Label: Passerine Records, 2023

Personnel - Michael Hudson-Casanova: saxophones; Erik Skov: guitar; Gustavo Cortiñas: drums + guest: James Davis: trumpet (#2).

In his most recent work, Chicago-based saxophonist/composer Michael Husdon-Casanova presents a repertoire of all originals that, being contemporary, doesn’t disregard traditional concepts and ideas. Probing new sonic terrain, the saxophonist convenes two apt musical partners: guitarist Erik Skov and drummer Gustavo Cortiñas, with whom he provides pleasurable sonic moments in a bass-less trio format.

The melodious if slightly parched “Recycle” initiates the session with reverb-drenched guitar and a confined drumming that gains more breadth in the last few minutes; the bandleader coats this fabric with soft, velvety linings. The listening experience is considerably elevated with the gently pop/rock textures of “What If Everything is Not Enough”, a reflection on craving where low-pitched guitar notes are responsible for a patterned groove, atmospherically surrounded by generous cymbal work. You’ll certainly enjoy the rhythmic accents and the presence of guest trumpeter James Davis, who is in the spotlight for most of the time. He seems to appreciate Cortiñas' fulfilling chords as well as his melodic responses.

The well-versed compositional traits of Hudson-Casanova are on display in the spiritually vibrating “Animus”, which is put in motion with a polyrhythmic character, and the empathic “Aftermath”, another tune we want to revisit afterwards. The former finds the saxophonist testifying with restrained fervor over the brightly shimmering sweep of guitar and drums; the latter cut, bestowing effervescent snare activity for a start, is where the improvisers have their chemistry on lock by expressing a fine mix of focus and adventure. Hudson-Casanova is genuinely inspired here while Skov assists his own distorted solo with a harmonically contextual chordal loop.

“Continuum”, which is delivered in seven and generates a churning vortex culled from contorted rock, jazz and electronica, diverges from the two introspective versions (trio and sax-guitar duo) of “Etude for Clementine”, a hellenistic sculpted number. Hudson-Casanova gives a step forward in his career.

Favorite Tracks:
02 - What if Everything in Not Enough ► 04 - Animus ► 08 - Aftermath

Label: Self produced, 2021

Personnel - Michael Husdon-Casanova: saxophones; Elliot Bild: trumpet; Nicholas Lombardelli: trombone; Lucas Brown: piano; Sandy Eldred: bass; Steven Perry: drums.

Echoes of Thought, the debut full-length album from Michigan-born, Chicago-based saxophonist Michael Husdon-Casanova offers a sprawling combination of tradition and contemporary views expressed in the sextet format. The members of this combo hail from Philadelphia, where the bandleader lived from 2017 until a few months ago.

The album is bookended by two playfully disorienting short pieces that are directly connected - “Spin the Context” and “Spin it Back”. Suggesting the force of rock and boasting the horn players in joyful communion, one can only regret these pieces weren’t made longer.

The title “The Old Days, Whenever they Were” is not misleading, with the group brandishing an elated swinging motion that is delivered with shifting meter as well as hard-bop and post-bop pushes. The soloing time is split by trumpeter Elliot Bild, who blows vigorously like Freddie Hubbard; pianist Lucas Brown, whose articulation and integration of harmony and melody are spot on; and Hudson-Casanova, who finishes with a thoughtful speech over a ultimately horn-filled sequence in six.

Waltzing with lushness, “K.W.” evokes trumpeter Kenny Wheeler’s unique ethos, while the living legend Wayne Shorter is presented with a nod on “Droogs”. There’s also “Abandoner”, which flows with a straight eight feel, displaying a contemporary grit amidst influences of the past and the familiar sounds naturally brought in it.

The short-lived “Yea, Exactly” broadens the palette with repetitions of a figure and fast kinetics that take us to a more avant-garde setting. Before closing out the album, “Ravensong” allows a soaring soprano saxophone to ride a mutable rhythm that goes from a more 4/4 dynamic spin to the balladic 3/4 linearity that sustains the bandleader’s improvisation.

This album shows the skills of Hudson-Casanova as a composer and saxophonist, giving sufficient indications that he can expand his musical vision and explore his creative side even more in the future.

Favorite Tracks:
02 - The Old Days, Whenever they Were ► 05 - Abandoner ► 10 - Ravensong