Unionen - Unionen

Label: We Jazz Records, 2024

Personnel - Per ‘Texas’ Johansson: tenor saxophone, clarinet, contrabass clarinet, cor anglais, flute; Ståle Storløkken: piano, Fender Rhodes, synths; Petter Eldh: acoustic and electric bass, mpc; Gard Nilssen: drums, percussion.

Unionen, a newly formed quartet from Sweden and Norway, draws its name from the historical union of the two countries under a shared monarch (1814–1905). This gifted ensemble, comprising some of the most accomplished improvisers in contemporary jazz, blends influences from past and present into thoughtfully constructed arrangements that strike a balance between power and subtlety, never veering into excess.

“Ståhlbad” sets the tone with a catchy, melancholically dulcet motif that evolves into a compelling riff. Ståle Storløkken’s synth manipulations nestle against the acoustics with excellent results, inbuing the piece with a liquid if slightly distorted feel, while Gard Nilssen’s propulsive drumming adds dynamic momentum. Following an atmospheric solo synth passage, the central phrase returns with a sense of poignant mystery. “Den Grimme Elling” emits strange vibes, with Petter Eldh’s slow, deliberate bass groove anchoring unison lines from Per ‘Texas’ Johansson’s horn and Storløkken’s keys. Levitating grand piano chords hit, and then the piece becomes electrified with energy, with Johansson delivering a fleet, contorting saxophone solo over an unrelenting rhythmic tapestry. 

The tasteful, off-the-cuff moods are what makes you want to lean on this record, and tracks like “Ganska Långt Ut På Vänsterkanten” and “Tomikron” exemplify this quality with their coherent soundscapes. The former, guided by continual folk riffs atop, is marked by contrabass clarinet and flute, creating a passionate vibe that changes colors with bittersweet twists; the latter, with its brushed drumming, groovy basslines, and breezy melodies, exudes charm and warmth. 

While Unionen’s music is rooted in contemporary jazz idioms, the ensemble is not afraid to explore chartless regions with other strong stylistic influences. “6983”, for example, opens up a whole new realm, venturing into danceable alternative rock, driven by effervescent saxophone solos and high-energy keys, evoking a blend of Jimi Hendrix's psychedelic rock and David Murray's soulful avant-garde jazz. In contrast, the title track, “Unionen”, unfolds like a majestic, contemplative fable. It combines rattling percussion, shimmering cymbals, sublime synth texture, and smooth, world-inspired melodies delivered by Johansson on cor anglais, creating a rich and immersive listening experience. The closing track, “Kolgruvan” wraps the album in an enigmatic, noir aura, weaving ambient textures while growing improvisational dimension. 

Unionen's debut album is anything but arbitrary in its selection and sequencing. It masterfully balances well-crafted passages with bursts of spontaneous creativity, forging bold new directions in modern jazz. The result is a captivating and liberating experience, and listeners are likely to experience a strange freeing of the spirit.

Favorite Tracks:
02 - Den Grimme Elling ► 04 - 6983 ► 06 - Unionen

Transatlantic Trance Map - Marconi's Drift

Label: False Wall Records, 2024
Personnel - UK Ensemble: Evan Parker: soprano saxophone; Matthew Wright: turntable, live sampling; Peter Evans: trumpet; Robert Jarvis: trombone
; Hannah Marshall: cello; Pat Thomas: live electronics; Alex Ward: clarinet // US Ensemble: Sylvie Courvoisier: piano, keyboards; Mat Maneri: viola; Ikue Mori: laptop live electronics; Sam Pluta: laptop live electronics; Ned Rothenberg: clarinet, bass clarinet, shakuhachi; Craig Taborn: piano, keyboards, live electronics.

Trance Map, the explorative British duo that falls under the joint command of saxophonist Evan Parker and sound designer Matthew Wright, has been pushing boundaries since its formation in 2008. Known for their innovative blend of acoustic improvisation and electronic manipulation, the duo has released albums featuring various guest musicians and performed across Europe and the U.S. in dynamic lineups. Transatlantic Trance Map is a special variation of the group—a collaboration between ensembles in Faversham, UK, and Brooklyn, USA, performing simultaneously in an uninterrupted 55-minute session. This 13-piece ensemble delivers co-composed music where unpredictability reigns, merging cerebral precision with whimsical spontaneity.

The album opens with the slap-tonguing staccatos and deep drones of Ned Rothenberg’s bass clarinet, flanked by Parker’s eloquent and boisterous soprano sax. The sonic palette is expanded significantly by the inclusion of electronic virtuosos Pat Thomas, Ikue Mori, Sam Pluta, and keyboardist Craig Taborn, resulting in a rich tapestry of digital frequencies, chirping sounds, metallic scrapes, and distant buzzes that permeate the performance.

True to their experimental ethos, the ensemble never veers far from its avant-garde foundations, even in its quieter, contemplative moments. Mat Maneri’s viola shifts seamlessly between abrasive, acidic textures and poignant lyricism, at times blending with cellist Hannah Marshall, who transitions from pizzicato plucks to resonant arco lines without disrupting the atmospheric continuity. Meanwhile, the horn players generate turbulent soundscapes, supported by imaginative contributions from piano—whether Taborn or Sylvie Courvoisier—and dynamic percussion.

There are loose, segmented movements where the spontaneous interplay occurs in a casual manner, but sometimes I felt that a more specific motion was needed. After Peter Evans’ insistent trumpet motifs and trills, that motion indeed occurs, with Rothenberg embarking on a circular-breathing tour de force on bass clarinet—punctuated by slap-tongued blurts—while surrounded by dreamy piano cluster chords, pulsating electronic drones, and mournful viola cries. This confluence builds into a bulky symphonic construction before settling into a tense, static conclusion.

Evan Parker’s saxophone prisms and Matthew Wright’s imaginative sound design, combined with the ensemble’s fearless improvisational spirit, deliver a challenging sonic journey.

Jenny Scheinman - All Species Parade

Label: Royal Potato Family, 2024

Personnel - Jenny Scheinman: violin; Bill Frisell: guitar; Carmen Staaf: piano; Tony Scherr: bass; Kenny Wollesen: drums. Guests - Julian Lage: guitar (#3,6,10); Nels Cline (#7,8).

Violinist and composer Jenny Scheinman, well-regarded in jazz circles for her collaborations with guitarist Bill Frisell and drummers Allison Miller and Scott Amendola, continues to impress in her latest album, All Species Parade. This ambitious work features a core quintet comprising Frisell on guitar, Carmen Staaf on piano, bassist Tony Scherr, and drummer Kenny Wollesen, with additional contributions from guest guitarists Julian Lage and Nels Cline on select tracks. Inspired by her return to her native Humboldt County, California, after years in New York, Scheinman crafts ten richly textured musical canvases that traverse a broad stylistic spectrum.

“Ornette Goes Home” opens with nimble brushed drums and a driving bass groove, blending chromatic movements with an Americana aesthetic for a rustic, bluesy vibe. The quintet shines as each member takes turns soloing, offering distinct emotional hues before the track shifts into a funk-infused conclusion. Funk is also present in the colorful title track, “All Species Parade”, where Wollesen’s cool rock beat underscores a vibrant central melody with an Arabesque descent, creating a celebratory atmosphere enriched by hints of American folk idioms. 

“Jaroujiji”, a cinematic homage to the Wiyot tribe, introduces a dramatic tone with Staaf’s clear-cut piano riff and Lage’s expressive acoustic guitar. Scheinman and Frisell collaborate closely in the melodic narrative, weaving intricate lines that highlight the track's poignant beauty. This cut, the title track, and the short-lived “The Sea Also Rises” form an Ellington-inspired suite, confirming the departure from the concise, song-like structures of Scheinman’s previous albums. Lage lends his expressive guitar work to two other titles — “Shutdown Stomp”, a folk rag piece whose energy leaves us gasping for breath, features him painting outside the frames with pastel shades, also spotlighting Wollesen’s vigorous accentuations; and the closer, “Nocturne 2020”, whose tender romanticism gains traction with a 7/4 meter signature.

Nels Cline’s chameleon-like guitar work adds further dimension to “House of Flowers”, a tender ballad with a country sensibility, and “The Cape”, a furious piece driven by krautrock rhythms and gritty blues-rock chops. By contrast, the playful “Every Bear That Ever There Was” blends the stealthy charm of Henry Mancini’s “Pink Panther Theme” with the noir allure of David Shire’s "Marlowe’s Theme”, while the ambient “With Sea Lions” evokes a monolithic wave of tranquil, blue-hued awe.

Scheinman explores a wide array of stylistic contexts, finding remarkable depth and nuance within each. All Species Parade reflects her honest and courageous vision, brought to life by a band whose tightly connected chemistry elevates every track. 

Favorite Tracks:
01 - Ornette Goes Home ► 05 - All Species Parade ► 06 - Shutdown Stomp

Ben Goldberg / Todd Sickafoose / Scott Amendola - Here to There

Label: Secret Hatch Records, 2024

Personnel - Ben Goldberg: clarinet; Todd Sickafoose: bass; Scott Amendola: drums.

Clarinetist Ben Goldberg, bassist Todd Sickafoose, and drummer Scott Amendola join forces to form a truly collaborative trio of progressive jazz luminaries. Each has been a significant presence in the creative music scene for decades, excelling as both inventive bandleaders and masterful sidemen. While they’ve played together in various contexts, Here to There marks their first endeavor as a trio, delivering a collection of originals inspired by the bridges of Thelonious Monk’s compositions. Abstracting with virtuosity and dexterity, the trio creates refined avant-garde jazz artworks within a musical universe that feels entirely their own.

The album kicks off with Sickafoose’s “In Walked”, a piece harmonically rooted in Monk’s “In Walked Bud”. From the outset, the trio immerses listeners in quick, cyclic clarinet patterns—occasionally hinting at the original melody—accompanied by screeching cymbals and loose bass notes that lock into a 5/4 groove. Goldberg’s expressive clarinet playing exudes heart and vibrancy, while Amendola’s nuanced drumming, complete with surprising colorations and tasteful electronics, adds depth. The drummer also contributes three versions of his “Lion Heart,” with the first presented as a clarinet-and-drums duet.

“Self Evident”, drawn from Monk’s “Evidence”, ventures into experimental territory with a polyrhythmic modernism that includes hip-hop-inspired beats, sparse bass gestures, and reflective clarinet improvisations. The piece evolves into a ritualistic soundscape as Amendola incorporates layered percussion, Sickafoose provides a constant bass pulse, and Goldberg stretches his melodic explorations. 

Sickafoose also contributes “Sad Trophy” and “Interospection”, inspired by Monk’s “Epistrophy” and “Introspection”, respectively. “Sad Trophy” is propelled by a 2/4 bass motif, rattling shaker rhythms, and dry cymbal accents, with Goldberg’s incantatory clarinet soaring above. “Interospection”, on the other hand, unfolds with a slow, spaced-out groove that gradually builds intensity while maintaining an undercurrent of tension.

Goldberg’s three compositions—“Porch Concert Material 9”, “Porch Concert Material 2”, and “Porch Concert Material 6”—highlight his distinct approach. The first offers speech-like patterns with motivic ebbs and flows; the second juxtaposes classical undertones, swinging bass lines, and conversational drumming; and the third delivers a beautiful, balladic melody with understated elegance.

This trio spreads a fantastic vibe, and every choice made works like a charm. Here to There offers elevated music, sure to leave listeners in a great mood.

Favorite Tracks:
01 - In Walked ► 02 - Self Evident ► 05 - Sad Trophy

Joe Fonda Quartet - Eyes On the Horizon

Label: Long Song Records, 2024

Personnel - Joe Fonda: bass; Wadada Leo Smith: trumpet; Satoko Fujii: piano; Tiziano Tononi: drums.

In a career spanning over four decades, free jazz bassist Joe Fonda has become a sought-after sideman and an inventive bandleader. His latest quartet album, Eyes On the Horizon, serves as a tribute to his former mentor, legendary trumpeter Wadada Leo Smith, who joins Fonda on this project along with Japanese pianist Satoko Fujii and Italian drummer Tiziano Tononi. Fonda crafts compositions with fluid structures, allowing the musicians to take up thematic material at different times, blurring the boundaries between composition and improvisation in curious ways. While Fujii and Tononi have been close collaborators, Smith hadn’t recorded with Fonda since the mid-1980s.

“Inspiration Opus #1” opens the album with darting bow work and exquisite trumpet licks. The piano comes and goes while the drummer insists on bright cymbal coloration. The music ebbs and flows, creating a dynamic soundscape that resists reaching a peak. “My Song Opus #2” features a piano introduction steeped in emotion and hidden mysteries. There are well-measured trumpet glances and lyrical swells that demonstrate Smith’s extensive depth of range, with Fonda designing a repeating ascending phrase that dissolves into free currents. Fujii’s textural sculptures and Toni’s adaptable drumming contribute to this slow, dirge-like procession.

“We Need Members Opus #4” is a standout track inspired by the time Fonda and Smith first met at a CMIF (Creative Musicians Improvisers Forum) recruitment session in New Haven, an organization co-founded and directed by Smith. The fleeting, rabble-rousing conjoint operations of bass and piano claim the spotlight at an early stage. Then, Fonda installs a gorgeous bass groove over which Fujii creates beautiful melodies with a few ingenious outside notes, while Tononi’s drums march forward with precision. Smith’s soulful extemporization triggers reactions from the pianist before Fonda enjoys an unaccompanied moment, delivering confident statements with rhythmic invention. The piece concludes on a solemnly profound note with active drumming at the base.

“Bright Light Opus #5”, inspired by Smith’s remark, ‘I love brightness’, during a session, unfolds with dark suspensions, synchronized motifs, and grand, bittersweet piano chords. The contemplative bass-trumpet duet “Like No Other” honors vibraphonist Bobby Naughton, a longtime collaborator of Fonda and Smith. The powerful “Listen to Dr. Cornel West”, a Fonda staple, brims with raw energy, with each musician offering their own commentary. 

Fonda and his peers create new frameworks and spaces for their creativity, making Eyes On the Horizon a profound homage to one of jazz’s most distinctive trumpeters. 

Favorite Tracks: 
02 - My Song Opus #2 ► 03 - We Need Members Opus #4 ► 05 - Listen to Dr. Cornel West 

Anna Webber with Matt Mitchell and John Hollenbeck - simpletrio2000

Label: Intakt Records, 2024

Personnel - Anna Webber: tenor saxophone, flutes; Matt Mitchell: piano; John Hollenbeck: drums.

Saxophonist, flutist, and composer Anna Webber—a meticulous conceptualist in improvised music—draws from the depths of polyrhythmic inspiration for her latest album, Simpletrio2000. Over the past decade, Webber has earned well-deserved acclaim for her rhythmic inventiveness and distinct stylistic twists across several albums. This new release marks ten years since the debut of her long-running band Simple Trio, featuring pianist Matt Mitchell and drummer John Hollenbeck. Across nearly an hour, they absolutely marvel with complex, intriguing soundscapes and rhythmic mastery.

Each piece is one-of-a-kind. “Slingsh0t” opens with overlapping jabs of cerebral saxophone pulses, loose piano build-ups, and unflappable rock-solid drumming. These elements converge into a driving electro-rock-inspired synthesis delivered at a complex, exhilarating tempo. Webber delivers a solo of poignant beauty, with Mitchell underpinning the pulse. “Idiom VII” was written with extended techniques in mind, in the case slap-tonguing saxophone staccatos with spiky intervals. The flux created, matched by Hollenbeck’s precise movements, is reinforced with Mitchell’s layer in a bewildering rhythmic exercise infused with rock and avant-garde muscularity.

Webber puts down her tenor for flute on “Foray”, casting fluid notes over a slow, menacing piano sequence of minor thirds as Hollenbeck keeps filling the space with an exquisite blend of toms and cymbals. There’s a blatant sense of mystery and suspense that comes and goes according to the motions and pulsations created. In “Miiire”, her buoyant flute melodies intertwine with dancing piano lines, weaving electronic music textures, rock, and hints of modern classical fugues. The track’s rhythmic shifts are handled with impressive finesse, and we even sense music from other parts of the world.

“8va” brings saxophone multiphonics over a calm, ambient backdrop, crescendoing to a powerful tenor solo from Webber. “Five Eateries (in New England)” explores various moods with provocative gestures, including alternative rock progressions, tension-filled chromatic shifts, and avant-garde outcries. Webber confesses being thrilled to compose for her talented triomates, and each member is featured solo on one track. 

Simpletrio2000 reveals fresh dimensions in the trio’s musical partnership, balancing disciplined control with boundless improvisational spirit. This album stands as another giant step forward in Webber’s discography.

Favorite Tracks: 
01 - Slingsh0t ► 02 - Idiom VII ► 04 - Foray ► 05 - Five Eateries (in New England)

The Attic & Eve Risser - La Grande Crue

Label: NoBusiness Records, 2024

Personnel - Rodrigo Amado: tenor saxophone; Gonçalo Almeida: bass; Onno Govaert: drums; Eve Risser: piano.

The free jazz trio The Attic, featuring Rodrigo Amado on tenor saxophone, Gonçalo Almeida on bass, and Onno Govaert on drums, invites French pianist Eve Risser into their fold for La Grande Crue. This album is charged with new energy and finds thrilling moments of deep connection, driven by each musician’s unerring intuition.

The first track, “Corps”, unfolds with solemn arco bass abrasions, tasteful piano designs that move across different registers, non-rigid percussive backing, and reflective saxophone lines that reach toward an elusive revelation. The rhythm section bolsters the foundational structure for Amado’s tough-as-concrete flights of fancy, in a gloriously reverberant yet controlled section that culminates in slow pulsation.

“Peau” initially thrives with chromaticism-filled bass patterns, a refractory combination of hi-hat and snare drum, and incisive saxophone expressions that later become motivically rich over an off-kilter swinging movement. Risser responds to Amado’s provocations with masterful spontaneity, unleashing rapid-fire attacks with both hands across opposite ends of the keyboard. Midway, a groove emerges, paving the way for fluid melodic developments and sharply pointed rhythmic hooks.

Pedal points dominate “Phrase”, establishing the groove while angular melodies gather intensity. Risser’s chords can be jarringly clustered and her textures ingeniously pulsating, creating open-ended yet intentional frames that burst with contractions and expansions. 

Each musician seems to know their peers’ movements down pat. Together, they create rich sonic canvases that drift softly like diluted watercolors before bursting into saturated tones, taking us from composure to agitation. That’s what happens in “Pierre”, which, beginning with a sequence of droning sounds—a combination of saxophone multiphonics, full-bodied arco bass, and cymbal screeches—conjures a self-aware noir ambiance that shifts and reshapes from varying perspectives. La Grande Crue stands as a testament to these four improvisers’ commitment to keeping their art vibrant, pushing boundaries in a continual search for expressive terrain.

Favorite Tracks: 
01 - Corps ► 02 - Peau

Caleb Wheeler Curtis - The True Story of Bears and the Invention of the Battery

Label: Imani Records, 2024

Personnel - Caleb Wheeler Curtis: stritch, trumpet, sopranino saxophone, tenor saxophone; Sean Conly: bass; Michael Sarin: drums, Eric Revis: bass; Justin Faulkner: drums.

Following the authoritative statement of Heat Map (Imani Records, 2022), saxophonist and composer Caleb Wheeler Curtis returns with The True Story of Bears and the Invention of the Battery, a double album featuring two finely tuned trios that excel in free-flowing interplay and fluid structures. Curtis, who now has four albums under his belt, plays three different saxophones and trumpet here, employing overdubs to create moments of contrapuntal and synergistic stimulation.

Disc One features Curtis alongside bassist Sean Conly and drummer Michael Sarin, who provide alert support across nine originals and a solo saxophone rendition of Arthur Blythe’s “Odessa”, where Curtis’ lyrical grace in on full display. “The First Question” is set in motion by leisurely groovy bass lines and understated drumming, before saxophone and muted trumpet appear in parallel. The horns explore an unaccompanied, ruminative passage before Conly’s bass returns with rhythmic flexibility, adding a dynamic lift to the piece.

“This Cult Does Not Help” introduces a start-and-stop beneath a Monk-esque, propelling the trio into freebop territory as Conly’s swinging bass locks in with Sarin’s snappy brushwork. Curtis’ exploration of timbre conjures fluid melodic streams on both saxophone and trumpet. Offering a distinct mood, “A Feather is Not a Bird” gently dances through a simple three-note figure that repeats with hypnotic, contrapuntal intensity. 

The standout track, “Bears and the Invention of the Battery”, initially floats with soaring arco bass, effervescent drumming, and edgy reed and brass sounds. This later transitions into an electro-rock-inpired framework that, grooving and throbbing with spirited rhythmic displacements, features interesting improvisational ideas coming from Curtis. He maintains this zealous sense of direction on “Stellar Ray, See?”, building on top of methodic trap drums and inquisitive bass expressions. Sarin’s drum choices work like a charm and Conly’s resonant bass lines are enhanced by extremely tasteful patterns.

For Disc Two, Curtis enlists bassist Eric Revis and drummer Justin Faulkner for a set of ten Thelonious Monk compositions. Standout moments include the high-energy rendition of “Raise Four”, the gentle melodic clarity of “Reflections”, the infectious groove of “Oska T.”, and the blistering sax-over-drums manifesto of “Ugly Beauty”. Curtis also shines on “Jackie-ing”, balancing timbre, articulation, and inventive motifs with finesse.

Across both discs, Curtis sounds very much like himself, blending sensitivity and physicality. Each trio finds creative ways to explore their sound, making this album a distinct and valuable addition to Curtis’s discography.

Favorite Tracks - Disc One:
02 - The First Question ► 03 - This Cult Does Not Help ► 06 - Bears and the Invention of the Battery

Isaiah Collier & The Chosen Few - The World Is On Fire

Label: Division 81 Records, 2024

Personnel - Isaiah Collier: saxophones, vocals, percussion; Julian Davis Reid: piano; Jeremiah Hunt: bass; Michael Ode: drums // Guests include Kentheny Redman: flute (#3,10), Corey Wilkes: trumpet; Ed Wilkerson Jr.: alto clarinet, and more.

Saxophonist and composer Isaiah Collier’s latest outing, The World is On Fire, is a passionate plea for change, using the power of his infectious music to address pressing global issues like racism, genocide, abuse of power, and injustice. Relying on the dazzling rhythm section of his flagship band, The Chosen Few, Collier continues his meteoric rise on the left side of the jazz spectrum with an album that urges everyone to stand up for what’s right.

The opening cut, “The Time is Now”, is an effusive modal piece energetically introduced by pianist Julian Davis Reid before bursting into a frenzied swing. Collier’s commanding tenor saxophone, evocative of jazz modalists like Billy Harper and McCoy Tyner, takes center stage with eloquence. Following Reid’s solo, it’s the drummer Michael Ode who hits with the force of a tornado. In “The Hate You Give is the Love You Lose”, the trio channels Pharoah Sanders’ spiritual energy, blending folk-like saxophone melodies with a brisk 3/4 rhythm that moves with raw intensity.

The title track, “The World is On Fire”, inspired by the Amazon wildfires, takes the form of a pure modal blues introduced by vigorous, blocky piano chords and crashing cymbals. An energetic riff spirals atop a manic, danceable rhythmic flux before some fierce exchanges between Collier and Reid. “Crash”, a reflection on economic collapse, pulses with frenetic energy, especially in a wild section where gusty saxophone squalls come upon a whirlwind of drums.

The quartet moves nimbly and confidently on “Ahmud Arbery”, a mournful mid-tempo 3/4 groover set on fire by visceral and urgent saxophone playing. Guest flutist Kentheny Redman joins for “Amerikkka the Ugly”, whose swinging posture and strong bluesy feel serve to express disillusion over the shameful attempt against American democracy on January 6th. Here, bassist Jeremiah Hunt delivers an emotional arco improvisation, infusing extra solemnity, while Collier takes flight on the soprano sax.

The quartet is expanded with revived positivity for the album’s closer, “We Don’t Even Know Where We’re Headed”, which, moved by a buoyant riff and lyrics by Kennedy Banks, incorporates layers of trumpet, bass clarinet, harp, cello, flutes, and multiple vocal harmonies. Collier’s clarity of vision and bold compositional approach shine throughout, making The World is On Fire a must-listen for fans of post-bop with vanguard jazz inclination.

Favorite Tracks:
01 - The Time is Now ► 05 - The Hate You Give is the Love You Lose ► 06 - Crash ► 09 - The World is on Fire

Steve Coleman and Five Elements - PolyTropos / Of Many Turns

Label: Pi Recordings, 2024

Personnel - Steve Coleman: alto saxophone; Jonathan Finlayson: trumpet; Rich Brown: electric bass; Sean Rickman: drums.

Alto saxophonist and composer Steve Coleman returns with two live sets recorded during his tour in France, showcasing his acclaimed Five Elements band: Johnathan Finlayson on trumpet, Rich Brown on electric bass, and Sean Rickman on drums. This ensemble continues to represent some of Coleman’s most powerful and expressive. His signature blend of modern jazz-funk and M-Base remains as relevance as ever, further energized by the double album, PolyTropos / Of Many Turns, which draws inspiration from chains of amino acids. The compositions revolve around intricate musical figures, creating a spontaneous language Coleman refers to as Tonal and Temporal Molecules. 

Disc one opens with “Spontaneous Pi”, where Coleman makes of a bluesy phrase the point of departure of a solo introduction that expands with consistent ideas and motivic intentions. Staccato precision triggers a funky bass groove and propulsive drumming before the horn players join in, navigating a 18-beat cycle with fluid ease. The band maintains close communication as the texture shifts into a 5/4 tempo section. The preparative scenario repeats on “Spontaneous One”, which features passages of tactful harmonic understanding and an engaging groove that supports both impressive horn coordination and individual improvisation.

“Spontaneous All” strikes a perfect balance between freedom and form, bringing us polytonal fantasy and featuring a drum spectacle over a 15-beat cycle bass underpinning. Coleman weaves in and out of the lattice created by the rhythm team before the groove mutates, accumulating more body and energy. Finlayson’s trumpet adds playful interplay to the evolving landscape. Yet, the raw spirit of their performance is further reflected in “Mdw Ntr”, a high-speed piece driven by a continuous bass flow and infectious drum fills. 

“Multiplicity Drum” starts with thick, resonant bass lines, with the horns unhurriedly ambushing the texture, creating a well-proportioned mosaic. The bouncing funk operations and danceable pulsations of bass and drums, respectively, evokes the spirit of punk and electronic music. It’s the vivacious, deep-funk rapport between Brown and Rickman that gives the album its backbone, and they pair up with devastating force in “9 to 5”, a kinetic piece with centrifugal crossflows that produce a full sound without the need of chordal instruments.

Disc two surprisingly includes Billy Strayhorn’s “Lush Life” as a sax intro to “Pi”, and a loose, horn-only rendition of Thelonious Monk’s “Round Midnight”, exploring Coleman’s unique concepts. The bandleader’s creative genius is undeniable, and PolyTropos / Of Many Turns displays the same level of ambition and quality found in his finest studio recordings.

Favorite Tracks CD1:
02 - Spontaneous One ► 04 - Mdw Ntr ► 06 - Multiplicity Drum

Peter Evans - Extra

Label: We Jazz Records, 2024

Personnel - Peter Evans: piccolo trumpet, flugelhorn, piano; Petter Eldh: bass, synthesizer; Jim Black: drums, electronics.

No one grooves quite like trumpeter and composer Peter Evans, a master of experimental sounds, especially in modern, electronic-inspired contexts. With a powerhouse rhythm section—bassist Petter Eldh and drummer Jim Black—backing him, expectations for cutting-edge rhythmic exploration are met and exceeded. The shared passion these visionaries have for a hybrid blend of progressive jazz, alternative rock, and electronic music is infectious, and this album captures a broad spectrum of Evans’ musical world. Wonderfully mixed, the eight Evans originals were recorded in Lisbon in 2023.

The wild opener, “Freaks”, is an impactful harbinger for what comes next. Sustained brass notes soar over a propulsive, vibrant rhythm, creating rhythmic euphoria that’s both swinging and grooving. The dubbed trumpet lines build to a final solo that drives the piece to a powerful finish.

Delivering flashes of brilliance throughout, the trio’s remarkable work reaches new heights on “In See”, whose tribal vibe seems to emulate a Brazilian cuíca while drawing heavily from experimental electronica and EDM. Evans’ stuttering staccatos and motivic inclinations are complemented by Eldh’s hyperactive bass lines, while Black lays down an intense tapestry of punk rock and krautrock rhythms. The drummer also stokes the fire in “Boom”, where Evans’ piercing, swift trumpet attacks add extra muscle to the melodic and harmonic interplay.

The kinetic “Fully Born” carries the same explosive energy as the earlier tracks, arriving with an uncompromising posture, suitable for alternative dance floors. In contrast, “Nova” and “Movement 56” are less exuberant, delving into more atmospheric territory. The former features beautiful piano parts cutting through a breezy flow of trumpet and percussion, while the latter, abundant in loopy, riffs, and glitchy electronics, takes on a darker, ominous tone. 

Extra offers listeners a thrilling musical journey full of discovery. Every track, fresh and provocative, pushes the boundaries of improvisation and experimental music to new heights. It’s an indispensable record for those who enjoy their improvised jazz dipped in other genres.

Favorite Tracks:
01 - Freaks ► 02 - In See ► 03 - Boom

Weird of Mouth - Weird of Mouth

Label: Otherly Love Records, 2024

Personnel - Mette Rasmussen: alto saxophone, preparations, bells; Craig Taborn: piano, preparations; Ches Smith: drums, percussion.

Decidedly quirky and subversive in their approach to individual and collective sound, the trio Weird of Mouth—featuring kindred spirits Mette Rasmussen on alto saxophone, Craig Taborn on piano, and Ches Smith on drums—makes an impactful debut with an entirely improvised session recorded in Brooklyn in 2022. The trio’s expansive and exploratory sound offers an exhilarating dive into the depths of modern creativity, with each piece varying in texture and intensity.

“Wolf Cry” asserts itself with authority, building catchy aesthetics through bold saxophone intervals and sinuous phrases, supported by Taborn’s edgy propulsions and enlivening harmonies, which often slide into motif-rich pianism. Smith’s dynamic drumming is exquisite refinement, punctuated by grand cymbal splashes and fluid brushwork. The track concludes in a dreamy tone, while “Dogs in Orbit” has a positively vibrant opening, with Rasmussen enjoying her fiery saxophonics over explosive drum bursts that only cease when Taborn adds playful prepared piano. The group’s musical unpredictability takes us into a rubato flow that dazzles and transcends.

“Existension” starts conversationally before escalating into a dense, turbulent storm of energy. Jolting with scuffling punk moments, we are thrust into a sonic vortex with growling saxophone shouts over a tense environment of expansive piano chords and zestful percussion. The intensity of this piece contrasts with the slow, meditative “In Search of a Soul Plane”, where vibing prepared piano, resonant saxophone vibrations, and exotic percussion blend into a freewheeling, abstract exploration. 

The sprawling “Planisphere” showcases Smith’s broken rhythms and syncopations, building to a ferocious intensity with nearly-mechanical pulsations, but also offering moments of release. Taborn’s pianism moves effortlessly from dreamlike wisps to enveloping grandeur, while the trio nods to hip-hop, making the interplay both danceable and richly textured. The album closes with “Proven Right, Then Left, Then Right”, an exploratory finale that layers drifting melodies over a web of percussive sounds, gradually increasing in textural complexity. 

With Rasmussen, Taborn, and Smith at the height of their improvisational prowess, Weird of Mouth’s debut is a formidable addition to the free jazz and avant-garde canon, showcasing their unique ability to traverse soundscapes that are as challenging as they are rewarding.

Favorite Tracks:
01 - Wolf Cry ► 02 - Dogs in Orbit ► 05 - Planisphere

Darius Jones - Legend of e'Boi

Label: AUM Fidelity, 2024

Personnel - Darius Jones: alto saxophone; Chris Lightcap: bass; Gerald Cleaver: drums.

Darius Jones, a visionary saxophonist and composer with a sharp, angular approach and pungent tone, ranks among the best in contemporary improvised music. His latest trio album, Legend of e’Boi (The Hypervigilant Eye), marks the seventh chapter in his comprehensive Man’ish Boy series, which began in 2009 and will eventually encompass nine parts. This album delves into themes of Black mental health and healing of personal and collective trauma through therapy, community, and creative expression. Jones is accompanied by bassist Chris Lightcap and drummer Gerald Cleaver—both masters of groove and technique—who help channel the volcanic energy and tempered explorations Jones uses to convey his message.

The album opens with “Affirmation Needed”, where Jones delivers an emphatic, dynamically accented, and often motif-driven performance, erupting over a solid rhythmic foundation that provides grounding. Following a bass solo by Lightcap, delivered with impeccable articulation, Jones returns, probing the depths of his horn with incisive, expressive sounds. “Another Kind of Forever" begins with a joint effort by sax and bass, posing repeated musical questions, to which Cleaver’s drums respond with precision and creativity. The piece then picks up momentum, reminiscent of a train speeding along, before arriving at a ternary vamp, with a signature saxophone riff dancing above. The rhythmic idea persists, developing into a state of manic agitation.

“No More My Lord”, the only non-original piece on the album, is a poignant recreation of a prison song recorded by Alan Lomax at Parchman Farm, Mississippi, in 1947. Jones' saxophone cries out with seismic intensity, pleading for freedom and healing, set against Lightcap’s slashing arco bass and Cleaver’s magnetic cymbal configurations. “We Outside” is loosened up with considerable ambiguity even when anchored by a steady 12-beat bass groove. In contrast, “We Inside Now” offers a more restrained, harmonious ballad where Jones blows his horn with a controlled, comfortable assurance.

The album concludes with “Motherfuckin Roosevelt”, a track where shifting tempos and moods provide a sense of elasticity. At the outset, we can feel a rock n’roll spirit, something raw and primitive that expands in its will to take us to different and better places. The musicians throw themselves into the music with an unrelenting passion. Their fascinating playing is intriguing, raw, and lush. Legend of e’Boi is a keeper.

Favorite Track:
01 - Affirmation Needed ► 02 - Another Kind of Forever ► 03 - No More My Lord

Bill Frisell / Kit Downes / Andrew Cyrille - Breaking the Shell

Label: Red Hook Records, 2024

Personnel - Bill Frisell: electric guitar; Kit Downes: organ; Andrew Cyrille: drums.

This remarkable musical collaboration between revered guitarist Bill Frisell, versed British organist Kit Downes, and veteran drummer Andrew Cyrille results in a uniquely original work with so much going on, that only repeated listenings will make you pick up the nuances and fully absorb the vibes. Pushing beyond the usual boundaries of jazz, this innovative trio ensures that nothing in their sonic landscapes feels predictable. The 11 tracks on Breaking the Shell were recorded in New York’s Church of St. Luke in the Fields, an acoustically rich space that enhanced the resonance of the group’s sound, particularly Downes' commanding pipe organ, with its 27 stops and 1,670 pipes. 

We are pitched straight into “May 4th”, an experimental effort by Frisell and Downes, containing vibrant droning in an intriguing balance between expansive guitar and grounding organ. Equally penned by the duo, “Kasei Valles”, named after a giant system of canyons on Mars, continues the experimental vibe, using sinister drones, looping riffs, and distorted walls of sound that evoke a psychedelic, nebulous atmosphere.

Downes’ “Untitled 2023” offers a more grounded composition, but with loose, exploratory drumming prying itself out of inertia. There’s shoulder-to-shoulder work by Frisell and Downes who employ harmonics and floating beams, respectively, to give the piece its peaceful resolution. Also penned by Downes, “El” is a beautiful piece where a tangible, affecting melody slides on top of a steady atmospheric texture, complemented with Cyrille’s magnificent brushwork and a guest appearance by cellist Lucy Railton. Cyrille’s skill with brushes is further showcased in his own composition, “Proximity”, a ballad filled with wonder and heartfelt emotion, akin to a meditative prayer.

Frisell, who embraces guitar reinvention at each new recording, injects wonderful impressionism in his composition “July 2nd”, delving into a gravity-defying harmonic exploration. “Two Twins” sonically paints with avant-garde tonalities, with Frisell bending notes, loosening harmonics, and fingerpicking amid tranquil waves of reverb, while Downes wraps it all in a contemporary electro bubble.

The trio also interprets two traditional European folk tunes, one from Norway and one from Hungary. The Norwegian song, “Sjung Hjerte Sjung”, grows progressively deeper, moved by Cyrille’s bright command of cymbals and snare, and filtered by a slight Southern sound that includes snippets of ambient-rock and modal music. The Hungarian piece, “Este a Székelyeknél”, takes us to hypnotic states with its quirky timbral radiations.

Throughout Breaking the Shell, the trio demonstrates a constant fascination with sound and texture, creating a transcendental work of experimental jazz that is as bewildering as it is exhilarating. It’s a must-listen for anyone who seeks fresh vibes in creative music.

Favorite Tracks:
02 - Untitled 2023 ► 04 - El ► 06 - Sjung Hjerte Sjung ► 08 - July 2nd

Kris Davis Trio - Run the Gauntlet

Label: Pyroclastic Records, 2024

Personnel - Kris Davis: piano; Robert Hurst: bass; Johnathan Blake: drums.

Pianist, composer, improviser, and label owner Kris Davis has been forging her own distinctive path in the creative jazz scene, earning widespread acclaim. In Run the Gauntlet, Davis returns to the piano trio format for the first time in a decade, teaming up with seasoned bassist Robert Hurst and sensitive drummer Johnathan Blake. The album pays tribute to six extraordinary women pianists who have profoundly shaped her sound and influenced her musical direction: Geri Allen, Marilyn Crispell, Angelica Sanchez, Carla Bley, Renee Rosnes, and Sylvie Courvoisier. 

Straddling the line between post-bop and avant-garde jazz, the title track, “Run the Gauntlet”, opens with a palpable tension, featuring odd-metered ostinatos that weave in and out over the rhythmic turmoil of bass and drums. The piece gradually finds a groove, with dynamic shifts and tempo changes, as the trio delivers head-spinning improvisations. Blake's drumming intensifies the conclusion by erecting a massive wall of snare, cymbals, and toms. “Knotweed” hints at prog-rock in its initial moments before slipping into Monk/Coltrane territory in its firmly outlined head. The trio swings with humor and grace, pushing the piece into a frenetic avant-garde finale.

Davis rarely delves deeply into jazz tradition, but when she does, the result is forward-leaning music sculpted with charm and spontaneous creativity. Her prepared piano takes on world music influences in “Softly, As You Wake” and the freely improvised “Subtones”, both of which feature deep, resonant arco bass and gamelan-like rhythmic pulsations. The latter piece evolves into a freewheeling, groovy atmosphere, bearing a resemblance to the meditative version of Blake’s “Beauty Beneath the Rubble”, while its original version takes on the form of a tranquil rubato hymn, gently brushed to a shimmering finish.

Davis also composed a three-part composition inspired by her son’s growth. “First Steps” is a solo piano piece that balances passion and detachment, offering pulse, motion, and freedom. “Little Footsteps” brings a snappy polyrhythmic feel that, borrowing from funk, also draws from electronic and modern creative jazz, with Hurst’s dancing bass lines blurring the boundaries between these genres. “Heavy-Footed” centers around a riff set within a 10-beat cycle that occasionally slows, striking a balance between jagged and smooth edges. Each note played emerges beveled.

The trio is clearly having fun in Run the Gauntlet, a mature, boundary-pushing record made by adventurous instrumentalists whose rapport is no less than wonderful.

Favorite Tracks: 
01 - Run the Gauntlet ► 04 - Little Footsteps ► 08 - Knotweed

Ben Monder - Planetarium

Label: Sunnyside Records, 2024

Personnel - Ben Monder: guitar; Chris Tordini: bass; Ted Poor: drums; Satoshi Takeishi: drums; Theo Bleckmann: vocals; Charlotte Mundy: vocals; Emily Hurst: vocals; Joseph Branciforte: drums; Theo Sable: vocals.

Ben Monder, a masterful guitar genius known for pushing the boundaries of modern composition, delivers yet another tour de force with Planetarium, a triple-disc project that spans a decade and took three years to record. has the capacity to delight no matter which direction he takes. Monder, whose stylistic range encompasses jazz, modern classical, heavy metal, and alternative rock, weaves together intricate compositions filled with richly detailed juxtapositions and subtly shifting moods. While dense and featuring extended tracks, the album is a rewarding listen, demanding and deserving of your time and attention. 

The composer finds hidden strengths with his guests in several pieces, starting with the brilliant opener, “Ouroboros II”. This composition seems to have prog-rock and metal undertones, with the elegant and enigmatic fingerpicking sound of Monder reaching grandiose heights. Charlotte Mundy’s ethereal vocal layers provide a striking counterpoint, while Satoshi Takeishi’s percussion work enhances the contemporary sonic landscape.

Two standout tracks, the 23-minute epic “The Mentaculus” and the nostalgic “1973” feature bassist Chris Tordini and drummer Ted Poor, whose tight interaction is arresting and supportive. “The Mentaculus” is a masterclass in complexity and emotion, blending elements of sadcore and alternative rock into cutting-edge crossovers with shifting meters and rich pulses and ambiances. “1973” takes its gravitational pull from Poor’s methodic backbeat over which a churning guitar riff and the inimitable voice of Theo Bleckmann are placed. The style here takes me to the post-space-rock of Godspeed You! Black Emperor. 

Bleckmann also shines on “Li Po”, named after a Chinese poet, where his visceral, guttural vocals cut through dark, distorted atmospheres and eerie tones. The title track, a solo guitar performance, comes wrapped in an optimistic, gentle aura, while “Ataraxia” features acoustic guitar oozing bright constellations of notes, the soaring voice of Bleckmann—stratified in different registers—and the drumming of co-producer Joseph Branciforte. This long-form piece gains momentum as Monder’s electric guitar solo unspools.

“Globestructures - Option II” is a fantasy inspired by Kazuo Ishiguro’s novel The Unconsoled, offering a great harmonic atmosphere with pedals and guitar harmonics, and “Ouroboros I”, a chameleonic duet with Takeishi, moves from modern lyricism to experimental rock to dark atmospheric corners. “Noctivagant” is a melancholy sleepwalk, with Monder’s acoustic guitar setting the tone, while “Collinsport”, featuring the voices of Bleckmann and Emily Hurst, investigates sound with a blend of curiosity, caution, and determination. The standard “Wayfarer Stranger”, with Monder on baritone guitar accompanying a recording of his mother singing, closes out the album in style.

Planetarium is pure musical flow, another impressive entry to the guitarist’s already formidable list of personal accomplishments.

Favorite Tracks:
01 (CD1) - Ouroboros II ► 02 (CD1) - The Mentaculus ► 02 (CD2) - Ataraxia ► 03 (CD3) - Ouroboros I

No Codes - Usual Suspects

Label: Sunset Hill Music, 2024

Personnel - Benjamin Deschamps: alto saxophone; Frank Lozano: tenor saxophone; Sébastian Pellerin: bass; Louis-Vincent Hamel: drums.

Montreal-based alto saxophonist and composer Benjamin Deschamps, with a background in classical music, fronts his No Codes jazz quartet in an exhilarating sophomore album titled Usual Suspects. The group’s uncluttered yet inventive arrangements are propelled by bold rhythmic interplay from bassist Sébastian Pellerin and drummer Louis-Vincent Hamel, supporting Deschamps and tenor saxophonist Frank Lozano. The horn players share a flexible, eloquent vocabulary that lends the album consistency of mood as well as thematic cohesion.

“The Quest” opens with some ambiguity in the theme before transitioning into a forceful swing, riling up the horns into flying solos. Deschamps and Lozano are adept of energetic exchanges, and their assertive articulation and fluid phrasing are also mirrored on the title track, “Usual Suspects”, where a muscular bass groove and driving drums bring evoke the alternative rock band Morphine. The track’s progressive take on jazz, with staccato horn accents creating palpable tension, leaves a lasting impression.

In “Dog Days” the frontline saxes navigate sweet melancholy melodies over a palpable harmonic progression, briefly interrupted by a thoughtful bass solo from Pellerin, with Hamel maintaining the time and groove. The bassist introduces “Sokushinbutsu” with airy pizzicato and hammer-ons, allowing space to breathe before shifting into a ternary rhythm. The track culminates with a final vamp that sets the stage for Deschamps’ intricate solo.

“Hyperstitions” and “Emit Time Item” are standout moments. The former charges by in a giddy delight, with sharp staccato strikes, angular deflections, and an extravagant rhythm giving it avant-garde coloration, while the latter is a wild, vertiginous track delivered with the fiery energy of Ornette Coleman. Here, you can feel not only the force of the drums and overall dynamics, but also moments of quietude craving saxophone multiphonics and moaning howls. In opposition, “Fiend Zone” shifts direction, with funk undertones and danceable modern jazz vibes, eventually dipping into Latin territory. Here, bassist and drummer lay down muscular bass nods and a jaunty pulse complemented by bustling drum spurts, respectively.

Usual Suspects is a consistently engaging and adventurous album, blending tradition and modern elements with passion. Hence, it’s not surprising that the quartet's acoustic riches come with personality, dedication, and creativity. 

Favorite Tracks:
02 - Usual Suspects ► 04 - Hyperstitions ► 06 - Emit Time Item

Jason Stein - Anchors

Label: Tao Forms, 2024

Personnel - Jason Stein: bass clarinet; Joshua Abrams: bass; Gerald Cleaver: drums; Boon: guitar (#1,7)

After a six-year hiatus, Chicago-based bass clarinetist Jason Stein makes a compelling return with Anchors, an album that is consistently intriguing, surprising, and invigorating. Inspired by the disciplines and practices that helped him overcome a creep-threatening injury, Stein demonstrates technical mastery and profound sonority throughout the record’s narrative arc. He is joined here by bassist Joshua Abrams and drummer Gerald Cleaver, who provide a cohesive yet adaptable foundation. 

The album is bookended by the piece “Anchor”, a delicate rubato duet revolving around a particular melody that serves as a meditation on stillness and motion. Written by the guitarist and co-producer Boon, it serves as a gentle entry point into the album's explorations. The following track, aptly titled “Boon”, unfolds as a loose avant-garde rumination that is both uncompromising and erratic, without ever feeling sinister. The co-composed “Crystalline” uses stagnation and fragility as launching points, with Stein offering temperate phrases and circular breathing techniques in a nuanced arrangement of notes. Abrams transitions from bowed bass to sparse pizzicato, while Cleaver shifts from pulsing cymbal glee to tom-tom commotion, culminating in a beautiful finish.

With freedom and focus as key elements, the trio shapes “An Origin” with deep, repetitive droning sounds of bass and bass clarinet. Abrams and Stein explore the lower reaches of their instruments over Cleaver’s shuffling, dynamic drumwork, evoking ambiguous black-and-white images in a monochromatic reference to suffering and chronic pain. As the track progresses, groove and color are gradually infused, with Abrams’ bass serving as the gravitational center while guiding us through a polished harmonic progression. 

“Holding Breath”, inspired by a technique Stein used for physical and mental benefit, is the album’s longest track at 12 minutes. It begins with air sounds, raspy bass tones, and rattling percussive, evolving from a suspended mode into a bluesy 4/4 modal structure. As the track swings fluidly, Stein’s elaborately articulated language invites the listener to hang in there. In stark contrast, “Cold Water” is a scorching free improvisation that leaves the listener breathless, only to bring a clear melody into focus by the end.

Anchors is a first-rate musical experience that encourages listeners to revel in Stein's sinuous, addictive narratives and vivid expressions of life experiences.

Favorite Tracks:
03 - Crystalline ► 05 - An Origin ► 06 - Holding Breath

Geof Bradfield - Colossal Abundance

Label: Calligram Records, 2024

Personnel - Geof Bradfield: tenor saxophone, bass clarinet, mbira; Greg Ward: alto saxophone; Anna Webber: tenor saxophone, flutes; Ben Goldberg: clarinet, contra alto clarinet; Derrick Gardner: trumpet; Russ Johnson: trumpet; Norman Palm: trombone; Momo Hasselbrink Seko: french horn; Scott Hesse: guitar; Clark Sommers: bass; Dana Hall: drums; Gregory Beyer: berimbau, mbira, marimba, percussion.

Chicago-based saxophonist, clarinetist, and composer Geof Bradfield assembles a top-notch crew for his most ambitious album to date, Colossal Abundance. This project serves as a meditation on the complex interplay of wealth—material, intellectual, and spiritual—and the poverty that contrasts it in today’s world. Bradfield’s tenth album as a leader straddles contemporary jazz while drawing from a rich palette of influences, including African music, southern blues, Caribbean grooves, and more.

The journey opens with the folk exoticism of the traditional Shona mbira song “Mahororo”, a mbira-berimbau piece that reflects Bradfield’s curiosity for and connection with the Zimbabwean music. This world music vibe is soon transferred into John Coltrane’s classic “Lonnie’s Lament”, reimagined with a sextuple meter that shifts to cushion a soulful, Grant Green-like solo from guitarist Scott Hesse. Following him are Bradfield, whose tenor sax smolders with clear articulation, and altoist Greg Ward, whose joyfully volatile discourse finds compelling support from the percussive backdrop. 

Another African-flavored number, “Tuku”— a dedication to the late Zimbabwean guitarist Oliver Mtukudzi—flows softly in 3/4 time with an irresistible, dance-like quality that feels dreamlike at times. Bassist Clark Sommers and drummer Dana Hall provide vivid comfort for trumpeter Derrick Gardner’s melodic facility. Both “Kaleidoscope” and “Mrs. Parker of K.C.” delve into odd-meter; the former initially highlights the agile melodic patterns of flutist Anna Webber over a 5/4 tapestry woven by guitar and contra alto clarinet, while the latter, a Jaki Byard composition, features Hesse’s fluid bends, twists, and harmonic colors over a 14-beat bass cycle. Byard dedicated this piece to Charlie Parker’s mother, and Bradfield mirrors that intention with his own “Adelaide Bailey”, unfolding in seven with Ben Goldberg’s sinuously angular contra alto clarinet, joined by melodic horn fills and responsive drumming. Trumpeter Russ Johnson also delivers before the ensemble’s richness takes enter stage. 

Following a vibrant post-bop rendition of Wayne Shorter’s “United”, the album closes with two extraordinary blues pieces: the contemplative “Gandanga Blues”, with its enchanting pulse and emotive solos from bass flute and muted trumpet, and Henry Threadgill’s “Bermuda Blues”, which offers a celebratory reggae-infused Caribbean groove. Colossal Abundance bears the marks of Bradfield’s openness, curiosity, and fearlessness, making it a tasteful opus certainly worth getting lost in. 

Favorite Tracks: 
03 - Adelaide Bailey ► 04 - Tuku ► 09 - Gandanga Blues

Micah Thomas - Mountains

Label: Artwork Records, 2024

Personnel - Micah Thomas: piano; Immanuel Wilkins: alto saxophone; Nicole Glover: tenor saxophone; Adam O’Farrill: trumpet; Caleb Smith: trombone; Kanoa Mendenhall: bass; Kweku Sumbry: drums.

After capturing the public’s attention with his trio albums Tide (2020) and Reveal (2023), as well as his solo effort Solo Piano (2022), pianist Micah Thomas has now ventured into composing for a large ensemble for the first time. The result is Mountains, a live recording from The Jazz Gallery in New York in 2023, featuring 11 tracks that strike a fine balance between structure and freedom—sure to appeal to fans of both contemporary mainstream and avant-garde jazz. The album’s complex charts traverse a range of ambiances, demanding both precision and adaptability from its players.

“Life” starts the proceedings in a lushly orchestrated trade: the four-horn frontline commands attention while the rhythm section weaves an opaque rhythmic flow. Thomas’ solo, denoting motivic and modern classical predispositions, is separated from tenor saxophonist Nicole Glover’s chanting statement through a section packed with unison lines. That’s before a groovy vamp hits us with shades of Latin. The next piece, “Processing”, presents a stratospheric swinging outline reminiscent of George Russell, mixing traditional and avant-jazz currents while melodically pushing in different directions. It sounds just great.

“Lament” highlights trumpeter Adam O’Farrill wandering through a quiet piano landscape, his unexpected intervallic leaps creating moments of surprise as the atmosphere shifts from classical balladry to kinetic radiance. “Libre”, inspired by the duo recordings of Paco de Lucia and Camarón de la Isla, starts as a downright marching rag piece filled with charm and color, but then falls into silent mode, becoming a skimpy yet impulsive reflection. This leads seamlessly into “No Answer”, where horn melodies define a transparent harmonic progression in anticipation to that rag feel, reinstated with an arresting sense of freedom. Alto saxophonist Immanuel Wilkins stands out here with a fearful, visceral, and throaty solo over an unorthodox texture.

Wilkins and O’Farrill dialogue on the vibrant “The Mountain, spreading thoughtful observation over Kanoa Mendenhall’s funky bass strut and Kweko Sumbry’s steamy cymbal environment and punchy kick drum patterns. “Nomad” combines a cool vibe with rhythmic effervescence, featuring engaging exchanges between sax and trumpet, while “Collapse” is a contrapuntal cacophony that radiates energy. The session ends with “Through”, which evolves from drones and buzzes into a gradually cathartic climax.

The album’s consistent arcs of tension and release create a daring and inclusive sonic experience, showcasing the expansive scope of Thomas' compositional vision.

Favorite Tracks: 
02 - Processing ► 05 - No Answer ► 07 - The Mountain