snobb I spent last week almost locked in by cold windy and rainy weather in a small apartment in "Dear old Stockholm" (which didn't look all that dear under occasional snowflakes falling around in the second half of April). Under lead-heavy clouds, the only things that brightened my mood there were seagulls' screams flying over the town and a few CDs I took with me for the trip. Shabaka's "Perceive Its Beauty, Acknowledge Its Grace" was one of them.

Band leader and reeds player Shabaka Hutchings is with no doubt the most significant figure of a new generation of the London jazz scene. For a decade he dictates musical fashions with his projects, Sons of Kemet, The Comet is Coming and Shabaka & the Ancestors covering the wide range of genres from space-jazz to Afro-beat and avant-garde jazz. Still, till now his music was always very rhythmic, energetic and often explosive.

On "Perceive Its Beauty, Acknowledge Its Grace", Shabaka's first real solo album, he plays predominantly flute (not saxophones or bass clarinet, as he usually did before). As a result, we got a very much flute-jazz album, which can be an acquired taste.

Shabaka, quite predictably for such kind of music, starts somewhere between new age and world fusion here on his new album, fortunately he develops it towards more sophisticated and tasteful contemporary jazz with melodic songs and touch of electronics. There is a list of renown musicians participating here, but still it is obvious that Shabaka is an obvious leader. Even playing the music which doesn't associates with him a lot (predominantly Far Eastern, Eastern European and Latin American flutes), Shabaka sounds a bit like Shabaka from Comet... or Shabaka from Sons of Kemet.

Among the guests, there are participating pianist Jason Moran (on two songs) and rising South African star Nduduzo Makhathini, Floating Points on Rhodes electric piano, renown bassist Esperanza Spalding (on two songs), respectable New York drummer Nasheet Waits and even freshly established flutist André 3000. Still there are vocalists/rapers who's participation is probably most influential.

Differently from all of Shabaka's previous music, "Perceive Its Beauty..." is a heavily meditative and quite relaxed work, fortunately it doesn't slip into esoteric sleepy listening. Arrangements are all tasteful and quite original, rhythm changes are presented too, each of the songs included has it own face.

Never a big jazz flute fan, I chose this album because of my interest in Shabaka's music. Still, this music really made my day brighter, more comfortable and harmonic, even under dark Nordic sky. I believe those appreciating flute in jazz will find much more to enjoy.

js Trumpeter Curtis Taylor released two EPs late in the previous decade, but the recent, “Taylor Made”, is his first full length album as a leader. Curtis is hardly a new comer to the jazz world, having already worked with Gregory Porter, Patrice Rushen, Cyrus Chestnut and many others. His new album reflects some modern trends in post bop jazz with its fusion and art rock/pop influences as in what you might get if you mixed pianist Bill Evans with Radiohead or Blur. Curtis has a clean and precise sound on the trumpet and avoids any gimmicks associated with the instrument in a style similar to current players like Marquis Hill and Wynton Marsalis, or going further back, Clifford Brown. Pianist Theron Brown reflects the art pop meets post bop sound of Brad Mehldau with a grounding in Herbie Hancock, and on the ballad material he might display grand loungey flourishes that recall Ahmad Jamal. Saxophonist Marcus Elliot recalls Joshua Redmon, with, once again, an ability to mix post bop and more current pop/rock type flavors.

“Taylor Made” is a fairly eclectic outing, one highlight is the high octane bop of “Heightened Awareness”, it would be nice to hear more tracks like this in the future. “Kham’s Dilemma” is abstract post bop with a fusion drive and “For Her” is the romantic ballad in 3/4 time. The last three tracks on the album get more into their art pop meets post bop blend with the imposing buildup chords of “Indomitable” sounding like an acoustic prog rock number. “Hashtagged” is in 7/4 time that is somewhat disguised as almost in waltz time. “Journey” has a driving snare rim click and sounds like something Miles’ second quintet would have played in the mid 60s. This is a nice start for Curtis, and with his background in jazz, RnB, pop and gspel, its hard to predict where he might head next.

Carmel Randy Bernsen, a figure whose roots extend from the quiet corners of Needham, Massachusetts, to the vibrant musical mixing pot of South Florida, has carved a niche for himself within the jazz fusion genre. His latest album, "Heart Mind and Soul," released on June 16, 2023, under Jerico Jams, is a 32-minute journey through six glowing compositions. The sounds in this project showcase Bernsen's virtuosity and the collective genius of the various bands joining him, including luminaries like Bob Mintzer, Jimmy Haslip, and others.

The album's opener, "With You Always," encapsulates the essence of Bernsen's musical philosophy: a blend of emotional depth and technical cleverness. The relaxed fusion groove of "Prodigal Son" then sets a sophisticated scene, with Bernsen transitioning seamlessly between electric and acoustic guitars, underpinned by a richly textured backdrop provided by Haslip's bass and the Nizri brother's piano and drums. This song, in particular, illustrates Bernsen's musical language, which weaves engaging musical ideas into emotionally resonant phrases.

"Shepherd's Heart" shows Bernsen's compositional skills are also built on soul-stirring melodies. Here, his acoustic guitar sings over a backdrop of rich synth sounds, with a bassline that converses eloquently with the melody, highlighting Bernsen's flair for creating music that touches the soul. Including Mintzer's warm saxophone tones adds a layer of color and energy, enriching the song's texture.

Bernsen's exploration of different tonal landscapes is evident in tracks like "Abba Father" and "Billy Gate Blues." The former is characterized by stylized melodic musings against a backdrop of graceful keyboard lines, and the latter by its gritty blues tone married to a bopping jazz fusion beat. "With You Always" has a balmy atmosphere, created through Bernsen's melodic guitar riffs that soothe and invigorate equally.

As a guitarist, Bernsen is a master of expression, utilizing his formidable technique not for display but as a tool for musical storytelling. His ability to meld various styles—blues, funk, jazz, or Latin jazz—into a cohesive whole speaks volumes of his playing skill and deep understanding of the fusion genre.

"Heart Mind and Soul" is a tone narrative woven through the strings of Bernsen's guitar, each note a word, every melody a sentence, telling hip musical stories. The ensemble's chemistry is palpable, and each musician's contribution is vital to the album's overall impact. This album is a fun listening experience. A maestro of the modern jazz fusion genre, "Heart Mind and Soul" is a solid addition to the collection of any discerning fusion listener.

snobb My interest to music comes from my early teens, and Polish music was a huge influence during my formative period. Two years of accordion private lessons didn't impress me a lot, later I tried to become a drummer in a school band, without a significant success. My hometown, Vilnius, in Russia's occupied Lithuania wasn't a very inspiring place, with a lot of people in gray military uniforms, dark blue militiamen and civilians, wearing same gray clothes, usually silent. There was quite a lot of music on state TV and radio stations (private stations didn't exist at all at that time), but it was predominantly kitsch versions of (mostly Russian) folklore and hyper-enthusiastic Soviet propaganda-pop. Plus some classics – classics sounded especially boring for my ears.

And there was Polish Radio – one of two foreign radio stations I could listen to regularly. The other was a BBC Russian services, banned in the Soviet Union. Its signal was usually weak, but time to time it was possible to listen to their excellent Friday night radio shows, dedicated to rock music.

Differently, Polish Radio had a strong and high quality radio signal. There was lot of short talks in a language I didn't really understand, and a lot of music between the talks too. I learned my basic Polish trying to understand what the voices on the radio were talking about, and my musical aesthetics were formed under the heavy influence of music I listened to regularly on Polish Radio.

That music was similar to what I already knew, but different at the same time. Doesn't matter, what genre it was – pop, rock or even r'n'b and reggae, it sounded richer, more full-bodied, brighter, much more colorful. As a teenager, I had no idea, where this difference came from. Only later I find out, that this difference in sound (and in general aesthetics too) was the result of different arrangements. It was quite often JAZZY ARRANGEMENTS, making almost any music sound fabulous.

Some years and decades later I found the genius of Tomasz Stanko trumpet, jazz, Polish fusion and many more. But even now, from almost half-a-century time distance, Poland for me is a land where all music sounds jazzy. Crossing the country by car, every time I impatiently wait for the moment when my car's radio is able to catch the first possible Polish radio station – almost always I get that very specific soulful, sometimes slightly melancholic jazzy sound of Poland, doesn't matter who plays.

It's a shame on me. I didn't know before who Krzesimir Dębski and Tadeusz Sudnik are. True, I knew Polish fusion stars from the 80s, The String Connection, and I knew Stanko's Freelectronic project, but I never knew the names of both band's members. As a foreigner, I knew even less about Krzesimir Dębski's films soundtracks and classical works. Then, two Polish jazz seasoned artists' new work comes for me as a discovery of sort.

Listening to a lot of jazz (hundreds of albums annually) for a few decades, it's not a regular situation when you start listening to a new album of seasoned artists without expectations, you are not familiar with their music and simply don't know what to expect. It's quite a good thing, history teaches us that expectations often lead to disappointments.

So, Krzesimir Dębski and Tadeusz Sudnik Borello, present a comeback album after long pause. Four longish (between 9+ and almost 15 minutes long) free form compositions, recorded by a duo of violinist/keyboardist and a live electronics wizard. The music which could be formally tagged as “jazz-electronica” has nothing in common with New Millennium jazz related electronica, like played by Squarepusher or Flying Lotus. With an absolute dominance of analog sound, this album's electronics are much closer to American composer and early Moog player Richard Teitelbaum's music.

Album's opener, “Borro”, dedicated to Tomasz Stanko, sounds very much as a variation of early Miles abstract fusion, with Dębski's violin soloing instead of trumpet. Warm and tuneful, this song sounds very much as if had been composed, not fully improvised. “Rebo”, the album's longest piece, is of a more amorphous nature, centered around vintage electronic rhythms. Quite relaxed though.

“Lerro” is a mid-tempo song with violin soloing over the (warm) synth loops and bubbles, in moments quite unpolished and almost nervous. “Rero”, the closer, same way as a previous piece, sounds more improvised, freer than the first two album's songs. Still, there are lot of tuneful snippets and emotively colored violin.

Not really a revolutionary album, still it's a very impressive standing alone work of two masters. Maturity, knowledge of the past world without even traces of sentimental melancholy, and that soulful jazzy feel so important for Polish jazz. Bravo!

Carmel The essence of great jazz is an ensemble that can articulate a collaborative effort. “The Door is Open: The Music of Gregg Hill” by Randy Napoleon successfully creates such an environment. Napoleon's guitar work is deep within the jazz tradition and Hill's a composer of versatility, whose life experiences range from steering the wheel of a big rig to orchestrating the finances of a tech giant. Together, they infuse the album with an adventurous spirit that is delightful to listen to and experience.

“The Door is Open: The Music of Gregg Hill” is nine tracks built on the symbiotic relationship between composer and interpreter. Hill's compositions, delivered to Napoleon with minimal directives, become a canvas for expression, akin to poetic muses that beckon the ensemble into nuanced musical discussions. This dynamic interplay culminates in a sound that transcends the sum of its parts, creating a collective musical consciousness that resonates with the spontaneity of a Ouija board game, where the music flows through the musicians rather than from them.

The core ensemble featuring Rick Roe, Rodney Whitaker, Quincy Davis, and Aubrey Johnson, with Lucas LaFave stepping in for Whitaker on select tracks, embodies the essence of chemistry that can only be forged through deep musical and personal connections. Roe's piano artistry, a cornerstone of the Detroit bebop lineage, and Whitaker's bass playing anchors the album. Davis' forward-leaning drumming and Johnson's diverse vocals add layers of texture that are at once innovative and timeless.

Napoleon's guitar playing stands out for its lyrical beauty and technical finesse. His solos throughout the album, notably on "The Lost Tune" and "Escape to Cat Island," showcase a musician intensely rooted in the jazz tradition yet constantly pushing towards new horizons. His ability to meld with the ensemble while shining as a soloist exemplifies the album's collaborative spirit.

The inclusion of a horn section on several tracks adds another dimension to the album, with contributions from young talents such as Andrew Kim, whose trombone playing belies his youth, and seasoned pros like saxophonist Walter Blanding and trumpeter Anthony Stanco, who bring their unique voices to the ensemble. These arrangements reflect Napoleon's affinity for crafting soundscapes that envelop the listener in a rich, auditory embrace.

"Motel Blues" and "Skyline" illustrate the album's range, moving from gospel-infused swing to a poignant ballad that speaks with emotion and finesse. Whether delivering heartfelt lyrics or engaging in wordless interplay with the ensemble as a frontline instrument, Johnson's vocals are our guiding light through these varied emotional landscapes.

“The Door is Open: The Music of Gregg Hill” is a celebration of musical fellowship, compositional brilliance, and the boundless possibilities that arise when artists of such high caliber join forces. This album invites listeners and musicians alike to open the door to their own creative explorations.

js “Barefoot Boy” is one of Larry Coryell’s earliest albums and features the rugged fusion style that was popular in the early 70s. The early days of fusion were somewhat exciting with musicians combining the freedom of Coltrane with the sonic effects of Hendrix into a new style of music that paid the bills a little better than post bop. Larry was one of the major leaders in this new style and you can certainly hear his influence on John McLaughlin, Pat Martino, Bill Connor and a host of others. Like a lot of fusion from this time period, “Barefoot Boy” is really just a jam session. There is very little structure at work here, but the immense talent of the musicians involved make it a worthwhile listen for the fusion fan.

The album opens with Gabor Szabo’s “Gypsy Queen”, which most people know from the Santana “Abraxas” album. The Coryell version is barely recognizable as the musicians waste no time getting straight into the solos. Saxophonist Steve Marcus channels Coltrane’s soprano sax style with a million notes sheets of sound. Larry follows with Sonny Sharrock styled noise onslaughts followed by a very Hendrix inspired rock solo. Hendrix’s sound mixer, Eddie Kramer, is on hand and he gives Larry’s solo all the wild panning effects that Eddie used on “Electric Ladyland”. Side two closes out with the funky RnB of “The Great Escape” which has Steve Marcus doing a much more soulful solo on tenor saxophone. The driving guitar riff on this one is one of the more focused points on this record.

Side two is given entirely to “Call to the Higher Consciousness”, which starts off as a Coltrane style modal post bop jam, but the riffing soon morphs into a somewhat tired sounding Grateful Dead cliché. This track lacks rhythmic excitement as there is little to back up the increasingly indulgent solos. Marcus does his Coltrane soprano thing again and ace drummer Roy Haynes takes a ride as well. Since this is the great Haynes, this is a very musical solo and not just your typical rock n roll display of thunder and power. Pianist Michael Mandel tries to interject a little jazz into this one, but overall this number just sort of drags along.

For the jazz fan looking for some challenging in depth listening, “Barefoot Boy” isn’t exactly “Out to Lunch”, or “Giant Steps”, but for those who enjoy the kitsch sounds of early 70s psychedelic fusion, Coryell and his cohorts deliver the goods.

snobb "Crescent With Love" is a Pharoah Sanders album released on the Japanese Venus label, a label well known for its specialization in "late night jazz" (or predominantly hard bop ballads) - original recordings of renown artists, released on albums with erotic-art covers. This album is dedicated to the 25th anniversary of Coltrane's death. Even if Sanders played in Coltrane's band during his avant-garde (post-1965) times, "Crescent With Love" contains material strictly from the mainstream jazz category. Which perfectly fits under Venus label philosophy for sure.

There are five Coltrane hard bop-period songs included, plus Duke Ellington's "In A Sentimental Mood", Erroll Garner's "Misty" and other jazz standards. Sanders leads a competent acoustic quartet with double bassist Charles Fambrough, drummer Sherman Ferguson and pianist William Henderson - his regular quartet of the early 90s.

Sanders doesn't try to imitate Coltrane's sound here, he plays his own warm, a bit sentimental, soulful jazz deeply rooted in the r'n'b and blues of Sanders' youth. The trio on support do their job well, building an unpretentious background for Sanders' slow to mid-tempo soloing. The musical material is of excellent quality, so fans of regular Venus releases will find this album really attractive. Not much is offered for freer and more explosive Sanders music fans though. The album has been released in US in 1994 (with alternate cover art), and reissued a few times after, so everyone interested can find it without big problems.

Rexorcist It's nice to see that the music community still has an appreciation for jazz, otherwise I wouldn't have found out about Brazilian jazz musician Amaro Freitas. Although his first album is barely more than a standard bop bit, his second album shows a lot of improvement in the spirit and composition departments.

Most of these songs are pretty active and fairly spiritual, but no matter how many emotions the album's tracks each take, there's never a break in the flow of the album. This is largely due to the leadership of Freitas on piano. However, the slower tracks do drag on a litt,e which means he clearly has the edge in energy. Although a couple of these songs feel incomplete, as if they're building up to something which is never realized for lack of a second half, most of these songs get their jobs done.

This is the album where Freitas is really developing his style. It's got moods, atmospheres and surprises. its songs don't reach stellar heights, but they're fun enough to check out.

Rexorcist I've been checking out a lot of artists who are quite new to me so I can keep up with the best new albums of 2024, and I've been using the RYM charts to help me with that. People seem to really like the new Amaro Freitas, so since he only has four albums out, I'm gonna get through all of them today.

Now my first impressions when I saw that this album had elements of various Brazilian genres, I thought to myself, "Cool. This oughta be fun." Um, not really. It's a decnt jazz album it its own right, but the Brazilian aspects of this album are faint to the point of being almost completely drowned out by the standard post-bop behavior. This album sounds like a standard jazz album you'd get from 1959. Sure, there are some quirky compositions here, but there's not a lot of personality. Hopefully the other albums are better.

CounterClockWorld Funk has an interesting evolution to me. The 50s/60s had R&B that would go on to become a more repetitive and jam band oriented genre artists like JAMES BROWN and WAR are some examples but the 70s saw fit to evolve the genre into having synths, and larger horn sections, (PARLIAMENT being the prime example) however the 80s threw horns away, it was all about synths and drum machines and the synth funk of the 80s even started to incorporate hip hop, at its infancy. PRINCE, ZAPP and CAMEO are the big three of the 80s funk scene imo although some might disagree, this band can get very 80s at times but I honestly love it, every track here is just fun, the track "She's Mine" is a fun, funky 80s hip hop track and do I even need to mention the track "Candy"? Overall this album is a blast and has always been a personal favorite of mine, I wish I could go into greater detail about this album but tbh I don't know how to sum it up other then "It's good, it's fun" sorry if this is a lackluster review lol