Any list of promising young trombonists has got to include Nick Finzer at or near the top. In “The Chase” (Origin Records 82693), his second album as leader, Finzer brings along the best and the brightest: Pianist Glenn Zaleski, Saxman Lucas Pino, guitarist Alex Wintz, Dave Baron on bass and Jimmy Macbride on drums. From the very first track, these guys smoke.

That first track is “Life Happens.” Glenn Zaleski starts the album with Finzer and Pino joining quickly. I was hooked from the beginning; it doesn’t get any better than Glenn Zaleski. Then all the cats come out to play.

Jimmy Macbride is in it from the start with Zaleski, then we are immediately treated to the dual voices of trombone and sax. Then Finzer and Pino continue the conversation begun on Lucas’ “No Net Nonet” (Origin Records 82688). On that album, Zaleski was also with Pino and Finzer.

These three, then, are very familiar with each other and they swing, especially when Wintz, Baron and Macbride turn it all loose.

“Spheres of Influence” is a hot composition by Finzer, as are all the tracks on the album. Finzer and Pino are all over the melody while Zaleski, Baron and Macbride punch up the percussion.

The piano lead sets up Finzer cleanly. Listen closely to Macbride closely. The man has it.

“All Hype” puts Finzer’s gorgeous tonality on full display. He is at his raucous best here. There are nice turns for Zaleski and Pino’s cool corps lines. Again, Pino is a Jazz wonder. All of the artists are tight in this Jazz beauty.

“Steadfast” is a beauty all its own. Pino’s deep sax opens the door for the softer trombone of Finzer. It is easily the most lyrical piece on the album. It appears that Pino will steal the show until Finzer takes it back. Dave Baron gets a great solo on bass until it all fades away so sweetly.

“The Chase”—the title track—is exactly as the title describes.Trombone and sax give pursuit and Zaleski provides the sounds of the highway with occasional sounds of a horn tap or some other roadway feature. Alex Wintz joins the chase on guitar followed by Baron’s bass. Before you know it, you’re in the best chase scene since Steve McQueen in “The Getaway.”

“Acceptance” is the halfway mark of the album and the dynamics of the group are well-established. There is as much harmonic unison playing as there are trading solos here and throughout the album.

Wintz has a delightful solo that gets joined by the horns. The choir effect is as much fun as are the individual solos. And the solos on “Acceptance” are all splendid. The theme is mesmerizing and will become the material of distracted humming hours after listening.

The muted trombone opens “While You’re Gone” in such lonely, melancholy legato tones. Zaleski deepens the sadness with his soulful piano followed by Baron’s groaning bass.

Finzer’s understated moan is pinpointed anguish alongside Macbride’s classic brushwork. AN altogether astonishing piece.

“Why Aren’t You Excited?” is one fine question because, if you’re not excited by this—the eighth—track…well then, you must be flat-lining. I particularly enjoyed the play of the rhythm section between Zaleski-Baron-Macbride.

There are several outstanding moments—all too fleeting—that demand strict attention throughout the piece.

“Search for a Sunset” is a delightful pilgrimage on a quest for beauty. Finzer carries the theme but Zaleski, Wintz and Pino seem to carry off a Saharan motif that soon melds with Finzer. Pino’s solo returns to the desert motif before being picked up by Zaleski again.

“Search” is a good word in the title because the musical questing is a definitive characteristic of this captivating track. It ends on a satisfying conclusion to the search.

“Just Passed the Horizon (Intro)” and “Just Passed the Horizon” conclude the album. Notice the chosen word is “passed” instead of “past.” “Past” the horizon would indicate something just beyond our eyesight. “Passed” the horizon means that something is moving farther and farther away and has now just gone beyond our vision. It is certainly the latter in this song. The artistry and understanding of these musicians have indeed hurtled beyond our view.

That brilliant musicianship, the amazing compositions and rich improvisation move Nick Finzer and his comrades far, far afield. Finzer and his assembled artists have given us a reason to smile and an idea to ponder. The sheer pleasure of hearing such fine instrumentalists executing insightful compositions is a joy and a repose.






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viLucas Pino is just getting started and we are fortunate to catch him early in his career and watch what he becomes. He is already an excellent composer—in fact, he was already composing great pieces in high school. His talents were sharpened at the Brubeck Institute, The New School and at Julliard.

Nothing hones skills finer, however, than playing with exemplary artists and Pino has played, and recorded, with some of the best. This nonet is packed with extraordinary young musicians. Glenn Zaleski on piano is in wide demand and you don’t get much better than Colin Stranahan on drums. Nick Finzer is a phenomenal trombonist. Even hearing some of these young guys for the first time leaves the listener with the thought, “I’m keeping my eye on this guy.”

Here is the line-up: Lucas Pino-tenor sax, Glenn Zaleski-piano, Alex LoRe-alto sax, Andrew Gatauskas-baritone sax, Mat Jodrell-trumpet, Nick Finzer-trombone, Rafal Sarnecki-guitar, Desmond White-bass, and Colin Stranahan-drums. All playing without a net.

The album “No Net Nonet” (Origin Records 82688) is kicked off by one of those tunes composed while Pino was in high school. “The Fox” is about his school days chum with the last name of Fox. It was this piece that so intrigued the album’s executive producer, Miguel Mengual.

According to Pino’s liner notes, the song is about those great relationships that allow argument without endangering the friendship. The piece breaks off speedily, calling to mind the very image of a fox. The solos from Pino, Finzer, Zaleski and Stranahan are brilliant. A fine piece to whet the appetite of what comes after.

“On the Road” is a Glenn Zaleski composition based on the Jack Kerouac novel of the same title. Mat Jodrell gets a stand-out solo on trumpet. This is a track that exemplifies the great writing skills of Zaleski.

“Orange” showcases Desmond White on bass. His bass weaves in and out of the tune, in and around Andrew Gatauskas’ baritone sax and Pino’s own tenor. Zaleski’s throbbing piano chords give the idea of a the churning of volcanic activity which is the subject matter of the song. Zaleski and Stranahan trade coolly as the horns create the vivid image of eruption.

Pino had visited Poland with Sarnecki’s band and “Strange Breakfast” is the resulting composition from the experience. As he states in his liner notes, the title is based on his breakfasts in Poland where they “may have all the same typical breakfast ingredients, but did not look anything like what I recognized.”

Sarnecki’s guitar is featured alongside Pino’s tenor sax. The complexities and oddities of the music highlight the differences in cultural experiences. A fun bit of swing with great interaction between Sarnecki and Pino.

“Intro to Bankenstein” starts off with a “Twilight Zone” type of guitar arpeggio and finished with a rapid Stranahan solo which leads straight into “Bankenstein.”

Based on the “too big to fail” fallacy of the 2008 financial catastrophe, the piece begins mundanely enough only to be set on its ear with quirky meters and other “rebellious” elements.  Sweet solos from Finzer (trombone), Jodrell (trumpet) and Pino (tenor sax). A monstrously odd piece track that is staggering and imaginative and—sadly but accurately—too much like 2008’s meltdown.

“Sunday Play” is dedicated to Pino’s mentor, Charles Lewis. Every Sunday, Pino and Lewis would get together for playing duos. White’s sagacious bass is the voice of Lewis who asked Pino at their first Sunday session, “You’re not afraid of dissonance, are you?”

The tenor sax is, of course, featured and Zaleski’s support is touching and sweet. It is the most lyrical piece on the album.

“Where You Need to Be” is another early Pino composition. The interaction of the saxes and the sustains of the trumpet is a long, cool section. Pino calls it a “Jazz samba” and there is no reason to disagree. An immensely enjoyable track, it is shadowed with a hint of melancholy.

“Homage A’ Mitch” is Glenn Zaleski’s take on a great Kurt Rosenwinkel tribute piece to Mitch Borden, the founder of Small’s Jazz Club where Pino has enjoyed a monthly residency since 2013.

Zaleski wrote a shout chorus for the piece by taking the original trades and orchestrated them for the large ensemble. The resulting arrangement is incredibly well-constructed and is a highlight to the whole album. Sarnecki, Pino and Zaleski provide the solos.

White and Stranahan are in cool and sturdy support. Stranahan’s solo is interrupted by the horns but returns with piano, guitar and bass in yet another highlight moment.

Alto saxman Alex LoRe wrote “A Morning Walk” about living in Boston.

“I always felt this overwhelming sense of calmness and beauty,” he says of his long walks there.

The pace is quick and even Jodrell’s flugelhorn is brisk and bright. The lightness is enhanced by the disappearance of the bass during the horns’ playing. LoRe textures the tune perfectly. Jodrell finishes with trumpet and Stranahan’s drumming is a terrific accent.

“The Old Man from the Land of Aran” is a Rafal Sarnecki composition and serves as the conclusion of the album. It was a Polish comic book that inspired the piece.

Amazing instrumentation, meters and other textures create a near-epic work of adventure and imagination. Stranahan knocks down cool rhythms with broken beats and phrasing. Zaleski is fierce and the horns light it up with Sarnecki equally on fire. Pino blisters the sax solo.

What was once limited to monthly audiences at Small’s Jazz Club in NYC is now available to all of us. “No Net Nonet” is an exciting collection of varied composers and ensemble musicians who coalesce into a grand unification.

The performers are spot-on and the recording itself is a well-done representation of what has thrilled audiences and critics. Pino has given us something special.







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eGuitarist Mason Razavi and pianist Bennett Roth-Newell have been longtime collaborators in many and varied large Jazz ensembles. “After You” marks their first duo effort together. Formerly supporting players, Razavi and Roth-Newell step forward in equal partnership and keep all the fun for themselves.

It is released by First Orbit Sounds Music (FOSM 242).

The compositions are mostly originals with only three exceptions: Clifford Brown’s “Joy Spring,” “Mercy, Mercy, Mercy” by Joe Zawinul and “Yesterday” by Lennon-McCartney.

“Joy Spring” is the inaugural track with Razavi and Roth-Newell in effervescent dialog. It is a dynamic that works exceedingly well because of the artists’ familiarity with one another.

“Escaping the Inevitable” is a Roth-Newell composition. It is an inward-looking piece that is both reflective and prospective. The groove is fun and memorable at the same time. The music is in internal opposition as the lexical incongruity of the title would indicate.

“A Daughter is a Gift to the World” is a sweetly melodic piece from Roth-Newell. Wistful elements and occasional touches of pride and melancholy punctuate the track. After all, if a daughter is a gift, it means she must be surrendered. Both Rezavi and Roth-Newell express the sentiments with greatest emotion and care.

Joe Zawinul’s “Mercy, Mercy, Mercy” is given its full Gospel-infused Soul anointing in this righteous treatment. Razavi plays the delicate moments as Roth-Newell keeps it raucous. By the end, both artists are tearing it up. Both Razavi and Roth-Newell are cats who are precisely virtuosic with the will and desire to cut loose the R & B.

“Will You?” is from the pen of Mason Razavi. The interaction between guitar and piano easily recalls moments of Hristo Vitchev and Weber Iago. They run together followed by running away from each other. This is one of the more memorable tracks on the album.

“Mixed Memories” is another Bennett Roth-Newell composition. The piano parts are executed so well with touches of Latin Jazz. Razavi follows with equally well-done injections. The dialog is lively and causes the listener to wonder just what those mixed memories may be.

Mason Razavi wrote “Through the Fog” with its touching melancholy. The confusion and dismay of life is only overcome by persistence and patience—unhurried and undeterred—toward a tomorrow of hope. With delicacy and emotion, the artists shine a beacon into the mists.

“Yesterday” is the Beatles’ classic by Lennon and McCartney. Let’s be honest, it’s by McCartney. This track brings the album to a close. It is a Jazz reinterpretation of the pessimistic Beatles tune (the most covered song in history). It becomes a fun romp in the hands of Razavi and Roth-Newell. Much more fun than the original, it is as if it had been written by Oscar Peterson.

For their debut as a duo, Mason Razavi and Bennett Roth-Newell have shown that both of them deserve center stage. As great as their previous work had been, the stark spotlight on only the two of them reveals no blemishes or scars—only a beauty that has waited patiently to be revealed.




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In 2008, Ryan Cohan and his Jazz quartet toured East Africa. He found himself affected and influenced by the musical traditions and the rich culture. He wrote—and has now recorded—music based upon that profound experience. The album is “The River” and is centered on a musical motif (or “river”) which flows throughout the album.

The fascinating music is performed brilliantly by the musicians who appear on the album. With those flawless performances, Cohan’s compositions are nearly as profound as the music that influenced him in the first place.

It begins with “River (part 1) - Departure” which begins with Cohan’s solo piano. It is straight Jazz—unaffected and homegrown. There is a tabula rasa sense of Jazz beginnings before going to the roots where all things change. There is a hint of Gospel in the track and an openness to what may come. The cascading keys bring the listener to the first turn in the river. It is fine Jazz piano.

“Call and Response” plays off of that Gospel theme and uses the call and response dynamic to introduce the musicians as they echo the motif between each other.

Lorin Cohen on bass, Kobie Watkins on drums and Samuel Torres percussion cast a broad shadow of rhythm as the horns trade between each other. Very creative and imaginative.

“Arrival” reflects Cohan’s landing in Rwanda. According to Cohan, it reflects “the rhythm of the people in the street, activity, night life.” It is passionate and lively. Cohan’s virtuosity is on full exposure here and the rhythm section is remarkable. The horns punctuate the groove with melodic bursts and cool lines.

“River (part 2) – Dark Horizon” is the second bend in the river with an ominous introduction to a more sinister side of Africa’s recent history. It is brief and chaotic with the saxes creating the tension. It is a harbinger of the dark events to follow.

“Storm Rising” is introduced with a chilling piano motif that is picked up by the horns. The rhythm section is furious and textured with piano and horns recreating the clash of outside (colonial) interference and even between rival tribes. The slaughter of the Tutsis at the hands of the Hutus in Uganda, then Rwanda, the conflict in the Congo, even Robert Mugabe’s oppressive (some say monstrous) regime in Zimbabwe are all ingredients in the regional conflagration.

The trumpet of Tito Carrillo against the reeds of John Wojciechowski and Geog Bradfield are hammer and tongs in their display of the conflict. Yet even amidst such turmoil, the beauty remains in spite of the horror.

“River (part 3) – Aftermath” opens a sad recollection of the terrifying events that Africa has suffered. That remembering is picked up in the harrowing themes of “Aftermath” which follows.

The forlorn, muted trumpet and cold piano is like a walk among the ruins in “Aftermath.” Lorin Cohen’s andante bass is a sad stroll. The discordant piano is chilling, perhaps shocking. The horns, however, call out the determination and strength and beauty of a people who have suffered far too much for far too long. Carrillo’s trumpet turns the nightmare into a nocturne.

“Brother Fifi” is a young musician that Cohan befriended in Kigali. He had suffered loss and separation from his family and Cohan formed an inspiring bond with the talented and dedicated young man.

The track opens in joyous refrain. The complex meters and changes are a tribute to the skill and talent of Brother Fifi. Lorin Cohen’s bass is cool and diverse. Ryan Cohan and Lorin Cohen are dynamic and in complete sync with each other. Then Lorin pairs with Carrillo’s trumpet for imaginative cooperation.

Cohan is enthralling with both the piano and the pen on this (and every) track. I admire the structure and melody of this beautiful piece.

“River (part 4) – Beautiful Land” is a stunning Lorin Cohen bass solo. At only 1:46, it is a fully-stocked work of beautiful technique and vision. As in all of the different parts of “The River,” the same theme is reinterpreted and embellished and developed. Lorin Cohen is in his ascendancy as a bass player, composer and improviser. He has the goods.

“Domboshava” continues the bass lines with the addition of the horns. “Domboshava” is translated as “Red Rock” and is a national park in Harare, Zimbabwe. The piece is a Jazz tone poem with colorful imagery that coalesces from the individual artists into a brightly-hued watercolor of someplace beautiful.

“Kampala Moon” is a portrayal of the pale moon over the Ugandan city. It is thoughtful and nocturnal, at peace in a troubled land. Cohan’s piano with the soprano sax is lovely and thoughtful. There is an innocence to the sound that makes the reality of African life all the more heart-breaking.

“River (part 5) – Connection” is Samuel Torres’ and Kobie Watkins’ moment to take center stage. The short burst of rhythmic excitement is a great ride down the cataracts.

“Last Night at the Mannerburg” recalls the final night of Cohan’s African concert tour. The over-crowded venue was the scene pf over-charged music as band and audience exchanged the electricity between them.

The best moments of the track come with the rhythm section lighting it up with Cohan’s aggressive piano. Cohan builds thrill upon thrill as the horns add to the celebration of a night gone well.

“River (part 6) – Coming Home” is the final return of the theme that has wound its way through the entire album. This final installment of “The River” is concerning the return trip from Africa. In each and every return to the theme, something is added. A growing and development (as stated above) takes place. The African trip is showing its influence on the band and on Cohan, in particular.

In “Coming Home,” the pace is slower and more reflective. The motifs are earthy and rich. The piano no longer carries the theme alone, the whole group is in complete participation. It is reflective of a deeper understanding of life and the world. It is much more profound than when the journey began.

Ryan Cohan’s “The River” is a journey of wisdom and transformation. It is the Hero’s Quest. Both Cohan and we are changed by his African sojourn. The joy of life in the midst of political horror and economic oppression is a tribute to those who can find that joy. Cohan has served as a wonderful guide who has broadened the understanding of those who have ears to hear.




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Kenny Carr has the goods. He proved that as Ray Charles’ sideman for over 10 years. IN his final year at Berklee School of Music, Carr got the call from Ray Charles and enjoyed a long sojourn as Charles’ touring guitarist.

After the passing of the great master, Carr has enjoyed a solo career and has released several albums of his own including “Friday at Five” (2005), “Turn the Page” (2006) and now 2015’s “Idle Talk.”

“Idle Talk” is anything but idle and is a return to playing with his Santa Cruz pals from back in the day: Donny McCaslin (sax), Kenny Wollesen (drums) along with Hans Glawishnig (bass). The interaction between Carr and his school chums is exciting and electrifying.

The album kicks off with the title track with Kenny Wollesen’s drums launching the album. Carr and Glawishnig jump in quick and, when two-time Grammy nominee Donny McCaslin enters with sax in hand, things begin in earnest.

With the band in full swing—and I do mean swing—Carr contributes his first solo and the listener is given a sure heads-up as to what is ahead. It is a great track with all of the artists in amazing interplay, especially between Carr and McCaslin. It is a sterling composition and the performance just cooks.

“Jacose” is a cool melody. Carr’s delivery is lyrical and delightful. Wollesen and Glawishnig are their own kind of cool with the brushes and the subdued bass. McCaslin works so well off of Carr’s guitar. A great ensemble piece.

“Reunions” must be describing this very coming-together of old pals. There is a liveliness and inside-joke quality in the understanding between them all. They get each other and it shows over and over again.

Glawishnig and Wollesen are wonderful together. Although Glawishnig was not one of the early “Santa Cruz Four,” he is right at home with the boys. Glawishnig gets a sweet bass solo on “Reunions” and Wollensen plays under it brilliantly.

Carr and McCaslin are in telepathic communication, as well. There is no “first me, then you” dichotomy but, rather, a maneuvering together, then apart, then together again. I love this piece.

“Waltz (Take Two)” is bluesy and bold. McCaslin’s sax is bright against the more subtle tones of Carr’s guitar. The song moves from blues to nocturne then to waltz effortlessly, then back again. Carr knocks down a clean and subtle solo with the steady support of Glawishnig and Wollesen.

The bass solo mirrors McCaslin’s melodic lines and is exquisite. Fun for us, we get to hear the theme again in the final track of the album.

“Song for Fen” is a nice guitar riff that gets picked up by the sax for a memorable melody. Carr’s arpeggios—followed by strum passages—are a splendid springboard for McCaslin’s coolest moments.

The dual voices of sax and guitar in unison are lovely. The quick-picking of Carr with the rhythmic support of Glawishnig and Wollesen are right on it.

“Stay” is a sweet and sad lament. The chord changes are melancholy and plaintive. The legato of McCaslin is like a clinging agony in contrast to Carr’s frantic search for relief or escape. A stunning composition, to be sure, it might be my favorite track on the album.

“Anthrozoology” is quick and cool. Wollesen gets a swinging work-out as McCaslin goes toe-to-toe and punch-for-punch with him. It is a fun romp with thrilling trades and wide-open communication between all of the artists.

“Anthrozoology” is riotously exciting and good-humored. Every one of the musicians just light it up.

“Blues Coffee” is another great hand-in-hand walk between sax and guitar. The blues are executed with extraordinary delicacy between Carr and McCaslin. There is a nod and a wink to B.B. King and Glawishnig turns in a steady, sweaty solo. A great piece of blues.

“Waltz (Take One) is the final track and a return to the theme introduced in the fourth track (much to our delight). The sax phrasing is different between the two takes but both tracks speak profoundly to those who will listen.

“Take One” is almost a minute-and-a-half shorter but hits the listener a bit differently. The theme is the same but the features are different. It is brilliant.

Kenny Carr has crafted a magnificent album with “Idle Talk.” His musician-friends of many years complete the sense of familiarity and fellowship created by Carr’s compositions.

Carr brings blues into fully and finely integrated Jazz pieces without detriment to either genre. Carr’s guitar mastery allows him to take on the most daring pieces with full confidence and camaraderie among this fine array of musicians. Together, they achieve stunning results to what Kenny Carr individually intended.



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Right from the start, throw out any ideas of comparing Hugo Fernandez to anybody. Comparisons to Pat Metheny and John Abercrombie have been made but that presupposition is going to make you miss the absolute thrill of Fernandez’ album “Cosmogram.” This is original. This is fresh. This caught me by surprise.

Through my first listening of “Cosmogram,” I kept muttering to myself things like, “Wow,” “Cool,” Nice choice,” or “Ooo, didn’t expect that.”

Of all his “nice” choices his best ones were in the musicians he chose to accompany him on this, his debut album for Origin Records (Origin 82692). Antonio Miguel is on acoustic bass, Ariel Bringuez is on soprano and tenor saxophones and the great Antonio Sanchez is on drums.

“Cosmogram” was recorded, mixed and mastered at Infinity Records in Madrid by Pabol Baselga. While I don’t usually comment on the sound engineers, Fernandez has called Baselga “the fifth member of the band.” His mixing is wonderful. All of the artists are heard distinctly and in the best possible mix. Nobody is lost in the final sound.

“Reconciliacion” opens the album with the coolest, darkest chords against Antonio Sanchez’s throbbing drums. Antonio Miguel’s acoustic bass produces the same droning as the drums while Ariel Bringuez’s tenor sax enters the piece.

From the very first notes, “Reconciliacion” grabs the attention. The development of the sax lines are nothing short of fascinating. Fernandez retakes the lead and offers beautiful melodic lines atop the expansive drumming of Sanchez. Miguel is zeroed in with Sanchez and the quartet shapes one of the most intriguing pieces of music you would ever hope to experience.

“Metro” is lively and rich. Bringuez’s soprano sax adds a cosmopolitan element while Miguel and Sanchez are more earthy and constant. Fernandez builds on a slow arpeggio motif that provides a nice setup for Bringuez who turns in an asymmetrical approach to the rhythms that give a vivid impression of the metro life.

“Sublime” has a Gershwin-esque intro that sets the piece in motion nicely. Fernandez is simply splendid in his even, disciplined and generous grounding of the composition.

Miguel gets a bass solo that is…well, let me say it…sublime. He is followed by Sanchez who solos to the same effect. Sanchez is as tonal as he is rhythmic in his drumming. Again it should be stated that Fernandez’s musicians are perfectly suited to his compositions and arrangements. “Sublime” is a great example of that.

A Middle Eastern feel introduces “Grounds.” The soprano sax creates the motif that is expressed leisurely and is then assumed by the quartet briefly before launching into a sweet groove. The piece then slows up for a paced interlude before the resuming of the groove over motif.

Miguel’s bass is steady and Sanchez’s cymbals are in step. Fernandez and Bringuez trade licks and the listener is in for a ride. The themes and motifs of “Grounds” are riveting. If Hugo Fernandez wants to be known as a composer, “Grounds” will gain him just that attention. It is a superbly written track.

The same could really be said of “Auras,” the fifth track on the album. There is a bounce-back effect between sax and guitar as bass and drums mirror that effect. It is almost Jazz counterpoint, as of Bach had spent a month with Coltrane. This is excellent.

“Un-balanced” gives a clue to its structure in the title. The straight swing of the rhythm section is offset by guitar then sax. The sax breaks away from the tempo, then rejoins, then breaks away again. There is unison, then division. Fun.

“Bakio” is a beautiful melody underpinned by a heavy rhythm. One section casts Fernandez’s effected guitar against the imaginative drumming of Sanchez.

Bringuez is cool and haunting. Think Jan Garbarek cool. Again, Fernandez has crafted a well-formed and brilliantly executed opus worthy of repeated listening.

The album is brought to a close with “Yap.” It is yet another gorgeously composed and performed work. Bringuez returns to the tenor sax against the gentle strokes of Fernandez’s guitar.

As stated before, the recording and mixing is the not-so-secret hero. From start to finish, “Yap” is effortless enjoyment of music presented so well. Fernandez plays so cleanly against the vigorous rhythm section. The wash of the cymbals cascading over the melodies is richly textured. Fernandez and Bringuez are straightforward and melodic in this thrilling conclusion to a brilliant album.

“Cosmogram” had me from the start, Fernandez’s choices in chords and times from the outset indicated that he is a composer who deserves great attention. He is an excellent band leader and an exceptional guitarist. “Cosmogram” is something special and, hopefully, the shape of things to come.




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