:n-the-m:x | April 2026

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 future soul, European jazz, downtempo beats and Zouk house to round out the mix.

Music this month comes courtesy of...

'Through the Changes' by Thee Marloes (Big Crown)

'Lay Me Down' by Phoebe Joans (Futuristica Music)

'With Your Love' by Asta Hiroki featuring Muhsinah (Folded Music)

'In My Soul' by Michele Papadia (A.MA Records)

'Confession' by Judyta Pisarczyk (SJ Records)

'Zagani Lullaby' by Alessia Piermarini

'Plumes of Smoke' by Art Test (Folded Music)

'Fallen' by AxWax & Socool (Bonk Knob Records)

'In Our Dream' [AJ&JG Mix] by Sweet Freeze (Dragon Trax)

'Woy...Jocelyne !' by Rickysoul The C3PO (Oioji Records)

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

'Elektronik Révolisyon EP Vol 2: Acid Zouk' by RICKYSOUL The C3PO/// HOUSE AN NOU

Serving as a wonderful extension of his Oioji Records debut from back in 2024, Rickysoul The C3PO presents the second volume of his (hopefully) ongoing Elektronik Révolisyon series providing a more detailed vision for the planned scope of the project and its own over-arching potential.

With Volume 1 - 'Gwokhouse' - presenting a fascinating depiction of the DJ, producer and bassist's affections for house music intertwined with his affections for Caribbean Gwo Ka percussion, Volume 2 extends the concept to incorporate something of an ode to Zouk music as another facet to the musical lineage of Guadeloupe and Martinique.  

Pioneered as a musical style in the early-1980s, Zouk (and its subsequent offshoot genres including Zouk-love, Zouk hard and Zouk béton) was born of French Antillean dance music styles which were defined by their fast tempo and percussive-driven rhythms.   

With so many Oioji Records releases depicting deeply personal journeys in a bid to explore or establish one's identity through music, Rickysoul excitingly presents a musical collage of colour and notably sound that acknowledges his profound adoration for Martinique's roots and history.  Ingeniously, however, through the DJ's own penchant for house music and nightlife, Rickysoul manages to create projects that carve ahead towards an unbeaten path.  

As founder of the House An Nou sessions and club nights, Rickysoul's explorations have taken many forms over the years but there's something about this new Elektronik Révolisyon series that enables the DJ to vividly paint his own mosaic that draws affectionately from the past and looks boldly towards the future.  

Across the project's five tracks, 'Acid Zouk' offers up a selection of innovative and immersive soundscapes that place listeners firmly on an Oioji Records / House An Nou dance floor.  Through multi-layered compositions, Rickysoul presents a phenomenal ode to Zouk music that beautifully fuses traces of deep and progressive house within its multitude of textures and sounds.

With each track showcasing its own sublime narrative, the gem of the lot may very well be within the EP's closing number 'Woy...Jocelyne !' which demonstrates a warm and intimate aesthetic that is as meditative as it is spirited.

Through 'Acid Zouk', Rickysoul continues to successfully honour in this case the cultural legacy of the French Antilles while continuing to perceive the genre within his own wholly unique electronic framework - a concept quite aptly captured through the project's cover artwork, courtesy of the always brilliant Régine Lanoir.

'Fickle' by Judyta Pisarczyk Quartet

'Fickle' marks the latest release from the Judyta Pisarczyk Quartet who deliver a sensational entry within their ever-expanding catalogue of music.

As implied by the album's title, 'Fickle' was conceived as a project to explore the titular theme amongst varying contexts.  Considering the notion being representative of ever-changing moods and trends within a societal aesthetic to how we, as individuals, have the ability and freedom to change our minds and perspectives on everything from music, to news and even relationships at will.

The idea proves a narrative expertly executed across the album's eight tracks and it is this level of care and consideration that has helped to define Pisarczyk and company across their music releases and performances to date.  

With the Polish Quartet rounded out by pianist Franciszek Raczkowski, double-bassist Alan Wykpisz and drummer Grzegorz Pałka, the foursome can lay claim to having performed on stages and festivals across Europe including Kaunas Jazz (Lithuania), Amersfoort World Jazz Festival (Netherlands), Jazz Time (Estonia), Rigas Ritmi (Latvia) and Sicilia Jazz Festival (Italy).  Considering the Quartet's litany of individual and collective successes, 'Fickle' represents the band in a notably eminent stage of their career as they seemingly appear to garner continued accolades and achievements as the years pass.

For Pisarczyk as the band's figurehead, hers is an impassioned take on the music she creates and performs that stems back some years now.  A strong selection of fantastic performance-based videos are available to watch on YouTube that feature her immeasurable talents alongside her Quartet but also with bassist Mateusz Szewczyk for an excellent duo performance of 'Tricotism', a riveting rendition of Michael Brecker's solo in 'Some Skunk Funk' or even the recording of Pisarczyk tackling Anthony Hamilton's seminal 'Charlene' track recorded over ten years ago proves a real treat.

Boasting an enchanting stage presence, Judyta Pisarczyk's effortless live performances hit just as impeccably as her studio prowess.  And having further chalked up performances with Sylwester Ostrowski, Tomasz Białowolski and Damian Kostka, Pisarczyk understandably remains an in-demand collaborator amidst Poland's thriving jazz landscape.

'Fickle' represents a stunning testament of Pisarczyk and her Quartet's unwavering talents.  An album elegantly composed and exquisitely performed, the ensemble's affections for traditional jazz sensibilities are fully on display and captured wonderfully on tracks throughout the album. 

In a manner of embracing the notion of change alluded to within the album's title, 'Fickle' proves a compelling artistic statement for the Judyta Pisarczyk Quartet and a project that will no doubt continue to see their brand ascend to even greater heights.

'Viewpoint' by People In Orbit

Making their debut on April Records is the Swedish quintet People In Orbit who unveil their second full-length release with 'Viewpoint'.

Creating a fascinating starting point for not just a new musical offering but also for discussions about how we live our lives in relation to the people, societies and cultures around us - 'Viewpoint' examines how our varying perspectives can either unite us as a global society or ultimately divide us irreparably.

Without intending to veer too far away from the discussion of music, the nature of People In Orbit's latest project calls to mind the parable about the group of blind men who touch an elephant for the first time: one feels the trunk and thinks it's a snake, another the leg and thinks it's a tree, another the ear and thinks it's a fan... Each man is convinced that despite each having a limited perspective on the animal that they understand the whole truth as a result.

Further to the album's theme, while each person is partially correct in their initial assessment, the notion of conflict arises when each of them insist they are completely right which is where the theme of connection versus division becomes part of the bigger narrative.

Thank you for indulging the slight detour but good art inspires thought and conversation which 'Viewpoint' inspired in abundance.  Division, unfortunately, has long been a part of our society with the last few years in particular presenting us all with an inconceivable amount of challenges that have sought to divide us politically, racially and environmentally.  People In Orbit astutely tackle the ideals head-on and deliver a compelling project as a result.

Comprised of trumpeter Adam Sass, saxophonist Edvin Ekman, pianist Niklas Bergström, double-bassist Edvin Elmersson and drummer Frank William Reis, 'Viewpoint' continues the quintet's dynamic approach to contemporary jazz that draws inspiration from a fusion of styles and a lively prog-rock aesthetic.  While an album that teams with energy - best exemplified through 'Cycle 1 - Bombastic And Majestic Introduction' and 'Cycle 2 - The Clueless Marchers' - the ensemble are still wildly adept at showcasing tremendous sensitivity in their performance and composition delivering scintillatingly sweet contributions that are just as compulsory to the album's make-up.

People In Orbit seem to relish concepts revolving around varying perspectives when it comes to their music.  Their debut release, 'Close/Away' (Prophone Records, 2023) seemed to thrive on the dichotomy of togetherness and separation, intimacy and independence.  And while it could be argued that these can be considered opposing perspectives, 'Viewpoint' now shines a different perspective on its predecessor opening up the idea that different perspectives don't need to be conflicting, or even considered opposites.

People In Orbit have released a genuinely fantastic effort and one that inspired through its fascinating concept and through its fantastic performances and composition.

'The Space In Between' by Hannah Featherstone

Beginning this article by heaping praise onto the Most Least label seems like a fairly apt place to start.  As a sub-label of Asta Hiroki's more down-tempo, electronic creative hub of Folded Music, Most Least opens the doors to projects that embrace more varied and dynamic possibilities for contemporary jazz.  Through projects by Space Travelers Union, Daltonists, Biomania and most recently the Thierry LeMaitre Quartet, Most Least are presenting sublime and progressive takes on the genre with albums that embrace a range of additional influences from lo-fi, beats driven production to electronic influences or classical aesthetics.

The release of Hannah Featherstone's 'The Space In Between' marks not only her debut with Most Least but a compelling new sound for the label that adds infinite value to their already bold and ambitious catalogue.

For a project that started life through a left-of-centre pop sensibility, Featherstone has moulded her craft over the years and, with her current release, is able to showcase an incredible range of inspirations that find her drawing from the wells of contemporary jazz, her training in classical piano and all tinged with sublime electronica.  

In fact, Hannah's YouTube channel offers some fascinating insight into her evolution as an artist through a selection of live performances and studio sessions - the vibrant and lively band performance of 'Down on My Knees' from 2018's 'Word Bound' showcases another string in Featherstone's bow while her affectionately raw cover of Bob Dylan's 'Knocking on Heaven's Door' proves as much a delight through its charmingly filmed rendition.

With an excellent selection of videos that showcase Featherstone's proficiency as a live performer, anyone can quite quickly deduce that this is an artist with the ability to steer her music in really any way she deems fit.  And that proficiency as a live performer is further matched through her proficiency as a producer and composer...

In the case of 'The Space In Between', we find Hannah tackling all of the project's creative aspects from the album's warm and intricate productions that provide the canvas for the thoughtful and astute song-writing that accompanies them.  

'The Space In Between' is an album that lives and breathes from the intimacy it generates.  An experience best absorbed through a pair of good quality headphones allowing every piano note to affectionately resonate as strongly as Featherstone's sweet, whispery vocal.  Hers is a phenomenal ability to beautifully fuse these aspects together making the project quite possibly her masterpiece.

'The Chaining Loops' by Olivier Le Goas

'The Chaining Loops' marks the latest release from French drummer Olivier Le Goas who - with his Ensemble Pulse in tow - delivers an incredibly bold set brimming with imagination and ambition.

As a notably prolific musician, Le Goas is no stranger to releasing new music and helming a variety of projects and groups including Trilog, Reciprocity and of course Ensemble Pulse.  Always confidently balancing his affection for a New York aesthetic alongside his European sensibilities, Le Goas' projects have seen him performing and recording with esteemed international names including Ralph Alessi, Nir Felder, Avishai Cohen and Larry Grenadier.

'The Chaining Loops' finds Le Goas in a suitably analytical state of mind as the project finds the drummer exploring, as he puts it, the notion of "rhythmic patterns, shifting meters and long melodic lines".  With the help of the septet that is Ensemble Pulse, the album's five tracks find the collective exploring these very contexts and themes through compositions that not only embrace the drummer's penchant for expansive ensembles but also afford its players the courtesy of acknowledging them as revered solo musicians in their own right.

With that in mind, the album boasts some sensational performances from long-standing friends and collaborators including Frédéric Borey (saxophone), Médéric Collignon (cornet), Gueorgui Kornazov (trombone), Michael Felberbaum (guitar), David Patrois (vibraphone) and Yoni Zelnik (double bass).

Steeped in ambition and a far-ranging scope, 'The Chaining Loops' finds its performers soaring over captivating and sweeping musical soundscapes that weave engaging narratives.  Each of the album's tracks revels in its ability to engage its listeners in raucous celebration or introspective meditation as it delves within its own incredibly vast musical palette.

Delivering an album that is painstakingly intricate in its composition but vibrant and free-flowing at the same time must be no small achievement but Olivier Le Goas wears the unique ability to do so with pride.

'Brudna - Bielizna' by Kosmonauci

'Brudna - Bielizna' marks the latest release from Polish quartet Kosmonauci whose hi-octane and multi-faceted depiction of contemporary jazz continues to breed fascinating results.

With the band's debut ('Sorry, nie tu LP') having been released in 2024, the Kosmonauts have wasted little time in getting back to the drawing board to concoct ideas for the imaginative experiments that would comprise album #2.

'Sorry, nie tu LP' quite quickly established Kosmonauci as a band that thrives upon the vast amount of influences that comprise each of their musical make-up as individual musicians and as a tightly-knit unit as a whole.  With their music teaming with influences from jazz, hip-hop, improvisation and London's eclectic club culture driven sound, Kosmonauci have become incredibly adept at creating compositions that ingeniously infuse these elements together in a masterful presentation.

Latest album 'Brudna - Bielizna' encapsulates the band's approach perfectly, perhaps best via the combination of the unbridled explosiveness of 'SIEKA' that is immediately followed by the measured and tactfully paced 'Tabaluga'.  Although these are two tracks that represent opposite ends of the scale very well, listeners learn quite quickly that Kosmonauci have a vast spectrum of music and sounds in which to dig deep within.

Comprised of saxophonist Miłosz Pieczonka, bassist Bartłomiej Lucjan, vibraphonist Tymon Kosma and Jan Pieniążek on drums, the quartet's union dates as far back at primary school with the joys of music discovery being something that the four friends would excitingly undergo together.  

With the album's title 'Brudna - Bielizna' translating to 'dirty underwear', theirs is not just a closeness that is demonstrative through the personality they are able to convey through their music but also through the shared trust that each of their bold decisions will be understood and interpreted in kind.

And these are in fact "bold decisions".  Musically, it's almost otherwordly how the album's ten tracks can present vast, cosmic-like soundscapes that afford the band to take their music in a litany of different directions: the sublime intricacies of 'Och! Proste : Trudne' makes for an early standout while the off-kilter patterns of 'Ostatni 2.0' reinvent everything that came before it.

'Brudna - Bielizna' proves an album that is an imaginative, playful yet brilliantly adept in its proficiency.  A total joy!

'Road to Mandalay' by Angels of Libra

Rudyard Kipling's 'Mandalay' from 1890 has long served as a poem about the longing for something of the unattainable.  Imbued with the desire to escape western civilization, a young soldier pines for a life in the east and for a Burmese girl that has since captured his heart.  Through the lens of a contemporary lifestyle that is constructed around a 9-5, mortgage and a pension plan, the desire for escape is perhaps something that many of us can relate to.  And it's very much an ideal that forms the basis of Angel of Libra's latest release, 'Road to Mandalay'.

Serving as the German collective's fifth album, Angels of Libra have cultivated a strong reputation amongst contemporary soul music fans who gravitate to their affections for 60s soul and dusty analogue recording techniques.

With their debut release dating back to their first full-length and self-titled album with Nathan Johnston in 2022, the Angel of Libra's horn-heavy, northern soul aesthetic would generate a further four albums in a remarkable four year timeframe.

It's something of a voracious work ethic that has seen the ensemble continually embrace new ideas and new collaborations - while singer-songwriter Johnston has proved to be a staple for the band moving forward, including his appearance on ten of the tracks from 'Road to Mandalay', Angels of Libra have enthusiastically clocked up collaborations with vocalists Maiiah, Jean Cortis, Gosia Jasinska and rapper Joél David. 

'Road to Mandalay' marks a sensational addition within the Angels of Libra catalogue and features an incredibly expansive version of the ensemble.  With production from Libra guitarist Dennis Rux, original band members including bassist David Nesselhauf, pianist Chris Haertel, drummer Lucas Kochbeck and horn players Kimo Eiserbeck and Hans-Christian Stephan are all prominently featured throughout the album as is the esteemed  Björn Wagner who takes time off from The Mighty Mocambos and Bacao Rhythm & Steel Band to lend guitar for several of the album's tracks.  With Johnston helming lead vocals for many of the album's tracks, another frequent Libra collaborator in Sarife Afonso appears as she tackles lead for two of the album's numbers including the anthemic single 'Baby When You Hold Me'.

The addition of the string section provides a compelling layer of elegance to many of the album's tracks providing an exquisite orchestral dimension to songs like the album's title track, 'Time Stands Still' and the album's closing number 'This Boy'.  Penned by the Lennon & McCartney dream team, the doo-wop-modelled gem makes for an inspired choice of cover and one tackled with complete mastery.

Presenting a fantastic record that demonstrates the band's affections for soul music's golden age, 'Road to Mandalay' have created an exercise in escapism that feels deeply nostalgic and distinctly present at the same time.  But like many great adventure stories, sometimes a person can realise that the treasure they sought was with them all along.

'Less is More' by Thierry Lemaitre Quartet

 

"My music is the spiritual expression of what I am - my faith, my knowledge, my being... When you begin to see the possibilities of music, you desire to do something really good for people... I want to speak to their souls."

There's a vast amount of inspired John Coltrane quotes available ["You can play a shoestring if you're sincere" is another wonderful one!] but our opening example are words that have resonated for a particularly long time and that seem notably apt when regarding the latest release from the Thierry Lemaitre Quartet.  

Finding its home through the delectable hub of contemporary jazz offerings that is Most Least Records, the latest project from French saxophonist Lemaitre proves a sublime inclusion for the label's catalogue.  Already boasting an extensive catalogue of music collaborations which include Jalapeno Records' Ephemerals, Jimi Needles and Marvellous, Lemaitre's first foray with Most Least came through his fantastic Biomania project in 2025.  An excellent and diverse project that wore its wide-ranging influences on its sleeve - their album 'System D' masterfully featured mini-homages to the likes of Jay Dee all the way through to Thundercat making for a compelling listen.

Lemaitre's latest project - while retaining the well of influences that made 'System D' such a gem - looks to regard their overall aesthetic through a decidedly more traditional perspective.  Through elegant compositions and an earnest approach to their music, Lemaitre and company present a fairly sensational record that speaks to the works and intentions of jazz's architects as well as contemporary luminaries.  The album's 'Less is More' title even speaks to the artists' intention to convey more through minimal means - no guests or overly polished post-production techniques are called upon, opting for one-take recordings that accentuate the quartet's chemistry and commitment to a more raw and sincere product.

With Lemaitre tackling duties on saxophone, the quartet is rounded out by Gregor Forbes on keyboards, bassist Diego Alejandro and Heinrich Eiszmann on drums - a brilliantly compiled collection of artists that have found a genuinely winning formula as an in-sync unit.  A small selection of videos housed on Lemaitre's YouTube channel offer some riveting insight into the four musicians and their work together through studio sessions and a performance recorded at Leipzig's Hitness Club.

'Less is More' presents nine compositions that give credence to the album's title.  An album that finds its strength in its nuanced subtleties and an album that ultimately - as Coltrane once envisioned for his own music - speaks to their souls.

New SINGLES Round-UP ::: April 2026

'Liftoff' by Standing Circle

La Sape Records introduces an exciting new name amidst their hallowed walls with the latest single from Larry Crestani's Standing Circle, 'Liftoff'.  With their debut single having been released in 2024 via the excellent 'Big Swell', Crestani's efforts with his dynamic take on spiritual jazz have genuinely found the perfect home in La Sape as his brilliance now sits amidst the company of contemporary Australian luminaries including GODTET, David Versace and Horatio Luna.  With the full-length due out later in 2026, guitarist, band leader and composer Crestani has already set the bar incredibly high with the phenomenal nine-minute opus that has been bestowed upon listeners in the form of 'Liftoff'.  Known for showcasing a revolving line-up of Melbourne-based musicians, Standing Circle represents a fascinating embodiment of La Sape ideals that continue to nurture the notion of unrestricted and unhindered perspectives when it comes to making music.  A mind-blowingly incredible introduction to the La Sape faithful that is sure to see Standing Circle deliver one of the highlights of the year.

'Turandot' by Marco Benevento featuring Marianne Mirage

With a long-standing affiliation as a collaborator with Leon Michels and Big Crown Records, pianist and producer Marco Benevento marks his official induction into the label's threshold with the fantastic new singles, 'Frizzante' and 'Turandot'.  Boasting an incredible career that has seen the New York-based Benevento helm releases that date back to 2002, his distinctive psychedelic and cinematic soul soundscapes have become something of a trademark for his music to date.  'Between The Needles & Nightfall', released back in 2010, captured his musical perspectives perfectly and the trademark dusty analog aesthetic has carried through to his debut with Big Crown.  Even as a collaborator, Benevento has leant his talents to some incredible names having notched up session work with Lady Wray, El Michels Affair, Amy Helm and Kali Uchis.  While 'Frizzante' offers up an excellent slice of infectious and vibrant Benevento composition, the undeniable charm, sweet soul and superb production that is 'Turandot' was the definitive winner for us.  Featuring an exquisite vocal from Italian singer Marianne Mirage, 'Turandot' proves as perfect as any song could hope to be.

'There She Goes' / 'All Night' by Lehto

Bathurst has long served as a phenomenal musical playground for the label's architect, David Hanke.  Under the litany of his guises which range from the jazz-meets-broken-beat aesthetic of Renegades of Jazz to the neo-classical sounds of The Motion Orchestra all the way to his downtempo, electronic-styled compositions through Keno, Hanke inspiringly affords himself the luxury of exercising every musical muscle he can access.  This year seems to find Hanke presenting new ideas for himself through the introduction of two new series: Soul and Jazz Sessions.  Eagerly disclosing through his Bandcamp page that no AI was used in the creation of either track (it's looking like that may need to be a prerequisite now!), Hanke re-engages with his affections for sampling to create two fantastic tunes as part of the 'Lehto' moniker.  The horn-assisted 'All Night' (Soul Session #1) and the swagger-fuelled 'There She Goes' (Jazz Session #1) mark for two fantastic introductions to hopefully two thriving new avenues for Hanke's musical prowess.

'Zmiana klimatu / Schimbarea climatului' by Błoto + Ion D & Plevna

Known for drawing upon a diverse range of influences for their music - which to date has revolved around everything from 90s golden era hip-hop to the fuzzy mass on food that is mycelium - the Polish quartet Błoto have consistently managed to find the nuance in the unexpected.  By providing dynamic musical interpretations of subjects, Błoto's charismatic and unhindered takes on contemporary jazz sees the Polish quartet continue to grow from strength to strength, as well to deliver projects that find them reconstructing the essence of what makes jazz, jazz.  Following a series of recording sessions in Romania, Błoto were proud to induct Future Nuggets representatives into the fold, namely Ion D and Plevna.  Proudly showcasing their own perspectives on electronic fusion, the now-expanded ensemble delivered a fantastic two-track release born of their improvisational tendencies of making music together.  As diverse as Błoto music releases have now become known to be, the recordings with Ion D and Plevna may have taken the quartet further away from the tether of jazz than they have ever been before.  Infectious and highly imaginative.

'Tonight' by Namas

'Tonight' marks the new album release from French jazz trio Namas whose sophomore album release finds its home on Dooinit Music.

Spearheaded by names including J-Zen, Nicky Lars, Blake and Quiet Dawn, the French independent label has waved the flag for predominately music of hip-hop origin.  While also embodying those principle Dooinit ideals, Namas is also able to present a completely new dimension for the label's releases to date.

Having initially introduced themselves via the 2022 debut 'Tapestry', Namas' affections for complex soundscapes with more than a small dash of acknowledgement for Jay Dee's pioneering productions were very much laid bare across the project's eight tracks.

Although 'Tapestry' was an undeniably brilliant release, 'Tonight' seems to plunge the music even further into more intricate compositions allowing for an ever so slight electronic aesthetic to form part of the album's narrative.

Comprised of pianist Gaël Bourgeault, Léo Debroise on upright bass and Victor Dubois on drums, 'Tonight' features eight wonderful tracks that find the trio exploring the concept of "post jazz" while openly declaring the fascinating concoction of hip-hop production, London's all-encompassing electronica-tinged scene and urban art as the project's chief influences.

It does raise interesting discussion points regarding whether we are in fact living in an era of highly evolved jazz whereby bands and artists like Namas, Chiminyo, Richard Spaven and Natural Lateral are genuinely even making jazz at this point or whether this influx of influences is seeing the dawning on a new musical genre born of the aforementioned influences and styles.

Whether it's a question that will ultimately need to be answered or whether it's one that is wholly irrelevant, it could still be argued that each answer places these eclectic perspectives on either side of the same coin.  While neo-soul ushered in a new era of soul music for the hip-hop generation, perhaps artists like Namas are exemplary of the impact hip-hop and club culture has had on jazz music for this century.

It's a riveting discussion and one that translates beautifully throughout 'Tonight' with the core of the album revolving around the trio's instrumental pieces that weave their own compelling narratives across inspired perspectives and imaginative performances.  Neo-soul vocalist Keysuna - who can boast a fantastic project with 'BOUNDS' from 2025 - delivers a scene-stealing turn soaring on the single release 'Don't Rush'.

Whether Namas make music that is progressive jazz, post jazz or something entirely different makes no difference in the end - theirs is a distinctive style that finds a way to joyously flourish within the ambiguity of it all.