Jazz Recommends Jazz: June 2024

Review: Gary Bartz, a titan of the saxophone, has left an indelible mark on the jazz landscape through collaborations with luminaries like McCoy Tyner, Art Blakey and Miles Davis. BGP's selection of 'Celestial Blues,' featuring the soulful vocals of Andy Bey, encapsulates the essence of spiritual jazz, epitomizing Bartz's musical strength. Paired with 'Gentle Smiles (Saxy),' famously sampled by A Tribe Called Quest, this release offers a glimpse into Bartz's multifaceted artistry and enduring influence on contemporary music.

Review: Greg Foat's The Glass Frog, released on Blue Crystal Records, is a sublime blend of smooth jazz and spacey, euphoric atmospheres. Foat shines as the lead at times, while the band complements him perfectly, setting a relaxing mood throughout the album. Highlights include 'Sea Of Tranquility,' a moody horn lullaby that embodies space jazz at its finest. 'Foals Of Epona' features a soothing jazz band with a funky drummer, creating a delightful groove. 'Clusters' brings a nostalgic 60s jazz ambiance, enveloping listeners in its rich soundscape. The standout track, 'My Love Has Green Eyes,' showcases magnificent sax work with beautiful keys, enhancing the band's intricate mixture. The Glass Frog is a fantastic album for both casual and hardcore jazz fans, offering a perfect blend of smooth, funky, and atmospheric jazz elements. Greg continues to impress.

Review: A rare jazz-funk 12" documenting the timeless work of an epistemic classic. Lonnie Liston Smith's 'Expansions' is normally known as an album, but it's only the central theme, composed first and without an initial ambition to craft a full-length around it, which said album took its name. The high strings of the track 'Expansions' bring a filmic tension to an otherwise louche funk line, laying down a stark contrast that more than justifies its use as the 1974 album's opening track and namesake. On the B-side here, however, comes not one from Smith's Expansions, but rather another opener, 'Cosmic Funk', which was released just six months earlier and documents a much wilder, Afrobeat-adjacent wah-fest, with Smith himself referring to the track and resultant record as an example of 'sci-fi funk'.

Review: Wayne Shorter's Odyssey of Iska, originally released in 1970, is back, offering an exciting, exotic, percussion-based proto-world music gem. Building on the experimental sound of Super Nova, Odyssey of Iska features a different lineup, with Shorter playing both tenor and soprano saxophones, plus Dave Friedman on vibes and marimba, Gene Bertoncini on guitar, Ron Carter and Cecil McBee on bass and no less than three drummers: Billy Hart, Alphonse Mouzon, and Frank Cuomo. The album consists of mood-driven pieces, mostly with one-word titles: 'Wind,' 'Storm,' 'Calm,' 'Joy,' and 'De Pois do Amor, o Vazio (After Love, Emptiness).' 'Wind' and 'Calm' exude a serene atmosphere, while 'Storm' introduces a rock-influenced guitar in its intro before transitioning into a richer, more complex sound. Shorter's saxophone weaves through the compositions, complementing the evocative percussive textures created by the ensemble. Throughout, Shorter's thoughtful playing and the cohesive ensemble performance reflect the album's thematic intentions. While Odyssey of Iska remains a significant precursor to Weather Report and a nostalgic piece for jazz enthusiasts. For those exploring Shorter's discography, this album is an intriguing exploration of mood and texture.

Review: Parlor Greens' debut album, In Green / We Dream, is an exhilarating entry into heavy instrumental music. This fresh organ trio, featuring Tim Carman (GA-20) on drums, Jimmy James (True Loves, formerly Delvon Lamarr Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ, delivers a masterful blend of soul, jazz, and funk. Scone's impeccable organ work, honed through years of soul jazz and Daptone sessions, pairs perfectly with James' signature funky guitar and Carman's rock-solid, blues-infused drumming. Recorded at Colemine Records' new Portage Lounge studio in Loveland, Ohio, the chemistry was immediate. Within minutes of plugging in, the trio wrote and recorded 'West Memphis,' setting the tone for the rest of the album. Over three days, they crafted 11 tracks - ten originals - capturing a raw, soulful energy straight to tape. The result is a stunning collection of music, mixed beautifully for a vintage yet fresh sound. In Green / We Dream is a fantastic debut, showcasing Parlor Greens' collective genius and undeniable groove.

Review: Isao Suzuki's dynamic debut album Blow Up kicks off the prestigious Three Blind Mice "Great Three" reissue series. Now available for the first time on heavyweight vinyl, this groundbreaking recording showcases Suzuki's innovative approach to bass and cello. Backed by a stellar lineup including drummer George Otsuka, pianist Kunihiko Sugano, and bassist Takashi Mizuhashi, Suzuki delves into three original compositions and three timeless standards. From the classic hard bop essence to inventive nuances like scratching cello and found percussion sweeps on 'Aqua Marine,' the album is the height of jazz excellence, all now captured with the renowned fidelity synonymous with Three Blind Mice.

Review: Released with acclaim, John Wright Trio's South Side Soul resonates with an authentic and vibrant energy that captures the essence of the South Side music scene. Led by John Wright's soulful piano, the trio weaves intricate melodies and infectious rhythms throughout the record. Tracks like title song and '63rd And Cottage Grove' exhibit's the trio's ability to blend traditional jazz elements with the raw energy of soul music, resulting in a dynamic and captivating listening experience. The musicianship displayed on each track is impeccable, with tight grooves and expressive solos that keep listeners engaged from start to finish. South Side Soul is more than just an album; it's a journey through the rich musical landscape of the South Side. This album takes you to the street scene in Chicago 1950s.

Review:  Zy The Way hail from Taiwan and are recognised as pioneers of the jazz scene in Asia. Their signature style is to infuse their work with ancient Chinese poetry and their first outing 'A Different Destiny,' reimagined 3,000-year-old poems curated by Confucius and earned them plenty of plaudits. Now, they unveil two EPs as a prelude to their upcoming album. Collaborating with renowned remixers who operate at the jazz-electronic crossroads, they present 'Ten Acres' with a remarkable remix by Mark de Clive Lowe. Maintaining jazz's essence while igniting the dancefloor, this EP bridges East and West, past and present and shows Zy The Way as a transformative musical force who are pushing boundaries.

Review: Hidefumi Toki's 1975 album Toki offers a deeply personal journey into the realms of jazz, showcasing his expressive prowess on alto and soprano saxophones. Backed by a stellar quartet including Kazumi Watanabe on guitar, Nobuyoshi Ino on bass, and Steve Jackson on drums, Toki creates a stunning sonic landscape filled with gentle, raspy tones. The album's ambiance is laidback and mellow, yet infused with a profound sense of spiritual depth reminiscent of Coltrane's work. Original compositions like 'Darkness' and 'Lullaby For The Girl' captivate with their introspective beauty, while soulful renditions of classics such as 'When Sunny Gets Blue' and Ornette Coleman's 'Blues' further showcase Toki's emotive storytelling through his saxophone. Toki's ability to convey immense depth and emotion within a stripped-down setting, makes it a must-listen for fans of spiritual jazz.

Review: The Acoustic Sounds Series from Verve/Universal Music Enterprises reissues iconic jazz records, offering audiophile-grade versions of these historic works. One standout release is Sonny Stitt's Blows The Blues. Originally recorded in 1959 and released in 1970, this album features Stitt on alto sax, accompanied by pianist Lou Levy, bassist Leroy Vinnegar, and drummer Mel Lewis. Stitt, often unfairly compared to Charlie Parker, demonstrates his unique voice and exceptional talent on this record, especially on originals like 'Hymnal Blues' and 'Morning After Blues.' This reissue is meticulously mastered by Bernie Grundman from the original analogue tapes, ensuring the highest sound quality.c.

Review: Recorded in 1956 for producer Tom Wilson's Transition Records, Byrd Blows on Beacon Hill presents trumpeter Donald Byrd in a relaxed quartet setting. Joined by Doug Watkins on bass, Boston-area musicians Ray Santisi on piano and Jim Zitano on drums, Byrd delivers a standards-heavy set recorded on a rainy spring afternoon in the Beacon Hill home of engineer Steve Fassett. This casual atmosphere contributes to the album's easygoing charm and intimate feel. Highlights include Byrd's lyrical rendition of Joe Sullivan's 'Little Rock Getaway' and beautiful interpretations of 'Polka Dots and Moonbeams,' 'If I Love Again,' and 'Stella by Starlight.' The trumpeter steps back on tracks like 'People Will Say We're in Love' and 'What's New,' allowing the trio to really shine.

Review: Renowned bassist Leroy Vinnegar is celebrated for popularising the so-called "walking bass" style in jazz. He collaborated with luminaries like Chet Baker, Eddie Harris, Les McCann, Lee Konitz, and Stan Getz in his career, and despite its initial obscurity, his groundbreaking 1973 album 'Glass Of Water,' featuring Dwight Dickerson on the Rhodes and Wurlitzer, has resurfaced in recent years. It is now a sought-after gem for jazz collectors and crate diggers worldwide and so On High presents the inaugural reissue of this forgotten classic. It has been meticulously remastered and pressed on audiophile vinyl to capture the ethereal essence of Vinnegar's timeless sound.

Review: Cannonball Adderley's Somethin' Else is a masterpiece that features the peak of his lyrical invention and the superb interplay between him, Miles Davis, and the rest of the ensemble. Originally released in 1958, this album exemplifies the essence of hard bop with its gorgeous blues lines and taut, focused groove. The title track and 'One for Daddy-O' highlight the exquisite craftsmanship of both horn players, while the rhythm section, featuring Hank Jones, Sam Jones, and Art Blakey, provides a solid foundation for their improvisations. Adderley's alto saxophone shines, particularly on 'Dancing in the Dark,' where his romantic improvisation evokes the spirit of Charlie Parker and Johnny Hodges. What sets Somethin' Else apart is its clarity and directness. Each note and phrase is carefully considered, contributing to the overall narrative of the music. Davis, known for his minimalist approach, outlines the themes with precision, allowing for a common understanding to emerge among the musicians. Somethin' Else is a timeless record that continues to inspire listeners with its beauty and depth.

Review: The Terumasa Hino Quintet's Hi-Nology showcases the brilliance of the legendary Japanese trumpeter. Originally released in 1969 and now reissued due to popular demand, this album is a cornerstone of Japanese jazz that blends hard bop with avant-garde influences. The quintet, featuring Hino on trumpet, delivers energetic and innovative performances throughout with tracks like 'Be and Know' and 'Hi-Nology' exhibiting Hino's technical mastery and emotional depth. The album remains a testament to Hino's impact on the jazz scene, both in Japan and internationally.

Review: Joe Tatton, Hammond organist of New Mastersounds, joined Madrid guitarist Lucas De Mulder and Cinematic Orchestra drummer Luke Flowers for Galactico, an LP recorded on Joe's beloved C3 Hammond at his home studio. This jazz-funk delight pays homage to legends like Jimmy McGriff and Dr. Lonnie Smith. Previously collaborating on Lucas's Feel the Spirit album, they launch Galactico at Saint Paul Soul Jazz festival in France. Highlights include the James Brown-inspired 'Double Take,' Meters-esque 'Hey!', and the Latin groove 'El Gato' featuring Sam Bell and Haggis Horns' Malcolm Strachan. With nods to Sixto Rodriguez and a funky title track, this album showcases their vital musical prowess.

Review: West London's Kessoncoda are the duo of drummer Tom Sunney and keyboardist Filip Sowa. Standing firm between acoustic tradition and electronica, they're founded on a unique blend of melodic, ostinato-laced piano and unwavering drums, fastening a new sond that fuses lilting, lullabying electronica and spiritual jazz. Having long shared a studio setup at the bottom of Sunney's garden, Outerstate was born of curiosity, and a shared tendency towards and taste for the more wondrous ends of jazz, comparable in sound to that of their labelmates GoGo Penguin and Portico Quartet. The mood of the album is captured in the band's comment: "this feeling of being within a group of friends, and you're chatting, and you're physically there but mentally you're not at all / you're somewhere else, a really weird state of being." We'll hazard that this could mean a state of flow; one that is almost impossible to find oneself not in, whether listening to the detuned upswell-ecstasies of 'X Is Closer To A' or the fully textured, metrically moded piano threnodies of 'Greyscale'.

Review: Cliff Craft is a standout gem in Blue Note's 1500 series and one of the rarest treasures. This superb album features Clifford Jordan on tenor sax, alongside Art Farmer (trumpet), Sonny Clark (piano), George Tucker (bass), and Louis Hayes (drums). It's a smooth, soulful journey that captivates from the first note. The album opens with Jordan's composition 'Laconia,' setting the tone with a relaxing, immersive sound. Jordan's craftsmanship shines throughout, especially on 'Soul-Lo Blues,' a bluesy, enjoyable tune that highlights his exceptional talent. The title track, Cliff Craft, is a fast-tempo, hard-bop piece that showcases Jordan's rich tenor sound and the superb rhythm section. Side-2 kicks off with 'Confirmation,' a medium-tempo Bird tune that features laid-back solos from Jordan and Farmer. Clark's smooth, flowing solo adds to the track's charm. 'Sophisticated Lady,' a beautiful ballad by Duke Ellington, stands out as a favorite slow tune. The album concludes with the driving energy of Parker and Gillespie's 'Anthropology,' leaving you wanting more. Cliff Craft is one of the finest Blue Note records ever made.

Review: BGP's 33rpm 7" release features two sought-after cuts by Leon Thomas, both full-length versions that have become favorites among DJs. From his 1973 Flying Dutchman LP Full Circle, 'It's My Life I'm Fighting For' is a standout track featuring top New York session players like Pee Wee Ellis, Joe Farrell and Neal Creque. Clocking in at ten minutes, it's a funky jazz classic with an apocalyptic feel. The second track, 'Shape Your Mind To Die,' is a dramatic five-minute piece also penned by Thomas and Creque. Originally appearing on Thomas' Blues And The Soulful Truth album in 1972, this track is fueled by Pee Wee Ellis' amazing soprano saxophone.

Review: Even by his standards, Pharoah Sanders' Jewels of Thought is a profound exploration of spiritual jazz that showcases the saxophonist's genius. Released in 1969, the album features two extended tracks, 'Hum-Allah-Hum-Allah-Hum-Allah' and 'Sun in Aquarius,' each a journey through mystical soundscapes. Sanders' saxophone work is both fiery and meditative, weaving through dense, textured layers of percussion, chants, and harp. The album's hypnotic rhythms and transcendent melodies create an immersive listening experience that is both challenging and deeply rewarding. As such this record stands as a testament to Sanders' innovative spirit and his ability to push the boundaries of jazz into new, spiritual realms.

Review: Tomasz Stanko's 'September Night' is a poignant tribute to the legendary trumpeter's artistry and influence. Recorded live in Munich in 2004 and released posthumously in 2024, this album showcases Stanko's unique ability to blend melodicism with free improvisation, a hallmark of his illustrious career. Leading his Quartet with pianist Marcin Wasilewski, double bassist Slawomir Kurkiewicz, and drummer Michal Miskiewicz, Stanko delivers a mesmerizing performance. The compositions, mostly his own, demonstrate his compositional strength and the Quartet's seamless interplay. Standout tracks include the dynamic 'Celina,' the heartfelt 'Song For Sarah,' and the contemplative 'Theatrical.' Clocking in at just under 60 minutes, September Night is a enjoyable album in full. ECM can always be counted on for quality.

Review: Lee Morgan's The Sidewinder, a cornerstone of Blue Note's catalog, is a vital release that revolutionised the jazz landscape. This album, renowned for its title track, launched the boogaloo trend with its infectious groove, making it a staple for both jazz aficionados and casual listeners. The real gem, however, is Totem Pole, a classic Latin swinger featuring Morgan's feisty trumpet, Joe Henderson's tenor sax harmonies, and Barry Harris's lyrical piano solo, reminiscent of McCoy Tyner. This track exemplifies the album's depth beyond its famous single. Recorded at Van Gelder Studio in 1963, the ensemble includes Bob Cranshaw on bass and Billy Higgins on drums, both delivering impeccable rhythmic support. The catchy piano riff and punishing beat of The Sidewinder secured its commercial success, helping Blue Note thrive and continue producing boundary-pushing jazz. Morgan's effortless precision, superb interplay with Henderson, Cranshaw's irresistible basslines, and Higgins's powerful backbeat create an irresistible momentum. Tracks like 'Gary's Notebook' and 'Boy, What a Night!' feature challenging lines and masterful solos, showcasing the musicians' prowess. The Sidewinder is not just a pivotal jazz record; it's a testament to Morgan's ability to inject excitement into his playing. The album's initial pressing, known for its Van Gelder stamp and Plastylite pressing, remains highly sought after by collectors. This release's impact on jazz and its enduring appeal underscore its importance in the genre's history.

Review: Rhino's new premium vinyl series promises the pinnacle of sound and packaging for classic albums. Mastered by Kevin Gray and pressed by Optimal on 180-gram vinyl, these limited-edition releases feature high-quality covers and "tip-on" jackets. The series aims to deliver consistent sonic excellence, setting a new standard for reissues. Miles Davis' Tutu (1986): Often dismissed as 'pop-fusion', Tutu defied expectations and remains relevant. Produced by Marcus Miller, it features a tapestry of electronics, including bass guitar, bass clarinet, electric violin, percussion, and synths. The album reflects the 80s with its bright tonalities and a crisp sound akin to the Fairlight era. Davis' brooding brass blends with Miller's harmonically rich backdrops, reminiscent of black popular music of the time. The result is a work of engrossingly fraught atmospheres, proving Davis' enduring relevance and ability to captivate without sounding dated.

Review: Thad Jones' The Magnificent Thad Jones is a stunning album that beautifully showcases the beauty of hard bop. Released in 1956, it reflects the era's evolving jazz landscape, influenced by modern jazz pioneers like Horace Silver and Miles Davis. The album's tracks, including original compositions like 'Billy-Boo' and 'Thedia,' exude a relaxed yet lively vibe, typical of hard bop. Jones' trumpet work shines throughout, displaying a remarkable blend of relaxation and intensity in his solos. The ensemble's chemistry, especially between Detroit-raised musicians like pianist Barry Harris and Jones, is palpable, supported by the solid foundation laid by Percy Heath and Max Roach. Rudy Van Gelder's recording in Hackensack, New Jersey, harnasses the warmth and depth of Jones' trumpet sound, adding to the album's allure. The Magnificent Thad Jones is a timeless gem that continues to enchant jazz enthusiasts with its impeccable execution and rich musicality.

Review: Frank Noviello's debut album is a diverse collection of jazz standards and inventive originals. Randy Weston's 'High Fly' features a grooving arrangement, while the original 'Tribal Dance' features a vocal bebop, but the real standout track is the Gary Bartz/Langston Hughes spiritual jazz piece 'I've Known Rivers.' Gilles Peterson played a part in its reissue, encouraging his listeners to contact the label and demand a reissue - and now this fairly unknown but excellent album is taking off through word of mouth.

Review: Janko Nilovic's Rythmes Contemporains (aka "Giant") is a cinematic masterpiece, long-awaited and worth the anticipation. Nilovic assembled 45 musicians for this monumental session, resulting in a collection that transcends the typical "library music" label. The album spans lush pop, big band, fusion, and beyond, embodying the essence of the exotica genre. Featuring horns, a funk-influenced rhythm section, strings, flute, electric guitar, piano, and a wordless choir, the music exudes a riveting restlessness. The compositions and arrangements shine with harmony, melody, and unexpected shifts in mood and direction. The sound quality and musicianship are impeccable. Rythmes Contemporains opens with 'Black on a White Ground,' combining driving beats and rave-like percussion with a film score-like sensibility. 'Mouvements Aquatiles' is brief yet beautiful, while 'Underground Session' adds menace with dueling sax and guitar solos. The extended pieces 'Giant Locomotion' and 'Xenos Cosmos' stand out, especially the latter, which explores diverse musical terrains in a shorter span. For fans of exotica or those seeking a fusion of jazz and film scores, Rythmes Contemporains will be an exciting find.

Review: EABS' forthcoming album, Reflections of Purple Sun, marks a significant return to their roots while paying homage to the iconic figure of Polish jazz, Tomasz Stanko. Stanko's album, Purple Sun, recorded fifty years ago, heavily emphasized rhythm, serving as the central element of his work. EABS' interpretation of this landmark album is a profound study in rhythm, aptly reflected in the title. Recorded in Stanko's former residence in Warsaw, where his presence still lingers palpably, the album captures the essence of his musical legacy. The band's meticulous attention to detail is evident, from Marek Pedziwiatr's use of Stanko's piano to Jakub Kurek's selection of Stanko's last trumpet, the Monette XLT+. This instrument, chosen for its lively and spacious sound, perfectly encapsulates the spirit of Stanko's artistic vision. Astigmatic Records' comprehensive booklet accompanying the record provides further insight into the album's creation, while the cover art pays homage to Pia Burri's original concept. Overall, Reflections of Purple Sun is a compelling and evocative journey through the rhythmic landscapes of Polish jazz, honoring Stanko's legacy while forging new paths in musical exploration.

Review:  A whole bunch of Weldon Irvine albums are being remastered and reissued at the moment, which will be music to the ears of spiritual jazz fans - literally. The American composer and pianists was one of the big names of his time and reals don labels like RCA and Strata-East as well as his own label. Young Gifted & Broke has never been on vinyl before as the recordings were only discovered in the early 2010s. It was a musical that was released in 1977 and inspired by the Black Civil Rights anthem 'Young, Gifted and Black,' which Weldon had written with Nina Simone. Talents like Marcus Miller joined the recordings which as can now be heard are magnificent to say the least.

Review: Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

Review: Led by Kenny Clarke and Francy Boland, the Clarke-Boland Sextet was made up of further musical talents from across Europe and the United States such as Boland, Sahib Shihab, Jimmy Woode, Joe Harris, and Sadi. The group played a pivotal role in shaping the European jazz scene of the 60s, never more so than with their timeless Music For The Small Hours record in 1967. It takes in an array of influences and includes standards like Burt Bacharach's 'Wives & Lovers' as well as more Brazilian and Afro-Cuban groovers like Luiz Bonfa's 'Ebony Samba'. The original compositions shine too, with Shihab's 'Please, Don't Leave' showcasing his vocal talents and adding a real depth. Overall this is jazz that radiates sophistication and relaxation and makes for a refined listen.

Review: Benson's first album since rejoining Warner Music Group earlier this year, it was originally recorded in 1989 but was never released. It features the celebrated composer-arranger Robert Farnon and his orchestra and Farnon's lush arrangements beautifully complement Benson's soulful vocals and fluid guitar work on American standards like 'Autumn Leaves,' 'At Last,' and 'My Romance', as well as reimagined pop classics such as the Beatles' 'Yesterday' and Leon Russell's 'A Song For You.' The album was delayed and subsequently lost until recently rediscovered in Benson's archive and with the help of pianist, composer and arranger Randy Waldman, Benson has revived and remastered the recordings, adding new overdubs and choral arrangements. This release adds a new chapter to Benson's illustrious career, following his tenure with Warner Records from 1976 to 1993, during which he released 12 studio albums, including the triple-platinum Breezin'. Recognised as a jazz master by the National Endowment of the Arts (NEA) in 2009, Benson continues to be a giant in both jazz and contemporary music.