Darius Jones - Legend of e'Boi

Label: AUM Fidelity, 2024

Personnel - Darius Jones: alto saxophone; Chris Lightcap: bass; Gerald Cleaver: drums.

Darius Jones, a visionary saxophonist and composer with a sharp, angular approach and pungent tone, ranks among the best in contemporary improvised music. His latest trio album, Legend of e’Boi (The Hypervigilant Eye), marks the seventh chapter in his comprehensive Man’ish Boy series, which began in 2009 and will eventually encompass nine parts. This album delves into themes of Black mental health and healing of personal and collective trauma through therapy, community, and creative expression. Jones is accompanied by bassist Chris Lightcap and drummer Gerald Cleaver—both masters of groove and technique—who help channel the volcanic energy and tempered explorations Jones uses to convey his message.

The album opens with “Affirmation Needed”, where Jones delivers an emphatic, dynamically accented, and often motif-driven performance, erupting over a solid rhythmic foundation that provides grounding. Following a bass solo by Lightcap, delivered with impeccable articulation, Jones returns, probing the depths of his horn with incisive, expressive sounds. “Another Kind of Forever" begins with a joint effort by sax and bass, posing repeated musical questions, to which Cleaver’s drums respond with precision and creativity. The piece then picks up momentum, reminiscent of a train speeding along, before arriving at a ternary vamp, with a signature saxophone riff dancing above. The rhythmic idea persists, developing into a state of manic agitation.

“No More My Lord”, the only non-original piece on the album, is a poignant recreation of a prison song recorded by Alan Lomax at Parchman Farm, Mississippi, in 1947. Jones' saxophone cries out with seismic intensity, pleading for freedom and healing, set against Lightcap’s slashing arco bass and Cleaver’s magnetic cymbal configurations. “We Outside” is loosened up with considerable ambiguity even when anchored by a steady 12-beat bass groove. In contrast, “We Inside Now” offers a more restrained, harmonious ballad where Jones blows his horn with a controlled, comfortable assurance.

The album concludes with “Motherfuckin Roosevelt”, a track where shifting tempos and moods provide a sense of elasticity. At the outset, we can feel a rock n’roll spirit, something raw and primitive that expands in its will to take us to different and better places. The musicians throw themselves into the music with an unrelenting passion. Their fascinating playing is intriguing, raw, and lush. Legend of e’Boi is a keeper.

Favorite Track:
01 - Affirmation Needed ► 02 - Another Kind of Forever ► 03 - No More My Lord

Bill Frisell / Kit Downes / Andrew Cyrille - Breaking the Shell

Label: Red Hook Records, 2024

Personnel - Bill Frisell: electric guitar; Kit Downes: organ; Andrew Cyrille: drums.

This remarkable musical collaboration between revered guitarist Bill Frisell, versed British organist Kit Downes, and veteran drummer Andrew Cyrille results in a uniquely original work with so much going on, that only repeated listenings will make you pick up the nuances and fully absorb the vibes. Pushing beyond the usual boundaries of jazz, this innovative trio ensures that nothing in their sonic landscapes feels predictable. The 11 tracks on Breaking the Shell were recorded in New York’s Church of St. Luke in the Fields, an acoustically rich space that enhanced the resonance of the group’s sound, particularly Downes' commanding pipe organ, with its 27 stops and 1,670 pipes. 

We are pitched straight into “May 4th”, an experimental effort by Frisell and Downes, containing vibrant droning in an intriguing balance between expansive guitar and grounding organ. Equally penned by the duo, “Kasei Valles”, named after a giant system of canyons on Mars, continues the experimental vibe, using sinister drones, looping riffs, and distorted walls of sound that evoke a psychedelic, nebulous atmosphere.

Downes’ “Untitled 2023” offers a more grounded composition, but with loose, exploratory drumming prying itself out of inertia. There’s shoulder-to-shoulder work by Frisell and Downes who employ harmonics and floating beams, respectively, to give the piece its peaceful resolution. Also penned by Downes, “El” is a beautiful piece where a tangible, affecting melody slides on top of a steady atmospheric texture, complemented with Cyrille’s magnificent brushwork and a guest appearance by cellist Lucy Railton. Cyrille’s skill with brushes is further showcased in his own composition, “Proximity”, a ballad filled with wonder and heartfelt emotion, akin to a meditative prayer.

Frisell, who embraces guitar reinvention at each new recording, injects wonderful impressionism in his composition “July 2nd”, delving into a gravity-defying harmonic exploration. “Two Twins” sonically paints with avant-garde tonalities, with Frisell bending notes, loosening harmonics, and fingerpicking amid tranquil waves of reverb, while Downes wraps it all in a contemporary electro bubble.

The trio also interprets two traditional European folk tunes, one from Norway and one from Hungary. The Norwegian song, “Sjung Hjerte Sjung”, grows progressively deeper, moved by Cyrille’s bright command of cymbals and snare, and filtered by a slight Southern sound that includes snippets of ambient-rock and modal music. The Hungarian piece, “Este a Székelyeknél”, takes us to hypnotic states with its quirky timbral radiations.

Throughout Breaking the Shell, the trio demonstrates a constant fascination with sound and texture, creating a transcendental work of experimental jazz that is as bewildering as it is exhilarating. It’s a must-listen for anyone who seeks fresh vibes in creative music.

Favorite Tracks:
02 - Untitled 2023 ► 04 - El ► 06 - Sjung Hjerte Sjung ► 08 - July 2nd

Peter Bernstein - Better Angels

Label: Smoke Sessions Records, 2024

Personnel - Peter Bernstein: guitar; Brad Mehldau: piano; Vicente Archer: bass; Al Foster: drums.

Guitarist and composer Peter Bernstein, who blew my mind with albums such as Signs of Life (Criss Cross, 1995) and Strangers in Paradise (Tokuma Records, 2004), returns to the quartet format with Better Angels, after two trio sessions with Larry Goldings and Bill Stewart. For this release, Bernstein assembled a multi-generational ensemble featuring longtime collaborator and renowned pianist Brad Mehldau, bassist Vicente Archer, and legendary drummer Al Foster, with whom Bernstein played before but never recorded.

The album kicks off with Bernstein’s “Perpetual Pendulum”, a slow-burn groover that first appeared on his 2022 trio album of the same name. The track blends dulcet melodicism with an elegant, swaying pulse that lays the foundation for the soloists. Bernstein’s signature lyricism convenes bluesy phrasing and jazz coloring filled with chromaticism, while Mehldau’s logic narratives include chained melodic ideas that rise and fall with passion.

Tracks like “Ditty For Dewey” and “Hazel Eyes”, dedicated to family members, achieve a pleasing balance, with the latter being a richly textured ballad. “Better Angels”, likely inspired by Bernstein’s children, is a suave, in-the-pocket 3/4 piece where to Mehldau brings delicate trills, breaking points, and subtle dynamic shifts. Bernstein also delivers two solo performances: Mel Tormé/Robert Wells’s “Born To Be Blue” and J.J. Johnson’s “Lament”. The latter, introduced by a strikingly dissonant chord, stands out as the guitarist weaves together improvised melodies and harmonic coloration with keen sensibility.

The album’s two standards offer contrasting impressions. While “You Go to My Head” remains a straightforward, perhaps unsurprising interpretation, Duke Jordan’s “No Problem” emphasizes atmosphere and rhythm. Foster drives the track with a bubbling bossa groove, eventually trading eights with the band to close out the tune in style.

Better Angels is a smooth jazz album that simmers rather than boils, presenting familiar jazz elements while occasionally enchanting with its refined sonic treatments and thoughtful arrangements. Though far from groundbreaking, the album shines in its moments of graceful nuance.

Favorite Tracks:
01 - Perpetual Pendulum ► 07 - No Problem ► 08 - Lament

Walter Smith IIII - Three of Us Are From Houston and Reuben is Not

Label: Blue Note Records, 2024

Personnel - Walter Smith III: tenor saxophone; Jason Moran: piano; Reuben Rogers: acoustic bass; Eric Harland: drums.

Saxophonist and composer Walter Smith III, who has been quietly pumping out excellent records as a leader, opted for writing less in his latest recording, Three of Us Are From Houston and Reuben is Not, a tribute to his hometown, Houston, Texas. The saxophonist, always clear in the ideas and strong in the emotions conveyed, gathered the protean rhythm section that supported saxophonist Charles Lloyd - pianist Jason Moran, bassist Reuben Rogers, and drummer Eric Harland - and humorously informs who is from Houston and who’s not. Rogers hails from the Virgin Islands. 

The record opens with “Seesaw”, a medium-fast post-bop tune in 3/4 time, whose staccato melody oozes charisma. There’s a sense of urgency in the arrangement, with serpentine lines floating over a rich harmonic progression. “Gangsterism on Moranish” tips its hat to Moran’s Gangsterism composition series, beginning with a plaintive sax figure that is followed closely by the pianist. They develop it from there with creativity, delivering soulful solos that emphasize the middle range.

The driving intensity of “24” channels the spirit of Sonny Rollins, with sparse bass comping and continuously active drums laying the groundwork. Later, Moran matches the energy, responding adequately to the rhythmic stimuli by harmonizing freely. “Cézanne”, a post-bop piece named after the iconic Houston jazz club rather than the French painter, offers another elegant post-bop canvas for the group to swing hard with unbridled energy.

The album’s only cover, Sam Rivers’ “Point of Many Returns” delivers a vibrant dose of freebop, filled with joyful improvisations and suave interlocking passages. After an energetic outpouring like the one mentioned above, Smith isn’t afraid to step back and provide quiet moments of contemplation. “Montrose Nocturne” emerges as a reflective ballad but builds into moments of fervent interplay, with Moran demonstrating his mastery of inventive piano dynamics. The pace picks up again and the mercury rises with “A Brief Madness”, featuring breathtaking unison lines played at remarkable speed. The album closes with “Lone Star”, a soul-stirring country-tinged ballad written for Moran, which unfolds as a tender sax-piano duet.

Showcasing elevated levels of musicianship, the album is seasoned with high craft and warm radiance, solidifying Smith’s reputation as a formidable force in modern jazz.

Favorite Tracks:
01 - Seesaw ► 07 - Point of Many Returns ► 10 - A Brief Madness

Kris Davis Trio - Run the Gauntlet

Label: Pyroclastic Records, 2024

Personnel - Kris Davis: piano; Robert Hurst: bass; Johnathan Blake: drums.

Pianist, composer, improviser, and label owner Kris Davis has been forging her own distinctive path in the creative jazz scene, earning widespread acclaim. In Run the Gauntlet, Davis returns to the piano trio format for the first time in a decade, teaming up with seasoned bassist Robert Hurst and sensitive drummer Johnathan Blake. The album pays tribute to six extraordinary women pianists who have profoundly shaped her sound and influenced her musical direction: Geri Allen, Marilyn Crispell, Angelica Sanchez, Carla Bley, Renee Rosnes, and Sylvie Courvoisier. 

Straddling the line between post-bop and avant-garde jazz, the title track, “Run the Gauntlet”, opens with a palpable tension, featuring odd-metered ostinatos that weave in and out over the rhythmic turmoil of bass and drums. The piece gradually finds a groove, with dynamic shifts and tempo changes, as the trio delivers head-spinning improvisations. Blake's drumming intensifies the conclusion by erecting a massive wall of snare, cymbals, and toms. “Knotweed” hints at prog-rock in its initial moments before slipping into Monk/Coltrane territory in its firmly outlined head. The trio swings with humor and grace, pushing the piece into a frenetic avant-garde finale.

Davis rarely delves deeply into jazz tradition, but when she does, the result is forward-leaning music sculpted with charm and spontaneous creativity. Her prepared piano takes on world music influences in “Softly, As You Wake” and the freely improvised “Subtones”, both of which feature deep, resonant arco bass and gamelan-like rhythmic pulsations. The latter piece evolves into a freewheeling, groovy atmosphere, bearing a resemblance to the meditative version of Blake’s “Beauty Beneath the Rubble”, while its original version takes on the form of a tranquil rubato hymn, gently brushed to a shimmering finish.

Davis also composed a three-part composition inspired by her son’s growth. “First Steps” is a solo piano piece that balances passion and detachment, offering pulse, motion, and freedom. “Little Footsteps” brings a snappy polyrhythmic feel that, borrowing from funk, also draws from electronic and modern creative jazz, with Hurst’s dancing bass lines blurring the boundaries between these genres. “Heavy-Footed” centers around a riff set within a 10-beat cycle that occasionally slows, striking a balance between jagged and smooth edges. Each note played emerges beveled.

The trio is clearly having fun in Run the Gauntlet, a mature, boundary-pushing record made by adventurous instrumentalists whose rapport is no less than wonderful.

Favorite Tracks: 
01 - Run the Gauntlet ► 04 - Little Footsteps ► 08 - Knotweed

Ben Monder - Planetarium

Label: Sunnyside Records, 2024

Personnel - Ben Monder: guitar; Chris Tordini: bass; Ted Poor: drums; Satoshi Takeishi: drums; Theo Bleckmann: vocals; Charlotte Mundy: vocals; Emily Hurst: vocals; Joseph Branciforte: drums; Theo Sable: vocals.

Ben Monder, a masterful guitar genius known for pushing the boundaries of modern composition, delivers yet another tour de force with Planetarium, a triple-disc project that spans a decade and took three years to record. has the capacity to delight no matter which direction he takes. Monder, whose stylistic range encompasses jazz, modern classical, heavy metal, and alternative rock, weaves together intricate compositions filled with richly detailed juxtapositions and subtly shifting moods. While dense and featuring extended tracks, the album is a rewarding listen, demanding and deserving of your time and attention. 

The composer finds hidden strengths with his guests in several pieces, starting with the brilliant opener, “Ouroboros II”. This composition seems to have prog-rock and metal undertones, with the elegant and enigmatic fingerpicking sound of Monder reaching grandiose heights. Charlotte Mundy’s ethereal vocal layers provide a striking counterpoint, while Satoshi Takeishi’s percussion work enhances the contemporary sonic landscape.

Two standout tracks, the 23-minute epic “The Mentaculus” and the nostalgic “1973” feature bassist Chris Tordini and drummer Ted Poor, whose tight interaction is arresting and supportive. “The Mentaculus” is a masterclass in complexity and emotion, blending elements of sadcore and alternative rock into cutting-edge crossovers with shifting meters and rich pulses and ambiances. “1973” takes its gravitational pull from Poor’s methodic backbeat over which a churning guitar riff and the inimitable voice of Theo Bleckmann are placed. The style here takes me to the post-space-rock of Godspeed You! Black Emperor. 

Bleckmann also shines on “Li Po”, named after a Chinese poet, where his visceral, guttural vocals cut through dark, distorted atmospheres and eerie tones. The title track, a solo guitar performance, comes wrapped in an optimistic, gentle aura, while “Ataraxia” features acoustic guitar oozing bright constellations of notes, the soaring voice of Bleckmann—stratified in different registers—and the drumming of co-producer Joseph Branciforte. This long-form piece gains momentum as Monder’s electric guitar solo unspools.

“Globestructures - Option II” is a fantasy inspired by Kazuo Ishiguro’s novel The Unconsoled, offering a great harmonic atmosphere with pedals and guitar harmonics, and “Ouroboros I”, a chameleonic duet with Takeishi, moves from modern lyricism to experimental rock to dark atmospheric corners. “Noctivagant” is a melancholy sleepwalk, with Monder’s acoustic guitar setting the tone, while “Collinsport”, featuring the voices of Bleckmann and Emily Hurst, investigates sound with a blend of curiosity, caution, and determination. The standard “Wayfarer Stranger”, with Monder on baritone guitar accompanying a recording of his mother singing, closes out the album in style.

Planetarium is pure musical flow, another impressive entry to the guitarist’s already formidable list of personal accomplishments.

Favorite Tracks:
01 (CD1) - Ouroboros II ► 02 (CD1) - The Mentaculus ► 02 (CD2) - Ataraxia ► 03 (CD3) - Ouroboros I

Tord Gustavsen Trio - Seeing

Label: ECM Records, 2024

Personnel - Tord Gustavsen: piano; Steinar Raknes: double bass; Jarle Vespestad: drums.

Norwegian pianist Tord Gustavsen reunites his trio, featuring bassist Steiner Raines and drummer Jarle Vespestad, for Seeing, the follow-up to their critically acclaimed album Opening (ECM, 2022). This new release, his 10th on the ECM label, includes six Gustavsen originals, three choral songs, and a traditional Norwegian church hymn.

It’s exactly with the latter that the album kick off—“Jesus, Gjor Meg Stille” oozes emotion from its gentle, pastoral, and gospel sweeps, initially evoking the feel of  an Arabic chant. It feels deep, quiet, and spiritual. Gustavsen’s liturgical pianism is beautifully layered over the moving backdrop provided by Raknes, who goes from pedaling bowed bass to pizzicato, and Vespestad, unwavering in his drum flux. 

Gustavsen’s compositions “The Old Church” and “Seeing” both exemplify his signature introspective style. The former, featuring impressive cymbal work and a reflective bass solo, waltzes through a reflective atmosphere, while the latter tune’s pattern takes us to spacious introspection, full of pathos. The pianist, who serves up a poetic performance with technically astonishing skills, also drives his “Seattle Song” with affectionate attention and profound intimacy. Yet, my favorite piece is “Extended Circle”, whose melodic expression rimes with soulfulness, brushes are employed for a refined velvety sound, and a bass solo fills our chest with woody resonance and superb note choices. 

Gustavsen also brings his classical impressions of J.S. Bach into his playing style, delivering “Christ Lag in Todesbanden” as an emotionally charged rubato meditation, while “Auf Meinen Lieben Gott” introduces a subtle yet engaging groove. The album also features Lowell Mason’s 19th-century English chorale “Nearer My God, To Thee”, interpreted with ample space and elevated by the nuanced tonalities of Vespestad’s cymbals, an extra layer of splendor.

One feels lighter when losing ourselves in the melodies, chords, and rhythms of Seeing, a work filled with outstanding musicianship, restraint, and openness. If you haven’t yet acquainted yourself with the soothing music of Gustavsen, this is the perfect opportunity to do so.

Favorite Tracks:
01 - Jesus, Gjor Meg Stille ► 06 - Extended Circle ► 09 - Nearer My God, To Thee

Ross McHenry - Waves

Label: Earshift Music, 2024

Personnel - Donny McCaslin: tenor saxophone; Adam O’Farrill: trumpet; Matthew Sheens: piano; Ben Monder: guitar; Ross McHenry: bass; Eric Harland: drums.

Australian bass player Ross McHenry takes a deeply introspective turn with Waves, his fifth album as a leader, delivering seven original compositions that exude a cohesive identity. The tracks—describing landscapes and reflecting personal experiences and relationships—are flawlessly executed in the company of a stellar group of New York-based artists that includes two former collaborators of David Bowie: tenor saxophonist Donny McCaslin and guitarist Ben Monder. Trumpeter Adam O’Farrill, pianist Matthew Sheens, and drummer Eric Harland round out the group. The latter two also contributed to McHenry’s previous album, Nothing Remains Unchanged (2020), which featured saxophonist Ben Wendel.

The album opens with the title track, “Waves”, a shimmering piano trio piece where Sheens’ delicate riff is at the base of a winsome melodious theme. With instinctive rhythmic discernment, the pianist employs the right amount of outside notes to make his solo attractive, while McHenry and Harland provide a solid rhythmic foundation. The drummer’s introduction of a hip-hop-influenced groove midway through infuses the piece with a modern fibrillation.

“In Landscape” is paved by Harland’s inventive beat, which, along with the bass flow, exudes a sense of fun and spontaneity. Harmonically at ease, in a solid 4/4 time, the piece gains momentum with the energetic language and groovy ideas of McCaslin, who enjoys a moment of fluid exchanges with O’Farrill before Monder’s mystifying effects add a layer of textural wonder. The melodically compelling “Love and Obscurity” tugs at the heartstrings, with ingeniously expressive solos from Sheens and O’Farrill, who offer the perfect blend of zest and depth. The trumpeter flies even higher on “North of the River”, joined by McCaslin’s pulsating staccatos and effortlessly gliding figures, as well as McHenry’s funkified bass thrust.

The peculiar “July 1986”, which evokes places, family memories, and the premature death of an identical twin brother, is swathed in Monder’s atmospheric layers and volume swells, captured pristinely before he heats up his guitar with pointillistic imagination. Harland’s brushwork, McHenry’s neat bass understructure, and O’Farrill’s poignant solo, all contribute to the settled melancholy.

McHenry treats us to powerful sonic frames containing impactful melodies and lush harmonies that go down easily. Waves bristles with heartfelt sentiment and rich sounds, making it a captivating listening experience.

Favorite Tracks:
01 - Waves ► 03 - Love and Obscurity ► 06 - North of the River

No Codes - Usual Suspects

Label: Sunset Hill Music, 2024

Personnel - Benjamin Deschamps: alto saxophone; Frank Lozano: tenor saxophone; Sébastian Pellerin: bass; Louis-Vincent Hamel: drums.

Montreal-based alto saxophonist and composer Benjamin Deschamps, with a background in classical music, fronts his No Codes jazz quartet in an exhilarating sophomore album titled Usual Suspects. The group’s uncluttered yet inventive arrangements are propelled by bold rhythmic interplay from bassist Sébastian Pellerin and drummer Louis-Vincent Hamel, supporting Deschamps and tenor saxophonist Frank Lozano. The horn players share a flexible, eloquent vocabulary that lends the album consistency of mood as well as thematic cohesion.

“The Quest” opens with some ambiguity in the theme before transitioning into a forceful swing, riling up the horns into flying solos. Deschamps and Lozano are adept of energetic exchanges, and their assertive articulation and fluid phrasing are also mirrored on the title track, “Usual Suspects”, where a muscular bass groove and driving drums bring evoke the alternative rock band Morphine. The track’s progressive take on jazz, with staccato horn accents creating palpable tension, leaves a lasting impression.

In “Dog Days” the frontline saxes navigate sweet melancholy melodies over a palpable harmonic progression, briefly interrupted by a thoughtful bass solo from Pellerin, with Hamel maintaining the time and groove. The bassist introduces “Sokushinbutsu” with airy pizzicato and hammer-ons, allowing space to breathe before shifting into a ternary rhythm. The track culminates with a final vamp that sets the stage for Deschamps’ intricate solo.

“Hyperstitions” and “Emit Time Item” are standout moments. The former charges by in a giddy delight, with sharp staccato strikes, angular deflections, and an extravagant rhythm giving it avant-garde coloration, while the latter is a wild, vertiginous track delivered with the fiery energy of Ornette Coleman. Here, you can feel not only the force of the drums and overall dynamics, but also moments of quietude craving saxophone multiphonics and moaning howls. In opposition, “Fiend Zone” shifts direction, with funk undertones and danceable modern jazz vibes, eventually dipping into Latin territory. Here, bassist and drummer lay down muscular bass nods and a jaunty pulse complemented by bustling drum spurts, respectively.

Usual Suspects is a consistently engaging and adventurous album, blending tradition and modern elements with passion. Hence, it’s not surprising that the quartet's acoustic riches come with personality, dedication, and creativity. 

Favorite Tracks:
02 - Usual Suspects ► 04 - Hyperstitions ► 06 - Emit Time Item

Jason Stein - Anchors

Label: Tao Forms, 2024

Personnel - Jason Stein: bass clarinet; Joshua Abrams: bass; Gerald Cleaver: drums; Boon: guitar (#1,7)

After a six-year hiatus, Chicago-based bass clarinetist Jason Stein makes a compelling return with Anchors, an album that is consistently intriguing, surprising, and invigorating. Inspired by the disciplines and practices that helped him overcome a creep-threatening injury, Stein demonstrates technical mastery and profound sonority throughout the record’s narrative arc. He is joined here by bassist Joshua Abrams and drummer Gerald Cleaver, who provide a cohesive yet adaptable foundation. 

The album is bookended by the piece “Anchor”, a delicate rubato duet revolving around a particular melody that serves as a meditation on stillness and motion. Written by the guitarist and co-producer Boon, it serves as a gentle entry point into the album's explorations. The following track, aptly titled “Boon”, unfolds as a loose avant-garde rumination that is both uncompromising and erratic, without ever feeling sinister. The co-composed “Crystalline” uses stagnation and fragility as launching points, with Stein offering temperate phrases and circular breathing techniques in a nuanced arrangement of notes. Abrams transitions from bowed bass to sparse pizzicato, while Cleaver shifts from pulsing cymbal glee to tom-tom commotion, culminating in a beautiful finish.

With freedom and focus as key elements, the trio shapes “An Origin” with deep, repetitive droning sounds of bass and bass clarinet. Abrams and Stein explore the lower reaches of their instruments over Cleaver’s shuffling, dynamic drumwork, evoking ambiguous black-and-white images in a monochromatic reference to suffering and chronic pain. As the track progresses, groove and color are gradually infused, with Abrams’ bass serving as the gravitational center while guiding us through a polished harmonic progression. 

“Holding Breath”, inspired by a technique Stein used for physical and mental benefit, is the album’s longest track at 12 minutes. It begins with air sounds, raspy bass tones, and rattling percussive, evolving from a suspended mode into a bluesy 4/4 modal structure. As the track swings fluidly, Stein’s elaborately articulated language invites the listener to hang in there. In stark contrast, “Cold Water” is a scorching free improvisation that leaves the listener breathless, only to bring a clear melody into focus by the end.

Anchors is a first-rate musical experience that encourages listeners to revel in Stein's sinuous, addictive narratives and vivid expressions of life experiences.

Favorite Tracks:
03 - Crystalline ► 05 - An Origin ► 06 - Holding Breath

Geof Bradfield - Colossal Abundance

Label: Calligram Records, 2024

Personnel - Geof Bradfield: tenor saxophone, bass clarinet, mbira; Greg Ward: alto saxophone; Anna Webber: tenor saxophone, flutes; Ben Goldberg: clarinet, contra alto clarinet; Derrick Gardner: trumpet; Russ Johnson: trumpet; Norman Palm: trombone; Momo Hasselbrink Seko: french horn; Scott Hesse: guitar; Clark Sommers: bass; Dana Hall: drums; Gregory Beyer: berimbau, mbira, marimba, percussion.

Chicago-based saxophonist, clarinetist, and composer Geof Bradfield assembles a top-notch crew for his most ambitious album to date, Colossal Abundance. This project serves as a meditation on the complex interplay of wealth—material, intellectual, and spiritual—and the poverty that contrasts it in today’s world. Bradfield’s tenth album as a leader straddles contemporary jazz while drawing from a rich palette of influences, including African music, southern blues, Caribbean grooves, and more.

The journey opens with the folk exoticism of the traditional Shona mbira song “Mahororo”, a mbira-berimbau piece that reflects Bradfield’s curiosity for and connection with the Zimbabwean music. This world music vibe is soon transferred into John Coltrane’s classic “Lonnie’s Lament”, reimagined with a sextuple meter that shifts to cushion a soulful, Grant Green-like solo from guitarist Scott Hesse. Following him are Bradfield, whose tenor sax smolders with clear articulation, and altoist Greg Ward, whose joyfully volatile discourse finds compelling support from the percussive backdrop. 

Another African-flavored number, “Tuku”— a dedication to the late Zimbabwean guitarist Oliver Mtukudzi—flows softly in 3/4 time with an irresistible, dance-like quality that feels dreamlike at times. Bassist Clark Sommers and drummer Dana Hall provide vivid comfort for trumpeter Derrick Gardner’s melodic facility. Both “Kaleidoscope” and “Mrs. Parker of K.C.” delve into odd-meter; the former initially highlights the agile melodic patterns of flutist Anna Webber over a 5/4 tapestry woven by guitar and contra alto clarinet, while the latter, a Jaki Byard composition, features Hesse’s fluid bends, twists, and harmonic colors over a 14-beat bass cycle. Byard dedicated this piece to Charlie Parker’s mother, and Bradfield mirrors that intention with his own “Adelaide Bailey”, unfolding in seven with Ben Goldberg’s sinuously angular contra alto clarinet, joined by melodic horn fills and responsive drumming. Trumpeter Russ Johnson also delivers before the ensemble’s richness takes enter stage. 

Following a vibrant post-bop rendition of Wayne Shorter’s “United”, the album closes with two extraordinary blues pieces: the contemplative “Gandanga Blues”, with its enchanting pulse and emotive solos from bass flute and muted trumpet, and Henry Threadgill’s “Bermuda Blues”, which offers a celebratory reggae-infused Caribbean groove. Colossal Abundance bears the marks of Bradfield’s openness, curiosity, and fearlessness, making it a tasteful opus certainly worth getting lost in. 

Favorite Tracks: 
03 - Adelaide Bailey ► 04 - Tuku ► 09 - Gandanga Blues

Micah Thomas - Mountains

Label: Artwork Records, 2024

Personnel - Micah Thomas: piano; Immanuel Wilkins: alto saxophone; Nicole Glover: tenor saxophone; Adam O’Farrill: trumpet; Caleb Smith: trombone; Kanoa Mendenhall: bass; Kweku Sumbry: drums.

After capturing the public’s attention with his trio albums Tide (2020) and Reveal (2023), as well as his solo effort Solo Piano (2022), pianist Micah Thomas has now ventured into composing for a large ensemble for the first time. The result is Mountains, a live recording from The Jazz Gallery in New York in 2023, featuring 11 tracks that strike a fine balance between structure and freedom—sure to appeal to fans of both contemporary mainstream and avant-garde jazz. The album’s complex charts traverse a range of ambiances, demanding both precision and adaptability from its players.

“Life” starts the proceedings in a lushly orchestrated trade: the four-horn frontline commands attention while the rhythm section weaves an opaque rhythmic flow. Thomas’ solo, denoting motivic and modern classical predispositions, is separated from tenor saxophonist Nicole Glover’s chanting statement through a section packed with unison lines. That’s before a groovy vamp hits us with shades of Latin. The next piece, “Processing”, presents a stratospheric swinging outline reminiscent of George Russell, mixing traditional and avant-jazz currents while melodically pushing in different directions. It sounds just great.

“Lament” highlights trumpeter Adam O’Farrill wandering through a quiet piano landscape, his unexpected intervallic leaps creating moments of surprise as the atmosphere shifts from classical balladry to kinetic radiance. “Libre”, inspired by the duo recordings of Paco de Lucia and Camarón de la Isla, starts as a downright marching rag piece filled with charm and color, but then falls into silent mode, becoming a skimpy yet impulsive reflection. This leads seamlessly into “No Answer”, where horn melodies define a transparent harmonic progression in anticipation to that rag feel, reinstated with an arresting sense of freedom. Alto saxophonist Immanuel Wilkins stands out here with a fearful, visceral, and throaty solo over an unorthodox texture.

Wilkins and O’Farrill dialogue on the vibrant “The Mountain, spreading thoughtful observation over Kanoa Mendenhall’s funky bass strut and Kweko Sumbry’s steamy cymbal environment and punchy kick drum patterns. “Nomad” combines a cool vibe with rhythmic effervescence, featuring engaging exchanges between sax and trumpet, while “Collapse” is a contrapuntal cacophony that radiates energy. The session ends with “Through”, which evolves from drones and buzzes into a gradually cathartic climax.

The album’s consistent arcs of tension and release create a daring and inclusive sonic experience, showcasing the expansive scope of Thomas' compositional vision.

Favorite Tracks: 
02 - Processing ► 05 - No Answer ► 07 - The Mountain

Patricia Brennan Septet - Breaking Stretch

Label: Pyroclastic Records, 2024

Personnel - Patricia Brennan; vibraphone with electronics, marimba; Jon Irabagon: alto and sopranino saxophones; Mark Shim: tenor saxophone; Adam O’Farrill: trumpet (with electronics on #1,3,9); Kim Cass: bass; Marcus Gilmore: drums; Mauricio Herrera: percussion.

This tour-de-force septet album from New York-based vibraphonist Patricia Brennan showcases her dedication and expansive approach to composition. Breaking Stretch is lushly conceived, with occasional cultural references to the Caribbean and Latin America, offering intriguing textures, varying pulses, cohesive ensemble passages, and probing improvisation. Brennan, whose mallet-induced vibes shimmer through each track, trusts an incisive three-horn frontline—trumpeter Adam O’Farrill and saxophonists Jon Irabagon and Mark Shim—to join her More Touch Quartet, featuring bassist Kim Cass, drummer Marcus Gilmore, and percussionist Mauricio Herrera.

The soca music-inspired “Los Otros Yo” sets a colorful rhythmic matrix at the intersection of avant-garde jazz and calypso. A concise, to-the-point theme gives way to exuberant solos by Brennan and O’Farrill, who enhances his sound with electronic effects, and then a passage where Irabagon and Shim swap angular licks, their horns singing simultaneously in a thrilling display of vitality. The title cut, “Breaking Stretch”, opens with a triangular horn dialogue, its deep-rooted bass contributing to a juxtaposition of binary and ternary rhythmic feels. The resulting enigmatic atmosphere is reminiscent of Henry Threadgill’s sonic explorations, with Shim populating it with dark tones and fractal interpolation. Shim also takes center stage on “555”, a piece based on a rhythmic sequence of three beats divided by five. Cass provides a free funk substructure for the vibraphone solo, and Irabagon finishes the proceedings with a stratospheric display of tonal abundance. “Palo De Oros” stands out as a favorite, introduced by Cass with harmonics, vibratos, and impeccable articulations before unfolding into a 10-beat rhythmic cycle. The time signature shifts throughout a gripping arrangement that includes precise horn unisons, hooky solos, triumphant transitions, and frenetic drumming marking the final vamp. 

“Sueños de Coral Azul” brings a breezier mood, serving as a nostalgic nod to Brennan’s Mexican hometown, Vera Cruz. Meanwhile, “Five Sun” blends Latin and funk elements in an infectious, electrified romp driven by a key-shifting bass figure and invigorated by accents and rhythmic stretches. The album closes with the dazzling, disorienting “Earendel”.

The musicians are at the top of their games, feeding off one another’s energy organically and navigating every compositional challenge without a glitch. Breaking Stretch is an impressive showcase of Brennan’s broad musical vision and stands as one of the year’s strongest jazz releases. 

Favorite Tracks:
01 - Los Otros Yo ► 04 - Palo de Oros ► 09 - Earendel

Trygve Seim / Frode Haltli - Our Time

Label: ECM Records, 2024

Personnel - Trygve Seim: tenor and soprano saxophone; Frode Haltli: accordion.

Effortlessly navigating between folk-inspired melodies and open drift, the Norwegian duo of saxophonist Trygve Seim and accordionist Frode Haltli returns with Our Time, their second collaborative release following their 2008 debut Yeraz. The duo exhibits a sharp-eared empathy for diverse, world-inspired sounds, infusing each track with unique energy and churning detail, all while maintaining their characteristically lyrical approach.

This distinctive synergy is apparent from the outset. Haltli’s “Du, Mi Tid” plunges into a folk-ambient soundscape, exuding transcendent beauty. The delicate saxophone lines soar over shimmering layers of accordion, a design that continues on “Improvisation No. 1/Fanfare”, where the duo evokes distant worlds through a blend of cries and whispers. A buzzing, cyclical pattern leads to the pure melody of Seim’s “Fanfare”, a piece emotionally heightened by the musicians’ deeply felt intonation.

Seim’s “Arabian Tango” is delivered with fervent passion, while the traditional Ukrainian lullaby “Oy Khodyt Son, Kolo Vikon” serves as a soothing balm, flowing graciously as upper register soprano melodies spool out leisurely. The duo arranged this piece with the harpist Ruth Potter, a member of the Trondheim Symphonic Orchestra.

The album takes a detour into North Indian folk with “Improvisation No. 2/Shyama Sundara Madana Mohana”, yet it’s the brief, free take on Stravinsky’s “Le Cinq Doigts No. 5” that stands out. Here, modern classical elements are transformed into a philosophical dialogue, further intensified in “Improvisation No. 4”, where it grows dramatically interesting. Haltli’s rippling, enigmatic accompaniment in this piece has the power to transport listeners to another realm. The album closes with “Elegi”, a mournful chant delivered with deep-seated melancholy.

Having played together for nearly a quarter of a century, Seim and Haltli’s deep musical connection is evident in their well-versed exploration of texture and melody. Our Time is a work that may leave some purists of sound sighing with pleasure, a testament to the depth of their artistic expression.

Favorite Tracks:
01 - Du, Mi Tid ► 02 - Improvisation No. 1 / Fanfare ► 07 - Improvisation No. 4 / Les Cinq Doigts No. 5

Miguel Zenón - Golden City

Label: Miel Music, 2024

Personnel - Miguel Zenón: alto saxophone; Diego Urcola: trumpet, valve trombone; Alan Ferber: trombone; Jacob Garchik: trombone, tuba; Matt Mitchell: piano; Miles Okazaki: guitar; Chris Tordini: bass; Dan Weiss: drums; Daniel Diaz: percussion.

Puerto Rican alto saxophonist and composer Miguel Zenón has long been a formidable presence in the eclectic jazz scene, known for his deft handling of compositions that seamlessly blend Latin rhythms with contemporary jazz, serving as fertile ground for improvisation. Golden City, his 16th album as a leader, is a visceral work inspired by the rich history of San Francisco and its surrounding areas, specifically from the perspective of its immigrants and minority groups. For this project, Zenón leads a distinctive nonet, featuring a four-horn frontline that includes two trombones.

Written for the Ohlone people, “Sacred Land” makes a terrific post-bop opener, introduced by the sobering clarity of Zenón’s saxophone chants. The piece acquires a polyrhythmic feel before evolving into a delicious rhythm in seven over which there are luminous solos from pianist Matt Mitchell and Diego Urcola, a trumpeter who, on this track, skillfully navigates the valve trombone. Following a sequence of parallel phrases with no harmonic backdrop, Puerto Rican percussionist Daniel Diaz rhythmically accentuates the vamp leading to the thematic melody.

“Rush”, a nod to the California Gold Rush of 1848, unfolds with methodical steps in a 5/4 meter, anchored by pulsating piano and Dan Weiss’ precise drumming. The mood shifts after a while, and the rhythm is intensified for a slightly more turbulent and dramatic finale. “Wave of Change” is bracingly direct, marching optimistically with the horns ‘singing’ a riff that resonates with both protest and victory. The rhythm section shines in its coordinated movements, and the track concludes on a sweet note.

“Acts of Exclusion” is a vehement shout against racism and xenophobia while addressing the Chinese Exclusion Act of 1882. Following a firm pedal point created by bassist Chris Tordini, and a series of wild unison lines, Zenón and guitarist Miles Okazaki lead their own spontaneous riots. While the former serves up a dazzling stream of notes with occasional fractal dimension and a glimmer of Wayne Shorter, the latter creates lavishly with elements of free funk, rock, and experimental jazz in mind. It’s avant-fusion what you get. “Cultural Corridor” transports listeners to San Francisco’s multi-ethnic places, featuring Jacob Garchik on tuba and elated horn playing.

“Displacement and Erasure” critiques gentrification, employing a slow-simmered yet pulsing additive meter flow (3+2). Dave Holland Quintet suddenly comes to mind, and trombonist Alan Ferber delivers an absorbing solo, preceding Zenón’s blend of folk and post-bop dialects.

Golden City is both assured and daring, a manifestation of Zenón’s artistry as a composer, arranger, and world-class saxophonist. The results allow some exquisite finds.

Favorite Tracks:
01 - Sacred Land ► 02 - Rush ► 03 - Acts of Exclusion ► 05 - Displacement and Erasure

Adam O'Farrill - Hueso

Label: Food Records, 2024

Personnel - Adam O’Farrill: trumpet; Xavier Del Ccastillo: tenor saxophone; Walter Stinson: double bass; Zack O’Farrill: drums, percussion.

Brooklyn-based trumpeter Adam O’Farrill is a force of nature whose mature and innovative compositions epitomize contemporary jazz boldness. Hueso marks the return of his quartet, Stranger Days, featuring saxophonist Xavier Del Castillo, bassist Walter Stinson, and his brother, drummer Zack O’Farrill.

The album opens with a solo trumpet rendition of Radiohead’s “Truth Ray I”, where Adam's stunning technique is on full display, utilizing synth-like effects and multiphonics pushed to tremolo extremes. “Truth Ray II” brings the full quartet into play, showcasing deep camaraderie as Adam and Del Castillo engage in intricate counterpoint and staccato precision, while a shift in the drum flow provides Stinson with space for a tactful improvisation.

“Dodging Roses” starts with Zack's gorgeous, stable rhythm, later having saxophone and bass alternating riffs and thoughts in advance of impeccable horn-fronted unisons and a more invigorating rhythm. Adam’s angular solo ascends with tremendous ease, backed by constant flare ups and slowdowns in the chord-less accompaniment. Showcasing muscular rock insinuations, “Hueso” illustrates why Adam and Del Castillo form an enthusiast, powerful frontline, employing  intense counterpoint over a nuanced bass pedal point and understated drumming. Their improvisations are imbued with emotion and creativity.

“Proximity of Clouds” unveils lumbering, droning parallels at the outset, a particularly yielding quintuple rhythm at the base, and classical nuance during the sax-trumpet interplay. “Gesturing Towards the West” is grandiose in sound and defiant in posture, evincing attributes like coordination, tension, and timbral depth. The album culminates with the darker atmospherics of “Cumulus”, where the horns wrap their sounds around bass and drums, creating an intriguing soundscape.

Hueso invites listeners to explore and internalize  its emotional depth without ever disappointing. Adam O’Farrill further solidifies his progressive credentials as both a modern trumpeter and a forward-thinking composer.

Favorite Tracks:
03 - Dodging Roses ► 05 - Hueso ► 08 - Cumulus

Trichome - Parallel Universe

Label: NHOW Records, 2024

Personnel - Benedikt Jahnel : piano; Nesin Howhannesijan: bass; Diego Pinera: drums

Trichome is the brainchild of Berlin-based bassist Nesin Howhannesijan, who composes all the music for his eclectic jazz trio, featuring Benedikt Jahnel on piano and Diego Pinera on drums. The term Trichome refers to an outgrowth on a plant's epidermis that defends against external factors and facilitates the absorption of sunlight, water, and minerals. This is meant as a metaphor in a group that takes inspiration from various stylistic sources.

Their 12-track album, Parallel Universe, navigates between transient free-form pieces and well-structured originals, seamlessly traversing different musical realms while keeping improvisation at its core. The album’s opener, “Brainchild”, gets off the ground in a deliciously dragging 3/4 time, presenting a solemn arco bass solo upfront, with support of a compelling harmonic sequence and tactfully brushed drums and cymbals. Sheets of piano notes and buoyant drum chops spike up the remaining solo segments in a piece with contemporary views.

“Clusters” combines an odd-metered groove with modal insight, enriched by perceptible bluesy and dancing electro-rock tinges. A final vamp in seven encourages kinetic energy. In contrast, “Pure at Heart” plays like a romantic ballad, stepping into more traditional jazz territory with echoes of the Bill Evans Trio. “On the Bandstand” is a hard-bopish, blues-based burner where Howhannesijan takes center stage in the head, and then pointing out the direction through a crisp bassline drive before delivering an energetic solo that culminates in descending movements with the pianist.

Jahnel mounts a pathos-filled intro in “Parallel Universe”, soon joined by Howhannesijan’s rumbling bass and Pinera’s coruscating brushwork before an emotional unaccompanied passage. “Free Form Ballad” surprises by adding tension and density in its second half, only to fall back in line with a cool posture. The album closes with the bubbly “Notes Into Space”, offering an elated swinging vibe and stimulating bar exchanges between the trio.

Trichome plays with maturity, rising to meet the challenges of creating a consistent whole with diverse feels and genres. Their effort results in a satisfying experience marked by fruitful interplay and fine individual statements.

Favorite Tracks:
01 - Brainchild ► 03 - Clusters ► 11 - Free Form Ballad

Lux Quartet - Tomorrowland

Label: Enja / Yellowbird, 2024

Personnel - Myra Melford: piano; Allison Miller: drums; Dayna Stephens: alto, tenor and soprano saxophones; Scott Colley: upright bass.

Lux Quartet is co-led by two distinctive and accomplished musicians — pianist Myra Melford and drummer Allison Miller — whose formidable bodies of work set high expectations for this debut. With the well-rounded saxophonist Dayna Stephens and the formidable bassist Scott Colley rounding out the group, the anticipation is well-founded. This project, which explores philosophical and spiritual themes, offers a sound that is more accessible than the avant-jazz of Melford’s Fire and Water Quintet and less sprightly than the jazz-rock hybrids of Miller’s Boom Tic Boom.

The album features compositions from all four members, beginning with Melford’s “Intricate Drift”, which exhibits impeccably intonated unisons, a cool, marching flow, and oblique improvisations. On this piece, Melford seamlessly picks up where Stephens’ solo leaves off, driving the music forward with creativity and logical progression. The longer compositions on the album are hers, on the lookout for exploration and spontaneity, and “The Wayward Line” is another highlight, beginning with sympathetic bass-drums activity and evolving through an inventive structure. This track includes parallel sax-piano lines, burnished saxophone coloration over revolving drums, and a section where piano curlicues and focused arco bass coexist, placing the quartet firmly in avant-garde territory.

Miller’s contributions bring a different flavor to the album. “Congratulations and Condolences” offers a rich, comforting, and fulfilling plate of modal post-bop, highlighted by soprano sax flights and rock-solid drumming, “Deeply Us” contrasts with its rubato ballad feel, gaining further genuine expression with Colley’s prominent thoughts. Miller also revisits the staccato-infused “Speak Eddie”, first recorded in 2013 as part of the album No Morphine No Lillies (Royal Potato Family), here distinguished by its walking bass and conspicuous ride cymbal pulses.

The album is marked by a deep sense of rapport, wit, and small epiphanies, with each piece consistently arriving at a satisfying destination, regardless of pace or texture. Stephens and Colley each contribute one composition, exuding peculiarity in their processes. Stephens’ “23 Januarys” draws inspiration from Messiaen’s modes of limited transposition, blending fluxes and energies to create polyrhythms, supported by a swinging bass flow and softly brushed snare and hi-hat. Colley’s “Tomorrowland,” a piece retrieved from his 2010 album Empire (Cam Jazz), is notable for its use of drama, ambiguity, and space, culminating in a dark, torpid atmosphere.

The levels of composition and execution are top-notch, and Tomorrowland is filled with the musical maturity and inventiveness expected from prestigious anchors and improvisers of the scene.

Favorite Tracks:
01- Intricate Drift ► 03 - Congratulations and Condolences ► 05 - The Wayward Line

Don Peretz / Jacob Sacks - Numerals

Label: Deepdig Records, 2024

Personnel - Don Peretz: drums; Jacob Sacks: piano.

On his latest album, Numerals, New York-based progressive drummer Don Peretz, renowned for his electronica-jazz-rock fusion, collaborates with the adventurous pianist Jacob Sacks, whose sharp and exploratory style perfectly complements Peretz’s dynamic approach. The duo shares an intuitive musical connection, balancing spontaneous creativity with composed pieces specifically crafted for this project. Peretz and Sacks first recorded together in 1999 for the album Spiral, a quartet setting that also featured saxophonist Sam Sadigursky and bassist Eivind Opsvick.

I have to admit, the first two tracks, “Kairin” and “Arthur’s Bread,” left me uncertain about whether I would enjoy the album. “Kairin”, with its muscular core and circular power chord progression borrowed from hard rock, was solid but not particularly special. “Arthur’s Bread”, which paired echoing Rhodes outputs with an unhurried yet firmly placed rhythm, felt like it was missing something. However, from that point on, the album captivated me, fascinating with its detail as the duo employed their state-of-the-art techniques and language to deliver an ultimately winning program. 

“Épater Le Bourgeois” gains extra oomph through its odd meter, knotty melodic tangles, and a rich harmonic crusade that is perfectly anchored by Peretz’s rock-solid drumming and timely cymbal pulses. On occasion, I thought of it as a brainy fusion between E.S.T. and Chick Corea. “Suburban Talent”, channeling playful Monk-inspired riffs, maintains a logic avant-garde context, sliding steadily toward a final vamp that demands percussive expansion.

One of my favorite tracks is “Bag Chags”: asymmetric in tempo and carried by deep, tense, beautiful voicings supported by an unwavering rhythmic drive. Then, it shifts focus and key, leading to contrasting and surprising passages. The title cut, “Numerals”, plays like a modern Bach fugue, with arpeggiated piano sequences, tumbling dry toms, and sparkling cymbals extending the classical doctrine in interesting ways. In contrast, “Tyranny of Fine” leaves us wanting more after haunting us with a contemporary electronic vibe, snippets of melodic minimalism, and an irresistible hip-hop beat.

Numerals becomes more interesting with each listen, showcasing Peretz and Sacks in a raw, intimate fashion. They have this ability to effortlessly energize in smaller settings.

Favorite Tracks:
03 - Épater Le Bourgeois ► 04 - Suburban Talent ► 06 - Bag Chags

Ingrid Laubrock / Tom Rainey - Brink

Label: Intakt Records, 2024

Personnel - Ingrid Laubrock: tenor and soprano saxophone; Tom Rainey: drums.

Saxophonist Ingrid Laubrock and drummer Tom Rainey present a fresh and captivating exploration of sound in their latest album, Brink. This album not only showcases their individuality as creative artists but also highlights the unique duo identity they have honed through numerous sessions, including those recorded in their Brooklyn apartment during the pandemic. 

Brink continues their intimate and nuanced relationship with sound and texture, alternating between shorter, intricately designed pieces ("brinks") and more extended forms where they deftly navigate both tempestuous and delicate atmospheres. What fuels the album’s opening track, “Flock of Conclusions”, is the fluidity of a conversation that ebbs and flows vividly, reaching a relevant expressive dimension.

The co-composed piece “Coaxing” showcases Laubrock’s assertive tenor saxophone phrases, which gradually gain weight and meaning over Rainey’s deep, resonant tom-tom work. The controlled flow gives way to an eruptive rhythmic surge in the final section, a cathartic exploration of freedom. Rainey, with his acute sense of musical integration, contributes significantly to Laubrock’s enigmatic composition “Liquified Columns”, where sparse yet tense free musings are punctuated by metallic sounds, deep drumming, and growling saxophone multiphonics. The closing track, “Said, Been Said”, shares a similarly intense spirit.

In “A Peculiar Logic”, another collaborative composition, the duo creates a tight lock-step rhythm, with Laubrock soaring high on soprano sax over Rainey’s comfortable cymbal and snare chatter. “Scrunch Repercussions”, which came out of Laubrock’s mind, is obliquely cut through, a masterclass in articulation and synergistic interplay that evolves in a distinctly tangy style, incorporating martial snare fluxes, well-aligned saxophone outputs, and powerful riffs that trigger dynamic rhythmic motions.

Throughout the album, the telepathic communication between Laubrock and Rainey is on full display, bringing unpredictable forms, surprising timbres, and strains of melody underpinned by exquisite rhythms. Sparking with inventiveness, these freewheeling pieces navigate a range of moods, offering a rich source of inspiration for creative jazz explorers.

Favorite Tracks:
03 - Coaxing ► 07 - A Peculiar Logic ► 09 - Scrunch Repercussions