For me, 2024 has been an interesting and diverse year of jazz. I've been bombarded with a great amount of material from far-flung parts of the world, including an enormous amount of Scandinavian sourced material. as well as Latin American material. Major label output has for me, by and large been rather dull, with only a couple of exceptions. That's why this list is full of, possible unknowns prior to 2024, and why I find the whole question of 'What is jazz?' so facinating.
5. Ezra Collective: Dance like no one's watching.
They've clearly been very creative, which in part, I suppose, why this is a double album. It's packed with tunes of various tempo's and draws on lots of contemporary themes and issues. The sleeve notes amplify the sense of direction. You can approach the album from all sorts of different ways, possibly start by listening, but, horror upon horror, I found myself dancing along to it.. It does say on the inner sleeve "Written for the dancefloor" which seems to sum it up. Joyous and uninhibited with a strong nod to its Anglo Carribbean roots.
4. Etienne Charles: Creole Orchestra.
The funding for this was American, but the album is another reworking of an American genre given a subtle Caribbean twinge. Tunes range from the almost traditional, Monty Alexander to Jimmy Forrest, but supplemented by some self compositions from Etienne Charles. It all comes together beautifully driven along by what really is a big band. Some outstanding vocals from Rene Marie. Best summed up by the sleevenotes from the producer/arranger when he writes "Wow. A big band record, A dream come true". It's really good!
3.Resolution 88: Vortex.
What I think jazz funk in the 21st century ought to sound like. They're British and I was lucky enough to get an advance copy.. Basically a quartet, but augmented by a woodwind player and a vocalist. They make great use of a polyphonic synthesiser but adhere to the original funky basis of home grown funk. All the compositions are by Tom O'Grady the keyboard player, one is an instrumental and one a vocal track. I'm hoping that there will be a follow up, but this is worth getting into if you haven't heard it.
2.Charlie Pyne Quartet: Nature is a Mother.
Charlie is the bass player in this excellent set with Katie Patterson on drums, Luke Pinkstone on Tenor Sax and Liam Dunachie of keybords. The songs are all Charlie's and it's a set of reflections on humanity, the Universe and constraints on working life. It's beautifully recorded, the song writing is strong and it's a really excellent example of where (British) jazz can go. Probably the most played album on the show so far this year, but see also my footnote below.
You'll notice that this is mainly a cut and paste job, but even after all the listening I love it. I'm hoping we might be able to fix up a date for the band in 2025.
1. Muriel Grossman: Devotion.
The first ever release on Jack White's new label this a double album set and it gives the band space to stretch out over 7 tracks. She's a sax player, but the trio of guitar, bass and Hammon organ are no mere by standers. In some ways it's redolent of some of the extended seventies jams that bands used to indulge in, but this is much more nuanced and controlled. Sometimes difficult to programme - especially as the longest track is 22 minutes long, but it's been worthwhile to play at least four of them during the year. If you haven't heard it, choose a track, sit down, listen (preferably on a big system or good earphones) and find out, if you can, why it's my number one for 2024.
Two final bits of information.
Most played track of the year:
'No confusion' by Ezra Collective from the album 'Where I'm meant to be'. It has a long way to go to catch up with the two front runners, respectively 'Idle Moments' by Grant Green and in front 'Abusey Junction' by Kokoroko.
Label of the year:
Ubuntu Music: They have released the most eclectic mix of material and most of it doesn't fall into easy categories; this suits the ethos of the edge of Jazz really well!
Worthy mention for Mack Avenue Records.
