Rachel Therrien
“Soucy”
Due to friendlier immigration policies than in the U.S., Canada has long been a hotbed of Latin jazz, specifically for Cuban musicians. Saxophonist Jane Bunnett put together her excellent Cuban Maqueque band and pianist Gonzalo Rubalcaba made early recordings in our neighbor to the north. Montreal-based trumpeter and flugelhorn player Rachel Therrien has also found solid footing for her Latin jazz projects there, as evidenced by the blazing Mi Hogar II (Lula World), her follow-up to her 2023 recording, which is stocked with Cuban talent. Therrien, who received a music certificate from the Instituto de Arte in Havana, as well as a diploma from the University of Montreal, displays a true affinity for Afro-Cuban music. Cue up the saucy “Soucy,” which begins with a funky bass breakdown by John Benítez, and soon you’ll be caught up in a fiery descarga. Therrien shares space with trombonist Rafi Malkeil and saxophonist Iván Renta, each of whom offers stellar solos, and the trumpeter engages Renta in a spirited battle. Thundering percussion underlines it all, provided by muscular drummer Michel Medrano Brindis, Keisel Jiménez on timbal and Carlos Maldonado on congas, with additional rhythmic oomph supplied by pianist Manuel Valera. Incidentally, “Mi Hogar” translates to “My Home,” and certainly Therrien — and her musicians — sound welcome and welcoming.
Darren Pickering
“Green Blinking Light”
Based in Christchurch, New Zealand, pianist, composer and modular synthesist Darren Pickering crafts cinematic songscapes for his Small Worlds quartet. The third release under the Small Worlds moniker, Three (Rattle), once again finds Pickering subtly utilizing electronic elements to establish underlying moods for his compositions, although never at the expense of human expression, which is paramount to the nine quite personal-sounding tracks. It helps that he’s abetted by very live and very simpatico musicians — guitarist Heather Webb, bassist Pete Fleming and drummer Jono Blackie — who provide the organic touch and textures so crucial to jazz performance. Opening track “Green Blinking Light” sets the tone with a quietly insistent pulse and blurs the line between human and machine-made music, with almost obsessive motifs iterated by piano and guitar. The anxious rhythm, which does indeed conjure the image of a blinking light, might seem somewhat touching, or at least relatable, to listeners burdened by the stresses of the modern world.
Medler Sextet
“River Paths”
Ben and Michelle Medler first met as teenagers attending the Mount Hood Jazz Festival summer camp. Today, the couple leads the Oregon-based Medler Sextet — among other ensembles — he as bassist and she as tenor saxophonist, while also teaching at Portland State University. The six-piece unit recently released its debut album, River Paths (Origin), a straighthead affair with modern references nodding to Charles Mingus, George Russell and Gil Evans. Ben Medler’s rich-toned bass line and pianist Clay Giberson’s bright piano notes open the album’s title track, with Todd Bishop’s silvery cymbals setting the track in motion. Harmonizing horns introduce a pastoral theme, the unisons sounding as if they could be following the gentle bend of a river and setting the stage for Michelle Medler’s sumptuous tenor sax solo. Paul Mazzio’s trumpet spotlight maintains the mellow mood before he hands off to pianist Giberson, who introduces some blue hues, augmented and driven by Bishop’s and Ben Medler’s intensifying rhythm. The horns once again join forces, with trombonist John Moak adding color and muscle, as they bring the engaging river journey to a satisfying conclusion.
Mehmet Ali Sanlikol
“A Children’s Song”
An album themed around melancholy may seem like a tough sell, but in the hands of a talent such as Mehmet Ali Sanlıkol, it’s far from dreary. The Turkish pianist and composer’s deeply touching 7 Shades of Melancholia (Dünya) utilizes his signature blend of traditional Turkish music and jazz mastery to explore emotions that transcend cultural, ethnic and geographic divides. As he explains in his liner notes, the art of his people has long contained elements of melancholy, a thread that can be traced back as far as ancient Greece as well as in more modern literary and cinematic examples. The opening “A Children’s Song,” not to be confused with Chick Corea’s similarly titled works, offers a hint of wistful nostalgia for carefree days, not unlike the feeling of saudade that marks Brazilian music. Here, Sanlikol interacts with bassist James Hazlewood-Dale and drummer George Lernis in trio mode, the threesome expressing joyful exuberance but underlined by shadows, perhaps indicating the foreknowledge of lost innocence. Sanlikol long wanted to record the well-known folk song by his countryman Muammer Sun, but couldn’t quite figure out how to interpret it. Finally, he decided to follow John Coltrane’s “naive” way of approaching “My Favorite Things,” and it all fell in place.
Alan Pasqua
“Contemplation”
There’s no question that Alan Pasqua plays well with others. During the past 50 years, the pianist and composer has shared stages and studios with jazz greats including Tony Williams, Michael Brecker and Joe Henderson, and pop icons such as Ray Charles, Aretha Franklin and Elton John. He was even nominated for a Grammy for his trio recording, Standards, with Dave Carpenter and Peter Erskine. However, for New Hope (Blue Canoe), his most recent release, it’s just Pasqua and his piano. The Steinway artist and Professor of Jazz Studies at USC’s Thornton School of Music invests plenty of emotion and technical brilliance into his reads of Songbook gems such as “There’s a Small Hotel” and “Star Crossed Lovers” as well as original compositions. From the latter camp, “Contemplation” is perfectly titled, beginning with a bright and lovely intro, almost as if Pasqua were waking and contemplating the day ahead. The upbeat mood continues throughout the piece, defying preconceptions about interior monologues having to be melancholy or portentous. That approach holds true, to varying degrees and with many shades of nuance, throughout the album, which is, after all, titled New Hope.
“Scottish Folk Song”
Luke Sellick
Mentored by the legendary Ron Carter at The Juilliard School in New York City, and part of pianist Monty Alexander’s trio, the Canadian bassist steps out with his aptly-titled album Discovery (Sellick Sounds).
Bassist Luke Sellick couldn’t have found a better reason to relocate far away from his hometown of Winnipeg, Manitoba, Canada in 2012. In pursuing his Master’s degree at The Juilliard School in New York City, he got the opportunity to study with bassist Ron Carter, who was part of one of the greatest lineups in jazz history — trumpeter Miles Davis’ 1960s quintet, with tenor saxophonist Wayne Shorter, pianist Herbie Hancock, and drummer Tony Williams.
That opportunity has not been squandered since. Sellick has remained in New York City, working along the way with not only pianist Alexander but also with the likes of guitarist Russell Malone, pianist Kenny Barron, and saxophonists George Coleman and Benny Golson. Ever versatile, Sellick also performs in a duo with guitarist Andrew Renfroe as well as within services at the New York City church CityLight.
Renfroe is part of Sellick’s quintet, rounded out by saxophonist Jordan Pettay, keyboardist David Lennard, and drummer Jimmy MacBride on Discovery (Sellick Sounds). And the group takes “Scottish Folk Tune” way beyond the expectations of its title. The piece begins and ends in tranquility, but in-between, the quintet and guest flutist David Bixler deliver rousing, Pat Metheny-influenced, zero-to-sixty dynamics.
Photo courtesy of www.lukesellick.com
“Little Sunflower”
Jonah Aaron David
Named for his young son, drummer Jonah Aaron David’s solo debut Waltz For Eli (Swish Tap) was created between his duties as a United States Navy First Class Petty Officer and percussion instructor.
A 47-year-old New Jersey native, drummer Jonah Aaron David qualifies as a late bloomer in releasing his debut solo recording Waltz For Eli (Swish Tap) in 2025. But it’s an understatement to say that he’s had a few other things going on, including musically. He was once part of Roots Tonic, the backing band for reggae and hip-hop star Matisyahu.
David’ primary obligation is as a U.S. Navy First Class Petty Officer stationed in Hawaii, and he’s served as the percussion instructor at the Naval School of Music in Virginia Beach, Virginia, where his expertise has also resulted in regional live performances.
As for his debut, it proves to be worth the wait. David’s core trio includes pianist Joel Sanford and bassist Joe Bussey, who brought in the minor key, Brazilian-influenced arrangement of Freddie Hubbard’s jazz standard “Little Sunflower.” The bassist provides the intro; David then literally comes out swinging, and guests like tenor saxophonist Jason Arce and guitarist Jake Stith augment the trio’s seamless rhythmic approach with harmonized lines and strong solos. Sanford adds a late break, making for a finishing kick to an arrangement and performance of a chestnut that proves both recognizable and creative.
For further information, visit jonahdavid.bandcamp.com.
“Oooh-Aah (Catalina)”
Mindi Abair
The saxophonist/vocalist’s instrumental track from her album Based On a True Story (Pretty Good for a Girl) more than lives up to its label name.
A versatile soprano, alto, tenor and baritone saxophonist and singer, Mindi Abair keeps it on the contemporary instrumental jazz tip with “Oooh-Aah (Catalina),” from her new album Based On a True Story (Pretty Good for a Girl).
Also adept at pop and blues styles, the 56-year-old St. Petersburg, Florida native won eight Independent Blues Awards with her band The Boneshakers in 2018, including a Best Blues Song Fan Award for the tune “Pretty Good for a Girl,” which featured guitarist Joe Bonamassa. Having previously released albums on several different major imprints, the name of Abair’s song is also her independent recording label moniker. She’s also toured with pop stars Duran Duran and rock warhorses Aerosmith.
“Oooh-Aah (Catalina)” showcases a different side of Abair, one more closely attuned to her playing as the featured saxophonist on American Idol and her sit-ins with keyboardist Paul Shaffer on The Late Show with David Letterman and with hip-hop act The Roots on The Tonight Show Starring Jimmy Fallon. Amid an insistent rhythmic pulse and a swirl of synthesizers, piano and guitar, Abair displays melodic and harmonic gifts honed by her studies at both the University of North Florida in Jacksonville and the Berklee College of Music in Boston, Massachusetts.
For further information, visit www.mindiabair.com.
Photo by Greg Alle
“A Charmed Life”
Mike Prigodich
Chick Corea-influenced pianist delivers the good with his quintet on “A Charmed Life,” from his new live album Stage Magic (Mexican Mocha Music).
Rounded out by saxophonist John Nastos, bassist Damian Erskine, drummer Reinhardt Melz and percussionist Carmelo Torres, Prigodich’s ensemble recalls the influential fusion of classical, Latin, jazz and rock elements inherent in much of the catalog of the pianist’s late muse, Chick Corea.
The album’s eight lengthy original compositions, plus the evocatively titled digital and streaming bonus track “The Wizard of Odd,” display a well-oiled quintet across several different genre-stretching feels. And the eight-minute “A Charmed Life” might be the best example. Prigodich’s piano intro leads to his harmonized lines with Nastos; stops and starts by the rhythm section, and the occasional percussive cacophony by Melz and Torres.
It’s an impressive bookend for Prigodich, who overcame a cancer battle to raise more than $10,000 through a Kickstarter campaign to fund the recording of his 2011 studio debut, A Stitch in Time.
Photo courtesy of mikeprigodich.com
“Reminisce”
Nathan and Noah East
The iconic bassist and his keyboardist son “Reminisce” while teaming up for Father Son (Eastern Star Media).
Bassist Nathan East may be best-known for touring with heralded rock, pop and blues guitarist, vocalist and songwriter Eric Clapton for more than four decades. But the founding member of contemporary jazz group Fourplay’s scroll of collaborative credits also ranges from the blues of B.B. King and R&B of Stevie Wonder to the pop of Elton John and instrumental rock of guitarist Joe Satriani.
Usually seen playing electric bass, the versatile East switches to acoustic upright for Father Son (Eastern Star Media), a new collaboration with his 24-year-old son, keyboardist Noah East. The young pianist has already recorded and/or performed with flutist Hubert Laws, trumpeter Randy Brecker, drummer Steve Ferrone, and the legacy group the Cream of Clapton Band.
The new album is a series of original compositions by the Easts, plus renderings of chestnuts like “My Favorite Things,” “Somewhere Over the Rainbow” and “Killer Joe,” which features Laws on flute. Other guest appearances include vocalist Merry Clayton on “Until You Come Back To Me;” Clapton and singer Billy Valentine on “Hard Times,” and Mr. Slowhand also on “Close To Home.”
On “Reminisce,” the guest is Korean guitarist Jack Lee, who effortlessly glides amid the seamless groove created by the father and son.
For further information, visit nathaneast.com.
