Album review overview: Nikki Nair, Fred Hersch and more
Dozens of new albums arrive at Maxazine’s editorial staff every week. There are way too many to listen to them all, let alone review them. It ensures that too many albums are left behind. And that’s a shame. That is why we post an overview of albums that arrive at the editors in short reviews today.
Shez Raja – Spellbound
The list of musicians who play on “Spellbound” is impressive, with names like Guthrie Govan (Asia, Steven Wilson, Hans Zimmer) on guitar, Dennis Chambers (Steely Dan, Santana, John McLaughlin) on drums and sitar virtuoso Roopa Penesar. Sitar? Certainly, because bassist Shez Raja brings his familiar mix of jazz rock, fusion and funk with Eastern influences. Despite the array of musicians who contributed to the record, the main role remains with the bass. It remains incredible what Raja manages to extract from the instrument – a five-string bass specially built for him. The influence of legends like Jaco Pastorius is evident, but precisely by mixing the sound with Eastern tones, a unique sound emerges. From the first notes of the opening “Quantum Spirits,” that bass flows, swings and swirls with an irresistible groove from track to track, in which Raja leaves sufficient space for the guitars and horns. A beautiful example is “Vishnu,” one of the tracks where Dennis Chambers handles the drums. The bass riff sets everything in motion, after which the song builds to a duet between the bass and John Etheridge’s guitar, with the highlight being Chambers’s attempt to beat his drums at light speed to the afterlife. One of the few quiet moments is the ballad “Together We Fly,” also the only song with the otherwise beautiful vocals of Fiza Haider. This makes it all the more noticeable how carefully this record has been produced: thanks to brilliant mastering, your reviewer had the pleasure of listening to this on CD, a delight; this is also tasty fare for audiophiles. (Jeroen Mulder) (8/10) (Gearbox Records)
Mark Guiliana – questions (volume one)
The versatile drummer Mark Guiliana, known for his work with David Bowie and Brad Mehldau, shifts his focus entirely to introspective piano music on his latest release. As a follow-up to his Grammy-nominated “MARK” from 2024, Guiliana presents nine meditative ‘questions’ that unfold around an intimate upright piano, subtly supplemented with electronic elements. The album opens beautifully with “how can i help?”, where Guiliana’s minimalist approach immediately stands out. Each of the nine tracks carries a questioning title and feels like a personal dialogue between artist and listener. The production, handled by his regular collaborator Stu Brooks, creates a warm, textural sound world where space and silence are just as important as the played notes. “what is your question?” closes the album with cinematic landscapes that resonate long afterwards. Guiliana’s transition from rhythm section to melodic component succeeds excellently. His background as a drummer is noticeable in the subtle timing and dynamics, but “questions (volume one)” stands completely on its own as contemplative piano work. The album requires patience and attention, but rewards the concentrated listener with a rich, emotional experience that suits late hours or moments of self-reflection. (Jan Vranken) (7/10) (Edition Records)
Fred Hersch – The Surrounding Green
The 69-year-old pianist Fred Hersch delivers a masterpiece of trio interaction with his third ECM album. Together with bassist Drew Gress and drummer Joey Baron, both decades-long musical partners, he recorded this intimate album at the renowned Auditorio Stelio Molo in Lugano under the expert guidance of producer Manfred Eicher. The seven tracks combine three Hersch originals with reworked classics by, among others, Ornette Coleman (“Law Years”) and George Gershwin (“Embraceable You”). Hersch’s compositions radiate lyrical intensity. The title track unfolds as a timeless melodic invention, while “Anticipation” introduces an irresistible Latin groove. The trio chemistry is extraordinarily refined; Joey Baron’s brilliant dynamics and Drew Gress’s trusted harmonic approach create a perfect balance between intimacy and expansiveness. Particularly moving is the interpretation of Charlie Haden’s “First Song,” where the shared history between the musicians becomes palpable. Hersch’s use of space and silence shows his mature artistic vision, where every note feels essential. ECM’s characteristic production values perfectly capture every nuance of Hersch’s touch and the trio’s interplay. An album that is both rooted in jazz traditions and pushes boundaries. A contemporary masterpiece. (Jan Vranken) (9/10) (ECM Records)
Nikki Nair – Violence is the Answer
The Atlanta-based producer Nikki Nair surprised in June with this six-track EP, full of his characteristic ‘rubbery’ sound design and eclectic collaborations. Guest artists yunè pinku, Uffie (Ed Banger Records), Blaketheman1000 and Harmony Tividad each add their colour to this energetic ride through acid house, Baltimore club and modern electronica. According to Nair, the album revolves around ‘paying taxes, paying rent, having work, relationships,’ which results in surprisingly accessible tracks about everyday concerns. “The Button” and “Just Wanna Know” (both with Uffie) excel through their infectious energy and sharp production details. Nair combines piano stabs, acid synthesisers and layered vocals into a whole that feels both danceable and experimental. With only twenty minutes of playing time, the EP sometimes feels too short, but that fits with Nair’s philosophy of concentrated impact. The diversity of guests keeps each song fresh, although the short duration sometimes comes at the expense of deeper development. “Violence is the Answer” is a statement from a producer who knows how to bring together modern club culture and personal stories into something unique in the electronica genre. (Elodie Renard) (6/10) (Future Classic)
Hannah Brine – Blue Sky Now
“Blue Sky Now” is the debut album by British singer/songwriter Hannah Brine. However, don’t expect a typical singer/songwriter album: with that label, we seriously shortchange Brine and the variety of styles on the album. From the samba in the single and opening track “One Precious Life” to the subdued the particularly beautiful “Little Bird” where she is only accompanied by a piano, and the rich, full arrangement with strings in “Goodbye London.” But what stands out most in the twelve original compositions is the lyrics. Brine proves to be an excellent storyteller in her lyrics, and precisely therein lies the connection with the best singer/songwriters. The comparison with Joni Mitchell quickly suggests itself, were it not that Brine’s voice is of a completely different calibre: fuller and more sensual. And that fits excellently with the predominant genre on the record. Because “Blue Sky Now” has an unmistakable jazz vibe. The highlight on the record is “You Make Me Believe In Love” where everything comes together: lyrics, arrangement and Brine’s voice. “You make my heart sing at last,” Brine sings. We can only agree. (Jeroen Mulder) (8/10) (Hannah Brine)
