Fred Hersch - The Surrounding Green

Label: ECM Records, 2025

Personnel - Fred Hersch: piano; Drew Gress: bass; Joey Baron: drums.

Following an excellent solo album—Silent, Listening (ECM, 2024)—pianist and composer Fred Hersch reunites with longtime friends and collaborators, bassist Drew Grass and drummer Joey Baron, for a fine trio session. They perform three Hersch originals, one jazz standard, and three spectacular, distinct covers of tunes by free jazz saxophonist Ornette Coleman, Brazilian guitarist Egberto Gismonti, and influential bassist Charlie Haden.

Hersch’s “Plainsong”, a piece previously recorded on the solo piano album Open Book (Palmetto, 2017) opens the proceedings with dreamy romanticism and vast erudition. “The Surrounding Green” is another of his meditations, radiating light through every note and grounded by the aesthetics of Baron’s classy brushwork.

The trio leans on joyous melodic gestures on “First Song”, a gem by the late Charlie Haden, with whom Hersch played on Sarabande (Sunnyside, 1987), a recording that also features Baron behind the drum kit. Gress launches this charming ballad with a fine bass intro, creating a welcoming space. Gismonti’s early ‘80s composition “Palhaço” is a 3/4 joy that showcases the trio’s emotional synchronicity and deep musical rapport built through years of collaboration. This is a lovely melodic number with wide possibilities to expand.

Yet, not quite as expansive as Ornette Coleman’s “Law Years”, whose freer gestures use ambiguity as a tool, along with a few well-placed crescendos that create a tense elasticity. After Gershwin’s well-known standard “Embraceable You”, here rendered at an unexpectedly dynamic tempo, the trio closes with Hersch’s “Anticipation”, a lyrical yet motion-filled piece delivered with a sophisticated jazz-meets-bossa flair.

Hersch, who has also played for years with a different trio—featuring John Hébert and Eric McPherson—discovers fresh nuances in this configuration, in a record where the standout moments come through the lesser-known covers.

Favorite Tracks:
02 - Law Years ► 04 - Palhaço ► 06 - First Song

Three-Layer Cake - Sounds the Color of Grounds

Label: Otherly Love Records, 2025

Personnel - Brandon Seabrook: guitars, banjos, tapes; Mike Watt: electric bass, vocals; Mike Pride: drumset, marimba, glockenspiel, dumbeks, bongos, organ; Jonathan Moritz: tenor saxophone (#8).

Sounds the Color of Grounds, the sophomore album by the progressive trio Three-Layer Cake, is full of surprises, oozing a rebellious sense of freedom and energy that is unmistakably the group’s own. The trio consists of adventurous guitarist/banjoist Brandon Seabrook, bassist Mike Watt, and drummer Mike Pride. The group made its debut in 2021 with Stove Top (RareNoise), recorded remotely as an incendiary response to the pandemic. This new album follows the same approach—with the curious detail that Watt, who lives in California, has never met Seabrook or Pride in person. They plan to get together soon at Pride’s studio in Chester, NY, to record their upcoming third album.

“Deliverdance” channels the punk rock spirit of Minutemen—Watt’s former band—but adds complex banjo ornamentation atop the muscular bass and drum texture. Watt’s spoken word here and on a couple other tracks were written for visual artist Raymond Pettibon, designer of the punk band Black Flag’s logo. “From Couplets to Crepuscles” unfolds with altered jazzy guitar chords, loose bass lines turned methodical, steady rhythmic steps, and effervescent drumming.

Pride drums with jaunty mischief on “The Hasta Cloth”, a piece firmly grounded in a bass groove, featuring bold guitar incursions and tinged with funk-rock and New Wave influences. Another lever fusion of funk, rock, and reggae is on display in “Tchotchkes”, where Seabrook adds unexpected crunch to the rhythmic architecture. The sound evokes Marc Ribot and The Lounge Lizards.

In an album that embodies the passion and fire of creative rockers, there’s space for a brushed, groovy jazz piece - and yet “Occluded Ostracized and Onanistic” is delightfully warped by eccentric melodies. “What Was Cut From the Negative Space” begins as a downtempo journey—thanks to Pride’s irresistible rhythm— before evolving into noise-rock territory with fusion hints, having Seabrook’s banjo attacks and distorted guitar simultaneously woven into cathartic ferocity. Studio overdubs were handled by Pride, whose inexorable tom-tom rumbling on “Lickspittle Spatter” perfectly accommodates the Oriental flavors emanated from Seabrook’s bowed banjo. There’s also funk and electronic music influence here.

Moving through pitches and timbres with passionate drive, Three-Layer Cake has crafted an uplifting, hooky-filled album that forges a distinctive style by distilling the best of its eclectic influences.

Favorite Tracks:
02 - From Couplets to Corpuscles ► 04 - What Was Cut From the Negative Space ► 07 - Tchotchkes

Alchemy Sound Project - Under the Surface

Label: Artists Recording Collective, 2025

Personnel - Sumi Tonooka: piano; Gregg August; bass; Johnathan Blake: drums; Erica Lindsay: tenor saxophone; Salim Washington: tenor saxophone, bass clarinet, flute; Samantha Boshnack: trumpet; Michael Ventoso: trombone.

Alchemy Sound Project invites bassist Gregg August and drummer Johnathan Blake to join them in their third album, Under the Surface, which comprises seven formidable compositions by Philadelphian pianist Sumi Tonooka, an adept of both angularity and lyrical melodicism. 

Inspired by the roots of trees and how they function as interconnected underground systems, the album begins with a texturally open-minded piano trio number, “Points of Departure”, showcasing a drum solo at the outset before a great riffing groove forged by the pianist—alongside funkified bass lines—come to prominence. Tonooka’s harmonic voicings and cascading phrasings feel remarkably fresh, her musicality resonating in her fierce, compelling delivery. “Savour”, a meditation on mindfulness, features trombonist Michael Ventoso, who nods to Bubber Miley and Ellingtonian tradition with his muted wah-wah technique. The arrangement holds some surprising twists. Tonooka’s piano work is imaginative, and tenorist Erica Lindsay’s improvisation, rich with melodic inspiration, is fantastically supported by Blake’s vibrant drumming.

Bookended by excellent bowed bass, “Interval Haiku” is fed by a collateral riff that leads to Samantha Boshnack’s trumpet solo over an intense bass-and-drums flux and sparse piano comping. Multi-reedist Salim Washington delivers a bright tenor solo, gliding atop a slightly Latinized rhythmic tapestry. He also takes center stage at one point on the title track, “Under the Surface”, which closes the album with a mantra-like piano figure and horns soaring above it with expressive freedom.

One can’t deny there’s something special in Tonooka’s compositions. The contrast between “Mother Tongue” and “For Stanley” confirms her versatility. The former, full of sophistication and set in a bright septuple meter, features flute, sax, and trumpet in melodic consonance, as well as striking counterpoint; the latter, written for Tonooka’s mentor—the brilliant pianist Stanley Cowell— leans toward a more traditional jazz sculpting, delivered in trio format with rhythmic nuance, intimacy, and control.

There’s nothing pretentious about the way these musicians play. What comes to the fore is their ability to remain loose for a while and then return to form in a natural, effortless way.

Favorite Tracks:
01 - Points of Departure ► 02 - Savour ► 05 - Mother Tongue

Scheen Jazzorkester & Fredrik Ljungkvist - Framat!

Label: Grong, 2025

Personnel - Fredrik Ljungkvist: tenor saxophone, clarinet, composition;  André Kassen: tenor and soprano saxophones; Guttorm Guttormsen: alto saxophone, flute; Jon Øystein Rosland: tenor saxophone; Line Bjørnør Rosland: clarinet, bass clarinet; Finn Arne Dahl Hanssen: trumpet; Thomas Johansson: trumpet; Mats Äleklint: trombone; Frøydis Aslesen: trombone; Åsgeir Grong: bass trombone; Mathias Ståhl: vibraphone; Jan Olav Renvåg: acoustic bass; Audun Kleive: drums.

Scheen Jazzorkester, a deliciously progressive Norwegian big band whose works often feature guests, invited Swedish saxophonist Fredrik Ljungkvist to compose for and perform with them. Ljungkvist’s eight compositions form a sumptuous suite crafted with a broad palette of sounds, fascinating dynamics, and creative nuance. Framåt!—meaning ‘going forward’—is dedicated to the composer’s father, who passed away in 2023, and is formidably executed by a fine roster of like-minded players, including two fellow Swedes: trombonist Mats Äleklint and vibraphonist Mathias Ståhl.

Initially immersed in dark tones, “Mörk” creates a mysterious soundscape that gradually dissolves through chromatic tonal shifts, leading to Thomas Johansson’s trumpet solo over harmonic vibraphone textures, resolute pizzicato bass, and gently brushed drums. Intensity ebbs and flows until the final theme reemerges. More restrained yet relying on well-defined melodic trajectories in unison, “Bågarna Och Rörelserna” features the rich woodiness of Ljungkvist and Line Bjørnør Rosland’s clarinets. 

The fresh orchestral vitality of “Framåt!” And “No Time to Loose” is on full display. The former, propelled by a beseeching force in five, shifts from elegant melodic contours into a wild sonic eruption driven by a dense horn concentration. Ljungkvist enjoys an unaccompanied exchange with Äleklint in a section that moves seamlessly from tense to tranquil. The latter piece, impeccably arranged and luxuriantly open, begins with flute over a droning backbone, and is elevated by Ståhl’s sophisticated improvisation and Ljungkvist’s explosive saxophone bursts.

While “Glassolalia”—translated as ‘speaking in tongues’—swings with a playful, uncompromising energy, “Leif Håkon” is a ballad of the impressionistic kind. The album closes with two dedications: “En Hyllning till Kerstin”, for writer Kerstin Ekman, and “Keijsers Dans”, for Ljungqvist’s former teacher, saxophonist Roland Keijser. The former, launched by saxophone over drums, emits classical essences in a chamber jazz setting; the latter exudes an infectious, feel-good rock vibe in waltz time, further animated by puissant saxophone exchanges.

With the band showcasing remarkable chemistry, Ljungkvist’s magnetic presence and compositional adroitness are felt throughout. This is serious big band work, where every musician contributes meaningfully to strike that sweet spot between individual improvisation and collective cohesion.

Favorite Tracks:
01 - Mörk ► 03 - Framåt! ► 04 - No Time to Loose ► 08 - Keijsers Dans

Mary Halvorson - About Ghosts

Label: Nonesuch Records, 2025

Personnel - Mary Halvorson: guitar, pocket piano (#1,2,3,8); Immanuel Wilkins: alto saxophone (1,2,4,5); Brian Settles: tenor saxophone (#1,2,5,8); Adam O’Farrill: trumpet; Jacob Garchik: trombone; Patricia Brennan: vibraphone; Nick Dunston: bass; Tomas Fujiwara: drums.

Produced by Deerhoof’s John Dieterich, About Ghosts allows another worthy journey into the musical imagination of one of contemporary jazz’s most creative minds. Groundbreaking guitarist and composer Mary Halvorson presents eight originals, impeccably arranged for her widely praised Amaryllis sextet, plus two guest saxophonists: Immanuel Wilkins on alto and Brian Settles on tenor. Her remarkable talent is on full display throughout the album, where she also plays pocket piano on four tracks.

“Full of Neon” exhibits an exquisite, route-defining navigational pulse, across which unison melodies traverse unflaggingly. Jacob Garchik’s adventurous trombone solo sparks spontaneous reactions from Halvorson, while Settles’ tenor excursion unfolds over a distinct, snare-charged drum flow crafted by Tomas Fujiwara. “Carved From” opens and closes in a chamber jazz mode—horns up front—before entering a rich, uptempo waltz over which Halvorson’s atonal, provocative solo captures the ear and imagination. This is followed by Wilkins’ magnetic discourse.

“Eventual”, a somber ballad infused with mournful solemnity, spotlights vibraphonist Patricia Brennan, while the title track, “About Ghosts”, evokes an Ellingtonian movement reimagined with a 21st-century vision. Still, “Polyhedral”, with its angular, snappy theme delivered at a dazzling tempo, makes an even stronger impact. It’s a two-minute collective effort rather than a showcase for individual soloing.

Wilkins offers another improvisational blast on “Absinthian”, weaving long and fragmented phrases. This highly inventive piece, which blurs boundaries between indie electronic, alternative rock, and avant-garde jazz, stands out through its driving propulsion and fascinating counterpoint. Trumpeter Adam O’Farrill, in his eloquent yet sharply discerning style, also reveals outstanding melodic sensibility. The album concludes with “Endmost”, a 4/4 sonic mission featuring Settles and closing with Fujiwara’s drum solo over synth.

The material is unmistakably Halvorson’s. She and her constellation of superstars explore vast sonic territories without compromising accessibility, constructing intricate textures and bridging sections with both logic and audacity.

Favorite Tracks:
01 - Full of Neon ► 02 - Carved From ► 04 - Absinthian

Jaleel Shaw - Painter of the Invisible

Label: Changu Records, 2025

Personnel - Jaleel Shaw: alto saxophone; Lawrence Fields: piano; Ben Street : bass; Joe Dyson: drums + Lage Lund: guitar (#4,10); Sasha Berliner: vibraphone (#6,11).

American altoist Jaleel Shaw releases his first album in 13 years. Throughout the 11 original tracks of Painter of the Invisible, he showcases not only powerful soloing instincts but also a gift for modern jazz composition that carries the rich aroma of tradition. Shaw, who rose to prominence as a bandleader while working with the late drummer Roy Haynes in his Fountain of Youth Band, reunites with pianist Lawrence Fields—featured on Soundtrack of Things to Come (2013)—and Norwegian guitarist Lage Lund, a strong presence on his first two albums, Perspective (2005) and Optimism (2008). Lund was a last-minute addition, as was vibraphonist Sasha Berliner. The core rhythm section features the seasoned bassist Ben Street and rising-star drummer Joe Dyson.

“Contemplation” is a high-energy, modal post-bop piece infused with Coltrane-inspired flavors, while “Beantown” blends elements of funk and R&B within a modern jazz framework—joy and positive energy radiate from its melodic statement, firmly anchored by Street’s gripping 14-beat cycle bass groove and Dyson’s incompressible snare/hi-hat-driven flow. The group jumps off from there.

Both “Distant Images” and “Gina’s Ascent” were written for Shaw’s late family members. The former, dedicated to his grandmother, is a rhythmically challenging piece whose rubato intro features Lund’s effulgent guitar playing and clear tone, while the latter, penned for his cousin, features Berliner’s dreamy vibes, whose figure in seven is mirrored by the bass.

Every piece has the post-bop thread running through it, yet “Tamir”, dedicated to murdered 12-year-old boy Tamir Rice, introduces Middle Eastern and African inflections in a 6/4 modal journey. Shaw’s eloquent, burnished saxophone channels spiritual consciousness, soaring again on “Invisible Man”, a tour-de-force in seven that reflects his experience as a Black man. Lund’s solo here is a marvel, enhancing a piece inspired by Ralph Ellison’s novel. The album concludes with the awe-inspiring melody of “Until We Meet Again”, a tribute to the late saxophonist, keyboardist, and vocoderist Casey Benjamin—co-founder of the Robert Glasper Experiment—where Berliner’s vibraphone brings warmth and tenderness.

Shaw retains his much-appreciated musical identity while exploring new directions. Painter of the Invisible is where melody, harmony, and rhythm come alive with pure intention. A great album to enjoy without reservations.

Favorite Tracks:
03 - Beantown ► 04 - Distant Images ► 07 - Tamir ► 10 - Invisible Man

John Yao and his 17 Piece Instrument - Points in Time

Label: See Tao Recordings, 2025

Personnel - John Yao: trombone; 

Trombonist, composer, and bandleader John Yao assembles a 17-piece ensemble, enlisting more than just improvisers to perform big band arrangements of his small group compositions. Throughout, you’ll encounter dense layers of sound and punchy collective passages that at times feel overly cerebral.

“Upside” features well-placed horns in a loosely through-composed piece with an uplifting vibe. It begins to swing during David Smith’s trumpet solo, then incorporates staccato punches to support Tim Armacost’s tenor sax narrative before returning unabashedly to swing, punctuated by some engaging shifts. “Not Even Close” pays tribute to Thad Jones, evoking the classic old-school vibes of Ellington and Basie.

“Triceratops Blues”, originally written for Yao’s three-horn chord-less quintet and featured on his album How We Do (See Tao, 2019), evolves with confidence, reaching its peak in the conversational exchanges between saxophonist Billy Drewes—a member of Yao’s Triceratops quintet, here on alto—and bass trombonist Max Seigel. Revolving horn eruptions prompt crisp responses by drummer Andy Watson. “The Other Way” introduces another staccato sequence, fierce counterpoint, and athletic, rock-infused drumming. Quick-silver horn lines inject high energy into a piece that showcases veteran tenorist Rich Perry and a trombone excursion by Yao himself.

A more recent composition, the breezy “Song For Nolan” also features Perry and includes a spontaneous dialogue between baritonist Carl Maraghi—who boasts a burningly meaty sound—and trombonist Matt McDonald. While this piece, written for Yao’s son, highlights cyclical mutations in the rhythm flow, Herbie Hancock’s “Finger Painting”—the album’s sole cover—is presented with a broader instrumental palette, though, like the majority of the selections here, it doesn’t quite dazzle the ear or leave a lasting impression.

Favorite Tracks:
01 - Upside ► 03 - Triceratops Blues ► 07 - Song For Nolan

Hedvig Mollestad Trio - Bees in the Bonnet

Label: Runne Grammofon, 2025

Personnel - Hedvig Mollestad: guitar; Ellen Brekken: electric bass; Ivar Loe Bjørnstad: drums.

Supported by her faithful trio, Norwegian guitarist Hedvig Mollestad continues to amaze with her explosive blend of instrumental hard rock and progressive jazz. The six-track album Bees in the Bonnet arrives four years after Ding Dong. You’re Dead and features Ellen Brekken on electric bass and Ivar Loe Bjørnstad on drums. The trio has been playing together for 15 years now.

“See See Bop” is a hauntingly pretty track—its title and sound nodding to ZZ Top—driven by a vigorous rhythm and defined by the full-throated abandon of power chords, sturdy bass lines, and intrepid drumming. A strong sense of structure anchors the piece, with nuanced tempo shifts and a bluesy tonal detour for the guitar solo.

“Golden Griffin” mixes folk-metal riffage à-la Steve Vai with spiky, chromatic soloing. It’s not the only track co-written by Mollestad and Brekken. There's also “Bob’s Your Giddy Aunt”, which opens with psychedelic textures and loose drumming before evolving into stylish funk rock, then prog-rock fury, and finally a Rage Against the Machine-esque burst powered by odd meter; and “Apocalypse Slow”, which amps up the distortion in an alternative metal that mutates and shapes each time with a different mood and intensity.

The jewel of the record is indisputably “Lamament”, a balladic tribute to Mollestad’s father. Rooted more in jazz, it unfolds over a slow 10-beat bass groove, with delicately brushed drums and volume-swelled guitar tremolo, offering a poignant, mindful atmosphere rich in emotion. Also noteworthy is “Itta”, named after Doctors without Borders’ project coordinator Itta Helland-Hansen, which pairs staccato guitar and bass with a swaggering drum flow before shifting into a melodic passage guided by an additive septuple meter.

With tightly locked rhythms and strapping guitar work, Bees in the Bonnet generates that kind of energy that keeps you on the edge of your seat throughout. 

Favorite Tracks:
03 - Itta ► 04 - Bob’s your Giddy Aunt ► 05 - Lamament

Kneebody - Reach

Label: GroundUP Music, 2025

Personnel - Ben Wendel: tenor saxophone, effects; Shane Endsley: trumpet, synth bass, effects; Adam Benjamin: keyboards; Nate Wood: drums, electric bass.

Formed in 2001, Kneebody is a progressive and eclectic unit featuring Nate Wood simultaneously on electric bass and drums, Ben Wendel on saxophone, Shane Endsley on trumpet, and Adam Benjamin on keyboards. While Wood and Wendel are based in Brooklyn, Benjamin and Endsley reside in Reno and Denver, respectively. Reach is the group’s ninth studio album and features compositions by all members except Wood. 

The album opens with two Wendel compositions: the crisp and forceful “Repeat After Me”, brimming with soulful attacks from the authoritative drummer and multiple psychedelic effects, in a seamless blend of Herbie Hancock’s Headhunters’ funk-laden synth strut with the heavy muscularity of rock bands; and “Reach”, a piece that could easily hit the dancefloor with its on-the-nose, 10-beat-cycle electro-rock demeanor. With Endsley on board, we can expect a high premium on dynamic range, and that’s exactly what he delivers here.

Inspired by old-time music, “Natural Bridge” injects more groove into the mix, with clear R&B influences and the two horns in harmonious consonance. Like the former, “Top Hat” was penned by Endsley, featuring spasmodic staccatos, skillful drumming enhanced by clever syncopation, and electronic embellishments, resulting in a futuristic fusion soundscape. 

Benjamin’s “Glimmer” leans on simple riffs and spectral ambient diffusions, while Wendel’s “Say So” creates a giddy mood, placing a catchy riff over a rock-infused progression. A tasteful synth solo closes out the piece.

There’s an underground energy you can dance to, but I expected more from a band of this caliber. Their experimentation is commendable, but at times it feels like they aim to be hip without fully realizing the potential of their hybrid sound.

Favorite Tracks:
01 - Repeat After Me ► 04 - Natural Bridge ► 09 - Say So

Mark Solborg - Tungemal: Confluencia

Label: ILK Music, 2025

Personnel - Mark Solborg: guitar, electronics; Susana Santos Silva: trumpet; Simon Toldam: piano, keys; Ingar Zach: percussion, vibrating membranes.

Danish-Argentine guitarist and composer Mark Solborg offers nine aesthetically compelling avant-garde chamber pieces that leave a bold imprint due to their originality. While the written sections are well-considered, the improvisation unfolds confidently from the fabric of each composition, insidiously performed by his Tungemal quartet, featuring Portuguese trumpeter Susana Santos Silva, Danish pianist Simon Toldam, and Norwegian percussionist Ingar Zach.

Emitting melancholic and dark sounds, “Spoke” feels like a meditation on loss and grief. It’s layered with dismal piano chords, lachrymose trumpet lines sculpted with emotional fragility and enchanting effects, and understated guitar coloring. “Southern Swag” thrives on an offbeat prepared piano pulse which, accompanied by precise percussion, forms the bed over which Solborg and Silva deliver reassuring melodies in parallel. The guitar solo is alluring, marked by unanticipated note choices.

The group keeps listeners hooked with “The Wires”, in which Solborg’s meditative acoustic guitar stands out against the moody background. There’s a simultaneous embrace of anguish and tranquility here, yet “Cantamos” brings more optimistic tones without ever feeling cathartic. Its 4/4 arpeggiated riff is supported by sizzling percussion and extra bass notes that provide a cushioning foundation. “Planes” returns to a spatial, rubato desolation that immerses the listener in an imperturbable state of languidness. 

“Janus - Og Sidste Ord”, the longest track on the record at nearly 11 minutes, opens with metallic percussion, introspective guitar fingerpicking, and synth consistency, passing through a buzz-soaked stillness suddenly populated with clear piano raindrops. It all ends in atmospheric haze with Zach’s vibrating membranes and subtle key changes. The album winds up with “Pitches & Peace”, a softly mantric act co-composed by Solborg, Toldam, and Silva. The latter, employing extended techniques and pixelating her own ideas with varying degrees of timbre and pitch, steps into the foreground.

Tungemal, which means idiom or tongue, is deeply connected to communication and diversity. For all its risk-taking approach and keen sense of atmospherics, Solborg’s neatly-organized yet intriguing project deserves attention.

Favorite Tracks:
02 - Southern Swag ► 03 - The Wires ► 04 - Cantamos

Emiliano D'Auria - The Baggage Room

Label: Via Venetto Jazz, 2024

Personnel - Dayna Stephens: tenor saxophone; Philip Dizack: trumpet; Emiliano D’Auria: piano; Rick Rosato: acoustic bass; Kweku Sumbry: drums.

For his Brooklyn-recorded album, The Baggage Room, Italian pianist and composer Emiliano D’Auria assembles a formidable quintet rounded out by American musicians. The album features a dynamic frontline composed of first-caliber improvisers—saxophonist Dayna Stephens and trumpeter Philip Dizack—while bassist Rick Rosato and drummer Kweku Sumbry join the bandleader to form a cohesive rhythm section. Consisting of nine gorgeous D’Auria compositions, the album pays tribute to the Italian and European migrants who left their homelands in the late 19th and early 20th centuries in search of a better future in America. 

The narrative opens with impact, as the first two tracks make an immediate impression. The title track, “The Baggage Room”, showcases rhythmic accents reminiscent of electronic music, underpinned by a snare-driven marching impetus and ecstatic horn lines that carve out compelling melodies. After an introspective passage where Stephens and Dizack alternate solos, the two horn players juxtapose their voices in a vibrant dance athletically underpinned by the rhythm team. “1891: Ellis Island”, introduced by Sumbry’s assertive drumming and marked by a strong piano-bass alignment, evolves with a danceable rock-tinged progression that serves as a springboard for Dizack’s expressive brilliance. Stephens follows with a more meditative solo, supported by D’Auria’s sparse harmonic textures.

“Temporarily Detained” emulates the tension and uncertainty faced by detainees at Ellis Island through taut, incisive melodic lines. A descending trumpet motif evokes “The Peacocks”, before the piece bursts into a frenzied swing, concluding on a 12-beat vamp. “Searching For the New World” conjures an Enrico-Rava -meets-Mike-Turner landscape, while “The Story of Sacco and Vanzetti”—inspired by the two anarchist laborers controversially convicted and executed in 1927 Massachusetts—cracks into classic hard-bop with a moody swing, channeling the vibes of Lee Morgan, Art Blakey, and Kenny Dorham. The horns are stellar here, improvising fluidly over an articulated mesh of piano, bass, and drums.

While “The Long Wait” is largely a piano trio ballad, the horns catch up in the final section for a touching resolution. then “Third Class” begins with a sustained bass pedal, a fine ride cymbal pulse, and unison folk-tinged melodies before shifting moods via reverb-soaked transitions that sweep across the stereo field.

D’Auria’s American adventure has culminated in a strong album, crafted by a simpatico unit energized by the commanding presence of its frontline.

Favorite Tracks:
01 - The Baggage Room ► 02 - 1891: Ellis Island ► 03 - Temporarily Detained

Ches Smith - Clone Row

Label: Otherly Love Records, 2025

Personnel - Mary Halvorson: guitar; Liberty Ellman: guitar; Nick Dunston: bass, electronics; Ches Smith: drums, electronics, vibes.

Ches Smith, a tremendously gifted drummer and composer who’s unafraid to embrace the ingenious intricacies of postmodern music, leads a fantastic new quartet featuring two exceptionally creative guitarists—Mary Halvorson and Liberty Ellman—and the sturdy bassist Nick Dunston. Clone Row, the follow-up to Laugh Ash (Pyroclastic, 2024), opens up a new level of musical experience, pulling us into hip sonic realms tied to contemporary hybridity. 

The album starts by pushing boundaries in all different directions with “Ready Beat”, an electrifying piece that incorporates elements of alternative electronic music, rock-infused swagger, and a motorik-like rhythmic drive. The two guitarists—whether working with the same ideas or taking alternative paths of their own—sound almost too good to be true, delivering tightly coordinated passages and adventurous improvised segments. “Abrade With Me” emerges with guitar shredding and bilateral harmonic currents, supported by agile bass lines and syncopated drum kit attacks. The quartet’s synergistic impact gives rise to countermovements and undercurrents that merge progressive rock, EDM, and even hip-hop aesthetics.

“Clone Row”, composed using a twelve-tone row and contrapuntal methods, glows with an entrancing beat and nu breaks, eventually settling into a vamping 12-beat cycle. Meanwhile, “Heart Breakthrough” features parallel guitar-vibraphone activity, drum machine, ringing tones, and deft guitar runs. Its layered sonic world channels an African sensibility through the inclusion of vibes, all surrounded by a cloud of tasteful electronics.

“Play Bell (For Nick)”, a rock number in five with a zany intro, is similarly rich in electronics, while “Sustained Nightmare” has a few forces pulling it apart, with shifting arpeggiated chords set against a tardy flow of bass notes. This creates an intelligent soundscape of experimental art-rock fused with groovy trip-hop ambiance.

Something truly clicks between these four musicians - their advanced musicality, precision, and interplay are fundamental to the album’s success. Unleashing greatness in his drumming style, Smith crafts off-kilter yet locked-in grooves that serve as the propulsive engines of his compositions. His music grows increasingly adventurous and inventive, even when anchored in simplicity. Clone Row is a gem of modern creative music.

Favorite Tracks:
01 - Ready Beat ► 02 - Abrade With Me ► 05 - Heart Breakthrough ► 06 - Sustained Nightmare

Philippe Massé - Le Vent

Label: Self produced, 2025

Personnel - Philippe Massé: double bass; Sacha Desjardins: piano; Alexandre Massé: drums; Mohamed Masmoudi: oud (#1,3).

Montreal bassist Philippe Massé offers a relaxing set of music influenced by Middle Eastern traditions as well as Latin and jazz music. His appreciation for artists like Avishai Cohen, Shai Maestro, Dhafer Youssef, and Petros Klampanis is reflected in original compositions filled with warm emotional tones.

Philippe leads his trio—featuring his brother Alexandre Massé on drums and Sasha Desjardins on piano—with a solid foundational anchor and an improvisational spirit. The latter factor is further enriched with the presence by guest oud player Mohamed Masmoudi on two tracks.

Masmoudi brings the poignantly unique flavor of Eastern music to “Fall”, weaving quarter tones into beautiful melodies over a steady 4/4 pulse, and “Le Vent”, which, bearing almost a pop song spirit and harmonic circularity, feels entirely distinct. A tandem passage for piano and oud precedes a short bass soliloquy, and the group channels both exotic and romantic tones alongside hints of blue and melancholy.

“Wav” unfolds with epic contours, marked by insistent rhythmic calls and narrative fluidity. A shift in mood leads to a bass solo over terse, staccato piano chords and percussion, and the piece ends with crystal cymbal washes. “Memories” carries a tango-ish vibe, with Desjardins’ pianism exemplifying the trio’s versatility.

“Am” sounds even bolder with its seven-beat cycles providing a flexible framework for improvisation and recursive patterns, while “From the Moon” radiates a calming vibe, always supported by Alexandre’s impressionistic brushwork.

There are fundamental qualities in each section, orchestrated with distinct harmonies, timbres, and interplay. The group brings a tantalizing array of inspirations to the table, making Le Vent a soothing and evocative listen.

Favorite Tracks:
01 - Fall ► 02 - Wav ► From the Moon

David Bixler Trio Incognito - Incognito Ergo Sum

Label: Self released, 2025

Personnel - David Bixler: alto and soprano saxophones; Dan Loomis: bass; Fabio Rojas: drums.

American saxophonist David Bixler has been living in New York for 30 years, where he cut his teeth touring with vibist Lionel Hampton, pianist Toshiko Akiyoshi, and acclaimed Cuban composer Chico O’Farrill. His latest album, Incognito Ergo Sum, blends meticulously crafted composition with improvisation in a boundary-crossing, free-wheeling set of originals, plus a take on Jerome Kern’s “Nobody Else But Me”. His cohesive Trio Incognito features a creative rhythm section of sought-after musicians and bandleaders: Brooklyn-based Dan Loomis on bass and Venezuelan Fabio Rojas on drums. The album follows the trio’s debut Inside The Grief (Bixxlixx, 2020).

“6.29.21” opens with a 16-beat cycle saxophone riff delivered with aplomb and crisp precision, revisited several times along the way. Loomis and Rojas sustain a great rhythmic drive, while Bixler expresses casual thoughtfulness without resorting to unnecessary fireworks. The bass solo blends articulation with natural melodicism, and the drummer’s expansion generates a controlled storm. “Recycled” features expedite changes of pace, shifting the tempo into higher gear, while “You Are Ma King” revolves around a clear-cut thematic idea, etched with a sinuous edge, and culminating in a fine drum solo. 

“What’s At Hand” showcases the balladic side of the trio—with a soft saxophone glow, conscious bass breathing, and brushed skins—before swinging eloquently in the wake of Loomis’ improvised dissertation, steadily gaining momentum with its firm, bouncy step. The trio crafts a fluid storytelling approach on “Old Dog New Bix”, feeding off the tune’s melodic candor.

“Liminal Space” and “Johnny Cope” stand out among the album’s best-written pieces. Both refine the trio’s sound and push it forward by integrating elements of Venezuelan folk tradition and Eastern nuance. The former features Bixler on soprano, floating over a silky Latin tapestry, while the latter relies on clear, warm cymbal work, soprano sax chants, and bass pliability to create an Eastern-infused dance, with elastic stretches from Bixler and Loomis over Rojas’ dynamic drum responses.

True to form, these tunes—anchored by well-defined riffing themes and ample room for solo expansions—showcase the majesty of Bixler’s compositions and the musical prowess of his trio.

Favorite Tracks:
01 - 6.29.21 ► 03 - Liminal Space ► 11 - Johnny Cope

Sean Imboden Large Ensemble - Communal Heart

Label: Self released, 2025

Personnel - Sean Imboden: tenor and soprano saxophone, composition, direction // Woodwinds: Matt Pivec (alto, soprano, flute); LaMont Webb (alto, flute); Mark O'Connor (tenor, soprano); Cecily Terhune (tenor); Evan Drybread (baritone, bass clarinet) // Brass:  Clark Hunt, John Raymond, Scott Belk, Kent Hickey (trumpet, flugelhorn); Tucker Woerner, Andrew Danforth, Chaz Rhodes (trombone) // Rhythm Section: Chris Pitts (piano); Joel Tucker (guitar); Rich Dole, Nick Tucker (bass); Cassius Goens (drums). 

Indianapolis-based saxophonist, composer, and bandleader Sean Imboden returns to creative music after years playing in Broadway shows and touring. His 18-piece large ensemble, assembled in 2017, demonstrates remarkable cohesion in five original tracks brimming with bold ideas.

Communal Heart, whose title pays homage to the band itself and its origins, opens with the swirling, kaleidoscopic “Fire Spirit”, whose sense of urgency and striking energy is palpable in its straight eight feel. The dynamics shift throughout, veering into soaringly atmospheric passages before becoming richly cinematic. The solos feature trumpeter John Raymond, followed by Imboden on tenor, who declaims graciously over layers of woodwinds and brass, supported by a funky guitar strut as rhythmic foundation.

“Dance Inquiry” is a breezy folk dance in five, spotlighting Imboden’s woody soprano sound alongside trombonist Andrew Danforth, while “Someone to Watch Over Us”, featuring Matt Pivec on alto saxophone, offers a hopeful response to the tumultuous political times we live in today, with finely layered sounds.

The challenges of following a creative musical path are numerous, but so are the rewards. Two pieces where that sensation is evident are “Certified Organic”, which, adhering to the fusion’s genre mentality and boosted by guitarist Joel Tucker’s fantastic sound and articulation, feels like a boost of vitamins; and “Portal Passage”, a Dave Holland-like number in seven, offering shifting moods for the soloists—in this case tenorist Mark O’Connor, pianist Chris Pitts, and a conjoint operation by baritonist Evan Drybread and trumpeter Kent Hickey. It concludes with a beautiful solo piano section.

For Imboden, the transformative experience of opening himself to new scenarios yields productive results, as carefully selected elements overlap and intersect to form colorful patterns. This is a solid big band jazz release that confirms Imboden as an interesting composer to follow.

Favorite Tracks:
01 - Fire Spirit ► 03 - Certified Organic ► 05 - Portal Passage

Finn Wiest Quintet - Aurora

Label: Self released, 2025

Personnel - Julius Van Rhee: alto saxophone; Victor Fox: tenor saxophone; Leandro Irarragorri: piano; Calvin Lennig: bass; Finn Wiest: drums.

By listening to Aurora, the debut album by Finn Wiest, a German-born, Brooklyn-based young drummer, one immediately sense that he and his band are unafraid to take risks. The album features one composition by each member of Wiest’s working quintet, which includes saxophonists Julius Van Rhee and Victor Fox, pianist Leandro Irarragorri, and bassist Calvin Lennig.

The predominant contemporary vibes and urban feel are promptly felt in Lennig’s “Old Kid”, which opens the album with soulful, horn-driven intensity. The piece is masterfully crafted with a magnetic rhythmic drive, well-placed accents, creative melodic expression, and absorbing solos by Van Rhee and Fox. Irarragori’s “Aurora” exhibits a natural flow and relaxed confidence, even with odd meter and shifting cadences. 

Wiest’s “Waltz” remains constantly in motion, offering an ear-pleasing journey elevated by Irarragorri’s imaginative harmonic construction while comping his own solo. The group digs in with enthusiasm on Fox’s “Giga”, performed with intense focus while following an eager melodic trajectory. It’s an uptempo burner adorned with interesting intervallic leaps and colored with avant-garde abstraction, yet it never relinquishes its kinetic zest for long.

The album closes with Van Rhee’s “Zu Viel”, a structurally perceptive and thematically persuasive piece that adopts a pronounced Latin tinge after a tenor sax solo marked by motivic sensibility.

Though short on tracks, Aurora is an album (or should we call it an EP?) where nothing unfolds predictably — and I mean that in the best possible way. We can only hope Wiest has more in the pipeline for his sophomore album as a leader.

Favorite Tracks:
01 - Old Kid ► 04 - Giga ► 05 - Zu Viel

Joshua Redman - Words Fall Short

Label: Blue Note Records, 2025

Personnel - Joshua Redman: tenor and soprano saxophones; Paul Cornish: piano; Philip Norris: bass; Nazir Ebo: drums // Guests: Melissa Aldana: tenor saxophone (#2); Skylar Tang: trumpet (#5); Gabrielle Cavassa: vocals (#8).

Charismatic saxophonist and composer Joshua Redman assembles a new rhythm section of young players for his latest quartet outing, Words Fall Short, following his vocali-infused album Where Are We (2023). Superior to Redman’s previous effort, the album comprises eight carefully curated pieces, three of which are elevated by influential guest appearances. 

“A Message to Unsend” has a delicate essence, shaped by pianist Paul Cornish’ arpeggiated style, consonant articulations by Redman and bassist Philip Norris, and the sensitive drumming of Nazir Ego. There’s something classical, even bolero-infused in the works, and the music flows with hymn-like, breezy tones, showcasing solos from Cornish and Redman, which unfold over a cultivated musical terrain. 

Several pieces were composed during the pandemic, evoking a mood of sadness and melancholy—most evident on the album’s closer, “Era’s End”, a piece built with a slow, sustained drama, featuring Gabrielle Cavassa’s warm voice and a finely brushed drum texture.

“So it Goes” is a standout, featuring saxophonist Melissa Aldana in spirited dialogue with Redman. The piece is marked by zealous interactive dynamics and rapturous improvisations, standing above the rest. Yet “Icarus”, with trumpeter Skylar Tang as a guest, is also remarkable. An odd-metered piano riff is maintained against a steady beat, while the jubilant melody hovers over an infectious rhythm, anchored by a robust harmonic arrangement. Naturally, we witness a fiery exchange between the horn players.

Both the title track, “Words Fall Short”, and the soulful ballad “Borrowed Eyes” exude a soaring, skipping-through-clouds feel. The former, with Redman on soprano, flows in triple meter after an explanatory bass intro. The latter, melodically framed by tenor saxophone, is crisply supported by a brush-driven backbeat.

Redman returns to soprano on “She Knows”, assuming the lead role as he explores the full range of his instrument. The composition begins with a stealthy, methodical lyricism but unexpectedly veers into the avant-garde realm of jazz, gradually intensifying its chops over time.

The music on Words Fall Short doesn’t take long to get under your skin. Picking up where he left off, Redman elevates the material with a sharp, intuitive band that, built to last, demonstrates remarkable artistic maturity while faithfully serving the vision of its leader.

Favorite Tracks:
02 - So It Goes ► 05 - Icarus ► 07 - She Knows

Ivo Perelman & Matthew Shipp String Trio - Armageddon Flower

Label: Tao Forms, 2025

Personnel - Ivo Perelman: tenor saxophone; Matthew Shipp: piano; Mat Maneri: viola; William Parker: double bass.

The association of saxophonist Ivo Perelman and pianist Matthew Shipp spans three decades and continues to yield fresh results. On their latest effort, Armageddon Flower, the two industrious artists match wits with expert string players: violist Mat Maneri and bassist William Parker. The quartet takes full advantage of their instruments' range and timbres, embracing nonlinear structures that make the music feel both through-composed and spontaneously conceived. 

Their free styling remains compelling, emotionally stirring, and artistically inspired—enough to keep listeners’ ears wide open throughout a session that opens with dark textures, despite the uplifting title “Pillar of Light”. It's difficult to discern whether Perelman's saxophone is weeping in agony or rejoicing in ecstasy. Yet a sense of desperation—and at times resignation—emerges from the saxophone-viola interactions, which are filled with magnetic motivic strategies and strident cries, all layered over the cerebrally paced harmonic flow generated by Shipp’s nimble fingers. A variety of ideas are unleashed in this eruptive blend of modern classical, chamber jazz, and free improvisation.

“Tree of Life” is another study in contrasts. The sax-viola introduction is backed by steady piano steps, which gradually ascend heavy slopes into tonally low-pitched motion with an accelerated heartbeat. Vigorous bass plucks, swirling piano pulses, and saxophone squeals move together in agitated bursts, and the volatile atmosphere shifts again later from accessible harmonies—delivered with broad elasticity—to dense sonic walls, smeared by the abrasive staccatos of saxophone and viola. The piece concludes in a restive mode. 

Perelman compares this music to reading the Book of Revelations in the Bible, and the title cut, “Armageddon Flower”, indeed exudes a sense of transcendence, thanks to Shipp’s inventive pianism and Parker’s freedom to soar. Some rhythmic patterns feel deeply tribal—in the sense of pure African origins—while others are distinctly contemporary, resonating with the complexities of 21st-century free jazz. “Restoration” closes the session with Shipp in command, beginning with thunderous blows in the piano’s lower register before gently resolving into a moment of absolute melodic reverie. Midway through, we’re treated to resonant mutual bowing from bass and viola. Aiming high, Perelman and Shipp break new ground with this configuration. 

Favorite Tracks:
01 - Pillar of Light ► 03 - Armageddon Flower

Michael Dease - City Life

Label: Origin Records, 2025

Personnel - Michael Dease: trombone; Linda May Han Oh: bass; Jeff ‘Tain’ Watts: drums; Brooklyn Dease (disc1: #1,4); Nicole Glover: tenor saxophone (disc 2); Geoffrey Keezer: piano (disc 2); Jared Beckstead-Craan: bass (disc2: #4,6).

If you’re in the mood for consummate straight-ahead jazz that flows as crisp as a mountain stream, then trombonist Michael Dease’s City Life will certainly satisfy. Dease, a Michigan native, pays tribute to fellow Michigander Gregg Hill, a gifted composer whose work has also been interpreted by bassists Rodney Whitaker and Dave Sharp. City Life is a double album, with the first disc spotlighting a core trio—bassist Linda May Han Oh and multifaceted drummer Jeff ‘Tain’ Watts, recording together for the first time— and the second disc expanding into a quintet with saxophonist Nicole Glover and pianist Geoffrey Keezer. The set also includes covers of tunes by J.J. Johnson, Sharel Cassity, Greg Tardy, and Emily Remler.

It is important to note that there’s plenty of bounce and energy throughout. Disc one opens with “Willow Walks In”, a 12-bar blues rendered with a prominently groovy feel. “City Life” bustles with swinging vivacity before Dease and Oh trade fours with Watts. “Movie Theme” features the sweet voice of Dease’s young daughter, Brooklyn, alongside a nice trombone solo. Sharel Cassity’s “Say Whaaat” is delivered with jaunty lilt and upbeat spirit, while JJ Johnson’s swoony tune “Sweet Georgia Gillespie” turns into a hard-swinging romp, magnified by melodically inventive improvisations from the trio. My favorite piece, however, is “Danger Zone”, which features harmonious synchronicity between trombone and bass, propelled by Watts’ thrilling groove.

Disc two is even more colorful, offering streamlined dynamics without sacrificing grit. It opens with two excellent Hill compositions, “Tea Time” and “The Classic II”, both exuding refined harmonic appeal and vibrant soloing. Dease and Glover form a lively frontline, exchanging fours with Watts on the breakneck-paced “Skittles”. The album concludes with Hill’s “Lafayette Square”, but not before another rendition of a JJ Johnson’s piece - the tenderly brushed ballad “Enigma”.

This is an undeniably strong record, a confident embrace of jazz tradition that finds Dease at the top of his game, joined by deeply seasoned musical partners.

Favorite Tracks:
03 (CD1) - Danger Zone ► 04 (CD1) - Movie Theme ► 01 (CD2) - Tea Time ► 02 (CD2) - The Classic II

Brandee Younger - Gadabout Season

Label: Impulse!, 2025

Personnel - Brandee Younger: harp; Rashaan Carter: bass; Allan Mednard: drums; Shabaka: flute (#2), clarinet (#3); Joel Ross: vibraphone (#3); Makaya McCraven: percussion (#3); Niia (#9); Courtney Bryan: piano (#7); Josh Johnson: saxophone (#10).

Grammy-nominated harpist and composer Brandee Younger is a spiritual colorist who favors a heavenly smooth texture over any form of wild improvisation. Deeply influenced by jazz harp pioneers Alice Coltrane and Dorothy Ashby, Younger also weaves elements of R&B and hip-hop into her music, making Gadabout Season her most personal work to date. Presented in a trio format with select guest appearances, the album notably features Younger playing the harp that once belonged to Alice Coltrane.

“Reckoning”, where a sweeping, hallowed harp resonates with power; “End Means”, featuring Shabaka’s glowing flute over a 10-beat cycle groove anchored by bassist/producer Rashaan Carter and drummer Allan Mednard; and “Discernment”, where an atmospheric psychedelia of sorts gains further dimension through saxophonist Josh Johnson’s well-placed multiphonics—all emerged from sketching and improvising at the close of home sessions.

“Breaking Point” thrives on a gripping bass groove around which the entire piece revolves. It leans into a funkier aesthetic, enhanced by jazzy undertones and some atypically adventurous plucks from the bandleader. The title cut, “Gadabout Season” (a gadabout being a carefree pleasure-seeker constantly in motion), is intended to embody joy, guesting vibraphonist Joel Ross, percussionist Makaya McCraven, and Shabaka on clarinet. Despite its compelling lineup, peculiar pacing, and staccato patterns, the piece didn’t resonate with me as much as “New Pinnacle” or “Surrender”. The former is an R&B-inflected ballad shaped by dulcet melodies and woozy bass wobbles, creating a velvety texture, while the latter—written for pianist Courtney Bryan, who soulfully discourses here—is imbued with divine consciousness and plenty of light.

If “BBL” adopts a funky groove within its modal R&B framework, then “Unswept Corners” leans fully into soul, tempered by Niia’s ethereal vocals. The spacious, spiritual vibe is a constant throughout, giving Younger’s music a peaceful, uplifting, and luminous aura.

Favorite Tracks:
06 - New Pinnacle ► 07 - Surrender ► 09 - Unswept Corners