Jacob Young - Eventually

Label: ECM Records, 2023

Personnel - Jacob Young: guitar; Mats Eilertsen; acoustic bass; Audun Kleive: drums.

Jacob Young, a Norwegian guitarist with a consistently assertive melodic touch, often appears surrounded by sonic atmospheres replete with light and leisure. His fourth ECM release, Eventually, marks a special occasion as his first time working in the classic guitar-bass-drums trio format. Comprising all originals, the album features bassist Mats Eilertsen (Tord Gustavsen, Trygve Seim) and drummer Audun Kleive (Terje Rypdal, Marilyn Mazur), a longtime and recent associate, respectively. They guarantee plenty of foundational substance for Young to enjoy the freedom of being the only harmonic voice in the group. The possibilities are vast and the music, feeling like poetry in motion, doesn’t disappoint.

Majestically ventilated without being minimalistic, the title track opens the door to a bright musical narrative that, after a meditative intro, finds its way through groovy drumming, unambiguous bass expression, and a guitar chordal sequence that notates 7/4 tempo. This piece hasn't that funky feel and short thematic statement of “I Told You in October”, where a good portion of bass-and-drums groove asks for Young’s  eminent jazzistic phrasing.

Unaccompanied, the guitarist swirls peacefully on the intro of “Moon Over Meno”, announcing balladic winds with a natural and relaxed approach. This number gains some steam toward its denouement. “Schonstedtstrasse” comes with a nicely chilled rhythm that propels all the same, a bass pedal point that later disengages for harmonic definition, and deft guitar work that includes smart chords and intervals with occasional ringing tones and wah effects.

Contrasting with the gentle accents and the casual, witty observations of “The Dog Ate My Homework”, “Inside” closes out the record in smooth relaxation, including an expressive bass solo over a platform of arpeggiated guitar and understated drumming.

Putting an end to the nine-year hiatus that separates it from Forever Young (ECM, 2014) - which paired the guitarist with saxophonist Trygve Seim and the trio of Polish pianist Marcin Walisewski - Eventually reveals an off-the-chart degree of musicianship. All three musicians are very conscious of their spaces within the trio, allowing every musical idea to effortlessly breathe.

Favorite Tracks:
02 - I Told You in October ► 03 - Moon Over Meno ► 05 - Schonstedtstrasse

Josh Lawrence - And That Too

Label: Posi-Tone Records, 2023

Personnel - Josh Lawrence: trumpet; Willie Morris III: tenor saxophone; Art Hirahara: piano; Boris Kozlov: bass; Jason Tiemann: drums (#1,2,6); Rudy Royston: drums (#3,4,5,7,8).

Trumpeter and composer Josh Lawrence has been giving us many reasons to smile with albums like Color Theory (Posi-Tone, 2017) and Contrast (Posi-Tone, 2018). Last year, he released Call Time with a quintet featuring the up-and-coming saxophonist Willie Morris and the rhythm section of pianist Art Hirahara, bassist Boris Kozlov and drummer Jason Tiemann. His fifth album, And That Too, features this same quintet with drummer Rudy Royston replacing Tiemann on five of the eight cuts.

With tradition at the very center, each tune is infused with smart playing and expressive qualities. The opening cut, “Grit”, is one of those burning post-bop explosions that builds tremendously, steamed with expert improvisations. This Freddie Hubbard-esque piece was penned by Morris, who completely steals the show with a clever, tonally fluid and narratively engaging solo that stuns from start to finish. He is preceded by Lawrence, whose clear language can be as fast as an arrow travels, and followed by Hirahara, an adept of versatility and firm touch. Morris brings a second composition into the song lineup - the hard-swinging, short-themed “Hole in the Wall” begins with tenor over bass and drums, and is later harmonically contextualized by sparse piano moves turned rhythmic counterstatements.

With Kozlov and Royston in the pocket, “Cosmological Constant” offers hard-bop cheerfulness shaken by doubling tempos for a different feel. Alternatively, “North Winds” is a mid-tempo piece with insightful drum fills by Royston during the improvisations, whereas “Black Keys” is a blues played with decorum and range. 

The compelling strength of Lawrence’s soaring lines can be amply appreciated on his soulful ballad “Left Hanging”, and his compositional capabilities confirmed on “Cantus Firmus”, a groovy number in five, all at once redolent of Woody Shaw and Lee Morgan. Its rhythmic acuity invites the trumpeter and Morris to take improvisational turns before Royston substantiates his drum chops during the final section.

Lawrence and his supple quintet still find the time to plunge into the exquisite chord progression of Wayne Shorter’s “Nefertiti” and tackle it with delicate and thoughtful sensibility. This is an undeniably virtuosic recording that, bringing back the taste of classic jazz, finds Lawrence at the apex of his career.

Favorite Tracks:
01 - Grit ► 04 - North Winds ► 08 - Cantus Firmus

Erik Friedlander - She Sees

Label: Skipstone Records, 2023

Personnel - Erik Friedlander: cello; Ava Mendoza: electric guitar; Stomu Takeishi: electric bass; Diego Espinosa: percussion.

She Sees, the second studio album by American cellist Erik Friedlander’s Sentinel - originally a trio and now a quartet - clearly leans on muscular rock while moving in mysterious ways. Driven by genre-fusing ardor, the group welcomes Japanese bassist Stomu Takeishi - he collaborated with Friedlander on fantastic albums such as Topaz (1999), Quake (2003), Prowl (2006) and Ring (2016) - who joins the core trio completed by Brooklyn-based avant guitarist Ava Mendoza and Mexican percussionist Diego Espinosa.

“Baskets, Biscuits, Rain” follows a typical anthemic rock song format but suggests a propulsive swinging feel through the dynamic bass. The quartet gets lean on “Wit & Whimsy”, which sounds like classic arena-rock, and sinewy on “Heatwave”, a fusion piece with excellent command of tempo and tone, and enlivened by an inner/outer travelogue delivered by Friedlander. The cellist, who recently underwent Deep Brain Stimulation to fight Parkinson’s disease, appears here as fit as a flea. 

“Tremor, Blink” is funk-rock rapture. Cello and guitar are seen partially in tandem to create a sort of contrapuntal effect, whereas “Sliding” focuses on a gutbucket jazz n’ bluesy style redolent of Tom Waits. In turn, “Summit” explores the pop genre with cello pizzicato and a reverb-drenched guitar solo with distorted contrails. Mendoza is also impressive on “Ache, Air”, championing a jangling funky rhythm contraction with punk-rock attitude. 

If the engrossing “Rush. Rush Slowly” is treated with ethnic intrusions and Eastern tangents, then “Soak! Soak!” and the closer, “Moneycake: Corrupting”, are pinned with stylish riffs. The former develops with a three-time feel, while the latter gets under way in seven, changing meter signatures en route. 

Adding warped sounds to its rock-steeped temperament, this new Sentinel disc falls well behind the group’s debut album (2020), but deserves some support for its bold sounds and explorative intrepidity.

Favorite Tracks:
06 - Ache, Air ► 07 - Sliding ► 10 - Moneycake: Corrupting

Sylvie Courvoisier & Cory Smythe - The Rite of Spring / Spectre d'un Songe

Label: Pyroclastic Records, 2023

Personnel - Sylvie Courvoisier: piano; Cory Smythe: piano.

This collaboration between Sylvie Courvoisier and Cory Smythe - two visionary pianists and improvisers - is a true knockout. A voyage of discovery that groups the challenging classical masterwork of Igor Stravinsky, The Rite of Spring (it was composed in 1913, based on Pagan myths), and Courvoisier’s lavish contemporary response to that work, titled Spectre D’un Songe. Brilliantly articulated, the immaculate four-hand pianism results in a vertiginous music that embraces bitonality with high-quality reinvention. 

Stravinsky’s movements split into two spectacular parts - “The Adoration of the Earth” and “The Sacrifice” - the last of which being more restrained in tone but pivoting into a vigorous if cinematic interplay that is simultaneously precise and adventurous in its locomotions. The volatile first part departs from an initial motif to plunge into pedal-like grooves that sound like speedy trains, while other times it visually emulates a feather spinning in the air under a spring breeze. With each section conveying passion and mystery, this is a pleasantly surprising work that illustrates the full range and capabilities of Courvoisier and Smythe’s technique at the keyboard.

Clocking in at nearly half-an-hour, “Spectre d’un Songe” flows within an eerie atmosphere. Arpeggiated maneuvers create paradoxes of different magnitudes; patterned cascades of sound (including prepared piano) allow polyrhythmic probings engraved by sudden low-pitched strokes that wake us up from a hypnotic state of reverie; and profuse harmonic cycles invite free improvisation as well as rich timbres and undaunted intervals to linger on.

Both pianists know their roles in this progressive, symphonic opus, blending their elements to perfection. This is a deeply musical experience and a must-have album for both avant-garde and contemporary classical devotees.

Favorite Tracks:
01 - The Rite of Spring Part I: The Adoration of the Earth ► 03 - Spectre D’un Songe

Linda May Han Oh - The Glass Hours

Label: Biophilia Records, 2023

Personnel - Sara Serpa: voice; Mark Turner: tenor saxophone; Fabian Almazan: piano, electronics; Linda May Han Oh: acoustic and electric bass, voice; Obed Calvaire: drums.

Linda May Han Oh, a bassist and composer of enormous talent, approaches bandleading with fresh and distinctive vision. Backed by a new quintet that works really great, Oh delivers a set of pieces informed by abstract themes of the fragility of time and life, paradoxes and choices, and social issues in our world. The Glass Hours has that adventurous quality often found in her discography, creating a compound of collective exploration and deft improvisation.

The sinuous, complex melody of “Circles” is earnestly declared, side by side, by Portuguese singer Sara Serpa, whose technique is impressive, and saxophonist Mark Turner. The sounds spread within the organized structure, and we have pianist Fabian Almazan and Turner taking improvisational turns before a fearless double bass solo unfolds.

Introduced rubato by bass and piano before sliding into a 7/4 meter, “Antiquity” is a piece with lyrics centered on the weight of the past, whereas “Chimera”, taking the form of a sensual dance, mutates along the way. A swift rhythmic figure takes center stage, creating a motivically induced substratum later embellished with tasteful electronics.

Often abstract, these avant-leanings occasionally invite us to new territory, like “Phosphorous”, which is rendered with a relentless prog-rock rhythm bed. Drummer Obed Calvaire, who worked with Oh on her debut album, Entry (CD Baby, 2009), locks in with the bassist for the sake of a funk-inspired accentuation, supporting ethereal wordless vocals and saxophone cross-cuts. There’s also a more rugged than sweet keyboard solo here.

The composer delves deeply into this musical universe of linear and cyclical forms. With warfare as a topic, “Jus ad Bellum” flows rubato, later probing polyrhythmic patterns with ritualistic precision. More celebratory is the title cut, which has challenging metered cycles rising and waning periodically; Serpa is on the leading edge here, and Turner and Almazan take improvisational turns. Thematically contrary, “The Other Side” is a meditation on the afterlife, employing a push-pull strategy with well-placed staccatos that ground us in the present.

Impeccably layered with boundless energy, The Glass Hours is a mature work that positions Oh in the vanguard of progressive musical creativity.

Favorite Tracks:
01 - Circles ► 02 - Antiquity ► 09 - The Other Side

Illegal Crowns - Unclosing

Label: Out of Your Head Records, 2023

Personnel - Taylor Ho Bynum: trumpet, cornet; Mary Halvorson: guitar; Benoit Delbecq: piano; Tomas Fujiwara: drums.

The bass-less quartet Illegal Crowns, a spectacular avant-jazz outfit composed of leaders and improvisers, releases its third album after a five-city tour. On this set, they continue twisting sonic screws at different spots, sometimes reaching pleasantly warped thresholds within the hive of quirky sounds and textures produced. There are nine tonally elusive cuts on the album composed by guitarist Mary Halvorson, pianist Benoit Delbecq and drummer Tomas Fujiwara - each contributes three pieces. Rounding out the group is trumpeter/cornetist Taylor Ho Bynum, who shines throughout.

Fujiwara’s “Crooked Frame” opens the proceedings with odd meter, uncorking unison lines delineated by cornet and piano. They are later joined by detailed contrapuntal guitar. A shift in texture welcomes Halvorson for a vertiginous solo, whose otherworldly aura seems extracted from a sci-fi episode. The following statements from trumpet and piano are equally enthralling.

Halvorson’s “Unclosing” has a slow awakening with prepared piano, arpeggiated guitar, and tinkling percussion. This smooth surface is meditatively intriguing, opening up harmonically without losing composure. Another Halvorson tune that catches the ear is “Osmosis Crown”, processed with piano-guitar polyphony, a relentlessly throttling rhythm, and staggering chords that shift and resolve conveniently. Here, the guitarist comes up with a pressurized solo immersed in aqueous effects.

A sense of individual voice and collective strength appears throughout the band, and Delbecq’s tunes reflect exactly that. “Triple Fever” is highly responsive and motivic, featuring the pianist and Fujiwara in intense activity; “Freud and Jung Go Cycling” has a humorous cool side beyond its title, displaying a gong-evocative piano rhythm, apt percussion, and intercalated improvisations that oppose Halvorson’s brisk phrasing to Ho Bynum’s long distinct whines. There’s also “Les Mots Et Les Choses”, filled with spectacular cornet playing, a guitar flight with two-pitches in tandem, and punctilious three-way parallel lines.

I couldn’t finish this review without mentioning the noteworthy “G Ocean”, which came out of the pen of Fujiwara. Comfortably behind the kit and working under a slow triple tempo, he patterns it with conspicuous fills and methodical marching snare. At the top, Halvorson and Delbecq superimpose different tempos.

These four passionate improvisers form a rich sonic identity. Don’t let the numerous delicacies fool you into thinking that this is something you’ve heard before.

Favorite Tracks:
01 - Crooked Frame ► 03 - Triple Fever ► 07 - G Ocean

Henry Threadgill Ensemble - The Other One

Label: Pi Recordings, 2023

Personnel - Henry Threadgill: composer, conductor; Alfredo Colón: alto sax; Noah Becker: alto sax, clarinet; Peyton Pleninger: tenor sax; Sara Schoenbeck: bassoon; Adam Cordero: bassoon; Jose Davila: tuba; David Virelles: piano; Craig Weinrib: percussion, electronics; Sara Caswell: violin; Stephanie Griffin: viola; Mariel Roberts: cello; Christopher Hoffman: cello.

The compositional brilliance and unique musical character of saxophonist Henry Threadgill are on full display in his latest album, The Other One, a three-movement composition inspired by the work of the late creative drummer Milford Graves and executed by a 12-piece ensemble of reliable musicians. With Threadgill conducting, the group jaunts through 19 tracks devised with complex notated music, often with intervallic and timbral obstinacy, but with room for improvisation.

“Mvt I, sections 1-2” is put in motion by Virelles’ solo piano playing, informed by a self-confident if inquisitive expression that balances the tender and the riotous. This is followed by “Mvt I, section 3”, where the strings have no competitors. Yet, the first track that really grabs us by the throat is “Mvt I, sections 6A-7A”, where the introductory piano gives way to a ruminative saxophone soliloquy that, a minute after, is supported by a tightly woven tapestry. And how that tuba throbs along!

As expected, there’s enough angularity in the phrases to make us travel unexplored places. After an interlude where the drummer Craig Winrib claims the spotlight, we have the joyful collective greeting of “Mvt I, Finale”, delivered with that odd bounce for which the composer is known. The bassoon solo stands out here among the individual statements.

“Movement II” is a 16-minute fresco tinted with modern classical and chamber techniques of rare melodic quality. A saxophone solo stirs conspicuous energy, instigating the other band members to swarm in their buzzing activity. But there are also quiet moments of abstraction that potentiate the communication with the string players. The piece then propagates into a disciplined cacophony that ends up in a swirl of motifs.

Two sections stick out from the third movement, which I consider the strongest. They are “Mvt III, section 12-12B”, a gripping episode where an authoritative alto sax interacts with violin in the denouement, and “Mvt III, section 14”, which, denoting further swinging flexibility during a saxophone solo that feels simultaneously fiery and lyrical, still sticks to that march-like gait infused with staccatos and stop-start motions.

Threadgill is found in whip-cracking form as a composer. This is an imaginative musical achievement executed by talented musicians who don’t vacillate when in command of their instruments.

Favorite Tracks:
05 - Mvt I, sections 6A-7A ► 12 - Mtv III, sections 12-12B ► 15 - Mvt III, section 14

Brandon Seabrook's Epic Proportions - brutalovechamp

Label: Pyroclastic Records, 2023

Personnel - Brandon Seabrook: guitar, mandolin, banjo; John McCowen: contrabass clarinet, Bb clarinet, alto and bass recorder; Marika Hughes: cello; Henry Fraser: contrabass; Eivind Opsvick: contrabass; Chuck Bettis: electronics, voice; Nava Dunkelman: percussion, glockenspiel, voice; Sam Ospovat: drum set, gongs, vibraphone, chimes.

Untamable guitarist Brandon Seabrook takes a new direction as, according to his own words, he tries to slow things down and open things up. Known for the inventiveness and tension put into his playing, the guitarist delivers eight new striking compositions that, together, and within their spirit of freedom, form an unconventionally gripping post-modern opus.

With sterling contributions from seven talented musicians, Seabrook starts this journey with a savory mix of eclectic influences and strong contemporary affiliation. “brutalovechamp” opens with recorder and mandolin, having contrapuntal cello movements joining the classical-themed festivity. The atmosphere is initially pressurized by a prog-rock attitude, but then an exciting funk imposes, carved out by motivic guitar incisions. Drummer Sam Ospovat enjoys some time unaccompanied before an odd-metered vamp materializes with aboriginal-like sounds mixed with alt-rock and classical elements.

“I Wanna Be Chlorophylled” is split into two parts. The first, “Corpus Conductor”, incorporates an intricate guitar-laden texture (not devoid of Hendrixian maverick quality) and eerily cinematic bowed bass infusions by Henry Fraser. The octet returns to the point of departure prior to falling into a languid rock progression that encourages a winding guitar solo. The second part, “Thermal Rinse” is slow, taciturn and introspective in its cello+bass inception. Seabrook infuses it with fast guitar crotchet in the final stage, and there are these chiming legato notes creating a droning effect.

Whereas “The Perils of Saint-Betterment” places crisp mandolin strumming at the center of its fluid motion, and opens space for the venturesome contrabass clarinet of John McCowen, “Gutbucket Asylum” reaches a climactic peak with dissonance, frenzied vocals by Nava Dunkelman, speedy guitar picking, and driving percussion.

Notched by bowed banjo, “Libidinal Bouquets” would have given a perfect score for one of Guy Maddin’s weird odysseys on film, while “Compassion Montage” is characterized by operatic vocals from Dunkelman and Chuck Bettis.

brutalovechamp radiates energy with rippling intensity, being Seabrook’s affirmation as a skilled composer. This is a work of focused commitment and ambition.

Favorite Tracks:
01 - brutalovechamp ► 02 - I Wanna Be Chlorophylled I: Corpus Conductor ► 06 - Gutbucket Asylum

Michael Blake - Dance of the Mystic Bliss

Label: P&M Records, 2023

Personnel - Michael Blake: tenor and soprano saxophones, flute; Guilherme Monteiro: electric guitar; Skye Steele: violin; Christopher Hoffman: cello; Michael Bates: acoustic bass; Mauro Refosco: percussion; Rogerio Boccato: percussion.

Michael Blake has always deviated from typical jazz formulas in a career that, as a leader, started with Kingdom of Champa (Intuition Records, 1997), and evolved in groups such as Blake Tartare, The Herbie Nichols Project and The Lounge Lizards. His newest outing, Dance of the Mystic Bliss, is dedicated to his late mother, Merle Blake, a dancer, singer, gardener, and cat lover. Here, making the most of the rhythmic talents of his new Chroma Nova group, which combines bilateral percussion and four stringed instruments, he brings Brazilian folk influences into 10 originals.

“Merle the Pearl”, a joyful dance where an Afro-Latin pulse meets soulful post-bop, is marked by a 14-beat-cycle guitar motif on top of which violinist Skye Steele engraves his pizzicato work. Blake’s fully articulated tenor solo is enlightening. His erudite language is equally compelling when he switches to soprano on “Le Coeur du Jardin”, a piece that, featuring cellist Christopher Hoffman, conveys relaxing vibes, a charming rhythm, and a circular harmonic progression. 

New musical partners allowed Blake to revamp his sound and explore different territories. “Little Demons”, for example, denotes an invigorating percussive trait that follows a meter signature with seven beats per measure. Brazilian percussionists Mauro Refosco and Rogerio Boccato provide that warm tropical feeling, while Blake’s tenor fascination comes to the fore. Another Brazilian, the guitarist Guilherme Monteiro, enjoys a change of tempo, applying distortion and discernment to speak a mix of jazz, rock and blues idioms.

If “Topanga Burns” comes infused with a warm tango-ish impression that morphs into spiritual clamor during the eloquent soprano solo, then “Prune Pluck Pangloss” embraces catchy Middle Eastern-flavored notes. On this one, burnished tenor lines cross the harmonic pavement traced by Monteiro before dramatic strings and flute meet up on a vamping triple-metered section.

“Weeds” incorporates propulsive and reflective moments alike, making an impression with the layered arrangement and that terrific passage that takes us from the bass to the tenor improvisation. The album is completed with the achingly lyrical “Cleopatra”, featuring Blake on clarinet in complete communion with Steele and Hoffman. 

The group is as tight as it gets, with interesting rhythm-oriented foundations and with Blake showing strong melodicism and refined taste all around.

Favorite Tracks:
03 - Little Demons ► 05 - Topanga Burns ► 09 - Weeds

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