Charles Lloyd - Sangam and Friends

Label: Blue Note Records, 2026

Personnel - Charles Lloyd: tenor saxophone, flute; Zakir Hussain: tabla, percussion; Eric Harland: drums; Vijay Prakash: vocals; Rakesh Chaurasia: bansuri; Sabir Khan: sarangi; Niladri Kumar: electric sitar;  Ranjit Barot: keyboards.

Everyone knows that Charles Lloyd’s music is a sea of authenticity that lifts the spirit and awakens the senses. Most of the tracks on Sangam and Friends, his new album serving as a homage to the late tabla player Zakir Hussain, were recorded live in Mumbai in 2009 for an album that was never released. Drummer Eric Harland is the third side of the triangle that composes Sangam, yet this date is enriched by a rotating lineup of standout Indian collaborators that includes vocalist Vijay Prakash, bansuri player Rakesh Chaurasia, sarangi player Sabir Khan, sitar player Niladri Kumar, and keyboardist Ranjit Barot.

As expected, the new album traffics in an outgoing blend of world fusion, avant-jazz, and post-bop that attains emotional peaks on “Bharati’s Dance, Tempo Divine” and “Sam on the Ganges”, a sprightly reimagining of Lloyd’s memorable tune “Sombrero Sam”. The former piece showcases Lloyd in top form, blowing impulsively and fabulously over Hussain’s entrancing tabla patterns and Harland’s smart drumming. This Indo-jazz breeze is also felt on the latter piece, where Barot’s keyboards reinforce the texture, paving the way efficiently for bansuri and tenor discourses. Carrying soulful, transcendental energy, both the sarangi and electric sitar contribute rich flavors to a delicately spicy whole.

The beautiful vocal work of Prakash is featured on the meditative introductory “Clear the Dust” and “The Blessing”, where Lloyd evokes “Tone Poem” in his mystic chants. “Jai Ganga”, a traditional piece drawn from the group’s archives, is a vivid, celebratory marching dedication to the sacred Ganges river, while “Tagore”, featuring Lloyd on flute, is a premium Carnatic output with a lingering melody and mesmerizing rhythm, recorded live in Santa Barbara, CA, in 2014. In turn, “Eternal Dreaming”, using a sustained chord as a drone, reflects a meditative temperament.

With the rhythm team put to excellent use throughout the recording, Sangam and Friends shares multicultural stories, keeping Lloyd’s distinct style front and center.

Favorite Tracks:
02 - The Blessing ► 05 - Bharati’s Dance, Tempo Divine ► 07 - Sam on the Ganges

Anggie Obin - Luz

Label: UnderPool, 2026

Personnel - Anggie Obin: flute; Bill McHenry: tenor saxophone; Miguel “Wiwi” Garcia: piano; Masa Kamaguchi: double bass; Estefania Chamorro: drums.

Rising Panamanian jazz flutist and composer Anggie Obin, who attended Berklee College of Music in Boston and is based in Barcelona, gathers a first-class quintet—American saxophonist Bill McHenry, Cuban pianist Miguel “Wiwi” Garcia, Japanese bassist Masa Kamaguchi, and Spanish drummer Estefania Chamorro—for a wonderful debut album that honors her musical mentors and her late great-grandmother. Luz was titled after the latter, an important pillar in her life. 

“For Mr. G” begins the album in warm modal complicity, with saxophone and flute beautifully interlocking through contrasting timbres. The piece, dedicated to saxophonist Carlos Garnett—with whom Obin first recorded professionally—features her wandering freely, choosing exquisite, breathy notes with spotless intonation that makes us search as much as she does. There’s also catchy melodic input from McHenry, who captures Coltranean vibes in his solo, while Kamaguchi showcases the foundational sophistication for which he is known.

“Flash of the Spirit”, a grateful nod to versatile bassist Santi Debriano, evolves with playful hard-bop flair, bluesy chops, and hints of Monk’s music. The quintet swings and grooves, revolving around freshly introduced ideas and a modern jargon that still drinks from the wells of tradition. Here, Obin is highly conversational in her statement, sounding as radiant as she does on “Luz”, where a delicate rubato introduction takes an emotional turn into a charming 3/4 drive. Obin’s expression is remarkable, Garcia’s measured piano playing comes wrapped in modal alchemy, while McHenry navigates abstract alleys of his own imagining.

“La Eucaristia” exudes solemnity and dark contours through its leaping angular melodies, featuring an exchange of rapid motifs between Obin and McHenry. If the that piece was inspired by experimental multi-instrumentalist Anthony Braxton’s work, then the mercurial “Ballot or the Bullet” is a blues inspired by human rights activist Malcolm X’s speech. Obin kills it with soulful tones and brilliant technique.

Recorded live at Estival de Jazz d’Igualada in Spain, Luz emphasizes the elasticity and potential of each composition, leaving a lasting impact. Obin’s highly attuned quintet cuts through modal post-bop and Panamanian roots with superb fluidity, providing an immersive listening experience.

Favorite Tracks:
01 - For Mr. G ► 02 - Flash of the Spirit ► 04 - Luz

DoYeon Kim - Wellspring

Label: AUM Fidelity, 2026

Personnel - DoYeon Kim: 25-string and 12-string gayageum; Mat Maneri: viola; Henry Fraser: bass; Tyshawn Sorey: drums.

The gayageum—the ancient Korean zither—is not a frequent sound in jazz, but Brooklyn-based DoYeon Kim is poised to change that, blending her Korean roots with structured avant-garde and free-improvised momentum. For her debut album, Wellspring, Kim gathered a resourceful group of New York musicians, including violist Mat Maneri, bassist Henry Fraser, and acclaimed drummer Tyshawn Sorey.

“The Beats of Distant Thunder” provides an absolutely thought-provoking opening, drawing on a rich, centuries-old Oriental texture that feels highly cinematic as it is infused with both emotional ache and occasional humor. The flowing stream of dotted gayageum figures and enchanting viola plucks runs atop the tessellated foundation of bass and drums. At times, it feels as though we are watching a film by Zhang Yimou, Im Kwon-taek, or Chen Kaige. Rich in depth and complexity, the piece evolves magnificently in texture, eventually centering on Sorey, who delivers a head-snapping spectacle on toms and cymbals.

“Walking in a Dream” is no traditional lullaby, seeming more suited to dramatic puppet theatre as it grows increasingly intense and thunderous. Kim uses her powerful voice here, reaching explosive heights on “Sun Shower”, where rambling, heavy rhythms give way to beautiful viola melancholy supported by kaleidoscopic drum colors. Toward the end, a circular viola riff intertwines with the gayageum runs before dissolving together with the rest of the band.

Eschewing elaborate harmonic feints, “Whispers Among Dawn” and “Diffraction” are two spontaneous improvisations that place Kim firmly in the spotlight. Here she plays the 12-string gayageum (all the other pieces feature the 25-string version), the latter benefiting from Fraser’s tangible bass anchor.

The album is a call for society to come together, and the extended “Linear System”, which clocks in at 15 minutes, seems to evoke ritualistic practices of boisterous intensity in pursuit of that goal. It features ghostly vibes, supernatural forces, and buzzing sequences that seem out of this world before gradually settling into meditation as Kim begins to vocalize. The cutting-edge “Calculus of Our Souls” leans on musical intelligence to break through boundaries, bringing us something truly special. It culminates in a gut-wrenching finale that appears to blend avant-garde, Korean tradition, and punk rock all at once.

Kim’s microtonal pitch inflections and assured voice speak to the modern world, leaping out of the speakers with freedom and originality. The quartet’s kinship is evident throughout, but without Kim’s artistic vision and leadership, the music wouldn’t have resonated so deeply.

Favorite Tracks:
01 - The Beats of Distant Thunder ► 04 - Sun Shower ► 07 - Calculous of Our Souls

Bryan Murray - Wolf

Label: Shifting Paradigm Records, 2026

Personnel - Bryan Murray: tenor saxophone; Adam Linz: bass; Dan Monaghan: drums.

Boasting a catchy sound and enjoying genuine freedom within the structure, saxophonist and composer Bryan Murray leads a supple chord-less jazz trio featuring bassist Adam Linz and longtime associate drummer Dan Monaghan. With friendship and collaboration at the center of Wolf, Murray—who also leads the peculiar avant-garde-meets-country band Bryan and the Haggards, is a member of Moppa Elliott’s Unspeakable Garbage, and has performed with David Byrne and St. Vincent outside the jazz sphere—explores his own music, radiating energy and abandon in a way that keeps listeners fully engaged.

“Bombs” kicks off with hooky, motivic saxophone firepower over agile drums and sturdy bass, channeling David S. Ware and the reed language of Threadgill’s Air over the tight-knit rhythmic web spun by Linz and Monaghan. Post-bop and avant-garde walk hand in hand here, while “Curtain”, delivered with a sensitive balladic touch, brings forth Monaghan’s mallet work and shimmering cymbal washes. There’s pensive lyricism cutting through the open spaces, and Murray’s cautious melody is closely shadowed by Linz.

Evoking childhood memories in West Virginia, “Dirtslide” displays an irreverent, hard-bop-inflected elegance over a full-throttle swing that is briefly suspended to accommodate the conversational interaction between Linz and Monaghan. Tactical bass mobility and crisp drumming dominate until Murray’s return, his playing abounding in ideas, supported by a firmly grounded and energetic rhythm section. The folksy theme of this piece contrasts with the pure modal jazz of “Buell”, a passionate prayer that recalls the spiritual hymns of John Coltrane and Billy Harper.

“Cloud Shapes” is anchored by Linz’s impeccable bass guidance, while Monaghan’s cymbal work and mallets transport us to distant worlds. Murray’s narrative gift is unmistakable here. The title track, “Wolf”, achieves an air of mystery through a simple yet relentless bass ostinato. Deliberately measured, it unfolds in a lugubrious 3/4, while the closer, “Fill Taker”, embraces avant-garde elasticity, with Murray’s authoritative presence enhanced by well-delineated lines and motifs over a vibrant rhythmic foundation.

This is stirring, serious sax-bass-drums work, resulting in a contemporary jazz album well worth digging into.

Favorite Tracks:
01 - Bombs ► 03 - Dirtslide ► 05 - Buell ► 08 - Fill Taker

Nebbia / Muruaga / Bäckström / Mustonen Quartet - Freefalling Latitude

Label: Self released, 2026

Personnel - Gon Muruaga: electric guitar; Camila Nebbia: tenor saxophone; Jonathan Bäckström: double bass; Teemu Mustonen: drums.

Gon Muruaga is an Argentinian guitarist and composer based in Helsinki, Finland. Unafraid of taking risks, Muruaga plays with open forms and fragmentation in a mix of aural explosions and quietly composed atmospheres, joining forces with fellow countrywoman Camila Nebbia on saxophone (a prominent figure in the free-improvisation scene) and the Finnish rhythm section of bassist Jonathan Bäckström and drummer Teemu Mustonen.

Freefalling Latitude opens with “Latifall”, where Nebbia’s tenor descriptions trace geometric figures and sharp angles. Loose drums and bold guitar accompaniment support her unconditionally, while the bass enters late yet confidently. Muruaga pushes the electronic side of his instrument to the fore, employing delay effects while exploring skronky, clustered sounds.

“Fogradient” has ethereal guitar waves contributing to the initial ambient texture, yet we can hear Bäckström’s bass lines pulsating in the background. There’s uncertainty within a spatial mist and formless void, but things gradually build toward a roaring climax. This alternation between rumination and eruption is a constant throughout. If “Gyroslip” features jarring, rusty guitar attacks, swift saxophone runs, and a lumpy, tribal-like groove underneath, “Paralaxial” and “Isoplex” investigate balmy sonic possibilities, whether through finespun percussion and unyielding yet mysterious harmonic contours or saxophone overtones and non-abrasive atmospheric friction.

These are musicians who listen closely to one another, and “Nebulode” brings them together to unearth new sounds as part of the quartet’s exploratory aesthetic. Out of a maze of fragmentation, the band finds a raw connection through clattering percussion and inharmonic collisions. Its wry experimental vision remains engaging, keeping our ears wide open. Curiously, there’s something invigorating about this quartet, but also the lingering feeling that it is capable of achieving even more.

Favorite Tracks:
01 - Latifall ► 04 - Gyroslip ► 05 - Nebulode

Victor Vieira Branco's Bark Culture - The Giant is Awkward

Label: Temperphantom, 2026

Personnel - Victor Vieira-Branco: vibraphone; Sam Yulsman: piano; John Moran: double bass; Joey Sullivan: drums.

Playing the vibraphone with a relentless sense of urgency and intent while displaying a strong, distinctive compositional identity, Victor Vieira-Branco is a name to reckon with in contemporary jazz. Rooted in Philadelphia, Bark Culture is Vieira-Branco’s creative brainchild, where intriguing sonic forces feel at once dark and lyrical, sometimes effusive yet always fresh and compelling. For this date, the core trio—with John Moran on double bass and Joey Sullivan on drums—is expanded into a harmonically richer quartet with the addition of pianist Sam Yulsman.

The Giant is Awkward, Bark Culture’s sophomore record, opens with “Palace”, whose lush theme, rhythmically vivid drive, and hip arrangement command our attention from the very first minute. The bandleader’s rolling liquidity blends seamlessly with sweeping keyboard gestures and the vibrant tangle woven by bass and drums. Sullivan does an intricate, actively propulsive job throughout, fueled by alternative-rock stamina and responsive fills. Yulsman’s “Farce”, the only piece not written by Vieira-Branco, is kinetic, asymmetric, and daring in its construction, pervaded by a thrilling sense of uncertainty and a fair dose of arcane postmodern psychedelia.

“Willow” holds a powerful and consistently engaging backbone that is unafraid of odd meters and metric modulation. Impeccably framed by Yulsman’s off-kilter piano (which sounds great despite being slightly out of tune) and Vieira-Branco’s hallucinogenic vibraphone, the piece climaxes into an unpredictable, stratospheric concentration of sound. On a different register, “Panic” gives silence an important role, developing with a balladic feel that favors spacious atmospheres.

The album closes with “Spectrum”, where the beauty of the instrumentation creates ebbs and flows through intricate accentuation that feels simultaneously startling and exhilarating. There’s space for drum talk before the tension mounts through authoritative bowed bass, nebulous vibraphone streams, dreamy piano sequences, and jittery drumming.

With each member focused on injecting energy and emotion, Bark Culture pushes the envelope, reinventing itself as an experimental group that strikes a perfect balance between written material and open improvisation. Vieira-Branco steps forward impressively on The Giant Is Awkward, and it’s remarkable to think these pieces were recorded at the last minute while still in sketch form.

Favorite Tracks:
01 - Palace ► 02 - Farce ► 03 - Willow

Otomo Yoshihide / Kei Matsumaru - Shutsumin

Label: Trost Records, 2026

Personnel - Otomo Yoshihide: guitar, turntable; Kei Matsumaru: alto and soprano saxophone, electronics.

It was hard to connect with this experimental free-jazz duo release by Japanese guitarist Otomo Yoshihide and saxophonist Kei Matsumaru, a native of Palau New Guinea. The album, Shutsumin (a Japanese term referring to the transitional state between sleep and wakefulness, often accompanied by hallucinations and other abnormal sensations), traffics in otherworldly sounds and may well put anyone to sleep, starting with a cold blizzard of cosmic, radioactive pollution that arises from the electronic manipulation of guitar and turntable—emanating torrents of feedback and distorted granularity—alongside piercing, strident saxophone spirals that can be a strain on the ears.

Scattered rattling noises and directionless saxophone whirls convey the sensation of standing amid dozens of rusty industrial machines at work. Expect buzzing nuisances, intensifying guitar noise, and heavy, blurring distorted fluxes in a sort of machine language that overwhelms more than it enchants. These fearless explorers take us to uncertain soundworlds charged with labyrinthine, cluttered passages, coordinated overtones, firework-like bursts, and anxious apprehensions.

The last three tracks on the album had a more positive effect on me, showcasing a few compelling atmospheres while taking a more substantial and less repetitive, if still abstract, line of action. Folksy melodies begin to surface from Matsumaro’s saxophone over blaring mosaics in the background; cyclic cadences evolve from ambient textures into chaotic clamor before receding into confused murmurs. Things become more interesting and gripping with a stronger harmonic context—thanks to Yoshihide’s hypnotic chords—rather than relying on plain, unceasing buzzing noise.

I’m a big fan of Yoshihide’s quintet albums ONJQ Live (2002) and Tails Out (2003), some of his work for Tzadik Records—Flutter (2001) and Dreams (2002)— as well as his inventive, fantastic take on Eric Dolphy’s Out to Lunch (2005). Matsumaru is a new discovery for me. As a duo, they show considerable promise and are unafraid to push the envelope, but ultimately deliver less than expected. Despite its unevenness, Shtsumin may be considered by curious audiophiles with an inclination for sound manipulation.

Favorite Tracks:
06 - Utatane ► 07 - Oneiric ► 08 - Meisekimu

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