Tyshawn Sorey Trio - The Susceptible Now

Label: Pi Recordings, 2024

Personnel - Aaron Diehl: piano; Harish Raghavan: bass; Tyshawn Sorey: drums.

The excellent trio of multi-awarded drummer Tyshawn Sorey—featuring pianist Aaron Diehl and bassist Harish Raghavan—delivers its fourth album of covers with through-composed forms and inspiring tune modifications that explore many new directions. The album, The Susceptible Now, highlights the kaleidoscopic brilliance of their musical interaction through deft arrangements and expanded renditions of pieces deeply personal to Sorey, both new and old. This work represents a completely different sound and approach compared to his own improvisation-driven compositions. 

McCoy Tyner’s “Peresina” is reshaped with inventive nuance, beginning with Diehl’s reflective piano intro featuring sparse, thoughtful chord progressions. Sorey’s enlightened brushwork and Raghavan’s elegant melodic drive join in, establishing a groove that evolves through bursts of unexpected energy. Diehl thrives within the supportive, inventive rhythms sculpted by his collaborators. After a series of rhythmic mutations, the piece concludes on the same cool tone with which it began, revisiting the last eight bars of the tune’s third section.

Sorey first encountered “A Chair in the Sky” while watching the documentary Charles Mingus: Triumph of the Underdog, later discovering it on Joni Mitchell’s album Mingus (Asylum Records, 1979). Perfectly suited for dimmed lights and introspective moods, the piece opens with calm, abstract piano lines, creating a tranquil ambiance. Delicate brush touches and breathing bass lines gradually shape its form. Following Raghavan’s admirable bass solo, filled with rhythmic and melodic intention, the trio concludes with soulful, poignant beauty, enhanced by Sorey’s expressive drum fills and cymbal colorations.

The inclusion of Vividry’s contemporary soul-pop tune “Your Good Lies” may come as a surprise but stands out as one of the album’s most joyful moments. This 15-section through-composed marvel brims with whimsical invention and vibrant energy. Syncopated piano chords and refined passages create a groove-laden journey that reinterprets jazz language to unlock new possibilities.

Sorey dedicates Brad Mehldau’s “Bealtine” to his good friend Anthony Amadeo, a drum historian and collector. The tune’s swinging, uptempo three-time feel showcases the trio’s unique voice, reflecting the talent of three musicians who sound unmistakably like themselves. 

The Susceptible Now is a lucid, masterful work that, while precisely arranged in a modern fashion, maintains a pervasive sense of freedom and executional flexibility.

Favorite Tracks:
01 - Peresina ► 03 - Your Good Lies

Ivo Neame - Zettalogue

Label: Ubuntu Records, 2024

Personnel - Ivo Neame: piano; George Crowley: tenor saxophone; Tom Farmer: double bass; James Maddren; drums.

Ivo Neame, a highly skilled British pianist and composer, is a name to watch closely. His tenth album as a leader, Zettalogue, stands at the forefront of the European jazz scene, showcasing music that is both complex and organic, characterized by odd meters, nuanced expression, and fluid rhythmic and harmonic transitions. The seven compositions on this album—including two revisited pieces—are richly textured and anchored by a sophisticated modern edge, drawing from a variety of genres. He is joined by invaluable regular associates, saxophonist George Crowley, bassist Tom Farmer, and drummer James Maddren, who together craft a compelling musical mosaic.

“The Rise of the Lizard People”, a track originally featured in Neame’s large ensemble album Glimpses of Truth (Whirlwind Recordings, 2021), opens the album with a lively, offbeat rhythmic cadence driven by an engaging piano riff. This wake-up call to the American people is marked by intricate parallel sax-piano lines and a freewheeling piano solo by Neame, filled with bold ascents and seamless landings. The following track, “Drone Yer Sorrows”, channels rhythmic inventiveness reminiscent of Chick Corea and Joe Henderson, blending Latin and post-bop influences. Crowley seizes the opportunity to shine, delivering fiery, dark-toned expressions. 

The dynamic title track, “Zettalogue”, evokes the sensation of a high-speed train racing through a smoky landscape. Tempo shifts mimic perpetual motion, conjuring the blurred scenery outside the train’s window. The saxophone’s multi-line effects elevate the melody, providing a sense of urgency and energy. In contrast, “The Trouble With Faith” offers a moment of introspection. This ballad creates space for reflection, balancing the album’s otherwise energetic tone with serene elegance.

“Pala” and “Être Sur le Train de Gravy” are standout examples of the quartet’s cohesive interplay, blending intricate meters with a focus on creative freedom within well-defined structures. The former, propelled by Maddren’s captivating drumming, originally appeared on the quartet’s album Moshka (Edition Records, 2018). The latter, a fresh modal creation, features Crowley’s commanding tenor saxophone, which soars with intensity and flair.

Filled with musical twists and turns, Zettalogue consistently surprises and delights, resonating deeply with the postmodern zeitgeist of the 21st century.

Favorite Tracks:
01 - The Rise of the Lizard People ► 02- Drone Yer Sorrows ► 03 - Zettalogue ► 05 - Être Sur le Train de Gravy

The Bad Plus - Complex Emotions

Label: Mack Avenue Records, 2024

Personnel - Chris Speed: tenor saxophone; Ben Monder: guitar; Reid Anderson: bass, synth; Dave King: drums, synth.

The Bad Plus, a quartet of first-rate musicians renowned for their genre-blurring compositions, returns with their latest album, Complex Emotions. Saxophonist Chris Speed and guitarist Ben Monder, who joined founding members bassist Reid Anderson and drummer Dave King in 2021, have become integral to the ensemble. Their second album as a quartet features eight original compositions—four by Anderson, two by King, and one each by Speed and Monder. Together, these pieces explore the individual compositional voices of the band members who rove beyond the confines of stereotyped jazz and rock to create something wholly distinctive.

The album opens with two Anderson-penned tracks. “Grid/Ocean” is smoothly laid down with a blend of wet and dry percussion timbres, a soulful melody that puts light in the horizon, and a circular pop/rock harmony. Monder’s guitar work dazzles, glowing with intensity as King’s cymbal flourishes build to an exhilarating climax. The next track, “French Horns”, is marked by an invigorating rhythm, drawing freely from alternative rock and featuring synchronized guitar-sax melodies, anthemic chordal patterns supporting Speed’s nimble improvisation, and a scorching, metal-inspired guitar solo by Monder.

King’s flair for rhythmic complexity and tricky meters shines on “Casa Ben”,  which, delivered with a progressive rock posture, showcases a killer theme centered on a dazzling descendant phrase, and variations of 10 and 12 beat-cycle passages. Speed’s “Cupcakes One” channels a punk rock vibe and a pop melody, elevated by Monder’s inventive solo. The track’s infectious rhythm invites listeners to move, much like Anderson’s expansive “Carrier”, a groove-laden piece driven by an off-kilter beat shuffle. Nonetheless, Monder and Speed provide a contrasting dreamy feel, creating a Mazzy Star-kind of melancholy, while Anderson’s bass shifts seamlessly from understated to commanding. 

The adventurous “Deep Water Sharks”, another Anderson composition, offers a vibrant krautrock-inspired groove filled with rapid ideas, guitar noise and scattered harmonics, as well as melodic fluidity. Speed’s improvisation injects further vitality into the track. The album concludes with Monder’s “Li Po”, an eery, atmospheric number filled with dark suspensions and continuous tension. Previously featured on Monder’s triple album Planetarium, this haunting piece feels tailor-made for a mystery or horror film soundtrack.

Complex Emotions solidifies The Bad Plus as a sensational post-modern jazz act. By forging fresh paths and emphasizing the distinct musical identities of its members, the album offers a compelling and multifaceted listening experience, confirming the quartet’s creative vitality.

Favorite Tracks:
01 - Grid/Ocean ► 02 - French Horns ► 05 - Cupcakes One ► 06 - Carrier

Unionen - Unionen

Label: We Jazz Records, 2024

Personnel - Per ‘Texas’ Johansson: tenor saxophone, clarinet, contrabass clarinet, cor anglais, flute; Ståle Storløkken: piano, Fender Rhodes, synths; Petter Eldh: acoustic and electric bass, mpc; Gard Nilssen: drums, percussion.

Unionen, a newly formed quartet from Sweden and Norway, draws its name from the historical union of the two countries under a shared monarch (1814–1905). This gifted ensemble, comprising some of the most accomplished improvisers in contemporary jazz, blends influences from past and present into thoughtfully constructed arrangements that strike a balance between power and subtlety, never veering into excess.

“Ståhlbad” sets the tone with a catchy, melancholically dulcet motif that evolves into a compelling riff. Ståle Storløkken’s synth manipulations nestle against the acoustics with excellent results, inbuing the piece with a liquid if slightly distorted feel, while Gard Nilssen’s propulsive drumming adds dynamic momentum. Following an atmospheric solo synth passage, the central phrase returns with a sense of poignant mystery. “Den Grimme Elling” emits strange vibes, with Petter Eldh’s slow, deliberate bass groove anchoring unison lines from Per ‘Texas’ Johansson’s horn and Storløkken’s keys. Levitating grand piano chords hit, and then the piece becomes electrified with energy, with Johansson delivering a fleet, contorting saxophone solo over an unrelenting rhythmic tapestry. 

The tasteful, off-the-cuff moods are what makes you want to lean on this record, and tracks like “Ganska Långt Ut På Vänsterkanten” and “Tomikron” exemplify this quality with their coherent soundscapes. The former, guided by continual folk riffs atop, is marked by contrabass clarinet and flute, creating a passionate vibe that changes colors with bittersweet twists; the latter, with its brushed drumming, groovy basslines, and breezy melodies, exudes charm and warmth. 

While Unionen’s music is rooted in contemporary jazz idioms, the ensemble is not afraid to explore chartless regions with other strong stylistic influences. “6983”, for example, opens up a whole new realm, venturing into danceable alternative rock, driven by effervescent saxophone solos and high-energy keys, evoking a blend of Jimi Hendrix's psychedelic rock and David Murray's soulful avant-garde jazz. In contrast, the title track, “Unionen”, unfolds like a majestic, contemplative fable. It combines rattling percussion, shimmering cymbals, sublime synth texture, and smooth, world-inspired melodies delivered by Johansson on cor anglais, creating a rich and immersive listening experience. The closing track, “Kolgruvan” wraps the album in an enigmatic, noir aura, weaving ambient textures while growing improvisational dimension. 

Unionen's debut album is anything but arbitrary in its selection and sequencing. It masterfully balances well-crafted passages with bursts of spontaneous creativity, forging bold new directions in modern jazz. The result is a captivating and liberating experience, and listeners are likely to experience a strange freeing of the spirit.

Favorite Tracks:
02 - Den Grimme Elling ► 04 - 6983 ► 06 - Unionen

Jenny Scheinman - All Species Parade

Label: Royal Potato Family, 2024

Personnel - Jenny Scheinman: violin; Bill Frisell: guitar; Carmen Staaf: piano; Tony Scherr: bass; Kenny Wollesen: drums. Guests - Julian Lage: guitar (#3,6,10); Nels Cline (#7,8).

Violinist and composer Jenny Scheinman, well-regarded in jazz circles for her collaborations with guitarist Bill Frisell and drummers Allison Miller and Scott Amendola, continues to impress in her latest album, All Species Parade. This ambitious work features a core quintet comprising Frisell on guitar, Carmen Staaf on piano, bassist Tony Scherr, and drummer Kenny Wollesen, with additional contributions from guest guitarists Julian Lage and Nels Cline on select tracks. Inspired by her return to her native Humboldt County, California, after years in New York, Scheinman crafts ten richly textured musical canvases that traverse a broad stylistic spectrum.

“Ornette Goes Home” opens with nimble brushed drums and a driving bass groove, blending chromatic movements with an Americana aesthetic for a rustic, bluesy vibe. The quintet shines as each member takes turns soloing, offering distinct emotional hues before the track shifts into a funk-infused conclusion. Funk is also present in the colorful title track, “All Species Parade”, where Wollesen’s cool rock beat underscores a vibrant central melody with an Arabesque descent, creating a celebratory atmosphere enriched by hints of American folk idioms. 

“Jaroujiji”, a cinematic homage to the Wiyot tribe, introduces a dramatic tone with Staaf’s clear-cut piano riff and Lage’s expressive acoustic guitar. Scheinman and Frisell collaborate closely in the melodic narrative, weaving intricate lines that highlight the track's poignant beauty. This cut, the title track, and the short-lived “The Sea Also Rises” form an Ellington-inspired suite, confirming the departure from the concise, song-like structures of Scheinman’s previous albums. Lage lends his expressive guitar work to two other titles — “Shutdown Stomp”, a folk rag piece whose energy leaves us gasping for breath, features him painting outside the frames with pastel shades, also spotlighting Wollesen’s vigorous accentuations; and the closer, “Nocturne 2020”, whose tender romanticism gains traction with a 7/4 meter signature.

Nels Cline’s chameleon-like guitar work adds further dimension to “House of Flowers”, a tender ballad with a country sensibility, and “The Cape”, a furious piece driven by krautrock rhythms and gritty blues-rock chops. By contrast, the playful “Every Bear That Ever There Was” blends the stealthy charm of Henry Mancini’s “Pink Panther Theme” with the noir allure of David Shire’s "Marlowe’s Theme”, while the ambient “With Sea Lions” evokes a monolithic wave of tranquil, blue-hued awe.

Scheinman explores a wide array of stylistic contexts, finding remarkable depth and nuance within each. All Species Parade reflects her honest and courageous vision, brought to life by a band whose tightly connected chemistry elevates every track. 

Favorite Tracks:
01 - Ornette Goes Home ► 05 - All Species Parade ► 06 - Shutdown Stomp

Ben Goldberg / Todd Sickafoose / Scott Amendola - Here to There

Label: Secret Hatch Records, 2024

Personnel - Ben Goldberg: clarinet; Todd Sickafoose: bass; Scott Amendola: drums.

Clarinetist Ben Goldberg, bassist Todd Sickafoose, and drummer Scott Amendola join forces to form a truly collaborative trio of progressive jazz luminaries. Each has been a significant presence in the creative music scene for decades, excelling as both inventive bandleaders and masterful sidemen. While they’ve played together in various contexts, Here to There marks their first endeavor as a trio, delivering a collection of originals inspired by the bridges of Thelonious Monk’s compositions. Abstracting with virtuosity and dexterity, the trio creates refined avant-garde jazz artworks within a musical universe that feels entirely their own.

The album kicks off with Sickafoose’s “In Walked”, a piece harmonically rooted in Monk’s “In Walked Bud”. From the outset, the trio immerses listeners in quick, cyclic clarinet patterns—occasionally hinting at the original melody—accompanied by screeching cymbals and loose bass notes that lock into a 5/4 groove. Goldberg’s expressive clarinet playing exudes heart and vibrancy, while Amendola’s nuanced drumming, complete with surprising colorations and tasteful electronics, adds depth. The drummer also contributes three versions of his “Lion Heart,” with the first presented as a clarinet-and-drums duet.

“Self Evident”, drawn from Monk’s “Evidence”, ventures into experimental territory with a polyrhythmic modernism that includes hip-hop-inspired beats, sparse bass gestures, and reflective clarinet improvisations. The piece evolves into a ritualistic soundscape as Amendola incorporates layered percussion, Sickafoose provides a constant bass pulse, and Goldberg stretches his melodic explorations. 

Sickafoose also contributes “Sad Trophy” and “Interospection”, inspired by Monk’s “Epistrophy” and “Introspection”, respectively. “Sad Trophy” is propelled by a 2/4 bass motif, rattling shaker rhythms, and dry cymbal accents, with Goldberg’s incantatory clarinet soaring above. “Interospection”, on the other hand, unfolds with a slow, spaced-out groove that gradually builds intensity while maintaining an undercurrent of tension.

Goldberg’s three compositions—“Porch Concert Material 9”, “Porch Concert Material 2”, and “Porch Concert Material 6”—highlight his distinct approach. The first offers speech-like patterns with motivic ebbs and flows; the second juxtaposes classical undertones, swinging bass lines, and conversational drumming; and the third delivers a beautiful, balladic melody with understated elegance.

This trio spreads a fantastic vibe, and every choice made works like a charm. Here to There offers elevated music, sure to leave listeners in a great mood.

Favorite Tracks:
01 - In Walked ► 02 - Self Evident ► 05 - Sad Trophy

Anna Webber with Matt Mitchell and John Hollenbeck - simpletrio2000

Label: Intakt Records, 2024

Personnel - Anna Webber: tenor saxophone, flutes; Matt Mitchell: piano; John Hollenbeck: drums.

Saxophonist, flutist, and composer Anna Webber—a meticulous conceptualist in improvised music—draws from the depths of polyrhythmic inspiration for her latest album, Simpletrio2000. Over the past decade, Webber has earned well-deserved acclaim for her rhythmic inventiveness and distinct stylistic twists across several albums. This new release marks ten years since the debut of her long-running band Simple Trio, featuring pianist Matt Mitchell and drummer John Hollenbeck. Across nearly an hour, they absolutely marvel with complex, intriguing soundscapes and rhythmic mastery.

Each piece is one-of-a-kind. “Slingsh0t” opens with overlapping jabs of cerebral saxophone pulses, loose piano build-ups, and unflappable rock-solid drumming. These elements converge into a driving electro-rock-inspired synthesis delivered at a complex, exhilarating tempo. Webber delivers a solo of poignant beauty, with Mitchell underpinning the pulse. “Idiom VII” was written with extended techniques in mind, in the case slap-tonguing saxophone staccatos with spiky intervals. The flux created, matched by Hollenbeck’s precise movements, is reinforced with Mitchell’s layer in a bewildering rhythmic exercise infused with rock and avant-garde muscularity.

Webber puts down her tenor for flute on “Foray”, casting fluid notes over a slow, menacing piano sequence of minor thirds as Hollenbeck keeps filling the space with an exquisite blend of toms and cymbals. There’s a blatant sense of mystery and suspense that comes and goes according to the motions and pulsations created. In “Miiire”, her buoyant flute melodies intertwine with dancing piano lines, weaving electronic music textures, rock, and hints of modern classical fugues. The track’s rhythmic shifts are handled with impressive finesse, and we even sense music from other parts of the world.

“8va” brings saxophone multiphonics over a calm, ambient backdrop, crescendoing to a powerful tenor solo from Webber. “Five Eateries (in New England)” explores various moods with provocative gestures, including alternative rock progressions, tension-filled chromatic shifts, and avant-garde outcries. Webber confesses being thrilled to compose for her talented triomates, and each member is featured solo on one track. 

Simpletrio2000 reveals fresh dimensions in the trio’s musical partnership, balancing disciplined control with boundless improvisational spirit. This album stands as another giant step forward in Webber’s discography.

Favorite Tracks: 
01 - Slingsh0t ► 02 - Idiom VII ► 04 - Foray ► 05 - Five Eateries (in New England)

Aaron Parks- Little Big III

Label: Blue Note Records, 2024

Personnel - Aaron Parks: piano; Greg Tuohey: guitar; David Ginyard Jr.: bass; Jongkuk Kim: drums.

The third installment of pianist and composer Aaron Parks’s Little Big quartet has arrived, featuring nine original compositions—five by Parks, three by guitarist Greg Tuhoey, and one by bassist David Ginyard, Jr. The group is rounded out by South Korean drummer Jonkuk Kim, who replaces Tommy Crane. There’s a strong sense of identity within the band, as they explore cohesive moods where jazz tradition seamlessly merges with contemporary sounds. At times, however, Little Big III feels a bit restrained, as if the group is holding back, casting a tentative, incantatory spell rather than delivering consistently memorable moments.

That said, the album has a promising start, with Parks’ “Flyways” launching the listener on an exhilarating journey through space. The pianist’s insistent chords throughout this boldly asymmetric piece—built on additive 10+9 beat cycles—enjoys positive contrast from Tuohey’s outgoing guitar work. Also from Parks, “Locked Down” and “Heart Stories” both lean into balladic storytelling, with the former infusing more elements of interest—in a fine blend of strange mystery and sweet resignation—than the latter, which, despite its melodic and harmonic poignancy, lacks spark.

Tuohey’s “Sports” gets underway with a 24-beat bass groove underpinning a gorgeous melody that hints at African inspiration. Park’s solo here is the warmest of company, while Tuohey’s could be further expanded. The funk-rock energy produced by bass and drums gets us quickly hooked, but the guitarist has other compositional offerings, spreading waves of Americana on his “Willamina”. Ginyard Jr. contributes “Little Beginnings”, bringing a fusion of smooth jazz and R&B with a peculiar bluesy feel. Stylist and fresh, it features a regenerative piano cycle, syncopated drumming, snappy bass lines, and a guitar solo tinged with a high-pitched, flute-like effect. 

The album concludes with Parks’ “Ashé”, a spacey, delicately brushed tune first recorded in 2007 and included on Terence Blanchard’s A Tale of God’s Will. Here, it’s infused with an added layer of dreamlike sensitivity, bringing the album to a fitting close that resonates with both nostalgia and quiet wonder.

Favorite Tracks:
01 - Flyways ► 02 - Locked Down ► 04 - Sports

Caleb Wheeler Curtis - The True Story of Bears and the Invention of the Battery

Label: Imani Records, 2024

Personnel - Caleb Wheeler Curtis: stritch, trumpet, sopranino saxophone, tenor saxophone; Sean Conly: bass; Michael Sarin: drums, Eric Revis: bass; Justin Faulkner: drums.

Following the authoritative statement of Heat Map (Imani Records, 2022), saxophonist and composer Caleb Wheeler Curtis returns with The True Story of Bears and the Invention of the Battery, a double album featuring two finely tuned trios that excel in free-flowing interplay and fluid structures. Curtis, who now has four albums under his belt, plays three different saxophones and trumpet here, employing overdubs to create moments of contrapuntal and synergistic stimulation.

Disc One features Curtis alongside bassist Sean Conly and drummer Michael Sarin, who provide alert support across nine originals and a solo saxophone rendition of Arthur Blythe’s “Odessa”, where Curtis’ lyrical grace in on full display. “The First Question” is set in motion by leisurely groovy bass lines and understated drumming, before saxophone and muted trumpet appear in parallel. The horns explore an unaccompanied, ruminative passage before Conly’s bass returns with rhythmic flexibility, adding a dynamic lift to the piece.

“This Cult Does Not Help” introduces a start-and-stop beneath a Monk-esque, propelling the trio into freebop territory as Conly’s swinging bass locks in with Sarin’s snappy brushwork. Curtis’ exploration of timbre conjures fluid melodic streams on both saxophone and trumpet. Offering a distinct mood, “A Feather is Not a Bird” gently dances through a simple three-note figure that repeats with hypnotic, contrapuntal intensity. 

The standout track, “Bears and the Invention of the Battery”, initially floats with soaring arco bass, effervescent drumming, and edgy reed and brass sounds. This later transitions into an electro-rock-inpired framework that, grooving and throbbing with spirited rhythmic displacements, features interesting improvisational ideas coming from Curtis. He maintains this zealous sense of direction on “Stellar Ray, See?”, building on top of methodic trap drums and inquisitive bass expressions. Sarin’s drum choices work like a charm and Conly’s resonant bass lines are enhanced by extremely tasteful patterns.

For Disc Two, Curtis enlists bassist Eric Revis and drummer Justin Faulkner for a set of ten Thelonious Monk compositions. Standout moments include the high-energy rendition of “Raise Four”, the gentle melodic clarity of “Reflections”, the infectious groove of “Oska T.”, and the blistering sax-over-drums manifesto of “Ugly Beauty”. Curtis also shines on “Jackie-ing”, balancing timbre, articulation, and inventive motifs with finesse.

Across both discs, Curtis sounds very much like himself, blending sensitivity and physicality. Each trio finds creative ways to explore their sound, making this album a distinct and valuable addition to Curtis’s discography.

Favorite Tracks - Disc One:
02 - The First Question ► 03 - This Cult Does Not Help ► 06 - Bears and the Invention of the Battery

Peter Evans - Extra

Label: We Jazz Records, 2024

Personnel - Peter Evans: piccolo trumpet, flugelhorn, piano; Petter Eldh: bass, synthesizer; Jim Black: drums, electronics.

No one grooves quite like trumpeter and composer Peter Evans, a master of experimental sounds, especially in modern, electronic-inspired contexts. With a powerhouse rhythm section—bassist Petter Eldh and drummer Jim Black—backing him, expectations for cutting-edge rhythmic exploration are met and exceeded. The shared passion these visionaries have for a hybrid blend of progressive jazz, alternative rock, and electronic music is infectious, and this album captures a broad spectrum of Evans’ musical world. Wonderfully mixed, the eight Evans originals were recorded in Lisbon in 2023.

The wild opener, “Freaks”, is an impactful harbinger for what comes next. Sustained brass notes soar over a propulsive, vibrant rhythm, creating rhythmic euphoria that’s both swinging and grooving. The dubbed trumpet lines build to a final solo that drives the piece to a powerful finish.

Delivering flashes of brilliance throughout, the trio’s remarkable work reaches new heights on “In See”, whose tribal vibe seems to emulate a Brazilian cuíca while drawing heavily from experimental electronica and EDM. Evans’ stuttering staccatos and motivic inclinations are complemented by Eldh’s hyperactive bass lines, while Black lays down an intense tapestry of punk rock and krautrock rhythms. The drummer also stokes the fire in “Boom”, where Evans’ piercing, swift trumpet attacks add extra muscle to the melodic and harmonic interplay.

The kinetic “Fully Born” carries the same explosive energy as the earlier tracks, arriving with an uncompromising posture, suitable for alternative dance floors. In contrast, “Nova” and “Movement 56” are less exuberant, delving into more atmospheric territory. The former features beautiful piano parts cutting through a breezy flow of trumpet and percussion, while the latter, abundant in loopy, riffs, and glitchy electronics, takes on a darker, ominous tone. 

Extra offers listeners a thrilling musical journey full of discovery. Every track, fresh and provocative, pushes the boundaries of improvisation and experimental music to new heights. It’s an indispensable record for those who enjoy their improvised jazz dipped in other genres.

Favorite Tracks:
01 - Freaks ► 02 - In See ► 03 - Boom

Bill Frisell / Kit Downes / Andrew Cyrille - Breaking the Shell

Label: Red Hook Records, 2024

Personnel - Bill Frisell: electric guitar; Kit Downes: organ; Andrew Cyrille: drums.

This remarkable musical collaboration between revered guitarist Bill Frisell, versed British organist Kit Downes, and veteran drummer Andrew Cyrille results in a uniquely original work with so much going on, that only repeated listenings will make you pick up the nuances and fully absorb the vibes. Pushing beyond the usual boundaries of jazz, this innovative trio ensures that nothing in their sonic landscapes feels predictable. The 11 tracks on Breaking the Shell were recorded in New York’s Church of St. Luke in the Fields, an acoustically rich space that enhanced the resonance of the group’s sound, particularly Downes' commanding pipe organ, with its 27 stops and 1,670 pipes. 

We are pitched straight into “May 4th”, an experimental effort by Frisell and Downes, containing vibrant droning in an intriguing balance between expansive guitar and grounding organ. Equally penned by the duo, “Kasei Valles”, named after a giant system of canyons on Mars, continues the experimental vibe, using sinister drones, looping riffs, and distorted walls of sound that evoke a psychedelic, nebulous atmosphere.

Downes’ “Untitled 2023” offers a more grounded composition, but with loose, exploratory drumming prying itself out of inertia. There’s shoulder-to-shoulder work by Frisell and Downes who employ harmonics and floating beams, respectively, to give the piece its peaceful resolution. Also penned by Downes, “El” is a beautiful piece where a tangible, affecting melody slides on top of a steady atmospheric texture, complemented with Cyrille’s magnificent brushwork and a guest appearance by cellist Lucy Railton. Cyrille’s skill with brushes is further showcased in his own composition, “Proximity”, a ballad filled with wonder and heartfelt emotion, akin to a meditative prayer.

Frisell, who embraces guitar reinvention at each new recording, injects wonderful impressionism in his composition “July 2nd”, delving into a gravity-defying harmonic exploration. “Two Twins” sonically paints with avant-garde tonalities, with Frisell bending notes, loosening harmonics, and fingerpicking amid tranquil waves of reverb, while Downes wraps it all in a contemporary electro bubble.

The trio also interprets two traditional European folk tunes, one from Norway and one from Hungary. The Norwegian song, “Sjung Hjerte Sjung”, grows progressively deeper, moved by Cyrille’s bright command of cymbals and snare, and filtered by a slight Southern sound that includes snippets of ambient-rock and modal music. The Hungarian piece, “Este a Székelyeknél”, takes us to hypnotic states with its quirky timbral radiations.

Throughout Breaking the Shell, the trio demonstrates a constant fascination with sound and texture, creating a transcendental work of experimental jazz that is as bewildering as it is exhilarating. It’s a must-listen for anyone who seeks fresh vibes in creative music.

Favorite Tracks:
02 - Untitled 2023 ► 04 - El ► 06 - Sjung Hjerte Sjung ► 08 - July 2nd

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

Jason Stein - Anchors

Label: Tao Forms, 2024

Personnel - Jason Stein: bass clarinet; Joshua Abrams: bass; Gerald Cleaver: drums; Boon: guitar (#1,7)

After a six-year hiatus, Chicago-based bass clarinetist Jason Stein makes a compelling return with Anchors, an album that is consistently intriguing, surprising, and invigorating. Inspired by the disciplines and practices that helped him overcome a creep-threatening injury, Stein demonstrates technical mastery and profound sonority throughout the record’s narrative arc. He is joined here by bassist Joshua Abrams and drummer Gerald Cleaver, who provide a cohesive yet adaptable foundation. 

The album is bookended by the piece “Anchor”, a delicate rubato duet revolving around a particular melody that serves as a meditation on stillness and motion. Written by the guitarist and co-producer Boon, it serves as a gentle entry point into the album's explorations. The following track, aptly titled “Boon”, unfolds as a loose avant-garde rumination that is both uncompromising and erratic, without ever feeling sinister. The co-composed “Crystalline” uses stagnation and fragility as launching points, with Stein offering temperate phrases and circular breathing techniques in a nuanced arrangement of notes. Abrams transitions from bowed bass to sparse pizzicato, while Cleaver shifts from pulsing cymbal glee to tom-tom commotion, culminating in a beautiful finish.

With freedom and focus as key elements, the trio shapes “An Origin” with deep, repetitive droning sounds of bass and bass clarinet. Abrams and Stein explore the lower reaches of their instruments over Cleaver’s shuffling, dynamic drumwork, evoking ambiguous black-and-white images in a monochromatic reference to suffering and chronic pain. As the track progresses, groove and color are gradually infused, with Abrams’ bass serving as the gravitational center while guiding us through a polished harmonic progression. 

“Holding Breath”, inspired by a technique Stein used for physical and mental benefit, is the album’s longest track at 12 minutes. It begins with air sounds, raspy bass tones, and rattling percussive, evolving from a suspended mode into a bluesy 4/4 modal structure. As the track swings fluidly, Stein’s elaborately articulated language invites the listener to hang in there. In stark contrast, “Cold Water” is a scorching free improvisation that leaves the listener breathless, only to bring a clear melody into focus by the end.

Anchors is a first-rate musical experience that encourages listeners to revel in Stein's sinuous, addictive narratives and vivid expressions of life experiences.

Favorite Tracks:
03 - Crystalline ► 05 - An Origin ► 06 - Holding Breath

Patricia Brennan Septet - Breaking Stretch

Label: Pyroclastic Records, 2024

Personnel - Patricia Brennan; vibraphone with electronics, marimba; Jon Irabagon: alto and sopranino saxophones; Mark Shim: tenor saxophone; Adam O’Farrill: trumpet (with electronics on #1,3,9); Kim Cass: bass; Marcus Gilmore: drums; Mauricio Herrera: percussion.

This tour-de-force septet album from New York-based vibraphonist Patricia Brennan showcases her dedication and expansive approach to composition. Breaking Stretch is lushly conceived, with occasional cultural references to the Caribbean and Latin America, offering intriguing textures, varying pulses, cohesive ensemble passages, and probing improvisation. Brennan, whose mallet-induced vibes shimmer through each track, trusts an incisive three-horn frontline—trumpeter Adam O’Farrill and saxophonists Jon Irabagon and Mark Shim—to join her More Touch Quartet, featuring bassist Kim Cass, drummer Marcus Gilmore, and percussionist Mauricio Herrera.

The soca music-inspired “Los Otros Yo” sets a colorful rhythmic matrix at the intersection of avant-garde jazz and calypso. A concise, to-the-point theme gives way to exuberant solos by Brennan and O’Farrill, who enhances his sound with electronic effects, and then a passage where Irabagon and Shim swap angular licks, their horns singing simultaneously in a thrilling display of vitality. The title cut, “Breaking Stretch”, opens with a triangular horn dialogue, its deep-rooted bass contributing to a juxtaposition of binary and ternary rhythmic feels. The resulting enigmatic atmosphere is reminiscent of Henry Threadgill’s sonic explorations, with Shim populating it with dark tones and fractal interpolation. Shim also takes center stage on “555”, a piece based on a rhythmic sequence of three beats divided by five. Cass provides a free funk substructure for the vibraphone solo, and Irabagon finishes the proceedings with a stratospheric display of tonal abundance. “Palo De Oros” stands out as a favorite, introduced by Cass with harmonics, vibratos, and impeccable articulations before unfolding into a 10-beat rhythmic cycle. The time signature shifts throughout a gripping arrangement that includes precise horn unisons, hooky solos, triumphant transitions, and frenetic drumming marking the final vamp. 

“Sueños de Coral Azul” brings a breezier mood, serving as a nostalgic nod to Brennan’s Mexican hometown, Vera Cruz. Meanwhile, “Five Sun” blends Latin and funk elements in an infectious, electrified romp driven by a key-shifting bass figure and invigorated by accents and rhythmic stretches. The album closes with the dazzling, disorienting “Earendel”.

The musicians are at the top of their games, feeding off one another’s energy organically and navigating every compositional challenge without a glitch. Breaking Stretch is an impressive showcase of Brennan’s broad musical vision and stands as one of the year’s strongest jazz releases. 

Favorite Tracks:
01 - Los Otros Yo ► 04 - Palo de Oros ► 09 - Earendel

Trygve Seim / Frode Haltli - Our Time

Label: ECM Records, 2024

Personnel - Trygve Seim: tenor and soprano saxophone; Frode Haltli: accordion.

Effortlessly navigating between folk-inspired melodies and open drift, the Norwegian duo of saxophonist Trygve Seim and accordionist Frode Haltli returns with Our Time, their second collaborative release following their 2008 debut Yeraz. The duo exhibits a sharp-eared empathy for diverse, world-inspired sounds, infusing each track with unique energy and churning detail, all while maintaining their characteristically lyrical approach.

This distinctive synergy is apparent from the outset. Haltli’s “Du, Mi Tid” plunges into a folk-ambient soundscape, exuding transcendent beauty. The delicate saxophone lines soar over shimmering layers of accordion, a design that continues on “Improvisation No. 1/Fanfare”, where the duo evokes distant worlds through a blend of cries and whispers. A buzzing, cyclical pattern leads to the pure melody of Seim’s “Fanfare”, a piece emotionally heightened by the musicians’ deeply felt intonation.

Seim’s “Arabian Tango” is delivered with fervent passion, while the traditional Ukrainian lullaby “Oy Khodyt Son, Kolo Vikon” serves as a soothing balm, flowing graciously as upper register soprano melodies spool out leisurely. The duo arranged this piece with the harpist Ruth Potter, a member of the Trondheim Symphonic Orchestra.

The album takes a detour into North Indian folk with “Improvisation No. 2/Shyama Sundara Madana Mohana”, yet it’s the brief, free take on Stravinsky’s “Le Cinq Doigts No. 5” that stands out. Here, modern classical elements are transformed into a philosophical dialogue, further intensified in “Improvisation No. 4”, where it grows dramatically interesting. Haltli’s rippling, enigmatic accompaniment in this piece has the power to transport listeners to another realm. The album closes with “Elegi”, a mournful chant delivered with deep-seated melancholy.

Having played together for nearly a quarter of a century, Seim and Haltli’s deep musical connection is evident in their well-versed exploration of texture and melody. Our Time is a work that may leave some purists of sound sighing with pleasure, a testament to the depth of their artistic expression.

Favorite Tracks:
01 - Du, Mi Tid ► 02 - Improvisation No. 1 / Fanfare ► 07 - Improvisation No. 4 / Les Cinq Doigts No. 5

Adam O'Farrill - Hueso

Label: Food Records, 2024

Personnel - Adam O’Farrill: trumpet; Xavier Del Ccastillo: tenor saxophone; Walter Stinson: double bass; Zack O’Farrill: drums, percussion.

Brooklyn-based trumpeter Adam O’Farrill is a force of nature whose mature and innovative compositions epitomize contemporary jazz boldness. Hueso marks the return of his quartet, Stranger Days, featuring saxophonist Xavier Del Castillo, bassist Walter Stinson, and his brother, drummer Zack O’Farrill.

The album opens with a solo trumpet rendition of Radiohead’s “Truth Ray I”, where Adam's stunning technique is on full display, utilizing synth-like effects and multiphonics pushed to tremolo extremes. “Truth Ray II” brings the full quartet into play, showcasing deep camaraderie as Adam and Del Castillo engage in intricate counterpoint and staccato precision, while a shift in the drum flow provides Stinson with space for a tactful improvisation.

“Dodging Roses” starts with Zack's gorgeous, stable rhythm, later having saxophone and bass alternating riffs and thoughts in advance of impeccable horn-fronted unisons and a more invigorating rhythm. Adam’s angular solo ascends with tremendous ease, backed by constant flare ups and slowdowns in the chord-less accompaniment. Showcasing muscular rock insinuations, “Hueso” illustrates why Adam and Del Castillo form an enthusiast, powerful frontline, employing  intense counterpoint over a nuanced bass pedal point and understated drumming. Their improvisations are imbued with emotion and creativity.

“Proximity of Clouds” unveils lumbering, droning parallels at the outset, a particularly yielding quintuple rhythm at the base, and classical nuance during the sax-trumpet interplay. “Gesturing Towards the West” is grandiose in sound and defiant in posture, evincing attributes like coordination, tension, and timbral depth. The album culminates with the darker atmospherics of “Cumulus”, where the horns wrap their sounds around bass and drums, creating an intriguing soundscape.

Hueso invites listeners to explore and internalize  its emotional depth without ever disappointing. Adam O’Farrill further solidifies his progressive credentials as both a modern trumpeter and a forward-thinking composer.

Favorite Tracks:
03 - Dodging Roses ► 05 - Hueso ► 08 - Cumulus

Lux Quartet - Tomorrowland

Label: Enja / Yellowbird, 2024

Personnel - Myra Melford: piano; Allison Miller: drums; Dayna Stephens: alto, tenor and soprano saxophones; Scott Colley: upright bass.

Lux Quartet is co-led by two distinctive and accomplished musicians — pianist Myra Melford and drummer Allison Miller — whose formidable bodies of work set high expectations for this debut. With the well-rounded saxophonist Dayna Stephens and the formidable bassist Scott Colley rounding out the group, the anticipation is well-founded. This project, which explores philosophical and spiritual themes, offers a sound that is more accessible than the avant-jazz of Melford’s Fire and Water Quintet and less sprightly than the jazz-rock hybrids of Miller’s Boom Tic Boom.

The album features compositions from all four members, beginning with Melford’s “Intricate Drift”, which exhibits impeccably intonated unisons, a cool, marching flow, and oblique improvisations. On this piece, Melford seamlessly picks up where Stephens’ solo leaves off, driving the music forward with creativity and logical progression. The longer compositions on the album are hers, on the lookout for exploration and spontaneity, and “The Wayward Line” is another highlight, beginning with sympathetic bass-drums activity and evolving through an inventive structure. This track includes parallel sax-piano lines, burnished saxophone coloration over revolving drums, and a section where piano curlicues and focused arco bass coexist, placing the quartet firmly in avant-garde territory.

Miller’s contributions bring a different flavor to the album. “Congratulations and Condolences” offers a rich, comforting, and fulfilling plate of modal post-bop, highlighted by soprano sax flights and rock-solid drumming, “Deeply Us” contrasts with its rubato ballad feel, gaining further genuine expression with Colley’s prominent thoughts. Miller also revisits the staccato-infused “Speak Eddie”, first recorded in 2013 as part of the album No Morphine No Lillies (Royal Potato Family), here distinguished by its walking bass and conspicuous ride cymbal pulses.

The album is marked by a deep sense of rapport, wit, and small epiphanies, with each piece consistently arriving at a satisfying destination, regardless of pace or texture. Stephens and Colley each contribute one composition, exuding peculiarity in their processes. Stephens’ “23 Januarys” draws inspiration from Messiaen’s modes of limited transposition, blending fluxes and energies to create polyrhythms, supported by a swinging bass flow and softly brushed snare and hi-hat. Colley’s “Tomorrowland,” a piece retrieved from his 2010 album Empire (Cam Jazz), is notable for its use of drama, ambiguity, and space, culminating in a dark, torpid atmosphere.

The levels of composition and execution are top-notch, and Tomorrowland is filled with the musical maturity and inventiveness expected from prestigious anchors and improvisers of the scene.

Favorite Tracks:
01- Intricate Drift ► 03 - Congratulations and Condolences ► 05 - The Wayward Line

Ingrid Laubrock / Tom Rainey - Brink

Label: Intakt Records, 2024

Personnel - Ingrid Laubrock: tenor and soprano saxophone; Tom Rainey: drums.

Saxophonist Ingrid Laubrock and drummer Tom Rainey present a fresh and captivating exploration of sound in their latest album, Brink. This album not only showcases their individuality as creative artists but also highlights the unique duo identity they have honed through numerous sessions, including those recorded in their Brooklyn apartment during the pandemic. 

Brink continues their intimate and nuanced relationship with sound and texture, alternating between shorter, intricately designed pieces ("brinks") and more extended forms where they deftly navigate both tempestuous and delicate atmospheres. What fuels the album’s opening track, “Flock of Conclusions”, is the fluidity of a conversation that ebbs and flows vividly, reaching a relevant expressive dimension.

The co-composed piece “Coaxing” showcases Laubrock’s assertive tenor saxophone phrases, which gradually gain weight and meaning over Rainey’s deep, resonant tom-tom work. The controlled flow gives way to an eruptive rhythmic surge in the final section, a cathartic exploration of freedom. Rainey, with his acute sense of musical integration, contributes significantly to Laubrock’s enigmatic composition “Liquified Columns”, where sparse yet tense free musings are punctuated by metallic sounds, deep drumming, and growling saxophone multiphonics. The closing track, “Said, Been Said”, shares a similarly intense spirit.

In “A Peculiar Logic”, another collaborative composition, the duo creates a tight lock-step rhythm, with Laubrock soaring high on soprano sax over Rainey’s comfortable cymbal and snare chatter. “Scrunch Repercussions”, which came out of Laubrock’s mind, is obliquely cut through, a masterclass in articulation and synergistic interplay that evolves in a distinctly tangy style, incorporating martial snare fluxes, well-aligned saxophone outputs, and powerful riffs that trigger dynamic rhythmic motions.

Throughout the album, the telepathic communication between Laubrock and Rainey is on full display, bringing unpredictable forms, surprising timbres, and strains of melody underpinned by exquisite rhythms. Sparking with inventiveness, these freewheeling pieces navigate a range of moods, offering a rich source of inspiration for creative jazz explorers.

Favorite Tracks:
03 - Coaxing ► 07 - A Peculiar Logic ► 09 - Scrunch Repercussions

Tomeka Reid Quartet - 3+3

Label: Cuneiform Records, 2024

Personnel - Tomeka Reid: cello; Mary Halvorson: guitar; Jason Roebke; bass; Tomas Fujiwara: drums.

American cellist and composer Tomeka Reid has been a vital force in the creative jazz scene, playing in groups led by flautist Nicole Mitchell, pianist Myra Milford, and multi-reedist Roscoe Mitchell, while also leading her own acclaimed quartet. This ensemble, featuring guitarist Mary Halvorson, bassist Jason Roebke, and drummer Tomas Fujiwara, shines brightly in 3+3, Reid’s sublime third outing with the group, comprising pieces that delve into extended forms, blending notated passages with ample space for free improvisation. From the opening notes to the final moments, the chemistry among these exceptional musicians is palpable.

“Turning Inward / Sometimes You Just Have to Run With it” begins as an open exploration, leading to touching chamber moments where Reid’s cello and Roebke’s bowed bass resonate in melodic consonance. Cymbal splashes anchor the bottom line, with Halvorson’s guitar texturing the top. Reid and Halvorson work in tandem, laying down well-delineated figures and phrases that build into solos over cyclic progressions made groovy by Roebke and Fujiwara. Halvorson excels at giving harmonic direction, sounding more bluesy and melodic than usual, while Roebke’s every single move feels like pure groove — his playing and sound are a true delight.

“Sauntering with Mr. Brown” is propelled by an off-kilter pace, showcasing staccato prowess and developing into a rock-flavored narrative, with Fujiwara adding even more steam to the mix. On occasion, one can experience a full-fledge experimentalism but there are also signs of tradition and counterbalanced collective interplay. “Exploring Outward / Funambulist Forever” encapsulates this blend, starting in a free fashion with well-measured actions by each member before Halvorson’s blend of electronic sounds and angular phrasing takes center stage. Afterward, she slowly toggles between two chords, enhancing chromatic movement in a more introspective passage. The piece then transitions effortlessly into a swinging section, with a call-and-response interplay between Reid and Halvorson that injects the music with kinetic energy.

Undoubtedly Reid’s finest album to date, 3+3 will stand the test of time. It’s one of the year’s best albums and a testament to Reid’s extraordinary artistry. 

Favorite Tracks:
01 - Turning Inward / Sometimes You Just Have to Run With it ► 02 - Sauntering With Mr. Brown ► 03 - Exploring Outward / Funambulist Forever

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