Johan Budi
The landscape of contemporary jazz is undergoing a significant transformation as composers increasingly look toward large-scale orchestration and cross-genre fusion to express complex modern narratives. Among the most prominent figures leading this movement is Callum Au, a London-based trombonist and arranger whose latest project, Sing Seven Seas, represents a massive undertaking in symphonic jazz. Born to Scottish and Chinese parents and raised between Blackpool and London, Au’s trajectory has been defined by a deep immersion in the British jazz tradition. A former principal trombonist for the National Youth Jazz Orchestra and a fourteen-year veteran of the Ronnie Scott’s Jazz Orchestra, Au has built a reputation as a premiere arranger for global icons such as Quincy Jones and Jamie Cullum. His work with the Royal Philharmonic Orchestra and the Danish Radio Big Band has further solidified his ability to navigate the intersection of classical precision and jazz spontaneity.
The Architectural Ambition of Callum Au’s Sing Seven Seas
Callum Au’s latest recorded work, Sing Seven Seas, is a monumental production involving over 80 musicians, a scale rarely seen in independent jazz releases. The project reflects a culmination of a decade of ensemble leadership, starting with the formation of his big band in 2009 and the subsequent establishment of the Callum Au Orchestra in 2020. By combining a full-scale symphony orchestra with a traditional big band and an expanded rhythm section, Au has created a sonic palette that bridges the gap between the mid-century swing era and modern symphonic prog.
The album is structured into two distinct volumes, each serving a specific thematic purpose. Volume 1 is characterized by its exploratory nature, moving through diverse textures and conceptual frameworks that highlight Au’s skills as a contemporary composer. In contrast, Volume 2 is a deliberate homage to the big-band tradition. This second installment features sections dedicated to the legacies of Duke Ellington, Count Basie, and Kenny Wheeler, providing a historical anchor to the album’s more experimental tendencies.
One of the focal points of the collection is the track "Swipe Right!", which has garnered attention for its intricate arrangement and a high-energy clarinet solo by Duncan Hemstock. The recording sessions, which took place at LEH School in Hampton, Surrey, in August 2025, utilized a roster of top-tier soloists, including Emma Rawicz, Mark Nightingale, and Freddie Gavita. The inclusion of such diverse talent underscores Au’s role as a facilitator of the London jazz scene’s elite. From a technical perspective, the album manages to balance the weight of an 80-piece ensemble without sacrificing the agility required for contemporary jazz, a feat that analysts suggest sets a new benchmark for orchestral jazz production in the 2020s.
Greenhouse Ensemble and the Evolution of the Montreal Sound
While Callum Au explores the heights of orchestral jazz in London, the Greenhouse Ensemble is carving out a niche for "chamber prog-jazz" in Montreal. A close-knit septet, the ensemble released their latest album, Mezzanine, in 2025 as a direct sequel to their 2023 debut, Rez-de-Chaussée (Ground Floor). The naming convention of their discography—moving from the ground floor to the mezzanine—serves as a metaphor for the band’s vertical growth in complexity and sonic exploration.
The Greenhouse Ensemble’s music is a hybrid of contemporary jazz, progressive rock, and traditional Québécois folk. This cultural synthesis is most evident in the track "Variations Sur Une Turlute," which incorporates the "turlute," a traditional form of Quebecois vocalization involving rapid, percussive syllables. By integrating this folk element with modern sound manipulation, the ensemble, led by vocalist Roxane Reddy, creates a bridge between Quebec’s heritage and the global avant-garde.
The creation of Mezzanine was deeply influenced by a compositional retreat in the Canadian countryside, an environment that allowed the band to experiment with soundscapes in isolation. This period of collective living is reflected in the thematic content of the album, such as the track "Nikki," dedicated to a pet dog that accompanied the musicians during their retreat. The technical proficiency of the members—including trumpeter William Lussier and violinist Camille Brousseau—is balanced by a shared approach to songwriting, ensuring that no single instrument dominates the narrative. The album’s progression from the rhythmic "Intégration" to the wistful "La P’tite Loune à Rox" demonstrates a sophisticated understanding of pacing and emotional resonance, positioning the Greenhouse Ensemble as a vital force in the Canadian independent music scene.
Audrey Ochoa and the Intersection of Trombone Virtuosity and Electronic Fusion
In Western Canada, Audrey Ochoa has emerged as a powerhouse of the trombone, blending technical mastery with a willingness to experiment across genres. Her latest release, The Sorceress (2026), continues her streak of critically acclaimed projects, following the success of The Head Of A Mouse (2023), which earned a Juno Award nomination in 2025. Ochoa’s career has been marked by a consistent presence at the top of the Canadian jazz charts, a feat achieved through a unique blend of swing, electronica, pop, and Latin influences.
The Sorceress is a 14-track odyssey entirely composed and arranged by Ochoa. While she is primarily known as a trombonist, her vocal contributions on four tracks reveal a multifaceted artist who views the voice as an extension of her brass playing. The core of the album is built around a tight-knit trio consisting of pianist Chris Andrew, bassist Mike Lent, and drummer Jon May. However, Ochoa expands this sound by selectively adding strings and woodwinds, such as baritone saxophone, cello, and violin, to create specific atmospheric effects.
Ochoa’s compositions are often deeply personal, serving as musical diary entries. For example, "Maintenance Phase" explores the psychological hurdles of lifestyle changes, while "Let’s Give Up" captures a moment of emotional liberation. This vulnerability, paired with her experience performing alongside legends like Marcus Miller and Chris Potter, gives her work a relatable yet sophisticated edge. Analysts note that Ochoa’s ability to successfully fuse Latin jazz rhythms with electronic elements on The Sorceress reflects a broader trend of jazz musicians reclaiming the genre’s roots as a popular, danceable art form while maintaining intellectual depth.
Chronology of Major Releases and Milestones (2009–2026)
The development of these three distinct musical entities provides a timeline of the shifting priorities within the jazz world over the last two decades:
- 2009: Callum Au forms his first big band in London, drawing from the city’s burgeoning jazz talent.
- 2013: Audrey Ochoa’s debut, Trombone And Other Delights, tops Canadian jazz charts, signaling the arrival of a new voice in brass.
- 2017–2020: Ochoa releases Afterthought and Frankenhorn, both reaching number one in Canada; Callum Au establishes the Callum Au Orchestra to pursue large-scale symphonic works.
- 2023: Greenhouse Ensemble releases Rez-de-Chaussée, establishing their "prog-folk-jazz" identity in Montreal; Audrey Ochoa releases The Head Of A Mouse.
- 2025: Greenhouse Ensemble releases Mezzanine; Callum Au records Sing Seven Seas at LEH School; Audrey Ochoa receives a Juno Award nomination.
- 2026: Release of Audrey Ochoa’s The Sorceress, marking a new peak in electronic and Latin jazz fusion.
Technical Analysis and Broader Implications for the Genre
The works of Au, the Greenhouse Ensemble, and Ochoa suggest that the future of jazz lies in the dismantling of rigid genre boundaries. In Au’s case, the use of an 80-piece orchestra is not merely for volume but for a "cinematic" breadth that allows for more complex storytelling. His decision to include "symphonic prog" elements indicates a move away from the "purist" big-band sound toward a more inclusive, multi-textured approach.
Similarly, the Greenhouse Ensemble’s use of "turlute" and sound manipulation highlights a growing interest in "localized" jazz—music that is firmly rooted in a specific cultural geography (Quebec) but speaks a universal language of improvisation. Their collaborative songwriting model challenges the traditional "leader-sideman" hierarchy, suggesting a more democratic future for jazz ensembles.
Audrey Ochoa’s integration of electronica and pop into the trombone’s repertoire serves a different but equally important function: accessibility. By incorporating the "Commodore ’25" aesthetic and themes of modern life, she bridges the gap between the jazz aficionado and the general listener. Her success on the charts provides empirical data that there is a significant market for jazz that is technically proficient yet stylistically fluid.
Conclusion
The simultaneous emergence of these diverse projects underscores a vibrant era for jazz orchestration. Whether through the massive symphonic scale of Callum Au, the folk-infused prog-jazz of Greenhouse Ensemble, or the electronic-Latin fusion of Audrey Ochoa, the genre is proving its resilience and adaptability. As these artists continue to tour and record, their work provides a roadmap for the next generation of composers who seek to honor the traditions of the past while fearlessly exploring the technological and cultural possibilities of the future. The high production standards and critical reception of these albums indicate that jazz remains a primary vehicle for sophisticated musical expression in the mid-2020s.
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