Jazz Recommends Jazz: April 2024

Review: British jazz musician Shabaka Hutchings releases his sophomore album 'Perceive Its Beauty, Acknowledge Its Grace', set to be another distinctive ribbon on top of his well-decorated jazz career including collaborations with Andre 3000 and being a member of Sons of Kemet. The LP marks Hutchings' return to music after giving up the saxophone a year ago. Here he returns to his original instrumental calling, the clarinet, but a wide array of wind and percussion punctuates his musings. Opening track 'End of Innocence', is a brief and understated clarinet and piano marriage. The reverberation of the keys softly drones behind the masterfully precise clarinet lead, with perfectly placed percussion sprinkled throughout. It's introspective, serene and understated - a supremely narrative feel that only instrumental jazz can give off. This pressing is the indie-exclusive red-coloured disc.

Review: SOLO 500 is back on their own self-titled label with the third entry in Galaxy Sound Company's series and again it digs deep into jazz-funk to turn out some killer breaks. Up first is the main theme from 1974's subway hijack movie The Taking Of The Pelham One Two Three and it is one with a funky, jazzy, high-octane sound that has been sampled by Company Flow, Mix Master Mike and many more. On the backside is an edit of a tune from Manfred Mann Chapter Three's self-titled 1969 LP. This one has been famously sampled by The Prodigy. Another great little 7".

Review: Stevie Wonder's 'Pastime Paradise' has thus far been less recognised as an original soul wonderwork, and more so as a sample by American rapper Coolio on the derivative 'Gangster's Paradise'. Though still having been covered by many artists over the years, Major Keys records highlights this enduring 1981 cover of Wonder's 'Paradise' by Latin percussionist Ray Barretto as among their favourites, if not their absolute favourite. Now the label reissue the gem, flaunting its up-to-date, nigh timeless feel; it's the opposite of a miracle that this has never before been released on a 12" single record, despite the fact that it is a favourite on the floors of jazz and soul rooms the world over. It also flips it with Barretto's own 'La Cuna' and 'Mambotango', taken from the same 1981 LP.

Review: A year after dropping his acclaimed album 'Billy Valentine And The Universal Truth' with Flying Dutchman and Acid Jazz Records, Billy unveils a fresh take on a soul classic. Recorded at LA's prestigious Henson Recording Studio, alongside producer Bob Thiele Jr. and a stellar band including Larry Goldings, Pino Paladino, Jeff Parker, James Gadson, and John Philip Shenale, he introduces three new tracks. His rendition of Gil Scott-Heron's 'Lady Day & John Coltrane', debuted on Gilles Peterson's BBC6Music, mesmerising live audiences. This special edition 7" includes a unique edit of 'Home Is Where The Hatred Is', not previously available on vinyl.

Review: Sonny Rollins' Night At The Village Vanguard: The Complete Masters is a jazz treasure trove capturing the great man's legendary performances at the iconic New York venue. This comprehensive collection showcases him at the peak of his improvisational prowess and delivering electrifying saxophone solos backed by a stellar ensemble. From the pulsating rhythms of 'A Night In Tunisia' to the introspective melodies of 'I've Got You Under My Skin,' each track shows just how unique he was when it came to improvisation and jazz innovation. The remastered recordings offer pristine sound quality, allowing listeners to experience the vibrant energy of Rollins' live performances with unparalleled clarity.

Review: Ghosted 2, produced by Oren Ambarchi, Johan Berthling, and Andreas Werlin, presents a fascinating fusion of various genres - Electronic, Jazz, Folk, World, and Country. However, it's not the amalgamation of styles that captivates but the abstract, experimental nature of their endeavor. This record leans into the boundaries of free improvisation, with a heavy emphasis on texture and atmosphere. The instrumentation is minimal, with delicate drumming that weaves through the soundscape while subtle guitar strums and drones create a hazy, hypnotic ambiance. What sets this apart is its exploration of silence. Long stretches of negative space linger, allowing the listener to fully immerse themselves in the subtle nuances and intricacies of the performance. The result is an album that is as challenging as it is rewarding, inviting multiple listens to unravel its sonic secrets.

Review: Composer and multi-instrumentalist Shabaka Hutchings releases his sophomore LP Perceive Its Beauty, Acknowledge Its Grace', building on his increasingly impressive career working with Andre 3000, Sun Ra Arkestra and heading multiple bands - not least the, now dissolved, The Comet is Coming. The album marks the king's return to music, following his abandonment of the saxophone in 2023. Here he returns to his original instrumental calling, the clarinet, but a wide array of wind is on offer. The first single, the opening track 'End of Innocence', is a succinct clarinet and piano marriage. The reverberation of the keys softly emanates behind the masterfully controlled clarinet lead, with perfectly placed percussion sprinkled throughout. It's introspective, serene and understated - a supremely narrative feel that only instrumental jazz can give off.

Review: Greg Foat and Sokratis Votskos come together for a superb jazz-infused Mediterranean musical trip on Live At Villa Maximus Mykonos that was recorded in a picturesque setting. It captures the essence of a sun-kissed Greek island with its breezy rhythms and soulful improvisations as Foat's masterful piano and Votskos' evocative saxophone intertwine seamlessly to transport you to plenty of tranquil seaside vistas. The duo's synergy is palpable and evokes a sense of serenity and joy with each note from enchanting melodies to vibrant improvisations. This gorgeous album really celebrates the beauty of music to take you to another place.

Review: Here's a proper genre fusion for the dancehall heads. On his latest reissue, Robert 'Dubwise' Browne testifies to over 20 years of hitmaking with a standalone 7" edition of his remix of Ramsey Lewis' 'Sun Goddess', first released on Vortex in 2023. Whereas Lewis' original 70s funk version is a sweet and sunkissed headboard-licker with a simple backbeat, Browne prefers to cant things dubwise, swapping the aforementioned out for a phat dotted stomp. Clock the new pairing with Browne's version of Grover Washington's jazz-funk classic 'Mister Magic'.

Review: First released in 1970 and now reissued in conjunction with Light In The Attic and Future Days, Pete Jolly's Seasons first manifested on A&M Records as a series of live-composed melodies and textures, recalling the naturalisms of each passing season through their expression in jazz and funk. Starting naturally in spring before segueing into a verdant nature-scape, then briskly launching into a sandstorm, not long followed by an 'Autumn Festival' and an 'Indian Summer', the order of each season in Jolly's remit is not the same as their occurrence in reality; yet this is precisely what makes this early ambient, cool jazz opus so arresting; it's as though it came from another world.

Review: Craft Recordings and Jazz Dispensary announce the first-ever vinyl reissue of Johnny Lytle's long-sought-after soul-jazz gem, People & Love. Primarily hailed for his talents on the vibraphone, Lytle led an enviable career, combining his talents with his ability to bandlead, and People & Love was surely among this mode's most matchingly enviable productions. Guides his fellow musicians through five sublime tracks, including extended, soulful covers ('People Make the World Go 'Round,' 'Where Is the Love?') and groovy originals ('Libra', 'Tawhid,' 'Family'). The 1973 session also boasts a stellar line-up of players, including Daahoud Hadi (formerly Butch Cornell) on the electric piano and organ, Bob Cranshaw on the electric bass and harpist Betty Glamann.o

Review: Blue Note first delivered Horace Silver's Silver Serenade in 1964, adding yet once more to their precious collection of sonorous soul jazz metals. With Blue Mitchell on trumpet, Junior Cook on tenor saxophone, Gene Taylor on bass, and Roy Brooks on drums, the natural scarcity of this serenade is a cultivated one, not spooned; Silver's naturalistic trumpet sounds carpal and easy, dancing brightly against clear, impeccably recorded contrapuntal movements by Brooks and Taylor.