Jamie Baum Septet+ - What Times Are These

Label: Sunnyside Records, 2024

Personnel - Jamie Baum: flutes, spoken word; Jonathan Finlayson: trumpet, spoken word; Sam Sadigursky: alto saxophone, clarinet, bass clarinet; Chris Komer: french horn; Brad Shepik: guitar, singing bowls; Luis Perdomo: piano; Fender Rhodes; Ricky Rodriguez: acoustic and electric bass; Jeff Hirshfield: drums // Guests - Theo Bleckmann: voice (#4); Kokayi: voice (#6); Sara Serpa: voice (#5,7,8); Aubrey Johnson: voice (#3,6,9); Keita Ogawa: percussion (#1,3,10).

During the pandemic confinement, flutist Jamie Baum, renowned for her modern artistic vision and noble artistic conscience, found inspiration in poems posted on Bill Moyers’ website, composing music that responded to the challenges of the time. Her fifth septet album, What Times Are These, was orchestrated with specific voices in mind, encapsulating this response to the pandemic.

Bookending the album, both featuring the percussive talents of Keita Ogawa, are “In the Light of the Day” and “In the Day of Light”, related yet distinct in sound. The opener introduces a repetitive piano note and regular chiming vibration before low-pitched melody inundates the bustling pulsation created by the collective’s forward motion. Before the strong counterpoint returns, you can indulge in head-spinning solos from Baum and trumpeter Jonathan Finlayson. The closing piece completes the whole cycle, smoothly surfing in polished waves of funk and percussive juxtaposition, with pianist Luis Perdomo taking the spotlight.

Among the highlights is “An Old Story”, a funk crusade where Finlayson reads a poem by Tracy K. Smith and explores rhythmic figures within his sophisticated brass terminology. Vocalist Aubrey Johnson also puts chromatic and intervallic boldness to good use. “In Those Years” features Theo Bleckmann’s luminous vocal work and a compelling, energetic alto statement by saxophonist Sam Sadigursky, while “Dreams” offers a half-grounded, half-provocatively loose experience touched by magical counterpoint and nice melody. 

Portuguese singer Sara Serpa shines on “My Grandmother in the Stars”, demonstrating vocal, facility, plasticity, and range. The song’s featured poem by Naomi Shihab Nye about her grandmother in Palestine deeply resonated with Baum, who dedicates this 7/4 excursion to her dementia-affected mother, Edie. On a completely different register, Kokayi introduces “Sorrow Song” with words of wisdom and hip-hop energy. Despite the title and Lucille Clifton's poem about war-victimized children, this groovy funk act feels more uplifting than desolating. The awesome melodicism and sound of guitarist Brad Shepik sparkles not solely within this realm but also on “To Be of Use”, a vehicle for key shifting and intricate meter.

The Jamie Baum Septet+ breathes as a unit while also encouraging the individualism of its members and guests. In addition to the power of words, the universal language of sounds envelops the listener with arrangements that include lustrous textures and tight grooves.

Favorite Tracks: 
01 - In the Light of the Day ► 03 - An Old Story ► 04 - In Those Years

Circles 44 - In the Grip

Label: Aut Records, 2024

Personnel - Achille Succi: bass clarinet, contrabass clarinet; Massimiliano Amatruda: piano; Joseph Circelli: guitar, effects, synth; Andrea Grillini: drums.

For their sophomore album, Circles 44, originally a trio of confident Italian vanguardists consisting of pianist Massimiliano Amatruda, guitarist Joseph Circelli, and drummer Andrea Grillini, expanded into a sonically combative quartet with the addition of adventurous clarinetist Achille Succi. The group's improvisatory prowess and rhythmic dexterity are showcased throughout an inspired set of music characterized by structured improvisation, staggering complexity, and dynamic intensities. 

With no hesitation, the first two cuts - “Spiral Dance” and “In the Grip” - demonstrate the ensemble’s command of their craft with hyperbolic angles and stream-of-conscious layering. Upon flowing at a slow ternary pace - with chatty cross stick, dreamy piano, and low-key guitar - the Amatruda-penned “Spiral Dance” shifts toward an odd-metered tempo, sustaining captivating solos by Succi, always deep and rich in tone, and Grillini, who stirs up the energy before the thematic piano motif starts soaring above him. Circelli’s “In the Grip” kicks off with a compact drum solo before entering into prominent modalism - more Andrew Hill style than John Coltrane. The group intersperses quieter passages before setting foot in a dazzling 12-beat cycle groove that ends up in double tempo.

If “Gate” works like an electro-dance act, probing fragmentation via the syncopated strap beat and promoting exploratory dialogue, then “Circles” goes from an intriguing stillness to an investigative folk dance. In turn, Grillini’s “Linea (first approach)” strikes a balance between quiet minimalism and impulsive temperament. The album concludes with “A.A. 1942”, a noir excursion imbued with pensive tones and raw edges.

Creative jazz aficionados will find this album compelling. These four artists epitomize the quality of the intrepid Italian avant-jazz scene, making In the Grip a worthy addition to any jazz collection.

Favorite Tracks:
01 - Spiral Dance ► 02 - In the Grip ► 04 - Gate 

Melissa Aldana - Echoes of the Inner Prophet

Label: Blue Note Records, 2024

Personnel - Melissa Aldana: tenor saxophone; Lage Lund: guitar; Fabian Almazan: piano; Pablo Menares: bass; Kush Abadey: drums.

In her seventh album as a leader and second on Blue Note Records, titled Echoes of the Inner Prophet, Chilean-born, New York-based saxophonist Melissa Aldana presents eight sonic reflections that encapsulate her personal journey. Here, she reunites with the same crew that contributed to the acclaim of 12 Stars (Blue Note, 2022): Norwegian guitarist Lage Lund, bassist Pablo Menares, and drummer Kush Abadey. The sole exception is Sullivan Fortner who passed the piano chair to Fabian Almazan.

The album opens delicately with the title track, a homage to Wayne Shorter, resonating in shades of pastel and reminiscent of Alice Coltrane's spiritual kindness. This leads seamlessly into “Unconscious Whispers”, characterized by airy passages and edgy tonal ranges, with hints of Latin influence, also evident in “The Solitary Seeker”, where a slight Brazilian rhythmic balance is felt. Aldana and Almazan deliver intense performances on these tracks, while Lund shines on “A Story”, exuding sultry elegance with a Metheny-esque crossover jazz appeal. 

The guitarist boasts a great sound throughout, whether building colorful texture or melodic single-note phrases, contributing “I Know You Know”, a radiant sunshine sympathetically crafted with sharp expression. Conversely, Menares’ “Ritual” provides haunting balladry with its evocative and atmospheric tones, while Aldana’s “Cone of Silence”, a dedication to recording engineer James Farber, is distilled with emotional poignancy, tempo subtleties, and timbral precision. Before that, “A Purpose” brings jazz in the heart of a gracious post-bop act buoyed by the ambitious sweep of solos from the bandleader, Lund, and Almazan.

Aldana emerges as a more mature saxophonist, presenting a cerebral style that blends subtle idiomatic combinations with personal emotions. Her new album provides an easy listening experience that, going deep, never succumbs to the potential pitfalls of sentimentality.

Favorite Tracks:
02 - Unconscious Whispers ► 04 - The Solitary Seeker ► 07 - Cone of Silence

Carl Zinsius Project - Five Banana: the Music of Carla Bley

Label: Self released, 2024

Personnel - Alex Scott: saxophones; Anais Pasanau Miró: clarinets; Willem Suilen: piano; Conrad Noll: bass; Carl Zinsius: drums.

Carl Zinsius, a German drummer based in Cologne, brings together an European quintet of colorists to perform music from the late groundbreaking pianist Carla Bley. The group places a strong emphasis on Bley’s harmonic and melodic nuances, opting for a contemporary chamber charm that eschews harsh textures.

The journey begins with the mesmerizing quintuple meter of “Five Banana”, where subtleties within the unison melody and expansive harmonic progressions are explored. There’s a bass solo at the outset by Conrad Noel, followed by rich contributions from Dutch saxophonist Alex Scott and pianist Willem Sullen. The latter is also featured in the melodically intriguing “Three Blind Mice”, organizing a powerful discourse full of energy.

“Donkey”, underlined by a swinging pace, reveals humorous Monk-esque accents, while the splendid “Ida Lupino”, offering a strong slide of nostalgia, glides gracefully with elegance and poise towards a final section immersed in intensity and emotion. “Sad Song” maintains a softer register, featuring shuffling brushwork, poignant pianism, lachrymose clarinet, and soulful tenor blowing.

Fragmentation and disruptive moves anchor “Real Life Hits”, whose sultry rhythm provides a warm atmosphere for Spanish clarinetist Anais Pasanau Miró’s chromatic designs and pleasant trills. The bandleader also stretches out here in the course of the vamping closing section. Prior to conclude the album with the straightforward storytelling of “Dreams So Real”, Zinsius and his peers present an intuitive reading of “King Korn”, whose loose intro incorporates both unisons and counterpoint with sax and bass clarinet at the fore, as well as intimate moments for bass and piano.

Through their own interpretations of Bley’s compositions, the Carl Zinsius Project delivers an accessible yet fully realized debut album that should draw attention on both sides of the Atlantic. The effort and emotion poured into this album is palpable, and would be great to hear them playing their own tunes in the future.

Favorite Tracks:
01 - Five Banana ► 06 - Sad Song ► 08 - Real Life Hits

Keisuke Kishi - Midpoint Cafe

Label: Self released, 2024

Personnel - Andrew McGowan: piano (#1,2); Calvin Johnson: saxophone (#1,2); Jun Sugiura: Piano (#3,4,5); Nori Naraoka: bass (#1,2,4,5); Keisuke Kishi: drums.

Keisuke Kishi's concise sophomore album, Midpoint Cafe, serves as a sonic reflection of his captivating road trip through Texas, Arizona, and Utah in 2021. Currently based in Hawaii and New York, Kishi deftly navigates between a saxophone quartet and a piano trio, channeling the emotions and experiences of his travels into his music with a sense of yearning..

The protean title track, “Midpoint Cafe”, alludes to the neutral midpoint of Route 66, ebbing and flowing with a gentle pulse on the piano and a beautiful dark intonation coming from the tenor saxophone. It changes unexpectedly into swinging walk for pianist Andrew McGowan’s solo, followed by bassist Nori Naraoka and tenorist Calvin Johnson. The latter enjoys a denser, circular flux that veers again into a cool, atmospheric beat as it keeps shaping around the music without overwhelming it. 

“Santa Fe 7’198” begins with a straight-eight feel, interrupted by a folksy passage with piano forte, and then falls into a more introspective awareness with Kishi imposing a loosened up rhythm that conjures up Makaya McCraven and Robert Glasper’s styles. “We Saw Him” brings more ambiguity as if it was probing something hidden from sight, depicting a strange encounter with a homeless Native American. It’s a duo effort with pianist Jun Sugiura (they go by the name Drizzle), featuring ritualistic tom-tom activity that intensifies before expanding to cymbals. 

The trio pieces also create interesting atmospherics, namely the picturesque “Inside Utah” and the short-lived closer “New Days”, whose dreamy state - built with arpeggiated piano, bursting drums, and arco bass solemnity - captivates but could have been further deepened in its sustained lyricism. Midpoint Cafe stands as a honest album in its truest form, showcasing Kishi’s rhythmic aptitudes while painting evocative landscapes through music.

Favorite Tracks:
01 - Midpoint Cafe ► 03 - We Saw Him

Dan Weiss - Even Odds

Label: Cygnus Recordings, 2024

Personnel - Miguel Zénon: alto saxophone; Matt Mitchell: piano; Dan Weiss: drums.

Drummer and composer Dan Weiss emerges as a rhythmic magician on his captivating new album, Even Odds, infusing every beat and spark with profound meaning and context. With a rare ability to craft narratives through music, Weiss collaborates with saxophonist Miguel Zénon and keyboardist Matt Mitchell to deliver an intriguing collection of six written compositions and provocative improvisations. On the latter, he provides risk-taking, magnetic rhythmic tapestries on top of which his trio mates create freely.

From the frantic energy of “It is What it is”, where pulsating angularity evolves into a dynamic rhythmic tapestry punctuated by insistent saxophone attacks, articulated piano flurries, and Weiss' rock and African-tinged drumming, to the reflective poignancy of Weiss' compositions “The Children of Uvalde” and “Ititrefen", each track offers a unique exploration of its thematic elements. The former piece, written in response to a tragic school shooting in Texas, unfolds as an elegiac ballad with intriguing harmonic vibrations, while the latter pays tribute to Wayne Shorter's “Nefertiti” in a clever reversal of the title.

“Fathers and Daughters” celebrates parenthood with more tenderness than friction, while “Max Roach”, fueled by a fabulously syncopated drum work, delves into the secrets behind the late drummer’s playing in Charlie Parker’s “Klactoveedsedstene”. Weiss also pays homage to Pakistani singer Nusrat Fateh Ali Khan in “Nusrat”, infusing an irresistible, chilled-out nu-beat that resulted from transplanting a Qawwali tabla rhythm into the drum set.

Among the impromptu material, the following provocative pieces stand out: “Bu”, a free-form communicative effort whose principle consists in a pattern by iconic drummer Art Blakey; “Rising”, which sets a visceral shuffling beat against tranquil saxophone and piano lines; “M and M”, placing fractal saxophone runs and galloping motifs side by side with piano constellations built in clever intervals; and “Five to Nine”, laced with odd-metered undercurrents and contrapuntal interplay. 

Each track, whether composed or improvised, serves as a testament to Weiss’ multifaceted, brainy sense of rhythm and his peers’ facility to connect and expand musical horizons. Even Odds offers results that, transporting listeners beyond ordinary realms, invites them to embrace the extraordinary.

Favorite Tracks:
09 - Five To Nine ► 14 - Max Roach ► 20 - Nusrat

Fire! - Testament

Label: Rune Grammofon Records, 2024

Personnel - Mats Gustafsson: baritone saxophone; Johan Berthling: bass; Andreas Werliin: drums.

The explorative Swedish trio Fire! - comprising saxophonist Mats Gustafsson, bassist Johan Berthling, and drummer Andreas Werliin - first convened in 2009 before expanding successfully into an orchestra. Their eighth album, Testament, comprises five tracks presented in a more skeletal form, stripped down to pure sax-bass-drums tapestries devoid of electronics or additional elements. All the same, these cuts exalt the artistic and improvisatory leanings of the musicians.

“Work Song for a Scattered Past” imposes circularity with a patterned bass phrase, invigorated by dynamic drumming and growling saxophone blows. They elastically push apart but, at the end, converge into consonance. “The Dark Inside of Cabbage” displays relaxed if lumbering baritone lines over a rhythmic bed of bass drones and skittering drum chatters.

“Four Ways of Dealing With One Way” unfolds as a hypnotic, repetitive exercise, its mutable saxophone tones deceptively floating through time. Gustafsson’s performance on “Running Bison, Breathing Entity, Sleeping Reality” captivates as he blends growling expressions, breathing techniques, multiphonics, and a mix of popping and flapping sounds filled with rich tonal resonances. Over time, it becomes chanty with the assistance of rumbling and tidy bass as well as percussion, gradually evolving into a mesmerizing slowcore enchantment.

Strangely accessible, the album comes to a close with “One Testament, One Aim, One More to Go, Again”, where a plain eight-beat cycle bass figure, neatly backed by Werliin’s understated percussion, gives free rein to a smoky rock stride and flavorful Eastern influences. Testament was recorded live in the studio on analog tape and expertly mixed by renowned rock audio engineer Steve Albini.

Favorite Tracks:
01 - Work Song for a Scattered Past ► 04 - Running Bison, Breathing Entity, Sleeping Reality ► 05 - One Testament, One Aim, One More to Go, Again

Christopher Hoffman - Vision is the Identity

Label: Out of Your Head Records, 2024

Personnel - Christopher Hoffmann: cello, electric cello, drum programming; Frank LoCrasto: keyboards; Bill Campbell: drums; 

Cellist Christopher Hoffman, demonstrating his exploratory character and broad musical vision, steps boldly into the spotlight with an intriguing recording that leans heavily on synths and drums, exuding a fiercely progressive vibe. His latest endeavor, Vision is the Identity, comprises a collection of mesmeric frameworks characterized by a curious blend of fluidity, acidity, and obscurity, providing a canvas upon which musicians navigate smoothly or inject sinister undertones within a modern fusion context. Accompanied by keyboardist Frank LoCrasto and drummer Bill Campbell on all tracks, Hoffman also welcomes special guests on select pieces.

The album opens with the electro-rock experimentalism of “Cloudbuster”, designed with a hooky motorik-inspired beat, adhesive synth patches, and incisive cello slashes, evocative of groups like Can and Faust. Similarly concise, “What Comes” serves the warped lines of saxophonist Henry Threadgill, who sinuously sweeps across a lushly dramatic 3/4 progression pollinated by the distorted clouds of guest guitarist Ryan Scott.

“Think From” unfolds with installing gravitas and an icy hip-hop backbeat overlaid by occasional rasping cello legato and creating a textural cosmic goo. “It is Done” is shrewdly executed with vocal mellotron and blaring counterpoint before transitioning into a dance-friendly groove punctuated by cello pizzicato. 

Apparently, there are no main theme statements and the pieces can end abruptly. “Better & Better” is laid down with shimmering racket, featuring the tongue-in-cheek flute expressionism of Anna Webber over abrasive alternative rock and industrial electronic elements. The mood shifts on the speculative final track, “Farewell Forever”, where synth, EWI, and cello solos by LoCrasto, guest Alfredo Cólon, and Hoffman, respectively, crash into the tapestry of jazztronica-inspired synths loaded with futuristic undertones and sweaty rhythms.

While Vision is the Identity may not cater to every jazz aficionado, it undoubtedly marks an entrancing modernistic phase for Hoffman. His imaginative range of sonics establishes him as an unpredictable artist.

Favorite Tracks:
01 - Cloudbuster ► 02 - What Comes ► 05 - Better & Better

Charles Lloyd - The Sky Will Still Be There Tomorrow

Label: Blue Note Records, 2024

Personnel - Charles Lloyd: saxophones, flutes; Jason Moran: piano; Larry Grenadier: double bass; Brian Blade: drums.

In The Sky Will Still Be There Tomorrow, the unmistakable, soulful sound of saxophonist Charles Lloyd resonates through the exquisite tapestries crafted by his quartet mates: pianist Jason Moran, bassist Larry Grenadier, and the newly joined, seasoned drummer Brian Blade. This double-disc release epitomizes a remarkable convergence of advanced musical minds.

“Defiant, Tender Warrior” opens the album in a relaxed, breathable 4/4 tempo, marveling at its vamping spiritual melody while Blade’s radiant percussive moves show to be a wonderful fit. Moran brings shuffling, harmonically vivid pianism into “Monk’s Dance”, Lloyd’s homage to the late Thelonious Monk, navigating a modern stride before launching an assertive solo over a swinging progression. Moments before, Lloyd had showcased his potential for fresh discoveries, employing his signature style phraseology pelted with sublime arpeggio coloration.

In the duo performance of “Lift Every Voice and Sing”, a Black hymn dating back to 1900 by J.W. Johnson, Lloyd and Moran achieve ecstatic catharsis through their lyrical interplay and responsive dynamics. “Booker’s Garden”, dedicated to saxophonist Booker Little, features dulcet flute filigree, molding into a gentle spiritual dance. On “The Ghost of Lady Day”, the iconic jazz singer Billie Holiday is honored in a sweetly lazy affair played with a nocturnal rubato before veering into expressionist avant-garde territory. Strangely, it oozes emotional intensity and intriguing mystery.

Another rubato peregrination, “Sky Valley, Spirit of the Forest”, seems indifferent to form but meticulous in tone, traversing from vagueness to illumination. The title cut stands as a program highlight, with Lloyd’s tenor sax swooping and soaring - both in and out of focus - over Blade’s sharp reflexes. The entrance by Moran is out of this world, and the communication proceeds with as much distinction as logic. There’s also a gospelized piano passage and a fading vamping groove that leads to the ending.

“Cape Cairo”, an older tune retrieved from Lloyd’s cherished album All My Relations (ECM, 1995), emerges as another favorite, with the rhythm section conjuring hair-raising dreamlike tones as Lloyd's saxophone weaves an enchanting melody from start to finish. Charles Lloyd, a living jazz legend, showcases a sophisticated hybrid of post-bop, spiritual energy, and eclectic avant-garde jazz, producing another extraordinary album destined to be included on numerous ‘best of’ lists.

Favorite Tracks:
01 (CD1) - Defiant, Tender Warrior ► 03 (CD1) - Monk’s Dance ► 08 (CD1) - The Sky Will Still Be There Tomorrow ► 06 (CD2) - Cape Cairo

Ernesto Cervini's Turboprop - A Canadian Songbook

Label: TPR Records, 2024

Personnel - Joel Frahm: tenor saxophone; Tara Davidson: alto saxophone; William Carn: trombone; Adrean Farrugia: piano; Dan Loomis: bass; Ernesto Cervini: drums.

Ernesto Cervini, a drummer/composer from Toronto and JUNO award winner, pays tribute to Canadian songs and artists with A Canadian Songbook, featuring his Turboprop sextet. This third outing comprises seven tracks, including two originals and five covers, where the adventurous ensemble shines.

The opener, James Hill’s “Skeletons” showcases the group at its bravest. It’s a structurally interesting piece underpinned by a skittering EDM-inspired rhythm intertwined with divergent rubato passages. It’s also a furious, blowing vehicle for the horn section - altoist Tara Davidson, trombonist William Carn, and tenorist Joel Frahm - whose exchanges are caught in a spiral of joyful and energetic purpose. 

The following track, Barenaked Ladies’ “When I Fall” is a circular 3/4 pop/rock song comfortably harmonized by bassist Dan Loomis who, locking up with Cervini, serves Carn’s opening solo before making a statement of his own. The piece climaxes with Frahm’s tenor statement, a perfect blend of emotion and vibrancy. 

Somehow recalling the music of Mulgrew Miller and Branford Marsalis, “Aureole”, penned by alto saxophonist Allison Au, expands the musical palette into a cerebral if extroverted post-bop that swings with a modern mainstream vibe. Its strong sense of texture stands out.

Cervini’s own compositions, “If, Then” and “Stuck Inside”, display contrasting postures. The former combines snare fluxes and staccato moves, first unfolding in 5/8 before shifting in tempo, while the latter sprawls with a more familiar jazz progression delivered with symmetry and balance.

While this is not Cervini’s best recording, it serves as a finely honed reflection on the Canadian music scene, showcasing the collaborative energy of his ensemble throughout.

Favorite Tracks:
01 - Skeletons ► 03 - When I Fall ► 06 - Aureole

Dave Harrington / Max Jaffe / Patrick Shiroishi - Speak, Moment

Label: AKP Recordings, 2024

Personnel - Dave Harrington: guitar, electronics; Max Jaffe: drums, sensory percussion, effects; Patrick Shiroishi: saxophones, bells, tambourine.

The trio co-led by guitarist Dave Harrington, drummer Max Jaffe, and saxophonist Patrick Shiroishi delivers deeply improvisatory yet subtly nuanced performances in their debut album, Speak, Moment. Comprising five collective improvisations recorded in a single afternoon, the album explores atmospheric sonic environments with intuition and spontaneity.

The album opens with the guard-down rubato balladry of “Staring Into the Imagination (of Your Face)”, whose wispy contemplative tone results from tranquil saxophone melodies with slightly dissonant slips and vibrato, ambient guitar, and coruscating brushwork with incidence on cymbals. At the end, we can hear an arpeggiated sax phrase that repeats with electronics in the background. “How to Draw Buildings” has Harrington assembling droning persistence, Eastern melodies, and rock experimentalist over Jaffe’s shamanic percussion. The sounds become weepier as the piece progresses.

“Dance of the White Shadow and Golden Kite” takes the form of a hypnotic elliptical dance with strange exoticism exuding from the rich timbres of the rhythm. There’s admirable saxophone work and effects here, and the overall picture transports us to some eclectic ECM albums by Jan Garbarek and Collin Walcott. Contrasting with the other pieces, “Ship Rock” channels the skronky guitarism of Sonny Sharrock, in a combination of shredding, staccato-infused electric guitar, fleet saxophone lines, and high-strung drumming.

The album concludes with “Return in 100 Years, the Colors Will be at Their Peak”, a foray into freer territory after walking a tightrope between Eastern and American sounds. Tidal guitar waves are pelted with distortion, the saxophone toggles between gravitation and compression, and the percussion mutates with elasticity. It ends with raspy droplets of guitar, while angular asymmetric saxophone lines fizz between the cracks. 

Sharing a positive and open affiliation, this trio delves into charming ambiances with an impulse to disrupt the norms and redraw the lines.

Favorite Tracks:
02 - How to Draw Buildings ► 03 - Dance of the White Shadow and Golden Kite ► 05 - Return in 100 Years, the Colors Will Be at Their Peak

Chris Potter - Eagle's Point

Label: Edition Records, 2024

Personnel - Chris Potter: tenor and soprano saxophones, bass clarinet; Brad Mehldau: piano; John Patitucci: bass; Brian Blade: drums.

Possessing advanced musical skills and a kaleidoscopic vision, saxophonist and composer Chris Potter has recently cycled through different small-group formats. For his new outing, Eagle’s Point, he gathered a super quartet whose members, all outstanding bandleaders and valuable sidemen with whom he first collaborated in the ‘90s, take his music to places with joy and an incredible rapport. Lending him key support here is pianist Brad Mehldau, whose melody-centric approach is not devoid of rhythmic nuance, well-versed bassist John Patitucci, and charismatic drummer Brian Blade. Together, they weave tapestries of color, poise, and energy. 

Launching the album into motion, “Dream of Home” expresses nimble saxophone lines, excitable bass temperament, and taut, anxiety-laden drumwork. Potter’s authoritative solo sparks with unbounded energy, and his post-bop maturity is also reflected on the impeccably articulated title track, “Eagle’s Point”, a showcase for a serene bass groove in six, a motivic phrase that slides effortlessly across octaves, and a gutsy tenor solo undaunted by outside playing. Mehldau imposes a polychromatic feel in his striking statement, and Blade enjoys intermittent bars of freedom before the theme reinstatement. 

Throughout the album, the quartet's unique perspectives cross with disentanglement and ingeniousness. Pieces like “Indigo Ildikó” and “Other Plans”, both mindfully adjusting tension and resolution, offer introspective observations. The former stands as an emotive ballad with vaulting arcs of yearning melody delivered on bass clarinet, while the latter shapes as an elegant Bill Evans-esque waltz.

“Cloud Message” features excellent bass playing and loose contemporary swinging spin, with Mehldau responding assertively to Potter’s accentuations.“Malaga Moon” unfolds with an irresistible 7/4 groove, provoking, surprising and then finally convincing before taking us to the celebratory closer, “Horizon Dance”, whose buoyant groove and liberating style hits the mark.
Potter and his quartet harmonize with a sense of urgency and refined melodic tract, and Eagle’s Point finds them as vital as ever.

Favorite Tracks:
01 - Dream of Home ► 04 - Eagle’s Point ► 08 - Horizon Dance

Frank Carlberg Large Ensemble - Elegy for Thelonious

Label: Sunnyside Records, 2024

Personnel - Frank Carlberg: conduction, composition; David Adewumi: trumpet; Sam Hoyt: trumpet; John Carlson: trumpet; Kirk Knuffke: cornet; Brian Drye: trombone; Chris Washburne: trombone; Tyler Bonilla: trombone; Max Seigel: bass trombone; Nathan Reising: alto sax; Jeremy Udden: alto sax, lyricon; Adam Kolker: tenor sax, flute; Hery Paz: tenor sax, clarinet; Andrew Hadro: baritone sax, bass clarinet, flute; Leo Genovese: piano, keyboards; Kim Cass: bass; Micheal Sarin: drums; Christine Correa: voice (#1,3,4); Priya Carlberg: voice (#2,3,4).

Striking a lush, harmonious balance between each tune, Frank Carlberg's new orchestral venture pays homage to Monk's legacy while showcasing his own creative stamp. The album features seven original compositions, skillfully layered by a talented group of musicians and improvisers. 

“Spooky Rift We Pat” opens the album with mystery and a dark smudgy tone, featuring vocalist Christine Correa. Subsequently, it transitions into a dynamic get-up-and-go that combines the standard “Tea For Two” and Monk’s “Skippy”, juxtaposed in its sung and instrumental forms, respectively. With the horn players delivering luxuriantly composed lines, the central stage is reserved for soloists, namely tenor saxophonist Adam Kolker and trumpeter David Adewumi.

Operating within a riff-heavy frame, “Out of Steam” is based on “Locomotion”, and despite its title, never slows down in its intervallic defiance and intensive layered exploration, featuring Frank's daughter, Priya Carlberg, on vocals. Less exuberant, “Elegy For Thelonious” is a beautiful composition where Correa recites a poem by Yusef Komunyakaa and infuses "Abide with Me" with a rock posture. Trombonist Bryan Drye, cornetist Kirk Knuffke, and Lyricon player Jeremy Udden deliver captivating solos on this track.

Favoring an aesthetic informed by experimental streaks, the invertebrate “Scallop’s Scallop” is an avant-jazz foray that serves Knuffke’s improvisational facility and ingenuity. In a similar fashion, the contrapuntal “Wrinkle on Trinkle” features a catchy alto solo by Udden, bending and twisting to the point of abstraction while a dissimulated funky rhythm defines the groundwork. The album closes with “Brake Tune” (an allusion to “Break’s Sake”) is introduced by Hery Paz's severe tenor discourse, but ends up in a playful mode, enclosing deft rhythm manipulation, a noticeable synth venture by Leo Genovese, and unabashed counterpoint. 

Overall, the album highlights Carlberg’s orchestration capabilities and the quality of his compositions. The positive result is a consequence of the masterful execution by the talented players on this recording.

Favorite Tracks:
04 - Elegy For Thelonious ► 05 - Scallop’s Scallop ► 06 - Wrinkle on Trinkle

Acceleration Due to Gravity - Jonesville

Label: Hot Cup Records, 2024

Personnel - Stacy Dillard: tenor saxophone; Matt Nelson: alto saxophone; Kyle Saulnier: baritone saxophone; Bobby Spellman: trumpet; Dave Taylor: trombone; Ava Mendoza: guitar; George Burton: piano; Moppa Elliot: bass; Mike Pride: drums.

Besides leading the experimental jazz group Most Other People Do the Killing, bassist and composer Moppa Elliott spearheads a brash nonet called Acceleration Due to Gravity, which employs a bevy of powerful improvisers. Their second album, Jonesville, inspired by the music of bassist/cellist Sam Jones, includes fiery readings of Jones’ compositions as well as Elliott originals. For each of the pieces, the bandleader opted for loop-founded maneuvers with three solo sections and no duplication of chorus, opening space for scorching and buoyant improvisations.

The band is perfect for Elliott as an outlet for his writing, and some pieces stand out: “Delaware Water Gap” throws in some R&B detritus in the mix and features altoist Matt Nelson in an outside venture; “Unity” climaxes during a soloing exchange between guitarist Ava Mendoza and trumpeter Bobby Spellman; and the fashionably distinct “Jonesville” closes out the album with funky electric bass, a muted trumpet figure, thick shards of electric guitar, and saxophone unorthodoxy.

The interpretations of Sam Jones’ compositions are equally powerful, with “Choice” opening the session with manic intensity and vibrant improvisations from the horn players. At an early stage, Nelson and tenorist Stacy Dillard embark on punky solos, and then is baritonist Kyle Saulnier who contributes deep thoughts to the general gleeful enthusiasm. “Miami Drag” features the shuffling pianism of George Burton, revealing a strident pacing where jazzy colors inundate the rock-infused backbone. Hints of Charlie Parker’s melodies are spotted on the formerly described piece as well as on “Stack of Dollars”, a Latin burner at its loudest, where “Fascinating Rhythm” is quoted at the end of the saxophone solo.

Jonesville is a kinetic and playful album where one can sense the enjoyment of the musicians involved. If you like your jazz with energy, drive, and hard-nosed improvisations, this album is sure to delight.

Favorite Tracks:
01 - Choice ► 06 - Stack of Dollars ► 07 - Jonesville

Michael Attias - Quartet Music Vol. I: LuMiSong

Label: Out of Your Head Records, 2024

Personnel - Michael Attias: alto saxophone; Santiago Leibson: piano, keyboards; Matt Pavolka: bass; Mark Ferber: drums + guest - Christopher Hoffmann: cello (#4).

Creative jazz enthusiasts will rejoice at the return of alto saxophonist Michael Attias to the recording sessions, particularly upon experiencing his latest offering, Quartet Music Vol. I: LuMiSong. This date features him alongside pianist Santiago Leibson, bassist Matt Pavolka and drummer Mark Ferber, a quartet of talents whose collective synergy yields remarkable dividends when given creative freedom.

Unfurling in a 21-bar form, “#63 (Settled)” sets up the dynamics with a patterned propulsive motion steeped in odd meter and striking juxtapositions. A stringent theme takes us to Attias’ intricate soloing language, a sardonic tone, and an uncompromising commitment to freedom. The rhythm section, buoyed by Leibson’s Wurlitzer groove, demonstrates a matured focus on concept and mood, weaving a knife-edged lushness in the musical tapestry that serves as a fertile ground for improvisation. 

The energy is unbounded and escalates further in the through-composed “Mister Softee is a Front”, inspired by Attias’ new neighborhood and informed by an advanced post-bop creativity that leans toward the avant-garde. The piece unfolds with a saxophone riff working together with fluid percussive streams, irregular bass adherence, and responsive piano, culminating in a brightly hued harmonic current in 5/4 time, inviting exploration.

The multi-sectional composition “NME” unfolds with intrigue, transitioning from a pensive sentiment to an expansive 15-beat cycle adorned with cluster chords and dubbed saxophone polyphony. The album ceases with “Hexway Liner”, whose inquisitive piano intro gives rise to a theme marked by cryptic intervallic range and smart chromaticism. Guest cellist Christopher Hoffmann contributes ideas in post-production, working around the periphery of the tune.

As an out-of-the-box sonic architect, Attias conceives music that expands our horizons and plays with our musical preconceptions. Requiring open-mindedness to be deeply entrenched, this is an utter and complete joy to listen to. 

Favorite Tracks:
01 - #63 (Settled) ► 02 - Mister Softee is a Front

Julian Lage - Speak To Me

Label: Blue Note Records, 2024

Personnel - Julian Lage: acoustic and electric guitar; Jorge Roeder: bass, vibraphone; Dave King: drums; Patrick Warren: piano, keyboards; Levon Henry: tenor saxophone; Kris Davis: piano. 

Guitarist and composer Julian Lage explores different styles and group formats - from solo to quartet to sextet - in his fourth full-length album for Blue Note, Speak To Me. On seven tracks, his versatility is showcased alongside regular associates bassist Jorge Roeder and drummer Dave King, with keyboardist Patrick Warren adding distinct flavors to their sharp sound.

On the opener, “Hymnal”, strings emulation flow from his keys while Lage’s acoustic phrases dialogue with Roeder’s bass lines. It’s all delivered with a liberal narrative perspective. “Northern Shuffle” infuses cheerful rock n' roll-flavored blues with outside electric guitar playing, adding a slight dissonance that enhances its appeal. Featuring a sextet arrangement, Levon Henry's tenor saxophone shines on this piece.

Similarly presented in a sextet setting, "South Mountain" leans towards folk with strummed passages in five and a loose-limbed finale. "76" delivers an intoxicating rock tale with Lage on acoustic guitar and pianist Kris Davis contributing a gripping solo. "Speak To Me" electrifies with free spirit, saturating the atmosphere with vibrant colors, while "Two and One" revisits acoustic blues with hints of Django Reinhardt's swinging propensity.

If “Omission” is a dyed-in-the-wool contemporary country song, then “Serenade” waltzes unhurriedly with passionate romanticism, highlighted by Warren’s soaring keyboard accompaniment. “Tiburon” features vibrant guitar improvisation over a rich harmonic progression and King’s simmering drum work, while “As it Were” captivates with Lage’s dissonant acoustic swoops and fragile aesthetics.

Lage’s ability to infuse songs with unexpected twists while maintaining a strong foundation showcases his unique musical vision, which, never rigid but not completely rooted in improvisation, relies on a sure-footed synthesis of post-bop, rock, and American music. On this account, this eclectic artist, who often combines angular detail with pleasant melodicism, cannot be reined by an obvious classification. 

Favorite Tracks:
01 - Hymnal ► 06 - South Mountain ► 11 - As it Were

Vijay Iyer - Compassion

Label: ECM Records, 2024

Personnel - Vijay Iyer: piano; Linda May Han Oh: double bass; Tyshawn Sorey: drums.

Revolutionary pianist Vijay Iyer reunites with bassist Linda May Han Oh and drummer Tyshawn Sorey, making their second appearance with Compassion, the knockout follow-up to their debut album, Uneasy (ECM, 2021). The trio, denoting a remarkable maturity, presents 12 tracks, including nine originals and three covers. 

The album opens with the mesmerizing title track, “Compassion”, characterized by a modern creative gloss and a captivating equilibrium. Soft cymbal rubs and gentle snare pressure set the tone, gradually building alongside subdued bass and poignant pianism, evoking a vast harmonic landscape of emotional depth. “Arch”, dedicated to the anti-apartheid South African Archbishop Desmond Tutu, follows suit with a piano figure and poised rhythmic matrix.

“Maelstrom” is a stunning composition rooted in classical protocols yet infused with a forward-thinking jazz feel. Expertly played, it features Iyer’s percussive attack on the lower register at some point, giving it a rock-solid danceability. “Tempest” is wild and metrically challenging, oozing an indomitable energy as the group navigates chord clusters and expresses fleet thoughts in the form of pivotal notes and screwy lines. Both pieces pay homage to the victims of the Covid-19 pandemic.

Iyer drew inspiration from Chicago poet Eve L. Ewing on two selections, namely, the epic “Where I Am”, forging ahead with a robust rhythm and spartan fortitude, and “Ghostrumental”, driven by a nice pop/rock beat.

In addition to original compositions, the bandleader offers interpretations of Stevie Wonder’s “Overjoyed”, boosted by a kinetic three-time feel, Roscoe Mitchell’s “Nonaah”, a vivacious avant-jazz narrative with fragmentation and dilatation, and a mashup of John Stubblefield’s “Free Spirits” and Geri Allen’s “The Drummer’s Song”.

In the hands of these visionary musicians, jazz remains elegant and transformative. Iyer has proven time and time again that he explores deep, with imagination. Compassion confirms his special talents, echoing with an easy-on-the-ear sophistication. 

Favorite Tracks:
01 - Compassion ► 02 - Arch ► 04 - Maelstrom ► 06 - Tempest

John Surman - Words Unspoken

Label: ECM Records, 2024

Personnel - John Surman: soprano and baritone saxophone, bass clarinet; Rob Luft: guitar; Rob Waring: vibraphone; Thomas Stronen: drums.

English multi-reedist John Surman makes a captivating return with this quartet album, Words Unspoken, featuring bandmates guitarist Rob Luft, vibraphonist Rob Waring, and Norwegian drummer Thomas Stronen. The title aptly reflects the group’s approach to music, and the words intuition and illumination come to mind whenever the pragmatic harmonic circularity of Surman’s modal pieces is on display as well as the outstanding improvisational prowess of all band members.

There’s an ancient allure in this music that compels listeners to search as they navigate vivid sonic landscapes, both real and imaginary. The timbral hues are varied, and “Pebble Dance” sets the stage with its intriguing blend of vibraphone dexterity, ambient guitar chords, and delicately brushed drums, establishing a hypnotic groove in 5/4 tempo. Surman shines brightly in a magnificent soprano saxophone solo, showcasing freedom, speed, and agility. The touching title track, “Words Unspoken”, discloses a more introspective side, as Surman delivers emotive baritone saxophone melodies against a backdrop of gently spinning celestial particles.

“Flower in Aspic” kicks off with reverb-drenched guitar, echoing with grace while having all musicians sharing an intrinsic connection with stability and resolution. “Around the Edges” exudes a mysterious aura, inviting us to unlock a forgotten dimension. The folksy “Onich Ceilidh” dances with exhilarating waltzing movements, having Stronen’s understated clutter enhancing the irresistible textural spell of the rhythm section.

Both “Belay That” and “Hawksmoor”, melodically anchored by Surman’s bass clarinet, offer a departure from the prevalent modal mood. The former denotes magnetic jazzy and bluesy inclinations, while the latter shows off a playful theme marked by staccato accents and a swinging cultivation underneath.

The album’s perfect blend of sounds manifests Surman’s consummate musicality and artistic vision. Words Unspoken is another winning album in a catalog full of them.

Favorite Tracks:
01 - Pebble Dance ► 02 - Words Unspoken ► 08 - Belay That

Joel Ross - Nublues

Label: Blue Note Records, 2024

Personnel - Joel Ross: vibraphone; Immanuel Wilkins: alto saxophone; Jeremy Corren: piano; Gabrielle Garo: flute (#4,5,6); Kanoa Mendenhall: bass; Jeremy Dutton: drums.

Joel Ross, hailed as one of the most electrifying vibraphonists of the contemporary jazz scene, reunites his Good Vibes band for a captivating new recording mostly centered on blues and ballads, and where he mixes in seven new originals with timeless classics from John Coltrane and Thelonious Monk. This is his fourth album on Blue Note, one confirming that he always finds new things to say regardless the musical context. 

The album opens with the magical dawning aura of “Early”, a modal reflection where each note resonates with tender compassion before transitioning into Coltrane’s minor blues “Equinox”. Moved by the slow swing feel of the tune, Ross and altoist Immanuel Wilkins display their quality melodicism throughout their demonstrative solos, with drummer Jeremy Dutton adding nimble-footed expansions in the final segment.

The multi-sectional journey of “Mellowdee” is a ballsy move with graceful unisons, tense crescendos, a breezy post-bop passage where Wilkins and Ross trade off bars, and a meditative reflection containing grim arco bass and pensive piano contemplation. It ends up in a ternary vamp with active snare ruffling and a reiterated saxophone catchphrase that gradually slows down. 

The evocative flute of Gabrielle Garo is featured on three pieces, namely: “Chant”, a layered duet with Ross on piano; “What Am I Waiting For?”, where sax, flute, and vibes dance together in perfect communion atop subdued bass accompaniment and soft brushing skins; and “Bach (God the Father in Eternity)”, affably harmonized with classical and gospel influences.

In “Nublues”, Ross explores the essence of blues freedom, his vibraphone cascading with chiming reverberation until reaching a dewy avant-jazz kineticism alongside his bandmates. Their interplay remains unwavering until its conclusion. “Ya Know?” exemplifies another spirited blues delivery with outgoing personality. Swinging beautifully, this selection exhibits the right amount of tension, mostly discharged during the hard-driving solos.

At once dynamic and accessible, the group delves into nuanced straight-ahead jazz on the last two tracks: Monk’s “Evidence”, which flows with disarming manipulations of tempo, and Coltrane’s bemusing 10-bar form ballad “Central Park West”, featuring Wilkins in top form.

Favorite Tracks:
01 - Early ► 03 - Mellowdee ► 07 - Nublues

The Choir Invisible - Town of Two Faces

Label: Intakt Records, 2024

Personnel - Charlotte Greve: alto saxophone, voice; Chris Tordini: acoustic bass; Vinnie Sperrazza: drums. Guests: Fay Victor: voice (#5).

The Choir Invisible emerges as a newfangled, harmony-less trio hailing from Brooklyn, comprising German-born saxophonist Charlotte Greve, bassist Chris Tordini, and drummer Vinnie Sperrazza. Infusing nuanced rhythmic detail, to-the-point melodies, and a seamless fusion of jazz and rock elements, the trio strikes a harmonic balance and stylistic coherence in their quietly moving sophomore release, Town of Two Faces.

Greve’s composition “Membrane” springs to life with a stealthy bass intro, setting the stage for a narrative rich in thematic tonal shifts, fluid jazz sensibilities, and the steadfastness of rock. “In Heaven”, originally penned by Peter Ivers with lyrics by David Lynch for the latter’s cult film Eraserhead, is a meaty rock song taken to another realm by guest avant-garde jazz singer Fay Victor and powered by a vibrant alto solo.

Greve takes the spotlight in her “Town of Two Faces”, a reference to New Orleans where she sings and also intones logical saxophone lines with both hope and fragility. Tordini’s “21 Years” exudes a sense of positive determination, showcasing his deep, centered bass work along with nice saxophone melodicism and converging drumming for a great atmosphere. “Lockwood”, on the other hand, is sturdy in the pedal points at both ends and effectively diffuse in its exploratory middle section.

Another Tordini composition, “17 East”, swings distinctively, having the bassist exploring groove nuance with rhythmic autonomy. “Stones Covers”, the first of three compositions penned by Sperrazza, propels forward with a pulsating backbeat and just enough bass notes to become harmonically clear. Greve, an excellent melody maker, is impeccably backed by the supportive rhythm section. 

The Choir Invisible achieves an elegant, soulful fluency that invites listeners to unravel some ambiguity but also discern consummate ideas that develop with exquisite taste toward many possibilities. It’s a strong come back from this well-oiled trio.

Favorite Tracks:
01 - Membrane ► 03 - 21 Years ► 04 - Stones Covers