Rez Abbasi Acoustic Quintet - Sound Remains

Label: Whirlwind Recordings, 2025

Personnel - Rez Abbasi: acoustic guitar; Bill Ware: vibraphone; Stephan Crump: bass; Eric McPherson: drums; Hasan Bakr: percussion.

Known for bringing a fresh and edgy vibe to any ensemble he commands or joins, Pakistan-born American jazz guitarist and composer Rez Abbasi—here playing exclusively acoustic with a dry, warm tone—releases his third album with his working quartet. The group features vibraphonist Bill Ware, who adds additional harmonic color, and a core rhythm team who know each other well as the pillars of Borderlands Trio, bassist Stephan Crump and drummer Eric McPherson. For the guitarist’s 17th recording, Sound Remains, the quartet expands into a quintet with the addition of percussionist Hasan Bakr. The album is dedicated to Abbasi’s mother, who succumbed to kidney disease two years ago.

Postmodern sensibilities and fusion stylings emerge immediately in “Presence”, where a 12/8 groove, initiated by Abbasi and matched by Crump, leads to rhythmic mutations and adaptable vamping sequences that unify the piece. Ware and Abbasi deliver pulsating solos, and the piece concludes with a brief 7/4 section. The majestic “You Are” opens with a 12-beat cycle vamp that feels intuitive and unforced, eventually landing on a consistent 3/4 tempo subtly propelled by McPherson and Bakr. This melodically engaging piece also features a fine bass solo.

The harmonious guitar/vibes duet “Folk Song” takes the form of an impressionistic poem and is dedicated to Abbasi’s mother, while the gospel-tinged “Purity” closes the album with a compelling backbeat and a sense of hope. Crisp melodicism and open space arrive result from Ware and Abbasi’s intercalated confab as well as Crump’s thoughtful statement. Guitarist and vibraphonist also exchange ideas on “Spin Dream”, another Abbasi original steeped in polyrhythmic stimulation, exalting in rhythmic accents and lilting movements seasoned with touches of Latin and Eastern influences.

Covers of Keith Jarrett’s “Questar”, which blends folk and jazz elements with a fresh perspective, and John Coltrane’s “Lonnie’s Lament”, a poignant minor-mode ballad performed on fretless guitar, reflect Abbasi’s attentive arranging skills. While he remains a boundary-pushing presence in contemporary jazz, his new compositions reflect exploration of presence, mindfulness, and the dissolution of ego-driven attachment.

Favorite Tracks:
01 - Presence ► 02 - You Are ► 05 - Spin Dream

Dan Weiss Quartet - Unclassified Affections

Label: Pi Recordings, 2025

Personnel - Peter Evans: trumpet; Patricia Brennan: vibraphone; Miles Okazaki: guitar; Dan Weiss: drums.

Dan Weiss, a versatile drummer of unhinged creativity, gathers an ensemble of first-tier New York-based players—vibraphonist Patricia Brennan, guitarist Miles Okazaki, and trumpeter Peter Evans—and releases an eight-track album of intelligently composed music specifically envisioned with these brilliant artists in mind. Unclassified Affections follows the equally striking Even Odds (Cygnus Recordings, 2024), with its title drawn from Virginia Woolf’s novel.

Following a simple form, the title track opens with delightful vibraphone melodies that outline a perceptible chord progression. This texture is gradually enriched with acoustic guitar plucks and ethereal voicings, tear-streaked yet pulsating trumpet phrases, and ride cymbal swells, ultimately pared down by a snare-driven arrhythmia. In contrast, “Holotype” erupts with complex, viscerally vibrant rhythmic interplay as staccato phrases dart across a ceaseless cymbal gallop. Evans and Brennan engage in a dazzling parallel motion, held aloft with the precision of a gravity-defying juggler. The thrilling avant-garde aesthetic gives way to a solo drum passage that highlights Weiss’s rhythmic ingenuity before the piece returns conversationally to its hypnotic head.

“Perfection Loneliness” unfolds slowly in 5/4, imbued with a balladic quality following an enchanting vibraphone intro. The largely through-composed “Existence Ticket” delves into contemporary experimentalism, evoking a 21st-century take on Miles Davis fusion.

“Mansion of Madness” suggests a rock foundation through Okazaki’s distorted guitar but quickly evolves into something fractured, almost manic. The piece tapers into reflective abstraction, exuding boldness without fully igniting. Evans shines with pressure-cooked phrasing in a segment that flirts with electronica, and the piece closes with a heavy metal-like propulsion. “Consoled Without Consolation” offers polyphony and polyrhythmic insight with a formidable, occasionally syncopated drum beat running in the back, getting darker and denser during Evans and Okazaki’s conjoint crusade, and then quite poetic during Brennan’s solo statement. 

Weiss’ greatness and versatility are categorically displayed in tracks like “Plusgood”, a vibrant excursion into African rhythms subtly tinged with Brazilian flavor—Evans even seems to mimic a cuíca—and the closer, “Dead Wail Revelry”, an astutely structured journey through shifting grooves and moods, steeped in the breath and depth of modern jazz language.

The closer you listen, the more exquisite detail emerges from the quartet’s interaction. Viewed in the context of his entire body of work, it’s clear that Weiss stands among the most compelling drummer-composers on the contemporary scene. Unclassified Affections is here to prove it.

Favorite Tracks: 
01 - Unclassified Affections ► 02 - Holotype ► 04 - Mansion of Madness ► 07 - Plusgood

Gerald Clayton - Ones & Twos

Label: Blue Note Records, 2025

Personnel - Gerald Clayton: piano, Rhodes, organ, synth, vocals; Joel Ross: vibraphone; Elena Pinderhughes: flutes; Marquis Hill: trumpet; Kendrick Scott: drums; Kassa Overall: post-production, percussion, processing.

In his new album of originals, pianist and composer Gerald Clayton—who has performed with Charles Lloyd, Bill Frisell, and Roy Hargrove—leads a fresh ensemble filled with groove-savvy players and melodic innovators. Among them are vibraphonist Joel Ross, flutist Elena Pinderhughes, and trumpeter Marquis Hill.

According to Clayton, Ones & Twos is an experiment—a concept inspired by the art of turntablism. The tracks on each side of the album are meant to interlock, forming a completely new whole when overlaid—a nod to DJ transitions. Clayton’s curiosity about the effect of layering two strong melodies with potentially related harmonies results in a diverse, contemporary album that finds its own vision. 

With a distinct tinge of neo-soul and R&B, “Angels Speak” flutters with an engaging melody set against rich harmonies and vamping sections delivered with clarity and warmth. Conversely, “Cinnamon Sugar” feels rooted in Brazilian choro, while “How Much Love?” brings forth a straightforward riff.

“Count M” rides a unique hip-hop-inflected groove with a modern sensibility, while the introspective “Lovingly”—featuring a poignant turn by trumpeter Marquis Hill in its closing section—leans into a more delicate mood. Yet it doesn’t quite land for me. More compelling is “Just Above”, a lyrical duet for flute and piano, full of dulcet motifs and a satisfying melancholic undertone.

The danceable “Rush” benefits from Kassa Overall’s post-production, flowing with an easygoing vibe and a trippy rhythm that later suggests Brazilian cadences. More energetic, “For Peace” thrives with radiant synth beams and rock solid drumming, courtesy of Kendrick Scott. Still, one of the standout tracks is “More Always”, where an eight-voice choir—including lauded vocalist Michael Mayo—joins the song’s steady march and assured unison lines. The album closes unexcitingly with the weightless floating of “Endless Tubes”.

Favorite Tracks:
01 - Angel Speaks ► 09 - For Peace ► 10 - More Always

Joe Morris / Elliott Sharp - Realism

Label: ESP-Disk, 2025

Personnel - Joe Morris: guitars, effects; Elliott Sharp: guitars, electronics.

This revolutionary collaboration between two creative minds, guitarists Joe Morris and Elliott Sharp, offers a vivid snapshot of their deep-seated commitment to free improvisation and disruptive innovation. Drawing from indecipherable yet hypnotic idioms, they construct and deconstruct in pursuit of musical evolution, making Realism a scrabbling provocation where their playing is often pushed to the very edge.

“Shapes Mentioned” emerges with a heady mix of dissonance, drones, percussive strikes, cleverly deployed electronics, and deceptively undemanding guitar noodling that immediately commands attention. The duo—whose artistic temperaments mesh seamlessly—venture into uncharted sonic realms, yielding compelling results. “Neither Odd Nor Even” is exquisitely layered, as Morris and Sharp manipulate their strings in a search for singular timbres, crafting a pointillistic randomness that evolves into a flurry of buzzing and humming tones shifting in pitch. The space, surrounded by harmonic bubbles inflated by unexpectedly potent effects, brings the essence of the blues—or a raw, country-blues pummel—woven into the core of their sound, apparent even when navigating its darker undercurrents. 

Strident, euphorically compulsive scrapes and robotic wha-wha utterances flood “Light Asking”, which extends beyond clattering electronics into a cryptic dialogue of frequencies. “Soft Version” floats with eerie drones braided into intriguing acoustic chords and shifting textures—an eternal puzzle resisting resolution. It proceeds through dual staccato motifs that steadily intensify. In contrast, “Arrokoth” radiates avant-garde and electro-rock vigor, balancing intensities, noises, and timbres while sonically picturing the outer space.

Morris and Sharp embrace experimentation fearlessly, often creating spiraling movements with intricately layered textures and enigmatic moods. Realism is an unrealistically original work, a bold mirror of the adventurous spirit that defines its creators.

Favorite Tracks:
01 - Shapes Mentioned ► 02 - Neither Odd Nor Even ► 05 - Soft Version 

James Brandon Lewis Quartet - Abstraction is Deliverance

Label: Intakt Records, 2025

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

James Brandon Lewis, a disorienting, self-possessed tenorist who has garnered a great deal of attention through his various projects and collaborations, returns with his fifth quartet album, Abstraction is Deliverance, featuring eight of his own compositions and a modal post-bop cover. Rejoining him are pianist Aruán Ortiz, bassist Brad Jones, and drummer Chad Taylor. Their rapport and musicianship are more compelling than ever, and their ability to transcend and marvel with spiritual consciousness, a mix of traditional and modernist idioms, and rich timbres is truly remarkable.

The album opens in a modal mode with “Ware”, a tribute to the much-missed saxophonist David S. Ware, radiating Coltranean overtones throughout. Resonant bowed bass, cymbal splashes, soulful saxophone lines, and a dynamic yet fully breathable piano accompaniment set the tone. A soothing bass groove then paves the ground for Lewis’ improvisation, followed by Ortiz’s combination of nimble single-note runs and grandiose harmonic gestures.

On “Per 7”, the group forges a rare symbiotic connection in a piece commanded by Lewis and further shaped through slow rubato movements. There’s ample space for his relaxed blues-inflected chops, often answered thoughtfully by Ortiz. The reflective “Even the Sparrow” recalls Alice Coltrane’s Eastern-inspired musings, feeling openly mantric while flowing steadily under Taylor’s masterful mallet and hi-hat pulse.

“Remember Rosalind” palpitates with odd meter, unfolding in the spirit of Charles Lloyd through a polyrhythmic blend of spiritual jazz with Eastern and Latin tinges. The title cut, “Abstraction is Deliverance”, opens with a theme rich in classical influence, recycling it at every 20-beat cycle before expanding through Lewis’ authoritative, fiery saxophone—brimming energy and wisdom. If “Mr. Click”—beginning with sax over drums and featuring a vivid bass solo against exquisite harmonic constructions—evokes the sonic world of Sonny Rollins, then “Left Alone”—a luminous 3/4 modal reflection co-written by Mal Waldron and Billie Holiday in the late 50’s—elevates the album to transcendental brilliance with its delicate yet profound arrangement.

This jaw-dropping recording, both technically immaculate and artistically impressive, mesmerizes from beginning to end, inviting the listener to soar in spirit and thought. With this release, Lewis’s acclaimed quartet brushes against celestial perfection.

Favorite Tracks:
02 - Per 7 ► 04 - Remember Rosalind ► 05 - Abstraction is Deliverance ► 08 - Left Alone

Marty Ehrlich Exaltation Trio - This Time

Label: Sunnyside Records, 2025

Personnel - Marty Ehrlich: alto and tenor (#8) saxophones; John Hébert: bass; Nasheet Waits: drums.

Multi-reedist Marty Ehrlich has led several remarkable sax-bass-drums trios since his 1984 debut recording The Welcome, which featured bassist Anthony Cox and drummer Pheeroan AkLaff. His latest effort, Trio Exaltation—featuring longtime collaborators bassist John Hébert and drummer Nasheet Waits—returns seven years after its debut with seriously good stuff. This Time presents six original Ehrlich compositions alongside two interpretations of pieces by the late, great pianist Andrew Hill, with whom Ehrlich collaborated for four or five years. The album is dedicated to Hill’s widow, Joanne Robinson Hill.

Ehrlich’s “Sometimes This Time” opens with sizzling cymbal work that soon extends across the drum kit, underpinned by a round, grooving bass line that anchors and tempers Ehrlich’s kinetic, zigzagging improvisations. Waits contributes a thrilling drum solo before the theme returns to close the piece. “Twelve For Black Arthur”, a blues-infused burner with post-bop flair, is a tribute to altoist Arthur Blythe. The trio intensifies beyond the theme, with Ehrlich incorporating several of Blythe’s characteristic approaches to melody and improvisation.

“Conversation I” and “Conversation II” are two sax-and-drums duets in which Ehrlich and Waits showcase explosive chemistry and euphoric avant-garde expansiveness. “As It Is” unfolds through a shuffling rhythmic undercurrent from bass and drums, creating a rubato ebb-and-flow over which Ehrlich’s poised saxophone explorations escalate into quick-strike phrases—built on motifs, wild trills, and shifting patterns.

Ehrlich’s burnished tone lends warmth to the romanticism of Andrew Hill’s ballad “Images of Time”, tinged subtly with Spanish inflections. Hébert’s solo here is erudite, elegant, and sequentially coherent. On Hill’s “Dusk”, the bassist employs luminous harmonics, paired with the shimmer of Waits’ cymbals. The rhythm section dances with passion and precision, conjuring a twilight aura. Ehrlich’s commanding alto brims with ideas, flowing dynamically through warped contours and revealing the deep connection among these musicians—all former members of the Andrew Hill Sextet—whose years of collaboration bear exceptional fruit.

Favorite Tracks:
01 - Sometimes This Time ► 02 - Dusk ► 09 - Conversation II

Henry Plotnick - Tributaries

Label: Tide Bloom Records, 2025

Personnel - Henry Plotnick: piano; Adam Cordero: alto and tenor saxophones, clarinet; Kal Ferretti: trumpet, flugelhorn; Jasper Grigsby-Schulte: bass; Gary Jones III: drums; Emmanuel Michael: guitar (#1,4,8); Noa Chait: vocals (#9); Samantha Kochis: flute (#9).

Likely you’ve never heard of Henry Plotnick, a San Francisco-born Brooklyn-based pianist and composer with an extraordinary talent for combining melodies and harmonies in a pleasing, effective manner. Throughout his debut album, Tributaries, an unbridled creativity bubbles to the surface as Plotnick—a young prodigy who played Satie at the age of six—takes center stage, presenting nine engaging originals.

The album kicks off with the title track, a sleek, impeccably arranged post-bop adventure that shows he and his group are intent on moving forward with rhythmically complex accents, quick-moving melodies, vibrant harmonic energy, and a tight sense of unity. Plotnick spices up his well-balanced solo with precision, while guest guitarist Emmanuel Michael glides nimbly across the fretboard, crafting fluid phrases and searing patterns. They’re followed by saxophonist Adam Cordero, who plays with astonishing vitality, and drummer Gary Jones III, who stretches his chops with elastic flair before the band returns to the swirling magic of the main theme.

Since Plotnick and his crew approach the themes with clear passion, melody becomes central to the album’s identity. Both “If You’d Just”, a breezy piece featuring thrilling solos from bass, guitar and saxophone, and “Silobos”, where Cordero—firing off staccato-laden lines—and the bandleader deliver their musical statements with character, reinforce this impression.

“Waverling”, with its gleaming textures softened by clarinet and elevated by Kal Ferretti’s triplet-laced trumpet solo, and the sumptuous waltz “Turn of the Sea”, which sports a rock-inflected vamp and a guitar-led outro, radiate a sense of harmony with their sonic surroundings. And while “Proper Motion” is a hard-bop-tinged burner, “Bonesetter” opens as a bass feature, later developing into a swinging 12-beat groove sure to hook many listeners. Plotnick shines here, exploring the full range of the keyboard. The album ends on an emotional note with “Only This”, featuring guest vocalist Noa Chait and flutist Samantha Kochis.

Everyone seems elated to be playing these compositions, which they navigate with care and verve. Together, this band sparks a bright light, and Plotnick makes a strong case for himself as a serious composer, improviser, and bandleader.

Favorite Tracks:
01 - Tributaries ► 03 - Bonesetter ► 04 - If You’d Just ► 07 - Silobos

Chris Cheek - Keepers of the Eastern Door

Label: Analog Tone Factory, 2025

Personnel - Chris Cheek: tenor and soprano saxophones; Bill Frisell: electric and acoustic guitars; Tony Scherr: bass; Rudy Royston: drums.

Chris Cheek is a refined American saxophonist known for his lush tone and uplifting energy. In addition to his extensive work as a sideman, he established himself as a gifted bandleader, releasing memorable jazz works like I Wish I Knew (FSNT, 1997) and Vine (FSNT, 2000). On Keepers of the Eastern Door, he leads a superb quartet featuring the inimitable guitarist Bill Frisell and two of his regular rhythmic supporters, bassist Tony Scherr and drummer Rudy Royston. The eight-track collection weaves together original compositions, jazz standards, and inventive reinterpretations of works by Olivier Messiaen, Henry Purcell, and The Beatles. The result is a mesmerizing blend of tradition, classical music, pop/rock, and spacious contemporary jazz.

The album draws inspiration from Native American culture—particularly the Mohawk people—as well as from Edward Curtis’ photography and Cheek’s memories of his native St. Louis. The opener, “Kino’s Canoe”, displays a buoyantly catchy theme, with Cheek confidently pouring his melodic sophistication over Frisell’s brilliant harmonic landscape, anchored. by the supportive glue of Scherr and Royston, true rhythm stabilizers. The title, inspired by John Steinbeck’s The Pearl, helped giving shape and rhythm to the melody. 

“Smoke Rings”, written by guitarist Gene Gifford and first recorded in 1932 by the Casa Loma Ensemble, floats along with a gentle swing, radiating charm and warmth. In contrast, the quartet’s rendition of the Broadway standard “On a Clear Day” receives an imaginative reworking marked by a joyful, funky feel and an infectious sense of ease that further promotes relaxation. 

Cheek dips into the Beatles’ catalog with “From Me To You” — not many surprises here but plenty of understated grace and warmth. However, the album’s most striking moments come from its classical music reinterpretations. Messiaen’s “O Sacrum Convivium!”, a tribute to motherhood, is reimagined with a 3/4 pastoral lilt that verges on dizzying. Frisell, on acoustic guitar, and Cheek, on soprano saxophone, embark on an adventurous journey merging folk, modern classical, and post-bop. The subsequent adaptation of Henry Purcell’s “Lost is My Quiet”, also in 3/4, yields subtler results but remains sonically intriguing. 

The title track, Cheek’s original “Keepers of the Eastern Door”, embraces thoughtful post-bop sensibilities with gentle undertones, highlighted by Royston’s expressive cymbal and mallet work. Emotionally resonant and intellectually engaging, this artistically rewarding album honors those who strive to live in harmony with the world around them.

Favorite Tracks:
01 - Kino’s Canoe ► 03 - O Sacrum Convivium! ► 04 - On a Clear Day

Berlin Art Quartet - Live at MIM

Label: UniSono Records, 2025

Personnel - Matthias Schubert: tenor saxophone; Matthias Müller: trombone; Matthias Bauer: double bass; Reinhard Brüggemann: drums.

Berlin Art Quartet was formed in 2013 to flesh out and invigorate the improvisational range of its creative members, drawing inspiration from 1960s recordings by the New York Art Quartet under the direction of Danish free jazz saxophonist John Tchicai. Founded by drummer Reinhard Brüggemann, the group features saxophonist Matthias Schubert, trombonist Matthias Müller, and bassist Matthias Bauer. Live at MIM consolidates the quartet’s shared passion for free jazz and improvisation, exploring carefully sculpted timbres, unpredictable jolts, and raw intersections that feel completely in-the-moment.

“Up-Crash” unfolds as mosaic-like tangle, with Bauer and Brüggemann—using arco and textural nuance—laying an open-ended harmonic bed for the melodic exchanges of Schubert and Müller. The frontline players interact with a dynamic mindset, engaging in a dialogue of questions and answers, sometimes insisting, and then departing from an idea to another with nimble reflexes. They conclude the piece soaring in tandem.

“Motion in Silence” is shaded with muted trombone, regular if sparse bass nodes, understated percussion gradually swelling with the present of cymbals, and extended techniques on tenor sax. These elements coalesce into a form of modernist abstraction. In contrast, “Gang of Four” erupts into a staggering improvisational sprint, full of unexpected turns and sonic collisions, while “Hymn” reorganizes the chaos with cerebral droning ominousness and pitching-contrast melodic fustigaton, feeling less processional or ritualistic than initially implied.

In “Mutuality”, the album’s longest track at 15:18, the quartet navigates a series of kinetic shifts and subtleties. Incisive saxophone paths intersect with agile bass noodling before a cohesive motion takes shape. These antic, form-blurring impulses are carried by the trombone and tenor, whose interplay always leaves space for development or counteraction. Bauer’s bowed bass lines deepen the mystery with brooding resonance, and the number concludes with brisk dynamics, in an amplification of sound that doesn’t really require aural adjustment.

Berlin Art Quartet can throw flames in one minute and showcase a more ruminative behavior in the next. Regardless of the mood, it consistently champions open terrain to be explored without constraint.

Favorite Tracks:
01 - Up-Crash ► 04 - Gang of Four

Jonathan Reisin - Too Good X Unreality

Label: Boomslang Records, 2025

Personnel - Jonathan Reisin: tenor and soprano saxophone; Shinya Lin: piano, prepared piano; Jarred Chase: drums.

With his fourth album as a leader/co-leader, Too Good X Unreality, Israeli-born, Brooklyn-based saxophonist Jonathan Reisin reaffirms the strong impression left by his debut, Option B (Habitable Reords, 2022), as well as by Earthquake (577 Records, 2023), which featured him alongside his mentor, the creative Cuban drummer Francisco Mela. As a firm representative of a young generation of contemporary avant-gardists, Reisin tackles compositions that require sharp improvisational insight. For this recording, he spearheads a bass-less trio featuring pianist Shinya Lin and drummer Jarred Chase, centering on the connection between complexity and simplicity in music.

“Walk and Talk” proceeds at a casual pace yet crackles with excitement. A brittle soprano saxophone, steeped in microtonalities and angular phrase work, shapes landscapes guided by ostinatos. A dark 3/4 vamping section, evoking a sense of danger, pushes Chase into unaccompanied stretches. “Through the Glass” incorporates counterpoint and parallel motion, shifting between ensemble calmness and bursts of sound. Designed for sight-reading, the piece uncovers dynamic nuances and leads to fresh musical terrain.

Taking more abstract paths and sinister tonalities, “Too Good X Unreality Pt.1” explores with strange noises and off-beat gestures. Long saxophone notes oppose to sudden single-note flurries and cycles of circular breathing, producing somewhat heavy, whirling resonances. “Too Good X Unreality Pt.2” follows a similar trajectory—exploring pulses and repetition while unfolding with tuned percussion, gong-like prepared piano timbres, air saxophone techniques that evolve into wide-ranging tones, and mysterious droning textures complemented by coruscating cymbal work.

“Offertorium”, inspired by Soviet composer Sofia Gubaidulina, unfolds deliberately with a laidback swagger, entering an intricate rhythmic flux that lurches in precise lockstep. Mischievous pianism—grounded in low-end resonance and prepared key textures—and a communicative saxophone solo call to mind the pervasive Perelman/Shipp alliance or the escapist fantasy of Matt Mitchell’s musical universe. “Prelude” closes the journey with recurrent ideas that expand and dissolve, with Reisin on soprano and Lin’s piano as it leaps through bold intervallic shapes.

Reisin, who developed his concept and compositions over two years, confirms himself of a saxist of penetrating focus. This new work should deservedly elevate his musical profile.

Favorite Tracks:
01 - Walk and Talk ► 02 - Through the Glass ► 05 - Offertorium

Patrick Zimmerli - Songs of Innocence

Label: EMP, 2025

Personnel - Patrick Zimmerli: soprano saxophone; Kevin Hays: piano; Satoshi Takeishi: percussion.

American saxophonist Patrick Zimmerli has long given jazz aficionados solid reasons to regard him as a masterful composer and arranger. Following the spectacular quartet album Clockworks (Songlines, 2018), eight of his compositions from a 2014 suite were interpreted by the Joshua Redman Trio alongside the string ensemble Brooklyn Rider on the album Sun on Sand (Nonesuch, 2019). In 2020, he released Book of Dreams on Newvelle Records with longtime collaborators, pianist Kevin Hays and drummer Satoshi Takeishi. This same trio reconvenes for Songs of Innocence, channeling their creative energies into five original pieces partly inspired by British poet William Blake. 

Zimmerli’s rhythmically knotty tendencies come through in the edgy 11/8 tempo of “60 Morningside”, a piece referencing the red-brick house of Columbia University’s president, seen during his morning walks. His mellifluous soprano sax feels spiritually expansive during the theme and high-flying while improvising. It concludes with a folk-inspired vamp that effectively breaks up the abstraction. “Crow or Dove”, inspired by a line from a Shakespeare’s sonnet, is smooth and meditative, veiled in a warm ambience.

The festive “Wedding Song” varies in intensity, beginning with hand claps before transitioning into a rhythmically intricate medium-fast tempo. Folk and contemporary classical elements are frequent in Zimmerli’s work, also surfacing in “Torsion”, a twisty, odd-metered number with a natural flow and corkscrewing melody, entering a rhythmically vibrant nine-beat vamp before returning to its eloquent theme.

“Dreamscape”, marked by an additive septuple meter {3+4} and crashing rhythmic accents, showcases an impeccable integration of low-register piano work and percussion. It stands out as a vivid reflection of the strange, often unsettling nature of the subconscious, reaching a climax during a vamping 14-beat cycle sequence. At this juncture, Zimmerli’s soprano burns with intensity and urgency.

Zimmerli’s trio balances flowing melodies, intricate rhythms, and kaleidoscopic harmonies within clear structures. Hinting at experimental curiosity, his compositions remain consistently compelling.

Favorite Tracks:
01 - 60 Morningside ► 04 - Dreamscape ► 05 - Torsion

Zoo Too Trio - Poetry Legroom

Label: Shifting Paradigm Records, 2025

Personnel - Michael Cain: piano; Keith Price: guitar; Pheeroan AkLaff: drums.

Zoo Too Trio consists of pianist Michael Cain, a member of Jack DeJohnette’s Special Edition; Canadian-born, New Zealand-based guitarist Keith Price; and esteemed avant-garde drummer Pheeroan AkLaff, who anchored groups led by Cecil Taylor, Henry Threadgill, and Anthony Braxton. Their debut album, Poetry Legroom, reveals a deep musical connection and an introspective-leaning style that is not devoid of mystery and exploration.

The cloudless “O’Neil’s Bay” evokes majestic dawning landscapes, presented as a velvety pop/rock song, subtly jazzified by gentle harmonies. This solidly structured musing reflects the terrain the trio navigates, leading into “Poetry Legroom Okinawa Children”, where rhapsodic piano phrases of variable lengths, together with odd-meter cycles generate a sense of irregularity. Price carves his own path, while AkLaff steps forward for a transitory solo passage, orchestrating rich timbral designs from the drumkit.

Ron Blake’s “Waltz For Gwen” feels like a classic jazz number in Cain’s hands, who also appears unaccompanied in the rubato piece “Solodos”. “Song 1 Day 1” places the guitar in the lead, supported by organ and brushed drumming, channeling a mix of church/gospel tones and the soulful jazz vibes of Grant Green.

“Waxing Gibbous” unfolds as a layered triangular construction—half-dreamy, half-cerebral, yet consistently haunting and atmospheric. A four-beat guitar motif, ample cymbal washes, rattling percussion, and understated piano enclose the listener in a suspended cloud that puffs with AkLaff’s late-arriving cool beat, as well as recurrent notes and electronic frequencies. The ambient-leaning “Winter Fog Morning” doesn’t shy away from a sweet insouciance that feels wry yet unsentimental. 

Some minimalist ideas might intensify but never quite climax into new realms, as the trio indulges in a certain languidity, bringing their individual voices into ambient moods marked by a wide range of emotion. This is the kind of good-natured music that makes us feel peaceful inside.

Favorite Tracks:
01 - O’Neil’s Bay ► 02 - Poetry Legroom Okinawa Children ► 05 - Waxing Gibbous

Barry Deister Quintet - An African Suite

Label: Trans-Pacific Jazz, 2025

Personnel - Barry Deister: tenor saxophone, flute; Paul Mazzio: trumpet, flugelhorn; Randy Porter: piano; Tim Gilson: bass; Tim Rap: drums; Israel Annoh: African percussion.

Credited with past performances in groups led by vibraphonist Bobby Hutcherson and multi-reedist Anthony Braxton, Portland-based saxophonist and flutist Barry Deister takes us on a spellbinding rollercoaster ride through West African rhythms, modal structures, and exotic grooves. In An African Suite, he leads a vibrant quintet whose brash, revitalizing deliveries are boosted by the entrancing rhythmic work of Ghanaian percussionist Israel Annoh.

Capturing the sextet in its brisk, bracing romp, “Afrodite” flows with admirable energy and harmonic push and pull, recalling the spiritual modal jazz of Billy Harper (his ferocious album Somalia comes to mind). The piece starts with a riveting percussive pattern—exuding a sextuple feel—and a bass groove over which the crisp horn section of Deister and trumpeter Paul Mazzio superimpose unison melodies in 4/4 tempo. “The Tro Tro” maintains the modal mood but colors the scene with calypso tonalities, achieving a profound poise and rhythmic beauty. The intense colors and spicy flavors increase with wonderful solos by Mazzio—a sober stream of melodic tradition—pianist Randy Porter, and Deister, who navigates his tenor solo courses with a semi-opaque tone. 

“Sahara Breeze” is tempered by flute and flugelhorn melodies in a smooth 6/8 effort that includes a fine bass solo, while “Bad Juju” presents a dramatic polyrhythmic tapestry, with the habitual soloists riding the waves conjured by the rhythm section. They dig deep in “Push Me, Push You”, a snazzy, muscular setting with a celebratory Latin vibe intersected by indigenous dances from the Sahara and the Orient.

The enchantment of Deister’s five originals comes in many forms and textures, beautifully capturing his adventure in Ghana in 2006. The tunes’ emotive cores, consistently expressed with warmth and earthy sensuality, are complemented by individual discourses delivered with substance and gusto. The result, inclusive and compelling, maintains a remarkable uniformity of musical brilliance anchored in ancient roots and freedom. 

Favorite Tracks:
01 - Afrodite ► 02 - The Tro Tro ► 05 - Push Me, Push You

Darren Pickering Small Worlds - Three

Label: Rattle Records, 2025

Personnel - Darren Pickering: piano, synth, modular; Heather Webb: guitar; Pete Fleming: bass; Jono Blackie: drums.

New Zealander keyboardist Darren Pickering leads his Small Worlds quartet in a third volume of music comprising nine originals. There’s cohesive ensemble work in Three, but the factor ‘surprise’ is often missing, even if the quartet tends to color tender moments with a declarative lyricism.

“Green Blinking Light” helps setting the tone for the album with heartening gestures. A smooth, slightly intriguing sequence of a four-note piano riff materializes with rhythmic accentuations popping up in unexpected places. “What If” is an emotionally charged ballad etched with low-key modular synth warps, a softly brushed backbeat, reverb-drenched guitar, and a clear piano narrative. This unequivocally jazzy harmonic movements are dropped in “Soft Life”, where a metronomic pulse, ambient-electronic spatiality, and dreamlike fantasy are circumscribed by a regular, spasmodic beat.

Jono Blackie’s crisp, time-keeping drumming gives a contemporary feel to the E.S.T.-like “Hjartdal”, where a delicate melody and simmering spontaneous chords put in a claim for resolution. In the 4/4 ballad “Folly”, we feel warmth at play as the music acquires a fusion vibe through Heather Webb’s hot-wired guitar. Pickering then takes center stage, operating atop Pete Fleming’s groovy bass slides and Blackie’s pragmatic drum fluxes.

The group struggles with some ideas, and the material occasionally falls into predictable vibes and spaces. “Randall” is one of those numbers in need of nuance, despite an ultimate riff-driven passage rockified by the guitarist. Also, the swinging “Taylor Time” doesn’t provide special moments, but I still enjoyed the trade bars between the drummer an the rest of the band.

Alternating between soulful and aloof, Three would have benefited with more intense passion and perhaps fewer polished surfaces.

Favorite Tracks:
01 - Green Blinking Light ► 02 - What If ► 05 - Hjartdal 

Arve Henriksen, Trygve Seim, Anders Jormin, Markku Ounaskari - Arcanum

Label: ECM Records, 2025

Personnel - Arve Henriksen: trumpet, electronics; Trygve Seim: soprano and tenor saxophone; Anders Jormin: double bass; Markku Ounaskari: drums, percussion.

The idea to form the notably talented Nordic quartet Arcanum emerged when saxophonist Trygve Seim, bassist Anders Jormin, and drummer Markku Ounaskari were working with Finnish vocalist and kantele player Sinikka Langeland. Seim then suggested that trumpeter Arve Henriksen join him in the frontline, an artist he knew well and had also worked with Langeland.

The music, often delicate and gentle, is strongly expressive, and Seim’s opening track “Nokitpyrt” is a testament to their fluidity and musical character. Reading backwards, the title means “Triptycon”, a clear reference to the iconic trio album by Jan Garbarek, Arild Andersen, and Edward Vesala, released in 1973. The well-delineated melody doesn’t hinder the musicians from diving further into free creation.

“Armon Lapset” is a Finnish traditional song where Jormin’s immersive sound absolutely stuns. His gorgeous melodic conduction invites the horn players into contemplation, in a cadenced folk-like mantra underpinned with abandon by Ousnakri, who knows exactly how and when to play with brittle restraint, and by Jormin himself. The experienced bassist—one of the pillars of pianist Bobo Stenson and saxophonist Charles Lloyd for several years—contributes two numbers: “Koto”, a tranquil piece showcasing his love for Japanese music, and “Elegy”, a cyclic, grief-stricken reflection written on the first day of the war in Ukraine. It features Seim and Henriksen delivering the melody side by side.

“Folkesong” hints at being a ‘song of the forest’, with Seim’s soprano sax cutting through every 12-beat cycle, moving in and out of scope with narrative purpose. Henriksen’s use of electronics is extremely tasteful and organic, enhancing the tunes. Just like the previously described track, “Lost in Van Lose” is a collective improvisation but incorporates a wee bit more of abstraction without losing any of its grace. Other improvised standouts are “Old Dreams”, where piercing trumpet wails cross the rhythmic mesh created by bass and drums, and “Fata Morgana”, whose dark undercurrent conveys more than just enigmatic quiescence. 

Another Seim contribution, “Trofast”, is a 3/4 balm that transports us to heavenly prairies. Here, the saxophonist and the trumpeter take turns, guided by a suave harmonic progression, while the quartet’s rendition of Ornette Coleman’s “What Reason Could I Give” touches on balladic erudition.

As fresh and full of promise as a spring morning, Arcanum sweeps across the smoothly explorative spectrum in a reflective mood. Fertile imagination never needed pyrotechnics, and there’s way in for casual listeners.

Favorite Tracks:
01 - Nokitpyrt ► 03 - Armon Lapset ► 04 - Folkesong ► 07 - Old Dreams

Zack Teran - Navigator

Label: Redhill Records, 2025

Personnel - Peter Epstein: alto saxophone; Josh D. Reed: trumpet; Adam Benjamin: Fender Rhodes; Tim Wendel: electric guitar; Zack Teran: electric bass; Miguel Jimenez-Cruz: drums.

Based in Reno/Tahoe area, eclectic bassist and composer Zack Teran indulges in feisty popping grooves on his lushly produced and deftly executed fusion-tinted album, Navigator. Here, his tight sextet delves into seven original compositions, exploring the soloing aptitudes of alto saxophonist Peter Epstein and trumpeter Josh D. Reed, with the rhythm section fostering individual creativity while providing solid support.

“Lateral Drift” draws from folk, pop/rock, jazz, and funk, cemented in a grooving acid bass foundation that navigates shifting passages. “Dunia” is filled with hope and openness, with the horn players working closely on the melodic theme, which is followed by a bass solo vivid in its imagery and clear in its ideas. A highly tuneful trumpet statement and an ambiguous guitar discourse—offered by Tim Wendel— reinforce the alternate rock flavor, which then dissolves into a crossover jazz extravaganza.

“Celestial Navigator” and “Mana” deepen their fusion inclinations with emotional richness, but it’s “Secrets Under the Lakebed”, with its Kneebody-inflected mix of contemporary rock and post-bop, that ignites the best section of the album. The electrifying vibe encourages Epstein to blow his horn with fervor, and Wendel gives in to shoegaze dizziness following an animated reggae-infused passage with Teran as soloist. 

From that point on, the pieces are thoroughly winsome. “Veiled Citadel” offers a quirky yet liberating experience, probing odd meter with groove while mutating according to the group’s whims. It comes packed with guitar chromaticisms and shifting figures, with bass distortion adding grit before ending in reverb-drenched spaciousness. “Deh Efeh” transcends conventional labels, developing confidently in seven and assuring its fusion roots. It includes a final vamp that favors drummer Miguel Jimenez-Cruz’s rhythmic stretches. 

With Teran at the helm, these six musicians—who know one another well and trust their instincts—demonstrate a sure-handed approach to multiple genres, maintaining structural coherence throughout.

Favorite Tracks:
04 - Secrets Under the Lakebed ► 05 - Veiled Citadel ► 06 - Deh Efeh

Dennis Egberth - The Dennis Egberth Dynasty

Label: 577 Records, 2025

Personnel - Fredrik Ljungkvist: tenor saxophone, clarinet; Niklas Barnö: trumpet; Alex Zethson: Wurlitzer; Linus Hillborg: electronics; Joe Williamson: double bass; Dennis Egberth: drums.

Swedish drummer and composer Dennis Egberth blends rhythm and melody with space and groove in a sextet album inspired by the evolution of electronics in the 1960s and 70s. Over the course of five Egberth originals, fully developed ideas coexist with innate improvisatory instincts, courtesy of Fire! Orchestra members such as saxophonist/clarinetist Fredrik Ljungkvist, trumpeter Niklas Barnö, and keyboardist Alex Zethson. The group is rounded out by Canadian-born double bassist Joe Williamson and electronic artist Linus Hillborg.

“PanGu Part 1: Earth” offers a soaring, atmospheric intro with trumpet, saxophone, and Wurlitzer before digging into a well-balanced bass groove and propulsive drum work that grounds the listener. Explorative individual narratives follow the horn-saturated unison lines that define the theme. “PanGu Part 2: Heaven” is marked by stillness and tranquility, underpinned by a droning bowed bass and tastefully brushed cymbals. Hillborg’s electronics reinforce the ethereal vibe, while Zethson arpeggiates in circular 3/4 movements, with the horns chanting harmoniously in perfect accord.

“Chichen Itza” presents a chill-out, hypnotic effort that feels deeply cinematic, following a perpetual bass groove in seven and having a crisp drumming routinely marking each cycle with snappy fills. “Bogey” struts powerfully with a blend of punk-ish rock ’n’ roll fervor and electro-funk tenacity. Its buoyant tones, energy, and rhythm contribute to the album’s varied tonal palette. The record closes with “Eternal Garden”, which leaves a particularly strong impression with its gorgeous melody—Ljungkvist takes the spotlight here, later expanding outside the norms—soaring over the soulful harmonic richness provided by the rhythm section.

With each track channeling into a cohesive musical narrative, The Dennis Egbert Dynasty contributes to the drummer’s artistic evolution, positioning him as an interesting figure within the creative European music scene.

Favorite Tracks:
01 - PanGu Part 1: Earth ► 04 - Bogey ► 05 - Eternal Garden

Carl Winther / Richard Andersson / Jeff Tain Watts - Steep Steps

Label: Hobby Horse Records, 2025

Personnel - Carl Winther: piano; Richard Andersson: bass; Jeff ‘Tain’ Watts: drums.

Steep Steps marks the sophomore musical collaboration of highly articulate Danish pianist Carl Winther (he worked with Jerry Bergonzi, Tim Hagans, and Walt Weiskopf), sensitive Danish bassist Richard Andersson, and iconic American drummer Jeff ‘Tain’ Watts. Recorded in just one day, the album invites discovery through intensive exploration, with high-caliber jazz tradition as its primary inspiration. Over the course of five tracks—three original compositions by Winther and two jazz covers—the trio exudes infallible musical instinct, responding to one another with admirable tenacity and unfiltered spontaneity.

Winther’s “You Know” is pure post-bop brilliancy, its theme brimming with rhythmic intricacy and a smooth complexity that astonishes. Andersson delivers a refined bass solo over sparse drum patterns, while Winther asserts an extroverted musical personality, employing triplets to a powerful effect. The title track, “Steep Steps”, is a drum showcase at its edges, shifting from modal jazz to a swinging romp in its central section, where Andersson and Winther reveal musical languages full of spirit and color. The bassist is especially captivating with his improvisational choices and geometric motifs.

McCoy Tyner’s “Inner Glimpse” gleams with intensity and swings with abandon. Heralded by his vertiginous rhythmic drive, Watts—who collaborated with Tyner on Double Trios (1986) and Quartet (2007)—brings his exhilarating energy to the forefront. Following the explosive power of this tune is Tadd Dameron’s ballad “Soultrane”, a perfect platform for Andersson’s expressive melodicism and a continuous swirl of introspective emotion. 

The album concludes with Winther’s evolving “Turning Chapter”, a time-shifting piece where piano and bass move in tandem, with breezier currents leaning into groove over swing.

This dynamic piano-bass-drums trio is deeply rooted in tradition, yet enriched by complex overtones and fascinating compositional detail. And they never stop encouraging exploration.

Favorite Tracks:
01 - You Know ► 02 - Inner Glimpse ► 04 - Steep Steps

Joe Lovano - Homage

Label: ECM Records, 2025

Personnel - Joe Lovano: tenor saxophone, tarogato, gongs; Marcin Wasilewski: piano; Slawomir Kurkiewicz: bass; Michal Miskiewicz: drums.

Homage marks the sophomore recording collaboration between leading American saxophonist Joe Lovano and the exceptionally notable Polish trio led by pianist Marcin Wasilewski—featuring the ultra-melodic Slawomir Kurkiewicz on bass and Michal Miskiewicz on drums. The four have cultivated a formidable sound and easygoing simpatico, layering harmonies and effortless rhythmic pulses that shape their deeply personal storytelling.

The program includes five Lovano compositions—including two improvised miniatures (one featuring solo saxophone and the other, gongs and percussion)—alongside a rendition of the ballad “Love in the Garden” by Polish violinist Zbigniew Seifert. The quartet opens with this piece, a rubato effort steeped in sophistication and delicacy, as velvety saxophone glides over introspective piano comping. One can sense a blend of Keith Jarrett, Charles Lloyd, and John Abercrombie in a dazzling musical dialogue that radiates talent and musicianship. 

The standout moments are two strikingly beautiful long-form compositions where ideas are shaped and refined with natural grace. The modal meditation “Golden Horn” begins with rattling percussion—eventually expanding into sparkling cymbals—as bass and piano embark on a shared journey. A simple groove recalling the metric feel of Coltrane’s “A Love Supreme Part I: Acknowledgement” is laid down, and Lovano, ducking in and out of the form with crispness and agility, slowly cooks a great solo with enough spice to put water in our mouths. Following Wasilewski’s fluid storytelling, Lovano switches to tarogato, his lines skittering and dancing to create a hypnotic, Eastern-tinged atmosphere. “This Side-Catville” finds the ensemble in polyrhythmic communion from the outset, playing with contrasting textures and intensities. Graceful chord progressions support an authoritative tenor statement that spreads like wind and warms like sunlight. The tune culminates in an enchanting, almost mystical aura that gently settles into a measured final theme.

“Homage”, Lovano’s dedication to ECM founder and record producer Manfred Eicher, leans into flexible avant-garde expression, promoting improvisational freedom across key shifts. In fact, Homage, the album, is a tribute to all those who inspired Lovano to embrace his true self without reservation: his wife Judi Silvano, his 100-year-old father, Tony ‘Big T’ Lovano, and the above-mentioned Eicher are some of them. Emotional connection and musical brilliance are in abundant supply.

Favorite Tracks:
01 - Love in the Garden ► 02 - Golden Horn ► 05 - This Side-Catville

Marilyn Crispell / Thommy Andersson / Michala Ostergaard-Nielsen - The Cave

Label: ILK Music, 2025

Personnel - Michala Ostergaard-Nielsen: drums; Marilyn Crispell: piano; Thommy Andersson: bass.

Danish drummer and composer Michala Ostergaard-Nielsen anchors her trio— formed in 2022—with Swedish bassist Thommy Andersson and American pianist Marilyn Crispell. Her vision and compositional approach are evident throughout eight original compositions, which alternate between simple motifs and more through-composed material. In both cases, the trio strikes a refined balance between sophisticated craftsmanship and free improvisation.

The introspective title track, “The Cave”, is marked by Crispell’s spacious melodicism, later joined by delicate bass underpinning and softly brushed drums. After the halfway mark, the trio converges in a glowing, unified radiance. “My Spirit Heart” is a multifaceted, all-acoustic number that incorporates the strumming and plucking of piano strings to produce an alternative sonic texture.  Metallic timbres from percussion and cymbals, along with loose, woody bass plucks complete a soundscape that feels uniquely adventurous. The group’s sound converges into something relaxingly prayerful in the spiritual line of Alice Coltrane, and the theme carries intricate lyricism beneath the trio’s artful chamber-improv stylings.

The amphibious and contemplative “T.B.A.” launches with ringing tones and evolves into percussive effervescence and cymbal scratches, while “Into the Light” feels extravagantly ethereal, centered around a bass pedal continuum and a careful blend of grand and toy piano sounds.

Both “Nine Tone Story” and “A Smile of a Butterfly” stand out as highlights. The former—steeped in angularity and packed with explosive energy—features fragmented bass articulations, irregular drum patterns, and spontaneous piano fluctuations. The latter achieves a mantric trance through resonating gongs and piano in consonance, gradually expanding into harmonic territory with a curved, balladic sensibility.

There’s still room for two improvised pieces: “Improv #1” presents Andersson in a solo bass soliloquy, while “Improv #2” builds layers of percussion that crinkle, crackle, rattle, and shimmer. These three kindred, freethinking spirits can harmonize with a beautiful melody in one moment and paint boldly outside the lines in the next. They do both with equal confidence and passion.

Favorite Tracks:
02 - My Spirit Heart ► 05 - Nine Tone Story ► 08 - A Smile of a Butterfly