Part of me applauds those who are in the streets fighting for democracy; part of me finds the whole thing pointless, because democracy is already dead, and justice has ceased to exist in this country. A man is convicted of thirty-four felonies and, instead of serving time in prison, he becomes the president. That really marked the end of the whole game, as far as I'm concerned. But while politics and the courts have completely failed us, music continues to shine a bright light. This is where the best parts of humanity still reside. The rest is just noise. Here are notes on a few new jazz albums you might want to check out.
Cyger & Butterworth: "Plaid Pants" - Cyger & Butterworth is the duo of Ron Cyger on saxophone and flute and Brent Butterworth on bass, guitar and ukulele. On
Plaid Pants, they are joined by three different percussionists on various tracks. Though on the first track, "Pequena Diabla," Brent Butterworth delivers the percussion, and his work actually begins the track, setting a kind of fun, cool tone that invites us to a somewhat exotic dance. Soon the saxophone comes in and straight away sweeps us up in its easygoing, suave style, subtly suggesting some mischief. Let go and let the music carry you to a distant locale, away from current concerns. This track also features a wonderful bass line and some delicious work on guitar. Ron Cyger composed this one. He also composed "Round & Round," which follows it and features a cool bass line by Brent Butterworth. There is a sense of fun about this one, and the saxophone work suggests these guys know the angles and just where to go for whatever it is you desire. Dimitris Terpizis is on drums, creating a fantastic groove. Everything feels just right, and that lead on bass reminds us of just how good this life can be. There is just no reason not to immerse yourself in the world of this music. Dimitris Terpizis also plays drums on "Clunky," composed by Brent Butterworth, who begins it with a bass line that has a strong sense of character about it. I'm reminded of certain comedic detective films of the past. Ron's flute certainly adds to that vibe, to wonderful effect. And I love that guitar lead in the middle. Around that time, Ron switches from flute to saxophone, and somehow the song gets even cooler. I want to write a screenplay based on this song. That's followed by the album's title track, composed by Ron Cyger, which has a light, fun vibe. There is a good deal of cheer here, particularly in Ron's work on saxophone. I also like the surprising pause early on and the changes. There is a cool section with bass and drums. That's Leo Oliveira on drums on this one, and he delivers a delightful solo toward the end. Then in "Poydras St.," I love how the saxophone and guitar work together. The percussion plays an important role in this one as well. Dimitris Terpizis is on drums. There is a brief moment near the end that reminds me of a moment in Queen's "Crazy Little Thing Called Love." They change gears then at the beginning of "Larry's Lament," which opens with a lonesome saxophone. It is surprising then when the tune kicks in and starts to swing. Then there is something beautiful and sad about "Bye-Bye Blue Whale," which features some moving work on saxophone, and a really good guitar lead. They wrap things up with "LP," a fun number that contains some great stuff on guitar and lively work on saxophone. Dimitris Terpizis is on drums, and Larry Salzman is on bongos for this one, and there is a delicious section with just percussion and bass in the second half. This album was released on March 13, 2026.
The Flying Horse Big Band: "Unbridled: The Flying Horse Big Band Meets George Garzone" - Tenor saxophone player George Garzone, member of the jazz trio The Fringe, joins The Flying Horse Big Band on four tracks of
Unbridled, including the opening track, "Giant Steps," the first of two John Coltrane compositions performed here. It isn't long before this rendition is hopping, and, as you'd expect, there is a lot of great saxophone work here. In addition, Max Terechenok's work on drums is fantastic, and there is some seriously good stuff by Carlos Barreto on bass. This track is cruising, and then it's suddenly over. George Garzone also plays on "Pharaoh's Daughter," which follows. This is an original composition by Jeff Rupert, the band's director. There is a brief breath after the opening section, and then the bass takes the piece in a cool direction, kind of strutting in. And that's when the brass section really begins to shine. I love the whole character of this song, the whole vibe. There is certainly something dramatic about this piece, and at times it feels like we are on an exciting ride. And before the end, we're treated to a drum solo by Jamesly Jean-Mary. "Chasin' Tail," another original composition by Jeff Rupert, comes in at a fast clip, this one racing along with a sense of fun, a sense of joy. Just see if you can keep from smiling while listening to this track. And though George Garzone is not on this one, there is still plenty of great saxophone work, especially by Edmund "Quint" Johnson V. Jamesly delivers some excellent drumming here. George Garzone returns then for "Reflections," written by Lalo Schifrin, a softer, more contemplative number, the saxophone both reaching inward and out. It's a beautiful track. It's followed by "It Gets Better," the disc's final original composition, which has a positive bent without being euphoric. It is hopeful, while being somewhat grounded as well. "View Of Heaven" features some gentle, pretty work by Daniel Tenbusch on piano, then builds from there, turning our eyes and thoughts skyward, and seeming to lift our entire bodies at the same time. The piano lead in the middle takes the track back to a more intimate level. The album concludes with its second John Coltrane number, "Impressions," with George Garzone again on tenor saxophone. This is an exciting track right from its start, and features some excellent drumming by Clarence Penn. Richard Drexler delivers a hopping piano lead. And the work out saxophone is outstanding. What a great way to wrap things up. This album was released on October 24, 2025.
- I was listening to this album for a while before learning that it is the debut release from vocalist and pianist Isabella Isherwood, something that surprised me. It seems like the work of someone who has at least a few albums under her belt. Anyway, she chooses a mix of standards along with some more recent pop fare. Joining her on this album are Mike Allemana on guitar, Joe Policastro on bass, and Alejandro Salazar on drums. She opens the album with "Devil May Care," providing a little vocal work right from the opening before starting the lyrics, making her presence known and appreciated immediately. But her phrasing and delivery of the lyrics are what make this rendition so special. That's not all that stands out here, however. That lead on guitar is excellent, and I love the drumming beneath it. It's a fantastic start to the album, and is followed by the album's title track, the Richard Rodgers song, which features some cool work on bass at the start. What's remarkable is how different her vocal approach is here, and how right her choices are, some early lines delivered with a dusky quality, before she begins to raise her voice. She then gets rather playful in her rendition of "Till There Was You," her voice backed by some excellent drumming. That's followed by an interesting choice, Bob Dylan's "Don't Think Twice, It's All Right," which has a relaxed vibe at the beginning, and features some good work on guitar. Though this rendition is a bit slow, it grows in passion. We can hear the importance of the words, the need for getting across the message, in her delivery, and it soon becomes a captivating take on the song. "My Buddy" is another track that stands out, Isabella opening it with some pretty work on piano, and soon adding a beautiful and touching vocal performance. No other instruments are needed on this intimate rendition. Then "The Song Is You" has a delicious energy and features a great drum solo. Isabella's rendition of Amy Winehouse's "Love Is A Losing Game" finds her backing herself on piano for the first minute or so, before the other musicians come in. This track features another excellent and varied vocal performance, as well as some good work on piano. This album also contains a compelling rendition of "'Round Midnight," Isabella's voice supported just by bass. "
Every day is gonna bring some sadness," she tells us, and there is both authority and experience in her delivery, so that no argument can be offered. This track features some cool changes, and is another highlight. Isabella Isherwood wraps things up with a cheerful number, "I Love Being Here With You." This album was released on April 3, 2026.
Francesca Prihasti: "Beneath The Sun" - Francesca Prihasti is a pianist and composer from Indonesia and now based in New York. Her new album,
Beneath The Sun, features all original material. Joining her on this disc are Nic Vardanega on guitar, Drew Gress on bass, Mark Ferber on drums, and Nick Brust on saxophone. As "In Between" opens it feels like it is already in the action. Something is happening, something has been decided. It does soon relax a bit, and the piano work takes on its own beauty. This track also features a excellent lead on guitar early on, a lead that is given the space to grow before Francesca takes over again on piano, her lead having both beauty and certainty. It is the final section that is most interesting to me, for there is an intensity while also becoming softer. That's followed by the album's title track, which has a somewhat magical and mysterious vibe at the start, and features some wonderful work on bass. Francesca is on electric piano for this one. The piece soon takes on a soothing feel, while retaining some of that magic. It's interesting that while the track has a somewhat relaxing effect, the drumming has a good energy. There is some tension at the beginning of "Reason And Will," as if the piano is expressing two opposing thoughts, wishing to go in two directions. Some common ground is quickly found and explored, and then there is more joy, though that opening section returns briefly at times. There is some wonderful work on piano, and I am especially fond of the drumming on this track. Interestingly, toward the end, when the drumming feels more unleashed, it seems that one of the two forces has won. "Leura" then is pretty, gentle, warm and welcoming. A place without tension is created here, a place we could all stand to visit. Partway through, we are treated to a lively bass lead. And Francesca's piano work feels like sunlight and a spring breeze dancing about the air. Francesca again switches to electric piano for "Till We Have Faces," and here is joined by Nick Brust on saxophone, who delivers some excellent, expressive work. The song was inspired by the time of the pandemic, when our faces were largely covered with masks and communication was thus made difficult. We had to show what we felt through our eyes. I remember that humor was more difficult to get across then. "Unanswered Questions" begins on drums, and it is somewhat surprising that when the piano comes in, the piece takes on a somewhat soothing quality. Ah, I wonder if most questions will remain unanswered, and we just have to accept that and continue with our lives. The music seems to urge us to do so, especially when it begins to pick up energy partway through. And then "Fortitude," the final track, urges us to remain strong even when things are chaotic or tense. This track features the saxophone, which feels like the voice rising against the powers that be while simultaneously encouraging our own inner strength. This album was released on January 16, 2026.
Tierney Sutton and Tamir Hendelman: "Spring" - Vocalist Tierney Sutton and pianist Tamir Hendelman give us an album of songs for spring, including several with the word "spring" in the title. It is traditionally a time for renewal, and certainly we need that now. The world is aching for it. The duo opens the album with two pieces by Antonio Carlos Jobim - "Double Rainbow" and "Waters Of March." "Double Rainbow" begins with some beautiful work on piano that makes us feel like the world is waking up, opening its eyes. And, what's more, seeing something worthy of song, of celebration. Tierney's vocal work then adds to that sense, like she is reacting to the beauty, at first without actual words, and then with lyrics. Then it is like her voice is dancing, the world opening before her (and so before us too). Tierney begins "Waters Of March" with some playful, light vocal work, and the piano soon joins her in that vibe, like drops of rain bouncing off flowers. Tierney delivers the first several lines a cappella. Soon there is more force to the piano work, and to her delivery, and the song develops an absolutely wonderful tone. Tierney and Tamir then give us a pretty rendition of Simon & Garfunkel's "April Come She Will," the vocals have a soothing effect. The track is one of meditation and reflection, and of great beauty. That's followed by "'S Wonderful." As you know, you can never go wrong with Gershwin, but when I first read the track list, I wondered which lines of this song were directly related to spring. But as the track begins, there is a spoken word introduction by Tierney, in which she says, "
Now this song has a little bit of an added lyric that I just wrote today, because it has to have something to do with spring." Soon she sings, "
You always bring/A breath of spring/In everything you do/An April breeze/That moves the trees/My heart agrees it's you." As for the songs with the word "spring" in the title, they all come in the second half of the album, one after another. The first is "Spring," written by Dori Caymmi and Tracy Mann. Tierney and Tamir deliver a beautiful, tender rendition. "
The possibility of warmer days/Will arrive with the news/You still love me." This track also features some delightful stuff on piano. That's followed by a wonderful rendition of "Spring Can Really Hang You Up The Most," featuring some strong work on piano. "
Spring came along/A season of song/Full of sweet promise/But something went wrong." Then they give us a lively version of "Spring Will Be A Little Late This Year," cheering us, the music making us hopeful. Tierney begins "Spring, Spring, Spring" a cappella, delivering some delightful vocal work. I am especially fond of her playful performance on this track. The final song in that "spring" series is "You Must Believe In Spring," with a performance that feels intimate, a performance that touches us in these strange days. Just listen to the way Tierney sings, "
You must believe in love and trust it's on its way/Just as the sleeping rose awaits the kiss of May." This album was released on April 3, 2026.
