Xhosa Cole,  On a Modern Genius, Vol. 1 Review

by Icrom Bigrad

Released on January 10, 2025, On a Modern Genius, Vol. 1 by British saxophonist Xhosa Cole offers a vibrant tribute to Thelonious Monk through a series of inspired improvisations and creative interpretations. The album demonstrates Cole’s respect for Monk’s melodic structures, paired with his own adventurous improvisational approach. This collection, recorded live during the 2023 tour at 1000 Trades in Birmingham, features Cole’s quartet alongside special guests Liberty Styles (tap dance) and Heidi Vogel (vocals). The ensemble’s dynamic chemistry and interplay are palpable, offering engaging listening.

The ensemble on On a Modern Genius, Vol. 1, is a dynamic and versatile collective, each member contributing a distinctive voice to the music. Leading the charge with his expressive tenor saxophone, Xhosa Cole brings a fluidity and depth to every track, his playing a seamless blend of modern and traditional jazz vocabulary. Alongside him, Steve Saunders’ guitar provides a harmonic backbone, drawing influence from jazz legends while infusing a contemporary twist. The rhythmic foundation is solidly anchored by Josh Vadiveloo’s double bass, whose playing moves between groove-driven support and interactive counterpoint with ease. Nathan England Jones on drums adds pulse subtlety and forward motion to the proceedings. A truly unique element of this ensemble is Liberty Styles, whose tap dance serves as a percussive layer to form a dialogue between movement and sound, weaving through the music with rhythmic motifs. Together, this ensemble forms a cohesive unit, resulting in a performance that is as much a conversation as it is a performance.

“Trinkle, Tinkle” offers a compelling interaction between Cole’s tenor sax and Saunders’ guitar. Saunders’ chordal accompaniment is rich and textured, following Cole’s adventurous exploration during his solo. The duo builds momentum as Cole engages with the harmonic structures, infusing the traditional with modern vocabulary. Saunders’ style, stemming from the Barney Kessel camp, adds a layer of vintage jazz appeal. The rhythm section lays the groundwork with subtle intensity, allowing for a fluid exchange of ideas.

“Rhythm-a-ning” features Styles’ tap dancing, adding rhythmic motifs that gradually build, drawing the listener into a kinetic space. The rhythmic dialogue between Styles and Cole is fetching and inventive as the saxophonist plays off her percussive accents. The ensemble works together to let the music evolve into a playful, interactive group improvisation. Styles takes the first solo, accompanied by Vadiveloo’s bass and Jones’ drum set, where she swings fluidly, showcasing her connection to the jazz language. This track is a perfect example of the history of jazz and its integration into dance music. Cole’s innovative approach expands the sonic palette and collective interplay by adding this element to the performance.

“Misterioso/Straight, No Chaser” is a clever exploration of two Monk classics. A bluesy bass intro sets the mood before the ensemble enters, with “Misterioso” unfolding in an atmospheric, slow-tempo rendition. The subtle accompaniment by the rhythm section allows Cole and Saunders to explore the theme with depth and emotion. Cole’s a cappella solo during “Misterioso” is intricate in its exploration of melodic shapes, demonstrating his skill at pulling new textures from Monk’s familiar lines. The seamless segue into “Straight, No Chaser” shifts the mood, introducing a medium swing feel. The harmonic shift brings the track into a jazz blues setting, where the band builds momentum before returning to a more complex improvisational approach.

“Criss Cross/’Round Midnight/Brilliant Corners” brings together three Monk compositions, each one blending into the next with the ensemble’s fluid interaction. The arrangement focuses on Monk’s melody richness, with the quartet exploring the melodic possibilities through various textures and rhythmic feels. Cole’s extended solo during “‘ Round Midnight” is expressive as he he explores the melodic shapes of the theme with remarkable fluidity. The final section of the medley, “Brilliant Corners,” serves as a thematic cadence, creating a cyclical resolution to the medley while acting as a cadential figure for the preceding themes.

“Let’s Cool One” opens with a textured chordal solo by Saunders. Cole interacts with Saunders as they exchange ideas, giving the melody a variety of textures. The group plays with the pulse throughout the track, subtly speeding up and slowing down with each phrase, adding a sense of fluidity and unpredictability to the performance. This playful manipulation of time creates a unique space for Vadiveloo’s bass solo, which is lyrical. The ensemble’s cohesive exchange during this track emphasizes their remarkable chemistry.

“Bright Mississippi” opens with Styles’ rhythmic motifs, building gradually to create a rich pattern of taps. Cole’s solo in this track is rooted in the bebop language, making it one of the most bebop-influenced solos on the album. His ideas are fluid, target chord tones, and intricate in their rhythmic construction.  The ensemble trades phrases with ease that highlights their intuitive understanding of one another, creating a dynamic and engaging atmosphere. The call-and-response nature of the trading phrases gives listeners a glimpse into the exceptional chemistry between the band members, further enhancing the track’s impact.

The album’s closing track, “Come Sunday,” takes a gospel jazz turn, with Heidi Vogel’s vocals adding a soulful, emotive layer to the performance. Styles’ tap dancing returns, this time building beneath Vogel’s rubato phrases, adding rhythmic depth and color to the balladic atmosphere. The ensemble follows Vogel’s lead, offering supportive and intuitive playing. The bridge shifts the piece into time, establishing a relaxed jazz ballad feel. Cole’s solo here is expansive and expressive, with his exploration of various textures and patterns offering a poignant conclusion to the album. The seamless integration of jazz and gospel influences in this track leaves a lasting impression, perfectly encapsulating the spirit of the entire album.

On a Modern Genius, Vol. 1 is Xhosa Cole’s vision as a jazz artist to honor the legacy of Thelonious Monk while creating a unique listening experience. The ensemble’s tight cohesion, bolstered by the addition of Liberty Styles’ tap dance and Heidi Vogel’s gospel vocals, offers fresh interpretations of Monk’s iconic compositions. With an emphasis on improvisation, textural exploration, and thematic development, the album provides a wealth of inspiration.