Thoughts in mid-May before the summer arrives

 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!

 Here's the edge of Jazz Top Ten albums of the year as chosen by the presenter after long hours of listening, thinking, self-debating with a soupcon of panic thrown in. It claims nothing, isn't based on any known sales pattern or anyone elses playlist, but is here for you to enjoy, perhaps marvel over and most of all disagree with!

5. Southern Nights - Sullivan Fortner.

I got this is February after having had it recommended by a friend. It's a magnificent piece of piano trio recording. Noy only is Fortner a brilliant improviser and performer with his own personal developing style but he's joined by two amazing sidesmen. Marcus Gilmore is certainly a go-to drummer for this kind of rrecording but Peter Washington is equally empathetic on bass. However what stand out, apart from the tunes and the virtuosity is the fact that the album exudes togetherness and enjoyment, something quite often missing in a lot of contemporary jazz.

4. El Viejo Caminante: Dino Saluzzi.

About as left field as it could get, this wonderfully produced ECM record was recorded in Buenos Aires by Father and Son Dino and Jose Maria Saluzzi together with Jacob Young. Dino plays bandoneon, Jose maria classical guitar and Young electric and accoustic guitar. . Of the twelve tracks 5 are written by Dino, 1 by Jose Maria and 2 by Young. The resyt are from a wide variety of other writers. The overall ambience is a totally relaxed, well constructed and well executed by of ensemble pieces, with everyone able to stretch out at times. It's mainly fairly low tempo, but a delicious fusion of different styles and eras of jazz. 

3. Woven: Jeremy Pelt.

Trumpeter Pelt has assembled a frontline with a difference with Jalen Baker on vibraphone and Misha mendelenko on guitar. Backed by a solid rythm section that at time is extended by the judicious use of synthsiser and with one vocal track from Marie-Ann Hedonia. Everybody is given space to stretch out with Pelt not always taking the led in improvisations. Pelt has been appearing on albums by several other artist recently, but this is a rather special headliner album. If I'd had to write a half year Top Ten this album would have been number one. It really is a very splendid album.

2. Lisane Bahir: Kibrom Bihane.

  It was billed as "A new dimension in Ethiopian music". It's certainly all that but also an amazing example of what can be done with an analogue modular synthsiser together with a patient label owner, a unique concept and some amazing compositions. There's secular, religious, regional and soulful music on this album which I readily identified as being jazz. Actually trying to describe it fully is intimidating and not really very useful as its an album that deserves repeated playing. Find it if you can on the tiny Flying Carpet records label.

1. After the last sky: Anouar Brahem.

    A wondeful synthesis of styles. In addition to Brahem on oud, two very respected jazz musicians Django Bates on Piano and Dave Holland on double bass are joined by the wonderfully sonorous tone of Anja Lechner on cello. Given the subject matter, which is clearly rooted in arabic traditions the music is respendent in its gravity, tone and joyous celebration of creating some in some very very ethereal undertones. It's beautifully recorded and clearly laid out - an album to sit down and listen to in its entireityThis is another one where words can barely describe how good I think this is.

Another one that nearly made it:

Inkyra: Emma Rawicz.

A wonderful player on Tenor and alto saxes, Rawicz leads a sextet that plays an entire album of self written compositions recorded over 3 seperate but consecutive days this is a fusion of a working British jazz tradition fused with a band following a very British forward thinking fusion. The next album should be even more outstanding.

Thanks for all the support this year. The Edge of Jazz returns January 6th 2026 - the start of its 18th year on - air.

 It just sort of creeps up on you....having spent most of October thinking what a wonderful summer we'd had, November arrives, the clocks change and suddenly it's December. So here is the first part of my Top ten albums of 2025. I'll preface the selection by saying that it's been a pretty thin year as far as really good new releases are concerned. Some spectacular re-releases, especially the extensive Blue Note releases, here on vinyl and from Japan on CD. 

I always want to reiterate that my choice has nothing at all to do with the expressed preferences of others, but does reflect my own tastes, after all there's not much point in having a show on a radio station that doesn't have playlists or adverts, and where presenters make choice without being able to select what I've enjoyed during the course of the year. So here's ten to six, and one that nearly made the cut, but eventually didn't. Please savour (and comment if you want to!)

10. 'Solidarity' - Zak Rich:

Oddly, one that I found grew on me after extensive playing. There aren't too may trombone led bands' and this one is a recording funded by the American Pathways to Jazz fund. A basic quintet is filled out on various tracks by trumpet, tenor sax and oboe and one vocal track. Zak Rich wrote and arranged all the self written tracks. he explains in the sleeve notes that he sees the album as 'exploring and bridging the gap between classical, jazz and other branches of American music. It fills the gap well. Find it if you can!

9. 'By all means' - Aaron Park:

Moving away from a trio format to embrace a saxophoist has enabled Park to extend the texture of the music he writes - this album is all self written. ben Solomon on sax brings another dimesion to the compositions though truth to say, Rarks' writing has proved equal to the new format. It's held together by Ben Street on Bass and especially Billy Hart on drums who turns in a really empathetic performance. Start with 'Parks lope' and then listen to 'Anywhere together'. . Probably my favourite Blue Note album of the year.

8. 'Taking turns' - Jakob Bro:

       Bro has been recording for ECM records since 2015, but I rate this as one of his best to date. It helps to have first class support, so here is Bill Frisell on guitar, Jason Moran on piano. the laste lee Konitz on sax  Thomas Morgan on drums and Andrew Cyrille on drums. It's a mainly laid back session in which all the soloists are given time to stretch out across the whole album. This is (mainly) late night stuff but done in a supremely confident and satisfying way. I stand by everything I said in my review earlier in the year.

7. 'Where in the World' - Tom Olendorff:

    A late-ish arrival. Olendorff is a guitarist aand this is his fourth album. (his 2024 album 'Solo volume' is worth checkingout ,too) This is a quartet album and in addition to the UK based James Maddern on drums and Conor Chaplin on bass he has recruited Blue Note pianist Aaron Parks ( see 9 above ) on an album that embraces a plethora of styles all written by Olendorff, whose guitar playing is sinewy and technically excellent. I'd recommend 'Three Bridges' as an introduction, whilst the single released 'past Lives' came out in shotened version earlier in the year. Well worth seeking out.

6. 'The Big Room' Joe Farnsworth:

   I would describe Farnsworth as a veteran drummer. His ability, shown in spades on this album, is to choose support players who contribute to a group based effort. That he has managed to attract luminaries from other labels to play on this album speaks volumes about both taste and his reputation. There are two Farnsworth written track, ut all the other musicials contribute at least one tune (Joel Ross the vibes player has two) and there;s one 'standard' The whole album is very strong but I'd start with Jeremy Pelt (Trumpet - but see also 5 to 1 - spoiler alert! ) 'All said and done' and a vigorous reworking of Emmet Cohen's 'You already know'  Another belting album from Smoke Session Records.

One that nearly made it:

'You're exaggerating' - Paul Cornish.

The ability by the Blue Note gang to turn up new talent continues to amaze. Cornish has been around for quite a long period, but this album is the first for Blue Note and it marks him out as a remarkable talent. The trio album ( extended on track 7 by Jeff Parker on guitar) is a confident opening for his new label. Recommended to get into the album are 'Queen Geri' and the aformentioned 'Palindrome' I look forward to the next outing.

 The next instalment will be here next week!

 It's been a busy summer - as well as being hot and sunny, it's the summer that I spent a lot of trying to find suitable sites for the expansion of Exedab into East Devon. Really pleased to have linked up with Sid Valley Radio and located sites that we can use when Ofcom give the go-ahead for us to start broadcasting. Unfortunately, as with most statutory bodies, they only move agonisingly slowly. The paperwork is every bit as protracted and extensive as the search for suitable sites.

In the meantime it's been a relatively sparse period for reall good new releases, and as seems to happen every year October has seen a huge upturn in what record companies are putting out there. It's also been noticeable that European Jazz in its many guises has grown in availability and 'fusion' once again seems to be a word that publicists are happy to litter theri outpourings with. So here are five more that may well make it into the end of year Top 10.

Dino Saluzzi: El Viejo Caminante.

Two guitar players and a bandoneon player recorded for ECM records. Father and Son Saluzzi are joined by Jacob Young on an album of laid back acousitc tracks that are redolent of an age in Argentina that probably never existed but evokes the  era of Peron-ist control. This description does little to explain that this is a supremely crafted album that seldom rises above walking pace but is best listened to in one session. Favorite tracks are the title track and 'Buenos Aires 1950'. Left field, but delightful.

Paul Cornish: You're exaggerating!

It's always amazing how Blue Note is able to pick up on new and rising star performers and pianist Paul Cornish, on the basis of this is just such a one. In a very crowded fields of piano led trios Cornish does have something new to add to the genre, but also allows Joshua Crumbly (Bass) and Jonathan Pinson (drums) to make it a satisfying debut. Jeff Parker plays guitar on one track, but Cornish wrote all the tunes and they all sound fresh and original. Current favourites are '5am' and 'Palindrome', the track with Parker on it.

Harold Lopez Nussa: Nueva Timba.

Not an ordinary pianist, and therefore not an ordinary album! 6 musicians and a vocalist interpret a form of Latin fusion that is hard to define. There's an awful lot of percussion, with the piano joining in as one of those percussive sounds. Writing credits are spread across a range of different sources, but the wider Lopez -Nussa family supplying about half of them. It's joyous and raucous with varied tempos. If you're familiar with his previous Blue Note album - this is louder and more percussive. A great listen!

Kokoroko: Tuff times never last.

Varying beween being an septet and an octet Kokoroko employ a number of guest vocalists on an album that possibly lacks enough changes of rhythm, but makes up for it with glorious, mainly horn driven afro-London hybrid. They're at their best live (I'm seen them twice in 2025) but a couple of tracks here are a good attempt to record what they sound like live. 'Never last' and 'Just can't wait' are the tracks, but there's a welcome spreading out across the entire album. OK, I'm biased, They're the best band I've seen this year!

Anouar Brahem: After the last sky.

Brahem is probably the go to Oud player on the music scene at the moment. Coupled with Django Bates on Piano, Dave Holland on Double Bass and Anja Lechner on cello this is jazz fusion at it's very best.The cello is a great sonorous companion to the oud and the other players fully contribute to what has been almost constantly playing  on rotation in the house during the summer. Brahem is certainly prolific at the moment he has another album being released before the end of the year.

Half Term favourites!

Here, as promised are my favourite albums (so far) from 2025. However, a special mention for the fact that this year has been an epic one for re-releases, and although I'm not about to dive into them there ought to a mention for the Blue Note (Japan)r e-release of 70+ hard to get Blue Note albums that are currently being released again on vinyl here in the UK - these are the same, but on CD - and about half the price.

I should also probably mention here, that I receive no payment from ECM records - they've just released some belting stuff this year!

JACOB BRO: TAKING TURNS.

 A wonderfully laid back album with not just Bro, but also Bill Frissell on guitar. Add in Lee Knoitz on alto sax, Jason Moran on piano, Thomas Morgan on Double Bass and Andrew Cyrille on drums and you have an amzing, if mainly very laid back album. The recording, as you'd expect from ECM is magnificent, and in fact I have't chosen favourite tracks because this is an album I've played from start to finish. Oh, OK, try 'Milford Sound'.

SULLIVAN FORTNER :SOUTHERN NIGHTS.

A trio album that is comprised of favourites and standards, apart from one Fortner written track '9 bar tune' However the way in which they are r-energised is a tribute to the trio as a whole. Tyr Cole Porter's 'I love you' or Woody Shaws 'Organ grinder' to see that all three, including Peter washington on Bass and Marcus Gilmore on drums spur each other on to extemporise on some of the others. Start by listening to theri version on Allen Toussaint's 'Southern Nights' 

JEREMY PELT: WOVEN.

This is my favourite album of the year so far! Trumpeter Pelt has ssembled a frontline with a difference with Jalen Baker on vibraphone and Misha mendelenko on guitar. Backed by a solid rythm section that at time is extended by the judicious use of synthsiser and with one vocal track from Marie-Ann Hedonia. Everybody is given space to stretch out with Pelt not always taking the led in improvisations. Pelt has been appearing on albums by several other artist recently, but this is a rather special headliner album.

ANOUR BRAHEM: AFTER THE LAST SKY.

It's an album that focuses on the Palestinian situation, without being overtly political. It fits in the edge of Jazz ethos (yes, there is one!) perfectly with Brahen on oud, and ther introduction of cellist Anja Lechner togetre with Dajongo Bates on piano and Dave Holland on double bass. The tunes are beutifully recorded (ECM again!) and it's an album that is deply contemplative yet subtly swinging. If you want a coule of tracks to listen to try 'Endless wandereing' and 'Dancing under the meteorites' A deeply satisfying album.

JULIA HULSMANN QUARTET: UNDER THE SURFACE.

Julia Hullsann is a long time EoJ favourite. This album is, in fact, played by a quintet, since Hildegun Oiseth plays trumpet (and goat horn!) on the album. The basic trio are seamless, and conrtibute most of the writing  (Hullsman six, and Muelbauer two) with sax player Kempendorff the remaining two. It may be damning with faint praise, but tis is contemplative, harmonious and what you might expect from such a well rehearsed group. However, every new album brings new nuances, and of course (itsa nother ECM album) it's beautifully recorded.

BRANFORD MARSALIS QUARTET: BELONGING.

Yes, it's re-recording of the album of the same name recorded by Keith Jarrett in 1972. It consists of six tracks, a couple of which are quite extended work outs. I thought this ws so goos that it drove me back to the original, but it's really true in this case that there's no point in comparing them. Marsalis brings to compositions his own ideas, and Joey Calderazzo on piano is able to contribute in a way that doesn't in any way try to ape Jarrett's version. It's wonderfully recorded (an it's on Blue Note! )and a good place to start is ''Long as you know you're living yours' 

SHAZ RAJA: SPELLBOUND.

A fusion album with guitarist Raja out front and showing his guitar playing 'chops' fronting a basic trio that are fleshed out by a range of additonal instruments including sitar and tabla, as well as some lusty sax work from Tini Kofi and Vasilis Xenopoulas.  All the tunes are written by Raja and there's a guest track with John Ehteridge on guitar. Lively and fully loaded. Starter track ought to be 'Together we fly'

June already!

 I've been meaning to update this blog since March. It now looks as though I have a week in which I have some very precious spare time. 

To say that I/We have been busy would be an undertstatement. Mostly it's been to do with the application to extend the transmission area of ExeDab - the transmission company supplying SSDAB+ for Exeter. It's been obvious for some time that there is enormous population growth in the East Devon area, and although the population is currently sparse it's growing around the A30 area in East Deon, namely Axminster, Honiton and Sidmouth, with a whole new town to be developed along the corridor opposite the'nearly new' town of Cranbook. When the area was advertised for a licence Exedab (of which Phonic is a 19% shareholder - and of which I am Chair) decided we would apply, and after much discussion created a bid, which in the end proved to be the only one. In April it was awarded to us and some decisions had to be made about coverage. We are fortunate to have been joined by Sid Valley Radio (hereafter SVR) to get the bid from award to transmission.

  The immediate problem is that coverage of the whole area would be very expensive and so it looks, at the pre-planning stage as though we're going to concentrate on providing a service for Sidmouth and Honiton with  an option to extend to other areas, as and when funding will allow. This means choosing aerial sites, getting them approved by the regulator, Ofcom, and ensuring that the internet, electricity and other power sources are available at the sites that we choose. So the hunt is on, the planning underway and the general hectic nature of life will continue.

Jazz? Later in the week I hope to take a look at the albums that have excited me the most in the first five months of 2025 - and I think it's an interesting list!

 Just to get underway and say that I've changed accounts from X (the site formerly known as twitter) to edgeofjazz.bsky.social Not done without regrets, and thanks to all those who have followed me there, but it's geting too weird for me to post there any more. All the other usual EoJ stuff will appear on the website, but I'm done with twitter!

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.

Top Ten albums 2024.

Ten to Six: 

10: Zara McFarlane: Sweet Whispers.

It's a brave performer who takes on the Sarah Vaughan Songbook.It's even braver when you add a non Sarah Vaughan track - in this case Marvin Gaye's 'Inner City Blues' and it's a seamless fit. The album shows off McFarlane's voice to its true extent, but she's never overwhelmed by a quartet of empathetic players, with added inputs on selected tracks from Giacomo Smith on reeds, a stell pan player and a cellist on two tracks. It's such a refreshing change to have vocals mixed well forward on such an uncluttered sounding album.

9: Nigel Price & Aban Claret: Entente Cordiale.

In terms of album production Nigel Price has certainly been prolific over the last few years. Mainly it's been organ and sax led ensembles, but this features two 'lead' guiar players, both at the top of thier game set in a quartet format. The programming is eclectic, from Horace Silver to Bill Evans and Ira Gershwin to Woody Shaw. The playing throughout is ..er..joyous, and it sounds as though the group had a great time recording it . Highly recommended.

8. Thokozile Collective: Thokozile Collective.

This floated in, in the middle of the year. I played a track and thought 'That's quite interesting', a sextet that seem to embrace the joy of playing together and introducing a definite township jazz feel to what they did. Over the next few weeks I played different tracks and realised just how satisfying this is. All I have to go on are the sleeve notes, which give individual details about each track, it's origins and the suggestions that they might have been playing together in some form, for a number of years. I wish I'd kept the accompanying press release!

7. Emmet Cohen: Vibe Provider.

He regularly crops up on social media sitting in with various jazz luminaries, and obviosly having a blast playing the piano with them. The styles are eclectic, but then so is this album. The trio are augmented on various tracks by sax, trumpet and trombone, but it's definitely Cohen's piano playing that is center stage. He turns 'Surrey with the fringe on top' into something that Rogers and Hammerstein might not recognise, but all the tracks are a imbued with his own trademark.

6. The Jazz Defenders: Memory in motion.

One of the best gigs I went to this year was the Jazz Defenders at our home base in The Phoenix in Exeter. The bands sound has benefitted from a change in personnel which had brought in Ian Mattews (sometime Kasabian drummer) and Jake McMurchie on Sax. Collectively they beefed up the sound of the band, with the album displaying an improved intensity on both the previous ones. A lot of the credit must go to keyboard player George Cooper - nominally frontman - whose writing has improved over the space of three albums, and has become better at banter between songs. A good record, and it'll be interesting to see what they record in 2025.

Next week: Five to one, the best label award and a couple that didn't make the list, but deserved to!

Oh dear!

2024 seems to have rushed past. Only a reminder that I was due to provide a Top 20 list of Jazz records for another publication reminded me of the neglect to this blog that I am responsible for. So with profuse apologies I'll add a few more discs that are under consideration for this years Top 10 on this blog.

Etienne Charles: Creole Orchestra.

Big band recordings are fairly rare at the moment - they're expensive to maintain and take on the road, and the larger the band the more complex the operation. This is a mixture of self composed and classsic tracks that absolutely hit home from the first listen. The arrangements, by Charles, are stunning and the tracks are interspersed with vocals, mainly from Rene Marie. My current favourite tracks are Monty Alexander's 'Thnk twice' and the Etienne Charles composition 'Douen'. Refreshingly the arrangements owe a lot to the caribbean heritage of Charles rather the often stifling efforts that are currently being offered by the major labels. Highly recommended.

Cali Mambo: Cali Mambo.

This was recommended to me by a friend who saw the band play live in Los Angeles. The leader Dred Scott seems to have been heavily influenced by George Shearing and the Latin jazz secene that existed in the late 1950's. Having worked as a band leader in Los Angeles he picked up on the repsonse that he was getting playing mambo, and together with his vibes player Tom Beckham started to include some old tunes, together with some self-written ones. This quartet album is the result of that demand. Although as a rhythm Mambo got overplayed and overworked this is a reminder that it can still delight in this new form.

Zara McFarlane: Sweet Whispers.

Sub titled as 'Celebrating Sarah Vaughan' this see McFarlane backed by a quintet that is extended on a couple of tracks to cover some of the better known tunes that Sarah Vaughan recorded - plus, and it's an interesting choice a cover of Marvin gaye's 'Inner City Blues'. What I particularly enjoy is that this is no copyist effort, but  a real attempt to get inside the songs and make them her own. The backing is empathetic and the voice is to the fore. An enjoyable outing that leads to the question 'Where next?'

Emmet Cohen: Vibe Provider.

Cohen has produced an album every bit as varied as the previous two. Starting with a basic trio, but adding saxophone, trumpet and trombone of various times he works his way through self composed material and a scattering of the unexpected. His outing on 'Surrey with the fringe on top' moves it far awayfrom Rogers and hammerstein as it's likely to ever be moved, which can also be said for 'If this isn't love'. Just to show his dexterity as a keyboard player check out 'Emmets Blues'. Vibe provider indeed!

Ezra Collective: Dance - no one's watching.

Joyous noise! Mine is a generous two album set that firmly places them in the top echelon of British jazz. This is a wondeful follow up to their  award winning prvous album. It is what it says in the title, a chance to dance. Some excellent sleeve notes explain the circumstances in which each track was created and who contributed, as well as something about their everyday ways of working. The sense of fun permeates the whole album along with their spirituality and a fusion of the sum of theri collective background. I've listened to it a lot - and even danced to it!

I'll try to add another few thoughts about albums I'm enjoying before putting together my list of favourite tracks of the year. It wont bear any relationship to the album titles I collated for that other magazine!

A rather late start to this year's blogging, for which apologies. It's been a busy and productive year on many fronts and as I start this we're in the process of looking for aerial sites for a potential expansion of our DAB+ service into East Devon. The polygon advertised is quite beyond our scope to even try and fill it all, particularly as using existing aerial sites is quite beyond our budget! Stockland Hill would be ideal, but we can't affored to use an external provider, so are having to look for potential aerial sites across the area we intend to cover. At the moment it looks as though our application will be using three sites. The bids to run the service have to be submitted by mid July and I'm currently rather busy rushing around by by lanes of what is, in some areas a very sparsely populated patch. More details as it progresses (or otherwise as the case may be!)

So to the jazz. It's obvious that 'jazz' is now covering a huge range of other musical areas with some recent forays into jazz-funk, rap jazz and European free jazz. Below are the six albums that I've enjoyed most during the first four months of the year. They appear in no particular order!

John Surman: Words unspoken.

As with most of the ECM material that I get this is an album that is splendidly recorded with Surman playing a range of sax sizes as well as bass clarinet. It's a break out from the normal quartet line up with Rob Luft on guitar (he's been on about three other albums this year already), Rob Waring on Vibraphone and Thomas Stronen on drums.All the compositions are by Surman and my starting point is 'Onich celidah'  and the title track. As ever, it's not a 'one play and you're hooked' album, but rewards repeated listens.

The Jazz Defenders: Memory in Motion.

Two changes in the lin up from the last outing, and a much tighter sound. Live, the new drummer ,Ian Matthews (sometime of kasabian) and Jake McMurchie on sax have tightened up the sound considerably, and this transmits itself throughout the album. Much of the maerial is written by George Cooper, (the keyboard player, and earlier from this City!). There are acouple of vocal outings . Current favourites are 'Rolling on a high' and 'Fuffle kershuffle'. Try to see them live, they were excellent at thier Exeter gig. A leap forward in quality and strength of material. See also my final comment, below.

Julian Lage: Speak to me.

The previous album seeemedlike outtakes from another session, but guitarist Lage has spread his range and material and has produced this throroughly enjoyable album. It's less sparse than some of his previous work, with some tracks filled out to a sextet. There are also a variety of tempos with less emphasis on his solos and more emphasis on ensemble playing.Introductory tracks ought to be 'Northern Shuffle'  and '76'. A welcome return to form.

Sarah L. King: Fire Horse.

Pleased to say this was a listener recommendation! It's a good one as well.. I know practically nothing about her, except she's British and sings in a very British style of jazz. The album was produced by Claire Martin, and the band led by Jim Watson on piano and keyboards are very empathetic. The strengths are her writing (and its style) and her choice of 'other' material. Self written songs to start with  are 'Born Yesterday' and 'Black Dog', whilst her version of 'Show you the way to go' turns the Gamble & Huff into an entirely different thing. Highly recommended.

Muriel Grossman: Devotion.

I was vaguely aware of some of Grossman's previous stuff, notably her John Coltrane trubute 'Golden Rule' but that was little preparation for this double album set of extended tracks which gave space not only to her tenor playing, but also allowed the rest of the band to solo extensivey. Of particular note is the guitar work of Radomir Milojkovic, but the band themselves extend the themes into an extended series of workouts with different tempos and different influnces, much of it based around themes of Buddhist contemplation. All of which makes it sound dull, and it isn't becasue it's a joyous amalgam of a host of other influences as well. A strong contender for my 2024 Top Ten.

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.

The year of releases is now, in mid May, really getting under way, so there'll probably be another page in a month or so. In the meantime I'll end with a footnote!

Footnote: 

What really made my pleasure in listening to two of the albums above was that I got to speak to the writers about the albums, their struggles, hopes and humanity. So thanks to Goerge Cooper from Jazz Defenders for telling me his stories about growing up in Exeter and how one of the songs on the album was about his (mis)spent? youth. Thanks to Charlie Pyne for sharing the thoughts about motherhood, playing jazz, childcare and keeping bands together whilst life flowed on. Jazz is really about all those things, and more. 

Five to one - The Edge of Jazz Top 10 albums on 2023 - Part 2

5. Duncan Eagles: Narrations.

This has nagged away at my listening ears during the course of the year. Released on the Ropeadope label it's a basic quartet format that steps beyond the ordinary because of the strength of the compositions, the tightness of the unit, and some outstanding playing from Tomasz Bura on piano and synth and Duncan Eagles on Saxophone, who steps out  of his former role as excellent British musician to move towards new highs of performance.The two tracks that really drew me in are 'Surbiton' (it manages to draw up some completely erroneous ideas about what it's like as a place!) and 'Grove Park'. I'm already loooking forward to the next stage in his growth.

4. Alfredo Rodriguez: Coral Way.

Long term listeners to the show will know that I've been playing a lot of Latin/Caribbean/ Dominican type music this year. This is probably the best of a wide field. It's a quintet/sextet format with lots of percussion, several different vocalists and Rodriguez leading from the front on piano. Above all, in these rather bleak times it's joyous. There is a mix of composers, with Rodriguez himself responsible for the majority, though I fancy that Ludwig Van Beethoven might have been suprised by his contribution. Mack Avenue has produced some belting output this year, and this is amongst the best.

3. Veronica Swift; Veronica Swift.

The difficult third album? I think not. Another Mack Avenue release, Swift is backed by a wonderfully tight octet. However, what is most amazing to me (especially given the previous two albums on the same label) is the choice of material. It's almost as if she sat down, wrote a number of different styles that she'd like to attempt, chose the songs, went into the studio and produced something entirely to her own satisfaction. The selection is eclectic, bizarre and wide ranging, from Duke Ellington to Antonio Carlos Jobim and Brian May.  Did I use the word 'joyous' talking about Rodriguez (above), can't really think of a better word for this, either.

2. Jacob Young: Eventually.

ECM have several guitar players on their roster, they're usually skilled technicians, who appear in various formats. Jacob Young is amongst the most consistent, and as I noted earlier in the years review is not given to embellishment for the sake of it. This is in the trio format with Mats Eilertson on Bass and Audun Klieve on drums - but the real star is Young and his laid-back, contemplative playing. The other two are unostentatious in their support, and are never overwhelming. As I also observed earlier this is a 'sit down of an evening with a glass of wine (or other beverage of your choice)' kind of album, which has yielded more very time that I've listened to it. I've drunk a lot of wine.

1. Billy Valentine: and the Universal truth.

Completely out of the blue Acid Jazz released this earlier in the year. It's pretty much been on rotation ever since in the house (and on-air). It's a joyous, robust reworking of songs from a wide and ecelectic range of sources, from Prince and Curtis Mayfield to Pharoah Saunders and Stevie Wonder. The backing is from many different sizes of combo from trio to octet, but the reworkings whilst reminding you of the originals adds something in the luxurious smoky vocals. My own two favourites are Stevie Wonders 'You haven't done nothin'' and another take on War's 'The World is a ghetto'. If you haven't caught up with it yet you're in for a treat, ut for me, having played every track on it at least twice on the show it remains the best example of 2023 from The Edge of Jazz.

That's it for 2023. You'll note that there are no 'nearly made it's ' this year. Jazz, well my jazz anyway, continues to expand and mutate in several new directions at once as more and more influences get added to the pot-pourri. I'm really looking forward to jazz in 2024, and I hope to see you there.

Late as usual!

Despite promising that my Ten to Six of this years favourite Edge of Jazz would appear on Friday, I apologise for it being delayed by current favourite excuse 'things'. Nonetheless, here are those vital (!) first five.

10. Bebel Gilberto: Joao

In lots of ways its basic simplicity is its charm. It's Bebel Gilberto backed by a really empathetic small group playing a group of Portuguese /Brazilian tunes that are hand picked. A couple of teh trtacks are self written, but the range is wide with Antonio Carlos Jobim co writing 3 and the rest from an array of well know (and not so well known) writeers in the genre like Gilberto Gil and Newton Ferreira de Mendonca. It really is one of those albums that it's bett to play than to try and write about.

9. Wolgang Muthspiel: Dance of the Elders.

Long time listeners to the show will know my liking for Wolfgang Muthspiel as a guitar player.. This album has the same line up as his 2020 album 'Angular Blues' with Scott Coley on Double bass and Brian Blade on drums, The main difference is that this is much more, ahem. laid back, with Muthspiel playing nylon stringed guitar on several tracks. It might be possible to say that it's so laid back that it almost falls over, but letting it wash over you lets you realise how complex the playing is, and how empathetic the other players are about wat's going on. Not one to rave to, but a considerable achievement.

8. Gretchen Parlato & Lionel Loeke: Lean in.

 Still finding things in this album that I like. Loueke seems to range across a whole gamut of material, and Gretchen Parlato initially seemed like an odd choice for duo material -  but a duo  fleshed out in places with sparse bass and percussion and  featuring a wide spectrum of material, mainly self written either alone or together, but also including the Dave Grohl song 'Walking after you'. Louke really is an impressive player in so many styles, and the combination of voice, guitar  and some sparse support made this really enjoyable.

7. Jonathan Blake: Passage.

I think the output from Blue Note this year has been very variable, but thought this album was an excelent example of what the label does best, which is putting its emergent talent together on each others albums. Thus Blake, the drummer is given strong support from Joel Ross on vibes, and Immanuel Wilkins on Alto sax., together with David Virelles on keyboards and Dezron Douglas on acoustic bass. The majority of the tunes are Blakes, but it contains other strong material,one of which is my favourite on the album, Virelle's 'Tiempos'. It's a great place to start on an excellent album.

6. Billy Childs: Winds of change.

Half of the backing group on this album appear in my ninth choice. Thus Scott Coley and Brian Blad e are joined by Ambrose Akinmusere on Trumpet and completed by Billy Childs on Piano. Recorded in California it emerged on the excellent Mack Avenue label (from which there is more to come on this list!) It's possible to describe it as a piano led jazz album, but it's far more than that its a series of really dtrong tunes, all written By Childs, but filled out in a totally unbusy way by the other performers. If you're looking for a track to start with, try 'The Great Western Loop' which gives an excellent sample of what follows.

Five to ten will follow next week - honest. I'd be grateful for any feedback (use info@edgeofjazz.com) and if you haven't guessed this was put together in three different locations ,on three different machines, which possibly accounts for the different typefaces. Overall I'd say its been a good year for jazz, and the diversity of what you can call jazz continues to explode in a multitude of different forms.

 The final contenders!

Just before I choose the Top 10 choice of albums for 2023 here are a few more (six to be exact) that are likely to be in contention for the (un)coveted slot in the Edge of Jazz end of year awards.

Alfredo Rodriguez: Coral Way 

A listener suggested that I might like this, and I do. It's vaguely based around music from the Caribbean, especially the Dominican Republic. Played with gusto by a basic unit of 6 players it's a mixture of vocal and instrumental outings, mainly in native tongues that somehow defies further description. Rodriguez is a piano player, and feature prominently, but it's a real group effort, and almost family like in its intensity. It's on Mack Avenue Records whose rleases this year have been consistently good.

Jonathan Suazo: Ricano

Same sort of provenance as the above, but different! A much wider sweep of musicians, with a lot of Costa Rican perccussion and a not-easy-to categorise set of tunes. Suazo is a sax player and from the Dominican U.S. diaspora. However, the album features a wide range of styles, including not only instrumental tracks, bit chants and incantations as well as vocals. It's a wonderful pot-pourri of styles, cleverly put together, and hopefully the precursor of another album in the same styles.

Bebel Gilberto: Joao

Some self written material and some familiar (Antonio Carlos Jobim, Gilberto Gil Newton Mendoga) sungs to simple accompanyment of mainly guitar based backing. Uncluttered, well produced with vocals mixed well forward this is the antidote to some of the heavily orchestrated album that have been released this year. Her singing is (sorry!) ethereal and it's the sort of album you can sit down and play through and then play again.

Joey Alexander: Continuance

An Indonesian wonder kid. He's only 20 and this is (at least) his seventh album. I played the previous one 'Origin' for most of last year, and this, with the same trio and the added trumpet of Theo Croker is, as the name sggestes, more of the same, though it has two 'cover versions - the first 'Great is thy faithfulness' is a traditional one, but there's a wonderful trio version of 'I can't make you love me' which I alwys associate with Bonnie Raitt, but this is an equal. It leads me to wonder 'what next?'.

Rob Luft: Dahab days

Luft has appeared on several albums during the course of this year, but few have the simplicity of this one. With a basic  quartet behind him , and with added contributions from people like Byron Wallen , Alice Zawadski and Steve Buckley, it reflects a time and a place. It suggests isolation, together with reflection and a sense of place. So far I've made it sound like a hippy dream, but it's far from that and seems like another direction from which he can launch the next project.

Veronica Swift: Veronica Swift

Looking at what I wrote above about the Bebel Gilberto album this could so easily have fallen into the 'heavily orchestrated'  that I mention - but it doesn't. It's almost as if, after two previous albums for Mack Avenue she told them " I have abuch of songs that I want ro record my way". The repetoire is wide, at times suprising and throughout utterly joyous (almost despite the content of some of the songs).

Listen to her version of 'Do nothing 'til you hear from me' and she makes it her own. My other two favourites are 'Closer' and'Severed heads' but you ought to check out what she does to Antonio Carlos Jobim, and brian May. Highly recommended.

So all I have to do now is consider which I choose for the final list. It'll appear before mid December!

The erratic blog has become even more erratic over the last few months.  Here's why!

Firstly we had a hiatus around late May/early June whilst we updated studio 1. So major did the refit become that instead of two or three days of work it took longer, and even after extra time it didn't get finished. We were due for another set of 'finishing off' days when the engineer cracked two ribs and was unable to continue working on it - and it wasn't until October that he was fit enough to return - and even now it isn't finished, and we're waitng for him to return . To be fair to Tim (for it was he!) he was replacing wiring and a system that not only had been in place since 2008, but was created with no helpful wiring diagrams to aid anyone who worked on it subsequently. We have, however, bought a similar desk to update our laughingly named Studio 2. However, there's a lot of woodwork to be undertaken before that can be done, and we have to rely on our usual build up of funds before that gets done, and Studio 1 is finished.

Secondly: The Board were asked, by our partners in Exedab, whether we were interested in becoming a partner in the Plymouth DAB+ application. We were. The application went forward and it was awarded earlier this year - so now we're shareholders in Plymdab. At the same time some of our partners joined with South Devon Radio to apply for the Torbay licence, which they subsequently won. At that time, we couldn't afford to get involved, but subsequently have been asked if we'd like to broadcast on the new multiplex. We would!

So the last couple of weeks have seem frantic preparations to get ready to launch. This also required us to get a DSP licence to allow us to broadcast in other areas. Filling in forms for Ofcom (the regulator) is always a challenge, and this proved to be as challenging as any other, but was finally granted at the start of October.

Today, as I write this we've just gone on air in Plymouth with the Torbay sevice due to start on Monday. The estimated size of the two areas considerably improved our 'reach' with Torbay at about 280,000 15+  and Plymouth a whopping 400,000. There will have to be some adjustments, but the members meeting in October confirmed that we will continue to be 'Exeter's Sound Alternative', rather than changing nomenclature.

I'll update my Jazz picks next week ahead of the annual challenge of picking my Top Ten releases of 2023.

Bear with me!

 Normally by this time of the year I've curated a list of albums that I've really liked so far during the course of that year. This year, so far, I haven't got around to it - and I blame being busy - and I do mean busy.

So ahead of that list, here are my excuses, in no particular order:

The weather was too hot in June

I've been on holiday

The studio has been refurbished and it took a lot of time

My book got published.

Fundamental laziness.

Jacob Young: Eventually. 

Jacob Young is not a guitar slinger. If you like reflective and introspective guitar playing then he ought to suit. The band Mats Eilertson on bass and Audun Klieve on drums are never anything except empathetic to the material, which is all written by Young himself. If this all sounds rather under-whelming, it's not. It's an end of day with a glass of wine sort of album, which I really like.

Keiko Matsui: Euphoria.

Having moved to a new label (Shanachie) pianist Matsui pursues a new direction with a newly formed more electronic feel to it. She's also recruited a cross section of class guests, some from her 'smooth jazz period' like Kirk Whalum, but pushes on with new sounds including Randy Brecker and Joel Ross, who's also truning up across a slew of other people's album.This is a highly recommened choice and change of direction.

Duncan Eagles: Narration.

Saw him when he played Ashburton Arts a couple of years ago, and he now turns up on the US based Ropeadope label, with a new band. Tomasz Bura who plays keyboard and synths adds a new dimension, but the real strength is in the self written material. I especially like 'Surbiton' (the tune not the town - I had an unfortunate happening there some years ago!), but there are some extended workouts which extend the range of his work. Sleeve notes are mimimalist though.

Gretchen Parlato & Lionel Loeke: Lean in.

Wasn't certain that I'd like this, but I do. Like Joel Ross, Loueke seems to crop up all over the place, but this album with mainly duo songs - fleshed out in places with sparse bass and percussion features a wide spectrum of material, mainly self written either alone or together, but also including the Dave Grohl song 'Walking after you'. He is a magnificent guitar player, and her voice is ideally suited to the material.

Eliane Elias: Quietude.

Now on Candido Records this places Elias back in her best form, and singing mainly in Portuguese a range of songs from a range of artists from A.C. Jobim to Vinicius de Moraes and beyond. She also plays some very tasty piano, mainly with just bass and drums, but in places, lots of added percussion. It actually sounds like an album she enjoyed making. Recommended.

Billy Childs: Winds of change.

I really rate the ability of Mack Avenue Records to pick up on emerging talent, and though Childs has been part of the labels house band for some time, his ability to write tunes and play them really well is fullly demonsrated on this album. Unusually he's used Ambrose Akinmusere on trumpet to complete the quartet, and it really works well. He's also ably supported by Scott Coley on bass, and Brian Blade on drums. Be interesting to see which direction he goes in next.

Billy Valentine: And the Universal truth.

This from the re-energised Acid Jazz label is a magnificent album. The choice of material is eclectic to say the least, from Price to Curtis Mayfield and Pharoah Sanders to Gil Scott Heron it's beautifully underplayed - empathetic to the originals but his voice brings something new to each of them. he's also helped along by luminary guests like Larry Goldings on keyboards and (yes!) Joel Ross on vibes. The guitar playing by Jeff Walker is pretty special through out. It's also got my favourite vocal track of the year (so far) a version of Stevie Wonder's  'You haven't done nothin'. Check this out. Very special.

More soon - perhaps (unless the weather gets hot again!)

                                           Playlist 18th April 2023 

The saga of the website continues (though back in some form next week!), so here's the playlist for Tuesday 18th April 2023.

1. Cruise control                                  George Benson                       Standing together

2. Bossallegro                                      Toni Kofi & the Organisation Point blank

3.Imagination                                       Lizz Wright                             Fellowship

4.Clarion calls                                      Donald Byrd                           Byrd in hand

5. Master of the game                           Billy Childs                            The winds of change

6. D'un feu secret                                 Cecile McLoren Salvant          Melusine

7. Don't mess with me                         Richard 'Groove' Holmes         Comin'on home

8. Things are getting better                 Cannonball Adderely & Milt

                                                            Jackson                                      Things are getting better

9. Passage to Marseille                        Rippingtons                              Cote D'Azur

10. Blues for Pablo                              Miles Davis                              Miles ahead

11. Days                                              Emily Saunders                         Cotton skies

12 Un dia es un dia                             The Heavey Hitters                    The Heavy Hitters

13. Farafina                                         Lionel Loueke                           Heritage

14. Sign of the times                           Billy Valentine                          and the Universal Truth

15. Ebony Samba                                Stan Getz & Luis Bonfa            Jazz Samba encore

16. Woke  up in the desert                  Marcin Wasilewski Trio             Faithful

17. Samba de Stacey                           Blue Mitchell                             Down with it

18.So worn out                                   Gwyneth Herbert                       Clangers & Mash

19. Talkin' all that jazz                       Stetasonic                                   The re-birth of cool

20. Midnite soul                                Freddie Hubbard                          A soul experiment.

                                          Playlist 11th April 2023 

For a couple of weeks the website will be in a state of limbo as I prepare for changes to it. So for at least this week and next week the playlist will be here. Apologies!

1. From the pulpit                         Jack McDuff                           Write on Cap'n
2. Season for change                     Ronny Jordan                          The quiet revolution
3. Le temps est asassin                  Cecile McLoren Salvant         Melusine
4. Walk on                                     Horace Silver                          A prescription for the blues
5. Nemesis                                    Kendrick Scott Oracle            A wall becomes a bridge
6. Just like a woman                     Nina Simone                           Released
7. Jasper                                        Bobby Hutcherson                  Dialogue
8. Hackensack                              Thelonious Monk                    Criss cross
9. Did we have any fun?               Nicki Leighton- Thomas        One good scandal
10. Requien for Hertford Avenue   James Carter                           Layin' in the cut
11. Terminal                                   James Carter                           Layin' in the cut
12. Brigas nunch mais                    Eliane Elias                            Quietude
13. Three o'clock blues                  Jimmy Smith                          Dor com blues
14. New day                                   Heavy Hitters                         Heavy Hitters
15. West Coast blues                      Claire Martin & Jim Mullen  Bumpin'
16. Mignon und die sonne geht     Mikkel Ploug Group               Nocturnes (out 28th April)                      unter
17. Standing tall                             Crusaders                               Standing tall
18. What is hip?                             The Juju Orchestra                 Bossa Nova is not a crime
19. The world is a ghetto                Billy Valentine                       andf the Universal Truth
20. Amelia Erhart ghosted me        Walter Smith III                    Return to casual

        Top Ten Albums 2022 - Five to One (and a few more that should've made it) 

I'll try an make a few less blunders in the spelling and grammar in this one. Rushing to post 10 to 6, I seem to have omitted words and made random spelling mistakes - for which I apologise!

 To reiterate, this list has nothing to do with sales, chart positions or indeed any other considerations that might affect or be affected by other people. It's what I have enjoyed the most from this years releases, and I'm already suprised that at least one of the albums in the previous post has appeared in a couple of other favourite albums list compiled elsewhere.

5. Claudia Acuna: Duo.

Simplicity itself, but done beuatifully. The clue is the title, a series of guests performing with Acuna, but not just a random set of guests,each bringing a different facet of performance to the voice, which is absolutely peerless. There are even  a couple of solo tracks, but the ones that stand out are duets with Russel Malone, Regina Carter and Kenny Barron, but the other guests all complement both her style and her choice of material. A  good starting point for listening might be her version of Chick Corea's "Crystal Silence"

4. Julian Lage: View with a room.

It's his second outing on Blue Note, and in my view much more rounded than "Squint" his first. Perhaps this is because on several tracks the trio is enlarged to a quartet by the guest appearance of Bill Frisell, who seems to encourage Lage to sit back and expand. The othe two members of the trio are no less impressive Dave King on drums and Jorge Roeder on bass. . Nearly all the tracks are self written, except "Echo" where he shares the credits with the bass player. Overall its a fluid display of virtuosity and it'll be interesting to see him live when he plays the Cheltenham Jazz Festival in 2023.

3. Emmet Cohen: Uptown in orbit.

Can't help but feel that this might be the final appearance on the Mack Avenue label for Cohen, who like I opined about Samara Joy two years ago, must surely be in line for a big label deal. This album displays all the qualities that made his first album so good, and extends his writing credits across a dazzling display of piano playing, helped out by the trio that seems to have taken to the road during 2022 - and is due to visit Europe in 2023. His choice of other peoples material is equally splendid ranging from Willie 'The Lion' Smith , Gerry Mulligan and the track that you might like to start with by Duke Ellington " Braggin' in brass"

2. Nimbus Sextet: Forward Thinker.

Wouldn't have found this for myself. Thanks to the grapevine of people who correspond with each other and make suggestions about jazz nuggets they may have missed, I got turned on to this. The band work out of Glaasgow and are a brass heavy set of jazzers who put this album together over a number of sessions that stretched across Glasgow, London and Amsterdam. The album appears on the Acid Jazz label which seem to have resurrected itself and produced some stunning, if unlikely, albums that belied its name. This is an album that I have sat down and listened to in its entierity, and I'd recommend "Search for Solace" and "From the shadows" as a starting point. I sincerely hope there's going to be another album next year.

1. Camilla George: Ibio-Ibio.

If you thought 'concept' albums were a mirage from the 70's here's one that brings together all the disparate facets of jazz in Britain today. The album is dedicated to the Ibibio people of soutj east Nigeria, and is an exploration of their beliefs and customs. The fact is that George's sax playing is at the top of her game, and she's gathered around her a luminary group of ,mainly London based, jazz players who are empathetic and lend depth to her compositions. The basis of the band is a quartet, with a special mention for Sarah Tandy's piano playing throughout. It's got great depth and is an album that I'm sure I'll return to again and again. 

and then were three (that nearly made it)

O'Higgins and Luft: Pluto.

A follow up to last year's belting "Play Monk and Trane" , which contains only one eaach of compositions by the above. The rest are 5 compositions by Dave O'Higgins and two by Rob Luft. The band are really tight, and it's good to hear Ross Stanley playing only piano. Possibly, if it had arrived earlier, it would have tipped into the ten - highly recommended.

Soul Revivers: On the groove.

Another unexpected release on the revived Acid Jazz label. About the group/remixers/provenance I know nothing. It contains a number of reworked reggae tracks , including two Ernest Ranglin tracks and  two attributed to 'Ms Maurice' of Kokoroko ( and also Camilla Goerge see #1 above). I'd like to think that there'll a follow up, but even as a stand alone project this is pretty fine.

Could we be more: Kokoroko

They are peerless live. I was eagerly anticipating this album (Abusey Junction by the band is the most played track on the show over nearly 15 years - recently overtaking 'Idle Moments' by Grant Green.)

There are some belting track on this album, but it doesn't really sustain the quality throughout and its to be hoped that for the follow up they create an album's worth of really strong material, because even on disc, when they burn, it's hot. Still a great album.

Edge of Jazz Top 10 releases 2022 - Ten to Six.

It's been a strange year. A lot of delayed releases, some still to appear, and a lot of material written during the lockdown(s) and only now coming to the market. In some cases albums compiled without the musicians ever being together by electronic means. That probably means that there are esoteric items that will barely trouble other compilers, but that I've really enjoyed. As ever, therefore, this top ten has nothing to do with sales, chart placings, other peoples opinions, just my own music that I've enjoyed during the course of the year. As has been the case in the past there are a few albums (four at the time of compilation) that didn't make it into the list and I've added as 'spares' to be listened to if you have the time and/or the inclination;

10: Here and there; Kibrom Bihane.

None more esoteric than this release from an Ethiopian keyboard player on a small US label that, as far as I know hasn't has a UK release. It's fusion at its very best with influences from right across what I would describe as 'The middle east'. Sitting on top of most of the compositions is a horn section that varies in size and contribution but drives it along quite wonderfully. Whether there will ever be a follow up is  unknown, but the more I've listened to this album subsequent to obtaining it, the more I've enjoyed it.

9: Last Decade: Benjamin Lackner.

There has been a flurry of piano led recordings on ECM this year, amongst them Julia Hulsmann with an album that narrowly avoided the cut. Lackner works out of New York, but the album recorded in France and engineered by Gerard de Haro has all the hallmark attention to detail with a perfectly captured timbre and a sound that Manfred Eicher seems to capture so easily. All the tracks, but one are Lackner compositions (Jerome Regard the bass player wrote Emile) but the band complement Lackner's piano playing beautifully with some equisite trumpet playing from Mathias Eick, the unexpected drum fills by Manu Latche and Regard who locks it all together. I've really enjoyed this album a lot and there's more being revealed with every listen.

8. Linger awhile: Samara Joy.

Look at last years list. Having made #2 I hoped that her follow up album would move her a little further forward. Moving forward in this case means moving to a larger label (Verve) and having a budget that allowed the employment of a wider range of musicians, although, in the main, still sticking with the standards that made her first album so successful, and allowing her voice to be mixed well forward.

Her phrasing is amazing, and listening to "Guess who I saw today" ( I remember a Julie London version and a great one by Laura Lee) she makes it her own. Mostly it's slower standards - but she seems equally at home with a more uptempo 'Social Call'. Really enjoyable, but I'll repeat my wish that for the next album they allow her to stretch out across a few more 'contemporary' songs.

7. King Phoenix: Jazz Defenders.

What continues to shine throuhout this album is joyousness. There's an exuberance that certainly manifested itself in their gig here in Exeter earlier in 2022, and the creative juices are evident throughout this their second album. George Cooper's tunes are redolent of a certain Blue Note period of jazz, and the horn arrangements certainly enhance that suggestion. New on this second album are a couple of vocal tracks. It's a delight to be able to recommend an album by a band that can recreate live what they put down in a studio, and I look forward to another release in 2023.

6. Hearts full of grace: Al Swaingers Pointless Beauty.

"An album about states of mind, written in strange and unusual times" writes Al Swainger in the sleeve notes of the album that he brought out  in 2022. He's Bass Player, with strong local connections to Exeter through his work as part of the House Band at the Blue Vanguard Jazz Club. This is so much more than an  album by a good bass player, and he assembled an excelllent band to support him including one George Cooper (See #7 above). Ant Law on guitar, Jon Clarke on drums, an, ethereally

throughout some stunning trumpet/flugel by Gary Alesbrook. Swainger further describes this as " an oveture to nothing". It's so much more!

..and those that didn't quite make it (but that I thoroughly recommend). Just one here, and three to come next time;

Only a Year: Alex Clarke Quartet.

Had this arrived earlier in the year it might well have figured in the 10. As has so often been the case this year  (see also #10 above) this was recommended by one of the small coterie of people that I correspond with who seek out jazz that think deserves a wider audience. This album has a luminary  [a word I overuse] band; David Newton on piano, Dave Green on Double Bass and Clarke Tracey on drums. It belong the Alex about whom I know little (she hasn't yet answered my e mail to her website) but she plays beautifully on alto and tenor sax on an album of mainly standards, with two of her own compositions, the title track, and the wonderfully titled "Betroots Burn". The label in Stray Horn Records and it well worth seeeking out.