Collection review
Ezra Collective Here Because of Hope
- Released
- 2026
- Label
- Partisan Records
Ezra Collective | Here Because of Hope [Partisan Records]
Jazz Fusion / Afrobeat / Highlife / Reggae / UK Funky | 2026
Ezra Collective have spent more than a decade developing an approach to jazz in which rhythmic invention and communal enjoyment remain closely connected. Their fourth studio album, "Here Because of Hope", released on September 11, 2026, extends that philosophy into a carefully structured exploration of musical history, migration and cultural identity. Across 17 tracks, the London quintet examines how Black musical traditions have developed through experiences of displacement, hardship and resilience. The resulting record is expansive, frequently exhilarating and surprisingly reflective. Its strongest moments reveal a band increasingly interested in the emotional possibilities of restraint.
The album follows three geographical movements, beginning in West Africa, continuing through the Caribbean and concluding in London. Actor Letitia Wright introduces each section with a brief spoken passage addressing the relationship between suffering, renewal and hope. These interludes establish the record's conceptual direction without interrupting its musical continuity. Drummer Femi Koleoso, bassist TJ Koleoso, keyboardist Joe Armon-Jones, saxophonist James Mollison and trumpeter Ife Ogunjobi approach the material with exceptional ensemble discipline. Individual performances remain expressive while the arrangements place considerable emphasis on collective interaction.
Following Wright's introduction on "Part 1", "Blow Your Trumpet" establishes an unusually contemplative opening. Sustained brass phrases, measured drumming and melodic piano passages create a reflective mood. The composition develops patiently, allowing individual instrumental lines to retain their character. "Sweet Echo" subsequently increases the rhythmic intensity through rapid percussion, insistent bass movement and animated exchanges between trumpet and keyboards. Its Afrobeat and highlife influences are particularly pronounced, while the tightly coordinated ensemble playing demonstrates the band's considerable technical confidence. "Don't Worry" returns to a gentler emotional register before the album reaches one of its most compelling collaborations.
"Only Love" features British-Gambian rapper Pa Salieu, whose direct and deeply personal delivery brings considerable emotional weight to the first section. His verses confront imprisonment, poverty, grief and survival, while the arrangement combines West African rhythmic influences with emphatic brass figures and a buoyant bassline. The contrast between the celebratory instrumental writing and the seriousness of his experiences gives the composition its particular force. Pa Salieu's vocal performance retains an unmistakable sense of urgency, and the band accommodates his storytelling without compromising its own identity. The recurring refrain provides a moment of emotional release while maintaining the song's underlying seriousness. It is among the album's most convincing expressions of hope.
"Someday" closes the opening movement with an extended instrumental performance that emphasizes melody and gradual development. Its relatively unhurried pacing confirms the significance of restraint throughout this portion of the album. The approach marks a noticeable development from the sustained dancefloor energy of "Dance, No One's Watching". Ezra Collective continue to draw on familiar rhythmic traditions, although the slower compositions allow greater attention to harmony, instrumental phrasing and the expressive qualities of individual performances.
The Caribbean section begins after Wright's second introduction. "Birdie Sings" explores dub and reggae through prominent bass frequencies, spacious rhythmic accents and expressive tenor saxophone. Mollison's phrasing gives the composition a distinct melodic identity, with his saxophone performance providing subtle variations against the recurring rhythmic pattern. "The Last Stand" introduces a more serious character through low piano chords, disciplined percussion and forceful brass passages. Its controlled intensity provides an important counterpoint to the album's numerous celebratory compositions.
"Well Organised", featuring Jamaican singer Lila Iké, is another substantial achievement. Built around a steel pan melody originating from London's Kinetika Bloco youth organization, the arrangement incorporates reggae rhythms and an interpolation of Max Romeo's "I Chase the Devil". The steel pans supply a recognizable melodic foundation while the bass and percussion maintain a relaxed, carefully balanced groove. Iké delivers an assured vocal performance that moves naturally between vulnerability and reassurance. Her lyrics address emotional exhaustion, intimacy and the restorative possibilities of music. The brass arrangements contribute warmth without overwhelming the vocal, and the composition demonstrates how effectively Ezra Collective can integrate a guest performer into their established instrumental approach.
The Caribbean movement continues with "El Corazón", whose Latin rhythmic influences encourage a particularly animated ensemble performance. Its percussion and brass arrangements provide a strong sense of momentum, while "Bunny on the Rise" maintains the increased energy through tightly synchronized instrumental passages. Both compositions emphasize the group's ability to move between different rhythmic traditions without sacrificing musical coherence. The performances are confident and enjoyable, although the recurring emphasis on upbeat ensemble passages occasionally reduces the distinction between individual tracks.
The final section returns the album's attention to Britain and the musical traditions that have shaped contemporary London. "All I Need", featuring Leona Lewis, draws on lovers rock through its relaxed reggae rhythm, melodic keyboard accompaniment and expressive lead vocal. Lewis demonstrates considerable control, allowing the arrangement's gentler characteristics to remain prominent. Her contribution provides another effective example of the band's increasingly sophisticated treatment of guest performances.
"Jubilee Feeling" subsequently introduces one of the record's most energetic instrumental arrangements. Drawing on UK funky, house and garage rhythms, the track combines Joe Armon-Jones' animated piano figures with emphatic brass phrases and an assertive rhythmic foundation. Femi Koleoso's drumming maintains a strong dance pulse while the ensemble incorporates jazz phrasing into the composition's club-oriented structure. The piano performance is especially engaging, moving between rhythmic repetition and melodic variation. The arrangement develops through changes in instrumental emphasis while preserving its continuous rhythmic momentum. Its combination of precise musicianship and immediate physical energy captures many of the qualities that have established Ezra Collective's reputation.
"Black Flag" extends the final section's connection to London's club music, incorporating broken beat influences and increasingly animated instrumental exchanges. Its rhythmic complexity provides an engaging opportunity for the musicians to demonstrate their improvisational abilities. Closing track "Most High", featuring Libianca, returns the album to a reflective emotional register. Her expressive vocal contribution introduces elements of contemporary soul and spiritual affirmation, giving the conclusion a degree of intimacy that complements the broader ensemble performances.
The musicianship throughout "Here Because of Hope" is consistently impressive. Femi Koleoso and TJ Koleoso maintain an exceptionally responsive rhythmic partnership, while Armon-Jones contributes some of the album's most distinctive melodic ideas. Ogunjobi and Mollison alternate between coordinated brass arrangements and individual statements with considerable fluidity. The production preserves the clarity of these interactions, allowing the rhythmic details and instrumental textures to remain audible even during the busiest passages.
The album's principal limitation concerns the relationship between its ambitious concept and its consistently affirmative musical character. The three-part structure establishes a clear progression, yet the history it seeks to address contains complexities that cannot be fully explored through its largely celebratory approach. Certain compositions resolve their musical tensions rather quickly, and the recurring brass arrangements occasionally emphasize familiarity over surprise. The spoken interludes also explain the album's central ideas quite explicitly, leaving relatively little interpretive ambiguity.
These reservations become particularly apparent when considering the emotional specificity of "Only Love" and "The Last Stand". Both compositions communicate hardship through identifiable lyrical or instrumental choices, giving their eventual moments of optimism additional significance. Elsewhere, the band's determination to maintain a positive atmosphere can make individual passages feel overly comfortable. Greater rhythmic or harmonic unpredictability would have strengthened the more conventional material.
Nevertheless, "Here Because of Hope" represents a substantial achievement in contemporary British jazz. Its fusion of Afrobeat, highlife, reggae, Latin music and London club rhythms is informed by the musicians' personal connections to these traditions. The guest performances contribute meaningful perspectives, while the central quintet continues to demonstrate remarkable technical ability and mutual understanding. The record also develops ideas introduced on "Where I'm Meant to Be" and "Dance, No One's Watching", placing greater emphasis on reflection and the emotional significance of collective music-making.
Ezra Collective have produced an album whose considerable ambition is supported by strong compositions and consistently accomplished performances. The quieter opening section, the engaging Caribbean collaborations and the energetic London-inspired finale provide a satisfying progression. Although the conceptual approach occasionally simplifies its subject and some arrangements rely on established musical formulas, the band's melodic instincts and rhythmic sophistication remain compelling. "Here Because of Hope" finds Ezra Collective working with considerable purpose, demonstrating that their commitment to musical enjoyment can accommodate increasingly thoughtful and emotionally substantial material.
Rating: [4/5]