With Draw Out Your World, Manchester singer-songwriter Caoilfhionn Rose continues to explore the delicate space between contemporary folk, jazz, dream pop, and subtle electronic experimentation. Her warm, intimate vocals drift through gently layered arrangements of acoustic instruments, soft synthesizers, and understated rhythms, creating a sound that feels both organic and quietly adventurous. There is a pastoral, almost cinematic quality to

Exploding In Slow Motion looks back at the formative years of The Comet Is Coming, bringing together the complete recordings surrounding their Mercury Prize-nominated debut Channel The Spirits. The collection combines the original album with the Prophecy and Death To The Planet EPs, rarities, early material, and four previously unreleased recordings from 2013–2017. Across 28 tracks, Shabaka Hutchings, Danalogue, and

With Dawning, Chicago artist and composer Damon Locks joins forces with D-Composed, a Black chamber music collective dedicated to music by Black composers. The collaboration brings Locks’ sample-based practice, electronics, and archival voices into dialogue with strings, creating music that sits somewhere between contemporary classical composition, experimental jazz, and sound collage. Rather than treating the ensemble as a conventional string

The nineteenth volume of Jazzman’s long-running Spiritual Jazz series turns its attention to the lesser-known spiritual, modal, and Afrocentric sounds that emerged on the American West Coast. Part 2 concentrates on the 1970s and ’80s, tracing how counterculture, Black political consciousness, alternative spirituality, and independent labels helped shape a jazz scene far removed from California’s familiar “cool jazz” image. Across

With Eight Ring Revival, Los Angeles pianist and producer Telemakus turns a period of physical limitation into an expansive exploration of jazz, hip-hop, fusion, and electronic music. Much of the project emerged while he was recovering from complications related to Ehlers-Danlos syndrome, forcing him to rethink his approach to composing and, at times, create music without using his hands. The

On In This Desert, New York trumpeter Michael Sarian and his long-standing quartet stretch electric jazz into expansive, psychedelic territory. Alongside Santiago Leibson on keyboards and Mini Moog, Marty Kenney on electric bass, and Nathan Ellman-Bell on drums, Sarian builds seven extended pieces around collective improvisation, atmosphere, and patient rhythmic development. The music moves between spacious trumpet lines, analogue keyboards,

Recorded at Copenhagen’s SMK – Statens Museum for Kunst during the Surreal on Paper exhibition, Live At SMK Fridays captures Shatter Hands in an unusually spacious setting. Joined by Viktoria Søndergaard on vibraphone, Flavia Huarachi on flute and vocals, and Sofie Birch on tape recorder, percussion, zither, and sampler, the quartet transforms material from A Show of Hands Vol. 1

With Requiem for a Dragon, Fabio de Almeida creates an evocative world between contemporary jazz, ambient music, and cinematic composition. The album unfolds patiently, favoring atmosphere, texture, and emotional weight over conventional structures, with acoustic instrumentation moving through spacious and often dreamlike arrangements. There is a quiet sense of mystery throughout, shifting between delicate, introspective passages and darker, more dramatic

With What It’s Like To Be A Bat, Dutch composer and multi-instrumentalist Finn Streuper creates an intriguing world between contemporary jazz, experimental composition, ambient music, and electronics. The music feels both carefully constructed and wonderfully unpredictable, moving through unusual rhythmic patterns, delicate melodies, and richly detailed acoustic textures. There is a playful curiosity running through the record, but also a

With Music for Existing, Martyn steps away from the club-focused framework often associated with his work, creating a more spacious and introspective record shaped by ambient music, jazz, dub, and understated electronics. Rhythm remains important, but here it often feels suspended, surrounded by warm synths, drifting melodies, and carefully placed fragments of sound. There is a distinctly human quality beneath

With Additions, pianist and composer Steve Okonski continues his exploration of intimate, groove-centered instrumental music, drawing from jazz, soul, and the warmth of classic piano trio recordings. The music feels deliberately unhurried, allowing melody, rhythm, and the natural character of the instruments to remain at the forefront. Okonski’s understated piano playing is surrounded by supple bass and restrained percussion, creating

Marking the centenary of John Coltrane’s birth, Miguel Atwood-Ferguson approaches his music not as something to preserve, but as a living spiritual language. Leading a 21-piece ensemble, the Los Angeles composer and multi-instrumentalist reimagines pieces including “Naima,” “Giant Steps,” “My Favorite Things,” and “A Love Supreme, Pt. II – Resolution,” opening them toward contemporary jazz, orchestral music, and more exploratory

With Everything to Remember, Blue Earth Sound creates a quietly immersive world shaped by ambient textures, gentle electronics, and organic instrumentation. The music unfolds patiently, favoring atmosphere and emotional resonance over conventional song structures, with small melodic details emerging and disappearing like fragments of memory. Warm tones, spacious arrangements, and subtle rhythmic movement give the record a contemplative, almost cinematic

With Future Sounds of Jazz Vol. 16, Compost Records continues its long-running exploration of the spaces where jazz meets electronic music, broken beat, house, and experimental production. Rather than defining a single “future” for jazz, the compilation brings together different approaches to rhythm, improvisation, and sound design, reflecting how fluid those boundaries have become. Across the collection, organic instrumentation sits

With Drum Seeds, Berlin-based drummer and producer Peter Gall takes a sharp turn from the expansive jazz of his award-winning Love Avatar. Originally conceived as a pure drum record, the project grew from hours of grooves, layered percussion, and rhythmic experiments into a much broader solo work, with Gall adding vintage synthesizers, keys, programming, and atmospheric production. The result moves

With Wildflower Season, Clifford creates a warm and intimate collection that moves between contemporary jazz, soul, folk, and subtle electronic textures. Organic instrumentation and understated production give the music a soft, natural character, while delicate melodies unfold with an unhurried sense of space. There is a gentle, reflective quality throughout, balancing moments of melancholy with warmth and quiet optimism. Rather

With ‘Spirits’, KOMA create an atmospheric meeting point between contemporary jazz, electronic music, and deep, rhythm-driven experimentation. The album moves fluidly between hypnotic grooves and more spacious passages, allowing acoustic instrumentation and electronic textures to constantly reshape one another. There is a strong sense of collective interplay throughout, with repetition, subtle melodic shifts, and layered percussion giving the music an

With Hits Different, Austrian quartet Omasta continue to explore the fertile ground between contemporary jazz and instrumental hip-hop. Deep grooves, warm keys, bass, and tightly locked drums give the music the immediacy of a beat tape while retaining the spontaneity and interaction of a live jazz ensemble. There is an easy confidence to the record: rhythms swing without feeling nostalgic,

Ever since his 2015 debut EP, Nocturne, Alfa Mist has effortlessly moved between jazz, hip-hop and classical music and built unique sonic worlds. Across six critically acclaimed albums, the east Londoner has eroded genre boundaries with an expansive vision. On his last album Roulette, the prolific producer, songwriter, pianist and MC went one step further by creating his own sci-fi

Six years after Dark Matter, Moses Boyd returns with a deeply personal record shaped by faith, doubt, community, and the musical worlds that have surrounded him since childhood. Rather than treating gospel as a fixed tradition, Boyd opens it up, folding its spiritual intensity into contemporary jazz, Caribbean rhythms, London soundsystem culture, heavy bass, 808s, and expansive choir arrangements. More

Los Angeles-based producer, composer and multi-instrumentalist Dexter Story returns with his sixth album, T’som (pronounced sawm), a deeply personal work inspired by the spiritual practice of fasting. Meaning “fasting” in the Afro-Semitic languages Tigrinya and Amharic, as well as in Arabic, Tsom represents a time of prayer, reflection and discipline across northeast Africa. Guided by this tradition, Story draws on

With Above the Clouds, Chicago collective Resavoir continue to blur the lines between jazz, soul, ambient music, and cinematic composition. Led by producer and multi-instrumentalist Will Miller, the music favors atmosphere and melody over virtuosity, unfolding through warm horns, delicate rhythms, and richly layered arrangements. There is an effortless, almost weightless quality to the record, with pastoral jazz passages drifting

With Solo Woodwind, Los Angeles multi-instrumentalist Henry Solomon strips his music back to its most elemental form. Best known for moving between jazz, pop, and experimental music, Solomon turns his attention here to the expressive possibilities of breath, tone, and acoustic space. The result is intimate and meditative, with woodwinds unfolding through layered harmonies, fragile melodies, and subtle improvisation. Rather

With Controlled Burn, Chicago poet, musician, and multidisciplinary artist Marvin Tate creates a vivid meeting point between spoken word, experimental soul, jazz, and improvisation. Tate’s distinctive voice sits at the center, turning everyday observations, memories, and social reflections into intimate musical narratives. Loose grooves, expressive instrumentation, and unexpected shifts give the record a raw, spontaneous character, while its poetic core

With A Supreme Blue, Nicholas Payton and Butcher Brown join forces for a vibrant collaboration that bridges generations of jazz while embracing the energy of funk, soul, hip-hop, and fusion. Bringing together Payton’s visionary trumpet work and Butcher Brown’s fearless, groove-driven approach, the album feels both deeply rooted in tradition and unmistakably contemporary. Recorded with the spontaneity of a live

With FATHERS, Kiefer, Carrtoons, Nate Smith, and Kenneth Blume come together for a deeply personal and collaborative project that celebrates connection, legacy, and the transformative experience of fatherhood. Blending jazz, soul, hip-hop, and improvisation, the album unfolds with warmth, honesty, and effortless musical chemistry. Built around intimate grooves, expressive piano, fluid basslines, and Nate Smith’s unmistakable drumming, the record balances

Better Late Than Never by Michael Benedikt is a five-track EP rooted in spontaneity, expression, and the human touch. Drawing from a jazz-informed approach, the project explores the subtle nuances of phrasing and timing, where each note is placed with intention, reflecting a deeply personal musical identity. Recorded entirely with real instruments and analog gear, the EP favors organic texture

In 1961, John Coltrane walked into a recording studio with 21 musicians and made history. Africa/Brass, his first album for Impulse!, captured the spirit of a continent in the midst of revolution, blending soaring saxophone lines, lush brass arrangements, and hypnotic modal passages that would influence artists from Terry Riley to Steve Reich. Sixty-four years later, Tenderlonious set out to