Orion Weiss

Arc III: Brahms, Schubert, Debussy, Dohnányl, Ligeti, Taima

First Hand, 2024

9/10

Listen to Arc III: Brahms, Schubert, Debussy, Dohnányl, Ligeti, Taima

The inimitable pianist Orion Weiss fleshes out a listen that’s inspired by peace, hope, love, ambition and optimism, where works by Brahms, Schubert, Debussy, Dohnányl, Ligeti and Taima are interpreted with precision and timelessness.

Louise Talma’s “Alleluia in Form of Toccata” starts the listen with the swift and agile keys that make for dreamy and gentle moments, but can move intensely, too, and Franz Schubert’s “Fantasie in C major, D. 760” follows with upbeat and animated key progressions that are both dynamic and reserved.

Claude Bebussy’s “L’isle joyeuse” arrives in the middle and is strong on atmosphere, where the swirling mood is heartfelt, while “Pastorale on a Hungarian Christmas Song”, by Erno Dohnányi, is a joyful moment of beauty and grace that escalates to louder moments, too.

The final selection, Gyorgy Ligeti’s “Études, Book 1_ No. 5. Arc-en-ciel”, is an intimate exit, where plenty of stirring playing unfolds with sublime detail.

The final installment of his ambitious three-part Arc series, Weiss spotlights music from young composers after World War I and II, and like everything he’s done, it’s full of powerful and colorful techniques.

Travels well with: Orion Weiss- Arc II: Ravel, Brahms, Shostakovich; Daniil Trifonov-BACH: The Art Of Life

Orquesta Akokán

Caracoles

Daptone, 2024

8/10

Listen to Caracoles

The Havana, Cuba outfit Orquesta Akokán return with a live album that was captured at Abdala studios in Havana, and it’s packed with no lack of swing, rhythm and bebop ideas.

“Con Licencia” starts the listen with Kiko Ruiz’s animated vocals surrounded by plenty bright brass and cultured percussion, and “Pan Con Tíbiri” follows with flowing backing vocals and dynamic drumming that’s not short on rhythm.

Arriving in the middle, “Cha-Cha-Cha-Pa’Ca” welcomes Itai Kriss’ flute solo amid Carolina Oliveros’ expressive pipes to the festive climate, while “La Fiera” is a lively, call and response album highlight that’s anthemic and rich.

Close to the end, “Las Siete Vidas Da Inés” benefits much from Natalina Perez’s fluid coro amid the bright singing, and “Dona Felipa” exits with the meticulous and buzzing reeds that complement the Latin mood.

The brass and reed interaction here is top notch, and the Conga fueled rhythms won’t go unnoticed, too, as the new singer and lyricist Ruiz makes for a worldly version of jazz.

Travels well with: Aguankó- Unidad; Bokanté- History

Oscar Peterson

City Lights: The Oscar Peterson Quartet- Live In Munich, 1994

Mack Avenue, 2024

9/10

Listen to City Lights: The Oscar Peterson Quartet- Live In Munich, 1994

A live set captured at one Oscar Peterson's first concerts following a stroke during a performance the year prior that relegated his left hand useless, here he proved to his collaborators, fans, and himself that his jazz piano ways were still very much intact.

“There Will Never Be Another You” opens the set with Martin Drew’s fluid drumming and Lorne Lofsky’s swift guitar that suits Peterson’s meticulous keys, and “The Gentle Waltz” follows with sublime keys that radiate much warmth before Niels-Henning Ørsted Pedersen’s frisky bass enters.

Landing in the middle, “Love Ballade” allows for Peterson’s meticulous keys to tug on the heartstrings, while “City Lights” is an upbeat moment of detailed instrumentation that welcomes a lively rhythm section for the rich album highlight.

“Sating Doll” and “Nighttime” exit the listen. The former showcases the bass acrobatics amid firm keys and no lack of melody, and the latter finishes with rhythm and grace that doesn’t shy away from exploration, either.

Largely considered one of the most revered jazz pianists ever, Peterson amassed over 200 recordings and won seven GRAMMY® Awards. The selections here include 5 originals, a pair of standards, an Ørsted Pedersen samba, and an Ellington piece, and they all further cement Peterson’s position as one of the all time greats.

Travels well with: The Chick Corea Elektric Band- The Future Is Now; Terry Waldo- Treasury: Volume 1

Orlando Jacinto García

La Vida Que Vendra

New Focus, 2024

9/10

Listen to La Vida Que Vendra

The Cuban-American composer Orlando Jacinto García brings us 4 electro-acoustic solo works, where the always exceptional loadbang ensemble are present for one larger piece.

“Resonating Color Fields” begins the listen with Andy Kozar’s warm piccolo trumpet that suits García’s stirring electronics for the cautious and atmospheric landscape, while “en un universo paralelo” spotlights Ty Boque’s distinct baritone amid the chilling electronics and droning presence.

“Conversations With Harry” occupies the middle spot, and it’s an atypical exploration of Adrián Sandi’s bass clarinet and cinematic electronics that unfold with a cryptic and nearly sci-fi landscape, while “nubes nocturnas” benefits much from William Lang’s deep trombone and buzzing electronics.

The final piece, “la vida que vendrá”, features loadbang, and flows with 16+ minutes of pure acoustic prowess, where pitch and timbre are manipulated with polyrhythmic moments and Cuban rhythm.

A highly creative blend of contemporary classical and chamber ideas, García explores related and contrasting sounds with stunning detail and careful layering.

Travels well with: Yi-Ting Lu- An Unopened Seashell; Travis Laplante- The Golden Lock

Onioroshi

Shrine

Bitume, 2024

9/10

Listen to Shrine

An Italian psychedelic prog-rock outfit with a penchant for the unconventional, Onioroshi deliver 3 in depth and meticulous tracks thanks to Manuel Fabbri, Enrico Piraccini and Matteo Sama’s clever instrumentation.

“Pyramid” starts the 54 minutes with Sama’s dreamy guitar alongside Piraccini’s strategic drumming, where waves of post-rock float above the adventurous climate. Piraccini also delivers soaring vocals, which suit the balance of hard hitting yet melodic textures.

The middle belongs to “Laborintus”, where Fabbri’s intricate bass lines are met with firm drumming and swirling guitar for 15+ minutes of exploration that touches on cinematic bouts, too.

The final track, “Egg”, is a bit more rugged, dense even, and welcomes strategic crunch and plenty of variations of rock for its 20+ minutes of hazy and exciting gestures.

A fantastic record that shifts between light and dark, noisy and tuneful. whether you gravitate towards metal, punk, prog, psyche or stoner rock, you’re going to be enamored with every moment here.

Travels well with: Bruno Karnel- Las Ilusiones; Thy Apokalypse- Fragment Troisiéme

Ollee Owens

Nowhere To Hide

Self-Released, 2024

9/10

Listen to Nowhere To Hide

The powerful Canadian blues singer Ollee Owens brings us 11 anthems, where soul and folk ideas are present for a listen that welcomes a large cast of players.

The title track starts rugged and expressive, where Owens’ voice makes an immediate impression alongside Tommy Sims’ fluid bass, and “Solid Ground” follows with Rahsaan Barber’s lively sax and Will McFarlane’s warm guitar that suit the soaring pipes.

Further along, Bobby Blazier’s meticulous drumming guides the melodic aspect of “Love You Better”, while “Shivers And Butterflies” embrace plenty of grooves via Chris Rodriguez’s spirited guitar and DeMarco Johnson’s agile keys.

Deeper still, “Love Hung Around” welcomes Gabe Klein’s well timed keys amid Owens’ smooth vocals, and “Lord Protect My Child” exits with Craig Young handing bass and Minnie Pearl’s emotive backing vocals for the gospel tinted finish.

A blues record with a wealth of influences, Owens possesses a voice you won’t soon forget, and the musicians present sure do flesh out a dynamic, sincere and down to earth effort.

Travels well with: Zac Harmon- Floreada’s Boy; Eric Bibb- In The Real World

Omar Thomas Large Ensemble

Griot Songs

Self-Released, 2024

8/10

Listen to Griot Songs

A body of work 16 years in the making, this 3rd release from the Omar Thomas Large Ensemble embraces the West African tradition of Griot.

“The Sun In September” opens with flowing winds and much melody and grace, and “Sail To The Moon” follows with mature keys and soft guitar that guides the dreaminess amid Reese Maultsby’s vibraphone.

Landing in the middle, “Episode d'Azur” carries an infectious energy via the animated horns, lively keys and glorious rhythm section that leaves an indelible impression.

Close to the end, “The Path” is a more dense moment of rumbling brass and cinematic swells that are both rugged and pretty, while “A Touch of Obsidian, A Flash of Scarlet” makes great use of Jacob Means’ meticulous mandolin for the album’s best that builds into a majestic and emotive finish.

Armed with a wealth of reeds, brass and keys from Alex Brown and Mark Walker’s proficient drumming, Thomas’ vision is executed with power, diversity and plenty of heartfelt melodies.

Travels well with: Noah Preminger- Ballads; Trio San- Hibiki

Omer Leshem

Play Space

Ubuntu, 2024

8/10

Listen to Play Space

The Brooklyn saxophonist and composer Omer Leshem brings a distinct style to his jazz formula, where Nadav Remez, Moshe Elmakias, Elam Friedlander and Ben Silashi are in attendance.

“Twilight Hymn” opens the listen with Elmakias’ keys alongside Leshem’s flowing tenor sax, while “Take An Advil” is a lively and spirited track that showcases Silashi’s swift drumming amid the bright sax.

Halfway through, “Capetown Swag” is a rhythmic moment of melodic gestures, while “Pull The Donkey” allows Friedlander’s playful bass to guide the grooves and meticulous delivery of the album’s best.

At the end, the bouncy “Go You Maniac” benefits much from Remez’s glowing guitar that complements Leshem’s wind prowess, and “Back Home” exits with a dreamy, intimate moment of plucked bass, sparkling guitar and soulful sax.

A reflective body of work that’s often cautious, Leshem and company make the most of grooves, free jazz and Middle Eastern influences for this ambitious and nostalgic effort.

Travels well with: Wayne Alpern- Gotham; Andy Ezrin- I Was Here

Olivia Foschi

A Window Within

Self-Released, 2024

9/10

Listen to A Window Within

The jazz singer, composer and educator Olivia Foschi brings both her San Francisco influences and Italian heritage to these jazz songs that welcome Mauricio Zottarelli, Marco Panascìa, Matt King and Vinicius Gomes to the 9 rich selections.

“Caught Me By Surprise” starts with Panascìa’s bass acrobatics alongside Foschi’s unique delivery that emits much warmth, and “Pieces Of Central Park” follows with a dreamy elegance that makes great use of Gomes’ soft guitar, which suits the pretty singing.

Entering the middle, “Cun La Préma Stela” benefits much from King’s swirling keys that help create melody amid the cultured vocals, while “East Wind” is full of playful scatting and meditative qualities that unfold with a lush appeal.

Residing close to the end, “Subtle Farewell” is populated with introspection and agile drumming from Zottarelli’s cautious delivery, and “John John Joel And Joan” exits with creative vocal layering and rhythmic instrumentation that flows meticulously.

An artistic and careful journey, Foschi’s formula is soulful, harmonic and filled with intrigue that touches on the human experience.

Travels well with: Yuko Ito- Seduzir; Mariah Parker- Windows Through Time

Olin Clark

Ephemera

Lyon Hill, 2024

9/10

Listen to Ephemera

The NYC guitarist Olin Clark is in the company of Nathan Reising, Dan Montgomery, Evan Hyde, Lily Talmers and Aidan Cafferty for these very diverse and creative 9 tracks.

The intricate and flowing “Coveted” starts the listen with Reising’s soulful sax and Hyde’s agile drumming that suits Clark’s meticulous guitar, and “There’s Always A Place” follows with Talmers’ expressive voice in the dreamy and eloquent climate.

“Knifepainting” lands in the middle and allows for Clark’s mesmerizing guitar amid much ambience and effects, while the title track places Cafferty on keyboards amid soft singing and rich textures of jazz rock ideas.

Near to the end, “Titan” showcases Montgomery’s playful bass prowess that suits the bright sax and detailed guitar in a more turbulent setting, and “Detritus” exits with waves of melody that are unpredictable, exciting and even flirt with math-rock.

A highly inventive effort that touches on jazz, rock, folk, experimental and even metal, Clark’s brand of fusion is nothing short of captivating and memorable.

Travels well with: Strat Andriotis- Exits; Gaia Wilmer’s and Jacques Morelenbaum- Trem Das Cores

Nuala Kennedy/Eamon O'Leary

Hydra

Under The Arch, 2024

9/10

Listen to Hydra

An effort of Celtic and traditional music from Nuala Kennedy and Eamon O’Leary’s fertile minds, the songs here welcome a variety of instruments and ideas to a very worldly listen.

“I Will Hang My Harp On A Willow Tree” starts with gorgeous flute and bouzouki complementing the cautious duet, and “The Dark-Eyed Gypsy” follows with plenty of harmonies and dreamy flute populating the lovely strings that utilize Liz Knowles on violin.

Moving into the middle, “The Bonny Green Tree” employs whistles, mandolin and bouzouki to the expressive male vocals that emit timeless folk qualities, while “The Dark-Eyed Sailor” is a love song with much emphasis on atmosphere that embraces low flute and O’Leary’s bright storytelling.

Close to the end, “The Night Visiting Song”, the album’s best, is a sublime duet that was popularized by Luke Kelly and is dripping in Irish influences, and “Liffeyside” exits with a romantic waltz which allows Kennedy’s very distinct voice to radiate much grace amid a sing-along chorus.

A uniquely textured duo affair, Kennedy and O’Leary let ambience enter these rich and adaptable songs that will always be relevant and enjoyable.

Travels well with: Crow And Gazelle- as above now so below; The Heart Collectors- The Space Between

No Codes

Usual Suspects

Sunset Hill, 2024

9/10

Listen to Usual Suspects

The sophomore album from the instrumental jazz collective No Codes, the quartet bring world music and punk ideas to this highly technical version of free and traditional jazz.

“The Quest” begins the 10 songs with Benjamin Deschamps’ bright alto sax alongside Louis-Vincent Hamel’s frisky drumming, and the title track follows with Sébastien Pellerin’s meticulous bass that suits the dueling saxes that are heavy on mood.

Halfway through, “Sokushinbutsu” is a calm moment of unpredictable bass which leads into intimate tenor sax thanks to Frank Lozano, while the lively “Emit Time Item” bounces and shakes with an infectious energy via the dynamic rhythm section and animated winds.

“Contemplation” and “Comuna 13” exit the listen. The former glides with tremendous warmth and much reflection, and the latter finishes with adventurous saxes, fluid drumming and acrobatic bass for the record’s best.

A creative and modern affair where all 4 members contribute tremendous talent, every moment here beams of timeless jazz sensibilities.

Travels well with: The Adam Larson Trio- With Love, From Kansas City; Wil Swindler’s Elevenet- Space Bugs: Live In Denver

NRBQ

Brass Tacks

Omnivore, 2024

9/10

Listen to Brass Tacks

This 10th anniversary of NRBQ’s Brass Tacks comes with updated artwork including photos, new liner notes from John DeAngelis, and fresh remastering from Alan Stockwell. We’re also treated to 3 bonus tracks to complete the package, as Terry Adams and company sure were in peak form for this 3rd album since reforming in 2011.

The energetic demeanor of “Waitin’ On My Sweetie Pie” starts the listen with Conrad Choucroun’s frisky drums alongside Scott Ligon’s fluid guitar, and “Greetings From Delaware” follow with Terry Adams’ animated keys and expressive pipes that suit Casey McDonough’s playful bass.

Deeper into the original album, “Places Far Away” focuses on the firm keys and bright storytelling in a calmer climate, while the jangly fun of “Can’t Wait To Kiss You” is a syrupy sweet album highlight that will lift anyone’s spirit and uses harmonica strategically.

The last track on the LP, “Getting To Know You”, is a harmonic and sunny finish to a really fun album, and, of the bonus tracks, “Yes I Have A Banana” is particularly infectious, where humorously wordplay and a dance floor mood unfolds with a piano solo and so much upbeat energy.

A record that will keep you smiling from beginning to end, whether this is your first taste of Brass Tacks or you’re familiar with the original, you’re going to enjoy one of NRBQ’s most inventive listens.

Travels well with: NRBQ- Tiddlywinks; Alex Chilton- Live In London: Encore Edition

Obed Calvaire

150 Million Gold Francs

Ropeadope, 2024

9/10

Listen to 150 Million Gold Francs

The highly talented Haiti drummer Obed Calvaire assembles an esteemed cast for these 7 worldly jazz tunes.

“Sa Pa Fem Anyen” opens with Godwin Louis’ flowing sax amid Calvaire’s unpredictable drumming for the warm and exciting climate, and “Just Friends” follows with Sullivan Fortner’s intimate keys that are met with playful bass lines from Addi Lafosse for a very adventurous delivery.

Halfway through, “Sa Nou Fe Nap Peye” focuses on gentle piano that creates a stirring mood that’s complemented by soulful sax and cozy bass, while the title track is a lively and melodic album highlight that makes great use of Dener Ceide’s meticulous guitar for a distinct energy.

The final track, “Nan Pwen Miray Lanmou Pap Kraze”, is both cautious and adventurous, where Harold St. Louis’ charming keys suit the breezy demeanor of the dreamy exit.

An effort that celebrates the richness of Haiti, Calvaire has an impressive resume, and this body of work is a detailed, lush and accomplished set that serves as another excellent demonstration of his versatile skill.

Travels well with: Zaccai Curtis- Cubop Lives!; Triad- Triad

Office Dog

Spiel

New West, 2024

10/10

Listen to Spiel

The New Zealand quartet Office Dog make a sizable impression with this debut album, where 12 energetic tunes explore introspection, turmoil and hope via the band’s inimitable talents and experience.

“Shade” starts the listen soft and cozy, where Kane Strang’s emotive guitar and gentle singing erupt into crunchiness towards the end, and “Antidote” follows with Mitchell Innes’ agile drumming that suits the hazy post-punk flavor.

Residing closer to the middle, the rhythmic and dance floor ready “Big Air” is big on melody, while “In The Red” balances power and restraint with a dynamic execution that’s both dreamy and heartfelt.

Close to the end, “Teeth” pounds with a more firm presence via the thundering drums and Rassani Tolovaa’s strategic bass, and “Spiel” exits with intricate guitar patterns and an extremely detailed rumbling from the rhythm section that leaves an indelible impression.

I have to assume that Office Dog are heroes on their side of the world, and let’s hope the rest of globe jumps on board, too, as this is some top-notch alt-rock, indie-rock and post-punk.

Travels well with: Pernice Brothers- Who Will You Believe; Caroline Rose- The Art Of Forgetting

Niton

11

Shameless/Pulver und Asche, 2024

9/10

Listen to 11

The 4th album from the Italian-Swiss electronic outfit Niton, the 10 adventurous tracks here span a variety of ideas, sounds and gestures.

“Noi” starts the listen with plenty of ambience, as Meryem Aboulouafa’s stunning voice suits Vanni Bianconi’s poetic verses, and “Spin-Orbit Interaction” follows with Julian Sartorius’ drums and percussion complementing the lively and unpredictable manipulation of tonality and mood.

Further along, “Everything Everywhere” welcomes Peter Kernel’s skills to the Krautrock rhythm and strategic distortion, while “Antiopes Kraftfeld” allows Béatrice Graf’s firm percussion prowess to illuminate the jagged and sci-fi filled climate.

Residing close to the end, “Huella Infinita” highlights Andy Moor’s precise guitar playing via the punk and sonically exciting atmosphere, and “Les Larmes Vont Couler” exits with Achille Ateba Mvondo’s spoken word alongside glitchy, techno and neo-classical nods for the unclassifiable finish.

A highly collaborative effort that’s worldly in it scope, Niton, i.e. El Toxyque (amplified objects), Luca Xelius Martegani (analogue synthesizers), and Zeno Gabaglio (electric cello) and the many guests dance around jazz, folk, noise-rock and artistic qualities with much awe and wonder.

Travels well with: Wanu- Magma; Helluvah- Fire Architecture

Noel Okimoto

Hō‘ihi

Self-Released, 2025

8/10

Listen to Hō‘ihi

The esteemed Hawaiian drummer Noel Okimoto delivers a diverse selection of modern jazz tracks here, where a small handful of players accompany him and tributes are paid to Gabe Baltazar and Wayne Shorter.

“Cachorra” starts the listen with Abe Lagrimas Jr.’s fluid vibes alongside Okimoto’s dynamic drumming for a very animated landscape, and “Up Syndrome” follows with a calmer mood, as reserved drumming is met with Allen Won’s flowing sax and Dean Taba’s bouncy bass that picks up the pace.

Into the middle, “Patina Ballerina (For the Cymbal Smiths)” showcases Haru Takauchi’s spirited guitar amid the meticulous drums, while “Wayne (Ing) Days (For Wayne Shorter)” layers DeShannon Higa’s soaring trumpet over the skilled rhythm section for a rich album highlight.

Nearing the end, the many grooves of “Nine And A Half” won’t go unnoticed or unappreciated, and “Opuscule for Rowan” exits with Michael Grande handling electric piano for the light melodies and uplifting ambience of the cozy finish.

An eclectic outing that embraces hard bop and fast odd meter samba, among other ideas, Okimoto and company flesh out all originals with much swingin’ and timeless appeal.

Travels well with: Yuka Mito- How Deep Is The Ocean; Steve Smith And Vital Information- New Perspective

Noah Preminger

Ballads

Chill Tone, 2025

8/10

Listen to Ballads

The revered tenor sax player Noah Preminger brings along Julian Shore, Kim Cass and Allan Mednard for these standards and originals that flow with much care and attention.

“Stan’s Mood” starts the listen with soulful sax and elegant keys from Shore that interact with much beauty, and “Carry Me Ohio” follows with Cass’ meticulous bass that suits the swirling keys and heartfelt wind from Preminger.

Into the middle, “In Our 20’s” is a rich and rhythmic album highlight that benefits much from the upbeat rhythm section, while “Democracy” is a soft and intimate moment where the sax emits so much grace and wonder.

At the end, “Someone To Watch Over Me” burns slow and powerful amid the emotive wind, agile keys, light drums and well timed bass.

A body of work that’s lyrical and gentle, Preminger and company cultivate a very lush tone that makes these great songs even more memorable.

Travels well with: Trio San- Hibiki; Natuski Tamura/Keiji Haino- What Happened There?

The Noonan Trio

Inherit A Memory

Neuma, 2024

8/10

Listen to Inherit A Memory

The combined effort of Matthew Bourne, Michael Bardon and Sean Noonan, as The Noonan Trio they make quite an impression with this first album that meshes musical radicalism, free improvisation and rhythmic storytelling

“Drunkard Landlady” starts the listen with Noonan’s swift drums and repetitive singing alongside Bourne’s firm keys for the loud opener, and the title track follows with spoken word and unpredictable keys that benefit from Bardon’s atmospheric bass.

“White Light” arrives at the halfway point and allows for both hard and soft keys to radiate alongside a hazy and mesmerizing quality, while “Polly’s Eyes” lands in balladry, where pretty singing, light piano and subdued drumming make for a poetic landscape.

Further still, the frisky “Wrinkles Of Time” offers a busy and dynamic album highlight of meticulous keys, well timed drums and wild bass lines, and “Drop In A Cascade” exits with both dreamy and ominous moments of purposeful restraint.

A highly artistic and unorthodox body of work, the narration, punk jazz stabs and Frank Zappa-ish peculiarities makes for a really fun, unclassifiable and memorable experience.

Travels well with: Todd Gaffke- Locally Sourced; Denman Maroney Quintet- The Air-Conditioned Nightmare

The Black City

Wake Up, The Funk

Self-Released, 2019

8/10

Listen to Wake Up, The Funk

An Italian outfit with a penchant for funk fun, The Black City know their way around a solid groove, but there’s more than just funk to be found in the trio’s musical arsenal.

The title track starts the listen and indeed brings funk spirited guitars to a rhythmic and vocally smooth opening, and “Stone Free” follows with percussively strong and playful instrumentation that takes nods to the ‘70s.

Near the middle, “Be Quiet” adds some mystery with hushed vocals behind a precise and adventurous atmosphere that even touches on hip-hop, while “Original Sound” recruits a reggae and dub spirit with great results.

At the end, “Goosebumps” finds the listen entering hazy rock territory with blues licks abound, and “Funky Time” exits the listen to similar to how it started- knee deep in retro-funk

The members that comprise The Black City all have lengthy and glowing resumes, and here their eclectic formula will appeal to fans of R&B, garage rock, blues, soul and, of course, funk.

Travels well with: Ossi Duri- The Last Of My Dogs; Lou Bega- Lounatic