Not since the acid jazz movement has British jazz seen such a revival. Arising from the London club scene in the mid-1980s, the likes of Incognito, James Taylor Quartet and Galliano lead a groove-oriented sound that drew from a marriage of jazz, soul, funk, and hip-hop. 

Later in the 2000s and taking cues from acid jazz, nu-jazz was predominantly Europe’s contribiution to the growing relationship between jazz and contemporary dance culture. Pioneers like German group Jazzanova, French producer St. Germain and Norwegian pianist Bugge Wesseltoft combined live instruments with dancier, electronic elements. The sound also gave nods to Miles Davis’ “Bitches Brew” as well as Herbie Hancock’s “Future Shock”, which were both precursors for what was to come. 

A little later on and back in the UK, a pop-friendly twist enabled jazz to re-enter the charts. Vocalists like Amy Winehouse, Katie Melua and Jamie Cullum received both commercial success and critical acclaim, with modern production values further enabling them to reach audiences that weren’t previously leaning into jazz. It was Cullum’s debut “Twentysomething” which really punctuated the popular resurgence of British jazz in the early 2000s; his album went triple platinum, and today it still holds the record for the fastest selling jazz album in UK chart history. Cullum is still releasing music today, but also plays an important role as a broadcaster on BBC Radio 2; on The Jazz Show, he spotlights plenty of British jazz releases from across the years alongside emerging talent. 

The following decade brought what’s been affectionately penned as the UK Jazz explosion, although time will tell if one day we’ll find a more descriptive name for this chapter. This movement materialised during a time where social media and streaming services created a revolution in listening habits, leading to less tribe-like fandom and instead an increased breadth of tastes from person to person. As for the musicians, easier access to music-making software on laptops, tablets and phones meant that a track could be essentially made with a single instrument. 

Meanwhile, musicians who’d been predominantly conservatoire trained were throwing out the rule book and using their talents to create music through the lens of Black British music. Afrobeat, broken beat, reggae, dub, club sounds and influences from International scenes all rubbed off on these young jazz musicians. Cue the likes of Nubya Garcia, Shabaka Hutchings, Moses Boyd and KOKOROKO. 

Today, the British jazz scene continues to innovate. Rising artists are taking cues from those who have come before. “Blue Note Re:imagined II” makes a handy introduction to artists who came up in the ‘00s – such as Oscar Jerome and Yazz Ahmed – as well as artists who are emerging now, like Parthenope and Maya Delilah. 

To help you in navigating the British Jazz scene a little further, here are five albums that we recommend you add to your collection.

Jamie Cullum – “Twentysomething” (2003)

With a distinctively charming swagger, Cullum’s raspy baritone delivered a mix of originals, pop covers and jazz standards. He made the likes of “I Get a Kick Out Of You” accessible to new audiences, whilst self-penned offerings like the album’s title-track spoke to a laddish British culture of the time – “Don’t make me live for my Friday nights, drinking eight pints and getting in fights” – before an uptempo piano solo. No one was doing it like Cullum, and today, he still remains an incredibly original voice in UK Jazz. 

Shabaka and the Ancestors – “Wisdom of Elders” (2016) 

There are few who’ve contributed as much to the modern UK jazz scene as Shabaka. A saxophonist, flautist and clarinettist – although he’s semi-retired the former – he’s created music as a solo artist as well as part of the Mercury Prize-nominated Sons of Kemet and The Comet is Coming. Owing to his deep affinity with the music of South Africa, Shabaka’s multiple visits to the country resulted in the formation of a band called Shabaka and the Ancestors. Their debut, “Wisdom of Elders”, is a deep, spiritual record honouring the country’s jazz traditions. It’s not only a powerful album of its own accord, but goes some way to represent the versatility and global outlook of the UK’s jazz musicians. 

GoGo Penguin – “Man Made Object” (2016)

The Mancunian trio have created a sound which sounds uniquely theirs; melodious, woody deep tones from the double bass, cyclical and moorish refrains on the keys and danceable, busy rhythms on the drums. Although they play acoustically, they draw inspiration from electronic music, especially the likes of Aphex Twin. GoGo Penguin are one of many world-class acts to come out of Manchester’s fertile jazz scene, and “Man Made Object” is up there with the band’s finest offerings. 

Jacob Collier – “Djesse Volume 1” (2018)

Jacob Collier was still a teenager when Sir Quincy Jones came across one of his many impressive YouTube arrangements of classic pop songs. From there it’s only been upwards for Collier. As the first album in a four part series, “Djesse Volume 1” represents daybreak, with the later volumes taking you chronologically through a full day. It features The Metropole Orchestra, Voces8, Laura Mvula, Hamid El Kasri, Take 6, and even Collier’s violinist mother, Suzie Collier, who regularly appears in his music. 

Nubya Garcia – “Odyssey” (2024)

With breathtaking string arrangements throughout, “Odyssey” is the second album from one of the brightest stars in UK jazz, saxophonist, composer, arranger and bandleader Nubya Garcia. With features from Georgia Anne Muldrow and Esperanza Spalding, the album is an expansive suite of music drawing from jazz, dub and reggae. Its large scale and virtuosity make it a rewarding listen, and would be guarenteed to please any fans of the Coltranes or the contemporary British jazz scene.

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Tina Edwards is a music journalist, DJ and broadcaster. She’s the co-founder of curatorial platforms re:sonate and Queer Jazz, and hosts her own Bandcamp Club called Jazz-ish Jazz Club. She has bylines in Bandcamp Daily, Downbeat, Monocle and more.

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