Two new releases from saxophonist, composer, and arranger Philippe Coté—Bell Tolls Variations and Fleur Revisited—offer reimagined compositions that straddle the line between jazz and classical and deliver thoughtful, lyrical commentary on weighty subjects.
Funky, jazzed, and trippy, Tinctures in Time is the first of four albums scheduled for release over a year’s time from trumpeter, composer, arranger, and band leader Steven Bernstein. Featuring his Millennial Territory Orchestra, a nonet comprising some of New York’s finest musicians, the album’s groove-based tinctures blend jazz, funk, rock, minimalism, and African influences to deliver a welcome lift to the spirit.
On Kaleidoscope, trumpeter, vocalist, composer Sarah Wilson offers up an album of gratitude, dedicated to the people who have supported her. We, too, should be grateful for the support that helped shape this artist, whose post-bop jazz chops are shaded with influences from avant pop, Afro-Latin grooves, and indie rock.
Accordionist/organist/composer Gordon H. Whitlow, a member of the avant-garde audiovisual collective Biota, has a distinguished résumé creating what I like to call adventurous music, music that opens previously unknown or unexplored territory. See It Alone, his latest album, introduced to me by Denver guitarist Janet Feder, leverages a group of collaborators he calls Sorry for Laughing. The album vividly occupies a fascinating musical space previously unknown to me.
Vibraphonist Simon Moullier, pianist Dahveed Behroozi, and saxophonist Joel Frahm front trios distinguished by telepathic correspondence among the players and arresting musicality. Three flash reviews (150 words or so) recommend their recent recordings.
