Ezra Collective have a talent that’s rarely found in jazz music, the ability to sound and feel like far more than session musicians put in a room to play music. The London born quintet have had this cohesive, tight-knit energy since their debut EP Chapter 7 in 2016, and it’s easy to hear that their connection has a history that reaches long before that. The words accessible and jazz don’t really go together, but as a young, relatable, current troupe of musicians, Ezra Collective have taken Afro-jazz to the mainstream, and with Here Because of Hope, they’re finally telling it’s story.
Here Because of Hope is split into three sections, marked by poems read by Letitia Wright, taking us not only on a journey through genres, but a literal, geographical journey of jazz.
Category: world
Mekong Shellac is an extremely rare collection of classical and popular styles of Khmer music from the 1930s to the 1950s. Restored from the few original remaining copies, this compilation reveals a remarkable world of early 20th-century Cambodian folk music previously lost in time through war, cultural shifts, and modernization. These recordings were selected for their distinctive musical qualities, the physical condition of the 78 rpm records from which they were sourced, and the circumstances of their survival.
The selections span a range of Khmer musical forms, including Chapey, Romvong, Lakon Basak, Pleng Khmer, Ayai, and Ayai Reung, as well as classical and court-derived traditions such as Pinpeat and Mahori, alongside popular…
This is raw, unfiltered ceremonial gong ensemble music recorded on location by Laurent Jeanneau in Ratanakiri, Cambodia’s northeastern province, bordering Laos and Vietnam. Along with Mondolkiri to the south, it was once home to many of the country’s ethnic minority communities. During the colonial period, the French failed to establish full control over the region. After independence, the Khmer state also struggled to govern it, while Khmer Rouge rebels hid in its forests in the 1960s amid the wider conflict between communist Vietnam and the United States. The Khmer Rouge takeover in 1975 and the subsequent Vietnamese occupation, which lasted until 1991, could have devastated the traditions of northeastern Cambodia’s ethnic minorities.
Filmmaker, author, musician and Indian classical music industry academic Robert Millis presents a sequel to his 2018 book/2CD compilation Indian Talking Machine with this incredible double LP haul of instrumental Hindustani, Carnatic and folk 78rpm records from the subcontinent featuring over 25 artists recorded between 1904 and 1959 playing a panoply of instruments: jalatarang, dilruba, sarod, clarionet, pakhawaj, violin, been, kazoo, shehnai, tabla, sarangi, vina and more. Indian Talking Machine Part Two features Imdad Khan (the first sitarist ever recorded), Ahmedjan Thirkhawa, Bundu Khan, Amir Hussain, Allauddin Khan (who taught Ravi Shankar), and others both forgotten and revered.
The Indian classical instrumental tradition is…
…Across western Algeria, the gasba, a reed flute central to Bedouin folk traditions and ceremonial music, continues to appear in new forms. Once associated primarily with saint festivals and trance rituals, its distinctive hypnotic sound now sits alongside the drum machines, synths and electronic textures of contemporary raï.
The recordings collected here come from Oran, the port city of Western Algeria widely regarded as the birthplace of raï. Before raï became an international pop phenomenon, its foundations were rooted in older Bedouin musical traditions from the surrounding countryside: gasba flute melodies, guellal drum rhythms, improvised folk poetry and songs performed at weddings, zerdas and informal gatherings. Many of the musical…
Talent alone is not enough to get ahead in the music business. You need some breaks too.
That’s the story of Austin Texas’ The Animeros (the word refers to older men who pray for souls in purgatory) path to this, their debut album. Not long after the mostly instrumental Latino trio formed in 2024, was nominated as Best New Act and Best Latin Act in a poll by The Austin Chronicle, in addition to nabbing a slot on the prestigious Austin City Limits Festival, Black Keys frontman/producer/studio and label owner Dan Auerbach got involved. He happened to hear them when their cumbia music wafted down from a rooftop as he passed below during the SXSW festival. It was their second live performance.
After signing them to his Easy Eye imprint,…
Need an escape from the gloom and doom of global politics? How about a hit of Brazilian world-jazz of the “sal, sol, sul” variety? Ella & The Bossa Beat‘s Amare might be the ticket. For an idea of the ethos, consider a few of the titles: “Mais que um Verão” (More than a Summer), “Areia” (Sand), “Amanhecer” (Dawning), “Summer Rain,” “Amare.” Salt, sun, south, and of course, love…
On their fourth project together, the father-daughter songwriting team of Orlando-based Brazilian singer-pianist Ella Blu and drummer-percussionist Magrus Borges offers a dreamy album of original music recorded in Italy in collaboration with São Paulo-born Milan-based songwriter and singer-guitarist Toco (Tomaz Di Cunto). Blu, who counts Orlando’s…
PRAED is an amalgamation of Raed Yassin (electronics, vocals) and Paed Conca (clarinets, bass, samples), from Lebanon and Switzerland respectively, who have worked together as a duo since 2006. Recorded between Beirut and Berlin, they’ve invited a large group of string and percussion players, well suited to the pair’s devotion to incremental layering and massive pulse-states.
The tracks range from 19 minutes down to four – ample time for expansion! Conca stacks up his clarinet parts to make a veritable horn section, while the hard-attack frame and goblet drums attain an abandoned ecstasy. The strings are strong, but sit just below the synths on the equality meter, with underlaid drones…
In 1982, British composer and tabla player Kuljit Bhamra debuted with the album Punjabi Disco, featuring his mother Mohinder Kaur Bhamra as the singer. The album was initially a commercial failure, but later developed a cult following after its rediscovery in the early 21st century, leading to a re-release in 2025.
…On DESI: The Soul of Punjab Bhamra serves as the primary mastermind and producer, uniting iconic voices and renowned lyricists across the British-Punjabi and global diaspora.
This album is a testament to, celebration of and showcase for the current talent of the Punjabi music scene in the UK. As such, it not only reminds us of the huge impact bhangra had when it arrived in Britain during the 1980s but also…
Pioneering Arabic/Western fusion singer Natacha Atlas returns alongside creative and life partner Samy Bishai – a violinist and composer who has served as Atlas’ musical director since 2010 – with an album dedicated to the people of Palestine.
The lead single, ‘Unchanging Game’, sets a suitably sombre tone. Processed beats and hand percussion mix with subtle electronics and keyboards. Atlas’ voice remains as smooth and compelling as ever. ‘Zar’’s experimental edge trickles and bubbles with cut-and-splice vocals.
‘Wana Leih’ displays an ultra-modern R&B gleam yet sacrifices little to commercialism. ‘Dawsha’ ticks, clicks and sways across an ambient, trip-hop landscape. ‘Bahlam Biyoum’ rains stirring melodies over a romantic, digital…
Lebanese vocalist Sandy Chamoun‘s second solo album is inspired by Sardinian polyphonic folk music the Arab ecstatic forms, modernized by synths from her SANAM and Ghadr collaborator Anthony Sayhoun and percussion from Ali Hout.
If you caught either of those heavy SANAM albums – but especially 2023’s Aykathani Malakon – then you’ll already be familiar with Chamoun’s voice, that carries the Beirut-baed band’s hallucinogenic blend of folk, free jazz and acid rock. On her own, however, Chamoun gives her voice even more room to breathe, following loose historical threads to re-interpret concepts that surge through her music. The album’s title means “the sound of tears” and it directly addresses the war and genocide in the Levant; Chamoun looks to tarab,…
Moyo, Monoswezi’s fifth album, continues the group’s trajectory into a more intricately produced blend of global songs, anchored primarily by Nordic jazz and southern African roots music.
While Hope Masike’s voice and her mbira (thumb piano) still play a central role, there is a unitary feel to the album, alongside a variety of rhythmic approaches, with the bass and drums often distinctly out front. As contemplative as the album is, the vocal arrangements, not to mention Masike’s range, keep things dynamic.
The band’s take on Afrobeat, ‘Huya’, is a beautiful climax, both in the way that all elements coalesce around Masike’s soaring wail and in how it signals that the band can shift between the sensual and cerebral. It’s an especially…
Across three Ghosted records Oren Ambarchi, Johan Berthling and Andreas Werliin have expanded the possibilities of the guitar-bass-drums trio with slippery yet rigid, kosmische yet earthy music that challenges the idea time exists in neatly parcelled, indivisible increments.
For Serpentine they’re joined by multi-instrumentalist Christer Bothén, who contributed Donso n’goni to Ghosted I’s opening track. Bothén’s first instrument is the bass clarinet. In the 70s he studied the donso n’goni, a six-stringed ‘hunter’s harp’ from the Wassoulou region in Mali, eventually bringing him into Don Cherry’s orbit. He’s also versed in Gnawa, learning guinbri in Marrakesh. This worldliness ripples through Bothén’s 1984 record Trancedance,…
Tokyo-based large ensemble Minyo Crusaders take elements from Japanese working-class folk songs known as min’yō, and hypercharge them with rhythm, energy, and celebratory excitement. The group has grown progressively into this hybrid of the traditional and the new over the course of several albums, combining Japanese melodies handed down over generations with Latin flare, cumbia sounds, and other global cross-pollinations. From Japan with Love finds Minyo Crusaders in a mode that’s both fiery and playful, with powerful percussion, electrified horn arrangements, and group playing that emphasizes fun. The album starts off with a bang, kicking into high gear with the salsa-flavored “Hokkai Bonuta.” There’s a clash of uncanny…
Since 2007, whether alongside the MJC Trio, the El Arranque Orchestra or leading his own sextet, bandoneonist Pablo Jaurena has been developing an outstanding musical career. His latest work – his second as a soloist – is one of the high points of that journey. Here, the composer has brought together 31 bandoneon players to pay homage to the defining instrument of tango.
The album contains four amazing historical rescues. These are meticulous recreations or reinterpretations of emblematic works made with some of the musicians who originally recorded them, such as ‘Canaro en París’, which features Víctor Lavallén, Osvaldo Pugliese’s bandoneon player. Five compositions were written especially for the record, among them,…
Blurring boundaries, dissolving distance, and creating coherence, Velella, the 4th studio album by the Brisbane, Australia trio East of West exhibits the group’s distinctive style. The trio is led by Bosnian-born composer Goran Gajić (double bass), with Philip Griffin on oud and laouto, and Malindi Morris on percussion. Collectively, these musicians produce a compelling blend of Balkan-influenced rhythms and melodic motifs.
Both the album and its title track derive their name from the species Velella velella (by-the-wind sailor), a colonial aquatic organism, which, like the band itself, is composed of intuitively connected, interdependent individuals. The result is a cornucopia of varied and complex time signatures and rare instrumentation.
Singer Bongeziwe Mabandla’s voice, at its highest register, is a singularly plaintive falsetto that articulates so much even before lyrics become a consideration. Over the course of five albums, his voice has increasingly been couched in a synth-heavy, polyglot electro-folk sound, courtesy of producer Tiago Correia-Paulo, who has produced the singer’s last four albums.
This malleable frame accommodates the increasingly bigger venues the artist now plays, while also proving well-suited to radio. And yet, no matter the casing, Bongeziwe’s voice never loses the personability that is its currency. Thanks to its thoughtful sequencing, the album unfolds conceptually in three acts.
To this end, ‘Libambe Lingatshoni’, in which…
Since 1964, there have been numerous interpretations of The Beatles’ music. Stax, jazz, classical, Motown, country, Bing Crosby, Laibach, and easy listening have all had a go at Beatles cover albums. Mystic Liverpool: The Beatles’ Psychedelic Psongbook may be the most original, and after 60-some years, that is a huge accomplishment. Jah Wobble and his sons, John T and Charlie Wardle, have collaborated on a dub/drone version of Beatles songs, focusing on their more psychedelic tracks, which makes great sense.
…On paper, this might look like it would not work. The complete opposite is true. The use of traditional Chinese instruments, alongside Wobble’s distinct and trademark bass, creates an unusual yet fascinating take on these songs.