'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

: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. 

:n-the-m:x | March 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 42-minute excursion from eclectic soul to alt- and electronic-jazz and downtempo beats to round out the mix.

Music this month comes courtesy of... 

'Eu Vim da Bahia' by Francesca Confortini & Ryan MacKenzie

'All Night (Soul Session #1)' by Lehto (Bathurst)

'Someone Better' by Sonia Ziccardi (A.MA)

'Everything Falls Apart' by Raw Humps (Mandarin Dreams)

'Wormhole' by Varv (Off Records)

'Amiana Klimatu / Schimbarea Climatului' by Bloto + Ion D & Plevna (Astigmatic)

'Lucidity' by Chiminyo

'Leave it Time' by Hannah Featherstone (Most Least)

'Creeping Desert' by Art Test (Folded Music)

'Escurinha' by The Park Avenue Experience (Inner Worlds)

: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.