Label: Whirlwind Recordings, 2020

Personnel - Jure Pukl: tenor and soprano saxophones; Charles Altura: guitar; Joel Ross: vibraphone; Matt Brewer: bass; Kweku Sumbry: drums.

With Broken Circles, Slevenian-born, New York-based saxophonist Jure Pukl floats along on the waves of self-awareness and optimism, issuing a call for action on the sociopolitical and environmental predicaments that our world is facing lately. His third recording for the London label Whirlwind Recordings, features the talents of guitarist Charles Altura, vibraphonist Joel Ross, bassist Matt Brewer and drummer Kweku Sumbry.

This record comprises compositions that allow him to fly with freedom and, simultaneously, take full advantage of his bandmates’ musical skills. The opener, “Sustained Optimism”, is among the most prominent pieces on the album, moving with well-oiled sophistication and shifting meters, and indulging in relatively complex rhythmic detail. The bandleader shows off a big-toned tenor sound, hewing closer to the steeply accented, fragmented, and often patterned free styles of Steve Lehman and Mark Shim; the prodigious Joel Ross proves to be an insightful melodic runner, while Altura tips into frenetic territory in the last segment, time when Sumbry’s actions lead to intensification. The lively title track also reveals this welcome sense of openness, finding a fine balance between sturdiness and flexibility.

Both revealing balladic qualities, “Separation” and “Compassion” carry noble intentions. The former, inspired by the recent US/Mexican border issues, discards fragility for a sturdier posture with the melody following a gracious cadence; for its part, the latter, which was previously included in Pukl’s quartet work, Doubtless, is a mainstream-friendly tone poem using Chilean kalimba, soprano saxophone, and brushed drums. The good vibes come naturally attached to its main theme, but a pinnacle point is reached when Ross unleashes a beautiful solo cooked up with impressive maturity and confidence.

Pukl plays soprano once gain on the closing piece, “Sky is the Limit”, and is heard on bass clarinet on “Gloomy Sunday”, a 1930s Hungarian tune that stabilizes over Sumbry’s cymbal splendor and snare articulacy.

Bright in tone, “Triumph of Society” features stylishly crafted sax/vibes conversations during which bass and drums adhere to a hearty swinging activity; it then throbs with bouncy percussive propagations and lofty guitaristic eloquence. The scintillating “Half Past Five”, impeccably announced by Brewer’s minute-and-a-half stream of consciousness, is infused with a delightful contemporary aesthetic that results from the combination of colorful harmonic progressions and a delightful groove in 11/8 meter.

The music in Broken Circles reflects Pukl's virtuosic prowess both as a composer and performer. His work has evolved in exciting ways and the 11 originals presented here couldn’t have been shaped with more character and life.

Favorite Tracks:
01 - Sustained Optimism ► 04 - Compassion ► 09 - Half Past Five

Label: Whirlwind Records, 2018

Personnel – Jure Pukl: tenor saxophone; Melissa Aldana: tenor saxophone; Joe Sanders: bass; Gregory Hutchinson: drums.

The up-and-coming New York-based tenor saxist Jure Pukl went back home, Slovenia, to record Doubtless, an open-spirited album comprising originals and covers. In this stalwart quartet, he shares the frontline with his wife, award-winning tenorist Melissa Aldana, while the foundation is entrusted to bassist Joe Sanders and drummer Greg Hutchinson, who sport courage and firmness in their duties.

The title track, “Doubtless”, launches a contrapuntal dance for the reedists. They seamlessly forge ahead, en route from the carefully scored theme to spontaneous interchanges, and are certainly thankful for Sanders’ brilliant accompaniment, which carries a definite sense of harmonic direction. If the counterpoint is king here, then jubilant parallel movements limn “Doves”, which, clocking at just over seven minutes, is not just the longest piece on the set but also one of the most attractive. While the rhythm section creates a gorgeous state of cadenced emancipation, the high-wire individual statements by the saxophonists are separated by a fine bass monologue.

A vibrant double-saxophone intro brings Ornette Coleman’s “InterSong” to life, conjuring an unfussy, classic avant-garde scenario. Shades of Ornette are a bit everywhere, becoming particularly steep on “The Mind and The Soul”.

An African-tinged groove infests “Elioté”, a celebratory composition wrote by Sanders for his newborn son. Curiously, I detected something from Lee Morgan in its melody.

“Elsewhere” is a sumptuously grooving, perfectly danceable music cocktail prepared by the simpatico quartet, in which they seem to join the dots between jazz, Latin, and rock, respectively brought by the saxophonists’ well-versed language, continual bass patterns, and imaginative drumming.

The quartet is reduced to a trio on “Compassion” - a leisurely engaging reflection adorned with conspicuous motivic chromaticism and circular phraseology - and to a duo (sax and bass) on “Where Are You Coming From?”, whose salient folk intonations attempt to respond the question in the title.

Prone to buoyancy, Doubtless showcases Pukl and his associates combining traditional and modern elements within well-defined forms and structures. Prepare yourself for an exciting expedition bolstered by the passion of true creators and their solid musicianship.

Favorite Tracks:
02 - Doves ► 05 - Compassion ► 06 - Elsewhere