Back catalogue: Funk Soul & Jazz

Review: When Keyon Harrold lists the influences that he turned to during the creation of his rich and evocative new album Foreverland, he cites the likes of Radiohead, Fleet Foxes, Fela Kuti, John Coltrane, and, for a second, he becomes vulnerable; the list is too basic, too serious-music-listener-starter-pack. But, out of that moment of insecurity, he spins an indelible flex: "You are what you eat, and I have a pretty strict diet in dope shit. Taking in Keyon Harrold's career to-date, it's clear that the 'world-class trumpeter' (Essence) and composer is very serious about that diet. He's a jazz musician but in the most expansive sense, working with a list of dream collaborators: generational legends Keith Richards and Diana Ross; rap stars like Mac Miller and Nas; neo-soul icons Erykah Badu and D'Angelo; and modern soul stars Black Pumas and Leon Bridges. His circle of regular collaborators is formidable and includes his music industry mentor Common (who hired him for his first touring gig), his New School classmate Robert Glasper, and GRAMMY winners Maxwell, PJ Morton, Gregory Porter, and YEBBA. Even apart from its compositional intricacies and stylistic innovations, Foreverland is a triumph of resilience and empowerment. "What will be said when you're gone?", says Keyon. "If you're not living life - getting beat up, getting your heart broken, winning, losing - what are you doing? What about your life can people learn from? If you don't put yourself in the ring sometimes, there won't be anything." On Foreverland, Keyon takes life's challenges head-on - and emerges, in both music and in life, with a renewed sense of purpose.

Review: Norwegian trumpeter Arve Henriksen and Dutch pianist Harmen Fraanje strike a fine balance on their latest collaborative jazz record Touch Of Time. Warm and tender throughout, this is a back-alleyed melanchole, with its stark counterpoints between piano and trumpet somehow eliciting the audio-sensation of more instrumentation than there is - a gestalt of ghosts. Gradients of emotion wax and wane like the strange blue lights that are often visible when one's eyes are closed. Produced by Manfred Eicher at the Auditorio Stelio Molo in Lugano, this is fine recording indeed.