The recent closure of the 55 Bar marks the end of an era for New York’s vibrant jazz community and its underground live music scene. Known for its intimate setting and the free-flowing creativity it fostered, the 55 Bar had become an iconic landmark in the West Village. Despite its unassuming appearance as a subterranean dive bar next to the historic Stonewall Inn, the venue provided an indispensable space for musicians and fans alike, hosting a treasure trove of memorable performances over nearly four decades.
Opened in 1919 as a neighborhood watering hole, the 55 Bar underwent several transformations before its ultimate reinvention as a home for live music in the 1980s. It was bassist Jeff Andrews who first pioneered the jazz scene there in the mid-’80s, and it wasn’t long before a host of iconic musicians made it their regular hang. The venue became synonymous with cutting-edge performances, particularly in the realms of jazz and fusion.
The intimate nature of the space, coupled with a distinct bohemian charm, made it a haven for aspiring artists to take risks, experiment, and connect with fans and fellow musicians. It wasn’t unusual to see guitarists like Mike Stern, Leni Stern, Wayne Krantz, and Adam Rogers, along with saxophonists like Donny McCaslin and Chris Potter, gracing the stage on a given night. It was the kind of venue where the music spoke louder than any flashy presentation, and the patrons often shared an unspoken understanding that this was a place to experience something truly special.
The 55 Bar was particularly revered by guitarists, who found the venue to be a perfect setting for showcasing their virtuosity and unique voices. As one writer pointed out, “Long before I ever visited the 55, I read about it, no doubt in Guitar Player and Guitar World, in connection with Mike Stern.” The club’s dedication to hosting a wide range of jazz and blues guitarists made it a special spot on the map for both musicians and fans who revered the craft. The performances were often marked by raw, emotional interaction between players, as well as a palpable sense of camaraderie, creating a deep connection between those onstage and the audience. It was a breeding ground for new ideas and an incubator for young talent.
One of the most famous legacies of the 55 Bar was its role in cultivating the careers of musicians who would go on to achieve international acclaim. Perhaps the most notable example is when David Bowie recruited the members of his Blackstar band from the 55 Bar, recognizing the unique talents of saxophonist Donny McCaslin and guitarist Ben Monder. Such stories were common, as the 55 Bar became a place where both established musicians and newcomers could meet, collaborate, and push the boundaries of jazz music.
Sadly, the 55 Bar’s final closure came in the aftermath of the COVID-19 pandemic, which forced the venue to shut down for 14 months. Despite a valiant fundraising effort involving prominent musicians like Chris Potter and Mike Stern, the financial strain was too great for the club to survive. The pandemic’s devastating effects on live venues across the world were especially felt here, where the venue had once been a bustling hub for musicians and listeners alike.
For many, the loss of the 55 Bar represents more than just the closing of a club; it is the end of an important era in the jazz world. The venue had a reputation for being a true “musicians’ hang,” where musicians could experiment freely, learn from each other, and develop their craft in a supportive environment. Many a jazz legend passed through the club’s doors, and the space itself had become a character in the ongoing evolution of the genre.
While the 55 Bar’s physical space is now gone, its legacy lives on in the countless musicians who performed there and the loyal fans who cherished the experience. The venue’s closure serves as a reminder of how fragile the world of live music can be, especially in the face of unforeseen crises. It also prompts reflection on the importance of maintaining intimate venues where musicians can take risks and audiences can experience the pure joy of spontaneous music-making.
In the wake of this loss, the question arises: where else in New York City will the next generation of jazz musicians find a space like the 55 Bar, where they can hone their craft and connect with a community of listeners who understand the value of live, intimate performances? The 55 Bar will be sorely missed, but its impact on the jazz community is undeniable, and its memory will continue to inspire future generations of musicians who seek to create in the same spirit of spontaneity and innovation. Rest in peace, 55 Bar. You’ll never be forgotten.
Seeing is a serene and soul-stirring album by pianist Tord Gustavsen, marking his tenth release for ECM. Joined by longtime collaborator drummer Jarle Vespestad and bassist Steinar Raknes, the trio creates an atmosphere of deep stillness and introspection. The album opens with the blue gospel-inspired “Jesus, Make Me Still,” setting the tone for its meditative qualities. Tracks like “Seattle Song” encapsulate the journey of life, blending folk, gospel, and classical elements with a profound sense of peace. Gustavsen’s arrangements of traditional hymns, such as “The Old Church” and “Nearer My God, To Thee,” alongside his original compositions, convey a soulful, grounded simplicity. The trio avoids flashy solos or virtuosic display, instead focusing on creating emotional depth through restraint. The album’s blend of Norwegian and American folk influences, along with Bach’s introspective works, forms a timeless, unified whole. At just forty-four minutes, Seeing is an album that invites listeners into a quiet, reflective space, making it one of Gustavsen’s most compelling and transcendent works to date. In this challenging time, the album’s calm presence offers a welcome retreat, with its understated beauty and emotional resonance leaving a lasting impression.
9: Joe Robson – Home
Joe Robson’s debut album Home is a stunning release that introduces the Scottish guitarist as a distinctive voice in contemporary jazz. Blending jazz, Celtic traditions, and Nordic post-rock influences, Robson delivers a deeply personal and evocative meditation on themes of belonging and memory. The album features contributions from saxophonist Seamus Blake, whose soulful solos, particularly on “Emergence,” bring emotional depth to the record, though the core band’s chemistry and sound remain the album’s standout.
Robson’s compositions are marked by their clarity, emotional resonance, and seamless transitions between structured arrangements and free improvisation. The album never overstays its welcome, with concise solos and organic, spontaneous exchanges between musicians. Highlights include Robson’s breathtaking guitar work on “Becoming,” which recalls the fluidity of Pat Metheny and Brad Mehldau, and Matt Carmichael’s commanding, Celtic-tinged saxophone solos on tracks like “Searching for Home.”
The band, which also includes saxophonist Adam Jackson and fiddler Charlie Stewart, crafts a distinctive timbral blend, often weaving intricate melodies and harmonies with earthy, organic sounds. Tracks like “Venchen” and “Searching for Home” take unexpected turns, adding an element of surprise that keeps the listener engaged.
Home firmly establishes Robson as a rising star in contemporary jazz, a record that honours his roots while pushing musical boundaries. It is a profound, poetic work that lingers long after it ends, making it a standout of the year.
8: Mary Halvorson – Cloudward
Mary Halvorson’s Cloudward is a stunning album that showcases her mastery in blending composed music with improvisation. The New York-based guitarist, known for her adventurous work in both solo and collaborative settings, delivers a powerful eight-piece set, reflecting a sense of liberation as the pandemic’s grip waned. Halvorson’s sextet features trumpet, trombone, vibraphone, bass, drums, and Laurie Anderson on effects-violin for one track, creating a rich, multilayered sound.
The album is filled with delightful surprises, from the slowly building brass and vibes fanfare of “The Gate” to the intricate brass harmonies of “Collapsing Mouth” and “Unscrolling,” where the interplay between trumpet and trombone is masterful. Halvorson’s guitar work stands out, whether in the distorted, avant-garde funk of “Desiderata” or the ambient violin textures crafted by Anderson on “Incarnadine.” Tracks like “Tailhead” introduce Latin jazz-like rhythms, further highlighting the sextet’s diverse influences. The album’s seamless fusion of written and improvised elements creates an entrancing, seductive warmth that marks a new peak in Halvorson’s already remarkable career. Cloudward is a mesmerizing testament to her vision, showcasing a rare ability to balance structure with spontaneity in jazz.
7: Kit Downes – Reflex; Dr. Snap
Reflex; Dr. Snap is a dynamic live album by Kit Downes, recorded at the Bimhuis in Amsterdam on November 3, 2022, as part of the “Reflex” series. This ambitious project features Downes leading a ten-piece international ensemble, including three drummers, creating a vibrant, experimental soundscape that blends jazz with avant-garde and rock influences. The group, which Downes calls his “family band,” includes familiar collaborators like bassist Petter Eldh and guitarist Reinier Baas, and is complemented by live visuals from Juliane Schutz, adding a sensory depth to the performance.
The album begins with Eldh’s intricate composition “Children with Pitchforks,” where the three drummers create rhythmic complexity, accompanied by quirky horn arrangements. Other tracks like “Full Dress” and “Mirror” showcase inventive horn and rhythm sections, with Downes’ piano at the center, and feature exceptional solos from members such as guitarist Baas and saxophonist van Gelder. As the suite progresses, the music shifts from structured compositions to freer, more improvisational moments, including the evocative “Pantheon 4” and the intense “Dimitrios In 64.”
A blend of energy, texture, and dynamic contrasts, Dr. Snap is a thrilling, expansive work that keeps evolving throughout its length. The album’s vibrant and complex music highlights Downes’ distinctive compositional voice and the ensemble’s remarkable interplay. With its multifaceted textures and rhythms, this release is a bold statement in contemporary jazz and avant-garde music.
6: Jake Blount and Mali Obomsawin – Symbiont
Symbiont, the collaborative album by Jake Blount and Mali Obomsawin, is a powerful exploration of Black and Indigenous music, blending historical references with modern electronic production. The album, which bridges the personal and the political, combines synthesizers, percussion, and vocals to craft a vision of resistance, community, and continuity. Blount and Obomsawin co-created the album by drawing from archival texts, including Slave Songs of the United States and works by Indigenous author Thomas Commuck. The music spans genres and traditions, blending hymns, spoken word, and innovative electroacoustic sounds. It questions the silences of official archives and reclaims marginalized voices erased by colonial violence.
Songs like “Mother” and “Stars Begin to Fall” blend traditional hymns with glitchy synths, interrupted feedback, and reimagined structures, creating an ongoing dialogue between past and future. The album reflects a nuanced take on the history of colonization, acknowledging both its pain and the strength of communities that have persevered. The involvement of musicians like jazz performer Taylor Ho Bynum adds further depth to the work, blending the sounds of percussion and gourd banjo with vibrant harmonies.
Symbiont is not just an album, but a radical act of preservation and transformation, using the past as a tool for collective action and a hopeful vision for the future. It’s an essential, genre-defying work that speaks to the political and spiritual dimensions of music-making.
5: Colin Stetson – The Love It Took to Leave You
The Love It Took to Leave You by Canadian saxophonist Colin Stetson is a bold, experimental album that delves deep into his unique minimalist style. Known for his continuous breathing techniques and innovative microphone placements, Stetson creates intricate, hypnotic compositions that blend the sounds of his saxophone with the mechanics of the instrument itself. The album is largely a solo project, with Stetson crafting expansive, atmospheric pieces that range from intense, rhythmic sequences to ethereal, mournful tones, capturing the essence of separation and loss.
Opening with the track “The Love It Took to Leave You,” Stetson sets the tone with repetitive arpeggios and slow, soaring melodies. The album reaches a high point with the 21-minute “Strike Your Forge and Grin,” a stunning sonic journey that combines drone metal elements with complex rhythmic patterns and howling lead melodies. This track is considered by many as his greatest achievement in terms of pacing, structure, and sound.
Known for his work on film scores like Hereditary and The Menu, Stetson has also built a distinguished solo career, pushing the boundaries of what a single instrument can achieve. This album furthers his reputation as one of the most exciting talents in contemporary music today.
4: Miguel Zenón – Golden City
Golden City is a powerful suite by Miguel Zenón that explores the history of San Francisco, focusing on the experiences and contributions of its diverse ethnic communities, including Japanese, Chinese, Mexican, and African-American. Premiered in 2022 at the SFJAZZ Center, the work is now available in its recorded form with nearly the same trombone-centric nonet ensemble. Collaborating with pianist Matt Mitchell, bassist Chris Tordini, and drummer Dan Weiss, Zenón’s music highlights the resilience and beauty of the city’s soul amidst its often painful history.
Tracks like “Sacred Land” mourn the Ohlone people’s tragic history, while “Rush” evokes the chaos of the Gold Rush era. “Acts of Exclusion” powerfully addresses the Chinese Exclusion Act, with Zenón’s saxophone leading a blend of anguish and defiance, highlighted by Miles Okazaki’s brilliant guitar solo. The album also includes the graceful “Sanctuary City,” inspired by Wayne Shorter’s “Sanctuary.” The nonet’s stellar horn section—featuring Alan Ferber, Diego Urcola, and Jacob Garchik—adds depth to Zenón’s intricate compositions, reflecting his early Latin influences. Golden City is a stunning exploration of San Francisco’s cultural and historical tapestry, blending jazz, Latin, and contemporary sounds into a poignant, evocative narrative.
3: Out Of/Into – Motion I
Motion I by Out Of/Into, a supergroup formed by Gerald Clayton, Immanuel Wilkins, Joel Ross, Kendrick Scott, and Matt Brewer, is a dynamic and electrifying album that defies expectations. The group, originally known as The Blue Note Quintet, kicks off with “Ofafrii,” a vibrant track that showcases their collective energy and musical prowess. Wilkins and Ross drive the rhythm, while Clayton, Scott, and Brewer add layers of complexity, creating a compelling and adventurous sound. The quintet’s road-tested chemistry shines throughout the album, which blends experimental jazz with moments of pure brilliance.
Tracks like “Synchrony” and “Radical” capture the raw intensity reminiscent of the classic Coltrane quartet, delivering a thrilling sonic experience. The album also features the standout “Aspiring to Normalcy,” an eleven-minute track that showcases Brewer’s punchy swing and the band’s ability to shift between blues, tension, and resolution. “Second Day” and “Gabaldon’s Glide” continue the album’s rich tapestry, offering a moody yet uplifting atmosphere that harks back to Blue Note’s storied history.
Motion I is a masterful showcase of individual talent and group cohesion, balancing technical prowess with emotional depth. With each member contributing their unique style, the album captures the essence of Blue Note’s legacy while pushing the boundaries of modern jazz. A remarkable debut, Motion I is an essential listen for fans of innovative and expansive jazz.
2: Charles Lloyd – The Sky Will Still Be There Tomorrow
The Sky Will Still Be There Tomorrow is a deeply moving album by Charles Lloyd, who remains the last standing member of the influential 1950s saxophone generation, alongside figures like John Coltrane and Ornette Coleman. At 86, Lloyd’s voice-like sound and soulful expression shine through in this remarkable new release, featuring pianist Jason Moran, bassist Larry Grenadier, and drummer Brian Blade. The album opens with the entrancing “Defiant, Tender Warrior,” where soft piano and subtle percussion set the stage for Lloyd’s emotive tenor sax. The tribute to Thelonious Monk, “Monk’s Dance,” displays playful, whimsical sax phrasing, while “The Lonely One” and “The Ghost of Lady Day” showcase Lloyd’s refined sax tone and ability to express deep emotion. The album also includes a moving rendition of the spiritual “There is a Balm in Gilead,” recalling his previous work with drummer Billy Higgins. As Lloyd reflects on his legacy, the music here radiates light, joy, and a profound connection to the heart of jazz. The Sky Will Still Be There Tomorrow is a testament to Lloyd’s enduring musical vision and his ability to create with simplicity and grace, even in the later stages of his illustrious career.
1: Aaron Parks – Little Big III
Aaron Parks returns to Blue Note with Little Big III, a compelling album that marks his first release for the label since 2008’s Invisible Cinema. The 40-year-old pianist-composer continues his lyrical exploration of contemporary song forms, drawing from Americana-inflected alt-rock rather than traditional jazz influences. The album is atmospheric and melancholic, evoking the work of artists like Keith Jarrett, Brad Mehldau, and Bill Frisell, but Parks creates a distinct, hauntingly original signature sound. The album features a range of styles, from the Americana-tinged “Locked Down,” which would suit a Tom Waits vocal, to the Weather Report-esque “Sports,” with its funky African rhythms and jazz-rock guitar. Tracks like the Steely Dan-influenced “Little Beginnings” and the psychedelic rock of “Willamania” showcase Parks’ versatility, while “Ashé” is a touching, Jarrett-inspired ballad. Little Big III is a stunning return to Blue Note, demonstrating Parks’ impressive ability to blend jazz with alt-rock and Americana influences into a unique and emotionally resonant musical vision.
Aaron Parks is undeniably one of the most inventive and virtuosic musicians shaping the landscape of jazz in the 2020s, blending technical mastery with an unparalleled ability to reimagine the genre. His compositions and performances transcend traditional boundaries, showcasing a visionary approach to harmony, melody, and rhythm. Little Big III, provides compelling evidence of his genius, offering a lush and intricate sonic world that balances emotional depth with striking originality, and solidifies Parks as a trailblazer whose artistry continually redefines what modern jazz can achieve.
The remote Shetland Islands, far to the north of Scotland and almost as close to Norway as Edinburgh, have long been a place where musical traditions are passed down through generations, steeped in the rich folk music of the Scottish Highlands. But when it comes to jazz, the Shetlands aren’t exactly a hotspot—at least not until saxophonist Norman Willmore arrived to shake things up. A native of Muckle Roe, a particularly remote part of the islands, Willmore has quietly built a distinctive career that fuses his homeland’s folk heritage with the improvisational freedom of jazz. His sound, with its infusion of Nordic folk melodies, traditional Scots rhythms, and the wildness of Shetland’s natural landscape, has turned heads in the jazz world.
Willmore’s work with his band, including recent live performances and recordings, has established him as one of the most innovative voices on the UK jazz scene. Notable albums like Alive & Well at the Muckle Roe Hall (2019) have captured the unique energy of live performances in remote locations, where the sense of place and atmosphere permeates every note. There, his alto saxophone dances between fiery jazz-jigs, introspective ballads, and folk-inspired themes, all wrapped up in his distinctively Scottish jazz voice.
What stands out in Willmore’s music is his ability to draw from a wealth of diverse influences while maintaining a sound that is unmistakably his own. He is a master of mixing traditional Shetland folk tunes with modern jazz harmonies, but it’s the integration of jazz’s improvisatory spirit that makes his work stand apart. This fusion—fluid and ever-evolving—has seen him collaborate with a range of exceptional musicians, but perhaps none more intriguing than drummer Corrie Dick. Together, they form Norman&Corrie, a duo project that has taken their collaborative exploration to new heights. Their latest album, Twa Double Doubles, is a striking testament to their creative chemistry and shared vision.
With Twa Double Doubles, Norman Willmore and Corrie Dick take their musical exploration to a new, audacious level. For this duo project, the pair have dug deep into Willmore’s Shetland roots, unearthing traditional folk tunes that they then deconstruct, reimagine, and make wholly their own. The results are at once fresh and timeless, as the duo breathes new life into Shetland’s rich musical heritage, blending it seamlessly with their own inventive, genre-defying sound.
In this album, Willmore’s alto saxophone takes on a range of voices—sometimes meditative, sometimes bold and raucous, but always deeply expressive. It’s a sound that defies easy categorization, with moments that evoke the haunting drones of traditional folk music, while other passages explode into vigorous, jazz-infused dance grooves. Willmore’s use of electronic effects and organ pedals, along with his sax, adds unexpected depth to the duo’s sound, filling spaces where one might expect full-band arrangements. Dick, for his part, is a revelation. The inventive percussionist weaves complex rhythms, intricate textures, and thunderous grooves into a rich and ever-evolving sonic landscape, with the addition of drum triggers and unusual percussive elements giving the music an exciting, unpredictable quality.
The track Haltadans, inspired by a fragment of a dance supposedly transcribed from a troll band before being turned to stone on the Shetland island of Fetlar, sets the tone for the album’s otherworldly atmosphere. The music is eerily hypnotic, with Willmore’s saxophone invoking the sense of something ancient and magical, while Dick’s drumming carries the dance-like energy of the folk tune. The way the duo balances whimsy and mystery in this piece is indicative of the broader sound of Twa Double Doubles—a collection of tracks that veer from meditative, spiritual-blues moments to explosive, jubilant folk-jazz fusions.
On tracks like John O’ Voe / Da Oyster, the duo showcases their ability to blend the introspective with the upbeat. The tune begins with a beautifully sad melody, Willmore’s saxophone languishing in the melancholy of the piece, before growing into something more urgent and joyful, with soaring sax and dynamic drumming propelling the tune forward. The transition from sorrow to joy here feels both natural and powerful, capturing the essence of Shetland folk, while embracing the improvisational freedom of jazz.
But it’s not just the tunes themselves that shine; it’s the incredible interplay between Willmore and Dick that truly makes this album special. Willmore’s saxophone is a force of nature, shifting from delicate, introspective passages to fiery, guttural screams with ease. Dick’s drumming, on the other hand, provides both the foundation and the spark—whether supporting the sax with textural layers or driving the music forward with complex, rhythmic patterns. The two musicians complement each other perfectly, each pushing the other to new heights, and their chemistry is palpable throughout the album.
In sum, Twa Double Doubles is a triumph of innovation and tradition, a record that celebrates the beauty and mystery of Shetland’s folk music while pushing its boundaries into bold, new territory. Willmore’s saxophone and Dick’s percussion come together to create a sound that is rich, layered, and endlessly engaging, proving once again that the far reaches of the British Isles can produce music that is as adventurous and vital as anything being made elsewhere in the jazz world. If this is the future of jazz in Shetland, then we should all take note.
When Oded Tzur first emerged on the international jazz scene, it was clear that this Israeli saxophonist was playing by his own rules. Tzur’s work had always been distinguished by his deeply spiritual approach to music, drawing from the ancient traditions of Indian classical music and seamlessly blending them with jazz’s improvisatory language. With each release, his sound evolved into something even more distinct, with his innovative technique—a microtonal approach to the saxophone—allowing him to stretch the instrument’s expressive capabilities in ways that few musicians have attempted before. His latest album, My Prophet, marks another striking chapter in this journey, demonstrating not just a refined musical technique but a profound deepening of his voice as an artist.
Tzur’s distinctive sound is rooted in a technique he calls Middle Path, which extends the saxophone’s microtonal capacity. Inspired by the playing of Indian maestro Hariprasad Chaurasia, whose bansuri (bamboo flute) mastery includes the ability to move between microtones with fluidity, Tzur began to reimagine the saxophone’s potential. While the Western music tradition has historically dealt in fixed pitches and semitone intervals, Tzur’s technique allows for far more subtle variations—sliding between pitches, bending notes in a way that evokes the tonal flexibility of Indian instruments like the bansuri, sitar, and veena. These microtonal shifts breathe new life into the saxophone, turning it into a vessel capable of moving between emotional states with a new depth of resonance.
On My Prophet, Tzur’s use of Middle Path reaches new heights. The album presents an entirely new level of sonic intimacy, as the saxophone weaves intricate melodic lines, with Tzur bending and shaping every note, creating a dynamic range of tones that shifts with remarkable fluidity. In his previous ECM releases, like Like a Great River (2016), this approach was already evident, but My Prophet showcases it with greater clarity and precision. The album is less a collection of individual compositions and more a thematic journey, one in which Tzur meditates on both the physical and spiritual worlds—perhaps most notably, a reflection of his experiences living in New York, a city teeming with contrasts, contradictions, and possibilities.
The title My Prophet evokes a sense of personal revelation, and the music that unfolds throughout the album resonates with an almost sacred aura. Tzur’s mastery of microtones is complemented by the rich textures of his ensemble—veteran bassist Matt Penman, drummer Nasheet Waits, and pianist Nitai Hershkovits (who also worked with Tzur on his earlier projects) form a cohesive, almost meditative unit. The rhythm section’s interplay with Tzur’s saxophone is subtle yet deeply engaging, creating a musical space where silence and sound coexist with equal power. Tzur’s sound is less about complexity and more about nuance—each note feels deliberate, yet open to the infinite possibilities of jazz improvisation.
The album opens with the title track, “My Prophet,” which encapsulates Tzur’s technique at its most evocative. The piece begins with a long, sustained note on the saxophone that seems to bend and twist in space. The rhythmic pulse slowly enters, with Waits’ delicate brushwork setting the pace for the saxophone’s melodic line. The influence of Indian classical music is palpable here, as Tzur allows the note to slide in and out of focus, creating a mood of mystical searching. His saxophone no longer feels like a Western instrument but a voice steeped in a spiritual tradition, rich with the colors of ancient Indian ragas.
Tracks like “The River,” with its shimmering, elongated phrases, feel like meditations on time itself—slowing down and stretching, yet never becoming stagnant. Meanwhile, “Nirvana,” a standout track, shows Tzur’s intricate relationship with improvisation. The saxophone alternates between delicate melodic lines and intense bursts of sound, underscoring Tzur’s ability to bring together the disparate worlds of jazz and Indian music without losing either’s essence. His technique of sliding between microtones creates an emotional depth that’s as resonant as any harmonic structure.
When comparing My Prophet to Tzur’s previous ECM releases, particularly Like a Great River and Dharma (2019), one notices a continued evolution of his sound. Dharma was already a clear statement of his fusion of jazz and Indian tonalities, but My Prophet feels more intimate, more reflective. Tzur’s saxophone has become even more expressive, as though he’s now speaking from a deeper place of understanding, one that transcends genre. His ability to integrate microtonal inflections into jazz improvisation has reached its most mature stage here, suggesting that Tzur’s musical voice has solidified into something that feels both timeless and of the moment.
While his earlier ECM work often embraced the vastness of sound, My Prophet feels more inward, a search for clarity through simplicity. The compositions, though intricate, don’t draw attention to themselves; rather, they allow the interplay between melody, rhythm, and space to become the focus. Tzur’s saxophone technique is more than just a vehicle for sound—it’s a means of spiritual expression. The result is an album that feels deeply meditative, an exploration of both the outer world of jazz and the inner realm of the soul.
In essence, My Prophet is a culmination of Tzur’s singular vision. It brings together his profound understanding of Indian music with his jazz sensibility to create something wholly unique. The saxophone, under his fingers, becomes a tool for transcendence—a bridge between two worlds of music that, when combined, offer a sound more compelling than either could produce alone. Tzur has truly found a Middle Path, and on My Prophet, he invites us to walk it with him.
Review of Quintet Music by Travis Reuter By Max Millar
Guitarist Travis Reuter’s Quintet Music offers a striking blend of intellectual rigor and emotive depth that speaks directly to the heart of contemporary jazz. With this debut album, Reuter steps into a realm where composition and improvisation coexist as one fluid, multifaceted entity. Drawing on a lineage of forward-thinking jazz guitarists—primarily the harmonic ingenuity of Pat Metheny and the angularity of modernists like Bill Frisell and Kurt Rosenwinkel—Reuter has carved out a sound that is undeniably his own, marked by its bold rhythmic exploration and dynamic arrangements.
From the opening track, “Elephant in the Room,” Reuter’s quintet establishes an immediately identifiable sound. His guitar tone is crisp, with a clean, direct presence, a clear voice amidst a sea of textures laid down by saxophonist Jon Irabagon, trumpeter Jonathan Finlayson, bassist Michael Formanek, and drummer Tyshawn Sorey. The group’s interplay is a masterclass in cohesion—rhythmic tension and release, harmonic unpredictability, and, above all, a palpable sense of urgency in every note.
The compositional depth of Quintet Music cannot be overstated. Reuter’s pieces—such as the sprawling, multi-sectioned “Scale of the Universe” and the quirky, dissonant “Insomnia Waltz”—both challenge and reward the listener. These are not just songs but explorations, journeys that unfold with dramatic pauses, sudden shifts, and long, winding builds. The harmonic landscape is vast but never overwhelming, thanks to Reuter’s meticulous structuring and the singular chemistry of his band. His charts, though intricate, leave plenty of room for the kind of spontaneous, real-time improvisation that marks the best of modern jazz.
The inclusion of Irabagon and Finlayson adds a dynamic layer of sonic complexity. Irabagon’s tenor saxophone, with its clear, piercing timbre, contrasts nicely with Reuter’s more restrained yet urgent guitar playing. Both musicians frequently engage in two-way dialogues, their voices interweaving like threads in an ever-evolving tapestry. Finlayson’s trumpet work, with its sharp articulation and commanding phrasing, serves as a perfect foil, particularly in the more driving sections of tracks like “Trio of Stars.” Sorey, an artist of immense capacity, proves himself to be the heartbeat of this ensemble, propelling the music forward with his ever-changing, elastic rhythms, while Formanek’s bass adds an additional layer of grounding complexity.
What stands out about Quintet Music is not just its structural ambition, but the emotional range it traverses. Reuter’s ability to balance intellect with heart is perhaps his most striking feature. This is not “heady” music in the sense that it distances itself from emotional resonance; on the contrary, it invites you to feel just as much as think. In tracks like “One Step Ahead,” the quintet delivers a perfect balance between complexity and groove, creating space for each voice to be heard while maintaining a cohesive narrative.
Sorey’s work as a drummer cannot go unmentioned. On “The Quiet Revolution,” his ability to subtly shift rhythms and use space as an active force in the composition creates an atmosphere of suspended tension, allowing the other musicians the room to breathe. Formanek’s bass, often acting as the music’s connective tissue, roots the ensemble in a pulse that feels ever-present but never overbearing. The collective mastery of these musicians is impressive, but it’s Reuter’s careful, considered leadership that holds it all together.
In sum, Quintet Music is a remarkable debut that will undoubtedly serve as a touchstone for Travis Reuter’s career. He’s a guitarist of great technical prowess and even greater imagination, forging a path forward for the guitar in contemporary jazz. This record suggests that Reuter is an artist who understands the importance of both tradition and innovation—merging the intellect of the modern jazz lexicon with the heart of a storyteller. It is cerebral but warm, challenging yet deeply rewarding. For anyone invested in where jazz is headed, this is a statement that shouldn’t be missed.
London is home to a thriving jazz scene, with a variety of venues offering unique atmospheres and histories. Here’s a list of 10 of the best jazz venues in the city, highlighting their individual character and the vibe they provide:
1. Ronnie Scott’s Jazz Club
History: Opened in 1959 by saxophonist Ronnie Scott, this iconic venue is a staple of London’s jazz scene. It has hosted legendary artists such as Ella Fitzgerald, Miles Davis, and the Rolling Stones.
Vibe: Intimate and legendary. The dimly lit club provides a cozy yet upscale atmosphere, making it the place for serious jazz enthusiasts and casual listeners alike. Expect world-class performances in a stylish setting with a touch of old-school glamour.
Atmosphere: Sophisticated yet relaxed, with a mix of loyal jazz fans and tourists looking to experience a piece of jazz history.
2. The Jazz Cafe
History: Located in Camden, The Jazz Cafe opened in 1990 and quickly became a hotspot for live music lovers. It blends jazz, soul, funk, and world music, with performances from artists like Amy Winehouse and Erykah Badu.
Vibe: Vibrant and eclectic. It’s a lively venue where the energy is high and the crowd diverse. It’s more of a “club” vibe, with a focus on music and dancing, while still maintaining a dedication to jazz.
Atmosphere: Casual and energetic, it’s perfect for a night of dancing and enjoying contemporary jazz influences.
3. The 606 Club
History: Founded in 1976, The 606 Club in Chelsea is a longstanding venue with a rich tradition of live jazz. The club has a reputation for presenting top-notch musicians in an intimate setting.
Vibe: Cozy and relaxed. It’s one of London’s hidden gems, featuring top-tier jazz musicians in a comfortable, low-key atmosphere.
Atmosphere: Warm, close-knit, and friendly, with tables surrounding the stage, creating a sense of connection between performers and the audience.
4. PizzaExpress Jazz Club (Soho)
History: This iconic venue, located in the heart of Soho, has been part of the PizzaExpress brand since the 1970s. It’s hosted jazz legends such as Jamie Cullum, Wynton Marsalis, and Christian McBride.
Vibe: Laid-back and accessible. This venue combines great food with live jazz, offering a relaxed environment where you can enjoy a meal while listening to the music.
Atmosphere: Casual yet intimate. It’s a more informal experience compared to larger venues, with an emphasis on enjoyment and good company.
5. Vortex Jazz Club
History: Founded in 1989 in Dalston, Vortex has a rich legacy in supporting both avant-garde and traditional jazz. It is known for being a hub for experimental and cutting-edge performances.
Vibe: Experimental and artistic. The venue has a slightly gritty feel, offering a more alternative jazz experience that attracts a passionate, local crowd interested in progressive jazz.
Atmosphere: Intimate and slightly raw, creating a more immersive, personal connection to the music.
6. King’s Place
History: King’s Place opened in 2008 as a multidisciplinary arts venue and has quickly become a leader in London’s classical and jazz music scenes. It offers a modern, spacious environment for performances of all genres.
Vibe: Refined and modern. It attracts a more mature audience with its stylish, state-of-the-art acoustics and an emphasis on high-quality performances.
Atmosphere: Calm and sophisticated, making it ideal for a more relaxed evening of listening to jazz in a concert hall-style venue.
7. The Bull’s Head
History: Located in Barnes, The Bull’s Head has been a popular jazz venue since the 1960s, offering live jazz nightly and hosting both local and international artists. It has a reputation for great acoustics and a loyal following.
Vibe: Traditional and unpretentious. This is a pub with an intimate, homely feel, where jazz blends with the relaxed atmosphere of a local watering hole.
Atmosphere: Welcoming and down-to-earth, with a mix of regulars and newcomers enjoying the music in a laid-back pub setting.
8. Cadogan Hall
History: A former Methodist church, Cadogan Hall has become a prominent venue for classical music, jazz, and other genres since it opened in 2004. It is home to the London Chamber Orchestra but also hosts jazz performances, including a popular series featuring high-profile artists.
Vibe: Grand and elegant. With its classical music history and high-quality acoustics, it offers a more formal, concert-like experience compared to smaller venues.
Atmosphere: Cultured and serene, with an emphasis on professional-level performances in a beautiful, intimate hall.
9. Royal Festival Hall
History: As part of the Southbank Centre, Royal Festival Hall is one of the UK’s most important cultural venues, hosting a variety of jazz performances since its opening in 1951. It is known for its wide range of jazz, from classic to contemporary.
Vibe: Majestic and expansive. This large venue offers a formal yet welcoming environment where jazz performances are held alongside other major events in the arts.
Atmosphere: Sophisticated and often lively, with a large and diverse crowd that creates an energetic yet polished experience.
10. Southbank Centre (Purcell Room)
History: The Purcell Room, part of the Southbank Centre, is known for its exceptional acoustics and intimate vibe. It regularly hosts jazz performances, featuring both established and emerging artists.
Vibe: Intimate and artistic. With its small seating capacity, the Purcell Room feels like a private concert, offering an up-close experience with some of the most talented jazz musicians.
Atmosphere: Quiet and respectful, ideal for those who appreciate a more focused and immersive listening experience.
Key Differences in Vibe and Atmosphere:
Intimate Venues (e.g., Ronnie Scott’s, 606 Club, Vortex Jazz Club): These offer a personal connection with the artists, often in cozy, small settings where the audience is close to the stage. The vibe tends to be warm, informal, and focused on the performance.
Larger Venues (e.g., Royal Festival Hall, King’s Place, Cadogan Hall): These provide a more formal atmosphere with top-tier acoustics and larger audiences. They are ideal for those who want a grander, concert-style experience.
Eclectic/Alternative Spaces (e.g., The Jazz Cafe, Vortex Jazz Club): These venues embrace a more diverse approach to music, offering jazz alongside other genres. The atmosphere is more relaxed, and the crowd is often more varied.
Casual, Pub-Like Venues (e.g., The Bull’s Head, PizzaExpress Jazz Club): These offer a blend of great food and live music, with a more laid-back, communal vibe.
Each venue offers a unique angle on jazz, from intimate nights with local artists to grand performances by world-renowned musicians.
Max Millar Music 