If you're one of those listening to music on the Internet, you almost certainly know Kokoroko. You don't think so, but take a second and look for Abusey Junction. The melancholic riff guitar by Oscar Jerome has been known for being among the favorites of the algorithm of platforms like Spotify or YouTube. Through listening, perhaps it has lost its meaning. But it's not denied that it's a great song.

Thanks to this song, which first appeared in the We Out Here collection, in its EP of Kokoroko, the London group that has become famous worldwide has just published its first long work four years later. Could We Be More is the form that adopts Afrobeat, highlife and Nigerian soul on a long album.

Without just changing rhythm, he jumps from one song to another, feeling all the tracks part of the same journey. A cosmic journey in a few moments, inward in others. The fight against racism in London is in full effervescence, and young jazz musicians demonstrate this, among other things, by implementing interculturality and the demand for roots.

Dide O and Home songs have the same, or at least the most similar, vibration that Abusey Junction mentioned earlier. But there are other, more moving ones, like Soul Searching or War Dance, or the Something is Going On, which has taken the single blind, answering Marvin Gaye's question. The crowns of the voices of the three girls in the group elegantly dress the choruses. By the way, they are the souls of the group: Sheila Maurice-Grey on the trompas, Cassie Kinoshi on the saxo and Richie Seivwright on the trombone. Those good times is the brightest piece, perhaps the most nostalgic and commercial.

The disc may have an excessive tendency to correction. Maurice-Grey's trumpet gave another coolness to the wonderful solo of the fantastic song Lost Kingdoms by Nubya García, for example. It seems that, after four years, this work is overthought and nothing comes out of its way. Afro-jazz may suggest otherwise.

In any case, this work is a nice trip. Do not look here, therefore, for a work composed of pentatonic melodies and African frantic rhythms. Because the roots go inwards on this journey. Because in what everything is measurable and measurable, we can be more numerically and more.