Expansive, cinematic, adventurous: These are the intentions saxophonist and composer Nubya Garcia decided to channel when it came to creating Odyssey. “I wanted to make a record that felt bigger, something that delivers unexpected emotions,” she tells Apple Music. Bursting onto the London jazz scene in 2017 with the release of her debut EP, Nubya’s 5ive, Garcia became a key proponent of a new group of young improvisers who were drawing on jazz traditions as much as their diaspora heritages in their music. Following 2020’s full-length debut SOURCE, Garcia now develops her Afrobeat- and dub-influenced sound further to encompass everything from the sweeping string arrangements of “Clarity” to the weighty soundsystem basslines of “Triumphance” and the ’90s R&B references of “Set It Free.” Largely written during extended trips to Brazil, away from her typically hectic touring schedule, Odyssey is Garcia soaking up new atmospheres to create an instinctual and intricately articulate music. “This is me growing through joy and practice,” she says. “It’s the fullest, freest vision of myself.” Read on for her in-depth thoughts on the album, track by track. “Dawn” (feat. Esperanza Spalding) “I wrote this track when I was in Brazil for six weeks at the end of 2022. I was staying right by the ocean and would wake up for the sunrise every day. It was such a beautiful, poignant way to start the day and this melody just came to me in that environment. I’ve always loved Esperanza’s work and she felt like the perfect addition to the song—I was so happy when she agreed to it. I only gave her the title and let her run free otherwise with these beautiful lyrics drawing on the Icarus myth.” “Odyssey” “‘Odyssey’ is the epic adventure of the record. I didn’t know the album would center on this composition but I had a feeling that it was going to be cinematic and journeying. Every section of this tune keeps building and turning in unexpected ways, from the keys to the string section producing a huge range of light to darkness. The melody wanders and feels like a beautiful marriage between my love of modal jazz and my love of classical textures. It all flowed really quickly since I had so many ideas for it, all sparking on from one another.” “Solstice” “This is one of the oldest tracks on the album. I wanted it to have a busy, erratic beat with a slower melody sauntering and winding over it. It’s about the fast and slow being in conversation. It’s called ‘Solstice’ because the first time I played it with the band was on the summer solstice in 2023. We’d all been away and not done a gig for a while but it just felt right and went down really well.” “Set It Free” (feat. Richie) “As soon as I began trying out ideas for this track, I knew I wanted it to have a chill but energetic backbeat, one you could walk down the street to. Richie’s vocals add a stunning sound and lyricism and establish the theme of the song being about promoting confidence in women who are so often raised in society to continually apologize for themselves. It also features a cheeky nine-bar loop, rather than the usual eight, which always surprises me when it comes around!” “The Seer” “‘The Seer’ is about wishing you could catch a glimpse of yourself in the future to know you’re on the right track and be confident about your choices. Sonically, it’s a nod to modal jazz with classic voicings and then shifts into my love of broken beats and energetic drums. That switch feels a bit like the ’90s R&B interludes where you hear a snippet of another section or song coming in.” “Odyssey (Outerlude)” “I wanted outerludes on the album to give the listener a reprieve and remind them of what they have just listened to before, as well as melting into a different energy for the rest of the record. This switches it from a very high-energy beginning to something much softer and quieter for the halfway point. I love it because it has an eerie vibe full of shimmering strings.” “We Walk in Gold” (feat. Georgia Anne Muldrow) “The melody for this composition feels like a lament but the intentions of the tune are joyous. It’s full of energies of hope, purpose, and direction, all informed by the color gold, which represents a light that releases darkness for me. I’ve always loved Georgia Anne Muldrow’s work and was elated when she agreed to feature on this track with me—she fully embodied the track’s uplifting intentions.” “Water’s Path” “This was the only tune on the album written in one go with no edits, which is something I haven’t done before. It’s one of my favorites because I’ve never written for strings before this album and I’m really proud of how this song embodies both happiness and sadness, as well as the qualities of water always finding its way through, which is reflected in the ostinato that just keeps ticking along. It’s super melodic and romantic.” “Clarity” “The vision for this song became clearer—no pun intended—as I wrote it and it became really enjoyable seeing it morph into the final version where the harmony is upward-reaching and always building. The intention behind the song is about the importance of clarity and transparency in relationships and how freeing that can be when we have it.” “In Other Words, Living” “Like ‘Clarity,’ this song always feels like it’s reaching upwards, pushing for peace and excitement in life. It’s a song about being intentionally present and living the balancing act between happiness and sadness that so often constitutes our existence as humans. That’s living as I know it, anyway.” “Clarity (Outerlude)” “I wanted one more reprise before we end, something to shift the listeners’ energy back to what’s been before and to show how far we’ve come over the course of the record. It’s a small offering to the journey we’ve traveled on together.” “Triumphance” “We’ve been playing this track for a few years to close the live shows and it always leaves people with such joy, since they can’t help but move when it drops. I wasn’t going to record it for the album but it ultimately felt like the only way we could end. I wanted a speech over the dub while the band cooked, something to sum up the triumphant themes of the record and to leave people feeling self-confident as they go out into the world. Except, the person I wanted to do the speech couldn’t and we were running out of time, so I ended up recording it myself, which was a first! I guess I had to find my own self-confidence here to say my piece.”