New music round-UP ::: November 2024

'Mother Earth' by Van Fleur

Setting the bar incredibly high with the release of her debut single, Shanell van Koeverden - under the guise of Van Fleur - offers up a sensational display of her talents with 'Mother Earth'.  Assuming duties as the song's vocalist, songwriter, producer and trumpeter, Van Fleur ushers in her complex and multi-layered composition that finds itself rooted in sublime neo-soul, contemporary jazz and a dreamy Latin-tinged aesthetic.  A keen performer and collaborator, 'Mother Earth' sees the Australian artist and musician take the decided steps towards centre stage - and it's potentially a step that has been a long time coming.  A quick glance over Van Fleur's Instagram page allows us further access to what is clearly a highly imaginative, creative and adventurous artist - videos documenting her progress in self-taught drumming lessons are a joy as are the tantalising snippets of covers and demos including Space Captain's 'Easier'.  We're incredibly excited by the prospect of more music from Van Fleur and equally excited about the prospect of watching more of her story unfold.

'Again' by Merna

The brand new single from Canadian singer-songwriter Merna Bishouty marks her second release in relatively quick succession this year.  With the more up-tempo 'Pour My Love' unveiled in August, this more sultry follow-up captures the excellence of Merna's vocal alongside its tailor-made production.  Having initially come to prominence performing under the moniker of Ayah, and having secured some standout collaborations alongside DJ Jazzy Jeff - culminating in the brilliant 'Back For More' full-length - 'Merna' serves as not just a re-introduction but more so a significant evolutionary step in her artistry.  'Again' boasts an added bonus in the accompanying 'And Again' which clocks in at just under two minutes but still serves as the perfect extension to the song's themes.  As a two-track presentation, both are beautifully performed and produced and we're enthusiastically awaiting more releases.

'Untrue' by Flevans

With former releases on Tru Thoughts and following a lengthy and successful stint at Jalapeno Records, the versatile DJ, producer and musician Nigel "Flevans" Evans steps out on his own with the formation of Nearby Bear Recordings.  As an artist in his own right, there's very little Flevans can't do - with past projects running the gamut from sample-laden, drum-heavy breakbeat funk to disco-tinged, dancefloor-centric numbers, down-tempo gems and sweet soul, Flevans has steered an incredible musical path over his extensive career.  The notion of Flevans at the helm of his own label is a massively exciting prospect, whether that involves the freedom to release music on his own terms or whether Nearby Bear extends to being a hub for other artists to create music and learn under the Flevans tree.  With the single comprising three tracks including the soulful 'Untrue' along with the instrumental version and the lush 'Just Reach', both beautifully bolstered by sublime vocal samples.  With the label's first full-length due in April 2025, there's the promise for imminent and great things from Nearby Bear Recordings. 

'Race Against the Sun' by MATTERS UNKNOWN featuring Flavio Correa

Listeners were first introduced to the all-encompassing jazz of MATTERS UNKNOWN via the New Soil debut full-length, 'We Aren't Just', released late-2002.  Serving as something of an alter ego to the project's founder, Jonny Enser, the trumpeter and composer led the charge for an inspired project with ambitious scope and imagination.  Famed as trumpeter for the mighty UK ensemble, Nubiyan Twist, Enser has managed to diversify his MATTERS UNKNOWN project to demonstrate exciting new facets to his music.  The new single - leading the charge for an EP release early next year - finds Enser once again in the company of 'We Aren't Just' collaborators in Rosie Turton (trombone), Nick Richards (sax), Lyle Barton (keys), Matt Davies (drums) and Alec Hewes (bass).  Cuban percussionist and vocalist Flavio Correa guests on 'Race Against the Sun' providing the perfect accompaniment to Enser's perspective on Afro-Cuban-jazz that managed to permeate through to tracks even on 'We Aren't Just'.  A sensational return.

'Grzybnia' by Błoto

'Grzybnia' marks the latest release from dynamic Polish quartet, Błoto, continuing their long-running association with Astigmatic Records.

It's incredible to consider the Błoto journey so far - with their debut album having been unveiled in 2020, 'Erozje' would inspire a further two full-lengths in comparatively quick succession totaling three albums within a year.  That's an inspired level of prolificity and one that seemingly comes second nature to the the Błoto ensemble.

Often considered an offshoot of the phenomenally diverse EABS collective, Błoto's like-minded and ambitious scope has consistently been reflected within their own projects utterly justifying them as completely free of the respectful but lengthy shadow that EABS and their achievements must have cast over them since their inception.

Comprised of musicians and multi-instrumentalists Latarnik (piano/synthesizers), Wuja HZG (bass), Cancer G (drums) and Książę Saxonii (sax), Błoto's unrivalled soundscapes have previously served as odes to everything from 90s Golden Era hip-hop to the dance and house aesthetic of club culture.  'Grzybnia' however finds the group immersed within a further stage of their musical evolution, this time drawing inspiration from one of the most unlikeliest sources...

Mycelium.  Employed as a metaphor to surmise the global impact that the last few years have presented to us all and the inconceivable amount of challenges that have sought to divide us politically, racially and environmentally; a worldwide pandemic ground everyday life to a screeching halt; the continual threat of full-scale war looms over us... 'Grzybnia' seeks to highlight the notion of how working together can ultimately breed different outcomes.  

While mycelium - the fuzzy mass growing on out of date food - signifies the end of one life, it ultimately signifies the beginning of a new one also.  By its very nature, mycelium is rooted within both harmony and co-operation, a co-dependent relationship that identifies the importance of its own interconnected infrastructure alongside the world and the eco system around it.

It certainly serves as a bold metaphor to regard in line with the harmony of our world around us and even in line with a band as a whole.  The cohesiveness employed for improvised music and how each musician connects with those around them.  Musically, 'Grzybnia' sees the Błoto sound take even greater strides with an almost menacing, tightly-woven sci-fi aesthetic permeating throughout the album's otherworldly nine tracks.

'1969' by Gus la tempête

As beautifully recounted on the album's Bandcamp page, '1969' is a project created by the producer and beatmaker, Gus la tempête, in the wake of his mother's passing.  By spending countless hours delving through her record collection, each cherished album and song would serve as another puzzle piece to consider when compiling her musical make-up. 

While no doubt tortuous and uplifting in equal measures, the undertaking would become its own exercise in managing the grief of her passing - a project that helped to lament her loss and at the same time celebrate her life.

For the self-professed "beat broadcaster", Gus' music has consistently displayed a versatility that allows him to forge interpersonal musical connections from the past - as is the case for '1969' - while also being able to steer his productions towards interplanetary realms, like with the technological explorations carried out for 'Dead Computer' (2008) and the futuristic condemnation of 'Slow Down Robots' (2011).

Even as a member of the beloved Electric Conversation alongside long-time friends LaNote, As Valet and Oz, theirs was a group that sought to deliver an incredible hip-hop inspired blend of future soul which is still prevalent to fans all these years later.  The union would spawn two full-length albums released through Futuristica Music - 'Communication' (2007) and 'Electric Conversation' (2013) - which are rightfully highly-revered projects and regarded as contemporary classics. 

The post Electric Conversation years have led Gus to his own Laissedoudis Records which has served as his own musical playground - a "no rules" approach to music-making that continues the legacy of hip-hop instrumental beatmaking in uniquely imaginative ways. 

'1969' will undoubtedly serve as Gus la tempête's masterpiece.  A project that not only helps the producer in his grief but one that can serve as a source of inspiration for others who have endured the same harsh realities of watching a loved one succomb to illness.  That level of truth is absolutely art in its purest sense - the ability to confront thoughts and feelings head on in a manner that can be unbearable but necessary in its own way as well.

There's a poignant quote attributed to Ernest Hemingway which suggests a person has two deaths - the first being when their soul leaves their body and the second being the last time their name is spoken.  For posterity, as this album does beautifully, we honour the memory of Isabelle Marie Louise Hamard.

'Love Child' by Koko-Jean & The Tonics

'Love Child' serves as the second full-length album release from Spanish soul outfit, Koko-Jean & The Tonics, whose varied concoction of explosive 60s-inspired soul music infused with rhythm & blues makes an incredibly welcome return.

Serving as the official follow-up to the band's debut release in 2021 with 'Shaken & Stirred', Koko-Jean & The Tonics openly wear their influences on their sleeve as their music pays sublime homage to the roots of northern soul but still openly embraces various branches within the blossoming soul music tree from blues to rock'n'roll.

Theirs is a passion for the genre that is aptly reflected via the recording home of Barcelona-based label, Buenritmo Records.  Themselves showcasing an incredible array of artists and collectives each boasting their distinctive take on soul music from the quintessential blues of The Sick Boys, the vibrant jazz-funk of Dani Nel·lo + Organ Trio and the raucous swing of Los Mambo Jambo Arkestra.  Koko-Jean & The Tonics couldn't be in safer hands or more at home than a label with such a deep-seeded affection for the genre and its diverse make-up.

Fronted by the awesome vocal of the titular Koko-Jean Davis - formerly known as the vocalist of The Excitements - The Tonics are subsequently comprised of drummer Anton Jarl, guitarist Dani 'Patillas' Baraldés and Hammond organist Victor Puertas.  The trio of musicians form such a tight, cohesive and powerhouse unit that afford Davis the vast to confidently soar over the variety of musical landscapes on offer to her.

From the infectious dance-floor-groove of 'The Spin', the funk-fuelled 'Gonna Be A Party Tonight' (which sounds like it's come fresh from a 2am Prince aftershow), the blues lament of 'Never Ever' and the impassioned 'I Can't Stand You', Koko-Jean & The Tonics present inspired perspectives that harken back to beloved facets of soul music's greats.  

The fact that it's an homage so masterfully put together is what makes 'Love Child' such a distinctive and fantastic project - Koko-Jean & The Tonics continue to occupy a lane all of their own with a sound that is bolstered by intricate production, excellent musicianship and an extraordinary vocalist. 

'Entanglements' by Fabio Tullio

'Entanglements' marks the new album release from saxophonist Fabio Tullio who returns to his home of A.MA Records six years after his debut with the label.

Following the warmly-received 'Tales From Within' in 2018, Tullio's sublime introduction delivered a real gem for the Italian-based label comparatively early within its life-span.  'Tales From Within' ultimately came about in the midst of a diverse array of A.MA album releases that showcased the jazz-funk of Paolo Achenza, the acid jazz of The Motion Collective and the neo-soul meets jazz of Francesca Sortino.  Tullio's exquisite project became an album that helped set A.MA on a path towards its affection for contemporary, innovative and improvised jazz projects helping to lay the groundwork for artists that would eventually follow through the label's hallowed halls like Andrea Gomellini, Gianluca Vigliar and Enrico Bracco.

As an in-demand saxophonist and performer, Fabio Tullio has racked up a strong amount of collaborations over the years including work alongside Mario Biondi, Amanda Lear, The Soultrend Orchestra and the Castelli Jazz Collective, amongst others.  His Papik-produced 'Cocktail Jazz' full-length from 2018 presented some vibrant string-laden, bossa covers of music by Paul McCartney, Nat King Cole and Joao Gilberto. 

'Entanglements' serves as a return to centre-stage for Tullio and it's a return that that is unveiled through an album with such an inspired concept.  A celebration of sorts to the art of performance and improvisation that relishes the circumstance of a collection of artists and musicians creating music within a designated space and time.  There's an excellent quote attributed to jazz pianist Cecil Taylor who astutely noted that "improvisation is the ability to talk to oneself".  It's such an evocative summary of the artform and to expand upon that, if I may, as well as "talking to oneself", there is also the discipline to "listen" to the musicians around you, respond in kind, play your part within that cohesion, supporting one another... It's absolutely an artform all of its own and 'Entanglements' serves to embrace the notion that each session sparks something that wouldn't have existed in any other space or time.

The album is supported by some incredible musicians joining Tullio for this milestone adventure, including Alessandro Gwis and Massimiliano De Lucia on piano and drums respectively, both returning as key collaborators from 'Tales From Within'.  Long-time collaborator and fellow A.MA recording artist Andrea Gomellini features on guitar throughout, alongside bassist Andrea Colella, drummer Valerio Vantaggio, trumpeter Claudio Corvini and percussionist Simone Talone. 

The music across the album's seven compositions offer some sensational pieces - from the cosmic tinged 'Ode' to the spirited 'The Return of Mr Crohn' and notwithstanding the lush intimacy of 'Elements'.  Vocalist Marta Capponi blesses album opener 'Don't Forget' delivering an early album standout and appears again for the three-part closing number 'Untitled Spiritual'.

We'd be remiss in not mentioning the fact that it's been an excellent year for new music releases for A.MA Records - projects by Egidio Rondinone, Katarina Kochetova, Shljuka Quintet and Gianluca Vigliar have garnered exceptional and warranted praise with Fabio Tullio's 'Entanglements' rounding out the year in phenomenal fashion.  If it takes another six years for Tullio to return with another full-length project after this one then we have every confidence that it will without doubt be worth the wait.

'JAZZ BRUT 0001' by Q-Sounds Recordings/JAZZ BRUT & The Principles of Joy

Luminaries of the genre have often opined that "Jazz is freedom".  Words that have at various times been uttered by giants of jazz like Thelonious Monk and Dave Brubeck while they regard the joy of performance and improvisation alongside like-minded artists and in the company of appreciative audiences.  

In fact, Duke Ellington went on to further define jazz as an "unhampered, unhindered expression of complete freedom".  It's such a captivating depiction because it presents jazz as more than just a style of music, but also as an ideology.  An ideology with its own built-in lineage that harks back to New York in the 1920s with musicians crammed into small rooms in high apartment buildings writing and honing their craft at the dawn of the city's revered Jazz Age.

But now, in 2024, Q-Sounds Recordings has perhaps found unlikely inspiration within this framework of collective improvisation as a form of musical expression.  I say "unlikely", in no way out of disrespect - despite the label from Seine Saint-Denis, France, serving as one of the greatest independent soul music labels in the world today, theirs has not been a name most commonly associated to jazz.  However, through the launch of the label's sub-division, JAZZ BRUT, this appears to be something that seems poised to change.

As far as the label's soul music catalogue goes, as just mentioned, there are few who can do it better.  Through the likes of The Vogs, Laura Llorens & The Shadows of Love, The Supertights and Lisa Melissa & The Mess, Q-Sounds have bestowed some phenomenal music for some years now.  While music firmly rooted within a soul music aesthetic, the limitless talent of the numerous artists and musicians attached to the label is unquestionable and it's their soul music ties that make a project like this so appealing.  

For the launch of this enthralling new series, 'JAZZ BRUT 0001' assembles members from one of the label's marquis acts in the Principles of Joy.  Initially formed in 2017, the Principles of Joy unveiled an awesome introduction to their distinctive style via the stunning 'Strong Ain't Wrong' in 2019.  With the release of the band's third album at the top of this year, 'JAZZ BRUT 0001' marks an exciting transition for the group as they immerse themselves within the challenge of something new.  

Featuring Harysson Jean-Baptiste, Loïc "The Butcher" Betems and Jérôme Makles on guitars and bass, Ludovic Bors on Rhodes and Schaël Michanol on drums, the collective unveil a fantastic six-track effort that excitingly embraces the free-flowing and imaginative aesthetic of improvised jazz, while still creating an engaging soundscape that nods to their funk and soul music tendencies along with touches of trippy psychedelia thrown in as well.  'Slow Distortion' presents a restrained easing into the album while 'Twisted Cloud' presents a multi-layered acknowledgement of the aforementioned styles. 

Jazz is a style of music and of course, an ideology, that has perhaps extended further than anything anyone could have envisaged for it.  A genre that consistently evolves and finds itself entwined with a variety of musical styles that continue to bestow new life and new perspectives.  'JAZZ BRUT 0001' proves an absolute thrill to see this baton picked up by Q-Sounds in this way - a fantastic diversification by the label and one that honours the principles that jazz was built upon.  This is freedom, friends.

'Tokyo Tree EP' by Magro

The release of 'Tokyo Tree' via the hallowed halls on Sonar Kollektiv marks a staggering - yet inevitable - achievement and milestone for drummer and producer, Mathis "Magro" Grossman.

The Berlin-based artist has long proved himself as a veritable force amongst today's genre fluid perspectives on music.  As someone who wears the tag of 'jazz artist' just as comfortably as 'hip-hop artist', Magro's independent releases to date help paint the picture of a progressive and innovative artist always seeking new ways to push himself and his music forward.  

Through his incredible Beat Tape series to his standalone singles to his extensive work with world class R&B singer-songwriter Leona Berlin to his own two full-length releases - 'Trippin' (2021) and 'II' (2022) - Magro more than just straddles the line in between various styles and genres; he dives right in, wearing his influences on his sleeve and simply places his trust within his own unhindered perspective of music-making. 

To have fallen onto the radar of the revered Sonar Kollektiv is unquestionably a phenomenal distinction and absolutely a warranted one.  Magro's musical philosophies are very much in line with the Jazzanova-founded label who, outside of their own releases, have also been responsible for projects by electronic music artist Feiertag, vocalist Pete Josef and alternative soul band The KBCS amongst a litany of other free-thinking and far-ranging artists.

'Tokyo Tree' serves as a worthy (re)introduction of sorts for listeners unfamiliar with previous Magro offerings.  But in that vein, the project also serves as an excellent and logical progression of his music releases thus far.  With 'Trippin' and 'II', Magro introduced darker, broader and more experimental sonic landscapes than he had ever dabbled in before and 'Tokyo Tree', again, seems to be a thrilling extension to that established groundwork.

The eight-track EP veers comfortably across nu-jazz territory, pulsing hip-hop production and twinges of electronica influences that all seamlessly blend into each other.  Musically, there's something of an homage to the spirit and vigor of club culture that is infectious and again serves as something of its own motivational force within Magro's music.

With now extensive European touring credentials to his name, the voracious live performer can cite having performed around Germany, London, Amsterdam, Aberdeen, Bratislava and Estonia, demonstrative of the deserved successes that the prolific artist has been able to boast over the last two years.  'Tokyo Tree' rounds this period off nicely and continues to position Magro as an imperative voice for today's music scene.

'the trials of bunny john' by the space travelers union

'the trials of bunny john' marks the debut full-length release by the space travelers union whose inspired new project finds its home through Folded Music's new sub-label, Most Least.

While Asta Hiroki's Folded Music label has served as an independent beacon for innovative electronic music from artists like fthmlss, Catch92, Mick Destitute and Hiroki himself, it's exciting to see that level of care and attention turn towards innovative jazz via Most Least.  A comparatively young label, we've already seen some wonderful releases from A. McCall, new signees in Biomania (who we're also particularly excited about), and of course the early single releases for the union.

Founded by saxophonist and band leader Ryan Wheless, the space travelers union put forth a thrilling and progressive perspective on jazz that pays loving homage to tradition but also embraces the opportunity to create music that forges ahead to carve out its own path for itself.

With compositions that rely heavily on improvisation, Wheless' influences have found themselves cultivated from his extended time of study and performance in New York - as well as having attended Boston's revered Berklee College of Music - alongside his current home in Tucson, Arizona.  

It's certainly a stark contrast - the bright lights and vibrancy of the big city juxtaposed with the unmitigated and natural beauty of the desert.  And it's a contrast that is fairly apt when regarding the music throughout 'the trials of bunny john' - the band's penchant for twinges of an electronic aesthetic is skillfully interwoven into the collective's improvised live instrumentation.  It's a technique that ultimately spawns some exceptional results that, again, pull together these seemingly disparate (musical) environments creating a new not-often explored middle ground.

The album's ten tracks create a variety of enthralling pieces - some that burst with energy and others that embrace the solace of introspection.  Clocking in at just over eight minutes, 'hope' is a sensational number that delivers an early standout for the album - with numerous twists and turns, the track that served as the band's first single boasts a narrative all of its own.  In many ways, this is a characteristic that could be attributed to almost any of the album's contributions.  

'the trials of bunny john' is an album that lives and dies by its own personality and charisma , which is exuded in abundance throughout the album.  It's an album that does justice to the space travelers union as well as to Most Least who have set an early high bar for releases going forward. 

'Re-mind' by Iseul Kim's Liberosis

There's a fascinating world view that comes attached to releases by pianist Iseul Kim.  It is perhaps formed under the belief that music - like any artform - can serve as its own multi-faceted collage representing each of our hopes, fears, thoughts and aspirations.  Each experience finds a way to leave its own indelible imprint on us as individuals serving as a testament to the paths we've walked and the paths still to come.

The sophomore album release by Iseul Kim's Liberosis collective seeks to further detail the evolving components of her musical make-up with 'Re-mind' serving as a thrilling addition to her burgeoning catalogue.

Now based in New York and dividing her time between the US and Seoul, Kim's musical endeavours have been shaped by an inordinate amount of world touring and travel that has seen her perform across the US, Korea, Japan, Argentina, as well as gracing further stages throughout Europe and Africa.  

'Re-mind' is an album demonstrative of Kim's immeasurable talent - from her world class ability as a performer to her credentials as a writer, producer, arranger and composer - the pianist masterfully uses the opportunity of each release to solidify herself as an accomplished and, frankly, consummate artist.

A project that was always conceived as an embodiment of varied musical styles, the first Liberosis project was initially unveiled in 2019 and modestly titled 'Iseul Kim's First Project Liberosis'.  An exquisite amalgamation of contemporary jazz alongside neo-classical compositions and beautifully infused with Latin stylings, resulted in a riveting project that confidently acknowledged the scope of Kim's inspirations presenting them succinctly within the six-track debut.

Despite the eclecticism of the Liberosis project, Iseul Kim continues to explore a variety of other musical avenues acknowledging that there are still more stories to tell.  The Iseul Kim Trio sees Kim perform alongside bassist Inyoung Kim and Liberosis drummer Jaewon Lee delivering a wonderful project with 'True Me' in 2021.  And then there is the more expansive ensemble of her Two Voices project which showcases an assembly of nine musicians and strives to create music honouring traditional Korean styled compositions as well as Western classical music.  Again, a wonderfully ambitious project that delivered the album 'Evolving' in 2023 through the Austrian Boomslang Records.

'Re-mind' finds Iseul Kim in her Liberosis mindset once again delivering an impassioned project that bursts with imagination and delivers as a staggering continuation of the groundwork established through its 2019 predecessor.  Across the album's eight compositions, we're treated to lush orchestral pieces, a scintillating level of improvisation, some sublime solo arrangements and excellent performances from the cast that comprise Liberosis including Jaewon Lee (drums), Ok Jeong Kim (cello), Jongsu Yoon (violin) and Hoo Kim (bass).

Iseul Kim is a natural storyteller and she makes it an artform all of its own.  The compulsion to keep creating music with her own inimitable narrative woven into the tapestry will forever serve as Kim's motivational force, and it will forever be our privilege to embrace these stories for the treasures they are.

:n-the-m:x | October 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 45-minute excursion from eclectic R&B to some scintillating funk & soul and lush electronica selections.

Music this month comes courtesy of...

'There Must Be An Angel' by Irene Serra

'Brighter Day' by Leona Berlin

'Abyss of My Tea' by Yumeji

'Moving' by Grant Richards featuring Julia Easterlin

'Keep Our Love alive' by Gyratory Allstars

'Le Chief' by A Plane To Catch (April)

'(That) JoGo Groove' by The JoGo Project featuring Bravo Reds & Greg Boyer (Growroom Productions)

'Dinosaur' by Biomania (Most Least)

'Oqueeei' by MOMO (Batov)

'Yo Pe Koze' by Rickysoul The C3PO (Oioji)

: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.

'Keeping Company' by Bill Laurance & Michael League

Prior to being presented with the new release by Bill Laurance & Michael League, I had actually been coincidentally taking the time to reconnect with the revered Snarky Puppy series, Family Dinner...

Two sensational live releases by the Texan-based jazz fusion collective (fingers crossed for a Volume 3 one day!) that proved genuine milestones within the Snarky Puppy legacy.  A project that saw the already expansive ensemble open their doors to a wide array of artists and musicians, the sheer scope of these projects is daunting even to just relay in words here.  Daunting but surely creatively satisfying in immeasurable ways as well - albums that serve as definitive validation of the band's over-arching success.

In many ways, the name, successes, accolades and scale of the collective must loom like a shadow for any Snarky Puppy member and the multitude of projects its vast array of contributors have gone on to tackle in the time in and around Snarky releases.

For Snarky Puppy founder Michael League and core contributor Bill Laurance, projects which afford them the opportunity of a reinvention of sorts must serve as wholesome reprieves.  For pianist Laurance, his releases have proved consistently varied - albums positioning him amongst larger-scale ensembles like Germany's WDR Big Band or more recently with The Untold Orchestra for their brilliant album 'Bloom' released earlier this year have remained alongside projects that feature smaller scale trio formations or solo piano projects.

Similarly for League, as well as the cultivation of the GroundUP Music label, the guitarist and producer has immersed himself amongst a variety of dynamic projects and ensembles including Forq and Banda Magna, as well as consistently featuring as a key collaborator for a variety of names across the worlds of jazz, R&B, folk and fusion including Edy Forey, Lil John Roberts, Becca Stevens and David Crosby.

The release of the Bill Laurance & Michael League's 'Keeping Company' serves, comparatively, as a swift follow-up to their collaborative two-man debut with 'Where You Wish You Were', released just last year again through ACT Music.  In a recent Instagram post, Laurance described the new release: "this record explores further the purity and simplicity of two old friends in free musical dialogue".

His words serve as such an elegant description of a project rooted within friendship but also one undeniably rooted within sincerity - musically, there's next to nothing that Michael League and Bill Laurance can't achieve, so to continually find inspiration within each other and within collaboration in this context is truly inspiring. 

The music across the eleven tracks that comprise 'Keeping Company' is typically exquisite - a beautiful collage of folk-tinged, neo-classical jazz created by definitive masters of their craft.  While the project as a whole absolutely deserves every bit of your attention, it would be criminal not to emphasise the sheer perfection of 'Yours' which may very well serve as the album's brightest moment.

'Travel Poems . Chapter 3 . There is no path back' by Eric Pan

The release of Eric Pan's 'There Is No Path Back' must come with an incredible amount of personal and creative satisfaction - serving as the final chapter within his Travel Poems series, Pan's ambition and scope have delivered an exceptional trilogy of albums with each entry paying loving homage to his experiences and travels, as well as the experiences and travels of others.

Born in Taiwan, Eric Pan's penchant and appreciation for travel started at an unwittingly young age - moving to the US and having jazz become a large part of his life when he reached the University of California would ultimately be the start of the pianist's consummate education.  Performing across the States and eventually the world, Pan's musical vision would go on to be influenced by each and every experience garnered from all corners of the world.

The Travel Poems series in of itself finds its inspiration from stories - the shared experience of our collective, individual and unique narratives that go on to shape us and everyone we interact with.  It's a romantic take to have on music and the world around us in accepting that the art that you make is actually part of a bigger picture than just one's own perspective on things.   

Certainly the case when considering where said inspiration has brought Eric Pan.

Now totalling thirty songs over the course of three discs, Chapter 1 was initially unveiled in 2020 as 'Secret Towns' with Chapter 2, 'The Night Sea', following two years later.  Cited as having a recording schedule that saw Pan perform across four continents alongside varying musical arrangements - sometimes through solo performances and others aided by drummers Nir Sabag and Sebastian Chiriboga, and bassists Dean Torrey and Hugo Reydet - there is a concerted effort for the music to be as immersive as possible with subtle inclusions of the hustle and bustle of small village markets, intricately interspersed field recordings and local chanting. 

Beautifully conceived and elegantly performed, the music throughout 'There Is No Path Back' creates moments of joy and inspiration ('Sunrise Market', 'After the Whistle') as well as moments of lament and introspection ('Sequel to a Memory', 'Ladder of Damascus') but each instinctual reaction is to be absolutely embraced.

As stated by this album's title, 'there is no path back'.  But why would you want one?  There is the travelled road and the unbeaten path and Eric Pan's Travel Poems trilogy is about taking those steps into the unknown to craft your own legacy... to write your own story.  

There is a wonderful poem by Antonio Machado which I think eloquently conveys much of Pan's motivations for this series which I will leave you with...

"Traveller, there is no path

The path is made by walking.

By walking you make a path

And turning, you look back

At a way you will never tread again"

 

New music round-UP ::: October 2024

'Blow Out' by Socool

Always captivating through innovative compositions, dreamy musical soundscapes and sublime vocals, the boundless talents of Emily "Socool" Sobool have turned their attention to that of the revered Radiohead.  An oft-covered band whose own experimental approach to music has leant itself open to reinterpretations from Mark Ronson, Bilal, Osunlade and Prince, notwithstanding the countless interpretations of their anthemic 'Creep'.  Courtesy of Bathurst Music, 'Blow Out' receives the Socool treatment blessed with a loving reimagining of the 1993 track.  A haunting take on the classic with an enchanting vocal, Socool continues to do no wrong.

'Abyss of My Tea' by Yumeji

It's hard not to get excited by everything that Yumeji do.  Having just released their third single, 'Abyss of My Tea', the French duo's inspired and effortlessly cool take on alternative R&B has delivered gems in the form of past singles 'Sponge Queen' and 'Midnight Moves'.  Comprised of bassist Thegirlfromtutu and vocalist Hermione Bayle, Yumeji's confident swagger is more than justified, particularly when releasing music that's just so good!  With influences ranging from Jamiroquai, George Clinton and Angie Stone, Yumeji offer an exciting take on progressive soul music that will hopefully continue to keep the 'Yumeji' name prevalent for some time to come.

'Dedication to David T' by Lophae

We're so excited about the new project from guitarist Greg Sanders!  Boasting an incredible résumé that runs a phenomenal gamut of contemporary jazz and worldwide influences - the founder of the brilliant Teotima collective, producer of Juanita Euka's 'Mabanzo' project and guitarist for Jonny Wickham's 'Terra Boa' release really has been a part of some staple releases within UK jazz for some years.  It's an excellent collection of projects to have your name so prominently featured within so it comes with real excitement to see Sanders return to centre stage to unveil his latest offering - Lophae.  With the 'Perfect Strangers' full-length due in January 2025, we currently have two exceptional single releases to beautifully set the stage for the project going forward.  

'Jealous' [2XM Remix] by Di-Vincent

Marking an excellent follow-up to Di-Vincent's 'SKR' mixtape - released a year ago through Eton Messy Records - the project's remix EP now looks to continue the story through some inspired re-imaginings.  With releases that date back to 2020 and the independently-released 'Crazy Beautiful Dreams', the rapper and producer has cultivated a thrilling perspective of East London-inspired hip-hop and club culture that has remained prevalent amidst his releases through to 'SKR' in 2023 and 'SKRR' in 2024.  With remixes courtesy of Poolsideconvo, Feiertag and Crate Classics that each serve as strong contributions to the EP, it's the 2XM remix of 'Jealous' that steals the show here - a unique production that is as intimate as it is dancefloor-friendly.

'This Is...' by Gizelle Smith & The Mighty Mocambos (2024 deluxe version)

Celebrating fifteen years since the album's initial release, Légère Recordings unveil a deluxe reissue of Gizelle Smith & The Mighty Mocambos' 2009 album that is a mouth-watering package and duly pays respect to a contemporary classic.

Proving to be a milestone release for both factions, 'This is Gizelle Smith & The Mighty Mocambos' paired dynamic UK singer-songwriter Smith with Hamburg's multi-faceted soul ensemble, The Mighty Mocambos, unveiling an album that would go on to cast a long shadow for each going forward.  And it's not hard to see why - theirs proved to be an inimitable chemistry punctuated by the Mocambos' rich landscape of fiery drums and plush horns alongside Gizelle’s voice swooning skilfully over it all.

For Gizelle Smith, her star as a solo artist continued to rise with single releases via Italy's Record Kicks and two full-length projects via the UK's Jalapeno Records.  The soul-drenched 'Ruthless Day' came to us in 2018 followed by the imaginative and self-assured 'Revealing' in 2021.  Likewise, The Mighty Mocambos career went from strength-to-strength with a series of releases under their own name, the continued development of their own Mocambo Records, high-profile pairings with Eric Boss and Caroline Lacaze and the cultivation of their steel pan alter ego, Bacao Rhythm & Steel Band.

But despite their warranted successes separately, there's a natural fit when you regard the pairing of Smith alongside the Mocambos that just feels right.  Like it belongs.  

While listeners may have long craved an official follow-up to 'This is...' - which may very well still happen - this deluxe package proves as strong a consolation prize as we could get.  Bumping the original 12-track collection to a whopping 23 tracks, the bonus material offers a scintillating collection of live performances from London and Paris, unreleased recordings from the album's recording sessions and remixes which include Kenny Dope's beloved take on 'Working Woman' originally released via his own Kay Dee Records.  Hats off to Légère and all involved for this release which offers as definitive a depiction of the album's story that we're likely to receive. 

We are certainly within a thriving era of contemporary soul music with record labels, bands and artists around the world continuing to push forward and present some sensational offerings that don't just hark back to bygone eras of funk & soul, but also seek to look forward and offer something new to the scene.  'This is Gizelle Smith & The Mighty Mocambos' is a pioneering record in this context.  An album that stands tall amidst a new generation of releases and one, if missed the first time round, should certainly not be missed this time.

'Southern Return' by Dimitri Howald

'Southern Return' marks the new release from Swiss guitarist and producer, Dimitri Howald, whose latest project finds its home through the Berlin-based record label XJAZZ!

Looking back through past Howald projects, the variety that the artist continues to offer up with each release consistently leads to some compelling results.  With projects that can range from Howald performing in a room by himself to the guitarist helming sextet ensembles, Howald continues to find new ways to present his music and recontextualise his own performance with each go-round. 

Having earned a Masters Degree in Music Performance at the Hochschule der Künste, Bern, Howald's proficiency as a performer finds his album releases mount up since his debut 'Three Flamingoes' in 2016.  An album presented by Howald as part of his trio outing, positioning his guitar alongside double-bassist Valentin von Fischer and drummer Philipp Leibundgut, 'Three Flamingoes' established Howald through a stunning project that cemented his arrival as an imaginative band leader in his own right. 

Consecutive full-length and EP releases see Howald embrace the challenge of new arrangements, collaborators and conditions going forward.  While 'Tundra' in 2018 saw Dimitri Howald expand the collaborative pool under the ILJA banner, projects like 'Industrial Plants' and 'Amnis Alsace' serve as releases that demonstrate the multi-faceted nature to Howald's vision, seeing him tackle even more duties as a musician posing even greater challenges for himself. 

The kind of challenges that appear to be echoed within current project, 'Southern Return', which sees Howald credited for no less than guitars, vocals, bass, organ, synth, drums and drum Machines throughout the album.  While Howald clearly excels when playing alongside like-minded musicians, there's something about Howald's compositions as part of these solo projects that generates thrilling results - with sonic soundscapes both sweeping and immersive, so much of the compositions revel within various underlying inspirations.

The Latin-tinged 'Akimi' and 'Blurry Lights', the harder-edged guitar of '16-8', the ambient intricacies of 'Delude' and the synthy wonder of '7+9=1 (Levitate)' are all strong album highlights that demonstrate the project's boundless versatility and the personality injected into each track.  The album opener 'Serafin' may well come off as the project's gleaming gem however - a rousing piece accentuated by some subtle and sublime wordless vocals by Howald himself that really steal the show.

Regardless of the circumstances or the setting, Dimitri Howald consistently finds ways to bring the best out of himself and his music, elegantly adjusting the narrative each time.  Although 'Southern Return' adds as part of the strong lineage of Howald releases to date, the album also proves to be a great introduction to his music and over-arching vision.

Blue-in-Green:PODCAST #140: King Llama

Welcome to Episode #140 of the Blue-in-Green:PODCAST which this week sees Imran connect with King Llama members, Ryan Bailey and Luis Briones.

Following the release of their new album over the summer, the LA-based prog-jazz-rock-fusion collective unveiled an excellent release with 'Fata Implexis'.  Offering a truly unique perspective on contemporary jazz, King Llama have continued to embrace bold and innovative musical soundscapes across their projects.  For this go-round - under the watchful eye of highly-decorated producer Dennis MacKay - King Llama have set exciting new heights for themselves.  

We're incredibly grateful to have been able to catch up with Ryan and Luis to discuss the new album, collaborating with artists like MacKay and percussionist Nate Werth for 'Fata Implexis', the creative process and we delve into the mythology surrounding King Llama, the album's exceptional artwork and the compelling bigger picture surrounding it all.

For more information about the band, please feel free to visit their site:

https://www.kingllama.com/

Blue-in-Green Sessions · Blue-in-Green:PODCAST_#140_King Llama

'The Gyratory Allstars' by The Gyratory Allstars

As a city with a rich musical lineage, Brighton can hold their own against nearly anywhere in the UK - appreciative, diverse and eclectic audiences have proudly championed the prominence of names from The Kooks to Bat For Lashes to Pink Floyd's David Gilmore as heroes waving the flag for the seaside resort in their own right.

Even within the realms of contemporary soul music, there's again no shortage of incredible contributors - many of which spearheaded by independent labels including Tru Thoughts Records and Jalapeno Records, both prominent proponents for burgeoning soul music afficionados.

Through the release of their debut self-titled EP, The Gyratory Allstars offer an exciting take on imaginative soul music that brilliantly reflects Brighton's varied musical palette.  With a sound that finds itself steeped within a variety of the city's musical inspirations, the eleven-member collective features an excellent mix of predominately Brighton-based musicians from a variety of different styles and genres.  

Keyboardist Aaron Emerson makes an indelible contribution to the band - a multi-faceted musician, as versed in rock and folk as he is within impassioned soul music, and then there's the pioneer within the aesthetic of soul-infused electronica Jez Lloyd - of Ink Project and Blind Colour fame - who features throughout, flute in hand.  An excellent array of musicians and vocalists provide stellar support to vocalist and Gyratory front-man, Jerry Clavier.

A seasoned vocalist, Clavier's soul-drenched vocal can be found gracing the work of a variety of artists including Laroye and his track 'Grateful' from the French producer and musician's 'Let It Go' album (Local Talk, 2023); Producer and DJ J-Felix also recognised Clavier's immense talents by featuring the vocalist - performing under the alias Sol Goodman - over four tracks for his 'Whole Again Hooligan' full-length, released by the aforementioned Tru Thoughts Records.

It would certainly serve as an understatement to say that an opportunity for Jerry Clavier to showcase his talents as a front-man in this vein is very overdue and now backed by such an incredible ensemble, Clavier is afforded the platform to really shine.  The Gyratory Allstars' five-track release showcases the collective through some sensational numbers from the James Brown-esque groove of 'Judge a Book' to the rousing and socially-conscious 'Writing's on the Wall'.  And while the blissful 'Sun Still Shines' serves as its own ray of sunshine, it may very well be 'Keep Our Love Alive' that steals the show... beautifully produced with a sensational 70s jazz-funk - almost trippy - undertone, it's a track that perhaps represents the best of the Allstars and what they are striving to convey with their music.

The debut EP delivers as an accomplished introduction to The Gyratory Allstars, an exceptional addition to the rich lineage of Brighton's flag wavers and an indispensable voice for today's soul music scene.

'Elektronik R​é​volisyon EP Vol 1: Gwokhouse' by RICKYSOUL The C3PO /// HOUSE AN NOU

"Music from roots, music from space."

The fantastic introductory words from DJ, producer and bassist, Rickysoul The C3PO, courtesy of his Soundcloud page.  It's a phrase that elegantly covers all bases and in a manner of speaking elegantly conveys the notion of 'to know where you're going, you have to know where you've been'...

The latter serves as something of a mantra for the As Valet-founded Oioji Records which is steadily amassing an awe-inspiring catalogue of projects from impassioned artists that lovingly seek to pay homage in the same way.  We're not long removed from the sensational offering from the La Martinique-born and multi-faceted artist, Queen Ci, whose 'Creole Lightening EP vol​.​1' paid an affectionate tribute to Creole icon, Cécile Jean-Louis.  Producer Eugene Neighbrs addressed home with an unwavering affection using his project 'Wouj Vè Nwè Dialektics' to inspire socio and political change within the French Caribbean. 

Rickysoul continues his long-standing passion for house music alongside Caribbean Gwo Ka percussion for his Oioji offering, 'Elektronik R​é​volisyon EP Vol 1: Gwokhouse'. 

Backed by some beautiful accompanying artwork for the EP's cover by Régine Lanoir, the EP's four tracks offer some incredible insight into Rickysoul's musical make-up as the tracks strive to brilliantly infuse musical styles and eras ultimately expressing his indelible passions towards house and club culture.  Even exploring Rickysoul's fantastic single releases via his own Bandcamp page unlocks the door to his own ongoing narrative that inevitably places him on the Oioji path.  

Past single releases from Rickysoul include 'Acid Bouladjel (aka doubout.2)', 'N.S.I Mendé', 'Hymne An Nou (chant lendépandans)' and 'Jack La' - all incredible offerings that relish the elements of musical fusion that the DJ's new 'Elektronik R​é​volisyon' series will hopefully build upon in time to come.

An excellent guest spot from vocalist Célia Wa for opening number 'Bonswa' kicks proceedings off perfectly for the moody house-infused gem.  With Rickysoul on production and bass duties across the EP, 'An Sé Neg', 'Yo Pé Kozé' and 'Dé gout dlo' represents an excellent evolution of sorts for the artist - an EP very much in line with his long-standing musical ethos but now using that perspective to become part of the enthralling Oioji collage.

'Triquetra' by Catriona Bourne

Marking the debut album by Catriona Bourne, 'Triquetra' presents an incredibly bold and inspired project from the multi-instrumentalist that draws from the elegance of neo-classical compositions positioning them alongside the innovation of ambient and free jazz.

A highly-decorated and highly-educated harpist and flautist, Bourne's dynamic and unparalleled vision presents a genuinely sublime and wholly unique perspective for her music.  Billed as presenting a deep dive into the realms of "experimental folk-jazz", 'Triquetra' proves a phenomenal showcase for Bourne's indelible talents honed over years of study, performance and collaboration amidst a variety of collectives, ensembles and arrangements.  

There's something about Catriona's music that lends itself to the joy of earnest exploration - beyond relishing the adventure of creating music across varied soundscapes, Bourne continues to prove fascinated with the exploration of her own abilities as an instrumentalist.  As a flautist, Bourne embraces opportunities to play as part of a duo, accompanied by either piano or guitar, as well as trio and quartet ensembles; playing as part of the improvising collective, the London Ambient Orchestra, or as part of the Bolling Quartet, which further acts as a showcase to those classical music biases.  And as a harpist of equal acclaim, Bourne continues to revel in opportunities to further recontextualise the instrument through a prolific work ethic and voracious performance schedule.

In truth, this whole article could be spent simply listing the limitless successes attributed to Catriona Bourne and all warrant due respect particularly as key moments and milestones building to the release of 'Triquetra'...

Backed by some fantastic support featuring Francis Tulip on guitar, James Owston on double bass and Joe Bainbridge on drums, 'Triquetra' provides a sensational, multi-faceted look into Bourne as a bandleader but also as an artist brimming with ideas and inspiration, all poured lovingly into the album's six compositions.  An album steeped within Scottish tradition and mythology - its own love letter of sorts to the boundless influences that have gone on to shape Bourne's musical make-up and ultimately bring 'Triquetra' into existence.  Nothing is wasted.  Everything intricately included as part of the project's over-arching story from the song titles that cite fairy tales of enchanted waters ('Sligachan Bridge') to ritualistic laments for those since passed ('Coronach').  Even the album's title pays homage to the Celtic symbol for the concept of three - notably mind, body and spirit.

'Triquetra' presents Catriona Bourne's exquisite perspective on her music and serves in loving reverence to everything that paved the way for its release. 

'The Voyage Out' by Myra Brownbridge

"I've been told that my music tells a story, but I don't know the story."  These are the words of celebrated French composer Tristan Murail who may very well have been displaying a level of humility in responding to assessments of his music or perhaps that just isn't a hat that Murail knowingly wore in this regard.  Myra Brownbridge, however, would serve as the definition of an artist whose music displays the unique gifts of a quintessential storyteller.

Every sublime thing about Brownbridge's debut album, 'The Voyage Out', paints the incredibly compelling and engaging perspective of an artist considering each composition - and subsequently the album as a whole - as a reflection and embodiment of the key moments, relationships and life experiences that have ultimately brought her to its creation. 

As a highly-decorated bassist, writer, composer and educator, Myra Brownbridge's path has already brought so many notable successes her way from having graced stages alongside saxophonist Tony Kofi, Zara McFarlane, the BBC Concert Orchestra, Tomorrow's Warriors as well as having accrued some eminent academic achievements over the years.  As the recipient of Trinity Laban's Innovation Award and the Ed Renshaw Award, Brownbridge can further boast having attended the Purcell School, Christian McBride's Jazz House Kids Summer School, Guildhall, Trinity Laban and JazzDanmark's Summer Sessions.  

Despite her obvious and frankly undeniable talents, one of Brownbridge's most endearing qualities rests in her unwavering quest to continue learning and to continue cultivating her ever-expanding world view.  Even a fleeting analysis of her music could detect the myriad of influences that fuel her vision - from folk to Latin rhythms, Brownbridge finds inspiration from so much of the world around her and skilfully interweaves subtle tinges of each into her compositions to exquisite effect.

Backed by some incredible names that comprise Brownbridge's quartet, 'The Voyage Out' benefits tremendously from the contributions of guitarist Tom Ollendorff, saxophonist George Garford and Matthew Holmes on drums who play with such a refined chemistry throughout the album's seven tracks.  A distinction that rings true on the more spirited numbers like 'The Joy of Being' all the way to the more introspective pieces like the album's elegant title track.  

Tony Kofi lends an exalted assist on 'As Dreams Are Made' continuing his long-standing collaborative history with Brownbridge developed through a series of performances celebrating the music of Thelonious Monk.  A final mention goes to the album's blissful album closer, 'Icarus', which showcases a sensational Myra Brownbridge vocal that would have been a wholly welcome inclusion on more of the album's tracks.

'The Voyage Out' is an incredibly accomplished debut release - a piece of work that presents such a succinct depiction of Myra Brownbridge as an artist who is fully aware of her story and equipped with every skill imaginable when it comes to sharing it with others.

'En Masse!' by Teis Semey

'En Masse!' marks the latest album release from Danish guitarist Teis Semey whose abrasive perceptions of contemporary jazz continue to garner acclaim as his projects mount up.

Much like Japan's Soil & "Pimp" Sessions referred to their high-octane levels of jazz as "death jazz", for Semey, his myriad of experiences, styles and passions seem to organically spawn a style of jazz matching the energy of Tokyo’s finest but still having cultivated an energy all of its own.

The term "abrasive" as a way to describe Semey's music is in no way used in a disparaging context - it's an immeasurably bold approach that sees the guitarist so committed to his somewhat visionary perspective of his music that makes him seem deperate to tear up the rule book with punk levels of outright rebellion...

Musically, the soundscapes defy order with songs like 'Hippity Hoppity Abolish Private Property' and 'Please Welcome the Giant of Rotterdam' bursting with energy and impassioned expression in a cacophany of meticulous chaos.  Beyond just the musical aspect of rebellion, however, 'En Masse!' further serves to address societal woes as a socialist manifesto for we - as a global community - can best serve each other and work towards what should be all of our common goals.

'En Masse!' comes in the midst of a particularly productive and creative period for Semey who is not far removed from the release of Raw Fish's 'Crudo' a mere five months prior.  Created as a project that relishes the middle space between electronics and live insrumentation, the Semey-helmed collective unveiled an excellent debut record that sets the bar high for future releases.  Continually showing no signs of creative dry spells, 'Crudo' finds its release, again, mere months away from Semey's 'Midnight Mess vol.1' (2023).    

But that level of output and ability to reinvent perceptions of his music seems to be a standard - or perhaps a self-imposed pressure - that Teis Semey thrives in living up to.  

As with 'En Masse!', Temey's projects find their charm in their imagination and while the aforementioned more energetic numbers are easy examples to cite as standouts, the album's more introspective numbers like 'A Melody to Help Me Through Winter' and 'Too Scared to Say It Like It Is' are just as captivating.

Incredibly engaging and beaming with creativity, Teis Semey unveils an absolute gem with 'En Masse!' rounding out an excellent year of releases.

'NRG 3' by Chiminyo

As enthusiastically announced by NRG mega-mind Tim "Chiminyo" Doyle back in April 2023's inaugural NRG release, the concept for the series was to amass a selection of collaborators for a wholly improvised performance with each session being made available for digital and vinyl purchases.

With now three NRG releases unveiled over an eighteen-month period, the drummer and musician has largely adhered to his plan and delivered fairly sensational instalments across the releases to date.  

But Tim Doyle is no stranger to being attached to fairly sensational releases - a stalwart within London's heralded jazz landscape for years now, Doyle has consistently proved himself to be one of the scene's most imaginative and compulsory contributors - whether we explore his efforts within the Jake Long-helmed spiritual jazz outfit Maisha, or the vibrant, genre-bending collective Cykada or the more recent Doyle-led project Uniri, which saw a dynamic, electronica-inspired take on contemporary jazz.

Renowned for continually pushing musical boundaries, Doyle's NRG series is the perfect project to showcase his boundless scope and ambition when regarding his own musical adventures.

Each instalment of the NRG series boasts the further distinction of showcasing the talents of an all new line-up with each ensemble proving to be an enviable selection breeding blissful results.  With past NRG contributors including such high-calibre musicians like keyboardist Amané Suganami, bassist Luke Wynter, multi-instrumentalist David Mrakpor and saxophonist James Mollison, amongst others, NRG 3 invites a similarly enthralling selection of modern-day luminaries.  Alongside Doyle on drums, the core quartet is comprised of Maria Chiara Argirò on keyboards, Pouya Ehsaei on modular synths and Sam Warner on trumpet; each incredibly talented artists in their own right, boasting a wealth of experience, and displaying the boundless talents to help generate phenomenally diverse compositions, even under such compelling improvisational conditions.

Certainly within these Chiminyo live sets, much of the band's aesthetic is as much devoted to club culture as it is to the iconic jazz works of the genre's forefathers and with Doyle in the director's chair, the visionary musician has become adept at creating and nurturing inspired sonic soundscapes that effortlessly straddle each musical realm.

'Possession' by Asha Parkinson

Following a multitude of incredible successes for the highly-educated and highly-decorated Asha Parkinson, the release of her new album 'Possession' suitably finds its home on the venerable Ubuntu Music.

The saxophonist, composer and band leader continues to lend her talents to increasingly diverse projects, live performances, distinctions - as well as helming new music and releases - all at a phenomenal pace, but a pace worthy of Parkinson's tireless efforts and incomparable vision.  As founder to her own ensemble, Kalpadruma, Parkinson's massively ambitious fourteen-piece jazz orchestra prove to be an impassioned extension of her music and ultimately bring life to the eclectic and vibrant imagination that comes with any and all Asha Parkinson projects.

Boasting an extensive musical education that includes having achieved a 1st class degree from the Guildhall School of Music and Drama and further being awarded the Concert Recital Diploma for exceptional performance, Parkinson's adventures in jazz have seen her continually open to embracing new concepts and infusing a variety of musical influences into Kalpadruma's broad sonic pallette.

Having accrued a healthy appreciation for music from around the world at a very young age - ranging from a love of Moroccan Gnawa music all the way through to an appreciation of the pioneering electronic compositions of Germany's Karlheinz Stockhausen - the openness and subsequent boundary-less approach to Parkinson's own compositions has helped to establish her as an enviable voice amidst a thriving contemporary scene.

And it's an approach that benefits 'Possession' significantly - an inspired nine-track album that finds Parkinson navigate a scintillating course through the intricate musical identity that is Asha Parkinson & Kalpadruma.  A collective comprised of outstanding contributors, each one key to the project's overarching sound, including that of vocalist Rebecka Edlund who provides a captivating layer to the compositions.

The album's opener 'Urban Fantasy' marks a masterful introduction to the dynamic imagination captured throughout 'Possession' - with music at times spirited and playful and at times haunting and captivating like the album's jewel in 'Distant Devotion'.

For such an accomplished record, it's almost humbling to know that 'Possession', in time, will represent just one of countless endeavours for Asha Parkinson that will be uttered with the reverance of this release.