An album that's in hindsight a watershed moment because of its recording date. The multi-award winning trumpeter Christian Scott and his septet's new release Axiom was recorded ‘live’ in mid-March literally on the eve of New York City's lockdown. It's a selection of original material from a weekly residency, and the last concert at the time of writing, to be held in the Blue Note club. A New Orleans native, Scott's bands have outsize atmospherics, a power punch more suited to stadiums than jazz clubs. It can sound a little excessive: too bombastic or alternatively brooding at certain points, but the ensemble on Axiom has an excitingly turbo-charged rhythmic fervour: an ecstatically percussive backline merging influences from latin-rock, flamenco, New Orleans funk-R&B, and African music among others with Corey Fonville's right in-the-pocket post-hiphop contemporary beats. From Bitches Brew-era Miles (the album's only non-original, David Crosby's ‘Guinnevere’ was actually recorded by Miles in the Bitches sessions). Elena Pinderhughes, a flautist with a rich-toned clarity to her phrasing, is one of the key voices of Scott's line up on ‘live’ occasions and this is no exception.