By Dee Dee McNeil
January 1, 2026
NASEEM ALATRASH – “BRIGHT COLORS ON A DARK CANVAS”- Levantine Music
Naseem Alatrash, cello/composer; Chase Morrin, piano; George Lernis, percussion; Bruno Raberg, acoustic bass; 1st Violins: Bengisu Gokce, Lilit Hartunian, Greta Myatieva, Heeyeon Chung, & Aija Reke. 2nd Violins: Eric Mrugala, Liubomyr Senyshyn, Helen Sherrah-Davies, & Miyu Imai. Violas: David Wallace, Anna Stromer & Raymond Dineen. Mina Kim & Naomi Steckman, cellos. Conductor: Eugene Friesen.
Since 2021, Naseem Alatrash has been the cellist for the GRAMMY Award-winning Turtle Island Quartet. He is an extraordinary cellist, an outstanding composer and educator. His artistry embraces the Arabic music heritage, contemporary European classical music and it is fused with jazz traditions. This makes for an unusual, but very artsy world music production. This entire album is a suite of music for cello, piano, percussion and string orchestra. Naseem Alatrash has composed every song.
This is Naseem Alatrash’s debut album where Alatrash reimagines the cello as a leading voice in Arabic music. The cellist finds lyrical beauty in his instrument and presents his original compositions with vigor and emotional depth. He is pushing the boundaries of Arabian music and stretching the contours of the Middle Eastern compositions to fit into a more contemporary setting, with jazz being the inspiration. This is particularly evident in Track 3 called “Ramad” which translates to ‘Ashes.’ The music itself is fire, energized by the string ensemble and the lush percussion of George Lernis. Chase Morrin’s outstanding piano solo provokes the imagination and stuns this listener to attention.
Throughout his illustrious career, Naseem Alatrash has collaborated with an impressive list of musicians including Terence Blanchard, Roger Waters, Terri Lyne Carrington, Christian McBride, Steve Vai, Danilo Perez, Simon Shaheen and Amir Elsaffar to name just a few.
The Alatrash composition titled “Echoing in the Hollow” showcases the beauty of Naseem’s cello mastery, adding Arabian rhythms that push the music forward, like a caravan across the sands. The strings sound like the wind whispering above the caravan with wisps of harmony. This is an album that blends jazz in a vey unique way, hugging it to the breast of the Middle East and kissing it with the lips of contemporary classical music.
The closing track is energized with improvised solos and excitement. It is the second part of a tune called “Risala,” (that translates to “Message”) and it is full of energy and vitality. It’s impressive with all the drama!
Today, Naseem Alatrash serves as Assistant Professor of Cello and Ensembles at the Berklee College of Music. He is also Director of the Arab Music Ensemble at Tufts University and Director of the Global Folk Traditions Ensemble at the Longy School of Music. He offers us world music on another level. It is meant to open your mind, body and spirit to a fresh level of art and music.
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ARID LANDSCAPES – “ARID LANDSCAPES” – Signal Chain Records
Noah Franche-Nolan, piano/keyboards/synthesizers/audio processing/composer; Dan Pitt, electric guitar/effect pedals/live looping/composer.
Unlike some experimental, electroacoustic music, the first tune on this album simply titled, “Prelude” relaxes me. The two players (pianist and guitar) met while they were both enrolled in University of Toronto’s jazz program. After this meeting, Franche-Nolan relocated to New York City and then returned to his Canadian hometown of Vancouver. Dan Pitt is based in Toronto, over two-thousand miles from Vancouver, You might think that with this geographic distance being so great, these two musicians might desert their initial musical friendship. That didn’t happen. With the onset of COVID-19, a pandemic that shut the world down, they became internet, remote, creative partners. They continue to play together, compose together and grow closer. This album is the result of that partnership.
Track #2, titled “RMTK” weaves electronic treatments into their individual talents on guitar and piano. Their music challenges genre identification. It becomes an improvised and soothing production of sound, melodies and comfortable distortions that both entertain and relax the senses. Pitt and Franche-Nolan embrace their common training in jazz, but they ease into ambient musical moments and explore electronic edits that make me feel as though I am floating in outer space during a tune they call “Nova.”
Dan Pitt has performed across Canada and the United States. Pitt holds a Bachelor of Music in jazz Performance from the University of Toronto. The year he graduated, he won the Stingray Rising Star Award as part of the Jazz Youth Summit at the Ottawa Jazz Festival.
Noah Franche-Nolan is a JUNO and Western Canada Music Awards-nominated pianist. This trio presentation a year ago exploits his piano talents.
Together, these two innovative jazz musicians push the boundaries of music to fresh limits. This music was recorded at Noah’s Studio in Vancouver, BC and the Brentwood Presbyterian Church in Burnaby, BC. It blesses the unique talent of this jazz duo as they express their experimental music to open ears. The tracks are arranged in a way that makes me think there are more than two people making this magical music. Arid Landscapes paints pictures of nature with music and titles that tickle the imagination.
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MASABUMI KIKUCHI HANAMACHI – “THE FINAL STUDIO RECORDING VOL 11” – Red Hook Records
Masabumi Kikuchi Hanamachi, solo piano.
Masabumi Kikuchi Hanamichi is a legendary Japanese pianist who died in 2015. He has left behind this stunning and emotional solo piano recording to sooth and tantalize the ears of the listener. In December of 2013 he recorded several sessions at the Klavierhaus, New York studio. These tracks capture his most contemplative moments of expression at the 88-keys.
Opening with the popular “Manhã de Carnaval,” the solo concert begins and entertains us for over 43-minutes of awesome interpretations of familiar tunes mixed with bursts of improvisational creativity, that explore Hanamachi’s own temperament and creative freedom at the grand piano.
He interprets “Alone Together” in a pensive, tender way that takes my breath away. Most of these standard songs are connected to Kikuchi Hanamichi’s formative years as a Tokyo music student. Each presentation is delicately presented, as he lets the overtones ring, like a thought captured and rolling around in his brain before he speaks it. The tunes unwind, cashmere soft and warm, wrapping my ears in beauty.
Masabumi Kikuchi Hanamachi once said that “…these hands are connected to my soul.”
Perhaps that sums up the entire continuity and expressiveness in this pianists’ final studio recording. He was born on October 19, 1939 and became quite famous for his unique playing style. He worked with the crème de la crème of jazz musicians, including Miles Davis, Sonny Rollins, Elvin Jones, Gary Peacock and collaborated with Gil Evans and Toru Takemitsu. He was a student at the Tokyo Art College High School and his early introduction to jazz came from his second-hand record collection that included Duke Ellington, Miles, and Thelonious Monk. After he graduated, he joined the Lionel Hampton Japanese Touring Band. Later, he would establish his own quintet, then was coaxed to the United States by a scholarship to the famed Berklee College of Music.
Kikuchi Hanamachi died of a subdural hematoma on July 6, 2015. His music lives on, startlingly beautiful and magnificent, to remind us that he was here. He leaves the world a legacy of jazz creativity and freedom, spewed from his fingertips, from his soul to ours. Just listen to his interpretation of “My Ship.” It speaks volumes, without words.
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ZURHUB – “COUNTRYSIDE MOTORWAYS” – Origin Records
Mattan Klein, flute/composer; Ezequiel Hezi Jait, guitar/composer; Itay Simhovich, piano/Fender Rhodes; Assaf Hakimi, bass; Dani Benedikt, drums/percussion.
A tribal drum introduction opens the first tune on this album. The tune is called “Social Trust” and features a flute solo by Mattan Klein. This is followed by a guitar solo from Argentinian, Ezequiel Hezi Jait, until the drums of Dani Benedikt take over to present several bars of his own creativity. The group, ZurHub, was formed in 2017. It is a quintet of musicians based in Tel Aviv and New York. Their musical concept embraces the rhythms of Brazil, (although no one in the group is Brazilian), Israeli folk music, and European classical music. It’s all fused together with jazz harmonies. Four out of the five musicians are Israeli.
Flautist, Mattan Klein and guitarist Ezequiel Hezi Jait have been playing together since 2011. They founded ZurHub six years later. Both musicians have a deep appreciation for Brazilian rhythms like Choro, Samba and Bossa Nova. They push the boundaries of Brazilian jazz by adding various other cultural elements. On their tune, “Overlooked” they feature the bass of Assaf Hakimi.
These talented musicians have taken their inspiration from icons like Hermeto Pascoal and Chick Corea. I was very impressed with the Klein and Jait composition called “Feliz” that seemed to capture the rhythm and groove of Brazil in their moderate tempo’d arrangement propelled by Benedikt’s steady drums.
I’m always annoyed when jazz musicians take a standard jazz tune, re-name it, and claim it as their own. Klein and Jait have done that with “I Remember April” naming it “April is Totally a Blur.” It’s one thing to use chord changes and build a new and vibrant composition, but this is simply not the case. It makes me wonder how many of these original songs are based on established melodies, like “Making Tidal Waves” which sounds very much like “Wave.”
Here is an easy listening jazz experience where Ezequiel Hezi Jai and Mattan Klein, the founders of ZurHub, who celebrate the hypnotic rhythms of Brazil and standard jazz tunes, re-named and hidden inside their original arrangements. See if you can find the hidden songs.
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ESHAAN SOOD & THE SONIC ALCHEMISTS – “DREAM RIVER” – Independent Label
THE SONIC ALCHEMISTS: Eshaan Sood, guitar; Annie Orzen, piano; Brendan Nie, bass; Sam Schaeffer, drums; Ivan Demarjian, tenor saxophone.
Eshaan Sood is a native of New Delhi, India. He was a graphic artist and creatively, he wanted to write graphic novels. Fate had other plans. In 2015, Sood and his roommate began a journey, taking a drive seven-hours to Puducherry to enjoy a country-wide festival. They were in a horrendous accident just twenty minutes from their home. The accident caused severe facial trauma and left Sood blind.
After operations and depression following the accident, Sood gathered his strength and determination into a bundle of hope. As a creative person, he also loved music. So that became an avenue to explore and develop. He became deeply interested in music and guitar. Consequently, he graduated in 2019 from the Global Music Institute, where he found an interest in jazz improvisation. He decided to continue his education at the prestigious Eastman School at the University of Rochester. He now lives in Brooklyn, New York.
“I really didn’t understand jazz until I studied it in school. I had been playing in jam bands for years and I fell in love with jazz, because I love improvisation. Jazz also allows me to incorporate all the different styles of music I have been listening to,” Sood shared.
You will hear Sood’s eclectic choices on this album. It showcases a mix of musical styles and genres. He opens with “Mountain Muse” a piece of music he composed from memories of visiting the Himalayas as a child. His family drove there, even though he was prone to car sickness. Sood recalls this trauma in his musical arrangement by adding a syncopated melody in 5/4.
His song, “If Our hearts Could Talk” is about his belief that if we spoke simply and plainly, not trying to read between the lines, there would probably be a lot more love in the world.
Eshaan Sood shares that studying jazz has deeply impacted his relationship with music. For example, on the “Here for a Good Time” tune he borrowed changes from Coltrane and set them to a dance groove.
On the “Dream River” album by Eshaan Sood, he uses his jazz guitar and composer skills to blend Bollywood, the blues, Indian Classical music and jazz into a unique blend of his own, personal, life stories.
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WANEES ZAROUR – “SILWAN” – Levantine Music
Wanees Zarour, Buzuq/oud/percussion; Samuel Mosching, guitar; Vinny Kabat, bass; Andrew Lawrence, piano/keys/synthesizers; Nick Kabat, drums; Tareq Rantisi, percussion; Catie Hickey, trombone; Bryan Pardo, alto saxophone/clarinet.
Wanees Zarour has composed, arranged and produced all the songs on this album. He is an award-winning Palestinian-American musician. Zarour leads the East Loop ensemble, co-directs the Chicago Immigrant Orchestra, and is the long-time director of the acclaimed 80-piece Middle East Music Ensemble at the University of Chicago.
The East Loop ensemble opens with the title tune, “Silwan.” This entire album is a deep dive into his musical identity, inclusive of his Palestinian heritage, his Middle Eastern influences, and woven into the musical shawl is a sprinkle of Chicago’s traditional and rich jazz/blues roots. Using the buzuq and Arabian percussion instruments, Wanees Zarour shapes this traditional music into a more world music sound, using jazz as a framework and improvisation as a splash of color.
“Lifta” is another Zarour original composition. It marches into my listening room with the oud leading the way like a band conductor. Lifta is a 2000-year-old historic village located just on the outskirts of Jerusalem. It is famous for its vibrant social life and cultural traditions. The original Arab inhabitants were expelled by Zionist paramilitary in 1948. Palestinians still hold the history and traditions of Lifta dear, reflecting the people’s resilience and treasuring their historic culture. Andrew Lawrence makes powerful statements on the synthesizer.
The lovely season of Autumn is celebrated next, in a melancholy way. Most of these songs borrow much from the cultural heritage of Zarour’s traditional music. A good example of the cultural roots of Palestinians is musically presented during his arrangements of “Festival.” The horns of Catie Hickey and Bryan Pardo introduce the melody. Samuel Mosching’s guitar is bright and participant in this happy festival feeling. For the first time, the drums and percussion instruments are given the stage. They shine!
This is a fresh, Middle Eastern influenced jazz album that transports us to a Palestinian culture, wrapped in the sands of time and hugged by the arms of jazz.
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NOAH FRANCHE-NOLAN – “ROSE-ANNA” – Cellar Music
Noah Franche-Nolan, piano/organ; Nicholas Bracewell, drums; Jodi Proznick, bass.
Flanked by some of Canada’s acclaimed jazz musicians, pianist Noah Franche-Nolan has composed eleven songs for his album “Rose-Anna.” The music and the album title are a homage to his great grandmother, Rose-Anna Chassee. She was once a church organist in New Brunswick. Clearly, she made a huge impression on her grandson.
Working as a trio, Noah Franche-Nolan covers a wide variety of musical genres under the umbrella of Contemporary Jazz. For example, he incorporates secular hymns, groove-inspired tracks, and sometimes total freedom is given to his bandmates to create on-the-spot, improvisational music inside the structure of his compositions. All songs are composed by Franche-Nolan.
“Sublimation 1” opens with Franche-Nolan at the organ. It sounds very hymnal, until Nicholas Bracewell enters on drums, using mallets. He lays down a groove that re-establishes the piece to A more Contemporary Jazz arrangement.
Noah Franche-Nolan is a JUNO Award and Western Canada Music Awards-nominated pianist. His composition titled “Nasz Dom” is quite classical in structure, with the piano rippling in arpeggios. It sounds like a music box at the top of the tune. The melody soon rests in the mid-range area of the piano. “Nasz Dom” is Polish. In English it means “Our Home.”
“Haxan” is a ballad with an absolutely beautiful melody. This arrangement is very jazzy. The pianist improvises wildly. Do I hear a touch of Bach in his playing? There is groove and funk on their arrangement of “Hawks” and Jodi Proznick soaks up the spotlight during her energized bass solo. There is also a space given to Nicholas Bracewell to show off his drum skills.
Then, on “Prayer,” Franche-Nolan is back at the organ. His entire album was recorded inside a church. In his press package, the publicist suggests that the pianist may admire and have been inspired by jazz great, Alice Coltrane and her unique style of playing organ. I will let the listener judge that for themselves. A song called “Union Town” is Straight-ahead jazz. The pianist intrigues me with the way he weaves classical elements into his arrangements at unexpected moments.
Halfway through this album, Franche-Nolan returns to the concept of sublimation calling the song, “Sublimation II.” The artist explains, “Sublimation refers to the transition of a material from a solid state to a gas state without passing through the liquid state. It is also used in psychology to refer to the redirection of negative or harmful energy into positive actions.”
Noah Franche-Nolan hopes to touch your heart with his trio, his compositions, and his artistry.
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PAUL RICCI – “THE PATH” – Origin Records
Paul Ricci, guitars/electric bass/composer; Michael Wolff, electric piano; Hugo Fatoruso, piano/organ/clavinet; Andre Mehmari, fender Rhodes; Anthony Jackson, contrabass guitar; Steve Jordan, Jurim Moreira & Jojo Kuo, drums; Valtinho Anastacio, Manolo Badrena, percussion; Rogerio Boccato, drums/percussion; Ramon Echgeray, Arturo Prendez & Hugo Fasttoruso, candombe percussion; Alex Foster & Jay Rodriguez, soprano saxophone; Randy Brecker, flugelhorn; Abdoulaye Diabate, vocals.
This is funk and fusion at its best. All the recorded music is composed by guitarist and band leader, Paul Ricci. As he states in the album liner notes:
“I collected my experiences and influences …together in these compositions, in search of a personal common thread. New York has a mysterious way of presenting me with the cultural confluence of jazz, rock, blues, hard bop, organ trios, R&B, pop, Rhumba, Samba, varied Caribbean and African styles, Candombe and more. … They were all on my plate. The compositions here were born of those influences,” Ricci states.
The Ricci ensemble opens with “Major Look” that sets the mood for what is to come. His percussive strength and Brazilian flavors are soaked into this tune. They are blended with funk, with a nod to fusion jazz. This is followed by a tune he calls “Whenever” where his guitar takes the lead. This time I hear Middle Eastern influences in Ricci’s music.
Ricci has studied several musical styles over his impressive career as a guitarist, arranger, composer and producer of music in both the United States and Brazil. On Track #3, Abdoulaye Diabate adds emotional vocals to a tune called “Lobo.” Abdoulaye has written the lyrics for this song.
Caught playing ‘Live’ at the Passau Jazz Café, Ricci shows off his ‘blues’ chops.
During this recent recording of “the Path,” Ricci seems to be encouraging us to experience cultural encounters he has made along his life path. Through his music, he challenges us to discover how our various cultures and countries strive to become one, using music as the catalyst.
During this time of division, bullying. hatred and worldwide disruption of peace, perhaps we could use Ricci’s example to become more inclusive and more loving of the entire human race.
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RAFAEL ENCISO – “CROSSFADE” – Contagious Music
Rafael Enciso, bass/composer; Gabriel Chakarji, piano; Miguel Russell, drums; Nicola Caminiti, alto saxophone; GUESTS: Dayna Stephens, tenor saxophone/producer; Jahari Stampley, organ.
This debut album by Rafael Enciso has been produced by saxophonist Dayna Stephens. Enciso was raised around Ithaca, New York, a place of nature habitats and natural beauty. The title of his album (Crossfade) represents the way nature’s seasons melt and fade into each other so seamlessly. This is the way he wanted these original compositions to crossfade into each other, one sound dissolving naturally into the next. Rafael wanted his music to exist in that “in-between space.”
His first original composition is titled, “The High Priestess” and features Miguel Russell’s bright and beautiful drum skills pushing the music ahead with creative energy. The arrangement arrives with Enciso’s bass setting the tempo using one note. The rhythm section enters with harmonic chords and a steady groove. Gabriel Chakarji’s piano soaks up the spotlight with an innovative solo. The music is quite modern. I found the saxophone of Nicola Caminiti to be captivating and imaginative.
I find myself intrigued by the compositions of Rafael Enciso. His music is full of surprises. “Austin Otto” is a tune he wrote that punctuates the melodic structure with staccato notes and unexpected breaks. Russell’s drums skip along, like a carefree boy bouncing his basketball down the street. The drummer’s follow-up solo is dynamic. This time Dayna Stephens is featured on tenor saxophone. Dayna also produced this awesome album. Rafael’s original tune builds and breathes fire across my listening room.
The poignant title “Thousand Yard Stare” is a lovely ballad that Rafael Enciso has written. Nicola Caminiti delivers a stunning melodic saxophone solo, singing atop the solid bass line of Enciso, who also offers a noteworthy solo during this arrangement. Also, during this presentation guest artist Jahari Stampley adds organ to the mix.
Here is a debut album that presents ten original compositions by Rafael Enciso, along with very creative arrangements performed by his talented quartet and two guest artists. I look forward to hearing much more from this talented bassist and composer.
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