Pluto in Aquarius is the third album from cellist Janel Leppin‘s Ensemble Volcanic Ash. It follows 2024’s aclaimed To March Is to Love.
Fans of the quintet’s sometimes chaotic weave of formal composition and improvisation are in for something different here. These compositions and arrangements are lower to the ground, more intimate, and spacious even at their most adventurous. The avant chamber group of their first two outings has given way to a rawer, looser approach by these Washington, D.C.-area luminaries that include guitarist Anthony Pirog, bassist Luke Stewart, tenor saxophonist Brian Settles, and drummer Larry Ferguson. Leppin plays cello and the Yamaha CP-70 electric grand piano.
There is tension here, but it’s developmental…
Category: jazz
Slow Accordion is acclaimed guitarist Oliver Wood, of The Wood Brothers, Matt Glassmeyer, of New York and Nashville’s improvised music scenes, on his own strange Wurlitzer and percussion (Billy Martin, Lambchop, Aqua Teen Hunger Force), far-out, hard-grooving bass player Ted Pecchio (Col. Bruce Hampton, Doyle Bramhall II, Tedeschi Trucks Band), and magically versatile drummer Mark Raudabaugh (Sierra Hull, Donna the Buffalo, Jim Lauderdale). Four boundlessly inspired, Nashville-based musicians (and longtime friends) with no preconceived ideas or concepts beyond coming together to conjure music out of thin air, purely in the present moment. Their debut album, on Royal Potato Family/RPF Records, is a completely improvised and analog work…
When Pharoah Sanders initially recorded with Theresa in 1979, he was still under contract to Arista. Arista refused to let Sanders be pictured on the cover or mentioned in the title, resulting in the album being issued as Ed Kelly & Friend, although anyone with even a passing knowledge of Sanders’ style immediately recognized his playing. The reissue corrects the title situation and adds five 1992 bonus selections by pianist Kelly to fill out the disc. The first six tunes comprise the original session, and they established a pattern that Sanders faithfully followed throughout his Theresa tenure. They included curious remakes of Sam Cooke’s “You Send Me” and “Pippin” from the Broadway show of the same name, the anguished, wailing “You’ve Got to Have Freedom”…
At Iridium 2004 is a vast work. Cecil Taylor also leaves behind similarly vast territories of sound: the 10-disc Feel Trio recordings 2 Ts For A Lovely T (Codanza Records, 1995) or the monumental In Berlin ’88 box (FMP, 1989). Within jazz, his music stands like a monolith-challenging and imposing. Cecil Taylor Orchestra Humane’s At Iridium 2004 continues the tradition.
Taylor’s hallmark intensity remained undiminished at the Iridium residency. Contemporary accounts suggest that these performances functioned less as conventional free-jazz engagements than as laboratories for large-scale compositional thinking. The music confirms that Taylor’s technical command and imaginative reach were fully intact. His pianism-still astonishing…
America is Orquesta Akokán’s fourth album. In a relatively short time, the multi-generational, international big band has won over audiences from Miami to Tokyo and many stops between with their reinvigorated take on the golden era of Cuban mambo, rhumba, salsa, bugalu, Latin soul, tumbao, and cha-cha-cha all wedded to 21st century Latin jazz.
Issued just a week after the U.S.’s 250th anniversary, the set, recorded live to tape by Daptone’s Gabriel Roth at Penrose Recorders, still relies heavily on always swinging mambo, at once intimate and poignant. They debut new vocalists in singer/musicologist/recording artist Mariam Elhajli (who has worked with Mali Obomsawin, Adam O’Farrill, Jason Lindner…
Friends and colleagues since the late ’70s, Evan Parker and John Zorn are two of contemporary music’s most uncompromising saxophone innovators, and here they collaborate on a surprising and long overdue studio project.
Recorded in New York and Britain from 2025 to 2026 Those Landings is an achingly beautiful exploration of modern reed music with an ambient touch from two radical musical philosophers who use the saxophone as a sound source.
Rather than focusing on traditional jazz forms, Parker and Zorn treat the saxophone as a source of texture, atmosphere and sound itself, creating music that feels exploratory, intimate and unexpectedly beautiful. A long-overdue collaboration between two of contemporary…
The New York quartet ContraPunctus eases into the third track on its 2026 self-titled debut with about 15 seconds of musical suggestion. Bassist Gui Duvignau and drummer Hamir Atwal respond to pianist Carmen Staaf’s gentle Fender Rhodes melody with a tempo that starts at a comfortable clip. Staaf eloquently establishes the melody in the next few seconds — Juan Tizol and Duke Ellington’s “Caravan” — that clarinetist Mike McGinnis picks up and continues. McGinnis and Staaf trade the tune’s theme as the quartet establishes an elastic, rollicking synergy.
This “Caravan” came about during a moment of collective improvisation the group made time for in the recording studio, summoning this restless and introspective version of a jazz standard…
For a pianist whose prodigious recorded legacy goes back to the 1960s, Ran Blake has only rarely deviated from his preferred settings: solo albums and duos with vocalists. While his Short Life of Barbara Monk (1987) is arguably one of the finest quartet records of the 1980s, and his Sonic Temples (2001) is a superb later trio effort, he has for the most part been largely content to limit himself to more intimate contexts, especially with talented singers such as Jeanne Lee, Christine Correa and, more recently, Sara Serpa and Dominique Eade.
His first two records with Eade, Whirlpool (2011) and Town and Country (2017), offered compelling readings of the American songbook, both within and outside standard jazz…
FATHERS conjure a tropical, ’70s-inspired jazz, funk, and fusion atmosphere on their eponymous 2026 Blue Note debut. A supergroup, FATHERS features creative director/producer Kenneth Blume (aka Kenny Beats), keyboardist Keifer Shackelford, bassist/multi-instrumentalist Ben Carr (aka CARRTOONS), and drummer Nate Smith. While they formally came together in 2026, the group initially began as a one-off collaboration when Smith brought Kiefer and Carr on board his 2023 residency at the Montreal Jazz Festival. No stranger to cross-genre experimentation, Smith won a Grammy for 2025’s Live-Action, an album that showcased his broad-minded taste, dipping into funk, hip-hop, and sophisticated modal jazz. Here, FATHERS take a similarly…
In 2014, drummer and bandleader Eric Harland released Vipassana, a collection of loose, groove-centric jams with a contemplative vibe. Vipassana II is almost wholly different.
For starters, only bassist Harish Raghavan returns from the earlier project. The rest of the musicians include keyboardist/electronicist BIGYUKI (Masayuki Hirano), percussionist Keita Ogawa, saxophonist Ben Wendel, and guitarist Gilad Hekselman; the latter two are longstanding colleagues while Ogawa and BIGYUKI are more recent collaborators. Over eight selections, these seven players congregate in quartets and trios, and on “Duo,” Harland doesn’t even appear.
Opener “Ghosted” and second track “Tron” are played by the trio of Harland, BIGYUKI, and…
For over three decades, Norwegian trumpeter and composer Nils Petter Molvaer has stood as one of the most influential figures in European jazz. On Be Quiet, he continues to push the boundaries of his already remarkable body of work, collaborating with a different artist in a different location on each of the nine tracks.
Molvær is no stranger to bold concepts. Since first attracting attention through his work with Arild Andersen in Masqualero, his brand of Nordic restraint has carried him across musical boundaries, gaining acclaim in electronica, club music and jazz improvisation. His landmark album Khmer (1997) set his distinctive trumpet alongside beats and electronic walls of sound to open up the way for genre-fluid instrumental…
By 1963 Miles Davis was on the cusp of being left behind. Creatively exhausted, touring with a repeatedly imploding sextet, he was also trading in a form of modal jazz that was rapidly becoming old hat compared to the frenetic, discursive innovations of John Coltrane, Ornette Coleman and Cecil Taylor. However, there were signs of promise. For three tracks on the inconsistent studio LP, Seven Steps to Heaven Davis recruited 17-year-old Chicago drummer Tony Williams, 23-year-old pianist Herbie Hancock and Michigan-born bassist Ron Carter (an ancient 26). Allied to the relentless skitter of Williams’ drums, Carter’s regal, mellifluous bass, and Hancock’s background melodic conversations, Davis was able to expand and contract his sound, allowing for more…
At first glance the sleeve’s photo shows an overhead shot of a manhole cover, with a pair of lace-up boots next to it. Closer inspection shows the pattern on the sewer grate could come from a Vasarely painting: a grid of raised metal circles of carefully ordered sizes form a globe-like image in its centre, seeming to pulsate or spin. This manhole cover was photographed by EarthBall in Geneva. Maybe they felt the primeval force that its image suggested was coming up to meet them at the gig. Do EarthBall make music that mirrors Vasarely’s idea of the “plastic alphabet” where geometrics make a visual language that “communicates, across cultures”, a language that can be assembled in any form, anywhere?
Their new album, Actual Earth Music Vol. 3 & 4,…
All of modern jazz and improvised music owes a debt to Jimmy Giuffre (1921-2008). A quiet revolutionary, Giuffre helped reshape the language of jazz in ways that many musicians now take for granted. His solo recordings anticipated those of Anthony Braxton and Roscoe Mitchell, while his early experiments without a rhythm section, common practice today, were once considered radical. Even his approach to free jazz set him apart. Where contemporaries like John Coltrane and Albert Ayler explored the music’s most explosive possibilities, Giuffre pursued a more introspective path, crafting a form of free jazz that was cerebral, restrained, and deeply attentive to space. For many listeners, Free Fall (1963), recorded with pianist Paul Bley and…
Alexander Noice makes music that is full of complexity yet also full of mirth. On his 2019 album NOICE (also the name of the ensemble he gathered for that record), his guitar work joined forces with alto saxophone, bass, drums (both acoustic and programmed) and the twin vocals of Karina Kallas and Argenta Walther as they worked their way through Noice’s knotty but endlessly catchy compositions.
…On Perpetually and Forever, Noice handles the lion’s share of the instrumentation, credited with guitar, piano, synths, vocals, and programming, with saxophones, flute, and bass clarinet added to a few of the tracks. While the somewhat “one-person band” status of the record may lead other artists to adopt a more minimalist…
Pianist Espen Berg has made alluring sounds in his pursuit of unencumbered jazz with his trio since 2014. Entropies may lean into a more free-flowing style at times, but there is great lyricality in the melodies emerging from the tunes (all originals except “Russians” by Sting). Bassist Bárður Reinert Poulsen and drummer Simon Albertsen join Berg to fill out the team. And at once, one can tell that there is superb communion and communication between them.
“Rue Saint-Michel” might not start the release, but it is an elegant, noteworthy tune. It fits the fluidity of Berg’s ideal style while still containing musical meat in the themes and motifs played throughout. Not a heavy song, the instruments glide about the sonic space. Flavia Huarachi on…
