While the theme of the album may be dedications to others, what Mehldau has ultimately crafted is an ode to the confidence, style and precision of his own trio's playing, displaying all the panache and charm of old companions reuniting once more.

There's obviously more to come, but this eagerly awaited debut disc doesn't disappoint.

Yet for the faithful, and even anyone who's heard the name but never the music, this is the same old wonderful stuff from one of our finest songwriters.

It's a blistering, at times thoughtful, scattergun grab-bag of magpie musical styles and broken beat rhymes that somehow hangs together with irrepressible energy and invention.

These are songs to fall in love to, to grow along with, and to share with friends in need of a life-change.

For a debut album, there are precious few mis-steps, apart from perhaps a little too much instrumental noodling. But, aside from that, it is remarkably consistent.

It's certainly a promising debut, just one hampered by a songwriting scope that strips it of its own vitality rather than informing it.

Holter is arguably at her best when exploring texture.

This is not necessarily a needless welding of two disparate musical styles, more a lost opportunity for a magical fusion of two sonic diviners.

Lights is at times let down by this lack of variation.

As infectious and riotous as If You're Young might well be, the inescapable reality is that the mass middle isn't walking over hot coals to buy this sort of music at the moment.

It's a subtle collection of tracks that is surprisingly both intimate and ambitious at the same time.

This is a real cracker of an album.

In A Dim Light is a wonderfully challenging, disorientating and immersive work.

Overall, Happy To You is a solid if unspectacular second effort, one that disperses moments of brilliance with the occasional filler track.

One of the standout albums of 2012 so far. Tremendous stuff.

There is much to recommend in Nneka's third album, though if it was slightly shorter it could be considered a great album rather than merely a good one.

Throughout Sonik Kicks, it somehow feels as if the Krautrock vibe is a needless intrusion, an unnecessary welding and meshing of styles.

Parastrophics is never dull, and there are some great moments on here. But occasionally it is a little too restless for its own good.

Unless you are in the company of some helpful stimulants, it is ultimately frustrating and chaotic. You can marvel at the wondrous and wacky keyboard sounds one minute, but you'll be shaking your head at some of the strange musical harmonies and directions the next.

Far more nuanced and textured than its two predecessors, it sounds all the better for it.

A well crafted album that takes a fascinating journey through the history of American rock music, geography and pharmaceuticals.

Taken in its entirety, it doesn't offer enough variety or dynamics to warrant repeat listens.

The Pines ably achieves what it sets out to do, but somehow you're left pining for that little bit more.

This compilation may primarily be valuable for illustrating the full length and breadth of Sylvian's musical progression.

This is music at something like its most natural, made by a collaboration who might not even have met but who have struck up a clear understanding despite the distance between them. More, please.

It is to Dry The River's credit, however, that they have in Shallow Bed created an album that both plays to their strengths and showcases a diversity of modes, each sculpted authentically. An outstanding effort.

It's a disappointment that their live energy hasn't been replicated on Rise Ye Sunken Ships.