:n-the-m:x | September 2025

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 eclectic and soul-infused jazz, hip-hop and ethereal electronica to round out the mix.

Music this month comes courtesy of... 

'Level Check// Voodoo' by I Hold the Lion's Paw (Earshift Music)

'Rewind' by Glass Museum (Sdban)

'Where Did I Put My Hoka's?' by space travellers union (Folded Music/Most Least)

'Detroit' by Saiga Tracks (Bridge the Gap)

'The Thong Song' by Baltimore Jazz Collective

'Never My Love' by Gus La Tempete (Oioji)

'Il Trucido E Lo Sbirro' by Till Bronner (EarMusic/Edel)

'dreamnumber9' by Socool

'Clouds' by Dony Valentino (A.MA)

'Sophie' [Dragon Trax Edit] by Mark SaFranko (Dragon Trax)

: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.

'Into the Blue' by the Snyder x Dudar Quartet

'Into the Blue' marks the debut album from the Snyder x Dudar Quartet - a vivacious new full-length that thrives from the concept of improvisation and a diverse international pairing that births riveting results.

Borrowing its title from the words of Swedish pianist Esbjörn Svensson - who likened the art of improvisation to the thrill of diving into blue of the ocean - it's actually the words of another jazz luminary that come to mind when listening to this album... Wynton Marsalis once described improvisation as a method to "teach you about yourself". He further explained that improvisation "teaches you that other people are individuals too [and] it teaches you how to co-ordinate with them".  Much of 'Into the Blue' thrives upon the friendship of its four architects and the joy that playing and creating together clearly affords them.

Comprised of the highly decorated and highly educated foursome that includes US double-bassist Russell Snyder, Polish saxophonist Slawek Dudar, German pianist Michael Flüegel and Polish drummer Pawel Czubatka, the album's international flair finds an exquisite balance between the sensibilities of each artist.  There's also the additional narrative of these four artists, mostly from varying backgrounds, improvising in a way that finds them reaching common and joyous ground as a collective.

Across the album's seven tracks, 'joy' does very much come across as the all-encompassing theme amidst elegantly woven tales of hope and unity.  The purity found within many of the album's compositions give credence to the whole project's statement of intent as it delivers with sublime effect.  'Day Dreams of Sarah' conveys a befitting and contemplative fable, the gentle swing of the album's title track is brilliant and the album's ode to the patroness of music and musicians, Saint Cecilia, serves as a triumph.  Further mention is due to the brilliant 'Portrait of Peace' which offers a wonderfully imaginative contribution to the album that is as compelling as it is spirited.

'Into the Blue' is an album that celebrates spontaneity and a connection between cultures.  It's an album born of the joy of four friends making music together and finding common ground in real time.

'Parsons x Har Even x Ravitz' by Claire Parsons, Eran Har Even & Ziv Ravitz

The wonderful new pairing from the Parsons x Har Even x Ravitz trio offers up an enthralling new project bursting at the seams with incredible energy and bolstered by its three uniquely individual contributors.

Vocalist, pianist and composer Claire Parsons has steadily been cultivating an incredible career in recent years.  Offering her distinctly unique vision for contemporary jazz, bolstered by her far-reaching and diverse affections for everything from musical theatre to classical piano and modern day jazz composition, Parsons has steadily cultivated a fantastic and burgeoning catalogue of material that continues to garner widespread acclaim.  Past releases have included the full-length albums 'In Geometry' (2020) and 'The Aquatic Museum' (2023), along with releases in support of her duo project alongside fellow Parsons x Har Even x Ravitz member, Eran Har Even, for 'OnOff' (2019).

The Amsterdam-based guitarist, Har Even, has crafted a resume that sees him as equally esteemed an artist as his frequent collaborator in Parsons - having collaborated with a strong line-up of contemporary European-based talent including saxophonist Susanne Alt and vocalists Sietske and Henk Kraaijeveld.  Revered for his open-mindedness and cross-genre approach to music-making - from his standalone releases to his electronic-meets-ambient duo project alongside Attie Bauw in Hypnosphere - Har Even consistently proves a perfect musical companion as he boldly embraces opportunities to reconceptualize perceptions of his music.

With Parson and Har Even having worked together for some time now, their connecting with drummer and composer Ziv Ravitz proved an exciting addition to their already well-oiled machine.  Offering exciting new dimensions to their music, Ravitz boasts an incredible career to date that has, again, seen him helm his own projects as well as chalk up some high profile guest duties for projects by Avishai Cohen, Gilad Hekselman, Lionel Loueke and Lee Konitz.  

For all of the projects this trio has worked on and all the high profile collaborations each has secured, there's an unmistakable magic that Parsons, Har Even & Ravitz have stumbled upon with each other that results in a sensational debut offering.  A real rewriting of the rule book, so to speak, musically 'Parsons x Har Even x Ravitz' showcases some mind-blowing performances and beyond imaginative sonic soundscapes that are as captivating and intricately woven as they are liberatingly free of form.  

Album opener 'Hidden Spirits' offers a glimpse into the vast scope of inspired sonics that Parsons, Har Even & Ravitz are envisaging over the course of the album's nine tracks.  But while tracks like 'Two Steps Behind' and 'I Changed My Head' embrace the limitless potential within the large scale and ambitious musical palette, a track like '4:15 a.m.' can shift directions completely with an elegant slice of folk inspirations.  Similarly, the utterly sublime 'Rumours' once again recontextualizes the trio's music up to that point presenting a notably beautiful inclusion for the project.  A final mention really should go to 'State of Mind' which may very well present the album's gleaming highlight as it manages to encapsulate everything the album strives to convey musically through a brilliant and personality-riddled composition.

'Parsons x Har Even x Ravitz' is an album that feels boldly ambitious but undeniably natural at the same time.  An incredibly expressive and boundary-pushing project that presents the group's unity while still celebrating their individual voices at the same time.

'To the Nines' by Socool

A wonderfully talented DJ based in San Jose, California, had a conversation some years ago about her mixes and radio shows and her propensity of never speaking in either.  Her interviewer made the point, as a radio presenter themselves, that they enjoy making the connections to what they're playing, reciting anecdotes, giving some history and context, and helping to push the narrative of their show along.  The DJ took the comments on board and she simply responded, "If I've done my job right then I don't need to speak".

Other than being an argument-winning line, these are definitely words that have stuck with me for years afterwards.  And words I have consistently called to mind whenever I hear new music from Emily "Socool" Sobool.

As an incredibly prolific DJ, producer and vocalist, Socool has consistently managed to create intricate, nuanced and dreamy musical soundscapes that have seen her cultivate a wonderful catalogue in recent years.  With releases through Davis Hanke's Bathurst label, Andy Stockton's drum & bass hub of Dragon Trax and frequent contributions to the co-op Bonk Knob Records - not withstanding her own independent releases - Socool's affections for sublime and downtempo musical excursions prove an engaging and joyous adventure with each outing.  

Releases to date have seen a litany of projects including standalone singles, EPs and a previous full-length with 'Ephemera' (2022); always seeming to relish the joy of collaboration, projects alongside music-makers including SEOLTA, Skysonix, Slundarq and Hanke alter-ego Lehto have further proved a signature to Socool's stylings.  Further, a haunting take on Radiohead's 'Blow Out' boasting an enchanting vocal is also an absolute must.

'To the Nines' now finds Socool celebrating the release of another immaculate gem amongst her treasure trove of musical projects.  A sensational nine-track opus that finds the Vancouver-based artist credited for the album's writing, arranging, production and mixing, and delivering some scintillating compositions as a result.  The album also boasts some assistance in the form of German bassist Alexander "Newton" Bednasch noted for his work with The Motion Orchestra, Mankoora and Sirens & Whistles.

From the explorative nature of 'Silver Falls', the 90s trip-hop aesthetic of 'Passage', the immersive 'Inner Source' and the cinematic D&B-inspired album closer 'dreamnumber9', the album truly delivers some of Socool's most innovative pieces.  The nostalgia-tinged 'Deja Vu' may deliver the album's greatest moment as a piece rooted within a bittersweet lament.  Beautiful.

There's a rare kind of magic with Socool's music that invites you to feel and not just listen.  In doing so, it manages to speak volumes without saying a word.

'Potentially Interesting Jazz Music' by I Hold the Lion's Paw

Duke Ellington once declared, "Jazz is freedom".  He also compared jazz to the type of man you wouldn't want your daughter to associate with, and while the legendary composer and band-leader's ahead-of-his-time insights both hold water, let's focus on the former phrase for now: he actually went on to describe jazz as "the only unhampered, unhindered expression of complete freedom yet" and that's a distinguished mantle that I Hold The Lion's Paw seemingly hold dear as they present their full-length offering, 'Potentially Interesting Jazz Music'.

The Severance-styled album cover also goes some ways in establishing the project as breaking from perceived tradition.  The normality of say a 9-5 existence and the disturbance of that rhythm and routine proves just as compelling a facet to the project as its engaging album title.  Immediately after pressing play, however, you'll detect that the Australian quartet are doing themselves a huge disservice by their humble "potentially interesting" assessment of their music.  The album's 'Level Check// Voodoo' opener depicts the vast levels of personality and charm that have become defining characteristics of I Hold The Lion's Paw and will have you enthusiastically skipping back to catch some of Tariro Mavondo's boundlessly witty musings and spoonfuls of wisdom, including... 

"...Anxiety will have you think it has weight to pull you down to the bottomless pits of paralysis; but that's because its nagging cousin, fear, is a scarecrow; And scares crows because flying can look like danger when the field you're playing on only mirrors a barbed wire cage..."

...It's the verbal embodiment of I Hold The Lion's Paw's own charismatic performances and compositions.  An absolute joy.

Alongside Lewis on trumpet, the quartet is further made up of Emily Bennett on vocals and synths, Adam Halliwell on bass and guitars, and Ronny Ferella on drums and percussion who collectively display a like-minded cohesion that is scintillating to hear unfold through the course of the album.

Now celebrating the release of their third full-length, the Reuben Lewis-helmed ensemble are a project that have found just as much life in their post-production wizardry as they did in their live, spontaneous performances.  The music that comprises 'Potentially Interesting Jazz Music' was conceived from a seven-hour recording session allowing each of the musician's improvisational tendencies to be fully explored in ways that have now become synonymous with the collective.  The recordings of the session were subsequently reimagined, repackaged and recontextualized into the nine tracks presented here that offer a riveting portrayal of the quartet's depiction of contemporary jazz.

And the results are captivating with tracks that appear painstakingly and intricately produced while still affording a liberating and free perspective at the same time.  

Don't let the self-effacing title fool you, this is jazz that goes so far beyond being "potentially interesting" - it's music that's bold, innovative and teeming with imagination. 

'Peki Momés' by Peki Momés

Although Mocambo Records has primarily served as the recording hub for Hamburg's funk and soul stalwarts, The Mighty Mocambos, the label has also helped usher in some fantastic projects from a litany of artists from around the world.  German vocalist Caroline Lacaze wow'ed with her full-length release 'En Route' back in 2013, multi-faceted US vocalist Eric Boss delivered 'A Modern Love' in 2019 and more recently the release of the space funk meets spiritual jazz stylings of Sun Atlas captivated audiences with their album 'Return to the Spirit' in 2024.  And of course who could forget the label's flagship 2009 release pitting singer-songwriter Gizelle Smith alongside The Mighty Mocambos for their collaborative classic 'This is...'.

Mocambo Records has proved a bastion for contemporary funk & soul and now with the release of Turkish vocalist Peki Momés' self-titled debut, the label can boast yet another modern-day gem amongst their treasure trove.

Billed as running the gamut from psychedelia to Turkish disco, Momés delivers an outstanding debut that absolutely relishes within its engrossing soundscapes but is really catapulted to brilliance by Momés herself.  A captivating presence in many ways, the vocalist playfully veers from enchanting to haunting but always the vehement focal point throughout the album.

Produced by Dustin Braun who has also contributed to projects by Malik Diao & Fred Red ('Monologue', Village Live Records), the producer's affections for an authentic analogue sound prove very much in line with the Mocambo aesthetic.  

Peki Momés finds herself with some incredible support and further aided by a core line-up comprised of drummer Matthias Hetzer, percussionist Lukas Joachim and Braun himself credited for bass, keys, synth, percussion and guitar.  Malik Diao rekindles his collaborative history with Braun as he tackles a variety of instrumentation throughout the album.  

Alongside the excellent ensemble of musicians who are all integral to the project's sound, Momés soars amidst the album's shifting musical landscape: the undeniable groove of 'Göç Mevsimi', the playful and innovative 'Future' or the twisted psychedelia of 'Bahar'.  The childhood photo for the album's cover is indicative of the charm Momés eschews throughout the album's twelve tracks as she comfortably weaves in between styles and moods riding the wave of her debut project with surprising confidence and poise.

From the hypnotic rhythms, textured instrumentation and the undeniable charisma of Peki Momés herself, this debut offering not only asserts Mocambo Records as leading curator for contemporary funk and soul, but also a record that celebrates heritage introducing Momés as an artist with substance and style.

'White Noise' by George Burton

The notion of rebellion and general protest in music seems to have reached new heights in the last five or so years.  Donald Trump's ascension to Presidency in the US sparked an incredible response from music communities as a divided America sought to comprehend its new place within the global landscape; the events following Harvey Weinstein's downfall sparked an explosive and fiery debate about women's place in society with countless impassioned voices coming through; the death of George Floyd at the hands of arresting police officers, again, held a mirror up to America forcing it to address some serious questions about the very nature of its own soul.

In 1971, Marvin Gaye asked the question 'What's Going On?' in the way that other soul luminaries including Gil Scott-Heron and Curtis Mayfield has in their respective ways.  Maybe that's a question we as a society are forever destined to ask in regards to the governments and politics that influence and dictate our everyday lives and in 2025, it's George Burton who stands atop the soapbox to ask that very same question.

The release of Burton's fourth full-length album in 'White Noise' stands as a bold statement of intent for the pianist, composer and bandleader.  As a highly-decorated and highly-educated artist, Burton's music has always strived to present an honest depiction of himself as much as how he perceives the world around him.  From his Derrick Hodge-produced debut 'The Truth Of What I Am > The Narcissist' (2016), Burton's honesty is laid out through a sensational release.  Establishing himself almost immediately as a boundlessly creative and imaginative artist, Burton's perspectives on his music respectfully hark back to jazz's architects while still envisioning a genre whose story is still very much unwritten - through his debut and his subsequent follow-up in 'Rec·i·proc·i·ty' (2020), Burton's distinct perceptions of jazz owe as much to neo-classical stylings as they do to hip-hop.

The release of 'White Noise' seeks once again to re-envisage the rule book through a fairly at times abrupt stance.  'Abrupt'... but not in a combative sense...  sometimes a stark truth can seem abrupt but it's no less a truth that needs to be heard and the type of truth that isn't always easy to have to divulge.  Which brings us back to the honesty that listeners have now come to expect from Burton as an artist - it's an incredibly rare reverence to cultivate and one that comes with a tremendous weight of responsibility.

Across the fourteen tracks that comprise 'White Noise', Burton's message is delivered through some outstanding production that interweave a fascinating aural collage of music, sound clips, poetry and guest vocalists through styles that veer from jazz to hip-hop and electronica-tinged textures.  Burton is further backed by an extensive list of long-time friends and collaborators including bassists Derrick Hodge and Junius Paul, trumpeter Marquis Hill, saxophonist Chris Lewis and vocalists including Siya Makuzeni and Alexa Barchini.  

'White Noise' is an incredible project.  An album that is both a reckoning and a release and while it carries on the lineage of music that bravely asks 'what's going on?', Burton understands that part of that answer comes from deep introspection as much as through the words and actions of others. 

'Bien Entendu' by Gus la Tempête

We last caught up with new music from Gus la Tempête following the release of last year's exquisite '1969' - a genuinely sensational album created to pay loving homage to the memory of his mother's passing.  Through an album that served as an aural scrapbook of sorts commemorating her own passions for music, '1969' proved an intricately compiled and composed project and a glorious tribute to Isabelle Marie Louise Hamard.

This painstaking devotion to his music has long served as a trademark of Gus' projects to date and through his own musical playground of Laissedoudis Records, he has afforded himself the luxury to create freely and without restrictions.  Inspired by the pioneering productions of hip-hop's 90s golden era, Gus' long-standing affections for instrumental hip-hop have consistently provided the backbone to his compositions and presented him the opportunity to weave a variety of imaginative musical narratives through past releases including 'Dead Computer' (2008) and 'Slow Down Robots' (2011).

And while on the topic of record labels affording its artists the freedom to create, let's return to the brilliance of our friends over at Oioji Records...

Founded by Parisian producer As Valet, Oioji Records has cultivated its burgeoning reputation with the driving force of culture, heritage and identity at its core.  Through projects by Queen Ci, Rickysoul The C3PO, Eugene Neighbrs, Claude Saturne, Dusty and As Valet, Oioji continue to celebrate music across the infinitely wide spectrum of aural delights.

Gus la Tempête's induction into the Oioji fold comes as a particularly poignant pairing, considering the long-standing friendship between Gus and As Valet.  As two members of the future soul quartet Electric Conversation - alongside LaNote and Oz - their collaborative days stretch as far back as the late-90s gifting listeners with two sensational releases through Futuristica Music in 'Communication' (2007) and 'Electric Conversation' (2013).  While the creative avenues of the Electric Conversation members have taken each down fascinating creative paths, any opportunity to see its members come back together in any context always breeds exceptional results.

Which brings us to the release of the latest Gus la Tempête project through Oioji Records, 'Bien Entendu'.  Translating to "of course" or "naturally", the album's eleven tracks reaffirm Gus' moniker as the "beat broadcaster" providing a selection of bite-sized instrumental gems that veer between nostalgia-driven compositions and progressive beat configurations.  Produced almost entirely by Gus with the exception of 'Solitaire' which features co-production by Kiki Lunaire and 'Face Cachée' which features additional production and a guest verse from DA G.U.I, 'Bien Entendu' serves as another fantastic piece of music from the boundless imagination of Gus la Tempête.

With each of his releases to date, Gus la Tempête continually demonstrates that beat-making can be both cerebral and soulful at the same time.  'Bien Entendu' is further proof of the producer's creativity and talents that see him regard his music as a vessel to communicate between his past and his future.

'Lonely Island' by Yumi Ito

'Lonely Island' is such a fascinating title - and concept - for Yumi Ito to explore as her latest full-length release... for an artist that thrives off collaboration, and who has immersed themselves amidst the Swiss jazz landscape, Ito boldly seeks to strip away all supporting elements to her music and opts to present herself through a compelling state of musical honesty.

Heralding the release of Ito's sixth album, the Swiss-Polish-Japanese vocalist, pianist and composer - now based in Basel, Switzerland - presents a scintillating reimagining of ten of her most cherished songs with Ito as the project's sole presence.

Anyone who has ever had the luxury of losing themselves to music by Yumi Ito in the past will fully vouch for the boundless proficiency she brings to her craft - an accomplished and elegant pianist, an exquisite vocalist, an imaginative improviser and adept collaborator... Ito's accolades and credentials have long cemented her as a definitive force within contemporary jazz.

Through past releases that have positioned Ito amidst a variety of collaborators and ensembles including the duo setting of 'Ekual' alongside guitarist Szymon Mika, or amidst the full ten-musician line-up for 2023's 'Ysla', there's a healthy appreciation for Ito's ability to utilise each project as an entirely new avenue for creative storytelling.  And even outside of her own projects, collaborations with Yves Theiler, Florian Arbenz, ROSID and Fabian Bürgi continue to showcase her in-demand talents amongst the thriving Swiss scene.

And for those long-term appreciators of Ito's music, the release of 'Lonely Island' must surely come as a dream project and an incomparable showcase of her unbridled talents.  For 'Lonely Island', isolation invariably becomes intimacy.  In the absence of other collaborators, there's an unfiltered truth that Yumi Ito courageously displays through the project that is befitting of her towering reputation.  A sensational recontextualising of past releases, Ito's at times ethereal performance finds a beguiling take on her penchant for beautifully nuanced, neo-classical-tinged jazz merged with contemporary sweeping soundscapes.

At the beginning of this review, there was a reference to 'Lonely Island' serving as something of a fascinating title - there are undeniable connotations to the 'lonely island' hinting at traces of loneliness or even exile but this album actually positions Yumi Ito at her most confident and assured.  A captivating piece of art that serves as a powerful reminder that profound connections come often from moments of absolute solitude.

'Sonidos' by Lauren Henderson

"Nothing of me is original.  I am the combined effort of everyone I've ever known."  

The words of US author Chuck Palahniuk have long served as an apt reminder that each of us are absolutely the sum of our parts.  As individuals, we're invariably shaped by the people in our lives, the people that raised us, the people we have surrounded ourselves with the most, even the people we simply admire in the public eye.  But looking beyond that, we are also the product of everyone that came before us.  Our lineages that in many cases have seen our predecessors endure struggle that we may never even know about it and cultivate stories that date back generations all in a bid to see us where we currently are.

So much of Lauren Henderson's music is rooted within this very understanding and serves as a vessel of sorts for the singer-songwriter to explore not just her own identity but also to connect with the cultural path that brought her to the here and now.  

The release of 'Sonidos' serves as a stunning continuation of a musical journey that started with the release of Henderson's self-titled debut album back in 2011.  More than ten releases later, which include a further nine studio albums and an EP, the Massachusetts-born, New York-based artist has managed to interweave a fascinating narrative throughout the tapestry of her releases.  And while many of the project's themes revolve around the notion of exploration, they are just as much about celebration as well.  Proudly showcasing her roots within the context of Black American Music intertwined with an Afro-Latinx aesthetic, 'Sonidos' waves that flag in the way her past releases always have.

Everything about Lauren Henderson's story to date has served as inspirational.  As a highly educated and highly decorated independent artist - with each of her album releases to date having been unveiled through her own Brontosaurus Records - Henderson has toured the world and graced stages at venues and festivals across the US, Spain, France, Italy and Germany.  Heralded as a creative and imaginative artist, Henderson's music features an exquisite presentation of contemporary jazz elegantly intertwined with Afro-Caribbean influences with Latin stylings.

Across the sixteen tracks that adorn 'Sonidos', Henderson is supported by some sensational backing by way of vibraphonist Joel Ross (Makaya McCraven, Brandee Younger), pianist Sullivan Fortner (Cécile McLorin Salvant, Kassa Overall), drummer Joe Dyson (Dr Lonnie Smith, Christian Scott), with bass on the album equally divided by Dezron Douglas (Atalaya, Melanie Charles) and Eric Wheeler (Theo Croker, Samara Joy).  It's a phenomenal line-up and one befitting of Henderson's own immeasurable talents and commitment.

'Sonidos' is a masterclass in how to respectfully acknowledge traditional approaches to jazz while still seeking to carve a unique and distinctive path of your own at the same time.  Throughout the album, Henderson reminds us that heritage is not just something a person inherits but it is ultimately something to be celebrated and shared and for that reason 'Sonidos' is no less than a joyous experience.  Another incandescent chapter within Lauren Henderson's scintillating and unfolding story.