Words by Justin Turford

This is the legendary Ghanaian singer, saxophonist and bandleader Gyedu-Blay Ambolley’s 35th album (his third for Agogo Records) and it is an absolutely wonderful collection of original but classic-sounding highlife grooves studded throughout with his uniquely vibing and funky interpretations of some of the most beloved of American modern jazz classics.

I’ve long been a fan of his tough, James Brown-meets-Fela-meets-Ebo Taylor highlife output and to be honest, I was expecting more of the same but here he has spread his wings with ease when taking on the jazz standards. The opening three tracks are classic 70s style Ghanaian highlife (he was after all in The Uhuru Dance Band in the early 70s, the petri-dish of what we recognise as classic second generation highlife) and they are all rock solid soulful dancing grooves from the master of hard-hitting brass arrangements. ‘Yekor Ye A Yeaba’ packs that African / US ‘Oneness of Juju’ style funk with Gyedu-Blay declaring in his deep authoritative voice - ‘Africa is the Creator of Music and Rhythms’. ‘Enyidado’ is a dreamy, sunshine burst of rhythmic bounce with lovely guitar work. A sway rather than a stomp.

When he takes on John Coltrane’s ‘Love Supreme’, the band hit new heights with possibly the funkiest, swinging version I’ve heard to date. Damn, I wish it was longer with its restrained but intensely grooving rhythm section that allows for solo pieces from the guitarist and Gyedu-Blay’s proclamations. Equally as good is their interpretation of Wayne Shorter’s ‘Footprints’, the languid horn riff floating above the son clave led groove, the Afro-Cuban / Afro-American roots of the song effortlessly steeped with the Afro-Funk of West Africa.

The evergreen ‘Round Midnite’ from Thelonious Monk gets given a delicious midtempo swing, again touching on the Afro-Cuban playbook. Gyedu-Blay’s rich and resonant voice takes the song straight back to Ghana, the root meeting the inspiration and taking it back to the root with ease. The final standard that he attempts is ‘All Blues’ by Miles Davis and the rhythm is classic C.K. Mann territory, claves upfront, a behind-the-beat drum kit, creating a sultry groove that opens up the space for all kinds of improvisational joy, the bandleader obviously enjoying his moment to scat!

Wrapping up the album are two pretty smooth highlife jazz tracks which reside somewhere between the tougher originals that open the LP and the standards he has so skillfully interpreted here. This is definitely a record made by an older musician, the pace, the understanding and subtlety of the arrangements and playing are indicative of a long life of study and performing. Enjoy a master at work. 9/10

Released on October 7, 2022 (ORDER BELOW!)