Jeff Parker ETA IVtet - Happy Today

Label: International Anthem / Nonesuch Records, 2026

Personnel - Jeff Parker: guitar, electronics; Josh Johnson: alto saxophone, electronics; Anna Butterss: bass; Jay Bellerose: drums, percussion.

Chicago-based guitarist and bandleader Jeff Parker, a member of the post-rock band Tortoise and the Chicago Underground Trio as well as a sought-after sideman—having worked with Rob Mazurek, Joshua Abrams, Makaya McCraven, and, more recently, Flea—returns with his ETA IVtet project, featuring saxophonist Josh Johnson, bassist Anna Butterss, and drummer Jay Bellerose. Recorded live at the Lodge Room in Los Angeles, Happy Today features two long-form improvised tracks where the group demonstrates unfailing communication while organically exploring well-structured, static spaces.

“Like Swimwear” starts off with a 16-beat-cycle guitar riff and patiently expands through understated bass maneuvers, micro-detailed saxophone fluctuations that evolve into spiritual Coltrane-like staccatos, and delicate, never obtrusive drum work. Parker designs chromatic figures up and down the fretboard, while Bellerose shifts the rhythmic feel, drawing positive reactions from the audience. Johnson responds with circular movements on his effects-drenched saxophone. A few minutes later, Butterss sets a new groove, and Parker responds with a long-toned, flickering chord that supports the ambient if grooving atmosphere. By the end, the band injects a bluesy feel, gently fusing soul-jazz sensitivity with affable psychedelia.

Immersed in these grooving atmospheres, the group eschews outbursts in favor of circularity and speech-inflected long tones, keeping their ears wide open and making decisions in the moment. This is especially noticeable on the title track, “Happy Today”, where they seep into the listener’s consciousness with a sustained chord, sparse bass commentary, and soaring saxophone lines before adding tumbling toms, rattling percussion, and shimmering cymbal washes. A six-beat groove is topped by a guitar riff, with Bellerose opting for a backbeat-driven pulse over which Parker’s snake-charmer-like phrases unfold until they exhaust their possibilities. It all ends with a fine pulse in five outlined by Johnson.

Happy Today’s low-key charm is rewarding for those willing to cool down in its waters.

Favorite Track:
02 - Happy Today

Jay Matharu - Disillusion

Label: Self released, 2026

Personnel - Jay Matharu: guitar, keys; Erik Brandell: tenor saxophone; Christine Lanusse: bass guitar; Jacob Johnson: drums.

Jay Matharu is an eclectic British-born guitarist and composer living in Uppsala, Sweden. His bold sound reflects a strong connection to metal—he’s a member of the band Liv Sin—but Disillusion marks a turning point in his solo career, weaving prog-rock, fusion, jazz-funk, and R&B into a patchwork of influences shaped through carefully crafted arrangements. Each member of his quartet—tenor saxophonist Erik Brandell, bassist Christine Lanusse, and drummer Jacob Johnson—recorded the album’s eight original compositions remotely. The music emerged from Matharu’s Master’s research in Music Performance.

“Atrophy” is introduced in waltz time by Matharu, who is soon joined by Brandell as the music pivots into a 4/4 funk excursion. Both musicians splash a multitude of colors across the fluid rhythmic tapestry before returning to the opening 3/4 meter. “Bare” keeps the ternary feel alive, aligning saxophone and guitar in stimulating parallel lines. Brandell’s solo, imbued with adventurous melody, eloquence, and energy, invites us into compelling jazz fusion territory.

“Cog” reveals classical influences within a theme receptive to subtle tempo shifts. Johnson’s snappy drum fills carry a prog-rock attitude, pairing naturally with Lanusse’s popping bass grooves. The piece is fueled by Matharu’s chromatic runs in a thought-provoking meeting point between Joe Satriani and Rez Abbasi. The Indo-jazz-rock thread runs even deeper in “Chalo”, a kaleidoscopic mosaic unfolding through ten-beat cycles and paying tribute to Matharu’s late mentor, sitar player Pandit Sanjay Guha.

While “Deluge” features a memorable theme, a touch of Latin elation, and the bandleader’s metal-inflected soloing, “Butterflies” is a rewarding odd-metered exercise driven by throbbing bass lines and strong melodic development. The blazing guitar solo unfolds over a septuple-meter backdrop before launching into a metal-jazz romp fueled with high-octane energy. Throughout the album, Matharu and his band periodically reinvigorate the proceedings, with the closing “Bittersweet” standing as another fine example of dramatic shifts in rhythm and mood, moving from R&B soulfulness to jazz-funk audacity while leaving ample room for the drummer to stretch out.

Although the ideas on Disillusion emerged from improvisational exploration, the whole outshines the parts. Matharu is following a promising path.

Favorite Tracks:
01 - Atrophy ► 02 - Bare ► 07 - Butterflies

Christopher Dammann - Dead Words

Label: Shifting Paradigm Records, 2026

Personnel - Jon Irabagon: stritch; James Davis: trumpet; Jim Baker: piano, ARP 2600 synth; Christopher Dammann: double bass; Mike Reed: drums.

Chicago-based bassist and composer Christopher Dammann has a very limited discography as a leader, but that shouldn’t discourage you from checking out his latest work, Dead Words. On this album, five spiritual contrafacts are reimagined by Dammann’s cohesive and highly synergistic quintet, featuring the incomparable talents of saxophonist Jon Irabagon, trumpeter James Davis, keyboardist Jim Baker, and drummer Mike Reed.

With stately grandeur, “Montrose B” is an assertive opener, a pure post-bop piece that dazzles and invigorates. Following a magnetic bass introduction, the attractive theme is brought to the fore by the horn players, who exchange ideas freely under the spell of the swinging vibrancy coursing beneath them. Characteristically outgoing on stritch, Irabagon takes the first solo with the force of nature—he has a special edge to his playing—followed by Baker, whose delicate lyricism unfolds through dreamy sonorities, and then Davis, who, eschewing unnecessary flourishes, relishes the fleeting Latin-inflected passages woven into the swing.

Interesting enough to keep you fully engaged, the Sunny Murray-inspired “Untitled” is a hymn to avant-garde expressionism, shaped by the spacious, woozy, electronics-infused glitches and feedback of Baker’s semi-modular ARP synthesizer. Dammann’s constantly probing bass supports cyclical saxophone bursts interspersed with terse trumpet commentary and incisive synth textures. “Two Themes for Improvisation” also features Baker’s asynchronous synth transmissions and Irabagon’s spontaneous saxophone interjections, yet it is Dammann who takes the lead with his resonant arco work. Reed’s thoughtful snare and tom patterns stand out as the group navigates an abstract limbo, moving between climactic peaks and serene atmospheres with equal assurance.

If the two previously described pieces showcase the group’s indifference to orthodoxy in favor of freer experimentation, “White Gladis”, with Dammann’s haunting bow sweeping across the bass strings, returns the music to earth, finding its footing through counterpoint. Its lilting, blues-inflected modal mood bears resemblance to works by Sam Rivers, Charles Tolliver, and Stanley Cowell. Yet the tune was inspired by bassist Paul Chambers. Irabagon’s timbral flamboyance finds the perfect foil in Davis’ more restrained yet perfectly articulated phrasing. Both are also prominently featured on the closing track, “This Is an Unraveling”, where Dammann beautifully states the melody after introducing it with a catchy bass figure.

Dead Words offers propulsively swinging, muscular music delivered with an ideal balance of discipline and freedom, feeling simultaneously nostalgic and forward-looking. The equilibrium achieved is masterful, leaving us hoping Dammann returns soon with more music of this caliber.

Favorite Tracks: 
01 - Montrose B ► 03 - White Gladis ► This Is An Unraveling

Willber Sunlight - Willber Sunlight

Label: Endectomorph Records, 2026

Personnel - Kevin Sun: tenor saxophone; Max Light: guitar; Simón Willson: bass; Aaron Seeber: drums.

Willber Sunlight is the recently formed quartet of saxophonist Kevin Sun, guitarist Max Light, bassist Simón Willson, and drummer Aaron Seeber. The album, which celebrates jazz tradition and the friendship between these New York-based artists, features one original composition by each member alongside four thoughtfully selected covers, showing that the band can illuminate the music of masters such as Thelonious Monk, Robert Schumann, and Horace Silver. 

Sun’s swinging romp “Belong, Sonny”, whose title is an anagram of Benny Golson’s name, is a contrafact of his classic “Stablemates”. Rhythmically defiant, the piece is anything but static, featuring impish soloing by Light and Sun. The latter’s improvisation unfolds with pitch-perfect articulation, inventive motivic development, and a soulful expressive quality.

Willson’s “Easy Listening” develops with cool assurance, bringing together elements of pop, rock, and jazz. Light and Sun alternate solos with a solid mutual understanding, engaging in a communicative musical dialogue. Light’s “Bagel” embraces a relaxed pace and unaffected demeanor while revealing subtle details that showcase not only his compositional adroitness but also the quartet’s cohesion.

The band puts a fresh face on “Tea For Two”, played with confident uptempo drive, and Schumann’s “Des Abends”, whose gentle cross-rhythms and jazz-inflected arrangement make it feel like an entirely new creation. Monk’s “Locomotive” is an earworm that favors propulsion over abrasion, swinging lusciously from beginning to end.

Following Horace Silver’s celebrated ballad “Peace”, anchored by Seeber’s thoughtfully sizzling brushwork and Willson’s illustrative bass foundation, the album concludes with Seeber’s bop-infused “Teranga Bounce”, a joyful tribute to Charlie Parker that sounds as though it could have come straight from the bebop era.

Willber Sunlight invites enjoyment without necessarily lingering in the memory. It is an engaging listen—an unambiguous ode to jazz tradition and its enduring vitality.

Favorite Tracks:
01 - Belong, Sonny ► 04 - Bagel ► 05 - Des Abends

Mat Maneri Quartet - Mist

Label: Sunnyside Records, 2026

Personnel - Mat Maneri: viola; Lucian Ban: piano; John Hébert: bass; Randy Peterson: drums.

Avant-garde violist and composer Mat Maneri is known for blending fragility and crisp friction within a subtly discordant, microtonal approach to music. Mist is the final installment of a trilogy that includes Dust (2019) and Ash (2023), continuing its exploration of heavy, noir-like textures that evoke grief and misery. His quartet features longtime associates: pianist Lucian Ban—who contributes four of the album’s eight compositions—bassist John Hébert, and drummer Randy Peterson.

The new album, unrelentingly gloomy, unfolds through a free-flowing discourse, with capriciously oblique gestures creating a sense of erudition and intimate vulnerability. Maneri’s “Through a Mist Darkly”, whose title nods to Ingmar Bergman’s emotionally complex drama Through a Glass Darkly—and also recalls the piece of the same name that Maneri recorded on the 1996 album Three Men Walking with his father, saxophonist Joe Maneri, and bassist Joe Morris—is wrapped in a melancholic veil. This pensive, lyrical meditation extends into his shadowy and grief-stricken composition “Achlys”, which references the Greek goddess of misery and mist. Here, Maneri injects greater tension and movement into his playing while Ban explores dreamy atmospheres before expanding into imaginative avant-garde flourishes.

Ban’s “A Piece of God” emanates a grateful serenity, revolving around a recurring thematic phrase over which Maneri’s tearful viola tremolos pierce the heart with quiet forlornness. The pianist also contributes “Mist”, an elusive tone poem anchored by Hébert’s spacious bass figure and Peterson’s understated drum colors, and “Paul Motian”, an abstract, floating, and exploratory homage to the late drummer, opening with bass and drums alone. Curiously, Maneri—who has long shared an affinity for Motian’s singular musical language—had already included a composition titled “Motian” on Dust.

Mist takes listeners out of their comfort zone as the quartet glides seamlessly between pitches with remarkable impressionistic finesse. Its main weakness lies in its unwavering devotion to a single atmosphere, offering too little contrast over the course of a slow-burning, 50-minute meditation that demands considerable patience from the listener.

Favorite Tracks:
03 - Achlys ► 04 - Mist ► 08 - Missed

Tom Teasley feat. Dave Ballou - Inner Play

Label: Self released, 2026

Personnel - Tom Tasley: drums, percussion, bass melodica, hand pan, electronics; Dave Ballou; trumpet, flugelhorn.

Remarkable chemistry, an urge to incorporate diverse musical traditions into a style of their own, and a rich narrative sense are among the defining qualities of Inner Play, the second duo outing by percussionist and cultural diplomat Tom Teasley and trumpeter Dave Ballou. The follow-up to the spectacular Lunch Break (2025), comprises twelve pieces that strike a balance with utmost grace, as Teasley—whose keen ear for texture and timbre is evident throughout—designs impactful foundations that seem to amplify Ballou’s ability to develop expressive melodic ideas with exceptional clarity and precision.

“Electric Embers” kicks off with an entrancing contemporary effect generated by the electronic A-frame drum. Teasley, channeling the bass sensibilities of Jaco Pastorius and Victor Wooten, anchors the pulse while Ballou swirls around a thematic motif, part of whose melody recalls Coltrane’s “Impressions”. “Woodpecker’s Dilemma” displays a noteworthy combination of timbres, curious rhythmic patterns, and muted trumpet chants that resonate with rapid insight. The rhythmic framework then incorporates terse cymbal pulsations as the trumpet becomes increasingly motivic and playful.

The luminous “Where the Ocean Meets the Sky” is openly spiritual and beautiful. Teasley’s mastery of the Rev Vast Drum provides harmonic context for Ballou’s deep reflections on flugelhorn. If the duo quietly transcends here, they join forces more energetically on the excitable “Elephant Dance” and “Outside Inn”, the latter becoming tense, conversational, and yet remarkably direct in its juxtaposition of Max Roach-inspired drumming and piccolo trumpet.

Eastern flavors permeate both the deeply emotional “Matador’s Lament”—another hypnotic treat—and “Memories of Muscat”, where communication becomes a universal language expressed through polyrhythmic percussion—riqq and darbuka—and unfaltering, graceful lines delivered with warmth and enthusiasm.

“Prelude and Interplay” stands out for its distinctive sound, initiated by Teasley’s bass melodica and gentle cymbal smears, which invite Ballou into an uncommon musical dance. The drum set gradually expands the sonic landscape, yet the music remains free, spontaneous, and incisively focused. “Anticipate the Good” outlines a conspicuous thematic statement within a tangible chamber-jazz setting. Its percolating rhythm is wonderful, while the brass lines fit like hand in glove, unifying everything into a cohesive whole.

With versatility and creativity, Teasley and Ballou require very little to make their improvisational journey compelling. It all sounds as natural as breathing and as good-natured as a conversation between two seasoned travelers.

Favorite Tracks:
03 - Where the Ocean Meets The Sky ► 05 - Prelude and Interplay ► 09 - Matador’s Lament

Miles Okazaki - Boomtown

Label: Pi Recordings, 2026

Personnel - Miles Okazaki: guitar; Jon Irabagon: tenor and soprano saxophone; Anna Webber: tenor saxophone, flute; Caroline Davis: alto saxophone; Jacob Garchik: trombone; Kalia Vandever: trombone; Matt Mitchell: piano; Chris Tordini: bass; Hanna Marks: bass; Dan Weiss: drums.

Guitarist and composer Miles Okazaki’s ninth album as a leader, Boomtown Girl, showcases his progressive ideas and singular musical voice. Comprising 12 original compositions, the album derives its distinctive identity from the contributions of 10 exceptional musicians and improvisers who, while occasionally throwing a few upward jabs, always keep the collective spirit firmly in focus.

“Magic Hour” opens the album with a graceful sense of balance, its acoustic guitar-driven melody immediately palpable and its clustered harmonies intriguingly alluring. The horn players enrich the texture, helping transform the piece into a seductive, almost magical soundscape. This peaceful Threadgill-ish opening gives way to a markedly different mood on “Boomtown Girl”, which unfolds with a slow, dark-hued angularity as the horn section intertwines closely with Okazaki’s exotic guitar musings. Bassists Chris Tordini and Hanna Marks, together with drummer Dan Weiss, keep everything firmly within frame, and the piece gathers impressive improvisational momentum before arriving at an epic resolution.

Funk is not unfamiliar territory for Okazaki, who gradually shapes “Thermopolis” with crisp energy, stretching form and piquing curiosity through its interlocking parts. The groove, solidly anchored by bass and drums, is reinforced by the motivic interplay of Okazaki and pianist Matt Mitchell, inviting the horns to enter vibrantly in unison. Saxophonists Jon Irabagon and Caroline Davis engage in fleet-footed solo exchanges with Okazaki before the piece eases its intensity midway, embracing a more abstract impressionism. Circling in and out of focus, the soloists return with renewed force for a vigorous finale.

Trombonists Kalia Vandever and Jacob Garchik are granted ample improvisational space on “Diamondville” and “Bighorn”, respectively. The former is a poignant, atmospheric rubato ballad, while the latter is an odd-metered blowout built around a looping piano-guitar riff (giving its legato flow), fragmented drumming, and Irabagon’s multiphonic wails and moans on soprano saxophone.

Loose yet fluid, “Hole in the Wall” sparkles with guitar harmonics and pointillistic textures before opening into bluesy and funky terrain under a septuple meter. Saxophonist Anna Webber improvises with measured steps yet complete authority. “Devils Tower”, touting an outlandish fusion of modern creative jazz and alternative rock, demonstrates remarkable control of tempo, counterpoint, and texture. Like all the other pieces, it functions above all as a collective statement, despite the arresting solos by Davis and Okazaki.

As an original musical thinker, Okazaki continues to defy both established conventions and passing trends with something unmistakably his own. His hip phrasing and superb compositional craft are fully on display. The expertly sequenced material flows with irresistible momentum and quirky moods, offering layer upon layer of intrigue and wonder.

Favorite Tracks:
01 - Magic Hour ► 02 - Boomtown Girl ► 03 - Thermopolis ► 07 - Bighorn

Nduduzo Makhathini - The Myth We Choose

Label: Blue Note Records, 2026

Personnel - Nduduzo Makhathini: piano, vocals, vocoder, synth; Dalisu Ndlazi: double bass; Lukmil Perez: drums + Guests - Robin Fassie: trumpet (#1); Shabaka: flute (#5); Omagugu: vocals (#6,14); Ayanda Sikade: drums (#7,16); Muneyi: vocals (#9,11); Keenan Ahrends: guitar (#10); Black Coffee; drum programming (#14); Thando Zide: vocals (#12).

South African pianist and composer Nduduzo Makhathini returns with The Myths We Choose, an album whose music advocates for a better world and greater responsibility toward the future. Working with his South African trio at the core, Makhathini invites a number of relevant guests for a program comprising thirteen original compositions (three of them with reprises). Here, he explores new sounds and genres, with several tracks signaling a shift in mindset while retaining the rooted spirituality that has become his trademark signature.

“Kuzodlula”, a soaring 3/4 ballad inspired by the difficulty of forgiveness, opens the album with a delicate compromise between light and dark tones. Resonant bowed bass turning to pizzicato, Makhathini’s chordal sequences and vocals, understated drumming, and the sultry trumpet work of Robin Fassie form the framework. “Imvunge KaNtu”, a tribute to roots and ancestral wisdom, is deeply ritualistic, encompassing asymmetrical odd-metered fluxes, handclaps, and vocals in praise of the Zulu Kingdom and the murmuring spirit of Ntu.

As a healer, moonscape practitioner, and steward of state-of-the-art Afro-jazz, Makhathini delivers “Liyoze Line Nangakithi” with spiritual transcendence, engaging in lucid improvisational passages while interacting with the digressive, serpentine flute of Shabaka. The piece concludes with incantatory chants over subtle percussive patterns, calling for rain and the immaterial. It pairs beautifully with “Ekuqaleni”, a methodical exercise in five packed with invigorating energy, where Makhathini employs the vocoder to impart a contemporary feel.

Three vocalists are featured on the album: Makhathini’s wife and longtime collaborator Onogugu on the English-language, gently grooving “What People Say”; Thando Zide on the neo-soul-tinged “Tethered”; and Muneyi on the beautiful “Linwalo Ia Mubebi”, a tribute to fatherly love sung in the Tshivenda language. There is also a particularly interesting reprise of “What People Say”, featuring the club/dance spin of DJ Black Coffee.

“Primordial Egg” unfolds in rubato fashion, providing a comfortable sonic cushion for drummer Ayanda Sikade’s cymbal mastery; “Kwamability”, a duet with bassist Dalisu Ndlazi, is a nocturnal meditation with vulnerable lyricism dedicated to Zulu shaman Credo Muthwa; and “Unembeza” evokes the folk sensibilities of Abdullah Ibrahim in a profound and tightly articulated manner.

Makhathini takes myth as a point of departure and delivers a varied, blissfully melodic experience rich in character and atmosphere. This is an album that continues to reveal itself, captivating more deeply as it progresses.

Favorite Tracks:
02 - Imvunge KaNtu ► 05 - Liyoze Line Nangakithi ► 08 - Ekuqaleni ► 09 - Linwalo Ia Mubebi

Christian Dillingham - As It Relates To Now

Label: Shifting Paradigm Records, 2026

Personnel - Greg Ward: alto saxophone; Christian Dillingham: acoustic bass; Jeremy Cunningham: drums.

Christian Dillingham is a Grammy Award-winning bassist and composer with experience in both the jazz and classical music worlds. As It Relates To Now marks his third album as a leader and his first in a trio format, featuring prominent alto saxophonist Greg Ward and discerning drummer Jeremy Cunningham, both accomplished bandleaders in their own right. This highly compatible chordless trio, hailing from Chicago, embraces Dillingham’s new acoustic musings with warmth, acuity, and a strong collective purpose. Much of the inspiration stems from the social and political tensions of our times.

The title track opens the album with an upbeat pop-rock feel that is simultaneously soulful and grounded, adhering to a floating sense of gravity propelled by an earworm groove. Dillingham and Cunningham lock in instantaneously, creating a tight textural foundation for Ward’s crisp alto work, though it is the bassist who first steps forward with a resolute improvised statement. “Obsoletion” rings out with clarity and a welcome sense of risk, sounding cohesive and narratively compelling throughout. Dillingham’s dark timbral palette and robust tone play a crucial role in the piece’s expressive power.

Radiating a glimmering brightness, “Special Relativity” thrives on dazzling saxophone-bass unisons before settling into an insistent swing powered by Dillingham’s driving lines and Cunningham’s tasteful percussion. The track concludes with an exhilarating exchange of trading eights with the drummer. Equally committed to swing—thrusted by walking bass and skip-ride cymbal patterns—“Delusional Grandeur” is invigorated by an orthodox hard-bop spirit, proving that the trio remains deeply connected to jazz tradition.

The improvisation-free “Behind the Horizon” adopts a more solemn and atmospheric tone, underpinned by mallet work while arco bass and saxophone unfold in parallel motion. By contrast, “Wooden Laws” is structurally bold, its sparkling theme initially presented in seven before shifting seamlessly into a familiar 4/4 rock progression. This transition opens the door for Ward and Dillingham to develop their charismatic phrases and melodic ideas. Later, pungent rhythmic attacks steer the piece toward more abstract and exploratory terrain before the trio returns convincingly to the main theme.

Dillingham once again proves himself a thoughtful and purposeful bandleader. None of the individual performances, however strong, feels obtrusive; instead, each serves the collective goal of creating intelligible and easily relatable  contemporary music.

Favorite Tracks:
01 - As It Relates To Now ► 02 - Obsoletion  ► 05 - Wooden Lawns

David Ambrosio's Civil Disobedience

Personnel - Donny McCaslin: tenor and soprano saxophone; Ingrid Jensen: trumpet; Bruce Barth: piano; David Ambrosio: bass; Victor Lewis: drums.

Civil Disobedience, a formidable quintet led by American bassist, composer, and activist David Ambrosio—a strong presence on the New York scene for more than 30 years—focuses on the current state of America while honoring social change through nonviolent action. And what better way to do it than through music? The quintet clicks into place, performing five relatively obscure Blue Note compositions from the late 1960s by vibraphonist Bobby Hutcherson, drummer Joe Chambers, saxophonist/flutist James Spaulding, and composer-saxophonist Harold Land.

Reviving an irresistible, Art Blakey-like drive, Hutcherson’s “For Duke P. (aka XYZ)”, recorded in 1968 but not released until 1999 on The Kicker, opens the album in infectious minor mode and swinging fashion, evoking hard bop at its most contagious. Written for pianist Duke Pearson, the piece launches its improvisational section with a vibrantly melodic bass solo, leaving ample room for timely responses from veteran drummer Victor Lewis. The powerhouse frontline of tenor saxophonist Donny McCaslin and trumpeter Ingrid Jensen injects indomitable energy, guided by faultless narrative logic, superior articulation, and sharp motivic instincts.

Spaulding’s “A Time To Go” is an aching, dreamy rubato ballad dedicated to Martin Luther King Jr., sophisticatedly harmonized by pianist Bruce Barth, with Ambrosio’s bass lines providing the essential connective tissue. “Poor People’s March”—written by Land for the 1968 Poor People’s Campaign—flows in an animated 3/4 meter, unified by bright unison lines and inspired improvisational passages in which every member stretches out, creating a compelling sense of musical democracy.

The curiosity these compositions inspire is matched by their elegance, and the two pieces by Chambers exemplify that balance perfectly. “Irina” is a post-bop delight with a distinctly Wayne Shorter-esque aura. Introduced by Lewis’ marching snare, this exquisite modal number unfolds naturally through shifting meters and nuanced harmonic movement. On soprano saxophone, McCaslin injects tension and excitement, his notes rising and falling with resolute purpose, while Barth’s majestic keyboard sweeps guide the piece toward its conclusion. The other Chambers composition, “Ankara”, was, like “Irina”, recorded in 1968 but only released in 1980 on Hutcherson’s Patterns. Introduced by Ambrosio, who later settles into a finely crafted groove in seven, the tune arrives wrapped in a subtle exoticism, thriving on Lewis’ tickling hi-hat work and the inspired improvisations of Jensen and Barth.

With confidence and tenacity, Ambrosio’s Civil Disobedience—featuring superbly chosen repertoire and committed performances throughout—makes a great debut, emerging as a social and musical manifesto of the highest order.

Favorite Tracks:
01 - For Duke P. ► 03 - Irina ► 05 - Ankara

Chris Van Voorst Van Beest Trio - Bye Design

Label: Adhyaropa Records, 2026

Personnel - Chris Van Voorst Van Beest: bass; Zach Lapidus: piano; Nathan Ellman-Bell: drums.

New to me, Chris Van Voorst Van Beest is an American bassist and composer living in Brooklyn, New York. A member of the Danny Fox Trio since 2011, he also recorded with the late Frank Kimbrough on the vinyl-only album Meantime (2021). Here, joining forces with pianist Zach Lapidus and drummer Nathan Ellman-Bell, he gives his compositions well-defined structures, infusing them with contrast, counterpoint, and a subtle sense of uncertainty.

The jauntily rhythmic opening piece, “DDT”, showcases his ability to blend chamber jazz and contemporary classical elements with complete naturalness. Impeccable synchronicity, contrapuntal interplay, and effortless interaction define the trio’s approach from the outset.

Not given to sudden mood swings or radical transformations, the trio shapes “Reactor” through velvety brushwork, a firm bass foundation, and lyrical pianism whose poignancy recalls Bill Evans. Continuing along a similar path, “Rainy Day Music” offers a bewitching affability in waltz form. Also set in 3/4, “Bye Design” feels nearly telepathic as the trio gradually builds a compelling density, culminating in particularly salient drumming toward the end.

“Pastiche” flows naturally despite its challenging 5/8 meter and intricate rhythmic interplay. Simultaneously grounded and exploratory, it finds Lapidus’ piano blending with—and soaring above—the strong internal engine created by Van Beest and Ellman-Bell. “Open Broken” feels somewhat anti-climactic in its impressionistic third-stream current, especially when contrasted with the more energetic “Three Moods”, which closes the album on an uplifting note. Its epic contours within an advanced post-bop framework recall the orchestrational ingenuity of Charles Mingus. Throughout, the trio’s consonant sonic language is enriched by sly, insinuating hooks delivered with intention and control.

A little more friction would be useful at times, yet Van Beest’s imagination continually feeds the trio with organic frameworks, tonal sophistication, and a strong compositional identity.

Favorite Tracks:
03 - Rainy Day Music ► 06 - Pastiche ► 10 - Three Moods

Simon Moullier - Ceiba

Label: Self released, 2026

Personnel - Simon Moullier: vibraphone; Lex Korten; piano; Rick Rosato: bass; Jonkuk Kim: drums; Keita Ogawa: percussion (#2,5).

Dexterous 32-year-old vibraphonist and composer Simon Moullier offers new revelations with a keen sense of balance on Ceiba, his sixth album as a leader. Drawing from a broad musical vocabulary, the France-born, New York-based artist takes credit for all of the album’s vitally engaging compositions, delivering music that feels both fresh and firmly grounded. Inspired by the ceiba tree—a symbol connecting time, place, and people—the album benefits greatly from the extensive live work Moullier has done with his working quartet, featuring pianist Lex Korten, bassist Rick Rosato, and South Korean drummer Jonkuk Kim. Japanese percussionist Keita Ogawa appears as a guest on two tracks.

The enveloping title track, inspired by a Mozambican drum groove, opens the album with modal sophistication, occupying a space somewhere between Bobby Hutcherson and Kenny Garrett. Both Moullier and Korten display penetrating lyricism in a piece whose complex thematic material sounds remarkably effortless and smooth on the ear. “Lotus Pt. 2” extends the ideas introduced in the first installment on Elements of Light (2024), unfolding as a soothing ballad propelled by brushwork and crowned by a gorgeous vamp-driven finale.

“Fuji”, inspired by the iconic Japanese mountain, feels as though post-bop and Latin music have merged, recalling the emotionally charged fusion side of Pat Metheny. The piece is distinguished by advanced improvisational language and Ogawa’s colorful percussion, which also enhances the Brazilian-flavored “Baião”, a harmonically rich composition whose melodic contours evoke both Djavan and Toninho Horta. Pushing in a slightly different direction, Moullier also cites Djavan as an influence on “Apollo”, where a triumphant six-beat groove takes command.

“Iron Giant” is another modal tour de force, built around a bright and inquisitive theme, with Rosato and Kim laying the ideal foundation for the sure-footed improvisations that follow. “Ancient Ones” radiates post-bop brilliance in a waltzing meter, shifting the music’s weight without increasing its density. Written in Peru and inspired by the Andes, it balances elegance with momentum. “Mr. Hutcherson” is an uptempo post-bop romp driven by Rosato’s snappy walking bass and Kim’s effervescent drumming, serving as an unmistakable homage to the late vibist Bobby Hutcherson.

With a highly percussive attack, Moullier seems to sing through his instrument, functioning both as a commanding improvisational force and as the glue that gives the ensemble its distinctive identity. A refined melodicist with an exceptionally fluid musical language, he continues to deepen and expand his artistic voice.

Favorite Tracks:
01 - Ceiba ► 02 - Fuji ► 03 - Iron Giant

Helen Sung Big Band - Oracles

Label: Sunnyside Records, 2026

Personnel - Trumpets & Flugelhorns: Tatum Greenblatt, Mike Rodriguez, Alex Norris, Nathaniel Williford; Trombones: James Burton III, Sara Jacovino, Willie Applewhite, Gina Benalcázar (bass); Saxophones: Dave Pietro (alto), Alejandro Aviles (alto), John Ellis (tenor), Nicole Glover (tenor), Andrew Gutauskas (baritone + bass clarinet); Rhythm section: Helen Sung (piano), Vicente Archer (double bass); Adam Cruz (drums), Samuel Torres (percussion). 

You’ll find exquisitely crafted arrangements conducted by trombonist Alan Ferber on Helen Sung’s big band outing, Oracles. The 17-piece ensemble tackles her original compositions alongside tributary renditions with lyrical grace and passion. Here, Sung pays homage to her former teachers at the Thelonious Monk Institute of Jazz, those who have most profoundly shaped her artistic journey.

With faultless attention to dynamics and timbres, she opens the album with “Convergence”, a marvelous piece culled from her album Sung With Words (Stricker Street, 2018). A beautifully layered introduction places Andrew Gutauskas’s robust baritone saxophone one step ahead, prior to trumpeter’s Alex Norris energetic solo, embellished by vibrant horn fills and orchestral excitement. The piece then settles into a swinging drive that invites Sung and tenor saxophonist John Ellis to build daring statements.

“Samba Da Gumz”, by legendary trumpeter Clark Terry, receives a chamber-like, horn-centered treatment that flows directly into “Positively C.T.”, Sung’s affectionate dedication to him. This animated, swing-infused romp features spirited solos from alto saxophonist Dave Pietro and trombonist Willie Applewhite before erupting into a trumpet-driven climax involving all four trumpeters over a galvanizing, double-time blues form.

Fully committed to the date, Ellis remains a central presence throughout, especially on the pieces honoring saxophone giant Wayne Shorter: on “Diana”, soprano saxophone and keyboards intertwine gracefully in a measured duet, while Sung’s “Wayne’s World”, flowing effortlessly in five, combines rich harmonic movement, rhythmic ingenuity, and compelling improvisations from tenor and piano.

Authoritative bass master Ron Carter is celebrated in “Mr. Virtuoso”, a time-shifting composition that highlights vigorous activity in the lower register while baritone saxophone and bass trombone solos unfold with commanding presence. The band also delivers Carter’s uptempo “R.J.” with equal measures of exhilaration and conviction.

The album concludes with Horace Silver’s “Peace”, a performance focused on the serenity of the melody without relying on featured soloists. But before that, one indulges in the Pianism triptych, dedicated to Barry Harris, Kenny Barron, and Herbie Hancock. “Pianism III”, propelled by sharp rhythmic accents and Torres’ Latin percussion, finds Sung trading fours with several horn players in one of the album’s most engaging exchanges. 

Sounding more mature and imaginative than ever, Sung rises to the occasion with dazzling virtuosity. Based on what unfolds throughout Oracles, her mentors have every reason to be proud of her sophisticated orchestrations.

Favorite Tracks:
01 - Convergence ► 05 - Wayne’s World ► 06 - Mr. Virtuoso ► 11 - Pianism III

Florian Arbenz feat. Bill Frisell and Greg Osby - Quiet Lights

Label: Hammer Recordings, 2026

Personnel - Florian Arbenz: drums; Bill Frisell: guitar; Greg Osby: alto and soprano saxophone.

Swiss drummer and composer Florian Arbenz, known for his Conversation series, returns with Quiet Lights, featuring regular collaborator Greg Osby on saxophones and a new addition to his circle of musical associates: the remarkable Bill Frisell on guitar.

Boasting a deep Americana feel, “Homenaje” is layered with percussive dexterity, a coherent saxophone narrative, and a blend of bluesy and folksy guitar textures. Osby and Frisell drift in and out of the musical landscape before gradually bringing their lines into closer dialogue around the second minute. The trio becomes even more integrated as Frisell expands his chordal work, radiating beauty through his unmistakable tone. Osby responds with denser phrasing and a confident attack that heightens the tension, while the trio eventually plunges into a sleek, dance-like 12-beat rumba-inspired cycle. Also highlighting Arbenz’s affinity for Latin rhythms, “Rhumba” closes the album with a percussive pedal effect—emulating a bass line—and unexpected atmospheric gestures from Frisell, who subtly shapes the environment with electronics.

The mysterious “Chant” is initially underpinned by a sparse, dark-hued drone that, gradually allows light to seep in. Soft guitar textures are joined by shimmering cymbal colors and reflective soprano saxophone musings. The title track, “Quiet Lights”, carries a vibing quality and ambient pulse, weaving an elegant and refined texture. Arbenz employs custom-made percussion instruments alongside the drum kit, and the piece proves immediately accessible to the ear, much like “Lueget vo Berg und Tal”, a heartfelt reinterpretation of a traditional Swiss song reharmonized with cultivated taste.

On “Jammin’ in the Children’s Corner”, written by Arbenz for saxophonist Dave Liebman, the trio reveals especially compelling aspects of its chemistry. Here, rigorous preparation meets genuine spontaneity in an exhilarating journey marked by precise accentuation and a gravitational energy surrounding the alto saxophone lines over agile brushwork. Frisell’s punctuated observations emerge with sharp motivic instinct. “The Barradas Opening”, which alludes to Portuguese accordionist João Barradas, is a bluesy, groove-oriented slow burner distinguished by strong interplay and finely shaped unisons, bridging Americana and contemporary elements with ease.

Quiet Lights doesn’t really pack a punch, but unfolds gracefully without ever needing to force its impact, offering a charming and often introspective listening experience.

Favorite Tracks:
01 - Homenaje ► 02 - Chant ► 03 - Jammin’ in the Children’s Corner

Lakecia Benjamin - We Dream

Label: Artwork Records, 2026

Personnel - Lakecia Benjamin: alto saxophone; Oscar Perez: piano; Miki Hayama: piano; Elias Bailey: acoustic bass; Jonathan Barber: drums + Guests - Terence Blanchard: trumpet (#1,2); Chief Xian aTunde Adjuah: trumpet (#4); Sean Jones: trumpet (#3,6); Chris Potter: tenor saxophone (#6,8); Jeff Tain Watts: drums (#6); Hiromi: piano (#8,9); Tarriona “Tank” Ball: vocals, spoken word (#7); Bilal: vocals (#10); Kassa Overall: vocals (#10)

American saxophonist, composer, and bandleader Lakecia Benjamin responds to the present times and the world around her with We Dream, her sixth album as a leader. Determined to serve as a bright light in dark times, Benjamin expands her soulful musical language—venturing beyond the influence of the Coltranes here—with renewed purpose and the support of an impressive roster of guest artists.

“First Light” plunges into an atmospheric jazz ambiance, gradually brought to a simmer through spoken word and the aching trumpet cries of Terence Blanchard. The opening piece flows seamlessly into “Beyond the Dawn”, which paints a spiritual 3/4 modal landscape elevated by terrifically articulated solos from Benjamin and Blanchard, while drummer Jonathan Barber reinforces the track’s sweeping élan with expressive mallet work.

Exploring themes of isolation and endurance, “My Only” carries a modern jazz-hop sensibility enriched by shifting tempos and a strong contribution from trumpeter Sean Jones. “Mi Gente”, promoting collective unity, features another commanding trumpet voice: Chief Xian aTunde Adjuah, formerly known as Christian Scott. What begins with a soft R&B touch soon blossoms into a glorious Latin-infused section filled with exuberant unisons and swinging momentum.

Hip-hop and R&B are embedded in the DNA of the title track, which features spoken word by New Orleans poet Tarriona ‘Tank’ Ball. This fusion of styles remains vibrant on “Right Now”, where progressive soul singer Bilal and drummer-producer Kassa Overall join forces. Benjamin delivers a forceful, twangy solo here, infused with wah-wah effects and raw energy.

Saxophonist Chris Potter and pianist Hiromi are two especially welcome additions to the lineup. Potter propels “Dream Breaker” into ecstatic post-bop territory alongside Jones and drummer Jeff ‘Tain’ Watts. Hiromi, beyond grooving delightfully on “Hiromi Jam”, also energizes the funk-fusion dimensions of “Flame Keeper”, an eccentric and satisfying romp packed with playful synthesizer flourishes.

While juggling a wide range of genres, Benjamin rarely loses her grip in this contemporary treatise on both creativity and political consciousness. We Dream secures its place—right here and right now—within her increasingly significant body of work.

Favorite Tracks:
02 - Beyond The Dawn ► 04 - Mi Gente ► 08 - Flame Keeper

Pedro Molina - A Name I Knew

Label: Carimbo Porta-Jazz, 2026

Personnel - Hugo Ferreira: guitar; Miguel Meirinhos: piano; Pedro Molina: double bass; Gonçalo Ribeiro: drums.

Spanish-born, Portugal-based bassist and composer Pedro Molina reunites his working quartet—featuring Portuguese musicians guitarist Hugo Ferreira (subbing for Filipe Dias), pianist Miguel Meirinhos, and drummer Gonçalo Ribeiro—for a well-designed, artfully executed sophomore album centered on Alzheimer’s disease. Blending contemporary jazz with art-rock and alternative influences, the group evokes the conflicting sensations of forgetting and remembering, structure and freedom, reverie and reality.

Imbuing his eight original compositions with an organic and carefully balanced inner logic, Molina and his cohorts open the album with “Denial”, whose odd-meter pulse never compromises the ensemble’s effortless flow. Meirinhos and Ferreira understand their roles within the framework, skittering around the rhythmic core yet always landing exactly where they should. Despite what the title may imply, nothing here feels wasted or unresolved, and Ferreira’s solo—dreamlike on one side, piercing on the other—unfolds over a striding rhythmic cadence.

Exploring the possibilities of post-bop and alternative rock, “Acceptance” carries echoes of Radiohead in an emotionally charged ride through multiple metered passages whose timbral effects shape the tune’s texture. “I’m Not the Same” is sprinkled with polyrhythmic activity, subtle undercurrents, and a nuanced sense of motion throughout its unfolding.

“Será Que Não Há Mesmo” resembles a strange and inventive tango, driven by experimental determination, rhythmic punctuations, and openness. Rim shots and pizzicato bass combine immaculately within a broad emotional spectrum, and the tune naturally evolves into increasingly exploratory terrain. In turn, “Valadas”, with its rubato feel, atmospheric quality, and intimate interaction, emerges as a poignant ballad energized by a subtle rock undercurrent.

Another ballad, “Who Helps Me When I Can’t Remember Anything”—shaped as a polished waltz—closes the album with more reflection and lyricism than irreverence. Yet the standout track is the angular and persistently thrilling “Familiar As Fog”, which finds pure joy within its fragmented avant-garde process. Propelled by an erratic rhythmic pulsation, it later introduces dynamic wah-wah guitar lines over a steady pulse.

Each composition unfolds methodically and without excess, while the band’s commitment and control lend the project remarkable depth. Molina is a musician to follow.

Favorite Tracks:
01 - Denial ► 02 - Acceptance ► 06 - Familiar as Fog

Joe Lovano - Paramount Quartet

Label: ECM Records, 2026

Personnel - Joe Lovano: tenor axophone, G mezzo soprano saxophone, tarogato; Julian Lage: guitar; Asante Santi Debriano: bass; Will Calhoun: drums.

Joe Lovano, a saxophonist and composer with an unmistakable touch and tone, introduces a new quartet—Paramount—working alongside guitarist Julian Lage, bassist Asante Santi Debriano, and Living Colour drummer Will Calhoun. Across seven tracks—five Lovano originals and two carefully chosen covers—the album creates expansive settings for conversational interplay and individual expression, balancing solid post-bop foundations with adventurous improvisational freedom.

With “First Song”, written by Charlie Haden, the quartet embraces the minor mode with almost mystical elegance. Introduced by a lyrical guitar prelude, the piece unfolds as a poignant, deeply beautiful ballad that breathes with longing and emotional warmth. Its harmonic cycle becomes fertile ground for expressive solos from Lovano—whose singing lines radiate melodic richness—and Lage, whose soaring phrases are packed with harmonic sense. The other cover, Wayne Shorter’s “Lady Day”—composed in honor of Billie Holiday—retains the romanticism and emotional gravity of the original while filtering it through a sophisticated post-bop lens.

Originally featured on Lovano’s 2001 album Flights of Fancy, “Amsterdam” ventures decisively into avant-garde territory. Looser and more ambiguous in structure, it favors improvisational exchanges centered on one or two instruments at a time. Lovano and Lage articulate the theme together before the music opens into simultaneous improvisation, later shifting into a bass solo over guitar textures and a saxophone meditation supported only by drums. Similarly unconcerned with conventional forms, “The Great Outdoors” rejects standard harmonic progressions in favor of spacious rubato exploration. Haunting, fluid, and open-ended, it finds Lovano weaving in and out of the ensemble texture with commanding soprano sax work.

The album’s rhythmic engine comes fully alive on “Fanfare For Unity”, an animated and playful piece elevated by Calhoun’s exceptional drumming. The quartet sounds genuinely exhilarated here, and that joy transfers directly to the listener through their sharp wit and dynamic interaction. In contrast, “The Call” adopts a more atmospheric approach: Lovano’s G mezzo-soprano saxophone pours out dense streams of notes over arco bass drones and nuanced percussion, while Lage’s serene guitar lines evoke rays of light piercing grey clouds. The piece closes with beautifully intertwined saxophone-guitar unisons.

The final track, “Congregation”, carries a subtle Americana flavor, allowing the quartet’s narrative sensibility and exploratory spirit to emerge through notes that shimmer and dance with melodic instinct, blues-inflected phrasing, and effortless cool. Lovano has always been an endlessly inventive musician with expansive creative horizons, and this Paramount Quartet reveals yet another compelling chapter in his prolific career. Marked by deep listening, trust, and instinctive communication, this music deserves the highest attention and admiration. 

Favorite Tracks:
01 - First Song ► 02 - Amsterdam ► 04 - Fanfare For Unity

Pat Metheny - Side-Eye III+

Label: Uniquity Music / Green Hill Records, 2026

Personnel - Pat Metheny: guitar, synth; Chris Fishman: keyboards, piano, organ; Daryl Johns: bass; Joe Dyson: drums + guests.

World-class guitarist and composer Pat Metheny establishes a fruitful partnership with keyboardist/organist Chris Fishman and drummer Joe Dyson on Side-Eye III+. This core trio—composed of younger-generation musicians with remarkable versatility—is further strengthened by bassist Daryl Johns, while Metheny also enlists 15 additional musicians and vocalists for the project, including harpist Brandee Younger and keyboardist James Francies (he contributes organ textures to the gospel and R&B-infused “Urban and Western”).

The opener, “It On It”, launches the album with kinetic energy and a superbly polished sound shaped by the trio’s extensive touring experience. Metheny’s unmistakable guitar tone propels the central riff forward, while Fishman supplies sleek harmonic momentum over Dyson’s restless, bubbling drumming. The piece thrives on strong thematic development, leading naturally into colorful patterns, soulful guitar improvisations, vocal embellishments, rhythmic staccatos, and fluid key changes. A calmer backdrop supports Fishman’s expansive synth solo before Dyson reasserts himself with explosive stamina ahead of the theme’s return.

“Don’t Look Down” emerges as one of the album’s true highlights—a marvelous 3/4 composition blessed with an irresistible groove and a memorable melody steeped in Americana. Metheny’s solos, alternating between crystalline clean tones and synth-inflected textures, soar over Dyson’s consistently impressive rhythmic work. “Make a New World” unfolds with warmth and a subtle gospel flavor, while “Se-O”, refusing to switch gears entirely, introduces Latin-tinged undercurrents without abandoning its contemporary jazz foundation. Fishman particularly shines on the latter, delivering a fluid fusion-style improvisation, but there are also incredible rhythmic accents, dynamic drum fills, and shimmering cymbal splashes.

Metheny’s compositions, at once haunting and forward-moving, encourage the ensemble to discover new freedoms through constant interaction and stylistic elasticity. Yet, the closing ballad “So Far So Good” offers a gentler, more introspective atmosphere, distinguished by the soothing resonance of Metheny’s acoustic guitar. His unwavering commitment to narrative expression, combined with the ensemble’s palpable dedication to the music, makes Side-Eye III+ a first-class addition to his ever-evolving body of work.

Favorite Tracks:
01 - It On It ► 02 - Don’t Look Down ► 03 - Make a New World

Jo Berger Myhre - Penta

Label: Rare Noise Records, 2026

Personnel - Jo Berger Myhre: double bass, 8-string bass guitar, drum machine, additional synths; Morten Qvenild:  hyper(sonal), grand piano, synthesizers; Kaveh Mahmudiyan: tombak, daf, bandır; Jo David Meyer Lysne: guitars, una corda piano, electromagnets; Synnøve Sætre Hveem: vocals.

Norwegian bassist and composer Jo Berger Myhre approaches patterns, drones, and general ideas with curiosity on Penta, his third release for Rare Noise Records. The album, where cultures and disciplines intersect with remarkable fluidity, reunites the core quartet from Live Maneuvers (2023). Myhre specifically composed this music with keyboardist Morten Qvenild, percussionist Kaveh Mahmudiyan, and guitarist Jo David Meyer Lysne in mind, and their contributions become essential to the album’s immersive arc. Guest vocalist Synnøve Sætre Hveem appears on two tracks, adding further textural depth.

“Theme and Variations” opens by weaving emotional tapestries through piano, understated percussion, and bass, all suspended against a grainy white-noise backdrop. The piece feels like a meeting point between Olivier Messiaen and Philip Glass. “Abyss in B-flat Minor”, a tribute to Norwegian shoegaze band Serena Maneesh, unfolds like a meditation steeped in longing, while “Solo Improvisation”, with Myhre stepping fully into the foreground, provides one of the album’s finest moments—deeply grounded, introspective, and rich in tonal nuance.

Myhre, who alternates between acoustic bass—often played arco—and a vintage Hagström eight-string bass guitar, uses chordal textures and dexterous fingerpicking to broaden the music’s sonic possibilities. “Augmentation in G-flat” moves through a 5/8 pulse, combining radiant guitar currents, counterintuitive piano splashes, and astral synth effects while Hveem’s ethereal vocals occasionally merge with the keyboard’s lower register. Its fusion of jazz, ambient textures, and world-music inflections gradually dissolves into a floating atmosphere.

“Ancohemitonic Turn of Events” feels simultaneously ritualistic and spontaneous, incorporating syncopated drum machines, resonant bowed bass, and acidic synth bursts into a globally inflected electronic soundscape enriched by rhythmic noodling and whistled melodies. The album closes with “Ending on a Low Note”, whose title aptly reflects its poignant and mournful character. Small percussive eruptions and subtly Eastern melodic contours shape a lament of quiet emotional power.

Myhre’s music pulses with a vital, searching energy, exploring the fragile spaces between breath and sound. His patterned imprints, often reinforced by adapt post-production, casts an occasional spell.

Favorite Tracks:
02 - Augmentation in G flat ► 03 - Abyss in B-flat minor ► 05 - Solo Improvisation

Alexander Hawkins - No Nation But Imagination

Label: Intakt Records, 2026

Personnel - Alexander Hawkins: piano, synthesizer, sampler; Rhodri Davies: harp; Hamid Drake: drums; Nicole Mitchell: flute; Matthew Wright: turntables, live sampling.

With No Nation But Imagination, British pianist and composer Alexander Hawkins delivers a radical and fascinatingly complex work that may leave listeners wondering how its intertwining layers of piano, synths, harp, flute, drums, turntables, and samples fit together so naturally. Yet Hawkins—already proven capable of leading large ensembles (Togetherness Music) and engaging in adventurous duos with cellist Tomeka Reid, saxophonist Evan Parker, and vocalist Sofia Jernberg—continues to push boundaries, reshaping the language of modern improvised music through another ambitious and experimental undertaking.

“Solo Way Far Gone” opens the album in a restrained glide, its slightly distorted synth waves evoking obscure Sun Ra recordings. The real enchantment begins with “Resolution Each and Every”, a hypnotic Afro-jazz-rock excursion driven by a tight backbeat, magnetic groove, and chant-like flute lines. Drummer Hamid Drake constantly reshapes the rhythmic terrain, at times merging hip-hop-inflected pulses with echoes of global musical traditions.

“Mirror No Border” thrives on incisive abstraction and staccato-driven attacks. Expansive in its instrumental convergences, the piece gradually intensifies into an electrifying sonic buzz. In complete contrast, “Circles in the Celestial Garden” unfolds as a serene meditation on beauty and spirituality, pairing Rhodri Davies’ harp with Nicole Mitchell’s airy yet resonant flute.

“Lullaby Much Further” layers eerie humming drones, piercing synth textures, resonant toms and cymbals, and dreamlike flute passages into a haunting soundscape. Similarly flamboyant in its balance of restraint and excess, “Hocket Fierce Peaceful” rests upon celestial drones before shifting into a fanfare-like mode, carrying the listener through a dizzying carousel of hallucinatory sounds where spectral keyboards and propulsive drumming eventually give way to an exuberant march.

On “Joy Beyond Blazing”, Davies’ harp takes on the ferocity of an electric guitar against a backdrop of vigorous piano harmonies and tireless flute flights. “Open Sea Boat’s Land” returns to a hip-hop-driven boom-bap groove with funk undertones, incorporating Matthew Wright’s live electronics—including a muffled electric bass effect—alongside Hawkins’ sweeping piano gestures. The album closes with “Coda Over the Fence”, a soulful, gospel-inflected finale radiating the spiritual warmth of Abdullah Ibrahim’s South African-inspired chants.

No Nation But Imagination sounds unlike anything else—an avant-garde manifesto steeped in postmodern experimentation, unusual melodic logic, singular textures, and meticulous post-production detail. Hawkins, one of the most imaginative keyboardists in contemporary jazz, once again demonstrates how advanced technique and fearless creativity can yield music that is both intellectually challenging and deeply substantive.

Favorite Tracks: 
02 - Resolution Each and Every ► 04 - Circles in the Celestial Garden ► 06 - Hocket Fierce Peaceful ► 08 - Open Sea Boat’s Land