If you're familiar with, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help. You can become a sustaining member for a modest and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Lionel Loueke's two previous Blue Note recordings— Karibu (2008) and Mwaliko (2010)—displayed his usual virtuosity as a guitarist/vocalist who links his West African Beninese musical roots with a modernist jazz outlook that is uniquely his own.

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1. Lionel Loueke Heritage

Lionel Loueke Heritage

On Heritage, he's assembled new musicians and hooks up with innovative pianist, who coproduced and performs on the album. Glasper's work as a producer—as witnessed on his acclaimed Black Radio (Blue Note, 2012)—is the perfect fit with Loueke's eclectic ideas. The guitarist's African-themed compositions, combined with the pianist's hip flavor, is a recipe for success. The production feels looser and more absorbing and electric, as they are joined by electric bassist bass, drummer and vocalist, further enhancing Loueke's multicolored concepts. Although the mood seems more groove-oriented on tracks such as 'Ife' (the Yoruban word for love), the set exudes Loueke's immersive poeticism through lyrics sung in his native tongue and tantalizing harmonies. One of set's most captivating tracks is 'Hope' co-written by Loueke and Glasper.

Its inspiring spirit is highlighted by Glasper's expressive touch on piano and Rhodes, lovely vocal harmonies from Parlato, and Loueke pouring out an uplifting libation via tender spoken words. The infectious rhythmic inventions of 'Tribal Dance' and 'Freedom Dance' are telling of the Hodge-Guiliana lineup, with electric bass providing the tactile funkiness while the drums percolate hot beats. Glasper's 'Tribal Dance' is painted with his familiar circuitous harmonies, while Loueke's 'Freedom Dance' is an infusion of high octane fuel, the guitarist laying down an effects-laden solo against its funky rhythm. Hodge (a member of Glasper's Experiment band) and Guiliana (having played with bassists and ) are a powerful rhythm section that brings flavors of hip hop and dub beats, as well as jazz into the mix. The title, Heritage, references Loueke's collective roots, whose threads extend through many origins and destinations, as reflected in the track names. 'Ouidah' speaks of the his mother's village which was also the center of the slave trade in Benin, whereas Loueke (who also lived in France) wrote the tender ballad 'Chardon' (the French word for 'thistle'), for a beautiful yet dangerous flower. Topping things off is Glasper's energizing 'Bayyinah,' a piece written for a departed family member.

Angelique Kidjo (vocals); Josh Groban, Joss Stone, Alicia Keys, Peter Gabriel, Ziggy Marley (vocals); Lionel Loueke, Carlos Santana (guitar); Romero Lubambo (acoustic guitar); Branford Marsalis (saxophone).

It's one of the tightest jams in the set, with some deft scissoring from Guiliana. On each of these tracks Loueke plays steel-stringed acoustic with astounding lyricism and touch. From start to finish—and with a fresh perspective—Loueke's third release on Blue Note is the charm. My son recently posted his jazz story, referring to me as a “huge fan” and giving me credit for introducing him to jazz, so it’s only right that I provide the prequel, tracing how my own love of jazz started, but confessing that this “huge fan” was a very inconsistent fan for many years, sometimes completely ignoring jazz and only rediscovering my love of it when I heard a Billie Holiday CD played in an antiques store. I do remember playing Dave Brubeck for my son when he was quite young. Lately, though, I’m listening to more jazz than ever, perhaps finally deserving to be called a huge fan. My jazz story starts with my own father, who more than once said he always wanted to manage a “hot jazz band.” He was in college in the 1920s, when jazz was going through its early stages.

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• Lionel Loueke – Heritage (2. Heritage finds Loueke who was hailed by The New York Times as a gentle virtuoso exploring a more electric sound with a new trio.

He absorbed a lot of it at college dances, and by the 30s and 40s he loved swing, of course. So when I reached my teens and came across some of his old big band records, I was immediately fascinated by Glenn Miller and Benny Goodman. Most kids my age were listening to Elvis and the other popular teen music of the day, so I felt like I’d been born in the wrong decade. Big band music led me to Duke Ellington, in whose music I immediately sensed something more creative and amazing than even the best of Miller and Goodman. In college, I discovered the unimaginable variety of jazz, with strange names like bop, hard bop, cool, west coast, and free jazz. At first I had no idea what I was hearing but slowly began to make some sense of it all.

Over the years, totally by blind chance, I stumbled upon masters like Horace Silver, Chet Baker, Cannonball Adderley, Wes Montgomery, Charles Mingus, Bill Evans, and eventually meeting the challenge of Dizzy, Bird, and even Ornette Coleman. At one point, my wife thought a book on jazz would make a good birthday gift for me, and at random she chose ”Visions of Jazz” by Gary Giddins. Wow, that opened up a whole new world—I had been too stupid to know that you can actually read about jazz and jazz musicians! Since then I’ve devoured book after book, especially biographies of key figures ranging from the likes of Django Reinhardt to Clifford Brown, from Lester Young to Gigi Gryce, from Bix Beiderbecke to Thelonious Monk. The next best thing to listening to jazz is reading about it, but best of all would be to play or sing in a jazz group, producing what has been called the most democratic music, because everyone gets to solo, including the bass and drums. By Member since: 2018.