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Ambrose Akinmusire is a critically acclaimed trumpeter, part of the ‘new school’ (whatever that might be) and is absolutely melting my mind right now with his new Blue Note release, When the Heart Emerges Glistening.

I haven’t been this excited by a trumpet player since I first laid my ears on Lee Morgan. Akinmusire has such a big, beautiful sound that is equally adept at conveying warmth as much as generating energy and crispness.

Akinmusire wrote 10 of the 12 tracks on the album and each composition is tight. The ballads are particularly sublime. The straight up pieces are really accessible, but there’s always something notable and stimulating in each of them – like the playful arpeggios in Far But Few Between or the way the tempo dips and builds back up in The Walls of Lechuguilla. By far the most impressive element is the organic relationship between Akinmusire and his tenor saxophonist, Walter Smith III. Whether it’s in harmony or counterpoint their playing has a great dynamic. It’s usually a highlight of a track for me.

The album is a little unconventional in that it contains a couple of short tracks (e.g. Far But few Between and Ayneh) and interludes (e.g. Henya Bass Intro). There’s really nothing particularly exciting going on in these tracks, but it really does add atmosphere to the album as a whole.

Anyway, I just wanted to share two of the more sublime ballads. I have a real soft spot for these tracks – beautiful ensemble jazz and I love the way they highlight the careful and delicate bending of notes by Akinmusire.

Regret (No More) just oozes melancholy:

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Tear Stained Suicide Manifesto – if ever music could be said to embody anguish, then this is it. Gerald Clayton’s playing is brilliant on this. Mind you, I didn’t like the ending – it was more of a an abrupt question mark rather than the resolution or dispersion that the track seemed to be building up for. Anyway, this is hardly enough of a fault for me and I have no hesitation in saying that this is likely to become one of my favourite tunes.

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On a different note, the unconventional elements of this album made me think of the polemical spray on Twitter by music critic Phil Freeman. The other day Freeman tweeted the ‘laws of jazz’. They’re actually pretty hilarious from a satirical point of view. But, seriously, I think When the Heart Emerges Glistening ticks the boxes on more than a few of these and I’d say it’s what makes the album great. Enjoy.

The soulful spiritual Grant Green circa 1962

During his lifetime, Grant Green had never really attained notable status as a jazz guitarist. Not only was Green considered to be technically lacking, but his prime was overshadowed by the rise of Wes Montgomery and Geroge Benson. Nevertheless, Blue Note had promoted him from sideman to leader and Green’s discography from his 10 years there not only showcases his own work but nascent phases of the careers of numerous jazz luminaries including Joe Henderson and Herbie Hancock. Green Street (1961) still remains one of Green’s best straight albums. 1962′s Grantstand highlights the more soulful jazz and early groove for which Green later became popular. Idle Moments (1964) has emerged as a classic with the blues title track solidifying Green’s reputation as a blues guitarist. But the 1960s represented more misses than hits for Green and his absence from music from the mid-1960s onwards due to a debilitating heroin addiction certainly didn’t help. By the end of the 1960s Green was considered to be good, but not impressive. Nevertheless, Green’s pop and R&B sensibilities meant he had developed a playing style that was more expressive and melodic. He seemed more interested in evoking a mood or sentiment than showing off his chops. By the 1970s Green was moving towards jazz fusion and funk. Despite still being haunted by substance abuse throughout the 1970s, Green made some early success with the shift but it didn’t really last that long. Green died of a heart attack in 1979, remaining throughout most of his life without much recognition for his musicality.

That was until the 1990s. More…