Caleb Wheeler Curtis - The True Story of Bears and the Invention of the Battery

Label: Imani Records, 2024

Personnel - Caleb Wheeler Curtis: stritch, trumpet, sopranino saxophone, tenor saxophone; Sean Conly: bass; Michael Sarin: drums, Eric Revis: bass; Justin Faulkner: drums.

Following the authoritative statement of Heat Map (Imani Records, 2022), saxophonist and composer Caleb Wheeler Curtis returns with The True Story of Bears and the Invention of the Battery, a double album featuring two finely tuned trios that excel in free-flowing interplay and fluid structures. Curtis, who now has four albums under his belt, plays three different saxophones and trumpet here, employing overdubs to create moments of contrapuntal and synergistic stimulation.

Disc One features Curtis alongside bassist Sean Conly and drummer Michael Sarin, who provide alert support across nine originals and a solo saxophone rendition of Arthur Blythe’s “Odessa”, where Curtis’ lyrical grace in on full display. “The First Question” is set in motion by leisurely groovy bass lines and understated drumming, before saxophone and muted trumpet appear in parallel. The horns explore an unaccompanied, ruminative passage before Conly’s bass returns with rhythmic flexibility, adding a dynamic lift to the piece.

“This Cult Does Not Help” introduces a start-and-stop beneath a Monk-esque, propelling the trio into freebop territory as Conly’s swinging bass locks in with Sarin’s snappy brushwork. Curtis’ exploration of timbre conjures fluid melodic streams on both saxophone and trumpet. Offering a distinct mood, “A Feather is Not a Bird” gently dances through a simple three-note figure that repeats with hypnotic, contrapuntal intensity. 

The standout track, “Bears and the Invention of the Battery”, initially floats with soaring arco bass, effervescent drumming, and edgy reed and brass sounds. This later transitions into an electro-rock-inpired framework that, grooving and throbbing with spirited rhythmic displacements, features interesting improvisational ideas coming from Curtis. He maintains this zealous sense of direction on “Stellar Ray, See?”, building on top of methodic trap drums and inquisitive bass expressions. Sarin’s drum choices work like a charm and Conly’s resonant bass lines are enhanced by extremely tasteful patterns.

For Disc Two, Curtis enlists bassist Eric Revis and drummer Justin Faulkner for a set of ten Thelonious Monk compositions. Standout moments include the high-energy rendition of “Raise Four”, the gentle melodic clarity of “Reflections”, the infectious groove of “Oska T.”, and the blistering sax-over-drums manifesto of “Ugly Beauty”. Curtis also shines on “Jackie-ing”, balancing timbre, articulation, and inventive motifs with finesse.

Across both discs, Curtis sounds very much like himself, blending sensitivity and physicality. Each trio finds creative ways to explore their sound, making this album a distinct and valuable addition to Curtis’s discography.

Favorite Tracks - Disc One:
02 - The First Question ► 03 - This Cult Does Not Help ► 06 - Bears and the Invention of the Battery

Fabio Rojas - Perseverance

Label: Self released, 2024

Personnel - Fabio Rojas: drums; Greg Osby: alto saxophone; Gustavo D’Amico: tenor and soprano saxophone, flute; Kevin Harris: piano, Fender Rhodes; Osmar Okuma: acoustic and electric bass.

Venezuelan drummer and film composer Fabio Rojas showcases his wide-ranging stylistic interests in his debut album, Perseverance, a reflection on Venezuela’s transition from democracy to dictatorship, as well as the personal struggles that have shaped his musical journey. Rojas has been living in the US for 14 years, and now based in New York, he leads a boundary-pushing unit featuring legendary Greg Osby on alto and Brazilian Gustavo D’Amico on tenor, soprano, and flute. In order to support this excellent frontline, Rojas employed bassist Osmar Okuma and keyboardist Kevin Harris, contributing rich, prismatic textures across nine well-structured originals and a collective studio improvisation.

The album opener, “Ni Un Paso Atras”, thrives with a confident pace and powerful energy driven by Okuma’s snappy electric bass lines and Rojas’ aerodynamic pulse, complemented by dynamic fills. Harris’ piano riff, rooted in a chant of freedom from Venezuelan protests, provides a striking foundation before Osby dazzles with his inside/outside soulfulness over a seven-beat cycle filled with emotional charge. The following track, “Atlas”, keeps listeners in check, exhuming a tensile compression in its asymmetric harmonic flow. The band plays with tempo and speed while maintaining high energy, with standout solos from D’Amico on soprano and Rojas, whose scampering tom-toms and loose-limbed cymbals elevate the track.

Shaped with sophisticated sounds, “Homage AP” and “Loneliness” denote softer edges. The former, a dulcet folk-inspired waltz, is a tribute to Polo (a harmonic structure within Venezuelan folk music from Margarita Island), while the latter is a hip blend of jazz, smooth funk, and R&B. Once again, Osby’s narrative-rich soloing shines through.

“NU, Justice or Accomplice?” takes the form of a balladic complaint against the United Nations’ inaction in addressing Venezuela’s crisis. That’s before the group heads out into groovy territory with “Outro”, a piece spontaneously created in the studio, where Harris’ warm, shapely Fender Rhodes playing takes center stage. Rojas’ versatile drumming and the ensemble's dynamic horn activity add extra color. 

Perseverance is a shining example of collective effort that also contains brilliant soloing. Merit has to be given to Rojas in this debut, which establishes him as a drummer and composer to watch for future sonic explorations.

Favorite Tracks:
01 - Ni Un Paso Atras ► 02 - Atlas ► 04 - Loneliness

Isaiah Collier & The Chosen Few - The World Is On Fire

Label: Division 81 Records, 2024

Personnel - Isaiah Collier: saxophones, vocals, percussion; Julian Davis Reid: piano; Jeremiah Hunt: bass; Michael Ode: drums // Guests include Kentheny Redman: flute (#3,10), Corey Wilkes: trumpet; Ed Wilkerson Jr.: alto clarinet, and more.

Saxophonist and composer Isaiah Collier’s latest outing, The World is On Fire, is a passionate plea for change, using the power of his infectious music to address pressing global issues like racism, genocide, abuse of power, and injustice. Relying on the dazzling rhythm section of his flagship band, The Chosen Few, Collier continues his meteoric rise on the left side of the jazz spectrum with an album that urges everyone to stand up for what’s right.

The opening cut, “The Time is Now”, is an effusive modal piece energetically introduced by pianist Julian Davis Reid before bursting into a frenzied swing. Collier’s commanding tenor saxophone, evocative of jazz modalists like Billy Harper and McCoy Tyner, takes center stage with eloquence. Following Reid’s solo, it’s the drummer Michael Ode who hits with the force of a tornado. In “The Hate You Give is the Love You Lose”, the trio channels Pharoah Sanders’ spiritual energy, blending folk-like saxophone melodies with a brisk 3/4 rhythm that moves with raw intensity.

The title track, “The World is On Fire”, inspired by the Amazon wildfires, takes the form of a pure modal blues introduced by vigorous, blocky piano chords and crashing cymbals. An energetic riff spirals atop a manic, danceable rhythmic flux before some fierce exchanges between Collier and Reid. “Crash”, a reflection on economic collapse, pulses with frenetic energy, especially in a wild section where gusty saxophone squalls come upon a whirlwind of drums.

The quartet moves nimbly and confidently on “Ahmud Arbery”, a mournful mid-tempo 3/4 groover set on fire by visceral and urgent saxophone playing. Guest flutist Kentheny Redman joins for “Amerikkka the Ugly”, whose swinging posture and strong bluesy feel serve to express disillusion over the shameful attempt against American democracy on January 6th. Here, bassist Jeremiah Hunt delivers an emotional arco improvisation, infusing extra solemnity, while Collier takes flight on the soprano sax.

The quartet is expanded with revived positivity for the album’s closer, “We Don’t Even Know Where We’re Headed”, which, moved by a buoyant riff and lyrics by Kennedy Banks, incorporates layers of trumpet, bass clarinet, harp, cello, flutes, and multiple vocal harmonies. Collier’s clarity of vision and bold compositional approach shine throughout, making The World is On Fire a must-listen for fans of post-bop with vanguard jazz inclination.

Favorite Tracks:
01 - The Time is Now ► 05 - The Hate You Give is the Love You Lose ► 06 - Crash ► 09 - The World is on Fire

Steve Coleman and Five Elements - PolyTropos / Of Many Turns

Label: Pi Recordings, 2024

Personnel - Steve Coleman: alto saxophone; Jonathan Finlayson: trumpet; Rich Brown: electric bass; Sean Rickman: drums.

Alto saxophonist and composer Steve Coleman returns with two live sets recorded during his tour in France, showcasing his acclaimed Five Elements band: Johnathan Finlayson on trumpet, Rich Brown on electric bass, and Sean Rickman on drums. This ensemble continues to represent some of Coleman’s most powerful and expressive. His signature blend of modern jazz-funk and M-Base remains as relevance as ever, further energized by the double album, PolyTropos / Of Many Turns, which draws inspiration from chains of amino acids. The compositions revolve around intricate musical figures, creating a spontaneous language Coleman refers to as Tonal and Temporal Molecules. 

Disc one opens with “Spontaneous Pi”, where Coleman makes of a bluesy phrase the point of departure of a solo introduction that expands with consistent ideas and motivic intentions. Staccato precision triggers a funky bass groove and propulsive drumming before the horn players join in, navigating a 18-beat cycle with fluid ease. The band maintains close communication as the texture shifts into a 5/4 tempo section. The preparative scenario repeats on “Spontaneous One”, which features passages of tactful harmonic understanding and an engaging groove that supports both impressive horn coordination and individual improvisation.

“Spontaneous All” strikes a perfect balance between freedom and form, bringing us polytonal fantasy and featuring a drum spectacle over a 15-beat cycle bass underpinning. Coleman weaves in and out of the lattice created by the rhythm team before the groove mutates, accumulating more body and energy. Finlayson’s trumpet adds playful interplay to the evolving landscape. Yet, the raw spirit of their performance is further reflected in “Mdw Ntr”, a high-speed piece driven by a continuous bass flow and infectious drum fills. 

“Multiplicity Drum” starts with thick, resonant bass lines, with the horns unhurriedly ambushing the texture, creating a well-proportioned mosaic. The bouncing funk operations and danceable pulsations of bass and drums, respectively, evokes the spirit of punk and electronic music. It’s the vivacious, deep-funk rapport between Brown and Rickman that gives the album its backbone, and they pair up with devastating force in “9 to 5”, a kinetic piece with centrifugal crossflows that produce a full sound without the need of chordal instruments.

Disc two surprisingly includes Billy Strayhorn’s “Lush Life” as a sax intro to “Pi”, and a loose, horn-only rendition of Thelonious Monk’s “Round Midnight”, exploring Coleman’s unique concepts. The bandleader’s creative genius is undeniable, and PolyTropos / Of Many Turns displays the same level of ambition and quality found in his finest studio recordings.

Favorite Tracks CD1:
02 - Spontaneous One ► 04 - Mdw Ntr ► 06 - Multiplicity Drum

Peter Evans - Extra

Label: We Jazz Records, 2024

Personnel - Peter Evans: piccolo trumpet, flugelhorn, piano; Petter Eldh: bass, synthesizer; Jim Black: drums, electronics.

No one grooves quite like trumpeter and composer Peter Evans, a master of experimental sounds, especially in modern, electronic-inspired contexts. With a powerhouse rhythm section—bassist Petter Eldh and drummer Jim Black—backing him, expectations for cutting-edge rhythmic exploration are met and exceeded. The shared passion these visionaries have for a hybrid blend of progressive jazz, alternative rock, and electronic music is infectious, and this album captures a broad spectrum of Evans’ musical world. Wonderfully mixed, the eight Evans originals were recorded in Lisbon in 2023.

The wild opener, “Freaks”, is an impactful harbinger for what comes next. Sustained brass notes soar over a propulsive, vibrant rhythm, creating rhythmic euphoria that’s both swinging and grooving. The dubbed trumpet lines build to a final solo that drives the piece to a powerful finish.

Delivering flashes of brilliance throughout, the trio’s remarkable work reaches new heights on “In See”, whose tribal vibe seems to emulate a Brazilian cuíca while drawing heavily from experimental electronica and EDM. Evans’ stuttering staccatos and motivic inclinations are complemented by Eldh’s hyperactive bass lines, while Black lays down an intense tapestry of punk rock and krautrock rhythms. The drummer also stokes the fire in “Boom”, where Evans’ piercing, swift trumpet attacks add extra muscle to the melodic and harmonic interplay.

The kinetic “Fully Born” carries the same explosive energy as the earlier tracks, arriving with an uncompromising posture, suitable for alternative dance floors. In contrast, “Nova” and “Movement 56” are less exuberant, delving into more atmospheric territory. The former features beautiful piano parts cutting through a breezy flow of trumpet and percussion, while the latter, abundant in loopy, riffs, and glitchy electronics, takes on a darker, ominous tone. 

Extra offers listeners a thrilling musical journey full of discovery. Every track, fresh and provocative, pushes the boundaries of improvisation and experimental music to new heights. It’s an indispensable record for those who enjoy their improvised jazz dipped in other genres.

Favorite Tracks:
01 - Freaks ► 02 - In See ► 03 - Boom

Brad Shepik - Dream of the Possible

Label: Shift Paradigm Records, 2024

Personnel - Brad Shepik: guitar, Bulgarian tambura, saz, banjo; Layale Chaker: violin; Amino Belyamani: piano; Sam Minaie: bass; John Hadfield: drums, percussion.

American guitarist Brad Shepik possesses a distinctly global musical identity, exhibiting a remarkable ability to seamlessly integrate music from diverse cultures into a post-bop context. Dream of the Possible, his ninth album as a leader, marks the return of his Human Activity band—now featuring an entirely new lineup—in a ten-part meditation on climate change.

The album opens with “Code Red”, where a vivid guitar figure sets the tone, followed by Amino Belyamani’s evocative piano chords, John Hadfield’s groove-driven drumming, and Sam Minaie’s breathing bass lines. Violinist Layale Chaker, born in Paris and raised in Lebanon, joins them, adding a rich melodic layer. Shepik’s guitar solo is lucid and deeply expressive, while Minaie delivers a brief, compact statement before supporting a vamp in five for Belyamani’s practical deliberations. The piece culminates in a unified riff. The following track, “The Search”, is a mid-tempo waltz with doleful folk inflections, composed for the migrants seeking refuge from environmental changes.

Shepik’s world fusion makes skillful use of odd meters in pieces like the title cut, “Future Generations”, and “Naturitude”. “Dream of the Possible” builds around a cyclic harmonic progression with dark undertones, driven by a propulsive beat that helps define its 5/4 time signature, while shifting figures spread over a more rock-inspired texture. In turn, “Future Generations” unfolds gently in seven, and “Naturitude” stands out with its exotic charm, revealing a 10-beat cycle over which Chaker gracefully showcases her sinuous melodic lines. A yawing shift in motion is carried out halfway for Shepik’s guitar solo.

Shepik and Chaker continue to blend their sounds beautifully on “Symbioticity”, offering a colorful, charming spin on Middle Eastern chants and rhythms with a collective center. The band, never dabbling and always to the point, shifts gears for “Travel Back”, which starts quietly before taking off with purposeful, invigorating movements. This number evokes nostalgia for a youthful past and a healthier planet, with Shepik navigating modes and key changes with aplomb.

Brimming with emotion and heart, Dream of the Possible combines thoughtful composition and emphatic sounds into a sincere plea for environmental action. I wholeheartedly stand with Shepik in this cause.

Favorite Tracks:
01 - Code Red ► 03 - Dream of the Possible ► 06 - Travel Back ► 09 - Naturitude

Immanuel Wilkins - Blues Blood

Label: Blue Note Records, 2024

Personnel - Immanuel Wilkins: alto saxophone; Micah Thomas: piano; Rick Rosato: bass; Kweku Sumbry: drums; Ganavya: vocals; June McDoom: vocals; Yaw Agyeman: vocals + guests: Cecile McLorin Salvant: vocals; Marvin Sewell: guitar; Chris Dave: drums. 

Blues Blood, the third studio album by the acclaimed alto saxophonist and composer Immanuel Wilkins, marks a significant shift in his artistic direction, revealing new dimensions in his compositional skills through a predominantly vocalized, multimedia performance about the legacies of our ancestors and the bloodlines connecting us. The album, inspired in part by Wilkins' childhood, features nine original compositions. Commissioned by Roulette and produced by Meshell Ndegeocello, whose influence is evident on several tracks, the album reflects a rich blend of musical styles.

The opening track, “Matte Glaze”, flows effortlessly, conjuring a relaxed neo-soul vibe with a delicate, earthly foothold in the groove. Wilkins delivers an intense solo over the vamping backdrop offered by the dutiful rhythm section—featuring Micah Thomas on piano, Rick Rosato on bass, and Kweku Sumbry on drums—while the vocals remain loosely tethered to the music. “Motion”, with a slick three time feel and vocalist June McDoom at the forefront, subverts expectations during Wilkins’ improvisation by setting a swinging motion against the dreamy atmosphere.

“Everything” begins with a forward-leaning 22-beat cycle before transitioning midway into a meditative lament, highlighted by Ganavya’s ethereal quarter-tone-infused chanting. She happens to be a wild card here, leaving an indelible mark again on “Afterlife Residence Time”, in a soulful passage in seven that evokes a ritualistic work song with an Eastern flair. This number, which begins in a straightforward 4/4 time with dynamic drum fills and solos by Wilkins and Thomas, also guests Marvin Sewell on acoustic guitar. The quartet picks up the same groove for “Mosphit”, a spiritual instrumental journey that opens new doors for the soul.

Renowned jazz singer Cecile McLorin Salvant adds a delicate narration to “Dark Eyes Smile”, a breezy 3/4 tune driven by soft brushes and an understated bass solo. The album concludes with its title track, “Blues Blood”, a chameleon-like piece that finds fresh avenues in Wilkins’ multidimensional compositional wizardry and stylistic versatility. Beginning as a vibrant neo-bopper with angular and curved shapes, the track takes a bold turn as Sewell injects a feisty rock energy with his electric guitar, before culminating in a gospel-infused finale with the vocalists reaching ecstatic heights.

Wilkins provides pure silver fluidity in musical conversations full of inspired moments and sophisticated interplay. His deep sense of joy and ethos infuses the album with heart and soul, creating a work that stands apart. In the words of its creator, Blues Blood is intended as a soothing balm for everyone searching for peace.

Favorite Tracks:
01 - Matte Glaze ► 04 - Everything ► 09 - Afterlife Residence Time ► 14 - Blues Blood

Alex LoRe - Motivity

Label: Weirdear Records, 2024

Personnel - Alex LoRe: alto and C melody saxophone; Thomas Morgan: bass; Johnathan Blake: drums.

Saxophonist and composer Alex LoRe delivers a cool-toned tradition-leaning album with Motivity, where he showcases a musically inclusive spirit, paying tribute to one of his mentors, the late saxophonist Lee Konitz. Assisted by the powerful rhythm section of bassist Thomas Morgan and drummer Johnathan Blake, LoRe navigates his originals, one composition by Konitz, and three standards with grace and spontaneous ease.

The album kicks off with Schertzinger/Mercer’s “I Remember You”, executed with an openhearted, Konitz-like subjectivity, effortless swinging feel, and engaging improvisational exchanges. The influence of Konitz is unmistakable on the inquisitive “Like-Lee”, where fluid motion allows space for classical lyricism to emerge within the jazz lines. The piece is propelled by skittering drums and vamping bass processions. Konitz’s own “Thingin’” is a richly harmonic post-bop piece that, following a dedicated saxophone intro, offers an upfront bass solo as well as spirited bar trades with the drummer.

“A Weaver of Dreams” radiates eloquent melodicism in its fairly straight-ahead setting, making for a fine companion to “’Tis Autumn”, which ascends with a heavenly melody, softly propelled by brushed drums. While these artfully executed standards sound familiar, the more striking moments come from the originals, particularly “Free” and “Overly Sentimental”. The former is a lush, spaced-out spontaneous piece that invites listeners to explore its curious, enigmatic tones. The latter, a contrafact on “I’m Getting Sentimental Over You”, swings infectiously, with LoRe overdubbing himself on C melody to create bop-ish polyphonic surprise.

LoRe brings a mature and thoughtful musical perspective to Motivity, and his tribute to Konitz feels genuine and well-crafted. However, one might wish for more original material. This impression should not be a problem for fans of Konitz, who may enjoy the stylistic nods paired with LoRe’s personal new views. 

Favorite Tracks:
06 - ’Tis Autumn ► 07 - Free ► 08 - Overly Sentimental

Tommy Crane - Dance Music For All Occasions

Label: Elastic Recordings, 2024

Personnel - Tommy Crane: drums, composition; Charlotte Greve: alto saxophone; Simon Jermyn: bass; Edwin de Goeij: piano; Sarah Page: harp; Claire Devlin: tenor saxophone (#4); Martin Ditcham: percussion; Miller Maboungou: percussion; Mishka Stein: bass; Aaron Spicer: choir; Sterling Spicer: choir; Jones Spicer: choir.

Currently based in Montreal, drummer and composer Tommy Crane has long been a trusted collaborator for a number of esteemed jazz artists in New York—Aaron Parks, Melissa Aldana, and David Binney among them. In his latest project, Dance Music For All Occasions, Crane leads a core quartet, featuring bassist Simon Jermyn, pianist Edwin de Goeij, and saxophonist Charlotte Greve. Inspired by the smooth jazz and breezy pop/rock of the ‘70s and ‘80s—a sound his drummer father, Nolan Earl Crane, was passionate about—the album melds these influences into a laid-back yet elegantly layered sonic experience, with guest appearances enhancing the mood. 

The opener, “Early 2000’s”, kicks off with a driving rhythmic pulse, its three time feel well marked by the pianist, who designs the chord progression with sheer emotion. Greve harmonize slow-moving lines that soar with sharp focus, while extra percussive layers are entrusted to percussionists Elli Miller Maboungou and Martin Ditcham (Talk Talk, Sade). The musicians work seamlessly within Crane’s vision, and on “Italian Weekend”, they evoke a lush sense of nostalgia. The track begins simply but firmly, driven by an engaging bass groove before drifting into ambient jazz, enriched by ethereal harmonies from a three-boy choir, and having Sarah Page’s harp lending discrete shading.

“DMFAO” delivers pleasant vibes, but lacks the spark to elevate its steady background. “Let’s Try This Again” takes on the feel of a relaxed 4/4 pop/rock tune, with Claire Devlin’s tenor saxophone adding a thin extra layer to the cyclic melody. “Life is So Much Better in the Lounge” shifts into smooth funk and R&B, channeling George Benson, Barry White, and Grover Washington Jr. as the music, pollinated with warm and rich details, brings out Crane's knack for subtle groove.

The short-lived yet beautiful track “A Moment of Clarity Amidst the Fog” is introspective and airy, balancing spacey piano accompaniment, sizzling brushwork, and a carefully sculpted saxophone riff. The album closes with “Amherst Ave”, a standout track that grooves effortlessly in an odd-meter cycle, conjuring the soulful, jazz-infused stylings of Makaya McCraven, Marquis Hill, and Robert Glasper.

Dance Music For All Occasions is a record of amenable tones, avoiding overly complex configurations but relying on superimposed layers to create its dreamscapes. Some tracks, charmingly pleasurable, can get under your skin, while others remain more understated, with only minimal fluctuations in mood.

Favorite Tracks:
01 - Early 2000’s ► 06 - A Moment of Clarity Amidst the Fog ► 07 - Amherst Ave

Weird of Mouth - Weird of Mouth

Label: Otherly Love Records, 2024

Personnel - Mette Rasmussen: alto saxophone, preparations, bells; Craig Taborn: piano, preparations; Ches Smith: drums, percussion.

Decidedly quirky and subversive in their approach to individual and collective sound, the trio Weird of Mouth—featuring kindred spirits Mette Rasmussen on alto saxophone, Craig Taborn on piano, and Ches Smith on drums—makes an impactful debut with an entirely improvised session recorded in Brooklyn in 2022. The trio’s expansive and exploratory sound offers an exhilarating dive into the depths of modern creativity, with each piece varying in texture and intensity.

“Wolf Cry” asserts itself with authority, building catchy aesthetics through bold saxophone intervals and sinuous phrases, supported by Taborn’s edgy propulsions and enlivening harmonies, which often slide into motif-rich pianism. Smith’s dynamic drumming is exquisite refinement, punctuated by grand cymbal splashes and fluid brushwork. The track concludes in a dreamy tone, while “Dogs in Orbit” has a positively vibrant opening, with Rasmussen enjoying her fiery saxophonics over explosive drum bursts that only cease when Taborn adds playful prepared piano. The group’s musical unpredictability takes us into a rubato flow that dazzles and transcends.

“Existension” starts conversationally before escalating into a dense, turbulent storm of energy. Jolting with scuffling punk moments, we are thrust into a sonic vortex with growling saxophone shouts over a tense environment of expansive piano chords and zestful percussion. The intensity of this piece contrasts with the slow, meditative “In Search of a Soul Plane”, where vibing prepared piano, resonant saxophone vibrations, and exotic percussion blend into a freewheeling, abstract exploration. 

The sprawling “Planisphere” showcases Smith’s broken rhythms and syncopations, building to a ferocious intensity with nearly-mechanical pulsations, but also offering moments of release. Taborn’s pianism moves effortlessly from dreamlike wisps to enveloping grandeur, while the trio nods to hip-hop, making the interplay both danceable and richly textured. The album closes with “Proven Right, Then Left, Then Right”, an exploratory finale that layers drifting melodies over a web of percussive sounds, gradually increasing in textural complexity. 

With Rasmussen, Taborn, and Smith at the height of their improvisational prowess, Weird of Mouth’s debut is a formidable addition to the free jazz and avant-garde canon, showcasing their unique ability to traverse soundscapes that are as challenging as they are rewarding.

Favorite Tracks:
01 - Wolf Cry ► 02 - Dogs in Orbit ► 05 - Planisphere

David Weiss Sextet - Auteur

Label: Origin Records, 2024

Personnel - David Weiss: trumpet; Myron Walden: alto saxophone; Nicole Glover: tenor saxophone; David Bryant: piano; Eric Wheeler: bass; EJ Strickland: drums.

Trumpeter and composer David Weiss assembles a dynamic sextet for his latest album, Auteur, featuring both longtime collaborators—alto saxophonist Myron Walden and drummer EJ Strickland—and fresh voices like pianist David Bryant, tenor saxophonist Nicole Glover, and bassist Eric Wheeler. The album showcases seven passionate tracks, including five original compositions by Weiss and two previously unrecorded pieces by jazz greats Freddie Hubbard and Slide Hampton. 

Weiss’ fiery post-bop composition “Too Little, Too Late” opens the album with a vigorous tone and pace. The three horn players each take turns  soloing, starting with Walden, who alternates between staccato-infused motivic ideas and fluid, lyrical phrasing. Weiss follows with a continuous, agile flow of notes, blending bop hooks with a remarkable fluency, while Glover contributes a more contemporary edge. Bryant, a powerful presence whether soloing or comping, rounds off the improvisational sequence, and opens the next one, “Resilience (for George)”, a tribute to pianist George Cables. Weiss’ leading trumpet has plenty of melodic back up from the saxophonists during the theme statement.

“The Other Side of the Mountain” displays translucent cymbal washes at the outset, painting a mix of contemplative and lively scenery before becoming rapturously Coltranean. “With Gratitude (for Wayne)”, an homage to saxophonist Wayne Shorter, traverses three sections with slightly funky passages and generous emotional touch.

Freddie Hubbard's unrecorded composition, “Rebop” channels the high energy of Art Blakey's Jazz Messengers, with Strickland taking an active and animated role on the drums. “One For Bu”, penned by trombonist Slide Hampton as a tribute to Blakey, takes off with an irresistible modal bop energy, featuring amazing horn fills during the solos, in a harmonious arrangement that highlights the sextet’s cohesion.

Auteur provides such an intense experience that might leave listeners craving a moment to breathe, but the sheer energy and musicianship on display make it a compelling journey from start to finish.

Favorite Tracks:
01 - Too Little, Too Late ► 02 - Resilience (For George) ► 07 - One For Bu

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