Brokenbeat / Nu Jazz Recommendation Best Of 2014

Review: Eglo come through with Yellow Memories, the long awaited debut album from Queen bee Fatima! First popping up on the label run by Alex Nut and Floating Points with a vocal contribution to Kleer by FunkinEven, Fatima's been an undeniably soulful presence on Eglo ever since and they've been teasing fans about the idea of a long player from the singer for what seems lie an aeon! Twelve tracks deep, Yellow Memories features button pushing credits from Eglo mainstays Floating Points and fLako along with Sound Signature boss man Theo Parrish, Sa Ra Creative Partners producer Computer Jay, Stones Throw artist (and Madlib's younger brother) Oh No and the wonderfully named Scoop DeVille. Fatima fans will recognise a few of the tracks on the album, with "Techno" and "Circle" issued last summer whilst the Family 12? released earlier this year featured the fLako produced cuts "La Neta" and "Family". Sink in and soak it up!

Review: Sam Redmore has quietly been doing his thing in hometown Birmingham for some time, crafting soul-soaked re-edits, bootleg remixes and mash-ups that tend towards the tasteful end of the spectrum. Having previously built up a solid fan base via his own Bandcamp page, he's finally made it onto wax. The two cuts featured here are amongst his best. The A-side revision of Bob Marley's "Is This Love" is particularly potent. It strips out the drums, thus emphasizing the genuine sweetness of Marley's original. Flip for "Sadi Soul", an upbeat, headnodding rework of a vibraphone and double bass-laced jazz-funk jam with added hip-hop swing.

Review: Yes Eglo! Alex Nut and crew turn to two elder statesmen of London beat science in Dego and Kaidi Tatham for a killer induction into the art of crafting 'broken beat bullets'. For those who don't possess the necessary knowledge, Dego is the most familiar handle of Dennis McFarlane, founding member of 4Hero and responsible for so much good music over the years, and Tatham has an equally important role in the whole Broken Beat movement, being an integral member of the Bugz In the Attic collective. The pair have worked together previously on numerous occasions and they are on top form here with lead track "Ankle Injury" demonstrating a perfect balance of melody and crafty rhythm. Imagine Theo and Floating Points collaborating and your heads in the right spot to enjoy this track and "Acting Up On That Shit Don't Count" which is the sort of music you could imagine RAMP to be making if they were on the rise today. Do check the sumptuous piano and Rhodes vibes on final cut "Carrots & Sesame"!!

Review: German jazz and soul enthusiasts Jazz & Milk are set to release a new compilation series that represent the label's broadest colours by way of previously unreleased exclusives from their ever developing roster. Consistent contrast is in full effect as we jump from vibe to vibe... From the UKG style bass bumps of Sam Irl's "Time" to the spell-binding Ethio horn heaves of Todd Simon & The Angel City All Strar Brass Band's "Sidama de Cali" by way of label boss Dusty's deep, smouldering jazz house gem "Cosmic Path", Jazz & Milk have left footprints over every corner of the dance... And beyond. We can't wait for the full album!

Review: This is the sort of back scratching we can get behind! After New Yorker Drew Lustman issued some typically nuts Dego material on his blossoming Blueberry Records label, the favour is repaid as the London legend issues this excellent 12" from the man also known as FaltyDL. Lustman's always made his love for the output of Dego McFarlane well known and his productions on A Thorough Study feel very much at home on 2000Black. The title cut could easily be a production for some underground 90s R&B cut, there's a really Teddy Riley dip to the groove here, whilst "Put It All Out There" is a typical FaltyDL polyrhythmic lick through jazzy shades that you can see Floating Points or Theo Parrish being charmed by. Man like Dego rounds out the release with a wonderfully rich and musically rewarding rework of "A Thorough Study".

Review: The first installment of Late Night Tales' After Dark was that rarest of things: a DJ mix that retained a smoky sense of early morning, home listening atmosphere while retaining an open-minded focus on the dancefloor. This follow-up - once again compiled and mixed by Bill Brewster - offers more of the same. Musically it's pleasingly varied, moving from the string-drenched downtempo beauty of Typesun's "Last One Home", to the heady Balearic rock of General Lee, via Justus Kohnke, the soulful post-bruk smoothness of As One, and the sprightly analogue electronics of Emperor Machine's remix of Paqua's "Late Train". There's also a bunch of previously unreleased tunes to enjoy, including killer contributions from the Mang Dynasty (AKA Ray Mang), The Gino Fontaine (Chicken Lips man Andrew Meecham) and - most surprising of all - The Grid and Robert Fripp.

Review: London/Venezuelan troupe Los Charly's Orchestra handpick their favourite artists to deliver a series over genre-smelting remixes. The result is an instant party that stretches from the Latin-flecked jazz the band are best known for to G-funk, breaks, house, disco and loads more. Highlights include the tight slick chops of Cy Gorman & Ennio Styles LA beat flavoured take on "Rediscovering The Big Apple", Jimi Needles' Skeewiff-style upbeat breaks twist on "My Barrio" and Al Kent's deep dub funk disco version of "Wanna Do". Something for everyone; remix packages are seldom curated with this amount of attention to detail.

Review: Young Turks clearly believe that Tahlilah Barnett, formerly known as Twigs (hence the FKA Twigs pseudonym) is a star in the making. They plucked her from obscurity last year and have since released a number of highly regarded singles. This debut album expands on her EPs to date, showcasing her woozy, intricate take on post-R&B. Naturally, her vocals - fragile and evocative, sounding not unlike Kate Bush on occasions - take centre stage, riding a bed of layered-up head-nodding rhythms, post dubstep grooves, trip-hop soundscapes, fizzing electronics and bubbling synthesizers. It's an intoxicating brew, all told, and one that delivers further proof of Barnett's immense potential.

Review: Falty DL's Brooklyn-based label Blueberry steps up with a new offering from hitherto unknown producer Luke Warm, whose style of production and name suggests it may be the work of another highly decorated producer called Luke. "Daydreamin'" snakes through Vibert-style sampling fun and games while keeping a suitably whimsical tone to the track through its choice of chords and harmonies. "Brockley Spears" is a more extrovert breakbeat funk roller, working plenty of old-skool hip hop cuts into the mix and making for a tidy party worker. "Instant Vibe" takes some definite influence from Wagon Christ style synth lines, while the funky groove is certainly not far that peppy brand of Ninja Tune beats. "Party Piece" rounds the EP off with some rude bass dominating the mix of loose and limber drum licks.

Review: Last seen on vinyl dabbling in music inspired by '70s Swedish erotica for a Golf Channel boxset aimed at the more well heeled collectors, DJ Nature returns with the first of two 12" samplers to accompany the recent Let The Children Play mini album on Jazzy Sport. Initially released on CD and digital formats in March, it's nice to see Nature's music finally find it's natural format and this first sampler contains two absolute gems. "Let The Children Play" is a deep jazz throbber pitched at just the right beatdown tempo to accentuate the lazy feeling of the sampled horns. In truth "Why Not" doesn't really deviate too far from the path laid down on the A Side, though the groove is that bit more hypnotic.

Review: After locally sourcing his first two Rhythm Section releases via Peckham producer Al Dobson Jr, Bradley Zero expands the label's remit with a superb selection of cuts from Melbourne artist Prequel. Already a big hit with radio's premier close talker Gilles Peterson, Polite Strangers is described fairly accurately as oozing "jazz, lush orchestral experiments and downbeat, Detroit flavour house" by Rhythm Section and for anyone that's been to the affiliated party in a pool hall you'll know how well this kind of music goes down there. The sun laden beat down of final track "The Test Dream" is a particular gem!

Review: Theo Parrish's Wildheart imprint has seriously impressed since its first release last year. The label's aesthetic is simple: good music. While the previous two releases have featured established artists such as Tony Allen and Dego, this latest EP comes from Living Proof-member, Budgie. Having established himself as an eclectic selector up until now - his boogie-centred sets causing quite a stir on the dancefloor each time we've seen him play out - he comes through with his debut productions for the London-Detroit label. There's no real way to describe this release, where shreds of funk, hip-hop and soul are mashed up so tightly that they've grown a life of their own. In fact, when you hear it through, it almost sounds like one full track; a vibrant and grooving mass of crunchy beats, mesmerising harmonics and devious little samples. We're certainly looking forward to hearing Budgie's upcoming blends of neo-soul. Heartily recommended to fans of most cuts on Stones Throw or PPU.

Review: New Zealand funk and reggae troupe Fat Freddy's Drop call on the man Theo Parrish to rework "Mother Mother" from last year's third LP Blackbird on the first of two planned remix 12" singles - watch out for the second featuring the handiwork of Cosmo, Yam Who and Ashley Beedle. In original form, "Mother Mother" was already quite a long track, clocking in at just under nine minutes and though this new rendition from the Sound Signature boss is not that much longer he does add his signature (sorry) twist to the track. There's also an instrumental on the B Side for those that aren't partial to Joe Dukie's distinctive tones but love the Parrish production.

Review: As you might have heard, Ms Neneh Cherry has returned with her first solo album in almost two decades and it's blessed with some high profile help. Now feeling at home on Smalltown Supersound, the Oslo-based label that issued The Cherry Thing, her collaborative album with The Thing back in 2012, Blank Project was recorded with the assistance of arch finger in pie merchant Four Tet and his buddies Rocketnumbernine. The ten track album also features a guest spot from Robyn, but this is really all about Cherry's voice, which can sound fragile and overwhelmingly powerful depending on the mood. Great to have you back Neneh.

Review: Record Store Day Edition: Amidst a busy touring schedule, Torpedo Boyz trio Daisuke Isomichi, Holger Schumann, Ken Steen have been coaxed back into the studio for their first new release since their last album Return Of The Auslanders was issued back in 2010. And we have Record Store Day to thank for this wonderfully delivered cover version of "(Hey You) The Rock Steady Crew", the classic theme tune by the groundbreaking late 70s Bronx street dance troupe The Rock Steady Crew. Being true fans of the original breakbeat style, the Boyz deliver an authentic interpretation while adding a funky twist in their distinctive Torpedo style. Pressed on 7" golden vinyl in a glossy Torpedo Boyz picture sleeve.

Review: With just a handful of releases, collaboration with Flume and some truly awesome cover versions under his hat, the justified hype behind Chet has warranted this debut album with a 'long-awaited' status. Naturally he's delivered. An expansive journey into modern day soul, his emphatic, authoritative vocals take complete command over a wide range of beats; from the blissful cosmic lollops of "Blush" to the almost Massive Attack-like hums and heaviness of "Melt" to the straight up jazz-laced soul of "Release Your Problems", it's a highly impressive document that showcases Chet's abilities as a singer and musician with matchless magic.

Review: Tightening her grip on the reputation as 'Queen Bee of Brownswood' Zara McFarlane issues her second, keenly anticipated LP If You Know Her. Across the eleven tracks, there is a clear sense of artistic progression from McFarlane's debut LP Until Tomorrow, with a stronger lyrical narrative at play that's complemented by the beautifully arranged, yet quite stripped back music. A smattering of cover versions are slipped in amidst eight original songs from Zara that, in her own words, "collectively explore emotive stories of beauty, passion, love, vulnerability, empathy, boldness, directness and sensuality." Of the cover versions, the jazz reworking of Junior Murvin classic "Police & Thieves" stands out.

Review: Ottawa-based fusionists The Souljazz Orchestra have become something of a shining light for the simple pleasures of cross-cultural experimentation. Few bands - and they're a proper band, playing explosive live shows throughout the World - blend elements of '60s and '70s soul, Afrobeat, jazz and Latin quite so well. If you've yet to be converted to their impressive wares, this sixth full-length should be essential listening. From the jazz-goes-hip-hop groovery of "Black Orchid" (complete with snaking sax solos) and vibraphone-laden Latin hustle of "Agoya" to the fluid jazz hustle of "As The Crow Flies" and jaunty "One Life To Live", Inner Fire bristles with essential grooves and impeccable instrumentation.

Review: Last seen on the Tru Thoughts label back in 2011 with his debut LP Chapters, London based Masaaki Yoshida aka Anchorsong resurfaces on the like-minded BBE with the Mawa EP. The time out of the spotlight has evidently seen Yoshida expand on his production palette as the downtempo stylings of his Tru Thoughts output has been traded for something a lot more upbeat on the four tracks here. The lead track is a dizzying melange of sampled African chants and tape saturated percussion that's blessed with some abstract textural detail, whilst "Flamingos" features some excellent marimba manipulation and gives Jamie xx a run for his money in the emotive bass music stakes. The tempo gets thrusted upwards with "Ivory" though there is still a delicate feel to the overall production, whilst closing track "Mantra" sounds like Shangaan Electro gone UK house.

Review: It's been some six years since Mr Scruff's last album, roughly the average length of one of his marathon DJ sets. Much has changed in the musical landscape since then, but the tea-loving Mancunian is still ploughing his own mixed-up, soul-influenced furrow. That means tracks that comfortably meld hip-hop, dub, jazz, dubstep, downtempo groovery and - most pleasingly - broken beat. It's actually the album's "bruk" moments - the Vanessa Freeman-voiced West London soul of "Come Find Me" and thrilling Robert Owens hook-up "He Don't", in particularly - that really set the pulse racing. Of course, confirmed fans will find plenty more to enjoy, from the baggy sweetness of "Render Me" to the classic Scruff-isms of "What", which sounds like something from his 1997 debut on Pleasure Music.

Review: Timeless jazz soul vibes... London singer Andre Espeut teams up with Juan Laya & Jorge Montiel for another super-infectious sunny side groove. Following last year's "Rising" (which was successfully remixed by D&B don Marky) "Here Today" hammers a hugely positive message home by way of rich harmonies, lavish keys and bold horns. And for proof of how solid the musical bedrock Andre has to play with, flip for the equally spirited instrumental. Wow.

Review: Man like Drew Lustman returns to Ninja Tune for an excellent slab of forward thinking beat science under his universally acclaimed FaltyDL guise. It's nice to see FaltyDL back on the label after a stint overseeing the rise of his own Blueberry Records operation - expect much more from them in 2014 - and once again Ninja house Lustman's work in the classy throwback original Ninja Tune yellow and black housebag. The A Side title track to Danger expertly rolls in the crawlspace between contemporary juke and early millennial broken beat with subtle hints of classic 60s spy cinema. It's complemented well by "King Brute," a collaboration with the superbly named Shanghai Den which spills with creeping atmospherics.

Review: As featured on his impeccable Late Night Tales edition in late 2013, Bonobo's take on Donovan's "Get Thy Bearings" is the quintessential example of a great cover version. Filling the gaps in the naked, stripped back trumpet and double bass-led original, Bonobo's strings give it a lush full-bodied feel without losing any of its charm and folky soul. Szjerdene's vocal reaches places Donovan couldn't quite hit, too. Complete with the previously unavailable instrumental - highly limited on a Record Store Day flex - this is an exceptional release.