Kris Bowers

If you want to bridge the gap between Thelonious Monk and Robert Glasper you can look to Kris Bowers, 24-year-old wunderkind, here to save modern jazz and jazz-piano in one fell swoop. Bowers’s debut as a leader shows his skills and knowledge across classical, jazz and modern composition. There’s a touch of film-score feel to some of this too. But it’s Bowers’ percussive feel that shows he’s done the work – listening – across the decades. And that he won’t let the piano go quietly, wants it to rage, rage hard against the dying of the industry.

From slinky modern jazz with a nocturnal edge (#The Protestor) to rounded corners (Vices and Virtues) this has an impeccable, easy flow – but there are some startling moments with guest vocalists (Julia Esterlin on Forget-Er, Chris Turner on Wonder Love) where, Glasper-like, Bowers appears to be bending hip-hop and R’n’B flavours to suit the light refracted through the prism of jazz.

Short, cinematic segues (Forever Wonder) punctuate the moments where so many genres and reference points are piled up high (Drift) and minimalism meets maximalism as Steve Wonder-does-jazz mingles with Steve Reich’s icy detachment.

It isn’t so much a jazz album as it is a jazz-approach. Jazz as spring-board then. They way it has been for Glasper. The way it was for Monk. Bowers is one to watch. Certainly one to listen to.