If, at times, the Earshift label has (on some titles at least) erred towards the weird, the occasionally wonderful and the exotic in its desire to establish Oz jazz as ‘different’, a more settled aesthetic has descended in the last 18 months. Barely discernible at first, I grant you, but there now seems a realisation that ‘making an impression’ is only part of the story.

Volant by saxophonist Matthew Ottignon (brother of pianist Aaron, so it's a very gifted family) is a case in point. From the didgeridoo-like pedal that opens the album but grows in stature with the inspired spirituality Ottignon’s tenor sax generates – his invention, execution and originality is exceptional. His ensemble has a distinct personality that exceeds the limiting phrase ‘rhythm section’ – ‘The Third Bardo’ and ‘Bardo Lux’ feature exceptional playing, not just by Ottignon but Tsamouras, Hannah James (a fine bassist) and Holly Conner, a real talent, as well. This an album well deserving of four stars.

Of similar stature, but not style, is tenor saxophonist Julien Wilson, another world class Australian instrumentalist, who is a member of Peggy Lee’s boundary-pushing ensemble on Open Thread. They are an original, sonically stimulating ensemble that because of the diverse influences they bring to the music always seems to have something interesting to say. You want to hear more, not least Julien Wilson’s tenor playing on ‘Usurper.’ Understated, and far removed from trying to “make an impression” as can be imagined, its originality of conception draws the listener into the music in the way no lusty ‘look at me’ banging of drums could do.

A Tale of Transformation and Resilience is trio Koi Kingdom’s third album. Originally known as Shit Nipple, it will come as no shock to learn convention gets short shrift in favour of seamlessly blending musical lines of input into something distinctive of their own. 'Day of the Koi – Part 2’ unexpectedly features the Koi Choir, voices here adding unexpected depth. Apparently accompanied by a novel illustrated by guitarist Marcos Villalta, there is a definite narrative arc in which the seven originals cohere, and an originality of conception that makes this so much more than sax, bass and guitar.