François Houle Genera Sextet - In Memoriam

Label: Clean Feed, 2023

Personnel - François Houle: clarinet; Marco von Orelli: cornet, trumpet; Samuel Blaser: trombone; Benoit Delbecq: piano; Michael Bates: bass; Harris Eisenstadt: drums.

Canadian clarinetist François Houle, whose keen arrangements and musical execution can be seen in every nook and cranny of his discography, is joined by a solid combo recommended by the late Ken Pickering. In Memorian pays tribute to the latter, who was a mentor, a friend, and the artistic director of the Vancouver Jazz Festival for 32 years, a fact that binds even more these musicians together. Houle’s Genera Sextet made its debut in 2012, and appears here with one single alteration: Swiss trumpeter and cornetist Marco von Orelli replaces Taylor Ho Bynum. 

An introductory short piece called “Stand By” opens up the curtain, almost in a thoughtful symphonic way and with an epic sentiment of confidence that runs between the lines. It leads to “Requiem for KP”, the only track that, passing the 10-minute mark, rolls out with staccato actions that deliberately interfere with the rhythmic flux, and quiet moments with assorted circular motifs on the move. Bassist Michael Bates delivers a pensive solo over the irregular if scintillating drum flow of Harris Eisenstadt. Then, the pianist Benoit Delbecq goes for a swinging walk with the horn section of Houle, Orelli and trombonist Samuel Blaser filling spaces in unison. The latter dishes out an improvisation laced with exclamations, and the bandleader concludes the improvisations with strong articulation and unpredictability. By the end, the sympathetic happy swing that had been put up for the solos winds back to the mournful tones of the first stage.

“Ekphrasis” emphasizes the collective work with repetition of every 20-beat cycle, whereas “Gish Gallop” develops with a contemplative feel, exposing amiable tones and often masking the tempo with meticulous harmonic accentuations. Distinct from any other tune, “Scarlet” lives in a kind of Afro-Latin exuberance masterfully created by Delbecq’s prepared piano. Eisenstadt’s colorful drumming and Bate’s dancing bass groove in seven reinforce this effect.

The group presses forward on “This Tune…”, opting for a certain angularity in the melody without feeling too off. Houle’s loose clarinetism is sometimes joined by the rest of the pack for a phrase conclusion. Yet, “Deep River” is more prone to mood and rhythmic shifts, efficiently melding avant-garde jazz, rock, and post-bop elements.

In Memoriam is a requiem that doesn't necessarily sound doleful. For the sake of the music, there's also celebration, nostalgia, love, joy, and gratitude packed into the same bag.

Favorite Tracks:
02 - Requiem for KP ► 04 - This Tune… ► 06 - Scarlet

Michael Formanek Elusion Quartet - As Things Do

Label: Intakt Records, 2023

Personnel - Tony Malaby: tenor and soprano saxophone; Kris Davis: piano; Michael Formanek: bass; Ches Smith: drums, vibes.

As Things Do, the sophomore album of the Elusion Quartet underscores the reputation as a masterful creative bassist and visionary composer of its leader, Michael Formanek. His group is made of excellent improvisers and bandleaders - saxophonist Tony Malaby, pianist Kris Davis and drummer Ches Smith - who commit to Formanek’s ideas across the music with optimal acuity. 

The quartet’s openness to new genres is felt right from the start. “Bury the Lede” falls somewhere between a melodic doom-metal trait and an enlightened alternative rock song. Malaby begins his show with beseeching tenor growls over a tense piano-bass pedal. His dark pitches ascend for a grand improvisation that is also wide in range and emotionally strong. He expertly sequences his brainstorms into climaxes. With Davis giving it the right rich dimension while Formanek and Smith hold the foundation like impenetrable rocks, this first track pushes you with a strange force. You want to hear more at this point.

Contrasting with the outgoing postures of numbers such as “I Don’t Think So” - a playful piece with staccatos in the melody, lively snare activity, bowed bass, and exquisite piano chords and textures - and “Rockaway Beach”, whose hooky thematic melody looks good on top of this centered and propulsive funk-rock underpinning - we find numbers that explore ambiguity with a certain degree of comfort. They are “Rewind”, an elegant workout with dynamic tempos and swinging sections that blend the softness of Kenny Wheeler and the angularity of Herbie Nichols; “Entropy”, which is introduced by bass and drums before a 10-beat cycle phrase stipulates the groove; and “Gone Home”, an enchanting 3/4 ballad that peacefully concludes the recording with pleasant-sounding tones.

There’s also “In Turn”, which belongs to a different class and starts in improvisational mode. Whereas Smith remains on vibraphone for a while, Malaby pushes through a rise via occasional multiphonic fire and resonating pitches. The theme statement surfaces at the end. 

Formanek’s recordings have been consistently successful, but this one is special. Everyone with a thirst for discovery in music should listen to this work.

Favorite Tracks:
01 - Bury the Lede ► 03 - In Turn ► 04 - Rockaway Beach

Dominic Miller - Vagabond

Label: ECM Records, 2023

Personnel - Dominic Miller: guitar; Jacob Karlzon: piano, keyboard; Nicolas Fiszman; bass; Ziv Ravitz: drums.

Argentine-born guitarist Dominic Miller is best known for his work with Sting. He’s an even-tempered musician with a firm yet understated voice who mostly opts for solo and duo sessions. Nonetheless, in this recording he leads a quartet with two new faces in the lineup, namely Swedish pianist Jacob Karlzon and the sought-after Israeli drummer Ziv Ravitz, who demonstrated rhythmic abilities in the trios of Christopher Irniger and Shai Maestro, as well as in a couple of outings from saxophonist Oded Tzur. Rounding out the group is bassist Nicolas Fiszman, a recurring collaborator. 

The music on Vagabond - titled after John Masefield’s poem - is soft on the ear and appeasing to the soul and mind. The opening title, “All Change”, is an open-ended cycle with an impressionistic underpinning, whereas “Cruel But Fair” is a brushed pop ballad soaked in Sting fashion. This precedes the rubato “Open Heart”, a cozy sonic space for reflection and where a world-inspired placidity reinforces the high levels of intimacy.

The ensemble is meticulous in crafting late-night slow dances and “Clandestin” glistens with a delicate pulsing quality and graceful funk demeanor. It might seem restricted to a bass pedal and undeviating percussion, but that’s not necessarily an obstruction to freedom. Moreover, it’s cuddled with nice linguistic observations by Karlzon. “Mi Viejo”, composed for Miller's father, is a yearning solo guitar effort that anticipates the poignant closer “Lone Waltz”.
The easy listening offerings in Vagabond don’t transcend or frustrate.

Favorite Tracks:
01 - All Change ► 03 - Open Heart ► 08 - Lone Waltz

Gretchen Parlato & Lionel Loueke - Lean In

Label: Edition Records, 2023

Personnel - Gretchen Parlato: voice, percussion; Lionel Loueke: guitar, voice, percussion // Guests - Mark Guiliana: drums, percussion (#3,6,7,9,11); Travis Burniss: electric bass (#3,6,11); Marley Guiliana: voice (#3,6,12); Lisa Loueke: voice (#3).

With Lean In, American singer Gretchen Parlato and Benin-born guitarist Lionel Loueke celebrate musical cultures in a successful pairing where they complement each other on 12 absorbing cuts. This session, a response to pandemic times, captures the two at the height of their abilities, embracing a world jazz vibe centered on West African grooves and rhythms. On specific pieces (including two wonderful interludes), the duo strategically used guest artists, elevating their instrumentality to another plane; they are drummer Mark Guiliana and bassist Travis Burniss.  

Penned by Loueke, the opening number “Akwê” and the fourth track “Okagbe” were retrieved from his creative jazz trio Gilfema's self-titled album (2005). The former piece is sung in Fon (the indigenous language of Benin) - with two voices in perfect consonance - and features brilliant guitar work, which, delineated with expert riffage, provides the contagious rhythm; the latter number, seductively expressed in seven, was shortened into an apt interlude that takes us to “Astronauta”, a melancholic detour into Brazilian bossa with Portuguese lyrics. A touch of Afro-Brazilian color is also spotted in “Muse”, whose tonal relaxation and English lyrics reminded me of Bebel Gilberto. This piece develops in nine with key changes and includes a captivating guitar solo.

Parlato excels on “I Miss You”, an incisively percussive reading of Klymaxx’s 1984 ballad. With the vocal backing of Loueke, her warm-toned voice carries a very pleasing lightness. The Afro-centric “Nonvignon”, a Loueke tune, was previously included in her eponymous debut album from 2005, whereas a new cut, “Painful Joy”, has concurrent wordless vocals tracing a poignant melody that lets emotions flow naturally. 

The duo co-wrote the impeccably layered title track with Guiliana, and the order the musicians enter here reflects how this piece came to life. The drummer’s energizing rhythms lock in with Travis’ bracing bass lines on “If I Knew”, a kinetic work powered by a funky groove, crisp afrobeat, electric wah-wah currents, a gorgeous chorus, and an alluring synth effect released by Loueke’s guitar during his burning improvised statements.

With a strong collaborative work that spans 20 years, Parlato and Loueke are both multilingual in a musical sense. They explore the plights and points of their inspirations in duo for the first time, searching for beauty and distinguishing themselves in sound and language.

Favorite Tracks:
02 - I Miss You ► 03 - If I Knew ► 07 - Muse

Lesley Mok - The Living Collection

Label: American Dreams, 2023

Personnel - David Leon: alto and soprano saxophones, flutes; Yuma Uesaka: tenor saxophone, clarinets; Adam O'Farrill: trumpet; Kalun Leung: trombone; Cory Smythe: piano; Joanna Mattrey: viola; Aliya Ultan: cello; Florian Herzog: bass; Weston Olencki: electronics; Lesley Mok: drums. 

Mounted with an exciting lineup of ten explorative musicians, the full length debut CD by the up-an-coming drummer and composer Lesley Mok is a singularly personal statement whose unconventional concept promotes an alternative integrity of sounds. Her fearless approach to prompts and responses offered by each improviser allows synchronicity and dissonance. This creates conditions to include both lyrical subtleties and various jazzscapes served with serpentine logic.

What she calls a sonic ecosystem starts off with “It Wants”, where electronics mix with scratching and brushing sounds and a range of distinct gong-like resonances. Ingenious pianist Cory Smythe steps in with conspicuous cluster chords turned supple textural lyricism. The horn players integrate themselves into the netting, eager for a nimble dance with the wind breeze.

Equally eschewing fireworks in favor of a contemplative avant-garde restraint, “The Furious Place” takes shape out of a subdued yet directional rhythmic flow with the help of horn popping sounds. There are sparse long tones from which violist Joanna Mattrey and flutist David Leon stand out, pointing out the way to the ebb and flow that follows. “Again, All” develops as a mysterious dream, brushed into a sparkling continuum of cymbals and having gorgeous statements by trombone and saxophone reversing the understatement of the extremities. 

Considerable space to play is found on “Of Appearance”, a jazzier cut with waling bass and a cadence of drumming that serves the intervallic undertaking and pitch contrasts of trumpeter Adam O’Farrill and clarinetist Yuma Uesaka. The former is also at the fore in the totally improvised “Its Silvery After Tomorrow”, which, delivered in trumpet-bass-drums format, ends in contrapuntal feast with terse brass phrases, bowed bass and brushed snare. Additionally, “Quite a Spectacular Dusk” is like a final whisper, embracing a quiet stillness with hushed tones but ending in awe via rhythmic accents and kinetic woodwind activity.

The flourishing “Floral and Full” is a showcase for motivic ideas, percussive responses, modern classical persuasion, taut drones, and free-wheeling exchanges between trombone and clarinet. 

In her own way, Mok is a progressive-leaning creator whose Living Collection work makes for an auspicious debut. I look forward to listening to what she brings next.

Favorite Tracks:
03 - Again, All ► 05 - Of Appearance ► 09 - Quite a Spectacular Dusk

Brandee Younger - Brand New Life

Label: Impulse! Records, 2023

Personnel - Brandee Younger: harp, vocals; Rashaan Carter: bass; Junius Paul: bass; Makaya McCraven: drums, percussion // Guests - Meshell Ndegeocello: vocals; Joel Ross: vibraphone, xylophone; De’Sean Jones; flute; Pete Rock: additional production, drum programming; 9th Wonder: additional production, drum programming; Mumu Fresh: vocals; Yuri Popowycz: strings.

Brandee Younger has no rival in today’s jazz harp world. Her music is contemporary, often spiritual, and terrifically eclectic with oodles of crossover currents that include soul, funk and hip-hop. Brand New Life, the follow-up to Somewhere Different (Impulse!, 2021), is a tribute to one of her harp heroes, Dorothy Ashby, whose music she approaches here from new angles. With drummer extraordinaire Makaya McCraven as producer and fully operational behind the kit, this session presents 10 concise tracks - some of them featuring guest artists.

The title track, a slick R&B cut enriched with modulation, has Baltimore-based singer Mumu Fresh at the front; Ashby’s “Livin’ and Lovin’ in My Own Way” is infused with trippy hip-hop flavors by the hand of DJ/rapper Pete Rock; “Dust” - another piece by Ashby - features Meshell Ndegeocello on vocals over the jumpy feel of a good reggae tapestry; and “The Windmills of Your Mind” - which was composed by Michel Legrand but included on Ashby’s 1969 album Dorothy’s Harp - welcomes additional production and drum programming from 9th Wonder. 

Yet, my favorite Ashby-related numbers here are the album opener, “You’re a Girl For One Man Only”, a previously unrecorded song where Younger underlines the beauty of the melody over a chord progression that induces peace of mind; and “Running Game”, a soothing modal exercise made lovable through technical perfection and spiritual emotion.

Another highlight is Younger’s “Moving Target”, which, developing in seven, fuses funk, jazz and soul elements. You can hear syncopated trap beats, flute by De’Sean Jones, and an enthusiastic vibraphone solo by Joel Ross. The disc closes with a magical harp-only rendition of “If it’s Magic”, one of the most beautiful ballads composed by Stevie Wonder.

Younger carries on to explore her instrument on each piece, delving into the implications of delicately plucking or freely sweeping the chosen strings to optimum effect.

Favorite Tracks:
01 - You’re a Girl For One Man Only ► 06 - Running Game ► 08 - Dust

Nick Finzer - Dreams, Visions, Illusions

Label: Outside in Music, 2023

Personnel - Nick Finzer: trombone; Lucas Pino: tenor saxophone, bass clarinet; Alex Wintz: guitar; Glenn Zaleski: piano; Dave Baron: bass; Jimmy Macbride: drums.

American trombonist Nick Finzer is known for bringing passionate lyricism and keen harmonic excursions to his compositional style. At the age of 34, he reveals an enviable musical maturity, drawing heavily from tradition but demonstrating an innate ability to modernize and engage listeners. On Dreams Visions Illusions - the result of the New Jazz Works grant and his fifth outing as a leader - he builds on the signature style of previous releases with the help of faithful collaborators who give body to his ‘Hear and Now’ sextet.

True to form, the group begins this journey by alerting against capitalism in our society with “To Dream a Bigger Dream”. Buoyantly tackling the theme, Finzer and saxophonist Lucas Pino deliver powerful statements in a luxurious post-bop setting that includes a good vamping time for drummer Jimmy Macbride to speak.

The facility in Finzer’s narrative process comes to the fore on “I Thought I Should Take the Road Less Traveled”, an affectionate and gently propulsive torch song with a triple time feel. Here, one can sense a sort of crossover appeal that brings Pat Metheny to mind. There’s also strong melody in Finzer’s phrase construction, as well as a stunning improvised delivery by guitarist Axel Wintz. A similar charm is dispensed on “Waking Up”, where bassist Dave Baron serves as the sole accompanist to Finzer’s thematic melody.

“But I Did What They Said” boasts an astounding modal theme while bearing that sort of pathos conveyed by King Crimson. Yet, the number is energized with effective solos. “Follow Your Heart” is moved by well-placed rhythmic accents, hard swinging verve and a tour de force statement by pianist Glenn Zaleski, who constructs and deconstructs as he gets adequate responses from the drummer. He’s followed by the highly articulate Wintz. Whereas the pianist stands out in the rubato ballad “Vision or Mirage?”, the guitarist participates in a dialogue with Finzer and Pino (on bass clarinet) on “Aspirations and Convictions”, whose balladic feel is slightly stirred by Macbride’s snare rudiments.

Finzer and his co-workers deliver stories seasoned and packaged with their own identity. Whether subtle or invigorated, they normally have a powerful effect on the listener.

Favorite Tracks:
01 - To Dream a Bigger Dream ► 05 - I Thought I Should Take the Road Less Traveled ► 06 - But I Did What They Said

Joe Lovano Trio Tapestry - Our Daily Bread

Label: ECM Records, 2023

Personnel - Joe Lovano: tenor saxophone, tarogato, gongs; Marilyn Crispell: piano; Carmen Castaldi: drums, gong, temple bells.

Our Daily Bread is the third chapter in Trio Tapestry’s discography. Led by the extraordinary saxophonist Joe Lovano, who remains the sole composer for this spiritual musical endeavor, the trio is completed by the resourceful pianist Marilyn Crispell and the enigmatic drummer Carmen Castaldi. They give the best expression to eight new selections that advocate the same freedom and abandonment of those presented in former recordings.

“All Twelve” evolves in a 12-tone context with perspicuity in the interplay. I feel it as a dawning peace, whose rubato manner enhances the celestial latitude that defines Lovano’s originals. That said, you can still find piano and saxophone lines in tandem near completion. The following track, “Grace Notes” is an example of spiritual elevation and force in the style of Coltrane. There’s no bass in this project but Crispell provides a hypnotic low-pitched rumination with her left hand, ideal for Lovano’s blistering work out on tarogato. The instrument’s special tone and the improviser’s prayerful intonations make this magnificent modal burner the most expansive on the album. It ends as it started, with Castaldi offering gentle drumming.

“Le Petit Opportun” is a beautiful ballad delivered as a sax-piano duet. It is harmonically palpable and melodically compelling, just like the gracious title track, where intimate lyricism appears in every little touch by the threesome.

If the trio takes the title “The Power of Three”  literally by also providing triplets while exploring within a circumspect mood in tempo rubato, then “Crystal Ball” passes a pastoral air loosened up by free and airy drumming. There’s a solo saxophone tribute to the late bassist Charlie Haden, with whom Lovano played in the last phase of his Liberation Music Orchestra and in Paul Motian’s On Broadway standards project. 

Although not as strong as in their two previous outings, Trio Tapestry’s jazz spirituality is crafted with nice details.

Favorite Tracks:
02 - Grace Notes ► 04 - Our Daily Bread ► 07 - Rhythm Spirit

Ben Wendel - All One

Label: Edition Records, 2023

Personnel - Ben Wendel: tenor and soprano saxophones, bassoon, effects; Bill Frisell: electric and acoustic guitar (#3); Terence Blanchard: trumpet (#2); Cecile McLorin Salvant: vocals (#1); Jose James: vocals (#5); Tigran Hamasyan: piano (#6); Elena Pinderhughes: flutes (#4).

Saxophonist/composer Ben Wendel, an adept in the bold contemporary jazz, offers a completely different approach with his latest album, All One. Conceived in pandemic times and comprising six wonderful pieces, this peculiar outing was inspired by his youth days, when he was trying to write woodwind arrangements for pieces he loved. The concept consisted of recording multiple layers of saxophones and bassoon, working them in studio with the sound engineer Steve Wood, and then sending the results to a number of guest collaborators to add their parts freely. 

Gershwin’s famous standard “I Loves You Porgy” delivers this perfectly intoned chorale of woodwinds over which Cecile McLorin Salvant pushes her voice to the front with incredible emotion. José James does the same on “Tenderly”, adding a particularly warm feel to an already lush arrangement. There’s a saxophone solo here that doesn’t let us go; we stay with it.

“Wanderers” is the first of three Wendel-penned compositions to appear in the lineup. It’s an apt title as the horns roam with staccato blows and fugue-like movements, fusing classical and jazz elements with gracious courtesy. Reeds that revolve around each other and timely handclaps underpin Terence Blanchard’s assertive trumpet solo. Just like with the aforementioned vocalists, this was the first time he and Wendel recorded together. 

The other Wendel pieces are equally outstanding: “Speak Joy” places rippling horn currents at the base and creates deep tonal contrast with the help of flutist Elena Pinderhughes who remains in spontaneous conversation with the saxophonist. “In Anima” closes the album with a bit more mystery and space-age sounds that still carry some poignancy. Wendel's vertiginous descendant moves are as exciting as pianist Tigran Hamasyan’s masterful choice of notes. Both musicians had taken turns playing on each other’s albums in the past.

Before that, Bill Frisell’s “Throughout” conveys a sublime serenity within its lazy 3/4 tempo. The guitarist combines with the saxophonist to provide melodic unisons, taking independent routes whenever he intends to magnify circular riffery. Requiring supreme technical skills, these tracks don’t really include any eccentric movements but brilliant harmony instead. All One provides a fulsome view of Wendel’s arranging and composing capabilities, offering music that is fruitful, explorative and thoroughly satisfying.

Favorite Tracks:
02 - Wanderers ► 03 - Throughout ► 06 - In Anima

Rudy Royston Flatbed Buggy - Day

Label: Greenleaf Music, 2023

Personnel - John Ellis: bass clarinet; Hank Roberts: cello; Gary Versace: accordion; Joe Martin: bass; Rudy Royston: drums.

American drummer Rudy Royston, who has imbued the trios of JD Allen and Bill Frisell with refined rhythmic propulsions, releases Day, a strong second installment from his Flatbed Buggy, a quintet with a peculiar instrumentation. The group has no shifts in the lineup, relying on the powerful low sonorities of John Ellis on bass clarinet and Hank Roberts on cello, and counterweighting them with the soft accordion lines of Gary Versace. Joe Martin locks in with the drummer for a stable yet adaptable foundation.

For this new album (dedicated to his late brother Ritchie and to his music mentor and collaborator Ron Miles), Royston sonically depicts a full day of quarantine in a compelling narrative with varied moods and dynamics. Everything starts with and in the “Morning”, a simpatico number delivered with chamber tonalities and a celebratory folk manner to which the group intensely connects. Accordion, bass clarinet and cello are on the loose, while a playful groove runs at a lower level.

The modern folk-jazz vibe evinced on “Thank You For the Day” has its origin in plucked cello activity, which is soon combined with a bass pedal point and scintillating cymbal proceedings. Ellis makes his horn sing beautifully in the improvisation that ensues. 

Penned by Martin, “Limeni Village” sounds polished and jazzier, but with adequate doses of abstraction. The drum fills are delightful, and Royston expands his language during the final vamp, after an immersive dialogue that occurs between Versace and Ellis. “The Mokes” carries a tango-ish feel, dropping a surprising 14-beat cycle vamp before closing, whereas the instantly catchy “Five Thirty Strut” displays a gorgeous drum intro, embracing a jubilant spirit that ends up expeditiously swinging.

Less effusive are “Look to the Hills” and “Missing You”. The former has a contemplative inception, slowly revealing an asymmetric structure caused by additive meter signatures {7+8}. The latter, a moving hyper-breathable ballad that waltzes resplendently, is the most beautiful piece on the album.  

Despite of the topic, one doesn’t find nebulous atmospheres in Royston’s music. All is palpable and good-natured, eschewing flashy pyrotechnics in favor of empathetic interplay and folksy melodicism. Day is a wonderful album from an articulate drummer whose sound is contagious. 

Favorite Tracks:
03 - Limeni Village ► 06 - Five Thirty Strut ► 07 - Missing You

Artemis - In Real Time

Label: Blue Note Records, 2023

Personnel - Renee Rosnes: piano; Ingrid Jensen: trumpet; Alexa Tarantino: alto and soprano saxophone, flute; Nicole Glover: tenor saxophone; Noriko Ueda: bass; Allison Miller: drums.

In Real Time is a great sophomore album for Artemis, a proficient all-female sextet formed and led by pianist Renee Rosnes who played with luminaries such as Wayne Shorter, Joe Henderson, Bobby Hutcherson, and Ron Carter. The group sounds maturer and more appealing here than in its 2020 debut, featuring two new faces in the lineup - saxophonists Alexa Tarantino and Nicole Glover replace Melissa Aldana and Anat Cohen, effortlessly joining Canadian trumpeter Ingrid Jensen in the frontline. Joining Rosnes once again in the rhythm section are bassist Noriko Ueda and drummer Allison Miller.

Throughout eight phenomenally creative cuts, regardless of mood and pace, these jazz ladies always know where they’re heading, playing by feel and not just by composition. They begin with Lyle Mays’ “Slink”, where the unstoppable and accurate bass work of Ueda creates polyphony and a certain rhythmic undercurrent. Rosnes' layered arrangement shows ingenuity, and she embarks on a dazzling piano solo herself. The trumpetism of Jensen is equally remarkable, flying with impeccable enunciation, range and elasticity. The piece strikes with convulsive rhythmic energy in its denouement.

Miller’s “Bow and Arrow” is pure, sophisticated post-bop with modal inclination and a perceivable Latinization in the B section. The versatile drummer keeps the tune grounded, expanding her chops during the vamp that succeeds the trumpet and saxophone improvisations. She employs lazily brushed mechanisms on Rosnes’ ballad “Balance of Time”, which, going from a rubato intro to a 4/4 tempo, swerves into a waltz in its last 40 seconds.

The Ueda-penned “Lights Away From Home” swings blissfully with a Lee Morgan-esque vibe in the melody. This piece was inspired by a meteor shower observed in upstate New York. Carrying a completely distinct feel, Jensen’s odd-metered “Timber” was born from the love of trees but also concerns about what is happening to our forests. Horn sounds ping without throbbing, and the salient Fender Rhodes places chords in the right place, inviting to interaction.

The opening piece of Rosnes’ 2001 album Life on Earth, “Empress Afternoon” is included here. It’s a whimsical number served with Eastern and Latin touches that needs virtuosity to work efficiently, and the group responds to the call with dynamism - fervent and motivic saxophone eloquence, two-hand keyboardic dexterity with no shortcuts, irresistible trumpet lines with octave-effect, and sharp drum chops. The sextet concludes in waltz mode with “Penelope”, a tribute to Wayne Shorter, who penned it.

The cohesive jazz universe of Artemis can be universally understood. Working in harmony, the group advocates the true spirit of democracy where each musician leaves their own imprint. Here, they sound better than ever. 

Favorite Tracks:
02 - Bow and Arrow ► 05 - Timber ► 07 - Empress Afternoon

Nick Roesler - Ghosting a Funeral

Label: Self released, 2023

Personnel - Nick Roesler: guitar, piano, synth, electronics; Dave King: drums.

Multi-instrumentalist and composer Nick Roesler (Chicane Theory, Porcupine) from Minneapolis releases Ghosting a Funeral, an atmospheric duo album woven alongside excellent drummer Dave King (The Bad Plus, Broken Shadows, Happy Apple). They attempt to push boundaries in the dark ambient rock experimentation, passing sensations of obscurity and lonesomeness as the final result.

Opening the album, “Night Sweats” explores within the indie rock canon, contrasting atmospheric guitar and synth effects with some unexpected beats for syncopation. The chiaroscuro tonalities are seamlessly transferred to “Hall Light”, which, following in the same vein, becomes another sinister pleasure.

“Polyurethane” probes trippy sonorities, juggling odd rhythmic textures, low-pitched vibes and electronics to emulate a psychedelic electro-rock. “Elephant in the Room” boasts a stimulating motorik beat that stands out from the sustained droning carpet mounted underneath. Under two minutes long, this is the shortest piece on the album but its grittiness made me wish it were further extended and developed. King’s terrific drumming is put to good effect on “Suspended Bridge”, a pathos-driven mystery tale in which Roersler’s smoldering baritone guitar carries much of the weight. Here, the duo reaches a climax in their association. 

If the title track, swept by ambient synth and guitar washes, attains an enigmatic suspension, then “Midlife Bison” enhances a five-note guitar motif by placing it on top of the layered texture. This is backed by King’s operations on the kit, including rattling percussion, thudding bass drum kicks, dry snare timbres, and opportune cymbal soaks.

Ghosting a Funeral relies on the power of mood, mixing stylistically different elements that shimmer up and drone and hum along with rhythm throbs. It will certainly create more impact on indie rock fans than jazz enthusiasts.

Favorite Tracks:
01 - Night Sweats ► 04 - Midlife Bison ► 09 - Suspended Bridge

Allen Lowe - America: The Rough Cut

Label: ESP-Disk, 2023

Personnel - Allen Lowe: tenor and alto saxophone, guitar (#4,10); Ray Suhy: guitar, banjo (#1-12); Alex Tremblay: bass (#1-12); Kresten Osgood: drums (#1-12). ** On #13 - Roswell Rudd: trombone; Ray Anderson: trombone; Randy Sandke: trumpet; Darius Jones: alto saxophone; Lewis Porter: piano; Jessie Hautala: bass; Jake Millett: electronic drums.**

Allen Lowe is a 68-year-old American saxophonist, guitarist, composer, and music historian who played with saxophonists Julius Hemphill and David Murray, trombonist Roswell Rudd, and clarinetist Don Byron, among others. For this ESP-Disk outing he turned his gaze to American music, spanning different styles within its musical heritage and jazz components. It’s an ever-shifting musical journey made in the company of guitarist Ray Suhy, who is versatile in a panoply of genres (from death metal to prog-rock to jazz), bassist Alex Tremblay, and Danish drummer Kresten Osgood, who worked with Sam Rivers, Paul Bley and John Tchicai.

Probing angular edges, the opening cut - “Damnation” - feels like a punk-jazz-gospel exercise packed with energy, robust solos and loads of fun. “Cheatin’ My Heart” flows amiably with a honky tonk feel marked by Osgood’s rim shots and Suhy’s dulcet chord progression. The third track, “Poor Mourner’s Serenade”, evolves with the sound of sizzling brushes, some crackling Lowe tenor playing and an apt accompaniment by bass and guitar. The theme is expressed in consonance.

Lowe dives headfirst into the American roots, used as a vehicle for his expression on several occasions in the form of pre-blues and blues (“Cold Was the Night Dark Was the Ground” and “Blues for Unprepared Guitarist”, both with Lowe on the acoustic guitar; “Full Moon Moan”; “Blues in Shreds”, which comes saturated in fuzz-toned guitar), and rag (“Old Country Rag”, with the banjo giving it the expected rustic shape).

Written for Allen’s wife, “Hymn for Her” is a pure jazz song that draws from tradition, whereas “It’s the End” contains a turbulent prog-rock excursion with a swinging carpet as support. Conversely, “Metallic Taste” is literal in the title, offering loud heavy metal roar in a jam-like manner. The album concludes with “At a Baptist Meeting”, a piece recorded in 2014 with a mighty horn section. Its avant-garde jazz epicenter burns with sounds that take us to Ornette Coleman, Charles Mingus and Sun Ra.

Depending on how much of a jazz purist you are will give you a reason to debate the place of this record in Lowe’s catalogue. Concurrently, the saxophonist released In The Dark, a three-disc set created for and with his Constant Sorrow Orchestra that justifies a good listening time.

Favorite Tracks:
01 - Damnation ► 02 - Cheatin’ My Heart ► 13 - At a Baptist Meeting

Dan Rosenboom - Polarity

Label: Orenda Records, 2023

Personnel - Dan Rosenboom: trumpet, flugelhorn, quarter tone trumpet; Gavin Templeton: tenor and baritone saxophones; John Escreet: piano, keyboards; Billy Mohler: double bass; Damion Reid: drums.

Trumpeter, composer, producer, and record label owner Dan Rosenboom has been making an impression in the contemporary jazz, whether by leading his own projects - including the powerhouse jazz-meets-metal quartet Burning Ghosts - or collaborating with likes such as multi-instrumentalist Vinny Golia and trumpeter Jeff Kaiser.

His new album, Polarity, is a jewel of intensely played music and interactive creativity performed with openness and edginess in the company of a top-notch quintet. The idea for this album came out of the Boom Sessions (Orenda, 2022), which sonically captured five concerts at ETA in Highland Park, Los Angeles. Polarity was produced by Justin Stanley, who worked with Prince, Beck, Leonard Cohen, and Paul McCartney. 

The collectively composed 19-minute epic “The Age of Snakes” exhibits extended improvisatory chops within a mercurial temper. The lazy bass groove delivered by Billy Mohler, the ambient chordal loops of keyboard wizard John Escreet (occasionally morphing into cascading sequences), and the thoughtful drumming of Damion Reid, sustain the feisty unison lines thrown in by Rosenboom and saxophonist Gavin Templeton. Following the steps of the bandleader, who speaks clear and pure as limpid water, Escreet flies high, sweeping the keyboard acrobatically in a Herbie Hancock-style. Rhythmic and harmonic deconstruction is part of the job, and then we have a freedom-filled tenor solo over stirring drum work. At some point, the group seems influenced by electronica through several synth effects and a trance-like pedal pulse, while the horns keep wandering over chromatic bass movements. A final funky groove leads us to the wrap-up.

The piece that follows, “A Paper Tiger”, is equally impressive as it imposes a frantic rhythmic motion with stupendous melodic angularity atop. The individual excursions from trumpet, sax, piano and drums are as energetic as they are spontaneous. “Walking Shadows” and “Ikigai” demonstrate the group’s command of tempo and accentuation. Yet, they attest that virtuosity is not indifferent to engaging melody.

Following an identical structure and order of solos, “War Money” and “Minotaur” work like a modern swinging orchestra with modal infusions and fervent, darker tones dictated by Templeton's robust baritone sax. The former piece includes inspired piano expressiveness and acute trumpet dispute, whereas the latter has Escreet brilliantly laying down a different rhythm over the texture.

The rapport and interplay between these musicians is outstanding, and the music leaves space open for each of them to shine.

Favorite Tracks:
01 - The Age of Snakes ► 02 - A Paper Tiger ► 04 - War Money

Tobias Meinhart Berlin People - Dark Horse

Label: Sunnyside Records, 2023

Personnel - Tobias Meinhart: tenor and soprano saxophone; Kurt Rosenwinkel: electric guitar; Ludwig Hornung: piano; Tom Berkmann: bass; Mathias Ruppnig: drums.

The second installment of German saxophonist Tobias Meinhart’s Berlin People is titled Dark Horse and was recorded live at A-Trane jazz club, located in Germany’s trendy capital. The quintet bolstered its sound, tightening musical and friendship ties during the time spent on the road (they toured Europe and South America after the release of their first album). The group remains intact in its pieces, featuring the acclaimed guitarist Kurt Rosenwinkel, who establishes a strong connection with the saxophonist in most of the melodic themes. The group is rounded out by Ludwig Hornung on piano, Tom Berkmann on bass, and Mathias Ruppnig on drums. The latter two contribute one composition each to the tracklist.

Meinhart’s “Luna Park” opens empathically through a joyful thematic development that is a tribute to New York’s Coney Island. The unmistakable contemporary sound gains even more emphasis when Meinhart permeates the harmonic tapestry with a gripping tenor improvisation. Rosenwinkel follows him, projecting his blustering synth guitar with ruddy tones and inviting ideas. In turn, Hornung opts for a more thoughtful approach with plenty of rhythmic figures and chromatic slides.

The uptempo “Dark Horse” runs under a sextuple meter with punk rock-ish attitude and jazzistic expression around the edges. Its breathless galloping takes a rest before the closing statement.  “Dreamers” is an older piece - a contrafact of the standard “You Stepped Out of a Dream” - that feels a bit extended here. In spite of that, we can indulge in Meinhart’s soprano sprints over the harmonic riches. There are swinging segments in its 4/4 motion that one can identify with “Berlin People”, which seems immersed in an authentic urban bustle. This fitting 15-minute closer was retrieved from the band’s debut album and extended from six to 15 minutes.

Contrasting with these swirling streams, we have Ruppnig’s tenderly outlined “Gift of Time”, and Meinhart’s “Sonic River”, a lyrically involving 7/4 cut introduced with grace and perspicuity by Rosenwinkel and brushed with balmy effulgence by the drummer.

Although not making the same great impression as The Painter (recorded with a completely different quintet), Dark Horse is nevertheless an agreeable album where the bandleader’s compositions stand out.

Favorite Tracks:
01 - Luna Park ► 08 - Sonic River ► 09 - Berlin People

Marc Copland Quartet - Someday

Label: InnerVoice Jazz, 2023

Personnel - Marc Copland: piano; Robin Verheyen: tenor and soprano saxophones; Drew Gress: bass; Mark Ferber: drums.

The stupendous sound of American pianist Marc Copland is only matched by his immense creativity and originality. For this quartet session, recorded for his own label, the pianist teams up with bassist Drew Gress, a longtime partner in many musical voyages, and two new additions: Belgian-American saxophonist Robin Verheyen and Californian drummer Mark Ferber. They are not only perfectly integrated with Copland’s playing but also bring their own musical personalities to the setting. Someday is comprised of five original compositions (three by Copland and two by Verheyen) and three jazz standards rendered with the group’s lovely approach to traditional jazz.

Velvety coated, “Someday My Prince Will Come” starts the proceedings with a positively restrained waltzing breath and a disarming relaxation that reflects the quartet’s posture. It’s followed by Copland’s “Spinning Things”, a serious post-bop inflection specifically written for this group. Verheyen shines in a tenor improvisation marked by logical fragmentation, smart intervallic choices, and fluid runs. He ends up exchanging ideas with Copland during the final section.

The saxophonist brings two pieces of his own creation to the program: “Dukish”, a ballad that nods to Duke Ellington with lithe beauty and sincerity, and “Encore”, whose dusky chamber tones are stirred by Ferber’s protruding brush playing. Yet, the most beautiful piece is Copland’s “Round She Goes”, a previously recorded piece (first appeared on a duo recording with Greg Osby) expressed with modal brilliancy. Gress proves he’s in top form; Verheyen takes us above the sky with an impressive soprano statement; and Ferber radiates good vibes in a vamping sequence in the wake of the reintegrated theme. 

Copland included one piece each by Thelonious Monk and Miles Davis, namely “Let’s Cool One” and “Nardis”, respectively. The former swings along in a comfortable environment, whereas the latter concludes the album with cyclic 32-bars of sophisticated musicality.

The whole CD, from top to bottom, has Copland and his band inspired to the hilt. Space, elegance and heartiness are all at the forefront.

Favorite Tracks:
02 - Spinning Things ► 05 - Round She Goes ► 08 - Nardis

Tim Berne / Hank Roberts / Aurora Nealand - Oceans And

Label: Intakt Records, 2023

Personnel - Tim Berne: alto saxophone; Aurora Nealand: accordion, clarinet, voice; Hank Roberts: cello.

Tim Berne, an alto saxophonist with unpredictable musical temperament and a more-precise-than-brittle tone, teams up with master cellist Hank Roberts (a longtime partner), and multi-reedist/accordionist/vocalist Aurora Nealand (second musical experience after having joined forces with the duo Trapper Keaper in 2019). These musicians, owners of an excellent instrumental sound and big ears, put a spin on a unique post-modern trio that intrigues and captivates at every turn.

Their melding of ideas, eschewing genre conventions, is encapsulated in the 12 tracks that compose Oceans And. Take the opener as an example: “The Latter”, whose elongated, sustained notes with occasional screeching cello convey a mysterious tranquility, has Nealand’s atmospheric accordion giving harmonic context to Berne’s lines. And yet, one never knows where this gentle dance will take us.

“Framed” is fed by accordion’s elliptical textures, grievous cello, and saxophone motifs that, spreading across the tapestry, show no interest in eradicating tension. The next track, “Eez”, takes abstraction, fragmentation, and looseness even further with its constant diffusion of timbres.

“Partial 2” is an incredible piece that can be tied to “Clustard” and “Sutile”. The clarinet (surprisingly not as dulcet as one might expect) and saxophone engage in logical articulations that probe different intensities, while Roberts remains imperturbable in the back. The cellist excels during the eerie neo-folk of “Frosted”, emphasizing dark-hued elements with a firm identity.

Nealand puts her beautiful voice at the service of “Mortal and Pestered”, a haunting, ritualistic and often dramatic combination of the ethereal and the spectral, whereas on “10tious”, the longest piece on the album, she responsively attempts to mimic Berne’s intricate leaps and rhythmic trajectories on the accordion. There’s also cello pizzicato and quick-witted saxophone, with the protagonists coming and going from the scene with a particular aesthetic in mind.

This trio of like-minded artists offers strangely magnetic music with enough coils and refinements to keep you engaged.

Favorite Tracks:
02 - Framed ► 06 - Mortal and Pestered ► 11 - Partial 2

Freysteinn - í allar áttir en samt bara eina

Label: Self released, 2023

Personnel - Freysteinn Gislason: double bass; Helgi Rúnar Heiðarsson: saxophone; Hrafnkell Gauti Sigurðarson: electric guitar; Óskar Kjartansson: drums.

Icelandic bassist and composer Freysteinn Gislason out fronts a pungent quartet whose workouts can be anything but conventional. The six original compositions here are staunchly structured, and yet the music denotes a free-ish vibe and indispensable experimentalism without scattering too much from the group’s sonic identity. The title of the album, í allar áttir en samt bara eina, validates this idea as it translates into ‘in all directions but still the same’.

“Bylur” exhibits a perfectly cooked-up theme where a shimmering rhythmic net supports the fine melodic delineation started by saxophonist Helgi Rúnar Heiðarsson and later bolstered by guitarist Hrafnkell Gauti Sigurðarson. The latter joins forces with the bandleader for a 9/4 section that soon morphs into 7/4 with noise guitar explosions squalling over the prog-rock-ish texture delivered by bass and drums. Before reversing to the previous tempo and texture, there’s fiery exchanges between guitar and saxophone. 

The title track is set in motion with introductory coherency by Freysteinn and drummer Óskar Kjartansson. The piece advances confidently, juggling with multiple tempos without ever coming to a boil. Still, its finale is utterly surprising. “Brotsjór” is among the best pieces. The group installs this frenzied dance with another additive meter signature that slows down into a ballad. Pensive arco work and reverb-drenched guitar infuse an extreme profundity before getting back to the preliminary intensity for a lavishing tenor solo. 

“Þriðjudagur” is irrigated with folk melodies and burning improvisations, keeping the focus on no-noodling textures and pulsing rhythms that move according the ever-shifting tempos. Following the even-tempered “Samúningur”, the album comes to a close with “Á milli hluta”, an experimental swinging/rock episode in five where descending bass trajectories empower rhythmic interjections by sax, guitar and drums.

Freysteinn and his associates have a common taste for exploration, inferring this music with a seductively tortuous quality that stimulates the ear.

Favorite Tracks:
01 - Bylur ► 03 - Brotsjór ► 04 - Þriðjudagur

Cécile McLorin Salvant - Mélusine

Label: Nonesuch Records, 2023

Personnel - Cecile McLorin Salvant: vocals, synth (#7,9,13); Sullivan Fortner: piano (#3,5,6,11,12); syhths (#6,10), kalimba (#12), vocals (#12), celeste (#14); Aaron Diehl: piano (#1,2); Paul Sikivie: bass (#1,2); Kyle Poole: drums (#1,2); Lawrence Leathers: drums (#2); Godwin Louis: alto saxophone (#3,5), vocals (#12); Luques Curtis: bass (#3,5,12,14); Weedie Braimah, percussion (3,4,5,12,14); Obed Calvaire: drums (#3,5,12); Daniel Swenberg: nylon string guitar (#8).

Lauded singer Cecile McLorin Salvant combines elements of French mythology, Haitian voudou, and apocrypha in this European folkloric tale called Mélusine. She sings in French on most of the tracks, but you can also hear Haitian kréyol, Occitan, and English.

Composed of five originals and nine songs whose origins range from the 12th century to the mid 1980’s, the album challenges norms but also plays off safely within conventions. The French chanson takes both hauntingly sad and dramatic proportions in the opener, Léo Ferré’s “Est-ce ainsi que les hommes vivent?”, as well as on Veronique Sanson’s 1985 pop hit “Le Temps Est Assassin”. 

A dominant Afro-Latin tinge permeates “Doudou” and “Wedo”. Both came from the pen of Salvant who, on the latter piece, offers an upbeat African chant over a modernistic synth tapestry that she plays herself. In Charles Trenet’s easy-listening “La Route Enchantée” we bump into a cabaret-driven enchantment that thrives under the rhythmic propulsion of pianist Aaron Diehl, bassist Paul Sikivie, and a pair of drummers: Kyle Poole and Lawrence Leathers. 

The title track is partly sung in English, finding its sagacious balance with the help of Daniel Swenberg’s acoustic guitar, whereas Michael Lambert’s “D'un feu secret”, a 17th-century courtly song, has its lyricism stirred by Sullivan Fortner's odd synth accompaniment.

We all know what Salvant is capable of. Her magnificently appealing voice is paired with an unblemished technique and often novel ideas. However, I must confess that, even if the results are consolidated, it’s been hard for me to return to this recording. Stylistically, it puts me a bit off, and is far from the greatness of Ghost Song (Nonesuch, 2022), a modern vocal jazz masterpiece.

Favorite Tracks:
02 - La Route Enchantée ► 05 - Doudou ► 08 - Melusine 

Florian Arbenz / Arno Krijger / Greg Osby - Conversation #9: Targeted

Label: Hammer Recordings, 2023

Personnel - Florian Arbenz: drums; Greg Osby: alto saxophone; Arno Krijger: Hammond organ.

Swiss drummer Florian Arbenz reunites with American saxophone heavyweight Greg Osby, one of his jazz heroes with whom he recorded previously at least three times, and adds Dutch organist Arno Krijger to the team. Targeted is the ninth installment of his Conversation series, which features a different lineup in every session. Of the six cuts on this album, two emanated from the pen of Arbenz and one from Osby, while the remaining three are scintillating readings of jazz standards. 

Eddie Harris’ jazz-rock gem “Freedom Jazz Dance” opens the album with a free posture, but rather than conveying abstract states of mind, the trio goes straight to the gut. All layers are slowly distended. The alto saxophone introduction expands into sophisticated phrases that keep dancing in and out of the harmonic scope; the percolating tom-tom accompaniment of the first phase ends up in a locomotion propulsion; and the groovy sounds of the Hammond go from conciliatory to acerbic while infusing a psychedelic rock touch.

The program also stands out thanks to a pair of duets that lean hard on turns with risk-taking propensity. On the Osby-penned “Vertical Hold”, which first appeared on his 2005 Blue Note album Channel Three, resolute saxophone lines roll over the brushed percussive gait of the bandleader. It’s not just their dazzling vocabulary but the purity of their sounds that astonishes. The other duo effort pairs Arbenz and Krijger in a psychedelic, hard-driving interpretation of “Seven Steps to Heaven” by Victor Feldman and Miles Davis. Before attaining a rugged organ epiphany, there’s an introductory drum section with just enough transference of energy between resonating toms and effervescent cymbals.

Arbenz’s “Sleeping Mountain” conjures serene landscapes in its contemplation, but there are brief soaring moments where some mystery is felt. Gershwin’s “I Loves You Porgy” is delivered in a hushed murmur, unlike “Old Shaman”, which bubbles up with a triple time feel, having post-bop and rock elements clashing in positive ways. This trio proves capable of sonically panoramic views.

Favorite Tracks:
01 - Freedom Jazz Dance ► 03 - Vertical Hold ► 06 - Old Shaman