Frank Carlberg - Dream Machine

Label: Red Piano Records

Personnel - Frank Carlberg: piano, Fender Rhodes; Hery Paz: tenor saxophone; Leo Genovese: Hammond B3, Farfisa organ, synths; John Hébert: bass; Dan Weiss: drums.

Frank Carlberg, a Finnish jazz pianist and composer of remarkable talent, unveils Dream Machine, a stellar album that encapsulates his unique ability to unify diverse musical elements into a cohesive whole. Continuing to expand the boundaries of his art form, Carlberg assembles a sensational new quintet of New York-based artists featuring the breathtaking Cuban-born saxophonist Hery Paz, the sublime Argentine keyboardist Leo Genovese, the steadfast French bassist John Hébert, and the enlightened American drummer Dan Weiss.

Among the album’s 13 compositions, four are ‘Dream’ pieces, inspired by literature, cinema, magic shows, and other artistic experiences. Fueling creativity and discovery, “Dream I” thrives on conscious pulsation and spatial glitches, while “Dream II” embraces a freer, improvisatory nature. “Dream III” surges with invigorating thrust and robust tenor saxophone playing. 

Paz, an authority on tenor saxophone, demonstrates an impeccable command of every note he plays. He shines in “The Jester”, a motif-driven piece delivered with melodic accentuation, humor, and rhythmic agility, where his interplay with Carlberg and Genovese is nothing short of immaculate. He also excels on “Reconstruction”, igniting powerful bursts of sound in an avant-garde jazz setting that emerges from an initial swinging momentum set by bass and drums. Genovese contributes a fusion-leaning solo, complemented by Carlberg’s intuitive piano accompaniment. Weiss takes the spotlight with an unaccompanied improvisation before the theme’s return, infused with Monk-like angularity.

Inspired by the dreams, anxieties, and thoughts of David Zimmer—the protagonist of Paul Auster’s The Book of Illusions—“Zimmer’s Dream” is pure modern creativity highlighted by outstanding saxophone and drums. Weiss uses brushes and drumsticks in the exquisite post-bop-meets-gospel “Into the Sunset”, scraping tones off the drum surfaces with finesse, while Hébert early infuses “Nostalgia” with his bass meditations before calm sax-piano unisons emerge. “Search and Rescue” showcases superior interplay, segueing into “Light Matter”, a no-friction idea that gradually intensifies, exploring the limits.

A testament to Carlberg’s prowess as a composer and arranger, Dream Machine brims with thrilling, virtuosic moments—both in individual improvisations and the collective synergy of the ensemble. It stands as one of his finest works in years.

Favorite Tracks:
03 - The Jester ► 05 - Dream II ► 06 - Reconstruction ► 09 - Zimmer’s Dream

Jon Irabagon - Server Farm

Label: Irabbagast Records

Personnel - Jon Irabagon: tenor and sopranino saxophones, effects; Mazz Swift: violin, voice; Peter Evans: trumpet, flugelhorn; Matt Mitchell: piano, Fender Rhodes, Prophet-6; Miles Okazaki: guitar; Wendy Eisenberg: guitar; Michael Formanek: acoustic bass; Chris Lightcap: electric bass; Dan Weiss: drums; Levy Lorenzo: kulintang, laptop, electronics, vibraphone.

Saxophonist/composer Jon Irabagon stands as a pivotal figure in the contemporary jazz universe, with a catalog of starkly expressive albums that exemplify excellence in creative, improvised music. This year, he presents Server Farm, an electrifying work that explores the threats and promises of A.I. To realize this vision, he leads a super electro-acoustic ensemble with an unconventional instrumentation. 

New sonic avenues are constantly emerging in this cutting-edge experience, beginning with “Colocation”, brilliantly introduced by Levy Lorenzo’s kulintang (a system of gongs). Acid vibes bubble up, infused with sensibilities of free funk and avant-garde jazz. Chris Lightcap on electric bass and drummer Dan Weiss thrive in a rhythmic symbiosis, while Matt Mitchell delivers a clamant keyboard solo. The guitar noise of Miles Okazaki and Wendy Eisenberg collides with Mazz Swift’s violin and the boisterous horn entanglements of Irabagon and trumpeter Peter Evans. A calm chamber passage provides a momentary contrast before a violent orchestral flux paves the way for a wonderfully explorative solo from Evans. A methodical pulsation, led by vibraphone and interwoven horn lines, builds toward a revolutionary, chaotic ending.

“Routers” carries a sumptuous Latin drive shaped by opposing rhythms and offbeat phrasing. Added after the initial recording, Irabagon’s tenor sax solo stands out, and the piece concludes like an ethnic dance, enriched by wafting violin. “Singularities” unfolds with hyper-fluency, shifting from a lavish avant-jazz symphony—marked by resounding unisons—to guitarists carving out individual space with their outside-the-box inflections, before settling into a jazzy R&B passage that emotionally resonates with the listener. It traverses a mantra-like, rock-fueled ambiance before culminating in a fantastic 3/4 extravaganza, a bold display of rhythmic audacity.

“Graceful Exit” opens with the earthy, assertive bowed bass of Michael Formanek. Electronics, piano, and drums gradually layer in before the ensemble momentarily pauses the wild excitement for a lyrical Ellingtonian section, evoking the charm of a classic jazz standard. The album’s offbeat conclusion comes with “Spy”, an entrancing, penetrating, and intricately layered piece featuring a pandemic-era poem written by Irabagon, bass pedals, vibing chimes, and agitated buzzing sounds.

Irabagon thrives in progressive musical landscapes, forging a new identity with Server Farm. His collaborators, all deeply invested in conveying his message, contribute to yet another game-changing epiphany—one where there’s always more than just the sum of the parts.

Favorite Tracks:
01 - Colocation ► 03 - Singularities ► 04 - Graceful Exit

Tom Teasley featuring Dave Ballou - Lunch Break

Label: Self released, 2025

Personnel - Tom Teasley: all drums and percussion; Dave Ballou: trumpet.

Lunch Break is a creative drums-trumpet album where positive energy is felt throughout, offering a unique and harmonious confluence of sounds and timbres. The orchestrators are world-music-leaning percussionist Tom Teasley, who composed all tracks, and avant-garde jazz trumpeter Dave Ballou, whose distinctive, organic phraseology floats atop eclectic rhythmic tapestries. Having previously collaborated in a band led by drummer Jeff Cosgrove, the duo displays undeniable technical proficiency and refined musical choices throughout.

Teasley, a Virginia native, initiates much of the music. In “Tips in Baghdad” he transitions from a Mesopotamian frame drum to a drumset, drawing on memories of a tour in Iraq and a 1980s gig in New Orleans. The groove carries mysticism and certitude, while Ballou showcases remarkable clarity, moving from pristine sustained notes and ambiguous melodic phrases to incisive motivic sequences.

“Four On Six” offers mercurial groundwork, with a cyclic bembé pattern in six dissolving into a 4/4 groove, over which Ballou’s buoyant trumpet dances with joy. The duo’s strong chemistry continues to shine as various grooves unfold. “When The Wind Cries” is a tearful rubato ballad, entrancingly harmonized by the Rav Vast drum and colored by shimmering cymbals, contrasting with the poignancy of the trumpet. A similar orchestration graces “Prayer For The Ancestors”, where a deep spiritual aura results from the duo’s insightful musical input. 

“For Max”, a solo percussion effort blending resonant drum timbres and metallic sparks, and “Mop Shake and Roll”, marked by foreign tinges and imaginative rhythmic verve, pay homage to legendary jazz drummer Max Roach. The duo demonstrates exceptional responsiveness in the dynamic “Rush Hour”, reacting to every intriguing stimulus. Sometimes they march, sometimes soar, and sometimes swing, navigating an avant-garde jazz direction with skill and vision. Meanwhile, “Jongo” emanates a joyful vibe, seeking light while avoiding darker corners. Teasley’s masterful percussion clears the way for Ballou’s agile, idiosyncratic trumpet explorations.

On the sprightly “Riqq Talk”, Middle Eastern flavors blend with South Indian Carnatic music. Teasley plays the Egyptian riqq (tambourine) and incorporates his voice, while Ballou interjects with muted trumpet responses. This exceptionally pleasant fusion album showcases Teasley and Ballou's deep musical connection, as their sophisticated interplay transports listeners to distant, intriguing places.

Favorite Tracks:
01- Tips in Baghdad ► 05 - Rush Hour ► 07 - Jongo

Ambrose Akinmusire - Honey From a Winter Stone

Label: Nonesuch Records

Personnel - Ambrose Akinmusire: trumpet; Kokayi: vocals; Sam Harris: piano; Chiquitamagic: synths; Dustin Brown: drums + Mivos Quartet.

The inimitable trumpeter and composer Ambrose Akinmusire stands among the most creative and ambitious musicians of his generation. His new outing, Honey From a Winter Stone, is a visionary collection of originals inspired by the work of composer Julius Eastman. Here, Akinmusire channels the fears and struggles of Black men, striving to deepen emotional expression while adhering to well-constructed frameworks.

The album’s five original compositions are vivid and powerful, fusing elements of jazz, classical, and hip-hop to forge an authentic style where ethos and cohesion take center stage. “Muffled Screams” evokes a near-death experience Akinmusire survived, beginning with Sam Harris' plaintive piano lines, supported by Justin Brown’s cymbal colorations and tom-tom eruptions. Akinmusire balances texture and color, crafting a shimmering lyricism whose elongated tones intensify both melancholy and primal cries.

“Bloomed” opens with the Mivos Quartet fully commanding a modern classical exploration, eventually morphing into a groovy, hip-hop-infused jazz atmosphere that highlights Akinmusire’s expressive phrases. “MYanx” features fleet, intricate drumming, ominous synths by Chiquitamagic, Kokayi’s commanding spoken word, and rhythmic, motivic string gestures. These elements converge with sharp, piercing trumpet lines that amplify and expand the tonal landscape.

A fat, rounded bass synth and an entrancing hip-hop beat permeate “Owled”, one of the album’s most captivating pieces. The Mivos Quartet and Kokayi shine here, delivering their grippiest performance, but there’s also an ambient middle section with soaring vocals before the piece concludes with piano, strings and cymbals finding common ground. 

Headed in an intriguing direction, “s-/Kinfolks” is a 29-minute odyssey traversing avant-garde ambient textures, free funk downtempo, and outlandish free jazz improvisation with the same penchant for experimentation. Akinmusire plays with élan and explores extended techniques. His performance becomes more melodic during a delicate passage softened by introspective piano and crestfallen strings. A hip-hop groove underpins Kokayi’s authoritative rap before culminating in two captivating duologues: trumpet over strings and piano over drums.

This engaging, honest session reveals Akinmusire’s musical versatility and essential message, offering a remarkable showcase of his exceptional artistry.

Favorite Tracks:
02 - Bloomed ► 04 - Owled ► 05 - s-/Kinfolks

John Patitucci - Spirit Fall

Label: Edition Records

Personnel - John Patitucci: acoustic and electric bass; Chris Potter: tenor and soprano saxophone; Brian Blade: drums.

Spirit Fall marks a virtuosic and high-energy album from bassist and composer John Patitucci, who leads an irresistible all-star New York trio featuring saxophonist Chris Potter and drummer Brian Blade. Together, they infuse nine Patitucci originals and one cover with their distinct creative flair.

In the wickedly inventive opener, “Think Fast”, the trio propels the music forward, embracing a lively atmosphere brimming with humor and groove. Potter, a fearless improviser, seamlessly blends folk and post-bop elements with articulate, sophisticated phrasing. Patitucci’s solo stands out for its rhythmic inventiveness and magnetic note alignments, while Blade’s elegant drumming remains transparent yet propulsively engaging. The drummer collaborates closely with Patitucci on “Pole Star”, painting vivid tonal landscapes that lend the piece a palpable tactility. Here, Patitucci delivers a robust, precise bass solo, while Potter's saxophone statement stirs both energy and emotion.

“Deluge on 7th Avenue” finds the ace rhythm section crafting an infectious funky groove before settling into a 12-bar blues form. Another deliberate funk crusade is offered in “Lipim”, which means hope in the Yemba language from Cameroon. A compelling groove and constructive saxophone lines drenched in effects make it more stimulating. Less ferocious yet equally effective, their rendition of Wayne Shorter’s “House of Jade” feels both seductive and empowering, with Potter’s dramatic leaps perfectly balanced by the nearly telepathic rapport between Patitucci and Blade.

On “Thoughts and Dreams”, Patitucci demonstrates remarkable technical prowess, extracting superb intonations from his six-string electric bass. He stretches with elastic grace during the introspective, abstract opening before transitioning to a blues-inflected closing segment. The title track, “Spirit Fall”, embarks on a phenomenal modal journey filled with splendid bass guitar chords as well as searing soprano saxophone licks and exultant drum fills. In turn, “Sonrisa” astutely links contemporary jazz to Latin rhythms, maintaining fluidity while showcasing Patitucci’s deep allegiance to groove and fusion. These are pieces that resonate with profound inspiration, echoing the enduring influence of Herbie Hancock, Joe Henderson, and Chick Corea. 

Recorded in a single day, Spirit Fall is an accessible album whose tracks are layered from interesting angles, fostering unity and spiritual growth in today’s fragmented world. The trio distills their pure sounds with humanity and power, and their effort results in a thoroughly exciting and rewarding listening experience.

Favorite Tracks:
01 - Think Fast ► 02 - Pole Star ► 05 - Spirit Fall

Tim Berne - Yikes Too

Label: Screwgun Records / Out of Your Head Records

Personnel - Tim Berne: alto saxophone; Greg Belisle-Chi: guitar; Tom Rainey: drums.

The influential saxophonist Tim Berne leads a new explorative trio called Capotosta, taking listeners on a sonic journey filled with hidden treasures. Berne enjoys the inventive support of two other creative visionaries: guitarist Greg Belisle-Chi, a recent yet highly compatible collaborator, and drummer Tom Rainey, a longtime associate who played an important role in Berne’s acclaimed avant-jazz trios Big Satan and Hardcell.

Yikes Too is a double album with two distinct parts. The first disc features ten studio tracks recorded at Firehouse 12 in New Haven, while the second captures a live concert performance in Seattle. The album’s mixing and mastering are handled by guitarist and producer David Torn, Berne’s collaborator in the Sun of Goldfinger and Sunny Five projects.

The trio’s telepathy and responsive cohesion has been honed through weekly gigs at Brooklyn’s Lowlands. This synergy is evident from the opening track, “Oddly Enough”, which showcases their like-mindedness, Berne’s creative genius, and Rainey’s vibrant drumming that balances angular unisons. The shifting rhythmic patterns create space for Belisle-Chi’s abstract guitar explorations, which Berne joins with soaring alto sax lines over contorted noise guitar textures and charged drum activity.

In a nearly 10-minute odyssey “Guitar Star”, Belisle-Chi’s distorted introduction evokes dark shadows, oscillating between eerie Celtic underworld sounds and radiant bursts of light piercing through opaque textures. “Yikes” blends alternative rock with avant-garde jazz as Berne delivers expressive melodies brimming with twists and tangles.

Rainey’s drumset mastery shines on “Yikes 2”, flanked by robust, deliberately imperfect sax-guitar unisons, and “Julius Hemphill”, a reflective tribute to Berne’s mentor and hero. Operating on the same wavelength, the musicians offer beautiful, emotionally stricken moments, and the piece evolves into a foreign dance propelled by intricate rhythmic patterns.

“Bat Channel” offers a compelling framework of engrossing chordal accompaniment, eloquent sax lines, and comfortable chatting drums. “Trauma”, on the other hand, feels chantingly motivic with its cohesive ideas and nonconformist pulse, driven by an articulate 12-beat cycle riff that makes us feel the ground under our feet. The first disc closes with “Sorry Variations”, a sometimes-free, sometimes-mathematical excursion of spontaneous linguistic expression that embodies the album’s overarching mood.

Berne continues to carve out a unique niche as both a visionary artist and fierce improviser. His collaborators also deserve significant credit for the album's dynamic success.

Favorite Tracks:
01 - Oddly Enough ► 03 - Yikes ► 06 - Julius Hemphill ► 08 - Trauma

Dayna Stephens - Hopium

Label: Contagious Music

Personnel - Dayna Stephens: tenor saxophone; Aaron Parks: piano; Ben Street: bass; Greg Hutchinson: drums.

Dayna Stephens has established himself as a prominent saxophonist and sought-after sideman. His new quartet album, Hopium—a portmanteau of the words ‘hope’ and ‘opium’—features the same ensemble that brought Right Now! Live at the Village Vanguard (2020) to success. The album comprises seven original compositions by Stephens and one by Parks.

Opening the set, “Drive North to Find the Oranges Out West” unfolds elegantly, employing melodic ambiguity and harmonic complexity to explore the uncertainties and possibilities of life's winding paths. The following track, “Jump Start”, pays homage to Herbie Hancock’s “A Jump Ahead” and stands as a spirited, successful experiment. Ben Street's pulsating bass—renewed with woody resonance every 32 bars—anchors the piece, complemented by Greg Hutchinson’s simmering drum patterns and Parks’ colorful piano voicings. Stephens delivers a free-flowing, serpentine saxophone performance that defies conventional standards. The quartet grooves with post-bop vitality, closing on a slightly sinister note.

“Trust” reveals a softer side with thoughtful, balladic statements, while the title track, “Hopium”, exudes a tango-like expressiveness, navigating the space between optimism and denial. Its rhythmic and melodic captivation culminates in an unresolved chord, symbolizing lingering doubt and cynicism. This leads seamlessly into “Occasionally Cynical”, a fluid and exploratory piece filled with ternary rhythmic fluxes and rubato passages. Stephens masterfully guides the haunting theme, spinning out coolly lyrical reflections imbued with modernity.

Before the closing track, “As Truth Rises Above Power”, which features the dynamic guitar work of guest Charles Altura, there’s Parks’ “Hard-Boiled Wonderland”, leaning into the sounds of Sam Rivers’ “Cyclic Episode” and Chick Corea’s “Humpty Dumpty”, and drawing inspiration from Haruki Murakami’s concept of alternate realities. Though the piece maintains an intentionally gentle lyrical pulse, tension subtly simmers beneath the surface.

Hopium is a different album that makes sense within Stephens’ oeuvre. Yet, it is not an immediate album. Some listeners may be disappointed by the departure from common jazz threads, while others will be captivated by the unusual colorings offered by these four resourceful musicians.

Favorite Tracks:
02 - Jump Street ► 05 - Occasionally Cynical ► 06 - Hard-Boiled Wonderland

Cody Steinmann - Confined Spaces

Label: self released

Personnel - Cody Steinmann: guitar; Chris Bates: bass; Abinnet Berhanu: drums.

Minneapolis-based guitarist and composer Cody Steinmann tales the isolation of the Covid-19 lockdown and themes of spiritual growth with crushing noise textures and streamlined melodies on his sophomore album, Confined Spaces. The guitarist works with bassist Chris Bates and drummer Abinnet Berhanu, expressing his stream-of-consciousness reactions within a rock-centric framework.

Bookending the album is “Abide With Me”, a homage to Thelonious Monk and a plea for resilience in today’s challenging world. The opening rubato version feels than the closing rendition. Supporting the distorted guitar itineraries and surprising harmonic colors are robust bowed bass foundations and cymbal legatos. 

The second track, “Not Sappy at All”, bursts forth as an energetic, exceptionally musical alternative rock song with infectious feel-good vibes, a seismic mass of sonic pollution, and rhythmic agility in a shredding, danceable exploration. Steinmann’s guitar shifts pitch via synth effects near the track’s end.

Without diminishing the compositional rigor, the abrasive “Ben” opens with a suggestive guitar introduction before leading us into a steady 4/4 rhythmic flux topped by inside/outside guitar inflections. Meanwhile, “Lust” makes its bed with a crisp bass figure, laying down an early groove that welcomes exploratory chording and melodic flourishes. The three-time feel becomes salient at a certain point, before a five-beat vamp settles in.

The album’s jazziest offering is “Dodo Birds Aren’t Dumb Humans Are”, featuring sinuous, chromatic lines performed with a free-bop posture. There’s also a country-tinged surprise in “Red River Valley”, where Steinmann delivers slippery lines as Berhanu gooses him with snappy brushwork. The title cut, “Confined Spaces”, explores a dense mesh in a boisterous arrangement that includes an articulate bass solo, extended heavy-breathing guitar reflections, and a drummer-led vamp.

On balance, Confined Spaces is deftly executed, often marked by rock potency and ruthless determination. Its intoxicating narratives are likely to resonate more with alternative rock enthusiasts than with jazz purists.

Favorite Tracks:
02 - Not Sappy at All ► 03 - Ben ► 05 - Dodo Birds Aren’t Dumb Humans Are

Henrik Jensen - Above Your House

Label: Babel Label

Personnel - Henrik Jensen: double bass; Esben Tjalve: piano; Dave Smith: drums.

Danish-born bassist and composer Henrik Jensen delivers his fourth album as a leader, Above Your House. Having lived in the UK for over 20 years, Jensen transitioned from studying electric bass to mastering the double bass. His cohesive trio features longtime collaborators: Danish pianist Esben Tjalve, who recently returned to Denmark after two decades in England, and English drummer Dave Smith, who spent seven years playing with Led Zeppelin frontman Robert Plant.

The lively opener, “Blow-ins”, kicks off with a dynamic groove that immediately grabs the listener’s attention, showcasing both rhythmic resilience and strength. The track highlights Jensen’s artistry as he navigates smooth rhythmic transitions, injects harmonic color, and solos deftly over the three-time feel crafted by Tjalve and Smith. “Brain Brexit” follows a lyrical piano classicism, elegantly spread over a steady rhythmic foundation. The piece builds to a final six-beat vamp that inspires and energizes Smith to react.

In “The Hunt”, Smith’s brushwork introduces an ambiguous, exploratory texture, soon settling into a delicate 4/4 progression marked by a lilting touch. The trio shifts into a brighter mode on “The Bridge”, which favors a consonant collective articulation. Complexity and fluidity are seamlessly intertwined, with another vamp providing a platform for Jensen’s melodic depth. 

Compositions like “Last of the Dogs” feel tailored to the trio, hinting at Monk-like accentuations as it offers forward-looking melodic cruises. Less buoyant, the title track, “Above Your House”, unfolds as a ballad with sinuous unison lines from Jensen and Tjalve, complemented by Smith’s soulful brushwork.

Jensen, who continues to expand his palette as both a bandleader and composer, makes compelling moves alongside his trio. Teamwork is what really stands out here, and that’s no simple task.

Favorite Tracks:
01 - Blow-ins ► 03 - The Hunt ► 05 - The Bridge

Jeong Lim Yang - Synchronicity

Label: Sunnyside Records

Personnel - Jeong Lim Yang: bass; Mat Maneri: viola; Jacob Sacks: piano; Randy Peterson: drums.

Korean-born, Brooklyn-based bassist and composer Jeong Lim Yang has brought together an adventurous crew of seasoned, forward-thinking musicians and mentors to shape her third album, Synchronicity. The collection of seven original compositions explores a wide range of sounds and moods, weaving narrative through both improvisation and composition, and skillfully balancing tension and release.

The title track, “Synchronicity”, opens the album with a minimal structure and polyrhythmic texture, featuring Jacob Sacks’ freely flowing piano lines in a whimsical exploration with tempo variations. The piece is layered with Mat Maneri’s poignant viola wails, Yang’s fluid and loose-limbed bass, and Randy Peterson’s understated drum playing. “Ordinary Waltz” defies its name, placing a captivating melodic riff at its center, while obliterating any obvious 3/4 time feel through a dizzying fusion of folk, blues, and avant-chamber-jazz nuances. 

“Morning Glory”, inspired by Rodgers/Hammerstein’s show tune “Edelweiss” from the film The Sound of Music, plunges into ambiguity with its woozy and unpredictable arrangement. Meanwhile, “Body Nor Soul”, a contrafact of the ballad standard “Body And Soul”. With melodic nuance and strobing incantations, each musician—excluding the drummer—takes their time to deliver beautifully improvised passages. The hard-swinging “Salad For Lunch”, composed by Sacks, showcases his solo, which bridges traditional and progressive ideas. Yang follows with a groove that is both clear and expressive, while Peterson extends the rhythmic flow with exquisite drum swells.

“Weeping Dream” radiates a haunting beauty, reflecting the sorrowful emotions inspired by a Covid-related dream. Wintry piano arpeggios, vivid bass descriptions, and often dissonant viola cries combine to create a muted, somber scenario. “Stimmung” begins with Yang’s expressive bends, slides and plucks, paired with Peterson’s crackling, fireworks-like sounds, before transitioning into a more harmonically defined section that supports a folk-inspired confluence of distinct melodies. 

Yang and her ensemble make the material sound simultaneously lucid and open-ended. With its thoughtful execution, Synchronicity has the potential to elevate Yang’s visibility in the jazz world.

Favorite Tracks:
02 - Ordinary Waltz ► 04 - Salad For Lunch ► 05 - Weeping Dream

Benjamin Lackner - Spindrift

Label: ECM Records

Personnel - Mark Turner: tenor saxophone; Mathias Eick: trumpet; Benjamin Lackner: piano; Linda May Han Oh: bass; Matthieu Chazarenc: drums.

German pianist and composer Benjamin Lackner assembled an outstanding quintet for his ECM sophomore album, Spindrift. Norwegian trumpeter Mathias Eick returns after appearing on Lackner’s debut album, Last Decade (2022), while American saxophonist Mark Turner and bassist Linda May Han Oh join as exceptional new contributors, enriching Lackner’s understated compositions with their nuanced artistry. French drummer Matthieu Chazarenc, a longtime collaborator, rounds out the group and contributes one piece to the album.

Lackner’s compositions are precisely mapped out, becoming quietly enveloping and lavishly unhurried, yet never elevated to exalted heights. There are moments of radiant beauty, like the title track, “Spindrift”, which transitions from a rubato meditation to a 7/4 rhythmic flow over which Lackner and Turner stretch out in a sheer display of finesse and delicacy.

Other highlights include Chazarenc’s spacious “Chambary”, where the horn players swoop around in tandem in a well-wrought delivery, and “Fair Warning”, which leans into enigmatic tones, built on nuanced bass pedal points and piano suspensions that provide a churning backdrop for the soloists.

Airiness and feather-like touches compose the soaring “Mosquito Flats”, introduced by tender pianism and buzzing bowed bass. Eick leads the way before dancing in unison with Turner’s saxophone, later trading a few bars of improvisation before rejoining forces and concluding in harmony. “More Mesa” retains the same melancholic introspection, weaving effortless, lyrical melodies with classical influences in the piano work, while the pseudo-cinematic “Murnau” feels more dolefully dramatic than figuratively expressionistic.

Anchored by its sensitive, subtle palette, Spindrift may not always feel exciting. It’s undoubtedly competent material whose subdued nature may leave one wishing for more intensity.

Favorite Tracks:
01 - Spindrift ► 04 - Chambary ► 07 - Fair Warning

ARBOR - Arbor

Label: PKmusic

Personnel - Michalis Tsiftsis: guitar; Yiannis Papadpoulos: piano; Yiannis Vagianos: bass; Nick Thessalonikefs: drums.

ARBOR is a contemporary Greek jazz quartet with a versatile flow and a keen microscopic focus. The band’s name is not only a reference to the wildfires that have been devastating Greece’s landscape for years but also a word of protest against the destruction of natural habitats. Three members of the quartet contribute compositions—four by co-leader/guitarist Michalis Tsiftsis, three by co-leader/bassist Yiannis Vagianos, and one by pianist Yiannis Papadpoulos. Rounding out the group is drummer Nick Thessalonikefs.

“Polygonal” opens the eponymous debut album with a pulse in triple time before expanding shapes and bending angles while shifting into a 4/4 meter. The track boasts a catchy melody, a hallmark also evident in “Dream Machine”. This introspective ballad showcases the group’s stylistic range, blending dreamy tones and glam-rock melancholy reminiscent of Radiohead and Placebo, all propelled by a simple yet effective marching drum pattern. The track, named after a stroboscopic flickering light art device, carries an evocative and cinematic quality. 

Vagianos’ “Fundamental” highlights the quartet's polyrhythmic sensibilities, drawing inspiration from Nik Bartsch’s minimalistic approach. Tsiftsis adds depth with distortion, while Papadopoulos injects dramatic intensity through his pianism. Both musicians deliver uninhibited, impassioned solos. Tsiftsis’ “Counterfactual” embodies a spirit of adventure, radiating energetic transcendence and forward-thinking dynamism. After a commanding guitar statement, Papadopoulos takes the lead with a vibrant, subtly intricate piano discourse that flows seamlessly into the track’s bright and colorful theme.

ARBOR maintains their distinctive sonic identity throughout, including on “Blues”, which defies its title by eschewing traditional blues conventions. Instead, it layers bowed bass, piano, and guitar to create a meditative, pathos-filled atmosphere of subdued grace and suspension. The album comes to a close with “Nicotine”, another tune with rock propensity. Unfolding in seven, this number features a scalding dialogue between Tsiftsis and Papadopoulos, who first take turns before intersecting their sounds. The group then opts for hyperrealistic bluesy and gospel chops in the last section.

With masterful command of their instruments and a first-rate debut, ARBOR emerges as a bold and promising force in contemporary jazz.

Favorite Tracks:
02 - Fundamental ► 05 - Counterfactual ► 07 - Dream Machine

Clemens Kuratle Ydivide - The Default

Label: Intakt Records

Personnel - Dee Byrne: alto saxophone; Elliot Galvin: piano, electronics; Chris Guilfoyle: guitar; Lukas Traxel: bass; Clemens Kuratle; drums, electronics.

In his new album, The Default, Swiss drummer and composer Clemens Kuratle delves into themes of racial and gender bias and the privileges of modern Western society. Recording with his ensemble Ydivide for the second time, this follow-up to their acclaimed debut, Lumumba (Intakt, 2022), brims with dynamic four-way conversations, balancing big ideas and alluring sounds. His collaborators - English saxophonist Dee Byrne, Irish guitarist Chris Guilfoyle, Swiss bassist Lukas Traxel, and English pianist and electronic musician Elliot Galvin - bring depth and texture to create vibrant modern mosaics.

The title track, “The Default”, exudes a relaxed, dreamy vibe, marked by its mellifluous flow. Solos from Byrne and Guilfoyle stir emotions, with the guitarist skillfully catching the tail of the saxophonist’s statement and developing it with purpose and clarity. “Hamster’s Wheel” is a uniquely beautiful piece initiated by an expressive, delineative bass figure that becomes a wellspring of inspiration. The quintet’s interplay includes powerful unisons and counterpoints before transitioning to a meditative repose.

“Deine Warme” builds intensity from a tranquil start. It doesn’t really expand harmonically, but serves as a showcase for Byrne's warm, burnished saxophone tone. Meanwhile, “For E.S.” evokes the Americana influences of the Chicago-based rock band Wilco, crafting an empathetic sax-driven theme imbued with affection and connection.

“Highway” is a splendorous groovy act enhanced by sparse yet enveloping piano chords that add colorful nuance to the tight rhythmic interplay of Traxel’s bass and Kuratle's galloping drums. Rhythmic shifts keep the listeners engaged, while Guilfoyle’s inventive guitar solo dazzles with intricate ostinatos, compelling twists, and an elastic mix of inside/outside moves. The album concludes with “Roy Wood Jr.”, a feel-good piece in 7/4 that pays homage to the American stand-up comedian, featuring a fine saxophone riff, gently percussive gestures, resonant bass underpinning, ambient guitar textures, and a thoughtful piano discourse.

Kuratle leads Ydivide through an ever-shifting sonic landscape, defined by its compelling melodies, richly layered textures, and striking contrasts.

Favorite Tracks:
02 - Hamster’s Wheel ► 06 - Highway ► 07 - Roy Wood Jr.

Andre Santos - Vereda

Label: Timbuktu Records

Personnel - André Santos: guitar; José Soares: alto saxophone; Francisco Andrade: tenor saxophone; Diogo Alexandre: drums.

Portuguese guitarist and composer André Santos shows he’s not afraid to experiment and venture into new sonic territories, seamlessly navigating through contemporary jazz, Portuguese folk, alternative rock, and avant-garde styles. Vereda captures this adventurous spirit and features a dynamic ensemble of like-minded collaborators: saxophonists José Soares and Francisco Andrade, and drummer Diogo Alexandre.

The extended title track, “Vereda”, guides listeners through uncharted soundscapes brimming with beauty, wonder, and mystery—evoking the intricate forest paths of Madeira island, Santos’ birthplace. These sonic landscapes are vividly rendered with brushed drums, Tarantino-esque Western guitar chords (occasionally conjuring images of American prairies), and folk-inspired melodies delivered in harmonious unison by the saxophonists. Before trotting along the final section with more harmonic definition, the quartet presents darkly atmospheric passages characterized by enigmatic guitar work and brooding saxophone tones layered over spunky drumming. Bursts of agitated saxophone sets the bridge. 

“Corneta” fuses the raw energy of punk rock with the experimental edge of avant-garde jazz, topping it off with a resonant folk-inspired melody. Meanwhile, “O Nuno Está Todo Fu Doido” steps out as a reflective ballad, only to transform into predatory rock playfulness with the horns in ecstasy. Santos’ Vereda is a positive, fearless embrace of genre-defying experimentation. 

Favorite Tracks:
01 - Vereda ► 03 - O Nuno Está Todo Fu Doidos

Scott Colley / Edward Simon / Brian Blade - Three Visitors

Label: GroundUP Music

Personnel - Scott Colley: bass; Edward Simon: piano; Brian Blade: drums // Guests - Chris Potter: tenor saxophone; Becca Stevens: vocals; Jana Dagdagan: spoken word; Richard Rood: violin; Elizabeth Lim Dutt: violin; Kathryn Lockwood: viola; Sachi Patitucci: cello; Rogerio Boccato: percussion.

This newly formed trio, co-led by bassist Scott Colley, pianist Edward Simon, and drummer Brian Blade—all celebrated for their fresh approaches to music—achieves remarkable cohesion in its honest explorations, demonstrating that the distinctive musical voices of its members make a strong whole.

The album opens introspectively with “Nostalgia”, a melancholic 3/4 piece brought to life by Blade’s richly expressive drumming, Colley’s stable foundation, and Simon’s narrative-like piano lines. Blade’s “Kintsukoroi” follows, a beautiful, heartfelt, and asymmetric ballad inspired by the Japanese art of restoring broken pottery. 

If “Ellipsis” carries an elusive Bill Evans-esque swing interwoven with exploratory modal jazz, then Colley’s “Three Visitors” nods to Ahmad Jamal, highlighted by warm, lyrical solos from bass and piano. In turn, “The Thicket” channels the inventive energy of Thelonious Monk and Misha Mengelberg, building dynamic polyrhythmic crescendos with a swinging edge. 

Simon’s “You Are” is impeccably essayed by the trio, further enriched by Chris Potter’s vibrant tenor saxophone improvisation, Jana Dagdagan’s self-reflective spoken word, and charming string accents. Meanwhile, “I Wanna Be With You” introduces the versatile vocalist Becca Stevens and Brazilian percussionist Rogerio Boccato in a vibrant contemporary pop tune with a colorful R&B tinge.

Throughout the album, Colley, Simon, and Blade demonstrate an indissoluble musical bond. Yet, their effort satisfies without creating a major impact.

Favorite Tracks:
02 - Kintsukoroi ► 03 - Ellipsis ► 04 - The Thicket

Thollem McDonas - Infinite-Sum Game

Label: ESP-Disk

Personnel - Thollem McDonas: piano.

British pianist and composer Thollem McDonas, renowned for his rhythmically inventive and genre-defying style, reaches new heights of eloquence in Infinite-Sum Game, a solo album recorded live in Italy. This meticulously calibrated outing feels like McDonas is cracking his own code, offering a deeply engaging experience.

“When Only Knows” offers a modern stride piano imbued with crosscurrents and intricate parallelism. “All the Creatures” broadens the spectrum with range, ending quietly after a tempestuous climax. “From Why We Came” presents a perceptible melodic narrative with hypnotic pulses and bluesy wallops. 

The prepared piano textures of “Gathering Gatherers” overflow with world folk melodies, while “Sunset Nomad” fiercely deconstructs classical themes with McDonas’ signature agility. “Symbi Oasis”, a title hinting at ‘symbiosis’, whimsically integrates classical, Spanish, blues, jazz, and rock ’n’ roll elements into a cohesive and efficient tapestry. The album’s darker tones emerge in the minimalistic pungency of “Every Key Every Door”, while “Feel a Drop of Rain For a While” balances delicate sweetness with enigmatic poignancy. 

McDonas’ iconoclastic tendencies shine throughout the album, yet they are tempered with warmth, mystery, and a profound sense of intimacy. Infinite-Sum Game deserves to be discovered.

Favorite Tracks:
01 - When Only Knows ► 03 - From Why We Came ► 09 - Feel a Drop of Rain For a While

Neil Cowley Trio - Entity

Label: Hide Inside Records

Personnel - Neil Cowley: piano; Rex Horan: bass; Evan Jenkins: drums.

English pianist and composer Neil Cowley has captured the attention of modern jazz audiences with poetic instrumentals that emphasize subtlety and melodic clarity over overt virtuosity. Entity marks a warmly received and re-energized reunion with his trio mates, bassist Rex Horan and drummer Evan Jenkins, following a seven-year hiatus.

With a refined touch, the trio delivers 11 literate, thoughtfully crafted originals that highlight their sophisticated musical sensibilities. Cowley’s ability to set a mood with just a few notes is evident in “Marble”, a 3/4 crossover piece that feels like a fusion of cerebral post-bop and Spanish folk dance, reminiscent of Chick Corea. “Those Claws” leans into a soulful ostinato and syncopated drumming to create a spellbinding, minimalistic ambiance, while “V&A” offers a sublime spiritual tone, unfolding gracefully in an unconventional meter.

“Father Daughter”, with its pop/rock disposition, could easily fit into Radiohead’s repertoire, while “Adam Alphabet” is rhythmically defiant with its additive meter {8+8+6} and fascinating interplay that hints at electronic dance music. Both “Lemon Meringue” and “Sir Benjamin” unfold in quintuple meter, with the former pulsating with rhythm and the latter finding its own pocket in a slower, dreamy way. The trio makes their instruments soar in “Brood”, another 3/4 piece wrapped in serenity, and “Photo Box”, an emotionally resonant ballad layered with delicate cascading piano, sparse bass propagations, and gently brushed drums. 

Entity is exactly the album Cowley needed to create at this stage in his career. With tremendous assurance, he and his cohorts deliver music that is as much difficult to label as to resist.

Favorite Tracks:
01 - Marble ► 02 - Those Claws ► 03 - V&A ► 08 - Lemon Meringue

Coo - Spiccilegia

Label: Self released

Personnel - Kai Winter: alto saxophone; Frau Sportman: double bass, live electronics, toys; Peter Czekay: trumpet; Sanjuro: drums.

Spiccilegia marks a confident debut recital from Coo, a chordless quartet of avant-gardists hailing from Berlin. The album includes 16 tracks shaped by the group’s exploratory instincts and in-the-moment interplay. The lineup features an ultra snappy frontline with altoist Kai Winter and trumpeter Peter Czekay, supported by the robust rhythm section of bassist Frau Sportman and drummer Sanjuro.

The opener, “Herati”, is a ritualistic rampage driven by frantically brushed drums, throbbing bass lines, and darting horn trills that culminate in a searing cacophony. “Fulgar” evokes the dynamic communion of Gato Barbieri and Don Cherry, while “Coowabatake” serves as a platform for Sanjuro’s versatile rhythmic vocabulary.

“Let’s Coo” swings hard, its short unison lines punctuated with bursts of exclamation and interrogation. As the piece progresses, the quartet transitions into a more abstract realm, marked by Sportman’s mournful bass murmurs and communicative exchanges between the horns. The brisk “Mustela” and the fragmented “Isochronal” are motivically exciting and expressionistic, generating gripping tension and energy.

The free jazz forcefulness of Ornette Coleman resonates in “Coomotion”, where articulate sax and trumpet lines swing around the rhythmic tapestry of bass and drums with hard-bop vigor. “Lageparameter” opens with a measured rhythmic flow defined by pronounced bass drum kicks, trumpet moans, and popping saxophone exertions, later launching a dynamic cadence that sustains a bewitching in-and-out phraseology. 

“Cytisus” highlights the group’s experimental flair with barbed wit, while “Coil Flux Guide” jumps a notch in intensity, transitioning from meditative chamber-like textures to a volatile, agitated setting. The track brims with rasping arco bass, incisive horn activity, and explosive drumming as Sanjuro propels the ensemble into a feverish crescendo. 

Coo’s compositional frames nod to clear influences, but the quartet’s initiative and inventiveness imbue each piece with a distinct identity. Spiccilegia is a positive first step.

Favorite Tracks:
04 - Let’s Coo ► 06 - Mustela ► 16 - Cool Flux Guide

Steve Sandberg Trio - Live at Soapbox Gallery

Label: Self released

Personnel - Steve Sandberg: piano; Michael O’Brien: bass; Jay Sawyer: drums.

The versatility of three-time Emmy-nominated pianist and composer Steve Sandberg is vividly showcased in his new trio album, Live at Soapbox Gallery. Joined by his trusted collaborators—bassist Michael O’Brien and drummer Jay Sawyer—Sandberg offers a blend of dream-inspired originals and freshly reimagined classics by Billy Strayhorn, Thelonious Monk, and Mulgrew Miller. 

Staryhorn’s “Isfahan” opens with a sumptuous piano introduction and unfolds in a relaxed, cool tone as the trio enjoys a nice interlocking rapport. Another Strayhorn tune, “Upper Manhattan Medical Group”, is rendered with a vivid Brazilian flavor that is not strange to Sandberg—he was immersed in the NYC Latin jazz scene of the 80s and played with Bebel Gilberto. The shifts and dodges in the rhythm as well as the synergistic interplay between the three artists are nearly enough to work up a sweat.

Monk’s playful “Bye Ya” grooves with exuberance, its pronounced accentuations adding flair, while Miller’s waltzing “Carousel” is gently propelled by brushes as the trio quietly builds atmosphere. Yet, it is with the original material that the trio really shines. “Karma Yoga in the Kali Yuga” bursts with gleeful elan, taking advantage of the eccentricity of its dazzling rhythm. It’s a seven-beat modal dance that briefly ventures into a salsa-inspired passage before returning to its spirited opening theme. Sandberg’s solo dazzles with crystalline figures and nimble phrasing, O’Brien stirs an agitated bass flux, and Sawyer closes with expressive chops in the final vamp that serves as the piece’s conclusion.

The ballad “Under the Floor” is executed with a relaxed but profound poise, denoting an exotic feel that recalls the great saxophonist Yusef Lateef. “The Poet’s Dream” and “George Henry” are both highlights. The former is dreamy and mysterious, carrying an epic breadth and some pondering lyricism that goes beyond the gorgeous theme statement. The latter, a 7/8 exploration, mixes folk-rock and Latin elements in a crossing of Jethro Tull and Chucho Valdés. Its ecstatic finale, marked by crashing drums and intense Latinized pianism, leaves a lasting impression. 

Exhibiting well-honed musical instincts, the Steve Sandberg Trio delivers notable musical moments with unflappable technical facility.

Favorite Tracks:
01 - Karma Yoga in the Kali Yuga ► 05 - The Poet’s Dream ► 09 - George Henry

Euan Edmonds - Beyond Hope and Fear

Label: Desafio Candente Records, 2024

Personnel - Euan Edmonds: trombone; Dustin Laurenzi: tenor saxophone; Clark Gibson: alto saxophone; Paul Bedal: piano; Sam Peters: bass; Neil Hemphill: drums.

Trombonist and composer Euan Edmonds makes a compelling entrance onto the jazz scene with Beyond Hope and Fear, a solid debut album where he establishes a vibrant front-line interplay with dynamic saxophonists Dustin Laurenzi and Clark Gibson. The ensemble is well-supported by a tight rhythm section featuring pianist Paul Bedal, bassist Sam Peters, and drummer Neil Hemphill. Now based in Washington, DC, Edmonds explores pure jazz territory with a sextet drawn from Chicago, where he previously resided.

The album kicks off with “Jordan and Maria”, a cohesive post-bop piece inspired by characters of Ernest Hemingway’s For Whom the Bell Tolls. Bedal’s piano riff sets the pace following a dreamy, romantic introduction. His chordal work reinforces the foundation for the unison melody, paving the way for engaging solos from Edmonds and Gibson, who cruise through the changes with horn fills subtly weaving through. A lively vamp for the drummer bridges the theme’s choruses. 

While “Violet” offers a moody contrast, suspended over a nuanced pedal point and fleshed out by Laurenzi’s penetrating tenor saxophone as it navigates a dense rhythmic forest. In turn, “Wayfarer” exudes a joyful bounce, recalling the vibrant, straight-ahead styles of Steve Turre and J.J. Johnson. This same exuberance and robust sound also define “Endurance”, with its deep groove and strong harmonic drive. 

The latter track forms part of Between Hope and Fear, a 30-minute, seven-part suite that showcases Edmonds’ artistic depth. The title track of the suite brims with expressive richness, underpinned by extraordinary piano and bass interplay. Laurenzi’s cutting-edge phrasing creates vivid sonic landscapes, blending precision with adventurous agility, while Bedal’s dropping pianism gives a strange, alluring detail to the playing. Another standout from the suite, “Axis”, opens with muted trombone and alto sax, constructing a soulful 3/4 harmonic progression. Featuring unaccompanied passages that spotlight the trombone and saxophones, the piece crescendos into an ecstatic finale, with the entire ensemble contributing to an atmosphere of opulent uplift.  

The closing track, “Arthur’s Seat”, channels strains of hard-bop balladry, journeying through classic traditions in a 3/4 time signature. Edmonds’ auspicious debut as a bandleader satisfies with elegantly texturized arrangements that underscore the power of genuine communication. His compositional voice is punchy and confident in promise.

Favorite Tracks:
01 - Jordan and Maria ► 05 - Between Fear and Hope ► 07 - Axis ► 09 - Endurance