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Perhaps reissued to mark Arvo Pärt’s recent 80th birthday, this was a ground-breaking album release on LP in 1984 and some of the music was soon taken up by other artists: fellow Estonian Neeme Järvi with Cantus, Tasmin Litle with Fratres. ECM’s programme has 12 Berlin Philharmonic cellists playing it and the violin/piano version with Gidon Kremer and Keith Jarrett. Tabula Rasa is for two solo violins, prepared piano (Schnittke playing, no less) and small orchestra. Cantus, a threnody with strings and final tolling bell, written in memory of Britten, especially had a cult following (though it doesn’t inspire me!).

Nigerian-German singer-songwriter Joy Olasunmibo Ogunmakin – stage name Ayo – has enjoyed considerable success in Europe since her 2007 debut album Joyful and its follow-up Gravity At Last, both produced by renowned American sound engineer Jay Newland. This is her fourth studio album, produced and mixed by Newland once again, containing both the original version of her 2013 single ‘Fire’ and its subsequent remix featuring Congolese-French rapper Youssoupha [see Lab Report]. As usual her songs cover a mix of styles from reggae and rap to the country-esque ‘Justice’ and the beautiful ballad ‘Fallin’’ that bears comparison with Joan Armatrading at her most heartfelt. Standout tracks such as ‘Teach Love’ and ‘Complain’ showcase the album’s superior recording quality, with the backing instruments separated across a believable soundstage.

This set may take its title from Erik Satie’s decidedly strange cantata, based on a translation of Plato’s Dialogues, but it opens with the composer’s romantic early love-songs, ‘Trois Mélodies’, setting the ravishingly beautiful tone of the entire album. If you’ve ever wondered what reviewers mean by an ‘intimate’ recording, here’s your benchmark: the gorgeous voice of Canadian soprano Barbara Hannigan sounds like it’s not just in the same room but quite possibly on the same sofa as the listener. It’s so close-up you can almost feel every breath to spine-tingling effect, while accompanist de Leeuw maintains a discreet distance, seemingly to avoid breaking the mood. In the title work – which is either written straightfaced or a fine piece of deadpan humour – Hannigan may take a step back from the close-up magic, but this is still a glorious recording.

Well, this turned out to be an unexpected treat: Becca Stevens plays multiple instruments to an annoyingly high standard, but does so with such style and in so easy-going a manner that the result is anything but annoying. She also sings superbly, too: her voice is warm and lush, but packed with expression, and capable of wonderful harmonies with accordion/keyboard player Liam Robinson and bassist Chris Tordini. Oh, and she writes great songs into the bargain, such as the attractively clever title track of this, her third album, which was recorded in multiple studios (and indeed three separate states) by producer Scott Solter. It’s a fine multilayered crossover between jazz, folk and rock, combining Stevens’ originals with great covers – her version of Steve Winwood’s ‘Higher Love’ has both style and solid bass, and like the whole set an open, informative balance.

Young Dutch saxophonist Ben van Gelder’s 2012 debut album Frame Of Reference, published by his own BvG Music enterprise and released on vinyl as well as CD, is followed up by a fresh outing recorded in New York’s prestigious Sear Point Studios. Less contemplative than his auspicious debut and featuring pretty much the same line up of Craig Weinrib (drums), Peter Schlamb (vibraphone) and Rick Rosato (bass on all but two tracks), but with pianist Aaron Parks replaced by Sam Harris, van Gelder’s quintet once again exhibits a medley of styles, shifting from angular unisons to freewheelin’ blowing. It’s hard to believe they’re all in their 20s such is the maturity of their playing, van Gelder’s inventive compositions certainly belying his age. It’s a pity the sound isn’t more open and airy, the textures at times masked by the slightly cramped soundings.

That sombre cover portrait sets the tone for Benny Andersson’s latest solo project, which consists of 21 tracks from his decades-long career reinterpreted for piano. The mood is generally melancholy, and the album largely concentrates on Andersson’s post-Abba material, including songs written for musicals such as Chess, as well as his current ‘group’ – the Benny Andersson Orkester. Inevitably, though, it’s the handful of familiar Abba classics that stand out. The piano version of ‘My Love, My Life’ lacks the lush harmonies of the original, but the bittersweet melody still shines through.