Schapiro 17

Best Laid Plans

Summit, 2026

9/10

Listen to Best Laid Plans

The composer, arranger and conductor Jon Schapiro returns with a 3rd release by his Schapiro 17 band, where both originals and covers are fleshed out with plenty of attention to detail.

The dense versus soft “Ugly Chic” opens with Sebastian Noelle’s thick guitar alongside the richly layered horns, and “Chameleon” follows with the soulful sax amid the colorful trumpets of the reserved climate.

Halfway through, “Solace” showcases Simona Premazzi’s agile keys before the layered winds enter the frisky 9+ minutes, while “East Broadway Run Down” benefits from Jon Wikan’s animated drumming that complements the infectious energy of the timeless jazz sounds.

Arriving late, “Moment’s Notice” allows for Bob Sabin’s skilled bass to help illuminate the cautious yet adventurous brass and wind dynamics, and “The Uncluttered Mind” exits with the meticulous rhythm section and lively keys matching the trumpets, trombones and reeds.

There’s a few new players in the ensemble this time around, and it helps make for busy and calm moments that emits plenty of solos, grooves and rhythm that you can’t not admire.

Travels well with: Schaprio 17- New Shoes: Kind Of Blue At 60; Steve Rosenbloom Big Band- San Francisco 1948

Amrita

Amrita

Self-Released, 2026

8/10

Listen to Amrita

The Toronto duo Amrita, i.e. Anita Katakkar and Kayla Milmine, are joined by a couple of guests for these 9 worldly and experimental jazz songs.

“Take Flight” opens with Milmine’s rich soprano sax alongside Katakkar’s playful tabla, and “Clinton Street 7” follows with plenty of grooves, as the wind and drum interact playfully.

“Dimension Jumping” and “Heavy Bird” occupy the middle spots. The former welcomes Zaynab Wilson’s cajón to the rhythmic climate, while the latter emits intimacy in its bare but impactful delivery that’s soulful and emotive.

Further on, “Elephant Promenade” has 2 parts that enlists Jonathan Kay’s esraj for the string focused and dynamic album highlight that allows for Milmine’s sax to shine, and “Metamorphosis” exits with well timed vocals, mesmerizing table and upbeat sax prowess.

An often intimate and globally enjoyable effort that explores many traditions, Amrita’s version of improvisation and cross-cultural songwriting makes for an enlightening and timeless experience.

Travels well with: Allison Cameron & Scott Thomson- Platanus; Stranger Still- We Might Not Tell Everybody This

Petr Kotik

Many Many Women

Sub Rosa, 2026

9/10

Listen to Many Many Women

This large-scale composition for voices and instruments from 1975-78 on the text of Gertrude Stein's novella of the same name sees Petr Kotik’s vision spread out across 2 discs thanks to members of S.E.M. Ensemble and Ostravská banda.

“Many Many Women Part 1” occupies disc 1 and showcases the winds and brass interacting with a rich and thoughtful mood, where soft versus fuller moments invite the harmonic singing that’s layered superbly alongside the meticulous instrumentation.

“Many Many Women Part 2” takes the 2nd disc, and blends the 2 sopranos, countertenor, tenor, bass-baritone and bass voices amid the tonally brighter flutes and trumpets and trombones via the austere climate.

A lot of work over many years went into this project, and its presence does a superb job of illuminating Kotik’s vision of experimental sounds and use of intervals of fifths, fourths, and octaves that preserves the masterpiece in an edited down 142 minutes.

Travels well with: Petr Bakla- Cello & Piano; Bill Laswell & P.ST- Mount Analogue

Hannah Gill

I Like The Sunrise

Turtle Bay, 2026

9/10

Listen to I Like The Sunrise

The NYC vocalist Hannah Gill finds herself in more intimate areas here, where Luis Salcedo, Phil Ambuel, Adam Ray and Ricky Alexander are in attendance for the 11 hushed tracks.

“So Far, So Good” starts with Ambuel’s bouncy bass and Ray’s crisp drums that suit Gill’s warm and distinct voice, and “I Ain’t Got Nothin’ But The Blues” follows with Salcedo’s warm guitar amid the soulful singing that indeed touches on the blues.

In the middle, “I Didn’t Know About You” finds a dreamy place to reside thanks to the fluid guitar and gentle vocals, while “I Got It Bad (And That Ain’t Good)” moves with emotion and subtle power via Gill’s inimitable pipes and the gentle instrumentation.

“Take It Easy” arrives close to the end and showcases the meticulous rhythm section alongside the charming singing, and “Azure” exits with a lullaby-esque mood, complete with whistling.

This body of work was conceived as a ‘soft tribute to Duke Ellington’, and Alexander’s well timed sax bouts only add more allure to the strong attentiveness to phrasing and a serene interplay that continues Gill’s top notch catalog of jazz music.

Travels well with: Hannah Gill- Spooky Jazz Vol. 3; Hannah Gill- Everybody Loves A Lover

Nolan Hildebrand

Noise Trip Explosion

Redshift, 2026

9/10

Listen to Noise Trip Explosion

The Toronto composer and musician Nolan Hildebrand pens an electroacoustic chamber pieces that utilizes live instruments that are both analog and digital.

“generative open graphic score #1” opens with Colin Fisher’s manipulated sax alongside Hildebrand mixer feedback prowess for the screeching 7 minutes, and “knurled cracked green” follows with Hirad Moradi’s strategic piano, Patrick O’Reilly’s lively guitar and Veronica Zupanic’s tonally expressive violin for both busy and calm gestures.

The middle track belongs to “Raw Data Speed Demons”, and mixes Roan Ma’s violin with live electronics for the dizzying and very animated moment, while “portals II (everywhere and everything right now)” places Louis Pino on drums, O’Reilly on guitar, Fisher on sax and Hildebrand with mixer feedback for the sci-fi fueled and jarring dynamics.

“DADA BENDER” exits, and is percussively strong thanks to Pino, Nikki Huang, Hoi Tong Keung, Jasmine Tsui, Thomas Li and Bevis Ng, where rapid fire drumming unfolds via an onslaught of energy.

An aptly titled effort, this is a brazen and often charged peek at Hildebrand’s creative vision, where rigid textures, shifting electronics and chamber nods emits a spontaneous journey like few others.

Travels well with: Nick Fraser- Areas; Valley Voice- Stars, Engines

Allison Cameron & Scott Thomson

Platanus

Ambiances Magnétiques, 2026

8/10

Listen to Platanus

The multi-instrumentalist Allison Cameron and trombonist Scott Thomson come together for 3 involved tracks that are dedicated to the memory of Nobuo Kubota, where improvisation is turned into a refined science.

“Taproot” opens with manipulated sounds, where Thomson’s distinct trombone is met with Cameron’s aberrant synth gestures for 18+ minutes of exploration.

“Bark” occupies the middle spot and blends the soulful trombone with warm keys and plenty of atypical noises via the alluring and unpredictable delivery.

“Limbing” exits and carries a nearly mechanical spirit before sci-fi movements and a ‘found object’ presence mesmerizes us with both buzzing and shuffling ideas.

This is Thomson and Cameron’s first outing in this duo setting, and it yields an interplay that floats, wobbles and drifts somewhere between slumber and wakefulness, firm and calm and is charming in its unconventional approach.

Travels well with: David Occhipinti- Looking Glass; Stranger Still- We Might Not Tell Everyone This

David Occhipinti

Looking Glass

Elastic/Occdav, 2026

9/10

Listen to Looking Glass

The Canadian guitarist and composer David Occhipinti has been making music since 1997, and this unclassifiable effort puts him in some excellent company for 11 songs that focus on strings and guitar, but reel in some additional help, too.

“Six Bagatelles” starts the listen with Occhipinti’s radiant guitar alongside the alternating soft and tense strings, where Aline Homzy’s strategic violin is quite luminous across the 6 chapters, and “The Frumious Bandersnatch” follows with 13+ minutes of unpredictable behavior that spans dreamy moments, cinematic bouts and even eerie gestures.

In the middle, “Sonyshnyky (Sunflowers)” recruits Beverley Johnston’s rich vibraphone for the cautious and lush climate, while “Sotto le Stelle” enlists Alex Hetherington’s stunning mezzo-soprano that complements Steven Dann’s precise viola.

Even later, “Who’s Your Dada?” benefits from Charlotte Mundy’s playful soprano that complements the meticulous string interaction, and “You Stepped Out” exits with Hetherington’s pipes making an impression alongside the ambience and Maria Zachariadou’s strategic cello.

A record that spans many different emotions and ideas, Occhipinti touches on chamber, classical, jazz and avant-garde traces via his unconventional vision that is as exciting as ever.

Travels well with: Stranger Still- We Might Not Tell Everybody This; Ensemble Infini- Volume

Jean Derome & Somebody Special

Le sourire

Ambiances Magnétiques, 2026

8/10

Listen to Le sourire

The Ambiances Magnétiques' founder and one of Québec's most revered musicians, Jean Derome, is surrounded by the Somebody Special outfit for these songs by Steve Lacy that are unpredictable and exciting.

“Jack’s Blues” opens with Karen Young’s animated voice amid Derome’s colorful sax and atypical melodies, and “The Smile” follows with Alexandre Grogg’s firm keys that suit Pierre Tanguay’s crisp drumming.

In the middle, “Sands” unfolds across 3 segments, where elegant moments, lively bouts with wild vocals and a distinct softness reside, while “Love And Politics” alternates between calm and busy moments via a rare elegance.

“As Usual” and “Heaven” exit the listen. The former benefits from Normand Guilbeauit’s frisky bass playing in the playful duet, and the latter finishes with the quintet interacting with a rich and textured jazz appeal.

The authors included here are Anna Akhmatova, Samuel Beckett, Robert Creeley, Bob Kaufman, and Judith Malina, and their words are illuminated by the eclectic jazz presence that sure does justice to Lacy’s legacy.

Travels well with: Aerie Trio- Water, Rock, Tree, Sky; Nick Storring- Mirante

Stranger Still

We Might Not Tell Everybody This

All- Set!, 2026

9/10

Listen to We Might Not Tell Everybody This

A Canadian outfit who look at folk sounds in a very abstract manner, Stranger Still are back with 11 new, unclassifiable songs that continue their experimental and progressive vision.

“Warren Pryor” opens with elegant violin from Sarah Frank and harmonizing vocals from Mim Adams and Randi Helmers that touch on timeless folk qualities, and “The Mosherville Road” follows with a sublime dreaminess, where Màiri Chaimbeul’s cozy harp makes an impression.

Arriving in the middle, “Dry Spell” benefits from Rob Clutton’s bass plucking via the soft climate that enlists Pete Johnston’s vocals, while “A Pinch Or Two Of Dust” pairs the gorgeous singing with agile bass playing.

Getting close to the end, “Stars” makes great use of Johnston’s melodic acoustic guitar that aligns with pretty vocals, and “Walking Toward The Bus Station” exits with a gentle mood, where the 3 vocalist, emotive guitar and light bass make for a heartfelt finish.

A very poetic 3rd outing from Stranger Still, the inclusion of violin, harp and Andrew Killawee’s harmonium make for a thoughtful and touching version of folk music.

Travels well with: Stranger Still- The Songs Which Are; Ensemble Infini- Volume

Adam Rose + Mountain Jazz Quartet

Holler Serenade

Self-Released, 2026

9/10

Listen to Holler Serenade

The guitarist Adam Rose pairs jam band fun with straight forward jazz thanks to these live tracks that were captured in 1 day with the Mountain Jazz Quartet.

“Selling On The Potomac” opens with Rose’s warm guitar being complemented by Taylor Pierson’s radiant keys amid much grace and melody, and “Bye Bye Blackbird” follows with a charming intimacy via the dreamy guitar and Jeff Sipe’s well timed drumming.

At the halfway point, “Haywood Commons” flirts with rock ideas thanks to the playful rhythm section and funk flavor, while “Double Entendre” showcases Rose’s meticulous guitar progressions amid the crisp drums and elegant piano.

Approaching the end, “Theresa’s Journey” benefits from Steve Laspina’s skilled bass that suits the reflective tone, and “The Turnaround” exits with upbeat guitar prowess that aligns with a stylish rhythm section and strategic keys.

A diverse outing that incorporates bluegrass and no lack of grooves, Rose and company flesh out a spontaneous, collaborative and really memorable brand of fusion.

Travels well with: Duo Réflections- La Tregua; Andorra- III

Ensemble Infini

Volume

Cellar, 2026

9/10

Listen to Volume

An assembly of some significant talent, Ensemble Infini blend free jazz, psychedelic and experimental ideas into 14 unclassifiable tracks.

“Free Parking Transcendantal” starts with the layered winds and ambience making for a very unpredictable climate, and “Jhaptala/Milford Spirit” follows with a shroud of mystery and droning via Marilou Lyonnais Archambault’s strategic harp.

Later on, “Black Hole” buzzes amid the dense sax prowess before Guy “Yug” Thouin’s acrobatic drumming enters, while “Cartoon” gets a bit spacey in its complex texturing and atmospheric gestures.

“Dream Story” and “Le sous-sol libre” exit the listen. The former makes great use of Belinda Campbell’s firm keys in a rhythmic landscape, and the latter carries a distinct dreaminess that’s atypical and intriguing.

The octet turn improvisation into a refined science, where electronic stabs and a collage approach to avant-garde music keeps us guessing and enthralled throughout.

Travels well with: Robert Humber- Into Air; Meredith Bates- The Observer Effect

Brand New Heartache

A New Alchemy

Mule Kick, 2026

9/10

Listen to A New Alchemy

The Nashville husband and wife duo of Matthew and Eleese Meschery, as Brand New Heartache they’re versed in both Americana and indie-pop, and together with an all star cast they flesh out 12 authentic tracks.

The upbeat pace and flowing melodies of the title track opens with Michael Urbano’s thumping drums alongside the Meschery’s warm voices and punchy delivery, and “Montreal” follows with Kyle Caprista handling drums via the intimate appeal and dreamy presence.

Entering the middle, “The Company We Keep” enlists Ted Precchi’s bass that suits James Deprato’s lively banjo which complements the sing-alongs, while “Raise The Shade” benefits from Jimmy Wallace’s keys and Sarah Ailli’s backing vocals for the rich landscape that nearly touches on gospel.

“Younger Us” and “Someone Else” exit the listen. The former is a bare moment that places Matthew Szlachetka on guitar and Mitchell Cardenas on bass and builds into a smooth, rootsy moment, and the latter recruits Alice Rose’s strings for the poetic and scrappy finish.

Sometimes anthemic and other times romantic, Brand New Heartache harmonize in a way that you won’t soon forget, and the swirling guitars from Deprato and clever keys from Bruni draw us in from beginning to end.

Travels well with: The Far West- Everything We Thought We Wanted; Joselyn & Don- Lost And Found Highway

Ariana Kim

(Un)common Thread

Saffron soul, 2026

9/10

Listen to (Un)common Thread

The revered violinist Ariana Kim fleshes out improvisation from Mozart to Macedonia, where Roger Moseley and Shane Shanahan are along for the classical influenced affair.

Mozart’s “Sonata K. 454” opens with Kim’s flowing string acrobatics alongside Moseley’s quick key progressions, and Beethoven’s “Sonata Op. 12 No. 3” follows with the colorful violin complementing the animated key progressions that are nothing short of dizzying.

Further along, Raga Aalapana’s “Bahudari” is a solo violin moment via a hazy demeanor, while “Audacity” by Shanahan blends the stirring violin and frisky percussion from Shanahan that mesmerizes us.

Deeper still, “Migrating Home” pairs Kim’s violin with a looper pedal for the Kim piece that’s strong on tonality and ambience, and the traditional Bulgarian “Krivo Sadovsko Horo” exits with the fast strings and even faster percussion emitting much adventurousness.

An album of stunning spontaneity, Kim, Moseley and Shanahan certainly do justice to the legendary composers, and the originals are equally engaging, too.

Travels well with: JoAnn Falletta- The French In Spain; Janet Axelrod- Act One

Nick Dittmeier & The Sawdusters

Apparition

Sofa Burn, 2026

9/10

Listen to Apparition

The Indiana guitarist and singer-songwriter Nick Dittmeier channels the ins and out of Midwestern life through his rootsy vision, where The Sawdusters, plus others, join him for the 10 authentic tracks.

The busy and raw “Reckless” opens with Dittmeier’s quick riffs alongside Josh Bradley’s scrappy drumming, and the melodic and crisp “Revenge” follows with Shelley Anderson’s bouncy bass and Aaron Biebelhauser’s flowing keys adding much to the sing-alongs.

In the middle, “Black Dad/White Mom” benefits from warm singing and a rugged version of Americana that invites introspection, while “Apparition” thumps with a rootsy flavor via the vivid storytelling and strategic pedal steel thanks to Biebelhauser.

Residing close to the end, “Wasting My Time” bop and shakes with a rural dance floor mood, and “Running Away” exits with Dittmeier’s heartfelt harmonica and intimate pipes guiding the soft finish.

Dittmeier sings songs like a novelist, and the hooks versus gritty moments make for an alt-country record that I dare you not to be smitten with.

Travels well with: Chad Price Peace Coalition- A Perfect Pearl; Mosant- Midnight Television

Greg Piccolo & Heavy Juice

Who Knows What The Future Holds

MoMojo, 2026

9/10

Listen to Who Knows What The Future Holds

The roots artist Greg Piccolo is in some fine company for these 11 authentic tracks that suround joy, humor, heartbreak and hardship.

The lively spirit of “I’ve Lost Faith” opens with Piccolo’s bright voice, Dean Shot’s warm guitar and Bob Ruggiero’s frisky drums making an impression, and “Truth Is A Sly Fox” follows with an initially calmer mood that benefits from Mark Kazanoff’s rich sax.

“She Couldn’t Stay” arrives in the middle and is an intimate moment that’s soulful and showcases Piccolo’s heartfelt voice amid Shinichi Otsu’s cozy keys, while “Dream Girl” bops and shakes with an infectious energy that carries a retro rock’n’roll demeanor that will get you on the dance floor.

The title track arrives late and enlists well timed backing vocals and allows for Paul Tomasello’s strategic bass to shine in the sing-along delivery, and “I’m Movin’ On” benefits from Al Gomez’s booming trumpet that complements the colorful blues dynamics.

An effort that’s introspective and often animated, there’s plenty of grooves, melodies and diverse blues nods to appreciate here, where Piccolo’s position as front man is luminous.

Travels well with: Rick Vito- Slidemaster; Corey Harris/Alvin Youngblood Hart/Guy Davis- Fight On! True Blues Vol. 2

Phillip Golub

Partisan Ship

Berthold, 2026

9/10

Listen to Partisan Ship

The Brooklyn pianist, improviser, and composer, Phillip Golub, pens an experimental jazz album, where plenty of help surrounds his iconoclastic vision.

The vibrant and unpredictable “Loyalty Oath” starts the listen with Amir ElSaffar’s atypical trumpet stabs adding much to the complex climate, and “Interlude (Aboard)” follows with a quick bout of ambience that seems nearly like field recordings from another dimension.

“Mutiny Meeting” occupies the middle spot and injects beeps and buzzing amid Sam Minaie’s frisky bass, while “Interlude (Adrift)” carries a sci-fi spirit via the ominous backdrop and various noise makers.

Deeper still, “Cries Of The Initiated” blends Yuma Uesaka’s strategic winds into the atypical melodies and odd time signatures, and “Afterword: Partisan Session” exits with Jon Starks’ well timed drums that complement the swirling, cinematic dynamics.

Golub’s fusion and free jazz mashing sure is exciting, where each track is written in its own tuning system and somehow seems rooted in the past and future by way of its own distinct, unclassifiable reality.

Travels well with: Christopher Dammann- Christopher Dammann Sextet; Kee Avil- Crease

Maya De Vitry

All My Faith

Mad Maker, 2026

9/10

Listen to All My Faith

This 5th album from the guitarist and singer-songwriter Maya de Vitry finds the Nashville resident in folk and alt-country territory with many friends along for the 10 tracks.

The warm strumming of “All My Faith” opens with de Vitry’s distinct voice alongside Jo Schornikow’s flowing keys, and “Coin In Your Soul” follows with a calm spirit, where Ethan Jodziewicz’s upright bass suits the heartfelt climate.

“Adaptation’ and “Nobody Else” occupy the middle spots. The former is a thicker bout that benefits from Spencer Cullum’s pedal steel and Ethan Ballinger’s electric guitar, while the latter enlists Dom Billett’s crisp drumming that suits the intimate storytelling from de Vitry.

Landing late, “Cold Lake, Good Snacks” blends Shelby Means’ backing vocals into the rugged yet pretty folk-rock, and “No Time To Rush” exits with a dreamy, lush and poetic display of timeless and thoughtful songwriting.

An album that’s raw emotionally and aesthetically, de Vitry is nothing if not authentic, and these non edited songs illustrate her uninhibited and soul stirring capabilities that few others could replicate.

Travels well with: Asher Brinson- Midnight Hurricane; Bill Scorzari- Sidereal Days (Day 1)

Jeremy Beck

Chamber Music

Ulysses Arts, 2026

8/10

Listen to Chamber Music

The always impressive composer Jeremy Beck brings us world première recordings of his chamber ideas, where different combinations of strings, winds, voice, and piano unfold across 6 involved pieces.

The rich climate of “Quartet for Flute, Clarinet, Cello and Piano 2017” starts with Kaelah McMonigle (flute), Carrie RavenStem (clarinet), Jon Silpayamanant (cello) and Jessica Litwiniec Dorman (piano) interacting with much warmth and adventurousness across the 4 chapters.

“Songs of Love and Remembrance 2011” follows with Emily Albrink’s soaring soprano complementing Sila Darville’s meticulous violin and Dorman’s firm keys, while “Star Dance For Percussion And Piano” pairs Tanner Leonardo animated percussion with Dorman’s fluid fingers for the animated album highlight.

“Nightlife 2008 for four pianos” resides late and showcases Dorman’s inimitable talents with several pianos that emit much energy, and “Sonata No. 3 2012 for violin and piano” exits with Darville’s violin and Dorman’s piano that radiate intimacy and exploration that isn’t short on meticulousness.

Beck’s charming meshing of tonal lyricism and vibrant rhythm sure is appreciated, and it makes for a chamber experience you could never listen to just once.

Travels well with: Jeremy Beck- Remember; Jeremy Beck- Requiem

Ekmeles

Nonsongs

New Focus, 2026

8/10

Listen to Nonsongs

The vocal ensemble Ekmeles return with a 3rd recording, where the director Jeffrey Gavett guides the 3 complex and rhythmic tracks.

Wolfgang von Schweinitz’s “Plainsound Motet for Ekmeles: DADA NONO & REJOICE” opens with tonally expressive singing, where Charlote Mundy’s expressive soprano complements Gavett’s baritone via the 22+ minutes of flawless vocals.

“forgetting”, by Katherine Balch, lands in the middle and enlists tinkering and whispers, where the percussive ratchets align with rich pitched and non-pitched gestures that can harmonize strategically.

George Lewis’ “Lone Coast” exits, and showcases Iwo Jedyneki’s accordion alongside the lower registers and theatrics that spans all sorts of vocal acrobatics.

The sextet are in fine form here, where microtonality, atypical textures and unconventional structures surround the avant-garde experience.

Travels well with: David Bird- Hinterlands; Noah Meites- Counting

Earnhardt

Earnhardt

Self-Released, 2019

9/10

Listen to Earnhardt

A Brooklyn 5 piece who emits sounds that seem from much further south and often from earlier decades, too, Earnhardt embrace a genuine, rustic approach where variations of country and rock reside in compelling ways.

“Drywall” starts the debut album with rich riffs and a formidable southern rock feel with heartfelt vocals, and “Neversink” follows and carries a hypnotic tone where power-pop influences invade the smooth Americana ways.

At 9 tunes, this is a quick album, but each tracks leave an indelible mark, such as the cautious rock of “Digoxin”, as well as the fluid and thoughtful “Nature”, while the turbulent yet calculated “Transmissions” shows an intimate chemistry between the members.

Near the end, “Women Without Whiskey” is an alt-country gem with guitar solos and pedal steel from the always impressive Mike Mogis, and “KT” ends the listen with proficient melodies and an undeniable lasting quality that’s on par with Tom Petty or Drive-By Truckers.

As far as debut albums go, this one is gold, and let’s go ahead and put Earnhardt in a category of up and coming Americana outfits that we should all be paying attention to.

Travels well with: Steve Earle- Guy; Hiss Golden Messenger- Virgo Fool