"Outstanding” is an overused description but one that’s applied to bassist Orlando le Fleming
so consistently that its justification can’t be denied. While living in New York he brought his
inimitable personality to work on projects for the likes of Branford Marsalis, Joey Calderazzo,
Antonio Sanchez, Kurt Rosenwinkel, Bill Charlap, Billy Cobham, Kevin Hays, Wayne Krantz,
Jimmy Cobb, Ari Hoenig, Seamus Blake, Jeff “Tain” Watts, Leslie Odom Jr, Mark Turner and
David Sanchez among many others.
As a leader he shines even brighter — his drum-less OWL Trio (with long time associates Will
Vinson and Lage Lund) gained plaudits across the board for its hushed, intimate atmosphere.
Downbeat declared “Everything about this album, is a resounding success. The music
swings effortlessly, every utterance is gorgeous and the recording is intimate and
beautiful.”
His last release - Romantic Funk: The Unfamiliar - introduced us to a new sound, a tribute to
the muscular, high-intensity fusion of the 1970s and 80s, and a new band, Romantic Funk.
With material workshopped in an extended residency at New York’s storied 55 bar, Romantic
Funk showcased Orlando’s virtuosic bass playing, whilst also giving his bandmates (including
saxophonist Will Vinson and drummers Nate Wood & Kush Abadey) a platform to shine.
Intuitive group interaction of the highest level was displayed within a backdrop of jazz, lush
harmony, and funk.
The latest incarnation of the group features UK heavyweights, drummer James Maddren
(Jacob Collier, Enemy), Tom Cawley on Keys (Peter Gabriel), Nathaniel Facey on alto
sax (Empirical) and US Trumpet sensation Philip Dizack (Shai Maestro).

"Long may Orlando Le Fleming's electric jazz renaissance continue."
★★★★ Jazzwise Magazine (Editor's Choice)
“An outstanding bassist takes a turn towards muscular fusion.”
WBGO
“A deep-toned walker with an impeccable sense of time”
Jazz Times
"Raw, exciting, authentic and vital."
★★★★ The Jazz Mann
"Superb... a fresh mix of energy, intelligence and groove."
★★★★★ Jazz’n’More
“Le Fleming’s compositions change texture, tempo and mood, conjoining narrative twists into
an overarching form”
Financial Times