Kris Davis - Diatom Ribbons Live at the Village Vanguard [2023]

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On February 17, 2018, pianist Kris Davis played in the second of two concerts at Harvard University to honor the late jazz pianist Geri Allen. It was a fantastic night of music worthy of Allen’s tremendous talent. Davis took the stage in various ensembles, with some featuring drummer Terri Lyne Carrington, who had also curated the concert. The formidable connection on display would prove to be educational and ideological. When Carrington was organizing tributes to Allen, she invited Davis to join the Berklee Institute of Jazz and Gender Justice, where Davis now works as the associate program director of creative development.

Ingrid Laubrock - The Last Quiet Place [2023]

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The Last Quiet Place features six adventurous compositions by saxophonist Ingrid Laubrock, who is joined by Mazz Swift (violin), Tomeka Reid (cello), Brandon Seabrook (guitar), Michael Formanek (double bass) and Tom Rainey (drums). It is a bit out of the norm to see a violin and cello added to the typical saxophone trio, and here that decision pays off in spades. The violin and cello add new possibilities to the more melodic and subtle aspects of Laubrock's compositions and play a crucial role in the more aggressive moments. Like everyone else in this sextet, Swift and Reid are formidable improvisors. When the two are not in the spotlight, they can be heard fiercely shadowing jagged motifs or enhancing the atmosphere with menacing tremolos or gorgeous melodic playing.

Tomas Fujiwara - March On [2023]

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The main attraction of March On is the title track, a towering 31-minute improvisation. There are strong juxtapositions, and how these disparate parts align and explode is a key aspect of its appeal. In the beginning, Mary Halvorson's guitar has a calm, spacey tone, but it operates in a space full of agile, angular riffing courtesy of Ralph (Alessi's trumpet. Brandon Seabrook's guitar is the perfect foil to Halvorson. In the first portion of the improvisation, his metallic echo provides an interesting contrast to Halvorson's more psychedelic effects. There are moments of extended sparsity in "March On," but ultimately, the track is a masterful exercise in building toward wrathful storms. The combination of Tomas Fujiwara and Gerald Cleaver's thunderous drums and guitar playing fit for a noise-rock album creates one of the most aggressive passages of the Triple Double discography. The sharp tone of Taylor Ho Bynum's cornet is a fine partner to the chaos and it cuts through the fray like a piercing scream. The cornet's writhing is also important in the more low-key moments, with one particular passage stepping into melancholic melodic territory courtesy of Halvorson. The musical dialogue briefly moves into some head-nodding grooves led by the drums in the second half and a knotty collective improvisation by the rest of the band that gets more complex as it progresses. The chemistry on display throughout "March On" is stunning. March On is a terrific bookend to Triple Double’s excellent March (Firehouse 12, 2022) - a highly recommended listen for fans of the contemporary avant-garde jazz scene. 

Cécile McLorin Salvant - Mélusine [2023]

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Cécile McLorin Salvant's Mélusine is the first Salvant album sung primarily in French. It is also the Salvant album with the strongest presence of African, Caribbean, and Latin American rhythms. "Dites moi que je suis belle" is a great example - Weedie Bramiah's skittish, energetic djembe playing makes a fine partner to Salvant's lovely lighthearted melodies. The last section of "Doudou" is a party driven by the rhythm section and pianist Sullivan Fortner, who plays with a vibrancy that would be at home on classic salsa records. There are stunning piano moments all over the album; Aaron Diehl's twinkling dissonance and exploratory progression throughout "Est-ce ainsi que les hommes vivent?" is a joy to listen to. Surprisingly, the album even has a bit of the baroque era on "D'un feu secret." Fortner's synthesizer warps melancholic baroque structures as Salvant, in a quasi-operatic mode with a gorgeous vibrato, shows a completely different side of her talent. Throughout Mélusine, Salvant sings with irresistible expressionism and expands her sonic palette. She's telling a story, and even if you do not speak French, you can always feel the drama. Mélusine is a wonderful album that ranks among Salvant's best work.