Ben Wendel - BaRcoDe

Label: Edition Records, 2026

Personnel - Ben Wendel: tenor saxophone, EFX; Joel Ross: vibraphone, marimba; Patricia Brennan: vibraphone, EFX; Simon Moullier: vibraphone, chromatic balafon, EFX; Juan Diego Villalobos: vibraphone, mallet station, percussion, EFX.

In BaRcoDe, born from a commission by The Jazz Gallery, the accomplished and eclectic saxophonist Ben Wendel explores a bold instrumentation, assembling four mallet specialists—Joel Ross, Patricia Brennan, Simon Moullier, and Juan Diego Villalobos—to interpret five originals and one cover. Showcasing his confident tenor swagger, Wendel weaves together jazz, classical, and new music within an electroacoustic context.

“Clouds” opens the album as a lush homage to the minimalist aesthetic of percussion quartets, pairing ecstatic saxophone lines with uninterrupted streams of vibraphone. Its ternary feel enhances the tune’s exotic character, while the vibraphonists’ layered parts cohere with remarkable precision. “Mimo”, meaning ‘outside’ in Czech, finds Wendel navigating rhythmic dexterity in his soloing. Though the melody carries a strong folk inflection, its blues sensibility remains evident, supported by a percussion section that delivers groove across shifting meters.

For this project, Wendel drew inspiration from the Grammy-winning Sō Percussion ensemble, known for its collaborations with Vijay Iyer, Philip Glass, and Steve Reich. “Repeat After Me”, also featured on Kneebody’s 2025 album Reach, foregrounds unison lines and percussive effusiveness, gradually settling into a gentle groove that takes on a subtle Latin tinge. The vibraphone–marimba combination yields a particularly rich blend of harmony and rhythmic motion.

The extended rendition of Antônio Carlos Jobim’s “Olha Maria”, flowing with a delicate, undulating pulse, preserves the poignancy and reflective tone of the original within a finely crafted arrangement introduced by a memorable preamble. One of the vibraphonists states the main melody before Wendel joins, leading into a focused and emotive improvisation. In contrast, “Birds Ascend”, loosely inspired by British pianist Kit Downes and Scottish folk fiddler Aidan O’Rourke, is largely through-composed, showcasing virtuosic interplay centered on a quick-witted phrase that shifts in pitch.

The accompanists’ use of extended techniques, effects, and impeccable sense of time proves invaluable, reinforcing Wendel’s position at the forefront of expansive, 21st-century post-bop.

Favorite Tracks:
01 - Clouds ► 03 - Olha Maria ► 04 - Repeat After Me

Eric St. Godard - New Beginnings

Label: Self released, 2026

Personnel - Eric St. Godard: piano; Niall Cade: saxophone; Ilya Osachuk: bass; Kieran Wallace: drums.

Hailing from Winnipeg, Canada, pianist and composer Eric St. Godard leads a flexible quartet on his debut alum, New Beginnings. Across eight original compositions, the ensemble—featuring saxophonist Niall Cade, bassist Ilya Osachuk, and drummer Kieran Wallace—draws from a melting pot of influences, with jazz at its core.

“Lovely Rose” opens the album as a Wayne Shorter–esque 3/4 enchanter, favoring tranquility and lyricism over turbulence. The spacious atmosphere allows Godard, Cade, and Osachuk to stretch out with confidence. In a similar vein, “Home” stirs emotion with delicate nuance and subtle fragility, beginning in a rubato setting before settling into a gentle waltz for its improvisations.

Despite its hard-bop flair and lively theme, “Tippin’” bears no relation to Horace Silver’s tune of the same name, even if it shares a comparable spirit. Its energetic framework provides a platform for a cleanly articulated saxophone solo, initially unfolding over bass accompaniment alone. Meanwhile, “Changing Winds” offers a clear nod to Pat Metheny’s “Bright Size Life”, concluding with a reflective solo piano passage.

“Letter”, with its strong ballad character, crisp backbeat, and fusion-tinged expression, could easily be mistaken for a Metheny composition, showcasing well-developed phrasing rooted in diatonic harmony. The uplifting title track, “New Beginnings”, gets a separated, multi-rhythmic piano introduction, curiously longer than the piece itself, which opens with a chant-like saxophone line later matched by piano. It reveals a melody enriched by luminous harmonic color.

The album closes with “Chicken Strut”, which subtly evokes New Orleans jazz-funk through its direct melodic lines and splashy chordal accents, ending on an energetic note. The rhythm section swings assertively beneath Godard’s poised piano runs.

Though somewhat conservative in form and structure—occasionally feeling constrained—New Beginnings nonetheless introduces a promising new voice in jazz, one intent on blending styles and forging a personal path.

Favorite Tracks:
02 - Tippin’ ► 05 - New Beginnings ► 08 - Chicken Strut

Sean Imboden Large Ensemble - Uncharted Realms

Label: Self released, 2026

Personnel - Sean Imboden: tenor and soprano saxophone, composer.

Last year, on Communal Heart, his debut album with a 17-piece large ensemble, shrewd Indiana-based composer and saxophonist Sean Imboden demonstrated impressive command as an orchestrator. Now he continues to explore expansive big-band writing with Uncharted Realms, which he describes as an invitation to envision better possibilities in our world—expressing a longing for connection, understanding, purpose, and safety.

The album opens with “Flowing Currents”, an anthemic, chamber-like piece layered with stimulating motifs that elevate the ensemble’s collective energy. Originally written for a smaller group, it features Imboden (on tenor) and rock-leaning guitarist Joel Tucker as soloists, both offering glimpses of their distinct voices within a gradual emotional crescendo. The pair also ride powerful waves of improvisation on “When You Look Beyond”, where the energy skyrockets via marching snare authority and an epic-ness that stems from remarkably coordinated contrapuntal passages, allowing contrasting timbres to emerge with clarity and intent.

Imboden gravitates toward rich, thoughtful jazz sonorities, avoiding cliché while crafting detailed and engaging soundscapes. “Balcony”, composed nearly a decade ago and continually refined, exemplifies this approach. Bassist Nick Tucker establishes a firm pedal point over which classically influenced gestures unfold. A seven-beat passage transitions into a sultry, tango-tinged section that frames the theme, opening space for expressive contributions from trombonist Zac Granger and Imboden on soprano. The closing track, “Follow the Kite”, offers a feel-good contrast, propelled by brushes, bass, and guitar in a relaxed flow, with bass clarinet subtly emerging from the texture. Despite its breezy surface, the piece tightens into punchy counterpoint, incorporating lush volleys within occasionally shifting meters.

“The Gentle Giant” revolves around a nuanced six-beat pattern that anchors the bass line. This adventurous piece—partly inspired by Philip Glass and Stravinsky—explores shifting dynamics and features flugelhornist John Raymond in a performance that is both serene and impassioned.

Imboden’s contemporary vision unfolds with clarity and creativity, reflecting a composer who understands how to draw the best from his ensemble. Uncharted Realms is another ambitious and cohesive musical statement.

Favorite Tracks:
01 - Flowing Currents ► 03 - When You Look Beyond ► 05 - Follow the Kite

Jonny Wartel / Mathias Landæus / Georgia Wartel Collins / Henrik Wartel - Celebrating Live

Label: Brotz Records, 2026

Personnel - Jonny Wartel: saxophone; Mathias Landæus: piano; Georgia Wartel Collins: bass; Henrik Wartel: drums.

The Wartels—a Swedish family of devoted practitioners of adventurous jazz and free improvisation—appear here alongside pianist Mathias Landæus in a live session recorded at Blow Out Oslo in 2024. Saxophonist Jonny Wartel leads the frontline, supported by his brother Henrik on drums and his daughter Georgia, now based in New York, on bass.

Their musical conversation, rich in nuance and strikingly organic, begins with Landæus’ meditative and harmonically balanced piano playing. Occasionally stirred by brief whirlwinds, his pianistic language gains momentum as the bass’s exploratory figures, the drums’ dynamic activity, and the saxophone’s floating lines enter the fold. The layered atmosphere gradually intensifies, with the rhythm section driving a frenetic swing that provides direction for Landæus’ inquisitive intervallic narrative. He is followed by Jonny, whose left-leaning lyricism generates both heat and agitation while maintaining a thread of sincere melodicism.

In the aftermath of this surge, the quartet—formed in 2024—navigates calmer terrain: reflective piano, gently bowed bass creating drone-like textures, understated percussion, and clearly shaped saxophone lines that remain open to “outside” exploration. The ensemble steadily rebuilds tension, shifting gears instinctively, with no fixed structure—allowing the music to flow freely as the musicians respond to evolving dynamics and intensities.

The following section turns notably melodic, offering moments of quiet intimacy that arrive with disarming grace. As weightless piano chords unfold, these passages stand among the album’s most compelling, revealing the musicians’ deep sensitivity to sound and texture. The final section begins with slippery, rolling drum figures before expanding into a Coltrane-inspired A Love Supreme atmosphere, with piano at the center of a swinging framework. Fleeting hints of folk-like melody emerge, adding a playful dimension before the piece culminates in avant-garde exuberance. This is a confident effort by full-fledged free jazz explorers.

Elijah Shiffer and The Robber Crabs - Callithumpian

Label: Star Jelly, 2026

Personnel - Elijah Shiffer: alto saxophone; Christian Cail: guitar; Max Kutner: electric bass; Colin Hinton: drums; Maya Luz: vocals (#9,10).

Recorded live at three different New York venues (Brooklyn, Queens, and Rochester), Callithumpian marks the second release by vibrant saxophonist and composer Elijah Shiffer with his punk-infused jazz ensemble Robber Crabs. Delivered with earnestness and charged with passion, the album features a completely renewed lineup, with guitarist Christian Cail, bassist Max Kutner, and drummer Colin Hinton excelling across 11 tracks that highlight their expansive and adventurous musical stance.

The hyperactivity of Shiffer’s “Mustang Mascot”—with its barrage of accents, acerbic guitar chords, and locomotive-paced drumming—serves as an ideal vehicle for the quartet’s irreverence and empowering sound. Cail’s frantic, often disorienting solo evokes Brandon Seabrook’s psychedelic tantrums, while Shiffer navigates a hard-swinging framework delineated with a post-rock edge. Toward the end, its marching thematic parade gives way to unaccompanied drum exploration. By contrast, “The Socialite” feels comparatively more conventional, shifting between tempo and intensity while toggling from elegant trad jazz to abrasive punk rock.

“Swindler’s Dream” arrives at full throttle, its melody tinged with Eastern inflections and driven by spirited saxophone–guitar interplay, while the title track “Callithumpian” resembles a cabaret for the future, propelled by an animated strut, unexpected staccato figures, and a confident embrace of dissonant deconstruction.

Penned by Mexican composer Conlon Nancarrow, “Player Piano Study 3a” emerges as an irresistible hybrid of bluesy rock ’n’ roll, punk, and avant-garde jazz. The seemingly smoother textures of “Tentacle Mind, Part 1” soon thicken and intensify, culminating in tense multiphonics and an insistent rhythmic heat that favors turbulence over stability. As in other cases, the performance enhances rather than overshadows the composition.

Cail’s “Zero Pleasure Tolerance” bursts forth with a mix of motifs over a blistering, motorik-like pulse, while guest vocalist Maya Luz contributes two of her own pieces—the rhapsodic “Manicures and Mood Swings” and the pop-leaning ballad “My Thrill”. Though contrasting in mood, both integrate effectively within the album’s broader tonal palette.

Constantly on the edge, Robber Crabs’ music allows for freedom and discipline alike. Callithumpian transpires loud energy, playfulness, and character via hooky themes, blistering improvisation, and tight-knit interaction. All in all, fun material.

Favorite Tracks:
01 - Mustang Mascot ► 04 - Callithumpian ► 07 - Tentacle Mind, Part 1

Caleb Wheeler Curtis - Ritual

Label: Chill Tone Records, 2026

Personnel - Caleb Wheeler Curtis: stritch, soprano saxophone (#8), sopranino (#9), trumpet (#9); Hery Paz: tenor saxophone (#2,3,4,9), flute (#6,7); Orrin Evans: piano (#3,4,5,6); Emmanuel Michael: guitar; Vicente Archer: bass; Michael Sarin: drums.

Caleb Wheeler Curtis, the insightful saxophonist and composer who impressed with Heat Map (2022) and The True Story of Bears and the Invention of the Battery (2024), returns with Ritual, a new album of originals performed with a strong collective spirit and pronounced individuality. Focusing primarily on the stritch—a straight alto saxophone associated with Rahsaan Roland Kirk—Curtis is joined by rising guitarist Emmanuel Michael, bassist Vicente Archer, and drummer Michael Sarin. Cuban saxophonist and flutist Hery Paz contributes compelling lines on six tracks, while pianist Orrin Evans appears on four.

The powerful emotional arc of “Fantasmas”, a searching invocation of ancestry, opens the album with an open-ended bass-and-drums flux, creating fertile ground for the lyrical melody shaped by Michael and Curtis. The guitarist balances inventive phrasing, volume swells, and harmonic color, while Curtis consistently finds the right tone and intensity for his focused yet exploratory narratives. “Bleakout”, conceived during a blackout in Madrid, shifts into modernistic funk with angular vision and rhythmic density, featuring Curtis and Paz in fluid dialogue, united by a shared conversational sensibility.

Slower but steadily purposeful, “Florence” introduces a chamber-like delicacy in a measured 4/4 tempo, enhanced by guitar harmonics and atmospheric piano minimalism. “You Just Can’t Keep the Music”, a duet with Evans, moves from a precise theme in (4+5) additive meter into a brisk 3/4 for its improvisational passages. Evans also features on “Black Box Extraction”, where counterpoint and an energized funk-rock feel—sparked by Sarin’s drumming—are layered with avant-garde intensity. Curtis remains relentless in his fluid ideas, while Paz injects a touch of Latin groove before expanding outward; Michael brings the piece to a close with unrestrained creativity.

“Tenastic” and “The End of Power” may be the most direct pieces on the album, yet they retain an element of surprise. The former’s dense, driving swing—topped by vigorous interplay between Curtis and Paz (on flute) as well as Michael’s tense lines and harmonies—contrasts with the latter’s dreamlike atmosphere where a refined, almost pop-like sensibility is anchored by Sarin’s nimble brushwork.

Curtis’ compositional voice is serious, often intricate, and deeply imaginative. Demonstrating a near-telepathic rapport with his ensemble, he achieves a striking balance between grounded structure and abstract exploration, resulting in music that is consistently engaging and thought-provoking.

Favorite Tracks:
01 - Fantasmas ► 02 - Bleakout ► 04 - Black Box Extraction

Nick Fraser - Areas

Label: Elastic Recordings, 2026

Personnel - Tony Malaby: tenor and soprano saxophone; Kris Davis: piano; Nick Fraser: drums, piano harp; John Kameel Farah: electronics and sound processing (#1,4,7).

Toronto-based drummer and composer Nick Fraser reunites his exploratory trio for a third outing, Areas. There’s a remarkable synergy within this forward-looking, bass-less group, rounded out by two fearless musicians: pianist Kris Davis and saxophonist Tony Malaby. With Fraser’s unobtrusive yet ever-present rhythmic drive anchoring the foundation, Davis injects rich harmonic color and angular melodicism, while Malaby—a force to be reckoned with in contemporary jazz—consistently impresses with gruff, confident tenor attacks.

Three of the album’s six pieces are credited to Palestinian-Canadian pianist John Kameel Farah, who digitally processes duo improvisations by Fraser and Malaby. “In the Wreckage” opens the record in a dispersed, disorienting, and gloomy mode; “Howling Circuits” leans on drone-based processing, with Fraser on piano harp; and “Brood” sustains an eerie, incantatory languor within its sinister atmospherics.

“Mimic” is a highlight, unfolding with simultaneous intensity, shadow, and complexity. Ominous low-register percussive attacks—emerging from a clever blend of standard and prepared piano—alongside shimmering cymbal textures, invite Malaby to expand into a high-powered middle-register vortex, unleashing guttural multiphonics and cyclic sweeps with growling force.

Equally striking is “There Are Other Ways”, which brims with excitement. Malaby’s solo introduction finds contrapuntal support in Davis’ quasi-mechanical motion. As the saxophonist delves into brooding sonorities, emphasizing an earthy tone and impressive range, Davis locks into a woozy, spiraling, almost robotic march, with Fraser’s active drumming providing propulsion. The trio transports us into an uncharted, rambunctious sonic universe where textures are fragmented and reassembled with daring intent.

“Area” adopts a more ruminative stance. Initially, Malaby resists steering his expressive horn toward a fixed destination, while Fraser and Davis anchor an angular terrain with curiosity and tension. This unease soon erupts into a storm, marked by weighty, cacophonous saxophone interjections delivered with biting tone and piercing acuity. It ends calmly, though, melodically driven by soprano. Initially tense, the closer, “Sketch 57”, suggests a meditation, with gradually harmonized passages underpinned by rattling percussion and ample space for free interaction. The trio engages in a fluid sonic conversation whose sinuous paths lean into abstraction, with a brief but effective surge in intensity.

Fraser’s compositions foster a flowing improvisational language, allowing each musician to showcase distinctive timbres and dynamic interplay in service of the collective. Areas offers a compelling mix of surprise and atmosphere, striking a thoughtful balance between formlessness and structure.

Favorite Tracks:
02 - Mimic ► 03 - Area ► 05 - There Are Other Ways

Miho Hazama - Frames

Label: Edition Records, 2026

Personnel - Miho Hazama: composer, conductor + Danish Radio Big Band.

New York-based Japanese composer Miho Hazama, who has garnered accolades with her contemporary large ensemble m_unit, displays a maturity far beyond her years. On Frames, the Grammy-nominated composer honors the legacy of the influential Danish Radio Big Band, crafting a new suite inspired by its musical directors, including Bob Brookmeyer, Thad Jones, Ray Pitts, Palle Mikkelborg, and the recently departed pianist Jim McNeely, to whom the album is dedicated.

The album opens with a sense of optimism and devotion to the music. “And The Door Unsealed” unveils cascading sonic layers in succession before settling into a mid-tempo, soulful flow. Driven by a warm swinging energy, the piece features improvisational contributions from guitarist Per Gade—supported by lush horn arrangements—and tenor saxophonist Peter Fuglsang, who extemporizes over an alternate backdrop. A vamp with vertiginous rhythmic accents closes the piece. “Rondo” unfolds with percussive delicacy, showcasing saxophone and muted trumpet in parallel over a gently waltzing cadence that subtly evolves.

“LuLu”, introduced with calm restraint by piano and trumpet, highlights bassist Kaspar Vadsholt in a beautifully integrated solo woven into a low-register texture. “Aura II”, imbued with a Brookmeyer-like sensibility, is framed by illuminating five-beat cycles, while its improvisations drift between rubato passages and a 3/4 pulse. The colorful post-bop of “The Pioneer’s Quest” presents its rich thematic material in dense unison layers, featuring exuberant piano and trumpet solos across lilting 4/4 measures and a contrasting 7/8 section, respectively. The album closes with “The First Notes”, maintaining constant motion in a playful, buoyant spirit.

With compositions rich in memorable themes and thoughtfully structured sections, Hazama sustains cohesion while continually propelling the music forward, demonstrating her refined voice as a modern jazz orchestrator.

Favorite Tracks:
01 - And The Door Unsealed ► 04 - The Pioneer’s Quest ► 05 - Aura II

Gregory Hutchinson - Kind of Now: The Pulse of Miles Davis

Label: Warner Music, 2026

Personnel - Ambrose Akinmusire: trumpet; Ron Blake: tenor saxophone, bass clarinet; Gerald Clayton: piano; Jakob Bro: guitar; Emmanuel Michael: guitar; Joe Sanders: bass; Gregory Hutchinson: drums.

Drummer and composer Gregory Hutchinson, who consistently uses timbre and cymbal color to his advantage, embarks on an enjoyable and occasionally surprising program of tunes connected to and paying homage to the groundbreaking jazz trumpeter Miles Davis. Hutchinson—known for his collaborations with Roy Hargrove, Joe Henderson, Joshua Redman, Ray Brown, and Kurt Rosenwinkel—blends tradition and modernity in his approach, assembling a group of contemporary jazz players whose quality and flexibility fully serve his vision.

Charlie Parker’s hard-bop strut “Ah-Leu-Cha”—a brilliant contrafact of “Honeysuckle Rose” and “I Got Rhythm”—wastes no time drawing listeners in. The initial symbiotic interplay around the theme allows ample space for bassist Joe Sanders and Hutchinson to assert themselves. Not as uptempo as Miles’ version, the piece thrives through a strong, refined statement by trumpeter Ambrose Akinmusire, followed by pianist Gerald Clayton’s candid phrasing and tenor saxophonist Ron Blake’s expansive reach.

Hutchinson and his group render three Miles compositions representing distinct phases in jazz history: “Fran-Dance” is delivered in a simpatico trio setting of piano, bass, and drums; “Bitches Brew” channels experimental curiosity, relying on the contrast between high-pitched trumpet and low bass clarinet before settling into an ostinato-driven funk infused with bluesy hues; and “Circle in the Round” features compelling work by up-and-coming guitarist Emmanuel Michael, who later joins Akinmusire and Blake for the final thematic statement.

Of the album’s 12 tracks, four come from the pen of Wayne Shorter: “Fall” and “Feio” are shaped by evocative guitar textures, as Jakob Bro interacts with Michael over Hutchinson’s inventive figures. “Orbits” and “Water Babies” similarly evoke the composer’s incantatory ambiguity.

Hutchinson’s take-no-prisoners mentality surfaces in Victor Feldman’s “Seven Steps to Heaven”, a nod to Miles’s second great quintet propelled at full swing, while Tony Williams’ “Black Comedy” includes slick lines and solo turns from Blake and Clayton. The album also features three solo drum tracks, each statement purposeful—one of them paying tribute to the drummers who played with Miles.

In an album that never defaults to strict convention, Hutchinson avoids the obvious, favoring nuanced shadings and tuneful rhythms that elevate the material’s overall impact.

Favorite Tracks:
01 - Ah-Leu-Cha ► 06 - Feio ► 09 - Bitches Brew

Immanuel Wilkins Quartet - Live at the Village Vanguard Vol. 1

Label: Blue Note Records, 2026

Personnel - Immanuel Wilkins: alto saxophone; Micah Thomas: piano; Ryoma Takenaga: bass; Kweku Sumbry: drums.

Saxophonist and composer Immanuel Wilkins has emerged as a leading voice in contemporary jazz, building a body of work that feels both tenacious and vital. His latest addition, Live at Village Vanguard Vol. 1, is his first live recording, featuring four extended tracks captured in 2025 at that iconic venue of legendary performances. For the occasion, Wilkins enlisted a tight, intuitive quartet of like-minded collaborators: pianist Micah Thomas, bassist Ryoma Takenaga, and drummer Kweku Sumbry.

“Warriors”, an energetic tour-de-force originally included on his debut album Omega (2020), appears here with extended soloing bravura from Wilkins and Thomas in a modern post-bop setting that showcases harmonic dexterity, melodic balance, and narrative depth. Shades of John Coltrane and Ornette Coleman surface in multiple triplet-infused phrases that fuse technical command with joyful exuberance. Sumbry brings the piece to a close, stretching elastically on the kit within a vamping sequence.

“Composition II”, a lyrical, gently brushed, and narratively-driven 4/4 ballad modeled on J.S. Bach’s Well-Tempered Clavier, invites more reflective consideration and includes a fine bass solo steeped in melodic elegance. Yet, the record’s highlight is undoubtedly Alice Coltrane’s “Charanam”, whose modal spirituality resonates directly with the listener. Each musical gesture leaves a mark—from the piano’s introductory passage to the groove-oriented ritual of the rhythm section and the uplifting, free-flowing riffery maintained by Wilkins, who fills spaces with dazzling in-and-out incursions. The quartet is in top form, and the piece becomes deeply soulful, worming its way into your head.

“Eternal” concludes this first volume by introducing a serious post-bop statement with a perplexing sense of time and a clearly defined thematic melody, before settling into a continuous, measured 3/4 cycle.

Wilkins’ Live at Village Vanguard Vol. 1 offers moments of boundless creativity and deep commitment to the music, its interactive force drawing from diverse musical sources that shape his notably expressive vocabulary.

Favorite Tracks:
01 - Warriors ► 03 - Charanam

Harriet Tubman & Georgia Anne Muldrow - Electrical Field of Love

Label: Pi Recordings, 2026

Personnel - Brandon Ross: electric guitar, banjo, soprano guitar; Melvin Gibbs: electric bass; JT Lewis: drums; Georgia Anne Muldrow; vocals, keyboard.

Harriet Tubman—named after the American abolitionist and social activist—is an idiosyncratic jazz-funk trio that crosses genres naturally with a non-clichéd aesthetic. Here, they place Black Music in a new light in the company of Grammy-nominated vocalist/producer Georgia Anne Muldrow.

Electrical Field of Love channels their passion into 12 concise tracks, demonstrating a magnificent command of mood and atmosphere. Full of strength, “Flowers” opens the proceedings with evocative, mysterious undercurrents. An entrancing hip-hop-inflected rhythm anchors the piece, soon joined by a rugged, distorted tapestry of guitar and bass. The trio continues to rock and funkify in a fevered experimental uproar, with Muldrow’s voice soaring above. Her contributions are even more striking on the ascending “Anatomical Fable of the Elements” and “Isom Dart Was”, which flows with contemporary crossover appeal as funk and R&B are shaped by the trio’s noir imagination.

“Insisting” feels at once vulnerable, volatile, and oppressive, featuring layered, spectral vocals, while “How You Rise” unfolds with transfiguring intensity, opening with Ross’ clamorous, wailing guitar and anchored by Gibbs’ robust 4/4 grooves.

Boasting a powerful sound, “Assata” builds and deconstructs over Lewis’ hypnotic rhythms. Its simple yet effective harmonic treatment gives way to the greater complexity of “Don’t Stand a Chance, After the Boom”, where an insistently cyclic and daringly polyrhythmic approach is enriched by clever electronics and vivid percussion.

“Up From the Gum” conjures a disquieting and perplexing mood, driven by urgent syncopation and a six-beat bass groove at its core. The group crafts immersive spaces that reveal their true musical identity. Similarly, Muldrow’s “A Black Song” unfolds as a self-expressive experiment in jazz fusion, featuring wavering keyboards and a strong rhythmic flow driven by Lewis’ inventive drum figures.

Messages and themes unfold within a narrative concept that often feels like reopening an old wound in order to better heal it. Awash with fresh, intense energy, this is a special collaborative album that establishes a deep-rooted connection to the history of Black Music.

Favorite Tracks:
01 - Flower ► 03 - Isom Dart Was ► 05 - When You Rise ► 08 - Assata

Shawn Lovato - Biotic

Label: Endectomorph Music, 2026

Personnel - Ingrid Laubrock: tenor saxophone; Shawn Lovato: bass; Henry Mermer: drums.

Shawn Lovato is a New York-based bassist and composer with a daunting artistic perspective. Biotic marks an impressive trio debut alongside two other modern sculptors of sound, saxophonist Ingrid Laubrock and drummer Henry Mermer.

Showcasing open-mindedness and an extraordinary capacity for communication, the trio kicks off with “Spling”, which seems to draw on the patterned dynamics of electronic music. With the rhythm section cleverly anchoring the piece through syncopation-infused motion, Laubrock delivers a slyly virtuosic discourse packed with invigorating impromptu tangents. “Frequent Flyer” serves as a rousing nod to punk music—one of Lovato’s early influences—moving with elastic vigor while bringing to mind the Chris Speed Trio. Lovato embarks on a supple bass solo without ever losing sight of the tune’s lively harmonic progression.

Both “One Step From Anything Easy” and the closer “Parachute Bloom” are saxophone–arco bass duets that explore contrasting dynamics with refinement and taste. While the former is freely improvised, the latter relies on stately unison lines.

The trio also displays precise, athletic unisons on “Patience and Hydration”, a piece imbued with a grounded sense of direction. Laubrock, Lovato, and Mermer read each other seamlessly, exchanging and consolidating ideas with vision and spontaneity. “Dirt Doesn’t Burn”—its title drawn from a magazine article—is set in motion by a compelling bass introduction, later injecting angularity and mesmerizing rhythmic accents. The group maintains an energized focus throughout, but it is Mermer who disperses his kit’s sounds like octopus tentacles in a striking, thematic drum dissertation.

At times rigorous, at others freely drifting, Lovato’s trio fuses the concrete and the abstract into a coherent postmodern aesthetic, revealing a deep collective connection and a shared affinity for exploration.

Favorite Tracks:
01 - Spling ► 04 - Patience and Hydration ► 06 - Dirt Doesn’t Burn

Quinsin Nachoff - Patterns From Nature

Label: Whirlwind Recordings, 2026

Personnel - JC Sanford: conductor; Quinsin Nachoff: tenor saxophone; Roberta Michel: flutes; François Houle: clarinet; Sara Schoenbeck: bassoon; Tony Kadleck: trumpet; John Clark: french horn; Ryan Keberle: trombone; Matt Mitchell: piano; Carlo De Rosa: bass; Satoshi Takeishi: drums; Aaron Edgcomb: percussion; Gene Hardy: musical saw (#2) + Molinari String Quartet.

Cerebral New York-based saxophonist and composer Quinsin Nachoff aims high in his latest outing, Patterns From Nature, a singular musical journey that combines jazz and classical music, film, and physics in collaboration with physicist Stephen Morris and four filmmakers. The project also functions as a live multimedia performance, featuring a superb ensemble with gifted soloists.

Composed with considerable risk and conducted by JC Sanford, the album begins with the four-movement, through-composed suite Patterns From Nature. Unfolding through a refined chamber process, the music features pianist Matt Mitchell on “I. Branches”, a cinematic, tense odyssey marked by chromatic shifts, long tones, and multiphonics over cascading piano. A natural grace emerges from the piece’s technically assured geometry, while percussionist Satoshi Takeishi stands out with a fluid brushes-on-snare technique. His icy cymbal scratches and tonally precise percussion also distinguish the second movement, “II. Flow”, whose contemporary classical feel is reinforced by the Molinari String Quartet’s lachrymose ostinatos and magnetic suspensions.

“III. Cracks”, launched by bassist Carlo De Rosa’s opening statement, unfolds within a controlled, slightly turbulent atmosphere, with creative clarinetist François Houle contributing winding phrases over porous, layered ensemble motions. The final movement, “IV. Ripples”, features Nachoff and trombonist Ryan Keberle alternating passages before merging their sounds in a climactic section, preceded by shifts in pace and texturally intriguing segments. The suite concludes with drones and reverberant percussion.

The three-part Winding Tessellations, a saxophone concerto composed in 2017, follows with polychromatic textures, blurring written and improvised elements within a complex structure. On “I. Winding Paths”, intricate ensemble ornamentation allows Nachoff’s horn to slip into a murky middle register, unfolding in a forward-driven improvisation with deep emotional resonance. Equally vibrant is “III. Tessellations”, an unbridled exploration featuring coiled tenor saxophone lines over a variety of moody tapestries.

Having reached an enviable level of musical maturity, Nachoff demonstrates every facet of his compositional voice. Patterns From Nature is blessed with expert playing, standing as a major addition to the composer’s distinctive oeuvre.

Favorite Tracks:
01 - Patterns From Nature: I. Branches ► 03 - Patterns From Nature: III. Cracks ► 05 - Winding Tessellations: I. Winding Paths ► 07 - Winding Tessellations: III. Tessellations

Niklas Lukassen - Still Waters

Label: Heartcore Records, 2026

Personnel - Ben Van Gelder: alto saxophone, flute (#11); Kit Downes: piano, Hammond organ (#3,5,11); Niklas Lukassen: upright bass, electric bass (#2,8,11), vocals (#11); Francesco Ciniglio: drums // Guests - Kurt Rosenwinkel: electric guitar (#4,9); Wanja Slavin: alto (#5) and soprano saxophone (#8); Geoffrey De Masure: trombone (#4); Céline Rudolph (#7).

Young German bassist and composer Niklas Lukassen—who studied in New York for a few years under the mentorship of Ron Carter and now divides his time between London and Berlin—releases his highly anticipated debut album,

Still Waters, taking the listener on an emotional and dramatic journey in the company of a stellar European quartet featuring British pianist Kit Downes, Dutch alto saxophonist Ben Van Gelder, and Italian drummer Francesco Ciniglio. Special guests contribute their talents to a few tracks on an album composed entirely of original material.

“The Deep” opens the album with a forceful showcase of contemporary sound, leading into “Estuary”, which features memorable ensemble work while fluctuating between exciting odd-metered sections and slower passages. The improvisations by Lukassen and Van Gelder are excellent, offering blistering jazz uplift before wrapping the piece in an eccentric, reticulated groove. “Metamorphosis” highlights the band’s ability to shape-shift seamlessly, even amid complexity, and concludes with the bandleader at the center.

Built on a septuple-meter flow, “Palisades” is a rich excursion in mood and extemporization. The piece, launched by Lukassen’s firmly grounded double-stop groove and featuring enveloping unisons that create an immediate melodic drive, includes expressive statements from French trombonist Geoffrey de Masure, Van Gelder, and distinctive American guitarist Kurt Rosenwinkel, whose presence, sinuous tone, and inimitable vibe also elevate “Rainbow Surfer”. Here, bass and drums swing hard with tight rhythmic focus, sustaining a sense of instant ebb and flow that supports the improvisers’ whims.

Both “Karma” and “The Traveller” feature German saxophonist Wanja Slavin. On the former, with Downes harmonizing on Hammond organ, he converses and then duels with Van Gelder following a lyrical introductory statement by Lukassen; on the latter, playing soprano, he joins the saxophonist—who delivers a portentous solo—only toward the end. This piece carries an agreeable melodic drive and a bossa-inspired groove that brings the snare drum into sharp relief.

There are two tracks with vocals: “Interlude”, sung by Céline Rudolph, and “Luna”, which features Lukassen’s own voice (he previously sang in the German National Jazz Orchestra). Although not the strongest moments, they provide a sense of contrast.

Honing his compositional approach, Lukassen establishes a distinctive sonic space, drifting mellifluously between modernist activity and reformed tradition, all while maintaining a cohesive group identity.

Favorite Tracks:
02 - Estuary ► 04 - Palisades ► 05 - Karma ► 08 - The Traveller

Adam O'Farrill - Elephant

Label: Out of Your Head Records, 2026

Personnel - Adam O’Farrill: trumpet; Yvonne Rogers: piano, synth; Walter Stinson: bass; Russell Holzman: drums.

With Elephant, trumpeter and composer Adam O’Farrill reaches a new artistic peak in modern jazz. Leading an exceptional quartet of rising New York musicians—pianist Yvonne Rogers, bassist Walter Stinson, and drummer Russell Holzman—O’Farrill performs in top form throughout, drawing listeners into intricate rhythmic and harmonic frameworks shaped by remarkable breath control and unconventional phrasing.

The program unfolds imaginatively with “Curves and Convolutions”, whose initially mechanical yet fluid motion opens into a fearless, genre-blurring language that incorporates modern classical, new music, and avant-garde influences. O’Farrill delivers a striking solo over a septuple-meter passage before the piece resolves collectively into a grounded, exquisitely layered vamp.

Eclecticism remains a constant, and the subtle use of effects lends the music a distinctive character. “Eleanor’s Dance” introduces a retro electronica vibe anchored by a soulful beat; Ryuichi Sakamoto’s “Bibo No Aozora” emerges as a hopeful, open-minded infusion of ambient pop, soulful neo-classical, and thematic minimalism; while “Thank You Song” ventures into indie rock territory, highlighting O’Farrill’s expressionism and extraordinary range.

The quartet interlocks beautifully with fresh energy, and “Herkimer Diamond”—driven by Holzman’s kit intensity—moves from calm introspection to dynamic release, shaped by odd-metered cycles, a commanding trumpet solo, and Rogers’ synth outbursts. Inspired by Twin Peaks, “The Return” begins with a compelling drum statement before drifting through a rubato section and settling into a distinctive swing feel. O’Farrill’s nuanced control of attack, weight, and timing of phrasing are central, getting agile responses from Rogers and Holzman. The balladic, piano-driven passages here are filled with noble emotion.

The three-part Sea Tryptich further illustrates the group’s sensitivity to the composer’s vision. “Sea Tryptich Pt. 1 - Along the Malecon” surges forward with propulsive momentum; “Sea Tryptich Pt. 2 - The Three of Us, Floating” unfolds patiently through ethereal textures and extended techniques; and “Sea Tryptich Pt. 3 - Iris Murdoch” introduces a thrusting bass funkifying a scenario with interlocking trumpet and piano lines alongside firm, decisive drumming.

Making for an astonishing listen, O’Farrill’s Elephant is a sensational, revolutionary, and incredibly thoughtful work; a masterpiece of contemporary jazz that should not be missed.

Favorite Tracks: 
01 - Curves and Convolutions ► 03 - Sea Tryptich Pt. 2 - The Three of Us, Floating ► 04 - Sea Tryptich Pt. 3 - Iris Murdoch ► 07 - The Return

Horizon Trio - Oscilla

Label: Self released, 2026

Personnel - Garrett Folger: trumpet, flugelhorn; Anthony Fuoco: piano; Carmen Castaldi: drums, percussion.

Ohio-based trumpeter and composer Garrett Folger reunites his Horizon Trio—with Anthony Fuoco on piano and Carmen Castaldi on drums—for Oscilla, a live album captured at the Treelawn Music Hall, a former Slovenian workmen’s home turned music venue. Drawing from avant-garde traditions, the trio builds impressionistic arches across seven Folger originals, all devoid of artificiality.

The winning combination of sounds is evident from the thoughtfully layered opening track, “Ephemerõs-IO-Virga”. Clocking in at 15 minutes, the piece unfolds through dreamy auras and suspended modes, fostering a tranquil communication that evokes misty, beautiful landscapes. Folger’s trumpet playing—often combining pure melody with free impulses—recalls Enrico Rava, while Fuoco and Castaldi support him with refined taste and admirable restraint. Vamping sequences, shaped as chilled rubato cruises, emerge shrouded in self-possessed melodicism, before the group brings the piece to a close with avant-garde zest.

Both “Arnica Montana” and “Parfums” were included on the trio’s previous album, Horizon (2025). The former favors counterpoint, with Fuoco’s staccato comping assuming an almost percussive quality, while Folger’s floating melodies shift between playfulness, emotional depth, and a persistent, obsessive quality of ideas. The piece ultimately resolves into a harmonically tight-knit conclusion. Castaldi’s exquisite kit work is noticeable throughout the recording, propelling and sustaining the trio’s open vision; he is particularly compelling on “Contrasts”, where boundless pushes and pulls dominate.

“Torrent” establishes a constructive dialogue between Folger and Fuoco, showcasing the former’s impressive range and the latter’s eurythmic piano streams, before swelling to epic proportions and dissolving into a diffuse cloud. While “Pour de Prunes” invites us into pure spontaneous balladry—its interplay revealing more dynamism than initially apparent—“Parfums” brings the program to a close in a delicate dance, launched by a 4/4 piano ostinato and featuring Folger’s multiple riffs over Fuoco and Castaldi’s solid harmonic and rhythmic frameworks.

Horizon Trio plays with an optimal sense of space and texture, conquering the ear with crisp, elegant brushstrokes that reflect the musicians’ authentic voices. Both the individual contributions and the collective whole offer something to explore and absorb.

Favorite Tracks:
01 - Ephemerõs-IO-Virga ► 02 - Arnica Montana ► 04 - Torrent

Bill Frisell - In My Dreams

Label: Blue Note Records, 2026

Personnel - Bill Frisell: acoustic and electric guitars; Jenny Scheinman: violin; Eyvind Kang: violin; Hank Roberts: cello; Thomas Morgan: bass; Rudy Royston: drums.

Guitarist and composer Bill Frisell is widely regarded for his fluency across avant-garde jazz and post-bop while embracing country and folk traditions, styles he blends seamlessly with a distinctive touch and sound. In My Dreams unfolds as another cohesive and immersive musical narrative, featuring nine originals and three covers, all delivered with the quietly moody radiance of Frisell’s American-rooted aesthetic. The guitarist assembles a dependable string trio—cellist Hank Roberts and violinists Jenny Scheinman and Eyvind Kang are longtime collaborators—alongside a core rhythm section with bassist Thomas Morgan and drummer Rudy Royston.

Recorded live, the program opens with the violin duet “Trapped in the Sky”, followed by “When We Go”, drawn from Frisell’s debut album Rambler (ECM, 1985). Keeping the structure relatively straightforward, Frisell introduces the piece with pointillistic gestures, looping textures, and smooth phrasing before the elegant, in-the-pocket 4/4 pulse emerges, allowing jazz and folk elements to intertwine gracefully. The string arrangement proves particularly refined, and the piece concludes with a gentle funk-inflected drive.

The title cut, “In My Dreams”, unfolds through charming acoustic guitar fingerpicking, spreading a luminous harmony in 3/4 that evokes a vivid sense of reverie and discovery. It flows naturally into “Isfahan”, the celebrated composition by Duke Ellington and Billy Strayhorn, reimagined here with understated sophistication. Frisell’s expressive guitar voice resonates throughout the album, lingering on meaningful phrases and the subtle spaces between them. “Curtis (A Year and a Day)” appears as a reflective lament illuminated by bright flashes of optimism, gradually rising with the support of Royston’s propulsive backbeat and well-expressed fills.

“Why” rests upon a carefully balanced harmonic cycle, while Stephen Foster’s parlor classic “Hard Times” returns in a vamp-driven ballad form, following its earlier appearances on the albums Bill Frisell with Dave Holland and Elvin Jones (Nonesuch, 2001) and Harmony (Blue Note, 2019). “Again”, another earlier composition, is revisited with greater outward energy while maintaining its polished character. Royston’s toms-centered drum shouts cause positive commotion, culminating in impetuous cymbal splashes. There are bits of guitar distortion in this epic adventure activated by a disorienting tempo.

The impressionistic country-folk atmosphere returns with “Home on the Range”, which, flowing in 3/4, closes the album on a warm and affirmative note. The finale incorporates swooping effects, loops, and concise violin interjections. Shaping space with remarkable ease and wisdom, Frisell’s unmistakable sonic palette is elevated by the ensemble’s deep sensitivity to the music, ensuring that the listener’s engagement never fades.

Favorite Tracks:
02 - When We Go ► 03 - In My Dreams ► 04 - Isfahan

Michael Formanek - New Digs

Label: Intakt Records, 2026

Personnel - Michael Formanek: double bass; John O’Gallagher: alto saxophone; Chet Doxas: tenor saxophone, clarinet; João Almeida: trumpet; Mary Halvorson: guitar; Alexander Hawkins: Hammond B3 organ; Tomas Fujiwara: drums.

Lisbon-based American bassist and composer Michael Formanek introduces a new septet, New Digs, featuring his trio partners from Thumbscrew—guitarist Mary Halvorson and drummer Tomas Fujiwara—alongside British organist Alexander Hawkins and a three-horn frontline of saxophonists John O’Gallagher and Chet Doxas, plus trumpeter João Almeida.

Driven by imaginative, free-flowing arrangements, the band opens with “New Old World”, a platform for resolute bass lines, psychedelic organ textures, slippery rhythmic shifts, and bursts of cacophony marked by stabbing saxophone and trumpet figures over counterintuitive guitar accompaniment. Solos by Halvorson, O’Gallagher, and Doxas stand out, with the latter channeling a fervent, Coltrane-like intensity. The piece resolves unexpectedly in a high-pitched, suspended collective lament, even as Formanek turns to the arco. In turn, “Prequel” establishes an air of mystery through sustained organ chords, insistent bass notes, and kinetic drumming. Clarinet and alto saxophone interweave phrases with precision, while Formanek asserts himself with declamatory gestures supported by varied percussive textures. The piece builds toward a climax shaped by his double stops and chromatic motion.

“It Was” highlights the richness of the saxophone writing over a carefully constructed harmonic progression, while “For My Consideration” gains momentum through a bass pedal point, electrifying organ swells, angular unisons, muscular drumming, and dense horn interplay. Formanek’s compositional approach often suggests looseness in rhythmic design, yet “aka The Stinger” leans into a more direct, bluesy, groove-oriented framework.

Paying tribute to the late pedal steel guitarist Susan Alcorn, “Gone Home / Interlude for Susan Alcorn” features a deeply expressive arco bass statement and a poised trumpet contribution from Almeida over a 3/4 harmonic cycle. “Quinze” emerges as another striking piece, marked by deep grooves, vivid improvisation, and sharp-edged intensity. The closing track, “Nigh Total”, ventures into an intergalactic soundscape shaped by swirling organ textures, resonant bass figures, and grounded percussion.

New Digs is another superb manifestation of Formanek’s capabilities as a bandleader. He remains one of the most distinctive voices in the avant-garde jazz scene, always giving his bands space to unleash their individuality within the frames he attentively designs.

Favorite Tracks:
01 - New Old World ► 02 - Prequel ► 03 - It Was ► 08 - Quinze

Marilyn Crispell / Anders Jormin - Memento

Label: ECM Records, 2026

Personnel - Marilyn Crispell: piano; Anders Jormin: acoustic bass.

American pianist Marilyn Crispell and Swedish bassist Anders Jormin join forces for the first time on the duet album Memento, a recording that favors introspection and serenity. The musicians’ distinctive language is present in both the improvised and written material, and the music unfolds naturally, organically, and with sensitivity.

The four opening pieces are improvised, beginning with the poignant “For the Children”, where touching melodies unfold without pretension, establishing the reflective tone of the entire work. Dedicated to the memory of innocents caught in the world’s ongoing wars, the piece includes plaintive, Eastern-tinged cries emerging from Jormin’s expressive arco playing over serene piano textures. “Dialogue” moves with breezy simplicity, grounded in warm, woody bass tones and shimmering overtones, with Crispell responding in the same wavelength, creating a self-contained musical exchange that becomes even sparser and more minimalistic on “Embracing the Otherness”. “Contemplation in D” proves a pure delight, guiding the listener into hypnotic territory through open chords that cast tonal beauty and modal ambiguity in a chiaroscuro landscape.

Jormin’s “Three Shades of a House”—originally featured on Bobo Stenson’s trio album Contra la Indecisión (ECM, 2018)—appears in two versions, Morning and Evening, whose contrasting luminosities are shaped by solo piano and solo bass, respectively. Crispell also performs unaccompanied on “Memento”, whose pastoral character hints at classical influence, and on “Dragonfly”, a dedication to bassist Gary Peacock that closes the album on an optimistic note. Like those pieces, “Beach at Newquay” is composed by Crispell and benefits from Jormin’s exemplary support. His arco range often resembles a weeping flute, while delicate piano drops fall gently in the background, forming a lyrical evocation of nature.

Memento unfolds with yearning atmospheres where spontaneity and artistic sensitivity open the door to broader emotional landscapes. Its purely intuitive interplay may not be an everyday listen, yet it occupies a meaningful place within contemporary jazz.

Favorite Tracks:
01 - For The Children ► 04 - Contemplation in D ► 09 - Beach at Newquay

Mark Turner - Patternmaster

Label: ECM Records, 2026

Personnel - Mark Turner: tenor saxophone; Jason Palmer: trumpet; Joe Martin: acoustic bass; Jonathan Pinson: drums.

Long recognized as a brilliant saxophonist, Mark Turner continues to push artistic boundaries while remaining faithful to jazz fundamentals. His post-bop mastery is firmly displayed on Patternmaster, a sci-fi-inspired release featuring a quartet with trumpeter Jason Palmer, bassist Joe Martin, and drummer Jonathan Pinson. This is the same ensemble that recorded Return from the Stars in 2022.

Comprising six Turner originals, the album opens with the title track, a dexterous contrafact on Wayne Shorter’s “Pinocchio”. Martin and Pinson establish an infectious groove that both propels and anchors the music, supporting a creative theme delivered in unison by the frontline horns. Turner takes the first solo with a resolute attack and narrative clarity, riding a subtle bossa-inflected current shaped by the rhythm section, while Palmer matches the energy with assured phrasing. “Trece Ocho”, introduced by an entrancing bass figure, contains passages that recall the ingenuity of late pianist Andrew Hill, framed within a chamber-like brightness before culminating in a brisk, playful fanfare.

The band maintains its spark on “It Very Well May Be”, launched by Palmer’s commanding statement before Turner joins for the theme exposition. The rhythm section swings with purpose, and Turner delivers a solo blending hard-bop drive with post-bop sophistication, followed by Martin’s triplet-rich bass exploration. “Lehman’s Lair”, inspired by a complex composition by saxophonist Steve Lehman, thrives on a determined 4/4 pulse marked by groove and persistence, with the horns engaging in a virtuosic exchange rich in melodic treats.

“The Happiest Man on Earth” unfolds as a slow waltz shaped by sumptuous harmonies, while “Suspersister”, first recorded in 2009, adopts a structurally bold framework with subtle pop-rock inflections. Pinson’s agile, jittery drumming stands out throughout, reinforcing intricate meters, vamp-based passages, and engrossing saxophone–trumpet conversation.

This quartet injects the music with engaging rhythmic impulses and a palpable sense of unpredictability, executed with consummate skill. Turner, having cultivated a distinctive tone and language, affirms his compositional strengths through empathetic interplay and unmistakable individuality.

Favorite Tracks:
01 - Patternmaster ► 02 - Trece Ocho ► 04 - Lehman’s Lair