Multi-instrumentalist Glasson seems to play just about any and every instrument known to man. Or woman. Her website tells me that she’s been busy as a session musician in fields of endeavour well away from jazz. The list of her recording credits is almost mind-blowing in its complexity and extent, and now here comes this new album. Her eighth, apparently. Given the suffusion of interests she details in her notes (viz artists and their inspirations, animals, the challenges of domesticity, the everyday and so on), it’s no surprise that these eight separate songs are multi-faceted, not to say eclectic in their melodic, rhythmic and tonal variety. The title track (named for artist Frida Karlo’s Amazonian parrot) has a Latin or a high-life vibe and to my ears a Caribbean second-line quality, this emphasised by Dorrell’s wonderfully mobile sousaphone. There’s soprano and trombone interweaving into and out of the melodic melange, and the whole thing is very engaging indeed.

Dorrell’s participation is a defining characteristic of the whole enterprise; he’s quick on the draw rhythmically, good at playing bubbling motifs or harmonising with Bassey’s trombone or Glasson’s tenor. There’s every kind of influence in play here: Latin, Arabic, tango, South African jazz, swing, ballad and bossa nova. By the time you read this, this band will have played the Love Supreme festival; sounds like just the right place for them. Theirs is good-time music, resourceful, highly danceable and pleasing. Great in a club or outdoors in the summer.