A few of the many, many great jazz records we shared in 2025. And there are even more great artists out there waiting for you to discover them. We will explore them and discover even more in 2026.
Artemis “Arboresque”
I award this group annually, or whenever they record. An all-star lineup of the best female jazz artists, convened by pianist/arranger Renee Rosnes; they traffic in a polished and sophisticated, harmonical complex and subtly nuanced brand of mainstream jazz that is challenging and melodic at once.
Compelling and compact solos, Ingred Jensen’s bright trumpet, Nicole Glover’s serpentine sax, and Allison Miller (drums) and Noriko Ueda (bass) comprise a mildly swirling, Swiss timepiece rhythm section.
“Komorebi” is a mid-tempo bop workout with soloists trading licks in a relaxed pulsating groove. “Petrichor”, which is a hint to the album’s theme of environmental tribute, achieves a slightly propulsive not-quite-stasis, with sinewy trumpet/sax lines floating above.
And it is a compliment to Artemis that they wring meaningful, cozy emotions from Hal David’s immortal, and somewhat schmaltzy “What the World Needs Now is Love” - all players blithely swinging.This collection is a terrific, accomplished delight.
Emmalisa Hallander “Out of Reach”
Swedish chanteuse Hollander has a supple and swinging voice, with phrasing and delivery well beyond her years. Not only is she a delight, scatting, swooning her way through ballads and originals, but the backing band is superbly supportively and dynamic.
“At the End of a Tunnel” is an assured breezy, swinging jaunt – a primer on the pleasures yet to come on this album. The theme, and over-arching sentiment appears to be ‘Heartache’.
Her supple, simple approach lets the songs unfurl unhurried, and though a young woman, she conveys craving on standards such as “Before You” or the unhurried, dirge-like “Street of Dreams”.She would make Ella proud.
A plus is the expert backing of the Swedish jazz stalwarts; in particular pianist Filip Ekkestubbe’s lush, suave accompaniment, and the sonorous trumpet of Peter Asplund.
Romantic, bluesy, and harmonically and chromatically rich – this is ‘old fashioned’ songcraft brought forward to the 21st century with respect and aplomb. Hallander is one to watch – hoping for a stateside appearance or two.
Brad Goode Polytonal Big Band “The Snake Charmer”
I’ve become much more enamored of big band jazz over time. And because there are less opportunities to see large ensembles live (monetary challenges); when one hears a unit as steeped in tradition yet freewheeling and lively as BGPBB, it is a cause for celebration.
Chicago born Trumpeter Goode is a post-bop practitioner; with a tight, propulsive band.The band is tight, and they have sharp soloists when expanding on chestnuts such as Charlie Parker’s “Ornithology” or “Cabin in the Sky”.Polytonal relates to multiple musical keys used simultaneously – hence this session is a rare combining of free-range blowing and sumptuous swing.
Looking for long-form, richly arranged and handsomely played large ensemble suites? “I Can’t Forget About You” fills the bill.
Vivid imagery, dynamic charts, accomplished soloists; the album has it all-presenting an unpretentious, yet exploratory soundscape – polytonal does denote “the simultaneous use of two or more musical keys”, an approach Goode began back in 2008; but this does not at all feel like an academic or conceited exercise- joy and a broad stylistic palette.
Fabienne Ambuehl “Thrive”
Swiss pianist and singer Ambuehl is not a household name – indeed, if it weren’t for a close musical ally across the country, I would have whiffed on this classy, urbane and ambient release indeed the watchword for this accomplished pianist and vocalist.
There’s a twist to her voice; a noticeable but odd, high loopy sonority and a nod to static or singular note phrasing.
Ambuehl is buoyed by the reserved and accomplished trio of drummer Jon Scott and Matt Ridley on bass that provide a floating and kinetically assured backing for this set of originals.Guitarist Tom Olledorf adds floating and definitively ‘contemporary’ guitar solos – imbuing the folk-adjacent compositions with a fusiony, modern timbre.
“Timeline’ is a perfect example of this linear; new-age-folk sentimentality.Mostly nighttime music; different and sometimes challenging.
Sullivan Fortner “Southern Nights”
Yet another young, under-the-radar pianist, (but with a rising profile) Sullivan Fortner is ascendant in contemporary jazz – the New Orleans born, New York based piano player sets up compositions possess ripe with gospel bones, yet exude a polite, swampy and modern grace – plus a program of chestnuts by Allen Toussaint and other southern luminaries caps it off with a bayou bounce. His back-and-forth right hand-left hand jitterbug cadence (quoting a bit of Glen Campbell’s 1977 pop version) on “Southern Nights” is perfection in blending tradition and intellectual exploration.
The interplay with well-chosen trio members Peter Washington on bass and Marcus Gilmore on drums illustrates Fortner’s willingness to share the spotlight with a supple and supportive rhythm section. The playbill of New Orleans based songs lends a rootsy, blithe charm.
There is nothing fancy about the album – cooly radiant playing; excellent compositions and telepathic frisky interplay make for an invigorating history lesson and invitation to the future.
Joe Farnsworth “The Big Room”
Drummer Farnsworth, of crisp sartorial sophistication on every album cover, is reliable, unpretentious, rhythmically sneakily clever.
And his gift is assembling sympatico and seasoned players; rich, warm and effortless in a straight-ahead and mid to slow tempo session of covers and originals. Combo jazz at its richest; stretching and blowing and caressing and calming.
Here his stellar mates are sublimely chosen; Emmet Cohen on piano: Jeremy Pelt on trumpet and the velvety Joel Ross bed of vibes – perfect foils for his firm yet nearly invisible rhythmic style; such as on tracks like “What Am I Waiting For?” Young phenom saxophonist Sarah Hanahan blows up a storm squall on “radical”, also allowing Farnsworth a little solo elbow room.
And if you require that jazz police ‘legitimacy’ test, listen to the band burn a hole in the studio floor with the fastball bop of “Already Know”. Chops, bop and post-bop instinctual playing, and warm and exploratory arrangements.
Dave Leonatti, Nightsounds Jazz
