"There's a big difference between an artist who's trying to be seen, and one who's trying to be heard," says Jonathan Meacham
Between them, Inman and Holman set about placing Gilles Peterson and his enduring quest for new Brazilian music at the centre of the narrative, with the veteran musicologist, for the first time, producing an album of music for which his passion is unrivalled.
He's come a long way, has Gilles Peterson, from his DJing residency at Dingwalls to his current incarnation as globe-trotting musicologist nonpareil. He's an educator, and few, if any, have done as much as he to elevate Brazilian (and world music) into the mainstream.
Picture it. The kitchen radio, a glistening hunk of bakelite, its alignment of valves producing a sound that commanded attention. You're a kid busy hanging onto your mother's skirt as she cooks the evening meal. It's a moment of inspiration.
It has been 22 years since the release of the landmark album Road To Freedom. Jason Holmes speaks to Femi Williams (aka Femi Fem), one third of The Young Disciples, about how the record came into existence.
'We're a gigging band in Scotland,' Andy Clucas tells me. 'We started as an acoustic band back in the winter of 2007, and a lot of people told us we had a Dexys [Midnight Runners] sound, probably because our sound is...eclectic.'
It's that time of the four year cycle that Olympic athletes get compared to our more regular, familiar, stars. As comparisons go, it's hugely unfair. Predominantly it's footballers, but the prima donna attitude of other stars such as Kevin Pietersen has seen sportsmen in a whole variety of disciplines compared too.
Across the table in a Surrey coffee shop sits no ordinary singer. The smile is luminous, the eyes soft, her voice languorous.