Geof Bradfield / Myra Melford / Ben Goldberg / Dana Hall - Open Or Close

Label: Calligram Records, 2026

Personnel - Geof Bradfield: tenor and soprano saxophone, bass clarinet; Ben Goldberg: clarinet, contra alto clarinet; Myra Melford: piano; Dana Hall: drums.

What a wonderful time I had listening to this fantastic bass-less quartet, whose powerful avant-garde jazz captivates from start to finish. Recorded live at Chicago’s legendary Green Mill, Open or Close gathers compositions from all four members—saxophonist Geof Bradfield, clarinetist Ben Goldberg, pianist Myra Melford, and drummer Dana Hall—who, having crossed musical paths before in several contexts, make a remarkable debut as a group here.

Ornette Coleman’s “Open or Close” is the stunning opener, showcasing a memorable eight-note riff that gradually evolves into staccato activity resembling rhythmic shocks of vibrant color. Initially, Melford constructs melodies around that riff, with Hall’s percussive driving force as her sole support. Goldberg’s sinewy clarinet phrasing also prompts quick responses from the drummer and effective comping from Melford; then Bradfield offers an earthy, motivic solo packed with tension and release before the theme returns.

Melford’s “A Line With a Mind of Its Own”, inspired by American painter and sculptor Cy Twombly, is built over an exquisite scale, patiently expressed as a chamber-jazz concerto with moderate snare-drum effervescence, accelerations, and mounting intensity. The pianist also contributes the adventurous “The Kitchen”.

Goldberg also brings two contrasting yet extremely effective compositions: “Study of the Blues” is definitely not your standard model within the genre, but rather a slightly dissonant exploratory piece with a lot of interesting things going on; “Three Ingredients”, on the other hand, is a bop-inflected piece centered on an expeditious figure. Starting as a conversation between contra-alto and bass clarinets, the tune evolves into a sort of avant-garde ragtime.

The groove-forward standouts are marvelous to witness, and they provide a setting in which each musician’s distinct personality emerges naturally. Bradfield’s “No Brand”, a dedication to South African pianist Abdullah Ibrahim, flows with a feel-good, six-beat contra-alto clarinet groove, hi-hat buoyancy, and melodic discernment fueled by the parallel motion created by soprano sax and piano. During Goldberg’s beautifully articulated statement, there is no disruption to the groove in the lower register as he and the pianist switch roles. By the end, Bradfield and Melford mirror each other in thrilling interplay. Another dedication to a South African musician, bassist Johnny Dyani, comes with “Lonely Flowers”, a piece Dyani wrote himself and first recorded in 1978. These African scents also bring a touch of Sun Ra’s exoticism into play, and I love Bradfield’s fierce improvisational spirit here on tenor.

Brimming with creative ideas, Open or Close has no weak tracks, with each one evoking thoughtful moods and sonic stimulation. These four musicians reveal exceptional musical capabilities, and their collective effort comes highly recommended.

Favorite Tracks:
01 - Open or Close ► 03 - No Brand ► 04 - Study of the Blues ► 06 - Lonely Flowers

Jason Kao Hwang's Human Rites Trio - Second Life

Label: True Sound Recordings, 2026

Personnel - Jason Kao Hwang: violin; Ken Filiano: bass; Andrew Drury: drums, percussion.

American violinist Jason Kao Hwang, a mainstay of New York’s downtown avant-garde scene, reunites with his highly adaptable Human Rites Trio, featuring bassist Ken Filiano and drummer/percussionist Andrew Drury, for a new album.

Second Life comprises four extended Hwang compositions delineated by rich ebbing and flowing exchanges and constantly shifting passages, enriched by unconventional melodic constructions and perceptible rhythmic ripples.

“Galaxies Twist Under Before It” initially unfolds over a 12-beat bass groove that mutates into a 4/4 funk-rock scenario. Hwang’s screaming solo explores several registers of the violin through euphoric improvisational flurries, supported by Drury’s sagacious fills. The drummer has ample space to expand his chops, and the trio reaches a crescendo through deliberate deconstructions. A quieter passage of plucked violin and understated drumming welcomes Filiano’s solo. After the theme returns, the trio enters a reflective state marked by lachrymose violin, tactful arco work, and colorful cymbal splashes.

“What to Keep, What to Let Go” begins as a ballad, but its gradual expansions and contractions lead into an improvised scenario packed with energy. There are great moments to savor during Hwang’s improvisation, but one cannot overlook the outstanding work of the rhythm section, which introduces radical shifts while toggling between marching postures and swinging delirium. Filiano’s excellent arco technique and deep, resonant sound are are something to be reckoned with.

“Ricochet” offers motif-inflected tapestries, funk grooves, and avant-chamber passages centered on improvisation. Drury lays down a skillfully articulated and harmonious percussive flow here. Honest expressionism is integral to the trio’s style, with each creative idea pushed into free and open territory.

Favorite Tracks:
01 - Galaxies Twist Under Before It ► 04 - Ricochet

Punkt Vrt. Plastik - Kompress

Label: Intakt Records, 2026

Personnel - Kaja Draksler: piano; Petter Elder: bass; Christian Lillinger: drums.

The modern creative European trio Punkt Vrt. Plastik — comprising Slovenian pianist Kaja Draksler, Swedish bassist Petter Eldh, and German drummer Christian Lillinger — releases its fourth album. All three artists contribute compositions, adhering to unyielding rhythmic intricacy and classical melodicism to shape music that bristles with provocative interplay, freedom, and heightened expressiveness.

Draksler's "Yogen" thrives on a half-step-shifting, mystery-inducing pulse. The pianist opts for motivic figures while the drummer moves from erratic fibrillation to deliberate syncopated fragmentation. This taut flow is regularly interrupted by pacifying jazztronica sections that contrast with the more Rage Against The Machine-inspired thrill of the opening. While Eldh's "Mariatorget 87" also takes a distinctly jazz path, Lillinger's "For Sybille" finds Draksler veering toward a modern classical direction, rich with intervallic friction.

The classical influence runs throughout the album but peaks with Eldh's arrangement of "När Världens Hopp Förtvinat Stod”, a Lutheran chorale written in 1589 by German clergyman and composer Johannes Rhau. Draksler's 4/4 minor-mode piano movements find perfect backing from bass and drums. The classical vein continues on "Mere Punkt”, co-composed by Draksler and Eldh, but shifts sharply for Lillinger's skittish “Vrt", which closes the album with a gallant composure.

Eldh's "Trip" is one of the most gripping pieces, unfurling an oblique groove under a defiant time signature. Despite the complexity, the trio locks together in a fantastic, hooked-up rhythmic flow charged with creative harmonic progressions and tension. If "EKV" sounds progressive and warped, "For A / Kompress" is lyrical, cyclic, and powerful, opening with a dreamy aura that, handled with a firm grip, gradually intensifies. Surprising is hearing the trio lean into a hard-swinging juncture on "Granular Navigation". Lillinger, unapologetic about his triplet-based ride cymbal patterns, wrote the piece; he also offers methodical snare buzz rolls that color a more abstract passage built from clustered chordal angularity.

Punkt Vrt. Plastik engages in absorbing conversations of rhythm and breath, threading in occasional head-nodding grooves that arrive with atypical shapes and feels. The trio continues to seek new perspectives on composition, taking a freewheeling approach throughout. Kompress even offers a wider lens, feeling thoroughly contemporary without burying its influences from other eras. It stands as a fine addition to the group's catalog of state-of-the-art albums.

Favorite Tracks:
01 - Yogen ► 02 - Trip ► 07 - For A / Kompress ► 09 - När Världens Hopp Förtvinat Stod

Mats Gustafsson / Kimmo Pohjonen - Two Balls Are Enough

Label: Trost Records, 2026

Personnel - Mats Gustafsson: slide, tenor, baritone and bass saxophone, Ab clarinet, flutes, live electronics, harmonica, organ; Kimmo Pohjonen: electro-acoustic accordion, voice.

The music of Swedish multireedist Mats Gustafsson and Finnish accordionist Kimmo Pohjonen sounds like anything you’ve heard before. Combining folk music and free improvisation, the duo takes us by surprise with a sonically adventurous session that can be intense, raw, haunting, and beautiful all at once. Their collaborative debut, Two Balls Are Enough, showcases their extravagant experimentalism and effective chemistry.

“Ice Heaven” opens like an Indian raga wrapped in electronics paraphernalia and heavy beat. Gustafsson’s frenzied saxophone attacks have a magnetic effect over the undulating harmonic tapestry offered by his counterpart. “Magna” triggers hypnotic vibrations, adding mystery and emotional tension to shifting textures. Bathed in distorted electro-acoustic accordion, the piece reaches its climax toward the end as Gustafsson’s fierce growls find repose in Pohjonen’s fleet and flashing pneumatic swells. 

Gustafsson’s “Snow Linat” allows mysticism and deep reflection to emerge through airy flute and poignant harmonies. A gripping vamp welcomes meaty baritone lines and whirling accordion movements before unison lines and breathtaking flights of improvisational fancy take center stage over an electronic droning figure in 3/4. The duo then returns to sheer melody, exhaling emotional feelings within an undisturbed folk landscape.

Both the title cut and “Its Body Falls Open” sound highly experimental, generating strong visual suggestions that, in the case of the latter, feel like grotesque, noisy obfuscations. “Naga” is a highlight, relying on a zigzagging Eastern-like figure over terse accordion stabs and an exorbitant electronic rhythm. Curiously, Pohjonen’s voice infuses it with a candid, poignant touch. 

Inspired by experimental French writer Danielle Collobert, “Slow Down the Beating” stays true to its title, in a controlled soundscape with breathable spaces, tasteful electronics, and simmering interactions between flute and accordion. But it’s with the closing piece, “Backengrillen”, that the duo opens the skies and clears the horizon, pouring out a beautiful melody that cascades over a cyclic harmonic progression.

Gustafsson and Pohjonen found a mutual language that is groundbreaking and off the charts. Imbued with electro-acoustic collisions, folk echoes, and fearless improvisation, this imaginative session adds a fresh chapter to modern improvised music.

Favorite Tracks:
02 - Magna ► 03 - Snow Linat ► 08 - Naga ► 09 - Backengrillen

Co Streiff / Russ Johnson Quartet - Oracle

Label: Sunnyside Records, 2026

Personnel - Co Streiff: alto saxophone; Russ Johnson: trumpet; Christian Weber: double bass; Gerry Hemingway: drums.

Swiss saxophonist Co Streiff and American trumpeter Russ Johnson join forces once again on Oracle, a six-track date where both bring their imaginative, open compositions to the fore. 15 years after In Circles, the pair—backed by the cooperative rhythm team of bassist Christian Weber and seasoned drummer Gerry Hemingway (replacing Julius Sartorius)—is back in action. Despite the recording hiatus, the band got together in 2019, developing further ties that culminated in a 2023 tour.

Johnson’s “Horizontal Heartburn”, initially a vehicle for Hemingway’s balance of dry and wet toms and syncopated hi-hat pulsation, follows with dramatic shifts in urgency, tension, and release. A staccato-driven section pumped up with unison horn lines soon morphs into a lyrically conscious theme contoured by tone-center shifts. Johnson’s noble way of articulating phrases is substantiated over sturdy bass plucks, and the piece soon engages in marching steps, leading to a frantic final dance.

Streiff’s “Smithy Street” invites us to a funk-rock groove, perfectly suitable for measured avant-garde considerations. The saxophonist also contributes “Remember Little Feather”, a free-bop swing ride where she adds clever motifs, taking us to Ornette Coleman and Don Cherry. The tempo rises to double time for Johnson’s adrenaline-infused statement, with Hemingway stealing the spotlight at the end as he embarks on climactic rhythmic tapestries overflowing with interesting ideas.

While the final track, “Oracle”, offers a creatively bluesy atmosphere, Johnson’s “Sanguache” comes shrouded in a cool vibe enhanced by nonchalant parallel melodies and a strong, hi-hat-accentuated backbeat. This tune preserves its lyrical side even when the band makes a somewhat unexpected turn into rock. One of the strongest pieces consists of a combination of Streiff’s “In Circles”, first recorded on the previous album, and Johnson’s “Yellow Crane”. Warm bluesy colors, a breezy tone, and an uncluttered rhythmic texture emerge with a 3/4 feel. Weber’s excellent skills and attention to detail make the transition to the chamber-jazz painterliness of the second tune, which enters in reflection mode with foundational bowed bass maneuvers.

Oracle provides an effective sonic canvas, showcasing the distinctive chemistry between these two leaders and the depth of what they can create together.

Favorite Tracks:
01 - Horizontal Heartburn ► 03 - In Circles / Yellow Crane ► 05 - Remember Little Feather

Henry Threadgill Zooid - Cut You Where You Was

Label: Pi Recordings, 2026

Personnel - Henry Threadgill: alto saxophone, flute, bass flute; Liberty Ellman: acoustic guitar; Jose Davila: tuba, trombone; Christopher Hoffmann: cello; Elliott Humberto Kavee: drums.

I dig Henry Threadgill’s type of sound, how he orchestrates modern classical, progressive chamber jazz, and avant-garde opaqueness using layers that unfold with meticulously planned coherence and originality. Threadgill’s prominent presence on the contemporary avant-garde landscape has a strong association with Zooid, a tight quintet that has never felt so loose as in Cut You Where You Was. Threadgill is not heading into a new direction here, but the album has plenty to discover and enjoy.

On “Fluoroscope”, we notice intervallic leaps within a highly contrapuntal environment, which is so characteristic of the saxophonist’s style. With a tight focus on arrangement and composition, the piece also counts on mystifying solos by Threadgill, who uncorks atypical melodies, and guitarist Liberty Ellman, whose acoustic patterns sound just right over the textural oddities generated by cellist Christopher Hoffman, tubist José Davila, and drummer Elliott Humberto Kavee.

The three-movement chamber piece “Bingo” explores a variety of exquisite feels and moods: “Bingo Part 1” sets elated flute flights against tuba wails, low-key guitar specifications, and somber cello; “Bingo Part 2” features Ellman’s bluesy slide technique as flute and trombone contribute to the exotic, picturesque landscape; and “Bingo Part 3” thrives on motivic alto sax and enthralled mallet drumming.

“Red Admiral Red Moon Rising” is the album’s centerpiece, clocking in at more than 12 minutes. What begins as a mournful dirge with plenty of delightful detail quickly evolves into a captivating, quirky groove that has its own imaginative way of swinging. Only Threadgill can come up with these rhythmic jaw-droppers, and his dissonant solo here resonates within that narrative thrust. His ability to go against structural norms and jazz conventions is also mirrored on “Off And On What Happened”, where the inventive, unaccompanied Kavee shines. Counterpoint and fragmented cadences are injected before the skillful drummer finishes what he had started.

“Lightnin’” is another miniature gem, with sax and guitar declaring curious lines in unison and a deliciously offbeat groove underpinning Ellman’s clear yet nonconformist statement. Passion and openness are present throughout the album, and the final result is simultaneously haunting and bewitching.

Favorite Tracks:
04 - Bingo Part 3 ► 05 - Red Admiral Red Moon Rising ► 07 - Off And On What Happened ► 08 - Lignin’

Ayumi Tanaka / Thomas Morgan / Thomas Strønen - Windflower

Label: ECM Records, 2026

Personnel - Ayumi Tanaka: piano; Thomas Morgan: bass; Thomas Strønen; drums.

Japanese-born, Oslo-based pianist, composer, and improviser Ayumi Tanaka presents a new trio with in-demand American bassist Thomas Morgan and Norwegian drummer Thomas Strønen. Until now, Tanaka had released two albums—Memento (2016) and Subaqueous Silence (2019)—as a leader with her former trio, featuring Christian Meaas Svendsen on bass and Per Oddvar Johansen on drums, and she’s been a wild card in Strønen’s chamber-jazz group Time Is A Blind Guide. The new trio first played together in 2024 at Oslo’s Victoria, Nasjonal Jazzscene, and Windflower consists mostly of improvised music.

The album opens with the title track, which enchants with the enveloping, organic sound that stems from continuous impressionistic pianism, sophisticated bass lyricism, and the rich embrace of percussion. It is followed by “La Source”, an achingly beautiful ballad wrapped in idyllic contemplation. This is the only piece written by Tanaka and reveals her maturity, intelligent restraint, and fragile melodicism. Morgan brings his hypnotic bass to the fore, while Strønen injects occasional snare fluxes, deviating attention from his light-footed toms-and-cymbals maneuvers. The piece gets intriguingly layered by the end.

A gentle pulse takes over “From Us, To You”, enhanced by muted piano hits. A tranquil aural construction flits by expertly measured brush strokes and an elucidating, supportive bass drive. This is the kind of trio that loves to let things flow naturally and spontaneously, unattached to tempo or rigid structure. The threesome integrate their sounds as a breathing whole, and that’s noticeable on the concise “The Sea Is Still”, introduced by Strønen’s impeccably tuned kit and unfolding with Tanaka’s shapeless fidgeting and Morgan’s unmistakable bass foundation. It’s a shame it ends so fast.

“Spring” is another example of graceful delicacy, while “Driftwood” is imbued with loose freedom yet flows with a more familiar swing vibe and pace, fusing modern classical and chamber jazz elements with refined taste.

Tanaka’s concept of intent anchors the ensemble’s creative abstraction. Morgan and Strønen help her flesh out atypical yet non-discordant ideas as they share their own musical perspectives. The modern, often introspective chamber textures on Windflower bring tranquilizing comfort.

Favorite Tracks:
01 - Windflower ► 02 - La Source ► 06 - The Sea Is Still

Charles Lloyd - Sangam and Friends

Label: Blue Note Records, 2026

Personnel - Charles Lloyd: tenor saxophone, flute; Zakir Hussain: tabla, percussion; Eric Harland: drums; Vijay Prakash: vocals; Rakesh Chaurasia: bansuri; Sabir Khan: sarangi; Niladri Kumar: electric sitar;  Ranjit Barot: keyboards.

Everyone knows that Charles Lloyd’s music is a sea of authenticity that lifts the spirit and awakens the senses. Most of the tracks on Sangam and Friends, his new album serving as a homage to the late tabla player Zakir Hussain, were recorded live in Mumbai in 2009 for an album that was never released. Drummer Eric Harland is the third side of the triangle that composes Sangam, yet this date is enriched by a rotating lineup of standout Indian collaborators that includes vocalist Vijay Prakash, bansuri player Rakesh Chaurasia, sarangi player Sabir Khan, sitar player Niladri Kumar, and keyboardist Ranjit Barot.

As expected, the new album traffics in an outgoing blend of world fusion, avant-jazz, and post-bop that attains emotional peaks on “Bharati’s Dance, Tempo Divine” and “Sam on the Ganges”, a sprightly reimagining of Lloyd’s memorable tune “Sombrero Sam”. The former piece showcases Lloyd in top form, blowing impulsively and fabulously over Hussain’s entrancing tabla patterns and Harland’s smart drumming. This Indo-jazz breeze is also felt on the latter piece, where Barot’s keyboards reinforce the texture, paving the way efficiently for bansuri and tenor discourses. Carrying soulful, transcendental energy, both the sarangi and electric sitar contribute rich flavors to a delicately spicy whole.

The beautiful vocal work of Prakash is featured on the meditative introductory “Clear the Dust” and “The Blessing”, where Lloyd evokes “Tone Poem” in his mystic chants. “Jai Ganga”, a traditional piece drawn from the group’s archives, is a vivid, celebratory marching dedication to the sacred Ganges river, while “Tagore”, featuring Lloyd on flute, is a premium Carnatic output with a lingering melody and mesmerizing rhythm, recorded live in Santa Barbara, CA, in 2014. In turn, “Eternal Dreaming”, using a sustained chord as a drone, reflects a meditative temperament.

With the rhythm team put to excellent use throughout the recording, Sangam and Friends shares multicultural stories, keeping Lloyd’s distinct style front and center.

Favorite Tracks:
02 - The Blessing ► 05 - Bharati’s Dance, Tempo Divine ► 07 - Sam on the Ganges

DoYeon Kim - Wellspring

Label: AUM Fidelity, 2026

Personnel - DoYeon Kim: 25-string and 12-string gayageum; Mat Maneri: viola; Henry Fraser: bass; Tyshawn Sorey: drums.

The gayageum—the ancient Korean zither—is not a frequent sound in jazz, but Brooklyn-based DoYeon Kim is poised to change that, blending her Korean roots with structured avant-garde and free-improvised momentum. For her debut album, Wellspring, Kim gathered a resourceful group of New York musicians, including violist Mat Maneri, bassist Henry Fraser, and acclaimed drummer Tyshawn Sorey.

“The Beats of Distant Thunder” provides an absolutely thought-provoking opening, drawing on a rich, centuries-old Oriental texture that feels highly cinematic as it is infused with both emotional ache and occasional humor. The flowing stream of dotted gayageum figures and enchanting viola plucks runs atop the tessellated foundation of bass and drums. At times, it feels as though we are watching a film by Zhang Yimou, Im Kwon-taek, or Chen Kaige. Rich in depth and complexity, the piece evolves magnificently in texture, eventually centering on Sorey, who delivers a head-snapping spectacle on toms and cymbals.

“Walking in a Dream” is no traditional lullaby, seeming more suited to dramatic puppet theatre as it grows increasingly intense and thunderous. Kim uses her powerful voice here, reaching explosive heights on “Sun Shower”, where rambling, heavy rhythms give way to beautiful viola melancholy supported by kaleidoscopic drum colors. Toward the end, a circular viola riff intertwines with the gayageum runs before dissolving together with the rest of the band.

Eschewing elaborate harmonic feints, “Whispers Among Dawn” and “Diffraction” are two spontaneous improvisations that place Kim firmly in the spotlight. Here she plays the 12-string gayageum (all the other pieces feature the 25-string version), the latter benefiting from Fraser’s tangible bass anchor.

The album is a call for society to come together, and the extended “Linear System”, which clocks in at 15 minutes, seems to evoke ritualistic practices of boisterous intensity in pursuit of that goal. It features ghostly vibes, supernatural forces, and buzzing sequences that seem out of this world before gradually settling into meditation as Kim begins to vocalize. The cutting-edge “Calculus of Our Souls” leans on musical intelligence to break through boundaries, bringing us something truly special. It culminates in a gut-wrenching finale that appears to blend avant-garde, Korean tradition, and punk rock all at once.

Kim’s microtonal pitch inflections and assured voice speak to the modern world, leaping out of the speakers with freedom and originality. The quartet’s kinship is evident throughout, but without Kim’s artistic vision and leadership, the music wouldn’t have resonated so deeply.

Favorite Tracks:
01 - The Beats of Distant Thunder ► 04 - Sun Shower ► 07 - Calculous of Our Souls

Bryan Murray - Wolf

Label: Shifting Paradigm Records, 2026

Personnel - Bryan Murray: tenor saxophone; Adam Linz: bass; Dan Monaghan: drums.

Boasting a catchy sound and enjoying genuine freedom within the structure, saxophonist and composer Bryan Murray leads a supple chord-less jazz trio featuring bassist Adam Linz and longtime associate drummer Dan Monaghan. With friendship and collaboration at the center of Wolf, Murray—who also leads the peculiar avant-garde-meets-country band Bryan and the Haggards, is a member of Moppa Elliott’s Unspeakable Garbage, and has performed with David Byrne and St. Vincent outside the jazz sphere—explores his own music, radiating energy and abandon in a way that keeps listeners fully engaged.

“Bombs” kicks off with hooky, motivic saxophone firepower over agile drums and sturdy bass, channeling David S. Ware and the reed language of Threadgill’s Air over the tight-knit rhythmic web spun by Linz and Monaghan. Post-bop and avant-garde walk hand in hand here, while “Curtain”, delivered with a sensitive balladic touch, brings forth Monaghan’s mallet work and shimmering cymbal washes. There’s pensive lyricism cutting through the open spaces, and Murray’s cautious melody is closely shadowed by Linz.

Evoking childhood memories in West Virginia, “Dirtslide” displays an irreverent, hard-bop-inflected elegance over a full-throttle swing that is briefly suspended to accommodate the conversational interaction between Linz and Monaghan. Tactical bass mobility and crisp drumming dominate until Murray’s return, his playing abounding in ideas, supported by a firmly grounded and energetic rhythm section. The folksy theme of this piece contrasts with the pure modal jazz of “Buell”, a passionate prayer that recalls the spiritual hymns of John Coltrane and Billy Harper.

“Cloud Shapes” is anchored by Linz’s impeccable bass guidance, while Monaghan’s cymbal work and mallets transport us to distant worlds. Murray’s narrative gift is unmistakable here. The title track, “Wolf”, achieves an air of mystery through a simple yet relentless bass ostinato. Deliberately measured, it unfolds in a lugubrious 3/4, while the closer, “Fill Taker”, embraces avant-garde elasticity, with Murray’s authoritative presence enhanced by well-delineated lines and motifs over a vibrant rhythmic foundation.

This is stirring, serious sax-bass-drums work, resulting in a contemporary jazz album well worth digging into.

Favorite Tracks:
01 - Bombs ► 03 - Dirtslide ► 05 - Buell ► 08 - Fill Taker

Nebbia / Muruaga / Bäckström / Mustonen Quartet - Freefalling Latitude

Label: Self released, 2026

Personnel - Gon Muruaga: electric guitar; Camila Nebbia: tenor saxophone; Jonathan Bäckström: double bass; Teemu Mustonen: drums.

Gon Muruaga is an Argentinian guitarist and composer based in Helsinki, Finland. Unafraid of taking risks, Muruaga plays with open forms and fragmentation in a mix of aural explosions and quietly composed atmospheres, joining forces with fellow countrywoman Camila Nebbia on saxophone (a prominent figure in the free-improvisation scene) and the Finnish rhythm section of bassist Jonathan Bäckström and drummer Teemu Mustonen.

Freefalling Latitude opens with “Latifall”, where Nebbia’s tenor descriptions trace geometric figures and sharp angles. Loose drums and bold guitar accompaniment support her unconditionally, while the bass enters late yet confidently. Muruaga pushes the electronic side of his instrument to the fore, employing delay effects while exploring skronky, clustered sounds.

“Fogradient” has ethereal guitar waves contributing to the initial ambient texture, yet we can hear Bäckström’s bass lines pulsating in the background. There’s uncertainty within a spatial mist and formless void, but things gradually build toward a roaring climax. This alternation between rumination and eruption is a constant throughout. If “Gyroslip” features jarring, rusty guitar attacks, swift saxophone runs, and a lumpy, tribal-like groove underneath, “Paralaxial” and “Isoplex” investigate balmy sonic possibilities, whether through finespun percussion and unyielding yet mysterious harmonic contours or saxophone overtones and non-abrasive atmospheric friction.

These are musicians who listen closely to one another, and “Nebulode” brings them together to unearth new sounds as part of the quartet’s exploratory aesthetic. Out of a maze of fragmentation, the band finds a raw connection through clattering percussion and inharmonic collisions. Its wry experimental vision remains engaging, keeping our ears wide open. Curiously, there’s something invigorating about this quartet, but also the lingering feeling that it is capable of achieving even more.

Favorite Tracks:
01 - Latifall ► 04 - Gyroslip ► 05 - Nebulode

Victor Vieira Branco's Bark Culture - The Giant is Awkward

Label: Temperphantom, 2026

Personnel - Victor Vieira-Branco: vibraphone; Sam Yulsman: piano; John Moran: double bass; Joey Sullivan: drums.

Playing the vibraphone with a relentless sense of urgency and intent while displaying a strong, distinctive compositional identity, Victor Vieira-Branco is a name to reckon with in contemporary jazz. Rooted in Philadelphia, Bark Culture is Vieira-Branco’s creative brainchild, where intriguing sonic forces feel at once dark and lyrical, sometimes effusive yet always fresh and compelling. For this date, the core trio—with John Moran on double bass and Joey Sullivan on drums—is expanded into a harmonically richer quartet with the addition of pianist Sam Yulsman.

The Giant is Awkward, Bark Culture’s sophomore record, opens with “Palace”, whose lush theme, rhythmically vivid drive, and hip arrangement command our attention from the very first minute. The bandleader’s rolling liquidity blends seamlessly with sweeping keyboard gestures and the vibrant tangle woven by bass and drums. Sullivan does an intricate, actively propulsive job throughout, fueled by alternative-rock stamina and responsive fills. Yulsman’s “Farce”, the only piece not written by Vieira-Branco, is kinetic, asymmetric, and daring in its construction, pervaded by a thrilling sense of uncertainty and a fair dose of arcane postmodern psychedelia.

“Willow” holds a powerful and consistently engaging backbone that is unafraid of odd meters and metric modulation. Impeccably framed by Yulsman’s off-kilter piano (which sounds great despite being slightly out of tune) and Vieira-Branco’s hallucinogenic vibraphone, the piece climaxes into an unpredictable, stratospheric concentration of sound. On a different register, “Panic” gives silence an important role, developing with a balladic feel that favors spacious atmospheres.

The album closes with “Spectrum”, where the beauty of the instrumentation creates ebbs and flows through intricate accentuation that feels simultaneously startling and exhilarating. There’s space for drum talk before the tension mounts through authoritative bowed bass, nebulous vibraphone streams, dreamy piano sequences, and jittery drumming.

With each member focused on injecting energy and emotion, Bark Culture pushes the envelope, reinventing itself as an experimental group that strikes a perfect balance between written material and open improvisation. Vieira-Branco steps forward impressively on The Giant Is Awkward, and it’s remarkable to think these pieces were recorded at the last minute while still in sketch form.

Favorite Tracks:
01 - Palace ► 02 - Farce ► 03 - Willow

Otomo Yoshihide / Kei Matsumaru - Shutsumin

Label: Trost Records, 2026

Personnel - Otomo Yoshihide: guitar, turntable; Kei Matsumaru: alto and soprano saxophone, electronics.

It was hard to connect with this experimental free-jazz duo release by Japanese guitarist Otomo Yoshihide and saxophonist Kei Matsumaru, a native of Palau New Guinea. The album, Shutsumin (a Japanese term referring to the transitional state between sleep and wakefulness, often accompanied by hallucinations and other abnormal sensations), traffics in otherworldly sounds and may well put anyone to sleep, starting with a cold blizzard of cosmic, radioactive pollution that arises from the electronic manipulation of guitar and turntable—emanating torrents of feedback and distorted granularity—alongside piercing, strident saxophone spirals that can be a strain on the ears.

Scattered rattling noises and directionless saxophone whirls convey the sensation of standing amid dozens of rusty industrial machines at work. Expect buzzing nuisances, intensifying guitar noise, and heavy, blurring distorted fluxes in a sort of machine language that overwhelms more than it enchants. These fearless explorers take us to uncertain soundworlds charged with labyrinthine, cluttered passages, coordinated overtones, firework-like bursts, and anxious apprehensions.

The last three tracks on the album had a more positive effect on me, showcasing a few compelling atmospheres while taking a more substantial and less repetitive, if still abstract, line of action. Folksy melodies begin to surface from Matsumaro’s saxophone over blaring mosaics in the background; cyclic cadences evolve from ambient textures into chaotic clamor before receding into confused murmurs. Things become more interesting and gripping with a stronger harmonic context—thanks to Yoshihide’s hypnotic chords—rather than relying on plain, unceasing buzzing noise.

I’m a big fan of Yoshihide’s quintet albums ONJQ Live (2002) and Tails Out (2003), some of his work for Tzadik Records—Flutter (2001) and Dreams (2002)— as well as his inventive, fantastic take on Eric Dolphy’s Out to Lunch (2005). Matsumaru is a new discovery for me. As a duo, they show considerable promise and are unafraid to push the envelope, but ultimately deliver less than expected. Despite its unevenness, Shtsumin may be considered by curious audiophiles with an inclination for sound manipulation.

Favorite Tracks:
06 - Utatane ► 07 - Oneiric ► 08 - Meisekimu

Christopher Dammann - Dead Words

Label: Shifting Paradigm Records, 2026

Personnel - Jon Irabagon: stritch; James Davis: trumpet; Jim Baker: piano, ARP 2600 synth; Christopher Dammann: double bass; Mike Reed: drums.

Chicago-based bassist and composer Christopher Dammann has a very limited discography as a leader, but that shouldn’t discourage you from checking out his latest work, Dead Words. On this album, five spiritual contrafacts are reimagined by Dammann’s cohesive and highly synergistic quintet, featuring the incomparable talents of saxophonist Jon Irabagon, trumpeter James Davis, keyboardist Jim Baker, and drummer Mike Reed.

With stately grandeur, “Montrose B” is an assertive opener, a pure post-bop piece that dazzles and invigorates. Following a magnetic bass introduction, the attractive theme is brought to the fore by the horn players, who exchange ideas freely under the spell of the swinging vibrancy coursing beneath them. Characteristically outgoing on stritch, Irabagon takes the first solo with the force of nature—he has a special edge to his playing—followed by Baker, whose delicate lyricism unfolds through dreamy sonorities, and then Davis, who, eschewing unnecessary flourishes, relishes the fleeting Latin-inflected passages woven into the swing.

Interesting enough to keep you fully engaged, the Sunny Murray-inspired “Untitled” is a hymn to avant-garde expressionism, shaped by the spacious, woozy, electronics-infused glitches and feedback of Baker’s semi-modular ARP synthesizer. Dammann’s constantly probing bass supports cyclical saxophone bursts interspersed with terse trumpet commentary and incisive synth textures. “Two Themes for Improvisation” also features Baker’s asynchronous synth transmissions and Irabagon’s spontaneous saxophone interjections, yet it is Dammann who takes the lead with his resonant arco work. Reed’s thoughtful snare and tom patterns stand out as the group navigates an abstract limbo, moving between climactic peaks and serene atmospheres with equal assurance.

If the two previously described pieces showcase the group’s indifference to orthodoxy in favor of freer experimentation, “White Gladis”, with Dammann’s haunting bow sweeping across the bass strings, returns the music to earth, finding its footing through counterpoint. Its lilting, blues-inflected modal mood bears resemblance to works by Sam Rivers, Charles Tolliver, and Stanley Cowell. Yet the tune was inspired by bassist Paul Chambers. Irabagon’s timbral flamboyance finds the perfect foil in Davis’ more restrained yet perfectly articulated phrasing. Both are also prominently featured on the closing track, “This Is an Unraveling”, where Dammann beautifully states the melody after introducing it with a catchy bass figure.

Dead Words offers propulsively swinging, muscular music delivered with an ideal balance of discipline and freedom, feeling simultaneously nostalgic and forward-looking. The equilibrium achieved is masterful, leaving us hoping Dammann returns soon with more music of this caliber.

Favorite Tracks: 
01 - Montrose B ► 03 - White Gladis ► This Is An Unraveling

Mat Maneri Quartet - Mist

Label: Sunnyside Records, 2026

Personnel - Mat Maneri: viola; Lucian Ban: piano; John Hébert: bass; Randy Peterson: drums.

Avant-garde violist and composer Mat Maneri is known for blending fragility and crisp friction within a subtly discordant, microtonal approach to music. Mist is the final installment of a trilogy that includes Dust (2019) and Ash (2023), continuing its exploration of heavy, noir-like textures that evoke grief and misery. His quartet features longtime associates: pianist Lucian Ban—who contributes four of the album’s eight compositions—bassist John Hébert, and drummer Randy Peterson.

The new album, unrelentingly gloomy, unfolds through a free-flowing discourse, with capriciously oblique gestures creating a sense of erudition and intimate vulnerability. Maneri’s “Through a Mist Darkly”, whose title nods to Ingmar Bergman’s emotionally complex drama Through a Glass Darkly—and also recalls the piece of the same name that Maneri recorded on the 1996 album Three Men Walking with his father, saxophonist Joe Maneri, and bassist Joe Morris—is wrapped in a melancholic veil. This pensive, lyrical meditation extends into his shadowy and grief-stricken composition “Achlys”, which references the Greek goddess of misery and mist. Here, Maneri injects greater tension and movement into his playing while Ban explores dreamy atmospheres before expanding into imaginative avant-garde flourishes.

Ban’s “A Piece of God” emanates a grateful serenity, revolving around a recurring thematic phrase over which Maneri’s tearful viola tremolos pierce the heart with quiet forlornness. The pianist also contributes “Mist”, an elusive tone poem anchored by Hébert’s spacious bass figure and Peterson’s understated drum colors, and “Paul Motian”, an abstract, floating, and exploratory homage to the late drummer, opening with bass and drums alone. Curiously, Maneri—who has long shared an affinity for Motian’s singular musical language—had already included a composition titled “Motian” on Dust.

Mist takes listeners out of their comfort zone as the quartet glides seamlessly between pitches with remarkable impressionistic finesse. Its main weakness lies in its unwavering devotion to a single atmosphere, offering too little contrast over the course of a slow-burning, 50-minute meditation that demands considerable patience from the listener.

Favorite Tracks:
03 - Achlys ► 04 - Mist ► 08 - Missed

Ralph Alessi - A Sun That Never Sets

Label: ECM Records, 2026

Personnel - Ralph Alessi: trumpet; Joseph Alessi: trombone; Matt Mitchell: piano; John Hèbert; bass; Ches Smith: drums. 

The last time American trumpeter and composer Ralph Alessi recorded with a quintet as a leader was 15 years ago with the sophomore album by his This Against That project. He returns with a completely different lineup, collaborating for the first time on record with his classically inclined trombonist brother, Joseph Alessi—an understated impressionist—and the supple rhythm section of pianist Matt Mitchell, bassist John Hébert, and drummer/vibraphonist Ches Smith, whose versatility works as a trump card in Alessi’s contemporary instrumental aesthetics.

Comprising seven originals, A Sun That Never Sets opens with the title track, a highly rhythmic clarion call marked by precise staccato attacks in a restless atmosphere suspended between a ceremonial procession and a hallucinogenic trip. The piece gradually attains dreamy proportions, its porous soundscape stirred by Hébert’s animated bass plucks over Smith’s shimmering vibraphone tapestry. Hébert and Smith, entwined in a finely woven rhythmic mesh, welcome Mitchell’s exploratory excursions before the theme is reintroduced with Ralph back in the foreground. The trumpeter solos over a vamping chordal sequence, following a notable piano riff in five embellished with thoughtful drum fills.

Ralph has mentioned that writing for trombone was a challenge, yet the arrangements emerge compelling and full of character. On “Relaxed Misery”, the blended sonorities of plunger-muted trumpet and trombone shimmer with remarkable freedom before converging into unison lines. Before that, a six-beat piano motif takes shape, supporting conversational bass interaction and soft, tickling cymbal work.

Ralph and Joseph display outstanding technical control on pieces such as “Of Trees (Variations on a Theme by TB)”, a spasmodic marching exercise delivered with swiftness, purpose, and contrapuntal finesse, and “Duck Face”, where Stravinsky’s classical influence merges with searing, agitated lines reminiscent of Ornette Coleman.

The shifting “Transitional Imagery” features trumpet and piano in perfect consonance while delivering angular melodies, whereas the strangely comforting “Sweet Spot” explores ballad territory with Smith at the vibraphone. “Nothing Is Dead” is another highlight, unfolding as an intimate, free-flowing rubato ballad wrapped in a melancholic aura. Its spaciousness is simultaneously poignant and warm, reinforced by Ralph’s refined lyricism and compelling storytelling.

The quintet’s chemistry feels immediate and organic, resulting in music that is both intricate and refined. Another strong offering by Alessi, A Sun That Never Sets explores fascinating tonal possibilities while injecting fresh impulses into the currents of contemporary jazz.

Favorite Tracks:
01 - A Sun That Never Sets ► 02 - Nothing is Dead ► 03 - Relaxed Misery ► 09 - Of Trees

James Brandon Lewis Quartet - Omni

Label: Intakt Records, 2026

Personnel - James Brandon Lewis: tenor saxophone; Aruán Ortiz: piano; Brad Jones: bass; Chad Taylor: drums. 

Raw expression, empathic interaction, and spiritual ascension are what you’ll find on Omni, the sixth album by sensational saxophonist and composer James Brandon Lewis with his working quartet. Described as “a sermon without words” by Kevin Le Gendre in the liner notes, the album picks up where Transfiguration (2024) left off, featuring vibrant themes and soulful improvised discourses that lift us heavenward with the force of unshakable faith and a profound search for self.

Lewis opens the album in solo mode with “Omnipotent”, followed by the feverish “The Sermon”, a surge of energy where the impressive rhythm section—Brad Jones anchoring everything with bass pedal points, Chad Taylor rock-solid on the kit, and Cuban pianist Aruán Ortiz applying understated harmonic coloration—creates the perfect foundation for Lewis’ impassioned language, often channeling the spiritual intensity of Coltrane’s A Love Supreme.

“Fire In My Bones” unfolds within an avant-garde framework, feeling playful, contrapuntal, percussive, and urgent, while “Testify” continues the album’s spiritual and emotional thread—recalling Archie Shepp—with a dash of American roots music in the mix. It’s a powerful modal piece whose incisive foundation leads to a bluesy cadence held together by Jones’ magnificent bass sound. Taylor’s martial snare work gives further impetus to the thoughtful improvisations of Lewis and Ortiz.

“Call to Worship” may be restrained in pace, but never in candor or puissance. Bowed bass, agile mallet work on toms and cymbals, and modal grandeur shape this spiritual awakening, where the musicians’ individual qualities perfectly serve the atmosphere with devotion and gravitas. “Spirit of the Living God” settles into a free-spirited dance driven by groove and polyrhythmic flow, contrasting with the beautiful, expressive saxophone-bass dialogue of “Omniscient”.

Riding the natural interplay between structure and improvisation, the James Brandon Lewis Quartet excels once again, proving itself an indomitable force in today’s spiritual contemporary jazz. The hand of the Creator seems to dwell within this music, and Lewis remains a remarkable vessel for its transmission.

Favorite Tracks:
02 - The Sermon ► 03 - Fire in My Bones ► 04 - Testify ► 06 - Call to Worship

Tom Teasley feat. Dave Ballou - Inner Play

Label: Self released, 2026

Personnel - Tom Tasley: drums, percussion, bass melodica, hand pan, electronics; Dave Ballou; trumpet, flugelhorn.

Remarkable chemistry, an urge to incorporate diverse musical traditions into a style of their own, and a rich narrative sense are among the defining qualities of Inner Play, the second duo outing by percussionist and cultural diplomat Tom Teasley and trumpeter Dave Ballou. The follow-up to the spectacular Lunch Break (2025), comprises twelve pieces that strike a balance with utmost grace, as Teasley—whose keen ear for texture and timbre is evident throughout—designs impactful foundations that seem to amplify Ballou’s ability to develop expressive melodic ideas with exceptional clarity and precision.

“Electric Embers” kicks off with an entrancing contemporary effect generated by the electronic A-frame drum. Teasley, channeling the bass sensibilities of Jaco Pastorius and Victor Wooten, anchors the pulse while Ballou swirls around a thematic motif, part of whose melody recalls Coltrane’s “Impressions”. “Woodpecker’s Dilemma” displays a noteworthy combination of timbres, curious rhythmic patterns, and muted trumpet chants that resonate with rapid insight. The rhythmic framework then incorporates terse cymbal pulsations as the trumpet becomes increasingly motivic and playful.

The luminous “Where the Ocean Meets the Sky” is openly spiritual and beautiful. Teasley’s mastery of the Rev Vast Drum provides harmonic context for Ballou’s deep reflections on flugelhorn. If the duo quietly transcends here, they join forces more energetically on the excitable “Elephant Dance” and “Outside Inn”, the latter becoming tense, conversational, and yet remarkably direct in its juxtaposition of Max Roach-inspired drumming and piccolo trumpet.

Eastern flavors permeate both the deeply emotional “Matador’s Lament”—another hypnotic treat—and “Memories of Muscat”, where communication becomes a universal language expressed through polyrhythmic percussion—riqq and darbuka—and unfaltering, graceful lines delivered with warmth and enthusiasm.

“Prelude and Interplay” stands out for its distinctive sound, initiated by Teasley’s bass melodica and gentle cymbal smears, which invite Ballou into an uncommon musical dance. The drum set gradually expands the sonic landscape, yet the music remains free, spontaneous, and incisively focused. “Anticipate the Good” outlines a conspicuous thematic statement within a tangible chamber-jazz setting. Its percolating rhythm is wonderful, while the brass lines fit like hand in glove, unifying everything into a cohesive whole.

With versatility and creativity, Teasley and Ballou require very little to make their improvisational journey compelling. It all sounds as natural as breathing and as good-natured as a conversation between two seasoned travelers.

Favorite Tracks:
03 - Where the Ocean Meets The Sky ► 05 - Prelude and Interplay ► 09 - Matador’s Lament

Myra Melford / Satoko Fujii - Katarahi

Label: RogueArt, 2026

Personnel - Satoko Fujii: piano; Myra Melford: piano.

Bristling with virtuosity and detail, Katarahi, marks the second duo release by pianists and composers Satoko Fujii and Myra Melford, two artists with a tremendous capacity for invention and improvised storytelling. The title, a Japanese word meaning a heart-to-heart conversation between intimate friends, could hardly better reflect their work here, as they enjoy an equal share of the music-making. Neither is busier nor more commanding than the other. Instead, they integrate their ideas seamlessly, creating textures, motions, and atmospheres that speak directly to their identities as musicians. The pieces on this album were recorded live at Jazzfestival Leibnitz in 2024.

Melford’s “Interlude I” balances volatility and pacification, relying on prepared piano and a four-note motif that continually reshapes itself to suit the evolving texture. Fujii’s “Signpost” reveals dappled undercurrents within its structural progression, gradually becoming tenser, more dissonant, and harmonically clustered. It follows a call-and-response approach, with the musicians constantly exchanging roles within an engaging dance that stings as much as it enchants.

Penned by Fujii, “Kaiwa” pushes in multiple directions through intricate four-hand piano work that cuts through the music’s surging tonality. It resembles an avant-folk celebration, with abundant activity in the lower register providing pulse and thrust. Notes and chords clash fiercely, creating a sensation of chaos, yet the pianists invariably bring their ideas to fruition, landing on casual conversations and infectious chromatically driven motions with equal clarity and abandon.

Also by Fujii, “From Sometime” initially embraces abstraction, yet remains highly responsive in nature. Ebbing and flowing through a variety of pathways while channeling a positive energy, it continually surprises and fully draws in the listener through coordinated gestures and percussive prepared-piano attacks. Melford’s compositions adhere to relatively simple structures that allow for both a centered approach and maximum freedom. “Chalk”, for example, begins with a contemplative, pastoral quality, only to have that serenity disrupted by a sequence of rapid whirling notes. Armed with impeccably placed half-steps and a grand, resonant sound, the pianists create a richly rewarding sonic experience, showing a particular affinity for the middle and upper registers. Their journey ultimately resolves into consonance.

Displaying their undisputed mastery of the piano, Fujii and Melford—who first met in 1994 through an introduction by pianist Paul Bley—bring a distinctive flair to everything they touch. Their acute listening skills play a decisive role in the music’s success, and the through-composed feel that emerges from their instinctive wandering through each passage is quite compelling.

Favorite Tracks:
04 - Chalk ► 05 - Kaiwa ► 07 - From Sometime

Miles Okazaki - Boomtown

Label: Pi Recordings, 2026

Personnel - Miles Okazaki: guitar; Jon Irabagon: tenor and soprano saxophone; Anna Webber: tenor saxophone, flute; Caroline Davis: alto saxophone; Jacob Garchik: trombone; Kalia Vandever: trombone; Matt Mitchell: piano; Chris Tordini: bass; Hanna Marks: bass; Dan Weiss: drums.

Guitarist and composer Miles Okazaki’s ninth album as a leader, Boomtown Girl, showcases his progressive ideas and singular musical voice. Comprising 12 original compositions, the album derives its distinctive identity from the contributions of 10 exceptional musicians and improvisers who, while occasionally throwing a few upward jabs, always keep the collective spirit firmly in focus.

“Magic Hour” opens the album with a graceful sense of balance, its acoustic guitar-driven melody immediately palpable and its clustered harmonies intriguingly alluring. The horn players enrich the texture, helping transform the piece into a seductive, almost magical soundscape. This peaceful Threadgill-ish opening gives way to a markedly different mood on “Boomtown Girl”, which unfolds with a slow, dark-hued angularity as the horn section intertwines closely with Okazaki’s exotic guitar musings. Bassists Chris Tordini and Hanna Marks, together with drummer Dan Weiss, keep everything firmly within frame, and the piece gathers impressive improvisational momentum before arriving at an epic resolution.

Funk is not unfamiliar territory for Okazaki, who gradually shapes “Thermopolis” with crisp energy, stretching form and piquing curiosity through its interlocking parts. The groove, solidly anchored by bass and drums, is reinforced by the motivic interplay of Okazaki and pianist Matt Mitchell, inviting the horns to enter vibrantly in unison. Saxophonists Jon Irabagon and Caroline Davis engage in fleet-footed solo exchanges with Okazaki before the piece eases its intensity midway, embracing a more abstract impressionism. Circling in and out of focus, the soloists return with renewed force for a vigorous finale.

Trombonists Kalia Vandever and Jacob Garchik are granted ample improvisational space on “Diamondville” and “Bighorn”, respectively. The former is a poignant, atmospheric rubato ballad, while the latter is an odd-metered blowout built around a looping piano-guitar riff (giving its legato flow), fragmented drumming, and Irabagon’s multiphonic wails and moans on soprano saxophone.

Loose yet fluid, “Hole in the Wall” sparkles with guitar harmonics and pointillistic textures before opening into bluesy and funky terrain under a septuple meter. Saxophonist Anna Webber improvises with measured steps yet complete authority. “Devils Tower”, touting an outlandish fusion of modern creative jazz and alternative rock, demonstrates remarkable control of tempo, counterpoint, and texture. Like all the other pieces, it functions above all as a collective statement, despite the arresting solos by Davis and Okazaki.

As an original musical thinker, Okazaki continues to defy both established conventions and passing trends with something unmistakably his own. His hip phrasing and superb compositional craft are fully on display. The expertly sequenced material flows with irresistible momentum and quirky moods, offering layer upon layer of intrigue and wonder.

Favorite Tracks:
01 - Magic Hour ► 02 - Boomtown Girl ► 03 - Thermopolis ► 07 - Bighorn