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

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Tord Gustavsen Trio - Seeing

Label: ECM Records, 2024

Personnel - Tord Gustavsen: piano; Steinar Raknes: double bass; Jarle Vespestad: drums.

Norwegian pianist Tord Gustavsen reunites his trio, featuring bassist Steiner Raines and drummer Jarle Vespestad, for Seeing, the follow-up to their critically acclaimed album Opening (ECM, 2022). This new release, his 10th on the ECM label, includes six Gustavsen originals, three choral songs, and a traditional Norwegian church hymn.

It’s exactly with the latter that the album kick off—“Jesus, Gjor Meg Stille” oozes emotion from its gentle, pastoral, and gospel sweeps, initially evoking the feel of  an Arabic chant. It feels deep, quiet, and spiritual. Gustavsen’s liturgical pianism is beautifully layered over the moving backdrop provided by Raknes, who goes from pedaling bowed bass to pizzicato, and Vespestad, unwavering in his drum flux. 

Gustavsen’s compositions “The Old Church” and “Seeing” both exemplify his signature introspective style. The former, featuring impressive cymbal work and a reflective bass solo, waltzes through a reflective atmosphere, while the latter tune’s pattern takes us to spacious introspection, full of pathos. The pianist, who serves up a poetic performance with technically astonishing skills, also drives his “Seattle Song” with affectionate attention and profound intimacy. Yet, my favorite piece is “Extended Circle”, whose melodic expression rimes with soulfulness, brushes are employed for a refined velvety sound, and a bass solo fills our chest with woody resonance and superb note choices. 

Gustavsen also brings his classical impressions of J.S. Bach into his playing style, delivering “Christ Lag in Todesbanden” as an emotionally charged rubato meditation, while “Auf Meinen Lieben Gott” introduces a subtle yet engaging groove. The album also features Lowell Mason’s 19th-century English chorale “Nearer My God, To Thee”, interpreted with ample space and elevated by the nuanced tonalities of Vespestad’s cymbals, an extra layer of splendor.

One feels lighter when losing ourselves in the melodies, chords, and rhythms of Seeing, a work filled with outstanding musicianship, restraint, and openness. If you haven’t yet acquainted yourself with the soothing music of Gustavsen, this is the perfect opportunity to do so.

Favorite Tracks:
01 - Jesus, Gjor Meg Stille ► 06 - Extended Circle ► 09 - Nearer My God, To Thee

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Sokratis Votskos Quartet - Pajko, Fire In the Forest On the Mountain

Label: FWF Records, 2024

Personnel - Sokratis Votskos: soprano saxophone, bass clarinet; Leandros Pasias: piano; Evangelos Vrachnos: double bass; Kostas Anastasiadis: drums; Giorgos Klountzos-Chrysidis: drums (#6).

Greek saxophonist, clarinetist, and composer Sokratis Votskos champions the eclecticism and genre-bending trajectory of today's European jazz scene. His quartet features Leandros Pasias on piano, Evangelos Vrachnos on double bass, and Kostas Anastasiadis on drums. 

Pajko, Fire in the Forest on the Mountain is the follow-up album to Sketching the Unknown (2019), presenting a lineup that fosters authentic, creative exchanges across a spectrum from spiritual jazz to avant-garde to traditional folk inspirations. The adventurous journey commences with “Oson Zeis Fainou (Seikilos Epitaph)”, an ancient Greek tune in 6/8 from the 1st or 2nd century. Flowing as a breezily modal sequence, it transitions from novelty sensation to genuine upheaval for Votskos’ dynamic flights, marked by wind sprints and chromatic color.

As the title suggests, “Footprints of Some Giant Steps” blends Wayne Shorter’s “Footprints” and John Coltrane’s “Giant Steps”, delivered in a tension-release arrangement delivered at a 5/8 meter signature. Equally audacious in the rhythm department, “Moment’s Aeternity” features probing piano and exploratory bass clarinet over a catchy 14/8 dance adorned with brilliantly placed cymbal splashes.

Prone to creative fusions, Votskos offers “Balkan Riff” and “Here’s to Oghene Kologbo” with inspiration and abandon. The former, showcasing a perfect understanding between bass clarinet and double bass, is dedicated to Bulgarian pianist Milcho Leviev, while the latter crisscrosses anthemic Afro-centric celebration with jazz riffery, featuring guest drummer Giorgos Klountzos-Chrysidis and the voice of Kologbo himself, the Nigerian guitarist associated with Fela Kuti and Afrobeat in the ‘70s.

In the title track, the rhythm team pulls its weight with pulsating fluctuations, enhancing the music’s poise and appeal. This is a special feature for Pasias and Anastasiadis, with Votskos joining them elusively on soprano saxophone towards the end.

In the company of supple accompanists, Sokratis Votskos emerges as an interesting soloist and talented composer whom we want to keep an eye on.

Favorite Tracks:
01 - Oson Zeis Fainou (Seikilos Epitaph) ► 03 - Moment’s Aeternity ► 05 - Balkan Riff

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Bill Frisell - Orchestras

Label: Blue Note Records, 2024

Personnel - Bill Frisell: guitar; Thomas Morgan: bass; Rudy Royston: drums + Brussels Philharmonic and Umbria Jazz Orchestra.

The incomparable Bill Frisell, whose remarkable guitar prowess and compositional genius have left an indelible mark on the jazz scene for over four decades, ventures into new territory with Orchestras, a double album that sees him expanding his trio sound with the accompaniment of two European orchestras. This ambitious project features arrangements of some of Frisell's most iconic original compositions, along with a jazz standard, a couple of American folk songs, and a piece by Michael Gibbs, who provides all the arrangements on this captivating release. Frisell’s trio, consisting of the adaptable Thomas Morgan on bass and the tastefully diverse Rudy Royston on drums, imbues each piece with an intimacy that lends emotional potency to the ensemble's performance.

The CD1, featuring the Brussels Philharmonic under the baton of Alexander Hanson, begins with the grandiose cinematic quality of Gibb’s “Nocturne Vulgaire”, later jazzified with bluesy guitar chops set against an airy accompaniment. The standard “Lush Life” by Billy Strayhorn follows, elegantly spreading glamour and romanticism. “Beautiful Dreamer”, an early folk piece by Stephen Foster, waltzes slowly in a richly layered communion impregnated with a deep Southern feel.

Another heart-rending waltz, “Throughout”, is nestled among a collection of Frisell’s old favorites. Tracks like “Rag” traverse from folk revivalism to jazz fanfare with refinement and excitement, while “Electricity”, a country-influenced number pelted with guitar harmonics, loose drumming, and unobtrusive bass lines, becomes slightly reggae-ish as a consequence of the horn section’s counterpoint. In turn, “Richter 858 No. 7”, solidly sustained by a rhythmic foundation based on an eight-note, six-beat cycle bass groove, culminates in a majestic orchestral crescendo with the strings on vivid display.

CD2 further captivated my ears, with the musicians coloring and texturing agreeable sonic landscapes, reaching a genuine universality in their musical commitment as they listen to each other so closely. Moreover, the repertoire contains two of my favorite Frisell tunes, both enhanced by magnificent arrangements and executions. They are “Strange Meeting”, here featuring a disarmingly simple guitar solo, and “Lookout For Hope”, a marvelous jazz-rock hybrid aggrandized by Royston’s fine drum chops by the end. There’s also “Levees”, a stress-free, ternary exercise with bold horn lines, while Frisell’s guitar counterpoints by exuding more sparky than mellow tones.

Armed with Gibbs’ impeccable arrangements, Orchestras showcases Frisell's enduring creativity and marks yet another significant chapter in his illustrious discography.

Favorite Tracks:
01 (CD1) - Nocturne Vulgaire ► 04 (CD1) - Rag ► 01 (CD2) - Lookout For Hope ► 03 (CD2) - Strange Meeting

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Kuba Cichocki - Flowing Circles

Label: Brooklyn Jazz Underground, 2023

Personnel - Kuba Cichocki: piano; Lucas Pino: tenor saxophone; Brandon Seabrook: guitar; Bogna Cicinska: vocals; Edward Perez: bass; Colin Stranahan: drums; Rogerio Boccatto: percussion (#8); Patric Breiner: saxophone (#8); Rose Ellis: vocals (#8); Leonor Falcon: violin (#1,6,8); Sana Nagano: violin (#1,6,8); Benjamin von Gutzeit: viola (#1,6,8); Brian Sanders: cello (#1,6,8).

Following a splendid duo album - Brisk Distortions - recorded with guitarist Brandon Seabrook, Polish-born, New York-based pianist Kuba Cichocki expands views in Flowing Circles, a set of 10 new compositions. Their acutely structured forms lend the music its loose elasticity. Among the relentless creative minds joining Cichocki in this sonic journey are the aforementioned guitarist, a stalwart in New York’s improvised music, and saxophonist Lucas Pino, who, in addition to his solo efforts, has been featured in trombonist Nick Finzer’s albums. Special guests (including a string quartet) grace specific tracks, while the core sextet is complemented with Polish vocalist Bogna Cicinska, bassist Edward Perez, and drummer Colin Stranahan.

“Quirks” opens the record as a joyous flight of fancy, unleashing speedy angular unisons with a fanfare-like vibe. Bouncy passages with staccato emphasis and counterpoint are reinforced by strings (violinist Sana Nagano and violist Benjamin von Gutzeit are featured), topped by solos from Cichocki, who gets melodically rich without overplaying, and Pino, who displays his classy post-bop phraseology with precision. Before concluding, there’s a change of pace in a section that feels playful and stout-hearted.

The instrumental layers illuminate “Where the Selves Meet”, which acquires a powerful contemporary feel with the aid of a ruminative guitar that keeps scratching the surface with distorted eccentricity. Pino, brightening and tightening the frontline, blows the tenor with eloquence and a lovely tone, and then is Seabrook who invents a quirky accompaniment to support Cicchocki in the final chamber section. 

Soulfully psychedelic and rhythmically pumped up, “Blob Jump” sees the group playing with the flow through multiple sections of escalating energy. The so-called ‘Slavic melodicism’ is brought into mutable folk-influenced cadences, but for the finale, they allocate a rock impulsivity with salient guitar. Contrasting with this exuberance, “Birthday” is a soberly intense piece with Cicinska’s confident voice on the edge, embarking on intervalic complexity with the piano.

“First Smile” concludes the album with European classical elements crossing with impressionistic modern creative chops in a solo piano playing. But before that, there are still time for a couple of fully improvised numbers - the more abstract “Nooks and Crannies” and the funk-meets-post-bop experiment, “Keep Moving”.

Favorite Tracks:
02 - Where the Selves Meet ► 04 - Blob Jump ► 06 - Birthday

Jeff Lederer with Mary LaRose - Schoenberg on the Beach

Label: Little i Music, 2023

Personnel - Jeff Lederer: flute, clarinet; Mary LaRose: voice; Patricia Brennan: vibraphone, electronics; Hank Roberts: cello; Michael Formanek: bass; Matt Wilson: drums, percussion. Guest - Marty Ehrlich: bass clarinet (#7).

Versatile multi-reedist Jeff Lederer collaborates with his wife, vocalist Mary LaRose, for a song cycle that melds the music of Austrian-American composer Arnold Schoenberg with texts from philosophers such as Nietzsche, Rilke, Goethe, and Giraud. Themed around the ocean, the project features an all-star ensemble of improvisers in a program that, crossing avant-garde jazz with classical elements, is expertly controlled without sounding overly meticulous.

The opener, “On The Beach”, focuses on an unwavering rock-oriented rhythm with strong hi-hat demarcation. There’s a lyrical middle passage where Hank Roberts’ cello takes center stage, while Patricia Brennan weaves a fine harmonic tapestry with her four-mallet dexterity. “Blumengruss”, a composition by Anton von Webern with words by Goethe, exudes a particular glamour. The romanticized narrative benefits from Matt Wilson’s rattling carry-on and percussive drive; Lederer’s delirious swirls on flute; Brennan’s empathetic vibes surrounded by no less smart electronics; and bassist Michael Formanek’s big sound.

Avant-garde expectations are met with “Beneath the Shelter” and “Moondrunk”. The latter embraces a loosely swinging motion on top of which LaRose experiments with no concern for tonality but rather with dramatic expression. Lederer, who takes the flute on this one for another pirouette, picks the clarinet for a hot timbre-ranging solo on the closer, “Summer’s Weariness”, driven by Wilson’s spirited rock propulsion.

Tenacious scraps of melody floating in and out of scope are everywhere, and “The Pale Flowers of Moonlight”, drawn from Schoenberg’s Pierrot Lunaire Op 21, comes wrapped up in soft chamber silk while evoking a sense of romantic adventure. In the sequence of the hip muted beat and electronic gambit of the introductory section, a waltzing vibraphone cadence is initiated, later reinforced by bass. Tempo shifts to 4/4, guesting bass clarinetist Marty Ehrlich into an outgoing, non-conforming statement before the waltz is reinstated.
Passing a sensation of amorphousness within its structures, the artsy program nurtures intriguing articulation, making it fairly accessible without reaching grand musical climaxes.

Favorite Tracks:
01 - On the Beach ► 02 - Blumengruss ► 09 - Summer’s Weariness

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Wolfgang Muthspiel - Dance of the Elders

Label: ECM Records, 2023

Personnel - Wolfgang Muthspiel: guitar; Scott Colley: bass; Brian Blade: drums.

Being comfortable in a wide range of musical settings, German guitarist and composer Wolfgang Muthspiel effortlessly balances generous portions of chamber jazz, folk, post-bop, and classical music with clarity. It’s no surprise that his musical endeavors stand out from the crowd, avoiding trends in the current sonic zeitgeist. Following up on his trio debut (Angular Blues, 2020) with rhythm stalwarts Scott Colley and Brian Blade on bass and drums, respectively, Dance of the Elders reveals how they honed their collective sound after extensive touring in 2022.

Muthspiel’s “Invocation” is an immediate standout. The radiance of the introduction is dazzling, with two guitar lines working in harmony, leading us to the immersive, tranquil, and spacious atmosphere of the trio. Earlier, we have a reflective bass statement while the cymbal and drum colors, revealing a refined taste, hold the entire piece together. Muthspiel’s guitarism is magnetic throughout, bringing magic to a soulful fingerpicked vamp that shines with synth guitar ideas on top, thoughtful bowed bass, and understated drumming.

If the latter piece exhibits bluesy and folksy complexions, then “Prelude to Bach” is a zero-gravity studio improvisation driven by acoustic guitar, inviting us us to relax with a spontaneous reading of Bach’s chorale “O Sacred Head, Now Wounded”. The classical influence blends seamlessly with edgy post-bop on “Dance of the Elders”, an erudite hybrid excursion in five with intercalated passages in 4/4 tempo. It’s a team effort with beautifully cadenced accents and polyrhythmic intent, where the trio plays as one.

Two of the seven compositions are covers. Kurt Weill/Bertold Brecht “Liebeslied” is a comforting jazz waltz delivered with probing solos from bass and guitar, whereas “Amelia” is a sure-footed folk-jazz hymn written by Joni Mitchell and dedicated to American aviation pioneer Amelia Earhart. The latter number closes the album in intimate communication, but before that, we still have two Muthspiel compositions: “Folksong” and “Cantus Bradus”. The former, inspired by giant pianist Keith Jarrett, has the three instruments singing with a fine infusion of rustic and sophistication expression before getting slightly funkified at the bottom by Colley and Blade; the latter piece, motivated by pianist Brad Mehldau’s certain way of playing, flirts with the melodic impetuousness of baroque and flamenco. The jazz phrasing gives it a proper fusion touch.

Leveraging the often-telepathic interplay between his trio mates, Muthspiel creates music that gravitates toward enjoyable textures and narratives. This album is no small accomplishment.

Favorite Tracks:
01 - Invocation ► 03 - Dance of the Elders ► 06 - Cantus Bradus

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Eunmi Lee - Introspection

Label: You&Me Music, 2023

Personnel - Eunmi Lee: piano; Alan Ferber: trombone (#1,4,5,7); John Ellis: tenor saxophone, clarinet, bass clarinet (#1,2,3,5,7); Remy LeBeuef: alto and baritone saxophone (#4,5,7); Jon Gordon: alto and soprano saxophone (#5,7); Tony Kadlec: trumpet (#5); Vinicius Gomes: guitar; Matt Clohesy: bass; Ari Hoenig: drums; Joyce Hammann: violin (#2,3,7); Meg Okura: violin (#3);

New York-based Korean pianist and composer Eunmi Lee gathered a first-class ensemble for her debut album, Introspection, which falls into an engagingly modern mainstream milieu. The seven original compositions comprising this well-rounded program have been written since 2017, revealing a skillful sense of reinvention in the arrangements. 

By expressing the same starkly expressive nature of Joe Henderson’s pieces with Chick Corea, “Gimmick” manifests itself within advanced post-bop idioms shaped with terse phrases and pronouncedly accented rhythms and staccatos. The theme is outlined in unison by trombonist and co-producer Alan Ferber and saxophonist John Ellis, who inaugurates the improvisation section with articulation and exuberance. The piano solo that follows is more inner directed, blossoming with delicacy in the melody and boldness in the rhythmic process. In its denouement, the piece finds a vamping space for drummer Ari Hoenig’s broadening perspectives.

The band’s inviting tones shine particularly bright on “Narcissism”, which, addressing the tricky topic of the internet and social media, is professed in five with a type of flow that recalls the quintet of Dave Holland. Under the sturdy rhythmic drive of bassist Matt Clohesy and Hoenig, the soloists - Ferber, altoist Remy LeBeuef and Lee - offer big hooks and good vibes. By the end, it's the Brazilian guitarist Vinicius Gomes who discourses with complementary fills from the horn players.

The chamber piece “Suspicion”, composed for strings and bass clarinet, has a cinematic lethargy in it, whereas “5.19”, written with new cultures and people in mind, finds a solid middle ground between flexibility and precision. As a consequence of its sophisticated form, this latter piece goes from the rubato piano prelude to a slow waltz that is taken along by propelling brushes and reflective harmonies. Then, it transiently veers into a 5/4 tempo in a push-forward stroke before returning to the dreamy waltzing state for the solos.

The luxurious swing of “Mr. Weird” takes us to classic big bands in jazz - Basie, Ellington and Gil Evans are references - as the frontline is augmented to five elements by the presence of trumpeter Tony Kadlec and saxophonist Jon Gordon. With the spotlight on Gomes, “Azure” is the charming closer of a pleasurable first album that puts Lee’s compositional capabilities on display.

Favorite Tracks:
01 - Gimmick ► 03 - 5.19 ► 04 - Narcissism

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Tim Berne / Hank Roberts / Aurora Nealand - Oceans And

Label: Intakt Records, 2023

Personnel - Tim Berne: alto saxophone; Aurora Nealand: accordion, clarinet, voice; Hank Roberts: cello.

Tim Berne, an alto saxophonist with unpredictable musical temperament and a more-precise-than-brittle tone, teams up with master cellist Hank Roberts (a longtime partner), and multi-reedist/accordionist/vocalist Aurora Nealand (second musical experience after having joined forces with the duo Trapper Keaper in 2019). These musicians, owners of an excellent instrumental sound and big ears, put a spin on a unique post-modern trio that intrigues and captivates at every turn.

Their melding of ideas, eschewing genre conventions, is encapsulated in the 12 tracks that compose Oceans And. Take the opener as an example: “The Latter”, whose elongated, sustained notes with occasional screeching cello convey a mysterious tranquility, has Nealand’s atmospheric accordion giving harmonic context to Berne’s lines. And yet, one never knows where this gentle dance will take us.

“Framed” is fed by accordion’s elliptical textures, grievous cello, and saxophone motifs that, spreading across the tapestry, show no interest in eradicating tension. The next track, “Eez”, takes abstraction, fragmentation, and looseness even further with its constant diffusion of timbres.

“Partial 2” is an incredible piece that can be tied to “Clustard” and “Sutile”. The clarinet (surprisingly not as dulcet as one might expect) and saxophone engage in logical articulations that probe different intensities, while Roberts remains imperturbable in the back. The cellist excels during the eerie neo-folk of “Frosted”, emphasizing dark-hued elements with a firm identity.

Nealand puts her beautiful voice at the service of “Mortal and Pestered”, a haunting, ritualistic and often dramatic combination of the ethereal and the spectral, whereas on “10tious”, the longest piece on the album, she responsively attempts to mimic Berne’s intricate leaps and rhythmic trajectories on the accordion. There’s also cello pizzicato and quick-witted saxophone, with the protagonists coming and going from the scene with a particular aesthetic in mind.

This trio of like-minded artists offers strangely magnetic music with enough coils and refinements to keep you engaged.

Favorite Tracks:
02 - Framed ► 06 - Mortal and Pestered ► 11 - Partial 2

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Dave Douglas - Secular Psalms

Label: Greenleaf Music, 2022

Personnel - Dave Douglas: trumpet, voice; Berlinde Deman: serpent, tuba, voice; Marta Warelis: piano, pump organ;  Frederik Leroux: guitars, lute, electronics; Tomeka Reid: cello; Lander Gyselinck: drums, electronics.

Trumpeter, composer and bandleader Dave Douglas belongs to a group of state-of-the-art thinkers whose music, whether largely progressive or completely immersed in tradition, is unfailingly effective. Besides his widely acclaimed post-bop excursions, further conceptual albums have been put together with quirky instrumentation, and Secular Psalms is another wonderful addition. Featuring an appropriate supporting cast, this new opus was inspired by art of the 15th Century, namely, Jan van Eyck’s Ghent Altarpiece and some secular hymns by Franco-Flemish composer Guillaume Du Fay.

The opening piece, “Arrival”, plunges into a contemplative dark-hued mysticism that, at the same time that invites us to search, prepares our ears for what comes next. Playing at the center, the trumpeter is briefly joined by Belgian guitarist Frederik Leroux, who infuses non-aggressive distortion during the interesting groove that follows. “Mercy” cooks up with a deft combination of erudition and nerve that exemplifies Douglas’ abilities to shake mainstream values. The texts on this one, earnestly sung by the tubist Berlinde Deman, are by Marvin Gaye, the Latin Mass, Psalm 59, and the bandleader. For its part, “We Believe” is a darkly lyrical effort with lute, organ and muted trumpet.

The opening trio of songs is stupendous but other standouts eventually surface. Among them is “Instrumental Angels”, whose asymmetric postmodernism is not devoid of glittery harmony. There's also the shadowy waltz “Hermits and Pilgrims”, which starts off with the beautifully intriguing cello sounds of Tomeka Reid in company with pump organ by Marta Warelis. The latter is featured here as a soloist, as well as Douglas, who builds lines with a tasteful feeling.

With slow waves of sadcore and goth rock, “Ah Moon” appealed more to me than “If I’m in Church More Often Now”; both include texts by the medieval Italian poet Christine De Pizan. The album concludes with “Edge of Night”, where Douglas’ optimistic text surfaces from an overall uncanny ambience.

Sculpted with total commitment and artistic imagination, this richly layered offering is far from your traditional jazz record, but deserves to be singled out for the musical characteristics achieved.

Favorite Tracks:
01 - Arrival ► 02 - Mercy ► 05 - Instrumental Angels 

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Ingrid Laubrock - Dreamt Twice, Twice Dreamt

Label: Intakt Records, 2020

Personnel includes - Ingrid Laubrock:  tenor and soprano saxophones; Sam Pluta: electronics; Cory Smythe: piano, quarter-tone keyboard; Robert Landfermann: double bass; Tom Rainey: drums; Adam Matlock: accordion; Josh Modney: violin; Zeena Parkins: electric harp + EOS Chamber Orchestra

Saxophonist Ingrid Laubrock’s latest release, Dreamt Twice, Twice Dreamt, displays her unwavering talent as not only an improviser but as a composer/arranger as well. Recently, she has been focusing more on large scale composition, with her previous outing, Contemporary Chaos Practices (Intakt, 2018) receiving general praise. Yet, this new double-album features two disparate versions of five compositions originally written for small ensemble and later re-worked and expanded for chamber orchestra. The main inspiration for the pieces was Laubrock’s dream diaries. 

Disc one features the EOS Chamber Orchestra and a group of talented soloists that bring their improvisational creativity to the fore - electronics/sound artist Sam Pluta, keyboardist Cory Smythe, bassist Robert Landfermann, drummer Tom Rainey, and Laubrock herself on tenor and soprano saxophones. On the other side, disc two features a core trio with Laubrock, Pluta and Smythe plus Zeena Perkins on electric harp, Adam Matlock on accordion, and Josh Modney on violin.

“Dreamt Twice” (orchestra version) feels like a feather when compared with its wild, experimental small-ensemble version, “Twice Dreamt”. The former, benefitting from the strong presences of piano and saxophone, embraces counterpoint, rhythmic abstraction and composed atmospheres with poetic gestures and enigmatic tones alike; it ends pacifically with strings. The latter, on its side, alienates through a glacial melancholy cut by sudden serrated attacks from electric harp.

“Snorkel Cows” offers another wonderful orchestral experience, but starts with a loose jazz tapestry weaved by piano, bass and drums. The sounds of woodwinds and strings come into view for textural consistency and also adorn Smythe’s thrilling solo before a state of suspended uncanniness is established. On this section saxophone melodies are set to a slow swaying.

Note that the two dissimilar treatments applied to each composition make them totally autonomous when not stripped down to its essence. Take the case of “Drillings” (disc one), which, like a ballad, starts by spreading poignancy through a soft yet incisive orchestration receptive of modern classical and avant-garde idioms. Although considering the additional tension that erupts from the second half - you’ll find gracious tenor stunts, a persuasive cinematic appeal and well-integrated electronics - nothing can be compared to the massive, relentless drones that launch the disc-two interpretation. The unexpectedness of a folk dance brought in by Matlock’s accordion, as well as thoughtful sax lines hovering over the piano accompaniment serve to lessen the preliminary sonic commotion. 

With respect to “I Never Liked That Guy”, the small-ensemble version triumphs as a result of a haunting atmosphere that keeps pushing us into dark corners with skittering soprano diagonals over prostrate piano shapes and mysterious electronic effects. It all ends in a feast of ostinatos. 

This extended opus offers a substantial listening with all its transitions, integrations and innovations. Laubrock’s music can be slow-burning and quietly exploratory in one moment, combustible and antic the next. Here, she manages to keep the freshness and vibrancy for which her music is known.

Grade A-

Favorite Tracks:
01 (disc one) - Dreamt Twice ► 02 (disc one) - Snorkel Cows ► 03 (disc two) - I Never Liked That Guy

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Charles Pillow Ensemble - Chamber Jazz

Label: Summit Records, 2020

Personnel - Charles Pillow: flute, alto flute, clarinet, alto sax; soprano sax, oboe, english horn; Scott Wendholt: trumpet; Alan Ferber: trombone; Chris Komer: french horn; Marcus Rojas: tuba; Todd Groves: bass clarinet, clarinet, flute; Vic Juris: guitar; Gary Versace: piano, accordion; Jeff Campbell: bass; Jay Anderson: bass; Mark Ferber: drums; Rich Thompson: drums; Rogerio Boccato: percussion + string ensemble -  Hiroko Taguchi: violin; Whitney Lagrange: violin Lisa Matricardi: violin; Todd Low: viola; Orlando Wells: viola; Alisa Horn: cello; Allison Seidner: cello.

Even if Charles Pillow’s name doesn’t immediately ring a bell, you have probably heard him playing with central jazz figures as Maria Schneider, Dave Liebman, John Scofield, and more recently Brad Mehldau. Outside the jazz scope, the list of collaborations is equally vast and includes Paul Simon, Bruce Springsteen, Chaka Khan, and Jay-Z, among others. 

Following Electric Miles (Summit, 2018), a tribute to the early electric phase of giant trumpeter Miles Davis, the woodwinds player gathers his dedicated large ensemble, concentrating on the orchestral chamber jazz genre. Here, he delivers a repertory with an equal share of originals and covers. 

As expected, the classical intonations, enhanced by the presence of strings, are a bit all over the place. The opening piece, “While Pass Manchac” paints scenic landscapes with warm colors, mixing suave classical sonorities with the persuasion of jazz. The improvisers are trumpeter Scott Wendholt and Pillow on alto saxophone.

Classical impressions are even stronger on “Charlotte and Evan”. This composition, dedicated to Pillow’s children, brims with cellos and violins in harmonious communion. Resourceful pianist Gary Versace stands out on this one, and he shows his multifaceted skills by switching to accordion on Hermeto Pascoal’s “Bebe”. He embarks on a decorous conversation with Pillow, who blows the clarinet with lucidity, with the complementary percussion of Rogerio Boccatto and Rich Thompson fully manifesting underneath.

Pillow puts a lot of heart in the arrangements and Monk’s less-familiar composition “Oska T” is explored with bold counterpoint, reaching high peaks during the improvisations from tuba player Marcus Rojas and trombonist Alan Ferber.

Another magic moment occurs when the late guitarist Vic Juris brings his beautiful sound to Billie Holiday/Arthur Herzog Jr.’s plaintive song “Don’t Explain”. A docile flute accompanies him here, as well as on “Pee Wee”, a placatory medium-tempo waltz penned by drummer extraordinaire Tony Williams and immortalized by the Miles Davis quintet.

Equipoising the venerable and the thrilling, “Atchafalaya Fiction” sonically depicts the Atchafalaya basin, the largest wetland and swamp in the US, which is located in Louisiana. Driving us through subtle shadings, the ensemble puts the spotlight on Ferber and he doesn’t pass up the chance to shine with wonderful melodies expressed across several registers.

The competence of Pillow’s big band is indisputable.

Grade B

Favorite Tracks:
03 - Don’t Explain ► 06 - Oska T ► 08 - Atchafalaya Fiction

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Miguel Zenón - Yo Soy La Tradición

Label: Miel Music, 2018

Personnel – Miguel Zenón: alto saxophone + The Spektral Quartet - Clara Lyon: violin; Maeve Feinberg: violin; Doyle Armbrust: viola; Russell Rolen: cello.

The powerful musicality and extended possibilities one can achieve by combining saxophone and strings were tested and confirmed by jazz giants such as Charlie Parker, Stan Getz, Ben Webster, Cannonball Adderley, Lee Konitz, and many more.

Drawing from several musical and cultural Puerto Rican traditions, saxophonist Miguel Zenón takes the concept to a completely different level on Yo Soy La Tradición, recipient of 8 chamber-like pieces written for alto sax and a quartet of strings. With the help of The Spektral Quartet - Clara Lyon and Maeve Feinberg on violin, Doyle Armbrust on viola, and Russell Rolen on cello - the saxophonist validates his own identity, exploring the Puerto Rican roots and heritage with compositional virtuosity.

Rooted in the Catholic tradition, “Rosario” is layered with sequences of rapid movements, occasional counterpoint but also a convergent unity presented in the form of unisons. Zenón breathes in synch with the quartet at his service, just like happens on the following “Cadenas”, a phenomenon metered in six, where the folk melodies of the saxophonist are subjected to violin responses and episodic replications.

Both “Yumac” and “Viejo” are connected to the Jibaro tradition. The former, set about like a Paganini’s caprice, has the quintet symphonizing tunefully with contrapuntal brilliance, pointillistic pizzicatos, and unfailing parallel lines; while the latter makes its way through arpeggiated interplay, having portentous slashes of cello contrasting with limpid saxophone wails in a beautiful dance of timbres. By the end, Zenón casts off an inspired solo. He pulls off another great improvisation on the melodious “Promesa”, a mournful lament inspired on the festivities of the Three Kings Day.

With a sequence of dominant chords in its harmonic progression, “Cadenza” waltzes steadily with the strength of a Mozart’s minuet until a pulse-free navigation makes us lose the sense of tempo. The final section reinstates the triple time, appending handclaps in an exultation of the Latin music's spirit.

Yo Soy La Tradición is a chamber tonic for the ears. Its complexities, in form and tempo, are hidden through cerebral arrangements that permit an intuitive readability of the music. Because in music, demanding executions usually require demanding listenings, get ready for the challenges this CD offers.

Grade B+

Favorite Tracks:

02 - Cadenas ► 05 - Viejo ► 07 – Promesa

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