Ostensibly a collective venture, with the Octet augmented by a further octet on one track, this does allow a lot of space for individual voices within Dunmall’s compositions. They may all kick off together on the furious opening section of the first track, with Keith Tippett powering along under horns that soon dissolve into some furious blowing. But gradually it abandons this collective force and lets Tippett, Tony Levin and Paul Rogers explore the more contemplative areas of their instruments. There are moments of great delicacy and restraint set against the power of the ensemble. And this is only one track.

Simon Picard’s tenor takes a dominant role on Part Two, again with support and collaboration from drums and bass. His voice shifts easily from brooding to mercurial. At times I was even reminded of Albert Ayler, though probably no one else will be! This is effectively another trio outing that includes a few sparse figures from the horns towards the end. Rogers gets a chance to scrape and bow a solo with a minimal, but effective, overlay of the brass again. This is one of the prominent features of Dunmall’s writing on the album; foregrounding certain players whilst using the brass to highlight or add specific colour. Pieces segue in this way and overall there is the sense of a cohesive unit rather than a collection of separate tracks.

Part Four allows Gethin Liddington’s trumpet a chance to stretch out over John Adams’ choppy guitar and the controlled thunder of Levin’s drumming. It is a real pleasure to hear these clean, sharp lines, which cut through with authority, and still be aware of each tiny brush stroke from the cymbal . Trombonist, Hilary Jeffries takes over as main voice, growling and mumbling darkly, until those perfectly restrained brass voices graft on a concluding statement.

Part Five pins you back in your seat as Dunmall solos after Tippett’s short opening figure. Someone once described Coltrane as a big man with a big sound and I would not hesitate to use those terms here too. Dunmall unleashes passionate torrents of improvisation without descending into mere sound and fury. There is always a sense of control. He urgently packs his many ideas into a well defined area of exploration. No room for sloppy self-indulgence. Needless to say the contributions of the other players are tight and inventive. This piece again mutates into a section for other individual voices, this time those of Tippett and stalwart trombonist, Paul Rutherford. Adams’ guitar chops and chatters around them.

The final part, A Passage Through The Great Divide, is probably the most powerful statement Dunmall has recorded. It features all the Octet plus the saxes of Elton Dean, Evan Parker, Lee Goodall and Howard Cottle, tuba, cornet and drums. This is a culmination of all that has happened so far on the album ; voices come, briefly, to the fore while a welter of sound boils around them. It is the essence of the first five tracks expanded and amplified to titanic proportions. From the dark collective opening statement to the three final blasts it grips you. You may not hear a more thrilling and terrifying sound on a jazz recording this year.

So, Paul Dunmall and his associates have delivered another powerful piece of composed/improvised music which builds on the achievements of the previous cd ‘Bebop Starburst’. This, once again, sets them at the forefront of British jazz and showcases a plethora of exciting voices that, individually and collectively, demand to be heard.

When I think of musicians of African origin and what they’ve contributed to jazz in Britain it’s usually the fiery and free-wheeling township/free-jazz meets Ellington approach of Chris McGregor et al that comes to mind. Or the work of Joe Harriott and Shake Keane. This collection subtitled, The African Diaspora’s Contribution To England’s Jazz Of The ‘30’s & ‘40’s, documents the work of various bands playing music that may be familiar, for instance, Tuxedo Junction and Sweet Georgia Brown. Perhaps less familiar, though still intriguing, are the syncopated renditions of the Shakespearean texts, Blow, Blow Thou Winter Wind and It Was A Lover And His Lass crooned by Al Bowlly and The Henderson Twins. I’m trying to imagine couples jiving to these! They are part of a major contribution by Ken ‘Snakehips’ Johnson And His West Indian Dance Band. It’s certainly a long way from the Brotherhood Of Breath but the clue to the nature of this music is in the band’s name. This was/is music to dance to, music that inspired jivers. The titles exhort the listener to Tap Your Feet or do some Stompin’ At The Savoy.

So, the repertoire of these bands consisted mainly of standard dance tunes tightly arranged and meant to swing and that’s just what they do. Solos are brief and concise within the framework of the melodies but there is still room for virtuosity in a three minute track. Listen to the Lauderic Caton Quartet for the leader’s electric guitar or Frank Williams’ trumpet. It’s their only contribution and a gem.

If proof were needed that audiences didn’t just go to these gigs to listen and watch in awed reverence hear the background noises on the tracks by Cyril Blake And His Jigs Club Band. But when the band hit their stride on Frolic Sam with the agile Caton again, alongside clarinettist Freddy Grant, they grab you, and no doubt the audience, by both ears and feet. It’s live and exuberant. If you prefer it a little cooler check the guitar-led Frank Deniz And His Spirits Of Rhythm, a band that features, all too briefly, the tenor of Jimmy Skidmore. Tantalising.

My personal favourite might be Leslie ‘Jiver’ Hutchinson And His Coloured Orchestra’s Big Top Boogie with it’s lithe swing. A miniature of perfection from both ensemble and solo piano. But it is hard to choose. This is warm, energetic and engaging music. The more I hear it the more grateful I am that a gap has been filled, for me, and some fine playing has been recovered from possible obscurity. There is also an excellent booklet with the cd, full of information provided by Andrew Simons, which should tell you all you need to know about these players, their backgrounds and the times in which they played.