Adam Cordero & Odin Scherer - Sonora

Label: Tidebloom Records, 2023

Personnel - Adam Cordero: alto and soprano saxophone, bassoon, clarinet; Odin Scherer: archtop and acoustic guitars.

Sonora is the second collaborative effort from saxophonist Adam Cordero and guitarist Odin Scherer. The duo, both alumni of the New School, presents 11 pieces for woodwind and guitar that have been developed over three years. Drawing inspiration from various genres and influences, the album explores abstract musical landscapes, balancing robustness and fragility to evoke significant emotional responses. 

The opening track, "Soliloquy for Cotten”, reveals a sparking folk flavor and a great sense of melody, serving as a tribute to the late folk and blues musician Elizabeth Cotten. “Before Dawn” exudes not only lyricism all around but also rhythmic vision, aspects that are transported to “Prairie” in conjunction with an odd tempo and plaintive, braided lines. 

“Sonora”, the title track, exhibits a more energetic temperament as the duo's notes dance and wiggle with a changing pace throughout the piece. The album explores various moods and textures, and on “Fireworm”, chromaticism and pedal points take center stage in an unobvious harmonic context.

Probing interesting moods with each song, Cordero and Scherer demonstrate chamber brilliance in their ability to blend occasional dissonance without becoming aggressive. In “Kaaterskill”, for example, they move from a light waltz with fingerpicked guitar to a heavier folk-rock demeanor with deep chordal work. On “Opal”, where Cordero plays bassoon, avant-garde touches are infused into immediately digestible music. Conversely, “Zooxanthellae” takes a more contemplative turn, with quizzical moodiness and a rhythmic complexity reminiscent of saxophonists Henry Threadgill, with whom Cordero collaborated on the acclaimed The Other One (Pi, 2023), and Tim Berne (especially his work with guitarist Gregg Belisle-Chi).

Sonora reflects the duo's timbral taste and willingness to explore sonic functions within a clear-headed gravity. This engaging musical journey showcases their collaborative creativity.

Favorite Tracks:
01 - Soliloquy for Cotten ► 08 - Kaaterskill ► 11 - Zooxanthellae

John Zorn / Bill Laswell - Memoria

Label: Tzadik, 2023

Personnel - John Zorn: alto saxophone; Bill Laswell: electric bass.

Saxophonist John Zorn and bassist Bill Laswell, stalwart figures of the New York’s downtown scene, have been close collaborators since the mid-‘70s. In their recent duo effort, Memoria, they pay homage to three late visionaries of jazz and improvised music. Working together in the spirit of trust, they transcend in their tantrums, creating an intense and evocative journey that explores new musical territory. The results are no less than telepathic.

In “Pharaoh Sanders”, Laswell's washing bass chords limned with synth effects provide a backdrop for an explosive saxophone performance. Zorn explores in feral fury with piercing squeaks, contrasting with Laswell's long, reflective notes. The saxophone pitch is manic, creating an astonishing density. The circular, spectral, and enigmatic bass texture transforms into atmospheric harmonics, pedals, and vamps, inviting Zorn to deliver intricate coils and rebellious shouts that challenge comfort zones. 

“Milford Graves” features Zorn working on circular breathing techniques with fast notes over Laswell’s expert ambient treatment. The deep foundational underpinning of the bass brings uncanny feelings, encouraging Zorn to explore inventive phrases, patterned imprints, and circular arches. The result is an atmospheric ride suffused with restless tones.

In “Wayne Shorter”, there’s a mindfulness to melody, and the saxophone lines rest atop an effect-drenched, spaced-out haze that never loses its dark edges and exoteric spirituality. The propulsive, rippling fluxes of the bass invite fabulous interplay as Zorn blows his horn with authoritative power. This duo, with nothing to prove, does great things within experimental free jazz and structured improvisation.

Favorite Tracks:
02 - Milford Graves ► 03 - Wayne Shorter

Lars Fiil & Bilal Irshed - Connections

Label: Self released, 2023

Personnel - Lars Fiil: piano; Bilal Irshed: oud; Soma Allpass: cello (#2,x,6,7).

Danish pianist Lars Fiil and Danish-Palestininan oud player Bilal Irshed join forces in Connections, bridging Nordic jazz and the folk sounds of the Middle East. Their irresistible embrace of diversity and warmth of sound is enriched by the sterling contribution of classically trained cellist Soma Allpass on four of the eight original compositions.

The opening track, “On the Way Home”, is expertly played and introduces the listener to the beautiful quarter tones of the oud, subsequently setting the gentle rhythm that underpins a passionate unison melody. Fiil’s smooth chords and textured accompaniment blend seamlessly with the oud’s pungent tone creating poignant and lyrical moments of sheer beauty. The following piece, “Pictures”, is a breezy lullaby with a touch of melancholy from the East. Allpass is featured here, adding pizzicato and bowed cello, and responding to the smart figure suggested by her colleagues. The threesome concludes in clear agreement. 

Assi Rahbani’s “Kadeish Kan Fe Nas” is a Lebanese song with an easy, perceptive melody and classical intonation, while Fiil’s “Reflections” incorporate more Western influence, being a contemplative meditation cooked up in trio format. Ultimately, it makes us raise our hands to the skies in appreciation of life.

In the telepathic rapport of “Song” the trio takes the listener into Rabih Abhou Khalil's hybrid universe, becoming a prime example of how in sync these three musicians can play together. The journey concludes with the title track, “Connections”, which, sculpted with roundness and an in-the-pocket flow, evokes optimistic and thankful feelings through a circular harmonic dance that invites spontaneous phrasing.

The elegance, positive emotions, and graceful delicacy of the music are enough to make you respect what this duo does. The album’s peaceful atmosphere and harmonious sonic resolutions offer an encouraging start to 2024.

Favorite Tracks:
01 - On the Way Home ► 05 - Reflections ► 08 - Connections

Elijah Shiffer - City of Birds Vol. 1

Label: Star Jelly, 2023

Personnel - Elijah Shiffer: alto saxophone; Kevin Sun: tenor saxophone; Dmitry Ishenko: bass; Colin Hinton: drums.

In his third full-length album, City of Birds Vol.1, New York-based alto saxophonist and composer Elijah Shiffer shares the frontline with tenorist Kevin Sun, backed by the sturdy rhythm section of bassist Dmitry Ishenko and drummer Colin Hinton. Drawing inspiration from birds spotted in New York, Shiffer composed all ten infectious pieces, anchoring them in tradition but also imbuing them with sophistication in the arrangements and athleticism in the improvisations to make them shift to the contemporary side.

“Flap Flap Glide” kicks off the album with straightahead swing and amusing dynamism, showcasing nervy saxophone unisons and a stirring tenor saxophone solo. Also with a hard-swinging vein, “Walking, Running, Open Wing” channels the epic fantasy of John Coltrane and Dexter Gordon, while “Phalarope Jilt” explores hard-bop flair, evoking Charlie Parker with rhythmic nuance.

Grooving all the way down while driven by a 12-beat cycle bass figure, “A Dove in the Morning” thrives with interesting saxophone dialogues. This fascinating interplay continues on “Skydance Over 6th Ave.”, where multiphonics and well-sequenced flurries of notes are expressed with tonal balance. This piece, inspired by the aerial trajectories of the American Woodcock, brings short staccato lines into its introductory part, and includes an agile bass solo that anticipates an effortless, graciously mutating dance.

The soulful “Pigeonology” stands out, offering complex bopish articulation, a riff-heavy feast for the reedsmen, and invigorating rhythm shifts that smear the substratum with a touch of funk rock. An untamed saxophone solo expressed with fury and intelligence doesn’t remove space for Hinton’s percussive inflection by the end. The album closes out with the bouncing “Arctic Jig”, featuring solos by all four musicians.

The creativity, joyous lyricism, and musicianship throughout this album makes it stand ahead and shoulders above most efforts in the same line of action. Shiffer, soaring high with his skills, has chosen excellent company to traverse the sky lanes of jazz like a magnificent bird.

Favorite Tracks:
01 - Flap Flap Glide ► 03- Pigeonology ► 05 - Skydance Over 6th Ave.

João Frade & Bruno Santos - Rascunhos

Label: Kimahera, 2023

Personnel - Bruno Santos: guitars, braguinha, rajão, electric bass, percussion; João Frade: accordion, samples.

Bruno Santos, a versatile Lisbon-based guitarist, has dedicated himself to diverse multi-genre projects, including his recent release, a guitar-hammond-drums trio album titled Wild West. That album showcases his commitment to evoking the hard bop and soul jazz sounds of iconic figures such as Wes Montgomery, Jimmy Smith, and Lou Donaldson, creating a classy atmosphere all its own. João Frade, another talented Portuguese artist, is an accomplished accordionist known for his eclecticism in jazz, fado, and Brazilian music. Their duo effort, Rascunhos, is the result of a remote collaboration, featuring 11 pieces – five compositions by each artist and one collectively composed - where they sink their teeth and hearts into world music territory with plenty of rhythm.

In Frade’s well-calibrated “Lyssa”, they intercalate uptempo waltzing passages with moments of calm detachment. The exoticism continues in Santos’ “Cabo Verde”, responding to the previous cut with a contagious African-tinged pulse. Here, the braguinha and rajão (stringed instruments from Madeira Island) and accordion harmonize perfectly before Frade’s warm improvisation.

“Chorinho Tila” and “Dázz to Dézz” showcase impetuous Brazilian rhythmic drives and beautiful melodies, while “Delirious Tremens”, a collectively composed effort with a more experimental nature, immerses the listener in hazy, tremolo-soaked acoustics. 

Fusion elements are present in “Plastik Man”, an old yet unrecorded piece by Santos that seamlessly blends eclectic sounds to reach a cross between Toots Thielemans, Milton Nascimento, and Ralph Towner. On the other hand, Frade’s “Chacrach!” brings shades of Larry Coryell’s flamenco jazz, Chick Corea’s gipsy-tinged fusion, and Rabih Abou Khalil’s Eastern flavors to the table. The album concludes with Santos’ “A Cadeira, o Baloiço e as Rosas”, a smooth waltz previously featured on Mano a Mano Vol. 2. 

Musically sensitive and not self-centered, Santos and Frade deliver Rascunhos as a breezy, sunny record where lovely dialogue unfolds. The music will please crossover jazz and world music enthusiasts alike.

Favorite Tracks:
01 - Lyssa ► 05 - Plastik Man ► 10 - Chacrach!

Tima Volozh - Jubilee

Label: Shifting Paradigm Records, 2023

Personnel - Timo Vollbrecht: tenor saxophone; Noah Franche-Nolan: piano; Brad Shepik: guitar (#2,3,6); Jerome Harris: bass; Tima Volozh: drums.

Russian-born, Brooklyn-based drummer and composer Tima Volozh introduces his debut album, Jubilee, featuring a compelling blend of originals and skillfully arranged covers. Collaborating with talented musicians - German saxophonist Timo Vollbrecht, Canadian pianist Noah Franche-Nolan, and veteran American bassist Jerome Harris - the quartet, occasionally expanded to a quintet with the addition of guitarist Brad Shepik, crafts a collective sound that is both sophisticated and pleasing.

“Adoration of the Earth” has Volozh setting the beat and tone for the catchy saxophone riff from where the language expands. Although borrowing from Stravinsky’s iconic piece The Rite of Spring, this is a cut delivered with strong personality and cohesion. “Vortex” is elegantly expressed with innate post-bop consciousness, featuring an authoritative and kaleidoscopic guitar solo from Shepik and an eloquent, tonally pleasing statement by Vollbrecht. 

“Lá Lauê” bustles with the exoticism and Afro-Brazilian rhythms of Capoeira. Opposing to the stillness of the intro, we have lively snare drum activity, funky guitar comping, and expressive solos, again by Shepik and Vollbrecht. The guitarist also contributes to the rendition of Paul Motian’s “Mumbo Jumbo”, an excellent vehicle for the rhythm section’s illuminating grace. Volozh articulates every nook and cranny of the tune, benefiting from the presence of two former members of Motian’s groups - Shepik and Harris.

Other covers of known jazz pieces are given a new set of bones. Take the example of “Star Eyes”, whose fresh reading combines complex meter and clever polyphony for a non-linear pulse; or McCoy Tyner’s “Aisha”, a laid-back ballad that enriched John Coltrane’s 1961 album Olé Coltrane; or Thelonious Monk’s “Evidence”, astonishingly structured with tempo-shifting sections.

Volozh’s drumming style reflects open ears and an uncompromising posture, showcasing his influences throughout a repertoire with tasteful arrangements. It’s an impressive debut album; one that listeners of contemporary jazz will like to revisit.

Favorite Tracks:
01 - Adoration of the Earth ► 02 - Vortex ► 04 - Star Eyes

Ambrose Akinmusire - Owl Song

Label: Nonesuch Records, 2023

Personnel - Ambrose Akinmusire: trumpet; Bill Frisell: guitar; Herlin Riley: drums.

Trumpeter and composer Ambrose Akinmusire continues to showcase his artistry, this time with a surprising and intimate trio, featuring the remarkable talents of guitarist Bill Frisell and drummer Herlin Riley. In this ensemble, Akinmusire, known for his monstrous technique and improvisational prowess, leads a group that emits light through their instruments across eight new compositions penned by Akinmusire himself. These pieces, dressed in an aesthetic that exudes warmth, serve as a reaction to the overwhelming assault of information, as explained by the bandleader.

The opening track, “Owl Song 1”, sets the tone with absolute lyricism, incorporating delicate trumpet melodicism, a wonderful textural tapestry weaved by Frisell (he combines single-note expression and chordal color like no one), and a soaring groove with a conspicuous kick drum beat. “Weighted Corners” features a pleasantly shimmering collage of two fingerpicked guitars and thematic trumpet lines, creating a relaxed 4/4 pacing with soft hand percussion.

To the gently tribalistic rhythm of “Flux Fuelings”, add Frisell’s brilliant guitar work on the lower registers for an enigmatic touch, and Akinmusire’s long high-pitched notes soaring above, and you have a nicely contrasting piece with a distinct identity. The intensity eases on the following track, “Grace”, where the trio, showcasing a perfect understanding of space and texture, sports precise unison intervals over deep drum sounds.

Akinmusire pays personal tributes to his collaborators in heavenly dramatic duets: “Mr. Frisell’’ features the guitarist guaranteeing an airy pulse while delivering rippling melodic fluxes jointly with the trumpeter; “Mr. Riley” plays like a New Orleans march intensified by well-placed trumpet accents. Despite recording together for the first time, the trio demonstrates an innate understanding of each other’s playing, evident in the ambient-inclined “Henya”, which closes the album as a prayerful rubato lament. Looped guitar, poignant yet wide-ranging trumpet, and scintillating drumwork lead us to a definitive heartbeat, reaffirming we’re alive.

Owl Song is an enjoyable, refreshingly accessible, and fundamentally peaceful work from a trailblazing trumpeter in excellent form. Eschewing formulaic patterns, this outstanding outfit is blessed with inspiration, communication, and exploration. What more could one ask for to close 2023 in big?

Favorite Tracks:
01 - Owl Song 1 ► 03 - Flux Fuelings ► 04 - Grace

William Hooker - Flesh and Bones

Label: Org Music, 2023

Personnel - Ras Moshe: tenor saxophone, flute; Charles Burnham: violin; On Davis: guitar; Hilliard Greene: bass; Luke Stewart: bass; William Hooker: drums.

William Hooker, a drummer of immense power and drive, provides a cliché-free experience with his latest album, Flesh and Bones, featuring a synergistic new musical unit of New York-based vanguardists and improvisers. The group, dedicated to creating freely, includes violinist Charles Burnham, woodwindsman Ras Moshe, guitarist On Davis, and two bassists of different generations yet equal facility and invention: Luke Stewart and Hilliard Greene.

Aiming at addressing social issues of our times, the album, a reaction to how Black People are being treated in America, opens with “Flames”, an exaltation made of flute, percussive clapping, somber bowed bass, mantric guitar tantrum, and a wah-inflected violin whose presence takes the group places it might not otherwise have reached. The piece seamlessly transitions into “My Blood”, where a burnished saxophone soars over fractal bass work and stimulating drums. Tearful violin sounds pair up with uncanny ascendant bass glissandi after an energy-loaded passage roughed up by free expressionism.

If Moshe introduces “Sewing the Seeds” with poised tenor, later infusing a magnanimous force into the piece alongside Hooker’s powerful drumming, then “True Dat” heats up with Davis’ hot guitar strings responding to the bandleader’s incentives, both vocal and percussive. The pair is later joined by Burnham, who creates an unexpected undercurrent through breezy folksy balladry.

Both “Reveal a Truth” and “The Soul of Fire” are standouts. The former is set on motion by Burnham, shaping up as a Western dance with swinging bass accompaniment and, eventually, a fine ride cymbal-driven flux. The latter brings muted guitar scratches à-la Jimi Hendrix, flute extroversion, electric bass curvatures of grandiose melodicism, and awesome off-centered accents.
At 77, and boasting a nearly five-decade career, Hooker is as thunderous and indefatigable as when he started.

Favorite Tracks:
02 - My Blood ► 07 - Reveal a Truth ► 11 - The Soul of Fire

Kuba Cichocki - Flowing Circles

Label: Brooklyn Jazz Underground, 2023

Personnel - Kuba Cichocki: piano; Lucas Pino: tenor saxophone; Brandon Seabrook: guitar; Bogna Cicinska: vocals; Edward Perez: bass; Colin Stranahan: drums; Rogerio Boccatto: percussion (#8); Patric Breiner: saxophone (#8); Rose Ellis: vocals (#8); Leonor Falcon: violin (#1,6,8); Sana Nagano: violin (#1,6,8); Benjamin von Gutzeit: viola (#1,6,8); Brian Sanders: cello (#1,6,8).

Following a splendid duo album - Brisk Distortions - recorded with guitarist Brandon Seabrook, Polish-born, New York-based pianist Kuba Cichocki expands views in Flowing Circles, a set of 10 new compositions. Their acutely structured forms lend the music its loose elasticity. Among the relentless creative minds joining Cichocki in this sonic journey are the aforementioned guitarist, a stalwart in New York’s improvised music, and saxophonist Lucas Pino, who, in addition to his solo efforts, has been featured in trombonist Nick Finzer’s albums. Special guests (including a string quartet) grace specific tracks, while the core sextet is complemented with Polish vocalist Bogna Cicinska, bassist Edward Perez, and drummer Colin Stranahan.

“Quirks” opens the record as a joyous flight of fancy, unleashing speedy angular unisons with a fanfare-like vibe. Bouncy passages with staccato emphasis and counterpoint are reinforced by strings (violinist Sana Nagano and violist Benjamin von Gutzeit are featured), topped by solos from Cichocki, who gets melodically rich without overplaying, and Pino, who displays his classy post-bop phraseology with precision. Before concluding, there’s a change of pace in a section that feels playful and stout-hearted.

The instrumental layers illuminate “Where the Selves Meet”, which acquires a powerful contemporary feel with the aid of a ruminative guitar that keeps scratching the surface with distorted eccentricity. Pino, brightening and tightening the frontline, blows the tenor with eloquence and a lovely tone, and then is Seabrook who invents a quirky accompaniment to support Cicchocki in the final chamber section. 

Soulfully psychedelic and rhythmically pumped up, “Blob Jump” sees the group playing with the flow through multiple sections of escalating energy. The so-called ‘Slavic melodicism’ is brought into mutable folk-influenced cadences, but for the finale, they allocate a rock impulsivity with salient guitar. Contrasting with this exuberance, “Birthday” is a soberly intense piece with Cicinska’s confident voice on the edge, embarking on intervalic complexity with the piano.

“First Smile” concludes the album with European classical elements crossing with impressionistic modern creative chops in a solo piano playing. But before that, there are still time for a couple of fully improvised numbers - the more abstract “Nooks and Crannies” and the funk-meets-post-bop experiment, “Keep Moving”.

Favorite Tracks:
02 - Where the Selves Meet ► 04 - Blob Jump ► 06 - Birthday

Marcelo dos Reis - Flora

Label: JACC Records, 2023

Personnel - Marcelo dos Reis: guitarra; Miguel Falcão: bass; Luis Filipe Silva: drums.

Portuguese guitarist Marcelo dos Reis leads a trio featuring Miguel Falcão on bass Luis Filipe Silva on drums. His improvisatory prowess shines in Flora, a collection of six original pieces that acts as a gateway to rich musical realms not necessarily tied to jazz.

The trio displays a progressive attitude in “Big Tree”, where a guitar figure with angular dimension and rhythmic purpose sets the tone for a palpable, enlightened, and harmonically stabilized art-rock flux with folk melodic trajectories. The music is far from static, with a frantically swinging underpin initiated through an exalted bass spirit and agitated drumming. The rock influence persists but unfolds with vast moods, textures, and influences capable of surprising the listener.

“Amanita” delves into experimental ambient territory with airy substance and a drone in the background. Midway, it pivots on a parallel execution between guitar and bass, leading to a resolution of the accumulated tension. The piece segues into “Tampanensis”, whose vigorous bass lines and daredevil guitar warps infuse a New Wave/post-punk tinge that find support in Silva’s danceable krautrock rhythm.

The group fearlessly explores dynamics, and “Cornelia” ventures into darker grounds painted with luscious Eastern colors. It’s as if Joy Division and Mahavishnu Orchestra fused to create spasmodic alternate gushes of sound. The trio cuts loose on “Sky Blue Petunia”, a forward-moving exercise orchestrated with audacity, where the psychedelic dance-rock of The B52’s meets the defiant and irreverent swinging jazz of The Lounge Lizards. 

The album comes to a close with “Full Sun”, structured with an 11-beat cycle, propelled with drive and unity, and sending out jazzy and bluesy vibes. There’s a shift in texture and tempo for a robust and dense funk-rock-infused finale. Flora contains well-played evocative music that demands attention without being flashy, confirming dos Reis as a gifted guitarist to watch in the future.

Favorite Tracks:
01 - Big Tree ► 02 - Amanita ► 04 - Cornelia

Anthony Pirog - Nepenthe Series Vol. 1

Label: Otherly Love Records, 2023

Personnel - Anthony Pirog: guitar, guitar synth; Nels Cline: guitar; John Frusciante: monomachine; Luke Stewart: electric bass; Andy Summers: guitar; Janel Leppin: pedal steel guitar; Brandon Ross: guitar; Wendy Eisenberg: guitar; Ryan Ferreira: guitar.

Washington D.C.-based guitarist and composer Anthony Pirog, known for his work with the post-punk trio The Messthetics, showcases his broad stylistic vision, taste for experimentation, and interest in sound and texture on his latest recording, Nepenthe Series Vol. 1. Pirog, who bridges guitar and electronics with aural surrealism and imagination, invited collaborators to send him original ambient tracks, which he then recorded on top of, resulting in a remarkable blend of ethereal and sinister soundscapes. 

For the opener, “Ripples of Light”, he welcomed the excellent guitarist Nels Cline, with whom he layers floating, sustained chords in order to describe a wintry picturesque stillness that makes us speechless. Mysterious and slightly ominous tones suddenly emerge in the last quarter, but they feel more awe-striking than austere, enhancing the overall ambiguity and droning details. 

“Aurora”, featuring Red Hot Chili Peppers guitarist John Frusciante on Elektron Monomachine, arrives with buzzing drones and dial frequencies chattering in the background. They duo carries mysterious found-sounds for a little too long, evoking a distant planet with labyrinthine alleys and corners worth to discover. “Dense Blazing Star”, created with bassist Luke Stewart, incorporates electronic dance music influences, while “Bernal Heights”, a layered solo effort by Pirog, combines a bit of the Pet Shop Boys’ melodic expertise with the dark burbling and clouding obscurity in the music of Bill Laswell and Wadada Leo Smith.

With The Police’s ex-guitarist Andy Summers on board, “Inflorescence” exposes a brilliant two-guitar work reminiscent of Robert Fripp and The King Crimson’s art-rock with hints of goth and glam rock. The melody is wonderful and the texture perceptible for a compelling song format. 

The song titles aptly capture the music's essence, and if we have Arvo Part’s dark choral ambiances mixed with Steve Reich’s minimalism on “Glowing Gestures”, which features Pirog’s wife Janel Leppin on pedal steel guitar, then we can enjoy two different guitar-driven atmospheres on “Night Winds” and “The Eternal River”. The former, featuring Wendy Eisenberg, is heavier and denser due to distortion and noise; the latter, with Tim Berne’s Snake Oil’s guitarist Ryan Ferreira, immerses listeners in emotion-laden surroundings, closing the album on an ethereal note.

With a dazzling array of layers and effects, Pirog's work on Nepenthe Series Vol. 1 is a testament to his artistry and extraordinary sound judgment.

Favorite Tracks: 
01 - Ripples of Light ► 02 - Aurora ► 04 - Inflorescence

Geri Allen and Kurt Rosenwinkel - A Lovesome Thing

Label: Heartcore Records / Motéma, 2023

Personnel - Geri Allen: piano; Kurt Rosenwinkel: guitar.

Two master musicians, the late great pianist Geri Allen and the vibrant guitarist Kurt Rosenwinkel, showcase a free-spirited melodic vocabulary and profound harmonic insight on this live recording captured in Paris in 2012. A Lovesome Thing: Live at the Philharmonie de Paris is made of five pieces of music: three standards and two original compositions, one by each musician.

They emanate a natural and relaxed aura that permeates the music, leaving it imprinted with their distinctive musical signatures and tremendous improvisational capabilities. Right from the beginning, they captivate listeners by embracing a beautiful rubato playing style that gives shape to Billy Strayhorn’s splendid ballad, "A Flower is a Lonesome Thing”. Another widely known ballad follows: "Embraceable You”, but this one, by the pen of George Gershwin, didn't have a strong impact on me in spite of Herbie Hancock’s deft arrangement.

What truly amazed was the captivating rendition of Thelonious Monk’s “Ruby My Dear” whose incomparable beauty is enhanced here by a flawless integration of strings and keys. Rosenwinkel’s delightfully enigmatic introduction blends single-note phrasing and sophisticated harmony to create a colorful, contemporary tapestry. Even more impressive are the original compositions, standing out as the highlights of this duo session. Rosenwinkel’s "Simple #2" centers on a robust bluesy stride in three, offering multiple facets to be enjoyed. This composition, first featured on the guitarist’s 2020 trio album Angels Around, retains its urgency and is elegantly expressed with an outstanding sense of resolution. 

In turn, Allen’s previously unrecorded piece, “Open Handed Reach”, imparts a sense of openness as it unfolds with a light waltzing step. It presents a harmonically rich experience elevated by the pianist’s brilliancy. Geri Allen and Kurt Rosenwinkel lay bare abundant musical fertility, revealing instinctive chemistry. They are both supportive in their accompaniments, courageous in their statements, and intelligent in their interplay.

Favorite Tracks:
04 - Simple #2 ► 05 - Ruby My Dear ► 07 - Open Handed Reach

Rintaro Mikami - First Fish

Label: Self released, 2023

Personnel - Rintaro Mikami: drums, voice, poetry; David Truilo: tenor sax; Henry Plotnick: piano; Omri Bar Giora: guitar; Bar Filipowicz: bass + Guests - Lily Resnikoff: voice (#3); Ariel Bart: harmonica (#9).

Tokyo-born, New York-based drummer Rintaro Mikami makes a positive impact with his debut album as a leader, First Fish. The record features nine original compositions inspired by Mikami’s life on the small Southern Japanese island of Kuchinoerabu and the travels between that place, Tokyo, and New York. Mikami's core quintet shares an intimate connection that reflects on the tunes, and his sensitive drumming style showcases a penchant for playing melodically on the kit that is reminiscent of Brian Blade and Manu Katché.

The technical quality and emotional depth of his drumming seduce on the silky “Arrival”, a liberating and poetic piece with an inviting chord progression and delicate melody. The comforting brushwork is joined by spoken word here, contrasting with the expansiveness and irreverence of “Derailing”, which deals with an exhilarating hard-swinging locomotion while displaying alternate improvisations between guitarist Omri Bar Giora, pianist Henry Plotnick, and saxophonist David Truilo. They end up juxtaposing lines, leaning on the avant-garde side before returning to the theme with certitude. If this piece represents the trip from Tokyo to the island, then the mercurial “Secession”, marked by tempo shifts, represents the change from Tokyo to New York, incorporating guitar sounds with a taste of fusion, and purposeful saxophone phrases. 

“The Whistle” conjures a folk dance in 5/4 time, propelled by bassist Bar Filipowicz. There’s more exchanges between guitar and piano, and a final vamp where pronounced snare activity is progressively expanded to other parts of the drum set. The title track, “First Fish”, begins as a ballad with Lily Resnikoff’s voice adding a positive fragility. However, its waltzing steps are placed firmly in the middle part as an invitation to the improvisers. Another notable track featuring a guest is “Deer’s Dream”, where Ariel Bart’s harmonica contribute poignancy and hope. 

“Interlaken” seamlessly integrates tradition and modernity, shifting unexpectedly from a three-time pulse to a wild 4/4 incursion. Meanwhile, “The Sky He Saw” is a contemplative ballad filled with passion. Mikami’s debut album showcases his emerging voice in jazz, offering ravishing music that captivates and leaves listeners eager to see where he goes next.

Favorite Tracks: 
01 - Arrival ► 04 - Derailing ► 08 - Secession

Myra Melford's Fire and Water Quintet - Hear the Light Singing

Label: RogueArt, 2023

Personnel - Myra Melford: piano; Ingrid Laubrock: tenor and soprano saxophone; Mary Halvorson: guitar; Tomeka Reid: cello; Lesley Mok: drums.

Pianist and composer Myra Milford, a longtime standard-bearer for the avant-garde and new-jazz movements, reunites her synergistic all-female quintet Fire and Water for their second outing. Connecting improvised and through-composed movements, these five new ‘insertions’, written to highlight the musicians’ qualities, subvert expectations as the group members stretch their instruments from familiar environments without feeling too experimental. The ensemble, featuring saxophonist Ingrid Laubrock, cellist Tomeka Reid, and guitarist Mary Halvorson, welcomes Brooklyn-based drummer Lesley Mok, who replaces Susie Ibarra on the kit.

"Insertion One" launches the album with assertiveness and expansiveness, featuring intricate piano work with contrapuntal glides and striking ostinatos. Boasting a strong and sinuous lead melody, the piece has the group speak to their open-mindedness, mirrored in effusive solos by Laubrock, who emphasizes the rhythmic temperament of her phrases, and Halvorson, who, as usual, creates quirky guitar moods with the help of peculiar effects. 

Melford’s penchant for complex meter signatures is evident in “Insertion Four” and “Insertion Five”. The former, beautifully layered by Halvorson at the outset, unfolds sluggishly with a pulsating arpeggiated piano cadence in 7/4 time, while the latter delves into a joyous, to-the-point rhythm in nine, creating a wince of powerful emotion. If, for some reason, these wonderfully sinuous melodies don’t claim your attention, the outstanding rhythms will.

Carrying a balladic intonation, “Insertion Two” has prayerful cello considerations over smooth piano accompaniment, a cyclic progression in five by Halvorson, who also delivers a whimsically atonal solo, and a tenor saxophone improvisation. "Insertion Three A+B" is a more liberal and expansive 18-and-a-half-minute journey, initially marked by noise rock and avant-garde abstraction. Working together, Melford and Laubrock ramble in improvised spirals, later joined by Halvorson’s queasy guitar overdrive. Then, it’s Mok who booms and throbs unaccompanied, building up phrases with timbral sophistication. The next movement is rendered with gorgeous staccato guitar articulation before the reappearance of thematic unisons.

Still inspired by American painter Cy Twombly's drawings, the composed material feels like a conjuring of spontaneous collective spirit. The supple musicians understand the strength and place of their sounds within the whole, creating an album that, much like their debut, is highly recommended for its delightful specifics to be discovered with each listen.

Favorite Tracks: 
01 - Insertion One ► 04 - Insertion Four ► 05 - Insertion Five

Jaimie Branch - Fly or Die Fly or Die Fly or Die (world war)

Label: International Anthem Records, 2023

Personnel - Jaimie Branch: trumpet, voice, keyboard, percussion; Lester St. Louis: cello, voice, flute, marimba, keyboard; Jason Ajemian: acoustic and electric bass, voice, marimba; Chad Taylor: drums, mbira, timpani, bells, marimba. Guests - Nick Broste: trombone (#5,6); Rob Frye: flute (#5), bass clarinet (#5,6,7); Akenya Seymour: voice (#5); Kuma Dog: voice (#5); Daniel Villarreal: conga, percussion (#2,5,6,7).

The late trumpeter and composer Jaimie Branch, a dynamic force of nature, left an indelible mark on contemporary jazz with her beautiful and innovative work. This posthumous album, recorded with her renowned quartet Fly or Die, was in the final stages of production just one month before her passing. The music, captured during a residency at the Bemis Center for the Contemporary Arts in Omaha, Nebraska, comprises eight tracks, many of which explore extended forms and modulations. 

The album opens with the anthemic melody of "Aurora Rising”, seamlessly blending keyboards, timpani, and high-pitched trumpet notes. It segues into the rhythmic celebratory procession that is “Borealis Dancing”. Branch pushes and pulls throughout the firm tides, followed by cellist Lester St. Louis, whose soaring lines top off the arrangement. The abrasive backbeat of drummer Chad Taylor, a standout behind the kit, is the tune’s ballast. His pulsatory killing rhythm is also key on the upbeat “Take Over the World”, a concoction of African-tinged hooks, punk rock, and electronic rave. It all burns with hard-hitting energy.

Branch's artistry extends beyond composing and playing - she infuses a sense of fun into her work, exploring expanded approaches. This is evident in her use of vocals and lyrics on "Burning Grey”, where a punk flavor meets avant-garde proficiency, maintaining a persistent rhythm and groove throughout.

The jubilant “Baba Louie” takes on a rollicking African-tinged vibe under the aegis of Taylor’s mbira and Daniel Villarreal’s percussive articulation. There’s a change of pace halfway, which helps modulate to a more psychedelic passage with additional vocals and hazy effects. The quartet is further augmented on this occasion by special guests, adding trombone and flute to the mix. There’s still space for Meat Puppet’s country song “Comin’ Down”, here re-titled “The Mountain”, and featuring bassist Jason Ajemian as the sole accompanist. He joins Branch on vocals.

Jaimie Branch left a solid body of work whose sound doesn’t hide the sensitive colorist within her. Her music remains a lasting expression of creativity and gratitude.

Favorite Tracks:
02 - Borealis Dancing ► 03 - Burning Grey ► 08 - Take Over the World

Yuhan Su - Liberated Gesture

Label: Sunnyside Records, 2023

Personnel - Yuhan Su: vibraphone; Caroline Davis: alto saxophone; Matt Mitchell: piano; Marty Kenney: bass; Dan Weiss: drums.

Yuhan Su, an emerging and classically-trained vibraphonist and composer hailing from Taiwan and currently based in New York, is known for pushing the boundaries of her art. In her fourth album, Liberated Gesture, she presents 10 original compositions inspired by personal experiences and the work of German-French artist Hans Hartung. Su collaborates with seasoned improvisers, including saxophonist Caroline Davis, keyboardist Matt Mitchell, and drummer Dan Weiss. Rounding out the fabulous quintet is bassist Marty Kenney, a member of Brian Krock’s Big Heart Machine and Steve Slagle Trio.

The track "Hi-Tech Pros and Cons" delves into Su's negative experience with iPhones, featuring a wild unison phrase announcing the propulsive force of a rhythm that advances with precise movements without ever feel stiff or mechanical. The staccato accompaniment creates a stark counterpoint, inspiring expressive solos from Davis, consistently elucidative in her ideas, and Su, who boasts a striking, definitive sound with exquisite note choices. 

There’s an impressive consistency of lyrical melody over rich harmony, and that’s valid even when challenging tempos and unstoppable energy are on display. Such is the case of “Character”, a post-bop meets modern creative funk fusion that is among the standouts. “Didion”, dedicated to American writer Joan Didion, sounds a great deal freer as piano turbulence falls atop the groovy septuplet drumming of Weiss, who kills it on the kit all the way through. This disarming composition balances delicacy and wildness within a fluid, if tense, stream, with Mitchell's infectious piano work contributing to a dreamy atmosphere.

"Siren Days" draws inspiration from siren sounds during the first pandemic lockdown in New York, displaying an intuitive affinity for attractive revolving patterns. The catchy ostinato at the base motivates this energetic pulsation taken further on “Liberated Gesture III: Tightrope Walk“ via audaciously metered passages showcasing driving bass and drums in a beautiful lock. All compositions provide both challenges and opportunities for the soloists and the closer, “Hassan’s Fashion Magazine”, inspired by Moroccan photographer Hassan Hajjaj’s work, conjures something super fun - half-funk, half-swing - with an earnest call-and-response between Su and Mitchell. 

The album also includes introspective pieces like “Naked Swimmer”, inspired by memories of a jump into an icy cold lake in Taiwan and featuring a bass solo, and “Liberated Gesture II: Arc”, where Su’s finely honed vibraphone work takes center stage.

Using the superlative talents of her peers to good advantage, Su commands this quintet with brilliancy, interspersing unflinching composed parts and free-spirited interplay in a bold yet accessible session that deserves recognition.

Favorite Tracks:
01 - Hi-Tech Pros and Cons ► 02 - Character ► 06 - Siren Days

Quinsin Nachoff - Stars and Constellations

Label: Adhyaropa Records, 2023

Personnel - Quinsin Nachoff: tenor saxophone; Mark Helias: acoustic bass; Dan Weiss: drums + Bergamot Quartet and The Rhythm Method (#2).

Innovative Canadian saxophonist Quinsin Nachoff infuses his music with subtleties and complexities, providing a unique listening experience. His most recent CD, Stars and Constellations, delves into long forms and draws inspiration from mythology. Musically, the off-kilter successor to Ethereal Trio (Whirlwind Recordings, 2017) guarantees powerful orchestration that absorbs disparate elements from Coltrane and Bartók. Nachoff’s resourceful jazz trio, featuring Mark Helias on bass and Dan Weiss on drums, is strengthened by two New York-based string quartets (Bergamot and Rhythm Method) in a three-piece volume where they excel at sounding fully integrated.

“Stars and Constellations: Scorpio” opens the curtain to a fantastic sonic world with pizzicato strings, thoughtful soft drumming, and combined arco work from bass and cello. Tapestries are reworked, altering intensities, and the ever-growing bass lines of Helias create monologues for certain periods. Fantastic harmonic progressions and mutating rhythms trigger a gorgeously extended saxophone improvisation in which Nachoff showcases his spontaneity, range, and systematic articulation. The finale generates cheerful movements by blending modern classical dynamics with adventurous post-bop, making it the most jazz-oriented piece of the three.

“Stars and Constellations: Sagittarius” embarks on a journey with intriguing ascending glissandi, part of the instrumental mosaics and experimental observations that constitute the whole. This progressive 20-minute crusade was inspired by the mapping procedures of physicist Stephen Morris from the University of Toronto and is sculpted with elegance, discipline, and ambition. Nachoff hits the high registers with force during a revolutionary section prone to improvisation, while Helias plunges into a more pensive state. Weiss’ rhythm flows transition from understated accompaniment to a salient and elaborated solo. The piece finishes with melodic conjoint actions.

Bridging these pieces is “Pendulum”, a tasteful chamber abstraction comprised of spiraling melodies and evincing a high degree of responsiveness and calibration. Although featuring the two aforementioned string quartets engaging with each other, it’s Weiss who stands out by enlivening the rhythmic foundation with cleverness, while the coordination and teamwork between tenor sax and strings takes the form of a conclusive call-and-response.

Finding an exceptional connection between improvisation and notated music, Nachoff continues to forge a path of his own, moving in a revelatory line of action that separates him from other creatives.

Favorite Tracks:
01 - Stars and Constellations: Scorpio ► 02 - Pendulum

Peggy Lee Band - A Giving Way

Label: Songlines Recordings, 2023

Personnel - Peggy Lee: cello; John Bentley: saxophone; Brad Turner: trumpet, flugelhorn, cornet; Jeremy Berkman: trombone; Ron Samworth: electric and acoustic guitars; Tony Wilson: electric guitar; André Lachance: electric bass; Dylan Van Der Schyff: drums.

Canadian cellist, improviser, and composer Peggy Lee boasts excellent credentials, having collaborated with spontaneous creatives such as Butch Morris, Wadada Leo Smith, Gordon Grdina, and Barry Guy. As a leader, she gained notoriety with her own octet, currently featuring two electric guitarists and a three-horn frontline. Following an 11-year hiatus, their sixth release, A Giving Way, is likely to attract new converts with eclectic music influenced by jazz, avant-garde, classical, Eastern music, and pop/rock.

In a brief span, “It’s Simple” exhibits a poignant melody and folk ascendancy, but the group digs deeper on the polyrhythmic “Internal Structures”, the first standout moment of the album. The electric bass lines of André Lachance is the glue that holds everything together, while Lee’s cello provides textural consistency. The horn players - saxophonist John Bentley, trumpeter Brad Turner, and trombonist Jeremy Berkman - exude a contagious sense of bliss, while guitarists Ron Samworth and Tony Wilson opt for distortion-infested washes. The undercurrents might be disorienting but the uninhibited group, propelled by Lee’s husband, drummer Dylan Van Der Schyff, swings boldly, allowing for a captivating trumpet statement.

While Turner takes a more active role in the first half of the album, Bentley shines in the second. The trumpeter is a standout assets on “Boat Ride Into Go Home Bay”, a rich piece bookended by pensive thoughts, and “Justice/Honour”, a response to George Floyd’s murder where the ensemble conjures something modal and epic, with Eastern spice and raw percussive tract. Among devotional horn expression, there’s classical suggestions and subtle modulation.

“Promise” serves up polished post-bop anthemics laced with a marked rock rhythm, full-bodied unisons, and a bluesy guitar solo. If this is bracingly immediate on the ear, the delicate “A Giving Way” brings the cello to center stage, later joined by tenor sax for a final emotional crescendo. The ensemble updates The Band’s haunting ballad “Whispering Pines” with enthusiasm and respect, leading “Walk Over Walk” to an ecstatic collective moment after starting cautiously.

Peggy Lee proves to be a generous composer in this transformative sonic journey, seamlessly blending profundity and abandonment.

Favorite Tracks:
02 - Internal Structures ► 05 - Justice / Honour ► 06 - A Giving Way

Aruán Ortiz - Pastor's Paradox

Label: Clean Feed, 2023

Personnel - Aruán Ortiz: piano, voice; Don Byron: clarinet, bass clarinet, voice; Lester St Louis: cello (#1,2,4,5,6); Pheeroan AkLaff: drums + Yves Dhar: cello (#3,7); Mute Gant: spoken word (#1,4,6).

Cuban-born, Brooklyn-based pianist and composer Aruán Ortiz has consistently stood out as a notable voice in the vibrant New York creative scene. Following his remarkable trio album, Serranías (Intakt, 2023), a high-quality blend of contemporary Cuban-jazz hybridity, comes Pastor’s Paradox, another intriguing album with a distinct concept and sound. The bass-less quartet at the core of this seven-song cycle includes distinguished clarinetist Don Byron, with whom he recorded a duo album in 2018, adventurous cellist Lester St. Louis, and seasoned drummer Pheeroan AkLaff. 

In celebration of his 50th birthday year and inspired by Martin Luther King’s iconic ‘I Have a Dream’ speech, Ortiz draws inspiration from themes of racial, women's, and Latino rights, adopting the form and structure of the activist’s transformative discourses. The music, often embracing a dark quality, is marked by subtle hooks and grand gestures, showcasing painstakingly rendered harmonies and melodies. This creates a disarming emotional directness juxtaposed with an indelible improvisational appetite.

The atonal and abrasive “Autumn of Freedom” features Mtume Gant, whose spoken word consists of fragments of Dr. King’s speech. He also stands out on “The Dream That Wasn’t Meant to be Ours”, a chimeric dissertation with its own plaintive melodic thrust that brims with AkLaff’s timbral magnificence via an expert toms and cymbal work. Mysterious and uncanny atmospheric sounds permeate this piece, much like on “Pastor’s Paradox”, a brooding, pensive dirge featuring dreamy bass clarinet, rasping cello tones, sparse yet tense piano chords, and single-note ambiguities, complemented by sounded percussion.

The slowly built “Turning the Other Cheek No More” elopes into a rapturous rhythm prior to long clarinet notes and continual terse incisions of guest cellist Yves Dhar who responds regularly to Byron’s assertive communication. Following striking improvisation, a dire crescendo takes listeners out of their comfort zone before a composed finale in unison. The pieces avoid obvious paths, and “From Montgomery to Memphis” is an avant-garde persuasion where Ortiz’s arpeggiated pianism serves as an anchor, providing guidance and support to Byron’s defiant phrases He has an additional back up in St. Louis’ pizzicato hops.

The album concludes with “No Justice, No Peace, Legacy!”, a ruminative, motivic, and driving number to which the band members lend their voices.Visibly benefiting from the like-minded musicians’ rapport, Ortiz’s Pastor’s Paradox is compelling in its music and vital in its message.

Favorite Tracks:
02 - Pastor’s Paradox ► 03 - Turning the Other Cheek No More ► 05 - From Montgomery to Memphis

Loren Stillman - Time And Again

Label: Sunnyside Records, 2023

Personnel - Loren Stillman: alto saxophone; Drew Gress: double bass; Mark Ferber: drums.

Quirky and underrated, American saxophonist Loren Stillman is recognized for his embrace of sober tones and selection of impish notes while crafting phrases that are rich in ambiguity. His Sunnyside debut, Time and Again, showcases eight original compositions that take on distinctive shapes through the adept interpretations of his new trio mates—bassist Drew Gress and drummer Mark Ferber. The tunes are demanding, but the trio's experience allows them to navigate potential pitfalls, resulting in an intriguing and compelling sound.

“Backyard”, an engaging, groovy, and open post-bop vehicle, serves as fertile ground for exploring Stillman's non-obvious lines. The piece incorporates a smart bass vamp in its final segment, complemented by crisp drum chops. “Unsung” packs genuine emotion, addressing the not-heard-enough music of heroes such as Paul Motian, Warne Marsh, and Lee Konitz. It features a well-spoken bass statement. The title track, “Time and Again”, begins with controlled tom-tom rambles and valuable cymbal complementation. The rubato style enhances the heartfelt playing, and the music is unleashed with forlorn, breathing and revolving around a beautiful melody. 

In "The Mask”, Stillman passionately explores a folk-inspired direction, reminiscent of Jan Garbarek. This elegantly crafted piece features coruscating snare radiance, firmly placed bass lines, and sinuous melodic contours. "Fearless Dreamer", previously recorded in a bass-less quartet format, is admirably structured, swinging with a defiant posture and showcasing saxophone eruptions crafted from a language of impressive spontaneity. 

These overarching sonic architectures earn a special meaning with “Foist”, a modal-inflected blues piece that gradually turns up the heat, celebrating a cadenced, odd-metered groove. Gress and Ferber construct a trancelike rhythmic undertow that harmoniously supports the bandleader's expressive speech. 
Even in moments of unfolded abstraction, the trio's unique sounds articulate perfectly. Each track stands on its own, revealing more distinctive characteristics with each subsequent listen.

Favorite Tracks:
01 - Backyard ► 05 - Foist ► 08 - The Mask