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A few more quick takes on recent releases. Here are three—from Myra Melford’s Snowy Egret quintet, Omar Sosa and Yilian Cañizares, and Javon Jackson—that live in completely different musical universes.

I’ll be guesting on Patti Littlefield’s jazz show on KUNM on Wednesday, November 21, from noon to 1:30 p.m. MT. We’ll be playing a selection from each of these albums and several others. Tune in at 89.9 FM or stream at KUNM.org.

Snowy Egret
The Other Side of Air (Firehouse 12 Records)
A review
Snowy Egret, pianist/composer Myra Melford’s stunning quintet, operates with a joyful intelligence, and Melford’s nimble, inquisitive, articulate compositions are ably served by her chosen personnel, virtuosi all: Ron Miles (trumpet), Liberty Ellman (guitar), Stomu Takeishi (bass), and Tyshawn Sorey (drums). Melford’s compositions somehow manage to be as concrete as they are abstract, and their rhythmic liveliness—enhanced by the outrageously inventive work of Sorey and Takeishi—help make even her thorniest pieces accessible and get your head bobbing. Check out the rhythmic layers on the opener “Motion Stop Frame,” which spirals upward as the quintet achieves weightlessness. Unlike Wile E. Coyote, they never break the spell by looking down. Other highlights in this collection of 10 original tracks include the minatory and episodic “City of Illusion,” a nearly through-composed piece that features exceptional solos by Miles and Ellman at the end; the still and spacious “Chorale;” “The Other Side of Air I,” which threads Melford’s through-composed piano through the others’ improvised parts; “The Other Side of Air II,” a darkly folkish fairytale. The Other Side of Air offers welcome surprises at every turn and will bear the weight of many listens.

Omar Sosa and Yilian Cañizares
Aguas (Otá Records)
A review
In violinist/vocalist/composer Yilian Cañizares, pianist/composer Omar Sosa has found a musical companion who shares both his romantic nature and his deep connection to their native island, Cuba, and its Yoruban roots. Dedicated to water and to Oshun, the Santería Goddess of Love and Mistress of Rivers, Aguas offers a drama of expatriate longing and memory, whose lush soundscape, with Sosa’s characteristically deft blend of acoustic and electronic instrumentation, is supported by percussionist Inor Sotolongo. “O Le Le” immerses the listener in a liquid Afro-Cuban flow that includes still pools and sudden cascades, culminating in a fiery ensemble improvisation. Intoxicated with nostalgia, “De la Habana y Otras Nostalgias” explores the sweet pain of memory. Caribbean breezes stream through the high simmer of “Sanzara,” which leads to the gentle benediction of “Sonrisas de Niños.” Worship (“Oshun”), memorial (“Se Van Los Míos”), and gratitude (“D2 de Africa”) all find a place on Aguas, whose passionate performances touch deeply buried memories of a shared human ancestry.

Javon Jackson
For You (Solid Jackson Records)
A review
The big sound of Javon Jackson’s tenor saxophone has such warmth and humanity in it that you might just want to curl up in his horn and let it vibrate through you. On For You, Jackson honors his roots in the swinging mainstream tradition of elders such as Elvin Jones, Freddie Hubbard, and most especially Cedar Walton, and he’s joined by Jeremy Manasia (piano), David Williams (bass), and McClenty Hunter (drums). The tone is set right from the opener, the Jerome Kern/Johnny Mercer standard “I’m Old-Fashioned,” whose warmth and swing can make you feel better on even a bad day. Five of the 10 tunes are Jackson originals. “My Man Hubbard” stands out, spotlighting Jackson’s taste, touch, and technique and featuring a fluid solo from Manasia, and his “Sun Up” offers a lovely étude for aspiring jazz artists. “Mr. Sanders,” his ode to Pharoah Sanders, features Williams’ wise and languid bass. Williams, a native Trinidadian who was Walton’s longtime bassist, contributes the tune “Native Son,” whose calypso feel provides an opportunity for Jackson to pay homage to Sonny Rollins. The highest points of the album, though, come on the two Walton compositions, “Simple Pleasure” and “Holy Land,” on which Jackson and the quartet seem to feel most at home. On For You, Jackson aims to make music that gives pleasure, and he and his colleagues succeed beautifully.

© 2018 Mel Minter