https://open.spotify.com/playlist/5EydcoLLNhr5Of93b4zSXa?si=ce1344bca99246d5
"MANKURT”
HILLAI GOVREEN AND NITSAN KOLKO
From the Album:
ALLUSIONS
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New School graduates and Israeli natives
Hillai Govreen and
Nitsan Kolko strengthened their bond during the COVID lockdown. Both in New York — and largely confined to their homes — clarinetist-saxophonist Govreen and pianist Kolko discovered common interests in film, literature, food, visual art, and of course, music. After returning to Israel, the pair built on their new-found connection and composed the chamber-esque suite that comprises their self-released duo album
Allusions. The album title adds context to the musical content, with songs alluding to ancient folk tales and more contemporary literary works. Among the latter is Chinghiz Aitmatov’s 1980 novel
The Day Lasts More Than a Hundred Years, which was made into the 1990 movie
Mankurt. A political allegory, the film takes its title from prisoners of war who were brainwashed and turned into slaves. The term was picked up by Azerbaijanis and Turks who used it to deride those who betrayed their people and turned their backs on their culture during struggles against Soviet dominance. Lovely and dramatic, Govreen and Kolko’s miniature “Mankurt,” our selection, is shot through with melancholy and wistful reflection.
"NEW VIEW”
LAUREN FALLS
From the Album:
A LITTLE LOUDER NOW
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A decade has passed since
Lauren Falls’ debut release,
The Quiet Fight. The bassist and composer’s long-awaited sophomore album,
A Little Louder Now (self-released), reveals a gifted, mature instrumentalist, writer and bandleader. Not that the Toronto-based Falls has been keeping mum — in fact, she’s been quite active on the jazz scenes in her hometown as well as in New York City — but the new album should acquaint her to the uninitiated and delight true believers who have booked her at major festivals in the U.S. and Canada and awarded her grants and residencies. Falls assembled a top-flight quintet of Canadian musicians to play what sounds like a highly personal program of original material plus one standard, and their musical simpatico is evident from the jump. The opening track, “New View,” begins with pianist Todd Pentney’s moody intro, and he’s soon joined by saxophonist David French’s similarly toned contribution, which is at once wistful and hopeful. A rhythm section comprising Falls on upright bass and her brother, Trevor Falls, on drums, provides subtle propulsion and texture, while Metheny-eque guitarist Trevor Giancola supplies supple, introspective lines. At times contemplative, the music on the album is hardly downbeat, and Falls concludes the program with a chipper read of Victor Youmans’ “I Want To Be Happy,” which also showcases her virtuosity on the upright.
"MR. WEIRD”
EUNMI LEE
From the Album:
INTROSPECTION
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Pianist and composer
Eunmi Lee fell in love with jazz after hearing albums on the GRP label. The Korean-born artist, who earned a degree from the Seoul Institute of the Arts, was determined to follow her muse, pursuing degrees in jazz at the Maastricht Conservatorium in the Netherlands and then at New York University, where she earned her Master’s of Music in Jazz Piano in 2022. At NYU, Lee met trombonist and faculty member Alan Ferber, who so believed in her talents that he produced and plays on her debut recording,
Introspection (You&Me Music). A mix of big band swing and post bop, the album also reveals chamber and Brazilian influences on a program entirely composed and arranged by Lee. As the album title indicates, songs arise from Lee’s reflections of the world around her. For instance, “Mr. Weird,” included here, was inspired by her ambles through Washington Square Park, where she observed eccentric characters and wondered how she was perceived through their eyes. Judging by the easy swing of the little big band, she doesn’t sound overly anxious, although an undercurrent of edginess pervades. The ensemble, sourced for the most part by Ferber, is superb, the trombonist joined by trumpeter Tony Kadleck and saxophonists Jon Gordon, Remy LeBoeuf and John Ellis, who nimbly solos here. Lee, serving a rhythmic function, is boosted by bassist Matt Clohesy and drummer Ari Hoenig.
"I'M ALWAYS CHASING RAINBOWS”
VERONICA SWIFT
From the Album:
VERONICA SWIFT
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Hailing from a musical family,
Veronica Swift has been singing for most of her life — Dad was the late jazz pianist Hod O’Brien, Mom is vocalist Stephanie Nakasian. She first recorded at the age of 9, toured with her parents as a youngster and later earned a bachelor’s degree from the University of Miami’s Frost School of Music. Critical raves attended Swift’s 2021 recording
This Bitter Earth, revealing a mature singer with impeccable taste and command of her instrument. Her latest release,
Veronica Swift (Mack Avenue), ups the ambition as Swift presents a variety of material in a variety of settings, from bebop to blues to funk to intimate balladry. On the vintage Broadway number “I’m Always Chasing Rainbows,” a tune that premiered more than 100 years ago, Swift takes an appropriately retro approach, with dramatic, string-laden orchestration swelling behind her. With her yearning delivery, she seems to be channeling Judy Garland, who revived the tune in the 1941 film
Ziegfeld Girl, with similar orchestral backing.
"PROMISE”
CINDY BRADLEY
From the Album:
PROMISE
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Buffalo, New York, native
Cindy Bradley has been enjoying quite a run. Since signing with the Trippin’ N’ Rhythm label in 2009, the trumpeter has racked up eight No. 1 Billboard singles. The accolades have piled up, as well, as Bradley accumulated honors such as Best New Artist (American Smooth Jazz Awards), Brass Player of the Year/Best New Artist (Contemporary Jazz Awards) and Debut Artist of the Year (Catalina Island Jazz Trax Festival News). Having studied with the likes of Bob Brookmeyer, Jerry Bergonzi and Steve Lacy at the New England Conservatory, Bradley boasts well-honed chops that anchor the funky, smooth jazz tunes that are her stock and trade. Her latest release,
Promise (Trippin’ N’ Rhythm), is her first in four years and continues to place Bradley’s trumpet and flugelhorn in ear-pleasing settings. The album’s title track, included here, carries a slinky, nocturnal ambience, with finger-snap rhythms evoking an urban milieu. Slippery bass notes, tinkling piano, R&B rhythm guitar and synth strings create a quiet storm vibe, setting the stage for Bradley’s romantic Miles-inspired horn.
"MIDDLE GROUND”
EMMA RAWICZ
From the Album:
CHROMA
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Tonal colors are something more than a metaphor to saxophonist
Emma Rawicz. The U.K.-based jazz artist is what’s known as a “synesthete,” that is, one who experiences external stimuli — in this case, music — through various senses. So, when she hears music, she also processes it as color. That unique ability, also known as “chromesthesia,” informs her new release,
Chroma (ACT Music), whose song titles — with one exception — are named for the colors that inspired the melodies. Listeners can add “Phlox,” “Rangwali” and “Xanadu” to their palettes, shades that extend the usual Crayola assortment and are vividly realized in Rawicz’s compositions. The saxophonist wrote “Middle Ground,” the sole track whose title deviates from the theme, for her father, relating to JAZZIZ contributor Michael Roberts that it evoked a certain light blue hue for which she had no name. The piece, our selection, begins with a mood-setting intro stated by pianist Ivo Neame, bassist Conor Chaplin and drummer Asaf Sirkis. The trio is soon joined by Immy Churchill, whose wordless vocals are doubled by Rawicz’s tenor, and then followed with a plummy solo by the leader. Guitarist Ant Law also lends his distinctive sound to the mix, blending beautifully but, like the others, hardly sublimating his individual voice. Rawicz, who began composing for piano and violin at age 7, came to jazz and sax in her teens. Joe Henderson and Wayne Shorter were major touchstones and she follows their example here.
"PARADE (RAGA BHUPALI)”
CHARU SURI
From the Album:
RAGS & RAGAS
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Pianist and composer
Charu Suri has performed her music at places not accustomed to featuring original works by women of Indian descent. Among the most notable of those venues were Carnegie Hall, where Suri is scheduled to present her fourth concert in April, and French Quarter staple Preservation Hall in New Orleans, where the pianist recorded with Preservation Hall Jazz Band drummer Joe Lastie. Lastie plays on Suri’s latest release,
Rags & Ragas (Amala), as well, completing a trio with Suri and bass maestro John Patitucci. Having lived on four continents, including the south of her native India, Suri has absorbed a panoply of musical influences. She has a gift for synthesizing those influences with the music of her homeland, as she did on a previous release in which she incorporated waltzes, and on her latest in which she combines the rhythms of New Orleans with Indian ragas. The results are quite intoxicating on tracks such as “Parade (Rag a Bhupali),” which boasts an arrangement from Grammy winner Brent Fischer. Lastie provides a jazzy twist on the signature New Orleans drum patterns that indicate a street parade in the offing, which is further expressed in Suri’s sassy piano strut and Patitucci’s buoyant plucking.
"MABES”
ROXY COSS
From the Album:
DISPARATE PARTS
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Pianist and educator Harold Mabern played a significant role in the lives and careers of many a burgeoning jazz musician, including
Roxy Coss. Having met the hard bop stalwart at a workshop at Stanford when she was 16 years old, Coss ended up attending William Paterson University in New Jersey, where Mabern taught, and benefiting from his mentorship in the classroom and beyond. In fact, Coss related in an appreciation she wrote following his passing in 2019, Mabern would vocally shout encouragement from his front-row seat during her shows. So, naturally, the saxophonist was moved to include a tune on her 2022 release
Disparate Parts (Outside In Music) in tribute to Mabern. The waltz-time “Mabes,” included here, makes excellent use of Coss’ close-knit quintet, the members’ camaraderie and musical simpatico evident within the ensemble play. Coss’ tenor rides point, establishing the lilting melody and mood with sterling support from the rhythm section of pianist Miki Yamanaka, bassist Rick Rosato and drummer Jimmy Macbride. Guitarist Alex Wintz adds a silky solo that builds in intensity before ceding the spotlight to the saxophonist, whose solo seems to express the deep affection and appreciation she has for her late mentor. The personal nature of the performance, and the album in general, stems from the various changes Coss experienced since her initial 2019 release with the quintet, not the least of which was her being seven months’ pregnant during the latest recording session. The title
Disparate Parts relates to the multiple roles Coss has to fill rather than the music or musicians on the album, which comprise a seamless whole.
"FROM THE START”
LAUFEY
From the Album:
BEWITCHED
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Who could have predicted the worldwide appeal of an Icelandic-Chinese vocalist, let alone one who sings a retro style of jazz, at times backed by a full orchestra? Not even artificial intelligence could have come up with the unlikely confluence of attributes that have vaulted the one-named singer and multi-instrumentalist
Laufey to rarefied heights. Not only is she the most streamed jazz artist on Spotify, but she’s racked up an astonishing, if accurate,
half a billion streams across all digital platforms. Her tour this fall reportedly sold out in minutes, with venues from Washington, D.C., to Chicago to San Francisco to Hong Kong quickly reaching capacity sales. Laufey’s latest release,
Bewitched (AWAL), follows her 2022 debut album,
Everything I Know About Love, and this year’s
A Night at the Symphony, the latter featuring the Icelandic Symphony Orchestra. This time out, she’s recruited the London-based Philharmonia Orchestra to play on a few tracks, which hardly compromises the intimacy of her performances. On the lively, romantic samba “From the Start,” for example, bossa nova-inspired guitar, percussion and piano drive the track, which also boasts sighing strings. And Laufey’s lovely vocals certainly capture the direct expression of classic bossa nova singers, making listeners feel as if she were singing to them alone. “Bewitched,” indeed.
"REST”
CHRISTINA GALISATUS
From the Album:
WITHOUT NIGHT
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Pianist and composer
Christina Galisatus was determined to release a debut album that stayed true to her aesthetic ideals, recruiting like-minded band mates to play her music the way she intended for it to be heard. The results can be found on
Without Night (Slow & Steady), the Stanford University graduate’s quite personal-sounding first effort. The album reflects Galisatus’ journey and recent challenges, as well as influences from chamber jazz to folk and singer-songer traditions. In fact, she actually penned lyrics to a few tunes, which are sung by vocalist Erin Bentlage. Galisatus’ compositional process frequently involves her singing wordless vocals over her piano improvisation, and she employs these lyric-less lines on tunes such as “Rest,” included here. The track begins with a pensive and somewhat mysterious solo piano intro, which opens into a more expansive palette with the addition of Bentlage’s sighing vocals and thoughtful backing from bassist Joshua Crumbly, drummer Zev Shearn-Nance and tenor saxophonist Michael Blasky. While the tune momentarily rouses itself from its warm and dreamy world of half-slumber, it concludes with the quiet reflection with which it started, ultimately dissolving with a shimmer. “I really wanted people who I felt could play delicately and sensitively,” Galisatus says of the band mates she hand-picked, including Slow & Steady label chief and bass clarinetist Steven Lugerner and guitarist Brandon Bae. “People who prioritize taking care of the music.”
"DREAM MACHINE”
KAISA'S MACHINE
From the Album:
TAKING SHAPE
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In 2016, bassist, composer and bandleader
Kaisa Mäensivu relocated from her native Finland to New York, where she pursued a master’s degree at the Manhattan School of Music under the tutelage of jazz stalwarts Ron Carter and Dave Liebman, among others. While she had previously led a band under the banner Kaisa’s Machine, she recruited new members for the outfit in New York and hit the studio with an armload of compositions she had written reflecting her urban setting. The resulting
Taking Shape (Greenleaf) boasts a tight ensemble sound swirling around Mäensivu’s anchoring upright bass tones. “Dream Machine,” our selection, beautifully illustrates the group dynamic, its title perhaps alluding to the dream team that the leader has assembled. Pianist Eden Ladin, saxophonist Tivon Pennicott, vibraphonist Sasha Berliner and guitarist Max Light capture the essence of a busy metropolis, driven by the bustling rhythms of Mäensivu and drummer Joe Peri. “I feel like this music captures the magic of New York,” the bassist relates in a press release, “where we all have this symbiotic language and the atmosphere is open to new things.”
"UNDULATION”
KAYLA WATERS
From the Album:
PRESENCE
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Pianist, composer, producer and yes, the daughter of saxophonist Kim Waters,
Kayla Waters has shared the stage with the likes of Stevie Wonder, Patrice Rushen, Regina Belle, Corinne Bailey Rae and Maysa, all of which helped her become a standout in the otherwise male-dominated smooth jazz world. Previous albums topped the Billboard and jazz charts “blending her own style of jazz, classical and soul.” On her latest release,
Presence (Shanachie), veteran hit-maker Chris “Big Dog” Davis, and her father join Kayla in the production of 10 original compositions that cover it all, from the spirituality of the title track to the sultry “Waterkisses,” and featured here, the upbeat “Undulation.”
"RISING SUN”
SHUTEEN EREDENEBAATAR
From the Album:
RISING SUN
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Rising Sun (Motéma) is the debut album by Munich-based pianist and composer
Shuteen Erdenebaatar, a rising star from Mongolia’s capital, Ulaanbaatar. Erdenebaatar leads three world class ensembles and has accumulated an impressive array of important prizes for young musicians on the European jazz scene. On the album’s title track — our selection — as throughout, her classical foundation is unmistakable, displayed by her technical brilliance, stylistic finesse and the thematic structure of her compositions.
"SLIPPING OUT”
MONIKA RYAN
From the Album:
PLAYFULLY
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Singer-songwriter
Monika Ryan has built a strong following for her masterful rendition of jazz classics and is celebrated for her own original compositions, as well.
Playfully (Resensitize), Ryan’s 14th album, pays heartfelt homage to the rich tapestry of jazz history. As exemplified by “Slipping Out,” included here, Ryan’s 11 original compositions spotlight a signature style that seamlessly blends the elegance of the past with the pulse of the present. Ryan’s artistry is a testament to her exceptional ability to bridge musical eras.
"PORCELANOSA”
RACHEL THERRIEN
From the Album:
MI HOGAR
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Trumpeter
Rachel Therrien’s latest release,
Mi Hogar (Outside In Music), serves as a showcase for the Canadian-born bandleader’s range with her Latin Jazz Project, which includes musicians from New York City, Canada, Cuba, Puerto Rico and Venezuela. Known on the New York jazz and Latin jazz scenes, the JUNO-nominated Therrien has shared the stage with Tony Allen, Pedrito Martinez, Claudio Roditi, Billy Drummond and Anat Cohen, and works regularly as a core member of Arturo O’Farrill’s Grammy-winning Afro Latin Jazz Orchestra.
Mi Hogar, which translates from Spanish as “my home,” reveals just how much at home Therrien is with Latin jazz, having honed her playing skills in Latin jazz ensembles and researched and studied in Cuba more than a decade ago. The track “Porcelanosa,” our selection, closes out the album on a danceable, upbeat note, and features superb ensemble playing by the trumpeter, pianist Willy Soto Barreto, saxophonist Nestor Rodriguez and drummer Michel Medrano.
"BURIED TREASURES”
SOFIA GOODMAN
From the Album:
SECRETS OF THE SHORE
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Conceived of as a thought-provoking meditation on the mysteries of the sea,
Secrets From the Shore (Joyous) showcases drummer and bandleader
Sofia Goodman’s growth as a composer. The album explores melodic and improvisational territory and features advanced, piano-generated harmonic voicings that were later recorded by keyboardist Alex Murphy. While Goodman admits it’s been difficult to keep an ensemble together because of outside musical and personal commitments, there is a palpable ensemble chemistry on these sessions with Murphy, saxophonists Joel Frahm and Dan Hitchcock, trumpeter Matt White, trombonist Roy Agee, clarinetist Max Dvorin, bassist Leland Nelson and percussionist Carlos Duran. That chemistry comes across quite clearly on the track “Buried Treasures,” included here, with Goodman and Nelson generating rhythmic propulsion and texture, while the horns add color and light, like the contrasting depths and surfaces of an ever-shifting sea.
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"PURPLE”
SEBASTIAN ZAWADZKI TRIO
From the Album:
VIBRATIONS
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Based in Denmark since 2010,
Sebastian Zawadzki has thoroughly internalized the Nordic sounds and sensibilities of his adopted home. The Polish-born pianist and composer displays a penchant for the deeply introspective music that has become a trademark of the German-based ECM label, even paying homage to the imprint’s distinctive album covers with the sparse and snowy landscape on his self-released trio recording
Vibrations. Zawadzki returned to Poland to record the album with trio mates Maciej Kitajewski and Kacper Skolik, on bass and drums respectively, the three revealing a profound simpatico on the pianist’s original compositions. The album’s final track, “Purple,” concludes the collection on a sprightly note, while maintaining the inward gaze established throughout. Kitajewski shadows and occasionally plays unison lines with the pianist, the pair engaging in an absorbing conversation punctuated by Skolik’s sensitive percussive touches. More communicative than flashy, Zawadzki’s playing is quite moving, his conservatory training and Nordic inspirations combining in a personal expression that honors them both.
"TANGO BLUES”
GUILLERMO MARIGLIANO
From the Album:
INNER PATH
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Jazz, rock and tango make for an intoxicating blend, as proven by Carlos Santana, who even named his branded earbuds for the Argentine musical form. Another adherent to this admixture is guitarist
Guillermo Marigliano, who recently relocated from his native Argentina to Los Angeles. The leader of the Marigliano Fusion Quartet for more than 20 years, he’s performed in Europe and all over Latin America. When not on the road, he’s held down a faculty position at Argentina’s Technological Institute of Contemporary Music for about a dozen years, been musical director for shows like the Hugo Award-nominated
Yo No Soy Amy (about Amy Winehouse) and wrote scores for films such as
Jazz Is Like Bananas, a documentary about the historic Buenos Aires jazz scene. The self-released
Inner Path is Marigliano’s first album since hitting L.A., recorded at Burbank’s Tritone Studios with a sterling group of area musicians. “Tango Blues,” included here, begins with the leader’s introductory riff on his bass strings and opens into a contemporary jazz-tango fusion. Marigliano’s fiery leads, punctuated by bluesy string bends, are supported by pianist Josh Nelson, bassist John Leftwich and drummer Aaron Serfaty, who maintain simmering rhythmic intrigue throughout. Nelson delivers a stately piano solo at the midway point, marking a transition to an incendiary blues section powered by Marigliano’s Santana-esque conflagration.
"RAINBOW NATION”
JONATHAN BUTLER
From the Album:
UBUNTU
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The title to
Jonathan Butler’s latest album,
Ubuntu (Mack Avenue), is the Zulu word for unity, a recognition of the humanity of even one’s oppressor, as magnanimously displayed by the South African leader Nelson Mandela. Growing up in Capetown, Butler experienced the horrors of apartheid, and recalls early experiences of performing at whites-only establishments. Now a globally recognized contemporary-jazz icon, Butler reflects on the past — and the example of Mandela — to comment on the state of current race relations in the U.S. and elsewhere. The uplifting “Rainbow Nation,” included here, begins with Butler’s distinctive acoustic guitar picking, which almost sounds like an
m’bira, or African thumb piano, and features choral vocals sung by Butler and vocal arranger Tony Soll. The piece soars with the contributions of bassist, arranger, multi-instrumentalist (and co-producer) Marcus Miller, trumpet player Russell Gunn, electric guitarist Ernie Smith and others, and echoes the positivity of the lyrics: “Speaking our minds, spreading our stories/Seek and we shall find those allegories/Trying to fix the messes that we messed up/The haze before it clears, the salt of our tears.” Another track on the album is titled “Our Voices Matter,” and Butler makes the point again and again throughout
Ubuntu.
"SINCE A HATCHET WAS A HAMMER”
DAN WILSON
From the Album:
THINGS ETERNAL
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On the cover photo of his recording
Things Eternal (Mack Avenue),
Dan Wilson sports a T-shirt with a familiar message: “Keep on keepin’ on.” Resilience has been crucial to the guitarist, who lost both of his grandparents as well as a beloved mentor and colleague, Joey DeFrancesco, in recent years. On top of that, his father suffered a massive stroke three days before the birth of Wilson’s second child. Counseling has helped, including the advice of a therapist to create a shrine to those he had lost. Wilson accomplishes that poignant task with his new album, even including snippets of voice mail messages on a couple of tracks — one from Wilson’s grandmother, the other from DeFrancesco — that Wilson had saved. The evocatively named “Since a Hatchet Was a Hammer” takes its title from a phrase Wilson’s 97-year-old Aunt Mary was fond of saying. David Throckmorton’s New Orleans-style drumming kicks off the tune, establishing a deep pocket along with bassist Brandon Rose, who also delivers a richly toned solo. Wilson also takes a turn in the solo spotlight, showcasing chops honed on stages alongside Christian McBride, Les McCann, René Marie, and of course DeFrancesco, and revealing the influence of touchstones such as Wes Montgomery and George Benson. Glenn Zaleski sprinkles some Fender Rhodes into the mix, and the track concludes, as it started, with Throckmorton’s funky drums.
"TWO PEAS IN A POD”
LENNIE MOORE
From the Album:
MENTORS
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From Weather Report and Steps Ahead to Don Grolnick and Toshiko Akiyoshi, composer and arranger
Lennie Moore honors his major influences on his big band release,
Mentors (Lennie Moore Music). Moore assembled a top-flight ensemble — including saxophonist Billy Martin, trumpeter Wayne Bergeron and drummer Peter Erskine — to play his compositions, with each track dedicated to a musician or group that has had a lasting impact on his life and artistry. Among those artists is Michael Gibbs, whom Moore first met when he attended a class Gibbs was teaching at Berklee College of Music that truly changed his perspective on composition. During a text conversation with Gibbs while putting together
Mentors, Moore asked him to expound on his own mentors, which resulted in a rather detailed account. Thus inspired, Moore asked other album contributors for reflections on
their mentors, which resulted in a very entertaining and instructive link on Moore’s website. Not all of the tributees on the album will be instantly recognizable to jazz fans, including flutist Andy Suzuki and keyboardist Nick Manson, for whom Moore penned the track “Two Peas in a Pod.” The three became inseparable during their senior year of high school, when they would jam at “The Shack,” a small studio out-building at Suzuki’s family home. Moore honors the connection between his pals, whose musical simpatico is alluded to in the song’s title and evident throughout the track. Suzuki’s breezy flute and Manson’s sparkling Fender Rhodes ride a cool samba groove punctuated by horns, and Moore says the sound reminds him of Joe Farrell and Chick Corea’s playing on the album
Friends.
"SADIER”
FLAMENKORA
From the Album:
FLAMENKORA
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As anyone who’s crossed the Straits of Gibraltar can tell you, Spanish and African cultures have melded in fascinating ways during the past several centuries. Musical influences have traveled back and forth to such a degree as to almost blur divisions, as evidenced by the music on
FlamenKora (Motéma), a recent release by a trio of the same name. Comprising German-born, New York-based trumpeter Volker Goetze, Spanish flamenco guitarist Alejandro Moreno and Senegalese kora master Ali Boulo Santo Cissoko,
FlamenKora combines African and Spanish traditional forms with some jazz sensibilities. Each player is steeped in the music. For a dozen years, Goetze toured internationally with kora expert Ablaye Cissoko, with whom he recorded three albums; Moreno, who was born in Madrid, studied under flamenco master Enrique Vargas; and Dakar native Ali Boulo Santo Cissoko is the nephew of Soundioulou Cissokho, a.k.a. “The King of the Kora,” and is said to have been “born with the kora in his hands.” Their styles blend organically on tracks such as the melancholy “Sadier,” included here, on which Goetze’s moody trumpet is joined by the sparkling, golden strings of Cissoko’s kora and the reflective and subdued flamenco guitar of Moreno. Cissoko’s vocals are also quite moving, even if listeners don’t understand the language in which he sings, and Goetze’s muted trumpet recalls Miles Davis.
"NOW'S THE TIME TO GROOVE”
TERRY GIBBS
From the Album:
THE TERRY GIBBS SONGBOOK
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While on furlough from the Army,
Terry Gibbs headed to 52nd Street to check out the action. The band he heard — Charlie Parker, Dizzy Gillespie, Bud Powell, Curly Russell and Max Roach — blew his mind. “The first four bars they played, I said, ‘Wow! What the heck is THAT?’” Gibbs related in an interview with JAZZIZ in 2017. “It didn’t even make sense to me. That’s what I’m looking for, whatever they’re doing, but I don’t know how to do it.” Fortunately, he was a quick study, establishing himself as a solidly swinging vibraphonist who infused bebop excitement into everything he did. At the age of 92, Gibbs, who had all but retired, became a viral sensation when an iPhone video of him jamming with his son, drummer and bandleader Gerry Gibbs, racked up some 200,000 hits. An album on the Whaling City Sound label ensued. Having turned 99 in October, Gibbs receives another showcase on Whaling City with
The Terry Gibbs Songbook. This time, his compositions — rather than his vibes playing — take center stage. Anchored by Gerry Gibbs, an allstar band plays 15 tracks penned by his pop and includes contributions from saxophonists Scott Hamilton and Harry Allen and vocalist Danny Bacher. However, Gibbs Sr. contributes “two-finger” piano and engages in some humorous badanage with Bacher on the track “Now’s the Time To Groove,” our selection. The rhythm section lays down a blade-sharp blues and soon is joined by a relaxed horn chorus. Bacher relays the excitement of a night out on the Street back in bop’s golden age, singing tribute to the likes of “Tatum, Oscar and Monk.” The elder Gibbs joins in the celebration, and he and Bacher offer a roll call of jazz royalty from Mary Lou Williams and Marian McPartland to “the Sonnys” Stitt and Rollins to Gibbs’ piano-and-vibes-playing stage partner Terry Pollard.
"SAMBA DO CARIOCA”
ANTONIO ADOLFO
From the Album:
BOSSA 65: CELEBRATING CARLOS LYRA AND ROBERTO MENESCAL
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As with many of his recordings,
Antonio Adolfo’s latest release carries a personal resonance for the Brazilian maestro.
BOSSA 65: Celebrating Carlos Lyra & Roberto Menescal (AAM) is the pianist and composer’s homage to a pair of incredibly influential figures in the development of the now-65-year-old bossa nova, as well as of his own career. Adolfo first worked with singer-composer Lyra in 1963, when he was hired as the pianist for a production of the play
Pobre Menina Rica (Poor Rich Girl), for which Lyra had written the music. In 1965, Adolfo joined singer, guitarist and composer Menescal’s band, and they’d later tour behind the singer Elis Regina and record together. So the songs on
BOSSA 65 have deep significance for Adolfo, who recorded the album in Brazil with a cast of A-list players. With their version of “Samba do Carioca,” Adolfo travels all the way back to his early days with Lyra, reimagining the tune that was written for
Pobre Menina Rica. Dramatic bass chords and a horn chorus set the mood, and guitar and percussion add yet another layer to the cool yet exciting vibe. Alto saxophonist Danilo Sinna, trombonist Rafael Rocha and guitarist Lula Galvao take excellent solo turns, as does Adolfo, whose elegant pianism blows like a cool breeze throughout. The prolific pianist and composer has been recording almost since the dawn of bossa nova, and his songs have been played by Sergio Mendes, Herb Alpert, Earl Klugh, Stevie Wonder and Dionne Warwick, to name a few.
"PALO VIEJO”
BOB HOLZ
From the Album:
HOLZ-STATHIS: COLLABORATIVE
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Having played in the bands of Larry Coryell, Mike Stern and Stanley Clarke — and studied with drum masters Billy Cobham and Dave Weckl —
Bob Holz knows a thing or two about fusion jazz. The Syracuse, New York, born drummer has been making a splash with his own groups and recordings, and continues to attract stellar musicians into his orbit. A startling lineup of allstars assembles for the drummer’s latest release,
Holz-Stathis: Collaborative (MVD Audio), including John McLaughlin, Jean Luc Ponty, Randy Brecker, Airto Moreira and Alex Acuna. As might be inferred by the latter two names, Holz has great affection for Latin music, as well as fusion — percussion giants Moreira and Acuna have credits to spare in both those fields. That affection is evident on tracks such as “Palo Viejo,” which rides an intoxicating Latin groove propelled by congas, bass and drum set. Penned by guitarist and Holz collaborator Dean Brown, the tune features flute and horn solos and ensembles, and takes an intriguing turn into fusion territory. While “Palo Viejo” translates as “old stick,” the drummer certainly sounds vibrant here and throughout. The recording, which was produced by Rob Stathis, also features an outstanding cover of the Chicago staple “Make Me Smile,” featuring Elliot Yamin on lead vocals.
"LUCY”
BRIAN McCARTHY
From the Album:
AFTER/LIFE
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Saxophonist and composer
Brian McCarthy expands his scope to encompass the outermost — and innermost — reaches of the cosmos on his latest recording
After/Life (Truth Revolution). Recognizing the huge leaps in imagination required of the most innovative physicists and astronomers, McCarthy celebrates that sensibility within his own work. All but one member of the nonet he assembled for his well-received 2017 recording
Better Angels return on
After/Life, and their musical simpatico — built upon shared experiences at William Paterson University or in the band of Clark Terry — is evident throughout. The concluding track, “Lucy,” is named for a probe sent out by NASA in 2021. Built on a three-note motif NASA had issued as a call to artists to create music inspired by the mission, the questing nature of the piece reflects the spacecraft’s objective to study the very origins of our solar system. Justin Kauflin’s moody piano intro communicates the loneliness of sailing into a vast, unknown universe, as well as a yearning for answers to cosmic questions, all of which is echoed by the sighing horns. McCarthy conjures a similar feeling with his lovely solo toward the song’s conclusion.
"YURI GAGARIN”
QUINN STERNBERG
From the Album:
WALKING ON EGGSHELLS
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Due to today’s political and social climate, many people are indeed “walking on eggshells.” However, that tentativeness of expression doesn’t extend to bassist-composer
Quinn Sternberg’s fourth release
Walking on Eggshells (Mind Beach). Provided by the rhythm team of Sternberg and drummer Peter Varnado, intriguing grooves power the eight original tunes on the album. Fusion and modern jazz sensibilities combine on tracks such as “Yuri Gagarin,” Sternberg’s salute to the pioneering Soviet cosmonaut, who died tragically in a plane crash not even a year after his history-making space flight. A fanfare ensemble sound opens the track, which is both optimistic and a bit anxious, likely echoing Gagarin’s own state of mind as he ventured into the depths of space. Skittering drums contrast the solidity of Sternberg’s solid acoustic bass tones, while saxophonist Sam Taylor, guitarist Nahum Zdybel and pianist Oscar Rossignoli add their own colors and resonances. Currently based in Asheville, North Carolina, Sternberg grew up in Bloomington Indiana and graduated from Indiana University’s Jacobs School of Music. He also spent seven years in New Orleans, further flavoring his eclectic approach to jazz.
"OUTDOOR VALLEY”
TOMAS JANZON
From the Album:
NOMADIC
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Guitarist and composer
Tomas Janzon has been described as “tri-coastal,” having put down roots in New York, Los Angeles and his native Stockholm, Sweden. And while he also lived for a time in Canada, and has toured all over the U.S., Janzon may as well be describing his musical scope as his varied places of residence with the album title of his most recent release,
Nomadic (Changes Music). The distinctive guitarist leads a like-minded ensemble (with alternating bassists and drummers) through a set comprising nine original tunes and thoughtful selections by McCoy Tyner, Sonny Rollins, Lee Konitz and Tadd Dameron. From the opening track, “Out Door Valley,” included here, Janzon establishes his unique instrumental and compositional style. The feeling is somewhat unsettled, reflected in the leader’s phrasing and tone, as well as an edgy rhythm established by bassist Hilliard Greene and drummer Chuck McPherson; even Steve Nelson’s vibraphone keeps listeners from becoming too comfortable. The tension never slackens, commanding attention and hardly resolving by song’s end. Throughout the album, Janzon, who studied with guitar maestro Joe Diorio and later received a master’s degree in classical guitar from USC Thornton School of Music, draws on influences from hard bop to Bach.
"BORN & BIRTH”
FOSS DOLL
From the Album:
GET IT ON
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The title of contemporary jazz band
Foss Doll’s debut album,
Get It On (Barty), gives you an idea of the music you’re about to encounter — namely, this is “baby-makin’ music.” Sexy, slinky grooves permeate tunes such as the appropriately titled album opener “Born & Birth,” our selection, marking the start of the album as well as the birth of a discography. Foss Doll comprises German pianist and keyboardist Thomas Bartylla and saxophonist Matthias Bartylla, who refer to themselves as “twin cousins” and have been playing music together since they were kids. That closeness is obvious from the jump, the cousins’ shared sensibilities evident in their blend of contemporary jazz with elements of lounge, house and pop music. Acoustic piano and saxophone evoke the R&B roots of smooth jazz, as does a bouncy but relaxed bass groove that might put ideas in the minds of the romantically inclined. Foss Doll’s so-called “lifestyle music” has made some noise in the group’s native Germany, where they shared a stage with Céline Dion during the widely televised BAMBI Awards.
"POWERHOUSE”
QUARTET SAN FRANCISCO/GORDON GOODWIN'S BIG PHAT BAND
From the Album:
RAYMOND SCOTT REIMAGINED
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Fans of vintage Loony Tunes and Merrie Melodies cartoons certainly know the music of Raymond Scott, although they might not recognize his name. Back in the day (1940s), Scott was the go-to guy for the animators at Warner Bros. studios, who utilized his manic music to accompany the antics of Bugs Bunny, Daffy Duck and other wacky mischief makers. While Scott didn’t write music specifically for that purpose, cartoon director Carl Stallings would plunder his wares to increase the onscreen mayhem. Violinist Jeremy Cohen is among Scott’s admirers, and he found a fellow fan in bandleader and arranger Gordon Goodwin. The pair collaborated on
Raymond Scott Reimagined (Violinjazz), which combines Cohen’s
Quartet San Francisco with Goodwin’s
Big Phat Band in a celebration of an under-recognized talent. Among the Scott compositions employed by Stallings, “Powerhouse,” included here, might be considered a standard, its propulsive energy mirroring the lunacy of Bugs, Daffy and Porky since World War II, as well as factory sequences involving speedy conveyor belts and other mechanizations. Aptly, the track kicks off
Raymond Scott Reimagined, with scampering drums and strings setting a caffeinated pulse. The Big Phat Band matches the quartet’s intensity, the tempo racing as it transitions into a fast swing, with Cohen’s violin in the lead. Goodwin blows an era-perfect tenor sax solo, before the combined ensembles return to the manic motif that launched so much animated hilarity.
