Alchemy Sound Project - Under the Surface

Label: Artists Recording Collective, 2025

Personnel - Sumi Tonooka: piano; Gregg August; bass; Johnathan Blake: drums; Erica Lindsay: tenor saxophone; Salim Washington: tenor saxophone, bass clarinet, flute; Samantha Boshnack: trumpet; Michael Ventoso: trombone.

Alchemy Sound Project invites bassist Gregg August and drummer Johnathan Blake to join them in their third album, Under the Surface, which comprises seven formidable compositions by Philadelphian pianist Sumi Tonooka, an adept of both angularity and lyrical melodicism. 

Inspired by the roots of trees and how they function as interconnected underground systems, the album begins with a texturally open-minded piano trio number, “Points of Departure”, showcasing a drum solo at the outset before a great riffing groove forged by the pianist—alongside funkified bass lines—come to prominence. Tonooka’s harmonic voicings and cascading phrasings feel remarkably fresh, her musicality resonating in her fierce, compelling delivery. “Savour”, a meditation on mindfulness, features trombonist Michael Ventoso, who nods to Bubber Miley and Ellingtonian tradition with his muted wah-wah technique. The arrangement holds some surprising twists. Tonooka’s piano work is imaginative, and tenorist Erica Lindsay’s improvisation, rich with melodic inspiration, is fantastically supported by Blake’s vibrant drumming.

Bookended by excellent bowed bass, “Interval Haiku” is fed by a collateral riff that leads to Samantha Boshnack’s trumpet solo over an intense bass-and-drums flux and sparse piano comping. Multi-reedist Salim Washington delivers a bright tenor solo, gliding atop a slightly Latinized rhythmic tapestry. He also takes center stage at one point on the title track, “Under the Surface”, which closes the album with a mantra-like piano figure and horns soaring above it with expressive freedom.

One can’t deny there’s something special in Tonooka’s compositions. The contrast between “Mother Tongue” and “For Stanley” confirms her versatility. The former, full of sophistication and set in a bright septuple meter, features flute, sax, and trumpet in melodic consonance, as well as striking counterpoint; the latter, written for Tonooka’s mentor—the brilliant pianist Stanley Cowell— leans toward a more traditional jazz sculpting, delivered in trio format with rhythmic nuance, intimacy, and control.

There’s nothing pretentious about the way these musicians play. What comes to the fore is their ability to remain loose for a while and then return to form in a natural, effortless way.

Favorite Tracks:
01 - Points of Departure ► 02 - Savour ► 05 - Mother Tongue

Scheen Jazzorkester & Fredrik Ljungkvist - Framat!

Label: Grong, 2025

Personnel - Fredrik Ljungkvist: tenor saxophone, clarinet, composition;  André Kassen: tenor and soprano saxophones; Guttorm Guttormsen: alto saxophone, flute; Jon Øystein Rosland: tenor saxophone; Line Bjørnør Rosland: clarinet, bass clarinet; Finn Arne Dahl Hanssen: trumpet; Thomas Johansson: trumpet; Mats Äleklint: trombone; Frøydis Aslesen: trombone; Åsgeir Grong: bass trombone; Mathias Ståhl: vibraphone; Jan Olav Renvåg: acoustic bass; Audun Kleive: drums.

Scheen Jazzorkester, a deliciously progressive Norwegian big band whose works often feature guests, invited Swedish saxophonist Fredrik Ljungkvist to compose for and perform with them. Ljungkvist’s eight compositions form a sumptuous suite crafted with a broad palette of sounds, fascinating dynamics, and creative nuance. Framåt!—meaning ‘going forward’—is dedicated to the composer’s father, who passed away in 2023, and is formidably executed by a fine roster of like-minded players, including two fellow Swedes: trombonist Mats Äleklint and vibraphonist Mathias Ståhl.

Initially immersed in dark tones, “Mörk” creates a mysterious soundscape that gradually dissolves through chromatic tonal shifts, leading to Thomas Johansson’s trumpet solo over harmonic vibraphone textures, resolute pizzicato bass, and gently brushed drums. Intensity ebbs and flows until the final theme reemerges. More restrained yet relying on well-defined melodic trajectories in unison, “Bågarna Och Rörelserna” features the rich woodiness of Ljungkvist and Line Bjørnør Rosland’s clarinets. 

The fresh orchestral vitality of “Framåt!” And “No Time to Loose” is on full display. The former, propelled by a beseeching force in five, shifts from elegant melodic contours into a wild sonic eruption driven by a dense horn concentration. Ljungkvist enjoys an unaccompanied exchange with Äleklint in a section that moves seamlessly from tense to tranquil. The latter piece, impeccably arranged and luxuriantly open, begins with flute over a droning backbone, and is elevated by Ståhl’s sophisticated improvisation and Ljungkvist’s explosive saxophone bursts.

While “Glassolalia”—translated as ‘speaking in tongues’—swings with a playful, uncompromising energy, “Leif Håkon” is a ballad of the impressionistic kind. The album closes with two dedications: “En Hyllning till Kerstin”, for writer Kerstin Ekman, and “Keijsers Dans”, for Ljungqvist’s former teacher, saxophonist Roland Keijser. The former, launched by saxophone over drums, emits classical essences in a chamber jazz setting; the latter exudes an infectious, feel-good rock vibe in waltz time, further animated by puissant saxophone exchanges.

With the band showcasing remarkable chemistry, Ljungkvist’s magnetic presence and compositional adroitness are felt throughout. This is serious big band work, where every musician contributes meaningfully to strike that sweet spot between individual improvisation and collective cohesion.

Favorite Tracks:
01 - Mörk ► 03 - Framåt! ► 04 - No Time to Loose ► 08 - Keijsers Dans

Mary Halvorson - About Ghosts

Label: Nonesuch Records, 2025

Personnel - Mary Halvorson: guitar, pocket piano (#1,2,3,8); Immanuel Wilkins: alto saxophone (1,2,4,5); Brian Settles: tenor saxophone (#1,2,5,8); Adam O’Farrill: trumpet; Jacob Garchik: trombone; Patricia Brennan: vibraphone; Nick Dunston: bass; Tomas Fujiwara: drums.

Produced by Deerhoof’s John Dieterich, About Ghosts allows another worthy journey into the musical imagination of one of contemporary jazz’s most creative minds. Groundbreaking guitarist and composer Mary Halvorson presents eight originals, impeccably arranged for her widely praised Amaryllis sextet, plus two guest saxophonists: Immanuel Wilkins on alto and Brian Settles on tenor. Her remarkable talent is on full display throughout the album, where she also plays pocket piano on four tracks.

“Full of Neon” exhibits an exquisite, route-defining navigational pulse, across which unison melodies traverse unflaggingly. Jacob Garchik’s adventurous trombone solo sparks spontaneous reactions from Halvorson, while Settles’ tenor excursion unfolds over a distinct, snare-charged drum flow crafted by Tomas Fujiwara. “Carved From” opens and closes in a chamber jazz mode—horns up front—before entering a rich, uptempo waltz over which Halvorson’s atonal, provocative solo captures the ear and imagination. This is followed by Wilkins’ magnetic discourse.

“Eventual”, a somber ballad infused with mournful solemnity, spotlights vibraphonist Patricia Brennan, while the title track, “About Ghosts”, evokes an Ellingtonian movement reimagined with a 21st-century vision. Still, “Polyhedral”, with its angular, snappy theme delivered at a dazzling tempo, makes an even stronger impact. It’s a two-minute collective effort rather than a showcase for individual soloing.

Wilkins offers another improvisational blast on “Absinthian”, weaving long and fragmented phrases. This highly inventive piece, which blurs boundaries between indie electronic, alternative rock, and avant-garde jazz, stands out through its driving propulsion and fascinating counterpoint. Trumpeter Adam O’Farrill, in his eloquent yet sharply discerning style, also reveals outstanding melodic sensibility. The album concludes with “Endmost”, a 4/4 sonic mission featuring Settles and closing with Fujiwara’s drum solo over synth.

The material is unmistakably Halvorson’s. She and her constellation of superstars explore vast sonic territories without compromising accessibility, constructing intricate textures and bridging sections with both logic and audacity.

Favorite Tracks:
01 - Full of Neon ► 02 - Carved From ► 04 - Absinthian

Jaleel Shaw - Painter of the Invisible

Label: Changu Records, 2025

Personnel - Jaleel Shaw: alto saxophone; Lawrence Fields: piano; Ben Street : bass; Joe Dyson: drums + Lage Lund: guitar (#4,10); Sasha Berliner: vibraphone (#6,11).

American altoist Jaleel Shaw releases his first album in 13 years. Throughout the 11 original tracks of Painter of the Invisible, he showcases not only powerful soloing instincts but also a gift for modern jazz composition that carries the rich aroma of tradition. Shaw, who rose to prominence as a bandleader while working with the late drummer Roy Haynes in his Fountain of Youth Band, reunites with pianist Lawrence Fields—featured on Soundtrack of Things to Come (2013)—and Norwegian guitarist Lage Lund, a strong presence on his first two albums, Perspective (2005) and Optimism (2008). Lund was a last-minute addition, as was vibraphonist Sasha Berliner. The core rhythm section features the seasoned bassist Ben Street and rising-star drummer Joe Dyson.

“Contemplation” is a high-energy, modal post-bop piece infused with Coltrane-inspired flavors, while “Beantown” blends elements of funk and R&B within a modern jazz framework—joy and positive energy radiate from its melodic statement, firmly anchored by Street’s gripping 14-beat cycle bass groove and Dyson’s incompressible snare/hi-hat-driven flow. The group jumps off from there.

Both “Distant Images” and “Gina’s Ascent” were written for Shaw’s late family members. The former, dedicated to his grandmother, is a rhythmically challenging piece whose rubato intro features Lund’s effulgent guitar playing and clear tone, while the latter, penned for his cousin, features Berliner’s dreamy vibes, whose figure in seven is mirrored by the bass.

Every piece has the post-bop thread running through it, yet “Tamir”, dedicated to murdered 12-year-old boy Tamir Rice, introduces Middle Eastern and African inflections in a 6/4 modal journey. Shaw’s eloquent, burnished saxophone channels spiritual consciousness, soaring again on “Invisible Man”, a tour-de-force in seven that reflects his experience as a Black man. Lund’s solo here is a marvel, enhancing a piece inspired by Ralph Ellison’s novel. The album concludes with the awe-inspiring melody of “Until We Meet Again”, a tribute to the late saxophonist, keyboardist, and vocoderist Casey Benjamin—co-founder of the Robert Glasper Experiment—where Berliner’s vibraphone brings warmth and tenderness.

Shaw retains his much-appreciated musical identity while exploring new directions. Painter of the Invisible is where melody, harmony, and rhythm come alive with pure intention. A great album to enjoy without reservations.

Favorite Tracks:
03 - Beantown ► 04 - Distant Images ► 07 - Tamir ► 10 - Invisible Man

John Yao and his 17 Piece Instrument - Points in Time

Label: See Tao Recordings, 2025

Personnel - John Yao: trombone; 

Trombonist, composer, and bandleader John Yao assembles a 17-piece ensemble, enlisting more than just improvisers to perform big band arrangements of his small group compositions. Throughout, you’ll encounter dense layers of sound and punchy collective passages that at times feel overly cerebral.

“Upside” features well-placed horns in a loosely through-composed piece with an uplifting vibe. It begins to swing during David Smith’s trumpet solo, then incorporates staccato punches to support Tim Armacost’s tenor sax narrative before returning unabashedly to swing, punctuated by some engaging shifts. “Not Even Close” pays tribute to Thad Jones, evoking the classic old-school vibes of Ellington and Basie.

“Triceratops Blues”, originally written for Yao’s three-horn chord-less quintet and featured on his album How We Do (See Tao, 2019), evolves with confidence, reaching its peak in the conversational exchanges between saxophonist Billy Drewes—a member of Yao’s Triceratops quintet, here on alto—and bass trombonist Max Seigel. Revolving horn eruptions prompt crisp responses by drummer Andy Watson. “The Other Way” introduces another staccato sequence, fierce counterpoint, and athletic, rock-infused drumming. Quick-silver horn lines inject high energy into a piece that showcases veteran tenorist Rich Perry and a trombone excursion by Yao himself.

A more recent composition, the breezy “Song For Nolan” also features Perry and includes a spontaneous dialogue between baritonist Carl Maraghi—who boasts a burningly meaty sound—and trombonist Matt McDonald. While this piece, written for Yao’s son, highlights cyclical mutations in the rhythm flow, Herbie Hancock’s “Finger Painting”—the album’s sole cover—is presented with a broader instrumental palette, though, like the majority of the selections here, it doesn’t quite dazzle the ear or leave a lasting impression.

Favorite Tracks:
01 - Upside ► 03 - Triceratops Blues ► 07 - Song For Nolan

Kneebody - Reach

Label: GroundUP Music, 2025

Personnel - Ben Wendel: tenor saxophone, effects; Shane Endsley: trumpet, synth bass, effects; Adam Benjamin: keyboards; Nate Wood: drums, electric bass.

Formed in 2001, Kneebody is a progressive and eclectic unit featuring Nate Wood simultaneously on electric bass and drums, Ben Wendel on saxophone, Shane Endsley on trumpet, and Adam Benjamin on keyboards. While Wood and Wendel are based in Brooklyn, Benjamin and Endsley reside in Reno and Denver, respectively. Reach is the group’s ninth studio album and features compositions by all members except Wood. 

The album opens with two Wendel compositions: the crisp and forceful “Repeat After Me”, brimming with soulful attacks from the authoritative drummer and multiple psychedelic effects, in a seamless blend of Herbie Hancock’s Headhunters’ funk-laden synth strut with the heavy muscularity of rock bands; and “Reach”, a piece that could easily hit the dancefloor with its on-the-nose, 10-beat-cycle electro-rock demeanor. With Endsley on board, we can expect a high premium on dynamic range, and that’s exactly what he delivers here.

Inspired by old-time music, “Natural Bridge” injects more groove into the mix, with clear R&B influences and the two horns in harmonious consonance. Like the former, “Top Hat” was penned by Endsley, featuring spasmodic staccatos, skillful drumming enhanced by clever syncopation, and electronic embellishments, resulting in a futuristic fusion soundscape. 

Benjamin’s “Glimmer” leans on simple riffs and spectral ambient diffusions, while Wendel’s “Say So” creates a giddy mood, placing a catchy riff over a rock-infused progression. A tasteful synth solo closes out the piece.

There’s an underground energy you can dance to, but I expected more from a band of this caliber. Their experimentation is commendable, but at times it feels like they aim to be hip without fully realizing the potential of their hybrid sound.

Favorite Tracks:
01 - Repeat After Me ► 04 - Natural Bridge ► 09 - Say So

Mark Solborg - Tungemal: Confluencia

Label: ILK Music, 2025

Personnel - Mark Solborg: guitar, electronics; Susana Santos Silva: trumpet; Simon Toldam: piano, keys; Ingar Zach: percussion, vibrating membranes.

Danish-Argentine guitarist and composer Mark Solborg offers nine aesthetically compelling avant-garde chamber pieces that leave a bold imprint due to their originality. While the written sections are well-considered, the improvisation unfolds confidently from the fabric of each composition, insidiously performed by his Tungemal quartet, featuring Portuguese trumpeter Susana Santos Silva, Danish pianist Simon Toldam, and Norwegian percussionist Ingar Zach.

Emitting melancholic and dark sounds, “Spoke” feels like a meditation on loss and grief. It’s layered with dismal piano chords, lachrymose trumpet lines sculpted with emotional fragility and enchanting effects, and understated guitar coloring. “Southern Swag” thrives on an offbeat prepared piano pulse which, accompanied by precise percussion, forms the bed over which Solborg and Silva deliver reassuring melodies in parallel. The guitar solo is alluring, marked by unanticipated note choices.

The group keeps listeners hooked with “The Wires”, in which Solborg’s meditative acoustic guitar stands out against the moody background. There’s a simultaneous embrace of anguish and tranquility here, yet “Cantamos” brings more optimistic tones without ever feeling cathartic. Its 4/4 arpeggiated riff is supported by sizzling percussion and extra bass notes that provide a cushioning foundation. “Planes” returns to a spatial, rubato desolation that immerses the listener in an imperturbable state of languidness. 

“Janus - Og Sidste Ord”, the longest track on the record at nearly 11 minutes, opens with metallic percussion, introspective guitar fingerpicking, and synth consistency, passing through a buzz-soaked stillness suddenly populated with clear piano raindrops. It all ends in atmospheric haze with Zach’s vibrating membranes and subtle key changes. The album winds up with “Pitches & Peace”, a softly mantric act co-composed by Solborg, Toldam, and Silva. The latter, employing extended techniques and pixelating her own ideas with varying degrees of timbre and pitch, steps into the foreground.

Tungemal, which means idiom or tongue, is deeply connected to communication and diversity. For all its risk-taking approach and keen sense of atmospherics, Solborg’s neatly-organized yet intriguing project deserves attention.

Favorite Tracks:
02 - Southern Swag ► 03 - The Wires ► 04 - Cantamos

Emiliano D'Auria - The Baggage Room

Label: Via Venetto Jazz, 2024

Personnel - Dayna Stephens: tenor saxophone; Philip Dizack: trumpet; Emiliano D’Auria: piano; Rick Rosato: acoustic bass; Kweku Sumbry: drums.

For his Brooklyn-recorded album, The Baggage Room, Italian pianist and composer Emiliano D’Auria assembles a formidable quintet rounded out by American musicians. The album features a dynamic frontline composed of first-caliber improvisers—saxophonist Dayna Stephens and trumpeter Philip Dizack—while bassist Rick Rosato and drummer Kweku Sumbry join the bandleader to form a cohesive rhythm section. Consisting of nine gorgeous D’Auria compositions, the album pays tribute to the Italian and European migrants who left their homelands in the late 19th and early 20th centuries in search of a better future in America. 

The narrative opens with impact, as the first two tracks make an immediate impression. The title track, “The Baggage Room”, showcases rhythmic accents reminiscent of electronic music, underpinned by a snare-driven marching impetus and ecstatic horn lines that carve out compelling melodies. After an introspective passage where Stephens and Dizack alternate solos, the two horn players juxtapose their voices in a vibrant dance athletically underpinned by the rhythm team. “1891: Ellis Island”, introduced by Sumbry’s assertive drumming and marked by a strong piano-bass alignment, evolves with a danceable rock-tinged progression that serves as a springboard for Dizack’s expressive brilliance. Stephens follows with a more meditative solo, supported by D’Auria’s sparse harmonic textures.

“Temporarily Detained” emulates the tension and uncertainty faced by detainees at Ellis Island through taut, incisive melodic lines. A descending trumpet motif evokes “The Peacocks”, before the piece bursts into a frenzied swing, concluding on a 12-beat vamp. “Searching For the New World” conjures an Enrico-Rava -meets-Mike-Turner landscape, while “The Story of Sacco and Vanzetti”—inspired by the two anarchist laborers controversially convicted and executed in 1927 Massachusetts—cracks into classic hard-bop with a moody swing, channeling the vibes of Lee Morgan, Art Blakey, and Kenny Dorham. The horns are stellar here, improvising fluidly over an articulated mesh of piano, bass, and drums.

While “The Long Wait” is largely a piano trio ballad, the horns catch up in the final section for a touching resolution. then “Third Class” begins with a sustained bass pedal, a fine ride cymbal pulse, and unison folk-tinged melodies before shifting moods via reverb-soaked transitions that sweep across the stereo field.

D’Auria’s American adventure has culminated in a strong album, crafted by a simpatico unit energized by the commanding presence of its frontline.

Favorite Tracks:
01 - The Baggage Room ► 02 - 1891: Ellis Island ► 03 - Temporarily Detained

David Bixler Trio Incognito - Incognito Ergo Sum

Label: Self released, 2025

Personnel - David Bixler: alto and soprano saxophones; Dan Loomis: bass; Fabio Rojas: drums.

American saxophonist David Bixler has been living in New York for 30 years, where he cut his teeth touring with vibist Lionel Hampton, pianist Toshiko Akiyoshi, and acclaimed Cuban composer Chico O’Farrill. His latest album, Incognito Ergo Sum, blends meticulously crafted composition with improvisation in a boundary-crossing, free-wheeling set of originals, plus a take on Jerome Kern’s “Nobody Else But Me”. His cohesive Trio Incognito features a creative rhythm section of sought-after musicians and bandleaders: Brooklyn-based Dan Loomis on bass and Venezuelan Fabio Rojas on drums. The album follows the trio’s debut Inside The Grief (Bixxlixx, 2020).

“6.29.21” opens with a 16-beat cycle saxophone riff delivered with aplomb and crisp precision, revisited several times along the way. Loomis and Rojas sustain a great rhythmic drive, while Bixler expresses casual thoughtfulness without resorting to unnecessary fireworks. The bass solo blends articulation with natural melodicism, and the drummer’s expansion generates a controlled storm. “Recycled” features expedite changes of pace, shifting the tempo into higher gear, while “You Are Ma King” revolves around a clear-cut thematic idea, etched with a sinuous edge, and culminating in a fine drum solo. 

“What’s At Hand” showcases the balladic side of the trio—with a soft saxophone glow, conscious bass breathing, and brushed skins—before swinging eloquently in the wake of Loomis’ improvised dissertation, steadily gaining momentum with its firm, bouncy step. The trio crafts a fluid storytelling approach on “Old Dog New Bix”, feeding off the tune’s melodic candor.

“Liminal Space” and “Johnny Cope” stand out among the album’s best-written pieces. Both refine the trio’s sound and push it forward by integrating elements of Venezuelan folk tradition and Eastern nuance. The former features Bixler on soprano, floating over a silky Latin tapestry, while the latter relies on clear, warm cymbal work, soprano sax chants, and bass pliability to create an Eastern-infused dance, with elastic stretches from Bixler and Loomis over Rojas’ dynamic drum responses.

True to form, these tunes—anchored by well-defined riffing themes and ample room for solo expansions—showcase the majesty of Bixler’s compositions and the musical prowess of his trio.

Favorite Tracks:
01 - 6.29.21 ► 03 - Liminal Space ► 11 - Johnny Cope

Sean Imboden Large Ensemble - Communal Heart

Label: Self released, 2025

Personnel - Sean Imboden: tenor and soprano saxophone, composition, direction // Woodwinds: Matt Pivec (alto, soprano, flute); LaMont Webb (alto, flute); Mark O'Connor (tenor, soprano); Cecily Terhune (tenor); Evan Drybread (baritone, bass clarinet) // Brass:  Clark Hunt, John Raymond, Scott Belk, Kent Hickey (trumpet, flugelhorn); Tucker Woerner, Andrew Danforth, Chaz Rhodes (trombone) // Rhythm Section: Chris Pitts (piano); Joel Tucker (guitar); Rich Dole, Nick Tucker (bass); Cassius Goens (drums). 

Indianapolis-based saxophonist, composer, and bandleader Sean Imboden returns to creative music after years playing in Broadway shows and touring. His 18-piece large ensemble, assembled in 2017, demonstrates remarkable cohesion in five original tracks brimming with bold ideas.

Communal Heart, whose title pays homage to the band itself and its origins, opens with the swirling, kaleidoscopic “Fire Spirit”, whose sense of urgency and striking energy is palpable in its straight eight feel. The dynamics shift throughout, veering into soaringly atmospheric passages before becoming richly cinematic. The solos feature trumpeter John Raymond, followed by Imboden on tenor, who declaims graciously over layers of woodwinds and brass, supported by a funky guitar strut as rhythmic foundation.

“Dance Inquiry” is a breezy folk dance in five, spotlighting Imboden’s woody soprano sound alongside trombonist Andrew Danforth, while “Someone to Watch Over Us”, featuring Matt Pivec on alto saxophone, offers a hopeful response to the tumultuous political times we live in today, with finely layered sounds.

The challenges of following a creative musical path are numerous, but so are the rewards. Two pieces where that sensation is evident are “Certified Organic”, which, adhering to the fusion’s genre mentality and boosted by guitarist Joel Tucker’s fantastic sound and articulation, feels like a boost of vitamins; and “Portal Passage”, a Dave Holland-like number in seven, offering shifting moods for the soloists—in this case tenorist Mark O’Connor, pianist Chris Pitts, and a conjoint operation by baritonist Evan Drybread and trumpeter Kent Hickey. It concludes with a beautiful solo piano section.

For Imboden, the transformative experience of opening himself to new scenarios yields productive results, as carefully selected elements overlap and intersect to form colorful patterns. This is a solid big band jazz release that confirms Imboden as an interesting composer to follow.

Favorite Tracks:
01 - Fire Spirit ► 03 - Certified Organic ► 05 - Portal Passage

Finn Wiest Quintet - Aurora

Label: Self released, 2025

Personnel - Julius Van Rhee: alto saxophone; Victor Fox: tenor saxophone; Leandro Irarragorri: piano; Calvin Lennig: bass; Finn Wiest: drums.

By listening to Aurora, the debut album by Finn Wiest, a German-born, Brooklyn-based young drummer, one immediately sense that he and his band are unafraid to take risks. The album features one composition by each member of Wiest’s working quintet, which includes saxophonists Julius Van Rhee and Victor Fox, pianist Leandro Irarragorri, and bassist Calvin Lennig.

The predominant contemporary vibes and urban feel are promptly felt in Lennig’s “Old Kid”, which opens the album with soulful, horn-driven intensity. The piece is masterfully crafted with a magnetic rhythmic drive, well-placed accents, creative melodic expression, and absorbing solos by Van Rhee and Fox. Irarragori’s “Aurora” exhibits a natural flow and relaxed confidence, even with odd meter and shifting cadences. 

Wiest’s “Waltz” remains constantly in motion, offering an ear-pleasing journey elevated by Irarragorri’s imaginative harmonic construction while comping his own solo. The group digs in with enthusiasm on Fox’s “Giga”, performed with intense focus while following an eager melodic trajectory. It’s an uptempo burner adorned with interesting intervallic leaps and colored with avant-garde abstraction, yet it never relinquishes its kinetic zest for long.

The album closes with Van Rhee’s “Zu Viel”, a structurally perceptive and thematically persuasive piece that adopts a pronounced Latin tinge after a tenor sax solo marked by motivic sensibility.

Though short on tracks, Aurora is an album (or should we call it an EP?) where nothing unfolds predictably — and I mean that in the best possible way. We can only hope Wiest has more in the pipeline for his sophomore album as a leader.

Favorite Tracks:
01 - Old Kid ► 04 - Giga ► 05 - Zu Viel

Joshua Redman - Words Fall Short

Label: Blue Note Records, 2025

Personnel - Joshua Redman: tenor and soprano saxophones; Paul Cornish: piano; Philip Norris: bass; Nazir Ebo: drums // Guests: Melissa Aldana: tenor saxophone (#2); Skylar Tang: trumpet (#5); Gabrielle Cavassa: vocals (#8).

Charismatic saxophonist and composer Joshua Redman assembles a new rhythm section of young players for his latest quartet outing, Words Fall Short, following his vocali-infused album Where Are We (2023). Superior to Redman’s previous effort, the album comprises eight carefully curated pieces, three of which are elevated by influential guest appearances. 

“A Message to Unsend” has a delicate essence, shaped by pianist Paul Cornish’ arpeggiated style, consonant articulations by Redman and bassist Philip Norris, and the sensitive drumming of Nazir Ego. There’s something classical, even bolero-infused in the works, and the music flows with hymn-like, breezy tones, showcasing solos from Cornish and Redman, which unfold over a cultivated musical terrain. 

Several pieces were composed during the pandemic, evoking a mood of sadness and melancholy—most evident on the album’s closer, “Era’s End”, a piece built with a slow, sustained drama, featuring Gabrielle Cavassa’s warm voice and a finely brushed drum texture.

“So it Goes” is a standout, featuring saxophonist Melissa Aldana in spirited dialogue with Redman. The piece is marked by zealous interactive dynamics and rapturous improvisations, standing above the rest. Yet “Icarus”, with trumpeter Skylar Tang as a guest, is also remarkable. An odd-metered piano riff is maintained against a steady beat, while the jubilant melody hovers over an infectious rhythm, anchored by a robust harmonic arrangement. Naturally, we witness a fiery exchange between the horn players.

Both the title track, “Words Fall Short”, and the soulful ballad “Borrowed Eyes” exude a soaring, skipping-through-clouds feel. The former, with Redman on soprano, flows in triple meter after an explanatory bass intro. The latter, melodically framed by tenor saxophone, is crisply supported by a brush-driven backbeat.

Redman returns to soprano on “She Knows”, assuming the lead role as he explores the full range of his instrument. The composition begins with a stealthy, methodical lyricism but unexpectedly veers into the avant-garde realm of jazz, gradually intensifying its chops over time.

The music on Words Fall Short doesn’t take long to get under your skin. Picking up where he left off, Redman elevates the material with a sharp, intuitive band that, built to last, demonstrates remarkable artistic maturity while faithfully serving the vision of its leader.

Favorite Tracks:
02 - So It Goes ► 05 - Icarus ► 07 - She Knows

Michael Dease - City Life

Label: Origin Records, 2025

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

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

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

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

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

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

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

Label: Self produced, 2025

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

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

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

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

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

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

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

Hanging Hearts - Where's Your Head At

Label: Ropeadope, 2025

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

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

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

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

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

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

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

Marty Ehrlich Exaltation Trio - This Time

Label: Sunnyside Records, 2025

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

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

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

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

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

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

Henry Plotnick - Tributaries

Label: Tide Bloom Records, 2025

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

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

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

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

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

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

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

Chris Cheek - Keepers of the Eastern Door

Label: Analog Tone Factory, 2025

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

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

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

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

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

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

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

Jonathan Reisin - Too Good X Unreality

Label: Boomslang Records, 2025

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

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

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

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

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

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

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

Patrick Zimmerli - Songs of Innocence

Label: EMP, 2025

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

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

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

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

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

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

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