Jazz Recommends Jazz May 2019

Review: For the latest missive on their excellent Jazz45 sub-label, Jazzman has decided to offer up two sought-after catalogue cuts from contemporary spiritual jazz maestro Muriel Grossmann, a sax player, singer and composer who already has a swathe of quality albums to her name. First up is an edited version of 2018 cut "Golden Rule", a wonderfully breezy and out-there affair that sees Grossmann add mind-altering sax solos to a heavily percussive, off-kilter backing track rich in jaunty pianos and slick double bass. On flipside "Okan Ti Aye" she layers up the drums and cymbals further while offering bolder, heavier sax motifs. The result is a track of rare drive and intensity.

Review: Unlike much of Ennio Morricone collaborator Alessandro Alessandroni's work, 1974 set "Prisma Sonoro" was not the soundtrack to a well-known film or TV show, but rather a collection of instrumental pieces composed for a music library. It's long been regarded as one of the finest examples of Italian library music around, so it's great seeing it get the reissue treatment. Much of it is pleasingly cheery, sunny and laidback, with Alessandroni doffing a cap to folk, samba and MPB as much as easy listening, classical and soundtrack style jazz. It's typical of his versatility, of course, with the intricacy of the arrangements and subtle musical details making it a set that you can return to time and time again.

Review: More from Studio Mule's must-check "Midnight In Tokyo" series, which gathers together obscure gems from the Japan that "sound best listened to at night". While the previous volume largely focused on forgotten Japanese jazz-funk, this edition is more eclectic in tone, variously touching on rare groove, new wave, soul and disco. It's another belting selection, all told, with highlights including the breathy sleaziness of Yoko Hatanaka's "More Sexy", the post-punk boogie eccentricity of Mari Kaneko's "Get To Paradise", the sprightly synth-funk of "Sunshine Bright On Me" by Kangaroo and the synth-rock silliness of The Fad's wonderfully over-the-top "Singing Lady".

Review: The genius of trumpeter, composer, producer and multi-instrumentalist Theo Croker's work has always been his ability to meld more traditional spiritual jazz sounds - not to mention modal and post-bop - with elements of contemporary soul, R&B and hip-hop. "Star People Nation", Croker's first album for three years, continues this approach, flitting between starry, decidedly intergalactic workouts ("Have You Come To Stay", "Subconscious Flirtations & Titillations"), seductive vocal numbers (the twinkling jazz-soul of the Rose Gold voiced "Getaway Gold"), deep, head-nodding jams ("Wide Open", "Portrait Of William") and fizzing dancefloor escapades (the brilliant "Just Let It Ride" and off-kilter Afro-jazz epic "Alkebulan").

Review: These are heady times for fans of rare and obscure jazz albums, with essential new reissues dropping every week. Here's another, from lesser-known quintet Griot Galaxy. "Kins", their debut, was recorded over two days in September 1981 and originally appeared in stores early the following year on tiny imprint Black & White Records. This reissue replicates the original artwork and tracklist, with the cuts now sounding better than ever thanks to a tidy re-mastering job and extra-deep grooves. Musically, the six cuts on offer are wild and intergalactic in tone, with Griot Galaxy expertly combining elements of modal, spiritual jazz, free jazz, jazz-fusion and, on dancefloor-ready standout "Zenolog Aintro", bustling jazz-funk.

Review: The late, great Ryo Fukui became one of the greats of Japanese jazz, and even founded one of J-Jazz's best-loved clubs, the Slowboat in Sapporo. Yet when he first recorded and released his debut album, Scenery, in 1976, he'd only been playing the piano for six years. It's this that makes the album so remarkable, really; despite his relative inexperience, Fukui's performances throughout the album are rarely less than dazzling. His sensitive, emotive and at times virtuoso piano work across the album is simply superb. Regardless of whether he's bashing out an up-tempo jazz number with the assistant of a bassist and drummer, or delivering a spine-tingling solo piece, Fukui remains the star attraction throughout.