Jazz Recommends Jazz May 2021

Review: Last year acclaimed harpist Amanda Whiting made a big impression with her Jazzman debut, a fantastic mini album called Little Sunflower. Here she expands on that, channelling the spirits of Dorothy Ashby and Alice Coltrane on a set that combines her fluid, versatile and expressive harp playing with dusty jazz grooves and nods towards Afro-cuban jazz, soul-jazz, more cinematic compositions and, of course, the kind of rubbery, late-night jazz that most associate with smoke-filled basement bars and backstreet concert halls. The range of sounds that Whiting manages to get out of her harp is simply stunning, with the expected twinkling, slo-motion motifs being joined by plucked, jazz guitar style solos and even the odd flamenco-esque flourish.

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: 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: For those interested in Japan's modern jazz wave of the 1960s and early '70s, BBE's J Jazz Masterclass series of rare album reissues always deliver the goods. For proof, check the latest volume: a first ever reissue of Kohsuke Mine's 1970 debut album, First. Full of energetic, hard-wired sax solos (provided, of course, by Kohsune himself), rubbery bass (courtesy of Larry Ridley), jazz-funk electric piano (Masabum Kiluchi on keys) and frenetic rhythms (laid down by Lenny McBrowne), the album is undoubtedly a landmark J-Jazz set and just gets better with each successive listen. It also includes a terrific interpretation of Thelonious Monk classic 'Straight No Chaser', which - in our considered opinion -is no bad thing.

Review: Although her Afro Harping album might be more popular, legendary American harpist Dorothy Ashby's debut The Jazz Harpist is equally as essential. It was her debut record in 1957 on the Regent label and is a record which generally credits the Detroiter as being the first artist to translate harp to bebop and jazz in a real way. Traditionally more seen as an instrument associated with classical music, Ashby remove it from its genteel past and dropped it into a more modern and edgy context with stunning results. This glorious album is the best way to understand that transformation.

Review: Originally released in 1977, The World Of The Children LP featured Shamek Farrah on production duties and alto saxophone, with special guest Sonelius Smith (of David Murray Big Band fame) on piano, in addition to Kiyoto Fujiwara and Milton Suggs on Bass, Freddie Wrenn on drums, Tony Waters on percussion and Joe Gardner on trumpet. An amazing session of free and spiritual soul/jazz that defines the essence of Strata-East - the legendary record label set up by Charles Tolliver and Stanley Cowell in 1971. Remastered by Ray Staff at Air Mastering, Lyndhurst Hall, London.

Review: Nimbus West have managed to get permission to present Billie Harris' I Want Some Water album on wax for the first time ever here. It was recorded back in 1980 and featured the talented likes of Horace Tapscott, David Bryant, Everett Brown Jr. and Daoud Woods. This version has been cut from the original master tapes but comes with brand new artwork and liner notes that give great context from Mark Weber. 'I Want Some Water' is the one that often gets most attention for its mellifluous flow and expansive, 10-minute wandering.

Review: Norah Jones is a truly global sensation. She's had nine GRAMMY wins, has sold more than 50 million albums and played the most-livestreamed performance of 2020. Now she is back with her first ever live album, Til We Meet Again, a collection which presents globe-spanning performances that were recorded between 2017 and 2019. The tracks were recorded in the US, France, Italy, Brazil, and Argentina with gusts musicians like Pete Remm on organ, Christopher Thomas on bass, Brian Blade on drums plus bassist Jesse Murphy, guitarist Jesse Harris, flutist Jorge Continentino, and percussionist Marcelo Costa. The 14 tunes are a real must for all fans.

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