Streamnotes: June 27, 2026

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 May 28. Past reviews and more information are available here (26500+ records).

New Music

Ambrose Akinmusire/Mary Halvorson: Slo-Mo Neon Luminate Hoverings (2025 [2026], Nonesuch): Two of the biggest names in jazz, the trumpet player with five top-five poll finishes so far, the guitarist with two outright wins, in a duo here after landing after landing on the same major label. Minor details prove their talents, in an intimate, low-key encounter that discourages hype. B+(***) [sp]

Ben Allison/Steve Cardenas/Ted Nash: Triological (2026, Sunnyside): Bass, guitar, and tenor sax/clarinet trio, stylized on cover as "Allison, Cardenas & Nash," all three long-established and familiar (with at least four previous albums together), song credits split 4-3-3. Model referred to is Jimmy Giuffre's drummer-less trio, but with guitar instead of piano. I'm not sure I ever got the model, but such distinctions are pretty subtle. B+(**) [sp]

Marisa Anderson: The Anthology of UnAmerican Folk Music (2026, Thrill Jockey): American primitive guitarist, based in Portland, 11th album since 2006, including duos with Jim White, Torji Dashi, and William Tyler. Also plays pedal steel, accordion, and electric piano here, with guest violin/viola on two cuts. B+(**) [sp]

Thommy Andersson: Shimmering Blue (2026, SteepleChase): Swedish bassist, Discogs credits him with 14 releases since 2004, 98 total performance credits (many with Pierre Dørge). Drummerless trio with high and low brass: Kirk Knuffke (cornet and soprano trombone) and José Davila (trombone, tuba, euphonium, helicon, bass flute, didgeridoo). Nicely done, worth focusing on the bass. B+(***) [sp]

Ballister + Luke Stewart: Clocking the Wheel (2025 [2026], Aerophonic): Trio of Dave Rempis (4 saxophones), Fred Longerg-Holm (cello), and Paal Nilssen-Love (drums), 7th album since 2019, adds the bassist for this go around. Two pieces, 72:46, exactly the sort of hard hitting free jazz one expects by now. A- [cd] [07-10]

Richard Baratta: Another Kind of Bird (2026, Savant): Drummer, has several albums of film music, dives into Charlie Parker tunes here, with Bill O'Connell (piano) arranging, Vincent Herring (alto sax), Paul Bollenback (guitar), Michael Goetz (bass), Paul Rossman (percussion), and guest spots for saxophonists Eric Alexander, Eric Burton, and Craig Handy. B+(*) [sp]

Barcelona Art Orchestra & Miguel Zenón: Expressions: Concerto for Alto Saxophone and Orchestra (2025 [2026], Miel Music): Barcelona-based group, has at least one previous album, led by Néstor Giménez (piano), Lluc Casares (tenor sax), Joan Vidal (drums), and Lluis Vidal (piano), each composing a section here, featuring the alto saxophonist. B+(*) [sp]

Sam Barsh/Mark Guiliana/Keyon Harold: Straight08 (2026, La Reserve): Keyboardist, from Chicago, based in Los Angeles, has a previous album from 2008, but 40+ side-credits, mostly jazz but the big names are in or near hip-hop (Kendrick Lamar, Kanye West, Macy Gray, Doja Cat, Logic, Anderson .Paak). With drums and trumpet, the latter often quite striking. B+(**) [sp]

Lakecia Benjamin: We Dream (2026, Artwork): Alto saxophonist, half-dozen albums since 2012, has toured with r&b bands, has crossed over enough to get some Grammy attention, but sounds pretty solidly rooted in Coltrane here, with a side of hip-hop. B+(**) [sp]

Chuck Bergeron: Bass & Face: Duets With Ten Premier Vocalists ([2026], Summit): Bassist, from New Orleans, Discogs credits him with three albums since 1995, 44 more side credits, including big bands and singers. The ten vocalists here are: Janis Siegel, Pete McGuinness, Roseanna Vitro, Kevin Mahogany, Sheila Jordan, George Rabbai, Lisanne Lyons, Deborah Silver, Kate Reid, and Nicole Yarling. Only recording date I can find is 2005 for Mahogany (d. 2017), but that is probably the only non-recent track. (Jordan died in 2025, but was 95 when her track was cut, so 2023-24.) A few cuts have extra guest musicians: Charles Pillow (sax), Phil Strange (piano), John Riley (drums). Some nice pieces here. B+(**) [cd]

Big K.R.I.T.: Dedicated to Cadalee Biarritz Vol. 1 (2025, Multi Alumni/ONErpm): Rapper Justin Scott, from Mississippi, acronym for King Remembered in Time, broke out in 2005, peaked with Cadillactica in 2014, first album since 2022, reviving his glitzy Caddy dreams. The album appeared to little notice in December (17 tracks, 31:41), followed up by a more recent "Deluxe Edition" (25 songs, 48:07). The former pops on every track, but I rechecked it by listening to the latter, and remain convinced. A- [sp]

Luciano Biondini/Michel Godard/Lucas Niggli: Fables of Time (2025 [2026], Intakt): Italian accordion player, many albums since 2000, including a previous (2011) trio with Godard (tuba, serpent, E-bass) and Niggli (drums). B+(*) [sp]

Nat Birchall Quartet: Path of Enlightenment (2025 [2026], Ancient Archive of Sound): British tenor saxophonist, first album 1999, bears the "spiritual jazz" label because few if any have worked longer or harder to sound like John Coltrane, but also to expand on his legacy. To that end, he's kept the classic quartet format, with piano (Adam Fairhall), bass (Michael Bardon), and drums (Paul Hession). B+(***) [bc]

Nat Birchall: Liberated Sounds (2025, Na Bi): Aside from Coltrane, his great influence was from the Jamaican saxophonists of the ska and rocksteady periods. He gets them right, too. B+(***) [bc]

Boards of Canada: Inferno (2026, Music 70/Warp): Scottish electronic duo (brothers Mike Sandison and Marcus Eoin), lived in Canada 1979-80, recorded first EP in 1995 and album in 1998 (their best known, Music Has a Right to Children). This is only their fifth, a long break after 2013 and 2005. B+(**) [sp]

Bomba Estéreo/Rawayana: Astropical (2025, Sony Music Latin): Two groups, from Colombia and Venezuela respectively, each with more than a decade's worth of albums, meet up. B+(***) [sp]

Bop Alloy: Masters of the Artistry (2026, Bop Alloy): Hip-hop duo of Substantial (Virginia-based MC from Maryland) and Marcus D (producer/pianist from Seattle), third album since 2010, easy underground flow. Choice cut: "Last Song I'll Ever Write." A- [sp]

Sofia Borges/Rieko Okuda/Peter Van Huffel: Lagrangian Points (2024 [2026], 4DaRecord): Drums, keyboards, alto/baritone sax, all with minors in electronics, recorded live in Berlin. Title refers to "positions in space where the gravitational forces of two large masses and the centrifugal force balance out." In this context, that suggests precise balance in improv interactions, and they've done that. B+(***) [dl]

Bobby Bradford/Mark Dresser/Hafez Modirzadeh: Sonic House Reunion (2026, NoBusiness): Cornet player, started in 1970 in a group with John Carter (1929-91), has worked steady and lasted a long time, appearing here at 92, in a trio with bass and tenor saxophone. B+(**) [cd]

Alan Braufman: Anthem for Peace (2025 [2026], The Control Group/Valley of Search): Alto saxophonist, plays some flute, joined the New York avant scene in the early 1970s, his only real album appearing in 1975, then a long hiatus before 2019, when he started dusting off old tapes and recording new ones. Quartet here with Patricia Brennan (vibes), Luke Stewart (bass), and Chad Taylor (drums), with Ken Filiano and Michael Wimberly on one track. B+(**) [sp]

Patricia Brennan/Sylvie Courvoisier: Talamanti (2024 [2026], Antlia): Mallets player, from Mexico, based in New York, won our debut poll in 2018, finished 1st and 2nd overall with her last two albums, in a duo here with the Swiss pianist. Piano-vibes duos are rather common, partly due to similar tones, but also because the vibes focus the piano as a percussion instrument. You get a taste of that early here, but then the piano meanders into its own less-but-still-interesting space. B+(***) [sp]

Adam Brodsky: American Epitaph (2026, Permanent): Antifolk singer-songwriter, released four albums 1995-2002, came back from wherever he went to to "throw sand in the gears of the fascist regime." Advises "don't break bread with your fascist former friends." ("Their brains are broken from the poison they're fed." "We were once the good guys but no more.") I have no desire for political correctness, but A- [sp]

Betty Bryant: Nothin' Better to Do (2026, Bry-Mar Music): Jazz singer, plays piano, originally from Kansas City, where Jay McShann was a mentor, moved to Los Angeles in 1955, played clubs but didn't record much — Discogs lists an album in 1987, two in 1999 — until she started releasing her own albums in 2013. Her Lotta Livin' (in 2023, at 93) was terrific, and this (at 96) is also quite satisfying. Three songs by her and/or producer Robert Lyle (soprano/tenor sax, flute). Some guest spots, good for trumpet, not so good for strings. B+(***) [sp]

Anthony Caceres: Let's Take a Trip (2026, Jig in G): Bassist, also sings, various family members were musicians, including a grandfather who played violin in big bands in the 1930s. Studied in San Antonio and at UNT, based in Houston, brother Dave Caceres (alto sax/vocals) has an album I've heard, he has at least one previous album. Joined here by Tamir Hendelman (piano), Jostein Gulbrandsen (guitar), and Joe Farnsworth (drums), playing three originals and six standards. B+(*) [cd]

Daniel Carter/Steve Hirsh: Convocation (2023 [2026], Mahakala Music): Improv duo, Carter plays saxophones, flute, trumpet, and piano, while Hirsh drums. He's impressed with sax and trumpet for a long time, but his piano will turn a few heads. B+(***) [bc]

Ron Carter & Yotam Silberstein: Duets (2026, Jojo): Bass and guitar duo: the 89-year-old bassist almost certainly holds some kind of record for most albums appeared on; while he's still best known for his 1960s work with Miles Davis, one could probably construct a whole CG from his duo work, and delight in doing so. (Pick hit would be Chemistry, his 2016 duo with Houston Person.) The guitarist has appeared regularly since 2008, with a soft tone and delicacy that I find pleasant but rarely give a second thought. But this brief set (2 originals, 7 standards, 34:02) raises pleasant to pleasure. A- [cd]

Chrome Hill & Dōjō: Free Rangers (2024 [2026], Clean Feed): Norwegian free jazz group, sixth album since 2008, down to three here — Asbjørn Lerheim (bass guitar, electric guitar), Roger Arntzen (double bass), and Atle Nymo (tenor sax, clarinet, bass clarinet), joined by a Japanese duo: Michiyo Yagi (electric 21-string koto) and Tamaya Honda (drums), with most also credited with electronics. B+(***) [bc]

Circular Arcs: Conventicle (2020 [2025], Castor & Pollux Music): Trio of Esteban Flores (guitar), John Rieder (bass), and Nathan Hubbard (drums); Hubbard has a substantial discography going back to 2002, but the others are relatively new. Fairly heavy noise-fusion, impressive as far as it goes. B+(***) [bc]

Emmet Cohen: Universal Truth (2025 [2026], Mack Avenue): Pianist, close to a dozen albums since 2011, many designed to showcase old-timers (including 5 volumes of his Masters Legacy Series). Trio here with Joe Farnsworth (drums) and Yasushi Nakamura (bass), the latter spelled on three cuts by Ron Carter, with ample guest spots for Jeremy Pelt (trumpet), George Coleman (tenor sax), and Tivon Pennicott (tenor sax). B+(***) [sp]

Cola: Cost of Living Adjustment (2026, Fire Talk): Post-punk guitar-bass-drums trio from Montreal, Tim Darcy the singer-songwriter, third album since 2022. Some fairly strong guitar. B+(*) [sp]

Andrés Coll Cosmic Trio: Ride to Heaven (2026, XJAZZ Music): Mallets player from Ibiza, mostly marimba here, with Mateusz Smoczynski (violin) and Ramón López (drums/tabla). B+(**) [sp]

Columbia Icefield: A Silence Opens (2024-25 [2026], Out of Your Head): Trumpet player Nate Wooley, prolific since his 2005 debut, group named for his 2019 quartet album with Mary Halvorson (guitar), Susan Alcorn (pedal steel guitar), and Ryan Sawyer (drums). Second group album since then, with Ava Mendoza in Halvorson's place. Alcorn is credited on four tracks (the long ones, separated by five short bits, mostly Wooley but one assembles a choir), but the liner notes offer a hint that she may have finished her bits in spirit only. B+(**) [cd]

Confucius MC/Bastien Keb: Songs for Lost Travellers (2025, Native Rebel): South London rapper William Carabine-Glean, third album; Seb Jones seems to be the producer, has a half-dozen albums, leans more toward folk and jazz here, so this is effectively a soft song set, atmosphere sans beats. B+(**) [sp]

ContraPunctus [Mike McGinnis/Carmen Staaf/Gui Duvignau/Hamir Atwal]: ContraPunctus (2025 [2026]. Adhyâropa): Surnames on the cover, but group name is more than implied. Respectively: clarinet/bass clarinet/soprano sax, piano/fender rhodes, bass, drums. B+(***) [sp]

Conway the Machine: You Can't Kill God With Bullets (2025, Drumwork/Roc Nation): Buffalo rapper Demond Price, working hard since 2015, Discogs credits him with 32 albums. "Real shit," runs long, sounds serious. B+(***) [sp]

Corima: Hunab Ku (2026, Soleil Zeuhl): Los Angeles band "playing rock-fusion in the Zeuhl vein" — a term I had to look up, one originally applied to the French prog rock band Magma (which I recall from the 1970s; realizing that French wouldn't work for rock, and unwilling to switch to English, they invented a new lanaugage to sing in, Kobaïan); fourth album. Only one I recognize is saxophonist Patrick Shiroishi, but others play violin, keys, bass, and drums/tabla/harmonium. Most are credited with vocals, but they're not very intrusive. B+(*) [bc]

Dominique Cravic Et Les Primitifs Du Futur: Les Crimes Du Musette (2026, Buda Musique): French guitarist, fondly remembered for two albums Sunnyside released in 2006-08 (World Musette and Tribal Musette, the former dating back to 1999). The booklet (scanned on Discogs) includes two pages of credits, and a gallery of 77 pics, which presumably map to the credits. French chanson, many singers, most offhand as is the fairly minimal music, booklet has notes on the 27 songs but no recording dates, cover art by R. Crumb. B+(***) [sp]

Lao Dan Chicago Quartet: Klotski (2024 [2026], Trost): Saxophonist from China (Dandong, near the border with North Korea), majored in bamboo flute, was featured in the Shenyang Conservatory of Music's youth orchestra, toured the US in 2018, has many albums since then, some trad Chinese, and some free jazz. He plays tenor sax, chinese flute, and suona here, with piano (Mabel Kwan) and a Chicago rhythm section of Joshua Abrams (bass) and Michael Zerang (drums). B+(***) [bc]

Jesse Davis Quartet: Reflections (2025 [2026], Cellar): Alto saxophonist, from New Orleans, was a student of Ellis Marsalis, early albums (1991-2000) on Concord, regular side credits since then but not a lot of albums under his own name. Quartet with Spike Wilner (piano), John Webber (bass), and (cover says "featuring") Lewis Nash (drums). Mainstream, but exceptionally vibrant, which could very well be a superb drummer hard at work, but you mostly hear it in the horn. A- [sp]

Maya De Vitry: All My Faith (2026, Mad Maker Studios): Folkie singer-songwriter based in Nashville, four previous albums since 2019. Sound reminded me first of Joy of Cooking, then Joni Mitchell (but warmer). That may be enough for now. I'll take the faith on faith. A- [cd] [07-24]

Michael Dease Big Band: Return Trajectory (2025 [2026], Origin): Trombonist, from Georgia, studied at Juilliard, teaches at Michigan State (where's he's been influenced by Gregg Hill, recording several albums of his compositions), debut 2007, has considerable big band experience going back to Illinois Jacquet in 2002. Six songs here: two originals, two by Hill (listed as executive producer), one from J.J. Johnson, and a delightful "Cherokee," all in 33:26. B+(**) [cd] [06-19]

Thomas Dollbaum: Birds of Paradise (2023 [2026], Dear Life): Singer-songwriter from New Orleans with a rep as a poet, second album, a roots-rock affair aided sonically by MJ Lenderman, but Dollbaum probably needed no help with the story lines and words. I'm not much good at following such intricacies, but I hear echoes of John Prine and Neil Young, and that's pretty satisfying. A- [sp]

Armen Donelian: Inquiry (2020-24 [2026], Sunnyside): Pianist, 15th album since 1981, started with solo piano then built it up over several years, adding Dominique Eade (voice), Ed Neumeister (trombone), Jay Anderson (bass), and Dennis Mackrel (drums). Originals plus "Somewhere," "Blue in Green," and something from Beethoven. My appreciation of art song remains pretty limited. B+(*) [cd]

Florence Dore: Hold the Spark (2026, Propeller): Singer-songwriter from Nashville, teaches American/Comparative Lit in North Carolina, recorded an album in 2001, another two decades later, and now a third. Christgau describes her as "writerly," then makes his point in quotes. I wouldn't have noticed, but approve in theory, and look forward to accidentally stumbling on similar evidence. But sounds pretty solid as is. A- [sp]

Dave Douglas: Transcend (2025 [2026], Greenleaf Music): Postbop trumpet player, emerged as a more adventurous rival to Wynton Marsalis in the 1990s, tremendous chops, has always recruited top young musicians for his groups, hasn't always pleased me with his compositions. Another quintet, with James Brandon Lewis on tenor sax, and an unconventional rhythm section: Rafiq Bhatia (guitar), Tomeka Reid (cello), and Ian Chang (drums). B+(***) [sp]

Charles Downs Quartet: Inner (2024 [2026], ESP-Disk'): Drummer, this is billed as his "first album as sole leader, recorded shortly after he turned 81," which means if we keep the "Debut" slot in the Francis Davis Jazz Critics Poll, I'm going to wind up rejecting a bunch of votes for him (as I did last year with Marshall Allen; why is it that in a category expressly designed to recognize young players the temptation to vote for someone old but marginalized is so great?). Granted, Downs isn't anywhere near as famous as Allen, and not just because he's spent most of his career recording as Rashid Bakr, only recently returning to his given name. Quartet with Hery Paz (sax), Jamie Saft (piano), and Joe Morris (bass). Took several plays to win me over, with precision and grace pursuing what can never be taken for granted. A- [cd]

Kaja Draksler Octet: Bare, Unfolding (2025 [2026], Zavod Sploh/Clean Feed): Pianist, from Slovenia, third octet album, other albums since 2008. Octet includes two saxophone/clarinet players (Ada Rave and Ab Baars), violin, bass, drums, and two vocalists (Laura Polence and Björk Nielsdóttir, also credited with mouth organ). B+(**) [bc]

Olof Dreijer: Loud Bloom (2026, Dh2): Electronic music producer from Sweden, formerly half of the Knife (5 albums, 2001-13) with slbing Karin Dreijer. Second solo studio album. Deep synths, heavy beats, some vocal fluff. I find it very appealing, although at volume it may disturb the neighbors. A- [sp]

Neale Eckstein: Build Our Dreams (2026, self-released): Folkie singer-songwriter from Massachusetts, has been "chasing music his entire life" while working as a dentist, but set up his own studio, has recorded others, and has at least two albums of his own. B+(*) [sp]

Eddy Current Suppression Ring: In Light of Recent Events (2025 [2026], Suppression): Australian indie rock outfit, first album 2006, some earlier singles were collected into the superb So Many Things (2003-04 [2011]). B+(***) [bc]

Marty Ehrlich: Cartographies of Flight: Lines Set Afloat Towards Hope (2024 [2026], Corbett vs. Dempsey): Alto saxophonist, plays a lot of clarinet and some flute, grew up in St. Louis, where he started working with Julius Hemphill and Oliver Lake, moved to New York in 1978, albums from 1984. Sextet with Ron Horton (trumpet), Sara Schoenbeck (bassoon), Erik Friedlander (cello), Matt Pavolka (bass), and Satoshi Takeishi (drums), with poetry read by Erica Hunt. B+(***) [bc]

Entropic Hop: The Quest for the Normal Is the Death of the Self (2025 [2026], ESP-Disk'): Group of Aron Namenwirth (guitar, voice, electronics), Ayumi Ishito (sax, electronics), and Kevin Shea (drums, voice, electronics), with special guest Sonic (voice, guiro), recorded in Brooklyn. Shea I recall from MOPDTK and Talibam!, and I've heard several of Ishito's albums on 577. Namenwirth has a couple albums I haven't heard [PS: below], but his guitar is key here, the foundation of their "post-human soundscape." Song titles start with "ChatGPT Grafted My Identity" and end with "Justice is no more than just ice," with scattered words, pondering much existential anguish along the way (a long one, 16 tracks, 76:47). B+(***) [cd]

Feeble Little Horse: Bitknot (2026, Saddle Creek): Indie rock band from Pittsburgh, third album, singer-bassist Lydia Slocum, two guitarists with some shoegaze fuzz. B+(**) [sp]

Fire-Toolz: Lavender Networks (2026, Warp): Electronica producer Angel Marcloid, based in Chicago, Discogs lists a dozen albums since 2016, some big gestures with quasi industrial klang and the occasional odd glitch. B+(*) [sp]

Chad Fowler & Matt Lavelle Quartet: Whirlpool (2022 [2026], Mahakala Music): Fowler plays strich and alto flute; Lavelle pocket trumpet, alto clarinet, and e-flat piccolo clarinet. Both are switches from their usual instruments, tending to soften the tone, not that it always works that way. They are backed by Ken Filiano (bass) and Bobby Kapp (drums), listed as "featuring" on the cover. B+(***) [bc]

Greg Freeman: Burnover (2025, Transgressive): Singer-songwriter based in Vermont, second album, sometimes deemed alt-country, sometimes slacker rock — the latter seems the better fit. B [sp]

Champian Fulton: House Party (2025 [2026], Turtle Bay): Retro-standards singer, started with David Berger's big band in 2007, plays her own piano, with her "longtime trio" of Hide Tanaka (bass) and Fukushi Tainaka (drums), also saxophonists Klas Lindquist (alto) and Cory Weeds (tenor). She is superb, but the real treat here is the 10:58 sax joust on "Billie's Bounce," which for a moment had me wondering whether I was playing "The Chase." A- [sp]

Joel Futterman/William Parker: Transcendent Universe (2025 [2026], Burning Ambulance): Piano and bass duo, although I was thrown at first with a piercing sound that reminded me of saxophone (no such credit, but Futterman has played sax in the past). But as similar sounds evolved, I figured they must have been emanating from Parker's bass. But after a few minutes, this settles into what you might expect: a rhythmically adventurous pianist and a relentlessly inventive bassist. A- [bc]

George: Looking for Consonance (2024 [2026], Out of Your Head): Drummer John Hollenbeck formed this group as a pandemic project, recorded an initial album in 2022, took it out touring in 2024, and came up with this second album. With Sarah Rossy and Chiquita Magic on voice and synthesizer (or vice versa), and Anna Webber on tenor sax/flute. Quirky as expected. Vocals not really my cup of tea, but something that has long fascinated Hollenbeck. B+(***) [cd]

Goal Weight [Maggie Cox & Jennifer Gersten]: Keep Telling Yourself That (2025 [2026], Relative Pitch): New York City duo, bass and violin. B+(***) [sp]

Golems of the Red Planet: Surf Masada: The Compositions of John Zorn (2026, Heyday Again): Quartet from Akron — Harvey Gold (guitar/keyboards), Bob Ethington (drums/percussion), Mark Allender (bass/voices), and Matt Reese (cello); cover sticker identifies them as "members of Tin Huey, Pointless Orchestra, and Trial of Lucy" — play John Zorn compositions, with a bit of surf guitar overhang. B+(***) [bc]

Vinny Golia Quintet: Angular Momentum (2025 [2026], Nine Winds): Plays all saxophones and clarinets, turns 80 this year. Quintet with Kris Tiner (trumpet), Cathlene Pineda (piano), Miller Wrenn (bass), and Clint Dodson (drums, vibes, waterphone). B+(***) [bc]

Golomb: The Beat Goes On (2025, No Quarter): Indie rock band from Colombus, Ohio, 3rd album per Discogs, more on Bandcamp, but looks like a label advance (2nd was a cassette, 1st barely had artwork), although they're still pretty lo-fi. B [sp]

Phillip Golub: Partisan Ship (2025 [2026], Berthold): Pianist, from LA but based in NYC, several albums since 2020, plays various synths here (Flexichord, Behringer Neutron, Arturia Digital), with spots for Yuma Uesaka (clarinets, tenor sax, blass clariflute), Anna Webber (flute, tenor sax), David Leon (alto sax), Layale Chaker (violin), Elias Stemeseder (more synths), some bass and drums (or drum machine). B+(**) [bc]

Brad Goode Quintet: Live Your Dream: Live at the North Street Cabaret (2025 [2026], Origin): Trumpet player, from Chicago, 1988 debut was titled Shock of the New, has an interesting career I've never quite figured out, roughly filed under post-bop. Strong live set, with a rhythm section of Adrean Farrugia (piano), Jay Anderson (bass), and Adam Nussbaum (drums), plus a "featuring" role for tenor saxophonist Ernie Watts, who often sounds terrific. B+(***) [cd] [06-19]

Rafael Greco: Versos Bajo Mi Sombra/Verses Under My Shadow (2025 [2026], Blue Canoe): Venezuelan, website identifies him as a saxophonist, but he plays nearly everything else here, notably keyboards, and sings. This strikes me as having a Brazilian feel, but it often strays from stereotype. B+(**) [cd]

Gyrofield: Suspension of Belief (2025, Kapsela, EP): Chinese DJ/producer Kiana Li, from Hong Kong, more recently based in Bristol and Utrecht, three albums since 2020, several dozen EPs and singles since 2017. Four pieces, each satisfying, 23:32. B+(***) [sp]

Gyrofield: Your Fight (2026, Field Research, EP): Three songs, 16:24, the compression focuses the beats and airs even tighter. B+(***) [sp]

Andy Haas: Messianic Time (2026, Resonant Music): Canadian saxophonist, based in New York, I first noticed him in a new wave rock band called Martha & the Muffins (1980), and later in the jazz trio Radio I-Ching. A new trio here with Brenda Rey (bass) and James Paul Nadien (drums), with effects, harmonica, and voice. This is fairly rough listening, demanding attention, as if trying to wake, or just remember, the dead (in this case, his late drummers Dee Pop and Michael Evans). [PS: Bandcamp version has 2 tracks not on CD (total 4 tracks, 50:01); CD had four tracks not on Bandcamp (6 tracks, 60:40). Title cut, curiously enough, is only on Bandcamp.] B+(**) [cd]

Jon Hamar: Música Callada (2025 [2026], Origin Classical): Bassist, has several jazz albums since 2007, a couple dozen side credits (especially with Jeff Hamilton). Duo with pianist Adrienne Fontenot, opening with a rendition of Frederic Mompou's 9-part title piece (15:36), followed by six shorter pieces (two originals, one by Hamilton, one by Ned Rorem, two by David P. Jones). B+(*) [cd] [06-19]

Aldous Harding: Train on the Island (2026, 4AD): Singer-songwriter from New Zealand, originally Hannah Topp, Harding was stepfather's name, plays piano and guitar, fifth album since 2014, John Parrish produced and mostly plays percussion, with H. Hawkline on guitar and keyboards. B+(**) [sp]

Joy Harjo: Insomnia & Seven Steps to Grace (2026, Smithsonian Folkways): Singer-songwriter (b. 1951), from Muscogee Nation in Oklahoma, has over a dozen volumes of poetry, a play, several non-fiction volumes, eighth album since 1997 (including one as Poetic Justice). Some jazz touches, including a coda of "Goodbye Pork Pit Hat." B+(***) [sp]

Wendell Harrison & Tribe: Tribute to Pharoah Sanders: Live at the Concert of Colors Detroit 2025 (2025 [2026], Org Music): Tenor saxophonist from Detroit, a founder of Tribe with Phil Ranelin in the early 1970s, which exemplified what I think of as the fusion of avant-jazz and black power to construct a community activist fusion music. Sanders and Archie Shepp were senior figures in that movement, as they already had international reputations. (AEC was another; Bayard Lancaster in Philadelphia, and Horace Tapscott in Los Angeles, were to follow.) No credits here, but a large group with vocals, doing several Sanders "hits." B+(***) [sp]

Anna von Hausswolff: Iconoclasts (2025, Year0001): Swedish singer-songwriter, sixth album since 2010, gothic art pop or darkwave; likes organ, strings and heavy percussion; tends toward high melodrama; employs Otis Sandsjö on sax/clarinet; has guest vocal spots for Iggy Pop and Ethel Cain. Too much for me, and not just because it runs long (72:49). B [sp]

Alexander Hawkins: No Nation but Imagination (2025 [2026], Intakt): English pianist, prolific since 2006, mostly free but fairly eclectic, opens with a synth solo, then the quintet kicks in, light tones and frothy rhythm: Rhodri Davies (harp), Nicole Mitchell (flute), Hamid Drake (drums), and Matthew Wright (turntables/live sampling). B+(**) [sp]

David Hillyard & the Rocksteady 7: Home for Dinner (2026, Org Music): Ska saxophonist based in New York, known for his work the the Slackers as well as this band, which has eight albums since 1999. Featuring percussionist Larry McDonald, with fairly prominent vibes. A mix of originals, standards, three Roland Alphonso tunes, with outliers from Kurt Weill and Jorge Ben. Two guest vocals. Pleasant enough, but Alphonso and Tommy McCook have nothing to fear. B [bc]

Homeboy Sandman: Turns Out I Can Sell a Few More of These (2025, Dirty Looks, EP): Brooklyn rapper Angel Del Villar II, six tracks, 16 minutes, counting a 1:17 intro that is mere advertisement. Several title variations on his 2022 album, I Can't Sell These, with this one no longer on his Bandcamp page, but still resident (but poorly indexed) on Spotify. B+(**) [sp]

Gregory Hutchinson: Kind of Now: The Pulse of Miles Davis (2026, Warner Music Arts): One of many projects revisiting Davis on his centennary, led by the drummer, with Ambrose Akinmusire (trumpet) in the key role, accompanied by Ron Blake (tenor sax/bass clarinet), two guitarists (Emmanuel Michael and Jakob Bro), piano (Gerald Clayton), and bass (Joe Sanders), playing three originals and ten pieces from the songbook (4 by Davis, 4 by Wayne Shorter, one each for Tony Williams and Charlie Parker, with a Victor Feldman assist). B+(**) [sp]

Jon Irabagon: Raw Dog (2025 [2026], Corbett vs. Dempsey): Always excited to find a new album by the MOPDTK saxophonist. Less excited to find out that it's solo, even more that it's bass saxophone, covering two compositions each from Anthony Braxton and Julius Hemphill. But it probably helps that the big horn handles slow, and is impervious to screeching (unlike, say, Braxton's For Alto, which some regard as a masterpiece but I couldn't stand). The results are neither "mind-blowing [nor] ear juddering," but the explorations of "Hemphill's deep blues feel and Braxton's erector set structures" are interesting. B+(**) [bc]

Ital Tek: Mind Abandon (2026, Planet Mu): British electronica producer Alan Myson, ninth album since 2008. B+(**) [bc]

Ernesto Jodos/Rocio Giménez López: Una Casa Con Dos Pianos (2026, Blue Art): Two pianists from Argentina. Jodos has over a dozen albums since 1997. López a shorter discography, since 2017. Nice. B+(**) [sp]

JPEGMafia: Experimental Rap (2026, Peggy/AWAL): Rapper Barrington Hendricks, sixth studio album since 2016, more mixtapes 2009-15 (most as Devon Hendryx), 25 songs in 52:07, intense fast ones with jerky beats and post-metallic clang. I suppose I should be more impressed, but I'm not enjoying this much. B+(*) [sp]

Whitney Johnson/Lia Kohl/Macie Stewart: Body Sound (2025 [2026], International Anthem): String trio (viola, cello, violin), with voice and tape effects. The tone suggests drone, although the improvisation is typically more complex. B+(**) [bc]

Carolyn Lee Jones: Eklektika (2026, Catn'round Sound): Standards singer, sixth album (per notes; only one, a Christmas album from 2021, in Discogs). Cover also notes: "Jazz Retro Pop Bossa Nova," which I initially took to be a subtitle, but dropped that idea on finding this lacks even what I've come to call "the obligatory Jobim." Bio notes "she burst on to the jazz scene in 2008," and cites "her own groups": Fresh Vintage Jazz Ensemble, The Satin Dolls Band, and In Full Swing. Long list of redundant credits suggests this came from multiple sessions, which aren't dated. Some vintage standards, nicely done. [PS: She has one previous album in my database, The Performer from 2013, which I also liked.] B+(***) [cd]

K.A.A.N.: Kaancepts (2025, D-Ace Beats): Rapper Brandon Perry, from Maryland, based in Los Angeles, acronym stands for Knowledge Above All Nonsense, Wikipedia lists 27 albums, 3 mixtapes, 13 EPs, and 61 singles since 2014, but Discogs only has 8 albums plus 13 other releases, and neither has this one, which evaded attention in part by dropping on December 25. I've heard one album, Subtle Meditation (an A- from 2018). Could be that this is a compilation tied into a video, but that too is unclear. What is obvious is that few have ever rapped faster, so he generates his own frenzied rhythm, leaving producer D-Ace Beats (who sometimes gets co-credit, but landed on my source as the label name) to steady the ship. A- [sp]

KIND: Count (2025, Umland): Group led by German alto saxophonist Jan Klare, dozen-plus albums since 1998, also plays bassoon, all original compositions, group a sextet with clarinet (Shabnam Parvaresh), trombone (Shannon Barnett), cello (Emily Wittbrodt), bass (David Helm), and percussion (Bruna Cabral). Superb postbop, as the ever-shifting harmonics revolve eccentrically around an ever-changing rhythmic drive. A- [bc]

KJADE: The Sound That Trees Make (2024, self-released): Rapper-singer Kendall Jade, based in Phoenix, first album, ten fractured pieces (22:11), teases for more. B+(**) [bc]

KJADE: On Everything I Love (2026, self-released): Second album, twelve pieces this time (20:52), not counting the 4:24 remix. B+(**) [bc]

Larkin Poe: Bloom (2025, Tricki-Woo): Blues-rock band from Georgia, based in Nashville, led by sisters Rebecca and Megan Lovell (formerly of the Lovell Sisters, 2005-09), eighth studio album since 2014. B+(*) [sp]

Janel Leppin: Slowly Melting (2026, Cuneiform): Cellist, several albums since 2011, including her Volcanic Ash Ensemble. This one is solo, where she also dubs in guitar, bass, synth, and piano. B+(*) [dl]

Janel Leppin's Ensemble Volcanic Ash: Pluto in Aquarius (2026, Cuneiform): Third group album led by cellist (also plays synthesizer), with Brian Settles (tenor sax), Anthony Pirog (guitar), Luke Stewart (bass), and Larry Ferguson (drums). Develops some rock velocity toward the end. B+(**) [dl]

Lime Garden: Maybe Not Tonight (2026, So Young): British "wonk pop" band, second album, Chloe Howard the singer, plays guitar (as does Leila Deeley, with Tippi Morgan on bass and Annabel Whittle on drums). First songs are very catchy, and while they're not all that striking, they never let up. A- [sp]

Lip Critic: Theft World (2026, Partisan): Band from Brooklyn, two drummers, samplers for metallic clang and industrial noise (or "Dada-esque nonsense"), spoken vocals. Reminded me of Sleaford Mods, but, you know, American, and less political (or class-conscious), or less pointed about it. B+(***) [sp]

Joe Lovano: Paramount Quartet (2025 [2026], ECM): Tenor saxophonist from Cleveland, emerged in the late 1980s working with Paul Motian and Bill Frisell in the 1980s, then John Scofield; dominated the 1990s with Blue Note albums like From the Soul. He has been steadily productive since then, but the albums have been hit and miss. New quartet here with Julian Lage (guitar), Asante Santi Debriano (bass), and Will Calhoun (drums). B+(***) [sp]

Alexis Marcelo: Solo Piano (2025 [2026], Intakt): Pianist, from the Bronx, parents immigrants from Panama and the Dominican, has a couple of albums, side credits back to 2000, many with Adam Rudolph. Solo, makes an impression. B+(**) [sp]

March to August: Highway 75 (2026, Crisp): Husband-and-wife country duo from Fayetteville, Derrick (who sings) and Jodi Mears. Mostly drinking songs, especially if you count the not-drinking songs. B+(**) [sp]

Ashley McBryde: Wild (2026, Warner Nashville): Country singer-songwriter, sixth album since 2018, only has writing credits on 6 (of 11) songs, with the most striking song Randall Clay's "Rattlesnake Preacher." But McBryde owns it, establishing her rustic deep south roots, a firm foundation to rock out on. A- [sp]

Ava Mendoza: Alive Alone, Alive Together (2026, Burning Ambulance): Guitarist, based in Brooklyn, can play heavy rock as well as avant-jazz, sings/shouts some, could make it as the next Kim Gordon, but holds her own on four solo tracks here, and gets some help from Hamid Drake (drums) on four more. B+(***) [bc]

Mod Lang: Borrowed Time (2026, Just Add Water): Detroit power pop group, quartet with retro-sixties harmonies, hooks, and drums, but doesn't trigger any nostalgia for me, even for later bands in this vein like the Raspberries or the Pooh Sticks, let alone Big Star (a name-drop, but also a signature guitar quote). B+(**) [bc]

Aja Monet: The Color of Rain (2026, Drink Sum Wtr): Poet, performer, activist, from New York, based in Los Angeles, second album after four books. Promises "all rhythm and no algorithm." But she lays on some serious politics: "From Palisades to Palestine/ An actress compares the LA oceanfront to Gaza/ Never mentions the Rafah border/ The cutoff of two thousand aid trucks / Neglects to mention body bags, rubble, or the Israeli snipers aimed at children," and "nothing like disaster to shock a heart into beating" and "HEPA can't filter this coruption/ Maybe, maybe socialism is on its way." A- [sp]

Simon Moullier: Ceiba (2025 [2026], Simon Moullier Music): Vibraphonist, based in New York, sixth album, a quartet with Lex Korten (piano), Rick Rosato (bass), and JK Kim (drums), with guest percussion (Keita Ogawa) on two tracks. Original pieces. Sails right along. B+(***) [cd]

Jason Moran/BlankFor.ms/Marcus Gilmore: Shards (2024 [2026], Red Hook): Pianist, from Houston, early albums on Blue Note (1999-2006) established him as a major figure. (After two more Blue Notes, his self-released albums since 2016 have gotten little publicity, although 2023's From the Dancehall to the Battlefield was something of an exception; I haven't heard his new Plays Ellington.) Second album with this trio, Tyler Gilmore on electronics, and (presumably not related) Marcus Gilmore on drums. I can't say the electronics made much of an impression, but the piano did. B+(***) [sp]

Namasenda: Limbo (2026, Year0001): Swedish-born dance-pop singer-songwriter Naomi Namasenda, parents from Uganda, first album after a mixtape and a remix album. B+(***) [bc]

Nas & DJ Premier: Light-Years (2025, Mass Appeal): Rapper Nasir Jones founded this label in 2014, with Run the Jewels their first release. In 2025, they came up with a series of seven Legend Has It . . . albums, bringing back "iconic" hip-hop acts from 20+ years ago: Slick Rick, Raekwon, Ghostface Killah, Mobb Deep, Big L, De La Soul. It's been a noble endeavor, the kind of thing that's possible when artists seize the means of production. Now we see that it's also let Nas dust off some old tracks he worked on with producer Christopher Martin back in 2006. It's not clear how much of this is old or new, but it sounds vintage, for sure. B+(***) [sp]

Willie Nelson: Dream Chaser (2026, Legacy): Still cranking out new albums at 93, this his 79th studio effort, 10 songs in 30:50, 6 co-writes, most with producer Buddy Cannon, one with Bob Dylan. He still sounds terrific. B+(***) [sp]

New England Jazz Collaborative: Tributaries (2025 [2026], ACP): An "artist-run nonprofit collective," ACP stands for Amherst College Press, which matches up featured composers with musicians for various programs. This first album features compositions from Jeremy Cohen, Matan Rubinstein, Darryl Harper, and Sam Spear, performed by a big band conducted by Ken Schaphorst, with some extra guitar from Eric Hofbauer, on their quite nice Latin turn. B+(**) [cd] [07-16]

The New Pornographers: The Former Site Of (2026, Merge): Canadian indie rock band, 10th studio album since 2000, leader is Carl Newman, although other singer Neko Case is probably better known given her solo career (as A.C. Newman has three solo albums 2004-12; Dan Bejar, aka Destroyer, was a third singer-songwriter until recently). I liked Case before I heard them, but she's never been the point, and after a few disappointments, I decided they don't have any. Still, this is pleasant and occasionally catchy. B+(**) [sp]

Pascal Niggenkemper Ensemble Tuvalu: D'Une Rive à L'Autre (2024 [2026], Subran Musiques Aventureuses): German-French bassist, living in Brooklyn, 20 albums since 2008. This piece is inspired by the Pacific archipelago of Tuvalu, a land especially endangered by climate change. "The stage plot consists of sixteen sounding curtains which surround the audience, 8 musicians and a poet circling nine sounding islands at the very center which symbolise the South Sea archipel Tuvalu." The group splits into two quartets, of cornet/trumpet, clarinet, accordion, bass/cello, with voice parts all around, in however many languages they can muster. B+(**) [bc]

Nite Bjuti: Minwi (2023 [2026], Intakt): Trio of Candace Hoyes (vocals), Mimi Jones (bass, vocals), and Val Jeanty (drums, electronics), lyrics credited to Hoyes. Seems to be Hoyes' first album. Art song, deeply ensconced in dark atmospherics. B+(**) [sp]

Miles Okazaki: Boomtown (2025 [2026] Pi): Guitarist, a dozen-plus albums since 2006, including a "Complete Compositions of Thelonious Monk." Large group here with three saxophonists (Caroline Davis, Anna Webber, Jon Irabagon), two trombonists (Jacob Garchik and Kalia Vandever), piano (Matt Mitchell), drums (Dan Weiss), and two bassists (Chris Tordini and Hannah Marks). Most impressive at full strength. A- [cd] [06-26]

Outer Worlds Jazz Ensemble: The Kármán Line (2026, ATA): Leeds group, principally Chip Wickham (flutes) and Neil Innes (bass), with piano, bass, harp, drums/balafon, and percussion, plus some extra orchestra. Title refers to the hypothetical boundary between atmosphere and outer space. Some nice grooves at that distance. B+(***) [sp]

John Pachnos: John Pachnos (2026, Avgonyma Music): Bassist, composer, seems to be his first album, also plays bouzouki on one track, with Carter Vames (sax/flute), Frankie Midnight (piano/keyboards), Caleb Heinze (guitar), and Justin Vedovelli (drums). Various looks, including groove to start, and organ funk to close. B+(**) [cd]

Shane Parish: Autechre Guitar (2025 [2026], Palilalia): Guitarist, based in Athens GA, has recorded a good deal since 2015, including with Bill Orcutt Guitar Quartet. The idea here is to play songs from the British electronica duo Autechre (15 studio albums 1993-2020) on solo acoustic guitar. I've heard three Autechre albums, which are neither for me, but I suspect I would find the electronics have more appeal than the guitar does. B [sp]

Jeff Parker ETA IVtet: Happy Today (2025 [2026], International Anthem/Nonesuch): Guitarist, born in Connecticut, studied at Berklee, moved to Chicago in 1991 where he established himself (in post-rock groups Tortoise and Isotope 217, as well as jazz groups like Chicago Underground and many other collaborations), before moving to Los Angeles in 2013. There this quartet took its name from "a Monday night residency from 2016-2023 at ETA Highland Park." With Josh Johnson (alto sax), Anna Butterss (bass), and Jay Bellerose (drums). Two 20+ minute pieces, as basic patterns iterate, mutate, and develop. A- [bc]

Ben Patterson: Stretch (2025 [2026], Origin): Trombonist, former Airmen of Note music director, fifth album since 2020, postbop with some groove and swing, backed by Shawn Purcell (guitar), Harry Appelman (keyboards), bass, and drums, with chops aplenty. B+(**) [cd] [06-19]

Ivo Perelman: Trifecta (2022-24 [2026], Mahakala Music, 3CD): Avant-saxophonist from Brazil, moved to the US in the early 1980s, after a normal start in 1989, he went on a tear around 1996, and has kept it up, typically releasing 8-12 albums per year, sometimes in clusters, like this series of tenor sax and guitar duets, one disc each with Marc Ribot, Elliott Sharp, and Joe Morris. The Ribot session ends especially strong, but all the guitarists pick out interesting terrain, which the saxophonist navigates masterfully. A- [bc]

Ivo Perelman/Wadada Leo Smith: Duologues 5 (2026, Ibeji): Tenor sax and trumpet duo. Two masters, though not a lot of contrast or momentum. B+(***) [sp]

Ivo Perelman/Damon Smith: Duologue: Core of Existence (2026, Squid Note): Tenor sax and bass duo, Bandcamp page lists title as Duologue 6, a series that only barely hints at the number of duos he's recorded — more than a dozen with Matthew Shipp (including seven volumes of The Art of Perelman-Shipp, his 12-CD Reed Rapture in Brooklyn box, his Trifecta of guitarists, plus numerous one-shot encounters. I've heard many (109 albums rated). He's always good, often great (I've A-listed 41 of those albums). I fear I've fallen behind of late, having lost track of many download links, and possibly just being overwhelmed. This strikes me as typical, but the bass is worth focusing on, as his own excellence is beyond doubt. B+(***) [bc]

The Phoenix Trio: Tomorrow Is Today (2025 [2026], Giant Step Arts): Mark Turner (tenor sax), Joe Martin (bass), and Marcus Gilmore (drums), order from back cover, with front cover going Gilmore-Martin-Turner. Martin wrote 4 (of 6) songs, with one each for the others. Turner was part of the 1990s mainstream resurgence, which coincided with the revival of major labels like Blue Note and Verve, and to my mind at least was led by a dozen or more major tenor saxophonists. He's had ups and downs since then, but seems ideally situated with these younger players. A- [cd] [06-19]

Ragini Trio: 3 (2026, W.E.R.F.): Sax trio from Belgium, with Nathan Daems (tenor sax/effects), Marco Bordoscia (double bass/bass guitar), and Lander Gyselinck (drums). Fine print says the group name comes from "years of deep exploration into long-form ragas, South Indian Carnatic traditions, konnakkol, and Western jazz." And here I thought I was just a sucker for a well-formed, full-throated saxophone trio. A- [bc]

Mariam Rezaei/Sakina Abdou/Kobe Van Cauwenberghe: 1984 [I IX VIII IV]: The Forward Process (2025 [2026], Dropa Disc): Turntables, saxophones, guitars: I filed it under the latter, as he is principal composer. Most sources give group name as 1984, but cover offers four Roman numerals, in a 2x2 matrix, with the artist names above and the album title below, both in small print. B+(**) [bc]

Jeff Rupert Quartet: Sea Spell (2022 [2026], Rupe Media): Tenor saxophonist, mainstream, several albums back to 2009, including one as The Jazz Professors and another with Veronica Swift. Quartet with Richard Drexler (piano), Ben Kramer (bass), and Marty Morell (drums). Quite enjoyable easy listening. B+(**) [cd] [06-29]

Olaf Rupp: Berlin Eiskeller (2025-26 [2026], Scatter Archive): German guitarist, many albums since 1998, mostly in free jazz contexts, although he's largely escaped my attention. This one is solo. B+(**) [bc]

Rival Consoles: Landscape From Memory (2025, Erased Tapes): London-based electronica producer Ryan Lee West, ten or so albums since 2009. Some heavy bass. B+(**) [sp]

Yvonne Rogers: The Button Jar (2025 [2026], Pyroclastic): Pianist, grew up "in rural Maine without the distraction of even a television," now based in Brooklyn, solo, second album. B+(**) [cd]

Kemuel Roig: Both Sides Now (2026, Life in Music): Cuban pianist, studied in Miami, side credits since 2015 with Arturo Sandoval, Ed Calle, Brian Lynch, and Aymee Nuviola. First album, a solo, mostly standards with a bonus second take of Jimmy Rowles' "The Peacocks." Not splashy, but very nicely done. B+(***) [cd]

Thom Rotella: Right Time Left (2025, HighNote): Guitarist, b. 1951 in Niagara Falls, more than a dozen albums since 1987, extensive pop and soul side credits, has featured spots here for Ernie Watts (tenor sax), Jeremy Pelt (trumpet), and Antonio Adolfo (piano), backed by "select L.A. session players" (including organ). B+(*) [sp]

Scott Sadlon: Songs From Thin Air (2022 [2026], Buddha Boy): Drummer, although google is more likely to introduce you to a dentist in Scottsdale, AZ. One and the same. First album, with Rachel Eckroth (keyboards) and Tim Lefebvre (bass). Describes his approach as "a punk rock mentality," which isn't imediately obvious, but his fusion has a few sharp edges, and some funk. B+(***) [cd]

Salin: Rammana (2025, Salin): Drummer/producer from Thailand, Salin Cheewapansri, based in Montreal, second album, titled after a Thai drum with references from Madagascar to New Guinea. Local instruments mix with funk bass, strings, and quite some blast of brass. B+(*) [sp]

David Sanchez: Tambó (2025 [2026], Ropeadope): Tenor saxophonist, from Puerto Rico, made a big impression in the 1990s (peaking in 1998 with Obsesión), first album since 2019, half soaring over Latin percussion like the good olde days, half slacks off a bit to show his ballad skills. B+(***) [sp]

Schapiro 17: Best Laid Plans (2025 [2026], Summit): Big band, leader listed as conductor, composer, arranger. Discogs shows some producer credits for Schapiro in the 1990s (mostly Verve compilations), with three big band albums since 2020. He knows what he's doing, but my interest is fading. B+(*) [cd]

Serengeti: Symphony of Psalms (2026, CC King): Chicago rapper David Cohn, many albums since 2006, cover says "produced by Greg Saunier." B+(*) [sp]

Skerik: Skerik 061725 (2026, Loosegroove): Seattle-based saxophonist Eric Walton, has worked in many groups since the 1990s, including Garage A Trois, Critters Buggin, the Dead Kenny G's, and his Syncopated Taint Septet. This one is full-on ambient, like Eno's first ambient albums. Seems like a waste of a good saxophone to me, but on its own terms, this is nicely done. B+(**) [sp]

Skullcap: Snakes of Albuquerque (2023 [2025], Cuneiform): "It might be easy to think of Skullcap as Janel & Anthony plus one": Leppin (cello) and Pirog (guitar), who have a previous record as such, plus Mike Kuhl (drums). B+(**) [dl]

KP Skywalka: I Tried to Tell You (2025, Beat the Odds): DC rapper, first album, topped Pitchfork's obscurantist 2025 hip-hop list (21/32 albums new to my EOY aggregate), note: "embellishing DMV drill with retro R&B, Southern-style storytelling, and striking moments of vulnerability." B+(*) [sp]

The Sleeveens: National Anthem (2026, Goner): Rock band formed in 2022 in Nashville by Stefan Murphy (from Ireland, originally Stef + the Sleeveens). Second album. Seems pretty conventional to me, but give them credit for keeping the energy level up. B+(*) [bc]

Tyshawn Sorey: Members . . . Don't (2025 [2026], Pi, 2CD): Drummer, MacArthur genius, arranged four pieces by Stanley Cowell plus three more (Jymie Merritt, Gary Bartz, Max Roach/trad.), for a quintet that expands them masterfully to an average over 13 minutes, with Adam O'Farrill (trumpet), Mark Shim (tenor sax), Lex Korten (piano), and Tyrone Allen II (bass), with vocalist Fay Victor nailing the finale. A- [cd]

Omar Sosa/Joo Kraus/Diego Pinera: Vibe Factor (2026, Music Hub): Cuban pianist, left in the 1990s for Ecuador, eventually wound up in Spain. Many albums since 1996. Strangely very little info available on this album, but Kraus (from Germany) plays trumpet, and Pinera (from Uruguay) drums. Apt title. B+(**) [sp]

Colin Stetson/Greg Fox/Trevor Dunn: Nethering (2018 [2026], Envision): Saxophonist, plays a wide range of instruments but is best known for his bass saxophone, which he's employed in various projects, rock and classical as well as jazz. Improv here with drums and bass. B+(**) [sp]

This Is Lorelei: Holo Boy (2025, Double Double Whammy): Singer-songwriter Nate Amos, who defers to vocalist Rachel Brown in their band Water From Your Eyes, serves up a second album solo (short at 26:53 but with 10 songs), which dropped shortly before his "Super Deluxe" expansion of the first one. B+(***) [sp]

Pat Thomas & XT: Strata, Act (Joy Contemporary) (2022 [2026], We Jazz): British avant-pianist, also electronics, in a trio Paul Abbott ("real and imaginary drums") and Seymour Wright ("actual and potential sax," of [Ahmed]). The duo has 7 other albums, one with Thomas (a rendition of Cecil Taylor's Akisakila). Three long (36:02, 43:24, 50:05) live sets on the 2-CD, plus two more digital tracks (20:31 + 16:43). Way too much, but pretty awesome when they all his peak intensity. B+(**) [bc]

Udeigwe: Four Lemmas (2026, LU Factors): First name Lawrence, from Nigeria, moved to US in 2000, got a Ph.D. and is a professor of mathematics, also sings, several albums since 2007. B+(*) [sp]

Gary Versace Trio: Three Track Mind (2024 [2026], Sunnyside): Pianist, has a large number of appearances since 1997, many on organ or accordion. Trio here with François Moutin (bass) and Rudy Royston (drums). This is quite nice. B+(**) [bc]

Victor Vieira-Branco's Bark Culture: The Giant Is Awkward (2025 [2026], Temperphantom): From Philadelphia, second group album, first claimed by the vibraphonist, who composed 4 (of 5) pieces, the other one by pianist Sam Yulsman, an addition here to John Moran (bass) and Joey Sullivan (drums). B+(**) [bc]

Terry Waldo & the Gotham City Band: Treasury Volume 3 (2026, Turtle Bay): Ragtime pianist, b. 1944, mentored by Eubie Blake 1969-83, but also studied with Roland Hanna, Dick Wellstood, and Jaki Byard; called his first band The Fungus Five Plus Two ("our music grows on you"), but best known for Waldo's Gutbucket Syncopators (1969-81), and now for his Gotham City Band (since 1984). Old songs, recently recorded (I've been assured). The first two volumes are treasures indeed. This is, if anything, even more delightful. A- [sp]

Watchhouse: Rituals (2025, Tiptoe Tiger Music): Country/folk duo from North Carolina, Andrew Marlin and Emily Frantz, originally dba Mandolin Orange (2010), changed their name in 2019. B [sp]

Weakened Friends: Feels Like Hell (2025, Don Giovanni): Indie trio from Portland, Maine, third album, Sonia Sturino (vocals/guitar) and Annie Hoffman (bass/vocals) write the songs, Adam Hand drums. Up and down, in and out of punk, could be major but hard for me to be sure. B+(***) [sp]

Joe Webb: Neath Beat (2025 [2026], Edition): Pianist, grew up in Wales, based in London, Discogs seems to have this album filed under the wrong Joe Webb (should be 5). Has a couple previous albums, including a Mercury nomination for Hamstrings & Hurricanes (2025). Trio with Will Sach (bass) and Sam Jesson (drums). Beat matters. B+(**) [sp]

Weird Nightmare: Hoopla (2026, Sub Pop): Indie power pop band from Toronto led by Alex Edkins, formerly of Metz, which released five studio albums 2012-24 (overlapping the Weird Nightmare debut in 2022). First album blurb said, "if you're looking for a raw, sugary blast of distorted pop, look no further." That remains true, but how about a hits or two? B+(*) [sp]

White Denim: Wd13 (2026, Bella Union): Indie band from Austin, got some notice early on (2008-09), but they've kept at it, releasing another album most years since, the titles counted since 12 (most sources give this as 13, but I prefer to believe the cover). Slips and slides, with a bluesy feel that can escalate into funk (as in "adelicment"). "In the USA we are simple and free." Well, not so simple. B+(**) [sp]

Immanuel Wilkins Quartet: Live at the Village Vanguard Vol. 2 (2025 [2026], Blue Note): Alto saxophonist, debut 2020 on a major label made him an instant star, big enough that his label decided to split up his live stand into three digital albums, rolling them out in monthly intervals. With Micah Thomas (piano), Ryoma Takenaga (bass), and Kweku Sumbry (drums), five tracks, 57:27. B+(**) [sp]

Immanuel Wilkins Quartet: Live at the Village Vanguard Vol. 3 (2025 [2026], Blue Note): Four more songs, 61 minutes. This one seems a bit more consistently upbeat, which is where their strengths lie. But the distinctions are marginal, and patience is wearing thin. Needless to say, they could have edited the three volumes down to a more compelling hour, but the cost-benefit analysis seems to have favored more product. B+(**) [sp]

Work Money Death: A Portal to Here (2026, ATA): British jazz group, name from tenor saxophonist Tony Burkill's 2017 debut album, fourth album under the group name, only Sam Hobbs (drums) remains from the orginal group, which now has Johnny Richards (piano), Neil Innes (bass), and Sam Bell (percussion), plus extras here and there. "Aim to produce longform, improvised pieces inspired by the work of Pharoah Sanders and Alice Coltrane." A fairly surefire formula (cf. Nate Birchall), which they deliver on. A- [bc]

Zen Zadravec: New Paradigm (2026, Marmite): Pianist, from Canada, has several albums, gets a big band feel from a smaller (but revolving) group here. B+(*) [cd] [06-26]

Recent Reissues, Compilations, Vault Discoveries

Kenny Barron/Ray Drummond/Ben Riley: So Many Lovely Things: Live in Brecon (1995 [2026], Elemental Music, 2CD): Piano-bass-drums trio, already well established then but legends now. I'm not much of a piano trio fan, especially when there's not a lot of rhythm/swing, so often this sort of thing slips past me as pleasant background. But when I do focus, I find it remarkable. Nice package, too. A- [06-12]

Johannes Bauer/Michael Griener/Olaf Rupp: Aufsturz (2007 [2026], Scatter Archive): German trombonist (1954-2016), younger brother of Conrad Bauer, an improv bash with drums and guitar. B+(***) [bc]

Marion Brown: Live in Europe 1968 & 1972 (1968-72 [2026], NoBusiness): Alto saxophonist (1931-2010), produced several major avant-garde albums in the late 1960s. These sets — the first a quartet with Gunter Hampel (vibes), Barre Phillips (bass), and Steve McCall (drums); the second a duo with McCall — are interesting but relatively minor. B+(**) [cd]

Daniel Carter/Sabir Mateen/William Parker/Lou Grassi: Keeping It in Context (1996 [2026], NoBusiness): Two saxophonists (alto/tenor/flute, one also on trumpet, the other on clarinet), backed by superb bass, and drums: a jam session spun off from Parker's 1990s Improviser's Collective. When the going gets rough, I used to complain that chaotic free jazz must have been more fun to play than to listen to. Now I hear more method in what formerly felt ramshackle. Or perhaps I'm just touched by nostalgia? A fine document of lost times. A- [cd]

Pierre Favre Trio: Bird Food (1968 [2026], Songs): French drummer, b. 1937, first albums 1964-65 were jazzed-up classical music, much notable work followed, especially his duos with Swiss pianist Irène Schweizer. This recently unearthed tape appears to have been their first collaboration, a trio with George Mraz on bass, playing Ornette Coleman's title piece plus three by Schweizer (total: 29:56). B+(**) [sp]

Muriel Grossmann: Quartet (2008 [2026], Modernistas): Alto saxophonist, from Austria, one of her first albums, recorded in Ibiza, where she lives. With Radomir Milojkovic (guitar), David Marroquin (bass), and Marko Jelača. B+(***) [bc]

Intercommunal Free Dance Music Orchestra: Vol. 1: Concert À Prades-Le-Lez (1974 [2026], Souffle Continu): Jazz group led by French pianist François Tusques (b. 1938), followed up his 1971 album Intercommunal Music by organizing this group, which in various guises recorded a half-dozen albums up to 1983. This one has two saxophonists (Jo Maka and Michel Marre), trombone (Adolphe Winkler), and percussion (Guem). Draws on sources "from New Orleans to Brittany to North Africa," and perhaps points south. B+(***) [bc]

Intercommunal Free Dance Music Orchestra: Vol. 2: Concert À Prades-Le-Lez (1974 [2026], Souffle Continu): Continues for another four tracks, 38:44. B+(**) [bc]

Kaiso Power: Sound Revolution in Trinidad 1970-1980 (1970-80 [2026], Soundway): Some rare crate digging. B+(*) [bc]

Les Rallizes Dénudés: Disque 4: '76 Studio Et Live (1976 [2026], Temporal Drift): Japanese experimental rock group, formed in 1967 but didn't release anything until 1991, when they dropped three albums (including some old music: '67-'69 Studio Et Live and '77 Live). The overall sound, especially the guitar, was influenced by Velvet Underground, nicely stretched out to emphasize the atmospherics. A- [bc]

James Brandon Lewis & Lutosławski Quartet: These Are Soulful Days (2021 [2026], TAO Forms): Tenor saxophonist, makes his entry into the sax-with-strings forum with a well-known Polish string quartet (dozen-plus albums since 2012, including jazz meets with Uri Caine and Kris Davis). This was originally released as a bonus CD with Lewis's poll-winning 2023 album, For Mahalia, With Love. A- [sp]

Charlie Mariano/Sal Nistico: Barcelona Meeting (1989 [2026], Fresh Sound): Two saxophonists, alto and tenor, only together on three tracks, the rest quartet tracks, three led by Mariano, five by Nistico, all backed by Frank Strazzeri (piano), Isla Eckinger (bass), and Peer Wyboris (drums). B+(**) [sp]

Sunny Murray/Sabu Toyozumi: Sun's Blessings (1999 [2026], NoBusiness): Two free jazz drummers, Murray (1936-2017) most famous as the guy who drove John Coltrane off the deep end, Toyozumi a bit younger (b. 1943) and still active, some notable encounters with western avants over the years (Peter Brötzmann, Derek Bailey, Han Bennink, Paul Rutherford, Wadada Leo Smith). Whether you need to listen to just drums for 61:27 is up to you, but these guys are masters, and the inspired rumble retained my interest throughout. A- [cd]

Red Norvo: The Secret Session (1942 [2026], Dot Time): Mallets player (1908-99), started recording in 1933, filling up eight volumes in the Classics Chronological Series through 1951. This session, where he plays xylophone, was recorded in secret in late 1942, in defiance of the recording ban, just before the war would break up his band. Best known musicians here are Shorty Rogers (trumpet), Eddie Bert (trombone), and Aaron Sachs (clarinet/alto sax), backed by piano, bass, and drums. B+(**) [bc]

John Prine: Live at Old Town School of Folk (2010 [2026], Oh Boy): The new album I was looking for when I found his 1975 Other End set(s). Opens with "Spanish Pipedream," and the wear and tear on his voice — throat cancer did that, and could have done worse — is obvious. "The Oldest Baby in the World" suffers even worse, as the band that often picks him up lays back. The patter can be hard to pick up, although I recognized the "happy enchilada song" bit. B+(**) [bc]

Tom Raworth & Peter Brötzmann: No Hard Feelings: For Steve Lacy (2005 [2026], Corbett vs. Dempsey): British poet (1938-2017), only album in Discogs is a 1969 reading, plus this rara avis, where "John Corbett schemed to make a duo record" from a 2000 reading with accompaniment by Steve Lacy. However, Lacy died in 2004 before delivering, so Brötzmann filled in a year later, playing tarogato, clarinet, and alto sax, short fragments plus some longer solos. Includes bits of music box, credited to Raworth. To some extent, a simple shuffle of two separate things, but each helps with the other's limits. B+(***) [bc]

Toshiyuki Sekine Trio: Strode Road (1978 [2025], Craftman): Japanese piano trio, with Takashi Narita (bass) and Takashi Kurosaki (drums), doesn't have a lot of releases, original release here described as "very rare. Lively performances, especially a delightful "Love for Sale." B+(***) [yt]

Dick Spottswood & Tompkins Square Present . . . 1925 Songs: Blues, Country, Jazz & More (1925 [2026], Tompkins Square): Genre distinctions that meant far less then than now — black and white were the concepts back then, distinctions that have since become blurred, as Allen Lowe showed in his American Pop (his 1998 release of a book with 9 CDs ranging from 1893-1946). This is comparable, sticking close to the crossroads of the genres, and avoiding big hits (like "Sweet Georgia Brown" and the Bessie Smith version of "St. Louis Blues"; I don't keep many song dates in my mind, but one I do recall from 1925 is "Cake Walking Babies From Home"). B+(***) [sp]

Louis Stewart: Joyce Notes (1982 [2026], Livia): Irish guitarist (1944-2016), recorded extensively from 1975 on, but I've only noticed him since this reissue series began. A six part suite composed for James Joyce's centennary, with narration and readings from Ulysses by Eamon Morrissey, and a fairly large group with two saxophones, flute, piano, bass, drums, and extra percussion. The music is delightful, and the words add a powerful dimension. A- [bc]

Sun Ra: Hidden Fire (1988 [2025], Strut): Live album, originally released as two volumes ("in tiny quantities with minimal packaging and cryptic artwork"), combined here (6 songs, 77 minutes). Group has some extra violins (Billy Bang for one), and vocals (Art Jenkins?), and spends much time way out on the fringe. B+(**) [sp]

John Taylor With Stan Sulzmann: Quintessence (1987 [2026], Jazz in Britain): English pianist (1942-2015), a major figure in British jazz, who worked with John Surman, Kenny Wheeler, and (in Azymuth) with Norma Winstone. Sulzmann (b. 1948) plays soprano sax here, backed by Rundfunkorchester Hannover des NDR. B+(*) [bc]

The Visitors [Earl & Carl Grubbs]: Motherland (1975 [2026], Craft): Saxophonist brothers, Earl Grubbs (d. 1989, tenor/soprano) and Carl Grubbs (1944-2024, alto), recorded four albums 1972-76; Carl had a few later albums on his own, plus work with Julius Hemphill and Odean Pope. Album cover lists their names right after the group name. Credit varied over time, with first album just The Visitors; the second (like this one) with names after group, the third with Earl & Carl Grubbs (The Visitors). With Jo Bonner (piano), John Lee (bass), and Victor Lewis (drums). Straddles free jazz and soul jazz. B+(**) [sp]

Old Music

Bop Alloy: Substantial and Marcus D Are Bop Alloy (2010, Elevation): Debut album, rapper Stan Robinson and producer Marcus Marino. Underground, nice flow to start. B+(**) [sp]

Bop Alloy: Another Day in the Life Of . . . (2014, Bop Alloy): Second proper album, aside from instrumental versions and remixes. B+(**) [sp]

Tony Burkill: Work Money Death (2017, ATA): British tenor saxophonist, first album, only one under his own name, but he has four more as Work Money Death. Quartet with Gerald Cooper (piano), Sam Hobbs (drums), and Pete Williams (percussion). He's got that Coltrane-Sanders thing going, which is pretty hard to screw up. B+(***) [sp]

Florence Dore: Perfect City (2001 [2002], Slewfoot): First album, didn't get to her second until 2022, but she wrote a couple books in the meantime — Novel Sounds: Southern Fiction in the Age of Rock and Roll, and The Ink in the Grooves: Conversations on Literature and Rock 'n' Roll. B+(**) [sp]

Florence Dore: Highways & Rocketships (2022, Propeller Sound): Second album, after a long break. Could be that the pandemic jolted her out of academia, or maybe marrying drummer Will Rigby (although the band credits are missing from Discogs, and merely hinted at on Bandcamp). B+(**) [sp]

George: Shorts (2022 [2023], Out of Your Head, EP): Four track (16:01) postscript to their first album, with Aurora Nealand in the vocalist slot — but as she also plays alto/soprano sax and keyboards, there is much less focus here on vocals than in the 2026 album (with Sarah Rossy). That's ok by me, but the short tracks tend to slip on by. B+(*) [bc]

Jan Klare/Wilbert de Joode/Michael Vatcher/Bart Maris [1000]: Played (2008 [2009], Leo): Discogs regards "1000" as a group name, although they also credit the artist names, at the top of the cover, and they list several other albums by the same group (5 total, 2007-22). Alto sax, bass, drums, trumpet. B+(***) [sp]

Lip Critic: Hex Dealer (2024, Partisan): First album from a Brooklyn group attempting some kind of electropunk hybrid with rap vocals and speed drums. Seems like a good idea, but sometimes gets out of hand. B+(**) [sp]

Namasenda: Unlimited Ammo (2021, PC Music): Swedish dance-pop singer-songwriter, parents from Uganda, studied in US, signed to A.G. Cook's British EDM label for this first mixtape. B+(**) [sp]

Aron Namenwirth/Eric Plaks/Sean Conly/Jon Panikkar: Hurricane (2018 [2019], Culture of Waste): Brooklyn-based guitarist, first album, with piano, bass, and drums. Keeps you sharp. B+(***) [bc]

Aron Namenwirth/Zach Swanson/Joe Hertenstein: Gettin' Hot (2019 [2020], Culture of Waste): Guitar, bass, drums trio, recorded live (3 tracks, 30:00). [bc]

John Prine: Live at the Other End Dec. 1975 (1975 [2021], Rhino/Atlantic): I vaguely recall email from the late singer-songwriter's label that they've come up with a new old live album, but I can't find the mail, or any evidence of it. But I did find this item, which has two hour-long sets from the very end of his Atlantic years: four 1971-75 albums, all strongly recommended. So few songs here I don't know and love. Presentation is singing over solo guitar, with Steve Goodman joining in for two songs, and intermittent patter. Probably unnecessary at the time, but works perfectly right now. A- [sp]

Yvonne Rogers: Seeds (2022 [2023], Relative Pitch): American pianist, originally from Maine, recorded this debut album in Switzerland, with Emmanuelle Bonnet (vocals), Nadav Erlich (bass), and Iago Fernández (drums). I'm usually leery about vocals here, but they're not bad, and the piano is quite nice. B+(**) [bc]

Weird Nightmare: Weird Nightmare (2022, Sub Pop): First album from Alex Edkins' Metz sugary distorted pop spin off. Plus is that the first song has minor hit potential. But the rest of the album is more determined in its Copper Blue hype. B+(*) [bc]

White Denim: Workout Holiday (2008, Full Time Hobby): Austin group, their new Wd13 testifies to aging gracefully, but reminded me that I had missed this first album, hard to find at the time (released in Europe after re-recording an EP with the same title plus some extras, then reissued for their American debut under a different title). The guitar/noise brinksmanship reminds me of a similar group from the time, No Age, whose title Weirdo Rippers would fit this as well. [Bandcamp page is for "(Deluxe Edition)" but its 5 extra tracks are listed but not available. This "first album" was released in EU, while there is a "first US album" called Exposion, which I hear is more or less the same or different — a distinction I find not cost-effective.] B+(***) [bc]

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:

None.

Rechecked with no grade change:

The DKV Thing Trio: Collider (2015 [2026], Trost): DKV was one of saxophonist Ken Vandermark's most notable groups, a trio with Hamid Drake (drums) and Kent Kessler (bass). I have 8 albums (1997-2014) listed for them, with the one I haven't heard (Past Present) sprawling over 7 CDs (2008-11). The Thing was Norwegian saxophonist Mats Gustafsson's long-running trio with Ingebrigt Håker Flaten (bass) and Paal Nilssen-Love (drums) . . . B+(**) [bc]

Immanuel Wilkins Quartet: Live at the Village Vanguard (2025 [2026], Blue Note): Alto saxophonist, 2020 debut on a major label made him an instant star, with serious chops even if he stays within usual boundaries. His rep led me to give him more chances, and often he's repayed extra listens. That could happen again, but rather than edit his stand down to one really exciting CD, they've spread it all out over three volumes, releasing them amonth apart, on some kind of a marketing hunch. I've reviewed them separately, but poll voters inisist on treating them as a single album — as the box set they'll inevitably become — which was easy for me to agree to, being unable to pick between them myself. B+(**) [sp]

Note: The DKV/Thing entry was partly written before I realized that I had reviewed the album before. I didn't finish the relisten, let along the review. The Wilkins entry was written for NOEL, based on the separate volume reviews. Neither of these were used in Music Week, but are being kept here.

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.