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 “Welcome to Earth” is the fourth CD from drummer, arranger and composer, Jerry Kalaf, and it finds him working with three different groups that provide somewhat similar styles of music. The three different groups include two piano trios, and one sextet. The overall style of all three groups is modern post bop, with a slight ECM styled contemporary sound on the sextet. All of the songs were composed by Kalaf, and they all feature smart abstract open structures that give the soloists room to build their statements. Bill Evans is definitely an influence on here, you might also hear traces of Brad Mehldau and Keith Jarret as well.

All three of the groups featured on here are good, but possibly the most interesting is the trio led by pianist Leonard Thompson. Leonard shows the Bill Evans influence, but also a little more rhythmic approach along the lines of Herbie Hancock’s “Speak Like a Child”. The sextet features Doug Walter on sax and Barry Coates on guitar, their cool approach recalls artists such as Jan Garbarek and Jim Hall. The other trio is led by pianist Rich Ruttenberg, and their playing leans a bit towards a post bop/art pop crossover as they turn in a couple of melodic ballads.

The overall sound of “Welcome to Earth” leans toward the ‘cool’ side of things, with the Leonard Thompson trio being the most heated of the three groups. If there is one small complaint with this CD, it has to do with the volume mix. If I did not already know that this was the drummer’s CD, I would have been able to guess, because Kalaf is up just a tad too high in the mix. It’s a small matter, and I suppose if you were a fan of Kalaf’s subtle percussion work, you may want to hear every little nuance. Overall, this is a solid CD for fans of post bop, but for my money, I wouldn’t mind hearing a whole CD with just the Leonard Thompson group.