New single and EFG London Jazz Festival 2022

Brand new Collocutor single available for pre-order!

This live version of ‘Pause Reprise’ was recorded at 91 Living Room, London in March 2022. It was Collocutor’s first UK gig to a live audience in 2 years, since their album release at Church of Sound back in 2020. There was a huge amount of joy at being able to be in the same room again from both the musicians and audience – the band hopes this is palpable on this recording!

For the Londoners, the release of this track coincides with the band’s return to the same venue for the 2022 EFG London Jazz Festival on 13th November:


Tamar Osborn – baritone sax
Josephine Davies – tenor sax
Giuliano Modarelli – guitar
Suman Joshi – bass
Maurizio Ravalico – percussion

recorded live at 91 Living Room, Brick Lane, London 26th March 2022

Live mix by Ivor Davies
Mastered by Emre Ramazanoglu


Review of Collocutor at Novara Jazz Festival 2022

Thank you to Mario Grella for this lovely review (google translate version below for the non-Italian speakers!):

Google translate says:

“There was only time for a small snack and a glass of good wine offered by the Barbaglia farm, and it is already time to move to the sacred heart of Novara, under the Antonellian dome of the Basilica of San Gaudenzio, for a great concert. prominence (also internationally), born precisely for sacred places: it is Church of Sound, a London project of the Collocutor ensemble of Tamar Osborn, charismatic leader of the group as well as saxophonist and flutist, already taken for a walk at the biggest jazz festivals in the UK; with her in the Basilica Christopher Williams on tenor sax, Suman Joshi on electric bass, Marco Piccioni on guitar, Maurizio Ravalico on percussion (an even restrictive term, given the equipment more similar to a ceremonial altar). It is undeniable that “any” music is not appropriate in a Basilica, and in fact the music of the ensemble is indelibly marked by the stylistic code of gentleness and, even in the most intense and rhythmic moments, the notes made vibrate and ascend under the broad spectrum of the Antonellian Dome, create a sound architecture of great spirituality, even when, or perhaps for this reason, the vibrations come from the creeping of copper cymbals on the floor of the basilica or from the strings of a monochord plucked electric bass, to which a naked saxophone player. Spirituality is all in the mental intentions and the sincerity of these intentions is automatically reflected in the music. A sound that is jazz, funk, punk and ethnic, yet exactly none of this and from which the classic training imprint of the multifaceted Tamar Osborn shines, especially in the songs that see her on the transverse flute.

In addition to the amiability of the more sweetly melodious jazz, the large Novara audience was also able to enjoy paths bristling with experimental and research peaks, especially thanks to the unconventional percussion of Maurizio Ravalico, a little second officiant, after the priestess Tamar. Because basically this is about the lay office of the spirituality of music in a sacred place. For several years now, NovaraJazz has been carrying out this discourse of relocation of jazz towards unusual “containers” such as courtyards, historic buildings, churches, natural environments. As regards the churches, it should be remembered that, in addition to the Basilica of San Gaudenzio, concerts have been held and will be held in other churches in the city and it is necessary to underline the far-sightedness and great openness of the Novara Curia, which has always granted the places of worship at the festival. In the particular circumstance, the organizers thanked both the Bishop, Monsignor Brambilla, and the Pastor of the United Parishes of the Center, Don Renzo Cozzi, for their hospitality and for their active collaboration in organizing the concert. These are not words of circumstance, since it is not such a normal circumstance for jazz to enter churches, although for NovaraJazz it is always jazz of the highest quality. It is a beautiful gesture of mental openness, as well as human, and which demonstrates how the dialogue between cultures and the contamination of environments are always seeds that fall into the fertile land, the one that bears fruit. A good sign for these horrible times we are going through.”

Featured photo © Emanuele Meschini

Review on

And another great review, this time from Italy (thanks again google translate!)

“Collocutor is a beautiful modal jazz project, formed and directed by saxophonist and composer Tamar Osborn (aka Tamar Collocutor). Drawing on far-reaching influences, from the electric era of Miles Davis to minimalism through Indian classical music and Ethiopian sound, the latter output is certainly the best: the disc is a suite, which cradles the ear through meditative situations and peak moments of absolute distortion. The soft sound of the winds takes the listener into a sort of continuous dialogue, between shooting themes and astral contemplations. The Indian percussion of the first songs creates a strong expectation for what is going to happen next, where in Pause the disc opens with a broken and more energetic groove. The climax is reached in The Angry One, a hysterical song bordering a certain radical free jazz. It is very interesting to observe how these songs work together so well, evolving continuously without being boring and repetitive. “Continuation” is proof that Collocutors are a formidable ensemble, and Tamar Osborn is confirmed as one of the best composers of this period.”

Review on

a lovely review from the Czech Republic. Google translate version below!

“A prominent figure in the progressive London scene is the saxophonist, bass clarinetist, flutist and composer Tamar Osborn, who also performs under the stage name Tamar Collocutor. A COLLOCUTOR is named also her ensemble, whom 21.2. The third album has been released on London’s On The Corner Records. Zove is typically “Continuation”; The six-headed band continues with the exciting mix of electric jazz a’la Miles Davis, modal jazz, minimalism, Indian classical music and Ethiopian jazz. As a result, with a considerable spiritual and afro-futuristic charge…

The six musicians collaborate truly exemplary, congenial. However, these are highly creative types of instrumentalists without borders, both in the transferred and real meaning of the word. Tamar Osborn (baritone, bass clarinet, flute), the author of all the repertoire of Collocutor, has worked with world-music and jazz such as Baaba Maal, Rokia Traore, Bassekou Kouyate, Tony Allen, Jessica Lauren and Sarathy Korwar. By the way, she performed in the trio of the latter drummer of Indian origin at the Jazzinec Trutnov Festival in 2017.

Tenor saxophonist Josephine Davies played with Jamie Cullum, London Jazz Orchestra and BBC Big-Band. Another tenor’s voice is Mike Lesirge (Django Bates, Billy Cobham, Erykah Badu, Andreya Trian…). Guitarist Marco Piccioni, originally Italian, has his own blues-rock trio and moves across genres at all (Dele Sosini Afrobeat Orchestra, Julia Biel, Cleveland Watkiss). Extremely rich, multi-genre rhythm is formed by bassist Suman Joshi (punk-jazz The Destroyers, “Americano” playing Trio Manouche) and percussionist Maurizio Ravalico, who studied music in Havana and has been based in London since 1991; His portfolio includes Jamiroquai, Paul McCartney, Greg Osby and Andrea Parkins.

The opening track of the album “Deep Peace” was recorded in the sacred space of the Babtist Church in London’s Heath Street in August 2018. That’s why the beautifully arched timber arches of the Saxons, but initially disturbed by some industrial smog; but it will turn into ambient breath at the end…

Other songs Collocutor recorded in Soup Studio last January. The title “Continuation” opens the sound of Tibetan dishes; then there will be excited guitar riffs and an undocked bass line, over which the almost saxes will spread again and a bass clarinet will be added. He also cuts the solo, while percussion becomes very thick and intertwined with polyphonic voices of sax and flute in a distinctive theme. The masterful “Pause” is fed by an industrial drone, heavy bass, flushing of saxis, and then a riveting stream of percussion; it has a hypnotic thrust in which tenor solo, electronic noise, uncompromising guitar attacks explode, then massively graded by dense saxas. If jazz-rock fusion is to be reborn in a new, fresh sound, then it should sound like this! Or the following “The Angry One”, a punk cocktail of punk-jazz and free-rock. The composition “Lost and Found” brings tranquility, although in the first half it is gargling with a minimalist flow of saxes, from which it will penetrate into the listener’s ears a rousing solo baritone; then the chord of the breaths (tenorsax and flute) make a delicious melody with a regular, sometimes obscured rhythm. The album concludes with “Pause Reprise”, where the nuclear power of the original song is suppressed due to a loose structure that is only slowly cemented; the resulting intensity is not in the power of the sound mass, but in the tension within the material…”

“Sound = 100%
Cover = 100%
Music = 100%”

Beat Caffeine feature ‘Continuation’

“one of the most dynamic jazz groups to emerge out of London”

“another brilliant recording from Tamar and Collocutor, continuing to explore and expand musically, while making their mark as one of the most innovative groups in jazz right now”

Thank you to TJ Gorton for featuring ‘Continuation’ on Beat!

Read the full write-up here:

New album to be released in February 2020

We’re very pleased to announce our 3rd album will be released in February 2020, again with the fantastic On The Corner Records.

Marking a transition to a slightly smaller band line-up, it is at heart a very personal album about coping with grief and the aftermath of loss, with the realisation that grief does not exist without love.

Previews and pre-orders are up on bandcamp – we hope the music connects with you.


Artwork by Victoria Topping