Angelica Sanchez Nonet - Nighttime Creatures

Label: Pyroclastic Records, 2023

Personnel - Angelica Sanchez: piano; Michael Attias: alto sax; Ben Goldberg: contra-alto bass clarinet; Chris Speed: tenor sax, clarinet; Thomas Heberer: quarter-tone trumpet; Kenny Warren: cornet; Omar Tamez: guitar; John Hébert: bass; Sam Ospovat: drums.

Fascinated by the darkness of the woods, the creatures that inhabit it, and the occasional moonshine from which it borrows some light, pianist and composer Angelica Sanchez presents new compositions that took her six years to write and arrange. Here, she forges ahead in the acoustic nonet setting with a consistency and quality that is visible throughout. Nighttime Creatures is a testament to her strong musical relationship with the musicians that follow her and her art of composing for a large ensemble, all the while leaving space for individual improvisation. Who wouldn’t do that with a band that incorporates top improvisers such as altoist Michael Attias, tenorist Chris Speed, and clarinetist Ben Goldberg?

The title track opens the recording with a strategic balance between highly articulated counterpoint and synchronization. The relaxed narrative is filled with stargazing melodies, mysterious atmospheric suggestions, and firm harmonic sequences that galvanize Goldberg for a delicious contra-alto bass clarinet solo. He’s followed by Attias, whose agile language invites trumpeter Thomas Heberer for an impromptu chat.

“Cloud House” begins with Speed’s tenor lines and later incorporates unimposing piano remarks and the confident bass notes of John Hébert as support. The atmosphere is entrenched with both metaphor and lucidity, and the music becomes sultry at different junctures, just to be steamed up by a tone-defiant solo by Goldberg before ending in radiant orchestral lusciousness. “Land Here” brings in more angularity, passing through a crescendo before landing safely, while “Astral Light of Alarid”, written for Sanchez’s late father, waltzes and explores other rhythms with feeling, sometimes with Latin traces. The pianist delivers a fine statement infused with glaring motifs on this one.

Showcasing the influence of and admiration for pianist Carla Bley, “C.B. The Time Traveler” is set in motion with a lazy flow that gives it a melancholy tone. This rhythmically interesting effort mutates along the way, offering a fluid, slightly funkified groove, concurrent improvs by Goldberg and guitarist Omar Tamez, and accelerations for a bustling finale packed with melodic intersections. Also influenced by Bley’s concept of chronotransduction, is “Wrong Door For Rocket Fuel”, whose tones reminded me of those of the Pink Panther theme but with cross-cutting phrases layering melodic movements like lapping waves.

Admirably and sumptuously arranged, Duke Ellington’s “Lady of the Lavender Mist” contains wonderful movements and solos that can captivate most straight-ahead jazz listeners. The record concludes with “Run”, a rampant association of exuberant sounds that brought to mind Mingus’ swinging fun pieces, all with just enough avant-garde jazz push to make them special.

Making us hypnotized and alert at the same time, this album is a great place to start if you’re not familiar with Sanchez’s music as it represents a big, beautiful picture of what she can do.

Favorite Tracks:
01 - Nighttime Creatures ► 02 - C.B. The Time Traveler ► 11 - Run

Anna Webber - Shimmer Wince

Label: Intakt Records, 2023

Personnel - Anna Webber: tenor saxophone, flutes; Adam O’Farrill; trumpet; Elias Stemeseder: synthesizer; Mariel Roberts: cello; Lesley Mok: drums.

Constantly at the vanguard of the most adventurous jazz, saxophonist and composer Anna Webber explores a laborious yet stimulating concept with her remarkable new quintet in her latest release, Shimmer Wince. By interlocking mathematical patterns and polyrhythmic pitches, Webber creates intricate frameworks that sound perfectly natural and balanced, employing a concept known as Just Intonation. Requiring a lot of effort from the musicians, this process - an ancient tuning system based on the natural harmonics and resonances of notes - is applied to her own rhythmic and harmonic investments. 

The opening track, “Swell” is a characteristic example of post-modernistic ingenuity laced with circularity and improvisation. It falls into a kind of modal blues that, starting uninterruptedly at the base with Elias Stemeseder’s synth and Mariel Roberts’ cello, is disrupted by Lesley Mok’s cymbal washes and scratches, progressively gaining body and form with the help of her proliferating drumming. As the track unfolds, occasional cello pedals encourage freedom to be simultaneously embraced by Webber and trumpeter Adam O’Farrill.

“Wince” resonates rhythmically with a sweeping rock-inspired backbeat and non-linear pulses, framing an asymmetric sonic landscape. Showcasing exciting trumpet artistry, O’Farrill opts for a dense yet highly articulated vocabulary, while Webber infuses her solo with substantial malleability, adapting seamlessly to a new foundational terrain. “Fizz”, on the other hand, seems inspired by uncompromising, playful electronic music. This distinctive atmosphere is produced via synth, rhythmically stirred by snare rudiments that drive the music forward at just the right speed. Melodically, it comes stamped with flute and cello figures.

Demonstrating an uncanny ability to create detours within her own style, the saxophonist employs multiphonics as a vehicle for superb rhythmic punctuation on “Periodicity I”. Here, Roberts is free to mine the lower registers with rasping tones and also contributes contrapuntal incisions. Fragmented rhythms, glitchy sounds, and digital sonic matrixes are part of a big musical equation that acquires a seductive exoticism through an expressively powerful tenor statement. Also brilliantly orchestrated, “Squirmy” features in-and-out flute zigzags, becoming abstract and droning along the way before returning to the vibrant counterpoint that often permeates these pieces.

Shimmer Wince stands as a monument to unbridled creativity; a demanding yet tightly woven body of work where the musicians play with and against each other, exploring new directions with both rigor and ingenuity. Despite all the intricacies associated, Webber never loses her compositional and artistic identity. 

Favorite Tracks:
01 - Swell ► 02 - Wince ► 04 - Periodicity I

Darcy James Argue's Secret Society - Dynamic Maximum Tension

Label: Nonesuch Records, 2023

Personnel - Darcy James Argue: composition, conduction; Dave Pietro: alto sax, flutes; Rob Wilkerson: saxophones, clarinet, flute; Sam Sadigursky: tenor saxophone, clarinet; John Ellis: tenor saxophone, clarinets; Carl Maraghi: baritone saxophone; Ingrid jensen: trumpet; Seneca Black: trumpet; Liesl Whitaker: trumpet; Matt Holman: trumpet; Nadje Noordhuis: trumpet; Brandon Lee: trumpet; Mike Fahie: trombone; Ryan Keberle: trombone; Jacob Garchik: trombone; Jennifer Wharton: bass trombone; Sara Caswell: violin, hardanger d'amore; Sebastian Noelle: guitars; Adam Birnbaum: piano; Matt Clohesy: acoustic and electric bass; Jon Wikan: drum set; Cecile McLorin Salvant: vocals. 

The qualities of a meticulously planned recording is on display in the fourth outing of lauded Canadian composer and bandleader Darcy James Argue and his 18-piece ensemble Secret Society. Just as colorful as the album’s cover, the music in Dynamic Maximum Tension offers triumphant sonic assertion and textural palettes that, standing on their own, also support improvisation. 

For this double-disc effort, Argue set out to create musical portraits of individuals he greatly admires. The high-powered opener, “Dymaxion”, was composed with architect/inventor Buckminster Fuller in mind, and his Dymaxion car. Combining pulsating bass tension, rim clicks, and lateral cymbal hits at the outset, the piece evolves into a 15-beat cycle bass groove that, boosting a rock-inflected texture for a while, also supports the meaty sounds of baritonist Carl Maraghi. The latter stretches out further as the tapestry changes.

Harnessing emotion at every step, “All In” plays with a downtempo beat, intricate time shifts, and lush harmonies, featuring Australian trumpeter Nadje Noordhuis as the sole improviser. This one is a tribute to late trumpeter Laurie Frink. “Ebonite” is driven by a strong motivic intention and builds on top of and around that. The piece shifts, but it’s a vigorous waltzing intensity that buoys up Dave Pietro’s dazzling soprano reflection.

The smokin’ hot “Wingéd Beasts” has a soft start but then strikes with polyrhythm and fine solos from trombonist Ryan Keberle, who blows over agile bass movements and discreet drumming, and Maraghi on baritone, who enjoys the key-shifting lilting measures under his feet. Disc I ends with “Your Enemy is Asleep”, whose balladic ethos occasionally takes on a dark, dirge-like quality. The latter number features spine-shivering statements from bassist Matt Clohesy and trumpeter Ingrid Jensen.

Disc II deepens ties to jazz tradition with numbers such as “Tensile Curves”, a 31-minute response to Duke Ellington’s “Diminuendo and Crescendo in Blue”. This piece seamlessly blends repose and excitement, often opting for metrical modulation. But there’s also “Mae West: Advice”, a tribute to the actress, singer, and sex symbol in the title, which is enhanced by Cecile McLorin Salvant’s lovable voice and Jensen’s totally-connected trumpetism. Another standout, “Ferromagnetic”, is bookended by an atmospheric rock and fusion postures offered by guitar and piano, incorporating asymmetric rhythmic patterns, a defiant bass groove, and a fine improvisation by trumpeter Matt Holman. The topic here is American military contracting.

This album is a celebration of big band magnificence, characterized by sterling layering taste, solid movements, and expertly seamless passages. Argue reappears in excellent form.

Favorite Tracks:
01 (Disc I) - Dymaxion ► 06 (Disc I) - Your Enemies are Asleep ► 02 (Disc II) - Ferromagnetic

John Scofield - Uncle John's Band

Label: ECM Records, 2023

Personnel - John Scofield: guitar; Vicente Archer: bass; Bill Stewart: drums.

Renowned American guitar virtuoso John Scofield, whose inspirational playing alternates between incendiary and velvety smooth, unveils a captivating new trio album that features him alongside distinctive sidemen such as bassist Vicente Archer and drummer Bill Stewart. The former rejoins the other two five years after Combo 66, while the latter has been a consistent collaborator of the guitarist since 1991. Across the 14 tunes comprising Uncle John’s Band (titled after the Grateful Dead’s 1970 folk rock song), Scofield paints a vibrant spectrum of sounds, upholding his inimitable spirit while maintaining a sharp focus and a distinct sense of identity. 

Scofield is credited with half of the material, but the record opens with a rendition of Bob Dylan’s classic, “Mr. Tambourine Man”. Droning electronics in loop accompanied by bright cymbal continuum and a resistant bass pedal underpin an introductory section that prominently features the guitar. Under the strong folksy spell of the song, Scofield opens new perspectives as his solo unfolds. Subsequently, Archer follows suit, impregnating his statement with airy waves.

The uptempo hard-bop groove of “How Deep” and the cool jazz vibe of Miles Davis/Bud Powell’s “Budo” showcase nimble jazz maneuvers executed with muscle and an unabashed swinging posture. Coming from the guitarist’s pen, “TV Band” and “Nothing is Forever” (a heartfelt tribute to his late son Evan) are loaded with generous amounts of groove, presenting a scintillating combination of melodic and chordal prowess. They are exquisitely polished to perfection in its final touches. The emotional resonance within these two pieces is particularly noteworthy.

Shifting gears, the country-tinged hues of “Back in Time” and the folk-rock essence of Neil Young’s “Old Man”, which rounds off the first disc, are seamlessly enveloped in a tasteful jazz veneer.

On CD2, the musical landscape feels even more elastic. The highlights are the frail standard jazz ballad “Stairway to the Stars”, propelled by Stewart’s sensitive brushwork; “Mo Green”, a soulful jazz-rock head-nodder with a great funky riff at the center; and “Mask”, which epitomizes jazz-funk at its best, leaving ample room for Stewart’s brilliant commentary.

Placing a high premium on sound clarity and fresh musical ideas, this album is an absolute must-listen for Scofield enthusiasts, offering a delightful collection of eclectic tunes infused with his signature electric vibe.

Favorite Tracks:
03 (CD1) - TV Band ► 06 (CD1) - Nothing is Forever ► 03 (CD2) - Mo Green ► 04 (CD2) - Mask

Billy Mohler - Ultraviolet

Label: Contagious Music, 2023

Personnel - Chris Speed: tenor saxophone, clarinet; Shane Endsley: trumpet; Billy Mohler: bass; Nate Wood: drums.

Bassist Billy Mohler’s third album with his chord-less quartet showcases an impressive melodic sensibility and an adventurous groove-centered approach, integrating rhythmic elements from pop/rock and contemporary jazz. Not surprising as Ultraviolet follows the success of Focus! (Make Records, 2019) and Anatomy (Contagious Music, 2022) with distinction. The nine compelling compositions here unfold with sly amusement and seem tailor-made for this ensemble The band boasts a robust frontline with saxophonist Chris Speed and trumpeter Shane Endsley, with drummer Nate Wood joining Mohler in the creation of sharp-edged rhythmic foundations. 

“Matador” is the short yet beautiful miniature piece that opens the album, leading into the title cut, “Ultraviolet”, one of the first compositions crafted for this program and recorded in a single take. The track begins with Mohler’s big, round sound generating the insane groove that will give the floor to the theme’s unison statement. The inherent rock spirit continues throughout “The Wait”, seasoned with a bass and drums expertise that dispenses any harmonic instrument. There’s ample space for the melodic traits of Speed and Endsley, whose expertly crafted phrases intertwine freely before revisiting the main theme. Also with a controlled pace but prescinding from this dimensional groovy atmosphere, the hypnotic “Aberdeen” pays homage to Kurt Cobain, the late frontman of Nirvana.

The joyous abandon of “Evolution” directs our attention to a bluesy avant-garde jazz reminiscent of greats like Ornette Coleman and the fruitful collaboration between Don Cherry and Dewey Redman. The exploration of rhythmic aesthetics reaches a peak in “Disorder II”, a danceable, looping exercise that suggest a combination of PIL and Prodigy while confining the duo of horn players to focused team work. Wood claims the spotlight in the last segment, infesting it with booming drum breaks.

One notable aspect of the album is the judicious length of the tracks. “Reconstruction”, the lengthiest piece at eight minutes, never succumbs to a sense of prosaic wandering. It’s a blues-based exertion with an appealing gravitational pull and horn trajectories skillfully enveloped in a reverb effect during post-production.

It’s all here, in a fusion of creativity, well-crafted grooves, masterful solos, and lively polyphonic interplay. An album that invites listeners to fully immerse themselves in its vibrant offerings.

Favorite Tracks:
03 - Disorder II ► 04 - The Wait ► 09 - Reconstruction

Nicole Mitchell & Alexander Hawkins - At Earth School

Label: Astral Spirits Records, 2023

Personnel - Nicole Mitchell: flute, voice; Alexander Hawkins: piano, bells.

American flutist Nicole Mitchell and British pianist Alexander Hawkins stand as two indelible forces in the avant-garde jazz scene. Mandorla Awakening II: Emerging World (FPE Records, 2017) and Togetherness Music (Intakt, 2021), respectively, are stunning albums that I personally consider essential listening experiences.

Recorded live last year at London’s Cafe OTO, this duo effort brings their adept improvising skills and bubbling chemistry to the fore while seamlessly transitioning from soothing atmospheres to intense avant-garde expression. Exuding fascination, “Miracle Witness” immediately earns our ears and hearts through an impeccably intoned flute whose reflective melodies shine over the dreamy piano textures that support them.

Both “Interlocking Imaginations” and the closing piece, “Flicker Bounce Glide”, are more agitated, maintaining a dynamic rhythmic quality that never compromises responsiveness in their interplay. On the latter, Mitchell, toggling between flute and voice, operates over the resilient pulsing vivacity that emerges from Hawkins’ nimble pianism.

A complex mesh of avant-garde and modern classical elements often enriches these pieces’ tapestries. “What Are You Afraid of”, a confrontational rumination on fear, freedom, and truth, is stirred by Mitchell’s provocative narration, before segueing into “There is a Balm in Gilead”, a traditional African American spiritual delivered with elegant tenderness.

“The Stars are Listening” evokes the sounds of a primeval forest, breathing ample air via tinkling bell sounds, sparse piano notes (with occasional extended techniques), and multi-timbral flute calls. On the other hand, “Jalopy Ride” is an inventive blues piece delivered with a modern striding technique, showcasing the twosome’s ability to play with no particular concern with time. They definitely ear each other, interacting with bold shapes of their own.

Favorite Tracks:
01 - Miracle Witness ► 03 - Jalopy Ride ► 09 - Flicker Bounce Glide

Mendoza Hoff Revels - Echolocation

Label: AUM Fidelity, 2023

Personnel - Ava Mendoza: electric guitar; James Brandon Lewis: tenor saxophone; Devin Hoff: electric bass; Ches Smith: drums.

What an electrifying outing this is! Echolocation features a stellar quartet of impulsive musical adventurers co-led by guitarist Ava Mendoza and bassist Devin Hoff, who share compositional duties and sign four pieces each. Rounding out the group are the acclaimed saxophonist James Brandon Lewis and the multi-faceted drummer Ches Smith. The music - unflagging creative jazz with a post-punk ethos - slashes like a stiletto, demonstrating their fearlessness in experimenting with new concepts and blending genres with forward-looking vision.

“Dyscalculia” boasts overwhelming power at its core, borrowing from heavy metal. Penned by Hoff and inspired by numbers dancing in his head, this piece progresses in five and features probing bass lines with enough rock groove to pique your ears. Lewis’ saxophone rides are authoritative, flanked by ferocious guitar washes and supported by a mesh of fired-up drum attacks.

Two other standouts from Hoff are “Babel-17”, a mercurial prog-rock catharsis with defiant punk attitude and polyrhythmic smarts, and “The Stumble”, an odd-metered experimental blues with a suggestive Afrobeat tapestry woven by Smith. Hoff nurtures the intro and also solos distinctively.

Mendoza’s compositions don’t lag behind. “Echolocation” piques our curiosity with a spaced-out guitar intro before straddling between noise, indie rock and spiritual jazz. There’s a cyclic harmonic sequence over which Lewis’ improv becomes fervent, while Mendoza, more melodic, employs long sustains.

If ‘Interwhining” feels like a danceable funk rock exercise - fans of Red Hot Chili Peppers can enjoy heavier atmospheres on this one - that also swings rebelliously before going wild, then “Diablada”, inspired by a Bolivian carnival folk dance, brings an exotic theme to the table. The group crosses frontiers with amplified saturation, and guitar interjections work as an energetic foil for volcanic saxophone eruptions. All of it runs on top of muscular, exuberant  grooves provided by Hoff and Smith. Yes, it’s heavy listening with thick densities, but I bet you’ll be asking for more. I want more!

Favorite Tracks:
02 - Echolocation ► 04 - Babel-17 ► 06 - Diablada

Jeff Lederer with Mary LaRose - Schoenberg on the Beach

Label: Little i Music, 2023

Personnel - Jeff Lederer: flute, clarinet; Mary LaRose: voice; Patricia Brennan: vibraphone, electronics; Hank Roberts: cello; Michael Formanek: bass; Matt Wilson: drums, percussion. Guest - Marty Ehrlich: bass clarinet (#7).

Versatile multi-reedist Jeff Lederer collaborates with his wife, vocalist Mary LaRose, for a song cycle that melds the music of Austrian-American composer Arnold Schoenberg with texts from philosophers such as Nietzsche, Rilke, Goethe, and Giraud. Themed around the ocean, the project features an all-star ensemble of improvisers in a program that, crossing avant-garde jazz with classical elements, is expertly controlled without sounding overly meticulous.

The opener, “On The Beach”, focuses on an unwavering rock-oriented rhythm with strong hi-hat demarcation. There’s a lyrical middle passage where Hank Roberts’ cello takes center stage, while Patricia Brennan weaves a fine harmonic tapestry with her four-mallet dexterity. “Blumengruss”, a composition by Anton von Webern with words by Goethe, exudes a particular glamour. The romanticized narrative benefits from Matt Wilson’s rattling carry-on and percussive drive; Lederer’s delirious swirls on flute; Brennan’s empathetic vibes surrounded by no less smart electronics; and bassist Michael Formanek’s big sound.

Avant-garde expectations are met with “Beneath the Shelter” and “Moondrunk”. The latter embraces a loosely swinging motion on top of which LaRose experiments with no concern for tonality but rather with dramatic expression. Lederer, who takes the flute on this one for another pirouette, picks the clarinet for a hot timbre-ranging solo on the closer, “Summer’s Weariness”, driven by Wilson’s spirited rock propulsion.

Tenacious scraps of melody floating in and out of scope are everywhere, and “The Pale Flowers of Moonlight”, drawn from Schoenberg’s Pierrot Lunaire Op 21, comes wrapped up in soft chamber silk while evoking a sense of romantic adventure. In the sequence of the hip muted beat and electronic gambit of the introductory section, a waltzing vibraphone cadence is initiated, later reinforced by bass. Tempo shifts to 4/4, guesting bass clarinetist Marty Ehrlich into an outgoing, non-conforming statement before the waltz is reinstated.
Passing a sensation of amorphousness within its structures, the artsy program nurtures intriguing articulation, making it fairly accessible without reaching grand musical climaxes.

Favorite Tracks:
01 - On the Beach ► 02 - Blumengruss ► 09 - Summer’s Weariness

HIIT - For Beauty is Nothing But the Beginning of Terror

Label: Clean Feed Records, 2023

Personnel - Simone Quatrana: piano; Andrea Grossi: double bass; Pedro Melo Alves: drums.

HIIT, an innovative avant-garde jazz trio that stems from the Italian and Portuguese jazz scenes, has unveiled an interesting debut album that traverses an array of inspirations and atmospheres, ranging from frayed tension to thoughtful musing. Pianist Simone Quatrana, double bassist Andrea Grossi, and drummer Pedro Melo Alves employ a strategy of compositional frames that feed real-time composition, elevating the classic piano trio format to a gripping level.

In the embrace of experimentalism, the album kicks off with “Gliss Glass”, a piece bursting with feverish timbre and motion, simmering with boiling pressure until giving way to a series of zigzagging glissandi. The subsequent track, “Ecotone”, has whirling piano runs creating a sense of vertigo, accompanied by a cascade of kaleidoscopic drumming. Irrepressible piano cycles surge at a rapid pace, while lyrical arco bass melodies search for peace of mind, detached from the chaos surrounding them. The placid bowing wins in the end.

Formidable mosaics of improvised music get specificities in textures while paying tribute to various personalities. For instance, “Concetto Spaziale” delves into contemplative sonic mysteries, interweaving sparse bass notes, overtly brushed drums, and a dreamy piano temperament to celebrate Lucio Fontana and his synthesized art known as Spatialism. Other pieces follow suit: “Urge”, dedicated to Italian photographer Roberto Masotti, plays with tonal contrasts - light and heavy, dark and clear, assertive and carefree; “Taro” marries 20th-century classical music with avant-garde, honoring jazz pianist Giorgio Gaslini; and “The Tartar Steppe”, named after Dino Buzzati’s distinguished novel, adopts a serene posture with minimalistic classical modernism at the core.

The trio skillfully intertwines sounds with a slippery subversion in “Urbe”, where contemporary groove indulgence, reminiscent of Matthew Shipp, positions fragmented bass lines and cluster piano harmonizations atop a hypnotic rhythmic spell. Similar results are achieved with the utterly propulsive “Clichés”, whose deliberately reiterated ideas emulate electronic alienation. 

Imbued with a spirit of sophisticated discovery, this recording is more than mere speculation. It’s a solid musical statement from an explorative trio that operates efficiently.

Favorite Tracks:
02 - Ecotone ► 05 - Urbe ► 08 - The Tartar Steppe

Miho Hazama - m_unit: Beyond Orbits

Label: Edition Records, 2023

Personnel - Miho Hazama: composition (except #6), conduction; Steve Wilson: alto and soprano sax, flute; Jeremy Powell: tenor sax, clarinet (#1, 3-5); Jason Rigby: tenor sax, clarinet (#2, 6-8); Andrew Gutauskas: baritone sax, bass clarinet; Jonathan Powell: trumpet, flugelhorn; Adam Unsworth: French horn; Tomoko Akaboshi: violin; Ben Russell: violin; Atsuki Yoshida: viola; Meaghan Burke: cello; James Shipp: vibraphone; Billy Test: piano; Sam Anning: bass (except #3); Jake Goldbas: drums. 
Guests - Christian McBride: bass (#3); Immanuel Wilkins: alto sax (#8). 

The immensely talented Tokyo-born composer and conductor, Miho Hazama, has been carving out a niche among big band enthusiasts with her remarkable project, m_unit. Following the wide acclaim received in 2018 with Dancer in Nowhere, she now presents a follow-up titled Beyond Orbits. The fresh compositions in this album propel musical narratives forward by weaving spellbinding layers of sound. In addition to the motivation related to the ensemble’s 10th anniversary, the inspiration for this album came from exoplanets (planets beyond our solar system).

This new spectacular offering begins with “Abeam”, an immensely rich cut where the entire band plays around constantly shifting meters with dazzling precision. The listener can savor a blend of progressive and classic flavors with Latin and swing jazz affiliations. Each of the chosen soloists - pianist Billy Test, who puts his impeccable language at the service of the music; trumpeter Jonathan Powell, who hits earth and sky with articulated designs; and drummer Jake Goldbas, who extemporizes over a Latin-infused vamp - contribute their unique brilliance.

“A Monk in Ascending and Descending” is a ballad that, in the initial stage, puts trombone and strings in the spotlight. The 5/4 time changes, and saxophonist Jason Rigby blows with intensity over a waltzing cadence. Leavened with the beat bounce of the drummer, the piece gains a hip-hop feel, further enhanced by the nimble, cool mallet work of vibraphonist James Shipp.

The orchestral audacity continues with the three-movement Exoplanet Suite. The first part, Elliptical Orbit, guests the masterful bassist Christian McBride, whose extraordinary odd-metered groove and swinging vibrancy contribute to the epic swagger. The second part, Three Sunlights, takes on a balladic fantasy infused with mystery and magic. And the part three, Planet Nine, driven by a stirring drumbeat, seamlessly integrates post-bop, fusion, and soul jazz elements.

Concluding the journey is “From Life Comes Beauty”, a temperate, graciously configured piece elevated by the soloing adroitness of guest altoist Immanuel Wilkins. But before this, “Can’t Hide Love”, a R&B hit penned by Skip Scarborough and popularized by Carmen McRae and Earth, Wind & Fire, brings out a contagious Brazilian rhythm and a robust baritone solo by Andrew Gutauskas.
Beyond Orbits is nothing short of startling in its dynamics, and confirms Hazama as an adept composer and arranger.

Favorite Tracks:
01 - Abeam ► 03 - Exoplanet Suite: I. Elliptical Orbit ► 05 - Exoplanet Suite: III. Planet Nine

Wolfgang Muthspiel - Dance of the Elders

Label: ECM Records, 2023

Personnel - Wolfgang Muthspiel: guitar; Scott Colley: bass; Brian Blade: drums.

Being comfortable in a wide range of musical settings, German guitarist and composer Wolfgang Muthspiel effortlessly balances generous portions of chamber jazz, folk, post-bop, and classical music with clarity. It’s no surprise that his musical endeavors stand out from the crowd, avoiding trends in the current sonic zeitgeist. Following up on his trio debut (Angular Blues, 2020) with rhythm stalwarts Scott Colley and Brian Blade on bass and drums, respectively, Dance of the Elders reveals how they honed their collective sound after extensive touring in 2022.

Muthspiel’s “Invocation” is an immediate standout. The radiance of the introduction is dazzling, with two guitar lines working in harmony, leading us to the immersive, tranquil, and spacious atmosphere of the trio. Earlier, we have a reflective bass statement while the cymbal and drum colors, revealing a refined taste, hold the entire piece together. Muthspiel’s guitarism is magnetic throughout, bringing magic to a soulful fingerpicked vamp that shines with synth guitar ideas on top, thoughtful bowed bass, and understated drumming.

If the latter piece exhibits bluesy and folksy complexions, then “Prelude to Bach” is a zero-gravity studio improvisation driven by acoustic guitar, inviting us us to relax with a spontaneous reading of Bach’s chorale “O Sacred Head, Now Wounded”. The classical influence blends seamlessly with edgy post-bop on “Dance of the Elders”, an erudite hybrid excursion in five with intercalated passages in 4/4 tempo. It’s a team effort with beautifully cadenced accents and polyrhythmic intent, where the trio plays as one.

Two of the seven compositions are covers. Kurt Weill/Bertold Brecht “Liebeslied” is a comforting jazz waltz delivered with probing solos from bass and guitar, whereas “Amelia” is a sure-footed folk-jazz hymn written by Joni Mitchell and dedicated to American aviation pioneer Amelia Earhart. The latter number closes the album in intimate communication, but before that, we still have two Muthspiel compositions: “Folksong” and “Cantus Bradus”. The former, inspired by giant pianist Keith Jarrett, has the three instruments singing with a fine infusion of rustic and sophistication expression before getting slightly funkified at the bottom by Colley and Blade; the latter piece, motivated by pianist Brad Mehldau’s certain way of playing, flirts with the melodic impetuousness of baroque and flamenco. The jazz phrasing gives it a proper fusion touch.

Leveraging the often-telepathic interplay between his trio mates, Muthspiel creates music that gravitates toward enjoyable textures and narratives. This album is no small accomplishment.

Favorite Tracks:
01 - Invocation ► 03 - Dance of the Elders ► 06 - Cantus Bradus

Todd Sickafoose - Bear Proof

Label: Secret Hatch Records, 2023

Personnel - Ben Goldberg: clarinet; Kirk Knuffke: cornet; Jenny Scheinman: violin; Adam Levy: guitar; Erik Deutsch: piano; Rob Reisch: accordion; Todd Sickafoose: bass; Allison Miller: drums.

15 years after the release of his must-listen album Tiny Resistors (CryptoGramophone, 2008), American bassist, composer and producer Todd Sickafoose puts out another fantastic long-form octet effort, Bear Proof. This commissioned work, recorded at one continuous take and intended to be played straight-through, allows his ambitious tones and wealth of ideas come to full fruition with the help of creative musicians. Supported by a super busy frontline of deft improvisers such as cornetist Kirk Knuffke, clarinetist Ben Goldberg and violinist Jenny Scheinman, Sickafoose also ensures a resourceful rhythm section with guitarist Adam Levy, pianist Erik Deutsch, accordionist Rob Reisch, and the rock-steady drumming of Allison Miller.

“The Gold Gate” serves as an inviting opener, relying on a formidable collision of chamber riffage and a magnetic beat that further matures into a pulsing 11-beat cycle. ‘This is mighty fine’, we think, but there’s still time to enjoy Scheinman’s agile fiddle playing before grand piano chords take us to “Bent to Shape”. The latter number, strangely conveying hastiness without really rushing things, has Goldberg and Deutsch working closely before finishing in febrile avant-garde excitement. 

Sickafoose patterned his groove in quintuple meter for “Switched On”, which highlights Knuffke and Scheinman in the improvisation department. Under their feet, texture and intensity keep changing without affecting the overall balance. On a different note, the cheery and playful “Flush” gets off the ground with wide piano jumps, handing out solos (from Goldberg and Scheinman) built around passionate harmonic accompaniment. It concludes with deep bass reflections over a drone proposed by violin and accordion.

The fluid musical states emerge, evolve, and sometimes expand before segueing into another theme that, like the previous ones, are part of this dynamic musical body. While “Boom Bust Start Up” explodes in epic colors with clear allusions to blues and rock ’n’ roll, “Turns Luck” is orchestrated with meditative depth, achieving a chilled-out atmosphere. Also floating in repose are “Magnetic North” and “Reverse Fortune”, American folk-induced ballads with prominent guitar work. The former piece, definitely a favorite, morphs unexpectedly into a quiet vamp enhanced by Knuffke’s incredible command of the cornet. How beautifully he sounds here!

Sickafoose is adroit at composing, directing, and framing the sprawling energies of a music that was about time to see the light of day. 

*** Note: we had the pleasure to hear this music live at Winter JazzFest 2020 in New York City - check it out here: https://jazztrail.net/winter-jazzfest-2020-manhattan-marathon-1-nyc-jan-10/

Favorite Tracks: 
01 - The Gold Gate ► 03 - Switched On ► 05 - Magnetic North

Sara Serpa & André Matos - Night Birds

Label: Robalo Music, 2023

Personnel - Sara Serpa: voice; André Matos: electric and acoustic guitars, bass, percussion (#11); Dov Manski: piano, synth; Sofia Jernberg: voice (#5,7,9); Okkyung Lee: cello (#3,8,10); João Pereira: drums (#2,3,4,5,6,7,10); Lourenço: voice (#4,10).

The Portuguese duo of Sara Serpa and André Matos, a boundary-pushing singer and guitarist based in New York, respectively, renew and expand their terrific sound in Night Birds, a new body of work soaked in poetic lucidity and modern world observations. Serpa recently made a notable contribution to bassist Linda May Han Oh’s The Glass Hours with distinction, while Matos released an entrancing duo recording with saxophonist Jeremy Udden in addition to his regular solo work. This is their third outing, one that offers 12 sonic sculptures carved out with their ever-deepening compositional chops.

The opener, “From a Distance”, showcases Serpa’s soaring voice along with a granular, droning, nearly misty texture created by keyboardist Dov Manski and Matos’ spacious bass notes and guitar playing, before lurching into “Carlos”, a graceful waltzing dance with a catchy melody. Voice and guitar harmonize beautifully in this quiet musical setting imbued with a newfound looseness. 

Special guest musicians are featured on specific tracks. The Swedish-Ethiopian singer Sofia Jernberg appears where experimental and avant-garde realities reign - “Underwater”, for example, brings a mix of mystery and enchantment, not only as a consequence of the emotional vocalization but also through chiming sounds, curiously eccentric murmurs, understated percussion, and measured electronic frequencies. “Degrowth”, which is also strengthen by South Korean cellist Okkyung Lee, led me to contemplate a slow procession toward some magical forest, cautioning us about the dangers of consumerism and general alienation through expertly crafted intervals. Yet, Serpa and Jernberg’s lines flow together in synchronicity. 

But there are more delightful surprises. The short-lived “Melting Ice” - with piano, bass, cello and a weighted amount of toms and cymbals - evokes that cloistered mood reminiscent of certain abstract paintings; “Family” is a wonderfully melodious and richly rhythmic piece bordering on avant-folk, which includes electric and acoustic guitars and the sweet vocal timbre of Lourenço (Serpa and Matos’ son) amidst multiple vocal layers; the refined Cocteau Twins-esque “Counting” falls into the indie rock realm with the help of drummer João Pereira’s adaptable rhythm; “Bergman’s Island” has Matos playing the acoustic guitar with the poignancy of fado, creating art-glazed cinematic atmospherics; and Béla Bartók’s “Bagatelle, Op.6: Lento” concludes the album on a tranquil yet intriguing note.

The successful duo probes a variety of stylistic approaches, textures, and shapes with nuance, creativity, and freshness. The more time we spend with this album, the more we appreciate its forward-looking perspective.

Favorite Tracks:
04 - Family ► 06 - Counting ► 08 - Degrowth

Darius Jones - fLuxKit Vancouver

Label: We Jazz Records / Northern Spy Records, 2023

Personnel - Darius Jones: alto saxophone, composition; James Meger: bass; Gerald Cleaver: drums; Jesse Zubot: violin; Josh Zubot: violin; Peggy Lee: cello.

American saxophonist Darius Jones embarks on an intriguing stylistic experiment leaning on hallucinatory avant-garde jazz. His new release, fLuxKit Vancouver (its suite but sacred) is a four-movement opus designed with an advanced structure that incorporates formidable ensemble playing and individual spontaneity. The work pays tribute to Vancouver itself and its artist-run center, Western Front, which commissioned it. Jones plays alongside drummer Gerald Cleaver, a kindred spirit with years of experience, and a quartet of qualified string players - violinist brothers Jesse and Josh Zubot, cellist Peggy Lee and bassist James Meger - all making significant contributions to the exceptional outcome.

“Fluxus V5T 1S1” places Jones’ deliberate alto thoughts over the low-pitched underpinning of bass and cello, while the violins create slight dissonance. Cleaver’s enveloping drumming adapts to the changing scenarios, following the bass walks to increase the pace. A free-wheeling improvisation by Jones steals the show. As for the stringed instruments, they sound cadenced in their craft but quickly diverge in paths, claiming the spotlight in the final chamber section, right after animated 12-beat cycles cause a sensation.

“Rainbow” is an 18-minute narrative that begins with Cleaver’s tasteful and expert timbres. The bass sneaks in, followed by the laser-focused strings, which move both in counterpoint and parallel, creating a certain pulsation. There’s a strung-out, unaccompanied bass passage that leads to a triple-metered groove. At this point, the band salutes and embraces interplay.

“Zubot” is ignited with abstraction, presenting spunky percussion, saxophone cries, and squeaky violins. In the sequence of a rigorously articulated passage with angled corners but unequivocal expression, the Zubots are called to improvise. And they do it beautifully.

The album closes with “Damon and Pythias”, the album’s fiercest movement that stuns while channeling mystery, energy, and spirituality in a sequence of ingenious strokes. Jones’ intonation recalls Henry Threadgill and his tremendous technique extends to dark multiphonics and visceral growls. Still, it transitions from foreboding and spooky to a soulfully breathtaking waltzing mode in a final part that brings to mind Pharoah Sanders’ spiritual prayers.

The players forge into the heat of the inventive compositions, and Jones, capable of fleeting articulated flurries as well as even-tempered sequences, confirms he’s one of the most interesting saxophonists of our times.

Favorite Tracks:
01 - Fluxus V5T 1S1 ► 03 - Rainbow ► 04 - Damon and Pythias

Maciej Obara Quartet - Frozen Silence

Label: ECM Records, 2023

Personnel - Maciej Obara: alto saxophone; Dominik Wania: piano; Ole Morten Vagan: bass; Gard Nilssen: drums.

Polish saxophonist and composer Maciej Obara released Frozen Silence, featuring his working quartet with fellow countryman Dominik Wania on piano, and a Norwegian rhythm team consisting of Ole Morten Vagan on bass and Gard Nilssen on drums. Obara, known for his adaptability, is also a member of the drummer’s Supersonic Orchestra, but the propulsive energy and buoyant spirit of that ensemble contrast with what you'll experience with this third album for ECM. Written during the pandemic, these compositions have a direct relationship with nature and isolation, exposing the introspective side of the composer.

Bathed in contemplative expression, “Dry Montain” shimmers into the atmosphere with crystalline prose and profound intimacy. Finding space, the instrumentalists contribute beautifully to the whole, but it’s Obara's intonation and racing phrases that stand out, sometimes evoking the spirit of Charles Lloyd. 

However, he acknowledges some inspiration from trumpeter Bill Dixon on “Black Cauldron”, a disconsolate chimera that pairs well with the rubato reflection of “High Stone”. There’s deep drama, even melancholy, in Obara’s music, yet “Twilight” finds hopeful rays of light in the dusky landscape. Immersed in a luxurious repose, the piece is enhanced by Nilssen’s excellent mallet drumming.

The title track, “Frozen Silence”, stands as one of the album’s glorious achievements. It’s set in motion with a dancing bass figure around which everything else revolves and gravitates. Wania speaks hybrid idioms - made of folk and jazz elements - with extraordinary clarity, and introduces “Rainbow Leaves” with a classical touch, after which a glaring 4/4 rhythm is established with the help of the remaining members of the rhythm section. The dynamics shift along the way, building toward its creative peak and then receding again to reinstate the early composure. This latter piece was co-written with pianist Nikola Kolodziejczyk.
Hardly revolutionary, Obara’s new album has moments of transcendent beauty, showcasing remarkable interplay.

Favorite Tracks:
01 - Dry Mountain ► 03 - Frozen Silence ► 05 - Rainbow Leaves

Sinikka Langeland - Wind and Sun

Label: ECM Records, 2023

Personnel - Sinikka Langeland: voice, kantele, Jew’s harp; Trygve Seim: tenor and soprano saxophone; Mathias Eick: trumpet; Mats Eilertssen: bass; Thomas Strønen: drums.

Norwegian vocalist and kantele player, Sinikka Langeland, makes a return with an ace roster of Norwegian bandmates after the release of her excellent solo album, Wolf Rune (ECM, 2021), whose musical enchantments are not matched here. Nevertheless, this sometimes enthralling, sometimes touching sonic journey offers much to appreciate as the band, originally assembled for celebration concerts in honor of the bandleader’s 60th birthday, paints scenic landscapes with their individual stamp. Here, Langeland plays the 5, 18 and 39-string variations of kantele, a traditional Finnish instrument, and sings the poems of Jon Fosse, whose quests of faith and proclivity for mysticism serve the folk nature of the music. 

The album opens with “Row My Ocean”, a beautiful song also featured on her previous album. The new arrangement weaves it into a feathery web that is both tranquil and emotional. Trumpeter Mathias Eick, a new addition, and saxophonist Trygve Seim, a frequent collaborator, discourse simultaneously, while Mats Eilertsen’s bowed bass adds another melodic layer. The horn players once again alternate lines in the sung version of “Wind and Sun”, whereas the instrumental version allows some tension to erupt from the pacified atmosphere. This is achieved through a swiftly plucked bass pedal and the varied percussion options - ranging from rattles to gongs to cymbals - introduced by drummer Thomas Strønen.

Set in motion by an admirable bass delineation, “It Walks and Walks” carries a mournful tone, interspersed with a few rays of light during Seim’s tenor statement. This spirit borders the introspective ambient folk of “A Child Exists”, which bathes in minimalistic waters, and differs from “When the Heart is a Moon”, a levelheaded folk pop song with a well-defined harmonic progression, as well as “The Love”, an unexpected rhythmic digression into warm bossa nova territory.

Segueing from theme to theme, with kantele comping slithering underneath, the album comes to an end with “You Hear My Heart Come”, a soothing waltzing piece with a jazzy feel and solo space. Preceding this, Langeland showcases her skills on the Jew’s harp in “Wind Song”, evoking the essence of the Earth with linearity and expressive freedom.

Langeland doesn’t reinvent the wheel with this album, but that’s not the point. Each song carries its share of pathos and incantation, illuminated by her captivating voice and absorbing playing.

Favorite Tracks: 
01 - Row My Ocean ► 08 - The Love ► 12 - You Hear My Heart Come

Gard Nilssen's Supersonic Orchestra - Family

Label: We Jazz Records, 2023

Personnel - André Roligheten: tenor sax, bass saxophone, bass clarinet; Per ”Texas” Johansson: tenor sax, contrabass clarinet, Bb clarinet; Kjetil Møster: tenor sax, baritone saxophone, Bb clarinet; Mette Rasmussen: alto sax; Maciej Obara: alto sax; Signe Emmeluth: alto sax; Eirik Hegdal: sopranino sax, C-melody sax, Bb clarinet; Thomas Johansson: trumpet; Goran Kajfes: trumpet; Erik Johannessen: trombone; Guro Kvåle: trombone; Petter Eldh: double bass; Ole Morten Vågan: double bass; Ingebrigt Håker Flaten: double bass; Håkon Mjåset Johansen: drums; Hans Hulbækmo: drums; Gard Nilssen: drums, composition.

Known for his remarkable tonalities and explosive charts, Norwegian drummer and composer Gard Nilssen is a prominent figure in the creative jazz sphere. The new material, comprised of eight tracks co-written with saxophonist Andre Roligheten (a colleague in his trio Acoustic Unity) and recorded live in the Netherlands in 2022, is excellent. This marks his second outing with the chord-less Supersonic Orchestra, composed of 11 horn players, three bassists and three drummers. Inspired by the Kenny Clarke/Francy Boland Big Band, the work consists of firmly played expressionistic textures topped by dazzling improvisations from a number of top-class creatives. 

The program begins with “The Space Dance Experiment”, which, bursting as a fanfare-ish parade, sets an asymmetric groove that is perfect for trumpeter Goran Kafjes’ enthusiastic blows. There’s a change of pace and ambience in the boisterous angular designs of saxophonist Mette Rasmussen, a flame-thrower whose sound takes us to Albert Ayler and Frank Lowe. At some point, her statement meets powerful and motivic orchestral elements that give place to Nilssen’s boiling drum solo, which segues into “Spending Time With Ludde”. Channeling Charles Mingus and Ornette Coleman, the drummer wrote this one for his son with a fine crossing between melodious spiritual folk and swinging avant-jazz in mind. Saxophonists Per ‘Texas’ Johansson and Signe Emmeluth are spotlighted here.

The elated “Boogie Stop Tøffel” will force you to move your feet to the contagious rhythm. Following Roligheten’s discourse, the band finds room for an extended bass prowl by Swedish bassist Petter Eldh. “Supersonic” is where things catch fire with a rambunctiously cacophonous collective explosion followed by massive unisons, a pungent rhythm, a two-way trombone conversation, and a fragmented if sinuous alto solo by Polish saxophonist Maciej Obara.

The ensemble probes surprising paths in “The Healing Force of the Trojan Horse” and “Dolphin Disco”. Whereas the former piece offers a sustained Brazilian samba rhythm and innocuous flute rambles, the latter, more composed, infuses modern classical elements at the outset before veering into amiable disco with a defiant tempo that would make the Bee Gees a little bemused.

Closing out the album, “SP68” feels like a Sun Ra epic space voyage enlivened by Kjetil Møster’s free-wheeling tenor blows over a tapestry of percussion and a bass saxophone groove provided by Roligheten. 
With rapid-fire interlocked passages and deliciously unhinged improvisations, Nilssen’s Supersonic Orchestra keeps generating vanguard sounds that travel through the air with aerodynamic agility.

Favorite Tracks:
01 - The Space Dance Experiment ► 02 - Spending Time With Ludde ► 08 - SP68

Steve Lehman & Orchestre National de Jazz - Ex Machina

Label: Pi Recordings, 2023

Personnel - Steve Lehman: alto saxophone, electronics; Jonathan Finlayson: trumpet; Chris Dingman: vibraphone + Orchestre National de Jazz (ONJ) includes: Frédéric Maurin: direction, electronics; Julien Soro; tenor sax, clarinet; Fanny Ménégoz; flutes, piccolo; Fabien Debellefontaine: baritone sax, clarinet, flute; Catherine Delaunay: clarinet, basset horn; Christiane Bopp: trombone; Daniel Zimmermann: trombone; Bruno Ruder: piano, synth; Stéphan Caracci: vibraphone, marimba, glockenspiel, percussion, synth; Sarah Murcia: double bass; Rafaël Koerner: drums; and more.

The virtuosic composer, altoist and improviser Steve Lehman explores the vast possibilities of spectral jazz and technology in partnership with Frédéric Maurin and his vibrant Orchestre National de Jazz. The album, aptly titled Ex Machina, includes compositions from both musical master minds, and are shaped with the help of computer generated responses (created by Jerome Nika) as well as live electronics. This musical interdependence between humans and machines evokes the work of 20th-century French composer Gérard Grisey and his studies of time. 

Maurin’s “39” opens the album with an enveloping sound fixed on magnetic drumbeats and extraordinary orchestral grandeur. Lehman steps forward, dishing out fragmented saxophone delineations of superior quality and skill, while having a panoply of electronic noises - ranging from metallic to digital - around him. Bassist Sarah Murcia takes her time to speak, benefiting from the dainty grace of the backdrop.

Lehman’s “Los Angeles Imaginary” marries electronic music and free funk with metric intricacy. It’s a visionary piece highlighted by alternate improvised ideas from tenorist Julien Soro, trumpeter Jonathan Finlayson and Lehman. Similar boisterous soloing occurs on the wondrous “Les Treize Soleils”, but this time, trumpet and alto are joined by flutist Fanny Ménégoz in a pugilistic dance with as much freedom as synchronicity. 

Other Lehman-penned standouts are “Chimera”, a showcase for the brilliant mallet work of vibraphonist Chris Dingman; “Ode to AkLaff”, a tribute to the influential avant-garde drummer Pheeroan AkLaff, which, starting off ambiguously, provides a tension-filled rhythmic backbone and highly satisfactory statements by pianist Bruno Ruder and drummer Rafaël Koerner; and last but not least, “Jeux D’Anches”, a nod to a spectral piece by Lehman’s former teacher Tristan Murail, whose insistent rhythmic patterns serve well the tortuous soloing intentions of Dingman, Finlayson and Lehman. The former two artists are members of the latter’s famous octet that made sensation with albums such as Travail, Transformation and Flow (Pi, 2009) and Mise En Abime (Pi, 2014).

The bounces we find here are no fluke and their infectiousness is exquisitely detailed in Maurin’s compositions “Speed Freeze” and “Le Seuil”, each of them composed of two parts. They sound experimental, ruminatively microtonal and mysterious, with different perceptions of tempo.

Lehman, here in a fruitful collaboration with Maurin and his futuristic large ensemble, continues to push post-modern jazz forward in an entirely original way. I have no hesitation in marking this newfangled opus as an essential listen.

Favorite Tracks:
01 - “39” ► 02 - Los Angeles Imaginary ► 07 -  Les Treize Soleils

Joshua Redman feat. Gabrielle Cavassa - Where Are We

Label: Blue Note Records, 2023

Personnel - Joshua Redman: tenor saxophone; Gabrielle Cavassa: vocals, guitar (#13); Aaron Parks: piano; Joe Sanders: bass; Brian Blade: drums // Guests - Kurt Rosenwinkel: guitar (#2); Joel Ross: vibraphone (#3); Nicholas Payton: trumpet (#6); Peter Bernstein: guitar (#7).

Esteemed American saxophonist Joshua Redman has harnessed significant inspiration during pandemic times and conceived his first album with vocals. Teaming up with New Orleans-based vocalist Gabrielle Cavassa, one of the brightest new discoveries in vocal jazz, and bringing together a trusty new rhythm section of Aaron Parks on piano, Joe Sanders on bass and Brian Blade on drums, Redman creates an engrossing conceptual album that takes us on a journey across cities and regions of the US. On selected tracks, four jazz heavyweights join the core ensemble as guests to pay homage to their respective cities.

The ride begins brilliantly with “After Minneapolis”, the sole Redman composition, which contains excerpts of Woody Guthrie’s famous folk song “This Land is Your Land”. The saxist starts unaccompanied, squeezing notes with dramatic expression before Park's stealthy entrance. Then it’s Cavassa who injects warmth and vulnerability, having Sanders working in parallel. The hitherto composed atmosphere is shaken by rhythmic kicks followed by an irresistible harmonic flow over which Redman dishes out a scene-stealing solo packed with energy.

The following couple of tracks feature amazing guests. The firm rendition of Bruce Springsteen’s “Streets of Philadelphia” is elevated by an unassisted preface by guitarist Kurt Rosenwinkel, who shows off his flexible fingers. Cavassa sings over Blade’s impeccable beat, with Parks and Sanders joining a minute later to generate a temperate propulsive funky groove. “Chicago Blues” is an expert assemblage of Count Basie’s smooth swing classic “Goin' to Chicago Blues” and several motifs drawn from “Chicago” by the indie pop multi-instrumentalist Sufjan Stevens. With an emotional Moby-like piano pattern at the base, it highlights the always-to-the-point mallet work of vibraphonist Joel Ross.

The remaining two pieces with guests are “Do You Know What Means to Miss New Orleans”, a cool vehicle showcasing an expressive Nicholas Payton trumpet statement as well as Redman’s distinguished phraseology; and “Manhattan”, a wonderful tune that shines brightly with the presence of guitarist Peter Bernstein. He and the bandleader alternate sections of the main melody with gusto.

Heading Northeast, “That’s New England” keeps its airily sweet balladic tone even while instilling excerpts from 20th-century modernist composer Charles Ives’ “Three Places in New England”. The Southeastern state of Alabama is a required stop as a saxophone intro leads to the standard “Stars Fell on Alabama”, delivered as a sax/vocals duet, and then ends in John Coltrane’s “Alabama”, a soul-stirring escape that explores a bit more off the limits, into abstract modalism.

Where Are We is another compelling offering from a marvelous saxophonist who found the perfect singer to fly with.

Favorite Tracks:
01 - After Minneapolis ► 07 - Manhattan ► 12 - Alabama

Jerome Sabbagh - Vintage

Label: Sunnyside Records, 2023

Personnel - Jerome Sabbagh: tenor saxophone; Kenny Barron: piano; Joe Martin: bass; Johnathan Blake: drums.

Favoring straight-ahead jazz flavors and plain structures over complex modernistic approaches, the new outing by French-born, New York-based saxophonist Jerome Sabbagh, Vintage, is a tribute to tradition and jazz heroes. One of them, the veteran pianist Kenny Barron, is in this quartet, assuring a lusty rhythm section with younger yet accomplished foundation connoisseurs such as bassist Joe Martin and drummer Johnathan Blake. The saxophonist was struck by Barron’s playing as a teenager in a Paris concert by saxophonist Stan Getz. This marks his first work as a leader with piano as harmonic accompaniment, after years working with guitarists Ben Monder and Greg Tuohey.

The hooky title cut is a Sabbagh hard-bop-fueled piece motivated by nostalgia, slightly latinized at the end, and marked by hot improvisations from saxophone and piano. The two men at the center deliver two elegant ballads in duo - Billy Strayhorn’s “A Flower is a Lonesome Thing” and Monk’s “Ask Me Now”, the latter of which closes the album on a nice relaxed note. There’s more Monk before that, with a playful, groovy rendition of “We See”, whose theme is expressed in unison with Barron. The pianist shows artistry in the stride piano comping that follows.

Tadd Dameron’s classic “On a Misty Night” advances with a cool, breezy flow and a no-holds-barred bop posture. Sabbagh seems channeling Getz and Rollins; Barron is harmonically explicit; Martin’s bass lines assure a fluent stream; and Blake’s zealous brush technique vouches for timekeeping. 

The saxist's considerable compositional acumen can be heard in “Slay the Giant” and “Elson’s Energy”. The former number embraces a composure that recalls Yusef Lateef, while the latter, written with a childhood friend in mind, arises as a post-bop knockout with a Brazilian rhythmic feel.

This studio date satisfies without dazzling, showing youthful vigor within the classic jazz style but not exactly experimenting new pathways. It certainly would have benefited from more original material, and yet, the repertoire here was logically chosen and gracefully expressed.

Favorite Tracks:
04 - Elson’s Energy ► 05 - Slay the Giant ► 06 - We See