From The 70's captures the refined artistry and emotional depth of legendary pianist Bill Evans during one of the most mature phases of his career. Originally recorded in the early 1970s and later issued by OJC, this collection highlights Evans’ remarkable sensitivity, harmonic sophistication, and lyrical improvisational style. Supported by longtime collaborators Eddie Gomez on bass and Marty Morrell on drums, the trio achieves a subtle and intimate musical interaction that became a defining characteristic of Evans’ later recordings. The album balances reinterpretations of standards with introspective original compositions, allowing each musician space to develop melodic ideas with elegance and restraint. Tracks such as “Gone With The Wind,” “Quiet Now,” and “Gloria’s Step” reveal Evans’ mastery of touch and phrasing, while the rhythmic flexibility of the trio creates a fluid and deeply expressive atmosphere throughout the session. The recording remains an essential document of modern jazz piano, combining technical brilliance with emotional warmth and timeless musical sophistication.

Nu Bass is a bold and adventurous double album by Chilean bassist and composer Jorge Campos, released in 2013 through El Templo Rekords. Known for his innovative approach to bass-driven composition and progressive fusion, Campos creates a highly atmospheric and rhythmically complex work that merges jazz rock, experimental fusion, world music influences, and avant-garde textures into a deeply immersive listening experience. Divided into two discs titled “Rojo” and “Negro,” the album explores contrasting moods and sonic landscapes while maintaining a cohesive artistic vision centered around the expressive possibilities of the bass guitar and layered instrumentation. Campos combines acoustic and electric elements with synthesizers, percussion, violin, flute, and intricate programming to create compositions that shift fluidly between melodic passages, cinematic atmospheres, and energetic fusion improvisations. Tracks such as “Abismo/Himno,” “Tabla Periódica,” and “La Creación Del Mundo” demonstrate his ability to balance technical musicianship with emotional depth and experimental creativity. The production emphasizes texture, rhythmic detail, and dynamic movement, giving the album a rich and expansive sound. Nu Bass stands as an ambitious and musically sophisticated project that showcases Jorge Campos as both an exceptional bassist and a visionary composer within the contemporary fusion scene.

Al Tempo Che Fara is a refined and deeply expressive contemporary jazz album by Italian bassist and composer Paolo Damiani, released in 2007 on the Egea label. The album combines elements of chamber jazz, European contemporary composition, folk influences, and poetic improvisation into a sophisticated musical journey marked by emotional subtlety and rich ensemble interaction. Damiani’s compositions emphasize atmosphere, melodic depth, and carefully balanced instrumentation, creating music that feels intimate, cinematic, and highly artistic. The ensemble features some of Italy’s most respected jazz musicians, whose performances bring warmth and complexity to the album’s elegant arrangements. Tracks such as “Sentieri Smarriti,” “In Un Tempo Lontano,” and “Occhi Musicale” showcase fluid transitions between lyrical passages, improvisational freedom, and intricate harmonic structures. Diana Torto’s expressive vocals add a delicate emotional dimension, while the interplay between woodwinds, piano, accordion, guitar, and rhythm section creates constantly evolving textures throughout the album. Traditional influences blend naturally with modern jazz sensibilities, particularly on pieces like “Non Potho Reposare,” reinforcing the album’s strong Mediterranean atmosphere. Al Tempo Che Fara stands as a sophisticated and emotionally resonant work that highlights Paolo Damiani’s talent for combining contemporary jazz composition with rich European musical traditions.

Pane E Tempesta is a sophisticated and emotionally expressive contemporary jazz recording by Italian composer and cellist Paolo Damiani, released in 2010 on the Egea label. Blending modern jazz composition with chamber music textures, poetic lyricism, and subtle avant-garde influences, the album presents a refined and highly atmospheric listening experience shaped by Damiani’s distinctive compositional voice. The music combines rich ensemble arrangements with intimate instrumental interplay, balancing melodic elegance and experimental nuance throughout the album. Damiani’s expressive five-string cello serves as both a melodic and structural centerpiece, while the ensemble delivers colorful orchestrations featuring saxophones, brass, accordion, piano, guitar, and vocals. Tracks such as “Sentieri Smarriti,” “Laughing,” and “Quello Che Non Voglio” highlight the album’s dynamic contrasts between lyrical passages, modern jazz harmonies, and carefully layered ensemble textures. Ludovica Manzo’s vocals add warmth and emotional depth, complementing the sophisticated instrumental arrangements with sensitivity and subtle dramatic expression. The performances maintain a cinematic and reflective atmosphere while allowing space for improvisation and individual creativity from the ensemble members. Pane E Tempesta stands as an elegant and deeply artistic contemporary jazz work that reflects the richness of modern Italian jazz composition and ensemble performance.

A Música Livre de Hermeto Pascoal is a remarkable showcase of the limitless creativity and musical vision of Brazilian multi-instrumentalist and composer Hermeto Pascoal, released in 2004 by Bomba Records. Widely regarded as one of the most innovative figures in Brazilian and Latin jazz, Pascoal blends traditional Brazilian rhythms, free improvisation, jazz fusion, folk influences, and avant-garde experimentation into a highly original and expressive musical language. The album captures the spontaneous and imaginative spirit that has defined his career for decades, combining complex arrangements with emotional warmth and rhythmic vitality. Tracks such as “Bebê,” “Carinhoso,” and “Asa Branca” reinterpret Brazilian musical traditions through inventive harmonies, fluid improvisation, and rich instrumental textures. The extended composition “Gaio da Roseira” highlights Pascoal’s extraordinary compositional depth, moving through multiple musical moods and intricate rhythmic transformations with effortless flow. Throughout the album, the performances maintain a balance between technical brilliance and playful experimentation, creating an engaging listening experience full of color, spontaneity, and musical freedom. A Música Livre de Hermeto Pascoal stands as an essential recording for listeners interested in Latin jazz, Brazilian music, and adventurous instrumental composition.

Celebrating 75 years of musical activity! A long-awaited new studio recording album, the first in two years, from living legend Sadao Watanabe, who continues to perform on stage as an active saxophone player! Still performing around 70 live shows annually across Japan, Watanabe remains at the forefront as a leading saxophonist. This highly anticipated new album follows his previous release "PEACE," which was released in 2024, nominated for Best Jazz Album at MUSIC AWARD JAPAN 2025, and received high acclaim both domestically and internationally.

Scenes from Above is the fifth Blue Note album by guitar virtuoso Julian Lage, the second made in collaboration with revered producer Joe Henry, and his first with a striking new quartet featuring keyboardist John Medeski, bassist Jorge Roeder, and drummer Kenny Wollesen. Where 2024’s GRAMMY-nominated Speak to Me was Lage’s grand statement as an improvising bandleader helming an ensemble through a diverse set of tunes, Scenes from Above is about being a band member himself, about Lage exploring the tunes he has written with a crew he has built with that entirely in mind. Its nine tracks frame a brilliantly open experience, with four astounding players giving and taking space in equal measure as they explore these songs in one space, in real time.

A City Called Heaven is a soulful and spiritually inspired contemporary jazz album by vocalist Lesa Terry, released independently in 2001. Rooted in the rich traditions of gospel, spirituals, and modern jazz, the album presents a refined fusion of expressive vocal performance, elegant arrangements, and emotionally uplifting interpretations of classic spiritual songs. Lesa Terry delivers each performance with warmth, clarity, and deep emotional conviction, allowing the timeless material to resonate with both traditional jazz listeners and fans of inspirational music. The album balances reflective ballads with rhythmically engaging jazz arrangements, supported by tasteful instrumentation and sophisticated harmonic textures. Tracks such as “Motherless Child,” “Deep River,” and the title composition “A City Called Heaven” demonstrate Terry’s ability to reinterpret traditional spiritual themes through a contemporary jazz perspective while preserving their emotional power and cultural significance. The arrangements combine smooth jazz influences, gospel-infused melodies, and subtle improvisational elements, creating an atmosphere that feels both intimate and uplifting. A City Called Heaven stands as a graceful and heartfelt recording that successfully bridges sacred musical traditions with contemporary jazz expression, offering listeners a rich and emotionally rewarding musical experience.

47th Street is a bold and expansive jazz album by trumpeter and composer Malachi Thompson, released in 1997 through Delmark Records. Deeply rooted in the traditions of hard bop while embracing the exploratory spirit of post-bop and free jazz, the album reflects Thompson’s strong artistic vision and commitment to creative improvisation. Named after Chicago’s historic jazz district, the record serves as both a tribute to jazz heritage and a forward-looking statement filled with expressive horn arrangements, adventurous harmonic structures, and emotionally charged ensemble interplay. Thompson combines structured compositions with open improvisational passages, allowing the musicians to move fluidly between swinging grooves, spiritual jazz atmospheres, and avant-garde experimentation. Tracks such as “Some Freebop For Monk,” “African Sun Dance,” and the multi-part “Mystery Of Jaaz Suite” showcase the album’s ambitious scope and dynamic range, balancing rhythmic intensity with moments of reflective beauty and collective improvisation. The performances are rich in energy, sophistication, and emotional depth, highlighting Thompson’s powerful trumpet voice and compositional originality. 47th Street stands as one of the most important recordings in Malachi Thompson’s catalog and remains a compelling work for listeners who appreciate progressive and spiritually infused modern jazz.

Talking Horns is a powerful and adventurous jazz album by acclaimed trumpeter Malachi Thompson, released in 2001 through Delmark Records. The album showcases Thompson’s bold compositional style and dynamic trumpet work while bringing together an exceptional ensemble of modern jazz innovators including Oliver Lake and Hamiet Bluiett. Blending hard bop traditions with elements of avant-garde jazz and post-bop experimentation, the record creates an intense yet highly musical atmosphere driven by rich horn arrangements, expressive improvisation, and sophisticated rhythmic interplay. The interaction between trumpet, alto saxophone, baritone saxophone, and contrabass clarinet forms the core of the album’s unique sound, producing deep textures and dramatic melodic conversations throughout the performances. Tracks such as “Talking Horns,” “Lucky Seven,” and “Circles In The Air” demonstrate the ensemble’s ability to balance structured composition with spontaneous improvisational freedom. Supported by a strong rhythm section featuring Willie Pickens, Harrison Bankhead, and Reggie Nicholson, the album maintains both emotional depth and technical precision. Talking Horns stands as an impressive example of contemporary jazz rooted in tradition while embracing creative exploration, making it a rewarding listen for fans of expressive ensemble jazz and adventurous hard bop.

Happy Today, the third album from guitarist/bandleader Jeff Parker’s long-running ETA IVtet, was recorded live at Lodge Room in Los Angeles on August 20, 2025. This fresh entry into the IVtet’s catalog captures Parker and the band – including drummer Jay Bellerose, bassist Anna Butterss, and saxophonist Josh Johnson – on record outside of the now-shuttered Highland Park micro-club ETA for the first time.

Woman Jazz is a sophisticated and atmospheric compilation released by Universal Music in 2002, bringing together an eclectic selection of female vocalists and contemporary jazz performers from across the international jazz and world music scenes. The album blends smooth jazz with elements of ambient music, Nordic jazz, electronic textures, soul, and world fusion, creating a refined and emotionally rich listening experience. Featuring acclaimed artists such as Lisa Fischer, Cassandra Wilson, Anna Maria Jopek, Marie Boine, and Beady Belle, the compilation explores a wide range of moods, from intimate late-night ballads to experimental downtempo grooves and modern jazz interpretations. The production throughout the album is elegant and spacious, emphasizing expressive vocals, atmospheric instrumentation, and subtle rhythmic arrangements. Many tracks incorporate electronic remix elements and contemporary jazz influences, giving the collection a modern and cosmopolitan character. Woman Jazz stands as a beautifully curated anthology for listeners who appreciate smooth vocals, sophisticated arrangements, and genre-crossing musical creativity, offering a relaxing yet deeply engaging journey through modern jazz-inspired soundscapes.

For some players, Joe Zawinul is an influence; for others, he becomes part of their musical foundation. Paul Urbanek clearly belongs to the latter group. His connection to Zawinul’s world isn’t about copying licks, in fact this typical bebop approach would almost be impossible with Joe’s music. But rather what we have here is a more subtle, deeper absorption cultivated over decades. As an improviser myself, I can appreciate the time and dedication required to internalize this special language.

Diana Krall paid tribute to her father on Glad Rag Doll, the 2012 album sourced from his collection of 78-rpm records, and, in a sense, its 2015 successor Wallflower is a companion record of sorts, finding the singer revisiting songs from her childhood. Like many kids of the 20th century, she grew up listening to the radio, which meant she was weaned on the soft rock superhits of the '70s – songs that earned sniffy condescension at the time but nevertheless have turned into modern standards due to their continual presence in pop culture (and arguably were treated that way at the time, seeing cover after cover by middlebrow pop singers).

Trumpeter Chris Botti's To Love Again: The Duets picks up where his stellar 2004 release When I Fall in Love leaves off, with more gorgeously lush and heartfelt orchestral jazz via the London Session Orchestra. This time showcasing guest vocalists – as well as a handful of instrumental tracks – Botti takes an even more classicist approach than before and once again brings to mind such iconic jazz albums as Clifford Brown with Strings and Miles Davis' Porgy and Bess. Largely known as a smooth jazz artist with a sweet trumpet tone, it wasn't until When I Fall in Love that Botti dropped the smooth jazz synthesizers and pop-oriented compositions in favor of Gil Evans-style jazz orchestrations and an acoustic backing quartet.