Back catalogue: All genres

Review: The tenth album from French-Syrian flautist Naissam Jalal brings together some of jazz's most distinctive wind players in an intimate and remarkably cohesive set of duets. On Souffles ('Breaths'), she engages in raw, unhurried dialogue with Emile Parisien, Louis Sclavis, Sylvain Rifflet and others, each piece anchored in mutual listening and the elemental pulse of breath. Rather than showcasing virtuosity, these recordings draw power from restraint. 'Souffle #1' with Archie Shepp is the most meditative, an unspooling conversation between two voices that barely rise above a whisper. On 'Souffle #5', Thomas de Pourquery's sax lifts Jalal's flute into a playful, unsteady dance, while 'Souffle #3' with Yom pulls from deeper tonal reserves, evoking both lament and resolve. Jalal's talent lies in evoking weight from simplicity - not just through technique but through presence. The album foregrounds breath as both material and metaphor: exhalation as expression, resistance, memory. Her unforced phrasing and instinctive sense of space bring a disarming honesty to every track. Though rooted in jazz, this is music beyond genre - personal, embodied and open to the world. It's less about improvisation as freedom and more about the quiet intensity of listening.

Review: Jameszoo aka Mitchel van Dinther returns with a cinematic journey blending jazz and contemporary classical. Written for Dutch ensemble Asko Schonberg, percussion group HIIIT, and Jameszoo's trio, Music for 17 Musicians explores themes from his 2022 work Blind. Central is a self-governing player piano controlled by custom algorithms creating autonomous musical decisions which add a unique, experimental edge. The music reflects van Dinther's fascination with detaching composer identity to invite active, unbiased listening. It is packed with rich orchestration and smart electronic interplay that nods to Steve Reich's classic while pushing onto new frontiers.

Review: Celebrate 20 years of In Between with In Between Revisited: Jazzanova Live, a vibrant reimagining of Jazzanova's smashing debut. Recorded at Little Big Beat Studios, this intimate session fuses the original album's sample-driven roots with the real-deal energy of live musicianship. Tracks like 'That Night', 'No Use', and 'Days To Come' take on new life, blending jazz, soul, and electronic elements in a seamless, unforgettable performance. Though it was originally a studio creation, In Between helped define the genre of nu-jazz upon its 2002 release, where nu-jazz itself always invites live-lounge rejigging. With the Jazzanova Live Band, formed in 2008 and honed over 15 years of touring, the group finally brings a long-plotted album to the stage. The performance is here captured on analogue tape with stellar musicians and vocalists, reinventing, yet at the same time devoting itself to, a classic.

Review: An essential snapshot of late 60s British jazz, Off Centre snaps pianist and arranger John Cameron during a rare small group session, capturing a uniquely vivid, rhythmically complex album. Renowned for his soundtrack and library music work, Cameron brings that same cinematic flair to these tracks: 'Off Centre', 'Troublemaker' and 'Omah Cheyenne' are rowdily rich in texture, yet never overworked. His collaborators include the extraordinary Harold McNair, whose flute and tenor sax playing bring a kinetic energy that nods to his Roland Kirk influences, but with a cooler, more spacious edge. There's a strong modal undercurrent throughout, bringing the session a searching, propulsive edge, reflecting the sonic gemstone gleams that music magpie Gilles Peterson helped champion on his storied Impressed compilations.