Composer/pianist Daniel Inzani’s name has often appeared around equally striking nomenclature – he’s worked with Alabaster dePlume and Cosmo Sheldrake – as well as in the line-ups of projects like the neo-classical Spindle Ensemble and the Ethio-prog Tezeta.

This triple album, however, should ensure his name finally gets the recognition his indisputable musicianship deserves. No doubt a play on the idea of ‘selected works’, Selected Worlds neatly encapsulates the multi-dimensional nature of Inzani’s musical creativity.

He is as immersed in contemporary classical composition, whether for string quartet, larger ensemble, piano trio or solo piano, as in the Zappa-esque world of crazily constructed orchestral rock or the sinuous sub-funk of Ethiopian jazz.

All of these – and much more – are represented across three albums conveniently separated into Form (strictly composed acoustic music, including a String Quartet), Lore (more complex ensemble music) and Play (electro-acoustic post-prog). Each album was recorded in a three-day session at Sheldrake’s studio, the music flawlessly delivered by a variety of groupings that deliver colour and passion to Inzani’s careful orchestrations.

If the classical pieces have echoes of Ravel or Debussy, or the influence of the aforementioned Zappa or Ethiopian megastar Mulatu Astatke underpin others, it is nonetheless impressive how much consistency there is across the 23 tracks. Inzani’s voice emerges clearly, through certain signature elements – he has a fondness for triple-time and swerving glissando strings – but primarily in his melodic voicing and sense of dynamic construction.

There is no shortage of invention here, whether in the Indo-Arabic minimalism of ‘Midwinter’, the Ethio-surf mash-up of 'The Great Nebula' or the remarkable shape-shifting of ‘Sounds For the Unseen’. That latter 18-minute epic moves from grand orchestration through textural hubbub to a climactic peak steered along by insistent vibes into a Debussy-esque theme before reaching its gentle loungecore conclusion. In that piece, as with the whole Selected Worlds project, Inzani has drawn on years of self-taught musicianship and listening and you sense that, exhaustive though this album is, there is plenty more to come from his fertile imagination.