Yako Trio - OdesSea

Label: Fair Weather Friends Records, 2022

Personnel - Leandros Pasias: piano; Vangelis Vrachnos: double bass; George Klountzos Chrysidis: drums + Guests: James Wylie: alto saxophone (#1,3,5,6); Nicolas Masson: tenor and soprano saxophone (#2,4).

Paying homage to the sea, the Yako Trio shows considerable musical malleability on their sophomore album OdesSea. The follow up to their self-released debut Ode to Yannis (2018), which paid tribute to the late Greek composer Yannis Konstantinidis, is made of six diversified tunes that, influenced by jazz and classical idioms, evokes the mercurial temperament of the trio formed in Thessaloniki, Greece, by pianist Leandros Pasias, bassist Vangelis Vrachnos, and drummer George Klountzos Chrysidis. 

Heavily invested in an upbeat post-bop and delivered in a winged 3/4 tempo, “The Call” opens the album with modal brilliance, showing that Pasias’ writing is not pedestrian. Guesting on this one to steal the show is the New Zealander saxophonist James Wylie, a member of Anna Webber’s septet Percussive Mechanics. His outside incursions and zigzagging maneuvers find a continuous harmonic track in the fluidity of the piano playing. An unaccompanied bass statement winds up with a pedal point, transitioning to an ecstatic finale where the saxophonist flanks his spiked-punch phrases with long, stunningly timbral one-note blows.

The title track is percussively stable, cooked with restraint despite the dynamic soprano solo by Swiss saxist Nicolas Masson, who switches to tenor on the Vrachnos-penned “Sand”, a ballad with emotional heft. Navigating a completely different wavelength, “Afromacedonian Dance”, another piece by the bassist, explores non-Western sounds with the gravitational pull of a 15-beat bass groove that defines its smooth dancing quality. Wylie dialogues with Pasias, before Vrachnos and Chrysidis enhance their parts.

With less individualism and more collectivism, “Indian Dream” calmly develops in seven, spreading a gentle breeze that involves us earnestly. However, Wylie steps forward, cascading lyrically over the swelling texture of the song’s last segment. The album closes with Pasias’ “Lullaby”, a fragile song driven by subtle brushwork and economic, if well-measured, bass plucks.

This is a very satisfying set by a trio that pushes itself to fertile territories with firm-footing consistency and modern taste.

Favorite Tracks:
01 - The Call ► 03 - Afromacedonian Dance ► 05 - Indian Dream

Shawn Lovato - Microcosms

Label: ears&eyes Records, 2022

Personnel - Shawn Lovato: bass, composition; Michael Attias: alto saxophone; Patti Kilroy: violin; Hannis Brown: guitar; Santiago Leibson: piano; Vinnie Sperrazza: drums; Colin Hinton percussion.

This commissioned opus composed by bassist/composer Shawn Lovato is structurally interesting, blurring the line between composition and improvisation with an up-to-date vision. The eight parts of the suite take us from the abstract to the concrete and were designed for a septet that integrates Lovato’s concert trio mates in Hotel Elefant - guitarist Hannis Brown and violinist Patti Kilroy - and New York-based jazz improvisers of the first order such as saxophonist Michael Attias, keyboardist Santiago Leibson, and drummers Vinnie Sperrazza and Colin Hinton.

The bandleader gets things cooking right away with some enigmatic vibes in the opener “Microcosms (opening)”. At first you hear deep arco bass playing, flimsy saxophone vibration, inscrutable violin screeches, a slightly eerie piano ebb and flow, and warped guitar contortions. The texture is later supplemented with drums, slowing down again when thoughtful bass plucks make a bed for Attias’ altissimo circular notes and terse phrases. The saxophonist has the word on “Modular Ascension”, choosing his idioms with freedom and getting suitable feedback from Leibson. The complex rhythm is driven nicely here, but the group also swings unabashedly, enjoying a more familiar jazz atmosphere.

Guitar and violin are preponderant on “Serenity Amid Absurdity”, which goes from a nearly transcendental Eastern psychedelia to a contrapuntal abstract setting that is far more serene and composed. Its last segment brings everyone together in a contrast of rhythms that creates considerable internal tension.

Sperrazza plays a tightly weaved solo drum part at the outset of “Splitting Hairs Part I”, which evolves into a collective dirge with the help of Leibson’s underpinning. The last section of “Splitting Hairs Part II” is even more exciting with Attias blowing his horn convincingly against a controlled cadenza.

With a well-measured melodic cell concept at the base, “Splitting Atoms I” has Lovato’s bandmates responding with stellar playing to his compositional challenges. They absolutely float free, but with violin, guitar and glockenspiel standing out in close communication. Before “Microcosms (closing)” finishes the cycle in a sort of classical chamber mode, Lovato claims the deserved spotlight on “Splitting Atoms II”, an unaccompanied bass effort. 

There’s a fresh, unmannered feel in these tangled septet explorations devised with considerable room for individual expression. Many other avenues may be beckoning for Lovato’s talents, and it will be interesting to see what he does next. 

Favorite Tracks:
01 - Microcosms (opening) ► 02 - Modular Ascension ► 06 - Splitting Atoms I

Julia Hulsmann Quartet - The Next Door

Label: ECM Records, 2022

Personnel - Uli Kempendorff: tenor saxophone; Julia Hulsmann: piano; Marc Muellbauer: double bass; Heinrich Kobberling: drums.

The Julia Hulsmann Quartet is one of the most reliable jazz projects that hails from Germany. The pianist reassembles her excellent quartet for The Next Door, the follow-up to the well-received Not Far From Here (ECM, 2019), after spending considerable time on tour with them. The program consists of originals by each of the members plus a sweet rendition of “Sometimes it Snows in April” by Prince, here expressed with a similar unpressurized atmosphere that characterizes the original version.

Delicately churning, “Empty Hands” feels like a rainy dawn illuminated by a golden ray of light. A hopeful 14-beat piano ostinato gives it a solid texture, and the statements from Hulsmann - who composed it - and saxophonist Uli Kempendorff toggle between winding and breathable. The pianist also wrote the following piece, “Made of Wood”, which, denoting a less floaty quality, is underlined by a nicely swinging flow that recalls Carla Bley and Steve Swallow. Exhibiting discipline in the composition and intuition in the interplay, “Fluid”, another highlight by Hulsmann, sounds exactly as the title suggests. It goes from rubato to polyrhythmic to expandable, invariably driven by a powerful sense of communication.

A definitive testament to the empathy among the group members is Kempendorf’s “Open Up”, a slippery, chromatically agile post-bop-meets-avant-jazz number with a notated bass part, classy swinging quality, and angular deflection. I’m pretty sure the result would please as  much Joe Lovano as Anthony Braxton. 

“Post Post Post” arrives by the pen of drummer Heinrich Kobberling, playing like a nocturne while interlacing poignant and delicate tones with a sextuple meter feel. In turn, “Wasp at the Window” features bassist Marc Muellbauer in an intervallic-wise bass intro, before pinning a supple groove in nine that, occasionally speeding up, shields the whole piece. Besides the tune I just mentioned, the bassist also contributes the pacifying “Valdemossa”, a piece based on the harmony of Chopin’s “Prelude no. 4 in E minor”. With a refreshing new melody navigating the chords, the song invites us to picture agreeable landscapes filled with abundant color. 

Whether compressing or loosening up elements, the music of Hulsmann and her peers is a strikingly precise affair.

Favorite Tracks:
01 - Empty Hands ► 08 - Open Up ► 11 - Fluid

Keefe Jackson / Oscar Jan Hoogland / Joshua Abrams / Mikel Avery - These Things Happen

Label: Astral Spirits Records, 2022

Personnel - Keefe Jackson - tenor and sopranino saxophone; Oscar Jan Hoogland: piano; Joshua Abrams: double bass; Mikel Patrick Avery: drums.

This wonderful quartet - a cooperative association between the skilled Amsterdam-based pianist Oscar Jan Hoogland and three multifaceted members of the Chicago jazz scene, saxophonist Keefe Jackson, bassist Joshua Abrams, and drummer Mikel Patrick Avery (now based in Philadelphia) - has the capacity to reinvent classic tunes from Thelonious Monk, Herbie Nichols, and Dewey Redman with excitement and accessibility without sounding repetitive or outdated. Comprising six grown-up tracks, These Things Happen is a concise work that, without stretching past the 22-minute mark, includes two original compositions by the pianist.

Implemented with polyrhythmic zest, a fine marching-like strut, and shifting meter ability, Monk’s inevitable “Epistrophy” sets a scalding hot temperature from the start. Jackson combines magnitude and winning aesthetics in his phrasing, obtaining clever commentary from Hoogland, whose tradition-steeped pianism is dazzlingly beautiful. There’s more Monk and “Bemsha Swing”, here modified to look like a sketchy, explorative, and charmingly abstract murmuration.  

Dewey Redman’s “Gotta Get Some Sleep” first appeared on Keith Jarrett’s 1970 quartet album Bop-Be (the lineup was rounded out with Charlie Haden and Paul Motian), getting his dose of innovation here through fragmentation, melodic wooziness, buzzing sounds, drones, and circular patterns. It simmers without reaching hyper-activity, staying from from the swaying, swooning and unique groove of Herbie Nichols’ gem “The Happenings”. Taking advantage of a cohesive and focused rhythm section, Jackson excels in this latter tune with an absolutely breathtaking drive. He’s followed by Abrams, who employs portions of the stunning main melody as reference points to expand his solo. 

The record wouldn't be the same without Hoogland’s two originals: the soulful and quiet “Wimpel” passes the idea of making peace with itself by bringing back an old idea, reshape it with a newfound energy, and then moving on. “Aanhanghuis” was the perfect choice to close an outstanding set. Jackson goes to exotic places while convincingly blowing the sopranino sax, and his deliberate out-of-focus construction and catchy hooks are much welcome in a piece that marries avant-jazz angles and swinging motion. Hoogland, in turn, explores different ranges on the keyboard, going effortlessly and blithely from low to high registers.

Rich in melodic material and with maturity in both the arrangements (by the pianist) and impromptu speeches, These Things Happen benefits from the open-mindedness and extraordinary energy of all four players.

Favorite Tracks:
01 - Epistrophy ► 04 - The Happenings ► 06 - Aanhanghuis

Jon Cowherd Trio - Pride and Joy

Label: Le Coq Records, 2022

Personnel - Jon Cowherd: piano; John Patitucci: bass; Brian Blade: drums - with guests Chris Potter: tenor and soprano saxophones (#1,2,5); Alex Acuna: percussion (#1,2,5). 

Pianist/composer Jon Cowherd is known for employing a fluid language and sincere approach to the keyboard. Pride and Joy showcases his fantastic trio - with bassist John Patitucci and drummer Brian Blade - attacking eight tracks that show their powerful chemistry and technical wizardry. The album celebrates the pianist’s two-and-a-half-year-old daughter on one hand, also signaling his recent move from New York City to Grand Junction, Colorado. 

The opening track, “Grand Mesa” reflects this new environment - surrounded by mesas and red mountains - he currently enjoys with his family. This is the first of three pieces where the trio is augmented by two distinguished guests: the powerful saxophonist Chris Potter and the understated percussionist Alex Acuña. 

An out-of-time post-bop outlook prevails on the formerly described tune, as well as on “Little Scorpio”, which gently develops in seven with a perfectly singable soprano sax melody on top of a tight chordal sequence; and also on the title track, another soulful effort that crackles with energy, especially in the vamp toward the end where Potter blows with verve and stamina. Both these numbers refer to Cowherd’s daughter, Simone.

Patitucci and Blade confirm their highly musical association through elegant underpinnings that elevate the trio pieces, namely Cowherd’s “The Colorado Experiments”, which, surrounded by an impressionistic aura, carries echoes of Chick Corea; and “Chickmonk”, Patitucci’s double tribute to the just mentioned pianist and Thelonious Monk. Here the trio opens up by delivering loose-limbed solos with a swinging posture. 

Waltzing with a dragging beat and demonstrating control at every point, “Honest Man” was written for Cowherd’s first jazz teacher, Ellis Marsalis. The album finishes in solo piano mode with “Quilt City Blues”, which Blade composed for Cowherd. Both share more than two decades of musical partnership.

Rooted jazz lineage branches out in all directions over the course of a repertoire that, not being surprising, feels all the more compelling for moving effortlessly between written passages, spontaneous interactions, and individual statements.

Favorite Tracks:
01 - Grand Mesa ► 03 - The Colorado Experiment ► 05 - Pride and Joy

Sélébéyone - Xaybu: The Unseen

Label: Pi Recordings, 2022

Personnel - Steve Lehman: alto saxophone; Maciek Lasserre: alto saxophone; HPrizm: vocals (English); Gaston Bandimic: vocals (Wolof); Damion Reid: drums.

Sélébéyone is a groundbreaking collaborative outfit involving American, African and European musicians. These fusion practitioners bring together left field rap, nu-break flows, modern jazz eloquence, African rhythmic concepts, and experimental electronics in a collage of seriously infectious sounds inspired by the Islamic mysticism of al-Ghaib.

Declaring the two front-line saxophonists - trailblazing American Steve Lehman and French dynamo Maciek Lasserre - as producers, the group’s sophomore album, Xaybu: The Unseen, is bookended by the offbeat and vibing pulsations of “Time is the First Track”. The skillfully programmed disparities and juxtapositions of this piece continue on “Djibril”, a tribute to the Senegalese filmmaker Djibril Diop Mambéty. On top of the ecstatic beatmaking there’s not only torqued freak saxophone notes forming angular heat waves and intervallic unconventionality, but also the Wolof, French, and English words pronounced by the two MCs - respected New York underground hip-hop artist HPrizm and young Senegalese star, Gaston Bandimic. 

Both the African-flavored “Lamina” and the more aggressive “Liminal” deal with easily shiftable broken rhythms. The former piece, being very electronic-oriented, is surrounded by mechanically surreal patterns and synthetic grooves; the latter, instead, was made slightly more ominous through persistent drones, effusive percussion, and volcanic saxophone playing. The meaning of the words in “Gagaku” ('guided through illusion in the land of the lost'), where New York City life is addressed with hopelessness, is complemented by a voice sample of legendary jazz drummer Billy Higgins.  

The top-to-bottom push-pull in terms of sound design is not to be ignored, and “Poesie I” is a superlative example of how to do it. Damion Reid’s versatile drumming locks in the group’s explosive chemistry on numbers such as “Dual Ndoxol” and the more straightforward “Zeraora”. He brushes his kit with swinging elegance on the former, creating a cool jazz atmosphere that later morphs into chilled-out electronic riffery stirred by caustic saxophone forays. 

To like or not to like this post-electro-jazz-rap album is likely a matter of genre-related taste since one can’t find dubious choices in Sélébéyone’s response to their already highly raised bar. Anyone seeking boldness, complexity and fire in music should look for this.

Favorite Tracks:
02 - Djibril ► 06 - Gagaku ► 13 - Zeraora

Jeremy Cunningham / Dustin Laurenzi / Paul Bryan - A Better Ghost

Label: Northern Spy Records, 2022

Personnel - Jeremy Cunningham: drums, percussion; Dustin Laurenzi: tenor saxophone, OP-1, electronics; Paul Bryan: bass, synth + Guests - Jay Bellerose: percussion; Katie Ernst: vocals; Josh Johnson: alto saxophone; Will Miller: trumpet.

Displaying maturity, this trio collaboration between drummer Jeremy Cunningham, saxophonist Dustin Laurenzi (both from Chicago) and L.A.-based bassist/producer Paul Bryan is a success. These technically enlightened musicians navigate new sonic waves that are fascinating, sometimes ethereal, and consistently magical. The nine enticing Cunningham-Laurenzi compositions on A Better Ghost were developed at a distance. While touring with the alternative folktronica/pop/rock group Bon Iver, the saxophonist came up with several ideas on the OP-1 and sent them to the drummer, who gave them melodic elasticity and rhythmic grace through his modern musical sensibilities. Then, Bryan, sliding across keys with futuristic vision and figuring disciplined bass lines, granted the final touch to a body of work that is pleasurable in all its unfolding detail.

“Everything” is an easy listening experience masterfully weaved with a relentless one-note drone in the background and untethered by Laurenzi’s inside/outside tour de force on tenor. “Worlds Turn” admits multi-instrumentalist Josh Johnson on alto saxophone, with Cunningham’s energized clarity in the beat allowing for latent syncopation. The synth vibes sound like playful toy music by the end, creating a particular atmosphere that is redeployed to the groovy title track.

If “Comfort Station” is a cyclic effort impacted by an uncanny bass figure, then the deceptively slow-burning “Ray Tracing” surprises in its last section with a transfixing rhythmic fabric and a saxophone sound that enthralls. Further deeply involving is “New Dust”, whose introductory reverb-drenched sax monologue in good time enjoys the company of bass and drums for a feel-good, moderately exotic dance. An asymmetric 14-beat cycle is contemplated before the trio aligns it to a more commensurable measure of 16 beats, just to conclude it after a little while with the bassist at the fore. “The Way We Remember” brings the album to a conclusion, guesting singer Katie Ernst, who co-wrote the lyrics. This one is a dedication to Cunningham’s late father, shaping up as an elegiac cinematic anthem where one readily perceives the power of the drums.

Demonstrating tastefulness and high quality in the chops, these modern jazz practitioners find a harmonious balance between composition and freedom. They definitely make me want to hear more of what they do.

Favorite Tracks:
01 - Everything ► 02 - Worlds Turn ► 05 - New Dust

Nate Wooley - Ancient Songs of Burlap Heroes

Label: Pyroclastic Records, 2022

Personnel - Nate Wooley: trumpet, amplifier; Mary Halvorson: guitar; Susan Alcorn: pedal steel guitar; Mat Maneri: viola (#2); Trevor Dunn: electric bass (#4); Ryan Sawyer: drums.

Impregnated with chilly dystopian-like vibes, the sophomore release of trumpeter Nate Wooley’s Columbia Icefield is a suite whose three main parts and four interludes derive from heroic inspirations. A film by Frank Heath accompanies Ancient Songs of Burlap Heroes, which creates a cinematic universe of its own through otherworldly sonic sensations and field recordings. The ensemble remains with no alterations, transversing modern jazz forms and experimental foundations specified in Wooley's composition.

“I Am the Sea that Sings of Dust” stealthily steps in, attempting to mediate the struggle between the natural world and the human expression. Sparse guitar chords, background electronic noise, and effusive drumming by Ryan Sawyer draw a distinction to an early phase that plunges further into a downcast chamber atmosphere accentuated by plaintive trumpet lines and the pastoral glissandi winks that pour from Mat Maneri’s viola. This disenchanted impression is transferred to the interlude that follows: a suspended mode with moderately warped guitar sounds and trumpet tranquility.

Clocking in at nearly 15 minutes, “A Catastrophic Legend” was penned for the late cornetist Ron Miles. The constant vigilant state of the piece hypnotizes more than shakes in the initial phase, when Wooley and Halvorson engage in unpredictable parallel moves over a quiet substratum reinforced by guest bassist Trevor Dunn. The texture then varies in intensity, falling in with rock-infused distortion and asymmetric progression. After a trumpet solo, there’s a convoluted passage with electronics and rollicking drums.

“Returning to Drawn Myself, Finally” is based on a Swedish dalakoral (religious song). The trumpet lamentation leads to a modernist abstraction delineated by Halvorson, an electric guitar innovator whose loose-fitting phraseology can be heard concurrently with Alcorn’s pedal steel electrification. Serenading activity replete with ostinatos takes us to a closure.

Emphasizing more the collective than the individual, Wooley explores creative approaches to music making by combining strange and foreboding elements. This is a curiously atmospheric if not essential album.

Favorite Tracks:
02 - I Am the Sea that Sings of Dust ► 04 - A Catastrophic Legend ► 06 - Returning to Drawn Myself, Finally

Marc Mommaas - The Impressionist

Label: Sunnyside Records, 2022

Personnel - Marc Mommaas: tenor and soprano saxophones; Gary Versace: piano; Nate Radley: guitar; Jay Anderson: acoustic bass.

Dutch saxophonist Marc Mommaas, who has been based in New York since 1997, records regularly for the Sunnyside label with small drum-less ensembles. For his latest album, The Impressionist, he drew inspiration from the music of 20th-century French composer Gabriel Fauré (an icon of impressionism in music) as well as the New York pandemic times. Enlisting the talents of keyboardist Gary Versace, guitarist Nate Radley and bassist Jay Anderson, Mommaas outlined the eight tracks on the album with a quiet, floaty quality that comes to terms with his own feelings during difficult times. Although more conceptual than some of his previous works, I experienced dilemmas while trying to relate with complexions that, favoring more order than chaos, needed some more stimulation.

The highlights of the album, “Nostalgia” and “Float Away”, are stamped with emotionally induced saxophone solos. Launching the album, the former piece develops soulfully and plaintively with Mommaas and Anderson in melodic consonance, while Radley and Versace successfully avoid messing up the space when it comes to comping. There’a also silvery elucidation from Anderson here in a statement filled with lyricism. The latter piece, instead, besides the nice unison melody designed by soprano sax and piano, lives from fluid improvisations.

The title track pretty much flows in the same vein of the opening tune, featuring the flickering, tremolo-steeped synth-like guitar of Radley throughout. The theme is not as impressive though as the comparable piece I just specified. “C’est La Vie”, a tune about contemplation and acceptance, arrives with understated and emotive detail in the call-and-response between guitar and piano, shifting to triple meter in its denouement. Dedicated to the one who inspired him for this work, Mommaas made “Fauré” unequivocally classical, enhancing the gallantry in the harmony for a chamber music mood.

The last two tracks attempt something different. “Free Above All” explores more freely, employing distorted guitar swells and featuring the saxophonist in a soprano monologue turned interlocution with the arrival of the pianist. “Moving On” brings the album to a close with the optimism of a soothing pop song.

The placid temper of the majority of the songs results in a mix of dreamy and pale atmospheres. There’s definitely strong interplay among these great musicians, but a wide-ranging perspective would have given the album a more imposing character.

Favorite Tracks:
01 - Nostalgia ► 05 - Float Away ► 07 - Free Above All

Julian Lage - View With a Room

Label: Blue Note Records, 2022

Personnel - Julian Lage: electric guitar; Bill Frisell: electric guitar, baritone guitar; Jorge Roeder: acoustic bass; Dave King: drums.

American guitarist Julian Lage cultivates a unique sound that combines roots and progression. He has been calling attention both through his own albums and sideperson credits (Charles Lloyd, Gary Burton, John Zorn, and Nels Cline). The awaited sophomore album on the Blue Note imprint, View With a Room, is the follow-up to last year’s Squint, featuring his working trio with bassist Jorge Roeder and The Bad Plus drummer, Dave King. But for this outing, the gifted guitarist Bill Frisell was invited to play a few tracks, perfectly serving the musical sensibilities of Lage compositions. The two guitarists are in absolute control of the fretboard, and never resort to pyrotechnics to impress. Instead, they deliver beautifully texturized music with an immense and effortless harmonic scope. 

“Tributary”, the opening piece, and “Echo”, which was written and arranged by Lage and Roeder, are highlights, exemplifying this capacity to create rich textures and employ stunning melodies without overplaying. Bookended by tasteful electronics and an Americana-tinged atmosphere, the former flows with silky chord progressions and passages with delicate detail, spectacular staccatos, lustrous octaves, and smartly controlled articulations. The latter tune, starting with a prominent bass figure, brings together charming tones and a certain cinematic mystery. Excellent note choices elevate the poignancy, just like in “Let Every Room Sing”, a chorale-like song impregnated with warm classical innuendos. Complementary guitar layers with occasional harmonics rest on top of the spare, if loose, commentary provided by Roeder and King.

Lage and his partners leap into the closer, “Fairbanks”, as well as the sprightly “Chavez”, whose B section recalls Sting’s former group The Police, with a pop/rock frame of mind. In reality, this album is made of borderless music, and if “Temple Step” is a blues with a reggae touch (Frisell plays baritone guitar here), then “Auditorium” promotes an alliance between country-pop and the crunchy, contemporary snare-driven rhythmic tapestry at the base. On its part, the waltz “Word For Word”, delivered in trio, has that irresistible bounce of Jim Hall and Bill Evans, as well as a polyrhythmic feel edged by triplets on the drummer’s side.

This recording, displaying the magnitude of the composer’s gifts, exudes virtuosity and sincerity all around - from composition to sonic maturation to execution.

Favorite Tracks:
01 - Tributary ► 02 - Word For Word ► 05 - Echo

Todd Marcus Jazz Orchestra - In the Valley

Label: Stricker Street Records, 2022

Personnel - Todd Marcus: bass clarinet, composition; Greg Tardy: tenor saxophone; Brent Birckhead: alto saxophone, flute; Russell Kirk: alto saxophone; Alex Norris: trumpet; Alan Ferber: trombone; Xavier Davis: piano; Jeff Reed: bass; Eric Kennedy: drums.

American bass clarinetist of Egyptian descent Todd Marcus put his bold orchestral plans into effect in this new recording, In the Valley, commanding a supple nonet that includes experienced musicians with outstanding soloing credentials such as saxophonist Greg Tardy, trumpeter Alex Norris, trombonist Alan Ferber, and pianist Xavier Davis. The fusion of Middle Eastern music and both straight-ahead and modern jazz idioms borders on perfection.

With references to maqam music, “Horus”, titled after the ancient falcon-headed Egyptian god, inhabits a kaleidoscopic universe of fascinating sounds. One finds passages with understated Arabic and Latin touches, and dense layering of horns are complemented with compelling improvisations. Marcus flies East and West in profuse excitement, exposing the marvelous timbres of the bass clarinet; Norris blows his horn with hard-bop flexibility; and then there’s the eight-beat cycle bass groove that stimulates Eric Kennedy for some extra drum chops. Lastly, we have the horn players engaged in enthusiastic volleys.

In its depiction of modern-day Cairo, “The Hive” feels grandiose in posture and dusky in tone, bridging moods that evoke Grachan Moncur III and Jackie McLean. This mysterious aura coupled with an odd tempo doesn’t intimidate trombonist Alan Ferber, who launches the improvised statements with clarity. “Cairo Street Ride” is another piece inspired by the capital of Egypt, specifically its chaotic traffic. It’s infectious in the temperament and filled with heady tangents and crossings, moments of polyphony, parallel orientation, and stirring counterpoint. The featured soloists are bassist Jeff Reed, who often employs chromaticism in the narrative, and Tardy, who puts his soul on every note.

“Final Days”, an elegiac ballad, displays an instrumentation that shrinks and swells with conspicuous flute, mallet drumming, and wailing reeds. A nicely flowing conclusion is brought by the title track, whose punchy lines and odd meter help to invoke images of grandiose Egyptian sites.

Clear yet mystery-induced arrangements motivate beautiful ensemble playing throughout. This recording solidifies Marcus’ credentials as a creative composer. His imaginative vision fits our modern days.

Favorite Tracks:
02 - Horus ► 03 - The Hive ► 04 - Cairo Street Ride

Juanma Trujillo - Collage

Label: ears & eyes Records, 2022

Personnel - Juanma Trujillo: electric and acoustic guitars; Sean Conly: acoustic bass; Francisco Mela: drums.

Venezuelan guitarist Juanma Trujillo has been living in New York since 2014, forging his own path in the improvised/experimental music scene. For this gorgeous trio album titled Collage, he works with two judiciously chosen musicians equally keen on open settings: the assiduous American bassist Sean Conly (Darius Jones, Michael Attias) and the in-demand Cuban-born drummer Francisco Mela (McCoy Tyner, Joe Lovano). They share a mutual conscience and enhance freedom in their explorative temperament here while playing five Trujillo compositions and one impromptu presentation.

The guitarist love for cinema is reflected in “Araya”, a volatile piece inspired by the 1959 documentary of the same name by Venezuelan filmmaker Margot Beacerraf. The folksy tone of his acoustic guitar is magnetically strange, favoring abstraction and enchantment. The sounds of Liberty Ellman come to mind, and the enigmatic chordal voicings compel us to discover more.

Trujillo’s electrified axe resounds vibrantly with crunching notes on “Rebote”, in which he mixes folk and rock with a peculiar bounce; and also on “El Santo”, a noise-infused attack with a proclivity for psychedelic rock aesthetics. His expert manipulation of sound is laid down over bass pedal points and adroit snare-and-cymbal patterns. In the last segment, one finds great percussive rebounds by Mela providing added weight to a nice conclusion.

The bandleader is the trio’s guiding light, exploring space from different angles. That aspect is demonstrated not only on “Himno”, a chorale-like piece that, not being totally predictable, takes us to discernible melodic trails, but also on the fully improvised “El Chivo”, an expressionistic invention that falls between the rustic and the modern. The latter revels in unremitting acoustic folk interlocks, bowed bass for a slightly eery effect, and anxious drumming with no particular timekeeping. 

The trio wraps up the set with “Simultaneo”, a laid-back crossover jazz in the vein of Bill Frisell and Charles Lloyd, which contains elements of Americana, South American folk, and some American and European classic connotations. This trio works splendidly, revealing an excellent sense of moment throughout. Trujillo, totally transparent in his multiple influences, also throws in a lot of stuff that is undoubtedly his own.

Favorite Tracks:
01 - Araya ► 03 - El Santo ► 06 - Simultaneo

Espen Berg Trio - Fjære

Label: Odin Records, 2022

Personnel - Espen Berg: piano; Bárður Reinert Poulsen: bass; Simon Albertsen: drums. Guest appearances: Mathias Eick: trumpet; Hanna Paulsberg: tenor saxophone; Silje Nergaard: vocals.

On Fjære, his fourth recording for the Odin label, Norwegian pianist and composer Espen Berg leads his tight trio with a consistent force, whether by playing abstractly or following composed material. He teams up with two partners deeply associated with his musical personality, the bassist Bárður Reinert Poulsen and the drummer Simon Albertsen. This trio of storytellers welcomes three persuasive guests to play in a selection of cuts.

Featuring trumpeter and ECM artist Mathias Eick, “Vintermørke” is well-proportioned and neatly put, conveying a Nordic jazz atmosphere that feels repose, organic and airy. The piece expands horizontally in a sweet tranquility that is also embraced by the bass and trumpet solos. The bandleader closes out the improvisation time after the theme is reestablished. Another bearer of sensitive delicacy is “Nikolai”, a piece launched by hand drumming and touched by flashes of folk, classical, and some Latin charm in the step. During his outstanding statement, Berg takes an adventurous course, creating enlightenment and connection, and transcending boundaries and conventions. It’s perhaps his best solo on this recording, in a very personal piece written for his 6-year-old son.

“Akervise” incorporates the saxophonist Hanna Paulsberg, featuring Albertsen's infusions of a moderately accelerated rhythm for superb contrast. “XVII” is introduced by sparse piano chords outlined with clever chromaticism and hand clapping before a majestic groove comes into play, negotiating a defying time signature. The uptempo “The Fourth Awakens” is marked by shapeshifting and rhythmic complexity, showing a lavishness that recalls Tigran Hamasyan without being hyperbolic in the chops. 

Whereas the asymmetric “Magnetic” features Eick in another loosen up context that often releases poignancy and controlled tension, “I’d Do it For Your Love”, the sole non-original of the album, lays the lovely voice of Silje Nergaard on top of a lushly reharmonization of Paul Simon’s popular song. And then, there’s a couple of quiet pieces - “The Vertical Movements of Eötvös” and “Svalbard” - that feels soft to the point of breaking. I urge you to unlock the secrets of Berg’s inspired set of tunes.

Favorite Tracks:
03 - XVII ► 06 - Nikolai ► 07 - The Fourth Awakens

Russ Lossing - Folks

Label: Sunnyside Records, 2022

Personnel - Russ Lossing: piano; John Hébert: bass; Michael Sarin: drums.

Pianist Russ Lossing cloaks his music in a haze of folkloric refinement for this particular jazz trio album with bassist John Hébert, a faithful collaborator for more than 20 years, and drummer Michael Sarin, in his second appearance with the pianist.

The composed folk melodies set the tone for the group improvisations with the exception of the balmy opening track, “Heaven Above”, which, shrouded in lyrical tranquility, off and on brings Bill Evans and John Taylor to mind. Here, the time is kept for the improvisations and the melodic treatment given by Lossing feels stunning with an emotional range. Hébert’s notes are huge when comping while Sarin’s sensitive percussion adds the perfect touch. 

On both “Village Folk” and “Mountain Folk”, the trio smears the musical canvases with soft hues for a bucolic portraiture. But it’s with “Country Folk”, another meditative, chant-like observation whose melody and harmony grab you strongly before lingering in the air, that the trio is at its best. Assuming a gorgeously asymmetric configuration, this particular number is enriched by lush piano notes that flow like a river, supportive yet never intrusive bass lines, and delicate brushwork. The ideas proliferate, expressed with different dynamics, just like on the Bartok-inspired “Grey”, which, revealing a more irreverent posture, leans on the avant-garde side despite the swinging post-bop thrust that runs at bottom.

Sophistication is in the call-and-response mechanisms proposed on “Call Now”, whose propensity to swing is complemented by an impeccably accented theme with concurrent playing by piano and bass, and also some Monk-meets-Motian spark. Hébert is particularly brilliant in the way he disguises and then disrupts during his bold statement. 

Rather than embracing fragility through the simplicity of folk, the trio pursues a wild excitement on “Lightning Bug”, a rambunctious effort that shows their hard-to-predict frame of mind. Lossing’s work has ranged from solo discs to duo and trio projects, projecting an expressive, personal sound that employs technique and sensibility on the side of emotions. Folks confirms that his heart is in the right place. 

Favorite Tracks:
01 - Heaven Above ► 03 - Grey ► 04 - Country Folk

Billy Drummond & Freedom of Ideas - Valse Sinistre

Label: Cellar Music Group, 2022

Personnel - Dayna Stephens: tenor and soprano saxophone; Micah Thomas: piano; Dezron Douglas: bass; Billy Drummond: drums.

The excellent musical career of drummer and composer Bill Drummond has been forged more as a sideman than as a leader. Over the years, the experienced in-demand musician was heard in projects by Lee Konitz, Archie Shepp, Carla Bley, Eddie Henderson, Andrew Hill, and Chris Potter. His newest body of work, Valse Sinistre, marks his first appearance at the helm of an ensemble since 1996, the year he released the quartet album Dubai on the Criss Cross label. Drummond also leads a quartet here, a multi-generational one, with saxophonist Dayna Stephens in the frontline and a rhythm section complemented by Micah Thomas on piano and Dezron Douglas on bass.

The well-rounded repertoire brings jazz tradition infused to the core, starting off with Jackie McLean’s supercharged “Little Melonae”, whose boldly etched theme, frantic tempo, and indelible spirit is reinforced with smoke-filled solos that nurture an adventurous streak. The top-tier arrangement is by Douglas, and Drummond is particularly impressive as he keeps up the technically and physically demanding pulse.

The title track was composed by Carla Bley and originally included in her 1981 album Social Studies. This reworking of the tune has a piano intro that already bubbles with mystery in the chords. It feels like eccentric circus music, intertwining the bizarre and the burlesque. The bandleader’s variations behind the kit are remarkably tuneful here, and also on Grachan Moncur’s “Frankenstein”, whose marvelously intriguing aura makes a good company to the other tune.

“Changes for Trane & Monk” is the sole Drummond original, homaging the chord changes of Coltrane and the hooky melodies of Monk, whereas “Clara’s Room”, an unfussy post-bop waltz by the late pianist Frank Kimbrough, marks another dedication to that wonderful musician. This latter piece belongs to a group of gently molded compositions that go well together, namely “Never Ends”, a composition by Thomas delivered with a focused soprano saxophone, crisp bass notes, and with a final vamp triggering snare drum activity; and David Raskin’s standard “Laura”, painted with cymbal legato and refined brush technique. True to form, the bandleader never shies away from a good swinging groove, and Stanley Cowell’s “Reconfirmed” dives headfirst into a Parker-ish demeanor developed in the piano-bass-drums format.

With a knack for playing old and new pieces in a subtly dynamic fashion, Drummond reappears strong as the leader of this resilient quartet.

Favorite Tracks:
01 - Little Melonae ► 03 - Valse Sinistre ► 05 - Frankenstein

Allison Miller / Carmen Staaf - Nearness

Label: Sunnyside Records, 2022

Personnel - Allison Miller: drums; Carmen Staaf: piano.

On Nearness, a new recording that lives up to its name, drummer Allison Miller and pianist Carmen Staaf reconnect with the magnetic energy of their debut duo album, Science Fair (Sunnyside, 2018). Boasting a special chemistry that remains fun-lovingly intact, the duo shows a tremendous adaptability to any sort of modern jazz, presenting eight originals - three by Miller and five by Staaf - and two covers.

The lead-off track, “Dan Dan”, a product of Miller’s compositional creativity, is soulful, elegant and driving. In complete control of the kit, the drummer combines different parts to create warm and catchy sounds, while Staaf effortlessly accomplishes textures and tempos. They know exactly which type of sound suits each piece and do it tastefully.

Miller’s searching “Top Shelf” is another great illustration of their capabilities, kicking off rubato but advancing with surprising findings for an avant-garde meets post-bop delivery. This number, having a triple time feel conducting its rhythmic impetus, was originally recorded on Parlour Game, a 2019 album by Miller and violinist Jenny Scheinman, in which Staaf is also featured. Another piece retrieved from that album and included here is “Beans and Rice”, in which angular melodic traits combine with the swinging flow; we can hear Monk and Duke Ellington or, in other instances, Don Cherry and Oscar Peterson.

Staaf shows a strong affinity for the blues, contributing “Blue Thrush”, which is underpinned with selective percussive elements, and also “New York Landing”, whose twelve bar cycle in plain 4/4 allows for well seasoned chops. However, it was “Birds” that better worked out, a fluid popish song with magic in the interplay and traces of The Beatles and Keith Jarrett, which suddenly evolves to a Latin thrust before its dreamy ending.

Taste overrides technique, and the rendition of the jazz standard “The Nearness of You” is silky-smooth, sensual and exotic. On the other hand, Monk’s indelible ballad “Ask Me Now” doesn’t need much more than its sculptural melody to captivate. Nearness is an agreeable album sure to leave you with more gratification than before you start listening to it.

Favorite Tracks:
01 - Dan Dan ► 03 - Top Shelf ► 06 - Birds

Angles - A Muted Reality

Label: Clean Feed Records, 2022

Personnel - Martin Küchen: alto saxophone; Magnus Broo: trumpet; Goran Kajfes: trumpet, effects; Mats Äleklint: trombone, sousaphone; Alexander Zethson: piano, synth; Mattias Ståhl: vibraphone; Johan Berthling: double bass; Konrad Agnas: drums.

Angles is an ever-exciting, versatile, and mutable Swedish ensemble led by the cutting-edge saxophonist Martin Küchen. A Muted Reality is their latest recording, and includes three new compositions by the leader, arranged by the group. This album marks a return to the octet format.

Angles’ song archetypes and influences - ranging from West African rhythms to world-folk music to spiritual jazz odysseys - are manifest without sounding rehashed. This musical excursion,  glorified by uncompromising ways of expressing feelings and freedom, begins with the title track in a slow, mournful procession of modal ideas. This moderately dark setting leads to an effect-drenched trumpet solo over a measured cadence populated by diaphanous keyboard layers. Over the course of their improvisations, pianist Alexander Zethson and the bandleader deliver modal grandeur and fiery passion, respectively. They are later joined by skewing horns in a demonstration of strength and unity, whereas hope can be felt over the epic final section, whose Eastern tang is bolstered by sigmoid folk melodies and a percolating rhythm. 

“The Hidden Balcony” takes those Eastern sounds further deep; no weak moments are found. Creative soloing is ubiquitous with trumpeter Goran Kafjes and trombonist Mats Äleklint having the conn before a wild Polka-style vamp concludes the piece with plenty of rhythmic figures and free blowing. The final cut, stylishly called “Fkk Down, Fkk Off”, is a Mingus-like orchestration with swinging verve and boogie-woogie. The musicians bring some more traditional elements into the setting, making it somewhat nostalgic, and drummer Konrad Agnas celebrates his first appearance with the combo with a good stretch.

A Muted Reality is a thoroughly enjoyable musical flight with limitless space for the soloists to venture as well as moments of maximum collective powerhouse effect.

Favorite Tracks:
01 - A Muted Reality ► 02 - The Hidden Balcony

Bennie Maupin / Adam Rudolph - Symphonic Tone Poem for Brother Yusef

Label: Strut Records, 2022

Personnel - Bennie Maupin: reeds, flute; Adam Rudolph: percussion, piano, electronics.

Multireedist Bennie Maupin and percussionist Adam Rudolph, two veterans of the eclectic jazz cosmos, recorded this five-movement album to celebrate the 100th birthday of the great late saxophonist/flutist Yusef Lateef, author of indispensable exotic gems like Eastern Sounds (Prestige, 1961) and Jazz Mood (Savoy Jazz, 1957). Rudolph worked with Lateef for two decades and has been very active lately with his Go Organic Orchestra and trio outfits with saxophonists Dave Liebman and Ralph M. Jones, and drummers Hamid Drake and Tatsuya Nakatani. Not as busy as his musical partner, Maupin is associated with the work of a few jazz giants such as Miles Davis, Herbie Hancock and McCoy Tyner, among others. Both have distinctive work under their own names, and Symphonic Tone Poem for Brother Yusef serves us a flavorful sonic plate of avant-garde values and ambient jazz sensibilities.

“First Movement” adds serene electronics in the background in a refined ambience that includes thumb piano, hand drumming, voice, and other percussive elements that contribute to a triple time flow. Maupin’s sketchy lines are laid atop with an easygoing resolution. “Second Movement”, gracefully executed as a cyclic Zen meditation, resonates with warm, glowing gongs before installing a ritualistic pattern with cymbal splashes and vibing adornments. The flute makes it easier for us to imagine a magical place full of harmony, where our hearts fill up with positive energy.

Despite the quiet avant-garde setting of “Movement Three”, Maupin becomes more impulsive and restless with the time, oscillating between tearful, mysterious and searching. The following track, “Movement Four”, boasts some agitation in the fancy beat but doesn’t discard a few raw elements that consolidate the bridge between the modern and the ancient worlds. A well-outlined bass clarinet spreads duskiness, mystification and some opacity too, in contrast with the sparse sakuhachi flute that soars at a higher height. The enchanted atmosphere ceases when the transfixing rhythm returns, making for a vibrant conclusion. The free spirit of the duo continues on “Movement Five”, whose expert instrumentation - with mesmerizing piano intervals, understated percussion, and palpable clarinet lines - has a lock on the magical spells, but with considerable more darker intonations. 

This gifted duo never overcooks, finding the perfect formula to shine, with no need of frills and shocks to provide a wonderful experience for the listener. This is a gracefully executed work where their purity of vision and sense of modernity are going strong.

Favorite Tracks:
02 - Second Movement ► 04 - Fourth Movement ► 05 - Fifth Movement

Yaroslav Likhachev Quartet - Occasional Sketches

Label: Clean Feed Records, 2022

Personnel - Yaroslav Likhachev: tenor and soprano saxophone; Yannis Anft: piano; Conrad Noll: bass; Moritz Baranczyk: drums.

The effervescent, Cologne-based saxophonist Yaroslav Likhachev is clearly an inspired improviser but also a talented bandleader and composer, a fact attested by his debut album, Crumbling (JazzHausMusik, 2020), and now by Occasional Sketches, his first recording for Clean Feed. Heralding a compositional transition from one album to another, the saxist takes on even more complexity, bursting into the avant-garde jazz scene with successful results.

He and his dedicated quartet get in gear with “O.S. #3”, whose kinetic rhythm and melodic angularity are interrupted with a more abstract, pensive passage composed of jarred bass abrasions, saxophone multiphonics, softly dizzying pianism, and subdued drumming. Subsequently, we have a passage where improvisation reigns, with Lickhachev and pianist Yannis Anft unleashing phrases that mix classic elements and daring imagination. 

Sandwiched between the opener and “O.S. #2”, whose darker mood and stout-toned tenor inject pathos into the role, we have “O.S. #4”. The latter features a woozy soprano on the loose and pulls influences in no small part from Andrew Hill, Eric Dolphy, Steve Lacy, and Anthony Braxton. German bass player Conrad Noll makes his lines contract and expand by employing efficient pedal points, whereas Anft applies occasional tremolos and whirls during the perfectly-pitched improvisation of the bandleader.

The spunky “O.S.#5” is launched with bass and adds restless drums underneath before a terse sequence of notes and rhythmic figures becomes salient. “O.S. #1” advances in a proud strutting, boasting well turned soprano melodies; whereas “O.S. #7” suggests a firmly grounded ride with no falling off in intensity. It ends up in a thriving mania, encouraging some kind of electro-rock dance. Lastly, “Pre O.S.” takes us to the places where everything began, relying on intricate, fleet solos from tenor and piano.

Rising to the expectation, Likhachev mounts a disc that is refreshing in its efforts to push the envelope and gain new followers. Hence, what you have to do is give it a chance and let the indomitable energy draw you in.

Favorite Tracks:
01 - O.S. #3 ► 02 - O.S.#4 ► 09 - Pre O.S.

Harish Raghavan - In Tense

Label: Whirlwind Recordings, 2022

Personnel - Morgan Guerin: tenor saxophone, EWI, bass clarinet; Joel Ross: vibraphone, marimba; Charles Altura: guitar; Harish Raghavan: acoustic bass; Eric Harland: drums.

The sophomore album from the New York-based bassist and composer Harish Raghavan, In Tense, consists of six originals written with a specific quintet in mind - multi-woodwind player Morgan Guerin, guitarist Charles Altura, vibraphonist Joel Ross and drummer Eric Harland. The musical setting, defined with more composure than heat, manifests a new trajectory in his discography, and we find each musician navigating hills and valleys as if tracking a well-charted course. Here, the contemporary vision remains intact and the musical skills efficient, as demonstrated in his debut, Call for Action, and in sideman appearances with the likes of Ambrose Akinmusire, Walter Smith III and Marquis Hill.

“AMA”, which opens with big bass notes and subtle electronics, feels like an emotionally charged pop/rock song with enough air to breathe, proffering crisp harmonic progressions, fresh melodicism, and a spastic solo by Raghavan. The piece shares some similarities in posture and texture with the title track, which, colored by vibes, features a charismatic guitar solo while diluting most of its tension in subtleness.

The wryly post-bop elegance of “Circus Music”, a tune written in response to our troubled times, unwraps a well-outlined theme with rhythmic accentuation and a slight angular bend. Guerin and Altura, who often work cheek by jolt throughout the record, alternate bars here, applying their clear speeches after a patiently evolving solo by Ross. They reel off again on both “S2020” and the closing “Prayer”. The former invokes the future with a complex theme, carrying a folk innuendo in the melodic proceedings and a straight-eight bass groove that steams things up; the latter, more glamorous than fervent, accelerates in tempo, going funky-ish in the interest of the improvisations before reviving the shininess of the main melody.

“Eight-Thirteen” got its name from the time a minute before Raghavan’s son was born. It’s structured and restructured with changeable passages that don’t require to be strengthened in the flow since the bassist keeps the groove solid and going, always backed by Harland’s conversational drums.

Not all tracks hit us hard or with the same intensity, but with the assistance of musicians with a penchant for exploring sonic terrain, Raghavan builds his own sonic architecture, partly meditative and partly propulsive.

Favorite Tracks:
01 - AMA ► 02 - Circus Music ► 06 - Prayer