Marcin Wasilewski Trio - En Attendant

September 29, 2021

Label: ECM Records, 2021

Personnel - Marcin Wasilewski: piano; Slawomir Kurkiewicz: bass; Michal Miskiewicz: drums.

This accomplished Polish trio led by Marcin Wasilewski, a sensitive pianist who favors clarity of touch, got known for its improvisational facility and strong sense of resolution. Their new album, En Attendant (the seventh on the ECM Records) comprises a tripartite improvised piece, one original by the pianist, and personal renditions of disparate compositions by Carla Bley, The Doors and J.S. Bach.

Lasting between six and seven minutes, the three parts of “In Motion” are lyrically conceived. The first part is shaped with pulchritudinous melodic and harmonic contours, whereas the second, more percussive and peacefully atmospheric, reveals lovely timbral shades as a result of the communication between the pianist and the two excellent players at the foundation - the bassist Slawomir Kurkiewicz and the drummer Michal Miskiewicz. The Part III, enhancing the charms of the piano and bass deliveries, allows the delicate cymbal washes of the drummer to become salient before the trio sports its more explorative side.

Both Wasilewski’s “Glimmer of Hope” and Carla Bley’s “Vashkar” are revisited here, appearing as heartfelt horn-less manifestations after having been included on last year’s album Arctic Riff with Joe Lovano. If the former is initially guided by the vaunted brushwork of Miskiewicz, the latter piece includes a transparent bass solo and a more eloquent piano statement that never spins out of control.

The versatility of the trio allows them to cull songs from different genres in order to enrich their repertoire. The classical minor-tinged ideals of Bach are heard on “Goldberg Variation no. 25”, a ballad carrying a deep sense of sadness and loss that the trio navigates with a feel of their own. There’s also The Doors’ pop/rock classic “Riders on the Storm”, a serious candidate to the best track on the album, in which an elegant jazzistic approach and warmly burnished groove give it a special note.

En Attendant attests Wasilewski’s ability to make honest, breathy music that is a balm for the ears.

Favorite Tracks:
04 - In Motion (Part II) ► 05 - Glimmer of Hope ► 06 - Riders on the Storm

Sean Conly - The Buzz

September 28, 2021

Label: 577 Records, 2021

Personnel - Leo Genovese: piano; Sean Conly: acoustic bass; Francisco Mela: drums.

Sean Conly, a coveted and probing avant-garde jazz bassist, not only has been an important piece in projects led by saxophonists Darius Jones and Gregory Tardy as well as pianists Mara Rosenbloom and Johannes Wallman, but also has forged his path as a leader, usually in the company of altoist Michael Attias, a frequent collaborator.

The Buzz marks his debut on the Brooklyn label 577 Records, and features two new musical partners who have played/recorded many times together before: the Argentinian pianist Leo Genovese (Esperanza Spalding, Leni Stern) and the Cuban drummer Francisco Mela (McCoy Tyner, Joe Lovano).

The album's first two tracks, “The Jake Leg” and “Good Idea”, share the same thematic concept centered on a strong melodic expression that repeats as the views expand with generous openness. Following an elusive form that consolidates composed ideas and texture-minded improvisation, the trio nearly swings on the former piece, whereas on the latter we hear Conly speaking confidently and engaging with Genovese in synergistic agreement.

There are sliding intervallic bass motions that go well with Mela’s Latin-tinge drumming on “In the Stretch”, where, at a later time, bass and piano assume absolute control of the rhythmic emphasis with congruous low-pitched tones. As is the case here, Mela also brings his percussive work to the fore on “From C to Sea”, a lilting, animated piece with a bass statement upfront.

Conly, Genovese and Mela are here to support each other; and “The Buzz”, which emulates the verve of living in New York City, validates that notion. Nonetheless, it’s Genovese’s bold piano playing that stands out on this one.

“Sweetie Pie” is candidly narrated with a little vulnerability lurking around the edges, but the prize for the most beautiful sound goes to the concluding track, a rendition of Stephen Sondheim’s 1973 ballad “Send in the Clowns”.

The Buzz doesn’t transcend nor disappoints. Its pieces may not immediately catch our senses but repeated listenings allow us to locate more signposts of tension and release, pushing us to better interpret the trio’s highly intuitive form of playing.

Favorite Tracks:
03 - In the Stretch ► 07 - Sweetie Pie ► 10 - Send in the Clowns

Pat Metheny - Side Eye NYC (V1.IV)

September 27, 2021

Label: Modern Recordings, 2021

Personnel - Pat Metheny: guitar, bass guitar; James Francies; piano, synth, organ; Marcus Gilmore: drums.

The compositional rigor and fluid guitarism of Pat Metheny is fully on display on his latest album, Side-Eye NYC (V1.IV), which features him alongside two new mates of a younger generation, the keyboardist James Francies and the drummer Marcus Gilmore. Together, they plunge into the guitarist’s astounding musical universe, tackling three new compositions that seem to have been tailor-made for this ensemble format and dressing old material with elegant, contemporary sonic outfits. The album was recorded live at Sony Hall in New York.

The opening track, “It Starts When We Disappear”, is one of the new pieces and the album’s best. There’s this atmospheric radiation at start - devised with electronic loopers and a continual cymbal pulsation - that leads us to a beautiful guitar melody. Traveling splendorous musical avenues with irresistible drive and perceptive modulation, the trio surprises not only with transient offbeat maneuvers ingeniously pulled out of Francies’ hat - who also delivers a breathtaking solo - but also clever changes of mood from one passage to another. The emotional factor is stressed during Metheny’s improvisation, and there’s a crossover appeal that recalls the fabulous 1994 album We Live Here.

“Lodger” and “Zenith Blue” are the two other novelties. The former probes pop/rock balladry with an invulnerable bluesy touch, integrating pollution-smeared guitar, sustained organ chords and a suitable 4/4 pulse; the latter, instead, is a colorful fusion piece with curious rhythms and a contemplative vision that definitely seeks the beauty of things. And what a catchy synth guitar sound by the bandleader on this one!

Previously recorded pieces include: “Better Days Ahead”, a co-arrangement by Metheny and Francies that almost feels like a cooly paced bossanova number with glossy funk running at the backbone and plenty of jazz-folk melodies at the surface; “Timeline”, a curiously structured tune written for Elvin Jones and recorded with the drummer and the saxophonist Michael Brecker in 1999; and Ornette Coleman’s widely played “Turnaround”, which goes deep into the blues. Rounding out the program are two pieces taken from Metheny's 1976 album Bright Size Life, which get absolutely delightful treatments here. The clearer-in-sound “Bright Size Life” it’s like watercolor brushstrokes that builds into candid passion when Francies lays down a magnetic harmonic sequence to back up the late stage of the guitar solo, whereas “Sirabhorn” brings back that sophisticated folk-jazz deliberation, but featuring Gilmore’s tastefully subdued drumming.

A thrilling collaborative energy inundates this mature, engaging trio album, an impossible-to-ignore addition to the guitarist’s formidable discography.

Favorite Tracks:
01 - It Starts When We Disappear ► 04 - Bright Size Life ► 08 - Zenith Blue

Helen Sung - Quartet +

September 23, 2021

Label: Sunnyside Records, 2021

Personnel - Helen Sung: piano; John Ellis: tenor and soprano saxophone, flute; David Wong: bass; Kendrick Scott: drums + Harlem Quartet - Ilmar Gavilan: violin; Melissa White: violin; Jaime Amador: viola; Felix Umansky: cello.

Although well seated in the jazz tradition, Helen Sung extends that predominant language in this new album by melding it with classical infusions and other elements. Here, she leads a core jazz quartet that includes saxophonist John Ellis, bassist David Wong and drummer Kendrick Scott, but her wild card is played with the beguiling airiness of string arrangements (performed by the Harlem Quartet) while giving life to three new compositions, revitalizing two originals from previous recordings, and celebrating women’s artistry by finding new sonic outfits for pieces by influential female jazz composers.

It’s “Feed the Fire”, a post-bop explosion penned by the late pianist Geri Allen, that opens up the album with the expedite rhythm section in great style. Ellis draws empathy with his tenor skills and there’s a round for the drummer.

Both “Coquette”, inspired by one of the three Romances by German pianist Clara Schumann, and “Elegy for the City”, dedicated to the human losses caused by the pandemic in New York City, were composed by Sung who put a classical spin on them. The former, takes us from a classical ballroom dancing to a Brazilian groove that invites Ellis’ flute to the spotlight; in turn, the latter piece joins the poignancy of Chopin, the delicacy of Bill Evans and the melodic sentiment of Michel Legrand in a nuanced 3/4 effort that becomes Latinized for a moment. Speaking of 3/4, Mary Lou Williams’ aptly orchestrated “Mary’s Waltz” holds the step firmly while the violinist Melissa White shines, followed by improvisations from Wong and Sung.

Swinging propulsions are not rare and can be enjoyed on both Toshiko Akiyoshi’s “Long Yellow Road”, which carries a hooky rhythmic pattern in the lower register and stylish string details, and Marian McPartland’s “Melancholy Mood”, whose title stops making sense for a little while, after halfway.

Whereas “Lament for Kalief Browder” runs in circles with a cello figure and a spiraling soprano dancing atop, “Sungbird”, delivered in five with a drum-less configuration, flaunts an interesting fusion of Shostakovich and tango. These compositions were originally recorded in 2018 (Sung with Words) and 2007 (Sungbird album), respectively.

Carla Bley’s playful “Wrong Key Donkey” - first recorded by Gary Burton Quintet in 1976 - carries hints of funk and pronounced accent, being reinforced with a classical vein that assimilates both Eastern and Western currents. It’s perhaps the album’s most free-ranging piece.

Despite being quite cinematic as the well-integrated strings add emotional underscore, you won’t find eerie atmospheres or darker corners on an album that is liberally enveloped by a positive energy. That’s where the force of Sung’s music comes from.

Favorite Tracks:
01 - Feed the Fire ► 07 - Long Yellow Road ► 08 - Wrong Key Donkey

David Sanford Big Band - A Prayer for Lester Bowie

September 22, 2021

Label: Greenleaf Music, 2021

Personnel - Composition and conduction {David Sanford (#1-4, 6-8), Hugh Ragin (#5)}; Woodwinds {Anna Webber, Geoff Vidal, Marc Phaneuf: tenor sax; Ted Levine, Kelley Hart-Jenkins: alto sax; Brad Hubbard: baritone sax}; Brass {Brad Goode, Tony Kadleck, Tim Leopold, Wayne J. du Maine, Thomas Bergeron: trumpet; Mike Christianson, Jim Messbauer, Ben Herrington, Mike Seltzer, Steven Gehring: trombone; Raymond Stewart: tuba}; Rhythm Section {Dave Fabris: electric guitar; Geoff Burleson: piano; Dave Phillips: electric and acoustic bass; Mark Raynes: drums; Theo Moore: percussion.}

If you like your big band jazz leaning toward the avant-garde, then maybe this new disc from the composer, arranger and bandleader David Sanford will speak to you. At the helm of a super-crisp, dynamic ensemble, Sanford presents six compositions of his own, an ecstatic reading of Dizzy Gillespie’s “Dizzy Atmosphere”, and “A Prayer For Lester Bowie”, the central piece that gave the album its title. The latter was composed, arranged and ‘conducted’ (in the same concept of Butch Morris) by trumpeter Hugh Ragin, a former student of Bowie and an enthusiast of the Art Ensemble of Chicago, who introduces an explorative journey that incorporates random pointillism, full-bodied orchestral scoring, cinematic solemnity and swinging locomotions with euphoric horn expansions.

The album’s opener, “Full Immersion”, is a roving effort made of layers that gradually pile up with logic. First, it’s the congas commanded by Theo Moore that pop up, followed by rattling percussion and Jim Messbauer’s trombone playing; and then we have a funky wah guitar, simmering piano, slapping bass, massive horn unisons, and last but not least, the authoritative solos and exciting interplay by tenor saxophonists Anna Webber and Geoff Vidal. This piece was inspired by a fountain in Rome as well as by the New Orleans funk band Galactic.

“Subtraf” features Dave Fabric's bluesy guitar distortions, and a trombone statement by Mike Christianson; “Woman in Shadows” is an eight-minute ballad inspired by Luke Swank photographs that loosens things up for composure, having altoist Teddy Levine hopping out front for one single speech; “popit” behaves like a thrashing funk-metal song that scalds as it flows with clever counterpoint and rhythmic energy; and “V-Reel”, which gravitates toward funk, has tuba player Raymond Stewart grooving out loud before the improvisations by Levine and Ben Harrington on alto and trombone, respectively.

A sense of freedom erupts from every arrangement, and the diligent musicians are put at the service of a group ideal that relies on motion, texture and free improv to succeed.

Favorite Tracks:
01 - Full Immersion ► 04 - popit ► 05 - Prayer For Lester Bowie

Chet Doxas - You Can't Take It With You

September 21, 2021

Label: Whirlwind Recordings, 2021

Personnel - Chet Doxas: tenor saxophone; Ethan Iverson: piano; Thomas Morgan: bass.

10 enchanting compositions inspired by spiritual connections are what Montreal-born, Brooklyn-based saxophonist and composer Chet Doxas, a Juno-award winner who moves elastically between tradition and innovation, offers us on You Can’t Take It With You. The album, presented in a drummer-less trio format with the assistance of pianist Ethan Iverson and bassist Thomas Morgan, emerged after the pianist Carla Bley had encouraged Doxas to form his own trio when he mentioned how inspiring her work with Steve Swallow and Andy Sheppard had been for him over the years.

The title track opens with a frank bass statement before segueing to a bluesy, swinging motion. Iverson’s piano work is impeccably witty in the numerous evocations of jazz tradition while Doxas’ melodies surface with compulsively lilting ideas.

“Lodestar” is a dedication to saxophonist Lester Young, here praised by his rhythmic expertise via insistent pedals, looped rhythmic figures that change key and stunning prepared piano. Except for the latter aspect, the trio also remains anchored to this aesthetic on “Part of a Memory”.

There are more dedications on the album: “Cheryl and George” pays tribute to Doxas’ parents using the chord changes of “Body and Soul” - you’ll rejoice with the multiphonic intonation of the tenor intro as well as with the enigmatic atmospheres that lead to a collectively improvised passage. “Up There in the Woods” celebrates the iconic guitarist Jim Hall while providing gleeful amusement via bright bopish lines and that slight Latin undercurrent that stresses the color of the main theme. On the meditative “All the Roads”, it’s TV host Fred Rogers’ non-speech at the time of his award reception that encourages the trio to make its point clear with earnest bowed bass, crestfallen piano and a sensitive horn temperament.

I couldn’t fail to mention “Twelve-Foot Blues”, which besides combining the ingratiating familiarity of the blues with the trio’s propensity for exploration, also has Iversen quoting “I Got Rhythm” at the end of his solo.

What I really like here is the group’s capacity to eschew the typical saxophone trio hierarchy. All members are given equal importance by playing the roles of texture builders and inventive improvisers.

Favorite Tracks:
01 - You Can’t Take It with You ► 03 - Cheryl and George ► 09 - All the Roads

Miho Hazama - Imaginary Visions

September 20, 2021

Label: Edition Records, 2021

Personnel - Miho Hazama: composition, conduction + Danish Radio Big Band (soloists) - Karl-Martin Almqvist: tenor saxophone; Hans Ulrik: tenor saxophone; Peter Fuglsang: alto saxophone; Anders Gaardmand: baritone saxophone; Mads la Cour: trumpet, flugelhorn; Mårten Lundgren: trumpet; Petter Hängsel: trombone; Peter Dahlgren: trombone; Nicolai Schultz: flute; Henrik Gunde piano; Per Gade guitar; Kaspar Vadsholt: double bass; Søren Frost: drums.

A phenomenal presence in the orchestral world of modern jazz, Tokyo-born New York-based Miho Hazama composes and arranges with insight and extremely good taste. Her incredible talent, which got her a Grammy nomination with the chamber ensemble m_unit, is again on display throughout this new album recorded with the acclaimed Danish Radio Big Band, and whose program consists of seven tracks that shift from one colorful mode to the next.

Hazama was invited to join the cited European Big Band as a chief conductor, following the steps of trumpeter Thad Jones, trombonist Bob Brookmeyer and pianist Jim McNeely, and she actually takes the ensemble into a new gleam. The sumptuous arrangement and deft execution of the opener “I Said Cool, You Said…What?”, which is directly related to the invitation, immediately confirms that as it shines with a venturous 13/8 meter signature, a melodic swirl that challenges and charms, and central statements by Nicolai Schultz on flute, Henrik Gunde on piano and guitarist Per Gade, who scorches the scenario with fuzz chops.

Serene but with a feel-good posture, “Your Scenery Story” probes different signature meters, presenting individual manifestations from trumpet and saxophone as well as impeccably layered collective passages.

“Mingle-Mangle Goody Bag” swings lavishly with a Mingus-like vibe, becoming affiliated with the melodic contours à-la Henry Mancini displayed on the thoroughly simpatico “Mimi’s March”. In the latter, we have some gravitational trombone waves and meaty lines fleshed out by Anders Gaardmand's baritone sax, but the beginning seems to join the traits of a small rock group with a jazz big band, while grooving aplomb.

The galvanizing “On That Side” opens with a bass solo before establishing an urgent, vigorous forward motion in 7/8 tempo. Adapting to the musical contexts suggested, the band embarks on captivating explorations of sound and texture as well as improvisations that develop with extemporary freedom. The album concludes by balancing lush orchestration with some balladic pop undercurrents on “Green”.

With an extraordinary amount of clarity and virtuosity, this recording provides both punchy and sensitive moments that will make it stand the test of time.

Favorite Tracks:
01 - I Said Cool, You Said…What? ► 05 - Mimi’s March ► 06 - On That Side

Henry Threadgill Zooid - Poof

September 16, 2021

Label: Pi Recordings, 2021

Personnel - Henry Threadgill: alto saxophone, flutes; Liberty Ellman: acoustic guitar; Jose Davila: tuba, trombone; Christopher Hoffman: cello; Elliot Humberto Kavee: drums.

The unparalleled saxophonist Henry Threadgill, a primary figure in the modern creative and avant-garde jazz worlds for years, returns with his Zooid project. As per usual, the musical personalities of the musicians involved in Poof - guitarist Liberty Ellman, tubist/trombonist Jose Davila, cellist Christopher Hoffman and drummer Elliot Humberto Kavee - contribute plenty of exoticism and lyricism to the uniquely developed compositional forms of the bandleader, in a quirky confluence of sounds that create engrossing paths of inquiry.

Take the example of the opener, “Come and Go”, which assumes the shape of an atypical marching procession embracing hopping tuba groove, quizzical cello melody, folksier guitar pointillism, conversational alto sax fluency, and an unobtrusive rhythmic layout on the drum kit. It might seem disjointed at a first glance, but rest assured that all coheres with gorgeous effulgence.

The title track gets the ball rolling with a busy dialogue, which is put on halt, firstly when Ellman plays unaccompanied, and then when Threadgill’s alto takes the lead with irresistible pathos. Hoffmann then follows them, talking brightly.

“Beneath the Bottom” probes interesting tones with the contrast created by trombone, cello, flute and guitar. It remains within a nebulous sonic cloud until the appearance of an elegant groove. Also interesting is “Happenstance”, which counterpoints calmness and tension through cello shrieks and unflappable acoustic guitar. In the course of his magical solo, Ellman demonstrates why his sound and approach are distinctive, and later on, it’s Kavee who reminds us that he has a beat of his own. The final section brings both in-sync and contrapuntal movements.

Pushing the pulse with wry pleasure, the incisive and sophisticated “Now and Then” wraps up the album with genuine group cooperation and an outstanding multiphonic finale.

This is a great return from Threadgill, who showcases the poetic puzzlement of his compositions and that magical style that leaves us marveled.

Favorite Tracks:
01 - Come and Go ► 02 - Poof ► 05 - Now and Then

Tumi Arnason - Hlynun

September 15, 2021

Label: Reykjavík Record Shop, 2021

Personnel - Tumi Árnason: tenor saxophone; Magnús Jóhann Ragnarsson: piano, Rhodes, farfisa; Skúli Sverrisson: electric bass; Magnús Trygvason Eliassen: drums.

The saxophonist Tumi Árnason, a native of Reykjavik, releases a unified, fully realized six-part opus envisioned as a reflection on climate change and its devastating consequences. Hlýnun, which means warming, reveals a compelling narrative where each track pours into the next with rivulets of sound that wash you over as if you were in the middle of a lucid, foreboding dream. The quartet is deeply attuned to this approach, creating an imaginary ecosystem that first comes to life with “I - Lungu”, where Árnason’s saxophone wails are in fine cooperation with the relentless cymbals of Magnús Trygvason Eliassen, the sustained bass expressions of Skuli Sverrisson and the intangible, mergeable keyboard sounds of Magnús Jóhann Ragnarsson. Together, they immerse themselves in a still, if tense, lake of mists. Things are softened up without discarding any experimental parameters, and we have spontaneous bass moves, cymbal screeches and scratches, and high-pitched sax laments cohabiting the final section.

The peculiarly titled “II - ‘Ō‘ō‘ā‘ā” shows the saxophonist assuming the lead via tessellated rhythmic figures and eruptive runs that transpire some Coltrane influence whether by intonation or expression. The avant-garde foray is given extra color with the arresting tonal shifts and curious sounds that stem from Ragnarsson’s keyboardic incursions.

“III - Svart Haf” is initially given some context by Sverrisson, who brings crystal harmonics into his enigmatic playing. His work is later complemented with brushed drums and piano remarks. At the time the bandleader interpolates his lines, we are already involved in this mysterious bubble of sound. The tones are lugubrious, and Eliassen makes a statement on top of this menacing demeanor, followed by the dark, clamant timbres of the tenor. The final section sounds eerily monastic on account of the organ, and things are really pushed to the dark side here.

“IV - Söngur úr svartholinu” evolves in a serene way, patiently morphing dynamics and textures with both surprise and precision. Some classical overtones are detected, also in the loop-like phrases delivered by Árnason, which happen right before an intermission that changes the group’s direction for the initial melodic path but with the piano at the center.

The last combined movements, “V - Um heimsslit; VI - Suð" address the end of the world, first through an airy ballad that momentarily clears the dark clouds out of the sky, and then by delivering an electronic-designed conclusion.

Árnason deserves credit for this project, cementing he’s not only a meritorious composer/saxophonist but also a conscientious citizen whose music mirrors his concern for a topic that needs urgent attention.

Favorite Tracks:
02 - ‘Ō’ō‘ā‘ā ► 03 - Svart Haf ► 04 - Söngur úr svartholinu

Arturo O'Farrill and the Afro Latin Jazz Ensemble - Dreaming in Lions

September 14, 2021

Label: Blue Note Records, 2021

Personnel - Arturo O’Farrill: piano, composition; Adam O'Farrill: trumpet, flugelhorn; Rafi Malkiel: euphonium, trombone; Alejandro Aviles: flute, saxophones; Travis Reuter: guitar; Vince Cherico: African percussion, drums; Carlos "Carly" Maldonado: maracas, marimba; Victor Pablo Garcia Gaetan: conga, cuica, dumbeq; Bam Bam Rodriguez: bass; Zack O'Farrill: drums.

Pianist, composer and bandleader Arturo O’Farrill became widely known for giving the Latin jazz genre a relevant contemporary dimension, often in command of his Afro Latin Jazz Orchestra. For Dreaming in Lions, his latest record and debut on the iconic Blue Note Records, he shortened the big band into a 10-piece ensemble that performs two suites while trading the traditional Latin luster for something more sophisticated and steeped in modernity.

Combining poignancy, irreverent warmth and explosions of spontaneous color, these orchestrations have their inception with “Del Mar”, the first of five movements that compose the Despedida suite, a reflection on farewells. The piece is impeccably layered with polyrhythmic sumptuousness and spiced up by brass and woodwind ostinatos. There's also a magnetic piano solo delivered with inside-outside dexterity and perfectly positioned accents.

If “Beauty Cocoon” and “La Llorona” (not to be mistaken with the folk Mexican song) feel very Cuban at their core, then “Intruso” and “Ensayo Silencio” plunge into different currents of fusion. The former, funkified by an amazing groove, includes horn counterpoint, block chords deftly intertwined with winning piano runs, and a swinging dixie-inflected blues passage over which Alejandro Aviles shines in a flurry of pithy soprano sounds. In opposition, the latter piece falls into something you can dance to, an inspired marriage of funk, jazz, disco and R&B. Here, we can also enjoy ad-lib volleys between the horn players.

All these eclectic elements return in “Struggles and Strugglets”, the sixth movement of the Dreaming in Lions suite, whose inspiration came from Ernest Hemingway’s short novel The Old Man and the Sea. Other highlights are “Scalular”, an eloquent collage of sunny rhythms that buoys up the euphoric three-time-feel dynamics, “How I Love You”, whose gauzy romanticism wafts like a soft breeze, and the effusive “Blood in the Water”, whose dramatic piano foray gives place to a colorful Latin funk where the rock-fueled guitar of Travis Reuter stands out. The session wraps with a solo piano piece performed by O’Farrill’s wife, the classical pianist Alison Deane.

This is a cohesive and coherent record that points to jazz’s ever evolving fusion of rhythms and sounds tied to a rich cultural history.

Favorite Tracks:
02 - Intruso ► 11 - Struggles and Strugglets ► 13 - Blood in the Water

Nate Smith - Kinfolk 2: See the Birds

September 13, 2021

Label: Edition Records, 2021

Personnel - Jaleel Shaw: alto saxophone; Jon Cowherd: keys; Brad Allen Williams: guitar; Fima Ephrom: electric bass; Nate Smith: drums // Guests - Vernon Reid: guitar; Kokayi: vocals; Regina Carter: violin; Brittany Howard: vocals; Joel Ross: vibraphone; Amma Whatt: vocals; Stokley: vocals.

The second installment of the Kinfolk trilogy by Nate Smith - a two-time Grammy nominee who played with Dave Holland, Chris Potter and Pat Metheny - demonstrates his abilities behind the drum kit and his penchant for compositions that are versatile and eclectic. For Kinfolk 2: See the Birds, he hooks up with altoist Jaleel Shaw, keyboardist Jon Cowherd, electric bassist Fima Ephrom and guitarist Brad Allen Williams - and invites a few guest artists to further color the material.

The soaring blitheness of “Attitude” is substantiated by an additive {3+5} metric and resourceful solos from Cowherd and two guests: the vibraphonist Joel Ross and the vocalist Michael Mayo. Both latter musicians are also featured on “See the Birds”, which effectively blends R&B and jazz idioms.

The multifaceted rapper Kokayi, who boasts past collaborations with trumpeter Ambrose Akinmusire and saxophonist Steve Coleman, contributes to two pieces steeped in hip-hop. On “Square Wheel”, which veers to a suave R&B atmosphere on the chorus (with vocals by Mayo) and then to a ripe jazz-funk (over which Shaw flies high), he has the support of Smith’s slick odd-meter beat and Williams’ brash guitar, whereas on “Band Room”, he engages in a freestyle rap with nerve and confidence.

An undeniable highlight is “Rambo: The Vigilante”, which, dabbling in a powerful hard rock, features fiery guest guitar by Living Colour’s Vernon Reid. An expedite beat-making by Smith and another kinetic improvisation by Shaw do the rest.

“Street Lamp” seems like a crossing between the indie-rock of Courtney Bartnett and the smooth post-bop of Marquis Hill; on “Collision”, the violinist Regina Carter is in full command of the melody; and “Fly (for Mike)”, featuring the former frontman of Alabama Shakes, Brittany Howard, flows balladically between a jazz standard and the country soul of Ray Charles.

A wise composer, Smith creates grooves on the kit that attracts and connects. He is found here in top form while enjoying the artistic qualities of his talented associates.

Favorite Tracks:
01 - Attitude ► 03 - Band Room ► 08 - Rambo: The Vigilante

Amir ElSaffar Rivers of Sound- The Other Shore

September 9, 2021

Label: Outnote Records, 2021

Personnel - Amir ElSaffar: trumpet, vocals; Fabrizio Cassol: alto saxophone; Ole Mathisen: tenor and soprano saxophone; JD Parran: bass saxophone, clarinet; Mohamed Saleh: oboe, English horn; Miles Okazaki: guitar; Tareq Abboushi: buzuq; Tim Moore: dumbek, naqqarat, frame drums; Jason Adasiewicz: vibraphone; Zafer Tawil: oud, nay; Dana ElSaffar: joza, violin, viola; John Escreet: piano; Naseem Alatrash: cello; Rajna Swaminathan: mridangam; George Ziadeh: oud; Carlo De Rosa: acoustic bass; Nasheet Waits: drums.

Trumpeter, composer and bandleader Amir ElSaffar has been expressing his Iraqi-American heritage and artistic identity through successful albums that blend the traditional Iraqi maqam and modern jazz. The Other Shore, the highly anticipated follow-up to Not Two (New Amsterdam, 2017), marks the second time on record he's in the command of the 17-piece Rivers of Sound Orchestra, an extension of the Two Rivers Ensemble. There was one single change in its workforce - John Escreet sits in the piano chair that previously belonged to Craig Taborn.

The imaginative cross-cultural mysticism of “Dhuha” floats with ElSaffar chants and an exotic instrumentation where a robust versatility lurks behind the apparent languidness. This is materialized in a passage prodded by a groove in five where ostinatos serve as a filling during a saxophone solo. The trumpet detaches from its counterparts in the last section, and then the movement is slowed down until fading quietly.

“Transformations” boasts an initial 12-beat cycle bass-oud groove before juxtaposing full-fledged rhythms with a dancing perspective in mind; “Lightning Flash” adjusts the density of its passages by giving it a simultaneously elegant and brazenly energizing feel; and “Medmi” terminates the session in calm waves.

“Reaching Upward” is one of my favorite pieces, and its magic erupts with West classical splendor as the stringed instruments (oud, violin, buzuk) come to the fore. After that, a percolating rhythmic flux in five finds its way, welcoming the inside/outside maneuvers from Belgian altoist Fabrizio Cassol, the intricate chromaticism of guitarist Miles Okazaki, and the microtonal pitches of ElSaffar on trumpet. Just as exciting is the breezily asymmetric {17+16} “Ashaa”, whose arresting rhythm patterns help to create moments of rare beauty. The lutes stand out ahead of a nearly-funkified fusion. Bassist Carlo DeRosa shares his thoughts, and the piece ends brightly in five after a Middle Eastern dance where ElSaffar interacts with another horn player.

Imbued with passionate lyricism, this music feels both cerebral and freewheeling. Composition and improvisation play an equally important role and there’s plenty of good, hybrid sonorities for one’s listening pleasure.

Favorite Tracks:
01 - Dhuha ► 03 - Reaching Upward ► 04 - Ashaa

Kirk Lightsey - I Will Never Stop Loving You

September 8, 2021

Label: Jojo Records, 2021

Personnel - Kirk Lightsey: piano.

The veteran Detroit-born pianist Kirk Lightsey who played with the legendary trumpeter Chet Baker and saxophonist Dexter Gordon, among many others, returns to the solo format with greater adherence to affection. Here, he devours not only post-bop tunes from Wayne Shorter and Tony Williams, but also an iconic hard-bop piece by Coltrane, a ballad penned by Phil Woods and another one he wrote himself and whose name gave this album its title. It’s worth to mention that all seven tunes were previously recorded by the pianist, most of them solo.

His sole composition to appear on this recording, the ballad “I’Will Never Stop Loving You”, can also be found on the 1993 reissue of his Isotope album (Criss Cross Jazz). Here, Lightsey shapes it with profound tenderness while exploring the timbral richness of his instrument.

The passion for the music of Wayne Shorter was evident in the early stages of his career, and he gives new interpretations to “Fee-Fi-Fo-Fum”, tackled with plenty of staccato moves as well as nimble phrasing and bluesy bends, “Infant Eyes”, whose interpretive soulfulness and abandon underscore his affinity for space and presence, and “Wild Flower”, which concludes the album with pulchritude and heart.

Coltrane’s “Giant Step” is not exceptional, and Tony Williams’ “Pee Wee” carries that type of disorienting harmonies that lets us afloat. Yet, “Goodbye Mr. Evans”, written by the versatile altoist Phil Woods in 1981 after the death of pianist Bill Evans, takes us from the haunting bass note that opens the tune to the harmonic webs traced by Lightsey with such a tactful sympathy.

Despite having in mind that every rendition brings something new to the setting, this work gives the impression to be a surplus addition to the reliable pianist’s discography.

Favorite Tracks:
02 - Fee-Fi-Fo-Fum ► 04 - Infant Eyes ► 05 - Goodbye Mr. Evans

Kenny Garrett - Sounds From the Ancestors

September 7, 2021

Label: Mack Avenue Records, 2021

Personnel - Kenny Garrett: alto saxophone, electric piano, piano; Vernell Brown Jr.: piano; Corcoran Holt: bass; Ronald Bruner Jr.: drums; Rudy Bird: percussion, snare + Guests - Dwight Trible, Jean Baylor, Linny Smith, Sheherazade Holman, Chris Ashley Anthony: vocals; Maurice Brown: trumpet; Dreiser Durruthy: bata, vocals; Johnny Mercier: piano, organ, Fender Rhodes; Lenny White: snare; Pedrito Martinez: vocals and conga.

From the creative mind of Detroit-born altoist and composer Kenny Garrett comes a tremendously impactful album that, pulling from some deep ancestral West African sources, fuses elements of different genres and negotiates its inner contrasts. Garrett, who led memorable ensembles in the past, is backed here by the same core group that appeared on his previous work, Do Your Dance! (Mack Avenue, 2016). Sounds From the Ancestors is his 20th album as a leader.

Composed in 2019, “It’s Time to Come Home” opens the program with an Afro-Cuban tinge that is simultaneously propulsive and soothing. With the tune advancing at a waltzing pace, the saxophonist adopts a less expansive posture in terms of soloing but a more percussive and textural one in comparison with other pieces. Beautiful vocals by Jean Baylor and batá percussionist Dreiser Durruthy.

“Hargrove” is a soulful earworm, a groovy dedication to the late trumpeter Roy Hargrove, in which Garrett luxuriates in starry unisons and conversational exchanges with guest trumpeter Maurice Brown. He also nods to Coltrane’s spiritual hymn “A Love Supreme” via the vocal work of Linny Smith, Sheherazade Holman and Chris Ashley Anthony. More Coltrane is evoked on “What Was That?”, a post-bop illumination that serves as a perfect showcase for Garrett’s finely honed inside/outside playing.

As a lighted-up gospel proclamation, “When the Days Were Different” is enhanced by organ and vocals, while “For Art’s Sake”, a tribute to the drummers Art Blakey and Tony Allen, occurs under the Nigerian spell of Ronald Bruner’s syncopated Afrobeat. Before the final vamp, where drums and percussion intensify their playing, you may indulge in the deconstructive wallops that come out of the electric piano.

The exciting trajectory doesn’t stop here, and “Soldiers of the Fields/Soldats Des Champs”, composed for the musicians who fought to keep jazz alive and the Haitian soldiers who fought the French, contextualizes that revolutionary posture with a marching flow reinforced by the snares of Rudy Bird and Lenny White, rhythms from Guadeloupe as well as an otherworldly sax solo laid on top of a modal chord progression.

The title track is introduced with despondent balladic tones by Garrett on the piano, veering into an enthralling Yoruban rhythm that supports the chants of conguero Pedro Martinez and singer Dwight Trible. The piece ends as it began.

Carrying Garrett’s unmistakable signature and unique energy, Sounds From the Ancestors is unmissable, already deserving to be called ‘one of the best jazz records of the year’.

Favorite Tracks:
02 - Hargrove ► 05 - What Was That? ► 06 - Soldiers of the Fields/Soldats Des Champs

Frank Kimbrough - Ancestors

September 2, 2021

Label: Sunnyside Records, 2021

Personnel - Frank Kimbrough: piano; Kirk Knuffke: cornet; Masa kamaguchi: bass.

American pianist/composer Frank Kimbrough passed away in December 2020, leaving the jazz scene missing not just his music but also his pedagogy and charisma. This posthumously released album recorded with the cornetist Kirk Knuffke and the bassist Masa Kamaguchi in 2017, leans toward the introspective and comprises seven of his original compositions, three improvised duos (two with Knuffke and one with Kamaguchi), and a piece written by his wife, the singer/pianist Maryanne de Prophetis.

“Waiting in Santander” gets off the ground in a transcendental suspension where everything feels very musical. Kimbrough actually wrote it in the Spanish city referred in the title while patiently waiting for a piano to arrive, but that frustration acquired a pacific temper here. This is the first of three numbers culled from his 2006 album Play (with Kamaguchi and the influential late drummer Paul Motian). The others are “Beginning”, a beautiful ballad whose enlightening melodies and harmonic movement recalls the drummer’s music, and “Jimmy G”, a poised blues written for clarinetist/saxophonist Jimmy Giuffre, which flows overtly with a disarming composure.

The delicate “November”, a highlight, reveals lyrical pianism and tender chords, woody sprawling bass notes and the warm brass sounds sliding over the harmonic tapestry. Taking into account that this was the first musical connection between the bassist and the cornetist, the natural playing between the threesome is excellent. “Over”, which takes the piquant flavors of Herbie Nichols’ style all over the place is a good example, as well as “Ancestors”, an old piece that celebrates Kimbrough’s deep Southern roots.

Following the haunting piano/cornet duo “Solid”, the record comes to an end with de Prophetis’ wistfully harmonized “All These Years”, a piece she wrote for her father.

Kimbrough’s sonic universe is tremendous. Considering he was a musician of rare touch and substance, that’s not surprising.

Favorite Tracks:
03 - November ► 07 - Beginning ► 09 - Over

Petter Eldh - Projekt Drums Vol. 1

August 31, 2021

Label: Edition Records, 2021

Personnel - Peter Eldh: acoustic and electric bass, guitars, synth, piano, Rhodes; Wanja Slavin: alto sax, flutes; Otis Sandsjo: tenor sax, clarinet; Johannes Lauer: trombone; Kit Downes: piano; Per Texas Johansson: flute; Jonas Kullhammer: flute; Kathrin Pechlof: harp; Mascha Juno: marimba, vibraphone, percussion; Niels Broos: keyboards, Rhodes; David Byrd Marrow: French horn; Reinier Baas: guitar + guest drummers Nate Wood, Eric Harland, Savannah Harris, Gard Nilssen, Richard Spaven and James Maddren.

Berlin-based Swedish bassist Petter Eldh has gained notoriety in the modern creative trio Punkt Vrt. Plastik, Django Bates Belovèd and Gard Nilssen’s Acoustic Unity. Perhaps less known are his skills as a producer, which stand out on this auspicious debut album called Projekt Drums Vol. 1. Each track features a particular drummer whose modern takes on rhythm and complex beats are at the epicenter of an extraordinary patchwork of genre-defying sounds created to show his love for drums and rhythm.

“Lorimer” kicks off with epic unisons but veers to stuttering melody, which is later challenged by countermelodies and prolonged synth-shimmer. The beat of guest drummer Savannah Harris is something. It pulsates with deft intricacy underneath the grid of heavy bass reverberation and the floating notes of flutist Per Texas Johansson. The perplexing collages denote many influences that include jazz, hip-hop, electronic and Brazilian music.

My favorite track is “Hawk Mountain”, whose left-field hip-hop strut is brought by Eric Harland. In addition to the concise yet exciting solos from German altoist Wanja Slavin and British pianist Kit Downes, there’s this catchy 21-beat-cycle melodic figure tossed off by Eldh on keyboard that puts a smile on our faces. He finishes the ride with a guitar and a gentle bossanova feel.

The incredible Nate Wood (from Kneebody) infuses lots of gravity on “Green Street” by virtue of elastic beat-laden fluxes that fluctuate tempo with mastery. His prog-rock and progressive jazz tendencies are corroborated by Otis Sandsjo on tenor saxophone and Slavin on flute.

The experimental aspect is always present and the simpatico “Gimsøy”, with master Gard Nilssen in absolute command of the drum set, brings that sense to the setting by exploring gracious sonorities with an interesting combination of harp, vibes, acoustic guitar and bowed bass. This melodious piece, occasionally disrupted by warped and psychedelic interjections, was inspired by the indie electronic sounds of Daedelus.

With an uneven pavement and stringent rhythmic skitter laid down by Richard Spaven, “Goods Yard” combines elements of neo-soul, funk and electronica, whereas “East Croydon” concludes the record with Reinier Baas’s guitar at the center of a playful composite of R&B, post-disco and a dollop of acid jazz redolent of Jamiroquai. The drummer on the job here is James Maddren.

Eldh assures stylistic variety and consistent energy throughout this multi-tiered creative project with a lot to be explored and discovered.

Favorite Tracks:
01 - Lorimer ► 02 - Hawk Mountain ► 04 - Green Street

Kevin Sun - <3 Bird

August 30, 2021

Label: Endectomorph Music, 2021

Personnel - Kevin Sun: tenor saxophone, clarinet, sheng; Walter Stinson: bass; Matt Honor: drums + Adam O’Farrill: trumpet (#1,10-13); Max Light: guitar (#5,8,15); Christian Li: piano, Fender Rhodes (#2-4,6,9,13).

Saxophonist/composer Kevin Sun puts out his third album, reverentially paying tribute to Charlie Parker, a masterful jazz innovator and inevitable influence, in a dynamic work with ensemble sections that burst with contemporary life. Here, he fractures Parker’s bop ways with creativity, straying from the obvious paths of Bird’s original tunes by challenging them in several ways (pace, metric variation, new melody) but maintaining some aspects recognizable. The idea, which came up while in lockdown, allows spotlight features for the musicians - his habitual rhythm section of rising stars - bassist Walter Stinson and drummer Matt Honor - and three excellent guests that spice things up, expanding the timbral spectrum in a few tunes. They are trumpeter Adam O’Farrill, guitarist Max Light and pianist/keyboardist Christian Li.

Borrowing the harmony of “Confirmation”, “Greenlit” boasts fresh melodic lines and launches an impromptu folk-swing dance between tenor and trumpet. The attractive arrangement of “Adroitness Part II”, designed in virtue of the rhythm of “Dexterity”, has Li contributing to both the abstract and swinging parts, while Sun’s saxophone curls out in smoky breaths. The pianist’s work is further emphasized and got our appreciation on the exquisitely sculpted “Dovetail”, where juxtapositions of timbre create mysterious moods that go beyond Parker, even if the inspiration comes from his two studio improvisations on “Yardbird Suite”. Sun switches from clarinet to tenor for his solo, returning to the former for the head out.

In “Onomatopoeia”, an integration of Dizzy Gillespie’s “Be-Bop” and Parker’s “Segment”, guitarist Max Light joins Sun in parallel lines imbued with a clear bop feel, while on “Du Yi’s Choir” - a reimagination of “Dewey Square” - we feel their tensile presences in communication. This piece opens and closes with guitar and sheng (a Chinese polyphonic reed instrument), flowing breezily in between while probing fascinating rhythmic possibilities.

Rhythmic variations are all over the map, and whereas “Bigfoot” gets groovy with an exotic and polyrhythmic feel, “Schaaple From the Appel” prefers a more temperate, cool version with snappy brushwork by Honor and a tightly muted trumpet solo by O’Farrill. Everything sounds natural, never mechanic.

Knowing well the amounts of definition and intensity he wants for his music, Sun demonstrates his tremendous compositional acuity and flawless execution.

Favorite Tracks:
03 - Adroitness Part II ► 06 - Dovetail ► 08 - Du Yi’s Choir

Marc Johnson - Overpass

August 26, 2021

Label: ECM Records, 2021

Personnel - Marc Johnson: double bass.

Marc Johnson is a virtuoso of the bass whose immersive touch and tone are remarkable. The beauty and intensity of his playing made him a first-call sideman in projects of Stan Getz, Bill Evans, Peter Erskine, Gary Burton, John Abercrombie, Paul Motian, Joe Lovano and John Scofield, just to name a few. His peak as a leader was reached in the mid-1980s with the super quartet Bass Desires, but now he reaches new heights with his first solo album, Overpass, recorded in São Paulo in 2018.

Of the eight compositions that define the program, five are originals by the bassist and three are interpretations of classic jazz tunes. Johnson opens the record with two covers: Eddie Harris’ “Freedom Jazz Dance” is rendered with the sheer propulsion of its buoyant pedal-groove and the flawless articulation of the theme plus improvised segments. It is immediately followed by Miles Davis’ “Nardis”, a special tune for Johnson who played it with Bill Evans in the early 80s. Here, he explores the poetic possibilities of his instrument, finding an edgy refinement to the song that is completely engrossing.

There’s also a sublime take on “Love Theme From Spartacus”, whose slow, rubato tempo increases its weightlessness and deeply felt lyricism. But before that, the Eastern-tinged “Samurai Fly” creates impact with the timbre-filled appeal of arco bass overdubbing on top of a sturdy pizzicato. This is a rework of “Samurai Hee-Haw”, one of his most known compositions and opener of his tour-de-force 1986 ECM album Bass Desires.

“Life of Pai” is simultaneously reflective and majestic in the moves, whereas “Yin and Yang” combines languid, lush pizzicato and arco techniques that erupt from another Eastern modal center. Both the attacks and decaying sounds are set with a purpose.

Also fantastic is “And Strike Each Tuneful String”, a technically flawless primal dance inspired by a field recording from the 60s with music from Burundi. The bassist lets himself go and follow his natural instincts in this improvised piece with a short reprise of “Prayer Beads”, which originally lives on the second album of the Bass Desires quartet, Second Sight.

Johnson combines warmth, scope, melody and rhythm, sustaining plenty of interest in the course of eight pieces where his creative vision and maturity are on display.

Favorite Tracks:
02 - Nardis ► 03 - Samurai Fly ► 04 - Love Theme From Spartacus

Brandee Younger - Somewhere Different

August 24, 2021

Label: Impulse! Records, 2021

Personnel - Brandee Younger: harp; Rashaan Carter: electric and acoustic bass; Allan Mednard: drums, percussion; Marcus Gilmore: drums, drum programming; Tarriona “Tank” Ball: vocals; Dezron Douglas: electric bass (#1); Ron Carter: acoustic bass (#6,7); Maurice Brown: trumpet (#2); Chelsea Baratz: saxophone (#1); Anne Drummond: flute (#1).

The extremely gifted harpist Brandee Younger reaches a broad spectrum of emotions with Somewhere Different, a collection of eight new tunes featuring a strong supporting group and notable guests. The album - produced by the bassist Dezron Douglas, who also plays in the opening track - pacifies the spirit and stimulates the senses.

The follow-up to Soul Awakening, hailed as one of the best albums of 2019 for many outlets (including JazzTrail), marks her debut release on the emblematic Impulse! Records. It begins with “Reclamation”, which incorporates the groove of funk and the muscularity of rock in distinct sections. The melodies of saxophonist Chelsea Baratz and flutist Anne Drummond fly in glowing consonance during the theme, and both of them stretch with eloquence after Younger, who navigates the lush backdrop designed by Douglas and drummer Allan Mednard with ease and grace.

Penned by Douglas, “Spirit U Will” is a free-spirited ode to Alice Coltrane and an undisturbed source of light. While the vamping bass groove delivered by Rahsaan Carter flows according to the harmonic progression, the guest trumpeter Maurice Brown is called to action, adhering to the general spirituality and joy with a synthesizing effect.

Douglas and Younger joined compositional forces during Covid lockdown and the result was not only the stylized title track, where a Latin vitality coexists with jazz and classical idioms and a hip-hop beat, but also “Olivia Benson”, a colorful fusion of R&B and jazz named after the TV series Law & Order’s character. Creativity flows through Younger and the listener is pulled in by the bass groove of Ron Carter, who also puts his mark on the ballad “Beautiful is Black”. Younger composed the latter tune with him in mind, influenced by Alice Coltrane’s masterpiece Ptah The El Daoud, and taking in consideration the unfounded white prejudice that oppresses Black people.

A phenomenal smoothness is achieved with “Pretend”, which is elevated by the vocals and romance-related lyrics of Tarriona Ball from the New Orleans-based R&B group Tank And The Bangas.

Somewhere Different provides a sweeping, trance-like listening experience.

Favorite Tracks:
01 - Reclamation ► 02 - Spirit U Will ► 06 - Black is Beautiful

Caroline Davis - Portals, Volume 1: Mourning

August 23, 2021

Label: Sunnyside Records, 2021

Personnel - Caroline Davis: alto saxophone; Marquis Hill: trumpet; Julian Shore: piano; Chris Tordini: bass; Allan Mednard: drums; Mazz Swift: violin; Josh Henderson; violin; Joanna Mattrey: viola; Mariel Roberts: cello.

Alto saxophonist and composer Caroline Davis has emerged in recent years as one of the most sharply focused musicians. After investing in the fabulous trio Alula in 2019 - featuring keyboardist Matt Mitchell and drummer Greg Saunier - she returns with an excellent roster of players. Intertwining a jazz quintet with a pliant quartet of strings, they work through Davis’ 11 original cuts, which resulted from the mournful period after the passing of her often absent, workaholic father. The assessment of their difficult relationship, the recovering from the effects of trauma, and the process of healing are present throughout.

Taking inspiration from the rhythm of a quatrain from Omar Khayyam’s poem Rubáiyát, “Yesterday’s Seven Thousand Years” quickly assimilates a vibrant post-bop loaded with melodic ethos. The rhythm section - composed of pianist Julian Shore, bassist Chris Tordini and drummer Allan Mednard - is utterly supportive, but it’s the latter that lets us feel the burn of his chops during the piano solo. Before reinstating the theme, the quintet vamps to incorporate unisons from Davis and trumpeter Marquis Hill. Their brilliant tone and controlled attacks are also on display in the polyrhythmic “Acephalous Placebo”, which lucidly juxtaposes elements in 5/6 and 4/4 time.

The strings become salient on “Hop On Hop Off”, whose counterpoint, texture and color - especially during the tricky-metered theme - calls to mind some chamber music works. There’s a slower passage in five showcasing beautiful cello bowing from Mariel Roberts, who is later joined by a more optimistic violin pizzicato. In due course, we have exchanges between trumpet and saxophone. Similarly to this piece, “Highlighter Hearts” reflects memories of Davis’ father, shrouding the listeners in a mix of rapture and heartache. This number ends with a different atmosphere as if the saxophonist wants to look forward and move on.

If “How to Stop a Drop of Water from Evaporating” shudders with vast passion, then “Left” glints with sharp-edged observation. The former kicks off with violin on top of groovy drums, leading us to a matured orchestration that occurs in zippy fashion. Conversely, the latter focuses on the anxiety from being abandoned as a child, catalyzing those emotions via continual string fluxes, accents and turns in the rhythm, angular melody and deft interplay.

The record ends peacefully with “Wordliness and Non-Duality”, which is delicately woven by the combo with soft and warm layers in a perfect balance of colors.

This poignant, sometimes-riveting, well-orchestrated album shows how Davis uses her musical skills as tools for illustrating emotion.