Tony Allen JID018

Resenha do Álbum

It would be easy to focus on the sad side of Tony Allen's addition to the ever-incredible Jazz Is Dead catalog. Allen's passing on April 30, 2020 ended a seemingly nonstop beacon of light and this is one of the first and only full length recordings of Allen since his death. But to focus on sadness would be to ignore Allen's legacy; Tony Allen existed to spread joy.

In that case, JID 018 is no exception. Allen's usual hard lean on Afrobeat is conjoined with the Jazz Is Dead house band—adding a flair for modern bebop and funk. Opening track "Ebun" delivers immediately with short flute, sax, and trumpet solos announcing their presence in the first minute of the song. Of course, Allen's drumming is excellent and the bass slaps on the one before culling the rest of the band's participation. Perhaps the "largest" sounding recording of the eight, "Ebun" was composed by Jazz Is Dead showrunner Adrian Younge and Henry "Skipper" Franklin, the latter of whom has his own JID recording alongside being a core member of the Black Jazz Recordings stable.

"Oladipo," the third track, relies on a strong bed of organ and guitar in order to give the bassist a field in which to further roam. This refreshes the record before the short and incredible "Don't Believe the Dancers" announces the true intention of the record: to get and stay funky. From there the arrangements are short and focused—the songs arrive at their apexes and then end with a "leave them wanting more" ethos.

The final two tracks, "No Beginning" and "No End" are titled well. The former meanders for a bit before catching a gorgeous groove halfway through, allowing for a trumpet solo to carry the listener to conclusion. "No End" could be played on a loop and still fill the air with discovery. The song leans the most on Afrobeat, with a low, quick saxophone filling out the song's rhythm à la the originators of the form.

Throughout, and ever present, Tony Allen drives the record forward. As Jazz Is Dead has done throughout their ongoing, incredible run with legendary players, the band allows the lead member to shine above all else. The beats move simply and with seemingly very little flair, but deep listening reveals Allen's true form. Allen moved asses and spirits alike. This record does nothing to tarnish that legacy and proves, once again, what fans of the genre and musician already knew: Tony Allen existed to spread joy. © Jeff Laughlin/Qobuz