Latrala - Latrala

Label: Otherly Love, 2024

Personnel - Kenny Wollesen: vibraphone, marimba, congas, tenor sax, organ, wollesonics; Anthony Coleman: electric piano, synths;  Tony Scherr: guitar; Christopher Thomas: bass; Nasheet Waits: drums.

Kenny Wollesen, a fixture in the downtown New York music scene and most known for his fabulous drumming with the likes of Bill Frisell, John Zorn, and Steven Bernstein, unveils his latest project, Latrala. Here, Wollesen showcases his mastery of mallet instruments, including marimba and vibraphone, alongside a simpatico quintet comprising drummer Nasheet Waits, guitarist Tony Scherr (also known for his bass prowess), keyboardist Anthony Coleman, and bassist Christopher Thomas. It all feels electric, alive, and spirited as Wollesen sonically recreates the energetic vibes of his hometown, Santa Cruz, California.

The album’s leadoff track, “Agora” is one of the loveliest pieces, exuding a sense of bliss and liberation in a full-of-life, tropicalia-infused fusion with guitar and marimba at the center. In their support, there’s delightful synth effects, funky bass groove, and a magnetic syncopated rhythm. The following cuts, “Fifty-Five” and “Sam” are also standouts. The former, a tribute to the emblematic and now extinct New York venue 55 Bar, is rooted in blues and funk rock, hitting at a gut level with a crunchy wah-wah guitar. The latter, inspired by an intriguing neighbor, offers an airy jazz with sleek stylings, featuring a nice simple melodic drive and scorching drumming.

While the playful “Empress” is soaked in slinky jazz funk, evoking the warm and dry summers of Santa Cruz, “Heart in Hand” tenderly embraces R&B balladry, being gently brushed and tactfully layered with exotic touches. “Serious Drinking” offers a whimsical journey through inebriated sounds, syncopation, and shifting rhythms, akin to a hazy dream. The album closes out with the breezy, folk-infused surf music of “Cavalier Da Baton”, where Wollesen plays the saxophone, conjuring the euphoric confidence of The Lounge Lizards.

Throughout the album, Wollesen's compositions exude emotional depth, while the ensemble's joyful performance breathes life into his captivating storytelling. This is fun music.

Favorite Tracks:
01 - Agora ► 02 - Fifty-Five ► 08 - Serious Drinking

Luke Stewart's Silt Trio - Unknown Rivers

Label: Pi Recordings, 2024

Personnel - Brian Settles; tenor saxophone; Luke Stewart: bass; Trae Crudup: drums (#1-4); Chad Taylor: drums (#5-7).

Esteemed bassist Luke Stewart, who has been enriching the creative jazz scene through projects like Irreversible Entanglements and his Exposure Quintet, makes his debut on Pi Recordings with Unknown Rivers, a daring exploration in the trio format. Consisting of seven tracks, the album showcases Stewart's versatility and innovation, featuring drummer Trae Crudup on the first four studio recordings and Chad Taylor on the final three tracks from a live performance at Detroit’s Trinosophes. Renowned saxophonist Brian Settles lends his melodic sagacity to both sessions.

The album opens with “Seek Whence”, driven by Crudup’s modern hip-hop beat and Stewart’s bass fragmentation. Despite its polyrhythmic feel, there’s a weightlessness that vanishes as Settles blows freely over a rich tapestry affiliated with a danceable punk-rock act. The title “Baba Doo Way” transports its phonetic articulation to the motif at the center, which expands and transforms whimsically. Here, devotional tenor phrases expose a chanting quality, while the irregular, complex rhythmic mesh provided by bass and drums accelerates into a confident swinging walk.

In “You See?”, the deep, thick sounds of Stewart work closely with Crudup’s amazing timbres. The piece gradually evolves into a triologue where Settles’ bursts of irreverence standout prior to a calm conclusion. In turn, “The Slip” exhibits a groovy vibe in seven, with the bassist anchoring a palpable harmonic progression under balmy saxophone lines.

The presence of Chad Taylor on the last three tracks brings a new dimension to the album. In “Amilcar”, after a percussion solo introduction filled with joy and tasty licks, we feel like a devastating force in the way the adventurous drummer pairs up with Stewart. Taylor’s high-energy attacks on drums and cymbals brings the exoticism of Afro-Brazilian percussion, while Stewart throws in a provocative odd-metered figure that impels Settles to explore both diction and tone in a prayerful exaltation.

The spiritual-infused “Dudu” features bowed bass and consistently inventive percussion in the line of the Art Ensemble of Chicago, while the closer, “Unknown Rivers”, exudes vibrancy and unconstrained fervency with its sextuple meter feel.

Exploring eclectic avenues with boldness, Stewart steps forward artistically with a risk-taking album whose tracks conjure a synergistic collective spirit that is always on the move, never settling for the ordinary. It underscores his reputation as one of the most inventive and energetic bassists in the field.

Favorite Tracks:
05 - Amilcar ► 06 - Dudu ► 07 - Unknown Rivers

Marta Sanchez Trio - Perpetual Void

Label: Intakt Records, 2024

Personnel - Marta Sanchez: piano; Chris Tordini: bass; Savannah Harris: drums.

Spanish-born, New York-based pianist and composer Marta Sanchez embarks on a fresh chapter in her career with Perpetual Void, her seventh album as a leader and the first in the piano trio format since 2008. Departing from her previous projects leading a forward-thinking two-horn frontline quintet from 2015 to 2022, which resulted in four remarkable albums, Sanchez now presents a stripped-down approach that remains bold in its aesthetic, holding ground with the avant-garde and modern composition.

The titles of some tracks hint at the challenges Sanchez has faced in recent years, including loss (the unexpected death of her mother in 2020 had already been emphasized in the album SAAM), grief, anxiety, and insomnia. “Prelude to Grief” sets the tone at the same time that introduces “The Absence of People You Long For”, where Sanchez’s trio mates, bassist Chris Tordini and drummer Savannah Harris, interlock moves with accuracy. Their pensive musing extends through “The End of That Period”, with its occasional shape-shifting dynamics and tension, and continues  in “Prelude to Heartbreak”, which channels a contemporary classical atmosphere through dreamlike yet restless piano cascades.

The album opening cuts are mesmerizing: “I Don’t Want to Live the Wrong Life and Then Die” bursts with urgency, under an intricate odd-metered flow with subsequent rhythmic transitions - probing rubato reflections before concluding with a faster theme than when it started. “3:30 AM” alludes to Sanchez’s insomnia, with the trio tossing off a strapping rhythmic drive that reminiscent of electro-punk-rock. Piano counterpoint, angular melodic phrases, and dark cluster chords punctuate the piece, leading to extroverted exchanges between bass and drums.

Sanchez keeps things moving with the expansions and contractions of “The Love Unable to Give”, an 11/8 piece, and finds solace in the smooth logic of “Black Cyclone”, infused with jazz tradition-inflected ideas and spinning with contrapuntal liquidity, infectious vocabulary, and Tordini’s compelling bass statement. “29B” ends the solid set with the same verve that started it.

Perpetual Void is built with imaginative new pulses, polyrhythmic allure, and enveloping harmonic waves that make an impact on the listener. You’ll find a lot to connect with.

Favorite Tracks:
01 - I Don’t Want to Live the Wrong Life and Then Die ► 02 - 3:30 AM ► 09 - Black Cyclone

Sokratis Votskos Quartet - Pajko, Fire In the Forest On the Mountain

Label: FWF Records, 2024

Personnel - Sokratis Votskos: soprano saxophone, bass clarinet; Leandros Pasias: piano; Evangelos Vrachnos: double bass; Kostas Anastasiadis: drums; Giorgos Klountzos-Chrysidis: drums (#6).

Greek saxophonist, clarinetist, and composer Sokratis Votskos champions the eclecticism and genre-bending trajectory of today's European jazz scene. His quartet features Leandros Pasias on piano, Evangelos Vrachnos on double bass, and Kostas Anastasiadis on drums. 

Pajko, Fire in the Forest on the Mountain is the follow-up album to Sketching the Unknown (2019), presenting a lineup that fosters authentic, creative exchanges across a spectrum from spiritual jazz to avant-garde to traditional folk inspirations. The adventurous journey commences with “Oson Zeis Fainou (Seikilos Epitaph)”, an ancient Greek tune in 6/8 from the 1st or 2nd century. Flowing as a breezily modal sequence, it transitions from novelty sensation to genuine upheaval for Votskos’ dynamic flights, marked by wind sprints and chromatic color.

As the title suggests, “Footprints of Some Giant Steps” blends Wayne Shorter’s “Footprints” and John Coltrane’s “Giant Steps”, delivered in a tension-release arrangement delivered at a 5/8 meter signature. Equally audacious in the rhythm department, “Moment’s Aeternity” features probing piano and exploratory bass clarinet over a catchy 14/8 dance adorned with brilliantly placed cymbal splashes.

Prone to creative fusions, Votskos offers “Balkan Riff” and “Here’s to Oghene Kologbo” with inspiration and abandon. The former, showcasing a perfect understanding between bass clarinet and double bass, is dedicated to Bulgarian pianist Milcho Leviev, while the latter crisscrosses anthemic Afro-centric celebration with jazz riffery, featuring guest drummer Giorgos Klountzos-Chrysidis and the voice of Kologbo himself, the Nigerian guitarist associated with Fela Kuti and Afrobeat in the ‘70s.

In the title track, the rhythm team pulls its weight with pulsating fluctuations, enhancing the music’s poise and appeal. This is a special feature for Pasias and Anastasiadis, with Votskos joining them elusively on soprano saxophone towards the end.

In the company of supple accompanists, Sokratis Votskos emerges as an interesting soloist and talented composer whom we want to keep an eye on.

Favorite Tracks:
01 - Oson Zeis Fainou (Seikilos Epitaph) ► 03 - Moment’s Aeternity ► 05 - Balkan Riff

Russell Fortunato Project - Passages from the Vault Vol. I

Label: Self released, 2024

Personnel - John Aruda: tenor saxophone; Christophe Bilodeau: piano; Russell Fortunato: bass; Michael Aiello: drums.

Bassist, composer, and bandleader Russell Fortunato discloses previously unreleased material recorded with his flagship project - featuring saxophonist John Aruda, pianist Christophe Bilodeau, and drummer Michael Aiello - in the ‘90s and ‘00s and adds a solo bass track from 2022.

The group launches the set with Coltrane’s “Tunji”, firmly embedded in the sounds of modal jazz and spiritual post-bop. Here, we can savor an intense, tonally-nuanced atmosphere with Aruda in command, as well as some nice deconstruction from Bilodeau, who avoids McCoy Tyner’s mannerisms. “Smart Lava”, from 2009, unfolds with a stop-start melodic outline set against Aiello’s continuous rambunctious drumming. Then, it melts into a swinging jazz plasticity, serving the articulated diction of Aruda, who definitely knows how to make a solo interesting.

“The Matador” and “Two By Four” emerged in 2005. The former affixes a 14-beat cycle groove on the bass, with the piano haloing around the tapestry weaved by bass and drums; the latter swings hard in a headlong rhythmic sprint that nearly shapes as a freebop exercise. Also from that year is the closing piece, “Enchanted (for Pamela)”, a gentle sonic poem that Russell penned for his wife, narrated with lustrous-toned saxophone reflectiveness.

Fortunato also showcases nimble bass contortions in his 2022 solo exploration “The Practicing Nomad”, which complements the quartet tracks with a different perspective. Although not as strong as his previous outings and occasionally grappling with some sound discrepancies, Passages From the Vault Vol. I keeps an attractive energy throughout.

Favorite Tracks:
01 - Tunji ► 02 - Smart Lava ► 06 - The Practicing Nomad

Andy Milne and Unison - Time Will Tell

Label: Sunnyside Records, 2024

Personnel - Andy Milne: piano; John Hébert; bass; Clarence Penn: drums + Ingrid Laubrock: tenor saxophone (#1,4,6,9); Yoko Reikanu Kimura: koto (#2,4,6,9)

Pianist and composer Andy Milne reunites his Unison trio, featuring bassist John Hébert and drummer Clarence Penn, to present the ten captivating compositions that make up Time Will Tell, an album that feels invigoratingly fresh and demands attention. Milne’s previous album, The ReMission (2020), was inspired by his cancer diagnosis, treatment, and cure, but for this new one he was highly influenced by findings related with his biological family, as he was adopted as a child. The addition of illustrious guest musicians, Ingrid Laubrock on tenor sax and Yoko Reikanu Kimura on koto, enriches the sonic landscape, bringing their diverse talents and individual artistic influences to the forefront.

The album opens with the harmonious waltzing cadence of “Purity of Heart”, where Laubrock’s firmly centered tone and Milne’s melodic prowess take center stage. “Lost and Found”, reflecting Milne’s quest to locate his birth mother, introduces Kimura’s koto, adding enigmatic tones and a dark atmosphere that, without anticipation, morphs into a sweeter passage where the melody breathes. Later on the recording, Laubrock joins the quartet for the more straightforward “Lost and Found: Reprise”, which, nonetheless, blossoms in seven.

“Beyond the Porcelain Door” and “Kumoi Joshi” also include saxophone and koto, each offering distinct sonic journeys. The former shapes as a half-dreamy, half-realistic avant-garde procession with a bold rhythmic shift into septuple meter and a malleable bass solo, while the latter, evoking poignancy through the exoticism of sounds, exposes thoughtful saxophone considerations and piano lyricism over a firm lockstep before modulating the surroundings for a fine koto solo.

The trio’s chemistry shines brightly on Penn’s “Papounet”, characterized by an enlivening harmonic progression and a nonuple meter backdrop produced by the regular alternation of five and four beat groups. Commanding the attention, Milne constructs and distorts phrases with impressive pliability. The piano-bass-drums triangle works its way through nicely textured pieces, and the closer, “Apart”, is no exception, delivered with soulful balladic instinct and sensitive brushwork.

Opting for variety under a post-bop umbrella with a special eclectic touch, Milne explores colorful frameworks where the voices of his bandmates become an extension of his own clear and accurate compositional delineations.

Favorite Tracks:
02 - Lost and Found ► 03 - Papounet ► 04 - Beyond the Porcelain Door

Brandon Ross Phantom Station - Off the End

Label: Sunnyside Records, 2024

Personnel - Brandon Ross: electric guitar, soprano guitar, vocals; Graham Haynes: cornet, electronics; David Virelles: piano, keyboards; JT Lewis: drums; Hardedge: sound design.

American guitarist Brandon Ross ventures into the realm of free experimentalism with Phantom Station, a project that originated as a duo with sound designer Hardedge but has now expanded into a quintet with the addition of seasoned cornetist Graham Haynes, skillful Cuban pianist David Virelles, and versatile drummer JT Lewis. Off the End is a sprawling live suite that spans over an hour, exploring a spectrum of dark musings and illuminated spaces for contrast. 

Working in the moment, the group creates spontaneously, guided by the feeling in hand and intuition. “May Forever Pass Between” opens the album with percussive chops and enigmatic sounds, including eerie whistles and high-pitched vibrations, courtesy of Hardedge and Lewis. The highly explorative “Through the Heart of my Demarcation” unfolds with long cornet notes and intermittent electronic drones, evoking a dark ambient atmosphere propelled by Lewis’ rolling rhythm. Virelles demonstrates why he’s a sought-after pianist, throwing blobby bass lines with his left hand, and then whirling at full speed with the right. At this point, the density is thick, further escalated by Ross’ distorted surges. The piece culminates in a mystery redolent of Badalamenti’s Twin Peaks film score.

“The Gate is Open” introduces vocals by Ross, accompanied by synth undulation, bluesy guitar cries, and apt cornet melodies for a smooth atmospheric texture. “Your Shoes Point Like Arrows” relies on a deep drone substratum to support Haynes’ remarkable upper-register blowing, occasional piano bursts, and caustic guitar incisions. Akin to the latter, Ross summons up a dense nest of notes (this time playing soprano guitar) on “I Can See All of This”, whose gleeful balladry becomes harmonically palpable thanks to Virelles’ brilliant work. Yet, Haynes is off-the-hook here, transcending cliché with unimaginable note choices. It all moves toward a loose end with noodling guitar, utopian piano perspectives, and coruscating brushwork.

Right after the doleful “How Will I Ornament Your Mouth”, comes “Sometimes I Stand Behind You”, which features stark counterpoint and shifting rhythmic cadenzas. However, the standout piece is “Leave it on the Ground”, an avant-garde, sometimes-bluesy affair underpinned by loose-limbed brushes and irregular piano chords, allowing ample room for responsiveness, fragmentation, and diffusion. 

Navigating between light and darkness, Brandon Ross Phantom Station delivers a ceremony that is both loose-jointed and tightly focused, revealing a fearless spirit unbound by stylistic constraints.

Favorite Tracks:
04 - Your Shoes Point Like Arrows ► 05 - I Can See All of This ► 10 - Leave it on the Ground

Fred Hersch - Silent, Listening

Label: ECM Records, 2024

Personnel - Fred Hersch: piano.

Pianist and composer Fred Hersch, a 17-time Grammy nominee with collaborations alongside jazz legends like Art Framer and Gary Burton, possesses a unique ability to emphasize beautiful melodies within sophisticated harmonizations as well as explore uncharted territory in the moment. These qualities are on full display in Silent, Listening, an introspective solo album that reasserts his stature as a prime pianist with a broad artistic vision.

Presenting brilliantly crafted nocturnals, the set begins with Duke Ellington/Billy Strayhorn’s “Star-Crossed Lovers”, whose narrative process involves poignancy, reflection, and exquisite beauty. Hersch’s original compositions, like “Night Delight” and “Akrasia”, are equally captivating, where something is always transpiring, even in the quietest of the moments. The former, hazy and secretive, immerses us in a baffling, inconclusive dream, while the latter dreams up mysterious shadows, with Hersh anchoring austere pulsations on the lower register while coloring bucolic impressionistic landscapes several steps higher in pitch.

Breaking away from convention, the pianist explores new realms and finds new spaces on openly improvised numbers like “Aeon”, where he traverses the keyboard to express intriguing findings, and “Volon”, whose prevailing stillness is interrupted by sudden bursts of movement. On the other hand, “Little Song”, originally written for his duo collaboration with Italian trumpeter Enrico Rava, introduces a palpable rhythm and harmony into a streamlined musical form.

The music continues to soar with inspired renditions of Sigmund Romberg’s “Softly As In a Morning Sunrise”, which Hersch immediately associates with saxophonist Sonny Rollins, and Alec Wilder’s haunting ballad “Winter of My Discontent”. This is where the most straightforward lyricism touches the soul. 

Hersch always evokes sincerity and emotion with his piano playing, and Silent, Listening is one of his most worthy solo albums in recent years.

Favorite Tracks:
01 - Star-Crossed Lovers ► 03 - Akrasia ► 11 - Winter of My Discontent

Bill Frisell - Orchestras

Label: Blue Note Records, 2024

Personnel - Bill Frisell: guitar; Thomas Morgan: bass; Rudy Royston: drums + Brussels Philharmonic and Umbria Jazz Orchestra.

The incomparable Bill Frisell, whose remarkable guitar prowess and compositional genius have left an indelible mark on the jazz scene for over four decades, ventures into new territory with Orchestras, a double album that sees him expanding his trio sound with the accompaniment of two European orchestras. This ambitious project features arrangements of some of Frisell's most iconic original compositions, along with a jazz standard, a couple of American folk songs, and a piece by Michael Gibbs, who provides all the arrangements on this captivating release. Frisell’s trio, consisting of the adaptable Thomas Morgan on bass and the tastefully diverse Rudy Royston on drums, imbues each piece with an intimacy that lends emotional potency to the ensemble's performance.

The CD1, featuring the Brussels Philharmonic under the baton of Alexander Hanson, begins with the grandiose cinematic quality of Gibb’s “Nocturne Vulgaire”, later jazzified with bluesy guitar chops set against an airy accompaniment. The standard “Lush Life” by Billy Strayhorn follows, elegantly spreading glamour and romanticism. “Beautiful Dreamer”, an early folk piece by Stephen Foster, waltzes slowly in a richly layered communion impregnated with a deep Southern feel.

Another heart-rending waltz, “Throughout”, is nestled among a collection of Frisell’s old favorites. Tracks like “Rag” traverse from folk revivalism to jazz fanfare with refinement and excitement, while “Electricity”, a country-influenced number pelted with guitar harmonics, loose drumming, and unobtrusive bass lines, becomes slightly reggae-ish as a consequence of the horn section’s counterpoint. In turn, “Richter 858 No. 7”, solidly sustained by a rhythmic foundation based on an eight-note, six-beat cycle bass groove, culminates in a majestic orchestral crescendo with the strings on vivid display.

CD2 further captivated my ears, with the musicians coloring and texturing agreeable sonic landscapes, reaching a genuine universality in their musical commitment as they listen to each other so closely. Moreover, the repertoire contains two of my favorite Frisell tunes, both enhanced by magnificent arrangements and executions. They are “Strange Meeting”, here featuring a disarmingly simple guitar solo, and “Lookout For Hope”, a marvelous jazz-rock hybrid aggrandized by Royston’s fine drum chops by the end. There’s also “Levees”, a stress-free, ternary exercise with bold horn lines, while Frisell’s guitar counterpoints by exuding more sparky than mellow tones.

Armed with Gibbs’ impeccable arrangements, Orchestras showcases Frisell's enduring creativity and marks yet another significant chapter in his illustrious discography.

Favorite Tracks:
01 (CD1) - Nocturne Vulgaire ► 04 (CD1) - Rag ► 01 (CD2) - Lookout For Hope ► 03 (CD2) - Strange Meeting

Kahil El'Zabar Quartet - A Time For Healing

Label: Spiritmuse Records, 2024

Personnel - Kahil El’Zabar: drums, earth drum, cajon, kalimba, voice; Isaiah Collier: tenor and soprano saxophone, percussion; Corey Wilkes: trumpet, spirit bowls, percussion; Justin Dillard: keyboards, percussion.

To confront the anxieties and challenges of our current times, drummer and spiritual jazz luminary Kahil El’Zabar delivers a double album consisting of nine tracks steeped in soothing harmonies and spring-loaded rhythms. El’Zabar’s credits span from avant-garde/free explorations with David Murray, Hamiet Bluiett, Billy Bang, and Pharoah Sanders to leadership roles in groups like the Ethnic Heritage Ensemble and Ritual Trio.

In this latest offering, the two horn players - trumpeter Corey Wilkes and saxophonist Isaiah Collier - are impressive presences throughout, while the versatile keyboardist Justin Dillard adds ample groove to the ensemble. The album kicks off with “A Time for Healing”, establishing its modus operandi with immutable circularity. Rattling percussion, spirit bowls, and kalimba support tranquilizing unisons and subsequent horn solos delivered with a mix of peaceful resolution and notable fervency. Tracks like “Drum Talk” evoke an African tribal chant, offering words of hope and guidance, while “Eddie Harris” pays homage to the late saxophonist with a groovy funk sound adorned with cool horn riffs. The funk vibe continues on “Time Is”, where El’Zabar’s eloquent cajon playing takes center stage.

While there's a hint of retro influence in this work, there's also a balanced focus on the present moment. Coltrane’s “Resolution” showcases Collier’s determined and exploratory saxophone work with outside inflection, Wilkes’ agitated phrasing carved with motivic elasticity, and Dillard’s keyboard boldness. “We’ll Get Through This” injects a strong R&B flavor into the healing sounds, while Gershwin’s “Summertime” receives a chilled-out, mantra-like treatment. Lastly,“The Coming of Spring”, a swinging jazz odyssey with a palpable structure, harkens back to Pharoah Sanders’ “You’ve Got to Have Freedom”, featuring solos from all members and a dynamic dialogue between trumpet and saxophone.

Picking up where he left off with Spirit Groove (Spiritmuse, 2020), El’Zabar weaves these well-intentioned healing sounds into iterative cycles. The spirited soloing and positive energy ease any possible monotony, accentuating the ensemble’s strengths.

Favorite Tracks:
05 - The Coming of Spring ► 06 - Resolution ► 08 - Time Is

Dave Douglas - Gifts

Label: Greenleaf Records, 2024

Personnel - Dave Douglas: trumpet; James Brandon Lewis: tenor saxophone; Rafiq Bhatia: guitar; Ian Chang: drums.

Renowned trumpeter and composer Dave Douglas has been a stalwart presence in the modern jazz scene for several decades. For this date, comprising new original material and four Billy Strayhorn classics, he’s joined by open-minded associates such as saxophonist James Brandon Lewis (on half the tracks), guitarist Rafiq Bhatia (making his fourth appearance in Douglas’ projects), and drummer Ian Chang. The latter two, members of the experimental/post-rock trio Son Lux, anchor the the nimble soloing of the two-horn frontline, showcasing their strong rapport. Together, they create a strangely beautiful symmetry with Gifts, a celebration of the blessings of life and music.

The title track traverses an atmospheric landscape, accented by metallic percussion and ethereal, powdery electronics. The trumpet combines prodigiously with the guitar in a theme that leads to a slow modal procession enriched with expressive idiosyncrasies. Lewis and Douglas blow up a storm in their free-flowing improvisations. While the saxophonist delivers a soulful performance, the trumpeter explores a rich post-bop dialect over Bhatia’s sumptuous chordal work. Later on, the guitarist adds a drone-sustained backdrop for himself, dropping a magical noir-inspired improvisation. 

Also among Douglas’ standout compositions is “Seven Years Ago”, a previously unrecorded piece from 2017, providing a compelling narrative with a plodding rhythm on the verge of expansion, conciliatory unison lines, and improvisatory fluency. “Small Bar” is another tensely dynamic ear-catcher, a trio effort that prominently features Bhatia. He sets the tone with harmonics, breezy delay effects, and a modernistic world music flavor that seamlessly transitions into distorted walls of sound reminiscent of prog-rock. Here, he even tosses bass lines, creating a walking pavement for Douglas’ philosophical musings.

If “Kind of Teal” evinces strong blues and rock n’ roll connotations, eventually opening windows to soft-rock-meets-jazz views, then Strayhorn’s “Take the A Train”, with a curiously altered main melody, takes the rock power further with originality, joy, and awesome interplay. Also penned by Strayhorn, “Rain Check” emits a positive vibe, “Blood Count” shifts from intelligent balladry to moderately ominous fusion with Bhatia soloing over Chang’s agitated drumming, and “Day Dream” offers bustling trumpet-over-drums moments.

Gifts offers a diverse array of moods and textures across its tracks to keep you alert and engaged throughout. This formidable trio, occasionally expanding to a quartet, is undoubtedly deserving your attention.

Favorite Tracks:
01 - Gifts ► 07 - Seven Years Ago ► 08 - Small Bar

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