Chris Van Voorst Van Beest Trio - Bye Design

Label: Adhyaropa Records, 2026

Personnel - Chris Van Voorst Van Beest: bass; Zach Lapidus: piano; Nathan Ellman-Bell: drums.

New to me, Chris Van Voorst Van Beest is an American bassist and composer living in Brooklyn, New York. A member of the Danny Fox Trio since 2011, he also recorded with the late Frank Kimbrough on the vinyl-only album Meantime (2021). Here, joining forces with pianist Zach Lapidus and drummer Nathan Ellman-Bell, he gives his compositions well-defined structures, infusing them with contrast, counterpoint, and a subtle sense of uncertainty.

The jauntily rhythmic opening piece, “DDT”, showcases his ability to blend chamber jazz and contemporary classical elements with complete naturalness. Impeccable synchronicity, contrapuntal interplay, and effortless interaction define the trio’s approach from the outset.

Not given to sudden mood swings or radical transformations, the trio shapes “Reactor” through velvety brushwork, a firm bass foundation, and lyrical pianism whose poignancy recalls Bill Evans. Continuing along a similar path, “Rainy Day Music” offers a bewitching affability in waltz form. Also set in 3/4, “Bye Design” feels nearly telepathic as the trio gradually builds a compelling density, culminating in particularly salient drumming toward the end.

“Pastiche” flows naturally despite its challenging 5/8 meter and intricate rhythmic interplay. Simultaneously grounded and exploratory, it finds Lapidus’ piano blending with—and soaring above—the strong internal engine created by Van Beest and Ellman-Bell. “Open Broken” feels somewhat anti-climactic in its impressionistic third-stream current, especially when contrasted with the more energetic “Three Moods”, which closes the album on an uplifting note. Its epic contours within an advanced post-bop framework recall the orchestrational ingenuity of Charles Mingus. Throughout, the trio’s consonant sonic language is enriched by sly, insinuating hooks delivered with intention and control.

A little more friction would be useful at times, yet Van Beest’s imagination continually feeds the trio with organic frameworks, tonal sophistication, and a strong compositional identity.

Favorite Tracks:
03 - Rainy Day Music ► 06 - Pastiche ► 10 - Three Moods

Simon Moullier - Ceiba

Label: Self released, 2026

Personnel - Simon Moullier: vibraphone; Lex Korten; piano; Rick Rosato: bass; Jonkuk Kim: drums; Keita Ogawa: percussion (#2,5).

Dexterous 32-year-old vibraphonist and composer Simon Moullier offers new revelations with a keen sense of balance on Ceiba, his sixth album as a leader. Drawing from a broad musical vocabulary, the France-born, New York-based artist takes credit for all of the album’s vitally engaging compositions, delivering music that feels both fresh and firmly grounded. Inspired by the ceiba tree—a symbol connecting time, place, and people—the album benefits greatly from the extensive live work Moullier has done with his working quartet, featuring pianist Lex Korten, bassist Rick Rosato, and South Korean drummer Jonkuk Kim. Japanese percussionist Keita Ogawa appears as a guest on two tracks.

The enveloping title track, inspired by a Mozambican drum groove, opens the album with modal sophistication, occupying a space somewhere between Bobby Hutcherson and Kenny Garrett. Both Moullier and Korten display penetrating lyricism in a piece whose complex thematic material sounds remarkably effortless and smooth on the ear. “Lotus Pt. 2” extends the ideas introduced in the first installment on Elements of Light (2024), unfolding as a soothing ballad propelled by brushwork and crowned by a gorgeous vamp-driven finale.

“Fuji”, inspired by the iconic Japanese mountain, feels as though post-bop and Latin music have merged, recalling the emotionally charged fusion side of Pat Metheny. The piece is distinguished by advanced improvisational language and Ogawa’s colorful percussion, which also enhances the Brazilian-flavored “Baião”, a harmonically rich composition whose melodic contours evoke both Djavan and Toninho Horta. Pushing in a slightly different direction, Moullier also cites Djavan as an influence on “Apollo”, where a triumphant six-beat groove takes command.

“Iron Giant” is another modal tour de force, built around a bright and inquisitive theme, with Rosato and Kim laying the ideal foundation for the sure-footed improvisations that follow. “Ancient Ones” radiates post-bop brilliance in a waltzing meter, shifting the music’s weight without increasing its density. Written in Peru and inspired by the Andes, it balances elegance with momentum. “Mr. Hutcherson” is an uptempo post-bop romp driven by Rosato’s snappy walking bass and Kim’s effervescent drumming, serving as an unmistakable homage to the late vibist Bobby Hutcherson.

With a highly percussive attack, Moullier seems to sing through his instrument, functioning both as a commanding improvisational force and as the glue that gives the ensemble its distinctive identity. A refined melodicist with an exceptionally fluid musical language, he continues to deepen and expand his artistic voice.

Favorite Tracks:
01 - Ceiba ► 02 - Fuji ► 03 - Iron Giant

Helen Sung Big Band - Oracles

Label: Sunnyside Records, 2026

Personnel - Trumpets & Flugelhorns: Tatum Greenblatt, Mike Rodriguez, Alex Norris, Nathaniel Williford; Trombones: James Burton III, Sara Jacovino, Willie Applewhite, Gina Benalcázar (bass); Saxophones: Dave Pietro (alto), Alejandro Aviles (alto), John Ellis (tenor), Nicole Glover (tenor), Andrew Gutauskas (baritone + bass clarinet); Rhythm section: Helen Sung (piano), Vicente Archer (double bass); Adam Cruz (drums), Samuel Torres (percussion). 

You’ll find exquisitely crafted arrangements conducted by trombonist Alan Ferber on Helen Sung’s big band outing, Oracles. The 17-piece ensemble tackles her original compositions alongside tributary renditions with lyrical grace and passion. Here, Sung pays homage to her former teachers at the Thelonious Monk Institute of Jazz, those who have most profoundly shaped her artistic journey.

With faultless attention to dynamics and timbres, she opens the album with “Convergence”, a marvelous piece culled from her album Sung With Words (Stricker Street, 2018). A beautifully layered introduction places Andrew Gutauskas’s robust baritone saxophone one step ahead, prior to trumpeter’s Alex Norris energetic solo, embellished by vibrant horn fills and orchestral excitement. The piece then settles into a swinging drive that invites Sung and tenor saxophonist John Ellis to build daring statements.

“Samba Da Gumz”, by legendary trumpeter Clark Terry, receives a chamber-like, horn-centered treatment that flows directly into “Positively C.T.”, Sung’s affectionate dedication to him. This animated, swing-infused romp features spirited solos from alto saxophonist Dave Pietro and trombonist Willie Applewhite before erupting into a trumpet-driven climax involving all four trumpeters over a galvanizing, double-time blues form.

Fully committed to the date, Ellis remains a central presence throughout, especially on the pieces honoring saxophone giant Wayne Shorter: on “Diana”, soprano saxophone and keyboards intertwine gracefully in a measured duet, while Sung’s “Wayne’s World”, flowing effortlessly in five, combines rich harmonic movement, rhythmic ingenuity, and compelling improvisations from tenor and piano.

Authoritative bass master Ron Carter is celebrated in “Mr. Virtuoso”, a time-shifting composition that highlights vigorous activity in the lower register while baritone saxophone and bass trombone solos unfold with commanding presence. The band also delivers Carter’s uptempo “R.J.” with equal measures of exhilaration and conviction.

The album concludes with Horace Silver’s “Peace”, a performance focused on the serenity of the melody without relying on featured soloists. But before that, one indulges in the Pianism triptych, dedicated to Barry Harris, Kenny Barron, and Herbie Hancock. “Pianism III”, propelled by sharp rhythmic accents and Torres’ Latin percussion, finds Sung trading fours with several horn players in one of the album’s most engaging exchanges. 

Sounding more mature and imaginative than ever, Sung rises to the occasion with dazzling virtuosity. Based on what unfolds throughout Oracles, her mentors have every reason to be proud of her sophisticated orchestrations.

Favorite Tracks:
01 - Convergence ► 05 - Wayne’s World ► 06 - Mr. Virtuoso ► 11 - Pianism III

Ocean Fanfare - Third Nature

Label: Barefoot Records, 2026

Personnel - Tomasz Dabrowski: trumpet; Sven Dam Meinild: alto saxophone; Richard Andersson: bass; Peter Bruun: drums.

Berlin-based free-jazz quartet Ocean Fanfare returns with Third Nature, the concluding chapter of its Nature trilogy. The chordless Danish-Polish ensemble, which featured American drummer Tyshawn Sorey on its auspicious debut album Imagine Sound Imagine Silence (2015), is comprised of trumpeter Tomasz Dąbrowski, alto saxophonist Sven Dam Meinild, bassist Richard Andersson, and drummer Peter Bruun. Co-leaders Dąbrowski and Meinild share compositional duties, drawing inspiration from anthropologist Anna Lowenhaupt Tsing’s influential book The Mushroom at the End of the World.

“Kristisk Stadie” places angular melodies over an irregular yet swinging momentum, energized by hearty snare drum bursts. The improvisational spotlight falls primarily on the frontline players, who also propel “Natskygge Ordnen” toward a rousing climax through a blend of popping articulations, terse phrasing, ceremonial trumpet calls, and well-executed saxophone multiphonics.

The rhythm section may occasionally feel fragmented on the latter piece, but its polyrhythmic drive on “Circular One” has a constructive nature. While contributing to a steady flux, Andersson becomes increasingly active and pulsating as the piece unfolds, anchoring the music with a four-note motif set against a six-beat cycle that accommodates both individual improvisation and tightly knit unisons. “Circular Two”, by contrast, takes its time to evolve within an abstract framework.

Where “Paper Mountains” derives its strength from sparse bass movement, crisp brushwork, and contemplative parallel lines—suggesting a form of plaintive balladry—“Quantum” finds Dąbrowski and Meinild eloquently shadowing and responding to one another until a methodical, consonant finale emerges.

Creating immersive atmospheres and haunting tension, Third Nature reflects on duration, perception, and transformation through a series of open-ended pieces. At the same time, it highlights Ocean Fanfare’s ongoing commitment to tonal experimentation, collective interplay, and exploratory improvisation.

Favorite Tracks:
01 - Kristisk Stadie ► 02 - Circular One ► 06 - Natskygge Ordnen

Florian Arbenz feat. Bill Frisell and Greg Osby - Quiet Lights

Label: Hammer Recordings, 2026

Personnel - Florian Arbenz: drums; Bill Frisell: guitar; Greg Osby: alto and soprano saxophone.

Swiss drummer and composer Florian Arbenz, known for his Conversation series, returns with Quiet Lights, featuring regular collaborator Greg Osby on saxophones and a new addition to his circle of musical associates: the remarkable Bill Frisell on guitar.

Boasting a deep Americana feel, “Homenaje” is layered with percussive dexterity, a coherent saxophone narrative, and a blend of bluesy and folksy guitar textures. Osby and Frisell drift in and out of the musical landscape before gradually bringing their lines into closer dialogue around the second minute. The trio becomes even more integrated as Frisell expands his chordal work, radiating beauty through his unmistakable tone. Osby responds with denser phrasing and a confident attack that heightens the tension, while the trio eventually plunges into a sleek, dance-like 12-beat rumba-inspired cycle. Also highlighting Arbenz’s affinity for Latin rhythms, “Rhumba” closes the album with a percussive pedal effect—emulating a bass line—and unexpected atmospheric gestures from Frisell, who subtly shapes the environment with electronics.

The mysterious “Chant” is initially underpinned by a sparse, dark-hued drone that, gradually allows light to seep in. Soft guitar textures are joined by shimmering cymbal colors and reflective soprano saxophone musings. The title track, “Quiet Lights”, carries a vibing quality and ambient pulse, weaving an elegant and refined texture. Arbenz employs custom-made percussion instruments alongside the drum kit, and the piece proves immediately accessible to the ear, much like “Lueget vo Berg und Tal”, a heartfelt reinterpretation of a traditional Swiss song reharmonized with cultivated taste.

On “Jammin’ in the Children’s Corner”, written by Arbenz for saxophonist Dave Liebman, the trio reveals especially compelling aspects of its chemistry. Here, rigorous preparation meets genuine spontaneity in an exhilarating journey marked by precise accentuation and a gravitational energy surrounding the alto saxophone lines over agile brushwork. Frisell’s punctuated observations emerge with sharp motivic instinct. “The Barradas Opening”, which alludes to Portuguese accordionist João Barradas, is a bluesy, groove-oriented slow burner distinguished by strong interplay and finely shaped unisons, bridging Americana and contemporary elements with ease.

Quiet Lights doesn’t really pack a punch, but unfolds gracefully without ever needing to force its impact, offering a charming and often introspective listening experience.

Favorite Tracks:
01 - Homenaje ► 02 - Chant ► 03 - Jammin’ in the Children’s Corner

Lakecia Benjamin - We Dream

Label: Artwork Records, 2026

Personnel - Lakecia Benjamin: alto saxophone; Oscar Perez: piano; Miki Hayama: piano; Elias Bailey: acoustic bass; Jonathan Barber: drums + Guests - Terence Blanchard: trumpet (#1,2); Chief Xian aTunde Adjuah: trumpet (#4); Sean Jones: trumpet (#3,6); Chris Potter: tenor saxophone (#6,8); Jeff Tain Watts: drums (#6); Hiromi: piano (#8,9); Tarriona “Tank” Ball: vocals, spoken word (#7); Bilal: vocals (#10); Kassa Overall: vocals (#10)

American saxophonist, composer, and bandleader Lakecia Benjamin responds to the present times and the world around her with We Dream, her sixth album as a leader. Determined to serve as a bright light in dark times, Benjamin expands her soulful musical language—venturing beyond the influence of the Coltranes here—with renewed purpose and the support of an impressive roster of guest artists.

“First Light” plunges into an atmospheric jazz ambiance, gradually brought to a simmer through spoken word and the aching trumpet cries of Terence Blanchard. The opening piece flows seamlessly into “Beyond the Dawn”, which paints a spiritual 3/4 modal landscape elevated by terrifically articulated solos from Benjamin and Blanchard, while drummer Jonathan Barber reinforces the track’s sweeping élan with expressive mallet work.

Exploring themes of isolation and endurance, “My Only” carries a modern jazz-hop sensibility enriched by shifting tempos and a strong contribution from trumpeter Sean Jones. “Mi Gente”, promoting collective unity, features another commanding trumpet voice: Chief Xian aTunde Adjuah, formerly known as Christian Scott. What begins with a soft R&B touch soon blossoms into a glorious Latin-infused section filled with exuberant unisons and swinging momentum.

Hip-hop and R&B are embedded in the DNA of the title track, which features spoken word by New Orleans poet Tarriona ‘Tank’ Ball. This fusion of styles remains vibrant on “Right Now”, where progressive soul singer Bilal and drummer-producer Kassa Overall join forces. Benjamin delivers a forceful, twangy solo here, infused with wah-wah effects and raw energy.

Saxophonist Chris Potter and pianist Hiromi are two especially welcome additions to the lineup. Potter propels “Dream Breaker” into ecstatic post-bop territory alongside Jones and drummer Jeff ‘Tain’ Watts. Hiromi, beyond grooving delightfully on “Hiromi Jam”, also energizes the funk-fusion dimensions of “Flame Keeper”, an eccentric and satisfying romp packed with playful synthesizer flourishes.

While juggling a wide range of genres, Benjamin rarely loses her grip in this contemporary treatise on both creativity and political consciousness. We Dream secures its place—right here and right now—within her increasingly significant body of work.

Favorite Tracks:
02 - Beyond The Dawn ► 04 - Mi Gente ► 08 - Flame Keeper

Pedro Molina - A Name I Knew

Label: Carimbo Porta-Jazz, 2026

Personnel - Hugo Ferreira: guitar; Miguel Meirinhos: piano; Pedro Molina: double bass; Gonçalo Ribeiro: drums.

Spanish-born, Portugal-based bassist and composer Pedro Molina reunites his working quartet—featuring Portuguese musicians guitarist Hugo Ferreira (subbing for Filipe Dias), pianist Miguel Meirinhos, and drummer Gonçalo Ribeiro—for a well-designed, artfully executed sophomore album centered on Alzheimer’s disease. Blending contemporary jazz with art-rock and alternative influences, the group evokes the conflicting sensations of forgetting and remembering, structure and freedom, reverie and reality.

Imbuing his eight original compositions with an organic and carefully balanced inner logic, Molina and his cohorts open the album with “Denial”, whose odd-meter pulse never compromises the ensemble’s effortless flow. Meirinhos and Ferreira understand their roles within the framework, skittering around the rhythmic core yet always landing exactly where they should. Despite what the title may imply, nothing here feels wasted or unresolved, and Ferreira’s solo—dreamlike on one side, piercing on the other—unfolds over a striding rhythmic cadence.

Exploring the possibilities of post-bop and alternative rock, “Acceptance” carries echoes of Radiohead in an emotionally charged ride through multiple metered passages whose timbral effects shape the tune’s texture. “I’m Not the Same” is sprinkled with polyrhythmic activity, subtle undercurrents, and a nuanced sense of motion throughout its unfolding.

“Será Que Não Há Mesmo” resembles a strange and inventive tango, driven by experimental determination, rhythmic punctuations, and openness. Rim shots and pizzicato bass combine immaculately within a broad emotional spectrum, and the tune naturally evolves into increasingly exploratory terrain. In turn, “Valadas”, with its rubato feel, atmospheric quality, and intimate interaction, emerges as a poignant ballad energized by a subtle rock undercurrent.

Another ballad, “Who Helps Me When I Can’t Remember Anything”—shaped as a polished waltz—closes the album with more reflection and lyricism than irreverence. Yet the standout track is the angular and persistently thrilling “Familiar As Fog”, which finds pure joy within its fragmented avant-garde process. Propelled by an erratic rhythmic pulsation, it later introduces dynamic wah-wah guitar lines over a steady pulse.

Each composition unfolds methodically and without excess, while the band’s commitment and control lend the project remarkable depth. Molina is a musician to follow.

Favorite Tracks:
01 - Denial ► 02 - Acceptance ► 06 - Familiar as Fog

Tyshawn Sorey - Members... Don't!

Label: Pi Recordings, 2026

Personnel - Adam O’Farrill: trumpet, electronics; Mark Shim: tenor saxophone; Lex Korten: piano; Tyrone Allen: bass; Tyshawn Sorey: drums.

Master drummer, multi-instrumentalist, and composer Tyshawn Sorey possesses a rare gift for blending composed and improvised material into richly rewarding forms. His new double album—recorded live at The Jazz Gallery—reimagines and reframes Members, Don't Git Weary, the landmark 1968 work by Max Roach, with the support of a brilliant quintet. Trumpeter Adam O'Farrill and saxophonist Mark Shim ignite the frontline, while the volcanic rhythm section features rising younger-generation talents: pianist Lex Korten and bassist Tyrone Allen. The result is astonishing—a series of expansive, long-form explorations shaped by open modal frameworks and fearless interaction. Like the album that inspired it, Members…Don’t! emphasizes resilience amid social unrest.

Stanley Cowell’s “Abstrusions” kicks off with a swirling dance between piano and trumpet, balancing convergence and divergence with remarkable fluidity. Sorey gradually folds drums and cymbals into the texture, integrating them organically into the evolving fabric, while Allen initially appears detached—an impression soon revealed to be deceptive. O’Farrill and Shim continuously push beyond conventional boundaries, darkening the sonic canvas without falling into haziness. Another Cowell composition, “Effi”, erupts into a blazing tour de force, with O’Farrill and Shim exchanging lines freely over the dense, overheated foundation. The music’s energy is utterly contagious, transforming the performance into a palpable act of collective resistance.

Bassist Jamie Merritt’s “Absolutions” begins with Korten’s unguarded pianism—simultaneously lyrical and abrasive—before O’Farrill enters with piercing commentary over dazzling chordal clusters. Strong polyrhythmic currents emerge, while tasteful electronic textures subtly enrich the modal atmosphere. Cowell’s “Equipoise” is divided into two parts bridging the transition between discs. Part 1 explores shifting meters, whereas Part 2—an 18-minute odyssey of luxuriant elaboration—features simultaneous trumpet-saxophone improvisations, a contemplative bass solo, an extraordinary piano dissertation buoyed by spirited cymbal splashes, and exhilarating bar tradings between O’Farrill, Shim, and Korten.

The second disc also includes “Libra” by saxophonist Gary Bartz, which the ensemble approaches from multiple perspectives, combining groove-heavy post-bop propelled by a firm backbeat with the spiritual intensity associated with Pharoah Sanders. Shim is particularly outstanding here, opening the improvisational field with husky-toned fluency and remarkable flexibility. Vocalist Fay Victor appears on the closing title track, adding another expressive dimension to the music.

Members…Don’t! burns with fierce conviction and creative urgency, emerging as a contemporary suite of tremendous vitality. Few musicians today possess Sorey’s combination of compositional sophistication, improvisational fearlessness, and experimental imagination. This is nothing less than a modern masterpiece.

Favorite Tracks:
01 - Abstrusions ► 02 - Effi ► 03 - Absolutions ► 06 - Libra

Joe Lovano - Paramount Quartet

Label: ECM Records, 2026

Personnel - Joe Lovano: tenor axophone, G mezzo soprano saxophone, tarogato; Julian Lage: guitar; Asante Santi Debriano: bass; Will Calhoun: drums.

Joe Lovano, a saxophonist and composer with an unmistakable touch and tone, introduces a new quartet—Paramount—working alongside guitarist Julian Lage, bassist Asante Santi Debriano, and Living Colour drummer Will Calhoun. Across seven tracks—five Lovano originals and two carefully chosen covers—the album creates expansive settings for conversational interplay and individual expression, balancing solid post-bop foundations with adventurous improvisational freedom.

With “First Song”, written by Charlie Haden, the quartet embraces the minor mode with almost mystical elegance. Introduced by a lyrical guitar prelude, the piece unfolds as a poignant, deeply beautiful ballad that breathes with longing and emotional warmth. Its harmonic cycle becomes fertile ground for expressive solos from Lovano—whose singing lines radiate melodic richness—and Lage, whose soaring phrases are packed with harmonic sense. The other cover, Wayne Shorter’s “Lady Day”—composed in honor of Billie Holiday—retains the romanticism and emotional gravity of the original while filtering it through a sophisticated post-bop lens.

Originally featured on Lovano’s 2001 album Flights of Fancy, “Amsterdam” ventures decisively into avant-garde territory. Looser and more ambiguous in structure, it favors improvisational exchanges centered on one or two instruments at a time. Lovano and Lage articulate the theme together before the music opens into simultaneous improvisation, later shifting into a bass solo over guitar textures and a saxophone meditation supported only by drums. Similarly unconcerned with conventional forms, “The Great Outdoors” rejects standard harmonic progressions in favor of spacious rubato exploration. Haunting, fluid, and open-ended, it finds Lovano weaving in and out of the ensemble texture with commanding soprano sax work.

The album’s rhythmic engine comes fully alive on “Fanfare For Unity”, an animated and playful piece elevated by Calhoun’s exceptional drumming. The quartet sounds genuinely exhilarated here, and that joy transfers directly to the listener through their sharp wit and dynamic interaction. In contrast, “The Call” adopts a more atmospheric approach: Lovano’s G mezzo-soprano saxophone pours out dense streams of notes over arco bass drones and nuanced percussion, while Lage’s serene guitar lines evoke rays of light piercing grey clouds. The piece closes with beautifully intertwined saxophone-guitar unisons.

The final track, “Congregation”, carries a subtle Americana flavor, allowing the quartet’s narrative sensibility and exploratory spirit to emerge through notes that shimmer and dance with melodic instinct, blues-inflected phrasing, and effortless cool. Lovano has always been an endlessly inventive musician with expansive creative horizons, and this Paramount Quartet reveals yet another compelling chapter in his prolific career. Marked by deep listening, trust, and instinctive communication, this music deserves the highest attention and admiration. 

Favorite Tracks:
01 - First Song ► 02 - Amsterdam ► 04 - Fanfare For Unity

Pat Metheny - Side-Eye III+

Label: Uniquity Music / Green Hill Records, 2026

Personnel - Pat Metheny: guitar, synth; Chris Fishman: keyboards, piano, organ; Daryl Johns: bass; Joe Dyson: drums + guests.

World-class guitarist and composer Pat Metheny establishes a fruitful partnership with keyboardist/organist Chris Fishman and drummer Joe Dyson on Side-Eye III+. This core trio—composed of younger-generation musicians with remarkable versatility—is further strengthened by bassist Daryl Johns, while Metheny also enlists 15 additional musicians and vocalists for the project, including harpist Brandee Younger and keyboardist James Francies (he contributes organ textures to the gospel and R&B-infused “Urban and Western”).

The opener, “It On It”, launches the album with kinetic energy and a superbly polished sound shaped by the trio’s extensive touring experience. Metheny’s unmistakable guitar tone propels the central riff forward, while Fishman supplies sleek harmonic momentum over Dyson’s restless, bubbling drumming. The piece thrives on strong thematic development, leading naturally into colorful patterns, soulful guitar improvisations, vocal embellishments, rhythmic staccatos, and fluid key changes. A calmer backdrop supports Fishman’s expansive synth solo before Dyson reasserts himself with explosive stamina ahead of the theme’s return.

“Don’t Look Down” emerges as one of the album’s true highlights—a marvelous 3/4 composition blessed with an irresistible groove and a memorable melody steeped in Americana. Metheny’s solos, alternating between crystalline clean tones and synth-inflected textures, soar over Dyson’s consistently impressive rhythmic work. “Make a New World” unfolds with warmth and a subtle gospel flavor, while “Se-O”, refusing to switch gears entirely, introduces Latin-tinged undercurrents without abandoning its contemporary jazz foundation. Fishman particularly shines on the latter, delivering a fluid fusion-style improvisation, but there are also incredible rhythmic accents, dynamic drum fills, and shimmering cymbal splashes.

Metheny’s compositions, at once haunting and forward-moving, encourage the ensemble to discover new freedoms through constant interaction and stylistic elasticity. Yet, the closing ballad “So Far So Good” offers a gentler, more introspective atmosphere, distinguished by the soothing resonance of Metheny’s acoustic guitar. His unwavering commitment to narrative expression, combined with the ensemble’s palpable dedication to the music, makes Side-Eye III+ a first-class addition to his ever-evolving body of work.

Favorite Tracks:
01 - It On It ► 02 - Don’t Look Down ► 03 - Make a New World

Hedvig Mollestad Weejuns - Bitches Blues

Label: Runne Grammofon, 2026

Personnel - Hedvig Mollestad: guitar; Ståle Storløkken: organ, synth; Ole Mofjell: drums.

With Bitches Blues—a clear nod to Miles Davis’ Bitches Brew—powerhouse Norwegian guitarist Hedvig Mollestad explores terrain that is noticeably less abrasive than on her previous releases. Her working trio has earned deserved recognition through both electrifying live performances and consistently balanced albums. Here, she leads her Weejuns trio with drummer Ole Mofjell and Elephant9 keyboardist Ståle Storløkken. Yet this second outing—a follow-up to Weejuns (2023)—doesn’t quite match the vitality of its predecessor, often feeling emotionally distant and strangely restrained. 

The title track, “Bitches Blues”, opens the album with a disciplined combination of funk, metal, and blues incisions. It is followed by “Compete Blir”, which lowers the temperature considerably, settling into a subdued psychedelic mood shaped by a steady slow-beat pulse, synth whispers, and anguished guitar cries.

“For a Moment I Thought I Could Hear You” drifts through an asymmetric, free-floating stream, while the rubato “Limite” unfolds patiently through bleak, depressive textures sculpted by organ, guitar, and drums, sketching faint melodic contours in the shadows. “Dynamax” injects more urgency into the record—a psychedelic power-metal excursion driven by a cyclical 5/4 groove. Mollestad unleashes a screeching guitar solo against expansive organ swells, while Mofjell’s prog-rock-informed drumming machinery propels the piece from below.

“Recollection of Sorrow” closes the album in an abstract ballad mode, featuring clean guitar tones and cymbal effervescence that, despite their translucence, push thin lyrical thread. Technically accomplished yet rarely exhilarating, Bitches Blues leaves the impression of an album that could have dug deeper emotionally and texturally in order to achieve a more compelling result.

Favorite Tracks:
01 - Bitches Blues ► 05 - Dynamax

Jo Berger Myhre - Penta

Label: Rare Noise Records, 2026

Personnel - Jo Berger Myhre: double bass, 8-string bass guitar, drum machine, additional synths; Morten Qvenild:  hyper(sonal), grand piano, synthesizers; Kaveh Mahmudiyan: tombak, daf, bandır; Jo David Meyer Lysne: guitars, una corda piano, electromagnets; Synnøve Sætre Hveem: vocals.

Norwegian bassist and composer Jo Berger Myhre approaches patterns, drones, and general ideas with curiosity on Penta, his third release for Rare Noise Records. The album, where cultures and disciplines intersect with remarkable fluidity, reunites the core quartet from Live Maneuvers (2023). Myhre specifically composed this music with keyboardist Morten Qvenild, percussionist Kaveh Mahmudiyan, and guitarist Jo David Meyer Lysne in mind, and their contributions become essential to the album’s immersive arc. Guest vocalist Synnøve Sætre Hveem appears on two tracks, adding further textural depth.

“Theme and Variations” opens by weaving emotional tapestries through piano, understated percussion, and bass, all suspended against a grainy white-noise backdrop. The piece feels like a meeting point between Olivier Messiaen and Philip Glass. “Abyss in B-flat Minor”, a tribute to Norwegian shoegaze band Serena Maneesh, unfolds like a meditation steeped in longing, while “Solo Improvisation”, with Myhre stepping fully into the foreground, provides one of the album’s finest moments—deeply grounded, introspective, and rich in tonal nuance.

Myhre, who alternates between acoustic bass—often played arco—and a vintage Hagström eight-string bass guitar, uses chordal textures and dexterous fingerpicking to broaden the music’s sonic possibilities. “Augmentation in G-flat” moves through a 5/8 pulse, combining radiant guitar currents, counterintuitive piano splashes, and astral synth effects while Hveem’s ethereal vocals occasionally merge with the keyboard’s lower register. Its fusion of jazz, ambient textures, and world-music inflections gradually dissolves into a floating atmosphere.

“Ancohemitonic Turn of Events” feels simultaneously ritualistic and spontaneous, incorporating syncopated drum machines, resonant bowed bass, and acidic synth bursts into a globally inflected electronic soundscape enriched by rhythmic noodling and whistled melodies. The album closes with “Ending on a Low Note”, whose title aptly reflects its poignant and mournful character. Small percussive eruptions and subtly Eastern melodic contours shape a lament of quiet emotional power.

Myhre’s music pulses with a vital, searching energy, exploring the fragile spaces between breath and sound. His patterned imprints, often reinforced by adapt post-production, casts an occasional spell.

Favorite Tracks:
02 - Augmentation in G flat ► 03 - Abyss in B-flat minor ► 05 - Solo Improvisation

Alexander Hawkins - No Nation But Imagination

Label: Intakt Records, 2026

Personnel - Alexander Hawkins: piano, synthesizer, sampler; Rhodri Davies: harp; Hamid Drake: drums; Nicole Mitchell: flute; Matthew Wright: turntables, live sampling.

With No Nation But Imagination, British pianist and composer Alexander Hawkins delivers a radical and fascinatingly complex work that may leave listeners wondering how its intertwining layers of piano, synths, harp, flute, drums, turntables, and samples fit together so naturally. Yet Hawkins—already proven capable of leading large ensembles (Togetherness Music) and engaging in adventurous duos with cellist Tomeka Reid, saxophonist Evan Parker, and vocalist Sofia Jernberg—continues to push boundaries, reshaping the language of modern improvised music through another ambitious and experimental undertaking.

“Solo Way Far Gone” opens the album in a restrained glide, its slightly distorted synth waves evoking obscure Sun Ra recordings. The real enchantment begins with “Resolution Each and Every”, a hypnotic Afro-jazz-rock excursion driven by a tight backbeat, magnetic groove, and chant-like flute lines. Drummer Hamid Drake constantly reshapes the rhythmic terrain, at times merging hip-hop-inflected pulses with echoes of global musical traditions.

“Mirror No Border” thrives on incisive abstraction and staccato-driven attacks. Expansive in its instrumental convergences, the piece gradually intensifies into an electrifying sonic buzz. In complete contrast, “Circles in the Celestial Garden” unfolds as a serene meditation on beauty and spirituality, pairing Rhodri Davies’ harp with Nicole Mitchell’s airy yet resonant flute.

“Lullaby Much Further” layers eerie humming drones, piercing synth textures, resonant toms and cymbals, and dreamlike flute passages into a haunting soundscape. Similarly flamboyant in its balance of restraint and excess, “Hocket Fierce Peaceful” rests upon celestial drones before shifting into a fanfare-like mode, carrying the listener through a dizzying carousel of hallucinatory sounds where spectral keyboards and propulsive drumming eventually give way to an exuberant march.

On “Joy Beyond Blazing”, Davies’ harp takes on the ferocity of an electric guitar against a backdrop of vigorous piano harmonies and tireless flute flights. “Open Sea Boat’s Land” returns to a hip-hop-driven boom-bap groove with funk undertones, incorporating Matthew Wright’s live electronics—including a muffled electric bass effect—alongside Hawkins’ sweeping piano gestures. The album closes with “Coda Over the Fence”, a soulful, gospel-inflected finale radiating the spiritual warmth of Abdullah Ibrahim’s South African-inspired chants.

No Nation But Imagination sounds unlike anything else—an avant-garde manifesto steeped in postmodern experimentation, unusual melodic logic, singular textures, and meticulous post-production detail. Hawkins, one of the most imaginative keyboardists in contemporary jazz, once again demonstrates how advanced technique and fearless creativity can yield music that is both intellectually challenging and deeply substantive.

Favorite Tracks: 
02 - Resolution Each and Every ► 04 - Circles in the Celestial Garden ► 06 - Hocket Fierce Peaceful ► 08 - Open Sea Boat’s Land

Olivier Le Goas Ensemble Pulse - The Chaining Loops

Label: Double Moon Records, 2026

Personnel - Frédéric Borey: saxophones; Médéric Collignon; cornet, voice; Gueorgui Kornazov: trombone; Michael Felberbaum: guitar; David Patrois: vibraphone; Yoni Zelnik: double bass; Olivier Le Goas: drums.

Intrepid French drummer Olivier Le Goas reunites his Ensemble Pulse—a high-spirited septet formed during a creative residency in 2021—to perform five new original compositions. A devoted explorer of odd meters, animated rhythmic patterns, and kinetic grooves, Le Goas delivers exactly that on The Chaining Loops.

His compositional strengths become evident from the outset in the expansive, constantly shifting title track. Vibraphonist David Patrois introduces the piece with an enchanting prelude before an asymmetrical pulse emerges, opening space for trombonist Gueorgui Kornazov’s improvisation. Chamber-like guitar-sax passages soon give way to another sharply accented odd-meter section, this time supporting a nervy cornet solo from Médéric Collignon, followed by a more cerebral soprano saxophone statement from Frédéric Borey. The orchestration continuously evolves, and the ensemble remains tightly unified in both melody and rhythm before settling briefly into a slower 4/4 passage over which guitarist Michael Felberbaum stretches out. The piece ultimately circles back to its origins, once again centering the vibraphone.

Played with uncanny intensity, “Direction” rests initially on a stern bass pedal point and unfolds in septuple meter, at times recalling the warm, expansive feel of the Dave Holland Quintet. Each musician fits seamlessly within the framework, and the track offers especially compelling guitar and saxophone improvisations over a rich chain of harmonies.

The polyrhythmic “Friction” thrives on curious juxtapositions and shifting tonal centers, while “Fifteen Miles” maintains the album’s rhythm-driven spirit even if it initially appears more restrained. Gradually, the ensemble reignites the momentum through a sequence of nine-beat cycles and an accelerated section that highlights Collignon’s expressive scat singing.

“Light in the Sky” closes the album on an uplifting note. Jazz fusion allusions emerge through vigorous drumming and an excellent vibraphone solo, while a soulful, catchy melody bridges into the cornet improvisation before rock and jazz merge once again with infectious vitality. The piece reaches ecstatic heights during its final coda, only to dissolve through Le Goas’ playful decrescendo.

Le Goas is the kind of musician who is constantly shifting gears rhythmically and texturally. His hyperactive pulse not only supports the soloists but also fuels consistently engaging interplay. In perpetual transformation across layered rhythmic cells, The Chaining Loops may feel dense and flamboyant at times, yet it remains a stimulating album to explore.

Favorite Tracks:
01 - The Chaining Loops ► 02 - Direction ► 05 - Light in the Sky

Harry Skoler - Echoes

Label: Red Brick Hill, 2026

Personnel - Harry Skoler: clarinet; Bill Frisell: guitar; Dezron Douglas: bass; Johnathan Blake: drums.

With a voice unmistakably his own, clarinetist and composer Harry Skoler traverses a variety of open-ended atmospheres, displaying an instinctive ability to merge traditional jazz language with contemporary sensibilities in ways that continue to shape his artistic identity. On his seventh album as a leader, Echoes—a tribute to his jazz heroes—Skoler is joined by guitar visionary Bill Frisell and reunited with the rhythm section from Red Brick Hill (Sunnyside, 2024): bassist Dezron Douglas and drummer Johnathan Blake. Produced once again by saxophonist Walter Smith III, the album draws from familiar ingredients while embracing a welcome sense of risk through occasional ventures into avant-garde territory.

“Evocation” and “Allusion”, two irresistibly poignant clarinet-guitar duets, open and close the album with understated beauty. Short atmospheric interludes appear throughout, but “Study in Orange”—dedicated to pianist Bill Evans—marks the first rhythmically compelling moment, propelled by the superb interplay of Douglas and Blake, who know precisely when to intensify and when to simply sustain the flow. Frisell settles into an introspective, cinematic mood, while Skoler’s clarinet lines evoke dreamlike imagery and quiet fantasy.

“JW, Michelangelo & 40 Cent Burger”—a tribute to pianist James Williams—features Douglas’ bass dancing gracefully over a lilting waltz pulse. The bassist initiates the improvisational sequence before Frisell contributes a highly methodical and texturally rich solo, followed by Skoler, who makes a vivid impression by pushing beyond conventional boundaries with passionate phrasing.

“Marian”, dedicated to pianist Marian McPartland, possesses the softness and elegance of velvet, while “Thank You”—for Teddy Wilson—may appear elusive in direction yet reveals intriguing rhythmic dynamics and groove interplay. “Waiting Patiently”, honoring clarinetist Benny Goodman, is stirred effervescently in a vamping 3/4 flux marked by a sturdy groove.

“Pow!”—a salute to vibraphone master Lionel Hampton—takes shape as a whimsical avant-garde excursion, centered on riff-based volleys against a slower harmonic backdrop and Blake’s restless percussive agitation. It also includes an unaccompanied drum passage. The quartet’s gift for expanding minimal material into richly textured interaction is equally evident on “Never Played in Syracuse”, dedicated to Miles Davis, a cyclical funk-infused pop-rock piece where Skoler improvises fervently over distorted guitar harmonies.

The quartet has developed a genuine musical empathy that radiates throughout the recording, making Echoes an album that rewards repeated listening.

Favorite Tracks:
02 - Study in Orange ► 03 - JW, Michelangelo & the 40 Cent Burger ► 11 - Pow!

Chris Potter - Alive With Ghosts Today

Label: Edition Records, 2026

Personnel - Chris Potter: tenor and soprano saxophone; Bill Frisell: guitar; Burniss Travis: electric bass; Nate Smith: drums; Rane Moore: clarinet; Zekkereya El-magharbel: trombone; Sara Caswell: violin. 

Chris Potter, a top-tier saxophonist and composer with a brilliant 35-year career in contemporary jazz, unveils a compelling new suite inspired by abolitionist John Brown’s Raid of 1859. The music addresses the complexities and contradictions of America within an encouraging, deeply expressive framework, where Potter’s full-bodied tenor sound emerges through surging solos marked by clarity, emotion, and conviction.

For this septet project, Potter assembles a remarkable group of musicians who share his fearless creative vision, many of them interpreting his compositions for the first time—among them guitarist Bill Frisell, clarinetist Rane Moore, trombonist Zekkereya El-Magharbel, violinist Sara Caswell, and bassist Burniss Travis, whose grounded presence anchors the music. The sole returning collaborator is drummer Nate Smith, who previously appeared on Underground (2006) and Imaginary Cities (2015) albums.

The album is framed by the two-part title track, “Alive With Ghosts Today”. The opening section offers a luminous, atmospheric canvas where composed lines unfold with rich color and resonance. Its concluding counterpart, imbued with a Coltrane-like spirit, draws on blues-inflected phrasing and American folk sensibilities.

“Osawatomie Brown”, a highlight, is a buoyant, multi-meter composition shaped by intricate form. Its refined jazz-funk character, with crossover appeal, rests on Travis’ five-note bass groove in 4/4, seamlessly interlocked with Smith’s supple drumming. Potter’s solo is particularly captivating, enriched by purposeful horn interjections, while Frisell contributes a distinctive voice within a subtly off-kilter, blues-based framework.

Activated by Travis’ introductory statement, “The Heavens in Scarlet” begins as a ballad before evolving into a gently grooving, almost reggae-like feel, enhanced by Caswell and El-Magharbel’s textural support. Frisell’s warm, Americana-tinged voicings permeate the piece, which pairs naturally with “This Earth Would Have No Charms for Me”, a chamber jazz waltz introduced by wistful guitar.

“Sister Annie”, named after Brown’s daughter, reintroduces a sleek, funk-inflected pulse with a hopeful, R&B-tinged atmosphere and bright harmonic shading. Meanwhile, “Into Africa” stands out for its dynamic time shifts, opening with a saxophone-led groove quickly taken up by the rhythm section, with Frisell’s exceptional comping underpinning Potter’s forward-looking improvisation. Equally striking, “Mine Eyes” unfolds like a modal work song, gradually building into a mesmerizing, tour-de-force saxophone solo. Its layered polytonal counterpoint—featuring trombone, clarinet, and violin—subtly draws from the melody of the marching song “John Brown’s Body”.

Advocating freedom and peace for everyone, Potter plays his absolute truth with harmonic rigor and wholehearted improvisation. For its message and artistry alike, Alive With Ghosts Today is a precious offering.

Favorite Tracks:
02 - Osawatomie Brown ► 06 - Into Africa ► 07 - Mine Eyes  

John Hollenbeck's George - Looking For Consonance

Label: Out Of Your Head Records, 2026

Personnel - Anna Webber: tenor saxophone, flute; Sarah Rossy: synth, voice; Chiquita Magic: synth, voice; John Hollenbeck: drums, glockenspiel, composition.

Claudia Quintet’s founder, John Hollenbeck, a fierce, focused, and highly innovative drummer and composer who often seems a step ahead of jazz’s vanguard, returns with his second album from the ensemble George—named after George Floyd—Looking For Consonance. The electro-acoustic group features synth players and vocalists Sarah Rossy and Chiquita Magic, alongside the exceptional saxophonist and flutist Anna Webber.

Difficult to categorize, the music traverses a postmodern landscape shaped by elements of synth-pop, electronica, idiosyncratic rhythmic designs, and open improvisation. “Bounce” is a striking ride that lands somewhere between eerie prog-metal and hallucinatory rave textures. Synchronized vocal lines, Hollenbeck’s explosive rhythmic foundation, and Webber’s menacing multiphonics and driving melodic force converge before dissolving into an extended, sustained drone.

The mercurial “Lewis”—dedicated to trombonist George Lewis—embraces shifting meters, incorporating synth-pop-rock passages in five, nimble septuple meter dances, and other intricate rhythmic cycles where the flute takes a central role. In contrast, “Nassam Alayna-Lhawa”, a composition by the Lebanese Rahbani Brothers, offers a gentle, diasporic expression of peace, delivered with clarity and warmth through Rossy’s Arabic vocals.

The ensemble’s revolutionary spirit peaks with “Norma”, a dark experimental piece built on saxophone–voice unisons and assertive rhythmic accents, and “George and Dee”, where strands of alternative synth-pop, new wave, and electronica-inspired experimentation evoke the legacy of artists like Gary Numan and Kraftwerk.

Hollenbeck infuses the album with layered rhythmic complexity throughout. Check out his work on “Porter”, where he lays down treacherous, counterintuitive undercurrents while ethereal vocal chants stay afloat. “Johnson”—a tribute to George F. Johnson—radiates a buoyant, groove-oriented energy, offering a more accessible nu-jazz moment, while “Wayne Phase”—a nod to Wayne Shorter—explores shifting intensities and stylistic breadth with a deep understanding of the honoree’s musical language and eclecticism.

Richly detailed, Looking For Consonance, may prove challenging for casual listen. Still, the group’s fluid command of odd meters and genre-crossing expression ultimately feels organic, inviting listeners to yield to its intricate rhythmic and improvisational allure.

Favorite Tracks:
01 - Bounce ► 04 - George and Dee ► 07 - Norma

Rodrigo Amado's This Is Our Language Quartet - Wailers

Label: European Echoes, 2026

Personnel - Rodrigo Amado: tenor and alto saxophone, bird water whistle; Joe McPhee: tenor saxophone; Kent Kessler: bass; Chris Corsano: drums.

Wailers marks the fourth installment by Portuguese saxophonist Rodrigo Amado’s This Is Our Language Quartet, whose long-developed musical empathy is evident throughout. Joe McPhee, on tenor, forms a compelling frontline with Amado—both granted ample solo space—while the rhythm section is in capable hands, with Kent Kessler on bass and Chris Corsano on drums, merging their voices within a broad, unrestrained harmonic landscape.

The title track—named after a poem by Amiri Baraka—opens with explosive force, plunging the quartet into a delirious cacophony from the outset, driven by a powerful bass surge and frenetic drumming. With inventive interplay and striking energy, Amado and McPhee weave playful staccatos into fully articulated phrases, diverging, reconnecting, and ultimately converging in a shared language.

“Hot Folk” features Corsano’s vibrant work across toms and cymbals, while Kessler’s tense arco passages gradually give way to a fuller, rounded pizzicato. McPhee’s restless, knotty tenor lines intensify the piece before it unexpectedly settles into a lyrical, ballad-like passage—reminiscent of an improvised jazz standard—once Amado joins in. Together, they shape melodies over understated cymbals and sparse bass motion. On “Violet Souls”, meditative saxophone lines float above a dark, nearly thunderous rhythmic foundation built from taut arco textures and agitated drumming, culminating in a burst of avant-garde energy.

Amado opens “Theory of Mind II (for Joe)”—a trio tribute to McPhee—with bird water whistle before shifting to saxophone, developing a motif-rich and expressive narrative across its full range. “Subterranean Night Color” offers a compelling drum improvisation alongside chamber-like passages rendered with atmospheric, painterly gestures. They are complemented by forceful saxophone explorations and solo drums. The album closes with “Blue Blowers”, centered on a clearly defined motif, its narrative loose and free, with enough latitude for the most whimsical idea to emerge and sound natural over the swinging motions.

Amado and his peers often keep the listener on edge, their relentless searching continually uncovering moments of genuine discovery.

Favorite Tracks:
01 - Wailers ► 02 - Hot Folk ► 03 - Violet Souls

Ben Wendel - BaRcoDe

Label: Edition Records, 2026

Personnel - Ben Wendel: tenor saxophone, EFX; Joel Ross: vibraphone, marimba; Patricia Brennan: vibraphone, EFX; Simon Moullier: vibraphone, chromatic balafon, EFX; Juan Diego Villalobos: vibraphone, mallet station, percussion, EFX.

In BaRcoDe, born from a commission by The Jazz Gallery, the accomplished and eclectic saxophonist Ben Wendel explores a bold instrumentation, assembling four mallet specialists—Joel Ross, Patricia Brennan, Simon Moullier, and Juan Diego Villalobos—to interpret five originals and one cover. Showcasing his confident tenor swagger, Wendel weaves together jazz, classical, and new music within an electroacoustic context.

“Clouds” opens the album as a lush homage to the minimalist aesthetic of percussion quartets, pairing ecstatic saxophone lines with uninterrupted streams of vibraphone. Its ternary feel enhances the tune’s exotic character, while the vibraphonists’ layered parts cohere with remarkable precision. “Mimo”, meaning ‘outside’ in Czech, finds Wendel navigating rhythmic dexterity in his soloing. Though the melody carries a strong folk inflection, its blues sensibility remains evident, supported by a percussion section that delivers groove across shifting meters.

For this project, Wendel drew inspiration from the Grammy-winning Sō Percussion ensemble, known for its collaborations with Vijay Iyer, Philip Glass, and Steve Reich. “Repeat After Me”, also featured on Kneebody’s 2025 album Reach, foregrounds unison lines and percussive effusiveness, gradually settling into a gentle groove that takes on a subtle Latin tinge. The vibraphone–marimba combination yields a particularly rich blend of harmony and rhythmic motion.

The extended rendition of Antônio Carlos Jobim’s “Olha Maria”, flowing with a delicate, undulating pulse, preserves the poignancy and reflective tone of the original within a finely crafted arrangement introduced by a memorable preamble. One of the vibraphonists states the main melody before Wendel joins, leading into a focused and emotive improvisation. In contrast, “Birds Ascend”, loosely inspired by British pianist Kit Downes and Scottish folk fiddler Aidan O’Rourke, is largely through-composed, showcasing virtuosic interplay centered on a quick-witted phrase that shifts in pitch.

The accompanists’ use of extended techniques, effects, and impeccable sense of time proves invaluable, reinforcing Wendel’s position at the forefront of expansive, 21st-century post-bop.

Favorite Tracks:
01 - Clouds ► 03 - Olha Maria ► 04 - Repeat After Me

Eric St. Godard - New Beginnings

Label: Self released, 2026

Personnel - Eric St. Godard: piano; Niall Cade: saxophone; Ilya Osachuk: bass; Kieran Wallace: drums.

Hailing from Winnipeg, Canada, pianist and composer Eric St. Godard leads a flexible quartet on his debut alum, New Beginnings. Across eight original compositions, the ensemble—featuring saxophonist Niall Cade, bassist Ilya Osachuk, and drummer Kieran Wallace—draws from a melting pot of influences, with jazz at its core.

“Lovely Rose” opens the album as a Wayne Shorter–esque 3/4 enchanter, favoring tranquility and lyricism over turbulence. The spacious atmosphere allows Godard, Cade, and Osachuk to stretch out with confidence. In a similar vein, “Home” stirs emotion with delicate nuance and subtle fragility, beginning in a rubato setting before settling into a gentle waltz for its improvisations.

Despite its hard-bop flair and lively theme, “Tippin’” bears no relation to Horace Silver’s tune of the same name, even if it shares a comparable spirit. Its energetic framework provides a platform for a cleanly articulated saxophone solo, initially unfolding over bass accompaniment alone. Meanwhile, “Changing Winds” offers a clear nod to Pat Metheny’s “Bright Size Life”, concluding with a reflective solo piano passage.

“Letter”, with its strong ballad character, crisp backbeat, and fusion-tinged expression, could easily be mistaken for a Metheny composition, showcasing well-developed phrasing rooted in diatonic harmony. The uplifting title track, “New Beginnings”, gets a separated, multi-rhythmic piano introduction, curiously longer than the piece itself, which opens with a chant-like saxophone line later matched by piano. It reveals a melody enriched by luminous harmonic color.

The album closes with “Chicken Strut”, which subtly evokes New Orleans jazz-funk through its direct melodic lines and splashy chordal accents, ending on an energetic note. The rhythm section swings assertively beneath Godard’s poised piano runs.

Though somewhat conservative in form and structure—occasionally feeling constrained—New Beginnings nonetheless introduces a promising new voice in jazz, one intent on blending styles and forging a personal path.

Favorite Tracks:
02 - Tippin’ ► 05 - New Beginnings ► 08 - Chicken Strut