In summer 2020, pianist, composer and arranger Greg Foat was still “a well kept secret in the British jazz scene” (Radio Eins). Foat had gained an excellent reputation with his surprising productions on the island since 2011, but did not want to choose between his numerous interests. Now, with the Greg Foat Group he ventures a terrain that could best be described as British-proto-prog-fusion, meaning bands like Soft Machine, Caravan or Nucleus. The album “The Dancers At The Edge Of Time” (2015) is a must listen. Besides this, Foat works as a DJ, in projects with house and ambient producers and has a love of classical soundtracks and library music. He works more in a conceptual than in the classic jazz session format and in this regard “Symphonie Pacifique”, his lovingly created opulent soundscape released on “Strut/K7”, almost sounds like a quintessence of his previous work and caused quite a stir amongst critics. Greg Foat convinces with a myriad of original ideas and refreshing dramaturgy, with relaxed grooves, choirs and string players, with the harp and acoustic grand piano, and non-sarcastic references to ambient, dub, acid folk, exotica and CTI jazz from the early 1970s. It is both equally ambitioned and light. A real old school conceptual album with hypnotic effects, celebrating the analogue and dwelling somewhere between Martin Denny, David Axelrod and Donald Byrd. And, with a slight twinkle in the eye, we also say: in the direction of Kraftwerk.