In April 2022, the adventurous British free-jazz keyboardist and composer Pat Thomas found himself immersed in a captivating performance with his quartet أحمد [Ahmed] at Glasgow’s Glue Factory. The piece he played paid homage to the legacy of Ahmed Abdul-Malik, a bassist and oud player who made notable contributions to jazz and world music from the 1950s through the 1970s. When Thomas finally opened his eyes, he was taken aback to discover an enthusiastic audience dancing joyfully around him.
![The artwork for Sama’a (Audition) by أحمد [ahmed].](https://i.guim.co.uk/img/media/390d861e7e55339b55308f2f7100d15953daa3be/0_0_3682_3682/master/3682.jpg?width=120&dpr=1&s=none&crop=none)
His surprise was understandable; since its formation, أحمد [Ahmed] has blended abstract improvisation with global grooves that draw inspiration from various musical traditions including duke Ellington, Thelonious Monk, dub music, jungle beats, electronic sounds, as well as the free-improvisation styles of Derek Bailey, Lol Coxhill, and drummer Steve Noble from the ’90s era.
Saxophonist Seymour wright has embraced influences from Evan Parker’s saxophone techniques while also incorporating lessons on collective improvisation learned from AMM drummer Eddie Prévost into his playing style.
The ensemble is further energized by eclectic musicians Joel Grip on bass and Antonin Gerbal on drums who amplify these dynamic musical exchanges.
The term “sama’a,” which translates roughly to meditative listening in Arabic—reflecting Thomas’s Sufi beliefs—resonates throughout their latest album featuring four tracks that embody this essence beautifully.
The opening track ”Ya Annas” combines ethereal saxophone textures with exquisite bowed bass lines before transitioning into an infectious dance rhythm punctuated by piano vamps followed by an intense sonic clash; meanwhile “Isma’a” presents a drum’n’bass motif that morphs into urgent free-sax improvisations against vibrant piano chords that are both splashy yet forceful.
“El Haris,” or “Anxious,” juxtaposes delicate horn exhalations with sustained harmonies leading into an energetic robotic groove while “Farah ‘Alaiyna,” meaning “Joy Upon Us,” starts off as a delightfully dissonant folk dance before evolving into exhilarating jazz swing rhythms—a testament to their creative prowess ahead of their upcoming tribute to Monk set for release in late2026.
New Releases This Month
Guitar virtuoso John Scofield teams up onc again with bassist Dave Holland, marking their frist duo project titled *Recollections of Home* under ECM Records—a collection showcasing their signature blend of hip boppish tunes infused with country-blues elements through warm original compositions like Scofield’s melodically rich “Intended to Be” alongside Holland’s enveloping tones featured in “Mr B,” dedicated to Ray Brown—a true highlight within this sophisticated offering.
Meanwhile Canadian composer anna Webber returns with her second release *Unseparate* under her innovative big band co-led alongside fellow saxophonist Angela Morris—melding jazz influences seamlessly intertwined within contemporary classical frameworks while maintaining balance through thoughtful arrangements performed by their talented young ensemble members’ improvisational flair.
Additonally UK composer Mike Westbrook‘s legendary session *The Cortège*, originally recorded in1980—a festivity merging pivotal European literature alongside avant-garde jazz—is now available as previously unreleased material titled *The Cortège Live on BBC* recorded during1980 via Cadillac Records.