'Lord Knows EP' by Lord Knows

Australia has certainly never lacked for musical talent - with such an array of contemporary soul artists and progressive takes on jazz, names like Mayfield, Benjamin Samuels, The Traffic, Kyoshi and Emma Donovan & The PutBacks have managed to create some stunning projects over the years and cement their distinct perspectives on a continually thriving musical scene.

With Melbourne proving to be a particularly impassioned hot bed of creativity, the Mandarin Dreams label has laid claim to some ingenious recordings over the years.  From the beat tape inspired 'Ahten-Love Transmission' by the Ahten Arkestra to the alternative neo-soul meets nu jazz aesthetic of Kuzichi Zambelan or the impassioned psychedelia of Raw Humps and their 'Sugar Slave Babies' debut.

Mandarin Dreams releases may be sparse but each one adds scintillating layers to the label's legacy of uncovering stellar Australian talent.  The label's latest entry into their burgeoning catalogue - and in truth an album that proves to be somewhat of a revelation for Mandarin Dreams - comes from the seven-piece ensemble Lord Knows who unveil their debut self-titled EP release.  An immaculate release that, once again, places Melbourne-based talent (specifically Naarm-based talent) into prominence.

As children of the beloved Soulquarian generation, Lord Knows have cultivated an exalted six-track project paying loving homage to the foundations as laid by neo-soul luminaries including D'Angelo, Questlove, Jay Dee and Erykah Badu; theirs is certainly a musical soundscape whose importance can't be over-stated and whose releases have gone on to shape subsequent generations of hip-hop-inspired soul music.  Beautifully performed, brilliantly produced... Lord Knows' vision is brought to life by Brandon Delord's elegant vocal that is afforded the luxury of a sublime musical backdrop.  While a stunning interpretation of neo-soul stylings, the EP delicately features a range of intricacies and subtle nods to varying musical facets that bring so much to the project's overall sound.  

Lord Knows approach this release with admirable confidence - exquisite performances, lush vocals and writing, they're a band who know exactly who they are and what they are striving to accomplish with their music.  The collective really do showcase a thrilling dynamic boasting enough of their own creativity, unique facets and over-arching vision to warrant their name mentioned amongst the litany of sensational Melbourne collectives.

:n-the-m:x | April 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 40 minute excursion from sublime soul to scintillating jazz and lo-fi dance numbers.

Music this month comes courtesy of... 

'Worlds Within' by The Golden Shadow (Bathurst)

'Final Approach' by Resolution 88 (Synthethesia)

'Anywhere You Wanna Go' by Lord Knows (Mandarin Dreams)

'Maya' [As Valet Remix] by Rapsody (Oioji Records)

'Baby' by Art Test (Folded Music)

'Bedlam Blues' by MeShell Ndegeocello (Red Hot Org)

'Moods Change' by Caytra (Bridge The Gap)

'Glaciem' by Cort Lund

'Silhouette' (Radio Edit) by Jake Long (New Soil)

: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.

'Bloom' by Bill Laurance & The Untold Orchestra

The Snarky Puppy dynasty has been a thrilling project in of itself to see flourish over the years. Their numerous projects over the course of nearly 15 years since their debut have not only introduced fans to a beloved and dynamic musical collective who found their home within jazz and fusion styles, but also introduced the world to a range of over 40 musicians, who have waved the flag for the band at one time or another, many of which went on to achieve incredible solo successes in their own right. Snarky Puppy founder, Michael League started the GroundUP Music label and produced for a range of artists; Robert "Sput" Searight went on to work for heavy-hitters including Kendrick Lamar and Terrace Martin before forming the Ghost-Note project alongside fellow Snarky Puppier, Nate Werth; Bobby Sparks, currently an in-demand session musician and collaborator, is also further cultivating his 'Schizophrenia' series of solo projects... which brings us to the new release from one of the staple members of Snarky Puppy, London-born Bill Laurance.

The pianist clearly thrives from positioning himself and his music amongst various and continually diverse settings - parking the expansive jazz-fusion outfit of Snarky Puppy for a moment, Laurance's pairing with the eighteen-piece WDR Big Band, enlisted for his live album 'Live at the Philharmonie, Cologne' (Jazzline, 2019) serves as a great example and one that works in stark contrast to his fifth album 'Cables' (Flint Music, 2019) which saw Laurance whittle the numbers from eighteen down to one, helming the entire project - including every instrument played - by himself.

With Bill Laurance Trio releases and a brilliant two-hander with Michael League released since then ('Where You Wish You Were', 2023), Laurance seeks to subvert expectations once again by pairing with The Untold Orchestra for their collaborative effort, 'Bloom'.  The project serves as a rekindling of their scintillating chemistry beautifully captured for 'Live at EFG London Jazz Festival 2021' and now revisited for this studio setting.

'Bloom' finds Laurance returning to his initial classical music roots for a sublime project that boasts as much personality and charm as anything bearing his name has to date.  While his playing is typically remarkable, the eighteen members comprising The Untold Orchestra really add some luxurious textures to the whole project managing to find their best life within the more stirring pieces as much as they do within the more introspective compositions.  'All At Once' - the absolute scene-stealer here - grabs you instantly with its sharp, stabbing strings that just continue to build to exquisite effect.

Despite consistently embracing new ways and means in a bid to ascend to higher plateaus, Bill Laurance forever remains positioned comfortably at the centre of each of these projects anchored by his own unhindered perspectives and desire to continually re-contextualize his music whether alongside a team of eighteen or one.

Blue-in-Green:PODCAST #133: Amanda Whiting

Welcome to Episode #133 of the Blue-in-Green:PODCAST which this week sees Imran connect with the revered harpist, composer, author and educator, Amanda Whiting.

Already an established artist with album releases through Jazzman Records, Amanda's boundless talents have really risen to prominence this year with the last six months generating some incredible successes.  The 'Lost in Abstraction Remixes' EP came at the tail-end of 2023 through the Scrimshire-helmed Albert's Favourites label and was swiftly followed by her collaborative First Word Records release with Don Leisure, 'Beyond the Midnight Sun'.   Recognising her immeasurable talent, First Word were keen to induct Amanda into the label's hallowed halls recently releasing her amazing project, 'The Liminality of Her'. Three projects that go a long way in demonstrating the scope of Amanda's boundless skill and talents.

We were thrilled to have secured time with Amanda as a feature presentation for our International Jazz Day celebrations (28th April 2024) so you can now catch the complete unedited conversation here.  During our chat, we discuss the aforementioned three projects and her journey to jazz via the harp.

We'd love to extend a gratious thank you to Amanda for her time and for gifting us with a genuinely fascinating conversation.

To explore Amanda Whiting releases further and to check out the new 'The Liminality of Her' album, please visit the Bandcamp page below:

https://amandawhiting.bandcamp.com/music

Blue-in-Green Sessions · Blue-in-Green:PODCAST_#133_Amanda Whiting

'Hegemonitized' + 'Bad Magic' by Bright Dog Red

Bright Dog Red's series of releases through Ropeadope Records have disclosed a fascinating narrative over the years.  Sold as an improvisational jazz ensemble from New York, the band's album releases to date have mostly served as an extension of their live experience with even their studio projects opting to stay true to their improvising roots.

And if we were to actually surmise the band's overarching narrative, the word that seems the most pertinent would probably be "evolution".  So much of Bright Dog Red's successes - whether that relate to their albums or simply their key moments - are rooted within the notion of their consistently evolving perspectives.  Evolution has certainly been prevalent when assessing the band's line-up which has seen its fair share of personnel changes over the years with the current iteration able to boast the bass wizardry of Tim Lefebvre who officially joined the group in 2022; But perhaps the biggest shift in Bright Dog Red's presentation has been found within the music itself...  

Introduced initially via their debut 'Means to the End' as an eclectic improvised ensemble embracing electronica and hip-hop, subsequent album releases have found Bright Dog Red plunge their music deeper within an electronica-meets-psychedelia soundscape that sees the band shift the genre's boundaries further afield with each album.  And with the band's latest offerings - 'Bad Magic' and 'Hegemonitized' - the unhindered narrative unfolds into inspired levels of imagination and ultimately spawning two separate albums, each with their own identities, concepts and motivations.  

But before we delve deeper into the make-up of each album, in keeping with the conversation about evolution, both, 'Bad Magic' and 'Hegemonitized', continue a technique started from the Bright Dog Red album 'Under the Porch'.  Having used the improvisational approach throughout their past releases, 'Under the Porch' (2022) saw the group begin to structure their music more which became something of a necessary change of approach in light of the global pandemic and the quarantine restrictions enforced at that time.  But as evolution would dictate, the group have continued to adapt in utilizing those recording techniques and employing them alongside what brought them to the table - "creating foundational tracks on which other members could overdub ideas", as described on their Bandcamp page.

Spearheaded by drummer and bandleader Joe Pignato, the recording sessions were initially to comprise what would have been the sixth Bright Dog Red album but when assessing how the sessions were coming together, Pignato was intuitive enough to discern that the project was capturing two distinct threads thus affording them each two distinct platforms.  Alongside Pignato on drums and Lefebvre on bass, Bright Dog Red is further made-up of guitarist Tyreek Jackson, bassist Anthony Berman, Martín Loyato and Mike LaBombard on trumpet and saxophone respectively, Cody Davies on electronics and spoken word by Matt Coonan, and both projects continue to demonstrate the collective's versatility and openness to exploration within their music.  

Releasing two albums on the same day serves as bold a move as an artist can put forth and it's a real testament to the belief that Ropeadope have in Bright Dog Red that such creative freedoms have been afforded to them.  The journey very much continues for Bright Dog Red.

Blue-in-Green:PODCAST #132: Tim "Chiminyo" Doyle

Welcome to Episode #132 of the Blue-in-Green:PODCAST which this week sees Imran connect with London-based drummer, percussionist and composer, Tim Doyle.

Doyle has seen long cemented himself amongst one of London's premier musicians amidst its pioneering jazz scene.  Boasting a résumé that has seen the musician serve as a key contributor to spiritual jazz ensemble Maisha as well as the genre-defying Cykada, Doyle has further established his sound via his own Chiminyo project which seeks to celebrate the union of jazz with more electronica and club-infused soundscapes.  With his latest release through Astigmatic Records, Uniri's 'Infinite Reflections', Doyle & company once again seek to reimagine contemporary jazz this time using hip-hop luminaries as their jumping off point.

We were so grateful for the chance to catch-up with Tim to discuss his approach to making music and establishing new collectives, what constitutes jazz in today's musical landscape, Chiminyo releases and of course the new Uniri project.  We also have an involved conversation about how listeners consume their music today and the ramifications of streaming culture on the independent artist.

We'd love to extend a gratious thank you to Tim for his time and for gifting us with a really fascinating conversation.

To explore Chiminyo's releases further and to check out the new Uniri album, please visit the Bandcamp pages below:

https://chiminyo.bandcamp.com/music

https://uniri.bandcamp.com/album/infinite-reflections

Blue-in-Green Sessions · Blue-in-Green:PODCAST_#132_Tim "Chiminyo" Doyle

'Dissensation' by Benjamin Samuels

'Dissensation' marks the debut album release from Sydney-based saxophonist Benjamin Samuels whose varied and eclectic new project serves as a scintillating introduction to this emerging new artist.

Samuels firmly asserts himself amongst a really fascinating crop of Australian musicians keen to present inspired and broad perspectives to jazz.  Artists like Godtet, Horatio Luna and David Versace are becoming renown for their effortless ability to regard jazz as a lawless entity, free to be adapted and representative of contemporary styles and trends.  

As a seasoned performer, Samuels regards the genre in the same loving context, creating a record in 'Dissensation' that thrives off of its inspirations and influences.  Having performed and toured alongside the dynamic off-beat electronica of Grouch in Dub, the tribal drum'n'bass of Seb Taylor and the global musical perspectives of Balkan Bump, Samuels has clearly relished in these experiences and fuses them all, along with so much more, into 'Dissensation' - his own perfect vision of contemporary jazz.

With a busy collaborative and touring schedule, ironically, it was being confined to his own four walls during the worldwide pandemic that would ultimately bring 'Dissensation' to joyous life.  With live performances having come to a screeching halt and no studio sessions allowed, the time afforded to Samuels became an unexpected gift prompting focus on music that would go on to comprise his debut solo outing, introducing him as an artist in his own right.

While the music absolutely serves as a celebration of Samuels' fandom and musical inspirations, there are certain tracks that do tether the music to the difficult circumstances of its genesis.  While the time afforded to many could often have been seen as a luxury, it still came amidst a time of loneliness, anxiety and panic as the global society tried to adjust to the new normal.

With a selection of leading Australian musicians enlisted for the sessions, 'Dissensation' benefits from a long list of brilliant performances from artists including trumpeter Fabian Acuna, pianist Danny G Felix, bassist Ralph Marshall, percussionist Dominic Kirk and drummer Max Valletnine, who perform incredibly across the album with scene-stealing moments coming in the form of the afrobeat-driven 'Gb's Groove', the synthy electronics of 'Parabola' or the album's bursting-with-energy lead single, 'Crazy DNA'.  The vibrant and engaging single is bolstered by the personality-driven guest verse from rapper BLANK SPACE who really manages to shine during the song's closing moments.

With 'Dissensation' very much serving as Benjamin Samuels' statement of intent for the genre, his musical path may not have come in the way he would have expected but, regardless, he does now find himself under the warm lights of centre stage.  And it suits him.  Having delivered such an assured and confident record, Samuels finds himself in good company amidst Australia's elite.

'Balancing Act' by Rasmus Sørensen

April Records have become exceptionally adept at presenting a riveting perspective of contemporary Danish jazz.  Through a selection of dynamic artists and ensembles, the label - and its roster - have waved the flag for the country's luminaries of today.  Rasmus Sørensen's latest release, however, provides that perspective amidst a slightly different context and setting...

Having moved to New York in 2018, the pianist and composer has had the incredible opportunity to shape his own perspectives in entirely new ways by surrounding himself by New York's finest players and performers.  The scenario calls to mind the famous Anaïs Nin quote, "New York seems conducted by jazz, animated by it. It is essentially a city of rhythm".  For an artist with an almost prodigal level of talent, New York's typically revered hot bed of flair and inventiveness would be a combination to celebrate.

Sørensen's natural skill was able to see him ingratiate himself in the scene fairly quickly.  Having attended the jazz program at Skurups Folkhögskola in Sweden after turning 19 and moving to Copenhagen the year after, a further opportunity to attend the Manhattan School of Music soon followed which is where Sørensen has been able to see himself and his music continue to grow.

For 'Balancing Act', Sørensen's sophomore album release, the pianist continues his affections for trio arrangements this time pairing his piano alongside the brilliance of drummer Kendrick Scott and bassist Alexander Claffy.  Also serving as the album's producer, Claffy has proven to be a New York staple since moving there over twelve years ago from Philadelphia.  A solo recording artist in his own right, the highly sought-after bassist and composer can cite numerous high-profile collaborations to his resume including work with The Rongetz Foundation, Kristiana Roemer and Randy Brecker.  

Kendrick Scott rounds out the trio for 'Balancing Act'.  The drummer and bandleader can also add being the founder of the record label World Culture Music to his own boundless list of achievements.  With his most recent album finding a home on Blue Note Records - through the excellent 'Corridors' - like Claffy, Scott's numerous success can be attributed to his work alongside celebrated names like Charles Lloyd, Gretchen Parlato and Robert Glasper.

With Sørensen's 2022 debut, 'Traits', having been recorded in Denmark (with Jon Henriksson and Francesco Ciniglio), 'Balancing Act' benefits from being fully immersed within the inimitable surroundings of New York and being an album indicative of Sørensen's time spent there over the past six years.  Perhaps the juggling of these two worlds is where the concept of the 'balancing act' comes from.  With Sørensen forging his own path amidst travels that have taken him across various countries, there would no doubt be every intention to retain those experiences and influences that had the earliest impact on you musically but Sørensen's motivations have always been to continue learning and exploring new ideas and concepts making 'Balancing Act' an excellent depiction of all of those ideals.

As you would expect with artists of this calibre, the performances across the album's six tracks are exquisite with sublime pieces bolstered by an understated energy throughout.  Boasting a selection of new compositions alongside some Great American Songbook classics, 'Balancing Act' sees Sørensen walking the proverbial tightrope masterfully unveiling what will undoubtedly be a milestone release within his burgeoning catalogue.

5 Songs About: Casey Benjamin

The news of Casey Benjamin's passing was nothing short of a horrible blow.  An immeasurably talented and creative artist, multi-instrumentalist and composer, it was Benjamin's work as a saxophonist and vocoderist that really brought him to prominence and creating timeless music alongside some exceptional collaborators.

Forever shunning the tag of a "jazz" artist, the New York native's progressive and open-minded perspective on music cemented him as an in-demand collaborator alongside some of today's leading lights including Brandee Younger, A Tribe Called Quest, Gizmo, Ghost-Note and Leona Berlin amongst so many others.

An artist who had long made an indelible impact on Blue-in-Green:RADIO, his music, spirit and person will be soarly missed.  In our bid to honour him and his legacy, we've pulled together a special edition of our 5 Songs About... series to present some songs that may have passed you by but we thought you should check out...

1. 'Smells Like Teen Spirit' by Robert Glasper Experiment [Blue Note, 2012]

One of the many collaborations that would go on to define Benjamin was his invaluable contributions to Robert Glasper's jazz-fusion quartet, Robert Glasper Experiment.  Their first official release saw the foursome take the decided step towards a grander notoriety and through collabs with an A-list selection of vocalists, 'Black Radio' would garner the collective their first Grammy win at the 55th Annual Awards for Best R&B Album.  Something of a contemporary masterpiece, the album showcased a selection of original recordings and some choice covers with their take on the Nirvana classic drawing the most praise.  In truth, you'd be forgiven for assuming a jazz-fusion take of 'Smells Like Teen Spirit' would be a car crash with few perhaps anticipating the absolute treasure that the song became.  With Benjamin helming vocoder duties along with sax, as he does throughout the album, the track boasts the added distinction of additional vocals from Lalah Hathaway.

2. 'Tanktified' by Stefon Harris & Blackout [Concord Jazz, 2009]

Another of Benjamin's collaborations that marked some of his most notable successes was his contribution to the legandary Stefon Harris and his Blackout ensemble.  With releases on Motéma, Concord and Blue Note, Harris' ensemble featured Benjamin on sax, drummer Terreon Gully, keyboardist Marc Cary and bassist Ben Williams.  Having unveiled three albums to their name, Benjamin's invaluable contributions helped spawn some wonderful music but after sifting through the Blackout catalogues we could only really leave you with this one track which was housed on their sophomore album and worth its inclusion for the final 90 seconds alone.

3. 'No Greater Love' by Vivian Sessoms [Ropeadope, 2018]

Having initially established herself as one-half of R&B duo Albright along with producer Chris Park, Vivian Sessoms released her solo record 'Life' through Ropeadope Records after somewhat of a lengthy absence.  An album crammed with high-profile artists and musicians including Donny McCaslin, Amp Fiddler and Keyon Harrold who contribute to tracks including covers of Nina Simone's 'See Line Woman' and The Stylistics' 'People Make The World Go Round', it's Casey Benjamin's exceptional presence on vocoder for the vibrant, soulful house-esque album opener, 'No Greater Love' that delivers the album's strongest number.

4. 'Drift' by Kris Bowers [Concord Jazz, 2014]

Pianist Kris Bowers released his one & only solo album to date with the fantastic 'Heroes + Misfits'.  Unveiled through Concord in 2014, Bowers' exceptional catalogue to date had seen him as a collaborator for José James, Takuya Kuroda and Nate Smith before venturing off into the world of scoring TV and film with credits including Bridgerton and Green Book.  'Heroes + Misfits' however boasted some exceptional tracks from an all-star ensemble that featured Benjamin on four of the album's ten tracks.  A spectacular - and dare I say, overlooked - record, Bowers and Benjamin are typically excellent throughout but if it isn't Benjamin's vocoder work on '#TheProtester' that grabs you then it'll definitely be his sax on 'Drift'.

5. 'mylittlesong' by HEAVy [BBE, 2007]

Describing themselves on their Bandcamp page as "a mind boggling mix of rock, soul and pop chock full of quirk and irony", the duo comprised of Benjamin on production alongside vocalist Nicky Guiland and saw them release their versatile and eclectic debut back in 2007 through BBE Records.  A second full-length would follow in 2009 with 'First Sessons' and following a lengthy hiatus, the duo would reunite for the EP 'Hand in Hand' in 2021.  Having amassed something of a cult following, helped in part by remixes courtesy of Jazzanova and DJ Spinna, HEAVy were very much travelling their own path and were able to create music that captured their natural quirky chemistry and energy.

'Unaware Beauty' by Bruno Montrone

"A dream come true."  The impassioned announcement from pianist and composer Bruno Montrone was delivered via Facebook, 26th July 2023, following the completion of the two-day recording session at the MAST, Music Academy Recording Studio.  The accompanying photograph features Montrone receiving a congratulatory embrace from his trio collaborators - Joe Farnsworth and Giulio Scianatico - in what was surely an unrivalled moment within his career to date.

Despite 'Unaware Beauty' marking the debut full-length release from the pianist, Montrone has proved himself a seasoned live performer and in-demand collaborator.  His work across the Italian jazz scene has taken him to projects as part of the Dino Plasmati Antonio Tosques Guitart Quartet, Guido Di Leone Quartet and collaborative projects alongside Paolo Benedettini, Joe Magnarelli and Domenico Cartago, among others.  'Unaware Beauty' affords Montrone the opportunity to take centre stage however thanks to the champions of Italian and European jazz in A.MA Records.

Boasting an incredible line-up of world class talent over the years, A.MA Records have bestowed some fantastic new releases onto its audience most recently from Irina Pavlovic, Gianluca Vigliar and Pippo D'Ambrosio - a selection of immeasurably talented artists in which Bruno Montrone has justified his place alongside occupying his own seat at the table.  'Unaware Beauty' marks a stellar introduction to Montrone as a performer in his own right with a nine-track album that is both compelling and rich in charisma.

Having formed his trio for this album with bassist Giulio Scianatico and US drummer Joe Farnsworth, Montrone has surrounded himself with highly revered collaborators each bringing a wealth of experience and indelible skill to the project.  Scianatico has also immersed himself within Italy's thriving jazz community chalking up collaborations with Wasted Generation, Alessandro Campobasso, Gabriele Mastropasqua and A.MA recording artist, Enrico Le Noci.  Further, Joe Farnsworth can also lay claim to exceeding heights within his own career having recorded and performed with Pharoah Sanders, Patty Lomuscio, Harold Mabern and swathes more artists of increasing levels of fame.

The infectious swing of 'Edward Lee' ushers us into the wonders of 'Unaware Beauty' - at nearly nine minutes long, Montrone & company confidently establish themselves with more than a little help from Sarah Hanahan on saxophone who brings an incredible new dimension to the proceedings.  Offering a delectable variety of tracks from spirited and energetic numbers like 'The Hodgepodge' and 'Phrygian Sound Connotation' to the lush and divine balladry of 'With Malice Toward None'.  While saxophonist Sarah Hanahan makes a great addition to the album, vocalist Serena Grittani likewise delivers scene-stealing turns on tracks 'Where or When' and on the album's impeccable title track.

'Unaware Beauty' serves as a wonderful debut for Bruno Montrone and a project that is a testament to his numerous years and contributions to the Italian jazz scene.  "A dream come true."

'Infinite Reflections' by Uniri

The artists' Bandcamp description for the latest Astigmatic Records signing, Uniri, touches upon an interesting note when considering the release of the quartet's debut 'Infinite Reflections'...

The notion that within today's contemporary jazz climate, artists and musicians have a significantly deeper well to draw from when considering their own musical make-up.  Hip-hop icons like Jay Dee, Madlib and Questlove who created jazz-infused compositions dating their work back to mid-late-90s, ultimately became the inspirations to entirely new generations of artists, listeners and fans more than twenty years later.  

Over the years, we've mused countless times about the continued attraction and ongoing dynamicism of London's jazz portfolio.  While UK jazz - and in fact artists around the world - continue to pay homage to architects of the genre like John Coltrane, Sun Ra and Pharoah Sanders, an abundance of global luminaries like the aforementioned hip-hop icons along with increasingly versatile artists including DāM-FunK, Flying Lotus, Kaidi Tatham and Moodymann all add their own value to the ever-evolving glorious gumbo that constitutes jazz in the 21st century.

With names like Nubya Garcia and Blue Lab Beats reaching incredible heights of fame both here and overseas, it consistently proves to be an inspiring tale that thankfully wasn't consigned to just a short-lived fad.  With new names within London continually springing up, we - as listeners and fans - owe much to labels like Astigmatic who have continued to champion exciting and accomplished UK names like the Levitation Orchestra, Cykada, and of course, Uniri.  

Spearheaded by drummer Tim "Chiminyo" Doyle, Uniri is comprised of a veritable super group of names including keyboardists Amané Suganami and Al MacSween along with bassist Luke Wynter.  And "super group" is no over statement - between these four names their talents have provided some of London's peak jazz success stories over the last five years or so with a collective roll call of ensembles including Maisha, Golden Mean, Flock, London Odense Ensemble, Cykada and Nubiyan Twist.  A staggering line-up that runs the gamut of contemporary jazz from the spiritual aesthetic of Maisha to the high-energy electronic-infused Cykada.

Uniri's 'Infinite Reflections' seeks to carve its own lane amidst the already dynamic list of projects attributed to the players' résumés.  As an album that openly leans that little closer towards those golden era hip-hop influences, the eleven-track release shifts brilliantly through pace and styles with the group's penchant for electronica notably evident on songs like 'Oneiric Voyage' and 'Oumuamua', then there's synth-heavy psychedelia for 'Astra's Change' and 'Celestial Waves'.

With Tim Doyle serving as the band leader for Uniri, there are some parralels between 'Infinite Reflections' and his other Astigmatic project, Cykada, namely their self-titled debut release that found itself revelling within these like-minded unpredictable sonic soundscapes in the same way.  Far from a rehashing of ideas however, Uniri is very much within its own lane gleefully telling its own narrative of the inspirations that came before it and the untravelled road that lays ahead of it.

:n-the-m:x | March 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 40 minute excursion from sublime soul to scintillating jazz and lo-fi dance numbers.

Music this month comes courtesy of... 

'Fool' by Alessia Piermarini (beyourself recordings)

'Girls Be Like' by Principles of Joy (Q-Sounds Recordings)

'Cosmic Justice' by Honest Lee featuring MKMKMK (Growroom Recordings)

'Learning How to Love' by BANDT featuring Aquakultre

'Glamourpuss' by Claudio Corona featuring Alan Evans (Vintage League Music)

'Wide Awake' by Bruno Montrone (A.MA Records)

'Destruction Everywhere' by Abase (Oshu Records x Bridge The Gap)

'Never Forget' by Oriana Ikomo (Sdban Records)

'Brisk' by Lehto (Bathurst)

'You'll Know When You Get There' by Million Seller (Whirlwind Recordings)

: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.

'The Healing' by Oriana Ikomo

It should be no secret that Sdban Records has a unique ability to discover not just innovative new Belgian talent but artists with a very distinct and clear sound and message within their music.  Even just assessing the label's recent output from the sensational sonic soundscapes of KAU's 'The Cycle Repeats' that draws from a fascinating well of musical ideas including spiritual jazz, hip-hop and broken beat or the all-encompassing sounds of Azmari's 'Maelstr​ö​m' which revels within a unique Ethiopian aesthetic to its music with traces of psychedelia, dub and afrobeat intertwined as well.

With the label now identifying those same qualities of creativity and imagination in Oriana Ikomo, we are subsequently introduced to the singer-songwriter's new EP release, 'The Healing'.  Serving as an extension to her independently-released 'The Love I Had' (2022), Ikomo laid the foundation for her sparse and intricate depiction of contemporary R&B and soul that presented such inspired new perspectives that would ultimately bring her to the attention of Sdban.  'The Love I Had' proved to be an all-round excellent introductory project but in particular we wholeheartedly recommend catching the spine-tingling rendition of the time honoured masterpiece that is 'Afro Blue'.  Sensational.

With 'The Healing', Ikomo elegantly explores themes of identity, self-confidence and addresses her own insecurities over the course of the EP's five tracks.  With excellent and fairly intuitive production that at the right times knows when to provide space like with EP opener 'Kindness' and when to help propel the music forward as in the infectious and rousing project highlight, 'Imma Pleaser'. 

'The Healing' proves to be a multi-layered and nuanced project that further solidifies Oriana Ikomo as a self-assured artist incredibly focused and in control of her music and its underlying message.  Her boundless talents have resulted in another incredibly worthy addition to the Sdban archives - hopefully the first of many more bearing Oriana Ikomo's name.

'Conversation #11 & #12: ON!' by Florian Arbenz

'Conversation #11 & #12: ON!' marks the thrilling culmination of Florian Arbenz's twelve-part series that has generated some thrilling installments.

Having initially conceived the project in 2021, Swiss drummer and composer Arbenz unveiled the first in his Conversation series almost exactly three years ago with the intention of recording twelve albums each showcasing his music amongst various ensembles.  With past releases featuring the incredible contributions of Greg Osby, Maikel Vistel, Rafael Jerjen and Oren Marshall - amongst several other key names from artists across the world - Arbenz's inspired project found its genesis within the confines of his own studio which would ultimately provide the suitable safe space for him and his collaborators going forward.

It's somewhat reminiscent of Ali Shaheed Muhammad's and Adrian Younge's riveting Jazz is Dead series which pairs the duo with a different luminary from the jazz world for each of their releases and, like them, Arbenz is renown for his passion for collaboration.  Creating music with like-minded artists, sharing ideas and concepts, each artist learning from each other... all traits that have served as chief inspiration to Arbenz for much of his illustrious career.

His 2020 'Convergence' project saw Arbenz unite with musicians from Cuba, Brazil, Australia and the UK and proved to be something of a precursor to the Conversation series.  A warmly received project that afforded Arbenz a new creative avenue following his extensive work as part of the Swiss trio, VEIN, alongside pianist Michael Arbenz and bassist Thomas Lähns.

With a career that has seen the drummer grace stages and studios for over 25 years, his continual search for new ideas and inspirations has led him down a fascinating path and to the release of 'Conversation #11 & #12: ON!'.

For these final two instalments of the series, Arbenz is joined by vocalist Yumi Ito, trumpeter Percy Pursglove, pianist Ivo Neame, guitarist Szymon Mike and vibraphonist Jim Hart for an ensemble that Arbenz describes on his Bandcamp page as the riskiest he has assembled to date.  With Hart the only artist Arbenz had collaborated with previously, he seems to have approached these sessions with equal parts excitement and trepidation which is endearing in its own way.  But despite his obvious humility, the results speak for themselves.  Throughout the album's free-flowing and improvisational feel, there are some sensational tracks like the sublime 'Dreaming Music', the mildly frenetic but utterly compelling 'Yemayà is visiting Club 64' or the suitably rousing 'Celebration'.   

As mentioned earlier, this 'Conversation' series was only ever envisaged as a twelve-part project and it's a mammoth achievement that Florian Arbenz has managed to helm projects of such a high standard within just three years.  It will be fascinating to see whether there will actually be further Conversations or whether the drummer will seek to engage in an entirely new project but whichever he chooses, it will undoubtedly continue the lineage of quality and sincerity that listeners continue to expect from a Florian Arbenz release.

'Cosmic Justice' by Honest Lee

'Cosmic Justice' marks the newest project from producer, DJ and musician, Honest Lee, whose latest release is unveiled once again through the innovative hub of creative talent, Growroom Productions. 

And through that very lens of Growroom, one Mylie Durham has managed to chart a thoroughly impressive and engaging musical journey that has afforded himself - and many others - a platform in which to create music steeped in sincerity and unhindered in its design.  For Durham, whether his releases have been presented under the banner of Honest Lee, igloo two, The Mighty Heard or Three Man Soul Machine, it's very much a journey that celebrates his continual compulsion and passion to create.

From his early series of remixes and re-edits of tracks by Ben E. King, Sam & Dave and Ikebe Shakedown released early in the label's life span, Honest Lee's debut full-length release came in the form of 'Solera' in 2018.  A nine-track album that perhaps served as the first full display of Lee's range of talents with tracks as much a showcase of his affections for authentic, vintage analogue soul as it was of hip-hop amongst its influences and inspirations.

Further to his releases under the guise of Honest Lee, Durham's adventures continue alongside Dan Bradley under the banner of another esteemed name under the Growroom banner, igloo two.  Appropriately surmised on Bandcamp as their sound consisting of "lo-fi rock riffs, quirky synth sounds, and hard thumping drums", igloo two's releases including 'silver eyes meets doctor robot' (2018) and 'between time' (2022) have also provided a staple for the label, showcasing new facets to Durham's creativity which ultimately seems to know no bounds.  Whether it's the more gritty soul and hip-hop make-up of The Mighty Heard or the Hammond organ trio aesthetic of Three Man Soul Machine (alongside Scott Schoem and Frank Mitchell), Durham presses on, keen to delve into the new project with a Prince-esque level of prolificacy.

'Cosmic Justice', the second full-length release from Honest Lee, relishes in Durham's affections for collaboration - a revelation that should come as no surprise considering his long list of Growroom projects and productions for other artists.  Across the twelve-track release, Durham - who helms the clear bulk of instrumentation on the album - pairs with a range of top-tier talent including saxophonists MKMKMK and Matt Rippetoe, trumpeter Joe Herrera, percussionist Jerry Busher and guitarist Slanigiro Renguez, amongst others.  

With six years since the release of 'Solera', musically, the 'Honest Lee' soundscapes have found a natural and riveting evolution with a wider scope of influences employed and ultimately we're presented with a far more confident record.  Honest Lee's penchant for dancefloor-driven breakbeat funk and soul is still on glorious display but songs like 'In a Natural Mood' and 'On Days Like Yesterday' offer more intricacies in their composition.

'Cosmic Justice' represents an exciting milestone record within the Honest Lee/Mylie Durham pantheon of releases - it's broader in scope, more self-assured and indicative of Growroom's unwavering affection for music born of creative freedoms.

'The Way Back From Here' by Andy Watts

'The Way Back From Here' - it's such an evocative title conjuring up a variety of thoughts and motivations for each of us.  For trumpeter Andy Watts, his way back emanates from the bleakest of circumstances which happens to be a shared experience for each of in the not soon forgotten quarantine period.

Certainly a cannon event for each and every one of us, the time in isolation are effects that we all still deal with even today with a complete reinvention of everything we deemed routine, mundane... normal.

The impact on the music industry, again, was much publicised with artists unable to tour and collaborate via the usual methods, many artists had to reinvent how they did things, how they collaborated and how they continued to remain present to their audiences.  Being locked away with nothing to do ultimately afforded Watts a luxury of sorts in time.  An invaluable currency and time well-spent with the New Zealander reconnecting with the trumpet and recontextualising his whole approach to the instrument.  The result comes in the form of 'The Way Back From Here' - an innovative and inspired release that takes Watts' music into previously unexplored realms.

For the past fifteen years, Watts has perhaps become best known as a key contributor to the London Afrobeat Collective - currently celebrating the release of their fourth studio album, 'Esengo', the spirited, high-energy ensemble have cultivated a reputation as ferocious live performers with a dynamic "anything goes" approach to their music.  Despite their sound rooted in afrobeat, the eight-person collective still embrace the freedom to explore other genres and styles, much like Watts strives for throughout 'The Way Back From Here'.

With assistance throughout from drummer Filippo Galli, Watts' composition and production navigate bold soundscapes that elegantly - and confidently - fuse elements of jazz with afrobeat and, at times, slightly darker tones of electronica like the trip-hop-esque 'Out of Season'.  Further assistance comes in the form of guitarist Joe Edwards who guests on the rousing album opener 'A Strange Beginning' and London Afrobeat Collective percussionist, Richie Sweet, who adds a vibrant dimension to the resplendent title track.

'The Way Back From Here' weaves through Andy Watts' narrative of music which sees him confronting the period as a time of uncertainty and difficulty but ultimately coming through the other end with renewed focus, hope... and a fairly excellent album as well.

'Lift' by Last Ark Out

The latest release from Last Ark Out marks a welcome return for the Canadian collective.  With their debut full-length having been released back in 2017, the time since could perhaps be best chalked up to life having got in the way.

Frankly, we've all experienced a lot of life in the last seven years with events that have been indicative of such a drastically changing socio and political climate that slowly nudges us either towards global war or environmental collapse.  Much of Last Ark Out's 'Life' seems predicated upon this unnerving state of affairs but, at the same time, provides welcome respite from it all.

From Vancouver, Canada, the Last Ark Out quintet - comprised of guitarist Arthur Pascau Smith, bassist Jeff Gammon, multi-instrumentalist Justin Gorrie, keyboardist James Huumo and drummer Colin Parker - have captured listeners with their imaginative and creative take on contemporary jazz.  

The time in between releases has clearly served the quintet well as we're reintroduced to Last Ark Out through an exceptional record that brilliantly builds upon a framework as established through this album's predecessor 'Wake'.  One further notable change here is the inclusion of some high-calibre guest appearances, perhaps ironically made possible due to a certain global pandemic that taught us that life didn't need to stop just because we couldn't leave our houses.  

Perhaps these bold space explorations - as exemplified by the album's cover and the very notion of "lift" and elevation as the album's theme - have become about sheer escapism though? Certainly not a collective to allow themselves to be slowed down or hindered by something as mundane as a worldwide pandemic, the creation of this album as something of a response to that quarantine period could very well have proved to be the perfect remedy to those feelings of isolation and uncertainty that we all felt.

And while communication would ultimately hail the internet as our hero, allowing us to interact with friends and family - be them simply down the road or on the other side of the world - from behind our computer screens, it can also be hailed as something of a life line when it came to this album's creative process.  Through the power of remote collaboration, 'Lift' greatly benefits from the contributions of luminaries like Sasha Berliner, Sarah Thawer and Larnell Lewis amongst others who add infinite value to Last Ark Out's sensational musical message.

Through a series of spirited and ambitious pieces of music, the album's seven tracks burst with innovative ideas and concepts.  Last Ark Out's high-energy and grandiose soundscapes serve as a melting pot of musical styles from jazz-fusion to funk under an accessible world music aesthetic.

'Lift' is a wonderful release that is perhaps not as much a statement on current times but more a chronicle of them; again, as the cover suggests, should our planet have to endure so much that we're subsequently forced to flee in search of a new collective future then... could the last ark out turn the lights off when you leave?

:n-the-m:x | February 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 sublime soul to scintillating jazz and lo-fi dance numbers.

Music this month comes courtesy of... 

'It's Natural... Sweat' by Paris Ruel

'Simpatico Way' by The Soul Sound Collective

'IGY' by DJ Harrison (Stones Throw) 

'I Can See' by August Charles

'Exit (Music for a Film)' by The GAB Trio featuring Bea Asurmendi

'Time Passed for You' by Dony Valentino (A.MA)

'Slope' [Opolopo Remix] by corto.alto (New Soil)

'Estuary' [Synkro Remix] by fthmlss featuring Christie (Folded Music)

'Yiri Yiri Boum' by M.CHUZI (Sdban)

'Moth' by The Sorcerers (ATA)

: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.

'La Traversee' by Daïda

Daïda's music releases have consistently proved to be the showcase for a dynamic jazz ensemble with a distinctive and unique musical vision.

While probably best wearing the tag of a jazz act, their musical make-up proves to be compounded from such an extensive smorgasbord of influences that theirs is truly an unhindered and all-encompassing vision of contemporary jazz that is just a joyous experience for a listener to immerse themselves within.

With 'La L​é​gende de Da​ï​darabotchi' serving as the band's inaugural release, the six-track project very quickly establishes Daïda's versatile sound with tracks capturing their penchant for eclectic, high energy and intricate compositions.  Daïda's first full-length would eventually follow in 'La Passion Du Cri (Kyrielle)' - equally stunning - and quickly succeeded by a range of standalone singles unveiled over a comparatively short amount of time.

Clearly in the midst of a run of booming creativity, Daïda's second full-length release comes in the form of 'La Traversee'.  As if even possible, Daïda finds ways to raise the bar even higher with a series of sensational concept-themed compositions that present their most inspired effort yet.  But for the Parisian outfit, raising the bar with each subsequent release seems like the most natural thing for the group to do.  Comprised of members Auxane Cartigny (synths), Arno de Casanove (trumpet), Antonin Fresson (guitar), Samuel F'hima (double bass) and Vincent Tortiller (drums), Daïda continue to strive for the next level through boundless imagination and indelible talent.

With tracks throughout 'La Traversee' inspired by dreams, thoughts, fears, passions and inspiration, the album potentially serves as the purest presentation of Daïda to date.  The charging unbridled energy of 'Aristie', the brilliant off-kilter clunkiness of 'La Paix Avant Le Silence' and the frenetic energy of 'Riposte' serve as just some of the phenomenal highlights throughout the album.

Bursting with personality and charm, Daïda deliver an album of brilliance and one befitting their ambitious scope. 

'"Harlem to Havana": Afro​-​Cuban Modernism VOL​.​1' by New Jazz Underground

The new release from the New York-based New Jazz Underground once again provides a fascinating depiction of an innovative and creative jazz trio continuing to establish themselves as a defining voice for the genre.

With its three band members having met and connected via their time as Julliard students, saxophonist Abdias Armenteros, bassist Sebastian Rios and drummer TJ Reddick have cultivated a strong online following over a comparatively short period of time.

Thanks to a series of creative live performance videos housed on their YouTube channel, New Jazz Underground fully demonstrate their devotion and appreciation to jazz's architects and icons but still strive to push forward in a quest to establish their own sound - one that is influenced by contemporary takes on hip-hop, neo-soul and Latin aesthetics.

An exquisite introduction to New Jazz Underground for listeners came in the form of the trio's debut single 'Cartel', featuring pianist Eric "ELEW" Lewis and released in January 2023.  Recorded a mere four days prior to its release, the vibrant and uplifting track perhaps showcased more nods to a classic and quintessential perspective on New York jazz but one that is no less engaging.  'The MF DOOM SUiTE' would follow later that year and provide a completely different dimension to the trio as four tracks from the dearly departed Metal Face's catalogue were lovingly reimagined through New Jazz Underground's distinct vision brilliantly tackling production by Doom and Madlib and doing expert justice to the fandom.

2024 sees the trio once again redefining listener expectations with the release of their new EP, '"Harlem to Havana": Afro​-​Cuban Modernism VOL​.​1'.  Serving as their most involved set yet, New Jazz Underground showcase an entirely new dimension to their music with the project immersed within Latin American and Cuban rhythms masterfully interspersed with the progressive take on contemporary jazz.  Over the course of the EP's four tracks, the trio are joined by keyboardist Axel Tosca and vocalist Gina D'Soto who provide sensational value to the music and again highlight the New Jazz Underground's propensity to relish in the joys of collaboration.  'The Best Thing' marks a particularly outstanding track as is the project's potential scene-stealer in 'Cómo Remolino' which D'Soto just soars over.

Thanks to their boundless talent and ingenious way of connecting with their audience, New Jazz Underground seem poised for unlimited success.  And for a band as creative, exciting and versatile as they are, it's more than deserved.

'Royalty For Real' by Susanne Alt

It would probably be fair for a case to be made citing jazz as the most intimidating genre of music for the uninitiated to delve into.  It's lengthy compositions with artists often relishing the freedom of improvisation and further lacking the reprieve of a vocal, can certainly prove too daunting a prospect to undertake.  But for the expansive, diverse and rich genre that jazz is, it can all come down to having the right access point.  For me, in my early twenties at the time, my entry point was the music of US trumpeter, Roy Hargrove.  More specifically, through one of his many side-projects, The RH Factor.

Hargrove's merging of jazz-funk stylings with those of the neo-soul and hip-hop luminaries he was consistently collaborating with in the early-2000s - like D'Angelo, Erykah Badu and Common - proved for me an exciting bridge from a world I was very comfortable in and that I knew a lot about to a brand new one that I would ultimately go on to cherish just as much.

Roy Hargrove's incredible ability to create something magical - like with The RH Factor but also through his Latin, trio and big band projects - proved to be a vital part of his musical make-up and one of the things that would ultimately draw Susanne Alt to his music.

For the German-born, Amsterdam-based saxophonist, Alt's talents have been justifiably celebrated for years.  A highly-educated and highly-decorated artist, Alt has seen tremendous successes in her career; As well as having cultivated a catalogue that has positioned her as an inspired jazz creative, Alt's musical passions have also found her nurturing her penchant for electronic music as an artist, DJ and broadcaster.  Alt's breakthrough release, 'Saxify' (2016), could even be said to showcase the same sensibilities and principles as Hargrove's RH Factor, with Alt embracing hip-hop and neo-soul, all over-arched by a strong jazz-funk aesthetic.

Consistently unhindered in her approach, Susanne Alt's journey as an independent artist affords her the gift of creative freedom to explore the musical avenues at her disposal.  Again, perhaps similar creative leaps and risks that became synonymous with Hargrove over the years.  A chance meeting between the two dating as far back as 1994 would ultimately see the pair regularly perform together further solidifying their convergence despite arriving there via very different paths.

'Royalty For Real' is Susanne Alt celebrating the music of Roy Hargrove.  Over the course of the album's seven tracks, Alt navigates a personal and intimate course that pays loving homage through a series of tracks directly inspired by the trumpeter.  There is even a cover of the Hargrove's classic 'Roy Allan' - originally housed on his 1995 album 'Family'.  Another 'Family' track makes an appearance in the form of 'The Nearness of You' - the Hoagy Carmichael and Ned Washington-penned number that Hargrove also had an affection for.

Alt's vision is brilliantly executed with the assistance of long-time Hargrove collaborators, Gerald Cannon on bass and drummer Willie Jones III.  It's already an inspired assembly but with the talents of pianist James Hurt and percussionist Robert Glass rounding out the quintet, Susanne Alt's return to jazz becomes an even more compelling listen.  The music is beautifully composed and wonderfully performed boasting some sensational highlights like the joyous nature of 'Blue Notes & Fairy Tales', the charm of the album's title track or the elegance of 'The Nearness of You'.

'Royalty For Real' delivers as a sensational release; one that does justice to its subject and one that further presents Susanne Alt as a boundlessly creative and indelible talent.  In time to come, it just seems to be inevitable that listeners will eventually cite Susanne Alt's own musical endeavours as their own entry points into the at-one-time intimidating genre that now sees them as devoted jazz fans. 

Blue-in-Green:PODCAST #131: Mike De Souza

Welcome to Episode #131 of the Blue-in-Green:PODCAST which this week sees Imran connect with London-based guitarist and composer, Mike De Souza.

Having just released his second full-length project at the end of 2023, 'Chrysalis' further held the distinction of having found a home on the revered Spanish label, Fresh Sound Records.  Despite being a project that initially found its life during the quarantine period, 'Chrysalis' became an album about hope through adversity and a stunning piece of work to add to De Souza's burgeoning catalogue.

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.

We were grateful to catch-up with Mike to discuss the new album, his early connections to music and the guitar, the creative process and Big Bad Wolf.  We'd love to extend a gratious thank you to Mike for his time and for gifting us with a really fascinating conversation.

To purchase your copy of 'Chrysalis', please visit Mike's Bandcamp page.

Blue-in-Green Sessions · Blue-in-Green:PODCAST_#131_Mike De Souza

'Nord Havn' by Kalaha

Kalaha have established a reputation for themselves that now comes with the expectation from listeners that, musically, anything for them is possible.

With releases through the revered April Records, the Danish quartet have revelled in music that runs the literal gamut of dynamic and varied soundscapes that displays the group's propensity to continuously defy genres and musical boundaries.

Kalaha's last album - 'Tutku' released in 2022 - saw the core unit incorporate vocalist Hilal Kaya into the fold along with the Aarhus Jazz Orchestra in their celebration of 70's Turkish music; prior to that, 'Mystafa' (2021) proved a thrilling showcase for Kalaha's musical gumbo style of global grooves, electronica and even some 80's synthpop that was nothing short of joyous.

Having initially come together after having performed an improvised show in 2013 at the electronic STRØM festival in Copenhagen, Kalaha are comprised of band members Niclas Knudsen on guitars, Emil de Waal on drums and percussion, Jens "Rumpistol" Christiansen on synths and Rhodes and Anders Stig Møller on bass and synths.  Over the years, the Kalaha collective have become their own dynasty of sorts with the individual band members firmly immersed as solo artists in their own right and collaborators across a multitude of various projects.

While past releases have seen the quartet relish in the excitement of collaboration - including tracks with the aforementioned vocalist Kaya, Peter Lopes Andersson, My Wittenburg Berents, Lærke Viola Lentz Milani and Kirsten Louise Bidstrup Hemmingsen - 'Nord Havn' sees Kalaha keep things more in-house and more instrumental this go-round.  It could also be said that while 'Tutku' was in fact a wonderful achievement, the record was fully immersed in their vision of psychedelic Turkish rock and in turn perhaps the most focused Kalaha release in some years.  'Nord Havn' uses the group's jazz sensibilities as a fascinating springboard to present their more typically unpredictable sonic palette across the album's nine tracks.

The slow build of the brilliant album opener 'CiklideKaj' is bolstered by some excellent guitar work that fuels a dusty and gritty Western undercurrent for the song which is then masterfully followed by the considerably more pop-y tones of 'Norsk Fars'.  A one-two combination that perfectly encapsulates Kalaha's ability to take their music in vastly different directions but still find a way to keep each song making sense with the one before and the one after.  The incredible sonic adventure that is 'Tunnel Fabrik' warrants special mention as the blistering, multi-textured and energetic gem is a real standout. 

April Records have long proved to be a phenomenal label bolstered by some immeasurably talented artists who wave the flag proudly for Danish jazz.  As one of the label's flagship artists, Kalaha are a collective that embody these principles and continually step out of the box in a bid to push themselves and the genre forward.  And even though Kalaha clearly don't like to make it easy for themselves, we all now know that for them - musically - anything is possible.

: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.