Billy Hart - Multidirectional

Label: Smoke Jazz Sessions Records, 2025

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

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

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

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

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

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

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

Jeremy Rose - Infinity II

Label: Earshift Music, 2025

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

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

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

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

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

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

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

John Scofield / Dave Holland - Memories of Home

Label: ECM Records, 2025

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

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

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

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

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

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

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

Aaron Parks - By All Means

Label: Blue Note Records, 2025

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

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

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

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

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

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

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

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

Igor Lumpert Quartet - Resistance of the Earth

Label: ears&eyes Records, 2025

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

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

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

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

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

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

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

Sara Serpa / Matt Mitchell - End of Something

Label: Obliquity Records, 2025

Personnel - Sara Serpa: voice; Matt Mitchell: piano.

Portuguese singer Sara Serpa and American pianist Matt Mitchell are inquisitive, creative artists unafraid to venture into challenging terrain. End of Something, their first duo recording, meditates on introspective themes with timbral fluidity and lyrical melodicism. The album features compositions by both artists, along with a thoughtful interpretation of Messiaen’s “Les Bergers”, the second movement from his La Nativité du Seigneur (1935).

Serpa’s “News Cycle” opens magnificently, immediately sparking curiosity as it evolves from insistent, grounding motifs into a reflective rubato passage shaped by abstracted piano reveries and simmering tension. “The Future”, first appearing on Serpa’s trio album Close Up (2018) and featuring Virginia Woolf’s somber quote (“the future is dark…”), is rendered with a delicate, Satie-like harmonic poignancy.

The album is far from celebratory, sustaining a pervasive sense of desolation across several pieces. Mitchell’s “Hyper-Pathos” crawls with melancholy and restrained gloom; “Diction” unfolds slowly and cautiously, Serpa’s voice weaving through its contemplative expanse; and Serpa’s “Carry You Like a River”, with text from a haiku by American poet Sonia Sanchez, stands out as a technically brilliant, plaintive lament. Its ebb and flow radiate mystic overtones through Mitchell’s attentive playing and Serpa’s assured, graceful delivery.

Sung in Portuguese and drawn from a poem by Sofia de Mello Breyner Andresen, Serpa’s “Ar e Vento” carries subtle folk undertones, while “Dead Spirits” assumes the form of a solemn chorale, setting a text by Belgian-born French feminist philosopher Luce Irigaray. The album concludes with Mitchell’s “Hypo-Bathos”, a spacious, brooding piece where incisive vocal gestures hover above sparse, lugubrious chordal variations.

The narratives unfold patiently—some imbued with vibrant color, others with a subdued austerity. The mood, more blue than bright, mirrors our uncertain times, balancing complexity with quiet resolution. Listeners must be open to its intimate, deeply contemplative world.

Favorite Tracks:
01 - News Cycle ► 04 - The Future ► 08 - Carry You Like a River

Thomas Morgan - Around You Is A Forest

Label: Loveland Music, 2025

Personnel - Thomas Morgan: WOODS, bass (#1); Dan Weiss: tabla (#2); Craig Taborn: keys (#3); Gerald Cleaver: drums (#4); Henry Threadgill: flutes (#5); Ambrose akinmusire: trumpet (#6); Bill Frisell: electric and acoustic guitar (#7); Immanuel Wilkins; alto saxophone (#8); Gary Snyder: voice (#9).

The open-minded, in-demand bassist Thomas Morgan takes an unforeseen and ambitious path in his highly conceptual debut as a leader, Around You is a Forest. At once intimate and spellbinding, the album features one solo performance and eight duets with a distinguished lineup of guests. What makes this project so remarkable is Morgan’s invention of WOODS—a programmed virtual string instrument that fuses characteristics of West African lute-harps, Asian zithers, cimbalom, and marimba. He pioneers this technique with sophistication and restraint, providing exotic yet organic foundations that inspire his collaborators to become co-narrators in sound.

The title track opens the album with Morgan alone, offering a breathtaking bass meditation that leads us into a vividly imagined forest. His resonant tone paints an enchanted landscape from which one has no desire to return. “Eddies”, featuring drummer Dan Weiss on tabla, is a rhythmic delight evoking Afrobeat and electronic music; its circular motion mirrors the flow of water around rocks in a stream.

“Dream Sequence”, with keyboardist Craig Taborn, unfolds like an experimental film score, layered in eerie dual-synth polyphony. “In the Dark” welcomes composer Henry Threadgill into a noir-ish soundscape of restless mystery, his flute and bass flute intertwining with Morgan’s textures. The 16-minute “Through the Trees”, with the resourceful drummer Gerald Cleaver adding color and vibration behind the drum kit, explores shifting loops and hazy atmospherics, building from enigmatic reverie to thunderous intensity. On “Murmuration”, saxophonist Immanuel Wilkins floats in and out of focus through eight layered lines above a ngoni-like texture. This is the closest to jazz you can get—even if sometimes it sounds like an off-beat chorale of sorts.

Among the album’s highlights are “Assembly of Beings” and “Rising From the West”. The former, featuring trumpet master Ambrose Akinmusire, enchants with beautifully intoned notes, terse staccatos, and poignant outbursts over a drone-inflected steel-string zither tapestry. The latter, a luminous collaboration with guitarist Bill Frisell, takes us to another dimension within its spacious atmosphere. Melodious guitar fillings are discreetly shaken by electric distortion at some point, in a genuine communion between New York-based musicians who grew up in the West Coast. The album closes gracefully with “Here”, a poetic coda featuring Gary Snyder reciting his own verse in a calm, transfixing voice.

Still absorbing its many layers, I have no doubt Around You is a Forest is the work of a visionary—distinct, immersive, and profoundly original. Each piece feels self-contained yet essential to the whole. Traditionalists may balk, but this may well be the year’s most imaginative and best debut.

Favorite Tracks:
01 - Around You is a Forest ► 04 - Through The Trees ► 06 - Assembly of All Beings ► 07 - Rising From the West

Webber / Morris Big Band - Unseparate

Label: Out of Your Head Records, 2025

Personnel - Angela Morris: tenor saxophone, flute, conduction; Anna Webber: tenor saxophone, flute, conduction; Jay Rattman: alto and soprano saxophones, clarinet, flute; Charlotte Greve: alto saxophone, flute, clarinet; Adam Schneit: tenor saxophone, clarinet; Lisa Parrott: baritone saxophone, bass clarinet; Nolan Tsang: trumpet; Ryan Easter: trumpet; Jake Henry: trumpet; Kenny Warren; trumpet; Tim Vaughn: trombone; Zekkereya El-magharbel: trombone; Jen Baker: trombone; Reginald Chapman: trombone; Yuhan Su: vibraphone; Dustin Carlson: guitar; Marta Sánchez: piano; Adam Hopkins: bass; Jeff Davis: drums.

Tenorists, flutists, and composers Anna Webber and Angela Morris return with their co-led 19-piece big band, taking listeners on an imaginative journey through their creative lens. Unseparate, their second album in five years, showcases a viscerally contemporary sonic palette that reaffirms their adventurous yet cohesive orchestral brilliance. Building on the promise of their debut Both Are True, this new outing is even more assured—filled with bright ideas, expressive tonal textures, and rich harmonic depth that epitomize their progressive aesthetic.

The album opens with Webber’s four-part Just Intonation suite for big band. “Unseparate 1” casts long, deep wavelengths into perceptual focus; “Pulse” bursts forth with kinetic energy, its counterpoint and electronic music-inspired pulse framing a trumpet duel between Brian Easter and Nolan Tsang, as well as vibraphonist Yuhan Su’s graceful melodic touch. “Timbre” sets the leaders’ saxophones in motion, with Morris stepping into the spotlight over a carefully woven tapestry that grows ever more radiant. “Metaphor” follows with a blend of yearning and resolution, highlighted by Tim Vaughan’s magnetic trombone solo and deft trumpet interjections. The piece escalates into delicious cacophony before Su ushers in a glowing, timbrally rich new cycle.

Morris’ “Mist/Missed” begins broodingly, with drones, counterpoint, and striking rhythmic accentuations that culminate in a bustling conclusion. Webber’s “Unseparate 3” takes a more direct path—melodically and harmonically accessible, yet full of vivid color, particularly in Charlotte Greve’s luminous alto improvisation. Morris’ “Microchimera”, inspired by parent-child connections, soothes the soul through an enveloping sound bubble that breathes deeply. Its nuanced rhythmic design, ingenious horn writing, and innovative spirit stand out, evolving through dynamic sections that feature guitar and vibraphone together, and then flute (a stunning turn from Webber) and piano. This is followed by deep drone infusion and rigorous counterpoint.

The thrills don’t stop here, and both Morris’ inventive “Habitual”—featuring Marta Sanchez on piano and Lisa Parrott on baritone sax—and Webber’s punchy, starkly contrapuntal “Spur 7: Metamorphosis”—with solos from bassist Adam Hopkins, altoist Jay Rattman, and guitarist Dustin Carlson—takes us to radical joy.

Unconventional, gripping, and consistently inspired, Unseparate surpasses the duo’s previous big band outing, pushing boundaries while deepening the success of their remarkable collaboration.

Favorite Tracks:
02 - Pulse ► 04 - Metaphor ► 05 - Mist/Missed ► 07 - Microchimera

Otherlands Trio - Star Mountain

Label: Intakt Records, 2025

Personnel - Stephan Crump: bass; Eric McPherson: drums; Darius Jones: alto saxophone.

Bassist Stephan Crump and drummer Eric McPherson, two of jazz’s most forward-thinking rhythmists, form the core of the Borderlands Trio alongside pianist Kris Davis. After three acclaimed albums with that group, the pair decided to continue their collaboration, this time summoning powerhouse alto saxophonist Darius Jones—a central figure in New York’s avant-garde scene known for fusing modern expressiveness with old-school improvisational spirit. Together, they form Otherlands Trio, an improvisation-centered ensemble whose elliptical and sectional journeys yield revelatory musical discoveries. Star Mountain, their debut, features five tracks—two expansive (of approximately 15 minutes) and three concise explorations.

“Metamorpheme” opens with a spiritual, modal energy—you can call it whatever you want: prayer, lament, supplication, or invocation—that immediately reaches the heart and uplifts the spirit. Crump’s commanding arco and pizzicato work resonates with depth, unfolding in double-stops, pedal points, and supple grooves. McPherson, deeply attuned to the music’s pulse, crafts a flowing tapestry of rhythmic dialogue, while Jones emerges as an instinctive explorer, often shaping tension in the form of motivic discussions. The trio’s rhythmic shifts captivate throughout, and the piece concludes in a dance-inflected flourish.

McPherson’s deft cross-stick work animates both “Lateral Line” and “Diadromous”. The former concludes in with multiphonic mode complemented with bass bites and pitched saxophone squeaks for an abstract atmosphere; the latter pulses with athletic bass funkiness, propelling Jones into high-flying solos that, by turns, channel Coltrane, Fred Anderson, and Dewey Redman.

On the shorter “Instared”, Jones tests the upper limits of his horn while Crump anchors the sound with earthy resonance and McPherson envelops it all in hypnotic percussion. “Imago” glows with the trio’s spontaneous chemistry—martial snare attacks, impeccably harmonized bass fluxes, and the saxophone climbing and descending mountainous phrases with an authoritative sequence of notes. The trio engages in an accelerando, creating a wonderful sense of displacement before returning to the modal avant-garde context. It ends with rippling bass oscillations and loping drums.

Each member of Otherlands Trio brings a fully realized musical identity to the group, united in a collective pursuit of freedom that transforms raw improvisation into vivid, finely textured sonic canvases.

Favorite Tracks: 
01 - Metamorpheme ► 03 - Diadromous ► 05 - Imago

Anne Mette Iversen's Ternion Q Expanded - Marbles

Label: BJU Records, 2025

Personnel - Silke Eberhard: alto saxophone; Julius Gawlik: clarinet, tenor saxophone; Percy Pursglove: trumpet, flugelhorn; Geoffroy De Masure: trombone; Morris Kliphuis: french horn; Anne Mette Iversen: bass; Roland Schneider: drums.

Danish bassist and composer Anne Mette Iversen began her musical career in New York City before relocating to Berlin in 2012. Her acclaimed Ternion Quartet—with altoist Silke Eberhard, trombonist Geoffroy De Masure, and drummer Roland Schneider—has now evolved into a pliable septet capable of handling, with aplomb, both the discipline and freedom that her matured compositions demand. The music on Marbles, which evokes systems in motion, emerged from a lengthy creative process and serves as an ideal showcase for Iversen’s intricate yet ravishing juxtapositions and cohesive group sound. The expanded lineup features rising clarinetist/tenor saxophonist Julius Gawlik, trumpeter Percy Pursglove, and French horn player Morris Kliphuis. 

Iversen’s compositional prowess is evident from the outset. “Double Arches” begins as a mournful dirge pierced by cacophonous horns before leaping into a swing pace that inspires quick-witted improvisations from De Masure and Eberhard. “TBQE (To Be Questioned Eventually)” initially thrives on chamber-like classical finesse—thanks to Gawlik’s velvety clarinet—before bass and drums inject a lively polyrhythmic feel. The group ultimately coalesces into a funk strut in a musically rich piece that highlights both multi-directionality and commitment.

“Square Root of a Dream” unfolds over a thoughtful seven-beat bass pulse before waltzing freely in its middle section. Pursglove’s agile trumpet work stands out, later joining a horn-only chamber passage of striking poise. His melodic flair also colors “Tenacious Mind”, a relaxed, gently brushed piece stirred by subtle cross-rhythms toward its conclusion.

“Marble for Minor” moves boldly in 11/8, spotlighting a conversational exchange between Gawlik’s clarinet and De Masure’s trombone, while the latter also shines on the crisp 3/4 tune “Threefold”, delivering an irresistibly soulful statement. “Inverted Structures” opens tentatively before launching into Gawlik’s vigorous tenor stroll over bass and drums, later probing darker hues as sculptural layers accumulate with confidence. The album closes with “Two Twisted Spires”, where post-bop hooks infused with avant-garde flair provide a final surge of energy—a feast for the horns.

Iversen continues to carve out a distinctive place among Europe’s foremost modern jazz composers. Marbles glistens with imagination and balance, bridging contemporary exploration with deep reverence for the past and a clear eye toward the future.

Favorite Tracks:
01 - Double Arches ► 02 - TBQE ► 05 - Marble For Minor ► 06 - Threefold

Cecile McLorin Salvant - Oh Snap

Label: Nonesuch Records, 2025

Personnel - Cecile McLorin Salvant: vocals, Garage Band, 

The talent of American singer Cecile McLorin Salvant is undeniable, as proven by remarkable albums such as Dreams and Daggers (2017), The Window (2018), and especially Ghost Song (2022). Her new outing, Oh Snap, is her most eclectic and personal work to date—but just didn’t work for me. The album consists of 12 originals—most of them initially conceived on Garage Band, AutoTune, and Logic with layers of found sounds—and one cover: a verse from the Commodores’ 1977 hit “Brick House”.

Salvant’s wealth of ideas leads to several unexpected changes of direction, yet the strongest moments remain those most deeply rooted in jazz. “Anything But Now” is a delicious highlight, addressing the nightmare of the Internet and cell phones through double-time swing and a memorable finale. “What Does Blue Mean to You”, inspired by novelist Toni Morrison’s archive, features Salvant at her best, backed by her impeccable jazz quartet—bassist Yasushi Nakamura delivers a beautifully sluggish solo, pianist Sullivan Fortner closes with a deconstructed stride, and drummer Kyle Poole propels the rhythm with firm ride-cymbal precision. There’s also “Expanse”, a lush jazz ballad.

The opener, “I Am a Volcano”, ventures into alternative R&B with funky synth chords, electronics, and a hefty backbeat, while “Take This Stone”, featuring acoustic guitar and guest vocals by singer-songwriters June McDoom and Kate Davis, dives into the pop-country realm.

The title track, “Oh Snap”, driven by an Afro-percussive flow, veers boldly from ambient textures to EDM, infused with a distinct Kate Bush vibe. “Thank You”, which momentarily recalls Bush’s “Wuthering Heights”, is a fine pop ballad written for Salvant’s mother and sister.

However, the sapless dance-pop numbers, “Eureka” and “A Little Bit More”, feel disconnected from the rest and would have been better left out. Oh Snap is a confessional collection but it doesn’t align with my stylistic preferences. I found it uneven and unexceptional, though Salvant’s extraordinary voice continues to inspire confidence in her artistic evolution.

Favorite Tracks:
02 - Anything But Now ► 04 - What Does Blue Mean to You

Kirk Knuffke - Window

Label: RPF Records, 2025

Personnel - Kirk Knuffke: cornet, vocals; Stomu Takeishi: bass; Bill Goodwin: drums.

For his 25th studio album, Window, cornetist-composer Kirk Knuffke—known for his expressive range and fearless commitment—dives into jazz minimalism, aiming straight for the listener’s heart through the beauty of his melodies. Here, he reveals another side of his artistry, singing on three tunes while engaging in inventive, telepathic interplay with his trio mates: the highly explorative bassist Stomu Takeishi, drawn to peculiar pulses and throbs, and veteran drummer Bill Goodwin, whose refined drive and tasteful touch elevate every track. Both musicians previously appeared on Knuffke’s quartet album Lamplighter (FSNT, 2015).

“Choose” is designed with a catchy drum shuffle, well-timed fills, a velvety plain melody, and a crunchy, funkified bass groove complemented with cool slides. Knuffke’s signature blend of elegance and edge comes to life on both “For Your Needing” and “Mr. Bill”. The former, wrapped in a rainbow of colors and propelled by Takeishi’s twangy tone, merges Charlie Chaplin’s cinematic playfulness with a spongy avant-garde jazz spirit. The latter—dedicated to the 83-year-old drummer featured here—sustains the avant-garde mood through quirky imagination and subtle fusion hints, courtesy of Takeishi’s unique sonic language.

Knuffke’s vocals enriches three pieces: “Runs Red”, which calls to mind the band Morphine, with Takeishi’s amazing harmonic context and Goodwin’s tribal percussion; “Window”, whose restrained Tom Waits-like vibe is enhanced by Goodwin’s exquisite brushwork; and “A Little More So”, a bluesy, melodic closer that wraps the album with warmth.

One of Knuffke’s great musical strengths is his adaptability to different formats and moods. There are three “Gong Improv" pieces topped with delicate cornet lines floating over bass slurs and trills. Despite of its title, “Ballad” gets some tense, eerie moments, while “Heavy Times” feels vibrantly jazzy and bluesy, driven by cornet-bass unisons and sensitive brushwork. The playful “Carey”, on the other hand, opens with an expressive drum sequence, showcasing Goodwin again in a spontaneous improvisation.

There’s an undeniable sense of familiarity and chemistry within this trio, reflected in music that’s warm and passionate. Window stands as a glowing affirmation in the art of three-way conversation.

Favorite Tracks:
01 - Choose ► 03 - For Your Needing ► 04 - Mr. Bill  ► 06 - Runs Red

Rodrigo Amado's The Bridge - Further Beyond

Label: Trost Records, 2025

Personnel - Rodrigo Amado: tenor saxophone; Alexander Von Schlippenbach: piano; Ingebrigt Haker Flaten: bass; Gerry Hemingway: drums, voice.

The sophomore record from Portuguese free jazz saxophonist Rodrigo Amado’s international quartet The Bridge—with German pianist Alexander Von Schlippenbach, Norwegian bassist Ingebrigt Haker Flaten, and American drummer Gerry Hemingway—arrives with Further Beyond, a powerful statement of collective freedom and risk-taking. Across three freely improvised tracks, the quartet demonstrates a shared instinct for adventure and a deep trust in spontaneous creation.

The opening piece, “A Change Is Gonna Come”, begins on a fluttering rhythmic pulse that soon opens into a Coltrane-inspired spiritual voyage. Von Schlippenbach’s fractured yet dance-like piano fluxes collide with Amado’s searing saxophone cries, while Hemingway and Håker Flaten respond with elastic propulsion. The group shapes its energy in waves—motivic, surging, and volatile—its interplay both fiery and telepathic. 

The nearly 27-minute title track, “Further Beyond”, unfolds gradually, moving from meditative lyricism to fierce turbulence. With sober bass reflections and affably brushed drums maintaining the mood, both the smooth, resonant chords and luminous sax lines establish a contemplative atmosphere, which later dissolves into agitated cadences and vivid exchanges. Von Schlippenbach anchors a hypnotic low-register pattern while Hemingway’s eerie vocalizations and Håker Flaten’s arco bass pierce the texture. Amado then pushes forward with sharp staccato bursts and racing runs before Hemingway’s drum show—hard on toms and cymbals—makes the music rise into celestial Coltranean fashion.

Loosely laid down, “That’s How Strong Our Love Is” swings casually, displaying melodic bluesy disciplines elevated by some call-and-response between sax and piano. Its luminous, triumphal ending is threaded through sharp yet tangible piano playing, offering harmonic nuance, textural sculpting, and saxophone multiphonics. The quartet’s telepathic rapport and the music’s fearless audacity are rewarding, confirming The Bridge as one of Amado’s most dynamic and cohesive projects.

Favorite Tracks:
01 - A Change is Gonna Come ► 02- Further Beyond

Jerome Sabbagh - Stand Up!

Label:  Analog Tone Factory, 2025

Personnel - Jerome Sabbagh: tenor saxophone; Ben Monder: guitar; Joe Martin: bass; Nasheet Waits: drums.

French-born, New York-based saxophonist Jerome Sabbagh reconvenes his long-standing, empathetic quartet for the first time in more than a decade. Joined by guitarist Ben Monder, bassist Joe Martin, and drummer Nasheet Waits—stepping in for Ted Poor—Sabbagh delivers a versatile post-bop album dedicated to his early teachers. Yet, each of the eight original compositions is a personal homage to someone who shaped his musical path. The title Stand Up!—borrowed from a tune on one of his earlier quartet albums—feels especially fitting in a time of political turbulence. 

The shimmering echoey of “Lone Jack”, dedicated to Ray Charles and producer Pete Rende, channels American roots music with a bluesy-country lilt that feels both grounded and forward-looking. Monder’s sinuous guitar solo, Sabbagh’s melodically radiant saxophone lines, and a propulsive, open hi-hat backbeat drive the piece with grace and purpose. “Lunar Cycle”, inspired by Sam Rivers’ “Cyclic Episode” from Fuchsia Swing Song (1965), burns with post-bop vitality. Its colorful theme, stated in unison with Monder, sets up burnished solos and gives Waits room for striking rhythmic commentary. 

Different in temperament, “The Break Song” and “Mosh Pit” pay tribute to Stevie Wonder and Trent Reznor, respectively. The former leans on a relaxed pop-rock pulse with subtle R&B inflections, while the latter erupts in muscular ferocity—dark saxophone lines, snarling guitar distortion, probing yet grounded bass conduction, and raw, explosive drumming as Waits knocks off the shine of his cymbals.

Gorgeously introspective, “Vanguard” honors the late Paul Motian, whose spirit informs its spacious phrasing and harmonic nuance. “Unbowed”, a modal post-bop finale for Kenny Barron, glows with Waits’ crisp snare rolls and cymbal shimmer, pushing Monder into electrifying territory. Between them lie two very personal dedications: the mid-tempo waltz “Michelle’s Song”, for Michelle Egan, and the sultry bossa “High Falls”, for Meaghan Glennan, evoking the warmth of Getz/Gilberto.

With Stand Up!, Sabbagh demonstrates he’s an open-minded, genre-defying saxophonist. Celebrating more than 20 years with this band, they spin with the same contagious enthusiasm as before.

Favorite Tracks:
01 - Lone Jack ► 03 - Lunar Cycle ► 06 - Mosh Pit ► 08 - Unbowed

Jason Rigby - Mayhem

Label: Endectomorph Music, 2025

Personnel - Jason Rigby: woodwinds, keyboards, percussion; Mark Guiliana: drums, cymbals, percussion, keyboards; Pete Min: signal processing, mixing, mastering.

American saxophonist and composer Jason Rigby returns after nearly a decade without recording as a leader. With Mayhem, he makes a vivid statement, expanding musical horizons through pieces that oscillate between serene reflection and volcanic eruption. He is joined by drummer Mark Guiliana, a long-time collaborator of 15 years. Rigby envisioned the project as a reimagining of Interstellar Space—but infused with synths, woodwinds, gongs, and electronics, the latter handled by recording engineer Pete Min.

The album opens with “Siorai” built on a reverb-drenched keyboard figure in seven, understated percussion, and a soft, airy saxophone line. “Fifths” follows with glitch-like harmonies and martial snare patterns, over which Rigby unfurls clean, precise phrases.

Half the material is composed, while the rest is fully improvised. Among the former, “Sevensixfive” pulses with shifting meters, jazzy synth textures, Guiliana’s ferocious drive, and Rigby’s risk-taking saxophone explorations. In contrast, the improvised “Terra Firma” unfolds like a ritual dance: rippling wet percussion, rock-infused synth smears that twist the serenity of the rhythm, bass clarinet effects, and Rigby’s agile in-and-out contortions.

“Yeah Boiii” and “Mark” strip things down to sax-and-drums improvisations where Rigby and Guiliana take off with angular phraseology and a stunning array of elastic rhythms, respectively. The latter piece thrives on stop–start combustibility, shifting into more exotic terrain at a later phase.

“Chimera”, inspired by the sonic atmosphere of Manfred Eichner’s ECM recordings, acquires an Eastern hue with spiritual discipline and tasteful timbral qualities. The duo dials it down to a low modal rumble, employing a soaring flute, harmonic warmth, and high-pitched metallic pings. There’s also a nod to saxophonist Tim Berne on “Burn”, with sax and drums talking the same idiom.

Showcasing Rigby and Guiliana’s powerful musical abilities, Mayhem captivates with its blend of textural surprise, fearless improvisation, and contemporary artistry.

Favorite Tracks:
02 - Sevensixfive ► 05 - Terra Firma ► 07 - Yeah Boiii ► 09 - Mark

Sylvie Courvoisier / Wadada Leo Smith - Angel Falls

Label: Intakt Records, 2025

Personnel - Sylvie Courvoisier: piano; Wadada Leo Smith: trumpet.

Swiss pianist Sylvie Courvoisier and American trumpeter Wadada Leo Smith—two genuinely inventive improvisers and composers—have collaborated before (notably on Courvoisier’s sextet album Chimaera), but Angel Falls marks their first duo recording. Smith, long devoted to this intimate format, brings his singular lyricism, while Courvoisier thrives on spontaneity and discovery. The album, titled after Venezuela’s towering waterfall, was recorded in the precise order presented, with no edits.

“Olo’ Upnea and Lightning” opens with Courvoisier’s wide-interval explorations on prepared piano, interwoven with luminous tonal chords. Smith responds with prayer-like intensity, his trumpet voice feverish yet finely crafted. Shifts from darkness to light define the piece, with both musicians embracing unrestrained expression. “Naomi Peak” follows in a whirlwind of centrifugal force—staccato trumpet bursts meet dizzying piano flutters, interrupted briefly by fragility before bluesy inflections ground the conclusion. 

“Whispering Images” floats in a spectral haze of altered piano strings, drones, and muted trumpet, suspended between galaxies and propelled by near-waltzing cadences. By contrast, “Vireo Bellii”—named for a songbird—is playful and brisk, its sparse piano motifs forming oddly constellated patterns against Smith’s oscillation between penetrating cries and mournful restraint.

The title cut, “Angel Falls”, is another example of the duo’s constant communication and sophisticated interaction. Intense and dramatic, the piece probes darker tonalities with a suspenseful cinematic weight. Despite feeling intrinsically cerebral, its abstractions resist predictability. 

Angel Falls confirms Courvoisier and Smith’s magnetic rapport. It may feel bulky at times, but their fearless interplay, rooted in both lyricism and texture, cements their place among the most compelling improvisers of our time.

Favorite Tracks:
01 - Olo’ Upnea and Lightning ► 02 - Naomi Peak ► 06 - Angel Falls

Charles Lloyd - Figure in Blue

Label: Blue Note Records, 2025

Personnel - Charles Lloyd: tenor saxophone, flute, tarogato; Jason Moran: piano; Marvin Sewell: guitar.

Trailblazing saxophonist Charles Lloyd casts an enchanting Southern spell with his latest double album, Figure in Blue, another formidable triumph affirming his boundless creativity, ancestral roots, and deep spirituality. He leads a new trio with longtime collaborator Jason Moran on piano and guitarist Marvin Sewell as the unpredictable wild card. Together, they excavate authentic Delta blues from compelling harmonic designs while honoring Lloyd’s many influences.

Duke Ellington, an early inspiration, receives three dedications. Lloyd’s original “Figure in Blue, Memories of Duke” contrasts happy guitar strums and shimmering piano with reflective passages, all threaded by improvisations that ripple with tension and beauty. The trio also revisits Ellington’s “Heaven” and “Black Butterfly”, both previously featured on Lloyd’s The Water is Wide (ECM, 2000).

Other tributes include Billy Holiday on the haunting eulogy “The Ghost of Lady Day”, where Lloyd’s rich, dramatic tenor sound collides with the rhythm section’s sensitive interplay; tabla player Zakir Hussain on the transcendental Eastern-infused meditation “Hymn to the Mother, For Zakir”; and Leonard Bernstein via a poignant reading of West Side Story’s “Somewhere”. The ballad “Hina Hanta, the Way of Peace”, invokes Lloyd’s Choctaw ancestry with unmistakable touch and spiritual openness. Lloyd explores beautiful melodies, often linked by swiftly articulated arpeggios, over the gauzy accompaniment provided by Moran and Sewell, the latter showing a fantastic control of volume swells.

Delta blues surfaces throughout but anchors firmly on “Chulahoma”, rhythmically woven by distorted electric guitar and trilling piano, and on “Blues For Langston”, a dedication to poet Langston Hughes with Lloyd on flute. Sewell’s detailed guitar work stands out on both pieces. Old compositions are reframed such as “Song My Lady Sings”, a 3/4 ballad culled from his second album Of Course, Of Course (Columbia, 1965), and both “Desolation Sound” and “Ruminations”, which are given a mix of post-bop and avant-garde treatments in their long-form arrangements.

Figure in Blue captures the soulfulness of Lloyd’s writing, both new and revisited, while showcasing the trio’s superb dynamics—drawing listeners ever deeper into his timeless sound world.

Favorite Tracks:
02 (CD1) - Hina Hanta, the Way of Peace ► 03 (CD1) - Figure in Blue, Memories of Duke ► 01 (CD2) - The Ghost of Lady Day ► 04 (CD2) - Black Butterfly

Wolfgang Muthspiel - Tokyo

Label: ECM Records, 2025

Personnel - Wolfgang Muthspiel: acoustic and electric guitars; Scott Colley: double bass; Brian Blade: drums.

Austrian guitarist and composer Wolfgang Muthspiel returns with his finely tuned trio—bassist Scott Colley and drummer Brian Blade—for their third ECM studio album. Tokyo features eight Muthspiel originals alongside covers of Keith Jarrett and Paul Motian, both presented with a redefined aura.

These covers bookend the album. Jarrett’s “Lisbon Stomp”, culled from the pianist’s 1967 debut Life Between the Exit Signs, opens with shades of bop, American blues, and gospel. Recast with modern bluesy chops, colorful intervals, and harmonic reinvention, it soon finds a swinging direction. Motian’s “Abacus” closes the set, loosely painted as an agile rumination steeped in lyrical abstraction.

Both renditions are emotionally honest and musically inspired, yet the real treasures lie in Muthspiel’s writing. “Paradela” glows in the dark as a resplendent rubato meditation, folding jazz and classical elements into a clear song form. Similarly, “Flight”—a piece in seven that layers arpeggiated passages, quick-witted chordal sequences, and smoky electric guitar lines—displays the guitarist’s emotive reach and the trio’s remarkable synergy. Colley’s breathing cadences and Blade’s enveloping cymbals add luminous depth. 

The rhythm section provides both stability and suppleness, allowing Muthspiel to pursue an acoustic, chamber-like aesthetic free of unnecessary ornament. “Diminished and Augmented” feels like a complex, modern étude, its shifting passages and odd meter opening into improvisation, while “Weill You Wait”, a bittersweet waltz with ‘singing’ bass lines, reflects his admiration for Kurt Weill. Blade’s brushwork here radiates subtlety and refinement. 

Unexpected turns also surface: “Roll” fuses rock ’n’ roll with bluegrass, while “Strumming” is a propulsive pop/rock-tinged jaunt in six, marked by gritty arco bass, bluesy bends, and resolute drive. 
Tokyo finds Muthspiel, Colley, and Blade in top form—an elegant, deeply rewarding listen for the attentive and the casual ear alike.

Favorite Tracks:
02 - Paradela ► 06 - Diminished Augmented ► 08 - Strumming ► 09 - Weill You Wait

Marshall Allen's Ghost Horizons - Live in Philadelphia

Label: Otherly Love Records, 2025

Personnel - Marshall Allen: alto saxophone, EVI, synth, vocals;  

Now 101 years old, the incredible maestro Marshall Allen — who joined the Sun Ra Arkestra in 1957 and has led it since 1995 — releases a new live record with his Ghost Horizons group, curated by Arkestra guitarist David Middleton (aka D.M. Hotep), who appears on every track. Recorded in Philadelphia, the album brings Allen together with a younger generation of artists including saxophonists Immanuel Wilkins, James Brandon Lewis, and Elliott Levin; bassists Luke Stewart, Eric Revis, and William Parker; keyboardist Brian Marsella; drummer Chad Taylor; and others.

Sun Ra’s “Seductive Fantasy”, first recorded in 1979 for On Jupiter, opens the album in a quintet setting, with Allen’s raspy growls paired against trombonist Dave Davis. Hotep jags and slices through on guitar, eventually breaking into river-runs over Stewart and Taylor’s lithe rhythm. The same unit delivers “Tachyons Flux From the Cosmic Blueprints”, a more restrained, cyclic blues march.

Sun Ra’s presence resurfaces again on “We’ll Wait For You/Hit That Jive, Jack”, though the album also ventures into unexpected rock territories. “Back To You”, featuring the experimental duo Wolf Eyes, channels the shadowy corners of Joy Division with stratospheric electronics and serrated drones. “Square the Circle” rides a rock-steeped backbeat and straightforward bass lines, courtesy of Charlie Hall (The War On Drugs) and James McNew (Yo La Tengo). It arrives interlaced in guitars.

Levin contributes a feverish solo to “Stay Lifted”, a worthwhile astral excursion, and also appears on “Space Ghosts”, where shifting grooves gradually dissolve into fade-out. “Cosmic Dreamers, Ode to Elegua” folds in Eastern touches, a trio of batá drums, ritualistic chants from Joseph Toledo, and Allen’s indomitable alto fire. Yet one of the standout moments is “Slip Stream”, an ambient-funk voyage elevated by Wilkins’ soulful avant-garde flourishes, Marsella’s luminous comping, and Taylor’s perfectly attuned drumming.

Favorite Tracks:
01 - Seductive Fantasy ► 05 - Stay Lifted ► 14 - Slip Stream

Nick Finzer - The Jazz Orchestra Vol. 1

Label: Outside in Music, 2025

Personnel - Saxophones: Michael Thomas (alto); Jordan Pettay (alto); Lucas Pino (tenor); Evan Harris (tenor); Tony Lustig (baritone); Trumpets: Augie Haas, Anthony Hervey, Nadje Noordhuis, Chloe Rowlands; Trombones: Nick Finzer, Rob Edwards, James Burton III, Sara Jacovino, Altin Sencalar;  Rhythm Section: Alex Wintz (guitar), Glenn Zaleski (piano), Dave Baron (bass), Jimmy Macbride (drums).

Nick Finzer is a creative trombonist and composer with refined taste and sinuous melodic instincts. Captured in a single-day session, The Jazz Orchestra Vol. 1 breathes new life into four of his most emblematic, previously recorded compositions alongside fresh reinventions of two J.J. Johnson classics. Inspired by the late trombonist and the big band legacies of Duke Ellington, Finzer assembled an 18-piece ensemble that includes his working sextet—the full rhythm section plus tenorist Lucas Pino. The album pays sincere tribute to the rich history of the jazz orchestra. 

Bursting with ardent hardbop devotion, Johnson’s “Say When” thrives on Finzer’s powerful declamation, his trombone lines cutting with melodic instinct and authority. Playful horn staccatos punch through neatly arranged hooks, while a buoyant swing underpins Jordan Pettay’s spirited alto solo. Johnson first recorded this piece with his big band in 1966.

Also by Johnson, “Lament” unfolds as a lyrical, expansive ballad of epic dimension that recalls Gil Evans’ orchestral maneuvers, one of Finzer’s touchstones. Those spectacular Evans-like timbres reappear in “The Guru”, originally heard on Cast of Characters (2020). With its rhythmic and harmonic brilliance, the piece weaves a mysterious mood through probing collisions and lush tapestries, highlighted by solos from trumpeter Anthony Hervey and Finzer himself. The colorful harmonic tapestries are offered by guitarist Alex Wintz and pianist Glenn Zaleski, respectively.

Another highlight is “We The People”, the dynamic opener from Hear & Now (2017), here reimagined by Jack Courtwright, Finzer’s notable graduate student at the University of North Texas. Freedom and collective consciousness permeate the music, magnified by inventive solos from trumpeter Chloe Rowlands, Pino, Wintz, and drummer Jimmy Macbride. That conversational fluidity of the improvisers continues on the closer, “Just Passed the Horizon”, where Wintz leads into Tony Lustig’s exuberant baritone statement and an invigorating collective jam that bursts with tonal color.  

The Jazz Orchestra Vol. 1 is a beautifully crafted album that brings Finzer’s A-game to the big band format. His dedication yields fresh surprises at every turn, and we never get tired of this unflagging ‘in the pocket’ drive, always carried out with a modern sensibility.

Favorite Tracks: 
01 - Say When ► 02 - The Guru ► 04 - We The People