Frank Carlberg Large Ensemble - Elegy for Thelonious

Label: Sunnyside Records, 2024

Personnel - Frank Carlberg: conduction, composition; David Adewumi: trumpet; Sam Hoyt: trumpet; John Carlson: trumpet; Kirk Knuffke: cornet; Brian Drye: trombone; Chris Washburne: trombone; Tyler Bonilla: trombone; Max Seigel: bass trombone; Nathan Reising: alto sax; Jeremy Udden: alto sax, lyricon; Adam Kolker: tenor sax, flute; Hery Paz: tenor sax, clarinet; Andrew Hadro: baritone sax, bass clarinet, flute; Leo Genovese: piano, keyboards; Kim Cass: bass; Micheal Sarin: drums; Christine Correa: voice (#1,3,4); Priya Carlberg: voice (#2,3,4).

Striking a lush, harmonious balance between each tune, Frank Carlberg's new orchestral venture pays homage to Monk's legacy while showcasing his own creative stamp. The album features seven original compositions, skillfully layered by a talented group of musicians and improvisers. 

“Spooky Rift We Pat” opens the album with mystery and a dark smudgy tone, featuring vocalist Christine Correa. Subsequently, it transitions into a dynamic get-up-and-go that combines the standard “Tea For Two” and Monk’s “Skippy”, juxtaposed in its sung and instrumental forms, respectively. With the horn players delivering luxuriantly composed lines, the central stage is reserved for soloists, namely tenor saxophonist Adam Kolker and trumpeter David Adewumi.

Operating within a riff-heavy frame, “Out of Steam” is based on “Locomotion”, and despite its title, never slows down in its intervallic defiance and intensive layered exploration, featuring Frank's daughter, Priya Carlberg, on vocals. Less exuberant, “Elegy For Thelonious” is a beautiful composition where Correa recites a poem by Yusef Komunyakaa and infuses "Abide with Me" with a rock posture. Trombonist Bryan Drye, cornetist Kirk Knuffke, and Lyricon player Jeremy Udden deliver captivating solos on this track.

Favoring an aesthetic informed by experimental streaks, the invertebrate “Scallop’s Scallop” is an avant-jazz foray that serves Knuffke’s improvisational facility and ingenuity. In a similar fashion, the contrapuntal “Wrinkle on Trinkle” features a catchy alto solo by Udden, bending and twisting to the point of abstraction while a dissimulated funky rhythm defines the groundwork. The album closes with “Brake Tune” (an allusion to “Break’s Sake”) is introduced by Hery Paz's severe tenor discourse, but ends up in a playful mode, enclosing deft rhythm manipulation, a noticeable synth venture by Leo Genovese, and unabashed counterpoint. 

Overall, the album highlights Carlberg’s orchestration capabilities and the quality of his compositions. The positive result is a consequence of the masterful execution by the talented players on this recording.

Favorite Tracks:
04 - Elegy For Thelonious ► 05 - Scallop’s Scallop ► 06 - Wrinkle on Trinkle

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

Julian Lage - Speak To Me

Label: Blue Note Records, 2024

Personnel - Julian Lage: acoustic and electric guitar; Jorge Roeder: bass, vibraphone; Dave King: drums; Patrick Warren: piano, keyboards; Levon Henry: tenor saxophone; Kris Davis: piano. 

Guitarist and composer Julian Lage explores different styles and group formats - from solo to quartet to sextet - in his fourth full-length album for Blue Note, Speak To Me. On seven tracks, his versatility is showcased alongside regular associates bassist Jorge Roeder and drummer Dave King, with keyboardist Patrick Warren adding distinct flavors to their sharp sound.

On the opener, “Hymnal”, strings emulation flow from his keys while Lage’s acoustic phrases dialogue with Roeder’s bass lines. It’s all delivered with a liberal narrative perspective. “Northern Shuffle” infuses cheerful rock n' roll-flavored blues with outside electric guitar playing, adding a slight dissonance that enhances its appeal. Featuring a sextet arrangement, Levon Henry's tenor saxophone shines on this piece.

Similarly presented in a sextet setting, "South Mountain" leans towards folk with strummed passages in five and a loose-limbed finale. "76" delivers an intoxicating rock tale with Lage on acoustic guitar and pianist Kris Davis contributing a gripping solo. "Speak To Me" electrifies with free spirit, saturating the atmosphere with vibrant colors, while "Two and One" revisits acoustic blues with hints of Django Reinhardt's swinging propensity.

If “Omission” is a dyed-in-the-wool contemporary country song, then “Serenade” waltzes unhurriedly with passionate romanticism, highlighted by Warren’s soaring keyboard accompaniment. “Tiburon” features vibrant guitar improvisation over a rich harmonic progression and King’s simmering drum work, while “As it Were” captivates with Lage’s dissonant acoustic swoops and fragile aesthetics.

Lage’s ability to infuse songs with unexpected twists while maintaining a strong foundation showcases his unique musical vision, which, never rigid but not completely rooted in improvisation, relies on a sure-footed synthesis of post-bop, rock, and American music. On this account, this eclectic artist, who often combines angular detail with pleasant melodicism, cannot be reined by an obvious classification. 

Favorite Tracks:
01 - Hymnal ► 06 - South Mountain ► 11 - As it Were

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

Joel Ross - Nublues

Label: Blue Note Records, 2024

Personnel - Joel Ross: vibraphone; Immanuel Wilkins: alto saxophone; Jeremy Corren: piano; Gabrielle Garo: flute (#4,5,6); Kanoa Mendenhall: bass; Jeremy Dutton: drums.

Joel Ross, hailed as one of the most electrifying vibraphonists of the contemporary jazz scene, reunites his Good Vibes band for a captivating new recording mostly centered on blues and ballads, and where he mixes in seven new originals with timeless classics from John Coltrane and Thelonious Monk. This is his fourth album on Blue Note, one confirming that he always finds new things to say regardless the musical context. 

The album opens with the magical dawning aura of “Early”, a modal reflection where each note resonates with tender compassion before transitioning into Coltrane’s minor blues “Equinox”. Moved by the slow swing feel of the tune, Ross and altoist Immanuel Wilkins display their quality melodicism throughout their demonstrative solos, with drummer Jeremy Dutton adding nimble-footed expansions in the final segment.

The multi-sectional journey of “Mellowdee” is a ballsy move with graceful unisons, tense crescendos, a breezy post-bop passage where Wilkins and Ross trade off bars, and a meditative reflection containing grim arco bass and pensive piano contemplation. It ends up in a ternary vamp with active snare ruffling and a reiterated saxophone catchphrase that gradually slows down. 

The evocative flute of Gabrielle Garo is featured on three pieces, namely: “Chant”, a layered duet with Ross on piano; “What Am I Waiting For?”, where sax, flute, and vibes dance together in perfect communion atop subdued bass accompaniment and soft brushing skins; and “Bach (God the Father in Eternity)”, affably harmonized with classical and gospel influences.

In “Nublues”, Ross explores the essence of blues freedom, his vibraphone cascading with chiming reverberation until reaching a dewy avant-jazz kineticism alongside his bandmates. Their interplay remains unwavering until its conclusion. “Ya Know?” exemplifies another spirited blues delivery with outgoing personality. Swinging beautifully, this selection exhibits the right amount of tension, mostly discharged during the hard-driving solos.

At once dynamic and accessible, the group delves into nuanced straight-ahead jazz on the last two tracks: Monk’s “Evidence”, which flows with disarming manipulations of tempo, and Coltrane’s bemusing 10-bar form ballad “Central Park West”, featuring Wilkins in top form.

Favorite Tracks:
01 - Early ► 03 - Mellowdee ► 07 - Nublues

The Choir Invisible - Town of Two Faces

Label: Intakt Records, 2024

Personnel - Charlotte Greve: alto saxophone, voice; Chris Tordini: acoustic bass; Vinnie Sperrazza: drums. Guests: Fay Victor: voice (#5).

The Choir Invisible emerges as a newfangled, harmony-less trio hailing from Brooklyn, comprising German-born saxophonist Charlotte Greve, bassist Chris Tordini, and drummer Vinnie Sperrazza. Infusing nuanced rhythmic detail, to-the-point melodies, and a seamless fusion of jazz and rock elements, the trio strikes a harmonic balance and stylistic coherence in their quietly moving sophomore release, Town of Two Faces.

Greve’s composition “Membrane” springs to life with a stealthy bass intro, setting the stage for a narrative rich in thematic tonal shifts, fluid jazz sensibilities, and the steadfastness of rock. “In Heaven”, originally penned by Peter Ivers with lyrics by David Lynch for the latter’s cult film Eraserhead, is a meaty rock song taken to another realm by guest avant-garde jazz singer Fay Victor and powered by a vibrant alto solo.

Greve takes the spotlight in her “Town of Two Faces”, a reference to New Orleans where she sings and also intones logical saxophone lines with both hope and fragility. Tordini’s “21 Years” exudes a sense of positive determination, showcasing his deep, centered bass work along with nice saxophone melodicism and converging drumming for a great atmosphere. “Lockwood”, on the other hand, is sturdy in the pedal points at both ends and effectively diffuse in its exploratory middle section.

Another Tordini composition, “17 East”, swings distinctively, having the bassist exploring groove nuance with rhythmic autonomy. “Stones Covers”, the first of three compositions penned by Sperrazza, propels forward with a pulsating backbeat and just enough bass notes to become harmonically clear. Greve, an excellent melody maker, is impeccably backed by the supportive rhythm section. 

The Choir Invisible achieves an elegant, soulful fluency that invites listeners to unravel some ambiguity but also discern consummate ideas that develop with exquisite taste toward many possibilities. It’s a strong come back from this well-oiled trio.

Favorite Tracks:
01 - Membrane ► 03 - 21 Years ► 04 - Stones Covers

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

Gordon Grdina's The Marrow with Fathieh Honari

Label: Attaboygirl Records, 2024

Personnel - Gordon Grdina: oud; Hank Roberts: cello; Mark Helias: bass; Fathieh Honari: vocals; Hamin Honari: percussion.

Gordon Grdina is a versatile Canadian artist who moves effortlessly between a disparity of styles, including free-form improvisation, structured avant-garde jazz, and world music. While proficient on both guitar and oud, Grdina showcases his mastery of the latter instrument in his latest release, The Marrow, which is deeply rooted in Persian tradition. Leveraging Western improvisational expertise from seasoned veterans of the downtown New York scene like bassist Mark Helias and cellist Hank Roberts, alongside the modal Persian approach of percussionist Hamin Honari and vocalist Fathieh Honari, Grdina orchestrates a rich musical landscape.

The first track, “Not of Them”, is an immersive Grdina composition featuring sublime oud playing characterized by humming liquidity and shinning microtonal chromatics, and Fathieh's ethereal vocals reciting a poem by Rumi. “Break the Branch” follows a similar conceptual framework, but while the former presents a synergistic danceable form - with vibrant percussion, stable bass footing, and chanting cello lines in sync with the oud - the latter, set in motion by Helias’ extraordinary bass mobility, grows in intensity with Grdina and Fathieh taking a center stage.

“Raqib”, composed by Iranian composer Hossein Samadi, is deceptively simple in its rattling percussion, droning cello/bass rumination, and wandering oud spirits before blossoming into a sultry dance. The album concludes with “Qalandar”, a Balushi traditional piece, whose introductory murky tones evoke a somberly ambiguous atmosphere that later veers into a more celebratory, straighten out passage.

While the ensemble achieves an assured attitude and spontaneous energy, The Marrow may lack the surprising factor often associated with Grdina’s improvisation-leaning works. Bringing into play repeated, slowly evolving vamps, the tracks seem a bit too long, stuck in traditional folk and classical Persian webs. Nonetheless, it offers a lush balance between each composition, catering to the tastes of world music enthusiasts and showcasing the quintet's collective virtuosity.

Favorite Tracks:
01 - Not of Them ► 04 - Break the Branch

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 

Ethan Iverson - Technically Acceptable

Label: Blue Note Records, 2024

Personnel - Ethan Iverson: piano; Thomas Morgan: bass; Simón Wilson: bass; Kush Abadey: drums; Vinnie Sperrazza: drums.

The second Blue Note output by pianist and composer Ethan Iverson, titled Technically Acceptable, showcases his artistry in two exhilarating trios alongside emerging talents. Devotees of Iverson's music are well aware of his ability to infuse tradition with a modern touch, whether crafting an original composition or interpreting a classic standard. His style here, drawing from various epochs in jazz history, demonstrates a renewed assurance in dealing with rich melodies and sublime harmonies.

The first seven tracks feature bassist Thomas Morgan and drummer Kush Abadey. The trio starts with the enticing “Conundrum”, an introductory bait with firm rhythmic accentuation, ample harmonic power, uplifting melody, and some classical nuances towards the conclusion. As a Brubeck-inspired piece, “Victory is Assured (Alla Breve)” introduces a rare moment of levity, bracing the listeners for an empathetic rhythmic quality that evokes Kansas City blues. 

“Technically Acceptable”, a soulfully swinging hard-bop-infused composition, echoes in the pocket with the coolest of tempos. Here, Iverson’s unequivocal lines wiggle joyously over the rhythm changes in the form of fluid phrases and motifs. “The Way Things Are”, at some point, recalls “I Get a Kick Out of You”, while “It’s Fine to Decline” sees the trio switching gears as they opt for a lilting avant-garde setting that echoes the pianistic sensibilities of Jaki Byard, Mal Waldron, and Herbie Nichols. 

The collaboration with bassist Simón Wilson and drummer Vinnie Sperrazza yields exceptional results, especially evident in two covers: a stripped-down, captivating rendition of “Killing Me Softly with His Song”, and a nuanced, epic interpretation of Monk's “Round Midnight”, featuring an impressive theremin melody, courtesy of pianist Rob Schwimmer. You’ll find ethereal moments of spectacular tonal range on this one.

The album concludes with a solo three-movement piano sonata. It’s an outstanding through-composed work with inventive etudes in style, showing off Iverson’s mastery on the keyboard. “Piano Sonata: Allegro Moderato” is audacious in tempo and imbued with bluesy chops and stride jazz; “Piano Sonata: Andante” is delicately crafted and confidently paced; while “Piano Sonata: Rondo” presents a classical conception but with a heap of surprising twists.

Iverson's adept navigation of various stylistic approaches and transitions within the program reinforces his status as a strong-willed artist whose musicality has only deepened over time. The album's significance lies in his fascinating blend of discipline and freedom.

Favorite Tracks:
06 - It’s Fine to Decline ► 09 - Round Midnight ► 11 - Piano Sonata: Allegro Moderato

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

Abdullah Ibrahim - 3

Label: Gearbox Records, 2024

Personnel - Abdullah Ibrahim: piano; Noah Jackson: double bass, cello; Cleave Guyton Jr.: flute, piccolo.

The legendary South African pianist and composer, Abdullah Ibrahim, is heard leading a trio - with members of his EKAYA band: bassist/cellist Noah Jackson and flutist Cleave Guyton Jr. - in a double album that captures music in different contexts. The first disc consists of six originals recorded without an audience ahead of a concert at London’s Barbican Centre in 2023. The second disc is the concert itself, featuring a blend of original compositions and covers.

Expressing himself with distinctive idioms, Ibrahim flows calmly, benefiting from the wholehearted accompaniment of his peers, who tackle old tunes like “Tswake” and “Ishmael” on their own. The former starts with a flurried bass, and the flute imparts a pronounced bluesy and jazzy feel, while the latter revolves around a central bass groove. To contrast these piano-less numbers, “Krotoa-Crystal Clear”, previously included in the album Mukashi - Once Upon a Time (Sunnyside, 2014) - takes the form of a solo piano meditation with rich, exquisite harmonies sustaining quietly poignant melodies where emotions flow effortlessly.

The opening track, “Barakat”, rests in a slow movement characterized by grace, elegance, and space. The flute takes center stage, complemented by an enriching cello operating on the groove side but also melodic at times. “Marába” is a reverential African folk song delivered with a delicate touch, positive attitude, and gentle rhythm. The first half concludes with the meditative classic “Mindif”, at once beautiful and heartbreaking.

The second disc includes not only well-known Ibrahim compositions like “Water From an Ancient Well”, “The Wedding”, and “Nisa”, but also renditions of tunes by Duke Ellington (“In a Sentimental Mood”), John Coltrane (“Giant Steps”), and Thelonious Monk (“Skippy”).

Nothing really burns intensely on Ibrahim’s latest release but the music, possessing healing powers, maintains its flow with a refined gloss that reflects the heritage, unique playing, and masterful compositional prowess of a great artist.

Favorite Tracks (Disc One):
01 - Barakat ► 04 - Marába ► 06 - Mindif

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

Adam Cordero & Odin Scherer - Sonora

Label: Tidebloom Records, 2023

Personnel - Adam Cordero: alto and soprano saxophone, bassoon, clarinet; Odin Scherer: archtop and acoustic guitars.

Sonora is the second collaborative effort from saxophonist Adam Cordero and guitarist Odin Scherer. The duo, both alumni of the New School, presents 11 pieces for woodwind and guitar that have been developed over three years. Drawing inspiration from various genres and influences, the album explores abstract musical landscapes, balancing robustness and fragility to evoke significant emotional responses. 

The opening track, "Soliloquy for Cotten”, reveals a sparking folk flavor and a great sense of melody, serving as a tribute to the late folk and blues musician Elizabeth Cotten. “Before Dawn” exudes not only lyricism all around but also rhythmic vision, aspects that are transported to “Prairie” in conjunction with an odd tempo and plaintive, braided lines. 

“Sonora”, the title track, exhibits a more energetic temperament as the duo's notes dance and wiggle with a changing pace throughout the piece. The album explores various moods and textures, and on “Fireworm”, chromaticism and pedal points take center stage in an unobvious harmonic context.

Probing interesting moods with each song, Cordero and Scherer demonstrate chamber brilliance in their ability to blend occasional dissonance without becoming aggressive. In “Kaaterskill”, for example, they move from a light waltz with fingerpicked guitar to a heavier folk-rock demeanor with deep chordal work. On “Opal”, where Cordero plays bassoon, avant-garde touches are infused into immediately digestible music. Conversely, “Zooxanthellae” takes a more contemplative turn, with quizzical moodiness and a rhythmic complexity reminiscent of saxophonists Henry Threadgill, with whom Cordero collaborated on the acclaimed The Other One (Pi, 2023), and Tim Berne (especially his work with guitarist Gregg Belisle-Chi).

Sonora reflects the duo's timbral taste and willingness to explore sonic functions within a clear-headed gravity. This engaging musical journey showcases their collaborative creativity.

Favorite Tracks:
01 - Soliloquy for Cotten ► 08 - Kaaterskill ► 11 - Zooxanthellae