La Saboteuse - Digital Booklet.

Hello friends,

I’m so delighted to present this brand new pressing of La Saboteuse and want to thank the team at Night Time Stories for making this possible.

The album has been recut by the experts at The Vinyl Factory and I hope you’ll all enjoy the superior sonic detail, depth and clarity they have achieved.

It is over 11 years now since I started work on La Saboteuse. On a whim, I booked an experimental recording session, just myself and Lewis Wright, to record some short improvised duets. From these humble beginnings the album developed. In looking back through the text from the original album booklet I couldn’t help reflecting on how much has changed since that morning at The Cowshed Studio.

I could not have imagined back then how well La Saboteuse would be received and how the resulting global attention on my music would change my life. Since the album’s release I have travelled far and wide performing for audiences all across Europe, the Middle East and North Africa, and in the USA and Canada.

I was struck that I didn’t comment in the booklet on Sophie Bass’s incredible artwork. At that time we’d never actually met. But since then our working relationship has grown, each inspiring the other to new creations. The first of these was A Shoal Of Souls which I composed in response to Sophie’s cover for La Saboteuse. She has gone on to create cover art for all my music since then, including two as of yet unreleased records…

There has also been a gradual evolution in the band personnel with George Crowley taking up the baton from Shabaka on bass clarinet and Ralph Wyld claiming the vibraphone chair. Prior to 2017 I was performing mainly with a quintet and in fact Organ Eternal was the first piece I arranged for what became my  seven-piece Hafla band. Whenever possible I try to perform this music with the full ensemble, but inevitably most of my live dates over the last few years have been with my touring quartet - Ralph Wyld, Dave Manington and Martin France - who have become almost like family.

At the time of writing these notes (September 2024) I am still struggling to come to terms with and grieving for the tragic loss of my dear friend, collaborator and mentor, the incomparable musical genius, Martin. I’m so grateful that he chose to be a part of my musical life.

There have been many positive things written about this album in the press, which has gone some way towards defeating the arguments put forward by my inner saboteur, still work in progress. However, the feedback which has impacted me most deeply are the many personal messages I’ve received over the years from individual listeners. Hearing that my music has resonated with somebody, brought them joy, or comfort in times of distress, or that I’ve inspired others to follow their own creative impulses in art, dance, film or music, this means so much to me.

So here is the booklet, reconfigured for digital by my great friend, the artistic visionary, Charlie Campion, who’s been with me on my journey since 2016 when he signed me to Naim Records. The original text which follows was all relevant in 2017 when it was written.

I hope you enjoy reading.

LA SABOTEUSE

YAZZ AHMED

TRUMPET, FLUGELHORN, QUARTER-TONE FLUGELHORN

This bit is supposed to be about me. What can I tell you? Well, let's see, l'm a British-Bahraini trumpet player and composer and in the last few years I've been on a spiritual journey. I've been looking within, trying to work out who I am, seeking a way to express myself by developing a musical language which resonates with my growing sense of identity. This all began when I more or less stumbled across a record that changed my perspective on jazz. The music on Blue Camel, by oud player, Rabih Abou-Khalil, spoke to me at a subconscious level. Here were the sounds and flavours of the music which, as a child in Bahrain, had deeply entered my psyche, but now blended with the jazz disciplines I had been studying for so long. Something really clicked and I felt compelled to explore this new world. I took my first experimental steps on this pathway with my composition Wah-Wah Sowahwah, which appears on my debut album Finding My Way Home. Since then I have been delving deeper into the complex, subtle and mysterious world of Arabic music. I commissioned a unique quarter-tone flugelhorn, created and crafted by genius instrument maker, Leigh McKinney of Eclipse Trumpets. I wanted an instrument that would enable me to play truly centred quarter tones, the 'blue notes' in Arabic music, so that I could immerse myself more completely in exploring the expressive nuances of traditional maqams. I then took lessons with violin maestros, Emile Bassili and Samy Bishay, who helped me unlock the gateway to the Arabic traditions of expressive melodic improvisation, and I went to Bahrain to study the secular folk music, the songs of the pearl divers and the traditional wedding music of the female drumming groups. I've also been learning to read and write in Arabic, something I regret not starting sooner. This has opened a new window for me, enabling me to compose songs in Arabic. This research culminated in a performance of my suite, Alhaan Al Siduri, commissioned by Birmingham Jazzlines, at the Bahrain International Music Festival in 2016. Alongside composing and leading my own groups in concerts around Europe, the Middle East and North Africa, in recent years I have also enjoyed the wonderful opportunities of playing and recording with inspiring artists including Radiohead, These New Puritans, Transglobal Underground, Jason Singh and Arun Ghosh.

La Saboteuse

The underlying theme of this album is the relationship between the optimism of my conscious self and the seductive voice of my self-destructive inclinations, my inner saboteur. Whilst La Saboteuse continues the exploration of the music of my Middle Eastern heritage, it also reflects the influence of recent collaborations with creative musicians from the fields of rock, ambient music and sound design. This includes the incorporation of live electronics (I use a Kaoss Pad and a tape delay on some of the tracks) and the digital manipulation of field recordings, including the voice of my Arabic teacher Fartun Tahir on the title track. I also used computer software, both to create new textures and as a compositional tool to restructure the source material. My imagination has been stirred, my tastes have developed and I've now reached a point with this project where I feel I have discovered a very personal new sound. Finally, this album documents the gradual development of my various live bands into what has become my musical family. These exceptionally talented musicians have each made a beautiful and personal contribution to the creative process, putting their hearts and souls into the recordings. I can't thank them enough for joining me on this adventure and I’d like to take the time to introduce each of them to you.

LEWIS WRIGHT

VIBRAPHONE

"I'm very glad to be a part of this talented and generous group of people and the vibrant and honest music that is made through Yazz's creativity and drive. I admire her focus on creating a new sound, not only in regards to the blend of musical traditions in her compositions and playing, but also in the detail, consideration and experimentation involved in the sonic process of both the studio and mix room. One of the most memorable moments for me was the session playing improvised duets with Yazz. Each take had a clear direction whilst leaving plenty of room for the spontaneous. It's great to hear how these short interludes have been woven into the tapestry of the finished album, an absolutely cracking listen!"

I adore the sound of the vibraphone. It has such a magical, dreamlike quality. I find there is a sonic clarity in the four-note chord shapes that somehow allows more space for the music to breathe. In 2010 I wanted to try writing for a new trio, with vibraphone and bass guitar. Jim Hart, who was the drummer in my quintet at the time, was unavailable for the first gig and recommended his star student, Lewis, and he made quite an impression. It wasn't long before I expanded my quintet to include his sound, and Lewis' imaginative, dynamic playing and boundless creativity have inspired my writing ever since. The starting point for La Saboteuse was a session to capture some short spontaneous duets with Lewis, and his beautiful playing is featured throughout the album. I have fond memories of the musical journeys we've been on, one in particular was at the 2015 Alfa Jazz Festival in Ukraine when Lewis managed to get stuck in Herbie Hancock's trailer toilet. After many attempts trying to unlock the door with his Musicians' Union card, which eventually snapped in half, Dave Manington came to the rescue and broke the door down. Lewis is a featured composer and performer with Empirical, winners of the 2016 Parliamentary Jazz Award for Ensemble of the Year and also received a 'Rising Star' nomination in the prestigious Downbeat International Critics Poll in 2016. Away from the vibes he is also a fantastic drummer, something he likes to keep quiet, but he is much in demand with the likes of Nerina Pallot, Joss Stone, Melody Gardot and Michael Kiwanuka.

Lewis appears on: 01. Inhale 03. Misophonia 04. The Space Between the Fish and the Moon 05. La Saboteuse 07. Inspiration, Expiration 08. The Lost Pearl 09. Bloom 11. Whirling 12. Organ Eternal 13. Exhale

Lewis was recorded at The Cowshed, Urchin Studios and in his bedroom...

SHABAKA HUTCHINGS

BASS CLARINET

"Music is made within the context of history. We combine collective experiences to reconcile informational dynamics of the past. The result is a vision of the future which incorporates a multiplicity of histories, proclaiming a stance that sees traditions as dynamic entities, combinations of knowledge, old and modern, conjuring fresh perspectives. Hence the importance of this music, which balances cultural identity with multicultural growth."

I first played with Shabaka in 2005 on a trip to La Coruña whilst we were both students at the Guildhall School of Music and Drama. We’ve been friends ever since. He's naturally quite a shy person (which you might find hard to believe if you've seen him in full flight, taking a gig by the scruff of its neck) and he's very serious about his music, possessed of a fierce intellect, he always has something of interest to share. I've always been drawn to the sound of the bass clarinet and when I formed my new quintet, I realised that it was actually Shabaka's voice l'd been writing for. His mastery of the instrument enables him to fearlessly take on the challenge of whatever I've written, with beauty and strength. His classical training also informs his inventive and spontaneous improvising, always in the moment, reacting to and inspiring those around him. Above all I love the infectious energy he brings to my music. In the last few years Shabaka has become something of a star, being granted the title of BBC Radio 3 New Generation Artist in 2010, and then winning the 2013 MOBO award for Best Jazz Act with Sons of Kemet (also signed to Naim Records). Lately he has been touring the world with the Mercury Prize nominated band, The Comet is Coming and is making waves with his new outfit, Shabaka and the Ancestors, formed on a visit to South Africa.

Shabaka appears on: 02. Jamil Jamal 05. La Saboteuse 09. Bloom 10. Beleille 12. Organ Eternal

Shabaka was recorded at Eastcote Studios and in a small room underneath Symphony Hall, Birmingham.

NAADIA SHERIFF

FENDER RHODES, WURLITZER

"For me, this band have become a sort of family. It's a real collaborative experience. When we first met most of us either didn't know each other or hadn't played together. Exploring Yazz's music, really getting to know it, and performing it as well as we could, brought us together. Now when we meet, we greet each other like old friends and it's a true joy to be a part of it all."

Naadia feels like the big sister I never had. We met when she invited me to have a jam at her place and as a result, we went on to do a few gigs together around town. I asked her to join my new quintet for our debut at Ronnie Scott's in 2010. I remember during that gig, the roof was leaking onto the stage and while the staff hastily positioned buckets, Naadia kept the audience entertained by playing Raindrops Keep Falling On My Head. She's a fantastic musician, able to play all styles and is a supportive and intuitive accompanist. She seems to instinctively know where I want to go in my solos and makes me feel confident to take risks on gigs, in the knowledge that she's got my back. Naadia also has the very endearing habit of singing along with her own solos, quite a skill in itself. Unfortunately you won't be able to hear that on this record, because she plays electric keyboards throughout. You can discover Naadia's considerable skills as a composer on her solo album, Gnarly Hymn, and she regularly plays live shows with Kate Dimbleby, including a 2015 residency in New York. Personally, I was really thrilled to see her playing as a member of Hermeto Pascoal's London Big Band at the Barbican Centre in 2016.

Naadia appears on: 02. Jamil Jamal 09. Bloom 10. Beleille 12. Organ Eternal

Naadia was recorded at Eastcote Studios and at home.

DAVE MANINGTON

BASS GUITAR

"It is great fun to be a part of Yazz's various musical projects, and she has so many of them! On La Saboteuse, as well as playing at the quartet sessions, I also contributed some prepared loops and special effects, which appear on various tracks across the album. The Sponge Bass Sound™ is a little trick involving wedging a bit of sponge under the bass strings in order to dampen the notes and accentuate the harmonic overtones of the strings in a fairly random manner (patent pending). I feel that the time Yazz has devoted to developing this music since the initial recording sessions, and her attention to detail in the production process, have resulted in an album full of variety and nuance, which is a great showcase for her writing and playing. It's been a pleasure to see her music evolving and to be a part of that process."

It was Naadia who introduced me to Dave (he is her husband) when I was looking for a bass guitarist to join my new trio with Lewis. I quickly became a great fan of his expressive and quietly groovy playing. I was also very excited by his use of technology to create mysterious loops, layers and soundscapes, which complemented my music beautifully and seemed perfectly in tune with the direction in which I was heading. He also became the bass player in my quartet and we've done some duo gigs together, under the name of 'Yazz and Dave’, including a memorable early morning performance on Kuwaiti breakfast television. A superb example of his creativity can be heard with the enigmatic 'sponge-bass' which he contributes to Bloom. Dave is a founder member of both the Loop Collective and the E17 Collective, and has played with many of the pre-eminent jazz musicians from the UK and Europe including amongst others, Julian Arguelles, Marius Neset, Mark Lockhart and Gwilym Simcock. A well respected composer, he also leads his own band, Riff Raff, with whom he recorded the album Hullabaloo, after critical acclaim for his debut album, Headrush.

Dave appears on: 04. The Space Between the Fish and the Moon 05. La Saboteuse 08. The Lost Pearl 09. Bloom

Dave was recorded at Urchin Studios and at home.

CORRINA SILVESTER

PERCUSSION

"I love playing with this band. Yazz's uniquely creative musicianship, exciting compositions, a band of wonderful musicians, and lovely people too... I'd say that ticks all the boxes...What's not to like? We play, learn, have fun and it’s good vibes. When I was overdubbing extra percussion and drum kit at Yazz and Noel's recording den, I had to bring my little dog, Coco, with me, causing much amusement. However, she behaved beautifully, calmly lying next to me and keeping still and quiet during all the takes. I think she enjoyed the days as much as we did. I'm so delighted to be part of this recording. It's cracking."

Corrina is an expert in Middle Eastern and North African drumming. She has a highly developed and subtle understanding of 'the groove' and her expertise in hand drumming informs her graceful and hypnotic kit playing. When I began my exploration of Arabic music, during the recording of my first album in 2009, she was my first port of call and since then she has been involved in every one of my projects. After the initial sessions for La Saboteuse, we had several enjoyable days at my home studio, where Corrina used dozens of percussion instruments to create layers of rhythms and magical textures. We think, at the last count, that there are eleven Corrinas in the percussion and drum ensemble for Al Emadi. Corrina is a very versatile musician, appearing on many film soundtracks and having carved a successful career in the pit orchestras of London's West End. She has toured with Ballet Rambert and played in several productions at Shakespeare's Globe, including acting as musical director. In 2001 she spent three weeks travelling through Tibet, providing the solo accompaniment for Joseph Fiennes' one man exploration of Hamlet. Corrina was a Drum Captain for the London 2012 Olympics Opening Ceremony performance of Pandemonium. The metal bucket that she played on that night can be heard on Bloom.

Corrina appears on: 02. Jamil Jamal 04. The Space Between the Fish and the Moon 05. La Saboteuse 06. Al Emadi 08. The Lost Pearl 09. Bloom 10. Beleille 12. Organ Eternal

Corrina was recorded at Eastcote, Urchin Studios and Tatami Studios.

DUDLEY PHILIPS

BASS GUITAR

"Yazz's continually surprising music asks a lot of any musician, really stretching the limits of their technique and creativity. She draws on a sophisticated harmonic sense to both write and arrange, beautifully utilising a modern sound palette which, as well as encompassing jazz, at times borders on the contemporary classical. When you add influences from both her Bahraini background and her involvement in UK contemporary rock music to this mix, that's a lot of ground for a player to get to grips with… She has been careful to select musicians whose chemistry, both musical and personal, contribute positively to the band sound, requiring them to be open-minded and resourceful as players. Each member brings very diverse experiences and attributes, in a spirit of co-operation. One might expect such an erudite composer to be precious about a recording being faithful to the very last quaver, but when it came to free improvisations or heavy grooves under solos, the wilder the music got, the happier she looked! It was a challenge to get it all right, but it's been a wonderful and rewarding experience to be part of this great project."

Dudley has a very natural and expressive way of playing. Always in the pocket, tasteful and dynamic, his spontaneous and elegantly surprising twists and turns are an inspiration to me, opening up new possibilities during improvisations. He's always been very encouraging about my writing and enthusiastic about being part of the band. He's a joy to be around, always putting everybody in a good mood when we’re together. It's wonderful to have such an experienced and unflappable player as the foundation for my music and an added bonus to benefit from the instinctive understanding between Dudley and Martin, who formed the drum & bass team of Perfect Houseplants back in the 1990s. His first gig with the band was during the Brit Jazz Festival at Ronnie's in 2010 and he has been integral to the evolution of that quintet into the Hafla band. Dudley's much admired style and feel, developed through his experience of working in the fields of contemporary songwriting, jazz, folk and world music, have led him to play and record with artists from all around the world, including Robert Wyatt, Bill Withers, Mark Knopfler, June Tabor, Cedar Walton, John Harle and Amy Winehouse. In addition to his album Life Without Trousers, Dudley is soon to release his new solo project BASSheARTMANtra, which features live looping/sequencing and singing, reflecting his wealth of musical influences.

Dudley appears on: 02. Jamil Jamal 09. Bloom 10. Beleille 12. Organ Eternal

Dudley was recorded at Eastcote Studios and Tatami Studios.

MARTIN FRANCE

DRUMS

"We have all enjoyed working hard under Yazz's guidance to bring this album to the listener. It’s not only been a wonderful experience making music together, but also a great opportunity to learn. I'm very happy to be involved in such an original project and to be a part of Yazz's musical world. I really hope you enjoy the music as much as I enjoyed playing it."

In 2013 Stephen Warbeck invited me to play at his annual garden party/music festival. I needed a last minute cover for Corrina and as Martin lived nearby, Stephen suggested we try him. Martin did an amazing job with only the briefest of rehearsals on the day and he was incredibly enthusiastic about my music. I loved his brilliant drumming so much that I asked him to join us on my album sessions a few months later. He's been an integral part of my projects ever since. Martin is an incredible musician, the backbone of the band and I'm so happy that our paths crossed. He's very supportive and is always keen to get to the heart of the music. The fact that he has such faith in my compositions and playing, encourages me to keep going, even when my inner saboteur gets very noisy. I first heard Martin playing live in Kenny Wheeler's big band at the Royal Academy of Music concert celebrating Ken's 80th birthday. Martin played with him for many years, including on his final album Songs for Quintet in 2013. He also has a longstanding association with Django Bates, both as a member of Loose Tubes and with Human Chain and has performed with artists such as Bob Mintzer, Elvis Costello, Maria Schneider and others too numerous to mention. His pioneering use of electronic and sequenced drums/percussion is highlighted on the critically acclaimed albums, The Reluctantly Politicised Mr. James and Infolding, with his own band, Spin Marvel.

Martin appears on: 02. Jamil Jamal 09. Bloom 10. Beleille 12. Organ Eternal

Martin was recorded at Eastcote Studios and at his home studio and would like to thank Paiste Cymbals & Vic Firth sticks.

SAMUEL HÄLLKVIST

GUITARS

"Yazz has the unique quality of making the most complex music sound natural and beautiful in a way that really speaks to me. On a couple of songs I was given the freedom to add layers of guitar textures over the band recordings, which was very enjoyable. I also spent a great deal of time banging my head against the wall, trying to figure out some of the written music. This was especially true for Al Emadi, which consists of 12 pages of rather difficult guitar parts! I'm honoured to be a part of this fantastic album."

I met Samuel in a remote farmhouse in southern Sweden during an international collaboration between Jazz i Malmö and Tomorrow's Warriors. We spent a week with four other musicians, creating new music, playing Jenga, eating great food and sharing ideas, during which time we formed a close bond. Since then I've collaborated with him on two of his extraordinary albums, Return To Center and Variety of Live, by bouncing tracks back and forth between Copenhagen and Luton, providing him with material which he shaped, like an aural collage, into the most wonderfully evocative compositions. There's a very attractive oddness about his playing which perfectly complements the soundscapes I've been striving to create. Inspired by his music and his approach to recording, I asked him to play on my album and wrote Al Emadi especially to feature his wonderful guitar playing. His tasteful contributions to the record make him feel like part of the band, even though we never played in the same room. Thanks to modern technology, time and distance need not get in the way of creating music together. Samuel’s flexibility and openness has made him an in-demand musician and award winning bandleader. He has performed with Tony Levin, Steve Hogarth, David Torn, Pat Mastelotto and Swedish chamber rock band Isildurs Bane.

Samuel appears on: 02. Jamil Jamal 06. Al Emadi 10. Beleille

Samuel was recorded by Katrine Amsler at Valby Station, Copenhagen and would like to thank Pigtronix, Eventide & KTW.

And while I’m at it, let me introduce the production team who are just as important.

TOM JENKINS

MIXING ENGINEER

"I am always so grateful to work with Yazz & Noel on their projects. One of the greatest pleasures in my life is connecting with people through a shared love of music. For this particular record you couldn't wish to work with a more deeply talented and passionate group of people."

I'm so happy that for the final recording session on my debut album Finding My Way Home, composer and pianist Simon Hale recommended that we ask Tom to engineer for us. He did a fantastic job and showed such understanding for my music, that he was the natural choice when it came to mixing the album. He's become an essential part of my production team ever since. Using his great technical expertise and a fabulous set of ears, coupled with a meticulous attention to detail, Tom has helped to create not only a perfect mix for each track on La Saboteuse but also a unified sound world for the whole album. This was no small task, given that the source material was recorded over several years and in ten separate locations. As well as being an amazing recording engineer, Tom is also a talented sound designer and musician, with almost twenty years experience of creating and preparing music for film, television and commercial release. His CV includes recording projects with Paul McCartney, Elton John, Jamiroquai, Lionel Richie and John Barry as well as work on scores for The Blue Planet, High Fidelity, Moulin Rouge and The Beach. Tom has received two Sony Radio Academy Awards for his work with Charlie Higson and Paul Whitehouse on the BBC Radio 4 comedy phone-in show Down The Line. In 2012 he was the Audio Supervisor for the incredible London Olympic and Paralympic Opening and Closing Ceremonies.

ROBIN MORRISON

MASTERING ENGINEER

"It has been my pleasure to work with Yazz and Noel for several years across a number of album projects and I have learned to expect nuanced, vibrant and above all, beautiful music to work with. La Saboteuse is an album of myriad colours and spaces, which frame the core musical action in subtle and sometimes dramatic ways. I love the use of sound design elements and characterful mix effects on lead instruments, which lend the music an almost visual abstraction. Tom had already achieved this with his gorgeous three-dimensional mixes and it was our mission at mastering to enhance these simultaneous layers, which wind and float amongst each other, whilst keeping the live energy of the ensemble performances. Yazz and Noel have great ears, a talent for explaining their ideas, at what can be a very technical stage of the production, and the willingness to experiment with sound, all of which made working on this project a very enjoyable experience."

Shrouded in mystery, the art of mastering has the air of alchemy, as forensic technical knowledge and highly specialised equipment, coupled with great artistic sensitivity, is expertly used to optimise the sonic impact of an album. When I needed to master my first album, Robin was recommended to me by trumpeter Nick Smart, for the outstanding work he had done on Nick’s own record Remembering Nick Drake. Perhaps because I was so curious about this ethereal and almost mystical process, I arranged for Noel and I to attend the mastering sessions. Watching Robin at work was a delightfully absorbing and educational experience. It was wonderful to witness hidden layers of clarity and depth gradually being revealed. Noel and Robin have since forged a great relationship, working together on several projects, including Noel’s spectacular debut album Edentide. Like the curator of an art gallery, Robin uses his own aesthetics to present each individual piece in the appropriate space and ambience, whilst creating a meaningful pathway through the exhibition. For La Saboteuse, he made subtle changes in both the width and depth of the sound-field, giving the music a cinematic quality and supporting the emotional arc of the album. Robin's main activity is in producing, programming and editing film scores, including work on Steve Mc Queen The Man & Le Mans, A United Kingdom and the Oscar nominated, Room on the Broom and he is the music editor on Disney's 2017 live action version of Beauty and the Beast.

NOEL LANGLEY

PRODUCER

"This album strikes a wonderful balance between Yazz's exquisitely complex compositions and the free flowing improvisation, which is at the heart of La Saboteuse. She is a very generous composer, allowing space for everybody to shine, yet underlying everything is Yazz's lyrical and passionate trumpet sound. She has a unique voice on the instrument and an authority to her playing, never showing off, always serving the music and thereby influencing the overall soundscape. From the simple duo session with Lewis, the album evolved, taking many twists and turns along the way, growing in its scope and richness as more elements were added, each reflecting the musical experiences Yazz was having during this time. To give an illustration, during the duo session at the Cowshed, we recorded the first version of a haunting tune she’d composed just the day before. Later we recorded an alternate arrangement of the same piece with just Shabaka and Corrina, thinking that both might find a place on the finished album. In the interim Yazz began playing expanded arrangements of this tune on her live gigs, which inspired the idea of combining our two takes, with the addition of some loops and a bit of dub bass. The final element, which brought everything together, was the inclusion of layered and processed tracks of Yazz's Arabic teacher, whom Yazz had recorded on her iPhone in the foyer of the Royal Festival Hall, reading the translation of a short poem I had composed, inspired by this piece, La Saboteuse. There are moments that capture the essential, mesmerising chemistry of Yazz's storming juggernaut of a live band at its finest, but we always wanted this album to be something more than a simple document of what happened on a particular day in the studio. We aimed to create a deeper, sonically rich experience, one that would reward the listener by revealing more layers of its narrative over time.

It has been such a thrill and a great privilege to have worked with all the talented people on this album. I'm really grateful to Yazz for welcoming me into her creative process. Can't wait for the next one!"

With a superb international reputation, Noel is best known as a highly versatile trumpet player. He has worked with a huge variety of artists including Lou Reed, Adele, Massive Attack and Burt Bacharach, and contributed to countless film and TV soundtracks. He founded the London Jazz Orchestra in 1992, is a member of the recently reformed Loose Tubes and features in composer Graham Fitkin's virtuoso ensemble, 'Fitkin'. More recently he has been building a reputation as a composer, arranger and musical director, working with the likes of Hermeto Pascoal, Swing Out Sister and The Human Revolution Orchestra. He released his own debut album Edentide in 2014. As a producer, Noel really understands what I'm trying to achieve musically and pays great attention to detail, but he also has the ability to see the bigger picture. During the recording sessions, he was a source of calm, gently encouraging the exploration of different approaches and bringing out the best in all of us. In the following months, he immersed himself in the project, editing, mixing and engineering overdub sessions at home. We had fun together, exploring sonic possibilities and experimenting with layered effects, unearthing hidden gems along the way, many of which have become integral to the fabric of the music. Finally he worked in partnership with Tom and Robin, helping to realise my vision for the album as a whole. As my partner, Noel knows me better than anybody and perhaps it's not surprising that he was the one who identified my inner destroyer, the malevolent self-critic who would undermine and suffocate me. Giving her a name, La Saboteuse, has enabled me to recognise her voice, a crucial step in the battle. Noel has been a great inspiration to me throughout the creative process and without his encouragement and emotional support, I could not have completed this album.

Noel appears on 06. Al Emadi - playing additional trumpet ensemble parts

Noel was recorded at Session Corner.

SOPHIE BASS

ILLUSTRATOR

“For me this album was a journey, evolving and mutating with every turn. The sounds and emotions evoked a solitary nomad passing through undiscovered psychedelic realms. It feels like a spiritual journey of coming to know oneself, with all the pain and joy that involves. Of learning your cultural identity; your roots. The ebbs and flows within Yazz's music are at once wild like the ocean's tsunamis and as gentle as lapping waves in warm breeze. The motif of water kept coming back to me, of an oasis in the centre of a desert - a sign of hope or an hallucinatory trick of the mind. The whole album playing on the idea of your mind being against you, your internal voice gaining control. Water is at once purifying and life giving but also an element of total panic and fear. When I find my saboteur consuming me and am stuck in a place of self-doubt, anxiety and artists’ block - it's like drowning. But equally I find my peace and recovery underwater in the bath where it feels quite magical. The coming together of Arabic and Western cultures within the album feels like a harmonious dance, a flirtation! Giving birth to a new sound. I read a lot about Sufism whilst I was drawing for Yazz. I was struck by the idea of dancing so intensely your soul is both destroyed and resurrected. And of music, poetry and dance as a means to reach higher realms - the intoxicating and meditative qualities of losing yourself are very apparent in Yazz's tapestry of sound. Working on this commission was a pure joy, I felt totally free to interpret the music very personally, and to draw on my own experiences and emotions. The album felt like the night- time to me, a time of fear and hope, of dreams and nightmares. I felt very in touch with the music, which was unlike anything I've heard before and I hope that my accompanying artworks do it justice!”

Credits / Tracklisting.

1. Inhale

2. Jamil Jamal

3. Misophonia

4. The Space Between the Fish & the Moon

5. La Saboteuse

6. Al Emadi

7. Inspiration, Expiration

8. The Lost Pearl

9. Bloom

10. Beleille

11. Whirling

12. Organ Eternal

13. Exhale

For their love, support and inspiration, I would like to thank...

Firstly, all the musicians featured on this album plus Fartun Tahir, Tom Jenkins and Robin Morrison. Charlie Campion, Sophie Bass, Gary Crosby, Janine Irons, Martel Ollerenshaw, John Cumming, Amy Pearce and Tony Dudley-Evans. Mandy, Sameer, Leigh McKinney, Carl Skinner, all of my family and Noel.

Yazz & Lewis duets recorded at The Cowshed by Joe Leach, 18/04/2013

The Lost Pearl and The Space Between the Fish and the Moon were recorded at Urchin Studios by Dan Cox, 28/05/2013

La Saboteuse, Jamil Jamal, Bloom & Beleille were recorded at Eastcote Studios by Philip Bagenal and George Murphy 06/09/2013

Organ Eternal, recorded at various locations in January 2016

Trumpets on Al Emadi, recorded at Session Corner by Nick Pugh, 02/03/2016

Guitars recorded by Katrine Amsler at Valby Station, Copenhagen June 2016

Additional recording, overdubbing and editing at Tatami Studios by Noel Langley during 2015/16

La Saboteuse features Fartun Tahir - spoken word

Noel Langley plays additional trumpet ensemble parts on Al Emadi

Tracks 1, 3, 7, 11 & 13 are spontaneous compositions by Ahmed & Wright.

The Space Between the Fish and the Moon is composed by Ahmed, Wright and arranged by Langley.

All other tracks are composed by Yazz Ahmed except for Bloom - Yorke, O'Brien, J Greenwood, C Greenwood & Selway & Organ Eternal - Jack Barnett, Thomas Hein & George Barnett

Artwork by Sophie Bass

Calligraphy by Soulaf Khalifeh.

Art Direction by Charlie Campion.

Mixed by Tom Jenkins

Mastered by Robin Morrison

Produced by Noel Langley and Yazz Ahmed

La Saboteuse,

She lives inside me.

She says she is my friend.

She is not to be trusted.

She wants to keep me small.

For anyone who found this booklet on Substack and doesn’t have a record, you can get a copy from Night Time Stories here.