Four albums in on ECM and French-Ivorian drummer Katché has made some major changes to his band – a self-imposed creative exercise he adopts for each new project – and with good reason, as here it yields fresh results and artistic progression. So while the richness of sound that he explored on his 2004 solo debut Neighbourhood has been replaced by a spaced-out, melodically driven style for this self-titled album, the new music feels timely and gets off to flying start on ‘Running After Years’, Katché opening proceedings with one of his typically taut funk beats. Yes this is an ECM album that grooves, although never truly breaks into a sweat. The Nordic horn section features the increasingly distinctive sax titan Tore Brunborg – the only link here to Katché's previous group – while the presence of Nils Petter Molvaer away from the icy electronic climbs of his own projects is very welcome indeed. Old friends from their formative Masqualero days, their empathy is still evident here, with Molvaer soaring plaintively above Brunborg's scything lead work and simmering solos, which occasionally boil up only to leave you wanting more. The wildcard here though is London-based keyboardist Jim Watson, who like Katché regularly plays stadiums with pop/rock artists but is also a deeply experienced jazz musician. He and Katché first met on a French TV show and have toured extensively together in the past year, which has consolidated their mutual understanding of tuneful hooks and the power of understatement. Combining this in the context of a bass-less group results in percolating rhythmic-harmonic layers which Katché exploits to dramatic compositional effect; his classically-influenced timpani style drumming artfully firing tom hits, cymbal splashes and trademark snapping rimshots into unexpected spaces. Watson sticks to a classic blend of Hammond – with its spongy bass sounds providing low frequency ballast throughout – and often-beatific piano. Thus Katché's pared-down style is now instantly recognisable, and here it's produced one of the year's most strikingly melodic records.

Jazzwise spoke to Manu Katché about the album...

What were your compositional objectives going into this project?

I would say pretty much similar to before, medium tempos and ballads... I love it! And having a new sound direction because of the use of the Hammond B3, no upright bass or bass guitar, and the unison blend of trumpet and saxophone.

You’ve said in the past you like to record quickly – why?

I think I like to catch the spontaneity of the players, for freshness and performance, knowing they heard the demos in advance and they had the time to learn the themes and structures. Recording the same piece a hundred times sometimes ruins the overall atmosphere and its simplicity.

How has working with the likes of Peter Gabriel and Joni Mitchell helped you with your own writing?

Before anything, having being privileged to be creative with their music and then, having worked with them so many years certainly influenced the way I structure my own music (similar to pop songs structures), the difference is harmony and chords

Is it important for you to change the line up of your band for each album?

Each time I come up with a new album it is also because I want to play with such and such, so I try to play with them before, a jam or something else to be able to have them in mind while I will be writing. Changing line up regularly also helps me to go further and challenge myself to redefine the old material and my own playing.

You have a real rapport with Jim Watson – and you seem to have brought out the best in him too – do you plan on working more together?

We met during my TV show One Shot Not, and I instantly liked his playing and I knew he was going to bring something into my music, that little edge of blues, which wasn't there before! Since recording my album, he's become the organist/pianist in my band.