:n-the-m:x | May 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 40-minute excursion from acoustic soul to dusty funk and sublime electronica to round out the mix.

Music this month comes courtesy of...

'Animal' by ISQ

'Say Yes' by Deaddream featuring Honeyy Luvv

'Truth About Love' by Sofia Rubina (LRK Records)

'Silent Stream' by Neil Jones & Nick Corbin (Big AC Records)

'Dream' by Lisathe (La Sape)

'Shivers' by Kerbside Collection (Legere Recordings)

'Problem An Nou' by As Valet featuring Sonny Troupe & Rodolphe Lauretta (Oioji Records)

'Highlife' [Goss One & Cali Remix] by Alpacas Collective

'When Things Were Good' by Asta Hiroki (Folded Music)

'Old Times, Same Places' by The Soul Sound Collective

: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.

'Action Reaction' by Horatio Luna

'Action Reaction' marks the latest full-length release from Melbourne's Horatio Luna whose musical adventures continue to unfold courtesy of the incredible La Sape Records.

Always touting an enticing vision for his music - Henry "Horatio Luna" Hicks thrives within the playground he generates through his music for varying genres and styles to come together and work within the same space.  An advocate for nu-jazz and house music, much of Luna's aesthetic is as much devoted to club culture as it is to the iconic jazz works of the genre's forefathers.  With Luna in the director's chair, the visionary musician has become adept at creating and nurturing inspired sonic soundscapes that effortlessly straddle each musical realm.

And for Horatio Luna, it is effortless.

Dating back to his debut full-length, 'Yes Doctor' in 2020, the bassist and producer laid the early foundation for these said explorations and whether it was through his solo releases, the litany of standalone singles, remixes or "out-takes", nothing about how Luna presents his music appears like it's trying to achieve an ambitious or even unattainable sound.  In fact, Luna's music, amongst its many facets and ambitions, is consistently presented as natural an extension of his self as an artist can strive to achieve.  

With his indelible imprint present across a vast array of projects and artists, Luna skilfully finds ways to cater to his own dynamic musical palette: from the trippy funk fusion of The Psychedelic Freaks, the hip-hop sensibilities of his work with KJDBRD or, even more notably, his efforts as a founding member of the Melbourne ensemble 30/70 Collective - a supergroup further comprised of Allysha Joy and Finn Rees amongst others that finds its sweet spot within a lush nu-jazz meets neo-soul framework.

'Action Reaction' offers up a nineteen-track opus that picks up where 'Yes Doctor' left off.  Dancefloor-friendly spaced-out synths and thumping bass neatly interwoven around a series of in-studio exchanges and voicemail recordings offer up an ingeniously realised project.  Regarding the expansive catalogue of Horatio Luna projects, particularly evident via his Bandcamp page, 'Action Reaction' ultimately brings the visionary artist another step closer towards realising his own sonic pursuits.

In his own words, much of Luna's music to date has served as explorations into dualities within music; almost like opposing forces that are ultimately forced to find a harmony and cohesion together.  Taking this concept to his current release, the ideals behind 'Action Reaction' could similarly be broken down to explain the notion that Luna's music isn't about combining seemingly disparate elements of music - like house and jazz, composition and improvisation, control and freedom - but creating landscapes where the styles are granted space to create an exchange between each other: each style inspiring, recontextualising and reacting to the other.

'Apeiron' by Jacopo Ferrazza and Sebastian Marino

Serving as the duo's debut full-length project together, Jacopo Ferrazza and Sebastian Marino unveil their collaborative effort in 'Apeiron', released through Teal Dreamers Factory. 

'Apeiron' delivers as a fascinating change of pace for Italian bassist, composer and band-leader Ferrazza - with his past two full-length albums released through his quintet project, Ferrazza has relished the expansive and highly imaginative element of storytelling that has become intertwined into his music.  While 'Fantàsia' (2022) depicted a sequence of nine separate dream-like experiences revolving around themes of life, death, love and time, 'Prometheus' (2025) sought inspiration from the Greek mythological Titan of the same name who was heralded for stealing fire from the Gods and bestowing it unto man.

Expansive concept albums like 'Fantàsia' and 'Prometheus' have become something of a signature for Ferrazza and whilst joyous experiences to consume as listeners, a mild reinvention - as in the case of 'Apeiron' - proves as fascinating a creative endeavour as its predecessors.

And joining Ferrazza for this bold two-hander is pianist and musician, Sebastian Marino.  Himself a noted artist within Italy's contemporary jazz landscape, Marino continues to be defined by his versatility.  An artist equally adept at everything from jazz to Latin music stylings and pop sensibilities, whether Marino's efforts be steered towards his many collaborations, his own projects and standalone singles or his musical work in television, the pianist has featured heavily across a multitude of projects making the union with Ferrazza in this context a real standout.

With Ferrazza tackling the double bass, synths and electronics and Marino credited for piano, Hammond and Mellotron, 'Apeiron' represents a significantly bold undertaking for each artist as they create a project that redefines listeners' expectations of their musical efforts to date.

Across the album's twenty-one tracks, 'Apeiron' finds the duo embracing live electronics as a significant part of the project's make-up and subsequently finding joy in the abstract.  Having found inspiration once again from the Greek word that translates to "unlimited" or "boundless", 'Apeiron' wholly embraces the term as an ideology for each of the album's compositions and in turn unpredictability of the album's over-arching direction.  

Album opener 'Close Your Eyes' serves as a great example of a track that initially presents itself through a deliberate and measured pace before transforming to a high-energy and frenetic piece.  It sets the tone perfectly for the tracks that follow as 'Apeiron' strives to disrupt any sense of comfort for the listener - that moment where you think you know a track is going in one direction, Ferrazza & Marino revel in changing course almost immediately.

'Apeiron' thrives on tension and spontaneity and ultimately displays the same levels of curiosity and imagination that has defined both Jacopo Ferrazza and Sebastian Marino's work to date.

'To Some Place New' by Milena Granci

Serving as the debut release from pianist Milena Granci, the intrinsically alluring album title calls to mind a variety of self-contained themes that point to everything from emotional change to music exploration.

Arriving somewhere new has long been something of a raison d'être for Granci - the French-Italian artist, now based in London, has consistently navigated a course for herself that finds her embracing the unknown; a notion eloquently captured through the album's accompanying artwork.

Having studied Jazz Piano at Rome's Saint Louis College of Music before becoming a graduate of the esteemed Guildhall School of Music & Drama, Granci has long worn her inspirations of her sleeve - from her affections for varying musical styles including jazz, folk and classical, Granci also openly touts of her adoration for the music of composer Maria Schneider and pianist John Taylor.

Since moving to London in 2020, Granci has continued to nurture her desire for performance and collaboration and it's a testament to her abilities that her time in Rome saw her perform around the city, including at Casa del Jazz, but then go on to ingratiate herself to all new collaborators and audiences overseas.  While there is outstanding work as a member of the Bea Asurmendi Quintet, Granci can also lay claim to serving as a member of the celebrated London Vocal Project, who recently achieved success alongside Dave Holland and Norma Winstone as they offered profound interpretations of Kenny Wheeler's final compositions for 'Vital Spark' (Edition Records).

A delightful series of recorded duets adorn Granci's Instagram page - which position her in exclusive recordings with Eliana Veinberga amongst others - and are demonstrative of the passion she gleams from being able to create and perform alongside like-minded artists.  And while already able to boast an incredible array of ensembles and collectives as a part of her resume, Granci's assembled cast list for 'To Some Place New' finds the pianist and composer helming an inspired six-piece collective that includes vocalist Aitzi Cofre Real, saxophonist Harry Toulson, drummer Ollie Peszynski, bassist Ali Watson and James Pettinger on accordion.  

The album's eight tracks present some sensational pieces from the rousing 'Different Road' to the spirited 'A Journey Home' and the nostalgia-riddled 'Lament'.  Poignantly, there's more than just a hint of the Hero's Journey as part of the project's over-arching narrative: taking those courageous first steps towards a new adventure, battling the ensuing adversity and then either arriving at some place new or returning home as someone new.

Through a willingness to embrace uncertainty and transformation, Milena Granci is indicative of what it is to display courage in her music.  As part of the project's efforts to transport itself and its listeners to some place new by the album's conclusion, we are afforded the opportunity to do so through an artist that honours reflection as much as the notion of persevering onwards.  But where we end up is far from the end of the story, this album will serve as one of countless projects where Granci continually affords us the opportunity for one more adventure.

'Vol. 01 & 02' by Distant Birds

Performing under the collective guise of Distant Birds, Chris Abrahams and Dave Symes come together for a gloriously ambitious project that revels within the notion of improvisation, collaboration and an unhindered perspective of multi-faceted jazz (and beyond).

Comprising of four suites - averaging at approximately fifteen minutes each - 'Vol. 01 & 02' finds its architects recontextualising their own musical make-up with the intention of presenting an album that roots itself within a free-flowing contemporary jazz aesthetic, subsequently embracing soul and dub stylings as part of its presentation.  

Music that embraces ambition and out-of-the-box thinking is surely nothing new for Abrahams and Symes.  As a founding member of the experimental jazz trio The Necks, Abrahams has consistently sought out the unbeaten path in a bid to express his idealistic musical vision.  Having notched up a career spanning five decades, the New Zealand-born, Australian-based pianist can further boast collaborations alongside Melanie Oxley, the Triffids, Skunkhour, Midnight Oil and Wendy Matthews amongst countless others.  

For bassist Symes, much of the music he has become synonymous with over the years has been rooted within the success and achievements of indie band Boy & Bear.  Having now accumulated six albums to their name, Symes still finds time to serve as a noted collaborator in his own right chalking up work with Kate Leahy, Jade MacRae, Marcia Hines and Sarah Blasko.

Despite the litany of projects both Symes and Abrahams have been affiliated with over the years, Distant Birds seems to demonstrate an incredible meeting-of-the-minds for the duo with each using the project to wholly embrace new ideas and concepts explored in ways each may never have fully been able to in the past.  And affording Symes and Abrahams this far-reaching and boundless musical playground in which to plunder, explore and celebrate are those fine folks over at Earshift Music.  With Earshift having a fairly sensational run of new music within the last twelve months - including projects by Jeremy Rose, I Hole the Lion's Paw and The Vampires - 'Vol. 01 & 02' rank inconceivably high for the label's output this year continuing to position them as leaders for progressive and contemporary jazz.

With 'Vol. 01' comprised of 'Drill' and 'Sea Grass' while 'Vol. 02' presents 'Spirit Level' and 'Driver', the Distant Birds ensemble is further made up of drummer Evan Manell, trumpeter Ellen Kirkwood and saxophonist Matt Ottignon.  

Four tracks totalling a whopping sixty-seven minutes is understandably an intimidating premise for jazz fans that can be put off by excessively long, spiritually-infused compositions but each of the album's four compositions just ooze all the charm and personality needed to execute a project of such incredible scope.  Seamlessly flitting between genres and styles, 'Drill', 'Sea Grass', 'Spirit Level' and 'Driver' effortlessly touch on styles from afrobeat to dub to spiritual jazz tendencies that find its players openly falling into the concept of unhindered creation and innovation.

Ingeniously earnest but never indulgent, in lesser hands 'Vol. 01 & 02' could have become a project that disappeared under the weight of its own ambitious.  Thankfully though, the Distant Birds project is one that ultimately succeeds in the light of its human connection, artist interplay and sublime textures.

For the Love of Muse Records

A Muse Records Takeover — in collaboration with the For the Love of Muse Records Facebook group.

For any avid vinyl buyer of 70s modern jazz and fusion, Muse Records will be a familiar sight — that turquoise blue label with the curious harp and two-headed-bird logo marking out an oft-overlooked and slightly marginalised corner of the era's catalogue. Five years ago, the For the Love of Muse Records Facebook group was started to bring together like-minded listeners to share their thoughts and tastes about the label. It's been a pleasure to see the renewed attention Muse has received in that time — from US reissue label Craft Recordings and more recently from Time Traveler Recordings led by music impresario Zev Feldman.

This mix takes you on a journey through the label: from the laidback cool funkiness of Eddie Daniels opening proceedings, through the driving organ-and-sax combo of Willis Jackson, the serenity of Eric Kloss, and the third-stream greatness of Barry Altschul. The law states you can't have a Muse Records mix without a little Mark Murphy — he featured so heavily on the label — so there are two delicious slices of the man here. We’ve also pulled a couple of tracks from the excellent recent Time Traveler reissues: Kenny Barron's Sunset and the title cut from Buster Williams' Pinnacle.

The tracklist in full reads:

Eddie Daniels - Brief Encounter

Carlos Garnett - Black Love

Kenny Barron - Sunset

Hermeto Pascoal - Coalhada

Pat Martino - Along Came Betty

Walter Bishop, Jr. - Valley Land feat. Carmen Lundy

Mark Murphy - Sly

Dom Um Romao - Angels

Willis Jackson - The Goose Is Loose

Eric Kloss - Licea

Buster Williams - Pinnacle

Joe Chambers - Catta

Mark Murphy - Canteloupe Island

Bruce Forman - A Simple Waltz

Wallace Roney - Topaz

Barry Altschul - You Can't Name Your Own Tune

Sonny Phillips - Salaam 7

Buck Hill - Bossa for Sax

Ricky Ford - Take The Coltrane

Eric Kloss - Descent

Richard Davis - Forest Flower

The mix was compiled with huge thanks to Steve Williams of UK Vibe online magazine, who presents it on Blue-in-Green:RADIO in collaboration with the For the Love of Muse Records Facebook group. If you'd like to keep digging for Muse goodies and share them with fellow enthusiasts, you can find them on Facebook.

New Music Round-UP ::: May 2026

'From 'Burgh to the World' by Edy Forey

The imaginative neo-soul-meets-jazz pairing of singer-songwriter Edy Szewy alongside pianist Guilhem Forey make a delightful return under their guise of Edy Forey.  With two years now having passed since their debut full-length 'Culture Today' boasted their formal introduction to audiences, the Edinburgh-based duo return with a scintillating summer-enriched single that sounds like the lovechild of an imagined - and definitively joyous - 1990s Roy Ayers and Erykah Badu collaboration.  While 'Culture Today' showcased some phenomenal tracks that painted Edy Forey as an immensely talented and self-assured combination, 'From 'Burgh to the World' finds Szewy and Forey completely recontextualising their sound and delivering one of their most inspired tracks as a result.  As a group wholly committed to forging their own path, Edy Forey have clearly maintained their resolve and steadfast devotion towards their music in this regard which will find us continually eager to embrace more releases as they become available.  In the meantime, 'From 'Burgh to the World' will undoubtedly remain one of the year's strongest releases and a compulsory purchase.

'Highlife' by Alpacas Collective

With nearly three years having passed since the band's last full-length release, the Belgian musical ensemble Alpacas Collective lead the charge for a triumphant return to form.  Through previous albums, 'Seven Wisdoms of Plutonia' and 'Big Words', listeners have found themselves treated to inspired and broad sonic soundscapes that draw from a variety of cultures and eras including 60s and 70s Ethiopian styles and compositions, afrobeat and US style funk.  While 'Seven Wisdoms' positioned the band amidst the fictional settings of a 'Journey to the Centre of the Earth'-styled novel, 'Big Words' moved the narrative onto the more stark and abrasive contexts of a politically corrupt and morally bankrupt socio-political environment.  Latest single 'Highlife' however offers a significantly more affectionate and dancefloor-friendly aesthetic with Joël Diarra appearing on balafon for the infectious groove-fiddled original while Goss One & Cali are enlisted for the more breaks and hip-hop inspired remix.  Two outstanding numbers marking another assured return to form for the Alpacas Collective.

'Dust' by The Night Service Commute

The incredible and dynamic musical perspectives of Tommy "The Night Service Commute" Willetts have manifested themselves once again into a new single release which continues to revel within his lush jazz-meets-hip-hop soundscapes.  While recent single releases - including his 'Certain Sevens' double-header in 'Downfall' and 'Halfspeed' - have leant further into more haunting and even trippier productions, 'Dust' sees Willetts return to the style of his beloved 'In Transit' full-length which served as a flawless introduction of his indelible talents.  The moody night-time soliloquy effortlessly straddled the space in between hip-hop and jazz in much the same way that 'Dust' does now.  Released through Village Live - home to projects by KungFoolish, Ishfaq, Move 78 and Fthmlss - Willetts proves near unmatchable when donning his Night Service Commute cowl so new music is always an absolute treat!

'Sax Trax' by CommsBreakdown & Socool

Swiftly following up on their 'My Brain Feels So Good' collaboration from just a few months ago, Emily "Socool" Sobool once again connects with Steve "CommsBreakdown" Ash to merge their respective tendencies for Socool's more sublime, downtempo productions alongside the drum & bass aesthetic more commonly associated with CommsBreakdown releases.  While their previous single release stemmed from conversations about the use of guitars within electronic music - subsequently resulting in each artist reinterpreting a guitar riff recorded by Ash for two varying mixes, 'Sax Trax' finds itself a project that has found life from a similar starting point.  This time, however, the challenge finds the two substituting the guitar for a dMoney saxophone sample with each artist analysing, dissecting and recontextualising the recording into a selection of new compositions.   Across the EP's six tracks, there's a fascinating gamut of electronic music interpretations of tracks like the broken beat/trip hop-inspired 'Sax Appeal', the more chilled-out reprise of 'Westwild' or the funk-filled breaks of 'Funk My Sax'.  An undeniably jubilant collection of compositions, remixes and collaborations that can't help but make us wonder what their next musical challenge will revolve around.

Blue-in-Green:PODCAST #150: Gareth Donkin

Welcome to Episode #150 of the Blue-in-Green:PODCAST which this week sees Imran reconnect with London-based singer-songwriter, Gareth Donkin.

Currently riding high from the release of his second full-length album 'Extraordinary', Gareth's star has continued to rise to exponential heights over the last few years.  As a singer, songwriter, multi-instrumentalist and producer, Gareth's distinct vision and style and has seen him garner high-profile support over the years - most notably through US label drink sum wtr.  As an artist who openly wears his influences on his sleeve, Gareth's affections for artists including Rod Temperton, Jamiroquai and Stevie Wonder are lovingly laced into his music as he continues to pay homage to architects of the genre as well as expertly being able to inject enough of his own charm and charisma into the mix and carve his own path forward.

The conversation delves into the creation of 'Extraordinary', Gareth's affections for yacht rock, song-writing and addressing moments of self doubt and insecurity.  We also discuss some of Gareth's outside collaborations with De La Soul and Tall Black Guy & Zo!

For more info and to explore Gareth Donkin's music further, please visit Bandcamp:

https://garethdonkin.bandcamp.com/music

Blue-in-Green Sessions · Blue-in-Green:PODCAST_#150_Gareth Donkin

'Heartshaped' by Lilly Hertzman

There's an elegant poignancy to the release of Lilly Hertzman's 'Heartshaped' that draws a wonderful conclusion to a much earlier stage of her career.  

As an esteemed singer and songwriter, the Danish-based artist continues to introduce inspired perspectives of versatility and grace to her music that has seen her helm six studio albums to date, perform around Scandinavia and the US, collaborate with an extensive array of musicians and prove to be a highly decorated artist in her own right.  

'Heartshaped' finds Hertzman reconnecting with revered US pianist Aaron Parks following their initial encounters which date back to 2014 where their creative sessions in Denmark generated a selection of songs that would remain incomplete.  Their subsequent reconnection for 'Heartshaped' would afford them the opportunity to revisit these treasures-in-waiting and present them as prominent aspects to Hertzman's latest offering.

It would no doubt have proved a fascinating experience for Hertzman and Parks to revisit these pieces after so long almost assessing them through entirely new perspectives as artists who have continued to learn and grow in that time.

For Hertzman, the time since then not only garnered two further albums ('Menneskeblomst' in 2016 and her duo album with New York-based guitarist Gilad Hekselman in 'Tenderly'), but would also have helped to cultivate an artist whose understanding that the values of patience, poise and hard work continued to form a significant part of her musical make-up.  For Parks, his star has also continued to rise with a litany of projects released in that time that further cemented his status as an in-demand band leader, performer and collaborator.

Through continued recordings, performances, collaborations and the inherent passing of time, 'Heartshaped' becomes an album that demonstrates Hertzman's own personal growth and indelible successes over the last ten-plus years.  With a career spanning considerably longer of course - Hertzman's debut full-length came by way of 'Before the Crossing' (2005) - she is afforded the gift of regarding her sixth album as a time capsule of sorts allowing wisdom, confidence and objective clarity to give the unfinished songs the life and maturity that they had needed.

In an ensemble further rounded out by double-bassist Thomas Morgan and drummer Jongkuk Kim, the album's eight tracks showcase Lilly Hertzman at her finest - sublime pieces that are beautifully composed and elegantly performed.  From the introspective 'The Calling', the noir jazz of 'In the Sound of the Night' or the nostalgia-riddled 'Big Heart', 'Heartshaped' is fully realised and sensational effort that finds its own prolonged journey to completion profoundly worth the wait. 

'Out of Gravity' by Michele Papadia

Michele Papadia's noted positivity and broad-minded musical perspectives have found an apt home on the Italian A.MA Records.

Themselves renowned for championing bold European jazz like the improvisational nature of the Bastian Menz Trio ('Everything In Between'), the spiritually tinged Ugljesa Novakovic ('Reflections') or the folk inspirations of Sonia Ziccardi ('Driade'), A.MA have fully embraced Papadia's infectious energy and ability to not restrict himself to a single sound.  Instead, the pianist opts to fully immerse himself amongst his own litany of influences for his debut with the Bari-based label.

A devoted fan of music that spans the breadth of jazz, funk, soul, blues, gospel and afrobeat - all tenderly infused with mild traces of electronica - pianist, producer and educator Papadia presents his music as an artist painting a vibrant picture in real time while freely sloshing his brush through the rich colour palette in front of him.

Papadia's passions have taken him across the world - including momentous moments of sharing a stage with Brian Auger, performing with Buddy Guy in Chicago and Whitney Houston in Italy.  Understandably, a near 40-year career with the calibre of musicianship that Papadia boasts would lend itself to an extensive list of high-profile collaborations that have stretched from the studio to the stage.  Having chalked up further collaborations with Rudy Rotta, Gianluca Petrella and Ana Popović, Papadia's lengthy history as a collaborator and sideman has helped to cultivate his own repertoire with the eventual release of 'Out of Gravity' serving as the perfect representation of his vast talents and broad vision.

With Papadia tackling piano, Wurlitzer and Hammond organ throughout the album, the core ensemble for 'Out of Gravity' sees trumpeter Fabrizio Bosso, saxophonist Francesco Bearzatti, bassist Francesco Ponticelli and drummer Stefano Tamborrino inducted into the mix providing scintillating chemistry and helping to bring Papadia's vision into reality.  An excellent array of vocalists and spoken word artists are enlisted including Kokayi, Mia Cooper, Deshawn Alexander and Angela Esmeralda who each shine across their respective eclectic and sweeping musical backdrops.

'Out of Gravity' is very much a love letter to the inspirations and influences that have brought Papadia to this moment in his career.  Across the album's ten tracks, each composition bursts with an infectious enthusiasm that finds the pianist expertly weaving varying ideas across the album's overarching narrative.  A genuinely sensational effort, from the Hancock-esque jazz-funk of the album's title track to the neo-soul inspired 'Flowing Soul' to the unadulterated blues of 'In My Soul' - Michele Papadia lovingly wears his affections on his sleeve thus creating a deeply personal project and one that is joyously unrestrained.

'Ntjam Rosie' by Ntjam Rosie

There's a certain poignancy in the fact that Netherlands-based singer-songwriter Ntjam Rosie has opted to name her latest project after herself.  It calls to mind, not just a back-to-basics framework for an album, but perhaps a project that finds Rosie using the opportunity to go back to self.  

A consummate artist, Rosie has long taken deep and measured assessments regarding her own creative processes as a way of searching for ways to reinvent and recontextualise how she creates.  The release of her project 'Breaking Cycles' in 2017 proved very much a literal embodiment of those sensibilities as Rosie surrounded herself with a new creative (dream) team including producer Vincent Helbers, drummer Richard Spaven and bassist Rob Mullarkey.  Delivering a fantastic album as a result, the success of 'Breaking Cycles' proved a milestone release for Rosie giving justification to the idea of an artist constantly re-evaluating their approach and enthusiastically separating themselves from any patterns that may have inadvertently crept into their creative process.

There's an inspired David Bowie quote that states "If you feel safe in the area you're working in, you're not working in the right area; Always go a little further into the water than you feel you're capable of being in; And when you don't feel that your feet are quite touching the bottom, you're just about in the right place to do something exciting."  It's an incredibly motivational sentiment and one that Ntjam Rosie has adopted throughout her albums.

Initially born in Cameroon, Rosie's affections for her African heritage are as apparent in her music as they are for her current European home.  Creating music that graciously incorporates elements of soul, R&B, jazz and West African stylings, Rosie expertly crafts deeply personal, narrative-driven projects that tell the story of her own make-up and influences.  And while there is certainly a dualism at the heart of it all, they are never presented as opposing forces or the source of any conflict.  In fact, there is a warm-hearted harmony that Rosie exudes which is beautifully conveyed through a song like 'Mama' which positions her as the conduit between lessons, as bestowed by her own mother, subsequently being passed over to her daughter.

'Ntjam Rosie' presents an elegant portrayal of these perspectives through an eleven-track release that brilliantly balances styles, genres and cultures.  An intimate project that is rich in its authenticity, Rosie continues her run of self-assured releases that don't attempt to explore identity or even to define it - she simply finds herself standing far out in the water with her feet just touching the bottom.  Invariably, going on to do something exciting as a result.  

Blue-in-Green:PODCAST #149: Tim "Chiminyo" Doyle

Welcome to Episode #149 of the Blue-in-Green:PODCAST which this week sees Imran reconnect with London-based drummer, percussionist and band leader, Tim Doyle.

As a key component to leading ensembles including Maisha, Cykada, Your Brother's Keeper and Uniri, Tim leads the charge for progressive and club-centric jazz and electronic fusion most aptly through his NRG series.  A boundlessly-talented and versatile artist, Tim has consistently cultivated unhindered perspectives for his music that place the emphasis on the energy born of improvisation and collaboration.  

Now celebrating the fifth instalment of Chiminyo's NRG series, Tim joins us from his current tour to discuss the NRG series, the ideals of improvisation, life as an independent musician plus the upcoming Your Brother's Keeper project with Gary Bartz.

For more info and to explore Chiminyo's music further, please visit Bandcamp:

https://chiminyo.bandcamp.com/music

This conversation was recorded as part of Blue-in-Green:RADIO's programming for International Jazz Day 2026 with this podcast episode comprising of the full and unedited conversation.  A huge thank you to Tim for being so gracious with his time and for gifting us an excellent conversation.

Blue-in-Green Sessions · Blue-in-Green:PODCAST_#149_Tim "Chiminyo" Doyle