Part two of Octatonic extrusions, the latest in my abstract funk explorations. I'm calling this abstract funk partly cause the terms 'jazz Funk' and 'fusion' are a turn off for people.

They're a byword for incomprehensible and undanceable time changes, slap bass (sue me, I dislike slap bass, not a fan, sorry) and excessive soloing.

I try to avoid those things in general, I grew up on riffs, grooves and drumbreaks. You'll be able to hear that I think from this and other music on my page.

Inspiration wise I've drawn on my long love affair with the music of Herbie Hancock (it's not all about headhunters, check his 'Mwandishi' era band for much spaciness).

There is of course a touch of Miles in there (I played the trumpet on keys, without wah and echo I could get no where near to his style).

And there's a hefty influence in the rhythms and guitar from Fela Kuti's perfect Africa 70 band. Again we have polyrhythmic percussion playing across the beats and I tried to inject a bit of the feel of Tony Allen into the drum programming (I could never nail every nuance of that sadly departed genius' style but his influence is there).

Music theory nerds will note that I've again used the octatonic scale which I mentioned in the last video description is symmetrical in 4 ways. It contains four of every interval. The majority of what you're hearing now is me taking patterns and moving them up and down in minor thirds or multiples thereof.

It's quite addictive as a way of introducing near constant tension. It's a fascinating way of making music but I promise that part 2 is the final octatonic extension.

I am planning however on keeping this band producing a track a week as there seems to be a demand.

One of my favourite documentaries of the last few years is 'John was Trying to Contact Aliens'. Great story, genius guy with great taste in music. His overlaps with mine and, if you're here then probably yours too.

So here's a piece of music for our potential alien overlords, and you too.