John Williamson - The Northern Sea

Label: Ubuntu Music, 2024

Personnel - John Williamson: double bass; Alex Hitchock: tenor saxophone; Jonny Mansfield: vibraphone; Jay Davis: drums; Immy Churchill: voice; Alex Wilson: piano.

The up-and-coming British bassist John Williamson makes a compelling entrance into the jazz world as a leader with his debut album, The Northern Sea. Featuring a talented roster of trusted collaborators from the modern UK jazz scene, the album presents 10 original compositions, ranging from tranquil ballads to invigorating swing pieces. Written over three years, each piece began as a melodic fragment, reflecting Williamson’s distinctive approach to composition, where melody takes precedence.

“Contrafact 1”, based on a C-major structure taken from the jazz standard “I Should Care”, showcases Williamson’s bass in a commanding lead role, setting the groove with a confident swing. On this number, Jonny Mansfield’s vibraphone ‘sings’ blissfully melodies, and Alex Hitchcock’s tenor sax explores with rhythmic provocation and articulated language. This theme of energetic interplay continues in “Contrafact 2”, a brisk, high-energy number where Williamson and drummer Jay Davis drive a relentless swing, with Hitchcock and Mansfield exchanging fiery unison lines. “Contract 3”, a chord-less, bop-inspired trio piece, strips things back to a classic saxophone-bass-drums format, emphasizing pure rhythmic and melodic dialogue.

The title cut, “The Northern Sea”, falls into a modern kind of daring, incorporating harmonically rich piano playing by Alex Wilson and thrilling exchanges between saxophone and vibraphone. The voice of Immy Chuchill adds a haunting dimension, reappearing on “2700 Q Street Northwest”, a radiant track that features a folk-inspired melody, vibrant interplay between piano and vibes for a colorful background, and an unaccompanied bass dissertation that exudes optimism.

More subdued moments are found in “Gozo”, a soft-spoken rubato ballad that soars in the ether with vibraphone suspensions; “Nothing Grows in Concrete”, a sensitively brushed lullaby inspired by Sibelius’ “Symphony Number 2”; and “Get Out While It’s Light”, another beautifully crafted ballad elevated by Hitchcock’s slippery tenor solo and occasionally stirred by Davis’ engaging drumming.

Throughout the record, the rapport among the musicians is palpable, enabling a seamless exploration of melody, texture, and emotional depth. The Northern Sea is a confident and promising debut that firmly establishes Williamson as a rising star in contemporary jazz.  

Favorite Tracks:
01 - Contrafact 1 ► 04 - The Northern Sea ► 10 - 2700 Q Street Northwest

Transatlantic Trance Map - Marconi's Drift

Label: False Wall Records, 2024
Personnel - UK Ensemble: Evan Parker: soprano saxophone; Matthew Wright: turntable, live sampling; Peter Evans: trumpet; Robert Jarvis: trombone
; Hannah Marshall: cello; Pat Thomas: live electronics; Alex Ward: clarinet // US Ensemble: Sylvie Courvoisier: piano, keyboards; Mat Maneri: viola; Ikue Mori: laptop live electronics; Sam Pluta: laptop live electronics; Ned Rothenberg: clarinet, bass clarinet, shakuhachi; Craig Taborn: piano, keyboards, live electronics.

Trance Map, the explorative British duo that falls under the joint command of saxophonist Evan Parker and sound designer Matthew Wright, has been pushing boundaries since its formation in 2018. Known for their innovative blend of acoustic improvisation and electronic manipulation, the duo has released albums featuring various guest musicians and performed across Europe and the U.S. in dynamic lineups. Transatlantic Trance Map is a special variation of the group—a collaboration between ensembles in Feversham, UK, and Brooklyn, USA, performing simultaneously in an uninterrupted 55-minute session. This 13-piece ensemble delivers co-composed music where unpredictability reigns, merging cerebral precision with whimsical spontaneity.

The album opens with the slap-tonguing staccatos and deep drones of Ned Rothenberg’s bass clarinet, flanked by Parker’s eloquent and boisterous soprano sax. The sonic palette is expanded significantly by the inclusion of electronic virtuosos Pat Thomas, Ikue Mori, Sam Pluta, and keyboardist Craig Taborn, resulting in a rich tapestry of digital frequencies, chirping sounds, metallic scrapes, and distant buzzes that permeate the performance.

True to their experimental ethos, the ensemble never veers far from its avant-garde foundations, even in its quieter, contemplative moments. Mat Maneri’s viola shifts seamlessly between abrasive, acidic textures and poignant lyricism, at times blending with cellist Hanna Marshall, who transitions from pizzicato plucks to resonant arco lines without disrupting the atmospheric continuity. Meanwhile, the horn players generate turbulent soundscapes, supported by imaginative contributions from piano—whether Taborn or Sylvie Courvoisier—and dynamic percussion.

There are loose, segmented movements where the spontaneous interplay occurs in a casual manner, but sometimes I felt that a more specific motion was needed. After Peter Evans’ insistent trumpet motifs and trills, that motion indeed occurs, with Rothenberg embarking on a circular-breathing tour de force on bass clarinet—punctuated by slap-tongued blurts—while surrounded by dreamy piano cluster chords, pulsating electronic drones, and mournful viola cries. This confluence builds into a bulky symphonic construction before settling into a tense, static conclusion.

Evan Parker’s saxophone prisms and Matthew Wright’s imaginative sound design, combined with the ensemble’s fearless improvisational spirit, deliver a challenging sonic journey.

Tom Harrell - Alternate Summer

Label: HighNote Records, 2024

Personnel - Tom Harrell: trumpet, flugelhorn; Mark Turner: tenor saxophone (#1,2,3,9,10); Dayna Stephens: tenor saxophone (#4,5,6,8); Luis Perdomo: piano, Hammond B3, Fender Rhodes; Charles Altura: acoustic and electric guitar (#2,3,5,7); Ugonna Okegwo: bass; Adam Cruz: drums.

Once again, American trumpeter and composer Tom Harrell makes the best use of tradition and modernity in jazz in his latest outing, Alternate Summer. A lyrical storyteller and prolific artist, Harrell maintains his reputation for producing high-quality work, consistently earning the admiration of his listeners. This new effort features ten new original compositions performed by a stellar lineup of collaborators—most of them familiar faces alongside a fresh addition—that bring Harrell’s distinctive style to life.

“Miramar” thrives on a staccato central melody set against a bluesy, groovy texture that supports inventive improvisations. Harrell’s classy statement bridges the realms of hard-bop and post-bop, while saxophonist Mark Turner and keyboardist Luis Perdomo contribute richly melodic passages. Turner’s blistering licks shine even brighter on “Peanut”, a post-bop tune with funk undercurrents, and “Alternate Summer”, a breezy ballad that exudes warmth.

Recording with Harrell for the first time, tenorist Dayna Stephens appears on four pieces - “Intermezzo”, an elegant, low-key 3/4 piece adorned by a wonderful bass solo by Ugonna Okegwo and Harrell’s heavenly reflections; “UV”, a shifting-meter blues that incorporates diffusing B3 organ textures, a sinuous yet intelligible electric guitar solo by Charles Altura, and a vamp for Adam Cruz’s pile-driving drums; “Chalcedon”, a lush post-bop piece with a captivating melody and in-the-groove work by Perdomo; and “Plateau”, which, unfolding with epic ambition, has a pulsating rhythm bassline charting the way forward.

“Wind”, one of the album’s standout tracks, is a serene modal composition anchored by an insistent pedal point and enlivened by unison trumpet-sax melodies and vibrant interplay. There are contrapuntal moves, and a more freeing, funkified texture in support of solos from Perdomo, Turner (who excels with his inside/outside tenor phrasing), and Harrell. For the latter’s improvisation, the band shifts to a 3/4 bossa-flavored groove. 

The album concludes on a high note with the intoxicating “Radius”, which evokes the spirit of Joe Henderson. Here, the ensemble engages in a rhythmically intricate and unfettered dialogue, showcasing their collective chemistry and virtuosity. With Alternate Summer, Harrell once again proves himself to be a masterful, articulate trumpet lead, delivering with precision and emotional depth.

Favorite Tracks:
04 - Intermezzo ► 06 - Chalcedon ► 09 - Wind ► 10 - Radius

Jenny Scheinman - All Species Parade

Label: Royal Potato Family, 2024

Personnel - Jenny Scheinman: violin; Bill Frisell: guitar; Carmen Staaf: piano; Tony Scherr: bass; Kenny Wollesen: drums. Guests - Julian Lage: guitar (#3,6,10); Nels Cline (#7,8).

Violinist and composer Jenny Scheinman, well-regarded in jazz circles for her collaborations with guitarist Bill Frisell and drummers Allison Miller and Scott Amendola, continues to impress in her latest album, All Species Parade. This ambitious work features a core quintet comprising Frisell on guitar, Carmen Staaf on piano, bassist Tony Scherr, and drummer Kenny Wollesen, with additional contributions from guest guitarists Julian Lage and Nels Cline on select tracks. Inspired by her return to her native Humboldt County, California, after years in New York, Scheinman crafts ten richly textured musical canvases that traverse a broad stylistic spectrum.

“Ornette Goes Home” opens with nimble brushed drums and a driving bass groove, blending chromatic movements with an Americana aesthetic for a rustic, bluesy vibe. The quintet shines as each member takes turns soloing, offering distinct emotional hues before the track shifts into a funk-infused conclusion. Funk is also present in the colorful title track, “All Species Parade”, where Wollesen’s cool rock beat underscores a vibrant central melody with an Arabesque descent, creating a celebratory atmosphere enriched by hints of American folk idioms. 

“Jaroujiji”, a cinematic homage to the Wiyot tribe, introduces a dramatic tone with Staaf’s clear-cut piano riff and Lage’s expressive acoustic guitar. Scheinman and Frisell collaborate closely in the melodic narrative, weaving intricate lines that highlight the track's poignant beauty. This cut, the title track, and the short-lived “The Sea Also Rises” form an Ellington-inspired suite, confirming the departure from the concise, song-like structures of Scheinman’s previous albums. Lage lends his expressive guitar work to two other titles — “Shutdown Stomp”, a folk rag piece whose energy leaves us gasping for breath, features him painting outside the frames with pastel shades, also spotlighting Wollesen’s vigorous accentuations; and the closer, “Nocturne 2020”, whose tender romanticism gains traction with a 7/4 meter signature.

Nels Cline’s chameleon-like guitar work adds further dimension to “House of Flowers”, a tender ballad with a country sensibility, and “The Cape”, a furious piece driven by krautrock rhythms and gritty blues-rock chops. By contrast, the playful “Every Bear That Ever There Was” blends the stealthy charm of Henry Mancini’s “Pink Panther Theme” with the noir allure of David Shire’s "Marlowe’s Theme”, while the ambient “With Sea Lions” evokes a monolithic wave of tranquil, blue-hued awe.

Scheinman explores a wide array of stylistic contexts, finding remarkable depth and nuance within each. All Species Parade reflects her honest and courageous vision, brought to life by a band whose tightly connected chemistry elevates every track. 

Favorite Tracks:
01 - Ornette Goes Home ► 05 - All Species Parade ► 06 - Shutdown Stomp

Ben Goldberg / Todd Sickafoose / Scott Amendola - Here to There

Label: Secret Hatch Records, 2024

Personnel - Ben Goldberg: clarinet; Todd Sickafoose: bass; Scott Amendola: drums.

Clarinetist Ben Goldberg, bassist Todd Sickafoose, and drummer Scott Amendola join forces to form a truly collaborative trio of progressive jazz luminaries. Each has been a significant presence in the creative music scene for decades, excelling as both inventive bandleaders and masterful sidemen. While they’ve played together in various contexts, Here to There marks their first endeavor as a trio, delivering a collection of originals inspired by the bridges of Thelonious Monk’s compositions. Abstracting with virtuosity and dexterity, the trio creates refined avant-garde jazz artworks within a musical universe that feels entirely their own.

The album kicks off with Sickafoose’s “In Walked”, a piece harmonically rooted in Monk’s “In Walked Bud”. From the outset, the trio immerses listeners in quick, cyclic clarinet patterns—occasionally hinting at the original melody—accompanied by screeching cymbals and loose bass notes that lock into a 5/4 groove. Goldberg’s expressive clarinet playing exudes heart and vibrancy, while Amendola’s nuanced drumming, complete with surprising colorations and tasteful electronics, adds depth. The drummer also contributes three versions of his “Lion Heart,” with the first presented as a clarinet-and-drums duet.

“Self Evident”, drawn from Monk’s “Evidence”, ventures into experimental territory with a polyrhythmic modernism that includes hip-hop-inspired beats, sparse bass gestures, and reflective clarinet improvisations. The piece evolves into a ritualistic soundscape as Amendola incorporates layered percussion, Sickafoose provides a constant bass pulse, and Goldberg stretches his melodic explorations. 

Sickafoose also contributes “Sad Trophy” and “Interospection”, inspired by Monk’s “Epistrophy” and “Introspection”, respectively. “Sad Trophy” is propelled by a 2/4 bass motif, rattling shaker rhythms, and dry cymbal accents, with Goldberg’s incantatory clarinet soaring above. “Interospection”, on the other hand, unfolds with a slow, spaced-out groove that gradually builds intensity while maintaining an undercurrent of tension.

Goldberg’s three compositions—“Porch Concert Material 9”, “Porch Concert Material 2”, and “Porch Concert Material 6”—highlight his distinct approach. The first offers speech-like patterns with motivic ebbs and flows; the second juxtaposes classical undertones, swinging bass lines, and conversational drumming; and the third delivers a beautiful, balladic melody with understated elegance.

This trio spreads a fantastic vibe, and every choice made works like a charm. Here to There offers elevated music, sure to leave listeners in a great mood.

Favorite Tracks:
01 - In Walked ► 02 - Self Evident ► 05 - Sad Trophy

Joe Fonda Quartet - Eyes On the Horizon

Label: Long Song Records, 2024

Personnel - Joe Fonda: bass; Wadada Leo Smith: trumpet; Satoko Fujii: piano; Tiziano Tononi: drums.

In a career spanning over four decades, free jazz bassist Joe Fonda has become a sought-after sideman and an inventive bandleader. His latest quartet album, Eyes On the Horizon, serves as a tribute to his former mentor, legendary trumpeter Wadada Leo Smith, who joins Fonda on this project along with Japanese pianist Satoko Fujii and Italian drummer Tiziano Tononi. Fonda crafts compositions with fluid structures, allowing the musicians to take up thematic material at different times, blurring the boundaries between composition and improvisation in curious ways. While Fujii and Tononi have been close collaborators, Smith hadn’t recorded with Fonda since the mid-1980s.

“Inspiration Opus #1” opens the album with darting bow work and exquisite trumpet licks. The piano comes and goes while the drummer insists on bright cymbal coloration. The music ebbs and flows, creating a dynamic soundscape that resists reaching a peak. “My Song Opus #2” features a piano introduction steeped in emotion and hidden mysteries. There are well-measured trumpet glances and lyrical swells that demonstrate Smith’s extensive depth of range, with Fonda designing a repeating ascending phrase that dissolves into free currents. Fujii’s textural sculptures and Toni’s adaptable drumming contribute to this slow, dirge-like procession.

“We Need Members Opus #4” is a standout track inspired by the time Fonda and Smith first met at a CMIF (Creative Musicians Improvisers Forum) recruitment session in New Haven, an organization co-founded and directed by Smith. The fleeting, rabble-rousing conjoint operations of bass and piano claim the spotlight at an early stage. Then, Fonda installs a gorgeous bass groove over which Fujii creates beautiful melodies with a few ingenious outside notes, while Tononi’s drums march forward with precision. Smith’s soulful extemporization triggers reactions from the pianist before Fonda enjoys an unaccompanied moment, delivering confident statements with rhythmic invention. The piece concludes on a solemnly profound note with active drumming at the base.

“Bright Light Opus #5”, inspired by Smith’s remark, ‘I love brightness’, during a session, unfolds with dark suspensions, synchronized motifs, and grand, bittersweet piano chords. The contemplative bass-trumpet duet “Like No Other” honors vibraphonist Bobby Naughton, a longtime collaborator of Fonda and Smith. The powerful “Listen to Dr. Cornel West”, a Fonda staple, brims with raw energy, with each musician offering their own commentary. 

Fonda and his peers create new frameworks and spaces for their creativity, making Eyes On the Horizon a profound homage to one of jazz’s most distinctive trumpeters. 

Favorite Tracks: 
02 - My Song Opus #2 ► 03 - We Need Members Opus #4 ► 05 - Listen to Dr. Cornel West 

Barbara Bruckmuller - Three Views of a Musical Piece: A Chain of Moments

Label: Bicolorious Music Records, 2024

Personnel CD2 - Barbara Bruckmuller: composition, conduction, arranger; Aruán Ortiz: piano; Viola Falb: alto saxophone; Kaya Meller: trumpet, flugelhorn; Mario Vavti: trombone; Thatiana Gomes: double bass; Howard Curtis: drums.

Austrian composer Barbara Bruckmuller presents A Chain of Moments - Suite in Five Movements across three different contexts in her triple album Three Views of a Musial Piece. Each CD showcases a different ensemble: a quintet with piano and string quartet, a jazz sextet with a three-horn frontline, and a jazz orchestra with strings. Here, I’ll focus on CD2, which features woodwinds, brass, piano, and rhythm section, anchored by Cuban-born, Brooklyn-based pianist Aruán Ortiz, whose storytelling style brings depth and flair.

“Movement I - East of the West” is a very cool cut, a blues in 5/4 time signature whose groove recalls Lee Morgan’s The Sidewinder. The dynamic orchestration builds into a collective crescendo, framing a lively, nimble solo by Vienna-based alto saxophonist Viola Falb, who later engages in a duo conversation with Ortiz. The pianist then takes the stage unaccompanied, displaying his rhythmic mastery and characteristic angular phrasing.

“Movement II - Limited (But Sweet)” has an understated atmospheric commencement with conspicuous cymbal work by American drummer Howard Curtis, who is based in Austria. His tom-toms rumble as the 4/4 ballad takes full shape, supporting pleasant solos from bassist Thatiana Gomes and flugelhorn player Kaya Meller. Ortiz, as always, ventures outside boundaries, supported closely by bowed bass. In “Movement III - Matter of Fact” dreamlike piano droplets and sweeps give way to a smoothly brushed mid-tempo swing. Deleted soloists for this number are Falb, who blows her horn with post-bop abandon, trombonist Mario Vavti, whose charming statement is filled with great note choices, and Ortiz, who shows his love for playing outside the norms.

“Movement IV - Rewind (& Play Again)” showcases Vavti’s melodious trombonism in its shaded dynamics and smooth transition to the swinging improvisational section. “Movement V - Conclusion”, closes the suite with a rhythmic 5/4 pulse, marked by staccato piano comping and bold horn lines, followed by a darkly atmospheric “Epilog”, where Ortiz, playing solo, is in his element.

CD3 takes Bruckmuller’s compositional and arranging talent to the orchestral level, adding strings and the rich, meaty baritone sax of Herwig Gradischnig, setting the tone right from the first movement. While not entirely groundbreaking, the suite is undeniably satisfying, blending sophisticated textures and feel-good energy, with Ortiz’s fearless approach a constant, elevating presence throughout.

Favorite Tracks CD2:
01 - East of the West ► 03 - Matter of Fact ► 05 - Conclusion

Lionel Loueke & Dave Holland - United

Label: Edition Records, 2024

Personnel - Lionel Loueke: guitar; Dave Holland: bass.

Benin-born guitarist Lionel Loueke and British bassist Dave Holland continue to hone their craft with distinction on United, a duo project that celebrates the beauty of their musical rapport and the dream of a unified world. The idea for this brew of modern jazz and West African folk emerged after a soundcheck when they were improvising together, resulting in 10 original compositions by Loueke and a fresh rendition of Wayne Shorter’s “United”, which gives the album its title.

The album opens with “Essaouira”, a piece in six where Loueke uses his voice as an extra percussive layer on top of the pulsing guitar texture. “Yaoundé” pays tribute to another African city through an exuberant rhythm and radiant tonal colors. “Chant”, a balladic excursion in 3/4, showcases the duo’s generous musical share, while the immutable “Celebration” bursts with joy, driven by Loueke’s rhythmic staccatos and voice and Holland’s deeply grooving bass lines. Each piece demonstrates the clarity and conviction of their individual perspectives and the improvisations confirm strong points of view.

Unfolding in nine, “Tranxit” brings together the throbbing pulse of Afro-funk and the smoothness of bossa nova, with Loueke’s guitar taking on a high-pitched effect at the forefront. Funk also permeates “Hideland”, where the duo explores variations in pace and feel, with Holland boasting his full-bodied sound, wooing with groovy freedom. “Humanism”, sung in French, reveals exceptional harmonic richness and innate lyricism, creating an alluring fusion of their distinctive sounds.

The duo’s love of odd meter shines on “Strangers in a Mirror”, set in a delicate 13-beat cycle, before concluding with Shorter’s “United”, a wordless 3/4 tune with a refined swing and warmly atmospheric improvisations. With its exotic charm, seamless cohesion, and vibrant musical dialogue, United offers an honest and heartfelt experience, sure to resonate with world jazz enthusiasts.

Favorite Tracks:
03 - Tranxit ► 09 - Hideland ► 10 - Humanism ► 11 - United

Anna Webber with Matt Mitchell and John Hollenbeck - simpletrio2000

Label: Intakt Records, 2024

Personnel - Anna Webber: tenor saxophone, flutes; Matt Mitchell: piano; John Hollenbeck: drums.

Saxophonist, flutist, and composer Anna Webber—a meticulous conceptualist in improvised music—draws from the depths of polyrhythmic inspiration for her latest album, Simpletrio2000. Over the past decade, Webber has earned well-deserved acclaim for her rhythmic inventiveness and distinct stylistic twists across several albums. This new release marks ten years since the debut of her long-running band Simple Trio, featuring pianist Matt Mitchell and drummer John Hollenbeck. Across nearly an hour, they absolutely marvel with complex, intriguing soundscapes and rhythmic mastery.

Each piece is one-of-a-kind. “Slingsh0t” opens with overlapping jabs of cerebral saxophone pulses, loose piano build-ups, and unflappable rock-solid drumming. These elements converge into a driving electro-rock-inspired synthesis delivered at a complex, exhilarating tempo. Webber delivers a solo of poignant beauty, with Mitchell underpinning the pulse. “Idiom VII” was written with extended techniques in mind, in the case slap-tonguing saxophone staccatos with spiky intervals. The flux created, matched by Hollenbeck’s precise movements, is reinforced with Mitchell’s layer in a bewildering rhythmic exercise infused with rock and avant-garde muscularity.

Webber puts down her tenor for flute on “Foray”, casting fluid notes over a slow, menacing piano sequence of minor thirds as Hollenbeck keeps filling the space with an exquisite blend of toms and cymbals. There’s a blatant sense of mystery and suspense that comes and goes according to the motions and pulsations created. In “Miiire”, her buoyant flute melodies intertwine with dancing piano lines, weaving electronic music textures, rock, and hints of modern classical fugues. The track’s rhythmic shifts are handled with impressive finesse, and we even sense music from other parts of the world.

“8va” brings saxophone multiphonics over a calm, ambient backdrop, crescendoing to a powerful tenor solo from Webber. “Five Eateries (in New England)” explores various moods with provocative gestures, including alternative rock progressions, tension-filled chromatic shifts, and avant-garde outcries. Webber confesses being thrilled to compose for her talented triomates, and each member is featured solo on one track. 

Simpletrio2000 reveals fresh dimensions in the trio’s musical partnership, balancing disciplined control with boundless improvisational spirit. This album stands as another giant step forward in Webber’s discography.

Favorite Tracks: 
01 - Slingsh0t ► 02 - Idiom VII ► 04 - Foray ► 05 - Five Eateries (in New England)

Aaron Parks- Little Big III

Label: Blue Note Records, 2024

Personnel - Aaron Parks: piano; Greg Tuohey: guitar; David Ginyard Jr.: bass; Jongkuk Kim: drums.

The third installment of pianist and composer Aaron Parks’s Little Big quartet has arrived, featuring nine original compositions—five by Parks, three by guitarist Greg Tuhoey, and one by bassist David Ginyard, Jr. The group is rounded out by South Korean drummer Jonkuk Kim, who replaces Tommy Crane. There’s a strong sense of identity within the band, as they explore cohesive moods where jazz tradition seamlessly merges with contemporary sounds. At times, however, Little Big III feels a bit restrained, as if the group is holding back, casting a tentative, incantatory spell rather than delivering consistently memorable moments.

That said, the album has a promising start, with Parks’ “Flyways” launching the listener on an exhilarating journey through space. The pianist’s insistent chords throughout this boldly asymmetric piece—built on additive 10+9 beat cycles—enjoys positive contrast from Tuohey’s outgoing guitar work. Also from Parks, “Locked Down” and “Heart Stories” both lean into balladic storytelling, with the former infusing more elements of interest—in a fine blend of strange mystery and sweet resignation—than the latter, which, despite its melodic and harmonic poignancy, lacks spark.

Tuohey’s “Sports” gets underway with a 24-beat bass groove underpinning a gorgeous melody that hints at African inspiration. Park’s solo here is the warmest of company, while Tuohey’s could be further expanded. The funk-rock energy produced by bass and drums gets us quickly hooked, but the guitarist has other compositional offerings, spreading waves of Americana on his “Willamina”. Ginyard Jr. contributes “Little Beginnings”, bringing a fusion of smooth jazz and R&B with a peculiar bluesy feel. Stylist and fresh, it features a regenerative piano cycle, syncopated drumming, snappy bass lines, and a guitar solo tinged with a high-pitched, flute-like effect. 

The album concludes with Parks’ “Ashé”, a spacey, delicately brushed tune first recorded in 2007 and included on Terence Blanchard’s A Tale of God’s Will. Here, it’s infused with an added layer of dreamlike sensitivity, bringing the album to a fitting close that resonates with both nostalgia and quiet wonder.

Favorite Tracks:
01 - Flyways ► 02 - Locked Down ► 04 - Sports

The Attic & Eve Risser - La Grande Crue

Label: NoBusiness Records, 2024

Personnel - Rodrigo Amado: tenor saxophone; Gonçalo Almeida: bass; Onno Govaert: drums; Eve Risser: piano.

The free jazz trio The Attic, featuring Rodrigo Amado on tenor saxophone, Gonçalo Almeida on bass, and Onno Govaert on drums, invites French pianist Eve Risser into their fold for La Grande Crue. This album is charged with new energy and finds thrilling moments of deep connection, driven by each musician’s unerring intuition.

The first track, “Corps”, unfolds with solemn arco bass abrasions, tasteful piano designs that move across different registers, non-rigid percussive backing, and reflective saxophone lines that reach toward an elusive revelation. The rhythm section bolsters the foundational structure for Amado’s tough-as-concrete flights of fancy, in a gloriously reverberant yet controlled section that culminates in slow pulsation.

“Peau” initially thrives with chromaticism-filled bass patterns, a refractory combination of hi-hat and snare drum, and incisive saxophone expressions that later become motivically rich over an off-kilter swinging movement. Risser responds to Amado’s provocations with masterful spontaneity, unleashing rapid-fire attacks with both hands across opposite ends of the keyboard. Midway, a groove emerges, paving the way for fluid melodic developments and sharply pointed rhythmic hooks.

Pedal points dominate “Phrase”, establishing the groove while angular melodies gather intensity. Risser’s chords can be jarringly clustered and her textures ingeniously pulsating, creating open-ended yet intentional frames that burst with contractions and expansions. 

Each musician seems to know their peers’ movements down pat. Together, they create rich sonic canvases that drift softly like diluted watercolors before bursting into saturated tones, taking us from composure to agitation. That’s what happens in “Pierre”, which, beginning with a sequence of droning sounds—a combination of saxophone multiphonics, full-bodied arco bass, and cymbal screeches—conjures a self-aware noir ambiance that shifts and reshapes from varying perspectives. La Grande Crue stands as a testament to these four improvisers’ commitment to keeping their art vibrant, pushing boundaries in a continual search for expressive terrain.

Favorite Tracks: 
01 - Corps ► 02 - Peau

Caleb Wheeler Curtis - The True Story of Bears and the Invention of the Battery

Label: Imani Records, 2024

Personnel - Caleb Wheeler Curtis: stritch, trumpet, sopranino saxophone, tenor saxophone; Sean Conly: bass; Michael Sarin: drums, Eric Revis: bass; Justin Faulkner: drums.

Following the authoritative statement of Heat Map (Imani Records, 2022), saxophonist and composer Caleb Wheeler Curtis returns with The True Story of Bears and the Invention of the Battery, a double album featuring two finely tuned trios that excel in free-flowing interplay and fluid structures. Curtis, who now has four albums under his belt, plays three different saxophones and trumpet here, employing overdubs to create moments of contrapuntal and synergistic stimulation.

Disc One features Curtis alongside bassist Sean Conly and drummer Michael Sarin, who provide alert support across nine originals and a solo saxophone rendition of Arthur Blythe’s “Odessa”, where Curtis’ lyrical grace in on full display. “The First Question” is set in motion by leisurely groovy bass lines and understated drumming, before saxophone and muted trumpet appear in parallel. The horns explore an unaccompanied, ruminative passage before Conly’s bass returns with rhythmic flexibility, adding a dynamic lift to the piece.

“This Cult Does Not Help” introduces a start-and-stop beneath a Monk-esque, propelling the trio into freebop territory as Conly’s swinging bass locks in with Sarin’s snappy brushwork. Curtis’ exploration of timbre conjures fluid melodic streams on both saxophone and trumpet. Offering a distinct mood, “A Feather is Not a Bird” gently dances through a simple three-note figure that repeats with hypnotic, contrapuntal intensity. 

The standout track, “Bears and the Invention of the Battery”, initially floats with soaring arco bass, effervescent drumming, and edgy reed and brass sounds. This later transitions into an electro-rock-inpired framework that, grooving and throbbing with spirited rhythmic displacements, features interesting improvisational ideas coming from Curtis. He maintains this zealous sense of direction on “Stellar Ray, See?”, building on top of methodic trap drums and inquisitive bass expressions. Sarin’s drum choices work like a charm and Conly’s resonant bass lines are enhanced by extremely tasteful patterns.

For Disc Two, Curtis enlists bassist Eric Revis and drummer Justin Faulkner for a set of ten Thelonious Monk compositions. Standout moments include the high-energy rendition of “Raise Four”, the gentle melodic clarity of “Reflections”, the infectious groove of “Oska T.”, and the blistering sax-over-drums manifesto of “Ugly Beauty”. Curtis also shines on “Jackie-ing”, balancing timbre, articulation, and inventive motifs with finesse.

Across both discs, Curtis sounds very much like himself, blending sensitivity and physicality. Each trio finds creative ways to explore their sound, making this album a distinct and valuable addition to Curtis’s discography.

Favorite Tracks - Disc One:
02 - The First Question ► 03 - This Cult Does Not Help ► 06 - Bears and the Invention of the Battery

Fabio Rojas - Perseverance

Label: Self released, 2024

Personnel - Fabio Rojas: drums; Greg Osby: alto saxophone; Gustavo D’Amico: tenor and soprano saxophone, flute; Kevin Harris: piano, Fender Rhodes; Osmar Okuma: acoustic and electric bass.

Venezuelan drummer and film composer Fabio Rojas showcases his wide-ranging stylistic interests in his debut album, Perseverance, a reflection on Venezuela’s transition from democracy to dictatorship, as well as the personal struggles that have shaped his musical journey. Rojas has been living in the US for 14 years, and now based in New York, he leads a boundary-pushing unit featuring legendary Greg Osby on alto and Brazilian Gustavo D’Amico on tenor, soprano, and flute. In order to support this excellent frontline, Rojas employed bassist Osmar Okuma and keyboardist Kevin Harris, contributing rich, prismatic textures across nine well-structured originals and a collective studio improvisation.

The album opener, “Ni Un Paso Atras”, thrives with a confident pace and powerful energy driven by Okuma’s snappy electric bass lines and Rojas’ aerodynamic pulse, complemented by dynamic fills. Harris’ piano riff, rooted in a chant of freedom from Venezuelan protests, provides a striking foundation before Osby dazzles with his inside/outside soulfulness over a seven-beat cycle filled with emotional charge. The following track, “Atlas”, keeps listeners in check, exhuming a tensile compression in its asymmetric harmonic flow. The band plays with tempo and speed while maintaining high energy, with standout solos from D’Amico on soprano and Rojas, whose scampering tom-toms and loose-limbed cymbals elevate the track.

Shaped with sophisticated sounds, “Homage AP” and “Loneliness” denote softer edges. The former, a dulcet folk-inspired waltz, is a tribute to Polo (a harmonic structure within Venezuelan folk music from Margarita Island), while the latter is a hip blend of jazz, smooth funk, and R&B. Once again, Osby’s narrative-rich soloing shines through.

“NU, Justice or Accomplice?” takes the form of a balladic complaint against the United Nations’ inaction in addressing Venezuela’s crisis. That’s before the group heads out into groovy territory with “Outro”, a piece spontaneously created in the studio, where Harris’ warm, shapely Fender Rhodes playing takes center stage. Rojas’ versatile drumming and the ensemble's dynamic horn activity add extra color. 

Perseverance is a shining example of collective effort that also contains brilliant soloing. Merit has to be given to Rojas in this debut, which establishes him as a drummer and composer to watch for future sonic explorations.

Favorite Tracks:
01 - Ni Un Paso Atras ► 02 - Atlas ► 04 - Loneliness

Isaiah Collier & The Chosen Few - The World Is On Fire

Label: Division 81 Records, 2024

Personnel - Isaiah Collier: saxophones, vocals, percussion; Julian Davis Reid: piano; Jeremiah Hunt: bass; Michael Ode: drums // Guests include Kentheny Redman: flute (#3,10), Corey Wilkes: trumpet; Ed Wilkerson Jr.: alto clarinet, and more.

Saxophonist and composer Isaiah Collier’s latest outing, The World is On Fire, is a passionate plea for change, using the power of his infectious music to address pressing global issues like racism, genocide, abuse of power, and injustice. Relying on the dazzling rhythm section of his flagship band, The Chosen Few, Collier continues his meteoric rise on the left side of the jazz spectrum with an album that urges everyone to stand up for what’s right.

The opening cut, “The Time is Now”, is an effusive modal piece energetically introduced by pianist Julian Davis Reid before bursting into a frenzied swing. Collier’s commanding tenor saxophone, evocative of jazz modalists like Billy Harper and McCoy Tyner, takes center stage with eloquence. Following Reid’s solo, it’s the drummer Michael Ode who hits with the force of a tornado. In “The Hate You Give is the Love You Lose”, the trio channels Pharoah Sanders’ spiritual energy, blending folk-like saxophone melodies with a brisk 3/4 rhythm that moves with raw intensity.

The title track, “The World is On Fire”, inspired by the Amazon wildfires, takes the form of a pure modal blues introduced by vigorous, blocky piano chords and crashing cymbals. An energetic riff spirals atop a manic, danceable rhythmic flux before some fierce exchanges between Collier and Reid. “Crash”, a reflection on economic collapse, pulses with frenetic energy, especially in a wild section where gusty saxophone squalls come upon a whirlwind of drums.

The quartet moves nimbly and confidently on “Ahmud Arbery”, a mournful mid-tempo 3/4 groover set on fire by visceral and urgent saxophone playing. Guest flutist Kentheny Redman joins for “Amerikkka the Ugly”, whose swinging posture and strong bluesy feel serve to express disillusion over the shameful attempt against American democracy on January 6th. Here, bassist Jeremiah Hunt delivers an emotional arco improvisation, infusing extra solemnity, while Collier takes flight on the soprano sax.

The quartet is expanded with revived positivity for the album’s closer, “We Don’t Even Know Where We’re Headed”, which, moved by a buoyant riff and lyrics by Kennedy Banks, incorporates layers of trumpet, bass clarinet, harp, cello, flutes, and multiple vocal harmonies. Collier’s clarity of vision and bold compositional approach shine throughout, making The World is On Fire a must-listen for fans of post-bop with vanguard jazz inclination.

Favorite Tracks:
01 - The Time is Now ► 05 - The Hate You Give is the Love You Lose ► 06 - Crash ► 09 - The World is on Fire

Steve Coleman and Five Elements - PolyTropos / Of Many Turns

Label: Pi Recordings, 2024

Personnel - Steve Coleman: alto saxophone; Jonathan Finlayson: trumpet; Rich Brown: electric bass; Sean Rickman: drums.

Alto saxophonist and composer Steve Coleman returns with two live sets recorded during his tour in France, showcasing his acclaimed Five Elements band: Johnathan Finlayson on trumpet, Rich Brown on electric bass, and Sean Rickman on drums. This ensemble continues to represent some of Coleman’s most powerful and expressive. His signature blend of modern jazz-funk and M-Base remains as relevance as ever, further energized by the double album, PolyTropos / Of Many Turns, which draws inspiration from chains of amino acids. The compositions revolve around intricate musical figures, creating a spontaneous language Coleman refers to as Tonal and Temporal Molecules. 

Disc one opens with “Spontaneous Pi”, where Coleman makes of a bluesy phrase the point of departure of a solo introduction that expands with consistent ideas and motivic intentions. Staccato precision triggers a funky bass groove and propulsive drumming before the horn players join in, navigating a 18-beat cycle with fluid ease. The band maintains close communication as the texture shifts into a 5/4 tempo section. The preparative scenario repeats on “Spontaneous One”, which features passages of tactful harmonic understanding and an engaging groove that supports both impressive horn coordination and individual improvisation.

“Spontaneous All” strikes a perfect balance between freedom and form, bringing us polytonal fantasy and featuring a drum spectacle over a 15-beat cycle bass underpinning. Coleman weaves in and out of the lattice created by the rhythm team before the groove mutates, accumulating more body and energy. Finlayson’s trumpet adds playful interplay to the evolving landscape. Yet, the raw spirit of their performance is further reflected in “Mdw Ntr”, a high-speed piece driven by a continuous bass flow and infectious drum fills. 

“Multiplicity Drum” starts with thick, resonant bass lines, with the horns unhurriedly ambushing the texture, creating a well-proportioned mosaic. The bouncing funk operations and danceable pulsations of bass and drums, respectively, evokes the spirit of punk and electronic music. It’s the vivacious, deep-funk rapport between Brown and Rickman that gives the album its backbone, and they pair up with devastating force in “9 to 5”, a kinetic piece with centrifugal crossflows that produce a full sound without the need of chordal instruments.

Disc two surprisingly includes Billy Strayhorn’s “Lush Life” as a sax intro to “Pi”, and a loose, horn-only rendition of Thelonious Monk’s “Round Midnight”, exploring Coleman’s unique concepts. The bandleader’s creative genius is undeniable, and PolyTropos / Of Many Turns displays the same level of ambition and quality found in his finest studio recordings.

Favorite Tracks CD1:
02 - Spontaneous One ► 04 - Mdw Ntr ► 06 - Multiplicity Drum

Peter Evans - Extra

Label: We Jazz Records, 2024

Personnel - Peter Evans: piccolo trumpet, flugelhorn, piano; Petter Eldh: bass, synthesizer; Jim Black: drums, electronics.

No one grooves quite like trumpeter and composer Peter Evans, a master of experimental sounds, especially in modern, electronic-inspired contexts. With a powerhouse rhythm section—bassist Petter Eldh and drummer Jim Black—backing him, expectations for cutting-edge rhythmic exploration are met and exceeded. The shared passion these visionaries have for a hybrid blend of progressive jazz, alternative rock, and electronic music is infectious, and this album captures a broad spectrum of Evans’ musical world. Wonderfully mixed, the eight Evans originals were recorded in Lisbon in 2023.

The wild opener, “Freaks”, is an impactful harbinger for what comes next. Sustained brass notes soar over a propulsive, vibrant rhythm, creating rhythmic euphoria that’s both swinging and grooving. The dubbed trumpet lines build to a final solo that drives the piece to a powerful finish.

Delivering flashes of brilliance throughout, the trio’s remarkable work reaches new heights on “In See”, whose tribal vibe seems to emulate a Brazilian cuíca while drawing heavily from experimental electronica and EDM. Evans’ stuttering staccatos and motivic inclinations are complemented by Eldh’s hyperactive bass lines, while Black lays down an intense tapestry of punk rock and krautrock rhythms. The drummer also stokes the fire in “Boom”, where Evans’ piercing, swift trumpet attacks add extra muscle to the melodic and harmonic interplay.

The kinetic “Fully Born” carries the same explosive energy as the earlier tracks, arriving with an uncompromising posture, suitable for alternative dance floors. In contrast, “Nova” and “Movement 56” are less exuberant, delving into more atmospheric territory. The former features beautiful piano parts cutting through a breezy flow of trumpet and percussion, while the latter, abundant in loopy, riffs, and glitchy electronics, takes on a darker, ominous tone. 

Extra offers listeners a thrilling musical journey full of discovery. Every track, fresh and provocative, pushes the boundaries of improvisation and experimental music to new heights. It’s an indispensable record for those who enjoy their improvised jazz dipped in other genres.

Favorite Tracks:
01 - Freaks ► 02 - In See ► 03 - Boom

Brad Shepik - Dream of the Possible

Label: Shift Paradigm Records, 2024

Personnel - Brad Shepik: guitar, Bulgarian tambura, saz, banjo; Layale Chaker: violin; Amino Belyamani: piano; Sam Minaie: bass; John Hadfield: drums, percussion.

American guitarist Brad Shepik possesses a distinctly global musical identity, exhibiting a remarkable ability to seamlessly integrate music from diverse cultures into a post-bop context. Dream of the Possible, his ninth album as a leader, marks the return of his Human Activity band—now featuring an entirely new lineup—in a ten-part meditation on climate change.

The album opens with “Code Red”, where a vivid guitar figure sets the tone, followed by Amino Belyamani’s evocative piano chords, John Hadfield’s groove-driven drumming, and Sam Minaie’s breathing bass lines. Violinist Layale Chaker, born in Paris and raised in Lebanon, joins them, adding a rich melodic layer. Shepik’s guitar solo is lucid and deeply expressive, while Minaie delivers a brief, compact statement before supporting a vamp in five for Belyamani’s practical deliberations. The piece culminates in a unified riff. The following track, “The Search”, is a mid-tempo waltz with doleful folk inflections, composed for the migrants seeking refuge from environmental changes.

Shepik’s world fusion makes skillful use of odd meters in pieces like the title cut, “Future Generations”, and “Naturitude”. “Dream of the Possible” builds around a cyclic harmonic progression with dark undertones, driven by a propulsive beat that helps define its 5/4 time signature, while shifting figures spread over a more rock-inspired texture. In turn, “Future Generations” unfolds gently in seven, and “Naturitude” stands out with its exotic charm, revealing a 10-beat cycle over which Chaker gracefully showcases her sinuous melodic lines. A yawing shift in motion is carried out halfway for Shepik’s guitar solo.

Shepik and Chaker continue to blend their sounds beautifully on “Symbioticity”, offering a colorful, charming spin on Middle Eastern chants and rhythms with a collective center. The band, never dabbling and always to the point, shifts gears for “Travel Back”, which starts quietly before taking off with purposeful, invigorating movements. This number evokes nostalgia for a youthful past and a healthier planet, with Shepik navigating modes and key changes with aplomb.

Brimming with emotion and heart, Dream of the Possible combines thoughtful composition and emphatic sounds into a sincere plea for environmental action. I wholeheartedly stand with Shepik in this cause.

Favorite Tracks:
01 - Code Red ► 03 - Dream of the Possible ► 06 - Travel Back ► 09 - Naturitude

Immanuel Wilkins - Blues Blood

Label: Blue Note Records, 2024

Personnel - Immanuel Wilkins: alto saxophone; Micah Thomas: piano; Rick Rosato: bass; Kweku Sumbry: drums; Ganavya: vocals; June McDoom: vocals; Yaw Agyeman: vocals + guests: Cecile McLorin Salvant: vocals; Marvin Sewell: guitar; Chris Dave: drums. 

Blues Blood, the third studio album by the acclaimed alto saxophonist and composer Immanuel Wilkins, marks a significant shift in his artistic direction, revealing new dimensions in his compositional skills through a predominantly vocalized, multimedia performance about the legacies of our ancestors and the bloodlines connecting us. The album, inspired in part by Wilkins' childhood, features nine original compositions. Commissioned by Roulette and produced by Meshell Ndegeocello, whose influence is evident on several tracks, the album reflects a rich blend of musical styles.

The opening track, “Matte Glaze”, flows effortlessly, conjuring a relaxed neo-soul vibe with a delicate, earthly foothold in the groove. Wilkins delivers an intense solo over the vamping backdrop offered by the dutiful rhythm section—featuring Micah Thomas on piano, Rick Rosato on bass, and Kweku Sumbry on drums—while the vocals remain loosely tethered to the music. “Motion”, with a slick three time feel and vocalist June McDoom at the forefront, subverts expectations during Wilkins’ improvisation by setting a swinging motion against the dreamy atmosphere.

“Everything” begins with a forward-leaning 22-beat cycle before transitioning midway into a meditative lament, highlighted by Ganavya’s ethereal quarter-tone-infused chanting. She happens to be a wild card here, leaving an indelible mark again on “Afterlife Residence Time”, in a soulful passage in seven that evokes a ritualistic work song with an Eastern flair. This number, which begins in a straightforward 4/4 time with dynamic drum fills and solos by Wilkins and Thomas, also guests Marvin Sewell on acoustic guitar. The quartet picks up the same groove for “Mosphit”, a spiritual instrumental journey that opens new doors for the soul.

Renowned jazz singer Cecile McLorin Salvant adds a delicate narration to “Dark Eyes Smile”, a breezy 3/4 tune driven by soft brushes and an understated bass solo. The album concludes with its title track, “Blues Blood”, a chameleon-like piece that finds fresh avenues in Wilkins’ multidimensional compositional wizardry and stylistic versatility. Beginning as a vibrant neo-bopper with angular and curved shapes, the track takes a bold turn as Sewell injects a feisty rock energy with his electric guitar, before culminating in a gospel-infused finale with the vocalists reaching ecstatic heights.

Wilkins provides pure silver fluidity in musical conversations full of inspired moments and sophisticated interplay. His deep sense of joy and ethos infuses the album with heart and soul, creating a work that stands apart. In the words of its creator, Blues Blood is intended as a soothing balm for everyone searching for peace.

Favorite Tracks:
01 - Matte Glaze ► 04 - Everything ► 09 - Afterlife Residence Time ► 14 - Blues Blood

Alex LoRe - Motivity

Label: Weirdear Records, 2024

Personnel - Alex LoRe: alto and C melody saxophone; Thomas Morgan: bass; Johnathan Blake: drums.

Saxophonist and composer Alex LoRe delivers a cool-toned tradition-leaning album with Motivity, where he showcases a musically inclusive spirit, paying tribute to one of his mentors, the late saxophonist Lee Konitz. Assisted by the powerful rhythm section of bassist Thomas Morgan and drummer Johnathan Blake, LoRe navigates his originals, one composition by Konitz, and three standards with grace and spontaneous ease.

The album kicks off with Schertzinger/Mercer’s “I Remember You”, executed with an openhearted, Konitz-like subjectivity, effortless swinging feel, and engaging improvisational exchanges. The influence of Konitz is unmistakable on the inquisitive “Like-Lee”, where fluid motion allows space for classical lyricism to emerge within the jazz lines. The piece is propelled by skittering drums and vamping bass processions. Konitz’s own “Thingin’” is a richly harmonic post-bop piece that, following a dedicated saxophone intro, offers an upfront bass solo as well as spirited bar trades with the drummer.

“A Weaver of Dreams” radiates eloquent melodicism in its fairly straight-ahead setting, making for a fine companion to “’Tis Autumn”, which ascends with a heavenly melody, softly propelled by brushed drums. While these artfully executed standards sound familiar, the more striking moments come from the originals, particularly “Free” and “Overly Sentimental”. The former is a lush, spaced-out spontaneous piece that invites listeners to explore its curious, enigmatic tones. The latter, a contrafact on “I’m Getting Sentimental Over You”, swings infectiously, with LoRe overdubbing himself on C melody to create bop-ish polyphonic surprise.

LoRe brings a mature and thoughtful musical perspective to Motivity, and his tribute to Konitz feels genuine and well-crafted. However, one might wish for more original material. This impression should not be a problem for fans of Konitz, who may enjoy the stylistic nods paired with LoRe’s personal new views. 

Favorite Tracks:
06 - ’Tis Autumn ► 07 - Free ► 08 - Overly Sentimental

Tommy Crane - Dance Music For All Occasions

Label: Elastic Recordings, 2024

Personnel - Tommy Crane: drums, composition; Charlotte Greve: alto saxophone; Simon Jermyn: bass; Edwin de Goeij: piano; Sarah Page: harp; Claire Devlin: tenor saxophone (#4); Martin Ditcham: percussion; Miller Maboungou: percussion; Mishka Stein: bass; Aaron Spicer: choir; Sterling Spicer: choir; Jones Spicer: choir.

Currently based in Montreal, drummer and composer Tommy Crane has long been a trusted collaborator for a number of esteemed jazz artists in New York—Aaron Parks, Melissa Aldana, and David Binney among them. In his latest project, Dance Music For All Occasions, Crane leads a core quartet, featuring bassist Simon Jermyn, pianist Edwin de Goeij, and saxophonist Charlotte Greve. Inspired by the smooth jazz and breezy pop/rock of the ‘70s and ‘80s—a sound his drummer father, Nolan Earl Crane, was passionate about—the album melds these influences into a laid-back yet elegantly layered sonic experience, with guest appearances enhancing the mood. 

The opener, “Early 2000’s”, kicks off with a driving rhythmic pulse, its three time feel well marked by the pianist, who designs the chord progression with sheer emotion. Greve harmonize slow-moving lines that soar with sharp focus, while extra percussive layers are entrusted to percussionists Elli Miller Maboungou and Martin Ditcham (Talk Talk, Sade). The musicians work seamlessly within Crane’s vision, and on “Italian Weekend”, they evoke a lush sense of nostalgia. The track begins simply but firmly, driven by an engaging bass groove before drifting into ambient jazz, enriched by ethereal harmonies from a three-boy choir, and having Sarah Page’s harp lending discrete shading.

“DMFAO” delivers pleasant vibes, but lacks the spark to elevate its steady background. “Let’s Try This Again” takes on the feel of a relaxed 4/4 pop/rock tune, with Claire Devlin’s tenor saxophone adding a thin extra layer to the cyclic melody. “Life is So Much Better in the Lounge” shifts into smooth funk and R&B, channeling George Benson, Barry White, and Grover Washington Jr. as the music, pollinated with warm and rich details, brings out Crane's knack for subtle groove.

The short-lived yet beautiful track “A Moment of Clarity Amidst the Fog” is introspective and airy, balancing spacey piano accompaniment, sizzling brushwork, and a carefully sculpted saxophone riff. The album closes with “Amherst Ave”, a standout track that grooves effortlessly in an odd-meter cycle, conjuring the soulful, jazz-infused stylings of Makaya McCraven, Marquis Hill, and Robert Glasper.

Dance Music For All Occasions is a record of amenable tones, avoiding overly complex configurations but relying on superimposed layers to create its dreamscapes. Some tracks, charmingly pleasurable, can get under your skin, while others remain more understated, with only minimal fluctuations in mood.

Favorite Tracks:
01 - Early 2000’s ► 06 - A Moment of Clarity Amidst the Fog ► 07 - Amherst Ave