Sokratis Votskos Quartet - Pajko, Fire In the Forest On the Mountain

Label: FWF Records, 2024

Personnel - Sokratis Votskos: soprano saxophone, bass clarinet; Leandros Pasias: piano; Evangelos Vrachnos: double bass; Kostas Anastasiadis: drums; Giorgos Klountzos-Chrysidis: drums (#6).

Greek saxophonist, clarinetist, and composer Sokratis Votskos champions the eclecticism and genre-bending trajectory of today's European jazz scene. His quartet features Leandros Pasias on piano, Evangelos Vrachnos on double bass, and Kostas Anastasiadis on drums. 

Pajko, Fire in the Forest on the Mountain is the follow-up album to Sketching the Unknown (2019), presenting a lineup that fosters authentic, creative exchanges across a spectrum from spiritual jazz to avant-garde to traditional folk inspirations. The adventurous journey commences with “Oson Zeis Fainou (Seikilos Epitaph)”, an ancient Greek tune in 6/8 from the 1st or 2nd century. Flowing as a breezily modal sequence, it transitions from novelty sensation to genuine upheaval for Votskos’ dynamic flights, marked by wind sprints and chromatic color.

As the title suggests, “Footprints of Some Giant Steps” blends Wayne Shorter’s “Footprints” and John Coltrane’s “Giant Steps”, delivered in a tension-release arrangement delivered at a 5/8 meter signature. Equally audacious in the rhythm department, “Moment’s Aeternity” features probing piano and exploratory bass clarinet over a catchy 14/8 dance adorned with brilliantly placed cymbal splashes.

Prone to creative fusions, Votskos offers “Balkan Riff” and “Here’s to Oghene Kologbo” with inspiration and abandon. The former, showcasing a perfect understanding between bass clarinet and double bass, is dedicated to Bulgarian pianist Milcho Leviev, while the latter crisscrosses anthemic Afro-centric celebration with jazz riffery, featuring guest drummer Giorgos Klountzos-Chrysidis and the voice of Kologbo himself, the Nigerian guitarist associated with Fela Kuti and Afrobeat in the ‘70s.

In the title track, the rhythm team pulls its weight with pulsating fluctuations, enhancing the music’s poise and appeal. This is a special feature for Pasias and Anastasiadis, with Votskos joining them elusively on soprano saxophone towards the end.

In the company of supple accompanists, Sokratis Votskos emerges as an interesting soloist and talented composer whom we want to keep an eye on.

Favorite Tracks:
01 - Oson Zeis Fainou (Seikilos Epitaph) ► 03 - Moment’s Aeternity ► 05 - Balkan Riff

Brandon Ross Phantom Station - Off the End

Label: Sunnyside Records, 2024

Personnel - Brandon Ross: electric guitar, soprano guitar, vocals; Graham Haynes: cornet, electronics; David Virelles: piano, keyboards; JT Lewis: drums; Hardedge: sound design.

American guitarist Brandon Ross ventures into the realm of free experimentalism with Phantom Station, a project that originated as a duo with sound designer Hardedge but has now expanded into a quintet with the addition of seasoned cornetist Graham Haynes, skillful Cuban pianist David Virelles, and versatile drummer JT Lewis. Off the End is a sprawling live suite that spans over an hour, exploring a spectrum of dark musings and illuminated spaces for contrast. 

Working in the moment, the group creates spontaneously, guided by the feeling in hand and intuition. “May Forever Pass Between” opens the album with percussive chops and enigmatic sounds, including eerie whistles and high-pitched vibrations, courtesy of Hardedge and Lewis. The highly explorative “Through the Heart of my Demarcation” unfolds with long cornet notes and intermittent electronic drones, evoking a dark ambient atmosphere propelled by Lewis’ rolling rhythm. Virelles demonstrates why he’s a sought-after pianist, throwing blobby bass lines with his left hand, and then whirling at full speed with the right. At this point, the density is thick, further escalated by Ross’ distorted surges. The piece culminates in a mystery redolent of Badalamenti’s Twin Peaks film score.

“The Gate is Open” introduces vocals by Ross, accompanied by synth undulation, bluesy guitar cries, and apt cornet melodies for a smooth atmospheric texture. “Your Shoes Point Like Arrows” relies on a deep drone substratum to support Haynes’ remarkable upper-register blowing, occasional piano bursts, and caustic guitar incisions. Akin to the latter, Ross summons up a dense nest of notes (this time playing soprano guitar) on “I Can See All of This”, whose gleeful balladry becomes harmonically palpable thanks to Virelles’ brilliant work. Yet, Haynes is off-the-hook here, transcending cliché with unimaginable note choices. It all moves toward a loose end with noodling guitar, utopian piano perspectives, and coruscating brushwork.

Right after the doleful “How Will I Ornament Your Mouth”, comes “Sometimes I Stand Behind You”, which features stark counterpoint and shifting rhythmic cadenzas. However, the standout piece is “Leave it on the Ground”, an avant-garde, sometimes-bluesy affair underpinned by loose-limbed brushes and irregular piano chords, allowing ample room for responsiveness, fragmentation, and diffusion. 

Navigating between light and darkness, Brandon Ross Phantom Station delivers a ceremony that is both loose-jointed and tightly focused, revealing a fearless spirit unbound by stylistic constraints.

Favorite Tracks:
04 - Your Shoes Point Like Arrows ► 05 - I Can See All of This ► 10 - Leave it on the Ground

Kahil El'Zabar Quartet - A Time For Healing

Label: Spiritmuse Records, 2024

Personnel - Kahil El’Zabar: drums, earth drum, cajon, kalimba, voice; Isaiah Collier: tenor and soprano saxophone, percussion; Corey Wilkes: trumpet, spirit bowls, percussion; Justin Dillard: keyboards, percussion.

To confront the anxieties and challenges of our current times, drummer and spiritual jazz luminary Kahil El’Zabar delivers a double album consisting of nine tracks steeped in soothing harmonies and spring-loaded rhythms. El’Zabar’s credits span from avant-garde/free explorations with David Murray, Hamiet Bluiett, Billy Bang, and Pharoah Sanders to leadership roles in groups like the Ethnic Heritage Ensemble and Ritual Trio.

In this latest offering, the two horn players - trumpeter Corey Wilkes and saxophonist Isaiah Collier - are impressive presences throughout, while the versatile keyboardist Justin Dillard adds ample groove to the ensemble. The album kicks off with “A Time for Healing”, establishing its modus operandi with immutable circularity. Rattling percussion, spirit bowls, and kalimba support tranquilizing unisons and subsequent horn solos delivered with a mix of peaceful resolution and notable fervency. Tracks like “Drum Talk” evoke an African tribal chant, offering words of hope and guidance, while “Eddie Harris” pays homage to the late saxophonist with a groovy funk sound adorned with cool horn riffs. The funk vibe continues on “Time Is”, where El’Zabar’s eloquent cajon playing takes center stage.

While there's a hint of retro influence in this work, there's also a balanced focus on the present moment. Coltrane’s “Resolution” showcases Collier’s determined and exploratory saxophone work with outside inflection, Wilkes’ agitated phrasing carved with motivic elasticity, and Dillard’s keyboard boldness. “We’ll Get Through This” injects a strong R&B flavor into the healing sounds, while Gershwin’s “Summertime” receives a chilled-out, mantra-like treatment. Lastly,“The Coming of Spring”, a swinging jazz odyssey with a palpable structure, harkens back to Pharoah Sanders’ “You’ve Got to Have Freedom”, featuring solos from all members and a dynamic dialogue between trumpet and saxophone.

Picking up where he left off with Spirit Groove (Spiritmuse, 2020), El’Zabar weaves these well-intentioned healing sounds into iterative cycles. The spirited soloing and positive energy ease any possible monotony, accentuating the ensemble’s strengths.

Favorite Tracks:
05 - The Coming of Spring ► 06 - Resolution ► 08 - Time Is

Dave Douglas - Gifts

Label: Greenleaf Records, 2024

Personnel - Dave Douglas: trumpet; James Brandon Lewis: tenor saxophone; Rafiq Bhatia: guitar; Ian Chang: drums.

Renowned trumpeter and composer Dave Douglas has been a stalwart presence in the modern jazz scene for several decades. For this date, comprising new original material and four Billy Strayhorn classics, he’s joined by open-minded associates such as saxophonist James Brandon Lewis (on half the tracks), guitarist Rafiq Bhatia (making his fourth appearance in Douglas’ projects), and drummer Ian Chang. The latter two, members of the experimental/post-rock trio Son Lux, anchor the the nimble soloing of the two-horn frontline, showcasing their strong rapport. Together, they create a strangely beautiful symmetry with Gifts, a celebration of the blessings of life and music.

The title track traverses an atmospheric landscape, accented by metallic percussion and ethereal, powdery electronics. The trumpet combines prodigiously with the guitar in a theme that leads to a slow modal procession enriched with expressive idiosyncrasies. Lewis and Douglas blow up a storm in their free-flowing improvisations. While the saxophonist delivers a soulful performance, the trumpeter explores a rich post-bop dialect over Bhatia’s sumptuous chordal work. Later on, the guitarist adds a drone-sustained backdrop for himself, dropping a magical noir-inspired improvisation. 

Also among Douglas’ standout compositions is “Seven Years Ago”, a previously unrecorded piece from 2017, providing a compelling narrative with a plodding rhythm on the verge of expansion, conciliatory unison lines, and improvisatory fluency. “Small Bar” is another tensely dynamic ear-catcher, a trio effort that prominently features Bhatia. He sets the tone with harmonics, breezy delay effects, and a modernistic world music flavor that seamlessly transitions into distorted walls of sound reminiscent of prog-rock. Here, he even tosses bass lines, creating a walking pavement for Douglas’ philosophical musings.

If “Kind of Teal” evinces strong blues and rock n’ roll connotations, eventually opening windows to soft-rock-meets-jazz views, then Strayhorn’s “Take the A Train”, with a curiously altered main melody, takes the rock power further with originality, joy, and awesome interplay. Also penned by Strayhorn, “Rain Check” emits a positive vibe, “Blood Count” shifts from intelligent balladry to moderately ominous fusion with Bhatia soloing over Chang’s agitated drumming, and “Day Dream” offers bustling trumpet-over-drums moments.

Gifts offers a diverse array of moods and textures across its tracks to keep you alert and engaged throughout. This formidable trio, occasionally expanding to a quartet, is undoubtedly deserving your attention.

Favorite Tracks:
01 - Gifts ► 07 - Seven Years Ago ► 08 - Small Bar

Circles 44 - In the Grip

Label: Aut Records, 2024

Personnel - Achille Succi: bass clarinet, contrabass clarinet; Massimiliano Amatruda: piano; Joseph Circelli: guitar, effects, synth; Andrea Grillini: drums.

For their sophomore album, Circles 44, originally a trio of confident Italian vanguardists consisting of pianist Massimiliano Amatruda, guitarist Joseph Circelli, and drummer Andrea Grillini, expanded into a sonically combative quartet with the addition of adventurous clarinetist Achille Succi. The group's improvisatory prowess and rhythmic dexterity are showcased throughout an inspired set of music characterized by structured improvisation, staggering complexity, and dynamic intensities. 

With no hesitation, the first two cuts - “Spiral Dance” and “In the Grip” - demonstrate the ensemble’s command of their craft with hyperbolic angles and stream-of-conscious layering. Upon flowing at a slow ternary pace - with chatty cross stick, dreamy piano, and low-key guitar - the Amatruda-penned “Spiral Dance” shifts toward an odd-metered tempo, sustaining captivating solos by Succi, always deep and rich in tone, and Grillini, who stirs up the energy before the thematic piano motif starts soaring above him. Circelli’s “In the Grip” kicks off with a compact drum solo before entering into prominent modalism - more Andrew Hill style than John Coltrane. The group intersperses quieter passages before setting foot in a dazzling 12-beat cycle groove that ends up in double tempo.

If “Gate” works like an electro-dance act, probing fragmentation via the syncopated strap beat and promoting exploratory dialogue, then “Circles” goes from an intriguing stillness to an investigative folk dance. In turn, Grillini’s “Linea (first approach)” strikes a balance between quiet minimalism and impulsive temperament. The album concludes with “A.A. 1942”, a noir excursion imbued with pensive tones and raw edges.

Creative jazz aficionados will find this album compelling. These four artists epitomize the quality of the intrepid Italian avant-jazz scene, making In the Grip a worthy addition to any jazz collection.

Favorite Tracks:
01 - Spiral Dance ► 02 - In the Grip ► 04 - Gate 

Dan Weiss - Even Odds

Label: Cygnus Recordings, 2024

Personnel - Miguel Zénon: alto saxophone; Matt Mitchell: piano; Dan Weiss: drums.

Drummer and composer Dan Weiss emerges as a rhythmic magician on his captivating new album, Even Odds, infusing every beat and spark with profound meaning and context. With a rare ability to craft narratives through music, Weiss collaborates with saxophonist Miguel Zénon and keyboardist Matt Mitchell to deliver an intriguing collection of six written compositions and provocative improvisations. On the latter, he provides risk-taking, magnetic rhythmic tapestries on top of which his trio mates create freely.

From the frantic energy of “It is What it is”, where pulsating angularity evolves into a dynamic rhythmic tapestry punctuated by insistent saxophone attacks, articulated piano flurries, and Weiss' rock and African-tinged drumming, to the reflective poignancy of Weiss' compositions “The Children of Uvalde” and “Ititrefen", each track offers a unique exploration of its thematic elements. The former piece, written in response to a tragic school shooting in Texas, unfolds as an elegiac ballad with intriguing harmonic vibrations, while the latter pays tribute to Wayne Shorter's “Nefertiti” in a clever reversal of the title.

“Fathers and Daughters” celebrates parenthood with more tenderness than friction, while “Max Roach”, fueled by a fabulously syncopated drum work, delves into the secrets behind the late drummer’s playing in Charlie Parker’s “Klactoveedsedstene”. Weiss also pays homage to Pakistani singer Nusrat Fateh Ali Khan in “Nusrat”, infusing an irresistible, chilled-out nu-beat that resulted from transplanting a Qawwali tabla rhythm into the drum set.

Among the impromptu material, the following provocative pieces stand out: “Bu”, a free-form communicative effort whose principle consists in a pattern by iconic drummer Art Blakey; “Rising”, which sets a visceral shuffling beat against tranquil saxophone and piano lines; “M and M”, placing fractal saxophone runs and galloping motifs side by side with piano constellations built in clever intervals; and “Five to Nine”, laced with odd-metered undercurrents and contrapuntal interplay. 

Each track, whether composed or improvised, serves as a testament to Weiss’ multifaceted, brainy sense of rhythm and his peers’ facility to connect and expand musical horizons. Even Odds offers results that, transporting listeners beyond ordinary realms, invites them to embrace the extraordinary.

Favorite Tracks:
09 - Five To Nine ► 14 - Max Roach ► 20 - Nusrat

Fire! - Testament

Label: Rune Grammofon Records, 2024

Personnel - Mats Gustafsson: baritone saxophone; Johan Berthling: bass; Andreas Werliin: drums.

The explorative Swedish trio Fire! - comprising saxophonist Mats Gustafsson, bassist Johan Berthling, and drummer Andreas Werliin - first convened in 2009 before expanding successfully into an orchestra. Their eighth album, Testament, comprises five tracks presented in a more skeletal form, stripped down to pure sax-bass-drums tapestries devoid of electronics or additional elements. All the same, these cuts exalt the artistic and improvisatory leanings of the musicians.

“Work Song for a Scattered Past” imposes circularity with a patterned bass phrase, invigorated by dynamic drumming and growling saxophone blows. They elastically push apart but, at the end, converge into consonance. “The Dark Inside of Cabbage” displays relaxed if lumbering baritone lines over a rhythmic bed of bass drones and skittering drum chatters.

“Four Ways of Dealing With One Way” unfolds as a hypnotic, repetitive exercise, its mutable saxophone tones deceptively floating through time. Gustafsson’s performance on “Running Bison, Breathing Entity, Sleeping Reality” captivates as he blends growling expressions, breathing techniques, multiphonics, and a mix of popping and flapping sounds filled with rich tonal resonances. Over time, it becomes chanty with the assistance of rumbling and tidy bass as well as percussion, gradually evolving into a mesmerizing slowcore enchantment.

Strangely accessible, the album comes to a close with “One Testament, One Aim, One More to Go, Again”, where a plain eight-beat cycle bass figure, neatly backed by Werliin’s understated percussion, gives free rein to a smoky rock stride and flavorful Eastern influences. Testament was recorded live in the studio on analog tape and expertly mixed by renowned rock audio engineer Steve Albini.

Favorite Tracks:
01 - Work Song for a Scattered Past ► 04 - Running Bison, Breathing Entity, Sleeping Reality ► 05 - One Testament, One Aim, One More to Go, Again

Charles Lloyd - The Sky Will Still Be There Tomorrow

Label: Blue Note Records, 2024

Personnel - Charles Lloyd: saxophones, flutes; Jason Moran: piano; Larry Grenadier: double bass; Brian Blade: drums.

In The Sky Will Still Be There Tomorrow, the unmistakable, soulful sound of saxophonist Charles Lloyd resonates through the exquisite tapestries crafted by his quartet mates: pianist Jason Moran, bassist Larry Grenadier, and the newly joined, seasoned drummer Brian Blade. This double-disc release epitomizes a remarkable convergence of advanced musical minds.

“Defiant, Tender Warrior” opens the album in a relaxed, breathable 4/4 tempo, marveling at its vamping spiritual melody while Blade’s radiant percussive moves show to be a wonderful fit. Moran brings shuffling, harmonically vivid pianism into “Monk’s Dance”, Lloyd’s homage to the late Thelonious Monk, navigating a modern stride before launching an assertive solo over a swinging progression. Moments before, Lloyd had showcased his potential for fresh discoveries, employing his signature style phraseology pelted with sublime arpeggio coloration.

In the duo performance of “Lift Every Voice and Sing”, a Black hymn dating back to 1900 by J.W. Johnson, Lloyd and Moran achieve ecstatic catharsis through their lyrical interplay and responsive dynamics. “Booker’s Garden”, dedicated to saxophonist Booker Little, features dulcet flute filigree, molding into a gentle spiritual dance. On “The Ghost of Lady Day”, the iconic jazz singer Billie Holiday is honored in a sweetly lazy affair played with a nocturnal rubato before veering into expressionist avant-garde territory. Strangely, it oozes emotional intensity and intriguing mystery.

Another rubato peregrination, “Sky Valley, Spirit of the Forest”, seems indifferent to form but meticulous in tone, traversing from vagueness to illumination. The title cut stands as a program highlight, with Lloyd’s tenor sax swooping and soaring - both in and out of focus - over Blade’s sharp reflexes. The entrance by Moran is out of this world, and the communication proceeds with as much distinction as logic. There’s also a gospelized piano passage and a fading vamping groove that leads to the ending.

“Cape Cairo”, an older tune retrieved from Lloyd’s cherished album All My Relations (ECM, 1995), emerges as another favorite, with the rhythm section conjuring hair-raising dreamlike tones as Lloyd's saxophone weaves an enchanting melody from start to finish. Charles Lloyd, a living jazz legend, showcases a sophisticated hybrid of post-bop, spiritual energy, and eclectic avant-garde jazz, producing another extraordinary album destined to be included on numerous ‘best of’ lists.

Favorite Tracks:
01 (CD1) - Defiant, Tender Warrior ► 03 (CD1) - Monk’s Dance ► 08 (CD1) - The Sky Will Still Be There Tomorrow ► 06 (CD2) - Cape Cairo

Acceleration Due to Gravity - Jonesville

Label: Hot Cup Records, 2024

Personnel - Stacy Dillard: tenor saxophone; Matt Nelson: alto saxophone; Kyle Saulnier: baritone saxophone; Bobby Spellman: trumpet; Dave Taylor: trombone; Ava Mendoza: guitar; George Burton: piano; Moppa Elliot: bass; Mike Pride: drums.

Besides leading the experimental jazz group Most Other People Do the Killing, bassist and composer Moppa Elliott spearheads a brash nonet called Acceleration Due to Gravity, which employs a bevy of powerful improvisers. Their second album, Jonesville, inspired by the music of bassist/cellist Sam Jones, includes fiery readings of Jones’ compositions as well as Elliott originals. For each of the pieces, the bandleader opted for loop-founded maneuvers with three solo sections and no duplication of chorus, opening space for scorching and buoyant improvisations.

The band is perfect for Elliott as an outlet for his writing, and some pieces stand out: “Delaware Water Gap” throws in some R&B detritus in the mix and features altoist Matt Nelson in an outside venture; “Unity” climaxes during a soloing exchange between guitarist Ava Mendoza and trumpeter Bobby Spellman; and the fashionably distinct “Jonesville” closes out the album with funky electric bass, a muted trumpet figure, thick shards of electric guitar, and saxophone unorthodoxy.

The interpretations of Sam Jones’ compositions are equally powerful, with “Choice” opening the session with manic intensity and vibrant improvisations from the horn players. At an early stage, Nelson and tenorist Stacy Dillard embark on punky solos, and then is baritonist Kyle Saulnier who contributes deep thoughts to the general gleeful enthusiasm. “Miami Drag” features the shuffling pianism of George Burton, revealing a strident pacing where jazzy colors inundate the rock-infused backbone. Hints of Charlie Parker’s melodies are spotted on the formerly described piece as well as on “Stack of Dollars”, a Latin burner at its loudest, where “Fascinating Rhythm” is quoted at the end of the saxophone solo.

Jonesville is a kinetic and playful album where one can sense the enjoyment of the musicians involved. If you like your jazz with energy, drive, and hard-nosed improvisations, this album is sure to delight.

Favorite Tracks:
01 - Choice ► 06 - Stack of Dollars ► 07 - Jonesville

Michael Attias - Quartet Music Vol. I: LuMiSong

Label: Out of Your Head Records, 2024

Personnel - Michael Attias: alto saxophone; Santiago Leibson: piano, keyboards; Matt Pavolka: bass; Mark Ferber: drums + guest - Christopher Hoffmann: cello (#4).

Creative jazz enthusiasts will rejoice at the return of alto saxophonist Michael Attias to the recording sessions, particularly upon experiencing his latest offering, Quartet Music Vol. I: LuMiSong. This date features him alongside pianist Santiago Leibson, bassist Matt Pavolka and drummer Mark Ferber, a quartet of talents whose collective synergy yields remarkable dividends when given creative freedom.

Unfurling in a 21-bar form, “#63 (Settled)” sets up the dynamics with a patterned propulsive motion steeped in odd meter and striking juxtapositions. A stringent theme takes us to Attias’ intricate soloing language, a sardonic tone, and an uncompromising commitment to freedom. The rhythm section, buoyed by Leibson’s Wurlitzer groove, demonstrates a matured focus on concept and mood, weaving a knife-edged lushness in the musical tapestry that serves as a fertile ground for improvisation. 

The energy is unbounded and escalates further in the through-composed “Mister Softee is a Front”, inspired by Attias’ new neighborhood and informed by an advanced post-bop creativity that leans toward the avant-garde. The piece unfolds with a saxophone riff working together with fluid percussive streams, irregular bass adherence, and responsive piano, culminating in a brightly hued harmonic current in 5/4 time, inviting exploration.

The multi-sectional composition “NME” unfolds with intrigue, transitioning from a pensive sentiment to an expansive 15-beat cycle adorned with cluster chords and dubbed saxophone polyphony. The album ceases with “Hexway Liner”, whose inquisitive piano intro gives rise to a theme marked by cryptic intervallic range and smart chromaticism. Guest cellist Christopher Hoffmann contributes ideas in post-production, working around the periphery of the tune.

As an out-of-the-box sonic architect, Attias conceives music that expands our horizons and plays with our musical preconceptions. Requiring open-mindedness to be deeply entrenched, this is an utter and complete joy to listen to. 

Favorite Tracks:
01 - #63 (Settled) ► 02 - Mister Softee is a Front

Vijay Iyer - Compassion

Label: ECM Records, 2024

Personnel - Vijay Iyer: piano; Linda May Han Oh: double bass; Tyshawn Sorey: drums.

Revolutionary pianist Vijay Iyer reunites with bassist Linda May Han Oh and drummer Tyshawn Sorey, making their second appearance with Compassion, the knockout follow-up to their debut album, Uneasy (ECM, 2021). The trio, denoting a remarkable maturity, presents 12 tracks, including nine originals and three covers. 

The album opens with the mesmerizing title track, “Compassion”, characterized by a modern creative gloss and a captivating equilibrium. Soft cymbal rubs and gentle snare pressure set the tone, gradually building alongside subdued bass and poignant pianism, evoking a vast harmonic landscape of emotional depth. “Arch”, dedicated to the anti-apartheid South African Archbishop Desmond Tutu, follows suit with a piano figure and poised rhythmic matrix.

“Maelstrom” is a stunning composition rooted in classical protocols yet infused with a forward-thinking jazz feel. Expertly played, it features Iyer’s percussive attack on the lower register at some point, giving it a rock-solid danceability. “Tempest” is wild and metrically challenging, oozing an indomitable energy as the group navigates chord clusters and expresses fleet thoughts in the form of pivotal notes and screwy lines. Both pieces pay homage to the victims of the Covid-19 pandemic.

Iyer drew inspiration from Chicago poet Eve L. Ewing on two selections, namely, the epic “Where I Am”, forging ahead with a robust rhythm and spartan fortitude, and “Ghostrumental”, driven by a nice pop/rock beat.

In addition to original compositions, the bandleader offers interpretations of Stevie Wonder’s “Overjoyed”, boosted by a kinetic three-time feel, Roscoe Mitchell’s “Nonaah”, a vivacious avant-jazz narrative with fragmentation and dilatation, and a mashup of John Stubblefield’s “Free Spirits” and Geri Allen’s “The Drummer’s Song”.

In the hands of these visionary musicians, jazz remains elegant and transformative. Iyer has proven time and time again that he explores deep, with imagination. Compassion confirms his special talents, echoing with an easy-on-the-ear sophistication. 

Favorite Tracks:
01 - Compassion ► 02 - Arch ► 04 - Maelstrom ► 06 - Tempest

John Surman - Words Unspoken

Label: ECM Records, 2024

Personnel - John Surman: soprano and baritone saxophone, bass clarinet; Rob Luft: guitar; Rob Waring: vibraphone; Thomas Stronen: drums.

English multi-reedist John Surman makes a captivating return with this quartet album, Words Unspoken, featuring bandmates guitarist Rob Luft, vibraphonist Rob Waring, and Norwegian drummer Thomas Stronen. The title aptly reflects the group’s approach to music, and the words intuition and illumination come to mind whenever the pragmatic harmonic circularity of Surman’s modal pieces is on display as well as the outstanding improvisational prowess of all band members.

There’s an ancient allure in this music that compels listeners to search as they navigate vivid sonic landscapes, both real and imaginary. The timbral hues are varied, and “Pebble Dance” sets the stage with its intriguing blend of vibraphone dexterity, ambient guitar chords, and delicately brushed drums, establishing a hypnotic groove in 5/4 tempo. Surman shines brightly in a magnificent soprano saxophone solo, showcasing freedom, speed, and agility. The touching title track, “Words Unspoken”, discloses a more introspective side, as Surman delivers emotive baritone saxophone melodies against a backdrop of gently spinning celestial particles.

“Flower in Aspic” kicks off with reverb-drenched guitar, echoing with grace while having all musicians sharing an intrinsic connection with stability and resolution. “Around the Edges” exudes a mysterious aura, inviting us to unlock a forgotten dimension. The folksy “Onich Ceilidh” dances with exhilarating waltzing movements, having Stronen’s understated clutter enhancing the irresistible textural spell of the rhythm section.

Both “Belay That” and “Hawksmoor”, melodically anchored by Surman’s bass clarinet, offer a departure from the prevalent modal mood. The former denotes magnetic jazzy and bluesy inclinations, while the latter shows off a playful theme marked by staccato accents and a swinging cultivation underneath.

The album’s perfect blend of sounds manifests Surman’s consummate musicality and artistic vision. Words Unspoken is another winning album in a catalog full of them.

Favorite Tracks:
01 - Pebble Dance ► 02 - Words Unspoken ► 08 - Belay That

James Brandon Lewis Quartet - Transfiguration

Label: Intakt Records, 2024

Personnel - James Brandon Lewis: tenor saxophone; Aruan Ortiz: piano; Brad Jones: bass; Chad Taylor: drums.

James Brandon Lewis, a sensational saxophonist with musical resources that transcend various musical scenarios, unveils Transfiguration, his fourth album leading a quartet featuring Cuban-born pianist Aruan Ortiz, bassist Brad Jones, and drummer Chad Taylor. Echoes of Coltrane, Shepp, Rollins, and Ayler reverberate throughout the album, infused with Lewis’ own energy as he navigates harmonic tapestries with unwavering confidence.

The title track, an exploration of 12-tone music, pulsates with a polyrhythmic feel and a modal sense of urgency, exhibiting a grandiose theme statement, a tour-de-force tenor discourse, and agile accompaniment. Ortiz brings a bit of McCoy Tyner’s fantasy to the setting, adding inventiveness in the upper register before a mantric final vamp. “Trinity of Creative Self” unfolds as a rubato ballad, anchored by Jones’ austere arco bass and Taylor’s uninterrupted rhythmic stream.

The early bass notes in “Swerve” create a patterned odd-metered figure in support of a strong blues incarnation referencing atomic motion. In turn, “Per 6”, inspired by circadian rhythms, flows at a caravan-like pace, dressed in smooth, well-knitted Eastern fabrics.

Lewis demonstrates keen phraseology, occasionally stretching the timbral possibilities of his instrument. He pays homage to American painter and sculptor Jack Whitten with “Empirical Perception”, a piece characterized by static yet intense modal explorations, and to French philosopher Henri Bergson with the fervently expressed “Élan Vital”, which culminates in a gospel-infused, four-chord jazz sequence. 

Notably, “Triptych” stands out with its sophisticated chordal work, a strong melodic formula with three sets of four notes, crisp solos, and a synchronously crafted finale. It’s definitely a highlight of the album. In the usual way, the performance of Lewis’ singled-out quartet is invested with imaginative intuition and unity.

Favorite Tracks:
01 - Transfiguration ► 04 - Per 6 ► 07 - Triptych

Mary Halvorson - Cloudward

Label: Nonesuch Records, 2024

Personnel - Mary Halvorson: guitar; Adam O’Farrill: trumpet; Jacob Garchik: trombone; Patricia Brennan: vibraphone; Nick Dunston: bass; Tomas Fujiwara: drums + guest Laurie Anderson: violin (#6)

The highly acclaimed Booklyn-based guitarist and composer Mary Halvorson always manages to draw me in with her collision of jarred chords, knotty melodies, and inconspicuous rhythms. Reuniting her Amaryllis Sextet, the guitarist unveils eight new compositions, predominantly penned in 2022, in her latest offering, Cloudward. While this collection exudes a warmer and more accessible vibe compared to Amaryllis and Belladonna, it remains delightfully unpredictable, fearlessly embracing chances without hesitation or defensiveness.

“The Gate” kicks off with an infectious Henry Threadgill-esque groove reinforced with precise marching drumming. Halvorson, though featuring fewer solos than in previous recordings, contributes seasoned harmonic context with winning effects throughout. On the opening piece, she pushes the energy to the horn-filled front. While trombonist Jacob Garchik sounds earnest and articulated, trumpeter Adam O’Farrill is bold in the intervallic choices. “Unscrolling” is painted with melancholy tones, creating a mournful dirge accentuated by Nick Dunston’s rasping bowed bass.

Before turning into a shimmering brushed ballad, “The Tower” texturizes with Halvorson’s rapid runs and cadenced steps marked by pitch dropping and delay effects. It’s a smooth sailing where you’ll find fragmented and pointillistic unisons and an engrossing vibraphone solo by Patricia Brennan topped with juxtaposed interjections from trumpet and trombone in its denouement. “Desiderata” brims with confidence and balance, inflamed by a rock-derived rhythm under the skilled guidance of drummer Tomas Fujiwara. Following a transient quiet vamp, the piece romps up into a kinetic swath of distorted guitar and dissonance.

“Tailhead” flows distinctively, following Fujiwara’s inventive intro, while “Ultramarine” closes out the album with a rift of strangeness. The latter is a modern creative fusion, brilliantly introduced by Dunston and later complemented with Halvorson’s atonal expressionism and labyrinthine harmonies, taking us from a four-chord indie rock progression to a vanguardist fanfare. 

For anyone harboring doubts about Halvorson’s compositional prowess, Cloudward stands as compelling evidence. Here, she rides high waves of inspiration alongside peers that understand her advanced musical mind.

Favorite Tracks:
01 - The Gate ► 02 -The Tower ► 05 - Desiderata 

Ches Smith - Laugh Ash

Label: Pyroclastic Records, 2024

Personnel - Ches Smith: electronics, programming, vives, drums, tubular bells, glockenspiel, timpani, tam tam, metal percussion; Shara Lunon: voice, vocal processing; Anna Webber: flute; Oscar Noriega: clarinets; James Brandon Lewis: tenor saxophone; Nate Wooley: trumpet; Jennifer Choi: violin; Kyle Armbrust: viola; Michael Nicolas: cello; Shahzad Ismaily: bass, keyboards.

Extraordinary drummer and composer Ches Smith brings his A-game to a progressive and eclectic new album, Laugh Ash, gathering a bevy of avant-gardists and improvisers to explore the art of sound and intricate textural layering. His compositional taste and innovative spirit are reflected in numerous instrumental juxtapositions that, at a first instance, are easier to admire than to love. The agitation of the drum machines, synthetic in nature, oppose to the varied chamber moods, and a sense of novelty invades the album, pumping the pieces into an out-of-the-box listening experience.

“Minimalism” shimmers like a soap bubble, taking shape as layered electronic music with a fantastic rhythm, punk-rock singing by Shara Lunon, and synth momentum. This is followed by “Remote Convivial”, which chimes and vibes with slightly glitchy pitches, compound meter patterns, drum machines, spellbinding bass lines, and an outgoing saxophone solo delivered by James Brandon Lewis. The avant-garde scenario is heightened as string players embrace dissonance, akin to gazing at a blurred painting that retains its fundamental meaning.

The 10-piece ensemble dishes out polyrhythmic energies on “Sweatered Webs (Hey Mom)”, where funky bass trajectories meet Haitian rhythms. Lewis contributes another superb inside/outside tenor improvisation, and ethereal chants add a special interest. “Shaken, Stirred Silence” showcases a playful blend of ideas with Eastern connotations, odd meter provocation, asymmetry, angularity, avant expression via Anna Webber’s remarkable flute playing, and swooning electronic sensations that serve as a conclusion. All rhythmically rooted in skittering boom beats.

Clarinetist Oscar Noriega and trumpeter Nate Wooley bring unpredictable melodic directions and steep angles to “Unyielding Daydream Welding”, pirouetting around a foreboding dark drone and lively backbeat. They keep up their interaction in “Disco Inferred”, a propulsive ride with throbbing rhythm and electric funk at the bottom. In the last section, Webber’s rambling flute occupies a center position. In the final piece, “Exit Shivers”, an atmospheric doom metal-inspired work unfolds with quiet eeriness before a startling eruption.

Laugh Ash offers thought-provoking themes and improvisations that may not be immediately accessible but grow in interest with each listen. It's an unclassifiable, gripping album that pushes the boundaries of creative music in an original and compelling way.

Favorite Tracks: 
02 - Remote Convivial ► 03 - Sweatered Webs (Hey Mom) ► 08 - Unyielding Daydream Welding

Gush - Afro Blue

Label: Trost Records, 2024

Personnel - Mats Gustafsson: tenor and soprano saxophone; Sten Sandell: piano; Raymond Strid: drums.

The North European trio Gush, featuring the expansive saxophonist Mats Gustafsson, adventurous pianist Sten Sandell, and thoughtful drummer Raymond Staid, releases a fantastic record, Afro Blue, containing a live performance that dates back to 1998 at Stockholm’s Fasching.

The bass-less trio creates electrifying frameworks in the first two tracks, drawn from the Behind the Chords series penned by Sandell. The pianist is essential to the sound that references the trio. “Behind the Chord V”, a 27-minute odyssey, comes to life with the curiosity and excitement of a harmonically rich piano construction. Gustafsson’s saxophone wanders about, opting for mysterious paths while exploring with passion, and the responsive rhythm section provokes rhythmic variations. The music reaches a feverous delirium before the piano becomes percussive, and then it’s Strid who embarks on an articulated drum talk, later joined by Gustafsson’s growling blows and meaty tones. Sandell contributes to an epic ending with his complex textural surfaces.

“Behind the Chords IV” is another looming track, with a digressive soprano saxophone creating trepidation as well as an interpolative piano using nuance for rhythmic stimulation. Strid introduces pulsation subtly, integrating timbres in the sonic fabric weaved by the pianist, who extemporizes in due course with oblique moves. The music advances explosively with jittery and cacophonous passages, leading to mindful percussive moments and a melodically supplicant and elliptical finale.

A magnetic reading of Mongo Santamaria’s “Afro Blue”, popularized by John Coltrane in the 1960s, exposes its modal possibilities as Sandell explores polyrhythmically, Gustafsson unleashes entrancing lines with spiritual substance, and Strid paves the way in fearful convulsion, taking the piece to ecstatic realms. The album concludes with a peaceful improvisation.

Afro Blue highlights Gustafsson and his associates as outstanding improvisers whose directional waves align with engaging foundations and unconfined melodies. The trio's performance demonstrates not only a profound understanding of what they need to do as individuals and group but also a deep connection and inventive spirit.

Favorite Tracks: 
01 - Behind the Chords V ► 03 - Afro Blue

Ivo Perelman - Seven Skies Orchestra

Label: Fundacja Sluchaj, 2023

Personnel - Ivo Perelman: tenor sax; Nate Wooley: trumpet; Mat Maneri: viola; Fred Lonberg-Holm: cello; Joe Morris: bass; Matt Moran: vibes.

Brazilian saxophonist Ivo Perelman stands as an unwavering improviser who refuses to tread standardized paths. His open-mindedness and creativity are mirrored in an extensive discography of duos and trios, but his latest release, Seven Skies Orchestra, is a chamber improvisational work that offers a rare opportunity to hear him leading a larger ensemble of fantastic sonic painters. He pairs up with trumpeter Nate Wooley in the frontline, having vibist Matt Moran providing sinuous harmonic context, and a trio of string players - violist Mat Maneri, cellist Fred Lonberg-Holm, and bassist Joe Morris - designing a multitude of paths with color and detail. The double album comprises ten improvised expositions, but for the present review, I’m going to focus on disc one.

In “Part One”, Moran’s transcendent vibes sets the stage, later backed by Morris’ loose foundation over which Perelman and Wooley engage in a dialogue with unccpompromised freedom. It’s like listening to a superbly articulated conversation whose intensity ebbs and flows whimsically. The protagonists change, dialoguing often in pairs, with logic and abandon. By the end, we are presented with nicely robust and exquisitely shapeless passages.

“Part Two” commences with expert slides and glides, with Wooley infusing sinuous phrases and Perelman responding with contrasting low-register blows, circular patterns, and thrilling staccatos. This occurs while Maneri and Lonberg-Holm instill a folk innuendo into the avant-jazz setting, and the piece becomes almost collectively mantric, in an expression of unity that goes beyond improvisation.

The introductory interplay of “Part Three” stems from the cogitation of the instruments clashing and acquiescing in a positive manner. It’s a pondering piece that builds to a peak with a tenor improvisation over bass and vibes, in a more contemplative demonstration of the group’s capacities.

The music constantly lives of dynamism and mood shifts, and “Part Four” is here to prove it. It can be busy and tumultuous one minute, hushed and cool the next.
Perelman always considers new collaborators to explore fresh sounds and expand musical horizons. Seven Skies Orchestra stands as a singular entry in his extensive body of work.

Favorite Tracks (CD1):
01 - Part One ► 02 - Part Two ► 04 - Part Four

Sunny Five - Candid

Label: Intakt Records, 2024

Personnel - Tim Berne: alto saxophone; Marc Ducret: Vendramini guitars and table guitar; David Torn: electric guitar, live multi-looping; Devin Hoff: electric bass; Ches Smith: drums, electronics.

Sunny Five is a formidable contemporary jazz quintet comprised of exceptional improvisers and experimentalists. Saxophonist Tim Berne has been a mighty presence in the avant-garde jazz scene for years; Ches Smith is one of the hippest drummers out there; electric bassist Devin Hoff brings alternative perspectives to the music that often fall out of conventional jazz moods; and the highly esteemed guitarists Marc Ducret and David Torn, who extract beautifully offset sounds and effects from their instruments, round out the group with their creative exuberance. Candid is the group’s debut album.

The opener, “Piper”, is an uncluttered experimental exhortation that incorporates drones, electronic echoing, noise guitar pigmentation, swooping saxophone motifs, and freedom in the rhythmic foundation without adhering to a particular direction. “Scratch” follows, with Berne’s thrilling saxophone playing gifting the group deft melodies and sardonic tones over a tapestry of smooth electronics. The conversation continues with the guitarists, accompanied by an amorphously elliptical bass design and agitated drumming. It’s a different kind of prayer that intertwines avant-garde jazz and experimental rock with an enticing unpredictability. Danceable motivic expressionism prevails, but the sounds may transition from dense and loud to quiet and ambiguous.

The group strings together a series of ingeniously eclectic movements over the course of “Craw”, emulating a strange funk vibe at the base via fragmented guitar, an insistent bass underpinning, and a balanced mix of hi-hat, snare, and cymbal on the drum kit. In due course, we have a mantric East-inspired drone and then escalating noise reinforcing the abstraction. Smith’s drumming brings the tempo down, surrounded by the dark hues and sinister atmospheres created by Torn and Ducret.

The monumental 35-minute finale, “Floored”, includes precisely executed twists and turns, showcasing the ensemble’s creative vision and storytelling prowess. The music traverses from cries to shouts, from ominous to appeasing sounds, and from corrosive and incendiary moments to thoughtful and tense considerations. Its quasi-apocalyptic fervor can be intimidating, yet it captivates with its depth and intensity.

Given the daring explorative strengths of Sunny Five, listeners are encouraged to let Candid soak in. Repeated listenings promise a vibrant experience, with every detail revealing itself anew and resonating with the richness of the ensemble's musical tapestry. 

Favorite Tracks:
02 - Scratch ► 03 - Craw ► 04 - Floored

Rich Halley - Fire Within

Label: Pine Eagle Records, 2023

Personnel - Rich Halley: tenor saxophone; Matthew Shipp: piano; Michael Bisio: bass; Newman Taylor Baker: drums.

Fire Within, the fully improvised third recording by Rich Halley with the trio of pianist Matthew Shipp - featuring bassist Michael Bisio and drummer Newman Taylor Baker - unfolds as a speculative fiction, coherently weaving elements from both the past and the present. 

Rooted more in the earthy than the cosmic, the album opens with the title track, “Fire Within”, where Halley unleashes feverish Coltrane staples against the instinctive drive of the rhythm section. Shipp, swinging along with inventive pulsations and advanced melodic and harmonic approaches, reaches epic proportions in his comping when Halley takes the lead. Baker seizes an unaccompanied moment, bringing his carefully chosen timbres and excellent technique to the fore prior to the beautiful melodicism that concludes the piece.

On “Inferred”, the meticulous and devotional bass work by Bisio comes first, and the piece evolves from balladic tones to a more vigorous, busy, and highly explorative passage with intensive saxophone blows. Shipp follows with a piano monologue, validating his status as a progressive thinker and the source of many propulsive motions.

While “Through Still Air” invites musing reflections with smooth, cerebral playing, “Angular Logic” takes on a dancing quality, digging in deep and never letting up. You’ll find marching routines in Baker’s snare moves, with Shipp interjecting lower-register harmonic chunks and bewildering right-hand whirls in his mercurial exploration of rhythmic cadences.

Aptly titled, “Following the Stream” kicks off with well-rounded drums before acquiring a loose feel, at times impetuous. A lilting breeze is embraced when Shipp is at the helm, and Halley joins the invitation, throwing in motifs. The piece ends with lines and accentuations reminiscent of Coltrane and Art Blakey, respectively.

Halley adeptly navigates textures with genuine sensibility, while the rhythm team surprises listeners with their ability to intuitively connect. Fire Within brims with contagious ideas, showcasing the synergy and creativity of the quartet.

Favorite Tracks:
01 - Fire Within ► 02- Inferred ► 03 - Angular Logic

Jon Irabagon's Outright! - Recharge the Blade

Label: Irabbagast Records, 2024

Personnel - Jon Irabagon: soprano saxophone; Ray Anderson: trombone; Matt Mitchell: piano, Fender Rhodes, Moog model D; Chris Lightcap: acoustic and electric bass; Dan Weiss: drums; Ben Monder: guitar (#10); Chris Cash: drums, bass, guitar, programming (#12); Trans-Atlantic Line Cigar Lounge All Stars (#12).

The remarkable saxophonist, Jon Irabagon, makes a triumphant return with his Outright! project, delivering yet another epic album that seamlessly follows the success of its predecessors, Outright! (2008) and Unhinged (2012). Undergoing its third lineup change, the ensemble keeps featuring outstanding musicians and improvisers, now including trombonist Ray Anderson, Matt Mitchell on keyboards, Chris Lightcap on bass, and Dan Weiss on drums. The collaboration produces rich and intense musical moments, further elevated by additional skilled musicians.

The core quintet works through a compelling program, presenting a nine-part suite titled Recharge the Blade, and is enlarged with guests on two numbers of the multi-colored War Trilogy. Irabagon and his associates boldly jump out of the box with “Kilgrave Part 1”, where angular piano forms and eerie soprano whispers are complemented by candid trombone expressions. This sets the stage for “Blood Eagle”, a hard-swinging romp filled with pure fire, with bassist and drummer locked in, and the horn players immersed in exciting extravagance. The piano adds an extra layer of clarity, engaging in counter-action comping during Anderson’s statement. Then, Irabagon’s smearing scorcher of a soprano solo takes the forefront, followed by Weiss’ stylish drum chops and Mitchell’s dynamic contours on the Rhodes, all layered over a thumping funk bass groove and a hi-hat/snare-driven flow. 

While “Keelhauling” explores freewheeling avant-garde territory with circularity at its peak, the balladry of “Nightshade” invokes the easy gliding melodicism of Wayne Shorter before transitioning into a hip-hop rhythm with M-Base vibes. “Kilgrave Part 2” loosely echoes Coltrane, leading into “Recharge the Blade”, a playful neo-bop meets New Orleans dixie exercise crafted with powerful unisons and confident split-ups. The solos, synergistic and abrasive, overflow with glistening cascades and dramatic swells. Also contrasting,“Trés Bechet” glows in romantic bolero style as if lit from within, while the motivic “Tsar” propels itself with open-space energy, culminating in ecstatic explorations outside the norms. 

The album reaches its pinnacle with The War Trilogy, where the blooming first movement, “Quarum Call”, features the atmospheric quirkiness and noise density of guitarist Ben Monder. He feels at home in the company of Weiss’ abrasions of wood on skin. “We’ll Meet Again”, penned by Hugh Charles and Ross Parker in 1939, is offered as a soprano/piano duet, serving as a bridge to “Welcome Parade”, a surprising if divergent R&B/soul-jazz-influenced track featuring multi-instrumentalist Chris Cash and the monumental Trans-Atlantic Line Cigar Lounge All Stars.

As a strikingly original player with an imaginative vision, Irabagon keeps his music refreshingly focused but also bursting with freedom. Not a single dull moment is found in this opus, where the members of the group showcase their extraordinary rapport.

Favorite Tracks:
02 - Blood Eagle ► 08 - Tsar ► 10 - Quarum Call