No stranger to critical acclaim, Birmingham-born Xhosa Cole is cementing his place amongst the up and coming artists of the contemporary jazz landscape. Cole was the BBC Young Jazz Musician of the Year winner back in 2018, and has since gone on to add more awards to his impressive résumé. He claimed the Parliamentary Jazz Award for 'Best Newcomer' in 2019, Jazz FM’s 'Breakthrough Act of the Year' in 2020, and has appeared twice at the BBC Proms. 

For his third album with Birmingham's Stoney Lane Records he presents On a Modern Genius Vol.1. Previous releases include his impressive debut album K​(​no​)​w Them, K​(​no​)​w Us  in 2021 and the well-received Ibeji  in 2023. Here however, Cole turns to the great Thelonious Monk to celebrate (through a series of live recordings) the ingenuity and personality of Monk's compositions. Even the title of the album seems to be a direct homage to Monk’s own released back in 1951: Genius of Modern Music Vol.1. This album is not intended to be an imitation of Monk - not just because Cole drives these tracks with his expressive saxophone playing rather than a piano - but a tribute to a legend who has inspired him through shared influences, and enhanced his understanding of composition. 

Joining him on the album is Nathan England on drums and, in a refreshing twist in place of the piano, Steve Saunders on guitar. Josh Vadiveloo is on double bass, with a well crafted signature solo opening "Misterioso/Straight No Chaser".  

Liberty Styles

Cole is also joined by guests, including American tap dancer Liberty Styles. She features on four tracks, and works as an instrument in her own right as a clear extension of the band - particularly noticeable on the groove she builds with drum and bass in “Rhythmn-a-ning”. The connection for Cole between the tapping and the music harks back to his roots in African dance, making it a significant creative decision for the album.

Cole's daring playing in "Criss Cross/'Round Midnight/Brilliant Corners" is a fine example of technicality meeting raw expression, particularly as Cole elects to play entirely exposed for much of the track whilst the band tops and tails. Finally, the music takes a step away from Monk to feature Heidi Vogel of The Cinematic Orchestra on vocals in Ellington’s “Come Sunday”. Cole has described a strong musical resonance between the two legends, and this ultimately allows Vogel to shine with yearning and soulful sincerity, whilst Cole matches with practised fluidity and expressive playing.

The album is sure to please and surprise, and certainly denotes the evolution of Xhosa Cole as an artist going from strength to strength. Listeners can both value the integrity of Thelonious Monk's original works, as well as appreciate these through a contemporary lens. Here, Cole creates a perfect balance of old and new, and this is certainly a testament to his creative interpretation of one of jazz's finest composers and performers.  

Maddy Allison

from www.prestomusic.com