Ferg's Imaginary Big Band - The New Atomic

Label: Trash City Records, 2026

Personnel - Fergus Quill: composition, arrangement, vocals + Imaginary Big Band.

Considered one of the hottest acts on the British scene, Ferg’s Imaginary Big Band is the primary brainchild of Leeds-based composer, multi-instrumentalist, and bandleader Fergus Quill, who also leads Electric Noise Ensemble and the Fergus Quill Trio. The band shifts in personnel but generally includes around 30 members, all contributing to the freeing, snazzy arrangements through a delightful collision of sounds. The influences range from jazz masters such as Sun Ra, Charles Mingus, and Duke Ellington to film scores and the experimental rock of Boredoms.

The mercurial “J Surfing on Saturn” rides an elemental yet impactful groove before plunging into blistering orchestral chaos, propelled by sly counterpoint and massive unisons poured out by the synergistic horn sections. The solos—packed with urgent flourishes of notes—unfold over staccato-infused rhythmic motion before ambient textures and classical-influenced piano glissandi usher in a slow, fanfare-like march crowned by immense horn power. It all culminates in a burst of wild, indomitable energy.

Theme from The New Atomic” explores a galactic nebula through poignant intonations, while “Do the Right Thing” recalls Sun Ra’s exuberant Afro-funk universe, bolstered by Bess Shooter’s earthy baritone sax groove along with guitar elasticity, dense horn activity, and blaring sonic elements. The highly cinematic “¡Besszilla!”, referring to the Queen of the Monsters, is startling yet firmly grounded in feel. Its ominous bass and baritone saxes, smeared electric bass textures, and thumping percussive footsteps feel more menacing than celebratory, before a furious thrash-metal passage drives the piece toward a challenging conclusion.

Quill’s music combines the obvious with the eccentric, and he is not wrong when claiming that the elements are greater together than apart. This principle also applies to the album’s smoother moments, which arrive adorned with winning guest vocals. These include “Love Sick”, a rendition of Bob Dylan’s minor-key love song that here feels like a crossroads between the blues-rock of The Waterboys and the soulful R&B of Otis Redding; and “Same Sky”, which follows an Ellingtonian chord progression evocative of a finely crafted jazz standard, providing the perfect setting for the warm voice of Amy Clark.

The New Atomic provokes as much as it comforts, offering an exploratory, genre-defying repertoire that is unapologetically contemporary and rambunctious while remaining deeply respectful of the past. Adding further weight to the project, a portion of the album’s profits will be donated to War Child, supporting children affected by conflict around the world.

Favorite Tracks:
01 - J Surfing on Saturn ► 04 - Do the Right Thing ► 06 - ¡Besszilla!


Peter Bernstein - Better Angels

Label: Smoke Sessions Records, 2024

Personnel - Peter Bernstein: guitar; Brad Mehldau: piano; Vicente Archer: bass; Al Foster: drums.

Guitarist and composer Peter Bernstein, who blew my mind with albums such as Signs of Life (Criss Cross, 1995) and Strangers in Paradise (Tokuma Records, 2004), returns to the quartet format with Better Angels, after two trio sessions with Larry Goldings and Bill Stewart. For this release, Bernstein assembled a multi-generational ensemble featuring longtime collaborator and renowned pianist Brad Mehldau, bassist Vicente Archer, and legendary drummer Al Foster, with whom Bernstein played before but never recorded.

The album kicks off with Bernstein’s “Perpetual Pendulum”, a slow-burn groover that first appeared on his 2022 trio album of the same name. The track blends dulcet melodicism with an elegant, swaying pulse that lays the foundation for the soloists. Bernstein’s signature lyricism convenes bluesy phrasing and jazz coloring filled with chromaticism, while Mehldau’s logic narratives include chained melodic ideas that rise and fall with passion.

Tracks like “Ditty For Dewey” and “Hazel Eyes”, dedicated to family members, achieve a pleasing balance, with the latter being a richly textured ballad. “Better Angels”, likely inspired by Bernstein’s children, is a suave, in-the-pocket 3/4 piece where to Mehldau brings delicate trills, breaking points, and subtle dynamic shifts. Bernstein also delivers two solo performances: Mel Tormé/Robert Wells’s “Born To Be Blue” and J.J. Johnson’s “Lament”. The latter, introduced by a strikingly dissonant chord, stands out as the guitarist weaves together improvised melodies and harmonic coloration with keen sensibility.

The album’s two standards offer contrasting impressions. While “You Go to My Head” remains a straightforward, perhaps unsurprising interpretation, Duke Jordan’s “No Problem” emphasizes atmosphere and rhythm. Foster drives the track with a bubbling bossa groove, eventually trading eights with the band to close out the tune in style.

Better Angels is a smooth jazz album that simmers rather than boils, presenting familiar jazz elements while occasionally enchanting with its refined sonic treatments and thoughtful arrangements. Though far from groundbreaking, the album shines in its moments of graceful nuance.

Favorite Tracks:
01 - Perpetual Pendulum ► 07 - No Problem ► 08 - Lament


Kenny Barron - Beyond This Place

Label: Artwork Records, 2024

Personnel - Immanuel Wilkins: alto saxophone; Kenny Barron: piano; Steve Nelson: vibraphone; Kiyoshi Kitagawa: bass; Johnathan Blake: drums.

Pianist and composer Kenny Barron, a towering figure in the jazz world with 13 Grammy nominations and induction into the American Jazz Hall of Fame, has been at the helm of sophisticated post-bop for many decades, never shying away from reinventing jazz standards, reshaping his own originals, or composing anew. He does all that in his latest album, Beyond This Place, for which he enlisted a multigenerational group featuring rising star saxophonist Immanuel Wilkins, veteran vibraphonist Steve Nelson, and his regular rhythm team of bassist Kiyoshi Kitagawa and drummer Johnathan Blake.

The quintet starts off with a rendition of the timeless standard “The Nearness of You”, smoothly introduced by piano and saxophone, and later reinforced by dulcet bass lines and sizzling brushwork. Wilkins’s remarkably soulful statement makes this number memorable. Two other standards appear in the song lineup: “Softly as In a Morning Sunrise”, is a fantastic piano-drums duet where Barron deconstructs and rebuilds his narrative by stretching the melody to the breaking point; and Monk’s “We See”, seamlessly translated into piano-sax duo idiom. Curiously, Barron, who included more than a dozen Monk tunes in his extended discography, had never recorded this one before.

Notable among Barron’s original compositions is “Scratch”, a burning post-bop cut from 1985 that, stressing rhythmic accentuations, swings impulsively with confident elan. It’s lavishly delivered and stately paced with fluid yet tension-imbued solos from Wilkins, Nelson, and Barron. “Innocent”, whose original version was recorded in 1978 with saxophonist Sonny Fortune, is now revitalized with Wilkins’ fresh approach and Blake’s dynamic contribution. The drummer also shines on “Tragic Magic”, a lilting hard-bop number penned in honor of late pianist Tommy Flanagan, and contributes a composition of his own, the smoky “Blues on Stratford Road”, which evolves into a relaxed if familiar setting. 

In turn, the freshly penned title track is a gospel-infused ballad that reflects Barron’s refined pianism and melodic sensibility. Beyond This Place marks a strong return for Barron, characterized by stimulating conversational exchanges and masterful musicianship. 

Favorite Tracks:
01 - The Nearness of You ► 02 - Scratch ► 07 -  Softly As in a Morning Sunrise


Ernesto Cervini's Turboprop - A Canadian Songbook

Label: TPR Records, 2024

Personnel - Joel Frahm: tenor saxophone; Tara Davidson: alto saxophone; William Carn: trombone; Adrean Farrugia: piano; Dan Loomis: bass; Ernesto Cervini: drums.

Ernesto Cervini, a drummer/composer from Toronto and JUNO award winner, pays tribute to Canadian songs and artists with A Canadian Songbook, featuring his Turboprop sextet. This third outing comprises seven tracks, including two originals and five covers, where the adventurous ensemble shines.

The opener, James Hill’s “Skeletons” showcases the group at its bravest. It’s a structurally interesting piece underpinned by a skittering EDM-inspired rhythm intertwined with divergent rubato passages. It’s also a furious, blowing vehicle for the horn section - altoist Tara Davidson, trombonist William Carn, and tenorist Joel Frahm - whose exchanges are caught in a spiral of joyful and energetic purpose. 

The following track, Barenaked Ladies’ “When I Fall” is a circular 3/4 pop/rock song comfortably harmonized by bassist Dan Loomis who, locking up with Cervini, serves Carn’s opening solo before making a statement of his own. The piece climaxes with Frahm’s tenor statement, a perfect blend of emotion and vibrancy. 

Somehow recalling the music of Mulgrew Miller and Branford Marsalis, “Aureole”, penned by alto saxophonist Allison Au, expands the musical palette into a cerebral if extroverted post-bop that swings with a modern mainstream vibe. Its strong sense of texture stands out.

Cervini’s own compositions, “If, Then” and “Stuck Inside”, display contrasting postures. The former combines snare fluxes and staccato moves, first unfolding in 5/8 before shifting in tempo, while the latter sprawls with a more familiar jazz progression delivered with symmetry and balance.

While this is not Cervini’s best recording, it serves as a finely honed reflection on the Canadian music scene, showcasing the collaborative energy of his ensemble throughout.

Favorite Tracks:
01 - Skeletons ► 03 - When I Fall ► 06 - Aureole