Zoo Too Trio - Poetry Legroom

Label: Shifting Paradigm Records, 2025

Personnel - Michael Cain: piano; Keith Price: guitar; Pheeroan AkLaff: drums.

Zoo Too Trio consists of pianist Michael Cain, a member of Jack DeJohnette’s Special Edition; Canadian-born, New Zealand-based guitarist Keith Price; and esteemed avant-garde drummer Pheeroan AkLaff, who anchored groups led by Cecil Taylor, Henry Threadgill, and Anthony Braxton. Their debut album, Poetry Legroom, reveals a deep musical connection and an introspective-leaning style that is not devoid of mystery and exploration.

The cloudless “O’Neil’s Bay” evokes majestic dawning landscapes, presented as a velvety pop/rock song, subtly jazzified by gentle harmonies. This solidly structured musing reflects the terrain the trio navigates, leading into “Poetry Legroom Okinawa Children”, where rhapsodic piano phrases of variable lengths, together with odd-meter cycles generate a sense of irregularity. Price carves his own path, while AkLaff steps forward for a transitory solo passage, orchestrating rich timbral designs from the drumkit.

Ron Blake’s “Waltz For Gwen” feels like a classic jazz number in Cain’s hands, who also appears unaccompanied in the rubato piece “Solodos”. “Song 1 Day 1” places the guitar in the lead, supported by organ and brushed drumming, channeling a mix of church/gospel tones and the soulful jazz vibes of Grant Green.

“Waxing Gibbous” unfolds as a layered triangular construction—half-dreamy, half-cerebral, yet consistently haunting and atmospheric. A four-beat guitar motif, ample cymbal washes, rattling percussion, and understated piano enclose the listener in a suspended cloud that puffs with AkLaff’s late-arriving cool beat, as well as recurrent notes and electronic frequencies. The ambient-leaning “Winter Fog Morning” doesn’t shy away from a sweet insouciance that feels wry yet unsentimental. 

Some minimalist ideas might intensify but never quite climax into new realms, as the trio indulges in a certain languidity, bringing their individual voices into ambient moods marked by a wide range of emotion. This is the kind of good-natured music that makes us feel peaceful inside.

Favorite Tracks:
01 - O’Neil’s Bay ► 02 - Poetry Legroom Okinawa Children ► 05 - Waxing Gibbous

Barry Deister Quintet - An African Suite

Label: Trans-Pacific Jazz, 2025

Personnel - Barry Deister: tenor saxophone, flute; Paul Mazzio: trumpet, flugelhorn; Randy Porter: piano; Tim Gilson: bass; Tim Rap: drums; Israel Annoh: African percussion.

Credited with past performances in groups led by vibraphonist Bobby Hutcherson and multi-reedist Anthony Braxton, Portland-based saxophonist and flutist Barry Deister takes us on a spellbinding rollercoaster ride through West African rhythms, modal structures, and exotic grooves. In An African Suite, he leads a vibrant quintet whose brash, revitalizing deliveries are boosted by the entrancing rhythmic work of Ghanaian percussionist Israel Annoh.

Capturing the sextet in its brisk, bracing romp, “Afrodite” flows with admirable energy and harmonic push and pull, recalling the spiritual modal jazz of Billy Harper (his ferocious album Somalia comes to mind). The piece starts with a riveting percussive pattern—exuding a sextuple feel—and a bass groove over which the crisp horn section of Deister and trumpeter Paul Mazzio superimpose unison melodies in 4/4 tempo. “The Tro Tro” maintains the modal mood but colors the scene with calypso tonalities, achieving a profound poise and rhythmic beauty. The intense colors and spicy flavors increase with wonderful solos by Mazzio—a sober stream of melodic tradition—pianist Randy Porter, and Deister, who navigates his tenor solo courses with a semi-opaque tone. 

“Sahara Breeze” is tempered by flute and flugelhorn melodies in a smooth 6/8 effort that includes a fine bass solo, while “Bad Juju” presents a dramatic polyrhythmic tapestry, with the habitual soloists riding the waves conjured by the rhythm section. They dig deep in “Push Me, Push You”, a snazzy, muscular setting with a celebratory Latin vibe intersected by indigenous dances from the Sahara and the Orient.

The enchantment of Deister’s five originals comes in many forms and textures, beautifully capturing his adventure in Ghana in 2006. The tunes’ emotive cores, consistently expressed with warmth and earthy sensuality, are complemented by individual discourses delivered with substance and gusto. The result, inclusive and compelling, maintains a remarkable uniformity of musical brilliance anchored in ancient roots and freedom. 

Favorite Tracks:
01 - Afrodite ► 02 - The Tro Tro ► 05 - Push Me, Push You

Darren Pickering Small Worlds - Three

Label: Rattle Records, 2025

Personnel - Darren Pickering: piano, synth, modular; Heather Webb: guitar; Pete Fleming: bass; Jono Blackie: drums.

New Zealander keyboardist Darren Pickering leads his Small Worlds quartet in a third volume of music comprising nine originals. There’s cohesive ensemble work in Three, but the factor ‘surprise’ is often missing, even if the quartet tends to color tender moments with a declarative lyricism.

“Green Blinking Light” helps setting the tone for the album with heartening gestures. A smooth, slightly intriguing sequence of a four-note piano riff materializes with rhythmic accentuations popping up in unexpected places. “What If” is an emotionally charged ballad etched with low-key modular synth warps, a softly brushed backbeat, reverb-drenched guitar, and a clear piano narrative. This unequivocally jazzy harmonic movements are dropped in “Soft Life”, where a metronomic pulse, ambient-electronic spatiality, and dreamlike fantasy are circumscribed by a regular, spasmodic beat.

Jono Blackie’s crisp, time-keeping drumming gives a contemporary feel to the E.S.T.-like “Hjartdal”, where a delicate melody and simmering spontaneous chords put in a claim for resolution. In the 4/4 ballad “Folly”, we feel warmth at play as the music acquires a fusion vibe through Heather Webb’s hot-wired guitar. Pickering then takes center stage, operating atop Pete Fleming’s groovy bass slides and Blackie’s pragmatic drum fluxes.

The group struggles with some ideas, and the material occasionally falls into predictable vibes and spaces. “Randall” is one of those numbers in need of nuance, despite an ultimate riff-driven passage rockified by the guitarist. Also, the swinging “Taylor Time” doesn’t provide special moments, but I still enjoyed the trade bars between the drummer an the rest of the band.

Alternating between soulful and aloof, Three would have benefited with more intense passion and perhaps fewer polished surfaces.

Favorite Tracks:
01 - Green Blinking Light ► 02 - What If ► 05 - Hjartdal 

Arve Henriksen, Trygve Seim, Anders Jormin, Markku Ounaskari - Arcanum

Label: ECM Records, 2025

Personnel - Arve Henriksen: trumpet, electronics; Trygve Seim: soprano and tenor saxophone; Anders Jormin: double bass; Markku Ounaskari: drums, percussion.

The idea to form the notably talented Nordic quartet Arcanum emerged when saxophonist Trygve Seim, bassist Anders Jormin, and drummer Markku Ounaskari were working with Finnish vocalist and kantele player Sinikka Langeland. Seim then suggested that trumpeter Arve Henriksen join him in the frontline, an artist he knew well and had also worked with Langeland.

The music, often delicate and gentle, is strongly expressive, and Seim’s opening track “Nokitpyrt” is a testament to their fluidity and musical character. Reading backwards, the title means “Triptycon”, a clear reference to the iconic trio album by Jan Garbarek, Arild Andersen, and Edward Vesala, released in 1973. The well-delineated melody doesn’t hinder the musicians from diving further into free creation.

“Armon Lapset” is a Finnish traditional song where Jormin’s immersive sound absolutely stuns. His gorgeous melodic conduction invites the horn players into contemplation, in a cadenced folk-like mantra underpinned with abandon by Ousnakri, who knows exactly how and when to play with brittle restraint, and by Jormin himself. The experienced bassist—one of the pillars of pianist Bobo Stenson and saxophonist Charles Lloyd for several years—contributes two numbers: “Koto”, a tranquil piece showcasing his love for Japanese music, and “Elegy”, a cyclic, grief-stricken reflection written on the first day of the war in Ukraine. It features Seim and Henriksen delivering the melody side by side.

“Folkesong” hints at being a ‘song of the forest’, with Seim’s soprano sax cutting through every 12-beat cycle, moving in and out of scope with narrative purpose. Henriksen’s use of electronics is extremely tasteful and organic, enhancing the tunes. Just like the previously described track, “Lost in Van Lose” is a collective improvisation but incorporates a wee bit more of abstraction without losing any of its grace. Other improvised standouts are “Old Dreams”, where piercing trumpet wails cross the rhythmic mesh created by bass and drums, and “Fata Morgana”, whose dark undercurrent conveys more than just enigmatic quiescence. 

Another Seim contribution, “Trofast”, is a 3/4 balm that transports us to heavenly prairies. Here, the saxophonist and the trumpeter take turns, guided by a suave harmonic progression, while the quartet’s rendition of Ornette Coleman’s “What Reason Could I Give” touches on balladic erudition.

As fresh and full of promise as a spring morning, Arcanum sweeps across the smoothly explorative spectrum in a reflective mood. Fertile imagination never needed pyrotechnics, and there’s way in for casual listeners.

Favorite Tracks:
01 - Nokitpyrt ► 03 - Armon Lapset ► 04 - Folkesong ► 07 - Old Dreams

Zack Teran - Navigator

Label: Redhill Records, 2025

Personnel - Peter Epstein: alto saxophone; Josh D. Reed: trumpet; Adam Benjamin: Fender Rhodes; Tim Wendel: electric guitar; Zack Teran: electric bass; Miguel Jimenez-Cruz: drums.

Based in Reno/Tahoe area, eclectic bassist and composer Zack Teran indulges in feisty popping grooves on his lushly produced and deftly executed fusion-tinted album, Navigator. Here, his tight sextet delves into seven original compositions, exploring the soloing aptitudes of alto saxophonist Peter Epstein and trumpeter Josh D. Reed, with the rhythm section fostering individual creativity while providing solid support.

“Lateral Drift” draws from folk, pop/rock, jazz, and funk, cemented in a grooving acid bass foundation that navigates shifting passages. “Dunia” is filled with hope and openness, with the horn players working closely on the melodic theme, which is followed by a bass solo vivid in its imagery and clear in its ideas. A highly tuneful trumpet statement and an ambiguous guitar discourse—offered by Tim Wendel— reinforce the alternate rock flavor, which then dissolves into a crossover jazz extravaganza.

“Celestial Navigator” and “Mana” deepen their fusion inclinations with emotional richness, but it’s “Secrets Under the Lakebed”, with its Kneebody-inflected mix of contemporary rock and post-bop, that ignites the best section of the album. The electrifying vibe encourages Epstein to blow his horn with fervor, and Wendel gives in to shoegaze dizziness following an animated reggae-infused passage with Teran as soloist. 

From that point on, the pieces are thoroughly winsome. “Veiled Citadel” offers a quirky yet liberating experience, probing odd meter with groove while mutating according to the group’s whims. It comes packed with guitar chromaticisms and shifting figures, with bass distortion adding grit before ending in reverb-drenched spaciousness. “Deh Efeh” transcends conventional labels, developing confidently in seven and assuring its fusion roots. It includes a final vamp that favors drummer Miguel Jimenez-Cruz’s rhythmic stretches. 

With Teran at the helm, these six musicians—who know one another well and trust their instincts—demonstrate a sure-handed approach to multiple genres, maintaining structural coherence throughout.

Favorite Tracks:
04 - Secrets Under the Lakebed ► 05 - Veiled Citadel ► 06 - Deh Efeh

Dennis Egberth - The Dennis Egberth Dynasty

Label: 577 Records, 2025

Personnel - Fredrik Ljungkvist: tenor saxophone, clarinet; Niklas Barnö: trumpet; Alex Zethson: Wurlitzer; Linus Hillborg: electronics; Joe Williamson: double bass; Dennis Egberth: drums.

Swedish drummer and composer Dennis Egberth blends rhythm and melody with space and groove in a sextet album inspired by the evolution of electronics in the 1960s and 70s. Over the course of five Egberth originals, fully developed ideas coexist with innate improvisatory instincts, courtesy of Fire! Orchestra members such as saxophonist/clarinetist Fredrik Ljungkvist, trumpeter Niklas Barnö, and keyboardist Alex Zethson. The group is rounded out by Canadian-born double bassist Joe Williamson and electronic artist Linus Hillborg.

“PanGu Part 1: Earth” offers a soaring, atmospheric intro with trumpet, saxophone, and Wurlitzer before digging into a well-balanced bass groove and propulsive drum work that grounds the listener. Explorative individual narratives follow the horn-saturated unison lines that define the theme. “PanGu Part 2: Heaven” is marked by stillness and tranquility, underpinned by a droning bowed bass and tastefully brushed cymbals. Hillborg’s electronics reinforce the ethereal vibe, while Zethson arpeggiates in circular 3/4 movements, with the horns chanting harmoniously in perfect accord.

“Chichen Itza” presents a chill-out, hypnotic effort that feels deeply cinematic, following a perpetual bass groove in seven and having a crisp drumming routinely marking each cycle with snappy fills. “Bogey” struts powerfully with a blend of punk-ish rock ’n’ roll fervor and electro-funk tenacity. Its buoyant tones, energy, and rhythm contribute to the album’s varied tonal palette. The record closes with “Eternal Garden”, which leaves a particularly strong impression with its gorgeous melody—Ljungkvist takes the spotlight here, later expanding outside the norms—soaring over the soulful harmonic richness provided by the rhythm section.

With each track channeling into a cohesive musical narrative, The Dennis Egbert Dynasty contributes to the drummer’s artistic evolution, positioning him as an interesting figure within the creative European music scene.

Favorite Tracks:
01 - PanGu Part 1: Earth ► 04 - Bogey ► 05 - Eternal Garden

Carl Winther / Richard Andersson / Jeff Tain Watts - Steep Steps

Label: Hobby Horse Records, 2025

Personnel - Carl Winther: piano; Richard Andersson: bass; Jeff ‘Tain’ Watts: drums.

Steep Steps marks the sophomore musical collaboration of highly articulate Danish pianist Carl Winther (he worked with Jerry Bergonzi, Tim Hagans, and Walt Weiskopf), sensitive Danish bassist Richard Andersson, and iconic American drummer Jeff ‘Tain’ Watts. Recorded in just one day, the album invites discovery through intensive exploration, with high-caliber jazz tradition as its primary inspiration. Over the course of five tracks—three original compositions by Winther and two jazz covers—the trio exudes infallible musical instinct, responding to one another with admirable tenacity and unfiltered spontaneity.

Winther’s “You Know” is pure post-bop brilliancy, its theme brimming with rhythmic intricacy and a smooth complexity that astonishes. Andersson delivers a refined bass solo over sparse drum patterns, while Winther asserts an extroverted musical personality, employing triplets to a powerful effect. The title track, “Steep Steps”, is a drum showcase at its edges, shifting from modal jazz to a swinging romp in its central section, where Andersson and Winther reveal musical languages full of spirit and color. The bassist is especially captivating with his improvisational choices and geometric motifs.

McCoy Tyner’s “Inner Glimpse” gleams with intensity and swings with abandon. Heralded by his vertiginous rhythmic drive, Watts—who collaborated with Tyner on Double Trios (1986) and Quartet (2007)—brings his exhilarating energy to the forefront. Following the explosive power of this tune is Tadd Dameron’s ballad “Soultrane”, a perfect platform for Andersson’s expressive melodicism and a continuous swirl of introspective emotion. 

The album concludes with Winther’s evolving “Turning Chapter”, a time-shifting piece where piano and bass move in tandem, with breezier currents leaning into groove over swing.

This dynamic piano-bass-drums trio is deeply rooted in tradition, yet enriched by complex overtones and fascinating compositional detail. And they never stop encouraging exploration.

Favorite Tracks:
01 - You Know ► 02 - Inner Glimpse ► 04 - Steep Steps

Joe Lovano - Homage

Label: ECM Records, 2025

Personnel - Joe Lovano: tenor saxophone, tarogato, gongs; Marcin Wasilewski: piano; Slawomir Kurkiewicz: bass; Michal Miskiewicz: drums.

Homage marks the sophomore recording collaboration between leading American saxophonist Joe Lovano and the exceptionally notable Polish trio led by pianist Marcin Wasilewski—featuring the ultra-melodic Slawomir Kurkiewicz on bass and Michal Miskiewicz on drums. The four have cultivated a formidable sound and easygoing simpatico, layering harmonies and effortless rhythmic pulses that shape their deeply personal storytelling.

The program includes five Lovano compositions—including two improvised miniatures (one featuring solo saxophone and the other, gongs and percussion)—alongside a rendition of the ballad “Love in the Garden” by Polish violinist Zbigniew Seifert. The quartet opens with this piece, a rubato effort steeped in sophistication and delicacy, as velvety saxophone glides over introspective piano comping. One can sense a blend of Keith Jarrett, Charles Lloyd, and John Abercrombie in a dazzling musical dialogue that radiates talent and musicianship. 

The standout moments are two strikingly beautiful long-form compositions where ideas are shaped and refined with natural grace. The modal meditation “Golden Horn” begins with rattling percussion—eventually expanding into sparkling cymbals—as bass and piano embark on a shared journey. A simple groove recalling the metric feel of Coltrane’s “A Love Supreme Part I: Acknowledgement” is laid down, and Lovano, ducking in and out of the form with crispness and agility, slowly cooks a great solo with enough spice to put water in our mouths. Following Wasilewski’s fluid storytelling, Lovano switches to tarogato, his lines skittering and dancing to create a hypnotic, Eastern-tinged atmosphere. “This Side-Catville” finds the ensemble in polyrhythmic communion from the outset, playing with contrasting textures and intensities. Graceful chord progressions support an authoritative tenor statement that spreads like wind and warms like sunlight. The tune culminates in an enchanting, almost mystical aura that gently settles into a measured final theme.

“Homage”, Lovano’s dedication to ECM founder and record producer Manfred Eicher, leans into flexible avant-garde expression, promoting improvisational freedom across key shifts. In fact, Homage, the album, is a tribute to all those who inspired Lovano to embrace his true self without reservation: his wife Judi Silvano, his 100-year-old father, Tony ‘Big T’ Lovano, and the above-mentioned Eicher are some of them. Emotional connection and musical brilliance are in abundant supply.

Favorite Tracks:
01 - Love in the Garden ► 02 - Golden Horn ► 05 - This Side-Catville

Marilyn Crispell / Thommy Andersson / Michala Ostergaard-Nielsen - The Cave

Label: ILK Music, 2025

Personnel - Michala Ostergaard-Nielsen: drums; Marilyn Crispell: piano; Thommy Andersson: bass.

Danish drummer and composer Michala Ostergaard-Nielsen anchors her trio— formed in 2022—with Swedish bassist Thommy Andersson and American pianist Marilyn Crispell. Her vision and compositional approach are evident throughout eight original compositions, which alternate between simple motifs and more through-composed material. In both cases, the trio strikes a refined balance between sophisticated craftsmanship and free improvisation.

The introspective title track, “The Cave”, is marked by Crispell’s spacious melodicism, later joined by delicate bass underpinning and softly brushed drums. After the halfway mark, the trio converges in a glowing, unified radiance. “My Spirit Heart” is a multifaceted, all-acoustic number that incorporates the strumming and plucking of piano strings to produce an alternative sonic texture.  Metallic timbres from percussion and cymbals, along with loose, woody bass plucks complete a soundscape that feels uniquely adventurous. The group’s sound converges into something relaxingly prayerful in the spiritual line of Alice Coltrane, and the theme carries intricate lyricism beneath the trio’s artful chamber-improv stylings.

The amphibious and contemplative “T.B.A.” launches with ringing tones and evolves into percussive effervescence and cymbal scratches, while “Into the Light” feels extravagantly ethereal, centered around a bass pedal continuum and a careful blend of grand and toy piano sounds.

Both “Nine Tone Story” and “A Smile of a Butterfly” stand out as highlights. The former—steeped in angularity and packed with explosive energy—features fragmented bass articulations, irregular drum patterns, and spontaneous piano fluctuations. The latter achieves a mantric trance through resonating gongs and piano in consonance, gradually expanding into harmonic territory with a curved, balladic sensibility.

There’s still room for two improvised pieces: “Improv #1” presents Andersson in a solo bass soliloquy, while “Improv #2” builds layers of percussion that crinkle, crackle, rattle, and shimmer. These three kindred, freethinking spirits can harmonize with a beautiful melody in one moment and paint boldly outside the lines in the next. They do both with equal confidence and passion.

Favorite Tracks:
02 - My Spirit Heart ► 05 - Nine Tone Story ► 08 - A Smile of a Butterfly

Seungmin Jung - Anecdotes

Label: Self released, 2025

Personnel - Tal Kalman: tenor saxophone; Bomin Kim: piano; Daphnis Moglia: trumpet; Johannes Ravn: guitar; Seungmin Jung: double bass; Felix Ambach: drums.

Seungmin Jung, a bassist and composer from South Korea, is a graduate of the Manhattan School of Music. For his audacious debut album, Anecdotes, he assembles a state-of-the-art sextet whose members share a close rapport, delivering engrossing compositions layered with a genuine spell - no filters or major effects needed.

The album’s opener, “Blue”, is steeped with melancholy and warmth. Inspired by the Japanese film The Tokyo Night Sky is Always the Densest Shade of Blue, Jung and his peers immerse themselves in pensive, emotional tenderness, following a disentangled melody delivered by the horn players. Although sleek and steady with an elegiac drift, the piece is abundantly graced by Jung—more concerned with honest expression than technical showmanship—and Daphnis Moglia’s trumpet statement, filled with both poignancy and celestial brightness. 

Jung penned “Three Black Beans and a Boy” with his dog in mind. His intro is dark and beautiful in tone, unfolding like a modal prayer with moments of breathtaking suspension and soothing release. The initial subtlety expands into a hard-swinging motion—cooked in the company of drummer Felix Ambach—serving as a backdrop for a folksy, chanting saxophone solo by Tal Kalman, a piano discourse delivered with abandonment by Bomin Kim, and a fragmented-turned-fluid guitar statement by Johannes Ravn. Ultimately, Moglia provides resolution, guiding us into a final prayerful section.

Ambach uses brushes for softness in “From the Middle of the Night”, contributing to the tenderly painted scenery that welcomes inspiring unison lines from saxophone and trumpet. The groovy “Wasteland” is performed in a piano-less saxophone trio format, showcasing dancing bass lines in consonance with the convincing drumming, over which Kalman extemporizes, occasionally locking in tightly with the bass.

“Acadia” has a distinct temperament, beginning as a lush, sweeping 3/4 composition before morphing into a breezy 4/4 passage that emits even more joy and wonder. Inspired by a trip Jung took with his parents to Acadia National Park in Maine, the piece interlaces complementary ideas, concluding with an odd-metered beat cycle pinned by a catchy riff. The album closes on a contemplative note with “Firefly”.

Jung imbues each composition with rich textures and melodies that feel deeply personal. The imagery evoked is vivid, revealing a composer of bristling vitality and generous spirit. Anecdotes is a striking surprise—sonic adventures that begin in the ear but end at the soul. The artist and his work deserve to be discovered.

Favorite Tracks: 
02 - Three Black Beans and a Boy ► 04 - Wasteland ► 05 - Acadia

Larry Ochs / Joe Morris / Charles Downs - Every Day - All the Way

Label: ESP-Disk, 2025

Personnel - Larry Ochs: tenor and sopranino saxophone; Joe Morris: bass; Charles Downs: drums.

Saxophonist Larry Ochs teams up with Flow Trio’s rhythm section—bassist Joe Morris and drummer Charles Downs—for this fully improvised session. Despite the trio never having played together before, they generate moments of noisy frisson, though not enough to make the material truly memorable. 

From the outset, they push toward the ‘outer’ limits, frequently skirting the aggressive edge of sound in a freewheeling display of musical camaraderie. The opening track, “Yay-Hidee-Yonk-Yoh”, is high-caliber, shifting from a layered blend of bowed bass, sweeping sopranino phrases, and fluid drumming into a more grounded interplay of bass pizzicato, low-pitched tenor, and awkwardly marching drum patterns. The second track, “Yonk-Hidee-Yo-Yay-Yay”, begins with bass and drums bleeding into each other, creating a homogenous tapestry over which Ochs delivers an expressive vocabulary filled with pungent tenor growls and infectious aplomb.

“Hiddee-Yay-Yoh-Yonk-Yohhh” continues the pattern of playfully odd titles but is brimming with wry gestures that spread tension throughout. Jarring saxophone bursts punctuate the frantic free playing, while the rhythm section maintains a solid comping presence. However, the album tends to feel dense and somewhat repetitive, lacking standout moments. That said, the tangled title cut, “Every Day-All the Way”, introduces early sopranino flights and serrated arco bass textures before attempting a fresh build midway, evolving from a soft mutter into an unstructured sonic mesh. 

Unpolished and raw, this date grows somewhat tiresome by the second track, leaving an impression of potential left unrealized. 

Favorite Tracks:
01 - Yay-Hidee-Yonk-Yoh ► 05- Every Day-All the Way

Eunhye Jeong / Michael Bisio Duo - Morning Bells Whistle Bright

Label: ESP-Disk, 2025

Personnel - Eunhye Jeong: piano; Michael Bisio: bass; Joe McPhee: tenor saxophone; Jay Rosen: drums.

Bassist Michael Bisio, a cornerstone of the Matthew Shipp Trio, expressed interest in collaborating with Korean pianist Eunhye Jeong after hearing her solo album Nolda (ESP-Disk, 2021). Jeong, in turn, found a true kindred spirit in Bisio, who brought in two distinguished guests—saxophonist Joe McPhee and drummer Jay Rosen—to join them on select tracks. Drawn to dynamic tension, the musicians craft a richly layered and collectively improvised set of music.

The duo effort “Point Expands the World” unfolds with immense timbral beauty and refined interplay. Jeong and Bisio share a contrapuntal ingenuity, their symbiotic connection evident in the blues-infused pianistic intricacies and occasional arpeggiated grace, matched by Bisio’s entrancing, nuanced bass work. They frequently return to a point (a single repeated note) from which their improvisations expand and evolve. 

The duo’s remarkable, uncanny fluency is extended to dark canvas such as “And Then She Was There”, an off-kilter piece marked by a mix of arco expressionism and impressionistic abstraction, and enigmatic piano chords. “Dusts Into Substantiality” strays from jazz orthodoxy, embracing percussive volatility before plunging into agitated avant-garde corners with swift, invigorating gestures. Both musicians revel in the moment, and communicate it.

“Drinking Galactic Waters” introduces Rosen’s soft brushwork and McPhee’s reflective tenor saxophone in a very jazzy setting with plenty of room to create. Gradually, the saxophonist takes over, steering his bandmates into turbulent waters, though the final section softens into melodic introspection. The full quartet comes together again for “Morning Bells Whistle Bright”, which opens with percussive textures, continuous bass whistling, and sparse piano accents. After four minutes, McPhee enters in dialogue with the bowed bass, before Bisio locks into a seven-beat groove, weaving a compelling tapestry for improvisation. McPhee shines here, channeling elements of Coltrane, Ayler, and Ornette Coleman with fertile imagination.

The album’s duets extend beyond piano and bass. “Jaybird” pairs Jeong and Rosen, in an exchange of meaningful silences, sudden bursts, and stealthy movements. Meanwhile, “Superpreternatural” is a bass-and-drums breakdown brimming with perpetual tension, shaped by Bisio’s menacing bowed bass and Rosen’s incisive drum attacks. 

A record of engrossing ideas, Morning Bells Whistle Bright, thrives on uncertainty and exploratory textures. The musicians’ strong personalities elevate it above the multitude of fully improvised albums recently released.

Favorite Tracks:
01 - Point Expands the World ► 05 - Drinking Galactic Waters ► 06 - Morning Bells Whistle Bright

Ingrid Laubrock - Purposing the Air

Label: Pyroclastic Records, 2025

Personnel - Ingrid Laubrock: composition, conduction; Fay Victor: voice; Mariel Roberts: cello; Sara Serpa: voice; Matt Mitchell: piano; Rachel Calloway: voice; Ari Streisfeld: violin.

Ingrid Laubrock is an extraordinary German-born saxophonist and composer whose work has left a distinct mark on the modern creative scene. Whether performing in a duo with drummer Tom Rainey or pianist Kris Davis, leading a highly unusual septet in Serpentines (2016), or expanding her vision into a chamber orchestra in Dreamt Twice, Twice Dreamt (2018), her music consistently exudes quality, complexity, and dedication. Yet, a Laubrock record without her playing feels undeniably different, as is the case with her latest work, Purposing the Air—a double album featuring four different duos and 60 vocalized pieces.

Laubrock initially considered participating as a duet partner herself or expanding some duos into trios, but she ultimately didn’t hear saxophone in her angular miniature compositions, which focus on just one or two core ideas. A passionate admirer of poetry and literature, she found inspiration in Erica Hunt’s poem ‘Mood Librarian-a poem in koan’.

Disc one opens with vocalist Fay Victor—renowned for bridging rootsy and experimental styles—paired with cellist Mariel Roberts, a member of the sought-after Mivos Quartet. Though they had never played together before, their chemistry is remarkable, shifting from eerie and downcast—marked by droning textures and poignant melodies (track 1)—to playful provocations (track 2), and jazzy swoops into avant-garde jazz-inflected flights (track 6). Other highlights include low-pitched cello attacks set against prismatic vocal circularity (track 10) and suspended, postmodern soundscapes that invite reflection (track 14). 

The remaining 15 pieces feature Portuguese vocalist Sara Serpa and American pianist Matt Mitchell, two disciplined musicians known for their textural sensitivity. Together, they navigate ethereal yet densely paced trajectories (track 16), blend dreamy timbres with whimsical intervallic movement (track 18), contrast looping vocals against two-handed pianistic creativity (track 21), and explore minimalistic gestures with intermittently combed piano strings (track 29). 

Disc two, featuring longtime collaborators and expert colorists Theo Bleckmann (voice) and Ben Monder (guitar), presents 15 strikingly evocative pieces, where imaginative ideas emerge from versatile arrangements. Listeners are drawn into reverb-drenched reveries (track 1), canvases of fierce guitar distortion paired with repetitive vocal riffs (track 3), expansive harmonic washes and guitar swells (track 5), exquisite fingerpicking beneath unexpected vocal lines (tracks 8 and 10), and churning, forebodingly dark narratives (track 9). Closing the album is Duo Cortona, comprised of mezzo-soprano Rachel Calloway and her husband, violinist Ari Streisfeld, whose lyrical modern-classical waves of abstraction strike with varying intensities. 

Co-produced by Laubrock and David Breskin, Purposing the Air is a challenging listen—complex and conceptual, it does not always unfold in an immediately accessible way. Yet, Laubrock’s compositional prowess is on full display, affirming her distinctive voice in contemporary music. 

Favorite Tracks: 
Disc One - 06 - Koan 11 ► 10 - Koan 38 ► 21 - Koan 42 // Disc Two: 01 - Koan 23 ► 03 - Koan 24 ► 10 - Koan 59 ► 21 - Koan 57 

Vijay Iyer / Wadada Leo Smith - Defiant Life

Label: ECM Records, 2025

Personnel - Vijay Iyer: piano, Fender Rhodes, electronics; Wadada Leo Smith: trumpet.

With their latest collaboration, Defiant Life, pianist Vijay Iyer and trumpeter Wadada Leo Smith reunite for a second time, driven by their deep 'aural attunement’—a creative blend of inspiration, reflection, and healing. Composed over two days, the album channels their sorrow and outrage over the world's cruelties while maintaining faith in human possibility. They convey this through freewheeling avant-jazz atmospheres that lean into ambient textures. 

“Prelude: Survival” unfolds with menacing low-pitched piano drones intertwined with piercingly ethereal auras generated by the grievous trumpet. “Sunud” feels somewhat restrained, despite its disorienting electronics and delicate piano drops. Smith’s muted trumpet playing exudes determination—his first five notes subtly recalling Strauss’ “The Blue Danube Waltz”—yet the piece remains in a suspended, embryonic state until the eighth minute, when Iyer injects more expressiveness on the Rhodes, while still preserving the composition’s atmospheric foundation.

“Elegy: The Pilgrimage” is hazy in the background but clear and spiritually resonant in its foreground. Iyer handles piano and electronics with finesse, gradually infusing harmonic movement and painting the horizon with transcendent blue-toned lines. In turn, “Procession: Defiant Life” dives into an experimental abstract limbo.

While the duo imbues each collaboration with a touch of grace, their individual compositions—one from each—stand out. Smith’s “Floating River Requiem” dedicated to Congolese prime minister Patrice Lumumba, who was assassinated in 1961, unfolds with mournful intonations and fluid rhythmic freedom. Iyer’s darkly bluesy comping provides a majestic backdrop for Smith’s piercingly emotive melodies. In turn, Iyer’s “Kite”, written for the late Palestinian writer and poet Rafael Alareer, highlights the duo’s remarkable synergy in a piece that is both plaintive and luminous. Here, Smith’s trumpet emits bouts of light.

Iyer and Smith follow a more contemplative philosophy weaving deep lyrical contours with a sense of spontaneity. They prove that there’s no need to be bound by rules. They simply need their freedom.

Favorite Tracks:
03 - Floating River Requiem (for Patrice Lumumba) ► 04 - Elegy: The Pilgrimage ► 05 - Kite (for Rafael Alareer)

Stefano Rocco Quartet - Wildlife

Label: Self released , 2025

Personnel - Stefano Rocco: guitar; Nick Southcott: piano; Muhamed Mehmedbasic: double bass; Ed Rodrigues: drums.

Italian-born, Sydney-based cross-genre guitarist and composer Stefano Rocco presents his sophomore album, Wildlife, alongside his faithful quartet (formed in 2019), featuring pianist Nick Southcott, double bassist Muhamed Mehmedbasic, and drummer Ed Rodrigues. He describes this new body of work as ‘an expedition through the animal kingdom’, showcasing a charismatic musical aesthetic shaped by various jazz currents.

The title track, “Wildlife”, is smartly sculpted in a triple meter, featuring a harmonically rich treatment and a forward-looking, well-paced melody. Arpeggiated piano passages lend it a dreamy aura before it abruptly shifts into a driving 4/4 hard-bop swing. The subsequent track, “Cat Walk”, dabbles in smooth crossover jazz reminiscent of Michael Franks and George Benson, with feel-good solos from Rocco—who delivers fine bluesy chops—and Southcott.

While “Coral Reef” thrives on shifting tempos and guitar riffing in a soulful post-bop context that reminds us the initial phase of Pat Metheny Group, the playful yet assertive “Elephant Stomp”, propelled by Rodrigues’ marching snare, ventures into the soul jazz realm of Kenny Burrell and Grant Green. A wild bass solo emerges from the middle passage, while Latin-tinged piano flourishes subtly color the piece.

“Owl’s Flight” reflects Rocco’s modern compositional approach, while “Dreamy Koala” sets a warm, inviting tone with crisp storytelling, highlighted by guitar harmonics and delicately paired piano notes that, while not explosive, are deeply satisfying. The album closes with “Is It You Chameleon”, a waltzing ballad that gradually intensifies and wins us over with its melodic trajectories.

Rocco’s musical tastes are both complex and unexpected, and the album’s arrangements reflect his refined artistry. The chemistry and commitment of his quartet are palpable, and the favorable impression is further enhanced by the fact that these musicians never resort to pyrotechnics to impress. 

Favorite Tracks:
02 - Cat Walk ► 05 - Coral Reef ► 06 - Elephant Stomp

Branford Marsalis Quartet - Belonging

Label: Blue Note Records, 2025

Personnel - Branford Marsalis: tenor and soprano saxophone; Joey Calderazzo: piano; Eric Revis: bass; Justin Faulkner: drums.

It’s arguable whether an essential record like Belonging (ECM, 1974) by the great pianist Keith Jarrett truly needs a full reinterpretation, but saxophonist Branford Marsalis takes on the challenge without straying far from the original themes and feel. If anyone is equipped to explore Jarrett’s legacy, it’s certainly Marsalis, joined here by his stellar working quartet—pianist Joey Calderazzo, bassist Eric Revis, and drummer Justin Faulkner.

A strong sense of empathy permeates the ensemble, and they deliver a dazzlingly kinetic take on “Spiral Dance”, highlighted by exceptional solos from Calderazzo, flawless in both intonation and phrasing, Marsalis, who thrives in motifs and chromatic shifts, and Revis, who sings out melodies with breathtaking beauty. “Long As You Know You’re Living Yours” feels like a jazz-folk-infused pop song, enriched with bluesy elegance. The piece receives special treatment here, building into an intense crescendo fueled by Marsalis’ fiery saxophone lines, which flow with remarkable fluidity. Calderazzo, too, impresses, navigating harmonic turns with nuanced detail.

Another tour de force, “The Windup”, carries the lively spirit of a country-folk parade, tinged with playful burlesque and manic intensity. Marsalis is at his most animated, his vigorous playing recalling the soulful explosions of Kenny Garrett. The rubato ballads “Blossom”, “Belonging”, and “Solstice” round out the program, painting sonic landscapes of longing and serenity.

This sharply focused quartet brings ample vision and improvisatory flair to every track, making for a bold yet rewarding venture. In a record that carries undeniable risk, Marsalis and his band ultimately pull off a gutsy triumph. He dedicates the album to the memories of recently departed jazz luminaries Benny Golson, Lou Donaldson, Roy Haynes, and Russell Malone.

Favorite Tracks:
01 - Spiral Dance ► 03 - Long As You Know You’re Living Yours ► 05 - The Windup

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