If the world is making you a little crazy, turn off the news and turn on some music. Here are notes on a few new jazz albums you might want to check out.
Dave Bass: "Trio Nuevo Vol. 3" - In 2023, pianist and composer Dave Bass released
The Trio Vol. 3, and the next year began
Trio Nuevo, with Tyler Miles on bass and Steve Helfand on drums. Now we have the third volume in this series, completing the second trilogy of trio recordings. I have to assume there will be a third, though I don't know what he will title it. Anyway, this album opens with an original composition, "Neither Have I Wings," which starts with a piano solo. Its first moments have a warm, even somewhat romantic bent, and then it begins to move, and that's, appropriately, when the drums come in, and soon the bass as well, that rhythm pushing us forward, urging our bodies to dance. From there, the piano work gets more exciting, lively, and bright. In the middle, Tyler Miles takes over on bass, his lead having its own sense of excitement, its own sense of life. And we feel that, though the water be wide, these guys will find a way across. That's followed by another original composition, "Toccata," inspired by Bach's work. There is a pause after its first section, and then it moves more firmly into that classical realm, taking us to another time, and doing so with strength and a sense of urgency, or perhaps need. For me, the most interesting work comes in the second half in the freer moments. Then, interestingly, Dave Bass tackles the traditional folk song "The Water Is Wide," interesting because that song contains the line "
Neither have I wings to fly," from which the title of the first track comes. The trio delivers a wonderful rendition featuring some beautiful work on piano and an excellent lead on bass. Things get particularly interesting on "Fingerprints/Gantry," Chick Corea's tune combined with another original composition. This is a lively track. I especially love Steve's drumming on this track. There is some delicious work on bass too, especially in the second half. That's followed by "When You Wish Upon A Star," which has that familiar fairy tale vibe as it starts, and then settles into a jazz context, partly grounded and partly eager to enter a land of dreams. "Black Swan" is an original piece that borrows a bit from Tchaikovsky's "Swan Lake," but set to a good rhythm, and builds from there, featuring a wonderful lead on bass. Dave Bass then delivers a cool rendition of Thelonious Monk's "Work," a track that becomes even more fun during that bass lead. Great stuff! It is after that section that Dave's piano really takes off into especially delicious territory. That's followed by a good rendition of "Try A Little Tenderness," Dave Bass putting his own touches on it. He then returns to original material for the album's final three tracks, starting with "Lost Mambo," which, as you might guess, has a fabulous rhythm, and following it with "Far And Wee," which has a playful vibe, ready perhaps for a bit of mischief. The album concludes with "You Lose," moving a good pace and featuring a strong lead on bass and an outstanding piano lead, and even a drum solo. This album was released on October 2, 2026.
Alexis Cole: "Taking My Seat: A Musical Inheritance" - Vocalist Alexis Cole's new album was recorded back in the fall of 2020, during the time of the pandemic, and it features not only her excellent vocal work, but also her talent on piano. She is joined by David Finck on bass and Kenny Hassler on drums. The album contains mostly standards along with a couple of original compositions. She begins it with "Bye Bye Blackbird," that opening section building in power and then suddenly softening for her entrance on vocals, an effective way of drawing us in and commanding our attention. What a voice she has. And it isn't long before she delivers a good lead on piano. This too builds in power, before then easing back and leading to some really nice work on bass and a cool drum solo. The section where the bass and drums exchange ideas is wonderful. That's followed by Cole Porter's "Get Out Of Town," the first of two Cole Porter songs on this album (the other being "Night And Day"). Alexis begins this one on vocals and piano, the others joining her nearly a minute in. It's interesting how seductive she is as she tells us, "
Get out of town before it's too late." This track also contains a great lead on bass, and the transition from that back into the main theme is so smooth. The first of the original numbers on the album is "Blues For All Of Us." It has an interesting beginning, as she mentions various women, and we can't help but guess what they all have in common. "
Why is Alice so great, what's she got over me?/How about Stella, Laura or Emily?" Soon she explains that those names have their own jazz songs (those names also have their own rock, pop and folk songs). "
And yet there's no song for me." Somehow this song comes across as both heartfelt and playful. That is followed by the album's other original composition, "Momentary Lapse Of Happiness," which is even more enjoyable. Check out these lines, which begin the song: "
Well, I'm back from happiness/Romance had turned my life into a mess/Walking with both feet off the ground/Is a hard way to get around." This song is a delight, one of my personal favorite tracks. Alexis Cole adds a little spoken word part to the end of "Girl From Ipanema." She also adds another section to "My Funny Valentine," original lyrics about Richard Rodgers and Lorenz Hart meeting. But it is the final section of this rendition that is especially arresting. Then Alexis Cole's rendition of "Jitterbug Waltz" finds her voice supported by just bass. And she delivers some delightful scat. Another highlight is her touching and passionate rendition of "Here's To Life," a song that I find more striking as I get older. "
And who knows what tomorrow brings, or takes away." The album concludes with "Yesterdays," which might get us reflecting on our own personal histories. Do we dream of our yesterdays? This album is scheduled to be released on November 6, 2026.
Event Horizon Jazz Quartet: "Consternation" - It's been six years since the debut release from Event Horizon Jazz Quartet, but now we are treated to the group's follow-up,
Consternation, a perfect title for these days of dismay and alarm. The album features all original material, written by saxophone player Jim Kaczmarek and keyboardist Scott Mertens. The opening track, "Spring Was Here," was written by Scott Mertens, who delivers some warm work, as if the band is trying to coax spring to return. Interestingly, Rick Vitek's drumming has a cool, somewhat unpredictable sense to it, like a storm brewing beneath. There is a feeling of excitement, especially during Scott's lead in the middle, giving us the notion that we should enjoy the moment, for we never know what is just around the corner. Donn DeSanto delivers a good lead on bass in the second half, and, as the track is reaching its conclusion, Jim Kaczmarek's saxophone work really starts to take off. I wish the track did not fade out so soon, and the saxophone were allowed to explore that area further. That's followed by the album's title track, "Consternation," written by Jim Kaczmarek. The drums create the atmosphere on this one, and as the others come in, there is an almost eerie feeling, the feeling that something is not quite right. The saxophone seems to be dancing around the truth, the music leading us down one path where, it turns out, there is a different sort of storm, a place of dark greys. The keyboard attempts to cut through it, but the drums and bass are right on its heels. This is a fascinating piece. "Tumbling After" then begins with some pretty work on piano, and soon feels like the delight of a new day, a day that promises little or no stress, a day that celebrates simple pleasures and memories. The lead on saxophone has a free, wonderful vibe, lifting us up and setting us on our way. And I love the way the energy builds in the second half. "Ballad Di Sienna" contains some sexy work on saxophone, conjuring one of those nights when maybe things work and maybe they don't, but the desire in the room is nearly tangible. That's followed by "Going Home," which has a delicious rhythm, yet a sense of melancholy playing over it. The idea of going home is appealing in song, though here is an ambivalance about it, for there is an acknowledgment of what is left behind, what is lost, expressed especially in Jim Kaczmarek's excellent work on saxophone. The quartet has a couple of special guests on "JC In The Club": Victor Garcia on trumpet, and Raphael Crawford on trombone. The JC of the title is John Coltrane, this piece paying tribute to his work. There is a brief moment when the piano work reminds me of the Grateful Dead's "Terrapin Station." Then there is a New Orleans flavor to "I Have No Idea," particularly in that great drum work. There is a wonderfully positive vibe to "Yes," as you might guess from its title. This is a fun one. "Prattle Away" is another fun one, moving at a good clip, and featuring a cool bass line. "The Dane Effect" is a particularly engaging and exciting number. The album concludes with "Fourthwith," which has a kind of funky, bluesy vibe at the start, and features a strong lead on saxophone, along with some playful touches. This album was released on September 25, 2026.
Angela O'Neill And The Outrageous 8: "A Live Musical Tribute To Peggy Lee" - This special tribute to Peggy Lee was recorded live at Vitello's in Studio City on September 10, 2024. It includes the briefest of introductions, and the band gets this album off to a wonderful start with a fun rendition of "Take The 'A' Train," here delivered as "Outrageous 'A' Train," featuring a series of good leads, including some great work by Sam Morgan on tenor saxophone and by Dennis Mitcheltree on alto saxophone, as well as some delicious stuff by Bill Bodine on bass (even before his lead). There is even a cool, though short, drum solo from Tony Pia. A nice way to introduce the band straight off, everyone getting a moment to shine on the opening track before Angela O' Neill comes in on vocals on the next song, "I'm A Woman." And when Angela belts out the title line of that song for the first time, the crowd reacts, giving her some deserved applause. Oh yes! This is a totally cool rendition, featuring some really nice stuff from the brass section too. "
What do you think, ladies, has much changed since Peggy Lee sang that song?" Angela asks the crowd. We hear someone shout out, "
No!" The fun continues with "Hallelujah I Love Him So," with a great arrangement by trombone player Harry Smallenburg. Angela provides a bit of backstory for "It's A Good Day" in her introduction. This track is a highlight, in large part because of her vocal performance, which has great doses of both power and joy. There is one odd thing about how this album is put together, and that is that after the applause comes at the end of certain tracks, there is then more at the beginning of the next track, but not continuous applause. So it feels like the applause at the beginning of a track follows a song that is not included here. Weird. And on some later tracks, the applause is cut. Anyway, the rendition of "I'm Beginning To See The Light" included here is a delight, with a special energy and vibe. That's followed by "I'm Gonna Go Fishin'," another of the disc's highlights. It includes a cool bass line, some nice stuff by Rocky Davis on piano, and a phenomenal vocal performance. Al Timss then sings lead on a good rendition of "Mean To Me." "
It may be great fun to be mean to me/But you shouldn't, for can't you see what you mean to me," he sings over that delicious rhythm. All smooth and cool. And he ends it by saying, "
Don't be mean." "All Right. OK. You Win" is another totally fun number, the band swinging and cooking, and getting playful. That's followed by "Fly Me To The Moon," which contains some wonderful drumming, along with a good series of leads from the horns. As you might expect, "Why Doncha Do Right?" is another of the album's best tracks, oozing cool from its opening moments, and featuring an alluring vocal performance. Everything is working perfectly, as the band struts about, in complete control. Al Timss joins Angela O' Neill on vocals on "I Love Being Here With You," and the two sound excellent together, mentioning the Outrageous 8 in the lyrics. The disc concludes with "Fever," here listed as "Fever: A Live Musical Tribute To Peggy Lee." Angela gets the crowd snapping at the beginning, and then delivers a delicious rendition. This album was released on August 21, 2026.
Visions Jazz Ensemble: "Of The People" - This year marks the 250th anniversary of the signing of the Declaration of Independence and the beginning of this country. There wasn't really a celebration, since the country is now run by fascists and incompetent imbeciles who would have trouble organizing a child's birthday party, but nevertheless it's a significant milestone. Visions Jazz Ensemble marks the occasion with
Of The People, an album celebrating this country's music. The songs are of several different genres and types, given a fresh jazz perspective. The album eases in with "Simple Gifts," a song from the mid-1800s, this version sounding like a dawn breaking gently over the land in its opening moments. "
To turn, turn, it will be our delight/'Til by turning, turning, we'll come 'round right." David Linard's work on keys leads the group from the pretty vocal section to the central instrumental section, which grows and breathes. And it is the piano that begins the group's version of John Denver's excellent "Take Me Home, Country Roads," this version more contemplative, introspective, with a wonderful vocal performance by April Varner. A striking atmosphere is created here. Then in "The Wreck Of The Edmund Fitzgerald," April's voice comes almost like a warning to those on the ship, as if she could reach back in time to save people. And who knows? I believe music can work miracles. There is a certain power to this rendition of the Gordon Lightfoot classic, and it features really good drumming by Francis Bassett-Dilley. An instrumental opening section sets the tone for the group's moving take on Patty Griffin's "Not A Bad Man," a track featuring some nice guitar work by Alex Turner. The group puts its own spin on Dolly Parton's "Coat Of Many Colors," delivering a passionate rendition that features an excellent lead by Alex Hoberty on bass, and some wonderful work by Caleb Robinson on tenor saxophone. That's followed by "Going Home," the only instrumental number on the album, featuring some gorgeous work by Garrett Fasig on alto saxophone. A very cool rendition of "Ghost Riders In The Sky" follows, containing some excellent work by Sam Butler on trumpet. I've heard a lot of versions of this song over the years, but nothing quite like this. Then "Deep River" begins with some soft work on drums, setting a slow pace, and preparing us for April's strangely captivating vocal performance. The group's version of "God Bless America" also begins on drums, but setting a much different vibe, the song having a cool, funky element, and featuring some strong work by Jeff Parker on trombone and by Sam Butler on trumpet. "Revolutionary Tea" features some good drumming, feeling like the heart of the piece to me. Then "America The Beautiful" has a kind of bluesy beginning, and in the middle begins to swing, containing some wonderful work on trombone and alto saxophone. That, for me, is when the track is really successful, and that rousing ending is great. The album concludes with Stephen Foster's "Hard Times Come Again No More," here simply titled "Hard Times," the trumpet shining. This album was released on July 31, 2026.
