In the vast universe of jazz, where the echoes of the past continually meld with the explorations of the present moment, Michael Dease's "Found in Space: The Music of Gregg Hill" is a journey through the mind of one of America's most idiosyncratic composers. Dease, a formidable trombonist and educator, is no stranger to innovation. Yet, with this album, he boldly ventures into the uncharted territories of Gregg Hill's compositions, offering an album inspired by Hill's musical cosmos and reflecting Dease's artistic vision.

The album's title, a playful nod to the 1960s sci-fi series Lost in Space, indicates the tone for what lies within—a collection of compositions inspired by a journey into the unknown. Hill's music, often described as a confluence of Zappa's ambitious orchestrations, the structural elegance of 20th-century classical music, and the freewheeling spirit of jazz, finds a perfect interpreter in Dease. Through this album travelers traversing the sonic landscapes Hill has crafted over decades of relentless creativity.

At the heart of this cosmic exploration is an ensemble as diverse and dynamic as the music they bring to life. Led by Dease, the group features some of today's most formidable talents in jazz, bringing their unique voice to the project. Alto saxophonist Rudresh Mahanthappa, known for his fiery improvisations and innovative approach, joins forces with the lyrical clarinetist Virginia MacDonald, the virtuosic flutist Sharel Cassity, and the versatile tenor saxophonist Jason Hainsworth. Trumpeter Matt White, whose arrangements on the album are as intricate as they are bold, adds a sharp, brassy edge, while trombonist Nanami Haruta provides a sensitive counterpart to Dease's earthy and technically striking tones.

The rhythm section, anchored by bassist Katie Thiroux and drummer Colleen Clark, is always creating a pocket regardless of the groove and subtlety, with pianist Bill Cunliffe's deft touch on both acoustic piano and Fender Rhodes adding harmonic depth. Rounding out the ensemble is Gwendolyn Dease on marimba and percussion, whose contributions evoke the adventurous spirit of Zappa's iconic bands, making this a truly stellar assembly of musicians.

From the opening track, "The Last Pop Tune," it is clear that this is no ordinary jazz album. Trumpeter Matt White, a long-time collaborator of Dease, arranges this piece with an almost mathematical precision, navigating through shifting time signatures with the deftness of a seasoned explorer. The tune's playful complexity—oscillating between meters of five, six, three, and four—is a microcosm of the album's broader narrative: one of constant evolution and surprise. Dease's trombone weaves through White's well-crafted arrangement like a seasoned traveler guiding us through Hill's ever-changing terrain.

The title track, "Found in Space," arranged by Cunliffe, exemplifies the fusion of structured composition and spontaneous improvisation that defines Hill's music. Cunliffe paints with the sonic pallet of the ensemble to clearly present Hill's motifs. The composition has a series of dynamic feels and form components. Dease's baritone saxophone playing is featured prominently, alongside standout solos from White, Mahanthappa, and Cunliffe. This is a piece that feels grounded and celestial, with each soloist working with the rhythm section to contribute to the emphasis of various rhythmic constructions to create a powerful soundscape.

"One for Rodney," a tribute to bassist and Hill enthusiast Rodney Whitaker, is perhaps the album's most eclectic offering. The opening section, with its nods to Monk's angular melodies and the spy-thriller suspense of "Mission Impossible," gives way to a swinging section that showcases bassist Katie Thiroux's lyrical prowess. The piece's unpredictable structure—shifting from quirky motifs to fierce alto saxophone duels—mirrors Hill's compositions' unorthodox yet deeply compelling nature.

Dease's trombone shines exceptionally bright on "The Stray Moonduck," which captures the earthy, blues-drenched essence of his playing and the more deliberate touch of his fellow trombonist Nanami Haruta. Their interplay, reminiscent of the legendary J.J. Johnson and Kai Winding duets, brings a sense of dialogue to the music.

Throughout "Found in Space: The Music of Gregg Hill," Hill's music is brought to life by Dease's trombone but by an ensemble of musicians who understand the intricacies and nuances of his compositions. Virginia MacDonald's clarinet, in particular, adds a lyrical, almost vocal quality to pieces like "Chillin' with Wess," where her instrument's warm, woody tones contrast beautifully with the more percussive marimba of Gwendolyn Dease.

As the album draws to a close with "A Wrinkle in Time," arranged by White, we are reminded of the cyclical nature of time and space—a fitting metaphor for Hill's music, which constantly circles back on itself, revisiting themes and ideas in new and unexpected ways. Dease's extended trombone solo in this final track encapsulates the essence of the album: a journey through familiar yet ever-changing landscapes, where each step reveals a new vista, a new possibility.

"Found in Space: The Music of Gregg Hill" is brought to life through the power of collaboration, the importance of mentorship, and the unending quest for artistic expression. Michael Dease and Gregg Hill have charted a course for exploration—our vehicle is jazz, and we travel through the waves of the album's cosmos. This musical journey, "Found in Space: The Music of Gregg Hill," offers a richly rewarding experience.

In "Being," Chris Rottmayer explores jazz's rich dialogue, melding the wisdom of the past with the vibrancy of the present. This album, released on March 6, 2024, via Shifting Paradigm Records, showcases Rottmayer's deep engagement with the legacy of Mulgrew Miller and Woody Shaw while also painting vivid soundscapes of Parisian life. The album is a journey through ten original compositions, each demonstrating Rottmayer's gift as a composer, pianist, and jazz educator.

Rottmayer, a seasoned jazz artist and lecturer at the University of Wisconsin-Madison, has garnered attention for his previous albums, "So in Love" and "Sunday at Pilars," reaching notable positions on jazz radio charts. With "Being," he continues to carve his niche, this time accompanied by a stellar quartet: Russ Johnson on trumpet and flügelhorn, Matt Endres on drums, and the legendary Rufus Reid on acoustic bass. This ensemble brings a rich tapestry of sound, blending technical fluidity with emotive storytelling.

The album opens with "On The Street Where Woody Lives," a vibrant homage to the interplay between Shaw's and Miller's musical languages. The piece starts with a jaunty piano and bass figure, immediately setting an upbeat tone. The interplay between the straight-eighth feel of the A sections and the swinging B section is seamless, highlighting the quartet's tight cohesion. Johnson's trumpet solo is particularly attention-grabbing, flowing with a lyrical grace that complements the beauty of Rottmayer's textured piano lines in his solo.

"Re-United" offers a fresh take on Wayne Shorter's "United," reimagined in 4/4 time. The track also offers a subtle three-against-four polyrhythmic feel, with Reid's steady bass pulse anchoring the composition. Rottmayer's solo is a sophisticated blend of bluesy licks and intricate jazz lines, playing cleverly with the rhythmic polyrhythmic tension. The trading between Endres and the rest of the quartet before the head adds a conversational element, making the piece feel like a lively jazz dialogue.

The Parisian-inspired tracks provide a fascinating counterpoint to the Miller-Shaw study. "Pigalle" is a lush ballad that captures the moodiness of the famous Parisian district, with Rottmayer's lyrical piano playing and Johnson's warm flügelhorn tones creating a poignant atmosphere. The ensemble's dynamic interplay shines in "Châtelet," an up-tempo swinger that channels the bustling energy of the Paris Metro. Rottmayer's interaction with Reid and Endres during his solo is particularly striking, showcasing his deep listening skills and responsiveness.

"Ballerina Dance" and "Song of Modes" delve into the more exotic and modal aspects of Shaw and Miller's work. The former piece evokes a sense of mystique through its flowing six-eight feel. The latter track features Reid's expressive arco bass work, adding an ethereal quality to the album. Rottmayer's modern voicings and Johnson's fiery soloing explore the modal landscape, making "Song of Modes" a memorable track.

The album's quieter moments, such as "Autumn Evening" and "La Seizième," provide a space for introspection. The trio format in these pieces allows for a more intimate exploration of melody and harmony. "La Seizième," in particular, is a beautiful showcase of Endres' elegant brushwork and Rottmayer's sensitive touch on the piano, in his soloing and accompanying.

"Being" culminates with "Rue des Lombards," a medium-up tempo swinger that brings the album to a lively close. Johnson's playful solo, paired with Rottmayer's swinging lines, encapsulates the joy and vitality of live jazz performance. The ensemble's chemistry is palpable, making this final track a fitting end to an album that feels timeless and timely.

With "Being," Chris Rottmayer honors the legacy of jazz greats like Mulgrew Miller and Woody Shaw with a thoughtful exploration of jazz's musical language, its rich history, and a personal reflection on the places and people that inspire Rottmayer's artistry. It's an album that invites repeated listening, revealing new layers of depth and nuance each time.

Kicking off our review of Sarah McKenzie's "Without You," we're diving into an album that intertwines the diverse styles of vocal Brazilian jazz. With her love for Brazilian music, McKenzie brings us an enchanting setlist as she journeys through Rio de Janeiro, which is filled with encounters with Brazilian music legends.

McKenzie, a pianist and vocalist, anchors this sonic voyage with elegance and precision. Enter Jacques Morelenbaum, whose cello weaves layers of depth with his warm tones, and Romero Lubambo, whose guitar exudes the authentic spirit of Brazil and its romance. The rhythm section, led by the versatile Peter Erskine on drums and Geoff Gascoyne on bass, pulses with vitality, creating a foundation where melodies dance with Brazil's dreamy rhythms. Rogerio Boccato's percussion adds intricate and authentic rhythms—the heartbeat of Brazilian music—while Bob Sheppard's flute and saxophone elevate the compositions with impassioned solos.

At the heart of "Without You" lies McKenzie's homage to Antonio Carlos Jobim's repertoire. "I've always loved the music of Brazil, Tom Jobim, Elis Regina, and of course Astrud Gilberto," says Sarah McKenzie. "What I especially love about Jobim is the simplicity and clarity of his melodies, songs that one can remember and sing." Her renditions of "Gentle Rain" and "Corcovado" pay homage to the rich heritage while showcasing her unique vocal and piano style.

McKenzie's originals—"The Voice of Rio," "Mean What You Say," "Quoi, Quoi, Quoi," and her lyrical addition to Lubambo's "Without You"—reveal her vivid imagination as a composer and lyricist. Rooted in Brazilian rhythms and harmonic patterns, these tracks bear McKenzie's unmistakable signature, offering fresh and innovative contributions to the genre. Each track that features Lubambo exudes an aura of class and romanticism, hallmarks of his masterful playing, but it's McKenzie's unique touch that truly sets these songs apart.

Erskine, Gascoyne, Boccato, and Sheppard bring a level of musicianship that complements McKenzie's vision as synergy and unified purpose shine through. Boccato's percussion and Erskin and Gascoyne provide a vibrant backdrop to McKenzie's lush vocals as she navigates these melodies with an acute focus on Brazilian rhythms and precise accents and articulations. Sheppard's solos, as in "Quoi, Quoi, Quoi," bring a fiery elegance to the project.

McKenzie's melodic approach showcases her musical intelligence. Her ability to phrase melodic lines with clear diction while tapping into the emotional essence of the lyrics allows her to explore new dimensions within the music. Like in "Dindi," "Bonita," and "Fotografia," featuring Morelenbaum's arrangements, she takes us on a journey through the familiar melodies, but with a twist of new phrasing, keeping us engaged and excited.

"Without You" is a heartfelt homage to Brazilian music, where McKenzie honors the giants of the genre while carving out her own unique space within its rich textures. This tribute showcases her deep respect for the music but also connects us, the listeners, to the rich heritage of Brazilian jazz.

On "Green Lights," saxophonist and composer Troy Roberts embarks on a unique musical journey, illuminating the corridors of modern jazz with his vivid compositions and dynamic playing. His music draws a rich, emotive line through the map of his musical and geographical migrations, inviting the listener to connect with his personal experiences. This album, released under Toy Robot Music, reflects Roberts' artistic and personal journeys and marks the first time this gifted ensemble has recorded together under Roberts' leadership.

From the opening track, it's clear that "Green Lights" is based on conversational jazz between musicians who enjoy and respect each other. Roberts, alongside guitarist Paul Bollenback, bassist John Patitucci, and drummer Jimmy MacBride, establishes a seamless dialogue that sounds telepathic. The ensemble's responsiveness and mutual intuition are the bedrock upon which this album is built.

"Green Lights" opens the album with a flourish. The synergy among the musicians is palpable, marked by Roberts' robust, expressive saxophone and the ensemble's crisp, fluid interaction. Bollenback's guitar, with its rich Fender Rhodes-like tone, and Patitucci's growling bass lines create a lush, rhythmic tapestry, setting the stage for an album that feels both explorative and grounded.

"The Question" and "By Your Side" are prime examples of the band's versatility, showcasing contemporary harmony and rhythm and a traditional jazz waltz, respectively. In "The Question," the ensemble skillfully navigates through the well-written composition, allowing Roberts to display his deft control over the tenor saxophone during his impressive solo. Meanwhile, "By Your Side" offers an emotive contrast, emphasizing lyrical solos and traditional jazz aesthetics. This diverse range of musical styles keeps the listener engaged and excited throughout the album.

"Solar Panels" is an up-tempo swing, based on a standard that allows the ensemble to weave through the progression with finesse and fervor. "Harry Brown" and "Jive Dumpling" further highlight the ensemble's chemistry and interactive playing. "Harry Brown" delves into modal jazz, while "Jive Dumpling" mixes modern and contemporary jazz for a playful, rhythmically intricate track that will surely put a smile on your face.

"Up To No Good" and "The Scotsman's Ballad" each offer different feels for the ensemble to express through. The former showcases modern jazz sensibility meshed with tight compositional structure, and the latter is a tender, profoundly emotive ballad highlighting Roberts' sensitivity and control. Ending with "Stretch Armstrong," the album revisits the roots of jazz in a straight-ahead swing that allows each musician to shine individually and, as a whole, bring the album to a compelling close.

"Green Lights" is an album built on camaraderie, resulting in an auditory journey that resonates with anyone who appreciates the beauty of skilled jazz musicianship and the stories it can tell.

Randy Bernsen, a figure whose roots extend from the quiet corners of Needham, Massachusetts, to the vibrant musical mixing pot of South Florida, has carved a niche for himself within the jazz fusion genre. His latest album, "Heart Mind and Soul," released on June 16, 2023, under Jerico Jams, is a 32-minute journey through six glowing compositions. The sounds in this project showcase Bernsen's virtuosity and the collective genius of the various bands joining him, including luminaries like Bob Mintzer, Jimmy Haslip, and others.

The album's opener, "With You Always," encapsulates the essence of Bernsen's musical philosophy: a blend of emotional depth and technical cleverness. The relaxed fusion groove of "Prodigal Son" then sets a sophisticated scene, with Bernsen transitioning seamlessly between electric and acoustic guitars, underpinned by a richly textured backdrop provided by Haslip's bass and the Nizri brother's piano and drums. This song, in particular, illustrates Bernsen's musical language, which weaves engaging musical ideas into emotionally resonant phrases.

"Shepherd's Heart" shows Bernsen's compositional skills are also built on soul-stirring melodies. Here, his acoustic guitar sings over a backdrop of rich synth sounds, with a bassline that converses eloquently with the melody, highlighting Bernsen's flair for creating music that touches the soul. Including Mintzer's warm saxophone tones adds a layer of color and energy, enriching the song's texture.

Bernsen's exploration of different tonal landscapes is evident in tracks like "Abba Father" and "Billy Gate Blues." The former is characterized by stylized melodic musings against a backdrop of graceful keyboard lines, and the latter by its gritty blues tone married to a bopping jazz fusion beat. "With You Always" has a balmy atmosphere, created through Bernsen's melodic guitar riffs that soothe and invigorate equally.

As a guitarist, Bernsen is a master of expression, utilizing his formidable technique not for display but as a tool for musical storytelling. His ability to meld various styles—blues, funk, jazz, or Latin jazz—into a cohesive whole speaks volumes of his playing skill and deep understanding of the fusion genre.

"Heart Mind and Soul" is a tone narrative woven through the strings of Bernsen's guitar, each note a word, every melody a sentence, telling hip musical stories. The ensemble's chemistry is palpable, and each musician's contribution is vital to the album's overall impact. This album is a fun listening experience. A maestro of the modern jazz fusion genre, "Heart Mind and Soul" is a solid addition to the collection of any discerning fusion listener.