Great jazz is always a conversation between players, instruments, traditions, and between past and future styles. "Safe Travels" is drummer and composer Jerry Kalaf's project that orchestrates a meeting of musical minds and instruments. At the heart of this record is an inspired interplay between Kalaf's jazz trio, featuring pianist Tom Ranier and bassist Trey Henry, and the ATLYS string quartet, comprised of violinists Sabrina Tabby and Jinty McTavish, violist Erin Rafferty, and cellist Genevieve Tabby. With the skilled hand of Doug Walter guiding the orchestrations, the result is an album that traverses lush harmonic landscapes, flowing rhythmic contours, and a seamless blending of jazz tradition with chamber music sophistication.

The album opens with "263 Beacon," a flowing jazz waltz that immediately displays the textural depth of a jazz trio and string quartet. Ranier's piano leads the way, supported by Henry's warm bass foundation and Kalaf's sensitive, propulsive drumming. The strings add colors and textures before stepping into the spotlight in the second section, where they take the lead with a rich, singing quality. Ranier's piano solo, elegantly styled in a swing waltz, is accompanied by the ATLYS strings, whose background textures lend a cinematic touch. A string interlude leads to an exchange of phrases between Kalaf and the quartet, showcasing his melodic approach to drumming. The composition keeps our interest in its textural development, with each section unfolding naturally to reveal new shades of color.

"Another Summer" has an abstract introduction, with the strings and drums painting broad strokes of color and dissonance before easing into a light, lyrical bossa nova-based melody. The blend of piano and strings creates a sweeping emotional arc, as Kalaf subtly shifts his drumming into the warm hues of Latin percussion sounds on the set. Ranier's solo builds with lyrical intensity, leading into an unaccompanied string interlude that highlights the quartet's beautiful voicings and counterpoint. Henry's bass solo, emerging at the end of this section, is performed with elegance, his round pizzicato tones blending warmly with the string ensemble before the return of the melody. The result is a feel-good composition, performed with remarkable musicianship.

The swing ballad "At the End of the Day" introduces itself with a gorgeous string quartet and acoustic bass introduction, setting the stage for a piece rich in sonorities. Kalaf's brushwork is a study in restraint and motion as he matches delicately with insistent, always propelling the feel forward. The midpoint features exquisite string writing, reinforcing the dialogue between the jazz trio and the quartet. Kalaf's drumming functions as the glue, ensuring the ensemble's momentum remains fluid and dynamic. The balance of space and movement in this piece makes for an immersive listening experience.

"Bailing" shifts gears with a rubato trio introduction, seamlessly flowing from the preceding track. This piece is a study in contrast with sections of rubato that give way to tempo changes, creating a structure that breathes and evolves. Kalaf's drum solo is particularly enjoyable, maintaining a strong melodic contour while dynamically shifting textures and rhythmic melodies. As the track builds, an up-tempo swing feel emerges, giving the piece a sense of forward momentum and development.

The tender ballad "Epilogue" takes a more introspective turn, with each member of the jazz trio taking the lead in different sections. The string quartet provides a flowing, soft-hued backdrop, enhancing the ballad's emotive depth. The interplay between the musicians is exemplary, with each phrase carefully placed within the larger arc of the composition. The writing and performance here are particularly striking in their clarity and warmth.

"Perspectives" introduces a medium jazz waltz feel, diving into the string quartet's full-color palette. Lush harmonies and expressive phrasing shape the composition, which unfolds logically through its form. A free improvisation in the middle section allows the ensemble members to engage in an organic, evolving conversation, gradually building in intensity. Freedom within structure is one of the album's defining qualities, and this track exemplifies that balance beautifully.

With "Safe Travels," the album's title track, Kalaf and his ensemble embrace a broader sonic expanse. Opening with evocative 20th-century classical sonorities in the string quartet, the piece gradually develops into a deeply moving jazz ballad. Ranier's piano work is particularly poignant, his touch imbued with emotion and a deep understanding of the jazz language. This track encapsulates the album's essence, a seamless integration of jazz tradition and contemporary classical elements.

The album closes on a bright note with "Shearing," a happy medium swing piece where the trio and quartet intertwine effortlessly. The strings oscillate between percussive patterns and long, flowing harmonies, adding rhythmic vitality and depth. Henry's bass solo carries shades of the blues, grounding the piece in an earthy, soulful space. It's a fitting conclusion to an album that consistently finds common ground between seemingly disparate musical worlds.

"Safe Travels" is an album that rewards close listening, revealing its intricacies with each spin. Kalaf, a drummer of remarkable sensitivity and compositional depth, has delivered an album that speaks across genres and generations. Whether you're drawn to the harmonic richness of chamber music or the rhythmic interplay of jazz, this album offers a journey worth taking in.

Rodney Whitaker is a sought-after bassist extraordinaire and a pre-eminent jazz educator. On his latest project, “Mosaic: The Music of Gregg Hill” (Origin Records, 2025), Whitaker and his vibrant working band breathe life into Hill’s idiosyncratic compositions, crafting an album brimming with fiery interplay, deep swing, and a forward-thinking sense of adventure.

From the outset, the title track, “Mosaic,” draws listeners in with its lush voicings shaped by juxtaposing silence with shimmering patterns of harmonic movement. This grand opening sets the stage for the ensemble’s fluid creativity. Whitaker’s bass signals the next section with his robust basslines setting up the swing time feel. Terell Stafford’s soaring trumpet lines and Tim Warfield’s soprano saxophone perform the compelling melody. Stafford, Warfield, and pianist Rick Roe express solos over the deep swing pocket of Whitaker and drummer Dana Hall. Throughout, Whitaker anchors the band with a steady yet dynamic pulse and his deep connection to Hill’s compositions.

“Unknown Ballade” features Rockelle Whitaker’s soulful vocals that imbue the sensual groove with warmth and power. Her gripping performance of the melody that crescendos into a climactic resolution is impressive. Hill’s writing mixes post-bop structures for the ensemble to explore. This harmonic framework is especially effective in providing interesting pathways of expression during the solo sections. Equally striking is “Claxilever,” where Stafford and Warfield channel the exuberance of hard-bop captured in Hill’s catchy writing and the ensemble’s buoyant swing camaraderie. Stafford’s, Warfield’s, Roe’s, and Whitaker’s improvisations are emotive and musical, with the rhythm section’s earthy swing feel grounding the adventurous explorations. The trading between the ensemble and Hall is outstanding.

Other highlights include “Katie’s Tune,” which blends Afro-Cuban rhythms with a waltz-like feel, showcasing Hill’s skillful integration of cross-cultural influences. Whitaker and his ensemble bring these elements to life, delivering a cohesive modern jazz voice that amplifies the music’s expressive truths. On “Sloe Gin Fizz,” the ensemble reaches its hard-swinging zenith, with Hill’s composition delivering a poetic melody and setting for exploration. Whitaker’s jazz blues solo seamlessly transitions into Stafford’s. Warfield’s improvisation builds to Rick Roe’s inventive piano improvisation. The trading section’s interplay here epitomizes the art of interactive jazz performance.

“Mosaic: The Music of Gregg Hill” reflects how jazz remains a living, breathing art form, deeply rooted in historical contexts that can be expressed upon. Hill’s compositions draw from the genre’s storied past, reflecting the subtle influences of specific era’s harmonic and rhythmic textures. Tracks like “Sloe Gin Fizz” evoke a 1950s jazz vibe with intricate, eighth-note-based melodies reminiscent of the bebop era, while “Katie’s Tune” radiates the rhythmic energy of Latin jazz fused with modern jazz vitality. By incorporating these historical and stylistic markers, Hill creates a distinctive space for Whitaker and his ensemble to explore, amplifying the authenticity and depth of each piece. Whitaker’s grounding in jazz’s tradition adds his vision for expression as he brings his arranging voice to create a dynamic interplay.

This blend of historical reverence and forward-thinking artistry is at the heart of “Mosaic: The Music of Gregg Hill.” Hill’s ability to balance intricate, note-specific melodies with expansive, chordal frameworks creates a platform for passionate exploration, inspiring Whitaker and his ensemble to deliver performances imbued with precision and emotional resonance. “Mosaic: The Music of Gregg Hill” is a celebration of jazz’s enduring vitality, inviting listeners to journey through its layered artistry and musical sense of place.

They say time heals all wounds, that wine tastes richer with age, and that old jazz records mellow into something unforgettable. In Jeff Rupert's world, "It Gets Better" isn't just a title, it's a mantra that echoes through every note. Rupert has long established himself as a saxophonist with a gift for weaving personality into every phrase. Whether leading his own ensembles or collaborating with icons of the jazz world, Rupert's tenor saxophone voice is unmistakably warm, robust, and expressive.

With "It Gets Better," Rupert offers an album that leans into the timeless language of jazz with inventive hues of modern structures expressed in an expressive rhythmic flow. The result is a journey that starts with swagger, flows through expression, and blooms into exuberance before winding down with a sense of cadential acceptance.

At the heart of "It Gets Better" is a quartet that functions as a true collaborative unit. Joining Rupert is the legendary pianist Kenny Barron, with his elegant touch and harmonic wisdom. Peter Washington's full, resonant bass lines provide a foundation of agility and warmth, while Joe Farnsworth's time-keeping drumming ranges from masterful brushwork to driving swing rhythms.

This hard-bop gem, "Petrichor (in the Cote D'azur)," opens the album with strut. Rupert's warm, expressive tenor delivers the head with an energy that feels like a call to adventure. His solo is created with expressive accents, placing his ideas squarely in the swing time pocket. The rock-solid foundation of Washington and Farnsworth supports Barron's piano solo as his elegance and energy capture your attention. Washington's bass solo is a study in fluidity and precision.

"Comanche Crush" is a medium-up Latin groove with seamless transitions that keep things fresh. Farnsworth's cymbal patterns shimmer, and the Latin-to-swing shift is executed with flair. Barron's solo takes off with rhythmic crosscurrents that ripple across the time feel. Rupert's solo is alive with lines that twist deftly through the changes, landing beautifully resolved ideas that add melodic suspense and satisfaction.

Here's where the blues takes center stage, "Lana Turner," a slow-medium traditional jazz form with a timeless feel. Rupert leans into the blues and swing jazz vocabulary with sweet vibrato and glissandos that echo the masters. Barron's solo brings in modern pentatonic flashes and clever substitutions, while Washington and Farnsworth lock in like a finely tuned engine, listening intently and responding with rhythmic finesse.

"It Gets Better" is set to a medium swing feel that thrives on interaction and groove. The catchy bass line and head create a platform for Rupert's flowing, legato phrasing. Farnsworth's brushwork is a standout, and when he switches to sticks midway through Rupert's solo, the energy is built to a thrilling climax. Overall, the subtle crescendos of dynamics underscore the quartet's collective performance and ensemble synergy.

A slow, moody exploration framed by a hypnotic rhythmic figure is the setting for "Pharoah's Daughter." For the solo section, Rupert's modal vocabulary is in full effect—his intervals and motifs are methodically developed, adding intrigue, and his articulations add emotional weight. Barron's piano accompaniment glues the harmony together with precision, while Washington anchors the shifts between the repetitive groove and swing passages with a resonant, woody tone.

This classic "Like Someone in Love" gets a fresh trio treatment—tenor, bass, and drums. Rupert's lyrical expression of the melody is filled with turns and embellishments. Washington's solo is melodic and grounded, showcasing his harmonic awareness, while Farnsworth's snare comping drives the trio forward with crisp, articulate phrasing. The fours between Rupert and Farnsworth unfold like a friendly sparring session—each phrase escalating the dialogue with wit and precision.

A modern Latin selection called "Nowhere to Go But Up" dances between feels before settling into a driving 6/4 swing waltz. Barron's rhythmic vitality in the waltz is infectious, creating playful tension with his two-against-three phrasing. Rupert's solo snakes through the harmony with bluesy inflections and striking intervallic leaps, each phrase reinforcing the rhythmic pocket while maintaining clarity of emotional intent.

"Not My Blues" is an up-tempo post-bop blues where the quartet's chemistry soars. Rupert's swing feel is impeccable as he locks into the buoyant rhythm section. Barron's voicings sparkle with harmonic clarity and rhythmic exuberance, while his ideas practically leap out of the piano in a way that feels as joyful as it is sophisticated. The ensemble's lively interplay makes this track an instant highlight.

The closer, "Promenade in Blue," is an exquisite ballad that starts with a relaxed sax-piano duet. Rupert's bends and falls add a touch of vulnerability and elegance. When Washington and Farnsworth join at the bridge, the texture deepens without overpowering the mood. Washington's lyrical solo reinforces the song's introspective beauty, and the composition gently winds down, closing the album with grace.

Throughout the album, there is a theme reflecting Barron's inventive phrasing, Washington's lyrical sense of time, and Rupert's expressive melodies, while Farnsworth adds rhythmic propulsion that gives the music a sense of direction. Together, this ensemble breathes life into every melody, rhythm, and improvisational exchange, delivering an album that thrives on spontaneity and impeccable communication.

Jeff Rupert and his ensemble offer a blend of hard bop, blues, and balladry, all delivered within an ensemble that brings forth emotional nuances. This is an album of journies where the improvisations feel organic, the ensemble interplay is sharp, and the production captures every nuance. "It Gets Better" is as much a lesson in ensemble communication as it is a heartfelt homage to jazz tradition.

Kenny Barron’s “Beyond This Place” is the real deal class in its modern jazz storytelling. The album features various ensembles showcasing Barron’s ability to shape harmonic landscapes and foster musical interactions. Released on May 10, 2024, by Artwork / PIAS, the album offers a mix of styles that speaks to Barron’s enduring artistry and piano expression.

The album opens with Barron’s elegant solo piano introduction, setting the mood for “The Nearness of You.” The ensemble’s performance is steeped in the warmth of the jazz tradition. Saxophonist Immanuel Wilkins’ rendition of the melody is expressive. Kiyoshi Kitagawa’s bass and Johnathan Blake’s drums enter, the bridge gains momentum, with Wilkins’ upper-register phrasing soaring above the rhythmic support. Barron’s solo captures a rich chemistry between the piano, bass, and drums, weaving agile melodic lines that balance grace and activity.

“Scratch” is an up-tempo swing that kicks off with Kitagawa and Blake locking in to create the pocket. Nelson, Wilkins, and Barron present the angular melody with precision, forming a cohesive front line. The solo section unfolds as a lively conversation, where the musicians pass the improvisational baton with a sense of playful interplay. Steve Nelson’s vibraphone solo is striking in its blending of rhythmic drive with vivid harmonic colors. Barron’s solo contrasts movement and stillness, flowing fluidly yet embracing moments of rugged phrasing that add rhythmic depth.

With its straight-eighth feel and subtle Latin undertones, “Innocence” paints a beautiful sonic portrait. The interplay between piano, vibraphone, and alto saxophone casts an ethereal hue over the flowing melody. Blake’s drumming is expressive and anchors the piece with a groove that propels yet never overpowers. Barron’s solo is a dazzling showcase of wide, multi-octave arpeggios that provide energy and uplift, a testament to his boundless technique and creativity.

“Blues on Stratford Road” is a medium-swing tune laced with New Orleans overtones. Nelson’s solo is a standout moment, brimming with passion and rich note choices that tell their story. The ensemble captures the essence of a hard-swinging style that mixes the swing of a gospel celebratory spirit.

“Tragic Magic” is a hard-bop gem defined by its driving swing feel, sharp ensemble hits, and well-crafted form. Wilkins’ solo exemplifies his ability to blend modern intervallic ideas with bebop-inspired embellishments, showcasing his expressive and technically fluid approach.

A spirited trio excursion of “Softly As in a Morning Sunrise” highlights Barron’s genius in a pared-down setting. His approach layers a moving melodic line in the lower register, intricate harmonic movement in the midrange, and fluid, expressive solo lines in the upper register. The trio’s synergy is palpable, with Blake’s drumming adding dynamic support and textural variety.

“Beyond This Place” captures Kenny Barron balancing introspection and exuberance across a thoughtfully curated set. Each ensemble has a defined cohesion that elevates the recording, making it a testament to Barron’s legacy as a consummate bandleader and performer.

Following the successful “The Peplowski Project” (Self-Released, 2023), baritone saxophonist and composer David Larsen returns with “Cohesion,” a dynamic collaboration with East Coast jazz talents Darryl Yokley, Zaccai Curtis, Alex Apollo, and Wayne Smith Jr. This set contains six original compositions by Larsen and two by Yokley, offering listeners a taste of East-meets-West jazz perspectives.

The title track opens with a modal jazz expression, characterized by harmonized saxophone lines and a forward-thinking rhythmic feel from bassist Apollo and drummer Smith Jr. Yokley and Larsen bring contrasting yet complementary styles: Yokley’s tenor has a resonant post-bop warmth, while Larsen’s baritone provides a rich, grounded hard bop tone. “Down to It” continues in a modal vein, where Larsen’s lyrical sensibility channels the spirit of ‘60s modal jazz fused with hard bop energy.

“Movement” takes on a leisurely straight-eighth groove, propelled by a subtle rhythmic motif. The two saxophones blend in harmony during the melody, while Larsen’s solo navigates rhythmic shifts between straight-eighth and swing feels. His rhythmic flexibility and dynamic phrasing lift the piece, demonstrating his command over both style and structure.

“Wishing Well” moves into Afro-Cuban territory, introducing a lively groove under a buoyant melody from the horns. The rhythmic interplay between Apollo’s bass and Smith’s drums provides a solid foundation, allowing Larsen and Yokley to dive deeply into this new rhythmic terrain. Larsen’s compositional voice brings a melodic fluidity that lets both saxophonists explore stylistic variations throughout the album.

On “Fedchock,” the ensemble locks into a swinging, hard bop vibe, underscored by a hypnotic elegance and subtle guide-tone tension. “Working Things Out” shifts gears with a modern jazz feel, its straight-eighth pulse matched by a buoyant melody. Larsen’s baritone solo here shines with an edgy expressiveness; he builds his solo with the same care he brings to his writing, crafting each phrase with intentionality and depth.

Yokley’s compositions introduce a post-bop flavor to round out the album. “Mount Fuji” swings at a brisk tempo, challenging the ensemble with shifting harmonic ideas. Yokley, Larsen, and Curtis each bring unique improvisational ideas, adding intrigue to the track’s spirited framework. The album closes on “El Duelo,” where inquisitive harmonic choices elevate the composition. Larsen’s hard bop sensibilities find a natural fit in this modern setting, and Yokley’s tenor sax lines bring a resonant depth that enriches the composition’s energy.

Overall, Larsen’s playing has a flowing melodic clarity and infectious groove, balancing timbre, articulation, and inventive motifs with finesse. Across the eight songs, the ensemble shows a profound blending of sensitivity and technicality. Each musician finds creative ways to explore these well-written compositions, making “Cohesion” a distinct and valuable addition to Larsen’s discography.