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This one has been sitting in my inbox since its release in October, but I’m glad I’m finally reviewing it. Genre is always a tricky thing, particularly when you drill down in jazz, but ‘jazz-grass’ sits as well as any to explain ‘ Liberty Now! ’ from Phil Haynes  and Free Country. Starting at track one of the first of the double CD release - Situation Ethnics  - it’s clear that lines are drawn to and from blues, folk and country music, with a plethora of strings. I interviewed drummer and composer Phil Haynes for Harmonious World  back in July 2025, following the release of his Return to Electric  album, which is a very different beast. Liberty Now!  has a more mellow flavour and especially when you reach track two - Past Time  - there is a sense of a strong social conscience, helping us learn lessons from the past so we can have a more positive impact on the future. Liberty Now!  is the first album in a decade from Free Country. Alongside drummer Haynes are Hank Roberts (cello & voice), Jim Yanda (guitar) and Drew Gress (bass). Through this double CD offering, they all contribute composition as well as performance. Haynes says: “After the American Trilogy and our live record, I felt like the  band was done, but the sound of Free Country and the chemistry that the four of us shared never left my head. I thought about what I would want to do if we ever made another record, and I knew it would have to be our own originals. Each of these terrific musicians are lovely and very personal composers, and when a band comes together with this much chemistry, mutual love and  respect, you write and arrange material very differently.” Through each of the tracks, there is a sense of that chemistry, writ large through the compositions with their own feeling and focus. By the time we reach Corner Store Strut , which Haynes composed and begins to establish the groove, there is space for each of these musicians to contribute their own impressions and improvisations. This track in particular has the clear voice of this quartet as they weave around each other. Issues abound in the titles of the tracks and Liberty Now!  marks a moment in time right through America’s recent and earlier history. Reminding us all of the poetic and patriotic America the Beautiful  on CD two is perhaps the strongest embodiment of this jazz quartet and its ethos. Sometimes we all need a reminder of our past and our values. Haynes says of Liberty Now!  “We've been thinking about these issues for a long time. It's nice to have a body of work  that will hopefully help people to ruminate on the current environment and also look back and see that our good old days were never totally good ole days. I thought this music might offer people some solace and courage to live through this period and find ways to do things that might have a positive impact.”

Bass players have really pulled out some stonking music in 2025 and 2026 is starting strong, with my latest discovery - ‘Moon Beans’ from Misha Mullov-Abbado  and trumpeter James Davison . Starting with the Scott Joplin classic Maple Leaf Rag , the album provides a delightful sound in a collaboration between trumpet and bass that is fairly unusual. Taking a track from the earliest days of jazz at the end of the nineteenth century and then interpreting classics from nearly every decade since is pure genius. Adding in a couple of originals - one by Misha and one by the duo together - makes this a complete collection of tracks that show the bass/trumpet combo off perfectly. James Davison has a brilliant career as a trumpet and flugelhorn player across the UK, appearing with many of the best classical and jazz ensembles. Bassist, composer and arranger Misha Mullov-Abbado is another talented and in-demand musician and it was a delight to chat with him for Harmonious World  last summer. The pair have worked together many times and this is their first album where the two of them develop their improvisation together across different genres.  The Antonio-Carlos Jobim bossa nova Chega de Saudade/No More Blues  follows perfectly from the Joplin before the Jimmy van Heusen Polka Dots and Moonbeams  from 1940 and then the original Subsonic Glow  by Misha. We then head back to Ellington with Just Squeeze Me (But Please Don't Tease Me)  and then the surprising Maxwell’s Silver Hammer  by Paul McCartney. The duo’s own Sunday’s Mudbath  is insistent and dynamic with both players pulling everything out of the bag, wringing it out and stuffing it back in. The trumpet takes it up a notch and the bass keeps the groove in a way that Misha has made his own. Then James drops out and that bass just sings! This is one track I REALLY want to hear played live. The last two tracks on this rather wonderful album are That's A Plenty  from Lew Pollack and possibly one of the finest jazz tunes ever written - Thad Jones’s A Child Is Born . James and Misha really hone that final track on the duo’s debut. I look forward to hearing them live together sometime soon. But first, you need to get hold of Moon Beans  when it releases on 9 January.

‘ Lacrimosa’, the latest album from pianist and composer Øystein Sevåg  conveys something of his Nordic approach to Western classical music, with more than a touch of jazz improvisation. When I created Harmonious World in that unforgettable spring of 2020, I thought I would interview musicians and review music in the classical or jazz genres. I quickly realised that the distinction between genres is often delightfully blurred, and that is certainly the case with Øystein Sevåg’s Lacrimosa . Sevåg describes this album as being for anyone in need of relief, inspiration, or a renewed belief in the future at a time when the world is struggling to find common ground. The title Lacrimosa , meaning ‘tear’, reflects the spirit of the project and the cover image - a NASA contribution - depicts Earth suspended in space, like a pearl, a drop, or a tear. The ensemble gathered for this recording is global and more than impressive, led by Øystein Sevåg (piano) with Emily Hultmark (bassoon), Bendik Hofseth (sax), Sara Övinge (violin), Hanne Moe Skjelbred (viola), Gregor Riddell (cello), Elisa Herbig (cello), Mats Eilertsen (bass), Rune Arnesen (drums) and the North Macedonia Symphony Orchestra. It’s rare to hear the bassoon take such a lead role, as it does on nearly all of the tracks on Lacrimosa , but it is deserving of that role in the hands of Emily Hultmark, particularly when it sits alongside the string section. Night on Earth  is possibly the most ‘classical’ of the tunes and that combination of wind and strings is sublime. One of the most beautiful tracks on the album and one that’s on a loop in my head is Love Continuum , which shows the composer’s skill in the classical and jazz genres. Sevåg’s piano morphs from soloist to accompanying Hultmark’s bassoon and then Hofseth’s resonant sax. All the tracks on Lacrimosa  were composed and arranged for this ensemble by Sevåg, and the collection seems intensely personal and dedicated to our planet. Listen to the whole album on Bandcamp .

We are a little obsessed with Carla Bley's new album, released in May to coincide with her 80th birthday. Andando el Tiempo  combines Bley's artistry as a composer and a pianist with the skills of her long-established trio. This is music that allows Bley on piano to intertwine with Andy Sheppard's tenor and soprano saxes and bassist Steve Swallow. Bley always manages to combine a sense of the classical and jazz.This album is trio playing as a true collaboration, perhaps showing something of the two decades of exploring this same group of musicians. The three instruments interweave, sometimes seeming separate and then coming together beautifully. Bley once described herself as "one per cent player and ninety-nine per cent composer" but this album would hold a different magic with a different pianist. She has a lightness of touch in both composition and playing that allows the music to resonate. The three part title composition tells the story of the difficult road to recovery from addiction, Andando el Tiempo (In the Course of Time) ,  but anyone with no experience of addiction will still find this a stunning piece. Three sections each have their own character. Sin Fin  feels dance-like and does, indeed, seem to be without end, as it segues perfectly into Potacion de Guaya , with the sax taking barely a breath. There is, indeed, a sadness to this second movement and its intended to portray the grief of those around an addict. The third movement - Camino al Volver  - begins with a beautiful phrase that spans the length of the piano keyboard. It's probably my favourite few seconds of this album, followed by sax stabs that develop into a real trio section that playfully gives each instrument the chance to shine. If this talks about addiction, the end presents the way to return to the title. Perhaps there's no cure for addiction, but there may be a path to take back to some normality. The three movement work stands as a great composition and a masterful performance on this album, regardless of Bley's intended meaning. The final two tracks on the album add new opportunities for trios to show off their artistry. Saints Alive  is a tasteful vehicle for the trio. Naked Bridges/Diving Brides  was written as a wedding present for Sheppard and his wife Sara. Sheppard's soprano is masterful as it dances between the piano and bass lines. It's a great trio composition and a fitting way to close the album. Andando el Tiempo  is one of those albums which improves with age. There are depths of composition and nuances of performance which jump to the ear only over time. *** This review was originally posted on KindofJazz.com ***

Coming soon from Amsterdam saxophonist Susanne Alt  on Venus Tunes is the remarkable ‘ Dark Horse ’. It’s an album you’re going to want to get in your ears. Alt’s seventh studio album, Dark Horse , promises an emergence into the spotlight for Alt, following her 2024 album Royalty For Real . The two are effectively a pair of albums, as both were recorded in the same sessions. The first pays homage to trumpeter Roy Hargrove while this latest collection of tunes seems to encompass Alt’s experiences in New York around the recording. Dark Horse  takes the sax across soul, funk and bop, all with an extraordinary rhythm section of James Hurt (piano, Rhodes, clavinet, organ), Gerald Cannon (bass) and Willie Jones III (drums). The Charlie Parker Au Privave  is one of Alt’s finest tracks, with the saxist “kicking it off” with Cannon’s bass before the groove settles in on the drums and she flies above them, allowing the tune to return. It sounds like Cannon at the end of the track saying “Yeah, Susanne. OK.” That’s a real jazzer’s ‘OK’ that means it’s more than that. Apart from the title track of Dark Horse , the final tune - Jonesin’ - is a fine example of Alt’s playing with this brilliant rhythm section that is looking forward and will make a strong start on its release at the end of January, promising much from Alt in 2026.

If December is not yet inspiring you for the festive season (here in the UK, it’s mild and damp), then you need ‘This Christmas’ from accomplished and soulful vocalist Lizzie Thomas. The title track, written and performed originally back in 1970 by the wonderful Donny Hathaway, sets the tone for this lovely little album. Thomas takes this soulful tune and plays with it in her own way, bringing it up to date and promising much for her collection of Christmas tunes. Alongside Thomas throughout are an impressive band of musicians: John Di Martino (piano), Wayne Escoffery (sax), Dezron Douglas and Noriko Ueda (bass), Kevin Sibley (B3 Hammond), Leandro Pellegrino (guitar) and Neal Smith (drums). Lizzie Thomas said: “I believe  This Christmas  is one of the best Christmas songs. It’s hip, speaks to the present moment, and it’s not nostalgic. It showcases my current band and soulful vibe.” The choice of tracks allows us to hear the band and Thomas herself in fine style. There’s always time for the Charlie Brown classic Christmas Time is Here , followed by It’s Magic , Jingle Bells , Paul McCartney's Wonderful Christmastime  and a final beautiful rendition of Star of Wonder .  Enjoy some lovely, soulful Christmas tunes from Lizzie Thomas to get you in the mood for the big day.

The last few years have brought me some extraordinary exposure to individual instruments and the double bass - as opposed to bass guitar, which I also love - has come into my ears in a very special way. Some of my favourite musicians lug that thing around for fun and one of my new discoveries is Manuel Alvarez , who has a new album out on Mannix Records. What We Are Here Fo r  is a delightful trio album led by bass and Alvarez himself says: “Inspired by the likes of Oscar Peterson, Ray Brown, Christian McBride or Monty Alexander, What We Are Here For  is not only profoundly rooted on the mainstream jazz tradition but also has a very personal touch.” Particularly beautiful is the trio’s version of Moonlight in Vermont , where each instrument treads its own course through this standard in a way that evokes the Sinatra version and brings the 80-year-old tune right up to date. All the tracks are great versions of tunes you may or may not know: completing this lovely trio alongside Alvarez’s bass are Gunther Kurmayr (piano) and Mark Taylor (drums).  The bass opening of My Foolish Heart  reaches right into your soul before the drums and piano sit underneath it to allow that bass to really sing. Ending the album with the question What Am I Here For?  this upbeat standard proves exactly what the trio is here for: great jazz. *** I am disappointed to have missed Manuel on his recent trip to Ronnie Scott’s in London and will definitely track him down live soon - review to follow!

Books about musicians can often present a biographical timeline that sheds little light on the musician behind their creativity. That is not the case with ‘ On the Way to the Sky: Remembering Bob Brookmeyer ’ written by Michael Stephans. Published by University of North Texas Press, Michael Stephans’s book is a collection of memories of a musical genius. Bob Brookmeyer was a well-respected musician and the list of contributors to the book is impressive, including Maria Schneider, Jim McNeely, John Mosca, Darcy James Argue, Dave Rivello, John Hollenbeck and the late Terry Teachout. The chronology matters though, and Stephans takes the reader on a personal discovery of Brookmeyer’s recordings from 1952 up until his death in 2011. The jazz giants Brookmeyer played with is outstanding, with his piano and valve trombone making him an invaluable collaborator with bari saxist Gerry Mulligan, as well as interweaving careers as a composer, arranger and educator. He even became musical director of the Thad Jones/Mel Lewis Orchestra and received eight Grammy nominations through his extensive work. Stephans says: “When writing about music and musicians, a writer’s responsibility is to expand public awareness of other voices in all musical genres.” This book sheds new light on Brookmeyer’s contribution to jazz and is an engaging read that will delight many a listener and musician.

Out now on Losen Records is ‘Backlash of Uncertainty’, the new album from pianist Lorenzo De Finti’s quartet. All five tunes seem to encapsulate some of the best of contemporary jazz, with the jazz quartet and electronics combining beautifully. All compositions and production are a collaboration between De Finti and bass player Stefano Dall’ Ora: each tune allows for improvisation around the beautiful writing, with the collective effect being one of contemplative modernity. These are lengthy tunes that allow the quartet to expand their approach. The title track opens with a confident and decisive response to some of the difficult times in which we live, with electronics and some gorgeous bowing from Dall’Ora. There is more of a soulful feel in The Other Route That Wasn’t There perhaps of all the tracks, this is the one that shows Alberto Mandarini’s trumpet at its best across the range of the instrument.  Across the album, there are some particularly brilliant quartet moments, particularly the combination of drums from Marco Castiglioni and bowed bass in an early section on Temporary Shunt. As the track progresses, the electronics add a new layer and depth to the quartet sound. The final - and longest track - is Occam's Razor , reflecting a simplicity against complexity evident in the theory from which it is named. It's not really simple, but perhaps there is a simplicity to the collaboration between these four extraordinary musicians. Keep listening for the final addition of a collective improvisation that allows the tune's extension. Recorded, mixed and released across 2025, Backlash of Uncertainty  really does feel like an album for this year and all that has gone on in the world and continues as we head towards 2026.

It’s always a delight when artists contact me personally to suggest I listen to their music. It’s taken me a couple of weeks to listen properly to ‘Absinthe’ , the new album from French pianist Ramona Horvath , but I’m delighted to have found this treat from Fresh Sounds Records . Horvath’s piano seems effortless and the arrangements turn some classic pop tunes - Michael Jackson’s Heal the World , Billy Joel’s Just the Way You Are  and the Bee Gees’ How Deep is Your Love  - into jazz standards in a mature and expressive way. The beautiful Kurt Weill Here I’ll Stay  is similarly arranged for Horvath’s trio with Villeger’s melody, bringing the 1948 original right into the 21st century. Similarly, their version of You Are the Sunshine of My Life  by Stevie Wonder is a modernised version with a sympathetic treatment that is nonetheless novel. Throughout, this ensemble features Ramona Horvath (piano and arrangements), Nicolas Rageau (bass) and Antoine Paganotti (drums) with guest appearances from André Villeger (sax). The Billy Strayhorn Absinthe (Lament for an Orchid)  is beautifully arranged and performed, with Villeger’s mellow sax. It takes a lot to adapt another Strayhorn tune, and Horvath’s version of  Your Love Has Faded  has just the right level of nostalgia from the sax with lovely backing from the entire ensemble. The single original track - Horvath’s own JFK  - only left me wanting to hear more of the pianist’s own compositions. Once more, the addition of sax adds a pleasing melodic and harmonic layer. And now I have another artist to check out next time I’m in Paris.

Several of my favourite albums in the last few years have featured sax player and composer Jane Ira Bloom  and now she has released ‘ once like a spark ’ with percussionist and composer Brian Shankar Adler  in a wonderful album of duets. I have been lucky enough to interview Jane for Harmonious World, first in 2021  alone, then again in 2021 with Allison Miller . Our most recent conversation followed the release of the absolutely intoxicating Songs in Space  in July 2025 . If you want to find out more about this most extraordinary sax player, please do listen to those conversations - she's a fascinating musician. The collection of tunes that comprise once like a spark  is a concoction of influences from around the world, with specific inspiration from e.e. cummings on the deliberately lower-case title track. The latter allows the duo to interact - Jane’s soprano sax interweaving rhythmic melodies around Adler’s drum kit improvisations. When they come together it feels like two musicians who are familiar with each other’s style and thought-processes. More literary inspiration comes from Jorge Luis Borges’ mythical A Boa a Quq Aoaba , with the soprano sax repeatedly soaring above the percussion and coming down to land before swooping in and around the listener’s ears (you will need headphones or a really sensitive sound system) until the creature seems to fall asleep after its exertions. The joy of music like this is that your imagination can run riot! Rhythmic inspiration abounds across the collection and the addition of Ken Filiano’s upright bass on Psalm  both contrasts and blends with North Indian rhythms and percussion while Jane’s soprano dances. Jane’s award-winning and delightful soprano sax is distinctive and sits perfectly in this collaboration with Adler’s huge variety of rhythmic percussion.

Free improvisation and beautiful melodies combine on the debut solo album from Swedish percussionist and composer Juan Romero . ‘Lua Armonia’ takes inspiration from all musical corners of the world, infused with percussion timbres that are both reminiscent of their sources and deeply innovative. Each composition brings melodic and structural ideas that allow group and individual improvisation from all the players. The Juan Romeros Manuella Orkester features many of Sweden's most renowned and award-winning musicians: Julia Strzalek (saxes), Alex Sethson (piano, keyboard), Vilhelm Bromander (bass); Pelle Vallgren (drums) and Juan Romero himself (percussion), with a little extra from Goran Kajfes (trumpet) in a guest appearance. Several of the tracks are credited to Romero himself: El balcon de Ana  in particular shows the virtuosic percussion alongside the remainder of the ensemble.The stunning sax on Caretta Caretta  from composer of the tune Julia Strzalek is a prime example of the joy that this album presents. Each tune has its own quality, and yet there is a wholeness about Lua Armonia . The percussive introduction to Softness  is enhanced as the remainder of the ensemble join for what becomes - gradually and seamlessly - a delightful closure to the album. This feels like a truly collaborative collection. Several of the tracks have composition credits to the whole orchestra, confirming Juan’s ethos: “It's important that most, preferably everyone in the room, feels involved when music is created.”