Brief Notes On New Jazz Releases

Here are notes on a few new jazz albums you might want to check out.

Alexis Cole And The Tapei Jazz Orchestra: “Jazz Republic: Taiwan, The United States And The Freedom Of Swing” – Vocalist Alexis Cole teams up with the Tapei Jazz Orchestra to create a special album that celebrates music’s power to bring folks together. The album opens with a rousing rendition of Paul Winter’s “Common Ground,” common ground being an idea that somehow got lost here in this country over the last eight years. But it is present in music, where different voices and instruments come together to create a fuller sound. This song and this album are a celebration of that very thing, and I love the joy in the playing and in Alexis Cole’s delivery. And in the second half, there is a good, though brief, drum solo, adding to the track’s appeal. There is even some scat toward the end. There is so much energy to the performance that I’m surprised to not hear applause at the song’s conclusion. That is followed by “Begin The Beguine,” with Alexis Cole adding a short spoken word section to the beginning. “I’m in your arms and we’re dancing.” Ah yes, an image and a feeling that we all cherish, that we long for. And so right away we understand the longing of the song. Alexis Cole gives a passionate vocal performance, matched by some of the work by the brass section. The track concludes with a return to that spoken word section. From Cole Porter to Billy Joel? Sure, why not? Alexis Cole has fun with “Uptown Girl,” a song that you couldn’t avoid in 1983, but which we haven’t heard much in the subsequent years. There is a light, cheerful vibe. Then “I’ve Grown Accustomed To His Face” features some really nice work on piano. One of my favorites is Alexis Cole’s take on “Bye Bye Blackbird,” from that delicious opening with her vocals supported by bass and drums. This track has one of the album’s best and most impressive vocal performances, and includes some joyous scat. Then check out her gorgeous performance on “Here’s That Rainy Day,” a track that also features some wonderful work on trombone. “Moon River” features a lively lead on clarinet, as well as some really good stuff on piano. Another highlight is “Beyond The Sea,” which features a bright lead on trumpet, along with more excellent vocal work. The album concludes with a fantastic rendition of “You Make Me Feel So Young,” certain to leave you feeling youthful too. This album was released on August 19, 2024.

Jason Kao Hwang: “Soliloquies: Unaccompanied Pizzicato Violin Improvisations” – Violinist and composer Jason Kao Hwang is adept at telling stories with his music.  Last year, in fact, he released an album titled Book Of Stories. His new release is titled Soliloquies. A soliloquy tells a different and personal tale, for it is within soliloquies that characters reveal their thoughts and worries and goals directly to the audience. Remember, no character ever lies in a soliloquy. Also, apart from the audience, characters are generally alone when delivering soliloquies. And so it is that Jason Kao Hwang’s new album is made up of solo violin pieces. The album opens with the appropriately titled “At The Beginning,” which is striking in its dramatic use of pauses as well as for Jason Kao Hwang’s style of delivery, the pizzicato technique, which is usually used only in certain sections of songs rather than throughout a piece or album. It does feel like a voice, and reminds me of the way different actors might choose to approach a well-known speech, making it fresh with well-placed breaths. And what Jason Kao Hwang does here is command our attention and draw us into his own story. That’s followed by “Hungry Shadows,” a powerful image, the music fitting that image, with a voice that is at times perhaps uncertain or wary. There is an intimacy here created between the subject and audience. In “Vagabond,” it feels like the past has surfaced and is speaking to us in short phrases that we won’t easily forget. In “Remembering Our Conversation,” there is the sense of wisdom and knowledge imparted, handed down, and then made useful. Knowledge in action. “Where The River Runs Both Ways” transports us, both to a different time and a different space, but touches something within us, and so the unknown feels familiar. I love many of the titles Jason Kao Hwang gives his pieces, and on this album “Silhouettes Lean Forward” is particularly good, that title providing us with a strong image as the music begins, as well as a question. To what are they leaning forward? We listen for the answer, but instead get caught up in the unusual direction of the track. There is something playful here which attracts us. Then there are captivating moments in “Encirclement,” a dramatic energy running through it that might have you holding your breath at times. The action of “Bending Branches Into Roots” (another wonderful title) comes in short spurts, as if trying out different things to get an idea of the outcome. “Shards” makes me think of heavy rain drops falling into a metallic river, and the river responding. The past steps into the present again on “Before God,” the album’s final track, which feels like it is reaching out for answers. In fact, there seems to be a need for them. But the voice is alone, at times its own questions echoing in the darkness. This album is scheduled to be released on September 15, 2024.

Omer Leshem: “Play Space” – Omer Leshem is a saxophone player and composer originally from Herzliya, Israel, and now based in New York City. His new album features all original compositions. Joining Omer Leshem on this release are Nadav Remez on guitar, Moshe Elmakias on piano, Elam Friedlander on bass, and Ben Silashi on drums. The album opens with “Twilight Hymn,” which very quickly develops a cool vibe, with a strong Middle Eastern flavor, featuring some wonderful work on both saxophone and guitar within the track’s first minute, hooking the listeners, and then growing from there. I love music that is able to transport me in some way, and this track certainly does that. And it begins to feel like a dance approximately halfway through, working to raise spirits. And the guitar lead in the second half is excellent. Then “Take An Advil” comes flying in, moving at a fast pace and demanding our full attention (or we’ll be left behind). This track features some completely delicious work on both drums and bass, as well as some exciting stuff on saxophone and piano. This track is a vibrant and thrilling ride. Omer Leshem changes gears then with “David’s Devastating Journey,” which begins with some soft, contemplative work on piano, feeling like it takes place at a lonesome early morning hour before the sun brings the world to life. When the saxophone comes in, it has a feeling of melancholy, and also like it faces some tough decisions ahead. Beautiful work. And the bass seems to offer some comfort during its lead. The track builds to become a gorgeous and moving piece. Things then get fun with “Cape Town Swag,” which has a strong, prominent rhythm. Oh yes, here is where the action is. The musicians change gears again with “The Heroic Era Of No Consequences,” which begins in a more somber place, and we sense colossal forces at work in that opening section. The piano then introduces a more intimate, individual human scope. And soon these two things are working together, creating another interesting experience. “Pull The Donkey” has a delicious groove at its center, and features some wonderful stuff on saxophone. And check out the drumming toward the end. Then “Mulberry Garden” begins with some thoughtful work on saxophone, a lone voice in a larger world. It develops into a pretty track, featuring some really nice stuff on guitar. There is a tension at the beginning of “Go You Maniac,” which remains even in those moments when a warmth is introduced. And it reflects the insanity out there, and reacts to it. Omer Leshem wraps things up with “Back Home,” which begins tenderly, with warm and fond memories. Yet there are hints of sadness, and as the track progresses we sense some unresolved troubles that lurk beneath the surface. It returns to a mellower place as it reaches its conclusion. This album is scheduled to be released on September 27, 2024.

Rosemary Loar: “Coraçāo Vagabundo/Vagabond Heart” – Rosemary Loar is a singer and composer, and her new album features several original compositions as well as some wonderful choices of covers. She is joined by Frank Ponzio on piano, Tom Hubbard on bass, Vito Lesczak on drums, Gary Schreiner on harmonica, and David Longworth on egg and triangle. The album opens with its title track, “Coraçāo Vagabundo,” written by Caetano Veloso and Gal Costa. This rendition eases in, featuring some pretty work on bass during that first section. Then there is some nice stuff on harmonica, setting the tone for Rosemary Loar’s entrance. She delivers a gorgeous and touching vocal performance here. That’s followed by one of the album’s original songs, “Just A Fairy Tale,” the piano working as our usher into that fairy tale world, before the song opens up in a dramatic way. And then we learn that she is looking back at something that she discovered wasn’t real. “Oh, how willingly I fell/How deeply in your spell/It was just a fairy tale/Figment of my fantasy.” Ah, that fairy tale beginning did not last, and we were tricked just as she was. And once she has come to terms with it, the song begins to swing, and features some excellent work on piano. The piano is now part of the real world, and joyously so, even though there is then a moment where it begins to slip back into that fairy tale. We still want it to be real, don’t we, and slip into the fantasy’s arms? “Your Turn To Be Brave” is another of the original compositions, and near the beginning of this one she sings, “It scared me to say it/But I trust my love is real.” We get the feeling this one will not turn out to be fairy tale, especially when it kicks in with a cool and sexy force. Who could help but fall for her as she sings, “I’ll hold on long as I’m able/But it’s so hard to behave/I blurted out ‘I adore you’/You’re the one that I crave.” She is both adorable and sexy here. This track also features a delicious lead on bass and some vibrant work on piano. This is one of my personal favorites. It’s followed by another original song, “You Taught My Heart To Sing.” “We meet and it begins/The sound of violins,” Rosemary sings at the beginning, and we know exactly how she feels. It’s not just in the words, but the way she delivers them. While there might not be violins on this track, there is some good work on harmonica at key moments. That’s followed by “Fascinating Rhythm.” I’ve said it before, but you can never go wrong with Gershwin, and Rosemary Loar delivers a fantastic rendition here, pulling us in with a captivating vocal performance. Then nearly halfway through, she picks up the pace, and includes some scat. She also gives us a cool version of Sting’s “La Belle Dame Sans Regrets,” featuring another alluring vocal performance. “I Don’t Want To Know For Sure,” the album’s final original number, has a beautiful, timeless vibe. “I don’t want to know for sure/It’s fun to have this fantasy/That I’m much more than a friend/Our romance will never end.” This album was released on July 18, 2024.

Jeff Rupert: “It Gets Better” – Saxophonist Jeff Rupert is known for his work in The Jazz Professors and with The Flying Horse Big Band. His new album features mostly original compositions. Joining him are Kenny Barron on piano, Peter Washington on bass, and Joe Farnsworth on drums. Jeff Rupert opens the album with an original number, “Petrichor (In The Cote D’azur),” which has a kind of sweet intro, and then very quickly becomes a fun, gently swinging tune that has a light, easygoing attitude, like a joyous walk through the city when you have no pressing obligations, when the rain has left the streets and air feeling clean. The work on saxophone begins to soar partway through. This track also contains good leads on piano and bass. That’s followed by “Comanche Crush,” about the sailing yacht that set a new transatlantic record in 2022. As you might expect, this one moves at a good clip. There is a strong sense of forward movement, particularly in that first section, and a good energy. It features an excellent and exciting lead on piano. And you can feel the wind at your back during the saxophone lead in the middle. Then we get the album’s first cover, Billy Strayhorn’s “Lana Turner,” which has cool, somewhat relaxed vibe, as the saxophone casually struts about in a way that is alluring. That’s followed by the album’s title track, “It Gets Better,” an original composition that has a great vibe from the start, with that cool bass line. Honestly, it was the album’s title that initially drew me to this album, for I appreciate that sense of optimism. And it does feel like things are getting better, doesn’t it? If it doesn’t for you, give a listen to this track, for I think this music will help. It’s one of my personal favorites, and it might get your spirits dancing. Jeff Rupert takes us in a different direction with “Pharaoh’s Daughter,” which has a darker, more contemplative vibe, though still containing some bright moments. I love how we get caught up in the motion, particularly of Jeff Rupert’s lead. He then delivers a really nice rendition of “Like Someone In Love,” which has a certain warmth, a certain friendliness to it. It also contains some excellent drumming, including a solo, and a delicious lead on bass. The final cover is “Nowhere To Go But Up,” from the movie Mary Poppins Returns (a relatively recent release I didn’t know existed until now). It’s a cheerful number, featuring a particularly good lead on piano. That’s followed by “Not My Blues,” a cool and engaging tune that features some delicious work on drums. The album concludes with “Promenade In Blue,” a thoughtful piece that seems to reflect on a past of some suffering. This album is scheduled to be released on September 6, 2024.

Brief Notes On New Jazz Releases

The world is attempting to get back to normal, as if the pandemic is a thing of the past. But of course it isn’t. Not even close. So what we are presented with is this weird, artificial version of normal, which is somehow more frightening and odd than the period of isolation. Fortunately, artists are continuing to release excellent albums to help us through this time. Here are some brief notes on a few new jazz releases you might want to check out.

Event Horizon Jazz Quartet: “Event Horizon” – The Event Horizon Jazz Quartet is made up Jim Kaczmarek on saxophone and flute, Scott Mertens on piano and keyboards, Donn DeSanto on bass, and Rick Vitek on drums. Event Horizon, the group’s debut release, features all original music, each piece composed by either Scott Mertens or Jim Kaczmarek. The album opens with “Chelsea Playground,” which was written by Scott Mertens. This one has something of a light and innocent vibe as it starts, but grows in excitement as it moves forward. Then “Guess Not,” written by Jim Kaczmarek, begins with some pretty work on piano, and soon develops a good groove, with a wonderfully expressive lead on saxophone. One of my favorite tracks is “Dark Waltz: When Sadness Comes,” which has a strong sense of mood and features a good lead on bass. This one feels most aligned to the state a lot of us are in these days, and yet there is something hopeful about it before the end. And I love the way “Black Samba” moves. “Event Horizon,” the album’s title track, is perhaps the disc’s most interesting piece, inviting us into a strange space, where things are not quite stable. The disc ends with a couple of fun tracks, “Strut” (which does precisely what you’d hope a song with that title would do, and includes a cool drum solo) and “We Would Love To Have You” (which features some absolutely wonderful work on piano). This album was released on May 29, 2020.

Jason Kao Hwang: “Human Rites Trio” – Jason Kao Hwang is a composer and violinist who explores some interesting and exciting terrain with regards to human communication and interaction on his new release, Human Rites Trio. The trio is made up of Jason Kao Hwang on violin and viola, Ken Filiano on bass, and Andrew Drury on drums. The disc opens with the two parts of “Words Asleep Spoken Awake,” taking us through different spaces, sometimes the various instruments in agreement, sometimes a conversation taking place which leads to some understanding. There is a good drum solo at the end of the first part. And the second part begins in a state of excitement, with nearly a loss of control. Chaos surrounds us, our needs and confusion pouring from us to add to it. Suddenly a single voice – or at least a single desire, felt by all – emerges, and things move from this new point, soon veering into a stranger, more mechanical realm. As “Conscious Concave Concrete” begins, it is all about the rhythm. But it soon finds this quieter place, drawing us in through its pauses, through what it leaves unsaid as much as by what it says. It then builds from there, featuring an excellent lead on bass. All of this album’s tracks take us in unexpected directions. This album was released on July 1, 2020.

Noa Levy & Shimpei Ogawa: “You, Me & Cole” – The Cole of the album’s title is, of course, Cole Porter, and this album finds vocalist Noa Levy and bass player Shimpei Ogawa covering several classic Cole Porter compositions, including “I Get A Kick Out Of You,” “Love For Sale” and “In The Still Of The Night.” This is the debut release from the duo, and all the arrangements are by the two of them. One of my favorite tracks is “My Heart Belongs To Daddy.” This is one of the most adorable and enjoyable renditions I’ve ever heard. There is something seriously cool about it, and also quite playful (Noa adds George Clooney to the lyrics). Seriously, I highly recommend checking out their take on this song, even if you’re normally not a fan of the song. And then Shimpei Ogawa really rocks the bass on “Just One Of Those Things.” Noa Levy can cut loose at times with some fun scat, as on “What Is This Thing Called Love?” Another of my favorites is their rendition of “Anything Goes,” which has a delightful energy. I love Noa Levy’s vocal performance, particularly her playful delivery of lines like “Or me undressed you like.” She updates the lyrics a bit, mentioning Kevin Spacey and Russell Crowe, as well as texts, fake news, Twitter and blogs. This album is scheduled to be released on July 10, 2020.

Purdie Fabian Oswanksi: “Move On!” – This trio is Ron Oswanski on organ, Christian Fabian on electric bass, and Bernard Purdie on drums, and on Move On! they deliver some delicious funky jazz, much of it original material composed by Christian Fabian. The disc’s opening track, “The Red Plaza,” is a lot of fun, a lively number with some absolutely wonderful work on bass. Things then relax a bit for “BPP Blues,” whose vibe is somewhat sly, kind of cool, and features more great stuff on bass, including a wonderful lead part. And the organ lets loose, its lead part broken up by some short but good drum solos. The title track is another highlight, a funky little jam that has a good amount of joy to it. The covers include a sweet rendition of Duke Ellington’s “Love You Madly,” a groovy take on Miles Davis’ “So What,” and a version of “The Battle Hymn Of The Republic” that is much cooler than you ever figured that song could be. This album was released on July 1, 2020.

Tom Ranier: “This Way” – Tom Ranier has the kind of career a lot of musicians must dream of.  He plays multiple instruments; he has recorded and toured with a lot of different artists, covering a wide variety of styles; he has performed on several soundtracks for films and television shows; and, when time permits, composes and performs his own music. On his new album, This Way, Tom Ranier plays piano, synthesizers, saxophone and clarinet. He is joined by Trey Henry on bass, Ralph Humphrey on drums, and Thom Rotella on guitar. The album features mostly original material. The opening track, “Blue Aria,” has something of an easygoing vibe, and features some really nice work on keys. It is followed by “Circle,” one of my favorite tracks. This one has a pretty and somewhat comforting sound, and then goes in some interesting directions, and includes a lead on bass which comes as a surprise when it starts. There is something uplifting about the work on piano, which is what ultimately makes this track special. Things then get looser with the album’s title track, which has a light vibe and groove. Another highlight for me is “Trio Vision,” which has a cool sound and flavor. The two covers on this release are “Secret Heart,” written by Randy Brecker and Eliane Elias, and “Desafinado,” written by Antonio Carlos Jobim, Newton Mendoca and Viniclus De Moraes. This album was released on June 26, 2020.

Jason Kao Hwang/Critical Response: “Book Of Stories” (2023) CD Review

Jason Kao Hwang is a violinist and composer with one ear in the present and the other bent toward (or perhaps already in) the future, his compositions moving in interesting and unexpected directions. There is often a strong narrative sense to his material, and so the title of his new album, Book Of Stories, seems apt. And most of the tracks on this release are of such length necessary to tell compelling and full stories. Critical Response is the trio of Jason Kao Hwang on electric violin, Anders Nilsson on electric guitar, and Michael T.A. Thompson on drums, all skilled at improvisation. You might know Anders Nilsson from his work in Fulminate Trio and his new band, Hesa Gun, and you might know Michael T.A. Thompson from his work with Patrick Brennan and several other artists.

The disc opens with “The Power Of Many In The Soul Of One,” which begins with a lonely call out into the universe, a wounded cry from the violin, a voice reaching out hopefully in the dark chaos of the world. Then things seem to come into more solid forms from that darkness, and soon the violin is in communication with them, quickly adapting to its new surroundings, to its new companions. There is a relaxed, knowing sense to the guitar and drums, while the violin feels a great tension that needs to be released. Perhaps it is has found the right place to release that tension, a spot where it might be absorbed by the surrounding sounds. Sure, there is always risk involved, but the emotions are so powerful that they might overwhelm any need for calculation, for planning. Things start to relax, and a drum solo emerges from that, with the guitar and violin then offering their own thoughts, markedly different from what came before. There is something tentative as they step into this new area. And the drums again find themselves on their own, Michael T.A. Thompson delivering some fantastic work here. Things go in a more determined direction, and there is something officious in the sound, in the drive, before that power begins to unravel, to spread out in fragments of authority and portions of nerves. We are deep within this thing now, moving along the quieter center, where space has its own dimensions and desires, the track settling into a good groove. The violin returns to a more lonely place near the end, but its sound is different now, like it has found its place, knows its place, but still yearns for something more. Stable, but still in need. The guitar joins the violin in this now-familiar darkness.

As “Upside Circle Down” begins, there is something youthful, playful, among the gadgetry, among the electric voices of the sprites as they dart throughout the house at night, knowing they cannot be caught, for they can escape along any of the wires. As the drums come in, things start to get more wild, more exciting, taking charge of the moment. It’s as if urging us to let loose, enjoy ourselves. There is a good deal of action, and it’s all in the name of seizing the moment. And soon we are treated to a good drum solo. It’s interesting how a drum solo can lead to a more solitary moment, even to a pretty, angelic voice, a striking presence standing still within a great shaft of light. The guitar then, when left on its own, turns inward and outward, and finds beauty in both places, and that seems to determine the direction that the instruments move in together. Memories and old faces line the streets but do not impede forward movement. Whispers of the past, and from the past, evaporate like wisps of smoke, light caresses on our skin. We need not even turn our heads, for we know where we are going now, and so there is no rush. Things have become gentle, and the groove is soothing.

There is a somewhat eerie presence at the start of “A Silent Ghost Follows,” a creature from another realm that is making its way into our world through slight gaps in consciousness, a winged spirit that is soon dancing upon the branches, even upon the leaves, though it doesn’t seem to actually touch them. The guitar reaches out, and that darker, stronger, more cohesive theme is revisited, until the drums take over, rolling in like a subtle storm, carrying with it the spirits, or perhaps something larger. That theme confirms our suspicions, a monster is within. The violin then cries out, the wind behind it having a heartbeat, and we feel that thing is alive. The theme returns, and now it begins to feel like a cue, to turn the page, or to move backward in the story, or it is a reminder of where we are, pulling us back when we stray too far into the outer realms of this fun house. It seems something is about to be revealed to us if we can maintain our focus and not lose ourselves to fear or preconceptions or wishes.

With “Dragon Carved Into Bone,” we are immediately welcomed into a strange and exciting place, where funky denizens offer bright concoctions and shove us along if we are too slow to accept everything being offered. There is so much popping around us that it might be difficult to respond to everything. Just let go and allow yourself to be tossed around, join the others doing the same thing, hurling themselves about without fear of injury. And suddenly a space opens up before us. We know we’re not alone, no matter what certain of our senses tell us. The others might be quiet, but they are nearby. Soon they let out little hints of their locations, and lead us farther into the electronic artery, and we are able to perceive that each movement is part of some larger dance. The drums then try to pull all that together, to organize the steps, to synchronize them, or unify them. And then, bam, creatures burst from the walls and just as quickly disappear. But there is a cool vibe to calm us, a delicious jam. Go ahead, have another drink, settle in, and enjoy the show, it urges us. And we do, and everything seems right, so that when things begin to turn strange, it takes us a moment to realize it. To realize things have changed around us, and maybe that cool place was an illusion, and the darkness and the uncertainty are what are truly real. The album then concludes with “Friends Forever,” which begins in a more bluesy realm, one of memory, of accomplishments in the past, which are acknowledged, appreciated, even loved, but not dwelled upon. For the past is a part of the future, and there is beauty everywhere, if you only look with eyes big enough to take in various times, and listen with ears attuned to the spirits.

CD Track List

1. The Power Of Many In The Soul Of One
2. Upside Circle Down
3. A Silent Ghost Follows
4. Dragon Carved Into Bone
5. Friends Forever

Book Of Stories was released on June 30, 2023 on True Sound Recordings.

Brief Notes On New Jazz Releases

Music often provides our escape route from the current ugliness of our nation. Here are notes on a few new jazz albums you might want to check out.

Meltem Ege: "Solitude" - Singer and composer Meltem Ege recorded her new album, Solitude, in two different cities, Los Angeles and Istanbul (two places she calls home), with two different groups of musicians, and in two different languages. The album contains mostly original material, written or co-written by Meltem Ege. The album opens with "Anlayana," recorded in Istanbul, with lyrics in both English and Turkish. It's an intriguing vocal performance, with different sections delivered in different styles. There is even some scat toward the end. The track also features some excellent work by Serkan Alagök on drums. That's followed by "We Must Not Say Yes," which has quite a different tone. This one was recorded in Los Angeles, and features Theo Bleckmann joining Meltem Ege on vocals, the two engaged in a vocal dance. "I could stay with you/And watch my dreams come true/Nevertheless, it's still wrong in the end/Let's not pretend/I don't belong with you." This track also features some wonderful work by Sarpay Özçağatay on flute. "Solitude," the album's title track, starts with sounds at an airport, and then after thirty seconds, the song begins, and features some nice work from the string section over a steady, insistent rhythm. It grows in power, and becomes one of my personal favorite tracks. Then "Aklinda Kalmasin" has a cool, swinging vibe, and features an excellent lead by Önder Focan on guitar, as well as more great stuff from drummer Serkan Alagök. "Dawn" is a piece composed by Will Kjeer (Meltem Ege had sung on Kjeer's original recording of it), this version beginning with bird sounds and including them again later in the track. There is a sort of forceful beauty to this one, and it contain a good jam in the second half. Then "Seninle Dans" has a delightful Brazilian rhythm and feel. "Eyes Of Innocence" begins with some nice solo guitar work by Derek Bomback, and features a beautiful vocal performance, growing in power as the song progresses. And Sarpay Özçağatay returns to deliver more excellent work on flute. "Child, you are born in a world/Where we try to grow up/And forget to fly." The album concludes with "Brush Strokes," which includes a spoken word section at the beginning and an interesting guitar lead. "I will use my wings and I will fly." This album was released on May 23, 2025.

Jason Kao Hwang: "Myths Of Origin" - In 2023, violist and composer Jason Kao Hwang gave us Book Of Stories, following it last year with Soliloquies, an excellent album of solo improvised pieces. With his new album, Myths Of Origin, he continues to tell stories, as its title suggests, and continues to improvise, but now as a conductor rather than player. While the album is divided into tracks, it is really one continuous piece of music, one great story. It opens with "The Collapse Of Gravity," starting appropriately enough with a single bang on the drums. And as the strings come in, there is an eerie sense of mystery, and the sound begins to build, the action taking place all around us. Frightening, beautiful, and perhaps inevitable, the dramatic music holds us spellbound. It leads straight into "Spin Fast And Burn," which has a more constant motion at its core, and when that is firmly established, the electric guitar takes things to another level. In the second half, things spin faster, the elements combining into one solid and exciting mass. It eases back for a moment as the track ends and "Multiply And Rise" begins. Now different voices make themselves known, to themselves and to us, testing the air, testing their arms, their voices, entering a chaotic dance, from which certain voices begin to dominate and create form. Stranger territory is explored at the beginning of "Dust Gathers Around Sleep," steps taken in darkness. And an undeniable beauty emerges, witnessed by various beings who then offer their own perspectives, bubbling on the surface. "Landmarks Vanish" begins in a more grounded, solid place, a stronger, more insistent energy determining the action. It gets its grip on us quickly, and does not release until it is certain we are under its sway. A fascinating and exciting ride. The guitar at one point surprisingly reminds me of the beginning of "Someone To Watch Over Me," just for a moment, and then goes into odder territory. "Where Fools Fear" takes us into a more delicate realm, with an air of contemplation, of melancholy. And then it grows from there, leading into "Ancestors Of Light," a more mysterious landscape, with beauty pushing up through the surface. And then we are in more familiar territory with "Anthem Of Knowing," a jazz club at the beginning of existence, where we can relax, ease into reality, as things take form around us and those forms rise up in dance. "Never Forgotten" moves slowly, stretching its great limbs across space and taking it all in, the beauty, the sadness, the vast emptiness. At the end, there is applause, which is actually a bit jarring, for this ride becomes a personal one for each person who listens. This album was released on July 7, 2025.

Jennifer Lee And The Ever-Expanding Universe: "Glimpse" - Vocalist Jennifer Lee's new album features mostly original material, with arrangements by Jennifer Lee and Peter Sprague. Peter Sprague also co-produced the album with Jennifer, and plays guitar on several tracks. The opening track, "I Caught A Glimpse Of Your Soul," eases in with vocals and some soft work on keys. "Seemingly a chance encounter/When I first beheld/That radiant smile on the face of an angel/My heart knew all too well." The way she is setting up the scene and telling a story, it feels like this could be a show tune. Soon it kicks in, and that's when the song really grabs me, with its cool, gently swinging rhythm. "I never believed in fate or destiny," she then sings. Peter Sprague delivers an excellent guitar lead in the middle, followed by a strong lead by Adam Shulman on keys. Then "Farewell To Comfort" has a nice Brazilian vibe. "But must I leave this all behind?/Comfort is another word for the rut that I've been stuck in," she sings here. The vocal line has an inviting, pleasant feel, and we want to ride that breeze with her. And there is some pretty layering of vocals in certain sections. I also enjoy Duncan Moore's drumming here. "Dave Don't Mind The Rain" is the first of only two tracks not written by Jennifer Lee, and it establishes a cool, late-night atmosphere right away. It also features one of the album's best vocal performances. There is something seriously sexy about her delivery. "He's just wishing it would rain for days." This track also features a good lead by Gunnar Biggs on acoustic bass. The other song not written by Jennifer Lee is a cover of "If I Only Had A Brain," which begins with some pretty work on piano. She delivers an interesting, slow, contemplative and gorgeous rendition, featuring some nice work by Rich Kuhns on accordion. That's followed by "Serendipity," a pretty and cheerful number that begins with her asking, "Who knows where we're going?" And she reminds us that we're sharing this strange journey together, and that we can choose how to use our time, how to approach each day and each other. "Superhero" begins with some really nice percussion. This one also opens with a question: "How can it be/That you are so very in love with me?" And the next few lines show the wonderful playfulness of this track: "I'm not the kind of girl/Who makes the superhero hot/No, I'm not/No, I'm not." This is another of the disc's highlights. Then "Here You Are" features another excellent vocal performance, as well as some really good stuff from Randy Brecker on flugelhorn. Anton Schwartz plays saxophone on the final track, "Strange And Beautiful," delivering some very cool work on what is a very cool tune. John Wiitala is on acoustic bass, and Vince Lateano is on drums on this one. What a great song to wrap things up! This album was released on June 6, 2025.

Billy Lester Trio: "High Standards" - Pianist Billy Lester puts his own delicious spin on some classic numbers, with Marcello Testa on bass and Nicola Stranieri on drums. The music has an exciting and fresh feel. The album opens with "There Will Never Be Another You," Marcello Testa setting things in motion with a wonderful steady bass line at the beginning, with Billy Lester free to express ideas as they come to him, and they come to him and then to us with a good deal of joy. Things are popping and swinging almost immediately, Nicola Stranieri delivering some great stuff. A strong bass lead emerges in the second half, followed by a drum solo, and the trio is flying. That's followed by "Somebody Loves Me." I've said it many times, but you can never go wrong with Gershwin, and this rendition takes us on an exciting route, the music loose and free and snappy. Billy Lester's work grabs you. There would be no way to just leave this music on in the background, for that background would quickly become everyone's foreground, as the music takes over. Our pulses attempt to keep up. The trio slows things down a bit then with its rendition of "What Is This Thing Called Love?" from Cole Porter. There is a cool aspect to this track from its beginning, particularly in that rhythm. And again there is a wonderful freedom to Billy Lester's playing that keeps us attentive. Then "I'll Remember April" comes on at a fast pace, pushing us forward, and our feet have trouble keeping up. This is a lively, even forceful rendition, and it features a powerful bass lead followed by an excellent drum solo. The bass seems to be the engine here. Things relax then for "You Go To My Head." But relaxed does not mean dull, with Billy Lester's piano work keeping us fully engaged. There is a playful sense to "Just Friends," particularly in some of Billy Lester's work. This track also features some great stuff on drums, even before the solo. It is the drumming that makes this track so appealing to me. Then "Out Of Nowhere" is intriguing from the start, particularly the work on piano, which is thrilling at moments. There is then a strong energy to the trio's rendition of "Lover, Come Back To Me," which pops and crackles. Billy Lester wraps up the album with an original piece, "Free Improvisation," which itself takes us on an interesting journey. A dramatic piano solo to close things out. This album is scheduled to be released on September 12, 2025.

Deborah Silver With The Count Basie Orchestra: "Basie Rocks!" - Vocalist Deborah Silver, backed by The Count Basie Orchestra (along with some special guests), tackles some popular rock numbers from the 1960s, 1970s and 1980s on this album. The album opens with The Rolling Stones' "Paint It, Black," featuring special guest Arturo Sandoval on trumpet. Arturo delivers an excellent lead in the middle of the track. Deborah Silver gives us a passionate vocal performance. I especially love how she delivers a line like, "I look inside myself and I see my heart is black." That's followed by a totally delightful rendition of Elton John's "Bennie And The Jets" which kind of sneaks in and then suddenly announces itself with a bright burst of energy. Deborah's vocal approach is really cool here, giving me a new appreciation of this song. Also, all the lines are delivered with clarity (so, no, it's not "electric boobs," friends), and toward the end she's able to cut loose a bit. This is a truly excellent rendition, and it is followed by another outstanding track, "Baby, I Love Your Way." Her approach to this song is absolutely delicious, with the right amount of romance in her delivery. It's gorgeous and enthralling. And making it even more special, Peter Frampton comes in on guitar in the middle of the track, delivering a nice lead. This track is reason enough to add the album to your collection. Then "Tainted Love" begins with some cool work by guest John Clayton on bass. Here this song becomes a great duet, with Kurt Elling joining Deborah Silver on vocals. Another fresh and exciting approach to a well-known song. Her version of "A Hard Day's Night" swings, and has some vibrant moments, and also a playful vocal section toward the end. "Joy To The World" becomes a duet, this one with Trombone Shorty, who also delivers some wonderful stuff on trombone. Then Bill Frisell delivers an excellent guitar lead on "Fly Like An Eagle." Another of the album's more surprising arrangements is on The Police's "Every Breath You Take," and this rendition is a delight. It has something of an early 1960s vibe at times, and special guest George Coleman delivers some nice work on tenor saxophone. The album concludes with "Life's Been Good," which kicks in with a big band joy, and makes us feel that life is good, that we're all okay. This album was released on May 2, 2025.