Multi-award-winning vocalist/lyricist, Georgia Mancio (Ian Shaw, Kate Williams, ReVoice! Festival), and double-Grammy-winning pianist/composer, Alan Broadbent (Natalie Cole, Charlie Haden, Pat Metheny), present their third album of co-written songs, ‘A Story Left Untold’, preceded by an 11 date UK tour.

Masterfully blending the personal and political across duo, quartet, and orchestral settings,

‘A Story Left Untold’ unfolds in two interconnected halves, where some protagonists are given a voice while others remain silent in the shadows. It explores the delicate intersection of the “cruel and kind” (‘A Lark’s Lament’); those forces that draw us further from, and closer to, our shared humanity.

Set for release on CD, vinyl and download, 5 May 2025 on Roomspin Records, it completes a trilogy with the globally acclaimed ‘Songbook’ (2017) and ‘Quiet Is The Star’ (2021), both shortlisted as ‘Albums of The Year’ by the Arts Desk, Jazz Views and Jazzwise.

In their 12-year collaboration, Georgia (London) and Alan (New York) have been described as “one of the most formidable songwriting partnerships of the 21st century” (Jazz Views), with extensive performances across Europe and the US, including Ronnie Scott’s and Dizzy’s (Jazz at Lincoln Center). Their catalogue of 40+ songs has drawn comparisons to Rodgers and Hart, Cole Porter, Joni Mitchell and Stephen Sondheim, most published in their book ‘The Songs Of Alan Broadbent and Georgia Mancio’.

In November 2023, they reunited in person for the first time in four years, to record a selection of songs—mainly written during that hiatus—with bassist Andrew Cleyndert and drummer Dave Ohm at the impressive School Farm Studios. One song, written and arranged by Alan for voice and full 42-piece orchestra, had been inadvertently overlooked by Georgia, which she recalls, “then took hold of me and would not let go”. It shaped the arc of the album, becoming the title track, and was subsequently recorded with FAME’s Skopje Studio Orchestra in June 2024.

Hearing Alan’s beautiful music within this sweeping orchestral context is a reminder of the staggering breadth of his talent and influences. Georgia’s multi-dimensional poeticism and powerfully nuanced performance are equally revelatory: what initially reads as a private account of loss, remembrance, and resignation, holds a darker undertone—a cautionary and timely tale against Authoritarianism.

Further ciphers of duality emerge across the album: the distorted realities of ‘Same Old Moon’—written in 2016, following political upheaval on both sides of the Atlantic—contrast the inherent hope that compassion and equality will ultimately prevail (‘Heart Of Hearts’, ‘Still We All Can Dream’).

Elsewhere, more overtly personal mementos balance poignancy and positivity, permanence and impermanence, with the skill, depth and lightness of touch that define Georgia and Alan’s collaboration. ‘From Me To You’, for Georgia’s late father-in-law, an actor with a lifelong passion for jazz; ‘Then And Now’, a companion piece to ‘The Last Goodbye’, their very first co-written song in 2013; ‘In The Afternoon’, a harmonious response to the seasons; ‘When The Time Has Come To Part’, a missive of strength and connection in life and art; and the mysterious ‘The Love I Left Behind’, originally inspired by John Glenday’s poem, ‘For My Wife, Reading In Bed’, and Georgia’s first lyric in her second language, Italian.

Trilogy co-producer Andrew Cleyndert demonstrates his impeccable musicianship throughout: engineering a remarkably seamless transition between duo, quartet, and orchestral settings, while also delivering exemplary bass playing. Drummer Dave Ohm, returning from ‘Songbook’, weaves his innate musicality and dynamism into a perfectly judged performance.

Artist Simon Manfield also continues his pivotal role across Georgia and Alan’s recordings and publications, once again delivering highly expressive cover art. This time, a cinematic frame within a frame: an empty chair faces a window, revealing a vibrant, curated garden that backs onto a barren, scorched landscape under ominous skies–reflecting both the tenderness and turmoil within this collection. Designer, Rachel O’Reilly, expertly unites the trilogy’s visual identity, aligning the pared-back pencil drawings of ‘Songbook’ with the watercolour seascapes of ‘Quiet Is The Star’.

At the core of this album is the kinship and searing sincerity between its leaders. As Alan explains, “Her words sound like my notes: they are meant to be sung”. Here, they are sung and played with passion and potency, fragility and finesse: two captivating storytellers united, as Georgia describes,“by the optimistic power of beauty and compassion”.

Stories told and untold: a defining chapter in this exceptional partnership.

For further info and to purchase visit Georgia’s website here

Janette Mason: REWIRED

Album release (CD & digital): Friday 25 April 2025

“A band leader of pugnacious flair and genuine unpredictability.” The Guardian

ReWired is the new acoustic trio album by acclaimed pianist, composer and arranger Janette Mason with long-time collaborators bassist Tom Mason and drummer Eric Ford. Known for her bold improvisations, rhythmic shifts and signature reharmonisations, Mason reimagines classic pop and jazz tunes that hold a personal significance. “I wanted to reflect on what I’ve done – including some standards but twisting them as much as I can, alongside tunes that I’ve played in a pop context with their creators,” explains Mason.

Pre Order here

Chosen from 1940s through to the present day, each track is carefully deconstructed and reassembled, resulting in a moving and innovative recording: ‘Cars’ (Gary Numan) – a nod to Mason’s early punk and electronic influences, with a bold harmonic reworking; ‘John, I’m Only Dancing’ (David Bowie) – a tribute to Mason’s collaborations with Tony Visconti, reimagined with Afro-Cuban swing rhythms; ‘Bewitched, Bothered and Bewildered’ (Rodgers & Hart) – a jazz standard reinterpreted with classical influences, highlighting its timeless melodic and harmonic beauty; ‘Good 4 U’ by Olivia Rodrigo, a contemporary pop anthem transformed into a striking jazz arrangement with Paul Booth on saxophone; ‘The Man With The Child In His Eyes’ – a lyrically and harmonically rich arrangement that mirrors Kate Bush’s vocal phrasing and emotional depth; ‘Eleanor Rigby’ (The Beatles) – a bold reinvention with a groove and intricate bass- driven twists; ‘Lullaby of Birdland’ – a tribute to George Shearing’s harmonic brilliance, influenced by Mason’s childhood connection to his music and ‘Don’t Look Back in Anger’ – a deeply personal arrangement reflecting Mason’s time touring with Oasis. ReWired also features an original composition, ‘Prayer for the Planet,’ a heartfelt call for environmental awareness, enriched by the saxophone of Paul Booth and guest vocalists Roderick Lewis Frazier, Brendan Reilly and Natalie Williams.

Recorded in an intimate trio setting with minimal overdubs, ReWired captures the raw energy of live performance while offering a fresh perspective on beloved songs. “This album is a representation of the music I truly love,” says Mason. “I’ve had the honour of working with so many incredible artists, but ReWired is my way of honouring my own creativity.”

Live dates:

Thursday 1 May – Eastbourne, Bohemian

Album Release Concert – May 14 2025 – Pizza Express Soho – Book Tickets

Thursday 17 July – London, The Vortex

Thank you to ECN Music for sharing with us

Janette Mason website click here

London based singer songwriter Hohnen Ford releases new single from genre-spanning project marking 70 years since the release of seminal jazz album Chet Baker Sings. I Get Along Without You Very Well 

“Hohnen Ford conjures a timeless feel in her music, somehow capable of both expressing the universal while grappling with the personal… a potent new voice” CLASH

Chet Baker Re:imagined is released on April 11th 2025. Pre order here

CHET BAKER RE:IMAGINED LINE-UP:

Dodie • Matt Maltese • Hohnen Ford • mxmtoon • Matilda Mann • grentperez • Ife OgunjobiD

Benny Sings • Stacey Ryan • Delaney Bailey • Puma Blue • Sarah Kang • Joel Culpepper • Eloise • Poppy Daniels

Decca Records presents the latest single from the upcoming Chet Baker Re:Imagined collection. Commemorating the 70th anniversary of the legendary album Chet Baker Sings, the project celebrates Baker’s enduring legacy with a selection of reinterpretations of his timeless music through the voices of a new generation of artists.

Following the first wave of single releases from grentperez dodie and Matt Maltese the latest offering is North London based singer-songwriter and pianist Hohnen Ford’s reimagining of “I Get Along Without You Very Well”. Ford’s tender interpretation channels Baker’s own understated style, offering a fresh yet reverent take on the classic track.

Listen to Hohnen Ford – I Get Along Without You Very Well HERE.

Hohnen Ford: 

“When I first discovered Chet Baker it was quite revolutionary to me. Partly because of how beautiful his tone is and how intimate his interpretations of those songs are. And also just how effortless and melodic his improvisation is. Both his singing and his trumpet playing had a huge impact on me. And because of how much of my life he has accompanied, I think his music will always have a real sense of home to me. 

As soon as I was asked to be a part of this project, I immediately knew what song I wanted to do. I Get Along Without You Very Well is a song that has accompanied heartbreaks in my life. And actually when I went through my first breakup as a teenager, I listened to an unaccompanied version of him singing this song obsessively. Someone had singled out his vocal take and you could hear it unaccompanied. I listened to it over and over again, and cried.”

Chet Baker Re:Imagined features a diverse group of artists from across the world, spanning genres including R&B, pop, soul and jazz. Contributors include UK talents such as dodie, Matt Maltese, Matilda Mann, Joel Culpepper, Ife Ogunjobi, Hohnen Ford, Eloise, Poppy Daniels and Puma Blue, and international stars including Benny Sings (Netherlands), Stacey Ryan (Canada), mxmtoon (USA), Sara Kang (South Korea), and grentperez (Australia/Philippines). These artists explore Baker’s iconic melodies with fresh interpretations, blending acoustic and electronic elements, heartfelt improvisation, and richly layered production.

Chet Baker, a pioneer of the 1950s cool jazz movement, captivated audiences with his virtuosic trumpet playing and delicate vocal style. His seminal album Chet Baker Sings introduced a new dimension to jazz with its introspective and romantic ballads. Building on the success of the Blue Note Re:Imagined series, Chet Baker Re:Imagined connects a new generation of musicians with Baker’s artistry. The album invites listeners to explore the intersections of tradition and innovation, demonstrating Baker’s timeless relevance and the creative possibilities his music continues to inspire.

Chet Baker Re:imagined is released on Decca Records on April 11th 2025.

Hohnen Ford website click here

Thank you to Joe Baxter from Baxter PR for sharing with us

 Chet Baker Re:imagined Tracklisting:

1. Silver Lining – Joel Culpepper 
2. That Old Feeling - Eloise 
3. I’m Old Fashioned - Sarah Kang
4. I Get Along Without You Very Well - Hohnen Ford
5. There Will Never Be Another You - Matilda Mann
6. Old Devil Moon - dodie
7. It’s Always You - Puma Blue
8. Speak Low - Ife Ogunjobi
9. I’ve Never Been In Love Before – Poppy Daniels
10. Time After Time - Benny Sings
11. Like Someone In Love - Stacy Ryan
12. My Funny Valentine - Matt Maltese
13. I Fall In Love Too Easily - mxmtoon
14. But Not For Me - grentperez
15. While My Lady Sleeps - Delaney Bailey

Japanese Piano Star Hiromi Announces New Studio Album 

OUT THERE features the return Of Hiromi’s Sonicwonder Band with Hadrien Feraud on bass, Gene Coye on drums, and Adam O’Farrill on trumpet*

Lead single Balloon Pop is out now HERE

OUT THERE is released on Concord/Telarc on April 4 2025

For over more than 20 years as a recording artist, the pianist and composer Hiromi has shifted seamlessly from one spellbinding project to the next. In the process, she’s earned a reputation as one of the most explosive live performers in jazz history and a global ambassador for the art form. Today Hiromi has announced her 13th studio album OUT THERE (out April 4 / Telarc). OUT THERE is her second album with Sonicwonder, a mighty new quartet featuring Hadrien Feraud on bass, Gene Coye on drums, and Adam O’Farrill on trumpet.

OUT THERE is the follow-up to 2023’s Sonicwonderland, the debut of one of the most expressive and versatile working bands of Hiromi’s career (just watch their NPR Tiny Desk, which rapper Action Bronson deemed “the best Tiny Desk ever”). This new group furthered Hiromi’s distinctive musical alchemy: the spirit of classic jazz-rock fusion melded with classically rooted virtuosity, entrancing funk, pop flourishes, and acoustic jazz. OUT THERE captures their deep chemistry and fearless sense of interplay amid nearly two years of touring and playing together. Hiromi invites you to buckle up, for a fun, thoughtful, and wild musical ride. 

Says Hiromi: “On Sonicwonderland, I had the concept and the songs first, and I was looking for the people who could play the music in the ideal way that I had in my mind. Being with this group for well over a year,” she continues, “playing a lot of shows together and understanding each other, I started to see more of their strength and what shines in them the most. So, I started to write music with them in mind.” 

Hiromi’s Sonicwonder brings together world-class musicians of diverse backgrounds. French-born Feraud is a fusion virtuoso who has been compared to bass great Jaco Pastorius. Coye hails from Chicago, where he grew up playing in church and combines technical mastery with a soulful knack for groove and pocket. Brooklyn-raised O’Farrill, part of a dynasty that includes his father and grandfather, Latin-jazz titans Arturo and Chico O’Farrill, ranks among his generation's most important and progressive trumpeters. Throughout the album, O’Farrill conjures up audacious new sonic textures through electronics — part of his toolbox that Hiromi encouraged him to develop fully.  

“[Bass legend and collaborator] Anthony Jackson always told me that a first-class musician can do anything,” Hiromi says. “You don’t really have to put them in one genre or one category.” Knowing that anything she composed would be met with outstanding performances, Hiromi let her fiercest ambitions run wild when crafting the music on OUT THERE. “It all comes from curiosity,” she explains. “I think curiosity is the key to everything. How can you express yourself more? How can you write more?”

The album begins with “XYZ,” a fresh take on the first song that Hiromi ever released, back in 2003.  It’s a delirious burner that evokes the avant-garde-leaning Blue Note titles from the ‘60s. “Yes! Ramen!!” is a tribute to Hiromi’s favourite food over synths, revved-up disco beats, and a menacing riff. The band shares Hiromi’s love for ramen, especially O’Farrill and Coye, and they try to hit as many spots as possible on tour. “For this song, it was more like putting a soundtrack to the film I had in my head,” she says. “When the landscape changes, then different music comes in — different restaurant, different style.”  

The core of OUT THERE is its four-part suite, which Hiromi would like fans to hear as a focused front-to-back listen.  It opens with the rapid-fire melody of “Takin’ Off” and traverses the sly ’70s fusion grooves of “Strollin’,” which calls to mind Herbie Hancock, George Duke and Grover Washington Jr. “Orion” follows, with bold and triumphant bookends that could score a great work of science fiction. The suite closes with “The Quest,” which unites the chopped-up rhythmic thrust of current jazz with the synth pleasures of vintage prog-rock. The album’s finale is “Balloon Pop,” which is as much of an earworm as anything currently on the Hot 100. And with O’Farrill on trumpet, its hummable theme summons up Miles Davis’ hook-filled ’80s recordings.

Tied to the album’s release, Hiromi’s Sonicwonder will perform concerts at famous venues in Chicago, Toronto, a special album release show at the Blue Note in NYC, and more. See below for the full itinerary. For the artwork, Hiromi has once again tapped the artist Lou Beach, famous for an array of album covers including Blink 182's Dude Ranch and albums by Flying Burrito Brothers, Madonna and Weird Al. 

Hiromi’s many career triumphs include an NPR Tiny Desk Concert that has racked up 2 million views; the opportunity to represent her native Japan with a performance at the 2021 Summer Olympics in Tokyo; 2024 winner for Best Music Score for the animated feature film Blue Giant (Award of the Japanese Academy); and a GRAMMY Award for a collaboration with fusion hero Stanley Clarke. Her artistry is — to borrow a descriptor the New Yorker favoured — “dazzling.” 

PRE-ORDER/PRE-SAVE ‘OUT THERE’

Thank you to Baxter PR for sharing with us

Multifaceted Harpist Ashley Jackson Signs To Decca Records, US Announces Label Debut Album Take Me To The Water - Set For Release On March 21

 First Songs Off The Emotionally Stirring Collection “Deep River Pt. 1” and “Deep River Pt. 2”

Decca Records, US is honored to announce the signing of award-winning harpist, Ashley Jackson, whose evocative artistry fuses traditional classical music with the rich heritage of Black spirituality.  Ashley’s label debut album, Take Me To The Water, will launch globally on March 21, with the first two tracks, “Deep River Pt. 1” and “Deep River Pt. 2” available now across all digital service providers. Pre-order the album and listen to the tracks here.

Take Me to the Water is a masterful exploration of the transformative and spiritual power of water, featuring Jackson’s unique interpretations of iconic works by Margaret Bonds, Alice Coltrane, Claude Debussy, and Samuel Coleridge-Taylor. Through this deeply personal and creative project, Jackson takes listeners on a musical journey that connects cultural heritage, spiritual reflection, and universal themes of renewal and freedom.

“Water is celebrated in lots of different cultures, but, despite that, you find recurring themes in those celebrations,” Jackson shares. “So I wanted to hone in on those ideas—ideals—such as love and rebirth and hope.”

In “Deep River,” originally adapted by composer Samuel Coleridge-Taylor in 1905 - through her harp’s fluid, celestial tones, Jackson breathes new life into this iconic spiritual. “In playing ‘Deep River,’ I’m transported to a place where I can access that kind of cultural memory,” Jackson explains. “Just imagining my ancestors singing that, and what the words would have meant.  So as to tell their oppressors that they're singing about one thing, but really, they're communicating something else. Tapping into that ingenuity is so humbling.” 

Take Me to the Water not only celebrates music’s ability to connect cultures and histories but also raises awareness of global water inequities, with 2.2 billion people still lacking access to safe water today. This dual focus amplifies Jackson’s belief in music’s power to inspire and heal. 

 With Take Me to the Water, Ashley Jackson establishes herself as a bold and visionary voice in and beyond classical music, elevating the harp as an instrument of deep emotional resonance and limitless possibilities. The album promises to be a replenishing and immersive experience, creating a sonic experience that is both grounded in history and forward-looking. 

Vital and sacred, water is the essence of all life on Earth; an elemental force spiritually intertwined with freedom, transformation, purification, and renewal. For her second album Take Me to the Water, award-winning harpist Ashley Jackson distills her instrument into a fluid sonic language that meditates on these themes and metaphors, drawing from African mythology and the antebellum spiritual tradition while recognizing the 2.2 billion people who are still denied safe access to clean water today.

“Water is something that is celebrated in lots of different cultures, but, despite that, you find recurring themes in those celebrations. So I kind of wanted to hone in on those ideas—ideals, perhaps—such as love and rebirth and hope,” she explains of the follow-up to her 2023 debut Ennanga, which garnered acclaim for its consideration of American music and its roots in Black spirituality. “I really wanted the album to speak to those ideals that we all experience or strive for. And music is a beautiful way to remind us of those things.”

From the start of Take Me to the Water, we are guided towards a place of warmth. Arranged for harp and strings by Jackson, the soul-nourishing opener puts a fresh spin on Alice Coltrane’s 1977 Transcendence standout, “Radhe-Shyam.” Jackson first began digging deeper into Coltrane’s work while she was pregnant with her daughter in 2018, later finding common ground in their experience of motherhood. On “Radhe-Shyam,” she leans into the song’s central messages of love and devotion while introducing her new vantage point, carved from significant personal milestones such as parenthood, which allowed her to re-frame several “seasoned” pieces in a new light.

Accordingly, Debussy’s “Danse Sacrée” has formed part of Jackson’s repertoire since her days as a high school harpist. Here, it is woven into the album’s thoughtful narrative with a chant-like melody in thrall to the West African goddess Yemaya, and by virtue of its influences; Debussy was rumoured to have been inspired by a watercolour painting about water. Adding to these strands, on “Yemaya” (pts 1 & 2), Jackson works like a collagist, applying a “snippet” of a 2020 harp concerto by her colleague João Luiz Rezende to a piece that ushers in another of the album’s throughlines: the honouring of Yemaya, who is celebrated across the diaspora and often depicted as the goddess of the ocean.

Take Me to the Water consistently demonstrates Jackson’s commitment to reinvention. One of the album’s standout moments, “Troubled Water”—based on the baptism spiritual “Wade in the Water”—finds her honoring an iconic piano piece by pioneering Black composer and pianist Margaret Bonds, blazing a trail with her own groundbreaking harp transcription. Awash with deep lows and cascading highs, “Troubled Water” is an expressive and virtuosic creation that deftly mimics the dynamism of water, transposed for the harp using a novel technique which aided the recording process; weaving a pair of socks through the lower strings to dampen the resonance. “I always like the extra sound because that's what makes the harp the harp. But that's what popped into my mind in that recording session. Oh, we can try this to make it clearer,” Jackson explains.

Similarly, Jackson orients her strings to do the talking on “Deep River,” wringing every drop of emotion from every note on a canonical African American spiritual adapted and composed in 1905 by the famed Samuel Coleridge-Taylor. “Deep River” evokes freedom and hope, the words rich with multiple layers of meaning (“Deep river, my home is over Jordan / Deep river, Lord, I want to cross over into campground”) while the song unfolds with a gentle nostalgic melody that gradually crescendos like a rising tide in a storm, rolled chords and arpeggios gushing with celestial energy.

“The way Coleridge-Taylor begins it, I’m transported to a place where I can access that kind of cultural memory. It's very easy for me to close my eyes and imagine, because I wasn't there,” she says of “Deep River.” “But just imagining my ancestors singing that, and what the words would have meant… So many spirituals are encoded with multiple layers of meaning. So as to tell their oppressors that they're singing about one thing, but really they're communicating something else. Tapping into that ingenuity is so humbling.” 

Jackson’s harp undeniably wields great solitary power, yet when fleshed out with vocals or percussive flourishes, as heard on the blues-inspired interlude “River Jordan” or transcendent closing track, “Take Me to the Water,” it opens a portal to an intimate new dimension. The backup strings from Jackson’s long-standing collaborators the Harlem Chamber Players—with whom she first began playing a few years after finishing her doctorate at the Juilliard School in 2014— showcase her collaboration while her rendition of the Brandee Younger’s politically potent 2022 track “Unrest” reminds again of her desire to forge connection through music.

Many of Jackson’s earliest musical experiences were shaped by her Nana’s Baptist church in Newark, New Jersey, and she draws on these for Take Me to the Water, most pertinently in the album’s fluctuating emotions and underlying journey towards a higher, holistic state of consciousness. “The continuous seamless weaving of music to take you to those different emotional states is very much part of my concept for the album,” she says, adding: “Because I would love for my audience to be able to stay in something and then to be pulled somewhere else but the music doesn't stop.”

The album finds its triumphant conclusion in “Take Me to the Water” (pts 1 & 2), an open-hearted epic built around heavenly glissandi and soaring voices that carry a profound sense of communion. Thematically, the song embodies a full-circle moment. “It's a theme and variations,” explains Jackson. “‘Take Me to the Water’ very consciously builds in complexity, to sort of evoke that sense of subversion during baptism. And then coming out, feeling ready to walk a new walk.”

These enduring sentiments are at the heart of Ashley Jackson’s new album. Replenishing and immersive, Take Me to the Water embraces the transportive heft of the harp, conjuring a radiant vision of a world anchored by hope and brighter days, thereby imbuing an ancient instrument with vivid new meaning.

Ashley Jackson website click here

Thank you to Crossover Media for sharing with us

All I Know is the 4th album from Scottish jazz vocalist and songwriter Louise Dodds. It blends contemporary vocal jazz with Louise’s love of songwriting and storytelling, and uses improvisation to elaborate on the emotion and story of each song.

Purchase here

Originally from Scotland, Louise Dodds was nominated for Best Vocalist at the Scottish Jazz Awards in 2022 and 2023. Louise previously released two critically acclaimed solo albums – Fly (2013) and The Story Needs an Ending (2022) plus the stunning jazz/folk duo album Two Hours After Midnight (2023) with pianist & arranger Elchin Shirinov. She has performed at the EFG London Jazz Festival, Edinburgh Jazz & Blues Festival and Glasgow Jazz Festival and into Europe. In 2020 she opened for Norma Winstone MBE.

The title of the album, All I Know, is a line from track 5, Educating the Heart, chosen as it also sums up the overall theme of the album - everything Louise has come to know about love, life and the people around her.

Each song has been inspired by either a personal experience or the experiences of those closest to her, with a raw honesty intended to help the listener feel a sense of connection and understanding. It touches on both the light and dark sides of these experiences, often within the same song.

‘I wanted to give a voice to these feelings and experiences not just to understand and release them, but to also help other people know that they are not alone in what they are going through, and to help them find what they need within themselves.’

The album covers themes such as friendship in difficult times, the highs and lows of relationships, the love and pain within loss, finding strength and courage in yourself, and even asks the question

- if you could go back in time and meet your younger self, what would you tell them? (Inside Story). The album also includes a homage to her hometown of Edinburgh (Holyrood).

Louise Dodds - vocals, compositions

Elchin Shirinov - piano, arrangements

Max Luthert - bass

Dave Hamblett - drums

TRACKLIST:

1. As Standard 4:51.
2. Home 3:59
3. Kindred Spirits 5:47
4. Hemispheres 5:56
5. Educating the Heart 4:52
6. Holyrood 4:53
7. Lifeline 5:18
8. Inside Story 3:23
9. Dark Night of the Soul 4:00
10. Wiser 3:47

www.ampmusicrecords.com

Louise Dodds website click here