The UK's club culture has also had a hand in lowering the average age of a jazz enthusiast, according to Gilles. He says: "I think the really great club culture here is what makes a difference too, you can hear obscure African tracks in a club in England - it’s almost part of everyone’s record collection now."

The feeling is that it’s music that belongs to the younger generation Gilles Peterson

"If you go to Steam Down in Deptford [South-East London], it’s packed with young people," Peterson explains. "I was performing in Brixton and played a few jazz tracks – and they all went nuts, as if I was playing Joy Orbison or something! The feeling that it’s music that belongs to [the younger] generation is what makes it really interesting."

There's a firmly DIY nature to the UK current jazz scene, Peterson says, and perhaps it is this that lends itself to such experimentation. It's what sets the current crop apart from their predecessors, according to Gilles. "The current jazz scene is really exciting because – as opposed to previous scenes – it’s got a confidence and is comfortable in doing it without any help," he explains. "Even though there is support for musicians, they’ve all basically gone and done it themselves. It’s a DIY mentality, almost as if this is the first generation of jazz musicians who’ve really taken advantage of social media and all of that, on top of the structures that exist already."