Frank Carlberg - Dream Machine

Label: Red Piano Records

Personnel - Frank Carlberg: piano, Fender Rhodes; Hery Paz: tenor saxophone; Leo Genovese: Hammond B3, Farfisa organ, synths; John Hébert: bass; Dan Weiss: drums.

Frank Carlberg, a Finnish jazz pianist and composer of remarkable talent, unveils Dream Machine, a stellar album that encapsulates his unique ability to unify diverse musical elements into a cohesive whole. Continuing to expand the boundaries of his art form, Carlberg assembles a sensational new quintet of New York-based artists featuring the breathtaking Cuban-born saxophonist Hery Paz, the sublime Argentine keyboardist Leo Genovese, the steadfast French bassist John Hébert, and the enlightened American drummer Dan Weiss.

Among the album’s 13 compositions, four are ‘Dream’ pieces, inspired by literature, cinema, magic shows, and other artistic experiences. Fueling creativity and discovery, “Dream I” thrives on conscious pulsation and spatial glitches, while “Dream II” embraces a freer, improvisatory nature. “Dream III” surges with invigorating thrust and robust tenor saxophone playing. 

Paz, an authority on tenor saxophone, demonstrates an impeccable command of every note he plays. He shines in “The Jester”, a motif-driven piece delivered with melodic accentuation, humor, and rhythmic agility, where his interplay with Carlberg and Genovese is nothing short of immaculate. He also excels on “Reconstruction”, igniting powerful bursts of sound in an avant-garde jazz setting that emerges from an initial swinging momentum set by bass and drums. Genovese contributes a fusion-leaning solo, complemented by Carlberg’s intuitive piano accompaniment. Weiss takes the spotlight with an unaccompanied improvisation before the theme’s return, infused with Monk-like angularity.

Inspired by the dreams, anxieties, and thoughts of David Zimmer—the protagonist of Paul Auster’s The Book of Illusions—“Zimmer’s Dream” is pure modern creativity highlighted by outstanding saxophone and drums. Weiss uses brushes and drumsticks in the exquisite post-bop-meets-gospel “Into the Sunset”, scraping tones off the drum surfaces with finesse, while Hébert early infuses “Nostalgia” with his bass meditations before calm sax-piano unisons emerge. “Search and Rescue” showcases superior interplay, segueing into “Light Matter”, a no-friction idea that gradually intensifies, exploring the limits.

A testament to Carlberg’s prowess as a composer and arranger, Dream Machine brims with thrilling, virtuosic moments—both in individual improvisations and the collective synergy of the ensemble. It stands as one of his finest works in years.

Favorite Tracks:
03 - The Jester ► 05 - Dream II ► 06 - Reconstruction ► 09 - Zimmer’s Dream

Jon Irabagon - Server Farm

Label: Irabbagast Records

Personnel - Jon Irabagon: tenor and sopranino saxophones, effects; Mazz Swift: violin, voice; Peter Evans: trumpet, flugelhorn; Matt Mitchell: piano, Fender Rhodes, Prophet-6; Miles Okazaki: guitar; Wendy Eisenberg: guitar; Michael Formanek: acoustic bass; Chris Lightcap: electric bass; Dan Weiss: drums; Levy Lorenzo: kulintang, laptop, electronics, vibraphone.

Saxophonist/composer Jon Irabagon stands as a pivotal figure in the contemporary jazz universe, with a catalog of starkly expressive albums that exemplify excellence in creative, improvised music. This year, he presents Server Farm, an electrifying work that explores the threats and promises of A.I. To realize this vision, he leads a super electro-acoustic ensemble with an unconventional instrumentation. 

New sonic avenues are constantly emerging in this cutting-edge experience, beginning with “Colocation”, brilliantly introduced by Levy Lorenzo’s kulintang (a system of gongs). Acid vibes bubble up, infused with sensibilities of free funk and avant-garde jazz. Chris Lightcap on electric bass and drummer Dan Weiss thrive in a rhythmic symbiosis, while Matt Mitchell delivers a clamant keyboard solo. The guitar noise of Miles Okazaki and Wendy Eisenberg collides with Mazz Swift’s violin and the boisterous horn entanglements of Irabagon and trumpeter Peter Evans. A calm chamber passage provides a momentary contrast before a violent orchestral flux paves the way for a wonderfully explorative solo from Evans. A methodical pulsation, led by vibraphone and interwoven horn lines, builds toward a revolutionary, chaotic ending.

“Routers” carries a sumptuous Latin drive shaped by opposing rhythms and offbeat phrasing. Added after the initial recording, Irabagon’s tenor sax solo stands out, and the piece concludes like an ethnic dance, enriched by wafting violin. “Singularities” unfolds with hyper-fluency, shifting from a lavish avant-jazz symphony—marked by resounding unisons—to guitarists carving out individual space with their outside-the-box inflections, before settling into a jazzy R&B passage that emotionally resonates with the listener. It traverses a mantra-like, rock-fueled ambiance before culminating in a fantastic 3/4 extravaganza, a bold display of rhythmic audacity.

“Graceful Exit” opens with the earthy, assertive bowed bass of Michael Formanek. Electronics, piano, and drums gradually layer in before the ensemble momentarily pauses the wild excitement for a lyrical Ellingtonian section, evoking the charm of a classic jazz standard. The album’s offbeat conclusion comes with “Spy”, an entrancing, penetrating, and intricately layered piece featuring a pandemic-era poem written by Irabagon, bass pedals, vibing chimes, and agitated buzzing sounds.

Irabagon thrives in progressive musical landscapes, forging a new identity with Server Farm. His collaborators, all deeply invested in conveying his message, contribute to yet another game-changing epiphany—one where there’s always more than just the sum of the parts.

Favorite Tracks:
01 - Colocation ► 03 - Singularities ► 04 - Graceful Exit

Ambrose Akinmusire - Honey From a Winter Stone

Label: Nonesuch Records

Personnel - Ambrose Akinmusire: trumpet; Kokayi: vocals; Sam Harris: piano; Chiquitamagic: synths; Dustin Brown: drums + Mivos Quartet.

The inimitable trumpeter and composer Ambrose Akinmusire stands among the most creative and ambitious musicians of his generation. His new outing, Honey From a Winter Stone, is a visionary collection of originals inspired by the work of composer Julius Eastman. Here, Akinmusire channels the fears and struggles of Black men, striving to deepen emotional expression while adhering to well-constructed frameworks.

The album’s five original compositions are vivid and powerful, fusing elements of jazz, classical, and hip-hop to forge an authentic style where ethos and cohesion take center stage. “Muffled Screams” evokes a near-death experience Akinmusire survived, beginning with Sam Harris' plaintive piano lines, supported by Justin Brown’s cymbal colorations and tom-tom eruptions. Akinmusire balances texture and color, crafting a shimmering lyricism whose elongated tones intensify both melancholy and primal cries.

“Bloomed” opens with the Mivos Quartet fully commanding a modern classical exploration, eventually morphing into a groovy, hip-hop-infused jazz atmosphere that highlights Akinmusire’s expressive phrases. “MYanx” features fleet, intricate drumming, ominous synths by Chiquitamagic, Kokayi’s commanding spoken word, and rhythmic, motivic string gestures. These elements converge with sharp, piercing trumpet lines that amplify and expand the tonal landscape.

A fat, rounded bass synth and an entrancing hip-hop beat permeate “Owled”, one of the album’s most captivating pieces. The Mivos Quartet and Kokayi shine here, delivering their grippiest performance, but there’s also an ambient middle section with soaring vocals before the piece concludes with piano, strings and cymbals finding common ground. 

Headed in an intriguing direction, “s-/Kinfolks” is a 29-minute odyssey traversing avant-garde ambient textures, free funk downtempo, and outlandish free jazz improvisation with the same penchant for experimentation. Akinmusire plays with élan and explores extended techniques. His performance becomes more melodic during a delicate passage softened by introspective piano and crestfallen strings. A hip-hop groove underpins Kokayi’s authoritative rap before culminating in two captivating duologues: trumpet over strings and piano over drums.

This engaging, honest session reveals Akinmusire’s musical versatility and essential message, offering a remarkable showcase of his exceptional artistry.

Favorite Tracks:
02 - Bloomed ► 04 - Owled ► 05 - s-/Kinfolks

John Patitucci - Spirit Fall

Label: Edition Records

Personnel - John Patitucci: acoustic and electric bass; Chris Potter: tenor and soprano saxophone; Brian Blade: drums.

Spirit Fall marks a virtuosic and high-energy album from bassist and composer John Patitucci, who leads an irresistible all-star New York trio featuring saxophonist Chris Potter and drummer Brian Blade. Together, they infuse nine Patitucci originals and one cover with their distinct creative flair.

In the wickedly inventive opener, “Think Fast”, the trio propels the music forward, embracing a lively atmosphere brimming with humor and groove. Potter, a fearless improviser, seamlessly blends folk and post-bop elements with articulate, sophisticated phrasing. Patitucci’s solo stands out for its rhythmic inventiveness and magnetic note alignments, while Blade’s elegant drumming remains transparent yet propulsively engaging. The drummer collaborates closely with Patitucci on “Pole Star”, painting vivid tonal landscapes that lend the piece a palpable tactility. Here, Patitucci delivers a robust, precise bass solo, while Potter's saxophone statement stirs both energy and emotion.

“Deluge on 7th Avenue” finds the ace rhythm section crafting an infectious funky groove before settling into a 12-bar blues form. Another deliberate funk crusade is offered in “Lipim”, which means hope in the Yemba language from Cameroon. A compelling groove and constructive saxophone lines drenched in effects make it more stimulating. Less ferocious yet equally effective, their rendition of Wayne Shorter’s “House of Jade” feels both seductive and empowering, with Potter’s dramatic leaps perfectly balanced by the nearly telepathic rapport between Patitucci and Blade.

On “Thoughts and Dreams”, Patitucci demonstrates remarkable technical prowess, extracting superb intonations from his six-string electric bass. He stretches with elastic grace during the introspective, abstract opening before transitioning to a blues-inflected closing segment. The title track, “Spirit Fall”, embarks on a phenomenal modal journey filled with splendid bass guitar chords as well as searing soprano saxophone licks and exultant drum fills. In turn, “Sonrisa” astutely links contemporary jazz to Latin rhythms, maintaining fluidity while showcasing Patitucci’s deep allegiance to groove and fusion. These are pieces that resonate with profound inspiration, echoing the enduring influence of Herbie Hancock, Joe Henderson, and Chick Corea. 

Recorded in a single day, Spirit Fall is an accessible album whose tracks are layered from interesting angles, fostering unity and spiritual growth in today’s fragmented world. The trio distills their pure sounds with humanity and power, and their effort results in a thoroughly exciting and rewarding listening experience.

Favorite Tracks:
01 - Think Fast ► 02 - Pole Star ► 05 - Spirit Fall

Dayna Stephens - Hopium

Label: Contagious Music

Personnel - Dayna Stephens: tenor saxophone; Aaron Parks: piano; Ben Street: bass; Greg Hutchinson: drums.

Dayna Stephens has established himself as a prominent saxophonist and sought-after sideman. His new quartet album, Hopium—a portmanteau of the words ‘hope’ and ‘opium’—features the same ensemble that brought Right Now! Live at the Village Vanguard (2020) to success. The album comprises seven original compositions by Stephens and one by Parks.

Opening the set, “Drive North to Find the Oranges Out West” unfolds elegantly, employing melodic ambiguity and harmonic complexity to explore the uncertainties and possibilities of life's winding paths. The following track, “Jump Start”, pays homage to Herbie Hancock’s “A Jump Ahead” and stands as a spirited, successful experiment. Ben Street's pulsating bass—renewed with woody resonance every 32 bars—anchors the piece, complemented by Greg Hutchinson’s simmering drum patterns and Parks’ colorful piano voicings. Stephens delivers a free-flowing, serpentine saxophone performance that defies conventional standards. The quartet grooves with post-bop vitality, closing on a slightly sinister note.

“Trust” reveals a softer side with thoughtful, balladic statements, while the title track, “Hopium”, exudes a tango-like expressiveness, navigating the space between optimism and denial. Its rhythmic and melodic captivation culminates in an unresolved chord, symbolizing lingering doubt and cynicism. This leads seamlessly into “Occasionally Cynical”, a fluid and exploratory piece filled with ternary rhythmic fluxes and rubato passages. Stephens masterfully guides the haunting theme, spinning out coolly lyrical reflections imbued with modernity.

Before the closing track, “As Truth Rises Above Power”, which features the dynamic guitar work of guest Charles Altura, there’s Parks’ “Hard-Boiled Wonderland”, leaning into the sounds of Sam Rivers’ “Cyclic Episode” and Chick Corea’s “Humpty Dumpty”, and drawing inspiration from Haruki Murakami’s concept of alternate realities. Though the piece maintains an intentionally gentle lyrical pulse, tension subtly simmers beneath the surface.

Hopium is a different album that makes sense within Stephens’ oeuvre. Yet, it is not an immediate album. Some listeners may be disappointed by the departure from common jazz threads, while others will be captivated by the unusual colorings offered by these four resourceful musicians.

Favorite Tracks:
02 - Jump Street ► 05 - Occasionally Cynical ► 06 - Hard-Boiled Wonderland

Cody Steinmann - Confined Spaces

Label: self released

Personnel - Cody Steinmann: guitar; Chris Bates: bass; Abinnet Berhanu: drums.

Minneapolis-based guitarist and composer Cody Steinmann tales the isolation of the Covid-19 lockdown and themes of spiritual growth with crushing noise textures and streamlined melodies on his sophomore album, Confined Spaces. The guitarist works with bassist Chris Bates and drummer Abinnet Berhanu, expressing his stream-of-consciousness reactions within a rock-centric framework.

Bookending the album is “Abide With Me”, a homage to Thelonious Monk and a plea for resilience in today’s challenging world. The opening rubato version feels than the closing rendition. Supporting the distorted guitar itineraries and surprising harmonic colors are robust bowed bass foundations and cymbal legatos. 

The second track, “Not Sappy at All”, bursts forth as an energetic, exceptionally musical alternative rock song with infectious feel-good vibes, a seismic mass of sonic pollution, and rhythmic agility in a shredding, danceable exploration. Steinmann’s guitar shifts pitch via synth effects near the track’s end.

Without diminishing the compositional rigor, the abrasive “Ben” opens with a suggestive guitar introduction before leading us into a steady 4/4 rhythmic flux topped by inside/outside guitar inflections. Meanwhile, “Lust” makes its bed with a crisp bass figure, laying down an early groove that welcomes exploratory chording and melodic flourishes. The three-time feel becomes salient at a certain point, before a five-beat vamp settles in.

The album’s jazziest offering is “Dodo Birds Aren’t Dumb Humans Are”, featuring sinuous, chromatic lines performed with a free-bop posture. There’s also a country-tinged surprise in “Red River Valley”, where Steinmann delivers slippery lines as Berhanu gooses him with snappy brushwork. The title cut, “Confined Spaces”, explores a dense mesh in a boisterous arrangement that includes an articulate bass solo, extended heavy-breathing guitar reflections, and a drummer-led vamp.

On balance, Confined Spaces is deftly executed, often marked by rock potency and ruthless determination. Its intoxicating narratives are likely to resonate more with alternative rock enthusiasts than with jazz purists.

Favorite Tracks:
02 - Not Sappy at All ► 03 - Ben ► 05 - Dodo Birds Aren’t Dumb Humans Are

Henrik Jensen - Above Your House

Label: Babel Label

Personnel - Henrik Jensen: double bass; Esben Tjalve: piano; Dave Smith: drums.

Danish-born bassist and composer Henrik Jensen delivers his fourth album as a leader, Above Your House. Having lived in the UK for over 20 years, Jensen transitioned from studying electric bass to mastering the double bass. His cohesive trio features longtime collaborators: Danish pianist Esben Tjalve, who recently returned to Denmark after two decades in England, and English drummer Dave Smith, who spent seven years playing with Led Zeppelin frontman Robert Plant.

The lively opener, “Blow-ins”, kicks off with a dynamic groove that immediately grabs the listener’s attention, showcasing both rhythmic resilience and strength. The track highlights Jensen’s artistry as he navigates smooth rhythmic transitions, injects harmonic color, and solos deftly over the three-time feel crafted by Tjalve and Smith. “Brain Brexit” follows a lyrical piano classicism, elegantly spread over a steady rhythmic foundation. The piece builds to a final six-beat vamp that inspires and energizes Smith to react.

In “The Hunt”, Smith’s brushwork introduces an ambiguous, exploratory texture, soon settling into a delicate 4/4 progression marked by a lilting touch. The trio shifts into a brighter mode on “The Bridge”, which favors a consonant collective articulation. Complexity and fluidity are seamlessly intertwined, with another vamp providing a platform for Jensen’s melodic depth. 

Compositions like “Last of the Dogs” feel tailored to the trio, hinting at Monk-like accentuations as it offers forward-looking melodic cruises. Less buoyant, the title track, “Above Your House”, unfolds as a ballad with sinuous unison lines from Jensen and Tjalve, complemented by Smith’s soulful brushwork.

Jensen, who continues to expand his palette as both a bandleader and composer, makes compelling moves alongside his trio. Teamwork is what really stands out here, and that’s no simple task.

Favorite Tracks:
01 - Blow-ins ► 03 - The Hunt ► 05 - The Bridge

Jeong Lim Yang - Synchronicity

Label: Sunnyside Records

Personnel - Jeong Lim Yang: bass; Mat Maneri: viola; Jacob Sacks: piano; Randy Peterson: drums.

Korean-born, Brooklyn-based bassist and composer Jeong Lim Yang has brought together an adventurous crew of seasoned, forward-thinking musicians and mentors to shape her third album, Synchronicity. The collection of seven original compositions explores a wide range of sounds and moods, weaving narrative through both improvisation and composition, and skillfully balancing tension and release.

The title track, “Synchronicity”, opens the album with a minimal structure and polyrhythmic texture, featuring Jacob Sacks’ freely flowing piano lines in a whimsical exploration with tempo variations. The piece is layered with Mat Maneri’s poignant viola wails, Yang’s fluid and loose-limbed bass, and Randy Peterson’s understated drum playing. “Ordinary Waltz” defies its name, placing a captivating melodic riff at its center, while obliterating any obvious 3/4 time feel through a dizzying fusion of folk, blues, and avant-chamber-jazz nuances. 

“Morning Glory”, inspired by Rodgers/Hammerstein’s show tune “Edelweiss” from the film The Sound of Music, plunges into ambiguity with its woozy and unpredictable arrangement. Meanwhile, “Body Nor Soul”, a contrafact of the ballad standard “Body And Soul”. With melodic nuance and strobing incantations, each musician—excluding the drummer—takes their time to deliver beautifully improvised passages. The hard-swinging “Salad For Lunch”, composed by Sacks, showcases his solo, which bridges traditional and progressive ideas. Yang follows with a groove that is both clear and expressive, while Peterson extends the rhythmic flow with exquisite drum swells.

“Weeping Dream” radiates a haunting beauty, reflecting the sorrowful emotions inspired by a Covid-related dream. Wintry piano arpeggios, vivid bass descriptions, and often dissonant viola cries combine to create a muted, somber scenario. “Stimmung” begins with Yang’s expressive bends, slides and plucks, paired with Peterson’s crackling, fireworks-like sounds, before transitioning into a more harmonically defined section that supports a folk-inspired confluence of distinct melodies. 

Yang and her ensemble make the material sound simultaneously lucid and open-ended. With its thoughtful execution, Synchronicity has the potential to elevate Yang’s visibility in the jazz world.

Favorite Tracks:
02 - Ordinary Waltz ► 04 - Salad For Lunch ► 05 - Weeping Dream

Benjamin Lackner - Spindrift

Label: ECM Records

Personnel - Mark Turner: tenor saxophone; Mathias Eick: trumpet; Benjamin Lackner: piano; Linda May Han Oh: bass; Matthieu Chazarenc: drums.

German pianist and composer Benjamin Lackner assembled an outstanding quintet for his ECM sophomore album, Spindrift. Norwegian trumpeter Mathias Eick returns after appearing on Lackner’s debut album, Last Decade (2022), while American saxophonist Mark Turner and bassist Linda May Han Oh join as exceptional new contributors, enriching Lackner’s understated compositions with their nuanced artistry. French drummer Matthieu Chazarenc, a longtime collaborator, rounds out the group and contributes one piece to the album.

Lackner’s compositions are precisely mapped out, becoming quietly enveloping and lavishly unhurried, yet never elevated to exalted heights. There are moments of radiant beauty, like the title track, “Spindrift”, which transitions from a rubato meditation to a 7/4 rhythmic flow over which Lackner and Turner stretch out in a sheer display of finesse and delicacy.

Other highlights include Chazarenc’s spacious “Chambary”, where the horn players swoop around in tandem in a well-wrought delivery, and “Fair Warning”, which leans into enigmatic tones, built on nuanced bass pedal points and piano suspensions that provide a churning backdrop for the soloists.

Airiness and feather-like touches compose the soaring “Mosquito Flats”, introduced by tender pianism and buzzing bowed bass. Eick leads the way before dancing in unison with Turner’s saxophone, later trading a few bars of improvisation before rejoining forces and concluding in harmony. “More Mesa” retains the same melancholic introspection, weaving effortless, lyrical melodies with classical influences in the piano work, while the pseudo-cinematic “Murnau” feels more dolefully dramatic than figuratively expressionistic.

Anchored by its sensitive, subtle palette, Spindrift may not always feel exciting. It’s undoubtedly competent material whose subdued nature may leave one wishing for more intensity.

Favorite Tracks:
01 - Spindrift ► 04 - Chambary ► 07 - Fair Warning

ARBOR - Arbor

Label: PKmusic

Personnel - Michalis Tsiftsis: guitar; Yiannis Papadpoulos: piano; Yiannis Vagianos: bass; Nick Thessalonikefs: drums.

ARBOR is a contemporary Greek jazz quartet with a versatile flow and a keen microscopic focus. The band’s name is not only a reference to the wildfires that have been devastating Greece’s landscape for years but also a word of protest against the destruction of natural habitats. Three members of the quartet contribute compositions—four by co-leader/guitarist Michalis Tsiftsis, three by co-leader/bassist Yiannis Vagianos, and one by pianist Yiannis Papadpoulos. Rounding out the group is drummer Nick Thessalonikefs.

“Polygonal” opens the eponymous debut album with a pulse in triple time before expanding shapes and bending angles while shifting into a 4/4 meter. The track boasts a catchy melody, a hallmark also evident in “Dream Machine”. This introspective ballad showcases the group’s stylistic range, blending dreamy tones and glam-rock melancholy reminiscent of Radiohead and Placebo, all propelled by a simple yet effective marching drum pattern. The track, named after a stroboscopic flickering light art device, carries an evocative and cinematic quality. 

Vagianos’ “Fundamental” highlights the quartet's polyrhythmic sensibilities, drawing inspiration from Nik Bartsch’s minimalistic approach. Tsiftsis adds depth with distortion, while Papadopoulos injects dramatic intensity through his pianism. Both musicians deliver uninhibited, impassioned solos. Tsiftsis’ “Counterfactual” embodies a spirit of adventure, radiating energetic transcendence and forward-thinking dynamism. After a commanding guitar statement, Papadopoulos takes the lead with a vibrant, subtly intricate piano discourse that flows seamlessly into the track’s bright and colorful theme.

ARBOR maintains their distinctive sonic identity throughout, including on “Blues”, which defies its title by eschewing traditional blues conventions. Instead, it layers bowed bass, piano, and guitar to create a meditative, pathos-filled atmosphere of subdued grace and suspension. The album comes to a close with “Nicotine”, another tune with rock propensity. Unfolding in seven, this number features a scalding dialogue between Tsiftsis and Papadopoulos, who first take turns before intersecting their sounds. The group then opts for hyperrealistic bluesy and gospel chops in the last section.

With masterful command of their instruments and a first-rate debut, ARBOR emerges as a bold and promising force in contemporary jazz.

Favorite Tracks:
02 - Fundamental ► 05 - Counterfactual ► 07 - Dream Machine

Clemens Kuratle Ydivide - The Default

Label: Intakt Records

Personnel - Dee Byrne: alto saxophone; Elliot Galvin: piano, electronics; Chris Guilfoyle: guitar; Lukas Traxel: bass; Clemens Kuratle; drums, electronics.

In his new album, The Default, Swiss drummer and composer Clemens Kuratle delves into themes of racial and gender bias and the privileges of modern Western society. Recording with his ensemble Ydivide for the second time, this follow-up to their acclaimed debut, Lumumba (Intakt, 2022), brims with dynamic four-way conversations, balancing big ideas and alluring sounds. His collaborators - English saxophonist Dee Byrne, Irish guitarist Chris Guilfoyle, Swiss bassist Lukas Traxel, and English pianist and electronic musician Elliot Galvin - bring depth and texture to create vibrant modern mosaics.

The title track, “The Default”, exudes a relaxed, dreamy vibe, marked by its mellifluous flow. Solos from Byrne and Guilfoyle stir emotions, with the guitarist skillfully catching the tail of the saxophonist’s statement and developing it with purpose and clarity. “Hamster’s Wheel” is a uniquely beautiful piece initiated by an expressive, delineative bass figure that becomes a wellspring of inspiration. The quintet’s interplay includes powerful unisons and counterpoints before transitioning to a meditative repose.

“Deine Warme” builds intensity from a tranquil start. It doesn’t really expand harmonically, but serves as a showcase for Byrne's warm, burnished saxophone tone. Meanwhile, “For E.S.” evokes the Americana influences of the Chicago-based rock band Wilco, crafting an empathetic sax-driven theme imbued with affection and connection.

“Highway” is a splendorous groovy act enhanced by sparse yet enveloping piano chords that add colorful nuance to the tight rhythmic interplay of Traxel’s bass and Kuratle's galloping drums. Rhythmic shifts keep the listeners engaged, while Guilfoyle’s inventive guitar solo dazzles with intricate ostinatos, compelling twists, and an elastic mix of inside/outside moves. The album concludes with “Roy Wood Jr.”, a feel-good piece in 7/4 that pays homage to the American stand-up comedian, featuring a fine saxophone riff, gently percussive gestures, resonant bass underpinning, ambient guitar textures, and a thoughtful piano discourse.

Kuratle leads Ydivide through an ever-shifting sonic landscape, defined by its compelling melodies, richly layered textures, and striking contrasts.

Favorite Tracks:
02 - Hamster’s Wheel ► 06 - Highway ► 07 - Roy Wood Jr.

Andre Santos - Vereda

Label: Timbuktu Records

Personnel - André Santos: guitar; José Soares: alto saxophone; Francisco Andrade: tenor saxophone; Diogo Alexandre: drums.

Portuguese guitarist and composer André Santos shows he’s not afraid to experiment and venture into new sonic territories, seamlessly navigating through contemporary jazz, Portuguese folk, alternative rock, and avant-garde styles. Vereda captures this adventurous spirit and features a dynamic ensemble of like-minded collaborators: saxophonists José Soares and Francisco Andrade, and drummer Diogo Alexandre.

The extended title track, “Vereda”, guides listeners through uncharted soundscapes brimming with beauty, wonder, and mystery—evoking the intricate forest paths of Madeira island, Santos’ birthplace. These sonic landscapes are vividly rendered with brushed drums, Tarantino-esque Western guitar chords (occasionally conjuring images of American prairies), and folk-inspired melodies delivered in harmonious unison by the saxophonists. Before trotting along the final section with more harmonic definition, the quartet presents darkly atmospheric passages characterized by enigmatic guitar work and brooding saxophone tones layered over spunky drumming. Bursts of agitated saxophone sets the bridge. 

“Corneta” fuses the raw energy of punk rock with the experimental edge of avant-garde jazz, topping it off with a resonant folk-inspired melody. Meanwhile, “O Nuno Está Todo Fu Doido” steps out as a reflective ballad, only to transform into predatory rock playfulness with the horns in ecstasy. Santos’ Vereda is a positive, fearless embrace of genre-defying experimentation. 

Favorite Tracks:
01 - Vereda ► 03 - O Nuno Está Todo Fu Doidos

Scott Colley / Edward Simon / Brian Blade - Three Visitors

Label: GroundUP Music

Personnel - Scott Colley: bass; Edward Simon: piano; Brian Blade: drums // Guests - Chris Potter: tenor saxophone; Becca Stevens: vocals; Jana Dagdagan: spoken word; Richard Rood: violin; Elizabeth Lim Dutt: violin; Kathryn Lockwood: viola; Sachi Patitucci: cello; Rogerio Boccato: percussion.

This newly formed trio, co-led by bassist Scott Colley, pianist Edward Simon, and drummer Brian Blade—all celebrated for their fresh approaches to music—achieves remarkable cohesion in its honest explorations, demonstrating that the distinctive musical voices of its members make a strong whole.

The album opens introspectively with “Nostalgia”, a melancholic 3/4 piece brought to life by Blade’s richly expressive drumming, Colley’s stable foundation, and Simon’s narrative-like piano lines. Blade’s “Kintsukoroi” follows, a beautiful, heartfelt, and asymmetric ballad inspired by the Japanese art of restoring broken pottery. 

If “Ellipsis” carries an elusive Bill Evans-esque swing interwoven with exploratory modal jazz, then Colley’s “Three Visitors” nods to Ahmad Jamal, highlighted by warm, lyrical solos from bass and piano. In turn, “The Thicket” channels the inventive energy of Thelonious Monk and Misha Mengelberg, building dynamic polyrhythmic crescendos with a swinging edge. 

Simon’s “You Are” is impeccably essayed by the trio, further enriched by Chris Potter’s vibrant tenor saxophone improvisation, Jana Dagdagan’s self-reflective spoken word, and charming string accents. Meanwhile, “I Wanna Be With You” introduces the versatile vocalist Becca Stevens and Brazilian percussionist Rogerio Boccato in a vibrant contemporary pop tune with a colorful R&B tinge.

Throughout the album, Colley, Simon, and Blade demonstrate an indissoluble musical bond. Yet, their effort satisfies without creating a major impact.

Favorite Tracks:
02 - Kintsukoroi ► 03 - Ellipsis ► 04 - The Thicket

Neil Cowley Trio - Entity

Label: Hide Inside Records

Personnel - Neil Cowley: piano; Rex Horan: bass; Evan Jenkins: drums.

English pianist and composer Neil Cowley has captured the attention of modern jazz audiences with poetic instrumentals that emphasize subtlety and melodic clarity over overt virtuosity. Entity marks a warmly received and re-energized reunion with his trio mates, bassist Rex Horan and drummer Evan Jenkins, following a seven-year hiatus.

With a refined touch, the trio delivers 11 literate, thoughtfully crafted originals that highlight their sophisticated musical sensibilities. Cowley’s ability to set a mood with just a few notes is evident in “Marble”, a 3/4 crossover piece that feels like a fusion of cerebral post-bop and Spanish folk dance, reminiscent of Chick Corea. “Those Claws” leans into a soulful ostinato and syncopated drumming to create a spellbinding, minimalistic ambiance, while “V&A” offers a sublime spiritual tone, unfolding gracefully in an unconventional meter.

“Father Daughter”, with its pop/rock disposition, could easily fit into Radiohead’s repertoire, while “Adam Alphabet” is rhythmically defiant with its additive meter {8+8+6} and fascinating interplay that hints at electronic dance music. Both “Lemon Meringue” and “Sir Benjamin” unfold in quintuple meter, with the former pulsating with rhythm and the latter finding its own pocket in a slower, dreamy way. The trio makes their instruments soar in “Brood”, another 3/4 piece wrapped in serenity, and “Photo Box”, an emotionally resonant ballad layered with delicate cascading piano, sparse bass propagations, and gently brushed drums. 

Entity is exactly the album Cowley needed to create at this stage in his career. With tremendous assurance, he and his cohorts deliver music that is as much difficult to label as to resist.

Favorite Tracks:
01 - Marble ► 02 - Those Claws ► 03 - V&A ► 08 - Lemon Meringue

Euan Edmonds - Beyond Hope and Fear

Label: Desafio Candente Records, 2024

Personnel - Euan Edmonds: trombone; Dustin Laurenzi: tenor saxophone; Clark Gibson: alto saxophone; Paul Bedal: piano; Sam Peters: bass; Neil Hemphill: drums.

Trombonist and composer Euan Edmonds makes a compelling entrance onto the jazz scene with Beyond Hope and Fear, a solid debut album where he establishes a vibrant front-line interplay with dynamic saxophonists Dustin Laurenzi and Clark Gibson. The ensemble is well-supported by a tight rhythm section featuring pianist Paul Bedal, bassist Sam Peters, and drummer Neil Hemphill. Now based in Washington, DC, Edmonds explores pure jazz territory with a sextet drawn from Chicago, where he previously resided.

The album kicks off with “Jordan and Maria”, a cohesive post-bop piece inspired by characters of Ernest Hemingway’s For Whom the Bell Tolls. Bedal’s piano riff sets the pace following a dreamy, romantic introduction. His chordal work reinforces the foundation for the unison melody, paving the way for engaging solos from Edmonds and Gibson, who cruise through the changes with horn fills subtly weaving through. A lively vamp for the drummer bridges the theme’s choruses. 

While “Violet” offers a moody contrast, suspended over a nuanced pedal point and fleshed out by Laurenzi’s penetrating tenor saxophone as it navigates a dense rhythmic forest. In turn, “Wayfarer” exudes a joyful bounce, recalling the vibrant, straight-ahead styles of Steve Turre and J.J. Johnson. This same exuberance and robust sound also define “Endurance”, with its deep groove and strong harmonic drive. 

The latter track forms part of Between Hope and Fear, a 30-minute, seven-part suite that showcases Edmonds’ artistic depth. The title track of the suite brims with expressive richness, underpinned by extraordinary piano and bass interplay. Laurenzi’s cutting-edge phrasing creates vivid sonic landscapes, blending precision with adventurous agility, while Bedal’s dropping pianism gives a strange, alluring detail to the playing. Another standout from the suite, “Axis”, opens with muted trombone and alto sax, constructing a soulful 3/4 harmonic progression. Featuring unaccompanied passages that spotlight the trombone and saxophones, the piece crescendos into an ecstatic finale, with the entire ensemble contributing to an atmosphere of opulent uplift.  

The closing track, “Arthur’s Seat”, channels strains of hard-bop balladry, journeying through classic traditions in a 3/4 time signature. Edmonds’ auspicious debut as a bandleader satisfies with elegantly texturized arrangements that underscore the power of genuine communication. His compositional voice is punchy and confident in promise.

Favorite Tracks:
01 - Jordan and Maria ► 05 - Between Fear and Hope ► 07 - Axis ► 09 - Endurance

Yuki Fujiwara - Glass Colored Lily

Label: Defkaz Records, 2024

Personnel - Yuki Fujiwara: shinobue; Mitsuhiro Sonoyama: saxophone; Peter Apfelbaum: keys, clarinet, flute; Will Bernard: guitar; Bill Laswell: eight-string bass, effects; Adam Rudolph: percussion.

Japanese shinobue and flute player Yuki Fujiwara debuts with her first album, Glass Colored Lily, leading a remarkable American-Japanese ensemble of outstanding improvisers. The music blends cultures and moods in a way that feels universal, with the group navigating various sonic trails and pathways, skillfully balancing improvisation with well-constructed sections. Much of the album is rooted in collective improvisations.

With a strangely enchanting spell, “Gloss Phew” introduces listeners to a mysterious world. Fujiwara takes the melodic lead, accompanied by saxophone interjections from Japanese saxophonist Mitsuhiro Sonoyama. The dark, fluttering ambiance is crafted by Bill Laswell’s 8-string bass and eerie effects, Will Bernard’s subtle guitar, Peter Apfelbaum’s suspended keyboard harmonies, and Adam Rudolph’s inventive percussion. Together, they flood the soundscape with suspenseful textures. This restless, intimidating vibe continues into the next track, “Into Thee”, which begins with metallic percussion, cymbal washes, and resonant drumming. Atmospheric drones and buzzes—a hallmark of Laswell and Bernard—set the stage for Fujiwara’s exploratory flute riffs, which are complemented and occasionally echoed by Sonoyama’s calm saxophone lines. Rudolph’s masterful drumming eventually stirs the tense abstraction into life.

“Like a Water”, incorporating a traditional Japanese song, starts as a joyful march before transitioning back to the languid, desolate atmosphere typical of Laswell’s style. In the final section, accordion-like sounds—likely produced by Apfelbaum’s keyboard—add a unique texture. “Remaining, Remaining” delves into a tribalistic spree, achieving a spiritual communion that feels simultaneously meditative and intoxicating. 

“Night’s Dream is True / Ai no-Uta” haunts with ghost sonorities: ethereal vocal chants and gasps, flute whispers, and glacial keyboards. This eerie soundscape transitions into a gospel-inflected vocal song in Japanese, written by Sonoyama. The closing track, Fujiwara’s “The Red Devil Who Cried”, is a flute-percussion effort inspired by Hirozuke Hamada’s Japanese fairy tale, and feels tailor-made for a traditional Japanese puppet theater. While the album never totally strays from its dark tonalities, there’s enough variation throughout.

Fujiwara demonstrates her talent as a flutist with an explorative nature destined to take her far. Her sonic narratives may lean toward the somber, but they are always sharply defined, with each instrument contributing clarity and purpose to the layered whole.

Favorite Tracks:
01 - Gloss Phew ► 02 - Into Thee ► 04 - Remaining, Remaining

Tyshawn Sorey Trio - The Susceptible Now

Label: Pi Recordings, 2024

Personnel - Aaron Diehl: piano; Harish Raghavan: bass; Tyshawn Sorey: drums.

The excellent trio of multi-awarded drummer Tyshawn Sorey—featuring pianist Aaron Diehl and bassist Harish Raghavan—delivers its fourth album of covers with through-composed forms and inspiring tune modifications that explore many new directions. The album, The Susceptible Now, highlights the kaleidoscopic brilliance of their musical interaction through deft arrangements and expanded renditions of pieces deeply personal to Sorey, both new and old. This work represents a completely different sound and approach compared to his own improvisation-driven compositions. 

McCoy Tyner’s “Peresina” is reshaped with inventive nuance, beginning with Diehl’s reflective piano intro featuring sparse, thoughtful chord progressions. Sorey’s enlightened brushwork and Raghavan’s elegant melodic drive join in, establishing a groove that evolves through bursts of unexpected energy. Diehl thrives within the supportive, inventive rhythms sculpted by his collaborators. After a series of rhythmic mutations, the piece concludes on the same cool tone with which it began, revisiting the last eight bars of the tune’s third section.

Sorey first encountered “A Chair in the Sky” while watching the documentary Charles Mingus: Triumph of the Underdog, later discovering it on Joni Mitchell’s album Mingus (Asylum Records, 1979). Perfectly suited for dimmed lights and introspective moods, the piece opens with calm, abstract piano lines, creating a tranquil ambiance. Delicate brush touches and breathing bass lines gradually shape its form. Following Raghavan’s admirable bass solo, filled with rhythmic and melodic intention, the trio concludes with soulful, poignant beauty, enhanced by Sorey’s expressive drum fills and cymbal colorations.

The inclusion of Vividry’s contemporary soul-pop tune “Your Good Lies” may come as a surprise but stands out as one of the album’s most joyful moments. This 15-section through-composed marvel brims with whimsical invention and vibrant energy. Syncopated piano chords and refined passages create a groove-laden journey that reinterprets jazz language to unlock new possibilities.

Sorey dedicates Brad Mehldau’s “Bealtine” to his good friend Anthony Amadeo, a drum historian and collector. The tune’s swinging, uptempo three-time feel showcases the trio’s unique voice, reflecting the talent of three musicians who sound unmistakably like themselves. 

The Susceptible Now is a lucid, masterful work that, while precisely arranged in a modern fashion, maintains a pervasive sense of freedom and executional flexibility.

Favorite Tracks:
01 - Peresina ► 03 - Your Good Lies

Thomas Stronen - Relations

Label: ECM Records, 2024

Personnel - Thomas Strønen: drums, percussion; Craig Taborn: piano; Chris Potter: tenor and soprano saxophone; Sinikka Langeland: voice, kantele; Jordy Rossy: piano.

Between 2018 and 2022, Norwegian drummer Thomas Strønen invited four accomplished musicians to contribute to his latest album, Relations. Each responded to pre-recorded drum tracks with complete creative freedom. Pianist Craig Taborn and saxophonist Chris Potter recorded their parts from New York, vocalist and kantele player Sinikka Langeland from Oslo, and Barcelona-born multi-instrumentalist Jorge Rossy, playing piano exclusively, from Basel. The resulting work comprises two solo percussion tracks and ten duets that, while not adhering to conventional jazz formats, explore unique sonic landscapes.

The album opens with “Confronting Silence”, a solo piece by Strønen. Vibrant metallic gongs are unexpectedly crossed by quick snippets of rattling percussion. “The Axiom of Equality”, a duet with Taborn, showcases evolving timbral textures through fragmented, free-flowing drum and cymbal patterns, while Taborn, choosing not to hear the drum track beforehand, meanders unpredictably, embracing pure spontaneity.

Potter’s commanding saxophone presence is felt on “Weaving Loom”, where his expansive tenor lines bring richness and contrast to Strønen’s shimmering brushwork after a contemplative opening. On “Ephemeral”, Potter switches to soprano, channeling an explosive energy that intertwines seamlessly with Strønen’s propulsive rhythms, achieving a palpable symbiotic intensity.

Langeland introduces Nordic folk elements on “Koyasan”, blending the delicate tones of the kantele with Strønen’s sensitive rhythmic flourishes and unexpected stream. On “Nemesis”, she enjoys a more fluid rhythmic arc, while on “Beginners Guide to Simplicity” she uses her clear, evocative voice, adding a distinct dimension to it.

Rossy’s piano contributions span three tracks. While his restrained, light touch on “Nonduality” may feel less impactful, he captivates on “Ishi”, where a number of low-register blows evokes a mysterious ambiance, and “KMJ”, a piece of harmonically palpable introspection with subtle, persuasive movement. Known primarily as a drummer, Rossy impresses here with his pianistic sensibilities.   

Relations eschews conservatism, offering unexpected surprises and intimate dialogues between Strønen’s broad rhythmic vocabulary and his collaborators’ distinctive voices. Although sounding off-beat at times, this work reflects  the spirit of innate improvisers, unafraid to present something refreshingly different.

Favorite Tracks:
02 - The Axiom of Equality ► 03 - Weaving Loom ► 08 - Ephemeral ► 12 - KMJ

Jakob Bro - Taking Turns

Label: ECM Records, 2024

Personnel - Jakob Bro: guitar; Lee Konitz: alto and soprano saxophone; Bill Frisell: guitar; Jason Moran: piano; Thomas Morgan: bass; Andrew Cyrille: drums.

With Taking Turns, Danish guitarist and composer Jakob Bro presents a fine compendium of engagingly layered compositions recorded 10 years ago in New York. This exceptional record features the late, legendary saxophonist Lee Konitz, with Bro weaving smooth harmonic tapestries alongside fellow guitarist Bill Frisell and pianist Jason Moran. Working on a consistently lucid rhythmic foundation are bassist Thomas Morgan and drummer Andrew Cyrille.

“Black is All Colors at Once” opens with the rippling pianism from Moran— who had never worked with Bro before—soon joined by contemplative, arpeggiated guitar layers. Konitz's saxophone melodies float delicately atop, while Cyrille’s understated brushwork provides a subtle rhythmic underpinning. Konitz exhibits his distinctively explorative phraseology throughout but takes center stage on “Milford Sound”, a poignant ballad narrative dedicated both to the late free jazz pioneer Milford Graves and the New Zealand fjord of the same name.

Surprisingly, on the open-ended “Haiti”, Konitz makes a rare appearance on soprano saxophone, adding a playful yet gentle touch to a piece that dances gracefully with amiable charm. The rhythm here suggests a flowing sextuple feel, contrasting with the {3+5} cadence of “Aarhus”. The latter track showcases the ensemble’s dynamic control and cohesion, offering a soaring perspective through its carefully crafted rhythmic drive. In turn, “Pearl River”, evocative of New York’s Chinatown and its Asian emporium, leans into more abstraction and suspension. Here, Bro and Frisell intertwine their guitars to create a beautifully sculpted, textural surface that invites deeper listening.

In “Peninsula”, guitars and piano contribute layers of detail that only add to the overall chemistry. Elevated levels of illumination and relaxation are easily found here, and restraint is a key element of all the tracks in this set. The sax-less closer, “Mar Del Plata”, delivered at a slow 3/4 tempo, is nothing short of stunning, with everyone circling around an endearing melody that refuses to come out of your head. 

Abounding in smooth, expressive gestures, Taking Turns is another fundamental touchstone for Bro’s radiating atmospheric style, marking an important phase in his career. It grows more enchanting with every listen, offering both warmth and introspection in equal measure.

Favorite Tracks:
02 - Haiti ► 05 - Pearl River ► 07 - Mar Del Plata

Ivo Neame - Zettalogue

Label: Ubuntu Records, 2024

Personnel - Ivo Neame: piano; George Crowley: tenor saxophone; Tom Farmer: double bass; James Maddren; drums.

Ivo Neame, a highly skilled British pianist and composer, is a name to watch closely. His tenth album as a leader, Zettalogue, stands at the forefront of the European jazz scene, showcasing music that is both complex and organic, characterized by odd meters, nuanced expression, and fluid rhythmic and harmonic transitions. The seven compositions on this album—including two revisited pieces—are richly textured and anchored by a sophisticated modern edge, drawing from a variety of genres. He is joined by invaluable regular associates, saxophonist George Crowley, bassist Tom Farmer, and drummer James Maddren, who together craft a compelling musical mosaic.

“The Rise of the Lizard People”, a track originally featured in Neame’s large ensemble album Glimpses of Truth (Whirlwind Recordings, 2021), opens the album with a lively, offbeat rhythmic cadence driven by an engaging piano riff. This wake-up call to the American people is marked by intricate parallel sax-piano lines and a freewheeling piano solo by Neame, filled with bold ascents and seamless landings. The following track, “Drone Yer Sorrows”, channels rhythmic inventiveness reminiscent of Chick Corea and Joe Henderson, blending Latin and post-bop influences. Crowley seizes the opportunity to shine, delivering fiery, dark-toned expressions. 

The dynamic title track, “Zettalogue”, evokes the sensation of a high-speed train racing through a smoky landscape. Tempo shifts mimic perpetual motion, conjuring the blurred scenery outside the train’s window. The saxophone’s multi-line effects elevate the melody, providing a sense of urgency and energy. In contrast, “The Trouble With Faith” offers a moment of introspection. This ballad creates space for reflection, balancing the album’s otherwise energetic tone with serene elegance.

“Pala” and “Être Sur le Train de Gravy” are standout examples of the quartet’s cohesive interplay, blending intricate meters with a focus on creative freedom within well-defined structures. The former, propelled by Maddren’s captivating drumming, originally appeared on the quartet’s album Moshka (Edition Records, 2018). The latter, a fresh modal creation, features Crowley’s commanding tenor saxophone, which soars with intensity and flair.

Filled with musical twists and turns, Zettalogue consistently surprises and delights, resonating deeply with the postmodern zeitgeist of the 21st century.

Favorite Tracks:
01 - The Rise of the Lizard People ► 02- Drone Yer Sorrows ► 03 - Zettalogue ► 05 - Être Sur le Train de Gravy