Jazz Recommends Jazz Best of 2018

Review: There's a growing feeling both inside and outside jazz that Kamasi Washington could well turn out to be one of the style's all-time greats. He's certainly making all the right moves, delivering thought-provoking concept albums of eyebrow-raising length that simply refuse to settle on one sound, rhythm, style or sub-genre. Heaven & Earth, his first album for almost three years, continues this trend, comprising angry instrumental answers to America's growing issues with class division and racism, Rotary Connection style workouts, Sun Ra-esque spiritual workouts, funk and soul-influenced burners, spiraling choral and orchestral affairs, and electric fusions of rubbery synth-funk and mind-altering jazz-blues. Typically, the results are never less than sublime, with Washington's virtuoso saxophone playing taking centre stage throughout.

Review: Since it was finally pressed on vinyl in 2015, it's been hard to find copies of Matthew Halsall's fourth album, Fletcher Moss Park, a set which first surfaced digitally back in 2012. This repress is undeniably overdue, in part because it remains one of the trumpet player and bandleader's most well-crafted full-length excursions. Beginning with waves of twinkling harp sounds, gentle piano and lilting trumpet solos, the album's mood is largely smoky, laidback and melancholic, despite the presence of a number of more up-beat numbers. This is no criticism though, because the combination of expressive playing, atmospheric production and partly pastoral instrumentation (there are nods to folk amongst the jazz) is certainly a winning combination.

Review: Jazz fans take note: Both Directions at Once: The Lost Album more than lives up to its name. It features previously unreleased recordings by the late, great John Coltrane and his regular accompanying players (pianist McCoy Tyner, bassist Jimmy Garrison and Drummer Elvin Jones). The reels of tape the tracks were salvaged from were dated 1963, around the time that the quartet laid down some of its most forward-thinking work for the legendary Impulse label. Much of the material consists of original Coltrane compilations, though there are a few notable covers (including a great version of jazz standard "Nature Boy") dotted throughout. As you'd expect, Coltrane's performance is incredible from start to finish.

Review: Earlier this year, Moses Boyd finally fulfilled on his immense promise with Dark Matter, a sophomore set that cemented his position as one of UK jazz's top talents. On the back of that success, his 2018 debut, Displaced Diaspora, has been given a fresh vinyl pressing. For those who missed out first time round, the album is a collaborative affair, with numerous guests joining in with Boyd's distinctively eclectic fusion fun. Afro-brass outfit Kevin Haynes Grupo Eleggua make a huge impression on a number of tracks, Zara McFarlane provides a sensual, sumptuous vocal on the classic late night jazz smokiness of 'City Nocturne' and Terri Walker and Louis V rise above the organic, jazz-fuelled hip-hop soul brilliance of 'Waiting On The Night Bus'.

Review: Chip Wickham, who usually goes by the first name of Roger, returns to Madrid's excellent Lovemonk label with a mini LP to inaugurare the start of summer, which means a start to some pretty killer shades of balearica! In fairness, however, this album and the man's sound are much more in line with the jazzy end of the spectrum, breaking beats and forming new, forward-thinking arrangements. For instance, the opening "Shamal Wind" is a wonderful excursion into dreamier realms of the flute, while "Snake Eyes" picks up the tempo and makes way for an album thy can be plaid on your headphones, out on the car speakers, and most certainly in the dance! A wonderfully composed piece of music from a rising talent of true broken beat.

Review: BBE latest "deep dive" into a widely underappreciated style focuses on a particularly fertile period in the history of Japan's "contemporary jazz" scene. Curated by renowned Japanese jazz diggers Tony Higgins and Mike Peden, J-Jazz focuses on material recorded and released between 1969 and '84, a period the label says represents a "golden age" for jazz in Japan. The compilation is both a serious history lesson and hugely enjoyable to listen to, featuring a mixture of U.S-influenced jazz-funk, fusion, post-modal and deep, spiritual improvisations. Naturally, all of the material has never been released outside of Japan before, with the vast majority of tracks being either ludicrously rare or sought-after. Simply essential, all told.

Review: For one reason or another, this is Emanative's debut for London's Jazzman imprint, with the artist having touched most other like-minded labels thus far. Better late than never, we say! It also marks Nick Woodmansey's fourth studio album to date, having travelled through Space and Time, and now landing firmly on Earth. As you'd expect, mystique and experimentation are very much a core part of this LP, morphing at every turn, shifting unpredictably amid jazz flutes, deep cello bass, and a supremely sporadic drumming aesthetic that perfectly encapsulates the 'free' element of jazz. The electronics play a part too, however, adding a noticeable aura to an already atmospheric selection of sonic patterns. A beauty, from start to finish.

Review: Melbourne musician Lance Ferguson is one hell of a talent, seemingly able to turn his hand to almost any style with predictably impressive results. Although best known for his role in funk combos the Bamboos and Cookin' on 3 Burners, he's also delivered loose and languid broken beat as Lanu and jazz with Menagerie, an expansive outfit that first appeared on Tru Thoughts in 2012. Here he reconvenes the musical ensemble for a sophomore set heavily influenced by the "post-Coltrane" modal sounds of legendary labels Strata East, Tribe and Black Jazz. As you'd expect, the whole thing is impeccably played and produced, with occasional forays into jazz-funk and soul-jazz territory amongst the more traditional-sounding contemporary jazz compositions on show elsewhere on the album.

Review: Serious jazz-funk collectors have long known about the stargazing charms of Senora's self-titled 1981 debut album, with copies of the rare German album changing hands for serious sums of money online. Happily, Growing Bin has decided to reissue it, allowing a whole new generation to discover its eccentric but hugely entertaining charms. Across the album's ten tracks you'd find sparkling, synthesizer-heavy jazz-funk dancefloor workouts, samba-infused summer shufflers, heart-aching piano jazz pieces, slick and sensual laidback groovers and - in the case of the obscure band's signature tune, "Senora" - wild and thrilling jazz-rock heaviness. In other words, it's an overlooked classic that's well worth a place in your record collection.

Review: For the latest instalment in their long-running series chronicling the story of "modal, progressive and esoteric" jazz, the experts at Jazzman Records have turned their attention to the under-appreciated Japanese spiritual jazz scene. While Japan has always had a thriving jazz scene, many of the greatest records have never been released outside of the country, making this double-album - the second of two parts - something of an essential purchase. There's certainly plenty to enjoy, from the riotous brilliance of Four Units' fine revolutionary cover of folk standard "Scarborough Fair" (complete with killer drum solos) and the high-octane, rock and Blaxploitation funk-influenced madness of Keitaro Miho's "Kikazaru", to the frenzied free-jazz brilliance of Kiyoshi Sugimoto's "Babalonyian Wind".

Review: On his latest full-length excursion, British jazzman Nat Birchall has taken the bold move of replacing a piano with a harmonium. The move is reflective of his growing interest in the drone-heavy sound of Indian classical music, with the Harmonium's wheezing, modulating, held-note sound adding an authentically meditative feel to the album's raga-inspired spiritual jazz movements. Naturally, there are harmonium solos, too, and these dizzying, accordion-esque interludes, combined with freestyle drum solos, Birchall's distinctive sax playing and adventurous double bass parts, help to create a genuinely psychedelic and spiritual mood. It's adventurous stuff, but also hugely engaging and entertaining.

Review: Amongst jazz aficionados, Miles Davis's Rubberband album is regarded as one of the genre's "lost classics". Although recorded in 1985, the set has never been released. We're promised it will finally appear later in the year. First, as a taster, we're treated to an EP that accompanies the legendary title track - a dexterous and squeezable chunk of '80s electrofunk blessed with some fine soloing from Davis - with three new "Rubberband of Life" versions. These feature vocalist Ledisi and re-cast the track as a dusty, Fugees style chunk of New York hip-hop soul. While radically different in the best possible way, all three versions (radio edit, extended and instrumental takes) prominently feature the legendary trumpet player's meandering lead lines.