Label: Cuneiform Records, 2024

Personnel - Tomeka Reid: cello; Mary Halvorson: guitar; Jason Roebke; bass; Tomas Fujiwara: drums.

American cellist and composer Tomeka Reid has been a vital force in the creative jazz scene, playing in groups led by flautist Nicole Mitchell, pianist Myra Milford, and multi-reedist Roscoe Mitchell, while also leading her own acclaimed quartet. This ensemble, featuring guitarist Mary Halvorson, bassist Jason Roebke, and drummer Tomas Fujiwara, shines brightly in 3+3, Reid’s sublime third outing with the group, comprising pieces that delve into extended forms, blending notated passages with ample space for free improvisation. From the opening notes to the final moments, the chemistry among these exceptional musicians is palpable.

“Turning Inward / Sometimes You Just Have to Run With it” begins as an open exploration, leading to touching chamber moments where Reid’s cello and Roebke’s bowed bass resonate in melodic consonance. Cymbal splashes anchor the bottom line, with Halvorson’s guitar texturing the top. Reid and Halvorson work in tandem, laying down well-delineated figures and phrases that build into solos over cyclic progressions made groovy by Roebke and Fujiwara. Halvorson excels at giving harmonic direction, sounding more bluesy and melodic than usual, while Roebke’s every single move feels like pure groove — his playing and sound are a true delight.

“Sauntering with Mr. Brown” is propelled by an off-kilter pace, showcasing staccato prowess and developing into a rock-flavored narrative, with Fujiwara adding even more steam to the mix. On occasion, one can experience a full-fledge experimentalism but there are also signs of tradition and counterbalanced collective interplay. “Exploring Outward / Funambulist Forever” encapsulates this blend, starting in a free fashion with well-measured actions by each member before Halvorson’s blend of electronic sounds and angular phrasing takes center stage. Afterward, she slowly toggles between two chords, enhancing chromatic movement in a more introspective passage. The piece then transitions effortlessly into a swinging section, with a call-and-response interplay between Reid and Halvorson that injects the music with kinetic energy.

Undoubtedly Reid’s finest album to date, 3+3 will stand the test of time. It’s one of the year’s best albums and a testament to Reid’s extraordinary artistry.

Favorite Tracks:
01 - Turning Inward / Sometimes You Just Have to Run With it ► 02 - Sauntering With Mr. Brown ► 03 - Exploring Outward / Funambulist Forever

Label: Cuneiform Records, 2019

Personnel - Tomeka Reid: cello; Mary Halvorson: guitar; Jason Roebke: double bass; Tomas Fujiwara: drums.

American cellist Tomeka Reid, a recent member of the renovated Art Ensemble of Chicago, has emerged as one of the most original voices in the avant-garde scene with memorable collaborations in projects by saxophonist Roscoe Mitchell, cornetist Taylor Ho Bynum, flutist Nicole Mitchell, and drummer Mike Reed. But don't think she earned credit exclusively from her work as a sidewoman since, as a leader, she outputted two wonderful quartet albums. Four years after her eponymous quartet release on the Thirsty Ear label, she appears on the Cuneiform Records with Old New, a record informed by musical eclecticism and featuring her longtime associates Mary Halvorson on guitar, Jason Roebke on bass, and Tomas Fujiwara on drums.

The title track starts off the session, loping with an infectious rhythmic verve created by Fujiwara and Roebke. The bassist's bouncing lines sometimes rest on surgical pedals, and the unorthodox melodies offered by the ladies make the fire burn. Their taut maneuvers can easily convert delicately punctuated expressions into wildly kinetic commotions.

Equally erupting with energy, “Niki’s Bop”, written for the inspiring Nicole Mitchell, denotes intelligible bop-oriented lines over the marching snare drum that paves the way. Dazzling melodic ideas flutter from the guitar and cello, repeating, echoing, and interacting with purpose until being renewed by new motifs. This is strangely liberating.

Enlivened by an adventurous groove, “Wabash Blues” explores unison lines before we hear Reid’s ingeniously warped entanglements. Yet, our attention becomes more and more fixated on Halvorson, who gets the things grooving with a smart comping and then takes off on an out-of-this-world atonal improvisation. Quirkier and more abstract is the percussive cello-drums introduction of “Aug. 6”, which evolves into an exulted sort of Afro dance peppered with elements of avant-garde, funk, and rock. It ends beautifully.

Tradition is scattered throughout and that’s pretty evident on tunes such as “Sadie”, an old-time swinger that Reid penned for her maternal grandmother, and “RN”, where enveloping sounds overcome the challenge of giving a new perspective to pop music, a genre she admires.

Crafted with an attractive electro-acoustic sound, Old New blends past and future with an open spirit, balancing softer approaches with cathartic spontaneity. It’s instantly likable.

Favorite Tracks:
01 - Old New ► 03 - Niki’s Bop ► 04 - Aug. 6