Francois Carrier/Alexander von Schlippenbach/John Edwards/Michel Lambert: Unwalled – This near-eighty-minute recording is a freewheeling excursion into the spontaneity of the moment by four musicians unafraid of what they might find. Apropos of its title, this instrumental expedition is also without a ceiling, but the quartet effectively remains grounded: patience and precision become hallmarks of the seven performances. As a result, as on the shortest track here (2:56), no transition happens before its time or without optimum finesse, no matter the direction it’s taking. Meanwhile, each participant contributes equally to the perpetual motion that is the collective imagination, so the suspense the musicians generate grows incrementally (albeit almost imperceptibly) within individual cuts and the album as a whole. 

Franco Ambrosetti: Nora – With the dual references of Miles Davis’ “All Blues” and John Coltrane’s “After The Rain,” this LP might at first seem like an overly-obvious followup to the head horn man’s Lost Within You. Instead, this ambitious work for a quintet with orchestra evolves into a distinct progression from, and a worthy companion piece to, that 2021 work with a sextet. The addition of strings accentuates individual touches such as guitarist John Scofield’s two appearances: his solo intervals like the one “Morning Song Of A Spring Flower” set out in sharp relief the lush textures undulating through the likes of “It Happens Quietly.” All of this intuitive empathy makes for a rich listening experience wherein waxing nostalgic is a most healthy sentiment. 

Mikkel Ploug: Day in the Sun – Utilizing steel-string acoustic and classical guitars on this sequel to his previous, similarly-conceived album of 2017, Alleviations, this Danish instrumentalist/composer creates altogether entrancing music during tracks such as “Daybreak” and “Mosaic.” And whether he is picking or, as on “Over The Hills,” vigorously strumming the strings, what is otherwise readily-discernible exertion nevertheless sounds absolutely natural and, on the whole, effortless. The nuanced reverberations are readily apparent within Martin Bue’s recording, mixing, and mastering, so, the end result of the duo’s technical expertise–plus their obvious emotional investment in evidence during cuts like “April” and “Rosette”–make for an intimate forty-nine minutes. It’s an experience comparable in its intensity to solo piano works of, among others, Bent Sorenson, the author of “Barcarola.” 

Falkner Evans: Through The Lens –  A sequel to 2022’s Invisible Worlds, this cathartic solo piano work represents a wholly-improvised, spontaneous mirror image of the previous work’s carefully-crafted original material (both of which were recorded in the wake of his spouse’s suicide). As on the preceding LP, Evans sounds deeply immersed in each successive moment of tracks like the title cut or the longer numbers such as “Soul Witness” and “Blues For Lucia” (both of which run over ten minutes). Yet he maintains the clarity of mind there and elsewhere on the LP, focusing his technical skills to create a series of moments that build progressively in momentum from note to note and track to track over the course of these fifty minutes. 

Jan Hammer: Seasons Pt. 2 – Anyone who’s heard this multi-instrumentalist/composer’s album, The First Seven Days, will no doubt have their curiosity piqued by Seasons Pt. 2. From the very commencement of “Streaming,” the fourteen cuts build with inexorable suspense, not unlike that of Hammer’s aforementioned solo debut of 1975. The musicianship is fluent and tight too, all the more impressive given that, with the exception of Simon Phillips’ drums on “Oceans and Continents,” the former member of the Mahavishnu Orchestra plays all the instruments. “Moon of A Long Night” radiates the predictability of a ‘theme song’ the likes of which Hammer became most famous (via ‘Miami Vice’) but it is nonetheless appropriate in this otherwise unified, evocative piece of work. 

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Douglas Cuomo featuring Nels Cline and the Aizuri Quartet: seven limbs – On these arrangements of poignant and provocative compositions, the wide-ranging sounds of guitarist Nels Cline’s instrument, plus electronics, become integrated with that of four cello/violin players, the alternately whimsical and pointed sounds offering both counterpoint and unity to the album. Similarly, both acoustic (“Requesting”) and electric (“Rejoicing”) guitars complement each other during this ode to meditation referenced in this album title, the overall result of which is a potent combination of precision and passion, that becomes progressively more insinuating as these eighteen-parts unfold. 

Yaniv Taubenhouse: Roads – Moments in Trio Volume Three – Conjured through this trio’s acute mutual sensitivity, an ebb and flow arise over the course of these ten tracks so that the musicianship turns deeply stirring by its conclusion. Transitions from track to track and within individual cuts are virtually imperceptible, thus conjuring radiant tranquility that belies radiates from Roads’ meticulous activity. The leader’s eloquent liner notes in the enclosed booklet are only the most obvious indication of how much thorough preparation went into the recording of this striking album. 

Lynne Arriale Trio w/Jasper Somsen & E.J. Strickland: The Lights Are Always On: Specifically conceived as an homage to those inspirational figures so prominent on our cultural landscape during the trying times of recent years, there is a tangible glow of nurturing warmth emanating from this music. However, pianist/composer Lynne Arriale’s selfless approach begins with the album’s billing: the assertive instrumental personae of double bassist Jasper Somsen & drummer E.J. Strickland are specifically credited, a designation in keeping with an overall instrumental balance the trio maintains, beginning right from the opener of “March On.” then all the way to the fittingly-titled closer “Heroes.”

Falkner Evans: Invisible Words – A means of exorcising grief in the wake of his wife’s death by suicide, Falkner Evans sounds deeply immersed in catharsis during each successive moment of tracks like the title cut or “Breathing Altered Air.” Yet he never sounds lost in the proverbial dream, instead of playing with increasing clarity that belies his measured touch. As a result, his solitary musicianship reveals how ideal is the simplicity of the solo piano setting for this concept: the dynamics of the sounds become analogous to the resolve of a human being to embrace life in all its positive and negative vagaries.

Yelena Eckemoff: I Am A Stranger In This World – The expanse of Yelena Eckemoff’s ambition here correlates to the prestige of her accompanists. Members of one rhythm section for I Am A Stranger In This World, bassist Drew Gress and drummer Joey Baron, are just two of a distinguished roster who contribute to the momentum of music that never flags during the shifting textures of the arrangements. The composer/leader’s piano sets an authoritative tone within which Ralph Alessi’s trumpet is no more or less prominent than the electric guitars of Adam Rogers and Ben Monder, so the resultant instrumental mesh imbues this work with a vigorous spontaneity. 

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Masabumi Kikuchi/ Hanamichi – The Final Studio Recording: The relative speed at which this album’s forty-minute playing time seems to pass reaffirms the unassuming air pervading this solo piano set. Much more takes place in these recorded performances from 2013 than might first appear, including two versions of “My Favorite Things” that stand as a testament to the bountiful imagination of the late Japanese musician.

Eleven-plus minutes of the comparable standard “Summertime” would seem to overkill too if the playing weren’t so replete with a delicate joy that befits the season it references. Written testimonials inside the twelve-page booklet—boasting the same austere black & white color scheme of the cover—might also smack of ‘gilding the lily’ if the prose did not glow with a passionate admiration comparable to that which the late pianist affords his song selections, including “Little Abi,” the sole original,  fittingly inspired by his daughter.

Dan Blake/Da Fe: Completely in keeping with its socially conscious orientation/conception, this is one of those records where the satisfaction derived from hearing it lies in direct proportion to how challenging it can be to listen. Material such as “Prologue-The New Normal” is no more conventional than the musicianship is predictable: all four accompanists, including the brilliant pianist Carmen Staaf, sound as fully invested in their own playing as the leader, who sets the tone for assertive reciprocal interactions within the ensemble; on cuts like “Cry Of The East,” Blake’s soprano and tenor saxes nurture the dialogue(s) between the individuals, even as he engages in mutually enlightening ones himself. Its nine cuts alternating between the dream-like “Pain” and the insistent “Epilogue: It Heals Itself,” Da Fe (meaning ‘of faith’) could end up on more than one ‘Best of 2021’ list (and most deservedly so).

Steve Slagle/Nascentia: Musicianship as lithe as it is tuneful suggests the potent complexity at work on Nascentia. Nevertheless, the accessible nature of the music itself is a direct corollary to its ambition, especially as the five-part namesake suite (its title taken from a word meaning ‘birth’) finds the group moving smoothly and forcefully in unison, not unlike a practiced big(ger) band in motion. The interludes of bass and drums work exactly as the frontman/composer/hornman intended, not only acting as links between the segments but also adding a greater air of spontaneity(s), not unlike that of a brisk and well-paced live performance. Still, as fully integrated as are the arrangements, the individual players still project their respective personalities, most notably pianist Bruce Barth; on this title cut, for instance, his playing lays a firm foundation upon which the sextet builds the rest of its instrumental activity. 

Yelena Eckemoff/Adventures of the Wildflower:  Like the photos of lovely gardens on the cover, the music on these two CDs invites quiet contemplation. The ensemble itself, in fact, may seem as entranced in their playing as listeners will become in hearing it, but the musicianship never loses its sense of purpose and direction. And there’s no lack of contrast either, as guitars, saxophones, and vibes add a variety of colors to tracks like “Germination.” To further ensure that the title suits the cut, new ideas abound throughout too: this sextet radiates an implicit but abiding sense of mutual trust in their shared imagination. No doubt that faith is based in large measure on the way bassist Antti Lotjonen on bass and drummer Olavi Louhivuori supplies a reliable sense of rhythm, no matter how subliminal it might sometimes be. Eighteen tracks here, ranging in length from around five minutes to nine plus, blend into a perfectly cohesive whole. 

Noah Haidu/Slowly: Song For Keith Jarrett: Daunting as it might be to conjure a suitable homage to the jazz icon referenced in this LP’s title, precocious pianist/composer Noah Haidu proves himself more than up to the task in the company of Buster Williams on bass and Billy Hart on drums. Only a single tune composed by the legendary subject appears in the nine-song program, but alongside standards like “Georgia” as well as “What A Difference A Day Makes,” “Rainbow” is also a piece with the bandleader/producer’s own title song. Likewise, the original compositions from this redoubtable rhythm section, “Air Dancing,” “Duchess” and “Lorca” are equally nuanced: as was the case with Jarrett’s legendary Standards Trio, space and patience are the hallmarks of this threesome’s interactions. Their collective delicacy of touch belies the depth of melodic and rhythmic subtlety they explore during the seventy-some minutes. 

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Sun Ra & His Arkestra/At Inter-Media Arts April 1991: Anyone who presumes the music of this larger-than-life jazz explorer is an impenetrable maelstrom of dissonance cum ambience will be surprised and delighted in equal measure with this double CD set of a 1991 performance in New York City. The fluidity with which this seventeen piece ensemble moves from the joyous spirit of the moment spontaneity to lucid quotes and recitations of the eccentric frontman’s influences (Ellington is just one) never ceases to be impressive especially considering the playing continues almost non-stop for the course of the two hours plus.

Adam Rudolph’s Moving Pictures/Glare of the Tiger: Living up to the imposing implications of the title, heat arises from this music immediately upon commencement of the percussive title song, eventually permeating all eleven tracks. Electronics are interspersed with the cuts as they proceed, balanced with the sound of woodwinds to render this a deeply-textured, multi-layered piece of work. The highest compliment to pay the record, apart from assigning it substantive durability, may actually lie in denoting a seductive nature that whets the appetite to see Rudolph and company make this same magic in the moment on stage. The regular and no inevitable repeated playings of Glare of the Tiger will no doubt suffice til such opportunity arises.

Tania Chen; Henry Kaiser; Wadada Leo Smith; William Winant/Ocean of Storms: It takes a very particular sense of self for a musician to purposefully navigate the nebulous realms of ambient sounds and Wadada Leo Smith and Henry Kaiser have certainly proven themselves in that regard over the course of their respective careers. But make no mistake, this project is democratic as can be, in concept (see alphabetical billing), but more importantly in execution. No practice or rehearsal can match simultaneously complementary instinctual reaction the likes of which appears here, there’s not one iota of noodling.

Akua Dixon/Akua’s Dance: The enchanting spell Dixon casts with her violin and cello on this album is furthered rather than interrupted with her voice: she evokes the classic singing of female jazz greats. Meanwhile, the use of both acoustic and electric guitars adds layers of texture to the sound of this record, even though those stringed instruments are (seemingly) rarely used simultaneously. As a result, the musicianship on Akua’s Dance maintains a spare, limber approach that makes it all the more listenable because it insinuates rather than dazzles.

Amp Trio/Three: In its patient yet purposeful instrumental explorations over a baker’s dozen tracks, the Amp Trio reaffirm the intrinsic beauty and versatility of the jazz format comprised of piano, bass and drums. Addison Frei concentrates on the acoustic keyboard, so that his Fender Rhodes playing adds subtle but noticeable seasoning to a sound wherein the rhythm section of Matt Young on drums and Perrin Grace on acoustic bass applies steady, nuanced support without calling attention to itself. Add to this bountiful ensemble personality the distinctive original material—Charlie Chaplin’s “Smile” is the only cover—and Three constitutes the work of a very well-developed unit indeed.

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Cameron Mizell – Negative Spaces: Alternately insistent and intoxicating, this album belies its title with uninterruptedly elevating sounds, most of them emanating from Mizell’s guitar, the authority and invention of which carries over into the musicianship surrounding him. Brad Whitely may be quickest on the uptake with his battery of keyboards, but drummer Kenneth Salters is ever-present, helping in no small part to maintain a fluidity that gives this album a circularity that compels repeated (and regular) listenings. Last but not least, before the record’s over, Mizell and company rock with all the grace and decisive action with which they insinuate themselves elsewhere.

Wolfgang Muthspiel: Rising Grace:Almost immediately after Wolfgang Muthspiel begins this opening title song with the deft precise picking of an acoustic, the trumpet of Ambrose Akinmusire begins to unfurl, thereby setting the tone for the album: the guitarist at the top of the bill acts as the central catalyst around which his very esteemed cast of accompanists orbit, as each displays their respective talents, albeit in a most restrained and judicious way. As a result, fans of the brilliant pianist Brad Mehldau may not hear enough of the intricate intensity of his work, but Muthspiel makes sure none of his original material here becomes simply a vehicle for improvisation: the musicianship is all in service of the song(s).

Nick Sanders & Logan Strosahl – Janus:  It’s quite obvious right from the start of this record that pianist Nick Sanders and saxophonist Logan Strosahl delight in playing with each other. The interplay they enact with their respective instruments is continuously playful, even when they descend from the gaiety that pervades most of these tracks to engage in a more thoughtful exploration of a song, as on the solemn take of Monk’s “Thelonious” and the brief but pungent “Be Bop Tune.” The camaraderie between these two musicians is extraordinary even in the most delicate moments.

Jonathan Goldberger- Surface to Air: In keeping with the vivid cover photos of a fog-drenched forest inside and outside this digi-pak, a veritable cloud of ambiance arises from the first notes here, billowing in waves as the acoustic guitars, percussion and upright bass proceed, alternately brisk and deeply mesmerizing, through each successive track. Because the threesome play as if in a trance from one cut to another, there’s a cumulative effect to Goldberger’s collaboration with Rohin Kehmani  (tabla and percussion) and  Jonti Siman (upright bass) that transfers directly to the listener: it’s as intoxicating as it is all-enveloping.

Wadada Leo Smith – America’s National Parks: A work that otherwise might sprawl resides right in the trumpeter’s sweet spot stylistically: it’s not too amorphous or reminiscent of Miles Davis. The concept  depicted by the title no doubt helps, but the persistent presence of The (aptly named) Golden Quintet is absolutely essential:  the insistence of their playing, from drummer Pheeroan akLaff to pianist Anthony Davis, is clear and focused, keeping Smith reined in and tied to the compositions just enough to maintain a balance of the accessible and the abstract. That said, with but six tracks over the course of this two-CD set, that discipline might well have been even further enhanced with  the album distilled to a single disc.

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Vijay Iyer & Wadada Leo Smith/A Cosmic Rhythm with Each Stroke (ECM): Music of a stark simplicity arises from the dual ruminations of Vijay Iyer on piano and Wadada Leo Smith on trumpet. The two usually take turns offering ideas, but on occasion, speak as one or complete each other’s thoughts only to elicit new themes to embroider upon. There’s a somber tranquility to this collaboration that sometimes belies its title but by the time it’s over, these two self-restrained, disciplined musicians have created an atmosphere of comforting(though not complacent) repose.

Larry Young/In Paris: The ORTF Sessions (Resonance Records): Those who know Larry Young for his estimable work on the Hammond organ may be surprised at the bristling ingenuity on this splendid piece of archival work, but the complement of horns that reappear through these two compact discs doesn’t sublimate the importance of his keyboard work. In fact, in an illustration of the ‘less is more’ premise, Young’s organ work is all the more worth savoring in the context of the more complex charts within which it’s interwoven. Lavish packaging puts this music in its proper context, not just in this individual musicians work, but that of jazz at large.

Danny Green Trio/Altered Narratives (OA2 Records): The carefully orchestrated touches here only highlights a contrast with the prevailing simplicity of this album. In addition, the strings illuminate the naturally intuitive interaction of the three musicians who appear on it. The leader sets an assertive tone with his piano, (insistently) prompting Justin Grinnell on bass and Julien Danthelm on drums to respond in kind, the resulting intensity simultaneously reaffirming the durability and self-renewing nature of this particular instrumental format.

Warren Wolf/Convergence (Mack Avenue): The vibist’s latest record vaults him up another rung (or more) on the hierarchical ladder of contemporary masters of the instrument including Stefon Harris and Gary Burton. It’s testament to his burgeoning talent that, congruent with the title, his playing has attracted similarly-gifted musicians of comparable pedigree (albeit with somewhat more experience). And it’s also telling that pianist Brad Mehldau and guitarist John Scofield add to and expand the rarefied atmosphere Warren Wolf creates…all of which the beautiful recorded sound accentuates.

Hristo Vitchev Quartet/In Search of Wonders (First Orbit Sounds Music): On this double album, Hristo Vitchev and his band display a tangible camaraderie that permeates the music with as much positivism as purpose. Without at all sounding imitative or derivative, the four-piece conjure as much joy in the ruminative likes of “Falling in Orange” as in the cheery bounce of “The Transitory Nature,” all of which is arranged and played with a delicate intricacy. Meanwhile, the simplicity at the surface renders these tunes readily accessible, but the album also benefits from careful listening an exercise revealing the detail arising from this unit’s collective passion.

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Not that such validation is necessary, but 10 Years Solo Live, reaffirms what a master of dynamics is this icon of contemporary jazz.. His concentration at the ivory keys is so focused it bequeaths him such subtle command of his sound that, like the subtitle to this first CD in this box of four,’Dark/Light,” the contrasting tones emerge in proper proportion to each other throughout each individual piece as well as the continuity of the four CD set: the whole is both greater than and equal to the sum of its parts. As a result, even the casual listener should become wholly immersed in the sound of Brad Mehldau’s piano elegant, passionate playing.

Dark/Light (Disc 1): Providing touch-points for intensive listening, the first disc is  an ideal introduction to this set,comprised as it is almost wholly of cover material including tunes from Radiohead, the Beatles and the Great American Songbook. But Brad Mehldau uses familiar melodic fragments such as that of Lennon/McCartney’s “And I Love Her” for wide-ranging exploration of those motifs during the course of which he leaves them far behind even as  he moves more and more deeply into their nuances. Along these same lines, the familiar tune of “My Favorite Things” becomes something altogether new and different before Mehldau is done with it.

The Concert(Disc 2): Mehldau is no less involved, but definitely more low-key and accessible here than on the prior disc in 10 Years Solo.  But then, as this great musician describes his approach to live concerts within the his customarily lengthy but well-thought out liner notes, he acknowledges the presence of the audience as integral to the experience, a statement reaffirmed with his playing. There is a sense here not just of initial introduction, but constant and regular pacing to insure he and his listeners remain in touch for the duration of the performance. At this point, on this disc, as with the others enclosed with the twenty-four page booklet in this austere package, it may become impossible not to sit down and listen to this awe-inspiring music rather than relegate it to mere background sound(s).

Intermezzo/Ruckblick (Disc 3):The regular inclusion of audience applause during 10 Years Solo Live  is less a self-congratulatory gesture than an opportunity for the listener to catch his own breath from the never-ending flow of ideas Brad Mehldau’s generating as he plays. As such, those momentary interludes supply marked contrast to the deep feelings  pouring forth, a necessary if only split-second respite that allows absorption of the fine tones the man elicits from the various pianos he uses (and, in writing about them, proves he is expertly conversant in their respective distinguishing qualities). Striking the keyboard gingerly or with emphatic authority, this former member of Joshua Redman’s ensemble reminds the piano is classified as a percussion instrument.

E Minor/E Major (Disc 4): As he so clearly delineates in his copious notes, Mehldau structured 10 Years Solo Live like a performance and certainly that continuity becomes clear in hearing the four discs in (somewhat) quick succession, if not in one protracted sitting. The gentility the pianist so often displays is the proverbial calm before the storm of a fiery conclusion that not only extends the flow of the music across the entire set, but aids significantly in distinguishing each disc from the others (as much as the appearance of this box helps distinguish Brad Mehldau’s regular and consistent solo work from his trio collaborations). Thus, the final tidal wave of notes reaffirms 10 Years Live as a multi-faceted listening experience, in sequence or as separate and unique sessions, an unusually enlightening encounter with one of the most brilliant musicians of our time.

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Wes Montgomery/In the Beginning (Resonance):  ‘Early Recordings From 1949-1958,’ deserves the sumptuous packaging and meticulous annotation within the enclosed fifty-six page booklet because the musicianship transcends the sound quality (understandably so given it was recorded between five and six decades ago!?). Occasional vocals disrupt the flow of the tracks to some degree, not because they’re lacking, but because what surrounds them remains, after all these years, so original and so vibrant. Musical lessons abound throughout these two CD’s  and not just for fledgling (or even well-practiced) guitar players.

Samuel Blaser Quartet/Spring Rain (Whirlwind Recordings): Samuel Blaser has developed his very own voice on his chosen instrument, the trombone, so it makes perfect sense his style of writing proceeds directly from such an intuitive approach. In both realms of Spring Rain, he patently explores the nooks and crannies within the melodies and rhythms and does so with such delicacy, he moves his colleagues to do the same. The drama that ensues as they all interact generates a level of  suspense that is as tranquilizing as it is provocative.

Wayne Horvitz/Some Places Are Forever Afternoon (Songlines): Subtitled ’11 Places for Richard Hugo,’ this is a multimedia presentation of a sort, a glossy color booklet within the package featuring the poems that inspired the music accompanied by almost equally vivid photographs. The music stands on its own terms, as individual pieces and a collection, however, the material as carefully played as it is arranged. Still, not one iota of mechanical musicianship emanates from the septet so  listening to this album in its entirety is akin to an aural time elapsed experience.

John Patitucci Electric Guitar Quartet/Brooklyn (Three Faces Records): Drummer Brian Blade so often commands attention, it’s little surprise this record begins with a fluid roll into mesmerizing stringed instrument interplay. Leader/bassist Patitucci erects a firm foundation that nevertheless shifts sufficiently to inspire his comrades, including guitarists Adam Rogers and Steve Cardenas, while Blade displays his usual savvy in relegating himself to percussion punctuation that, not surprisingly,  heightens the effect of the interactions around him.

Jason Marsalis Vibes Quartet/The 21st Century Trad Band (Basin Street Records): The soft glow that emanates from Marsala’ vibes deftly offsets the childlike merriment with which he plays, so that this music equally lifts and lulls. The topical spoken word interlude on track eight thus becomes somewhat disconcerting, but that cut does provide a effective point of demarcation for the sprint to the finish of the album, ultimately making for a listening experience worth working to grasp.

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Stanton Moore/Conversations (The Royal Potato Family): In contrast to his groove driven leadership of Galactic as well as his own trios and funk oriented collaborations, this album is an acoustic piano trio studio set deriving from over a year’s worth of live gigs in which the threesome, including pianist David Torkanowsky and bassist James Singleton worked up a repertoire based on the musicians’ shared connection with prominent figures of New Orleans. The playing here is fleet and deeply felt all around, perhaps slightly more so for the scholarly leader, and the end result a fully-formed piece of work based on seemingly effortless give and take that will no doubt sound like as much of a breath of fresh air to listeners as it must have felt for the musicians themselves.

Joshua Redman/Trios Live (Nonesuch): Since his return to traditional acoustic jazz from the more accessible rhythm-oriented Elastic Band, saxophonist Joshua Redman has pursued his path with persistence and vigor, two adjectives that apply to this collection of concert recordings in a stripped down format. Matt Penman and Reuben Rogers share bass duties while Gregory Hutchinson remains stalwart on drums through a series of originals and a selection of covers including Monk (“Trinkle Tinkle”) and Led Zeppelin!?!(“The Ocean). Enhancing the purity and passion at the heart of these performances, Redman himself plays with unceasing energy and invention, setting a pace the rhythm sections match every step of the way.

Dose Hermanos/Batique (Blotter Bros): In keeping with its title, the dual piano playing by Bob Bralove and Tom Constanten, is so intricately interwoven, so repeated, careful listening reveals increasingly greater detail within their interactions. This seamlessly compelling experience derives from the duo’s long-term partnership in both electronic and acoustic realms, but it’s all the more remarkable given the fact the pair were in different recording studios in different buildings when the sessions took place, the source of inspiration the very spontaneity upon which the project was based.

Bernie Worrell/Elevation-The Upper Air (MOD Technologies): An exercise in solo piano is perhaps not what a once and future keyboardist in Parliament/Funkadelic might be expected to release, but beyond the surprise factor (including the production presence of  Bill Laswell), the title befits the elegance in Worrell’s playing. From start to finish, this CD sounds like it captures one of those dream-like moments in a musician’s life where the playing begins in pure reverie and in short order follows its own unconscious but irrefutable logic. Here it’s in the form of a series of selections from Miles Davis, Monk, Santana and Bob Marley that the artist melds into a seamless whole.

Fred Hersch Trio/Floating (Palmetto): Beginning as it does in such upbeat fashion on “You & the Night & the Music,” this disc may not wholly live up to its title, but the bouncy opener nevertheless suitably contrasts the otherwise tranquil mood that evolves over the course of the ten tracks.  Pianist Fred Hersch, bassist John Hebert and drummer Eric McPherson proceed ever so smoothly from cut to cut and, even more impressively, through the changes and trade-offs within the respective numbers. The trio’s longevity may well be the source of its uncanny ability to anticipate each other’s instrumental movement(s), but that is not a gift to be taken for granted, but rather relished for the rarity it is.

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Will Bernard

Ahmad Jamal/Saturday Morning (Jazzbook Records): The music of this album is as colorful as the strikingly vivid graphics inside and outside the digi-pak. The venerable pianist exhibits an understated sense of abandon in his playing as he moves in and out of the melodies on his ivories, but it’s also the rich percussion of Manolo Badrena that expands and deepens the sounds emanating from the musicianship of the quartet (including Reginald Veal on double bass and Herlin Riley on drums. When the foursome falls into improvisation, the collective interplay is brisk and tasteful. The reprise of the title tune to conclude the eleven tracks reaffirms the continuity of the record and imbues it with a familiarity that further invites repeated (and frequent) hearings.

The New Gary Burton Quartet/Guided Tour (Mack Avenue): The sound of The New Gary Burton Quartet on Guided tour is as authoritative as it is understated, suggesting the dour portrait of the leader on the front cover might well have been transposed with the shot of the entire group on the back. There at least guitarist Julian Lage is grinning with relish, as well he might. He contributes three originals to these proceedings in addition to acting as a pivot point for the instrumental interaction almost as prominently as the veteran vibist himself. Still, the strength of this ensemble, as with any band, is the bond that unites it and everyone here chips in with material and projects their own personalities: drummer Antonio Sanchez, for instance, sounds as muscular as Burton is ethereal.

Dave Holland/Prism (Dare2 Records): What begins as an exercise in formulaic fusion evolves into an artistic statement by the man leading this group, one of contemporary jazz’ most respected bassists. The line between composition and improvisation becomes increasingly blurred as the album plays, illustrating how ideal is the name of this unit: as with the tool that simultaneously unifies and splits light, this group manages to play together and solo in such a way the distinction blurs between those two approaches as well. And the pristine sound of this recording, arguably most evident in its stereo mix, clarifies the group dynamic just as much as the respective contributions of original material from pianist Craig Taborn, guitarist Kevin Eubanks and drummer Eric Harland.

Marnix Bustra/Sync Dreams (Buzz Music): Having acquitted himself so stylishly in collaboration with vibist extraordinaire Mike Mainieri in studio and on stage, Dutch guitarist Marnix Bustra further distinguishes himself with his quartet on this vividly-title album under his own name. Obviously schooled in the roots of jazz guitar, this man plays with a clear and fluid approach that carries all the detail within his original compositions. The tracks on Sync Dreams proceed one to the other, often without interruption, as Bustra’s accompanists sound all too eager (not to mention capable) of continuing his revelation of ideas on their own instruments with comparable energy. All of this takes place within a nigh-on perfect sound that elevates the sublime sensation of the musicianship.

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