js Trumpeter Marquis Hill is one of several current jazz artists who is mapping future paths for jazz by looking back to jazz’s African roots. Marquis takes those roots and mixes them with current trends in DrumnBass, neo-soul, hip-hop and modern jazz and creates some of the more happening directions in music today. His latest album, “Composers Collective: Beyond the Jukebox”, utilizes not only his current band, but also an all-star cast of collaborators, many of whom share Marquis’ vision for future jazz.

Opening track, “A Star is Born”, lays down Marquis’ blueprint, African rhythms driven by DnB beats and presented with complex structures and chord changes that avoid any sort of cliché’. The presence of Joel Ross on tuned percussion drives home that permeating African flavor. The DnB rhythms continue for the next couple tracks until we hit, “The Cool”, a neo-soul instrumental that features Hill on layered echoed trumpet lines. Although modern synthesized sounds are used for good effect throughout the album, they tend not to get in the way of the instrumentalists and their prowess on their given instrument.

The many instrumental hip-hop and neo-soul tracks sprinkled through out the album take on an almost library music type presence. “Beyond the Jukebox” is just brimming with useful soundtracks for those looking for a current hip sound. Marquis doesn’t mind reminding us that he can still swing with the best and “Smo Melody …” gets into some high energy post bop with Caroline Davis guesting on saxophone. On “Life Days’, Marquis gets into some African fusion as he trades licks with guitarist Jeff Parker. Vocalist Samora Pinderhughes delivers a classic heart breaking ballad while Christie Dashell sings on neo-soul groove number, “Chef’s Kiss”. “Beyond the Jukebox” is driven with cool modern beats, but this album is much more than another ‘acid jazz’ groove fest. Marquis has serious compositional chops that he puts to good use with arrangements that will hold your interest and keep you guessing as to what is coming up next. Want to hear what is new in jazz, this album is a good start.

Matti P PEELA is a Finnish group led by guitarist and composer Johannes Granroth. Their debut album Layers was released in 2018, and since that the line-up has radically changed. On this second full-length album, Granroth and the [female] singing keyboardist Maja Mannila are the only remaining members if you exclude the other saxophonist Sami Leponiemi playing as a guest on five tracks. The core sextet is further joined by a trumpetist on one piece plus an upright bass player on two tracks.

The number of tracks on this nearly 73-minute album is exactly twice as big as on the debut. 14 pieces can be challenging for a single listening session, especially within the Fusion genre, but the music grooves so light-heartedly and happily that one doesn't become exhausted. Peela's funk and soul flavoured music is vivant, outgoing, playful and uplifting, and sophisticated enough not to become tiresome. It functions well also as background music.

It's a benefit for the lengthy whole that there are a few vocal songs amidst the majority of instrumentals (of which some do contain nice wordless singing from Maja). 'Liar' is a funky song with a lively groove. Maja's voice has a suitable hint of r&b. On 'Cross the Line' and the final track 'Let the Music Lead the Way' Granroth is the lead vocalist. The airy and melodic latter piece is among the highlights with its smooth vocal harmonies.

Since most of the pieces are fairly lively and funk-flavoured, the serene 'Silver Lining' is a special delight finished with enjoyable solos for electric bass and trumpet.

The leaflet features the three lyrics and tells how the album was recorded partly live as the whole group, partly one instrument at a time. And the album title's word play: it's either "Not bad", or "Note bath" in Swedish. The group name itself derives from the Swedish verb 'spela', to play. The happy playing together is at the heart of this band's ideology, and the listener is warmly invited into that joyfulness.

Carmel 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.

Matti P Founded in 2001, ASTRO CAN CARAVAN is a Finnish collective using large line-ups on their gigs and albums. Their personal instrumental music could be described as psychedelic, ethnically coloured, occasionally avant-garde oriented Big Band Fusion. I'd like to cite the respected Finnish music journalist Pekka Laine from his review on some ACC album, freely translated: "The caravan that wildly operates in an area loosely bordered by funk, imaginary ethnicity, astral noise and free sound waves succeeds to create an unbelievable bazaar atmosphere. Sometimes with an intensity of a snake charmer, sometimes speaking strange things from a mystic's mouth, and every now and then heading into complete lunacy."

It is possible -- I admit I'm not so deeply into this band -- that this new album is easier to absorb than the earlier ones, rather easy to like if you're into both brass-heaviness and psychedelia. At least the frenziest freak-out moments are kept at bay. Let's have a look at the five pieces here.

The tight 5-minute opener 'Astral Projection' was composed by trumpetist Eero Savela, and it has a strong sense of vintage psychedelic jazz-rock. Saxophonist Pauli Lyytinen's 'Solifer 72' (8:38) has a bit calmer tempo and a hypnotic rhythm pattern evoking images of a camel caravan wandering across a desert. I like the way the reeds are soloing in turns, especially Otto Eskelinen's flute.

Eskelinen's composition 'Se kohiseva koski' (6:57) starts slowly and carefully with a bunch of wind instruments gradually growing bigger, bass playing peacefully on the background, until on the third minute the band gets wilder with a Klezmer/Balkan spirit. Balkan ingredients have always been hard for me to digest, but amidst the repetitive and brassy riff-orientation one can also spot interesting participations of various instruments.

Another Eskelinen tune 'Mustavuoren kuiskaus' is the album's most elegant track. Again there's a steady, groovy rhythm pattern and the players take their moments at front. During the album Emil Luukkonen's keyboards tend to be slightly buried under the multitude of wind instruments, but here the electric piano is crucial in creating a 70's-like jazz-rock atmosphere.

The 12-minute, more epic piece 'Amen Ra' (the third one composed by Otto Eskelinen) proceeds with a "where do we go from here?" kind of free-form jamming where only Janne Mathlin's metallic, sharp percussion keeps repeating its steady pattern til the end. if the track's first half has rather a confused atmosphere, the ensemble playing becomes more unified as the piece progresses in a hypnotic manner. The several wind solos are nicely woven into the overall sound where Arttu Hasu's bass sticks out deliciously (almost like in The Police's 'Demolition Man'). The 1974-78 era JADE WARRIOR comes to my mind for the hypnotic feel. Yeah, this tune is my fave, and the grand finale reminiscent of the one in Ravel's 'Bolero' is a fascinating way to finish it.

Apart from the third track's Balkan ingredients I can enjoy this album pretty well, in the right mood.

Carmel Imagine a late-night set at a smoky jazz club, surrounded by old friends, the air filled with the sound of clinking glasses and laughter. That’s the energy that Steve Davis captures with his latest live album, “We See.” It’s the kind of hard-bop jazz record that plays effortlessly as a reminder of what’s possible when brilliant musicians gather to make magic in the moment in front of an encouraging live audience.

Davis has always been a torchbearer for the trombone, but “We See” is not just about his talents. This is an album that’s as much about connection as it is about individual expression. Davis teams up with a group of heavy hitters: Eddie Henderson on trumpet, Ralph Moore on tenor sax, Renee Rosnes on piano, Essiet Essiet on bass, and Lewis Nash on drums. Together, they make the kind of hard-bop jazz that feels timeless and of the moment, full of warmth, spontaneity, and those unexpected sparks that come from live jazz.

The album kicks off with “Milestones,” and right away, the players show they’re here to play—no charts cluttering the music stands, just pure instinct and joy. Davis’ solo flows with his signature warmth, his tone gliding through the harmony with an effortless cool that’s firmly rooted in the tradition of his heroes. Henderson and Moore stretch out, their solos bursting with lyrical jargon and hard-swinging riffs that leave you nodding along, caught up in their groove.

“To Wisdom, The Prize” is a standout with its beautiful hard-bop style and the way the way the group’s chemistry can be felt by the listener. Davis’ solo starts with a thoughtful touch, each note deliberate and full of color before propelling into a bright, expressive, hard-bop expression. Nash’s drumming is the fuel to the fire, and his interactions during Davis’ and Rosnes’ solos are all about joyful discovery. You can practically hear the smiles as Nash and Essiet lock in behind the soloists, creating a foundation that’s loose yet unshakably solid.

Then there’s the title track, Monk’s “We See.” It starts with Nash laying down a melodic drum solo—each accent ringing clear, his kit resonating like an extension of his voice. When the horns enter, they do so with an exuberant swagger, the three horn lines harmonizing to add interest and color. Moore’s solo here is buoyant and playful, matching Rosnes’ subtle shifts in harmonic colors. Henderson’s trumpet solo is a joyful reminder of why he has become such a beloved figure in jazz: he knows how to blend sophistication with a sense of fun.

“Up Jumped Spring” has a bold post-bop flavor. Rosnes’ gorgeous reharmonization of Freddie Hubbard’s melody during the intro is stunning, as is her solo. The up-tempo waltz time keeps things dancing. By the time we reach “Star Eyes,” the band continues to impress with a groove that’s all about the collective—the rhythm section moves together like a single entity, building lush harmonies and rhythmic settings for each soloist to shine.

The set closes out with “All Blues,” a nod to one of jazz’s most beloved classics. Here, the band pays homage to Miles Davis’ original. It’s the perfect cap to an album that’s all about respecting tradition while finding your own voice within it. You can hear the history that binds these players together, but more importantly, you can hear the pure joy they find in making music together—in sharing their stories and their sounds with all of us.

“We See” is a recorded experience of the feeling of being in a room with old friends, sharing memories, and making new ones as an ensemble of outstanding musician create music in real-time. And isn’t that what jazz is all about?

FunkFreak75 To be sure, this has to be one of the most talented lineups ever in jazz history--and despite Miles' collaborators being in their young 20s and most definitely showing signs of some immaturity, the greatest innovation occurring here is with Tony Williams' drumming.

1. "Nefertiti" (7:52) a rather dull and slightly melodic lead song with Miles and Wayne up front has some rather adventurous performances from Herbie Hancock and, especially, the dynamic Tony Williams. (13.25/15)

2. "Fall" (6:39) another pleasant, melodic song in which the musicians are operating more nearly on the same wavelength--until fourth minute, that is, when Tony begins to go off into his own world, rhythmically, beneath Herbie's piano solo, but then he backs off and gets very quiet during Wayne's following solo and what follows. Interesting! (8.875/10)

3. "Hand Jive" (8:54) a much more dynamic song construct with Ron Carter walking all over his upright double bass while Tony Williams flies around his cymbals and toms. There is an odd, subtle shift in tempo in the third minute that I do not think is intentional but obviously not considered significant enough to correct or redo--and Ron Carter is not always "in the pocket" (at least not according to these amateur ears), but the song certainly displays the skills of all of the band members, with a considerable amount of time given to Wayne Shorter's solo in the middle. When Herbie is next given his turn, he seems a bit lost at first, but, after he gets warmed up, he starts to move better. Maybe everybody's just a little overwhelmed or intimidated by Tony's creativity (and Ron's hot-and-cold conformity to the "pocket"). (17.5/20)

4. "Madness "(7:31) more of the same as the previous song with Ron's fast walking and Tony's cymbal play providing the bulk of support beneath one of Miles' more dynamic and passionate solos on the album. The trio seem quite entrained. Then Wayne is given the nod to take over from Miles. He's not quite as dynamic but very impressive for his softer, breathy notes. When it comes time for Herbie's turn, everybody nearly cuts out, with only Ron and Tony remaining beneath part time, not flying around the fretboard and cymbal like they were. But then they return to their earlier form as Herbie heats up, though not quite as synched as they were with Miles--which may have something to do with Herbie's less smooth, less-melodic approach. And then they all come back together ever-so briefly before bringing the song to a quick close. (13.375/15)

5. "Riot" (3:04) Same cymbal play from Tony while Ron machine guns around the upper registers of his bass and Herbie plays a lot of chords beneath Wayne's initial lead. Then Miles is there, too. It's nice to hear the whole band working together (and Tony does get a little more active as the song develops). (8.875/10)

6. "Pinocchio" (5:08) a song that feels more like standard or old Miles bebop or hard bop. Opening with the whole rhythm section behind Wayne and Miles, Ron and Tony become more active as the song develops, something that is more noticeable during Wayne's solo (as Miles and Herbie check out). Tony really picks it up here, even when Miles and Wayne return to recapitulate the main melody. Then Herbie gets his solo. It's good, probably the best on the album, but then its over and the band pulls together to close. Very tight, "standard" jazz tune. (8.875/10)

Total Time 39:08

I think this album is most significant for confirming how much of a force drummer Tony Williams is (and is going to be). As impressive as Tony is (and Miles and Wayne, as well), I think Herbie Hancock and Ron Carter are showing how much growth they have yet to achieve--especially to be able to achieve the moment they are called upon.

B/four stars; an excellent album for gaining insight into the genius of some of Jazz-Rock Fusion founders and all-stars--especially the phenom that was drummer Tony Williams.

FunkFreak75 I really dig this album. With the exception of the second song, "Fee-Fi-Fo-Fum" I consider each one of these songs to be supreme examples of the sublime, melodic jazz that bridged jazz's Kind of Blue and My Favorite Things era with the melodic beauty of albums like Bill Evans' Conversations with Myself and Vince Guaradli's A Charlie Brown Christmas (all for being very important, seminal albums for me). Also, I don't really know why, but I've never heard MIles Davis' trumpet as an engaging sound-maker, but I've always had an easy and very positive connection with the playing of Freddie Hubbard. Though I've had a lifelong love-hate relationship with Ron Carter's styles of bass playing, I've always respected it. Same for Herbie: his journey deep into the realms of electronic sounds and effects were never as engaging or alluring for me as his exquisite piano playing. And Elvin Jones is among the very best to every sit behind a kit. The most surprising thing about this album is how much I love the compositions: especially Wayne's amazing "touch" with creating long, drawn-out, BEAUTIFUL melodies. (Like Miles' trumpet play, Wayne's sax play within the Weather Report discography have never impressed or engaged me.) This combo makes for such a great unit, it's no wonder that three-fifths of them transferred so easily (so telepathically) into Miles' "Second Great Quintet" (right after the recording of this album!)

Without question this is a five star album of incredible music.

js “The Other Side of Round Midnight” is a collection of songs that didn’t appear in the famous movie, “Round Midnight”, or on the very successful soundtrack to that movie. These are the castaways, and they probably would not have been released except for the fact that the movie and it’s soundtrack ended up being way more successful than people thought, so possibly this album was one more attempt to squeeze a little more money out of one of the best movies about the jazz scene ever produced. These are songs that didn’t make the cut, except for one, but there are some real gems on here. The one song that did make the movie was a remake of “Tivoli”, and its just a segment of the tune made to fill a certain space in the movie. I would imagine if they knew they were going to be putting out this second album, they would have recorded the entire performance instead of fading it out after a couple minutes.

If you know anything about the movie, then you can guess that the main stars on here are Dexter Gordon and Herbie Hancock, but there are so many other talents on here, including Freddie Hubbard, Cedar Walton, Billy Higgins and many more. As mentioned earlier, there are some good tracks, including “Society Red”, a funky hard bop number and “Berangere’s Nighmare 2”, an energetic fusion jam featuring Hubbard and Tony Williams. The real gems though are two different versions of “Round Midnight”. This is a song we have all heard many times by many different artists, so it is a challenge to come up with a creative version that gives the song new life. On side one it’s an ensemble piece on which Dexter really shines, he is a genius who keeps you hanging on every note he plays. But the best track is Herbie’s closing version of the song on which he channels, the blues, French composers and the avant-garde. This version could become a contemporary concert hall piece if it was transcribed.

The rest of the album is a mixed bag with two ballads, one featuring Gordon and another featuring vocalist Bobby McFerrin and a casual jam session led by Wayne Shorter that probably would not have appeared on an album except to fill space on this afterthought production and a couple more standards played well, but not particularly inspiring. Despite some very good music here and there, the main problem with this album is that it comes across as something thrown together without any particular forethought.

Matti P Junassa (=In a train) is the second album of Emmi Uimonen, relatively young Finnish jazz pianist and composer. Her debut My Bird (2019) was a quintet work for piano, violin, alto sax, bass and drums, I haven't listened to it. This time she also sings and is accompanied by double bassist Juuso Rinta and drummer Ville Luukkonen. Tenor saxophonist Adele Sauros guests on two tracks.

In addition to her seven own compositions Emmi has written new lyrics to the moody Finnish traditional melody (known as 'On suuri sun rantasi autius'), that's the 2nd track here. The opening title track is a fine example of Emmi's songwriting. The airy jazz groove meets a slightly Joni Mitchell reminding melodic song substance. The trio plays so well together that the music would function instrumentally, too. That said, I do like her voice, it feels natural and effortless and also bends into wordless, scat-like expression.

'Kysyt miksi' (=You ask why) has a lot of poignant questioning about the uncertain future of mankind, including the environmental worries. Her lyrics in general are thoughtful, but the music never feels like a mere background for vocals. Piano stays fairly equal in the trio, not leaving the excellent rhythm section in its shadow. Luukkonen uses his sticks in a colourful way.

Several pieces have instrumental sections but the compositional structures don't wander into highly surprising directions. The sax on tracks 6 and 8 naturally adds some sonic variety. Nevertheless, despite all my praises above, in the end this solid album doesn't manage to really impress me in the emotional level, and a slight feeling of evenness sets in. This may however change with repeated listenings as the songs become more distinctive from each other.

Matti P My first acquaintance with the Finnish jazz guitarist and composer Kari Antila (b. 1966) was circa 2016 when I attended his gig (as a duo with a pianist, I believe it was), in a Helsinki restaurant. I liked it enough to buy right there his first album The North Wind (2013), but have to admit I've seldom listened to it. It featured Manuel Dunkel's saxophone. This latest Antila album is a quartet work, featuring pianist Alexi Tuomarila and the rhythm section of double bassist Kaisa Mäensivu -- also known as a band leader of her own -- and drummer Tuomas Timonen. All seven pieces were composed by Antila.

Right from the opening track 'For Toninho' I came to think of PAT METHENY, his easy-going and light-hearted output, to be more precise. This association is helped by the Lyle Mays style pianism and, above all, Antila's use of his voice as an additional instrument in the similar manner as on several Metheny albums. 'Moving Clouds' is slightly moody in its peaceful tempo and features Kaisa's double bass solo.

'Wild Rooster' is naturally among the livelier stuff here, nevertheless it maintains the sonic smoothness. Throughout the album the music is sophisticated, melodic, fairly gentle and easy on the ears and mind. Happy moods and a more introspective delicacy are in a harmonic balance. Not even 'Waltz for the Swan of Tuonela' gets notably dark, nor it (or Antila's music in general) sounds particularly Finnish, despite the title's reference to Kalevala/ Jean Sibelius.

The voice as an instrument returns on the final piece 'On my Way to Nairobi'. All in all this excellently played and produced album is very easy to enjoy, and especially fans of Pat Metheny will feel at home here. What it perhaps lacks is a wider variety in (guitar) sounds and truly memorable highlights. Four stars, therefore.