Category: jazz


We were first drawn to frank dean and andrew by the fantastic art of Ez Goomi; as it turns out, all of Ebi Soda‘s covers are colorful and fun, a perfect reflection of the Brighton sextet. Then there was the title of early single “when pluto was a planet and everything was cool,” which joins track titles by Max Cooper and GoGo Penguin as our favorites of the year.  And then of course the most important part, the music.
Listening to that single ~ the synth beginning, the howling Halloween sound, the keening calls, the deep bass, IDM drums and trip-hop horns, we started to think of Ebi Soda as one kind of band, when actually they are many. This particular piece, drawing on everything from early film scores to post-rock, is one of our…

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Drummer and composer Tomas Fujiwara leads a powerful experimental quartet of kindred spirits, capable of propulsive rhythms and stunning textures. His Percussion Quartet features other three virtuosos: the widely praised vibraphonist Patricia Brennan and percussionists Tim Keiper and Kaoru Watanabe. Keiper also plays the African string instrument ngoni, while Watanabe brings the shinobue, a Japanese transversal bamboo flute. Fujiwara — who spent five years with the percussion collective Stomp — composed all the contagiously forward-reaching pieces, bridging drummer Max Roach’s percussion ensemble M’Boom with vibraphonist Bobby Hutcherson’s exquisite Blue Note gems of the ’60s and ’70s. Still, the music here extends far beyond…

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Composer and arranger Ines Velasco showcases her deeply thoughtful and harmonically sophisticated big-band jazz on 2025’s A Flash of Cobalt Blue. Born in Guadalajara, Mexico, Velasco honed her skills at Berklee in Boston before branching out on projects with National Jazz Orchestra of México, the New York Philharmonic, the Metropole Orkest, Snarky Puppy, and others.
She brings all of this experience to bear on A Flash of Cobalt Blue, collaborating with award-winning Mexican writer Jorge Esquinca, whose poetry book of the same name is Velasco’s inspiration. An elegy for Esquinca’s late father, the book is a narrative biographical poem detailing a trip his family took to the Pacific Coast of Mexico in their titular “cobalt blue” Vauxhall car. It’s a deeply felt…

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Smoke Shifter leans toward tradition, which is perhaps a bit surprising given the exploratory, cutting-edge music previously produced by everyone in this quintet. Led by master percussionist Chad Taylor, the album is a diverse program of well-crafted, contemporary songs performed by an egalitarian collective.
Taylor co-founded the Chicago Underground bands with Rob Mazurek, celebrated Albert Ayler with Marc Ribot and performs with the Exploding Star Orchestra. Prominent amongst his numerous collaborations is his essential work in James Brandon Lewis’ quartet. In another vein, he joined Kevin Diehl and his mentor Joe Chambers on the all-percussion album Onilu (2025). A Philadelphian since 2017, he performs…

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Bandonegro is a Polish tango quartet. Over the course of their 15-year career, they have developed a style that, inspired by the legacy of Astor Piazzolla, combines elements of jazz and classical music. This formula has already won over audiences in Germany, Austria, France, Denmark, Switzerland and Japan.
This album, the group’s sixth, was recorded in Buenos Aires. The birthplace of tango, with its vibrant concert and dance hall scene, provided an unbeatable setting for its recording. Of the ten pieces included, nine were composed by double bassist Marcin Antkowiak.
Tanuevo (the title a play on the tango nuevo genre) features prominent musicians from the Argentine jazz circuit: guitarist Lucio Balduini…

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The creative community centered in Amsterdam, Netherlands, can be seen as the modern-day equivalent of a city once known as New Amsterdam — a 17th-century Dutch settlement that would eventually become New York City.
Just as modern jazz flourished in mid-20th-century New York, some might argue that today’s hotbed of creative music resides in old Amsterdam. Evidence for this can be found in Old Adam on Turtle Island, a stunning musical creation by a multicultural quartet.
Led by American saxophonist John Dikeman, the quartet previously released Sunday at De Ruimte (2021) with Frank Rosaly on drums. In this new venture, Rosaly has been succeeded by Korean drummer Sun-Mi Hong.

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It is now 16 years since the unique voice and performances of UK-based Sudanese-Italian singer Amira Kheir first emerged onto an international stage, and 14 since the release of her debut album View from Somewhere.
Seven years after album Mystic Dance, Kheir returns with a fourth album that celebrates everything vibrant and vital about Sudan. The lyrics on Black Diamonds – in Arabic, English and Italian – explore loss, yearning, the fragile sparkle of love, and offer a poignant, though unspoken, reflection on the ongoing civil war and humanitarian crisis in Sudan. Kheir’s own compositions frame carefully selected classic songs by Sudanese greats, plus a cover of Italian group Matia Bazar’s ‘Ti Sento’, rendered in a classy ’90s-style jazz-soul,…

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Cruelty Bacchanal, the second release from guitarist Matt Hollenberg’s group Shardik, is a ferocious statement of intent. Years in the making and issued on John Zorn’s Tzadik label, the album presents a volatile and politically charged fusion of modern classical structure, metal intensity, and free jazz unpredictability.
Hollenberg’s compositions are marked by intricate rhythmic architecture and an uncompromising sonic vision, alternating between explosive virtuosity and dark, layered atmospheres.
Executed with surgical precision and blistering intensity, Hollenberg’s playing veers between soaring lyricism, dense harmonic structures and searing improvisation. The result is a tightly coiled set of compositions that challenge…

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Alex Hitchcock made his name as an emerging talent in London when he decided to move to New York City to, as he put it, “engage with the music being made here, because as a white British musician playing Black American music, engaging with the context in which that music is made is important.” Letters from Afar is his first shot across the bow from America, putting together a stellar band from the city’s local jazz scene. The songs are all Hitchcock originals, and the band plays the hell out of them. Lex Korten creates hypnotic groves behind the horns, and Harish Raghavan and Jongkuk Kim provide the complex rhythmic background for Hitchcock’s compositions. Having worked with some of the finest young musicians in London, Hitchcock makes good…

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Cosán Casta means ‘winding path’, an apt title for this collaboration between fiddle player Aoife Ní Bhriain and pianist Cormac McCarthy. Their musical wanderings have taken them in many directions – classical, jazz, avant-garde – and have now brought them back to Irish traditional music, influenced by what they’ve picked up on the way.
‘A Mháire’ begins with the fiddle alone (Ní Bhriain has a deep interest in J.S. Bach’s works for solo violin), then she bends notes like a piper – and it turns out it’s inspired by a slow air collected from a blind piper called O’Hannigan, a year before the Great Famine. Ní Bhriain’s and McCarthy’s beautiful piece is inflected by that coming tragedy. Sometimes McCarthy’s piano supports the fiddle. In ‘Butterfly’, chords become blooms…

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November 1978. Henry Cow disbands after a decade of music that redefined the boundaries of experimental rock. November 2022. Four founding members return to the stage. Not to look back – but to improvise the present. Fred Frith (guitar, violin, electronics), Tim Hodgkinson (keyboards, saxophone, lap steel, electronics), Chris Cutler (drums, percussion), John Greaves (bass, vocals): the original core reunited under the name Henry Now. The key is in the name – as Clive Bell noted in The Wire, this is not a nostalgia project.
No scores. No prepared material. Only the instinct honed over fifty years of sonic exploration. For many, the music of Henry Cow represented a transformative listening experience…

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Drummer Carl Allen digs into the acoustic jazz tradition with gusto on 2025’s Tippin’. Joining him are two equal jazz heavyweights in saxophonist Chris Potter and bassist Christian McBride. These are musicians who can play anything and have, digging into big band, avant-garde, and fusion. This is especially true of Potter, whose albums often push the edges of post-bop. All of which makes their collaboration here such a delight. Tippin’ is a kind of throwback jazz album, a straight-ahead blower split between classic standards and originals. It’s also a trio album without a chordal instrument like a piano or guitar. This means McBride is the only harmonic anchor and both he and Potter are free to move in an almost three-dimensional way through…

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Camila Meza offers one of her most sonically creative and personal albums with 2025’s Portal. Her first album since 2019’s Ambar, Portal was recorded following the birth of Meza’s first child, an experience that informs many of her songs. Rather than mix covers alongside originals, here Meza has for the first time written every song, lending the production a deeply intimate, handcrafted quality. These are flowing songs that find the Chilean guitarist and vocalist singing in both Spanish and English. She is equally as fluid stylistically, and much of the album has a cross-pollinated sound, bringing together her adept fusion and post-bop jazz chops with her ear for sun-dappled Brazilian and Latin pop traditions. Joining her is a cadre of equally gifted…

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The sophomore record from Portuguese free jazz saxophonist Rodrigo Amado’s international quartet The Bridge — with German pianist Alexander Von Schlippenbach, Norwegian bassist Ingebrigt Haker Flaten, and American drummer Gerry Hemingway — arrives with Further Beyond, a powerful statement of collective freedom and risk-taking. Across three freely improvised tracks, the quartet demonstrates a shared instinct for adventure and a deep trust in spontaneous creation.
The opening piece, “A Change Is Gonna Come”, begins on a fluttering rhythmic pulse that soon opens into a Coltrane-inspired spiritual voyage. Von Schlippenbach’s fractured yet dance-like piano fluxes collide with Amado’s searing saxophone cries, while Hemingway and…

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Just a minute and 40 seconds into You Want That Too!, Max Jaffe and his cast of collaborators pull off the first of many head fakes. Opener “Up Top Up,” builds slowly and softly, with plinking piano, pulsing guitar, and bleepy synth organizing themselves like the multicolored tiers of a bismuth crystal. For a full minute, the quiet concatenation gurgles along, accumulating extra notes and flourishes, suggesting an eventual kosmische surge. But instead, each instrument disappears and the tempo drops to half-time, leaving only an uneasy chord structure and a lethargic drum pattern. Suddenly, Jeff Parker plucks a sighing six-note guitar run, dropping his shoulders into a solo section that carries the tune to its swooning conclusion. It’s only three minutes…

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This is the 10th release from the Nigel Price Organ Trio and like a mantra from a corporate business consultant, they have a commitment to continuous improvement, resulting in their sparkling album It’s On. Acknowledged as one of the UK’s leading jazz guitarists, Nigel Price has a career that has brought him multiple awards, contributions to over 60 albums and appearances with Van Morrison and Gladys Knight. He is also the founder of Grassroots Jazz, a charity that raises money for jazz clubs facing financial difficulties.
The trio is completed by Ross Stanley on Hammond organ and Joel Barford on drums, both of whom take pleasure in the creative freedom and interplay that the trio format provides. The album features six Price originals alongside…

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