The second disc of last year's Journey To The Mountain Of Forever album by jazz-rooted, but generically free-thinking, young MOBO winners Binker and Moses turned their duo partnership into a sextet, including free-sax giant Evan Parker, and the eclectic Yussef Dayes as a second drummer. It was a studio venture that felt as heated as a gig, but these live takes from Stoke Newington's Total Refreshment Centre from the same diverse line-up cranks that energy level even higher. ‘How Land Learnt To Be Still’ introduces the tumultuously churning doubledrums sound of Boyd and Dayes, underpinning Golding and Parker blowing separately and together, alongside trumpeter Byron Wallen's flaring ascents. ‘The River's Tale’ has townships and hi-life glimpses, ‘How Air Learnt To Move’ is a multiphonic Parker masterclass on tenor, ‘Children Of The Ultra Blacks’ swells into a jazz-bluesy lope with a brittle and chiming harp intro from Tori Handsley and loose, clappy drumming; ‘Mishkaku's Tale’ joins Handsley's Japanese koto and rock-guitar timbres to Golding's almost hard-boppish opening passages over drum tattoos; ‘The Death of Light’ is clamorous and hauntingly anthemic. Like the culturally alchemical London scene it's part of, this ad hoc collective is happy to take any and every contemporary music detour – without dogma, cliché, or a hint of trepidation.

Jazzwise spoke to Binker and Moses about the album

What playing differences resulted from recording the expanded line-up from Journey To The Mountain Of Forever on a live show?

Binker Golding (BG): It's essentially a grand improvisation by the musicians present on the second disc of Journey. We didn't quite want to leave it there. We felt there was another story to tell and this is it.

Moses Boyd (MB): I think the main difference to playing it live was the raw energy from the stage to the crowd. You can hear how wild the audience is. That makes a big difference when creating music. For a legendary free-improviser, Evan Parker fits in well with whatever's going on in the band, even when more preconceived music's thematic ideas and hooks emerge. Do you ever suggest those elements to him beforehand?

BG: We never felt it was our place to tell someone of his statuer how to play. He simply played what he heard. You don't tell Evan Parker what to play.

MB: We don't prescribe him anything, we just work alongside wherever he chooses to go.

John Coltrane's later 1960s music still seems very influential in the kinds of jazz that are reaching young audiences today. Would you say that's true, and if so why?

BG: In Binker and Moses we’ve never directly lifted from that music, at least not consciously, despite admiring it greatly and being influenced by it. But I think that spirit will always register with audiences no matter what. It's completely human and completely honest. If you let it in it will never leave you.

MB: Music like that will always be timeless. We try to channel the same honesty in our music.

What kind of other musical influences do you bring to your jazz materials?

BG: We try not to shy away from any influence, no matter how far away from traditional jazz it may be. Presently, I listen to a lot of spectral music. But the most important thing is to listen to the band you’re working with.

MB: I love all kinds of music: Outkast, Dr Dre, Madlib, Sly And The Family Stone, Funkadelic, Lee Scratch Perry and electronica like Four Tet, Björk and Jeff Mills. The list is endless.