Kenny Garrett & Svoy - Who Killed AI?

Label: Mack Avenue, 2024

Personnel - Kenny Garrett: alto and soprano saxophone, vocals; Svoy: programming, vocals, piano, keyboards.

Mighty saxophonist Kenny Garrett hasn’t lost any of his improvisational soulfulness while playing over a totally electronic backdrop in Who Killed AI?, a duo album with pop/electronica star Svoy.

The album kicks off with “Ascendance”, a keyboards-soaked piece driven by invigorating rhythms and punctuated by warped chords over which Garrett’s sweltering phrases stand out with angular hooks and an effortless inside/outside malleability. “Miles Running Down AI” channels the spirit of Miles Davis’ electric album Bitches Brew in an exuberant fusion pinned by a funky wah-wah groove and occasionally punctuated by vibing clouds of poise. 

However, not every track hits the mark; “Transcendence” unfolds under a sparse, dull beat in a controlled atmospheric setting that lacks provocation, while the duo's rendition of the standard ballad "My Funny Valentine” falls short of capturing its charm and luster.

Yet, there are highlights worth noting. “Divergence Tu-Dah” presents an alternative R&B-meets-hip-hop fusion cooked up with ominous noir undertones, vocals, and a hypnotic backbeat. The solo here - emulating a guitar - flows with an empathetic language bursting with dramatic expression. Equally enticing, “Convergence” appears as a muscular EDM-inspired cut, reminiscent of Donny McCaslin’s intrepid dancefloor excursions. Here, Garrett exhibits strong motivic inclinations.

While the duo’s bold attempt to create something out-of-the-box is laudable, the album ultimately left me with mixed feelings, as not all tracks manage to leave a lasting impact.

Favorite Tracks:
01 - Ascendence ► 04 - Divergence Tu-Dah ► 07 - Convergence

Latrala - Latrala

Label: Otherly Love, 2024

Personnel - Kenny Wollesen: vibraphone, marimba, congas, tenor sax, organ, wollesonics; Anthony Coleman: electric piano, synths;  Tony Scherr: guitar; Christopher Thomas: bass; Nasheet Waits: drums.

Kenny Wollesen, a fixture in the downtown New York music scene and most known for his fabulous drumming with the likes of Bill Frisell, John Zorn, and Steven Bernstein, unveils his latest project, Latrala. Here, Wollesen showcases his mastery of mallet instruments, including marimba and vibraphone, alongside a simpatico quintet comprising drummer Nasheet Waits, guitarist Tony Scherr (also known for his bass prowess), keyboardist Anthony Coleman, and bassist Christopher Thomas. It all feels electric, alive, and spirited as Wollesen sonically recreates the energetic vibes of his hometown, Santa Cruz, California.

The album’s leadoff track, “Agora” is one of the loveliest pieces, exuding a sense of bliss and liberation in a full-of-life, tropicalia-infused fusion with guitar and marimba at the center. In their support, there’s delightful synth effects, funky bass groove, and a magnetic syncopated rhythm. The following cuts, “Fifty-Five” and “Sam” are also standouts. The former, a tribute to the emblematic and now extinct New York venue 55 Bar, is rooted in blues and funk rock, hitting at a gut level with a crunchy wah-wah guitar. The latter, inspired by an intriguing neighbor, offers an airy jazz with sleek stylings, featuring a nice simple melodic drive and scorching drumming.

While the playful “Empress” is soaked in slinky jazz funk, evoking the warm and dry summers of Santa Cruz, “Heart in Hand” tenderly embraces R&B balladry, being gently brushed and tactfully layered with exotic touches. “Serious Drinking” offers a whimsical journey through inebriated sounds, syncopation, and shifting rhythms, akin to a hazy dream. The album closes out with the breezy, folk-infused surf music of “Cavalier Da Baton”, where Wollesen plays the saxophone, conjuring the euphoric confidence of The Lounge Lizards.

Throughout the album, Wollesen's compositions exude emotional depth, while the ensemble's joyful performance breathes life into his captivating storytelling. This is fun music.

Favorite Tracks:
01 - Agora ► 02 - Fifty-Five ► 08 - Serious Drinking

Marcelo dos Reis - Flora

Label: JACC Records, 2023

Personnel - Marcelo dos Reis: guitarra; Miguel Falcão: bass; Luis Filipe Silva: drums.

Portuguese guitarist Marcelo dos Reis leads a trio featuring Miguel Falcão on bass Luis Filipe Silva on drums. His improvisatory prowess shines in Flora, a collection of six original pieces that acts as a gateway to rich musical realms not necessarily tied to jazz.

The trio displays a progressive attitude in “Big Tree”, where a guitar figure with angular dimension and rhythmic purpose sets the tone for a palpable, enlightened, and harmonically stabilized art-rock flux with folk melodic trajectories. The music is far from static, with a frantically swinging underpin initiated through an exalted bass spirit and agitated drumming. The rock influence persists but unfolds with vast moods, textures, and influences capable of surprising the listener.

“Amanita” delves into experimental ambient territory with airy substance and a drone in the background. Midway, it pivots on a parallel execution between guitar and bass, leading to a resolution of the accumulated tension. The piece segues into “Tampanensis”, whose vigorous bass lines and daredevil guitar warps infuse a New Wave/post-punk tinge that find support in Silva’s danceable krautrock rhythm.

The group fearlessly explores dynamics, and “Cornelia” ventures into darker grounds painted with luscious Eastern colors. It’s as if Joy Division and Mahavishnu Orchestra fused to create spasmodic alternate gushes of sound. The trio cuts loose on “Sky Blue Petunia”, a forward-moving exercise orchestrated with audacity, where the psychedelic dance-rock of The B52’s meets the defiant and irreverent swinging jazz of The Lounge Lizards. 

The album comes to a close with “Full Sun”, structured with an 11-beat cycle, propelled with drive and unity, and sending out jazzy and bluesy vibes. There’s a shift in texture and tempo for a robust and dense funk-rock-infused finale. Flora contains well-played evocative music that demands attention without being flashy, confirming dos Reis as a gifted guitarist to watch in the future.

Favorite Tracks:
01 - Big Tree ► 02 - Amanita ► 04 - Cornelia

Jean-Marc Hébert - L'Origine Éclatée

Label: Self released, 2023

Personnel - Jean-Marc Hébert: guitar; Lex French: trumpet; Morgan Moore: bass; Pierre Tanguay: drums.

Canadian guitarist Jean-Marc Hébert infuses his compositions with a strong emphasis on ambitious interplay and cohesiveness of sound. His third album as a leader, L’Origine Éclatée, follows the previous releases L’Autre (2007) and L’Attente (2018). For this new endeavor, he collaborates with the mellifluous New Zealander trumpeter Lex French, bassist Morgan Moore, and his longtime associate, drummer Pierre Tanguay. Together, they explore subtle sonic spaces that may bridge the realms of contemporary jazz and world music.

“La Déteinte” provides a meditative emotional template, with the group diving into a vast sea of tranquility. This setting foreshadows the epic proportions the modal piece could reach if played in the style of McCoy Tyner. However, what we hear is more aligned with North European jazz and the ECM sound. Moore provides a fluid solo over the ethereal, slowcore style of jazz that emerges, anchoring the piece with Hebert's well-paced arpeggios. The title cut, “L’Origine Éclatée”, follows, bathing in a slow 4/4 time signature and exploring thematic and melodic elements that leave an agreeable impact. The spotlight shines on French whose muted trumpetism favors straightforward, well-delineated melodies over acrobatics. His approach moderately shifts as he ventures more outside on “Séquence Mouvante”, where solid harmonic passages evoke profound emotion, and a refined rock-laden rhythmic foundation is laid down. Hébert delivers a thoughtful guitar statement atop this backdrop.

Both “Terre Rouge” and “L’Attente” incorporate world sounds influences. The former, presented in the trio format with guitar, bass, and drums, exudes a gentle African groove, painting a hot, arid, and bucolic landscape through the rhythm. The latter, originally featured on the album of the same name, embraces a strong Eastern ambiance and is cooked up patiently with a perfect balance between relaxation and tension. The album comes to a close with “Sud-Ouest”, a country-rock song in 3/4 time.

The group never strays too far into experimental territory, opting instead for a low-key approach that keeps everything well within context. Nevertheless, this offering is more than just passive backdrops with beautiful melodies atop. Hebert’s music is consistently warm, melodic, and easy to assimilate, and the accompanying musicians, recognizing this, bring their inherent lyricism to the forefront with positive outcomes.

Favorite Tracks:
01 - La Déteinte ► 03 - Séquence Mouvante ► 05 - L’Attente

John Scofield - Uncle John's Band

Label: ECM Records, 2023

Personnel - John Scofield: guitar; Vicente Archer: bass; Bill Stewart: drums.

Renowned American guitar virtuoso John Scofield, whose inspirational playing alternates between incendiary and velvety smooth, unveils a captivating new trio album that features him alongside distinctive sidemen such as bassist Vicente Archer and drummer Bill Stewart. The former rejoins the other two five years after Combo 66, while the latter has been a consistent collaborator of the guitarist since 1991. Across the 14 tunes comprising Uncle John’s Band (titled after the Grateful Dead’s 1970 folk rock song), Scofield paints a vibrant spectrum of sounds, upholding his inimitable spirit while maintaining a sharp focus and a distinct sense of identity. 

Scofield is credited with half of the material, but the record opens with a rendition of Bob Dylan’s classic, “Mr. Tambourine Man”. Droning electronics in loop accompanied by bright cymbal continuum and a resistant bass pedal underpin an introductory section that prominently features the guitar. Under the strong folksy spell of the song, Scofield opens new perspectives as his solo unfolds. Subsequently, Archer follows suit, impregnating his statement with airy waves.

The uptempo hard-bop groove of “How Deep” and the cool jazz vibe of Miles Davis/Bud Powell’s “Budo” showcase nimble jazz maneuvers executed with muscle and an unabashed swinging posture. Coming from the guitarist’s pen, “TV Band” and “Nothing is Forever” (a heartfelt tribute to his late son Evan) are loaded with generous amounts of groove, presenting a scintillating combination of melodic and chordal prowess. They are exquisitely polished to perfection in its final touches. The emotional resonance within these two pieces is particularly noteworthy.

Shifting gears, the country-tinged hues of “Back in Time” and the folk-rock essence of Neil Young’s “Old Man”, which rounds off the first disc, are seamlessly enveloped in a tasteful jazz veneer.

On CD2, the musical landscape feels even more elastic. The highlights are the frail standard jazz ballad “Stairway to the Stars”, propelled by Stewart’s sensitive brushwork; “Mo Green”, a soulful jazz-rock head-nodder with a great funky riff at the center; and “Mask”, which epitomizes jazz-funk at its best, leaving ample room for Stewart’s brilliant commentary.

Placing a high premium on sound clarity and fresh musical ideas, this album is an absolute must-listen for Scofield enthusiasts, offering a delightful collection of eclectic tunes infused with his signature electric vibe.

Favorite Tracks:
03 (CD1) - TV Band ► 06 (CD1) - Nothing is Forever ► 03 (CD2) - Mo Green ► 04 (CD2) - Mask

Mendoza Hoff Revels - Echolocation

Label: AUM Fidelity, 2023

Personnel - Ava Mendoza: electric guitar; James Brandon Lewis: tenor saxophone; Devin Hoff: electric bass; Ches Smith: drums.

What an electrifying outing this is! Echolocation features a stellar quartet of impulsive musical adventurers co-led by guitarist Ava Mendoza and bassist Devin Hoff, who share compositional duties and sign four pieces each. Rounding out the group are the acclaimed saxophonist James Brandon Lewis and the multi-faceted drummer Ches Smith. The music - unflagging creative jazz with a post-punk ethos - slashes like a stiletto, demonstrating their fearlessness in experimenting with new concepts and blending genres with forward-looking vision.

“Dyscalculia” boasts overwhelming power at its core, borrowing from heavy metal. Penned by Hoff and inspired by numbers dancing in his head, this piece progresses in five and features probing bass lines with enough rock groove to pique your ears. Lewis’ saxophone rides are authoritative, flanked by ferocious guitar washes and supported by a mesh of fired-up drum attacks.

Two other standouts from Hoff are “Babel-17”, a mercurial prog-rock catharsis with defiant punk attitude and polyrhythmic smarts, and “The Stumble”, an odd-metered experimental blues with a suggestive Afrobeat tapestry woven by Smith. Hoff nurtures the intro and also solos distinctively.

Mendoza’s compositions don’t lag behind. “Echolocation” piques our curiosity with a spaced-out guitar intro before straddling between noise, indie rock and spiritual jazz. There’s a cyclic harmonic sequence over which Lewis’ improv becomes fervent, while Mendoza, more melodic, employs long sustains.

If ‘Interwhining” feels like a danceable funk rock exercise - fans of Red Hot Chili Peppers can enjoy heavier atmospheres on this one - that also swings rebelliously before going wild, then “Diablada”, inspired by a Bolivian carnival folk dance, brings an exotic theme to the table. The group crosses frontiers with amplified saturation, and guitar interjections work as an energetic foil for volcanic saxophone eruptions. All of it runs on top of muscular, exuberant  grooves provided by Hoff and Smith. Yes, it’s heavy listening with thick densities, but I bet you’ll be asking for more. I want more!

Favorite Tracks:
02 - Echolocation ► 04 - Babel-17 ► 06 - Diablada

Hery Paz - Jardineros

Label: 577 Records, 2023

Personnel - Hery Paz: saxophone, flute, piano, suona; Román Díaz: percussion, voice; Francisco Mela: drums.

With an uncanny ability to mix freedom and substance, the Cuban-born, New York-based multi-instrumentalist and painter Hery Paz surprises and enchants at every step of his new recording, one that evokes his fascinating, rich and complex cultural identity. Jardineros is a powerful statement made in the company of two fellow countrymen with advanced percussive skills - Román Díaz and Francisco Mela.

The two-minute opener, “Calle Libertad”, is based on the Cuban traditional rhythm Danzón. It throws agile folk-soaked flute lines on top of the deep, resonant tones of Diaz’s bonkó enchemiya drum. Paz embraces the duo format on two other ocasions, both with Mela, who makes use of his diverse drum-sound palette: “Arroyo Lajas”, which, adopting a free jazz posture, showcases Paz’s sturdy tenor sound and breathtaking language; and “Miel de la Tierra”, which merges Cuban folklore and unchained expression with a bright sense of vitality. By switching from flute to saxophone, the bandleader fires up the infectious avant-garde jazz foray that concludes the latter piece.

“Jardineros” is set in motion with crisp alignments between sax and flute, lively drum sounds, and cymbal shimmering. On this cut, calls and responses are triggered by a numbered series of symbolic drawings, but it’s the coiling tenor lines that seem to be in command, straddling between motivic chants and avant-jazz diffusion. Totally different timbres come to the fore on “Conga Espirituana”, where Paz plays two suonas simultaneously, a traditional double-reed Chinese instrument that gives the music a strange Eastern spell. It floats right above the percussive haze of Afro-Cuban rhythms in an evocation of spiritual roots and nature.

“Comunión”, an instrumental marked by irresistible interplay, displays syncopated conga cadences, restrained drumming, and focused tenor blows. It contrasts with the two numbers that accommodate lyrics - “El Real de las Palmas” was written by Diaz, who also provides a wonderful narration of the text. Paz’s piano work - sometimes abstract, sometimes mysterious - runs in the background. In turn, “Barrio del Jobo” was penned by Paz, and captures the nostalgia for his land and family.

Upending the jazz world with a multi-cultural vision that goes beyond the conventional, Paz is a musical force to be reckoned with.

Favorite Tracks:
02 - Jardineros ► 03 - Arroyo Lajas ► 06 - Miel de la Tierra

David Virelles - Carta

Label: Intakt Records, 2023

Personnel - David Virelles: piano; Ben Street: bass; Eric McPherson: drums.

Cuban-born David Virelles has proven to be one of the most virtuosic and technically adept pianists out there. He recorded with Andrew Cyrille, Chris Potter, Henry Threadgill, and Tomasz Stanko, but when it comes to his own original compositions he often draws from his roots. Those Afro-Cuban influences are suitable for twisting with versatile contemporary touches of post-bop and avant-garde jazz. The follow-up to Nuna (Pi, 2022), Carta, is a fine all-around trio showcase for his expandable and improvisational crossovers. Joining him here are bassist Ben Street and drummer Eric McPherson.

“Uncommon Sense” kicks off the album with an unaccompanied piano intro that leads to a slick bass line churned by Street as the pivotal groove. Balancing between expressive soloing and closely bound ensemble work, the piece denotes an incessant cymbal spark that confers a refractive scintillation.

“NYChepinsón” bears an authorial brisk persona, providing one of the most animated sections of the disc. Busy drum thwacks and solid bass lines accommodate the incredible motif at the center of the theme. A brief mambo incursion attests that linguistic barriers are not a problem here, and the trio returns to the point of departure for a fluid piano improvisation. Starting off with classical movements, “Tiempos” feels like straight-ahead Cuban jazz expressed with lots of feeling. Combining gaiety and passion, the trio reharmonizes their path toward the triumphing avant-jazz that brings it to a conclusion.

Both low-key, the title track and “Samio” have methodical, nimble percussion and sympathetic airy bass moves making good company to the meditative piano playing. They probably won’t thrill the listeners as much as “Confidencial”, which is the sole non-original composition on the album. Penned by the Cuban timbalero and rhythm creator Enrique Bonne, this rich number, structured with imaginative sequences, goes from a clear piano statement delivered with beautiful melody and lush cluster chords to a taut rhythmic drive, and then a solo piano passage before landing on an evocative sultry danzón from Cuba.

This phenomenal hybridity denotes sophistication in the process. Virelles and his associates make it cerebral and adventurous by turns, as well as fairly accessible.

Favorite Tracks:
01 - Uncommon Sense ► 02 - Confidencial ► 04 - NYChepinsón

Erik Friedlander - She Sees

Label: Skipstone Records, 2023

Personnel - Erik Friedlander: cello; Ava Mendoza: electric guitar; Stomu Takeishi: electric bass; Diego Espinosa: percussion.

She Sees, the second studio album by American cellist Erik Friedlander’s Sentinel - originally a trio and now a quartet - clearly leans on muscular rock while moving in mysterious ways. Driven by genre-fusing ardor, the group welcomes Japanese bassist Stomu Takeishi - he collaborated with Friedlander on fantastic albums such as Topaz (1999), Quake (2003), Prowl (2006) and Ring (2016) - who joins the core trio completed by Brooklyn-based avant guitarist Ava Mendoza and Mexican percussionist Diego Espinosa.

“Baskets, Biscuits, Rain” follows a typical anthemic rock song format but suggests a propulsive swinging feel through the dynamic bass. The quartet gets lean on “Wit & Whimsy”, which sounds like classic arena-rock, and sinewy on “Heatwave”, a fusion piece with excellent command of tempo and tone, and enlivened by an inner/outer travelogue delivered by Friedlander. The cellist, who recently underwent Deep Brain Stimulation to fight Parkinson’s disease, appears here as fit as a flea. 

“Tremor, Blink” is funk-rock rapture. Cello and guitar are seen partially in tandem to create a sort of contrapuntal effect, whereas “Sliding” focuses on a gutbucket jazz n’ bluesy style redolent of Tom Waits. In turn, “Summit” explores the pop genre with cello pizzicato and a reverb-drenched guitar solo with distorted contrails. Mendoza is also impressive on “Ache, Air”, championing a jangling funky rhythm contraction with punk-rock attitude. 

If the engrossing “Rush. Rush Slowly” is treated with ethnic intrusions and Eastern tangents, then “Soak! Soak!” and the closer, “Moneycake: Corrupting”, are pinned with stylish riffs. The former develops with a three-time feel, while the latter gets under way in seven, changing meter signatures en route. 

Adding warped sounds to its rock-steeped temperament, this new Sentinel disc falls well behind the group’s debut album (2020), but deserves some support for its bold sounds and explorative intrepidity.

Favorite Tracks:
06 - Ache, Air ► 07 - Sliding ► 10 - Moneycake: Corrupting

Brandee Younger - Brand New Life

Label: Impulse! Records, 2023

Personnel - Brandee Younger: harp, vocals; Rashaan Carter: bass; Junius Paul: bass; Makaya McCraven: drums, percussion // Guests - Meshell Ndegeocello: vocals; Joel Ross: vibraphone, xylophone; De’Sean Jones; flute; Pete Rock: additional production, drum programming; 9th Wonder: additional production, drum programming; Mumu Fresh: vocals; Yuri Popowycz: strings.

Brandee Younger has no rival in today’s jazz harp world. Her music is contemporary, often spiritual, and terrifically eclectic with oodles of crossover currents that include soul, funk and hip-hop. Brand New Life, the follow-up to Somewhere Different (Impulse!, 2021), is a tribute to one of her harp heroes, Dorothy Ashby, whose music she approaches here from new angles. With drummer extraordinaire Makaya McCraven as producer and fully operational behind the kit, this session presents 10 concise tracks - some of them featuring guest artists.

The title track, a slick R&B cut enriched with modulation, has Baltimore-based singer Mumu Fresh at the front; Ashby’s “Livin’ and Lovin’ in My Own Way” is infused with trippy hip-hop flavors by the hand of DJ/rapper Pete Rock; “Dust” - another piece by Ashby - features Meshell Ndegeocello on vocals over the jumpy feel of a good reggae tapestry; and “The Windmills of Your Mind” - which was composed by Michel Legrand but included on Ashby’s 1969 album Dorothy’s Harp - welcomes additional production and drum programming from 9th Wonder. 

Yet, my favorite Ashby-related numbers here are the album opener, “You’re a Girl For One Man Only”, a previously unrecorded song where Younger underlines the beauty of the melody over a chord progression that induces peace of mind; and “Running Game”, a soothing modal exercise made lovable through technical perfection and spiritual emotion.

Another highlight is Younger’s “Moving Target”, which, developing in seven, fuses funk, jazz and soul elements. You can hear syncopated trap beats, flute by De’Sean Jones, and an enthusiastic vibraphone solo by Joel Ross. The disc closes with a magical harp-only rendition of “If it’s Magic”, one of the most beautiful ballads composed by Stevie Wonder.

Younger carries on to explore her instrument on each piece, delving into the implications of delicately plucking or freely sweeping the chosen strings to optimum effect.

Favorite Tracks:
01 - You’re a Girl For One Man Only ► 06 - Running Game ► 08 - Dust

Sara Caswell - The Way to You

Label: Anzic Records, 2023

Personnel - Sara Caswell: violin, Hardanger d’Amore; Jesse Lewis: guitar; Ike Sturm: bass; Jared Schonig: drums; Chris Dingman: vibraphone (#1,2,5,8).

From the opening selection of The Way to You, violinist Sara Caswell's third album as a leader, we can sense the eclecticism and ambition of a group of qualified musicians. The album is the culmination of a 17-year journey during which she toured/recorded with amazing artists such as Henry Threadgill, Brad Mehldau, Esperanza Spalding, Linda May Han Oh, and Donny McCaslin. She’s also a member of Joseph Brent's 9 Horses trio.

“South Shore”, a composition by the sui-generis trumpeter Nadje Noordhuis, is instigated by jazz-folk contours and a rock music feel, like if Jean-Luc Ponty had joined Sting’s The Police. Vibraphonist Chris Dingman, who sits in on four tracks, exteriorizes thoughts with speed of execution here. His harmonic streams and textures are well integrated with those of guitarist Jesse Lewis and both create one of the most exciting moments on the album when their burning licks and phrases populate guitar-vibraphone tradeoffs on Kenny Barron’s “Voyage”. The post-bop linearity of the theme segues into the swinging amusement of the improvisations. 

Other appealing numbers are “Stillness”, an acoustic guitar-driven song with a 3/4 balladic feel (bassist Ike Sturm, who penned it, soars with flexibility); Egberto Gismonti’s “7 Aneis”, an exuberant Brazilian choro with quick changes and a festive disposition; and Tom Jobim’s “O Que Tinha de Ser”, an intimate musical poem where Caswell plays the Hardanger d’Amore, a 10-string Norwegian fiddle able to produce peculiar, resonant tones.

Although expansive in mood and style, I got the sense that a bit more provocation was needed on pieces like “On My Way to You”, a product of French composer Michel Legrand, which moves at a glacial pace; as well as on Caswell’s compositions “Warren’s Way”, an old-timey romantic waltz with hints of Americana dedicated to her partner in life (the drummer Michael W. Davis); and “Spinning”, a gently swaying popish song. Conversely, “Last Call”, which was co-composed with Davis and guitarist Dave Stryker, is the stronger of her originals, benefitting from the electrified bluesy chops and harmonic clusters of Lewis.

Caswell demonstrates her sense of command but some of the material holds her back, resulting in a partially satisfying recording that, being colorful, is not always surprising.

Favorite Tracks:
01 - South Shore ► 02 - Stillness ► 09 - O Que Tinha de Ser

Gonzalo Rubalcaba & Trio D'Été - Turning Point

Label: 5Passion Records, 2022

Personnel - Gonzalo Rubalcaba: piano; Matt Brewer: bass; Eric Harland: drums.

Technically advanced, the Cuban-born pianist Gonzalo Rubalcaba boasts above-the-average rhythmic skills in front of the keyboard. Turning Point, the follow-up to Skyline (5Passion, 2021), signals the second installment in a trilogy of trios that intends to explore new sounds with different cohorts. Here, his Trio D’Eté features two other rhythmic experts, bassist Matt Brewer and drummer Eric Harland, with whom he worked on other occasions.

“Infantil”, a flourishing piece dedicated to the fusion guitar icon John McLaughlin, opens the program as a rhythmic mesh that includes swinging parts and multiple breaks in the flow. Influences of Latin, funk and straight-ahead jazz are condensed in the ideas that flow effortlessly from Rubalcaba’s fingers. From the beginning, Brewer’s big bass sound imposes the step, and the ever-responsive Harland extemporizes intermittently in a few bar exchanges with his colleagues.

Like the aforementioned number, which was included on the album Avatar (Blue Note, 2008), both “Otra Mirada” and “The Hard One” were previously recorded. Originally a bolero, the former is a bit extended and doesn’t appeal much to me, while the latter is a motivic, fluid, and staccato-charged piece with shades of Chick Corea and some Bartok and Stravinsky inspirations.

More meditative, and contrasting with the fervent swinging mechanisms of the short-lived “Turning I” and “Turning II”, “Ikú” is a mournful Yoruba-inspired dirge that turns out emotionally honest in its melodicism. It becomes more diffuse and energetic with the time, facilitating Harland’s (brushes/mallets) competence to stand out.

The disc ends with the brightly colored “Joy, Joie”, specifically written by Rubalcaba for this trio. It follows a simple AABA structure over which you'll find great piano playing and an exciting vamp that stimulates the drummer to create and extend elegant chops. 

Favorite Tracks:
01 - Infantil ► 06 - The Hard One ► 07 - Joy, Joie

The Comet is Coming - Hyper Dimensional Expansion Beam

Label: Impulse! Records, 2022

Personnel - Shabaka Hutchings: alto sax; Danalogue: keyboards, electronics; Betamax: drums.

The UK-based trio The Comet is Coming stakes their virtuosity claim in this current disc of whimsical instrumentals with a panoply of influences and hip mutations. 

For their fourth opus, the group rides the crest of modernity with some homespun weirdness, offering a few flamboyant pieces suitable for dancefloors. An example is the opener,  “Code”, whose EDM vibes are enriched with textural ostinatos and staccato saxophone lines seasoned with an Eastern flavor. Caustic synth layers build crescendos here, but take the form of warped and overpowering laser-focus beams on “Technicolour”. Another piece within the genre is “Atomic Dance Wave”, a punchy, frisky indie electronic rock inspiration that call to mind the energy of The Prodigy.

Despite the stylistic connections, the alchemic roads traveled here are varied in steepness, direction, and instrumentation. ”Lucid Dreamer” is a standout, evolving with a syncopated beat, gratifying melody, and Ensonic synth washes dispensing ethereal choir effects. The ominous “Angel of Darkness” conjures up a sense of fear before installing a three-time-feel groove that alleviates the jitters for a bit. It’s all very cinematic, and saxman Shabaka Hutchings riffs like a Brazilian cuíca before discharging trills, rhythmic figures, and angsty outcries. At the end of the line, an incendiary rock feel imposes.

Immediately following the frenetic, short-lived “Tokyo Nights”, we have “Pyramids” whose club/dance manner (redolent of Technotronic and Snap!) permeate the trap-knit hip-hop propulsion with flowability. In turn, “The Hammer” has a slow beat invading the dark atmosphere, with discoverable keyboards sweeps emulating harp sounds, and modulations that inspire Hutchings to expand.

Occasional sparkle and some interesting atmospherics can be found, but the music never went beyond the expected. Yet, followers and completists of the trio will most likely find what they’re looking for.

Favorite Tracks:
03 - Lucid Dream ► 07 - Angel of Darkness ► 10 - The Hammer

Olli Hirvonen - Kielo

Label: Ropeadope Records, 2022

Personnel - Olli Hirvonen: guitar; Marty Kenny: bass; Nathan Ellman-Bell: drums.

One of Finland’s most rising musical exports is the guitarist/composer Olli Hirvonen, who has been based in New York since 2011. For his new recording, Kielo, he leads a close-knit trio with bassist Marty Kenny and drummer Nathan Ellman-Bell, delivering eight tunes (seven originals and one cover) that integrate his Finnish musical roots and Americana. The follow up to the excellent Displace (Ropeadope, 2019) sounds simpler in conception but still rocks out with an understated elegance that goes beyond stereotyped jazz contexts.

The title cut is shaped with delicate streams whose charisma and poise takes us to the emotional, ambient-like psychedelia of Pink Floyd’s The Dark Side of the Moon. “Outline” was inspired by novelist Rachel Cusk’s trilogy of the same name, and its provocative base, in which Hirvonen’s axe goes together with Kenney’s bass presence in optimum ways, doesn’t outshine the melody.

Less jumpy than the previously mentioned number is “Current”, an enigmatic, slightly somber and brush-driven piece that holds tight to a 3/4 tempo but has the amplitude to ebb and flow; and also “Lento”, which, inspired by the indie folk-pop singer/songwriter Cassandra Jenkins, provides one of the album’s starkest moments. As at early, the mood is taken to further lows, but Ellmann-Bell swaps the initial balminess for a more solid rhythm solidly locked in with the bass. Hirvonen’s solo finds support in the reliable foundational builders.

With “Erode”, the trio embraces an indie rock style that shows no complexes. Although the inspiration came from the Brian Blade Fellowship, this is a ballad song crafted with noise-filled passages that could be taken from Mogwai or Sonic Youth. Hirvonen’s distortion-swathed guitar weaves through the tune with grit.

The set comes to a close with a rendition of “Vegas”, authored by the Brooklyn band Big Thief. It reads like a modern folk song propelled with an invigorating backbeat. Kielo will make explorers of pop/rock instrumentals happier than jazz diggers.

Favorite Tracks:
01 - Kielo ► 02 - Erode ► 06 - Lento 

Brian Landrus - Red List

Label: Palmetto Records, 2022

Personnel - Brian Landrus: baritone saxophone, bass clarinet, flutes; Ryan Keberle: trombone; Nir Felder: electric guitar; Geoffrey Keezer: Rhodes, organ, piano, synth; Lonnie Plaxico: electric and acoustic bass; Rudy Royston: drums; John Hadfield: percussion. Guests - Jaleel Shaw: alto saxophone (#5,14); Ron Blake: tenor saxophone (#2,9,10); Steve Roach: trumpet, flugelhorn (#1,4,7,12,15); Corey King: vocals (#1,6,11). 

Boasting an authoritative language, baritonist Brian Landrus wades in his typical aesthetic variety with some big hooks and a non-aggressive posture despite the massive tone of his instrument. His new recording, Red List, finds him well supported by highly committed bandmates and special guests who embrace the amiable nature of the compositions with devotion. The main topic of this body work is Earth’s endangered species and climate crisis.

“Canopy of Trees” plunges into the pop/rock canon with the presences of Nir Felder’s rock-steeped guitar crunch, Lonnie Plaxico’s electric bass reassurance, Geoffrey Keezer’s scattered keyboard waves, and Rudy Royston’s fidgety drumming. The baritone solo, clear at all times and never chewy, is dovetailed by an unison-delivered theme that includes trombonist Ryan Keberle and trumpeter Steve Roach. The type of energy created here opposes to the brighter and glossier feel of “The Distant Deeps”, a waltz with vocals by Corey King and solos from trombone and flute. It also deflects from a pair of reggae/dub incursions, namely “Save the Elephants” (the title refers to an organization with which Landrus is working) and “Leatherbacks”. 

The Steely Dan-like title cut is a sleek, streamlined fusion affair built on elements of rock, jazz, R&B, and funk. Landrus, who hits the bottom notes with unshakable confidence, is followed by the tenorist Ron Blake, who is even more impressive on “Bwindi Forest”, a modal jazz enterprise with beautiful piano playing as well as bass clarinet and saxophone bravura cutting through from both sides. This number takes us directly to “Congo Basin”, which, pivoting to a triple time feel, features a fine guitar stretch over the funk fringe that runs underneath.

Saxophonist Jaleel Shaw wields his alto with personality on “Tigris”, a more popish jazz push with a neat painterly touch that soon breaks and expands into a wider type of fusion. In turn, “Nocturnal Flight” offers clear and velvety balladry texturized by Felder’s adroit guitarism, and with Landrus on flute and baritone.

Delivered in a pretty straightforward way, these set of tunes systematically strip away any possible sonic discomfort or violent collisions. They are uncomplex in tempo and immediately accessible. Landrus sticks up to this posture while finding his own groove and fluency.

Favorite Tracks:
02 - The Red List ► 04 - Nocturnal Flight ► 05 - Tigris

Will Bernard - Pond Life

Label: Dreck to Disk Records, 2022

Personnel - Will Bernard: guitar; Tim Berne: alto saxophone; John Medeski: keys; Chris Lightcap: bass; Ches Smith: drums.

Despite some great releases, guitarist/composer Will Bernard remains largely overlooked outside the New York scene. This new record, in particular, shows his varied but consistent modernistic creations, and features the best lineup so far - drummer Ches Smith and keyboardist John Medeski have been regular collaborators, while bassist Chris Lightcap and saxophonist Tim Berne team up with the guitarist for the first time on record, fully supporting his inspired ideas and glorious skronky tone.

“Poor Man’s Speedball” is an odd-metered, fusion-oriented number whose avant-garde jazz and indie rock-styled demeanors conflate in a stratospheric texture paved with keyboard cushions. The rock influence is constantly present, being particularly noticeable on “Still Drinkin’?”, a progressive effort in which powered chords whip up Berne for an invigorating solo; and “That Day”, a full-tilt anthem turned polyrhythmic symphony thanks to Lightcap’s propulsive thrust and Smith's unpredictable drive.

“Type A” takes a path of ambiguity, hopping with lightness during the flawless chorus demarcated by hi-hat and opportune cymbal placement. A middle passage undergoes a change of air; a quietly breathing ambience with piano in the background and bass at the fore. In turn, “Four is More” is made of lovely riffing, triggering an ingenious hall of metric mirrors supported by an inventive harmonic work with alluring electronics. Bernard and Medeski are on the same mindset here.

“Pond Life” embraces relaxation before a bass figure imposes its mighty presence with a six-beat duration. On the other hand, “Surds” brings a strong Americana flavor to the table with odd meter, rhythmic accents, and bluesy tones contributing to pump the energy. In the same vein, but featuring Bernard on the acoustic guitar, “Lake of Greater Remnants” has playful blues-inflected lines blending right into the affectionately brushed yet lilting asymmetric tapestry. 

The stellar quintet covers a lot of ground stylistically. Their languages brimming with rare facility and abandon. I was taken by the quality of the sound, the progressive tendencies, and the acuteness of the arrangements.

Favorite Tracks:
04 - Still Drinkin’? ► 06 - Four is More ► 10 - Lake of Greater Remnants

David Virelles - Nuna

Label: Pi Recordings, 2022

Personnel - David Virelles: piano, marimbula; Julio Barreto: percussion (#3,9,14)

Revealing a delightful intimacy, pianist/composer David Virelles is at his best on his first solo album, Nuna, where he weighs in on many of his influences - from classical music (Chopin, Scriabin) to Cuban rhythms (changuí) to African folklore (Skandrani, Guèbrou) - with unparalleled expression. From the 20 pieces that resulted from the solitude of the pandemic, only two go beyond the six minute mark in length.

Virelles opens the album by playing marímbula (the ‘bass’ used in changuí music) on “Spacetime”, a piece that, like many others, evokes its Cuban roots. This is followed by the solo piano narrative of “Ocho”, which borders on the surreal with a fusion of bountiful rhythmic fluxes and serene reflections. Other solo piano pieces that immediately call our attention are loaded with folk elements, such as “Al Compás de mi Viejo Tres”, whose passionate two-handed flow culminates spectacularly, “Mambo Escalonado”, and Mariano Mercerón’s “Cuando Canta el Cornetín”. These two last pieces are melodically clearer and more rhythmically familiar in their sonic delineation, but even when that’s not the case, like in the avant-garde “Simple Answer”, Virelles always finds fertile ground between straightforwardness and abstraction.

Cuban percussionist Julio Barreto, known for his work with Grammy-awarded pianist Gonzalo Rubalcaba in the ‘90s, guests on three pieces, namely “Ghost Town”, in which he reinforces the propelling energy that stems from the piano with a gorgeous Afro-Cuban pulsation; “Ignacio Villa”, whose irresistible rhythmic drive and well-shaped theme statement make it memorable; and “Portico”.

Whereas “Tessellations” and “Camino Del Escultor” are energized by rhythmic figures and entrancing undulations, “Nacen” is simultaneously reflective and tense, with some dark clouds hovering above. In turn, hypnotic cluster chords support the haunting melody of “Danza de Rosario”.

Virelles handles these chanting lines as deftly as he weaves Afro-Cuban grooves, showing he’s an exceedingly well-versed musician. He shines throughout with boldness and authenticity.

Favorite Tracks:
09 - Ignacio Villa ► 11- Mambo Escalonado ► 13 - Cuando Canta el Cornetín

Erik Friedlander - A Queens' Firefly

Label: Skipstone Records, 2022

Personnel - Erik Friedlander: cello; Uri Caine: piano; Mark Helias: bass; Ches Smith: drums.

Erik Friedlander is a resourceful New York-based cellist and composer with a one-of-a-kind style. His tremendous versatility makes him play avant-garde jazz, post-bop as well as chamber and world-influenced music with the same brilliancy and passion. Hence, collaborations in many different contexts with such greats as John Zorn, Dave Douglas, Marty Ehrlich, Wadada Leo Smith, and Fred Hersch, are not a surprise. 

If his previous outing, Sentinel (a trio effort with guitarist Ava Mendoza and drummer Diego Espinosa), was an agreeable breathe of fresh air, then this new recording, A Queens’ Firefly, pushes the envelope, working as an expansion of his 2018 album Artemisia. The cellist spearheads a fabulous quartet, The Throw, featuring pianist Uri Caine, bassist Mark Helias and drummer Ches Smith.

The title cut floats like a cloud, beginning a musical journey that unfolds with fascination. There’s a jazz and pop music lightness to it, with Helias, Caine and Friedlander proffering lovely solos. The following number, “Match Strikes”, defies that tranquility as the group charges with rhythmic boldness and intelligent counterpoint. The catchy propulsion here conveys both depth and urgency.

The groovy “Chandelier” adopts a crisp seven-note bass figure as its glowing carpet, whereas the gracefully orchestrated “Glimmer” goes from a well-intoned cello introduction (suggesting contemporary classical musing) to a 3/4 pop-rock drum flow, and then to tranquilizing balladic expressions. Groove and modulation are detectable, and the piece acquires a fusion adventurism. A similar impression appears on the rocking “The Fire In You”, which serves as the album’s closing track.

Friedlander keeps the pocket wide on “Aurora”, a transfixing cut where the group indulge in avant-garde freedoms. With its excellent theme and odd meter, the piece plays like a folk-rock dance from a distant world. A Queens’ Firefly is an exciting album in many ways, and Friedlander’s fantastic compositions seemed to have encouraged his cohorts to play them with gusto.

Favorite Tracks:
02 - Match Strikes ► 04 - Glimmer ► 06 - Aurora

Miles Okazaki - Thisness

Label: Pi Recordings, 2022

Personnel - Miles Okazaki: guitar, vocals, robots; Matt Mitchell: piano, Fender Rhodes, Prophet-6; Anthony Tidd: electric bass; Sean Rickman: drums.

Thisness is the third installment of Trickster, a stellar quartet led by the virtuosic guitarist Miles Okazaki and featuring keyboardist Matt Mitchell, bassist Anthony Tidd and drummer Sean Rickman. What they do here is simply mind-blowing, adding a compelling new dimension to the guitar-keys-bass-drums story by making complex music sound phenomenally natural. The bandleader, who has been playing a vital role in the adventurous jazz scene since the mid 2000s, took inspiration from a particular watercolor by his painter mother Linda Okazaki, the writings on Surrealism by the historian Robin D.G. Kelley, architectural concepts from producer David Breskin, and the poetry of space-jazzist Sun Ra. The four movements brought by this psychedelic jazz outfit are prescribed with the following motivational statement: “In some far off place, years in space, I’ll build a world and wait for you.” 

The opener, “In Some Far Off Place”, serves its surreal purposes by showing off an unhurried, breathy, and dreamy flow. Okazaki’s guitar artistry, rooted in progressive jazz-funk, is extended here to a mix of Brazilian and fusion sounds. The unobtrusive vocals, recalling some recordings of the Pat Metheny Group, soar on top of an intensely funkified texture, and the piece becomes edgier near the end via some effective rhythmic mutations.

“Years in Space” brims with entrancing wah-wah sounds and groovy guitar vibes, presenting funk elasticity on the bass and drums, and coming out with pianistic brilliance, whether in the colors infused in the chords or single-note courses. Everything is balanced to the core. The flux decelerates to a lushly harmonic 12-beat cycle delivered at medium speed, and the piece is completed with a neat tussle between piano and guitar.

Despite plunging into this enigmatic world of sounds, this recording is pretty accessible, conjuring imaginary scenic views that suggest color, tone, shape and texture. That’s the case with “I’ll Build a World”, where bop-inflected lines laid down on top of a drum’n’bass net provide frissons of wit and excitement. Here, Rickman adds a restless charge to his drumming.

Exhibiting a full-wooded bass statement right at the beginning, “And Wait For You” brings this urgent funky cast that combines polyrhythmic elements into a subversive catchy sound. The keyboard effects are great, with all four musicians displaying a masterful control of time and texture. Disarming and triumphant with its advanced level of sophistication, Thisness is Okazaki’s masterpiece. An unmissable treat.

Favorite Tracks:
01 - In Some Far Off Place ► 03 - I’ll Build a World ► 04 - And Wait For you

Potsa Lotsa XL & Youjin Sung - Gaya

Label: Trouble in the East Records, 2022

Personnel - Silke Eberhard: alto saxophone; Patrick Braun: tenor saxophone, clarinet; Nikolaus Neuser: trumpet; Gerhard Gschlößl: trombone; Jürgen Kupke: clarinet; Taiko Saito: vibraphone; Antonis Anissegos; piano; Johannes Fink: cello; Igor Spallati: bass; Kay Lübke: drums. Guest - Youjin Sung: Korean gayageum.

Lasting less than 30 minutes, this five-track recording by the group Potsa Lotsa, the brainchild of Berlin-based saxophonist and composer Silke Eberhard, comprises textures and moods that are like torchbearers for a warm East-West cross-pollination. The group was formed in 2010 as a quartet to perform the music of Eric Dolphy, but here it's expanded into its 10-piece version. The music in Gaya was written with the Korean gayageum player Youjin Sung in mind, revealing Eberhard’s fascination for these marvelous sounds while exploring the harmonic possibilities of that instrument.

With “Hana”, she gracefully bridges these worlds with smooth changes of tempo, primarily conjuring up mysterious tones, and then expanding the sonic palette with specific detail as Sung takes the lead, followed by Taiko Sato on vibraphone and Nikolaus Neuser on trumpet.

Denoting sophistication in the arrangement, “Ned” sets up its introductory section with saxophone and bowed gayageum, becoming groovy, propulsive, and polyrhythmic as the sequences unfold. The one stepping forward and claiming a spotlight moment here is the trombonist Gerhard Gschlößl, member of the avant-garde jazz outfit Gulf(h) of Berlin.

The ensemble shows not to be afraid of unorthodoxy and quite some dissonance while performing “Dul”, which, bolstered by the dynamic microtonal plucks of the Korean guest, makes for a singular, somewhat playful experience. “Sed” is another rhythmically interesting narrative told with a finely calibrated instrumentation and contrapuntal expertise. A mix of urgency and repose is created, with the saxophonists grabbing the soloing time. Eberhard is particularly effusive in her melodic jabs, flanked by scathing cello attacks and nervy piano whirls. Listening to this record is like traveling to distant places. The landscapes evoked are beautiful.

Favorite Tracks: 
01 - Hana ► 03 - Sed ► 04 - Ned