Gregory Hutchinson - Kind of Now: The Pulse of Miles Davis

Label: Warner Music, 2026

Personnel - Ambrose Akinmusire: trumpet; Ron Blake: tenor saxophone, bass clarinet; Gerald Clayton: piano; Jakob Bro: guitar; Emmanuel Michael: guitar; Joe Sanders: bass; Gregory Hutchinson: drums.

Drummer and composer Gregory Hutchinson, who consistently uses timbre and cymbal color to his advantage, embarks on an enjoyable and occasionally surprising program of tunes connected to and paying homage to the groundbreaking jazz trumpeter Miles Davis. Hutchinson—known for his collaborations with Roy Hargrove, Joe Henderson, Joshua Redman, Ray Brown, and Kurt Rosenwinkel—blends tradition and modernity in his approach, assembling a group of contemporary jazz players whose quality and flexibility fully serve his vision.

Charlie Parker’s hard-bop strut “Ah-Leu-Cha”—a brilliant contrafact of “Honeysuckle Rose” and “I Got Rhythm”—wastes no time drawing listeners in. The initial symbiotic interplay around the theme allows ample space for bassist Joe Sanders and Hutchinson to assert themselves. Not as uptempo as Miles’ version, the piece thrives through a strong, refined statement by trumpeter Ambrose Akinmusire, followed by pianist Gerald Clayton’s candid phrasing and tenor saxophonist Ron Blake’s expansive reach.

Hutchinson and his group render three Miles compositions representing distinct phases in jazz history: “Fran-Dance” is delivered in a simpatico trio setting of piano, bass, and drums; “Bitches Brew” channels experimental curiosity, relying on the contrast between high-pitched trumpet and low bass clarinet before settling into an ostinato-driven funk infused with bluesy hues; and “Circle in the Round” features compelling work by up-and-coming guitarist Emmanuel Michael, who later joins Akinmusire and Blake for the final thematic statement.

Of the album’s 12 tracks, four come from the pen of Wayne Shorter: “Fall” and “Feio” are shaped by evocative guitar textures, as Jakob Bro interacts with Michael over Hutchinson’s inventive figures. “Orbits” and “Water Babies” similarly evoke the composer’s incantatory ambiguity.

Hutchinson’s take-no-prisoners mentality surfaces in Victor Feldman’s “Seven Steps to Heaven”, a nod to Miles’s second great quintet propelled at full swing, while Tony Williams’ “Black Comedy” includes slick lines and solo turns from Blake and Clayton. The album also features three solo drum tracks, each statement purposeful—one of them paying tribute to the drummers who played with Miles.

In an album that never defaults to strict convention, Hutchinson avoids the obvious, favoring nuanced shadings and tuneful rhythms that elevate the material’s overall impact.

Favorite Tracks:
01 - Ah-Leu-Cha ► 06 - Feio ► 09 - Bitches Brew

Immanuel Wilkins Quartet - Live at the Village Vanguard Vol. 1

Label: Blue Note Records, 2026

Personnel - Immanuel Wilkins: alto saxophone; Micah Thomas: piano; Ryoma Takenaga: bass; Kweku Sumbry: drums.

Saxophonist and composer Immanuel Wilkins has emerged as a leading voice in contemporary jazz, building a body of work that feels both tenacious and vital. His latest addition, Live at Village Vanguard Vol. 1, is his first live recording, featuring four extended tracks captured in 2025 at that iconic venue of legendary performances. For the occasion, Wilkins enlisted a tight, intuitive quartet of like-minded collaborators: pianist Micah Thomas, bassist Ryoma Takenaga, and drummer Kweku Sumbry.

“Warriors”, an energetic tour-de-force originally included on his debut album Omega (2020), appears here with extended soloing bravura from Wilkins and Thomas in a modern post-bop setting that showcases harmonic dexterity, melodic balance, and narrative depth. Shades of John Coltrane and Ornette Coleman surface in multiple triplet-infused phrases that fuse technical command with joyful exuberance. Sumbry brings the piece to a close, stretching elastically on the kit within a vamping sequence.

“Composition II”, a lyrical, gently brushed, and narratively-driven 4/4 ballad modeled on J.S. Bach’s Well-Tempered Clavier, invites more reflective consideration and includes a fine bass solo steeped in melodic elegance. Yet, the record’s highlight is undoubtedly Alice Coltrane’s “Charanam”, whose modal spirituality resonates directly with the listener. Each musical gesture leaves a mark—from the piano’s introductory passage to the groove-oriented ritual of the rhythm section and the uplifting, free-flowing riffery maintained by Wilkins, who fills spaces with dazzling in-and-out incursions. The quartet is in top form, and the piece becomes deeply soulful, worming its way into your head.

“Eternal” concludes this first volume by introducing a serious post-bop statement with a perplexing sense of time and a clearly defined thematic melody, before settling into a continuous, measured 3/4 cycle.

Wilkins’ Live at Village Vanguard Vol. 1 offers moments of boundless creativity and deep commitment to the music, its interactive force drawing from diverse musical sources that shape his notably expressive vocabulary.

Favorite Tracks:
01 - Warriors ► 03 - Charanam

Harriet Tubman & Georgia Anne Muldrow - Electrical Field of Love

Label: Pi Recordings, 2026

Personnel - Brandon Ross: electric guitar, banjo, soprano guitar; Melvin Gibbs: electric bass; JT Lewis: drums; Georgia Anne Muldrow; vocals, keyboard.

Harriet Tubman—named after the American abolitionist and social activist—is an idiosyncratic jazz-funk trio that crosses genres naturally with a non-clichéd aesthetic. Here, they place Black Music in a new light in the company of Grammy-nominated vocalist/producer Georgia Anne Muldrow.

Electrical Field of Love channels their passion into 12 concise tracks, demonstrating a magnificent command of mood and atmosphere. Full of strength, “Flowers” opens the proceedings with evocative, mysterious undercurrents. An entrancing hip-hop-inflected rhythm anchors the piece, soon joined by a rugged, distorted tapestry of guitar and bass. The trio continues to rock and funkify in a fevered experimental uproar, with Muldrow’s voice soaring above. Her contributions are even more striking on the ascending “Anatomical Fable of the Elements” and “Isom Dart Was”, which flows with contemporary crossover appeal as funk and R&B are shaped by the trio’s noir imagination.

“Insisting” feels at once vulnerable, volatile, and oppressive, featuring layered, spectral vocals, while “How You Rise” unfolds with transfiguring intensity, opening with Ross’ clamorous, wailing guitar and anchored by Gibbs’ robust 4/4 grooves.

Boasting a powerful sound, “Assata” builds and deconstructs over Lewis’ hypnotic rhythms. Its simple yet effective harmonic treatment gives way to the greater complexity of “Don’t Stand a Chance, After the Boom”, where an insistently cyclic and daringly polyrhythmic approach is enriched by clever electronics and vivid percussion.

“Up From the Gum” conjures a disquieting and perplexing mood, driven by urgent syncopation and a six-beat bass groove at its core. The group crafts immersive spaces that reveal their true musical identity. Similarly, Muldrow’s “A Black Song” unfolds as a self-expressive experiment in jazz fusion, featuring wavering keyboards and a strong rhythmic flow driven by Lewis’ inventive drum figures.

Messages and themes unfold within a narrative concept that often feels like reopening an old wound in order to better heal it. Awash with fresh, intense energy, this is a special collaborative album that establishes a deep-rooted connection to the history of Black Music.

Favorite Tracks:
01 - Flower ► 03 - Isom Dart Was ► 05 - When You Rise ► 08 - Assata

Shawn Lovato - Biotic

Label: Endectomorph Music, 2026

Personnel - Ingrid Laubrock: tenor saxophone; Shawn Lovato: bass; Henry Mermer: drums.

Shawn Lovato is a New York-based bassist and composer with a daunting artistic perspective. Biotic marks an impressive trio debut alongside two other modern sculptors of sound, saxophonist Ingrid Laubrock and drummer Henry Mermer.

Showcasing open-mindedness and an extraordinary capacity for communication, the trio kicks off with “Spling”, which seems to draw on the patterned dynamics of electronic music. With the rhythm section cleverly anchoring the piece through syncopation-infused motion, Laubrock delivers a slyly virtuosic discourse packed with invigorating impromptu tangents. “Frequent Flyer” serves as a rousing nod to punk music—one of Lovato’s early influences—moving with elastic vigor while bringing to mind the Chris Speed Trio. Lovato embarks on a supple bass solo without ever losing sight of the tune’s lively harmonic progression.

Both “One Step From Anything Easy” and the closer “Parachute Bloom” are saxophone–arco bass duets that explore contrasting dynamics with refinement and taste. While the former is freely improvised, the latter relies on stately unison lines.

The trio also displays precise, athletic unisons on “Patience and Hydration”, a piece imbued with a grounded sense of direction. Laubrock, Lovato, and Mermer read each other seamlessly, exchanging and consolidating ideas with vision and spontaneity. “Dirt Doesn’t Burn”—its title drawn from a magazine article—is set in motion by a compelling bass introduction, later injecting angularity and mesmerizing rhythmic accents. The group maintains an energized focus throughout, but it is Mermer who disperses his kit’s sounds like octopus tentacles in a striking, thematic drum dissertation.

At times rigorous, at others freely drifting, Lovato’s trio fuses the concrete and the abstract into a coherent postmodern aesthetic, revealing a deep collective connection and a shared affinity for exploration.

Favorite Tracks:
01 - Spling ► 04 - Patience and Hydration ► 06 - Dirt Doesn’t Burn

Quinsin Nachoff - Patterns From Nature

Label: Whirlwind Recordings, 2026

Personnel - JC Sanford: conductor; Quinsin Nachoff: tenor saxophone; Roberta Michel: flutes; François Houle: clarinet; Sara Schoenbeck: bassoon; Tony Kadleck: trumpet; John Clark: french horn; Ryan Keberle: trombone; Matt Mitchell: piano; Carlo De Rosa: bass; Satoshi Takeishi: drums; Aaron Edgcomb: percussion; Gene Hardy: musical saw (#2) + Molinari String Quartet.

Cerebral New York-based saxophonist and composer Quinsin Nachoff aims high in his latest outing, Patterns From Nature, a singular musical journey that combines jazz and classical music, film, and physics in collaboration with physicist Stephen Morris and four filmmakers. The project also functions as a live multimedia performance, featuring a superb ensemble with gifted soloists.

Composed with considerable risk and conducted by JC Sanford, the album begins with the four-movement, through-composed suite Patterns From Nature. Unfolding through a refined chamber process, the music features pianist Matt Mitchell on “I. Branches”, a cinematic, tense odyssey marked by chromatic shifts, long tones, and multiphonics over cascading piano. A natural grace emerges from the piece’s technically assured geometry, while percussionist Satoshi Takeishi stands out with a fluid brushes-on-snare technique. His icy cymbal scratches and tonally precise percussion also distinguish the second movement, “II. Flow”, whose contemporary classical feel is reinforced by the Molinari String Quartet’s lachrymose ostinatos and magnetic suspensions.

“III. Cracks”, launched by bassist Carlo De Rosa’s opening statement, unfolds within a controlled, slightly turbulent atmosphere, with creative clarinetist François Houle contributing winding phrases over porous, layered ensemble motions. The final movement, “IV. Ripples”, features Nachoff and trombonist Ryan Keberle alternating passages before merging their sounds in a climactic section, preceded by shifts in pace and texturally intriguing segments. The suite concludes with drones and reverberant percussion.

The three-part Winding Tessellations, a saxophone concerto composed in 2017, follows with polychromatic textures, blurring written and improvised elements within a complex structure. On “I. Winding Paths”, intricate ensemble ornamentation allows Nachoff’s horn to slip into a murky middle register, unfolding in a forward-driven improvisation with deep emotional resonance. Equally vibrant is “III. Tessellations”, an unbridled exploration featuring coiled tenor saxophone lines over a variety of moody tapestries.

Having reached an enviable level of musical maturity, Nachoff demonstrates every facet of his compositional voice. Patterns From Nature is blessed with expert playing, standing as a major addition to the composer’s distinctive oeuvre.

Favorite Tracks:
01 - Patterns From Nature: I. Branches ► 03 - Patterns From Nature: III. Cracks ► 05 - Winding Tessellations: I. Winding Paths ► 07 - Winding Tessellations: III. Tessellations

Niklas Lukassen - Still Waters

Label: Heartcore Records, 2026

Personnel - Ben Van Gelder: alto saxophone, flute (#11); Kit Downes: piano, Hammond organ (#3,5,11); Niklas Lukassen: upright bass, electric bass (#2,8,11), vocals (#11); Francesco Ciniglio: drums // Guests - Kurt Rosenwinkel: electric guitar (#4,9); Wanja Slavin: alto (#5) and soprano saxophone (#8); Geoffrey De Masure: trombone (#4); Céline Rudolph (#7).

Young German bassist and composer Niklas Lukassen—who studied in New York for a few years under the mentorship of Ron Carter and now divides his time between London and Berlin—releases his highly anticipated debut album,

Still Waters, taking the listener on an emotional and dramatic journey in the company of a stellar European quartet featuring British pianist Kit Downes, Dutch alto saxophonist Ben Van Gelder, and Italian drummer Francesco Ciniglio. Special guests contribute their talents to a few tracks on an album composed entirely of original material.

“The Deep” opens the album with a forceful showcase of contemporary sound, leading into “Estuary”, which features memorable ensemble work while fluctuating between exciting odd-metered sections and slower passages. The improvisations by Lukassen and Van Gelder are excellent, offering blistering jazz uplift before wrapping the piece in an eccentric, reticulated groove. “Metamorphosis” highlights the band’s ability to shape-shift seamlessly, even amid complexity, and concludes with the bandleader at the center.

Built on a septuple-meter flow, “Palisades” is a rich excursion in mood and extemporization. The piece, launched by Lukassen’s firmly grounded double-stop groove and featuring enveloping unisons that create an immediate melodic drive, includes expressive statements from French trombonist Geoffrey de Masure, Van Gelder, and distinctive American guitarist Kurt Rosenwinkel, whose presence, sinuous tone, and inimitable vibe also elevate “Rainbow Surfer”. Here, bass and drums swing hard with tight rhythmic focus, sustaining a sense of instant ebb and flow that supports the improvisers’ whims.

Both “Karma” and “The Traveller” feature German saxophonist Wanja Slavin. On the former, with Downes harmonizing on Hammond organ, he converses and then duels with Van Gelder following a lyrical introductory statement by Lukassen; on the latter, playing soprano, he joins the saxophonist—who delivers a portentous solo—only toward the end. This piece carries an agreeable melodic drive and a bossa-inspired groove that brings the snare drum into sharp relief.

There are two tracks with vocals: “Interlude”, sung by Céline Rudolph, and “Luna”, which features Lukassen’s own voice (he previously sang in the German National Jazz Orchestra). Although not the strongest moments, they provide a sense of contrast.

Honing his compositional approach, Lukassen establishes a distinctive sonic space, drifting mellifluously between modernist activity and reformed tradition, all while maintaining a cohesive group identity.

Favorite Tracks:
02 - Estuary ► 04 - Palisades ► 05 - Karma ► 08 - The Traveller

Adam O'Farrill - Elephant

Label: Out of Your Head Records, 2026

Personnel - Adam O’Farrill: trumpet; Yvonne Rogers: piano, synth; Walter Stinson: bass; Russell Holzman: drums.

With Elephant, trumpeter and composer Adam O’Farrill reaches a new artistic peak in modern jazz. Leading an exceptional quartet of rising New York musicians—pianist Yvonne Rogers, bassist Walter Stinson, and drummer Russell Holzman—O’Farrill performs in top form throughout, drawing listeners into intricate rhythmic and harmonic frameworks shaped by remarkable breath control and unconventional phrasing.

The program unfolds imaginatively with “Curves and Convolutions”, whose initially mechanical yet fluid motion opens into a fearless, genre-blurring language that incorporates modern classical, new music, and avant-garde influences. O’Farrill delivers a striking solo over a septuple-meter passage before the piece resolves collectively into a grounded, exquisitely layered vamp.

Eclecticism remains a constant, and the subtle use of effects lends the music a distinctive character. “Eleanor’s Dance” introduces a retro electronica vibe anchored by a soulful beat; Ryuichi Sakamoto’s “Bibo No Aozora” emerges as a hopeful, open-minded infusion of ambient pop, soulful neo-classical, and thematic minimalism; while “Thank You Song” ventures into indie rock territory, highlighting O’Farrill’s expressionism and extraordinary range.

The quartet interlocks beautifully with fresh energy, and “Herkimer Diamond”—driven by Holzman’s kit intensity—moves from calm introspection to dynamic release, shaped by odd-metered cycles, a commanding trumpet solo, and Rogers’ synth outbursts. Inspired by Twin Peaks, “The Return” begins with a compelling drum statement before drifting through a rubato section and settling into a distinctive swing feel. O’Farrill’s nuanced control of attack, weight, and timing of phrasing are central, getting agile responses from Rogers and Holzman. The balladic, piano-driven passages here are filled with noble emotion.

The three-part Sea Tryptich further illustrates the group’s sensitivity to the composer’s vision. “Sea Tryptich Pt. 1 - Along the Malecon” surges forward with propulsive momentum; “Sea Tryptich Pt. 2 - The Three of Us, Floating” unfolds patiently through ethereal textures and extended techniques; and “Sea Tryptich Pt. 3 - Iris Murdoch” introduces a thrusting bass funkifying a scenario with interlocking trumpet and piano lines alongside firm, decisive drumming.

Making for an astonishing listen, O’Farrill’s Elephant is a sensational, revolutionary, and incredibly thoughtful work; a masterpiece of contemporary jazz that should not be missed.

Favorite Tracks: 
01 - Curves and Convolutions ► 03 - Sea Tryptich Pt. 2 - The Three of Us, Floating ► 04 - Sea Tryptich Pt. 3 - Iris Murdoch ► 07 - The Return

Horizon Trio - Oscilla

Label: Self released, 2026

Personnel - Garrett Folger: trumpet, flugelhorn; Anthony Fuoco: piano; Carmen Castaldi: drums, percussion.

Ohio-based trumpeter and composer Garrett Folger reunites his Horizon Trio—with Anthony Fuoco on piano and Carmen Castaldi on drums—for Oscilla, a live album captured at the Treelawn Music Hall, a former Slovenian workmen’s home turned music venue. Drawing from avant-garde traditions, the trio builds impressionistic arches across seven Folger originals, all devoid of artificiality.

The winning combination of sounds is evident from the thoughtfully layered opening track, “Ephemerõs-IO-Virga”. Clocking in at 15 minutes, the piece unfolds through dreamy auras and suspended modes, fostering a tranquil communication that evokes misty, beautiful landscapes. Folger’s trumpet playing—often combining pure melody with free impulses—recalls Enrico Rava, while Fuoco and Castaldi support him with refined taste and admirable restraint. Vamping sequences, shaped as chilled rubato cruises, emerge shrouded in self-possessed melodicism, before the group brings the piece to a close with avant-garde zest.

Both “Arnica Montana” and “Parfums” were included on the trio’s previous album, Horizon (2025). The former favors counterpoint, with Fuoco’s staccato comping assuming an almost percussive quality, while Folger’s floating melodies shift between playfulness, emotional depth, and a persistent, obsessive quality of ideas. The piece ultimately resolves into a harmonically tight-knit conclusion. Castaldi’s exquisite kit work is noticeable throughout the recording, propelling and sustaining the trio’s open vision; he is particularly compelling on “Contrasts”, where boundless pushes and pulls dominate.

“Torrent” establishes a constructive dialogue between Folger and Fuoco, showcasing the former’s impressive range and the latter’s eurythmic piano streams, before swelling to epic proportions and dissolving into a diffuse cloud. While “Pour de Prunes” invites us into pure spontaneous balladry—its interplay revealing more dynamism than initially apparent—“Parfums” brings the program to a close in a delicate dance, launched by a 4/4 piano ostinato and featuring Folger’s multiple riffs over Fuoco and Castaldi’s solid harmonic and rhythmic frameworks.

Horizon Trio plays with an optimal sense of space and texture, conquering the ear with crisp, elegant brushstrokes that reflect the musicians’ authentic voices. Both the individual contributions and the collective whole offer something to explore and absorb.

Favorite Tracks:
01 - Ephemerõs-IO-Virga ► 02 - Arnica Montana ► 04 - Torrent

Bill Frisell - In My Dreams

Label: Blue Note Records, 2026

Personnel - Bill Frisell: acoustic and electric guitars; Jenny Scheinman: violin; Eyvind Kang: violin; Hank Roberts: cello; Thomas Morgan: bass; Rudy Royston: drums.

Guitarist and composer Bill Frisell is widely regarded for his fluency across avant-garde jazz and post-bop while embracing country and folk traditions, styles he blends seamlessly with a distinctive touch and sound. In My Dreams unfolds as another cohesive and immersive musical narrative, featuring nine originals and three covers, all delivered with the quietly moody radiance of Frisell’s American-rooted aesthetic. The guitarist assembles a dependable string trio—cellist Hank Roberts and violinists Jenny Scheinman and Eyvind Kang are longtime collaborators—alongside a core rhythm section with bassist Thomas Morgan and drummer Rudy Royston.

Recorded live, the program opens with the violin duet “Trapped in the Sky”, followed by “When We Go”, drawn from Frisell’s debut album Rambler (ECM, 1985). Keeping the structure relatively straightforward, Frisell introduces the piece with pointillistic gestures, looping textures, and smooth phrasing before the elegant, in-the-pocket 4/4 pulse emerges, allowing jazz and folk elements to intertwine gracefully. The string arrangement proves particularly refined, and the piece concludes with a gentle funk-inflected drive.

The title cut, “In My Dreams”, unfolds through charming acoustic guitar fingerpicking, spreading a luminous harmony in 3/4 that evokes a vivid sense of reverie and discovery. It flows naturally into “Isfahan”, the celebrated composition by Duke Ellington and Billy Strayhorn, reimagined here with understated sophistication. Frisell’s expressive guitar voice resonates throughout the album, lingering on meaningful phrases and the subtle spaces between them. “Curtis (A Year and a Day)” appears as a reflective lament illuminated by bright flashes of optimism, gradually rising with the support of Royston’s propulsive backbeat and well-expressed fills.

“Why” rests upon a carefully balanced harmonic cycle, while Stephen Foster’s parlor classic “Hard Times” returns in a vamp-driven ballad form, following its earlier appearances on the albums Bill Frisell with Dave Holland and Elvin Jones (Nonesuch, 2001) and Harmony (Blue Note, 2019). “Again”, another earlier composition, is revisited with greater outward energy while maintaining its polished character. Royston’s toms-centered drum shouts cause positive commotion, culminating in impetuous cymbal splashes. There are bits of guitar distortion in this epic adventure activated by a disorienting tempo.

The impressionistic country-folk atmosphere returns with “Home on the Range”, which, flowing in 3/4, closes the album on a warm and affirmative note. The finale incorporates swooping effects, loops, and concise violin interjections. Shaping space with remarkable ease and wisdom, Frisell’s unmistakable sonic palette is elevated by the ensemble’s deep sensitivity to the music, ensuring that the listener’s engagement never fades.

Favorite Tracks:
02 - When We Go ► 03 - In My Dreams ► 04 - Isfahan

Michael Formanek - New Digs

Label: Intakt Records, 2026

Personnel - Michael Formanek: double bass; John O’Gallagher: alto saxophone; Chet Doxas: tenor saxophone, clarinet; João Almeida: trumpet; Mary Halvorson: guitar; Alexander Hawkins: Hammond B3 organ; Tomas Fujiwara: drums.

Lisbon-based American bassist and composer Michael Formanek introduces a new septet, New Digs, featuring his trio partners from Thumbscrew—guitarist Mary Halvorson and drummer Tomas Fujiwara—alongside British organist Alexander Hawkins and a three-horn frontline of saxophonists John O’Gallagher and Chet Doxas, plus trumpeter João Almeida.

Driven by imaginative, free-flowing arrangements, the band opens with “New Old World”, a platform for resolute bass lines, psychedelic organ textures, slippery rhythmic shifts, and bursts of cacophony marked by stabbing saxophone and trumpet figures over counterintuitive guitar accompaniment. Solos by Halvorson, O’Gallagher, and Doxas stand out, with the latter channeling a fervent, Coltrane-like intensity. The piece resolves unexpectedly in a high-pitched, suspended collective lament, even as Formanek turns to the arco. In turn, “Prequel” establishes an air of mystery through sustained organ chords, insistent bass notes, and kinetic drumming. Clarinet and alto saxophone interweave phrases with precision, while Formanek asserts himself with declamatory gestures supported by varied percussive textures. The piece builds toward a climax shaped by his double stops and chromatic motion.

“It Was” highlights the richness of the saxophone writing over a carefully constructed harmonic progression, while “For My Consideration” gains momentum through a bass pedal point, electrifying organ swells, angular unisons, muscular drumming, and dense horn interplay. Formanek’s compositional approach often suggests looseness in rhythmic design, yet “aka The Stinger” leans into a more direct, bluesy, groove-oriented framework.

Paying tribute to the late pedal steel guitarist Susan Alcorn, “Gone Home / Interlude for Susan Alcorn” features a deeply expressive arco bass statement and a poised trumpet contribution from Almeida over a 3/4 harmonic cycle. “Quinze” emerges as another striking piece, marked by deep grooves, vivid improvisation, and sharp-edged intensity. The closing track, “Nigh Total”, ventures into an intergalactic soundscape shaped by swirling organ textures, resonant bass figures, and grounded percussion.

New Digs is another superb manifestation of Formanek’s capabilities as a bandleader. He remains one of the most distinctive voices in the avant-garde jazz scene, always giving his bands space to unleash their individuality within the frames he attentively designs.

Favorite Tracks:
01 - New Old World ► 02 - Prequel ► 03 - It Was ► 08 - Quinze

Marilyn Crispell / Anders Jormin - Memento

Label: ECM Records, 2026

Personnel - Marilyn Crispell: piano; Anders Jormin: acoustic bass.

American pianist Marilyn Crispell and Swedish bassist Anders Jormin join forces for the first time on the duet album Memento, a recording that favors introspection and serenity. The musicians’ distinctive language is present in both the improvised and written material, and the music unfolds naturally, organically, and with sensitivity.

The four opening pieces are improvised, beginning with the poignant “For the Children”, where touching melodies unfold without pretension, establishing the reflective tone of the entire work. Dedicated to the memory of innocents caught in the world’s ongoing wars, the piece includes plaintive, Eastern-tinged cries emerging from Jormin’s expressive arco playing over serene piano textures. “Dialogue” moves with breezy simplicity, grounded in warm, woody bass tones and shimmering overtones, with Crispell responding in the same wavelength, creating a self-contained musical exchange that becomes even sparser and more minimalistic on “Embracing the Otherness”. “Contemplation in D” proves a pure delight, guiding the listener into hypnotic territory through open chords that cast tonal beauty and modal ambiguity in a chiaroscuro landscape.

Jormin’s “Three Shades of a House”—originally featured on Bobo Stenson’s trio album Contra la Indecisión (ECM, 2018)—appears in two versions, Morning and Evening, whose contrasting luminosities are shaped by solo piano and solo bass, respectively. Crispell also performs unaccompanied on “Memento”, whose pastoral character hints at classical influence, and on “Dragonfly”, a dedication to bassist Gary Peacock that closes the album on an optimistic note. Like those pieces, “Beach at Newquay” is composed by Crispell and benefits from Jormin’s exemplary support. His arco range often resembles a weeping flute, while delicate piano drops fall gently in the background, forming a lyrical evocation of nature.

Memento unfolds with yearning atmospheres where spontaneity and artistic sensitivity open the door to broader emotional landscapes. Its purely intuitive interplay may not be an everyday listen, yet it occupies a meaningful place within contemporary jazz.

Favorite Tracks:
01 - For The Children ► 04 - Contemplation in D ► 09 - Beach at Newquay

Mark Turner - Patternmaster

Label: ECM Records, 2026

Personnel - Mark Turner: tenor saxophone; Jason Palmer: trumpet; Joe Martin: acoustic bass; Jonathan Pinson: drums.

Long recognized as a brilliant saxophonist, Mark Turner continues to push artistic boundaries while remaining faithful to jazz fundamentals. His post-bop mastery is firmly displayed on Patternmaster, a sci-fi-inspired release featuring a quartet with trumpeter Jason Palmer, bassist Joe Martin, and drummer Jonathan Pinson. This is the same ensemble that recorded Return from the Stars in 2022.

Comprising six Turner originals, the album opens with the title track, a dexterous contrafact on Wayne Shorter’s “Pinocchio”. Martin and Pinson establish an infectious groove that both propels and anchors the music, supporting a creative theme delivered in unison by the frontline horns. Turner takes the first solo with a resolute attack and narrative clarity, riding a subtle bossa-inflected current shaped by the rhythm section, while Palmer matches the energy with assured phrasing. “Trece Ocho”, introduced by an entrancing bass figure, contains passages that recall the ingenuity of late pianist Andrew Hill, framed within a chamber-like brightness before culminating in a brisk, playful fanfare.

The band maintains its spark on “It Very Well May Be”, launched by Palmer’s commanding statement before Turner joins for the theme exposition. The rhythm section swings with purpose, and Turner delivers a solo blending hard-bop drive with post-bop sophistication, followed by Martin’s triplet-rich bass exploration. “Lehman’s Lair”, inspired by a complex composition by saxophonist Steve Lehman, thrives on a determined 4/4 pulse marked by groove and persistence, with the horns engaging in a virtuosic exchange rich in melodic treats.

“The Happiest Man on Earth” unfolds as a slow waltz shaped by sumptuous harmonies, while “Suspersister”, first recorded in 2009, adopts a structurally bold framework with subtle pop-rock inflections. Pinson’s agile, jittery drumming stands out throughout, reinforcing intricate meters, vamp-based passages, and engrossing saxophone–trumpet conversation.

This quartet injects the music with engaging rhythmic impulses and a palpable sense of unpredictability, executed with consummate skill. Turner, having cultivated a distinctive tone and language, affirms his compositional strengths through empathetic interplay and unmistakable individuality.

Favorite Tracks:
01 - Patternmaster ► 02 - Trece Ocho ► 04 - Lehman’s Lair

Jon Irabagon - Focus Out

Label: Irabbagast Records, 2026

Personnel - Jon Irabagon: alto saxophone; Matt Mitchell: piano, Fender Rhodes; Chris Lightcap: electric bass; Dan Weiss: drums // Guests - Kokayi: vocals (#3,5); Dave Ballou: trumpet (#3,4); Miles Okazaki: guitar (#3,4); Donny McCaslin: tenor saxophone (#4); Mark Shim: tenor saxophone (#4).

Assertive and harmonically adventurous without abandoning tradition, Chicago-based saxophonist and composer Jon Irabagon has secured a high-ranking place in contemporary jazz. With a progressive mindset, he continues to release brilliant albums in varied formats and rich stylistic settings. His latest sonic venture, Focus Out, features a formidable quartet with inventive keyboardist Matt Mitchell, grounding bassist Chris Lightcap—here playing exclusively electric—and astute drummer Dan Weiss. Across six vibrant originals composed during a period in which Irabagon struggled to balance fatherhood and career, the quartet’s third outing presents him exclusively on alto saxophone, following Rising Sun and Recharging the Blade, where he focused on tenor and soprano, respectively.

The pieces are demanding, and “Morning Star” opens the album in visceral, eloquent fashion. Over the relentless momentum generated by Weiss’ fractured rhythms and the funk-inflected drive of Lightcap’s electric bass, Mitchell’s burning Rhodes and Irabagon’s incisive alto state unison lines with commanding authority. The title track, propelled by an asymmetric bass groove, creates constant metric shifts and even swings hard. Irabagon’s improvisation remains focused, gliding in and out of the margins with refined articulation. Weiss colors the texture with explosive cymbal work before his ride cymbal ushers in an avant-garde romp that drives the piece to its conclusion.

Both “Paper Planes”, named after Irabagon’s favorite cocktail, and the politically charged “Indigo Stains” feature vocalist Kokayi. The former channels a frenetic, vintage jazz spirit, with saxophone, trumpet, and guitar roaming freely, while the latter skirts between grooves with remarkable work by piano and drums. Guest trumpeter Dave Ballou and guitarist Miles Okazaki are featured here and also join “Evening Star”, which also includes tenor saxophonists Donny McCaslin and Mark Shim. Here the ensemble reaches a peak in an avant-garde gem marked by free-funk flair and finely calibrated dynamics. Bursting unisons, collective turbulence, and buoyant, horn-driven improvisations yield angular, outside runs delivered with athletic intensity. Okazaki’s distinctive phrasing benefits from Mitchell’s Rhodes accompaniment, and the vigorous finale unfolds with impeccable synchronicity.

Following “Prayer (For Reomi)”, a tender saxophone–piano duet ballad written for Irabagon’s daughter, “Center Post”, an earlier composition and another high-energy workout with shades of Coltrane, closes a breathtaking album that offers listeners a rich new tapestry of sound. The consistent brilliance and unpredictability displayed by this quartet—calibrated for maximum energy and marked by expansive freedom—make Focus Out one of the year’s standouts.

Favorite Tracks: 
02 - Focus Out ► 03 - Paper Planes ► 04 - Evening Star

Alain Métrailler - Heights Prospection

Label: Unit Records, 2026

Personnel - Alain Métrailler: tenor saxophone; Elias Stemeseder: piano; Chris Tordini: bass; Eric McPherson: drums + guest - Gregoire Maret: harmonica (#5).

Heights Prospection, the debut album by Swiss saxophonist and composer Alain Métrailler, balances styles, moods, and grooves with distinct character. Some records manage to appeal to listeners across the jazz spectrum, and this is certainly one of them. Featuring seven compelling original compositions, Métrailler entrusts them to a vibrant New York–based quartet with pianist Elias Stemeseder, bassist Chris Tordini, and drummer Eric McPherson. The bandleader, who spent six years in Brooklyn before returning to Switzerland, also interprets the standard “Crazy He Calls Me” in a supple saxophone–piano duet dedicated to influential alto saxophonist Lee Konitz.

Métrailler does not limit himself to classic jazz lyricism; he also pushes forward through adventurous explorations that exceed expectations. The opener, “Obvious Transmission”—a 5/4 blues written for his mentor, saxophonist Ohad Talmor—and “Jump Loud”, a piece that channels the spirit of Thelonious Monk and Anthony Braxton with edgier contours—it is dedicated to Joe Lovano—exemplify this approach. The former thrives on a steady piano pulse, contrapuntal bass lines, and flowing drums that inject a polyrhythmic feel. Métrailler’s dark-hued, introspective saxophone voice blends reflection and urgency, suggesting a meeting point between John Coltrane and Ellery Eskelin.

“Crispy”, a hard-bop nod to saxophonist and clarinetist Chris Speed, leans more directly on tradition, propelled by McPherson’s steady ride cymbal, Stemeseder’s probing deconstructions, and Tordini’s melodic bass work. “EWR Hero Saynt”, inspired by Wayne Shorter, dances with a buoyant swing, while “Flight of the Humble Being” unfolds as a tender 3/4 ballad enriched by guest harmonica player Grégoire Maret.

“Unstablemates”, a tribute to Benny Golson that also nods to Speed’s tune “Really OK”, introduces an engaging theme first stated by solo saxophone. With flexibility and assured phrasing, Métrailler develops motifs and sharply articulated lines that define his personal language, while Tordini and McPherson are given room to assert their presence.

Métrailler’s melodic and harmonic ideas appear in the form of passionate curveballs and disruptive tidal waves, evoking a sense of blossoming, possibility, and inner space. Heights Prospection stands as a promising first statement from an emerging saxophonist of notable vision.

Favorite Tracks:
01 - Obvious Transmission ► 04 - Jump Loud ► 06 - Unstablemates

Gabriel Vicéns - Niebla

Label: Clepsydra Records, 2026

Personnel - Gabriel Vicéns: guitar; Roman Filiu: alto saxophone; Vitor Gonçalves: piano; Rick Rosato: bass; E.J. Strickland: drums; Victor Pablo: percussion.

Niebla is the fifth album by New York-based Puerto Rican guitarist and composer Gabriel Vicéns, who reunites the core lineup from his 2021 release The Way We Are Created. The multifaceted sextet features Cuban saxophonist Roman Filiu, bassist Rick Rosato, drummer E.J. Strickland, and percussionist Victor Pablo, with Brazilian pianist Vitor Gonçalves stepping in for Glenn Zaleski. Across nine strong originals, Vicéns draws on Afro–Puerto Rican bomba and plena rhythms, auteur cinema, and painting as sources of inspiration.

Stylistically varied, the album opens with the vaguely introspective “El Fin de La Noche”, the first of three understated, acoustic guitar-driven pieces placed at the beginning, middle, and end of the record, all shaped with elegance and subtlety. On the title track, “Niebla”, Vicéns switches to electric guitar and ventures into more aggressive terrain, highlighted by contrapuntal saxophone lines and a slightly offbeat groove shared by piano, bass, and drums. Modern in scope and rich in harmonic color, the piece bears a spiky edge reminiscent of the leaping melodic contours of Austrian composer Anton Webern. Vicéns’ solo unfolds with chromatic nuance and intervallic boldness, while Filiu’s saxophone balances fluidity with fragmentation. Vibrant percussive attacks toward the end help ground the piece decisively.

“Vejigante”, inspired by a Puerto Rican folkloric figure, unfolds in an odd meter, opening with a compelling patterned dialogue between guitar and saxophone. Silence plays an active role, and a floating midsection explores meditative rubato exchanges before the original groove returns in support of Gonçalves’s animated piano statement. The 15-minute “Ramaje” centers on an engrossing riff within a five-beat framework. Filiu’s solo brims with invention, followed by Strickland’s drum feature that leads into serene passages marked by stillness and ambiguity. A sweeping solo percussion section drawing on the Cuban güiro tradition concludes the piece in vamping mode.

“Guaiza”, informed by the piano music of Morton Feldman, creates a seductive atmosphere over a tight groove, featuring a resonant bass solo and motivic guitar explorations. The uptempo “Stray Dogs” takes its cue from Tsai Ming-liang’s film and the changui rhythm from Guantánamo, Cuba. The band excels in crisp unison lines, dynamic motion, and sharp accentuation, with Vicéns and Filiu trading vivid ideas in an intense musical conversation. Latin inflections become especially pronounced during the piano solo.

With deep command of tone, originality, and risk, Vicéns gets you hooked in contemporary compositions that, not fixed in tradition, breathes and invigorates in equal measure, revealing a composer firmly in control of his evolving artistic voice.

Favorite Tracks: 
02 - Niebla ► 03 - Vejigante ► 07 - Guaiza ► 08 - Stray Dogs

Dave Douglas - Four Freedoms

Label: Greenleaf Music, 2026

Personnel - Dave Douglas: trumpet; Marta Warelis: piano; Nick Dunston: bass; Joey Baron: drums.

Comprising nine originals that merge jazz tradition with contemporary improvisational language, Four Freedoms is a deeply intuitive quartet session led by American trumpeter and composer Dave Douglas. Full of artistic freshness and a subtle, nearly surreal wit, the music hovers between form and abstraction, drawing conceptual inspiration from the Four Freedoms speech delivered in 1941 by US President Franklin D. Roosevelt—freedom of speech, freedom of worship, freedom from want, and freedom from fear.

Boasting a buoyant, vital sound, “Grits”—written for seasoned drummer Joey Baron—opens the session with playful, tonally rich drumming. Bassist Nick Dunston locks in with swinging verve, supporting Douglas’ towering trumpet voice. The trumpeter reigns supreme, blowing with authority and a hard-bop drive punctuated by folk inflections and knowing musical quotations. Across 32-bar rhythm changes, Amsterdam-based pianist Marta Warelis probes for singular conversational pathways, while Baron later trades bars with his bandmates with electrifying momentum.

If the balladic reverie of “Dreams We Hold” feels slightly less impactful, “Sandhog”—a grooving homage to the workers who built tunnels, the Brooklyn Bridge foundation, and subway systems—stands out for its exploratory reach. An eight-beat bass groove anchors the piece, supporting the triumphant call-and-response dialogue between Douglas and Warelis. Dunston delivers a deeply rooted statement, followed by Baron’s spectacular tom and cymbal architecture.

The avant-garde title cut feels abstract and loose, with Dunston employing arco bass with restraint and intelligence while Warelis injects intervallic surprise. “Militias”, meanwhile, flows through modal currents, enigmatic harmonies, and openly creative melodic contours.

Fueled by a robust bass introduction, “Fire in the Firewood” moves between solemnity, emotional release, and bursts of avant-garde expression. “Sing Sing” embraces jazz languor through muted trumpet and lucid brushwork, while “My First Rodeo” returns to soulful swing, buoyed by expansive improvisation.

With each musician contributing their own distinct personality to the whole, Four Freedoms pumps a different vibe with moments of rare elegance. Douglas’ vast body of work continues to command respect, and this latest offering stands as a worthy and compelling addition.

Favorite Tracks:
01 - Grits ► 03 - Sandhog ► 05 - Militias ► 06 - Fire in the Firewood

Aaron Irwin Trio - Spark

Label: Adhyâropa Records, 2026

Personnel - Aaron Irwin: saxophone, clarinet, bass clarinet; Mike Baggetta: guitar; Bill Campbell: drums.

The long-standing trio led by saxophonist, clarinetist, and composer Aaron Irwin returns with a blues-and-folk-tinged outing, offering a sonic tribute to the traditions of American roots music. Spark is their third release.

Irwin’s bass-less trio, rounded out by guitarist Mike Baggetta and drummer Bill Campbell, begins its journey with the title track, a piece whose melodic contour briefly recalls the church hymn “Gift of Finest Wheat”. Driven forward by Campbell, this Americana-flavored opener features a nuanced pedal point and an octave-doubled melody. “Mississippi Hurt” highlights Baggetta’s soothing fingerpicking style, while Irwin’s clarinet climbs its harmonic slopes with agility and Campbell colors the kit with darker, wetter tonal textures. The piece grows increasingly animated toward the end, shaped by dynamic phrasing and focused guitar strums.

The trio demonstrates a clear affinity for waltz forms. “Skuli” unfolds with elegance, its melody carried by bass clarinet and punctuated by emotionally charged guitar cries. “Giuffre” leans into a seductive blues character, while “The Snow Man”, also marked by bass clarinet etchings, briefly shifts into 4/4 in its middle section before returning to 3/4 for its close.

Though generally understated, the album reaches a more pressurized intensity on “Fahey”, which develops like a Celtic-tinged ritual through vigorous, bright-harmonic guitar strumming that gradually settles into a carefully patterned pulse. “Goodnight Laverne” and “Goodnight Shirley” take the shape of jazz-standard-style ballads, with Baggetta’s six-string work shining expressively on both.

Both “A Song in the Front Yard” and “A Blues Feeling” lean into blues language. The former, playful and lively, thrives on a bass clarinet line that grooves with easy charm, while the latter alternates between energetic ten-beat cycles and softer 4/4 passages.

Irwin’s compositions, often sensitive in nature, don’t produce much excitement. Yet, the honest and cohesive interpretations of the trio radiate some warmth and intimacy.

Favorite Tracks:
02 - Mississipi Hurt ► 04 - Fahey ► 05 - Goodnight Laverne

Meg Okura - Isaiah

Label: Adhyâropa Records, 2026

Personnel - Meg Okura: violin, erhu, vocals; Anne Drummond: flute; Sam Sadigursky: bass clarinet, clarinet; David Smith: trumpet; Rebecca Patterson: trombone; Riza Printup: harp; John Lee: guitar; Brian Marsella: piano; Evan Gregor: bass; Peter Kronreif: drums + Guests - Sam Newsome: soprano saxophone (#5,6,7,8); Randy Brecker: trumpet (#5,6,7,8); Remy Le Boeuf: alto saxophone (#3,9); Rogério Boccato (#6,8): percussion; Yotam Ishay: organ (#6,7); Naomi Newsome: vocals (#2).

With her latest album, Isaiah, the expansively creative Japanese violinist and composer Meg Okura proves once again that she stands among today’s most distinctive musical visionaries. Rhythmically fluid and stylistically adventurous, the record represents contemporary world fusion at its most refined. A testament to her eclecticism and athletic command, the album showcases her acclaimed Pan Asian Chamber Jazz Ensemble in celebration of its 20th anniversary. The tentet’s unfettered explorations are amplified by a roster of distinguished guests who elevate the ensemble’s dynamics, arrangements, and interplay to a higher plane.

The exuberant fusion of “Sushi Gadol”, a tribute to Okura’s brother—who transitioned from heavy metal drummer to Protestant pastor—opens with prog-rock stamina embedded in its intricate theme before drifting into breezy chamber textures and eventually settling into a Brazilian-tinged groove. Flutist Anne Drummond engages in spirited exchanges with Okura, leading to a final thematic statement enriched by trumpet, bass clarinet, and guitar accents. “Blessing”, inspired by the Pre-Haftarah Blessing Okura and her daughter received, unfolds as a luminous waltz, featuring David Smith’s radiant trumpet lines, Sam Sadigursky’s subtle yet pertinent bass clarinet commentary, and Naomi Newsome’s ethereal vocalizations that shape a soulful atmosphere.

The infectious title track, “Isaiah”, thrives on funk, Japanese music, and African folk influences. Passages in seven later shift tempo, and there’s astute chromatic movements, pedal points, chamber episodes, and rampant swing thrusts supporting Remy Le Boeuf’s agile saxophone runs. “Rice Country” blends Japanese pop and folk with the American idioms of Aaron Copland, resulting in a kind of Benny Goodman-styled swing where the instruments converse with one another. The gracious “Sunset Bells” features guitar and trumpet solos over taut rhythms, finishing in an excellent chamber mode.

The influence of Michael Brecker is noticeable on “African Skies”, a piece drawn from his 1996 Impulse! album Tales from the Hudson, though Okura adapts it to her own style. Packed with detail, nuance, and deft rhythmic variation, the piece features Michael’s brother Randy Brecker on trumpet, as well as a delightfully outgoing piano solo by Brian Marsella. A different groove underpins the assertive discourses of violin and flute. “Jubberish” is a grooving, well-oiled 7/4 blues that lands on a solo violin passage, maintaining the septuple meter while exploring Arabian dance inflections that reward with inventiveness and rhythmic fire.

Okura’s meticulously assembled sonic layers are remarkable, and Isaiah is a multidimensional crossover journey that packs a punch, the product of the complex mind of a mature, original composer of enormous talent.

Favorite Tracks:
02 - Blessing ► 04 - Rice Country ► 06 - African Skies ► 07 - Jubberish

Melissa Aldana - Filin

Label: Blue Note Records, 2026

Personnel - Melissa Aldana: tenor saxophone; Gonzalo Rubalcaba: piano; Peter Washington: bass; Kush Abadey: drums + Guest - Cecile McLorin Salvant: vocals (#3,5).

Chilean-born saxophonist and composer Melissa Aldana has long expressed the desire to record a ballads album in the tradition of John Coltrane and other masters. She fulfills that intention with her new quartet—Gonzalo Rubalcaba on piano, Peter Washington on bass, and Kush Abadey on drums—while adding a distinctive twist: the repertoire is devoted exclusively to Filin songs, a US-influenced Cuban style popular from the late 1940s to the early 1960s. Filin, her third release as a leader on Blue Note Records, contains moments of genuine romanticism, though it does not consistently deliver the spark or sense of discovery that might make the material fully compelling.

The album opens with a confident reimagining of Salvador Levi’s “La Sentencia”, where the delicacy of touch in the rubato piano playing and the velvety saxophone establish an inviting mood. The melodies, shaped with a soulful warmth à-la Charles Lloyd, rest securely on Washington’s rounded, supportive bass lines and Abadey’s soft brushes-on-snare and cymbal legato. “No Te Empeñes Más” introduces guest vocalist Cécile McLorin Salvant, whose expressive delivery enhances the piece, alongside heartfelt solos from Aldana and Rubalcaba. Salvant also appears on “Las Rosas No Hablan”, written by Brazilian samba master Cartola, rendered in graceful Spanish and sustained by the quartet’s refined accompaniment.

Brazilian presence is further felt through “Little Church” by Hermeto Pascoal, one of the album’s highlights. The piece moves between soulful lyricism and spacious dimensions, with Aldana’s saxophone projecting an almost ethereal glow over Rubalcaba’s sensitive pianism and Abadey’s subtle rhythmic commentary. “Imágenes” and the closing “No Pidas Imposibles” unfold as languid meditations, the former marked by Aldana’s wistfully dark yet airy tone, the latter distinguished by Rubalcaba’s exquisite grace.

Aldana’s unique musical habitat—where passages coalesce with discretion and often in predictable contours—finds particular resonance in “Ocaso”, composed by Mexican guitarist Claudio Estrada. The main melody has a dark feel to it, while the final vamping pulse comes injected with a disengaged, almost unconcerned air. 

Yet while the musicianship is consistently polished here, Aldana’s artistic voice tends to resonate more vividly to me when she channels her creativity into her own original compositions.

Favorite Tracks:
01 - La Sentencia ► 05 - Las Rosas No Hablan ► 06 - Little Church

Ingrid Jensen - Landings

Label: Newvelle Records, 2026

Personnel - Ingrid Jensen: trumpet; Gary Versace: organ; Marvin Sewell: guitar; Jon Wikan: drums + George Coleman: tenor saxophone (#1).

Resourceful Canadian trumpeter and composer Ingrid Jensen—a key member of the acclaimed all-female jazz ensemble Artemis—continues to assert herself as a commanding bandleader and inventive composer with her new album, Landings. Released exclusively on vinyl to celebrate the tenth anniversary of the French label Newvelle Records, the album features eight tracks: five originals from members of her quartet and three carefully chosen covers.

Jensen is joined by the buoyant rhythm section of guitarist Marvin Sewell, organist Gary Versace, and her husband, drummer Jon Wikan, and welcomes legendary saxophonist George Coleman on the astonishing opener, “Amsterdam After Dark”. Composed by Coleman in 1978, the piece is delivered in sparkling form, tipping a subtle hat to Chick Corea and Donald Byrd. At 89, Coleman remains incisive and focused, weaving rapid, multihued lines over harmonically rich textures while Jensen’s inspired trumpet solo glows with effulgent tone, remarkable range, and striking melodicism.

Jensen’s own “New Body” plunges into atmospheric balladry with distinction, beginning with rubato guitar before settling into a steady 4/4 pulse, culminating in a breathy, contemplative finish. The title track, “Landings”, features adjustable grooves, melodic impact, and harmonic nuance, blending post-bop and fusion elements while later exploring R&B and funk frameworks.

Carla Bley’s impressionistic classic “Ida Lupino” is rendered with gentle refinement, while Sewell’s “The Worker’s Dance” anchors itself in a firm 3/4 lock-step, highlighting the guitarist’s semi-acoustic textures and Versace’s driving organ. Versace’s own composition, “Many Homes Many Places”, projects a lively Wes Montgomery Trio vibe fused with Miles Davis–inspired electric color, allowing the ensemble to swing freely and engage in crisp, responsive interplay.

The album closes with trumpeter Jim Knapp’s gorgeously bluesy “Home”, a piece closely associated with Jensen’s live repertoire. Marked by Wikan’s sensitive brushwork, the track showcases the quartet’s cohesion and melodic charm. Landings confirms the artistry of Jensen and her collaborators, delivering music that is both technically accomplished and deeply persuasive.

Favorite Tracks: 
01 - Amsterdam After Dark ► 02 - New Body ► 05 - Landings ► 06 - The Worker’s Dance