A Dozen Gems Worth Checking Out

Top twelve choices in a deluge of new jazz releases flooding across my desk

It’s getting harder and harder to keep up with the sheer number of new releases (CDs, vinyl, digital…even cassettes!) that seem to flood across my desk on a daily basis. This situation is very different than in decades past, when the flow of new releases was more of a weekly trickle than a daily deluge, as it is now. So it was extremely difficult to hone down my list of about 50 or so new recommended recordings to a mere dozen. Several outstanding offerings didn’t make the cut. But here’s the 12 that did:

1. Chick Corea, Forever Yours: The Farewell Performance (Candid)

Just the sound of Chick’s voice introducing the first three tunes of this solo piano concert from October 2022 at Ruth Eckerd Hall in Clearwater, Florida, had me welling up with tears. But the sheer virtuosity and profound sense of swing, not to mention his inventive extrapolation and playful improvisation on classics like Jimmy Van Heusen’s “It Could Happen to You,” Thelonious Monk’s “Trinkle Tinkle” (on which he deftly showcases some jaunty stride playing) reminds me of just what a musical marvel we all had in Chick Corea. His harmonic embellishment on Bud Powell’s tone poem “Dusk in Sandi,” Monk’s “Round Midnight,” Duke Ellington’s gorgeous “In a Sentimental Mood,” Bill Evans’ “Waltz for Debby” and the standard “Smoke Gets In Your Eyes” are breathtakingly beautiful. And his “portraits game,” where he makes up spontaneous melodies on the piano, trying to capture the essence of volunteers from the audience, is a regular riot. Other highlights in this wonderful document of the legendary Corea include a mini-recital of his “Children’s Songs,” a powerful rendition of his “Armando’s Rhumba” (dedicated to his father), a spirited take on Stevie Wonder’s “Overjoyed” and a cascading romp through Mozart’s “Piano Sonata in F.”

2. John Scofield/Dave Holland, Memories of Home (ECM)

The guitar great and bass legend have done a lot of touring together as a duo, but this intimate outing marks the first time they’ve documented their chemistry on record. Highlights include their easy contrapuntal playing on Scofield’s lyrical classic “Meant to Be,” their tight unisons on the boppish head to Scofield’s “Mine are Blues,” Holland’s steady walking dedication to bass hero Ray Brown on “Mr. B,” and Scofield’s swinging "Icons at the Fair,” a tune he had previously recorded with his Combo 66 quartet in 2018 and which features some potent trading between guitar and bass. And it doesn’t get more laid back or heartfelt than their gentle interpretation of the title track, a Holland tune that he had previously recorded on a 1985 album with bluegrass fiddler Vassar Clements and guitarist-banjoist John Hartford. This superb offering is all about listening and interplay, marked by Scofield’s superb fingerstyle chording and signature string-bending (check Holland’s “Nothin’) alongside deep, resounding bass lines from the most reliable time-keeper on the planet.

3. Kenny Barron, Songbook (Artwork)

The great pianist, backed by his longstanding rhythm tandem of bassist Kiyoshi Kitagawa and drummer Johnathan Blake, delves into 13 of his original compositions reimagined in collaboration with lyricist-poet Janice Jarrett and interpreted by an extraordinary ensemble of established and emerging vocalists. Highlights of Barron’s first vocal collection include a bossa flavored “Until Then” with Jean Baylor, a “Poinciana”-type treatment of “Cook’s Bay” with Ann Hampton Callaway, a samba-fueled “Thoughts and Dreams” with Cécile McLorin Salvant and a mellow “In the Slow Lane” with Kurt Elling. Other outstanding vocal performances include Catherine Russell on “Minor Blues Redux,” Kavita Shah on the intimate ballad “Lullabye,” new vocal star Tyreek McDole on the buoyant “Calypso” and also on the mysterious “Marie Laveau,” and Ekep Nkwelle on the evocative “Illusion.” Salvant also delivers a transcendent reading of the ethereal “Song for Abdullah” (dedicated to South African pianist Abdullah Ibrahim) and shines on one of Barron’s most famous tunes, “Sunshower,” which opens on a dramatic rubato note before morphing into a spirited Afro-Cuban-tinged romp.

4. Nicole Zuraitis & Friends, Live at Vic’s Las Vegas (La Reserve)

One of the most naturally expressive, soulful and intuitively swinging vocalists on the scene, rising star Nicole Zuraitis follows up her Grammy-winning 2024 album, the Christian McBride-produced How Love Begins, with this exhilarating live outing from Las Vegas. Co-produced by tenor saxophonist Tom Scott, who also appears as a special guest in the ensemble, Live at Vic’s Las Vegas crackles with intensity from the opening shuffle blues take on Muddy Waters’ “Got My Mojo Working” to a lightly swinging rendition of “The Nearness of You” to her refreshing reading of Dolly Parton’s “Jolene,” featuring a brilliant solo from guest trumpeter Keyon Harrold. Guitarist Idan Morim accompanies Nicole on an intimate duet version of the Leslie Bricusse-Anthony Newley classic “Pure Imagination,” and the band delivers a novel 7/4 take on Jimmy Webb’s “Wichita Lineman.” This solid ensemble is anchored by bassist Sam Weber and drummer Dan Pugah and fueled by the organ playing of Rachel Eckroth, who digs in and wails with earthy delight on a sexy reading of Nina Simone’s bluesy “Do I Move You.”

5. Mike Clark, Itai Doshin (Wide Hive)

The one-time Bay Area drummer and longtime New York City resident may have first established his rep as a neo-funk drummer with Herbie Hancock’s Headhunters in the early ‘70s (his innovative inside-out beats on “Actual Proof” from 1974’s Thrust added a new chapter in the book on funk drumming), but his playing has been strictly in a post-bop/hard bop vein in recent years (aside from recent forays on the Headhunters 50th Anniversary tour). On his 13th as a leader, Clark is joined by a seasoned, swinging crew of trumpeter Eddie Henderson, tenor saxophonist Craig Handy, pianist Patrice Rushen and bassist Henry Franklin on uptempo swingers like Henderson’s “Mganga” and two takes on Thelonious Monk’s “Epistrophy.” The leader’s shuffle blues, “Yakini’s Dance,” speaks of his early history on the Texas roadhouse blues scene while his highly syncopated, linear funk approach on an open-ended rendition of Bob Marley’s “I Shot the Sheriff” may recall some of his innovative beats with the Headhunters. A pleasant surprise here is their relaxed balladic take on Ray Noble’s “Cherokee,” a tune usually called at jam sessions and taken at super-charged tempos.

6. John O’Gallagher, Ancestral (Whirlwind Recordings)

The California-born, formerly Brooklyn-based alto saxophonist, now living in Lisbon, Portugal, joins with two drumming legends, octagenarians Andrew Cyrille and Billy Hart, appearing in their first-ever recorded collaboration. Their impact is felt most profoundly on “Altar of the Ancestors,” which has the leader teaming up with both drummers (split left and right in the mix) who unleash on this freewheeling latter day Trane-inspired romp. Guitarist Ben Monder adds a haunting, mysterious presence on the rubato “Awakening” while the Monkish “Under the Wire” finds him and the leader navigating some angular unisons against a dual-swinging pulse. “Contact” is a freewheeling improv between Monder and the two master drummers that travels from a whisper to a distortion-laced roar tipping well into the Sonny Sharrock zone. O’Gallagher plays brilliantly throughout, perhaps most passionately on the explosive free jazz numbers “Tug,” “Profess” and the aforementioned “Altar of the Ancestors.” On the other side of the dynamic coin, he becomes more introspective on the more methodical minor key “Quixotica.” He closes on a more pungent note with the skronking free-for-all “Postscript.”

7. Jerome Sabbagh, Stand Up! (Analog Tone Factory)

Tenor saxophonist-composer Sabbagh tips his hat to a number of his heroes, along with a few personal dedications, on this collection of fetching originals. With longtime colleagues Ben Monder on guitar and Jor Martin on bass, and with drummer Nasheet Waits adding his masterful touch on the kit for the first time with this kindred crew, Sabbagh states his case eloquently with his warm-toned tenor sax lines and thoughtful, engaging melodies like the waltz-time “Michelle’s Song” and a soulful “The Break Song” (for Stevie Wonder). The bossa nova “High Falls” finds him in Getzian mode while “Unbowed” is a graceful homage to the great pianist-composer Kenny Barron. The tighly-knit crew swings organically on “Lunar Cycle” (for Sam Rivers), plays it laid back on the country/gospel-tinged “Lone Jack” (for Ray Charles) then unleashes with fury on the edgy “Mosh Pit” (for Trent Reznor of Nine Inch Nails fame), which is fueled by some distortion-laced mayhem from Monder. The floating, airy “Vanguard” (for Paul Motian) conjures up the wistful spirit of the late, great drummer-composer

8. Michael Dease, Flow (Positone)

The prolific trombonist-composer (his 2CD set of trios and quintets, City Life: The Music of Gregg Hill, was released only four months ago on Origin Records) gathers a potent sextet for his 20th album as a leader. Former Jazz Messenger Geoffrey Keezer swings forcefully on piano on the driving opener, “ST In The House” (dedicated to Dease’s mentor Steve Turre). Rising star alto saxophonist Sharel Cassity, who joins Dease on the frontline, makes strong solo contributions throughout . The swinging rhythm tandem of bassist Jared Beckstead-Craan and drummer Gary Kerkezou delivers the goods while Dease acquits himself with unparalleled authority on his jaw-dropping solos from track to track. They open up Charlie Parker’s fairly obscure “Cardboard” in provocative fashion with a rubato intro full of freewheeling interplay before hitting their bop-informed stride midway through. And the virtuoso trombonist (who has also recorded whole albums on baritone sax) switches to deep-toned upright bass on his loping “The Rodfather” (a tip of the hat to bassist and colleague Rodney Whitaker). They turn in faithful covers of Claudio Roditi’s upbeat “Recife Blues” and Duke Pearson’s harmonically rich “New Girl.” Trombone and alto sax engage in some engaging counterpoint on Dease’s appealing “Entitlement” while Cassity’s moving ballad, “Love’s Lament,” serves as a showcase for some brilliant soloing by each of these gifted horn players.

9. Tony Davis, Jessamine (La Reserve)

The guitarist son of veteran trombonist Steve Davis (One For All, New Jazz Composers Octet, Chick Corea & Origin, Christian McBride Big Band) has gathered a group of like-minded emerging stars for his fourth album as a leader. Named for the street he grew up on in Hartford, CT, where he attended the Hartt School of Music (Jackie McLean Institute of Jazz) along with superb drummer Jonathan Barber and stalwart bassist Matt Dwonszyk, who both appear here, Jessamine is a sparking effort that sounds as fresh and invigorating today as the Pat Metheny Group did to jazz fans in the ‘70s. A superb player with chops to spare, Davis also acquits himself with rare delicacy on a lush bossa nova flavored take on the romantic Lennon-McCartney ballad, “I Will,” on an energized rendition of Brad Mehldau’s “Unrequited,” and also on the lyrical title track. His unabashed swinging instincts come to the fore on his surging “Viridian” and most prominently on a super-uptempo romp through the standard blowing vehicle, “Secret Love.” Kudos also to pianist Chris McCarthy, a formidable talent worthy of wider recognition.

10. Aaron Parks, By All Means (Blue Note)

This followup to 2024’s alt-rockish ‘jazz adjacent’ project Little Big III finds the pianist-composer investigating more varied territory in the company of the superb and highly interactive rhythm tandem of bassist Ben Street and venerable drummer Billy Hart. And with rising star Ben Solomon holding his own on tenor sax, they wind their way through seven engaging Parks originals that showcase his sublime touch and contemplative tone. From the opening “A Way,” a piece closer in spirit to John Coltrane’s Ballads than anything on Little Big III, to the loping midtempo “Parks Lope,” the waltz-time swinger “Little River” and the more aggressively swinging post-bop romp on “Anywhere Together,” Parks and his crew acquit themselves with grace and aplomb. The 26-year-old tenorist, who released his own debut last year (Echolocation on the Giant Step Arts label), plays with uncommon maturity and lyricism on the gorgeous ballad “Dense Phantasy,” underscored by Hart’s sensitive brushwork. His bold tone and authoritative blowing on “Parks Lope” sounds decidedly old school and he switches to delicate mode on the trance-inducing “Raincoat,” which also highlights Hart’s uncannily melodic instincts on the kit.

11. Kerry Politzer, Alternate Route (Whirlwind Recordings)

Veteran pianist-composer Politzer is joined by some leading lights on the scene, including guitar great Kurt Rosenwinkel and alto saxophonist Jaleel Shaw, on her ninth outing as a leader. From the Brazilian flavored opener, “Before It’s Too Late,” featuring some cascading fretboard work from Rosenwinkel, to the modern swinger “Here We Go Again,” a stretching vehicle for Shaw, to the harmonically rich “Watercolor,” a showcase for Rosenwinkel’s signature legato guitar lines, this is sumptuous feast of inspired writing and exceptional playing. Shaw’s bold-toned alto fairly dances over “Storm Warning,” with pianist-turned-drummer (for this session) George Colligan providing the New Orleans groove. Politzer’s solo on the obliquely boppish title track is quirky and swinging and is followed in turn by potent improvisations from Rosenwinkel, Shaw and bassist Alexander Claffy. Shaw wails over the vaguely tango-like “Stopped at a Green Light,” then supplies some sensitive soprano sax on the delicate, Ravel-influenced “The Sunrise Wants to Break Through.” Colligan, who also happens to be married to the leader, provides the rhythmic drive on “Intensity,” then expertly negotiates the metric changes of “Change Of Plans” before fueling the samba of “No Present Like The Time.” The album closes on a poignant note with Politzer’s solo piano piece, “Tara.”

12. Luigi Grasso, La Dimora Dell’Altrove (LP 345 Records)

Older brother of acclaimed guitarist Pasquale Grasso, woodwinds virtuoso Luigi Grasso has played baritone sax, alto sax and bass clarinet in Hamburg’s NDR Big Band since 2019. This seven-movement suite commissioned and performed by the NDR Big Band, conducted by Geir Lysne, is an ambitious collection of theme and variations drawing on jazz, classical, contemporary elements, much in the same grandiose manner of such groundbreaking third stream recordings as Stan Kenton’s 1950 modernist opus, Innovations in Modern Music, and Charles Mingus’ “Revelations (First Movement)” from 1957’s The Birth of the Third Stream. Swing is a significant factor on the opening movement, “Primo Tema,” which finds Grasso soaring on soprano sax. The more spacious “Variazione I Primo Tema”is a vehicle for the superb trumpeter Percy Pursglove, who delivers both muted and open horn solos. The Afro-Cuban flavored “Secondo Tema” finds the leader on baritone sax, while “Variazione II Primo Tema” heads into more provocative avant garde territory with Grasso wailing over the top on clarinet. And complex and swinging “Variazione III Primo Tema” is a rhythmically-charged showcase, fueled by drummer Jochen Rückert, for potent solos by guitarist Sandra Hempel and the leader on bari.

Five Honorable Mentions:

Juan Chiavassa, Fourth Generation (Whirlwind Recordings); Carmen Staaf, Sounding Line (Sunnyside); Dayna Stephens, Monk’D (Contagious Music); Martin Nodeland, Tributaries (Smeik Records); Kelsey Mines, Everything Sacred, Nothing Serious (OA2).