I’d not heard of it before yesterday I’d heard Chip’s paying with Matthew Halsall but wasn’t aware of his solo work really looking forward to hearing it at home.
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Would love to hear your thoughts/review if/when you do see them 
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Just discovered Siomha , Irish singer, on Bandcamp. Only two tracks, but wonderful !
Mixed by William Caleb Parker
Mastered at Howie Weinberg Mastering by
Howie Weinberg and Will Borza
Síomha Brock: Lead Vocals, Background Vocals
Martin Atkinson Borrull: Wurli, Synth, Piano,
Sound Design, Additional Vocal Arrangements
Tyler Duncan: Piano, Electric Guitars, Percussion,
Background Vocals, Synths, Samples, Vocal Arrangements,
Sound Design
Joe Dart: Bass
Louis Cato: Drums, Percussion
Michael Shimmin: Percussion
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From Switzerland, Bodo Maier. Discovered on Bandcamp too. Very in the spirit of this thread, even if not from UK.
Bodo Maier - trumpet, composition, production
Max Treutner - tenor sax,
Matthieu Trovato - Fender Rhodes
Roberto Koch - bass
Freddy Benitez - percussion
Florian Haas Schneider - drums
recorded & mixed by Benjamin Gut
mastered by Erik Zobler Zed Mastering L.A. & Stardelta Audio
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Just Pre Ordered the LP this track is taken from on Gondwana Records
assist and composer Milo Fitzpatrick (Portico Quartet) launches new collaborative project with saxophonist Jordan Smart (Mammal Hands)
Vega Trails is a new project from double-bassist and composer Milo Fitzpatrick, a founder member of Portico Quartet, who has also performed with the likes of Nick Mulvey and Jono McCleary and features saxophonist Jordan Smart (Mammal Hands, Sunda Arc) in a richly powerful duo bringing together two powerfully charismatic musicians. The project which takes its name from Carl Sagan’s science fiction novel ‘Contact’ (a book about signals of new life detected from the Vega system) and was born out of a desire to bring the elements of bass and melody to the foreground in their rawest form and Fitzpatrick explains that he deliberately chose the stripped back approach.
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Speir Rua - Red Sky in Gaelic
Thanks FR nice to hear some Gaelic vocals set to more contemporary music.
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Nice trumpet playing on this record another great choice FR.
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Very nice voice. I discovered her on YouTube.
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PERSONNEL
UK GROUP. BANDCAMP
David Preston - guitar
Kevin Glasgow - bass
Laurie Lowe - drums
ALBUM CREDITS
Recorded and engineered by Adam Peters at Concrete Jungle (3, 4, 10, September 2017)
Mixed and mastered by Tyler McDiarmid, New York (July/August 2018)
Music arranged by Preston Glasgow Lowe
Produced by David Preston and Kevin Glasgow
Executive Producer - Michael Janisch
Photography by Josh Rose
Album Graphic Design by Sophie Moates
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Jazz funk band from Leeds
John McCallum - Vocals
Erroll Rollins - Drums
Kenny Higgins Bass
Ben Barker - Guitar
George Cooper - Keys
Sam Bell - Percussion
Malcolm Strachan - Trumpet
Rob Mitchell - Alto/Baritone Sax
Atholl Ransome - Tenor Sax/Flute
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Wildflower (Leon Brichard, Tom Skinner, Idris Rahman) continue to explore areas of groove-based improvised jazz on their 2nd album. Taking a slightly freer approach to the writing process, simple but effective melodies and bass motifs are explored to to create fully realised pieces with dynamic extremes that bring a full range of emotion. Recorded over a two day session at Fishmarket Studios in London, the band sounds relaxed and at ease, giving space to explore intricate improvised interplay and dialogue fully whilst at the same time building to fiery powerful climaxes and emotional peaks. Skinner is on fire here whilst Rahman and Brichard trade riffs and push the harmonic and rhythmic boundaries. Rahman’s use of clarinet and bamboo flute plus additional layers of woodwinds, Skinner’s unique approach to stripped-down use of his very personalised kit, and Brichard’s use of both acoustic and electric basses make for a sonic landscape that is both unique and highly approachable. Touching on heavy spiritual vibes whilst taking in dark alternative grooves and delicate folk-like tunes, the overall sound remains instantly accessible.
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Tamar Osborn – baritone sax, flute
Mike Lesirge/Josephine Davies – tenor & soprano sax
Suman Joshi – bass
Marco Piccioni – guitar
Maurizio Ravalico – percussion
Very in the Spirit of Miles Davis / Live Evil.
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@Bobthebuilder sounds very interesting. I ordered the PQ Vinyl and will hopefully get it tomorrow. BTW I ordered 10 vinyls in the last 14 days and i sent 3 oft hem back, unfortunately the Judi Jackson and Kamaal Williams, real bad pressings… 
Unfortunately you will find it very difficult to get a decent Kamaal Williams pressing it’s one of those I do own but prefer to listen to the Tidal Stream, Black Focus really need to repress a few of their releases but will it be financially viable to do so I don’t know?
Gondwana on the other hand put a lot of care into their pressings and packaging and have repressed some of their earlier releases to great effect.
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The pressing was really awful, the record itself is brilliant. It is unbelievable that I had to send 30% of the LPs back… 
Yes it’s a much discussed problem on the Forum it’s partly because the resurgence of vinyl has happened at such an incredible rate too many releases with not enough pressing plants or materials to cope so quality has suffered and it’s an issue from right across the board from small independent labels to huge multi nationals.
We just have to be picky and keep returning the bad ones and keep complaining until hopeful things start to improve.
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Hate to correct you, but the plural of vinyl is vinyl!
I’m teasing you of course but it’s a pet hate of mine the current trend to call gramophone records vinyls 
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Sorry, but no it isnt.
Some plants like Optimal have gone rapidly downhill of late, they have grown to being perhaps the largest mainstream pressing plant and responsible, perhaps for the reasons you suggest, I believe for many of the poor pressings especially with their trademark non fill.
There are still great pressing plants doing consistently good work, Record Industry, Pallas and RTI are examples just off the top of my head.
As has always been the case, vinyl lovers need to make discerning choices and sadly sometimes make a choice not to buy vinyl that comes from a plant with a bad reputation.
And as I’ve been at pains to point out elsewhere on the forum, it’s not always fair to blame the pressing plant. Many plants manufacture records to a customers (record company/label) specification, so on the one hand if a customer wants a cheaply pressed, banged out in the thousands in double quick time thats often what they get with accordingly poor quality, on the other if a customer wants a higher quality pressing, orders test pressings to check QC, with smaller pressing runs done right with accordingly better quality then that can often also be produced by the same plant.
The big problem as I see it is vinyl records are being treated by some record companies as a trendy fashion fad, the plethora these days of gimmicky “limited” coloured and patterned/splatter vinyl for trendy hipsters to pose with or hang on the wall. Pressing plants need to make money and happy to oblige but these records were always avoided by serious record listeners for good reason and many serious record plants dont do it for same reason.
I made it to line three and fell asleep sorry
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Yes, I’m aware of your lack of reading ability
It’s an open reply to anyone who can read and doesnt have the attention span of a Goldfish 