Don Peretz / Jacob Sacks - Numerals

Label: Deepdig Records, 2024

Personnel - Don Peretz: drums; Jacob Sacks: piano.

On his latest album, Numerals, New York-based progressive drummer Don Peretz, renowned for his electronica-jazz-rock fusion, collaborates with the adventurous pianist Jacob Sacks, whose sharp and exploratory style perfectly complements Peretz’s dynamic approach. The duo shares an intuitive musical connection, balancing spontaneous creativity with composed pieces specifically crafted for this project. Peretz and Sacks first recorded together in 1999 for the album Spiral, a quartet setting that also featured saxophonist Sam Sadigursky and bassist Eivind Opsvick.

I have to admit, the first two tracks, “Kairin” and “Arthur’s Bread,” left me uncertain about whether I would enjoy the album. “Kairin”, with its muscular core and circular power chord progression borrowed from hard rock, was solid but not particularly special. “Arthur’s Bread”, which paired echoing Rhodes outputs with an unhurried yet firmly placed rhythm, felt like it was missing something. However, from that point on, the album captivated me, fascinating with its detail as the duo employed their state-of-the-art techniques and language to deliver an ultimately winning program. 

Épater Le Bourgeois” gains extra oomph through its odd meter, knotty melodic tangles, and a rich harmonic crusade that is perfectly anchored by Peretz’s rock-solid drumming and timely cymbal pulses. On occasion, I thought of it as a brainy fusion between E.S.T. and Chick Corea. “Suburban Talent”, channeling playful Monk-inspired riffs, maintains a logic avant-garde context, sliding steadily toward a final vamp that demands percussive expansion.

One of my favorite tracks is “Bag Chags”: asymmetric in tempo and carried by deep, tense, beautiful voicings supported by an unwavering rhythmic drive. Then, it shifts focus and key, leading to contrasting and surprising passages. The title cut, “Numerals”, plays like a modern Bach fugue, with arpeggiated piano sequences, tumbling dry toms, and sparkling cymbals extending the classical doctrine in interesting ways. In contrast, “Tyranny of Fine” leaves us wanting more after haunting us with a contemporary electronic vibe, snippets of melodic minimalism, and an irresistible hip-hop beat.

Numerals becomes more interesting with each listen, showcasing Peretz and Sacks in a raw, intimate fashion. They have this ability to effortlessly energize in smaller settings.

Favorite Tracks:
03 - Épater Le Bourgeois ► 04 - Suburban Talent ► 06 - Bag Chags


Kim Cass - Levs

Label: Pi Recordings, 2024

Personnel - Kim Cass: bass, sampling; Matt Mitchell: piano, Prophet-6; Tyshawn Sorey: drums; Adam Dotson: euphonium; Laura Cocks: flutes.

Intrepid Brooklyn-based bassist Kim Cass is a wellspring of virtuosity and functional complexity, a high-caliber accompanist and bandleader in his own right. On Levs, his debut album on Pi Recordings, he is joined by visionary keyboardist Matt Mitchell and progressive-minded drummer Tyshawn Sorey. Euphonist Adam Dotson and flutist Laura Cocks contribute to several experimental pieces inspired by the hand-notated scores of Stockhausen, Schoenberg, and Boulez.

Slag” opens the album in trio format, displaying Cass’ invention at a feverish level. It’s an oddly rhythmic, unwavering avant-prog piece that plays in a completely different league, sharing some elements with the title track, “Levs” The latter is a brilliantly sculpted sonic canvas marked by fractured rhythms and abrasive impulsivity, which eventually breaks down into a more contemplative scenario towards the end. 

Also in trio, “Time” swings freely, while “Fog Face” starts in an ambient context with rambling synth on top of an exquisitely syncopated beat before adopting an offbeat pulsation with Mitchell’s pianistic charisma at the forefront. “Gs” displays a David Lynchian jazz warpedness that pushes towards its center rather than radiating outward. Conversely, “Rumple” draws from the electronic music universe, spreading ideas through glitchy tessellations that fuse with advanced harmonic and rhythmic settings. 

Ripley” touches on balladry, gently propelled by Sorey’s brushwork and with Dotson’s tenor-voiced brass creating a mystic haze around the deftly ordered layout. Both “Tentacle” and “Sea Vine” are filled with tension and perplexity, the latter embroidered with windy, crisp unisons. The program closes with “Trench”, in an impressive diffusion of energy mounted with elegiac tones in its cryptic layering. It’s a dark polyrhythmic ride into the infinite cosmos. 

Levs is a demanding listen that, while calling on the characteristics of other genres, maintains a distinct and unique interface. The band’s musicianship and extraordinary coordinated interchange are excellent, establishing Cass as an essential name within the future of jazz.

Favorite Tracks:
01 - Slag ► 02 - Fog Face ► 11 - Sea Vine ► 13 - Trench


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