Streamnotes: December 31, 2025

Most of these are short notes/reviews based on streaming records from Napster (formerly Rhapsody; other sources are noted in brackets). They are snap judgments, usually based on one or two plays, accumulated since my last post along these lines, back on November 25. Past reviews and more information are available here (26500+ records).

New Music

@xcrswx: Moodboard (2025, Feedback Moves): British duo of Crystabel Elemena Riley (human/drum-skin) and Seymour Wright (sax), the latter especially notable for his work in Ahmed but he's done a fair amount since 2001. Focus on percussion here. B+(***) [bc]

أحمد [Ahmed]: سماع [Sama'a] (Audition) (2025, Otoroku): British quartet, formed 2017 in tribute to bassist Ahmed Abdul-Malik, with Pat Thomas (piano), Seymour Wright (alto sax), Joel Grip (double bass), and Antonin Gerbal (drums). Sixth album, follows the box set Giant Beauty, which got a lot of attention in 2024. Four pieces (66:04). Can grate in spots, but impressive or maybe I mean awesome. I've listened to a fair amount from Thomas recently, but Wright, with 60 credits since 2002, could use further research. A- [bc]

Lina Allemano Four: The Diptychs (2024 [2025], Lumo): Canadian trumpet player, divides her time between Toronto and Berlin, side credits since 1996, albums since 2003, mostly "Fours," this one with alto sax (Brodie West), bass (Andrew Downing), and drums (Nick Fraser). Two two-horn interplay can take off. B+(***) [bc]

Marshall Allen: The Omniverse Oriki (2023 [2025], High Two): Alto saxophonist, turned 100 last year, around the time that New Dawn was being touted as his "debut" album: a lie, or at least a ridiculous rationalization that proved so attractive that I wound up rejecting a dozen poll votes for him in the Debut category. The idea that one can always start afresh is as seductive as ever, but to promote it you have to overlook 70+ years of real, substantial accomplishment. True he spent most of his career just playing in Sun Ra's Arkestra, but after its namesake passed in 1993, Allen not only took over but put his name on the revitalized ghost band (at least 6 albums since 1999). Moreover, he's increasingly played with other ad hoc groups: Discogs has him on the slugline of 28 more albums, and has him playing on 400. Allen also got votes (including one Debut) for his Ghost Horizons album, but this one, where Allen's trio meets up with Kevin Diehl's bata drums and a Lucumi chorus led by Joseph Toledo escaped attention. It is a little darker and drabber than their early work as Sonic Liberation Front, but we're all getting older (even Allen), and the expanding universe is still getting emptier. A- [bc]

Allo Darlin': Bright Nights (2025, Slumberland): Indie pop group, started in London by Australian singer-songwriter Elizabeth Morris as a solo project, morphing into a band. Fourth album since 2010. B+(**) [sp]

Joe Alterman Feat. Houston Person: Brisket for Breakfast (2023 [2025], self-released): Pianist, from Atlanta, blurb cites praise from Ahmad Jamal, Les McCann,and Ramsey Lewis, and he has a McCann tribute among his nine albums since 2009. He seems to be a fine mainstream pianist, with a bass/drums trio playing standards, but my interest is the saxophonist, approaching 90 when this was cut. It's a delight, not least when the pianist breaks loose. A- [sp]

David Amram: Honors Guthrie and Ochs: Old Souls (2025, Guthrie Legacy): A familiar name, but one I haven't thought of in ages, and can't quite place, even with the help of references which show he was born in 1930, and worked with Aaron Copland, Dizzy Gillespie, Jack Kerouac, Pete Seeger, Patti Smith, and many more. His discography includes soundtracks, string quartets and symphony orchestras, odes to Lord Buckley and Langston Hughes. Here he and his quintet offer jazz arrangements of six folk songs for a leisurely and delightful 29:15. A- [sp]

Ancient Infinity Orchestra: It's Always About Love (2025, Gondwana): Fifteen-piece "spiritual jazz ensemble" with reeds and strings but no brass, led by composer Ozzy Moysey. Second album. B+(*) [sp]

Bruno Angelini/Sakina Abdou/Angelika Niescier: Lotus Flowers (2024 [2025], Abalone): French pianist, b. 1965 in Marseille, has more than a dozen albums since 2003, composed all of the pieces here, many dedicated to prominent civil rights leaders, joined by two saxophonists (tenor and alto). B+(**) [sp]

Ashé Mystics: Fizzy Bubble Hummm (2025, High Two): Another new Kevin Diehl group, "Ashé" a Yoruba word previously used in a Sonic Liberation Front title (Ashé a Go-Go, from 2005). Trio with Joshua Marquez and Julius Masri, both described as "multi-instrumentalist," the former more focused on guitar the latter drums. B+(***) [bc]

Tarun Balani: ڪڏهن ملنداسين Kadahin Milandaasin (2024 [2025], Berthold): Indian drummer, from New Delhi, has a few albums since 2012. Title is in Sindhi, translates as "when will we meet," refers to a grandfather he never knew and a father who died in 2024, uprooted when Sind (Karachi) found itself on the Pakistani side of the 1947 partition. Quartet, recorded in Brooklyn, with Adam O'Farrill (trumpet), Olli Hirvonen (guitar), and Sharik Hasan (piano/synthesizer). B+(***) [bc]

Kenny Barron: Songbook (2025, Artwork): Pianist, b. 1943, recorded some fine albums for Muse starting in 1973, came to my attention backing Stan Getz on People Time (1991), Discogs credits him with 98 albums and 770 performance credits, starting in 1960 with Yusef Lateef, then his brother, saxophonist Bill Barron. But while he's justly famous for his albums, he may have had even more impact as an educator: the number of famous pianists who cite him on their resumes must run well past 100. One thing he's not especially noted for is accompanying singers (unlike, say, Tommy Flanagan, or Ran Blake), but there have been a few (catching my eye, up to 1991, are Maria Muldaur, Sheila Jordan, and Jay Clayton; next screen adds Helen Merrill, Abbey Lincoln, Dianne Reeves, and lesser names). This is billed as his "first album to fully feature vocals." At first, I figured this was would just be a showcase for singers — he lined up eight, some famous (Cécile McLorin Salvant, Kurt Elling, Catherine Russell), some "up and coming" (Tyreek McDole, Ekep Nkwelle, Kavita Shah) — with his piano trio — Kiyoshi Kitagawa (bass) and Johnathan Blake (drums) — tying them together. But it turns out they're all singing his music, with new lyrics by Janice Jarrett. So it takes longer to sink in than standards, and the scattered voices depersonalize it a bit. But the piano is superb. B+(***) [sp]

Believe: Spirits of the Dead Are Watching (2023 [2025], Relative Pitch): Debut group album, from "four of Australia's most experienced and dedicated improvisers," names I am at best only marginally acquainted with, on alto sax (Peter Farrar), piano (Novak Manojlovic), bass (Clayton Thomas), and drums (Laurence Pike). Even tempered, constantly engaging, a fine album among scores of other more/less equally fine albums. B+(***) [sp]

Gregg Belisle-Chi: Slow Crawl: Performing the Music of Tim Berne (2024 [2025], Intakt): Guitarist, based in Brooklyn, has several albums since 2015, including two duos and a trio with saxophonist Berne, and now a second solo album of his compositions. I have little sense of most jazz musicians as composers, probably because very few of them manage to get their pieces played by others. Berne has found a capable ambassador here. B+(**) [sp]

Jim Black & the Schrimps: Better You Don't (2024 [2025], Intakt): Drummer, b. 1967 in Seattle, has over 200 side credits since 1989, Tim Berne's Bloodcount and Dave Douglas's Tiny Bell Trio were important in the 1990s, he led Alasnoaxis 2000-13, this is his second Berlin-based Schrimps album, with bass (Felix Henkelhausen) and two saxophonists (Asger Nissen on alto and Julius Gawlik on tenor). B+(***) [sp]

Olie Brice: All It Was (2024 [2025], West Hill): British bassist, based in London, has led a bunch of album since 2015, with many more side credits. Quartet with Rachel Musson (tenor sax), Alexander Hawkins (piano), and Will Glaser (drums). B+(***) [bc]

The Brunt [Gerrit Hatcher/Dave Rempis/Kent Kessler/Bill Harris]: Near Mint Minus (2023 [2024], Aerophonic): Chicago free jazz group, two tenor saxophonists (Rempis also plays alto/baritone), backed by bass and drums. Hatcher has several records back to 2017. B+(***) [bc]

George Cartwright & Bruce Golden: South From a Narrow Arc (2025, self-released): Avant-saxophonist, also plays guitar, b. 1950 in Mississippi but long based in Minnesota, albums since 1979, best known for his 1981-2003 group Curlew, has more on his own, some (both old and new) with the Arkansas-based Mahakala label. Second duo album with Golden ("percussion and lots lots more plus the cover"). Scratchy at first, remains testy. B+(*) [bc]

Che: Rest in Bass (2025, 10K): Young Atlanta rapper Chase Shaun Mitchell (b. 2006), second album. Pitchfork called this "the platonic idea of rage rap — diced-up lines and constant distortion, with enough vulnerability to balance the outrageous hedonism." Maybe if you focus, but why sort the clutter? B+(**) [sp]

Albert Cirera & Tres Tambors: Orangina (2025, UnderPool): Catallan saxophonist (tenor/soprano), has produced a substantial body of work since 2007, has two previous Tres Tambors albums (2012 & 2017), and a previous title song that goes back at least to 2013. Leads a quartet, but only one drummer (Oscar Doménech), with Marco Mezquida (piano/rhodes) and Marko Lohikari (bass). B+(**) [bc]

The Close Readers: Trees of Lower Hutt (2025, Austin): New Zealand singer-songwriter Damien Wilkins, has more than a dozen novels and short story collections since 1990, also recorded three pretty good albums 2010-14, comes up with another one here. Sounds a lot like the Go-Betweens. B+(***) [sp]

Convergence: Reckless Meter (2019 [2025], Capri): Postbop sextet from Colorado, released three albums 1998-2003, led by John Gunther (tenor sax), with original members Greg Gisbert (trumpet), Eric Gunnison (piano), Mark Simon (bass), and Paul Romaine (drums), plus newcomer Mark Patterson (trombone), each credited with at least one song. B+(*) [sp]

Cortex & Hedvig Mollestad: Did We Really? (2025, Sauajazz): Norwegian group led by Thomas Johansson (trumpet) — with sax, bass, and drums — "(17)" at Discogs, which credits then with 9 albums since 2011, including this one with the guitarist. B+(**) [bc]

Lao Dan/Vasco Trilla: New Species (2024 [2025], NoBusiness): Chinese musician, trained in traditional flutes, regarded as a master with a number of albums since 2018, picked up tenor sax and branched into free jazz, although credits line here includes "diy flute, dizi (Chinese flute). Duo with Spanish drummer recorded in Shenzhen, bridges their worlds effectively. A- [cd]

Lao Dan: To Hit a Pressure Point (2024 [2025], Relative Pitch): Solo tenor saxophone on 7 (of 9) tracks, with suona ("a loud, high-pitched Chinese double-reed woodwind") on one, and "effects" on the other — the last track, which finally achieves a level of intensity unexpected in solo work. B+(**) [sp]

De La Soul: Cabin in the Sky (2025, Mass Appeal): Hip-hop group from Long Island, instant sensations with their 1989 debut, 3 Feet High and Rising. I didn't much care for them until their 2000-01 albums, but a collection of 1998-2001 singles is pretty great. Only three albums since 2004, the first without Maseo, this one finished after Dave (Trugoy the Dove) died in 2023 (he has six lead vocals here). B+(***) [sp]

Dieuf-Dieul De Thiès: Dieuf-Dieul De Thiès (2024, Buda Musique): Mbalax group from Senegal, two albums of their early work from 1981 were compiled by Teranga Beat and released 2013-15. The group split up in 1983, but regrouped in 2015, touring Europe in 2017. This is billed as their first studio album, but unclear when it was recorded. (One credit is that it was recorded by Christian Hierro, whose technical credits only go back to 2004.) B+(***) [sp]

DJ Travella: Twende Dance Classics (2025, Nyege Nyege Tapes, EP): Tanzanian beatmaker Hamadi Hassani, released an album in 2020 called Dr. Mixondo, returns here with four fast ones ("hyper-melodic floor fillers", short at 8:45. B+(***) [sp]

Pierre Dørge/Kirk Knuffke: Songs for Mbizo: Johnny Lives Forever (2024 [2025], SteepleChase): Danish guitarist, albums since 1979, notably with his swing-oriented New Jungle Orchestra. South African bassist Johnny Dyani (1947-86) landed in Denmark, and made a big impression on Dørge, who responded with his 1987 tribute album, Johnny Lives. This one features the cornet player, backed by bass (Thommy Andersson) and drums (Martin Andersen). B+(***) [sp]

Pierre Dørge New Jungle Orchestra: Jazzhus Montmartre Live (2023 [2025], SteepleChase): Danish guitarist, named his large band in 1982, affectionately recalling Duke Ellington's "jungle band" and possibly Django Reinhardt's "hot club," and he's sustained it for 40+ years. Discogs lists this as their 27th album. Currently a nine-piece group, mostly playing the leader's originals. B+(**) [sp]

Hamid Drake & Pat Thomas: A Mountain Sees a Mountain (2019 [2025], Old Heaven Books): Drums and piano duo, recorded live in Shenzhen, China, and released on a label there. Some terrific piano here, but Drake makes everyone he plays with sound better. A- [bc]

Mia Dyberg/Axel Filip: Hobby House (2025, Relative Pitch): Danish alto saxophonist, a dozen or so albums since 2016, this a duo with drums. B+(**) [sp]

Ryan Ebaugh/Matt Crane/Cameron Presley: Detergent (2024 [2025], Scatter Archive): Tenor sax, drums, guitar; the former seems to be younger, with a couple recent albums; the others older, with side credits starting in the 1990s, albeit mostly in bands with names like Carpet Floor (Crane) and Upsilon Acrux (Presley). Raw and harsh, which is the point. B+(***) [bc]

Rachel Eckroth & John Hadfield: Speaking in Tongues (2023 [2025], Adhyâropa): Piano and drums duo (well, long list of keyboards and percussion instruments), former has 7 previous albums since 2005, latter has a 2022 album and dozens of side credits back to 2004 (they knew each other in college). B+(***) [sp]

Editrix: The Big E (2024 [2025], Joyful Noise): Fringe jazz guitarist Wendy Eisenberg (guitar), sings in this post-punk trio with bass (Steve Cameron) and drums (Josh Daniel), third album since 2021. B+(*) [bc]

Effie: Pullup to Busan 4 More Hyper Summer It's Gonna Be a Fuckin Movie (2025, Sound Republica, EP): Korea rapper, 2nd EP, 6 songs, 13:23, topped a New York Times EOY list, call it "hyperpop" if you like, all glitchy and senseless. B [sp]

Kahil El'Zabar's Ethnic Heritage Ensemble: Let the Spirit Out: Live at "Mu" London (2024 [2025], Spiritmuse): Group started with Three Men From Chicago in 1981, the constant for 40+ years has been the percussionist, group size has varied but Corey Wilkes (trumpet) and Alex Harding (baritone sax) have been members since 2007 and 2019, joined here by Ishmael Ali (cello). Live set, includes such standards as "Summertime" and "Caravan." B+(**) [sp]

Silvana Estrada: Vendrán Suaves Lluvias (2025, Glassnote): Mexican singer-songwriter, has a couple albums, sounds vaguely folkie. B+(*) [sp]

Peter Evans, Mike Pride: A Window, Basically (2022-25 [2025], Relative Pitch): Avant trumpet and drums duo. This is often terrific. B+(***) [bc]

Feeo: Goodness (2025, AD 93): British electronic composer Theodora Laird, first album after some singles, sings, which provides most of the focus here, posing as secular gospel, ethereal and insubstantial. B [sp]

Al Foster: Live at Smoke (2025, Smoke Sessions): Drummer, side credits start in 1964 with Blue Mitchell, Discogs counts 515 album credits, notably played with Miles Davis 1972-85, not many albums as leader (first in 1978, three with this label since 2019), but this comes from two live sets celebrating his 82nd birthday, four months before he died. Stellar quartet with Chris Potter (tenor/soprano sax), Brad Mehldau (piano), and Joe Martin (bass). B+(***) [sp]

Fred Frith/Mariá Portugal: Matter (2023 [2025], Intakt): British avant-guitarist, active since the 1970s, here in a duo with the German-based Brazilian drummer, who has a few albums since 2015. A bit of vocal toward the end. B+(***) [sp]

Julius Gawlik: It's All in Your Head (2024 [2025], Unit): German tenor saxophonist (also clarinet), first album as leader, also plays in Jim Black & the Schrimps, and NDR Big Band. Quartet with Evi Filippou (vibes), Phil Donkin (bass), and Jim Black (drums). B+(***) [sp]

Dave Gisler Trio: The Flying Mega Doghouse (2025, Intakt): Swiss guitarist, several albums since 2010, this a trio with bass (Raffaele Bossard) and drums (Lionel Friedli). B+(*) [sp]

Frode Gjerstad/Alexander von Schlippenbach/Dag Magnus Narvesen: Seven Tracks (2024 [2025], Relative Pitch): Norwegian alto sax/clarinet player, Discogs lists 174 performance credits since 1983, notably his groups Detail and Circulasione Totale Orchestra, plus many collaborations ranging from Han Bennink to Ken Vandermark. Trio with the legendary pianist and a drummer who has previous duo albums with each. B+(***) [bc]

Phillip Golub/Lesley Mok: Dream Brigade (2023 [2025], Infrequent Seams): Piano and drums duo, both started c. 2020 and are making a name for themselves, but already they want to sell the album title as group name. B+(**) [sp]

Jimmy Greene: As We Are Now (2024 [2025], Greene Music Works): Tenor saxophonist, some soprano, mainstream, started on Criss Cross in 1997, 13th album, backed by piano-bass-drums, plus extra guitar, organ, and/or percussion on some tracks, and a Javier Colon vocal. B+(**) [sp]

Gregory Groover Jr.: Old Knew (2025, Criss Cross): Tenor saxophonist, real name as far as I can tell (middle name George), father was pastor at an A.M.E. church in Boston, got a degree from Berklee, second album, 10 originals plus one piece by Jason Moran, hot shot band: Joel Ross (vibes), Paul Cornish (piano), Harish Raghavan (bass), and Kendrick Scott (drums). B+(***) [sp]

Hamell on Trial: Dirty Xmas (2025, Saustex): No standards here, all originals, dirty is open to interpretation, so evidently is Xmas. B+(**) [sp]

Scott Hamilton: Looking Back (2024 [2025], Stunt): Retro-swing tenor saxophonist, impressive debut in 1977, a steady player especially of standards ever since. Quartet here with Jan Lundgren (piano), Hans Backenroth (bass), and Kristian Leth (drums), ten tracks referencing sax giants and other musicians Hamilton has played with, occasioned by his 70th birthday. Curious lack of info on the record (like release date and song credits), despite a fair number of reviews. B+(**) [sp]

Billy Hart: Multidirectional (2023 [2025], Smoke Sessions): Drummer, b. 1940, has more than a dozen albums under his own name (starting in 1977), scores more slugline credits, and hundreds of side credits (Discogs says 817, with Jimmy Smith in 1964 not his first gig but a break out). Earlier this year, he released a studio album with this quartet: Mark Turner (tenor sax), Ethan Iverson (piano), and Ben Street (bass). Here's they're back for a live set (five songs, 47:05). B+(***) [sp]

Jim Hobbs/Timo Shanko: The Depression Tapes (2024 [2025], Relative Pitch): Alto sax and bass duo, were both founders of the Fully Celebrated Orchestra in 1989 but this is their first duo album. B+(**) [sp]

Anna Högberg Attack: Ensamseglaren (2024 [2025], Fönstret): Swedish alto saxophonist, plays in Fire! Orchestra, several other groups, this one was originally a quintet in 2016 but is up to 12 members here. B+(**) [bc]

Hamilton de Holanda Trio: Live in NYC (2024 [2025], Sony): Brazilian bandolin player (using a 10-string mandolin here), dozens of albums since 1998, upbeat trio here with Salomão Soares (keyboards) and Thiago "Big" Rabello (drums), plus guest spots for Chris Potter (tenor sax), who makes the most of every opportunity. B+(**) [sp]

Julia Hülsmann Quartet: Under the Surface (2024 [2025], ECM): German pianist, steady stream of albums since 2000, fifth Quartet album since 2013: Marc Muellbauer (bass), Martin Abrahamsen (drums, new here), started with a trumpet player, but switched to tenor sax (Uli Kempendorff) in 2019. This one adds Hildegunn Øiseth (trumpet, goat horn) on five tracks. B+(***) [sp]

ICP Orchestra: Happy Birthday → Naar Zee Z.O.Z. (2025, ICP): The gang's all here, on the occasion of what would have been founder-pianist Misha Mengelberg's 90th birthday, with Guus Janssen filling at the piano, and possibly only drummer Han Bennink still here from the Instant Composer Pool's 1967 Tentet debut.. B+(**) [bc]

Instant Arts Quartet: Lingua Franca (2023 [2025], High Two): Philadelphia-based percussionist Kevin Diehl, best known for leading Sonic Liberation Front, with bass (Pete Dennis) and two horns: Terry Lawson (tenor sax) and Matt Lavelle (trumpet, alto/bass clarinet), with some switches to bamboo flute, gong, and bells. The horns spin freely, relentless conflict and communication, as no one's writing harmony lines here. A- [bc]

James K: Friend (2025, AD93): "Experimental musician and visual artist from NYC," Jamie Krasner, debut EP in 2013, fourth album, sings over beguiling electronic beats. B+(**) [sp]

Simon Jermyn/Otis Sandsjö/Petter Eldh/Lukas Akintaya: Obsany (2023 [2025], Elastic): Irish bassist, fifth album since 2007, based in Berlin after 11 years in New York, quartet there with sax, electric bass, and drums, adding Michaël Attias (sax) on three tracks. Nice record, tails off a bit. B+(**) [sp]

Steve Johns: Mythology (2024 [2025], SteepleChase): Drummer, has a 2002 album, a few more since. Leads a postbop group with guitar (John Hart), piano (Greg Murphy), vibes (Monte Croft), and bass (Joris Teepe), playing four of his own originals, three from Teepe, one from Hart, and two standards (sung by Croft, who also plays some harmonica). Discogs credits him with four albums 1989-93, and a 16 year credits gap before he picks up again in 2020, but he's the player you notice most here. B+(*) [sp]

Laura Jurd: Rites & Revelations (2024 [2025], New Soil): British trumpet player, debut 2012, probably best known for her group Dinosaur (3 albums 2016-20). Quintet with folk musos Martin Green (accordion) and Ultan O'Brien (violin/viola), along with Ruth Goller (electric bass) and Corrie Dick (drums). The folk music is vital, and the jazz just builds on it, like Miles on funk. A- [sp]

Kokayi: Live at Big Ears: The Standard Knoxville, TN (2025, Why!Not): Bandcamp page threw me with "no, not the Washington, D.C.-born iconoclast who helped establish the city as a hip-hop landmark," but Discogs has the same artist (Carl Walker) I had previously filed under rap working with Steve Coleman in 1995 and Ambrose Akinmusire in 2025, so while playing this I moved him from rap to jazz vocals. I can hear the Bobby McFerrin and Jon Lucien the liner notes cite, but also echoes of Swamp Dogg and Coltrane. B+(***) [sp]

Sarathy Korwar: There Is Beauty, There Already (2025, Otherland): US-born, India-raised, London-based percussionist, has a handful of albums since 2016, thoughtfully tying his whole world together. This is an enchanting, otherworldly groove album, with a bit of vocal aura and a few words. A- [sp]

Mon Laferte: Femme Fatale (2025, Sony Music Latin): Singer-songwriter from Chile, based in Mexico, 10th album since 2003. Sounds like something I might like much more if I could understand the lyrics and focus better on the music. B+(**) [sp]

Stian Larsen/Colin Webster/Ruth Goller/Andrew Lisle: Temple of Muses (2022 [2025], Relative Pitch): Norwegian guitarist, has several free improv albums, here with sax, bass, and drums. Liked the edginess at first, but seemed to tail off toward the end. B+(*) [sp]

Led Bib: Hotel Pupik (2025, Cuneiform): British fusion group, ninth album since 2005, led by drummer Mark Holub, with Liran Donin (bass) and two saxophonists (Pete Grogan and Chris Williams). B+(*) [dl]

Nick León: A Tropical Entropy (2025, Tra Tra Trax): South Florida electronica/hip-hop producer, fifth album since 2016. B+(*) [sp]

Los Thuthanaka: Los Thuthanaka (2025, self-released): Electronic musician Elysia Crampton, born in California, grew up in Virginia, first album released as E+E in 2008, followed by several in 2015-18 before adopting the name Chuquimamani-Condori, drawing on her Bolivian heritage, here in a duo with brother Joshua Chuquimia Crampton. I'm finding this uncomfortably loud and abrasive, but it's easy to seel the appeal if you're tuned into the energy. B+(**) [bc]

Kali Malone + Drew McDowall: The Sacrificial Code (2025, Ideologic Organ): Electroacoustic composer, straddles drone and minimalism, handful of albums since 2015, working here with a similar but older musician (b. 1961 vs. b. 1994), whose earlier work (1994-2002) was mostly in the group Coil. B+(*) [sp]

Fabia Mantwill Orchestra: In.Sight (2025, GroupUP Music): German saxophonist, sings some, second album, orchestra is loaded with strings, has half a big band's load of horns, adds harp and mallets, uses guitar but no piano, has guest spots for kora, accordion, and lap steel. B+(**) [bc]

Paul Marinaro: Mood Ellington (2022 [2025], Origin): Standards singer, born in Buffalo, based in Chicago, has a couple of previous albums from 2015, tackles 25 pieces from the Ellington songbook, arranged in three sets, backed by a nine-piece band plus a phalanx of violins. Good singer, songs not always well suited, arrangements hit and miss. B+(**) [sp]

Dave McMurray: I Love Life Even When I'm Hurting (2025, Blue Note): Saxophonist from Detroit, discography starts around 1980 with Griot Galaxy and Was (Not Was), has involved a lot of prominent studio work (B.B. King, Bob Dylan, Gladys Knight, Rolling Stones, B-52s, Iggy Pop, Bootsy Collins, John Sinclair, Mitch Ryder, Brian Wilson, Nancy Wilson, Geri Allen, Kid Rock), with occasional records as a leader (3 1999-2003 albums on Hip Bop, Blue Note since 2018). I like the grit in his saxophone here. I'm less impressed with his vocalists (Herschel Boone, Kem). B+(*) [sp]

Tony Miceli: Nico's Dream (2024 [2025], SteepleChase): Vibraphonist, side-credits at least as far back as 1991 but counts as his first album. With guitar (Paul Bollenback), bass, and drums. Zips right along. B+(**) [sp]

Kelsey Mines/Erin Rogers: Scratching at the Surface (2022 [2025], Relative Pitch): Bass and sax (tenor/soprano) duo, weaving together contrasting tones. B [sp]

Kelsey Mines/Vinny Golia: Collusion and Collaboration (2025, Relative Pitch): Golia plays piccolo and contrabass flutes, Bb clarinet, and sopranino saxophone, in a duo with the bassist, who also contributes "expressive vocal textures." B [bc]

Fred Moten & Brandon López: Revision (2025, TAO Forms): Wikipedia describes Moten as a "cultural theorist, poet, and scholar whose work explores critical theory, black studies, and performance studies." His bibliography is split between "academic" and "creative," with the latter extending now to three albums since 2022, the first two with López (bass) and Gerald Cleaver (drums), this just with bass. I doubt I gave this one enough time. B+(***) [sp]

Wolfgang Muthspiel/Scott Colley/Brian Blade: Tokyo (2024 [2025], ECM): Austrian guitarist, has close to 30 albums since 1989, some fusion-oriented, some more introspective. His 2006 duets with Blade are a high point, and their work with the bassist goes back at least to 2000. B+(**) [sp]

Max Nagl Quintett: Phasolny (2025, Rude Noises): Austrian alto saxophonist, albums since 1988, quintet with trumpet (Martin Eberle), trombone (Phil Yaeger), piano, and bass, but no drums, which gives it a chamber jazz effect, albeit with rather brassy. B+(**) [sp]

Nakibembe Embaire Group and Naoyuki Uchida: Phantom Keys (2025, Nyege Nyege Tapes): Ugandan group, released an eponymous album in 2023, specialize in embaire, which is often described as a xylophone, but is made up of hollow logs arrayed in the dirt, large enough to be a team sport. Uchida is a Japanese DJ, credited here with the mix, which leaves it sounding like a lot of wooden mallet percussion. The group has a 2023 eponymous album, which I reviewed back then, and don't find significantly different. B+(**) [bc]

Gard Nilssen Acoustic Unity: Great Intentions (2024 [2025], Action Jazz): Norwegian drummer, credits pick up around 2007, notably Cortex (2011-20). Lately he's focused on two groups: Acoustic Unity (this is their 5th album since 2015), and Supersonic Orchestra (2 albums since 2020). Core group is a trio with André Roligheten (sax), Petter Eldh (bass), fortified here with two more "featured" saxophonists (Kjetil Møster and Signe Emmeluth) as well as Jonas Alaska (vocals/guitar). This has its moments, but they don't all line up. B+(***) [sp]

Arturo O'Farrill & the Afro Latin Jazz Orchestra: The Original Influencers: Dizzy, Chano & Chico [Live at Town Hall] (2023 [2025], Tiger Turn): Pianist and bandleader, has largely cornered the market for Afro-Cuban jazz in New York, the far from missing link between his famous father — the Chico in the "original influencers" list, along with Dizzy Gillespie and Chano Pozo mdash; and his soon-to-be famous sons Adam and Zack (trumpet and drums here). First half is a party with a lot of vocals. Second takes "Manteca" and turns it into a suite. Both are fun, but neither is wholly successful. B+(**) [sp]

Oneohtrix Piont Never: Tranquilizer (2025, Warp): Electronica producer Daniel Lopatin, one of the bigger names in the business since his 2006 debut. B+(**) [sp]

Otherlands Trio [Stephan Crump/Darius Jones/Eric McPherson]: Star Mountain (2025, Intakt): Bass/alto sax/drums trio, all name players, joint credits but Crump has the inside track, with the new group name evidently spun off from Borderlands Trio, with McPherson and Kris Davis. Jones seems a bit subdued here, at least by his usual standards. B+(**) [sp]

Otherworld Ensemble: Soul Bird (2025, Edgetone): Septet, principally Heikki Koskinen (e-trumpet, piano, tenor recorder, ocarina, birch bark horn, bird calls) and Rent Romus (alto & soprano saxes c-flute, bird calls), with all but Vinny Golia adding to the bird calls chorus. B+(**) [cd]

Out Of/Into [Joel Ross/Gerald Clayton/Kendrick Scott/Matt Brewer/Immanuel Wilkins]: Motion II (2025, Blue Note): House label supergroup, second album, six originals developed during a tour, unclear where or when or why but song credits are widely distributed in the band. Fitting that the mallets whiz gets first mention. B+(**) [sp]

Charles Owens Trio: The Music Tells Us (2024, La Reserve): Tenor saxophonist, b. 1972, which distinguishes him from another saxophonist, b. 1939 (played with Buddy Rich and Mongo Santamaria in the late 1960s, has 149 credits at Discogs). This one debuted in 1999 with quartet including Omer Avital and Jason Lindner, who led his next two credits. Discogs has a few more albums, but his Bandcamp has a different batch, and I've seen reference to, but haven't verified, a box of 2003 live recordings that appear on neither (some digitals are on Amazon). Trio with Cameron Ralston (bass) and Koli Shepsu (drums), mostly standards, starts with "Body and Soul" and ends with "A Flower Is a Lovesome Thing," with stops along the way for "Nature Boy" and "Tomorrow Never Knows" (the most interesting, and surprising, piece here). Owens also plays some piano (Nord Stage 3) here. B+(***) [sp]

Keith Oxman: Home (2024 [2025], Capri): Tenor saxophonist, mainstream, based in Denver, has a dozen-plus albums since 1995, this a nice, relaxed quintet with trumpet, guitar, bass, and drums, playing original pieces. B+(**) [cd]

PainKiller: The Great God Pan (2024 [2025], Tzadik): Avant-grindcore fusion band, founded 1991 with John Zorn (alto sax), Bill Laswell (bass guitar), and Mick Harris (drums, from Napalm Death), released three studio albums (plus one live) through 1994, has been revived several times since — sometimes with different drummers, but Harris returns here. One of many Zorn projects I've missed, so I'm surprised that the drumming is far from bombastic, and while the sax can cut to the quick, it's far from relentless, and could even be called ambient. B+(**) [yt]

Zeena Parkins: Lament for the Maker (2024 [2025], Relative Pitch): Harpist, from Detroit, straddles avant-classical and avant-jazz, several dozen albums since 1987, also electronics here, performing four pieces (12:43 to 17:18), one she composed, others by Laetitia Sonami, John Bischoff, and James Fei. B+(*) [sp]

Aaron Parks: "By All Means!!" (2025, Blue Note): Pianist, albums since 2000, has a trio with Ben Street (bass) and Billy Hart (drums), adding Ben Solomon (tenor sax) here, to nice effect. B+(**) [sp]

Ivo Perelman/Nate Wooley/Matt Moran/Mark Helias/Tom Rainey: A Modicum of the Blues (2024 [2025], Fundacja Słuchaj): Brazilian tenor saxophonist, released 6-12 albums annually, I've heard over 100, many quite good, but it's gotten hard to keep up. Most are fairly minimal duos or trios, which gives him ample opportunity to blow. Quintets like this are rare, with trumpet, vibes, bass, and drums. Only the last track realizes the group's potential. B+(***) [dl]

Ivo Perelman/Nate Wooley: Polarity 4 (2025, Burning Ambulance): Tenor sax and trumpet duo, the fourth entry in a series of albums by the duo going back to 2020. B+(*) [bc]

Ivo Perelman/John Butcher: Duologues 4 (2025, Ibeji): Tenor sax duo (with some soprano?), adds to an ongoing Perelman series, on top of many previous duos. My download calls this London Silhouettes, but while the email links to this series, I cannot find further evidence of the title. I couldn't bring myself to deal with Perelman's massive Reed Rapture in Brooklyn, figuring the twelve duo discs would turn into an endurance contest and wash out into some kind of meaningless B+. But even with the inevitable limits of all-saxophone groups, this is remarkably steady and engaging work. A- [dl]

Rich Perry: Dream (2024 [2025], SteepleChase): One of a dozen or more fairly major mainstream tenor saxophonists to emerge in the 1990s — Beautiful Love (1995) is a good example. Still very much in that vein here, backed by piano (Gary Versace), bass (Jay Anderson), and drums (John Riley), playing three originals plus covers from Parker (2), Shorter, Silver, and Ellington. B+(***) [sp]

Emma Rawicz: Inkyra (2024 [2025], ACT Music): Tenor/soprano saxophonist, several albums since 2022, rather overwhelming postbop group with Gareth Lockrand (flutes), David Preston (guitar), Scottie Thompson (keyboards), Kevin Glasgow (electric bass), and Jamie Murray (drums). B [sp]

Dave Rempis/Nico Chkifi: Aula (2023 [2025], Aerophonic): Alto/tenor sax, a very strong players since he broke in with Vandermark 5, in a duo with the Belgian drummer, recorded in Liege. Seems rather par for the course. B+(**) [bc]

Dave Rempis/Russ Johnson/Jakob Heinemann/Jeremy Cunningham: Embers and Ash (2024 [2025], Aerophonic): Saxophonist (soprano/alto/tenor here), quartet with trumpet, bass, and drums, live set from the Hungry Brain in Chicago. This freewheeling two horn, no piano/guitar improv is often thrilling, especially with such strong and thoughtful players. A- [bc]

Anaïs Reno: Lady of the Lavender Mist (2025, Club44): Standards singer, born in Switzerland, moved to New York when she was 2, second studio album after a fine set of Ellington & Strayhorn songs in 2021. She wrote a lyric here, again for an Ellington tune. Featuring Peter Bernstein (guitar), with bass (David Wong) and drums (Joe Farnsworth). B+(**) [sp]

Revolutionary Snake Ensemble: Serpentine (2025, Cuneiform): Boston group led by saxophonist Ken Field, fifth album since 2003, modeled after New Orleans brass bands but somewhat removed. B+(***) [dl]

Crystabel Efemena Riley: Live at Ormside (2025, Infant Tree): British drummer, noticed her in the duo @xcrswx (with Seymour Wright) and the group X-Ray Hex-Tet, first name credit is this 17:52 drum solo. B+(*) [bc]

Diego Rivera: West Circle (2023 [2025], Posi-Tone): Mainstream tenor saxophonist, born in Ann Arbor, long taught in East Lansing, has close to a dozen albums since 2013, also plays soprano on two tracks here. Wrote 7 (of 10) songs, with one by his pianist (Art Hirahara), two covers one from Herbie Hancock. With label regulars Boris Kozlov (bass) and Rudy Royston (drums). Strong form, as usual. B+(**) [sp]

Herb Robertson/Christopher Dell/Christian Ramond/Klaus Kugel: Blue Transient (2024 [2025], Nemu, 2CD): Trumpet, vibes, bass, and drums. Trumpet player got his start with Tim Berne in 1983, also played a lot with Mark Helias and Gerry Hemingway, died in December 2024, so not much after this. The others are German, 8-14 years younger, but they've made the rounds, with Dell having the highest profile. B+(***) [cd]

Joanne Robertson: Blurrr (2025, AD 93): British singer-songwriter, from Blackpool, based in Glasgow, also a painter and poet, sixth solo album. B+(*) [sp]

Rick Roe: Wake Up Call: The Music of Gregg Hill (2025, Cold Plunge): Tenth album I've heard since 2017 of Hill's compositions, all by Hill's former Michigan State students (Roe, Michael Dease, Randy Napoleon, Rodney Whitaker, and the younger, lesser-known Techno Cats). I always figured these were vanity projects, notable mostly because no other composer with no real performance credits has done so much promotion. But this postbop with an extra shot of swing is a consistent delight, especially the tenor sax of Marcus Elliot, but also some slick piano, with Robert Hurst on bass and Nate Winn on drums. A- [cd]

Joris Roelofs/Guus Janssen/Han Bennink: Rite of Spring (2025, ICP): French-born, Amsterdam-based saxophonist, plays bass clarinet here, has played with Vienna Art Orchestra and ICP Septet, joins the latter's pianist and drummer for a delightful set of standards (mostly Monk), with one original, two from Janssen, and one from ICP founder Misha Mengelberg. B+(***) [bc]

Dino Saluzzi: El Viejo Caminante (2023 [2025], ECM): Argentinian bandoneon player, now 90, records start around 1972, joined ECM in 1983, recording regularly through 2011, third album since. Here he is joined by two guitarists: his son, José Maria Saluzzi on classical guitar, and Jacob Young on acoustic steel-string and electric guitars. Very nice mix. B+(**) [sp]

Sarter Kit: What I Am and What I Am Not (2025, Squama): Trio led by German alto saxophonist-composer Tara Sarter, counts as her debut although Lukas Akintaya (drums) has one previous album and Elias Stemeseder (piano/synths) several. B+(**) [sp]

Loren Schoenberg and His Jazz Orchestra: So Many Memories (2025, Turtle Bay): Tenor saxophonist (b. 1958), bandleader, Discogs gives him a lot of "acting, literary & spoken" credits — especially on Benny Goodman, but he's expert on everything swing, as much a scholar as a musician. He had five albums under this byline 1987-98, reviving it here (where he plays piano) on discovering, as the subtitle puts it, "Unheard Eddie Sauter Arrangements for Red Norvo and Mildred Bailey," to which the cover adds "featuring Kate Kortum & Warren Wolf." B+(***) [sp]

John Scofield/Dave Holland: Memories of Home (2024 [2025], ECM): Guitar and bass duo, both legends: Holland left Miles Davis to record one of the greatest avant-jazz albums of 1972 (Conference of the Birds), then developed into one of the definitive postbop composer-bandleaders; Scofield picked up the fusion banner in 1981 and brought it to a new level of intricacy and sophistication. Not their first meeting, but their first duo album together. A- [sp]

Rin Seo Collective: City Suite (2024 [2025], Cellar Music): Korean composer/conductor, based in New York, first album, group a crackling 14-piece big band, to call these complex and dynamic pieces "impressions of New York" undersells them severely. B+(***) [sp]

Dave Sewelson/Steve Hirsh/Steve Swell/Matthew Shipp/William Parker: Muscle Memory (2022 [2025], Mahakala Music): Baritone sax and trombone stars, a piano-bass duo that was good enough for David S. Ware, and a drummer who knows a label owner who can't get enough of improv sessions like this. B+(***) [bc]

Shifa: Ecliptic (2023 [2025], Discus Music): British trio of Rachel Musson (sax), Pat Thomas (piano), and Mark Sanders (drums), third album, a single 45:57 improv piece. B+(***) [bc]

Skerik/Brian Haas/James Singleton/Simon Lott: Compersion Quartet (2024, Royal Potato Family): Tenor saxophonist Eric Walton, from Seattle, many side credits since 1991, mostly in fusion groups, including some of the more interesting ones, like Critters Buggin, Mylab, and Garage a Trois. Here With piano/harpsichord, bass/trumpet, and drums, with ample effects. B+(*) [sp]

Slash Need: Sit & Grin (2025, self-released): Canadian group, "lyrics by Dusty Lee" (except for a Fang cover), eight songs, 32:28. Industrial beats, harsh gloom feels real. B+(***) [sp]

Smerz: Big City Life (2025, Escho): Norwegian duo, Catharina Stoltenberg and Henriette Motzfeldt, second album, electronic beats, trip-hop vocals. B+(**) [sp]

Sonic Chambers Quartet: Kiss of the Earth (2024 [2025], 577): Two saxophonists, Byron Asher and Tomas Majcherski, with the latter doing most of the writing, backed by bass and drums. Not so obvious at first, but the New Orleans connections have a way of coming out. B+(**) [dl]

Omar Sosa: Sendas (2025, Otá): Cuban pianist, b. 1965, moved to Ecuador in 1990, lived in US for a while, eventually wound up in Spain. Solo, mostly downbeat, a couple of vocals. B+(*) [sp]

Jason Stein/Marilyn Crispell/Damon Smith/Adam Shead: Live at the Hungry Brain (2023 [2025], Trost): Bass clarinetist, many albums since 2008, some exceptional, leads a live improv set here with piano, bass, and drums. B+(***) [bc]

Thomas Strønen/Time Is a Blind Guide: Off Stillness (2021 [2025], ECM): Norwegian drummer, group name refers back to a 2015 album, same instrumentation with Håkon Aase (violin) and Ole Morten Vagan (bass) returning, plus replacements at piano (Ayumi Tanaka) and cello (Leo Svensson Sander). B+(*) [sp]

Yuhan Su: Over the Moons (2024 [2025], Endectomorph Music): Vibraphonist, from Taiwan, moved to US in 2008 to study at Berklee, based in New York, fifth album since 2012. Opens in dazzling form, with saxophonists Alex LeRe and Anna Webber, Matt Mitchell on piano, Yingda Chen on guitar, electric bass, drums, and electronics. Lags a bit when they try to mix it up, like with flutes. B+(***) [sp]

Sophie Tassignon: A Slender Thread (2025, Nemu): Belgian singer-songwriter, sometimes writes lyrics to others' music, sometimes writes music to other lyrics, sometimes just arranges, sings, dubs in electronics. Interesting, but leans too classical for my ears, and not just because the lead composer is someone named Bach. B+(*) [cd]

Ziv Taubenfeld/Helena Espvall/João Sousa: You, Full of Sources and Night (2024 [2025], NoBusiness): Bass clarinet, cello, drums trio, the former an Israeli based in Lisbon with a half dozen albums since 2016. The combination works especially well. A- [cd]

Thalin, Cravinos, VCR Slim, Pirlo & Iloveyouangelo: Maria Esmeralda (2024, Sujoground): Brazilian rappers, at least the first three, as individual piece credits tend to follow the headline order. There is a whole scene here I'm basically clueless to. I can't follow, and had to turn this up to get any clarity, but sonically someone suggested DJ Shadow, and this feels like it may be even heavier. B+(***) [sp]

Things of This Nature: Things of This Nature (2025, Mahakala Music): Quartet, four musicians I'd never heard of — Caylie Davis (trumpet), Chris Ferrari (woodwinds), Shogo Yamagishi (bass), JJ Mazza (drums) — evidently quite young ("One has to have childhood memories of the Obama administration to create some of this music"). Strong first impression, but the common tendency in first albums to show off everything you can do (including the flute) scatters and winds down. B+(*) [sp]

3 Cohens/WDR Big Band: Interaction (2022 [2025], Anzic): Israeli-born siblings Yuval (b. 1973, soprano sax), Anat (b. 1975, clarinet), and Avishai (b. 1978, trumpet) Cohen, with four previous albums together (2003-13) as well as formidable solo careers (Yuval less so, with 3 albums compared to dozens each for the other two), backed by the famous German big band. One of the many tragedies committed by the IDF and its political masters is that it's impossible to hear this delightful music without thinking of a new Axis, where the US and Germany bond so strongly with Israel that don't just send arms but actively suppress the dissenting thoughts of their own people so as to allow Israel to practice the racism and militarism Germans and Americans struggled to renounce after WWII. As far as I know there's no more reason to blame the Cohens for this sad state of affairs than there is to blame me for the atrocities my own government has committed virtually all of my 75 years — and, as with Israel, in exceptional profusion of late. B+(***) [sp]

Ken Vandermark: October Flowers for Joe McPhee (2025, Corbett vs. Dempsey): Solo, inspired by McPhee's 1976 solo album Tenor, and various collaborations since 1996. He also plays baritone sax, Bb and bass clarinet, 11 compositions each named for flowers. B+(**) [bc]

Luís Vicente: Live in Coimbra (2020 [2025], Combustão Lenta): Portuguese trumpet player, has a lot of work since 2012, solo here, which is always a sketchy proposition. B+(*) [bc]

Luis Vicente/John Dikeman/William Parker/Hamid Drake: No Kings! (2022 [2025], JACC): Trumpet, tenor sax, bass, and drums, one 68:02 live improv from Bimhuis, the title (I suspect) slapped on post facto. B+(***) [bc]

Rufus Wainwright With the Pacific Jazz Orchestra: I'm a Stranger Here Myself: Wainwright Does Weill (2025, Thirty Tigers): He's never been the singer or songwriter his father is, nor am I sure he actually lives up to the camp he aspires to, but Weill's songs are still magnificent, and it matters that he cares. B+(*) [sp]

Wrens: Half of What You See (2023 [2025], Out of Your Head): On paper I figured this group was led by Jason Nazary, the drummer who produced and took most of the technical credits, but the album is dominated by rapper Ryan Easter, who also plays some trumpet, while cellist Lester St. Louis and pianist Elias Stemeseder work their skewed electronics. Interesting in every direction. A- [dl]

X-Ray Hex Tet: X-Ray Hex Tet (2023 [2024], Reading Group): One-shot sextet, recorded live at the Taktkos Festival in Zürich, with Seymour Wright (alto sax), Pat Thomas (piano), Billy Steiger (violin), Edward George (words/electronics), and drummers Crystabel Riley and Paul Abbott. B+(*) [bc]

Yes Deer: Everything That Shines, Everything That Hurts (2025, Superpang): Scandinavian free jazz trio, three 2014-18 albums, founders Karl Haugland Bjorá (guitar) and Anders Vestergaard (drums) return here with new saxophonist Signe Emmeluth for two half-title tracks, total 32:30. Rough, a bit too much for my taste, but very much the point here. B+(**) [bc]

Adrian Younge [Presents]: Something About April III (2025, Jazz Is Dead): Los Angeles-based composer-producer, started in "psychedelic soul," ventured into soundtracks, has lately mostly worked the Jazz Is Dead franchise with Ali Shaheed Muhammad, which usually features still-living-but-long-forgotten 1970s jazz figures, raising more questions than they answer. On his own, Younge's debut album was 2011's Something About April, to which he added a 2016 sequel. Here he hopes his increasing mastery of his trade — "a 30-piece orchestra, analog synthesizers, breakbeats and Brazilian vocalists" — will make the third time the charm. He may be right, but I'm not sure anyone else cares. B+(*) [sp]

Adrian Younge: Jazz Is Dead 23: Hyldon (2025, Jazz Is Dead, EP): The guest star here is Brazilian singer-songwriter Hyldon De Souza Silva (b. 1951), whose albums started in 1975, for a twist on the producer's "psychedelic soul" roots. Eight songs, 24:40. B+(**) [sp]

Zanussi 3: A Keen Beast (2019 [2025], Sauajazz): Norwegian bassist Per Zanussi, 80+ side credits since 1995, some in short-lived groups I recall, recorded 4 Zanussi 5 albums, strips that down to a basic trio here, with Kristoffer Alberts (sax) and Per Oddvar Johansen (drums). B+(***) [sp]

Recent Reissues, Compilations, Vault Discoveries

Luke Bell: The King Is Back (2013-16 [2025], All Blue/Thirty Tigers): Country singer-songwriter, more western than southern, died young (32 in 2022), leaving three albums 2012-16, plus now this 28-track collection of engaging and entertaining scraps. Could be trimmed down, but he was an interesting character while he lasted. A- [sp]

Han Bennink & Misha Mengelberg: ICP010 (1971 [2025], ICP): Dutch avant-garde drummer and pianist, played together as early as 1961, sharing a credit on Eric Dolphy's Last Date (1964), co-founders (with Willem Breuker) of Instant Composers Pool in 1967, this the label's 10th release (1972), titled Instant Composers Pool at the time. B+(*) [bc]

Anthony Braxton: Quartet (England) 1985 (1985 [2025], Burning Ambulance): The alto saxophonist, who started in AACM in Chicago, cut a Penguin Guide crown-winning solo (For Alto) that was so ugly even I can't stand it 55 years later, got a major visibility boost when Arista signed him in the late 1970s, got a long-term teaching gig at Wesleyan whence he has had several students lauded with genius grants (Mary Halvorson most famously). Now past 80, he continues to add to the hundreds of albums in his discography, which is only starting to be fleshed out with old tapes. One thing that helped solidify his reputation was his 1980s quartet, with Marilyn Crispell (piano), Mark Dresser (bass), and Gerry Hemingway (drums), which ranks among the great quartets in jazz history — peers include Coltrane's in the 1960s, and Ware's 1990s (with any of its drummers, but let's say Guillermo E. Brown). Their 1985 tour of England produced three 2-CD sets at the time, from Coventry (the Penguin Guide pick), Birmingham, and London (my pick). This digital-only release collects four more shows, each with two 36-47 minute sets, from successive nights in Sheffield, Leicester, Bristol, and Southampton. Playing them end to end is liable to feel like drowning, but any time you come up for air, you're likely to notice something simply brilliant. Ends with a bonus set drawn from soundchecks, including bits of standards. A- [dl]

Don Cherry/Latif Khan: Music/Sangam (1978 [2025], Heavenly Sweetness): Trumpet player (1936-95), originally from Oklahoma City, gained fame in Ornette Coleman's Quartet, moved to Europe and expanded his horizons even wider, including this duo with tabla player (1942-89) from Delhi, during a first encounter in Paris. B+(**) [sp]

Michel Doneda & Frederic Blondy: Points of Convergence (2014 [2025], Relative Pitch): French soprano saxophonist, also plays sopranino here, many albums start in 1985, this a duo with piano. Long album (8 tracks, 106:28), takes a while to kick in — 6th track, when the piano starts punching hard. B+(**) [bc]

Bill Evans: Haunted Heart: The Legendary Riverside Studio Recordings (1959-61 [2025], Craft): The pianist's 1956-63 The Complete Riverside Recordings ran 12-CD, but this narrowly focuses on the two studio albums he made with his most famous trio, with Paul Motian (drums) and Scott LaFaro (bass), which came to an abrupt end when LaFaro was killed in a car crash, just a month after the live sets they are most famous for (Sunday at the Village Vanguard and Waltz for Debby, which eventually grew into their own 3-CD box). CD reissues of the two albums added extra takes, and this adds still more, reaching 43 tracks, running 212 minutes. That's a lot more than seems necessary. B+(***) [sp]

Fred Frith: Fred Frith and the Gravity Band (2014 [2025], Klanggalerie): British avant-guitarist, made his mark with his highly abstract Guitar Solos (1974), has played in prog rock groups like Henry Cow and Art Bears as well as in jazz and more classical-oriented ensembles. This group refers back to his 1980 "dance music" album Gravity, most obviously with a "Dancing in the Streets" medley. B+(**) [bc]

Fred Frith/Shelley Burgon: The Life and Behavior (2002-05 [2025], Relative Pitch): Guitar and harp duo. The latter has some recordings with Trevor Dunn from the period, and scattered side credits since, ranging from Braxton to Björk to Eyvind Kang to William Tyler. Within limits, but "telepathic synchronicity" isn't just a boast. B+(***) [sp]

Arkady Gotesman: Music for an Imaginary Ballet (2000-25 [2025], NoBusiness): Lithuanian drummer, b. 1959, credits since 1990, some as Arkadijus Gotesmanas, including early work with Vyacheslav Ganelin and Charles Gayle. This "summation of a thirty-year journey" impressed first with its earliest recording, a duo with saxophonist Liudas Mockunas, then skips around, including 2025 live sets with Jan Makismovic's trio and a duo with Martin Küchen, bits with Ganelin and Gayle, Ned Rothenberg and Nate Wooley, a drums duo with Mark Sanders, and more, held together by his own relentlessly creative percussion. A- [cd]

Griot Galaxy: Live on WUOM 1979 (1979 [2025], Two Rooms): Jazz band from Michigan, spanned 1972-89, recorded albums in 1982 and 1985, had another live set released in 2003. Names I first recognize here are Jaribu Shahid (bass) and Tani Tabbal (drums), who were Sun Ra veterans but I know them mostly from James Carter's 1990s Quartet. Here they're backing two saxophonists, Faruq Z. Bey and Anthony Holland. Strong sax interplay, outstanding rhythm section, some spoken word. A- [bc]

Charlie Hunter/Bobby Previte/Skerik/Steven Bernstein: Omaha Diner (2013 [2025], SideHustle): Guitar, drums, sax, trumpet, released this as an eponymous group album in 2013, the idea being to "play the hits" — or deconstruct them, as they see fit. B+(*) [sp]

Ibex Band: Stereo Instrumental Music (1976 [2025], Muzikawi): Ethiopian band, went through several iterations during the 1970s before the political situation deteriorated. Discogs shows them mostly backing singers, especially Mahmoud Ahmed and Aster Aweke, but they recorded this one instrumental album. The familiar background to much 1970s Ethiopian pop, growing into defining groove. B+(***) [bc]

Khan Jamal: Give the Vibes Some (1974 [2025], Souffle Continu): Vibraphone player (1946-2022), born in Florida as Warren Cheeseboro but mostly associated with the avant-garde in Philadelphia, first appeared with Sounds of Liberation in 1972, and with many other free jazz notables over the years. Three duet pieces here — one with Clinto Jackson III (trumpet), two with drums (Hassan Rashid) — plus a marimba solo. B+(***) [bc]

Masabumi Kikuchi: Hanamichi: The Final Studio Recording Vol. II (2013 [2025], Red Hook): Japanese pianist (1939-2015), survived the fire bombing of Tokyo, got a scholarship to Berklee, worked with Terumasa Hino, Gil Evans, is perhaps best known for his Tethered Moon trio with Gary Peacock and Paul Motian. Solo piano here, following an initial volume released in 2023. B+(**) [sp]

Roland Kirk Quartet: Domino: Live at Radio Bremen TV-Studios 1963 (1963 [2025], MIG): Title invites confusion with his 1962 Mercury album, Domino, with both sessions here leading off with the title tune. He plays everything, his songbook extending to Mingus. Backed by George Gruntz (piano), Guy Pedersen (bass), and Daniel Humair (drums). Package appears to come with a DVD, but I'm only hearing audio. B+(**) [yt]

Oliver Lake: Live From Studio Rivbea 1975 & 1976 [Rivbea Live! Series, Volume 4] (1975-76 [2025], NoBusiness): Alto saxophonist, from St. Louis, early in a long and distinguished career, two sets (17:06 and 55:52) with Michael Gregory Jackson (guitar) and Fred Hopkins (bass), different drummers (Phillip Wilson and Jerome Cooper), plus trumpet (Baikida Carroll) on one long second set cut. B+(***) [cd]

Stephen McCraven: Wooley the Newt (1979 [2025], Moved-by-Sound): Drummer (b. 1954), first of only a handful of albums as leader, but played extensively with Archie Shepp and Sam Rivers, and is father of Makaya McCraven. Recorded in Paris with two saxophonists (Sulaiman Hakim and Richard Raux), piano (Michel Graillier), and bass (Jack Gregg). B+(***) [sp]

Charles Mingus: Mingus at Monterey (1964 [2025], Candid): Live album, self-released in 1965, had a checkered history of reissues up to the early 1980s when Fantasy/Prestige got hold of it, but even they let it slip from sight after 1987. Opens with a quintet — Lonnie Hillyer (trumpet), Charles McPherson (alto sax), Jaki Byard (piano), Dannie Richmond (drums) — playing an Ellington medley, culminating in 13:35 of "A Train" (with John Handy added on tenor sax), then moves on to "Orange Was the Colour of Her Dress, Then Blue Silk" (13:38). Then they add extra horns for a new piece, "Meditations on Intgegration" (24:45). B+(**) [sp]

Thelonious Monk: Bremen 1965 (1965 [2025], Sunnyside): Radio shot, with a live audience, part of a European tour that has produced other similar documents (one from Olympia was recorded the day before, and another from Olympia a couple months later). Quartet with Charlie Rouse (tenor sax), Larry Gales (bass), and Ben Riley (drums) was in peak form, with the once-quirky tunes confirmed as classics. A- [bc]

Mujician: In Concerts (1993-2010 [2025], Jazz in Britain): Long-running (1988-2011) British avant-jazz quartet, with Keith Tippett (piano), Paul Dunmall (tenor/soprano sax), Paul Rogers (bass), and Tony Levin (drums). This compiles four live improv sets, one early (Cheltenham, 1993), one late (Birmingham, 2010), and two from the middle (Vienna, 2003). B+(***) [bc]

Yusuf Mumin: Journey to the Ancient ([2025], We Want Sounds): Saxophonist, from Cleveland, played in Black Unity Trio in 1968, recorded this undated, uncredited "spiritual jazz" tape a bit later, with Munim also playing cello and flute, with drummer William Holmes. B+(*) [bc]

Natural Information Society: Perseverance Flow (2024 [2025], Eremite): Originally from Philadelphia, moved to Chicago in the 1990s and established himself as one of the city's most prolific bassists. Recorded the ambient-groove Natural Information in 2010, and developed that concept into the present group, seventh album, basically a 34:25 single, although there are several shorter remixes complicating things. Abrams is credied with guimbri, electronics and dubs, along with Jason Stein (bass clarinet), Lisa Alvarado (harmonium, electronics), and Mike Patrick Avery (drums). B+(***) [sp]

Bobby Naughton Trio: Housatonic Rumble: Live at Charlie's Tap (1985 [2025], NoBusiness): Vibraphonist (1944-2022), from Boston, several obscure albums, side-credits with Leo Smith and Roscoe Mitchell. Engaging trio with Joe Fonda (bass) and Randy Kaye (drums). [cd]

Archie Shepp and the Full Moon Ensemble: Live in Antibes (1970 [2025], BYG): Tenor saxophonist, a major avant-garde figure starting out from 1963 (New York Contemporary Five), mostly on Impulse, but had several albums released in the French Actuell series 1969-70, with this live set originally appearing in two volumes. With Clifford Thornton (trumpet/piano), Allen Shorter (flugelhorn), Joseph Déjean (gitar), and Claude Delcloo (drums). Quite a bit of piano here, by Shepp as well as Thornton. B+(**) [yt]

Alan Silva and His Celestrial Communication Orchestra: Luna Surface (1969 [2025], BYG): Best known as a bassist, born in Bermuda, grew up in New York, played with Sun Ra in 1964, also Cecil Taylor, Sunny Murray, and Albert Ayler before this (first or second album), plays violin here, as does Leroy Jenkins. Large group, from a session which produced a bunch of albums under various leaders. Notable here that there were two bassists, Beb Guérin and Malachi Favors, and that the sax section included Anthony Braxton and Archie Shepp. Intense, tough going, but short (28:20). B+(**) [sp]

Barbara Thompson's Paraphernalia: Live at Leverkusen 1994 (1994 [2025], Repertoire): British saxophonist (1944-2022); notable early side credits with Howard Riley, Michael Gibbs, and Colosseum (whose drummer she married). Debuted her fusion group Paraphernalia in 1978, which became her main (but not only) outlet into the 1990s, when health issues slowed her down. B+(**) [sp]

Charles Tyler Ensemble: Voyage From Jericho (1974 [2025], Frederiksberg): Alto saxophonist (1941-92), started with Albert Ayler in 1965, recorded his debut for ESP-Disk in 1966, has a hole in his discography from 1967-75, when this album appeared, but was quite active (albeit little known) from then up to his death. Backed by bass (Ronnie Boykins) and drums (Steve Reid), with trumpet (Earl Cross), and on two tracks, Arthur Blythe takes over on alto sax, moving Tyler to baritone. B+(*) [sp]

Mal Waldron: Candy Girl (1975 [2025], Strut): Pianist (1925-2002), first gained fame as accompanist for Billie Holiday, but that was just a drop in the bucket of a career that extended another 40 years, producing numerous highlights, like his work with Eric Dolphy, Steve Lacy, and Chico Freeman; duos with Archie Shepp and David Murray; an outstanding series of albums on Soul Note. This, well, is something else, a jazz-funk groovefest with electric keyboards (Frank Abel as well as Waldron), bass, and drums, the reissue adding alternative versions to push the total over the one hour mark. B+(*) [sp]

Jessica Williams: Blue Abstraction: Prepared Piano Project 1985-1987 (1985-87 [2025], Pre-Echo Press): Pianist (1948-2022), mastered classical but moved quickly on to jazz, recorded regularly 1976-2014, with some remarkable trio albums. These "lost" tapes are solo sessions. The piano preparations are fairly mild here, producing unexpected tones but no great dissonance, developed with considerable skill. B+(***) [bc]

Old Music

Tarun Balani: The Shape of Things to Come (2020, Berthold): Indian drummer, same group as his 2025 album: Adam O'Farrill (trumpet), Sharik Hasan (piano/synthesizer), Olli Hirvonen (guitar). Bold title, reminiscent of Ornette Coleman but "things" are vague where "jazz" was specific, and attached to a short album (5 songs, 31:08). The title piece, which leaps out of the modal matrix, for a moment anyhow, suggests that the future is bebop. B+(**) [bc]

Daniel Carter/Gary Hassay/William Parker: Emanate (2013 [2015], self-released): No credits on the site, but Rick Lopez has the lowdown, crediting Carter with tenor/soprano sax, clarinet, flute, and trumpet, Hassay with alto/soprano sax and vocal, and Parker with bass and tuba, and setting the date and location as Easton, PA. B+(**) [bc]

Fred Frith: Gravity (1979-80 [1980], Ralph): British guitarist, started c. 1973 in left-prog Henry Cow, played on important albums by Robert Wyatt and Brian Eno (and on less important but still memorable ones by Tom Newman, Jade Warrior and Art Bears), while releasing his own pathbreaking Guitar Solos (1974) and, by 1980, hooking up with Henry Kaiser, Eugene Chadbourne, Lindsay Cooper, and the Residents. He cut this smorgasbord of deranged dance music on the latter's label, with dozens of side credits I don't recognize, including a tap dancer, lots of handclaps, and four names Discogs places under "Other [criticism]" — worth noting that at the time, I still regarded him as less notable than Simon Frith, his critic brother (and I followed the names I dropped above, although I wasn't much of a Residents fan). B+(***) [yt]

Gary Hassay + Paul Rogers: To Be Free (2004 [2006], Konnex): Free jazz alto saxophonist, just died (1947-2025), based in Allentown, PA, which was close enough to New York to get him some connections (e.g., with William Parker) but keep him obscure. Still, Discogs credits him with 18 albums since 1996, adding one side credit for his 1999 Ye Ren album (actually just a duo with Parker). Very little of his work is available on Spotify, but most of it is available on Bandcamp, including this remarkable duo with the British bassist — best known for numerous albums with Paul Dunmall, but in exceptional form here. I'm not so sure about the bit of Tuvan throat singing. A- [bc]

Gary Hassay/Dan DeChellis/Tatsuya Nakatani: Beauty (2007, Konnex): Alto sax/piano/drums trio, one with several albums together, although the credits seem to have been missing on the original release, and are blurred ("saxophones/keyboards/percussion") on Bandcamp. Seems like they think quieter is prettier, but this is more striking when they break loose. Includes another "taste" of throat singing. B+(**) [bc]

Gary Hassay/Dan DeChellis/Tatsuya Nakatini: Ritual Joy (2009 [2010], Konnex): Another trio album, with a 57:44 live set ("Haunting Said That") and a 7:36 "Thank You" (order flipped for the 2015 digital). B+(**) [bc]

Gary Hassay/Michael Bisio: My Brother (2011, Konnex): Duo, Hassay playing tenor sax here, with the bassist who had worked with everyone on the New York avant scene when William Parker wasn't available. B+(**) [bc]

Gary Hassay/Dan DeChellis/Tatsuya Nakatini: Seven Pieces (2015, self-released): Trio (alto sax/piano/drums), no information on when/where this was recorded, but probably within the 2007-10 window of their other albums. Pieces are untitled and numbered. B+(*) [bc]

Gary Joseph Hassay/Janet Young: What Remains (2016, Dbops Music): Hassay starts using his middle name here, playing saxophones, throat-singing, and also credited with singing bowls and tuning forks, an interest shared by Young, also credited with gongs. The vocals finally lost it for me. B- [bc]

Khan Jamal Quartet: Dark Warrior (1984 [1995], SteepleChase): Vibraphonist, recorded this in Denmark with Charles Tyler (alto/baritone sax), Johnny Dyani (bass), and Leroy Lowe (drums), adding a little funk quotient. B+(***) [sp]

Charles Owens Quartet: Eternal Balance (1999, Fresh Sound New Talent): Tenor saxophonist, first album, with Jason Lindner (piano), Omer Avital (bass), and Daniel Freedman (drums), three originals and four standards. B+(***) [sp]

Chuck Redd: All This and Heaven Too (2002, Arbors): Vibraphonist, also known as a drummer, has several albums and more credits since 1996, mostly on or adjacent to this retro-swing label, often working with Charlie Byrd and Ken Peplowski. A name I barely recognized when he made news recently for canceling a "Trump-Kennedy Center" Christmas Eve performance, so I thought a refresher would be in order. (I also see that the Cookers canceled their New Years Eve gig at TKC.) Mostly trio here with Gene Bertoncini (guitar) and George Mraz (bass), playing old standards and early bebop (Charlie Parker, Thad Jones). Rather sedate, although it picks up a bit when Peplowski (tenor sax/clarinet) guests. B+(*) [sp]

Joris Roelofs/Han Bennink: Icarus (2018 [2023], ICP): Duo, the former playing bass and Bb clarinet, the latter mostly drums, but also credited with "balk, C clarinet, piano." B+(**) [bc]

Keith Tippett: The Unlonely Raindancer (1979 [2019], Discus Music): British avant-pianist (1947-2020), first record 1972, this a solo, released on 2-LP in 1980, showed up on a poll ballot but the only reissue I could find is this one. I'm not much of a solo piano fan, but he's always been a remarkable player, as is amply demonstrated here. B+(**) [sp]

Keith Tippett: Blueprint (1972 [1973], RCA): This was the pianist's first album, with Roy Babbington (bass) and either Keith Bailey or Frank Perry (percussion), with wife Julie Tippett[s] on 4 (of 6) tracks (guitar, mandolin, recorder, voice). B [yt]

Limited Sampling

Records I played parts of, but not enough to grade: -- means no interest, - not bad but not a prospect, + some chance, ++ likely prospect.

Grade (or other) Changes

Sometimes further listening leads me to change an initial grade, usually either because I move on to a real copy, or because someone else's review or list makes me want to check it again. Also some old albums extracted from further listening:

Lily Allen: West End Girl (2025, BMG): British singer-songwriter, fifth studio album since 2007, 7 years since number four, a stretch of time covering a marriage and a divorce, so easy subject matter, which she handles adroitly. Music doesn't have quite the same zip as the earlier albums, so I hemmed and hawed, figuring I didn't want to picture her in middle age. But she's still many times smarter than most other pop stars, and that extends past her words into her music. [was: B+(***)]: A- [sp]

Patricia Brennan: Of the Near and Far (2024 [2025], Pyroclastic): Vibraphonist, from Mexico, based in Brooklyn, follow up to her poll-winning Breaking Stretch, has had a big year already with appearances on new albums by Mary Halvorson (A-), Dave Douglas (**), Tomas Fujiwara (A-), Adam O'Farrill (A-), Dan Weiss (***), Arturo O'Farrill (***), and Kalia Vandever (***). Original pieces, a large group conducted by Eli Greenhoe, with piano (Sylvie Courvoisier), guitar (Miles Okazaki), bass (Kim Cass), drums (John Hollenbeck), electronics (Arktureye), three violins and a cello. Seemed nice enough, even with an excess of strings, but poll votes persuaded me to revisit. Starts off sparkling, which is admittedly the adjective mallet instruments were designed to evoke. Ends in ambient territory, but pretty lush. [was: B+(***)] A- [cd]

Rechecked with no grade change:

Additional Consumer News:

Grades on artists in the old music section.

Music Weeks

Music: Current count 36534 [36534] rated (+0), 149 [149] unrated (+0).

Excerpts from this month's Music Week posts:

Notes

Sources noted as follows:

• [cd] based on physical cd
• [cdr] based on an advance or promo cd or cdr
• [lp] based on physical lp (vinyl)
• [dvd] based on physical dvd (rated more for music than video)
• [bc] available at bandcamp.com
• [r] available at napster.com (formerly Rhapsody)
• [sc] available at soundcloud.com
• [sp] available at spotify.com
• [yt] available at youtube.com
• [os] some other stream source
• [dl] something I was able to download from the web; may be freely available, may be a bootleg someone made available, or may be a publicist promo

Grades are probably self-explanatory, aside from B+, which is subdivided 1-2-3 stars, because most records that come my way are pretty good, but they're not all that good.