Strange Heavens Review: Jazz Trio Ideas and Invention
The Enduring Power of the jazz Trio: New Releases and rediscoveries
The jazz trio, a configuration born from post-war frugality, continues to be a fertile ground for spontaneous creativity. From the pioneering work of Bill Evans and Ahmad Jamal to the sax-lead ensembles of Sonny Rollins, the format’s appeal lies in its ability to distill complex musical ideas into an intimate and dynamic conversation. Today’s artists are proving that the trio remains a vital force in contemporary jazz.
Bassist and composer Linda May Han Oh,a Malaysia-born,New York-based Australian musician who has collaborated with artists like Vijay Iyer and Pat Metheny,leads a especially compelling example with her album Strange Heavens. Oh composed all tracks except for insightful covers of works by Geri Allen and Melba liston. she’s joined by trumpet virtuoso Ambrose Akinmusire and drummer Tyshawn Sorey, both innovators in their own right.
Akinmusire’s playing on the opening track, “Portal,” is particularly noteworthy.He initially approaches Oh’s driving bassline with a tentative quality, recalling their earlier collaborations (dating back to Oh’s 2009 debut, Entry), before launching into a dazzling display of technical prowess – soaring high-register squeals, rapid-fire lines, and subtle half-valve manipulations. The album as a whole showcases a remarkable interplay between the musicians. The title track features a delicate melody blossoming amidst Oh’s nuanced pizzicato and Sorey’s atmospheric rimshots, while “acapella” is beautifully enhanced by bass flourishes and shimmering cymbal work. akinmusire’s playing on “Noise Machinery” is particularly evocative of Miles Davis’s rhythmic approach.
Highlights include the tender “Paperbirds” and the expansive “Folk Song.” Allen’s “Skin” builds from a brittle edge to a thrilling free-jazz exploration, and Liston’s “Just Waiting” radiates warmth through the combined tones of Akinmusire’s horn and Oh’s bass. Strange Heavens, as a whole, is a cohesive and compelling statement.
Also Out This Month
For those seeking a glimpse into jazz history, a rare find is resurfacing: Original (Cadillac), a 1972 live improvisation between British alto saxophonist mike Osborne and pianist Stan Tracey. Previously unavailable except on used vinyl, this duet showcases Osborne’s lyrical intensity and Tracey’s powerfully dissonant rhythmic drive.
Looking towards more contemporary sounds, french accordionist Vincent Peirani’s Living Being IV: Time Reflections (Act), scheduled for release on September 26, 2025, presents a genre-bending quartet with saxophonist Émile Parisien. The album blends Fender Rhodes grooves, booming basslines, and rich melodies, drawing inspiration from 16th-century polyphony and paying tribute to German piano virtuoso Michael Wollny.
UK vocalist Emma smith’s Bitter orange (La Reserve) solidifies her reputation for impeccable timing, subtly original compositions, and a deep empathy for the jazz standard repertoire.