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Wednesday, December 31, 2025

December archive (closed).

Music: Current count 45382 [45342] rated (+40), 9 [3] unrated (+6).

This was originally published as a placeholder. It has since been updated with all records up through December 31.

The main reason I wanted to post this early is to give you an update on the 20th Annual Francis Davis Jazz Critics Poll. I wound up counting 167 ballots. This is net down 10 from 2024. The actual number of 2024 voters who didn't vote in 2025 was minus 30, but we picked up 12 new voters, and 8 previous voters who had missed 2024. My impression is that the drop was mostly attributable to too many people having too much crap going on in their lives. Every year I vow to work harder and smarter to get more votes out. In some ways I thought I did this year, but the numbers didn't add up.

Still, we got good results, from a terrific group of critics, who've once again been a pleasure to work with. We've voted for 569 new jazz albums and 206 rara avis — a good third of those are albums I hadn't heard. (I've been frantically trying to catch up since I started getting ballots back, but steadily losing ground. I have them marked somewhere, but not easy to count. I can confirm that that among 2025 releases, so far I've heard 1351 albums (of which 838 are jazz, somewhat loosely defined.) My own Best Jazz Albums of 2025 list has grown to 89 ranked A-list (new, +6 late-2024 adds; the old music section is up to 28 + 2). The album counts are probably a bit more than my usual year, yet I've never felt further behind. Still, I would be much further behind without the poll.

The next step for me is to prepare the essays to accompany the poll results when Arts Fuse publishes them in a few days. (I'm aiming for Jan. 5, which is scary soon, but also promises the end of one difficult period, and the start of a hopefully better one.) The big difference this year is that Francis Davis is no longer with us. I have no illusions of being able to fill his shoes. And I'm notoriously bad at pressure deadlines, so I've come up with a scheme to finesse the essays: I'm going to write the frameworks, which will explain what the poll does and what each table is, and then hang some comments on the end. I've asked for help especially with the comments. I've gotten some, and will hustle up some more. And in a pinch, I figure I have quite a bit of old writing I can recycle. So instead of losing myself in deep thought about the structure of an essay, I can just slap on some scattered notes.

At least that's the theory. To make it work, I need to solicit comments, and that's the purpose of this partial Music Week. I've written this pitch several times already, so I'm just going to pick one draft up and edit it a bit:

I'm asking anyhow who cares to to send me little paragraph-sized bits of writing that I can mix into my framework. If it works out, we'll have more viewpoints, and more insights, than I could ever muster on my own. (If it doesn't, we'll just have shorter essays, and you can figure out the data yourself.) The problem, beyond the usual one of getting anyone to do anything except for cash, is that we have very little time, and most of you won't be able to see the poll data, let alone the essay outlines, until after my deadlines. But it shouldn't be hard to guess what I'm looking for:

1. Five essays correspond to our five categories (New, Old, Vocal, Latin, Debut), which is to say albums, and maybe artists or labels. I could use one small blurb on each of the probable winners (and you can probably guess who they are) and a few on other albums that have been unjustly ignored (and again, your guess is probably a good one).

2. The "In Memoriam" essay will mostly be a list of people who died in 2025, with basic one-line identifiers. If you want to say a bit more about someone in particular, this is your chance. [A very quickly selected list is here; for a much more substantial list, see Jazz Passings.]

3. Our founder and namesake, Francis Davis, died in April. I want to have a piece on "Francis Davis & His Poll," so I would welcome comments, stories, even complaints there.

4. We do a list of critics who voted, so that will be in its own piece this time. The list for this one is on the website. I don't expect many comments to this, but if you have one, we have a place for it.

5. I'm not looking for comments on the state of the world, business, the arts, etc., but you're welcome to try. (We don't have an article planned to hang such things on, but it wouldn't be hard to set me off. I left it out because I figured we could get away without one, and I wasn't sure Arts Fuse would even want one. On the other hand, I'll have plenty to say about such things later on.)

These comments will be integrated into the articles, in a final section, where each one will be introduced by the author name (in bold). It will look rather like a panel discussion transcript. The comments will be edited, and you will get a chance to see and revise the edits. We'll decide what to publish, and not. We're looking for comments that add insight to the articles. We're not looking for flattery, or controversy. Be critical if you have a point, but if you want to trash someone, find your own forum for that.

You don't have to have voted to submit comments. You may submit something from previously published work. We're assuming that anything submitted is clear for our use. It is possible that we will add late comments in a revised edition of the essays, but deadline for publication is Jan. 4, and earlier is better.

If your comment is dependent on some data, please ask. One such example is data analysis. For instance, if you wanted to calculate "centrism" for a critics comment, you will need data, and we'll consider providing it. We may solicit some comments. We may write out own to try to fill what we perceive as gaps. We may scrounge around looking for suitable material. If you wish to join us in this project, just let me know. I run an email list called jpadmin, and its members get more access (as well as more whiny email from me).

The best way to send comments in email addressed to 25comments AT hullworks.net.

I also want to encourage people to write about the poll on their own media. Let me know if I can help facilitate that.

One thing I've had no time to do during poll time has been to write anything for my Notes on Everyday Life newsletter. I got up Christmas morning, and wrote a fairly long entry into my online notebook, reminiscing about Christmases from my childhood up to the present day. About midway through it occurred to me that I had something that might be worth publishing, so I started tuning it up a bit. A couple days later, I posted it as Christmas 1950-2025 (archived copy here). I had last week's dinner pic, but I couldn't find anything from back in the day, so I appealed to my brother's family — they had taken most of the old family photos when they moved to Washington. My nephew found an old slide of me in front of an unlit Christmas tree, next to the parachute drop, which was the ultimate project from the Erector Set, one of my best remembered Christmas presents. No date given, but I was probably 9 at the time (1959), plus or minus a year but probably not two. The metal box it came in is to the lower left, and our b&w tv is in the corner. I think that was our second tv, probably bought around 1957, to be replaced with a color model around 1962-63 (in a wider, dark brown cabinet). The windows faced west, to the front of the house, so blinds and curtains were necessary to block out the afternoon sun. The room had two easy chairs for my parents, facing the tv, and a couch along the north wall. When we ate dinner, I sat in the one spot in the dining room that offered a clear view of the tv, which would be tuned into Huntley-Brinkley at our 5:30 dinner time.

I tried to wrap this up after midnight, but couldn't cope, and left it for morning. Dec. 31 brought an expansion of this week's A-list from the three NoBusiness albums to seven widely varied but still all jazz records. One thing to ponder at this point is that only one of the seven received any poll votes (Joe Alterman, one vote by Sanford Josephson). The NoBusiness package and the Rick Roe were late arrivals. (The other two NoBusiness releases, Oliver Lake and Bobby Naughton, did receive Rara Avis votes. Arkady Gotesman would have made my ballot had I heard it in time.)

While I got very little essay writing done yesterday, I did finally manage to start reading past Francis Davis essays (as well as a couple of min), which is giving me a lot to think about. I noticed, for instance, that Davis rarely flinched from political issues, even in years when their impact was much less overwhelming than at present. Also that many of his pieces were pretty short (whereas some of mine were extravagantly long). I've gotten very little back on the comment front, which will probably turn out to be a bust (but is still an interesting concept).

I expect to do better today, and better still tomorrow. At some point the dam will burst, and I'll have more words than I know what to do with. For instance, I should be able to do something with this letter I found (from 2022, by Francis, in response to a proposal to move the poll, from a voter who has since parted ways):

Voters and readers alike look at the results and I think assume the poll conducts itself. It doesn't. Having now conducted 16 of them, I can say it's hard work (even now with Tom shouldering most of the load). The work typically begins with finding a host publication . . . and still another is having to browbeat so many critics into voting. . . .

I like to think that if I do drop out, Tom or someone else will take over, though I'm just vain enough to worry it won't be the same thing without me. (For one thing, it might skew too much to one school of jazz, to the exclusion of the consensus I've striven for each go-round.) But whoever wants to continue the poll, assuming I decide not to, has my blessing.

One question this raises in my mind is: is there any consensus any more? is consensus even possible? and even if it is, would that be a good thing? Of course, I'm not going to try to answer those questions. Just to raise them may be all we can do.

Needless to say, I'm way behind on my indexing. I used to laugh it off when people would comment about all my "hard work," but this is the year when it's finally gotten hard. I'm looking forward to working on something else. Or just cleaning up the residual mess, which is substantial.

New records reviewed this week:

Marshall Allen: The Omniverse Oriki (2023 [2025], High Two): Alto saxophonist, turned 100 last year, around the time that New Dawn was being touted as his "debut" album: a lie, or at least a ridiculous rationalization that proved so attractive that I wound up rejecting a dozen poll votes for him in the Debut category. The idea that one can always start afresh is as seductive as ever, but to promote it you have to overlook 70+ years of real, substantial accomplishment. True he spent most of his career just playing in Sun Ra's Arkestra, but after its namesake passed in 1993, Allen not only took over but put his name on the revitalized ghost band (at least 6 albums since 1999). Moreover, he's increasingly played with other ad hoc groups: Discogs has him on the slugline of 28 more albums, and has him playing on 400. Allen also got votes (including one Debut) for his Ghost Horizons album, but this one, where Allen's trio meets up with Kevin Diehl's bata drums and a Lucumi chorus led by Joseph Toledo escaped attention. It is a little darker and drabber than their early work as Sonic Liberation Front, but we're all getting older (even Allen), and the expanding universe is still getting emptier. A- [bc]

Joe Alterman Feat. Houston Person: Brisket for Breakfast (2023 [2025], self-released): Pianist, from Atlanta, blurb cites praise from Ahmad Jamal, Les McCann,and Ramsey Lewis, and he has a McCann tribute among his nine albums since 2009. He seems to be a fine mainstream pianist, with a bass/drums trio playing standards, but my interest is the saxophonist, approaching 90 when this was cut. It's a delight, not least when the pianist breaks loose. A- [sp]

Ashé Mystics: Fizzy Bubble Hummm (2025, High Two): Another new Kevin Diehl group, "Ashé" a Yoruba word previously used in a Sonic Liberation Front title (Ashé a Go-Go, from 2005). Trio with Joshua Marquez and Julius Masri, both described as "multi-instrumentalist," the former more focused on guitar the latter drums. B+(***) [bc]

Olie Brice: All It Was (2024 [2025], West Hill): British bassist, based in London, has led a bunch of album since 2015, with many more side credits. Quartet with Rachel Musson (tenor sax), Alexander Hawkins (piano), and Will Glaser (drums). B+(***) [bc]

Cortex & Hedvig Mollestad: Did We Really? (2025, Sauajazz): Norwegian group led by Thomas Johansson (trumpet) — with sax, bass, and drums — "(17)" at Discogs, which credits then with 9 albums since 2011, including this one with the guitarist. B+(**) [bc]

Lao Dan/Vasco Trilla: New Species (2024 [2025], NoBusiness): Chinese musician, trained in traditional flutes, regarded as a master with a number of albums since 2018, picked up tenor sax and branched into free jazz, although credits line here includes "diy flute, dizi (Chinese flute). Duo with Spanish drummer recorded in Shenzhen, bridges their worlds effectively. A- [cd]

Lao Dan: To Hit a Pressure Point (2024 [2025], Relative Pitch): Solo tenor saxophone on 7 (of 9) tracks, with suona ("a loud, high-pitched Chinese double-reed woodwind") on one, and "effects" on the other — the last track, which finally achieves a level of intensity unexpected in solo work. B+(**) [sp]

Dieuf-Dieul De Thiès: Dieuf-Dieul De Thiès (2024, Buda Musique): Mbalax group from Senegal, two albums of their early work from 1981 were compiled by Teranga Beat and released 2013-15. The group split up in 1983, but regrouped in 2015, touring Europe in 2017. This is billed as their first studio album, but unclear when it was recorded. (One credit is that it was recorded by Christian Hierro, whose technical credits only go back to 2004.) B+(***) [sp]

Editrix: The Big E (2024 [2025], Joyful Noise): Fringe jazz guitarist Wendy Eisenberg (guitar), sings in this post-punk trio with bass (Steve Cameron) and drums (Josh Daniel), third album since 2021. B+(*) [bc]

Effie: Pullup to Busan 4 More Hyper Summer It's Gonna Be a Fuckin Movie (2025, Sound Republica, EP): Korea rapper, 2nd EP, 6 songs, 13:23, topped a New York Times EOY list, call it "hyperpop" if you like, all glitchy and senseless. B [sp]

Peter Evans, Mike Pride: A Window, Basically (2022-25 [2025], Relative Pitch): Avant trumpet and drums duo. This is often terrific. B+(***) [bc]

Feeo: Goodness (2025, AD 93): British electronic composer Theodora Laird, first album after some singles, sings, which provides most of the focus here, posing as secular gospel, ethereal and insubstantial. B [sp]

Frode Gjerstad/Alexander von Schlippenbach/Dag Magnus Narvesen: Seven Tracks (2024 [2025], Relative Pitch): Norwegian alto sax/clarinet player, Discogs lists 174 performance credits since 1983, notably his groups Detail and Circulasione Totale Orchestra, plus many collaborations ranging from Han Bennink to Ken Vandermark. Trio with the legendary pianist and a drummer who has previous duo albums with each. B+(***) [bc]

ICP Orchestra: Happy Birthday → Naar Zee Z.O.Z. (2025, ICP): The gang's all here, on the occasion of what would have been founder-pianist Misha Mengelberg's 90th birthday, with Guus Janssen filling at the piano, and possibly only drummer Han Bennink still here from the Instant Composer Pool's 1967 Tentet debut.. B+(**) [bc]

Instant Arts Quartet: Lingua Franca (2023 [2025], High Two): Philadelphia-based percussionist Kevin Diehl, best known for leading Sonic Liberation Front, with bass (Pete Dennis) and two horns: Terry Lawson (tenor sax) and Matt Lavelle (trumpet, alto/bass clarinet), with some switches to bamboo flute, gong, and bells. The horns spin freely, relentless conflict and communication, as no one's writing harmony lines here. A- [bc]

Fabia Mantwill Orchestra: In.Sight (2025, GroupUP Music): German saxophonist, sings some, second album, orchestra is loaded with strings, has half a big band's load of horns, adds harp and mallets, uses guitar but no piano, has guest spots for kora, accordion, and lap steel. B+(**) [bc]

Dave McMurray: I Love Life Even When I'm Hurting (2025, Blue Note): Saxophonist from Detroit, discography starts around 1980 with Griot Galaxy and Was (Not Was), has involved a lot of prominent studio work (B.B. King, Bob Dylan, Gladys Knight, Rolling Stones, B-52s, Iggy Pop, Bootsy Collins, John Sinclair, Mitch Ryder, Brian Wilson, Nancy Wilson, Geri Allen, Kid Rock), with occasional records as a leader (3 1999-2003 albums on Hip Bop, Blue Note since 2018). I like the grit in his saxophone here. I'm less impressed with his vocalists (Herschel Boone, Kem). B+(*) [sp]

Otherworld Ensemble: Soul Bird (2025, Edgetone): Septet, principally Heikki Koskinen (e-trumpet, piano, tenor recorder, ocarina, birch bark horn, bird calls) and Rent Romus (alto & soprano saxes c-flute, bird calls), with all but Vinny Golia adding to the bird calls chorus. B+(**) [cd]

Zeena Parkins: Lament for the Maker (2024 [2025], Relative Pitch): Harpist, from Detroit, straddles avant-classical and avant-jazz, several dozen albums since 1987, also electronics here, performing four pieces (12:43 to 17:18), one she composed, others by Laetitia Sonami, John Bischoff, and James Fei. B+(*) [sp]

Anaïs Reno: Lady of the Lavender Mist (2025, Club44): Standards singer, born in Switzerland, moved to New York when she was 2, second studio album after a fine set of Ellington & Strayhorn songs in 2021. She wrote a lyric here, again for an Ellington tune. Featuring Peter Bernstein (guitar), with bass (David Wong) and drums (Joe Farnsworth). B+(**) [sp]

Crystabel Efemena Riley: Live at Ormside (2025, Infant Tree): British drummer, noticed her in the duo @xcrswx (with Seymour Wright) and the group X-Ray Hex-Tet, first name credit is this 17:52 drum solo. B+(*) [bc]

Diego Rivera: West Circle (2023 [2025], Posi-Tone): Mainstream tenor saxophonist, born in Ann Arbor, long taught in East Lansing, has close to a dozen albums since 2013, also plays soprano on two tracks here. Wrote 7 (of 10) songs, with one by his pianist (Art Hirahara), two covers one from Herbie Hancock. With label regulars Boris Kozlov (bass) and Rudy Royston (drums). Strong form, as usual. B+(**) [sp]

Herb Robertson/Christopher Dell/Christian Ramond/Klaus Kugel: Blue Transient (2024 [2025], Nemu, 2CD): Trumpet, vibes, bass, and drums. Trumpet player got his start with Tim Berne in 1983, also played a lot with Mark Helias and Gerry Hemingway, died in December 2024, so not much after this. The others are German, 8-14 years younger, but they've made the rounds, with Dell having the highest profile. B+(***) [cd]

Rick Roe: Wake Up Call: The Music of Gregg Hill (2025, Cold Plunge): Tenth album I've heard since 2017 of Hill's compositions, all by Hill's former Michigan State students (Roe, Michael Dease, Randy Napoleon, Rodney Whitaker, and the younger, lesser-known Techno Cats). I always figured these were vanity projects, notable mostly because no other composer with no real performance credits has done so much promotion. But this postbop with an extra shot of swing is a consistent delight, especially the tenor sax of Marcus Elliot, but also some slick piano, with Robert Hurst on bass and Nate Winn on drums. A- [cd]

Joris Roelofs/Guus Janssen/Han Bennink: Rite of Spring (2025, ICP): French-born, Amsterdam-based saxophonist, plays bass clarinet here, has played with Vienna Art Orchestra and ICP Septet, joins the latter's pianist and drummer for a delightful set of standards (mostly Monk), with one original, two from Janssen, and one from ICP founder Misha Mengelberg. B+(***) [bc]

Sophie Tassignon: A Slender Thread (2025, Nemu): Belgian singer-songwriter, sometimes writes lyrics to others' music, sometimes writes music to other lyrics, sometimes just arranges, sings, dubs in electronics. Interesting, but leans too classical for my ears, and not just because the lead composer is someone named Bach. B+(*) [cd]

Ziv Taubenfeld/Helena Espvall/João Sousa: You, Full of Sources and Night (2024 [2025], NoBusiness): Bass clarinet, cello, drums trio, the former an Israeli based in Lisbon with a half dozen albums since 2016. The combination works especially well. A- [cd]

Thalin, Cravinos, VCR Slim, Pirlo & Iloveyouangelo: Maria Esmeralda (2024, Sujoground): Brazilian rappers, at least the first three, as individual piece credits tend to follow the headline order. There is a whole scene here I'm basically clueless to. I can't follow, and had to turn this up to get any clarity, but sonically someone suggested DJ Shadow, and this feels like it may be even heavier. B+(***) [sp]

Luís Vicente: Live in Coimbra (2020 [2025], Combustão Lenta): Portuguese trumpet player, has a lot of work since 2012, solo here, which is always a sketchy proposition. B+(*) [bc]

Luis Vicente/John Dikeman/William Parker/Hamid Drake: No Kings! (2022 [2025], JACC): Trumpet, tenor sax, bass, and drums, one 68:02 live improv from Bimhuis, the title (I suspect) slapped on post facto. B+(***) [bc]

Recent reissues, compilations, and vault discoveries:

Han Bennink & Misha Mengelberg: ICP010 (1971 [2025], ICP): Dutch avant-garde drummer and pianist, played together as early as 1961, sharing a credit on Eric Dolphy's Last Date (1964), co-founders (with Willem Breuker) of Instant Composers Pool in 1967, this the label's 10th release (1972), titled Instant Composers Pool at the time. B+(*) [bc]

Michel Doneda & Frederic Blondy: Points of Convergence (2014 [2025], Relative Pitch): French soprano saxophonist, also plays sopranino here, many albums start in 1985, this a duo with piano. Long album (8 tracks, 106:28), takes a while to kick in — 6th track, when the piano starts punching hard. B+(**) [bc]

Bill Evans: Haunted Heart: The Legendary Riverside Studio Recordings (1959-61 [2025], Craft): The pianist's 1956-63 The Complete Riverside Recordings ran 12-CD, but this narrowly focuses on the two studio albums he made with his most famous trio, with Paul Motian (drums) and Scott LaFaro (bass), which came to an abrupt end when LaFaro was killed in a car crash, just a month after the live sets they are most famous for (Sunday at the Village Vanguard and Waltz for Debby, which eventually grew into their own 3-CD box). CD reissues of the two albums added extra takes, and this adds still more, reaching 43 tracks, running 212 minutes. That's a lot more than seems necessary. B+(***) [sp]

Arkady Gotesman: Music for an Imaginary Ballet (2000-25 [2025], NoBusiness): Lithuanian drummer, b. 1959, credits since 1990, some as Arkadijus Gotesmanas, including early work with Vyacheslav Ganelin and Charles Gayle. This "summation of a thirty-year journey" impressed first with its earliest recording, a duo with saxophonist Liudas Mockunas, then skips around, including 2025 live sets with Jan Makismovic's trio and a duo with Martin Küchen, bits with Ganelin and Gayle, Ned Rothenberg and Nate Wooley, a drums duo with Mark Sanders, and more, held together by his own relentlessly creative percussion. A- [cd]

Oliver Lake: Live From Studio Rivbea 1975 & 1976 [Rivbea Live! Series, Volume 4] (1975-76 [2025], NoBusiness): Alto saxophonist, from St. Louis, early in a long and distinguished career, two sets (17:06 and 55:52) with Michael Gregory Jackson (guitar) and Fred Hopkins (bass), different drummers (Phillip Wilson and Jerome Cooper), plus trumpet (Baikida Carroll) on one long second set cut. B+(***) [cd]

Bobby Naughton Trio: Housatonic Rumble: Live at Charlie's Tap (1985 [2025], NoBusiness): Vibraphonist (1944-2022), from Boston, several obscure albums, side-credits with Leo Smith and Roscoe Mitchell. Engaging trio with Joe Fonda (bass) and Randy Kaye (drums). [cd]

Archie Shepp and the Full Moon Ensemble: Live in Antibes (1970 [2025], BYG): Tenor saxophonist, a major avant-garde figure starting out from 1963 (New York Contemporary Five), mostly on Impulse, but had several albums released in the French Actuell series 1969-70, with this live set originally appearing in two volumes. With Clifford Thornton (trumpet/piano), Allen Shorter (flugelhorn), Joseph Déjean (gitar), and Claude Delcloo (drums). Quite a bit of piano here, by Shepp as well as Thornton. B+(**) [yt]

Alan Silva and His Celestrial Communication Orchestra: Luna Surface (1969 [2025], BYG): Best known as a bassist, born in Bermuda, grew up in New York, played with Sun Ra in 1964, also Cecil Taylor, Sunny Murray, and Albert Ayler before this (first or second album), plays violin here, as does Leroy Jenkins. Large group, from a session which produced a bunch of albums under various leaders. Notable here that there were two bassists, Beb Guérin and Malachi Favors, and that the sax section included Anthony Braxton and Archie Shepp. Intense, tough going, but short (28:20). B+(**) [sp]

Old music:

Chuck Redd: All This and Heaven Too (2002, Arbors): Vibraphonist, also known as a drummer, has several albums and more credits since 1996, mostly on or adjacent to this retro-swing label, often working with Charlie Byrd and Ken Peplowski. A name I barely recognized when he made news recently for canceling a "Trump-Kennedy Center" Christmas Eve performance, so I thought a refresher would be in order. (I also see that the Cookers canceled their New Years Eve gig at TKC.) Mostly trio here with Gene Bertoncini (guitar) and George Mraz (bass), playing old standards and early bebop (Charlie Parker, Thad Jones). Rather sedate, although it picks up a bit when Peplowski (tenor sax/clarinet) guests. B+(*) [sp]

Joris Roelofs/Han Bennink: Icarus (2018 [2023], ICP): Duo, the former playing bass and Bb clarinet, the latter mostly drums, but also credited with "balk, C clarinet, piano." B+(**) [bc]

Unpacking: Found in the mail last week:

• Naseem Alatrash: Bright Colors on a Dark Canvas (Levantine Music) [02-27]
• Lao Dan/Vasco Trilla: New Species (NoBusiness) [11-08]
• Kris Davis and the Lutoslawski Quartet: The Solastalgia Suite (Pyroclastic) [01-09]
• Maja Jaku: Blessed & Bewitched (Origin) [10-17]
• Oliver Lake: Live From Studio Rivbea 1975 & 1976 [Rivbea Live! Series, Volume 4] (NoBusiness) [11-08]
• Luke Marantz/Simon Jermyn: Echoes (Chill Tone) [01-09]
• Bobby Naughton Trio: Housatonic Rumble: Live at Charlie's Tap (1985, NoBusiness) [11-08]
• Otherworld Ensemble: Soul Bird (Edgetone) [09-30]
• Rick Roe: Wake Up Call: The Music of Gregg Hill (Cold Plunge) [12-19]
• Brad Schrader: Late Nights With Brad Schrader (self-released) [11-20]
• Dave Stryker: Blue Fire: The Van Gelder Session (Strikezone) [01-09]
• Ziv Taubenfeld/Helena Espvall/João Sousa: You, Full of Sources and Night (NoBusiness) [11-08]
• Vance Thompson: Lost and Found (Moondo) [01-16]
• John Vanore & Abstract Truth: Easter Island Suite (Acoustical Concepts) [02-06]
• Gabriel Zucker: Confession (Boomslang) [11-21]

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