Steve Wyzard HOPE

It's hard to believe that John Patitucci will be 66 this year and has been in "the business" for over 40 years. It seems like only yesterday (the mid-1980s to be precise) that he was being introduced as the new, unstoppable "jazz bassist of the future". Now that the future is here, so is Patitucci with his first solo album in 6 years, Spirit Fall, on Edition Records. Recorded in one day in August 2024, this album features Chris Potter on saxes/bass clarinet, Brian Blade on drums/percussion, and is a rarity in the Patitucci catalog for being an unaccompanied trio.

Previous Patitucci albums have been known to include a "cast of thousands", so to hear his playing in a stripped-down, non-chordal trio like this is a major selling point. Having performed with both Potter and Blade on many occasions in the past, he tells us in the liner notes that the session for Spirit Fall was "natural and effortless". He performs on acoustic bass on 6 of the 10 tracks, while on tracks 4-7 he brings out his 6-string electric bass.

Throughout the album, the emphasis is on group interplay first, with solos not as extended as one might have expected. If I could recommend just one track to sample, it would be the dynamic "Lipim" (which means "hope" in the Yemba language), Spirit Fall's fastest composition. With Potter multi-tracking his tenor and an amazing Blade performance, the listener is left wishing this could have gone on much longer than 7:39. Other highlights include the impressionistic "Thoughts and Dreams", the title track's soprano sax and cadential close, Potter's bass clarinet intro to "Light in the Darkness", and Patitucci's solo spotlight on their cover of Wayne Shorter's "House of Jade".

Don't let the mysterious album cover fool you: Spirit Fall is light and breezy, and already a contender for Jazz Album of the Year. The final track, "Sonrisa" seems to sum everything up with a Latin/Caribbean swing and a miraculous duet between Patitucci and Blade. While previous Patitucci albums were known for running long, Spirit Fall's 59:01 runtime is just right. If you are familiar with these players, this album is self-recommending.

Carmel Great jazz is always a conversation between players, instruments, traditions, and between past and future styles. "Safe Travels" is drummer and composer Jerry Kalaf's project that orchestrates a meeting of musical minds and instruments. At the heart of this record is an inspired interplay between Kalaf's jazz trio, featuring pianist Tom Ranier and bassist Trey Henry, and the ATLYS string quartet, comprised of violinists Sabrina Tabby and Jinty McTavish, violist Erin Rafferty, and cellist Genevieve Tabby. With the skilled hand of Doug Walter guiding the orchestrations, the result is an album that traverses lush harmonic landscapes, flowing rhythmic contours, and a seamless blending of jazz tradition with chamber music sophistication.

The album opens with "263 Beacon," a flowing jazz waltz that immediately displays the textural depth of a jazz trio and string quartet. Ranier's piano leads the way, supported by Henry's warm bass foundation and Kalaf's sensitive, propulsive drumming. The strings add colors and textures before stepping into the spotlight in the second section, where they take the lead with a rich, singing quality. Ranier's piano solo, elegantly styled in a swing waltz, is accompanied by the ATLYS strings, whose background textures lend a cinematic touch. A string interlude leads to an exchange of phrases between Kalaf and the quartet, showcasing his melodic approach to drumming. The composition keeps our interest in its textural development, with each section unfolding naturally to reveal new shades of color.

"Another Summer" has an abstract introduction, with the strings and drums painting broad strokes of color and dissonance before easing into a light, lyrical bossa nova-based melody. The blend of piano and strings creates a sweeping emotional arc, as Kalaf subtly shifts his drumming into the warm hues of Latin percussion sounds on the set. Ranier's solo builds with lyrical intensity, leading into an unaccompanied string interlude that highlights the quartet's beautiful voicings and counterpoint. Henry's bass solo, emerging at the end of this section, is performed with elegance, his round pizzicato tones blending warmly with the string ensemble before the return of the melody. The result is a feel-good composition, performed with remarkable musicianship.

The swing ballad "At the End of the Day" introduces itself with a gorgeous string quartet and acoustic bass introduction, setting the stage for a piece rich in sonorities. Kalaf's brushwork is a study in restraint and motion as he matches delicately with insistent, always propelling the feel forward. The midpoint features exquisite string writing, reinforcing the dialogue between the jazz trio and the quartet. Kalaf's drumming functions as the glue, ensuring the ensemble's momentum remains fluid and dynamic. The balance of space and movement in this piece makes for an immersive listening experience.

"Bailing" shifts gears with a rubato trio introduction, seamlessly flowing from the preceding track. This piece is a study in contrast with sections of rubato that give way to tempo changes, creating a structure that breathes and evolves. Kalaf's drum solo is particularly enjoyable, maintaining a strong melodic contour while dynamically shifting textures and rhythmic melodies. As the track builds, an up-tempo swing feel emerges, giving the piece a sense of forward momentum and development.

The tender ballad "Epilogue" takes a more introspective turn, with each member of the jazz trio taking the lead in different sections. The string quartet provides a flowing, soft-hued backdrop, enhancing the ballad's emotive depth. The interplay between the musicians is exemplary, with each phrase carefully placed within the larger arc of the composition. The writing and performance here are particularly striking in their clarity and warmth.

"Perspectives" introduces a medium jazz waltz feel, diving into the string quartet's full-color palette. Lush harmonies and expressive phrasing shape the composition, which unfolds logically through its form. A free improvisation in the middle section allows the ensemble members to engage in an organic, evolving conversation, gradually building in intensity. Freedom within structure is one of the album's defining qualities, and this track exemplifies that balance beautifully.

With "Safe Travels," the album's title track, Kalaf and his ensemble embrace a broader sonic expanse. Opening with evocative 20th-century classical sonorities in the string quartet, the piece gradually develops into a deeply moving jazz ballad. Ranier's piano work is particularly poignant, his touch imbued with emotion and a deep understanding of the jazz language. This track encapsulates the album's essence, a seamless integration of jazz tradition and contemporary classical elements.

The album closes on a bright note with "Shearing," a happy medium swing piece where the trio and quartet intertwine effortlessly. The strings oscillate between percussive patterns and long, flowing harmonies, adding rhythmic vitality and depth. Henry's bass solo carries shades of the blues, grounding the piece in an earthy, soulful space. It's a fitting conclusion to an album that consistently finds common ground between seemingly disparate musical worlds.

"Safe Travels" is an album that rewards close listening, revealing its intricacies with each spin. Kalaf, a drummer of remarkable sensitivity and compositional depth, has delivered an album that speaks across genres and generations. Whether you're drawn to the harmonic richness of chamber music or the rhythmic interplay of jazz, this album offers a journey worth taking in.

js Although not particularly well known worldwide, guitarist Brent Laidler has been an active member of the jazz scene in Indiana for many years and in many capacities including; performer, arranger, composer, educator and also instrument repairman. “Hidden Gems” is Brent’s fifth album as leader and finds him working with the same group of musicians who recorded his previous outings. The band’s familiarity with each other pays off as this is a very tight ensemble, smooth in execution and always in the pocket and in the groove. Almost half the tunes are in a relaxed bossa/samba rhythm and the coolness of this music permeates the entire album, this is not a group given to much extravagant excesses. The concise Brazilian sound is furthered by Jamie Newman’s organ sound which does not often use vibrato, chorus or leslie, and instead presents that dry sound favored by the bossa crowd. The tick .. tick .. tick tick sound of wood claves also flavors many of these tracks.

Outside of the Latin influences, “Hidden Gems” also pulls from the world of soul jazz and funky hard bop with saxophonist Ned Boyd often featuring a raspy tone favored by the RnB crowd. The album’s title comes from the fact that Laidler poured through countless old fake books in search of ’gems’ to re-harmonize and contemporize. “Gemini” is based on an old Cannonball Adderly solo transcription, “Riffy Business” was a TV soundtrack in the early 1960s and “Petite Parasol” was updated with a modern hip-hop beat. The main appeal of this album though is found in it’s sound and production, appealing conciseness was something that Brasil 66 understood, likewise Erik Satie as well as Brian Eno’s ambient pop of the late 70s.

Carmel Rodney Whitaker is a sought-after bassist extraordinaire and a pre-eminent jazz educator. On his latest project, “Mosaic: The Music of Gregg Hill” (Origin Records, 2025), Whitaker and his vibrant working band breathe life into Hill’s idiosyncratic compositions, crafting an album brimming with fiery interplay, deep swing, and a forward-thinking sense of adventure.

From the outset, the title track, “Mosaic,” draws listeners in with its lush voicings shaped by juxtaposing silence with shimmering patterns of harmonic movement. This grand opening sets the stage for the ensemble’s fluid creativity. Whitaker’s bass signals the next section with his robust basslines setting up the swing time feel. Terell Stafford’s soaring trumpet lines and Tim Warfield’s soprano saxophone perform the compelling melody. Stafford, Warfield, and pianist Rick Roe express solos over the deep swing pocket of Whitaker and drummer Dana Hall. Throughout, Whitaker anchors the band with a steady yet dynamic pulse and his deep connection to Hill’s compositions.

“Unknown Ballade” features Rockelle Whitaker’s soulful vocals that imbue the sensual groove with warmth and power. Her gripping performance of the melody that crescendos into a climactic resolution is impressive. Hill’s writing mixes post-bop structures for the ensemble to explore. This harmonic framework is especially effective in providing interesting pathways of expression during the solo sections. Equally striking is “Claxilever,” where Stafford and Warfield channel the exuberance of hard-bop captured in Hill’s catchy writing and the ensemble’s buoyant swing camaraderie. Stafford’s, Warfield’s, Roe’s, and Whitaker’s improvisations are emotive and musical, with the rhythm section’s earthy swing feel grounding the adventurous explorations. The trading between the ensemble and Hall is outstanding.

Other highlights include “Katie’s Tune,” which blends Afro-Cuban rhythms with a waltz-like feel, showcasing Hill’s skillful integration of cross-cultural influences. Whitaker and his ensemble bring these elements to life, delivering a cohesive modern jazz voice that amplifies the music’s expressive truths. On “Sloe Gin Fizz,” the ensemble reaches its hard-swinging zenith, with Hill’s composition delivering a poetic melody and setting for exploration. Whitaker’s jazz blues solo seamlessly transitions into Stafford’s. Warfield’s improvisation builds to Rick Roe’s inventive piano improvisation. The trading section’s interplay here epitomizes the art of interactive jazz performance.

“Mosaic: The Music of Gregg Hill” reflects how jazz remains a living, breathing art form, deeply rooted in historical contexts that can be expressed upon. Hill’s compositions draw from the genre’s storied past, reflecting the subtle influences of specific era’s harmonic and rhythmic textures. Tracks like “Sloe Gin Fizz” evoke a 1950s jazz vibe with intricate, eighth-note-based melodies reminiscent of the bebop era, while “Katie’s Tune” radiates the rhythmic energy of Latin jazz fused with modern jazz vitality. By incorporating these historical and stylistic markers, Hill creates a distinctive space for Whitaker and his ensemble to explore, amplifying the authenticity and depth of each piece. Whitaker’s grounding in jazz’s tradition adds his vision for expression as he brings his arranging voice to create a dynamic interplay.

This blend of historical reverence and forward-thinking artistry is at the heart of “Mosaic: The Music of Gregg Hill.” Hill’s ability to balance intricate, note-specific melodies with expansive, chordal frameworks creates a platform for passionate exploration, inspiring Whitaker and his ensemble to deliver performances imbued with precision and emotional resonance. “Mosaic: The Music of Gregg Hill” is a celebration of jazz’s enduring vitality, inviting listeners to journey through its layered artistry and musical sense of place.

js Although “A Brand New State” is bassist Alex McLaughlin’s first album as a leader, he is hardly new to the jazz scene. Some artists he has worked with include Arturo Sandoval, Kurt Elling, Matt Wilson and even comedian Sandra Bernhard. Alex’s reputation has to be strong because he was able to pull in some A-listers for help, including Tina Raymond on drums and Jeremy Siskind on piano, but probably the most well known name on here is Jeremy Pelt on trumpet. The influence of Miles’ mid 60s quintet is heavy on this outing, which could be said about many modern post bop albums, but Alex and his crew do a better job than most when it comes to matching the open-ended approach of the Davis band. Much like Miles, Alex and his band mates don’t necessarily mark steady time, instead, the drums are part of the ongoing musical conversation and the rhythm tends to ebb and flow with the soloists. Likewise, chord changes are not always adhered to strictly, as the players pick and choose notes with a certain understood freedom. This is a very conversational band that listens intently to each other.

The music is today’s post bop with fusion influences and an overall abstract approach. On “Trailhead”, the band gets into a sort of jazz-rock heavy rhythm with Jeremy Pelt channeling Freddie Hubbard style aggressive trumpet attacks. Siskind can recall Herbie Hancock at times and this is evident on “Signals” where his laid back soloing is reminiscent of Herbie’s “Speak Like a Child” opus. This number also features Pelt using a mute for more Miles type sounds. On “The Solar Punks”, Siskind gets into some large block descending chords that may remind some of Craig Taborn.

Towards the end of the album, the band gets a little more bluesy and straight ahead with “El Polvo” carrying some Thelonious Monk abrasions as well as some of Siskind’s best piano work on the album. “Trial” continues the hard bop orientation and album closer, “Elevation”, was inspired by Joe Henderson’s “Isotope”.

Maxsmusic This may be the greatest jazz album ever released as it says everything about jazz in 40 minutes and doesn't hold back. This is an incredible album and if you want me to talk about it for at least 100 words, I have no problem. It is emotional and very spiritual and quite intellectual. It has everything that one could want in a music presentation. and it goes beyond music to the realm of the heart. I bought this record in the 80's when I was a young man and I am now 62 years old and I still want to listen to it and get something out of it, which is art.

FunkFreak75 1. "Homunculus" (6:09) despite the solid bass play holding this one all together, there is a loose, free-jazz feel to the rest of the performances--and some weird effects being imposed upon the overall sound. Still, the skill levels of all of the individuals are fully on display and still impressive. (8.875/10)

2. "Cross-collateral" (13:38) now three songs in--and this one a long one (of epic length) I can only deduce that band leader Klaus Doldinger (and/or his collaborators) was either spread too thin (very busy) or out of fresh ideas because the music on this album so far has been quite lackluster: lacking both the creativity and complexity that the previous album had overflowing to the brim. The lack of inspired or fully-formed compositional ideas are effecting the energy and interest levels of the rest of the band, resulting in lackadaisical performances--which is sad cuz we know these guys can play! There is absolutely nothing in this song, anywhere, that would ever lead me to want to return to it for repeated listens! It's just a first-take free-for-all from the band's first practice session. Plus, where is Klaus? Where are the saxes? (25/30)

3. "Jadoo" (3:03) something with a more structure but no really interesting quirky ideas or great melodies. (At least the saxes are back--though some are a little-too-heavily-processed.) The drumming is the best element of this one. (8.75/10)

4. "Will-O'the-Wisp" (6:15) even trying to go back to some funk doesn't work: it's just too rudimentary; there's nothing new/fresh or creative here, just by-the-numbers playing. The sound palette is right, just totally uninspired performances. (8.75/10)

5. "Albatros song" (5:18) a one-minute all-keyboard intro leads into some light textural music full of synth strings and, eventually, Klaus's singular saxophone putting forth something that sounds very much like the smooth jazz coming out of the BOB JAMES production labs. (8.6667/10)

6. "Damals" (4:38) acoustic guitar and sparse (keyboard) bass and drum play supporting a plaintive (single) sax solo by Klaus. Nice but clearly representing the new Smooth Jazz form of expression. (8.75/10)

Total Time: 39:01

C+/three stars; a fair representation of the direction Jazz-Rock Fusion was moving by the end of 1975.

FunkFreak75 The core is finally solidified with drummer extraordinaire Curt Cress joining Klaus and uber-talented bass (and guitar!) player Wolfgang Schmid--a partnership that would result in five outstanding albums before Wolfgang would decide to move on. Here British keyboard player Frank Roberts serves as Klaus' ivory tickler. (Frank would provide some awesome skilled jazz-rock piano to such bands as Isotope, Joy, Real Thing, Jabula, Hugh Hopper, Atté, Gary Wingo, and Robert Wyatt over the course of the next 25 years.)

1. "Abracadabra" (7:20) dynamic, fast & furious music with so much going on from each of the wonderful musicians--and such amazing (as usual) sound engineering! Seriously: How is it that Klaus was so far ahead of the rest of the world in terms of sound engineering??? (14/15) 2. "The connexion" (5:33) slow, spacious, rather awkward plodding for the first two minutes. I get it: this is an approach that many of the early pioneers of J-R Fuse used in their early explorations of the landscape (Miles, Herbie, Wayne & Joe, in particular)--and Klaus and company do it well--with noteworthy skill and competence (especially Kurt), but it feels more like music made more to impress and test, not so much for listening enjoyment. (8.875/10)

3. "Yellow dream" (4:20) a song that shows the band trying to crosses over more into the realms of proggy and even heavy rock music. Interesting but feels a bit forced--especially the heavy rock "choruses." (8.75/10)

4. "Proclamation" (2:39) another tune that feels more like the band's attempt to join the NEKTAR/SYNERGY/FOCUS side of progressive rock music. (8.875/10) 5. "Hand made" (9:26) is that the noise of a real live crowd? Does that mean the song was taken from a recording of one of the band's live performances? Regardless, this starts out with a very first incarnation Mahavishnu Orchestra palette and style but then smooths out into something more akin to Todd Rundgren 's Utopia or Grand Funk Railroad (the good stuff of both). It's a jam song in which organ, multiple (or chorused) tracks of saxes, and electric guitar play over the baseline electric bass and Fender Rhodes and synths. I know I've made songs over which "live" crowd noises have been tracked in--which then allowed for multi-tracking each musician's layers of contributions. Is this what's going on here? The music is solid but nothing very innovative or memorable. (17.5/20) 6. "Puzzle" (4:07) Euro-funk with clavinet, funky bass, syncopated drums, high-chord rhythm guitar accents, and screaming sax accent hits provide the foundation of this awkward attempt at funk-jazz. Nobody on board here really excels to achieve top tier funk, but it is a valiant attempt (and not totally unsuccessful) attempt across the board. (8.875/10)

7. "The quiet man" (4:43) nicely done explorations of soothing, dream-like soundscapes from bass, delicate cymbal play, gentle electric piano, and smooth saxes--but it's not smooth jazz! It's more like dreamy prog-jazz. I like it! (8.875/10)

Total Time: 38:08

B+/four stars; an excellent expression of prog- and rock-infused Jazz-Rock Fusion.

Maxsmusic This album is quite a departure from his earlier work for ECM. He is collaborating with stellar musicians listed on the cover. It is a laid back session, double album, with most of the material being pleasant saxophone motifs with acoustic guitar and electric guitar leads. It's on the folk side with Pat's clever sense of melody and beautiful harmony. On side three they break out to more open ideas, which is the name of the track, and then pretty scattered. Side four goes back to a mid western folk jazz feel. The whole concept is acoustic guitar with the sax as the leader and the bass and drums playing great support. Four stars.

FunkFreak75 Continuing to reinforce new patterns, Brian and the Express use only Oblivion Express original compositions to populate this entire album. (Many thanks to newcomer Alex Ligertwood, formerly of the Jeff Beck Group.)

A1. "Truth (7:46) an Alex Ligertwood original, there is a pretty awesome organ, guitar, and bass sequence that hooks the listener in for the verses. Nice work with the b vox as the song develops and deepens. (8.875/10)

A2. "Don't Look Away (6:01) a Ligertwood, Mullen, and Dean composition that starts out sounding very much like something from the 60s jazz pop--exploring some "hooks" that might make listeners get locked in. Unfortunately, the rather loose and blues-Southern-rocky vocal detracts and sidetracks from the goal or objective. (8.75/10)

A3. "Somebody Help Us (6:29) an uptempo cruise-mobile with some awesome rhythm guitar play. Sounds like all that will come out on STEVE MILLER BAND's great 1976 album, Fly Like an Eagle. Nice song with nice performances that all work well together despite sounding like the sound engineers are stuck in the 1960s. (9/10)

B1. "Freedom Jazz Dance (5:25) written by Brian, Alex, and Eddie Harris slows it down, even roots it in some soulful funk-R&B (Jim Mullen's guitar play sounding like B.B. King!) I like the shifts and twists and turns it takes--even stylistically--though the vocal sounds so much like Jeff Beck Group's Bobby Tench (Alex's successor in that band). Great bass play from Barry Dean. Fun Keith Emerson-like organ play from Brian. (9/10)

B2. "Just You, Just Me (6:15) a favorite of mine, this is all Brian. I like Alex's less aggressive vocal approach and the band's concentration on the Jazz-Rock Fusion side of their musical expression. Great bass play, awesome electric piano, and solid time-keeping from Robbie MacIntosh. (9.25/10)

B3. "Second Wind (6:39) another Brian Auger exclusive, it opens with awesome interplay between Jim's guitar and Barry's bass over some straight time-keeping from Robbie and some supportive organ chord play from Brian. (It sounds a lot, to my ears, like the concurrent work of The Soft Machine.) (8.875/10)

Total Time 32:06

B+/4.5 stars; a near-masterpiece of bluesy rock that has enough J-R F elements to be included therein.