Sylvie Courvoisier / Wadada Leo Smith - Angel Falls

Label: Intakt Records, 2025

Personnel - Sylvie Courvoisier: piano; Wadada Leo Smith: trumpet.

Swiss pianist Sylvie Courvoisier and American trumpeter Wadada Leo Smith—two genuinely inventive improvisers and composers—have collaborated before (notably on Courvoisier’s sextet album Chimaera), but Angel Falls marks their first duo recording. Smith, long devoted to this intimate format, brings his singular lyricism, while Courvoisier thrives on spontaneity and discovery. The album, titled after Venezuela’s towering waterfall, was recorded in the precise order presented, with no edits.

“Olo’ Upnea and Lightning” opens with Courvoisier’s wide-interval explorations on prepared piano, interwoven with luminous tonal chords. Smith responds with prayer-like intensity, his trumpet voice feverish yet finely crafted. Shifts from darkness to light define the piece, with both musicians embracing unrestrained expression. “Naomi Peak” follows in a whirlwind of centrifugal force—staccato trumpet bursts meet dizzying piano flutters, interrupted briefly by fragility before bluesy inflections ground the conclusion. 

“Whispering Images” floats in a spectral haze of altered piano strings, drones, and muted trumpet, suspended between galaxies and propelled by near-waltzing cadences. By contrast, “Vireo Bellii”—named for a songbird—is playful and brisk, its sparse piano motifs forming oddly constellated patterns against Smith’s oscillation between penetrating cries and mournful restraint.

The title cut, “Angel Falls”, is another example of the duo’s constant communication and sophisticated interaction. Intense and dramatic, the piece probes darker tonalities with a suspenseful cinematic weight. Despite feeling intrinsically cerebral, its abstractions resist predictability. 

Angel Falls confirms Courvoisier and Smith’s magnetic rapport. It may feel bulky at times, but their fearless interplay, rooted in both lyricism and texture, cements their place among the most compelling improvisers of our time.

Favorite Tracks:
01 - Olo’ Upnea and Lightning ► 02 - Naomi Peak ► 06 - Angel Falls

Marshall Allen's Ghost Horizons - Live in Philadelphia

Label: Otherly Love Records, 2025

Personnel - Marshall Allen: alto saxophone, EVI, synth, vocals;  

Now 101 years old, the incredible maestro Marshall Allen — who joined the Sun Ra Arkestra in 1957 and has led it since 1995 — releases a new live record with his Ghost Horizons group, curated by Arkestra guitarist David Middleton (aka D.M. Hotep), who appears on every track. Recorded in Philadelphia, the album brings Allen together with a younger generation of artists including saxophonists Immanuel Wilkins, James Brandon Lewis, and Elliott Levin; bassists Luke Stewart, Eric Revis, and William Parker; keyboardist Brian Marsella; drummer Chad Taylor; and others.

Sun Ra’s “Seductive Fantasy”, first recorded in 1979 for On Jupiter, opens the album in a quintet setting, with Allen’s raspy growls paired against trombonist Dave Davis. Hotep jags and slices through on guitar, eventually breaking into river-runs over Stewart and Taylor’s lithe rhythm. The same unit delivers “Tachyons Flux From the Cosmic Blueprints”, a more restrained, cyclic blues march.

Sun Ra’s presence resurfaces again on “We’ll Wait For You/Hit That Jive, Jack”, though the album also ventures into unexpected rock territories. “Back To You”, featuring the experimental duo Wolf Eyes, channels the shadowy corners of Joy Division with stratospheric electronics and serrated drones. “Square the Circle” rides a rock-steeped backbeat and straightforward bass lines, courtesy of Charlie Hall (The War On Drugs) and James McNew (Yo La Tengo). It arrives interlaced in guitars.

Levin contributes a feverish solo to “Stay Lifted”, a worthwhile astral excursion, and also appears on “Space Ghosts”, where shifting grooves gradually dissolve into fade-out. “Cosmic Dreamers, Ode to Elegua” folds in Eastern touches, a trio of batá drums, ritualistic chants from Joseph Toledo, and Allen’s indomitable alto fire. Yet one of the standout moments is “Slip Stream”, an ambient-funk voyage elevated by Wilkins’ soulful avant-garde flourishes, Marsella’s luminous comping, and Taylor’s perfectly attuned drumming.

Favorite Tracks:
01 - Seductive Fantasy ► 05 - Stay Lifted ► 14 - Slip Stream

Henry Threadgill - Listen Ship

Label: Pi Recordings, 2025

Personnel - Henry Threadgill: composition, conduction; Bill Frisell: acoustic guitar; Miles Okazaki: acoustic guitar; Gregg Belisle-Chi: acoustic guitar; Brandon Ross: acoustic soprano guitar; Jerome Harris: acoustic bass guitar; Stomu Takeishi: acoustic bass guitar; Maya Keren: piano; Rahul Carlberg: piano.

On Listen Ship, the one-and-only American saxophonist and composer Henry Threadgill continues to write for ensembles he conducts without featuring him as a soloist. Enlisting a striking lineup, he ventures into bold chamber instrumentation—four acoustic guitars, two acoustic basses, and two pianos— revisiting the knotted intervallic system first explored in 1994 with Song Out of My Trees. To satisfy his needs for a crisp acoustic guitar section, he turned to Bill Frisell, Miles Okazaki, Gregg Belisle-Chi, and Brandon Ross, who provide both precision and enigmatic tones.

The longer pieces prove more captivating. “H” carries a Latin, tango-like undercurrent that feels both exotic and astonishing. “L” begins with contemplative harmonics before yielding to a guitar solo—breathable yet complex—that seems in constructive disagreement with the lyrical fabric woven earlier. “R” takes the group through unconventional routes, wandering across heaven and earth with flexible intent. 

Strings drive much of the album. “B” bursts with animated riffs and counterpoint between guitars and basses, while “F” spirals through abstraction in a restless rhythmic flux. “D” finds the guitars in a quirky, slightly dissonant folk communion, supported by bass plucks that double as percussion. By contrast, “E” is dramatic and suspenseful, showcasing the pianists in cooperative dialogue.

Threadgill’s signature balance of intricate composition and intuitive improvisation challenges his players, who respond with tonal color and different shades. At 81, he remains undeterred in expanding his already monumental legacy.

Favorite Tracks:
02 - B ► 08 - H ► 10 - L

Trio of Bloom - Trio of Bloom

Label: Pyroclastic Records, 2025

Personnel - Craig Taborn: keyboards; Nels Cline: 6-string and 12-string guitars, lap steel guitar, bass; Marcus Gilmore: drums.

The extraordinary artistry of keyboardist Craig Taborn, guitarist Nels Cline, and drummer Marcus Gilmore bears fruit in their new project Trio of Bloom, which also marks their debut recording together. The idea for the group came from producer David Breskin, who envisioned echoes of The Power Tools, the one-off late-’80s trio of Bill Frisell, Melvin Gibbs, and Ronald Shannon Jackson.

Appropriately, the album opens with a piece by Jackson, “Nightwhistlers”. In their freestyle approach, Gilmore unleashes kinetic, arrhythmic throbs; Cline layers firm ostinatos, distorted harmonies, and sharp trills; while Taborn grounds it with plodding synth bass, electronic flourishes, and flickering drones. The piece closes with Cline and Taborn echoing the same chant. 

Taborn contributes two striking originals. “Unreal Light” begins in an ethereal haze before shifting into an African-inspired texture, his synth emulating xylophone timbres. “Why Canada” is spiky and avant-garde, driven by persistent motifs and sinuous rhythmic patterns. Gilmore’s “Breath” emerges as an atmospheric ballad that later gains momentum through his crisp snare and cymbal work, while the shape-shifting “Bloomers”—a free improvisation influenced by electronic music—moves from playful beats to prog-rock intensity.

Cline leaves his stamp with pieces tinged by alternative rock and funk. “Queen King” finds him doubling on bass, laying a funk foundation that ignites once his guitar takes center stage. “Eye Shadow Eye” begins as a spacious ballad with solos from Taborn and Cline, the latter channeling a 1970s blues-rock vibe reminiscent of Cream. “Forge”, an ambient-rock 3/4 excursion pushed forward by Gilmore’s ebullient drumming, grows darker and denser before segueing into “Bend It”, Terje Rypdal’s 1974 piece, which Cline funkifies on bass guitar.

Thinking outside the box, Trio of Bloom binds grooves, atmospherics, and inventive improvisation into a vibrant new sonic whole. Their intersections feel urgent and luminous, defying genre preconceptions with boldness and imagination.

Favorite Tracks:
01 - Nightwhistlers ► 07 - Eye Shadow Eye ► 08 - Why Canada ► 09 - Forge

Freedom Art Quartet - First Dance

Label: Freedom Art Records, 2025

Personnel - Alfredo Colón: tenor saxophone; Omar Kabir: trumpet; Adam Lane: bass; Lloyd Haber: drums.

Freedom Art Quartet returns more than two decades after debuting with Spirits Awake. The collective, formed in 1991 by drummer Lloyd Haber—who pens all compositions—and trumpeter Omar Kabir, delivers its latest eight-track album, First Dance. It’s a myriad of influences—from Ornette Coleman, Don Cherry, and Art Ensemble of Chicago to Freddie Hubbard, Mingus, and Miles—brimming with rhythmic intensity and improvisational acumen within an explosive freebop context. Joining the founders for the first time are seasoned bassist Adam Lane and rising saxophonist Alfredo Colón, replacing Jaribu Shahid and Abraham Burton, respectively.

“Counterbalance” opens with swinging eloquence, tenacious ostinatos delivered with fierce counterpoint, and rhythmic shifts. Colón blows with enthusiastic devotion and crisp articulation while Kabir backfires with unexpected lines and tones. “Stop Watch”, another exciting piece, thrives on a terrific bass figure, blending freebop and funk with dramatic improvisational turns from the horns.

“U.S. Blues Inc.” is an asymmetrical blues that closes with heavy arco bass musings. The bluesy spirit lingers on “Interpretation”, where Haber’s tappy snare clatter colors rather than drives, as groovy nuances thread the polyrhythmic piece.

Stretching nearly 13 minutes, “Song For the Old Ones” shows the group in effortless communication within a more melodic vernacular. Lane shapes a fluid bass discourse before joining Haber in the unpretentious Latin tinge of the closing theme. The title cut, “First Dance”, wraps the album as it began—with dazzling rhythms giving Lane and Haber a rigorous workout, bursts of horn energy, and pockets of deconstruction that shift the dynamics.

First Dance locks into deep-pocket grooves, hurtling into bright themes and cathartic releases with a sound that feels both familiar and new.

Favorite Tracks:
01 - Counterbalance ► 02 - Stop Watch ► 08 - First Dance

Tomas Fujiwara - Dream Up

Label: Out of Your Head Records, 2025

Personnel- Tomas Fujiwara: drums, composition; Patricia Brennan: vibraphopne; Tim Keiper: ngoni, calabash, temple blocks, timbale, djembe, castanets, balafon, found objects; Kaoru Watanabe: o-jimedaiko, uchiwadaiko, shimedaiko, shinobue.

Drummer and composer Tomas Fujiwara leads a powerful experimental quartet of kindred spirits, capable of propulsive rhythms and stunning textures. His Percussion Quartet features other three virtuosos: the widely praised vibraphonist Patricia Brennan and percussionists Tim Keiper and Kaoru Watanabe. Keiper also plays the African string instrument ngoni, while Watanabe brings the shinobue, a Japanese transversal bamboo flute. Fujiwara—who spent five years with the percussion collective Stomp—composed all the contagiously forward-reaching pieces, bridging drummer Max Roach’s percussion ensemble M’Boom with vibraphonist Bobby Hutcherson’s exquisite Blue Note gems of the ’60s and ’70s. Still, the music here extends far beyond those influences.

The title track, “Dream Up”, opens with a 12-beat ngoni cycle that sets a mysterious tone. Assured vibraphone runs and shifting textures introduce harmonic movement and melodic reflection, while intricate percussion injects depth and fantasy. “Mobilize” follows with march-like determination, combining odd meter, a martial stance, and epic spirit. The added cymbals in its final section give extra punch to a piece so rhythmically tight it moves like a single organism, in a fluid, synchronized dance of motion and sound.

“Komorebi”, evokes the gentle reflection of sunlight through shinobue’s whooshing tones and Japanese drums. The group explores abstract terrain, tension mounting through Fujiwara’s tom-driven pulse while Brennan’s probing vibes bring moments of calm discovery. “Recollection of a Dance” kicks off with an exhilarating 4/4 rhythm before shifting in key and tempo into 7/4. Watanabe’s soaring flute elevates the celebratory mood in a piece that blends avant-garde intensity with nu-jazz fluidity, surging to a climactic finish.

“Columns of Leaning Paint” displays polyrhythm stamina, while “Tapestry” highlights deep communication among the four musicians, shifting in tone, tempo, and posture, with Brennan pushing and pulling throughout the firm tides of the percussionists. Her crystalline thematic statement at the end lingers well beyond the track. The album closes with “You Don’t Have to Try”, initially featuring vibraphone and calabash perfectly in sync before adding ngoni and cymbals for a more intense flavor. This piece reaches further spiritual meaning by displaying balladic, lullaby-ish effects in its melodic tract and instrumentation.

Fully in command of his vision, Fujiwara thrives on rhythmic intelligence, dazzling virtuosity, and fearless imagination. With this ensemble, he shows one foot planted in folk tradition and the other firmly in 21st-century innovation.

Favorite Tracks:
02 - Mobilize ► 05 - Recollection of a Dance ► 08 - Tapestry

Fieldwork - Thereupon

Label: Pi Recordings, 2025

Personnel - Steve Lehman: alto saxophone; Vijay Iyer: piano, Fender Rhodes; Tyshawn Sorey: drums.

Fieldwork, a hard-charging contemporary jazz trio of ingenious, top-tier musicians, improvisers, and bandleaders, returns with its fourth album. Alto saxophonist Steve Lehman dazzles with tidal attacks that shift in and out of focus; pianist Vijay Iyer sculpts into the open field with vaulting textures and patterns in his deep-focus comping; and drummer Tyshawn Sorey powers the music forward like a rhythmic engine, keeping everything on the edge.

Iyer’s “Propaganda” opens with raw inspiration, driven by the tart angularity of fragmented saxophone lines and propelled by intricate, accelerated drum work. The piano’s agility shines across registers. Also penned by Iyer, “Evening Rite” thrives with buoyant gaiety and a magnetic pulse, while “Fire City” brims with feral lyricism and saturated sound, its bittersweet dissonances ultimately resolving into melodic consonance. 

Each piece rivets, with the trio pouring sweat-filled, bruising passion into music that disrupts traditional jazz forms. Perplexing mathematical tangles surface in Lehman’s “Embracing Difference”, where the saxist works closely with Iyer while Sorey grooves with rampant impulsivity. Odd meters and hectic lines create a sound at once pugilistic and balletic. “Domain” follows enigmatic paths of cinematic grandeur, with Lehman soaring into the upper register with laser-like precision over fertile, odd-metered terrain.

Iyer adds Rhodes on two selections: Lehman’s “Fantóme”, which tests the trio’s improvisational powers, and his own “The Night Before”, a rare reprieve from cathartic intensity—melodic, harmonically radiant, and ballad-adjacent. Between them sits the high-wire “Thereupon”, where shifting meters and speed variations play a central role. 

Fieldwork’s advanced musical language continues to carve out a singular path of boundless creativity. Probing the enigmatic edges of groove, their inventive oddities reward close listening, where febrile detail emerges at every turn. Like its predecessors, Thereupon is a must-have.

Favorite Tracks:
01 - Propaganda ► 02 - Embracing Difference ► 05 - Domain

Aruán Ortiz - Créole Renaissance

Label: Intakt Records, 2025

Personnel - Aruán Ortiz: piano.

Cuban pianist Aruán Ortiz, who thrives on the avant-garde side of the jazz spectrum, brings a cocktail of influences into his new solo album, Créole Renaissance. Equally at ease with contemporary classical music, free/experimental jazz, and his Afro-Cuban roots, Ortiz operates in his natural mode of abstract lyricism, filled with genre-defying undercurrents and elusive pulses. Yet, this album doesn’t quite reach the heights of his previous solo outing, Cub(an)ism (Intakt, 2017).

“L’Etudiant Noir”—a reference to the Paris-based journal that signaled the awakening of racial consciousness—opens with stark timbral contrasts, blending upper and lower registers in striking counterpoint. Fragmentation is key to the narrative, coming to the fore on “The Haberdasher”, where stylistic pointillism is delivered with a laid-back informality.

Based on Duke Ellington’s “Sophisticated Lady”, “Seven Aprils in Paris” unfolds within a murky, mysterious sonic radius, built on constructive ambiguity. It lingers melancholically until finally opening up harmonically in its closing section. More compelling is “Lo Que Yo Quiero Es Chan Chan”, inspired by Cuban trovador Compay Segundo’s classic. Its riffs, subtly shaped yet unmistakable, ebb and flow with hushed sensitivity.

“The Great Camouflage” dwells in silences and suspended slow motions, while “Legitimate Defense” thrives on agitation and rising motifs. Meanwhile, “Deuxieme Miniature”, stands out with its catchy figures, rhythmically underpinned by robust chordal sequences.

Never abandoning the fragile impressionism that defines Créole Renaissance, Ortiz leaves the listener in a state of contemplative stillness. Still, a greater infusion of energized passages and momentum-driven thrusts would have provided a stronger balance to the prevailing reflective quietness.

Favorite Tracks:
01 - L’Etudiant Noir ► 07 - Deuxieme Miniature ► 10 - Lo Que Yo Quiero Es Chan Chan

Jacob Garchik - Ye Olde 2: At The End of Time

Label: Yestereve Records, 2025

Personnel - Jacob Garchik; trombone; Brandon Seabrook: guitar; Mary Halvorson: guitar; Jonathan Goldberger: guitar, baritone guitar; Vinnie Sperrazza: drums + Ava Mendoza: guitar; Sean Moran: guitar; Miles Okazaki: guitar; Josh Dion: drums.

Trombonist and composer Jacob Garchik returns with his eccentrically futuristic, hard-nosed collective Ye Olde, a guitar-centric sci-fi jazz act featuring two quartets - Ye Olde and Simulacrus (the resurrected version of the former) - inspired by the Omega Point, Spinal Tap, fascinating concepts in science and sci-fi, and Hungarian contemporary classical composer György Ligeti. Ye Olde 2: At The End of Time arrives a decade after the release of Ye Olde (Yestereve, 2015), prompting a smile of wonderment as it channels a distinctive compositional style that feels entirely unique.

“One Can Only Go Up” opens the album in scalar form, with a rising two-octave scale played on on Barndon Seabrook’s 12-string electric guitar. Multiple layers accumulate with both power and logic, and Mary Halvorson solos over a rock-driven backbeat. This is fusion in the truest sense—drawing on Mahavishnu Orchestra, contemporary classical, and avant-garde jazz. Garchik closes the piece with an abrasive improvisation. A similar concept drives “Omega Point”, only this time the scale moves downward. This singable, euphoric 8-beat sequence later stretches by an extra beat, following scorching solos from Miles Okazaki and Ava Mendoza over two contrasting textures.

The masterful harmonic turns of “Transcending Time” take shape through the pointillistic regularity of Seabrook’s acoustic guitar and Garchik’s delayed trombone tremolos. It unfolds as a 10-beat cycle, a medieval folk-rock meditation that recalls King Crimson and Jethro Tull, but heavier. It reaches a climax in heavy-metal fashion, with Jonathan Goldberger’s baritone guitar executed with unswerving tenacity. “Exo Microbiology” boasts a punk-like theme that is both complex and danceable. Seabrook and Goldberger improvise, the former with energetic atonality, the latter with jagged, shredding force.

Embracing a glorious chill-out transformation, “Dyson Spheres” is anchored by Vinnie Sperrazza’s syncopated, downtempo rhythm, with Halvorson’s sparse chords layered above. The delivers a solo that proves it’s not only about technique and effects but also about emotion. Before the funk-rock vibes of the Zappa-esque “Ye Olde vs Simulacrus”, where the two quartets interact in battle, there is still room for 16th-century Italian composer Giorgio Mainerio’s “Caro Ortolano”, a stubby church music piece reimagined here as a rock fanfare.

Forging experimental and transformative paths in modern music, Garchik takes risks and wins, achieving new heights of both virtuosity and imagination. Ye Olde 2: At The End of Time is a revolutionary album that lifts us out of this world and into an adventurous future realm.

Favorite Tracks:
01 - One Can Only Go Up ► 02 - Transcending Time ► 05 - Dyson Spheres ► 07 - Omega Point

Dan Rosenboom - Coordinates

Label: Orenda Records, 2025

Personnel - Dan Rosenboom: trumpet, piccolo, flugelhorn; Jake Vossler: guitar; Jerry Watts Jr.: electric bass; Caleb Dolister: drums; Katisse Buckingham: flutes (# 5); Gavin Templeton: alto and baritone saxophone (#2,6,7); Nicole McCabe: alto saxophone (#3); Brian Walsh: contralto clarinet (#3,8); Jon Stehney: bassoon (#4, 8); Laura Brenes: horn (#5,9) Katie Faraudo: horn (#5,9) Ryan Dragon: trombone (#3,5,9) Steve Suminski: trombone (#5,9) Steve Trapani: bass trombone (#5,9) Doug Tornquist: tuba (#5,9); Wade Culbreath: vibraphone, marimba (#3,5,7,9); Gloria Cheng: piano; Jeff Babko: Fender Rhodes (#2); Joshua White: piano (#7); Petri Korpela: percussion; Jacquline Kerrod: harp (#4); Lauren Elizabeth Baba: viola (#6); Miguel Atwood-Ferguson: 5-string electric violin (#7); Michael Valerio: contrabass (#4) + The Lyris Quartet; strings (#4,9).

Following the quintet album Polarity, a contemporary masterpiece released in 2023, Coordinates marks another remarkable outing from trumpeter and composer Dan Rosenboom whose commitment to breaking boundaries in jazz expands here through a powerful and cohesive aggregation of 28 players drawn from the LA jazz scene and Hollywood film recording studios. Taking four years to write and produce, the album—shaped by numerology—ventures across multiple genres and meter signatures. 

Over the course of “Coordinate 1: Many Worlds, Many Dances”, the ensemble dives into funk territory, allowing an enthralling groove to unfold orgamnically. Horn consonance gives way to a trumpet solo that feels both conversational and expansive, framed by coordinated passages and buoyed by incisive drumming. “Coordinate 2: Apophis” opens with Brian Walsh’s resonant contralto clarinet and Jake Vossler’s protean guitar, building toward rhythmic agitation against a defiant metal backdrop that shifts with each soloist.

“Coordinate 3: Syzygy” highlights Katisse Buckingham’s flute in the foreground. It’s a rock-driven piece delivered with muscular punch, epic scope, and fierce resolve. Rosenboom responds with an obliquely thoughtful solo over a dense, hard-bitten texture. The band’s carefully coded sound turns darker on “Coordinate 5: Hyperion”, a moody chamber spell whose structural dynamism is etched with strings courtesy of The Lyris Quartet.

Alongside the five ‘coordinate’ works, four additional compositions broaden the palette. Standouts include “Josephine’s Dream”, a delicate waltz featuring gracefully arpeggiated harp and strings, and “Oracles”, a funk-rock excursion powered by pianist Joshua White’s outside playing over an odd-metered prog-rock foundation.

Rosenboom’s return brims with fresh-start urgency, charting a course through environments alive with rhythmic jabs and stabs. Through open platforms—sharply informed by funk, rock, jazz, and metal—he unveils a host of new tricks up his sleeve. 

Favorite Tracks:
02 - Coordinate 1: Many Worlds, Many Dances ► 03 - Coordinate 2: Apophis ► 07 - Oracles

Jim Black & The Shrimps - Better You Don't

Label: Intakt Records, 2025

Personnel - Asger Nissen: alto saxophone; Julius Gawlik: tenor saxophone; Felix Henkelhausen: bass; Jim Black: drums.

Highly influenced by alternative rock, avant-garde jazz, and electronic music, American drummer Jim Black has explored countless group configurations alongside a wide range of artists. His 12th recording of original songs, Better You Don’t, is his second with The Shrimps—a sharp, eruptive Berlin-based trio featuring Danish altoist Asger Nissen and German musicians Julius Gawlik on tenor saxophone and Felix Henkelhausen on bass.

The buoyant “The Sheila” captures Black’s subversive knack for rock-inflected textures, channeling raw energy and spontaneity. These qualities come alive through a motorik-like rhythm that heightens kineticism, a sturdy, funky bass groove, and loose, creative saxophone lines that may align briefly before splitting apart to interact freely. “Better You Don’t” and “Backtracks” follow a similar path—indie rock-leaning tracks powered by muscular drumming and energetic solos that never lose sight of melody.

“OK Yrself’ is an expressive, communicative ballad shaded by cymbal restraint. Black extends that sophistication across the kit, crafting a chamber jazz mood steeped in mournful tones before opening toward hope in the final saxophone improvisation. “Cane Di Male”, introduced by dark bass-and-drum contours, arrives with plenty of saxophone obliqueness, evolving into a punk-rock demeanor marked by sturdy bass lines, nimble drum fills, and occasional kick-drum surges.

While “Stone Placid” unfolds conversationally within an open framework— its ending enlivened by phenomenal percussion under sustained horn drones— “Actually Probably Matters” thrives on jostling horn interplay, with the saxophonists soaring in playful upper-register zigzags. Occasional multiphonics emerge before Nissen and Gawlik consolidate the melody over a robust swinging rhythm.

Always thought-provoking and firmly contemporary, Jim Black and his Shrimps show how their rapport has deepened through mutual dedication to the music.

Favorite Tracks:
01 - The Sheila ► 04 - OK Yrself ► 06 - Cane Di Male ► 09 - Actually Probably Matters

Ingebrigt Haker Flaten (Exit) Knarr - Drops

Label: Sonic Transmissions Records, 2025

Personnel - Karl Hjalmar Nyberg: tenor saxophone, electronics; Amalie Dahl: alto saxophone; Marta Warelis: piano, electronics; Jonathan F. Horne: guitar; Ingebrigt Håker Flaten: bass; Olaf Olsen: drums; Mette Rasmussen: alto saxophone (#1); Veslemøy Nervesen: drums (#1).

Free-spirited Norwegian bassist Ingebrigt Håker Flaten returns with his remarkable (Exit) Knarr project, whose lineup has shifted multiple times since its 2022 debut. On the group’s third studio album, Drops, the now-stable sextet sees a few changes from Breezy (2024), with altoist Amalie Dahl and pianist Marta Warelis replacing Mette Rasmussen and Oscar Grönberg, respectively. He has also removed trumpet from the instrumentation, incorporating heavier doses of electronics to achieve an overwhelming realization of his experimental, post-modern jazz vision. Graphic scores—an unconventional notation learned from Mats Gustafsson and Anthony Braxton—were also introduced.

The opene, a thought-provoking deconstruction of Wayne Shorter’s “Deluge”, expands the group to an octet with the return of former members Rasmussen and drummer Veslemøy Nervesen. The piece brims with the methodical, slashing guitar chords of Jonathan F. Horne, who layers jarring harmonies over a vibrant rhythmic mesh of bass and drums. Coiled saxophone extemporizations fill the spaces left from the main idea, leading to a tense, abstract passage marked by chromatic bass motion and daring piano gestures. Buzzing swarms of sound, squeaking and growling reeds, and primal drumming emerge, with electronics lending a stratospheric dimension that lingers until the fade-out. 

If that rendition surprises, the closer, “Austin Vibes” (Håker Flaten has been based in Austin, Texas, since 2009), is a quirky yet catchy fusion of electro-avant-jazz tweaked by tenorist and electronic artist Karl Hjalmar Nyberg. Together with Dahl, he fires scorching blasts before the piece concludes with the swagger of a triumphant march. In contrast, the title track, “Drops”, feels like slow-mo chamber music, subtly stirred by Warelis’ fleet-footed piano notes falling in the background.

The richly textured “Kanón”, written for drummer Paal Nilssen-Love, opens with percussion turned persistent snare ruffs and long sax notes reworked with flickering motions. A central figure emerges from bass and guitar, while drummer Olaf Olsen answers the call with equal precision. Nyberg’s saxophone improvisation is both acrobatic and forceful, though the mood softens into moments of serenity underscored by walking bass and understated drumming. At this juncture, Horne and Dahl are free to explore while Warelis drifts in and out, releasing stylish cascades of notes. The swing intensifies, shifting into an odd-metered vamp before the final electro-punk rave that closes out the piece.

Håker Flaten orchestrates with a singular touch, displaying an exquisite sense of form. Drops is one of those albums better absorbed than analyzed—yet unquestionably essential for adventurous jazz listeners.

Favorite Tracks: 
01 - Deluge ► 03 - Kanon

Linda May Han Oh - Strange Heavens

Label: Biophilia Records, 2025

Personnel - Ambrose Akinmusire: trumpet; Linda May Han Oh: bass; Tyshawn Sorey: drums.

The power of the jazz trio is strongly felt on Strange Heavens, the new outing from acclaimed bassist and composer Linda May Han Oh. This 12-track recording finds the bassist teaming up with drummer Tyshawn Sorey, her rhythmic partner in the Vijay Iyer Trio, and trumpeter Ambrose Akinmusire, an exceptional narrative builder who also appeared on her debut trio album Entry (2009).

With each track reflecting Oh’s distinct personality, the album opens with “Portal”, inspired by the stress-inducing nature of today’s social media. A driving bass figure sets the journey in motion, soon joined by delicate trumpet lines and crisp drumming, advancing with rhythmic nuance and melodic breath. The melancholic and moody title track, “Strange Heavens”, stands in contrast to “Living Proof”, which—drawn from her mother’s life story—comes with a rougher attitude, blending punk rock pugnacity with the iridescent hues of modern jazz.

Each members plays with overt virtuosity, crafting a flexible framework where dynamic interplay and solo statements are open to exploration. “The Sweetest Water” is one such piece, hitting hard with limpid trumpet melodicism over astute bass work and tireless drum buoyancy. Other examples include “Home” and “Paperbirds”, two of four compositions inspired by Australian author Shaun Tan’s graphic novel The Arrival. The former—infectious, complex, and ever-shifting—ventures into avant-garde and free territory, while the latter sustains a sense of flow and spontaneity regardless of the unusual time signatures.

“Noise Machinery” is a deliciously groovy number infused with funk, rock, and R&B elements, underscoring the trio’s shared wavelength. Their gift for abstraction shines, and the rendition of late pianist Geri Allen’s “Skin” reaches an exceptional polyrhythmic level with thoughtful push-pull undercurrents. In turn, trombonist Melba Liston’s “Just Waiting”, a softly brushed lullaby, closes the album with the soulful elegance of a timeless jazz standard.

By the time the album draws to a close, listeners are caught in an inescapable musical web, drawn by a creative triangulation rooted in raw, honest interplay. This marks a brilliant return for Oh to the trio format.

Favorite Tracks:
01 - Portal ► 03 - Living Proof ► 06 - Noise Machinery ► 11 - Skin

Silke Eberhard Trio - Being-A-Ning

Label: Intakt Records, 2025

Personnel - Silke Eberhard: alto saxophone; Jan Roder: bass; Kay Lübke: drums.

German saxophonist and composer Silke Eberhard reunites with her simpatico Berlin-based trio—featuring Jan Roder on bass and Kay Lübke on drums—to deliver ten melodically intricate trialogues built on agile rhythmic ideas. Formed in 2006, the trio navigates lucid structures with both precision and intuition, each member deeply attuned to their instrument while keeping an ear open to the others. Being-A-Ning is her fifth album with the trio.

The trio’s rigor and quick-reacting interplay are evident on the frisky, intricate opener, “What’s in Your Bag”, fruit of countless hours playing together at a virtuosic level. Lübke’s shuffling drums bears a hand to the exclamatory statements jointly unleashed by Eberhard and Roder. A four-note saxophone riff initially underpins the drum solo, while a tensile bass figure shifts the momentum toward the close. With its distinctive tone, “Sao” offers a feast of staccato delineation over exotic rhythms and gentle rattles, evoking the atmosphere of a  near-tribal African ceremony.

The sole piece not penned by Eberhard is “Hans im Glück”, a Lübke’s composition whose motivic transparency and well-crafted metric framework unfold with rich intuition. “New Dance” pulses with frantic enthusiasm, an electro-funk oddity featuring a dazzling Eberhard improvisation, intriguing effects, and a measured drumbeat.

Swinging with eloquence, “Being-A-Ning” nods to Thelonious Monk not only in its title but also in its sound, while also carrying shades of Steve Lacy and Ornette Coleman. It includes an invigorating bass solo and trades with the drummer, who also shines on “Lake”, a freebop-inflected piece that makes us think of Oliver Lake, intentionally or otherwise. “Rubber Boots”, another dance-like number crafted with a firmly established groove and plenty of outside venture, brings the album to a close.

Technically capable and ever in search of fresh possibilities, Eberhard infuses Being-A-Ning with masterful collective articulations and improvisatory flights that celebrate the free spirit.

Favorite Tracks:
01 - What’s in Your Bag ► 05 - New Dance ► 07 - Being-A-Ning

David Murray Quartet - Birdly Serenade

Label: Impulse! Records, 2025

Personnel - David Murray: tenor saxophone; Marta Sanchez: piano; Luke Stewart: bass; Russell Carter: drums; Ekep Nkwelle: vocals (#1,3); Francesca Cinelli: spoken word (#8).

The quartet of iconic saxophonist David Murray returns with Birdly Serenade, an eight-track album inspired by birds—the original improvisers—and their songs. Part of producer Randall Poster’s ongoing Birdsong Project, the record marks Murray’s debut on Impulse! Records and was captured at the legendary Van Gelder Studio.

The album opens with the enthrallingly vivid title track, “Birdly Serenade”, featuring Cameroonian-American vocalist Ekep Nkwelle, singing lyrics adapted from a poem by Murray’s wife and manager, Francesca Cinelli. Driven by a lilting waltz pulse, the piece radiates spiritual power, with solos from Murray on tenor saxophone and Spanish pianist Marta Sánchez. Nkwelle also graces “Song of the World”, an exquisite Latin-tinged ballad, melodically driven by bass clarinet and featuring an engrossing bass solo from Luke Stewart. The piece was written for Mixashawn Rozie, an Indigenous musician and activist.

Composed in the studio during the recording session, “Black Bird’s Gonna Lite Up the Night” bursts with fierce avant-garde energy, amplified by spiraling piano figures, a mix of bowed and pizzicato bass textures, and thunderous tom-tom resonance from drummer Russell Carter. The music builds into a vortex of sound before Stewart grounds it with steady bass steps. “Capristano Swallow”, which evokes memories of Murray’s youth of the Springtime Swarm at the Mission San Juan Capristano in California, is another avant-garde foray, reinforcing Murray’s outside playing proclivities and including a spellbinding solo piano interlude before the quartet returns with wind-like force.

“Bald Ego” channels Charlie Parker through blues and bop grandeur, featuring bar trades between the quartet and the drummer, while “Nonna’s Last Flight”, with Murray revealing borderline chromatic mechanisms on bass clarinet, is delivered with a hip posture that drowns itself in groovy funk and hip-hop vibes. Sanchez supplies rich harmonic layers beneath her elegantly intricate phrasing. The album closes with “Oiseau de Paradis”, a cascade of playful ideas paired with a French poem written and recited by Cinelli.

Murray is more interested in playing his own songs at this phase of his career, and this project, structurally disciplined but wide open to improvisation, allowed him to do just that.

Favorite Tracks:
01 - Birdly Serenade ► 04 - Black Bird’s Gonna Lite Up the Night ► 05 - Nonna’s Last Flight

Mats Gustafsson / Ken Vandermark / Tomeka Reid / Chad Taylor - Pivot

Label: Silkheart Records, 2025

Personnel - Mats Gustafsson: baritone and tenor saxophones, flute; Ken Vandermark: tenor saxophone, Bb and bass clarinets; Tomeka Reid: cello; Chad Taylor: drums.

This mighty exploratory quartet—featuring a dazzling frontline with saxophonists Mats Gustafsson and Ken Vandermark, and the rhythm section of cellist Tomeka Reid and drummer Chad Taylor adding both drive and nuance—will leave avant-gardists and free jazz enthusiasts in heaven with their control of structure and unrestricted freedom. The session was recorded in Chicago in late 2024 and comprises four compositions each by Gustafsson and Vandermark, along with six freely improvised duos featuring every possible pairing within the lineup.

“The Sensation of Sliding” begins with cello pizzicato joining the horns in a quiet unison theme. Yet suddenly, it veers into a ferocious burst of energy with cacophonous saxophone layers, slashing cello, and sturdy drumming. A groovy 12-beat cycle then kicks in, evoking the Black American music tradition with its anthemic melody. Jaw-dropping solos—from Vandermark on bass clarinet and Gustafsson on baritone sax—are darkly hued and substantively muscular. Like the former track, “Drops of Sorrow, Accelerating” is a Gustafsson composition inspired by the writings of Danish poet and novelist Inger Christensen. Here, the group adopts an ancient, Sun Ra-like feel that channels his modal Nubian journeys. Gustafsson’s intense outcries contrast with the melodic contours of Vandermark’s phrasing.

The remaining two Gustafsson narratives are “Unmeasured Mile”, a cinematic, dramatic piece with standout work from Reid and Taylor, who gets heavy on toms; and “Popular Music Theory”, which concludes the album in furious avant-garde delirium.

The Vandermark-penned pieces are equally striking, especially “Blowing Out From Chicago”, a supple display of timbral and textural imagination. Rusty, serrated cello underpins the ecstatic theme statement, with Reid building added tension through chromaticism and staccato attacks, complementing Gustafsson’s fiery tenor improvisation. Though Gustafsson blows from deep within, Vandermark is equally fervent in his tribute to the city he loves, delivering an authoritative tenor solo. His “Epistemological Slide” highlights Taylor’s rhythmic prowess, while “I Am Aware, Standing in Snow” reveals eclecticism through cello lines evoking Eastern chants, as gospel tradition fuses with radiant jazz fanfare. The two horn players close the piece unaccompanied, gently restating the theme in unison after previously leading the off-the-hip explorations with focus and intensity.

Flexible pulses, melodic incisiveness, and distinctive timbral qualities - all blend beautifully at the hands of a reference quartet we can only hope records together more often.

Favorite Tracks:
01 - The Sensation of Sliding ► 02 - Blowing Out From Chicago ► 04 - Drops of Sorrow, Accelerating

Three-Layer Cake - Sounds the Color of Grounds

Label: Otherly Love Records, 2025

Personnel - Brandon Seabrook: guitars, banjos, tapes; Mike Watt: electric bass, vocals; Mike Pride: drumset, marimba, glockenspiel, dumbeks, bongos, organ; Jonathan Moritz: tenor saxophone (#8).

Sounds the Color of Grounds, the sophomore album by the progressive trio Three-Layer Cake, is full of surprises, oozing a rebellious sense of freedom and energy that is unmistakably the group’s own. The trio consists of adventurous guitarist/banjoist Brandon Seabrook, bassist Mike Watt, and drummer Mike Pride. The group made its debut in 2021 with Stove Top (RareNoise), recorded remotely as an incendiary response to the pandemic. This new album follows the same approach—with the curious detail that Watt, who lives in California, has never met Seabrook or Pride in person. They plan to get together soon at Pride’s studio in Chester, NY, to record their upcoming third album.

“Deliverdance” channels the punk rock spirit of Minutemen—Watt’s former band—but adds complex banjo ornamentation atop the muscular bass and drum texture. Watt’s spoken word here and on a couple other tracks were written for visual artist Raymond Pettibon, designer of the punk band Black Flag’s logo. “From Couplets to Crepuscles” unfolds with altered jazzy guitar chords, loose bass lines turned methodical, steady rhythmic steps, and effervescent drumming.

Pride drums with jaunty mischief on “The Hasta Cloth”, a piece firmly grounded in a bass groove, featuring bold guitar incursions and tinged with funk-rock and New Wave influences. Another lever fusion of funk, rock, and reggae is on display in “Tchotchkes”, where Seabrook adds unexpected crunch to the rhythmic architecture. The sound evokes Marc Ribot and The Lounge Lizards.

In an album that embodies the passion and fire of creative rockers, there’s space for a brushed, groovy jazz piece - and yet “Occluded Ostracized and Onanistic” is delightfully warped by eccentric melodies. “What Was Cut From the Negative Space” begins as a downtempo journey—thanks to Pride’s irresistible rhythm— before evolving into noise-rock territory with fusion hints, having Seabrook’s banjo attacks and distorted guitar simultaneously woven into cathartic ferocity. Studio overdubs were handled by Pride, whose inexorable tom-tom rumbling on “Lickspittle Spatter” perfectly accommodates the Oriental flavors emanated from Seabrook’s bowed banjo. There’s also funk and electronic music influence here.

Moving through pitches and timbres with passionate drive, Three-Layer Cake has crafted an uplifting, hooky-filled album that forges a distinctive style by distilling the best of its eclectic influences.

Favorite Tracks:
02 - From Couplets to Corpuscles ► 04 - What Was Cut From the Negative Space ► 07 - Tchotchkes

Alchemy Sound Project - Under the Surface

Label: Artists Recording Collective, 2025

Personnel - Sumi Tonooka: piano; Gregg August; bass; Johnathan Blake: drums; Erica Lindsay: tenor saxophone; Salim Washington: tenor saxophone, bass clarinet, flute; Samantha Boshnack: trumpet; Michael Ventoso: trombone.

Alchemy Sound Project invites bassist Gregg August and drummer Johnathan Blake to join them in their third album, Under the Surface, which comprises seven formidable compositions by Philadelphian pianist Sumi Tonooka, an adept of both angularity and lyrical melodicism. 

Inspired by the roots of trees and how they function as interconnected underground systems, the album begins with a texturally open-minded piano trio number, “Points of Departure”, showcasing a drum solo at the outset before a great riffing groove forged by the pianist—alongside funkified bass lines—come to prominence. Tonooka’s harmonic voicings and cascading phrasings feel remarkably fresh, her musicality resonating in her fierce, compelling delivery. “Savour”, a meditation on mindfulness, features trombonist Michael Ventoso, who nods to Bubber Miley and Ellingtonian tradition with his muted wah-wah technique. The arrangement holds some surprising twists. Tonooka’s piano work is imaginative, and tenorist Erica Lindsay’s improvisation, rich with melodic inspiration, is fantastically supported by Blake’s vibrant drumming.

Bookended by excellent bowed bass, “Interval Haiku” is fed by a collateral riff that leads to Samantha Boshnack’s trumpet solo over an intense bass-and-drums flux and sparse piano comping. Multi-reedist Salim Washington delivers a bright tenor solo, gliding atop a slightly Latinized rhythmic tapestry. He also takes center stage at one point on the title track, “Under the Surface”, which closes the album with a mantra-like piano figure and horns soaring above it with expressive freedom.

One can’t deny there’s something special in Tonooka’s compositions. The contrast between “Mother Tongue” and “For Stanley” confirms her versatility. The former, full of sophistication and set in a bright septuple meter, features flute, sax, and trumpet in melodic consonance, as well as striking counterpoint; the latter, written for Tonooka’s mentor—the brilliant pianist Stanley Cowell— leans toward a more traditional jazz sculpting, delivered in trio format with rhythmic nuance, intimacy, and control.

There’s nothing pretentious about the way these musicians play. What comes to the fore is their ability to remain loose for a while and then return to form in a natural, effortless way.

Favorite Tracks:
01 - Points of Departure ► 02 - Savour ► 05 - Mother Tongue

Scheen Jazzorkester & Fredrik Ljungkvist - Framat!

Label: Grong, 2025

Personnel - Fredrik Ljungkvist: tenor saxophone, clarinet, composition;  André Kassen: tenor and soprano saxophones; Guttorm Guttormsen: alto saxophone, flute; Jon Øystein Rosland: tenor saxophone; Line Bjørnør Rosland: clarinet, bass clarinet; Finn Arne Dahl Hanssen: trumpet; Thomas Johansson: trumpet; Mats Äleklint: trombone; Frøydis Aslesen: trombone; Åsgeir Grong: bass trombone; Mathias Ståhl: vibraphone; Jan Olav Renvåg: acoustic bass; Audun Kleive: drums.

Scheen Jazzorkester, a deliciously progressive Norwegian big band whose works often feature guests, invited Swedish saxophonist Fredrik Ljungkvist to compose for and perform with them. Ljungkvist’s eight compositions form a sumptuous suite crafted with a broad palette of sounds, fascinating dynamics, and creative nuance. Framåt!—meaning ‘going forward’—is dedicated to the composer’s father, who passed away in 2023, and is formidably executed by a fine roster of like-minded players, including two fellow Swedes: trombonist Mats Äleklint and vibraphonist Mathias Ståhl.

Initially immersed in dark tones, “Mörk” creates a mysterious soundscape that gradually dissolves through chromatic tonal shifts, leading to Thomas Johansson’s trumpet solo over harmonic vibraphone textures, resolute pizzicato bass, and gently brushed drums. Intensity ebbs and flows until the final theme reemerges. More restrained yet relying on well-defined melodic trajectories in unison, “Bågarna Och Rörelserna” features the rich woodiness of Ljungkvist and Line Bjørnør Rosland’s clarinets. 

The fresh orchestral vitality of “Framåt!” And “No Time to Loose” is on full display. The former, propelled by a beseeching force in five, shifts from elegant melodic contours into a wild sonic eruption driven by a dense horn concentration. Ljungkvist enjoys an unaccompanied exchange with Äleklint in a section that moves seamlessly from tense to tranquil. The latter piece, impeccably arranged and luxuriantly open, begins with flute over a droning backbone, and is elevated by Ståhl’s sophisticated improvisation and Ljungkvist’s explosive saxophone bursts.

While “Glassolalia”—translated as ‘speaking in tongues’—swings with a playful, uncompromising energy, “Leif Håkon” is a ballad of the impressionistic kind. The album closes with two dedications: “En Hyllning till Kerstin”, for writer Kerstin Ekman, and “Keijsers Dans”, for Ljungqvist’s former teacher, saxophonist Roland Keijser. The former, launched by saxophone over drums, emits classical essences in a chamber jazz setting; the latter exudes an infectious, feel-good rock vibe in waltz time, further animated by puissant saxophone exchanges.

With the band showcasing remarkable chemistry, Ljungkvist’s magnetic presence and compositional adroitness are felt throughout. This is serious big band work, where every musician contributes meaningfully to strike that sweet spot between individual improvisation and collective cohesion.

Favorite Tracks:
01 - Mörk ► 03 - Framåt! ► 04 - No Time to Loose ► 08 - Keijsers Dans

Mary Halvorson - About Ghosts

Label: Nonesuch Records, 2025

Personnel - Mary Halvorson: guitar, pocket piano (#1,2,3,8); Immanuel Wilkins: alto saxophone (1,2,4,5); Brian Settles: tenor saxophone (#1,2,5,8); Adam O’Farrill: trumpet; Jacob Garchik: trombone; Patricia Brennan: vibraphone; Nick Dunston: bass; Tomas Fujiwara: drums.

Produced by Deerhoof’s John Dieterich, About Ghosts allows another worthy journey into the musical imagination of one of contemporary jazz’s most creative minds. Groundbreaking guitarist and composer Mary Halvorson presents eight originals, impeccably arranged for her widely praised Amaryllis sextet, plus two guest saxophonists: Immanuel Wilkins on alto and Brian Settles on tenor. Her remarkable talent is on full display throughout the album, where she also plays pocket piano on four tracks.

“Full of Neon” exhibits an exquisite, route-defining navigational pulse, across which unison melodies traverse unflaggingly. Jacob Garchik’s adventurous trombone solo sparks spontaneous reactions from Halvorson, while Settles’ tenor excursion unfolds over a distinct, snare-charged drum flow crafted by Tomas Fujiwara. “Carved From” opens and closes in a chamber jazz mode—horns up front—before entering a rich, uptempo waltz over which Halvorson’s atonal, provocative solo captures the ear and imagination. This is followed by Wilkins’ magnetic discourse.

“Eventual”, a somber ballad infused with mournful solemnity, spotlights vibraphonist Patricia Brennan, while the title track, “About Ghosts”, evokes an Ellingtonian movement reimagined with a 21st-century vision. Still, “Polyhedral”, with its angular, snappy theme delivered at a dazzling tempo, makes an even stronger impact. It’s a two-minute collective effort rather than a showcase for individual soloing.

Wilkins offers another improvisational blast on “Absinthian”, weaving long and fragmented phrases. This highly inventive piece, which blurs boundaries between indie electronic, alternative rock, and avant-garde jazz, stands out through its driving propulsion and fascinating counterpoint. Trumpeter Adam O’Farrill, in his eloquent yet sharply discerning style, also reveals outstanding melodic sensibility. The album concludes with “Endmost”, a 4/4 sonic mission featuring Settles and closing with Fujiwara’s drum solo over synth.

The material is unmistakably Halvorson’s. She and her constellation of superstars explore vast sonic territories without compromising accessibility, constructing intricate textures and bridging sections with both logic and audacity.

Favorite Tracks:
01 - Full of Neon ► 02 - Carved From ► 04 - Absinthian