Streamnotes: July 30, 2026

Most of these are short notes/reviews based on streaming records from Napster (formerly Rhapsody; other sources are noted in brackets). They are snap judgments, usually based on one or two plays, accumulated since my last post along these lines, back on June 27. Past reviews and more information are available here (26500+ records).

New Music

Ricky Alexander: Ragology (2025 [2026], Turtle Bay): Clarinet player, third album since 2018 (plus one with singer Sweet Megg), "takes an emphatic dive into the roots of ragtime and tangentially related genres that morphed into jazz." Conal Fowkes plays piano, along with banjo, bass, and drums. B+(***) [sp]

Zoh Amba: Eyes Full (2026, Matador): B. 2000, made a big splash in 2022-23 with a flurry of astonishing free jazz saxophone albums, reinvents herself as a guitar-playing, Dylanesque singer-songwriter, but lower-fi and occasionally dissolving into some kind of detuned Sonic Youth postpunk. Not a direction I'd like to encourage, but fairly unique even if the signposts are easily recognized. A− [sp]

Florian Arbenz Feat. Bill Frisell/Greg Osby: Quiet Lights (2026, Hammer/Conversation Lab): Swiss drummer, started in the trio Vein, started remotely piecing together his "Conversations" during the pandemic, originally by passing tapes back and forth. This started with the drummer's soundscapes, but was recorded in a studio session without overdubs. B+(***) [sp]

Julian Argüelles: Echo Fields (2026, Escapade): English saxophonist (tenor/soprano), albums since 1991, trio with Larry Grenadier (bass) and Jorge Rossy (drums). B+(**) [bc]

Barcelona Art Orchestra & Miguel Zenón: Expressions: Concerto for Alto Saxophone and Orchestra (2025 [2026], Miel Music): Barcelona-based group, has at least one previous album, led by Néstor Giménez (piano), Lluc Casares (tenor sax), Joan Vidal (drums), and Lluis Vidal (piano), each composing a section here, featuring the alto saxophonist. B+(*) [sp]

Josh Berman Trio: Everybody Else's Life Too (2025 [2026], Corbett vs. Dempsey): Chicago cornet player, credits start in 2002, include groups with Keefe Jackson, Ken Vandermark, Mike Reed, Jason Adasiewicz, many more. Trio with Jason Roebke (bass) and Chris Corsano (drums). B+(***) [bc]

Ran Blake & Dominique Eade: Roots & Byways (2023 [2026], Sunnyside): Pianist, debut 1965, won a MacArthur in 1988 (along with Max Roach, the first jazz musicians so honored), many records, I haven't done the math but roughly speaking they fall into three fairly equal bins: solos, trios, and duos with singers (starting with Jeanne Lee in 1966). (Although as with all generalizations, there are exceptions: my favorite of his albums is a piano duo with Clare Ritter, Eclipse Orange, and I very rarely fall for piano duos.) Eade has 9 albums since 1990, this her 3rd with Blake. She is one of those soprano divas I rarely react well to, but Blake brings out the best in her. B+(***) [cd]

Seamus Blake: The Electrifying Seamus Blake Plays the Music of Eddie Harris: EH! (2025 [2026], Cellar): Tenor saxophonist, born in London, raised in Vancouver, has lived all over (Discogs says New York; Bandcamp page puts him in Cologne), has worked steadily since 1991 (Discogs credits him on 211 albums). This opens with Dawn Pemberton singing "Compared to What?" — backed by Sam Yahel (organ/keyboards), Tim Lefebvre (electric bass), and Corey Fonville (drums). This makes for agreeable funk, but the sax seems shortchanged. B+(*) [sp]

Patricia Brennan/Sylvie Courvoisier: Talamanti (2024 [2026], Antlia): Mallets player, from Mexico, based in New York, won our debut poll in 2018, finished 1st and 2nd overall with her last two albums, in a duo here with the Swiss pianist. Piano-vibes duos are rather common. B+(***) [sp]

Ron Carter & Yotam Silberstein: Duets (2026, Jojo): Bass and guitar duo: the 89-year-old bassist almost certainly holds some kind of record for most albums appeared on; while he's still best known for his 1960s work with Miles Davis, one could probably construct a whole CG from his duo work, and delight in doing so. (Pick hit would be Chemistry, his 2016 duo with Houston Person.) The guitarist has appeared regularly since 2008, with a soft tone and delicacy that I find pleasant but rarely give a second thought. But this brief set (2 originals, 7 standards, 34:02) raises pleasant to pleasure. A− [cd]

Gabrielle Cavassa: Diavola (2026, Blue Note): Jazz singer, "Blue Note debut" but actually one previous album, also a feature with Joshua Redman (2023), two songwriting credits here. A very skilled singer, with unusual song selection. Jeff Parker plays guitar, with Larry Grenadier (bass) and Brian Blade (drums). Redman plays tenor sax on two tracks. B+(**) [sp]

Cheer-Accident: Your Smile / The Song Is Over (2026, Cuneiform): Prog rock group, founded 1981 by Thymme Jones, released their first album in 1986, hype sheet says this is their 27th without specifying when, but it is packaged (at least with my download) with two 2022-23 live shows, offered separately on Bandcamp. This hardly seemed worth the trouble until "The Blue Lie," a 9:37 hard groove piece, marred by unnecessary vocals. B [dl]

Cheer-Accident: CheerAx Basement, Chicago 4/2/22 // Reggie's Chicago 9/26/23 (2022-23 [2026], Cuneiform): Two live sets, available separate or bundled with the new album, the first expanding the septet to nine with an extra singer and drummer. It's not unfathomable that they would have a cult following, but this is an awful lot of not so very much. [PS: I left this hanging overnight, then finished it the next morning. When I was fresher, I found myself more amused and less annoyed, so nudged the grade up a bit, while doubling down on my summary line.] B+(*) [dl]

Cimota: [ˈkɪmɔtɑː] (2025 [2026], Sonic Transmissions): Norwegian group, all compositions by pianist Håvard Wiik, with trumpet (Eivind Lønning), sax (Espen Reinertsen), bass (Ingebrigt Håker Flaten), and drums (Hans Hulbækmo). [bc]

Alexander Claffy: Alive in Philadelphia Vol. 1: At Chris' Jazz Cafe (2025 [2026], Cellar): Bassist, has several albums since 2016, more side credits, mostly mainstream. Leads a veteran quintet with two saxophonists — Seamus Blake (tenor) and Jaleel Shaw (alto) — piano (Kevin Hays) and drums (Bill Stewart). Strong set, especially for Blake. B+(**) [sp]

Mike Clark: Kuon Ganjo (Time Without Beginning) (2025 [2026], Wide Hive): Drummer, made his mark in the 1970s with Herbie Hancock, and has been central to all the later Headhunters revivals. Returns here with a funk-oriented hard bop group: Eddie Henderson (trumpet), Craig Handy (sax), Patrice Rushen (piano/rhodes), Esiet Okon Essiet (bass). My wife thought this sounded familiar, and indeed half of the pieces are, with the others close enough. B+(**) [cd] [08-07]

Paul Cosentino's Boilermaker Jazz Band: Everything Is Jumpin' (2025, self-released): Clarinet player, leader of a trad jazz group with over a dozen albums back to 1995 (most just under the band name). This one is subtitled "Plays the Artie Shaw Songbook," so mostly hits from 1937-39, with vocals by Erin Keckan. B+(**) [sp]

Dominique Cravic Et Les Primitifs Du Futur: Les Crimes Du Musette (2026, Buda Musique): French guitarist, fondly remembered for two albums Sunnyside released in 2006-08 (World Musette and Tribal Musette, the former dating back to 1999). The booklet (scanned on Discogs) includes two pages of credits, and a gallery of 77 pics, which presumably map to the credits. French chanson, many singers, most offhand as is the fairly minimal music, booklet has notes on the 27 songs but no recording dates, cover art by R. Crumb. B+(***) [sp]

Marilyn Crispell/Anders Jormin: Memento (2025 [2026], ECM): Brilliant pianist, emerged in the 1980s in Anthony Braxton's quartet and on her own outstanding albums. Landed on ECM in 1997 with an Annette Peacock tribute I didn't think much of at the time, probably because I suspected the label of trying to tame her and tone her down, although 2003's The Storyteller and 2008's One Dark Night I Left My Silent House overcame my misgivings. Approaching 80, these are mild, measured duets with bass. Probably too mild. B+(*) [sp]

Caroline Davis: Fallows (2025 [2026], Ropeadope): Alto saxophonist, born in Singapore (parents British and Swedish), moved to Atlanta when she was 6, then to Texas. Eighth album since 2012, solo over electronics (something called the Organelle, which looks to be an open source patch processor and/or sampler). John Surman has done similar things, but never pushed the electronics this far. A− [bc]

Adam De Lucia: The Man Who Would Be King (2025 [2026], self-released): Guitarist, seems to be his first album, but talks about his "path to jazz fusion" starting in 1995 with "a decade of one-on-one study." His compositions, although some feature Oz Noy on guitar, most with Henry Hey (keyboards), Tim Lefebvre (electric bass), and Jordan Perlson (drums), some with sax (Donny McCaslin or Michael Ghegan), vocals (Ghegan and Chrissi Poland), one track with string quartet. One problem is that fusion often sounds heavy, even when the metal is flimsy. Then there's the problem of trying to do much. Maybe he should have aimed a bit lower, like Prince. B [cd] [08-07]

Maya De Vitry: All My Faith (2026, Mad Maker Studios): Folkie singer-songwriter based in Nashville, four previous albums since 2019. Sound reminded me first of Joy of Cooking, then Joni Mitchell (but warmer). That may be enough for now. I'll take the faith on faith. A− [cd] [07-24]

Duchess: A Marvelous Party (2025 [2026], Anzic): Vocal trio, fourth album (including one live) since 2015, all three with notable solo careers: Amy Cervini, Hilary Gardner, Melissa Stylianou. Favors older songs with harmonies reminiscent of the Andrews Sisters, and swinging arrangements by Oded Lev-Ari. B+(**) [sp]

E'DU & Judgitzu: Nuku (2026, Nyege Nyege Tapes): E'DU is a traditional voudou ensemble from Togo. Judgitzu is French producer Julien Hairon. This appears to based on a 2023 recording of the group, a dense thicket of percussion and chant, with a veneer of electronics. [PS: Bandcamp only makes offers the 31:24 remix track, "Edu & Judgitzu," and that's all I've heard; the 29:55 second track, "Edu," appears to be the original, unheard 2023 track. The label usually presents all tracks, so this case is unusual.] B+(**) [bc]

Henriette Eilertsen Trio: Moder (2024 [2026], Motvind): Norwegian flute player, side credits since 2011 and several albums, trio with Joel Ring (cello/electronics) and drums (Øystein Aarnes Vik), with pianist Jon Balke on a couple of cuts. B+(***) [sp]

Emperor X: Unified Field (2026, Bar/None): Singer-songwriter Chad Metheny, albums since 1998, first one I really noticed was Western Teleport (2011). Several strong song on the way out. B+(**) [sp]

Fathers: Fathers (2026, Blue Note): New collective — Kenny Beats (producer), Kiefer (keyboards), CARRTOONS (bass), Nate Smith (drums) — pitch is "to explode existing notions of what jazz is by fearlessly taking the music in new directions." Which is what? Something in the gap between instrumental hip-hop and disco, I guess. Eight pieces, 27:16. Voice on the finale doesn't help. B [sp]

Ingebrigt Håker Flaten (Exit) Knarr: Fly (2025 [2026], Sauajazz): Norwegian bassist, scores, probably hundreds of album since the early 1990s, several with this group since 2021: two saxophonists (Amalie Dahl and Karl Hjalmar Nyberg), piano (Marta Warelis), guitar (Jonathan F. Horne), and drums (Olaf Olsen). B+(***) [bc]

Flöjter: Brest Blow (2025 [2026], Utech/Gigantonium): Improv duo of Mats Gustafsson (flute, slide flute, spilåpipa, harmonica, live electronics, organ, so he left the heavy artillery at home) and Delphine Joussein (flute, electronics). Two tracks, 32:09. B+(**) [bc]

Flöjter: Paris Blow (2025 [2026], Utech/Gigantonium): Same deal, recorded the day before, only more so: 4 tracks, 50:24. B+(***) [bc]

Nick Fraser: Areas (2026, Elastic): Canadian drummer, close to 100 credits since his 1997 debut album, has several albums with Tony Malaby (tenor sax) and Kris Davis (piano), who return here, along with John Kameel Farah (electronics). B+(*) [bc]

Hannah Gill: I Like the Sunrise (2026, Turtle Bay): Standards singer, several albums since 2023, backed by guitar-bass-drums, with Ricky Alexander (sax). B+(**) [bc]

Maria Grand: Both Sides (2026, Lilaila): Swiss saxophonist (tenor/soprano), sings some, half-dozen albums since 2017; first side with bass-drums-percussion; second side with piano (Angelica Sanchez), voice (Jasmine Wilson), and alto sax on two tracks (Immanuel Wilkins). The spoken word is interesting. B+(***) [bc]

Devin Gray/Andrea Parkins/Frank Gratkowski: Hz of Gold (2021 [2026], Rataplan): Drummer, fair number of albums and side-credits since 2006, in an improv trio with electronics/accordion/wurlitzer and saxes/flutes/clarinets. B+(*) [sp]

Hayeminol: Ingen Vår I År (2026, Tarmkylling): Norwegian punk band, but that doesn't sound like the real label, so Discogs also offers psychedelic rock and art rock. Quartet, everyone sings, the two songwriters play 10 + 21 instruments. Reminds me of the Flaming Lips, only in a language I can't understand, for better or worse. B [sp]

Miho Hazama: Frames (2025 [2026], Edition): Japanese composer/conductor, based in New York, tenth album since 2012, has been leaning on European big bands since 2018, here with the Danish Radio Big Band (who Discogs gives a co-credit to, but Bandcamp doesn't). She's very good at this, and they're good enough, but I don't feel like figuring out exactly how much. B+(**) [sp]

Alden Hellmuth: Tether (2026, Leiter): Alto saxophonist from Connecticut ("she grew up surrounded by the legacy of the great saxophonist Jackie McLean"), based in New York, second album, seems to be a quartet with two basses (Logan Kane and Miller Wrenn) and drums (Justin Brown), but also "additional instrumentation" (trumpet, piano, voice, guitar, sound design, lots of effects). B+(***) [sp]

Gerry Hemingway: Live at Bau 4 (2025 [2026], Hat Hut): Drummer, part of Anthony Braxton's famous 1980s Quartet, also of the long-running BassDrumBone trio, with several dozen albums on his own. This one features Izumi Kimura (piano) and Frank Gratkowski (clarinet/bass clarinet/alto sax/alto flute), who turn in exemplary solos, and Christian Weber (bass). A− [cd]

Colin Heshmat: Elastic Groove (2026, HMC): Pianist, first album, quartet with trumpet (Ryo Sasaki), bass (Yuma Takagi), and drums (Ben Cuness), eight originals plus three covers (includine Kenny Dorham and Herbie Hancock). Not especially a groove album. That's just one of many elements subsumed in their postbop. B+(*) [cd] [07-23]

Jana Horn: Jana Horn (2026, No Quarter): Singer-songwriter, born in Texas, based in Austin, but has no discernible country airs; started with an interest in Christian screamo, but teaches and writes fiction, and over three albums has settled into a very spare confessional style, playing guitar and synth, with minimal bits of piano, clarinet, and flute. B+(**) [sp]

House of the Black Gardenia: Mazurka in Jazz (2026, HOTGB): Trad jazz nonet, led by bassist Neil Hopper and vocalist Elise Rana Hopper, second album after a 2020 debut. Mostly original songs, which shifts them from nostalgia act to some kind of cabaret sophistication. A− [sp]

I Compani: Basta! 7-Tet [The Last Concerts 2025] (2025 [2026], I Compani): Dutch group, led by saxophonist Bo van de Graaf, founded in 1985, decided to call it quits after a series of "last concerts" in December 2025. Throughout their career, they've mostly recorded film music, in the circus style that seems peculiar to the Dutch avant-garde (cf. ICP Orchestra and Willem Breuker Kollektief) and is often deliriously wonderful. Core group here includes no household names, so I'll just list instruments: oboe/english horn/duduk, violin, bandoneon, piano/keyboards, bass, drums. A companion volume squeezed another 18 friends onto the stage, and both CDs are reportedly available as Basta! The Last Concerts 2025, but they are split up for streaming, and further information is hard to come by. [NB: Last song glitched out, which I'll assume is Spotify's fault.] B+(**) [sp]

I Compani: Basta! Extended [The Last Concerts 2025] (2025 [2026], I Compani): The Dutch group's farewell concert at Bimhuis in Amsterdam, the Septet-minus-drummer joined by 9 friends (including a replacement drummer) to start, 3 more briefly on the second track, then another 6 for tracks 8-9 (of 13). The vocalists add an element of cabaret to the circus. B+(***) [sp]

Randy Ingram: Sound Within: A Celebration of Bill Evans (2025 [2026], Chill Tone): Pianist from Alaska, eighth album since 2009, trio "featuring" Rufus Reid (bass) and Joe LaBarbera (drums), both with direct links to Evans, adds two originals to two Evans songs, and a batch of standards common to all, done with the care and touch Evans was famous for. B+(***) [cd]

It Was Her Idea: Daughter of War (2025 [2026], PNL): Quartet with singer (sometime cougher) Juliana Venter, backed by piano (Oscar Grönberg), bass (Ole Mortan Vågan), and drums (Paal Nilssen-Love), although I'm more impressed by the piano. B+(*) [sp]

The Joymakers: A Texas-Sized Band (2026, Turtle Bay): Austin-based ten-piece trad jazz outfit, named for a 1920s Texas band of the same name, led by arranger Colin Hancock, who also plays cornet, alto & baritone sax, mellophone, kazoo, and is one of several singers. B+(**) [sp]

Goran Kajfeš Subtropic Arkestra: & Avin Omar (2026, We Jazz, EP): Swedish trumpet player, leading a group that includes two saxophonists (one is Jonas Kullhammar), keyboards, guitar, bass, and drums, featuring the Kurdish-Swedish vocalist, leads off with a trad Kurdish piece ("Suleymanieh") that is pretty captivating. Three songs (23:38), the first of three planned EPs with vocalists. B+(***) [bc]

Mike Khoury: For Hind Rajab (2025 [2026], Relative Pitch): Violinist, based in Detroit, has a couple dozen albums since 2001, found this when I was looking for a forthcoming album with Jason Kao Hwang and two drummers. This is solo, a sound that often gets on my nerves, but nonetheless a tour de force. Hind Rajab was a five-year-old girl in Gaza, killed in the genocide, but unlike most anonymous victims remembered for her recorded calls desperately pleading for help after her family was killed by an Israeli tank (see the Oscar-nominated film, The Voice of Hind Rajab). I'm reminded of The Diary of Anne Frank as one more instance where focus on an individual helps dissolve the mass dehumanization that allowed such mass slaughter to happen. A− [sp]

Andrew Kim: Lineage (2025 [2026], Origin): Trombonist, studied at Michigan State, and draws heavily on their faculty and alumni for his debut album: Sharel Cassity (alto/tenor sax, flute), Xavier Davis (piano), Rodney Whitaker (bass), Ulysses Owens Jr. (drums), with Michael Dease producing and playing baritone sax on two tracks, and Randy Napoleon playing some very tasty guitar on two more. Five originals, two more from the band, new arrangements of JJ Johnson and Curtis Fuller. Perhaps tries to do a bit too much. B+(***) [cd] [07-24]

Kiri Ra!: Nen (2026, We Jazz): Finnish trio, second album, all three play piano, keyboards, balafon, and other instruments — Linda Fredriksson also plays sax and flutes. No recording dates, but "it took 10 years to combine the right pieces for the album." Intricate and slightly exotic music closer to ambient than to jazz, which doesn't mean it isn't. B+(**) [sp]

Knats: A Great Day in Newcastle (2026, Gearbox): "Geordie jazz" group from Newcastle, started by Stan Woodward (electric bass) and Kind David-Ike Elechi (drums), expanded to a quintet for their first album — trumper (Ferg Kilsby), tenor sax, keyboards — expanded much more here, with extra horns, strings, vocals, and Geordie Greep (from Black Midi) on guitar. Seems like another case of the "great" overwhelming the "good." B [sp]

Kirk Knuffke: Brother (2026, SteepleChase): Cornet player, "one of modern jazz's most skilled navigators of the divide between freedom and swing," presents a trio with Charlie Burnham (violin) and Thommy Andersson (bass), mostly keyed to Yusef Lateef. B+(***) [sp]

La La Lars: Lilla Lars (2026, Gothborgen, EP): Swedish drummer Lars Skoglund, has four albums as La La Lars since 2017, many side credits since 1998, trio here with Carl Bagge (piano) and Johan Berthling (bass), four songs (18:00). B+(*) [sp]

Nicolas Leirtrø's Action Now!: Entrance (2025 [2026], Sauajazz): Norwegian bassist, side credits since 2016, just emerging as a leader. Quartet with Mats Gustafsson (saxophones/flute), Kit Downes (organ), and Veslemøy Narvesen (drums), playing the leader's music, which mostly keeps Gustafsson safe from blowing our brains out, although it also saddles him with a flute section I didn't get into — not nearly as much as the loud section at the end. B+(***) [bc]

James Brandon Lewis Quartet: Omni (2025 [2026], Intakt): Tenor saxophonist, possibly the best and certainly the most accomplished of any near his age (42), has won two of our jazz polls, often splitting his vote among multiple projects. Sixth quartet album on this Swiss label, with Aruán Ortiz (piano), Brad Jones (bass), and Chad Taylor (drums). Still keeps you on edge. A− [sp]

Virginia MacDonald: In Search Of . . . (2024 [2026], Cellar): Canadian clarinetist, first album (although Discogs gives her a share of a Canadian Jazz Collective album), side credits especially with Michael Dease and Caity Gyorgy. Backed by piano (Geoffrey Keezer), bass, and drums, with voice on two tracks. B+(***) [cd]

Nduduzo Makhathini: The Myth We Choose (2026, Blue Note): South African pianist, various local labels from 2009, picked up by Blue Note in 2020, fourth album there. He has some credentials as a "traditional sangoma header," which may be context I cannot begin to fathom. Sounds sedated to me, with many vocals I can make no sense of. But the piano has grown on me a bit. B+(*) [sp]

Michael Marcus Quartet: Next Stop Down (2024 [2026], ESP-Disk'): Reeds player, albums since 1991 including the Cosmosamatics (with Sonny Simmons), plays tarogato, soprano and tenor sax here, with "featuring" credits for Rod Williams (piano), Ricky Rodriguez (bass), and Allan Mednard (drums). B+(***) [cd]

Tal Mashiach: Who's Around? (2026, Anzic): Guitarist-bassist, has a previous album as well as appearance in Anat Cohen's Quartetinho. Original pieces, musicians come and go, with only the drummer on most cuts. First impression is rather scattered. Unclear whether multiple plays might elevate that to eclectic. B [cd]

Elan Mehler: Renee Said (2025 [2026], Newvelle): Pianist, based in Brooklyn, eleven albums since 2007, most of his Discogs credits are for producing records on Newvelle, which he co-founded. Originals plus one song each by Paul Motian and Frank Kimbrough. With Scott Robinson (tenor sax), Loren Stillman (alto sax), Ben Monder (guitar), Tony Scherr (drums), and either or both drummers (Francisco Mela and Matt Wilson). B+(**) [sp]

Sei Miguel: Viva! (O Carro De Fogo De Sei Miguel) (2023 [2026], Clean Feed): Portuguese trumpet player (1961-2025), first album 1988. This offers two improv sets (54:56 + 52:24) of an octet with trombone, alto sax, electric guitar, electric bass, organ, drums, and extra percussion, nicely spaced out with plenty of food for thought. This is being billed as the label's final new release, after 25 distinguished years. (A quick check reveals I have 639 of their records in my database: 6 A, 70 A−.) They will be missed, but the music will continue. B+(***) [sp]

Nils Petter Molvær: Be Quiet (2026, Edition): Norwegian trumpet player, a major player in the development of jazztronica in the 1990s, first in Masquelero and then in a series of albums for ECM and Thirsty Ear. This dispenses with the beats, offering a series of ambient duos (one trio), most with electronics or exotica, but also piano (John Paul Jones), cello (Anja Lechner), percussion (Marilyn Mazur), voice (Imogen Heap). Quiet as advertised, which I don't find very engaging. B [sp]

Camila Nebbia & Chris Corsano: Six or Seven Ways Towards Becoming Undone (2025 [2026], Relative Pitch): Tenor sax and drums duo, the former from Argentina but has been tearing up Europe since 2020. B+(***) [sp]

Bob Nell & Michael Bisio Trios: We Are Here (2025 [2026], Origin): Pianist, Discogs only lists 9 appearances, starting in 1979, and most with the bassist, who has logged 128 album credits, so while he's hardly a household name, he is much the more famous musician. Plural as they switch drummers, starting with Adam Greenberg, then Austin Belluscio. Originals by Nell. Nice as these things go. B+(**) [cd] [07-24]

Nolatet: Somethin' to Relax With (2025 [2026], Royal Potato Family): New Orleans quartet, third album since 2016, names on cover: Brian Haas (piano), Mike Dillon (vibes/percussion), Johnny Vidacovich (drums), and James Singleton (bass). Closer to MJQ than anything I associate with New Orleans. B+(*) [sp]

OM: Südpol (2024 [2026], Intakt): Avant-fusion group from Switzerland, active 1972-82 with Urs Leimbruber (sax), Christy Doran (guitar), Bobby Burri (bass), and Fredy Studer (drums), have regrouped on anniversary occasions since then, until Studer died in 2022, and is replaced here by two drummers, Gerry Hemingway and Tony Buck. B+(**) [sp]

Onilu: Jakuta's Dance (2025 [2026], 577): Group name is Yoruba for drummers, was used as title in 2025 for an album attributed to Joe Chambers, Kevin Diehl, and Chad Taylor. I filed that one under the first-listed Chambers, but Diehl (ex Sonic Liberation Front) is the evident leader here, with Taylor out and two more percussionists added: Craig McIver and Daniel Villarreal. While all four know their way around a drum kit, Chambers' first credit is for vibraphone, and McIver's is for marimba. Diehl favors bata drums, and Villarreal adds conga and cajon to all of the above. B+(***) [dl]

Orchestre National De Jazz: With Carla (2025 [2026], ONJ): French big band + strings, created 1986 by the Ministry of Culture, has had 12 directors and released 33 albums. This one seems to be led by Sylvaine Hélary (flute), mostly playing music by the late Carla Bley. B+(**) [bc]

Ivo Perelman/Matthew Shipp/William Parker/Bobby Kapp: Synesthesia (2024 [2026], Defkaz): Avant-saxophonist from Brazil, has hundreds of albums since 1989, many with the pianist, quite a few with the bassist. The drummer's discography is down around 30 credits, but it goes way back to 1967, and includes separate duo albums with Perelman and Shipp, as well as two previous quartet albums. B+(***) [sp]

Ivo Perelman/Elliot Sharp/Cyro Baptista: Triacontagon (2024 [2026], Defkaz): Tenor sax, 8-string electric guitar, percussion/vocals. At some point, one has heard so many Perelman albums that one starts to take the superb sax play for granted, and look to the others for differentiation. From the first note, this album stands out, with its metallic sinews and odd klangs. A− [bc]

Chris Potter: Alive With Ghosts Today (2025 [2026], Edition): Tenor saxophonist, got an early start in 1994, impressive soloist, albums can be uneven. Original pieces here, inspired by John Brown's 1859 uprising, played by a septet featuring Bill Frisell (guitar), with clarinet, trombone, violin, bass, and drums. B+(*) [sp]

Brooks Prumo Orchestra: Good Bait (2025 [2026], self-released): Austin-based guitarist, third group album, a 13-piece big band plus singer Alice Spencer, wants you to dance. B+(**) [sp]

Rebecca Rafla: Fundamentally Unfinished (2024-25 [2026*], Rebecca Raffla Music): Jazz singer-songwriter, also plays flute, offers six originals, including the first five, with four standards, one a taste of Brazil to get the rhythm flowing. Steve Allee plays piano, along with horns and strings. The standards get better, especially with "What a Difference a Day Makes" the closer. [*] "first servicing to the press," after a 2025 self-release. B [cd]

Olivia Rodrigo: You Seem Pretty Sad for a Girl So in Love (2026, Geffen): Pop star, was groomed from a very young age, with vocal, acting, and piano lessons, which got her on screen by 7, and into Disney roles in her teens. Her platinum (6X) debut album in 2021 was one of the year's best, and her sophomore effort topped my 2023 list (if only 3X). First couple songs sound great, but the "girl so in love" side is certain to beat out the "you seem pretty sad" side. But I'm less concerned with the narrative these days than with the sound. So while the hooks get subtler, they're still pretty satisfying. A− [sp]

Catherine Russell: Live at Jazz at Lincoln Center (2024 [2026], Dot Time): Jazz singer, got a late start at 50 with her 2006 debut, but her famous father was older still when she was born (that's swing bandleader Luis Russell, 1902-63, who after 1930 ceded top billing to his star, Louis Armstrong), although her less famous mother, Carline Ray (1925-2013, a singer who played guitar and bass) must have had a more direct influence. She's impressed every time out, but rarely moved this far into the old songs, with a seven-piece swing band — including Jon-Erik Kellso (trumpet), John Allred (trombone), Evan Arntzen (tenor sax/clarinet), and Matt Munisteri (guitar), plus a tap dancer on four tracks. B+(***) [sp]

Sad Daddy: Ozark Shine (2026, Catfish Music/Free Dirt): Arkansas group, Bandcamp page says Eureka Springs, fifth album since 2010, multiple singers, four songwriters: Brian Martin (guitar), Melissa Carper (bass), Joe Sundell (banjo), and Rebecca Patek (fiddle) — Carper also has a solo career with several notable albums. B+(**) [sp]

Cécile McLorin Salvant: With Every Breath I Take (2025 [2026], Nonesuch): Jazz singer, born in Miami, father Haitian, mother French, moved to France at 18, studied classical voice (and Sarah Vaughan), eighth album since 2013, moving into the top echelon of jazz artists — with the MacArthur "genius grant" to prove it, as if winning the vocal section of our poll every year she had an album out wasn't testimony enough. Still, I've never been much of a fan. I admit that she has exceptional technical command (as did Vaughan), but I've never much enjoyed her albums (aside from the odd song or two). And this one, hyped as her first with an orchestra (Metropole Orkest, with big band master Darcy James Argue co-producing), seemed pretty unlikely to appeal. Then I found myself tempted, by "Send in the Clowns" (of all things), followed by "Barbara Song" (I'm always up for Weill, and she has impressed me there before). But after that, nothing really meshes — not even the French song, or her masterful navigation of the notoriously tricky "Lush Life." Why is hard to pin down, or maybe doing so just doesn't seem worth the effort. B+(*) [sp]

Armand Sangalang: Waypoints (2025 [2026], Calligram): Tenor saxophonist from Chicago, second album, quartet with Dave Miller (guitar), Ethan Philion (bass), and Devin Drobka (drums). Mostly originals, but takes a swing at "Body & Soul" that could earn a spot if Gary Giddins ever updated his list. B+(***) [cd] [08-07]

Susana Santos Silva/Vasco Trilla: Mushin (2024 [2026], Defkaz): Trumpet and percussion duo, from Portugal and Spain. B+(*) [bc]

Harry Skoler: Echoes (2026, Red Brick Hill): Clarinetist, debut 1995, not many albums since, this one a quartet featuring Bill Frisell (guitar), with bass (Dezron Douglas) and drums (Johnathan Blake). B+(**) [sp]

SML: Spontaneous Music Live (2025 [2026], International Anthem): Los Angeles-based jazz quintet, third album, two pieces (23:46 + 24:34), selected and mixed from a three-night stand (credit Bryce Gonzales, who mixed Jeff Parker's live EVA IVtet albums). Close-knit group, most also known for their solo efforts: Anna Butterss, Jeremiah Chiu, Josh Johnson, Booker Stardrum, Gregory Uhlmann. Groove is somewhat minimalist, but the differences matter. A− [sp]

Matthew Stevens: Matthew Stevens (2026, Candid): Canadian jazz guitarist, half-dozen albums since 2015, varying cast beyond bass and drums, with Josh Johnson (alto sax) on most tracks, including two vocals, and some Joel Ross vibes. Originals, with a Sonny Sharrock cover. B+(*) [sp]

Soojin Suh: Prism of Existence (2026, Endectomorph Music): Korean drummer, has several previous albums, this a trio with piano (Jaehun Kang) and bass (Hoo Kim), recorded over four sessions (but dates not given). B+(**) [sp]

Helen Sung Big Band: Oracles (2024 [2026], Sunnyside): Pianist, from Houston, parents from China, 10th album since 2003, first big band venture, conventional plus extra percussion. Note songs dedicated to Clark Terry, Wayne Shorter, Ron Carter, and Jimmy Heath. Also a section called "Pianism" that name-checks Barry Harris, Kenny Barron, and Herbie Hancock. B+(*) [sp]

Steve Swallow: Winter Songs (2024 [2026], ECM): Bassist, has played electric since the early 1970s, long associated with Carla Bley, 83 when this was recorded. With Mike Rodriguez (trumpet), Chris Cheek (tenor sax), Steve Cardenas (guitar), Gil Goldstein (piano), and Adam Nussbaum (drums). Original pieces, modestly numbered, elegantly played. B+(***) [sp]

Sweet Megg: Massive Negroni (2026, self-released): Retro standards singer Meaghan Farrell, has a dozen albums since 2017. Less swing and more slow ballads than I expected, but "Where or Win" sticks with you. B+(**) [sp]

Micah Thomas: Lucid (2026, Birdwatcher): Pianist, several albums since 2020, plays in Immanuel Wilkins Quartet. A notable here with Wilkins (alto sax), Kalia Vandever (trombone), Thomas Morgan (bass), and Lesley Mok (drums), but they are very careful to hew to the composer's vision. B+(**) [sp]

Tyler "Twerk" Thomson: Plays in Bands (2026, self-released): New Orleans bassist, "young" by one account, no dates given but earliest side credit I can find, either under Tyler or Twerk, is 2013, but album cover is in the style of the old Bunk Johnson anthologies, and the music dates back a century (more or less). Five tracks with Thomson's Starting 7, followed by five with Charlie Halloran's Quality 6 and 4 with Tommy Mack's Band. Nothing spectacular, but exactly what this classic music should sound like. A− [bc]

Kalia Vandever: Mana (2026, International Anthem): Trombonist, sings some, fifth album since 2019, second solo album, with "spare piano" and other electronic effects. Title Hawaiian. Vibe ambient. Short (7 songs, 27:06). B+(*) [sp]

April Varner: Ella (2025 [2026], Cellar): Standards singer, based in New York, masters degree from Mahnattan School of Music, 2023 winner of "the International Ella Fitzgerald Jazz Vocal Competition," second album (or fourth if you count two volumes of Winter Songs). The notes insist on how original her approaches are to the material, how she "never imitates her long-time idol," instead striving to "capture the spirit of Ella" with "her own creative imagination." Still, her voice is dead on, and her professional help — notably pianist-arranger Emmet Cohen and drummer-producer Ulysses Owens Jr. — know how to work a sure-fire formula, which is great songs swung hard with a more than capable singer. [PS: Alternate parsing of title: Ella by April Varner.] B+(***) [sp]

Karsten Vogel: Late Night Ballads (2026, Storyville): Danish alto saxophonist, b. 1943, credits since the 1960s, albums since 1976. Seven standards and an original, played slow, backed by piano-bass-drums.B+(*) [sp]

Hein Westgaard & Matt Maneri: Chamber (2024 [2025], Gotta Let It Out): Guitar and viola duo. Guitarist has a few albums, including one from 2023 I liked. Maneri has many records since 1994, picking up his father Joe Maneri's microtonal practices. "Chamber jazz" is a loose term borrowed from classical, where the defining feature is an intimate and intricate group of soft instruments: mostly strings, almost never drums, wind instruments only on their best behavior. Maneri's viola fits the mold, but usually sounds too classical for me. But the guitarist plays around the edges, keeping it interesting, even adding a bit of rhythm.

Tierra Whack: Whack's Museum (2026, Interscope): Rapper, from Philadelphia, went viral with a 15-songs-in-15-minutes video, Whack World (2018). New mixtape is slightly less economical (12 songs, 27:07), slightly less striking. B+(***) [sp]

Håvard Wiik/Antonio Borghini/Tim Daisy: One Brief Cure (2025 [2026], Relay): Norwegian pianist, side credits since 1996, especially with Atomic, gained some note in Chicago at least in Ken Vandermark groups, notably Free Fall (named for the Jimmy Giuffre trio with Paul Bley and Steve Swallow). With the Italian bassist and Chicago drummer (ex-Vandermark Five), both with previous Wiik duos. B+(***) [bc]

Martin Wind: Stars (2025 [2026], Newvelle): German bassist, close to 30 albums since 1993, the title may well refer to the talent he lined up here: Kenny Barron (piano), Anat Cohen (clarinet), Matt Wilson (drums). A mix of originals and standards, with "The Stars Fell Down on Alabama" especially delectable. A− [sp]

Wrens: Live @ Nublu (2025 [2026], Out of Your Head): Quartet, fronted by rapper Ryan Easter (also trumpet), mostly dense electronics from Elias Stemeseder and Lester St. Louis (also cello), with Jason Nazary (drums), following up a very interesting debut album (Half of What You See) with a rather rough improv live set. B+(***) [os]

Jack Wright and Ben Bennett: Tourne (2026, self-released): Sax and drums duo, the former from Pittsburgh, with dozens of albums since 1983; the latter from Philadelphia, with several albums together since 2011. Three tracks (35:12). That's a good length for this sort of prickly free jazz, which I find instantly appealing as long as it doesn't run too long, or too loud. Reminds me that I've long appreciated Wright, even if I rarely remember his name. A− [bc]

Your Brother's Keeper & Gary Bartz: Where Rivers Meet (2023 [2026], Brownswood): British group, first album under this name but most were members of Maisha, which backed the veteran alto saxophonist (b. 1940) on his 2020 Night Dreamer Direct-to-Disc Sessions. This has a nice spiritual dimension. B+(***) [sp]

Recent Reissues, Compilations, Vault Discoveries

Art Blakey & the Jazz Messengers: Jazz Messengers '70 (1970 [2026], Good Time): The drummer's definitive hard bop group left Blue Note after 1964, and his stars split as well. Blakey's label work petered out, but he kept touring, and had a knack for finding young talent. This live album was released in Japan in 1970. The group: Bill Hardman (trumpet), Carlos Garnett (tenor sax), Joanne Brackeen (piano), and Jon Arnet (bass). They're mostly playing his hits — starts with "Moanin'" and "Blues March," ends with "A Night in Tunisia" — with only one new piece (by Garnett, the most interesting thing here). B+(**) [sp]

Art Blakey & the New Jazz Messengers: Buttercorn Lady (1966 [2026], Elemental Music): Another live set, released at the time on Limelight (a Mercury subsidiary). This particular group featured Chuck Mangione (trumpet, also wrote 3 of 6 songs), with Frank Mitchell (tenor sax), Keith Jarrett (piano), and Reggie Johnson (bass). Mangione started in the Jazz Brothers (aka Mangione Brothers) in the early 1960s, and went on to commercial success in the 1970s, leaving this as his only album with Blakey. While he is central here, Mitchell, Jarrett, and Blakey himself leave stronger impressions. B+(*) [sp]

Carla Bley: Joyful Noise (Live in Hamburg 1984) (1984 [2026], Moosicus): Pianist (1938-2023), exceptionally famous as a composer and arranger, was a founder of the Jazz Composers Orchestra Association, whose initial project was her ambitious opera, Escalator Over the Hill. Large (10-piece) group, with four brass, two saxes, piano (Ted Saunders), organ (Bley), electric bass and drums. Title is taken from a song, but is also a philosophy of life. A− [sp]

Dollar Brand/Don Cherry/Carlos Ward: The Third World-Underground (1972 [2026], Wewantsounds): South African pianist, soon changed his name to Abdullah Ibrahim, debut album in 1963 "presented by Duke Ellington," soon became known for his integration of township jive with jazz, up to his death in 2026. With trumpet and alto sax (and everyone tapped for vocals and percussion), recorded live in Copenhagen, and released (until now) only in Japan. Strong ideas, somewhat harshly achieved. B+(**) [sp]

Marion Brown: Awofofora (1976 [2026], Aguirre): Alto saxophonist (1931-2010), recorded his debut for ESP-Disk in 1965, followed by albums on Impulse! and ECM, but by this time he was consigned to obscure labels (this on Discomate, a Japanese label). B+(***) [bc]

Either/Orchestra & Ethiopian Guests: Nalbandian L'Ethiopien/The Ethiopian [Éthiopiques 32] (2011 [2025], Buda Musique): Large band from Boston, founded by saxophonist Russ Gershon, released albums 1986-2010, website touts their "40th anniversary season," but this live tape, following up their 2004 Live in Addis [Éthiopiques 20], seems to be the only new release. B+(***) [sp]

Satoko Fujii: Satoko Fujii's Bunker Ulmenwall Orchestra (2014 [2026], Libra, 2CD): Japanese avant-pianist, very prolific since 1996, went on a big band kick around 2007, organizing a series of orchestras wherever she traveled (first three were New York, Nagoya, and Tokyo). Many more since, with five new tapes of various vintages promised this year, starting with this one from Bielefeld, Germany (Bunker Ulmenwall was a WWII-vintage air raid shelter; to be followed later this year by the Orchestras Kobe, Nagoya, Berlin, and Tokyo). Detailed with many remarkable passages, demanding close scrutiny. A− [cd] [07-10]

Mick Goodrick/Fred Hersch: Feebles, Fables and Ferns (1988 [2026], ECM): Guitar and piano duo. Goodrick (1945-2022) recorded his excellent debut album, In Pas(s)ing, for ECM in 1979; he worked with Gary Burton, Charlie Haden, Jack DeJohnette, and others, recording a few more albums, but mostly teaching. This was Hersch's session, previously unreleased. B+(**) [sp]

Wynton Marsalis & Vince Giordano: The Wonderful Word of Louis Armstrong (2012 [2026], Blue Engine): They pulled this old tape off the shelf to celebrate the centennary of Armstrong's Hot Five and Hot Seven sessions, so the reference is to the cutting edge of 1920s jazz, not to the pop icon of later years. Giordano is a long-time trad jazz leader, playing bass sax and tuba here, while Marsalis shares trumpet duties with Jon-Erik Kellso. B+(**) [sp]

Thelonious Monk: Live in Paris, 1967: Volume One (1967 [2026], Rhythm-a-Ning): Estate-authorized bootleg, the Nov. 3 concert was released on France's Concert in 1988 (as Thelonious Monk Nonet: Live in Paris, 1967), running 68:49, then remastered and reissued in 2002 by Thelonious Records. This version, aimed at vinyl junkies, is trimmed to an introduction and four songs, 38:33, with a second volume promised. The original order opened with Monk's Quartet (Charlie Rouse on tenor sax, Larry Gales on bass, and Ben Riley on drums), then added horns, starting with Ray Copeland (trumpet), then saxophonists Phil Woods (alto) and Johnny Griffin (tenor), Jimmy Cleveland (trombone), and finally Clark Terry (trumpet). This version moves the nonet tunes to Side A, the smaller groups to Side B. I have reservations about the business proposition, but Terry's solo reminds me that his previous encounter with Monk on In Orbit (1958) was one of his best albums. B+(**) [sp]

Evan Parker/Paul Rogers/Louis Moholo: Tebugo (1992 [2025], Jazz in Britain): Live tape from the Vortex in London, tenor and soprano sax, bass, and drums. Takes a while to warm up, but delivers in the end. B+(***) [bc]

Jimmy Scott: Falling in Love Is Wonderful (1963 [2026], Tangerine): Jazz singer (1925-2014), originally "Little" due to his diminutive stature and high voice, recorded singles early, three albums for Savoy 1955-60, then this album for Ray Charles, which has been long out of print. His voice takes some getting used to, but he picks great songs, and puts his mark on them. Bigger problem for me is the string arrangements, which I've always gagged on. B+(*) [sp]

Sun Ra: East Two + 7 (1972-73 [2026], Cosmic Myth): Two previously unreleased sessions, named for the first track ("East Two") plus extra tracks (5 for the LP, 7 for the CD; the difference is extra live tracks from 1984-85). B+(**) [sp]

McCoy Tyner: Extensions (1970 [2026], Blue Note): Pianist (1938-2020), from Philadelphia, played briefly in the Jazztet (with Benny Golson and Art Farmer) before joining John Coltrane's legendary quartet (1961-65). Started recording his own albums in 1962, and went on to have a major solo career, notably with Blue Note (1966-70, although this one was held back to 1973). This sounds like it popped out of a Coltrane time capsule, spacey and spiritual but not burdened by the ambitions and delirium of Trane's last years. With two saxophonists (Gary Bartz on alto, Wayne Shorter on tenor/soprano), Ron Carter on bass, Elvin Jones on drums, and Alice Coltrane on harp. A− [sp]

McCoy Tyner: Asante (1970 [2026], Blue Note): Another leftover from Tyner's Blue Note period, released in 1974, makes more explicit the pianist's interest in Africa, with Andrew White (alto sax), Ted Dunbar (guitar), Buster Williams (bass), Billy Hart (drums/African percussion), Mtume (congas), and vocals on the first two tracks (Songhai, aka Sandra Smith). The 1998 CD reissue added three tracks from an earlier session, with Gary Bartz and Hubert Laws, that had appeared on Cosmos, a 1976 2-LP that also picked up two earlier sessions. (Cosmos was part of "The Blue Note Re-Issue Series," an attractive series I bought several of at the time, as they looked like useful intros to major artists. Most, like the Tyner, were actually previously unreleased sessions. I didn't buy the Tyner, but I did pick up sets by Sonny Rollins, Jackie McLean, and most importantly Herbie Nichols.) The new Tone Poet vinyl reverts to the original four tracks, but streaming includes the extras. The extra tracks don't add much (well, Bartz, and more good piano). I suspect that LP consumers will heavily favor the first side (the one with the vocals, which delight in the groove). B+(**) [sp]

McCoy Tyner: The Seeker: Live at Umbria Jazz Festival (1993 [2026], Red): Previously unreleased live album, a quartet with Bobby Hutcherson (vibes), Avery Sharpe (bass), and Aaron Scott (drums), a few months before Tyner and Hutcherson recorded their duo album, Manhattan Moods. Their careers intersected as far back as 1966 (on Hutcherson's Stick-Up!) and 1968 (on Time for Tyner). But the rhythm section really helps here. A− [sp]

Mal Waldron & Sam Rivers: Live in Mestre Venezia 1984 (1984 [2025], Caligola): Piano and tenor sax duets. Around this time, Waldron was playing in duos with Steve Lacy and Marion Brown, so he has a well-honed sense of how to engage here. It's hard to imagine a more astute accompanist, and his solos never leave you wanting. Probably helps that they stick to standards, including "Scrapple From the Apple" and "Blue Monk." A− [bc]

The Wonderful World of Louis Armstrong All Stars: A Gift to Pops (2021 [2026], Verve): A discographical nuisance, opens with a genuine Armstrong from 1964 (Sparks, NV), but after that it's just another anonymous tribute band. I originally filed under Wynton Marsalis, but it turns out that Nicholas Payton plays most of the trumpet, and also does most of the arranging, with Wycliffe Gordon on trombone, soprano sax, and some vocals; also Reginald Veal (bass), Herlin Riley (drums), and scattered others, including vocalists who don't make the slightest effort at the original. Consequently, some songs stray, to mixed effect. B+(*) [sp]

Old Music

House of the Black Gardenia: The New Lowdown (2020, HOTGB): I didn't notice this above, but this is a British group, from Newcastle. First album. Singer Elise Rana hadn't yet taken bassist-arranger Neil Hopper's name. Hopper also plays sousaphone and washboard. I'm not seeing song credits, but I'm pretty sure the one about sexting is new. B+(***) [bc]

L'Afrique Danse No. 1 (1965-68 [1969], African): French label, started compiling albums of Congolese hits with this volume, extending this numbered series at least to No. 11, although there are other titles, and other labels, including Sonodisc (which picked up the catalog in 1980). This is mostly O.K. Jazz (Franco) and Ensemble Conga Succès (Jean Bokolo). I didn't feel up to tracking down the singles, but Google says 1965-68, despite "some sources citing an initial 1966 pressing" (e.g., Discogs). Nor do I know how much of this duplicates the piles of Franco I already have. But Bokelo (d. 1995) may warrant further research. And chances are that the rest of the series are worth hearing — after No. 3, they move to feature artists (Rochereau on No. 4, Docteur Nico on No. 5, Franco on No. 6, and Bokelo on No. 7. A− [sp]

Northwest Improvisers: Fanfares (2022 [2023], Entropy Stereo): Free jazz ensemble, founded in upstate Michigan in 1976 by Mike Gilmore (vibes) and Mike Johnston (bass), added drummer Nick Ashton in 1986, first album was 1994, recorded several albums backing Faruq Z. Bey, one with Dennis González. Gilmore is absent here, but they've added two saxophonists (Dominic Bierenga and Donovan Boxey) and strings (Mike Khoury on violin, Jack O'Brien on cello). Opens with a Don Cherry piece to set up the groove, then builds around it. B+(***) [bc]

Twerk Thomson: Plays Unpopular Songs (2017, Twerk-O-Phonic): New Orleans bassist, seems to be his first album, various groups credited as Twerk Thomson Trio, Twerk's Dance Band, Twerk Thomson's 5, and Twerk & Maria (Dixon, trumpet and vocals, with Thomson on tenor guitar). Designed to sound as ancient as possible ("recorded live with one microphone into a Presto K8 lathe, cut directly to acetate discs at 78rpm, and edited only for volume"). I'm no fan of the sound, but the last set, in particiular, does sound like ancient lost treasure. B+(**) [bc]

McCoy Tyner: Expansions (1968 [1969], Blue Note): Album before Extensions, with Woody Shaw (trumpet) joining saxophonists Gary Bartz (alto) and Wayne Shorter (tenor), Ron Carter moving over to cello, with Herbie Lewis (bass) and Freddie Waits (drums). B+(**) [sp]

April Varner: April (2023 [2024], Cellar): Jazz singer, first album, covers 11 songs with "April" in the title — wrote some, including improvised lyrics and some vocalese to Pat Metheny. Only "April in Paris" is well known, done simply here with just piano (Caelan Cardello) backing, after just bass (Reuben Rogers) on "April Blues." The other sources and treatments vary widely, but include nice spots for Russell Malone (guitar), Benny Benack (trumpet), and Dayna Stephens (tenor sax). [PS: Alternate parsing of title: April by April Varner.] B+(**) [sp]

Limited Sampling

Records I played parts of, but not enough to grade: -- means no interest, - not bad but not a prospect, + some chance, ++ likely prospect.

Art Ensemble of Chicago: People in Sorrow (1969 [2026], Play Loud!): Early album (first one listed by Discogs, but a 5-CD box of 1967-68 recordings was later issued on Nessa), recorded in France (where they cranked out 14 albums in 23 months) and released by Pathé Marconi there. Just snippets available. ++ [bc] (4 snippets, 8:14)

Art Ensemble of Chicago: Les Stances à Sophie (1970 [2023], Play Loud!): Recorded toward the end of their Paris stay, a bit of soundtrack with Fontella Bass vocals. ++ [bc] (8 snippets, 5:01)

Jason Moran: Plays Duke Ellington (2026, Yes): Pianist, became a star during his 1998-2014 run at Blue Note, won the Jazz Critics Poll and a MacArthur in 2010, slipped back into obscurity after he retreated to his own label (although his 2023 album, From the Dancehall to the Battlefield, got consideable attention). + [bc] (7/12)

Grade (or other) Changes

Sometimes further listening leads me to change an initial grade, usually either because I move on to a real copy, or because someone else's review or list makes me want to check it again. Also some old albums extracted from further listening:

The Messthetics and James Brandon Lewis: Deface the Currency (2026, Impulse!): Guitar-bass-drums trio had a couple albums (2018-19) before they joined up with the powerhouse tenor saxophonist. I filed the early albums under rock as the bassist (Joe Lally) and drummer (Brendan Canty) came from Fugazi, although guitarist Anthony Pirog had a fringe-jazz resume (two albums with Henry Kaiser, one a conduction of Terry Riley, a couple more I've heard but don't particularly recall). Time to move them into the jazz file, but I'm not all that pleased. The saxophonist makes a strong effort, but the guitarist rarely if ever matches him, nor is he very complementary. It's not quite accurate to say that the rhythm section rocks: they move freely, but their energy mostly expresses itself in speed and volume, which can come off as clunky. My disappointment was such that I probably overreacted at first. [was: B] B+(**) [sp]

Rechecked with no grade change:

I Compani: Basta! The Last Concerts 2025 (2025 [2026], I Compani): Dutch group, led by saxophonist Bo van de Graaf, founded in 1985, decided to call it quits after a series of "last concerts" in December, 2025. Throughout their career, they've mostly recorded film music, in the circus style that seems peculiar to the Dutch avant-garde (cf. ICP Orchestra and Willem Breuker Kollektief) and is often deliriously wonderful. My understanding is that packages 2 CDs, which are available on streaming as separate albums. One is their core 7-Tet. The other is "Extended," where an additional friends or hangers-on drop in for a song or two or more. The latter includes more vocalists, who add a cabaret air. Of the digitals, I prefer the latter, but I wasn't able to give either nearly enough time. Maybe if the CDs exist, and could somehow be obtained? B+(***) [sp]

Additional Consumer News:

Grades on artists in the old music section.

Music Weeks

Music: Current count 36534 [36534] rated (+0), 149 [149] unrated (+0).

Excerpts from this month's Music Week posts:

Notes

Sources noted as follows:

• [cd] based on physical cd
• [cdr] based on an advance or promo cd or cdr
• [lp] based on physical lp (vinyl)
• [dvd] based on physical dvd (rated more for music than video)
• [bc] available at bandcamp.com
• [r] available at napster.com (formerly Rhapsody)
• [sc] available at soundcloud.com
• [sp] available at spotify.com
• [yt] available at youtube.com
• [os] some other stream source
• [dl] something I was able to download from the web; may be freely available, may be a bootleg someone made available, or may be a publicist promo

Grades are probably self-explanatory, aside from B+, which is subdivided 1-2-3 stars, because most records that come my way are pretty good, but they're not all that good.