Qobuzissime

Right hook, left jab, uppercut! The first album from Enemy makes a radical entrance. Behind the name is the young trio of; pianist Kit Downes, bassist Frans Petter Eldh ​and drummer James Maddren. Three young faces of the international jazz scene who have already made a name for themselves in solo careers or alongside other pathbreakers. They have joined forces in order to give free rein to their creative impulses and their hunger for freedom. Produced by Eldh himself, this album is very physical: a tidal wave of contemporary jazz. It's a polyrhythmic storm which will delight fans of power trios in the style of the Bad Plus. With a bubbling brew of influences running from Keith Jarrett to Oscar Peterson, Kit Downs sketches out some mind blowing multicoloured improvisations. But the strength of the Brit's piano clearly lies in the way it sticks so closely to the rhythms of Eldh and Maddren, who are the core of this jazz reactor. But Enemy isn't just a byword for power and racing rhythms. When the trio take on ballads, they also unleash a captivating narrative force. Enemy: much friendlier than they look… © Marc Zisman/Qobuz

She loves Madeleine Peyroux and Melody Gardot and she doesn't care who knows it. But Hailey Tuck does have a little something of her own up her sleeve. It's a personal touch that makes this young Texan, who has made landfall in Paris, an attractive voice in its own right, and not a pale imitation of anyone else. Larry Klein, who produced her two idols, even agreed to put together the first album of this starlet who shares a hairdresser with Louise Brooks, and a wardrobe with Josephine Baker. Klein even put together a perfect and never over-produced backdrop, with the help of some five-star studio musicians like drummer Jay Bellerose (Elton John, Robert Plant) and guitarist Dean Parks (Joe Cocker, Steely Dan)… In terms of their repertoire, the eclecticism and quality of these covers also displays thoroughgoing good taste. And the fact that she revisits That Don't Make It Junk by Leonard Cohen, Cry To Me, made famous Solomon Burke, Cactus Tree by Joni Mitchell, Some Other Time by Leonard Bernstein, Underwear by Pulp, Alcohol by the Kinks, Junk by Paul McCartney, I Don’t Care Much from the soundtrack to Cabaret and indeed the wonderful Say You Don’t Mind by Colin Blunstone, Hailey Tuck deploys her voice intelligently and with a dash of retro in every word and every phrase. Let this beautiful and timeless Qobuzissime carry you away... © Max Dembo/Qobuz

They knew what they were doing when they named this record Nordub. Nor for North, represented here by Nils Petter Molvaer. In 1997, when the label ECM brought out the stunning album Khmer, this Norwegian trumpeter shook the jazz world by bringing electronic music into his atmospheric musical world. Nor is also his fellow countryman, guitarist Eivind Aarset and Finnish electro-tinkerer and DJ Vladislav Delay. As for the three letters of Dub, they stand for the genre's most classic duo: Sly Dunbar on drums and bassist Robbie Shakespeare. In 2016, this motley crew made up of the Jamaican tandem and Nils Petter Molvaer hit the stage. It was quite a warm-up for their studio session in Oslo. In essence, Molvaer's world has always been a hybrid, bringing together textures that were never exclusively jazz. His playing style uses different atmospheric controls without ever losing the creative strength of his improvisations or compositions. Here, the trumpeter even works his way into the unique Sly & Robbie sound with a perfectly natural air. And that is surely the strength of Nordub. No-one takes over, or tries to overpower the other. The fusion is total, and sincere. We even feel that our two old Jamaican long-distance travellers have strayed out of their normal comfort zone to take part actively in this music as it takes shape. Just like Aarset and Delay's work, every part is a vital component of the final result. Together, our five sound adventurers produce a fine symphony of truly singular dub and jazz. © Marc Zisman/Qobuz

And here we go again: London Calling! But this time, the call doesn’t come from the rock ‘n’ roll’s hungry depths but rather from the jazz’ ones. A jazz which we can only label as special so much the young London scene compiled on this We Out Here was built on mixed influences, soul as well as Afrobeat, fusion or electro. To center in on this new generation, Brownswood Recordings, Gilles Peterson’s label, entrusted the album’s artistic direction to the most publicized among them: saxophonist Shabaka Hutchings. Recorded over three days, the selected musicians and bands display a jazz spirit rather than jazz form. Therefore, drummer Jake Long and his formation Maisha play at being voodoo masters in the style of a Pharoah Sanders. Fela’s Afrobeat provides a fertile ground to the Ezra Collective from drummer Femi Koleoso but also to the Kokoroko Collective. While another drumming ace, the charismatic Moses Boyd, wraps up his rhythms in a brilliantly hypnotic electro loop before coming back to the paths of an invigorating libertarian jazz. This Qobuzism colorful like never before, includes instrumentals from the likes of Theon Cross, an impressive tuba marathoner (and incidentally an accomplice of Shabaka Hutchings within the Sons Of Kemet), Nubya Garcia, a saxophonist possessed by Charles Lloyd’s lyricism, and also Joe Armon-Jones, a keyboard mad scientist who knows Herbie Hancock like the back of his hand… With We Out Here, and the new London jazz scene pens a manifesto as dynamic as it is eclectic. © Marc Zisman/Qobuz

The idea of ​​setting up a quartet of this kind is not new ground for the talented Airelle Besson. In fact, she confessed back in 2014 (the year of that rehearsals with the band began) that she had spent the previous five years studying up on the subject. The chemistry between the band members and Besson takes place very quickly, and the artist puts it down to her choice of collaboration, with Benjamin Moussay (piano, synthesizer) and Fabrice Moreau (drums) both playing important roles. The discovery and addition of the highly adept Isabel Sörling, a Scandinavian vocalist, is another key aspect of the project and one which makes it all the more singular. Organic and minimalist from end to end, the Radio One music ensemble is graceful and delicate. By placing emotion at the heart of the project, the quartet connect with the listener, and vice versa. A wonderful Qobuzism!