Kris Davis Trio - Lost in Geneva

Label: 4166 Records, 2026

Personnel - Kris Davis: piano; Robert Hurst: bass; Johnathan Blake: drums.

The otherworldly trio of Grammy-winning pianist and composer Kris Davis—featuring bassist Robert Hurst and drummer Johnathan Blake—is back with more maturity and refinement in the process, after maintaining a consistent touring schedule over the past few years. Imbued with a rare, infectious group spirit, Lost in Geneva showcases the sinewy rhythmic thrust and harmonic venturesomeness that characterize the trio.

On the opener, Davis' "The Subtext”, the trio navigates complex and investigative musical waters with a compromise between lyrical and angular. As Hurst and Blake become completely immersed in the rhythmic mesh, Davis enchants, showcasing a stunning independence of hands. The piece grooves and swings with distinction, while vamping sections and flowing currents provide ample room for the threesome to stretch out. Also by Davis, "Congestion Pricing" locks in a ternary cadence, stacked over lovely drumming and precise cymbal design. Let yourself go in dreamy piano textures involving single-note phrasing and rich harmonic progression, as well as Hurst's groove-centered solo. I love the modern classical-inspired coda too.

The freely improvised "Mourning Dove”, underpinned by gongs and percussion, serves as an intro to Hurst's "The Bluesy Bird in Bob's Backyard”, whose soothing effect at the core contrasts with bursting tension and release in the melodic ideas. The rendition of Morton Feldman's "Nature Piece 5" is funkified with clever counterpoint and intervallic expanse, proving Davis to be a brilliant arranger, while Blake's “Clues", which first appeared on his debut album The Eleventh Hour (Sunnyside, 2012), spins out a hectic tale with solo drums at the outset and punchy staccatos in the accompaniment.

"Where Does That Tunnel Go?" and "The Deer Fly" are Davis compositions—while the former is an ostinato-driven and grooving piece thriving on the collective energy of the trio, the latter is a buoyant avant-garde portrait of a vampire insect delivered with an underlying quintuple feel.

It's impossible to ignore the affinity, spontaneity, and tuned mechanisms of the Kris Davis Trio. More than their previous album, Run the Gauntlet (Pyroclastic, 2024), Lost in Geneva is absolutely powerful—an indispensable sophomore record that you certainly don't want to miss.

Favorite Tracks:
01 - The Subtext ► 02 - Congestion Pricing ► 04 - Where Does That Tunnel Go? ► 09 - Clues

Stephen Byth - Growth in Stasis

Label: Earshift Music, 2026

Personnel - Stephen Byth: tenor saxophone, clarinet, flute, bass clarinet; Yessaï Karapetian: piano, synth; Simón Willson: upright bass; Angus Mason: drums; Alexandra Ridout: trumpet (#4,6,8,9); Alfredo Colón: alto saxophone (#4,6,8,9); Caleb Smith: trombone (#4,6,8,9); John Ellis: bass clarinet (#4,6,8,9).

Australian multi-reedist and composer Stephen Byth, now based in New York, releases his sophomore album as a leader, Growth in Stasis, in the company of pianist Yessaï Karapetian, bassist Simón Willson, and drummer Angus Mason. Guest horn players allow for an extended frontline on specific pieces, playing a central role by delivering their own statements in addition to coloring the main themes. The album, a set of ten original compositions influenced by modern jazz, classical music, film scoring, and subtle electronics, took shape from a conversation during a workshop with Wayne Shorter, who responded to Byth’s question, “How do you turn poison into medicine through your music?”, with “The poison is the medicine”.

The concise yet powerful “Speed of Thought” sets for a captivating opening where we feel the urgency of the piano trio, later turned sumptuous by Byth’s burnished saxophone arrival. “All Is Not Lost” offers a delicate texture within thoughtful storytelling, without dispensing with interesting accentuations and a fine rhythmic balance. Also evoking airy balladry, “The Light Is Everything” brings to mind Billy Strayhorn’s tunes before entering a Coltrane-and-Tyner-esque modal mode. The bandleader layers the tapestry with flute and clarinets.

Post-bop with a cinematic flair results from “Cutting Ties”, featuring generous impressions by trumpeter Alexandra Ridout and bass clarinetist John Ellis, while the title track puts a warm spotlight on altoist Alfredo Colón before plunging into counterpoint and juxtaposition. “Freedom” is laid down with confidence and taste, embracing a tango-ish cadenza, and “Time Is Now” offers a punchy, hopeful head with notable solos by trombonist Caleb Smith and Byth on tenor.

Declaratively Shorter-esque, “New Eyes” assumes a charmingly relaxed vibe, culminating in a memorable finale, while “Illusions” becomes classically sweetened yet streaked with some notes of poignancy.

Capable of both introspective and outgoing moments, and finding a raison d’être between space and tight interaction, Byth nods to Shorter but keeps his own composed instincts alive.

Favorite Tracks:
04 - Cutting Ties ► 08 - Time Is Now ► 09 - Growth In Stasis

Enrico Rava Fearless Five with Joe Lovano - Corners

Label: ECM Records, 2026

Personnel - Enrico Rava: trumpet; Joe Lovano: tenor saxophone, tarogato; Matteo Paggi: trombone; Francesco Diodati: guitar; Francesco Ponticelli: bass; Evita Pollidoro: drums, vocals.

Illustrious Italian trumpeter and composer Enrico Rava, a longtime force on the European jazz scene, returns with his Fearless Five ensemble, welcoming guest saxophonist Joe Lovano, a powerhouse improviser who had collaborated with the bandleader on the live recording Roma (ECM, 2019). All members of the quintet contribute compositions, trusting the bandleader's candidly investigative approach that opposes rigid perceptions.

Rava's "Certi Angoli Segreti", an exceptionally beautiful tune first recorded in 1998, gracefully materializes with beautiful color shades. Francesco Diodati's guitar gives it a particular touch, later soloing with motivic ability and acerbic distortion; Francesco Ponticelli's dynamic bass builds a solid foundation with drummer Evita Polidoro; Lovano's storytelling comes with delightful details; trombonist Matteo Paggi's expressions are grounded and exploratory; and Rava excels in his improvisational fluctuations—sometimes angular and outside, other times hypnotically flowing and distinctively melodic.

Rava brings two other previously recorded pieces: "Hitchcock at the Beach", whose balladic feeling and original beauty are preserved despite emerging here most as a collaborative voice-trumpet meditation; and the exciting "Bowery Dance", which evokes Rava's New York years with an electrified intro, authoritative bass double-stops, and a crisp backbeat. Lovano and Rava improvise with fire, rejoicing in unison lines in support of their declarations.

Lovano is credited with a couple of distinct compositions. The open-ended "Sun Rava" is full of possibilities, incorporating sharp staccato blows, buoyant swing impulses, and clever pedal points, also featuring improvised dialogues between Rava and Paggi, and then Diodati and Lovano, before the saxophonist rambles freely over the bass-and-drums bedrock. "Tone, Shape, and Colours", a free improvisation based on a riff by Lovano, brings the horn players together in lively conversation.

If the rhythm section kicks into high gear on Lovano's pieces, it eases into the softer lyrical flow of Diodati's "Sin Peso", a burnished ballad suggesting a bolero feel, and Polidoro's "Le Mie Gambe", which, unfolding in 3/4, features the drummer as a vocalist of surprising intensity.

Since the early '70s, Rava—who turned 87 in August—has led a series of highly rewarding albums, and Corners is no exception.

Favorite Tracks:
01 - Certi Angoli Segreti ► 06 - Tune, Shape, and Colours ► 08 - Bowery Dance

Stephan Crump - Passerine

Label: Out Of Your Head Records, 2026

Personnel - David Léon: saxophone, flute; Kenny Warren: trumpet; Stephan Crump: bass; Ches Smith: drums.

Bassist and composer Stephan Crump, a musician of extraordinary passion and lyricism, put together a crisp, bright new ensemble for his latest outing, Passerine, a work of originals inspired by the various nesting techniques of birds. Relying on a frontline composed of Cuban-American saxophonist and flutist David Léon and trumpeter Kenny Warren, and pairing up beautifully with the resourceful drummer Ches Smith, Crump has something fresh to say.

"Stuck" firstly evolves in a 3/4 time signature, displaying a big, round bass sound that shelters sharp unison melody. Léon narrates a story over an arco bass ostinato, while Smith explores toms and cymbal sounds with sagacity. There's a change of pace and texture for Warren's expressive solo, and the interplay between the rhythm team becomes more defiant, leading to a swinging passage before returning to the initial waltzing breeze.

"Glide" is executed with a compelling rhythmic quality underneath—Crump incorporating effortless bass pedals, pizzicato routes, and cool grooves that find consistent support in Smith's nicely brushed skins. On flute, Léon stands out, drawing from melodic and harmonic minor modes in his improvisation. "Weavers" and "Twenty-Five" are warm meditative exercises where all members leave flowery scents in the air while rowing in the same direction. The former piece rests on a relaxed bass harmonic conduction that breathes at a challenging tempo, having charismatic, pure-toned unisons running atop. The latter is a shape-shifter that initiates with a sparse bass figure, understated drumming, a pellucid flute whose gentle dance emulates the chirp of birds, and introspective trumpet.

Warren and Léon always take maximum advantage of their instruments to create dual melodic lines that feel luminous and often varied in shape. That's the case on "Fly", a well-balanced 3/4 canvas painted with a certain wry melancholia. Breathable bass and brush work create space and smooth out the environment, culminating in a pulsating bass pedal point at the center of the outro vamp.

With sensitive collaborative input from the musicians enlisted, Passerine is a point of departure and an embrace of transformation for Crump. It's also detailed with rigor without abandoning the freedom of creating spontaneously. The composer's sophisticated sound and gracious storytelling are filtered into the album's sequence.

Favorite Tracks:
01 - Stuck ► 02 - Glide ► 03 - Weavers

Jeremy Cunningham - Passing Fires

Label: Northern Spy Records, 2026

Personnel - Jeremy Cunningham: drumset, percussion, piano, Rhodes, organ, vibes, electronics; Jeff Parker: guitar; Josh Johnson: alto saxophone, electronics; Dustin Laurenzi: guitar, synth, programming, tenor saxophone; Matt Gold: guitar, bass, pandeiro; Greg Uhlmann; guitar, electronics; Will Miller: Rhodes, electronics; Sen Morimoto: vocals; Lia Kohl; cello; Paul Bryan: bass, electronics; Lane Beckstrom: bass; Makaya McCraven: drumset, vibes.

Jeremy Cunningham is an alert and versatile multi-instrumentalist based in Chicago since 2009. I was very well impressed with his previous outing, A Better Ghost (2022), featuring a few members who reappear on Passing Fires, namely saxophonists Dustin Laurenzi and Josh Johnson, bassist Paul Bryan, and trumpeter-turned-keyboardist Will Miller. Other illustrious guests here include guitarists Jeff Parker and Matt Gold, and sophisticated drummer Makaya McCraven. Instead of fixed formats, Cunningham favors a rotation of musicians who have an ear for careful sonic detail.

The album has a very personal feel to it, evolving as a meditation on love, loss, memory, and change. Two of the strongest pieces are "To The Sky" and "Kobi Shobi". While the former holds a wonderful collective bossa groove, featuring the multi-faceted Matt Gold on guitar, bass, and pandeiro, Cunningham on Rhodes, McCraven's soulful drumming, and Japanese-American Sen Morimoto's ethereal, wordless vocal work, the latter is unexpectedly edgy, bolstered by funk throbs and a jazzy hip-hop vibe that takes us to A Tribe Called Quest and Digable Planets. Johnson's snaky alto solo boosts the energy over the syncopated guitar comping offered by Parker.

Also filled with joy and aplomb, "Union Pier" is a compelling 3/4 duo piece that pairs Cunningham on drum set and percussion with Laurenzi, who, besides tenor—on which he offers a fluid improvisation—also injects guitar, synth, and percussion. "Beyond the Veil" is a 4/4 pop/rock piece with rounded harmonic contours and a graceful melody, featuring McCraven on vibes, and Parker, who claims the spotlight while injecting deep feeling into his impromptu statement. He also appears on the pop-meets-R&B "Some Days”.

Bryan's six-beat funky groove stretches into asymmetry and a different figure on "Galloway Street", which welcomes guitarist Greg Uhlmann and shines a spotlight on Johnson's effect-drenched alto solo. The album closes in a Sade-like sophisti-pop style with "Somewhere To Be", featuring Morimoto's smooth styling.

Cunningham's compositions have a strong emotional arc, and that quality rings true in the music. Melding jazz-imbued improvisation into different stylistic frameworks, Passing Fires works as an escape from traditional jazz moves.

Favorite Tracks:
03 - To The Sky ► 06 - Kobi Shobi ► 10 - Galloway Street

Slow Tiger - Slow Tiger

Label: Endectomorph Records, 2026

Personnel - Kenny Warren: trumpet; Adam Schneit: alto saxophone, clarinet; JP Schlegelmilch: organ; Andrew Dow: electric bass; Nathan Ellman-Bell: drums.

Slow Tiger—the jazz quintet of trumpeter Kenny Warren, saxophonist and clarinetist Adam Schneit, organist JP Schlegelmilch, electric bassist Andrew Dow, and drummer Nathan Ellman-Bell—releases its debut album, pointing in many directions with an impeccable flow and assured tones. All its members, with the exception of Ellman-Bell, contribute compositions, filtering influences through the lens of this cohesive collective ensemble. Melodies stick on the ear as the band, whose prior successful collaborations led to the album, leans toward a pop/rock style that easily accommodates jazz-leaning improvisation.

Warren's "Powerpuff Backpack" is a tribute to late trumpeter Ron Miles, revealing traces of folk and funk woven into the framework of pop and psychedelic rock infusions. Occasionally, bands like Inspiral Carpets and Jethro Tull come to mind, and Schneit's clarinet explores with effortless inside/outside agility, followed by Warren, who also brings in "Eleven Six”. Its title comes from the fact that Ellman-Bell plays a cymbal pulsation in eleven while Dow shapes an upbeat six-beat bass figure that provides solid ground for the horn players to interact. They exchange ideas with grip and avant-garde stance, while Schlegelmilch makes the piece soar via hypnotic organ waves and ostinato-leaning textures that add dimension to the music.

Schneit, who was born in Portland, Maine, named "Wharf Street" after the street where he grew up. This is a pop tune permeated with a strong 60's vibe, with the composer and Warren intersecting phrases with insouciant power, precision, but also freedom. They also bring this strategy to Schlegelmilch's time-shifting "Maritime Studies”, which is buttressed by a sluggish beat and cautiously measured unisons. The organist's response to the pandemic's forced pause comes with "Mending the Nets”, a gentle waltzing ballad moved by sizzling brushes, melancholic melody, and church-like organ sustains.

The quintet aligns in relaxed sounds on the title track, "Slow Tiger", a soulful, melodically seductive piece romanticized by warm R&B colors. It contrasts with Dow's "Funhouse", whose groove in nine defines the tempo. With the organ illuminating the scenario with crested ripples of sound, the piece morphs into openly avant-garde territory as the horns criss-cross atop the rhythmic net laced by bass and drums. 

Slow Tiger shows potential, and its debut is a tantalizing promise of more albums to come.

Favorite Tracks:
02 - Maritime Studies ► 05 - Eleven in Six ► 07 - Funhouse ► 09 - Slow Tiger

Wadada Leo Smith - Constellations And Hemispheres

Label: Burning Ambulance Records, 2026

Personnel - Wadada Leo Smith: trumpet; Sylvie Courvoisier: piano (#1,3); Marcus Gilmore: drums (#1,3); Bobby Naughton: vibraphone (#2-5); Lamar Smith: electric guitar (#2,3,5); Bill Laswell: electric bass (#3,4); Melvin Gibbs: electric bass (#3,4); Mauro Refosco: percussion (#2,3,5); Brian Jawara Gray: percussion (#2,3,5); Pheeroan akLaff: drums (#2-5).

Trumpeter and composer Wadada Leo Smith assembled various ensembles for his new album, Constellations and Hemispheres, rooted in harmonic intensity, open structures, and modal depth. The project was sparked by quantum physics, parallel universes, and shifting dimensions, in a no-nonsense approach that explores timbre and atmosphere with serious intentions and exceptional versatility.

The album kicks off in trio format, with Smith joining forces with the quick-witted pianist Sylvie Courvoisier and adaptable drummer Marcus Gilmore on “Dark Energy”. Cymbal activity is paired with sparse piano texture, while Smith's declamations extend from sharply piercing to dolefully lugubrious. This mournful reflection swells and intensifies via Courvoisier's phenomenal work, expanding and contracting by way of intricately coiling patterns that work as a perfect foil for Smith's obscure idioms. Gilmore is granted a brief unaccompanied passage.

"Lake Tanganyika" emerged from a sextet session with trumpet, vibraphone, guitar, percussion, and drums. Ancient, water-surrounded landscapes are evoked via the emotionally powerful lyricism brought by Smith over Bobby Naughton's gossamer vibes and Pheeroan AkLaff's gloriously relentless drum flow. The seasoned drummer also gets our attention on the closer, "Meditation on Love", a cosmic, open-ended manifesto of peace and hope.

Smith traces a spiritual and artistic connection with the Rastafari—associated with the reggae music of Jamaica—but I'm unable to spot that influence here. Yet the music is able to knife through the speakers like a lightning bolt. "Dark Matters, Particles of Light, Mirror of the Unseen" is a full-length workout clocking in at 22 minutes. Powerful and moody, the piece is bookended by the same trio that had shaped the opening track, expanding in its middle part into an octet featuring two distinguished electric bassists, Bill Laswell and Melvin Gibbs, who contribute to the dismal, apocalyptic scenario with authority. A lighter, tactile percussive quality appears by the end, relieving the pressure.

The two bassists are also prominent on "Deep Canyons on Mars", diffusing ominous vibes through gravelly distorted sounds. The heavy, nightmarish tones are pacified when vibraphone and trumpet step forward, yet obscurity still lives here when the bass returns with wah-wah bluesy sounds drowned in electronics.

Though the result of multiple sessions, Constellations and Hemispheres feels like a unified experiment—mostly stripped down of gloss but still with haunting and transcendent moments to reflect upon.

Favorite Tracks:
01 - Dark Energy ► 02 - Lake Tanganyika ► 03 - Dark Matters, Particles of Light, Mirror of the Unseen

Mark Guiliana - Beat Music 2.0

Label: Edition Records, 2026

Personnel - Mark Guiliana: drums, percussion, electronics, keyboards, guitar, vocals; Nicholas Semrad: keyboards; Stu Brooks: electric bass (#3), electronics (#2,4,7,8); Tim Lefebvre: electric bass (#2,4,6); Gretchen Parlato: vocals (#4,5); Marley Guiliana: vocals (#5).

Mixed feelings arose from listening to Beat Music 2.0, the synth-infused follow-up to Mark Guiliana’s Grammy-nominated album Beat Music! Beat Music! Beat Music! (Motéma, 2019). Retro and futuristic waves emerge from Guiliana’s compositions, which draw inspiration from early gaming culture and electronic music. Still, the focus here is on human connection and collaboration, as he enlists keyboardist Nicholas Semrad, bassist Tim Lefebvre, vocalist Gretchen Parlato, and Stu Brooks on electronics.

The opener, “B.ANG”, excavates retro electronic music through glitchy synth ostinatos that march alongside the harmonic progression, along with a mix of ambient undercurrents and Gary Numan-style electro-rock energy. Although it tests the elasticity of the song’s edges, this piece failed to leave a strong impression on me. “B.ORN” and “W.EST” are also nothing special, while “D.RUM”, with its industrial stomp generating controlled trepidation and Parlato’s vocals highlighting the contrasting ambient-leaning passages, has a little more flair.

I did feel a spark on numbers like “P.LAY”, whose actively propulsive drumming, together with Lefebvre’s brawny bass fluxes and pedals, is nothing short of gravity-defying, and “B.EAT”, whose grooving dub atmosphere morphs into club-dance territory for a while. Brooks, who infuses relevant, to-the-point electronics into the former, switches to electric bass on the latter. Also worth mentioning is “M.OVE”, whose danceable techno patterns reminded me of 808 State. Cross-rhythmic tides and dramatic shifts make this one a standout.

Guiliana’s passion for what he does is undeniable, yet the prevailing virtues of Beat Music 2.0 come to the fore when the layers adopt a less explicit old-school electronic vibe in favor of more modernistic experimentation.

Favorite Tracks:
02 - P.LAY ► 03 - B.EAT ► 07 - M.OVE

Cameron Brown and Dannie's Calypso - Remembrance

Label: Sunnyside Records, 2026

Personnel - Jason Rigby: tenor and soprano saxophones; Lisa Parrott: alto, soprano, and baritone saxophones; Russ Johnson: trumpet; Cameron Brown: bass; Tony Jefferson: drums.

Bassist and composer Cameron Brown has always felt comfortable in both traditional and avant-garde settings, and was an important element in the rhythm sections behind Archie Shepp, Don Pullen, George Adams, George Russell, Dewey Redman, and Don Cherry. Here, he leads a chordless quintet, paying tribute to Cherry as well as his mentor Dannie Richmond, best known for his extensive work with the one-and-only bassist, composer, and bandleader Charles Mingus. This ensemble started as a quartet featuring saxophonist Jason Rigby, trumpeter Russ Johnson, and drummer Tony Jefferson. Saxophonist Lisa Parrott joins them here for a dense, unfiltered session recorded live in concert in 2011. Raw and dense, it often sounds like a jam.

The uptempo “Sheila, It’s You!”—written for the late jazz vocalist Sheila Jordan—has the three-horn frontline blowing with hard-bop intensity over the hard-charging swing provided by the rhythm section. They alternate solos before intersecting their searing lines with purpose. Conversely, “Lullaby For George, Don, and Donnie” is a 3/4 ballad gently propelled by brushes.

“Baby Suite” is a through-composed response to Cherry’s “cocktail suite” concept. Brown’s three-minute bass monologue—featuring double-stops and thoughtful melodic development—right after the contrapuntal theme leads into faster bass circularity, with Jefferson free to embellish while the horns float above. A spontaneous avant-garde freedom reminiscent of Mingus’ excursions can be felt in the coda that precedes the theme. “Cocktail Suite”, which clocks in at 21 minutes and includes Cherry’s “Remembrance” and “OC/DC”, Jobim’s “Portrait in Black and White”, and Redman’s “Mushi Mushi”, features some awkward passages and elongated solos with the horns left to roam freely. 

Incessant walking lines populate the recording, creating an inescapable sense of anticipation. Brown’s “Rylie’s Bounce” blooms with a bass solo at the outset and explosive drumming by Jefferson, who throws in some barbed percussive sounds on Richmond’s “Soft Seas”, an amusing calypso dance served with humor and panache. Parrott causes some frisson on baritone, while Rigby explores the opposite end of the spectrum on soprano. This piece is put together much more effectively, with a keen sense of time and a divergence from conventional swing.

With the interplay controlled at all times and the recording sounding like a classic (I don’t go crazy for the sound here), Remembrance sometimes rings a bit meandering, yet never disjointed.

Favorite Tracks:
02 - Baby Suite ► 03 - Soft Seas ► 07 - Cocktail Suite

Emile Parisien - Floating

Label: ACT, 2026

Personnel - Emile Parisien: soprano saxophone; Yaron Herman: piano; Linda May Han Oh: bass; Prabhu Edouard: tabla, percussion, voice.

French soprano saxophonist and composer Emile Parisien is an eclectic jazz practitioner with inestimable musical gifts that allow him to explore a whole universe of sound. Parisien brings a glowing selection of tunes composed by himself, pianist and longtime collaborator Yaron Herman, and proficient bassist Linda May Han Oh, alongside two covers. Rounding out the quartet is tabla player and vocalist Prabhu Edouard, who helps establish an organically integrated framework for the leader’s world-fusion aesthetics. This group was formed after a memorable first performance in Paris.

Floating opens with Georges Ivanovitch Gurdjieff and Thomas de Hartmann’s “Asian Songs & Rhythms, No. 40”, a peaceful, spiritual tune that, combining Eastern modal traditions with Western classical sensibilities, slowly unfolds with a ternary feel. Parisien employs his intervallic expertise in vibrant phrasing, while Herman evokes distant, serene landscapes. The other cover on the album is Anouar Brahem’s “Badhra”—the fantastic opening track of his trio album Thimar—which scintillates with sophistication and enchantment.

In the latter, Herman’s clarity of speech and objectivity pair well with the in-and-out lyricism of Parisien, while the duo’s co-written piece, “Portal”, keeps the rhythmic momentum going after a dynamic introduction centered on Edouard, who doubles on tabla and voice. Herman’ piano solo on this one is pure delight. On the other hand, Parisien’s “Bonbon” is filled with excitement and aligned with Middle Eastern traditions.

Herman contributes five compositions of his own: the waltzing ballads “Olive Branch” and “Ruth”, with the latter acquiring a jazzier, Keith Jarrett-esque vibe before morphing into a more percussive passage over which Parisien’s soprano glides effortlessly; the playful and bluesy “Nusrat”; and the stop-and-go flow of “El Toro”, a showcase for Oh’s rhythmic adroitness. Sandwiched between the latter two tracks is the bassist’s “As It Comes And As It Goes”, a moment of reflection and an opportunity to hear her unaccompanied.

According to the bandleader, this is music about peace, poetry, and love, and listeners should be able to feel its emotional appeal as well as the group’s ability to communicate through whatever musical language they choose to mix in. This forward-looking diversity is key, and Parisien’s fusion is not without an airily contemporary touch.

Favorite Tracks:
01 - Asian Songs & Rhythms, No 40 ► 04 - Badhra ► 08 - Nusrat

Michael Blake - Halloween Tales

Label: P&M Records, 2026

Personnel - Michael Blake: tenor and soprano saxophone; Gary Versace: piano; Ben Allison: bass; Michael Sarin: drums.

Canadian-born, New York-based saxophonist and composer Michael Blake gathers a quartet of longtime collaborators for a slightly unsettling jazz session centered on Halloween, a holiday of imagination and transformation built around costumes, community, and the unexpected. Joining Blake here are pianist Gary Versace, bassist Ben Allison, and drummer Michael Sarin—all of whom have played and recorded with the saxophonist in various musical contexts. All nine compositions on the album are covers associated with Halloween, with the exception of the last track, Blake's "The Creep", a shape-shifter showing many faces in minor mode with a bluesy feel.

The opener, "Halloween", slides in with mystery-induced suspense, leading to an atmospheric crescendo dreamily texturized by jagged piano chords in the high register. It keeps us engaged and alert as it moves forward in a fluid 5/4 time signature, strengthened by Blake's command of phrase and tone—he offers a haunting improvisation delivered with pure instinct and multiphonic impact.

"Stalking Monster" and "Anatomy of a Murder" are Duke Ellington compositions, the former from Night Creature and the latter from Otto Preminger's film of the same name. "Stalking Monster" features tonally contrasting piano playing over hi-hat pulsation, creating eerie undertones before morphing into a 4/4 swing in the best that jazz tradition has to offer. An empowering feeling comes from the soloists: Blake is soulfully articulate while Versace introduces rich motivic ideas. This continuous fluidity, without straining to make a point, carries over to "Anatomy of a Murder", a blues where bass and piano start in tandem, filling the lower register with gorgeous groove.

The gears shift considerably on "The Great Pumpkin Waltz"—Vince Guaraldi's tune from the 1966 Halloween television special It's The Great Pumpkin, Charlie Brown—here delivered with harmonic sophistication and passionate lyricism. On soprano saxophone, Blake exudes clarity of technique and natural phrasing, switching to tenor on the following tune, "Transylvanian Lullaby", the main haunting theme from Mel Brooks's 1974 comedy Young Frankenstein. Allison and Sarin build tension at the outset, and the piece becomes gently brushed after brief, well-devised staccato moves. The rhythm section compellingly swings in support of Blake's nimble solo. There's also a slow, rubato rendition of "Witchcraft", Cy Coleman's tune popularized by Frank Sinatra and the Bill Evans Trio, where brooding melodicism comes to the fore.

The chemistry between Blake and his rhythm team is undeniable throughout, even when the energy dips a bit after the first couple of tracks.

Favorite Tracks:
01 - Halloween ► 02 - Stalking Monster ► 04 - Transylvanian Lullaby

Trio Imagination - Creative Inspirations

Label: Pi Recordings, 2026

Personnel - David Virelles: piano; Reggie Workman: bass; Andrew Cyrille: drums.

Recorded at the legendary Van Gelder Studio, Creative Inspirations marks the debut album by Trio Imagination, which pairs the instantly recognizable Cuban pianist David Virelles with the unique rhythm team of bassist Reggie Workman and drummer Andrew Cyrille. These seasoned foundation builders invited Virelles to join them for a sort of spinoff of Trio 3, following saxophonist Oliver Lake's retirement from performing.

Virelles' "Unseen Mother I" opens the album in an atmospheric, highly cinematic way, with punctuated piano constellations, wet percussion, and bright, piercing metallic sounds. Workman's fabulous woody bass arrives gallantly as Virelles expands the harmonic texture of the setting. "Unseen Mother II" reaches even more hypnotic realms. Both pieces derive from a nearly two-minute sketch included on the pianist's 2012 album Continuum, which happens to feature Cyrille.

"Universal Sketches" places excellent bowed bass at the center, with Workman extracting exquisite overtones within a big, resonant sound. He then turns to pizzicato while the trio dives into obscurity and obliqueness.

It's impossible not to fall in love with the trio's impeccable rendition of Andrew Hill's "Refuge", which, despite being presented in a more straightforward way, acquires a fresh and personalized style via its demonstrative 6/8 time signature. Virelles plays it beautifully, and Cyrille enjoys a brief solo drum passage at the end.

Among the best pleasures on the recording are the delightfully percussive, Afro-Caribbean-focused pieces such as "Pétalo", "Neves", and the closer "Para Ti", which come full of timbral expertise and rhythmic elasticity. With angular structures creating an aura of incessant rhythmic discovery, these compositions amp the abstraction and curiosity with both transcendent foundations and noble, vivid harmonic surfaces. The piano groove in "Pétalo", a piece composed by Virelles specifically for this trio, offers a grandiose Cuban feel, featuring an expressive bass solo followed by outgoing piano impulses. "Neves" continues this intelligent, modern approach, coming out with significant Latin vibrancy, imaginative polyrhythmic daring, and intuitive motivic insight, while "Para Ti" is a typical Virelles exploration charted with a conspicuous melody over a rattling rhythm.

Trio Imagination moves freely from notated to spontaneous composition with genuine passion, effortlessly generating striking contrast in tonal color. Creative Inspirations is exactly what the title suggests—an album that leaves us wanting more as its curious layers and blends linger in our heads.

Favorite Tracks:
02 - Pétalo ► 04 - Refuge ► 06 - Neves ► 07 - Para Ti

Zeju Zheng - A Mind in Motion

Label: Shift Paradigm Records, 2026

Personnel - Zeju Zheng: guitar; Arnie Sainz: piano; Drew Gress: bass; Chidiebere Emmanuel: drums.

Emerging guitarist Zeju Zheng is based in New York, the city he relocated to in order to pursue a Master's Degree in Jazz Performance at New York University. Zheng, who studied under Peter Bernstein and Adam Rogers, releases his debut album, A Mind in Motion, which features six original compositions exploring themes of transition, memory, hope, and discovery. The pieces, written and recorded during Zheng's early years in New York, are performed by a quartet featuring pianist Arnie Sainz, seasoned bassist Drew Gress, and Nigerian-born drummer Chidiebere Emmanuel.

"53" is pure post-bop sophistication in 5/4, spreading fragments of Miles and Shorter's ESP years. Invigorating tonal and rhythmic shifts, a straightforward swinging drive, and expressively patterned and articulated solos from Zheng and Sainz make this an exciting opener. “Simple", whose 6/8 feel creates an exciting spark, emerged from Zheng's studies with eclectic guitarist Brad Shepik. His influence transpires in the guitarist's busy yet precise solo. Before that, Sainz excels in phrasing and mood, likely spurred by Gress's decisive bass figure at the bottom. Guitar and piano unisons revisit the theme, providing a tidy resolution.

Zheng showcases a balladic side on tunes like "Drain", whose sense of calmness inspires a notable solo from Gress, and "At The Corner", where the band plunges into a meditative melodic languor offered with a rich, rounded quality. The mellow tone speaks directly to the album's themes, and in both pieces, Gress and Emmanuel fulfill their foundational roles with trust.

Far from casting us in a dimmer light are the two final tracks: the nicely tempered "Little Song", and the harmonically rich "Waiting For You To Be Home", which frees the emotions while finding comfort in hope and light.

Rooted in tradition yet incorporating charismatic contemporary elements, the pieces in A Mind in Motion are rendered with lithe and spry interplay. Zheng is confirmed as a name to watch in the future.

Favorite Tracks:
01 - “53" ► 03 - Simple ► 06 - Waiting For You To Be Home

Henry Threadgill / Vijay Iyer / Dafnis Prieto - Fifteen

Label: Nonesuch Records, 2026

Personnel - Henry Threadgill: alto saxophone, flute; Vijay Iyer: piano; Dafnis Prieto: drums.

Henry Threadgill, a living legend, avant-garde jazz eminence, and master composer, joins forces with the incredibly creative pianist Vijay Iyer, a reference in modern creative jazz, and proficient Cuban-born drummer Dafnis Prieto, who has worked with Arturo O'Farrill, Eddie Palmieri, and John Zorn. Their debut trio album, Fifteen, comprises a strangely addictive set of post-modern and avant-garde tunes—three by both Threadgill and Iyer, and two by Prieto—that are easily recommended for fans of the three musicians. The album title refers to the number of years the trio has been performing together.

Threadgill's "Trio Piece" opens the curtain in a cerebral, slow-chugging way, placing ethereal flute over mystery-inducing piano textures set in the lower register, with understated drumming punctuated by occasional syncopation. If this track gives you an idea of what comes next, "Last Night", also composed by Threadgill, exceeds our expectations. Boasting a great vibe via its obtuse groove, the piece thrives with forward-leaning drumming, tart saxophone lines, and angular pianism. In the same feral grip of extravagance and sense of groove, Iyer's "I Wanted a Map" mixes structural rock groundwork, avant-garde literacy, and even a bit of Americana.

Threadgill blows with soul on the latter, switching to flute on Prieto's "Gently Trapped", where we can sense a classical innuendo in Iyer's playing. An ethereal flow and an agreeably smooth texture are defining characteristics of this piece. In turn, Iyer's "Fire City" goes from ruminative to ebullient, entering full explorative mode. The theme revealed at the end feels intensely bright yet typified by a few shadowy spots. Blending acute teamwork and killer textures, the trio is free to explore harmonically in the way Iyer envisioned. Yet on his pathos-packed "Perfect Victims", he rightfully opts for simply arpeggiated sequences that further enhance its elegiac tones. In addition to wailing alto sax, we have timely cymbal washes turned thunderous tom-tom mechanics, providing a ricocheting sense of dynamism at the end.

Prieto's "On the Way" packs a wallop, proving the drummer to be a skilled composer. There's a Latin freshness to it, while still bringing out Threadgill's stylistic parameters. Galvanizing percussive work, bustling piano arrays, and terse saxophone expression — all contribute to the hip swagger.

This adventurous trio with a distinctly individual vibe certainly has its inventive ways of making its music sound interesting. Fifteen encompasses three strong compositional voices, leading to superior results.

Favorite Tracks:
02 - Last Night ► 03 - I Wanted a Map ► 04 - Gently Trapped ► 08 - On the Way

Lucian Ban & Elevation - Rush

Label: Sunnyside Records, 2026

Personnel - Lucian Ban: piano; Abraham Burton: tenor saxophone; John Hébert: bass; Eric McPherson: drums; Gavril Tarmure: vocals (#9).

Romanian-born pianist and composer Lucian Ban returns with Rush, a refreshingly vital album from his acclaimed group Elevation, featuring saxophonist Abraham Burton, bassist John Hébert, and drummer Eric McPherson.

The inspirations come from many sides. The opener, "Dark Blue”, is a dedication to pianist Abdullah Ibrahim — velvety, comforting contemporary jazz that revels in modal sophistication within an aesthetic that seems to intersect Mingus's ballads and Motian's soft lyric abstraction. Burton speaks wonders here, and I'm especially fond of the way Ban solos, using splendorous harmonic manifestations to accompany himself. "Serenade For Andrew" is a tribute to another great pianist, the inimitable Andrew Hill. Delivered in 3/4, this is solid post-bop with depth, a strong emotional center, and reverence for the man to whom this gripping composition is dedicated.

"Christine's Hope" is an Americana-tinged ballad, but the mood lifts with “Rush", whose traditionally lilting locomotion, cubist accentuations, imposing pedal points, and rhythmic complexity conjure an amalgamation of Thelonious Monk, Herbie Nichols, Charlie Parker, and Sam Rivers. "Congestion Tax", improvised spontaneously by the quartet, gradually lends the music its combustive edge, while the delicate "Chakra", written for Billy Strayhorn, seems to find some solace in Yusef Lateef's Eastern moods.

The music is permeated with interplay, sometimes leading to mesmerizing results, as in “Elevation", an achingly beautiful and leisurely illuminated ballad composed for Larry Willis, where the quartet showcases razor-sharp musicianship, sophistication, and passion for sound. Hébert's intimate lyricism is featured here, and the group's spotless dynamics leave us in awe.

The journey wraps up with "Golden Oriole”, a traditional folk song featuring Romanian singer Gavril Tarmure, whose genuine feeling is immediately apparent. He had collaborated with Ban on three folk-jazz crossover pieces included on Songs From Afar (Sunnyside, 2016).

These tautly arranged compositions are given fascinating colors, shades, and directions under the captivating performance of Ban's Elevation.

Favorite Tracks:
01 - Dark Blue ► 04 - Rush ► 05 - Elevation ► 07 - Chakra

Geof Bradfield / Myra Melford / Ben Goldberg / Dana Hall - Open Or Close

Label: Calligram Records, 2026

Personnel - Geof Bradfield: tenor and soprano saxophone, bass clarinet; Ben Goldberg: clarinet, contra alto clarinet; Myra Melford: piano; Dana Hall: drums.

What a wonderful time I had listening to this fantastic bass-less quartet, whose powerful avant-garde jazz captivates from start to finish. Recorded live at Chicago’s legendary Green Mill, Open or Close gathers compositions from all four members—saxophonist Geof Bradfield, clarinetist Ben Goldberg, pianist Myra Melford, and drummer Dana Hall—who, having crossed musical paths before in several contexts, make a remarkable debut as a group here.

Ornette Coleman’s “Open or Close” is the stunning opener, showcasing a memorable eight-note riff that gradually evolves into staccato activity resembling rhythmic shocks of vibrant color. Initially, Melford constructs melodies around that riff, with Hall’s percussive driving force as her sole support. Goldberg’s sinewy clarinet phrasing also prompts quick responses from the drummer and effective comping from Melford; then Bradfield offers an earthy, motivic solo packed with tension and release before the theme returns.

Melford’s “A Line With a Mind of Its Own”, inspired by American painter and sculptor Cy Twombly, is built over an exquisite scale, patiently expressed as a chamber-jazz concerto with moderate snare-drum effervescence, accelerations, and mounting intensity. The pianist also contributes the adventurous “The Kitchen”.

Goldberg also brings two contrasting yet extremely effective compositions: “Study of the Blues” is definitely not your standard model within the genre, but rather a slightly dissonant exploratory piece with a lot of interesting things going on; “Three Ingredients”, on the other hand, is a bop-inflected piece centered on an expeditious figure. Starting as a conversation between contra-alto and bass clarinets, the tune evolves into a sort of avant-garde ragtime.

The groove-forward standouts are marvelous to witness, and they provide a setting in which each musician’s distinct personality emerges naturally. Bradfield’s “No Brand”, a dedication to South African pianist Abdullah Ibrahim, flows with a feel-good, six-beat contra-alto clarinet groove, hi-hat buoyancy, and melodic discernment fueled by the parallel motion created by soprano sax and piano. During Goldberg’s beautifully articulated statement, there is no disruption to the groove in the lower register as he and the pianist switch roles. By the end, Bradfield and Melford mirror each other in thrilling interplay. Another dedication to a South African musician, bassist Johnny Dyani, comes with “Lonely Flowers”, a piece Dyani wrote himself and first recorded in 1978. These African scents also bring a touch of Sun Ra’s exoticism into play, and I love Bradfield’s fierce improvisational spirit here on tenor.

Brimming with creative ideas, Open or Close has no weak tracks, with each one evoking thoughtful moods and sonic stimulation. These four musicians reveal exceptional musical capabilities, and their collective effort comes highly recommended.

Favorite Tracks:
01 - Open or Close ► 03 - No Brand ► 04 - Study of the Blues ► 06 - Lonely Flowers

Jason Kao Hwang's Human Rites Trio - Second Life

Label: True Sound Recordings, 2026

Personnel - Jason Kao Hwang: violin; Ken Filiano: bass; Andrew Drury: drums, percussion.

American violinist Jason Kao Hwang, a mainstay of New York’s downtown avant-garde scene, reunites with his highly adaptable Human Rites Trio, featuring bassist Ken Filiano and drummer/percussionist Andrew Drury, for a new album.

Second Life comprises four extended Hwang compositions delineated by rich ebbing and flowing exchanges and constantly shifting passages, enriched by unconventional melodic constructions and perceptible rhythmic ripples.

“Galaxies Twist Under Before It” initially unfolds over a 12-beat bass groove that mutates into a 4/4 funk-rock scenario. Hwang’s screaming solo explores several registers of the violin through euphoric improvisational flurries, supported by Drury’s sagacious fills. The drummer has ample space to expand his chops, and the trio reaches a crescendo through deliberate deconstructions. A quieter passage of plucked violin and understated drumming welcomes Filiano’s solo. After the theme returns, the trio enters a reflective state marked by lachrymose violin, tactful arco work, and colorful cymbal splashes.

“What to Keep, What to Let Go” begins as a ballad, but its gradual expansions and contractions lead into an improvised scenario packed with energy. There are great moments to savor during Hwang’s improvisation, but one cannot overlook the outstanding work of the rhythm section, which introduces radical shifts while toggling between marching postures and swinging delirium. Filiano’s excellent arco technique and deep, resonant sound are are something to be reckoned with.

“Ricochet” offers motif-inflected tapestries, funk grooves, and avant-chamber passages centered on improvisation. Drury lays down a skillfully articulated and harmonious percussive flow here. Honest expressionism is integral to the trio’s style, with each creative idea pushed into free and open territory.

Favorite Tracks:
01 - Galaxies Twist Under Before It ► 04 - Ricochet

Emil De Waal Old News - Novelties

Label: April Records, 2026

Personnel - Emil De Waal: drums, percussion; Henriette Groth: clarinet; Gustaf Ljunggren: contra alto clarinet, viola, arco contra bass, guitars; Jacob Anderskov: piano, spinet; Randi Laubek: vocals (#3,7).

Danish drummer and composer Emil De Waal releases the fourth album with his brainchild group Old News. Formed in 2013, the band reunites for a new chapter that serves as a tribute to one of its former members, clarinetist and actor Elith “Nulle” Nykjær, who passed away in 2023. Novelties is informed by traditional elements, a strong sense of collective unity, and unrestrained improvisation.

“Hellen” opens the album with a conspicuous classical influence, waltzing gently in a mid-slow tempo. Gustaf Ljunggren contributes focused bass lines on contra-alto clarinet, while Jacob Anderskov caresses the piano with smooth, delicate gestures. De Waal’s understated brushwork provides gentle, flowing propulsion, and guest clarinetist Henriette Groth emerges with a velvety tone that perfectly complements the atmosphere.

The band is equally adept at navigating shifts when traditional American sounds come into play on “Scrap Rag” and “Last Millennium When We Were Young”. The former, countrified by Ljunggren’s guitar, develops an appealing Americana feel, while the latter is an elated tune steeped in positive nostalgia, where the tonal contrast between contra-alto clarinet and piano makes the entire piece glow.

Both “I Am Nobody” and “Forgotten Anne” feature Danish singer-songwriter Randi Laubek, whose luminous guitar chords blend beautifully with Groth’s clarinet on the former, a gentle folk ballad that gradually reaches an atmospheric emotional apex. She wrote the latter track for the cinematic adventure-platform game of the same name.

De Waal’s control of the toms is on full display on “Flod”, which feels ethereal on the surface yet remains firmly grounded at its core. “Lim”, surrounded by a bright aura in 3/4, evokes John Surman’s weightless voyages propelled by colorful brushed drumming, while “Tightrope” brings the immensity of Nordic soundscapes to the fore, featuring beautiful, erudite interplay between the clarinet players and a piano motif that, running diligently beneath them, defines the harmonic path. This piece is followed by “Forgotten, Not Forgiven”, which follows the same principle while intensifying the modal atmosphere through clever tonal shifts.

De Waal’s focused, well-delineated storytelling flourishes through sounds and textures that steadily draw us in. A signature stylist, he effortlessly creates an organic weave by retaining the most compelling elements of the past while giving them a fresh, atmospheric spin, allowing these compositions to unfold with a natural harmonic breath.

Favorite Tracks:
01 - Hellen ► 03 - I Am Nobody ► 08 - Tightrope ► 09 - Forgotten, Not Forgiven

Punkt Vrt. Plastik - Kompress

Label: Intakt Records, 2026

Personnel - Kaja Draksler: piano; Petter Elder: bass; Christian Lillinger: drums.

The modern creative European trio Punkt Vrt. Plastik — comprising Slovenian pianist Kaja Draksler, Swedish bassist Petter Eldh, and German drummer Christian Lillinger — releases its fourth album. All three artists contribute compositions, adhering to unyielding rhythmic intricacy and classical melodicism to shape music that bristles with provocative interplay, freedom, and heightened expressiveness.

Draksler's "Yogen" thrives on a half-step-shifting, mystery-inducing pulse. The pianist opts for motivic figures while the drummer moves from erratic fibrillation to deliberate syncopated fragmentation. This taut flow is regularly interrupted by pacifying jazztronica sections that contrast with the more Rage Against The Machine-inspired thrill of the opening. While Eldh's "Mariatorget 87" also takes a distinctly jazz path, Lillinger's "For Sybille" finds Draksler veering toward a modern classical direction, rich with intervallic friction.

The classical influence runs throughout the album but peaks with Eldh's arrangement of "När Världens Hopp Förtvinat Stod”, a Lutheran chorale written in 1589 by German clergyman and composer Johannes Rhau. Draksler's 4/4 minor-mode piano movements find perfect backing from bass and drums. The classical vein continues on "Mere Punkt”, co-composed by Draksler and Eldh, but shifts sharply for Lillinger's skittish “Vrt", which closes the album with a gallant composure.

Eldh's "Trip" is one of the most gripping pieces, unfurling an oblique groove under a defiant time signature. Despite the complexity, the trio locks together in a fantastic, hooked-up rhythmic flow charged with creative harmonic progressions and tension. If "EKV" sounds progressive and warped, "For A / Kompress" is lyrical, cyclic, and powerful, opening with a dreamy aura that, handled with a firm grip, gradually intensifies. Surprising is hearing the trio lean into a hard-swinging juncture on "Granular Navigation". Lillinger, unapologetic about his triplet-based ride cymbal patterns, wrote the piece; he also offers methodical snare buzz rolls that color a more abstract passage built from clustered chordal angularity.

Punkt Vrt. Plastik engages in absorbing conversations of rhythm and breath, threading in occasional head-nodding grooves that arrive with atypical shapes and feels. The trio continues to seek new perspectives on composition, taking a freewheeling approach throughout. Kompress even offers a wider lens, feeling thoroughly contemporary without burying its influences from other eras. It stands as a fine addition to the group's catalog of state-of-the-art albums.

Favorite Tracks:
01 - Yogen ► 02 - Trip ► 07 - For A / Kompress ► 09 - När Världens Hopp Förtvinat Stod

Mats Gustafsson / Kimmo Pohjonen - Two Balls Are Enough

Label: Trost Records, 2026

Personnel - Mats Gustafsson: slide, tenor, baritone and bass saxophone, Ab clarinet, flutes, live electronics, harmonica, organ; Kimmo Pohjonen: electro-acoustic accordion, voice.

The music of Swedish multireedist Mats Gustafsson and Finnish accordionist Kimmo Pohjonen sounds like anything you’ve heard before. Combining folk music and free improvisation, the duo takes us by surprise with a sonically adventurous session that can be intense, raw, haunting, and beautiful all at once. Their collaborative debut, Two Balls Are Enough, showcases their extravagant experimentalism and effective chemistry.

“Ice Heaven” opens like an Indian raga wrapped in electronics paraphernalia and heavy beat. Gustafsson’s frenzied saxophone attacks have a magnetic effect over the undulating harmonic tapestry offered by his counterpart. “Magna” triggers hypnotic vibrations, adding mystery and emotional tension to shifting textures. Bathed in distorted electro-acoustic accordion, the piece reaches its climax toward the end as Gustafsson’s fierce growls find repose in Pohjonen’s fleet and flashing pneumatic swells. 

Gustafsson’s “Snow Linat” allows mysticism and deep reflection to emerge through airy flute and poignant harmonies. A gripping vamp welcomes meaty baritone lines and whirling accordion movements before unison lines and breathtaking flights of improvisational fancy take center stage over an electronic droning figure in 3/4. The duo then returns to sheer melody, exhaling emotional feelings within an undisturbed folk landscape.

Both the title cut and “Its Body Falls Open” sound highly experimental, generating strong visual suggestions that, in the case of the latter, feel like grotesque, noisy obfuscations. “Naga” is a highlight, relying on a zigzagging Eastern-like figure over terse accordion stabs and an exorbitant electronic rhythm. Curiously, Pohjonen’s voice infuses it with a candid, poignant touch. 

Inspired by experimental French writer Danielle Collobert, “Slow Down the Beating” stays true to its title, in a controlled soundscape with breathable spaces, tasteful electronics, and simmering interactions between flute and accordion. But it’s with the closing piece, “Backengrillen”, that the duo opens the skies and clears the horizon, pouring out a beautiful melody that cascades over a cyclic harmonic progression.

Gustafsson and Pohjonen found a mutual language that is groundbreaking and off the charts. Imbued with electro-acoustic collisions, folk echoes, and fearless improvisation, this imaginative session adds a fresh chapter to modern improvised music.

Favorite Tracks:
02 - Magna ► 03 - Snow Linat ► 08 - Naga ► 09 - Backengrillen