Tom Harrell - Alternate Summer

Label: HighNote Records, 2024

Personnel - Tom Harrell: trumpet, flugelhorn; Mark Turner: tenor saxophone (#1,2,3,9,10); Dayna Stephens: tenor saxophone (#4,5,6,8); Luis Perdomo: piano, Hammond B3, Fender Rhodes; Charles Altura: acoustic and electric guitar (#2,3,5,7); Ugonna Okegwo: bass; Adam Cruz: drums.

Once again, American trumpeter and composer Tom Harrell makes the best use of tradition and modernity in jazz in his latest outing, Alternate Summer. A lyrical storyteller and prolific artist, Harrell maintains his reputation for producing high-quality work, consistently earning the admiration of his listeners. This new effort features ten new original compositions performed by a stellar lineup of collaborators—most of them familiar faces alongside a fresh addition—that bring Harrell’s distinctive style to life.

“Miramar” thrives on a staccato central melody set against a bluesy, groovy texture that supports inventive improvisations. Harrell’s classy statement bridges the realms of hard-bop and post-bop, while saxophonist Mark Turner and keyboardist Luis Perdomo contribute richly melodic passages. Turner’s blistering licks shine even brighter on “Peanut”, a post-bop tune with funk undercurrents, and “Alternate Summer”, a breezy ballad that exudes warmth.

Recording with Harrell for the first time, tenorist Dayna Stephens appears on four pieces - “Intermezzo”, an elegant, low-key 3/4 piece adorned by a wonderful bass solo by Ugonna Okegwo and Harrell’s heavenly reflections; “UV”, a shifting-meter blues that incorporates diffusing B3 organ textures, a sinuous yet intelligible electric guitar solo by Charles Altura, and a vamp for Adam Cruz’s pile-driving drums; “Chalcedon”, a lush post-bop piece with a captivating melody and in-the-groove work by Perdomo; and “Plateau”, which, unfolding with epic ambition, has a pulsating rhythm bassline charting the way forward.

“Wind”, one of the album’s standout tracks, is a serene modal composition anchored by an insistent pedal point and enlivened by unison trumpet-sax melodies and vibrant interplay. There are contrapuntal moves, and a more freeing, funkified texture in support of solos from Perdomo, Turner (who excels with his inside/outside tenor phrasing), and Harrell. For the latter’s improvisation, the band shifts to a 3/4 bossa-flavored groove. 

The album concludes on a high note with the intoxicating “Radius”, which evokes the spirit of Joe Henderson. Here, the ensemble engages in a rhythmically intricate and unfettered dialogue, showcasing their collective chemistry and virtuosity. With Alternate Summer, Harrell once again proves himself to be a masterful, articulate trumpet lead, delivering with precision and emotional depth.

Favorite Tracks:
04 - Intermezzo ► 06 - Chalcedon ► 09 - Wind ► 10 - Radius

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

Barbara Bruckmuller - Three Views of a Musical Piece: A Chain of Moments

Label: Bicolorious Music Records, 2024

Personnel CD2 - Barbara Bruckmuller: composition, conduction, arranger; Aruán Ortiz: piano; Viola Falb: alto saxophone; Kaya Meller: trumpet, flugelhorn; Mario Vavti: trombone; Thatiana Gomes: double bass; Howard Curtis: drums.

Austrian composer Barbara Bruckmuller presents A Chain of Moments - Suite in Five Movements across three different contexts in her triple album Three Views of a Musial Piece. Each CD showcases a different ensemble: a quintet with piano and string quartet, a jazz sextet with a three-horn frontline, and a jazz orchestra with strings. Here, I’ll focus on CD2, which features woodwinds, brass, piano, and rhythm section, anchored by Cuban-born, Brooklyn-based pianist Aruán Ortiz, whose storytelling style brings depth and flair.

“Movement I - East of the West” is a very cool cut, a blues in 5/4 time signature whose groove recalls Lee Morgan’s The Sidewinder. The dynamic orchestration builds into a collective crescendo, framing a lively, nimble solo by Vienna-based alto saxophonist Viola Falb, who later engages in a duo conversation with Ortiz. The pianist then takes the stage unaccompanied, displaying his rhythmic mastery and characteristic angular phrasing.

“Movement II - Limited (But Sweet)” has an understated atmospheric commencement with conspicuous cymbal work by American drummer Howard Curtis, who is based in Austria. His tom-toms rumble as the 4/4 ballad takes full shape, supporting pleasant solos from bassist Thatiana Gomes and flugelhorn player Kaya Meller. Ortiz, as always, ventures outside boundaries, supported closely by bowed bass. In “Movement III - Matter of Fact” dreamlike piano droplets and sweeps give way to a smoothly brushed mid-tempo swing. Deleted soloists for this number are Falb, who blows her horn with post-bop abandon, trombonist Mario Vavti, whose charming statement is filled with great note choices, and Ortiz, who shows his love for playing outside the norms.

“Movement IV - Rewind (& Play Again)” showcases Vavti’s melodious trombonism in its shaded dynamics and smooth transition to the swinging improvisational section. “Movement V - Conclusion”, closes the suite with a rhythmic 5/4 pulse, marked by staccato piano comping and bold horn lines, followed by a darkly atmospheric “Epilog”, where Ortiz, playing solo, is in his element.

CD3 takes Bruckmuller’s compositional and arranging talent to the orchestral level, adding strings and the rich, meaty baritone sax of Herwig Gradischnig, setting the tone right from the first movement. While not entirely groundbreaking, the suite is undeniably satisfying, blending sophisticated textures and feel-good energy, with Ortiz’s fearless approach a constant, elevating presence throughout.

Favorite Tracks CD2:
01 - East of the West ► 03 - Matter of Fact ► 05 - Conclusion

Lionel Loueke & Dave Holland - United

Label: Edition Records, 2024

Personnel - Lionel Loueke: guitar; Dave Holland: bass.

Benin-born guitarist Lionel Loueke and British bassist Dave Holland continue to hone their craft with distinction on United, a duo project that celebrates the beauty of their musical rapport and the dream of a unified world. The idea for this brew of modern jazz and West African folk emerged after a soundcheck when they were improvising together, resulting in 10 original compositions by Loueke and a fresh rendition of Wayne Shorter’s “United”, which gives the album its title.

The album opens with “Essaouira”, a piece in six where Loueke uses his voice as an extra percussive layer on top of the pulsing guitar texture. “Yaoundé” pays tribute to another African city through an exuberant rhythm and radiant tonal colors. “Chant”, a balladic excursion in 3/4, showcases the duo’s generous musical share, while the immutable “Celebration” bursts with joy, driven by Loueke’s rhythmic staccatos and voice and Holland’s deeply grooving bass lines. Each piece demonstrates the clarity and conviction of their individual perspectives and the improvisations confirm strong points of view.

Unfolding in nine, “Tranxit” brings together the throbbing pulse of Afro-funk and the smoothness of bossa nova, with Loueke’s guitar taking on a high-pitched effect at the forefront. Funk also permeates “Hideland”, where the duo explores variations in pace and feel, with Holland boasting his full-bodied sound, wooing with groovy freedom. “Humanism”, sung in French, reveals exceptional harmonic richness and innate lyricism, creating an alluring fusion of their distinctive sounds.

The duo’s love of odd meter shines on “Strangers in a Mirror”, set in a delicate 13-beat cycle, before concluding with Shorter’s “United”, a wordless 3/4 tune with a refined swing and warmly atmospheric improvisations. With its exotic charm, seamless cohesion, and vibrant musical dialogue, United offers an honest and heartfelt experience, sure to resonate with world jazz enthusiasts.

Favorite Tracks:
03 - Tranxit ► 09 - Hideland ► 10 - Humanism ► 11 - United

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)

Aaron Parks- Little Big III

Label: Blue Note Records, 2024

Personnel - Aaron Parks: piano; Greg Tuohey: guitar; David Ginyard Jr.: bass; Jongkuk Kim: drums.

The third installment of pianist and composer Aaron Parks’s Little Big quartet has arrived, featuring nine original compositions—five by Parks, three by guitarist Greg Tuhoey, and one by bassist David Ginyard, Jr. The group is rounded out by South Korean drummer Jonkuk Kim, who replaces Tommy Crane. There’s a strong sense of identity within the band, as they explore cohesive moods where jazz tradition seamlessly merges with contemporary sounds. At times, however, Little Big III feels a bit restrained, as if the group is holding back, casting a tentative, incantatory spell rather than delivering consistently memorable moments.

That said, the album has a promising start, with Parks’ “Flyways” launching the listener on an exhilarating journey through space. The pianist’s insistent chords throughout this boldly asymmetric piece—built on additive 10+9 beat cycles—enjoys positive contrast from Tuohey’s outgoing guitar work. Also from Parks, “Locked Down” and “Heart Stories” both lean into balladic storytelling, with the former infusing more elements of interest—in a fine blend of strange mystery and sweet resignation—than the latter, which, despite its melodic and harmonic poignancy, lacks spark.

Tuohey’s “Sports” gets underway with a 24-beat bass groove underpinning a gorgeous melody that hints at African inspiration. Park’s solo here is the warmest of company, while Tuohey’s could be further expanded. The funk-rock energy produced by bass and drums gets us quickly hooked, but the guitarist has other compositional offerings, spreading waves of Americana on his “Willamina”. Ginyard Jr. contributes “Little Beginnings”, bringing a fusion of smooth jazz and R&B with a peculiar bluesy feel. Stylist and fresh, it features a regenerative piano cycle, syncopated drumming, snappy bass lines, and a guitar solo tinged with a high-pitched, flute-like effect. 

The album concludes with Parks’ “Ashé”, a spacey, delicately brushed tune first recorded in 2007 and included on Terence Blanchard’s A Tale of God’s Will. Here, it’s infused with an added layer of dreamlike sensitivity, bringing the album to a fitting close that resonates with both nostalgia and quiet wonder.

Favorite Tracks:
01 - Flyways ► 02 - Locked Down ► 04 - Sports

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

Fabio Rojas - Perseverance

Label: Self released, 2024

Personnel - Fabio Rojas: drums; Greg Osby: alto saxophone; Gustavo D’Amico: tenor and soprano saxophone, flute; Kevin Harris: piano, Fender Rhodes; Osmar Okuma: acoustic and electric bass.

Venezuelan drummer and film composer Fabio Rojas showcases his wide-ranging stylistic interests in his debut album, Perseverance, a reflection on Venezuela’s transition from democracy to dictatorship, as well as the personal struggles that have shaped his musical journey. Rojas has been living in the US for 14 years, and now based in New York, he leads a boundary-pushing unit featuring legendary Greg Osby on alto and Brazilian Gustavo D’Amico on tenor, soprano, and flute. In order to support this excellent frontline, Rojas employed bassist Osmar Okuma and keyboardist Kevin Harris, contributing rich, prismatic textures across nine well-structured originals and a collective studio improvisation.

The album opener, “Ni Un Paso Atras”, thrives with a confident pace and powerful energy driven by Okuma’s snappy electric bass lines and Rojas’ aerodynamic pulse, complemented by dynamic fills. Harris’ piano riff, rooted in a chant of freedom from Venezuelan protests, provides a striking foundation before Osby dazzles with his inside/outside soulfulness over a seven-beat cycle filled with emotional charge. The following track, “Atlas”, keeps listeners in check, exhuming a tensile compression in its asymmetric harmonic flow. The band plays with tempo and speed while maintaining high energy, with standout solos from D’Amico on soprano and Rojas, whose scampering tom-toms and loose-limbed cymbals elevate the track.

Shaped with sophisticated sounds, “Homage AP” and “Loneliness” denote softer edges. The former, a dulcet folk-inspired waltz, is a tribute to Polo (a harmonic structure within Venezuelan folk music from Margarita Island), while the latter is a hip blend of jazz, smooth funk, and R&B. Once again, Osby’s narrative-rich soloing shines through.

“NU, Justice or Accomplice?” takes the form of a balladic complaint against the United Nations’ inaction in addressing Venezuela’s crisis. That’s before the group heads out into groovy territory with “Outro”, a piece spontaneously created in the studio, where Harris’ warm, shapely Fender Rhodes playing takes center stage. Rojas’ versatile drumming and the ensemble's dynamic horn activity add extra color. 

Perseverance is a shining example of collective effort that also contains brilliant soloing. Merit has to be given to Rojas in this debut, which establishes him as a drummer and composer to watch for future sonic explorations.

Favorite Tracks:
01 - Ni Un Paso Atras ► 02 - Atlas ► 04 - Loneliness

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

Brad Shepik - Dream of the Possible

Label: Shift Paradigm Records, 2024

Personnel - Brad Shepik: guitar, Bulgarian tambura, saz, banjo; Layale Chaker: violin; Amino Belyamani: piano; Sam Minaie: bass; John Hadfield: drums, percussion.

American guitarist Brad Shepik possesses a distinctly global musical identity, exhibiting a remarkable ability to seamlessly integrate music from diverse cultures into a post-bop context. Dream of the Possible, his ninth album as a leader, marks the return of his Human Activity band—now featuring an entirely new lineup—in a ten-part meditation on climate change.

The album opens with “Code Red”, where a vivid guitar figure sets the tone, followed by Amino Belyamani’s evocative piano chords, John Hadfield’s groove-driven drumming, and Sam Minaie’s breathing bass lines. Violinist Layale Chaker, born in Paris and raised in Lebanon, joins them, adding a rich melodic layer. Shepik’s guitar solo is lucid and deeply expressive, while Minaie delivers a brief, compact statement before supporting a vamp in five for Belyamani’s practical deliberations. The piece culminates in a unified riff. The following track, “The Search”, is a mid-tempo waltz with doleful folk inflections, composed for the migrants seeking refuge from environmental changes.

Shepik’s world fusion makes skillful use of odd meters in pieces like the title cut, “Future Generations”, and “Naturitude”. “Dream of the Possible” builds around a cyclic harmonic progression with dark undertones, driven by a propulsive beat that helps define its 5/4 time signature, while shifting figures spread over a more rock-inspired texture. In turn, “Future Generations” unfolds gently in seven, and “Naturitude” stands out with its exotic charm, revealing a 10-beat cycle over which Chaker gracefully showcases her sinuous melodic lines. A yawing shift in motion is carried out halfway for Shepik’s guitar solo.

Shepik and Chaker continue to blend their sounds beautifully on “Symbioticity”, offering a colorful, charming spin on Middle Eastern chants and rhythms with a collective center. The band, never dabbling and always to the point, shifts gears for “Travel Back”, which starts quietly before taking off with purposeful, invigorating movements. This number evokes nostalgia for a youthful past and a healthier planet, with Shepik navigating modes and key changes with aplomb.

Brimming with emotion and heart, Dream of the Possible combines thoughtful composition and emphatic sounds into a sincere plea for environmental action. I wholeheartedly stand with Shepik in this cause.

Favorite Tracks:
01 - Code Red ► 03 - Dream of the Possible ► 06 - Travel Back ► 09 - Naturitude

Immanuel Wilkins - Blues Blood

Label: Blue Note Records, 2024

Personnel - Immanuel Wilkins: alto saxophone; Micah Thomas: piano; Rick Rosato: bass; Kweku Sumbry: drums; Ganavya: vocals; June McDoom: vocals; Yaw Agyeman: vocals + guests: Cecile McLorin Salvant: vocals; Marvin Sewell: guitar; Chris Dave: drums. 

Blues Blood, the third studio album by the acclaimed alto saxophonist and composer Immanuel Wilkins, marks a significant shift in his artistic direction, revealing new dimensions in his compositional skills through a predominantly vocalized, multimedia performance about the legacies of our ancestors and the bloodlines connecting us. The album, inspired in part by Wilkins' childhood, features nine original compositions. Commissioned by Roulette and produced by Meshell Ndegeocello, whose influence is evident on several tracks, the album reflects a rich blend of musical styles.

The opening track, “Matte Glaze”, flows effortlessly, conjuring a relaxed neo-soul vibe with a delicate, earthly foothold in the groove. Wilkins delivers an intense solo over the vamping backdrop offered by the dutiful rhythm section—featuring Micah Thomas on piano, Rick Rosato on bass, and Kweku Sumbry on drums—while the vocals remain loosely tethered to the music. “Motion”, with a slick three time feel and vocalist June McDoom at the forefront, subverts expectations during Wilkins’ improvisation by setting a swinging motion against the dreamy atmosphere.

“Everything” begins with a forward-leaning 22-beat cycle before transitioning midway into a meditative lament, highlighted by Ganavya’s ethereal quarter-tone-infused chanting. She happens to be a wild card here, leaving an indelible mark again on “Afterlife Residence Time”, in a soulful passage in seven that evokes a ritualistic work song with an Eastern flair. This number, which begins in a straightforward 4/4 time with dynamic drum fills and solos by Wilkins and Thomas, also guests Marvin Sewell on acoustic guitar. The quartet picks up the same groove for “Mosphit”, a spiritual instrumental journey that opens new doors for the soul.

Renowned jazz singer Cecile McLorin Salvant adds a delicate narration to “Dark Eyes Smile”, a breezy 3/4 tune driven by soft brushes and an understated bass solo. The album concludes with its title track, “Blues Blood”, a chameleon-like piece that finds fresh avenues in Wilkins’ multidimensional compositional wizardry and stylistic versatility. Beginning as a vibrant neo-bopper with angular and curved shapes, the track takes a bold turn as Sewell injects a feisty rock energy with his electric guitar, before culminating in a gospel-infused finale with the vocalists reaching ecstatic heights.

Wilkins provides pure silver fluidity in musical conversations full of inspired moments and sophisticated interplay. His deep sense of joy and ethos infuses the album with heart and soul, creating a work that stands apart. In the words of its creator, Blues Blood is intended as a soothing balm for everyone searching for peace.

Favorite Tracks:
01 - Matte Glaze ► 04 - Everything ► 09 - Afterlife Residence Time ► 14 - Blues Blood

Alex LoRe - Motivity

Label: Weirdear Records, 2024

Personnel - Alex LoRe: alto and C melody saxophone; Thomas Morgan: bass; Johnathan Blake: drums.

Saxophonist and composer Alex LoRe delivers a cool-toned tradition-leaning album with Motivity, where he showcases a musically inclusive spirit, paying tribute to one of his mentors, the late saxophonist Lee Konitz. Assisted by the powerful rhythm section of bassist Thomas Morgan and drummer Johnathan Blake, LoRe navigates his originals, one composition by Konitz, and three standards with grace and spontaneous ease.

The album kicks off with Schertzinger/Mercer’s “I Remember You”, executed with an openhearted, Konitz-like subjectivity, effortless swinging feel, and engaging improvisational exchanges. The influence of Konitz is unmistakable on the inquisitive “Like-Lee”, where fluid motion allows space for classical lyricism to emerge within the jazz lines. The piece is propelled by skittering drums and vamping bass processions. Konitz’s own “Thingin’” is a richly harmonic post-bop piece that, following a dedicated saxophone intro, offers an upfront bass solo as well as spirited bar trades with the drummer.

“A Weaver of Dreams” radiates eloquent melodicism in its fairly straight-ahead setting, making for a fine companion to “’Tis Autumn”, which ascends with a heavenly melody, softly propelled by brushed drums. While these artfully executed standards sound familiar, the more striking moments come from the originals, particularly “Free” and “Overly Sentimental”. The former is a lush, spaced-out spontaneous piece that invites listeners to explore its curious, enigmatic tones. The latter, a contrafact on “I’m Getting Sentimental Over You”, swings infectiously, with LoRe overdubbing himself on C melody to create bop-ish polyphonic surprise.

LoRe brings a mature and thoughtful musical perspective to Motivity, and his tribute to Konitz feels genuine and well-crafted. However, one might wish for more original material. This impression should not be a problem for fans of Konitz, who may enjoy the stylistic nods paired with LoRe’s personal new views. 

Favorite Tracks:
06 - ’Tis Autumn ► 07 - Free ► 08 - Overly Sentimental

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

Peter Bernstein - Better Angels

Label: Smoke Sessions Records, 2024

Personnel - Peter Bernstein: guitar; Brad Mehldau: piano; Vicente Archer: bass; Al Foster: drums.

Guitarist and composer Peter Bernstein, who blew my mind with albums such as Signs of Life (Criss Cross, 1995) and Strangers in Paradise (Tokuma Records, 2004), returns to the quartet format with Better Angels, after two trio sessions with Larry Goldings and Bill Stewart. For this release, Bernstein assembled a multi-generational ensemble featuring longtime collaborator and renowned pianist Brad Mehldau, bassist Vicente Archer, and legendary drummer Al Foster, with whom Bernstein played before but never recorded.

The album kicks off with Bernstein’s “Perpetual Pendulum”, a slow-burn groover that first appeared on his 2022 trio album of the same name. The track blends dulcet melodicism with an elegant, swaying pulse that lays the foundation for the soloists. Bernstein’s signature lyricism convenes bluesy phrasing and jazz coloring filled with chromaticism, while Mehldau’s logic narratives include chained melodic ideas that rise and fall with passion.

Tracks like “Ditty For Dewey” and “Hazel Eyes”, dedicated to family members, achieve a pleasing balance, with the latter being a richly textured ballad. “Better Angels”, likely inspired by Bernstein’s children, is a suave, in-the-pocket 3/4 piece where to Mehldau brings delicate trills, breaking points, and subtle dynamic shifts. Bernstein also delivers two solo performances: Mel Tormé/Robert Wells’s “Born To Be Blue” and J.J. Johnson’s “Lament”. The latter, introduced by a strikingly dissonant chord, stands out as the guitarist weaves together improvised melodies and harmonic coloration with keen sensibility.

The album’s two standards offer contrasting impressions. While “You Go to My Head” remains a straightforward, perhaps unsurprising interpretation, Duke Jordan’s “No Problem” emphasizes atmosphere and rhythm. Foster drives the track with a bubbling bossa groove, eventually trading eights with the band to close out the tune in style.

Better Angels is a smooth jazz album that simmers rather than boils, presenting familiar jazz elements while occasionally enchanting with its refined sonic treatments and thoughtful arrangements. Though far from groundbreaking, the album shines in its moments of graceful nuance.

Favorite Tracks:
01 - Perpetual Pendulum ► 07 - No Problem ► 08 - Lament

Walter Smith IIII - Three of Us Are From Houston and Reuben is Not

Label: Blue Note Records, 2024

Personnel - Walter Smith III: tenor saxophone; Jason Moran: piano; Reuben Rogers: acoustic bass; Eric Harland: drums.

Saxophonist and composer Walter Smith III, who has been quietly pumping out excellent records as a leader, opted for writing less in his latest recording, Three of Us Are From Houston and Reuben is Not, a tribute to his hometown, Houston, Texas. The saxophonist, always clear in the ideas and strong in the emotions conveyed, gathered the protean rhythm section that supported saxophonist Charles Lloyd - pianist Jason Moran, bassist Reuben Rogers, and drummer Eric Harland - and humorously informs who is from Houston and who’s not. Rogers hails from the Virgin Islands. 

The record opens with “Seesaw”, a medium-fast post-bop tune in 3/4 time, whose staccato melody oozes charisma. There’s a sense of urgency in the arrangement, with serpentine lines floating over a rich harmonic progression. “Gangsterism on Moranish” tips its hat to Moran’s Gangsterism composition series, beginning with a plaintive sax figure that is followed closely by the pianist. They develop it from there with creativity, delivering soulful solos that emphasize the middle range.

The driving intensity of “24” channels the spirit of Sonny Rollins, with sparse bass comping and continuously active drums laying the groundwork. Later, Moran matches the energy, responding adequately to the rhythmic stimuli by harmonizing freely. “Cézanne”, a post-bop piece named after the iconic Houston jazz club rather than the French painter, offers another elegant post-bop canvas for the group to swing hard with unbridled energy.

The album’s only cover, Sam Rivers’ “Point of Many Returns” delivers a vibrant dose of freebop, filled with joyful improvisations and suave interlocking passages. After an energetic outpouring like the one mentioned above, Smith isn’t afraid to step back and provide quiet moments of contemplation. “Montrose Nocturne” emerges as a reflective ballad but builds into moments of fervent interplay, with Moran demonstrating his mastery of inventive piano dynamics. The pace picks up again and the mercury rises with “A Brief Madness”, featuring breathtaking unison lines played at remarkable speed. The album closes with “Lone Star”, a soul-stirring country-tinged ballad written for Moran, which unfolds as a tender sax-piano duet.

Showcasing elevated levels of musicianship, the album is seasoned with high craft and warm radiance, solidifying Smith’s reputation as a formidable force in modern jazz.

Favorite Tracks:
01 - Seesaw ► 07 - Point of Many Returns ► 10 - A Brief Madness

Kris Davis Trio - Run the Gauntlet

Label: Pyroclastic Records, 2024

Personnel - Kris Davis: piano; Robert Hurst: bass; Johnathan Blake: drums.

Pianist, composer, improviser, and label owner Kris Davis has been forging her own distinctive path in the creative jazz scene, earning widespread acclaim. In Run the Gauntlet, Davis returns to the piano trio format for the first time in a decade, teaming up with seasoned bassist Robert Hurst and sensitive drummer Johnathan Blake. The album pays tribute to six extraordinary women pianists who have profoundly shaped her sound and influenced her musical direction: Geri Allen, Marilyn Crispell, Angelica Sanchez, Carla Bley, Renee Rosnes, and Sylvie Courvoisier. 

Straddling the line between post-bop and avant-garde jazz, the title track, “Run the Gauntlet”, opens with a palpable tension, featuring odd-metered ostinatos that weave in and out over the rhythmic turmoil of bass and drums. The piece gradually finds a groove, with dynamic shifts and tempo changes, as the trio delivers head-spinning improvisations. Blake's drumming intensifies the conclusion by erecting a massive wall of snare, cymbals, and toms. “Knotweed” hints at prog-rock in its initial moments before slipping into Monk/Coltrane territory in its firmly outlined head. The trio swings with humor and grace, pushing the piece into a frenetic avant-garde finale.

Davis rarely delves deeply into jazz tradition, but when she does, the result is forward-leaning music sculpted with charm and spontaneous creativity. Her prepared piano takes on world music influences in “Softly, As You Wake” and the freely improvised “Subtones”, both of which feature deep, resonant arco bass and gamelan-like rhythmic pulsations. The latter piece evolves into a freewheeling, groovy atmosphere, bearing a resemblance to the meditative version of Blake’s “Beauty Beneath the Rubble”, while its original version takes on the form of a tranquil rubato hymn, gently brushed to a shimmering finish.

Davis also composed a three-part composition inspired by her son’s growth. “First Steps” is a solo piano piece that balances passion and detachment, offering pulse, motion, and freedom. “Little Footsteps” brings a snappy polyrhythmic feel that, borrowing from funk, also draws from electronic and modern creative jazz, with Hurst’s dancing bass lines blurring the boundaries between these genres. “Heavy-Footed” centers around a riff set within a 10-beat cycle that occasionally slows, striking a balance between jagged and smooth edges. Each note played emerges beveled.

The trio is clearly having fun in Run the Gauntlet, a mature, boundary-pushing record made by adventurous instrumentalists whose rapport is no less than wonderful.

Favorite Tracks: 
01 - Run the Gauntlet ► 04 - Little Footsteps ► 08 - Knotweed

Ben Monder - Planetarium

Label: Sunnyside Records, 2024

Personnel - Ben Monder: guitar; Chris Tordini: bass; Ted Poor: drums; Satoshi Takeishi: drums; Theo Bleckmann: vocals; Charlotte Mundy: vocals; Emily Hurst: vocals; Joseph Branciforte: drums; Theo Sable: vocals.

Ben Monder, a masterful guitar genius known for pushing the boundaries of modern composition, delivers yet another tour de force with Planetarium, a triple-disc project that spans a decade and took three years to record. has the capacity to delight no matter which direction he takes. Monder, whose stylistic range encompasses jazz, modern classical, heavy metal, and alternative rock, weaves together intricate compositions filled with richly detailed juxtapositions and subtly shifting moods. While dense and featuring extended tracks, the album is a rewarding listen, demanding and deserving of your time and attention. 

The composer finds hidden strengths with his guests in several pieces, starting with the brilliant opener, “Ouroboros II”. This composition seems to have prog-rock and metal undertones, with the elegant and enigmatic fingerpicking sound of Monder reaching grandiose heights. Charlotte Mundy’s ethereal vocal layers provide a striking counterpoint, while Satoshi Takeishi’s percussion work enhances the contemporary sonic landscape.

Two standout tracks, the 23-minute epic “The Mentaculus” and the nostalgic “1973” feature bassist Chris Tordini and drummer Ted Poor, whose tight interaction is arresting and supportive. “The Mentaculus” is a masterclass in complexity and emotion, blending elements of sadcore and alternative rock into cutting-edge crossovers with shifting meters and rich pulses and ambiances. “1973” takes its gravitational pull from Poor’s methodic backbeat over which a churning guitar riff and the inimitable voice of Theo Bleckmann are placed. The style here takes me to the post-space-rock of Godspeed You! Black Emperor. 

Bleckmann also shines on “Li Po”, named after a Chinese poet, where his visceral, guttural vocals cut through dark, distorted atmospheres and eerie tones. The title track, a solo guitar performance, comes wrapped in an optimistic, gentle aura, while “Ataraxia” features acoustic guitar oozing bright constellations of notes, the soaring voice of Bleckmann—stratified in different registers—and the drumming of co-producer Joseph Branciforte. This long-form piece gains momentum as Monder’s electric guitar solo unspools.

“Globestructures - Option II” is a fantasy inspired by Kazuo Ishiguro’s novel The Unconsoled, offering a great harmonic atmosphere with pedals and guitar harmonics, and “Ouroboros I”, a chameleonic duet with Takeishi, moves from modern lyricism to experimental rock to dark atmospheric corners. “Noctivagant” is a melancholy sleepwalk, with Monder’s acoustic guitar setting the tone, while “Collinsport”, featuring the voices of Bleckmann and Emily Hurst, investigates sound with a blend of curiosity, caution, and determination. The standard “Wayfarer Stranger”, with Monder on baritone guitar accompanying a recording of his mother singing, closes out the album in style.

Planetarium is pure musical flow, another impressive entry to the guitarist’s already formidable list of personal accomplishments.

Favorite Tracks:
01 (CD1) - Ouroboros II ► 02 (CD1) - The Mentaculus ► 02 (CD2) - Ataraxia ► 03 (CD3) - Ouroboros I

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

Ross McHenry - Waves

Label: Earshift Music, 2024

Personnel - Donny McCaslin: tenor saxophone; Adam O’Farrill: trumpet; Matthew Sheens: piano; Ben Monder: guitar; Ross McHenry: bass; Eric Harland: drums.

Australian bass player Ross McHenry takes a deeply introspective turn with Waves, his fifth album as a leader, delivering seven original compositions that exude a cohesive identity. The tracks—describing landscapes and reflecting personal experiences and relationships—are flawlessly executed in the company of a stellar group of New York-based artists that includes two former collaborators of David Bowie: tenor saxophonist Donny McCaslin and guitarist Ben Monder. Trumpeter Adam O’Farrill, pianist Matthew Sheens, and drummer Eric Harland round out the group. The latter two also contributed to McHenry’s previous album, Nothing Remains Unchanged (2020), which featured saxophonist Ben Wendel.

The album opens with the title track, “Waves”, a shimmering piano trio piece where Sheens’ delicate riff is at the base of a winsome melodious theme. With instinctive rhythmic discernment, the pianist employs the right amount of outside notes to make his solo attractive, while McHenry and Harland provide a solid rhythmic foundation. The drummer’s introduction of a hip-hop-influenced groove midway through infuses the piece with a modern fibrillation.

“In Landscape” is paved by Harland’s inventive beat, which, along with the bass flow, exudes a sense of fun and spontaneity. Harmonically at ease, in a solid 4/4 time, the piece gains momentum with the energetic language and groovy ideas of McCaslin, who enjoys a moment of fluid exchanges with O’Farrill before Monder’s mystifying effects add a layer of textural wonder. The melodically compelling “Love and Obscurity” tugs at the heartstrings, with ingeniously expressive solos from Sheens and O’Farrill, who offer the perfect blend of zest and depth. The trumpeter flies even higher on “North of the River”, joined by McCaslin’s pulsating staccatos and effortlessly gliding figures, as well as McHenry’s funkified bass thrust.

The peculiar “July 1986”, which evokes places, family memories, and the premature death of an identical twin brother, is swathed in Monder’s atmospheric layers and volume swells, captured pristinely before he heats up his guitar with pointillistic imagination. Harland’s brushwork, McHenry’s neat bass understructure, and O’Farrill’s poignant solo, all contribute to the settled melancholy.

McHenry treats us to powerful sonic frames containing impactful melodies and lush harmonies that go down easily. Waves bristles with heartfelt sentiment and rich sounds, making it a captivating listening experience.

Favorite Tracks:
01 - Waves ► 03 - Love and Obscurity ► 06 - North of the River