Successful though Ghosh’s debut album Northern Namaste was in opening up jazz to “local” influences – primarily derived from the Indian sub-continent – there was an eagerness to cover too many bases so that as an album it lacked a unified concept. Ghosh himself called this “first album syndrome”. Primal Odyssey must therefore be considered a success, both at an artistic and conceptual level, since he demonstrates evidence of considerable artistic growth that is linked to a more unified concept in the execution of his music. The rhythmic impulse of Primal Odyssey is more explicitly stated than on Northern Namaste, a major factor in making this music so compelling. The melodic premise of Ghosh’s compositions largely eschews chromaticism, so challenging the improviser to favour a largely diatonic approach to improvisation, where extended harmonies are used sparingly, like a rich flavouring to spice the improvised line, rather than as a thing-in-itself. This has the effect of bringing great unity to the music, but also accessibility – there is not the feeling the improviser is about to launch out on the kind of tormented brain puzzle that often passes for improvisation today that can have the effect of repelling rather than attracting the listener. This is music of its time, as a younger man Ghosh enjoyed the rhythms and melodies of the club music scene, but also has within it elements that are timeless – respect for melody, its development and resolution. Opening with ‘Caliban’s Revenge’, Ghosh’s music instantly commands attention and however much you hear of this album, you want to hear more. That is something special.