Denis Gäbel - The Mingus Sessions

Label: Mons Records, 2022

Personnel - Denis Gäbel: tenor saxophone; Robert Landfermann: bass; Leif Berger: drums + guests. 

German saxophonist and composer Denis Gäbel brings his arrangements to fruition in The Mingus Sessions, a celebration of the 100th birthday of the late mighty bassist Charles Mingus. Ten of his most emblematic tunes were chosen to be presented with new outfits by Gäbel’s working trio - featuring bassist Robert Landfermann and drummer Leif Berger - which welcomes one guest for each song.

The first three cuts are particularly outstanding. Things are stirred fast with “Orange Was the Color of Her Dress”, which is initially boosted by the super-groovy bass escapisms of Landfermann before Gäbel ekes out the main melody with infallible inspiration. He and guest pianist Simon Seidl are sufficiently risk-taking in their solos to capture our attention. “Jump Monk” increases the liveliness through sax-trumpet dialogues with just drums as a sponsor. The clear brass sound is a consequence of Axel Schlosser’s flawless embouchure, and then Leif, straddling between Max Roach and Elvin Jones, also broadens his rhythmic routines into well-articulated phrases.

The third track doesn’t need an introduction because it’s the fabulous “Fable of Faubus”. Inflicting bracing melodic chops over a swinging tapestry, altoist Loren Stillman joins the bandleader at the front. After their respective solos (with Gäbel catching the tail of Stillman’s last phrase) and a bass improvisation, they embark on a vigorous horn duel.

Whereas “Work Song” is gracefully complemented with a second bass player (Christian Ramond), “Open Letter to Duke” showcases guitarist Norbert Scholly’s uplifting six-string locomotion over a hard-swinging tapestry. There are plenty of twists on this one, with the quartet adding bluesy, balladic and even Brazilian flavors to the recipe.

If the readings of “Remember Rockefeller at Attica” and “My Jelly Roll Soul” are not particularly memorable, then the result is quite different when it comes to “Goodbye Pork Pie Hat”, a superlative ballad taken to heaven by the tenors of Gäbel and Sebastian Gille. Their vocabulary can easily go from soothing to luxuriant.  

The Mingus Sessions is a likable album whose tunes are sculpted with devotional spirit and a signature style that reveals the musical quality of its author.

Favorite Tracks:
02 - Jump Monk ► 03 - Fable of Faubus ► 10 - Goodbye Pork Pie Hat

Oxbow & Peter Brotzmann - An Eternal Reminder of Not Today

Label: Trost Records, 2022

Personnel - Peter Protzmann: tenor saxophone; Eugene Robinson: vocals; Niko Wenner: guitar; Dan Adams: bass guitar; Greg Davis: drums.

Recorded live at Moers Festival 2018, An Eternal Reminder of Not Today marks a singular, incendiary collaboration between the experimental rock deities known as Oxbow and the venturous German saxophonist Peter Brotzmann. The latter provides the front-line along with vocalist Eugene Robinson, whose lyrics are often just as direct in their ideals and quests. The rhythm team is composed of guitarist Niko Wenner, bassist Dan Adams, and drummer Greg Davis.

The welcoming blues rock of the opener, “Angel”, is harmonically launched by Werner, who occasionally pins it with seasonable harmonics. The electric bass solidifies the texture, and then arrives the drummer, completing a recondite sonic blend that foreshadows what comes next. The range and depth of Robinson’s vitriol create a deep impact in the company of Brotzmann’s tearfully penetrating lines, which aim straight at the soul. 

This is a fantastic curtain lifter of an assured performance that proceeds with the abrasive sound of “Cat and Mouse” - another piece taken from the 1992 album King of the Jews (my absolute favorite) - where the avant noise-rock exerted denotes a diffuseness at its center that makes you never know what to expect. The energy cools off just for one moment before exploding again into a cloud of electric particles. This piece goes directly to “Skin”, from the album An Evil Heat (2002). It’s another powerful, if darker, avant-garde excursion, whose head presages another furious improvisation by Brotzmann, constantly defying limits with the force of a hurricane. 

Both “Host” and “The Finished Line” reflect strong melodic moments, whereas “Over” promotes technically precise passages of prog and noise rock with alternation of compression and expansion. The record comes to a conclusion in the form of an encore with “The Valley”, whose first segment has the saxophonist playing perhaps a bit too ‘out’. He returns during the ultimate chordal sequence with a different stability.

Revolutionary and confrontational, this is a live record that you should not pass on by, especially if you like your music filled with vigor, defiant attitude, and freedom. 

Favorite Tracks:
01 - Angel ► 02 - Cat and Mouse ► 03 - Skin

Whit Dickey Quartet - Root Perspectives

Label: TAO Forms, 2022

Personnel - Tony Malaby: tenor and soprano saxophone; Matthew Shipp: piano; Brandon Lopez: bass; Whit Dickey: drums.

This sturdy four-track album by drummer Whit Dickey finds him in the command of one of the most powerful improvisatory lineups coming from the New York free jazz panorama. Working with longtime and recent associates - pianist Matthew Shipp and bassist Brandon Lopez, respectively - Dickey also brings the towering saxophone playing of Tony Malaby into his game, finding mystery at the microcosmic level, even during highly charged moments.

“Supernova” illustrates huge solar masses of material, sweeping gravitational waves and sub-luminous sonic forces that, well represented by Malaby’s dark tones, make us picture a huge astronomical event with a threatening aspect. The heavy atmosphere is underscored by Shipp’s enigmatic voicings and propulsive activities, having bass and drums firmly connected at the back yet open to any change of direction. The saxophonist reaches a point of multiphonic exaltation before Shipp’s entangling mosaics are designed over multiple octaves of the keyboard. Intricately woven, these alternate routes are explored with furious excitement.

“Doomsday Equation” sets abstract sax lines against a classical-inspired pianism whose melodies feel palpable. The contrast creates a strong effect, and even if the kinetics simmer down for a while, it never feels static. Over the course of its 16 minutes, “Swamp Petals” changes from puissant to eerie to dramatic, with Shipp dashing from creative chords to wild outbursts over the drummer’s pertinent commentary and Lopez’s scarce arco bass. The power of Malaby’s anguished clamors is huge too.

The closing track, “Starship Lotus”, is the closest to a straight-ahead ride you’ll get. And that's regardless of the casual, abstract-leaned conversational facet that occurs over Dickey’s apparently off-centered pulse. Lopez advances to a well-oiled improvisation, while winding folk suggestions are made by Malaby, who encourages Shipp’s harmonic conduction to rocket up at some point. This is the most stirring outing by Dickey in a few years.

Favorite Tracks:
01 - Supernova ► 03 - Swamp Petals

Chad Taylor Trio - The Reel

Label: Astral Spirits, 2022

Personnel - Brian Settles: saxophone; Neil Podgursky: piano; Chad Taylor: drums.

The multifaceted drummer Chad Taylor, who proves to be as much virtuosic as practical in his chops, returns with his bass-less trio - featuring saxophonist Brian Settles and pianist Neil Podgursky - for a sophomore album whose program is a jewel. As a sideman, the drummer has been contributing to some of the most compelling projects by the Chicago Underground Quartet, saxophonists Avram Fefer and James Brandon Lewis, and bassist Eric Revis, just to name a few. 

He brings two of his own compositions into The Reel, one being the title track, a piece in five with a rubato piano-driven passage and a folk inflection that makes us think of Keith Jarrett’s excursions; and the other “Julian’s Groove”, which makes a fine turn into an Afro-Cuban rhythm so blithe as to be ravishing.

The amazing teamwork between the trio members is here for anyone to declare true, and you’ll find two incredible renditions of tunes by the immensely influential pianist Andrew Hill that are illustrative of that. “Subterfuge”, for example, brings a subtle Latin touch to Hill’s hypnotic modal jazz; it's a narratively strong number where Podgursky combines lush voicings and single-note phrases with dexterity. Boasting an alluring timbre, Settles is assertive in his statement, letting the ideas flow with freedom, whereas Taylor expands his language during four-bar exchanges with his associates. The other piece, “Reconciliation” - a gem first included in the 1964 Blue Note album Judgment! - relies on a boppish language with some delightful angularity, benefiting from the ever-sensitive drumming of the bandleader, whose classy brushwork shows the way for qualified solos from Settles and Podgursky.

Whereas the saxophonist contributes only “Moon Tone Shift”, pivoting to a more sober mood with parallel lyricism on top of Taylor’s elemental vitality, the pianist penned four of the nine tracks on the album. The highlights are “Delta”, with its disarmingly expressive melody, as well as the beautifully accented “Omniverse”, which closes out the session as an artier model centered on post-bop sophistication. Here, the racing melodies go up and down the hill with intervallic wisdom and impeccable drumming on the side.

What’s more striking is that there are no weak moments on The Reel, an album that holds one’s interest on account of emotional honesty and a refreshing musical imagination made with a mix of complete unpretentiousness and necessary complexity. The members of this trio, not being radically different in their tastes and approaches, are definitely on the same page.

Favorite Tracks:
01 - Subterfuge ► 02 - Delta ► 09 - Omniverse

Matthias Schwengler - Soulcrane & Strings

Label: Mons Records, 2022

Personnel - Matthias Schwengler: trumpet; Matthew Halpin: tenor saxophone; Philipp Brämswig: guitar; Reza Askari: bass.

Soulcrane was formed in 2015 as a drum-less project led by Cologne-based trumpeter and composer Matthias Schwengler. With him was Reza Askari on bass and Philipp Brämswig on guitar. After their debut album in 2016, the trio was augmented into a quartet with the addition of Irish saxophonist Matthew Halpin. For this new release, Soulcrane & Strings, Schwengler continues his streamlined style, annexing a string quintet composed of three cellos and two violas. 

Demonstrating he’s not following a particular model but creating a new one, the trumpeter is as much competent in the arrangements as in his soloing duties. The opener, “From West Coast to East Coast”, confirms what I’ve just said, being one of the three pieces that emerged from his passion for brewing beer, a craft he enjoyed while spending some days in the Bulgarian town of Bansko during the scariest pandemic days. This same southwestern Bulgarian town located at the foot of the Pirin Mountains is referenced once again in “Pirin’s Pearls”, a tribute to its people and culture. While the former piece consolidates the focused pulse of the acoustic guitar, the rustic glow of the strings, and smart jazzy lines; the latter, an ambient ballad in five, is given a gentle Latin-style cadence when the improvisation presents itself.

“Mariya and her Stout” shapes up as another folk jazz ballad with juxtaposed trumpet, saxophone, and cello lines hovering, floating and occasionally touching down before lifting off again. A completely different approach is offered with “Chip & Dale”, a story of two squirrels that never waxes nor wanes but keeps a light steady pace throughout.

The Askari-penned “Maex” is the only piece on the album that wasn’t composed by Schwengler. With the strings holding court throughout, this homage to a late friend is perfectly suitable for a film score. “Chania”, with its asymmetric beat-cycle {8+7}, is a protean chamber jazz number in favor of melodies, which, being sharp, are never smattered. The exciting journey comes to an end with a live interpretation of “Two Bodhi Tree Leaves”, a 7/4 piece retrieved from the last album Another Step We Take (Mons, 2020). Its spacey lyricism verges on the spiritual side, and if the string players are at their absolutely best here, then the enlightenment comes from Schwengler and Halpin, who, after delivering synchronously, split up for lilting individual solos. 

Concepts and ideas develop here with a broad sense of communication, making Soulcrane & Strings a strong album well-worth investigating.

Favorite Tracks:
01 - From West Coast to East Coast ► 06 - Chania ► 09 - Two Bodhi Tree Leaves

Noah Garabedian - Consider the Stars Beneath Us

Label: Outside in Music, 2022

Personnel - Dayna Stephens: tenor and soprano saxophone; Carmen Staaf: piano; Noah Garabedian: bass; Jimmy Macbride: drums; Samuel Adams: electronics.

The American bassist of Armenian descent Noah Garabedian gathered remarkably inventive musicians for this new album, Consider the Stars Beneath Us, which celebrates the life and spirit of his father, who passed away in the early days of the Covid-19 pandemic. The program is replete with holistically driven moments, achieving a pleasurable equilibrium via sensitive playing and empathic reflection.

Apparently loose in its initial course, “RR” is a double homage to saxophonist Ravi Coltrane and trumpeter Ralph Alessi, two mentors of extremely importance in the bassist’s musical path. In addition to composed passages, there's a candid bass monologue with a lot to be absorbed. The following number, “Expectation. Regret” doesn’t really convey the despondency suggested in the title. Even plunging into a superficial state of melancholy, the elliptical lines of saxophonist Dayna Stephens writes a vivid narrative that is continued by pianist Carmen Staaf. Elasticity is a must, being extended to the bottom layers.

Two of the most gripping pieces on the album are “Salt Point”, which provides an intense Eastern experience based on the Moroccan gnawa tradition, and “Petty Thieves”, inspired by Monteverdi’s polyphonic madrigals of the Renaissance and Baroque eras. Whereas the former is anchored by a bass figure that repeats at every 14-beat cycle, the latter, possessing such strong rhythmic smarts, infuses a delicious bittersweetness via the angular counterpoint of the piano. Ahead of its fantastic conclusion, there’s another expressive solo by the bandleader.

Harmonically inspired, “Petrichor” lets us feel the snare-fired ruffles and agitated toms of drummer Jimmy Macbride, particularly during Stephens’ tenor statement. In turn, the beautiful “Alice” - a tribute to Alice Coltrane - shines like neon reflected in the sky. It’s a serene jazz piece that makes for a spotless conclusion, with Staaf projecting McCoy Tyner’s modal moods in her playing, and composer Samuel Adams emulating a harp electronically. The latter contributes the sole non-original piece, “Pendulum for NG”, an elusive polyrhythmic effort that inspires Stephens for a stunning final improv that makes us beg for more.

Garabedian’s music is gracious and strong, and his album captivates more with the frequency you play it.

Favorite Tracks: 
03 - Pendulum for NG ► 04 - Salt Point ► 06 - Petty Thieves

Will Vinson - Tripwire

Label: Whirlwind Recordings, 2022

Personnel - Will Vinson: alto saxophone; Matt Penman: double bass; Eric Harland: drums + guest Melissa Aldana: tenor saxophone (#3,6).

English-born, New York-based saxophonist Will Vinson embraces an adventurous mind-set for Tripwire, his third outing on the Whirlwind label, following Four Forty One and Rio Grande. The new record consists of striking originals and exceptional interpretations of standards, and features the saxophonist actively backed by bassist Matt Penman, a regular collaborator, and drummer Eric Harland, his workmate in trumpeter Alex Sipiagin’s jazz units. 

Chilean saxophonist Melissa Aldana joins them for two tracks, one of them being “Things”, a free take on Jerome Kern’s “All the Things You Are” (including that wonderful intro by mighty boppers Charlie Parker and Dizzy Gillespie), where the two musicians at the front exchange playful lines and push each other to inspired heights. The other piece she participates in is the Vinson-penned closer, “Resting Jazz Face”, a freewheeling, alternatively tense, and risk-taking adventure.

The leadoff track, “Tripwire”, is an undeniable highlight and burns with energy from the very start. Its frenzy rhythm emerges with triplet agitation, and there are well-calibrated solos by Vinson, who infuses wide-ranging figures and effectively measured intervals, and Penman, who shows he can be a spellbinding storyteller. “Fable” demonstrates that the saxist is not afraid to experiment as he overdubs saxophone layers for a looping crossover jazz driven with ambience, modulation and a septuple time feel.

Two incredibly soothing jazz ballads taken from the Great American Songbook are delivered with heart and soul by the trio. Count Basie’s “Blue and Sentimental” establishes right away that Vinson knows the tradition like the back of his hand. While he speaks frankly by dint of a genuine idiom, Harland is subtly elusive in his brushed exchanges, making it even catchier through contrast. The other standard is “For All We Know”, a song popularized by Hal Kemp in the ‘30s and tackled by iconic singers such as Billie Holiday and Dinah Washington. Tripwire is a well-paced set that showcases Vinson's splendid artistry.

Favorite Tracks:
01 - Tripwire ► 02 - Blue and Sentimental ► 06 - Resting Jazz Face

JD Allen - Americana Vol. 2

Label: Savant Records, 2022

Personnel - JD Allen: tenor saxophone; Charlie Hunter: guitar; Gregg August: bass; Rudy Royston: drums.

Saxophonist/composer JD Allen has been hailed as one of the most creative musicians of our time. His work is varied and resulted in several tour de force albums, but he found a particular voice in the American roots by playing the blues and folk songs with a unique touch. The album Americana came out in 2016, and its follow-up, Americana vol. 2, is here, a testament-in-sound that reflects the plight of southern Black sharecroppers and their early mid-1900’s exodus to the North and Midwest.

This idea frames the entire album, which features longtime associates, bassist Gregg August and drummer Rudy Royston, as well as a new partner: Charlie Hunter on guitar. Playing eight of the 11 tracks, the latter shows to be fully equipped to join the trio, and that becomes evident right from the start. “Up South” alludes to Detroit, Michigan, intensifying our imagination with vast plantations and sparse dedicated farms in operation. Here, Auggust lays down a 12-beat-cycle bass substratum that supports the intense guitar and torrid saxophone playing.

“The Battle of Blair Mountain” sonically depicts the 1921 labor uprising and armed resistance in West Virginia, sounding half-heroic and half-doleful in its procedures. The flickering vibrations of Hunter’s guitar makes it a harmonically expansive workout, and its mood gets closer to the traditional song “This World is a Mean World”, where Allen demonstrates to dominate the language profoundly. This last piece opposes to the sweet ballad “You Don’t Know Me”, a country song turned standard by Ray Charles in 1962, which doesn't fall outside the scope of the record. The triple time feel of “The Werk Song” also contrasts with the uptempo 4/4 of “Hammer and Hoe”, a piece that, inspired by the historian Robin Kelley’s book of the same name, depicts the struggling black farmers with enough sonic abrasion to make us sweat. 

Three pieces are stripped down to the trio format, allowing some tension to break underneath the seemingly idyllic surfaces. They are: “Jackie and Johnny”, notably delivered with an abstract feel and disengaged posture; “Mickey and Mallory”, a communicative effort with a strong bass pedal and coruscating brushwork by Royston; and “A Mouthful of Forevers”, which features arco bass in brooding cogitation with the sax and drums.

This is another brilliantly assembled work by Allen, who demonstrates his command of the saxophone and the genre proposed with articulated lucidity.

Favorite Tracks:
01 - Up South ► 02 - This World is a Mean World ► 09 - The Battle of Blair Mountain

Tom Harrell - Oak Tree

Label: High Note Records, 2022

Personnel - Tom Harrell: trumpet, flugelhorn; Luis Perdomo: piano; Ugonna Okegwo: bass; Adam Cruz: drums.

The incredibly talented trumpeter and composer Tom Harrell releases Oak Tree, another hard-to-resist album, such is the variety and sophistication of the music presented. In a career that spans 50 years (with appearances alongside Phil Woods, Jim Hall, Bob Brookmeyer, Joe Lovano, and Horace Silver), the trumpeter has been championing the jazz tradition and developing a clear, precise and fluid language that puts him in a league of his own.

Teamed with Venezuelan-born pianist Luis Perdomo (in their first studio collaboration) and regular collaborators, German-Nigerian bassist Ugonna Okegwo and American drummer Adam Cruz, Harrell explores 11 new originals that exemplify his signature aesthetic, often based on modal centers, smart rhythm changes, diverse musical influences, and fantastic melodies.

The opener “Evoorg” (reads ‘groove’ backwards) starts the proceedings with enormous hard-bop and post-bop appeal and notable support of the rhythm team, whose members keep playing closer to the vest. Harrell dishes out a graceful, uplifting solo, being followed by Perdomo, who is given more latitude to expand beyond the lilting accompaniment. In the same vein, “Archaeopteryx” pays a fun tribute to both dinosaurs and Charlie Parker, featuring a fine conversation between Okegwa and Cruz while trading fours.

As it happened in the latter tune, Harrell overdubs his horns on the exciting and agile “Zatoichi”, a tribute to the enigmatic fictional character of the same name, a blind Japanese blademaster who is the hero of many films and TV series. Cruz’s proficiency comes with ease here, whether employing occasional snare drum rolls or engaging in tom-tom terminology.

If “Tribute” brings to mind “Samba de Uma Nota Só” by the master Brazilian composer Tom Jobim, then “Sun Up” conjures up the reggae of Bob Marley. “Shadows” also breathes some bossa feel, and even includes some waltzing bars at the end. Both “Fivin’” and the title cut favor pristine playing. The former develops with Perdomo emanating an amiable, soulful funkiness on Fender Rhodes; the latter features the group languorously peeking through a cadenced harmonization.

On this recording, Harrell and his associates emphasize the genre-bending versatility that is their common strength. The result is extremely pleasing to the ear. 

Favorite Tracks:
01 - Evoorg ► 02 - Fivin’ ► 05 - Zatoichi

Dierk Peters - Spring

Label: Sunnyside Records, 2022

Personnel - Adam O’Farrill: trumpet; Caleb Wheeler Curtis: saxophone; Dierk Peters: vibraphone; Walter Stinson: bass; Buz Donald: drums.

The German-born, Brooklyn-based vibist Dierk Peters presents a set of compositions primarily focused on simplicity and further developed with the help of rising stars from the New York scene. Spring, the follow-up to his debut Ambrosia (Tangible Music, 2019), is composed of nine originals that took shape during the worst pandemic months. The quintet features a killing two-horn frontline with saxophonist Caleb Wheeler Curtis and trumpeter Adam O’Farrill flawlessly wielding their horns through the byways of modernism.

Titled after a Transylvanian Romanian town that was colonized by Germans, “Sibiu” displays a loosely conversational and polyphonic theme. The bandleader steps into improvisation with confidence, subsequently providing harmonic support to the horn players. And one can discern some rhythmic bends and displacements toward odd-meter. “Yet No Treble” is another flourishing endeavor. Explorative in nature, this forward-looking cut inspired by Ornette Coleman and Paul Bley is introduced by Wheeler’s authoritative lines, and features arresting moments throughout, including improvs by Stinson and Peters. The latter drops stretchable phrases on top of the punctual and regular measures of the former.

Connecting as a unit, these artists deliver “Haiku Pelt” with cinematic elegance and secure “Byroad Lyre” like a waltzing lament that shifts into other discrete pulses. “Bill” is also framed with fragility at first, but adjusts to something different without losing composure. This piece, written after an encounter with an elderly stranger who needed help getting home, builds to a climax via the horn-centered reciprocity.

Rich in sound and keeping abreast with a distinguished rhythm, “Segré” is a tribute to English pianist John Taylor, who died in the Western French town to which the title refers. Some pieces on Spring may sound punchier than others, but the up-and-coming Peters shows his talent with this vibing statement.

Favorite Tracks:
01 - Sibiu ► 02 - Yet No Treble ► 04 - Segré

Marshall Gilkes - Cyclic Journey

Label: Alternate Side Records, 2022

Personnel - Marshall Gilkes: trombone, composition;  Aaron Parks: piano; Linda May Han Oh: bass; Jonathan Blake: drums + brass octet with Tony Kadleck: trumpet, flugelhorn; Brandon Ridenour: trumpet, piccolo trumpet, flugelhorn; Ethan Bensdorf: trumpet, flugelhorn; Adam Unsworth: horn; Joseph Alessi: trombone; Demondrae Thurman: euphonium, Nick Schwartz: bass trombone; Marcus Rojas: tuba.

On his nine-part suite Cyclic Journey, trombonist, composer and bandleader Marshall Gilkes couples jazz and classical material with wisdom. For that, he enlisted a contemporary jazz quartet of modern improvisers and a classical brass octet, which includes some known artists in the world of jazz such as trumpeter Tony Kadleck (Maria Schneider, John Hollenbeck) and tubist Marcus Rojas (Henry Threadgill). Gilkes' work with large ensembles - The Vanguard Orchestra, Maria Schneider, Ryan Truesdell’s Gil Evans Project, WDR Big Band - is widely recognized, and here he filters it through a personal prism in response to the internal and external existence of his own journey.

Letting the luminous rays of “First Light” spread widely, Gilkes orchestrates a waltzing chorale with well-designed horn layers and balanced statements from himself and pianist Aaron Parks. “Up and Down” keeps the relaxed posture, infusing nice counterpoint in the transition to “The Calm”, which, in turn, offers a charming moment of repose effectively brushed by drummer Jonathan Blake and featuring a wonderfully expressed bass solo by Linda May Han Oh. She delivers again on “Musings”, a lit up ride that also calls for trombone lyricism.

“Go Get It” flourishes with playful fanfare fantasy, weaving and intersecting sounds as if in a luxurious ballroom. In contrast, “Genre Battles” alternates those classical-like moments with the swinging eloquence of the jazz quartet.

With sequences of dovetailed brass populating “Cyclic Journey” at an early stage, it’s Parks who, standing out, showcases his prime form by supplying immense passion within an affirmative proposal. Curiously, one of the most gratifying pieces for me was the bonus track, “Sin Filtro”, which encapsulates rhythmic variety for a hybrid sonic identity that goes from Spanish to Latin to jazz.

This is an album that doesn’t necessarily scream for your attention but where one finds myriad nuances and compelling interplay throughout coherent frameworks.

Favorite Tracks:
01 - First Light ► 03 - The Calm ► 10 - Sin Filtro

John Escreet - Seismic Shift

Label: Whirlwind Recordings, 2022

Personnel - John Escreet: piano; Eric Revis: bass; Damion Reid: drums.

The music of John Escreet (David Binney, Antonio Sanchez), an incredibly modern pianist and composer born in the UK and based in L.A., is cryptically meticulous and freeing in its unusual logic. He combines composition and improvisation in a way that surprises at every record.

Like happened with his previous outing, Learn to Live, Seismic Shift, his ninth album as a leader, is worth exploring due to the force and inventiveness of the music. For this one, Escreet enlisted a more than compatible rhythm team of creatives: bassist Eric Revis (Branford Marsalis, Jeff Tain Watts), and drummer Damion Reid (Steve Lehman, Liberty Ellman), and even dedicated them “RD” (short for Revis and Damion), where the bass follows a regular walking step in five, expanding midway, when there’s plenty of harmonic color. Kinetic pianistic flurries dance in and out of scope on top of a challenging rock-solid rhythm. Also developing in five but more meditative, “Perpetual Love” doesn’t inhibit Escreet from exploring the keyboard with a wide tonal range and motion. Yet, the vibe changes on the minute Revis begins a fleet unaccompanied bass statement that will trigger subsequent reactions from piano and drums.

The improvised “Outward and Upward” goes totally abstract, while incorporating different timbres, drones, and cyclic figures. It gains a distinguished form when Revis ignites a 10-beat-cycle arco groove. “Digital Tulips” features Escreet in a two-hand confluence of melodic angularity within an accessible phrasing and harmonic turbulence. And “The Water is Tasting Worse” brings the proceedings to another level, intermingling winding discourses and entrancing rhythmic mechanics. It’s a solid convergence of avant-jazz, electronica, and post-bop ingredients. 

The strongest moments on the album are achieved with the first couple of tracks. “Study No.1” is a fire starter propelled by an unabashed spectacle of intricate rhythms, hypnotic intervals, and mind bending textures; “Equipoise”, which was penned by the respected pianist Stanley Cowell, is less hectic and more melodic, incorporating skimming piano runs to create shivering undercurrents. 

Escreet fires up this blazing new trio with creative explosion, making clear he’s here to stay as one of the most talented pianists around.

Favorite Tracks:
01 - Study No. 1 ► 02 - Equipoise ► 09 - The Water is Testing Worse

Rufus Reid Trio - Celebration

Label: Sunnyside Records, 2022

Personnel - Sam Allee: piano; Rufus Reid: bass; Duduka da Fonseca (#2-10); Kenneth Salters (#1,11) + The Sirius Quartet - Fung Chern Hwei: violin; Gregor Huebner: violin; Ron Lawrence: viola; Jeremy Harmon: cello.

At 78 and with nearly six decades into his career, the American bassist Rufus Reid (Dexter Gordon, Stan Getz, Eddie Harris) has nothing to prove, but keeps pushing the envelope of his wise playing. He touts a new album on the Sunnyside label alongside pianist Sam Allee and drummer Duduka da Fonseca - trio mates he’s been playing with since 2011 - and The Sirius Quartet (on selected tracks). The first collaboration between the bassist and this acclaimed string ensemble happened in 2017 with Territorial Dance, which came out on the vinyl-dedicated label Newvelle Records. In truth, all eight compositions chosen for that recording reappear on Celebration, plus three new pieces: two of them (the ones bookending the album) featuring drummer Kenneth Salters. 

Reid’s “Celebration” greets us like a welcoming note, vamping with great spirit while making an asymmetric figure the core of its texture. Sometimes reminding us of Kenny Barron’s post-bop albums from the ’80s and ’90s, we can hear strings shining through and feel the jazz mobility of Allee injecting freedom in a few bars. Salters trades sixes with the band before rounding out the time for the final theme statement. The remaining new piece is “The Rise of the Row”, one of the two compositions by Allee, where Reid bends and slides his notes with intense virtuosity. 

His lucid and tasteful playing, both in the accompaniment and improvisation, is never in question, and the three Coltrane-inspired pieces on this album can confirm that. “This I Ask of You” opens with the strings immersed in effective contrapuntal pizzicato before flowing with a romantic tango-ish feel; “It’s Time to Shout it Out”, based on "Resolution" from the masterpiece A Love Supreme, alternates a dreamy and modal spirituality with an unearthly swinging flow; and “Tranescape” is an inescapable ballad propelled by the soft sounds of Da Fonseca’s brushed skins and cymbals. 

The rendition of Cedar Walton's “Cedar’s Blues” is a vibrantly swinging tour de force that provides joyful momentum, whereas “One for Amos” (bassist Sam Jones dedication to the legendary jazz club owner Amos Kaune), is infused with a smooth candor in the blues. Also making part of the tasty program is Reid’s “Celestial Dance”, which first appeared on his 2003 quintet album The Gait Keeper. In this current version, the trio shifts and sails tempo with ease, ending up in a rubato meditation.

Reid was gifted with the grace of swinging and grooving, even when merely ‘walking’ his bass. His experience and sound make every note he plays speak the essence of jazz.

Favorite Tracks: 
01 - Celebration ► 04 - It’s Time to Shout it Out ► 06 - Tranescape 

Steve Turre - Generations

Label: Smoke Sessions Records, 2022

Personnel - Steve Turre: trombone, shells; Emilio Modeste: tenor and soprano saxophone; Wallace Roney, Jr.: trumpet; Isaiah Thompson: piano; Corcoran Holt: bass; Orrion Turre: drums. Guests - James Carter: saxophone; Ed Cherry: guitar; Andy Bassford: guitar; Trevor Watkis: keyboards; Buster Williams: double bass; Derrick Barnett: electric bass; Lenny White: drums; Karl Wright: drums; Pedrito Martinez: percussion.

Making the most of a line-up of veteran and young artists, the masterful trombonist Steve Turre remains faithful to his vision of borderless music, delivering ten pieces, which, impeccably rooted in tradition, take us to different places. Special guests contribute to a diverse repertoire filled with spellbinding musical narratives.

Both the opener “Planting the Ceed” and “Pharoah’s Dance” combine Latin pulses with a modal harmonic spirit. The former piece, a tribute to pianist Cedar Walton (Turre’s former bandmate in Art Blakey’s Jazz Messengers), also swings confidently with hard-bop melodies atop, whereas the latter, homaging the late saxophonist Pharaoh Sanders and the pianist McCoy Tyner, leans more toward the post-bop side.

The venerated groundbreaking pianist Duke Ellington is also praised with the heartrending “Dinner with Duke”, and his influence is equally detected on “Sweet Dreams”, another beautiful ballad that features Buster Williams on bass and a magnificent saxophone solo by James Carter. An Afro-Latin-infused “Smoke Gets in Your Eyes” is the sole standard on the album, whereas the blues presents itself as a dedication to the iconic Harlem’s venue Smoke Jazz Club and its associated record label on “Blue Smoke”. The noticeable guest here is guitarist Ed Cherry, most known by his association with trumpeter Dizzy Gillespie in the last phase of the latter's career.

“Don D.” makes another compliment, this time to Jamaican trombonist Don Drummond. The entirety of the song hinges on the reggae pocket created by the ensemble, in a nice arrangement that spotlights the electric bassist Derrick Barnett, guitarist Andy Bassford and keyboardist Trevor Watkis. “Good People” and “Flower Power” are brought to life with ideas that have antecedents in Turre's previous work. The former is amiable and joyful, propelled by Pedrito Martinez’s percussive skills; the latter sets the perfect atmosphere for the known shell playing of the bandleader, here in direct communication with trumpeter Wallace Roney, Jr. The mature drummer Lenny White plays in both pieces.

Generations wraps up with “Resistance”, whose irresistible trotting groove, rhythmic accents, and Latin vibe culminate in a fine soprano solo by Emilio Modeste, a former member of Wallace Roney Quintet. Turre invests each song with pure musicality, using his compositional strengths as an anchor to explore fascinating sonic worlds to which no jazz lover is indifferent.

Favorite Tracks:
01 - Planting the Ceed ► 05 Don D. ► 06 - Pharoah’s Dance

Mark Guiliana - the sound of listening

Label: Edition Records, 2022

Personnel - Jason Rigby: tenor saxophone, bass clarinet, clarinet, flute; Shai Maestro: piano, mellotron, ampliceleste, Fender Rhodes; Chris Morrissey: bass; Mark Guiliana: drums, synth, percussion, drum programming.

Drummer/composer Mark Guiliana’s third recording with his notable quartet reinvents the formula presented by the two previous albums and keeps you on your toes, creating new lines of thought that, sounding complex at times, are never opaque. Known for subverting the norms of jazz as well as merging innovation and tradition to his advantage, Guiliana builds ‘sound of listening’ with eclecticism. Both the album’s title and the ideas behind the music came from the book Silence: the Power of Quiet in a World Full of Noise by Buddhist Zen master Thich Nhat Hanh. 

“a path to bliss” is the first reflection into serenity via an undisturbed instrumentation that incorporates keys and reeds. The bass throb delivered by Chris Morrissey seems to want to beat faster, and the orchestration gains more layers, sounding contextually unfettered when Guiliana infuses a consistent pop/rock rhythm. This is followed by the soul-searching “the most important question”, which kicks off with a bass pedal point and a frenzy synced melody delivered by pianist Shai Maestro, who doubles here on Rhodes, and English saxophonist Jason Rigby, whose individual expression comes to the fore while drawing on the impeccable rhythmic control of the group. There are multiple fluxes succeeding one another with logic.

That’s also the case with “our essential nature”, a contemporary stunner with colorful language and killer instinct. The piece revels in demanding melodic contours, chordal dexterity, impressive pulses, and chance-taking solos by Maestro, Guiliana and Rigby. The latter blows his horn over a fusion tapestry that includes Latin, electronica and rock elements.

Guiliana’s compositions are mesmerizing. Whereas the delightful “under the influence” presents some mystery between the lines and makes the drums sing more than any other instrument, “continuation” is an Afro-centric celebration that provides the most fun. With the bassist and the drummer laying the groundwork with aplomb, don’t even think about being static.

“everything changed after you left” goes from a spiritual ballad to the gentle swing of a bolero groove. At a later stage, we are taken to pop-rock territory complemented by jazz-immersed improvisation. The kaleidoscope of facets always cohere, even during the shorter electronica-oriented pieces that serve as interludes - the title track, for example, shows the versatility of the group by intelligently integrating synth stabs, mellotron, and drum programming.

Guiliana keeps helping define the contemporary music of our era with a perfect balance between great melodies, stunning rhythms and improvised playing. This album will surprise those who think they have listened to everything this band has to offer.

Favorite tracks:
02 - the most important question ► 04 - our essential nature ► 08 - under the influence

Michael Wollny Trio - Ghosts

Label: ACT Records, 2022

Personnel - Michael Wollny: piano; Tim Lefebvre: bass; Eric Schaefer: drums.

With both discipline and freedom stirring up their music, the trio of pianist Michael Wollny accomplishes a lot in Ghosts, their seventh recording for the ACT label. The album pairs the German pianist with stellar foundation builders such as the American bassist Tim Lefebvre, who rejoins his mates eight years after playing in the debut album Welktentraum, and the sensitive drummer Eric Schaefer.

So tastefully put together, this work thrills with variety in the approach and makes certain moments unforgettably special, with the most spectacular examples being “Ghosts”, an exquisite cover of Japan’s 1981 hit made with prepared piano, cymbal legato and electronics; and a rousing rendition of Schubert’s “Erlkonig” enhanced by industrial, classical and avant-garde influences. 

But the trio doles out many other exciting surprises, giving a new life to jazz standards such as the Gershwin-penned “I Loves You, Porgy”, which waltzes as much as it swings in four with jazz and classical touches, and Duke Elligton’s classic “In a Sentimental Mood”. There’s also the Southern gothic rock of Nick Cave’s “Hand of God”, here presented with an adventurous bass cruise at the outset and epic contours as a result of Wollny’s harmonic execution and darting runs; as well as Paul Giovanni’s haunting “Willow’s Song” (from The Wicker Man original soundtrack), which turns like a rarefied, perpetual contemplation with keen piano intervals, beautiful contrasts in tone and color, and a no-sweat vamping at the end. Timber Timbre’s indie folk/rock song “Beat the Drum Slowly”, where the smoothness of some passages dwindles the flow in opposition to the expansive militaristic austerity of others, is also worthy of attentive listening.

Wollny reinforces his astonishing stylistically range with originals. “Hauntology”, is introduced by a vividly articulated piano figure in five, with most of the remaining adorns and coloration coming from the higher register. By comparison, on “Monsters Never Breathe”, he relies on his left hand to produce haunting, low-pitched movements that take place with the impeccable brushwork of Schaefer, whose sound is absolutely delicious.

With interesting tune choices and a penchant for the experimental, Ghosts is unified in a way Wollny’s music hasn’t been so far. It’s a fascinating sonic world that deserves both respect and admiration.

Favorite Tracks:
01 - I Loves You Porgy ► 05 - Ghosts ► 07 - Erlkonig

Clark Sommers Lens - Intertwine

Label: Outside in Music, 2022

Personnel - Geof Bradfield: alto and soprano saxophone, bass clarinet; Chris Madsen: tenor saxophone; Matt Gold: guitar; Clark Sommers: bass; Dana Hall: drums.

In a departure from the trio format of his Ba(Sh) project, American bassist and composer Clark Sommers shifts into a thrilling, top-flight quintet on Intertwine, for which he welcomes two talented saxophonists: longtime collaborator Geof Bradfield and Chris Madsen. Guitarist Matt Gold and drummer Dana Hall complete the lineup, guaranteeing fun at every turn.

The rhythm section prods the soloists - especially the saxophonists whose statements are showcased throughout - while forming the linchpin of Sommer’s compositional aesthetic. Pleading for a better world and with George Floyd’s death in mind, “Also Tomorrow” pairs a melodic folk demeanor with unknotty grooves that shift seamlessly in shape maintaining the three-time feel. Madsen and Bradfield gasp into their horns with narrative purpose and systematic articulation, being followed by Hall, who makes a good use of his percussive malleability. 

“James Marshall”, a dedication to the mighty guitarist Jimi Hendrix, throws disorienting rhythmic accents into the rollin' bluesy rock swagger that serves as a vehicle for Gold’s evocative soloing. Conversely, with “Second Guesses”, the group draws on the jazz tradition with a throw back to the hard-bop era. It opens up for a swinging party and solos, and then there are bars to be traded with the drummer. “Harbor”, a solo bass interlude, makes the bridge between this piece and the introspective “Ancient Voices”, designed tunefully in six with subtle harmonies and bass clarinet at the fore. Switching horns, Bradfield wields the soprano sax with gusto on “Silent Observer”, having just drums as accompaniment. Later on, the piece uncovers its fusion flavor in a cocktail of Latin strut, post-bop enthusiasm, and a fast-paced swinging underpinning.

“Weeks and Weeks” is a dedication to bassist Willie Weeks, who worked with R&B singer Donny Hathaway. The latter’s influence is clear here, a vivid soul-pop delight with a magnetic beat underneath. The album concludes with the breezy title track, which revels in a scintillating bass solo, glistening guitar with confluent melody and chords, and taut exchanges between the saxophone players, who do justice to the album’s title. With Sommers in command of the operations, the collective's efforts yielded favorable results.

Favorite Tracks:
01 - Also Tomorrow ► 02 - James Marshall ► 05 - Ancient Voices

Charles Lloyd - Trios: Ocean

Label: Blue Note Records, 2022

Personnel - Charles Lloyd: tenor saxophone, flute; Gerald Clayton: piano; Anthony Wilson: guitar.

The second installment of Charles Lloyd’s Blue Note trio series is here, pairing up the legendary saxophonist with a regular collaborator, pianist Gerald Clayton, and a new associate, guitarist Anthony Wilson. Although Trios: Ocean doesn’t pack a wallop like the inaugural chapter did (Trios: Chapel features guitarist Bill Frisell and bassist Thomas Morgan), it still contains some precious moments that allow you to recognize Lloyd’s top form at 84.

Over the course of four Lloyd originals recorded during pandemic times, they navigate breezy and moderately churning waters with a serious, sensible perspicacity. The get-go “The Lonely One” is immersed in introspection and denotes quiet lyricism, making the transition to “Hagar of the Inuits” in a way that puts the listener on the lookout for something undemanding but sophisticated. In the latter piece, strong folk undertones are loosely thrown in by Lloyd, who stresses his style and spirit by conjuring some other pieces he wrote. We can hear fragments of the marvelous “Dream Weaver”, with Clayton and Wilson first responding with staccato accents in the accompaniment and subsequently finding their own way to interact without messing with each other’s ideas. Their respective solos are underpinned by smooth swing as well as firm pedal points.

The blues in the hands of Lloyd always has a special meaning, and that’s the case with “Jaramillo Blues”, a dedication to painter Virginia Jaramillo and her sculptor husband Daniel Johnson. The sweet, drifting sound of Lloyd’s flute finds Clayton’s melodic finesse and harmonic range, while Wilson opts to cook up something slowly and precise before expanding boundaries with one foot in and the other out.

The record comes to an end with the smooth vibes of “Kuan Yin” (the Chinese goddess of compassion and kindness), which, being seductively balanced in its underlying groove and texture, has Lloyd stirring up emotions at every move on the tenor. His mystic language stimulates Wilson for a remarkable guitar unfolding as well as Clayton, whose tonal riches take the song to a conclusion.

Favorite Tracks:
02 - Hagar of the Inuits ► 04 - Kuan Yin

Joshua Redman Quartet - LongGone

Label: Nonesuch Records, 2022

Personnel - Joshua Redman: tenor and soprano saxophone; Brad Mehldau: piano; Christian McBride: bass; Brian Blade: drums.

The album RoundAgain (Nonesuch, 2020) marked the first release from the quartet led by saxophonist Joshua Redman in 26 years. The heavyweights in question - pianist Brad Mehldau, bassist Christian McBride and drummer Brian Blade - loved the experience and were reconvened by Redman for a new outing, LongGone, which features six of his originals: five new compositions and a revisitation of a classic included in his acclaimed album MoodSwing (Warner, 1994).

The album opens with the title track, which, developing in a more traditional vein, doesn’t take the listeners long to realize that these joining forces really sound splendidly. With a nature that nods to the Great American Songbook, the piece showcases full-bodied tenor playing, the force of the bass drive, coruscating drumming, and elegant piano comping. Mehldau’s super-groovy solo ride is particularly ravishing.

The ensemble maintains the high levels on “Disco Ears”, with Redman blowing the main melody on soprano in parallel with Mehldau. The piece moves forward with an invigorating friction that results from their meaningful communion. Yes, you can feel the excitement of disco, but also the mightiness of groovy jazz. Yet, the band never loses its cool. Another song that ingrains deeply in our minds is “Rejoice”, an old spectacle professed live with exultation and joy. It sounds better than ever, combining blues-intoned pride and Americana-inspired groove. The opulent bass figure that marks the pace is immediately supported by Mehldau’s left hand, and the improvs - constructed on top of both hard swinging and funkified motions - are simply hair-raising. Redman excels, cleverly strolling outside and often playing with rhythmic figures.

The rhythm section is also superlative on “Kite Song”, a 7/8 effort introduced by sax alone before the lead lines catch up with pulsating chords and a searching melody. The music takes a turn for the pensive with the sculptural “Statuesque”, whose strong hints of classical are bookended by deep chordal amazement and a tad of arco bass; and it also touches the blues with the waltzing “Ship to Shore”, featuring a top-notch solo by McBride that is as much stimulating as it is logical.

The passionate Redman and his brilliant cohorts continue to seek out creative paths within the limitless possibilities of the jazz universe.

Favorite Tracks:
02 - Disco Ears ► 04 - Kite Song ► 06 - Rejoice

Makaya McCraven - In These Times

Label: International Anthem, 2022

Personnel - Greg Ward: alto sax; Irvin Pierce: tenor sax; Marquis Hill: trumpet, flugelhorn; De'Sean Jones: flute; Jeff Parker: guitar; Matt Gold: guitar, baby sitar; Joel Ross: vibraphone, marimba; Brandee Younger: harp; Greg Spero: piano; Rob Clearfield: piano; Macie Stewart: violin; Zara Zaharieva: violin; Marta Sofia Honer: viola; Lia Kohl: cello; Junius Paul: double bass, electric bass, percussion; Makaya McCraven: drums, sampler, percussion, tambourine, baby sitar, synths, kalimba, handclaps, vibraphone, wurlitzer, organ.

The finicky drummer and beat inventor Makaya McCraven has been lauded for his exquisite blend of styles, irresistible moods, and melodies that linger, sending the listener to emotional zones both distinctive and appealing. This new record, In These Times, has 11 tunes providing a spotlight for his entrancing rhythms and adroit arrangements, with soul, jazz, funk, and dub rippling across sonic fabrics woven with the help of an all-star ensemble. 

The title track incorporates an audio excerpt from the Studs Terkel Radio Archive, setting ostinatos against one another before unifying them into a beautiful melody complemented with a phenomenal beat, sweeping harp, and bowed cello. The triple meter flow occasionally shifts to 6/8, and a soulful saxophone solo finds its way to pleasant emotion.

A wide variety of pulses are offered, and if “The Fours” discloses an intense foreign flavor by virtue of stringed instruments and odd, looping rhythms founded on deep and wet drum sounds, then “High Fives”, delivered in five, adds bass sounds and textural guitar for a richer tissue. In contrast, the polyrhythmic “Seventh String” has the soaring flute lines of De'Sean Jones creating contrast with McCraven’s disorienting drumming.

No element feels forced or inappropriate, and “This Place That Place” proudly invests in both fragmentation and coordination, stressed under a peculiar swinging vibe. The easterner “So Obuji” and the regularly riffing “The Title” boast a strong dub feel that gets mixed with soul elements, whereas the boom-bap/boom-boom-bap sequence of “The Knew Untitled” entices the guitarist Jeff Parker for a skillful improvisation pelted with bluesy licks.

McCraven’s elocution is clean, precise, and confident, reaching expressions that practically demand to be heard and felt. This is an album that is alive with revelatory emotion and a tonal quality that reveals a serious commitment to his message and art.

Favorite Tracks:
01 - In These Times ► 02 - The Fours ► 10 - The Knew Untitled