Label: Impulse! Records, 2023

Personnel - Brandee Younger: harp, vocals; Rashaan Carter: bass; Junius Paul: bass; Makaya McCraven: drums, percussion // Guests - Meshell Ndegeocello: vocals; Joel Ross: vibraphone, xylophone; De’Sean Jones; flute; Pete Rock: additional production, drum programming; 9th Wonder: additional production, drum programming; Mumu Fresh: vocals; Yuri Popowycz: strings.

Brandee Younger has no rival in today’s jazz harp world. Her music is contemporary, often spiritual, and terrifically eclectic with oodles of crossover currents that include soul, funk and hip-hop. Brand New Life, the follow-up to Somewhere Different (Impulse!, 2021), is a tribute to one of her harp heroes, Dorothy Ashby, whose music she approaches here from new angles. With drummer extraordinaire Makaya McCraven as producer and fully operational behind the kit, this session presents 10 concise tracks - some of them featuring guest artists.

The title track, a slick R&B cut enriched with modulation, has Baltimore-based singer Mumu Fresh at the front; Ashby’s “Livin’ and Lovin’ in My Own Way” is infused with trippy hip-hop flavors by the hand of DJ/rapper Pete Rock; “Dust” - another piece by Ashby - features Meshell Ndegeocello on vocals over the jumpy feel of a good reggae tapestry; and “The Windmills of Your Mind” - which was composed by Michel Legrand but included on Ashby’s 1969 album Dorothy’s Harp - welcomes additional production and drum programming from 9th Wonder.

Yet, my favorite Ashby-related numbers here are the album opener, “You’re a Girl For One Man Only”, a previously unrecorded song where Younger underlines the beauty of the melody over a chord progression that induces peace of mind; and “Running Game”, a soothing modal exercise made lovable through technical perfection and spiritual emotion.

Another highlight is Younger’s “Moving Target”, which, developing in seven, fuses funk, jazz and soul elements. You can hear syncopated trap beats, flute by De’Sean Jones, and an enthusiastic vibraphone solo by Joel Ross. The disc closes with a magical harp-only rendition of “If it’s Magic”, one of the most beautiful ballads composed by Stevie Wonder.

Younger carries on to explore her instrument on each piece, delving into the implications of delicately plucking or freely sweeping the chosen strings to optimum effect.

Favorite Tracks:
01 - You’re a Girl For One Man Only ► 06 - Running Game ► 08 - Dust

Label: Loma Vista Recordings, 2022

Personnel includes - Robert Glasper: piano, keyboards; Terrace Martin: saxophone, synth; Keyon Harrold: trumpet; Isaiah Sharkey: guitar; PJ Morton: keyboards, vocals; Jahi Sundance: turntables; Derrick Hodge: bass; Burniss Travis II: bass; Justin Tyson: drums, keyboards; Esperanza Spalding, Lalah Hathaway, H.E.R., Gregory Porter, Ledisi, Ty Dolls $ign: vocals; Q-Tip, Amir Sulaiman, Meshell Ndegeocello: spoken word; and more.

Grammy-winning keyboardist/composer Robert Glasper has been alluring audiences with his hybrid style, which incorporates jazz, neo-soul, R&B and hip-hop elements. One of his top outings was Black Radio, released 10 years ago on the Blue Note Records, and the timing to celebrate it couldn’t have been better than now, with the third installment of the series. However, despite being thematically strong, this glossily produced music aims for a more commercial path that often doesn’t impress me.

Although finding limited thrilling moments, I would like to bring to your attention pieces such as the slow-grooving opener, “In Tune”, where the adroit spoken word of Amir Sulaiman is crossed by the sped-up trumpet lines of Keyon Harrold; “Why We Speak”, where jazz-funk vibes embrace the breezy voice of Esperanza Spalding and the unmistakable rapping of Q-Tip (founder of the alternative hip-hop pioneers A Tribe Called Quest); and a catchy neo-soul interpretation of Tears For Fears’ massive pop hit “Everybody Wants to Rule the World”, here deeply sung by Lalah Hathaway.

My second group of choices is “Black Superhero”, a lustrous blend of jazz, soul and hip-hop with a strong anti-racism message as it urges every one to find black inspiration through the steely words of rappers Killer Mike and Big K.R.I.T. and the voice of BJ the Chicago Kid; and “Better Than I Imagined”, a R&B cut that brings H.E.R. and Meshell Ndegeocello’s vocal melodies and spoken word, respectively, to the foreground while having drummer Justin Tyson flexing his muscles with kick-and-snare drum patterns in the back.

Glasper uses this album to uplift heavy hearts but don’t expect anything groundbreaking, especially in its second half. If “It Don’t Matter” sounds unexceptional, even with a competent vocal pairing between singers Gregory Porter and Ledisi, then the throwback dance-pop-soul of “Out of My Hands” or the drained closer “Bright Lights” are dismissible. Black Radio III is an uneven album with just a few inspired tracks.

Favorite Tracks:
01 - In Tune ► 04 - Why We Speak ► 07 - Everybody Wants to Rule the World