BRANFORD MARSALIS QUARTET, Belonging (2025). The band that stays together grooves hard together. Now deep into their career as a group, saxophonist Branford Marsalis and his band are a well-oiled machine. Having already taken on the likes of John Coltrane’s A Love Supreme, the band now takes on and reinterprets Keith Jarrett’s Belonging, originally released in 1974. Marsalis’s connection to his band (Joey Calderozzo (piano), Eric Reavis (bass), and Justin Faulkner (drums) is telepathic, with each member knowing how to give each other space and offer the right level of support without much conscious thought. They just do, which — in this case — is a verb. This is Marsalis’s debut album on the prestigious Blue Note label, which begs the question “what took so long?” That aside, this is a stellar release. No doubt Jarrett would approve.

https://store.bluenote.com/products/branford-marsalis-quartet-belonging

MCSTINE & MINNEMANN, III (2025). Put two of the most talented musicians in progressive rock in the same room and great things are bound to happen. Lucky for us, it is happening for the third time. Randy McStine (known primarily for his guitar and voice) and Marco Minnemann (usually known as a drummer) tackle all the instruments and vocals to create and album that lives up to any and all prog expectations. But it also draws heavily from other areas of music, bringing forth a musical stew fans of Todd Rundgren would most definitely enjoy. The shortest distance between this album’s music not only fails to make a straight line, but it gloriously takes every side road in its path along with way. Come along for the ride!

https://mcstineminnemann.bandcamp.com/album/iii

SOFT MACHINE, Floating World Live (2025). Definitely one of those “I wish I could’ve been there” live gigs. Soft Machine was a groovy jam band before jam bands were a thing. The band effortlessly shifts from one tune to the next with simplest of segues, primarily on the backs of Allan Holdsworth (guitar) and Mike Ratledge (keyboards). Truth be told, Holdsworth positively loses his mind when the spotlight is on him, becoming the very definition of “be quick, but don’t hurry.” Ratledge’s solos have the feel of calm intensity. He’s spitting hot fire with the most delicate of touch. And don’t sleep on Roy Babbington’s bass or John Marshall’s drums. Both leave goosebumps covered in blisters. This album was recorded in 1975 but sounds remarkably fresh thanks to the remastering efforts of Mark Wingfield. I couldn’t be there when it was recorded, but I’m glad I made this gig!

https://softmachine-moonjune.bandcamp.com/album/floating-world-live-re-mastered

DEDE BOOTH, Age of a Century (2025). As intimate as progressive rock can get. Dede Booth’s efforts are highly ambitious and well-executed, making the most of her multi-instrumental skills. Her vocals are delicate and harmonious in the midst of their sincere earnestness. This music belongs in a theater, which would give it even more room to breathe. But this studio effort makes for a great jumping-off point, and is well worth your attention.

https://dedebooth.bandcamp.com/album/age-of-a-century

SONS OF RA, Standard Deviation (2025). As appropriately named as an album gets. Chicago trio Sons of Ra manage to pay homage to their jazz influences (responsible for many legendary standards) and warp them into an unrecognizable blend of prog rock, metal, avant-garde, punk, and other musical forms. The music is true … well, deviation from the norm. Original sound in music is challenging to obtain, but Erik Oldman (guitars), Keith Wakefield (bass and sax), and Michael Rataj (drums) have pulled it off. The music keeps you in a nearly constant state of unbalance, making that lack of predictability a huge upside. Just when you think you know where things are headed … deviation! Enjoy the ride. You’re gonna want to go more than once.

https://sonsofra.bandcamp.com/album/standard-deviation

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