Jazz Recommends Jazz Best of 2021

Review: The Dave Pike Set was a five-piece jazz band active for only four years from '68 to '72. But in that short time that manages seven albums, and had some standout single success. Two of their biggest - 1969's 'Mathar'/'I'm On My Way' - are repressed here on a 7" that will cost you upwards of L300 if you can find an original. There are some heavy sitar vibes on the a-side to start with, eventually making way for a strident 60s beat that is all psyched-out jazz stylings and raw drums. The flip is a much more after-dinner vibe, with harmonic keys setting a silky tone.

Review: The cult Melodies International label run by Floating Points and Mafalda starts a new series here. Melodies Record Club will find each curated by a different guest DJ or producer with the first one selected by the always on point Kieran Hebden aka Four Tet. He picks some of the tracks he used to spin at the legendary Plastic People and first up is an extended version of 1975 tune 'De I Comahlee Ah' by jazz stars Jackie McLean and Michael Carvin. Chris McGregor's Brotherhood Of Breath takes care of the flip with the big band energy and excellent horn work of 'MRA.'

Review: Blue Jazz's on going Tone Poet Series - which is about reissuing classic jazz on heavyweight, audiophile quality vinyl - throws out another gem here with the Hank Mobley classic Soul Station. Hank started out as a pianist before moving to the tenor sax aged 16. He put plenty of emotion and intensity into every note he played and during the years 1955-1970 he fronted more than 25 Blue Note albums as well as being a sideman on many others. This record captures him at the peak of his powers with a lyrical playing style and length, passionate solos.

Review: Since launching two years ago, Tony Higgins and Mike Peden's J-Jazz series has become an indispensable guide to Japan's modern jazz scene. The third volume continues in a similar vein to its predecessors, gathering together sought-after, overlooked and little-known cuts from across the jazz spectrum (think spiritual, modal, fusion, post-bop and Latin), all of which were recorded by Japanese artists in the 1960s, '70s and '80s. The standard of music is, somewhat predictably, breathtakingly high throughout, with highlights including the weighty post-modal bop of Koshuke Mine's 'Morning Tide', the sun-kissed Brazil-inspired brilliance of Hideo Shiraki's 'Groovy Samba', and a string of funk-fuelled, dancefloor-friendly workouts from Hiroshi Murakami & Dancing Sphynx, Shigeharu Muka and the Ryojiro Furusawa Quartet.

Review: Real Gone Music continues to take care of a series of much needed reissues of the vital Black Jazz Records catalogue. Calvin Keys's 1971 debut album for the label marked him out as an assured new star in the genre after he spent the previous decade backing up jazz royalty. Stepping out on his own, he recruited pianist Larry Nash, bassist Lawrence Evans, drummer Bob Braye and flautist-songwriter Owen Marshall today down some real deep heat that made Keys a Bay Area mainstay. Freshly remastered for CD and vinyl, drop the needle on this one and sit back in awe.

Review: This is one of the greatest albums of spiritual jazz related back in the 80's by Prince Billy Mahdi Wright who is a jazz saxophonist in the underground scene of Chicago. This is his only record as band leader and it finds him link up with Eldee Young who is well known as member of Young Holt Unlimited. She is credited as bassist of this album, and what an album it is. P-VINE released it as CD this summer and now present it as reissue LP for the first time, so do not sleep.

Review: Paul Murphy's Jazz Room Records has offered up fresh pressings of some seriously rare jazz records of late, including some that will be new to even the most dedicated of dusty-fingered diggers. Michel Magne's Le Monocle Rit Jaune is a great example of this. It was originally released on seven-inch single in 1964 and contains a quartet of tunes featured on the soundtrack to a French comedy film of the same name. The EP-opening title track is our pick: a jaunty, club-ready, flute-sporting jazz number that sounds a little like Dave Brubeck classic 'Take Five'. The other three compositions are a little cheekier and quirkier, with more obvious roots in cinematic comedy, but no less inspired in their own way.

Review: American jazz and gospel singer came up in Chicago and world the local scene - both playing in the clubs, but also as part of an a cappella choir for a number of years. She moved to LA to pursue her dreams in 1962, and the move paid off. She recorded 24 albums and nearly as many EPs right up until the mid nineties. 'Baltimore Oriole' was originally recorded in 1957 but this version is from 1977 . It is a glorious bit of uptempo Afro-Cuban jazz with lush jazz, funk and soul stylings all topped off by a fine vocal.

Review: Iconic jazz label Blue Note continues with is carefully considered reissue program under the Tone Poet banner, which places lots of focus on audiophile quality pressings. This one focusses on Andrew Hill, who was often said to be one of the most distinctive pianists and composing talents in the game. This session was first recorded in 1963 yet for some reason remained unrelated until 2003, when it finally made it to CD. Now presented on vinyl it features a fine ensemble including Woody Shaw and Dizzy Reece on trumpet, Julian Priester on trombone, Joe Farrell on saxes, and more on bass, horns, drums and tuba. The results are hugely moving.

Review: As part of his Gondwana label's 10th anniversary, masterful Manchester trumpeter and contemporary jazz trendsetter Matthew Halsall has put together a special deluxe edition of his beautiful "Colour Yes" album with thick reverse board sleeves, silver block letter foiling and two printed inner sleeves. First released in 2009, the album showcases Halsall's deeply emotive style across the 8 achingly good, supremely spiritual tracks that glow with gorgeous piano playing, gently lilting drums and his own fantastic leads.

Review: Amancio D'Silva was an Indian-born jazz guitarist known for his own recordings and collaborations with other British musicians, such as Joe Harriott and Stan Tracey. He continued to perform until his health made it impossible in the mid '90s. He also taught extensively, first at Jenako Art in London's East End, and later at the Krishnamurti International School in Hampshire. D'Silva passed away in 1996. Konkan was his third and final solo release originally released back in 1996 on Vocalion, which receives a worthy reissue on Australia-based The Roundtable. An unofficial sequel to Dream Sequence, it further explored the uncharted possibilities of an Indian music-jazz fusion.

Review: Since first joining forces in 2017, Warren Hampshire and Greg Foat have released some of the most magical albums of recent times - sets that cannily combine their mutual love of pastoral music, jazz-funk, library jazz, soundtracks and heady downtempo grooves. The Upturned Glass, the pair's sixth collaborative full-length, is another genuine gem. Highlights come thick and fast, from the skewed, lo-fi jazz-funk warmth of 'Pool In The Rose' and the string-drenched beauty of opener '6,000 Drunks Clinging to a Landslip' (an amusing title for a genuinely moving track), to the chiming, low-slung brilliance of the two-part title track and the emotive, slow-motion ambient-folk beauty of 'Evening Song'.

Review: Sonny Clark's Cool Struttin' album is a jazz classic. The artist himself shone bright for a brief but intense period of creativity, much like greats before him such as Charlie Parker and Fats Navarro. His intricate playing and hard swing mentality makes for music filled with nuance and detail but sadly he never got the recognition he deserved during his short life (he died aged 31). He put out seven records in all on Blue Note and played with the likes of John Coltrane and Donald Byrd. This memorable session was recorded by Rudy Van Gelder and features a quintet made up of altoist Jackie McLean, trumpeter Art Farmer, bassist Paul Chambers and drummer Philly Joe Jones.

Review: Menagerie are an Australian 9-piece band who here unveil their third full-length album, once again lead by producer, songwriter, guitarist, DJ and recording artist Lance Ferguson. This record features a number of high profile guests and is said to have been inspired by the classics sounds of John Coltrane as well as the expansive new jazz era ushered in by the likes of Kamasi Washington, Shabaka Hutchings and Nubya Garcia. It sure is an expressive record with leanings towards spiritual sounds and hypnotic leads. Uplifting harmonies and dramatic drums all make it a thrilling ride, once again from this fine Melbourne crew.

Review: For their next trick, Blue Note unleash a newly remastered album by Art Blakey & The Jazz Messengers that was first released in 1967, six years after it was recorded. With Wayne Shorter on tenor saxophone, Lee Morgan on trumpet, Bobby Timmons on piano and Jymie Merritt on bass, some say this was the band's greatest ever line up. The tunes were written by a mixture of the band members and range from the deep soul joy of 'A Little Busy' to the dancier 'Lost And Found' via the modal masterpiece that is 'Afrique.'

Review: Sonny Clark was a truly elegant pianist who played with his own style of soul. On his My Conception full length he really reached the peak of his powers and for that reason it is the next in the on going Tone Poet reissue series by Blue Note. A big casts of sidemen feature on the record next to Clark including Hank Mobley on tenor saxophone, Donald Byrd on trumpet, Paul Chambers on bass and Art Blakey on drums. The record is packed with highlights such as the sombre trumpet of the title track and the fiery brilliance of 'Minor Meeting.'

Review: Ethio Jazz reissue from the Godfather of Ethiopian Jazz Mulatu Astatke.

Review: The reissues of the seminal Black Jazz catalogue keep on coming thick and fast. This one focuses on the only group to ever have recorded on the label. The Awakening were one of the greats of the early 70s but never quite got their dues, which is said to be because of being held back by the Black Jazz label's distribution woes. Their early records are hard to find and expensive when you do and this, Mirage, was their second in 1973. It features a line-up of Chicago based musicians plus bassist Rufus Reid on a couple of tracks. Spiritual jazz, free jazz, soul jazz and fusion jazz all feature across the seven sizzling cuts.

Review: Shamek Farrah & Folks's 1978 recording 'La Dee La La' gets a worthy reissue here by Paul Murphy's Jazz Room. It's a high class fusion of funk, Afro, soul and jazz by Strata-east stalwart Farrah on sax, ad legendary trumpet player Malachi Thompson. The world-wide sounds take in Latin tinged sun on 'The White Lady" featuring Sonelius Smith on piano, Township party vibes on the titular cut and rap spiritual highs on 'Along Came Ron Rahsaan' which has Vivian Chandler serving up a wordless delivery that will leave you feeling soul-enriched. originals are hard to find and expensive when you do, so this is a timely reissue.

Review: Two years on from his last outing under the alias, Finnish drummer-producer Teppo Makynen dons the Stance Brothers guise for a typically on-point outing. Both cuts are freshly re-imagined takes on "Resolution Blue", a joint Makynen/Timo Lassy production first featured on the pair's 2018 collaborative album on We Jazz Records. The A-side rendition naturally features killer beats from Makynen, as well as a low-slung, Afro-funk influenced bassline and fluid vibraphone solos. Over on side B, "Where Is Resolution Blue" once again pushes the "vibes" to the fore, though the analogue synth-sporting groove that sits below is altogether smoother, jauntier and seemingly recorded with crushed velvet smoking jackets and smoky lounge clubs in mind. It's the kind of thing that fellow Finn Jimi Tenor once excelled at.

Review: The Major Keys label takes classic album tracks and gives them the respect they deserve across their own 12" pressings. And few musicians deserve such special treatment as John Coltrane, who follows on from an early release on this imprint from Herbie Hancock. Now, the king known as Trane has his gorgeous 'Naima' served up in all its tender glory. On the flip is the much more uptempo and energetic 'My Favourite Things' with all its expressive and squealing trumpet leads and busy drums. Both come on this heavyweight slice of wax, exclusively for Record Store Day 2021.

Review: The cult Black Jazz label put out a real treasure trove of material back in the day and much of it is hard to find. Right now it is being carefully and rightfully reissued however, and in the case of Rudolph Johnson's Spring Rain, for the first time ever. Ohio's Johnson drew comparisons to John Coltrane for his expressive playing style, and eschewed drugs and alcohol to instead spend his life meditating or practicing his horn. This was his debut release for the label and finds him explore the upper register of his playing with bee bop, 60s Blue Note and funky grooves all featuring.

Review: Build An Ark is well known as one of the greatest spiritual jazz bandsAin the 2000's led by producer Carlos NiNo and vocalist Dwight Trible.AThis EP includes remarkable 2 cover tracks from their first album"Peace With Every Step(2004)" of the astonishing project where he invited top jazz musicians, Phil Ranelin who led the Tribe label in the 70's and Nate Morgan from the Nimbus label led by Horace Tapscott, etc.AA-side is a cover of Pharoah Sanders' masterpiece "You've Gotta Have Freedom", one of the representative songs of spiritual jazz.AAnother side Includes a cover of "Vibes From The Tribe" which is Phil Ranelin's heavy breakbeats left on Tribe in 1975!

Review:  While previous instalments of Jazzman's essential Spiritual Jazz series have focused on killer cuts and rare gems from the past (specifically material recorded between the 1950s and '80s), the thirteenth volume shines a light on what's happening right now. It's stretched across two double-albums, with this first part hitting spot from the word go. The collection's greatest strength is how it manages to represent the many different directions that spiritual jazz has gone in the 21st century. For proof, compare and contrast the drowsy, bluesy and smoky 'Lizard Waltz' by Benjamin Herman, the jazz psychedelia of Idris Ackmoor and the Pyramids' 'An Angel Fell', the Latin lounge-jazz flex of Jimi Tenor and Kabukabu's 'Suite Meets' and the low-down, bass-driven brilliance of Gnawa' by drummer-turned-beatmaker Maya McCracken.

Review: Adrian Younge's new album is undoubtedly his most powerful yet. He says it "dissects the chemistry behind blind racism, using music as the medium to restore dignity and self-worth to my people." It is an unapologetic critique of the current systems that suppress people of colour and the malevolent psychology that taps into that. Musically, this is a deeply soulful record with elaborate orchestration and some top level guests. Next to the album, Younge has also made a short film (TAN) and 4-part podcast (invisible Blackness) on the same subject that make for vital listening.