Tord Gustavsen Trio - Opening

Label: ECM Records, 2022

Personnel - Tord Gustavsen: piano, electronics; Steinar Raknes: double bass, electronics; Jarle Vespestad: drums.

As a pianist and composer, Tord Gustavsen heeds an amiable, reflective music, whose passages are full of feeling. For his ninth ECM outing, Opening, he’s seen at the helm of a cohesive Norwegian trio rounded out by bassist Steinar Raknes, who joins him for the very first time on record, and drummer Jarle Vespestad, a long-time collaborator who has followed him since his debut, Changing Places (ECM, 2003).

The opening track, “The Circle”, came to Gustavsen like a gift while he was sitting at the piano. The triangular arrangement of sounds feels light as feathers, merge beautifully together while forming a tone poem composed of majestic harmony and affecting melody. More ambiguous and exploratory in the search, “Findings”, which attaches the Swedish folk song “Visa Fran Rattvik” at the end, takes us directly to the title track, where the atmospheric vein is kept, yet perhaps with a bit more gravitas. “The Longing” is also a short meditation in 3/4 time, an equivalent to a warm beam of light traveling with a mellow gentleness.

The literate, if mournful, “Helensburgh Tango” features Raknes soloing with a guitar-like treble approach that expands the scope of frequencies, having Vespestad’s coruscating snare flashes emerging from the bottom. The bassist employs a similar methodology on two other numbers: “Re-Opening”, which fashions a series of ostinatos and silences within a looping sequence that manifests sadness and beauty alike; and “Ritual”, whose change of ambience implies further mystery with a fusion style that admits bass cries (I would swear this was an electric guitar) and muted piano notes on the lower register.

Contrasting with the latter tune, “Stream” evokes a vast sea of tranquility. The bass breathes deeply, opening spaces for the lyrical piano, which floats atop the spacious brushwork. This candid exercise accommodates a tuneful bass improvisation declared with a refined diction. The album closes out with two Norwegian folk tunes: Gveirr Tveitt’s “Fløytelåt”, a rubato hymnal embrace, and Egil Hovland’s tactfully brushed “Vær sterk, min sjel”. With emotional appeal, Gustavsen’s excellent working trio engulfs the listeners in its peaceful airiness. 

Favorite Tracks:
01 - The Circle ► 07 - Re-Opening ► 09 - Stream

Satoko Fujii / Joe Fonda - Thread of Light

Label: FSR Records, 2022

Personnel - Satoko Fujii: piano; Joe Fonda: bass, cello, flute.

Thread of Light, the fifth collaboration between the prolific Japanese pianist Satoko Fujii and American bassist Joe Fonda was recorded separately in their respective homes of Kobe and New York during the pandemic. The conceptual idea for this record came from the bassist, after listening to Fujii’s piano solo pieces on bandcamp. He would complement the pianist’s vibes and feelings according to his own perception of the music, and the result was eight improvised duets and two solo numbers, one by each musician.

Sober and tempered in tone, “Kochi” is a solid opener where the duo is clearly on the same wavelength. Fonda added wafting bass plucks and intentional sliding motions to Fujii’s majestic piano playing, and the unification of their sounds - whether spacious or compact - is always treated with tasteful refinement. More electrifying, “Fallen Leaves Dance” has Fujii offering hasty runs and a low-pitched groove that welcomes Fonda’s unstoppable fretless rambles. This systematically kinetic interplay veers completely with the next track, “Reflection”, whose experimental world of mystery captures speculative tones through the use of prepared piano, extended techniques, and a fine combination of creeping pizzicato and noir arco bass legato. The latter piece is tonally related to the austere “Between Blue Sky and Cold Water”, where Fonda plays cello. In this part, an ominous stillness comes out on top.

Mostly designed with canny single notes, “Anticipating” is turned into a polyrhythmic dance for two, with merely sparse harmonic fragments. In turn, “Wind Sound” is an atmospheric exertion containing contemplative flute lines in opposition to the ringing and metallic sounds of the prepared piano. This avant-garde setting arises curiosity in the way the musicians move through sound and texture, but the solo pieces by each don’t fall behind. Fonda’s solo delivery, called “My Song”, shows he’s a melodicist capable of taming angular impulses with a tremendous beauty. For her part, Fujii tackles her radiant “Winter Sunshine” with an indelible folk connotation and remarkable rhythmic agility. By turns, the album’s moodiness transfixes and beguiles. 

Favorite Tracks:
01 - Kochi ► 02 - Fallen Leaves Dance ► 03 - Reflection

Myra Melford - For the Love of Fire and Water

Label: RogueArt, 2022

Personnel - Myra Medford: piano, melodica; Ingrid Laubrock: tenor and soprano saxophone; Mary Halvorson: guitar; Tomeka Reid: cello; Susie Ibarra: drums, percussion.

The intrepid pianist/composer Myra Melford, a renowned bandleader of great integrity and creativity, gathered an all-woman quintet of unquestionable value and stark determination for this outing on the Paris-based label RogueArt. The idea of joining this group harks back to 2019, at the occasion of a residency at The Stone in New York. This meeting of musical minds with a true affinity for contemporary sonics and the avant-garde, handles 10 movements inspired by the work of American painter Cy Twombly.

The first movement follows a layered sequence that, beginning with solo piano interlocks (later turned deep-toned patterned movement), is gradually garnished with brisk then ruminant cello attacks, talkative drums overflowing with timbral richness, angular soprano wittiness, and effect-soaked guitar, which ends the piece with an emotionally vivid sort of scale. The crisp low-pitched groove designed by the bandleader continues in “II”, getting the best response from Susie Ibarra, an unobtrusive drummer of cultivated taste. Ingrid Laubrock’s crotchety saxophone goes hand in hand with Mary Halvorson’s lines here, but on “III” they depart in different directions as they toss up pungent phrases while winding around each other. The pair then withdraw from the spotlight to give place to a piano/cello/drums fantasy imbued with celerity and mystery.

Whereas “IV” carries a gentle chamber feel adorned by Ibarra’s detuned Filipino gongs, “V” - a seemingly telepathic duet between piano and saxophone - is a forward-seeking experimentation where Laubrock creates abrupt exclamations, snorting noises, swift runs, and jagged contortions all over the horn.

Fantastically articulated, “VII” brings Halvorson’s disconcerting playfulness to a shinning spot, well above Tomeka Reid’s cello plucks and Ibarra’s solid-rock rhythm. “IX” is an offbeat inspiration with everyone involved; it starts loose until it gets tight, later warping into an unsettled rhythmic propulsion topped with wild instrumental flurries. The disc comes to a close with “X”, a harmonious, candle-lit chorale.

This is a stunning debut for Melford’s new quintet. Anyone with a fondness for this kind of sound should find a lot to enjoy here.

Favorite Tracks:
02 - II ► 05 - V ► 09 - IX 

Dave Gisler Trio with Jaimie Branch and David Murray - See You Out There

Label: Intakt Records, 2022

Personnel - Dave Gisler: guitar; Raffaele Bossard: bass; Lionel Friedli: drums; David Murray: tenor saxophone; Jaimie Branch: trumpet.

The extroverted Swiss trio led by guitarist Dave Gisler is powerfully augmented here with the wealth of experience and blaze brought by saxophonist David Murray and the creative musical sensibilities of trumpeter Jaimie Branch. Even probing other moods, the stylistic predominance on the trio’s third outing, See You Out There,  can be specified as acute avant-jazz meets raw-boned punk rock.

The boisterous opener, “Bastards on the Run”, ensures an explosive start. Played at a blistering tempo, the piece shows off an aggressive and pliable rhythm section - composed of bassist Raffaele Bossard and drummer Lionel Friedli - paving the ground for concurrent spontaneous incursions of guitar, saxophone and trumpet. A cacophonous noise delirium comes out of the speakers at full force, inundating the surroundings with ferocious energy. Other punkier tracks include “Medical Emergency”, which, inspired by true Covid events, revels in horn unisons, muscular drumming, and fiery solos from guitar and tenor; and “What Goes Up…”, whose pummeling rhythmic drive and loud guitar strumming are in a position to defy The Sex Pistols. This number, together with the closing 3/4 bluesy cut “Better Don’t Fuck with the Drunken Sailor”, originally appeared on the 2020 album Zurich Concert, which also featured Branch.

“Can You Hear Me” and “Get a Doener” have strong improvisational flairs. The former, with unaggressive chordal work and sharp trumpet notes pointing to the sky, becomes heavier, then darker and then percussive; the latter, squeezing a hip-hop feel out of its rhythmic fragmentation, has Gisler and Murray engaged in an uproarious dialogue. At odds with these ambiences yet with distinct natures, we have the eerily atmospheric title track and “The Vision”, whose irresistible theme plays like a spiritual hymn. Over the course of the tune I just mentioned, one finds melodious trumpet lines set against a fuzz-painted wall of noise, an inside/outside guitar improvisation delivered with hammer-ons and resolute phrases, and Murray’s volcanic blows over a prodding krautrock rhythm. This captivating album is a squall of musical intensity and puissant improvisation.

Favorite Tracks:
01 - Bastards on the Run ► 04 - The Vision ► 06 - Medical Emergency 

Dave Douglas - Secular Psalms

Label: Greenleaf Music, 2022

Personnel - Dave Douglas: trumpet, voice; Berlinde Deman: serpent, tuba, voice; Marta Warelis: piano, pump organ;  Frederik Leroux: guitars, lute, electronics; Tomeka Reid: cello; Lander Gyselinck: drums, electronics.

Trumpeter, composer and bandleader Dave Douglas belongs to a group of state-of-the-art thinkers whose music, whether largely progressive or completely immersed in tradition, is unfailingly effective. Besides his widely acclaimed post-bop excursions, further conceptual albums have been put together with quirky instrumentation, and Secular Psalms is another wonderful addition. Featuring an appropriate supporting cast, this new opus was inspired by art of the 15th Century, namely, Jan van Eyck’s Ghent Altarpiece and some secular hymns by Franco-Flemish composer Guillaume Du Fay.

The opening piece, “Arrival”, plunges into a contemplative dark-hued mysticism that, at the same time that invites us to search, prepares our ears for what comes next. Playing at the center, the trumpeter is briefly joined by Belgian guitarist Frederik Leroux, who infuses non-aggressive distortion during the interesting groove that follows. “Mercy” cooks up with a deft combination of erudition and nerve that exemplifies Douglas’ abilities to shake mainstream values. The texts on this one, earnestly sung by the tubist Berlinde Deman, are by Marvin Gaye, the Latin Mass, Psalm 59, and the bandleader. For its part, “We Believe” is a darkly lyrical effort with lute, organ and muted trumpet.

The opening trio of songs is stupendous but other standouts eventually surface. Among them is “Instrumental Angels”, whose asymmetric postmodernism is not devoid of glittery harmony. There's also the shadowy waltz “Hermits and Pilgrims”, which starts off with the beautifully intriguing cello sounds of Tomeka Reid in company with pump organ by Marta Warelis. The latter is featured here as a soloist, as well as Douglas, who builds lines with a tasteful feeling.

With slow waves of sadcore and goth rock, “Ah Moon” appealed more to me than “If I’m in Church More Often Now”; both include texts by the medieval Italian poet Christine De Pizan. The album concludes with “Edge of Night”, where Douglas’ optimistic text surfaces from an overall uncanny ambience.

Sculpted with total commitment and artistic imagination, this richly layered offering is far from your traditional jazz record, but deserves to be singled out for the musical characteristics achieved.

Favorite Tracks:
01 - Arrival ► 02 - Mercy ► 05 - Instrumental Angels 

Brad Mehldau - Jacob's Ladder

Label: Nonesuch Records, 2022

Personnel includes - Brad Mehldau: grand piano, keyboards, synth, Rhodes, mellotron, harmonium, xylophone, vocals, and more; Joel Frahm: tenor and soprano saxophone; Pedro Martins: acoustic and electric guitar, vocals; Becca Stevens: vocals; Luca van den Bossche: treble voice, vocals; Cécile McLorin Salvant: wordless vocals; Chris Thile: mandolin, vocals; Lavinia Meijer: harp; Mark Guiliana: drums; and more. 

The inventive pianist and composer Brad Mehldau is unpredictable on each record released. His new oeuvre, Jacob’s Ladder, reflects on the Scripture and the search for God, taking us into a stylistically wide-ranging path where his avant-garde side is on display. The varied musical concepts are peppered with elements of jazz, prog-rock, pop/rock and classical, and top-notch guest artists contribute to enrich originals and covers with different configurations and sounds.

The hyper-lyricism of the opening piece, “Maybe as His Skies are Wide”, is achieved by appropriately spotlighting the treble vocals of Luca van Den Bossche, which hover ethereally atop luminous piano/synth accompaniment and the exquisite drumming of Mark Guiliana. The latter is on fire during the shape-shifting “Herr Und Knecht”, an obscure prog-rock number infused with raging Hegel vocals by Tobias Bader, synth blazes, and expedite interpolations by Joel Frahm on soprano. The saxophonist opts for blending tenor and soprano sounds on Rush’s “Tom Sawyer”, another embrace of the progressive rock style that marked Mehldau’s childhood. This song, fronted by mandolinist/singer Chris Thile, is assertively propelled by the energy and odd-meter drive of Guiliana behind the drum kit. The finale nearly reaches the world fusion territory as Thile brings the mandolin sounds to a positive vibration.

A totally different kind of vitality erupts from the laid-back “Vou Correndo te Encontrar/Racear”, a feature for Brazilian guitarist/vocalist Pedro Martins, whose musical credits include associate acts with master guitarist Kurt Rosenwinkel. The song is a much gentler rework in 3/4 time of “Racear” by the prog-metal band Periphery.

Both “Cogs in Cogs” and “Jacob’s Ladder” are excellently balanced and presented as three-part suites. The former, borrowed from the British progressive band Gentle Giant, goes from jazzatronica to a waltz-paced cut sung by Becca Stevens to a solo piano effort that draws from sacred classical music. In turn, the title track starts with liturgical spoken word, passes through patterned glitchy electronica turned pure jazz glow with just a bit of funk underneath (there’s a fantastically evocative piano solo by the bandleader here), and ends with a haunting vocal dronescape that sometimes gets mystical, other times guttural. 

The sacred and the spiritual surface once again on “Heaven”, whose four consecutive movements interweave threads with wordless vocals by Cécile McLorin Salvant, piano/synth synergy, beautiful acoustic guitar playing by Martins, and elegant harp plucks by Lavinia Meijer. It all ends with expressive solo piano by Mehldau, who should guarantee untiring devotion from eclectic jazz worshipers with this one. 

Favorite Tracks: 
02 - Herr Und Knecht ► 07 - Tom Sawyer ► 12 - Heaven

Larry Goldings / Peter Bernstein / Bill Stewart - Perpetual Pendulum

Label: Smoke Sessions Records, 2022

Personnel - Larry Goldings: Hammond B3 organ; Peter Bernstein: guitar; Bill Stewart: drums.

The trio of keyboardist Larry Goldings, guitarist Peter Bernstein and drummer Bill Stewart, puts out Perpetual Pendulum, their 18th album, celebrating a fruitful musical cooperation that has lasted for more than 30 years. Their musical tastes and inclinations reflect on the repertoire chosen for each recording, and there are some great additions here. 

Let’s start with the opening Wayne Shorter tune, “United”, whose wittiness and groovy flamboyance should put it back in circulation. The interaction is spot on, with Goldings and Bernstein trading fours with the drummer after their respective first-class solos. The same applies to Gary Bartz’s “Libra”, which, developing at a boiling tempo, delivers a bubbling A section that recalls the disco songs of the Bee Gees. It swings with undeniable passion the very next moment. Goldings and Stewart are solid like a tree trunk, and this is also true on “Django”, a straight-ahead number imbued with the spirit of Jim Hall and Joe Pass, an impression reinforced by Bernstein’s haunting introduction.

Goldings has the capacity to extract ideas from classic tunes and transfer them into songs with a twist of his own. This is the case with “Let’s Get Lots”, which fashions recognizable melodic portions of “Let’s Get Lost”, a jazz standard notably performed by Chet Baker in the 1950s, and “Prelude”, which, inspired by Duke Ellington’s “Prelude #2”, gets an alluring bluesy feel here. Ellington is evoked once again through the rendition of one of his famous ballads, “Reflections in D”, whereas the effulgent “Come Rain or Come Shine” cradles our hearts with warmth. The keyboardist and the guitarist improvise magnetically, exchanging phrases in the choruses that lead to the theme.

Also deserving mention, Stewart’s “FU Donald” is a jazz meets funk-rock number with challenging meter signatures and a spine-shivering figure at the center that slides chromatically along the way. This is Goldings/Bernstein/Stewart trio playing at full tilt.

Favorite Tracks:
01 - United ► 05 - FU Donald ► 06 - Come Rain or Come Shine

Gerald Clayton - Bells on Sand

Label: Blue Note Records, 2022

Personnel - Gerald Clayton: piano, organ, Rhodes, vibraphone; MARO: vocals (#3,9); Charles Lloyd; tenor saxophone (#9); John Clayton: bass (#1,3); Justin Brown: drums (#1,3,5,6).

For his sophomore Blue Note album, the pianist and composer Gerald Clayton put together a multi-generational group to perform four of his own compositions and three covers. The remaining trio of tracks are solo deliveries - two distinct interpretations of the splendorous jazz standard “My Ideal” (multi-layered vs. solo piano version) and Gerald’s uncle Jeff’s tune “There is Much Music Where You’re Going My Friends”, a blues-gospel reflex of optimism. 

The opening track, “Water’s Edge”, is a heartfelt exploration of spirituality expressed with refined lyricism at a slow tempo. The piece features Gerald’s bassist father John Clayton, who stinted with the Count Basie Orchestra in the ‘70s and worked with Ray Brown, Milt Jackson and Dee Dee Bridgewater.

Gerald, who is unabashedly entranced by the sounds of two mentors - the late trumpeter Roy Hargrove and the legendary saxophonist Charles Lloyd - dedicates one piece to each of them. “That Roy” evokes the sound of the former by lacing relaxing jazz vibes with touches of soul and R&B. This is followed by “RIP”, an elegiac short thread that swells in intensity with the effective drumming of Justin Brown. The unparalleled Mr. Lloyd is featured in the prayerful sax-piano duet “Peace Invocation”. They shimmer and dance, bringing that peace of mind that makes us forget for a moment what the world is going through.

Delivered with high levels of intimacy and empathy, “Elegia” and “Damunt De Tu Només Les Flors” show Gerald’s love for the Spanish composer Federico Mompou. Both renditions present a fresh instrumentation, with the latter (a standout track), featuring the exquisite, dreamy voice of Lisbon-born singer MARO. She returns later on to lull us with the phenomenal “Just a Dream”, a Clayton song about love and parenthood. 

There are no pressurized or discordant moments on this album. Clayton explores his feelings smoothly and generously through clear passages. The professionals he hired came together well to assemble an even-keeled body of work that more than satisfies.

Favorite Track:
01 - Water’s Edge ► 07 - Just a Dream ► 09 - Peace Invocation

Mark Turner - Return From the Stars

Label: ECM Records, 2022

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

With Return From the Stars, the resourceful saxophonist Mark Turner returns to his own quartet, eight years after Lathe of Heaven (ECM, 2014). There were two alterations in the lineup, with the young trumpeter Jason Palmer replacing Avishai Cohen and the drummer Jonathan Pinson grabbing the chair that belonged to Marcus Gilmore. Rounding out the group is bassist Joe Martin, who remains as one of the rhythm section’s pillars. 

Eschewing any type of conformism in his compositional strategy, the bandleader’s employment of a chord-less ensemble taps into his musical intentions. He named the album, and its magnificent opening track, after Stanislav Lem’s sci-fi novel of the same name, whose topics fall into social alienation and dystopia. The thematically strong title cut has saxophone and trumpet working in conjunction, and launches the improvisations with Martin, who never lets go of the groove. After him, working over blowing changes in triple meter, there is a scintillating dialogue between Turner and Palmer. The saxist, vibrant in tone, blows with an extraordinary sense of phrasing, while the trumpeter articulates notes with admirable precision.

A couple of cuts imply some discontentment with the current state of the world. One example is “It’s Not Alright With Me”, where inventive tenor diagonals cut across several choruses in full force. “Unacceptable” is another one, which, after being accented with inspired phrases in the head, shows horn-driven discipline during the 13-beat cycle (the same that gets the piece off the ground) that separates Turner’s combustible solo from the patiently built narrative of Palmer.

Following the intriguing Shorter-esque “Terminus”, which fluidly shifts between moods, texture and tempo, there’s the brightly shine of “Bridgetown”, a nearly anthemic Afro-Caribbean-flavored piece delivered with a pompous glory. “Nigeria II” is an uptempo bop-inflected workout that swings and dances with unhesitant, nimble steps, whereas “Waste Land” sounds like a chamber piece in which the ensemble interacts with a spacey kinship. The intensity swells underneath via Pinson’s chop-infused drumming, which is considerably mitigated during the sculptural “Lincoln Heights”, a temperate 3/4 consolidation of jazz and pop/rock. Rest assured that all eight pieces on this album reveal high levels of musicianship, maturity and chemistry.

Favorite Tracks:
02 - Terminus ► 05 - Nigeria II ► 07 - Unacceptable

Michael Bisio - MBefore

Label: TAO Forms, 2022

Personnel - Mat Maneri: viola; Karl Berger: vibraphone; Michael Bisio: bass; Whit Dickey: drums.

This musical hook-up between American bassist Michael Bisio and long-time collaborators - violist Mat Maneri, vibraphonist Karl Berger, and drummer Whit Dickey - boasts eight finely arranged tracks that sputter in different directions plus one collective improvisation. The bassist has flashed a developed command of the bass throughout decades playing alongside pianist Matthew Shipp, saxophonist Joe McPhee, and more recently trumpeter/cornetist Kirk Knuffke, among others. 

MBefore starts off with Bisio’s “AC 2.0 (revised)”, an open-ended freeway in which viola and vibraphone hang loose. Are they competing for a specific place or just rambling over the rhythmic net? Arco bass incisions probe high and low pitches within an atmosphere that also include hushed moments. Maneri reiterates a question-and-answer-like phrase at the end.

Some explorations feel monochromatic, denoting some more ambivalence in the direction. Among them are two Bisio numbers: “Intravenous Voice”, which is imbued with a strange lyricism; and “r.henri”, whose wistful, fuzzy tones deviate from the realistic portraiture of painter Robert Henri, to whom the song is dedicated. The peaceful melodicism and minimalistic approach in Berger’s ballad “Still” also fit here, never allowing that sense of uncertainty to fade. 

Bisio’s “Sea V 4 WD” is a showcase for Dickey’s explorative treatment of skins and cymbals on the drum kit, while Berger’s “Crystal Fire” swings unabashedly after a theme statement that copes with sharpness. The vibraphonist navigates the walking bass trajectories with true melodic intention, and then is Bisio who improvises before the return of the main theme. Although displaying an increase of brilliant flashes that prove the quartet as cohesive, the latter piece doesn’t reach the warmth of the ballad standard “I Fall in Love Too Easily”, which works here as a true balm in times of trouble. Maneri’s weeping viola is beautiful, and the comping consists of brushed drums, harmonically defined bass progressions, and sparse vibes. Even if only selected tracks transcend, MBefore not only demonstrates Bisio’s rhythmic skills and love for explorative avant-jazz, but also the rapport he enjoys with these solid peers. 

Favorite Tracks:
01 - AC 2.0 (revised) ► 03 - Crystal Fire ► 04 - I Fall in Love Too Easily

Michael Leonhart Orchestra - The Normyn Suites

Label: Sunnyside Records, 2022

Personnel includes - Michael Leonhart: trumpet, French horn, trombone, accordion, organ, guitar, bass, drums; Donny McCaslin: tenor sax; Joshua Redman: tenor sax; Michael Blake: tenor sax, flute; Chris Potter: bass clarinet; Freddie Hendrix: trumpet; Tony Kadleck: trumpet; Ryan Mason: trombone; Ryan Keberle: bass trombone; Sara Schoenbeck: bassoon; Bill Frisell: guitar; Nels Cline: guitar; Larry Goldings: organ; Elvis Costello: vocals; JSWISS: vocals; Joe Martin: bass; Nicolas Movshon: drums; E.J.Strickland: drums; and more.

Trumpeter, multi-instrumentalist and bandleader Michael Leonhart returns with his fabulous orchestra and guest heavyweights for a third outing on the Sunnyside label, The Normyn Suites. The album was inspired by Leonhart’s 15-year-old dog, a dachshund whose name is in the title. 

The program treads elegiac and celebratory tones alike, starting with the funky nerve of “Shut Him Down”, one of the three cuts co-written with Elvis Costello. This one features the hip hop singer JSWISS and the saxophonist Joshua Redman, who plays his late father Dewey’s restored tenor with a few chromatic shifts and a lovely neo-bop flair filled with clever outside moves. Costello also puts his finger and voice on the hauntingly narrated “Radio is Everything” and enhances the modern transfixion of “Newspaper Pane”. On the former, the spoken word glides over a smooth texture created by guitarists Nels Cline and Bill Frisell. 

The Normyn Suite is divided into two parts of six movements each. Fascinating on multiple levels, The Normyn Suite #1 (Soundtrack to the Five Stages of Grieving) is my favorite, demonstrating a dynamic rhythmic propulsion on “Denial” and a hip hop beat limned with snare and hi-hat agility on “Anger”. This latter piece feels darker and more mysterious in texture. “Catharsis” pairs up the idyllic acoustics of Frisell with the reflective expression of strings swarming together. They are later joined by a lean beat. The ambient-inclined “Nostalgia” is curled in poignancy, featuring the crying trombone of Jim Pugh and the beseeching lines of tenorist Walter Weiskopf. And the chapter concludes with “Acceptance”, a soulful 6/8 effort that trades on a mix of classical and R&B. 

From The Normyn Suite #2 (Love & Loss), I select as highlights “May the Young Grow Old”, an enticing dance in five that turns the spotlight to keyboardist Larry Goldings on Hammond B3; and “Waking From Sedation”, the perfect ambient-mystery atmosphere to fit Frisell's guitar. The two bonus quartet tracks that close out the album are jazz waltzes honoring jazz giants and feature Leonhart (on trumpet) and saxophonist Donny McCaslin as soloists. The feel-good “Kenny Dorham” is limned with an exotic flavor in the pulse, hard-bop color, and a gorgeous organ accompaniment, whereas “Wayne Shorter” conjures up the harmonic richness and searching quality that characterize the music of the saxophonist that celebrates. 

Leonhart not only reveals enormous compositional prowess and mastery of several idioms, but also gives an earnest modern perspective to his orchestra, allowing multiple shades of color to fester in each arrangement.

Favorite Tracks:
01 - Shut Him Down ► 05 - Nostalgia ► 16 - Kenny Dorham (bonus track)

Danilo Pérez - Crisálida

Label: Mack Avenue Records, 2022

Personnel - Danilo Perez: piano; Tareq Rantisi: percussion; Vasilis Kostas: laouto; Layth Sidiq: violin, vocals; Naseem Alatrash: cello; Farayi Malek: vocals. Guests -  Román Diaz: percussion; Faris Ishaq: ney flute; Patricia Zárate: vocals, spoken word; Erini Tornesaki: vocals + Kalesma Children’s Choir of The Ark of the World

The Panamanian-born pianist, composer and activist Danilo Perez has been unique as a bandleader and essential as a sideman, having played with jazz icons such as saxophonist Wayne Shorter and drummers Roy Haynes and Jack DeJohnette. Following Children of the Light (2015) - a trio outing featuring regular associates, bassist John Patitucci and drummer Brian Blade - Perez takes his eclectic approach into a completely new atmosphere on Crisálida, an opus with two suites of four movements each. Here, he takes advantage of a peculiar instrumentation offered by the Global Messengers, an international combo made up of alumni from the Berklee College of Music.  

Defined as a holistic inter-disciplinary project, the album draws our attention to important topics such as immigration, climate change, and environmental justice. La Muralla (Glass Walls) Suite opens with “Rise From Love” whose flute-driven intro leads to a ternary magic carpet with strong Latin and Eastern tinges. The central melody is shared by Iraqi/Jordanian violinist Layth Sidiq and Greek laouto player Vasilis Kostas, being then transferred to the singer Farayi Malek. This song also features the Greece-based Kalesma Children’s Choir of The Ark of the World. The second movement, “Monopatia”, is a broad-minded, delicately woven folk piece that allows the music to breathe and flow naturally. It starts off with bright-toned laouto sounds over dramatic piano chords, segueing into a graceful piano moment that, with the help of layered percussion underneath, sustains the spoken word of Perez’s wife, Patricia Zárate. 

The nature-related “Calling for the Dawn” is launched with an invigorating percussion demonstration, but Perez takes over with clever ostinati sliding on chromaticism, later complementing it with some low register excitement. This first suite concludes with the dynamic and uplifting “Muropatía”, which, inspired by a particular folklore dance from Panama, boasts fluid voice/laouto unisons, an infectious cello groove, propulsive drumming, and rapping in Spanish.

The Frontera (Borders) Suite, which is linked to the theme of immigration, has its second and fourth movements as highlights. “Al-Musifir Blues” exudes an exotic perfume and lamenting tones as it tells the story of a Palestinian man who gets stuck at the airport after trying to enter the US to study. Buoyed by mutable substrates and contrapuntal strokes, the piece ends splendidly after a 14-beat cycle vamp with piano on the front burner. The other piece is the arabesque closer, “Unknown Destination”, which flows with an additive {7+6} bass groove. With arrangements that speak straight to the senses, this is an album that lets Perez strut his cultivated musical abilities.

Favorite Tracks: 
03 - Calling for the Dawn ► 04 - Muropatia ► 06 - Al-Musifir Blues

Michael Formanek Drome Trio - Were We Where We Were

Label: Circular Fire Records, 2022

Personnel - Chet Doxas: reeds; Michael Formanek: bass; Vinnie Sperrazza: drums.

The super creative bassist Michael Formanek has a brand new trio with the saxophonist Chet Doxas and the drummer Vinnie Sperrazza, and their musical personalities gel with excellent results on Were We Where We Were, the group’s auspicious and compellingly assembled debut. The Drome Trio gained consistency with regular sessions in the bassist’s Brooklyn backyard during the 2020 lockdown, after which he started to devise graphic scores to be played forwards and then backwards. This type of approach creates palindromes (extensive to the titles) when transcribed to conventional music notation.

The tripped-out highlight “Tattarrattat” spins out for 26 minutes. It doesn’t cut right through but slowly builds something that sticks with you afterwards. Before anything else, we have soprano lines delineated with curves, bends and zigzagging trajectories. Bass and drums stealthily join, sculpting and painting with no discernible figure in mind (except for a snare ‘tattarrattat’) until Doxas circulates melodic ideas that end up in an eloquent, open-toned solo netted by rock-powered muscularity. Cymbal color becomes a recurrent element during Formanek's affirmative bass statement, which, reversing the process, points out the way to the sole soprano from where all had started. Doxas’ second solo is even more accented with wide intervals and fragmentation recalling Henry Threadgill's type of language.

If this is the most exciting piece on the album in terms of energy, the one that follows, “Never Odd or Even”, is the most beautifully designed. Introduced by Formanek's syncopated pizzicato signature, this number carries an Eastern feel that emphasizes the spiritual rather than the material. Spellbinding tenor chants, deep arco bass, and understated drumming converge into a calibrated Braxton-esque section with a strong underpinning. The recording closes off with the aptly titled “Is It What It Is”, a charismatic moment of hard swinging handoff. This is an engrossing piece of work with an organized structure and inspired rhythmic developments.

Favorite Tracks:
01 - Tattarrattat ► 02 - Never Odd or Even

Marquis Hill - New Gospel Revisited

Label: Edition Records, 2022

Personnel - Marquis Hill: trumpet; Walter Smith III: tenor saxophone; Joel Ross: vibraphone; James Francies: keyboards; Harish Raghavan: bass; Kendrick Scott: drums.

Chicago-born trumpeter and composer Marquis Hill showcases his spectacular new sextet in a particularly special session captured live at Constellation in Chicago. I say special because New Gospel Revisited is a mature reinterpretation of tunes from his self-released debut album from 2011. Interspersed with those cuts are solo discourses, one by each musician.

This sought-after trumpet player has definitely something new to say and after a wonderful “Intro”, he launches into “Law & Order”, here remodeled with an enchanting piano spell, robust bass plucks, and delicious solos from five of the six musicians involved (the drummer Kendrick Scott is the exception), starting with the dynamic range and advanced articulation of the bandleader.

“The Believer” makes for a spellbinding narrative with a gleeful, comforting embrace of cool melody and soulful harmony. Vibist Joel Ross and pianist James Francies first engage in an exciting interlocution, and then it’s the tenor saxophonist Walter Smith III who delights with a thrilling statement. Whereas “New Gospel” blends boundaries with elegance, creating an opportunity for bassist Harish Raghavan to bring his rhythmic discernment to the fore, “Autumn” is a polished melodic standout, malleable, lovable, and molded with both sympathetic groove and spiritual charm. 

Mounted with a deeply personal set of timbres, “A Portrait of Fola” emerges as a grittier, edgier post-bop tour de force. Let yourself be marveled by a jaw-dropping vibraphone solo with highly responsive piano interaction, and razor-sharp saxophone phrases over muscular bass work and effervescent swing style drumming. No less warm, “The Thump” is surprising in the details and catchy in the way it separates sections - a polyrhythmic A against a sunny, breezy B, where the group sounds harmonious.

Extraordinary, fresh energy stems from the material included in this thoroughly enjoyable recording where six performers play at their peaks. With a variety of moods and rhythmic scenarios generating a gamut of emotion, this is an assured pick for 2022.

Favorite Tracks:
02 - Law & Order ► 04 - The Believer ► 08 - Autumn

Robert Glasper - Black Radio III

Label: Loma Vista Recordings, 2022

Personnel includes - Robert Glasper: piano, keyboards; Terrace Martin: saxophone, synth; Keyon Harrold: trumpet; Isaiah Sharkey: guitar; PJ Morton: keyboards, vocals; Jahi Sundance: turntables; Derrick Hodge: bass; Burniss Travis II: bass; Justin Tyson: drums, keyboards; Esperanza Spalding, Lalah Hathaway, H.E.R., Gregory Porter, Ledisi, Ty Dolls $ign: vocals; Q-Tip, Amir Sulaiman, Meshell Ndegeocello: spoken word; and more. 

Grammy-winning keyboardist/composer Robert Glasper has been alluring audiences with his hybrid style, which incorporates jazz, neo-soul, R&B and hip-hop elements. One of his top outings was Black Radio, released 10 years ago on the Blue Note Records, and the timing to celebrate it couldn’t have been better than now, with the third installment of the series. However, despite being thematically strong, this glossily produced music aims for a more commercial path that often doesn’t impress me. 

Although finding limited thrilling moments, I would like to bring to your attention pieces such as the slow-grooving opener, “In Tune”, where the adroit spoken word of Amir Sulaiman is crossed by the sped-up trumpet lines of Keyon Harrold; “Why We Speak”, where jazz-funk vibes embrace the breezy voice of Esperanza Spalding and the unmistakable rapping of Q-Tip (founder of the alternative hip-hop pioneers A Tribe Called Quest); and a catchy neo-soul interpretation of Tears For Fears’ massive pop hit “Everybody Wants to Rule the World”, here deeply sung by Lalah Hathaway.

My second group of choices is “Black Superhero”, a lustrous blend of jazz, soul and hip-hop with a strong anti-racism message as it urges every one to find black inspiration through the steely words of rappers Killer Mike and Big K.R.I.T. and the voice of BJ the Chicago Kid; and “Better Than I Imagined”, a R&B cut that brings H.E.R. and Meshell Ndegeocello’s vocal melodies and spoken word, respectively, to the foreground while having drummer Justin Tyson flexing his muscles with kick-and-snare drum patterns in the back.

Glasper uses this album to uplift heavy hearts but don’t expect anything groundbreaking, especially in its second half. If “It Don’t Matter” sounds unexceptional, even with a competent vocal pairing between singers Gregory Porter and Ledisi, then the throwback dance-pop-soul of “Out of My Hands” or the drained closer “Bright Lights” are dismissible. Black Radio III is an uneven album with just a few inspired tracks.

Favorite Tracks:
01 - In Tune ► 04 - Why We Speak ► 07 - Everybody Wants to Rule the World

Cécile McLorin Salvant - Ghost Song

Label: Nonesuch Records, 2022

Personnel - Cécile McLorin Salvant: vocals, piano; Paul Sikivie: electric and acoustic bass, synth; Sullivan Fortner: piano, Fender Rhodes, vocals; Alexa Tarantino: flute; Aaron Diehl: piano, pipe organ; Marvin Sewell: guitar; James Chirillo; banjo; Daniel Swenberg: lute; Burniss Travis: bass; Kyle Poole: drums; Keita Ogawa: percussion.

The classically trained jazz singer and composer Cécile McLorin Salvant, a three-Grammy winner and McArthur fellow, puts together a top-shelf diamond of a record that comes replete with memorable songs. Seven of her originals and five renditions of tunes (both jazz and non-jazz) are included in a track list whose sequence really works. Revealing a diversity of influences and a fearless risk-taking approach, she excels on this album, counting on the unconditional support of a talented crew of musicians.

Kate Bush’s '80s art-pop hit “Wuthering Heights” leads off the set, being tackled with undeniable virtuosity. Salvant begins this impeccable version with a sean-nós singing (traditional Irish solo style), being magnificently accompanied in the chorus by the bassist Paul Sikivie, who also plays synth. This inspiring opener takes us to another grandiose moment: “Optimistic Voices/No Love Dying”, a conjunction of Stothart/Arlen’s composition for the film The Wizard of Oz and Gregory Porter’s soulful opening track of his 2013 album Liquid Spirit. The treatment given to these pieces is wonderfully innovative, with the former deftly interspersing ragtime banjo and avant-garde slices, whereas the latter, marked by a deliciously slow old-school boom-bap beat, has Alexa Tarantino’s sinuous flute appearing between vocal lines.

Both “Obligation”, an original by the singer, and “The World is Mean”, which was taken from Kurt Weill/Bertolt Brecht’s 1928 musical play The Threepenny Opera, are theatrically jazzy. The latter keeps effortlessly shifting in tempo, texture and mood, ending up oozing a tango feel. Salvant’s “Ghost Song” mixes Americana and R&B elements, sounding like a bluesy work song and featuring the Brooklyn Youth Chorus (in its final section), keyboardist Sullivan Fortner on Rhodes and guitarist Marvin Sewell on the steel-string acoustic guitar. Velvety guitar-piano layers are also discernible on “Thunderclouds”, which, despite the title, is tenderly and optimistically narrated by the bandleader. She also penned the brushed jazz ballad “Moon Song”, whose balmy sweetness contrasts with the pandemic-driven tension of its predecessor, “I Lost My Mind”. Here’s an attempt at getting out of the dark with haunting staccato repetitions of an odd-meter vocal riff supplemented by Aaron Diehl’s prophetic pipe organ.

You get the notion that Salvant can embrace any song she wants with glow and singularity after listening to “Until”, a medium-fast waltz by Sting, which here begins rubato and later recalls Brazilian choro thanks to the work of percussionist Keita Ogawa and banjo player James Chirillo. Without stretching the duration of the songs and putting her lyrical melodies in perpetual motion, Salvant has in Ghost Song a work of ardent ambition and a career highlight.

Favorite Tracks: 
01 - Wuthering Heights ► 02 - Optimistic Voices/No Love Dying ► 05 - Until

Joel Ross - The Parable of the Poet

Label: Blue Note Records, 2022

Personnel - Joel Ross: vibraphone; Immanuel Wilkins: alto saxophone; Maria Grand: tenor saxophone; Marquis Hill: trumpet; Kalia Vandever: trombone; Sean Mason: piano; Rick Rosato: bass; Craig Weinrib: drums. Guest - Gabrielle Garo: flute (#2).

The prodigious vibraphone star Joel Ross gathers a solid and collectively functional ensemble for The Parable of the Poet, his third Blue Note release. A frontline with four horns and a sharply focused rhythm section where piano and vibes coexist harmoniously together, resulted in glittering, polished surfaces that bring together emotion and devotion. 

“Prayer” and “Benediction”, opener and closer, respectively, fall into this spiritual category. The former, aptly introduced by the bandleader, is a gracefully textured ballad with asymmetric meter and soft horn dynamics. A song of inspiration with the same candid, grateful feelings as the latter tune, which, built on major thirds, takes us from Sean Mason’s introductory piano playing to the brushed velvety delineated by drummer Craig Weinrib and the sparse underpins of bassist Rick Rosato. Ross’ articulated malleting stands out amidst simple unison lines.

The powerful, modal “Wail” also has a discernible spiritual quality to it, benefitting from the devotional expressions of altoist Immanuel Wilkins. His fervor remains vividly bright, even during hushed moments of classical contemplation. Trombonist Kalia Vandever makes the bridge between this piece and “The Impetus (To Be and Do Better)”, where a lenient gospel aura surrounds its richly woven balladic circularity.

The poignant “Guilt” places an unhurried bass figure under its feet, featuring Maria Grand on tenor and understated guest flute by Gabrielle Garo. At a given moment near the end, the tempo shifts from triple to quadruple, and the speed gradually increases, allowing the skittery drummer to intensify his procedures. In turn, “Choices” insinuates risk and fear, starting with solo trumpet, moving through a heavy droning bowed bass, and ending up with plaintive horn lines in the foreground and impressionistic vibes in the back. Additionally, the distinctive “Doxology (Hope)” feels like Charlie Parker’s bop inventions had been struck by a bolt of rhythmic modernism, definitely underscoring the group’s polyrhythmic abilities. 

Ross is a serious bandleader, and this album is a combination of his creativity, skill, and generosity, in the sense that he often opts not to step forward and make the music flow collectively.

Favorite Tracks:
01 - Prayer ► 04 - Wail ► 06 - Doxology (Hope)

Brandon Lopez / Ingrid Laubrock / Tom Rainey - No Es La Playa

Label: Intakt Records, 2022

Personnel - Brandon Lopez: double bass; Ingrid Laubrock: tenor and soprano saxophone; Tom Rainey: drums.

Bassist Brandon Lopez joins the long-time duo of saxophonist Ingrid Laubrock and drummer Tom Rainey, forming a constructive trio of free improvisers who create new worlds of expression with rhythmic consolidation and appropriate levels of abstraction. After a mesmerizing first gig at Brooklyn’s Barbès in 2017, the trio vowed to work together and transported all their musical chemistry to this first outing, No Es La Playa, whose story has a flow, and each of the six tracks has a role in its imaginative telling.

The expedition begins with the title track, which, running past the 13-minute mark, is the longest piece of the set. After a cautious start - with accurately limned tenor melodies, precise bass note configurations and entrancing drumming - the rhythm section exquisitely swings while sustaining conversational lines atop. The sounds and cadences here often recall Parker, Braxton and Ornette. An unheralded ritualistic pulse follows, impeccably driven by Rainey’s exuberance, and with Lopez’s propulsive ostinatos sneaking through the mix. Shortly after this implementation, Laubrock switches to soprano, and the ride ends up in moderate cacophony.

“Saturnian Staring” is launched with unequivocal, persistent drum work, swooning sax melodies, and bubbling bass underpinning. Lopez then embarks on unusual intervals and occasional pedal points that, in trance, support staccato horn lines. This livelier mood is challenged by the somber atmospherics of “When the Island is a Shipwreck”, a tribute to American poet Fred Moten. Its moody tension goes from a mutual entwinement between arco bass and saxophone to the abrupt silence of a break that transforms the former panorama into a wildly ebullient scenario. During the first section, Rainey’s unparalleled drum style comes to the fore with opportune snare drum rattles and bright cymbal shatters.

Making for a brilliant album closer, “The Black Bag of Want” also paints with bowed bass and tenor sax brushstrokes at the outset, but is darker in tone. Laubrock’s shouts and multiphonic roars lead to a furious rhythm, and the energy bursts intensely. Her perpendicular phrases and abundant motivic ideas are also in evidence in “Camposanto Chachacha”. As Einstein once said, “creativity is intelligence having fun”; that’s the sentiment we have while listening to this recording.

Favorite Tracks:
01 - No Es La Playa ► 03 - Saturnian Staring ► 06 - The Black Bag of Want

Walter Smith III & Matthew Stevens - In Common III

Label: Whirlwind Recordings, 2022

Personnel - Walter Smith III: tenor saxophone; Matthew Stevens: guitar; Kris Davis: piano; Dave Holland: bass; Terri Lyne Carrington: drums.

The saxophonist Walter Smith III and the guitarist Matthew Stevens drew a flurry of attention with their co-led project In Common, launched in 2017. Enjoying ample possibilities of layering, the duo invites different musicians to join them for each recording, and this freshly cooked third installment arguably boasts the best lineup ever. The piano chair is entrusted to the inventive Kris Davis, who brings a freer side to the music, and the foundation couldn’t be in better hands, with the superb bassist Dave Holland and the dynamic drummer Terry Lyne Carrington sharing rhythmic duties.

It was with this rhythm duo in mind that Stevens composed “Loping”, one of the album’s highlights. Flowing beautifully with a triple time feel and a magnetic groove that draws you in, the piece features Smith’s elastic phrasing on tenor as he displays sequences of notes that jump in and out of the chordal patterns with tremendous flexibility. Stevens' guitar illuminates everything with mighty clarity. 

This ensemble gives the nod to shorter themes and improvisation. This comes into view on “Shine”, where relaxed saxophone lines are affixed to articulated guitar pointillism in gratitude to important jazz musicians that recently passed away (McCoy Tyner, Chick Corea and Jimmy Heath are among them); “Oliver”, which creates some more urgency around a specific riff, displaying a relentless piano ostinato and gorgeous guitar effects; “Prince July”, whose big-sound post-bop grooves high; “Orange Crush”, whose dancing ostinato gives it a lively impression; and “For Some Time”, where an Afro-Brazilian exoticism is achieved through melodious piano mixed with slinky rhythms and jazzy melodies.

The versatility is enormous, and the musicians shift easily from one music idiom to the next. The moods are quite distinct but the ultimate outcome spectacularly coheres, making us want to go back to the beginning and hear everything again. If “Reds”, a bluesy number in a rock outfit, features delightful bass and saxophone solos with an odd-metered vibe that recalls Holland’s 1999 album Extensions, then the playful “Hornets” is a balanced piece of fusion that summons up the rock-ish post-bop joyrides between John Scofield and Joe Lovano. In contrast with these two are the brooding “Shutout” - the darkest piece on the album - and the spacey “Dust”, an avant-garde abstraction brought to a simmer by prepared piano, acoustic guitar, and replicas of delay-effected tenor.

Another remarkable moment arrives with “After”, which, introduced and concluded as a ballad, thrives with a middle section in five that welcomes a sparkling touch of bolero in the rhythm. Here, the co-leaders create a soft-hued polyphony as they communicate. This is a classy and entrancing contemporary work with exceptional combinations of sounds.

Favorite Tracks:
02 - Loping ► 06 - After ► 08 - For Some Time

The Adam Larson Trio - With Love, From Chicago

Label: Outside in Music, 2022

Personnel - Adam Larson : tenor saxophone; Clark Sommers: bass; Dana Hall: drums.

Saxophonist Adam Larson leads a trio that reveals melodic sensibility and exploratory ken. His seventh album as a leader consists of a set of tunes well-worth exploring and dedicated to Chicago, a city with strong affinities to jazz and where he had the opportunity to grow as a musician. Joining forces with bassist Clark Sommers and drummer Dana Hall, this is the first outing of an intended trilogy featuring chordless trios. The threesome played together for the first time in 2014.

The album makes a vibrant start with the catchy African-influenced theme of “Angolan Babysitter”, an intense exhilaration composed by Larson and delivered with melodic purpose and energy. Curiously, the B section was inspired by the 2Pac's “I Ain’t Mad at Cha”, and there’s beautiful drumming here by Hall, who trades a number of bars with his cohorts before going solo. They really put a distinctive spin on this one, before proceeding to the more conformist “The Time You Forgot You Knew”, expressed with directness and controlled dynamics.

Like the previous cut, both “Kansas to Chicago” and “In Waiting” were penned by Sommers. The former, flowing with groove and swinging openness, brings the sly wit of Larson’s post-bop language to the fore, but also stresses the compatibility he has with this rhythm section. The latter tune is more peaceful in tone but no less interesting in terms of solos and spontaneous responses. 

Mixing elements of blues, rock and folk, Larson’s “Root Fruit” is pure sonic joy, making the magnetic acoustics another incentive to recommend the album. Three covers appear on the track list: “Wee See” by Thelonious Monk is an uptempo romp with syncopated motion followed by in the pocket swinging; “Twirl”, composed by saxophonist John Wojciechowski, is a buoyant 3/4 piece that nearly rocks while exhibiting rhythmic figures and abrupt changes of rhythm; and the romantic jazz standard “Portrait of Jennie” is delivered with a refined cool for a change of pace. Deserving wider recognition, Larson will certainly keep pursuing excellence in his following releases.

Favorite Tracks:
01 - Angolan Babysitter ► 03 - Kansas to Chicago ► 08 - Root Fruit