Ammar Kalia

Brazilian saxophonist and composer Gaia Wilmer’s 20-piece Large Ensemble radically reworks Gilberto Gil’s catalogue on Parabólico: Reflections on Gilberto Gil, Volume I. The arrangements largely avoid direct resemblance to the originals, instead transforming familiar melodies through altered tempos, horn fanfares, jazz swing, ambient flute textures, undulating bass and improvisation while preserving their emotional core. The review praises the project as an expansive, inventive renewal of Gil’s music rather than a conventional covers album. Additional releases highlighted include Orquesta Akokán’s salsa- and jazz-inflected América!, Dana Salah’s Arabic-pop and dancehall fusion Bent Bladna, and Adrian Sherwood and King Ayisoba’s bass-heavy Pure Confusion.

The Guardian’s review finds Alexandra Burke energetic and valiant as Chaka Khan, while director Racky Plews provides nimble staging and immersive projections. However, the nearly three-hour musical rushes through Khan’s formative years, then loses momentum in its second half, which focuses on charity work and independence rather than her artistry. The production’s uneven storytelling, sparse musical material and emotionally ineffective family drama ultimately fail to capture the force of Khan’s life and music.

Ammar Kalia attempts to master omurice, the Japanese rice-filled omelette known for its fluffy exterior and liquid curds. Drawing on advice from social-media creator Jeremy Ocampo and chefs including Yuki Gomi and Akemi Yokoyama, he explores the dish’s history, its evolution from traditional yoshoku cuisine, and the theatrical style popularized by Kyoto chef Motokichi Yukimura. After spending money on eggs and pans and enduring repeated failures, Kalia achieves only one imperfect success, concluding that the technique requires extensive practice and may be best left to specialists.

Keir GoGwilt’s The Zarabanda Variations reimagines the sarabande through free jazz, baroque strings, spoken-word poetry and Latin American musical influences, tracing the dance’s colonial history before its adoption in Spain. The album’s atonal textures, complex rhythms and virtuosic performances are highly original but deliberately challenging, with standout contributions from Vicente Atria, Mariana Flores Bucio and Alec Goldfarb. The review also highlights new releases by Curió Curió, Alfonso Soliano and Somi.

Hit Machine follows music executive Wes, whose carefully managed life is disrupted by the arrival of his troubled younger brother Alex. The production explores masculinity, appropriation, creativity and family trauma through music-making and sibling conflict. Despite strong credentials, capable performers and an initially promising domestic realism, the review finds that the script reduces complex trauma to simplistic emotional explanations, gives insufficient depth to its discussion of Black masculinity, and features surprisingly little music. The production is playing at Soho Theatre in London until 15 August.

Lido Pimienta warns of rising rightwing politics in Colombia while discussing the creative and political motivations behind her new album Caribenya. Drawing on experiences of racism and displacement in Colombia and Canada, she channels themes of resistance, class inequality and cultural survival into her music. The album contrasts with her earlier orchestral work, embracing dance rhythms and an Enya-inspired indifference to commercial pressures. As her label contract nears its end, she questions the sustainability of music careers in a market dominated by a few global superstars, while preparing for an international tour promoting joy, cultural preservation and political awareness.

Femi Koleoso and James Mollison discuss their creative development, the influence of Tony Allen, memorable performances around the world and the importance of grassroots support for young musicians. They emphasize community responsibility amid declining public arts funding and outline the themes of their upcoming album, shaped by both joy and experiences of profound loss.

A family cruise booked through Teletext turned into a miserable experience for the narrator and his father, who were seasick for nearly the entire trip as the ship crossed rough waters and made only brief stops at Caribbean destinations. While his mother and brother enjoyed the excursions and amenities, he and his father spent most of the journey bedridden and unwell. The experience ended with relief upon reaching land and a vow never to repeat such a holiday or rely on his father’s Teletext-based planning.

The North Sea Jazz Festival in Rotterdam marks its 50th anniversary, celebrated for hosting many of the greatest figures in jazz and related genres. Organisers and musicians recall standout performances, late‑night jam sessions and chance encounters that helped define the event’s legacy. While expanding its lineup to include major R&B, soul and Afrobeats artists to attract younger audiences, the festival aims to maintain its jazz roots. Artists describe the festival as a creative hub where new musical combinations emerge and generations connect, reflecting what organisers call a new golden age of jazz.

A sharp decline in traditional hospitality venues contrasts with the rapid growth of themed bars offering immersive or activity‑based experiences. Visits to seven London venues reveal that attractions such as ball pits, immersive theatre, karaoke and bingo appeal to younger patrons seeking social environments that do not revolve solely around alcohol. Operators cite financial pressures and shifting drinking habits, while customers value escapism, novelty and spaces that feel more inclusive. Despite mixed personal experiences, the trend reflects an effort to adapt nightlife to new cultural and economic realities.

Ezra Collective’s rise within the UK jazz scene is highlighted through their award‑winning achievements, collaborations across genres and commitment to youth mentorship. Ahead of their upcoming fourth album and a live Q&A at the Love Supreme festival, readers are invited to submit questions about the band’s origins, the evolution of British jazz and nurturing young musical talent, with selected questions to be featured during the event.

Field recordings of 1980s candomblé rituals from Salvador are paired with contemporary remixes that transform the ceremonial drumming into modern dance music. Producers from Brazil, Europe and elsewhere reinterpret the rhythmic material into baile funk, techno, dub and funk‑driven tracks, highlighting the depth of the original percussion. Additional recent releases from Debit, Lau Ro and Akusmi showcase varied approaches to Latin American folk, bossa nova and spiritual jazz influences.

Abdullah Ibrahim’s six-decade career is traced through ten standout recordings that reveal his role in shaping South African jazz, blending joyful melodies with improvisational depth and political resonance. The selections highlight key phases of his evolution, from early bebop with the Jazz Epistles and politically charged compositions like Mannenberg to large-ensemble experiments, orchestral works and introspective late-career solo recordings. His collaborations with figures such as Duke Ellington, Don Cherry and longtime Ekaya band members underscore his enduring influence and distinctive musical voice.

Chilli crisp has grown from a Lao Gan Ma staple to a booming UK food trend inspiring numerous small‑batch producers who reinterpret the condiment through their cultural heritage. Rising demand has led to rapid business expansion, diverse flavour profiles and widespread culinary experimentation. The article also outlines a simple method for making chilli crisp at home, reflecting the growing British appetite for bold, spicy flavours.

Authentic balti restaurants in Birmingham have dwindled from their 1990s boom to about 20, prompting campaigners led by Andy Munro to seek living‑heritage status for the dish through a Unesco‑backed scheme. Restaurateurs describe rising costs, Covid impacts, city‑wide decline and changing dining habits as major pressures, though some venues are modernising to attract younger customers. The dish’s origins, cooking method and cultural significance are highlighted as advocates push for official recognition to preserve tradition and revive interest.

Matías Aguayo’s album Anenoa marks his return to vocal-driven electronic music, blending Latin rhythms, ghetto house, trance and synth-pop with playful, shape-shifting vocal performances. Tracks move between processed chants, falsetto, and experimental tones, creating an energetic, dance-focused record. Additional releases highlighted include Natacha Atlas and Samy Bishai’s genre-crossing Parallel Universe Volume 1, Cinna Peyghamy’s experimental Music for Tombak & Synth, and Ali Sethi and Gregory Rogove’s minimal yet expressive Room Jhoom.

Writers critique Spotify’s algorithmic mood playlists as bland and impersonal, arguing that mood-based listening deserves more thoughtful curation. They present six sets of human-made playlists tailored to emotions such as excitement, romance, anger, relaxation, restlessness and misery, each accompanied by commentary and song selections that illustrate how music can capture and elevate emotional states more vividly than algorithmic recommendations.

Serokolo 7’s debut album revives and accelerates the South African mapanta tradition with dense, high‑velocity rhythms, blending folk vocals, marimba patterns and electronic elements into a charged, frenetic sound. Tracks maintain intense tension, relying on sheer loudness and speed for impact, with occasional softer moments offering brief contrast. Additional releases highlighted include an energetic Sufi‑influenced album from Shye Ben Tzur, Jonny Greenwood and the Rajasthan Express, a hardstyle–ceremonial fusion by Korean producer Hwxxng, and an Iranian project combining spoken word with ambient electronics.

A survey of 10 standout recordings from Asha Bhosle highlights the breadth of her eight‑decade career, from early Marathi film work and classic Bollywood playback performances to genre‑crossing collaborations in psychedelia, jazz cabaret, New Age and electronic music. Key partnerships with composers including OP Nayyar, RD Burman, Khayyam and AR Rahman underscore her vocal versatility, while international projects with artists such as Boy George and Michael Stipe demonstrate her adaptability across styles. The selected songs illustrate her technical range, expressive acting ability behind the microphone and enduring cultural influence.

Sanaya Ardeshir’s first album under her own name shifts from electronic production to minimalist piano compositions, integrating motifs that provide space for collaborators including saxophonist Rhys Sebastian and percussionist Sarathy Korwar. The record blends piano phrasing with subtle electronics, moving between cinematic passages and more rhythmically driven sections that culminate in a dub‑house‑infused title track. The review also highlights new releases by Maryam Saleh, Dumama and BCUC, noting each artist’s distinctive fusion of traditional, electronic or high‑energy musical elements.

Performance poet Sam Browne uses candid storytelling and poetry to promote healthier models of masculinity and address issues such as mental health, sexual assault, and online toxicity. His viral success on social media has drawn both praise and backlash, including attacks from Andrew Tate’s followers, but Browne remains committed to offering vulnerable, relatable alternatives for young men. After struggles with psychosis, depression, and identity, he channelled his experiences into poetry that resonates widely and aims to counter harmful influences. He continues to expand his work through touring, online content, and an upcoming book while maintaining a focus on honesty and community as tools for change.

Guvna B reflects on a period marked by a racist attack, the breakdown of his marriage and a long struggle with pornography addiction that led him to rehab. His new album explores shame, secrecy and recovery while drawing on influences such as Gabor Maté’s work on addiction. He discusses growing up in a faith‑based environment where emotional expression was limited, his efforts to rebuild relationships and the role of music in processing trauma. He also highlights the importance of emotional openness among young men and describes his ongoing effort to balance honesty with protecting his children as he shares his story publicly.

Tinariwen describe fleeing escalating violence in Mali involving the Malian military and Wagner Group, shaping the themes of their new album Hoggar. Their exile in Algeria has also fostered collaboration with younger Tuareg band Imarhan, whose Tamanrasset studio Aboogi has become a creative hub supporting both established and emerging musicians, including young women. The intergenerational project aims to preserve and expand Tuareg musical traditions while raising global awareness of the community’s displacement and ongoing threats, as both groups advocate for autonomy, cultural survival, and peace.

French producer Simo Cell and Egyptian singer Abdullah Miniawy deliver an album that blends frenetic electronic production with Miniawy’s expressive vocals to explore themes of AI‑driven digital distortion. The record juxtaposes skittering, chaotic rhythms with soaring melodic lines, creating an unsettling but cohesive sound when fully embraced. Additional new releases highlighted include Tanya Tagaq’s intense electronic‑infused project, Ireke’s vibrant Afrobeat‑psychedelic fusion, and Gabriel Vicéns’s joyful Latin jazz album.

Tom Misch recounts stepping away from his rising music career in 2022 due to burnout and anxiety, pausing touring and returning home to reset. Time spent surfing, traveling, working small jobs, and reconnecting with family helped him rebuild a healthier relationship with music, leading to his introspective new album Full Circle. New collaborations, a shift toward classic singer-songwriter styles, and low‑key performances restored his enjoyment of creating and performing. Misch now prioritizes balance and creative freedom as he prepares selective live shows alongside the album’s release.