The true magic in jazz and other improvised music comes from pairing the right musicians with the right musical circumstances. On his new recording, Live In Red Hook, bassist/composer Gui Duvignau took advantage of an ideal performance space in Brooklyn and the brilliance of two outstanding musicians that he knew would provide a performance worthy of posterity. Duvignau was born in France and lived in Morocco as an infant. His family moved to Minas Gerais, where he spent his youth, and then S�o Paulo, Brazil, where he spent his teenage years. His studies led him from Paris to Portugal and, finally, to New York City, where he has been based the past six years. The lands that he has lived in and the musical cultures and influences of each have informed his musical landscape. Duvignau's last two recordings on Sunnyside Records are ripe with tributes to his mentors and heroes, including music and/or performances by Ron Carter, Bill Frisell, Billy Drewes, and Baden Powell.

There is music that can only be created under certain conditions. As much preparation and work that goes into studio recordings for a crafted, perfected sound, there are recordings that resonate because of their spontaneity and natural feeling. On his new solo recording, Trouble In Mind, pianist Elan Mehler presents an extraordinary collection of music full of pathos that could only be caught at that moment in time at a recording studio in New Orleans. The Boston-born, New York City based Mehler has become well known for his fluid touch on piano and his skilled bandleading. He is also well known for his record label, Newvelle Records, that caters to vinyl lovers with series of recordings covering a wide range of jazz and creative music. It happened to be during the culmination of Mehler's work on a series of recordings by New Orleanian artists that Trouble In Mind was born.

Growing up in an urban environment could lead to obliviousness to the natural world. Having grown up in a rural environment, saxophonist/composer Jeremy Udden was very aware of nature but living in metropolises made him seek nature's touch in the city's midst. Udden's children have grown up in Brooklyn and he is frequently amazed at how attuned to nature his city kids are, just one of the intriguing juxtapositions he reflects in his new recording, Wishing Flower. For his new recording, Udden used the inspiration of his children and their daily walks from school to write new compositions that reflect the sounds of the city through Udden's singular musical lens, which blends the pastoral sounds of folk and country with contemporary jazz. Coming full circle, Udden recruited guitarist Ben Monder and drummer Ziv Ravitz to revisit their ensemble roles from Torchsongs, along with longtime collaborator, bassist Jorge Roeder.

TIME AND AGAIN

Klein has made a name for himself as an expert composer, who finds ingenious ways to make the complicated feel natural and evolve. Many of his pieces over the past decade have evolved out of strict studies of musical phenomena that Klein was able to exercise and mold into highly rhythmic and inviting pieces for Los Guachos and other notable ensembles. These endeavors include delivering highly wrought compositions that require time for construction and preparation from the ensembles. A break from these procedures would be a liberating experience for Klein, so when playing at New York's legendary Village Vanguard jazz club during the summer of 2022, Klein recruited old friends and a newcomer to the fold to play a collection of tunes that provides plenty of avenues for expressive dimensions provided by individual decisions on the bandstand.

It would be hard to foresee a young kid from Bavaria becoming a celebrated jazz saxophonist in New York City. Tobias Meinhart has done that, sculpting a career of brilliant recordings and world touring. One of his principal ensembles in this endeavor has been his Germany-based Berlin People, which features the revolutionary guitarist, Kurt Rosenwinkel. Meinhart and Berlin People's new recording, Dark Horse, celebrates how far he and the ensemble have come since their inception. Since his arrival in New York City in 2018, Meinhart has maintained a busy schedule as a composer, performer, and touring artist. His debut album, Berlin People (Sunnyside, 2019), introduced the greater listening public to his Berlin-based group of the same name. Immediately, the group took to the road, playing extensively throughout Europe and South America.

Ethan Philion is an award-winning bassist, composer, and bandleader based in Chicago. A graduate of Oberlin Conservatory and DePaul University, Philion has been praised by the Washington Post for his "well honed chops and astounding musicality" and his debut album, Meditations on Mingus, was commended as "a labor of conspicuous love and respect for a musical titan" by Downbeat Magazine. He has performed with an extensive list of jazz artists including Rufus Reid, Greg Ward, Dana Hall, Mark Feldman, Russ Johnson, Howard Levy, Ryan Cohan, Tito Carillo, Gary Bartz, Alfonso Ponticelli, Ernest Dawkins, Geof Bradfield, Dee Alexander, Mark Gross, Alyssa Allgood, Thaddeus Tooks, Victor Garcia, Mike Allemana, Mai Sugimoto, Paul Marinaro, and more.

Rising star pianist/composer Noah Haidu's resplendently expressive Standards celebrates the 40th anniversary of the release that launched Keith Jarrett's great Standards Trio and arrives on the heels of Haidu's two recent acclaimed Sunnyside albums, most notably 2021's SLOWLY: Song for Keith Jarrett. Featuring Haidu with bassists Buster Williams and Peter Washington, drummer Lewis Nash and guest saxophonist Steve Wilson, Standards is, in part, the soulmate to SLOWLY, which DownBeat called "a stunning and heartfelt tribute." After Haidu, Buster Williams and Billy Hart recorded it's last two songs - "But Beautiful" and "Georgia on My Mind" - Williams said, "Those two standards were beautiful, got any more?"

It is accepted for creative artists to tug on the reigns of the expected. In the worlds of jazz and contemporary music, musicians are instructed to respect the conventional parameters of the genre they learn. But it is for the musicians to push the limits of the rules in order to make new discoveries. The trio of Leo Genovese, Demian Cabaud, and Marcos Cavaleiro take such an unbridled approach to music making on their new recording, Estrellero.

The extraordinary pairing of Jim Campilongo and Steve Cardenas has been a rewarding one for the two guitarists, who have been performing in tandem for the past twenty years. Though they have recorded together before, the pair had never released an album of this grouping. The opportunity was seized when Campilongo was planning his return to the Bay Area, the pair realizing the project that was always simmering and needed to be put to a boil. The result is their fantastic new album, New Year. Campilongo moved to New York City from California in 2002, becoming enmeshed in the local rock and singer/songwriter scene, most notably with his own trio and as a member of The Little Willies with Norah Jones. It was around this time that he was introduced to Cardenas, through a mutual friend singer/songwriter Richard Julian. The two immediately connected and a fast friendship turned into a mutual admiration society from their first time playing together.

The work of an artist o2en suggests that of an alchemist. In her new album, Aire, Mexican singer and composer Magos Herrera transformed the grief, fears, and loneliness of a deadly plague into a luminous collection of songs representing "a celebration of our humanity and the healing power of music." Aire features twelve songs and includes her new compositions and gems from the Great Latin American Songbook, such as "Alfonsina y el Mar" and "Gracias a la Vida." Those two classics suggest bookends of the experience in Aire, "Alfonsina..." as an acknowledgment of impermanence and death; "Gracias a la Vida" as a prayer of gratitude for the many gifts of life. But for two exceptions - the voice and guitar duo of "Passarinhadeira" and the octet reading of the Vinicius de Moraes and Baden Powell's classic "Samba em Preludio" -Magos sings over a musical canvas provided by her jazz trio augmented by an orchestra under the artistic direction of Eric and Colin Jacobsen, of Brooklyn Rider fame.

One of the steps to becoming a band leader is to drop your inhibitions and find collaborators who play the music that you want to make. Though he has music in his blood carrying from two generations of bandleaders before him, drummer Greg Joseph initially found it difficult to grab the reigns of his own ensemble. It took finding the right voices in Larry Goldings's Hammond organ and Steve Cardenas's guitar to express his joyful music, which Joseph presents for the first time on Drop The Rock.

Following the elusiveness of Dust (Sunnyside, 2021) comes the permanence of Ash. Violist/composer/improviser Mat Maneri presents the second volume in his series of quartet music, this installment, Ash, focusing on the residue of memories burned into the mind. Maneri's Dust recording cemented the sound of his quartet, an ensemble built around impressionistic interpretations of Maneri's singular compositions with an incredible cast of brilliant improvisers and friends. Drummer Randy Peterson and bassist John H�bert have been regular musical partners for decades and pianist Lucian Ban has become an essential colleague over the past dozen years. After the first recording, Maneri began to consider making a series of recordings, settling on the idea of a trilogy. This second installment, Ash, focuses on the metaphysical aspects of a physical byproduct, as did Dust. Maneri likens the burned in memories of his childhood and teenage years to the ash that a fire leaves behind. Elements of th

Lucian Ban and Mat Maneri harness the spirit of George Enescu's masterwork, Oedipe, and channel it into a modern recreation in their own vernacular. Oedipe Redux is a breathtaking retelling, breathing new life into one of the most storied tales of human drama.

Saxophonist Jerome Sabbagh is an old soul. He favors spontaneity between performers on the bandstand, prefers the feel of a swinging band to heady, over-wrought music, and likes the sound of analog over digital. When it came time to work on a new project, Sabbagh wanted to record an album that would sound like a set in a club, and felt ready to look back to early influences. On Vintage, his first album as a leader featuring piano, Sabbagh enlists the piano legend Kenny Barron in his all-star quartet to help make a recording that connects generations and makes tradition vital once again. Sabbagh also has an ear for the tradition. One of his seminal early jazz experiences came when he was a teenager and got to hear Stan Getz in Paris. Kenny Barron was Getzs accompanist that evening and Sabbagh was taken immediately, standing outside the back door to get Getz and Barrons autographes after the show.