Johan Budi
The contemporary jazz landscape in the mid-2020s continues to demonstrate a remarkable resilience and stylistic breadth, as evidenced by three significant new releases that span the spectrum from large-ensemble traditionalism to avant-garde electronica and transatlantic post-bop. These recordings—hailing from the Glorious Assembly Jazz Orchestra, the trio Leverton Fox, and the Jed Levy & Phil Robson Quartet—underscore the evolving nature of the genre as it navigates shifting economic realities and technological integration. While the economic viability of large-scale jazz ensembles remains a perennial concern within the music industry, these releases suggest that the creative output of the British and international jazz scenes remains at a high watermark, driven by veteran composers and emerging virtuosos alike.
The Architectural Vision of the Glorious Assembly Jazz Orchestra
The release of the self-titled debut from the Glorious Assembly Jazz Orchestra represents a significant milestone for large-ensemble jazz in the United Kingdom. Written, arranged, and conducted by David Mitcham, an Emmy-award-winning film composer, the project bridges the gap between cinematic scope and the improvisational rigor of jazz. Mitcham’s background in film scoring is evident not through a reliance on Hollywood tropes, but through a sophisticated mastery of instrumentation and tonal color. The ensemble is not merely a vehicle for individual soloists but a cohesive instrument capable of conveying complex emotional landscapes and structural variations.
The orchestra is comprised of a "who’s who" of the current British jazz scene, featuring a lineup that includes trumpeters Laura Jurd and Louis Dowdeswell, saxophonists Mark Lockheart and Tori Freestone, and flautist Gareth Lockrane. This concentration of talent allows the music to venture beyond the constraints of standard post-bop. Mitcham’s compositions, such as "Bop Canon," demonstrate a deep engagement with historical jazz forms while maintaining a contemporary edge. The piece utilizes call-and-response dynamics between Lockheart and the ensemble to create a joyous, non-contrived dialogue that avoids the pitfalls of mere recreation.
Technically, the recording at British Grove Studios—a facility known for its high-fidelity capabilities—captures the intricate nuances of Mitcham’s writing. In "Gold In The Depths," the restraint of the ensemble allows for subtle coloration, providing a platform for Gareth Lockrane’s flute and Laura Jurd’s trumpet to deliver solos that are integrated into the mood of the piece rather than existing as isolated displays of virtuosity. The track "Tom Wallager" introduces a minimalist influence, featuring an exuberant, repeated figure on Eb clarinets reminiscent of the work of Terry Riley. This intersection of minimalism and jazz cushioning provides a unique texture that differentiates the Glorious Assembly from more traditional big bands.
Experimental Frontiers: Leverton Fox and the Eternal Gongbath
In stark contrast to the structured arrangements of the Glorious Assembly, the trio Leverton Fox explores the boundaries between jazz and experimental electronica with their ninth recording, Eternal Gongbath Of The Sunbed Mind. The group consists of Alex Bonney, Tim Giles, and Isambard Khroustaliov (the alias of Sam Britton). While Giles maintains strong ties to the traditional jazz circuit, Bonney and Khroustaliov are recognized for their work in more abstract, sparsely populated musical territories. Their latest work is heavily informed by the legacies of electronic pioneers such as Pauline Oliveros, Conrad Schnitzler, and Morton Subotnick.
Recorded at New River Studios in London around 2026, the album is technically classified as an EP due to its 23-minute duration, yet it possesses a speculative depth that suggests a much larger conceptual framework. The opening track, "Speculative Aerodynamic Problems Of A Human Headed Winged Lion," utilizes drone techniques championed by Tony Conrad before transitioning into a sonic atmosphere that evokes the early, experimental phases of psychedelic rock. The trio’s ability to manipulate electronic textures creates a sense of "happening" free improvisation, where the tension between sedate and animated sounds remains constant.
The release also highlights a fascination with the natural and scientific worlds. Tracks like "Socrates The Quail" and "Serenade To A Blobfish (Subaqueous Sound System)" use electronic synthesis to evoke the calls of extinct species or the pressurized environments of the deep sea. "Sounding Balloons At The Karman Line" further emphasizes this thematic focus, referencing the boundary between Earth’s atmosphere and outer space. This focus on speculative soundscapes positions Leverton Fox as a critical component of the contemporary avant-garde, pushing jazz-adjacent music into realms of pure sound exploration.
Transatlantic Synergy: The Jed Levy & Phil Robson Quartet
The third pillar of this contemporary survey is The Unpredictability Of The Sea, a collaboration between American saxophonist Jed Levy and British guitarist Phil Robson. Released on the Republic of Ireland-based Livia Records, the album is a definitive example of state-of-the-art post-bop. The partnership between Levy and Robson began in 2015 following Robson’s relocation to New York City. After years of performing in New York clubs and touring across Europe, the duo’s recording plans were significantly delayed by the COVID-19 pandemic. The quartet, which includes bassist Mark Hodgson and drummer Roberto Gatto, finally captured this material in November 2025 during a tour stop in Rome.
The album consists entirely of original compositions by the co-leaders, showcasing a high level of integration and collective intuition. Robson’s "Canute" serves as a primary example of the quartet’s approach, occupying the space between melodic memorability and a formal vehicle for expansive improvisation. The performance is considered and substantial, avoiding the "soporic" tendencies sometimes found in modern jazz by maintaining a high degree of interactive engagement.
Levy’s composition "Why" further illustrates the quartet’s depth. The track emphasizes the unit’s synergy, suggesting a working band that has honed its communication through extensive live performance. While the studio recordings are polished and professional, they hint at a more unreserved energy found in their live shows, where the passage of time allows for more spontaneous, "in-the-moment" musical events. The choice of Livia Records—a label with a long history of supporting high-quality jazz—ensures that this transatlantic collaboration receives the archival and distribution support necessary to reach a global audience.
Chronology of Production and Industry Context
The timeline of these releases reflects a broader recovery and stabilization within the jazz recording industry following the disruptions of the early 2020s.
- 2015–2019: Jed Levy and Phil Robson establish their partnership in New York and begin touring Europe, building the repertoire that would eventually comprise The Unpredictability Of The Sea.
- 2020–2022: The global pandemic halts international touring and large-ensemble recordings. During this period, composers like David Mitcham and experimentalists like Leverton Fox likely began the conceptual work for their future projects.
- November 2025: The Levy-Robson Quartet records their debut album at My Secret Place in Rome, signaling a return to international collaboration.
- Early 2026: Leverton Fox records Eternal Gongbath Of The Sunbed Mind at New River Studios, continuing their prolific output in the electronic-jazz niche.
- 2026 Release Cycle: The Glorious Assembly Jazz Orchestra releases their debut on Manor Barn Records, providing a high-water mark for British big band production.
Analysis of Implications for the Jazz Genre
The simultaneous emergence of these three distinct projects highlights several key trends in the industry. First, the role of the "composer-conductor" in jazz, as exemplified by David Mitcham, remains vital. In an era where digital production is dominant, the investment in a full-scale jazz orchestra at a premier studio like British Grove is a statement of artistic intent and a defiance of the perceived economic decline of large ensembles.
Second, the work of Leverton Fox demonstrates that the boundary between jazz and electronic music is becoming increasingly porous. By drawing on 20th-century avant-garde composers and utilizing modern synthesis, the trio is expanding the definition of what constitutes a "jazz" performance, moving away from traditional swing and toward a focus on texture and spontaneity.
Finally, the Levy-Robson Quartet exemplifies the enduring importance of the transatlantic exchange. The fusion of New York’s high-energy post-bop with European sensibilities and the support of an Irish label indicates that the jazz infrastructure is increasingly decentralized and global.
In conclusion, while these three albums represent different corners of the jazz world, they are united by a shared commitment to technical excellence and stylistic evolution. Whether through the grand architecture of a big band, the speculative drones of electronica, or the refined interplay of a post-bop quartet, these artists are ensuring that jazz remains a dynamic and relevant force in the contemporary cultural landscape. The successful completion and release of these works, despite the challenges of the preceding years, serve as a testament to the durability of the genre and the dedication of its practitioners.
