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.

They say time heals all wounds, that wine tastes richer with age, and that old jazz records mellow into something unforgettable. In Jeff Rupert's world, "It Gets Better" isn't just a title, it's a mantra that echoes through every note. Rupert has long established himself as a saxophonist with a gift for weaving personality into every phrase. Whether leading his own ensembles or collaborating with icons of the jazz world, Rupert's tenor saxophone voice is unmistakably warm, robust, and expressive.

With "It Gets Better," Rupert offers an album that leans into the timeless language of jazz with inventive hues of modern structures expressed in an expressive rhythmic flow. The result is a journey that starts with swagger, flows through expression, and blooms into exuberance before winding down with a sense of cadential acceptance.

At the heart of "It Gets Better" is a quartet that functions as a true collaborative unit. Joining Rupert is the legendary pianist Kenny Barron, with his elegant touch and harmonic wisdom. Peter Washington's full, resonant bass lines provide a foundation of agility and warmth, while Joe Farnsworth's time-keeping drumming ranges from masterful brushwork to driving swing rhythms.

This hard-bop gem, "Petrichor (in the Cote D'azur)," opens the album with strut. Rupert's warm, expressive tenor delivers the head with an energy that feels like a call to adventure. His solo is created with expressive accents, placing his ideas squarely in the swing time pocket. The rock-solid foundation of Washington and Farnsworth supports Barron's piano solo as his elegance and energy capture your attention. Washington's bass solo is a study in fluidity and precision.

"Comanche Crush" is a medium-up Latin groove with seamless transitions that keep things fresh. Farnsworth's cymbal patterns shimmer, and the Latin-to-swing shift is executed with flair. Barron's solo takes off with rhythmic crosscurrents that ripple across the time feel. Rupert's solo is alive with lines that twist deftly through the changes, landing beautifully resolved ideas that add melodic suspense and satisfaction.

Here's where the blues takes center stage, "Lana Turner," a slow-medium traditional jazz form with a timeless feel. Rupert leans into the blues and swing jazz vocabulary with sweet vibrato and glissandos that echo the masters. Barron's solo brings in modern pentatonic flashes and clever substitutions, while Washington and Farnsworth lock in like a finely tuned engine, listening intently and responding with rhythmic finesse.

"It Gets Better" is set to a medium swing feel that thrives on interaction and groove. The catchy bass line and head create a platform for Rupert's flowing, legato phrasing. Farnsworth's brushwork is a standout, and when he switches to sticks midway through Rupert's solo, the energy is built to a thrilling climax. Overall, the subtle crescendos of dynamics underscore the quartet's collective performance and ensemble synergy.

A slow, moody exploration framed by a hypnotic rhythmic figure is the setting for "Pharoah's Daughter." For the solo section, Rupert's modal vocabulary is in full effect—his intervals and motifs are methodically developed, adding intrigue, and his articulations add emotional weight. Barron's piano accompaniment glues the harmony together with precision, while Washington anchors the shifts between the repetitive groove and swing passages with a resonant, woody tone.

This classic "Like Someone in Love" gets a fresh trio treatment—tenor, bass, and drums. Rupert's lyrical expression of the melody is filled with turns and embellishments. Washington's solo is melodic and grounded, showcasing his harmonic awareness, while Farnsworth's snare comping drives the trio forward with crisp, articulate phrasing. The fours between Rupert and Farnsworth unfold like a friendly sparring session—each phrase escalating the dialogue with wit and precision.

A modern Latin selection called "Nowhere to Go But Up" dances between feels before settling into a driving 6/4 swing waltz. Barron's rhythmic vitality in the waltz is infectious, creating playful tension with his two-against-three phrasing. Rupert's solo snakes through the harmony with bluesy inflections and striking intervallic leaps, each phrase reinforcing the rhythmic pocket while maintaining clarity of emotional intent.

"Not My Blues" is an up-tempo post-bop blues where the quartet's chemistry soars. Rupert's swing feel is impeccable as he locks into the buoyant rhythm section. Barron's voicings sparkle with harmonic clarity and rhythmic exuberance, while his ideas practically leap out of the piano in a way that feels as joyful as it is sophisticated. The ensemble's lively interplay makes this track an instant highlight.

The closer, "Promenade in Blue," is an exquisite ballad that starts with a relaxed sax-piano duet. Rupert's bends and falls add a touch of vulnerability and elegance. When Washington and Farnsworth join at the bridge, the texture deepens without overpowering the mood. Washington's lyrical solo reinforces the song's introspective beauty, and the composition gently winds down, closing the album with grace.

Throughout the album, there is a theme reflecting Barron's inventive phrasing, Washington's lyrical sense of time, and Rupert's expressive melodies, while Farnsworth adds rhythmic propulsion that gives the music a sense of direction. Together, this ensemble breathes life into every melody, rhythm, and improvisational exchange, delivering an album that thrives on spontaneity and impeccable communication.

Jeff Rupert and his ensemble offer a blend of hard bop, blues, and balladry, all delivered within an ensemble that brings forth emotional nuances. This is an album of journies where the improvisations feel organic, the ensemble interplay is sharp, and the production captures every nuance. "It Gets Better" is as much a lesson in ensemble communication as it is a heartfelt homage to jazz tradition.

Kenny Barron’s “Beyond This Place” is the real deal class in its modern jazz storytelling. The album features various ensembles showcasing Barron’s ability to shape harmonic landscapes and foster musical interactions. Released on May 10, 2024, by Artwork / PIAS, the album offers a mix of styles that speaks to Barron’s enduring artistry and piano expression.

The album opens with Barron’s elegant solo piano introduction, setting the mood for “The Nearness of You.” The ensemble’s performance is steeped in the warmth of the jazz tradition. Saxophonist Immanuel Wilkins’ rendition of the melody is expressive. Kiyoshi Kitagawa’s bass and Johnathan Blake’s drums enter, the bridge gains momentum, with Wilkins’ upper-register phrasing soaring above the rhythmic support. Barron’s solo captures a rich chemistry between the piano, bass, and drums, weaving agile melodic lines that balance grace and activity.

“Scratch” is an up-tempo swing that kicks off with Kitagawa and Blake locking in to create the pocket. Nelson, Wilkins, and Barron present the angular melody with precision, forming a cohesive front line. The solo section unfolds as a lively conversation, where the musicians pass the improvisational baton with a sense of playful interplay. Steve Nelson’s vibraphone solo is striking in its blending of rhythmic drive with vivid harmonic colors. Barron’s solo contrasts movement and stillness, flowing fluidly yet embracing moments of rugged phrasing that add rhythmic depth.

With its straight-eighth feel and subtle Latin undertones, “Innocence” paints a beautiful sonic portrait. The interplay between piano, vibraphone, and alto saxophone casts an ethereal hue over the flowing melody. Blake’s drumming is expressive and anchors the piece with a groove that propels yet never overpowers. Barron’s solo is a dazzling showcase of wide, multi-octave arpeggios that provide energy and uplift, a testament to his boundless technique and creativity.

“Blues on Stratford Road” is a medium-swing tune laced with New Orleans overtones. Nelson’s solo is a standout moment, brimming with passion and rich note choices that tell their story. The ensemble captures the essence of a hard-swinging style that mixes the swing of a gospel celebratory spirit.

“Tragic Magic” is a hard-bop gem defined by its driving swing feel, sharp ensemble hits, and well-crafted form. Wilkins’ solo exemplifies his ability to blend modern intervallic ideas with bebop-inspired embellishments, showcasing his expressive and technically fluid approach.

A spirited trio excursion of “Softly As in a Morning Sunrise” highlights Barron’s genius in a pared-down setting. His approach layers a moving melodic line in the lower register, intricate harmonic movement in the midrange, and fluid, expressive solo lines in the upper register. The trio’s synergy is palpable, with Blake’s drumming adding dynamic support and textural variety.

“Beyond This Place” captures Kenny Barron balancing introspection and exuberance across a thoughtfully curated set. Each ensemble has a defined cohesion that elevates the recording, making it a testament to Barron’s legacy as a consummate bandleader and performer.

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?