Ezra Collective member Joe Armon-Jones has of late been at the forefront of the London jazz scene. Co-writing and performing high-energy, Afrobeat-influenced tunes with the five-person Ezra Collective, as well as regularly collaborating with the likes of saxophonist Nubya Garcia, dubstep producer Mala and soul singer Fatima, Armon-Jones’ signature is a fast-paced, melodically intricate style capable of adapting to a wide range of soloists and bandleaders.

On his own productions, Armon-Jones tends to sit on the dubbier, more downtempo end of the spectrum, with 2018’s debut LP Starting Today playing through soul-inflected melodies and 2019’s Turn to Clear View inviting vocal collaborations from the likes of Georgia Anne Muldrow and Obongjayar. His latest release, the two-part All The Quiet, continues in much the same vein, finding ample space for frenetic piano runs and syncopated grooves in its languorous feel.

Armon-Jones delves deep into a swung, Robert Glasper-style hip-hop feel on the Goya Gumbani feature ‘Eye Swear’, while off-kilter Afrobeat rhythms take charge on the head-nodding ‘Kingfisher’ and dub horn fanfares punctuate the bright ‘Lifetones’.

There is little here to surprise those already familiar with Armon-Jones’ sound but it’s a satisfying listen nonetheless, only providing a glimpse of new territory on the eerie distortions of ‘Danger Everywhere’ and ‘Show Me’. Here, Armon-Jones tantalisingly displays a new, darker side to his introspective compositions, perhaps promising more to come on the forthcoming second part of the album.