Scott Colley / Edward Simon / Brian Blade - Three Visitors

Label: GroundUP Music

Personnel - Scott Colley: bass; Edward Simon: piano; Brian Blade: drums // Guests - Chris Potter: tenor saxophone; Becca Stevens: vocals; Jana Dagdagan: spoken word; Richard Rood: violin; Elizabeth Lim Dutt: violin; Kathryn Lockwood: viola; Sachi Patitucci: cello; Rogerio Boccato: percussion.

This newly formed trio, co-led by bassist Scott Colley, pianist Edward Simon, and drummer Brian Blade—all celebrated for their fresh approaches to music—achieves remarkable cohesion in its honest explorations, demonstrating that the distinctive musical voices of its members make a strong whole.

The album opens introspectively with “Nostalgia”, a melancholic 3/4 piece brought to life by Blade’s richly expressive drumming, Colley’s stable foundation, and Simon’s narrative-like piano lines. Blade’s “Kintsukoroi” follows, a beautiful, heartfelt, and asymmetric ballad inspired by the Japanese art of restoring broken pottery. 

If “Ellipsis” carries an elusive Bill Evans-esque swing interwoven with exploratory modal jazz, then Colley’s “Three Visitors” nods to Ahmad Jamal, highlighted by warm, lyrical solos from bass and piano. In turn, “The Thicket” channels the inventive energy of Thelonious Monk and Misha Mengelberg, building dynamic polyrhythmic crescendos with a swinging edge. 

Simon’s “You Are” is impeccably essayed by the trio, further enriched by Chris Potter’s vibrant tenor saxophone improvisation, Jana Dagdagan’s self-reflective spoken word, and charming string accents. Meanwhile, “I Wanna Be With You” introduces the versatile vocalist Becca Stevens and Brazilian percussionist Rogerio Boccato in a vibrant contemporary pop tune with a colorful R&B tinge.

Throughout the album, Colley, Simon, and Blade demonstrate an indissoluble musical bond. Yet, their effort satisfies without creating a major impact.

Favorite Tracks:
02 - Kintsukoroi ► 03 - Ellipsis ► 04 - The Thicket


Thollem McDonas - Infinite-Sum Game

Label: ESP-Disk

Personnel - Thollem McDonas: piano.

British pianist and composer Thollem McDonas, renowned for his rhythmically inventive and genre-defying style, reaches new heights of eloquence in Infinite-Sum Game, a solo album recorded live in Italy. This meticulously calibrated outing feels like McDonas is cracking his own code, offering a deeply engaging experience.

When Only Knows” offers a modern stride piano imbued with crosscurrents and intricate parallelism. “All the Creatures” broadens the spectrum with range, ending quietly after a tempestuous climax. “From Why We Came” presents a perceptible melodic narrative with hypnotic pulses and bluesy wallops. 

The prepared piano textures of “Gathering Gatherers” overflow with world folk melodies, while “Sunset Nomad” fiercely deconstructs classical themes with McDonas’ signature agility. “Symbi Oasis”, a title hinting at ‘symbiosis’, whimsically integrates classical, Spanish, blues, jazz, and rock ’n’ roll elements into a cohesive and efficient tapestry. The album’s darker tones emerge in the minimalistic pungency of “Every Key Every Door”, while “Feel a Drop of Rain For a While” balances delicate sweetness with enigmatic poignancy. 

McDonas’ iconoclastic tendencies shine throughout the album, yet they are tempered with warmth, mystery, and a profound sense of intimacy. Infinite-Sum Game deserves to be discovered.

Favorite Tracks:
01 - When Only Knows ► 03 - From Why We Came ► 09 - Feel a Drop of Rain For a While


Neil Cowley Trio - Entity

Label: Hide Inside Records

Personnel - Neil Cowley: piano; Rex Horan: bass; Evan Jenkins: drums.

English pianist and composer Neil Cowley has captured the attention of modern jazz audiences with poetic instrumentals that emphasize subtlety and melodic clarity over overt virtuosity. Entity marks a warmly received and re-energized reunion with his trio mates, bassist Rex Horan and drummer Evan Jenkins, following a seven-year hiatus.

With a refined touch, the trio delivers 11 literate, thoughtfully crafted originals that highlight their sophisticated musical sensibilities. Cowley’s ability to set a mood with just a few notes is evident in “Marble”, a 3/4 crossover piece that feels like a fusion of cerebral post-bop and Spanish folk dance, reminiscent of Chick Corea. “Those Claws” leans into a soulful ostinato and syncopated drumming to create a spellbinding, minimalistic ambiance, while “V&A” offers a sublime spiritual tone, unfolding gracefully in an unconventional meter.

Father Daughter”, with its pop/rock disposition, could easily fit into Radiohead’s repertoire, while “Adam Alphabet” is rhythmically defiant with its additive meter {8+8+6} and fascinating interplay that hints at electronic dance music. Both “Lemon Meringue” and “Sir Benjamin” unfold in quintuple meter, with the former pulsating with rhythm and the latter finding its own pocket in a slower, dreamy way. The trio makes their instruments soar in “Brood”, another 3/4 piece wrapped in serenity, and “Photo Box”, an emotionally resonant ballad layered with delicate cascading piano, sparse bass propagations, and gently brushed drums. 

Entity is exactly the album Cowley needed to create at this stage in his career. With tremendous assurance, he and his cohorts deliver music that is as much difficult to label as to resist.

Favorite Tracks:
01 - Marble ► 02 - Those Claws ► 03 - V&A ► 08 - Lemon Meringue


Coo - Spiccilegia

Label: Self released

Personnel - Kai Winter: alto saxophone; Frau Sportman: double bass, live electronics, toys; Peter Czekay: trumpet; Sanjuro: drums.

Spiccilegia marks a confident debut recital from Coo, a chordless quartet of avant-gardists hailing from Berlin. The album includes 16 tracks shaped by the group’s exploratory instincts and in-the-moment interplay. The lineup features an ultra snappy frontline with altoist Kai Winter and trumpeter Peter Czekay, supported by the robust rhythm section of bassist Frau Sportman and drummer Sanjuro.

The opener, “Herati”, is a ritualistic rampage driven by frantically brushed drums, throbbing bass lines, and darting horn trills that culminate in a searing cacophony. “Fulgar” evokes the dynamic communion of Gato Barbieri and Don Cherry, while “Coowabatake” serves as a platform for Sanjuro’s versatile rhythmic vocabulary.

Let’s Coo” swings hard, its short unison lines punctuated with bursts of exclamation and interrogation. As the piece progresses, the quartet transitions into a more abstract realm, marked by Sportman’s mournful bass murmurs and communicative exchanges between the horns. The brisk “Mustela” and the fragmented “Isochronal” are motivically exciting and expressionistic, generating gripping tension and energy.

The free jazz forcefulness of Ornette Coleman resonates in “Coomotion”, where articulate sax and trumpet lines swing around the rhythmic tapestry of bass and drums with hard-bop vigor. “Lageparameter” opens with a measured rhythmic flow defined by pronounced bass drum kicks, trumpet moans, and popping saxophone exertions, later launching a dynamic cadence that sustains a bewitching in-and-out phraseology. 

Cytisus” highlights the group’s experimental flair with barbed wit, while “Coil Flux Guide” jumps a notch in intensity, transitioning from meditative chamber-like textures to a volatile, agitated setting. The track brims with rasping arco bass, incisive horn activity, and explosive drumming as Sanjuro propels the ensemble into a feverish crescendo. 

Coo’s compositional frames nod to clear influences, but the quartet’s initiative and inventiveness imbue each piece with a distinct identity. Spiccilegia is a positive first step.

Favorite Tracks:
04 - Let’s Coo ► 06 - Mustela ► 16 - Cool Flux Guide


Steve Sandberg Trio - Live at Soapbox Gallery

Label: Self released

Personnel - Steve Sandberg: piano; Michael O’Brien: bass; Jay Sawyer: drums.

The versatility of three-time Emmy-nominated pianist and composer Steve Sandberg is vividly showcased in his new trio album, Live at Soapbox Gallery. Joined by his trusted collaborators—bassist Michael O’Brien and drummer Jay Sawyer—Sandberg offers a blend of dream-inspired originals and freshly reimagined classics by Billy Strayhorn, Thelonious Monk, and Mulgrew Miller. 

Staryhorn’s “Isfahan” opens with a sumptuous piano introduction and unfolds in a relaxed, cool tone as the trio enjoys a nice interlocking rapport. Another Strayhorn tune, “Upper Manhattan Medical Group”, is rendered with a vivid Brazilian flavor that is not strange to Sandberg—he was immersed in the NYC Latin jazz scene of the 80s and played with Bebel Gilberto. The shifts and dodges in the rhythm as well as the synergistic interplay between the three artists are nearly enough to work up a sweat.

Monk’s playful “Bye Ya” grooves with exuberance, its pronounced accentuations adding flair, while Miller’s waltzing “Carousel” is gently propelled by brushes as the trio quietly builds atmosphere. Yet, it is with the original material that the trio really shines. “Karma Yoga in the Kali Yuga” bursts with gleeful elan, taking advantage of the eccentricity of its dazzling rhythm. It’s a seven-beat modal dance that briefly ventures into a salsa-inspired passage before returning to its spirited opening theme. Sandberg’s solo dazzles with crystalline figures and nimble phrasing, O’Brien stirs an agitated bass flux, and Sawyer closes with expressive chops in the final vamp that serves as the piece’s conclusion.

The ballad “Under the Floor” is executed with a relaxed but profound poise, denoting an exotic feel that recalls the great saxophonist Yusef Lateef. “The Poet’s Dream” and “George Henry” are both highlights. The former is dreamy and mysterious, carrying an epic breadth and some pondering lyricism that goes beyond the gorgeous theme statement. The latter, a 7/8 exploration, mixes folk-rock and Latin elements in a crossing of Jethro Tull and Chucho Valdés. Its ecstatic finale, marked by crashing drums and intense Latinized pianism, leaves a lasting impression. 

Exhibiting well-honed musical instincts, the Steve Sandberg Trio delivers notable musical moments with unflappable technical facility.

Favorite Tracks:
01 - Karma Yoga in the Kali Yuga ► 05 - The Poet’s Dream ► 09 - George Henry


Euan Edmonds - Beyond Hope and Fear

Label: Desafio Candente Records, 2024

Personnel - Euan Edmonds: trombone; Dustin Laurenzi: tenor saxophone; Clark Gibson: alto saxophone; Paul Bedal: piano; Sam Peters: bass; Neil Hemphill: drums.

Trombonist and composer Euan Edmonds makes a compelling entrance onto the jazz scene with Beyond Hope and Fear, a solid debut album where he establishes a vibrant front-line interplay with dynamic saxophonists Dustin Laurenzi and Clark Gibson. The ensemble is well-supported by a tight rhythm section featuring pianist Paul Bedal, bassist Sam Peters, and drummer Neil Hemphill. Now based in Washington, DC, Edmonds explores pure jazz territory with a sextet drawn from Chicago, where he previously resided.

The album kicks off with “Jordan and Maria”, a cohesive post-bop piece inspired by characters of Ernest Hemingway’s For Whom the Bell Tolls. Bedal’s piano riff sets the pace following a dreamy, romantic introduction. His chordal work reinforces the foundation for the unison melody, paving the way for engaging solos from Edmonds and Gibson, who cruise through the changes with horn fills subtly weaving through. A lively vamp for the drummer bridges the theme’s choruses. 

While “Violet” offers a moody contrast, suspended over a nuanced pedal point and fleshed out by Laurenzi’s penetrating tenor saxophone as it navigates a dense rhythmic forest. In turn, “Wayfarer” exudes a joyful bounce, recalling the vibrant, straight-ahead styles of Steve Turre and J.J. Johnson. This same exuberance and robust sound also define “Endurance”, with its deep groove and strong harmonic drive. 

The latter track forms part of Between Hope and Fear, a 30-minute, seven-part suite that showcases Edmonds’ artistic depth. The title track of the suite brims with expressive richness, underpinned by extraordinary piano and bass interplay. Laurenzi’s cutting-edge phrasing creates vivid sonic landscapes, blending precision with adventurous agility, while Bedal’s dropping pianism gives a strange, alluring detail to the playing. Another standout from the suite, “Axis”, opens with muted trombone and alto sax, constructing a soulful 3/4 harmonic progression. Featuring unaccompanied passages that spotlight the trombone and saxophones, the piece crescendos into an ecstatic finale, with the entire ensemble contributing to an atmosphere of opulent uplift.  

The closing track, “Arthur’s Seat”, channels strains of hard-bop balladry, journeying through classic traditions in a 3/4 time signature. Edmonds’ auspicious debut as a bandleader satisfies with elegantly texturized arrangements that underscore the power of genuine communication. His compositional voice is punchy and confident in promise.

Favorite Tracks:
01 - Jordan and Maria ► 05 - Between Fear and Hope ► 07 - Axis ► 09 - Endurance


Yuki Fujiwara - Glass Colored Lily

Label: Defkaz Records, 2024

Personnel - Yuki Fujiwara: shinobue; Mitsuhiro Sonoyama: saxophone; Peter Apfelbaum: keys, clarinet, flute; Will Bernard: guitar; Bill Laswell: eight-string bass, effects; Adam Rudolph: percussion.

Japanese shinobue and flute player Yuki Fujiwara debuts with her first album, Glass Colored Lily, leading a remarkable American-Japanese ensemble of outstanding improvisers. The music blends cultures and moods in a way that feels universal, with the group navigating various sonic trails and pathways, skillfully balancing improvisation with well-constructed sections. Much of the album is rooted in collective improvisations.

With a strangely enchanting spell, “Gloss Phew” introduces listeners to a mysterious world. Fujiwara takes the melodic lead, accompanied by saxophone interjections from Japanese saxophonist Mitsuhiro Sonoyama. The dark, fluttering ambiance is crafted by Bill Laswell’s 8-string bass and eerie effects, Will Bernard’s subtle guitar, Peter Apfelbaum’s suspended keyboard harmonies, and Adam Rudolph’s inventive percussion. Together, they flood the soundscape with suspenseful textures. This restless, intimidating vibe continues into the next track, “Into Thee”, which begins with metallic percussion, cymbal washes, and resonant drumming. Atmospheric drones and buzzes—a hallmark of Laswell and Bernard—set the stage for Fujiwara’s exploratory flute riffs, which are complemented and occasionally echoed by Sonoyama’s calm saxophone lines. Rudolph’s masterful drumming eventually stirs the tense abstraction into life.

Like a Water”, incorporating a traditional Japanese song, starts as a joyful march before transitioning back to the languid, desolate atmosphere typical of Laswell’s style. In the final section, accordion-like sounds—likely produced by Apfelbaum’s keyboard—add a unique texture. “Remaining, Remaining” delves into a tribalistic spree, achieving a spiritual communion that feels simultaneously meditative and intoxicating. 

Night’s Dream is True / Ai no-Uta” haunts with ghost sonorities: ethereal vocal chants and gasps, flute whispers, and glacial keyboards. This eerie soundscape transitions into a gospel-inflected vocal song in Japanese, written by Sonoyama. The closing track, Fujiwara’s “The Red Devil Who Cried”, is a flute-percussion effort inspired by Hirozuke Hamada’s Japanese fairy tale, and feels tailor-made for a traditional Japanese puppet theater. While the album never totally strays from its dark tonalities, there’s enough variation throughout.

Fujiwara demonstrates her talent as a flutist with an explorative nature destined to take her far. Her sonic narratives may lean toward the somber, but they are always sharply defined, with each instrument contributing clarity and purpose to the layered whole.

Favorite Tracks:
01 - Gloss Phew ► 02 - Into Thee ► 04 - Remaining, Remaining


Tyshawn Sorey Trio - The Susceptible Now

Label: Pi Recordings, 2024

Personnel - Aaron Diehl: piano; Harish Raghavan: bass; Tyshawn Sorey: drums.

The excellent trio of multi-awarded drummer Tyshawn Sorey—featuring pianist Aaron Diehl and bassist Harish Raghavan—delivers its fourth album of covers with through-composed forms and inspiring tune modifications that explore many new directions. The album, The Susceptible Now, highlights the kaleidoscopic brilliance of their musical interaction through deft arrangements and expanded renditions of pieces deeply personal to Sorey, both new and old. This work represents a completely different sound and approach compared to his own improvisation-driven compositions. 

McCoy Tyner’s “Peresina” is reshaped with inventive nuance, beginning with Diehl’s reflective piano intro featuring sparse, thoughtful chord progressions. Sorey’s enlightened brushwork and Raghavan’s elegant melodic drive join in, establishing a groove that evolves through bursts of unexpected energy. Diehl thrives within the supportive, inventive rhythms sculpted by his collaborators. After a series of rhythmic mutations, the piece concludes on the same cool tone with which it began, revisiting the last eight bars of the tune’s third section.

Sorey first encountered “A Chair in the Sky” while watching the documentary Charles Mingus: Triumph of the Underdog, later discovering it on Joni Mitchell’s album Mingus (Asylum Records, 1979). Perfectly suited for dimmed lights and introspective moods, the piece opens with calm, abstract piano lines, creating a tranquil ambiance. Delicate brush touches and breathing bass lines gradually shape its form. Following Raghavan’s admirable bass solo, filled with rhythmic and melodic intention, the trio concludes with soulful, poignant beauty, enhanced by Sorey’s expressive drum fills and cymbal colorations.

The inclusion of Vividry’s contemporary soul-pop tune “Your Good Lies” may come as a surprise but stands out as one of the album’s most joyful moments. This 15-section through-composed marvel brims with whimsical invention and vibrant energy. Syncopated piano chords and refined passages create a groove-laden journey that reinterprets jazz language to unlock new possibilities.

Sorey dedicates Brad Mehldau’s “Bealtine” to his good friend Anthony Amadeo, a drum historian and collector. The tune’s swinging, uptempo three-time feel showcases the trio’s unique voice, reflecting the talent of three musicians who sound unmistakably like themselves. 

The Susceptible Now is a lucid, masterful work that, while precisely arranged in a modern fashion, maintains a pervasive sense of freedom and executional flexibility.

Favorite Tracks:
01 - Peresina ► 03 - Your Good Lies


Thomas Stronen - Relations

Label: ECM Records, 2024

Personnel - Thomas Strønen: drums, percussion; Craig Taborn: piano; Chris Potter: tenor and soprano saxophone; Sinikka Langeland: voice, kantele; Jordy Rossy: piano.

Between 2018 and 2022, Norwegian drummer Thomas Strønen invited four accomplished musicians to contribute to his latest album, Relations. Each responded to pre-recorded drum tracks with complete creative freedom. Pianist Craig Taborn and saxophonist Chris Potter recorded their parts from New York, vocalist and kantele player Sinikka Langeland from Oslo, and Barcelona-born multi-instrumentalist Jorge Rossy, playing piano exclusively, from Basel. The resulting work comprises two solo percussion tracks and ten duets that, while not adhering to conventional jazz formats, explore unique sonic landscapes.

The album opens with “Confronting Silence”, a solo piece by Strønen. Vibrant metallic gongs are unexpectedly crossed by quick snippets of rattling percussion. “The Axiom of Equality”, a duet with Taborn, showcases evolving timbral textures through fragmented, free-flowing drum and cymbal patterns, while Taborn, choosing not to hear the drum track beforehand, meanders unpredictably, embracing pure spontaneity.

Potter’s commanding saxophone presence is felt on “Weaving Loom”, where his expansive tenor lines bring richness and contrast to Strønen’s shimmering brushwork after a contemplative opening. On “Ephemeral”, Potter switches to soprano, channeling an explosive energy that intertwines seamlessly with Strønen’s propulsive rhythms, achieving a palpable symbiotic intensity.

Langeland introduces Nordic folk elements on “Koyasan”, blending the delicate tones of the kantele with Strønen’s sensitive rhythmic flourishes and unexpected stream. On “Nemesis”, she enjoys a more fluid rhythmic arc, while on “Beginners Guide to Simplicity” she uses her clear, evocative voice, adding a distinct dimension to it.

Rossy’s piano contributions span three tracks. While his restrained, light touch on “Nonduality” may feel less impactful, he captivates on “Ishi”, where a number of low-register blows evokes a mysterious ambiance, and “KMJ”, a piece of harmonically palpable introspection with subtle, persuasive movement. Known primarily as a drummer, Rossy impresses here with his pianistic sensibilities.   

Relations eschews conservatism, offering unexpected surprises and intimate dialogues between Strønen’s broad rhythmic vocabulary and his collaborators’ distinctive voices. Although sounding off-beat at times, this work reflects  the spirit of innate improvisers, unafraid to present something refreshingly different.

Favorite Tracks:
02 - The Axiom of Equality ► 03 - Weaving Loom ► 08 - Ephemeral ► 12 - KMJ


Jakob Bro - Taking Turns

Label: ECM Records, 2024

Personnel - Jakob Bro: guitar; Lee Konitz: alto and soprano saxophone; Bill Frisell: guitar; Jason Moran: piano; Thomas Morgan: bass; Andrew Cyrille: drums.

With Taking Turns, Danish guitarist and composer Jakob Bro presents a fine compendium of engagingly layered compositions recorded 10 years ago in New York. This exceptional record features the late, legendary saxophonist Lee Konitz, with Bro weaving smooth harmonic tapestries alongside fellow guitarist Bill Frisell and pianist Jason Moran. Working on a consistently lucid rhythmic foundation are bassist Thomas Morgan and drummer Andrew Cyrille.

Black is All Colors at Once” opens with the rippling pianism from Moran— who had never worked with Bro before—soon joined by contemplative, arpeggiated guitar layers. Konitz's saxophone melodies float delicately atop, while Cyrille’s understated brushwork provides a subtle rhythmic underpinning. Konitz exhibits his distinctively explorative phraseology throughout but takes center stage on “Milford Sound”, a poignant ballad narrative dedicated both to the late free jazz pioneer Milford Graves and the New Zealand fjord of the same name.

Surprisingly, on the open-ended “Haiti”, Konitz makes a rare appearance on soprano saxophone, adding a playful yet gentle touch to a piece that dances gracefully with amiable charm. The rhythm here suggests a flowing sextuple feel, contrasting with the {3+5} cadence of “Aarhus”. The latter track showcases the ensemble’s dynamic control and cohesion, offering a soaring perspective through its carefully crafted rhythmic drive. In turn, “Pearl River”, evocative of New York’s Chinatown and its Asian emporium, leans into more abstraction and suspension. Here, Bro and Frisell intertwine their guitars to create a beautifully sculpted, textural surface that invites deeper listening.

In “Peninsula”, guitars and piano contribute layers of detail that only add to the overall chemistry. Elevated levels of illumination and relaxation are easily found here, and restraint is a key element of all the tracks in this set. The sax-less closer, “Mar Del Plata”, delivered at a slow 3/4 tempo, is nothing short of stunning, with everyone circling around an endearing melody that refuses to come out of your head. 

Abounding in smooth, expressive gestures, Taking Turns is another fundamental touchstone for Bro’s radiating atmospheric style, marking an important phase in his career. It grows more enchanting with every listen, offering both warmth and introspection in equal measure.

Favorite Tracks:
02 - Haiti ► 05 - Pearl River ► 07 - Mar Del Plata


Ivo Neame - Zettalogue

Label: Ubuntu Records, 2024

Personnel - Ivo Neame: piano; George Crowley: tenor saxophone; Tom Farmer: double bass; James Maddren; drums.

Ivo Neame, a highly skilled British pianist and composer, is a name to watch closely. His tenth album as a leader, Zettalogue, stands at the forefront of the European jazz scene, showcasing music that is both complex and organic, characterized by odd meters, nuanced expression, and fluid rhythmic and harmonic transitions. The seven compositions on this album—including two revisited pieces—are richly textured and anchored by a sophisticated modern edge, drawing from a variety of genres. He is joined by invaluable regular associates, saxophonist George Crowley, bassist Tom Farmer, and drummer James Maddren, who together craft a compelling musical mosaic.

The Rise of the Lizard People”, a track originally featured in Neame’s large ensemble album Glimpses of Truth (Whirlwind Recordings, 2021), opens the album with a lively, offbeat rhythmic cadence driven by an engaging piano riff. This wake-up call to the American people is marked by intricate parallel sax-piano lines and a freewheeling piano solo by Neame, filled with bold ascents and seamless landings. The following track, “Drone Yer Sorrows”, channels rhythmic inventiveness reminiscent of Chick Corea and Joe Henderson, blending Latin and post-bop influences. Crowley seizes the opportunity to shine, delivering fiery, dark-toned expressions. 

The dynamic title track, “Zettalogue”, evokes the sensation of a high-speed train racing through a smoky landscape. Tempo shifts mimic perpetual motion, conjuring the blurred scenery outside the train’s window. The saxophone’s multi-line effects elevate the melody, providing a sense of urgency and energy. In contrast, “The Trouble With Faith” offers a moment of introspection. This ballad creates space for reflection, balancing the album’s otherwise energetic tone with serene elegance.

Pala” and “Être Sur le Train de Gravy” are standout examples of the quartet’s cohesive interplay, blending intricate meters with a focus on creative freedom within well-defined structures. The former, propelled by Maddren’s captivating drumming, originally appeared on the quartet’s album Moshka (Edition Records, 2018). The latter, a fresh modal creation, features Crowley’s commanding tenor saxophone, which soars with intensity and flair.

Filled with musical twists and turns, Zettalogue consistently surprises and delights, resonating deeply with the postmodern zeitgeist of the 21st century.

Favorite Tracks:
01 - The Rise of the Lizard People ► 02- Drone Yer Sorrows ► 03 - Zettalogue ► 05 - Être Sur le Train de Gravy


Zacc Harris - Chasing Shadows

Label: Shift Paradigm Records, 2024

Personnel - Zacc Harris: guitar; Brandon Wozniak: saxophone; Bryan Nichols: piano; Chris Bates: bass; Pete James Johnson: drums.

Minneapolis-based guitarist Zacc Harris has assembled a sure-footed quintet for his latest album, Chasing Shadows. Six of the eight original compositions were written during a five-day retreat in western Wisconsin, where Harris drew inspiration from the serene natural surroundings.

The album opens with its title track cut, a tribute to the interplay of light and shadow in the landscapes he encountered, as well as a nod to his young son, who once delighted in chasing his own shadow. The piece begins with a chord progression that contains mystery and doubt but then gradually verses into a more hopeful and lighter mood. Harris, saxophonist Brandon Wozniak, and pianist Bryan Nichols take turns within the improvisation section, expressing their thoughts with clarity and spirit while showcasing their inquisitive languages. They are backed by reliable rhythmic peers, bassist Chris Bates and drummer Pete James Johnson.

The tranquil waltz “Moonrise” gracefully sets the stage to the more elaborate “Catalyst”, a post-bop gem with an odd-metered rhythmic pattern established by Harris’s crisp guitar introduction. Influences of Kurt Rosenwinkel and Mark Turner shine through as Harris and Wozniak navigate the intricate melody and deliver fluid, inspired solos. Similarly, “Conduits” feels open-minded and clearly-eyed with its breezy, in-the-pocket flow, while “Worlds Apart” bears a sophisticated harmonic sequence, shaping up as a forward-thinking fusion of post-bop and bossa nova groove. It somehow brings to my mind the timeless charm of Joe Henderson’s classic tune “Blue Bossa”.

While the group rarely delves into abstract territory, they excel in creating cohesive narratives. A good example of the group’s effortless communication is the quick-witted “Fleeting Moments”, a contemporary hard-bop-infused cut that swings with a Tom Harrell’s vibe. “This Day”, a ballad, provides a serene closure.

Harris’ compositions are thoughtfully tailored to the strengths of his associates, achieving a strong emotional resonance with the listeners. Chasing Shadows offers a rewarding listening experience.

Favorite Tracks:
03 - Catalyst ► 05 - Worlds Apart ► 07 - Conduits


The Bad Plus - Complex Emotions

Label: Mack Avenue Records, 2024

Personnel - Chris Speed: tenor saxophone; Ben Monder: guitar; Reid Anderson: bass, synth; Dave King: drums, synth.

The Bad Plus, a quartet of first-rate musicians renowned for their genre-blurring compositions, returns with their latest album, Complex Emotions. Saxophonist Chris Speed and guitarist Ben Monder, who joined founding members bassist Reid Anderson and drummer Dave King in 2021, have become integral to the ensemble. Their second album as a quartet features eight original compositions—four by Anderson, two by King, and one each by Speed and Monder. Together, these pieces explore the individual compositional voices of the band members who rove beyond the confines of stereotyped jazz and rock to create something wholly distinctive.

The album opens with two Anderson-penned tracks. “Grid/Ocean” is smoothly laid down with a blend of wet and dry percussion timbres, a soulful melody that puts light in the horizon, and a circular pop/rock harmony. Monder’s guitar work dazzles, glowing with intensity as King’s cymbal flourishes build to an exhilarating climax. The next track, “French Horns”, is marked by an invigorating rhythm, drawing freely from alternative rock and featuring synchronized guitar-sax melodies, anthemic chordal patterns supporting Speed’s nimble improvisation, and a scorching, metal-inspired guitar solo by Monder.

King’s flair for rhythmic complexity and tricky meters shines on “Casa Ben”,  which, delivered with a progressive rock posture, showcases a killer theme centered on a dazzling descendant phrase, and variations of 10 and 12 beat-cycle passages. Speed’s “Cupcakes One” channels a punk rock vibe and a pop melody, elevated by Monder’s inventive solo. The track’s infectious rhythm invites listeners to move, much like Anderson’s expansive “Carrier”, a groove-laden piece driven by an off-kilter beat shuffle. Nonetheless, Monder and Speed provide a contrasting dreamy feel, creating a Mazzy Star-kind of melancholy, while Anderson’s bass shifts seamlessly from understated to commanding. 

The adventurous “Deep Water Sharks”, another Anderson composition, offers a vibrant krautrock-inspired groove filled with rapid ideas, guitar noise and scattered harmonics, as well as melodic fluidity. Speed’s improvisation injects further vitality into the track. The album concludes with Monder’s “Li Po”, an eery, atmospheric number filled with dark suspensions and continuous tension. Previously featured on Monder’s triple album Planetarium, this haunting piece feels tailor-made for a mystery or horror film soundtrack.

Complex Emotions solidifies The Bad Plus as a sensational post-modern jazz act. By forging fresh paths and emphasizing the distinct musical identities of its members, the album offers a compelling and multifaceted listening experience, confirming the quartet’s creative vitality.

Favorite Tracks:
01 - Grid/Ocean ► 02 - French Horns ► 05 - Cupcakes One ► 06 - Carrier


Unionen - Unionen

Label: We Jazz Records, 2024

Personnel - Per ‘Texas’ Johansson: tenor saxophone, clarinet, contrabass clarinet, cor anglais, flute; Ståle Storløkken: piano, Fender Rhodes, synths; Petter Eldh: acoustic and electric bass, mpc; Gard Nilssen: drums, percussion.

Unionen, a newly formed quartet from Sweden and Norway, draws its name from the historical union of the two countries under a shared monarch (1814–1905). This gifted ensemble, comprising some of the most accomplished improvisers in contemporary jazz, blends influences from past and present into thoughtfully constructed arrangements that strike a balance between power and subtlety, never veering into excess.

Ståhlbad” sets the tone with a catchy, melancholically dulcet motif that evolves into a compelling riff. Ståle Storløkken’s synth manipulations nestle against the acoustics with excellent results, inbuing the piece with a liquid if slightly distorted feel, while Gard Nilssen’s propulsive drumming adds dynamic momentum. Following an atmospheric solo synth passage, the central phrase returns with a sense of poignant mystery. “Den Grimme Elling” emits strange vibes, with Petter Eldh’s slow, deliberate bass groove anchoring unison lines from Per ‘Texas’ Johansson’s horn and Storløkken’s keys. Levitating grand piano chords hit, and then the piece becomes electrified with energy, with Johansson delivering a fleet, contorting saxophone solo over an unrelenting rhythmic tapestry. 

The tasteful, off-the-cuff moods are what makes you want to lean on this record, and tracks like “Ganska Långt Ut På Vänsterkanten” and “Tomikron” exemplify this quality with their coherent soundscapes. The former, guided by continual folk riffs atop, is marked by contrabass clarinet and flute, creating a passionate vibe that changes colors with bittersweet twists; the latter, with its brushed drumming, groovy basslines, and breezy melodies, exudes charm and warmth. 

While Unionen’s music is rooted in contemporary jazz idioms, the ensemble is not afraid to explore chartless regions with other strong stylistic influences. “6983”, for example, opens up a whole new realm, venturing into danceable alternative rock, driven by effervescent saxophone solos and high-energy keys, evoking a blend of Jimi Hendrix's psychedelic rock and David Murray's soulful avant-garde jazz. In contrast, the title track, “Unionen”, unfolds like a majestic, contemplative fable. It combines rattling percussion, shimmering cymbals, sublime synth texture, and smooth, world-inspired melodies delivered by Johansson on cor anglais, creating a rich and immersive listening experience. The closing track, “Kolgruvan” wraps the album in an enigmatic, noir aura, weaving ambient textures while growing improvisational dimension. 

Unionen's debut album is anything but arbitrary in its selection and sequencing. It masterfully balances well-crafted passages with bursts of spontaneous creativity, forging bold new directions in modern jazz. The result is a captivating and liberating experience, and listeners are likely to experience a strange freeing of the spirit.

Favorite Tracks:
02 - Den Grimme Elling ► 04 - 6983 ► 06 - Unionen


John Williamson - The Northern Sea

Label: Ubuntu Music, 2024

Personnel - John Williamson: double bass; Alex Hitchock: tenor saxophone; Jonny Mansfield: vibraphone; Jay Davis: drums; Immy Churchill: voice; Alex Wilson: piano.

The up-and-coming British bassist John Williamson makes a compelling entrance into the jazz world as a leader with his debut album, The Northern Sea. Featuring a talented roster of trusted collaborators from the modern UK jazz scene, the album presents 10 original compositions, ranging from tranquil ballads to invigorating swing pieces. Written over three years, each piece began as a melodic fragment, reflecting Williamson’s distinctive approach to composition, where melody takes precedence.

Contrafact 1”, based on a C-major structure taken from the jazz standard “I Should Care”, showcases Williamson’s bass in a commanding lead role, setting the groove with a confident swing. On this number, Jonny Mansfield’s vibraphone ‘sings’ blissfully melodies, and Alex Hitchcock’s tenor sax explores with rhythmic provocation and articulated language. This theme of energetic interplay continues in “Contrafact 2”, a brisk, high-energy number where Williamson and drummer Jay Davis drive a relentless swing, with Hitchcock and Mansfield exchanging fiery unison lines. “Contract 3”, a chord-less, bop-inspired trio piece, strips things back to a classic saxophone-bass-drums format, emphasizing pure rhythmic and melodic dialogue.

The title cut, “The Northern Sea”, falls into a modern kind of daring, incorporating harmonically rich piano playing by Alex Wilson and thrilling exchanges between saxophone and vibraphone. The voice of Immy Chuchill adds a haunting dimension, reappearing on “2700 Q Street Northwest”, a radiant track that features a folk-inspired melody, vibrant interplay between piano and vibes for a colorful background, and an unaccompanied bass dissertation that exudes optimism.

More subdued moments are found in “Gozo”, a soft-spoken rubato ballad that soars in the ether with vibraphone suspensions; “Nothing Grows in Concrete”, a sensitively brushed lullaby inspired by Sibelius’ “Symphony Number 2”; and “Get Out While It’s Light”, another beautifully crafted ballad elevated by Hitchcock’s slippery tenor solo and occasionally stirred by Davis’ engaging drumming.

Throughout the record, the rapport among the musicians is palpable, enabling a seamless exploration of melody, texture, and emotional depth. The Northern Sea is a confident and promising debut that firmly establishes Williamson as a rising star in contemporary jazz.  

Favorite Tracks:
01 - Contrafact 1 ► 04 - The Northern Sea ► 10 - 2700 Q Street Northwest


Transatlantic Trance Map - Marconi's Drift

Label: False Wall Records, 2024
Personnel - UK Ensemble: Evan Parker: soprano saxophone; Matthew Wright: turntable, live sampling; Peter Evans: trumpet; Robert Jarvis: trombone
; Hannah Marshall: cello; Pat Thomas: live electronics; Alex Ward: clarinet // US Ensemble: Sylvie Courvoisier: piano, keyboards; Mat Maneri: viola; Ikue Mori: laptop live electronics; Sam Pluta: laptop live electronics; Ned Rothenberg: clarinet, bass clarinet, shakuhachi; Craig Taborn: piano, keyboards, live electronics.

Trance Map, the explorative British duo that falls under the joint command of saxophonist Evan Parker and sound designer Matthew Wright, has been pushing boundaries since its formation in 2008. Known for their innovative blend of acoustic improvisation and electronic manipulation, the duo has released albums featuring various guest musicians and performed across Europe and the U.S. in dynamic lineups. Transatlantic Trance Map is a special variation of the group—a collaboration between ensembles in Faversham, UK, and Brooklyn, USA, performing simultaneously in an uninterrupted 55-minute session. This 13-piece ensemble delivers co-composed music where unpredictability reigns, merging cerebral precision with whimsical spontaneity.

The album opens with the slap-tonguing staccatos and deep drones of Ned Rothenberg’s bass clarinet, flanked by Parker’s eloquent and boisterous soprano sax. The sonic palette is expanded significantly by the inclusion of electronic virtuosos Pat Thomas, Ikue Mori, Sam Pluta, and keyboardist Craig Taborn, resulting in a rich tapestry of digital frequencies, chirping sounds, metallic scrapes, and distant buzzes that permeate the performance.

True to their experimental ethos, the ensemble never veers far from its avant-garde foundations, even in its quieter, contemplative moments. Mat Maneri’s viola shifts seamlessly between abrasive, acidic textures and poignant lyricism, at times blending with cellist Hannah Marshall, who transitions from pizzicato plucks to resonant arco lines without disrupting the atmospheric continuity. Meanwhile, the horn players generate turbulent soundscapes, supported by imaginative contributions from piano—whether Taborn or Sylvie Courvoisier—and dynamic percussion.

There are loose, segmented movements where the spontaneous interplay occurs in a casual manner, but sometimes I felt that a more specific motion was needed. After Peter Evans’ insistent trumpet motifs and trills, that motion indeed occurs, with Rothenberg embarking on a circular-breathing tour de force on bass clarinet—punctuated by slap-tongued blurts—while surrounded by dreamy piano cluster chords, pulsating electronic drones, and mournful viola cries. This confluence builds into a bulky symphonic construction before settling into a tense, static conclusion.

Evan Parker’s saxophone prisms and Matthew Wright’s imaginative sound design, combined with the ensemble’s fearless improvisational spirit, deliver a challenging sonic journey.

Tom Harrell - Alternate Summer

Label: HighNote Records, 2024

Personnel - Tom Harrell: trumpet, flugelhorn; Mark Turner: tenor saxophone (#1,2,3,9,10); Dayna Stephens: tenor saxophone (#4,5,6,8); Luis Perdomo: piano, Hammond B3, Fender Rhodes; Charles Altura: acoustic and electric guitar (#2,3,5,7); Ugonna Okegwo: bass; Adam Cruz: drums.

Once again, American trumpeter and composer Tom Harrell makes the best use of tradition and modernity in jazz in his latest outing, Alternate Summer. A lyrical storyteller and prolific artist, Harrell maintains his reputation for producing high-quality work, consistently earning the admiration of his listeners. This new effort features ten new original compositions performed by a stellar lineup of collaborators—most of them familiar faces alongside a fresh addition—that bring Harrell’s distinctive style to life.

Miramar” thrives on a staccato central melody set against a bluesy, groovy texture that supports inventive improvisations. Harrell’s classy statement bridges the realms of hard-bop and post-bop, while saxophonist Mark Turner and keyboardist Luis Perdomo contribute richly melodic passages. Turner’s blistering licks shine even brighter on “Peanut”, a post-bop tune with funk undercurrents, and “Alternate Summer”, a breezy ballad that exudes warmth.

Recording with Harrell for the first time, tenorist Dayna Stephens appears on four pieces - “Intermezzo”, an elegant, low-key 3/4 piece adorned by a wonderful bass solo by Ugonna Okegwo and Harrell’s heavenly reflections; “UV”, a shifting-meter blues that incorporates diffusing B3 organ textures, a sinuous yet intelligible electric guitar solo by Charles Altura, and a vamp for Adam Cruz’s pile-driving drums; “Chalcedon”, a lush post-bop piece with a captivating melody and in-the-groove work by Perdomo; and “Plateau”, which, unfolding with epic ambition, has a pulsating rhythm bassline charting the way forward.

Wind”, one of the album’s standout tracks, is a serene modal composition anchored by an insistent pedal point and enlivened by unison trumpet-sax melodies and vibrant interplay. There are contrapuntal moves, and a more freeing, funkified texture in support of solos from Perdomo, Turner (who excels with his inside/outside tenor phrasing), and Harrell. For the latter’s improvisation, the band shifts to a 3/4 bossa-flavored groove. 

The album concludes on a high note with the intoxicating “Radius”, which evokes the spirit of Joe Henderson. Here, the ensemble engages in a rhythmically intricate and unfettered dialogue, showcasing their collective chemistry and virtuosity. With Alternate Summer, Harrell once again proves himself to be a masterful, articulate trumpet lead, delivering with precision and emotional depth.

Favorite Tracks:
04 - Intermezzo ► 06 - Chalcedon ► 09 - Wind ► 10 - Radius


Jenny Scheinman - All Species Parade

Label: Royal Potato Family, 2024

Personnel - Jenny Scheinman: violin; Bill Frisell: guitar; Carmen Staaf: piano; Tony Scherr: bass; Kenny Wollesen: drums. Guests - Julian Lage: guitar (#3,6,10); Nels Cline (#7,8).

Violinist and composer Jenny Scheinman, well-regarded in jazz circles for her collaborations with guitarist Bill Frisell and drummers Allison Miller and Scott Amendola, continues to impress in her latest album, All Species Parade. This ambitious work features a core quintet comprising Frisell on guitar, Carmen Staaf on piano, bassist Tony Scherr, and drummer Kenny Wollesen, with additional contributions from guest guitarists Julian Lage and Nels Cline on select tracks. Inspired by her return to her native Humboldt County, California, after years in New York, Scheinman crafts ten richly textured musical canvases that traverse a broad stylistic spectrum.

Ornette Goes Home” opens with nimble brushed drums and a driving bass groove, blending chromatic movements with an Americana aesthetic for a rustic, bluesy vibe. The quintet shines as each member takes turns soloing, offering distinct emotional hues before the track shifts into a funk-infused conclusion. Funk is also present in the colorful title track, “All Species Parade”, where Wollesen’s cool rock beat underscores a vibrant central melody with an Arabesque descent, creating a celebratory atmosphere enriched by hints of American folk idioms. 

Jaroujiji”, a cinematic homage to the Wiyot tribe, introduces a dramatic tone with Staaf’s clear-cut piano riff and Lage’s expressive acoustic guitar. Scheinman and Frisell collaborate closely in the melodic narrative, weaving intricate lines that highlight the track's poignant beauty. This cut, the title track, and the short-lived “The Sea Also Rises” form an Ellington-inspired suite, confirming the departure from the concise, song-like structures of Scheinman’s previous albums. Lage lends his expressive guitar work to two other titles — “Shutdown Stomp”, a folk rag piece whose energy leaves us gasping for breath, features him painting outside the frames with pastel shades, also spotlighting Wollesen’s vigorous accentuations; and the closer, “Nocturne 2020”, whose tender romanticism gains traction with a 7/4 meter signature.

Nels Cline’s chameleon-like guitar work adds further dimension to “House of Flowers”, a tender ballad with a country sensibility, and “The Cape”, a furious piece driven by krautrock rhythms and gritty blues-rock chops. By contrast, the playful “Every Bear That Ever There Was” blends the stealthy charm of Henry Mancini’s “Pink Panther Theme” with the noir allure of David Shire’s "Marlowe’s Theme”, while the ambient “With Sea Lions” evokes a monolithic wave of tranquil, blue-hued awe.

Scheinman explores a wide array of stylistic contexts, finding remarkable depth and nuance within each. All Species Parade reflects her honest and courageous vision, brought to life by a band whose tightly connected chemistry elevates every track. 

Favorite Tracks:
01 - Ornette Goes Home ► 05 - All Species Parade ► 06 - Shutdown Stomp


Ben Goldberg / Todd Sickafoose / Scott Amendola - Here to There

Label: Secret Hatch Records, 2024

Personnel - Ben Goldberg: clarinet; Todd Sickafoose: bass; Scott Amendola: drums.

Clarinetist Ben Goldberg, bassist Todd Sickafoose, and drummer Scott Amendola join forces to form a truly collaborative trio of progressive jazz luminaries. Each has been a significant presence in the creative music scene for decades, excelling as both inventive bandleaders and masterful sidemen. While they’ve played together in various contexts, Here to There marks their first endeavor as a trio, delivering a collection of originals inspired by the bridges of Thelonious Monk’s compositions. Abstracting with virtuosity and dexterity, the trio creates refined avant-garde jazz artworks within a musical universe that feels entirely their own.

The album kicks off with Sickafoose’s “In Walked”, a piece harmonically rooted in Monk’s “In Walked Bud”. From the outset, the trio immerses listeners in quick, cyclic clarinet patterns—occasionally hinting at the original melody—accompanied by screeching cymbals and loose bass notes that lock into a 5/4 groove. Goldberg’s expressive clarinet playing exudes heart and vibrancy, while Amendola’s nuanced drumming, complete with surprising colorations and tasteful electronics, adds depth. The drummer also contributes three versions of his “Lion Heart,” with the first presented as a clarinet-and-drums duet.

Self Evident”, drawn from Monk’s “Evidence”, ventures into experimental territory with a polyrhythmic modernism that includes hip-hop-inspired beats, sparse bass gestures, and reflective clarinet improvisations. The piece evolves into a ritualistic soundscape as Amendola incorporates layered percussion, Sickafoose provides a constant bass pulse, and Goldberg stretches his melodic explorations. 

Sickafoose also contributes “Sad Trophy” and “Interospection”, inspired by Monk’s “Epistrophy” and “Introspection”, respectively. “Sad Trophy” is propelled by a 2/4 bass motif, rattling shaker rhythms, and dry cymbal accents, with Goldberg’s incantatory clarinet soaring above. “Interospection”, on the other hand, unfolds with a slow, spaced-out groove that gradually builds intensity while maintaining an undercurrent of tension.

Goldberg’s three compositions—“Porch Concert Material 9”, “Porch Concert Material 2”, and “Porch Concert Material 6”—highlight his distinct approach. The first offers speech-like patterns with motivic ebbs and flows; the second juxtaposes classical undertones, swinging bass lines, and conversational drumming; and the third delivers a beautiful, balladic melody with understated elegance.

This trio spreads a fantastic vibe, and every choice made works like a charm. Here to There offers elevated music, sure to leave listeners in a great mood.

Favorite Tracks:
01 - In Walked ► 02 - Self Evident ► 05 - Sad Trophy


Joe Fonda Quartet - Eyes On the Horizon

Label: Long Song Records, 2024

Personnel - Joe Fonda: bass; Wadada Leo Smith: trumpet; Satoko Fujii: piano; Tiziano Tononi: drums.

In a career spanning over four decades, free jazz bassist Joe Fonda has become a sought-after sideman and an inventive bandleader. His latest quartet album, Eyes On the Horizon, serves as a tribute to his former mentor, legendary trumpeter Wadada Leo Smith, who joins Fonda on this project along with Japanese pianist Satoko Fujii and Italian drummer Tiziano Tononi. Fonda crafts compositions with fluid structures, allowing the musicians to take up thematic material at different times, blurring the boundaries between composition and improvisation in curious ways. While Fujii and Tononi have been close collaborators, Smith hadn’t recorded with Fonda since the mid-1980s.

Inspiration Opus #1” opens the album with darting bow work and exquisite trumpet licks. The piano comes and goes while the drummer insists on bright cymbal coloration. The music ebbs and flows, creating a dynamic soundscape that resists reaching a peak. “My Song Opus #2” features a piano introduction steeped in emotion and hidden mysteries. There are well-measured trumpet glances and lyrical swells that demonstrate Smith’s extensive depth of range, with Fonda designing a repeating ascending phrase that dissolves into free currents. Fujii’s textural sculptures and Toni’s adaptable drumming contribute to this slow, dirge-like procession.

We Need Members Opus #4” is a standout track inspired by the time Fonda and Smith first met at a CMIF (Creative Musicians Improvisers Forum) recruitment session in New Haven, an organization co-founded and directed by Smith. The fleeting, rabble-rousing conjoint operations of bass and piano claim the spotlight at an early stage. Then, Fonda installs a gorgeous bass groove over which Fujii creates beautiful melodies with a few ingenious outside notes, while Tononi’s drums march forward with precision. Smith’s soulful extemporization triggers reactions from the pianist before Fonda enjoys an unaccompanied moment, delivering confident statements with rhythmic invention. The piece concludes on a solemnly profound note with active drumming at the base.

Bright Light Opus #5”, inspired by Smith’s remark, ‘I love brightness’, during a session, unfolds with dark suspensions, synchronized motifs, and grand, bittersweet piano chords. The contemplative bass-trumpet duet “Like No Other” honors vibraphonist Bobby Naughton, a longtime collaborator of Fonda and Smith. The powerful “Listen to Dr. Cornel West”, a Fonda staple, brims with raw energy, with each musician offering their own commentary. 

Fonda and his peers create new frameworks and spaces for their creativity, making Eyes On the Horizon a profound homage to one of jazz’s most distinctive trumpeters. 

Favorite Tracks: 
02 - My Song Opus #2 ► 03 - We Need Members Opus #4 ► 05 - Listen to Dr. Cornel West