"to help make all his more traditional-leaning arrangement and jazz infused chamber pop dreams come true"

"new-age stargazing, Afro-ritualism, spiritual jazz, skittering galactic transmissions, extra-terrestrial enounters, cosmic wonderment and Ethio-homages. In that order."

This is fearless, borderless genre fusing music at its best, and a track I would love to hear played live.

"the song mines an altogether deeper jazz vocal seam within this young artist's soul - one which we need to hear more of."

"which signals its arrival with a sax siren, agitated drums and free-spirited bass, Mike Ladd leaps into the jazz deep end with his time-honed lyrical prowess and serious attitude"

" the quartet somehow manage to nimbly slip into sedate jazz fusion territory, each player subtly stretching out within the song's astral soul shell, eschewing ego to maintain the song's velvety texture and tender tones,"

"going with the ambient flow; his effect soaked, at times looped, baritone sax and bass clarinet carving their way through the electronic haze"

"it's not long before he picks up a sax and in a second the horn sounds are spiralling into the air to pierce New York's rabidly developing haze"

"a bassline with more bounce to the chill-out ounce lethargically bumps through the speakers, and the track's smoky jazz meets hip hop beats credentials are cemented."

"spiritual, ambient jazz masterclass"

"low gravity vocal jazz to ease you into the day, or close your eyes to in the late evening"

"the pedal steel and harmonica wonder what happened to the American(a) dream and the more jazz inclined musicians search for spiritual guidance in the darkness"

"it's jazz for dark rooms and late nights, jazz for the disenfranchised and discriminated against. It's exactly the sort of jazz I want to hear"

"the rhythm section get a real sweat on - tightly locked and intent on reaching escape velocity"

"The vibe from the off is distinctly sixties, which lets face it in jazz is no bad thing"

“Sunrise” gives spiritual jazz a rustic Japanese folkloric infusion whilst whispering a call for peace and love. Yes please.

"This could be ambient jazz's year, and if I finally do that jazzbient mix this tune will be on it."

"Farhi wisely sits back, infusing Pandey's finger picked minimalism with some sparse, borderless bass work"

"Jahn Neu's been releasing some great, forward looking, sofa suitable jazz for the last five years"

"ambient minded material where his succinct playing and stretched notes glide across low gravity electroacoustic soundscapes"

"he’s redefining what nu-jazz can be with walls of machine noise repurposed to free jazz ends"

"for a punk bass playing classical cellist it's quite the jazz statement."

"the outfit instead wind their way through buttery soul, vintage library music, smooth orchestral jazz and general twentieth century musical lushness. One for the nostalgics and easy listening massive"

Jowee Omicil has been around. sMilLes is the eleventh album no less from this nomadic Canadian-Haitian composer and multi-instrumentalist who can turn his hand to saxophone, clarinet, flute, pocket trumpet, Rhodes, piano, voice and more. The album is an eclectic jazz ride with some choice guests and throws in some tropical vibes as well to keep you on your toes and maybe even get you moving, but the real standout track is "Should I Smile", mainly due to the always impeccable