The London-based bassist Radhika De Saram penned all the tracks on this, her debut album, during lockdown. In addition to being a freelance violinist with acclaimed ensembles London Contemporary Orchestra and Chineke! Orchestra as well as contributing to movie soundtracks and pop/world music sessions, De Saram also developed a keen early interest in jazz. Her quartet includes the saxophonist Zhenya Strigalev, whose all-star trio with partners Eric Harland and Tim LeFebvre proved the initial spark of inspiration for this project.

Adding her own unique ingredients to a mix of upbeat jazz-rock and Latin elements with the folk music of her Sri Lankan heritage, De Saram has written an energetic yet melodiously evocative set of themes and corresponding irregular meters that are engaging rather than obscure.

The presence of Strigalev guarantees a certain commitment and intensity, his playful, quite feverish vocal-like alto horn calls on the likes of Ornette, Trane and Steve Coleman for inspiration but equally to a more traditional haunting lyricism, for instance on the quaint standard-like ballad ‘Old Cane Chair’ a feature also for guest guitarist Rodion Grischenko. The imaginative Dinosaur-affiliated keyboardist Elliot Galvin makes noteworthy guest contributions on ‘Little Sloth Bear’ and ‘Straight’, the latter where he makes a guitar-like sound that could be John Scofield if he was playing in an experimental jazz-rock band. De Saram does her bit on electric bass too, rousing the ensemble with some sonically-rounded, highly infectious grooves that occasionally punctuate the themes.

As you might expect from a concert violinist, From the Crow’s Nest is highly musical, and the tension between compositional arrangements and improv adds to it. A strong debut as band leader then, which has a dopamine-boosting effect after repeated listening.