Angelika Niescier - Chicago Tapes

Label: Intakt Records, 2026

Personnel - Angelika Niescier: alto saxophone; Dave Rempis: alto and tenor saxophones; Nicole Mitchell: flute; Jason Adasiewicz: vibraphone; Luke Stewart: bass; Mike Reed: drums.

German alto saxophonist, composer, and improviser Angelika Niescier emerges on Chicago Tapes with a refreshed, invigorating sound shaped by an expanded ensemble that gathers some of the Midwest’s most adventurous musicians. Long engaged in collaborations with American players—among them Tyshawn Sorey, Gerald Cleaver, Chris Tordini, and Tomeka Reid—Niescier brought her compositions and open-ended sketches to Chicago for an ambitious project that yielded nine fearless originals, each brimming with sharp turns and volatile energy.

The album’s kinetic opener, “Rejoice, Disrupt, Resist”, is a furious, defiant response to the anti-immigration stance of the Trump administration. Here, Niescier joins forces with Dave Rempis on the frontline, both alto saxophonists blowing with tart intensity and restless momentum. The rhythm section is equally compelling and flexible, with vibraphonist Jason Adasiewicz’s finely nested mallet work adding harmonic radiance, all firmly anchored by bassist Luke Stewart and drummer Mike Reed. Niescier and Rempis reconnect on “Great Horned Owl”, a trio piece that sustains a continuous sonic buzz over Adasiewicz’s shimmering colorations, and again on the atmospheric “Fluxed”, where parallel and contrapuntal motion unfolds atop an exquisitely shaped percussive flow.

“Poronek”, an endlessly spiraling trio improvisation, is driven by Niescier alongside flutist Nicole Mitchell, whose ecstatic exchange rides over Reed’s talkative, responsive drumming. Just as dynamic is “SAMO (bsqt)”, a burnished tour de force built from flutter-tongued flute, expansive saxophone lines, patterned ride cymbal and snare propulsion, and vigorous bass plucks. The ensemble moves through a sequence of gripping passages centered on saxophone and drum exploration, with Mitchell adding a gauzy, atmospheric textural layer.

“Bouncin’ The Ledge” follows as a rambunctious, high-energy statement, with saxophone and flute operating in a liminal space between the ghostly and the grounded. A darting saxophone chant is mirrored by Stewart’s bass before the piece erupts into extraordinary commotion. The closing “E Randolph Street”, propelled by a loose yet insistent 4/4 groove, wraps things up while parading a stream of motifs, fluxes, and refluxes.

Firmly rooted in avant-garde and free improvisation traditions, Chicago Tapes highlights Niescier’s affinity for high-voltage contemporary jazz and reveals a deep, genuine rapport with her Chicago collaborators.

Favorite Tracks:
01 - Rejoice, Disrupt, Resist ► 02 - Poronek ► 03 - SAMO (bsqt) ► 07 - Bouncing’ the Ledge

Craig Taborn - Dream Archives

Label: ECM Records, 2026

Personnel - Craig Taborn: piano, keyboard, electronics; Tomeka Reid: cello; Ches Smith: drums, vibraphone, percussion, electronics.

Pianist and composer Craig Taborn, known for his shockingly powerful technique and his ability to traverse post-modern jazz, contemporary classical music, and indie electronics, moves fluidly between structure and freedom. The six tracks on Dream Archives—four originals and two covers—are smartly conceived, finding fresh sonic angles and probing inventive approaches to rhythm. Working in a trio format with cellist Tomeka Reid and drummer/vibraphonist Ches Smith, the colorfully chameleonic Taborn adds another compelling chapter to his already rich catalogue.

“Coordinates for the Absent” oozes lyrical introspection and nocturnal delicacy, captivating through carefully traced electronics, floating vibraphone, bowed cello, and a shimmering, cinematic pianism that often falls like raindrops. “Feeding Maps to the Fire” pushes the program forward with cello and piano locked into an enthusiastic, cadenced motion that gradually dissolves into an abstract exchange of free-form gestures and shifting tonal colors. Smith’s dexterity on the kit highlights his broad rhythmic vision and adaptability, as the piece repeatedly regains momentum after a cyclical figure in five threatens to fracture the flow.

The album reaches a clear apex with Geri Allen’s “When Kabuya Dances”, whose initial three-time piano motion opens into a rubato exploration. It unfolds as a progressive Afro-jazz dance marked by tension-fraught interplay and insistent pulses, alternating between seven and twelve-beat passages. Taborn’s respect for singular compositional voices continues with Paul Motian’s “Mumbo Jumbo”. With Smith alternating between drums and vibraphone, the piece achieves a floating sensitivity with bowed, low-register cello strokes and tactical piano mobility adding extra dimension.

The title track, “Dream Archives”, emphasizes synchronicity and counterpoint, prioritizing texture and atmosphere with a sense of freedom and abandon. The trio explores spacious, electronically inflected environments, poetic cross-cutting patterns, and deliberate sequences before settling into a challenging, odd-metered vamp. “Enchant”—a soothing balm—brings the album to a serene conclusion, with Taborn and Reid sustaining a quiet tension reinforced by Smith’s refined cymbal work. Throughout, there are striking moments of beauty, embodiment, and fluid motion. 

Smartly sculpted with a boundary-pushing ethos, Dream Archives showcases Taborn’s phenomenal musicality and wide-ranging sophistication. It will reward adventurous listeners and stands as one of the early highlights of contemporary jazz releases in 2026.

Favorite Tracks:
02 - Feeding Maps To the Fire ► 03 - When Kabuya Dances ► 05 - Dream Archives

Human Being Human & Chris Cheek - Being

Label: April Records, 2026

Personnel - Torben Bjørnskov: double bass; Esben Tjalve: piano; Frederik Bülow: drums + Chris Cheek: saxophones.

Human Being Human is a Danish jazz trio led by double bassist Torben Bjørnskov, who—like on their previous two outings, Equals (2022) and Disappearance (2023)—composes all the material. The group is completed by pianist Esben Tjalve and drummer Frederik Bülow. Their latest album, Being, is further enriched by the presence of American saxophonist Chris Cheek, whose contribution broadens both the sonic and expressive scope of the music.

Inspired by human connectedness, the album opens with “Human Rights”, an involving and well-shaped post-bop statement animated by an illuminating theme and rounded out with emphatic solos from Cheek, Tjalve, and Bjørnskov. Cheek’s soprano cuts briskly through the sprightly and upbeat “Human Impact”, a piece that calls attention to both the damage humanity inflicts on the planet and the possibility of repair. Low-register piano figures align closely with the bass, forming a sure-footed tapestry that gently invites movement.

“Filla”, the only composition not written specifically for this album, is a candid saxophone–bass duet anchored by Bjørnskov’s full-bodied, woody tone. In contrast, the title track “Being” unfolds as a spacious, tender ballad whose warmth radiates evenly from all corners of the tightly knit quartet.

“Human Spirit” continues in a softly brushed ballad mode, with emotion emerging from its calm lines and poised harmonic progression. It differs markedly from “Human Nature”, where contemporary jazz intersects with a pop-oriented foundation, featuring a straight backbeat, direct phrasing, and a clear groove. Still, both pieces emphasize accessible melodic and harmonic pathways. The album closes with the floating, more subjective “Human Instinct”, marked by lyrical Nordic folk inflections and sustained by a discreet yet thoughtful percussion treatment. Its broader spiritual resonance occasionally recalls Jan Garbarek and Edward Vesala.

Operating more to the right of center than the left, Human Being Human presents a highly musical palette, further elevated by Cheek’s confident style throughout the set.

Favorite Tracks:
01 - Human Rights ► 03 - Human Impact ► 07 - Human Instinct

Thomas Stronen's Time is a Blind Guide - Off Stillness

Label: ECM Records, 2025

Personnel - Thomas Strønen: drums; Ayumi Tanaka: piano; Hakon Aase: violin; Leo Svensson Sander: violoncello; Ole Morten Vagan: bass.

Time is a Blind Guide is an instrumentally sophisticated aggregation fronted by Norwegian drummer and composer Thomas Strønen, whose blend of organic timbres and luminous sonorities easily conquer the ear and appease the soul. The group’s third recording, Off Stillness, confirms Strønen’s mastery of structure and arrangement, highlighting the instrumentation’s sonic contrasts through natural pulses while maintaining a sense of poised, flowing elegance throughout.

Consisting of seven original compositions, the album opens with “Memories of Paul”, a dedication to two influential musicians who shaped Strønen’s artistic development: drummer Paul Motian and pianist Paul Bley. Existing in an almost abstract state of grace, the piece relies on floating piano gestures, delicate bass movement, sensitive brushwork, and understated string lines. “Season” gently calms both spirit and mind, carried by a cultivated percussive current that draws from folk and world-music inflections. Japanese pianist Ayumi Tanaka plucks and combs the piano strings, producing a reassuring, subtly exotic aura, while violinist Håkon Aase steps forward with lyrical authority. It is a quietly beautiful moment.

“Fall” continues in a similarly hushed, airy vein, inviting a recalibration of the inner compass through dreamy pianism, breezily intersecting strings, and drumming reduced to its bare essentials. Everything seems to float and sway like a feather in the wind. This same depth of commitment and attentive interaction also informs the album’s more animated passages, notably “Cubism” and “Dismissed”. In the former, Strønen’s conversational rhythmic language becomes especially vivid, while Tanaka’s inflected harmonic colors generate a tensile undercurrent that gradually leads toward a staccato-driven conclusion. “Dismissed”, playfully avant-garde in character, is tightly coordinated through incisive punctuations and rhythmic jabs, all working together in a kind of subliminal counterpoint.

The album closes with “In Awe of Stillness”, which begins in a sea of calm before transforming halfway through into an energetic, world-fusion cycle sparked by Tanaka’s subtle complexities and lightness of touch, and an unperturbed bass-and-drums foundation. At this stage, Aase casts his violin lines as the melodic focal point.

In a rare combination of delicacy and boldness, Off Stillness stands as a testament to Strønen’s extraordinary talents. Together, he and his collaborators forge a sound partnership that feels both revelatory and deeply inspiring.

Favorite Tracks:
02 - Season ► 05 - Cubism ► 06 - Dismissed ► 07 - In Awe of Stillness

Gabriel Zucker - Confession

Label: Boomslang Records, 2025

Personnel - Gabriel Zucker: pianos, synths, electronics, keyboards, voice, compositions, lyrics; Eva Lawitts: bass; Grey Mcmurray: guitar; Connor Parks: drums; Henry Mermer: drums // Bergamot Quartet (Ledah Finck, Sarah Thomas, Amy Huimei Tan, Irene Han): strings // Guests - Robby Bowen: drums (#2); Taja Cheek: voice (#3); Laura Cocks: flute (#8); Alfredo Colón: alto saxophone (#2,11); Matt Nelson: tenor saxophone (#2,11); Ledah Finck: violin (#3); Alex Goldberg: drums (#10); Daniel Kleederman: guitar (#12); Matteo Liberatore: guitar (#3); Adam O’Farrill: trumpet (#9); Alena Spanger: voice (#12).

Gabriel Zucker is a versatile singer-songwriter, multi-instrumentalist, and composer whose artistic vision thrives on intricate, almost mathematical balancing acts. On his sixth studio album as a leader, Confession, the musical polymath fronts a core quintet featuring two drummers, and incorporates a string quartet into a set of demanding compositions, achieving a compelling equilibrium between pathos and intensity. His multifaceted response to disconnected times is marked by radical transitions and conspicuous shifts in mood.

Initially wrapped in swirling synths and wiry electronic textures, “Velvet Ball of Light” pushes decisively into indie-rock territory through forceful lyrics, emphatic drum kicks and cymbal crashes, and Zucker’s unorthodox pianism—dense with exclamatory staccatos yet never abandoning melodic clarity. “Confession #1” brings saxophonists Alfredo Colón and Matt Nelson to the fore, firing punchy lines over a muscular, dark rock backdrop that carries undeniable dance appeal, with guest drummer Robby Bowen helping to keep the undercurrent bubbling.

The saxophonists reappear more discreetly on “The Road”, an odd-metered ballad that stands in stark contrast to “Redeye to London”, a genre-crossing track propelled by trance-like breakbeats and electronic processing, further energized by Grey McMurray’s electric guitar.

“Intentional (But Never How You Wanted)” features fluid, frictionless piano streams running atop unexpected drum syncopations. Its vocal and instrumental language opens multiple reference points, moving effortlessly from the art-rock sensibility of David Bowie to the progressive impulses of King Crimson and the modern fusion vocabulary of Tigran Hamasyan. Driven by heavy bass pulses, the piece swells into a dense, chaotic mass before breaking abruptly into the calmer, constantly shifting “Trampling the World”.

“Confession #2” vibrates with polyrhythmic momentum and experimental flair, threaded through with cinematic string writing and Laura Cocks’ expressive flute. The poignant “Away, Carelessly” pairs Zucker with the iconoclastic trumpeter Adam O’Farrill, whose roaming, unanchored discourse heightens the sense of emotional unease. The album closes with “Listen to Me (I Know You Won’t)”, which introduces Brooklyn-based singer Alena Spanger alongside psychedelic-leaning guitarist Daniel Kleederman, both contributing to a refined and emotionally charged finale.

By turns introspective and euphoric, Confession allows Zucker’s eccentric impulses to guide an ambitious production that ultimately plays to its strengths.

Favorite Tracks:
01 - Velvet Ball of Light ► 02 - Confession #1 ► 05 - Intentional

Tineke Postma - Voya

Label: Clap Your Hands, 2025

Personnel - Tineke Postma: alto and soprano saxophone; Theo Bleckmann: vocals (#1,4,5,8); David Doruzka: guitar; Robert Landfermann: double bass; Tristan Renfrow: drums.

Voya, the ninth album by Dutch saxophonist and composer Tineke Postma, finds her at the helm of a tightly knit European quartet of long-standing collaborators: guitarist David Dorůžka, bassist Robert Landfermann, and drummer Tristan Renfrow. The added distinction here is the presence of German-born, New York–based avant-garde vocalist Theo Bleckmann on selected tracks. Bleckmann has become a singular voice on the contemporary scene through close collaborations with John Hollenbeck, Ben Monder, and Meredith Monk. In a comparable way, Postma has built her own path through sustained musical relationships. As a leader, she has worked with figures such as Geri Allen, Ralph Alessi, Greg Osby, and Kris Davis; as a sidewoman, she has appeared alongside Terri Lyne Carrington, Dianne Reeves, and Amina Figarova.

The album’s title carries a threefold meaning: voyage, voice, and Oya, the Yoruba goddess of winds and storms. It opens with “Unity and Four Reasons of Hope”, where saxophone and voice intertwine with ease, floating over impulsive bass movement and sensitively brushed drums and cymbals. The piece also serves as a launchpad for focused, well-intoned individual explorations by Bleckmann and Postma, before closing with a coda that allows Renfrow to step forward with finely shaped drum commentary.

“Lillies” is an adventurous, sharply etched composition built on fragmented phrasing delivered with hard-edged staccato clarity. Here, the group ventures further outside the lines, with Dorůžka proving a vital presence: his incisive interjections sharpen Postma’s commanding solo, which he then follows with a vivid statement of his own. The brief but energetic “Rhetor’s Dream” sustains a lush atmosphere, hovering somewhere between the lyrical fusion associated with Charlie Mariano and the exploratory language of the AACM tradition, while “TP4” skillfully blends slippery funk and hip-hop inflections.

Several more contemplative pieces give Bleckmann’s often overdubbed voice a central role. “Suchness” and “Mirror Oh Mirror” stand out in this regard, the former unfolding as a deeply felt chorale anchored by Landfermann’s poignant bowed bass; the latter carried out by Dorůžka’s gently arpeggiated textures. “For Theo”, Postma’s dedication to the vocalist, opens a mellow, spacious environment in which texture and color are allowed to bloom. Postma demonstrates complete command of her instrument, while Bleckmann responds with remarkable flexibility and sensitivity, reinforcing the music’s ethereal dimension.

After “IDC”, whose enigmatic mood is heightened by a disorienting tempo and an odd, grounding bass figure, the album closes with a rendition of Wayne Shorter’s “Somewhere Called Where”. This work reaffirms Postma’s commitment to personal expression, collective trust, and forward-looking sound worlds.

Favorite Tracks:
02 - Lillies ► 03 - Rhetor’s Creek ► 05 - Mirror Oh Mirror ► 10 - IDC

Gard Nilssen Acoustic Unity - Great Intentions

Label: Action Jazz, 2025

Personnel - Kjetil Møster: tenor saxophone, percussion, baritone saxophone; Signe Emmeluth: alto saxophone, flute, percussion; André Roligheten: tenor saxophone, bass saxophone, soprano saxophone, bass clarinet, flute, percussion; Petter Eldh: double bass, percussion; Gard Nilssen: drums, percussion + Jonas Alaska: vocals, guitar (#9).

Norwegian jazz drummer Gard Nilssen continues to build an impressive body of original work, whether leading his Supersonic Orchestra or his Acoustic Unity. Delivered with the latter trio, his latest outing, Great Intentions, broadens the sonic spectrum with the addition of saxophonists Kjetil Møster and Signe Emmeluth, who join André Roligheten on the frontline. Their presence enriches the orchestration and fuels a series of striking, outward-looking improvisational displays. Nilssen and the ever-inventive Swedish bassist Petter Eldh form the backbone of this chord-less project, navigating ferocious dynamic surges and intimate retreats with contemporary flair and discernment.

The album revolves around the idea of communication, and Roligheten’s “Swedish Delight” encapsulates this spirit through a relaxed, melodic flow guided by his bass clarinet. Gentle, chamber-like passages are wrapped in cymbal legato, before a brisk section in nine leads into Eldh’s unaccompanied bass soliloquy. The virtuosic bassist contributes “Bankebrett”, a rhythmically adventurous piece that moves through shifting tempos, blending Fela Kuti-inspired African folk elements, hard-swinging post-bop, and avant-jazz urgency.

Paul McCartney’s 1980 soft-rock tune “Waterfalls” is reimagined with surprising freshness, delicately rendered with attentive sensitivity, while Møster’s “The Root” unfolds as a color-shifting journey that subtly recalls Sun Ra and his Arkestra. After a jubilant percussive opening, a nine-beat groove rises organically, speckled with vigorous bass saxophone tongue slaps. The horn players roam freely before an unexpected final turn introduces Norwegian singer-songwriter Jonas Alaska. 

Both the writing and the performances are consistently high-level, though the Nilssen–Roligheten partnership stands out in compositional terms. Their “Telemark Twist” balances a clear, anthemic melody against an exuberant African pulse, enlivened by counterpoint and staccato accents. Emmeluth’s alto sax rides a frenetic calypso groove, soon answered by Møster’s raw, emotionally charged tenor outbursts. “Ostronology”, a dazzling homage to Eldh, combines playful staccato figures with contrapuntal elegance, a trenchant groove, and searing improvisation. Møster’s baritone solo reinforces the piece’s muscular drive before the rhythm section shifts gears into a blazing swing, setting the stage for a bop-inflected alto excursion from Emmeluth. “John Wayne”, an uptempo piece in six, is equally fluid and gripping, carrying the energetic sweep of the westerns starred by the actor mentioned in the title.

Nilssen once again proves himself a master rhythmic architect, seamlessly connecting all these threads. His collaborators clearly relish the challenges, and Great Intentions stands as yet another strong statement from one of today’s most imaginative and compelling drummers.

Favorite Tracks:
02 - Telemark Twist ► 03 - Bankebritt ► 05 - Ostronology ► 09 - The Root

Timo Vollbrecht - Bremen New York

Label: Berthold Records, 2025

Personnel - Timo Vollbrecht: tenor saxophone; Ralph Alessi: trumpet; Elias Stemeseder: piano; Chris Tordini: acoustic bass; Thomas Strønen: drums.

For his fourth album as a leader, German saxophonist and composer Timo Vollbrecht—who swapped Berlin for New York 15 years ago—assembles a dream quintet featuring American trumpeter Ralph Alessi, bassist Chris Tordini, and Norwegian drummer Thomas Strønen. Rounding out the group is the excellent Austrian-born pianist Elias Stemeseder, a former Brooklyn roommate and a key musical partner in Vollbrecht’s Fly Magic Quartet. Recorded live at Bremen’s Sendesaal concert hall, renowned for its exceptional acoustics, the album presents seven original compositions written specifically for this ensemble and shaped with carefully layered emotion and color.

“Com Tempo” is a striking opener, unfolding at a leisurely pace through an intriguingly elastic structure. It begins with Alessi’s glowing lyricism over a deep, supple groove, pointing toward the theme as Vollbrecht joins him in parallel lines, while Stemeseder adds shimmering harmonic hues. Volbrecht’s fluid soloing is rich in melodic hooks, prompting subtle shifts in density from the pianist’s responsive comping.

Set in a 7/4 meter, “Brighton Blues” radiates a quiet magnetism, clearly defined by a strong piano cadence floating over a silky bass-and-drums current. Vollbrecht’s intricate, arpeggiated language occasionally evokes Charles Lloyd, reaching for a spiritual dimension atop a rhythm that breathes with ease. “Spicy Moon” unfolds like an abstract impressionistic canvas, growing especially lyrical through Tordini’s melodic low-end explorations. A contemporary ballad at heart, it balances intricacy and space before opening suddenly into a vamp that thickens the texture, giving Alessi room to dive in with impressive range and refined phraseology.

Despite its title, “Dark” is a scintillating ballad illuminated by moments of pure light. Strønen’s restrained brushwork and lucid cymbal touches provide graceful support, while Alessi once again shines with his poignant, finely shaded trumpet voice. On “Pau”, named after Vollbrecht’s son, the saxophonist gradually veers into avant-garde territory after an opening colored by classical and chamber-jazz elements. Tordini and Strønen press forward with logic and dynamic nuance, while Alessi gives his melodies space to breathe, shaping them with care and intent. The album closes in balladic fashion with “New York Love Affair”.

Vollbrecht’s mature writing deserves high praise, and the session as a whole feels resonant, poetic, and deeply authentic. One can only hope this quintet remains active and continues to document its chemistry in future releases.

Favorite Tracks:
01 - Com Tempo ► 02 - Brighton Blues ► 04 - Dark

Ohm! - The Architects

Label: Shifting Paradigm Records, 2025

Personnel - Dan Bruce: electric and acoustic guitar; Jordan McBride: electric bass; Gabe Jones: drums + Jason Kush: tenor saxophone (#1); Reggie Watkins: trombone (#10); Nathan Douds: keyboards (#10), programming (#2,4,6,9); Nadine Douds: vocals (#5).

Cleveland-based guitarist Dan Bruce, a former fixture of the Chicago scene, stakes a strong claim for versatility with this powerhouse trio project alongside bassist Jordan McBride and drummer Gabe Jones. His Ohm! trio welcomes several guests along the way, engaging in a creative exchange where the musicians communicate closely across a variety of frameworks. Modern jazz, indie rock, and fusion languages coexist here.

The group reaches a peak of inspiration right from the start with “The Architects”, featuring guest tenor saxophonist Jason Kush, whose beseeching horn takes center stage atop a dense rhythmic flow. The rhythm section initially lays down a punkish rock drive—odd guitar riffery, punchy bass lines, and crisp drumming—before shifting gears into an electric funk-jazz groove, where Bruce’s and Kush’s lines generate magnetic polyrhythmic currents. The music circles back to its opening wave before jumping straight into “Eh?”, a track whose blues-rock instincts are refreshed by charming, if enigmatic, jazz harmonies.

“Glimpse” unfolds as a ballad with alternative-rock leanings, with the trio having no problem in intensifying and thickening its texture. This number’s explicit song form contrasts with the freer posture of “Major_Chord”, the only piece not written by Bruce, previously appearing on his Beta Collective album Earthshine (2017). Although its composer, keyboardist (and drummer) Nathan Douds, does not perform in this tightly wound three-way conversation—driven by a syncopated modern beat—he remains a key presence as the programmer behind four short interludes titled “Incidentals”.

Douds also appears on keyboards on the distinguished closer “Rare Birds”, joined by trombonist Reggie Watkins. This buoyant fusion piece opens with crisp staccato energy and remarkable ensemble synchrony. A propulsive funk groove soon provides an inviting platform for Bruce’s explorations—his attack forceful, his phrasing resolute. The transitions are seamless, never feeling disjointed.

“Ice” brings a distinct atmosphere of its own, marked by Bruce’s acoustic guitar, an odd-meter flow, and the alluring voice of singer-songwriter Nadine Douds. Here, McBride and Jones are given ample space to shine: the former delivers a simpatico solo, while the latter expands his rhythmic vocabulary across an energetic vamp.

Favorite Tracks:
01 - The Architects ► 05 - Ice ► 10 - Rare Birds

Chad Taylor Quintet - Smoke Shifter

Label: Otherly Love Records, 2025

Personnel - Bryan Rogers: tenor saxophone; Jonathan Finlayson: trumpet; Victor Vieira-Branco: vibraphone; Matt Engle; bass; Chad Taylor: drums.

Smoke Shifter marks the sixth release as a leader by sought-after drummer and composer Chad Taylor, currently based in Philadelphia. He enlists three other Philadelphia-based musicians—all of them contributing compositions—saxophonist Bryan Rogers, Brazilian-born vibraphonist Victor Vieira-Branco, and bassist Matt Engle, forming the core of his quintet. The exception is New York–based trumpeter Jonathan Finlayson, who orbits this nucleus with magnetic peripheral radiation. Together, they blaze new trails with an unbridled sense of freedom, anchored in both traditional jazz idioms and improvisation.

The album opens with Rogers’ “Broken Horse”, a danceable 6/8 piece incorporating an electrifying pulse and contemporary jazz elements. The saxophonist explains that it was written specifically for this group, and that the robust bass line that sustains it just popped up into his head. With Taylor behind the kit providing a stalwart anchor, the group keeps the music vital and in constant motion.

Engle’s “Avian Shadow” lifts off with soulful openness, initially driven by cross-stick propulsion and a six-beat bass figure that supports the emerging harmonic consonance between horns and vibraphone. Finlayson’s authoritative solo sparks bright responses from Vieira-Branco, while Rogers moves from unpretentiously probing to openly expansive in his narrative.

Taylor, whose musical energy acts as a catalyst for the group’s cohesion, contributes two pieces of his own. The immaculately layered “Waltz For Meghan”, dedicated to his wife, emanates exotic hues in a grand, flowing stream, creating a distinctive atmosphere that fuses chamber jazz with an African-tinged pulse. Under Taylor’s astute brushwork, Engle sounds strikingly melodic, while Rogers delivers an emotionally attuned and impactful statement. The drummer’s other composition is the title track, “Smoke Shifter”, whose affable character and odd meter draw the horn players together with shared commitment and joy, revealing a keen instinct for counterpoint and collective interplay during the theme exposition.

The album closes with two demanding pieces by Vieira-Branco. Moving at a slow 4/4 pace, “October 26th” is grounded by the composer’s hypnotic vibraphone work in perfect communion with bass and drums. Casting a magnetic spell akin to Bobby Hutcherson and Andrew Hill, they later have sax and trumpet reinforcing the enchantment. “Paradise Lawn/October 29th” shifts meters, beginning in a suspended, abstract mode before Taylor’s magnificent drumming bridges into the waltzing smoothness of the second section, which includes a finely shaped solo by its composer.

Smoke Shifter is packed with surprise, openness, and spirit—a cliché-free session that thrives on first-rate, forward-looking melodies hovering over admirable rhythmic tapestries.

Favorite Tracks:
01 - Broken Horse ► 03 - Waltz For Meghan ► 04 - Smoke Shifter ► 06 - Paradise Lawns / October 29th

Yako Trio with Harris Lambrakis and James Wylie - Woven

Label: FWF Records, 2025

Personnel - Leandros Pasias: piano; Vangelis Vrachnos: double bass; Giorgos Klountzos Chrysidis: drums + Harris Lambrakis: ney; James Wylie: saxophone.

Yako Trio’s eclectic instincts are fully on display on their latest album, Woven, an even-keeled exploration of genre-bending ambiences filtered through the group’s distinctive lens. The Thessaloniki-based trio—pianist Leandros Pasias, bassist Vangelis Vrachnos, and drummer Giorgos Klountzos Chrysidis—expands into a quintet here with two guest woodwind players: New Zealander saxophonist James Wylie and Athens-born flutist Harris Lambrakis.

This highly listenable session opens with “Mr. McCoy”, a tribute to pianist McCoy Tyner and the invigorating energy of his playing. Written by Pasias, the piece centers around a rich harmonic riff while Coltranean lines surge from the frontline. Swinging underneath with liberating force, it features ecstatic improvisations from each member and vividly evokes Tyner’s ‘70s post-bop. Vrachnos’ “Ghostly Wind” follows, unfolding like an Eastern dance with groovy bass figures, catchy melodicism, and a gently lilting rhythmic flow.

Pasias reveals an interesting, broad compositional vision throughout, contributing some of the album’s most gripping pieces, including “Kloutzoa” and “Impromptu”. The former—a breezy, soulful tune written for Chrysidis and recalling Kamasi Washington’s soul-jazz pulse—rides on a nicely chilled beat from the drummer; while the latter feels as if McCoy Tyner had teamed up with Mulatu Astatke in a modal post-bop/world-fusion crossroad, with flute-and-sax juxtapositions reaching a spiritual sensitivity. Pasias also composed “Myrtilo”, a soothing, luminous ballad.

Chrysidis’ “Speaking Voice” begins with cymbal magnification before settling into a seductive, R&B-inflected piece that nods to fusion through bouncing electric piano textures and skittering hi-hat patterns. The album winds down in a relaxed atmosphere with Vrachnos’ ballad “Sweet Lotus”.

Woven, named for its interlacing of musical idioms, showcases Yako Trio’s global sensibilities and captures the ear through the clarity and cohesion of their musical craft.

Favorite Tracks:
01 - Mr. McCoy ► 03 - Kloutzoa ► 04 - Impromptu

Bill Ware and the Club Bird All Stars - Martian Sunset

Label: Sunnyside Records, 2025

Personnel - Bill Ware: vibraphone, melodica; Rez Abbasi; guitar; Matt King: piano; Jay Anderson: bass; Taru Alexander: drums.

Martian Sunset is the latest album from American vibraphonist and composer Bill Ware, who, over a three-decade career, has carved his path across a variety of ensembles including The Jazz Passengers, Groove Collective, the trio Vibes, and Rez Abbasi’s Acoustic Quartet. The ten original compositions were written anew—though initially conceived as part of his pandemic-triggered 1k Song Project—for The Club Bird All-Stars, the long-running vehicle for his prolific creativity, formed in 1993 after a three-month engagement at the beloved Japanese venue Club Bird. The group’s new iteration features adventurous guitarist Rez Abbasi, seasoned bassist Jay Anderson, and unsung drummer Taru Alexander, with pianist Matt King remaining in the lineup.

From the opening bars of “Around The Horn”, it becomes immediately clear that Ware is a multi-genre-infused musician. Slightly funkified and strikingly groovy, the piece draws on R&B colors and is buoyed by exciting, fluid solos from Abbasi, King, and Ware. “That Dirty Road” swings mildly, though its head isn’t particularly memorable, while the uptempo “Happy Bird” opens with lively drumming and moves with an easy fusion feel, featuring Ware on melodica.

The album begins to open up more fully from this point on, heating itself toward a steady crescendo. Inspired by Ornette Coleman and Sun Ra, the title cut throbs with tension and collective synchronization, while giving the soloists plenty of space for spontaneity—including Alexander, who closes the track with rock-like muscularity. In jaw-dropping fashion, “In a Spiral”—assembled from favored fragments of earlier compositions—unfolds with purpose, assuming a luscious modal tone and dancing enchantingly after Anderson’s double-stop-rich introduction. Abbasi scrawls astute phrases with dazzling delay effects, and Ware supplies harmonic depth before a polished vamp ushers in the drummer.

“Don’t Take Me Wrong” maintains its post-bop exploratory drive with contemporary freshness, especially through King’s contributions. Powering things along on the album’s outlier, “Hangin’ at Rez”, are Abbasi on acoustic guitar and Ware on melodica; under their spell, the tune moves as breezily as a lighthearted spring diversion. The album closes with “All the Way Down”, a loping, sumptuous jazz-funk number wrapped in warm hues. 

Covering a considerable range of moods without drifting from Ware’s stylistic core, Martian Sunset feels distinctly contemporary and offers a generous share of surprises.

Favorite Tracks:
06 - In a Spiral ► 07 - Don’t Take Me Wrong ► 08 - Hangin’ at Rez

Orè - Matter Antimatter

Label: Trytone, 2025

Personnel - José Soares: alto saxophone; Miguel Petruccelli: guitar; Pedro Ivo Ferreira: bass; Onno Govaert: drums.

Brazilian double bassist and composer Pedro Ivo Ferreira has long been a fixture in Amsterdam, where he’s been based since 2014. Leading his quartet Orè with determination, Ferreira takes chances and earns admiration with Matter Antimatter, his third outing fusing Brazilian roots, free improvisation, and modern composition. The European/South American ensemble features Portuguese altoist José Soares, Uruguayan guitarist Miguel Petruccelli, and Dutch drummer Onno Govaert, all currently living in Amsterdam.

The concise, self-assured “Murphy’s 11th Law” opens the album with a free-spirited bass groove, followed by tight melodic coordination between sax and drums. Govaert’s soft brushes anchor Ferreira’s resonant, conversational improvisation. “Ode” moves from a capoeira-like hustle—with a berimbau sample by Mister Dendê Mukumbi, sax squeaks, and wet, rebounding percussion—to energetic, shape-shifting avant-jazz cycles.

This hybrid approach yields a different effect in “Free Wheel”, where Govaert’s tambourine steers a melodic, groovy bossa pulse that once again mutates into avant-garde agitation with urgency and efficiency. Its exquisite deconstruction even veers toward anthemic rock by the end. The quartet’s capacity for shifting rhythms and moods is fully displayed, while “Pastor”—a lumbering, circumspect, and reflective piece tinged with mournful tones—enters in quiet exploratory mode, its atonal alto flutters and understated drum work deepening the somberness.

“Trilemma” marches combatively with snare fluidity, cymbal regularity, and resolute bass steps, while Soares’ magnetic alto spins a few striking motifs, drawing intelligent, immediate responses from Petruccelli’s active guitar. “Uncertain Principle” and the title track employ similar formulas—elaborate themes and a punkier edge fused with avant-garde maturity—at times suggesting Tim Berne under a groove spell. The former features Soares articulating with angular bite before giving way to Petruccelli’s spasmodic electric shards, while the latter unfolds with natural counterpoint and a sharply punctuated conversation between sax and guitar.

“Curious and Inhuman” erupts as a rampant, tumultuous collective roar, while the remaining five pieces provide individualized opportunities for each musician to speak: “Gravel” (Ferreira), “Foreword” and “Nadir” (Govaert), “Overpass” (Petruccelli), and “Provenience” (Soares).

The album’s greatest strength lies not only in the well-tempered hybridity of Ferreira’s compositions but also in the sheer sense of play the quartet finds while exploring his music.

Favorite Tracks:
02 - Ode ► 04 - Trilemma ► 07 - Free Wheel ► 09 - Uncertain Principle

Dave Liebman / Billy Hart / Adam Rudolph - Beingness

Label: Meta / Defkaz Records, 2025

Personnel - Dave Liebman: soprano saxophone, wooden flutes; Billy Hart: drum set; Adam Rudolph: handrumset (kongos, djembe, tarija), piano, thumb piano, keyboards, gongs, dakha de bello, live electronic processing, percussion.

Saxophonist Dave Liebman and percussionist Adam Rudolph have collaborated in trio settings with several drummers over the years. For this session, recorded live at The Stone in 2023, they were joined by master drummer Billy Hart—called in at the last minute when Tyshawn Sorey became unavailable. Liebman first played with Hart on Miles Davis’ On the Corner (1972), while Rudolph, long fascinated by global rhythmic traditions, becomes a new creative partner as the trio explores intriguing sonic spaces with enviable confidence and ease. According to Rudolph’s liner notes: Beingness is the source of inspiration which moves silence towards its manifestations as form in sound.

“Unfolding” thrives on bi-directional rhythms that complement one another. Hart’s cymbal colors and geometric tom-tom patterns welcome Rudolph’s hand percussion—he later shifts to electronic processing—while Liebman narrates with bold intervals and spiky phrases wrapped in delay. “Intent” reveals an exciting, forward-thinking interplay, alive with mantra-like drum fluxes that support soprano ascents drawn in angular, asymmetric shapes.

Liebman’s inventive melodicism flows and punctuates with maturity on “Pathways”, whose swinging post-bop inflections and rousing percussion carry an energy ready to burst. The percussion duo savors the moment with reassuring heartbeats, shimmering cymbals, and juxtaposed rhythmic currents that translate into free, galvanizing locomotion. The Art Ensemble of Chicago comes to mind as the piece evokes forest dances, celestial praise, and tribal exultation. “Remembering the Future” places the trio in complete communion, laying down motifs and drones and combining them with long cymbal lines and supplicant horn moans.

The haunting “Transparent to Transcendence” features the chameleonic Rudolph on piano. He also sends synth waves echoing through the air and injects opportune electronics. Mystery and inquiry are reinforced by Liebman, who roams on soprano with expressive diction and tone. The piece ends in profound stillness, drawing the listener into its gravitational center. “Mystique” closes the album on a perplexing note, with nearly shamanic opacity in its rhythmic overtones.

Oscillating between passionate intensity and meditative restraint, this chordless trio bravely constructs a mix of consonant and dissonant polarities in an experimental voyage that feels as adventurous as it is spiritual.

Favorite Tracks:
02 - Intent ► 04 - Pathways ► 05 - Transparent to Transcendence

Julius Gawlik - It's All in Your Head

Label: Unit Records, 2025

Personnel - Julius Gawlik: tenor saxophone, clarinet; Evi Filippou: vibraphone; Phil Donkin: bass; Jim Black: drums.

Emerging German saxophonist Julius Gawlik, a member of the prestigious NDR Big Band, has been developing his voice through several groups, including Jim Black & The Shrimps, Evi Filippou’s inEvitable, and the Jochen Ruckert Trio. Having already made a mark on the Berlin scene with these projects, it was more than time for Gawlik to release his debut album as a leader—fronting a tight yet open-minded quartet with Filippou on vibraphone, Phil Donkin on bass, and Black on drums. These bandmates help him sharpen the breadth of his stylistic palette.

“There Are No Ugly Dogs” begins in a quiet, nearly whispered mode, with saxophone and vibraphone fused in heady melodicism over an understated bass–drums pulse. The sound progressively expands as Black injects inventive, often displaced beats that generate a sense of sophisticated bemusement. After an energizing vibraphone solo, Gawlik narrates both inside and outside the changes, orbiting tangentially and weaving his well-developed language like a spider spinning its web. The piece culminates in a multiphonic-psyched vamp.

“You Wish” is more contemplative yet mysterious in tone—evoking the atmospheric aura of Andrew Hill—with Donkin’s bass work coming to the fore in the final third. “Glow” touches abstraction, propelled by brushes and melodically defined by clarinet, whereas “Chicago” maintains a constant fluidity following a stop-start motion that shapes its opening.

Shape-shifting with extraordinary complexity, “Fuchs” launches a rampant swinging drive with polyrhythmic impact. Despite the uptempo convergence, Gawlik’s tenor improvisation remains focused, lucid, and indisputably rousing. Navigating transitions with dexterity, the quartet slips into an alternative-rock posture that calls for some of Black’s most exuberant kit work. The enchanting closer, “TSCH”, carries an almost balladic touch—harmonically rich and melodically alluring. Gawlik first moves in tandem with Filippou before departing into a high-flying solo that is both riveting and affecting.

Gawlik’s music is to be taken seriously—rooted in creative idioms and supported by an accomplished tone on both saxophone and clarinet. His narratives are unpredictable, full of intriguing turns as he and his bandmates search for contemporary musical frameworks. It’s an outstanding debut.

Favorite Tracks:
01 - There Are No Ugly Dogs ► 03 - Fuchs ► 06 - TSCH

Billy Hart - Multidirectional

Label: Smoke Jazz Sessions Records, 2025

Personnel - Mark Turner: tenor saxophone; Ethan Iverson: piano; Ben Street: bass; Billy Hart: drums.

Serving as a celebration of his upcoming 85th birthday (November 29), the incomparable master drummer Billy Hart—whose musical sensibilities continually surprise regardless of context—releases his first live album with his esteemed quartet: tenorist Mark Turner, pianist Ethan Iverson, and bassist Ben Street. Multidirectional was recorded at NYC’s Smoke Jazz Club, featuring previously recorded material—including originals from three members of the quartet and a cover—that gains fascinating new perspectives and colors in an ode to both discipline and freedom.

Hart’s “Song For Balkis”, written for his daughter and originally included on the album All Our Reasons (ECM, 2012), begins with the drummer’s tom-tom prowess before shaping into a lyrical tone poem. Under the spell cast by the rhythm section, Turner unfolds a logical narrative, followed by a solo piano moment in which Iverson induces placid, dreamlike states with a sky-falling sequence of notes. The mood darkens slightly, and Turner returns with another inspired improvisational discourse. The piece is subtly reconfigured at the end with sophisticated, classical-leaning alignments. Hart also brings “Amethyst” to the lineup, taking a rubato, balladic orientation from the outset before crossing into abstract modal jazz and avant-garde territories, with Turner leading the charge. Iverson responds astutely over a stirring bass-and-drums chain.

The group drives listeners to many unexpected places, and their take on Coltrane’s classic “Giant Steps” is another prime example. Iverson’s intriguing introduction signals that they intend to approach the tune from a new angle—and they do. The dancing groove created by Street and Hart can either hold in pedal points or swing forward, and Iverson’s motivic structures and outro are remarkable.

Turner and Iverson each contribute a composition. The saxophonist wrote “Sonnet For Stevie” for Stevie Wonder, and the quartet’s rendition of this 2013 piece delights both collectively and through each individual statement, swinging and grooving with its own distinctive character. The pianist’s “Shoedown”—the opening piece of the quartet’s previous album Just (ECM, 2022)—is a strikingly beautiful ballad played at a comfortable tempo, with everyone performing from a place of deep conviction.

With musicianship running in their veins, the Billy Hart Quartet radiates elegance and wisdom at every turn. The drummer’s vital energy, unconventional technique, and refined taste remain nothing short of awe-inspiring.

Favorite Tracks:
02 - Giant Steps ► 03 - Sonnet For Stevie ► 04 - Amethyst

Jeremy Rose - Infinity II

Label: Earshift Music, 2025

Personnel - Jeremy Rose: tenor and soprano saxophones, bass clarinet, effects; Novak Manojlovic: keyboard, synthesizers; Ben Carey: modular synthesizer; Tully Ryan: drums.

Sidney-based saxophonist Jeremy Rose, founder of the chilled-out, eclectic band The Vampires and the Earshift Music label, releases his second album with the Project Infinity, a live-recorded and fully improvised set of urban-lite grooves and bright horn licks that sound anything but academic. Rose’s 26th release as a leader is a meditation on time, motion, and memory, fusing ambient and electronic in a post-jazz setting.

Teamed with keyboardist Novak Manojlovic, modular synth artist Ben Carey, and drummer Tully Ryan, Rose presents the first three tracks as a panoramic sweep. “Full Moon” sets the tone with a suspenseful, minimalistic interplay comprising rattling noises, terse yet throbbing bass sounds, elongated synth vibrations, and late-arriving fluttering saxophone lines. “Futures” operates in both contemplative and exploratory modes with firm drumming and surging waves of energy from the saxophone. “The Great Wave Off Kanagawa” thrives on motivic electronic loops and Ryan’s compulsively syncopated drum work. The rhythm team weaves a spacious, emotion-rich ambient texture over which Rose unfolds blistering saxophone narratives.

“Resonance” nods to hip-hop through its beat, adding colorful synth beams and passionate bass clarinet wails. At times, bass notes take the lead with a straight-eight feel, but Ryan disrupts it through rhythmic displacement. He gradually pushes the groove into more complex patterns as extra synth layers accumulate. “Perpetual Motion” lives up to its title but with nuance in the flow. Delivered with full-tilt abandon and driven by a thrilling pulse, the piece moves in fusion fashion, partly due to warped effects and the instinctive grit of the sax improvisation.

There’s room for playfulness and curiosity, and Infinity II never sounds clinical. On “Tides”, the earthy tones of the bass clarinet dominate over glitchy tapestries and punctuated, elliptical constellations of sound. The jagged, punchy drumming heightens the vitality. “From Now On” closes the album on a relaxing note, gently propelled by a crisp backbeat.

Rose and his quartet layer sounds in ways that reveal emotional truth. Even the most fragile moments carry understated currents that prevent them from drifting into the merely ethereal. Infinity II, attentively mixed by recording engineer Richard Belkner, is a competent and exploratory ambient outing for this era.

Favorite Tracks:
03 - The Great Wave Off Kanagawa ► 06 - Impermanence ► 09 - Tides

John Scofield / Dave Holland - Memories of Home

Label: ECM Records, 2025

Personnel - John Scofield: guitar; Dave Holland: double bass.

American guitarist John Scofield and British bassist Dave Holland, two jazz heavyweights with a tremendous shared oeuvre, join forces for their first duo record, join forces for their first duo record, Memories of Home. Recorded after extensive touring together, the album its something to stick with, as they refine and hone abundant musical ideas in nine old and new compositions—five by Scofield and four by Holland. In the past, they spread their talent in projects by pianist Herbie Hancock and saxophonist Joe Henderson, and co-led the quartet ScoLoHoFo with saxist Joe Lovano and drummer Al Foster.

The album couldn’t have a better start than with Scofield’s “Icons at the Fair”, a phenomenal piece inspired by Hancock’s arrangement of “Scarborough Fair” on The New Standard (Verve, 1996). Its catchy American sound—rooted in blues and folk—is quintessential Scofield. Mastering his octaves technique, he begins with a crisp single-note narrative before infusing rich chords over Holland’s driving, athletic lines. The bassist follows with a hyper-articulated solo, eventually trading phrases with his musical partner before redirecting to the tune's theme. 

The following three pieces, all penned by Scofield, show these singular artists in top form, revealing their deep understanding of the material and elevating it through their craft. “Meant To Be”, a mesmerizing 3/4 post-bop classic from 1991, is played here with warmth and stylish finesse. “Mine Are Blues”, a new composition, brings expressive synchronicity to its main melody, swinging unabashedly until its glorious finale. “Memorette”, another 3/4 tune, relies on Holland’s bass dances and melodic insight.

Of Holland’s four previously recorded compositions, three gained notoriety through his quintet. Both “Mr. B”, a dedication to bassist Ray Brown that swings as sharp as a tack, and the groove-centered “Not For Nothing”, which retains its original 5/4 meter and features Scofield’s amazing comping, were first recorded with Holland’s famed vibraphone-equipped quintet. In turn, the straight-ahead “You I Love”—packed with invigorating walking bass and bluesy guitar chops—first appeared with a different quintet, Holland’s earliest, featuring a three-horn frontline with trumpeter Kenny Wheeler, altoist Steve Coleman, and trombonist Julian Priester. The album closes with the title track, a ballad with a pronounced country feel.

Scofield and Holland push each assertively into groovy territory. No matter what they play, they always find a way to pull focus and draw you in. This joint effort is a must-have for any jazz lover.

Favorite Tracks:
01 - Icons at the Fair ► 02 - Meant To Be ► 03 - Mine Are Blues ► 08 - You I Love

Aaron Parks - By All Means

Label: Blue Note Records, 2025

Personnel - Ben Solomon: tenor saxophone; Aaron Parks: piano; Ben Street: acoustic bass; Billy Hart: drums.

The work of pianist and composer Aaron Parks has long earned recognition for its lyricism, inventiveness, and balance between modernity and tradition. On By All Means, featuring seven tuneful originals—some newly penned, others revisited—Parks reunites with his Find the Way (ECM, 2017) trio mates, bassist Ben Street and drummer Billy Hart, expanding the lineup into a multi-generational quartet with the addition of rising saxophonist Ben Solomon, a former member of Wallace Roney’s band. 

Leaning toward the introspective, the album opens with the harmonically sophisticated rubato ballad “A Way”. Hart’s expert brushwork, Street’s abstract yet groovy commentary, and Parks’ sculpted piano textures create an intimate, hovering atmosphere. Keith Jarrett often comes to mind here, particularly as Solomon’s supple saxophone tone glides over the trio’s musing rhythmic fabric with striking emotional range.

“Park’s Lope”—a self-portrait of sorts—flows with post-bop elegance, beginning with a magnetic pulse that eases into a lilting, lightly propulsive cadence supporting heartfelt solos from both Parks and Solomon. The pianist’s phrasing and harmonic sense reveal hints of Herbie Nichols, Thelonious Monk, and Kurt Rosenwinkel, yet he remains unmistakably himself. 

Unlike Parks’ Little Big project, which leaned toward indie and electronic textures, By All Means stays closer to the jazz tradition, exploring song form and improvisational depth with unhurried focus. Two family tributes provide emotional anchors: “For Maria José”, dedicated to his wife, unfolds as a mid-tempo 4/4 ballad of gratitude and grace; while “Little River”, written for his eldest son Lucas, takes shape as a stately 3/4 tune with a flowing melody and gently breezing harmonic progression. Parks’ lyrical soloing feels effortlessly expressive, and Solomon’s follow-up brims with the spiritual warmth of Coltrane and the intense vibration of Sonny Rollins.

Composed when Parks was still a teenager, “Anywhere Together” receives an invigorating treatment from the rhythm section—its swinging vitality testifying to both elegance and maturity. Hart’s drumming, marked by deft cymbal accents and impeccable dynamic sense, remains a highlight throughout. In turn, the laid-back closer, “Raincoat”, inspired by electronic artist Baths, settles into a sultry Latinized groove, with Street and Hart providing a supple, understated foundation.

By All Means would catch on a general audience as this well-connected quartet offers a deeply-felt set of sympathetic jazz music.

Favorite Tracks:
01 - A Way ► 02 - Park’s Lope ► 06 - Little River

Igor Lumpert Quartet - Resistance of the Earth

Label: ears&eyes Records, 2025

Personnel - Igor Lumpert: tenor and soprano saxophones, accordion; Leo Genovese: piano; Drew Gress: acoustic bass; Damion Reid: drums.

For his new quartet album, Resistance of The Earth, Slovenian saxophonist and composer Igor Lumpert assembles a formidable crew: sought-after pianist Leo Genovese, seasoned bassist Drew Gress, and dynamic drummer Damion Reid. Partly inspired by natural disasters and environmental decline, and partly a family tribute, the record turned out remarkably well for something captured in a single day after just one rehearsal. The music channels the modal spirit of John Coltrane and McCoy Tyner, while embracing modern composition and cross-cultural influences.

The title cut, “Resistance of the Earth”, opens with an assertive drum statement, soon joined by vocal chants and Lumpert’s fervent saxophone lines, enveloped in a modal aura reminiscent of Tyner and Billy Harper. The latter—alongside drummer Chico Hamilton and bassist Reggie Workman—was one of Lumpert’s mentors at New York’s New School. Lumpert’s solo brims with clarity and imagination, followed by a fiery turn from Genovese, who thrives in this setting. The pianist’s rhythmic elasticity also shines on “Sures”, an exciting piece with an intricate relationship with tempo and accentuation.

Among the album’s more athletic tunes, “High Peaks” begins in a controlled Coltranean post-bop frame before bursting into ecstatic avant-garde interplay, while “Mediterranean Samurai”—inspired by birdwatching and nature—unfolds with a 3/4 piano riff and martial snare fluxes beneath Lumpert’s fluid, cutting tenor lines.

The sophisticated ballad “Underwater Snow” cools the mood with soft textures and a chilled backbeat, serving as a touching tribute to Lumpert’s wife. His solo follows the tune’s emotional logic with poise and passion. “Choir Song”, asymmetrical and harmonically rich, channels a Wayne Shorter vibe and features Lumpert on both accordion and soprano sax. In “Panonian”, set in seven, sax and piano move with synergistic coordination, while the closer, “Blues for Code Talkers”, offers a disciplined, spiritual homage to the Native American soldiers who used tribal languages to transmit coded messages during WWII. The Coltrane/Tyner’s synergy is evident throughout this piece. 

The album’s cohesion stems from the quartet’s deep rapport and shared sense of purpose. Lumpert’s writing and playing strike a balance between intensity and intellect, and his bandmates respond in kind. Free of pretense or artifice, Resistance of the Earth stands as a solid, thoughtful statement of originals.

Favorite Tracks: 
01 - Resistance of the Earth ► 02 - Sures ► 03 - High Peaks