Juno Recommends Brokenbeat / Nu Jazz: September 2024

Review: Endlessness is a deep dive into the cycle of existence. The 45-minute album delicately spans ten tracks guided by a continuous arpeggio that plays throughout, crafting an expansive, mesmerising celebration of life cycles and rebirth. Following Sinephro's critically acclaimed 2021 debut album Space 1.8, Endlessness further elevates her transcendent, multi-dimensional compositional practice, beautifully morphing jazz, orchestral, and electronic music. Through a decalogue of "continuums", a fittingly continual, through-compositional wonderwork is designed and laid to recording, channelling a dignified, spacefaring mood of nobility, as though it were of divine extraterrestrial providence.

Review: Rising Canadian guitar dexter Bobby Bazini presents the 7" vinyl edition of one of his latest singles, 'Waterfallin'', which features none other than Gilles Peterson on an even rarer remix. With source material from one of five of Bazini's Spanish guitar debuts - 'Waterfallin'' having emerged from the affective foams and mistings-up of a friend, Connor, whose performance in front of him on the nylon guitar conjured images of a waterfall in Bazini's head - Peterson brings a folktronic verve to Bazini's originally vintage, Latin disco vision, dousing it in evermore pipe reverb as if to liken it to a steep cataract's rapids.

Review: Shokazulu's Vector Smector on 2000 Black is a compelling 7" release that blends nu-jazz and electronic rhythms. The title track, 'Vector Smector,' offers a smooth groove with a classy piano solo that weaves through a polished electronic rhythm section. It's a delightful fusion that balances sophistication with a laid-back vibe. On Side-2 ,'What You Gonna Say,' introduces a funky edge, incorporating crowd noise for added atmosphere. The spacey keyboard work enhances the track's immersive quality, creating a dynamic and engaging listening experience. Despite its brief runtime, this 7" record delivers a powerful punch, showcasing Shokazulu's adeptness at blending genres and creating memorable, groove-laden music.

Review: In October 2024 Lady Blackbird, producer and guitarist Chris Seefried, Foundation Music label head and A&R Ross Allen and Blackbird's travelling band of Kenneth Crouch (keys), Tamar Barzilay (drums) and Johnny Flaughers (bass) took a break from extensively touring her prior album, Black Acid Soul, to lay down several tracks in Los Angeles. Decamping for a week-long recording session in the legendary recording studio complex East West, the fable goes that an uninterrupted spate of session magic ensued, out from which five acid jazz and soul bursters sprang forth. A curt selection of just five tracks, of which there were many more recorded during the LA session, the likes of 'Purify', 'It Must Be Love' and 'When The Game Is Played On You' span the whole gamut of modern soul, from the bright to the bare-bones but beguiling.

Review: Antonio Ocasio's latest outing for his own Tribal Winds imprint is yet another characteristic Afro-Latin groove swang. As ever, Ocasio infuses the mixable quantic calcines of deep house with the live instrumentation endemic to much Afro-Cuban music, producing a solid straddling of danceability and naturalism. A1 'Afro Beat Forever' does its utmost to inspire the potency of the Afrobeat genre, stepping up the default tempo to a solid 120ish while fervent "hey" shouts and unhurried horns embellish the mix; while, in equal measure, does the inverse 'Boleka', featuring respective vocalist and producer Toshi and Jephte Guillaume, work in the vivid vocals, cosmic guitar solos and diatonic chords that only a true lounge-grounded groove could muster.

Review: Romero Bros deliver a vibrant double-feature with Samba De Flora Parts 1 & 2, a limited 7" release on Echo Chamber Recordings. This dynamic single ventures into broken beat and nu jazz territories with flair. Side-1 presents 'Samba De Flora' (part 1), a lively track characterised by its tribal rhythms, prominent piano lines, and infectious Latin house influences. This reminds us a lot of Ian Pooley's energetic style from the Since Then album. Side-2 features 'Samba De Flora' (part 2), offering a more subdued take. This version highlights instrumental elements with a refined approach, creating a nuanced soundscape that complements its energetic counterpart. Both versions make this a versatile and enjoyable little 7".

Review: Dance, No One's Watching is a joyous celebration of the unifying power of dance. Written during Ezra Collective's world tour in 2023, which also saw them become the first jazz act to win the Mercury Prize, this album is full of vibrant energy, a complete sonic journey through a night out in the city, this album succeeds from the opening anticipation to the dawn's quiet conclusion. Recorded at Abbey Road Studios amidst a live communal celebration, Dance, No One's Watching resonates with love, music, and the infectious spirit of dancing. The band's dynamic compositions and rhythmic power are showcased in every track, making it a powerful addition to contemporary British music. The Deluxe 2 LP set on black vinyl, housed in a gatefold jacket with exclusive artwork and a fold-out poster, makes this limited edition the copy to have. Ezra Collective's are innovative with a unifying musical vision.

Review: The Mercury Prize-winning British jazz group returns this September with the greatly anticipated follow-up to the award-winning 'Where I'm Meant to Be'. The first jazz group ever to win the prestigious accolade, their unique blend of jazz, calypso, afrobeat and roots has carried over into the two singles 'God Gave Me Feet For Dancing' and 'Ajala'.The former features up-and-coming star Yazmin Lacey, whose sudden scouting has made her a necessary one to watch in the British soul scene. Interpolating Nina Simones's 1965 classic 'Feeling Good', the track proposes the group's manifesto of dancing not just as an activity confined to the club, but as a God-given ability - an act of spirituality and community. 'Ajala', by contrast, is a fast-paced afrobeat-cum-bebop jam named after the Yoruba slang for being unable to sit still. Lucky fans were able to hear the recording live at the 'Beyond the Bassline' exhibition at the British Library - with some of the live adlibs and crowd work being included in the single version currently on streaming. Pressed on an indie-exclusive deep red stain disc.

Review: To red and black splatter vinyl comes Nubya Garcia's latest full-length record Odyssey, out of which which a nascent batch of volcanic red jazz, dub and hip-hop fusions effuse. Produced by Garcia in collaboration with London legend Kwes, Garcia returns with Joe Armon-Jones (keys), Daniel Casimir (bass) and Sam Jones (drums), also enlisting the aid of such featured guests as Esperanza Spalding and Georgia Anne Muldrow. Leading with the felsic dance that is 'The Seer', across which what sound to be microtonal saxophone improvisations move across dark interregnums and moodily rapacious razzes, the ensuing album is equally as explosive and never settles or sets, despite its molten presentation.

Review: A strikingly unique dance music project from Nagasaki producer, DJ and sound director Keisuke Yamazoe, Aflex Combo has always been an impressive project, straddling several EPs stretching back to 2002 - and all centring, in the artist's own words, on heavy funk beats and obscure jazz and Latin grooves. Jazz Roomn Records now release his cover-remix of the underground club classic 'Hibaros', originally by B&G Rhythm (Donny Beck & Steve Gutierrez, featuring Bobby Lyle). Several unusual time signatures modulate across its A-sided, dancey groove - don't be fooled, things need not settle into a 4/4 repetition to be worthy of a ball - whilst B-sider 'Something Special' lets things slack a little more, letting several, live-recorded drum loops rest on top of one another, while a sort of glockenspiel/celeste-esque instrument tinkles over the top. Something special indeed.

Review: Nala Sinephro's latest full-length record, Endlessness, hears the London-based jazz and electronica musician dive deep into the fundaments of nature and existence. Via a decalogue of 'Continuums' - which begin slowly on a note of muted brass and serenely laggard drumming, the first of which rarely stoops to settle on any particular rhythm, more than indulging the not infrequent metric detour - the album swells into a slow but sure expansion in cosmic jazz, which not explicitly but implicitly elicits cosmic thoughts, universal ponderings that exceed the limits of single lifetimes.

Review: One year on from making history as the first ever jazz band to be awarded the Mercury Prize, Ezra Collective are continuing to pump out their sensational, unique blend of jazz, roots, afrobeat and calypso. 'Dance No One's Watching' is the highly anticipated follow-up to the aforementioned award-winning 'Where I'm Meant to Be'. Set to release in September, the two singles 'God Gave Me Feet For Dancing' and 'Ajala' set the bar high. The prior is a jazzy, drum-led groove backing the buttery smooth Yazmin Lacey, a name to watch in the soul scene (famously she was scouted after being persuaded to sing on a drunken night out.) The track is a sunny interpolation of Cy Grant's 'Feeling Good' (though let's face it, Nina Simone truly made that record) with a quintessential British soul sound that brings to mind the stylings of Greentea Peng, early Jorja Smith work etc. To boil it down to 'easy listening' would feel reductive but, my God, it's easy on the ears for sure. Single number two, 'Ajala' is quite a stark contrast. Incorporating the hectic feeling of bebop classics, it's a blaring and fast-paced brass session with some great high-tempo percussive afrobeat. Taking its name from the Yoruba slang for fidgety, derived from the Nigerian journalist who one day decided to travel the world on a moped, the track does just that: it begs you to get up and move. If these two tracks are anything to go by, the world is set for a future award winner this Autumn.

Review: Released in the wake of Tony Allen's death, Lagos Paris London is the latest full-length record by Foals' Yannis Philippakis in collaboration with the late great drumming legend. The Yannis And the Yaw project finally emerges after years of fan-teasers revealing Philippakis to have been working with the acclaimed Fela Kuti bandmate and Afrobeat pioneer in the studio; after Allen's death in 2023, the likes of 'Walk Through Fire' and 'Lagos Paris London' effortlessly blend the sounds of Afrobeat and post-punk, bridging the spirits of each while unexpectedly swerving from the duo's initial impulse to produce a nostalgic record.

Review: Acid jazz pioneer - and "acid jazz" coiner (!) - Chris Bangs returns with a brand new album for 2024, 'Dream World', which follows on from his early 2023 release 'Firebird'. Corralling his friends - Argentine keyboardist Luciano De La Rosa, Italian Massimo Morganti on trombone, Chile's Juan Pi Salvo on trumpet, and Fabio Tiralongo on sax - together for a supergrouped set of nine Bangers, Dream World hears the artist transcend borders in a mondialised fashion, in doing so paying homage to many of his inspirational greats such as the Mizell Brothers, Wayne Henderson and George Duke, whom together produced the joint groundwork for the latter-day genre.

Review: For every artist who reaches immense heights early into their career, a second album brings much anticipation, and the exceptional tenor saxophonist Nubya Garcia's Odyssey, is no exception. Musicians of the calibre of Garcia and her band have been honing their craft forever, and like this double album's name, all musically travel long and hard paths... Those that arrive at Garcia's deliciously distinct compositions on the legendary Concord Jazz record label, home of that other pioneer Esperanza Spalding, who guests on 'Dawn'. Garcia's luscious orchestrations fuse jazz with d&b, Latin, r&b, dub and beyond, in thoughtful syncopations and intriguing harmonics that speak of journeying. So, relish the funky intro of 'Set it Free' and Garcia's sultry tones with Richie's sweet and endearing siren-like vocals... On 'Seer' enjoy Garcia's precision, locked in heavenly reverbs and echoes playing off Jones' junglism and Armon-Jones' keys in a free jazz blast, and on 'Clarity' let Garcia, with her sisters-in-brass Maurice-Grey and Turton interweave Casimir's Bass in a luxurious cinematic embrace. Garcia with Kwes produce this adventure, one that undoubtedly will receive even more accolades. Odyssey, an album for lovers of all manifestations of jazz excellence to collect and treasure.

Review: Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP Halfway Somewhere, released on Gilles Peterson's Brownswood Recordings. Led by lead single 'Circles Going Round The Sun', which proffers a watery, spiritual jazz-dance exposition through which the raspy vocal humours of the group's founder, Rob Gallagher, waxes poetic about the meaning of getting together for a boogie in the club. Where the somatic essence of the night might otherwise be resigned to experience alone, Galliano defy the unfortunate tendency for philistinism among dance music enjoyers in favour of a consistent spoken-word throughline; this is what the group have done since the 1980s, when they arrived as the first act on Gilles Peterson's Talkin' Loud label in 1990, with 'Welcome To The Story'. Their first full-length record to emerge since their first album, Live at The Liquid Room (Tokyo), released in 1997, Halfway Somewhere is a triumphant yet latent return for these essential players.

Review: Expect a stellar line-up from the realm of 'modern electronic jazz,' featuring long-time collaborators Jessica Lauren and Ben Hadwen (on tenor sax, bass clarinet, and flute), alongside Twm Dylan (upright bass), Peter Zummo (trombone), Sarathy Korwar (Tabla), Magnus Mehta (congas/percussion), Raimund Wong (Yamaha MT400/electronics), and Nick himself on drums, percussion, vibes, and synth. The album offers four standout tracks: 'Spice Routes' delves into deep bass-driven space jazz with Ben's sax and bass clarinet leading the charge; 'Messimalism (Above Thought)' is a fusion of space jazz and dub; 'Paradox' invites listeners into a rich soundscape of gong baths; and 'Pathways to Presence' stands out with its expansive, 18-minute exploration, blending elements of Art Ensemble of Chicago and Kahil El Zabar's Ethnic Heritage Ensemble, along with a hint of early Cinematic Orchestra vibes. Fans of influential DJs like Patrick Forge and Michael Ruetten are particularly excited by this release. The album reflects Emanative's collective spirit, drawing on jazz traditions while forging new paths. With connections to Sun Ra Arkestra and Tribe jazz royalty, and a sound reminiscent of Carlos NiNo & Friends, this album is a significant addition to the genre. In terms of missing elements, it's notable that Liz Elensky, Nick's partner of 25 years, is not involved, which might be a point of interest for those familiar with his personal history.

Review: Bremer/McCoy's latest offering, Kosmos, transcends mere musiciit's a serene voyage into a realm where time and space dissolve. Jonathan Bremer's resonant double bass and Morten McCoy's keys, intertwined with tape delay, weave a tapestry of ethereal melodies and contemplative rhythms. Named aptly for its expansive, dreamlike quality, Kosmos delves deep into landscapes, where words are unnecessary. Bremer/McCoy's approach, honed over 15 years of collaboration, blends airy improvisations with carefully crafted compositions. Each track unfolds like a silent conversation, where music becomes a universal language of connection. Their sound, evolved from dub roots, now resonates with a profound sense of freedom and tranquility. It's evident that Kosmos is more than an albumiit's a statement of harmony and introspection amid turbulent times. McCoy and Bremer's ability to channel emotions into musical narratives is profound; each song feels like a trip of discovery, unfolding organically yet purposefully. For fans of meditative jazz and those seeking solace in sound, Kosmos offers sheer sanctuary.

Review: Freak The Speaker marks a vibrant evolution in The Allergies' sound, showcasing their deep-rooted love for diverse musical styles. Producers Moneyshot and Rackabeat have upped the ante, delivering their biggest beats yet and enlisting an array of talented MCs and vocalists to bring their vision to life. Afrobeat star K.O.G. injects energy into the lively 'Koliko,' while Ohmega Watts delivers sharp, impactful verses on the hard-hitting 'No Flash.' UK rappers Dr Syntax and Skunkadelic trade dynamic bars over booming 808s on 'My Own Way,' and Dynamite MC shines on the soulful, infectious 'One Time.' Fans of The Allergies' signature funky, sample-heavy production won't be disappointed. Tracks like 'Let Me Hear You Say' channel vintage roller disco vibes, while 'Knock Me Off My Feet' is a 60s soul-inspired banger that's already garnered praise. Andy Cooper of Ugly Duckling brings his trademark flair to his features, complemented by the lively contributions of saxophonist James Morton and soulful singer Marietta Smith. Freak The Speaker is a celebration of music's global diversity, wrapped in The Allergies' unmistakable style.

Review: Ishmael Ensemble's third album, Rituals, marks a major evolution for the Bristol-based group. While often associated with the 'new UK jazz' scene, their fusion of live instrumentation and electronic elements extends far beyond that label in truth and now this release pushes their sound further than ever. It blends spiritual jazz, dub, experimental, and electronic styles into powerful, swirling soundscapes that work as well on the head as they do heel. The tracks are more notably song-focused and accessible but still deal in a psychedelic mix of textures, colours, and moods. Rituals is a truly boundary-pushing work of great ambition and is this vital group's best work to date.

Review: Big Crown Records presents Dave Guy's debut album Ruby. Riffing on the vapour trails emitted from past collaborations with the likes of Amy Winehouse, Lizzo, Pharrell, and Sharon Jones - and last but not least, a former membership of The Roots - Guy's solo output is a testament to his fine skill as a blissful soul producer and composer. An homage to his home parish of Queens, New York, this record was recorded in the bottomless sonic quarry that is the Diamond Mine studio. Through anthemic trumpet lines, boxy but punchy hip-hop backings, two-chord guitar lilts and triplet-time detours, Guy weaves a intricate instrumental tapestry replete with double-folded hems and flourishing handwoven cadences, one that would surely make Arachne blush.

Review: Galliano's return with Halfway Somewhere marks a significant moment in the resurgence of acid jazz. Led by founder Rob Gallagher, the band delve into the essence of club culture with their first single, 'Circles Going Round The Sun,' exploring the transformative power of dance. Referencing cultural icons like Andrew Weatherall and David Mancuso, Galliano capture the spirit of London's underground scene from the late 80s, blending music, dance, fashion, and art. With their debut on Gilles Peterson's Talkin' Loud label in 1990, Galliano epitomized reinvention, embracing a fusion of influences from Jamaican style to spoken word records. Now, more than three decades later, they return with a refreshed lineup, drawing inspiration from the global jazz scene. Halfway Somewhere reflects Galliano's evolution, responding to the dynamic landscape of contemporary jazz while retaining their signature sound. With contributions from longtime members and guest artists, the album embodies the band's enduring spirit of experimentation and joy. As they navigate this new chapter, Galliano proves they're still on a journey, but one filled with excitement and creativity.

Review: Rob Gallagher and company make up Galliano, the trailblazing jazz and broken beat supergroup, active at least since 1997 andrenowned for their contribution to the musical landscape across the difficult-to-bridge gaps between music, fashion, spoken word and a concern for current affairs. Having staked their claim to their portion of the jazz and electronica pie as early as 1990, when they first appeared on the scene via Gilles Peterson's Talkin' Loud label, Galliano have gone down in memory as a pioneering acid hip-jazz act, "capturing a scene (then) built on re-invention", in the words of Brownswood. Now the five-piece collective once again moves at one, synergising over a nineteen-track opus, three decades on from their debut, recalling the (literal) quintessence of London's down-in-history acid jazz scene.

Review: The Alex Santos Orchestra is a self-described "orchestra" orchestrated for the express purpose of sanctifying one Alex Santos' lifelong love for jazz and Latin music. Following the much loved 'Alex Santos Y Su Orquesta', 2021's next step in Latinizing said quasi-conceptual ensemble, we've now landed in the project's live ambit. 'The Alex Santos Orchestra On Tour' captures just two live highlights from a much more recent outing (given the mystification surrounding the project, this may or may not have happened). Whatever the case, these recordings span both potentialities, retaining something of a highly-strung Hammond organ come upfront-drumkit drama on the B-side, 'Mr Clean', and an equally stirring version of the main theme from 'The Godfather' on the A.

Review: If Music presents: You Need This! An Introduction to the Handson Family from the legends at BBE is a must-have double album that highlights the rich heritage of Black music, not that we really needed reminding of course. Compiled by London DJ duo the Handson Family, this collection features tracks from plenty of key artists such as Emanative, Ty, Cecilia Stalin, and Xantone Blacq and across all 14 songs, the diverse sounds and styles of recent Black music are laid bare and offer an educational experience in Black music genres while also capturing the essence of the duo's influential DJ sets and radio shows.

Review: Tenor saxophonist, bandleader and composer Nubya Garcia returns with her sophomore album, Odyssey, her second release on the Concord Jazz imprint, out in September 2024. Backlit by a decidedly crimson red, Garcia comes back by the likes of Kwes. and Joe-Armon Jones for a full dozen tracks of epical spiritual jazz travails. Laconic yet ipso facto expressive, Garcia remarks of the record that she felt that it ended up 'transversing so many things'; rather than settling on just one universe as a homeward base, Garcia finds freedom in the continual movement between universes. Led by the tense but no less joy-inflective 'The Seer', on which moods of broken jazz, and that of a treacherous but sagacious journeys, is evinced, Odyssey kicks things off on a larger-than-life note.

Review: IRMA has assembled a trio of top remixers here to add their own spin to some fine originals from Bright Magnus. Up first is the LTJ Xperience remix of 'Jungle Corner' and it is a low slung and steamy funk number with loose shakes of a tambourine and languid bass riffs drawing you in. 'Selim/Miles' (DJ Rocca 606 remix) is a blend of smeared synths and woozy guitar riffs over more lush downtempo beats that make it perfect for the midnight hours. Last but not least is 'A Way' (DJ Rocca Black Satin remix) which is a more psychedelic sound thanks to the drawn-out synth percolations that stretch through the mix.

Review: Embarking on a reissues campaign of lo-fi hip-hop pioneer Nujabes' earliest material, Hydeout Productions share a new edition of the storied producer's second record, Modal Soul. In contrast to his debut Metaphorical Music, Modal Soul is the full-length that really took the world by quiet storm. Laid down after both the solo debut and the release of two Samurai Champloo soundtracks, Modal Soul marked a return to source, and is another testament to what Nujabes did best. Most hip-hop fans will preconsciously, instantly recognise the central, flourishing piano movement of the opener 'Feather', which sticks to the four-bar formula whilst inviting fellow rappers Cise Starr and Akin to wax freely, the central theme being lightness of being: "drifting away like a feather in air / Letting my words take me away from the hurt and despair". The maudlin mood is kept throughout, with cumulative standouts such as 'Reflection Eternal' having also inscribed themselves in collective memory, and more swung experiments like 'Sea Of Cloud' showcasing Nujabes' slowly but surely disclosing a skilful abstraction of breakbeat roots.

Review: Nautilus' second European tour is just kicking off and now, ahead of their new album Pacific Voyage, a special 7" single has emerged. This gem features a track that didn't make the album cut due to time constraints but now shines and has you wondering just how good the album. The A-side has a jazzy rendition of Leon Ware's soulful classic 'Why I Came To California,' sung by Californian vocalist Eki Shola and supported by Denise M'Baye. Their fresh vocals, combined with Nautilus' vibrant instrumentation, create a contemporary take on the original. The B-side features a funky remix of Bobby Caldwell's 'What You Won't Do For Love' by Soul Supreme that showcases rising Japanese star Ryuto Kasahara.

Review: The Ballistic Brothers are back with another reissued nine-track dose of bare but big breaks belligerents. This cult '90s supergroup emerged from the steaming manhole covers of the London hip-hop underground - as the saying goes, "if you were part of any clubbing tribe in the early/mid 90s, you will have danced to the Ballistic Brothers". Made up of Darren Rock, Darren House, Ashley Beadle, David Hill and Uschi Classen, the bulk of their fame wafted forth from a swathe of surreptitious vinyl releases that took the record-digging community by storm at the time, yet which also invited much speculation as to their original membership (the wonders of the internet weren't so readily available back then). A variegated selection of tracks culled from many a different EP, we're compelled to recall a golden time when breakbeats weren't so brash, and in fact served as rhythmic accompaniments to a set of otherwise beauteous atmospheres. Cases in point include 'Save The Children', which combine trippy pan-pipes and funky organ with a theme of charitable concern, and 'Blacker 94 EQ', which impresses us yet more with its acid jazz breakouts and electric piano solo and which makes stark use of the suspenseful string line endemic to the sound.