Caroline Davis - Alula: Captivity

Label: Ropeadope Records, 2023

Personnel - Caroline Davis: alto saxophone, synth, voice; Chris Tordini: bass; Tyshawn Sorey: drums + Val Jeanty: turntables, samples; Qasim Naqvi: modular synthesizer (#7,8); Ben Hoffmann: Prophet 6 (#10).

Saxophonist and composer Caroline Davis returns with her electro-acoustic trio Alula, featuring new faces - Chris Tordini on bass and Tyshawn Sorey on drums in place of keyboardist Matt Mitchell and drummer Greg Saunier. The trio is augmented with special guests for Davis’ first social justice album, where she delves into the topics of incarceration, the prison industrial complex, and abolition. 

Inspired by activists and authors such as Maya Angelou, Angela Davis, Jennifer Teege, and Rabindranath Tagore, and incorporating relevant samples into most of the musical stories, Davis showcases compositional and experimental abilities that shine throughout the album. Fueled by a fast-pulsing vitality that comes from rock and techno music, “Burned Believers” was written in honor of accused heretics Agnes Franco and Huguette de la Cote, both burned alive in the 14th century. It’s a propulsive venture with expedite saxophone deliveries, impeccable drumming by Sorey, turntable scratching by Val Jeanty, and samples from speeches by Lorraine Hansberry and Astrid Delais.

“And Yet it Moves”, composed for Galileo, takes a more complex rhythmic approach and gains its zippy feel from Sorey’s stirring drumming. Davis’ authoritative saxophone statement are packed with purposeful motifs and high-pitched notes that reflect her sentiments about the sentencing of a truth seeker to life prison. "A Way Back to Myself" meanders along spacious balladic avenues with lullaby-like melodies, demonstrating compassion for Keith LaMar, a death row prisoner in the state of Ohio.

Written for Jalil Muntaqim, a political activist and former member of the Black Panther Party who spent almost 50 years in prison before his release, “Synchronize My Body Where My Mind Had Always Been” has the saxophone and bass standing shoulder to shoulder while various elements of the drum kit are brushed with sophistication. This story has continuation with “Terrestrial Rebels”, giving it a somewhat jarring electronics-infused conclusion.

Before the anthemic notes of the final track, “Put it on a Poster”, whose mix of ennui and hope provides a fascinating contrast, comes “I Won’t Be Back, Mrs. Susan Burton”, the standout track on the album. It’s a forceful improvised romp ingrained with a lot of energy, power, and determination. Davis composed it for Susan Burton, a South L.A. native who founded the nonprofit organization, A New Way of Life, to help formerly incarcerated women. 

Strong sounds, a strong message, a strong fight back - Alula delivers a compelling musical and social justice statement.

Favorite Tracks:
02 - Burned Alive ► 03 - And yet it Moves ► 09 - I Won’t be back, Mrs. Susan Burton

Hedvig Mollestad Weejuns - Weejuns

Label: Rune Grammofon, 2023

Personnel - Hedvig Mollestad: guitar; Ståle Storløkken: Hammond organ, synths, continuum; Ole Mofjell: drums.

Weejuns is the product of a productive collaboration between Norwegian guitarist Hedvig Mollestad, keyboardist Ståle Storløkken, and drummer Ole Mofjell. In this improvised session, experimental ambient segments provide a platform for bold metal-inclined forays that gradually merge in a control manner. The potential for creative expression is vast, and the music, far from feeling one-dimensional, becomes increasingly audacious as it unfolds. The trio fearlessly embraces atonal elements, allowing their notes and timbres to mingle and intersect. Those familiar with Mollestad's work will notice a different approach, especially due to the instrumentation, while her trademark guitar sound remains consistent.

On “Go at Your Peril”, they cook up a tense, bluesy rock stew with limited motion and explorative activity. Unison arpeggiated lines signal a shift in intensity, announcing the forthcoming improvisation. “Come Monday” takes a more spectral approach, with both dial and vibing electronic sounds, while Mofjell’s drumming reverberates in the background. It’s a well-ventilated experiment, though not as accessible as the subsequent piece, “Hug That Tree”. The latter, assembled from various components, starts with refracted drums responding to codified synth patches and irregular streams of shattering guitar. Multiple frequencies create a psychedelic effect before an odd-metered guitar riff emerges, underpinning sinewy keyboard layouts. The texture undergoes changes, and the roles are reversed when the synth bassline holds the groove for a ferocious guitar improvisation.

“I’ll Give You Twenty One” introduces ominous clouds, reflecting the trio's somber side through persistent drones and languid, sustained tones. Later, cyclic riffery takes on a groovy form. “Stay at Your Peril” immerses the listeners in a state of ambiguity and contemplation before transitioning to a jazzier atmosphere that segues into a seven-beat arpeggiated chord progression. Muscular drumming and the keyboard’s lower notes infuse a rock sensibility by the end. The album concludes with the Satriani-like “Pity the City”, a more emotional and polished piece with an asymmetric time signature {8+9}. The bars are subsequently equipoised for the guitar solo.

Weejuns haunts from the first note to the last but may require time for its alternation of precise and open moves be fully absorbed. While not as explosive and immediate as Ekhidna (2020) and Tempest Revisited (2021), it’s more risk-taking and ruminative. There’s more to delve into, but it already comes with the stamp ‘recommended’.

Favorite Tracks:
03 - Hug That Tree ► 05 - Stay at Your Peril ► 06 - Pity the City

Rodrigo Amado The Bridge - Beyond the Margins

Label: Trost Records, 2023

Personnel - Rodrigo Amado: tenor saxophone; Alexander von Schlippenbach; piano; Ingebrigt Haker Flaten: bass; Gerry Hemingway: drums.

The Portuguese saxophonist Rodrigo Amado has consistently explored the outer boundaries of improvised jazz, striving to breaking new ground at each new collaboration. His latest recording, Beyond the Margins, features an international quartet known as The Bridge, with German pianist Alexander von Schlippenbach, Norwegian bassist Ingebrigt Haker Flaten, and American drummer Gerry Hemingway. This three-track album is a leap forward for Amado who, fully committed to bringing expressivity and energy to the setting, extracts the utmost from the group’s push-and-pull inventiveness.

The journey begins with the title cut, a sprawling 40-minute piece filled with spontaneous detours, a bountiful fruit of their visionary creativity. Amado’s tenor, skillfully bending notes to create a sense of delightful dissonance in the phrasing, dances atop a dreamlike Coltranean texture that, steering away from melancholy, soon escalates in density and intensity. The music follows a focused direction, painted by amorphous bass moves and colorful drum work. Burnished high-range saxophone lines and agile piano take turns in the melodic thread, and we realize these musicians respect each other’s spaces within the framework.
Fine melodies and balanced rhythmic cadences are complemented with bright figures, which usually culminate in moments of visceral impact. Tricky harmonic choices, crisp angularity, and staggering rhythms are all part of the music tapestry. As the piece unfolds, we have expansion and contraction as expected, ending with a swinging eruption driven by Haker Flaten, who previously had operated with arco, and Hemingway, a sophisticated drummer who infuses meticulously placed rhythms throughout.

A piano riff sets “Personal Mountains” in motion, soon joined by bracing drumming, candid bass lines, and folk-inspired saxophone chants that gain further expression in “(visiting) Ghosts”. The latter, a free interpretation of Albert Ayler’s original piece, plays out like a spiritual ballad at the outset before exploding with energy.

Amado and The Bridge demonstrate a remarkable ability to work at both micro and macro levels, crafting moments that captivate the attention of open-eared listeners. Alternating between apparent stagnancy, simmering tension, and fiery explosions, this is a record free jazzers should go for.

Favorite Tracks:
01 - Beyond the Margins ► 02 - Personal Mountains

Drew Zaremba - Reunion

Label: Next Level, 2023

Personnel - Drew Zaremba: saxophone, organ, composition, arrangements; Andrew Janak: saxophones; Jared Cathey: saxophones; Austin Cebulske: saxophones; Allison Young: saxophones; Jake Boldman: trumpet; Gabe Mervine: trumpet; Dawn Kramer: trumpet; Shawn Williams: trumpet; Wayne Bergeron: trumpet; Zach Rich: trombone; Paul Mckee: trombone; Seth Weaver: trombone, vocals; John Matthews: bass trombone; Steve Kovalcheck: electric guitar; Dana Landry: piano; Erik Applegate: upright and electric bass; Jim White: drum set; Brian Claxton: percussion; Marion Powers: vocals.

Drew Zaremba demonstrates his immense musical talent and eclecticism in a jubilant big band project featuring grand arrangements of well-known classical, jazz, and rock pieces, along with original compositions. Zaremba has honed his craft through composition and arrangement work for notable figures like Wycliff Gordon and Eddie Gomez, and by playing alongside his mentor John Clayton, who produced the album. He has also collaborated with Walt Weiskopf and the legendary Billy Harper.

The delightful clash of musical styles is palpable throughout the album, with the spectacular orchestration of "The Entertainer" serving as a prime example. Here, classical elements converge with the jazz vibes of New Orleans, resulting in dynamic rhythmic shifts, groove, and a sense of elasticity. The solos are concise and vibrant, as seen in the rendition of Pink Floyd's "Money", which features intricate meter changes, clever accents, ostinato bass patterns, and fluid percussion. Zaremba's exploration also delves into Latin influences, and Marion Powers' vocals inject a breezy jazz sensibility that elevates the song to a new dimension.

Written for trumpeter Wayne Bergeron, “You Ain’t the Blues” develops in a mellow tone, flowing viscously at a medium-slow tempo. This provides a sharp contrast to "Minute Waltz", a fiery 4/4 bop excursion reminiscent of Buddy Rich, which propels the soloists with infectious energy. Similarly contrasting in nature are the final tracks on the alum, “Together” and “Reunion in Greeley”. “Together”, sung by Marion Powers, is an emotional waltz written for Zaremba’s wife and son, while “Reunion in Greeley” brims with an irresistible verve and bluesy colors, elevated by trombone exchanges, spirited saxophone-trumpet interactions, and talkative drums.

“We Got This” exudes a funky fusion vibe, with adventurous guitar lines rising above the orchestral backdrop, while "Glenmere" is characterized by harmonic allure and a gentle rhythm that flirts with Brazilian bossa nova influences before building up with ostinato patterns and glissandi. 

Despite the familiarity of some of the tunes, Zaremba pushes the boundaries of big band jazz through skillful arrangements. It's evident that the musicians accompanying him here are not only committed to group cohesion but also ready to shine when called upon to improvise. The result is a recording brimming with vitality and affirmation.

Favorite Tracks:
01 - The Entertainer ► 03 - Money ► 10 - Reunion in Greeley

Sylvie Courvoisier - Chimera

Label: Intakt Records, 2023

Personnel - Sylvie Courvoisier: piano; Wadada Leo Smith: trumpet; Nate Wooley: trumpet; Christian Fennesz: guitar; Drew Gress: bass; Kenny Wollesen: drums, vibraphone.

On the heels of The Rite of Spring, a classical/improvised jazz piano hybrid recorded at four hands with Cory Smythe, Swiss-born pianist Sylvie Courvoisier releases the double-disc Chimera, inspired by the art of French Symbolist Odilon Redon. The stunning batch of new compositions is brought to life by a sextet comprised of her regular trio mates, bassist Drew Dress and drummer Kenny Wollesen, plus a powerful trumpet frontline with creatives Wadada Leo Smith and Nate Wooley, and Austrian guitarist Christian Fennesz providing unexpected atmospherics to the mix. 

The music provides a deep sense of fantasy and reverie from where the group’s understated, sometimes esoteric side comes out. Melodies gently float above, ascending higher, and then landing on ambiguous realms. These can be lulling, descriptive, and hypnotic until the group pulls the rug out with brief blasts of avant-garde jazz. The opener, “Le Pavot Rouge”, sets the tone, introduced by beautiful bass playing before pulsing with a world music-inspired disposition. Intermittent distorted guitar chords immersed in reverb and other ethereal effects intermingle with the piano riff, while the trumpeters complement each other with undisturbed lines and high-pitched moans. The second half of the piece, which spans over 21 minutes, itakes on a darker and more mysterious tone without losing its fragility or pathos. It ultimately concludes with the same amiable sense of hope that it began with.

The fluidity of “Partout Des Prunelles Flamboient” is a marvel. This track, titled after Redon’s 1988 lithograph, takes a more jazz-oriented approach, bringing together electronic noise, tonal fusion with Eric Dolphy-esque angularity on top, and sudden rhythmic shifts that enliven a texture already packed with mesmerizing psychedelic irruptions. It lives in the borderlands between the dreamy and the boisterous. In turn, “La Joubarbe Aragaineuse” remains cold and static in its suspended state of cinematic expression. 

The second disc opens with the 14-minute "La Chimère aux Yeux Verts", an ambient soundscape that incorporates Keith Jarrett-esque folk-jazz piano elements and a propulsive backbeat at its core. Double trumpet interjections sometimes align, but Smith and Wooley showcase the unique qualities of their sounds, scattering chimeric chains and fragments of melody over tense low-pitched piano explosions and otherworldly guitar smears. The album concludes with "Le Sabot de Venus", avoiding sinister developments and leaving the listener with a sense that a profound journey has taken place.

Courvoisier demonstrates her ability for transformation in these long, slowly evolving pieces that continue to intrigue with their trance-like quality upon each listen.

Favorite Tracks:
01 (CD1) - Le Pavot Rouge ► 03 (CD1) - Partout Des Prunelles Flamboient ► 01 (CD2) - La Chimère aux Yeux Verts

Jean-Marc Hébert - L'Origine Éclatée

Label: Self released, 2023

Personnel - Jean-Marc Hébert: guitar; Lex French: trumpet; Morgan Moore: bass; Pierre Tanguay: drums.

Canadian guitarist Jean-Marc Hébert infuses his compositions with a strong emphasis on ambitious interplay and cohesiveness of sound. His third album as a leader, L’Origine Éclatée, follows the previous releases L’Autre (2007) and L’Attente (2018). For this new endeavor, he collaborates with the mellifluous New Zealander trumpeter Lex French, bassist Morgan Moore, and his longtime associate, drummer Pierre Tanguay. Together, they explore subtle sonic spaces that may bridge the realms of contemporary jazz and world music.

“La Déteinte” provides a meditative emotional template, with the group diving into a vast sea of tranquility. This setting foreshadows the epic proportions the modal piece could reach if played in the style of McCoy Tyner. However, what we hear is more aligned with North European jazz and the ECM sound. Moore provides a fluid solo over the ethereal, slowcore style of jazz that emerges, anchoring the piece with Hebert's well-paced arpeggios. The title cut, “L’Origine Éclatée”, follows, bathing in a slow 4/4 time signature and exploring thematic and melodic elements that leave an agreeable impact. The spotlight shines on French whose muted trumpetism favors straightforward, well-delineated melodies over acrobatics. His approach moderately shifts as he ventures more outside on “Séquence Mouvante”, where solid harmonic passages evoke profound emotion, and a refined rock-laden rhythmic foundation is laid down. Hébert delivers a thoughtful guitar statement atop this backdrop.

Both “Terre Rouge” and “L’Attente” incorporate world sounds influences. The former, presented in the trio format with guitar, bass, and drums, exudes a gentle African groove, painting a hot, arid, and bucolic landscape through the rhythm. The latter, originally featured on the album of the same name, embraces a strong Eastern ambiance and is cooked up patiently with a perfect balance between relaxation and tension. The album comes to a close with “Sud-Ouest”, a country-rock song in 3/4 time.

The group never strays too far into experimental territory, opting instead for a low-key approach that keeps everything well within context. Nevertheless, this offering is more than just passive backdrops with beautiful melodies atop. Hebert’s music is consistently warm, melodic, and easy to assimilate, and the accompanying musicians, recognizing this, bring their inherent lyricism to the forefront with positive outcomes.

Favorite Tracks:
01 - La Déteinte ► 03 - Séquence Mouvante ► 05 - L’Attente

Matana Roberts - Coin Coin Chapter Five: In the Garden

Label: Constellation Records, 2023

Personnel - Matana Roberts: horns, percussion, harmonicas, wordspeak, composition; Darius Jones: alto saxophone, voice; Matt Lavelle: alto clarinet, pocket trumpet; Stuart Bogie: bass clarinet, clarinet, vocal; Mazz Swift: violin, vocal; Cory Smythe: piano, vocal; Kyp Malone: synths; Mike Pride: drums, percussion; Ryan Sawyer: drums, percussion; jaimie branch (courage 1983-2022).

The fifth installment of the Coin Coin project by Chicago-born saxophonist, composer, artist and activist Matana Roberts has arrived, offering a poetic declaration of freedom in them unique, signature style. This time, the theme of abortion weaves through the tracks with open-ended musicality and forward-thinking beliefs. The recording resounds with a powerful slogan that repeats throughout, brimming with newfound urgency: "my name is your name; our name is their name; we are named; we remember, they forgot”.

Surrounded by a new cast of like-minded musicians, Roberts employs an intelligent combination of sounds and words to tell the story of a woman in her ancestral line who tragically passed away due to complications from an illegal abortion. Civil rights are addressed in a record dedicated to the influential late cultural critic Greg Tate. 

The album comes out of the gate with “We Said”, featuring shamanic metallic percussion combined with layers of elongated saxophone that contribute to a dense drone. The marching drums carries clarion tin whistles in a folkloric liberation reminiscent of The Art Ensemble of Chicago. The music complements the words, particularly on “Unbeknownst”, which feels like a work song with violin and clarinet playing cyclic figures over a taut rhythm. 

Two standout pieces, “Predestined Confessions” and “Shake My Bones”, showcase exhilarating saxophone exchanges between Roberts on tenor and Darius Jones on alto. The former piece is a modal weep turned cacophonous spectacle with multiphonics at some point, while the latter is fleshed out with motivic insights, transitioning through a swing feel forged with with a three-time pulse before concluding in a celebratory and revolutionary turbulence.

Sometimes cathartic, sometimes quiet, the music is always confrontational, refusing concessions to ensure the message resonates widely and deeply. Observe how the instruments freely cut through the rhythms on “Different Rings”, creating a a dramatic clamor. Feel the relentless rock-tinged pulse driving “How Prophetic”, accompanied by elated riffs, or how the harmonious vocal alignment on “But I Never Heard a Sound So Loud”, a traditional African-American lullaby. Darker, distorted soundscapes are found on “No Way Chastened” as a result of Mazz Swift’s smoggy violin and Cory Smythe’s deep harmonic clouds.

Regardless on how different these pieces may sound, they undeniably bear Roberts' creative signature. Them invocations can be mystic, experimental, modern free jazz blasts, or simple structures with cyclic synth sequences, but they always seek truth and justice. It’s a significant artistic endeavor.

Favorite Tracks:
03 - Unbeknownst ► 04 - Predestined Confessions ► 12 - Shake My Bones

Kate Gentile - Find Letter X

Label: Pi Recordings, 2023

Personnel - Jeremy Viner: tenor saxophone, clarinet, bass clarinet; Matt Mitchell: piano, Prophet-6, modular synths, electronics; Kim Cass: electric and acoustic bass; Kate Gentile: drums, vibraphone, composition.

The multifaceted drummer and composer, Kate Gentile, demonstrates how her compositions can encompass magnetic rhythms, mechanic entanglement, and fluid gravitation in a seismic triple album that offers over three hours of modern creative music. Leading an explorative quartet of Brooklyn-based creatives, including keyboardist Matt Mitchell (her co-conspirator in the Snark Horse duo project), bassist Kim Cass, and saxophonist/clarinetist Jeremy Viner, Gentile mounted Find Letter X in three volumes with a total of 41 tracks. In this review, I will primarily focus on Volume I, titled Iridian Alphabet, an evocation of the magic hour of the night and the mystery drawn from the inexplicable.

The album begins with the short-lived but exquisite “Pulse Capsule”, featuring a syncopated beat and strong electronic components. It proceeds to “Laugh Magic”, an overheated psychedelic journey that lifts us from the ground into the atmosphere. The tranquility of the saxophone is set against the frantic pulsations created by piano, bass and drums. The tempo gradually accelerates alongside mutations in texture, leading to exciting solos from Mitchell and Viner over a churning musical tapestry. 

The acutely nuanced “Subsurface” highlights saxophone multiphonics on top of a deep substratum. It immerses the listener in a hazy cloud of tranquility punctuated with a few dark spots, all accompanied by Gentile’s effective brushwork. Even transcending influences, Viner’s solo here awakens memories of Sam Rivers’s playing. “Recursive Access” boasts a mesmerizing punk-rock drive with enough groove nuance to make you hooked. It also features a cacophonous dialogue between Viner and Mitchell, bringing up gradual changes over time. In a whimsical approach, Gentile ends up stepping up and down in tempo.

“In Casks” opens with a wonderful bass soliloquy and unfolds with polyrhythmic expertise. This fashionable expressiveness persists on burning avant-garde swaggers lie “Ore Whorls” and “Erinome”. The group makes “Prismatoid” as much accentuated and fractured as malleable, forging a shape that represents the swing of the new era. And Cass delivers a zippy statement that deserves one’s full attention. The first volume concludes with “Invisible Wolves”, a porous sound bubble reverberating with vibraphone, droning aesthetics, and a looming sense of danger.

Volume II (Senselessness) takes on a more aggressive tone, infused with high-octane noise, grainy textures, and distortion for a prog-rock, post-punk, trashy metal feast that feels like a futuristic fusion. Volume III (The Cosmic Brain) is a personal favorite, exploring a variety of energies and tones with baffling intricacy and metrical fascination.

Kate Gentile showcases her excellent skills, nodding to different styles in order to create deliberate abstraction and unwavering certitude. The epic Find Letter X stands as one of the most high-energy opuses of the year.

Favorite Tracks:
04 - Subsurface ► 05 - Recursive Access ► 08 - Ore Whorls

Jeremy Udden - Wishing Flower

Label: Sunnyside Records, 2023

Personnel - Jeremy Udden: alto saxophone, Lyricon wind synthesizer; Ben Monder: guitar; Jorge Roeder: bass; Ziv Ravitz: drums.

In his new quartet album, Wishing Flower, Brooklyn-based saxophonist and composer Jeremy Udden returns to the autobiographical compositions and the pleasingly airy quality that characterizes his music. In addition to drawing inspiration from his rural Massachusetts upbringing and cosmopolitan experiences in cities like Boston and New York, he now finds motivation in his two daughters. 

Udden shares with us that inspiration in the album’s opening track, “Wishing Flower”, which delicately and sophisticatedly paints the memory of one of his daughters picking dandelions during a walk in Brooklyn. The melody, with its perfect logic, tries to convey the emotions, all the while supported by the explanatory chops of drummer Ziv Ravitz. Guitarist Ben Monder, whose bold guitarism has been a reference in jazz, then follows him in tandem, together with bassist Jorge Roeder, who adds a sort of loose groove to the bass lines. It all fits wonderfully, and another clear case in point is “Lullaby”, a sweet repose with emotional refulgence and comfort, from the melody to the harmony to the breathable rhythmic underpin of bass and drums.

The quartet gains strength with groove-laden pieces such as “1971” and “Car Radio”. The former, featuring Monder’s shinning guitar work, has a pop/rock sensibility, and Udden makes it special by playing the Lyricon, an analog electronic wind synthesizer; the latter, inspired by street sounds, showcases Roeder’s sure-footed ease with the bass, both in the accompaniment and improvisation.

Bookended by tranquil rubato movements, “Pendulum” embraces a starry introspection at first. Then the guitar slices through the harmony with Monder’s signature rock-infused style. There’s simple bass delineation guaranteeing 10-beat cycle measures, allowing Udden to improvise soulfully, blending inside and outside phrases while never abandoning perceptible melody. The breezy yet powerful listening experience we have with Udden’s seven originals persists during the cyclic three-chord progression of Mazzy Star’s melancholic pop hit, “Fade Into You”. Cautiously introduced by the bassist, the tune gains a certain galactic touch when Udden expresses the main melody on the synth. Concurrently, Monder bends and stretches, while Ravitz creates a three-time feel.

While this work maintains a sense of accomplishment without taking major risks, it beautifully showcases the crisp articulation and transparent tone that characterize Udden's compositions.

Favorite Tracks:
01 - Wishing Flower ► 03 - Lullaby ► 05 - Pendulum

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