Nels Cline - Consentrik Quartet

Label: Blue Note Records, 2025

Personnel - Nels Cline: guitar; Ingrid Laubrock: tenor saxophone; Chris Lightcap: bass; Tom Rainey: drums.

In his latest album, Nels Cline—an astoundingly skilled guitarist and composer— leads a formidable new quartet featuring saxophonist Ingrid Laubrock, bassist Chris Lightcap, and drummer Tom Rainey. Consentrik Quartet, their self-titled release, is a testament to the strength of each musician’s abilities, and includes original compositions inspired both by the pandemic and the exciting improvisational Brooklyn music scene. 

The vanguard side of Cline’s compositions blossoms into new vistas. “The Returning Angel” unfolds in a rubato form, layering enigmatic guitar arpeggios, brushed snare textures, scintillating cymbal work, and poised saxophone melodies. At a key moment, the bass locks in with the guitar, shifting into a slow 6/4 time feel before segueing into “The 23”, a fantastic amalgamation of rich tones and deftly chosen notes. Lightcap’s addictive bass groove casts a spell, Laubrock weaves through inventive trajectories, and Cline infuses mesmerizing harmonic colors, embracing jazz, rock, and blues with openness and fluency. 

“Surplus” begins with sax and guitar in seamless communion before transitioning into odd-metered passages brimming with rhythmic intent. Cline’s phenomenal chordal sequence hints at a bluesy funk inclination, enhanced by a smeary overdrive effect. He repeats the feat on “Satomi”, written for bassist/singer Satomi Matsuzaki of the band Deerhoof, in a playful yet provocative avant-jazz-meets-post-rock setting that culminates in a less impetuous, chamber-like passage tinged with mournful tones.

“Slipping Into Something” hits all the right pleasure nodes, beginning with a hypnotic intro before settling into an unfaltering 15-beat cycle groove. Over this foundation, Cline and Laubrock exchange rapid-fire notes in a gripping dialogue, all laced with a sturdy rock feel that seamlessly carries over to “The Bag”. Written for Rainey, this piece showcases his drumming mastery—whether delivering intricate conversational textures, charging forward with a swinging drive, or providing sole support for Laubrock’s quick-witted improvisation. Eventually, Cline’s nimble guitar phrasing and Lightcap’s assertive bass conduction join the mix, reinforcing the piece’s momentum.

“Allende” suspends itself in an ethereal space, sprinkled with shimmering sonic particles, while “House of Steam” navigates an array of exciting meter signatures and rhythms. “Question of Mark” boils with plenty of noise, and “Time of No Sirens” offers a soothing counterpoint, imbued with emotional depth. No Matter the source of inspiration, Cline and his ensemble infuse the music with a fearless sense of perspective.

Consentrik Quartet is a truly collaborative ensemble, approaching music from unexpected angles and delivering an exhilarating listening experience. This album is a gem that should not be missed.

Favorite Tracks:
02 - The 23 ► 03 - Surplus ► 04 - Slipping Into Something ► 09 - The Bag

Sylvie Courvoisier / Mary Halvorson - Bone Bells

Label: Pyroclastic Records, 2025

Personnel - Sylvie Courvoisier: piano; Mary Halvorson: guitar.

Swiss pianist Sylvie Courvoisier and American guitarist Mary Halvorson are known for their distinctive and unconventional style—in the best sense of the word. As expected, their music is rooted in strong improvisational ideas, yet their compositional skills are evident in each piece. Bone Bells marks their third duo album, following Crop Circles (2017) and Searching For the Disappeared Hour (2021).

The title track opens the album with dark, warped, and beautifully constructed storytelling, evoking the book Trust by Hernan Diaz, the inspiration for its name. The two musicians sound completely integrated, sharing a vision that is at once mournful and enchanting. Courvoisier’s “Esmeralda”, named after a sculpture by Dutch artist Cornelis Zitman, is rhythmically defiant, showcasing a dynamic flow with a stippled, fluttery sense of motion. Before culminating in feverish agitation, it shifts into a more introspective mood, embracing a rounder sense of harmony with the pianist at the helm.

Halvorson’s “Folded Secret” layers forward-moving prepared piano with intrepid guitar work, generating an oddly propulsive flow. These seemingly effortless interactions emerge with striking detail and coordination. “Beclouded” fuses classical and avant-jazz elements, intertwining arpeggiated piano lines with spiky guitar sprints—except when the duo navigates the intricate melodic line in fleet unison.

“Nags Head Waltz” flows lightly and sinuously, embracing an open sense of pace, while “Silly Walk” feels almost cartoonish in its rhythmic accentuations and experimental determination. Inspired by Monty Python sketches as well as sculptures by Swiss artist Sophie Bouvier Ausländer, this piece takes on a darker mood without losing its sense of humor. The album closes with Courvoisier’s “Cristellina e Lontano”, where a 10-beat cycle featuring an eight-note vamping piano phrase collides with the sly triple-meter feel established by the guitar. This texturally elegant piece begins with rapid-fire lines played in unison and evolves into compelling improvisations.

Courvoisier and Halvorson embrace a sense of risk that is magnified into fields of harmonic possibility. They are brave enough to explore outside the lines and exceptionally skilled to make their music sound thrilling.

Favorite Tracks:
02 - Esmeralda ► 03 - Folded Secret ► 08 - Cristellina e Lontano

Billy Mohler - The Eternal

Label: Contagious Music, 2025

Personnel - Devin Daniels: alto saxophone; Jeff Parker: guitar; Billy Mohler: bass; Damion Reid: drums.

On his latest album, The Eternal, LA bassist and composer Billy Mohler applies his signature groovy formulas with a firm grip in the rock music, delivering another striking album of originals alongside a new quartet of influential LA-based musicians. After three albums featuring reedist Chris Speed, trumpeter Shane Endsley, and drummer Nate Wood, his lineup now includes saxophonist Devin Daniels, guitarist Jeff Parker, and drummer Damion Reid.

The album opener, “Those Who Know”, was written for Reid, who stuns with a rock-infused feel in the beat. Mohler sets everything in motion with a dynamic groove, over which sax and guitar flow effortlessly in parallel. Parker’s harmonic support and liquid tremolos stand out, as does his work on “Hawk Wind”, another piece built around a mesmerizing bass figure, and where he employs volume swells to create a warm ambiance. He then solos through a spellbinding sequence, adding elegant tension to his phrasing with half-tone shifts. The rhythm section remains finely attuned to the soloists, with Reid simultaneously delivering a hi-hat pulse and mallet-driven eloquence in support of Daniels’ beautifully crafted improvisation.

For blues enthusiasts, this band offers two distinct takes on the genre: “Adaptation” is an intrepid, jittery excursion in six, brimming with restless drum work and a whimsical guitar improvisation, while “Sooner”, inspired by Mohler’s late uncle Doug—a member of the Chippewa tribe—emerges as a full-figured 4/4 blues. Additionally, the album features five ‘Eternal’ pieces—short solo bass stories, exquisitely expressed through thick, resonant tones and a refined pizzicato technique.

“Reflection” is a sophisticated ballad, elegantly balanced with harmonic and melodic tunefulness, whereas “Destroyer” is a formidable powerhouse, an energetic rock-infused foray that culminates in an unexpected resolution. On “Tsunami”, Mohler ignites the groove with an intense yet controlled heat, achieving a fine equilibrium between tension and release. Despite its foreboding title, the piece radiates a thoughtful optimism, shaped by tempo shifts and soulful statements from Parker and Daniels.

Mohler unquestionably knows how to throw down a groove, providing a fertile foundation for his bandmates to explore freely. His approach—firmly rooted in the contemporary post-bop school—frequently arrives with rock-like muscularity. The Eternal, a brew of heady, spirited groovy magnitude and boldly creative hybridity, ensures that no listener remains static.

Favorite Tracks:

01 - Those Who Know ► 04 - Hawk Wind ► 07 - Destroyer ► 12 - Tsunami

Anouar Brahem - After the Last Sky

Label: ECM Records, 2025

Personnel - Anouar Brahem: oud; Anja Lechner: violoncello; Django Bates: piano; Dave Holland: double bass.

As a pivotal figure in the world-jazz music sphere, oud player Anouar Brahem has been warming our hearts throughout the years with albums such as Barzakh (1991), Thimar (1998), Le Voyage de Sahar (2006), and Blue Maqams (2017), among others. His latest work, After the Last Sky, takes its title from the words of Palestinian poet Mahmoud Darwish and is deeply inspired by the harrowing experiences of the Palestinian people in Gaza. Rather than guiding listeners toward a specific message, Brahem seeks to evoke raw emotion, a goal he achieves with the support of three distinguished European musicians. While bassist Dave Holland is a familiar collaborator, pianist Django Bates returns after Blue Maqams, but the novelty here is cellist Anja Lechner, who infuses the music with extra poignancy and depth. 

“Remembering Hind”, a piano-cello duet, unfolds like a slow-blooming sonata, paying homage to a young victim of the war. Bates and Lechner also share the melodic journey of “Edward Said’s Reverie”, a tribute to the American-Palestinian academic and political activist in the title. 

The title track, “After the Last Sky” opens with the plaintive voice of the oud, its melancholy tones soon interweaving with the piano. In its last segment, Holland subtly establishes a groove with lyrical intonation, while Lechner enriches the classical Arabic tradition with her improvisational freedom. “Endless Wandering” is spiritual, elegant, and haunting, showcasing warmly dissonant oud harmonies and bowed bass in the form of sustained pedals. 

With its scintillating textures, “Awake” begins in 7/4, traversing key changes and shifting modal directions with ease. “In the Shade of Your Eyes” is a striking oud-cello duet, enriched by microtonal inflections and dark, reedy bowing. Meanwhile, “The Eternal Olive Tree” is an improvised bass-oud effort imbued with a sinuous, dancing quality that highlights the deep musical rapport between Brahem and Holland. 

A surprising tango influence emerges in “Dancing Under the Meteorites”, a modern composition nourished by Holland’s sturdy bass foundation, while “Vague”, an older Brahem piece, blends echoes of Erik Satie with Arabic laments, striking a pillowy, oddly emotional note. It’s easy to find delight in Brahem’s poignant narratives and sounds. His unique musical perspective triggers thoughtful responses from his peers, who help the music brim with soul.

Favorite Tracks:
03 - Endless Wandering ► 06 - In the Shade of Your Eyes ► 11 - Vague

Yuto Mitomi - Epicycle

Label: Self released, 2025

Personnel - Yuto Mitomi: tenor and soprano saxophone; Takahiro Izumikawa: piano, keyboards; Moto Fukushima: six-string bass; Keita Ogawa: drums, percussion.

New York-based Japanese saxophonist and composer Yuto Mitomi presents Epicycle, his fourth album as a leader/co-leader. Joined by a proficient quartet, Mitomi and his peers move organically, maintaining a constant focus on shaping a style that is both crystalline and opaque. The title Epicycle refers to a geometric concept applied to astronomy, mirroring the album’s intricate musical explorations.

Ambiguity plays a strong role throughout the album, which opens with “Morning Haze”, a free improvisation unfolding as a fluid, shapeless dialogue. Mitomi’s profound saxophone meditations intertwine with Keita Ogawa’s steady cymbal splashes, Takahiro Izumikawa’s diligent piano phrasing, and Moto Fukushima’s ruminative electric bass. These striking avant-garde landscapes resurface in two other free improvisations—“Grappling Cats” and “Moony Night”. The former highlights the ensemble’s adventurous spirit and exploratory nature, while the latter is graced by a cool beat and lavishly jazzy piano harmonies.

Ogawa’s splendid drumming propels “Spline”, a title referencing mathematical curves and mirroring the piece’s fluid, undulating movement. Infused with an acid jazz flavor, the track thrives on fusion-leaning keyboard attacks, over which Mitomi’s soaring soprano lines take flight. Even the composed pieces exude an open quality— “Dew”, for instance, bathes the listener in soft, prismatic colors and a cohesive texture, carried by a relaxed 7/4 groove. Assertive solos from Izumikawa and Mitomi gradually build in emotion, framed by a serene yet compelling rhythmic foundation.

The four instruments overlap picturesquely on “Epicycle”, a composition divided into two distinct yet persuasive parts—the first, poetic and restraint; the second, groovier yet amiable in tone, invigorated by a few rhythmic variations. Various genres inform Mitomi’s predominantly jazz idiom, and Epicycle is an empathetic, curiously textured album where listeners may appreciate the quartet’s genuine musical sensibilities.

Favorite Tracks:
04 - Epicycle II ► 05 - Grappling Cats ► 07 - Spline

Jacopo Ferrazza - Prometheus

Label: Teal Dreamers Factory, 2025

Personnel - Jacopo Ferrazza: bass, synths; Enrico Zanisi: piano, synths; Alessandra Diodati: vocals; Livia De Romanis: cello; Valerio Vantaggio: drums.

Italian bassist and composer Jacopo Ferrazza reunites the same qualified quintet from Fantàsia (2022) for his new conceptual album, Prometheus. The well-rounded program consists of eight original compositions, with Ferrazza leading with deep focus and crafting a cohesive narrative that unfolds through his imaginative compositional style.

“Prologue”, a vocalized, synth-driven introduction, sets the tone, segueing naturally into “The Cave”, where shadowy, dramatic piano chords intertwine with poignant arco work from bass and cello. Valerio Vantaggio's initially explosive drumming—reminiscent of prog rock—shifts into a cool, restrained groove, while Alessandra Diodati’s vocals command attention with a mix of dedication and abandon. Each band member plays a vital role in the track’s rich, multifaceted swagger.

Diodati’s mellifluous, crisp vocals permeate the title track, which begins as a slow waltz before evolving into a freer, meter-shifting exploration midway through. “The Rediscovery of Fire” ignites with an intense epiphany—ethereal chants floating over a thunderous rhythmic foundation that pulses like a dance machine. This same concept carries into “Titan Rises”, leading to a warped, industrial-like surge of synths and effects. The former piece also features a lyrical middle section where cello and bowed bass interact, before the initial intensity returns, now underscored by Enrico Zanisi’s hypnotic circular piano motif. 

Ferrazza’s bass melodicism is at the forefront of “Pillory”, a lyrical 3/4 piece infused with a quiet mysticism. With his bass being the glue that holds everything together, the piece closes beautifully with a sustained high-pitched note, courtesy of Diodati. In contrast, “I Am Everywhere” pulses with rhythmic urgency, featuring a throbbing motion and precise unisons between voice and keys. We sense this salutary disentanglement in Zanisi’s piano solo, casting warm and sunny jazz hues onto the horizon.

Prometheus, Ferrazza’s fifth album as a leader, is a contemporary musical adventure that takes you to strange places. It may not appeal to all tastes, but those who embrace its journey may find themselves captivated by moments of mythic beauty.

Favorite Tracks:
04 - The Rediscovery of Fire ► 06- Titan Rises ► 08 - I Am Everywhere

Billy hart Quartet - Just

Label: ECM Records

Personnel - Mark Turner: tenor saxophone; Ethan Iverson: piano; Ben Street: bass; Billy Hart: drums.

The playing of legendary drummer Billy Hart is distinguished by virtuosic, breezy textures and a refined elegance that imbues the music a graceful, rare dimensionality. His pliable quartet—with saxophonist Mark Turner, pianist Ethan Iverson, and bassist Ben Street—was formed in 2003, crafting a sound that blends and dissolves elements like watercolors. Just marks the quartet’s third ECM release, following All Our Reasons (2012) and One is the Other (2014).

Iverson’s “Showdown" emerges as a warmhearted ballad, full of gracious gestures and excellent note choices in Turner’s expressive statement. Iverson both initiates and gracefully concludes the piece with wisdom. The pianist also contributes the following pieces: “Aviation”, whose heroic vibe doesn’t hide a fine fusion of classical and jazz elements as well as a lilting motion delivered with aeronautical skills; “Chamber Music”, which is brushed with sophistication by Hart—a true colorist who likes to explore beyond the obvious; and “South Hampton”, a bluesy, bop-inflected number featuring an elucidated bass-piano drive, an absorbing tenor solo, and well-placed drum fills that heighten the tension and release.

Hart revisits his own “Layla-Joy”, first recorded on his 1977 album Enhance, reimagining it with mallets and cymbals in a balladic form, punctuated by moments of suspended abstraction. Another revived composition, “Naaj”, is an intriguing, tuneful piece showcasing Iverson’s first-class piano work. With flexible attacks, he draws both from tradition and progression. The title track, “Just”, unfolds as a fresh post-bop excursion, marked by enigmatic chordal manipulations and engaging rhythmic dynamics.

Turner, a saxophonist of exceptional resourcefulness and ingenuity, contributes three compositions of his own. “Billy’s Waltz” exudes a charming appeal, while “Bo Brussels”—previously recorded on his 1998 album In This World—drifts through suspensions and cinematic atmospheres, never feeling static. In turn, “Top of the Middle” is characterized by a splendid interplay and driving post-bop force.

While Just may not be a revelatory departure for the quartet, it is undeniably filled with moments of brilliance, where the musicians' collective artistry shines. A few tracks even serve as soothing balms for the soul.

Favorite Tracks:
05 - South Hampton ► 06 - Just ► 08 - Bo Brussels

Steve Lehman Trio with Mark Turner - The Music of Anthony Braxton

Label: Pi Recordings

Personnel - Steve Lehman: alto saxophone; Mark Turner: tenor saxophone; Matt Brewer: bass; Damion Reid: drums.

For his 17th album as a leader, alto saxophonist and composer Steve Lehman joins forces with tenorist Mark Turner in the frontline of a dynamic quartet, propelled by a formidable rhythm section featuring bassist Matt Brewer and drummer Damion Reid. This album, a tribute to Lehman’s early mentor Anthony Braxton in celebration of his 80th birthday, features eight tracks—five by Braxton, two by Lehman, and one by Monk—recorded live at ETA in Los Angeles.

Braxton’s “34a” launches the album with a furious vibe. A feverish, frenetic riff takes center stage, driven by an assertive rhythmic thrust, with the two saxophonists delivering sharp, angular unisons. Turner demonstrates his versatility, equally at home in avant-garde settings as in post-bop, while Lehman showcases his signature fractal style with dazzling speed and intervallic acrobatics. “40b” begins with Brewer’s reflective yet elegantly dancing bass lines, before an infectious Latin groove emerges. The saxophonists improvise with vision and vigor, their interplay baked with motifs and bright ideas.

Other standout Braxton pieces include “23c”, where precision licks are crisply articulated by Lehman, Brewer, and Reid, with knotty, turn-on-a-dime shifts in the rhythm department, and “23b+23g”, where regimented marching steps evolve into a swinging foray. The horn players toss out absorbing free-bop melodies while the rhythm section continues to skitter, clatter, and zing beneath them. Turner is on fire here, Reid comes into view from behind the kit with stunning details and syncopation, and Lehman delivers a gusty speech with a remarkable flow of articulation and accentuation. 

Lehman penned “L.A. Genes” and “Unbroken and Unspoken”, each revealing different facets of his compositional voice. The former is a vibrant conversation of shifting polytonal interactions, full of exciting tangents and personalized remarks. The latter embraces both lyricism and complexity, opting for a more fluid and rounded approach while still infused with intricate rhythmic nuances that create an energetic, swinging tension. 
The album concludes with a thrilling rendition of Monk’s “Trinkle Tinkle”, which unfolds after an adventurous two-minute saxophone duologue, leading to trading eights with the drummer.

A rigorous conceptual thinker, Lehman dives into complex compositional forms, conducting his trio-plus-one unit to stardom. The music is infectious, fervent, and bouncy, and the enjoyment brimful of exciting places to discover.

Favorite Tracks:
01 - 34a ► 02 - L.A. Genes ► 03 - 40b ► 05 - 23c

Frank Carlberg - Dream Machine

Label: Red Piano Records

Personnel - Frank Carlberg: piano, Fender Rhodes; Hery Paz: tenor saxophone; Leo Genovese: Hammond B3, Farfisa organ, synths; John Hébert: bass; Dan Weiss: drums.

Frank Carlberg, a Finnish jazz pianist and composer of remarkable talent, unveils Dream Machine, a stellar album that encapsulates his unique ability to unify diverse musical elements into a cohesive whole. Continuing to expand the boundaries of his art form, Carlberg assembles a sensational new quintet of New York-based artists featuring the breathtaking Cuban-born saxophonist Hery Paz, the sublime Argentine keyboardist Leo Genovese, the steadfast French bassist John Hébert, and the enlightened American drummer Dan Weiss.

Among the album’s 13 compositions, four are ‘Dream’ pieces, inspired by literature, cinema, magic shows, and other artistic experiences. Fueling creativity and discovery, “Dream I” thrives on conscious pulsation and spatial glitches, while “Dream II” embraces a freer, improvisatory nature. “Dream III” surges with invigorating thrust and robust tenor saxophone playing. 

Paz, an authority on tenor saxophone, demonstrates an impeccable command of every note he plays. He shines in “The Jester”, a motif-driven piece delivered with melodic accentuation, humor, and rhythmic agility, where his interplay with Carlberg and Genovese is nothing short of immaculate. He also excels on “Reconstruction”, igniting powerful bursts of sound in an avant-garde jazz setting that emerges from an initial swinging momentum set by bass and drums. Genovese contributes a fusion-leaning solo, complemented by Carlberg’s intuitive piano accompaniment. Weiss takes the spotlight with an unaccompanied improvisation before the theme’s return, infused with Monk-like angularity.

Inspired by the dreams, anxieties, and thoughts of David Zimmer—the protagonist of Paul Auster’s The Book of Illusions—“Zimmer’s Dream” is pure modern creativity highlighted by outstanding saxophone and drums. Weiss uses brushes and drumsticks in the exquisite post-bop-meets-gospel “Into the Sunset”, scraping tones off the drum surfaces with finesse, while Hébert early infuses “Nostalgia” with his bass meditations before calm sax-piano unisons emerge. “Search and Rescue” showcases superior interplay, segueing into “Light Matter”, a no-friction idea that gradually intensifies, exploring the limits.

A testament to Carlberg’s prowess as a composer and arranger, Dream Machine brims with thrilling, virtuosic moments—both in individual improvisations and the collective synergy of the ensemble. It stands as one of his finest works in years.

Favorite Tracks:
03 - The Jester ► 05 - Dream II ► 06 - Reconstruction ► 09 - Zimmer’s Dream

Jon Irabagon - Server Farm

Label: Irabbagast Records

Personnel - Jon Irabagon: tenor and sopranino saxophones, effects; Mazz Swift: violin, voice; Peter Evans: trumpet, flugelhorn; Matt Mitchell: piano, Fender Rhodes, Prophet-6; Miles Okazaki: guitar; Wendy Eisenberg: guitar; Michael Formanek: acoustic bass; Chris Lightcap: electric bass; Dan Weiss: drums; Levy Lorenzo: kulintang, laptop, electronics, vibraphone.

Saxophonist/composer Jon Irabagon stands as a pivotal figure in the contemporary jazz universe, with a catalog of starkly expressive albums that exemplify excellence in creative, improvised music. This year, he presents Server Farm, an electrifying work that explores the threats and promises of A.I. To realize this vision, he leads a super electro-acoustic ensemble with an unconventional instrumentation. 

New sonic avenues are constantly emerging in this cutting-edge experience, beginning with “Colocation”, brilliantly introduced by Levy Lorenzo’s kulintang (a system of gongs). Acid vibes bubble up, infused with sensibilities of free funk and avant-garde jazz. Chris Lightcap on electric bass and drummer Dan Weiss thrive in a rhythmic symbiosis, while Matt Mitchell delivers a clamant keyboard solo. The guitar noise of Miles Okazaki and Wendy Eisenberg collides with Mazz Swift’s violin and the boisterous horn entanglements of Irabagon and trumpeter Peter Evans. A calm chamber passage provides a momentary contrast before a violent orchestral flux paves the way for a wonderfully explorative solo from Evans. A methodical pulsation, led by vibraphone and interwoven horn lines, builds toward a revolutionary, chaotic ending.

“Routers” carries a sumptuous Latin drive shaped by opposing rhythms and offbeat phrasing. Added after the initial recording, Irabagon’s tenor sax solo stands out, and the piece concludes like an ethnic dance, enriched by wafting violin. “Singularities” unfolds with hyper-fluency, shifting from a lavish avant-jazz symphony—marked by resounding unisons—to guitarists carving out individual space with their outside-the-box inflections, before settling into a jazzy R&B passage that emotionally resonates with the listener. It traverses a mantra-like, rock-fueled ambiance before culminating in a fantastic 3/4 extravaganza, a bold display of rhythmic audacity.

“Graceful Exit” opens with the earthy, assertive bowed bass of Michael Formanek. Electronics, piano, and drums gradually layer in before the ensemble momentarily pauses the wild excitement for a lyrical Ellingtonian section, evoking the charm of a classic jazz standard. The album’s offbeat conclusion comes with “Spy”, an entrancing, penetrating, and intricately layered piece featuring a pandemic-era poem written by Irabagon, bass pedals, vibing chimes, and agitated buzzing sounds.

Irabagon thrives in progressive musical landscapes, forging a new identity with Server Farm. His collaborators, all deeply invested in conveying his message, contribute to yet another game-changing epiphany—one where there’s always more than just the sum of the parts.

Favorite Tracks:
01 - Colocation ► 03 - Singularities ► 04 - Graceful Exit

Tom Teasley featuring Dave Ballou - Lunch Break

Label: Self released, 2025

Personnel - Tom Teasley: all drums and percussion; Dave Ballou: trumpet.

Lunch Break is a creative drums-trumpet album where positive energy is felt throughout, offering a unique and harmonious confluence of sounds and timbres. The orchestrators are world-music-leaning percussionist Tom Teasley, who composed all tracks, and avant-garde jazz trumpeter Dave Ballou, whose distinctive, organic phraseology floats atop eclectic rhythmic tapestries. Having previously collaborated in a band led by drummer Jeff Cosgrove, the duo displays undeniable technical proficiency and refined musical choices throughout.

Teasley, a Virginia native, initiates much of the music. In “Tips in Baghdad” he transitions from a Mesopotamian frame drum to a drumset, drawing on memories of a tour in Iraq and a 1980s gig in New Orleans. The groove carries mysticism and certitude, while Ballou showcases remarkable clarity, moving from pristine sustained notes and ambiguous melodic phrases to incisive motivic sequences.

“Four On Six” offers mercurial groundwork, with a cyclic bembé pattern in six dissolving into a 4/4 groove, over which Ballou’s buoyant trumpet dances with joy. The duo’s strong chemistry continues to shine as various grooves unfold. “When The Wind Cries” is a tearful rubato ballad, entrancingly harmonized by the Rav Vast drum and colored by shimmering cymbals, contrasting with the poignancy of the trumpet. A similar orchestration graces “Prayer For The Ancestors”, where a deep spiritual aura results from the duo’s insightful musical input. 

“For Max”, a solo percussion effort blending resonant drum timbres and metallic sparks, and “Mop Shake and Roll”, marked by foreign tinges and imaginative rhythmic verve, pay homage to legendary jazz drummer Max Roach. The duo demonstrates exceptional responsiveness in the dynamic “Rush Hour”, reacting to every intriguing stimulus. Sometimes they march, sometimes soar, and sometimes swing, navigating an avant-garde jazz direction with skill and vision. Meanwhile, “Jongo” emanates a joyful vibe, seeking light while avoiding darker corners. Teasley’s masterful percussion clears the way for Ballou’s agile, idiosyncratic trumpet explorations.

On the sprightly “Riqq Talk”, Middle Eastern flavors blend with South Indian Carnatic music. Teasley plays the Egyptian riqq (tambourine) and incorporates his voice, while Ballou interjects with muted trumpet responses. This exceptionally pleasant fusion album showcases Teasley and Ballou's deep musical connection, as their sophisticated interplay transports listeners to distant, intriguing places.

Favorite Tracks:
01- Tips in Baghdad ► 05 - Rush Hour ► 07 - Jongo

Ambrose Akinmusire - Honey From a Winter Stone

Label: Nonesuch Records

Personnel - Ambrose Akinmusire: trumpet; Kokayi: vocals; Sam Harris: piano; Chiquitamagic: synths; Dustin Brown: drums + Mivos Quartet.

The inimitable trumpeter and composer Ambrose Akinmusire stands among the most creative and ambitious musicians of his generation. His new outing, Honey From a Winter Stone, is a visionary collection of originals inspired by the work of composer Julius Eastman. Here, Akinmusire channels the fears and struggles of Black men, striving to deepen emotional expression while adhering to well-constructed frameworks.

The album’s five original compositions are vivid and powerful, fusing elements of jazz, classical, and hip-hop to forge an authentic style where ethos and cohesion take center stage. “Muffled Screams” evokes a near-death experience Akinmusire survived, beginning with Sam Harris' plaintive piano lines, supported by Justin Brown’s cymbal colorations and tom-tom eruptions. Akinmusire balances texture and color, crafting a shimmering lyricism whose elongated tones intensify both melancholy and primal cries.

“Bloomed” opens with the Mivos Quartet fully commanding a modern classical exploration, eventually morphing into a groovy, hip-hop-infused jazz atmosphere that highlights Akinmusire’s expressive phrases. “MYanx” features fleet, intricate drumming, ominous synths by Chiquitamagic, Kokayi’s commanding spoken word, and rhythmic, motivic string gestures. These elements converge with sharp, piercing trumpet lines that amplify and expand the tonal landscape.

A fat, rounded bass synth and an entrancing hip-hop beat permeate “Owled”, one of the album’s most captivating pieces. The Mivos Quartet and Kokayi shine here, delivering their grippiest performance, but there’s also an ambient middle section with soaring vocals before the piece concludes with piano, strings and cymbals finding common ground. 

Headed in an intriguing direction, “s-/Kinfolks” is a 29-minute odyssey traversing avant-garde ambient textures, free funk downtempo, and outlandish free jazz improvisation with the same penchant for experimentation. Akinmusire plays with élan and explores extended techniques. His performance becomes more melodic during a delicate passage softened by introspective piano and crestfallen strings. A hip-hop groove underpins Kokayi’s authoritative rap before culminating in two captivating duologues: trumpet over strings and piano over drums.

This engaging, honest session reveals Akinmusire’s musical versatility and essential message, offering a remarkable showcase of his exceptional artistry.

Favorite Tracks:
02 - Bloomed ► 04 - Owled ► 05 - s-/Kinfolks

John Patitucci - Spirit Fall

Label: Edition Records

Personnel - John Patitucci: acoustic and electric bass; Chris Potter: tenor and soprano saxophone; Brian Blade: drums.

Spirit Fall marks a virtuosic and high-energy album from bassist and composer John Patitucci, who leads an irresistible all-star New York trio featuring saxophonist Chris Potter and drummer Brian Blade. Together, they infuse nine Patitucci originals and one cover with their distinct creative flair.

In the wickedly inventive opener, “Think Fast”, the trio propels the music forward, embracing a lively atmosphere brimming with humor and groove. Potter, a fearless improviser, seamlessly blends folk and post-bop elements with articulate, sophisticated phrasing. Patitucci’s solo stands out for its rhythmic inventiveness and magnetic note alignments, while Blade’s elegant drumming remains transparent yet propulsively engaging. The drummer collaborates closely with Patitucci on “Pole Star”, painting vivid tonal landscapes that lend the piece a palpable tactility. Here, Patitucci delivers a robust, precise bass solo, while Potter's saxophone statement stirs both energy and emotion.

“Deluge on 7th Avenue” finds the ace rhythm section crafting an infectious funky groove before settling into a 12-bar blues form. Another deliberate funk crusade is offered in “Lipim”, which means hope in the Yemba language from Cameroon. A compelling groove and constructive saxophone lines drenched in effects make it more stimulating. Less ferocious yet equally effective, their rendition of Wayne Shorter’s “House of Jade” feels both seductive and empowering, with Potter’s dramatic leaps perfectly balanced by the nearly telepathic rapport between Patitucci and Blade.

On “Thoughts and Dreams”, Patitucci demonstrates remarkable technical prowess, extracting superb intonations from his six-string electric bass. He stretches with elastic grace during the introspective, abstract opening before transitioning to a blues-inflected closing segment. The title track, “Spirit Fall”, embarks on a phenomenal modal journey filled with splendid bass guitar chords as well as searing soprano saxophone licks and exultant drum fills. In turn, “Sonrisa” astutely links contemporary jazz to Latin rhythms, maintaining fluidity while showcasing Patitucci’s deep allegiance to groove and fusion. These are pieces that resonate with profound inspiration, echoing the enduring influence of Herbie Hancock, Joe Henderson, and Chick Corea. 

Recorded in a single day, Spirit Fall is an accessible album whose tracks are layered from interesting angles, fostering unity and spiritual growth in today’s fragmented world. The trio distills their pure sounds with humanity and power, and their effort results in a thoroughly exciting and rewarding listening experience.

Favorite Tracks:
01 - Think Fast ► 02 - Pole Star ► 05 - Spirit Fall

Tim Berne - Yikes Too

Label: Screwgun Records / Out of Your Head Records

Personnel - Tim Berne: alto saxophone; Greg Belisle-Chi: guitar; Tom Rainey: drums.

The influential saxophonist Tim Berne leads a new explorative trio called Capotosta, taking listeners on a sonic journey filled with hidden treasures. Berne enjoys the inventive support of two other creative visionaries: guitarist Greg Belisle-Chi, a recent yet highly compatible collaborator, and drummer Tom Rainey, a longtime associate who played an important role in Berne’s acclaimed avant-jazz trios Big Satan and Hardcell.

Yikes Too is a double album with two distinct parts. The first disc features ten studio tracks recorded at Firehouse 12 in New Haven, while the second captures a live concert performance in Seattle. The album’s mixing and mastering are handled by guitarist and producer David Torn, Berne’s collaborator in the Sun of Goldfinger and Sunny Five projects.

The trio’s telepathy and responsive cohesion has been honed through weekly gigs at Brooklyn’s Lowlands. This synergy is evident from the opening track, “Oddly Enough”, which showcases their like-mindedness, Berne’s creative genius, and Rainey’s vibrant drumming that balances angular unisons. The shifting rhythmic patterns create space for Belisle-Chi’s abstract guitar explorations, which Berne joins with soaring alto sax lines over contorted noise guitar textures and charged drum activity.

In a nearly 10-minute odyssey “Guitar Star”, Belisle-Chi’s distorted introduction evokes dark shadows, oscillating between eerie Celtic underworld sounds and radiant bursts of light piercing through opaque textures. “Yikes” blends alternative rock with avant-garde jazz as Berne delivers expressive melodies brimming with twists and tangles.

Rainey’s drumset mastery shines on “Yikes 2”, flanked by robust, deliberately imperfect sax-guitar unisons, and “Julius Hemphill”, a reflective tribute to Berne’s mentor and hero. Operating on the same wavelength, the musicians offer beautiful, emotionally stricken moments, and the piece evolves into a foreign dance propelled by intricate rhythmic patterns.

“Bat Channel” offers a compelling framework of engrossing chordal accompaniment, eloquent sax lines, and comfortable chatting drums. “Trauma”, on the other hand, feels chantingly motivic with its cohesive ideas and nonconformist pulse, driven by an articulate 12-beat cycle riff that makes us feel the ground under our feet. The first disc closes with “Sorry Variations”, a sometimes-free, sometimes-mathematical excursion of spontaneous linguistic expression that embodies the album’s overarching mood.

Berne continues to carve out a unique niche as both a visionary artist and fierce improviser. His collaborators also deserve significant credit for the album's dynamic success.

Favorite Tracks:
01 - Oddly Enough ► 03 - Yikes ► 06 - Julius Hemphill ► 08 - Trauma

Dayna Stephens - Hopium

Label: Contagious Music

Personnel - Dayna Stephens: tenor saxophone; Aaron Parks: piano; Ben Street: bass; Greg Hutchinson: drums.

Dayna Stephens has established himself as a prominent saxophonist and sought-after sideman. His new quartet album, Hopium—a portmanteau of the words ‘hope’ and ‘opium’—features the same ensemble that brought Right Now! Live at the Village Vanguard (2020) to success. The album comprises seven original compositions by Stephens and one by Parks.

Opening the set, “Drive North to Find the Oranges Out West” unfolds elegantly, employing melodic ambiguity and harmonic complexity to explore the uncertainties and possibilities of life's winding paths. The following track, “Jump Start”, pays homage to Herbie Hancock’s “A Jump Ahead” and stands as a spirited, successful experiment. Ben Street's pulsating bass—renewed with woody resonance every 32 bars—anchors the piece, complemented by Greg Hutchinson’s simmering drum patterns and Parks’ colorful piano voicings. Stephens delivers a free-flowing, serpentine saxophone performance that defies conventional standards. The quartet grooves with post-bop vitality, closing on a slightly sinister note.

“Trust” reveals a softer side with thoughtful, balladic statements, while the title track, “Hopium”, exudes a tango-like expressiveness, navigating the space between optimism and denial. Its rhythmic and melodic captivation culminates in an unresolved chord, symbolizing lingering doubt and cynicism. This leads seamlessly into “Occasionally Cynical”, a fluid and exploratory piece filled with ternary rhythmic fluxes and rubato passages. Stephens masterfully guides the haunting theme, spinning out coolly lyrical reflections imbued with modernity.

Before the closing track, “As Truth Rises Above Power”, which features the dynamic guitar work of guest Charles Altura, there’s Parks’ “Hard-Boiled Wonderland”, leaning into the sounds of Sam Rivers’ “Cyclic Episode” and Chick Corea’s “Humpty Dumpty”, and drawing inspiration from Haruki Murakami’s concept of alternate realities. Though the piece maintains an intentionally gentle lyrical pulse, tension subtly simmers beneath the surface.

Hopium is a different album that makes sense within Stephens’ oeuvre. Yet, it is not an immediate album. Some listeners may be disappointed by the departure from common jazz threads, while others will be captivated by the unusual colorings offered by these four resourceful musicians.

Favorite Tracks:
02 - Jump Street ► 05 - Occasionally Cynical ► 06 - Hard-Boiled Wonderland

Cody Steinmann - Confined Spaces

Label: self released

Personnel - Cody Steinmann: guitar; Chris Bates: bass; Abinnet Berhanu: drums.

Minneapolis-based guitarist and composer Cody Steinmann tales the isolation of the Covid-19 lockdown and themes of spiritual growth with crushing noise textures and streamlined melodies on his sophomore album, Confined Spaces. The guitarist works with bassist Chris Bates and drummer Abinnet Berhanu, expressing his stream-of-consciousness reactions within a rock-centric framework.

Bookending the album is “Abide With Me”, a homage to Thelonious Monk and a plea for resilience in today’s challenging world. The opening rubato version feels than the closing rendition. Supporting the distorted guitar itineraries and surprising harmonic colors are robust bowed bass foundations and cymbal legatos. 

The second track, “Not Sappy at All”, bursts forth as an energetic, exceptionally musical alternative rock song with infectious feel-good vibes, a seismic mass of sonic pollution, and rhythmic agility in a shredding, danceable exploration. Steinmann’s guitar shifts pitch via synth effects near the track’s end.

Without diminishing the compositional rigor, the abrasive “Ben” opens with a suggestive guitar introduction before leading us into a steady 4/4 rhythmic flux topped by inside/outside guitar inflections. Meanwhile, “Lust” makes its bed with a crisp bass figure, laying down an early groove that welcomes exploratory chording and melodic flourishes. The three-time feel becomes salient at a certain point, before a five-beat vamp settles in.

The album’s jazziest offering is “Dodo Birds Aren’t Dumb Humans Are”, featuring sinuous, chromatic lines performed with a free-bop posture. There’s also a country-tinged surprise in “Red River Valley”, where Steinmann delivers slippery lines as Berhanu gooses him with snappy brushwork. The title cut, “Confined Spaces”, explores a dense mesh in a boisterous arrangement that includes an articulate bass solo, extended heavy-breathing guitar reflections, and a drummer-led vamp.

On balance, Confined Spaces is deftly executed, often marked by rock potency and ruthless determination. Its intoxicating narratives are likely to resonate more with alternative rock enthusiasts than with jazz purists.

Favorite Tracks:
02 - Not Sappy at All ► 03 - Ben ► 05 - Dodo Birds Aren’t Dumb Humans Are

Henrik Jensen - Above Your House

Label: Babel Label

Personnel - Henrik Jensen: double bass; Esben Tjalve: piano; Dave Smith: drums.

Danish-born bassist and composer Henrik Jensen delivers his fourth album as a leader, Above Your House. Having lived in the UK for over 20 years, Jensen transitioned from studying electric bass to mastering the double bass. His cohesive trio features longtime collaborators: Danish pianist Esben Tjalve, who recently returned to Denmark after two decades in England, and English drummer Dave Smith, who spent seven years playing with Led Zeppelin frontman Robert Plant.

The lively opener, “Blow-ins”, kicks off with a dynamic groove that immediately grabs the listener’s attention, showcasing both rhythmic resilience and strength. The track highlights Jensen’s artistry as he navigates smooth rhythmic transitions, injects harmonic color, and solos deftly over the three-time feel crafted by Tjalve and Smith. “Brain Brexit” follows a lyrical piano classicism, elegantly spread over a steady rhythmic foundation. The piece builds to a final six-beat vamp that inspires and energizes Smith to react.

In “The Hunt”, Smith’s brushwork introduces an ambiguous, exploratory texture, soon settling into a delicate 4/4 progression marked by a lilting touch. The trio shifts into a brighter mode on “The Bridge”, which favors a consonant collective articulation. Complexity and fluidity are seamlessly intertwined, with another vamp providing a platform for Jensen’s melodic depth. 

Compositions like “Last of the Dogs” feel tailored to the trio, hinting at Monk-like accentuations as it offers forward-looking melodic cruises. Less buoyant, the title track, “Above Your House”, unfolds as a ballad with sinuous unison lines from Jensen and Tjalve, complemented by Smith’s soulful brushwork.

Jensen, who continues to expand his palette as both a bandleader and composer, makes compelling moves alongside his trio. Teamwork is what really stands out here, and that’s no simple task.

Favorite Tracks:
01 - Blow-ins ► 03 - The Hunt ► 05 - The Bridge

Jeong Lim Yang - Synchronicity

Label: Sunnyside Records

Personnel - Jeong Lim Yang: bass; Mat Maneri: viola; Jacob Sacks: piano; Randy Peterson: drums.

Korean-born, Brooklyn-based bassist and composer Jeong Lim Yang has brought together an adventurous crew of seasoned, forward-thinking musicians and mentors to shape her third album, Synchronicity. The collection of seven original compositions explores a wide range of sounds and moods, weaving narrative through both improvisation and composition, and skillfully balancing tension and release.

The title track, “Synchronicity”, opens the album with a minimal structure and polyrhythmic texture, featuring Jacob Sacks’ freely flowing piano lines in a whimsical exploration with tempo variations. The piece is layered with Mat Maneri’s poignant viola wails, Yang’s fluid and loose-limbed bass, and Randy Peterson’s understated drum playing. “Ordinary Waltz” defies its name, placing a captivating melodic riff at its center, while obliterating any obvious 3/4 time feel through a dizzying fusion of folk, blues, and avant-chamber-jazz nuances. 

“Morning Glory”, inspired by Rodgers/Hammerstein’s show tune “Edelweiss” from the film The Sound of Music, plunges into ambiguity with its woozy and unpredictable arrangement. Meanwhile, “Body Nor Soul”, a contrafact of the ballad standard “Body And Soul”. With melodic nuance and strobing incantations, each musician—excluding the drummer—takes their time to deliver beautifully improvised passages. The hard-swinging “Salad For Lunch”, composed by Sacks, showcases his solo, which bridges traditional and progressive ideas. Yang follows with a groove that is both clear and expressive, while Peterson extends the rhythmic flow with exquisite drum swells.

“Weeping Dream” radiates a haunting beauty, reflecting the sorrowful emotions inspired by a Covid-related dream. Wintry piano arpeggios, vivid bass descriptions, and often dissonant viola cries combine to create a muted, somber scenario. “Stimmung” begins with Yang’s expressive bends, slides and plucks, paired with Peterson’s crackling, fireworks-like sounds, before transitioning into a more harmonically defined section that supports a folk-inspired confluence of distinct melodies. 

Yang and her ensemble make the material sound simultaneously lucid and open-ended. With its thoughtful execution, Synchronicity has the potential to elevate Yang’s visibility in the jazz world.

Favorite Tracks:
02 - Ordinary Waltz ► 04 - Salad For Lunch ► 05 - Weeping Dream

Benjamin Lackner - Spindrift

Label: ECM Records

Personnel - Mark Turner: tenor saxophone; Mathias Eick: trumpet; Benjamin Lackner: piano; Linda May Han Oh: bass; Matthieu Chazarenc: drums.

German pianist and composer Benjamin Lackner assembled an outstanding quintet for his ECM sophomore album, Spindrift. Norwegian trumpeter Mathias Eick returns after appearing on Lackner’s debut album, Last Decade (2022), while American saxophonist Mark Turner and bassist Linda May Han Oh join as exceptional new contributors, enriching Lackner’s understated compositions with their nuanced artistry. French drummer Matthieu Chazarenc, a longtime collaborator, rounds out the group and contributes one piece to the album.

Lackner’s compositions are precisely mapped out, becoming quietly enveloping and lavishly unhurried, yet never elevated to exalted heights. There are moments of radiant beauty, like the title track, “Spindrift”, which transitions from a rubato meditation to a 7/4 rhythmic flow over which Lackner and Turner stretch out in a sheer display of finesse and delicacy.

Other highlights include Chazarenc’s spacious “Chambary”, where the horn players swoop around in tandem in a well-wrought delivery, and “Fair Warning”, which leans into enigmatic tones, built on nuanced bass pedal points and piano suspensions that provide a churning backdrop for the soloists.

Airiness and feather-like touches compose the soaring “Mosquito Flats”, introduced by tender pianism and buzzing bowed bass. Eick leads the way before dancing in unison with Turner’s saxophone, later trading a few bars of improvisation before rejoining forces and concluding in harmony. “More Mesa” retains the same melancholic introspection, weaving effortless, lyrical melodies with classical influences in the piano work, while the pseudo-cinematic “Murnau” feels more dolefully dramatic than figuratively expressionistic.

Anchored by its sensitive, subtle palette, Spindrift may not always feel exciting. It’s undoubtedly competent material whose subdued nature may leave one wishing for more intensity.

Favorite Tracks:
01 - Spindrift ► 04 - Chambary ► 07 - Fair Warning

ARBOR - Arbor

Label: PKmusic

Personnel - Michalis Tsiftsis: guitar; Yiannis Papadpoulos: piano; Yiannis Vagianos: bass; Nick Thessalonikefs: drums.

ARBOR is a contemporary Greek jazz quartet with a versatile flow and a keen microscopic focus. The band’s name is not only a reference to the wildfires that have been devastating Greece’s landscape for years but also a word of protest against the destruction of natural habitats. Three members of the quartet contribute compositions—four by co-leader/guitarist Michalis Tsiftsis, three by co-leader/bassist Yiannis Vagianos, and one by pianist Yiannis Papadpoulos. Rounding out the group is drummer Nick Thessalonikefs.

“Polygonal” opens the eponymous debut album with a pulse in triple time before expanding shapes and bending angles while shifting into a 4/4 meter. The track boasts a catchy melody, a hallmark also evident in “Dream Machine”. This introspective ballad showcases the group’s stylistic range, blending dreamy tones and glam-rock melancholy reminiscent of Radiohead and Placebo, all propelled by a simple yet effective marching drum pattern. The track, named after a stroboscopic flickering light art device, carries an evocative and cinematic quality. 

Vagianos’ “Fundamental” highlights the quartet's polyrhythmic sensibilities, drawing inspiration from Nik Bartsch’s minimalistic approach. Tsiftsis adds depth with distortion, while Papadopoulos injects dramatic intensity through his pianism. Both musicians deliver uninhibited, impassioned solos. Tsiftsis’ “Counterfactual” embodies a spirit of adventure, radiating energetic transcendence and forward-thinking dynamism. After a commanding guitar statement, Papadopoulos takes the lead with a vibrant, subtly intricate piano discourse that flows seamlessly into the track’s bright and colorful theme.

ARBOR maintains their distinctive sonic identity throughout, including on “Blues”, which defies its title by eschewing traditional blues conventions. Instead, it layers bowed bass, piano, and guitar to create a meditative, pathos-filled atmosphere of subdued grace and suspension. The album comes to a close with “Nicotine”, another tune with rock propensity. Unfolding in seven, this number features a scalding dialogue between Tsiftsis and Papadopoulos, who first take turns before intersecting their sounds. The group then opts for hyperrealistic bluesy and gospel chops in the last section.

With masterful command of their instruments and a first-rate debut, ARBOR emerges as a bold and promising force in contemporary jazz.

Favorite Tracks:
02 - Fundamental ► 05 - Counterfactual ► 07 - Dream Machine