Jeong Lim Yang - Synchronicity

Label: Sunnyside Records

Personnel - Jeong Lim Yang: bass; Mat Maneri: viola; Jacob Sacks: piano; Randy Peterson: drums.

Korean-born, Brooklyn-based bassist and composer Jeong Lim Yang has brought together an adventurous crew of seasoned, forward-thinking musicians and mentors to shape her third album, Synchronicity. The collection of seven original compositions explores a wide range of sounds and moods, weaving narrative through both improvisation and composition, and skillfully balancing tension and release.

The title track, “Synchronicity”, opens the album with a minimal structure and polyrhythmic texture, featuring Jacob Sacks’ freely flowing piano lines in a whimsical exploration with tempo variations. The piece is layered with Mat Maneri’s poignant viola wails, Yang’s fluid and loose-limbed bass, and Randy Peterson’s understated drum playing. “Ordinary Waltz” defies its name, placing a captivating melodic riff at its center, while obliterating any obvious 3/4 time feel through a dizzying fusion of folk, blues, and avant-chamber-jazz nuances. 

“Morning Glory”, inspired by Rodgers/Hammerstein’s show tune “Edelweiss” from the film The Sound of Music, plunges into ambiguity with its woozy and unpredictable arrangement. Meanwhile, “Body Nor Soul”, a contrafact of the ballad standard “Body And Soul”. With melodic nuance and strobing incantations, each musician—excluding the drummer—takes their time to deliver beautifully improvised passages. The hard-swinging “Salad For Lunch”, composed by Sacks, showcases his solo, which bridges traditional and progressive ideas. Yang follows with a groove that is both clear and expressive, while Peterson extends the rhythmic flow with exquisite drum swells.

“Weeping Dream” radiates a haunting beauty, reflecting the sorrowful emotions inspired by a Covid-related dream. Wintry piano arpeggios, vivid bass descriptions, and often dissonant viola cries combine to create a muted, somber scenario. “Stimmung” begins with Yang’s expressive bends, slides and plucks, paired with Peterson’s crackling, fireworks-like sounds, before transitioning into a more harmonically defined section that supports a folk-inspired confluence of distinct melodies. 

Yang and her ensemble make the material sound simultaneously lucid and open-ended. With its thoughtful execution, Synchronicity has the potential to elevate Yang’s visibility in the jazz world.

Favorite Tracks:
02 - Ordinary Waltz ► 04 - Salad For Lunch ► 05 - Weeping Dream

Andre Santos - Vereda

Label: Timbuktu Records

Personnel - André Santos: guitar; José Soares: alto saxophone; Francisco Andrade: tenor saxophone; Diogo Alexandre: drums.

Portuguese guitarist and composer André Santos shows he’s not afraid to experiment and venture into new sonic territories, seamlessly navigating through contemporary jazz, Portuguese folk, alternative rock, and avant-garde styles. Vereda captures this adventurous spirit and features a dynamic ensemble of like-minded collaborators: saxophonists José Soares and Francisco Andrade, and drummer Diogo Alexandre.

The extended title track, “Vereda”, guides listeners through uncharted soundscapes brimming with beauty, wonder, and mystery—evoking the intricate forest paths of Madeira island, Santos’ birthplace. These sonic landscapes are vividly rendered with brushed drums, Tarantino-esque Western guitar chords (occasionally conjuring images of American prairies), and folk-inspired melodies delivered in harmonious unison by the saxophonists. Before trotting along the final section with more harmonic definition, the quartet presents darkly atmospheric passages characterized by enigmatic guitar work and brooding saxophone tones layered over spunky drumming. Bursts of agitated saxophone sets the bridge. 

“Corneta” fuses the raw energy of punk rock with the experimental edge of avant-garde jazz, topping it off with a resonant folk-inspired melody. Meanwhile, “O Nuno Está Todo Fu Doido” steps out as a reflective ballad, only to transform into predatory rock playfulness with the horns in ecstasy. Santos’ Vereda is a positive, fearless embrace of genre-defying experimentation. 

Favorite Tracks:
01 - Vereda ► 03 - O Nuno Está Todo Fu Doidos

Thollem McDonas - Infinite-Sum Game

Label: ESP-Disk

Personnel - Thollem McDonas: piano.

British pianist and composer Thollem McDonas, renowned for his rhythmically inventive and genre-defying style, reaches new heights of eloquence in Infinite-Sum Game, a solo album recorded live in Italy. This meticulously calibrated outing feels like McDonas is cracking his own code, offering a deeply engaging experience.

“When Only Knows” offers a modern stride piano imbued with crosscurrents and intricate parallelism. “All the Creatures” broadens the spectrum with range, ending quietly after a tempestuous climax. “From Why We Came” presents a perceptible melodic narrative with hypnotic pulses and bluesy wallops. 

The prepared piano textures of “Gathering Gatherers” overflow with world folk melodies, while “Sunset Nomad” fiercely deconstructs classical themes with McDonas’ signature agility. “Symbi Oasis”, a title hinting at ‘symbiosis’, whimsically integrates classical, Spanish, blues, jazz, and rock ’n’ roll elements into a cohesive and efficient tapestry. The album’s darker tones emerge in the minimalistic pungency of “Every Key Every Door”, while “Feel a Drop of Rain For a While” balances delicate sweetness with enigmatic poignancy. 

McDonas’ iconoclastic tendencies shine throughout the album, yet they are tempered with warmth, mystery, and a profound sense of intimacy. Infinite-Sum Game deserves to be discovered.

Favorite Tracks:
01 - When Only Knows ► 03 - From Why We Came ► 09 - Feel a Drop of Rain For a While

Coo - Spiccilegia

Label: Self released

Personnel - Kai Winter: alto saxophone; Frau Sportman: double bass, live electronics, toys; Peter Czekay: trumpet; Sanjuro: drums.

Spiccilegia marks a confident debut recital from Coo, a chordless quartet of avant-gardists hailing from Berlin. The album includes 16 tracks shaped by the group’s exploratory instincts and in-the-moment interplay. The lineup features an ultra snappy frontline with altoist Kai Winter and trumpeter Peter Czekay, supported by the robust rhythm section of bassist Frau Sportman and drummer Sanjuro.

The opener, “Herati”, is a ritualistic rampage driven by frantically brushed drums, throbbing bass lines, and darting horn trills that culminate in a searing cacophony. “Fulgar” evokes the dynamic communion of Gato Barbieri and Don Cherry, while “Coowabatake” serves as a platform for Sanjuro’s versatile rhythmic vocabulary.

“Let’s Coo” swings hard, its short unison lines punctuated with bursts of exclamation and interrogation. As the piece progresses, the quartet transitions into a more abstract realm, marked by Sportman’s mournful bass murmurs and communicative exchanges between the horns. The brisk “Mustela” and the fragmented “Isochronal” are motivically exciting and expressionistic, generating gripping tension and energy.

The free jazz forcefulness of Ornette Coleman resonates in “Coomotion”, where articulate sax and trumpet lines swing around the rhythmic tapestry of bass and drums with hard-bop vigor. “Lageparameter” opens with a measured rhythmic flow defined by pronounced bass drum kicks, trumpet moans, and popping saxophone exertions, later launching a dynamic cadence that sustains a bewitching in-and-out phraseology. 

“Cytisus” highlights the group’s experimental flair with barbed wit, while “Coil Flux Guide” jumps a notch in intensity, transitioning from meditative chamber-like textures to a volatile, agitated setting. The track brims with rasping arco bass, incisive horn activity, and explosive drumming as Sanjuro propels the ensemble into a feverish crescendo. 

Coo’s compositional frames nod to clear influences, but the quartet’s initiative and inventiveness imbue each piece with a distinct identity. Spiccilegia is a positive first step.

Favorite Tracks:
04 - Let’s Coo ► 06 - Mustela ► 16 - Cool Flux Guide

Yuki Fujiwara - Glass Colored Lily

Label: Defkaz Records, 2024

Personnel - Yuki Fujiwara: shinobue; Mitsuhiro Sonoyama: saxophone; Peter Apfelbaum: keys, clarinet, flute; Will Bernard: guitar; Bill Laswell: eight-string bass, effects; Adam Rudolph: percussion.

Japanese shinobue and flute player Yuki Fujiwara debuts with her first album, Glass Colored Lily, leading a remarkable American-Japanese ensemble of outstanding improvisers. The music blends cultures and moods in a way that feels universal, with the group navigating various sonic trails and pathways, skillfully balancing improvisation with well-constructed sections. Much of the album is rooted in collective improvisations.

With a strangely enchanting spell, “Gloss Phew” introduces listeners to a mysterious world. Fujiwara takes the melodic lead, accompanied by saxophone interjections from Japanese saxophonist Mitsuhiro Sonoyama. The dark, fluttering ambiance is crafted by Bill Laswell’s 8-string bass and eerie effects, Will Bernard’s subtle guitar, Peter Apfelbaum’s suspended keyboard harmonies, and Adam Rudolph’s inventive percussion. Together, they flood the soundscape with suspenseful textures. This restless, intimidating vibe continues into the next track, “Into Thee”, which begins with metallic percussion, cymbal washes, and resonant drumming. Atmospheric drones and buzzes—a hallmark of Laswell and Bernard—set the stage for Fujiwara’s exploratory flute riffs, which are complemented and occasionally echoed by Sonoyama’s calm saxophone lines. Rudolph’s masterful drumming eventually stirs the tense abstraction into life.

“Like a Water”, incorporating a traditional Japanese song, starts as a joyful march before transitioning back to the languid, desolate atmosphere typical of Laswell’s style. In the final section, accordion-like sounds—likely produced by Apfelbaum’s keyboard—add a unique texture. “Remaining, Remaining” delves into a tribalistic spree, achieving a spiritual communion that feels simultaneously meditative and intoxicating. 

“Night’s Dream is True / Ai no-Uta” haunts with ghost sonorities: ethereal vocal chants and gasps, flute whispers, and glacial keyboards. This eerie soundscape transitions into a gospel-inflected vocal song in Japanese, written by Sonoyama. The closing track, Fujiwara’s “The Red Devil Who Cried”, is a flute-percussion effort inspired by Hirozuke Hamada’s Japanese fairy tale, and feels tailor-made for a traditional Japanese puppet theater. While the album never totally strays from its dark tonalities, there’s enough variation throughout.

Fujiwara demonstrates her talent as a flutist with an explorative nature destined to take her far. Her sonic narratives may lean toward the somber, but they are always sharply defined, with each instrument contributing clarity and purpose to the layered whole.

Favorite Tracks:
01 - Gloss Phew ► 02 - Into Thee ► 04 - Remaining, Remaining

Thomas Stronen - Relations

Label: ECM Records, 2024

Personnel - Thomas Strønen: drums, percussion; Craig Taborn: piano; Chris Potter: tenor and soprano saxophone; Sinikka Langeland: voice, kantele; Jordy Rossy: piano.

Between 2018 and 2022, Norwegian drummer Thomas Strønen invited four accomplished musicians to contribute to his latest album, Relations. Each responded to pre-recorded drum tracks with complete creative freedom. Pianist Craig Taborn and saxophonist Chris Potter recorded their parts from New York, vocalist and kantele player Sinikka Langeland from Oslo, and Barcelona-born multi-instrumentalist Jorge Rossy, playing piano exclusively, from Basel. The resulting work comprises two solo percussion tracks and ten duets that, while not adhering to conventional jazz formats, explore unique sonic landscapes.

The album opens with “Confronting Silence”, a solo piece by Strønen. Vibrant metallic gongs are unexpectedly crossed by quick snippets of rattling percussion. “The Axiom of Equality”, a duet with Taborn, showcases evolving timbral textures through fragmented, free-flowing drum and cymbal patterns, while Taborn, choosing not to hear the drum track beforehand, meanders unpredictably, embracing pure spontaneity.

Potter’s commanding saxophone presence is felt on “Weaving Loom”, where his expansive tenor lines bring richness and contrast to Strønen’s shimmering brushwork after a contemplative opening. On “Ephemeral”, Potter switches to soprano, channeling an explosive energy that intertwines seamlessly with Strønen’s propulsive rhythms, achieving a palpable symbiotic intensity.

Langeland introduces Nordic folk elements on “Koyasan”, blending the delicate tones of the kantele with Strønen’s sensitive rhythmic flourishes and unexpected stream. On “Nemesis”, she enjoys a more fluid rhythmic arc, while on “Beginners Guide to Simplicity” she uses her clear, evocative voice, adding a distinct dimension to it.

Rossy’s piano contributions span three tracks. While his restrained, light touch on “Nonduality” may feel less impactful, he captivates on “Ishi”, where a number of low-register blows evokes a mysterious ambiance, and “KMJ”, a piece of harmonically palpable introspection with subtle, persuasive movement. Known primarily as a drummer, Rossy impresses here with his pianistic sensibilities.   

Relations eschews conservatism, offering unexpected surprises and intimate dialogues between Strønen’s broad rhythmic vocabulary and his collaborators’ distinctive voices. Although sounding off-beat at times, this work reflects  the spirit of innate improvisers, unafraid to present something refreshingly different.

Favorite Tracks:
02 - The Axiom of Equality ► 03 - Weaving Loom ► 08 - Ephemeral ► 12 - KMJ

Unionen - Unionen

Label: We Jazz Records, 2024

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

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

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

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

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

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

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

Transatlantic Trance Map - Marconi's Drift

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

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

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

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

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

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

Jenny Scheinman - All Species Parade

Label: Royal Potato Family, 2024

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

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

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

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

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

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

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

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

Label: Secret Hatch Records, 2024

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

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

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

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

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

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

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

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

Joe Fonda Quartet - Eyes On the Horizon

Label: Long Song Records, 2024

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

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

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

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

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

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

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

Anna Webber with Matt Mitchell and John Hollenbeck - simpletrio2000

Label: Intakt Records, 2024

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

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

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

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

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

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

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

The Attic & Eve Risser - La Grande Crue

Label: NoBusiness Records, 2024

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

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

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

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

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

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

Favorite Tracks: 
01 - Corps ► 02 - Peau

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

Label: Imani Records, 2024

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

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

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

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

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

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

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

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

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

Label: Division 81 Records, 2024

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

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

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

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

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

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

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

Steve Coleman and Five Elements - PolyTropos / Of Many Turns

Label: Pi Recordings, 2024

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

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

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

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

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

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

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

Peter Evans - Extra

Label: We Jazz Records, 2024

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

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

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

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

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

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

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

Weird of Mouth - Weird of Mouth

Label: Otherly Love Records, 2024

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

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

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

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

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

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

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

Darius Jones - Legend of e'Boi

Label: AUM Fidelity, 2024

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

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

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

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

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

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

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

Label: Red Hook Records, 2024

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

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

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

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

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

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

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

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