MEDIA

‍ ‍There is something wonderfully unhurried about the entire record, too. Modern jazz albums can sometimes become overcrowded with ideas, desperate to prove their complexity. Attunement does the opposite. It trusts the mood. It trusts silence. It allows the listener room to think and feel for themselves.

That patience perhaps reflects one of the most important lessons Martin seems to have taken from Abbey Lincoln herself. Lincoln understood that music was never simply about technical brilliance; it was about humanity, dignity, vulnerability and saying something real. Martin taps into that same emotional honesty here and the result is an album that feels quietly profound without ever needing to announce itself as such.

Knowing the story behind the recording only deepens that feeling. Recorded at Tonal Park Studios and later mixed and mastered by Dave Darlington at Two Bass Hit in New York, the album carries a warmth and intimacy that perfectly suits the material. You can hear the care that has gone into every detail.

There is also something incredibly refreshing about hearing an artist allow research and education to genuinely shape their artistry rather than simply decorate it. Martin’s work in education throughout Washington D.C., her involvement with young learners and her wider commitment to creativity all seem connected to the openness and generosity that runs through Attunement. This is an album created by somebody listening deeply to history, to musicians around her and ultimately to herself.

And perhaps that is what lingers most after the final notes fade. Attunement never feels like a museum piece dedicated to preserving legacy. It feels alive. Quietly searching. Deeply human. The kind of record that reveals more of itself late at night when the world finally slows down enough to hear it properly. Glenn Wright

Release date 26th May 2026