Barefoot in Bryophyte is a collaboration between musicians embedded in Norway’s jazz and experimental music scenes. Some of it, though, sounds nothing like what might be expected. Take the fourth track, “Paper Fox.” Figuratively, it lies at the centre of a Venn Diagram bringing together Mazzy Star, 4AD’s 1984 This Mortal Coil album It'll End in Tears and the more minimal aspects of Baltimore’s Beach House. It’s quite something.

Whatever esperanza wants, it would seem, esperanza gets. From over-riding normal conventions of using capital letters in her name, to an imposing A-List of guests on Milton + esperanza (Concord): Paul Simon, Lianne La Havas, Guinga, Dianne Reeves, Shabaka Hutchings…

It seems like Yoni Wolf and his band WHY? may have settled into a cycle of five-year crafting of albums. The last WHY? album was 2019’s AOKOHIO and it was an extraordinary collection of abstracted miniatures locked together with each other and with the accompanying films with Swiss watch intricacy.

X, although beloved of music journalists, are one of American punk’s most under-acknowledged. They took a tilt at fame in the mid-Eighties with the radio-friendly Ain’t Love Grand album and its lead single “Burning House of Love”, but it wasn’t to be. They remained a connoisseurs’ choice (inarguable evidence of their abilities is the stunning 1983 tune “I Must Not Think Bad Thoughts”).

Swedish-American four-piece Blues Pills are new to this writer but have been around since 2011. Their fourth album makes me wonder why.

“I don’t care what they’re talking about,” says the best bugger in the business, Harry Caul (Gene Hackman). “I just want a nice fat tape.”

Still Willing opens with “Upper Ferntree Gully,” a seven and three-quarter minute workout twice as long as most of the other nine tracks on Personal Trainer’s second album. A portmanteau piece, its most direct sections have the chug of vintage Pavement, some stabbing early Tame Impala guitar and chunks of Sonic Youth-like squall. Yo La Tengo also aren’t far.

Meshell Ndegeocello's groundbreaking new album No More Water: The Gospel of James Baldwin takes you on a musical journey which defies categorisation.

Eight years in the making and set for release on 2 August – Baldwin's centennial – the album’s origins date back to Ndegeocello’s 2016 musical and theatrical tribute to the iconic writer and activist, "Can I Get a Witness? The Gospel of James Baldwin", commissioned and produced by Harlem Stage through its WaterWorks programme.

In a discussion recently a friend compared generative AI to self-driving cars back in 2017: the makers were convinced, perhaps rightly, that they had solved 99.9% of the problem, and therefore would have a viable product within the year. The problem for self-driving cars back then, and generative AI now, is that the last 0.1% is something special. Intractable.

Something of a jazz supergroup this one: with drum virtuoso, the ubiquitous Seb Rochford, Jim Bar of Get the Blessing, Adrian Utley – formerly of Portishead, a prolific collaborator and producer, but with a heart rooted in jazz, and sax and flute-player Larry Stabbins, among other credits a  co-founder of Working Week, recently returned from 10 years’ sailing around the world.