Odense Jazz Orchestra meets Loren Stillman

Label: AMM Records, 2026

Personnel - Loren Stillman: alto and soprano saxophones + Odense Jazz Orchestra.

Conducted by trumpeter Hans Christian Erbs, the Odense Jazz Orchestra was formed in 1994 and here teams up with American saxophonist and composer Loren Stillman, who contributes six compositions shaped by the lush orchestral contours of this accomplished Danish big band.

The multiple sonic landscapes on offer invite exploration from the outset, beginning with the harmonically supple lyricism of “A Tree Falls”, compellingly layered with shifting keys and deft articulation. Stillman’s alto drives the piece toward heightened emotional peaks before the mood shifts into a lightly funk-inflected passage that provides guitarist Morten Normal with ample space for his excellent narrative sense. “Waterworks” is a richly textured work inspired by a wildflower-lined hiking trail near Missoula, Montana. Impeccably orchestrated through a churning blend of brass and reeds, it features conspicuous guitar comping with a suggestive Brazilian feel, alongside Stillman’s fluent phrasing and clarity of intent.

The blues spirit permeates “Buffalo”, underscored by a funky beat and resonant trombone commentary over a consistently tight rhythmic foundation. Stillman’s intervallic daring and remarkable articulation inject further intensity, ensuring the piece leaves a strong impression. “Like a Magic Kiss”, originally heard on his 2009 album Winter Fruits, reappears here with a gently propulsive rhythmic undercurrent and a finely balanced, synergistic dialogue between saxophone and trumpet.

“Fowlkes”, a tribute to the late trombonist Curtis Fowlkes, places melody at its core. The big band’s collective power unfolds over a 3/4 framework that feels both warm and deeply resonant. The album closes with the superb “Dervish”, a striking bridge between cultures that incorporates elements of Persian music. Its challenging meters, elegant flow, inventive rhythmic shifts, and authoritative solos result in an ethnic-hybrid jazz statement that is harmonically and texturally engaging.

The full depth and breadth of this fertile collaboration reveal themselves over repeated listens, as the band skimp on unnecessary embellishments and focuses instead on inspired, finely detailed arrangements.

Favorite Tracks:
02 - Waterworks ► 03 - Buffalo ► 06 - Dervish

Maximilian Hering - The Gathering

Label: Klangraum Records, 2026

Personnel - Fernando Brox: flute; Edu Cabello: alto saxophone, bass clarinet; Victor Carrascosa: trumpet, flugelhorn; David Muñoz: double bass; Maximilian Hering: drums + Guest - Lucia Fumero: piano (#1,4).

For his sophomore album, The Gathering, German drummer and composer Maximilian Hering expands the chordless quartet he formed in 2018 in Barcelona with musicians from the local jazz scene by adding flutist Fernando Brox. Spanish pianist Lucia Fumero also joins on two tracks, while trumpeter Victor Carrascosa replaces Félix Rossy in a lineup that brings back alto saxophonist Edu Cabello and double bassist David Muñoz. Of the album’s nine tracks, five were composed by Hering, two by Muñoz, and one each by Cabello and Brox, allowing for a healthy compositional variety among players who clearly trust and understand one another.

Hering’s “Moles On Her Skin” exudes a candid bossa groove, marked by resonant rhythmic accents and a theme that explores facets of love and connection. Brox and Cabello share a conjoint solo built on conversational call-and-response exchanges, their phrasing alive with melodic clarity. Fumero’s piano also comes to the fore here and on the softly brushed ballad “519 km is too far for kissing you”, where she deepens the harmonic perspective with sensitivity and poise. The theme of love continues on “Entre Tu y Yo”, a piece that draws the listener in and establishes a space of calm through its emphatic Latin feel and triple-meter pulse. Intimate and dusky, this Muñoz composition highlights the bass clarinet within a warmly immersive atmosphere.

Cabello’s “Ojo De Madera” opens with Hering’s weighty tom work and selective cymbal use, gradually unfolding into a rhythmically etched cadence shaped by distinct unison passages. The ensuing urgency and animated motion incorporate swift lines and splashing cymbals in an avant-garde-leaning extemporization. This energy flows naturally into “The Gat-hering”, a mercurial blues in six where the soloists fully inhabit the music’s sense of openness and freedom.

The closing “Summer in PT” is another blues, delivered with deep-pocket time and subtle shifts in the rhythmic foundation that better serve the trio of frontline improvisers. By contrast, Hering’s “Route A66”, driven by a lively temperament and a funky undercurrent, features assertive bass motion that, together with the drums, establishes a pulsating center of gravity, setting the stage for Cabello’s searing alto solo. Throughout the album, the sense of collective integration is strong, underscoring the cohesion and shared vision of this ensemble.

Favorite Tracks:
01 - Moles On Her Skin ► 02 - Ojo de Madera ► 06 - Route A66

Julian Lage - Scenes From Above

Label: Blue Note Records, 2025

Personnel - Julian Lage: electric and acoustic guitar; John Medeski: Hammond B3 organ, piano; Jorge Roeder: double bass; Kenny Wollesen: drums, percussion; Patrick Warren: piano, bells, percussion, dulcitone, strings.

The versatility and inventive spirit of American guitarist and composer Julian Lage have led him to collaborations with transcendental saxophonist Charles Lloyd, iconic vibraphonist Gary Burton, visionary composer and saxophonist John Zorn, and guitarist-improviser Nels Cline, with whom he released an excellent contemporary duo session in 2014. The follow-up to Speak To Me (Blue Note, 2024), Scenes From Above is a nine-track set of originals—written during what Lage calls a “writing spring”—and dedicated to his father, Mario Lage. The album retains Jorge Roeder on bass while adding keyboardist John Medeski and drummer Kenny Wollesen. On six tracks, the core quartet expands into a quintet with pianist Patrick Warren, who also contributes bells, dulcitone, percussion, and strings.

The playing is focused from the outset, and the breezy opener “Opal” arrives charged with emotion, wrapped in an affable country feel. Medeski’s keyboards lend an aureole-like brightness and ethereal lift, while Wollesen’s hi-hat grounding keeps the music tethered to the earth. “Red Elm”, propelled by a beguiling bass pizzicato, builds its appeal on a relaxed swinging drive. While tension and release are present, the quartet favors a serene approach, allowing the elements to converge smoothly. Lage’s phrasing here is warm and fluid, infused with understated blues inflections.

With a dexterous arrangement and compelling transitions, “Talking Drum” draws color from groovy funk and blues, providing a fertile vehicle for Medeski’s keyboard explorations and Lage’s judicious note choices and shifting moods. If this track features Warren on dulcitone, then “Havens” highlights his signature Chamberlin tape-replay keyboard. That piece also incorporates skittering percussion and heavy-groove acoustic guitar strums, enriching its layered texture.

Lage switches to acoustic guitar on the picturesque “Ocala”, which sustains a romantic aura with a gentle calypso touch. All the musicians contribute to an understated dramatic effect, though Wollesen’s graceful cymbal work is especially notable. At times, the music veers toward an overly sweet sensibility, building lovely melodies atop light-footed foundations. In spots, it lacks spark, with a few moments feeling stiff. Still, the playing remains consistently assured, as evidenced by “Night Shade”, a relaxed brushed power ballad that recalls Procol Harum and The Animals before unfolding into a gospel-tinged vamp.

The album closes with “Something More”, another tune that confidently straddles country, pop, and jazz territories through its charisma-laden interplay. Not particularly groundbreaking or deeply memorable, Scenes From Above nonetheless brings the intimate chemistry of Lage’s new group into clear focus.

Favorite Tracks:
03 - Talking Drum ► 04 - Havens ► 05 - Night Shade

Angelika Niescier - Chicago Tapes

Label: Intakt Records, 2026

Personnel - Angelika Niescier: alto saxophone; Dave Rempis: alto and tenor saxophones; Nicole Mitchell: flute; Jason Adasiewicz: vibraphone; Luke Stewart: bass; Mike Reed: drums.

German alto saxophonist, composer, and improviser Angelika Niescier emerges on Chicago Tapes with a refreshed, invigorating sound shaped by an expanded ensemble that gathers some of the Midwest’s most adventurous musicians. Long engaged in collaborations with American players—among them Tyshawn Sorey, Gerald Cleaver, Chris Tordini, and Tomeka Reid—Niescier brought her compositions and open-ended sketches to Chicago for an ambitious project that yielded nine fearless originals, each brimming with sharp turns and volatile energy.

The album’s kinetic opener, “Rejoice, Disrupt, Resist”, is a furious, defiant response to the anti-immigration stance of the Trump administration. Here, Niescier joins forces with Dave Rempis on the frontline, both alto saxophonists blowing with tart intensity and restless momentum. The rhythm section is equally compelling and flexible, with vibraphonist Jason Adasiewicz’s finely nested mallet work adding harmonic radiance, all firmly anchored by bassist Luke Stewart and drummer Mike Reed. Niescier and Rempis reconnect on “Great Horned Owl”, a trio piece that sustains a continuous sonic buzz over Adasiewicz’s shimmering colorations, and again on the atmospheric “Fluxed”, where parallel and contrapuntal motion unfolds atop an exquisitely shaped percussive flow.

“Poronek”, an endlessly spiraling trio improvisation, is driven by Niescier alongside flutist Nicole Mitchell, whose ecstatic exchange rides over Reed’s talkative, responsive drumming. Just as dynamic is “SAMO (bsqt)”, a burnished tour de force built from flutter-tongued flute, expansive saxophone lines, patterned ride cymbal and snare propulsion, and vigorous bass plucks. The ensemble moves through a sequence of gripping passages centered on saxophone and drum exploration, with Mitchell adding a gauzy, atmospheric textural layer.

“Bouncin’ The Ledge” follows as a rambunctious, high-energy statement, with saxophone and flute operating in a liminal space between the ghostly and the grounded. A darting saxophone chant is mirrored by Stewart’s bass before the piece erupts into extraordinary commotion. The closing “E Randolph Street”, propelled by a loose yet insistent 4/4 groove, wraps things up while parading a stream of motifs, fluxes, and refluxes.

Firmly rooted in avant-garde and free improvisation traditions, Chicago Tapes highlights Niescier’s affinity for high-voltage contemporary jazz and reveals a deep, genuine rapport with her Chicago collaborators.

Favorite Tracks:
01 - Rejoice, Disrupt, Resist ► 02 - Poronek ► 03 - SAMO (bsqt) ► 07 - Bouncing’ the Ledge

Craig Taborn - Dream Archives

Label: ECM Records, 2026

Personnel - Craig Taborn: piano, keyboard, electronics; Tomeka Reid: cello; Ches Smith: drums, vibraphone, percussion, electronics.

Pianist and composer Craig Taborn, known for his shockingly powerful technique and his ability to traverse post-modern jazz, contemporary classical music, and indie electronics, moves fluidly between structure and freedom. The six tracks on Dream Archives—four originals and two covers—are smartly conceived, finding fresh sonic angles and probing inventive approaches to rhythm. Working in a trio format with cellist Tomeka Reid and drummer/vibraphonist Ches Smith, the colorfully chameleonic Taborn adds another compelling chapter to his already rich catalogue.

“Coordinates for the Absent” oozes lyrical introspection and nocturnal delicacy, captivating through carefully traced electronics, floating vibraphone, bowed cello, and a shimmering, cinematic pianism that often falls like raindrops. “Feeding Maps to the Fire” pushes the program forward with cello and piano locked into an enthusiastic, cadenced motion that gradually dissolves into an abstract exchange of free-form gestures and shifting tonal colors. Smith’s dexterity on the kit highlights his broad rhythmic vision and adaptability, as the piece repeatedly regains momentum after a cyclical figure in five threatens to fracture the flow.

The album reaches a clear apex with Geri Allen’s “When Kabuya Dances”, whose initial three-time piano motion opens into a rubato exploration. It unfolds as a progressive Afro-jazz dance marked by tension-fraught interplay and insistent pulses, alternating between seven and twelve-beat passages. Taborn’s respect for singular compositional voices continues with Paul Motian’s “Mumbo Jumbo”. With Smith alternating between drums and vibraphone, the piece achieves a floating sensitivity with bowed, low-register cello strokes and tactical piano mobility adding extra dimension.

The title track, “Dream Archives”, emphasizes synchronicity and counterpoint, prioritizing texture and atmosphere with a sense of freedom and abandon. The trio explores spacious, electronically inflected environments, poetic cross-cutting patterns, and deliberate sequences before settling into a challenging, odd-metered vamp. “Enchant”—a soothing balm—brings the album to a serene conclusion, with Taborn and Reid sustaining a quiet tension reinforced by Smith’s refined cymbal work. Throughout, there are striking moments of beauty, embodiment, and fluid motion. 

Smartly sculpted with a boundary-pushing ethos, Dream Archives showcases Taborn’s phenomenal musicality and wide-ranging sophistication. It will reward adventurous listeners and stands as one of the early highlights of contemporary jazz releases in 2026.

Favorite Tracks:
02 - Feeding Maps To the Fire ► 03 - When Kabuya Dances ► 05 - Dream Archives

Human Being Human & Chris Cheek - Being

Label: April Records, 2026

Personnel - Torben Bjørnskov: double bass; Esben Tjalve: piano; Frederik Bülow: drums + Chris Cheek: saxophones.

Human Being Human is a Danish jazz trio led by double bassist Torben Bjørnskov, who—like on their previous two outings, Equals (2022) and Disappearance (2023)—composes all the material. The group is completed by pianist Esben Tjalve and drummer Frederik Bülow. Their latest album, Being, is further enriched by the presence of American saxophonist Chris Cheek, whose contribution broadens both the sonic and expressive scope of the music.

Inspired by human connectedness, the album opens with “Human Rights”, an involving and well-shaped post-bop statement animated by an illuminating theme and rounded out with emphatic solos from Cheek, Tjalve, and Bjørnskov. Cheek’s soprano cuts briskly through the sprightly and upbeat “Human Impact”, a piece that calls attention to both the damage humanity inflicts on the planet and the possibility of repair. Low-register piano figures align closely with the bass, forming a sure-footed tapestry that gently invites movement.

“Filla”, the only composition not written specifically for this album, is a candid saxophone–bass duet anchored by Bjørnskov’s full-bodied, woody tone. In contrast, the title track “Being” unfolds as a spacious, tender ballad whose warmth radiates evenly from all corners of the tightly knit quartet.

“Human Spirit” continues in a softly brushed ballad mode, with emotion emerging from its calm lines and poised harmonic progression. It differs markedly from “Human Nature”, where contemporary jazz intersects with a pop-oriented foundation, featuring a straight backbeat, direct phrasing, and a clear groove. Still, both pieces emphasize accessible melodic and harmonic pathways. The album closes with the floating, more subjective “Human Instinct”, marked by lyrical Nordic folk inflections and sustained by a discreet yet thoughtful percussion treatment. Its broader spiritual resonance occasionally recalls Jan Garbarek and Edward Vesala.

Operating more to the right of center than the left, Human Being Human presents a highly musical palette, further elevated by Cheek’s confident style throughout the set.

Favorite Tracks:
01 - Human Rights ► 03 - Human Impact ► 07 - Human Instinct

Peter Evans' Being & Becoming - Ars Ludicra

Label: More is More Records, 2025

Personnel - Peter Evans: trumpet, piccolo trumpet, flugelhorn, electronics, piano; Joel Ross: vibraphone, synth, percussion; Nick Jozwiak: bass, synth; Michael Shekwoaga Ode: drums + Alice Teyssier: flutes (#5).

Peter Evans, a tremendously inventive trumpeter and post-modern composer, reunites his Being & Becoming group—formed in 2017—for its third album, Ars Ludicra. Drawing on vast musical experience and formidable technique, the endlessly curious Evans blends styles and moods, shaping the pitch and contour of his phrases for maximum impact across four original compositions and one cover.

Armed with a progressive mindset and supported by Mike Pride’s tasteful post-production, the quartet opens with “Malibu”, where Evans’ fearless, scorching lines and Joel Ross’ lucid vibraphone ideas unfold over the tireless, tumbling rhythmic engine built by bassist Nick Jozwiak and drummer Michael Shekwoaga Ode. “Pulsar”, a musique concrète–leaning workout captured with visceral immediacy, is driven by a robust backbeat, its deliberate volume oscillations deepening the experimental thrust.

All four musicians work diligently to forge a distinctive group dynamic, and “Hank’s”—clearly informed by electronic music—fully delivers. Evans and Ross interlace complex unison passages before trading improvised incursions. The trumpeter’s range feels almost otherworldly, while Ode plays with commanding force, answering provocations with turbulent, explosive fills. The piece closes on a flurry of compulsive staccato slaps.

Here, teamwork matters as much as individual excursions. This balance comes sharply into focus in the arrangement of Russian folk-punk singer Yanka Dyagileva’s “My Sorrow is Luminous”, which unfolds more restrainedly, guided by a dark-tinged chordal sequence. Against this somber backdrop, Evans blows counterintuitively as if there were no tomorrow, unleashing a rapid cascade of notes shaped with both urgency and logic. The album concludes quietly with “Images”, featuring guest flutist Alice Teyssier, who layers several timbres from multiple flutes.

At times bombastic, this music is consistently driven by a desire to challenge convention. While it may not reach the heights of Extra (We Jazz Records, 2024)—a stunning trio statement—Ars Ludicra explores different sonic territories with the same fearless spirit and modernistic vision.

Favorite Tracks:
01 - Malibu ► 03 - Hank’s

Amir ElSaffar - New Quartet Live at Pierre Boulez Saal

Label: Maqam Records, 2025

Personnel - Amir ElSaffar: trumpet; Ole Mathisen: tenor saxophone; Tania Giannouli: microtonal piano; Tomas Fujiwara: drums.

Iraqi-American trumpeter and composer Amir ElSaffar expands his working trio—with saxophonist Ole Mathisen and drummer Tomas Fujiwara—into an impressive quartet with the addition of Greek pianist Tania Giannouli (she performs wonders on the microtonal piano). New Quartet Live at Pierre Boulez Saal was recorded in Berlin in 2023 and presents eight brilliant compositions that unfold like a suite, offering a clear window into ElSaffar’s contemporary ethno-jazz universe.

“Autumn Song” draws the listener into an engrossing modal tranquility, shaped by ElSaffar’s unerring, Middle Eastern–inflected fluidity, Giannouli’s triumphant piano chords that add an air of mystery, and Fujiwara’s impeccably coordinated drumming. Mathisen’s exchanges with the trumpeter suggest a sense of spiritual communion, while Giannouli’s textures introduce just enough strange, divergent tones to keep us transfixed. “Ghazlau” is another poignant maqam, with Giannouli channeling something of Alice Coltrane’s tonal stream, while ElSaffar sings with heartfelt intensity.

“Orientations I–V”, enriched by conspicuous piano clusters, finds the quartet navigating its distinct roles with a feeling of aural majesty. ElSaffar’s phrasing moves effortlessly from reflective to urgent, while Mathisen slips into an avant-garde register, underpinned by octave-driven piano figures and skittering drums. The piece briefly turns feverishly dreamlike before settling into a four-chord piano vamp. It then shifts again in texture to better serve the horns’ inventive interplay, ultimately concluding with an unaccompanied Fujiwara, whose percussion exploration displays striking technique, control, and emotional weight.

The horns, seemingly tailored to the mood of each piece, work independently yet in tacit agreement on “Dignity”, floating above Giannouli and Fujiwara’s rippling rhythmic waves. On “10:23 AM”, an odd-metered maqam energized by a contagious pulse, they run in parallel, generating a buoyant, lively bounce.

The minimalist “Le Marteau de la Maitresse” centers on prepared piano, producing a gong-like resonance that functions as a pedal point. Its dry, hypnotic quality favors delicate saxophone negotiations and elegant percussive restraint. “For the Victims of Genocide” unfolds as a brushed ballad steeped in dark hues and mournful solemnity.

The achievement feels even more remarkable when considering that the material was composed just three days before the concert. Balancing written structures and open forms with a deeply intuitive relationship to sound, ElSaffar’s New Quartet makes an impressive debut. Let yourself be carried by the laid-back warmth and tactile sensitivity of the trumpeter’s aesthetic vision.

Favorite Tracks:
02 - Autumn Comes ► 03 - Orientations I-V ► 10 - 10:23AM

Thomas Stronen's Time is a Blind Guide - Off Stillness

Label: ECM Records, 2025

Personnel - Thomas Strønen: drums; Ayumi Tanaka: piano; Hakon Aase: violin; Leo Svensson Sander: violoncello; Ole Morten Vagan: bass.

Time is a Blind Guide is an instrumentally sophisticated aggregation fronted by Norwegian drummer and composer Thomas Strønen, whose blend of organic timbres and luminous sonorities easily conquer the ear and appease the soul. The group’s third recording, Off Stillness, confirms Strønen’s mastery of structure and arrangement, highlighting the instrumentation’s sonic contrasts through natural pulses while maintaining a sense of poised, flowing elegance throughout.

Consisting of seven original compositions, the album opens with “Memories of Paul”, a dedication to two influential musicians who shaped Strønen’s artistic development: drummer Paul Motian and pianist Paul Bley. Existing in an almost abstract state of grace, the piece relies on floating piano gestures, delicate bass movement, sensitive brushwork, and understated string lines. “Season” gently calms both spirit and mind, carried by a cultivated percussive current that draws from folk and world-music inflections. Japanese pianist Ayumi Tanaka plucks and combs the piano strings, producing a reassuring, subtly exotic aura, while violinist Håkon Aase steps forward with lyrical authority. It is a quietly beautiful moment.

“Fall” continues in a similarly hushed, airy vein, inviting a recalibration of the inner compass through dreamy pianism, breezily intersecting strings, and drumming reduced to its bare essentials. Everything seems to float and sway like a feather in the wind. This same depth of commitment and attentive interaction also informs the album’s more animated passages, notably “Cubism” and “Dismissed”. In the former, Strønen’s conversational rhythmic language becomes especially vivid, while Tanaka’s inflected harmonic colors generate a tensile undercurrent that gradually leads toward a staccato-driven conclusion. “Dismissed”, playfully avant-garde in character, is tightly coordinated through incisive punctuations and rhythmic jabs, all working together in a kind of subliminal counterpoint.

The album closes with “In Awe of Stillness”, which begins in a sea of calm before transforming halfway through into an energetic, world-fusion cycle sparked by Tanaka’s subtle complexities and lightness of touch, and an unperturbed bass-and-drums foundation. At this stage, Aase casts his violin lines as the melodic focal point.

In a rare combination of delicacy and boldness, Off Stillness stands as a testament to Strønen’s extraordinary talents. Together, he and his collaborators forge a sound partnership that feels both revelatory and deeply inspiring.

Favorite Tracks:
02 - Season ► 05 - Cubism ► 06 - Dismissed ► 07 - In Awe of Stillness

Gabriel Zucker - Confession

Label: Boomslang Records, 2025

Personnel - Gabriel Zucker: pianos, synths, electronics, keyboards, voice, compositions, lyrics; Eva Lawitts: bass; Grey Mcmurray: guitar; Connor Parks: drums; Henry Mermer: drums // Bergamot Quartet (Ledah Finck, Sarah Thomas, Amy Huimei Tan, Irene Han): strings // Guests - Robby Bowen: drums (#2); Taja Cheek: voice (#3); Laura Cocks: flute (#8); Alfredo Colón: alto saxophone (#2,11); Matt Nelson: tenor saxophone (#2,11); Ledah Finck: violin (#3); Alex Goldberg: drums (#10); Daniel Kleederman: guitar (#12); Matteo Liberatore: guitar (#3); Adam O’Farrill: trumpet (#9); Alena Spanger: voice (#12).

Gabriel Zucker is a versatile singer-songwriter, multi-instrumentalist, and composer whose artistic vision thrives on intricate, almost mathematical balancing acts. On his sixth studio album as a leader, Confession, the musical polymath fronts a core quintet featuring two drummers, and incorporates a string quartet into a set of demanding compositions, achieving a compelling equilibrium between pathos and intensity. His multifaceted response to disconnected times is marked by radical transitions and conspicuous shifts in mood.

Initially wrapped in swirling synths and wiry electronic textures, “Velvet Ball of Light” pushes decisively into indie-rock territory through forceful lyrics, emphatic drum kicks and cymbal crashes, and Zucker’s unorthodox pianism—dense with exclamatory staccatos yet never abandoning melodic clarity. “Confession #1” brings saxophonists Alfredo Colón and Matt Nelson to the fore, firing punchy lines over a muscular, dark rock backdrop that carries undeniable dance appeal, with guest drummer Robby Bowen helping to keep the undercurrent bubbling.

The saxophonists reappear more discreetly on “The Road”, an odd-metered ballad that stands in stark contrast to “Redeye to London”, a genre-crossing track propelled by trance-like breakbeats and electronic processing, further energized by Grey McMurray’s electric guitar.

“Intentional (But Never How You Wanted)” features fluid, frictionless piano streams running atop unexpected drum syncopations. Its vocal and instrumental language opens multiple reference points, moving effortlessly from the art-rock sensibility of David Bowie to the progressive impulses of King Crimson and the modern fusion vocabulary of Tigran Hamasyan. Driven by heavy bass pulses, the piece swells into a dense, chaotic mass before breaking abruptly into the calmer, constantly shifting “Trampling the World”.

“Confession #2” vibrates with polyrhythmic momentum and experimental flair, threaded through with cinematic string writing and Laura Cocks’ expressive flute. The poignant “Away, Carelessly” pairs Zucker with the iconoclastic trumpeter Adam O’Farrill, whose roaming, unanchored discourse heightens the sense of emotional unease. The album closes with “Listen to Me (I Know You Won’t)”, which introduces Brooklyn-based singer Alena Spanger alongside psychedelic-leaning guitarist Daniel Kleederman, both contributing to a refined and emotionally charged finale.

By turns introspective and euphoric, Confession allows Zucker’s eccentric impulses to guide an ambitious production that ultimately plays to its strengths.

Favorite Tracks:
01 - Velvet Ball of Light ► 02 - Confession #1 ► 05 - Intentional

Tineke Postma - Voya

Label: Clap Your Hands, 2025

Personnel - Tineke Postma: alto and soprano saxophone; Theo Bleckmann: vocals (#1,4,5,8); David Doruzka: guitar; Robert Landfermann: double bass; Tristan Renfrow: drums.

Voya, the ninth album by Dutch saxophonist and composer Tineke Postma, finds her at the helm of a tightly knit European quartet of long-standing collaborators: guitarist David Dorůžka, bassist Robert Landfermann, and drummer Tristan Renfrow. The added distinction here is the presence of German-born, New York–based avant-garde vocalist Theo Bleckmann on selected tracks. Bleckmann has become a singular voice on the contemporary scene through close collaborations with John Hollenbeck, Ben Monder, and Meredith Monk. In a comparable way, Postma has built her own path through sustained musical relationships. As a leader, she has worked with figures such as Geri Allen, Ralph Alessi, Greg Osby, and Kris Davis; as a sidewoman, she has appeared alongside Terri Lyne Carrington, Dianne Reeves, and Amina Figarova.

The album’s title carries a threefold meaning: voyage, voice, and Oya, the Yoruba goddess of winds and storms. It opens with “Unity and Four Reasons of Hope”, where saxophone and voice intertwine with ease, floating over impulsive bass movement and sensitively brushed drums and cymbals. The piece also serves as a launchpad for focused, well-intoned individual explorations by Bleckmann and Postma, before closing with a coda that allows Renfrow to step forward with finely shaped drum commentary.

“Lillies” is an adventurous, sharply etched composition built on fragmented phrasing delivered with hard-edged staccato clarity. Here, the group ventures further outside the lines, with Dorůžka proving a vital presence: his incisive interjections sharpen Postma’s commanding solo, which he then follows with a vivid statement of his own. The brief but energetic “Rhetor’s Dream” sustains a lush atmosphere, hovering somewhere between the lyrical fusion associated with Charlie Mariano and the exploratory language of the AACM tradition, while “TP4” skillfully blends slippery funk and hip-hop inflections.

Several more contemplative pieces give Bleckmann’s often overdubbed voice a central role. “Suchness” and “Mirror Oh Mirror” stand out in this regard, the former unfolding as a deeply felt chorale anchored by Landfermann’s poignant bowed bass; the latter carried out by Dorůžka’s gently arpeggiated textures. “For Theo”, Postma’s dedication to the vocalist, opens a mellow, spacious environment in which texture and color are allowed to bloom. Postma demonstrates complete command of her instrument, while Bleckmann responds with remarkable flexibility and sensitivity, reinforcing the music’s ethereal dimension.

After “IDC”, whose enigmatic mood is heightened by a disorienting tempo and an odd, grounding bass figure, the album closes with a rendition of Wayne Shorter’s “Somewhere Called Where”. This work reaffirms Postma’s commitment to personal expression, collective trust, and forward-looking sound worlds.

Favorite Tracks:
02 - Lillies ► 03 - Rhetor’s Creek ► 05 - Mirror Oh Mirror ► 10 - IDC

Gard Nilssen Acoustic Unity - Great Intentions

Label: Action Jazz, 2025

Personnel - Kjetil Møster: tenor saxophone, percussion, baritone saxophone; Signe Emmeluth: alto saxophone, flute, percussion; André Roligheten: tenor saxophone, bass saxophone, soprano saxophone, bass clarinet, flute, percussion; Petter Eldh: double bass, percussion; Gard Nilssen: drums, percussion + Jonas Alaska: vocals, guitar (#9).

Norwegian jazz drummer Gard Nilssen continues to build an impressive body of original work, whether leading his Supersonic Orchestra or his Acoustic Unity. Delivered with the latter trio, his latest outing, Great Intentions, broadens the sonic spectrum with the addition of saxophonists Kjetil Møster and Signe Emmeluth, who join André Roligheten on the frontline. Their presence enriches the orchestration and fuels a series of striking, outward-looking improvisational displays. Nilssen and the ever-inventive Swedish bassist Petter Eldh form the backbone of this chord-less project, navigating ferocious dynamic surges and intimate retreats with contemporary flair and discernment.

The album revolves around the idea of communication, and Roligheten’s “Swedish Delight” encapsulates this spirit through a relaxed, melodic flow guided by his bass clarinet. Gentle, chamber-like passages are wrapped in cymbal legato, before a brisk section in nine leads into Eldh’s unaccompanied bass soliloquy. The virtuosic bassist contributes “Bankebrett”, a rhythmically adventurous piece that moves through shifting tempos, blending Fela Kuti-inspired African folk elements, hard-swinging post-bop, and avant-jazz urgency.

Paul McCartney’s 1980 soft-rock tune “Waterfalls” is reimagined with surprising freshness, delicately rendered with attentive sensitivity, while Møster’s “The Root” unfolds as a color-shifting journey that subtly recalls Sun Ra and his Arkestra. After a jubilant percussive opening, a nine-beat groove rises organically, speckled with vigorous bass saxophone tongue slaps. The horn players roam freely before an unexpected final turn introduces Norwegian singer-songwriter Jonas Alaska. 

Both the writing and the performances are consistently high-level, though the Nilssen–Roligheten partnership stands out in compositional terms. Their “Telemark Twist” balances a clear, anthemic melody against an exuberant African pulse, enlivened by counterpoint and staccato accents. Emmeluth’s alto sax rides a frenetic calypso groove, soon answered by Møster’s raw, emotionally charged tenor outbursts. “Ostronology”, a dazzling homage to Eldh, combines playful staccato figures with contrapuntal elegance, a trenchant groove, and searing improvisation. Møster’s baritone solo reinforces the piece’s muscular drive before the rhythm section shifts gears into a blazing swing, setting the stage for a bop-inflected alto excursion from Emmeluth. “John Wayne”, an uptempo piece in six, is equally fluid and gripping, carrying the energetic sweep of the westerns starred by the actor mentioned in the title.

Nilssen once again proves himself a master rhythmic architect, seamlessly connecting all these threads. His collaborators clearly relish the challenges, and Great Intentions stands as yet another strong statement from one of today’s most imaginative and compelling drummers.

Favorite Tracks:
02 - Telemark Twist ► 03 - Bankebritt ► 05 - Ostronology ► 09 - The Root

Timo Vollbrecht - Bremen New York

Label: Berthold Records, 2025

Personnel - Timo Vollbrecht: tenor saxophone; Ralph Alessi: trumpet; Elias Stemeseder: piano; Chris Tordini: acoustic bass; Thomas Strønen: drums.

For his fourth album as a leader, German saxophonist and composer Timo Vollbrecht—who swapped Berlin for New York 15 years ago—assembles a dream quintet featuring American trumpeter Ralph Alessi, bassist Chris Tordini, and Norwegian drummer Thomas Strønen. Rounding out the group is the excellent Austrian-born pianist Elias Stemeseder, a former Brooklyn roommate and a key musical partner in Vollbrecht’s Fly Magic Quartet. Recorded live at Bremen’s Sendesaal concert hall, renowned for its exceptional acoustics, the album presents seven original compositions written specifically for this ensemble and shaped with carefully layered emotion and color.

“Com Tempo” is a striking opener, unfolding at a leisurely pace through an intriguingly elastic structure. It begins with Alessi’s glowing lyricism over a deep, supple groove, pointing toward the theme as Vollbrecht joins him in parallel lines, while Stemeseder adds shimmering harmonic hues. Volbrecht’s fluid soloing is rich in melodic hooks, prompting subtle shifts in density from the pianist’s responsive comping.

Set in a 7/4 meter, “Brighton Blues” radiates a quiet magnetism, clearly defined by a strong piano cadence floating over a silky bass-and-drums current. Vollbrecht’s intricate, arpeggiated language occasionally evokes Charles Lloyd, reaching for a spiritual dimension atop a rhythm that breathes with ease. “Spicy Moon” unfolds like an abstract impressionistic canvas, growing especially lyrical through Tordini’s melodic low-end explorations. A contemporary ballad at heart, it balances intricacy and space before opening suddenly into a vamp that thickens the texture, giving Alessi room to dive in with impressive range and refined phraseology.

Despite its title, “Dark” is a scintillating ballad illuminated by moments of pure light. Strønen’s restrained brushwork and lucid cymbal touches provide graceful support, while Alessi once again shines with his poignant, finely shaded trumpet voice. On “Pau”, named after Vollbrecht’s son, the saxophonist gradually veers into avant-garde territory after an opening colored by classical and chamber-jazz elements. Tordini and Strønen press forward with logic and dynamic nuance, while Alessi gives his melodies space to breathe, shaping them with care and intent. The album closes in balladic fashion with “New York Love Affair”.

Vollbrecht’s mature writing deserves high praise, and the session as a whole feels resonant, poetic, and deeply authentic. One can only hope this quintet remains active and continues to document its chemistry in future releases.

Favorite Tracks:
01 - Com Tempo ► 02 - Brighton Blues ► 04 - Dark

Ohm! - The Architects

Label: Shifting Paradigm Records, 2025

Personnel - Dan Bruce: electric and acoustic guitar; Jordan McBride: electric bass; Gabe Jones: drums + Jason Kush: tenor saxophone (#1); Reggie Watkins: trombone (#10); Nathan Douds: keyboards (#10), programming (#2,4,6,9); Nadine Douds: vocals (#5).

Cleveland-based guitarist Dan Bruce, a former fixture of the Chicago scene, stakes a strong claim for versatility with this powerhouse trio project alongside bassist Jordan McBride and drummer Gabe Jones. His Ohm! trio welcomes several guests along the way, engaging in a creative exchange where the musicians communicate closely across a variety of frameworks. Modern jazz, indie rock, and fusion languages coexist here.

The group reaches a peak of inspiration right from the start with “The Architects”, featuring guest tenor saxophonist Jason Kush, whose beseeching horn takes center stage atop a dense rhythmic flow. The rhythm section initially lays down a punkish rock drive—odd guitar riffery, punchy bass lines, and crisp drumming—before shifting gears into an electric funk-jazz groove, where Bruce’s and Kush’s lines generate magnetic polyrhythmic currents. The music circles back to its opening wave before jumping straight into “Eh?”, a track whose blues-rock instincts are refreshed by charming, if enigmatic, jazz harmonies.

“Glimpse” unfolds as a ballad with alternative-rock leanings, with the trio having no problem in intensifying and thickening its texture. This number’s explicit song form contrasts with the freer posture of “Major_Chord”, the only piece not written by Bruce, previously appearing on his Beta Collective album Earthshine (2017). Although its composer, keyboardist (and drummer) Nathan Douds, does not perform in this tightly wound three-way conversation—driven by a syncopated modern beat—he remains a key presence as the programmer behind four short interludes titled “Incidentals”.

Douds also appears on keyboards on the distinguished closer “Rare Birds”, joined by trombonist Reggie Watkins. This buoyant fusion piece opens with crisp staccato energy and remarkable ensemble synchrony. A propulsive funk groove soon provides an inviting platform for Bruce’s explorations—his attack forceful, his phrasing resolute. The transitions are seamless, never feeling disjointed.

“Ice” brings a distinct atmosphere of its own, marked by Bruce’s acoustic guitar, an odd-meter flow, and the alluring voice of singer-songwriter Nadine Douds. Here, McBride and Jones are given ample space to shine: the former delivers a simpatico solo, while the latter expands his rhythmic vocabulary across an energetic vamp.

Favorite Tracks:
01 - The Architects ► 05 - Ice ► 10 - Rare Birds

Chad Taylor Quintet - Smoke Shifter

Label: Otherly Love Records, 2025

Personnel - Bryan Rogers: tenor saxophone; Jonathan Finlayson: trumpet; Victor Vieira-Branco: vibraphone; Matt Engle; bass; Chad Taylor: drums.

Smoke Shifter marks the sixth release as a leader by sought-after drummer and composer Chad Taylor, currently based in Philadelphia. He enlists three other Philadelphia-based musicians—all of them contributing compositions—saxophonist Bryan Rogers, Brazilian-born vibraphonist Victor Vieira-Branco, and bassist Matt Engle, forming the core of his quintet. The exception is New York–based trumpeter Jonathan Finlayson, who orbits this nucleus with magnetic peripheral radiation. Together, they blaze new trails with an unbridled sense of freedom, anchored in both traditional jazz idioms and improvisation.

The album opens with Rogers’ “Broken Horse”, a danceable 6/8 piece incorporating an electrifying pulse and contemporary jazz elements. The saxophonist explains that it was written specifically for this group, and that the robust bass line that sustains it just popped up into his head. With Taylor behind the kit providing a stalwart anchor, the group keeps the music vital and in constant motion.

Engle’s “Avian Shadow” lifts off with soulful openness, initially driven by cross-stick propulsion and a six-beat bass figure that supports the emerging harmonic consonance between horns and vibraphone. Finlayson’s authoritative solo sparks bright responses from Vieira-Branco, while Rogers moves from unpretentiously probing to openly expansive in his narrative.

Taylor, whose musical energy acts as a catalyst for the group’s cohesion, contributes two pieces of his own. The immaculately layered “Waltz For Meghan”, dedicated to his wife, emanates exotic hues in a grand, flowing stream, creating a distinctive atmosphere that fuses chamber jazz with an African-tinged pulse. Under Taylor’s astute brushwork, Engle sounds strikingly melodic, while Rogers delivers an emotionally attuned and impactful statement. The drummer’s other composition is the title track, “Smoke Shifter”, whose affable character and odd meter draw the horn players together with shared commitment and joy, revealing a keen instinct for counterpoint and collective interplay during the theme exposition.

The album closes with two demanding pieces by Vieira-Branco. Moving at a slow 4/4 pace, “October 26th” is grounded by the composer’s hypnotic vibraphone work in perfect communion with bass and drums. Casting a magnetic spell akin to Bobby Hutcherson and Andrew Hill, they later have sax and trumpet reinforcing the enchantment. “Paradise Lawn/October 29th” shifts meters, beginning in a suspended, abstract mode before Taylor’s magnificent drumming bridges into the waltzing smoothness of the second section, which includes a finely shaped solo by its composer.

Smoke Shifter is packed with surprise, openness, and spirit—a cliché-free session that thrives on first-rate, forward-looking melodies hovering over admirable rhythmic tapestries.

Favorite Tracks:
01 - Broken Horse ► 03 - Waltz For Meghan ► 04 - Smoke Shifter ► 06 - Paradise Lawns / October 29th

Akira Sakata - Hyperentasis

Label: Defkaz Records, 2025

Personnel - Akira Sakata: alto saxophone, clarinet, vocals, bells; Giovanni Di Domenico: piano; Giotis Damianidis: electric guitar; Petros Damianidis: double bass; Aleksandar Škorić: drums; Paal Nilssen-Love: drums; Tatsuhisa Yamamoto: drums.

This double album pairs the unnerving Hiroshima-born free jazz saxist Akira Sakata—doubling here on clarinet—with two different lineups. The first LP features the group Entasis, a quintet with piano, guitar, bass, and drums; the second LP, marking Sakata’s 80th birthday, keeps the Damianidis brothers (on guitar and bass) and brings in two muscular drummers—Norwegian Paal Nilssen-Love and Japanese Tatsuhisa Yamamoto—for another forceful quintet. Both live sessions honor Sakata’s longstanding connection to Thessaloniki, where the performances were recorded.

The title of the opening track, “Collision Path”, says much about the music. It begins with regular ebbs and flows shaped by intermittent guitar colorations, insistent low piano notes, and enigmatic saxophone tones. Aleksandar Škorić’s drumming intensifies as the piece unfolds, and Petros Damianidis’ resilient bass eventually cuts through with full vitality. Controlled chaos quickly settles in, and the quintet thrives on the rising fervor. “Atsumori No Saigo / Kaigara-Bushi” resembles a poignant Japanese lament, narrated by Sakata’s raucous voice and delivered with a theatrical weight. Fatalistic agony and concentrated rage ooze through the track, with Sakata later firing off clarinet zigzags over cascading piano, understated guitar, and a loose but persistent bass-and-drums current.

“Learning Hydra” rests on a dreamlike piano motif, with subtle electronics murmuring beneath. The rumination, initially directionless, gains focus once Sakata’s agile clarinet takes flight over piano staccatos and wavy textures anchored by gruff arco bass. Violent sonic spirals emerge, propelled by Italian pianist Giovanni Di Domenico’s bombastic clusters and dense rhythmic tangles. The first LP ends with “Symposium”, a shocking, explosive outburst that peaks with tremendous force.

The second LP unfolds across three tracks. “Part I”, marked by cymbal eruptions, opens space for Giotis Damianidis’ acerbic guitar chords and chromatic jabs—his noise-rock incursions take center stage while the two drummers stay ferociously engaged without overshadowing. “Part II” eases the intensity a bit and offers a few more distinct motifs, while “Part III” evolves into a funky, dance-like drive, culminating in a spunky, staccato-fueled finale.

For free jazz devotees only, Hyperentasis neither disappoints nor transcends. It’s a tough listen—due largely to its sheer duration (I strongly recommend not taking both LPs in a single sitting), its relentless, eloquent agility, and its near-total disregard for melodic grounding.

Favorite Tracks: 
01 (LP1) - Collision Path ► 04 (LP1) - Symposium ► 03 - Part III (LP2)

Camila Nebbia / Gonçalo Almeida / Sylvain Darrifourcq - Hypomaniac

Label: Defkaz Records, 2025

Personnel - Camila Nebbia; tenor saxophone; Gonçalo Almeida: double bass; Sylvain Darrifourcq: drums.

The explorative trio of Argentine tenor saxophonist Camila Nebbia, Portuguese bassist Gonçalo Almeida (Rodrigo Amado’s The Attic), and French drummer Sylvain Darrifourcq (Joachim Kühn, Eve Risser) provides a raw, immersive experience rooted in ingenious improvisation and a remarkable sense of connectedness. Helmed by Nebbia—who has steadily built a reputation through numerous standout collaborations—the trio behaves as a single organism, favoring heavy, incantatory gestures over mere displays of shifting or chaotic dynamics. Recorded live at Thessaloniki’s Mikri Skini during the Greek label Defkaz’s Take 2 Festival, the four long improvisations are titled after their durations, but every minute proves essential as the trio’s structural intuition and deep chemistry steer the music toward something singular.

“19:45” thrives on Almeida’s distortion-saturated bass plucks, which hint at heavy-rock contours throughout. Darrifourcq’s loose yet unwavering drumming sprinkles spiky fills into the texture, while Nebbia’s astonishing vocabulary and distinctive timbre affirm her as one of the most compelling new voices on the free scene. The trio gradually fortifies the intensity, shaping textures that grow fleshy and dense before transitioning halfway into an arresting blend of saxophone multiphonics (later sharpening into trenchant shrills), long-pedaled bowed bass tones, and misty hi-hat dispersions. It all concludes on a mystical note, with cymbal intensification guiding the piece into hypnotic ecstasy.

Emphasizing mood over sheer force, “8:17” unfolds with a raw, industrial-like pulse and ringing metallic resonances that evoke machine work. Nebbia ventures through odd overtones and trilling vibratos, heightening the track’s stark, tactile atmosphere. The third piece, “8:59”, sustains that dark and mysterious aura, transmitting sensations of apprehension and restless suspension. It inhabits a musical limbo spanning references from Roscoe Mitchell to Bill Laswell, with passing nods to Wadada Leo Smith’s otherworldly explorations.

The fourth track, “11:30”, begins as an asymmetric three-way conversation: fragmented tenor phrasing, a harmonic bass line that is steady yet whimsically shaped, and active, muscular drumming that supports both movement and grounding. At one point, the rhythm section delves into a fuzzy, math-like abstraction before Nebbia returns in full angular force, pushing the trio toward a thrilling climax.

Hypomaniac emerges as an irresistibly compelling strain of free jazz, capturing Nebbia, Almeida, and Darrifourcq in their rawest forms and at their highest level of mutual trust. In the process, they forge a triumphant identity all their own.

Favorite Tracks:
01 - “19:45” ► 04 - “11:30”

Yuhan Su - Over the Moons

Label: Endectomorph Music, 2025

Personnel - Yuhan Su: vibraphone; Anna Webber; tenor saxophone, flute; Alex LoRe: alto saxophone, flute; Matt Mitchell: piano; Yingda Chen: guitar; Marty Kenney: bass; James Paul Nadien: drums; Shinya Lin: electronics.

New York–based Taiwanese vibraphonist and composer Yuhan Su fronts a superb octet of outstanding musicians and improvisers on her new outing, OVER the MOONs, a collection of eight original compositions that probe the boundless potential of collective and individual creativity. Bristling with virtuosity yet marked by graceful elegance, the album finds Su expanding her sonic palette through effect pedals, modernizing the vibraphone’s voice and channeling a style of jazz—angular melodies, kaleidoscopic harmonies, and free improvisation at its core—that feels fully alive and thriving. 

“Pieces Piece” throws the instruments into a puzzling collage of fragments and motifs, a droning, dancing swirl that is both playful and acutely constructed. The swift, tightly coordinated vibraphone-and-keyboard runs land squarely on the chest, propelled by the energizing rhythmic engine of Marty Kenny’s bass and James Paul Nadine’s drums. Pianist Matt Mitchell unleashes a torrent of ideas in an expansive solo, followed by tenor saxophonist Anna Webber, who darts in and out of a more rock-tinged foundation. “Tomorrow”, with its gradually accelerating theme and featuring superb electronic work by Shinya Lin, explores avant-garde terrain with agile rhythmic mutations. Webber soloes fearlessly, opening the door to a collective exploration with protuberant guitar adornments by Yingda Chen in the background, and Su’s impulsively chromatic vibes driving the flow.

Tension is part of the appeal here, but so is mystery. “Two Moons” materializes as a recondite chimera, its delay-coated vibraphone intro softened by flutes from Webber and Alex LoRe, along with Chen’s ethereal guitar tendrils. Contemplative yet exploratory, the piece reflects Su’s lived navigation between cultures and languages. The ecstatic, distorted vibraphone effects on “Roaring Houses” evoke Wyoming’s powerful winter storms—conditions she experienced while writing much of the album during a 2024 residency. The rhythm section shines in punchy, knotty counterpoint, while the soloists—Mitchell, Chen, and Su—steer through meter shifts and rhythmic entanglements with precision and verve.

Playful and staccato-driven, “Genius and Dumb” incorporates Su’s Mandarin words processed electronically, producing a groovy machine-like energy enhanced by sharp digital manipulation and a vibrant tenor solo bursting with color and possibility. The album closes quietly with “Too Much Time Marching Clouds”, an impressionistic, near-edenic reverie featuring haunting guitar textures and absorbing saxophone exchanges.

Whether whispering or erupting, Su’s music remains consistently engrossing. She stands here as a truly inspired artist with a bright future ahead.

Favorite Tracks:
01 - Pieces Piece ► 02 - Tomorrow ► 04 - Roaring Houses ► 06 - Genius and Dumb

Yako Trio with Harris Lambrakis and James Wylie - Woven

Label: FWF Records, 2025

Personnel - Leandros Pasias: piano; Vangelis Vrachnos: double bass; Giorgos Klountzos Chrysidis: drums + Harris Lambrakis: ney; James Wylie: saxophone.

Yako Trio’s eclectic instincts are fully on display on their latest album, Woven, an even-keeled exploration of genre-bending ambiences filtered through the group’s distinctive lens. The Thessaloniki-based trio—pianist Leandros Pasias, bassist Vangelis Vrachnos, and drummer Giorgos Klountzos Chrysidis—expands into a quintet here with two guest woodwind players: New Zealander saxophonist James Wylie and Athens-born flutist Harris Lambrakis.

This highly listenable session opens with “Mr. McCoy”, a tribute to pianist McCoy Tyner and the invigorating energy of his playing. Written by Pasias, the piece centers around a rich harmonic riff while Coltranean lines surge from the frontline. Swinging underneath with liberating force, it features ecstatic improvisations from each member and vividly evokes Tyner’s ‘70s post-bop. Vrachnos’ “Ghostly Wind” follows, unfolding like an Eastern dance with groovy bass figures, catchy melodicism, and a gently lilting rhythmic flow.

Pasias reveals an interesting, broad compositional vision throughout, contributing some of the album’s most gripping pieces, including “Kloutzoa” and “Impromptu”. The former—a breezy, soulful tune written for Chrysidis and recalling Kamasi Washington’s soul-jazz pulse—rides on a nicely chilled beat from the drummer; while the latter feels as if McCoy Tyner had teamed up with Mulatu Astatke in a modal post-bop/world-fusion crossroad, with flute-and-sax juxtapositions reaching a spiritual sensitivity. Pasias also composed “Myrtilo”, a soothing, luminous ballad.

Chrysidis’ “Speaking Voice” begins with cymbal magnification before settling into a seductive, R&B-inflected piece that nods to fusion through bouncing electric piano textures and skittering hi-hat patterns. The album winds down in a relaxed atmosphere with Vrachnos’ ballad “Sweet Lotus”.

Woven, named for its interlacing of musical idioms, showcases Yako Trio’s global sensibilities and captures the ear through the clarity and cohesion of their musical craft.

Favorite Tracks:
01 - Mr. McCoy ► 03 - Kloutzoa ► 04 - Impromptu

Bill Ware and the Club Bird All Stars - Martian Sunset

Label: Sunnyside Records, 2025

Personnel - Bill Ware: vibraphone, melodica; Rez Abbasi; guitar; Matt King: piano; Jay Anderson: bass; Taru Alexander: drums.

Martian Sunset is the latest album from American vibraphonist and composer Bill Ware, who, over a three-decade career, has carved his path across a variety of ensembles including The Jazz Passengers, Groove Collective, the trio Vibes, and Rez Abbasi’s Acoustic Quartet. The ten original compositions were written anew—though initially conceived as part of his pandemic-triggered 1k Song Project—for The Club Bird All-Stars, the long-running vehicle for his prolific creativity, formed in 1993 after a three-month engagement at the beloved Japanese venue Club Bird. The group’s new iteration features adventurous guitarist Rez Abbasi, seasoned bassist Jay Anderson, and unsung drummer Taru Alexander, with pianist Matt King remaining in the lineup.

From the opening bars of “Around The Horn”, it becomes immediately clear that Ware is a multi-genre-infused musician. Slightly funkified and strikingly groovy, the piece draws on R&B colors and is buoyed by exciting, fluid solos from Abbasi, King, and Ware. “That Dirty Road” swings mildly, though its head isn’t particularly memorable, while the uptempo “Happy Bird” opens with lively drumming and moves with an easy fusion feel, featuring Ware on melodica.

The album begins to open up more fully from this point on, heating itself toward a steady crescendo. Inspired by Ornette Coleman and Sun Ra, the title cut throbs with tension and collective synchronization, while giving the soloists plenty of space for spontaneity—including Alexander, who closes the track with rock-like muscularity. In jaw-dropping fashion, “In a Spiral”—assembled from favored fragments of earlier compositions—unfolds with purpose, assuming a luscious modal tone and dancing enchantingly after Anderson’s double-stop-rich introduction. Abbasi scrawls astute phrases with dazzling delay effects, and Ware supplies harmonic depth before a polished vamp ushers in the drummer.

“Don’t Take Me Wrong” maintains its post-bop exploratory drive with contemporary freshness, especially through King’s contributions. Powering things along on the album’s outlier, “Hangin’ at Rez”, are Abbasi on acoustic guitar and Ware on melodica; under their spell, the tune moves as breezily as a lighthearted spring diversion. The album closes with “All the Way Down”, a loping, sumptuous jazz-funk number wrapped in warm hues. 

Covering a considerable range of moods without drifting from Ware’s stylistic core, Martian Sunset feels distinctly contemporary and offers a generous share of surprises.

Favorite Tracks:
06 - In a Spiral ► 07 - Don’t Take Me Wrong ► 08 - Hangin’ at Rez