Following the successful “The Peplowski Project” (Self-Released, 2023), baritone saxophonist and composer David Larsen returns with “Cohesion,” a dynamic collaboration with East Coast jazz talents Darryl Yokley, Zaccai Curtis, Alex Apollo, and Wayne Smith Jr. This set contains six original compositions by Larsen and two by Yokley, offering listeners a taste of East-meets-West jazz perspectives.

The title track opens with a modal jazz expression, characterized by harmonized saxophone lines and a forward-thinking rhythmic feel from bassist Apollo and drummer Smith Jr. Yokley and Larsen bring contrasting yet complementary styles: Yokley’s tenor has a resonant post-bop warmth, while Larsen’s baritone provides a rich, grounded hard bop tone. “Down to It” continues in a modal vein, where Larsen’s lyrical sensibility channels the spirit of ‘60s modal jazz fused with hard bop energy.

“Movement” takes on a leisurely straight-eighth groove, propelled by a subtle rhythmic motif. The two saxophones blend in harmony during the melody, while Larsen’s solo navigates rhythmic shifts between straight-eighth and swing feels. His rhythmic flexibility and dynamic phrasing lift the piece, demonstrating his command over both style and structure.

“Wishing Well” moves into Afro-Cuban territory, introducing a lively groove under a buoyant melody from the horns. The rhythmic interplay between Apollo’s bass and Smith’s drums provides a solid foundation, allowing Larsen and Yokley to dive deeply into this new rhythmic terrain. Larsen’s compositional voice brings a melodic fluidity that lets both saxophonists explore stylistic variations throughout the album.

On “Fedchock,” the ensemble locks into a swinging, hard bop vibe, underscored by a hypnotic elegance and subtle guide-tone tension. “Working Things Out” shifts gears with a modern jazz feel, its straight-eighth pulse matched by a buoyant melody. Larsen’s baritone solo here shines with an edgy expressiveness; he builds his solo with the same care he brings to his writing, crafting each phrase with intentionality and depth.

Yokley’s compositions introduce a post-bop flavor to round out the album. “Mount Fuji” swings at a brisk tempo, challenging the ensemble with shifting harmonic ideas. Yokley, Larsen, and Curtis each bring unique improvisational ideas, adding intrigue to the track’s spirited framework. The album closes on “El Duelo,” where inquisitive harmonic choices elevate the composition. Larsen’s hard bop sensibilities find a natural fit in this modern setting, and Yokley’s tenor sax lines bring a resonant depth that enriches the composition’s energy.

Overall, Larsen’s playing has a flowing melodic clarity and infectious groove, balancing timbre, articulation, and inventive motifs with finesse. Across the eight songs, the ensemble shows a profound blending of sensitivity and technicality. Each musician finds creative ways to explore these well-written compositions, making “Cohesion” a distinct and valuable addition to Larsen’s discography.

Imagine a late-night set at a smoky jazz club, surrounded by old friends, the air filled with the sound of clinking glasses and laughter. That’s the energy that Steve Davis captures with his latest live album, “We See.” It’s the kind of hard-bop jazz record that plays effortlessly as a reminder of what’s possible when brilliant musicians gather to make magic in the moment in front of an encouraging live audience.

Davis has always been a torchbearer for the trombone, but “We See” is not just about his talents. This is an album that’s as much about connection as it is about individual expression. Davis teams up with a group of heavy hitters: Eddie Henderson on trumpet, Ralph Moore on tenor sax, Renee Rosnes on piano, Essiet Essiet on bass, and Lewis Nash on drums. Together, they make the kind of hard-bop jazz that feels timeless and of the moment, full of warmth, spontaneity, and those unexpected sparks that come from live jazz.

The album kicks off with “Milestones,” and right away, the players show they’re here to play—no charts cluttering the music stands, just pure instinct and joy. Davis’ solo flows with his signature warmth, his tone gliding through the harmony with an effortless cool that’s firmly rooted in the tradition of his heroes. Henderson and Moore stretch out, their solos bursting with lyrical jargon and hard-swinging riffs that leave you nodding along, caught up in their groove.

“To Wisdom, The Prize” is a standout with its beautiful hard-bop style and the way the way the group’s chemistry can be felt by the listener. Davis’ solo starts with a thoughtful touch, each note deliberate and full of color before propelling into a bright, expressive, hard-bop expression. Nash’s drumming is the fuel to the fire, and his interactions during Davis’ and Rosnes’ solos are all about joyful discovery. You can practically hear the smiles as Nash and Essiet lock in behind the soloists, creating a foundation that’s loose yet unshakably solid.

Then there’s the title track, Monk’s “We See.” It starts with Nash laying down a melodic drum solo—each accent ringing clear, his kit resonating like an extension of his voice. When the horns enter, they do so with an exuberant swagger, the three horn lines harmonizing to add interest and color. Moore’s solo here is buoyant and playful, matching Rosnes’ subtle shifts in harmonic colors. Henderson’s trumpet solo is a joyful reminder of why he has become such a beloved figure in jazz: he knows how to blend sophistication with a sense of fun.

“Up Jumped Spring” has a bold post-bop flavor. Rosnes’ gorgeous reharmonization of Freddie Hubbard’s melody during the intro is stunning, as is her solo. The up-tempo waltz time keeps things dancing. By the time we reach “Star Eyes,” the band continues to impress with a groove that’s all about the collective—the rhythm section moves together like a single entity, building lush harmonies and rhythmic settings for each soloist to shine.

The set closes out with “All Blues,” a nod to one of jazz’s most beloved classics. Here, the band pays homage to Miles Davis’ original. It’s the perfect cap to an album that’s all about respecting tradition while finding your own voice within it. You can hear the history that binds these players together, but more importantly, you can hear the pure joy they find in making music together—in sharing their stories and their sounds with all of us.

“We See” is a recorded experience of the feeling of being in a room with old friends, sharing memories, and making new ones as an ensemble of outstanding musician create music in real-time. And isn’t that what jazz is all about?

Pat Bianchi's “Three” is an album pulsating with vitality and creative energy. For the aficionados tucked in dimly lit corners of jazz clubs and the eager students in classrooms, Bianchi offers a set of musical ingenuity in a jazz organ trio format.

At its core, “Three” is a sonic adventure that beckons the listener to dive headfirst into the rich vibrations of jazz. Bianchi crafts an invigorating soundscape alongside Troy Roberts on saxophone and Colin Stranahan on drums. This is not your grandfather's jazz album, nor an attempt to mimic the past. Instead, it explores the possibilities of jazz when unshackled from expectation and focused on today's energy.

The album's ability to marry the familiar with the liveliness of today is the key to its success. Take, for example, the rendition of "Love For Sale." It's a track that has been reimagined by countless artists, but this trio, it becomes something entirely new—a vibrant conversation between the past and the present, echoing each player's passion. It's as if Bianchi expresses to us a sonic truth, reminding us that jazz is not a static entity but a living, breathing organism that thrives on innovation.

“Three’s” trio setup, eschewing the traditional guitar for saxophone, opens up a vast expanse of harmonic possibilities, allowing the music to flow from a different perspective. Roberts' voice speaks from the heart and the myriad emotions that arise when the spark of spontaneity ignites with deep musical understanding. Stranahan's drums punctuate this feeling by keeping the time feel centered and elastic.

Each track is a collective voyage that leaves the most indelible mark. From the smoky, sultry lines of "When Sunny Gets Blue" to the haunting beauty of "Stardust," Bianchi and his compatriots navigate the vast expanse of jazz with a map of their own making. The album closes with a live recording of "Cheek To Cheek," recorded live at The Jazz Kitchen (Indianapolis, IN) on June 3, 2023, by Mike Halperin, that is exhilarating, capturing the raw, unfiltered essence of jazz—the spontaneous creation, the risk, the sheer thrill of performance.

As we immerse ourselves in the soul-stirring depths of “Three,” let us not only applaud the exceptional artistry of Bianchi, Roberts, and Stranahan but also the boundless spirit of exploration they represent. Woven into the album's fabric, this spirit assures us that jazz remains a vibrant, ever-evolving art form destined to captivate and inspire future generations. “Three” captures a singular moment in musical time—a moment that, when we give ourselves over to the act of deep listening, transcends time and space, inviting us into a world of inspiration and infinite possibility. In these moments of attentive listening, the album's true genius unfolds, revealing layers of beauty that affirm jazz's enduring legacy and its potential to astonish and enrich us, anytime, anywhere.

In the vast universe of jazz, where the echoes of the past continually meld with the explorations of the present moment, Michael Dease's "Found in Space: The Music of Gregg Hill" is a journey through the mind of one of America's most idiosyncratic composers. Dease, a formidable trombonist and educator, is no stranger to innovation. Yet, with this album, he boldly ventures into the uncharted territories of Gregg Hill's compositions, offering an album inspired by Hill's musical cosmos and reflecting Dease's artistic vision.

The album's title, a playful nod to the 1960s sci-fi series Lost in Space, indicates the tone for what lies within—a collection of compositions inspired by a journey into the unknown. Hill's music, often described as a confluence of Zappa's ambitious orchestrations, the structural elegance of 20th-century classical music, and the freewheeling spirit of jazz, finds a perfect interpreter in Dease. Through this album travelers traversing the sonic landscapes Hill has crafted over decades of relentless creativity.

At the heart of this cosmic exploration is an ensemble as diverse and dynamic as the music they bring to life. Led by Dease, the group features some of today's most formidable talents in jazz, bringing their unique voice to the project. Alto saxophonist Rudresh Mahanthappa, known for his fiery improvisations and innovative approach, joins forces with the lyrical clarinetist Virginia MacDonald, the virtuosic flutist Sharel Cassity, and the versatile tenor saxophonist Jason Hainsworth. Trumpeter Matt White, whose arrangements on the album are as intricate as they are bold, adds a sharp, brassy edge, while trombonist Nanami Haruta provides a sensitive counterpart to Dease's earthy and technically striking tones.

The rhythm section, anchored by bassist Katie Thiroux and drummer Colleen Clark, is always creating a pocket regardless of the groove and subtlety, with pianist Bill Cunliffe's deft touch on both acoustic piano and Fender Rhodes adding harmonic depth. Rounding out the ensemble is Gwendolyn Dease on marimba and percussion, whose contributions evoke the adventurous spirit of Zappa's iconic bands, making this a truly stellar assembly of musicians.

From the opening track, "The Last Pop Tune," it is clear that this is no ordinary jazz album. Trumpeter Matt White, a long-time collaborator of Dease, arranges this piece with an almost mathematical precision, navigating through shifting time signatures with the deftness of a seasoned explorer. The tune's playful complexity—oscillating between meters of five, six, three, and four—is a microcosm of the album's broader narrative: one of constant evolution and surprise. Dease's trombone weaves through White's well-crafted arrangement like a seasoned traveler guiding us through Hill's ever-changing terrain.

The title track, "Found in Space," arranged by Cunliffe, exemplifies the fusion of structured composition and spontaneous improvisation that defines Hill's music. Cunliffe paints with the sonic pallet of the ensemble to clearly present Hill's motifs. The composition has a series of dynamic feels and form components. Dease's baritone saxophone playing is featured prominently, alongside standout solos from White, Mahanthappa, and Cunliffe. This is a piece that feels grounded and celestial, with each soloist working with the rhythm section to contribute to the emphasis of various rhythmic constructions to create a powerful soundscape.

"One for Rodney," a tribute to bassist and Hill enthusiast Rodney Whitaker, is perhaps the album's most eclectic offering. The opening section, with its nods to Monk's angular melodies and the spy-thriller suspense of "Mission Impossible," gives way to a swinging section that showcases bassist Katie Thiroux's lyrical prowess. The piece's unpredictable structure—shifting from quirky motifs to fierce alto saxophone duels—mirrors Hill's compositions' unorthodox yet deeply compelling nature.

Dease's trombone shines exceptionally bright on "The Stray Moonduck," which captures the earthy, blues-drenched essence of his playing and the more deliberate touch of his fellow trombonist Nanami Haruta. Their interplay, reminiscent of the legendary J.J. Johnson and Kai Winding duets, brings a sense of dialogue to the music.

Throughout "Found in Space: The Music of Gregg Hill," Hill's music is brought to life by Dease's trombone but by an ensemble of musicians who understand the intricacies and nuances of his compositions. Virginia MacDonald's clarinet, in particular, adds a lyrical, almost vocal quality to pieces like "Chillin' with Wess," where her instrument's warm, woody tones contrast beautifully with the more percussive marimba of Gwendolyn Dease.

As the album draws to a close with "A Wrinkle in Time," arranged by White, we are reminded of the cyclical nature of time and space—a fitting metaphor for Hill's music, which constantly circles back on itself, revisiting themes and ideas in new and unexpected ways. Dease's extended trombone solo in this final track encapsulates the essence of the album: a journey through familiar yet ever-changing landscapes, where each step reveals a new vista, a new possibility.

"Found in Space: The Music of Gregg Hill" is brought to life through the power of collaboration, the importance of mentorship, and the unending quest for artistic expression. Michael Dease and Gregg Hill have charted a course for exploration—our vehicle is jazz, and we travel through the waves of the album's cosmos. This musical journey, "Found in Space: The Music of Gregg Hill," offers a richly rewarding experience.

In "Being," Chris Rottmayer explores jazz's rich dialogue, melding the wisdom of the past with the vibrancy of the present. This album, released on March 6, 2024, via Shifting Paradigm Records, showcases Rottmayer's deep engagement with the legacy of Mulgrew Miller and Woody Shaw while also painting vivid soundscapes of Parisian life. The album is a journey through ten original compositions, each demonstrating Rottmayer's gift as a composer, pianist, and jazz educator.

Rottmayer, a seasoned jazz artist and lecturer at the University of Wisconsin-Madison, has garnered attention for his previous albums, "So in Love" and "Sunday at Pilars," reaching notable positions on jazz radio charts. With "Being," he continues to carve his niche, this time accompanied by a stellar quartet: Russ Johnson on trumpet and flügelhorn, Matt Endres on drums, and the legendary Rufus Reid on acoustic bass. This ensemble brings a rich tapestry of sound, blending technical fluidity with emotive storytelling.

The album opens with "On The Street Where Woody Lives," a vibrant homage to the interplay between Shaw's and Miller's musical languages. The piece starts with a jaunty piano and bass figure, immediately setting an upbeat tone. The interplay between the straight-eighth feel of the A sections and the swinging B section is seamless, highlighting the quartet's tight cohesion. Johnson's trumpet solo is particularly attention-grabbing, flowing with a lyrical grace that complements the beauty of Rottmayer's textured piano lines in his solo.

"Re-United" offers a fresh take on Wayne Shorter's "United," reimagined in 4/4 time. The track also offers a subtle three-against-four polyrhythmic feel, with Reid's steady bass pulse anchoring the composition. Rottmayer's solo is a sophisticated blend of bluesy licks and intricate jazz lines, playing cleverly with the rhythmic polyrhythmic tension. The trading between Endres and the rest of the quartet before the head adds a conversational element, making the piece feel like a lively jazz dialogue.

The Parisian-inspired tracks provide a fascinating counterpoint to the Miller-Shaw study. "Pigalle" is a lush ballad that captures the moodiness of the famous Parisian district, with Rottmayer's lyrical piano playing and Johnson's warm flügelhorn tones creating a poignant atmosphere. The ensemble's dynamic interplay shines in "Châtelet," an up-tempo swinger that channels the bustling energy of the Paris Metro. Rottmayer's interaction with Reid and Endres during his solo is particularly striking, showcasing his deep listening skills and responsiveness.

"Ballerina Dance" and "Song of Modes" delve into the more exotic and modal aspects of Shaw and Miller's work. The former piece evokes a sense of mystique through its flowing six-eight feel. The latter track features Reid's expressive arco bass work, adding an ethereal quality to the album. Rottmayer's modern voicings and Johnson's fiery soloing explore the modal landscape, making "Song of Modes" a memorable track.

The album's quieter moments, such as "Autumn Evening" and "La Seizième," provide a space for introspection. The trio format in these pieces allows for a more intimate exploration of melody and harmony. "La Seizième," in particular, is a beautiful showcase of Endres' elegant brushwork and Rottmayer's sensitive touch on the piano, in his soloing and accompanying.

"Being" culminates with "Rue des Lombards," a medium-up tempo swinger that brings the album to a lively close. Johnson's playful solo, paired with Rottmayer's swinging lines, encapsulates the joy and vitality of live jazz performance. The ensemble's chemistry is palpable, making this final track a fitting end to an album that feels timeless and timely.

With "Being," Chris Rottmayer honors the legacy of jazz greats like Mulgrew Miller and Woody Shaw with a thoughtful exploration of jazz's musical language, its rich history, and a personal reflection on the places and people that inspire Rottmayer's artistry. It's an album that invites repeated listening, revealing new layers of depth and nuance each time.