Label: Artwork Records, 2024

Personnel - Micah Thomas: piano; Immanuel Wilkins: alto saxophone; Nicole Glover: tenor saxophone; Adam O’Farrill: trumpet; Caleb Smith: trombone; Kanoa Mendenhall: bass; Kweku Sumbry: drums.

After capturing the public’s attention with his trio albums Tide (2020) and Reveal (2023), as well as his solo effort Solo Piano (2022), pianist Micah Thomas has now ventured into composing for a large ensemble for the first time. The result is Mountains, a live recording from The Jazz Gallery in New York in 2023, featuring 11 tracks that strike a fine balance between structure and freedom—sure to appeal to fans of both contemporary mainstream and avant-garde jazz. The album’s complex charts traverse a range of ambiances, demanding both precision and adaptability from its players.

“Life” starts the proceedings in a lushly orchestrated trade: the four-horn frontline commands attention while the rhythm section weaves an opaque rhythmic flow. Thomas’ solo, denoting motivic and modern classical predispositions, is separated from tenor saxophonist Nicole Glover’s chanting statement through a section packed with unison lines. That’s before a groovy vamp hits us with shades of Latin. The next piece, “Processing”, presents a stratospheric swinging outline reminiscent of George Russell, mixing traditional and avant-jazz currents while melodically pushing in different directions. It sounds just great.

“Lament” highlights trumpeter Adam O’Farrill wandering through a quiet piano landscape, his unexpected intervallic leaps creating moments of surprise as the atmosphere shifts from classical balladry to kinetic radiance. “Libre”, inspired by the duo recordings of Paco de Lucia and Camarón de la Isla, starts as a downright marching rag piece filled with charm and color, but then falls into silent mode, becoming a skimpy yet impulsive reflection. This leads seamlessly into “No Answer”, where horn melodies define a transparent harmonic progression in anticipation to that rag feel, reinstated with an arresting sense of freedom. Alto saxophonist Immanuel Wilkins stands out here with a fearful, visceral, and throaty solo over an unorthodox texture.

Wilkins and O’Farrill dialogue on the vibrant “The Mountain, spreading thoughtful observation over Kanoa Mendenhall’s funky bass strut and Kweko Sumbry’s steamy cymbal environment and punchy kick drum patterns. “Nomad” combines a cool vibe with rhythmic effervescence, featuring engaging exchanges between sax and trumpet, while “Collapse” is a contrapuntal cacophony that radiates energy. The session ends with “Through”, which evolves from drones and buzzes into a gradually cathartic climax.

The album’s consistent arcs of tension and release create a daring and inclusive sonic experience, showcasing the expansive scope of Thomas' compositional vision.

Favorite Tracks:
02 - Processing ► 05 - No Answer ► 07 - The Mountain

Label: Habitable Records, 2021

Personnel - Javier Subatin: guitar; Demian Cabaud: bass; Pedro Melo Alves: drums. Guests - João Mortágua: alto saxophone; Samuel Gapp: piano; Ricardo Jacinto: cello.

Javier Subatin, a versatile Argentinian guitarist based in Lisbon, gathered with fellow countryman bassist Demian Cabaud and Portuguese drummer Pedro Melo Alves for a stimulating new album. Guest performers appear on six of the 12 tracks.

The central pieces on this record - Subatin’s ‘Mountain’ compositions - are interspersed with more abstract collective improvisations that can go from avant-garde settings with constant restless motions (“Birds”) and controlled tension (“Shadows”) to slightly eerie episodes with a percussive emphasis (“Caves”).

The opener, “Mountain#1”, is among my favorites, showing the trio in absolute command of multiple meter signatures. Before the final straight-to-the-gut rock muscularity limned by Alves’ drum work, there’s a strident improvisation by Subatin. He makes an impact by engaging in rhythmic ideas that shifts chromatically.

The polyrhythmic “Mountain#3” brings us discernible, emotionally charged harmonic movements in 13/8 before opting for a symmetric jazz rock groove with hints of funk. This is celebrated by the enthusiastic interplay between Subatin and guest pianist Samuel Gapp.

Also featuring an ostinato-driven passage in 13, “Mountain #5” is atmospherically drafted for freedom but also includes thoroughly composed parts. The tension grows and the peak is reached halfway, during the bandleader’s revved-up soloing process. Yet, all ends pacifically with the bowed bass orienting us toward a circular trajectory.

Diversity is an asset here, and if “Mountain#4” blossoms like a folk dance and shows signs of fusion, then “Mountain#2” suggests chamber classical music with appropriate counterpoint, for which much contributes the cellist Ricardo Jacinto. By contrast, “Mountain#6”, which starts breezily in seven, features the suppleness of altoist João Mortágua and a solo dissertation by Cabaud in a well-paced ride. As a conclusion, all guests take part in “Solo#5”, a melodic and beautifully textured piece with a flowing sense of pop song.

The contemporary aural descriptions of these ‘mountains’ make us want to climb them to the top. Moreover, the telepathic camaraderie between the musicians is noticeable and the ambitious musical experiment wins.

Favorite Tracks:
01 - Mountain#1 ► 05 - Mountain#3 ► 10 - Mountain#6