Nebbia / Muruaga / Bäckström / Mustonen Quartet - Freefalling Latitude

Label: Self released, 2026

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

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

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

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

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

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

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

Label: Temperphantom, 2026

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

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

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

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

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

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

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

Otomo Yoshihide / Kei Matsumaro - Shutsumin

Label: Trost Records, 2026

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

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

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

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

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

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

Jeff Parker ETA IVtet - Happy Today

Label: International Anthem / Nonesuch Records, 2026

Personnel - Jeff Parker: guitar, electronics; Josh Johnson: alto saxophone, electronics; Anna Butterss: bass; Jay Bellerose: drums, percussion.

Chicago-based guitarist and bandleader Jeff Parker, a member of the post-rock band Tortoise and the Chicago Underground Trio as well as a sought-after sideman—having worked with Rob Mazurek, Joshua Abrams, Makaya McCraven, and, more recently, Flea—returns with his ETA IVtet project, featuring saxophonist Josh Johnson, bassist Anna Butterss, and drummer Jay Bellerose. Recorded live at the Lodge Room in Los Angeles, Happy Today features two long-form improvised tracks where the group demonstrates unfailing communication while organically exploring well-structured, static spaces.

“Like Swimwear” starts off with a 16-beat-cycle guitar riff and patiently expands through understated bass maneuvers, micro-detailed saxophone fluctuations that evolve into spiritual Coltrane-like staccatos, and delicate, never obtrusive drum work. Parker designs chromatic figures up and down the fretboard, while Bellerose shifts the rhythmic feel, drawing positive reactions from the audience. Johnson responds with circular movements on his effects-drenched saxophone. A few minutes later, Butterss sets a new groove, and Parker responds with a long-toned, flickering chord that supports the ambient if grooving atmosphere. By the end, the band injects a bluesy feel, gently fusing soul-jazz sensitivity with affable psychedelia.

Immersed in these grooving atmospheres, the group eschews outbursts in favor of circularity and speech-inflected long tones, keeping their ears wide open and making decisions in the moment. This is especially noticeable on the title track, “Happy Today”, where they seep into the listener’s consciousness with a sustained chord, sparse bass commentary, and soaring saxophone lines before adding tumbling toms, rattling percussion, and shimmering cymbal washes. A six-beat groove is topped by a guitar riff, with Bellerose opting for a backbeat-driven pulse over which Parker’s snake-charmer-like phrases unfold until they exhaust their possibilities. It all ends with a fine pulse in five outlined by Johnson.

Happy Today’s low-key charm is rewarding for those willing to cool down in its waters.

Favorite Track:
02 - Happy Today

Jay Matharu - Disillusion

Label: Self released, 2026

Personnel - Jay Matharu: guitar, keys; Erik Brandell: tenor saxophone; Christine Lanusse: bass guitar; Jacob Johnson: drums.

Jay Matharu is an eclectic British-born guitarist and composer living in Uppsala, Sweden. His bold sound reflects a strong connection to metal—he’s a member of the band Liv Sin—but Disillusion marks a turning point in his solo career, weaving prog-rock, fusion, jazz-funk, and R&B into a patchwork of influences shaped through carefully crafted arrangements. Each member of his quartet—tenor saxophonist Erik Brandell, bassist Christine Lanusse, and drummer Jacob Johnson—recorded the album’s eight original compositions remotely. The music emerged from Matharu’s Master’s research in Music Performance.

“Atrophy” is introduced in waltz time by Matharu, who is soon joined by Brandell as the music pivots into a 4/4 funk excursion. Both musicians splash a multitude of colors across the fluid rhythmic tapestry before returning to the opening 3/4 meter. “Bare” keeps the ternary feel alive, aligning saxophone and guitar in stimulating parallel lines. Brandell’s solo, imbued with adventurous melody, eloquence, and energy, invites us into compelling jazz fusion territory.

“Cog” reveals classical influences within a theme receptive to subtle tempo shifts. Johnson’s snappy drum fills carry a prog-rock attitude, pairing naturally with Lanusse’s popping bass grooves. The piece is fueled by Matharu’s chromatic runs in a thought-provoking meeting point between Joe Satriani and Rez Abbasi. The Indo-jazz-rock thread runs even deeper in “Chalo”, a kaleidoscopic mosaic unfolding through ten-beat cycles and paying tribute to Matharu’s late mentor, sitar player Pandit Sanjay Guha.

While “Deluge” features a memorable theme, a touch of Latin elation, and the bandleader’s metal-inflected soloing, “Butterflies” is a rewarding odd-metered exercise driven by throbbing bass lines and strong melodic development. The blazing guitar solo unfolds over a septuple-meter backdrop before launching into a metal-jazz romp fueled with high-octane energy. Throughout the album, Matharu and his band periodically reinvigorate the proceedings, with the closing “Bittersweet” standing as another fine example of dramatic shifts in rhythm and mood, moving from R&B soulfulness to jazz-funk audacity while leaving ample room for the drummer to stretch out.

Although the ideas on Disillusion emerged from improvisational exploration, the whole outshines the parts. Matharu is following a promising path.

Favorite Tracks:
01 - Atrophy ► 02 - Bare ► 07 - Butterflies

Ivo Perelman / Elliott Sharp / Cyro Baptista - Triacontagon

Label: Defkaz Records, 2026

Personnel - Ivo Perelman: tenor saxophone; Elliott Sharp: 8-string electric guitar; Cyro Baptista: percussion, vocals.

Triacontagon unites intrepid saxophonist Ivo Perelman, experimental guitarist Elliott Sharp, and resourceful percussionist Cyro Baptista in a recording that seems inspired by the rainforest. Their highly structured free jazz is filled with mystery and misty sonic landscapes, and it’s refreshing to hear Perelman reconnecting with his Brazilian roots, embracing a cross-genre approach with a contemporary edge, aided by Sharp’s remarkable range of textural possibilities.

On the opener, “Dionysus in the Amazon”, Sharp lays down snappy grooves in the lower register of his eight-string electric guitar while Baptista follows a ritualistic procession of rhythms that ranges from crisp rattles and bright metallic tinkles to deep, resonant vibrations. Perelman moves sinuously above them—employing shrills and trills, cyclical pirouettes, and urgent, punchy staccato attacks—further intensifying the dark, ominous atmosphere. He balances descriptive lyricism and provocative expression with complete authority. At times, however, the electro-acoustic flow is interrupted as quieter, electronics-infused soundscapes emerge.

The highly atmospheric “Sacred Geometry of the Tropics” features rippling ambient guitar textures interacting with gong-like percussion, flute-like sonorities, vocals, whistles, and, at one point, an extended cymbal continuum. Breath-cycling saxophone motifs and piercing intervallic leaps dance freely, leading to animated crescendos. “Inside a Broken Circle” and “Electric Bacchanalia” share a similarly dark harmonic palette, making effective use of Sharp’s poignant textures, Perelman’s wailing saxophone, and Baptista’s rattling percussion, occasional melodica, and jaw harp drones.

While “Irregular Forms in Humid Space” thrives on a weird beat, acute saxophone lines, and low-pitched percussion timbres—all ultimately bound together by exquisite guitar harmonies—“Disordered Continuum” sets heavy Brazilian rhythms against electronics-infused art-rock guitar and intense saxophone flurries.

The trio allows itself to drift through hypnotic sonic forests, its rapport sustained by compelling episodic cycles that leave ample room for the imagination while unfolding with complete abandon.

Favorite Tracks:
01 - Dionysus in the Amazon ► 03 - Inside a Broken Circle ► 04 - Electric Bacchanalia

Christopher Dammann - Dead Words

Label: Shifting Paradigm Records, 2026

Personnel - Jon Irabagon: stritch; James Davis: trumpet; Jim Baker: piano, ARP 2600 synth; Christopher Dammann: double bass; Mike Reed: drums.

Chicago-based bassist and composer Christopher Dammann has a very limited discography as a leader, but that shouldn’t discourage you from checking out his latest work, Dead Words. On this album, five spiritual contrafacts are reimagined by Dammann’s cohesive and highly synergistic quintet, featuring the incomparable talents of saxophonist Jon Irabagon, trumpeter James Davis, keyboardist Jim Baker, and drummer Mike Reed.

With stately grandeur, “Montrose B” is an assertive opener, a pure post-bop piece that dazzles and invigorates. Following a magnetic bass introduction, the attractive theme is brought to the fore by the horn players, who exchange ideas freely under the spell of the swinging vibrancy coursing beneath them. Characteristically outgoing on stritch, Irabagon takes the first solo with the force of nature—he has a special edge to his playing—followed by Baker, whose delicate lyricism unfolds through dreamy sonorities, and then Davis, who, eschewing unnecessary flourishes, relishes the fleeting Latin-inflected passages woven into the swing.

Interesting enough to keep you fully engaged, the Sunny Murray-inspired “Untitled” is a hymn to avant-garde expressionism, shaped by the spacious, woozy, electronics-infused glitches and feedback of Baker’s semi-modular ARP synthesizer. Dammann’s constantly probing bass supports cyclical saxophone bursts interspersed with terse trumpet commentary and incisive synth textures. “Two Themes for Improvisation” also features Baker’s asynchronous synth transmissions and Irabagon’s spontaneous saxophone interjections, yet it is Dammann who takes the lead with his resonant arco work. Reed’s thoughtful snare and tom patterns stand out as the group navigates an abstract limbo, moving between climactic peaks and serene atmospheres with equal assurance.

If the two previously described pieces showcase the group’s indifference to orthodoxy in favor of freer experimentation, “White Gladis”, with Dammann’s haunting bow sweeping across the bass strings, returns the music to earth, finding its footing through counterpoint. Its lilting, blues-inflected modal mood bears resemblance to works by Sam Rivers, Charles Tolliver, and Stanley Cowell. Yet the tune was inspired by bassist Paul Chambers. Irabagon’s timbral flamboyance finds the perfect foil in Davis’ more restrained yet perfectly articulated phrasing. Both are also prominently featured on the closing track, “This Is an Unraveling”, where Dammann beautifully states the melody after introducing it with a catchy bass figure.

Dead Words offers propulsively swinging, muscular music delivered with an ideal balance of discipline and freedom, feeling simultaneously nostalgic and forward-looking. The equilibrium achieved is masterful, leaving us hoping Dammann returns soon with more music of this caliber.

Favorite Tracks: 
01 - Montrose B ► 03 - White Gladis ► This Is An Unraveling

Willber Sunlight - Willber Sunlight

Label: Endectomorph Records, 2026

Personnel - Kevin Sun: tenor saxophone; Max Light: guitar; Simón Willson: bass; Aaron Seeber: drums.

Willber Sunlight is the recently formed quartet of saxophonist Kevin Sun, guitarist Max Light, bassist Simón Willson, and drummer Aaron Seeber. The album, which celebrates jazz tradition and the friendship between these New York-based artists, features one original composition by each member alongside four thoughtfully selected covers, showing that the band can illuminate the music of masters such as Thelonious Monk, Robert Schumann, and Horace Silver. 

Sun’s swinging romp “Belong, Sonny”, whose title is an anagram of Benny Golson’s name, is a contrafact of his classic “Stablemates”. Rhythmically defiant, the piece is anything but static, featuring impish soloing by Light and Sun. The latter’s improvisation unfolds with pitch-perfect articulation, inventive motivic development, and a soulful expressive quality.

Willson’s “Easy Listening” develops with cool assurance, bringing together elements of pop, rock, and jazz. Light and Sun alternate solos with a solid mutual understanding, engaging in a communicative musical dialogue. Light’s “Bagel” embraces a relaxed pace and unaffected demeanor while revealing subtle details that showcase not only his compositional adroitness but also the quartet’s cohesion.

The band puts a fresh face on “Tea For Two”, played with confident uptempo drive, and Schumann’s “Des Abends”, whose gentle cross-rhythms and jazz-inflected arrangement make it feel like an entirely new creation. Monk’s “Locomotive” is an earworm that favors propulsion over abrasion, swinging lusciously from beginning to end.

Following Horace Silver’s celebrated ballad “Peace”, anchored by Seeber’s thoughtfully sizzling brushwork and Willson’s illustrative bass foundation, the album concludes with Seeber’s bop-infused “Teranga Bounce”, a joyful tribute to Charlie Parker that sounds as though it could have come straight from the bebop era.

Willber Sunlight invites enjoyment without necessarily lingering in the memory. It is an engaging listen—an unambiguous ode to jazz tradition and its enduring vitality.

Favorite Tracks:
01 - Belong, Sonny ► 04 - Bagel ► 05 - Des Abends

Mat Maneri Quartet - Mist

Label: Sunnyside Records, 2026

Personnel - Mat Maneri: viola; Lucian Ban: piano; John Hébert: bass; Randy Peterson: drums.

Avant-garde violist and composer Mat Maneri is known for blending fragility and crisp friction within a subtly discordant, microtonal approach to music. Mist is the final installment of a trilogy that includes Dust (2019) and Ash (2023), continuing its exploration of heavy, noir-like textures that evoke grief and misery. His quartet features longtime associates: pianist Lucian Ban—who contributes four of the album’s eight compositions—bassist John Hébert, and drummer Randy Peterson.

The new album, unrelentingly gloomy, unfolds through a free-flowing discourse, with capriciously oblique gestures creating a sense of erudition and intimate vulnerability. Maneri’s “Through a Mist Darkly”, whose title nods to Ingmar Bergman’s emotionally complex drama Through a Glass Darkly—and also recalls the piece of the same name that Maneri recorded on the 1996 album Three Men Walking with his father, saxophonist Joe Maneri, and bassist Joe Morris—is wrapped in a melancholic veil. This pensive, lyrical meditation extends into his shadowy and grief-stricken composition “Achlys”, which references the Greek goddess of misery and mist. Here, Maneri injects greater tension and movement into his playing while Ban explores dreamy atmospheres before expanding into imaginative avant-garde flourishes.

Ban’s “A Piece of God” emanates a grateful serenity, revolving around a recurring thematic phrase over which Maneri’s tearful viola tremolos pierce the heart with quiet forlornness. The pianist also contributes “Mist”, an elusive tone poem anchored by Hébert’s spacious bass figure and Peterson’s understated drum colors, and “Paul Motian”, an abstract, floating, and exploratory homage to the late drummer, opening with bass and drums alone. Curiously, Maneri—who has long shared an affinity for Motian’s singular musical language—had already included a composition titled “Motian” on Dust.

Mist takes listeners out of their comfort zone as the quartet glides seamlessly between pitches with remarkable impressionistic finesse. Its main weakness lies in its unwavering devotion to a single atmosphere, offering too little contrast over the course of a slow-burning, 50-minute meditation that demands considerable patience from the listener.

Favorite Tracks:
03 - Achlys ► 04 - Mist ► 08 - Missed

Steve Swallow - Winter Songs

Label: ECM Records, 2026

Personnel - Chris Cheek: tenor saxophone; Mike Rodriguez: trumpet; Gil Goldstein: piano; Steve Cardenas: guitar; Steve Swallow: electric bass; Adam Nussbaum: drums.

At 85, Steve Swallow sounds as inspired as ever, maintaining the stylistic poise on electric bass, post-bop refinement, and functional compositional forms that have defined both his solo career and his work with his late partner in music and life, Carla Bley, as well as Jimmy Giuffre, Gary Burton, and George Russell. More meditative than exploratory, Winter Songs is his first album in a decade, featuring nine untitled original compositions. For the occasion, he assembled a group of simpatico musicians—a frontline of savvy melodicists comprising tenor saxophonist Chris Cheek and trumpeter Mike Rodriguez, alongside a solid rhythm section with pianist Gil Goldstein, guitarist Steve Cardenas, and drummer Adam Nussbaum.

What the sextet plays is consistently lucid and alive, beginning with “One”, a smooth, elegant post-bop piece elevated by Goldstein’s magnetic pianism. Rodriguez demonstrates his trademark fluency and articulation, while Swallow and Nussbaum engage in empathic interplay beneath the surface. The piece culminates in a thematic unison before leading naturally into “Two”, a 3/4 delight in which Swallow’s electric bass gently propels the flow over Nussbaum’s supple brushwork. The drummer is deeply musical, softly caressing the kit to create an effortless sense of cohesion.

You can feel Swallow reconnecting with elements of his musical past, and “Three”, a 4/4 ballad harmonically enriched by Steve Cardenas’ guitar, together with “Four”, whose radiantly blissful, bohemian character carries an elegant swing, reminds us that jazz—in its purest forms—is far from dead. At the outset, Cheek unfolds a glossy improvisation before joining Rodriguez in persuasive unison figures that pave the way for Goldstein’s charismatic solo.

Cerebrally constructed, “Six” is a swinging vehicle for the horn players to stretch out, “Eight” is a slow-burning meditation with Cheek taking the lead, and “Nine” closes the album in a gently mournful mood. Winter Songs may not be particularly innovative, but it is infused with lyrical sophistication and harmonic finesse. Swallow’s instinctive, unforced playing continues to keep the finest traditions of jazz alive while subtly renewing them.

Favorite Tracks:
01 - One ► 04 - Four ► 06 - Six

Ralph Alessi - A Sun That Never Sets

Label: ECM Records, 2026

Personnel - Ralph Alessi: trumpet; Joseph Alessi: trombone; Matt Mitchell: piano; John Hèbert; bass; Ches Smith: drums. 

The last time American trumpeter and composer Ralph Alessi recorded with a quintet as a leader was 15 years ago with the sophomore album by his This Against That project. He returns with a completely different lineup, collaborating for the first time on record with his classically inclined trombonist brother, Joseph Alessi—an understated impressionist—and the supple rhythm section of pianist Matt Mitchell, bassist John Hébert, and drummer/vibraphonist Ches Smith, whose versatility works as a trump card in Alessi’s contemporary instrumental aesthetics.

Comprising seven originals, A Sun That Never Sets opens with the title track, a highly rhythmic clarion call marked by precise staccato attacks in a restless atmosphere suspended between a ceremonial procession and a hallucinogenic trip. The piece gradually attains dreamy proportions, its porous soundscape stirred by Hébert’s animated bass plucks over Smith’s shimmering vibraphone tapestry. Hébert and Smith, entwined in a finely woven rhythmic mesh, welcome Mitchell’s exploratory excursions before the theme is reintroduced with Ralph back in the foreground. The trumpeter solos over a vamping chordal sequence, following a notable piano riff in five embellished with thoughtful drum fills.

Ralph has mentioned that writing for trombone was a challenge, yet the arrangements emerge compelling and full of character. On “Relaxed Misery”, the blended sonorities of plunger-muted trumpet and trombone shimmer with remarkable freedom before converging into unison lines. Before that, a six-beat piano motif takes shape, supporting conversational bass interaction and soft, tickling cymbal work.

Ralph and Joseph display outstanding technical control on pieces such as “Of Trees (Variations on a Theme by TB)”, a spasmodic marching exercise delivered with swiftness, purpose, and contrapuntal finesse, and “Duck Face”, where Stravinsky’s classical influence merges with searing, agitated lines reminiscent of Ornette Coleman.

The shifting “Transitional Imagery” features trumpet and piano in perfect consonance while delivering angular melodies, whereas the strangely comforting “Sweet Spot” explores ballad territory with Smith at the vibraphone. “Nothing Is Dead” is another highlight, unfolding as an intimate, free-flowing rubato ballad wrapped in a melancholic aura. Its spaciousness is simultaneously poignant and warm, reinforced by Ralph’s refined lyricism and compelling storytelling.

The quintet’s chemistry feels immediate and organic, resulting in music that is both intricate and refined. Another strong offering by Alessi, A Sun That Never Sets explores fascinating tonal possibilities while injecting fresh impulses into the currents of contemporary jazz.

Favorite Tracks:
01 - A Sun That Never Sets ► 02 - Nothing is Dead ► 03 - Relaxed Misery ► 09 - Of Trees

James Brandon Lewis Quartet - Omni

Label: Intakt Records, 2026

Personnel - James Brandon Lewis: tenor saxophone; Aruán Ortiz: piano; Brad Jones: bass; Chad Taylor: drums. 

Raw expression, empathic interaction, and spiritual ascension are what you’ll find on Omni, the sixth album by sensational saxophonist and composer James Brandon Lewis with his working quartet. Described as “a sermon without words” by Kevin Le Gendre in the liner notes, the album picks up where Transfiguration (2024) left off, featuring vibrant themes and soulful improvised discourses that lift us heavenward with the force of unshakable faith and a profound search for self.

Lewis opens the album in solo mode with “Omnipotent”, followed by the feverish “The Sermon”, a surge of energy where the impressive rhythm section—Brad Jones anchoring everything with bass pedal points, Chad Taylor rock-solid on the kit, and Cuban pianist Aruán Ortiz applying understated harmonic coloration—creates the perfect foundation for Lewis’ impassioned language, often channeling the spiritual intensity of Coltrane’s A Love Supreme.

“Fire In My Bones” unfolds within an avant-garde framework, feeling playful, contrapuntal, percussive, and urgent, while “Testify” continues the album’s spiritual and emotional thread—recalling Archie Shepp—with a dash of American roots music in the mix. It’s a powerful modal piece whose incisive foundation leads to a bluesy cadence held together by Jones’ magnificent bass sound. Taylor’s martial snare work gives further impetus to the thoughtful improvisations of Lewis and Ortiz.

“Call to Worship” may be restrained in pace, but never in candor or puissance. Bowed bass, agile mallet work on toms and cymbals, and modal grandeur shape this spiritual awakening, where the musicians’ individual qualities perfectly serve the atmosphere with devotion and gravitas. “Spirit of the Living God” settles into a free-spirited dance driven by groove and polyrhythmic flow, contrasting with the beautiful, expressive saxophone-bass dialogue of “Omniscient”.

Riding the natural interplay between structure and improvisation, the James Brandon Lewis Quartet excels once again, proving itself an indomitable force in today’s spiritual contemporary jazz. The hand of the Creator seems to dwell within this music, and Lewis remains a remarkable vessel for its transmission.

Favorite Tracks:
02 - The Sermon ► 03 - Fire in My Bones ► 04 - Testify ► 06 - Call to Worship

Myra Melford / Satoko Fujii - Katarahi

Label: RogueArt, 2026

Personnel - Satoko Fujii: piano; Myra Melford: piano.

Bristling with virtuosity and detail, Katarahi, marks the second duo release by pianists and composers Satoko Fujii and Myra Melford, two artists with a tremendous capacity for invention and improvised storytelling. The title, a Japanese word meaning a heart-to-heart conversation between intimate friends, could hardly better reflect their work here, as they enjoy an equal share of the music-making. Neither is busier nor more commanding than the other. Instead, they integrate their ideas seamlessly, creating textures, motions, and atmospheres that speak directly to their identities as musicians. The pieces on this album were recorded live at Jazzfestival Leibnitz in 2024.

Melford’s “Interlude I” balances volatility and pacification, relying on prepared piano and a four-note motif that continually reshapes itself to suit the evolving texture. Fujii’s “Signpost” reveals dappled undercurrents within its structural progression, gradually becoming tenser, more dissonant, and harmonically clustered. It follows a call-and-response approach, with the musicians constantly exchanging roles within an engaging dance that stings as much as it enchants.

Penned by Fujii, “Kaiwa” pushes in multiple directions through intricate four-hand piano work that cuts through the music’s surging tonality. It resembles an avant-folk celebration, with abundant activity in the lower register providing pulse and thrust. Notes and chords clash fiercely, creating a sensation of chaos, yet the pianists invariably bring their ideas to fruition, landing on casual conversations and infectious chromatically driven motions with equal clarity and abandon.

Also by Fujii, “From Sometime” initially embraces abstraction, yet remains highly responsive in nature. Ebbing and flowing through a variety of pathways while channeling a positive energy, it continually surprises and fully draws in the listener through coordinated gestures and percussive prepared-piano attacks. Melford’s compositions adhere to relatively simple structures that allow for both a centered approach and maximum freedom. “Chalk”, for example, begins with a contemplative, pastoral quality, only to have that serenity disrupted by a sequence of rapid whirling notes. Armed with impeccably placed half-steps and a grand, resonant sound, the pianists create a richly rewarding sonic experience, showing a particular affinity for the middle and upper registers. Their journey ultimately resolves into consonance.

Displaying their undisputed mastery of the piano, Fujii and Melford—who first met in 1994 through an introduction by pianist Paul Bley—bring a distinctive flair to everything they touch. Their acute listening skills play a decisive role in the music’s success, and the through-composed feel that emerges from their instinctive wandering through each passage is quite compelling.

Favorite Tracks:
04 - Chalk ► 05 - Kaiwa ► 07 - From Sometime

Miles Okazaki - Boomtown

Label: Pi Recordings, 2026

Personnel - Miles Okazaki: guitar; Jon Irabagon: tenor and soprano saxophone; Anna Webber: tenor saxophone, flute; Caroline Davis: alto saxophone; Jacob Garchik: trombone; Kalia Vandever: trombone; Matt Mitchell: piano; Chris Tordini: bass; Hanna Marks: bass; Dan Weiss: drums.

Guitarist and composer Miles Okazaki’s ninth album as a leader, Boomtown Girl, showcases his progressive ideas and singular musical voice. Comprising 12 original compositions, the album derives its distinctive identity from the contributions of 10 exceptional musicians and improvisers who, while occasionally throwing a few upward jabs, always keep the collective spirit firmly in focus.

“Magic Hour” opens the album with a graceful sense of balance, its acoustic guitar-driven melody immediately palpable and its clustered harmonies intriguingly alluring. The horn players enrich the texture, helping transform the piece into a seductive, almost magical soundscape. This peaceful Threadgill-ish opening gives way to a markedly different mood on “Boomtown Girl”, which unfolds with a slow, dark-hued angularity as the horn section intertwines closely with Okazaki’s exotic guitar musings. Bassists Chris Tordini and Hanna Marks, together with drummer Dan Weiss, keep everything firmly within frame, and the piece gathers impressive improvisational momentum before arriving at an epic resolution.

Funk is not unfamiliar territory for Okazaki, who gradually shapes “Thermopolis” with crisp energy, stretching form and piquing curiosity through its interlocking parts. The groove, solidly anchored by bass and drums, is reinforced by the motivic interplay of Okazaki and pianist Matt Mitchell, inviting the horns to enter vibrantly in unison. Saxophonists Jon Irabagon and Caroline Davis engage in fleet-footed solo exchanges with Okazaki before the piece eases its intensity midway, embracing a more abstract impressionism. Circling in and out of focus, the soloists return with renewed force for a vigorous finale.

Trombonists Kalia Vandever and Jacob Garchik are granted ample improvisational space on “Diamondville” and “Bighorn”, respectively. The former is a poignant, atmospheric rubato ballad, while the latter is an odd-metered blowout built around a looping piano-guitar riff (giving its legato flow), fragmented drumming, and Irabagon’s multiphonic wails and moans on soprano saxophone.

Loose yet fluid, “Hole in the Wall” sparkles with guitar harmonics and pointillistic textures before opening into bluesy and funky terrain under a septuple meter. Saxophonist Anna Webber improvises with measured steps yet complete authority. “Devils Tower”, touting an outlandish fusion of modern creative jazz and alternative rock, demonstrates remarkable control of tempo, counterpoint, and texture. Like all the other pieces, it functions above all as a collective statement, despite the arresting solos by Davis and Okazaki.

As an original musical thinker, Okazaki continues to defy both established conventions and passing trends with something unmistakably his own. His hip phrasing and superb compositional craft are fully on display. The expertly sequenced material flows with irresistible momentum and quirky moods, offering layer upon layer of intrigue and wonder.

Favorite Tracks:
01 - Magic Hour ► 02 - Boomtown Girl ► 03 - Thermopolis ► 07 - Bighorn

Nduduzo Makhathini - The Myth We Choose

Label: Blue Note Records, 2026

Personnel - Nduduzo Makhathini: piano, vocals, vocoder, synth; Dalisu Ndlazi: double bass; Lukmil Perez: drums + Guests - Robin Fassie: trumpet (#1); Shabaka: flute (#5); Omagugu: vocals (#6,14); Ayanda Sikade: drums (#7,16); Muneyi: vocals (#9,11); Keenan Ahrends: guitar (#10); Black Coffee; drum programming (#14); Thando Zide: vocals (#12).

South African pianist and composer Nduduzo Makhathini returns with The Myths We Choose, an album whose music advocates for a better world and greater responsibility toward the future. Working with his South African trio at the core, Makhathini invites a number of relevant guests for a program comprising thirteen original compositions (three of them with reprises). Here, he explores new sounds and genres, with several tracks signaling a shift in mindset while retaining the rooted spirituality that has become his trademark signature.

“Kuzodlula”, a soaring 3/4 ballad inspired by the difficulty of forgiveness, opens the album with a delicate compromise between light and dark tones. Resonant bowed bass turning to pizzicato, Makhathini’s chordal sequences and vocals, understated drumming, and the sultry trumpet work of Robin Fassie form the framework. “Imvunge KaNtu”, a tribute to roots and ancestral wisdom, is deeply ritualistic, encompassing asymmetrical odd-metered fluxes, handclaps, and vocals in praise of the Zulu Kingdom and the murmuring spirit of Ntu.

As a healer, moonscape practitioner, and steward of state-of-the-art Afro-jazz, Makhathini delivers “Liyoze Line Nangakithi” with spiritual transcendence, engaging in lucid improvisational passages while interacting with the digressive, serpentine flute of Shabaka. The piece concludes with incantatory chants over subtle percussive patterns, calling for rain and the immaterial. It pairs beautifully with “Ekuqaleni”, a methodical exercise in five packed with invigorating energy, where Makhathini employs the vocoder to impart a contemporary feel.

Three vocalists are featured on the album: Makhathini’s wife and longtime collaborator Onogugu on the English-language, gently grooving “What People Say”; Thando Zide on the neo-soul-tinged “Tethered”; and Muneyi on the beautiful “Linwalo Ia Mubebi”, a tribute to fatherly love sung in the Tshivenda language. There is also a particularly interesting reprise of “What People Say”, featuring the club/dance spin of DJ Black Coffee.

“Primordial Egg” unfolds in rubato fashion, providing a comfortable sonic cushion for drummer Ayanda Sikade’s cymbal mastery; “Kwamability”, a duet with bassist Dalisu Ndlazi, is a nocturnal meditation with vulnerable lyricism dedicated to Zulu shaman Credo Muthwa; and “Unembeza” evokes the folk sensibilities of Abdullah Ibrahim in a profound and tightly articulated manner.

Makhathini takes myth as a point of departure and delivers a varied, blissfully melodic experience rich in character and atmosphere. This is an album that continues to reveal itself, captivating more deeply as it progresses.

Favorite Tracks:
02 - Imvunge KaNtu ► 05 - Liyoze Line Nangakithi ► 08 - Ekuqaleni ► 09 - Linwalo Ia Mubebi

Ferg's Imaginary Big Band - The New Atomic

Label: Trash City Records, 2026

Personnel - Fergus Quill: composition, arrangement, vocals + Imaginary Big Band.

Considered one of the hottest acts on the British scene, Ferg’s Imaginary Big Band is the primary brainchild of Leeds-based composer, multi-instrumentalist, and bandleader Fergus Quill, who also leads Electric Noise Ensemble and the Fergus Quill Trio. The band shifts in personnel but generally includes around 30 members, all contributing to the freeing, snazzy arrangements through a delightful collision of sounds. The influences range from jazz masters such as Sun Ra, Charles Mingus, and Duke Ellington to film scores and the experimental rock of Boredoms.

The mercurial “J Surfing on Saturn” rides an elemental yet impactful groove before plunging into blistering orchestral chaos, propelled by sly counterpoint and massive unisons poured out by the synergistic horn sections. The solos—packed with urgent flourishes of notes—unfold over staccato-infused rhythmic motion before ambient textures and classical-influenced piano glissandi usher in a slow, fanfare-like march crowned by immense horn power. It all culminates in a burst of wild, indomitable energy.

“Theme from The New Atomic” explores a galactic nebula through poignant intonations, while “Do the Right Thing” recalls Sun Ra’s exuberant Afro-funk universe, bolstered by Bess Shooter’s earthy baritone sax groove along with guitar elasticity, dense horn activity, and blaring sonic elements. The highly cinematic “¡Besszilla!”, referring to the Queen of the Monsters, is startling yet firmly grounded in feel. Its ominous bass and baritone saxes, smeared electric bass textures, and thumping percussive footsteps feel more menacing than celebratory, before a furious thrash-metal passage drives the piece toward a challenging conclusion.

Quill’s music combines the obvious with the eccentric, and he is not wrong when claiming that the elements are greater together than apart. This principle also applies to the album’s smoother moments, which arrive adorned with winning guest vocals. These include “Love Sick”, a rendition of Bob Dylan’s minor-key love song that here feels like a crossroads between the blues-rock of The Waterboys and the soulful R&B of Otis Redding; and “Same Sky”, which follows an Ellingtonian chord progression evocative of a finely crafted jazz standard, providing the perfect setting for the warm voice of Amy Clark.

The New Atomic provokes as much as it comforts, offering an exploratory, genre-defying repertoire that is unapologetically contemporary and rambunctious while remaining deeply respectful of the past. Adding further weight to the project, a portion of the album’s profits will be donated to War Child, supporting children affected by conflict around the world.

Favorite Tracks:
01 - J Surfing on Saturn ► 04 - Do the Right Thing ► 06 - ¡Besszilla!

Christian Dillingham - As It Relates To Now

Label: Shifting Paradigm Records, 2026

Personnel - Greg Ward: alto saxophone; Christian Dillingham: acoustic bass; Jeremy Cunningham: drums.

Christian Dillingham is a Grammy Award-winning bassist and composer with experience in both the jazz and classical music worlds. As It Relates To Now marks his third album as a leader and his first in a trio format, featuring prominent alto saxophonist Greg Ward and discerning drummer Jeremy Cunningham, both accomplished bandleaders in their own right. This highly compatible chordless trio, hailing from Chicago, embraces Dillingham’s new acoustic musings with warmth, acuity, and a strong collective purpose. Much of the inspiration stems from the social and political tensions of our times.

The title track opens the album with an upbeat pop-rock feel that is simultaneously soulful and grounded, adhering to a floating sense of gravity propelled by an earworm groove. Dillingham and Cunningham lock in instantaneously, creating a tight textural foundation for Ward’s crisp alto work, though it is the bassist who first steps forward with a resolute improvised statement. “Obsoletion” rings out with clarity and a welcome sense of risk, sounding cohesive and narratively compelling throughout. Dillingham’s dark timbral palette and robust tone play a crucial role in the piece’s expressive power.

Radiating a glimmering brightness, “Special Relativity” thrives on dazzling saxophone-bass unisons before settling into an insistent swing powered by Dillingham’s driving lines and Cunningham’s tasteful percussion. The track concludes with an exhilarating exchange of trading eights with the drummer. Equally committed to swing—thrusted by walking bass and skip-ride cymbal patterns—“Delusional Grandeur” is invigorated by an orthodox hard-bop spirit, proving that the trio remains deeply connected to jazz tradition.

The improvisation-free “Behind the Horizon” adopts a more solemn and atmospheric tone, underpinned by mallet work while arco bass and saxophone unfold in parallel motion. By contrast, “Wooden Laws” is structurally bold, its sparkling theme initially presented in seven before shifting seamlessly into a familiar 4/4 rock progression. This transition opens the door for Ward and Dillingham to develop their charismatic phrases and melodic ideas. Later, pungent rhythmic attacks steer the piece toward more abstract and exploratory terrain before the trio returns convincingly to the main theme.

Dillingham once again proves himself a thoughtful and purposeful bandleader. None of the individual performances, however strong, feels obtrusive; instead, each serves the collective goal of creating intelligible and easily relatable  contemporary music.

Favorite Tracks:
01 - As It Relates To Now ► 02 - Obsoletion  ► 05 - Wooden Lawns

David Ambrosio's Civil Disobedience

Personnel - Donny McCaslin: tenor and soprano saxophone; Ingrid Jensen: trumpet; Bruce Barth: piano; David Ambrosio: bass; Victor Lewis: drums.

Civil Disobedience, a formidable quintet led by American bassist, composer, and activist David Ambrosio—a strong presence on the New York scene for more than 30 years—focuses on the current state of America while honoring social change through nonviolent action. And what better way to do it than through music? The quintet clicks into place, performing five relatively obscure Blue Note compositions from the late 1960s by vibraphonist Bobby Hutcherson, drummer Joe Chambers, saxophonist/flutist James Spaulding, and composer-saxophonist Harold Land.

Reviving an irresistible, Art Blakey-like drive, Hutcherson’s “For Duke P. (aka XYZ)”, recorded in 1968 but not released until 1999 on The Kicker, opens the album in infectious minor mode and swinging fashion, evoking hard bop at its most contagious. Written for pianist Duke Pearson, the piece launches its improvisational section with a vibrantly melodic bass solo, leaving ample room for timely responses from veteran drummer Victor Lewis. The powerhouse frontline of tenor saxophonist Donny McCaslin and trumpeter Ingrid Jensen injects indomitable energy, guided by faultless narrative logic, superior articulation, and sharp motivic instincts.

Spaulding’s “A Time To Go” is an aching, dreamy rubato ballad dedicated to Martin Luther King Jr., sophisticatedly harmonized by pianist Bruce Barth, with Ambrosio’s bass lines providing the essential connective tissue. “Poor People’s March”—written by Land for the 1968 Poor People’s Campaign—flows in an animated 3/4 meter, unified by bright unison lines and inspired improvisational passages in which every member stretches out, creating a compelling sense of musical democracy.

The curiosity these compositions inspire is matched by their elegance, and the two pieces by Chambers exemplify that balance perfectly. “Irina” is a post-bop delight with a distinctly Wayne Shorter-esque aura. Introduced by Lewis’ marching snare, this exquisite modal number unfolds naturally through shifting meters and nuanced harmonic movement. On soprano saxophone, McCaslin injects tension and excitement, his notes rising and falling with resolute purpose, while Barth’s majestic keyboard sweeps guide the piece toward its conclusion. The other Chambers composition, “Ankara”, was, like “Irina”, recorded in 1968 but only released in 1980 on Hutcherson’s Patterns. Introduced by Ambrosio, who later settles into a finely crafted groove in seven, the tune arrives wrapped in a subtle exoticism, thriving on Lewis’ tickling hi-hat work and the inspired improvisations of Jensen and Barth.

With confidence and tenacity, Ambrosio’s Civil Disobedience—featuring superbly chosen repertoire and committed performances throughout—makes a great debut, emerging as a social and musical manifesto of the highest order.

Favorite Tracks:
01 - For Duke P. ► 03 - Irina ► 05 - Ankara

Chris Van Voorst Van Beest Trio - Bye Design

Label: Adhyaropa Records, 2026

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

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

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

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

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

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

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

Simon Moullier - Ceiba

Label: Self released, 2026

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

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

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

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

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

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

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