FATHERS – Self-Titled review

FATHERS is a jazz quartet from Los Angeles, California comprised of keyboardist Kiefer Shackelford, bassist Ben Carr, drummer Nate Smith & producer Kenny Beats. Almost everyone has an established background in the instrumental hip hop field except from Nate, whose output generally ranges from jazz fusion to jazz-funk & neo-soul. The greatest jazz label of all-time Blue Note Records have decided to bring the band on board for their eponymous full-length debut & only a couple weeks away from Kenny fully producing Rico Nasty’s upcoming 3rd album RX finally seeing the light of day later this month.

“Eye Level” sets things off with a 3 minute intro working in some synthesizers, pianos, drums & bass giving off heavy instrumental hip hop vibes whereas “Patchwork” brings alto saxophonist Nicole McCabe on board for an infectiously bright jazz track that I can imagine hearing at opulent hotel from a complimentary standpoint. The only single “Pearl” experiments with Brazilian pop-jazz & I admire the way they gave it a modern luster just before “Stub” kinda has hypnotically quirkier approach compositionally.

We have FATHERS incorporating some organs for “The Leak” to kick off the 2nd half of their self-titled debut while “Tomorrow, Again” concludes the 3rd quarter bringing a more tropical flare to the table instrumentally enlisting violinist Yasmeen Al-Mazeedi to handle the strings. “Front Yard” comes through with some colorfully rich keys & drums that have a boom bap quality to them while the closer “Figure 8” brings Yasmeen back 1 last time provide a heavenly outro fusing jazz & instrumental hip hop.

I can’t deny Kenny Beats taking the risk of expanding his clientele outside of hip hop by producing Geese’s 4th album Getting Killed last fall & Weezer’s next full-length The Gold Album later this August, so it was interesting to hear him forming FATHERS with 3 other jazz-rooted instrumentalists who’ve already established themselves & I hope this is only the beginning for the band since they improvised a tastefully jazzy instrumental hip hop debut with some occasional funk influences.

Score: 4/5

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民謡クルセイダーズ – 『日本民謡より愛をこめて』レビュー

The Minyo Crusaders are a min’yō band from Fussa City, Tokyo, Japan consisting of guitarist 田中克海, saxophonist 大沢広一郎, percussionist 小林ムツミ, timbalero イデソノオ, trumpeter 山内ステファン, conguero Irochi, keyboardist Moe & vocalist フレディ塚本. Dropping their full-length studio debut Echoes of Japan in 2017 followed by the 2023 sophomore effort Tour of Japan, they have since signed to Blue Note Records & are making their debut for the greatest jazz label of all-time with the Crusaders’ 3rd studio LP.

“北海盆唄” begins with a rendition of a vulgar coalminer’s song originating in Hokkaido that was eventually rewritten in the 1940s containing a bit of a Latin twist to it whereas “こきりこ節” by Minyo Cumbiero comes through with a cumbia colombiana/tropicanibalismo spin on the oldest Japanese folk song. “花笠音頭” also by Minyo Cumbiero blends both ensemble’s styles again for an ode to the community dance originating in the Yamagata Prefecture while “下津井節” covers track dating back to the Edo period.

Kicking off the 2nd half, we have [朝倉さや] joining the Crusaders for the single “朝倉さや” reintroducing another cut from the Edo period except it was conceived in the Shimane Prefecture leading into another work song “木山音頭” during the construction of Imabari Castle being modernized for newer generations. “ワイド節” featuring 元ちとせ unites for a cover of the Amami Islands’ famous min’yō track synonymous with bullfighting & “伊予万才” ends From Japan with Love renditioning a humorous song written back in the 17th century.

Forming back in 2011 with the goal of making min’yō more international by incorporating rhythms from Latin as well as African & Caribbean music, the Minyo Crusaders’ debut for Blue Note Records surpasses both of it’s predecessors to become the most vibrant statement of their existence by rooting From Japan with Love in the passionate respect they’ve always had for Japanese folk & it’s ability of resonating across multiple cultures.

Score: 4/5

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Nduduzo Makhathini – “The Myth We Choose” review

Nduduzo Makhathini is a 42 year old pianist & philosopher from Umgungundlovu, Pietermaritzburg, KwaZulu-Natal, South Africa who dropped his first 7 studio LPs through his own imprint Gundu Entertainment prior to the greatest jazz label of all-time Blue Note Records signing him for Modes of Communication: Letters From the Underworlds as well as In the Spirit of Ntu & uNomkhubulwane. All of which have elevated his spiritual afro-jazz sound & went into his 11th album expecting him to do the same.

“Kuzodlula” by Robin Fassie kicks things off with a vocal jazz intro encouraging everyone to relax for the reason of everything eventually passing whereas “Imvunge KaNtu” recruits bassist Dalisu Ndlazi & drummer Lukmil Pérez for a hard bop tribute to the Bantu philosophy. “Kwamabili” lets Lukmil take a backseat so Nduduzo & Dalisu can instrumentally shine together for a few minutes just before the 4th & final single “Unembeza” combines elements of gospel & South African music.

The 3rd single “Liyoze Line Nangakith” has flautist Shabaka Hutchings joining the pianist & bassist for a hymn to the blessings that accompany rain while “What People Say” by Nduduzo’s wife Omagugu takes the vocal jazz route once more mediating on the creation of myths. “Primordial Egg” enlists Ayanda Sikade on the cymbals for a rubato jam complimenting the keys & bass leading into “Ekuqaleni” reaching the halfway point with a composition themed around the Zulu creation using synths & a vocoder.

Muneyi takes the microphone for “Ḽiṅwalo ḽa Mubebi” embracing a vocal jazz vibe again describing fatherly love while “Umbono” brings guitarist Keenan Ahrends on board so Nduduzo himself can sing about our 6th senses. “Tethered” by Thando Zide succeeding the “Ḽiṅwalo ḽa Mubebi” reprise experiments with neo-soul pitting the inevitability of love against the inability to gauge our emotional entanglement when somebody’s deeply in love.

“Ongaphesheya” gets the 4th quarter of The Myth We Choose going by having these calming piano chords predominantly taking the spotlight with some bass licks from Dalisu backing them but after Black Coffee’s stunning remix of “What People Say” that I’d consider equal to the original & the “Kuzodlula” reprise, “Zimthilili” sends off the album by bringing Ayanda Sikade back on drums so Nduduzo can vocally perform 1 last time singing about love over hypnotically rich instrumentation.

All 3 of Nduduzo Makhathini’s previous full-lengths that he’s dropped under Blue Note Records over the course of this decade have individually elevated his spiritual jazz sound & although I’d consider In the Spirit of Ntu to be his magnum opus, The Myth We Choose wouldn’t be too far behind for a close 2nd. He’s challenging the world to examine our individual background taking further inspiration from afro-jazz, spiritual jazz, cape jazz, vocal jazz, hard bop & neo-soul with the help of his son Thingo even if I could’ve done without a couple of the reprises.

Score: 4/5

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Joel Ross – “Gospel Music” review

This is the 5th studio LP from Chicago, Illinois vibraphonist Joel Ross. Signing to Blue Note Records in 2019, he would go on to make his debut for the greatest jazz label of all-time a couple months later with Kingmaker followed by the sophomore effort Who’re You? as well as The Parable of the Poet & most recently Nublues almost a couple years earlier. He would also form The Blue Note Quintet a.k.a. Out Of/Into, coming off the latter’s sophomore effort Motion II to finish January offering some Gospel Music.

“Wisdom is Eternal” brings along alto saxophonist Josh Johnson, tenor saxophonist Maria Grand, bassist Kanoa Mendenhall, drummer Jeremy Dutton & pianist Jeremy Corren for this meditative 4 & a half minute intro dedicated to Barry Harris whereas “Trinity (Father, Son & Holy Spirit)” goes for a heavy post-bop vibe thematically building itself around religion. “Protoevangelium (The 1st Gospel)” sticks out being the longest composition here dedicating itself to the Gospel of James leading into “Hostile” taking it back to the post-bop sound with intense vibraphone playing midway through.

Meanwhile on “The Shadowlands”, we have Joel & company continuing to take the hard bop subgenre of jazz & throwing the unconventional elements it’s preceding style’s successor has become known for in the mix while “Nevertheless” lets the saxophonists shine for the opening 51 seconds until properly letting the bandleader shine throughout the rest of the track’s duration. “Word for Word” reserves the spotlight for the vibraphonist & drummer for a vast majority of the instrumental aside from the saxophones at the earliest & latest parts of it just before “Repentance” compositionally soundtracks the familiar feeling of remorse.

“The Sacred Place” gets the 2nd half of Gospel Music going mostly relying on the piano, vibraphone & drums for roughly 180 seconds or so conceptually taking inspiration from shrines while “A Little Love Goes a Long Way” gives me the impression the sextet freely improvised it although I don’t consider it’s brevity to be an issue with me whatsoever. “Praise to You, Lord Jesus Christ” heads for a prominently spiritual jazz direction worshipping our Savior who died for our since while “Calvary” celebrates Black excellence in the form of this Juneteenth single.

Andy Louis takes the microphone all over “The Giver” singing with Joel’s piano backing him that God’s role as a provider of all things while “To the Throne (The Mercy Seat)” instrumentally takes a more subdued approach than a lot of the earlier cuts. The final single “Be Patient” earlier this month continues Gospel Music’s last leg taking a few moments to convey the virtue of forbearance in sonic form but after “The New Man” reveals itself to have some of the most lively performances over the course of the album, “Now & Forevermore” appropriately sends off the full-length with this heavenly grandiose outro.

For his newest offering on the Blue Note imprint, Joel Ross ends January with the most religious musical statement of his entire career composing post-bop’s answer to the biblical story in addition to simultaneously exploring his own faith & the fulfilment of his musical upbringing in the church. His deepened study & exploration into the theological & historical depths of his religious beliefs has really paid off considering he furthermore uses the opportunity of Gospel Music to fuse the intricacy of his earlier output with the accessibility of his recent material.

Score: 4.5/5

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Julian Lage – “Scenes from Above” review

Here we have the 10th solo LP from Santa Rosa, California guitarist Julian Lage. Introducing himself in 2009 off his debut Sounding Point, he would go on to drop 8 more albums with the most notable being the sophomore effort Gladwell or Modern Lore & Squint. Making his debut under Blue Note Records a couple years ago off Speak to Me, he’s coming off Her Melodious Lay & Lamentations, he’s back on the greatest jazz label of all-time depicting Scenes from Above.

“Opal” recruits pianist John Medeski, double bassist Jorge Roeder & drummer Kenny Wollesen for a lead single that gives off a heavy summertime vibe whether it be the guitar or the Hammond B3 whereas the improvised “Red Elm” experiments with soul jazz starting with some bass licks preceding the guitar, drums & organ. “Talking Drum” appropriately takes inspiration from the avant-groove trio Medeski, Martin & Wood for a jazz-funk tinged 2nd single leading into “Havens” shining some light on Kenny & John for almost 5 minutes, feeling like the beginning of a Sunday service.

The 3rd & final single “Night Shade” gives us a rush of organ melodies & guitar solos during a great bulk of the longest composition here just before “Solid Air” takes a more atmospherically meditative approach than all the other tracks once again recapturing the mood of sitting in a church prior to the pastor starts an hour long sermon. “Ocala” primarily builds itself around John playing the Hammond B3 once more & some bluesy guitar riffs from Julian but after the loosely structured “Storyville” achieves his goal of having something to talk about once he gets together with his bandmates, “Something More” finished in the form of this 4-part prayer wishing brighter days ahead for us all.

Understandably opting against making a Speak to Me sequel, Julian Lage’s sophomore effort for Blue Note Records minimizes the prominent post-bop direction Scenes from Above’s predecessor took in favor of prioritizing it’s secondary influences of jazz fusion & chamber jazz with hints of soul jazz appearing occasionally. I can’t blame him for putting us inside the shoes of his experiences being a band member considering he already made his grandest statement regarding his capability of bandleading, creating a separate character of it’s own depicting themes of freedom & trust.

Score: /5

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Out Of/Into – “Motion II” review

Out Of/Into is a post-bop quintet consisting of pianist Gerald Clayton, alto saxophonist Immanuel Wilkins, vibraphonist Joel Ross, drummer Kendrick Scott & bassist Matt Brewer. Forming in the winter of 2023, they would go on to introduce themselves last winter in the form of their full-length studio debut album Motion under the greatest jazz label of all-time Blue Note Records & are celebrating it’s upcoming 1-year anniversary this weekend by getting back together for an official sophomore effort succeeding Gerald’s love letter to turntablism 1s & 2s in April.

“Brothers in Arms” opens the 2nd LP with an 8 minute post-bop single having The Blue Note Quintet jamming out & everybody getting their own solos whereas “Finding Ways” gives off a laidback vibe from the prominent saxophone to the vibraphones popping up midway through or the pianos towards the backend of it. “Juno” starts with some bass licks for the first 90 seconds or so, paving way for Immanuel & Joel to trade the spotlight with one another.

Were treated to the 2nd & final single “Familiar Route” to start the other half of Out Of/Into’s sequel to their introductory full-length, taking inspiration from my favorite Herbie Hancock’s 5th album & my personal favorite during his Blue Note tenure Maiden Voyage. “The Catalyst” continues Motion II’s last act by giving off an otherworldly atmosphere until switching into something more playfully catchy & “Nacho Supreme” feels like a love letter to Blue Note output 5 decades earlier.

Developed during a 40 date tour commemorating the 85th anniversary of Blue Note Records’ formation a year earlier, the successor to Out Of/Into’s inaugural opus expands on the direction it’s predecessor traveled down 52 weeks earlier reaching farther than they did when the quintet was properly introduced last winter shaping the future of the post-bop style & jazz music altogether by continuing to embody the spirit of what the finest in the genre has done for almost a century.

Score: 4/5

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Dave McMurray – “I Love Life Even When I’m Hurting” review

Here we have the 9th studio LP from Detroit, Michigan saxophonist & multi-instrumentalist Dave McMurray. Introducing himself in 1989 off his debut album The Secret Life & returning 7 years later with the sophomore effort The Dave McMurray Show under Warner Records, he would go on to put out Peace of Mind as well as Soul Searching & Nu Life Stories between the late 90s/early 2000s until returning in 2018 by signing to the greatest jazz label of all-time Blue Note Records & made Music is Life his debut for the home of the genre’s finest. Coming off Grateful Deadication & it’s sequel, he wants to make it clear that I Love Life Even When I’m Hurting.

After the spoken word intro “This Life” by Herschel Boone, “The Jungaleers” starts with Shady Records in-house producer Luis Resto alongside drummer Jeff Canady & percussionist Mahindi Masai joining Dave to pull from Afrobeats for a nod to the high school the latter had attended whereas “Just a Thought” dedicates itself to his wife & daughter. “7 Wishes 4 G” blends soul-jazz & deep house for a love letter to “Astral Traveling” by Pharaoh Sanders leading into him covering “We Got By” by Al Jarreau.

“The Plum Blossom” by Yusef Lateef gets covered to start the 2nd half while the title track recruits Blue Note president Don Was to play acoustic bass. “Find Your Peace (4 Tani)” gives his flowers to drummer Tani Tabbal bringing the soul-jazz influences back in full effect to endearing results. “The Wheel” finishes the LP with a cover of the Grateful Dead b-side of the same name & honoring Jerry Garcia’s legacy in his own fashion.

Celebrating the love he has for the Motor City & for the many musicians he’s collaborated with, Dave McMurray comes off the Grateful Deadication series to make his greatest musical statement since Music is Life. Consisting of 6 original compositions & 3 covers in the wake of a friend of Dave’s who succumbed to illness & passed away alone, it’s admirable for me hearing him using that energy to construct a full-length themed around positivity surrounded by the most special people in his life.

Score: 4/5

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Aaron Parks – “By All Means!!” review

Aaron Parks is a 42 year old pianist from Seattle, Washington making his debut in the late 90s, putting out 4 full-lengths as a leader until making his Blue Note Records solo debut the following decade with his magnum opus Invisible Cinema. He would go on to put out 9 more LPs until returning to Blue Note last summer for the final chapter of the Little Big trilogy, which marked my personal favorite installment of the 3 & his 16th album has arrived 13 months since coming back to the greatest jazz label.

“A Way” starts us off bringing bassist Ben Street, tenor saxophonist Ben Solomon & drummer Billy Hart all on board for a post-bop intro whereas the lead single “Parks Lope” shows a bit of a John Coltrane influence bringing a bluesier vibe for only a minute shorter than the opener. The 2nd single “For Maria José” serves as a compositional love letter to Aaron‘s wife that she’s surely adore prior to “Dense Phantasy” pulling inspiration from the late Bill Evans.

The song “Anywhere Together” begins the 2nd half of By Any Means!! with a post-bop jam reminiscent of the late Wayne Shorter’s early output (Juju & See No Evil in particular) while “Little River” publicly expresses the love he has for his son Lucas during the 3rd & final single. Of course I can’t for get to mention “Raincoat”, which so ends the last 6 & a half minutes on a succulent note colliding the piano & tenor sax with some cymbals.

Distancing himself from the jazz fusions that’ve defined a great deal of his output since the late 2010s or so, Aaron Parks reunites the very same trio who brought us Find the Way to embrace a rootsier post-bop approach throughout By Any Means!! as opposed to Invisible Cinema’s lenience towards the ECM style. It may even be his greatest musical statement of his career, celebrating his family & the traditions of jazz music as a whole.

Score: 4/5

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Charles Lloyd – “Figure in Blue” review

Charles Lloyd is an 87 year old tenor saxophonist & flautist from Memphis, Tennessee with over 2 dozen full-lengths under his belt already since the late 50s. He has spent the last decade with my favorite jazz label of all-time Blue Note Records dropping exemplary late career material that includes I Long to See You as well as Tone Poem & The Sky Will Still Be There Tomorrow. However, he’s following up the latter with his 32nd full-length comprised of 2 discs containing 7 songs each.

“Abide with Me” begins with this calming intro working in a saxophone & Jason Moran playing piano whereas “Hina Hanta, The Way of Peace” moves forward by delivering a nearly 8 minute post-bop composition keeping the keys & sax in tact. “Figure in Blue, Memories of Duke” remembers the late Duke Ellington letting Jason shine more instrumentally just before “Desolation Sound” lets Charles take the spotlight with his saxophone once more.

Meanwhile on “Ruminations”, we have guitarist Marvin Sewell accompanying Charles Lloyd & Jason Moran for 10 & a half more minutes of peacefully improvisational post-bop leading into “Chulahoma” focusing more around the saxophone & guitar. Reaching the halfway point, “Song My Lady Sings” brings all 3 instrumentalists together for a serene 8 & a half minute post-bop jam while “The Ghost of Lady Day” starts the 2nd act with a Billie Holiday rendition.

“Blues for Langston” gives his flowers to the late Langston Hughes” until we’re treated to a couplet of Duke Ellington covers: “Heaven” & “Black Butterfly”. The song “Ancient Rain” takes up 111 seconds with a tenor saxophone while “Hymn to the Mother, for Zakir” takes a moment to remember the late Zakir Hussain. The closer “Somewhere” finishes Figure in Blue with Charles & Jason playing piano & tenor sax for the LP’s final 4 & a half minutes.

Spaciously travels wide expanses of musical terrain from beautiful ballads to raw Delta blues, the 4th full-length Charles Lloyd has created since signing to Blue Note Records could be the most heartfelt entry in his entire discography reflecting everything that’s defined his entire life. Combining original & re-recorded material for an autumnal double album, he salutes those who inspired him over 6 decades ago with an hour & a half long memoir.

Score: 3.5/5

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Johnathan Blake – “My Life Matters” review

Johnathan Blake is a 39 year old drummer from Philadelphia, Pennsylvania notable for being the son of the late John Blake. His full-length debut The 11th Hour & the sophomore effort But Not Forgotten in the early/mid 2010s would generate enough buzz to the point where the greatest jazz label of all-time Blue Note Records signed him to their historic roster in 2021. Making his debut for them that fall with Homeward Bound, he’s ready to follow up Passage in the form of his 5th full-length LP.

After the 96 second “Broken Drum Cycle for the Forsaken” intro, “Last Breath” recruits Fabian Almazan on piano alongside Jalen Baker to play the vibraphone for an ode to the late Eric Garner reverberating the Black Lives Matter message whereas “Requiem for Dreams Shattered” after the “A Prelude to An Unnecessary Yet Tragically Banal Oratorio” further displays Fabian’s talents with the keys remembers those whose dreams weren’t realized.

“In a Brown Study” feels like yet another interlude albeit the upright bassist talents of Dezron Douglas get a chance to shine just before Muna Blake provides the spoken word piece “I Still Have a Dream” with Dezron playing behind her. The title track combines post-bop with a small dosage of nu jazz enlisting Dayna Stephens to add a synthesizer into the fold until “Can You Hear Me? (The Talking Drums Have Not Stopped)” continues the 2nd half with a drum solo.

DJ Jahi Sundance jumps behind the turntables during “Always the Wrong Color” combining the art of DJing with vibraphones & synths but once “That Which Kills Us Makes Us What?” shifts it’s focus solely towards Dayna for a couple minutes, “Can Tomorrow Be Brighter?” has to be the most tense moment throughout My Life Matters expressing optimism regarding the future in spite of all the turmoil that’s unraveled within our country these past 8 months.

“Lullaby for An Eternal Rest” puts the spotlight on Jalen’s vibraphonist skills crafting a gentle anthem for those who’re no longer with us in the physical form while “We’ll Never Know (They Didn’t Even Get to Try)” finds John’s son Johna accompanying him for a somber 7 & a half minute instrumental. “Prayer for A Brighter Tomorrow” serves as more of an outro blending soothing piano melodies & vocal harmonizations from local neo-soul veteran Bilal.

Ditching the hard-bop undertones of Passage a couple summers ago, My Life Matters still maintains the post-bop & jazz fusion elements of Johnathan Blake’s predecessor for the most personal entry of his entire discography. A commentary on the importance of family values & the social imperative to stand up in the face of injustice, he takes the lesson his parents taught him growing up about being a part of the problem if they don’t stand up to the injustice African Americans have unfortunately dealt with for centuries.

Score: 4/5

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