Myra Melford - Splash

Label: Intakt Records, 2025

Personnel - Myra Medford: piano; Michael Formanek: bass; Ches Smith: drums, vibraphone.

Pianist and composer Myra Melford leads a new boundary-pushing trio—a format she usually invests in with Trio M (featuring bassist Mark Dresser and drummer Matt Wilson)—characterized by its serious yet passionate approach to music. Splash thrives on complex frameworks designed with locked-in aesthetics and imaginative improvisation. As in previous outings, Melford draws inspiration from American post-abstract expressionist Cy Twombly, using his art as a catalyst for her and her bandmates—bassist Michael Formanek and drummer/vibraphonist Ches Smith—to explore their deep harmonic and rhythmic sensibilities.

In “Drift”, the core rhythm section sets a vigorous motion over which Melford unfurls sinewy lines, weaving an endless strain of lyrical invention and frayed expression without ever breaking in tone. A striking unaccompanied bass solo, driven by stamina and precision, is later joined by vamping vibraphone and piano, and Smith improvises freely on both vibes and drums over a 13-beat cycle piano vamp.

Like the opening track, “The Wayward Line” previously appeared on Tomorrowland by Lux Quartet, an ensemble co-led by Melford and drummer Allison Miller. Here, it unfolds experimentally, beginning with controlled abstract frenzy, passing through introspective tones, and culminating in an investigative piano passage over a dense, rhythmic continuum.

“Freewheeler” surges forward with anxious, restless energy, only to soften in its final quarter, where Smith’s fluttering vibraphone delicacy replaces the drums, creating a dreamy atmosphere. The through-composed “Streaming” brings further surprises, kicking off with skittish drumming and slippery stabs of funky double bass, while slaloming piano melodies dance above. The dynamic sequence of timbres and moods is accentuated by bowed bass and interwoven vibraphone-piano statements.

“A Line With a Mind of its Own” stands out, featuring bass and piano in parallel while Smith embraces a liberated approach on drums, filling every gap with fervor and precision. The supple piano improvisation leads into a main melodic line that is both disembodied and intellectually grounded, culminating in pure avant-garde intensity. “Chalk” brings a poetic close to the album, imbued with a contemporary classical feel and a touch of modal spirituality. Before that, three ‘Interludes’—each spotlighting one musician—seamlessly weave powerful emotions into the album’s rich tapestry.

Melford gives her exemplary trio the freedom they claim, and the three artists show their seriously expansive sonic palettes in a cohesive whole that is as probing and expressionistic as Twombly’s art.

Favorite Tracks:
01 - Drift ► 06 - Streaming ► 07 - A Line With a Mind of Its Own ► 10 - Chalk

Adam O'Farrill - For These Streets

Label: Out of Your Head Records, 2025

Personnel - Adam O’Farrill: trumpet, flugelhorn; Kevin Sun: tenor saxophone, clarinet; David Léon: alto saxophone, flute; Kalun Leung: trombone, euphonium; Mary Halvorson: guitar; Patricia Brennan: vibraphone; Tyrone Allen: double bass; Tomas Fujiwara: drums.

Brooklyn trumpeter and composer Adam O’Farrill reaches new heights of passion, drama, and urgency with his latest album, For These Streets, a tribute to the literature, film, and music of the 1930s, drawing inspiration from Henry Miller, Virginia Woolf, Stravinsky, and Otavio Paz. Leading an all-star octet, O’Farrill crafts inventive musical arrangements with skewed angles, supported by rising saxophonists Kevin Sun and David Léon, trombonist Kalun Leung, acclaimed guitarist Mary Halvorson, recently lauded vibraphonist Patricia Brennan, bassist Tyrone Allen, and notable drummer Tomas Fujiwara. The ensemble is conducted by Eli Greenhoe.

The album’s opener, “Swimmers”, absolutely stuns, unfolding fluidly through dynamic passages. It begins in rubato mode with sparse guitar chords and bass pointillism before seamlessly transitioning into agile trumpet phrasing and propulsive drumming. Brennan and Halvorson—sought-after accompanists and improvisers appearing in numerous projects—provide harmonically rich counterpoint, a contrast-colored technique that recurs throughout the album. Jarringly catchy vamps and intricate collective movements are laid over odd-metered rhythms, enhancing the music’s unpredictability.

“Nocturno, 1932” moves with a mournful, waltzing cadence, its velvety flute and chamber texture infusing an airy spaciousness before the horns engage in contrapuntal brilliance in quintuple time. Also packed with counterpoint in support of O’Farrill’s wailing trumpet is “Speeding Blots of Ink”, but not before Halvorson shines with labyrinthine melodic trails, staccato harmonies, and mesmerizing effects. A subtle funk underpins the rhythm, culminating in a woolly saxophone-driven passage marked by an elegant, romantic touch.

“Migration” is soulfully intoned yet layered with solemnity and necessary gravitas, most of them coming from Allen's bowed bass. Brennan, marking every 10-beat cycle, meanders freely before a final woodwind-infused chamber passage concludes the piece. In “And So On”, the horns swoop and soar above a smoky 3/4 rhythmic tapestry, chewing up the scenery with gritty delight, while “Late June” radiates optimism with key changes, expert textural nuance, and a soothing saxophone statement.

“Streets”, an inebriating duet between O’Farrill and Halvorson, merges the balladic lyricism of Enrico Rava with the expressive depth of Ambrose Akinmusire, setting poignant trumpet lines against warped guitar trajectories. Meanwhile, “Rose” has the instruments counterbalancing one another, also exploring sections of cathartic avant-garde and rock-infused energy.

O’Farrill’s angular drive never forsakes melodic intent, making his music feel simultaneously exploratory, airy, disciplined, and often gently expressive. Designing charts with intricate cross-hatched lines, he stands at the peak of his compositional prowess.

Favorite Tracks:
01 - Swimmers ► 05 - Speeding Blots of Ink ► 06 - Streets ► 10 - Late June

Petros Klampanis - Latent Info

Label: Enja, 2025

Personnel - Kristjan Randalu: piano; Petros Klampanis: bass, electronics; Ziv Ravitz: drums.

The versatile Greek bassist Petros Klampanis embraces the classic piano trio in his new outing, Latent Info, a heartfelt tribute to all that lingers unseen, concealed in a latent state. Joined by Estonian pianist Kristjan Randalu and Israeli drummer Ziv Ravitz, Klampanis, inspired in part by the vision, scent, and vastness of the sea, navigates emotional landscapes with warmth and unwavering stability.

“Over the Calypso Deep” opens the album beautifully, evoking serene imagery through a mesmerizing 20-beat cycle bass groove, understated yet fluid percussion, and a blend of idyllic and dreamlike pianism. Klampanis’ narration conjures vivid, picturesque settings. The trio weaves seamlessly integrated sonic tapestries, a quality evident in the title track, “Latent Info”. Here, inner emotions take shape through a perceptible rhythm, unobtrusive electronics, luminous harmonies, and delicate nuances.

While “Stenahória” radiates a sense of openness, its lyrical theme gently pulsing with a hypnotic, vamp-like motion, “Menérbes” unfolds like a lullaby, wrapped in ambient electronics and a rich, rounded tone. There’s ample room to breathe—an element also present in “Day Breaks”, a meditative piece featuring guest trumpeter Andreas Polyzogopoulos and Ravitz’s supple brushwork. Throughout the album, pianist and drummer often provide a velvety cushion on which Klampanis’ introspective melodic musings can rest.

Preceding “Falling Grace”, a temperate bass-drums dance, is “When I Know the Answer”, where hints of gospel and pop influence shine through its shimmering brightness. Randalu stands out here with a particularly thoughtful improvisation.

This trio exudes an organic unity, conveying the effortless sensation that everything falls naturally into place. As he etches the next chapter of his musical journey with poetic refinement, Klampanis proves to have a pure voice as a bassist and composer.

Favorite Tracks:
01 - Over the Calypso Deep ► 04 - Menérbes ► 05 - When I Know the Answer

Ivo Perelman / Ken Vandermark / Joe McPhee - Oxygen

Label: Mahakala Music, 2025

Personnel - Ivo Perelman: tenor saxophone; Ken Vandermark: baritone saxophone; Joe McPhee: trombone.

On his latest album, Oxygen, the thrill-seeking tenor saxophonist Ivo Perelman joins forces with two other icons of improvisation: the versatile saxophonist Ken Vandermark, who plays exclusively baritone saxophone here, and multi-instrumentalist Joe McPhee, who sticks to the trombone. While Perelman has collaborated with both musicians in duo settings—featured on the 2022 album Reed Rapture in Brooklyn—this marks their first time performing together as a trio. As expected, the album brims with ideas, bursting with spontaneous rhythmic cadences within open structures. 

Their freely improvised exchanges unfold with a measured breathing mechanism in “Oxygen”, incorporating freewheeling tenor explorations, a baritone-driven pedal pulse, and a simple trombone riff that expands into vicious growls. Perelman’s deliberate musings are periodically punctuated by Vandermark’s popping baritone tones and McPhee’s airy trombone turbulence, creating a fascinating interplay of timbres. Magnetic loops and sustained drones are frequently employed, reaching a striking peak in “Nitrogen”, where saxophone multiphonics take part in a noncombustible combination of elements.

“Carbon” receives a distinct percussive treatment from the outset, with Vandermark shaping his baritone phrases with strong narrative focus and a commitment to swift circular motions. Perelman, uninhibited in his creative approach, engages in fiery interplay with McPhee’s commanding brass surges, eventually leading the trio into a cacophonous climax before settling back into chamber-like introspection. “Sulfur” absolutely stuns, incorporating vocals in a ritualistic prayer. The musicians fully embrace their experimental instincts here, transforming the piece into an electrified, pulse-driven dance that, recalling electronic music, urges the body to move freely. Yet, amid the storm, moments of melodic convergence emerge—a celestial buzzing followed by shadowy, suspenseful tones.

The absence of harmonic instruments makes the improvisational terrain more demanding but immensely rewarding, with melodic lines veering into unexpected tangents and dynamic intersections. Perelman, Vandermark, and McPhee are masters of spontaneous dialogue, responding to one another with uncanny intuition and an unwavering sense of trust.

Favorite Tracks:
01 - Oxygen ► 02 - Carbon ► 03 - Sulfur

Artemis - Arboresque

Label: Blue Note Records, 2025

Personnel - Ingrid Jensen: trumpet; Nicole Glover: tenor saxophone; Renee Rosnes: piano; Noriko Ueda: bass; Allison Miller: drums.

The acclaimed all-female quintet Artemis, assembled in 2016 to celebrate International Women’s Day with live performances in Europe, returns with their third album for the Blue Note label. On Arboresque, they explore themes of nature and beauty across eight consistently engaging tracks. Having developed remarkable artistic chemistry, each member contributes an original composition to a program that is rounded out by three thoughtfully arranged jazz covers. 

Remaining just as tactile and cohesive as ever, the group starts off with “The Smile of the Snake”, a composition by pianist/producer Donald Brown (who worked with Kenny Garrett), impeccably arranged by the ensemble’s musical director, pianist Renee Rosnes. Following the theme’s stealthy steps and sultry contortions, trumpeter Ingrid Jensen and saxophonist Nicole Glover deliver commanding solos, briefly overlapping in an unexpected but electrifying moment. Their playing highlights a fluent and typically inventive discourse.

With a strong emphasis on texture and mood, “Komorebi”, penned by Japanese bassist Noriko Ueda, flows with breezy post-bop assurance. The Japanese term refers to sunlight filtering through the leaves of a tree, a fitting inspiration for the piece’s airy and luminous feel. Glover’s “Petrishor” is a lush ballad propelled by Allison Miller’s soft brushwork. The drummer, often infusing buoyancy and dynamism from behind the kit, contributes “Little Cranberry”, a mellifluous tribute to the little island in Maine.

Wayne Shorter’s “Footprints” is reimagined at a faster tempo, sparking a thrilling sense of discovery through Rosnes’ fantastic arrangement, which features stunning solos, dramatic bar trades, and tight-knit interplay. Rosnes, who arranged all three covers with her signature elegance, also shines on Burt Bacharach and Hal David’s “What the World Needs Now is Love”. This 3/4 incantation is infused with harmonic nuances inspired by the late pianist Mulgrew Miller.

Jensen’s “Sights Unseen” is gorgeously orchestrated with a rich sense of elasticity, its groovy harmonic foundation anchored by expansive Rhodes textures and a vibrant swing feel. Meanwhile, in Rosnes’ “Olive Branch”, the pianist the pianist weaves in Brazilian rhythms and tonal colors, drawing from the inspirations behind her latest album, Crossing Paths (Smoke Sessions, 2024).

Arboresque is made of masterfully placed elements that intensify the compositions’ contagious vibes, cementing its place as a cherished addition to Artemis’ formidable catalog.

Favorite Tracks:
01 - The Smile of the Snake ► 03 - Sights Unseen ► 05 - Footprints

Boyce Justice Griffith - The Point

Label: Outside in Music, 2025

Personnel - Boyce Justice Griffith: tenor and soprano saxophone; Anthony Harvey: trumpet; Isaiah J. Thompson: piano; Marty Jaffe: bass; John Sturino: drums.

The Point is the latest release from saxophonist and composer Boyce Justice Griffith, featuring the same unit that shaped Turning In, his previous outing. With this conceptual work, Griffith urges listeners to seek truth by returning to their core values.

“The Two Fish” demonstrates a firm grasp of modal jazz, echoing with longitudinal bass conduction and enhanced with prayerful soprano sax lines articulated with heart, soul, and range. This opening track is rivaled only by the title cut, which appears in four different versions, each evoking a peculiar atmosphere. “The Point-Part One” features expressive unison melodies within a post-bop frame, imbued with enough swing to buoy trumpeter Anthony Harvey’s solo. “The Point-Part Two” occurs in the classic piano trio format—with pianist Isaiah J. Thompson giving it a modal intonation leveled by the lilting flow of bassist Marty Jaffe and drummer John Sturino. In “The Point-Part Three”, Griffith is at the helm of melody, delivering an exuberant improvisation.

In a compulsory swing, “The State of Being” is an uptempo hard-bop-infused piece that pays honor to the vibrant energy of the 1950s. Another clear nod to the genre comes in “Something to Prove”, where the swaggering main statement launches into an improvisational excursion featuring sinewy solos from the front-line players, followed by the pianist. The group cools the fire with “The Walk,” but its majestic horn-driven theme still inspires steamy solos.

Griffith’s compositional strategies are efficiently assimilated by his associates, and in “Balrog”—a reference to Tolkien’s Lord of the Rings—it’s Jaffe who begins and ends the journey with his muscular, blues-inflected pizzicato. Before his solo, a 4/4 modal sequence heats the soul with its intensity. The album would not be complete without “Isolation”, a ballad motivated by heavy snowfall, where the gravitas of bowed bass contrasts with high-pitched soprano flights.

With life’s purpose and direction at its core, The Point finds Griffith commanding his sound with narrative straightforwardness, eschewing any type of shrieks or wild cheers. It is a grounded, thoughtful album that reflects his deep passion for jazz in both its traditional and modern forms.

Favorite Tracks:
01 - The Two Fish ► 07 - The Walk ► 09 - The Point-Part Three

Nels Cline - Consentrik Quartet

Label: Blue Note Records, 2025

Personnel - Nels Cline: guitar; Ingrid Laubrock: tenor saxophone; Chris Lightcap: bass; Tom Rainey: drums.

In his latest album, Nels Cline—an astoundingly skilled guitarist and composer— leads a formidable new quartet featuring saxophonist Ingrid Laubrock, bassist Chris Lightcap, and drummer Tom Rainey. Consentrik Quartet, their self-titled release, is a testament to the strength of each musician’s abilities, and includes original compositions inspired both by the pandemic and the exciting improvisational Brooklyn music scene. 

The vanguard side of Cline’s compositions blossoms into new vistas. “The Returning Angel” unfolds in a rubato form, layering enigmatic guitar arpeggios, brushed snare textures, scintillating cymbal work, and poised saxophone melodies. At a key moment, the bass locks in with the guitar, shifting into a slow 6/4 time feel before segueing into “The 23”, a fantastic amalgamation of rich tones and deftly chosen notes. Lightcap’s addictive bass groove casts a spell, Laubrock weaves through inventive trajectories, and Cline infuses mesmerizing harmonic colors, embracing jazz, rock, and blues with openness and fluency. 

“Surplus” begins with sax and guitar in seamless communion before transitioning into odd-metered passages brimming with rhythmic intent. Cline’s phenomenal chordal sequence hints at a bluesy funk inclination, enhanced by a smeary overdrive effect. He repeats the feat on “Satomi”, written for bassist/singer Satomi Matsuzaki of the band Deerhoof, in a playful yet provocative avant-jazz-meets-post-rock setting that culminates in a less impetuous, chamber-like passage tinged with mournful tones.

“Slipping Into Something” hits all the right pleasure nodes, beginning with a hypnotic intro before settling into an unfaltering 15-beat cycle groove. Over this foundation, Cline and Laubrock exchange rapid-fire notes in a gripping dialogue, all laced with a sturdy rock feel that seamlessly carries over to “The Bag”. Written for Rainey, this piece showcases his drumming mastery—whether delivering intricate conversational textures, charging forward with a swinging drive, or providing sole support for Laubrock’s quick-witted improvisation. Eventually, Cline’s nimble guitar phrasing and Lightcap’s assertive bass conduction join the mix, reinforcing the piece’s momentum.

“Allende” suspends itself in an ethereal space, sprinkled with shimmering sonic particles, while “House of Steam” navigates an array of exciting meter signatures and rhythms. “Question of Mark” boils with plenty of noise, and “Time of No Sirens” offers a soothing counterpoint, imbued with emotional depth. No Matter the source of inspiration, Cline and his ensemble infuse the music with a fearless sense of perspective.

Consentrik Quartet is a truly collaborative ensemble, approaching music from unexpected angles and delivering an exhilarating listening experience. This album is a gem that should not be missed.

Favorite Tracks:
02 - The 23 ► 03 - Surplus ► 04 - Slipping Into Something ► 09 - The Bag

Sylvie Courvoisier / Mary Halvorson - Bone Bells

Label: Pyroclastic Records, 2025

Personnel - Sylvie Courvoisier: piano; Mary Halvorson: guitar.

Swiss pianist Sylvie Courvoisier and American guitarist Mary Halvorson are known for their distinctive and unconventional style—in the best sense of the word. As expected, their music is rooted in strong improvisational ideas, yet their compositional skills are evident in each piece. Bone Bells marks their third duo album, following Crop Circles (2017) and Searching For the Disappeared Hour (2021).

The title track opens the album with dark, warped, and beautifully constructed storytelling, evoking the book Trust by Hernan Diaz, the inspiration for its name. The two musicians sound completely integrated, sharing a vision that is at once mournful and enchanting. Courvoisier’s “Esmeralda”, named after a sculpture by Dutch artist Cornelis Zitman, is rhythmically defiant, showcasing a dynamic flow with a stippled, fluttery sense of motion. Before culminating in feverish agitation, it shifts into a more introspective mood, embracing a rounder sense of harmony with the pianist at the helm.

Halvorson’s “Folded Secret” layers forward-moving prepared piano with intrepid guitar work, generating an oddly propulsive flow. These seemingly effortless interactions emerge with striking detail and coordination. “Beclouded” fuses classical and avant-jazz elements, intertwining arpeggiated piano lines with spiky guitar sprints—except when the duo navigates the intricate melodic line in fleet unison.

“Nags Head Waltz” flows lightly and sinuously, embracing an open sense of pace, while “Silly Walk” feels almost cartoonish in its rhythmic accentuations and experimental determination. Inspired by Monty Python sketches as well as sculptures by Swiss artist Sophie Bouvier Ausländer, this piece takes on a darker mood without losing its sense of humor. The album closes with Courvoisier’s “Cristellina e Lontano”, where a 10-beat cycle featuring an eight-note vamping piano phrase collides with the sly triple-meter feel established by the guitar. This texturally elegant piece begins with rapid-fire lines played in unison and evolves into compelling improvisations.

Courvoisier and Halvorson embrace a sense of risk that is magnified into fields of harmonic possibility. They are brave enough to explore outside the lines and exceptionally skilled to make their music sound thrilling.

Favorite Tracks:
02 - Esmeralda ► 03 - Folded Secret ► 08 - Cristellina e Lontano

Billy Mohler - The Eternal

Label: Contagious Music, 2025

Personnel - Devin Daniels: alto saxophone; Jeff Parker: guitar; Billy Mohler: bass; Damion Reid: drums.

On his latest album, The Eternal, LA bassist and composer Billy Mohler applies his signature groovy formulas with a firm grip in the rock music, delivering another striking album of originals alongside a new quartet of influential LA-based musicians. After three albums featuring reedist Chris Speed, trumpeter Shane Endsley, and drummer Nate Wood, his lineup now includes saxophonist Devin Daniels, guitarist Jeff Parker, and drummer Damion Reid.

The album opener, “Those Who Know”, was written for Reid, who stuns with a rock-infused feel in the beat. Mohler sets everything in motion with a dynamic groove, over which sax and guitar flow effortlessly in parallel. Parker’s harmonic support and liquid tremolos stand out, as does his work on “Hawk Wind”, another piece built around a mesmerizing bass figure, and where he employs volume swells to create a warm ambiance. He then solos through a spellbinding sequence, adding elegant tension to his phrasing with half-tone shifts. The rhythm section remains finely attuned to the soloists, with Reid simultaneously delivering a hi-hat pulse and mallet-driven eloquence in support of Daniels’ beautifully crafted improvisation.

For blues enthusiasts, this band offers two distinct takes on the genre: “Adaptation” is an intrepid, jittery excursion in six, brimming with restless drum work and a whimsical guitar improvisation, while “Sooner”, inspired by Mohler’s late uncle Doug—a member of the Chippewa tribe—emerges as a full-figured 4/4 blues. Additionally, the album features five ‘Eternal’ pieces—short solo bass stories, exquisitely expressed through thick, resonant tones and a refined pizzicato technique.

“Reflection” is a sophisticated ballad, elegantly balanced with harmonic and melodic tunefulness, whereas “Destroyer” is a formidable powerhouse, an energetic rock-infused foray that culminates in an unexpected resolution. On “Tsunami”, Mohler ignites the groove with an intense yet controlled heat, achieving a fine equilibrium between tension and release. Despite its foreboding title, the piece radiates a thoughtful optimism, shaped by tempo shifts and soulful statements from Parker and Daniels.

Mohler unquestionably knows how to throw down a groove, providing a fertile foundation for his bandmates to explore freely. His approach—firmly rooted in the contemporary post-bop school—frequently arrives with rock-like muscularity. The Eternal, a brew of heady, spirited groovy magnitude and boldly creative hybridity, ensures that no listener remains static.

Favorite Tracks:

01 - Those Who Know ► 04 - Hawk Wind ► 07 - Destroyer ► 12 - Tsunami

Anouar Brahem - After the Last Sky

Label: ECM Records, 2025

Personnel - Anouar Brahem: oud; Anja Lechner: violoncello; Django Bates: piano; Dave Holland: double bass.

As a pivotal figure in the world-jazz music sphere, oud player Anouar Brahem has been warming our hearts throughout the years with albums such as Barzakh (1991), Thimar (1998), Le Voyage de Sahar (2006), and Blue Maqams (2017), among others. His latest work, After the Last Sky, takes its title from the words of Palestinian poet Mahmoud Darwish and is deeply inspired by the harrowing experiences of the Palestinian people in Gaza. Rather than guiding listeners toward a specific message, Brahem seeks to evoke raw emotion, a goal he achieves with the support of three distinguished European musicians. While bassist Dave Holland is a familiar collaborator, pianist Django Bates returns after Blue Maqams, but the novelty here is cellist Anja Lechner, who infuses the music with extra poignancy and depth. 

“Remembering Hind”, a piano-cello duet, unfolds like a slow-blooming sonata, paying homage to a young victim of the war. Bates and Lechner also share the melodic journey of “Edward Said’s Reverie”, a tribute to the American-Palestinian academic and political activist in the title. 

The title track, “After the Last Sky” opens with the plaintive voice of the oud, its melancholy tones soon interweaving with the piano. In its last segment, Holland subtly establishes a groove with lyrical intonation, while Lechner enriches the classical Arabic tradition with her improvisational freedom. “Endless Wandering” is spiritual, elegant, and haunting, showcasing warmly dissonant oud harmonies and bowed bass in the form of sustained pedals. 

With its scintillating textures, “Awake” begins in 7/4, traversing key changes and shifting modal directions with ease. “In the Shade of Your Eyes” is a striking oud-cello duet, enriched by microtonal inflections and dark, reedy bowing. Meanwhile, “The Eternal Olive Tree” is an improvised bass-oud effort imbued with a sinuous, dancing quality that highlights the deep musical rapport between Brahem and Holland. 

A surprising tango influence emerges in “Dancing Under the Meteorites”, a modern composition nourished by Holland’s sturdy bass foundation, while “Vague”, an older Brahem piece, blends echoes of Erik Satie with Arabic laments, striking a pillowy, oddly emotional note. It’s easy to find delight in Brahem’s poignant narratives and sounds. His unique musical perspective triggers thoughtful responses from his peers, who help the music brim with soul.

Favorite Tracks:
03 - Endless Wandering ► 06 - In the Shade of Your Eyes ► 11 - Vague

Yuto Mitomi - Epicycle

Label: Self released, 2025

Personnel - Yuto Mitomi: tenor and soprano saxophone; Takahiro Izumikawa: piano, keyboards; Moto Fukushima: six-string bass; Keita Ogawa: drums, percussion.

New York-based Japanese saxophonist and composer Yuto Mitomi presents Epicycle, his fourth album as a leader/co-leader. Joined by a proficient quartet, Mitomi and his peers move organically, maintaining a constant focus on shaping a style that is both crystalline and opaque. The title Epicycle refers to a geometric concept applied to astronomy, mirroring the album’s intricate musical explorations.

Ambiguity plays a strong role throughout the album, which opens with “Morning Haze”, a free improvisation unfolding as a fluid, shapeless dialogue. Mitomi’s profound saxophone meditations intertwine with Keita Ogawa’s steady cymbal splashes, Takahiro Izumikawa’s diligent piano phrasing, and Moto Fukushima’s ruminative electric bass. These striking avant-garde landscapes resurface in two other free improvisations—“Grappling Cats” and “Moony Night”. The former highlights the ensemble’s adventurous spirit and exploratory nature, while the latter is graced by a cool beat and lavishly jazzy piano harmonies.

Ogawa’s splendid drumming propels “Spline”, a title referencing mathematical curves and mirroring the piece’s fluid, undulating movement. Infused with an acid jazz flavor, the track thrives on fusion-leaning keyboard attacks, over which Mitomi’s soaring soprano lines take flight. Even the composed pieces exude an open quality— “Dew”, for instance, bathes the listener in soft, prismatic colors and a cohesive texture, carried by a relaxed 7/4 groove. Assertive solos from Izumikawa and Mitomi gradually build in emotion, framed by a serene yet compelling rhythmic foundation.

The four instruments overlap picturesquely on “Epicycle”, a composition divided into two distinct yet persuasive parts—the first, poetic and restraint; the second, groovier yet amiable in tone, invigorated by a few rhythmic variations. Various genres inform Mitomi’s predominantly jazz idiom, and Epicycle is an empathetic, curiously textured album where listeners may appreciate the quartet’s genuine musical sensibilities.

Favorite Tracks:
04 - Epicycle II ► 05 - Grappling Cats ► 07 - Spline

Jacopo Ferrazza - Prometheus

Label: Teal Dreamers Factory, 2025

Personnel - Jacopo Ferrazza: bass, synths; Enrico Zanisi: piano, synths; Alessandra Diodati: vocals; Livia De Romanis: cello; Valerio Vantaggio: drums.

Italian bassist and composer Jacopo Ferrazza reunites the same qualified quintet from Fantàsia (2022) for his new conceptual album, Prometheus. The well-rounded program consists of eight original compositions, with Ferrazza leading with deep focus and crafting a cohesive narrative that unfolds through his imaginative compositional style.

“Prologue”, a vocalized, synth-driven introduction, sets the tone, segueing naturally into “The Cave”, where shadowy, dramatic piano chords intertwine with poignant arco work from bass and cello. Valerio Vantaggio's initially explosive drumming—reminiscent of prog rock—shifts into a cool, restrained groove, while Alessandra Diodati’s vocals command attention with a mix of dedication and abandon. Each band member plays a vital role in the track’s rich, multifaceted swagger.

Diodati’s mellifluous, crisp vocals permeate the title track, which begins as a slow waltz before evolving into a freer, meter-shifting exploration midway through. “The Rediscovery of Fire” ignites with an intense epiphany—ethereal chants floating over a thunderous rhythmic foundation that pulses like a dance machine. This same concept carries into “Titan Rises”, leading to a warped, industrial-like surge of synths and effects. The former piece also features a lyrical middle section where cello and bowed bass interact, before the initial intensity returns, now underscored by Enrico Zanisi’s hypnotic circular piano motif. 

Ferrazza’s bass melodicism is at the forefront of “Pillory”, a lyrical 3/4 piece infused with a quiet mysticism. With his bass being the glue that holds everything together, the piece closes beautifully with a sustained high-pitched note, courtesy of Diodati. In contrast, “I Am Everywhere” pulses with rhythmic urgency, featuring a throbbing motion and precise unisons between voice and keys. We sense this salutary disentanglement in Zanisi’s piano solo, casting warm and sunny jazz hues onto the horizon.

Prometheus, Ferrazza’s fifth album as a leader, is a contemporary musical adventure that takes you to strange places. It may not appeal to all tastes, but those who embrace its journey may find themselves captivated by moments of mythic beauty.

Favorite Tracks:
04 - The Rediscovery of Fire ► 06- Titan Rises ► 08 - I Am Everywhere

Billy hart Quartet - Just

Label: ECM Records

Personnel - Mark Turner: tenor saxophone; Ethan Iverson: piano; Ben Street: bass; Billy Hart: drums.

The playing of legendary drummer Billy Hart is distinguished by virtuosic, breezy textures and a refined elegance that imbues the music a graceful, rare dimensionality. His pliable quartet—with saxophonist Mark Turner, pianist Ethan Iverson, and bassist Ben Street—was formed in 2003, crafting a sound that blends and dissolves elements like watercolors. Just marks the quartet’s third ECM release, following All Our Reasons (2012) and One is the Other (2014).

Iverson’s “Showdown" emerges as a warmhearted ballad, full of gracious gestures and excellent note choices in Turner’s expressive statement. Iverson both initiates and gracefully concludes the piece with wisdom. The pianist also contributes the following pieces: “Aviation”, whose heroic vibe doesn’t hide a fine fusion of classical and jazz elements as well as a lilting motion delivered with aeronautical skills; “Chamber Music”, which is brushed with sophistication by Hart—a true colorist who likes to explore beyond the obvious; and “South Hampton”, a bluesy, bop-inflected number featuring an elucidated bass-piano drive, an absorbing tenor solo, and well-placed drum fills that heighten the tension and release.

Hart revisits his own “Layla-Joy”, first recorded on his 1977 album Enhance, reimagining it with mallets and cymbals in a balladic form, punctuated by moments of suspended abstraction. Another revived composition, “Naaj”, is an intriguing, tuneful piece showcasing Iverson’s first-class piano work. With flexible attacks, he draws both from tradition and progression. The title track, “Just”, unfolds as a fresh post-bop excursion, marked by enigmatic chordal manipulations and engaging rhythmic dynamics.

Turner, a saxophonist of exceptional resourcefulness and ingenuity, contributes three compositions of his own. “Billy’s Waltz” exudes a charming appeal, while “Bo Brussels”—previously recorded on his 1998 album In This World—drifts through suspensions and cinematic atmospheres, never feeling static. In turn, “Top of the Middle” is characterized by a splendid interplay and driving post-bop force.

While Just may not be a revelatory departure for the quartet, it is undeniably filled with moments of brilliance, where the musicians' collective artistry shines. A few tracks even serve as soothing balms for the soul.

Favorite Tracks:
05 - South Hampton ► 06 - Just ► 08 - Bo Brussels

Steve Lehman Trio with Mark Turner - The Music of Anthony Braxton

Label: Pi Recordings

Personnel - Steve Lehman: alto saxophone; Mark Turner: tenor saxophone; Matt Brewer: bass; Damion Reid: drums.

For his 17th album as a leader, alto saxophonist and composer Steve Lehman joins forces with tenorist Mark Turner in the frontline of a dynamic quartet, propelled by a formidable rhythm section featuring bassist Matt Brewer and drummer Damion Reid. This album, a tribute to Lehman’s early mentor Anthony Braxton in celebration of his 80th birthday, features eight tracks—five by Braxton, two by Lehman, and one by Monk—recorded live at ETA in Los Angeles.

Braxton’s “34a” launches the album with a furious vibe. A feverish, frenetic riff takes center stage, driven by an assertive rhythmic thrust, with the two saxophonists delivering sharp, angular unisons. Turner demonstrates his versatility, equally at home in avant-garde settings as in post-bop, while Lehman showcases his signature fractal style with dazzling speed and intervallic acrobatics. “40b” begins with Brewer’s reflective yet elegantly dancing bass lines, before an infectious Latin groove emerges. The saxophonists improvise with vision and vigor, their interplay baked with motifs and bright ideas.

Other standout Braxton pieces include “23c”, where precision licks are crisply articulated by Lehman, Brewer, and Reid, with knotty, turn-on-a-dime shifts in the rhythm department, and “23b+23g”, where regimented marching steps evolve into a swinging foray. The horn players toss out absorbing free-bop melodies while the rhythm section continues to skitter, clatter, and zing beneath them. Turner is on fire here, Reid comes into view from behind the kit with stunning details and syncopation, and Lehman delivers a gusty speech with a remarkable flow of articulation and accentuation. 

Lehman penned “L.A. Genes” and “Unbroken and Unspoken”, each revealing different facets of his compositional voice. The former is a vibrant conversation of shifting polytonal interactions, full of exciting tangents and personalized remarks. The latter embraces both lyricism and complexity, opting for a more fluid and rounded approach while still infused with intricate rhythmic nuances that create an energetic, swinging tension. 
The album concludes with a thrilling rendition of Monk’s “Trinkle Tinkle”, which unfolds after an adventurous two-minute saxophone duologue, leading to trading eights with the drummer.

A rigorous conceptual thinker, Lehman dives into complex compositional forms, conducting his trio-plus-one unit to stardom. The music is infectious, fervent, and bouncy, and the enjoyment brimful of exciting places to discover.

Favorite Tracks:
01 - 34a ► 02 - L.A. Genes ► 03 - 40b ► 05 - 23c

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