KORNSTAD 23, Summermørket (El Paraiso Rwcords). A nicely interwoven fusion tapestry. The album’s warm sound is no doubt a result of the “live to tape” recording method. There’s no doubting the chemistry of the players, who bounce nicely off one another. It’s clear they are listening even more than they are playing. It’s hard for a band to fail that way. And these cats are very successful.

KATE OLSON, So It Goes (OA2 Records). Saxophonist Kate Olson leads a quartet of great musicians in what feels like a celebration of jazz. Uptempo, blues-oriented numbers help to showcase the band’s talents, keeping the music tight while the quartet is completely loose and having fun.

RON CARTER & RICKY DILLARD, Sweet, Sweet Spirit (Capital CMG Inc.). Even non-believers (like myself) will find joy and passion from Jazz legend Ron Carter (bass) and “Choirmaster” Ricky Dillard, who leads the New-G choir in a glorious mix of jazz improvisation and gospel that makes for a one of a kind album.^ Carter goes back to his Detroit roots, having assembled a collection of hymns for his late mother. It’s not hard to miss the passion Carter brings to these songs, which were started a cappella, allowing him to build them from the inside, out. His mother would no doubt be even prouder than she already was.

JULIAN LAGE, Scenes from Above (Blue Note). Guitarist Julian Lage fronts a marvelous quartet playing fantastic, laid-back in the pocket jazz. Not only is Lage’s playing sublime, but the accompaniment by keyboardist John Medeski adds tasty sauce to an already delicious meal. Chemistry is everywhere as bassist Jorge Roeder and drummer Kenny Wollesen keep things from getting out of hand, allowing their two lead players to guide the soundscapes wherever they’d like to go. A master class touch and peaceful tenacity.

YES, Tales From Topographic Oceans — Super Deluxe Edition (Atlantic). Depending on who you ask, this album either represented the pinnacle of progressive rock ambitions, or it was the first nail in the coffin that killed the genre and opened the door for punk’s emergence. Regardless, this ambitious work, originally released in 1973, has found its way into becoming even bigger than it was originally. The four song, eighty-plus minute release contains a remastered version of the original release, Steven Wilson’s brilliant remix (now available in Dolby Atmos), radio edits (which seem kind of hard to fathom), works in progress, and live performances. The journey from here to there in the studio is always an interesting adventure. Hearing the work taken to the stage adds another layer of thrills. This is no exception.

^ Traditionally, I aim to avoid talk of religion on this site. It doesn’t matter to me what you believe or don’t believe. This is about the music and nothing else. And I know good music when I hear it.

#cirdecsongs

If you would like to have your music reviewed or have your band photographed while in Chicago, contact me at cirdecsongs@gmail.com