NOTES ON JAZZ : BEST OF JAZZ 2025

                

As the Holidays and the year end once again, it is a tradition to look back and take account of what has happened in the passing year. The year two-thousand and twenty-five was a prolific year for music. The year found  an amazing amount of new albums released from established artists as well as  some promising up and coming artists. Music, and particularly jazz, is an artform that is a very expressive. It has an open door policy, inviting new ideas and approaches that welcome creativity, diversity and intra-cultural cross-pollination. Contrary to what we are currently being fed by the political forum, music continues to validate positivity and inclusiveness. You can be any color, race, or orientation so long as you can play. Art has always thrived best with cultural diversity, open-mindedness and collaborative cooperation. With the world geographical distances being shrunk by convenient and efficient air travel, musicians can study almost anywhere. They can now imbed in a culture to absorb folk and cultural aspects of a music that they could only hear previously on imported recordings. They can play music in far away locations that were previously not  easily reachable. This makes the music more of an amalgamation of influences. This cross-pollination of musical styles from around the world only create a delicious jambalaya of music that breathes and lives continuing to delight and surprise. The beauty of this cooperative and creativity-filled process is all done with little and from a Here's a crazy idea. If making music on the international level could be used as a template for political cooperation, we would all be probably have a less contagious. less threatening and more joyous world condition. Just a thought for all of us to ponder. 

Keeping that theme of  inclusion and diversity in mind, it is no wonder that so many of my picks for the best of jazz in 2025, is itself a testimony to the variety and global nature of jazz this year. We find a Polish piano trio playing with a titan of an American saxophonist. There is a New York City born banjo master playing with a harpist from Columbia and a drummer from Mexico. A French pianist playing with an American band anchored by a noted New Orleans drummer. There is a vocalist and her pianist from Denmark, who are including Japanese influences in their work. A creative Austrian guitarist that teams up with a master American rhythm section.  There is a Russian trumpeter whose European melodicism and technical proficiency make this once sought after session sideman into a formidable bandleader in his own right. There is music from Venezuelan, Argentinian and Cuban pianists whose influence have contributed to this year's music. Not to mention a superb alto saxophonist from Puerto Rico and two exquisite guitarists, one from Pakistan and one from Italy. Let's not forget the many fine American and Canadian artists that make the music for people in this country and the world so vibrant and alive. It is like a United Nations of musicians whose work together does more for the beauty, the peaceful continuation and unity of the world then all the ambassadors that sit on the General Assembly of the real U.N. in NYC!

So without further ado, here are my picks for some of this years best of what we like to call "jazz" which all comes from its roots, which is Black Improvisational Music. This is by no means a complete list, only some of what I have had a chance to listen to and which from my point of view is worth your uninterrupted attention. I hope you will all find this list as compelling and enjoyable as I do.  

Here in no particular order is my top picks for 2025:

Branford Marsalis Quartet: Belonging-Blue Note

A reimagining of Keith Jarrett's ECM album of the same name from 1975

Sullivan Fortner: Southern Nights-Artwork

An expressive pianist makes beautiful and evocative music.

Bela Fleck, Edmar Castaneda, Antonio Sanchez-BEATrio-Flecktone

The master banjoist finds musical simpatico with an inventive harpist and a talented percussionist.

Joe Lovano and The Marcin Wasilewski Trio-Homage-ECM

The titan saxophonist finds common ground with the Polish piano trio that used to back trumpeter Tomasz Stanko.

Sinne Eeg and Jacob Cristoffersen -Shikiori-Stunt

A gorgeous voice and a sympathetic piano say it all on this one.

Wolfgang Muthspiel w Scott Colley and Brian Blade-Tokyo-ECM

This guitarist has a style all his own and it blooms with these two rhythm makers supporting his ideas brilliantly. 

John Ellis-Heroes-Blue Room Music

This dynamic saxophonist creates a set that probes and swings all the same time to great delight.

John Patitucci-Spirit Fall-Edition

This first call bassist is always exploring ways to make his instrument sing.

Alex Sipiagin-Reverberations-Chriss Cross

This top notch trumpeter has assembled some bandmates that function like a symbiotic organism.

Linda May Han Oh-Strange Heavens-Biophilia Records

Matched on this outing with two of the most creative artists of this era, Ambrose Akinmusire and Tyshawn Sorey, Oh creates a wonderful drum less album that pleases.

My pick for best Debut album:

Tyreek McDole-Open Up Your Senses- Artwork

A wonderful debut from a promising baritone that have a silky voice that recalls Johnny Hartman and should be watched.

Two pick for best Latin Jazz Albums:

Miguel Zenon Quartet-Vanguardia Subterránea: Live at The Village Vanguard-Miel Music.

The first live recording of this excellent alto saxophonist at the legendary jazz club.

Conrad Herwig with Eddie Palmieri and Luques Curtis- Reflections-Facing South-Savant Records

Uniting of  the recently late Latin pianist Eddie Palmieri, in what may be his last recording, with the trombone artist who made interpreting the Latin side of things an art form.

More of the best of jazz for 2025:

Carl Allen with Chris Potter and Christian McBride-Tippin'-Cellar Music

Hard to imagine a better trio to get the most of modern jazz with more energy and aplomb. Potter is especially unleashed in a Sonny Rollins mode and Mc Bride and Allen cook together. 

Amaury Faye and his NOLA Quartet-RUST- Hypnote

A French pianist finds inspiration in the Crescent City with a brilliant quartet including Amina Scott, Julian Lee and the drummer ace Herlin Riley. 

Rez Abassi Acoustic Quintet- Sound Remains-Whirlwind records

This quintet adds the ethereal sound of Bill Ware's vibraphone to Abassi's unique approach to the steel stringed acoustic guitar and some empathetic bass and percussion work to make this one a dreamlike experience.

Denny Zeitlin-Worth A Song In My Heart-Sunnyside records

The octogenarian pianist is still making magical music. This time he deconstructs and reassembles some of  Richard Rodgers music on his solo piano, in a way that makes it all his own. 

Jeff Parker ETA IV Ntet- The Way Out Easy-International Anthem

These four musicians create a swelling ambience that captures your attention.

Larry Goldings-I Will-Sam First Records

A keyboard artist mostly know for his cutting edge organ trio work finds Goldings showing just how good a piano player he can be with two young bandmates recorded live in LA.

Pasquale Grasso- Fervency- Sony Masterworks

Grasso is a superb Italian born guitarist that has the kind of mastery that recalls Joe Pass. He is an accomplished accompaniest and here he is recorded in a trio setting with Ari Rolland on bass and Keith Balla on drums.

The Perceptions Trio- The Wicked Trio-Sense-Music Release Club

This international trio is based in Switzerland and include Charley Rose on saxophone, Silvan Joray on guitar and Paulo Almeida on drums. The create their own contemporary atmospheric music.

Tessa Souter-Shadows and Silence- The Erik Satie Project- NonAra

British/Trinidadian chanteuse Tessa Souter uses the music of the French composer Erik Satie to create a suite of  vocal interpretations in his minimalist  style.

Michael Dease- Flow- Posi-Tone Records

Its hard to not tap your feet to this master trombonist when he brings it to the table as a leader. Here he is teamed up with Sharel Cassity on saxophone, as Geoff Keezer drives the music on his joyful piano. A Greek drummer and one of Dease's Michigan State student proteges fill out the rhythm section.

Michael Mayo- Fly- Mack Avenue

Mayo's excellent album came out in late Oct of last year, but it was so entertaining that I couldn't resist including it in this years best of list. He has a smooth, flexible voice that reminds me a bit of Al Jarreau. Need I say more?

Pheeroan akLaff, Scott Robinson, Julian Thayer -aRT-ScienSonic Records

Experimental music of the highest order that allows three accomplished musicians to create in the moment.

Guilio Gentile-Dream's Madness- Auand Records

"Horizons": Trumpeter Alex Sipiagin's Musical Message About A New Start

Alex Sipiagin: Horizons; Blue Room Music

For years the trumpeter Alex Sipiagin has become a first-call session and section player in the world of modern jazz and pop music. Spiagin was born in Yaroslav, Russia a town approximately 160 miles north- east of Moscow. He attended trumpet lessons at the age of twelve and studied at the Moscow Music Institute and the Gnessin Conservatory where he received his baccalaureate degree. At the age of twenty-three, Sipiagin came to the U.S. in 1990 competing in the International Louis Armstrong contest sponsored by the Thelonious Monk Institute and received top honors. Despite the honors, the young man  wanted to establish his creditability to himself and others. That same year he relocated to New York City, the cauldron of competitiveness, and found his first employment in the orchestra of prestigious composer/arranger Gil Evans.  It didn't take long for his inherent talents to get him to become part of Gil Goldstein's Zebra Coast Orchestra, George Grunz's Jazz Band, drummer Bob Moses' Mozamba, the Charles Mingus Big Band, the Mingus Dynasty and Mingus Orchestra groups as well as bassist Dave Holland's Big Band, Sextet and Octet groups to name a few.

This prolific trumpeter was making a name for himself as one of the most accomplished, tasteful, and fiery players on the scene. In 2003, he started a relationship with the saxophonist Michael Brecker, recording and touring with Brecker's Dectet -which won a Grammy for the album Wide Angles-and  with Brecker's Sextet. Alex's first recording as a leader was made in 1996 and released in 1997. Titled Images,  it is an auspicious debut with an eclectic group of up and coming musicians including altoist David Binny, bassist Scott Colley, pianist Gil Goldstein, guitarist Adam Rogers, percussionist Kenny Wollesen and tenor saxophonist Chris Potter. Many of these musicians would grow together and often collaborate over the years. Sipiagin's in demand trumpet sound was also used in recordings by pop artists Eric Clapton, Michael Franks, Elvis Costello and Dr. John. Sipiagin is also a founding member of the group Opus 5 which features saxophonist Seamus Blake, pianist Dave Kikoski, bassist Boris Kozlov and drummer  Donald Edwards and has released five records on the Criss Cross label.

Alex Sipiagin photo credit Vladimir Korobitsyn

I've seen Sipiagin perform as an important trumpet voice of the Mingus Big Band at the Jazz Standard and have been delighted by his work as a vibrant session and solo player for Conrad Herwig's Latin Side albums. His own releases,  particularly his two Positone releases Upstream  which made my Notes on Jazz Best of 2021 list and Ascent to the Blues have both shown an ever ascending artist who never ceases to push the boundaries of the music as a  musician/composer. 

Sipiagin's latest release is titled Horizons and was released in May of this year on Blue Room Music label. Alex has been in New York for over thirty years and  was a educator at NYU for seven of those years. He and his wife decided it was time for a change and they relocated to northern Italy in 2020 to the town of Sandrigo, in the province Vincenzo, Veneto.  The album carries a theme inspired by Sipiagin's  move to Italy, the disruption of uprooting yourself,  reflections of things accomplished, and the expectations of new horizons, of what is to come.

On Horizons, Alex has enlisted some of the familiar faces from his past records. The tenor sax flame thrower Chris Potter joins with his energized tenor and sinewy soprano saxophone. John Escreet brings his piano chops, his Rhodes sensitivity and deft synthesizer talents.  Bassist Matt Brewer and drummer Eric Harland together create a formidable rhythm section as well as two versatile solo artists in their own right.

The album features two songs penned by guitarist virtuoso Pat Metheny and six Sipiagin compositions. The opener is Metheny's smoker "While You Were Looking" which the guitarist offered with the intent of making this one a  technical challenge. The serpentine opening finds Sipiagin's penetrating trumpet in sync with Potter's tart tenor, matching impossibly complicated lines with sterling aplomb and accuracy before the two trade solos all driven by Brewer and Harland's syncopated drive. Sipiagin soars over Escreet's airy-like synth touches as he rises to heights that seem to fly up to the stratosphere. Potter offers a rhythmically fragmented solo that shrieks and simmers in unexpected ways as Escreet's flowing piano work adds depth to the mix. This one has a fusion-era like feel that reaches back but at the same time forging forward into new territory. 

"Overseen" is a gorgeous Sipiagin ballad that features Escreet on Rhodes and Potter on soprano.  Alex is on his flugelhorn here and his interplay with Potter is a real treat. These two have a telepathic connection when they play in unison. Potter has a Shorter-like feel here and Harland's distinct drum work accentuates and Brewers bass compliments the music with wisdom and style. You can just feel yourself getting drawn into a blanket of sumptuousness. There is some notable Rhodes work by Escreet with the rhythm section to the coda.

"Clean Cut," a reference to Sipiagin's move to Italy, finds the trumpeter, Potter and Escreet on his synth following each other in another circuitous route of music that never ceases to have surprises. Just like one might experience in a major life move. Potter's tenor is jagged, muscular and adventurous, Escreet's piano work flows with speed and artistry, Brewer's bass is like an anchoring force that moves with the flow but never leaves you stranded. At about the five minutes mark Alex's trumpet offers a superb solo with unlimited range, flawless execution and unquenchable creative artistry. This man can play. Harland is featured on an explosive solo that erupts with power and rhythmic inventiveness. 

Another Sipiagin composition, "Jumping Ahead," is reportedly inspired by Brazilian composer/ multi-instrumentalist Hermeto Pascal whose penchant for repetitive melodies and harmonies are deployed here. The group spells out the recurring lines led by the front line and accentuated with Brewer's buoyant bass solo. Alex's trumpet negotiates the ostinato with a flowing solo that percolates with excitement and promise. Its  anxious but invigorating to be moving forward with a new path in your life. Potter adds some flute lines at the coda over Harland's bubbling drum work.

"When Is It Now?" is the second Metheny composition on this album. The ballad finds Sipiagin on his emotive flugelhorn, Potter on tenor and Escreet on  piano all weaving their instruments into a tapestry of contemplation and reflection. 

"Lost" is another Sipiagin composition that is representative of some of Alex's feeling s that he experienced in his move to Italy. Sipiagin's trumpet wanders over the syncopated rhythm as he is finding his way in a new land with new surroundings, leaving some of his long established relationships back in N.Y. and trying to find a new equilibrium in his new home. The rhythm section bubbles like a simmering crucible, Potter's tenor pleads and cries. Eventually, Escreet's crystalline Rhodes work lends the music a dream-like feel to this journey.

Sipiagin offers a three piece suite of songs titled "Horizons 1," Horizons 2," and "Horizons 3." The three explore tones, color, freedom, expansion and expression. "Horizon 1" is free and loose. "Horizon 2" is a space-like experience of sounds led by Escreet's  synth atmospheric sounds, Sipiagin's muted trumpet cries and Potter's soprano has a avian feel as Brewer and Harland provide the percussive sound effects. "Horizon 3" has a rhythmic drive over which Potter and Sipiagin intertwine there sounds as Escreet adds effects. There is an expression of relief here, a release from angst and an acceptance of the possibilities of an untethered future.

The final composition is titled AIVA-tion, a reference to a local bar/cafe that Sipiagin found in his new hometown of Sandrigo. The crowd sound opens and is happy, the feeling is inviting and the future looks bright. The piece has a laid back hip, cosmopolitan sound that exudes a feeling of cool contentment. Escreet's Rhodes leads the path with a glimmering sound, Sipiagin's trumpet flies like a free bird, Potter's tenor responds in like as Brewer's bass and Harland's drums lay down the groove. Italy should be a blast!

Notes on Jazz Best of Jazz 2021 : Post Pandemic Jazz Offers a Year of Beauty, Promise and a Look back.

The Year 2021 stubbornly evolved into what is a post-pandemic year for most of us. Miraculous and effective vaccinations effectively conquered the likelihood of getting seriously ill, or even worse, becoming a casualty from the mutating Covid virus. At least the science seems to have it at bay for now. Isolation, masks, and limiting traveling all added to our safety. For artists in all disciplines of the performing arts- music, theatre, dance, film & fine visual arts- the chance to meet safely with collaborators, to record with colleagues, or even to perform to a live and encouraging audience was practically nil and lingered on for an interminably long period. The shutdown was dreadful for most artists. The creative juices are often stimulated by the chance to interact,  collaborate,  inspire with peers, and receive valuable feedback that is best emotionally transmitted by the visceral response of a live audience. Was this pandemic going to be responsible for the total evisceration of the arts? Fortunately, many artists found the isolation that the angst that Covid brought on over the last year and one half became a chance to dig deeper into their creative wellspring. Strangely, we were all the beneficiaries of that self-imposed period that allowed some deep reflection, some serious reevaluation, and in the case of musicians some inspired creativity and brilliance in new music.

As the year of 2021 ebbs to its close, it is a tradition of those of us who review jazz and contemporary music, to select some of the music in the genre that we have heard and found worth noting over this past year. It is impossible to pick a "best of list" since it is a totally subjective opinion and certainly restricted to what this reviewer has been able to carefully listen to over this past year. Acknowledging those inherent limitations I humbly offer this one person's ideas of notable, creative, and often promising music of 2021. I also found some rewarding reissues and historical recordings that are definitely worth a listen. I list the music in no particular order. I know there is much more music that is worth your serious attention, but I hope my list helps you navigate and hopefully introduce to you the plethora of deserving artists who have created some magical music this year. Happy Holidays to all. Listen and have fun.

                                Reissues and Historical Releases: 

Roseanne Vitro: Listen Here  originally recorded in 1982

https://roseannav.bandcamp.com/track/centerpiece

Roy Hargrove & Mulgrew Miller: In Harmony  recorded in 2006 & 2007: Resonance Records

https://youtu.be/tRo6aPZs-Bo

Harvie S Trio w Mike Stern & Alan Dawson: Going For It: Savant Records recorded live in 1985

https://youtu.be/OFYasSheQSU

Wolgang Lackerschmidt and Chet Baker  w  Larry Coryell, Buster Williams and Tony Williams.  Wolfgang Lakerschmidt Chet Baker Quintet Sessions  recorded in 1979; Dot Time Records

https://dottimerecords.bandcamp.com/track/balzwaltz

                                        New Issues:

Jakob Bro: Uma Elmo : ECM Records w Arve Hendriken and Jorge Rossy

https://youtu.be/lIj3XLGoQqE

Chick Corea Akoustic Band: The Akoustic Band Live: w John Patitucci and Dave Weckl: Concord Records

https://youtu.be/BhBamw_cRys

Steve Gadd:  Steve Gadd Band At Blue Note Toyko: w/ David Spinozza, Jimmy Johnson, Walt Fowler, and Kevin Hays:  BFM Jazz

https://youtu.be/k19gdWO-D28

Lyle Mays: Eberhard: OIM 

https://youtu.be/BylqOtOIMdE

Chris Potter Circuits Trio: Sunrise Reprise: w James Francies and Eric Harland: Self-Produced

https://chrispotterjazz.bandcamp.com/track/southbound-2

Alex Sipiagin: Upstream: w Art Hirahara, Boris Kozlov and Rudy Royston: Posi Tone Records

https://alexsipiaginjazz.bandcamp.com/track/upstream

Lorne Lofsky: This Song is New: Modica Music w/Kirk MacDonald, Kieran Overs and Barry Romberg

https://modicamusic.bandcamp.com/track/the-time-being

Joe Lovano & Dave Douglas Soundprints: Other Worlds: Greenleaf Music w/ Lawrence Fields, Lind May Han Oh and Joey Baron.

https://soundprints.bandcamp.com/album/other-worlds

Dave Holland: Another Land: w Kevin Eubanks and Obed Calvaire: Edition Records

https://daveholland.bandcamp.com/track/another-land

Pharoah Sanders w Sam Shepherd and the London Symphony Orchetsra: Floating Points: 

https://floatingpoints.bandcamp.com/album/promises

Kirk Lightsey: I'll Never Stop Loving You: Solo Piano on JoJo Records:

https://soundcloud.com/user-957185833-419687414/01-kirk-lightsey-ill-never

Nnenna Freelon: Time Traveler: Origin Records 

https://youtu.be/m90rHFNkQmQ

Marc Johnson: Overpass: Solo Double Bass ECM 

https://youtu.be/PNdB8szK9Rk

John Daversa Jazz Orchestra featuring Justin Morell: All Without Words: 

https://youtu.be/1CsY5FzA2Gc

Gonzalo Rubalcaba, Ron Carter and Jack DeJohnette : Skyline : 5 Passion Records

https://youtu.be/heeYsq5Asbw

Sinne Eeg and Thomas Fonnesbaek: Staying in Touch: Stunt Records

https://youtu.be/gSLYf6_hTlA

Carlos Henriquez: The South Bronx Story: Self Produced

https://youtu.be/jxyS24VBh5o

Kate McGary + Keith Ganz Ensemble featuring Ron Miles and Gary Versace: What to Wear in the Dark: Self-Produced

https://youtu.be/V_78N7jo5R8

Mike LeDonne: Mike LeDonne: It's Your Fault: w The Mike LeDonne Groover Quartet +Big Band: Savant Records

https://youtu.be/sKB-uzSBzz4

Dave Zinno: Dave Zinno and Unisphere :Fetish: Whaling City Sound

https://youtu.be/7knLmgA0JKo

Rachel Eckroth: The Garden: Rainy Days Records w Tim Lefebvre, Donny McCaslin, Christian Euman, Andrew Krasilnikov and Nir Felder. 

https://rainydaysrecords.bandcamp.com/track/the-garden

Gerry Gibbs Thrasher Dream Trios: Songs From My Father: Whaling City Sound

https://youtu.be/g1gz-kqR_js

The Baylor Project: Jean Baylor and Marcus Baylor : Generations: Be A Light Records

https://youtu.be/HDPkmQNt6kI

Roberto Magris and Eric Hochberg: Shuffling Ivories: JMood Records

https://youtu.be/NNFCdonAlW4

Ross Hammond: It's Been Here All Along: Solo Resonator Guitar: Self Produced 

https://rosshammond.bandcamp.com/track/welcome-back

David Kikoski w Boris Kozlov: Sure Thing: High Note Records

https://youtu.be/OJDaagAdNLw

Gabor Lesko: Earthway: 

https://gaborlesko.bandcamp.com/track/earthway

Slowly Rolling Camera: Where the Streets Lead: Edition Records

https://slowlyrollingcamera.bandcamp.com/album/where-the-streets-lead

Michael Wolff: Michael Wolff Live at Vitello's: w Mark Isham, Mike Clark, and John B. Williams: Sunnyside 

https://michaelwolff.bandcamp.com/track/ballade-noir

Jim Snidero: Jim Snidero Live at the Deer Head Inn: w Orrin Evans, Peter Washington, and Joe Farnsworth: Savant Records 

https://youtu.be/ChET8p6m5B8

Scott Reeves Quintet: The Alchemist: w Russ Speigel;, Mike Holober, Howard Britz, Andy Watson; Origin Records

https://scottreeves.bandcamp.com/track/without-a-trace-2

Chuck Owen and The Jazz Surge: Within Us; Celebrating 25 Years of the Jazz Surge: Mama Records

https://youtu.be/s5lKeUZ0c_8

Taking the higher path "Upstream" by Alex Sipiagin

ALEX SIPIAGIN'S UPSTREAM:  Posi-Tone PR-219

The Russian trumpeter Alex Sipiagin releases a new album titled Upstream, on May 7th and this fine offering is propulsive, modernly melodic, and superbly played.

Sipiagin contributes five impressive compositions for this record and his bandmates add three others along with one gorgeous Wayne Shorter ballad for good measure. Posi-Tone producer Marc Free continues to reveal an uncanny talent to identify distinctive players and match them up with like-minded musicians to great success. On Upstream, Sipiagin is joined by pianist Art Hirahara, bassist Boris Kozlov and drummer Rudy Royston and together these guys can elevate your heart rate with excitement, dazzle your mind with their taste or pull at your heartstrings with poignancy.  

Trumpet legend Randy Brecker said "...there is a full spectrum of many moods and emotions on this great album..." "...one of his best many excellent albums."

This album is simply a joy, and if you're like me, it will be on auto replay on your both headphones and your iPhone.

Alex Sipiagin is one of those first-call trumpet players that if you do not recognize his name, you have certainly heard his work before. Since his arrival from his native Russia in 1991, Sipiagin’s distinctive, precise and melodic sensibilities have been heard in the orchestra’s trumpet sections for Gil Evans, Swiss Composer George Gruntz’s Concert Jazz Band, bassist Dave Holland’s Octet and Big Bands, Michael Brecker’s award-winning Quindectet and Conrad Herwig’s Latin Side Orchestras. Alex has been a member of the great Mingus Big Band since 1996, and I last saw him in that great band almost two years ago at the Jazz Standard.

Despite being often seen as a first-call orchestra trumpet section voice, Alex has worked extensively as a leader, with seventeen other releases since 1998. He is a founding member of the group Opus 5, which includes Seamus Blake (s), David Kikoski (p), Boris Kozlov (b) and Donald Edwards(dr).

The title Upstream refers to Alex’s desire to maintain “intensity and desire” in his artistic life. Consequently, he likes to go against the current and swim upstream of the fray. This album is Sipiagin’s artistic representation of that never-ending search. 

The opener “Call” is the artist’s expression of an overflow of emotions that sometimes just happens as if by a force of nature outside of your control. An explosion of expression as Sipiagin’s trumpet is like a clarion call that bubbles with emotive and powerful bursts. The group responds with equal energy and well-controlled sympathetic kineticism. 

The pianist Art Hirahara’s beautiful “Echo Canyon” allows the listener’s elevated pulse to take a breath for a moment. The music has a more pensive feel, with Sipiagin using the warmer sound of Flugelhorn to great effect, playing out front of his bandmate’s sensitive accompaniment. Hirahara’s piano solo is splendid and Sipiagin reaches some gorgeous high register notes that just soar. 

Alex’s “Sight” has a switchback, complex pattern that is brilliantly executed by this formidable rhythm section. Hirahara plays on what sounds like a Rhodes piano and offers an airy solo. Sipiagin’s trumpet is focused, precise, and always melodic. Sipiagin’s compositions musically inspire and are advanced both harmonically and melodically and yet executed with aplomb and taste. 

Another of the leader’s compositions is the scorching “SipaTham” which is an acronym of the first letters of Alex and his wife Mellissa Tham’s last names. There is a volcanic eruption of expression in these songs. Like “Sight”, “SipaTham” were both created when artistic creativity was being quarantined from all normal outside world activity by the pandemic. Sipiagin successfully used the time to compose and it shows how his energy was being redirected into this amazing music. His bandmates undoubtedly felt that being able to tap into this music’s energy would be cathartic for them when this was finally recorded, and it shows. Alex’s playing is on fire, and the group is on a mission. Hirahara and Kozlov are in beautiful sync and Rudy Royston’s drum work is particularly propulsive and takes you to a new level of involvement. This one is special.

Boris Kozlov is a top-notch bassist who I have had the privilege of seeing play in several different settings. Here Alex takes Boris’ composition “Magic Square” on a fusion take that features Hirahara’s searching Rhodes, Kozlov’s electric bass, and Sipiagin’s tart muted trumpet. Royston’s drum work is spectacular and erupts with a flurry of syncopation that overflows like an overheated cauldron.

Sipiagin’s “Rain” is a sensitive ballad that was inspired by waiting for a loved one to be released from a hospital while it was relentlessly raining. It is these moments, being unprepared and being subjected to live’s uncertainties, that can provide inspiration. Sipiagin’s trumpet is played beautifully on this and you can feel his release of angst, the sincerity in his expression of thanks, and the mastery of his command that allows him to gorgeously express those feelings.

“Shura” is another Kozlov composition that is played in 6/8 as requested by Alex and was written in humor and named for the trumpeter by his nickname. I can’t get enough of Alex’s facility and clear tone. Many people play the trumpet well, but few with such authority and joy. Royston’s drums fill up the song copiously, especially at the coda, and Kozlov and Hirahara accompany brilliantly.

Wayne Shorter’s “Miyako” is a gorgeous ballad and Sipiagin’s flugelhorn simply needs to be heard to be appreciated. Kozlov’s bass solo is fluid and eloquent. Royston’s cymbal and tom work are impressive. 

The title song “Upstream” returns to the energy level previously offered in the  Sipiagin compositions covered earlier n this album. According to the artist’s notes, some of the melodies in “Upstream” were inspired by a Russian folk song. The folk song was in turn inspired by a painting by Ilya Repin titled “Barge Haulers on the Volga,” which depicts exhausted workers depleted by the strenuous work and the heat of the sun. 

"Upstream" is a quick-moving song featuring Sipiagin’s declarative trumpet, Hirahara’s melodic Rhodes, Kozlov’s probing bass, and Royston’s roiling drum work. The heat rises-the energy level is driven into overdrive activity-lead by Sipiagin’s piercing high register work. Royston’s drum solo is like a whirlwind of percussion inventiveness and worth the price of admission.

https://soundcloud.com/posi-tone-records/sight-022321-master-24-01