Nu Jazz

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Nu Jazz is a modern Northern European flavored jazz that combines elements of acid jazz, ambient music, modern composition, electronica and world fusion. Nu jazz artist Nils Petter Molvaer draws upon influences such as Miles' Silent Way album, Jon Hassel's fourth world drum patterns and down tempo dub to create serene ascetic atmospheres laced with ancient European folk melodies that reflect his culture and upbringing in a land dominated with clean cold air, wide open spaces and the sea. In England, The Portico Quartet combines Indonesian and Caribbean rhythmic backgrounds with serene ECM style ambient saxophone melodies to create a new age influenced Nu Jazz sound. In another variation on the Nu Jazz style, Norway's Jagga Jazzist mixes a small jazz orchestra with jangly Post Rock guitars to make a new Exotica flavored hybrid.

Nu Jazz music can also be found in our dub jazz and acid jazz genres, as well as our DJ jazz genre.

nu jazz top albums

Showing only albums and live's | Based on members ratings & JMA custom algorithm

JAGA JAZZIST A Livingroom Hush Album Cover A Livingroom Hush
JAGA JAZZIST
4.77 | 16 ratings
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JAGA JAZZIST One-Armed Bandit Album Cover One-Armed Bandit
JAGA JAZZIST
4.44 | 20 ratings
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NIK BARTSCH Llyria Album Cover Llyria
NIK BARTSCH
4.60 | 5 ratings
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BUGGE WESSELTOFT New Conception of Jazz: Moving Album Cover New Conception of Jazz: Moving
BUGGE WESSELTOFT
4.67 | 3 ratings
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BUGGE WESSELTOFT New Conception of Jazz: FiLM iNG Album Cover New Conception of Jazz: FiLM iNG
BUGGE WESSELTOFT
4.67 | 3 ratings
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NIK BARTSCH Holon Album Cover Holon
NIK BARTSCH
4.50 | 4 ratings
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THE BAD PLUS Suspicious Activity? Album Cover Suspicious Activity?
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4.50 | 3 ratings
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DAVID TORN Polytown Album Cover Polytown
DAVID TORN
4.41 | 3 ratings
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MAGIC MALIK ORCHESTRA 69-96 Album Cover 69-96
MAGIC MALIK ORCHESTRA
5.00 | 1 ratings
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HARRIS EISENSTADT Canada Day Album Cover Canada Day
HARRIS EISENSTADT
5.00 | 1 ratings
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HARRIS EISENSTADT Woodblock Prints Album Cover Woodblock Prints
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5.00 | 1 ratings
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HARRIS EISENSTADT Canada Day II Album Cover Canada Day II
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5.00 | 1 ratings
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nu jazz Music Reviews

NIECHĘĆ Śmierć w miękkim futerku (Death In A Soft Fur Coat)

Album · 2012 · Nu Jazz
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Amilisom
What a cool album cover!

Smierc w miekkim futerku is the debut album of a nu jazz band from Poland, and a good one at that. The approach that they give to the genre is diverse, interesting, and unlike anything I've heard before. Although I admit this is the first nu jazz album I've studied, I'm certainly impressed with the textures and sounds created with the electronics and distorted guitar used with the saxophone.

The feel of the album overall is dark, which can be assumed from a look at the album artwork. The feel ranges from dark, ambient soundscapes created with electronics to tight, rock grooves with a saxophone melody to every band member improvising over the top of each other in a sudden chaotic storm of improvisation. Unconventional time signatures show up occasionally. In retrospect, the amount of what many would consider "jazz" is actually a little sparse here.

Whether or not many would consider it jazz or not, I think it sounds great.

ANGLES By Way Of Deception - Live In Ljubljana

Live album · 2012 · Nu Jazz
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snobb
"By way of Deception" is the third album for this Swedish band, and was recorded live in concert, as were their two previous releases. Geographically their debut comes from Swedish Radio recordings in Stockholm, while the second album is from the renowned Coimbra jazz festival in Portugal."Deception" was recorded in the Ljubljana Jazz Fest in 2011, and the new destination obviously radiates from the music presented here. Slovenia is a beautiful small country placed between the Alps and the Adriatic Sea and formally it's not a part of the Balkans. But historically, being a part of the former Socialist Yugoslavia, they are strongly influenced by Balkan culture and even more - by the region's political events (last Balkan war of 90s started right in Slovenia).

The cultural and political atmosphere of the place is really important for Angles' music since they are the modern equivalent of Charlie Haden's Liberation Music Orchestra. It's not a strange fact that all three of their albums are live recordings - with their music they speak with people about war and danger - not pathetically, but with pain in their hearts.

Previously a sextet, Angles play here as an octet (adding pianist and increasing the brass section, under "Angles 8" name). From the very first seconds of the album's opener, "By Way Of Deception", all the spaces around are filled by modern Balkan folklore tune-based compositions with characteristic unison brass passages, almost dance-able rhythms but at the same time - very elegant and full of sadness. With my quite deep knowledge of local culture I can perfectly imagine how this song sounded to the people for whom this last war is not a history, but still open bleeding sore.

With their bigger line-up, the band has a deeper, heavily arranged sound close to modern progressive big band music. At the same time, their music is jazz only partially: a lot of folklore elements (from Balkan to African and even Latin)and some rock energy produces the strange and magic, but hardly categorized brew. Comparing with two previous albums, the new line up sounds less rock influenced and more avant-garde jazz/world fusion. During concerts, the musicians will return a few more times to easily recognizable Balkan tunes, often added just as short few seconds of pieces in the body of other compositions, but such a trick helps to continue with the opener's atmosphere all concert long. Not all compositions are new on this album - "Let's Speak About The Weather (And Not About The War)" and "Don't Ruin Me" both come from their debut, "Today Is Better Than Tomorrow" and "Let's Tear The Threads Of Trust" - from "Epileptical West". Not an unusual case for the band - their excellent composition "Every Woman Is A Tree" is presented on both their first and second albums. More important - even the same songs always sound different.

Looking now from a four years and three released album distance, their debut was a true musical event, second album - strong if a bit predictable release. With "By Way Of Deception" it looks like the band found a new direction for the development of their musical ideas (during fall 2012 they played some Belgium gigs already as "Angles 9"). If you liked Angles' previous albums, this one will be a joy for you, for newcomers - for a more nu jazz sound, start from band's debut, if you prefer progressive big band-ish sound - you're in a right place.

CHRIS LIGHTCAP'S BIGMOUTH Deluxe

Album · 2010 · Nu Jazz
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js
‘Deluxe’ is another fine example of how jazz is alive and well in 2011 as artists like Chris Lightcap blend what is best in today’s new developments with traditions from the past. Although often conveniently placed in the nu jazz genre, Chris and his band do not play many clichés from any genre. Their connection to nu jazz comes from some use of that genre’s repeating minimalist figures, as well as a very youthful almost indie-rock feel to their sound and production. Along with the occasional nu jazz influences, you can also hear some unpretentious Charles Mingus styled head-arrangements in the ensemble horn playing as well as some throwbacks to the early 80s when post-fusion horn players like Julius Hemphill and Arther Blythe re-discovered the joy of playing acoustic hard bop jazz that often leaned towards free jazz.

There isn't any modern studio trickery or overdubbing on here. Every song consists of stand-up bass, drums and Wurlitzer piano, all recorded without any effects, as well as two or three horn players who are capable of simultaneous improvisations without stepping on each other’s toes. The use of a Wurlitzer piano is an interesting choice and adds much to this band’s American indie rock band sound. Likewise, some tunes use repeating chord sequences that recall rustic mid-western garage rock bands as well. Other lead melodies the band uses to kick off their improvisations may also remind many of Ornette Coleman’s slow plaintive melodies that also paint a picture of large open outdoor spaces.

This is an excellent heartfelt and emotional record that sounds better the more I hear it. If I had one complaint about this group it would be that they still have not earned that ultra-confident swagger and authority that goes with the very best in jazz. If they keep up what they are doing though, in time Chris Lightcaps's Bigmouth will earn all that.

INTERSTATIC InterStatic

Album · 2012 · Nu Jazz
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js
When nu jazzers Roy Powell (B3, synth), Jacob Young (guitar) and Jarle Vepestad (drums) got together in 2011 to record “Anthem”, they may not have known that they would become a permanent trio, but the following year they amped up their musical direction and recorded “Interstatic”, while also using the album’s name to be their new group name as well. All three of these band mates felt that their debut had been a little too typical in their adherence to current trends in North European “contemporary” jazz, so they decided to dig a little deeper in coming up with some creative musical directions on their new one.

One stated influence on “Interstatic” is the early work of Terje Rypdal, and that would probably be the best reference for this album’s influences, but you also get some free bop Hammond trio jazz ala Larry Young, Elvin Jones and Tony Williams Lifetime. Added to these jazz influences, Interstatic also plays a very understated somber “rock” style that draws upon post-rock stylists like Durutti Column and Nicky Skopelitis, as well as the almost sentimental early 70s instrumental rock of artists like Focus and Phil Manzenera. All of these influences mix together seamlessly for Interstatic as they create their own personal sound. As stated earlier, there is a very appealing somberness to this band’s sound which combines with their loose structures to make a music that is the exact opposite of glitzy and glamorous. This album is highly recommended for fans of modern jazz-rock, all of the players are great and can totally smoke when they solo, but they often trade in show-off chops for plaintive melodies and ethereal sound textures.

PORTICO QUARTET Portico Quartet

Album · 2012 · Nu Jazz
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Sean Trane
Third studio album from the Portico Quartet, now famous for their use of the Hang drums. Through a very un-committing artwork (presenting their names broken down, multiplied and colourized, the quartet still features the sax as the lead instrument, and if their signature instrument (the Hang) is a bit less present, you’re still unmistakably in the usual Portico soundscapes in the first half of the album. However things tend to change dramatically for the second part and veer very post-ambient.

The group still dishes out the same kind of exciting, but thoughtful fusion as they did in their first two albums, yet managing to renew themselves sufficiently to avoid repetition. Some tracks are more reflective and calmer, sometimes even approaching some post-rock soundscapes (Spinner), others developing some strong electronic elements first (start of Rubidium), then veering post-minimalist (the second part of Rubidium). At times, the album also bears an ECM reminiscence that enters the post-rock minimalism mix (Hot Climates). A bit surprising is the Bjork-like vocal appearance of Steepless. The mixed electronic moods (In some weird Tortoise way) continues 4096 Colours and onwards to the closing Trace.

A fairly different album from Portico Quartet, where the signature Hang drum is much less present and the second half has little to do with their usual soundscapes, but is no less spellbinding, but in a very different manner.

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