Olivier Le Goas Ensemble Pulse - The Chaining Loops

Label: Double Moon Records, 2026

Personnel - Frédéric Borey: saxophones; Médéric Collignon; cornet, voice; Gueorgui Kornazov: trombone; Michael Felberbaum: guitar; David Patrois: vibraphone; Yoni Zelnik: double bass; Olivier Le Goas: drums.

Intrepid French drummer Olivier Le Goas reunites his Ensemble Pulse—a high-spirited septet formed during a creative residency in 2021—to perform five new original compositions. A devoted explorer of odd meters, animated rhythmic patterns, and kinetic grooves, Le Goas delivers exactly that on The Chaining Loops.

His compositional strengths become evident from the outset in the expansive, constantly shifting title track. Vibraphonist David Patrois introduces the piece with an enchanting prelude before an asymmetrical pulse emerges, opening space for trombonist Gueorgui Kornazov’s improvisation. Chamber-like guitar-sax passages soon give way to another sharply accented odd-meter section, this time supporting a nervy cornet solo from Médéric Collignon, followed by a more cerebral soprano saxophone statement from Frédéric Borey. The orchestration continuously evolves, and the ensemble remains tightly unified in both melody and rhythm before settling briefly into a slower 4/4 passage over which guitarist Michael Felberbaum stretches out. The piece ultimately circles back to its origins, once again centering the vibraphone.

Played with uncanny intensity, “Direction” rests initially on a stern bass pedal point and unfolds in septuple meter, at times recalling the warm, expansive feel of the Dave Holland Quintet. Each musician fits seamlessly within the framework, and the track offers especially compelling guitar and saxophone improvisations over a rich chain of harmonies.

The polyrhythmic “Friction” thrives on curious juxtapositions and shifting tonal centers, while “Fifteen Miles” maintains the album’s rhythm-driven spirit even if it initially appears more restrained. Gradually, the ensemble reignites the momentum through a sequence of nine-beat cycles and an accelerated section that highlights Collignon’s expressive scat singing.

“Light in the Sky” closes the album on an uplifting note. Jazz fusion allusions emerge through vigorous drumming and an excellent vibraphone solo, while a soulful, catchy melody bridges into the cornet improvisation before rock and jazz merge once again with infectious vitality. The piece reaches ecstatic heights during its final coda, only to dissolve through Le Goas’ playful decrescendo.

Le Goas is the kind of musician who is constantly shifting gears rhythmically and texturally. His hyperactive pulse not only supports the soloists but also fuels consistently engaging interplay. In perpetual transformation across layered rhythmic cells, The Chaining Loops may feel dense and flamboyant at times, yet it remains a stimulating album to explore.

Favorite Tracks:
01 - The Chaining Loops ► 02 - Direction ► 05 - Light in the Sky

Harry Skoler - Echoes

Label: Red Brick Hill, 2026

Personnel - Harry Skoler: clarinet; Bill Frisell: guitar; Dezron Douglas: bass; Johnathan Blake: drums.

With a voice unmistakably his own, clarinetist and composer Harry Skoler traverses a variety of open-ended atmospheres, displaying an instinctive ability to merge traditional jazz language with contemporary sensibilities in ways that continue to shape his artistic identity. On his seventh album as a leader, Echoes—a tribute to his jazz heroes—Skoler is joined by guitar visionary Bill Frisell and reunited with the rhythm section from Red Brick Hill (Sunnyside, 2024): bassist Dezron Douglas and drummer Johnathan Blake. Produced once again by saxophonist Walter Smith III, the album draws from familiar ingredients while embracing a welcome sense of risk through occasional ventures into avant-garde territory.

“Evocation” and “Allusion”, two irresistibly poignant clarinet-guitar duets, open and close the album with understated beauty. Short atmospheric interludes appear throughout, but “Study in Orange”—dedicated to pianist Bill Evans—marks the first rhythmically compelling moment, propelled by the superb interplay of Douglas and Blake, who know precisely when to intensify and when to simply sustain the flow. Frisell settles into an introspective, cinematic mood, while Skoler’s clarinet lines evoke dreamlike imagery and quiet fantasy.

“JW, Michelangelo & 40 Cent Burger”—a tribute to pianist James Williams—features Douglas’ bass dancing gracefully over a lilting waltz pulse. The bassist initiates the improvisational sequence before Frisell contributes a highly methodical and texturally rich solo, followed by Skoler, who makes a vivid impression by pushing beyond conventional boundaries with passionate phrasing.

“Marian”, dedicated to pianist Marian McPartland, possesses the softness and elegance of velvet, while “Thank You”—for Teddy Wilson—may appear elusive in direction yet reveals intriguing rhythmic dynamics and groove interplay. “Waiting Patiently”, honoring clarinetist Benny Goodman, is stirred effervescently in a vamping 3/4 flux marked by a sturdy groove.

“Pow!”—a salute to vibraphone master Lionel Hampton—takes shape as a whimsical avant-garde excursion, centered on riff-based volleys against a slower harmonic backdrop and Blake’s restless percussive agitation. It also includes an unaccompanied drum passage. The quartet’s gift for expanding minimal material into richly textured interaction is equally evident on “Never Played in Syracuse”, dedicated to Miles Davis, a cyclical funk-infused pop-rock piece where Skoler improvises fervently over distorted guitar harmonies.

The quartet has developed a genuine musical empathy that radiates throughout the recording, making Echoes an album that rewards repeated listening.

Favorite Tracks:
02 - Study in Orange ► 03 - JW, Michelangelo & the 40 Cent Burger ► 11 - Pow!

John Hollenbeck's George - Looking For Consonance

Label: Out Of Your Head Records, 2026

Personnel - Anna Webber: tenor saxophone, flute; Sarah Rossy: synth, voice; Chiquita Magic: synth, voice; John Hollenbeck: drums, glockenspiel, composition.

Claudia Quintet’s founder, John Hollenbeck, a fierce, focused, and highly innovative drummer and composer who often seems a step ahead of jazz’s vanguard, returns with his second album from the ensemble George—named after George Floyd—Looking For Consonance. The electro-acoustic group features synth players and vocalists Sarah Rossy and Chiquita Magic, alongside the exceptional saxophonist and flutist Anna Webber.

Difficult to categorize, the music traverses a postmodern landscape shaped by elements of synth-pop, electronica, idiosyncratic rhythmic designs, and open improvisation. “Bounce” is a striking ride that lands somewhere between eerie prog-metal and hallucinatory rave textures. Synchronized vocal lines, Hollenbeck’s explosive rhythmic foundation, and Webber’s menacing multiphonics and driving melodic force converge before dissolving into an extended, sustained drone.

The mercurial “Lewis”—dedicated to trombonist George Lewis—embraces shifting meters, incorporating synth-pop-rock passages in five, nimble septuple meter dances, and other intricate rhythmic cycles where the flute takes a central role. In contrast, “Nassam Alayna-Lhawa”, a composition by the Lebanese Rahbani Brothers, offers a gentle, diasporic expression of peace, delivered with clarity and warmth through Rossy’s Arabic vocals.

The ensemble’s revolutionary spirit peaks with “Norma”, a dark experimental piece built on saxophone–voice unisons and assertive rhythmic accents, and “George and Dee”, where strands of alternative synth-pop, new wave, and electronica-inspired experimentation evoke the legacy of artists like Gary Numan and Kraftwerk.

Hollenbeck infuses the album with layered rhythmic complexity throughout. Check out his work on “Porter”, where he lays down treacherous, counterintuitive undercurrents while ethereal vocal chants stay afloat. “Johnson”—a tribute to George F. Johnson—radiates a buoyant, groove-oriented energy, offering a more accessible nu-jazz moment, while “Wayne Phase”—a nod to Wayne Shorter—explores shifting intensities and stylistic breadth with a deep understanding of the honoree’s musical language and eclecticism.

Richly detailed, Looking For Consonance, may prove challenging for casual listen. Still, the group’s fluid command of odd meters and genre-crossing expression ultimately feels organic, inviting listeners to yield to its intricate rhythmic and improvisational allure.

Favorite Tracks:
01 - Bounce ► 04 - George and Dee ► 07 - Norma

Rodrigo Amado's This Is Our Language Quartet - Wailers

Label: European Echoes, 2026

Personnel - Rodrigo Amado: tenor and alto saxophone, bird water whistle; Joe McPhee: tenor saxophone; Kent Kessler: bass; Chris Corsano: drums.

Wailers marks the fourth installment by Portuguese saxophonist Rodrigo Amado’s This Is Our Language Quartet, whose long-developed musical empathy is evident throughout. Joe McPhee, on tenor, forms a compelling frontline with Amado—both granted ample solo space—while the rhythm section is in capable hands, with Kent Kessler on bass and Chris Corsano on drums, merging their voices within a broad, unrestrained harmonic landscape.

The title track—named after a poem by Amiri Baraka—opens with explosive force, plunging the quartet into a delirious cacophony from the outset, driven by a powerful bass surge and frenetic drumming. With inventive interplay and striking energy, Amado and McPhee weave playful staccatos into fully articulated phrases, diverging, reconnecting, and ultimately converging in a shared language.

“Hot Folk” features Corsano’s vibrant work across toms and cymbals, while Kessler’s tense arco passages gradually give way to a fuller, rounded pizzicato. McPhee’s restless, knotty tenor lines intensify the piece before it unexpectedly settles into a lyrical, ballad-like passage—reminiscent of an improvised jazz standard—once Amado joins in. Together, they shape melodies over understated cymbals and sparse bass motion. On “Violet Souls”, meditative saxophone lines float above a dark, nearly thunderous rhythmic foundation built from taut arco textures and agitated drumming, culminating in a burst of avant-garde energy.

Amado opens “Theory of Mind II (for Joe)”—a trio tribute to McPhee—with bird water whistle before shifting to saxophone, developing a motif-rich and expressive narrative across its full range. “Subterranean Night Color” offers a compelling drum improvisation alongside chamber-like passages rendered with atmospheric, painterly gestures. They are complemented by forceful saxophone explorations and solo drums. The album closes with “Blue Blowers”, centered on a clearly defined motif, its narrative loose and free, with enough latitude for the most whimsical idea to emerge and sound natural over the swinging motions.

Amado and his peers often keep the listener on edge, their relentless searching continually uncovering moments of genuine discovery.

Favorite Tracks:
01 - Wailers ► 02 - Hot Folk ► 03 - Violet Souls

Jonny Wartel / Mathias Landæus / Georgia Wartel Collins / Henrik Wartel - Celebrating Live

Label: Brotz Records, 2026

Personnel - Jonny Wartel: saxophone; Mathias Landæus: piano; Georgia Wartel Collins: bass; Henrik Wartel: drums.

The Wartels—a Swedish family of devoted practitioners of adventurous jazz and free improvisation—appear here alongside pianist Mathias Landæus in a live session recorded at Blow Out Oslo in 2024. Saxophonist Jonny Wartel leads the frontline, supported by his brother Henrik on drums and his daughter Georgia, now based in New York, on bass.

Their musical conversation, rich in nuance and strikingly organic, begins with Landæus’ meditative and harmonically balanced piano playing. Occasionally stirred by brief whirlwinds, his pianistic language gains momentum as the bass’s exploratory figures, the drums’ dynamic activity, and the saxophone’s floating lines enter the fold. The layered atmosphere gradually intensifies, with the rhythm section driving a frenetic swing that provides direction for Landæus’ inquisitive intervallic narrative. He is followed by Jonny, whose left-leaning lyricism generates both heat and agitation while maintaining a thread of sincere melodicism.

In the aftermath of this surge, the quartet—formed in 2024—navigates calmer terrain: reflective piano, gently bowed bass creating drone-like textures, understated percussion, and clearly shaped saxophone lines that remain open to “outside” exploration. The ensemble steadily rebuilds tension, shifting gears instinctively, with no fixed structure—allowing the music to flow freely as the musicians respond to evolving dynamics and intensities.

The following section turns notably melodic, offering moments of quiet intimacy that arrive with disarming grace. As weightless piano chords unfold, these passages stand among the album’s most compelling, revealing the musicians’ deep sensitivity to sound and texture. The final section begins with slippery, rolling drum figures before expanding into a Coltrane-inspired A Love Supreme atmosphere, with piano at the center of a swinging framework. Fleeting hints of folk-like melody emerge, adding a playful dimension before the piece culminates in avant-garde exuberance. This is a confident effort by full-fledged free jazz explorers.

Elijah Shiffer and The Robber Crabs - Callithumpian

Label: Star Jelly, 2026

Personnel - Elijah Shiffer: alto saxophone; Christian Cail: guitar; Max Kutner: electric bass; Colin Hinton: drums; Maya Luz: vocals (#9,10).

Recorded live at three different New York venues (Brooklyn, Queens, and Rochester), Callithumpian marks the second release by vibrant saxophonist and composer Elijah Shiffer with his punk-infused jazz ensemble Robber Crabs. Delivered with earnestness and charged with passion, the album features a completely renewed lineup, with guitarist Christian Cail, bassist Max Kutner, and drummer Colin Hinton excelling across 11 tracks that highlight their expansive and adventurous musical stance.

The hyperactivity of Shiffer’s “Mustang Mascot”—with its barrage of accents, acerbic guitar chords, and locomotive-paced drumming—serves as an ideal vehicle for the quartet’s irreverence and empowering sound. Cail’s frantic, often disorienting solo evokes Brandon Seabrook’s psychedelic tantrums, while Shiffer navigates a hard-swinging framework delineated with a post-rock edge. Toward the end, its marching thematic parade gives way to unaccompanied drum exploration. By contrast, “The Socialite” feels comparatively more conventional, shifting between tempo and intensity while toggling from elegant trad jazz to abrasive punk rock.

“Swindler’s Dream” arrives at full throttle, its melody tinged with Eastern inflections and driven by spirited saxophone–guitar interplay, while the title track “Callithumpian” resembles a cabaret for the future, propelled by an animated strut, unexpected staccato figures, and a confident embrace of dissonant deconstruction.

Penned by Mexican composer Conlon Nancarrow, “Player Piano Study 3a” emerges as an irresistible hybrid of bluesy rock ’n’ roll, punk, and avant-garde jazz. The seemingly smoother textures of “Tentacle Mind, Part 1” soon thicken and intensify, culminating in tense multiphonics and an insistent rhythmic heat that favors turbulence over stability. As in other cases, the performance enhances rather than overshadows the composition.

Cail’s “Zero Pleasure Tolerance” bursts forth with a mix of motifs over a blistering, motorik-like pulse, while guest vocalist Maya Luz contributes two of her own pieces—the rhapsodic “Manicures and Mood Swings” and the pop-leaning ballad “My Thrill”. Though contrasting in mood, both integrate effectively within the album’s broader tonal palette.

Constantly on the edge, Robber Crabs’ music allows for freedom and discipline alike. Callithumpian transpires loud energy, playfulness, and character via hooky themes, blistering improvisation, and tight-knit interaction. All in all, fun material.

Favorite Tracks:
01 - Mustang Mascot ► 04 - Callithumpian ► 07 - Tentacle Mind, Part 1

Caleb Wheeler Curtis - Ritual

Label: Chill Tone Records, 2026

Personnel - Caleb Wheeler Curtis: stritch, soprano saxophone (#8), sopranino (#9), trumpet (#9); Hery Paz: tenor saxophone (#2,3,4,9), flute (#6,7); Orrin Evans: piano (#3,4,5,6); Emmanuel Michael: guitar; Vicente Archer: bass; Michael Sarin: drums.

Caleb Wheeler Curtis, the insightful saxophonist and composer who impressed with Heat Map (2022) and The True Story of Bears and the Invention of the Battery (2024), returns with Ritual, a new album of originals performed with a strong collective spirit and pronounced individuality. Focusing primarily on the stritch—a straight alto saxophone associated with Rahsaan Roland Kirk—Curtis is joined by rising guitarist Emmanuel Michael, bassist Vicente Archer, and drummer Michael Sarin. Cuban saxophonist and flutist Hery Paz contributes compelling lines on six tracks, while pianist Orrin Evans appears on four.

The powerful emotional arc of “Fantasmas”, a searching invocation of ancestry, opens the album with an open-ended bass-and-drums flux, creating fertile ground for the lyrical melody shaped by Michael and Curtis. The guitarist balances inventive phrasing, volume swells, and harmonic color, while Curtis consistently finds the right tone and intensity for his focused yet exploratory narratives. “Bleakout”, conceived during a blackout in Madrid, shifts into modernistic funk with angular vision and rhythmic density, featuring Curtis and Paz in fluid dialogue, united by a shared conversational sensibility.

Slower but steadily purposeful, “Florence” introduces a chamber-like delicacy in a measured 4/4 tempo, enhanced by guitar harmonics and atmospheric piano minimalism. “You Just Can’t Keep the Music”, a duet with Evans, moves from a precise theme in (4+5) additive meter into a brisk 3/4 for its improvisational passages. Evans also features on “Black Box Extraction”, where counterpoint and an energized funk-rock feel—sparked by Sarin’s drumming—are layered with avant-garde intensity. Curtis remains relentless in his fluid ideas, while Paz injects a touch of Latin groove before expanding outward; Michael brings the piece to a close with unrestrained creativity.

“Tenastic” and “The End of Power” may be the most direct pieces on the album, yet they retain an element of surprise. The former’s dense, driving swing—topped by vigorous interplay between Curtis and Paz (on flute) as well as Michael’s tense lines and harmonies—contrasts with the latter’s dreamlike atmosphere where a refined, almost pop-like sensibility is anchored by Sarin’s nimble brushwork.

Curtis’ compositional voice is serious, often intricate, and deeply imaginative. Demonstrating a near-telepathic rapport with his ensemble, he achieves a striking balance between grounded structure and abstract exploration, resulting in music that is consistently engaging and thought-provoking.

Favorite Tracks:
01 - Fantasmas ► 02 - Bleakout ► 04 - Black Box Extraction

Nick Fraser - Areas

Label: Elastic Recordings, 2026

Personnel - Tony Malaby: tenor and soprano saxophone; Kris Davis: piano; Nick Fraser: drums, piano harp; John Kameel Farah: electronics and sound processing (#1,4,7).

Toronto-based drummer and composer Nick Fraser reunites his exploratory trio for a third outing, Areas. There’s a remarkable synergy within this forward-looking, bass-less group, rounded out by two fearless musicians: pianist Kris Davis and saxophonist Tony Malaby. With Fraser’s unobtrusive yet ever-present rhythmic drive anchoring the foundation, Davis injects rich harmonic color and angular melodicism, while Malaby—a force to be reckoned with in contemporary jazz—consistently impresses with gruff, confident tenor attacks.

Three of the album’s six pieces are credited to Palestinian-Canadian pianist John Kameel Farah, who digitally processes duo improvisations by Fraser and Malaby. “In the Wreckage” opens the record in a dispersed, disorienting, and gloomy mode; “Howling Circuits” leans on drone-based processing, with Fraser on piano harp; and “Brood” sustains an eerie, incantatory languor within its sinister atmospherics.

“Mimic” is a highlight, unfolding with simultaneous intensity, shadow, and complexity. Ominous low-register percussive attacks—emerging from a clever blend of standard and prepared piano—alongside shimmering cymbal textures, invite Malaby to expand into a high-powered middle-register vortex, unleashing guttural multiphonics and cyclic sweeps with growling force.

Equally striking is “There Are Other Ways”, which brims with excitement. Malaby’s solo introduction finds contrapuntal support in Davis’ quasi-mechanical motion. As the saxophonist delves into brooding sonorities, emphasizing an earthy tone and impressive range, Davis locks into a woozy, spiraling, almost robotic march, with Fraser’s active drumming providing propulsion. The trio transports us into an uncharted, rambunctious sonic universe where textures are fragmented and reassembled with daring intent.

“Area” adopts a more ruminative stance. Initially, Malaby resists steering his expressive horn toward a fixed destination, while Fraser and Davis anchor an angular terrain with curiosity and tension. This unease soon erupts into a storm, marked by weighty, cacophonous saxophone interjections delivered with biting tone and piercing acuity. It ends calmly, though, melodically driven by soprano. Initially tense, the closer, “Sketch 57”, suggests a meditation, with gradually harmonized passages underpinned by rattling percussion and ample space for free interaction. The trio engages in a fluid sonic conversation whose sinuous paths lean into abstraction, with a brief but effective surge in intensity.

Fraser’s compositions foster a flowing improvisational language, allowing each musician to showcase distinctive timbres and dynamic interplay in service of the collective. Areas offers a compelling mix of surprise and atmosphere, striking a thoughtful balance between formlessness and structure.

Favorite Tracks:
02 - Mimic ► 03 - Area ► 05 - There Are Other Ways

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

Label: Blue Note Records, 2026

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

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

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

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

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

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

Favorite Tracks:
01 - Warriors ► 03 - Charanam

Harriet Tubman & Georgia Anne Muldrow - Electrical Field of Love

Label: Pi Recordings, 2026

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

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

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

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

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

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

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

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

Shawn Lovato - Biotic

Label: Endectomorph Music, 2026

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

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

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

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

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

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

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

Niklas Lukassen - Still Waters

Label: Heartcore Records, 2026

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

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

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

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

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

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

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

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

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

Adam O'Farrill - Elephant

Label: Out of Your Head Records, 2026

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

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

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

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

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

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

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

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

Horizon Trio - Oscilla

Label: Self released, 2026

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

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

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

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

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

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

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

Michael Formanek - New Digs

Label: Intakt Records, 2026

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

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

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

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

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

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

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

Marilyn Crispell / Anders Jormin - Memento

Label: ECM Records, 2026

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

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

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

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

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

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

Jon Irabagon - Focus Out

Label: Irabbagast Records, 2026

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

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

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

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

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

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

Alain Métrailler - Heights Prospection

Label: Unit Records, 2026

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

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

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

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

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

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

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

Gabriel Vicéns - Niebla

Label: Clepsydra Records, 2026

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

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

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

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

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

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

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

Dave Douglas - Four Freedoms

Label: Greenleaf Music, 2026

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

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

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

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

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

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

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

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