Category: jazz


British trumpeter Laura Jurd has been around for a while – her first album came out in 2012 – but remains relatively unknown on these shores. Though young in jazz years (she’s still under 40), she’s worked in a diverse array of modes, from last year’s adventurous session with British legend Paul Dunmall to the amiable rollick of 2022’s aptly titled The Big Friendly Album to her albums with the ECM-minded quartet Dinosaur.
Jurd’s latest leader album, Rites and Revelations deals somewhat in the ceremonial and epiphanic, but it could serve as an awakening to American listeners unfamiliar with her work.
As a trumpeter, bandleader and woman, Jurd may fit the bill for fans of jaimie branch looking to fill the hole left by their untimely passing.

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By the mid-’60s, European touring had become a routine familiar to many of jazz’s most well-known practitioners. Thelonious Monk was already over two decades into his career when he began to visit Europe in earnest. Europeans were excited to experience Monk and his storied personality, often focusing as much on his appearance and idiosyncratic behavior ahead of the music.
The release of Bremen 1965 finds the legend on his second tour to feature stops in Germany with his seasoned quartet featuring his longtime saxophone foil, Charlie Rouse, along with bassist Larry Gales and drummer Ben Riley. Bremen, Germany was the second stop on the quartet’s world tour, which would include much of Europe, Australia, and Japan. The recording was made on…

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Juan Pastor‘s Afro-Peruvian jazz outfit Chinchano has undergone personnel changes since its 2014 inception, but the iteration on its fifth album is a keeper. While pianist Stu Mindeman has been with the project from the start, the bass and horn chairs have been occupied by different players. Now, the quintet on Memorias featuring bassist Matt Ulery, tenor saxophonist Dustin Laurenzi, and percussionist Gian Luiggi Cortez Mejía feels like the most perfect realization to date of Pastor’s vision. For the drummer and cajón player, this incarnation offers a “more mature, introspective approach to blending Peruvian music with jazz,” and some of that can definitely be attributed to Laurenzi, whose attack is more smooth than abrasive.
As intimated by the title, the album’s thematic…

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Lucian Ban and Mat Maneri have been playing Transylvanian-tinged music together for 15 years, the last half-decade with reeds master John Surman. The trio’s latest release, Cantica Profana – as well as a companion album, The Athenaeum Concert – shows the three improvisors at the top of their form. The collaboration began with 2020’s Transylvanian Folk Songs, a set of tunes based on field research of Bela Bartók. Bartók’s recordings include thousands of melodies, which Ban and Maneri whittled down to just a handful. Most of the ones they chose were originally played by violin, flute, and bagpipes, an orchestration not impossibly distant from the contemporary group’s combination of viola, saxophone/clarinet, and piano.

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Yako Trio’s eclectic instincts are fully on display on their latest album, Woven, an even-keeled exploration of genre-bending ambiences filtered through the group’s distinctive lens. The Thessaloniki-based trio — pianist Leandros Pasias, bassist Vangelis Vrachnos, and drummer Giorgos Klountzos Chrysidis — expands into a quintet here with two guest woodwind players: New Zealander saxophonist James Wylie and Athens-born flutist Harris Lambrakis.
This highly listenable session opens with “Mr. McCoy”, a tribute to pianist McCoy Tyner and the invigorating energy of his playing. Written by Pasias, the piece centers around a rich harmonic riff while Coltranean lines surge from the frontline. Swinging underneath with…

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Live at Smoke is the last of the living birthday celebrations for the late, great drummer, Al Foster. These celebrations had been ongoing for more than a decade, and fortunately, the 2025 session was recorded on January 18 and 19, 2025. Foster passed away on May 28, 2025,  before the music could be released, but Foster did hear the final mixes. Foster leads a top-shelf quartet for this last celebration. Saxophonist Chris Potter, who was very close to Foster, was a regular at these celebrations. Joining him were the acclaimed pianist Brad Mehldau and renowned bassist Joe Martin.
Foster has a history with many of the greats, from Sonny Rollins to Miles Davis. Accordingly, the set list includes compositions from Rollins and Wayne Shorter as well as a piece each…

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Over two sides of an LP, Ensamseglaren takes us along paths of genteel jazz, intriguing experimentation, thunderous doom, and brassy sighs capable of breaking your heart. With her 12-strong ensemble, reassembled after a five-year hiatus in order to help work through the grief of losing her father (the lonely sailor to whom the album title alludes), Anna Högberg has transcended any clichés about getting the old band back together. Their collective expression, their artistry, their simply being with one another, proves itself to be a viable method for processing the chest-hollowing feeling of parental loss.
‘Ensamseglaren / Inte Esam’ begins with gentle tapping, scraping, and a gloopy suction sound. Rain disturbs a window, and a rope appears…

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Multi-instrumentalist Chris Franck and DJ and producer Patrick Forge have been making music under the moniker Da Lata for a good quarter-century now. In all that time, the gist of the project has remained largely consistent: Da Lata‘s music is warm, soulful, and made, more or less, in collaboration with (or at least inspired by) artists working with musical styles that have emerged from African-Brazilian interchanges.
It’s a comfortable niche for Da Lata, which has done an admirable job of making music that holds up pretty well over the decades, even with heavy lounge and jazz-fusion vibes. Now, a full 25 years after the debut of Songs from the Tin, the new album Edge of Blue continues the group’s steady stream of appealing tropical grooves.

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Martian Sunset is the latest album from American vibraphonist and composer Bill Ware, who, over a three-decade career, has carved his path across a variety of ensembles including The Jazz Passengers, Groove Collective, the trio Vibes, and Rez Abbasi’s Acoustic Quartet. The ten original compositions were written anew — though initially conceived as part of his pandemic-triggered 1k Song Project — for The Club Bird All-Stars, the long-running vehicle for his prolific creativity, formed in 1993 after a three-month engagement at the beloved Japanese venue Club Bird. The group’s new iteration features adventurous guitarist Rez Abbasi, seasoned bassist Jay Anderson, and unsung drummer Taru Alexander, with pianist Matt King remaining in the lineup.

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The saxophonist Pharoah Sanders was often described as an enigma of jazz, once famously characterized as “a mad wind screeching through the root-cellars of Hell.” That “mad wind” is absent on Love Is Here: The Complete Paris 1975 ORTF Recordings, but the enigma remains. This pivotal album captures Sanders stretching out, away from his Impulse! Records contract, exploring a sound that moves beyond late-stage John Coltrane and places a greater emphasis on tone, melody, and lyrical expression.
Recorded live at Maison de la Radio’s Studio 104 in Paris on November 17, 1975, this set is a crucial document that bridges the gap between his turbulent free-jazz explorations and the meditative tranquility of his later work.

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The infectious energy and bombastic grooves of jazz/soul drummer/band leader Makaya McCraven are channelled into the most focused and cohesive overall recording of his career so far on Universal Beings. That the sound quality is more pristine than previous releases certainly helps — it’s no easy feat to get this kind of clarity on a live recording — but it’s the songs themselves that feel the most honed.
While the music is clearly rooted in jazz, the influences on this ensemble’s sound are vast and worldly, if not measurably universal. With “Black Lion,” McCraven and company tap into the deep pocket and simple repetitive hooks of hip-hop, while allowing room for jazzy flourishes filled with subtle nuance to sub in for the absent vocals. Elsewhere, surprisingly baroque violin…

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Culled from previously unreleased recordings from Swedish television and radio archives, Golden Flower: Live in Sweden presents Yusef Lateef leading two different quartets in performances in Sweden in 1967 and 1972. Always commanding on both tenor sax and flute, Lateef is in excellent form on both dates, with each showcasing a different side of his artistic character. While Albert “Tootie” Heath is the drummer on both sets, the 1967 material, recorded at a club date in Stockholm, features Swedish musicians Palle Danielsson on bass and Lars Sjösten on piano. This half of Golden Flower tends to be smoother and more straight-ahead, with Lateef and his group cruising through a cool take of “Straighten Up and Fly Right,” the playful and even silly inclusion…

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Motion II is the second batch of tracks from the session that produced last year’s highly acclaimed Motion I. In 2024, Blue Note celebrated its 85th birthday with a touring quintet of its leading contemporary musicians. At some point during the grueling tour, the members found time to enter a Hollywood studio to capture the magic of their collective sound. Remember that most anniversary celebrations suggest the past. Here, that is remotely subtle. The emphasis is instead on fresh music through the collaborative efforts of pianist and musical director Gerald Clayton, alto saxophonist Immanuel Wilkins, vibraphonist and marimba player Joel Ross, bassist Matt Brewer, and drummer Kendrick Scott.
Those familiar with these artists will not be…

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There’s a rare acoustic alchemy at play in Time Is a Blind Guide. Personnel changes have guided and co-shaped the musical character of Norwegian drummer Thomas Strønen’s ensemble and on the group’s third recording we once again experience a slight shift in the line-up, with Leo Svensson Sander replacing Lucy Railton on cello.
The new voice blends seamlessly into the quietly breathing ensemble sound, with a sparse but most precise Ayumi Tanaka navigating her way empathetically across the keyboard, responsive to Strønen’s percussive layers, Ole Morten Vågan’s bending double bass work and Håkon Aase’s lyrical violin accounts. At times the group’s three string instruments make up a firm trio-unit that enters into thoughtful dialogue with…

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Emerging German saxophonist Julius Gawlik, a member of the prestigious NDR Big Band, has been developing his voice through several groups, including Jim Black & The Shrimps, Evi Filippou’s inEvitable, and the Jochen Ruckert Trio. Having already made a mark on the Berlin scene with these projects, it was more than time for Gawlik to release his debut album as a leader — fronting a tight yet open-minded quartet with Filippou on vibraphone, Phil Donkin on bass, and Black on drums. These bandmates help him sharpen the breadth of his stylistic palette.
“There Are No Ugly Dogs” begins in a quiet, nearly whispered mode, with saxophone and vibraphone fused in heady melodicism over an understated bass–drums pulse. The sound…

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U.S. jazz-funksters Lettuce are firmly rooted in the late-sixties/seventies when artists such as James Brown/Maceo Parker and Tower of Power held sway. With the popularity of disco in the late-seventies many erudite funksters crossed over, so we had the likes of Earth, Wind & Fire regularly raiding the charts.
As previously, this band are also close in spirit to The Meters who were pioneers of nascent funk/R&B, characterised by their 1969 hit ‘Cissy Strut’.
The interjection of a sharp twin-horn/brass section (Ryan ‘Zoid’ Zoidis, Eric ‘Benny’ Bloom) is a highlight as on opener ‘Grewt Up’ which reminds a little of the swing of Hugh Masekela’s ‘Grazing In The Grass’, although with suitably…

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