Joe Armon-Jones has long been at the forefront of the UK’s thriving jazz scene, blending deep grooves, exploratory improvisation, and an ever-expanding sonic palette. All The Quiet: Volume 1, the latest offering from his own Aquarii Records, marks his most ambitious project yet—part one of a two-volume release that pushes his sound into new realms. Following 2019’s Turn to Clear View and a series of high-profile collaborations, this album sees Armon-Jones refining his signature fusion of jazz, funk, and dub, while enlisting a host of talented musicians and vocalists to expand his vision. The result is a record that feels both deeply rooted in tradition and forward-thinking, bursting with rhythmic energy and lush instrumentation.
From the outset, All The Quiet: Volume 1 sets a distinctive mood. Opener Lifetones immediately establishes the album’s world, its tumbling basslines and swirling percussion giving way to a jazz-funk groove heavy on horns and reggae-inflected rhythms. The interplay between synths and layered keys provides a warm, summery feel, a quality that carries throughout much of the album. Tracks like Forgiveness continue in this vein, with understated vocals melting into brass-led melodies, giving way to spellbinding sax and Rhodes solos. Armon-Jones’ ability to blend structure with improvisation shines, as the music effortlessly shifts from smooth grooves to freer, more experimental passages.
Musically, the album thrives on contrasts. Kingfisher leans into Afro-funk, with Asheber’s warm baritone offset by an unpredictable bassline, while Nothing Noble delivers a more forceful jazz-funk workout, its driving drums matched by expressive keys and an urgent trumpet solo. Eye Swear, featuring Goya Gumbani, introduces an experimental jazz-hip-hop fusion, with winding bass and shimmering keys adding layers of intrigue. Even the interludes, like Danger Everywhere and Show Me, serve as textural bridges, offering space for reflection before diving back into the groove.
The Afro influences return on The Citadel, where brass flourishes and piano splashes lead into a shifting, almost disco-like rhythm. Meanwhile, Snakes is a funk-fueled highlight, riding cool melodic changes with effortless momentum before easing into a more relaxed final passage. The album closes with Hurry Up and Wait, a modern jazz-funk piece that unfurls gently, guided by scattered drums and Latin-tinged Rhodes piano. Throughout, Armon-Jones’ production, informed by his deep love of dub, adds an extra dimension—subtle echoes and effects making each track feel rich and immersive.
With All The Quiet: Volume 1, Armon-Jones continues to push his sound into new and exciting territory, balancing tradition with innovation. As the first installment of a two-part project, this album not only stands as a strong statement in contemporary jazz but also builds anticipation for Volume 2. His ability to weave together jazz, funk, dub, and hip-hop elements into a seamless whole makes All The Quiet: Volume 1 both an exhilarating listen and a testament to his ever-expanding creative vision.
