Guitarist & Composer

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“What Do You See When You Close Your Eyes?” Reviews

A compilation of some of the great reviews we received over the last 12 months or so for this album. Thanks to all who listened, read and critiqued and of course to those who have bought it!

“Nothing short of breathtaking… The most beautiful work that has come out yet from the Babel label… An essential release” All About Jazz [FULL REVIEW]

“Fascinating … Marries soulful funk and open-hearted jazz with a narrative quality” Independent on Sunday [FULL REVIEW]

“Shockingly refreshing …A rare gem in post-modern music… This release proves that the future of music is on good footing” Cadence

“Absorbing … Freed’s distinctive sonic sensibilities draw on rock, folk and classical just as much as jazz … Postioned at a crossroads between post-In a Silent Way impressionism and Bill Frisell/Pat Metheny with a 1970s misty mountain hippy folk-rock spirit” Jazzwise

“A recording of stunning creativity and originality… The ingenuity of Freed’s [musical] approach, in itself, makes for a truly outstanding album – but the transformative beauty which he felt compelled to explore in linking the imaginings of others to his music realises a production like no other” London Jazz News  [FULL REVIEW]

“An ambitious, brilliantly realised project.” The Jazz Mann [FULL REVIEW]

“An absolutely fascinating crossroads of words and notes that goes far beyond other similar experiments…not simply a great record but also a small work of art.” All About Jazz Italia

“This is not a project, it is a work, and one of almost inestimable value to the present day…Moss Project succeeds perfectly in blending different arts and provides music and words of beauty and substance” Jazzitalia [FULL REVIEW]

“A beautifully realized musical-literary-art project…Special indeed.” Textura [FULL REVIEW]

 “In the event, it works brilliantly…the relationship between text and music becomes more apparent at close range” Dyverse Music [FULL REVIEW]

 “Here’s something new… At the same time intricate [and] adventurous” Richard Williams, The Blue Moment [FULL REVIEW]

“You must hear it for yourself. An enjoyable multi-faceted experience which should be listened to more than once” Be Bop Spoken Here [FULL REVIEW]

“[Freed is] a considered, authoritative and distinctive soloist” The Liminal 

“Extraordinary” Bad Alchemy

The Great Collision

I’m super excited to be curating a new monthly night of musical collisions upstairs at the Forge opening on Tuesday August 13th.

What happens you take two established duos and ask them to come together in front of a live audience? The rules are simple: the first half consists of each duo playing a short set individually; the second half is the collision. The musicians will have access to the venue for the afternoon of the performance, if they choose to use it, but no more preparation is allowed. Guests from the audience may be invited to join in.



Upstairs at the Forge is the perfectly intimate venue for this informal and inclusive series. For the inaugural event we have an amazing line up of musicians to take on the challenge – Led Bib’s Chris Williams (sax) and Liran Donin (bass) up against Dan Nicholls (keys) and Dave Smith (dr) who collectively make up Strobes.

*Bring instruments*

Doors – 7:30pm, Music – 8pm

£8 on the door. All the money goes to the musicians.

Click here to see event details on the Forge website.



The Forge is an amazing arts centre in the heart of Camden who go above and beyond to programme music with integrity across the spectrum of genres. The Great Collision is a chance for London’s top improvisers to collaborate in a unique way with musicians they wouldn’t otherwise have the opportunity to play with – the possibilities are endless! If you love live improvised music please come and support this new night!

The following Great Collision will be on Tuesday September 17th with Tom Hewson (keys) / Alam Nathoo (sax) alongside David Preston (gtr) / Laurie Lowe (dr).

New reviews – Moss Project Album Launch (Vortex, 6/3/13)

Hey all,

Just wanted to share and say thank you for a couple of nice reviews from our album launch last week. It was an incredible night for us – to be able to launch our album to an audience of so many friends, family and music lovers alongside beautiful readings from Hanan al-Shaykh and Joe Dunthorne. Incredible…

Here’s what Rob Edgar from London Jazz had to say:

What Do You See When You Close Your Eyes is the new album by the Moss Project on the Babel label. Launched at the Vortex on 6th March, it’s a little unusual in that it features creative responses to the music from writers and poets, two of whom were there for live recitals of their work (Joe Dunthorne, and Hanan al-Shaykh).

If Moss’s Let Spin project brought to mind garage band alternative rock blended with intelligent jazz craftsmanship, this outing takes more of a lilting, folksy approach whilst retaining the psychedelic atmosphere that makes up much of Freed’s music. which also has a narrative quality.

The music, for the most part, had an impressionistic texture with melodies floating around the canvas of Freed’s compositions, interlocking gently before breaking apart again with Freed’s electric guitar often set on a crunchy distorted tone and vocalist/violinist Alice Zawadzki’s voice floating over the top as she harmonised her vocal lines on violin.

That’s not to say that the music was all wispy and delicate, Ruth Goller’s bass guitar was compelling and grooving making for some exciting interplay with saxophonist Kenji Fenton, and drummer Marek Dorcik could propel the music forward or add just the right touch to the lighter moments.

The part that really seemed to pique the audience attention was The Angel when Beirut-born author Hanan al-Shaykh read her story about a dinner party, a heroin addict and an “angel”. The music she had been inspired by was calm, airy and balmy and had the audience in complete silence throughout.

There was so much to explore and take in during the course of the night that it begs repeated listening. I very much look forward to getting my hands on a copy of the album.


And Jeanette Howlett from Radio Starlion wrote:

A scroll through my earlier reviews will confirm that I have now seen Moss Freed play with a variety of musicians several times since first seeing him perform in a local cafe/music bar in 2009.  I could cheerfully have believed at that point that he was Brazilian by association, as he was one-third of a Brazilian trio!  After seeing him at several very different gigs within the following three months, it was clear that this was simply an indication of his enthusiastic and diligent nature and, most of all, his versatility as a musician.

The Moss Project is his ‘home base’ as it were, and they seem to be going from strength to strength, with many tours in the UK, Europe and beyond under their belts and, 4 years after their superb and acclaimed debut album, ‘Vision’, this gig marked the launch of their eagerly awaited 2nd album. It was clear that the audience was indeed witnessing something very special.  I feel so privileged and so moved to have been there, and so happy to have had the chance to introduce a dear friend to this wonderful music.

‘What Do You See When You Close Your Eyes?’ is an ambitious and unusual creative venture, described by their record company, Babel, as ‘a unique and compelling marriage of music and literature’.  They also promise that the CD package (which I have pre-ordered and am looking forward to receiving in the post soon!) will include a  ’beautifully packaged book of short stories’. and I have every reason to believe them!

I understand that several well respected and fully accomplished writers, including ‘Submarine’ author Joe Dunthorne, have produced accompanying poetry and short stories inspired by the tracks. At the album launch some of those writers (including Joe Dunthorne and Hanan Al-Shaykh) introduced the appropriate piece of music with their readings.  Hanan’s for ‘Angel’, describing the plight of an anguished mother soothed and aided by a remarkable individual, was particularly harrowing and evocative.

I had heard some of these tracks before but not in their full context and it made for an especially enriching experience.

First up was ‘The Bubble’, which remains my favourite track, preceded by a reading of the imaginative accompanying piece of writing by Naomi Alderman.  Like the other readings, it brought colour and depth of meaning to the music.  I enjoyed every moment of the set which also included the intriguingly entitled ‘Freud & Jung Ride The Tunnel Of Love’, ‘Lose Ourselves’ and my first hearing of the title track in which I felt that Alice’s uncharacteristically low but consistently expressive vocals and tight intertwining rhythms drew the listener into something quite intense but at the same time strangely uplifting somehow, linking all the themes of the album.  I felt I’d arrived at the ultimate destination of an adventurous and inspiring journey.  This has been further extended by my having now heard the album in full, thanks to a download from the Babel Label website.

I really do feel that there is something for every music lover in this album, transcending genres into nothing less than a timeless piece of art, with the writing and artwork taking it across to seemingly limitless dimensions.



Sunday Sessions – A new live music evening in Crouch End

I’m really excited to be programming some great music for a brand new weekly series called Sunday Sessions, which are happening at the Haberdashery (Best Coffee House, London Lifestyle Awards 2012) in Crouch End starting Sunday 3rd March. Come down if you can – it should be magical…


London Jazz

Here’s a preview I wrote for Sebastian Scotney’s amazing blog London Jazz.


What Do You See When You Close Your Eyes?


Album Launch: Wednesday, 6 March, Vortex

MOSS FREED talks about the inspiration behind his new album, a unique collaboration between music and words…

I was driving to a family Christmas gathering. It was one of those crisp, dark winter nights and I was listening to the new masters from the recent recording session, trying to come up with an album title. I’d spent the best part of a year composing music for the new Moss Project album, exploring a variety of influences and trying to exploit the distinctive talents of the musicians playing in the band: Alice Zawadzki’s awe-inspiring combination of vocals and violin; the blend of tight grooves, heavy riffs and expansive free playing made possible by a Marek Dorcik and Ruth Goller rhythm section. I also wanted to make room for the audacious talent of Shabaka Hutchings on bass clarinet and sax.

Instead of coming up with album titles, however, I found myself imagining scenarios, people, places and interactions. Streetlamp-lit brawls played out in my head one minute, a woman mourned her lost love the next, and as the music went on it became apparent that there was a cinematic thread running through the album – each track was a self-contained short story.

Very quickly this idea developed. Wouldn’t it be a fascinating and exciting artistic exercise to ask authors to write actual stories based on the individual tracks? I was curious to see if there was a difference between my thoughts and feelings when composing and those conjured in the listener.

I can think of many composers who have been inspired by stories, poems and plays. Prokofiev, Verdi and Wagner spring to mind, and Duke Ellington’s Such Sweet Thunder (an album I grew up listening to) is part of a sizeable repertory based on Shakespeare’s plays and sonnets. Then there’s Led Zeppelin and Radiohead, two profoundly influential bands whose music contains references to Tolkien and Orwell. But I struggled to think of any literature that was based on specific musical works.

So I started trying to find authors who might like to get involved. Luckily those I contacted were interested in the idea and keen to write something. I was moved and surprised by the results; not only by the breadth and scope of the authors’ imaginations and how different they could be to my own, but also by how well the words partnered the music.

I feel hugely honoured that such distinguished writers were able to contribute their talents to the project. They are: National Book Award-winning author of Let the Great World Spin, Colum McCann; Joe Dunthorne, author of Submarine, recently adapted into a film; Naomi Alderman, winner of the Orange Prize for Young Writers; one of the most influential Arab writers in the world, Hanan al-Shaykh; bestselling historical fiction writer, Lawrence Norfolk; and Time Out’s Rising Star James Miller.

What Do You See When You Close Your Eyes? has been two years in the making and I’m hugely excited to be celebrating its imminent release at the launch party on Wednesday. Come along if you can! It will be a feast of words and music, with readings from three of the authors, and a hearty serving of good times.

Album Launch! March 6th @ the Vortex

I am truly ecstatic to announce the launch of the new album from the Moss Project. It’s called What Do You See When You Close Your Eyes? and will come out on the Babel Label on April 22nd 2013. But April is a long way off and we desperately need to celebrate so have decided to host a launch party gig on MARCH 6th at the Vortex! Tickets are selling fast already so booking is highly recommended and you get sort yourselves out by clicking here. This is also a way to appease the baying crowds and give them an opportunity to get hold of a copy before the official release date!

As I may have mentioned once or twice, this album is very special in that it is a collaboration with six incredible authors who have written stories based on the individual tracks. We are delighted that three of these esteemed wordsmiths will be joining us at the party to read their stories for you. They are the wonderful Hanan al-Shaykh, James Miller and Joe Dunthorne.

There may even be some other sorts of multimedia shenanigans.

It would be truly awesome if you and everyone you know could come and help us CELEBRATE!!

Let Spin Reviewed by the Jazz Mann


London Jazz Festival 2012. Part One; 12th, 13th, 14th, 15th November 2012.

Ian Mann enjoys the first four days of a week of excellent music at the 2012 London Jazz Festival.




Formed only in June 2012 Let Spin is a new band with members drawn from some of the UK’s premier “punk jazz” outfits of recent years. Thus Led Bib’s Chris Williams on alto sax joins forces with Acoustic Ladyland’s Ruth Goller on electric bass, Moss Freed (of Moss Project) on guitar and, fulfilling the Manchester connection, Fin Panter of Beats & Pieces Big Band at the drums.

For me their performance represented the first of three forays into the skronky, rocky, punky side of the jazz spectrum (more on the others later). However despite their pedigrees Let Spin’s music offered an admirable degree of subtlety alongside the bluster. All four members of the band write and the band came across as a democratic, highly interactive unit with no one member overly dominating. Freed appeared to be the de facto leader but only in as much as he handled the announcements.

Panter’s “Awowawa” got things off to an energetic start with the blend of alto and guitar skronk driven by the powerful rhythms of Goller and Panter with Williams eventually cutting loose with a blistering solo. I always find something viscerally thrilling about somebody blasting away on essentially electric saxophone, I reckon it’s something that goes back to my prog rock days and David Jackson of Van Der Graaf and Andy MacKay in early Roxy.

The band often began things quietly before gradually ramping up the volume and the tension. Fluid solo bass opened Freed’s “A Change Is Coming”  before Williams long sax melody lines and Freed’s “Echoes” like guitar (another Floyd reference) invested the tune with a drifting, spacey quality. Eventually Freed began to stoke the fires with a guitar solo that moved up through the gears via vaguely Indian tunings and later an unabashed rock influence as he coalesced with Williams to bring a Led Bib like intensity and urgency to the proceedings.

Williams returned to the repertoire of his parent group with his tune “Shapes And Sizes”, a piece recorded on the most recent Led Bib album “Bring Your Own”. Here a solo sax intro and Freed’s wah wah guitar gave the piece an impressionistic quality that built steadily to embrace rock fury and sonic overload.

Goller’s “Castle Sea Ferry” was a set highlight with its whimsical almost folky theme with Williams playing right at the top of his alto’s range, providing the jumping off point for a series of improvisations centred around Goller’s chordal bass guitar playing.

The next piece was unannounced but followed the familiar pattern of a quiet intro that later exploded into killer riffage with both Freed and Williams delivering powerful and mesmerising solos. Freed’s set up included a variety of foot pedals and he utilised his various effects with skill and conviction.

Goller’s “The Piper” was the most purely atmospheric piece of the set, another example of the growing maturity of her writing with Williams and Freed the featured soloists.

The set closed with Williams’ appositely titled “Up And At Them” which took it’s cue from Goller’s grinding bass riff and included searing rock influenced solos for saxophone and guitar on a piece that was reminiscent of Goller’s old group Acoustic Ladyland. The audience absolutely loved this and hollered for an encore with an animated Alice Zawadzki leading the cheering.

The encore proved to be Panter’s “102 Hill Street”, another piece packing a mighty bass and drum groove and with final blistering solos from Freed and Williams. The audience was packed with musos, most of Beats ‘n’ Pieces (including leader Ben Cottrell)  were there to support both Panter and Zawadzki who has strong links to the band and the Efpi record label.

Let Spin are also due to release an album next year. On this evidence this is another recording that is going to make a considerable impact. In its short existence this is a band that has taken on a strong group identity and although its members are all involved in other projects I expect to hear a lot more from Let Spin.

Thanks to Chris Williams for a long and illuminating chat afterwards. Apparently Led Bib drummer and leader Mark Holub has moved to Vienna and there will thus be a temporary hiatus for Led Bib although a new album is mooted for 2014. In the meantime Williams is likely to concentrate on his work with Let Spin and with pianist Laura Cole’s group Metamorphic who will be releasing their second album in 2013.
Thanks also to Moss Freed for getting in touch post gig and making friends on Facebook and all that stuff.It turns out that he’s originally from Manchester.

An excellent evening of music then from two bands to really look out for next year. This proved to be one of the festival’s unexpected highlights.

As I intimated earlier I was also highly impressed with The Green Note. The venue hosts events most nights of the week including jazz, blues, folk, world and regular poetry slams. The folk programme is particularly strong with some major names playing the venue. Check out for listings.

Posted online by The Jazz Mann on 20/11/12

Let Spin Reviewed by London Jazz

Review: Alice Zawadzki Band/Let Spin, Green Note 15/11/12 (LJF)

Alice Zawadzki and Moss Freed


London Jazz Festival Review: Alice Zawadzki Band/Let Spin
(Green Note, Thursday 15th November. Review by Rob Edgar)


Last night, the cosy Green Note Café in Camden featured singer/violinist Alice Zawadzki’s band and guitarist Moss Freed’Let Spin. In the Zawadzki band, the hippie culture of the late 60’s and 70’s has grown up; the band featured Kit Downesproviding harmony (with some lovely ‘notes of added resonance’ chords) on his Hammond, guitarist Alex Roth created a kind of Aeolian harp effect (achieved by strumming the strings with the guitar’s volume on zero and gradually bringing it up),Jon Scott delivered some fine drumming with a myriad of different beaters and sticks (never over-powering, even with the venue’s diminutive size taken into account) whilst Zawadzki herself sang beautifully and played violin at the same time (no mean feat!). Dicho Me Habian Dicho, sung in the near-extinct language Ladino, was cyclical in form and had elements of folk, jazz and classical structures but with the trance-like hypnotic spirit of The Doors’ The End.

That wonderful gentle, lilting character was to define the first set before the Alice Zawadzki Band left the stage (to rapturous, deserved applause) and made way for guitarist/composer Moss Freed’s new project: Let Spin.

If the first group had a waft from hippie counterculture, by contrast Let Spin are firmly rooted in the modern, the hectic and the gleefully bizarre. When they first took to the stage for Awowawa it sounded as though we might be hearing an experimental rock group. Ruth Goller’s bass guitar was crunchy and a little trebly, doubling Freed’s (equally distorted) guitar in a way that was almost reminiscent of experimental rockers the 80’s Matchbox B-Line Disaster but with Chris Williamsplaying an anarchic Naima style solo over the top on his saxophone and Finlay Panter providing some pounding rhythms underneath. The band could start a tune in a fairly laid-back manner but it would quickly descend into organised chaos in the fashion of John Zorn’s Naked City album.

Each member of the band is also a composer which made for an fascinating, mixed bag of pieces. Saxophonist Chris Williams’s piece Shapes and Sizes was very sax-heavy, Williams pushing his instrument almost to breaking point, squeals and multiphonics popping out now and again in a solo which had the audience spellbound.

Up and At Them started out almost like a typical garage rock band but evolved into kind of eastern European, Hungarian/Bulgarian style with complex/irregular time signatures over a backdrop of distorted guitars.

The highlight though was Ruth Goller’s Castle Sea Ferry. The piece had some lovely chordal bass playing, the occasional biting dissonance and quite a few seemingly disparate ideas superimposed on top of each other which all came together and resolved at the end.

It was a night of two very different bands, both of whom captured the audience’s imagination, but in different ways. Let Spin have an album recorded, apparently still in the rough stage. Yes please, and soon.

Posted online by London Jazz on 16/11/12
Happy New Year!

I just wanted to send out some good vibes to anyone visiting the site and say that the coming of 2013 hadn’t gone unnoticed here. I must say that 2012 was pretty great all in all. The new Moss Project record has taken shape and become something I’m very proud of. The artwork is incredible and I can’t wait to see it released in a few months. Let Spin was created and we recorded our first album, which we’ll be mixing and mastering in the next couple of weeks. I programmed the first Coventry Calling music festival in Connecticut and I got engaged to a truly amazing woman. A good year. 

And 2013 is looking pretty exciting too. It will see the release of both these albums (with Babel and Efpi respectively), the 2nd Coventry Calling and I’ll be doing more recordings with the likes of songstress Kimberley Anne and the Spike Orchestra in the next few weeks. I’m looking forward to planning some good tours around the UK and Germany and perhaps further afield. And the engagement will become a wedding! I’m excited about writing more music and forming new musical bonds. I feel a burst of creativity coming on…

It seems fitting to mention some awesome things I saw and heard in 2012:

Favourite gigs of 2012 in no particular order:

Lionel Loueke (Vortex); Chick Corea/Brian Blade/Christian McBride (Barbican); Lighthouse Trio (Forge); Jeff Williams (Green Note); Sons of Khemet (Vortex); Paco de Lucia (RFH); Paul Simon (Hyde Park); Eska (Purcell Room); Johnny Greenwood/Penderecki (Barbican), Ma (Amersham).

Favourite releases of 2012:

Troyka – Moxxy; Silence Blossoms – Live in Sweden; Bad Plus – Made Possible; Lionel Loueke – Heritage; Snarky Puppy – Ground Up; Beats & Pieces – Big Ideas.

Other things I discovered in 2012:

tUnE-yArDs, Rajastan, Deerhoof, cooking, Paperless Post, Dubai, Newcastle Lit & Phil, Suffolk, the joys of vinyl, a recording of Ella at Ronnie’s in 1974, the National Portrait Gallery, Lawrence Norfolk, the Electro-Harmonix Freeze pedal, Moments Musicaux by Rachmaninov. Let the Great World Spin by Colum McCann, Flashback Records in Crouch End, David Hockney, Finn Peters, the myth of Bielefeld, Mark Guiliana.

I may add to these lists when I remember things…

I’m excited about 2013 – Happy New Year to you and let’s all have a great time!


New Moss Project Album Release News

I’m very excited to announce that the new Moss Project is reaching its final stages of production and has developed into a much more expansive and very exciting project called What Do You See When You Close Your Eyes?, due for release on Babel in Spring 2013.

The record showcases some of the UK’s fastest-emerging musical talents – Ruth Goller (acoustic and electric bass and composition), Alice Zawadzki (vocals & violin), Marek Dorcik (drums) with musical powerhouse and BBC Radio 3 New Generation Artist Shabaka Hutchings (tenor saxophone & bass clarinet) alongside myself. The music is cinematic and dramatic and so it seemed very fitting to commission  the truly inspiring talents of six award-winning writers to write short stories/poems based on the music.

They are National Book Award-winner Colum McCannNaomi Alderman (winner of the Orange Prize for New Writers and the Sunday Times Young Writer of the Year), Joe Dunthorne (author of Submarine, now a major film), Lawrence Norfolk (winner of the Somerset Maugham Award and Budapest Festival Prize for Literature), Independent Foreign Fiction Prize-shortlisted Lebanese author, Hanan al Shaykh and Time Out’s Rising Star, James Miller.

The music on the record moves from heavy riffs to classically-tinged arrangements via folk-infused melodies, thick vocal harmonies and flowing counterpoint and the results of adding the stories and poems are better than I could have hoped for.

What Do You See When You Close Your Eyes?  with the words printed in a 32-page full colour hard back book designed by the amazing Aaron Munday at 12 Orchards. The audio versions of the stories read by their authors will also be available to download on this website.


Click here to hear a sample: Freud & Jung Ride the Tunnel of Love



Moss Freed was born in Manchester and took up the guitar aged eleven. He graduated with a First Class Honours degree in music from Edinburgh University in 2004 and was awarded scholarships from the Countess of Munster Musical Trust, the Bucher/Fraser Trust and the Berklee World Scholarship Tour to study at Berklee College of Music in Boston where he attained a GPA of 4.0 and a place on the Dean’s List. Moss has performed as a guitarist and had classical works performed around the world with radio play including Jazz FM and BBC6 Music. Moss is an active music educator, lecturing in harmony and composition at Salford University, examining for the Rockschool exam board and teaching guitar.

The Moss ProjectWhilst studying at Berklee, Moss Freed formed The Moss Project. On returning to his hometown of Manchester, he established a group there under the same name who quickly established a monthly residency at Matt & Phred’s Jazz Club. Their debut album, Vision, was released in 2009 on Apsara. The album won much critical praise being described as “a real achievement” by Bill Bruford and as “a fascinating and hypnotically satisfying album which demands repeated plays” by All About Jazz.

The band has performed regularly in the UK and Europe over the past three years including the London Jazz Festival and Manchester International Jazz Festival and have completed several successful tours in the UK (Jazz Services supported) and Germany. They have also achieved radio play on Jazz FM, BBC Manchester and ALL FM.

In September 2009, Moss moved to London and formed a new quartet with rising stars such as Acoustic Ladyland’s Ruth Goller, drummer Marek Dorcik and vocalist/violinist, Alice Zawadzki. The quartet released their second album, What Do You See When You Close Your Eyes?, in May 2013 on the Babel label. It is a collaboration with six award-winning authors.

In June 2012 Moss helped to establish the Coventry Calling music festival in Connecticut, USA, which will be held as an annual weekend event to raise money for the Will Power Foundation. The festival in June 2012 featured 10 artists from across the North Eastern States.

2012 also saw the formation of Let Spin (Chris Williams – alto, Finlay Panter – drums, Ruth Goller – bass), a group which has been described by Jazz Services as “ an electric meeting of creative forces, representing … a cross-section of the current vanguard of the scene.”. Based on their 2012 London Jazz Festival performance London Jazz described them as “modern, hectic and…gleefully bizarre…[they] had the audience spellbound.” and The Jazz Mann said “[Let Spin] embrace rock fury and sonic overload…exploding into killer riffage…with blistering solos from Freed and Williams… The audience absolutely loved [it] and hollered for an encore…[Their upcoming album] is going to make a considerable impact…one of the festival’s unexpected highlights.”.


Moss Project Members:



Ruth Goller

Originally from Bressanone, Italy, Ruth has been playing bass guitar and double bass in the UK for 10 years. After studying at Middlesex University, she is now based in London performing regularly with leading UK bands – Acoustic Ladyland, Oriole and Pat Walden’s (Babyshambles) Big Dave. She also plays with world-renowned French pianist and composer Bojan Z with whom she has recorded an album. She has performed throughout Europe, North Africa and South America alongside most leading venues in the UK and has recently founded her own band, Big Cat (featuring Kit Downes, Seb Rochford and James Allsopp), who were part of the 2010 London Jazz Festival.

Alice Zawadzki

Alice is a jazz vocalist, violinist and composer, currently studying for an MA in Jazz Singing and Composition at the Royal Academy of Music, London. In 2004, she began violin studies at the Royal Northern College of Music, where she won the Hilda Collens Prize. Alice has performed around the world with highlights including Ronnie Scott’s, the Taipei International Jazz Festival and the Royal Variety Show. She recently recorded as featured vocal soloist at Abbey Road for the forthcoming Disney film Big Cats and runs her own band, Jews Vikings and Polaks. Her mentors include Jacqui Dankworth and Norma Winstone and she holds teaching posts with Salford University and Aim Higher (RNCM). Alice was part of the Scottish Arts Council’s 2008 Emerging Artists Residency and is a recipient of the Musicians Benevolent Fund Postgraduate Performance Award.

Marek Dorcik

Marek grew up in Zilina, Slovakia and has been based in Manchester since 2006. Marek began playing drums at the age of 13 and one year later was enrolled at the Zilina Conservatory. Whilst studying, he very quickly established himself on the Slovakian jazz circuit and was able to play alongside many of the country’s top jazz artists. After graduation he moved to the UK where he is in constant demand, working regularly with musicians such as Don Weller, Joel Purnell, Mike Walker, Alan Barnes, Dean Masser, Iain Dixon, Andy Schofield, Enrico Tomasso, Zoltan Dekany, Tommaso Starace, Les Chisnal, Jamil Sheriff and Stuart McCallum.


Let Spin

£9.99 (+ P&P)
The debut release from this original London/Berlin Quartet.  With compositions from each member and influences as far-reaching as Rage Against The Machine, Bill Frisell and Middle Eastern folk music, 'Let Spin' is an album of cohesive mix of angular riffs, wistful melodies, euphoric improv and heavy grooves.
"Modern, hectic and gleefully bizarre. They had the audience spellbound." London Jazz
Moss Freed - Guitar
Ruth Goller - Bass 
Chris Williams - Alto Saxophone
Finlay Panter - Drums
Recorded and mixed by Joel  at East Wickham Farm Studios, London
Mastered by Alex Killpartrick
(c) Efpi Records 2014
All Arrangements by Let Spin

Click to hear: Shapes & Sizes

Click to hear: Castle, Sea, Ferry

Click to hear: 102 Hill Streey

Use the player controls at the top of the page to pause playback.

What Do You See When You Close Your Eyes?

Special Offer

£11.99 + P&P
A beautifully packaged book of short stories + Audio CD: a unique and compelling marriage of music and literature. 
Moss Freed - Guitar
Ruth Goller - Electric Bass / Double Bass
Alice Zawadzki - Voice / Violin
Marek Dorcik - Drums
Shabaka Hutchings - Tenor Saxophone / Bass Clarinet
With stories /poems by Naomi Alderman, Hanan al-Shaykh, Joe Dunthorne, Colum McCann, James Miller and Lawrence Norfolk.
To download digitally in almost any format you desire click here
Recorded by Alex Balzama, Lorenzo De Franco and Francesco Girardi at Swift Recording, London
Mastered by Alex Balzama at Swift Mastering
(c) Babel Label 2013
All compositions & Arrangements by Moss Freed other than 'Caravans', composed and arranged by Ruth Goller


Special Offer

£7.99 (+ P&P)


Moss Freed - Guitar
Kenji Fenton - Saxophones
Gavin Barras - Double Bass / Electric Bass
Ed Barnwell - Keys
Joe Jones - Violin
Myke Wilson - Drums
Rob Turner - Drums / Percussion
Recorded by Brendan Williams / Joe Meekums at Band Room, Salford
Mastered by Jon Astley
(c) Apsara Records 2009
All compositions & Arrangements by Moss Freed

Click to hear: Free Change

Click to hear: Cantemus

Click to hear: Prelude, Fugue & Improvisation

Click to hear: Obstinato

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Let Spin 2014 UK Tour

Moss Project @ Kunstfabrik Schlot, Berlin – by Mathieu Gaubert

Moss Project Album Launch @ Vortex – by Wicked Pixels

Let Spin @ Green Note, London Jazz Festival – by Wicked Pixels

Let Spin Recording Session

Let Spin @ Parr Jazz – By Mario Tomzynski

Press & Reviews

Moss Project @ The Forge, Camden – by Andy Sawyer

Moss Project Recording Session @ Swift Audio, Battersea – by Barbara Bartz




Let Spin Tour: The Bell Inn, Bath
Monday 15th February 2016
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Let Spin Tour: Dempsey's, Cardiff
Wednesday 17th February 2016
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Let Spin Tour: The Grain Barge, Bristol
Thursday 18th February 2016
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Let Spin Tour: The Lescar, Sheffield
Wednesday 24th February 2016
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Let Spin Tour: The Crypt, London
Friday 26th February 2016
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Flekd: Bridport Arts Centre, Devon
Friday 13th May 2016
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Contact / Links

Email Moss Freed:


Let Spin

Lawrence Norfolk

Colum McCann

Joe Dunthorne

James Miller

Naomi Alderman

Shabaka Hutchings

The Vortex



Jazz Services UK

Basia Bartz Photography

Acoustic Ladyland

Efpi Records


Green Note Cafe