Fiona Ross’ new album builds on her previous material, while demonstrating the maturation of talent this musical hand grenade has let loose.

Recorded jazz music has its place. At live performances, however, you will never repeat the exact moment again. They can alter your perceptions, too.

Dead Neanderthals often play with collaborators, but ‘The Depths’ features just two musicians – and it is lovely.

There’s a sense of more development and intrigue to come as Gareth Lockrane’s ‘Fistfight at the Barndance’ mixes musical atmospheres and essences.

The fun, dexterous jazz pianist Jason Lyon has just ended his well-received six-year residency at Toulouse Lautrec in London. Now what?

Maciek Pysz and Gianluca Corona’s ‘London Stories’ features only two guitars, yet there are so many textures, changes and different emphasis.

‘Hesitantly Pleasant’ is a ridiculously endearing album which takes the listener on a corkscrew journey through mindsets, concepts and ideologies.

Colin Stetson’s ‘All This I Do For Glory’ is an album which, like all the good ones, gives more with each listen.

‘The Garden of Earthly Delights’ celebrates Hieronymus Bosch, whose surreal paintings seem to give John Zorn’s Simulacrum permission to follow similar patterns.

Ted Milton’s work with Blurt has been branded “jazz,” “post-punk,” “dance” and “experimental,” but there isn’t a pencil-pusher name to define an act like this.