With both percussion and horn set to transcend, the only thing to do is go with the cosmic flow and contemplate that there just might be more out there

the LP with a bang and an insistent groove, with Garwood’s one man jazz funk horn section, haunting guitar atmospherics and spoken words conjuring a swampy, noirish jazz blues vibe, something of a recurring theme

The album is a start to finish meditative joy, a welcome return from Guidry and an auspicious start to her label.

Mayraz for his part has got his synths set to vibe, content to sit back and ride the compelling riddim, embellishing the groove with his succinct phrasing, cosmic chords and astral jazz vibes

but man and machine soon start to swirl and synergise, weaving cosmic patterns that slowly unlock your doors of perception so you too can see the light

This is cultured, jazz licked minimal dance music for the head as well as the hips that will also look great on stage and I like it.

introducing his new found guitar chops with some thoughtful picking that sets a warm tone before introducing some cosmically inclined ambient synths and sax to make smooth jazz cool again

Calibro 35 tend towards the if it ain't broke don't fix it approach with their music, but still manage to give this classic a bit of a microdosed Milanese makeover.

The track is a singular abstract jazz soundscape that sounds like a Sam Gendel and Joseph Shabason love child, and you shouldn't need much more encouragement to take a listen than that.

Whether it’s her original compositions or tributes to less heralded greats, Glass just digs that bit deeper and twists those familiar sounds that bit more

There's such a purity to her vocal delivery, as she regales us with an ancient tale of a mountain king and young farm girl, that you are immediately transported back centuries to simpler, pagan times, albeit with a kick arse jazz soundtrack.

Medieval abbess, theologian, mystic, polymath and 12th century composer Hildegard von Bingen, and highlight how timeless and useful her ideas and techniques still are

It's a fierce, impassioned tune that takes no prisoners and exactly the sort of militant, saying something jazz that we need to wake people up to how f*^ked the world is

The Slow Music Movement Radio Show is back after a seven month hiatus, and about time too....

whilst Yoshida alternates his electric piano playing between cosmic textures and scurrying, urgent improvisation

The real stand out tune though is, "Freeform" which enlists the seductive spoken words of Sydney Lowell

he decamped to London to get a different perspective on the recordings and the result is this transcendent, cosmic electroacoustic fusion.

Whether it's her musing or perfectly judged scatting, she just digs that bit deeper and worries less what everyone else sounds like.

wait for the hazy, shoegazy slightly chillier distortion to add a welcome, atmospheric dissonance to the track's inherent sweetness

A spiritual sax intro plumped on an organ cushion prises open your doors of perception before the electric piano starts to twinkle its light

they flirt with borderline muzak in places, maintain a suave ambient jazz vibe & touching “simple tenderness”

slowly but surely the free flowing jazz licks add some welcome consciousness raising thermals to help your thoughts ascend to higher plains

The restless sound design and jazz tickled production lend a questioning air to proceedings, sounds zipping in and out and buzzing around

a constantly surprising selection of woozy wobblers, jazz licked head nodders, mushroom jazz, far out fusion, funktified groove...