Anne Mette Iversen's Ternion Q Expanded - Marbles

Label: BJU Records, 2025

Personnel - Silke Eberhard: alto saxophone; Julius Gawlik: clarinet, tenor saxophone; Percy Pursglove: trumpet, flugelhorn; Geoffroy De Masure: trombone; Morris Kliphuis: french horn; Anne Mette Iversen: bass; Roland Schneider: drums.

Danish bassist and composer Anne Mette Iversen began her musical career in New York City before relocating to Berlin in 2012. Her acclaimed Ternion Quartet—with altoist Silke Eberhard, trombonist Geoffroy De Masure, and drummer Roland Schneider—has now evolved into a pliable septet capable of handling, with aplomb, both the discipline and freedom that her matured compositions demand. The music on Marbles, which evokes systems in motion, emerged from a lengthy creative process and serves as an ideal showcase for Iversen’s intricate yet ravishing juxtapositions and cohesive group sound. The expanded lineup features rising clarinetist/tenor saxophonist Julius Gawlik, trumpeter Percy Pursglove, and French horn player Morris Kliphuis. 

Iversen’s compositional prowess is evident from the outset. “Double Arches” begins as a mournful dirge pierced by cacophonous horns before leaping into a swing pace that inspires quick-witted improvisations from De Masure and Eberhard. “TBQE (To Be Questioned Eventually)” initially thrives on chamber-like classical finesse—thanks to Gawlik’s velvety clarinet—before bass and drums inject a lively polyrhythmic feel. The group ultimately coalesces into a funk strut in a musically rich piece that highlights both multi-directionality and commitment.

“Square Root of a Dream” unfolds over a thoughtful seven-beat bass pulse before waltzing freely in its middle section. Pursglove’s agile trumpet work stands out, later joining a horn-only chamber passage of striking poise. His melodic flair also colors “Tenacious Mind”, a relaxed, gently brushed piece stirred by subtle cross-rhythms toward its conclusion.

“Marble for Minor” moves boldly in 11/8, spotlighting a conversational exchange between Gawlik’s clarinet and De Masure’s trombone, while the latter also shines on the crisp 3/4 tune “Threefold”, delivering an irresistibly soulful statement. “Inverted Structures” opens tentatively before launching into Gawlik’s vigorous tenor stroll over bass and drums, later probing darker hues as sculptural layers accumulate with confidence. The album closes with “Two Twisted Spires”, where post-bop hooks infused with avant-garde flair provide a final surge of energy—a feast for the horns.

Iversen continues to carve out a distinctive place among Europe’s foremost modern jazz composers. Marbles glistens with imagination and balance, bridging contemporary exploration with deep reverence for the past and a clear eye toward the future.

Favorite Tracks:
01 - Double Arches ► 02 - TBQE ► 05 - Marble For Minor ► 06 - Threefold

Cecile McLorin Salvant - Oh Snap

Label: Nonesuch Records, 2025

Personnel - Cecile McLorin Salvant: vocals, Garage Band, 

The talent of American singer Cecile McLorin Salvant is undeniable, as proven by remarkable albums such as Dreams and Daggers (2017), The Window (2018), and especially Ghost Song (2022). Her new outing, Oh Snap, is her most eclectic and personal work to date—but just didn’t work for me. The album consists of 12 originals—most of them initially conceived on Garage Band, AutoTune, and Logic with layers of found sounds—and one cover: a verse from the Commodores’ 1977 hit “Brick House”.

Salvant’s wealth of ideas leads to several unexpected changes of direction, yet the strongest moments remain those most deeply rooted in jazz. “Anything But Now” is a delicious highlight, addressing the nightmare of the Internet and cell phones through double-time swing and a memorable finale. “What Does Blue Mean to You”, inspired by novelist Toni Morrison’s archive, features Salvant at her best, backed by her impeccable jazz quartet—bassist Yasushi Nakamura delivers a beautifully sluggish solo, pianist Sullivan Fortner closes with a deconstructed stride, and drummer Kyle Poole propels the rhythm with firm ride-cymbal precision. There’s also “Expanse”, a lush jazz ballad.

The opener, “I Am a Volcano”, ventures into alternative R&B with funky synth chords, electronics, and a hefty backbeat, while “Take This Stone”, featuring acoustic guitar and guest vocals by singer-songwriters June McDoom and Kate Davis, dives into the pop-country realm.

The title track, “Oh Snap”, driven by an Afro-percussive flow, veers boldly from ambient textures to EDM, infused with a distinct Kate Bush vibe. “Thank You”, which momentarily recalls Bush’s “Wuthering Heights”, is a fine pop ballad written for Salvant’s mother and sister.

However, the sapless dance-pop numbers, “Eureka” and “A Little Bit More”, feel disconnected from the rest and would have been better left out. Oh Snap is a confessional collection but it doesn’t align with my stylistic preferences. I found it uneven and unexceptional, though Salvant’s extraordinary voice continues to inspire confidence in her artistic evolution.

Favorite Tracks:
02 - Anything But Now ► 04 - What Does Blue Mean to You

Kirk Knuffke - Window

Label: RPF Records, 2025

Personnel - Kirk Knuffke: cornet, vocals; Stomu Takeishi: bass; Bill Goodwin: drums.

For his 25th studio album, Window, cornetist-composer Kirk Knuffke—known for his expressive range and fearless commitment—dives into jazz minimalism, aiming straight for the listener’s heart through the beauty of his melodies. Here, he reveals another side of his artistry, singing on three tunes while engaging in inventive, telepathic interplay with his trio mates: the highly explorative bassist Stomu Takeishi, drawn to peculiar pulses and throbs, and veteran drummer Bill Goodwin, whose refined drive and tasteful touch elevate every track. Both musicians previously appeared on Knuffke’s quartet album Lamplighter (FSNT, 2015).

“Choose” is designed with a catchy drum shuffle, well-timed fills, a velvety plain melody, and a crunchy, funkified bass groove complemented with cool slides. Knuffke’s signature blend of elegance and edge comes to life on both “For Your Needing” and “Mr. Bill”. The former, wrapped in a rainbow of colors and propelled by Takeishi’s twangy tone, merges Charlie Chaplin’s cinematic playfulness with a spongy avant-garde jazz spirit. The latter—dedicated to the 83-year-old drummer featured here—sustains the avant-garde mood through quirky imagination and subtle fusion hints, courtesy of Takeishi’s unique sonic language.

Knuffke’s vocals enriches three pieces: “Runs Red”, which calls to mind the band Morphine, with Takeishi’s amazing harmonic context and Goodwin’s tribal percussion; “Window”, whose restrained Tom Waits-like vibe is enhanced by Goodwin’s exquisite brushwork; and “A Little More So”, a bluesy, melodic closer that wraps the album with warmth.

One of Knuffke’s great musical strengths is his adaptability to different formats and moods. There are three “Gong Improv" pieces topped with delicate cornet lines floating over bass slurs and trills. Despite of its title, “Ballad” gets some tense, eerie moments, while “Heavy Times” feels vibrantly jazzy and bluesy, driven by cornet-bass unisons and sensitive brushwork. The playful “Carey”, on the other hand, opens with an expressive drum sequence, showcasing Goodwin again in a spontaneous improvisation.

There’s an undeniable sense of familiarity and chemistry within this trio, reflected in music that’s warm and passionate. Window stands as a glowing affirmation in the art of three-way conversation.

Favorite Tracks:
01 - Choose ► 03 - For Your Needing ► 04 - Mr. Bill  ► 06 - Runs Red

Rodrigo Amado's The Bridge - Further Beyond

Label: Trost Records, 2025

Personnel - Rodrigo Amado: tenor saxophone; Alexander Von Schlippenbach: piano; Ingebrigt Haker Flaten: bass; Gerry Hemingway: drums, voice.

The sophomore record from Portuguese free jazz saxophonist Rodrigo Amado’s international quartet The Bridge—with German pianist Alexander Von Schlippenbach, Norwegian bassist Ingebrigt Haker Flaten, and American drummer Gerry Hemingway—arrives with Further Beyond, a powerful statement of collective freedom and risk-taking. Across three freely improvised tracks, the quartet demonstrates a shared instinct for adventure and a deep trust in spontaneous creation.

The opening piece, “A Change Is Gonna Come”, begins on a fluttering rhythmic pulse that soon opens into a Coltrane-inspired spiritual voyage. Von Schlippenbach’s fractured yet dance-like piano fluxes collide with Amado’s searing saxophone cries, while Hemingway and Håker Flaten respond with elastic propulsion. The group shapes its energy in waves—motivic, surging, and volatile—its interplay both fiery and telepathic. 

The nearly 27-minute title track, “Further Beyond”, unfolds gradually, moving from meditative lyricism to fierce turbulence. With sober bass reflections and affably brushed drums maintaining the mood, both the smooth, resonant chords and luminous sax lines establish a contemplative atmosphere, which later dissolves into agitated cadences and vivid exchanges. Von Schlippenbach anchors a hypnotic low-register pattern while Hemingway’s eerie vocalizations and Håker Flaten’s arco bass pierce the texture. Amado then pushes forward with sharp staccato bursts and racing runs before Hemingway’s drum show—hard on toms and cymbals—makes the music rise into celestial Coltranean fashion.

Loosely laid down, “That’s How Strong Our Love Is” swings casually, displaying melodic bluesy disciplines elevated by some call-and-response between sax and piano. Its luminous, triumphal ending is threaded through sharp yet tangible piano playing, offering harmonic nuance, textural sculpting, and saxophone multiphonics. The quartet’s telepathic rapport and the music’s fearless audacity are rewarding, confirming The Bridge as one of Amado’s most dynamic and cohesive projects.

Favorite Tracks:
01 - A Change is Gonna Come ► 02- Further Beyond

Royal Flux - Fluxuations

Label: Self released, 2025

Personnel - Sarah Kramer: trumpet, flugelhorn, effects, percussion and sounds, voice; Joe Berardi: drums, percussion, electronics and sounds; Jorge Calderón: bass and percussion.

Royal Flux, an experimental trio based in Los Angeles, features trumpeter Sarah Kramer, bassist Jorge Calderón, and drummer-percussionist Joe Berardi, who also handles electronics. Their debut album, Fluxuations, embraces an uncluttered aesthetic where cool, unfussy trumpet lines float above coherently woven rhythmic designs and bass-driven grooves. Entirely improvised across 14 tracks, the album balances ambient textures, soft funk spirit, and avant-garde exploration in an elegant package.

The title track, “Fluxuations”, opens as a laid-back, jazzy funk journey propelled by a cyclic eight-beat bass groove, shimmering electronics, and Kramer’s exploratory trumpet, reminiscent of Miles Davis’ spacious phrasing. “Kinda Red” shifts into a trippy dance-rock mood, its syncopated drum flux morphing with kinetic spontaneity. On “Pulsations”, bass and drums stride in funky unison while a delay-treated trumpet ripples above in waves of suspended motion. Leaning on the avant-garde, “Static Grind” ventures into industrial territory, its thrashing mechanical rhythm setting an oppressive base for sharp trumpet lines and spare, cerebral bass counterpoints.

If Cinematic Orchestra comes to mind on many tracks, the fusion-era spirit of Don Cherry and Miles Davis’ are present on “Meteor Down”, where placid trumpet lines hover above groovy, ruminatively funky bass and brushed percussion. The free-flowing “Miles Shorter” nods directly to Davis and Wayne Shorter through unceremonious trumpet bursts and conversational interplay, while “Shadow Lake” channels Nils Petter Molvær’s ambient minimalism tinged with Latin and blues hues. On “Slow Swirl”, busy drum thwacks and solid yet breathable bass lines turn into a hypnotic mantric prayer.

Though the trio occasionally leans on recurring formulas and we could ask for a bit more variety in the process, the evolving details that distinguish each track reveal themselves gradually with repeated listening. Fluxuations captures a levitating collective sound—methodical, imaginative, and quietly transformative.

Favorite Tracks:
01 - Fluxuations ► 04 - Kinda Red ► 10 - Static Grind

Patricia Brennan - Of The Near And Far

Label: Pyroclastic Records, 2025

Personnel - Patricia Brennan: vibraphone with electronics, marimba; Miles Okazaki: guitar; Sylvie Courvoisier: piano; Kim Cass: bass; John Hollenbeck: drums, percussion; Arktureye: electronics; Modney: violin; Pala Garcia: violin; Kyle Armbrust: viola; Michael Nicolas: cello.

Patricia Brennan, a rare and vibrant force behind the vibraphone, returns with a multi-layered experimental work involving both a jazz quintet and a string quartet, following her 2024 triumph Breaking Stretch, arguably the best album of that year. Inspired by possible symmetries in constellations and how these might be translated musically, Brennan created a map to explore new relationships between pitches, chords, and key signatures through the circle of fifths. Of The Near and Far comprises seven tracks—five named after constellations—drawing influences from contemporary classical music, twisted jazz traditions, and modern experimental soundscapes.

“Antlia” opens the record with a mechanical precision, evoking the air pump it’s named after. Persistent rhythmic patterns, agile string movements, John Hollenbeck’s fractured drumming, and Miles Okazaki’s expedient guitar lines all combine into a restless, gear-like motion. Afrobeat and EDM rhythmic fluxes underlie the structure, keeping it constantly shifting. “Aquarius” takes a more fluid direction, exploring the textural qualities of water through Brennan’s and Okazaki’s interwoven melodies, anchored by a gentle pulse in five.

“Andromeda” is light-footed yet percussive, with bass and drums playing a central role. It into veers to alternative rock territory, pushing sound and form beyond the expected as several undercurrents seem to point out simultaneous directions. The jazzier “Lyra” opens with free-floating guitar and strings, soon turning darker through Swiss pianist Sylvie Courvoisier’s harmonic coloring and then brighter through Brennan’s radiant vibraphone improvisation, which searches for light. Its complex 8+5 opening meter eventually settles into a chamber-like 3/4 passage of lyrical counterpoint and melodic consensus before resolving in 4/4. 

On “Aquila”, the final constellation, Brennan and Okazaki engage in enigmatic, kinetic interplay before the string quartet joins with buoyant cadence and exuberance. The two remaining pieces—“Citlalli”, an abstract electroacoustic sound collage derived from graphic scores, and “When You Stare Into the Abyss”, steeped in Kubrick-like electronic tension—expand the album’s cinematic reach. 

Though not as stunning as Breaking Stretch, Of The Near and Far thrives on curiosity, courage, and invention. Its mathematical approaches and spontaneous developments take time to absorb, revealing a music of pure risk and imagination—fearless, unguarded, and free from convention.

Favorite Tracks: 
01 - Antlia ► 03 - Andromeda ► 05 - Lyra

Miguel Zénon - Vanguardia Subterranea

Label:  Miel Music, 2025

Personnel - Miguel Zénon: alto saxophone; Luis Perdomo: piano; Hans Glawischnig; bass; Henry Cole: drums.

Championing post-bop-infused Latin jazz like no one else, Puerto Rican saxophonist and composer Miguel Zénon reunites his long-standing quartet for a new album recorded live at New York’s Village Vanguard—an event marking the group’s 20th anniversary. Joined by Venezuelan pianist Luis Perdomo, Austrian bassist Hans Glawischnig, and Puerto Rican drummer Henry Cole, Zénon showcases a dazzling interplay of rhythmic intricacy and harmonic sophistication that keeps the storytelling at its peak.

The album opens in giddy delirium with “Abre Cuto Guiri Mambo”, whose skittering folk riffs, polyrhythm, and shifting meters lend it distinctly contemporary pulses. Zénon’s solos pour out in an unbroken stream of ideas, each phrase logically built yet bursting with invention, while Perdomo responds with sequences of meaningful, dynamically voiced chords. A closing 3/4 passage gives Cole space to branch out behind the kit.

“Vita”, written for Zénon’s grandmother, unfolds like a waltzing tango, highlighted by Glawischnig’s lyrical bass statement. By contrast, the complex “Dale La Vuelta” brims with frenetic rhythmic counterpoint and sharp impulsivity. “Coordenadas” is melodically fragmented yet conversational, and “Vanguardia Subterranea”—a tribute to the legendary venue Zénon calls a ‘sanctuary of music'—is both playful and riff-driven.

The quartet’s first-ever live album concludes with two salsa reinterpretations. Héctor Lavoe and Willie Colón’s “El Día de Mi Suerte” radiates bright, streetwise energy, full of color, rhythm, and unexpected meter changes. Meanwhile, José Luis Piloto’s “Perdóname” is reimagined with a muscular bass groove and a breathless piano solo bursting with chromatically shifting ostinatos.

Favorite Tracks:
01 - Abre Cuto Guiri Mambo ► 02 - El Dia De Mi Suerte ► 08 - Perdóname

Jerome Sabbagh - Stand Up!

Label:  Analog Tone Factory, 2025

Personnel - Jerome Sabbagh: tenor saxophone; Ben Monder: guitar; Joe Martin: bass; Nasheet Waits: drums.

French-born, New York-based saxophonist Jerome Sabbagh reconvenes his long-standing, empathetic quartet for the first time in more than a decade. Joined by guitarist Ben Monder, bassist Joe Martin, and drummer Nasheet Waits—stepping in for Ted Poor—Sabbagh delivers a versatile post-bop album dedicated to his early teachers. Yet, each of the eight original compositions is a personal homage to someone who shaped his musical path. The title Stand Up!—borrowed from a tune on one of his earlier quartet albums—feels especially fitting in a time of political turbulence. 

The shimmering echoey of “Lone Jack”, dedicated to Ray Charles and producer Pete Rende, channels American roots music with a bluesy-country lilt that feels both grounded and forward-looking. Monder’s sinuous guitar solo, Sabbagh’s melodically radiant saxophone lines, and a propulsive, open hi-hat backbeat drive the piece with grace and purpose. “Lunar Cycle”, inspired by Sam Rivers’ “Cyclic Episode” from Fuchsia Swing Song (1965), burns with post-bop vitality. Its colorful theme, stated in unison with Monder, sets up burnished solos and gives Waits room for striking rhythmic commentary. 

Different in temperament, “The Break Song” and “Mosh Pit” pay tribute to Stevie Wonder and Trent Reznor, respectively. The former leans on a relaxed pop-rock pulse with subtle R&B inflections, while the latter erupts in muscular ferocity—dark saxophone lines, snarling guitar distortion, probing yet grounded bass conduction, and raw, explosive drumming as Waits knocks off the shine of his cymbals.

Gorgeously introspective, “Vanguard” honors the late Paul Motian, whose spirit informs its spacious phrasing and harmonic nuance. “Unbowed”, a modal post-bop finale for Kenny Barron, glows with Waits’ crisp snare rolls and cymbal shimmer, pushing Monder into electrifying territory. Between them lie two very personal dedications: the mid-tempo waltz “Michelle’s Song”, for Michelle Egan, and the sultry bossa “High Falls”, for Meaghan Glennan, evoking the warmth of Getz/Gilberto.

With Stand Up!, Sabbagh demonstrates he’s an open-minded, genre-defying saxophonist. Celebrating more than 20 years with this band, they spin with the same contagious enthusiasm as before.

Favorite Tracks:
01 - Lone Jack ► 03 - Lunar Cycle ► 06 - Mosh Pit ► 08 - Unbowed

Jason Rigby - Mayhem

Label: Endectomorph Music, 2025

Personnel - Jason Rigby: woodwinds, keyboards, percussion; Mark Guiliana: drums, cymbals, percussion, keyboards; Pete Min: signal processing, mixing, mastering.

American saxophonist and composer Jason Rigby returns after nearly a decade without recording as a leader. With Mayhem, he makes a vivid statement, expanding musical horizons through pieces that oscillate between serene reflection and volcanic eruption. He is joined by drummer Mark Guiliana, a long-time collaborator of 15 years. Rigby envisioned the project as a reimagining of Interstellar Space—but infused with synths, woodwinds, gongs, and electronics, the latter handled by recording engineer Pete Min.

The album opens with “Siorai” built on a reverb-drenched keyboard figure in seven, understated percussion, and a soft, airy saxophone line. “Fifths” follows with glitch-like harmonies and martial snare patterns, over which Rigby unfurls clean, precise phrases.

Half the material is composed, while the rest is fully improvised. Among the former, “Sevensixfive” pulses with shifting meters, jazzy synth textures, Guiliana’s ferocious drive, and Rigby’s risk-taking saxophone explorations. In contrast, the improvised “Terra Firma” unfolds like a ritual dance: rippling wet percussion, rock-infused synth smears that twist the serenity of the rhythm, bass clarinet effects, and Rigby’s agile in-and-out contortions.

“Yeah Boiii” and “Mark” strip things down to sax-and-drums improvisations where Rigby and Guiliana take off with angular phraseology and a stunning array of elastic rhythms, respectively. The latter piece thrives on stop–start combustibility, shifting into more exotic terrain at a later phase.

“Chimera”, inspired by the sonic atmosphere of Manfred Eichner’s ECM recordings, acquires an Eastern hue with spiritual discipline and tasteful timbral qualities. The duo dials it down to a low modal rumble, employing a soaring flute, harmonic warmth, and high-pitched metallic pings. There’s also a nod to saxophonist Tim Berne on “Burn”, with sax and drums talking the same idiom.

Showcasing Rigby and Guiliana’s powerful musical abilities, Mayhem captivates with its blend of textural surprise, fearless improvisation, and contemporary artistry.

Favorite Tracks:
02 - Sevensixfive ► 05 - Terra Firma ► 07 - Yeah Boiii ► 09 - Mark

Sylvie Courvoisier / Wadada Leo Smith - Angel Falls

Label: Intakt Records, 2025

Personnel - Sylvie Courvoisier: piano; Wadada Leo Smith: trumpet.

Swiss pianist Sylvie Courvoisier and American trumpeter Wadada Leo Smith—two genuinely inventive improvisers and composers—have collaborated before (notably on Courvoisier’s sextet album Chimaera), but Angel Falls marks their first duo recording. Smith, long devoted to this intimate format, brings his singular lyricism, while Courvoisier thrives on spontaneity and discovery. The album, titled after Venezuela’s towering waterfall, was recorded in the precise order presented, with no edits.

“Olo’ Upnea and Lightning” opens with Courvoisier’s wide-interval explorations on prepared piano, interwoven with luminous tonal chords. Smith responds with prayer-like intensity, his trumpet voice feverish yet finely crafted. Shifts from darkness to light define the piece, with both musicians embracing unrestrained expression. “Naomi Peak” follows in a whirlwind of centrifugal force—staccato trumpet bursts meet dizzying piano flutters, interrupted briefly by fragility before bluesy inflections ground the conclusion. 

“Whispering Images” floats in a spectral haze of altered piano strings, drones, and muted trumpet, suspended between galaxies and propelled by near-waltzing cadences. By contrast, “Vireo Bellii”—named for a songbird—is playful and brisk, its sparse piano motifs forming oddly constellated patterns against Smith’s oscillation between penetrating cries and mournful restraint.

The title cut, “Angel Falls”, is another example of the duo’s constant communication and sophisticated interaction. Intense and dramatic, the piece probes darker tonalities with a suspenseful cinematic weight. Despite feeling intrinsically cerebral, its abstractions resist predictability. 

Angel Falls confirms Courvoisier and Smith’s magnetic rapport. It may feel bulky at times, but their fearless interplay, rooted in both lyricism and texture, cements their place among the most compelling improvisers of our time.

Favorite Tracks:
01 - Olo’ Upnea and Lightning ► 02 - Naomi Peak ► 06 - Angel Falls

Charles Lloyd - Figure in Blue

Label: Blue Note Records, 2025

Personnel - Charles Lloyd: tenor saxophone, flute, tarogato; Jason Moran: piano; Marvin Sewell: guitar.

Trailblazing saxophonist Charles Lloyd casts an enchanting Southern spell with his latest double album, Figure in Blue, another formidable triumph affirming his boundless creativity, ancestral roots, and deep spirituality. He leads a new trio with longtime collaborator Jason Moran on piano and guitarist Marvin Sewell as the unpredictable wild card. Together, they excavate authentic Delta blues from compelling harmonic designs while honoring Lloyd’s many influences.

Duke Ellington, an early inspiration, receives three dedications. Lloyd’s original “Figure in Blue, Memories of Duke” contrasts happy guitar strums and shimmering piano with reflective passages, all threaded by improvisations that ripple with tension and beauty. The trio also revisits Ellington’s “Heaven” and “Black Butterfly”, both previously featured on Lloyd’s The Water is Wide (ECM, 2000).

Other tributes include Billy Holiday on the haunting eulogy “The Ghost of Lady Day”, where Lloyd’s rich, dramatic tenor sound collides with the rhythm section’s sensitive interplay; tabla player Zakir Hussain on the transcendental Eastern-infused meditation “Hymn to the Mother, For Zakir”; and Leonard Bernstein via a poignant reading of West Side Story’s “Somewhere”. The ballad “Hina Hanta, the Way of Peace”, invokes Lloyd’s Choctaw ancestry with unmistakable touch and spiritual openness. Lloyd explores beautiful melodies, often linked by swiftly articulated arpeggios, over the gauzy accompaniment provided by Moran and Sewell, the latter showing a fantastic control of volume swells.

Delta blues surfaces throughout but anchors firmly on “Chulahoma”, rhythmically woven by distorted electric guitar and trilling piano, and on “Blues For Langston”, a dedication to poet Langston Hughes with Lloyd on flute. Sewell’s detailed guitar work stands out on both pieces. Old compositions are reframed such as “Song My Lady Sings”, a 3/4 ballad culled from his second album Of Course, Of Course (Columbia, 1965), and both “Desolation Sound” and “Ruminations”, which are given a mix of post-bop and avant-garde treatments in their long-form arrangements.

Figure in Blue captures the soulfulness of Lloyd’s writing, both new and revisited, while showcasing the trio’s superb dynamics—drawing listeners ever deeper into his timeless sound world.

Favorite Tracks:
02 (CD1) - Hina Hanta, the Way of Peace ► 03 (CD1) - Figure in Blue, Memories of Duke ► 01 (CD2) - The Ghost of Lady Day ► 04 (CD2) - Black Butterfly

Wolfgang Muthspiel - Tokyo

Label: ECM Records, 2025

Personnel - Wolfgang Muthspiel: acoustic and electric guitars; Scott Colley: double bass; Brian Blade: drums.

Austrian guitarist and composer Wolfgang Muthspiel returns with his finely tuned trio—bassist Scott Colley and drummer Brian Blade—for their third ECM studio album. Tokyo features eight Muthspiel originals alongside covers of Keith Jarrett and Paul Motian, both presented with a redefined aura.

These covers bookend the album. Jarrett’s “Lisbon Stomp”, culled from the pianist’s 1967 debut Life Between the Exit Signs, opens with shades of bop, American blues, and gospel. Recast with modern bluesy chops, colorful intervals, and harmonic reinvention, it soon finds a swinging direction. Motian’s “Abacus” closes the set, loosely painted as an agile rumination steeped in lyrical abstraction.

Both renditions are emotionally honest and musically inspired, yet the real treasures lie in Muthspiel’s writing. “Paradela” glows in the dark as a resplendent rubato meditation, folding jazz and classical elements into a clear song form. Similarly, “Flight”—a piece in seven that layers arpeggiated passages, quick-witted chordal sequences, and smoky electric guitar lines—displays the guitarist’s emotive reach and the trio’s remarkable synergy. Colley’s breathing cadences and Blade’s enveloping cymbals add luminous depth. 

The rhythm section provides both stability and suppleness, allowing Muthspiel to pursue an acoustic, chamber-like aesthetic free of unnecessary ornament. “Diminished and Augmented” feels like a complex, modern étude, its shifting passages and odd meter opening into improvisation, while “Weill You Wait”, a bittersweet waltz with ‘singing’ bass lines, reflects his admiration for Kurt Weill. Blade’s brushwork here radiates subtlety and refinement. 

Unexpected turns also surface: “Roll” fuses rock ’n’ roll with bluegrass, while “Strumming” is a propulsive pop/rock-tinged jaunt in six, marked by gritty arco bass, bluesy bends, and resolute drive. 
Tokyo finds Muthspiel, Colley, and Blade in top form—an elegant, deeply rewarding listen for the attentive and the casual ear alike.

Favorite Tracks:
02 - Paradela ► 06 - Diminished Augmented ► 08 - Strumming ► 09 - Weill You Wait

Marshall Allen's Ghost Horizons - Live in Philadelphia

Label: Otherly Love Records, 2025

Personnel - Marshall Allen: alto saxophone, EVI, synth, vocals;  

Now 101 years old, the incredible maestro Marshall Allen — who joined the Sun Ra Arkestra in 1957 and has led it since 1995 — releases a new live record with his Ghost Horizons group, curated by Arkestra guitarist David Middleton (aka D.M. Hotep), who appears on every track. Recorded in Philadelphia, the album brings Allen together with a younger generation of artists including saxophonists Immanuel Wilkins, James Brandon Lewis, and Elliott Levin; bassists Luke Stewart, Eric Revis, and William Parker; keyboardist Brian Marsella; drummer Chad Taylor; and others.

Sun Ra’s “Seductive Fantasy”, first recorded in 1979 for On Jupiter, opens the album in a quintet setting, with Allen’s raspy growls paired against trombonist Dave Davis. Hotep jags and slices through on guitar, eventually breaking into river-runs over Stewart and Taylor’s lithe rhythm. The same unit delivers “Tachyons Flux From the Cosmic Blueprints”, a more restrained, cyclic blues march.

Sun Ra’s presence resurfaces again on “We’ll Wait For You/Hit That Jive, Jack”, though the album also ventures into unexpected rock territories. “Back To You”, featuring the experimental duo Wolf Eyes, channels the shadowy corners of Joy Division with stratospheric electronics and serrated drones. “Square the Circle” rides a rock-steeped backbeat and straightforward bass lines, courtesy of Charlie Hall (The War On Drugs) and James McNew (Yo La Tengo). It arrives interlaced in guitars.

Levin contributes a feverish solo to “Stay Lifted”, a worthwhile astral excursion, and also appears on “Space Ghosts”, where shifting grooves gradually dissolve into fade-out. “Cosmic Dreamers, Ode to Elegua” folds in Eastern touches, a trio of batá drums, ritualistic chants from Joseph Toledo, and Allen’s indomitable alto fire. Yet one of the standout moments is “Slip Stream”, an ambient-funk voyage elevated by Wilkins’ soulful avant-garde flourishes, Marsella’s luminous comping, and Taylor’s perfectly attuned drumming.

Favorite Tracks:
01 - Seductive Fantasy ► 05 - Stay Lifted ► 14 - Slip Stream

Nick Finzer - The Jazz Orchestra Vol. 1

Label: Outside in Music, 2025

Personnel - Saxophones: Michael Thomas (alto); Jordan Pettay (alto); Lucas Pino (tenor); Evan Harris (tenor); Tony Lustig (baritone); Trumpets: Augie Haas, Anthony Hervey, Nadje Noordhuis, Chloe Rowlands; Trombones: Nick Finzer, Rob Edwards, James Burton III, Sara Jacovino, Altin Sencalar;  Rhythm Section: Alex Wintz (guitar), Glenn Zaleski (piano), Dave Baron (bass), Jimmy Macbride (drums).

Nick Finzer is a creative trombonist and composer with refined taste and sinuous melodic instincts. Captured in a single-day session, The Jazz Orchestra Vol. 1 breathes new life into four of his most emblematic, previously recorded compositions alongside fresh reinventions of two J.J. Johnson classics. Inspired by the late trombonist and the big band legacies of Duke Ellington, Finzer assembled an 18-piece ensemble that includes his working sextet—the full rhythm section plus tenorist Lucas Pino. The album pays sincere tribute to the rich history of the jazz orchestra. 

Bursting with ardent hardbop devotion, Johnson’s “Say When” thrives on Finzer’s powerful declamation, his trombone lines cutting with melodic instinct and authority. Playful horn staccatos punch through neatly arranged hooks, while a buoyant swing underpins Jordan Pettay’s spirited alto solo. Johnson first recorded this piece with his big band in 1966.

Also by Johnson, “Lament” unfolds as a lyrical, expansive ballad of epic dimension that recalls Gil Evans’ orchestral maneuvers, one of Finzer’s touchstones. Those spectacular Evans-like timbres reappear in “The Guru”, originally heard on Cast of Characters (2020). With its rhythmic and harmonic brilliance, the piece weaves a mysterious mood through probing collisions and lush tapestries, highlighted by solos from trumpeter Anthony Hervey and Finzer himself. The colorful harmonic tapestries are offered by guitarist Alex Wintz and pianist Glenn Zaleski, respectively.

Another highlight is “We The People”, the dynamic opener from Hear & Now (2017), here reimagined by Jack Courtwright, Finzer’s notable graduate student at the University of North Texas. Freedom and collective consciousness permeate the music, magnified by inventive solos from trumpeter Chloe Rowlands, Pino, Wintz, and drummer Jimmy Macbride. That conversational fluidity of the improvisers continues on the closer, “Just Passed the Horizon”, where Wintz leads into Tony Lustig’s exuberant baritone statement and an invigorating collective jam that bursts with tonal color.  

The Jazz Orchestra Vol. 1 is a beautifully crafted album that brings Finzer’s A-game to the big band format. His dedication yields fresh surprises at every turn, and we never get tired of this unflagging ‘in the pocket’ drive, always carried out with a modern sensibility.

Favorite Tracks: 
01 - Say When ► 02 - The Guru ► 04 - We The People

Donny McCaslin - Lullaby For The Lost

Label: Edition Records, 2025

Personnel - Donny McCaslin: tenor saxophone; Jason Lindner: synth, piano, electric piano (except #7,8); Ben Monder: guitar (#1,3,4,7,9); Ryan Dahle: electric guitar (#4); Tim Lefebvre: electric bass, synth, electric guitar (except #3); Jonathan Maron: electric bass (#3); Nate Wood: drums (#2,3,6); Zach Danziger: drums (#1,4,5,7,9); Mark Guiliana: drums (#8).

Eclectic as ever, saxophonist and composer Donny McCaslin showcases the breadth of his talent on Lullaby For the Lost, his second release on Edition Records. Lushly produced, the album steps away from his usual electronics-heavy, groove-driven style to embrace a more rock-oriented approach. McCaslin is joined by longtime collaborators Jason Lindner on keyboards and Tim Lefebvre on electric bass, and reunites with guitarist Ben Monder, whose singular brilliance lit up earlier albums like Soar (2006) and In Pursuit (2007). As in Blow (2018), three drummers take turns behind the kit: Nate Wood, Zach Danziger, and Mark Guiliana.

The album begins with “Wasteland,” a darkly elegiac piece steeped in atmospheric guitars and sustained chords. Danziger lays down a polyrhythm-inducing pattern, while McCaslin’s saxophone moans with sorrow and erupts with indignation. The track eventually mutates into a storm of alternative rock and metal, Monder’s guitar seizing the spotlight before volume swells, flickers, and arrhythmic jolts lead it into disorientation. Rage Against the Machine comes to mind.

“Solace” surprises in an optimistic R&B vein, its radiant melody counterbalanced by reflective ambient backdrops. McCaslin delivers a memorable, soulful improvisation, while Wood drives the groove into funk-rock territory with effusive drumming. The vamp at the end recalls Red Hot Chili Peppers. Wood also anchors “Tokyo Game Show”, a contemporary fusion full of sharp turns, influenced by electronica, funk, hip-hop, and rock. Here, we find the bandleader sprinting gleefully into the altissimo register. “Stately”, meanwhile, is a tender ballad introduced by Jonathan Maron’s expressive bass double-stops. 

The energy spikes on “Blond Crush”, a punk-tinged anthem recalling Green Day, with Monder, Lefebvre, and Ryan Dahle’s guitars charging ahead and Lindner’s synth erupting in brief bursts. The title track, initially inspired by Neil Young’s Le Noise (2010), unfolds as a powerhouse ballad built on calm chromatic moves. “KID”, a trio performance with Lefebvre and Guiliana, feels like a hybrid of New Wave and alternative electronic music, growing brawnier as it surges forward.

Invigorated by a distinctly modern sensibility, Lullaby For the Lost is a bold, exploratory, and deeply satisfying work—another testament to McCaslin’s restless creativity.

Favorite Tracks: 
01 - Wasteland ► 02 - Solace ► 06 - Tokyo Game Show ► 07 - Lullaby For the Lost

Henry Threadgill - Listen Ship

Label: Pi Recordings, 2025

Personnel - Henry Threadgill: composition, conduction; Bill Frisell: acoustic guitar; Miles Okazaki: acoustic guitar; Gregg Belisle-Chi: acoustic guitar; Brandon Ross: acoustic soprano guitar; Jerome Harris: acoustic bass guitar; Stomu Takeishi: acoustic bass guitar; Maya Keren: piano; Rahul Carlberg: piano.

On Listen Ship, the one-and-only American saxophonist and composer Henry Threadgill continues to write for ensembles he conducts without featuring him as a soloist. Enlisting a striking lineup, he ventures into bold chamber instrumentation—four acoustic guitars, two acoustic basses, and two pianos— revisiting the knotted intervallic system first explored in 1994 with Song Out of My Trees. To satisfy his needs for a crisp acoustic guitar section, he turned to Bill Frisell, Miles Okazaki, Gregg Belisle-Chi, and Brandon Ross, who provide both precision and enigmatic tones.

The longer pieces prove more captivating. “H” carries a Latin, tango-like undercurrent that feels both exotic and astonishing. “L” begins with contemplative harmonics before yielding to a guitar solo—breathable yet complex—that seems in constructive disagreement with the lyrical fabric woven earlier. “R” takes the group through unconventional routes, wandering across heaven and earth with flexible intent. 

Strings drive much of the album. “B” bursts with animated riffs and counterpoint between guitars and basses, while “F” spirals through abstraction in a restless rhythmic flux. “D” finds the guitars in a quirky, slightly dissonant folk communion, supported by bass plucks that double as percussion. By contrast, “E” is dramatic and suspenseful, showcasing the pianists in cooperative dialogue.

Threadgill’s signature balance of intricate composition and intuitive improvisation challenges his players, who respond with tonal color and different shades. At 81, he remains undeterred in expanding his already monumental legacy.

Favorite Tracks:
02 - B ► 08 - H ► 10 - L

Trio of Bloom - Trio of Bloom

Label: Pyroclastic Records, 2025

Personnel - Craig Taborn: keyboards; Nels Cline: 6-string and 12-string guitars, lap steel guitar, bass; Marcus Gilmore: drums.

The extraordinary artistry of keyboardist Craig Taborn, guitarist Nels Cline, and drummer Marcus Gilmore bears fruit in their new project Trio of Bloom, which also marks their debut recording together. The idea for the group came from producer David Breskin, who envisioned echoes of The Power Tools, the one-off late-’80s trio of Bill Frisell, Melvin Gibbs, and Ronald Shannon Jackson.

Appropriately, the album opens with a piece by Jackson, “Nightwhistlers”. In their freestyle approach, Gilmore unleashes kinetic, arrhythmic throbs; Cline layers firm ostinatos, distorted harmonies, and sharp trills; while Taborn grounds it with plodding synth bass, electronic flourishes, and flickering drones. The piece closes with Cline and Taborn echoing the same chant. 

Taborn contributes two striking originals. “Unreal Light” begins in an ethereal haze before shifting into an African-inspired texture, his synth emulating xylophone timbres. “Why Canada” is spiky and avant-garde, driven by persistent motifs and sinuous rhythmic patterns. Gilmore’s “Breath” emerges as an atmospheric ballad that later gains momentum through his crisp snare and cymbal work, while the shape-shifting “Bloomers”—a free improvisation influenced by electronic music—moves from playful beats to prog-rock intensity.

Cline leaves his stamp with pieces tinged by alternative rock and funk. “Queen King” finds him doubling on bass, laying a funk foundation that ignites once his guitar takes center stage. “Eye Shadow Eye” begins as a spacious ballad with solos from Taborn and Cline, the latter channeling a 1970s blues-rock vibe reminiscent of Cream. “Forge”, an ambient-rock 3/4 excursion pushed forward by Gilmore’s ebullient drumming, grows darker and denser before segueing into “Bend It”, Terje Rypdal’s 1974 piece, which Cline funkifies on bass guitar.

Thinking outside the box, Trio of Bloom binds grooves, atmospherics, and inventive improvisation into a vibrant new sonic whole. Their intersections feel urgent and luminous, defying genre preconceptions with boldness and imagination.

Favorite Tracks:
01 - Nightwhistlers ► 07 - Eye Shadow Eye ► 08 - Why Canada ► 09 - Forge

Carmen Staaf - Sounding Line

Label: Sunnyside Records, 2025

Personnel - Carmen Staaf: piano; Ambrose Akinmusire: trumpet; Ben Goldberg: clarinets; Darren Johnston: trumpet; Dillon Vado: vibraphone; John Santos: percussion; Hamir Atwal: drums.

In her latest album, Sounding Line, pianist and composer Carmen Staaf probes different lineups and approaches, reimagining the music of pianists Mary Lou Williams and Thelonious Monk as intimate ‘conversations’. Inspired by their friendship and shared musical sensibilities, Staaf revisits two Monk pieces and three Williams gems—respectful but never slavish—while adding two of her own.

Duets with the incomparable trumpeter Ambrose Akinmusire bookend the album. Williams’ “Scorpio” is stripped down to a six-beat piano bass figure over which Akinmusire unfurls his rich lyricism and unmistakable tone before the duo slides seamlessly into a 4/4 blues. The closer, Staaf’s “The Water Wheel” conjures magic. There’s nowhere to hide in a piano/trumpet duet and yet their introspective, dreamlike aura feels so natural and captivating—a rare convergence of aural bliss. Akinmusire devastates with his lyrical intensity before the texture swells toward an emotional climax.

A delightful lightness pervades Williams’s “Libra”, whose mix of poignancy and radiance is reinforced by clarinetist Ben Goldberg. The thoughtful piano comping and well-coordinated passages help rising the emotional levels. Goldberg is even more prominent on “Koolbonga”, an exotic Williams blues where he makes the bass clarinet groove with an agitated simmer. Presented in a quintet format, it brings trumpeter Darren Johnston and vibist Dillon Vado—here on tambourine—into tight coordination with Staaf and drummer Hamir Atwal.

The Monk selections are equally inspired. “Bye-Ya” features percussionist John Santos in a groovy dance designed with a peculiar lilt, harmonic sophistication, and quirky intervallic melodicism. “Monk’s Mood”, atmospherically rendered in rubato mode, has its theme built with Vado’s airy vibes.

Staaf’s “Boiling Point”, inspired by Monk’s “Shuffle Boil”, toys with tempo shifts, featuring solos from Johnston, who employs slick jazzy lines, and Staaf, who ventures fearlessly across Goldberg’s clarinet foundation and Atwal’s flickering brushwork.

Favorite Tracks:
01 - Scorpio ► 03 - Libra ► 07 - The Water Wheel

Nadav Remez - Summit

Label: Outside In Music, 2025

Personnel - Nadav Remez: guitar; Gregory Tardy: tenor saxophone, clarinet; Guy Moskovich: piano; Ben Tiberio: bass; David Sirkis: drums.

It’s not uncommon for a musician’s most personal to also become an artistic triumph, driven sincerity, effort, and honesty. That’s the case with Israeli guitarist and composer Nada Remez, whose sophomore album, Summit, places him in the company of American saxophonist Greg Tardy, pianist Guy Moskovich, bassist Ben Tiberio, and drummer David Sirkis. The program features eight Remez originals, written over the pat two decades, alongside three covers.

With a clean tone and resolute attack, Remez opens with “The Awakening”, a mature, layered piece that causes frisson at every turn. A solo piano prelude yields to a bass melody, the drums fortify the atmosphere, and the saxophone guides sumptuous melodic paths with the aid of the guitar. It’s as if John Abercrombie’s magic guitarism met a modal slice of Jewish folk, briefly disrupted by contemporary effects.

The quintet reimagines Yedidia Admon’s “Shedemati”, a century-old agricultural song, with sharp focus and modal enchantment. Entrancing bass lines launch solos from Remez, who colors under a swinging backdrop; Tardy, whose phrases weave in and out without losing narrative articulation; and Moskovich, who, catching Tardy’s solo tail, develops from there his own ideas.

Marked by epic expansiveness and exploratory drive, “Hephaestus” unfolds as an odd-metered contemporary klezmer before Tardy’s blazing solo. On Noam Sheriff’s “Hinach Yaffa Raayati”, harmony and rhythm are laid down with a modern feel, with the luminous main melody fronting a well-developed theme. The group shows cohesiveness, riding sequences of 16-beat cycles with joy and purpose. 

Remez’s compositions demand both skill and sensitivity, qualities the group embodies fully on “Beyond!”, with its asymmetric form and the bandleader’s hypnotic, patiently built solo. Remez trades ideas with Tardy on the title track, while the saxophonist also shines on the closer, “Adon Olam”, a traditional Jewish prayer lifted into spiritual resonance. 

Authentic and deeply personal, Remez’s style radiates integrity. Summit not only showcases his voice but also the remarkable chemistry and talent of his quintet.

Favorite Tracks:
01 - The Awakening ► 02 - Shedemati ► 04 - Hephaestrus ► 09 - Beyond!

Johnathan Blake - My Life Matters

Label: Blue Note Records, 2025

Personnel - Dayna Stephens: tenor and soprano saxophone, EWI; Jalen Baker: vibraphone; Fabian Almazan: piano, electronics; Dezron Douglas: upright and electric bass; DJ Jahi Sundane: turntables (#1,9); Bilal: vocals (#4,14); Johna Blake: additional electric bass (#13); Muna Blake: spoken word (#6); Johnathan Blake: drums, cymbals.

In his third album for Blue Note Records, drummer/composer Johnathan Blake—long regarded as a rhythm architect and prominent figure in the scene—delivers an adventurous and deeply personal musical statement that addresses racial injustice. Leading a core quintet with saxophonist Dayna Stephens, vibraphonist Jalen Baker, pianist Fabian Almazan, and bassist Dezron Douglas, Blake presents a 14-track suite comprising six expansive compositions and eight interludes that serve as canvases for solo or duo explorations.

“Broken Drum Circle For the Forsaken” opens with DJ Jahi Sundance’s turntables and samples entwined with Blake’s vivid, wide-ranging drumming, which also commands the solo piece “Can You Hear Me?”, a clattering, booming outcry of skins and cymbals.

“Last Breath”—a tribute to Eric Garner, murdered by chokehold—moves in 5/4, beautifully delineated by Baker’s vibes for an airy, intimate feel. There’s a high-flying solo by Stephens on EWI, followed by a 4/4 swinging motion that accommodates Baker’s solo, before returning to its original current for Almazan’s persuasive discourse. Longer works such as “My Life Matters” and “Can Tomorrow Be Brighter” highlight Blake’s sharp compositional intellect alongside the quintet’s formidable execution. The former—a warhorse professed with affirmation, energy, and plenty of groovy fantasy—is lifted by Stephens and Baker’s soulfully improvised exchanges as well as Almazan’s versatile pianism within a subtly Latinized passage rich in harmonic counterpoint; the latter piece, delivered in five and propelled by an urgent bass groove and excellent percussion work, climaxes with Stephens, who leaves orbit with a delightful tenor statement.

Almazan introduces the ballad “Requiem For Dreams Shattered” with a solo piano oratorio and electronics, later opting for a string of catchy riffs in his testimony. Guest vocalist Bilal deepens the impact, while Stephens adds an emotionally charged soprano saxophone solo.

The interlude “I Still Have a Dream” pairs Douglas’ bass pizzicato with Muna Blake’s spoken word—the poem is by her mother, Rio Sakairi. “That Which Kills Us Makes Us What?” is a haunting EWI eulogy that makes an impression. In turn, “We’ll Never Know” is a fulfilling waltz rooted in soul and gospel, channeling echoes of Ray Charles and Billy Joel while keeping hope alive.

Favorite Tracks:
02 - Last Breath ► 07 - My Life Matters ► 11 - Can Tomorrow Be Brighter