Label: Out Of Your Head Records, 2026

Personnel - Anna Webber: tenor saxophone, flute; Sarah Rossy: synth, voice; Chiquita Magic: synth, voice; John Hollenbeck: drums, glockenspiel, composition.

Claudia Quintet’s founder, John Hollenbeck, a fierce, focused, and highly innovative drummer and composer who often seems a step ahead of jazz’s vanguard, returns with his second album from the ensemble George—named after George Floyd—Looking For Consonance. The electro-acoustic group features synth players and vocalists Sarah Rossy and Chiquita Magic, alongside the exceptional saxophonist and flutist Anna Webber.

Difficult to categorize, the music traverses a postmodern landscape shaped by elements of synth-pop, electronica, idiosyncratic rhythmic designs, and open improvisation. “Bounce” is a striking ride that lands somewhere between eerie prog-metal and hallucinatory rave textures. Synchronized vocal lines, Hollenbeck’s explosive rhythmic foundation, and Webber’s menacing multiphonics and driving melodic force converge before dissolving into an extended, sustained drone.

The mercurial “Lewis”—dedicated to trombonist George Lewis—embraces shifting meters, incorporating synth-pop-rock passages in five, nimble septuple meter dances, and other intricate rhythmic cycles where the flute takes a central role. In contrast, “Nassam Alayna-Lhawa”, a composition by the Lebanese Rahbani Brothers, offers a gentle, diasporic expression of peace, delivered with clarity and warmth through Rossy’s Arabic vocals.

The ensemble’s revolutionary spirit peaks with “Norma”, a dark experimental piece built on saxophone–voice unisons and assertive rhythmic accents, and “George and Dee”, where strands of alternative synth-pop, new wave, and electronica-inspired experimentation evoke the legacy of artists like Gary Numan and Kraftwerk.

Hollenbeck infuses the album with layered rhythmic complexity throughout. Check out his work on “Porter”, where he lays down treacherous, counterintuitive undercurrents while ethereal vocal chants stay afloat. “Johnson”—a tribute to George F. Johnson—radiates a buoyant, groove-oriented energy, offering a more accessible nu-jazz moment, while “Wayne Phase”—a nod to Wayne Shorter—explores shifting intensities and stylistic breadth with a deep understanding of the honoree’s musical language and eclecticism.

Richly detailed, Looking For Consonance, may prove challenging for casual listen. Still, the group’s fluid command of odd meters and genre-crossing expression ultimately feels organic, inviting listeners to yield to its intricate rhythmic and improvisational allure.

Favorite Tracks:
01 - Bounce ► 04 - George and Dee ► 07 - Norma

Label: Blue Note Records, 2025

Personnel - Gerald Clayton: piano, Rhodes, organ, synth, vocals; Joel Ross: vibraphone; Elena Pinderhughes: flutes; Marquis Hill: trumpet; Kendrick Scott: drums; Kassa Overall: post-production, percussion, processing.

In his new album of originals, pianist and composer Gerald Clayton—who has performed with Charles Lloyd, Bill Frisell, and Roy Hargrove—leads a fresh ensemble filled with groove-savvy players and melodic innovators. Among them are vibraphonist Joel Ross, flutist Elena Pinderhughes, and trumpeter Marquis Hill.

According to Clayton, Ones & Twos is an experiment—a concept inspired by the art of turntablism. The tracks on each side of the album are meant to interlock, forming a completely new whole when overlaid—a nod to DJ transitions. Clayton’s curiosity about the effect of layering two strong melodies with potentially related harmonies results in a diverse, contemporary album that finds its own vision.

With a distinct tinge of neo-soul and R&B, “Angels Speak” flutters with an engaging melody set against rich harmonies and vamping sections delivered with clarity and warmth. Conversely, “Cinnamon Sugar” feels rooted in Brazilian choro, while “How Much Love?” brings forth a straightforward riff.

“Count M” rides a unique hip-hop-inflected groove with a modern sensibility, while the introspective “Lovingly”—featuring a poignant turn by trumpeter Marquis Hill in its closing section—leans into a more delicate mood. Yet it doesn’t quite land for me. More compelling is “Just Above”, a lyrical duet for flute and piano, full of dulcet motifs and a satisfying melancholic undertone.

The danceable “Rush” benefits from Kassa Overall’s post-production, flowing with an easygoing vibe and a trippy rhythm that later suggests Brazilian cadences. More energetic, “For Peace” thrives with radiant synth beams and rock solid drumming, courtesy of Kendrick Scott. Still, one of the standout tracks is “More Always”, where an eight-voice choir—including lauded vocalist Michael Mayo—joins the song’s steady march and assured unison lines. The album closes unexcitingly with the weightless floating of “Endless Tubes”.

Favorite Tracks:
01 - Angel Speaks ► 09 - For Peace ► 10 - More Always