:n-the-m:x | January 2024

Welcome to our monthly mix series with each episode spotlighting 10 tracks that we were particularly excited about across various shows on Blue-in-Green:RADIO. This month showcases a selection providing a 50 minute excursion from sublime soul to scintillating jazz and lo-fi dance numbers.

Music this month comes courtesy of... 

'Interstellar Bachelor Pad' by New Visionaries (Lovemonk Records)

'What Did You Run For?' [Danilo Plessow aka MCDE Remix] by Cotonete featuring Omar (Heavenly Sweetness)

'Make it Happen' by Wonder 45 (Big AC Records)

'Make Up Your Mind' by MT Jones

'All My Life' by Monsieur MÂLÂ featuring Anna Kova (Bridge The Gap)

'GB's Groove' by Benjamin Samuels (Bridge The Gap)

'Stonewall' by Emancipator (Loci Records)

'The Houses' by De Beren Gieren (Sdban Records)

'Nordiske Fjer' by Kalaha (April Records)

'Satellite's Highway' by Gianluca Vigliar (A.MA Records)

:n-the-m:x is exclusive to our Mixcloud channel so be sure to check back at the end of every month for future round-ups.

'Eclipse' by Gianluca Vigliar

Gianluca Vigliar makes a welcome return to the A.MA Records fold with the release of his third full-length project, 'Eclipse'.

It's been a little over three years since Vigliar's last effort came to us in the form of 'Plastic Estrogenus' - an excellent and impassioned album that added its name to the increasingly longer list of contemporary jazz artists striving to bring awareness to environmental concerns including climate change and global warming.  It's genuinely inspiring to see such issues permeate through as musical talking points by so many young names impacted by a frightening future we appear to be hurtling towards.

Projects by Tori Handsley ('As We Stand', 2020) and Joshua Jaswon Octet ('Polar Waters', 2023) serve as definitive standouts as does Vigliar's own 'Plastic Estrogenus' of course which sought to raise awareness to the dangers of increasing levels of plastic found in the oceans.  The album's title itself referencing the effect that plastic toxins have specifically on humans.

For 'Eclipse', the saxophonist and composer seeks to continue his environmental message but this time turns his attention from the sea to the sky.  Very high in the sky as Vigliar addresses man's burgeoning interference in space and the costly imprint that our technologies, satellites and overall litter can have as a result.  Currently, it is estimated that space junk has accumulated more than 200 tons of rubbish with the quantity set to steadily increase.

Vigliar's message is typically backed by an excellent selection of musicians which, for 'Eclipse', includes long-time collaborator and drummer for all of Vigliar's albums to date, Marco Valeri, and US bassist and former Roy Hargrove collaborator Ameen Saleem.  Pianist Domenico Senna's inclusion is particularly welcome seeing as prior Vigliar releases - including his debut 'FraGia', 'Plastic Estrogenus' and even his Vigliar G Trio from back in 2012 - have all presented his music via piano-less formations.  Senna's exquisite playing throughout is a real highlight particularly for long-time listeners of Vigliar's music who should relish in the sublime new dimension that the instrument now affords.

But everything here fits so beautifully - Saleem's hypnotic performance throughout the sensational nine-minute title track (renamed 'Eclypse') again serves as another high point in an album filled with elegant compositions, lush interplay between the artists and some overall captivating songs.  The gentle swing of 'Fe-On' at nine and a half minutes again ensnares you from beginning to end as does 'Mani Di Fata' and the perfect closing number, 'Lost Ocean'.

We actually concluded our review of 'Plastic Estrogenus' three years ago by saying we looked forward to seeing where inspiration takes Vigliar next and it's absolutely fair to say that he has far exceeded anyone's expectations.  Having now explored matters of the cosmos, we can't imagine what will be next for Vigliar but it's no doubt a journey we're looking forward to taking.

'The Absent (10th Anniversary Remaster)' by Emily Francis Trio

Commemorating their tenth year together, the Emily Francis Trio raise a glass to what was their formal full-length introduction back in 2015 - the release of their debut album, 'The Absent'.

An exquisite piece of work that is now seeing its remastered version pressed on to limited edition vinyl for the first time and, frankly, an album that is an absolute joy to revisit after all this time.  Led by pianist Emily Francis, alongside Trevor Boxall on bass and original Trio drummer Liam Waugh, Francis' vision for her music generated a sensational release that was warmly embraced and would ultimately pave the way for its three members to further establish themselves as burgeoning solo artists and collaborators in their own right.  

And it's also exciting to regard the Trio in terms of where they have since taken their music since 'The Absent' was initially bestowed upon listeners first-time round.  While the album already showcased a versatile and all-encompassing approach to contemporary jazz, their subsequent full-length release, 'LUMA', has masterfully sought to build upon that framework with compositions and performances taking bigger and bolder risks as the music embraces styles from a variety of additional sources.  

Citing the works of Donny McCaslin, Genesis, Herbie Hancock and Avishai Cohen as strong inspirations, 'LUMA' - which would eventually arrive seven years after 'The Absent' - proudly demonstrated Emily Francis Trio's willingness to showcase these influences and display their collective growth and evolution as a unit.  Also serving as the debut of new Trio drummer, Jamie Murray, their sophomore album proved a fantastic project bolstered by tracks including 'Le Tambour, 2.00am', 'Broken Kingdom pt1', 'The Kite & The Crow' and '2 Bed Flat on Mars' which each burst with personality and imagination that elevated the Emily Francis Trio on to a whole new plateau.

And while Francis, Boxall and Murray continue to outline a framework for their music going forward, there is still so much to gain from taking those moments to look back and acknowledge the path that has brought you to where you are.  The re-release of 'The Absent' acknowledges the staggering achievement of ten years within the business which sees the trio's members continue to grow from strength to strength.  Even at the time of this writing, the Emily Francis Trio have a nationwide tour planned which sees them with performances lined up for London's revered Ronnie Scott's as well as at prestigious venues from Nottingham, Devon, Belfast and others.  

Should the release of 'The Absent' have initially passed you by then the re-release is certainly an opportunity to embrace - a remarkable album with highlights including the self-contained eight-minute marvel of the album's title track, the undeniable 70's jazz-funk groove of 'Trunk' and the elegant pacing of 'Winnebago'.  

We'd certainly like to offer our own congratulations to the Emily Francis Trio for reaching such a milestone in their career.  They say the longest journey has to start with a single step and although their collective journey is in fact far from over, it's still a wonderful thing to cling to the importance of that auspicious first step and to allow yourself the overlooked luxury of basking in your own sunshine.

'Oneness' by Christoph Grab's Reflections

"I say, play your own way.  Don't play what the public want - you play what you want and let the public pick up on what you doing - even if it does take them fifteen, twenty years."

In the age-old dispute of art versus commerce, the legendary Thelonious Monk was steadfast in his belief that genuine success could only come from an artist being true to oneself.  As a pianist, composer and keen improviser, Monk was known to impart numerous insights about the importance of cementing your own identity and not being afraid to veer off the beaten path, carving out your own lane and template for others to follow.  And it's a lesson that has resonated strongly with Christoph Grab who pays loving homage to the great jazz icon via his latest release, 'Oneness'.

For the Swiss saxophonist, composer and educator, Grab has indeed carved out an incredible career for himself in the vein of Monk's own ideologies.  Boasting an expansive selection of full-length releases to his own name, Grab has also seen succeses alongside his Blossom and Root Area ensembles as well as having collaborated and performed with Science Fiction Theatre, Zurich Jazz Orchestra and Lukas Bitterlin Quartet.  In a selection of projects too numerous to delve into here, Grab continues to brilliantly embrace these varied opportunities to chronicle his own musical adventures continually demonstrating the skill and proficiency to dabble across a variety of styles and genres.  Even his penchant for electronic and dance music manages to find its own outlet as Grab continues to defy expectations.

For 'Oneness', Grab assembles his Reflections quintet to present, not just a record to herald a jazz pioneer and hero, but also to make a social call for unity in times where compassion is perhaps in short supply.  It's a profound and noble sentiment to inspire a project and such sensitivities are exquisitely tackled throughout this nine track gem.

Grab's Reflections quintet is represented by a masterful display of talented artists and performing alongside Christoph Grab for 'Oneness' are trumpeter Lukas Thoeni, trombonist Andreas Tschopp, bassist Bänz Oester and drummer Pius Baschnagel.  Incredibly, despite an album with the work of Thelonious Monk at its core, the Reflections line-up is devoid of a substitute pianist or any harmony instrument which proves to be something of a genius concept as the move seems to afford the musicians more freedom to take the music into exciting new directions and perspectives.

While still recognisable, a selection of Monk classics - including 'Ugly Beauty', 'Something in Blue', 'Who Knows' and 'We See' - are interpreted in inspiring new ways while still performed with such care and elegance that pays the originals all due respect.

This is an excellent release from Christoph Grab - an affectionate tribute to an icon in Thelonious Monk but still a project that demonstrates Grab's ability to push forward with his music.

'In Transit' by The Night Service Commute

"Hip Hop & Jazz flavours a plenty" serves as the tagline for this release by Netherlands-based producer, beatmaker and DJ, Tommy Willetts, who has in fact stumbled onto a sensational middle ground where jazz compositions intertwine themselves with hip-hop sensibilities to create a genuinely enthralling and imaginative release.

Herbie Hancock's forward-thinking vision on his music taught listeners and musicians that jazz fusion could usher in a broader perspective of the genre and that it can thrive under a variety of unexpected influences.  And while hip-hop was singled out as a strong influence for 'In Transit', in truth, the album boasts exciting input from a vast array of musical styles and inspirations.

Willetts' nine-track treasure finds its home on the UK's Certain Sound Records - a comparatively young label established to celebrate emerging hip-hop talent as with past releases 'Certain Sounds EP' by beat maker Luther Andross and the all-star cast assembled for 'Anyone Home?' by Montener The Menace.

Under the guise of the illusive Night Service Commute, Willetts' 'In Transit' indulges in the idea that the city has its own beating heart and this album seeks to position itself as the sublime night-time soliloquy within that fantasy. Its soundtrack is the pulse that accompanies those darkest moments before the dawn and whether that's a soundtrack that resonates with those desperately trying to keep their eyes open after a late stint burning the midnight oil, the lightly intoxicated revellers still basking in the glow of their night out, those in the joys of new love or those lamenting love lost... 'In Transit' is your audio guide to the warmth and solace of finding home.

With tracks that capture a brilliant cross-section of stories and experiences - as if posing as commuters themselves interacting on a busy underground - the frenzied title track 'In Traffic', the vibrant 'My Mind' and the enigmatic 'Lost' all serve as leading highlights within the tightly-woven tapestry of noir jazz mixed within a soul-infused hip-hop aesthetic.

As you pull your collar up to repel the bitter cold and glance at your watch mentally counting down the hour until you find yourself snugly tucked up in bed, 'In Transit' serves as more than the accompaniment until you reach home, it is a piece of magic that comes with the realisation that sometimes home can actually be the journey itself.

'Roadmaps' by New Visionaries

'Roadmaps' is the new collaborative release from music-makers Joel Sarakula and Phil Martin for the Spanish label Lovemonk Records.

Under the guise of the New Visionaries, Sarakula & Martin have clearly stumbled onto a winning and creatively satisfying formula that sees them employ their years embedded within their respective - and incredibly vast - music scenes and transforming them into a series of lush, cinematic soul-infused soundscapes.

Both artists have each thrived throughout various collaborative projects over the years but their latest joint venture seems to have genuinely tapped into exciting new avenues for each of them.  For the Australian singer, songwriter and musician, Joel Sarakula's musical contributions to date have seen him release projects running the gamut of disco, soft rock, soul and reggae.  With a hefty amount of releases to his name - including albums via the revered German contemporary soul music label Légère Recordings - Sarakula has travelled the world in a bid to not only spread his musical message but also to continuously find new ways in which to convey it.  And likewise for the multi-instrumentalist and producer, Phil Martin.  A veritable one-man band, the Dutch musician can boast collaborations with a dream line-up of artists including Dr Lonnie Smith, Azymuth and Laura Vane.

Having collaborated together on projects previously, including Sarakula's 'Island Time' (2023) which saw Martin tackling drums for the album, New Visionaries presents a brilliant extension to each of their musical offerings to date.  Inspired largely by the work of contemporary soul bands like El Michels Affair and Khruangbin, 'Roadmaps' presents some wonderful interpretations on the theme with some frankly inspired compositions throughout.

With instrumental duties split evenly between the two, as seasoned musicians and producers, both Martin and Sarakula have become adept at creating music that reflects their distinct perspectives and personality.  Album opener 'Giallo Days' proves the point immediately with its infectious hook that sets the album's bar incredibly high; the challenge is met however with follow-up tune 'The Sunshine' and it's fairly lush, Roy Ayers-tinged, summer-kissed treasure.  The criminally short sonic funk number 'Firecracker' boasting Peter Broekhuizen on flute is another standout as is the synth-led and multi-faceted 'Instellar Bachelor Pad'.  

Special mention really has to go to the riveting inclusion of Hannah Williams who provides guest vocals on the track 'Summer Rain'.  Typically backed by The Affirmations and with two compulsory releases via the Italian label, Record Kicks, Williams's inclusion on the album marks an excellent win for the duo resulting in something very special.  The introspective 'Spiritual World' closes the album's ten track adventure rounding out an awesome release.

As mentioned earlier, the New Visionaries project marks a tremendous entry into the catalogues for Martin and Sarakula.  Fingers crossed the duo will take listeners on a further ride through their captivating and enthralling journey into the far-reaching realms of unexplored soul music. 

'Chrysalis' by Mike De Souza

"I hope for them to inspire feelings of wonder, excitement and hopefulness for the listener, as the music that I cherish has done for me over the years."

Mike De Souza's noble sentiment regarding his own music accompanies the release of his latest album 'Chrysalis' which finds its home on the Spanish label, Fresh Sound Records.

Marking the second full-length from the London-based guitarist and composer, De Souza unveils a stunning piece of work that incredibly found its life out of the bleakest of circumstances.  The impact of the Covid pandemic's quarantine period - while something we endured together as a society - proved ultimately to be an experience that differed for each of us.  While of course there was the obligatory steamrolling through box sets, catching up on the pile of previously unread books and maintaining a social life through Zoom-based interactions, for many, the isolation proved to be a lonely, suffocating and scary experience that tested each of our resolves.  For others, however, the unprecedented period proved - in its own peculiar way - to be something of an invaluable gift.

Time.  Something we never seem to have enough of in our everyday lives we now seemed to have more than we knew what to do with and for De Souza, quarantine afforded him the opportunity to reconnect with his writing and playing with hours each day spent exploring his own capabilities with the guitar and recontextualising his whole approach to the instrument.  And although De Souza may have found unlikely inspiration from such a turbulent period, he has masterfully managed to use these experiences and repackage them into an incredible release delivering a worthy successor to his 2019 debut solo effort, 'Slow Burn'.

With two albums and an EP ('Road Fork', 2018) now under his belt, De Souza continues to cement his name as a solo artist in his own right in addition to his already stunning résumé which includes a slew of releases via collaborative projects, session work and global touring duties.  Perhaps best known for the genre-defying Big Bad Wolf project which generated the fantastic 'Pond Life' album in 2017 and was subsequently followed by a selection of standalone singles, De Souza can further boast collaborations with Twospeak, Alex Paxton, Simon Read and Phil Meadows as well as having secured touring duties alongside the revered US trumpeter Terrence Blanchard.

With a line-up comprised of many of De Souza's friends and frequent collaborators, 'Chrysalis' can boast the immeasurable talents of pianist Rupert Cox, saxophonist Alec Harper, bassist Huw V. Williams and drummer Jay Davis.  Featuring some scintillating interplay between the musicians along with fantastic solos and inspired writing, the album's six tracks represent the band's fascinating chemistry and their collective penchant for improvisation forming a significant part of the music-making process.

The elegant slow build of 'Clementine Clouds' kicks the album off beautifully while tracks like 'Looking Up', 'Headbanger Blissout' and 'Gently Wake' inject some real personality into the compositions and serve as a real joy.  The album's title track might just shine that tiny bit brightest though as its sublime nuances beg repeated listens.

As with Mike De Souza's opening quote, music can serve as a source of tremendous inspiration and hope, and 'Chrysalis' is an album indicative of those values - a project created during difficult times but one that stands as an uplifting chronicle to that period and proof that something fairly magical can stem from the most inconceivable of circumstances.

'Exploitation Suite' by Roger Lin

'Exploitation Suite' marks the new album release from the Taipei-born and Brooklyn-based guitarist and composer, Roger Lin.

Having established himself as a formidable talent in Taiwan, clocking up numerous awards, accolades and distinctions, Lin graduated from Berklee College of Music in Boston before ultimately moving to New York.  And as quickly as that, Lin found himself starting to delve deep within the city's highly revered scene - a frequent performer, the guitarist also secured touring duties alongside bassist Marcelo Maccagnan and continues to rack up collaborations with like-minded musicians.

Lin's current release serves as something of an open letter to New York employing his own immeasurable talents to express his affections for the city and commemorating the time spent cultivating his burgeoning career.

One of the most captivating aspects of 'Exploitation Suite' is the wholly distinctive and unique perception of its architect - while Lin himself has now set up roots in Brooklyn, much of the music rewards his obvious affections for what is surely one of the world's authentic hubs for progressive and innovative jazz.  While the album seeks to celebrate New York in that context, however, Lin is also afforded the ability to regard the city and its associated scene within an honest and objective light as well.

Which is, incredibly, only half of the story and what makes Lin's perspective so invaluable.  

As his name continues to garner attention in New York as a frequent performer and collaborator, the guitarist also continues to maintain and cultivate his name within Taiwan visiting and performing there frequently.  Having the ability to immerse yourself into these two contrasting environments would surely prove to be a real gift for an artist who embraces the concept of continued learning and self-improvement as a compulsory part of their own evolution.  Having already proved to be a highly acclaimed and decorated musician, Lin's commitment to his own story will surely ensure his name continues to reach inconceivable heights.

Recorded in Brooklyn using two ensembles, 'Exploitation Suite' pairs Lin's guitar and compositions alongside the brilliance of bassist Isaac Levien, saxophonist Chaz Martineau and drummer Quinton Cain, with three of the album's nine tracks featuring the inclusion of pianist Moshe Elmakias, bassist Simón Willson and drummer Willis Edmundson.  Initially drawn to music via the piano, Lin's compositions adopt an immersive and all-encompassing approach which really allows all the artists to genuinely shine throughout the album. 

A trio of captivating Exploitation Suites are sprinkled throughout the album serving as the project's centrepiece but sharing highlight duties with some wonderful pieces like 'Shore on the Other Side' and 'Strengths and Insecurities'.  The tongue-in-cheek 'Sneaky Bastards' displays some real personality while others captivate through elegant and sublime performances.

'Exploitation Suite' delivers as a fascinating listen with Roger Lin navigating an engaging and enthralling course.