Adam O'Farrill - For These Streets

Label: Out of Your Head Records, 2025

Personnel - Adam O’Farrill: trumpet, flugelhorn; Kevin Sun: tenor saxophone, clarinet; David Léon: alto saxophone, flute; Kalun Leung: trombone, euphonium; Mary Halvorson: guitar; Patricia Brennan: vibraphone; Tyrone Allen: double bass; Tomas Fujiwara: drums.

Brooklyn trumpeter and composer Adam O’Farrill reaches new heights of passion, drama, and urgency with his latest album, For These Streets, a tribute to the literature, film, and music of the 1930s, drawing inspiration from Henry Miller, Virginia Woolf, Stravinsky, and Otavio Paz. Leading an all-star octet, O’Farrill crafts inventive musical arrangements with skewed angles, supported by rising saxophonists Kevin Sun and David Léon, trombonist Kalun Leung, acclaimed guitarist Mary Halvorson, recently lauded vibraphonist Patricia Brennan, bassist Tyrone Allen, and notable drummer Tomas Fujiwara. The ensemble is conducted by Eli Greenhoe.

The album’s opener, “Swimmers”, absolutely stuns, unfolding fluidly through dynamic passages. It begins in rubato mode with sparse guitar chords and bass pointillism before seamlessly transitioning into agile trumpet phrasing and propulsive drumming. Brennan and Halvorson—sought-after accompanists and improvisers appearing in numerous projects—provide harmonically rich counterpoint, a contrast-colored technique that recurs throughout the album. Jarringly catchy vamps and intricate collective movements are laid over odd-metered rhythms, enhancing the music’s unpredictability.

“Nocturno, 1932” moves with a mournful, waltzing cadence, its velvety flute and chamber texture infusing an airy spaciousness before the horns engage in contrapuntal brilliance in quintuple time. Also packed with counterpoint in support of O’Farrill’s wailing trumpet is “Speeding Blots of Ink”, but not before Halvorson shines with labyrinthine melodic trails, staccato harmonies, and mesmerizing effects. A subtle funk underpins the rhythm, culminating in a woolly saxophone-driven passage marked by an elegant, romantic touch.

“Migration” is soulfully intoned yet layered with solemnity and necessary gravitas, most of them coming from Allen's bowed bass. Brennan, marking every 10-beat cycle, meanders freely before a final woodwind-infused chamber passage concludes the piece. In “And So On”, the horns swoop and soar above a smoky 3/4 rhythmic tapestry, chewing up the scenery with gritty delight, while “Late June” radiates optimism with key changes, expert textural nuance, and a soothing saxophone statement.

“Streets”, an inebriating duet between O’Farrill and Halvorson, merges the balladic lyricism of Enrico Rava with the expressive depth of Ambrose Akinmusire, setting poignant trumpet lines against warped guitar trajectories. Meanwhile, “Rose” has the instruments counterbalancing one another, also exploring sections of cathartic avant-garde and rock-infused energy.

O’Farrill’s angular drive never forsakes melodic intent, making his music feel simultaneously exploratory, airy, disciplined, and often gently expressive. Designing charts with intricate cross-hatched lines, he stands at the peak of his compositional prowess.

Favorite Tracks:
01 - Swimmers ► 05 - Speeding Blots of Ink ► 06 - Streets ► 10 - Late June

Jon Irabagon - Server Farm

Label: Irabbagast Records

Personnel - Jon Irabagon: tenor and sopranino saxophones, effects; Mazz Swift: violin, voice; Peter Evans: trumpet, flugelhorn; Matt Mitchell: piano, Fender Rhodes, Prophet-6; Miles Okazaki: guitar; Wendy Eisenberg: guitar; Michael Formanek: acoustic bass; Chris Lightcap: electric bass; Dan Weiss: drums; Levy Lorenzo: kulintang, laptop, electronics, vibraphone.

Saxophonist/composer Jon Irabagon stands as a pivotal figure in the contemporary jazz universe, with a catalog of starkly expressive albums that exemplify excellence in creative, improvised music. This year, he presents Server Farm, an electrifying work that explores the threats and promises of A.I. To realize this vision, he leads a super electro-acoustic ensemble with an unconventional instrumentation. 

New sonic avenues are constantly emerging in this cutting-edge experience, beginning with “Colocation”, brilliantly introduced by Levy Lorenzo’s kulintang (a system of gongs). Acid vibes bubble up, infused with sensibilities of free funk and avant-garde jazz. Chris Lightcap on electric bass and drummer Dan Weiss thrive in a rhythmic symbiosis, while Matt Mitchell delivers a clamant keyboard solo. The guitar noise of Miles Okazaki and Wendy Eisenberg collides with Mazz Swift’s violin and the boisterous horn entanglements of Irabagon and trumpeter Peter Evans. A calm chamber passage provides a momentary contrast before a violent orchestral flux paves the way for a wonderfully explorative solo from Evans. A methodical pulsation, led by vibraphone and interwoven horn lines, builds toward a revolutionary, chaotic ending.

“Routers” carries a sumptuous Latin drive shaped by opposing rhythms and offbeat phrasing. Added after the initial recording, Irabagon’s tenor sax solo stands out, and the piece concludes like an ethnic dance, enriched by wafting violin. “Singularities” unfolds with hyper-fluency, shifting from a lavish avant-jazz symphony—marked by resounding unisons—to guitarists carving out individual space with their outside-the-box inflections, before settling into a jazzy R&B passage that emotionally resonates with the listener. It traverses a mantra-like, rock-fueled ambiance before culminating in a fantastic 3/4 extravaganza, a bold display of rhythmic audacity.

“Graceful Exit” opens with the earthy, assertive bowed bass of Michael Formanek. Electronics, piano, and drums gradually layer in before the ensemble momentarily pauses the wild excitement for a lyrical Ellingtonian section, evoking the charm of a classic jazz standard. The album’s offbeat conclusion comes with “Spy”, an entrancing, penetrating, and intricately layered piece featuring a pandemic-era poem written by Irabagon, bass pedals, vibing chimes, and agitated buzzing sounds.

Irabagon thrives in progressive musical landscapes, forging a new identity with Server Farm. His collaborators, all deeply invested in conveying his message, contribute to yet another game-changing epiphany—one where there’s always more than just the sum of the parts.

Favorite Tracks:
01 - Colocation ► 03 - Singularities ► 04 - Graceful Exit

Ambrose Akinmusire - Honey From a Winter Stone

Label: Nonesuch Records

Personnel - Ambrose Akinmusire: trumpet; Kokayi: vocals; Sam Harris: piano; Chiquitamagic: synths; Dustin Brown: drums + Mivos Quartet.

The inimitable trumpeter and composer Ambrose Akinmusire stands among the most creative and ambitious musicians of his generation. His new outing, Honey From a Winter Stone, is a visionary collection of originals inspired by the work of composer Julius Eastman. Here, Akinmusire channels the fears and struggles of Black men, striving to deepen emotional expression while adhering to well-constructed frameworks.

The album’s five original compositions are vivid and powerful, fusing elements of jazz, classical, and hip-hop to forge an authentic style where ethos and cohesion take center stage. “Muffled Screams” evokes a near-death experience Akinmusire survived, beginning with Sam Harris' plaintive piano lines, supported by Justin Brown’s cymbal colorations and tom-tom eruptions. Akinmusire balances texture and color, crafting a shimmering lyricism whose elongated tones intensify both melancholy and primal cries.

“Bloomed” opens with the Mivos Quartet fully commanding a modern classical exploration, eventually morphing into a groovy, hip-hop-infused jazz atmosphere that highlights Akinmusire’s expressive phrases. “MYanx” features fleet, intricate drumming, ominous synths by Chiquitamagic, Kokayi’s commanding spoken word, and rhythmic, motivic string gestures. These elements converge with sharp, piercing trumpet lines that amplify and expand the tonal landscape.

A fat, rounded bass synth and an entrancing hip-hop beat permeate “Owled”, one of the album’s most captivating pieces. The Mivos Quartet and Kokayi shine here, delivering their grippiest performance, but there’s also an ambient middle section with soaring vocals before the piece concludes with piano, strings and cymbals finding common ground. 

Headed in an intriguing direction, “s-/Kinfolks” is a 29-minute odyssey traversing avant-garde ambient textures, free funk downtempo, and outlandish free jazz improvisation with the same penchant for experimentation. Akinmusire plays with élan and explores extended techniques. His performance becomes more melodic during a delicate passage softened by introspective piano and crestfallen strings. A hip-hop groove underpins Kokayi’s authoritative rap before culminating in two captivating duologues: trumpet over strings and piano over drums.

This engaging, honest session reveals Akinmusire’s musical versatility and essential message, offering a remarkable showcase of his exceptional artistry.

Favorite Tracks:
02 - Bloomed ► 04 - Owled ► 05 - s-/Kinfolks

Kris Davis Trio - Run the Gauntlet

Label: Pyroclastic Records, 2024

Personnel - Kris Davis: piano; Robert Hurst: bass; Johnathan Blake: drums.

Pianist, composer, improviser, and label owner Kris Davis has been forging her own distinctive path in the creative jazz scene, earning widespread acclaim. In Run the Gauntlet, Davis returns to the piano trio format for the first time in a decade, teaming up with seasoned bassist Robert Hurst and sensitive drummer Johnathan Blake. The album pays tribute to six extraordinary women pianists who have profoundly shaped her sound and influenced her musical direction: Geri Allen, Marilyn Crispell, Angelica Sanchez, Carla Bley, Renee Rosnes, and Sylvie Courvoisier. 

Straddling the line between post-bop and avant-garde jazz, the title track, “Run the Gauntlet”, opens with a palpable tension, featuring odd-metered ostinatos that weave in and out over the rhythmic turmoil of bass and drums. The piece gradually finds a groove, with dynamic shifts and tempo changes, as the trio delivers head-spinning improvisations. Blake's drumming intensifies the conclusion by erecting a massive wall of snare, cymbals, and toms. “Knotweed” hints at prog-rock in its initial moments before slipping into Monk/Coltrane territory in its firmly outlined head. The trio swings with humor and grace, pushing the piece into a frenetic avant-garde finale.

Davis rarely delves deeply into jazz tradition, but when she does, the result is forward-leaning music sculpted with charm and spontaneous creativity. Her prepared piano takes on world music influences in “Softly, As You Wake” and the freely improvised “Subtones”, both of which feature deep, resonant arco bass and gamelan-like rhythmic pulsations. The latter piece evolves into a freewheeling, groovy atmosphere, bearing a resemblance to the meditative version of Blake’s “Beauty Beneath the Rubble”, while its original version takes on the form of a tranquil rubato hymn, gently brushed to a shimmering finish.

Davis also composed a three-part composition inspired by her son’s growth. “First Steps” is a solo piano piece that balances passion and detachment, offering pulse, motion, and freedom. “Little Footsteps” brings a snappy polyrhythmic feel that, borrowing from funk, also draws from electronic and modern creative jazz, with Hurst’s dancing bass lines blurring the boundaries between these genres. “Heavy-Footed” centers around a riff set within a 10-beat cycle that occasionally slows, striking a balance between jagged and smooth edges. Each note played emerges beveled.

The trio is clearly having fun in Run the Gauntlet, a mature, boundary-pushing record made by adventurous instrumentalists whose rapport is no less than wonderful.

Favorite Tracks: 
01 - Run the Gauntlet ► 04 - Little Footsteps ► 08 - Knotweed

Ben Monder - Planetarium

Label: Sunnyside Records, 2024

Personnel - Ben Monder: guitar; Chris Tordini: bass; Ted Poor: drums; Satoshi Takeishi: drums; Theo Bleckmann: vocals; Charlotte Mundy: vocals; Emily Hurst: vocals; Joseph Branciforte: drums; Theo Sable: vocals.

Ben Monder, a masterful guitar genius known for pushing the boundaries of modern composition, delivers yet another tour de force with Planetarium, a triple-disc project that spans a decade and took three years to record. has the capacity to delight no matter which direction he takes. Monder, whose stylistic range encompasses jazz, modern classical, heavy metal, and alternative rock, weaves together intricate compositions filled with richly detailed juxtapositions and subtly shifting moods. While dense and featuring extended tracks, the album is a rewarding listen, demanding and deserving of your time and attention. 

The composer finds hidden strengths with his guests in several pieces, starting with the brilliant opener, “Ouroboros II”. This composition seems to have prog-rock and metal undertones, with the elegant and enigmatic fingerpicking sound of Monder reaching grandiose heights. Charlotte Mundy’s ethereal vocal layers provide a striking counterpoint, while Satoshi Takeishi’s percussion work enhances the contemporary sonic landscape.

Two standout tracks, the 23-minute epic “The Mentaculus” and the nostalgic “1973” feature bassist Chris Tordini and drummer Ted Poor, whose tight interaction is arresting and supportive. “The Mentaculus” is a masterclass in complexity and emotion, blending elements of sadcore and alternative rock into cutting-edge crossovers with shifting meters and rich pulses and ambiances. “1973” takes its gravitational pull from Poor’s methodic backbeat over which a churning guitar riff and the inimitable voice of Theo Bleckmann are placed. The style here takes me to the post-space-rock of Godspeed You! Black Emperor. 

Bleckmann also shines on “Li Po”, named after a Chinese poet, where his visceral, guttural vocals cut through dark, distorted atmospheres and eerie tones. The title track, a solo guitar performance, comes wrapped in an optimistic, gentle aura, while “Ataraxia” features acoustic guitar oozing bright constellations of notes, the soaring voice of Bleckmann—stratified in different registers—and the drumming of co-producer Joseph Branciforte. This long-form piece gains momentum as Monder’s electric guitar solo unspools.

“Globestructures - Option II” is a fantasy inspired by Kazuo Ishiguro’s novel The Unconsoled, offering a great harmonic atmosphere with pedals and guitar harmonics, and “Ouroboros I”, a chameleonic duet with Takeishi, moves from modern lyricism to experimental rock to dark atmospheric corners. “Noctivagant” is a melancholy sleepwalk, with Monder’s acoustic guitar setting the tone, while “Collinsport”, featuring the voices of Bleckmann and Emily Hurst, investigates sound with a blend of curiosity, caution, and determination. The standard “Wayfarer Stranger”, with Monder on baritone guitar accompanying a recording of his mother singing, closes out the album in style.

Planetarium is pure musical flow, another impressive entry to the guitarist’s already formidable list of personal accomplishments.

Favorite Tracks:
01 (CD1) - Ouroboros II ► 02 (CD1) - The Mentaculus ► 02 (CD2) - Ataraxia ► 03 (CD3) - Ouroboros I

Matt Mitchell - Zealous Angles

Label: Pi Recordings, 2024

Personnel - Matt Mitchell: piano; Chris Tordini: bass; Dan Weiss: drums.

Notable pianist Matt Mitchell has earned accolades as an inventive composer and improviser, known for his brainy avant-jazz (de)constructions often layered with motivic ideas, which bolsters tension and broaden options. His work is characterized by unpredictable flows and polyrhythmic complexity. In this trio with sharp-eared bassist Chris Tordini and multi-faceted drummer Dan Weiss, Mitchell continues to explore intricate, non-obvious time frameworks. 

The album opens with “Sponger”, an impressive track that lays puzzling rhythms beneath sinuous phrases, exploring contrasting timbres and textures. “Apace” showcases both chanting and swinging qualities, similar to “Rapacious”, which thrives on zestful, energetic drumming. “Jostler” introduces humor-infused motifs over an irregular beat and hopping bass patterns, while “‘Rejostled” perpetuates cyclic anxieties.

“Angled Languor” features deliberately indolent piano playing, at times reminiscent of Paul Bley, set against a foundational tapestry weaved by sure-footed bass notes and sizzling brushwork. A similar languidity appears on “Apical Gropes”, an abstracted reverie that can’t quite match the haunting serenity of “Gauzy”.

“Cinch” is delivered with intention and intensity, establishing an irrepressible rhythmic flow that only breaks down towards the end. In contrast, “Optical Gripes” presents a significant mood shift, leading Weiss to abandon the syncopated beat in favor of soft brushing. “Grail Automating” emphasizes fluidity, with Mitchell’s excellent note choices adding textural color against the full-bodied backdrop of bass and drums.

The 17 tracks that make up Zealous Angles — a monument to unbridled creativity — were recorded in just three hours, capturing Mitchell and his peers in a gracious state of grace. The album keeps listeners on their toes, always curious about what will come next.

Favorite Tracks:
01 - Sponger ► 02 - Apace ► 03 - Jostler ► 12 - Gauzy

Kim Cass - Levs

Label: Pi Recordings, 2024

Personnel - Kim Cass: bass, sampling; Matt Mitchell: piano, Prophet-6; Tyshawn Sorey: drums; Adam Dotson: euphonium; Laura Cocks: flutes.

Intrepid Brooklyn-based bassist Kim Cass is a wellspring of virtuosity and functional complexity, a high-caliber accompanist and bandleader in his own right. On Levs, his debut album on Pi Recordings, he is joined by visionary keyboardist Matt Mitchell and progressive-minded drummer Tyshawn Sorey. Euphonist Adam Dotson and flutist Laura Cocks contribute to several experimental pieces inspired by the hand-notated scores of Stockhausen, Schoenberg, and Boulez.

“Slag” opens the album in trio format, displaying Cass’ invention at a feverish level. It’s an oddly rhythmic, unwavering avant-prog piece that plays in a completely different league, sharing some elements with the title track, “Levs” The latter is a brilliantly sculpted sonic canvas marked by fractured rhythms and abrasive impulsivity, which eventually breaks down into a more contemplative scenario towards the end. 

Also in trio, “Time” swings freely, while “Fog Face” starts in an ambient context with rambling synth on top of an exquisitely syncopated beat before adopting an offbeat pulsation with Mitchell’s pianistic charisma at the forefront. “Gs” displays a David Lynchian jazz warpedness that pushes towards its center rather than radiating outward. Conversely, “Rumple” draws from the electronic music universe, spreading ideas through glitchy tessellations that fuse with advanced harmonic and rhythmic settings. 

“Ripley” touches on balladry, gently propelled by Sorey’s brushwork and with Dotson’s tenor-voiced brass creating a mystic haze around the deftly ordered layout. Both “Tentacle” and “Sea Vine” are filled with tension and perplexity, the latter embroidered with windy, crisp unisons. The program closes with “Trench”, in an impressive diffusion of energy mounted with elegiac tones in its cryptic layering. It’s a dark polyrhythmic ride into the infinite cosmos. 

Levs is a demanding listen that, while calling on the characteristics of other genres, maintains a distinct and unique interface. The band’s musicianship and extraordinary coordinated interchange are excellent, establishing Cass as an essential name within the future of jazz.

Favorite Tracks:
01 - Slag ► 02 - Fog Face ► 11 - Sea Vine ► 13 - Trench

Marta Sanchez Trio - Perpetual Void

Label: Intakt Records, 2024

Personnel - Marta Sanchez: piano; Chris Tordini: bass; Savannah Harris: drums.

Spanish-born, New York-based pianist and composer Marta Sanchez embarks on a fresh chapter in her career with Perpetual Void, her seventh album as a leader and the first in the piano trio format since 2008. Departing from her previous projects leading a forward-thinking two-horn frontline quintet from 2015 to 2022, which resulted in four remarkable albums, Sanchez now presents a stripped-down approach that remains bold in its aesthetic, holding ground with the avant-garde and modern composition.

The titles of some tracks hint at the challenges Sanchez has faced in recent years, including loss (the unexpected death of her mother in 2020 had already been emphasized in the album SAAM), grief, anxiety, and insomnia. “Prelude to Grief” sets the tone at the same time that introduces “The Absence of People You Long For”, where Sanchez’s trio mates, bassist Chris Tordini and drummer Savannah Harris, interlock moves with accuracy. Their pensive musing extends through “The End of That Period”, with its occasional shape-shifting dynamics and tension, and continues  in “Prelude to Heartbreak”, which channels a contemporary classical atmosphere through dreamlike yet restless piano cascades.

The album opening cuts are mesmerizing: “I Don’t Want to Live the Wrong Life and Then Die” bursts with urgency, under an intricate odd-metered flow with subsequent rhythmic transitions - probing rubato reflections before concluding with a faster theme than when it started. “3:30 AM” alludes to Sanchez’s insomnia, with the trio tossing off a strapping rhythmic drive that reminiscent of electro-punk-rock. Piano counterpoint, angular melodic phrases, and dark cluster chords punctuate the piece, leading to extroverted exchanges between bass and drums.

Sanchez keeps things moving with the expansions and contractions of “The Love Unable to Give”, an 11/8 piece, and finds solace in the smooth logic of “Black Cyclone”, infused with jazz tradition-inflected ideas and spinning with contrapuntal liquidity, infectious vocabulary, and Tordini’s compelling bass statement. “29B” ends the solid set with the same verve that started it.

Perpetual Void is built with imaginative new pulses, polyrhythmic allure, and enveloping harmonic waves that make an impact on the listener. You’ll find a lot to connect with.

Favorite Tracks:
01 - I Don’t Want to Live the Wrong Life and Then Die ► 02 - 3:30 AM ► 09 - Black Cyclone

Dave Douglas - Gifts

Label: Greenleaf Records, 2024

Personnel - Dave Douglas: trumpet; James Brandon Lewis: tenor saxophone; Rafiq Bhatia: guitar; Ian Chang: drums.

Renowned trumpeter and composer Dave Douglas has been a stalwart presence in the modern jazz scene for several decades. For this date, comprising new original material and four Billy Strayhorn classics, he’s joined by open-minded associates such as saxophonist James Brandon Lewis (on half the tracks), guitarist Rafiq Bhatia (making his fourth appearance in Douglas’ projects), and drummer Ian Chang. The latter two, members of the experimental/post-rock trio Son Lux, anchor the the nimble soloing of the two-horn frontline, showcasing their strong rapport. Together, they create a strangely beautiful symmetry with Gifts, a celebration of the blessings of life and music.

The title track traverses an atmospheric landscape, accented by metallic percussion and ethereal, powdery electronics. The trumpet combines prodigiously with the guitar in a theme that leads to a slow modal procession enriched with expressive idiosyncrasies. Lewis and Douglas blow up a storm in their free-flowing improvisations. While the saxophonist delivers a soulful performance, the trumpeter explores a rich post-bop dialect over Bhatia’s sumptuous chordal work. Later on, the guitarist adds a drone-sustained backdrop for himself, dropping a magical noir-inspired improvisation. 

Also among Douglas’ standout compositions is “Seven Years Ago”, a previously unrecorded piece from 2017, providing a compelling narrative with a plodding rhythm on the verge of expansion, conciliatory unison lines, and improvisatory fluency. “Small Bar” is another tensely dynamic ear-catcher, a trio effort that prominently features Bhatia. He sets the tone with harmonics, breezy delay effects, and a modernistic world music flavor that seamlessly transitions into distorted walls of sound reminiscent of prog-rock. Here, he even tosses bass lines, creating a walking pavement for Douglas’ philosophical musings.

If “Kind of Teal” evinces strong blues and rock n’ roll connotations, eventually opening windows to soft-rock-meets-jazz views, then Strayhorn’s “Take the A Train”, with a curiously altered main melody, takes the rock power further with originality, joy, and awesome interplay. Also penned by Strayhorn, “Rain Check” emits a positive vibe, “Blood Count” shifts from intelligent balladry to moderately ominous fusion with Bhatia soloing over Chang’s agitated drumming, and “Day Dream” offers bustling trumpet-over-drums moments.

Gifts offers a diverse array of moods and textures across its tracks to keep you alert and engaged throughout. This formidable trio, occasionally expanding to a quartet, is undoubtedly deserving your attention.

Favorite Tracks:
01 - Gifts ► 07 - Seven Years Ago ► 08 - Small Bar

Ambrose Akinmusire - Owl Song

Label: Nonesuch Records, 2023

Personnel - Ambrose Akinmusire: trumpet; Bill Frisell: guitar; Herlin Riley: drums.

Trumpeter and composer Ambrose Akinmusire continues to showcase his artistry, this time with a surprising and intimate trio, featuring the remarkable talents of guitarist Bill Frisell and drummer Herlin Riley. In this ensemble, Akinmusire, known for his monstrous technique and improvisational prowess, leads a group that emits light through their instruments across eight new compositions penned by Akinmusire himself. These pieces, dressed in an aesthetic that exudes warmth, serve as a reaction to the overwhelming assault of information, as explained by the bandleader.

The opening track, “Owl Song 1”, sets the tone with absolute lyricism, incorporating delicate trumpet melodicism, a wonderful textural tapestry weaved by Frisell (he combines single-note expression and chordal color like no one), and a soaring groove with a conspicuous kick drum beat. “Weighted Corners” features a pleasantly shimmering collage of two fingerpicked guitars and thematic trumpet lines, creating a relaxed 4/4 pacing with soft hand percussion.

To the gently tribalistic rhythm of “Flux Fuelings”, add Frisell’s brilliant guitar work on the lower registers for an enigmatic touch, and Akinmusire’s long high-pitched notes soaring above, and you have a nicely contrasting piece with a distinct identity. The intensity eases on the following track, “Grace”, where the trio, showcasing a perfect understanding of space and texture, sports precise unison intervals over deep drum sounds.

Akinmusire pays personal tributes to his collaborators in heavenly dramatic duets: “Mr. Frisell’’ features the guitarist guaranteeing an airy pulse while delivering rippling melodic fluxes jointly with the trumpeter; “Mr. Riley” plays like a New Orleans march intensified by well-placed trumpet accents. Despite recording together for the first time, the trio demonstrates an innate understanding of each other’s playing, evident in the ambient-inclined “Henya”, which closes the album as a prayerful rubato lament. Looped guitar, poignant yet wide-ranging trumpet, and scintillating drumwork lead us to a definitive heartbeat, reaffirming we’re alive.

Owl Song is an enjoyable, refreshingly accessible, and fundamentally peaceful work from a trailblazing trumpeter in excellent form. Eschewing formulaic patterns, this outstanding outfit is blessed with inspiration, communication, and exploration. What more could one ask for to close 2023 in big?

Favorite Tracks:
01 - Owl Song 1 ► 03 - Flux Fuelings ► 04 - Grace

Matana Roberts - Coin Coin Chapter Five: In the Garden

Label: Constellation Records, 2023

Personnel - Matana Roberts: horns, percussion, harmonicas, wordspeak, composition; Darius Jones: alto saxophone, voice; Matt Lavelle: alto clarinet, pocket trumpet; Stuart Bogie: bass clarinet, clarinet, vocal; Mazz Swift: violin, vocal; Cory Smythe: piano, vocal; Kyp Malone: synths; Mike Pride: drums, percussion; Ryan Sawyer: drums, percussion; jaimie branch (courage 1983-2022).

The fifth installment of the Coin Coin project by Chicago-born saxophonist, composer, artist and activist Matana Roberts has arrived, offering a poetic declaration of freedom in them unique, signature style. This time, the theme of abortion weaves through the tracks with open-ended musicality and forward-thinking beliefs. The recording resounds with a powerful slogan that repeats throughout, brimming with newfound urgency: "my name is your name; our name is their name; we are named; we remember, they forgot”.

Surrounded by a new cast of like-minded musicians, Roberts employs an intelligent combination of sounds and words to tell the story of a woman in her ancestral line who tragically passed away due to complications from an illegal abortion. Civil rights are addressed in a record dedicated to the influential late cultural critic Greg Tate. 

The album comes out of the gate with “We Said”, featuring shamanic metallic percussion combined with layers of elongated saxophone that contribute to a dense drone. The marching drums carries clarion tin whistles in a folkloric liberation reminiscent of The Art Ensemble of Chicago. The music complements the words, particularly on “Unbeknownst”, which feels like a work song with violin and clarinet playing cyclic figures over a taut rhythm. 

Two standout pieces, “Predestined Confessions” and “Shake My Bones”, showcase exhilarating saxophone exchanges between Roberts on tenor and Darius Jones on alto. The former piece is a modal weep turned cacophonous spectacle with multiphonics at some point, while the latter is fleshed out with motivic insights, transitioning through a swing feel forged with with a three-time pulse before concluding in a celebratory and revolutionary turbulence.

Sometimes cathartic, sometimes quiet, the music is always confrontational, refusing concessions to ensure the message resonates widely and deeply. Observe how the instruments freely cut through the rhythms on “Different Rings”, creating a a dramatic clamor. Feel the relentless rock-tinged pulse driving “How Prophetic”, accompanied by elated riffs, or how the harmonious vocal alignment on “But I Never Heard a Sound So Loud”, a traditional African-American lullaby. Darker, distorted soundscapes are found on “No Way Chastened” as a result of Mazz Swift’s smoggy violin and Cory Smythe’s deep harmonic clouds.

Regardless on how different these pieces may sound, they undeniably bear Roberts' creative signature. Them invocations can be mystic, experimental, modern free jazz blasts, or simple structures with cyclic synth sequences, but they always seek truth and justice. It’s a significant artistic endeavor.

Favorite Tracks:
03 - Unbeknownst ► 04 - Predestined Confessions ► 12 - Shake My Bones