Kamasi Washington - Fearless Movement

Label: Young, 2024

Personnel includes - Kamasi Washington: tenor and alto sax; Dontae Winslow: trumpet; Ryan Porter: trombone; Patrice Quinn: vocals; Brandon Coleman: keyboards, key bass, vocoder; Cameron Graves: piano; Woody Aplanalp: guitar; Miles Mosley: bass; Ronald Bruner Jr.: drums; Tony Austin: drums.
CD1 guests include: Thundercat: electric bass (#2,4); DJ Battlecat: turntables (#2), talkbox (#5); Taj Austin: vocals (#2); Raj Austin: vocals (#2); Terrace Martin: alto sax (#3); George Clinton: vocals (#4); D Smoke: vocals (#4); André 3000: flutes (#6); Mono/Poly: synths (#6).
CD2 guests include: BJ the Chicago Kid: vocals (#1); Dwight Trible: vocals (#2,5); Ben Williams: double bass (#7).

Laced with electric styles and interests, Fearless Movement, the fifth studio album from the spectacularly soulful saxophonist and composer Kamasi Washington, focuses on the earthly while radiating plenty of spiritual illumination. The LA-based saxophonist follows up his last record, Heaven and Earth (2018), with another one just as good, playing alongside regular bandmates and a few special guests. His colorful musical universe remains anchored in post-bop, funk, soul, and hip-hop, with the grandiose sounding arrangements on this double album being shaped by various architects.

Brimming with prayerful, epic, and spiritual enlightenment, “Lesanu” makes for a killing start, with pianist Cameron Graves taking the improvisational lead over a deep, compelling pocket before Washington’s majestic phraseology take fervent expression. “Asha the First” was written for his first daughter, who wrote the melody on piano. This richly layered piece features a vibrant beat, a busy electric bass solo by Thundercat, bilateral rapping by brothers Taj and Raj Austin, and the skilled turntablism of DJ Battlecat.

“Computer Love” is a gentle soul cut sung by Patrice Quinn, while “Get Lit”, featuring funk music icon George Clinton (from Parliament-Funkadelic) and rapper D Smoke, is a hip-hop incursion softened by R&B elements. The CD1 closer, “Dream State”, arranged by Andre 3000, who also plays flute, evolves from a hypnotic state - with deftly deployed electronics, gorgeous keyboard bass, and freely rambling horns - into a groovy funk romp loaded with infectious bass lines and cool drumming.

CD2 includes some of the most exciting tracks: “The Garden Path” shines with heroic chanting and prismatic modality, complemented by superb solos from Washington, trumpeter Dontae Winslow, and trombonist Ryan Porter. “Road to Self (KO)” features an uplifting bass groove in seven, balancing chilled-out crosscurrents and expansive soloing. “Interstellar Peace” offers airy spaciousness with its ternary feel, and Astor Piazzola’s “Prologue”, suggested by bassist Miles Mosley, closes out the album as a post-bop catharsis delivered at a galloping rhythm.

This inspiringly lush opus glows with newfound potential, and Washington keeps everyone motivated for what comes next. 

Favorite Tracks:
01 (CD1) - Lesanu ► 02 (CD2) - The Garden Path ► 03 (CD2) - Road to Self (KO) ► 06 (CD2) - Prologue

Matthew Shipp Trio - New Concepts in Piano Trio Jazz

Label: ESP-Disk, 2024

Personnel - Matthew Shipp: piano; Michael Bisio: bass; Newman Taylor Baker: drums.

The trio of American pianist Matthew Shipp, featuring bassist Michael Bisio and drummer Newman Taylor Baker, has been deservedly praised for their complex rhythmic calculus and hypnotic reveries. Their intriguing frameworks, rich in abstract compositional constructs and impromptu discourse, cohere in each album, and that’s no exception for their new endeavor, New Concepts in Piano Trio Jazz.

“Primal Poem”, delicate and focused with a perceptible riff at the core and a three time feel, starts the album, followed by “Sea Song”, a tonally noir exercise with sizzling brushwork, recurrent bass pedals, and well-cadenced piano textures.

Other reflective tracks include “Tone IQ”, “Brain System”, and “Brain Work”, but the winners are “The Function” and “Non Circle”. The former, straddling the line between familiar and new, features walking bass lines supporting Shipp’s expressionism, which manifests as ricocheting rhythmic motions, fully-formed figures, and splendid note constellations. “Non Circle”, initially defined by Baker’s solid groove, denotes a disjointed nature, eventually taking heavy steps with polyrhythmic adornments. The motion here impresses, while the intense piano spurts often surprise. “Coherent System” completes the album with another telepathic, charismatically progressive performance underpinned by Baker’s martial snare fluxes. 

Not as brilliant as Piano Song (2017) or The Unidentifiable (2020), these new concepts still exemplify Shipp Trio’s musical capacity and inventiveness.

Favorite Tracks:
03 - The Function ► 04 - Non Circle ► 08 - Coherent System

Ned Rothenberg - Crossings Four

Label: Clean Feed Records, 2024

Personnel - Ned Rothenberg: bass clarinet, alto saxophone, clarinet; Mary Halvorson: guitar, effects; Sylvie Courvoisier: piano; Tomas Fujiwara; drums.

Switching between three reeds, adventurous New York musician and composer Ned Rothenberg delivers a great set of music, enlightened by audacious compositional ideas and extraordinary improvisational acumen. Crossings Four, his third outing on the Clean Feed label as leader/co-leader, features a notable bass-less rhythm section comprised of guitarist Mary Halvorson, pianist Sylvie Courvoisier, and drummer Tomas Fujiwara. These members, all outstanding composers and bandleaders, are capable of both tight and spontaneous moves.

The album opens with the hip “Seersucker”, a magnetic piece penned by Rothenberg and Courvoisier. Although more curvilinear than angular in texture, it still relies on polyrhythmic and polyphonic maneuvers. Here, a deliciously sluggish bass clarinet makes space for Halvorson’s effects-drenched outside explorations and Courvoisier’s modern classical inspiration. 

The quartet effortlessly juggles timbres and calls-and-responses, peaking on the atmospheric “Sheets to the Wind”, where strumming piano strings and smoothly fingerpicked guitar imprints create a peculiar harmonic texture. Rothenberg’s bass clarinet emits long notes, trills, whispers, and cries, while Fujiwara shifts from understated percussion to enthusiastic drumming through a few changes of groove and vamping sequences.

Keening on alto saxophone, Rothenberg presents “Quarantina” with circular movements and suspensions before transitioning into bolder and tenser territory with hard charging power. “Tangled Tangos” features an absorbing theme delivered in unison, developing into playful exploration with occasional incendiary flare-ups. The utterly expressive “Bob and Weave” is adroitly layered, concluding the album with a superior sense of balance and communication.

Taking into account the quality demonstrated here, it is fair to say that Rothenberg is an understated artist, riding unpretentiously on the crest of modern creative music, avant-garde jazz, and structured improvisation. 

Favorite Tracks:
01 - Seersucker ► 02 - Sheets to the Wind ► 06 - Bob and Weave

Aaron Irwin Trio - (after)

Label: Adhyaropa Records, 2024

Personnel - Aaron Irwin: alto saxophone; Mike Baggetta: guitar; Jeff Hirshfield: drums.

Brooklyn-based saxophonist and composer Aaron Irwin explores similarities between music and poetry as forms of expression in his ninth album, (after), featuring long-time bandmates Mike Bagetta and Jeff Hirshfield on guitar and drums, respectively. 

The opening track, “Recuerdo”, draws inspiration from Edna St. Vincent Millay’s poem of the same name, featuring pointillistic harmonization, precise and direct saxophone terminology, and subdued percussion. “Frederick Douglass” incorporates electronics, firm guitar pedal points, and a brushed rhythmic flux, evoking a country music vibe that feels even stronger on “The Cemetery”, reminiscent of a Western movie soundtrack. “Daniel Boone” embraces Americana in a combination of slide guitar, dry hi-hat pulsation, and iterative bass clarinet melody. Stephen Vincent Benét’s poem is narrated by Emily Wong.

While “When I Heard at the Close of the Day” offers a folk dance atmosphere with bass clarinet at the front, while “Five Bells” veers from jazzy to noise rock, driven by Baggetta’s saturated sounds. His distorted infusions return in the audacious “The President Visits the Storm”, complemented with swinging cymbal drive and clarinet circularity. Another standout, “Pikes Peak”, is a waltzing ballad where, during the intro, Irwin’s unaccompanied alto suggests the motif at the center of its theme. There’s an interesting dialogue between the threesome here, with Baggetta forging a terrific comping, momentarily put on halt by a productive saxophone-over-drums synergy.

The music in (after) is well played but not game-changing as most tracks fail to transcend expectations. Yet, you can give it a try, especially if you’re into American music or curious about how the trio explores the expressive parallels between poetry and music.

Favorite Tracks:
03 - Five Bells ► 05 - Pikes Peak ► 09 - The President Visits the Storm

David Murray Quartet - Francesca

Label: Intakt Records, 2024

Personnel - David Murray: tenor saxophone, bass clarinet; Marta Sanchez: piano; Luke Stewart: bass; Russell Carter: drums.

David Murray, a veteran saxophonist and key figure in free jazz and avant-garde circles since the 1970s, showcases his prowess with a new quartet on the album Francesca. Featuring talented younger musicians Marta Sanchez on piano, Luke Stewart on bass, and Russell Carter on drums, the ensemble delivers a captivating blend of jazz tradition and fiery soloing across eight tracks.

The album kicks off with the title track, a joyful and expressive piece dedicated to Murray’s wife. Maintaining a straightforward 3/4 time signature, the tune, harmonically transparent, never loses composure even when Murray gets out of orbit with his improvisational extravagance and fervency. “Ninno”, originally recorded for Murray’s 2023 trio album Plumb (with Questlove and Roy Angry), reappears here with crossover potential and immersed in groove. With a catchy four-note riff at the center, this cut blends funk, Latin, and swinging jazz elements in different proportions. 

Murray’s pronounced hooks, all quirky but uplifting, are not reserved to the tenor saxophone. We can hear him playing the bass clarinet on “Shenzhen”, where he mixes oriental and bolero flavors with sumptuous moves and great piano work by Sanchez, and Don Pullen’s mid-tempo waltz “Richard’s Tune” (penned for Muhal Richard Abrams), introduced by a nice rubato preamble crafted by him and the pianist.

“Come and Go”, flowing at 5/4 time with some moments of romanticism, puts together a sequence of avant-garde and post-bop ingredients, displaying saxophone obliques that traverse the rhythmic tapestries with cyclonic fury. “Am Gone Get Some” exudes humor and cool bluesy deliberation with some Monk’s mood, while “Free Mingus”, underpinned by a rock-steady backbeat, infuses gospel and R&B tinges, showcasing Stewart’s loosened groove and soloing skills.

Exhibiting a variety of tempos and tones, Francesca finds Murray living up to his potential in stark, charming, and dynamic ways.

Favorite Tracks:
02 - Ninno ► 04 - Come and Go ► 05 - Am Gone Get Some

Borderlands Trio - Rewilder

Label: Intakt Records, 2024

Personnel - Stephan Crump: acoustic bass; Kris Davis: piano; Eric McPherson: drums.

The Borderlands Trio, a unit co-led by resourceful musicians and established figures in the creative music world such as bassist Stephan Crump, pianist Kris Davis, and drummer Eric McPherson, is adept at amorphous, often knotty musical settings that sound natural to the ear. Their third release, a double album called Rewilder, is marked by assured improvised frameworks built with freedom and patience, and with a penchant for nuance and subtlety. Drawing spontaneously from a wide musical palette that spans avant-garde jazz, modern classical, experimental chamber music, and even world fusion, the trio crafts mesmerizing sonic tapestries.

The opener, “Cyclops Mountain”, starts off languidly, immersed in a rubato introduction before delving into intriguing grooves and motions. Piano motifs succeed one after the other, and folk melodies appear here and there over hazy bass walks and rattling percussion. “Axolotl” follows suit, initially somber and contemplative - centered on bowed bass and prepared piano with a vibing, percussive trait - before transitioning into melodic and harmonic clarity.

Spanning over 18 minutes, “Monotreme” showcases bemusing and fearless interplay. Bass and drums take their way, riding avenues with more or less speed and impetus, ending up in a swinging buoyancy over which Davis propagates thrilling cascades, prominent pulsations, and oblique melodic invention. On the heels of a compelling arco bass statement and moments of fun piano activity, the trio concludes on a symbiotic groovy note. “Tree Shrimp” closes the first disc, infusing an intrinsic hip-hop vibration in the beat, irresistibly funky bass imprints, and wooden xylophone-like sounds via prepared piano, before a decisive swinging flight toward abstraction. 

The second disc comprises three large-canvas improvisations delivered with control and authority. The tense pulsations of “Echidna” stand out, forming a delightfully percussive bubble that keeps you trapped in its confines. Rewilder provides a thrilling listening experience filled with surprises and musical liberation.

Favorite Tracks:
02 (CD1) - Axolotl ► 04 (CD1) - Monotreme ► 02 (CD2) - Echidna

Kenny Garrett & Svoy - Who Killed AI?

Label: Mack Avenue, 2024

Personnel - Kenny Garrett: alto and soprano saxophone, vocals; Svoy: programming, vocals, piano, keyboards.

Mighty saxophonist Kenny Garrett hasn’t lost any of his improvisational soulfulness while playing over a totally electronic backdrop in Who Killed AI?, a duo album with pop/electronica star Svoy.

The album kicks off with “Ascendance”, a keyboards-soaked piece driven by invigorating rhythms and punctuated by warped chords over which Garrett’s sweltering phrases stand out with angular hooks and an effortless inside/outside malleability. “Miles Running Down AI” channels the spirit of Miles Davis’ electric album Bitches Brew in an exuberant fusion pinned by a funky wah-wah groove and occasionally punctuated by vibing clouds of poise. 

However, not every track hits the mark; “Transcendence” unfolds under a sparse, dull beat in a controlled atmospheric setting that lacks provocation, while the duo's rendition of the standard ballad "My Funny Valentine” falls short of capturing its charm and luster.

Yet, there are highlights worth noting. “Divergence Tu-Dah” presents an alternative R&B-meets-hip-hop fusion cooked up with ominous noir undertones, vocals, and a hypnotic backbeat. The solo here - emulating a guitar - flows with an empathetic language bursting with dramatic expression. Equally enticing, “Convergence” appears as a muscular EDM-inspired cut, reminiscent of Donny McCaslin’s intrepid dancefloor excursions. Here, Garrett exhibits strong motivic inclinations.

While the duo’s bold attempt to create something out-of-the-box is laudable, the album ultimately left me with mixed feelings, as not all tracks manage to leave a lasting impact.

Favorite Tracks:
01 - Ascendence ► 04 - Divergence Tu-Dah ► 07 - Convergence

Wadada Leo Smith / Amina Claudine Myers - Mosaic of Reservoir, Lake, Paths and Gardens

Label: Red Hook Records, 2024

Personnel - Wadada Leo Smith: trumpet; Amina Claudine Myers: piano, organ.

In their enlightened duo recording, trumpeter Wadada Leo Smith and pianist Amina Claudine Myers venture into magnetic sonic terrain. The album, titled Central Park’s Mosaic of Reservoir, Lake, Paths and Gardens, includes seven moving and contemplative tracks - six by Smith and one by Myers - inspired by New York’s Central Park and the world’s urgent need for peace and justice. It marks the first collaboration of these two musicians since their early days in the AACM (Association for the Advancement of Creative Musicians).

Inviting listeners into a world of glistening textures and shared musical imagination, the duo opens with the lyrical and serene “Conservatory Gardens”, whose soulful languidity results from the juxtaposition of an immersive textural harmonization and piercing trumpet cries. This piece ends with glorious constellations of notes freed by Myers on the higher octaves of the keyboard. “Jacqueline Kennedy Onassis Reservoir” blends the solemnity of the Hammond B3 organ with the candor of muted trumpet, creating a compelling sonic landscape.

The sublime atmosphere continues with “Central Park at Sunset”, where chiaroscuro tonalities evoke an autumnal palette. Myers showcases her classical inclinations and intriguing cluster chords in "When Was," a solo piano recital that balances melody with avant-garde exploration.

The album closes with introspective pieces paying homage to musicians who championed peace and justice: “Albert Ayler, a Meditation in Light” transports listeners to a tonally splendorous universe, while “Imagine, a Mosaic for John Lennon” retains wide spaces and smooth articulation.

Smith and Myers convey a sense of longing with sheer emotion and profound depth while making intelligent use of their instruments. This is a light-emitting album to be revisited many times in the future.

Favorite Tracks:
01 - Conservatory Gardens ► 04 - When Was ► 06 - Albert Ayler, a Meditation on Light

Kenny Barron - Beyond This Place

Label: Artwork Records, 2024

Personnel - Immanuel Wilkins: alto saxophone; Kenny Barron: piano; Steve Nelson: vibraphone; Kiyoshi Kitagawa: bass; Johnathan Blake: drums.

Pianist and composer Kenny Barron, a towering figure in the jazz world with 13 Grammy nominations and induction into the American Jazz Hall of Fame, has been at the helm of sophisticated post-bop for many decades, never shying away from reinventing jazz standards, reshaping his own originals, or composing anew. He does all that in his latest album, Beyond This Place, for which he enlisted a multigenerational group featuring rising star saxophonist Immanuel Wilkins, veteran vibraphonist Steve Nelson, and his regular rhythm team of bassist Kiyoshi Kitagawa and drummer Johnathan Blake.

The quintet starts off with a rendition of the timeless standard “The Nearness of You”, smoothly introduced by piano and saxophone, and later reinforced by dulcet bass lines and sizzling brushwork. Wilkins’s remarkably soulful statement makes this number memorable. Two other standards appear in the song lineup: “Softly as In a Morning Sunrise”, is a fantastic piano-drums duet where Barron deconstructs and rebuilds his narrative by stretching the melody to the breaking point; and Monk’s “We See”, seamlessly translated into piano-sax duo idiom. Curiously, Barron, who included more than a dozen Monk tunes in his extended discography, had never recorded this one before.

Notable among Barron’s original compositions is “Scratch”, a burning post-bop cut from 1985 that, stressing rhythmic accentuations, swings impulsively with confident elan. It’s lavishly delivered and stately paced with fluid yet tension-imbued solos from Wilkins, Nelson, and Barron. “Innocent”, whose original version was recorded in 1978 with saxophonist Sonny Fortune, is now revitalized with Wilkins’ fresh approach and Blake’s dynamic contribution. The drummer also shines on “Tragic Magic”, a lilting hard-bop number penned in honor of late pianist Tommy Flanagan, and contributes a composition of his own, the smoky “Blues on Stratford Road”, which evolves into a relaxed if familiar setting. 

In turn, the freshly penned title track is a gospel-infused ballad that reflects Barron’s refined pianism and melodic sensibility. Beyond This Place marks a strong return for Barron, characterized by stimulating conversational exchanges and masterful musicianship. 

Favorite Tracks:
01 - The Nearness of You ► 02 - Scratch ► 07 -  Softly As in a Morning Sunrise

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