James Brandon Lewis Quartet - Transfiguration

Label: Intakt Records, 2024

Personnel - James Brandon Lewis: tenor saxophone; Aruan Ortiz: piano; Brad Jones: bass; Chad Taylor: drums.

James Brandon Lewis, a sensational saxophonist with musical resources that transcend various musical scenarios, unveils Transfiguration, his fourth album leading a quartet featuring Cuban-born pianist Aruan Ortiz, bassist Brad Jones, and drummer Chad Taylor. Echoes of Coltrane, Shepp, Rollins, and Ayler reverberate throughout the album, infused with Lewis’ own energy as he navigates harmonic tapestries with unwavering confidence.

The title track, an exploration of 12-tone music, pulsates with a polyrhythmic feel and a modal sense of urgency, exhibiting a grandiose theme statement, a tour-de-force tenor discourse, and agile accompaniment. Ortiz brings a bit of McCoy Tyner’s fantasy to the setting, adding inventiveness in the upper register before a mantric final vamp. “Trinity of Creative Self” unfolds as a rubato ballad, anchored by Jones’ austere arco bass and Taylor’s uninterrupted rhythmic stream.

The early bass notes in “Swerve” create a patterned odd-metered figure in support of a strong blues incarnation referencing atomic motion. In turn, “Per 6”, inspired by circadian rhythms, flows at a caravan-like pace, dressed in smooth, well-knitted Eastern fabrics.

Lewis demonstrates keen phraseology, occasionally stretching the timbral possibilities of his instrument. He pays homage to American painter and sculptor Jack Whitten with “Empirical Perception”, a piece characterized by static yet intense modal explorations, and to French philosopher Henri Bergson with the fervently expressed “Élan Vital”, which culminates in a gospel-infused, four-chord jazz sequence. 

Notably, “Triptych” stands out with its sophisticated chordal work, a strong melodic formula with three sets of four notes, crisp solos, and a synchronously crafted finale. It’s definitely a highlight of the album. In the usual way, the performance of Lewis’ singled-out quartet is invested with imaginative intuition and unity.

Favorite Tracks:
01 - Transfiguration ► 04 - Per 6 ► 07 - Triptych

Gordon Grdina's The Marrow with Fathieh Honari

Label: Attaboygirl Records, 2024

Personnel - Gordon Grdina: oud; Hank Roberts: cello; Mark Helias: bass; Fathieh Honari: vocals; Hamin Honari: percussion.

Gordon Grdina is a versatile Canadian artist who moves effortlessly between a disparity of styles, including free-form improvisation, structured avant-garde jazz, and world music. While proficient on both guitar and oud, Grdina showcases his mastery of the latter instrument in his latest release, The Marrow, which is deeply rooted in Persian tradition. Leveraging Western improvisational expertise from seasoned veterans of the downtown New York scene like bassist Mark Helias and cellist Hank Roberts, alongside the modal Persian approach of percussionist Hamin Honari and vocalist Fathieh Honari, Grdina orchestrates a rich musical landscape.

The first track, “Not of Them”, is an immersive Grdina composition featuring sublime oud playing characterized by humming liquidity and shinning microtonal chromatics, and Fathieh's ethereal vocals reciting a poem by Rumi. “Break the Branch” follows a similar conceptual framework, but while the former presents a synergistic danceable form - with vibrant percussion, stable bass footing, and chanting cello lines in sync with the oud - the latter, set in motion by Helias’ extraordinary bass mobility, grows in intensity with Grdina and Fathieh taking a center stage.

“Raqib”, composed by Iranian composer Hossein Samadi, is deceptively simple in its rattling percussion, droning cello/bass rumination, and wandering oud spirits before blossoming into a sultry dance. The album concludes with “Qalandar”, a Balushi traditional piece, whose introductory murky tones evoke a somberly ambiguous atmosphere that later veers into a more celebratory, straighten out passage.

While the ensemble achieves an assured attitude and spontaneous energy, The Marrow may lack the surprising factor often associated with Grdina’s improvisation-leaning works. Bringing into play repeated, slowly evolving vamps, the tracks seem a bit too long, stuck in traditional folk and classical Persian webs. Nonetheless, it offers a lush balance between each composition, catering to the tastes of world music enthusiasts and showcasing the quintet's collective virtuosity.

Favorite Tracks:
01 - Not of Them ► 04 - Break the Branch

Mary Halvorson - Cloudward

Label: Nonesuch Records, 2024

Personnel - Mary Halvorson: guitar; Adam O’Farrill: trumpet; Jacob Garchik: trombone; Patricia Brennan: vibraphone; Nick Dunston: bass; Tomas Fujiwara: drums + guest Laurie Anderson: violin (#6)

The highly acclaimed Booklyn-based guitarist and composer Mary Halvorson always manages to draw me in with her collision of jarred chords, knotty melodies, and inconspicuous rhythms. Reuniting her Amaryllis Sextet, the guitarist unveils eight new compositions, predominantly penned in 2022, in her latest offering, Cloudward. While this collection exudes a warmer and more accessible vibe compared to Amaryllis and Belladonna, it remains delightfully unpredictable, fearlessly embracing chances without hesitation or defensiveness.

“The Gate” kicks off with an infectious Henry Threadgill-esque groove reinforced with precise marching drumming. Halvorson, though featuring fewer solos than in previous recordings, contributes seasoned harmonic context with winning effects throughout. On the opening piece, she pushes the energy to the horn-filled front. While trombonist Jacob Garchik sounds earnest and articulated, trumpeter Adam O’Farrill is bold in the intervallic choices. “Unscrolling” is painted with melancholy tones, creating a mournful dirge accentuated by Nick Dunston’s rasping bowed bass.

Before turning into a shimmering brushed ballad, “The Tower” texturizes with Halvorson’s rapid runs and cadenced steps marked by pitch dropping and delay effects. It’s a smooth sailing where you’ll find fragmented and pointillistic unisons and an engrossing vibraphone solo by Patricia Brennan topped with juxtaposed interjections from trumpet and trombone in its denouement. “Desiderata” brims with confidence and balance, inflamed by a rock-derived rhythm under the skilled guidance of drummer Tomas Fujiwara. Following a transient quiet vamp, the piece romps up into a kinetic swath of distorted guitar and dissonance.

“Tailhead” flows distinctively, following Fujiwara’s inventive intro, while “Ultramarine” closes out the album with a rift of strangeness. The latter is a modern creative fusion, brilliantly introduced by Dunston and later complemented with Halvorson’s atonal expressionism and labyrinthine harmonies, taking us from a four-chord indie rock progression to a vanguardist fanfare. 

For anyone harboring doubts about Halvorson’s compositional prowess, Cloudward stands as compelling evidence. Here, she rides high waves of inspiration alongside peers that understand her advanced musical mind.

Favorite Tracks:
01 - The Gate ► 02 -The Tower ► 05 - Desiderata 

Ethan Iverson - Technically Acceptable

Label: Blue Note Records, 2024

Personnel - Ethan Iverson: piano; Thomas Morgan: bass; Simón Wilson: bass; Kush Abadey: drums; Vinnie Sperrazza: drums.

The second Blue Note output by pianist and composer Ethan Iverson, titled Technically Acceptable, showcases his artistry in two exhilarating trios alongside emerging talents. Devotees of Iverson's music are well aware of his ability to infuse tradition with a modern touch, whether crafting an original composition or interpreting a classic standard. His style here, drawing from various epochs in jazz history, demonstrates a renewed assurance in dealing with rich melodies and sublime harmonies.

The first seven tracks feature bassist Thomas Morgan and drummer Kush Abadey. The trio starts with the enticing “Conundrum”, an introductory bait with firm rhythmic accentuation, ample harmonic power, uplifting melody, and some classical nuances towards the conclusion. As a Brubeck-inspired piece, “Victory is Assured (Alla Breve)” introduces a rare moment of levity, bracing the listeners for an empathetic rhythmic quality that evokes Kansas City blues. 

“Technically Acceptable”, a soulfully swinging hard-bop-infused composition, echoes in the pocket with the coolest of tempos. Here, Iverson’s unequivocal lines wiggle joyously over the rhythm changes in the form of fluid phrases and motifs. “The Way Things Are”, at some point, recalls “I Get a Kick Out of You”, while “It’s Fine to Decline” sees the trio switching gears as they opt for a lilting avant-garde setting that echoes the pianistic sensibilities of Jaki Byard, Mal Waldron, and Herbie Nichols. 

The collaboration with bassist Simón Wilson and drummer Vinnie Sperrazza yields exceptional results, especially evident in two covers: a stripped-down, captivating rendition of “Killing Me Softly with His Song”, and a nuanced, epic interpretation of Monk's “Round Midnight”, featuring an impressive theremin melody, courtesy of pianist Rob Schwimmer. You’ll find ethereal moments of spectacular tonal range on this one.

The album concludes with a solo three-movement piano sonata. It’s an outstanding through-composed work with inventive etudes in style, showing off Iverson’s mastery on the keyboard. “Piano Sonata: Allegro Moderato” is audacious in tempo and imbued with bluesy chops and stride jazz; “Piano Sonata: Andante” is delicately crafted and confidently paced; while “Piano Sonata: Rondo” presents a classical conception but with a heap of surprising twists.

Iverson's adept navigation of various stylistic approaches and transitions within the program reinforces his status as a strong-willed artist whose musicality has only deepened over time. The album's significance lies in his fascinating blend of discipline and freedom.

Favorite Tracks:
06 - It’s Fine to Decline ► 09 - Round Midnight ► 11 - Piano Sonata: Allegro Moderato

Ches Smith - Laugh Ash

Label: Pyroclastic Records, 2024

Personnel - Ches Smith: electronics, programming, vives, drums, tubular bells, glockenspiel, timpani, tam tam, metal percussion; Shara Lunon: voice, vocal processing; Anna Webber: flute; Oscar Noriega: clarinets; James Brandon Lewis: tenor saxophone; Nate Wooley: trumpet; Jennifer Choi: violin; Kyle Armbrust: viola; Michael Nicolas: cello; Shahzad Ismaily: bass, keyboards.

Extraordinary drummer and composer Ches Smith brings his A-game to a progressive and eclectic new album, Laugh Ash, gathering a bevy of avant-gardists and improvisers to explore the art of sound and intricate textural layering. His compositional taste and innovative spirit are reflected in numerous instrumental juxtapositions that, at a first instance, are easier to admire than to love. The agitation of the drum machines, synthetic in nature, oppose to the varied chamber moods, and a sense of novelty invades the album, pumping the pieces into an out-of-the-box listening experience.

“Minimalism” shimmers like a soap bubble, taking shape as layered electronic music with a fantastic rhythm, punk-rock singing by Shara Lunon, and synth momentum. This is followed by “Remote Convivial”, which chimes and vibes with slightly glitchy pitches, compound meter patterns, drum machines, spellbinding bass lines, and an outgoing saxophone solo delivered by James Brandon Lewis. The avant-garde scenario is heightened as string players embrace dissonance, akin to gazing at a blurred painting that retains its fundamental meaning.

The 10-piece ensemble dishes out polyrhythmic energies on “Sweatered Webs (Hey Mom)”, where funky bass trajectories meet Haitian rhythms. Lewis contributes another superb inside/outside tenor improvisation, and ethereal chants add a special interest. “Shaken, Stirred Silence” showcases a playful blend of ideas with Eastern connotations, odd meter provocation, asymmetry, angularity, avant expression via Anna Webber’s remarkable flute playing, and swooning electronic sensations that serve as a conclusion. All rhythmically rooted in skittering boom beats.

Clarinetist Oscar Noriega and trumpeter Nate Wooley bring unpredictable melodic directions and steep angles to “Unyielding Daydream Welding”, pirouetting around a foreboding dark drone and lively backbeat. They keep up their interaction in “Disco Inferred”, a propulsive ride with throbbing rhythm and electric funk at the bottom. In the last section, Webber’s rambling flute occupies a center position. In the final piece, “Exit Shivers”, an atmospheric doom metal-inspired work unfolds with quiet eeriness before a startling eruption.

Laugh Ash offers thought-provoking themes and improvisations that may not be immediately accessible but grow in interest with each listen. It's an unclassifiable, gripping album that pushes the boundaries of creative music in an original and compelling way.

Favorite Tracks: 
02 - Remote Convivial ► 03 - Sweatered Webs (Hey Mom) ► 08 - Unyielding Daydream Welding

Gush - Afro Blue

Label: Trost Records, 2024

Personnel - Mats Gustafsson: tenor and soprano saxophone; Sten Sandell: piano; Raymond Strid: drums.

The North European trio Gush, featuring the expansive saxophonist Mats Gustafsson, adventurous pianist Sten Sandell, and thoughtful drummer Raymond Staid, releases a fantastic record, Afro Blue, containing a live performance that dates back to 1998 at Stockholm’s Fasching.

The bass-less trio creates electrifying frameworks in the first two tracks, drawn from the Behind the Chords series penned by Sandell. The pianist is essential to the sound that references the trio. “Behind the Chord V”, a 27-minute odyssey, comes to life with the curiosity and excitement of a harmonically rich piano construction. Gustafsson’s saxophone wanders about, opting for mysterious paths while exploring with passion, and the responsive rhythm section provokes rhythmic variations. The music reaches a feverous delirium before the piano becomes percussive, and then it’s Strid who embarks on an articulated drum talk, later joined by Gustafsson’s growling blows and meaty tones. Sandell contributes to an epic ending with his complex textural surfaces.

“Behind the Chords IV” is another looming track, with a digressive soprano saxophone creating trepidation as well as an interpolative piano using nuance for rhythmic stimulation. Strid introduces pulsation subtly, integrating timbres in the sonic fabric weaved by the pianist, who extemporizes in due course with oblique moves. The music advances explosively with jittery and cacophonous passages, leading to mindful percussive moments and a melodically supplicant and elliptical finale.

A magnetic reading of Mongo Santamaria’s “Afro Blue”, popularized by John Coltrane in the 1960s, exposes its modal possibilities as Sandell explores polyrhythmically, Gustafsson unleashes entrancing lines with spiritual substance, and Strid paves the way in fearful convulsion, taking the piece to ecstatic realms. The album concludes with a peaceful improvisation.

Afro Blue highlights Gustafsson and his associates as outstanding improvisers whose directional waves align with engaging foundations and unconfined melodies. The trio's performance demonstrates not only a profound understanding of what they need to do as individuals and group but also a deep connection and inventive spirit.

Favorite Tracks: 
01 - Behind the Chords V ► 03 - Afro Blue

Ivo Perelman - Seven Skies Orchestra

Label: Fundacja Sluchaj, 2023

Personnel - Ivo Perelman: tenor sax; Nate Wooley: trumpet; Mat Maneri: viola; Fred Lonberg-Holm: cello; Joe Morris: bass; Matt Moran: vibes.

Brazilian saxophonist Ivo Perelman stands as an unwavering improviser who refuses to tread standardized paths. His open-mindedness and creativity are mirrored in an extensive discography of duos and trios, but his latest release, Seven Skies Orchestra, is a chamber improvisational work that offers a rare opportunity to hear him leading a larger ensemble of fantastic sonic painters. He pairs up with trumpeter Nate Wooley in the frontline, having vibist Matt Moran providing sinuous harmonic context, and a trio of string players - violist Mat Maneri, cellist Fred Lonberg-Holm, and bassist Joe Morris - designing a multitude of paths with color and detail. The double album comprises ten improvised expositions, but for the present review, I’m going to focus on disc one.

In “Part One”, Moran’s transcendent vibes sets the stage, later backed by Morris’ loose foundation over which Perelman and Wooley engage in a dialogue with unccpompromised freedom. It’s like listening to a superbly articulated conversation whose intensity ebbs and flows whimsically. The protagonists change, dialoguing often in pairs, with logic and abandon. By the end, we are presented with nicely robust and exquisitely shapeless passages.

“Part Two” commences with expert slides and glides, with Wooley infusing sinuous phrases and Perelman responding with contrasting low-register blows, circular patterns, and thrilling staccatos. This occurs while Maneri and Lonberg-Holm instill a folk innuendo into the avant-jazz setting, and the piece becomes almost collectively mantric, in an expression of unity that goes beyond improvisation.

The introductory interplay of “Part Three” stems from the cogitation of the instruments clashing and acquiescing in a positive manner. It’s a pondering piece that builds to a peak with a tenor improvisation over bass and vibes, in a more contemplative demonstration of the group’s capacities.

The music constantly lives of dynamism and mood shifts, and “Part Four” is here to prove it. It can be busy and tumultuous one minute, hushed and cool the next.
Perelman always considers new collaborators to explore fresh sounds and expand musical horizons. Seven Skies Orchestra stands as a singular entry in his extensive body of work.

Favorite Tracks (CD1):
01 - Part One ► 02 - Part Two ► 04 - Part Four

Abdullah Ibrahim - 3

Label: Gearbox Records, 2024

Personnel - Abdullah Ibrahim: piano; Noah Jackson: double bass, cello; Cleave Guyton Jr.: flute, piccolo.

The legendary South African pianist and composer, Abdullah Ibrahim, is heard leading a trio - with members of his EKAYA band: bassist/cellist Noah Jackson and flutist Cleave Guyton Jr. - in a double album that captures music in different contexts. The first disc consists of six originals recorded without an audience ahead of a concert at London’s Barbican Centre in 2023. The second disc is the concert itself, featuring a blend of original compositions and covers.

Expressing himself with distinctive idioms, Ibrahim flows calmly, benefiting from the wholehearted accompaniment of his peers, who tackle old tunes like “Tswake” and “Ishmael” on their own. The former starts with a flurried bass, and the flute imparts a pronounced bluesy and jazzy feel, while the latter revolves around a central bass groove. To contrast these piano-less numbers, “Krotoa-Crystal Clear”, previously included in the album Mukashi - Once Upon a Time (Sunnyside, 2014) - takes the form of a solo piano meditation with rich, exquisite harmonies sustaining quietly poignant melodies where emotions flow effortlessly.

The opening track, “Barakat”, rests in a slow movement characterized by grace, elegance, and space. The flute takes center stage, complemented by an enriching cello operating on the groove side but also melodic at times. “Marába” is a reverential African folk song delivered with a delicate touch, positive attitude, and gentle rhythm. The first half concludes with the meditative classic “Mindif”, at once beautiful and heartbreaking.

The second disc includes not only well-known Ibrahim compositions like “Water From an Ancient Well”, “The Wedding”, and “Nisa”, but also renditions of tunes by Duke Ellington (“In a Sentimental Mood”), John Coltrane (“Giant Steps”), and Thelonious Monk (“Skippy”).

Nothing really burns intensely on Ibrahim’s latest release but the music, possessing healing powers, maintains its flow with a refined gloss that reflects the heritage, unique playing, and masterful compositional prowess of a great artist.

Favorite Tracks (Disc One):
01 - Barakat ► 04 - Marába ► 06 - Mindif

Sunny Five - Candid

Label: Intakt Records, 2024

Personnel - Tim Berne: alto saxophone; Marc Ducret: Vendramini guitars and table guitar; David Torn: electric guitar, live multi-looping; Devin Hoff: electric bass; Ches Smith: drums, electronics.

Sunny Five is a formidable contemporary jazz quintet comprised of exceptional improvisers and experimentalists. Saxophonist Tim Berne has been a mighty presence in the avant-garde jazz scene for years; Ches Smith is one of the hippest drummers out there; electric bassist Devin Hoff brings alternative perspectives to the music that often fall out of conventional jazz moods; and the highly esteemed guitarists Marc Ducret and David Torn, who extract beautifully offset sounds and effects from their instruments, round out the group with their creative exuberance. Candid is the group’s debut album.

The opener, “Piper”, is an uncluttered experimental exhortation that incorporates drones, electronic echoing, noise guitar pigmentation, swooping saxophone motifs, and freedom in the rhythmic foundation without adhering to a particular direction. “Scratch” follows, with Berne’s thrilling saxophone playing gifting the group deft melodies and sardonic tones over a tapestry of smooth electronics. The conversation continues with the guitarists, accompanied by an amorphously elliptical bass design and agitated drumming. It’s a different kind of prayer that intertwines avant-garde jazz and experimental rock with an enticing unpredictability. Danceable motivic expressionism prevails, but the sounds may transition from dense and loud to quiet and ambiguous.

The group strings together a series of ingeniously eclectic movements over the course of “Craw”, emulating a strange funk vibe at the base via fragmented guitar, an insistent bass underpinning, and a balanced mix of hi-hat, snare, and cymbal on the drum kit. In due course, we have a mantric East-inspired drone and then escalating noise reinforcing the abstraction. Smith’s drumming brings the tempo down, surrounded by the dark hues and sinister atmospheres created by Torn and Ducret.

The monumental 35-minute finale, “Floored”, includes precisely executed twists and turns, showcasing the ensemble’s creative vision and storytelling prowess. The music traverses from cries to shouts, from ominous to appeasing sounds, and from corrosive and incendiary moments to thoughtful and tense considerations. Its quasi-apocalyptic fervor can be intimidating, yet it captivates with its depth and intensity.

Given the daring explorative strengths of Sunny Five, listeners are encouraged to let Candid soak in. Repeated listenings promise a vibrant experience, with every detail revealing itself anew and resonating with the richness of the ensemble's musical tapestry. 

Favorite Tracks:
02 - Scratch ► 03 - Craw ► 04 - Floored

Rich Halley - Fire Within

Label: Pine Eagle Records, 2023

Personnel - Rich Halley: tenor saxophone; Matthew Shipp: piano; Michael Bisio: bass; Newman Taylor Baker: drums.

Fire Within, the fully improvised third recording by Rich Halley with the trio of pianist Matthew Shipp - featuring bassist Michael Bisio and drummer Newman Taylor Baker - unfolds as a speculative fiction, coherently weaving elements from both the past and the present. 

Rooted more in the earthy than the cosmic, the album opens with the title track, “Fire Within”, where Halley unleashes feverish Coltrane staples against the instinctive drive of the rhythm section. Shipp, swinging along with inventive pulsations and advanced melodic and harmonic approaches, reaches epic proportions in his comping when Halley takes the lead. Baker seizes an unaccompanied moment, bringing his carefully chosen timbres and excellent technique to the fore prior to the beautiful melodicism that concludes the piece.

On “Inferred”, the meticulous and devotional bass work by Bisio comes first, and the piece evolves from balladic tones to a more vigorous, busy, and highly explorative passage with intensive saxophone blows. Shipp follows with a piano monologue, validating his status as a progressive thinker and the source of many propulsive motions.

While “Through Still Air” invites musing reflections with smooth, cerebral playing, “Angular Logic” takes on a dancing quality, digging in deep and never letting up. You’ll find marching routines in Baker’s snare moves, with Shipp interjecting lower-register harmonic chunks and bewildering right-hand whirls in his mercurial exploration of rhythmic cadences.

Aptly titled, “Following the Stream” kicks off with well-rounded drums before acquiring a loose feel, at times impetuous. A lilting breeze is embraced when Shipp is at the helm, and Halley joins the invitation, throwing in motifs. The piece ends with lines and accentuations reminiscent of Coltrane and Art Blakey, respectively.

Halley adeptly navigates textures with genuine sensibility, while the rhythm team surprises listeners with their ability to intuitively connect. Fire Within brims with contagious ideas, showcasing the synergy and creativity of the quartet.

Favorite Tracks:
01 - Fire Within ► 02- Inferred ► 03 - Angular Logic

Jon Irabagon's Outright! - Recharge the Blade

Label: Irabbagast Records, 2024

Personnel - Jon Irabagon: soprano saxophone; Ray Anderson: trombone; Matt Mitchell: piano, Fender Rhodes, Moog model D; Chris Lightcap: acoustic and electric bass; Dan Weiss: drums; Ben Monder: guitar (#10); Chris Cash: drums, bass, guitar, programming (#12); Trans-Atlantic Line Cigar Lounge All Stars (#12).

The remarkable saxophonist, Jon Irabagon, makes a triumphant return with his Outright! project, delivering yet another epic album that seamlessly follows the success of its predecessors, Outright! (2008) and Unhinged (2012). Undergoing its third lineup change, the ensemble keeps featuring outstanding musicians and improvisers, now including trombonist Ray Anderson, Matt Mitchell on keyboards, Chris Lightcap on bass, and Dan Weiss on drums. The collaboration produces rich and intense musical moments, further elevated by additional skilled musicians.

The core quintet works through a compelling program, presenting a nine-part suite titled Recharge the Blade, and is enlarged with guests on two numbers of the multi-colored War Trilogy. Irabagon and his associates boldly jump out of the box with “Kilgrave Part 1”, where angular piano forms and eerie soprano whispers are complemented by candid trombone expressions. This sets the stage for “Blood Eagle”, a hard-swinging romp filled with pure fire, with bassist and drummer locked in, and the horn players immersed in exciting extravagance. The piano adds an extra layer of clarity, engaging in counter-action comping during Anderson’s statement. Then, Irabagon’s smearing scorcher of a soprano solo takes the forefront, followed by Weiss’ stylish drum chops and Mitchell’s dynamic contours on the Rhodes, all layered over a thumping funk bass groove and a hi-hat/snare-driven flow. 

While “Keelhauling” explores freewheeling avant-garde territory with circularity at its peak, the balladry of “Nightshade” invokes the easy gliding melodicism of Wayne Shorter before transitioning into a hip-hop rhythm with M-Base vibes. “Kilgrave Part 2” loosely echoes Coltrane, leading into “Recharge the Blade”, a playful neo-bop meets New Orleans dixie exercise crafted with powerful unisons and confident split-ups. The solos, synergistic and abrasive, overflow with glistening cascades and dramatic swells. Also contrasting,“Trés Bechet” glows in romantic bolero style as if lit from within, while the motivic “Tsar” propels itself with open-space energy, culminating in ecstatic explorations outside the norms. 

The album reaches its pinnacle with The War Trilogy, where the blooming first movement, “Quarum Call”, features the atmospheric quirkiness and noise density of guitarist Ben Monder. He feels at home in the company of Weiss’ abrasions of wood on skin. “We’ll Meet Again”, penned by Hugh Charles and Ross Parker in 1939, is offered as a soprano/piano duet, serving as a bridge to “Welcome Parade”, a surprising if divergent R&B/soul-jazz-influenced track featuring multi-instrumentalist Chris Cash and the monumental Trans-Atlantic Line Cigar Lounge All Stars.

As a strikingly original player with an imaginative vision, Irabagon keeps his music refreshingly focused but also bursting with freedom. Not a single dull moment is found in this opus, where the members of the group showcase their extraordinary rapport.

Favorite Tracks:
02 - Blood Eagle ► 08 - Tsar ► 10 - Quarum Call

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