Learning hand-to-hand triplets on the djembe before studying classical percussion at the Guildhall, the Yorkshire-born Bex Burch had set off at a very young age on her diversely intriguing path exploring music for percussion. She first discovered her fascination for Ghanaian music while listening to Steve Reich, going on to spend three years in the country learning to play traditional Dagaare music on the gyil or Ghanaian xylophone, as well as learning how to make the instrument. On her return to London, Burch set up Vula Viel, a name she had been given by the Dagaare elders meaning Good is Good, which is the title of the band's first recording. She filters the language through the music coming out of London's contemporary improvising jazz scene, particularly finding a kinship with friends and members of the LOOP Collective, of which this band is formed. Vula Viel follows on from western African influenced bands such as Dave Smith's sabar percussion-improvising troupe Outhouse Ruhabi and Tom Challenger's Brass Mask with their organic dialogue with jazz and improvisation rather than any world music fusion. Her arrangements of traditional Dagaare music's invigorating polyrhythms (the music has a strong association with dance and funerals) contrasts with the more tranquil, ambient crossrhythms of minimalism drawn from Steve Reich, while the excellent keyboardist Dan Nicholls adds some quirky electric jazz moments. The highly percussive, buzzing resonance of Burch's gyil is an invigorating listen all on its own. Ridiculously danceable though not without its more elusive moments, Good is Good is really very good.