In many ways, this is a remarkable album. Remarkable for its ambition, its sound world, its powerful stories and, at its centre, the breathtaking range and timbral richness of Sarah Jane Morris' voice, which can switch from the plaintive to the passionate in a heartbeat. Devoted to the people of Africa and the music of that continent, the songs cover everything from honour killings (‘No Beyonce’) and homophobia (‘David Kato’) to child soldiers (‘Comfort They Have None’) and the abuse of power (‘Bloody Rain’), the candid subject matter couched in some of the most seductive grooves imaginable. In addition to the singer's regular touring band, the album features an array of special guests including Eska, Courtney Pine, Senegalese kora player Seckou Keita and an impressive host of backing singers. From the impassioned eloquence of ‘Deeper Well’ and the gospel choir arrangement of ‘Coal Train’ (which features one of the greatest screams in recorded music) to the gritty blues of ‘Get Them Out’, you're constantly reminded that Morris has been ploughing her own artistic furrow for over 25 years. Bloody Rain, surely, is her masterpiece. The album was created through PledgeMusic, and pledgers were treated to a one-off performance of the album in June at The Hippodrome, London.

Jazzwisespoke to Sarah Jane Morris about the album

The album features an incredibly rich textural palette. It must have been huge fun putting it all together?

The album has been a wonderful experience for us all and a lot of goodwill went into making it. Pee Wee Ellis did the brass arrangements, with Annie Whitehead, John Eacott and Mornington Lockett the brass players. Enrico Melozzi from Rome did the string arrangement for ‘No Beyonce’. The album covers many topics from love, freedom, loss, corruption, homophobia, honour killings, child soldiers, childhood and more. We hope listeners find it uplifting and soul searching. It was made with love!

The album sounds terrific. Where was it recorded?

We wanted to record everything ‘live’, so recorded many of the tracks at Yellow Fish Recording Studios, near Lewes. My dear friend Jo King lent us her house to use as a base so that we could live and breathe music, without interference from the outside world. We also recorded at my friend Paul Maddens' studio near Wapping called The Smokehouse. The Soweto Gospel Choir recorded in Johannesburg, Keziah Jones recorded in Paris and Avishai Cohen recorded in Tel Aviv.

What prompted you to choose the African theme?

We found as we were writing the songs that African influences were seeping in both melodically, rhythmically and lyrically. It was an album waiting and needing to be made.

Your vocal performance is absolutely fearless. How do you prepare yourself for the recording session?

I'd love to be able to tell you that I have a routine, but it would be a lie. I am totally self-taught and am a very instinctive performer. I recorded all the lead voices at the same time as the music; my voice was often the guide. The backing vocals were added afterwards.

The performance for your pledgers at The Hippodrome must have felt quite special?

The concert was a wonderful experience. There were 14 of us on stage, and it was encouraging to find that the songs we'd written and recorded worked outside the studio environment. The friends, fans and family that had pledged were a warm and welcoming audience.