Michael Dease - City Life

Label: Origin Records, 2025

Personnel - Michael Dease: trombone; Linda May Han Oh: bass; Jeff ‘Tain’ Watts: drums; Brooklyn Dease (disc1: #1,4); Nicole Glover: tenor saxophone (disc 2); Geoffrey Keezer: piano (disc 2); Jared Beckstead-Craan: bass (disc2: #4,6).

If you’re in the mood for consummate straight-ahead jazz that flows as crisp as a mountain stream, then trombonist Michael Dease’s City Life will certainly satisfy. Dease, a Michigan native, pays tribute to fellow Michigander Gregg Hill, a gifted composer whose work has also been interpreted by bassists Rodney Whitaker and Dave Sharp. City Life is a double album, with the first disc spotlighting a core trio—bassist Linda May Han Oh and multifaceted drummer Jeff ‘Tain’ Watts, recording together for the first time— and the second disc expanding into a quintet with saxophonist Nicole Glover and pianist Geoffrey Keezer. The set also includes covers of tunes by J.J. Johnson, Sharel Cassity, Greg Tardy, and Emily Remler.

It is important to note that there’s plenty of bounce and energy throughout. Disc one opens with “Willow Walks In”, a 12-bar blues rendered with a prominently groovy feel. “City Life” bustles with swinging vivacity before Dease and Oh trade fours with Watts. “Movie Theme” features the sweet voice of Dease’s young daughter, Brooklyn, alongside a nice trombone solo. Sharel Cassity’s “Say Whaaat” is delivered with jaunty lilt and upbeat spirit, while JJ Johnson’s swoony tune “Sweet Georgia Gillespie” turns into a hard-swinging romp, magnified by melodically inventive improvisations from the trio. My favorite piece, however, is “Danger Zone”, which features harmonious synchronicity between trombone and bass, propelled by Watts’ thrilling groove.

Disc two is even more colorful, offering streamlined dynamics without sacrificing grit. It opens with two excellent Hill compositions, “Tea Time” and “The Classic II”, both exuding refined harmonic appeal and vibrant soloing. Dease and Glover form a lively frontline, exchanging fours with Watts on the breakneck-paced “Skittles”. The album concludes with Hill’s “Lafayette Square”, but not before another rendition of a JJ Johnson’s piece - the tenderly brushed ballad “Enigma”.

This is an undeniably strong record, a confident embrace of jazz tradition that finds Dease at the top of his game, joined by deeply seasoned musical partners.

Favorite Tracks:
03 (CD1) - Danger Zone ► 04 (CD1) - Movie Theme ► 01 (CD2) - Tea Time ► 02 (CD2) - The Classic II

Matthieu Mazué Trio + Michael Attias - Monoliths and Screens for Quartet

Label: Self produced, 2025

Personnel - Michael Attias: alto saxophone; Matthieu Mazué: piano; Xaver Rüegg: double bass; Michael Cina: drums.

Explorative Swiss-based French pianist Matthieu Mazué anchors his trio—with Xaver Rüegg on double bass and Michael Cina on drums—in a collaborative project with razor-edged alto saxophonist Michael Attias, who has already captured avant-garde hearts with albums like Nerve Dance and LuMiSong. Monoliths and Screens For Quartet features eighth pieces that, blending composed sections and improvisation, carve out a personal dimension of musical expression.

“Monolith: Twelve Stones” unfolds with dark, mystifying piano chords and the angular lines of Attias, whose sardonic tone and rhythmic phrasing—combined with the piano—evoke the productive synergy between Eric Dolphy and Misha Mengelberg. Tenacious piano and expressive drums interact with convulsive intensity, and there’s a marked irreverence in both Mazué and Attias’ solos. In a similar vein, “Screen: Screams” flows with fluid piano ideas over a cyclic, colorful backdrop that, without warning, begins to swing with intent. And Attias generates all manner of tension through his inventive phrasing.

Rüegg and Attias found agreeable consonance in “Mrmnnmnts”, supported by understated piano smears. The saxophonist, sublime in both language and tone, improvises with heart, followed in turn by Mazué and Rüegg over a steady rhythmic base. “Monolith: á Propos de la Matiére” is delivered as a somber and abstract rubato, while “Le Regard Dans Le Vide” becomes a melancholy ballad skillfully introduced by piano.

The band engages in staccato interplay on “Screen: My Ghosts Are Underground”, whose theme is marked by a dominant and expressive type of language. Chaos emerges as the ensemble stirs agitation, but the mood shifts along the way—from meditative to darkly suspenseful to forcefully turbulent. By contrast, “Monolith: Stoned” feels like a spinning vertigo, with Attias channeling Monk in his exuberant riffing. The quartet then descends into a mournful state, with elongated alto sax notes and bowed bass contributing to a tearful solemnity, closing with saxophone multiphonics.

Overall, this is a fruitful alliance rich in textured soundscapes and intriguing tonal qualities, marked by structural complexity, unmistakable rhythmic drive, and captivating improvisation. It’s a strong choice for those in search of the pleasures found in well-measured modern jazz with a progressive, creative spirit.

Favorite Tracks:
01 - Monolith: Twelve Stones ► 04 - Screen: My Ghosts Are Underground ► 06 - Screen: Screams

Hanging Hearts - Where's Your Head At

Label: Ropeadope, 2025

Personnel - Chris Weller: tenor and bass saxophones; Cole DeGenova: keys, synth, synth bass; Quin Kirchner: drums, percussion.

Hanging Hearts is a powerhouse bass-less trio from Chicago led by saxophonist Chris Weller and featuring Cole DeGenova on keys and synths, with Quin Kirchner replacing Devin Drobka on drums. They’re technically outstanding, but it’s their soulfulness and energy that make their music feel fresh and instantly likable. Where’s Your Head At is the unit’s third album.

The stunning opener, “Rise”, kicks off with strident determination, propelled by a powerful synth riff and engagingly misplaced drum accents. It quickly shifts into a section in seven, where Weller’s saxophone lines turn incisively witty. The vitality of punk rock fused with the carefree spirit of free jazz creates a raw musical energy, yet the trio crafts a different finale with Coltranean sax etchings over cymbal-toms textures and spacious synth embellishments. This track is the album’s only group composition.

Weller’s “Shégara” and “Horizon” offer different flavors. The former soars as a playful, animated fusion of African and Caribbean rhythms, while the latter, initially ambient and atmospheric, gradually unfolds into a tangible song structure. Their intensity, however, is rivaled by DeGenova’s “In the Garden”, a dynamic blend of electronic music and avant-garde jazz set to a ternary pulse. As Kirchner and DeGenova unleash battering drums and rippling synth waves, respectively, Weller keeps the melodic thread intact, occasionally bursting into gusty growls and rapid trills.

Weller proves to be a versatile composer whose ideas cohere within an aesthetic that embraces odd meters, rock-inflected grooves, and electrifying jazz. His “Strong & Wong” begins with literal on-the-beat steps before shifting into complex tempos, subtly infused with R&B and pop aromas—it could have made a great ABBA song. “Fight Song” is a U2-meets-Coltrane experiment, with a B section reminiscent of Pavement, showcasing formidable sax improvisation and synth psychedelia. That psychedelia—echoing Pink Floyd’s golden era—also floods “It’s Aliens”, a track built around a catchy riff and seamless transitions between 4/4 and 5/4.

These rhythmic shifts and nuanced changes in direction keep the music vibrant and unpredictable. The trio’s progressive approach yields fascinating results, making Where’s Your Head At a memorable album and a standout in Hanging Hearts’ still small yet impressive discography.

Favorite Tracks:
01 - Rise ► 05 - In the Garden ► 08 - Fight Song ► 09 - It’s Aliens

Marty Ehrlich Exaltation Trio - This Time

Label: Sunnyside Records, 2025

Personnel - Marty Ehrlich: alto and tenor (#8) saxophones; John Hébert: bass; Nasheet Waits: drums.

Multi-reedist Marty Ehrlich has led several remarkable sax-bass-drums trios since his 1984 debut recording The Welcome, which featured bassist Anthony Cox and drummer Pheeroan AkLaff. His latest effort, Trio Exaltation—featuring longtime collaborators bassist John Hébert and drummer Nasheet Waits—returns seven years after its debut with seriously good stuff. This Time presents six original Ehrlich compositions alongside two interpretations of pieces by the late, great pianist Andrew Hill, with whom Ehrlich collaborated for four or five years. The album is dedicated to Hill’s widow, Joanne Robinson Hill.

Ehrlich’s “Sometimes This Time” opens with sizzling cymbal work that soon extends across the drum kit, underpinned by a round, grooving bass line that anchors and tempers Ehrlich’s kinetic, zigzagging improvisations. Waits contributes a thrilling drum solo before the theme returns to close the piece. “Twelve For Black Arthur”, a blues-infused burner with post-bop flair, is a tribute to altoist Arthur Blythe. The trio intensifies beyond the theme, with Ehrlich incorporating several of Blythe’s characteristic approaches to melody and improvisation.

“Conversation I” and “Conversation II” are two sax-and-drums duets in which Ehrlich and Waits showcase explosive chemistry and euphoric avant-garde expansiveness. “As It Is” unfolds through a shuffling rhythmic undercurrent from bass and drums, creating a rubato ebb-and-flow over which Ehrlich’s poised saxophone explorations escalate into quick-strike phrases—built on motifs, wild trills, and shifting patterns.

Ehrlich’s burnished tone lends warmth to the romanticism of Andrew Hill’s ballad “Images of Time”, tinged subtly with Spanish inflections. Hébert’s solo here is erudite, elegant, and sequentially coherent. On Hill’s “Dusk”, the bassist employs luminous harmonics, paired with the shimmer of Waits’ cymbals. The rhythm section dances with passion and precision, conjuring a twilight aura. Ehrlich’s commanding alto brims with ideas, flowing dynamically through warped contours and revealing the deep connection among these musicians—all former members of the Andrew Hill Sextet—whose years of collaboration bear exceptional fruit.

Favorite Tracks:
01 - Sometimes This Time ► 02 - Dusk ► 09 - Conversation II

Henry Plotnick - Tributaries

Label: Tide Bloom Records, 2025

Personnel - Henry Plotnick: piano; Adam Cordero: alto and tenor saxophones, clarinet; Kal Ferretti: trumpet, flugelhorn; Jasper Grigsby-Schulte: bass; Gary Jones III: drums; Emmanuel Michael: guitar (#1,4,8); Noa Chait: vocals (#9); Samantha Kochis: flute (#9).

Likely you’ve never heard of Henry Plotnick, a San Francisco-born Brooklyn-based pianist and composer with an extraordinary talent for combining melodies and harmonies in a pleasing, effective manner. Throughout his debut album, Tributaries, an unbridled creativity bubbles to the surface as Plotnick—a young prodigy who played Satie at the age of six—takes center stage, presenting nine engaging originals.

The album kicks off with the title track, a sleek, impeccably arranged post-bop adventure that shows he and his group are intent on moving forward with rhythmically complex accents, quick-moving melodies, vibrant harmonic energy, and a tight sense of unity. Plotnick spices up his well-balanced solo with precision, while guest guitarist Emmanuel Michael glides nimbly across the fretboard, crafting fluid phrases and searing patterns. They’re followed by saxophonist Adam Cordero, who plays with astonishing vitality, and drummer Gary Jones III, who stretches his chops with elastic flair before the band returns to the swirling magic of the main theme.

Since Plotnick and his crew approach the themes with clear passion, melody becomes central to the album’s identity. Both “If You’d Just”, a breezy piece featuring thrilling solos from bass, guitar and saxophone, and “Silobos”, where Cordero—firing off staccato-laden lines—and the bandleader deliver their musical statements with character, reinforce this impression.

“Waverling”, with its gleaming textures softened by clarinet and elevated by Kal Ferretti’s triplet-laced trumpet solo, and the sumptuous waltz “Turn of the Sea”, which sports a rock-inflected vamp and a guitar-led outro, radiate a sense of harmony with their sonic surroundings. And while “Proper Motion” is a hard-bop-tinged burner, “Bonesetter” opens as a bass feature, later developing into a swinging 12-beat groove sure to hook many listeners. Plotnick shines here, exploring the full range of the keyboard. The album ends on an emotional note with “Only This”, featuring guest vocalist Noa Chait and flutist Samantha Kochis.

Everyone seems elated to be playing these compositions, which they navigate with care and verve. Together, this band sparks a bright light, and Plotnick makes a strong case for himself as a serious composer, improviser, and bandleader.

Favorite Tracks:
01 - Tributaries ► 03 - Bonesetter ► 04 - If You’d Just ► 07 - Silobos

Chris Cheek - Keepers of the Eastern Door

Label: Analog Tone Factory, 2025

Personnel - Chris Cheek: tenor and soprano saxophones; Bill Frisell: electric and acoustic guitars; Tony Scherr: bass; Rudy Royston: drums.

Chris Cheek is a refined American saxophonist known for his lush tone and uplifting energy. In addition to his extensive work as a sideman, he established himself as a gifted bandleader, releasing memorable jazz works like I Wish I Knew (FSNT, 1997) and Vine (FSNT, 2000). On Keepers of the Eastern Door, he leads a superb quartet featuring the inimitable guitarist Bill Frisell and two of his regular rhythmic supporters, bassist Tony Scherr and drummer Rudy Royston. The eight-track collection weaves together original compositions, jazz standards, and inventive reinterpretations of works by Olivier Messiaen, Henry Purcell, and The Beatles. The result is a mesmerizing blend of tradition, classical music, pop/rock, and spacious contemporary jazz.

The album draws inspiration from Native American culture—particularly the Mohawk people—as well as from Edward Curtis’ photography and Cheek’s memories of his native St. Louis. The opener, “Kino’s Canoe”, displays a buoyantly catchy theme, with Cheek confidently pouring his melodic sophistication over Frisell’s brilliant harmonic landscape, anchored. by the supportive glue of Scherr and Royston, true rhythm stabilizers. The title, inspired by John Steinbeck’s The Pearl, helped giving shape and rhythm to the melody. 

“Smoke Rings”, written by guitarist Gene Gifford and first recorded in 1932 by the Casa Loma Ensemble, floats along with a gentle swing, radiating charm and warmth. In contrast, the quartet’s rendition of the Broadway standard “On a Clear Day” receives an imaginative reworking marked by a joyful, funky feel and an infectious sense of ease that further promotes relaxation. 

Cheek dips into the Beatles’ catalog with “From Me To You” — not many surprises here but plenty of understated grace and warmth. However, the album’s most striking moments come from its classical music reinterpretations. Messiaen’s “O Sacrum Convivium!”, a tribute to motherhood, is reimagined with a 3/4 pastoral lilt that verges on dizzying. Frisell, on acoustic guitar, and Cheek, on soprano saxophone, embark on an adventurous journey merging folk, modern classical, and post-bop. The subsequent adaptation of Henry Purcell’s “Lost is My Quiet”, also in 3/4, yields subtler results but remains sonically intriguing. 

The title track, Cheek’s original “Keepers of the Eastern Door”, embraces thoughtful post-bop sensibilities with gentle undertones, highlighted by Royston’s expressive cymbal and mallet work. Emotionally resonant and intellectually engaging, this artistically rewarding album honors those who strive to live in harmony with the world around them.

Favorite Tracks:
01 - Kino’s Canoe ► 03 - O Sacrum Convivium! ► 04 - On a Clear Day

Jonathan Reisin - Too Good X Unreality

Label: Boomslang Records, 2025

Personnel - Jonathan Reisin: tenor and soprano saxophone; Shinya Lin: piano, prepared piano; Jarred Chase: drums.

With his fourth album as a leader/co-leader, Too Good X Unreality, Israeli-born, Brooklyn-based saxophonist Jonathan Reisin reaffirms the strong impression left by his debut, Option B (Habitable Reords, 2022), as well as by Earthquake (577 Records, 2023), which featured him alongside his mentor, the creative Cuban drummer Francisco Mela. As a firm representative of a young generation of contemporary avant-gardists, Reisin tackles compositions that require sharp improvisational insight. For this recording, he spearheads a bass-less trio featuring pianist Shinya Lin and drummer Jarred Chase, centering on the connection between complexity and simplicity in music.

“Walk and Talk” proceeds at a casual pace yet crackles with excitement. A brittle soprano saxophone, steeped in microtonalities and angular phrase work, shapes landscapes guided by ostinatos. A dark 3/4 vamping section, evoking a sense of danger, pushes Chase into unaccompanied stretches. “Through the Glass” incorporates counterpoint and parallel motion, shifting between ensemble calmness and bursts of sound. Designed for sight-reading, the piece uncovers dynamic nuances and leads to fresh musical terrain.

Taking more abstract paths and sinister tonalities, “Too Good X Unreality Pt.1” explores with strange noises and off-beat gestures. Long saxophone notes oppose to sudden single-note flurries and cycles of circular breathing, producing somewhat heavy, whirling resonances. “Too Good X Unreality Pt.2” follows a similar trajectory—exploring pulses and repetition while unfolding with tuned percussion, gong-like prepared piano timbres, air saxophone techniques that evolve into wide-ranging tones, and mysterious droning textures complemented by coruscating cymbal work.

“Offertorium”, inspired by Soviet composer Sofia Gubaidulina, unfolds deliberately with a laidback swagger, entering an intricate rhythmic flux that lurches in precise lockstep. Mischievous pianism—grounded in low-end resonance and prepared key textures—and a communicative saxophone solo call to mind the pervasive Perelman/Shipp alliance or the escapist fantasy of Matt Mitchell’s musical universe. “Prelude” closes the journey with recurrent ideas that expand and dissolve, with Reisin on soprano and Lin’s piano as it leaps through bold intervallic shapes.

Reisin, who developed his concept and compositions over two years, confirms himself of a saxist of penetrating focus. This new work should deservedly elevate his musical profile.

Favorite Tracks:
01 - Walk and Talk ► 02 - Through the Glass ► 05 - Offertorium

Patrick Zimmerli - Songs of Innocence

Label: EMP, 2025

Personnel - Patrick Zimmerli: soprano saxophone; Kevin Hays: piano; Satoshi Takeishi: percussion.

American saxophonist Patrick Zimmerli has long given jazz aficionados solid reasons to regard him as a masterful composer and arranger. Following the spectacular quartet album Clockworks (Songlines, 2018), eight of his compositions from a 2014 suite were interpreted by the Joshua Redman Trio alongside the string ensemble Brooklyn Rider on the album Sun on Sand (Nonesuch, 2019). In 2020, he released Book of Dreams on Newvelle Records with longtime collaborators, pianist Kevin Hays and drummer Satoshi Takeishi. This same trio reconvenes for Songs of Innocence, channeling their creative energies into five original pieces partly inspired by British poet William Blake. 

Zimmerli’s rhythmically knotty tendencies come through in the edgy 11/8 tempo of “60 Morningside”, a piece referencing the red-brick house of Columbia University’s president, seen during his morning walks. His mellifluous soprano sax feels spiritually expansive during the theme and high-flying while improvising. It concludes with a folk-inspired vamp that effectively breaks up the abstraction. “Crow or Dove”, inspired by a line from a Shakespeare’s sonnet, is smooth and meditative, veiled in a warm ambience.

The festive “Wedding Song” varies in intensity, beginning with hand claps before transitioning into a rhythmically intricate medium-fast tempo. Folk and contemporary classical elements are frequent in Zimmerli’s work, also surfacing in “Torsion”, a twisty, odd-metered number with a natural flow and corkscrewing melody, entering a rhythmically vibrant nine-beat vamp before returning to its eloquent theme.

“Dreamscape”, marked by an additive septuple meter {3+4} and crashing rhythmic accents, showcases an impeccable integration of low-register piano work and percussion. It stands out as a vivid reflection of the strange, often unsettling nature of the subconscious, reaching a climax during a vamping 14-beat cycle sequence. At this juncture, Zimmerli’s soprano burns with intensity and urgency.

Zimmerli’s trio balances flowing melodies, intricate rhythms, and kaleidoscopic harmonies within clear structures. Hinting at experimental curiosity, his compositions remain consistently compelling.

Favorite Tracks:
01 - 60 Morningside ► 04 - Dreamscape ► 05 - Torsion

Zoo Too Trio - Poetry Legroom

Label: Shifting Paradigm Records, 2025

Personnel - Michael Cain: piano; Keith Price: guitar; Pheeroan AkLaff: drums.

Zoo Too Trio consists of pianist Michael Cain, a member of Jack DeJohnette’s Special Edition; Canadian-born, New Zealand-based guitarist Keith Price; and esteemed avant-garde drummer Pheeroan AkLaff, who anchored groups led by Cecil Taylor, Henry Threadgill, and Anthony Braxton. Their debut album, Poetry Legroom, reveals a deep musical connection and an introspective-leaning style that is not devoid of mystery and exploration.

The cloudless “O’Neil’s Bay” evokes majestic dawning landscapes, presented as a velvety pop/rock song, subtly jazzified by gentle harmonies. This solidly structured musing reflects the terrain the trio navigates, leading into “Poetry Legroom Okinawa Children”, where rhapsodic piano phrases of variable lengths, together with odd-meter cycles generate a sense of irregularity. Price carves his own path, while AkLaff steps forward for a transitory solo passage, orchestrating rich timbral designs from the drumkit.

Ron Blake’s “Waltz For Gwen” feels like a classic jazz number in Cain’s hands, who also appears unaccompanied in the rubato piece “Solodos”. “Song 1 Day 1” places the guitar in the lead, supported by organ and brushed drumming, channeling a mix of church/gospel tones and the soulful jazz vibes of Grant Green.

“Waxing Gibbous” unfolds as a layered triangular construction—half-dreamy, half-cerebral, yet consistently haunting and atmospheric. A four-beat guitar motif, ample cymbal washes, rattling percussion, and understated piano enclose the listener in a suspended cloud that puffs with AkLaff’s late-arriving cool beat, as well as recurrent notes and electronic frequencies. The ambient-leaning “Winter Fog Morning” doesn’t shy away from a sweet insouciance that feels wry yet unsentimental. 

Some minimalist ideas might intensify but never quite climax into new realms, as the trio indulges in a certain languidity, bringing their individual voices into ambient moods marked by a wide range of emotion. This is the kind of good-natured music that makes us feel peaceful inside.

Favorite Tracks:
01 - O’Neil’s Bay ► 02 - Poetry Legroom Okinawa Children ► 05 - Waxing Gibbous

Barry Deister Quintet - An African Suite

Label: Trans-Pacific Jazz, 2025

Personnel - Barry Deister: tenor saxophone, flute; Paul Mazzio: trumpet, flugelhorn; Randy Porter: piano; Tim Gilson: bass; Tim Rap: drums; Israel Annoh: African percussion.

Credited with past performances in groups led by vibraphonist Bobby Hutcherson and multi-reedist Anthony Braxton, Portland-based saxophonist and flutist Barry Deister takes us on a spellbinding rollercoaster ride through West African rhythms, modal structures, and exotic grooves. In An African Suite, he leads a vibrant quintet whose brash, revitalizing deliveries are boosted by the entrancing rhythmic work of Ghanaian percussionist Israel Annoh.

Capturing the sextet in its brisk, bracing romp, “Afrodite” flows with admirable energy and harmonic push and pull, recalling the spiritual modal jazz of Billy Harper (his ferocious album Somalia comes to mind). The piece starts with a riveting percussive pattern—exuding a sextuple feel—and a bass groove over which the crisp horn section of Deister and trumpeter Paul Mazzio superimpose unison melodies in 4/4 tempo. “The Tro Tro” maintains the modal mood but colors the scene with calypso tonalities, achieving a profound poise and rhythmic beauty. The intense colors and spicy flavors increase with wonderful solos by Mazzio—a sober stream of melodic tradition—pianist Randy Porter, and Deister, who navigates his tenor solo courses with a semi-opaque tone. 

“Sahara Breeze” is tempered by flute and flugelhorn melodies in a smooth 6/8 effort that includes a fine bass solo, while “Bad Juju” presents a dramatic polyrhythmic tapestry, with the habitual soloists riding the waves conjured by the rhythm section. They dig deep in “Push Me, Push You”, a snazzy, muscular setting with a celebratory Latin vibe intersected by indigenous dances from the Sahara and the Orient.

The enchantment of Deister’s five originals comes in many forms and textures, beautifully capturing his adventure in Ghana in 2006. The tunes’ emotive cores, consistently expressed with warmth and earthy sensuality, are complemented by individual discourses delivered with substance and gusto. The result, inclusive and compelling, maintains a remarkable uniformity of musical brilliance anchored in ancient roots and freedom. 

Favorite Tracks:
01 - Afrodite ► 02 - The Tro Tro ► 05 - Push Me, Push You

Darren Pickering Small Worlds - Three

Label: Rattle Records, 2025

Personnel - Darren Pickering: piano, synth, modular; Heather Webb: guitar; Pete Fleming: bass; Jono Blackie: drums.

New Zealander keyboardist Darren Pickering leads his Small Worlds quartet in a third volume of music comprising nine originals. There’s cohesive ensemble work in Three, but the factor ‘surprise’ is often missing, even if the quartet tends to color tender moments with a declarative lyricism.

“Green Blinking Light” helps setting the tone for the album with heartening gestures. A smooth, slightly intriguing sequence of a four-note piano riff materializes with rhythmic accentuations popping up in unexpected places. “What If” is an emotionally charged ballad etched with low-key modular synth warps, a softly brushed backbeat, reverb-drenched guitar, and a clear piano narrative. This unequivocally jazzy harmonic movements are dropped in “Soft Life”, where a metronomic pulse, ambient-electronic spatiality, and dreamlike fantasy are circumscribed by a regular, spasmodic beat.

Jono Blackie’s crisp, time-keeping drumming gives a contemporary feel to the E.S.T.-like “Hjartdal”, where a delicate melody and simmering spontaneous chords put in a claim for resolution. In the 4/4 ballad “Folly”, we feel warmth at play as the music acquires a fusion vibe through Heather Webb’s hot-wired guitar. Pickering then takes center stage, operating atop Pete Fleming’s groovy bass slides and Blackie’s pragmatic drum fluxes.

The group struggles with some ideas, and the material occasionally falls into predictable vibes and spaces. “Randall” is one of those numbers in need of nuance, despite an ultimate riff-driven passage rockified by the guitarist. Also, the swinging “Taylor Time” doesn’t provide special moments, but I still enjoyed the trade bars between the drummer an the rest of the band.

Alternating between soulful and aloof, Three would have benefited with more intense passion and perhaps fewer polished surfaces.

Favorite Tracks:
01 - Green Blinking Light ► 02 - What If ► 05 - Hjartdal 

Arve Henriksen, Trygve Seim, Anders Jormin, Markku Ounaskari - Arcanum

Label: ECM Records, 2025

Personnel - Arve Henriksen: trumpet, electronics; Trygve Seim: soprano and tenor saxophone; Anders Jormin: double bass; Markku Ounaskari: drums, percussion.

The idea to form the notably talented Nordic quartet Arcanum emerged when saxophonist Trygve Seim, bassist Anders Jormin, and drummer Markku Ounaskari were working with Finnish vocalist and kantele player Sinikka Langeland. Seim then suggested that trumpeter Arve Henriksen join him in the frontline, an artist he knew well and had also worked with Langeland.

The music, often delicate and gentle, is strongly expressive, and Seim’s opening track “Nokitpyrt” is a testament to their fluidity and musical character. Reading backwards, the title means “Triptycon”, a clear reference to the iconic trio album by Jan Garbarek, Arild Andersen, and Edward Vesala, released in 1973. The well-delineated melody doesn’t hinder the musicians from diving further into free creation.

“Armon Lapset” is a Finnish traditional song where Jormin’s immersive sound absolutely stuns. His gorgeous melodic conduction invites the horn players into contemplation, in a cadenced folk-like mantra underpinned with abandon by Ousnakri, who knows exactly how and when to play with brittle restraint, and by Jormin himself. The experienced bassist—one of the pillars of pianist Bobo Stenson and saxophonist Charles Lloyd for several years—contributes two numbers: “Koto”, a tranquil piece showcasing his love for Japanese music, and “Elegy”, a cyclic, grief-stricken reflection written on the first day of the war in Ukraine. It features Seim and Henriksen delivering the melody side by side.

“Folkesong” hints at being a ‘song of the forest’, with Seim’s soprano sax cutting through every 12-beat cycle, moving in and out of scope with narrative purpose. Henriksen’s use of electronics is extremely tasteful and organic, enhancing the tunes. Just like the previously described track, “Lost in Van Lose” is a collective improvisation but incorporates a wee bit more of abstraction without losing any of its grace. Other improvised standouts are “Old Dreams”, where piercing trumpet wails cross the rhythmic mesh created by bass and drums, and “Fata Morgana”, whose dark undercurrent conveys more than just enigmatic quiescence. 

Another Seim contribution, “Trofast”, is a 3/4 balm that transports us to heavenly prairies. Here, the saxophonist and the trumpeter take turns, guided by a suave harmonic progression, while the quartet’s rendition of Ornette Coleman’s “What Reason Could I Give” touches on balladic erudition.

As fresh and full of promise as a spring morning, Arcanum sweeps across the smoothly explorative spectrum in a reflective mood. Fertile imagination never needed pyrotechnics, and there’s way in for casual listeners.

Favorite Tracks:
01 - Nokitpyrt ► 03 - Armon Lapset ► 04 - Folkesong ► 07 - Old Dreams

Zack Teran - Navigator

Label: Redhill Records, 2025

Personnel - Peter Epstein: alto saxophone; Josh D. Reed: trumpet; Adam Benjamin: Fender Rhodes; Tim Wendel: electric guitar; Zack Teran: electric bass; Miguel Jimenez-Cruz: drums.

Based in Reno/Tahoe area, eclectic bassist and composer Zack Teran indulges in feisty popping grooves on his lushly produced and deftly executed fusion-tinted album, Navigator. Here, his tight sextet delves into seven original compositions, exploring the soloing aptitudes of alto saxophonist Peter Epstein and trumpeter Josh D. Reed, with the rhythm section fostering individual creativity while providing solid support.

“Lateral Drift” draws from folk, pop/rock, jazz, and funk, cemented in a grooving acid bass foundation that navigates shifting passages. “Dunia” is filled with hope and openness, with the horn players working closely on the melodic theme, which is followed by a bass solo vivid in its imagery and clear in its ideas. A highly tuneful trumpet statement and an ambiguous guitar discourse—offered by Tim Wendel— reinforce the alternate rock flavor, which then dissolves into a crossover jazz extravaganza.

“Celestial Navigator” and “Mana” deepen their fusion inclinations with emotional richness, but it’s “Secrets Under the Lakebed”, with its Kneebody-inflected mix of contemporary rock and post-bop, that ignites the best section of the album. The electrifying vibe encourages Epstein to blow his horn with fervor, and Wendel gives in to shoegaze dizziness following an animated reggae-infused passage with Teran as soloist. 

From that point on, the pieces are thoroughly winsome. “Veiled Citadel” offers a quirky yet liberating experience, probing odd meter with groove while mutating according to the group’s whims. It comes packed with guitar chromaticisms and shifting figures, with bass distortion adding grit before ending in reverb-drenched spaciousness. “Deh Efeh” transcends conventional labels, developing confidently in seven and assuring its fusion roots. It includes a final vamp that favors drummer Miguel Jimenez-Cruz’s rhythmic stretches. 

With Teran at the helm, these six musicians—who know one another well and trust their instincts—demonstrate a sure-handed approach to multiple genres, maintaining structural coherence throughout.

Favorite Tracks:
04 - Secrets Under the Lakebed ► 05 - Veiled Citadel ► 06 - Deh Efeh

Dennis Egberth - The Dennis Egberth Dynasty

Label: 577 Records, 2025

Personnel - Fredrik Ljungkvist: tenor saxophone, clarinet; Niklas Barnö: trumpet; Alex Zethson: Wurlitzer; Linus Hillborg: electronics; Joe Williamson: double bass; Dennis Egberth: drums.

Swedish drummer and composer Dennis Egberth blends rhythm and melody with space and groove in a sextet album inspired by the evolution of electronics in the 1960s and 70s. Over the course of five Egberth originals, fully developed ideas coexist with innate improvisatory instincts, courtesy of Fire! Orchestra members such as saxophonist/clarinetist Fredrik Ljungkvist, trumpeter Niklas Barnö, and keyboardist Alex Zethson. The group is rounded out by Canadian-born double bassist Joe Williamson and electronic artist Linus Hillborg.

“PanGu Part 1: Earth” offers a soaring, atmospheric intro with trumpet, saxophone, and Wurlitzer before digging into a well-balanced bass groove and propulsive drum work that grounds the listener. Explorative individual narratives follow the horn-saturated unison lines that define the theme. “PanGu Part 2: Heaven” is marked by stillness and tranquility, underpinned by a droning bowed bass and tastefully brushed cymbals. Hillborg’s electronics reinforce the ethereal vibe, while Zethson arpeggiates in circular 3/4 movements, with the horns chanting harmoniously in perfect accord.

“Chichen Itza” presents a chill-out, hypnotic effort that feels deeply cinematic, following a perpetual bass groove in seven and having a crisp drumming routinely marking each cycle with snappy fills. “Bogey” struts powerfully with a blend of punk-ish rock ’n’ roll fervor and electro-funk tenacity. Its buoyant tones, energy, and rhythm contribute to the album’s varied tonal palette. The record closes with “Eternal Garden”, which leaves a particularly strong impression with its gorgeous melody—Ljungkvist takes the spotlight here, later expanding outside the norms—soaring over the soulful harmonic richness provided by the rhythm section.

With each track channeling into a cohesive musical narrative, The Dennis Egbert Dynasty contributes to the drummer’s artistic evolution, positioning him as an interesting figure within the creative European music scene.

Favorite Tracks:
01 - PanGu Part 1: Earth ► 04 - Bogey ► 05 - Eternal Garden

Carl Winther / Richard Andersson / Jeff Tain Watts - Steep Steps

Label: Hobby Horse Records, 2025

Personnel - Carl Winther: piano; Richard Andersson: bass; Jeff ‘Tain’ Watts: drums.

Steep Steps marks the sophomore musical collaboration of highly articulate Danish pianist Carl Winther (he worked with Jerry Bergonzi, Tim Hagans, and Walt Weiskopf), sensitive Danish bassist Richard Andersson, and iconic American drummer Jeff ‘Tain’ Watts. Recorded in just one day, the album invites discovery through intensive exploration, with high-caliber jazz tradition as its primary inspiration. Over the course of five tracks—three original compositions by Winther and two jazz covers—the trio exudes infallible musical instinct, responding to one another with admirable tenacity and unfiltered spontaneity.

Winther’s “You Know” is pure post-bop brilliancy, its theme brimming with rhythmic intricacy and a smooth complexity that astonishes. Andersson delivers a refined bass solo over sparse drum patterns, while Winther asserts an extroverted musical personality, employing triplets to a powerful effect. The title track, “Steep Steps”, is a drum showcase at its edges, shifting from modal jazz to a swinging romp in its central section, where Andersson and Winther reveal musical languages full of spirit and color. The bassist is especially captivating with his improvisational choices and geometric motifs.

McCoy Tyner’s “Inner Glimpse” gleams with intensity and swings with abandon. Heralded by his vertiginous rhythmic drive, Watts—who collaborated with Tyner on Double Trios (1986) and Quartet (2007)—brings his exhilarating energy to the forefront. Following the explosive power of this tune is Tadd Dameron’s ballad “Soultrane”, a perfect platform for Andersson’s expressive melodicism and a continuous swirl of introspective emotion. 

The album concludes with Winther’s evolving “Turning Chapter”, a time-shifting piece where piano and bass move in tandem, with breezier currents leaning into groove over swing.

This dynamic piano-bass-drums trio is deeply rooted in tradition, yet enriched by complex overtones and fascinating compositional detail. And they never stop encouraging exploration.

Favorite Tracks:
01 - You Know ► 02 - Inner Glimpse ► 04 - Steep Steps

Joe Lovano - Homage

Label: ECM Records, 2025

Personnel - Joe Lovano: tenor saxophone, tarogato, gongs; Marcin Wasilewski: piano; Slawomir Kurkiewicz: bass; Michal Miskiewicz: drums.

Homage marks the sophomore recording collaboration between leading American saxophonist Joe Lovano and the exceptionally notable Polish trio led by pianist Marcin Wasilewski—featuring the ultra-melodic Slawomir Kurkiewicz on bass and Michal Miskiewicz on drums. The four have cultivated a formidable sound and easygoing simpatico, layering harmonies and effortless rhythmic pulses that shape their deeply personal storytelling.

The program includes five Lovano compositions—including two improvised miniatures (one featuring solo saxophone and the other, gongs and percussion)—alongside a rendition of the ballad “Love in the Garden” by Polish violinist Zbigniew Seifert. The quartet opens with this piece, a rubato effort steeped in sophistication and delicacy, as velvety saxophone glides over introspective piano comping. One can sense a blend of Keith Jarrett, Charles Lloyd, and John Abercrombie in a dazzling musical dialogue that radiates talent and musicianship. 

The standout moments are two strikingly beautiful long-form compositions where ideas are shaped and refined with natural grace. The modal meditation “Golden Horn” begins with rattling percussion—eventually expanding into sparkling cymbals—as bass and piano embark on a shared journey. A simple groove recalling the metric feel of Coltrane’s “A Love Supreme Part I: Acknowledgement” is laid down, and Lovano, ducking in and out of the form with crispness and agility, slowly cooks a great solo with enough spice to put water in our mouths. Following Wasilewski’s fluid storytelling, Lovano switches to tarogato, his lines skittering and dancing to create a hypnotic, Eastern-tinged atmosphere. “This Side-Catville” finds the ensemble in polyrhythmic communion from the outset, playing with contrasting textures and intensities. Graceful chord progressions support an authoritative tenor statement that spreads like wind and warms like sunlight. The tune culminates in an enchanting, almost mystical aura that gently settles into a measured final theme.

“Homage”, Lovano’s dedication to ECM founder and record producer Manfred Eicher, leans into flexible avant-garde expression, promoting improvisational freedom across key shifts. In fact, Homage, the album, is a tribute to all those who inspired Lovano to embrace his true self without reservation: his wife Judi Silvano, his 100-year-old father, Tony ‘Big T’ Lovano, and the above-mentioned Eicher are some of them. Emotional connection and musical brilliance are in abundant supply.

Favorite Tracks:
01 - Love in the Garden ► 02 - Golden Horn ► 05 - This Side-Catville

Marilyn Crispell / Thommy Andersson / Michala Ostergaard-Nielsen - The Cave

Label: ILK Music, 2025

Personnel - Michala Ostergaard-Nielsen: drums; Marilyn Crispell: piano; Thommy Andersson: bass.

Danish drummer and composer Michala Ostergaard-Nielsen anchors her trio— formed in 2022—with Swedish bassist Thommy Andersson and American pianist Marilyn Crispell. Her vision and compositional approach are evident throughout eight original compositions, which alternate between simple motifs and more through-composed material. In both cases, the trio strikes a refined balance between sophisticated craftsmanship and free improvisation.

The introspective title track, “The Cave”, is marked by Crispell’s spacious melodicism, later joined by delicate bass underpinning and softly brushed drums. After the halfway mark, the trio converges in a glowing, unified radiance. “My Spirit Heart” is a multifaceted, all-acoustic number that incorporates the strumming and plucking of piano strings to produce an alternative sonic texture.  Metallic timbres from percussion and cymbals, along with loose, woody bass plucks complete a soundscape that feels uniquely adventurous. The group’s sound converges into something relaxingly prayerful in the spiritual line of Alice Coltrane, and the theme carries intricate lyricism beneath the trio’s artful chamber-improv stylings.

The amphibious and contemplative “T.B.A.” launches with ringing tones and evolves into percussive effervescence and cymbal scratches, while “Into the Light” feels extravagantly ethereal, centered around a bass pedal continuum and a careful blend of grand and toy piano sounds.

Both “Nine Tone Story” and “A Smile of a Butterfly” stand out as highlights. The former—steeped in angularity and packed with explosive energy—features fragmented bass articulations, irregular drum patterns, and spontaneous piano fluctuations. The latter achieves a mantric trance through resonating gongs and piano in consonance, gradually expanding into harmonic territory with a curved, balladic sensibility.

There’s still room for two improvised pieces: “Improv #1” presents Andersson in a solo bass soliloquy, while “Improv #2” builds layers of percussion that crinkle, crackle, rattle, and shimmer. These three kindred, freethinking spirits can harmonize with a beautiful melody in one moment and paint boldly outside the lines in the next. They do both with equal confidence and passion.

Favorite Tracks:
02 - My Spirit Heart ► 05 - Nine Tone Story ► 08 - A Smile of a Butterfly

Seungmin Jung - Anecdotes

Label: Self released, 2025

Personnel - Tal Kalman: tenor saxophone; Bomin Kim: piano; Daphnis Moglia: trumpet; Johannes Ravn: guitar; Seungmin Jung: double bass; Felix Ambach: drums.

Seungmin Jung, a bassist and composer from South Korea, is a graduate of the Manhattan School of Music. For his audacious debut album, Anecdotes, he assembles a state-of-the-art sextet whose members share a close rapport, delivering engrossing compositions layered with a genuine spell - no filters or major effects needed.

The album’s opener, “Blue”, is steeped with melancholy and warmth. Inspired by the Japanese film The Tokyo Night Sky is Always the Densest Shade of Blue, Jung and his peers immerse themselves in pensive, emotional tenderness, following a disentangled melody delivered by the horn players. Although sleek and steady with an elegiac drift, the piece is abundantly graced by Jung—more concerned with honest expression than technical showmanship—and Daphnis Moglia’s trumpet statement, filled with both poignancy and celestial brightness. 

Jung penned “Three Black Beans and a Boy” with his dog in mind. His intro is dark and beautiful in tone, unfolding like a modal prayer with moments of breathtaking suspension and soothing release. The initial subtlety expands into a hard-swinging motion—cooked in the company of drummer Felix Ambach—serving as a backdrop for a folksy, chanting saxophone solo by Tal Kalman, a piano discourse delivered with abandonment by Bomin Kim, and a fragmented-turned-fluid guitar statement by Johannes Ravn. Ultimately, Moglia provides resolution, guiding us into a final prayerful section.

Ambach uses brushes for softness in “From the Middle of the Night”, contributing to the tenderly painted scenery that welcomes inspiring unison lines from saxophone and trumpet. The groovy “Wasteland” is performed in a piano-less saxophone trio format, showcasing dancing bass lines in consonance with the convincing drumming, over which Kalman extemporizes, occasionally locking in tightly with the bass.

“Acadia” has a distinct temperament, beginning as a lush, sweeping 3/4 composition before morphing into a breezy 4/4 passage that emits even more joy and wonder. Inspired by a trip Jung took with his parents to Acadia National Park in Maine, the piece interlaces complementary ideas, concluding with an odd-metered beat cycle pinned by a catchy riff. The album closes on a contemplative note with “Firefly”.

Jung imbues each composition with rich textures and melodies that feel deeply personal. The imagery evoked is vivid, revealing a composer of bristling vitality and generous spirit. Anecdotes is a striking surprise—sonic adventures that begin in the ear but end at the soul. The artist and his work deserve to be discovered.

Favorite Tracks: 
02 - Three Black Beans and a Boy ► 04 - Wasteland ► 05 - Acadia

Vijay Iyer / Wadada Leo Smith - Defiant Life

Label: ECM Records, 2025

Personnel - Vijay Iyer: piano, Fender Rhodes, electronics; Wadada Leo Smith: trumpet.

With their latest collaboration, Defiant Life, pianist Vijay Iyer and trumpeter Wadada Leo Smith reunite for a second time, driven by their deep 'aural attunement’—a creative blend of inspiration, reflection, and healing. Composed over two days, the album channels their sorrow and outrage over the world's cruelties while maintaining faith in human possibility. They convey this through freewheeling avant-jazz atmospheres that lean into ambient textures. 

“Prelude: Survival” unfolds with menacing low-pitched piano drones intertwined with piercingly ethereal auras generated by the grievous trumpet. “Sunud” feels somewhat restrained, despite its disorienting electronics and delicate piano drops. Smith’s muted trumpet playing exudes determination—his first five notes subtly recalling Strauss’ “The Blue Danube Waltz”—yet the piece remains in a suspended, embryonic state until the eighth minute, when Iyer injects more expressiveness on the Rhodes, while still preserving the composition’s atmospheric foundation.

“Elegy: The Pilgrimage” is hazy in the background but clear and spiritually resonant in its foreground. Iyer handles piano and electronics with finesse, gradually infusing harmonic movement and painting the horizon with transcendent blue-toned lines. In turn, “Procession: Defiant Life” dives into an experimental abstract limbo.

While the duo imbues each collaboration with a touch of grace, their individual compositions—one from each—stand out. Smith’s “Floating River Requiem” dedicated to Congolese prime minister Patrice Lumumba, who was assassinated in 1961, unfolds with mournful intonations and fluid rhythmic freedom. Iyer’s darkly bluesy comping provides a majestic backdrop for Smith’s piercingly emotive melodies. In turn, Iyer’s “Kite”, written for the late Palestinian writer and poet Rafael Alareer, highlights the duo’s remarkable synergy in a piece that is both plaintive and luminous. Here, Smith’s trumpet emits bouts of light.

Iyer and Smith follow a more contemplative philosophy weaving deep lyrical contours with a sense of spontaneity. They prove that there’s no need to be bound by rules. They simply need their freedom.

Favorite Tracks:
03 - Floating River Requiem (for Patrice Lumumba) ► 04 - Elegy: The Pilgrimage ► 05 - Kite (for Rafael Alareer)

Stefano Rocco Quartet - Wildlife

Label: Self released , 2025

Personnel - Stefano Rocco: guitar; Nick Southcott: piano; Muhamed Mehmedbasic: double bass; Ed Rodrigues: drums.

Italian-born, Sydney-based cross-genre guitarist and composer Stefano Rocco presents his sophomore album, Wildlife, alongside his faithful quartet (formed in 2019), featuring pianist Nick Southcott, double bassist Muhamed Mehmedbasic, and drummer Ed Rodrigues. He describes this new body of work as ‘an expedition through the animal kingdom’, showcasing a charismatic musical aesthetic shaped by various jazz currents.

The title track, “Wildlife”, is smartly sculpted in a triple meter, featuring a harmonically rich treatment and a forward-looking, well-paced melody. Arpeggiated piano passages lend it a dreamy aura before it abruptly shifts into a driving 4/4 hard-bop swing. The subsequent track, “Cat Walk”, dabbles in smooth crossover jazz reminiscent of Michael Franks and George Benson, with feel-good solos from Rocco—who delivers fine bluesy chops—and Southcott.

While “Coral Reef” thrives on shifting tempos and guitar riffing in a soulful post-bop context that reminds us the initial phase of Pat Metheny Group, the playful yet assertive “Elephant Stomp”, propelled by Rodrigues’ marching snare, ventures into the soul jazz realm of Kenny Burrell and Grant Green. A wild bass solo emerges from the middle passage, while Latin-tinged piano flourishes subtly color the piece.

“Owl’s Flight” reflects Rocco’s modern compositional approach, while “Dreamy Koala” sets a warm, inviting tone with crisp storytelling, highlighted by guitar harmonics and delicately paired piano notes that, while not explosive, are deeply satisfying. The album closes with “Is It You Chameleon”, a waltzing ballad that gradually intensifies and wins us over with its melodic trajectories.

Rocco’s musical tastes are both complex and unexpected, and the album’s arrangements reflect his refined artistry. The chemistry and commitment of his quartet are palpable, and the favorable impression is further enhanced by the fact that these musicians never resort to pyrotechnics to impress. 

Favorite Tracks:
02 - Cat Walk ► 05 - Coral Reef ► 06 - Elephant Stomp