Tomeka Reid Quartet - 3+3

Label: Cuneiform Records, 2024

Personnel - Tomeka Reid: cello; Mary Halvorson: guitar; Jason Roebke; bass; Tomas Fujiwara: drums.

American cellist and composer Tomeka Reid has been a vital force in the creative jazz scene, playing in groups led by flautist Nicole Mitchell, pianist Myra Milford, and multi-reedist Roscoe Mitchell, while also leading her own acclaimed quartet. This ensemble, featuring guitarist Mary Halvorson, bassist Jason Roebke, and drummer Tomas Fujiwara, shines brightly in 3+3, Reid’s sublime third outing with the group, comprising pieces that delve into extended forms, blending notated passages with ample space for free improvisation. From the opening notes to the final moments, the chemistry among these exceptional musicians is palpable.

“Turning Inward / Sometimes You Just Have to Run With it” begins as an open exploration, leading to touching chamber moments where Reid’s cello and Roebke’s bowed bass resonate in melodic consonance. Cymbal splashes anchor the bottom line, with Halvorson’s guitar texturing the top. Reid and Halvorson work in tandem, laying down well-delineated figures and phrases that build into solos over cyclic progressions made groovy by Roebke and Fujiwara. Halvorson excels at giving harmonic direction, sounding more bluesy and melodic than usual, while Roebke’s every single move feels like pure groove — his playing and sound are a true delight.

“Sauntering with Mr. Brown” is propelled by an off-kilter pace, showcasing staccato prowess and developing into a rock-flavored narrative, with Fujiwara adding even more steam to the mix. On occasion, one can experience a full-fledge experimentalism but there are also signs of tradition and counterbalanced collective interplay. “Exploring Outward / Funambulist Forever” encapsulates this blend, starting in a free fashion with well-measured actions by each member before Halvorson’s blend of electronic sounds and angular phrasing takes center stage. Afterward, she slowly toggles between two chords, enhancing chromatic movement in a more introspective passage. The piece then transitions effortlessly into a swinging section, with a call-and-response interplay between Reid and Halvorson that injects the music with kinetic energy.

Undoubtedly Reid’s finest album to date, 3+3 will stand the test of time. It’s one of the year’s best albums and a testament to Reid’s extraordinary artistry. 

Favorite Tracks:
01 - Turning Inward / Sometimes You Just Have to Run With it ► 02 - Sauntering With Mr. Brown ► 03 - Exploring Outward / Funambulist Forever

Matt Mitchell - Zealous Angles

Label: Pi Recordings, 2024

Personnel - Matt Mitchell: piano; Chris Tordini: bass; Dan Weiss: drums.

Notable pianist Matt Mitchell has earned accolades as an inventive composer and improviser, known for his brainy avant-jazz (de)constructions often layered with motivic ideas, which bolsters tension and broaden options. His work is characterized by unpredictable flows and polyrhythmic complexity. In this trio with sharp-eared bassist Chris Tordini and multi-faceted drummer Dan Weiss, Mitchell continues to explore intricate, non-obvious time frameworks. 

The album opens with “Sponger”, an impressive track that lays puzzling rhythms beneath sinuous phrases, exploring contrasting timbres and textures. “Apace” showcases both chanting and swinging qualities, similar to “Rapacious”, which thrives on zestful, energetic drumming. “Jostler” introduces humor-infused motifs over an irregular beat and hopping bass patterns, while “‘Rejostled” perpetuates cyclic anxieties.

“Angled Languor” features deliberately indolent piano playing, at times reminiscent of Paul Bley, set against a foundational tapestry weaved by sure-footed bass notes and sizzling brushwork. A similar languidity appears on “Apical Gropes”, an abstracted reverie that can’t quite match the haunting serenity of “Gauzy”.

“Cinch” is delivered with intention and intensity, establishing an irrepressible rhythmic flow that only breaks down towards the end. In contrast, “Optical Gripes” presents a significant mood shift, leading Weiss to abandon the syncopated beat in favor of soft brushing. “Grail Automating” emphasizes fluidity, with Mitchell’s excellent note choices adding textural color against the full-bodied backdrop of bass and drums.

The 17 tracks that make up Zealous Angles — a monument to unbridled creativity — were recorded in just three hours, capturing Mitchell and his peers in a gracious state of grace. The album keeps listeners on their toes, always curious about what will come next.

Favorite Tracks:
01 - Sponger ► 02 - Apace ► 03 - Jostler ► 12 - Gauzy

Alex Sipiagin - Horizons

Label: Blue Room Music, 2024

Personnel - Alex Sipiagin: trumpet; Chris Potter; tenor and soprano saxophone; John Escreet: piano, keyboards; Matt Brewer: electric and acoustic bass; Eric Harland; drums.

Seasoned trumpeter Alex Sipiagin joins forces with frequent collaborators on his latest record, Horizons, which features two compositions by guitarist Pat Metheny and six Sipiagin originals. He pairs up with the formidable saxophonist Chris Potter for a striking frontline, and enjoys the rhythmic and harmonic contributions from pianist John Escreet, bassist Matt Brewer, and drummer Eric Harland. 

Metheny’s first piece, “While You Weren’t Looking” opens the album with an eruptive post-bop energy, alternating fluid phrases and stop-and-go rhythmic drive. Sipiagin and Potter - working together for the 11th time on a project of the former - interact upfront before their respective solos, with the trumpeter fearlessly exploring the full range of his instrument, and the saxophonist infusing humor into his motifs and in-and-out excursions. Escreet concludes the improvisation section with brio. The other Metheny composition is a sweet ballad, “When is it Now?”, played with infallible inspiration.

Sipiagin’s “Jumping Ahead” also carries a Metheny-esque vibe despite its primary inspiration from Hermeto Pascoal’s technique of reiterative melodies and harmonies. A lively theme and metric modulation also characterize numbers like “Clean Cut” and “Lost”, which reference Sipiagin’s move to Italy in 2020 after 30 years in the US, revealing the organic nature of his compositional grammar.

Dedicated to Charles Mingus and Wayne Shorter, “Overseen” is another velvety ballad initiated by dreamy keyboards and soaring soprano sax evoking Shorter-evoking glides, with Brewer’s thick bass notes gaining significance. The centerpiece, “Horizon” is divided into three parts: “Horizon 1” feels rubato at first and then rambles freely with a gripping rhythm as a backdrop; “Horizon 2” promotes  modern cool jazz with suggestive electronic vibes; and “Horizon 3” makes a bright, hopeful conclusion, painting within the frame. The album finishes with the breezy contemporary flow of “AIVA-tion”, an airy, sun-filled piece built with crisp unisons, a driven backbeat, and futuristic keyboard dimensions.

Horizons is quite adventurous within the structured post-bop envisioned by Sipiagin, whose music feels more even-tempered and comfortable than ever.

Favorite Tracks:
01 - While You Weren’t Looking ► 05 - When is it Now? ► 10 - AIVA-tion

Mark Guiliana - MARK

Label: Edition Records, 2024

Personnel - Mark Guiliana: drums, cymbals, percussion, piano, vibraphone, marimba, celeste, pump organ, mellotron, jupiter 8, electronics, drum programming, spoken word

MARK is the latest solo effort by world-class drummer Mark Guiliana, who, influenced by electronic music and other non-jazz styles, showcases not only his dazzling rhythmic prowess but also his remarkable harmonic and melodic explorations. The arrangements are exceptional, inviting us to unpredictable and emotional places described with impressive clarity.

“Just Listen” makes for a killer opening, designed with vast propulsive stimuli that flow with irresistible elan. “Hero Soup” features bass pedal-pointed vistas holding down the bottom line, occasional beat displacement, terse and nervy guitar-like contours, and a resonant hip-hop trap rhythm. This arrangement is prime Guiliana, with elegant flourishes highlighting the accomplishment.

Defying conventions, “Question Mark” generates a peculiar thrust in support of the lingering harmonies that emerge atop. Also, “Kamakura” exhibits solid harmonic conduction with keyboards emulating strings, a firm pulsation, and synth-pop melodies suspended above.

“Introspection Station” is architecturally intriguing with marimba parallelism, a simple pulse pocket, and a momentary bass synth underpinning that springs up before its cyclic finale. “Costello”, a love letter to Guiliana’s mother’s side of the family, is a delightfully brushed 3/4 number with a gorgeous, positive emotion-induced melody. Both “Alone” and “Peace, please” are reflective expressions of Guiliana’s sensitivity — the former takes you to a downhearted journey into the heart of solitude, cradling our ears in the final moments with a doorway to hope, while the latter is a tearful, hair-raising rubato meditation with piano at the center; so powerful in its crescent shape.

Conjuring a panoply of grooves and rhythms, often adapted to appropriate harmonic contexts, MARK is a statement of individuality and freedom, solidifying Guiliana's status as a forward-thinking musician.

Favorite Tracks:
01 - Just Listen ► 03 - Hero Soup ► 10 - Peace, please

Dan Loomis - Revolutions

Label: Adhyâropa Records, 2024

Personnel - Dan Loomis: bass, words; Sebastian Noelle: guitar; Owen Broder: clarinet; Rodrigo Recabarren: drums; Ches Smith: tanbou (#1,3,5,7,9,11, 13,15,17,19) Jeff Miles: guitar (#1,3,5,7,9,11,13,15,17,19); Taïna Cerat Ligonde: spoken word.

New York-based bassist and composer Dan Loomis generates high expectations with his new conceptual album, Revolutions. This narrative suite is dedicated to the heroes and ideals of both the Haitian and South America revolutions. Loomis wrote the words that introduce the historic figures - tracks featuring percussionist Ches Smith, guitarist Jeff Miles, and Haitian spoken word artist Taïna Cerat Ligonde - and composed all the music on the album, except for the last track, “Hay Una Mujer”, a protest song by singer-songwriter and activist Holly Near. The core quartet playing the longer instrumental tracks include German guitarist Sebastian Noelle, American clarinetist Owen Broder, and Chilean drummer Rodrigo Recabarren.

Dedicated to Venezuelan politician and activist Franisco Miranda, “Skies” is also influenced by Ornette Coleman’s orchestral opus Skies of America (Columbia, 1972). It starts as a sheer reflection, touched by the woody tone of the bass with clarinet atop and a subtle cymbal pulse at the bottom. A few minutes later, Noelle’s guitar thickens the texture by following the melody with tidal chordal waves, and a clear bass dissertation precedes the reprise of the theme.

The leader of the Haitian Revolution, Toussaint Louverture, is homaged with two pieces: “Toussaint” begins in chamber classical quietude, with bowed bass providing emotional depth, then shifts to a vigorous backbeat and magnetic harmonic drive for the clarinet and guitar solos. In turn, “Trunk of Liberty” offers a free-flowing introductory section before transitioning to a smooth Latin breeze, with Noelle and Broden focused on fusion-like unisons atop Reabarren’s effervescent snare eruptions.

Highlights include “The Road”, written for the Venezuelan liberator of America Simon Bolivar, which marches at a slow 7/4 tempo, loosely based on the Argentine milonga style; and “Dessalines”, where Loomis breaks loose with an unreserved intro and Noelle delivers a well-calibrated solo with bold intervallic choices before texturizing the scene with a 12-beat cycle figure. In a different context, “Centaur of the Plains” traverses colorful Brazilian landscapes with vividness, paying homage to the first president of Venezuela, General José Antonio Páez.

By pairing down every element in Revolutions with assertive instinct, Loomis proves to be a no-nonsense storyteller, arranger, and conceptualist.

Favorite Tracks:
04 - Skies ► 10 - The Road ► 16 - Dessalines

Simon Nabatov Quartet feat. Ralph Alessi - Lovely Music

Label: Clean Feed Records, 2024

Personnel - Simon Nabatov: piano; Ralph Alessi: trumpet; Sebastian Gille: tenor saxophone; David Helm: bass; Leif Berger: drums.

Russian-born, Cologne-based pianist and composer Simon Nabatov has been a constant presence in the European creative jazz scene, boasting a 30+-year career with fruitful collaborations and numerous recordings worth revisiting. On Lovely Music, his latest outing, we find him at the helm of his Cologne quartet - featuring saxophonist Sebastian Gille, bassist David Helm, and drummer Leif Berger - and relying on resourceful American trumpeter Ralph Alessi to enrich nine original compositions, both old and new.

Each of Nabatov’s records showcases his interesting and versatile compositional skills, and “Koscha’s Delight”, dedicated to his pet cat, dazzles out of the gate with a staccato-infused theme, smart counterpoint, and remarkable confidence from all players. Gilles and Alessi engage in a game of interjections over an oddly rhythmic accompaniment, but it’s the trumpeter who first demonstrates his advanced lyricism. The following track, “Nature Morte 8”, is bookended with intriguing arco bass interpolations, reserving the middle part for a smooth harmonic progression in five. Nabatov leads the group on a vamping climb to the summit before a peaceful conclusion.

Both “Rickety” and “Old Fashioned” are retrieved from the excellent quintet album Last Minute Theory (Clean Feed, 2019). The former stands out with plenty of call-and-response and a cyclical flow in seven, carrying a broad sense of freedom. Highly composed and structured, there are sections of exceptional beauty and others where our ears are taken to places of energy. In that sense, “Autumn Music” starts as a ballad, navigates bluesy avenues, and ends with stimulating exchanges between the horn players. Alessi and Gilles also interact successfully on the closer, “No Doubt”, taking pleasure in the sympathetic support of the rhythm section.

“Amour Fou” features adroit single lines over hefty chord voicings and cerebral textures, with Nabatov creating improvised moments suffused with melodic invention, while “Margarita” is a meter-shifting, immensely melodic piece inspired by Bulgakov’s novel The Master and Margarita, which also served as inspiration for Nabatov’s 2001 album of the same name (Leo Records).

Lovely Music adds a whole new dimension to Nabatov’s body of work as its music exceeds expectations on almost every turn.

Favorite Tracks:
01 - Koscha’s Delight ► 02 - Nature Morte 8 ► 03 - Rickety

Brian Marsella / Jon Irabagon - Blue Hour

Label: Irabbagast Records / Red Palace Records, 2024

Personnel - Jon Irabagon: mezzo soprano, tenor and sopranino saxophones; Brian Marsella: piano, Yamaha CS-60, Korg BX-3, Ritm-2.

Saxophonist Jon Irabagon never lets me down, regardless of the context or format he’s playing in. He can compose exceptional straightforward tunes inspired by jazz tradition and be a spectacular improviser who colors outside the lines, bringing novelty to the setting. The fully improvised duo album Blue Hour marks his first collaboration with innovative pianist/keyboardist Brian Marsella, known for his work with iconic saxophonist and composer John Zorn.

Purposely unsystematic in form, the music often volleys between enigmatic atmospherics and fleshier impulsions. The first two tracks were recorded live at The Stone. The album’s opener, “A Day That Will Live in Infamy”, starts with a psychedelic freeflow of effect-drenched keyboards and a panoply of saxophone timbres. There’s a passage that seems to evoke liturgical classical music with poignant saxophone melodies atop, later evolving to something more contemporary, in an agitated cacophony filled with whirling figures. The piano is louder than it should be at this phase, and the piece ends enigmatically, exploring darker alleys.

The second track, “Zeros and Ones and a Nine”, puts Marsella’s synths on the rise with glitchy sounds and digital frequencies, insistent bass notes, and animated piano delivered with a rag feel. This abrasive experimentalism suits Irabagon, a master of timbral mutation who uncoils ever-climbing spirals, racing, swinging, and grooving through the harmonic tapestries. The mood veers to dreamy before ending in manifest discomposure.

Tracks 3 to 6 are studio recordings, where the impressive technical quality of the players also unveils their impeccable sense of direction. The title “Centrifugal Machine Goes to the Scrapyard” makes you take your own conclusions beforehand, displaying saxophone extended techniques and gritty dissonance before morphing into wistful melancholy. The rollicking final track, “Bird Games With a Tragic Ending” surprises, hitting at swing, blues, and stride with a disarming naturalness.

This is killer stuff, deeply ingrained in the experimental side of jazz. For both artists, Blue Hour feels like a creative leap in a different direction that we urge them to explore further.

Favorite Tracks:
01 - A Day That Will Live in Infamy ► 02 - Zeros and Ones and a Nine ► 06 - Bird Games With a Tragic Ending

Frank London and The Elders - Spirit Stronger Than Blood

Label: ESP-Disk, 2024

Personnel - Frank London: trumpet; Marilyn Lerner: piano; Hilliard Greene: bass; Newman Taylor Baker: drums + Greg Wall: tenor saxophone (#1,2,3,4).

In addition to being the co-founder of The Klezmatics and the leader of Glass House Orchestra and Klezmer Brass Allstars, trumpeter and composer Frank London has worked with a wide range of artists in different musical contexts such as John Zorn, Lester Bowie, Pink Floyd, Iggy Pop, LL Cool J, and David Byrne. Recently diagnosed with myelofibrosis, an extremely rare blood cancer, London decided to release Spirit Stronger Than Blood as a celebration of life.

Encompassing six originals, the program kicks off with “Let There Be Peace”, an eternal prayer whose modal jazz appeal evokes the elated spirit and pure fire of Pharaoh Sanders. London pairs beautifully with saxophonist Greg Wall in the frontline, well supported by the rhythm section of pianist Marilyn Lerner, bassist Hilliard Greene, and Matthew Shipp Trio’s drummer Newman Taylor Baker.

The swinging modalism of “Resilience”, which London dedicates to the late trumpeter Lester Bowie, serves the burning saxophone outpours of Wall, who, very much in the foreground here, works on top of Lerner’s unceasing harmonies. The title track, “Spirit Stronger Than Blood”, is heartbreakingly introduced by piano and trumpet in a meditative rubato passage that soon gives way to a 3/4 rhythmic flux delicately underpinned by bass and drums. Imbued with an encouraging, positive energy, this number ends with emotive trumpet wails conveying both beauty and sorrow with dramatic flair.

“Poem for a Blue Voice” is soulful ballad sweetness with its rich theme expressed in unison, while the groovy “Abundant Love”, dedicated to London’s family - his artist wife Tine Kindermnann and their two children - carries a gorgeous Eastern-tinge throughout that certainly feels very liberating for the soloists. The album concludes with “Resistance/Healing”, another modal tour-de-force delivered at 3/4 tempo that brings Alice Coltrane’s spiritual excursions to mind. It’s dedicated to trumpeter Ron Miles.

This is a solid effort by London, who shows no signs of weakness in his music but rather an optimism and a magnetic energy that are laudable. Wishing him a quick recovery and a triumphant return to the jazz world in which he’s passionately immersed.

Favorite Tracks:
01 - Let There Be Peace ► 02 - Resilience ► 03 - Spirit Stronger Than Blood

Tarbaby - You Think This America

Label: Giant Steps Records, 2024

Personnel - Orrin Evans: piano; Eric Revis: bass; Nasheet Waits: drums.

Tarbaby is the cooperative trio of pianist Orrin Evans, bassist Eric Revis, and drummer Nasheet Waits, all well-established musicians in the jazz scene. Formed in the late 1990s, the trio reached a peak in its career in 2022 with the release of Dance of the Infidels (Clean Feed, 2022), featuring alto saxophonist Oliver Lake. Their fifth album, You Think This America comprises two originals - one each by Evans and Waits - along with covers from several genres.

The album opens with Ornette Coleman’s “Dee Dee”, a driving mid-tempo tune expressed with striking accentuations in a triangular dialogue that grooves and moves. The group is on the verge of swinging here without ever being explicit on that direction. Yet, they do it in-the-pocket on Jimmy Cox’s blues “Nobody Knows You When You’re Down and Out”, with Waits sensitively brushing the skins of his drum kit.

Evans’ “Red Door” uncovers an elated theme with fragments of post-bop and Latin, showcasing a robust bass solo and effusive, technique-driven drum chatting. In contrast, Waits’ “Kush” is a waltzing ballad with some twists and a bluesy touch. Saxophonist David Murray’s “Mirror of Youth” is an unexpected and bold choice, with the members navigating different directions for a polyrhythmic feel that later coheres into a polished post-bop waltz wrapped in sweetness. 

The level of engagement remains evident on Andrew Hill’s “Reconciliation”, expressed with churning detail, and on Sunny Murray’s “Tree Tops”, a triangulated open-ended cycle with a frenetically brushed rhythmic flux, pedal-anchored bass, and a reiterative melody on piano.

Although these talented musicians don’t quite surpass their previous heights, You Think This America remains a consistently enjoyable listening.

Favorite Tracks:
01 - Dee Dee ► 03 - Red Door ► 10 - Tree Tops

Hyeonseon Baek - Longing

Label: You & Me Music, 2024

Personnel - Hyeonseon Baek: vocals; Lucas Pino: tenor saxophone (#1,4,6,10); Kevin Hays: piano; Linda May Han Oh: bass; Jochen Rueckert: drums.

The up-and-coming Korean-born, New York-based jazz singer Hyenseon Baek makes his debut alongside high-caliber accompanists and improvisers, including pianist Kevin Hays, bassist Linda May Han Oh, and drummer Jochen Rueckert. The energetic tenorist Lucas Pino enriches four tracks of the program, which encompasses originals and covers.

Baek, who puts his heart on each of the songs, starts off with “Caravan”, tackling it with a smooth, soulful approach reinforced by dancing bass lines and an appealing percussive background. The main theme is beautifully sung, followed by galvanizing solos from Hays and Pino, who end up dialoguing with the vocalist by the end. Diving deep in jazz tradition while showing refined interpretative skills, Baek advances to Joe Henderson-penned “Black Narcissus” with confidence, rambling free with Oh’s bass lines in the first instance.

The vocal composure in the treatment of soft ballads is admirable, and Mingus’ “Duke Ellington’s Song of Love” comes with a coy sweetness, revealing some analogies with Billy Strayhorn’s “Lush Life”, which feels just a tad too long here. Pianist Jimmy Rowles’ classic “A Timeless Place”, also known as “The Peacocks”, is interpreted with poignant pathos, with Baek giving the best expression to Norma Winstone’s impressive lyrics. 

If these slower pieces are explored with gentle moodiness, then “West 4th St.”, a Baek original inspired by the vibrant New York jazz scene, flows with hard-bop energy both in its Korean and English versions, where gorgeous melodic parallels between Baek and Pino deserve attention. Another original, “My Temptation”, carries a Latinized, bolero-ish feel that comes from the bouncing bass groove, featuring Pino as a soloist.

Baek is warm and lyrical throughout, his engaging music packed with the wisdom of these musicians’ hard-learned ears. It’s an auspicious debut, one that anticipates a promising career.

Favorite Tracks:
01 - Caravan ► 02 - Black Narcissus ► 10 - West 4th St (English version)

Matt Pavolka - Disciplinary Architecture

Label: Sunnyside Records, 2024

Personnel - Ben Monder: electric guitar; Santiago Leibson: keyboards; Matt Pavolka: upright bass; Allan Mednard: drums.

Sturdy bassist Matt Pavolka plays in different settings with the same focus and reliability. At the helm of his flagship band, he explores adventurous sonic terrain with the help of guitarist Ben Monder, Argentinian keyboardist Santiago Leibson, and drummer Allan Mednard. The latter two, replacing former members Pete Rende and Ted Poor respectively, infuse new energy across nine originals that showcase Pavolka’s compositional prowess and appetite for brawny rock music.

The first track, “An Aged Flamingo in a Dried-up Pool”, begins quietly with cymbal glowing and droning rumination, before marking a steady pace via the regularity of the bass, over which atmospheric smears of guitar and keys are layered. Monder brings his rock game and energy to the fore before the group returns to the spaciousness where everything started.

A straightforward bass groove sets the foundation of “And Then We Towed new Zealand Out to Sea”, an enlivening blues featuring groovy soloing from Leibson and Monder. “Lighter-Complected Invaders From the North” is a spaced-out number with rippling keyboard currents, rock-tinged rhythmic fluxes, and glitchy electronic textures. The piece aims at Brooklyn gentrification.

No wonder “Ricin Beans” had its title culled from the crime drama television series Breaking Bad, because it would give a phenomenal rock soundtrack for a space-adventure comics-based movie. “Defeating the Purpoise” flows in seven, with Pavolka and Mednard ensuring everything is locked in on every front. Contrasting with the remaining pieces is the lush ballad “The Word For Moonlight is Moonlight”, which quiets down the proceedings and invites to meditation through ear-pleasing phrases that are also used to elevate Pavolka’s haunting solo.

The title cut, “Disciplinary Architecture”, introduces an 14-beat cycle bass underpinning, showing progressive vision and textural quality. The groove is maintained but decelerates under the muscular workout of Monder, a powerhouse guitarist versatile in both jazz and rock chops. “Vile, in the Sunshine Crawling” closes out the album on a punchy rock note, ending with dark, enigmatic tones magnified by Mednard’s restless cymbal and tom-tom patterns. This session marks another important chapter in Pavolka’s career.

Favorite Tracks:
01 - An Aged Flamingo in a Dried-up Pool ► 06 - Defeating the Purpoise ► 07 - The Word For Moonlight is Moonlight ► 08 - Disciplinary Architecture

Miles Okazaki - Miniature America

Label: Cygnus Recordings, 2024

Personnel - Miles Okazaki: guitars, composition; Matt Mitchell: piano; Anna Webber: tenor saxophone, flute; Jon Irabagon: mezzo soprano, sopranino, slide sax; Caroline Davis: alto saxophone; Jacob Garchik: trombone; Patricia Brennan: vibraphone; Fay Victor: vocals; Ganavya: vocals; Jen Shyu: vocals.

First-rate NYC-based guitarist and composer Miles Okazaki is known for his fearless attitude and daring approach, usually blurring the line between notated music and improvisation with puzzling cells and powerful sequences within a proper and fluid structure. Escaping jazz conventions, his 12th album as a leader, Miniature America, features 10 wonderful improvisers, presenting a new concept that strings along with heavy-duty post-modern experimentalism. Here, little blocks of raw material were selected and then subjected to post-production for an optimum effect.

“The Cocktail Party” opens with juxtaposed voluble speech and deeply tender piano, leading to “The Funambulist”, which takes us off the beaten path with the rotational instrumentation creating intervallic surprise. Okazaki plays acoustic guitar on the latter, as well as on “Only Outer Space”, a duet with Fay Victor, who sings over his quirky accompaniment. The vocalist is also featured on “And the Deep River”, another duet anchored by plaintive fingerpicking on the electric guitar.

“The Funicular” embarks on an apparently out-of-phase conversation with pianist Matt Mitchell and vibraphonist Patricia Brennan before attaining a strange organic synergy with the arrival of guitar and saxophone, while “Open Road” has Jon Irabagon’s saxophone floating over a ghostly, atmospheric texture.

Quietly mystical in its searching path, “Promise Me” has the sounds of Okazaki and Mitchell seamlessly intertwined with each other, while “The Cavern” is an enjoyable duet between quarter-toned guitar and the melodious trombone of Jacob Garchik. In turn, “Venus Calling” offers a horn-infused classical dance with some irreverence coming from the swift and taut guitar work.

“The Firmament” is configured like an ethereal sacred hymn, while “Pulsation Station” is a tense exercise where Okazaki explores in unpredictable directions over a throbbing collective cadence. The bandleader slates “In the Fullness of Time” for six minutes, showcasing atmospheric layers in support of Ganavya’s dazzling Arabic chants, in one of the most enchanting pieces on the album.

Named after the artwork of American artist Ed Ruscha, Miniature America reveals an exquisite quality and contemporary taste, with the musicians directing their actions to polarities that never feel unfocused. It may not be Okazaki’s most immediate offering, but it’s certainly an opus that attentive fans of creative music will want to explore.

Favorite Tracks:
03 - The Funicular ► 06 - And the Deep River ► 08 - Open Road ► 11 - The Cavern ► 21 - In the Fullness of Time

Jason Robinson - Ancestral Numbers I

Label: Playscape Recordings, 2024

Personnel - Jason Robinson: tenor and soprano saxophone, alto flute; Michael Dessen: trombone; Joshua White: piano; Drew Gress: bass; Ches Smith: drums, glockenspiel.

Saxophonist, flutist, composer, and scholar Jason Robinson consistently infuses energy and emotion into the groups he leads. In his latest outing, Ancestral Numbers I, he spearheads a robust quintet featuring the same rhythmic builders from his previous album, Harmonic Constituent (Playscape, 2020): pianist Joshua White, bassist Drew Gress, and drummer/vibist Ches Smith. Longtime collaborator and trombonist Michael Dessen joins him on the frontline, rounding out the group.

The album, a heartfelt tribute to Robinson’s late maternal grandmother, consists of eight well-crafted originals, offering an interesting journey into creative spaces ripe for exploration. “Second House” opens the album powerfully with a groovy riff, agile counterpoint, crisp unisons, and vibrant solos from Robinson and Dessen. 

“Malachi”, a mercurial and impeccably tailored jazz piece, elevates the album’s intensity as it transitions from ice bath to high fever. It is put in motion as a solemn march with lamenting bowed bass, and later followed by a mix of dreamy and angular piano measurements, passing through an unaccompanied sax/trombone dialogue before settling into a groove in five that liberates Robinson’s circular verve and melodic sagacity. It culminates in an agreeably odd-metered dance flow.

“Potentiality” offers a passionately driven bop ride with hard-swinging sections and pronounced rhythmic accents, while “Remembering Water” is an effectively brushed ballad highlighted by a cerebral bass solo. “Wattensaw”, named after a town in Arkansas, brings a colorful funky stamp on it, showcasing affinities with pianist Andrew Hill’s music. This influence reaches its peak on “Vestibule”, a magnificent sonic canvas that imparts sly yet strong tension, seamlessly swaying between solid post-bop and crisp avant-garde currents.

Cohesively structured, Ancestral Numbers I is a satisfying record where no musician is overshadowed, each contributing excellent taste and noble professionalism.

Favorite Tracks:
01 - Second House ► 02 - Malachi ► 07 - Vestibule

Giovanni Guidi - A New Day

Label: ECM Records, 2024

Personnel - Giovanni Guidi: piano; Thomas Morgan: bass; João Lobo: drums; James Brandon Lewis: tenor saxophone (#1,4,5, ).

Italian jazz pianist and composer Giovanni Guidi, who gained international prominence playing with legendary trumpeter Enrico Rava, has released his latest album, A New Day, the fifth on the ECM label. This album features him in trio and quartet settings with regular collaborators, American bassist Thomas Morgan and Portuguese drummer João Lobo, as well as a new musical partner, saxophonist James Brandon Lewis, who blends his melodies terrifically with the group ethos. 

Defined by the leader as a journey of discovery, the program opens with “Cantos del Ocells”, a traditional Catalan lullaby popularized by Joan Baez in the ‘60s. Taking on the shape of a tearful, spacious ballad, the piece is texturized with breathable piano atmospherics, a serene bass foundation, and unobtrusive percussion, with pragmatic saxophone considerations hovering atop. Other album highlights delivered in quartet include the collectively improvised “Only Sometimes”, where Morgan creates a reliable atmosphere before turning into a modal mood over which Lewis produces stimulating Coltranean lines that grow fervently spiritual; and “Luigi (the Boy Who Lost His Name)”, a poignant lament showcasing a folk radiance in the melody and where Lobo’s brushwork occasionally plods against the harmonic flow with contrasting timbral elegance.

The album features mostly open, introspective numbers, and the trio works are no exception to the rule. “To a Young Student” embraces a pensive chamber minimalism with dark tones produced by bowed bass and piano; “Means For a Rescue” makes good use of silences and enhances enigmatic expressions, later stirred by Guidi’s animated chordal activity as the pulsing tension increases; whereas the delicate interpretation of the standard “My Funny Valentine” melts down into a light and loose approach that still makes it identifiable.

Guidi and his peers find freedom within open structures and rubato dramatization in a record replete with intimacy and restraint. Although not transcending at all times, Guidi proves to have a singular voice, being a legitimate representative of the European jazz sphere.

Favorite Tracks:
01 - Cantos del Ocells ► 04 - Only Sometimes ► 05 - Luigi (the Boy Who Lost His Name)

Harry Skoler - Red Brick Hill

Label: Sunnyside Records, 2024

Personnel - Harry Skoler: clarinet; Joel Ross: vibraphone; Dezron Douglas: bass; Johnathan Blake: drums // Guests - Christian Sands: piano (#6); Marquis Hill: trumpet (#4); Grégoire Maret: harmonica (#13).

Clarinetist and composer Harry Skoler enlists the help of stellar musicians to enrich a set of 14 compositions that tells the sad, traumatic story of the loss of a friend in his teenage years. The core quartet comprises Skoler, vibraphonist Joel Ross, bassist Dezron Douglas, and drummer Johnathan Blake. The album, Red Brick Hill, is infused with curiosity and invention, often surprising with an optimum balance between discipline and freedom.

Solo clarinet opens the proceedings, leading to the polyrhythmic “NanCee”, which is followed by “Ascent”, a sketchy, freely improvised duet between Skoler and Douglas. “Blue, Mostly” is a groovy vehicle where Skoler and guest trumpeter Marquis Hill pair up in unison and then exchange bars over a colorful vibing tapestry. “Apple Hands” is driven forth by a 5/4 bass figure that succeeds to a preliminary 3/4 undercurrent powered by vibraphone and drums, freeing Skoler to create melodically atop. “Beneath Bequeath” is a standout, building a free-flowing avant-garde bluesiness around a catchy riff. Somehow, the group’s sound here brought to my minds Don Byron’s 1999 album Romance with the Unseen.

The central piece of the album is the gorgeous ballad “Last Star, Last Night”, where Skoler and guest pianist Christian Sands express what’s in their souls through candid improvisation. The title cut, “Red Brick Hill”, explores a 5/4 groove for five minutes before shifting into rubato meditations, ideal for Douglas and Ross’ lyrical stimulus. The group concludes it calmly after a different bass groove in five is put in motion. In turn, “Still. Here” features the proficient harmonica playing of Swiss-born Grégoire Maret, who enjoys Skoler’s clear-cut lines on his side to achieve a sweet state of grace.

Well adapted to the current jazz zeitgeist, Skoler narrates his story earnestly for a therapeutic effect while providing a captivating listening experience for audiences.

Favorite Tracks:
04 - Blue, Mostly ► 06 - Last Star, Last Night ► 08 - Beneath Bequeath

Anthony Branker & Imagine - Songs My Mom Liked

Label: Origin Records, 2024

Personnel - Anthony Branker: composer, musical direction; Donny McCaslin: tenor and soprano saxophone; Philip Dizack: trumpet; Fabian Almazan: piano; Linda May Han Oh: bass; Rudy Royston: drums; Pete McCann: guitar; Aubrey Johnson: vocals.

With Songs My Mother Liked, his second outing with his group Imagine, American composer and arranger Anthony Branker pays homage to his 88-year-old mother, whose health has been declining with dementia. To do this, he selected a few vibrant compositions from his repertoire, previously recorded with his projects Ascent and Word Play, and added three fresh new pieces for a total of 12 tracks. The exceptional band features some of the best improvisers and bandleaders out there, proving to have an entity unto itself while executing a taut, seriously written set of music played with downright fun. 

The album opens with “Praise”, a magnificent post-bop venture that spirals with enormous energy. The parallel lines shared by saxophonist Donny McCaslin and trumpeter Philip Dizack generate cohesion, but the men in the frontline occasionally split for momentary polyphony. McCaslin delivers an incandescent solo with delicious outside slips, while Dizack reveals intelligence and range in his cerebral dissertation. It all ends in a vamp, before stepping into “Sketches of Selim”, anchored by a groove-laden bass figure and including passages that combine elegant waltz and propulsive swing.

“The Holy Innocent” was written for Branker’s late daughter Kassandra, while “Three Giants”, inspired by a Nigerian mother who lost her three children in a plane crash, has vocalist Aubrey Johnson contributing to its dramatic and touching expression. “Imani (Faith)”, motivated by Branker’s mother’s unshakable faith, is assembled in a piano-less format with McCaslin at the fore, supported by the propulsive funk waves of bassist Linda May Han Oh and drummer Rudy Royston.

“Crystal Angel” denotes a pungent quality, featuring thrilling solos from tenor and trumpet, while the muscular “The House of the Brotherhood of Black Heads” carries an inherent Latin vibe in support of outgoing solos by Dizack, pianist Fabian Almazan, and McCaslin.

The last three pieces on the album were previously unrecorded: “When We Said Goodbye”, a solid vehicle for the guitar skills of Pete McCann, embracing a more earthly pop/rock realm; “To Be Touched (By the Holy Spirit)”, an infectious modal jazz exercise that advances with an uptempo ternary flow; and “If”, a pop music-influenced number based on a melody composed by Branker’s daughter at age 11.

This date, working well for both close and casual listening, comes packed with seamless transitions and dazzling improvisations within the first-class arrangements.

Favorite Tracks:
01 - Praise ► 08 - Imani (Faith) ► 11 - To Be Touched (By the Holy Spirit)

Cooper Malanowski - Summit

Label: Tidebloom Records, 2024

Personnel - Cooper Malanowski: trombone; Kai Burns: guitar; David Macchione: bass; Alex Yoo: drums // guest: Ariel Vera: vocals (#7).

Summit is the likable, occasionally surprising debut album from trombonist Cooper Malanowski, who was born in New York and is currently based in Boston. Competently handling eight compositions crafted over the three-year period he has been studying at the New England Conservatory, Malinowski’s inBetween Quartet shows potential and taste in the way they shape these pieces.

“Your Name”, with its reflective rubato intro, leads into “A Glimpse of Opportunity”, where plaintive trombone melodies hover over Kai Burns’ softly textured guitar. Both Alex Yoo’s effective brushwork and David Macchione's supple bass underpinning help settle into a valley of relative peace, later swept by a cleanly articulated guitar solo.

“De.F” recalls Dave Douglas’ mature contemporary jazz, evolving confidently with some interesting guitar reactions to the trombone solo. Yoo intensifies his chops to reach a peak right before the calm ending. “Rocky” displays fairly obscure yet exquisite guitar chords and texture, impelling us to search beyond. Flowing with a three time feel, this piece denotes an organic sense of narrative with the contribution of fleet, conversational solos from trombone and guitar. The group embraces a more amped-up rock-tinged aesthetic here, well anchored by the rhythm section.

The post-bop drive of “The con-front” revels in exciting swinging currents laid down with groove, while “I Missed the Train” features gust vocalist Ariel Vera in consonance with the brass melodic routes, in a series of flawlessly intermeshed ideas among bold rhythmic variations. A beautiful tranquility returns with the closer, “Shir Le Itzick”. Summit is a successful collaborative effort by Malanowski and his developing band.

Favorite Tracks:
05 - Rocky ► 06 - The con-front ► 07 - I Missed the Train

Ben Patterson Jazz Orchestra - Groove Junkies

Label: Origin Records, 2024

Personnel - Antonio Orta: alto and soprano sax; Mike Cemprola: alto sax, flute, clarinet; Tedd Baker: tenor sax, flute, clarinet; Xavier Perez: tenor sax, flute, clarinet; Doug Morgan: bari sax, flute, bass clarinet; Bill Mulligan: piccolo (#1), flute (#3); Brian MacDonald: trumpet; Kevin Burns: trumpet; Luke Brandon: trumpet; Alec Aldred: trumpet; Ben Patterson: trombone; Kevin Cerovich: trombone; Dave Perkel: trombone; Ben Polk: bass trombone; Shawn Purcell: guitar; Chris Ziemba: piano, Fender Rhodes, keyboards; Paul Henry: electric bass; Todd Harrison: drums, percussion; Fran Vielma: congas, percussion (#3,4,6).

Washington DC-based trombonist, composer, and arranger Ben Patterson is an adept of furious fluid dynamics, infusing his music with a relentless exuberance that permeates all six tracks of his new album, aptly titled Groove Junkies. Boasting a 22-year stint as the lead trombonist for the Airmen of Note, the premier jazz ensemble of the US Air Force, Patterson commands his vigorous 17-piece orchestra with rapture, counting on occasional additions of flute and percussion.

The album gets you off to an energetic start with a punchy arrangement of Chris Potter’s “Exclamation”, a dynamic fusion of jazz, funk, and rock elements played with breakneck propulsion. The track features audacious swagger in the magnetic solos from tenor saxophonist Tedd Baker and keyboardist Chris Ziemba.  

“Interesting Times” develops in seven, anchored by regular groovy bass steps and wah-wah-infused keyboard comping that emerges from the ground. On this occasion, the soloists are alto saxophonist Antonio Orta and the bandleader, both of whom are exciting in their articulation and expression. “Cheese Hat” features a fierce funky groove interspersed with calmer passages, highlighting the work of electric bassist Paul Henry, who stretches out over staccato guitar chords and groovy twangs.

“The Way of the Groove” boasts a booming rhythm that mixes funk and Latin vibes, with extra percussion provided by Fran Vielma. Flutist Bill Mulligan drives a passage in the middle of the solos, which culminate eloquently with guitarist Shawn Purcell’s super busy rides. The closer, “Espiritu Valiente”, emphasizes the Latin spirit with frisky liveliness.

Patterson leads the orchestra with zest, exploring intense and gripping jazz territories without ever becoming cluttered. If you’re looking for maximum energy in big band jazz, Groove Junkies is a record to grab.

Favorite Tracks:
01 - Exclamation ► 02 - Interesting Times ► 03 - The Way of the Groove

Tomasz Stanko Quartet - September Night

Label: ECM Records, 2024

Personnel - Tomasz Stańko: trumpet; Marcin Wasilewski: piano; Slawomir Kurkiewicz: bass; Michal Miskiewicz: drums.

The late trumpeter Tomasz Stanko was a one-of-a-kind player with a gift for drawing out the beauty of melody within a sophisticated musical universe of common sense and emotional lyricism. For more than four decades, he spawned a slew of his own projects. September Night, a posthumously released album recorded live at Muffathalle, Munich, in 2004, finds him at the peak of his capacities alongside his emblematic Polish quartet. 

The album opens with “Hermento’s Mood”, where Stanko’s consistently impressive melodicism shines over Slawomir Kurkiewicz’s dancing bass pedal, Michal Miskiewicz’s gently propulsive rhythm, and Marcin Wasilewski’s gorgeous harmonizations on piano. “Song For Sarah”, which opened the Suspended Night album (ECM, 2004), follows as a rubato ballad oozing sentiment through every pore. 

“Euforila”, an older piece first recorded in 1986, is subtly funkified and bears a dynamic Latin-infused bass groove. Tailored with unerring moments of synchronism, the piece also showcases the improvisatory freedom enjoyed by Wasilewski and Stanko. Both musicians exhibit conversational proficiency in their refined musical languages without ever sacrificing clarity. While “Elegant Piece” advances calmly, immersed in this sheer beauty, the collectively improvised “Kaetano” evolves into a bossa-nova groove flagged by efficient brushwork.

One of Stanko’s most memorable pieces is “Celina”, from his 1995 album Matko Joanna (ECM, 1995). Revived here with a charming trumpet intro that interlaces relatable angular and dramatically curved expression, the piece seamlessly leads into the melodious yet groovy theme. The album concludes with “Theatrical”, a somewhat dusky, flowing piece that exudes a warm sense of comfort.

In possession of an astonishing rapport, Stanko and his quartet merge as one. September Night is a lush of an album, whose music continues to resonate and inspire. 

Favorite Tracks:
01 - Hermento’s Mood ► 03 - Euforila ► 04 - Elegant Piece ► 06 - Celina

Kim Cass - Levs

Label: Pi Recordings, 2024

Personnel - Kim Cass: bass, sampling; Matt Mitchell: piano, Prophet-6; Tyshawn Sorey: drums; Adam Dotson: euphonium; Laura Cocks: flutes.

Intrepid Brooklyn-based bassist Kim Cass is a wellspring of virtuosity and functional complexity, a high-caliber accompanist and bandleader in his own right. On Levs, his debut album on Pi Recordings, he is joined by visionary keyboardist Matt Mitchell and progressive-minded drummer Tyshawn Sorey. Euphonist Adam Dotson and flutist Laura Cocks contribute to several experimental pieces inspired by the hand-notated scores of Stockhausen, Schoenberg, and Boulez.

“Slag” opens the album in trio format, displaying Cass’ invention at a feverish level. It’s an oddly rhythmic, unwavering avant-prog piece that plays in a completely different league, sharing some elements with the title track, “Levs” The latter is a brilliantly sculpted sonic canvas marked by fractured rhythms and abrasive impulsivity, which eventually breaks down into a more contemplative scenario towards the end. 

Also in trio, “Time” swings freely, while “Fog Face” starts in an ambient context with rambling synth on top of an exquisitely syncopated beat before adopting an offbeat pulsation with Mitchell’s pianistic charisma at the forefront. “Gs” displays a David Lynchian jazz warpedness that pushes towards its center rather than radiating outward. Conversely, “Rumple” draws from the electronic music universe, spreading ideas through glitchy tessellations that fuse with advanced harmonic and rhythmic settings. 

“Ripley” touches on balladry, gently propelled by Sorey’s brushwork and with Dotson’s tenor-voiced brass creating a mystic haze around the deftly ordered layout. Both “Tentacle” and “Sea Vine” are filled with tension and perplexity, the latter embroidered with windy, crisp unisons. The program closes with “Trench”, in an impressive diffusion of energy mounted with elegiac tones in its cryptic layering. It’s a dark polyrhythmic ride into the infinite cosmos. 

Levs is a demanding listen that, while calling on the characteristics of other genres, maintains a distinct and unique interface. The band’s musicianship and extraordinary coordinated interchange are excellent, establishing Cass as an essential name within the future of jazz.

Favorite Tracks:
01 - Slag ► 02 - Fog Face ► 11 - Sea Vine ► 13 - Trench