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

Keisuke Kishi - Midpoint Cafe

Label: Self released, 2024

Personnel - Andrew McGowan: piano (#1,2); Calvin Johnson: saxophone (#1,2); Jun Sugiura: Piano (#3,4,5); Nori Naraoka: bass (#1,2,4,5); Keisuke Kishi: drums.

Keisuke Kishi's concise sophomore album, Midpoint Cafe, serves as a sonic reflection of his captivating road trip through Texas, Arizona, and Utah in 2021. Currently based in Hawaii and New York, Kishi deftly navigates between a saxophone quartet and a piano trio, channeling the emotions and experiences of his travels into his music with a sense of yearning..

The protean title track, “Midpoint Cafe”, alludes to the neutral midpoint of Route 66, ebbing and flowing with a gentle pulse on the piano and a beautiful dark intonation coming from the tenor saxophone. It changes unexpectedly into swinging walk for pianist Andrew McGowan’s solo, followed by bassist Nori Naraoka and tenorist Calvin Johnson. The latter enjoys a denser, circular flux that veers again into a cool, atmospheric beat as it keeps shaping around the music without overwhelming it. 

“Santa Fe 7’198” begins with a straight-eight feel, interrupted by a folksy passage with piano forte, and then falls into a more introspective awareness with Kishi imposing a loosened up rhythm that conjures up Makaya McCraven and Robert Glasper’s styles. “We Saw Him” brings more ambiguity as if it was probing something hidden from sight, depicting a strange encounter with a homeless Native American. It’s a duo effort with pianist Jun Sugiura (they go by the name Drizzle), featuring ritualistic tom-tom activity that intensifies before expanding to cymbals. 

The trio pieces also create interesting atmospherics, namely the picturesque “Inside Utah” and the short-lived closer “New Days”, whose dreamy state - built with arpeggiated piano, bursting drums, and arco bass solemnity - captivates but could have been further deepened in its sustained lyricism. Midpoint Cafe stands as a honest album in its truest form, showcasing Kishi’s rhythmic aptitudes while painting evocative landscapes through music.

Favorite Tracks:
01 - Midpoint Cafe ► 03 - We Saw Him

Vijay Iyer - Compassion

Label: ECM Records, 2024

Personnel - Vijay Iyer: piano; Linda May Han Oh: double bass; Tyshawn Sorey: drums.

Revolutionary pianist Vijay Iyer reunites with bassist Linda May Han Oh and drummer Tyshawn Sorey, making their second appearance with Compassion, the knockout follow-up to their debut album, Uneasy (ECM, 2021). The trio, denoting a remarkable maturity, presents 12 tracks, including nine originals and three covers. 

The album opens with the mesmerizing title track, “Compassion”, characterized by a modern creative gloss and a captivating equilibrium. Soft cymbal rubs and gentle snare pressure set the tone, gradually building alongside subdued bass and poignant pianism, evoking a vast harmonic landscape of emotional depth. “Arch”, dedicated to the anti-apartheid South African Archbishop Desmond Tutu, follows suit with a piano figure and poised rhythmic matrix.

“Maelstrom” is a stunning composition rooted in classical protocols yet infused with a forward-thinking jazz feel. Expertly played, it features Iyer’s percussive attack on the lower register at some point, giving it a rock-solid danceability. “Tempest” is wild and metrically challenging, oozing an indomitable energy as the group navigates chord clusters and expresses fleet thoughts in the form of pivotal notes and screwy lines. Both pieces pay homage to the victims of the Covid-19 pandemic.

Iyer drew inspiration from Chicago poet Eve L. Ewing on two selections, namely, the epic “Where I Am”, forging ahead with a robust rhythm and spartan fortitude, and “Ghostrumental”, driven by a nice pop/rock beat.

In addition to original compositions, the bandleader offers interpretations of Stevie Wonder’s “Overjoyed”, boosted by a kinetic three-time feel, Roscoe Mitchell’s “Nonaah”, a vivacious avant-jazz narrative with fragmentation and dilatation, and a mashup of John Stubblefield’s “Free Spirits” and Geri Allen’s “The Drummer’s Song”.

In the hands of these visionary musicians, jazz remains elegant and transformative. Iyer has proven time and time again that he explores deep, with imagination. Compassion confirms his special talents, echoing with an easy-on-the-ear sophistication. 

Favorite Tracks:
01 - Compassion ► 02 - Arch ► 04 - Maelstrom ► 06 - Tempest

David Virelles - Carta

Label: Intakt Records, 2023

Personnel - David Virelles: piano; Ben Street: bass; Eric McPherson: drums.

Cuban-born David Virelles has proven to be one of the most virtuosic and technically adept pianists out there. He recorded with Andrew Cyrille, Chris Potter, Henry Threadgill, and Tomasz Stanko, but when it comes to his own original compositions he often draws from his roots. Those Afro-Cuban influences are suitable for twisting with versatile contemporary touches of post-bop and avant-garde jazz. The follow-up to Nuna (Pi, 2022), Carta, is a fine all-around trio showcase for his expandable and improvisational crossovers. Joining him here are bassist Ben Street and drummer Eric McPherson.

“Uncommon Sense” kicks off the album with an unaccompanied piano intro that leads to a slick bass line churned by Street as the pivotal groove. Balancing between expressive soloing and closely bound ensemble work, the piece denotes an incessant cymbal spark that confers a refractive scintillation.

“NYChepinsón” bears an authorial brisk persona, providing one of the most animated sections of the disc. Busy drum thwacks and solid bass lines accommodate the incredible motif at the center of the theme. A brief mambo incursion attests that linguistic barriers are not a problem here, and the trio returns to the point of departure for a fluid piano improvisation. Starting off with classical movements, “Tiempos” feels like straight-ahead Cuban jazz expressed with lots of feeling. Combining gaiety and passion, the trio reharmonizes their path toward the triumphing avant-jazz that brings it to a conclusion.

Both low-key, the title track and “Samio” have methodical, nimble percussion and sympathetic airy bass moves making good company to the meditative piano playing. They probably won’t thrill the listeners as much as “Confidencial”, which is the sole non-original composition on the album. Penned by the Cuban timbalero and rhythm creator Enrique Bonne, this rich number, structured with imaginative sequences, goes from a clear piano statement delivered with beautiful melody and lush cluster chords to a taut rhythmic drive, and then a solo piano passage before landing on an evocative sultry danzón from Cuba.

This phenomenal hybridity denotes sophistication in the process. Virelles and his associates make it cerebral and adventurous by turns, as well as fairly accessible.

Favorite Tracks:
01 - Uncommon Sense ► 02 - Confidencial ► 04 - NYChepinsón

Russ Lossing - Folks

Label: Sunnyside Records, 2022

Personnel - Russ Lossing: piano; John Hébert: bass; Michael Sarin: drums.

Pianist Russ Lossing cloaks his music in a haze of folkloric refinement for this particular jazz trio album with bassist John Hébert, a faithful collaborator for more than 20 years, and drummer Michael Sarin, in his second appearance with the pianist.

The composed folk melodies set the tone for the group improvisations with the exception of the balmy opening track, “Heaven Above”, which, shrouded in lyrical tranquility, off and on brings Bill Evans and John Taylor to mind. Here, the time is kept for the improvisations and the melodic treatment given by Lossing feels stunning with an emotional range. Hébert’s notes are huge when comping while Sarin’s sensitive percussion adds the perfect touch. 

On both “Village Folk” and “Mountain Folk”, the trio smears the musical canvases with soft hues for a bucolic portraiture. But it’s with “Country Folk”, another meditative, chant-like observation whose melody and harmony grab you strongly before lingering in the air, that the trio is at its best. Assuming a gorgeously asymmetric configuration, this particular number is enriched by lush piano notes that flow like a river, supportive yet never intrusive bass lines, and delicate brushwork. The ideas proliferate, expressed with different dynamics, just like on the Bartok-inspired “Grey”, which, revealing a more irreverent posture, leans on the avant-garde side despite the swinging post-bop thrust that runs at bottom.

Sophistication is in the call-and-response mechanisms proposed on “Call Now”, whose propensity to swing is complemented by an impeccably accented theme with concurrent playing by piano and bass, and also some Monk-meets-Motian spark. Hébert is particularly brilliant in the way he disguises and then disrupts during his bold statement. 

Rather than embracing fragility through the simplicity of folk, the trio pursues a wild excitement on “Lightning Bug”, a rambunctious effort that shows their hard-to-predict frame of mind. Lossing’s work has ranged from solo discs to duo and trio projects, projecting an expressive, personal sound that employs technique and sensibility on the side of emotions. Folks confirms that his heart is in the right place. 

Favorite Tracks:
01 - Heaven Above ► 03 - Grey ► 04 - Country Folk

Matthieu Mazué - Cortex

Label: Unit Records, 2021

Personnel - Matthieu Mazué: piano; Xaver Rüegg: double bass; Michael Cina: drums.

After playing a few gigs in France, Switzerland and Germany in 2020, the French pianist and composer Matthieu Mazué opted to release a 9-track album - titled Cortex - in the company of his two competent Swiss backers, Xaver Rüegg and Michael Cina on bass and drums, respectively.

The trio opens with the title track, implementing the theme statement with intervallic awe and triggering an arresting motion imbued with accentuation that travels your body with energy. An idea in the form of pedal point interrupts the flux and welcomes clearer bass expressions. And then the piece regains its throbbing heart with rich piano playing, whose attributes include shades of Andrew Hill and Horace Tapscott.

On “Cyborg”, the trio shows its fondness for rhythmic complexity, alluding to the crescent role of machines in our society. The piece starts with a tangling web weaved between bass and drums, and upon which free single-note piano lines are laid down. As the time advances, Mazué instills harmonic solidification, denoting an industrious vibe that often brings Kris Davis’ ostentation pianism to mind.

“Black Cloud” is a haunting ballad sustained by whispering brushes and sparse piano. The wide space created here has a noir-ish Paul Bley/Paul Motian elocution, something we hear once again on “Extended Sharpness”, which, giving a strong impression of intangibility at first, gains palpable traction with time. There’s an alternate take of this piece that brings a pop/rock pulse into play.

Both energetically dispensed, “Forming C” and “Data Are About to Collapse” are in connection with boisterous sounds. The former, propelled by a fine bass groove and nuanced pedals, is reinforced in the lower register by the pianist, who, at some point, causes a polyrhythmic, avant-edged, train-like motion to occur. The latter piece, probably partly inspired by spasmodic electronica and machine language, comes shrouded in an opaque sonic veil before settling in a lurching swing that is held down with vigor until the final theme.

Mazué manages to create a narrative direction while alternating between brisk dynamics and pure reflections. Several interesting moments are drawn from this trio effort.

B+

Favorite Tracks: 
01 - Cortex ► 02 - Cyborg ► 04- Forming C