ALEX MCLAUGHLIN — A Brand New State (review)

ALEX MCLAUGHLIN — A Brand New State album cover Album · 2025 · Post Bop Buy this album from MMA partners
3.5/5 ·
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”.
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