On his debut album Faking It, Manchester guitarist Jimmy Beedham steps forward with a record that’s full of personality, craft, and that unmistakable feeling of musicians genuinely enjoying themselves. It’s a proper fusion journey – jazz, funk, rock, blues, and even a splash of psychedelic and Spanish guitar – all stitched together with a confidence that never feels showy for the sake of it.
For fans of Brecker Brothers, Snarky Puppy, Andy Timmons, George Benson, Steely Dan, and even the more expressive side of Jeff Beck, this album sits right at home. But it still sounds like Jimmy – no pretending, no posturing, just honest playing.
The project is built around live studio performances, and you can hear that chemistry straight away. There’s also a quiet emotional thread running through it: the album is dedicated to Dave Speakman, the original engineer, whose passing mid‑project gives the record a sense of purpose. It’s not mournful – more a celebration of the work, the friendships, and the joy of making music.
Track‑by‑Track
1. Frenchman’s Breakfast
The opener starts with a cheeky bait‑and‑switch – bebop stabs, vinyl crackle, lo‑fi café jazz – before bursting into full studio clarity. From there it becomes a proper whirlwind: funk, jazz, upright bass solos, piano breaks, and even a Led Zeppelin‑esque riff that somehow blends back into swing. It shouldn’t work, but it does. A bold start that shows Jimmy’s not here to play it safe.
2. Heir of the Dog
A smooth, whisky‑and‑smoke funk jam. Guitar and hi‑hat lock in first, then the band slides into a groove that’s relaxed but full of intent. Pulsating keys, tasteful guitar lines, and a late vocal texture that adds a bit of flavour. It’s the kind of tune you’d happily stick on while unwinding after a long day.
3. Life By Misadventure
Dreamy, reverby, and a touch psychedelic – this one floats. A descending walking bass line anchors the mood while Jimmy’s guitar leans into Jeff Beck territory, full of expressive bends and whammy‑kissed phrasing. There’s even a hint of Pink Floyd before it settles back into jazz‑fusion elegance. One of the album’s standout tracks – chilled, moody, and beautifully played.
4. On Talacre Beach
A complete shift in tone. Spanish‑infused guitar, nylon‑string interplay, and folky flourishes. Two guitars weave around each other – sometimes competing, sometimes complementing – creating a warm, sun‑drenched atmosphere. It’s the least “jazzy” track so far, but that’s exactly why it works. A refreshing detour that shows Jimmy’s range.
5. Trojan Funk
A funk tune with a surprise tucked inside. Tight rhythmic interplay gives way to a dreamy, psychedelic section before building into a fiery jazz‑fusion lead. Then it snaps back into the main riff like nothing happened. You can easily imagine this one lighting up a live crowd. Short, punchy, and full of character.
6. Don’t Get Caught
A proper blues‑rock Trojan horse. The opening riff screams Led Zeppelin or ZZ Top, but within seconds the sax arrives and the track morphs into a swaggering jazz‑blues hybrid. Head‑banging grooves, brass bursts, and a huge guitar solo give this track a gritty edge. It’s loud, bold, and great fun.
7. No Picnic
The most “classic jazz fusion” track – at least at first. Woodwinds and sax set the tone, but Jimmy quickly flips it with the most distorted guitar tone on the album, complete with pinch harmonics and near‑metal aggression. There are chilled bass‑led sections (with Tal Wilkenfeld vibes), slap bass moments, and even a Jack White‑style riff played in unison with the brass. It’s unpredictable, intense, and full of personality.
8. Adjacent To Paradise (ATP)
The album’s only vocal track, and a theatrical, tongue‑in‑cheek finale. Rock meets jazz meets yacht‑rock flamboyance, with Queen‑esque backing vocals and harmonised guitars that lean more toward 10cc or The Darkness than anything earlier in the album. Spoken‑word passages, big solos, and playful lyrics about life on the road give it charm. It’s quirky, energetic, and intentionally over‑the‑top – a fun closer with plenty of character.
Final Thoughts
Faking It is an album made by musicians who clearly love playing – and you can hear that joy in every bar. Jimmy Beedham’s debut as a lead artist is confident, eclectic, and full of life. It’s a fusion record that refuses to sit still, jumping between genres with ease while keeping a consistent musical identity.
The interplay between players is the album’s heartbeat. Every track feels like a conversation – guitars answering keys, bass pushing drums, sax cutting through with flair. It’s a record that rewards attentive listening, but never demands it; you can sit back with a drink and enjoy the vibe, or lean in and appreciate the craftsmanship.
For a debut, it’s remarkably assured. For fusion fans, it’s a treat. And for anyone who loves hearing musicians have fun, it’s essential listening.
5 / 5
Faking It is set for release on 23rd October on limited‑edition vinyl and digital download via Bandcamp – with no streaming platforms for the full album. Pre‑orders are open now, and two singles are already out in the wild:
- Trojan Funk — https://open.spotify.com/track/10qOQvpDWwGiidX6g3ByxY
- Don’t Get Caught — https://open.spotify.com/track/6gHDZ4OtSvqmSzFIX51XAM
The final single, “Adjacent To Paradise”, lands on 9th October.
Live dates are already lining up for late 2026 and into 2027, with more details to come.
NEW MUSIC UK 