Blue-in-Green:PODCAST #147: Leona Berlin

Welcome to Episode #147 of the Blue-in-Green:PODCAST which sees Imran connect with Leona Berlin.

The always sensational Berlin-based singer, songwriter and producer returns with her third full-length album, 'ELEVATE'.  Berlin's music has consistently touted the benefits of individuality, self-awareness and self-confidence and the importance of those values as a starting point to move forward.  Whether it be earlier single releases including 'Cage', 'Feminine Energy' or more recent efforts with 'Jealousy', Berlin has consistently created statements of anthemic impact that continue to position her as the benchmark for today's R&B and neo-soul artists.

We're incredibly grateful for Leona's time which includes us recounting her recent travels to India and Nepal, the release of the new album, the creative process and we discuss Leona's relationship with AI and it's burgeoning impact on the art and world around us.

To grab your copy of 'ELEVATE', please feel free to visit Leona Berlin's Bandcamp page.

Blue-in-Green Sessions · Blue-in-Green:PODCAST_#147_Leona Berlin

'Circles' by Luca Mannutza Quintet

'Circles' marks the latest release from revered Italian pianist Luca Mannutza whose famed career - that has seen him perform around the world and become a staple of Italy's jazz landscape - now brings him to the esteemed recording home of A.MA Records.

Mannutza has left an indelible imprint for Italy and some of their most celebrated releases and ensembles for years now.  Born in Cagliari, Mannutza can boast being a graduate of Cagliari's GP da Palestrina Conservatory before going on to win a litany of awards and distinctions: Ennio Porrino Prize (1981), the first prize in the International Massimo Urbani Award (2002), the Audience Award at the International Tramplin Jazz Competition in Avignon, France, amongst others.

With a flair for improvisation and collaboration, Mannutza would go on to immerse himself within a variety of ensembles, namely his work as part of Sound Advice, Sound Six, as well as duo projects alongside saxophonist Max Ionata and drummer Lorenzo Tucci, notwithstanding his collaborations with Rosalia de Souza, Jeremy Pelt and Fabrizio Bosso.

Mannutza's contributions as a member of High Five found even greater international acclaim particularly with their collaborative efforts with Mario Biondi - garnering the hit 'This Is What You Are' from the album 'Handful of Soul' (Schema, 2006).

The arrival of 'Circles' serves as a poignant release, particularly in light of Mannutza's stunning career to date.  The notion of 'circles' always serves as evocative symbolism - while it invites ideas of wholeness, unity and balance, within the context of Mannutza's eight-track album, we're introduced to the compelling narrative of a life cycle with songs that incorporate elements of awareness, isolation, change, love and loss.

Presented by Mannutza's Quintet - comprised of saxophonist Paolo Recchia, vibraphonist Jordan Corda, double-bassist Daniele Sorrentino and Sasha Mashin on drums - the album's concept is introduced brilliantly with the album's near-ten-minute opening number.  A sensational opener that finds everyone on spectacular form and delivering an impassioned and vibrant performance.  It sets the standard for everything that follows - the more sublime and measured tone of 'Metamorpho', the playful 'Black Comedy' and the charming take on Bobby Hutcherson's 'Herzog' is again a definitive highlight.

The album's divine final track, 'The End of a Love Affair', represents a beautiful sentiment that finds a person returning to love's beginning through its end.  More specifically, it's a return of the person to themself but after having been altered by all of life's events that preceded it.

'Nouriti Pou Lèspri' by Kistor Beating Drums

'Nouriti Pou Lèspri' marks the latest release from French and Guadeloupean producer and beat-maker, Kistor Beating Drums.

Kistor's latest release serves as another fantastic entry within his ever-expanding catalogue of music that finds him spinning inspired narratives via a revolving door of musical and popular culture influences.  It's a musical collage if you will that paints this engaging and compelling portrait of Kistor and the full multitude of facets that comprise his make-up...

The release of his 'Strange Element' LP in 2018 provided Kistor's ode to Halloween and horror via an immersive eleven-track effort; also in 2018, there was his homage to the seminal Martin Scorsese gangster masterpiece 'Goodfellas' (1990) and, more recently, Kistor unveiled a wonderful and fascinating beat tape celebrating the beauty of Heraklion - the capital of the Greek island of Crete.  'Ηράκλειο (Heraklion)' delivered as a particularly noteworthy release as Kistor's distinct hip-hop-inspired productions presented some fascinating concepts alongside samples of Greek music that found his production tendencies to seem naturally at home.

And when discussing new projects unveiled through Oioji Records, "home" is often the most apt descriptor for the label's releases.  Continually committed to bridging music rooted within Caribbean tradition to new audiences and generations, the label's long list of artists including Queen Ci, Eugene Neighbrs and Claude Saturne have each delivered stunning efforts serving as vital puzzle pieces within Oioji's own collage.   

Kistor consistently demonstrates himself as an artist who wears his heart and his influences on his sleeve.  While past releases have clearly presented a vast range of facets for the creative beat-maker, 'Nouriti Pou Lèspri' may very well find Kistor Beating Drums unveiling his most personal effort yet.  As described via the project's Bandcamp page, 'Nouriti Pou Lèspri' serves as "a tribute to the reality of Guadeloupe and all colonized territories whose stories and rhythms shaped generations".  In typical Kistor Beating Drums fashion, the eleven-track project presents tracks that are expertly-crafted productions, born of his affection for hip-hop, beat tapes and Caribbean influences.  The project showcases charismatic compositions that are beaming with personality, genuinely indicative of some of Kistor's greatest work.

Oioji Records has always admirably used their music to shine a light on the label's roots within Caribbean culture but perhaps a slightly undersold take on the label is the otherwordly talent that Paris has on offer as well.  Alongside the aforementioned Oioji stablemates, names including label founder As Valet, Dusty, Rickysoul The C3PO and Gus La Tempête represent a thriving musical scene as phenomenal talents in their own right.

Continuining to fold personal history and traits into his craft, 'Nouriti Pou Lèspri' stands as a prevailing release amongst Kistor Beating Drums' catalogue to date.  From Guadeloupe to Paris, this is a project that honours the past while energising the future.

'What We Don't See' by Fernando Brox

'What We Don’t See' serves as the latest project from flautist and composer Fernando Brox.

Born in Spain but now based in Switzerland, Brox follows up on last year's incredible release 'From Within' - his album released through the acclaimed Spanish label, Fresh Sound Records.  In the time that Brox has dedicated to jazz however, he has managed to amass an impressive array of releases dating back nearly ten years with projects that have demonstrated his proficiency as a key collaborator or as a bandleader in his own right.

Boasting a remarkable catalogue that has found him release projects including the sublime two-hander alongside pianist Javier Galiana ('Tonterías', 2021), projects as part of the Fernando Brox Quartet ('Broxila', 2020) and Fernando Brox Sexteto ('Factor Humano', 2020).  Further to helming his own celebrated releases, the flautist has provided stunning accompaniment to a lengthy list of artists including the Underpool Collective, Silver Geishas, Baz Trio and Juan Pablo Balcázar, naming just a few.

As a highly-decorated and highly-educated artist, Brox seems to thrive when it comes to introducing narratives into his work - the notion of using each new project as a blank canvas to create something entirely new is an attribute that many resonate with when it comes to regarding the wider tapestry of Brox's music to date.  A collage of sorts that takes shape through the litany of collaborators that Brox takes pride in making music with.

...Which is certainly the case for the latest release 'What We Don't See'.  Boasting elements of improvisation throughout his recordings, 'What We Don't See' was recorded in an afternoon at Basel's Jazz Campus Studios, a mere eleven months prior to the album's release.  Featuring the talents of pianist Lorenzo Vitolo, double-bassist Joan Codina and drummer Paulo Almeida, the album's thirteen tracks offer some delectable compositions that both challenge and inspire.

The ominous album intro 'Dark Matter' makes way for the brilliant urgency of 'XII' which is a dichotomy that is echoed throughout the album - compositions that are fuelled with vibrancy and ebullience are interspersed with a series of 'Background Radiation' interludes that bring it back to the album's foreboding tone... perhaps resonant of the world that moves beneath us (the world we don't see) in contrast to the more dynamic pieces that present the concept of the fast-paced nature of our everyday grind.

Fernando Brox presents fascinating and compelling concepts for the album's evocative title - a multi-layered concept that could find its inspiration in the music we're listening to, that we don't see made, or the very forces of our universe that provides the structure for our existence.  Brox's quartet highlights the importance of what we are not able to see and how it manages to keep everything together - concepts we almost take for granted as being infinite and habitual.  And the music is suitably reflective of these ideals capturing the essence of intimacy and grandeur at the same time.

'Cookin' the Books' by Cookin' on 3 Burners

'Cookin' the Books' marks the latest full-length release from Australian Hammond organ trio Cookin' on 3 Burners releasing their new album via their own Soul Messin' Records.

Over the years, Australia have delivered a phenomenal array of funk & soul acts that have garnered attention from audiences, and record labels, across the world.  Italy's Record Kicks and the UK's Freestyle Records serving as two prominent recording homes who have long recognised the brilliance emanating from the Australian scene that have seen bands like Dojo Cuts, Randa & The Soul Kingdom and The Bamboos receive international acclaim.  

Amidst the expansive array of Australian funk & soul flag wavers that have surfaced over the last twenty years, it would be near impossible to recount any list that wouldn't cite the unbridled efforts of Cookin' on 3 Burners.  With past releases on the aforementioned Freestyle Records, C3B have steadily been releasing their projects via Soul Messin' Records and have been subsequently cultivating an incredible label home as a result.  With releases dating back to 2000, the Cookin' trio have continued to deliver powerhouse performances alongside innovative and inspired takes on the genre's contemporary landscape.

As a testament to the trio's overall abilities and gleaming reputation, the trio have evolved into something of a supergroup with each of the three band members achieving notable creative successes and achievements collectively and through their solo endeavours.  As founder of Choi Records, drummer Ivan Khatchoyan has worked as a member and band leader of numerous ensembles including The Traffic and Mayfield; organist Jake Mason has established himself as a band leader in his own right with his own Jake Mason Trio as well as participating in projects for Albare, The Counterfeit, Chelsea Wilson and The Basics.  And then there's guitarist Dan West who boasts a similarly impressive resume featuring not just collaborations with Mojo Juju, Jane Tyrrell and Azalia Snail, but also creating custom scores for artists and showcase installations in galleries around the world.

The C3B trio have carved tremendous avenues for themselves as solo artists but there's an unmistakable magic that finds Khatchoyan, Mason and West continue to come back to what brought them to the dance.

And on that note, 'Cookin' the Books' is an excellent testament to the funk & soul that has defined the band over the years.  A fourteen track album that finds the trio in fantastic form alongside some fantastic guest appearances.  The band's typical penchant for blazing, powerhouse performances are still evident throughout but the album finds its definitive sweet spot in the soul-drenched ballads, beautifully performed alongside Natalie Slade ('Only Words'), Stella Angelico ('Brighter') and Wilson Blackley ('Away from My Heart').  In typical Cookin' on 3 Burners fashion, their funk-y takes on known classics always serve as a real treat with Mos Def's 'Ms Fat Booty' and Bon Jovi's 'Livin' on a Prayer' afforded inspired renditions.

'Cookin' the Books' offers a soulful glimpse into what has helped Cookin' on 3 Burners endure for all of these years.  A collective that continue to create fantastic music that positions them at the forefront of the genre's torch bearers.

'Infinity II' by Jeremy Rose

The boundlessly prolific talents of Jeremy Rose find the Australian saxophonist revisiting his latest 'Infinity' project offering up another fantastic instalment within the quartet's burgeoning catalogue.

With the project initially stemming from a 2021 live recording from Sydney's Phoenix Central Park, 'Project Infinity Live' would pair Rose's saxophone alongside pianist Novak Manoljovic, drummer Tully Ryan and Ben Carey on modular synthesiser.  A rapturously-received project, the live performance proved a captivating sonic exploration very much in line with Rose's detailed affections for intricate and thought-provoking jazz.

Rose's efforts have long found him appreciated for the pioneer and visionary that he is.  As a highly-decorated musician, bandleader and composer, Rose's name continues to sit atop an incredibly lengthy list of unbridled talent when discussions veer towards Australia's thriving jazz scene.  A staunch advocate for contemporary jazz as its own community, Rose's own Earshift Music has presented some sensational offerings from Australian talent including I Hold the Lion's Paw, Ross McHenry, Helen Svoboda and Michelle Nicolle, naming just a few projects across the label's exceptional sixteen-year lifespan.  

And beyond serving as a platform for upcoming and established talent, Earshift naturally serves as a playground for a multitude of Jeremy Rose projects and the various incarnations that his musical endeavours take glorious shape within: albums by Jeremy Rose & The Earshift Orchestra, The Vampires, Vazesh, The Strides and Visions of Nar all bare Rose's indelible imprint as each ensemble offers him the opportunity to immerse himself within compelling and completely different musical narratives with each go-round.

The idea of 'musical narratives' is something that rings true when considering Rose's Infinity quartet - with their debut Live release relishing the opportunity to connect largely through an improvisational approach, the quartet make a wonderful transition to the studio for 'Infinity II' celebrating a remarkable evolution of their sound.  Although the album definitely serves as a loving progression in its sound, enough of the project's approach and characteristics are enough to wisely anchor 'Infinity II' to 'Project Infinity Live'.  Its sparse minimalism remains a fundamental component in its construction - a trait captured wonderfully through an atmospheric and ambient soundscape that finds Rose & company finding the beauty in the music's simplicity.

'Infinity II' is a quiet testament to the often overlooked beauty of restraint - it's an affectionate musical conversation between Jeremy Rose, Tully Ryan, Novak Manojlovic and Ben Carey that we're all invited to participate within.

'Many Changes' by Magro

"I drum.  I produce.  I build moods."

The brief but accurate description of Magro's talents can be found via his Instagram page which goes a long way to further justifying his bold proclamation.  Serving as something of an inspiring chronicle of sorts, Magro's Instagram charts the drummer and producer's numerous jam sessions, sketches of upcoming songs, new music and his prolific touring duties that have taken him to stages across Europe and most recently to India and Nepal as well in his continued quest to expand his own musical repertoire.

Now celebrating the release of his third full-length album 'Many Changes', Magro once again unveils new music to enthusiastic ears.  Continuing to prove himself as a veritable force amongst today's genre fluid perspectives on music, Grossman effortlessly adorns the tag of 'jazz artist' just as comfortably as he does 'hip-hop artist'.  His string of independent releases to date - which include previous album releases 'Trippin' (2021) and 'II' (2022), standalone singles and beat tapes - all add to the phenomenal musical collage of a progressive and innovative artist always seeking new ways to push himself and his music forward.  

And aside from Magro's independent releases, the drummer's sonic hip-hop-meets-nu-jazz-meets-electronica soundscapes also caught the attention of the revered Sonar Kollektiv label.  Not only did the union generate the fantastic and eclectic EP 'Tokyo Tree' in 2024, it also secured Magro a coveted spot amidst the just-released Jazzanova remix project celebrating their 2002 milestone project 'In Between'.  Remixing the Ursula Rucker-assisted 'Keep Falling', Magro finds himself in esteemed company alongside The KBCS and Japanese jazz trio Nautilus.

'Many Changes' continues the run of fantastic music - following a steady flow of singles in preparation of the album's release, the stage was set for another excursion into Magro's unrivalled sonic universe that seems to both define convention as well as defy it.  Comprised of a core trio of artists that position the drummer alongside Martin Lüdicke on keys and Francesco Beccaro on bass, the album boasts some distinguished guests including pianist Telemakus, guitarist Tom Ford, saxophonist Sean Payne and frequent collaborator in rapper Rapturous. 

As alluded to earlier, sonically, the music is typically Magro-esque when it comes to its unpredictability and genre-blurring composition.  And while there are tracks that display his penchant for hi-energy, broken beat-styled production like 'Light Switch' or the album's title track, some numbers seem born of a more introspective nature with 'MkKy' and 'When I Grow Up' adding an elegant nuance to the album as a whole.

With 'Many Changes', Magro once again highlights the importance of growth as a part of his own musical journey.  Never resting on his laurels, never taking the easy option, Magro's masterclass in evolution almost still feels in its early stages with a multitude of adventures still ahead of him.  It's like he says... "I drum.  I produce.  I build moods."

'Guirca' by Kalaha

Marking the distinction of their seventh studio release, Kalaha unveil their latest effort, 'Guirca'.

Released through their long-standing label home, the esteemed April Records, the Danish quartet have revelled in running the gamut of dynamic and varied musical soundscapes that demonstrate the group's ability to flit effortlessly between - or even unite - disparate sonic realms and boundaries.

While 'Tutku' (2022) saw Kalaha celebrate 1970s Turkish psychedelic rock, 'Mystafa' (2021) proved a compelling showcase for the band's musical gumbo style combining global grooves, electronica and even 1980s synth-pop.  Always looking to regard each new release with a clean slate - less in a bid for reinvention and more to solidify their passion for evolution - 'Guirca' sees the quartet turn their attention to the high-energy and thrilling sounds of cumbia.

Serving as a fusion of styles in its own right, cumbia's amalgamation of African and Spanish musical traditions makes it the perfect subject for Kalaha's distinguished sonic dissections.

Over the years, the Kalaha quartet have ascended to supergroup status with its band members immersed amongst a variety of further solo and collective endeavours that continue to find them pushing boundaries amidst different settings.  Comprised of Emil de Waal (drums), Nicholas Knudsen (guitars), Jens Berents Christiansen (keys) and Anders Stig Moller (bass), there's generally a strong understanding that when the four come together under the 'Kalaha' banner, their irrefutable chemistry gives rise to a real magic.  A fact perfectly evident throughout 'Guirca'.

Across the album's nine tracks, we're treated to a wonderful foray into the realms of cumbia with a variety of pieces embracing the varied styles within its own wide-ranging genre.  With tracks showcasing cumbia's more organic compositions and to others that embrace the more electronic aspects of the genre, Kalaha deliver a standout effort as they consistently do.  From the urgency of 'Vals Ajillo', the strong Latin stylings of the album's title track to the more cinematic-sounding 'Yacumama', Kalaha have once again tapped into the code of their subject's inner workings and presented their version with self-assuredness and confidence.  A final mention goes to the fantastic 'Out in the Woods' which is brilliantly infectious and deserving of its position as the album's centrepiece.

With 'Guirca', Kalaha reaffirm their place as a boundlessly progressive and imaginative ensemble.  Long may they continue to find the joy in creating!

:n-the-m:x | October 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 45-minute excursion from eclectic and soul-infused jazz and sublime soul to round out the mix.

Music this month comes courtesy of...

'My Future' by Lance Ferguson featuring Rita Satch (Tru Thoughts)

'Beretta' by Royce Wood Junior featuring Lucey Way (First Word)

'Le Trip' by The Offline featuring Kimo Eiserbeck (DeepMatter)

'Put Your Love On Me' [Extended Mix] by Angels of Libra featuring Nathan Johnston (Waterfall)

'Only Words' by Cookin' on 3 Burners featuring Natalie Slade (Soul Messin')

'Can't Watch' by Bright Dog Red (Ropeadope)

'Kanda' by Rastko Obradovic (A.MA)

'Cornerstone' by Omasta (Astigmatic)

'Out in the Woods' by Kalaha (April)

'Billie & Trane' by Tony Adamo

: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.

Thank you D'Angelo

An op-ed piece by Imran Mirza

I'm currently writing this while sat in a waiting room as my father completes his twentieth and final radiotherapy session in four weeks for prostate cancer.  Lung cancer coincidentally took my mother exactly four years ago.

Cancer seems to always find a way to take.  From all of us as everyone sadly has some direct or indirect run-in with the disease at some time.

For soul music fans, the disease delivered a notably cruel blow yesterday by claiming the life of Michael "D'Angelo" Archer at the age of 51.

The impact of D'Angelo's music on a generation of soul music fans couldn't really be overstated - while the genre's lineage has undeniably been defined by the music of Marvin Gaye, Aretha Franklin, Curtis Mayfield and Smokey Robinson, amongst an array of other heroes, D'Angelo ushered in an era of contemporary soul music for the hip-hop generation.  A fusion of styles that found just as much inspiration from the music of A Tribe Called Quest, De La Soul and Public Enemy as it did the aforementioned luminaries.

'Brown Sugar', released in 1995, birthed an incredible and glorious new era by way of a masterpiece that still finds a litany of bootleg remixes generated in homage to the album's timeless greatness.  Spearheaded by the singles 'Brown Sugar', 'Lady', 'Me and Those Dreamin Eyes of Mine' and 'Cruisin', D'Angelo's uncompromising vision opened the door for future stars including Erykah Badu, Jill Scott, Bilal, Musiq and Anthony Hamilton.  And while 'Brown Sugar' would create the template for what was neo-soul, 'Voodoo' (2000) ingeniously sought to destroy its very ideology and reconstruct the genre all over again.

Neo-soul was a dirty word for a long time as some people felt the term was a marketing ploy but, for me, I loved it as it represented me.  I didn't grow up with the classics of Minnie Riperton, Stevie Wonder and Donnie Hathaway as the soundtrack to my childhood - I had to discover these classics in later years.  'Brown Sugar', 'Voodoo' and neo-soul was represented my time, my generation and came at a time when my burgeoning musical fandom needed it most.

As illusive as he was iconic, D'Angelo would only release three studio albums over the course of thirty years.  Yes, it's a comparatively small number for an artist who garnered so much acclaim but it's only now that I realise he didn't need more.

In the time it's taken me to write this, my father has completed his session.  It's customary to ring a bell that they have set up in reception to announce the end of your treatment - it's usually a nice moment as everyone claps in celebration but he always said he wasn't going to do it as he doesn't know what the future holds in regards to his diagnosis.

There's a poignancy in that but also a reminder for us all that we should celebrate all that we can when we can.

Thank you D'Angelo - I imagine that's gratitude expressed by millions whose lives have been soundtracked by your music over the years...  We always wanted more but always held dear what you gave.

'Soondaze EP' by Dragon Trax

"What we do not say will destroy us"

The haunting and somewhat prophetic words that accompany the latest release from Dragon Trax paint an elegantly vivid picture of the need to address our own demons, regardless of the challenges that may raise.

As proponents for "the art of electronic music", the Sheffield-based label have offered a varied and dynamic selection of music across the wide expanse of the genre.  With releases that have heralded the infectious dancefloor beats of DJ Soo, JG Stockton's 90s-inspired dance aesthetic, the otherworldly electronics of AJ&JG or the sublime sounds of Socool, the Dragon Trax label has been propelled by a small and close-knit ensemble of friends, DJs and musicians that have found an incredibly supportive avenue for a litany of their musical endeavours.  

Across the releases of their burgeoning catalogue, the label's latest EP offering - 'Soondaze' - sees Dragon Trax take a decidedly bold and creative step into imaginative new territory... a four-track release that features an A-list assembly of the label's stalwarts including label founder and multi-faceted artist in his own right Andy Stockton, Vancouver-based DJ, producer and vocalist Socool and Scotland-based electronic musician Ireless.  The works of author, painter and musician Mark SaFranko serve as something of a springboard or catalyst for the project with each of the EP's tracks each exploring the context of things falling apart and trying to piece together what's left - it's a notion beautifully captured in the version of 'Sophie' present here which was initially created hours after SaFranko's mother had passed away.   

While 'Soondaze' embraces these aspects of loss and self-doubt, it's still a project that desperately pines for remnants of hope.  Through Andy Stockton's existential spoken word narratives that weave from hard truths to transcendental releases, in true Pandora's Box fashion the EP's subtext openly acknowledges that the night is always darkest before the dawn.  And on that note, musically 'Soondaze' is bolstered by a fitting musical soundscape that veers from moody trip-hop to poetic ambience.

As in this article's opening quote, if what we don't say can destroy us then the honesty that 'Soondaze' strives for is ultimately the rebuttal.  A bold and compelling project from Dragon Trax and one that will stand tall amongst their ever-expanding catalogue.

'Mandala' by Rastko Obradović

'Mandala' serves as the new release from Rastko Obradović who makes his formal introduction through Italy's A.MA Records.

The release of the saxophonist's first solo-helmed project must come with some satisfaction and feel like a project long in the works.  The Serbian born and raised artist earned his degree in Jazz Performance from the Norwegian Academy of Music in Oslo and has since that time has continued to cultivate a diverse and varied repertoire rooted in his affection for a wide variety of musical styles.

As a recipient of The Best Young Artist award from Jazz, Rock & Pop Musicians' Association of Serbia in 2019, Obradović has been almost single-minded in his pursuits within music amassing consistent touring opportunities and an impressive amount of collaborative efforts.  Having appeared on projects alongside Martin Nodeland, Jelena Jovović, SJB Project and the Milos Branisavljevic Quartet, Obradović has further released the four-track EP 'Wabi Sabi' as part of a duo project alongside pianist Bojan Zulfikarpašić and helmed 'The Northern Experience' as part of the Rastko Obradović Quartet.

Whilst Obradović's the aforementioned past releases have been presented as quite focused projects, 'Mandala' features a slightly more unhindered display of the saxophonist's musical perspectives.  An album that finds an elegant balance between American sensibilities and a European aesthetic, 'Mandala' serves as an imaginative take on contemporary jazz from an innovative young artist who is clearly not short on ideas.

Obradović may have just delivered his first album through A.MA Records but his history with the label goes back some years now with the saxophonist appearing on a litany of past releases for the label including Sanja Markovic's 'Ascension', Irina Pavlovic's 'The Soulful Heritage' and Milos Colovic's 'To the Beat of My Footsteps', amongst others.  It's certainly fitting that after being a part of so many incredible releases for A.MA Records that Rastko Obradović would finally be bestowed the distinction of his own project with the esteemed recording home.

And providing fantastic support to Obradović throughout 'Mandala' is pianist Vladan Veljkovic, double-bassist Aleksandar Petrovic and drummer Nikola Banovic who each deliver standout performances and sparkling chemistry as a tight-knit quartet.

The brilliant energy of 'Kanda' kicks the project off in scintillating fashion displaying a beautiful warmth to its composition that immediately sets the bar so high for the album's remaining seven tracks; while 'Nemir' serves as a perfect follow-up, the two-part 'Prisoner & the Soldier' delivers as an excellent double-header offering two distinct takes on the theme, both eloquently presented.  The album's closing number, 'Afternoon', caps off a truly excellent and personality-driven album that finds the project reaching its conclusion with the same dexterity that it began with.

The album's Bandcamp page describes the word 'Mandala' as having roots within the concept of a "rogue" or "vagabond" - perhaps a reference to an unbridled and rebellious creative spirit; there is another context of discussion however within the notion of the Sanskrit word "mandala" which translates to "circle".  A symbolic ideal in its own way - as the circle is representative of wholeness and a return to origins, perhaps that's a concept that surmises Rastko Obradović's album best... after years of collaboration, touring and studying, 'Mandala' can best be perceived as a project that finds the saxophonist having come full circle - arriving at a place that fully reflects his own voice and musical identity.

'Liquid Yellow Portraits' by Shingo Suzuki

'Liquid Yellow Portraits' marks the highly anticipated release from Shingo Suzuki now available through the revered Origami Productions.

Origami has long served as a fantastic hub of innovative music releases with projects initially embracing hip-hop, soul and jazz before slowly expanding the label's repertoire to invite more free-flowing and broader sounds.  With past releases by Kan Sano, mabanua and Michael Kaneko, the inclusion of Shingo Suzuki proves a fantastic fit.

The Tokyo-based bassist, keyboardist and producer has steadily been releasing a string of standalone singles under his own name for some time with his initial solo full-length release coming in the form of the hip-hop-centric 'The Abstract Truth' in 2008.

Suzuki's resume has literally burst to the brim since then having focused more on group projects and collaborations in his career.  Perhaps most noted for his work as a band member for the alternative R&B and synth-pop trio Ovall (also Origami Productions stallwarts), Suzuki's extensive musical credits include a litany of collaborations for Japanese-based artists including work with Hanah, Coin Banks, Laidbook and Kenichi Takemoto. 

Boundlessly versatile in his styles and abilities, Suzuki's vast musical projects have seen him tailor his style to accommodate a range of sounds and genres while still reserving just the right sprinkle of distinctive brilliance for his own releases.

In a tantalising stream of initially standalone single releases on Bandcamp over the last few years, Suzuki's jazz-meets-hip-hop inspired compositions have finally been afforded an appropriate home with the release of 'Liquid Yellow Portraits'.  

Featuring some wonderful inclusions on the album, notably from Ruri Matsumura who provides standout vocal performances on the past singles 'You Don't Know (What Life Is)' and the neo-soul gem 'Flower Dance', the album also soars with its charismatic jazz pieces like the brilliant frenetic energy of 'Backwards' and the sublime but assertive 'All in Your Palms'.  Matsumura delivers a further gem with her appearance for the dreamy and captivating 'Miss You Already' which serves as another distinctive album highlight.

'Liquid Yellow Portraits' proves such a fantastic depiction of Shingo Suzuki's incredible talents - personality-filled productions bursting with imagination and charisma that are demonstrative of a phenomenally well-rounded artist in his own right.

'Music of Secrets' by Viktoria Søndergaard

Viktoria Søndergaard marks her debut release on April Records unveiling the full-length 'Music of Secrets'.

For the vibraphonist and composer, Søndergaard's introduction as a solo artist in her own right has perhaps been a long-time coming.  With previous projects including her BARYL quartet, spawning the releases 'Allerede Mandag?' (2021) and 'Hva´ fanden sker der?' (2023), along with the duo project 'Call Me a Princess' from earlier this year alongside double-bassist Klára Pudláková, Søndergaard has continued to ingratiate herself into Denmark's landscape of modern-day jazz luminaries.

We'll come back to those projects shortly, but through each of Søndergaard's projects to date, she's brilliantly able to tap into various facets of herself revealing another intricate layer of her musical make-up and inspirations.

Aside from helming two album releases this year, 2025 has proved an exceptional year for Søndergaard who can also boast serving as the proud recipient of the Carl Prize Honorary Award - a distinction that will no doubt make room in the trophy cabinet alongside her previously awarded Aarhus Jazz Talent Prize and Tivoli Jazz Prize.  Definitively recognised as a fundamental voice in contemporary Danish jazz, it's certainly no surprise that the fine folks over at April Records would ultimately have been keen to include Søndergaard as part of their teaming roster.

'Music of Secrets' positions Viktoria Søndergaard front & centre with excellent support from vocalist Elvira Skovsang, pianist Frederik Blæsild Vuust, double-bassist Ida Duelund and drummer Siv Øyunn.  While BARYL presented a notably personality-laden perspective on improvised jazz and 'Call Me a Princess' delivered a haunting yet sublime and boundlessly imaginative take on the fairytale motif, 'Music of Secrets' opts to pull no punches by delivering Søndergaard's most all-encompassing project to date.

Proudly intertwining styles and genres so eloquently across the album's ten tracks, Søndergaard & company dive head-first into the album delivering rousing pieces like 'Mor, Mor', thoughtful and intimate compositions like 'The Human Noise' and the brilliant charisma of 'It's So Nice'.  While the beautifully rich tone of 'Vi legede i marken' serves as a stunning runner-up, the six-minute wonder of 'Le Soleil le Pain et L’Âme' may very well deliver as the album's fantastic centrepiece as it ebbs and flows across a glorious musical narrative.

Viktoria Søndergaard unveils a genuinely triumphant debut - an album of inspired depth and character, 'Music of Secrets' solidifies the vibraphonist as a genuine visionary whose burgeoning story promises many, many more chapters still to come.

'Never Would We' by Bright Dog Red

"Created entirely with human intelligence."

These words accompany the latest release of Bright Dog Red's milestone new full-length 'Never Would We'.  Perhaps delivered with tongue firmly in cheek, with the increasing prominence of over-the-counter AI software that can emulate all aspects of music from lyrics, instrumentation and even vocals within seconds, declaring the distinction may - in time - prove to be a compulsory disclaimer for all new music.

So for fear of living in a future which ultimately diminishes the human component within new music releases, it may be best that we embrace the treasures while we have them at our disposal.  The great Bill Evans once unwittingly prophesised upon the paradoxical nature of jazz in these times rejecting the idea that it was something to be analysed as an intellectual theorem when it could only be described as "feeling".

If Bill Evans' unrivalled insight holds water then jazz should be safe from artificial intervention for some time yet... and when considering the quintessential human element within the genre, one collective who couldn't place it in safer hands would be New York's Bright Dog Red.  

A collective that epitomise the skill of progressive and improvised jazz, theirs is an artform that has been cultivated over the release of ten albums, including eight released through the revered Ropeadope Records.  (A distinction that places them in rare air alongside Christian Scott and Aaron Dolton.)

Bright Dog Red have chartered a scintillating journey since debuting on Ropeadope with 'Means to the Ends' in 2018.  With each release subsequently immersing itself into inspired new narratives and delving ever deeper into more varied musical constructs and soundscapes, Bright Dog Red have continually treated each new project as a clean slate and opted to boldly dive head-first into the unknown.

Headed-up by drummer and founder Joe Pignato, the Bright Dog Red ensemble for 'Never Would We' comprises bassists Tim Lefebvre and Anthony Berman, bassists and guitarists Jerome Harris and Tyreek Jackson, trumpeter Martin Loyato, saxophonist Mike LaBombard, Cody Davies on sounds and electronics with Matt Coonan, Christian Black and Randal Horton tackling the spoken word portions of the album.

Using the concept of 'denial' as the group's starting point, 'Never Would We' presents ten tracks in the typical Bright Dog Red vein of unpredictability when it comes to musical directions that will be adopted throughout the album.  While there are certainly tracks that embrace their trippy and futuristic take on jazz like 'Tumbling Down' and 'And the Herald Blared', there are also some wonderfully understated tracks that serve as a real treat.  The confident swagger of 'Can't Watch' is a delight as is the nine-minute gem 'Long Arc'; the album's title track finds an effortless comfort in this middle ground where noir jazz meets 90s trip-hop - another fantastic track.

'Never Would We' must surely be unveiled by the band with beaming pride - theirs has been a wonderful career that still finds them rising to the challenge of conveying new ideas and concepts with each go-round.  They have treated their music - and their audience - with respect as they have boldly continue to create using jazz's great weapon... feeling!

'Lumen' by Bill Laurance

The wondrous duality of the great Bill Laurance is perhaps best showcased via two projects that are being unveiled within two months of each other: November of this year will boast arguably the most expansive and ambitious project by the Texan fusion heroes Snarky Puppy and their second recording alongside the revered Metropole Orkest for 'Somni'.  'Somni' will serve as the follow-up to the two factions' previous collaboration - the Grammy-winning 'Sylva' in 2015 - and is a performance recorded over three days in Utrecht, The Netherlands, and featuring over seventy musicians (72, I counted!).  

...Conversely, that recording is preceded by Bill Laurance's 'Lumen'....  A project that positions Laurance solo on a piano in a South London church at 3am.

As I say, very little else could help explain the limitless scope that Bill Laurance has managed to afford himself as an artist and collaborator.  It's a point I may have made for previous Bill Laurance releases but each project continually finds the pianist and composer able to recontextualise his music in accordance to the project he's working on... whether that be the explosive jazz-funk fusion of Snarky Puppy, his two-handers with Snarky founder Michael League, his affections for classical compositions alongside The Untold Orchestra or his work alongside the WDR Big Band. 

Each project boasts a fresh-faced, eagle-eyed clean slate that finds the pianist embracing the challenge of a new page within the Bill Laurance tome.  There's an excellent quote on the 'Lumen' Bandcamp page that finds Laurance describing his approach to the project, "it's simplicity that I'm searching for how to say the most with the least".  It's an elegant and intricate assessment and one that must have hit with something of an ethereal resolution while playing deep into the night.  

'Lumen' thrives within the most intimate of confines and is a record that exists as a result of its very specific time and space.  A spiritual jazz record in the purest sense.  Alice Coltrane once surmised: "The music is within your heart, your soul, your spirit, and this is all I did when I sat at piano.  I just go within."  Again, beautiful words that beg the question of whether 'within' serves as a spiritual connection to a higher entity around us or whether it is a spiritual connection to another plane of ourselves.

Bill Laurance sat at a piano in St Faith's Church at 3am and made a connection with... only Bill Laurance knows that, but listeners have the opportunity to now press play and make their own connections with compositions that are brilliantly sublime and introspective and genuinely their own brand of magic.

'Well, Actually...' by O.N.E.

'Well, Actually...' marks the latest release from new April Records signees, O.N.E.  A long-standing collective in their own right, the fresh-faced quartet also boast the distinction of 'Well, Actually...' serving as their third full-length album.

With previous releases 'ONE' (2019) and 'ENTOLOMA' (2022) available through Audio Cave, O.N.E. have presented themselves as strong advocates for innovative and progressive jazz.  Their unique perspectives feature a healthy dose of improvisation as part of their make-up which again finds them perfectly snug amongst the class of their new April recording home.

Always one to feature inspired takes on European - typically Danish - jazz from the big band aesthetic of Fredrik Lundin & Odense Jazz Orchestra, the all-world encompassing sounds of Kalaha, the lush piano trios of Little North and Kosmos Trio or the neo-soul inspired sounds of Tigeroak.  O.N.E.'s inclusion - wholly deserved - continues to add to April's burgeoning lineage of phenomenal music ensembles.

Comprised of pianist Kateryna Ziabliuk, saxophonist Monia Muc, double-bassist Kamila Drabek and drummer Patrycja Wybrańczyk, O.N.E. flourish on the notion of all band members serving on an equal footing.  A concept reflected in their group's name, the Polish quartet create music hoping to extoll the virtues of unity and oneness in what we are all observing as increasingly divisive times.

Although as a quartet, they admirably serve to downplay any distinct prominence between members, it's hard not to harp on about each of the band member's individual accomplishments.  Ziabliuk, Muc, Drabek and Wybrańczyk all boast mind-blowing resumes that showcase their highly-educated and highly decorated backgrounds and incredible achievements in music.  With each having toured extensively across various bands and ensembles, made numerous festival appearances across Europe and beyond, having performed alongside revered names like Greg Osby and Natalia Kordiak, won a clutch of awards and distinctions, there's very little these immeasurably talented artists can't do which makes their ensemble pairing under the "O.N.E." banner all the more enthralling.

And theirs is an album that thrives from the foursome's charismatic and intrepid performances - from the personality-driven '[solo form]' to the playful and aptly-titled 'Sneaking Around' and the glorious frenetic energy of the album's title track, 'Well, Actually...' makes a definitive statement about the boundless imagination on display here.

'Well, Actually...' will serve as a fantastic continuation of O.N.E.'s story for some and a fresh introduction for others.  Their third outing delivers as a fascinating and philosophical protest against division; an album that up-ends ideals of conformity, beginning its counter argument towards preconceived notions with the quiet challenge: "well, actually..."

: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.