Edgar Jones is perhaps one of the finest musical talents in the UK. The way the national press and his peers have salivated over his latest album Soothing music for Stray Cats - released in May through independent Viper Records - gave gravitas to that. Noel Gallagher actually said: It bent my head, man. It's probably one of the best records I have ever heard.'

Wow! But then Edgar deserves every ounce of credit, kudos and general arse sucking that comes his way. He is undoubtedly a musical genius of our day.

Ten years ago his Liverpool band The Stairs achieved cult status with single Weed Bus and following album Mexican RnB - a mix of r and b and psychedilia.

Since then he has played bass with Paul Weller and St Etienne, conspired briefly with Johnny Marr and formed The Big Kids, but the Liverpudlian darling has never moved far away from the music he was born to inspire that of jazz, rhythm and blues.

His current album has the same celebratory energy of classic jazz, blues and doo wop that Mexican RnB offered for 60s. It is a personal tribute to the gentlemen and ladies of music who have inspired Edgar to follow their path, musicians such as Ellington, Charles, Davies and The Mingus Band to mention only a few.

They were incredible musicians, he implores in a broad Liverpudlian drawl. Its an art form really just like classical music. I see something that has gone before and passed on as a lineage to us. And thats what Ive been pushing for with the band. I love house bands of the 60s, lots of Motown and stack rhythm sections.

Soothing Music For Stray Cats is unconstrained. Its reminiscent of Miles Davies Bitches Brew. Intrinsically so. Its all that, smiles Edgar, and Ray Charles, early soul, early Motown, Rhythm and blues with double bass. Its got a lot of kick. Its also dark in that ilk Nina Simone. Tastefully difficult, like Duke Ellington.

It dont mean a thing if it aint got that swing

It is clear talking to Edgar that music for him is about pushing boundaries, about challenging his own ability and aspiring to be the very best. Simple 4/4-time just wont even get a spark from his musical engine as he explains. A lot of people just play on the beat and not a lot of things swing: Pixies, Oasis, U2. I love Led Zeppelin - when music lunges - but taste wise I dont like non-swing.

And Edgar takes satisfaction in the knowledge that few could copy the intricate compositions he has created. Id like to see them try, he laughs.

You could talk music with this man for hours. He holds your attention with effortless ease. Common sense told me that to be the best you got to play every day, he continues. Just like New Orleans session men. In the old days you had to be a really good standard to get the jobs in the first place. They would work a fresh job every day and were always doing something different.

After The Stairs split up, Edgars plan was always to train up musicians or as he puts it get them hot. An accomplished singer and bassist Edgar has carved a niche for himself as a musical maverick - training others to be the best. And in many respects he has become a bandleader.

Im quite proficient at that, he agrees.

And thanks to a small label called Viper, run by a personal friend, the man who brought us Weed Bus is creatively free to do whatever he likes: more challenging rhythms and fascinating bass lines, no doubt.

Edgar might not have the commercial success that berates somebody so highly lauded among his peers, but he truly is another gentleman of jazz.

Dont miss this rare opportunity to see him live at Blow Out on Friday 16th Dec 2005.