Kansas City, one of the early hotbeds of jazz, has an aggregation, the Michael Pagán Big Band, that carries on the city’s jazz tradition, merging this tradition with absorbing modern arrangements by Pagán. Burn It Forward (Capri Records – 74181) is the second recording by this 19-piece orchestra that features nine of his original composition. Pagán’s inspiration for comes from a variety of sources. “Burn it Forward” is a nod toward the greats of jazz by using quotes from noted jazz melodies. “I Contrafact on You” features baritone saxophonist Todd Wilkinson examining Pagán’s reworking of “I Concentrate on You.” “Hustlin’,” “Deep in My Soul”, and “If You Have to Ask… (You’ll Never Know)” are parts of “Reflections of Jazz Suite”, the last section of which is related to the Louis Armstrong response to the question “What Is Jazz?” The program is wonderfully executed by strong ensemble playing sprinkled with outstanding soloists. Burn It Forward is a fine example of modern big band jazz at its finest. (Release date: November 20) (www.caprirecords.com)
Jagged Edges Elegant Lines: The Music of Ayn Inserto (Summit – 850) features the WDR Big Band with Sean Jones playing compositions and/or arrangements by Ayn Inserto. Inserto has a unique style well described by the title to the album, long flowing lines combined with interesting, energetic themes. The WDR Big Band has long been one of Europe’s most heralded jazz orchestras and often features guest artists, in this instance, trumpeter Sean Jones. Six of the pieces were conceived as vehicles featuring Jones, “Mr. Jones and Company,” “BJ’s Tune,” a Jones composition for his nephew with an Inserto chart, and “Suite for Sean Jones”, a four-part musical depiction of various aspects of Jones, “The Artist,” “The Educator,” “The Husband and Father”, and “The Human Soul.” Inserto write challenging charts that are well played by the band. Jones demonstrates his brilliant sound, flawless articulation, and imaginative improvisations. The package is a fascinating presentation of the vivid musical mind of Ayn Inserto. (www.summitrecords.com)
The UNLV Jazz Ensemble 1 is the premier jazz big band of the University of Nevada, Las Vegas’ outstanding music program. Its new album, My Favorite Things (Vegas Records – 1033) has nine selections played by the 2025-26 edition of the band, a mix of standards (“My Favorite Things,” “Angel Eyes,” Softly as in a Morning Sunrise,” “Just Squeeze Me” and “Cherokee”); jazz tunes “Whirly Bird” and “Tell Me a Bedtime Story”); a pop tune (“If Only My Heart Could Speak”); and an original by faculty member Hans Halt (“Flying Dragons”). Vocalist Clint Holmes guests on “My Favorite Things,” while student Eva Yazdanpanah adds her hip vocalizing to “Angel Eyes,” “Softly as in a Morning Sunrise”, and “If Only My Heart Could Speak.” The band plays with precision, and the soloists are superb. All of this is in a package of student-written arrangements, which illustrates that jazz is alive and well in today’s student jazz programs. (www.vegasrecords.org)
Further proof of the excellence of the UNLV music program is Back Home (Vegas Records – 1034) by UNLV Combos. The first eight tracks are by the Joe Williams Scholarship Combo, a straight-ahead quartet of sax, piano, bass and drums with vocalist Eve Yazdanpanah on “Back Home,” an original with her lyrics set to music by drummer Andrés Montero, and “Never Will I Marry.” The remaining six tracks are by the Latin Jazz Ensemble, a small big band. Both combos feature mostly original songs composed and arranged by students. This is an impressive collection of highly talented students as players, composers, and arrangers. (www.vegasrecords.org)
Piano/bass duo recordings are relatively infrequently released. Duo playing is a demanding format, necessitating an empathy that is best developed by evolution as the participants become familiar with each other’s sensitivities and idiosyncrasies. Listening to Between Friends (American Jazz Institute – 7703) by pianist Jeff Colella and bassist Putter Smith, two outstanding veterans of the Los Angeles jazz scene, it is obvious that they have developed the kind of dynamics necessary to effectively blend their individual talents into a cohesive whole as they explore a 10-tune program of originals, three by Smith and one by Colella, plus “Laurie” and “We Will Meat Again” by Bill Evans, “Voyage” by Kenny Barron, “Locomotive” by Thelonious Monk,” “Isfahan” by Billy Strayhorn, and “The Glide” by Ralph Towner. These musical conversations between Smith and Colella are gentle and consistently interesting. As background music, this music fits the bill, but careful attention provides a dimension of satisfaction that adds to the enjoyment of their artistry. (www.caprirecords.copm)
In addition to being a wonderfully creative jazz guitarist, Doug MacDonald is also very versatile. He has recorded more than 30 albums as a leader, from solo outings to fronting a big band. On Tribute to South Central (Dmac Music – 29) MacDonald gives a nod towards the legendary area of Los Angeles where there was a profusion of jazz clubs from the 1920s to the mid-1950s. His group for this musical adventure includes MacDonald on guitar, Wayne Cobham on trumpet/flugelhorn/flugelbone, Richard Turner on various keyboards, Del Atkins on bass, and Ronnie Kaufman on drums/percussion with Eric McKain added on percussion for five of the eight tracks. The program consists of five MacDonald originals plus Wes Montgomery’s “Mr. Walker,” Antonio Carlos Jobim’s “Captain Bacardi”, and Duke Ellington’s “Self Portrait of the Bean.” MacDonald has produced a groove-oriented collection with outstanding solo work from himself and Cobham. Although it is a studio recording, it has the feeling of a live date. (dougmacdonald.net)
Canadian guitarist Jocelyn Gould aimed for a joyful outing on So Delighted (self-produced), her new release in the classic guitar/organ/drums trio format with Ben Paterson on organ and Fabio Ragnelli on drums with Jonathan Challoner adding his trumpet on one track, Christine Jensen playing tenor sax on two tunes, and Joey Landreth providing a second guitar on two selections. She has succeeded nicely with a 10-song program featuring five of her originals plus Oscar Peterson’s “Cakewalk,” “The Song Is You,” “Girl Talk,” Gerald Wilson’s “Teri”, and “The Sweetest Sounds.” Gould is a leading jazz voice in Canada with a growing international reputation. She was featured as a Jersey Jazz Magazine Rising Star in April 2021. So Delighted is her fifth release and gives more evidence that her playing is a combination of technical excellence and a limitless creative imagination. She makes this classic format sound fresh and it is a perfect setting for her artistry. (jocelyngould.com)
Now residing in Montreal, French-born guitarist Samuel Bonnet has a new album, Slow (self-produced) with his regular partners, bassist Jonathan-Guillaume Boudreau and drummer Simon Bergeron, plus trumpeter/flugelhornist Joe Magnarelli, who appeared in four tracks on Bonnet’s 2014 album, DiaspoRapsodie. The program includes six Bonnet originals plus a two-part composition by Isaac Albéniz, “Asturias.” The empathy between the trio members is strong and gives the music a dimension that reaches out to put a smile on your face. Magnarelli’s contributions are an added bonus to this collection of appealing music and Bonnet is a fluid player who is a master of improvisation. While Slow has some upbeat interludes, the title captures the relaxed mood that permeates the album. (samuelbonnetguitar.net)
Long a fixture on the New Jersey/New York scene, alto saxophonist Bruce Williams has an exciting new album titled Solid Perspective (WJ3 Records). With accompaniment by pianist Brandon McCune, bassist Lonnie Plaxico, and drummer Willie Jones III, Williams presents an eight-tune program. The selections include “Ev’ry Time We Say Goodbye,” Jackie McLean’s “Melody for Melonae,” Wayne Shorter’s “Toy Tune” plus five Williams originals, “The Matriarch,” “Ora Dee,” “Short Lived Dream,” “Sense of Madness”, and “Why Can’t We.” Williams paces the tempos well from ballads, “Ev’ry Time We Say Goodbye” and “Short Lived Dream”, to the more robust “Melody for Melonae, and a few stops in between, including a hint of Latin influence on “Sense out of Madness.” He concludes with a brief vocal on the soulful “Why Can’t We.” Williams develops fluid improvisations and has a smooth tone. McCune provides perfect comping and robust solo interludes. Plaxico and Jones are always right there. Williams has produced a highly listenable album of accessible music. (Available as a download at https://www.wj3records.com/product-page/bruce-williams-solid-perspective)
There is something about jazz that enables players to continue their creative artistry well past the age when most people have retired. Having just turned 92, tenor saxophonist Houston Person is still a vibrant player as is evident on From the Heart (Arbors – 019497). On this 12-tune album, he is supported by John di Martino on piano, James Chirillo on guitar, Sean Smith on bass, and Vincent Ector on drums, plus trumpeter Eddie Allen on six tracks. The program opens with Person’s “Wish You Were Here,” a mid-tempo swinger by the sextet. Person’s ballad mastery is displayed on “You Belong to Me,” “These Foolish Things,” “Moonlight in Vermont”, and “Stranger on the Shore,” a tune most remembered for the hit recording by the British clarinetist Mr. Aker Bilk. “Satin Doll” is taken mid-tempo, “It Shouldn’t Happen to a Dream’ is an easy swinger, and “Save Your Love for Me” is laid down in a bluesy groove. The closing tracks are a sax/bass duo on “Don’t Get Around Much Anymore,” and a medley of Person’s solo sax on “We’ll Be Together Again” with a solo piano take by di Martino on “Goodbye.” With the variety of tempos and combinations of musicians, From the Heart is a collection that keeps your attention throughout. (arborsrecords.com)
First Chorus (Bent River Records – 202606) is the first full album from Edmonton-based tenor saxophonist Jacob Do. This is a young artist coming out of the bebop tradition who has a full sound, technical mastery and is full of improvisational acuity. He is supported in his efforts by Donny Kennedy on alto sax, André White on piano, Paul Johnston on bass, and Dave Laing on drums, with veteran alto sax master PJ Perry added on “All of You.” The balance of the program includes four nifty Do originals plus a couple of under the radar jazz tunes, “That’s Earl, Brother” by Dizzy Gillespie, Gil Fuller and Ray Brown” and “The Highest Mountain” by Clifford Jordan.” Also present is “Stardust” which gives the listener a taste of Do’s fluency as a balladeer. Both Do and Kennedy sparkle as soloists, and the rhythm section provides a strong base for the front-line players. First Chorus should be the first of many recordings by Jacob Do. (https://jacobdo.bandcamp.com/album/first-chorus)
Bassoonist Frank Morelli and tenor saxophonist Keith Oxman make an interesting pairing. On Classicool (Capri – 74179), they have a program that gives nods to both show and classical music. The lineup of 12 songs includes two straight-forward classical pieces, Gabriel Fauré’s “Sicilenne” and José Siqueira’s “Modhina.” Except for Duke Ellington’s “Come Sunday,” the other pieces were written by composers with classical backgrounds. “Cool” is a tune written for West Side Story by Leonard Bernstein who was at home in both the classical and musical theater worlds; “I Remember You” and Tangerine” were composed by Victor Schertzinger, whose training was on classical violin; “My Reverie” was adapted by Larry Clinton from Claude Debussy’s piano piece, “Rêverie;” “Softly, as in a Morning Sunrise” and “Lover Come Back to Me” is music by Sigmund Romberg who specialized in composing operettas; “Not Since Ninevah” and “And This Is My Beloved “were composed by Alexander Borodin and used in Kismet with lyrics added by Robert Wright and George Forrest;” and “There’s a Boat Dat’s Leavin’ Soon for New York” was composed by George Gershwin who was mostly a composer of popular tunes, but also wrote classical pieces. Morelli and Oxman are supported by Jeff Jenkins on piano, Gonzalo Teppa on bass, and Todd Reid on drums. Listen to Classicool and you will probably be totally taken by the ingenious Oxman arrangements and the execution of them by this talented group. (caprirecords.com)
Some musicians seem to discover instant empathy when playing together for the first time. Such was the case when pianist Steve Sandberg invited Hendrik Meurkens and his harmonica to join Sandberg’s trio for a gig at the Jazz Forum in Tarrytown, NY. They quickly decided that making a recording together of original tunes was a good idea. Thus, was born an album appropriately titled First Born (Height Advantage – 005). The program includes four original pieces by each of the two frontmen. Their pairing is one that will immediately catch your ears. Meurkens is among the few who have made the harmonica feel just right in a jazz setting, while Sandberg is an eloquent and inventive presence on the keys. They are both influenced by Brazilian jazz, and it comes through in their writing and playing. The results are exciting, yet comfortable. (https://hendrikmeurkens.bandcamp.com/album/just-born)-JOE LANG