new.

Review: London-born Ashley Henry returns with his latest project, Who We Are via Naive Records. This new release highlights Henry's distinctive approach to music, blending introspective self-expression with vibrant jazz influences. Who We Are is a rich blend of sound where Henry's ethereal falsetto meets lush piano melodies and rhythmic percussion. His self-produced compositions create an inviting sonic space that highlights his introspective lyrics and deep-rooted self-assurance. The album reflects Henry's journey through self-discovery and collective empowerment, urging listeners to value each other's dreams and find inspiration within their communities. Henry's music draws from his London upbringing and Jamaican heritage, combining classical training with the profound influences of Black radical traditions. Inspired by icons such as James Baldwin, Angela Davis, Ahmed Jamal and George Benson, Henry's work resonates with both historical depth and contemporary relevance.

Review: LA's Jarren returns to Apron Records with a six-track EP of glitz. Following on the heels of his last LP Antera, 'Fresco' marks a return to the EP form, and flaunts some of the crispest, swangiest electronic funk, house and electro on offer in the city of angels right now. We open with 'Jam', which catches us off guard almost but signalling that this could be the start of another kind of record, with staccato sports whistles, and three-note cheese synths aplenty, against a decided new jack swing. Only after this detour are we offered the real meat on things; the knocking 4x4 neons of 'Round & Round' and 'Florence Blue', and the increasing raw bootylectro of 'Gina' and/or 'The Way You Do'.

Review: Richard Spaven has roots in the UK club and hip-hop scenes but always brings a unique, forward-thinking style to drumming and blending machine-like precision with jazz-inspired improvisation. His approach has made him a go-to for artists like Loyle Carner, Guru of Gang Starr, Flying Lotus, Jose James and Jameszoo and beyond his world-class drumming, Spaven shines in production and composition. His sixth solo record, Sole Subject, is a captivating mix of electronica, hip-hop and jazz that explores a fusion of live drumming with electronic textures. Featuring full, live drum takes that sound almost programmed they are so tight, each one reveals Spaven's innovative spirit.

Review: Marysia Osu's debut album, harp, beats & dreams, is a stunning example of her musical evolution and innovative spirit. Known for her role in Levitation Orchestra and as a Brownswood 'Bubblers' graduate, Marysia blends her classical roots with contemporary exploration in this enchanting release. Originating from Poland and enriched by her musical education in London, she has embraced the harp with profound artistry, now intertwining it with electronic elements and personal introspection. The album opens with the hypnotic 'seatime,' a journey through coastal reverie that celebrates self-acceptance and inner harmony. It continues with 'care to care,' where Levitation Orchestra's Plumm adds ethereal vocals, advocating for self-care and personal space. The track 'memento mori' features YUIS's illuminating flute, echoing stoic reflections on life's impermanence. Marysia's return to the piano and spontaneous clarinet experiments, inspired by a vivid dream, add depth to her soundscape. The clarinet's breath symbolises life's essence, bridging body and mind, enhancing the album's introspective quality. Marysia Osu's debut is a an exciting debut, offering a serene escape thanks to her talent and unique vision.

Review: Dance, No One's Watching is a vibrant tribute to the joyous act of dancing and a night out from the anticipation of evening to the early morning hours. Written during Ezra Collective's whirlwind 2023 world tour, which saw them become the first jazz act to win the Mercury Prize, the album reflects the global dancefloors they experienced, from London to Chicago, Lagos to Sydney. Dance and rhythm unite us all, a spirit celebrated in these tracks. Recorded at Abbey Road studios, the sessions transformed into a live celebration with friends and family, adding a communal warmth to the music. The album features collaborations with Olivia Dean, M.anifest, Moonchild Sanelly, and Yazmin Lacey, who sings on the lead single 'God Gave Me Feet for Dancing.' This new album follows their acclaimed Where I'm Meant to Be, and continues to showcase Ezra Collective's innovative contributions to contemporary British music.