When I started listening to jazz, I was amazed by the technicality of stride piano, particularly from legends such as James P. Johnson, Fats Waller, and Willie “The Lion” Smith. I hadn’t heard much modern stride piano until I came across Emmet Cohen’s Future Stride. In classic stride, the pianist orchestrates the entire piece. In “Future Stride,” Cohen plays with drums and bass. The result is fascinating. “Symphonic Raps” takes the classic stride, but added the rhythm section to it. Again, it is an exhilarating exercise. With “Dardanella,” the tempo switched from swing to slow to suave Cuban. The slow tunes are enjoyable as well.

Kicking off with “The Returning Angel” to introduce his new band—Consentrik Quartet (nice wordplay)—guitarist, composer, and leader Nels Cline strums his electric guitar naked before saxophonist Ingrid Laubrock joins in with a soft soprano tone. Bassist Chris Lightcap supplies the pulsating mood and drummer Tom Rainey provides the rhythm with his brushwork. The gentle introduction is about to change with “The 23,” in which the quartet kicks the groove up a notch. The band comes in full swing on “Surplus.” The group shows both individual talent and group chemistry throughout the double LP and noticeable on “The Bag,” a hypnotizing interplay of improvisation.

I can listen to Oscar Peterson playing piano all day. In fact, I have been immersed into his 1969 recording of Motions & Emotions. The entire album is perfect for relaxation. My personal favorite is the bossa-nova “Wave” with the string section backing up Peterson’s sensational solos. “Sunny” is another tasteful Latin flavor. “By the Time I Get too Phoenix” is a late-night beauty. The orchestra and the slow vibe pull me right in. It is just a lovely album.

With Ignacio Berroa supplying the bolero rhythm, bassist Charlie Haden and pianist Gonzalo Rubalcaba crafted a late-night Latin jazz album. “Nocturnal” finds the trio locking into a soothing vibe. Tenor Saxophonist Joe Lovano contributes a sensational solo on “Moonlight (Claro de Luna).” Haden’s bass is just so damn hypnotizing on “Nightfall.” I have been enjoying the album on the road, especially when driving by myself in the dark.

I was jamming to the title track in Lee Morgan’s The Sidewinder and imagining snowboarding on Sidewinder at Whitetail. The soul-jazz vibe was so damn addictive. With Morgan on trumpet, Joe Henderson on saxophone, Barry Harris on piano, Bob Cranshaw on bass, and Billy Higgins on drums, each musician had a chance to improvise and each played his heart out. The rest of the album, “Totem Pole,” “Gary’s Notebook,” “Boy, What a Night,” and “Hocus-Pocus,” were holding up as well. This is a classic album that stood the test of time. For some reason, I hadn’t paid much attention to Morgan, but that will change.

Sau nhiều năm Giang Trang trở lại dòng nhạc Trịnh với giai điệu mới đậm chất blues, rock, và jazz. Giang Trang cũng thay đổi cả cách hát. Lúc trước cô hát nhẹ nhàng và đơn giản như kể chuyện. Giờ đây cô kéo dài và dùng chất run (vibrato) hơi nhiều. Cô trình bài “Vết lăn trầm” nặng và não nề không phù hợp với điệu blues rock. “Còn ai với ai” cũng thế. Cách hát của cô hơi bị nhựa và bị gò bó. Đáng tiếc thật vì những phần nhạc rất thú vị. Phải chi cô hát tự nhiên như xưa.

I didn’t know who Jeremy Pelt was, but the lead-off track, “Prologue: Invention #1,” from his new album, Woven, pulled me right in. Pelt played an astonishing vibrato on him trumpet. With “Rhapsody,” Pelt had woven vocals, electric guitar, and synthesization into a mesmerizing fusion. His trumpet was clear and swift. It’s a great album and I will be looking for more of his work.

To distract my ears from political podcasts, I tuned into jazz. The Bad Plus’ Complex Emotions is a fantastic distraction. With “French Horns,” the group returns to its funk-jazz vibe, but also expands with rock guitar and fast saxophone. True to his name, Chris Speed blazes his sax solo with such furious speed. Ben Monder sets quiet fire on his guitar. “Casa Ben” kicks off with Reid Anderson’s hypnotic bass and Dave King’s crips drums. Speed joins in with sweet melodic intro. The star is Monder who plays some organic, futurist vibes with such an incredible feedbacks. The whole album is a wonderful treat.

I am an old head who knows nothing about Tate McRae. I came across her new release So Close to What. Although her pronunciation is hard to follow, she has a decent voice and he productions are banging. On the first track, “Miss Possessive,” she drops the first f-bomb, “I know what you are, tryin’ so hard / Runnin’ ’round tryna fuck a star, go.” On the first track, she drops another f-bomb, “You ain’t gonna win with the jewelry / Don’t need the cute fuckin’ names (No).” On the third track, she drops more f-bombs, “Fuck me good, fuck me up, thеn I gotta move towns / How’d I get from your gym to your couch? Oh, how?” Of course, the forth track, “bloodonmmyhands,” featuring Flo Milli, she drops more f-bombs, “Oh baby boy, you’re seein’ stars / And it fucks you up so hard.” I sweared I heard her singing “pussy star” instead of “you’re seein’ stars.” Thank goodness that she didn’t drop any f-bomb on “Dear God.” That would have been pretty controversial.

I have been enjoying another wonderful jazz standard album from the Tsuyoshi Yamamoto Trio. A Shade of Blue kicks off with a swinging tempo “Speed Ball of Blues.” My personal favorite is the down-low blues in “Midnight Sugar.” Yamamoto’s arpeggios are just so damn intoxicating. I also dig the bossa-nova flavor in “Last Tango in Paris.” Albums like these made my commute pleasurable, especially at 5 am on Sundays.