Label: Biophilia Records, 2026

Personnel - Linda May Han Oh: double bass; Melissa Aldana: tenor saxophone.

Bassist Linda May Han Oh and saxophonist Melissa Aldana are two respected bandleaders and composers with different styles and approaches but common journeys in life. Oh was born in Malaysia to parents of Chinese heritage, was raised in Australia, and moved to New York for a brilliant career, having played with Pat Metheny, Vijay Iyer, Joe Lovano, and Dave Douglas, among many others. Aldana is a native of Santiago, Chile, and has lived in New York since 2009, after graduating from Berklee College of Music. For this session, the duo agreed to play standards, showcasing reverence for jazz tradition and influences while also allowing new possibilities to emerge from the arrangements. Yet Beneath Lifted Skies also includes three duo improvisations and three solo bass tracks.

Charlie Parker’s “Anthropology” comes out of the gate with a vibrantly swinging mood, swift unisons, and exciting exchanges infused with a richness of ideas. Yet it doesn’t beat the fantastic rendition of Bud Powell’s “Hallucinations”, where the duo is at its best. Impressive synchronization, great melody, and a grooving, energizing vibe are part of a breathtaking interplay that demonstrates Oh’s immaculate technique and Aldana’s fluid language.

Ballads where melody reigns, such as Charles Mingus’ “Duke Ellington’s Sound of Love” and Sammy Fain’s “I’ll Be Seeing You”, make a great pair. Aldana’s quick-witted, arpeggiated sequences à la Charles Lloyd put a smokiness in the air. In turn, pieces by jazz giants Wayne Shorter (“Dance Cadaverous”) and John Coltrane (“26-2”) didn’t impress me as much. One that really gets under the skin is Gigi Gryce’s “Social Call”, a graceful, easy-rolling tune expressed with joyful hookiness.

Of the three improvised pieces, “Infinite” is the one that caught my ear instantly, relying on droning pedals and searching melodies to take us to a progressive yet atmospheric place. “Resolve”, which ends with a pedaling bass figure, also makes for a compelling abstract sonic painting.

Oh absolutely excels on her solo reframing of Herbie Hancock’s “The Sorcerer”, where edginess and roundness go together, creating an almost subliminal pulse. The bassist also tackles Billie Holiday’s “God Bless the Child”, delivered as a protest against child abuse, and introduces a new composition, “Winter”, where she employs expert pulses and slides to add novelty.

Demonstrating a quick-witted rapport, Oh and Aldana are two kindred spirits in conversation. They’ve already found their own voices in jazz, but together, they manage to offer a very enjoyable album with varied rhythm, groove, and breath. While old standards can sometimes feel stale, creative reinvention transforms them into a thrilling experience. Beneath Lifted Skies is an excellent case in point.

Favorite Tracks:
02 - Hallucinations ► 03 - Improvisation: Infinite ► 06 - The Sorcerer ► 10 - Social Call