Lamentably this is the first blog of 2026. It's been a curious start to the year for The Edge of Jazz which has taken a back seat (so far!) to 'other business' that I ought to mention.
Firstly there was the East Devon SSDAB launch, which should have been easy, but for reasons that had to do with Christmas, much of the equipment coming from Holland and getting stuck in customs (and laying aside all my thoughts that we out to be closer to the EU) and then having to cope with what was not ideal weather in which to raise aerials in darkest East Devon. Awliscombe on a wet windy day is not a place of enormous joy! However much to out delight it all got approved by Ofcom, our regulator and was switched on to bring the delights of, amongst others, Phonic to people in and around Sidmouth and Honiton. We do hope that it'll be possible to expand further, but this depends on funding and demand.
Secondly was the decision of the main shareholder in Exedab to sell out, lock stock and barrel to the Nation Radio group. This means building an entirely new set of relationships and trying to protect the interests of Phonic, not only as the second biggest shareholder, but also as a minority shareholder in Plymdab. At the same time we failed to come an amicable arrangement with Tordab, so no longer broadcast to Torbay - but watch this space for plans for further expansion elsewhere.
So what about Jazz?
So far it's not been a classic year, but these are the albums that I've enjoyed during the first part of the year.
Filin: Melissa Aldana.
Not much like her other albums this is built round the Cuban musical movement from the 1940's where 'Filin' is a particular a feeling. Much aided by some excellent piano from Gonzalo Rubalcaba and a very tight rhythm section and aided vocally by Cecile McLorin Salvant it provides a laid back approach to music making that is hard to describe without listening to the album as a whole. You might start with 'Las Rosas No Hablan' and be prepared to be enveloped by what develops.
Scenes from above: Julian Lage.
His immediately previous two albums for Blue Note seemed rushed, with the second 'View with a room' short in running time and simple the out-takes from the previous session. This is a a much more satisfying outing, helped along by it being mainly a quartet album. The addition of John Medeski on Hammond B3 seems to add not only to the overall depth of the sound, but in spurring Lage to produce some solid material of which 'Solid air' and ' Something more' are my favourites.
Chasing shadows: Nubiyan Twist.
Album 5 from a band with an ever changing line-up. There are lots of 'guest' vocalists but the overall sound of the band remains rooted somewhere that is very British, albeit with lots of extra tonality from the afro influences. They are really good live ( saw them at Bristol Beacon) and recreated the sound of the album very authentically. Favourite tracks are ' Red herring' and 'Body flows' but its very impressive overall and fits the ethos of edge of Jazz perfectly!
Realms: Rachel Sutton.
The sort of debut album that makes you hope that there'll be another. Sutton wrote all the tracks, and there is a plethora of styles, tempo's and ideas. The backing band is totally empathetic to what is produced and all the songs are strong, especially 'There's a feeling' and 'All you can eat'. It'sout on the 33 Jazz label, and it's probably my favourite debut of the year so far.
Honora: Flea.
Unlikely debut! Best known for his part in Red Hot Chili Peppers, his first instrument was the trumpet and as he approached 6o he determined to take it up again and eventually record a jazz album. This is it! The choice of tracks is, to say the least eclectic from 'Witchita Lineman' to 'Maggothead', but amazingly it all works well together, and his trumpet playing is impressive, considering that it was only two years after he started to play again. Strangely - it works!
Dance! Skip! Hop! The Tomeka Reid Quartet.
Cello led Quartet with the multi talented Mary Halverson on guitar work their way through 5 tracks of difficult to pigeon-hole tracks. It's one of those albums where I flail around trying to words to describe it, however, it's one of those albums that you have to listen to repeatedly to gain an inkling of what's going on. The title track ( over 10 minutes long) is probably the one to immerse yourself in first, before the others reveal and album that is really in a category of its own ( which is, of course, why I've played it on The Edge of Jazz!.
At last I've made a start on 2026!
