Jazz Recommends Jazz Best of 2022

Review: Brazilian jazz vocalist Tania Maria is a true icon with a huge back catalogue of music behind her, but of course it sometimes helps if a diligent digger weaves a path through the reams of albums and pulls out a couple of the best. That's just what Soul Brother have done with this 7", looking back to Maria's 1983 album Come With Me and lifting a pair of pearlers for a fresh walk in the sun. 'Come With Me' is a sundown slinker, with Maria's airy tone gliding over the sprightly piano chords while on the flip 'Lost In Amazonia' is a joyous, scat-powered slice of jazz funk with incredible slap bass flex.

Review: Originally out in 1970 on his own self-titled album, Arthur Verocai's "Sylvia" is a peach of a song, one of those sweet and bubbly percussive tunes that blur the lines between modern civilization and the jungle. The Brazilian composer's music has been heavily sought-after in its original format, and Mr Bongo delivers here in fine style with another killer from the LP, "Na Boco Do Sol". Fans of Marcos Valle will appreciate this one for the slow magnetic waves permeating from just about every angle on the record.

Review: Since debuting in 2018 with a tremendous cover version of Todd Terje nu-disco fave 'Inspector Norse', Japanese duo Cruisic have proved particularly adept at delivering dancefloor flavoured jazz and jazz-funk takes on classic cuts. Jazz Room boss Paul Murphy has spotted this and has decided to offer-up a double A-side featuring two of his favourites from their slim but impressive catalogue. On the A-side you'll find their 2019 version of Azymuth's 'Jazz Carnival', a breezy, gently pitched down, sun-splashed take that turns it from a high-octane thriller into a carnival-ready jazz-funk shuffler. Turn to the flip for the pair's arguably even better cover of 808 State's 'Pacfific 707', which they successfully re-imagine as a head-nodding Balearic jazz-funk gem. In a word: essential!

Review: Roy Ayers staked a bold claim by flaunting the fact that he had 'Reach[ed] The Highest Pleasure' back in June '77. Unfortunately for us back then, this lifetime hedonistic milestone - documented in instrumental funk form - was shelved for reasons unknown beyond simple artistic oversight. As said, this slick solo instrumental for drums, bass and vibraphone is a perfect soul-jazz, chillout trifecta, one for the rarities collectors.

Review: Sample spotters will have a field day here, by identifying the A-side 'Diana' as the source for tracks by Jay Dee , Madlib, Primo, Buckwild, as well as being instantly recognisable as J DIlla's choice of main hook for Slum Village's 'Fall In Love'. On the flip we have 'Free', ain edit of 'Free Again', which is a jazz cover of a Barbara Streisand song from 1966 - or that sample from Ghostfacedkilla's 'IRON Theme'. Both tracks are of two stand out tracks from the Gap Mangione Trio's 1968 LP Diana in the Autumn Wind. And here's a novel idea for you all - you could even skip the notebook scribbling and just take some pleasure from their lush orchestrations and properly effortless swinging big band jazz if you were so minded! Stranger things have happened.

Review: Coming quickly of the release of the single in March, newcomer jazz-funk band Surprise Chef's 'Velodrome' get a limited 7" acetate release by their label Big Crown. Backsided on the B with the track 'Springs Theme', this is a laid back, easygoing instrumental piece, with a heavy drum break and an earworm synth line guaranteed to have you humming it long after the song is over.

Review: Although he began his career as an 11-year-old prodigy back in 1990, it took Brazilian multi-instrumentalist and producer Erik Escobar until 2020 to deliver a debut solo album. Last year he joined Ten Lovers Music to deliver a follow-up - a full-length collaboration with Stretto - and here returns to the label with his latest project: a 'new Brazilian trio' that draws inspiration from a combination of jazz-fusion, samba-jazz, jazz-funk and spiritual jazz. It's a brilliant EP all told, with highlights including the high-octane brilliance of 'Samba For Petrucciani', the carnival-ready excellence of the Azymuth-esque 'Arcanjo Miguel', the jazz guitar sporting laidback vibes of 'Change of Plan' and the colourful jazz-funk of 'Maracana Funk'.

Review: Chris Bangs is actually credited as being the man who coined the term 'acid jazz' and here he shares this new Acid Jazz 7" with Mick Talbot who was of course a founding member of the Style Council. Together they serve up a brace fo brilliantly cheeky but functional jazz cuts to get dance floors in a spin. 'Sumthin' Else' has an almost samba shuffle and plenty of florid trumpets lighting up the busy groove. 'Wiggle Wiggle' then goes direct for your ass with its raw boom bap and noodling chords all finished with some big horn work

Review: Master grade edit kings and beat makers Black Cash & Theo AKA Thelonious Beats have a vast catalogue of essential sounds and much of it comes on their Galaxy Sound Co home label in the USA. Their latest is a remastered and limited 7" pressing of the glorious Red Tribe. The title tune is a jazzy number with slow motion beat jumbles and some superb chords and busy as you like guitar leads. On the flip is an edit of 'Peaceful' that comes on slowly but eventually has you in a nice groove with its funky bass and dousing of chords.

Review: Unlike previous instalments in the 180g label's Wamono series, this isn't a compilation in the strictest sense of the term, but rather a retrospective. It showcases a range of killer jazz-funk and rare groove tunes recorded at Nippon Columbia studios in the mid 1970s by arranger Kiyoshi Yamaya, koto legend Toshiko Yonekawa and shakahuchi master Kifu Mitsuhashi. Highlights come thick and fast throughout, from the mellow, slow-burn lusciousness of 'Nanbu Ushioi-Uta' and the up-beat, guitar solo-laden brilliance of 'Hohai-Bushi', to the all-time Japanese jazz-funk classic that is 'Saitaro-Bushi' and the solo-laden brilliance of 'Asadoya Yunti', whose dazzling Fender Rhodes solos are reminiscent of the early '70s work of the late, great Billy Preston.

Review: Lady Blackbird is the first singer to grace Foundation Music, and you'd best be paying attention to this vital new voice in the realm of soul jazz. Hailing from LA and blessed with a smoky voice to rival some of the greats, one listen to 'Blackbird' is all you need to be utterly captivated. The sultry playing from Deron Johnson, Jonathan Flaugher, Jimmy Paxson and Troy Andrews perfectly matches Blackbird's arresting voice, gliding between stormy explosions and the softest of touches to match the mood. Black Acid Soul is perhaps the perfect description for the music, shot through with a streak of 60s psych but taking it to some dark corners - a true expression rendered in sumptuous, noirish hues.

Review: This is a classic bit of little known but vital British jazz fusion with a rather beguiling cover. It was first written in 1977 and has become super rare in the years since. Only a few originals have ever been found so they cost a small fortune. It was pressed by a little known label that didn't do much marketing so the record siding get the props it deserved at the time. It will now though because it is a super cool listen that goes from dark to funky to library with atmosphere and introspection to spare. Barbara Thompson was one of the few talented musicians who made up the band.

Review: When we first reviewed "Girl & Robot With Flowers" back in 2012, eight-piece combo The Greg Foat Group was still a relatively unknown quantity. Since then, they've gone from success to success, releasing a string of inspired albums. Even so, "Girl & Robot With Flowers" remains one of their most stunning sets, as this re-press proves. It boasts quietly beautiful moments inspired by classic film soundtracks ("Girl & Robot With Flowers Part 3"), straight-up late night jazz movements ("For Breath A Tarry", "Cast Adrift"), and breezy, vibraphone-heavy '60s grooves ("The Girl & Robot With Flowers Part 5"). Throughout, it's beautifully played and lovingly produced, with Foat's impeccable piano playing taking centre stage.

Review: The vast and ongoing Blue Note reissue series continues apace her with organist Ronnie Foster's Two Headed Freep album. Foster was a master collaborator who worked with everyone from George Benson to the Jacksons to Stevie Wonder (an in fact played the keys on Songs In The Key Of Life.) But it was his work on Grant Green's funky live LP Alive! in 1970 that caught the attention of the Blue Note boss who tapped him up for this label debut two years later. It is a vibrant seton tunes with five originals as well as covers of the likes of Al Green. Kevin Gray has mastered it from the original tapes and it has been pressed on 180g vinyl at Optimal.

Review: The great Alice Coltrane was already widely revered by the time she released her third solo album Ptah, the El Daoud. It was written and recorded in 1970 in the basement of her house in Dix Hills on Long Island, New York and is noted for being the first record she made with horns. They are split between the two channels with Pharoah Sanders on the right bringing his abstract and transcendental sounds and Joe Henderson on the left bringing the intellectual vibe throughout. The post-bop sounds find Coltrane playing piano and harp receptions at the time were warm critically and with fans. The otherworldly sound is drenched in blues and perfect for some mindful meditations.

Review: Acclaimed French DJ, producer and multi-instrumentalist with FKJ has long been a favourite amongst lovers of jazz, soul and broken beat. His first album French Kiwi Juice from back in 2017 took us deeper than ever into his unique world and along the way he paid homages to his inspirations with a real sense of musical maturity. It is a warm, sensuous place to be even now with elements of contemporary jazz, synth-pop, nu-disco, funk and more all taken in and churned out. This limited edition reissue is well worth picking up.

Review: Kokoroko have been on all world music lovers' radars since their very first and very impressive EP on Brownswood back in 2018. Now we are treated to an expansive and adventurous debut album on the same label that sees the group build on their great early start. Could We Be More has been preceded by new single 'We Give Thanks' and draws plenty of inspiration from the highlife and jazz sounds of West Africa, the Afrobeat and psych-funk sounds of the 70s and plenty of modern broken beat styles. Each tunes swells with emotion and evokes good times.

Review: Late, great Japanese guitarist Ryo Kawasaki is behind this classic bit of jazz-funk fusion from 1976. It was recorded originally in New York and now gets a reissue form the hard working Mr Bongo crew. It is a record that has picked dup cult status over the years for those looking for samples and has been pillaged by everyone from Diamond D, Puff Daddy, and Kool G Rap. Playing on the sessions were drummer Jimmy Young as well as rhythm guitarist Hugh McCracken and bassist Stu Woods who all help bring every track to life.

Review: There are few jazz albums as universally adored and significant as Blue Train. That's no exaggerated remark - it's a record imprinted on 20th Century culture, albeit just one of Coltrane's many incredible works. As part of their continued Tone Poets series, Blue Note are revisiting this landmark and giving it a grand presentation under the banner of The Complete Masters. That means, as well as the official recordings that make up Blue Train, we're also treated to a second disc of additional takes which give you a whole new perspective on these eternal treasures, from a false start of 'Blue Train' to multiple takes on 'Moment's Notice' and 'Lazy Bird'.