With Ignacio Berroa supplying the bolero rhythm, bassist Charlie Haden and pianist Gonzalo Rubalcaba crafted a late-night Latin jazz album. “Nocturnal” finds the trio locking into a soothing vibe. Tenor Saxophonist Joe Lovano contributes a sensational solo on “Moonlight (Claro de Luna).” Haden’s bass is just so damn hypnotizing on “Nightfall.” I have been enjoying the album on the road, especially when driving by myself in the dark.

I was jamming to the title track in Lee Morgan’s The Sidewinder and imagining snowboarding on Sidewinder at Whitetail. The soul-jazz vibe was so damn addictive. With Morgan on trumpet, Joe Henderson on saxophone, Barry Harris on piano, Bob Cranshaw on bass, and Billy Higgins on drums, each musician had a chance to improvise and each played his heart out. The rest of the album, “Totem Pole,” “Gary’s Notebook,” “Boy, What a Night,” and “Hocus-Pocus,” were holding up as well. This is a classic album that stood the test of time. For some reason, I hadn’t paid much attention to Morgan, but that will change.

Sau nhiều năm Giang Trang trở lại dòng nhạc Trịnh với giai điệu mới đậm chất blues, rock, và jazz. Giang Trang cũng thay đổi cả cách hát. Lúc trước cô hát nhẹ nhàng và đơn giản như kể chuyện. Giờ đây cô kéo dài và dùng chất run (vibrato) hơi nhiều. Cô trình bài “Vết lăn trầm” nặng và não nề không phù hợp với điệu blues rock. “Còn ai với ai” cũng thế. Cách hát của cô hơi bị nhựa và bị gò bó. Đáng tiếc thật vì những phần nhạc rất thú vị. Phải chi cô hát tự nhiên như xưa.

I didn’t know who Jeremy Pelt was, but the lead-off track, “Prologue: Invention #1,” from his new album, Woven, pulled me right in. Pelt played an astonishing vibrato on him trumpet. With “Rhapsody,” Pelt had woven vocals, electric guitar, and synthesization into a mesmerizing fusion. His trumpet was clear and swift. It’s a great album and I will be looking for more of his work.

To distract my ears from political podcasts, I tuned into jazz. The Bad Plus’ Complex Emotions is a fantastic distraction. With “French Horns,” the group returns to its funk-jazz vibe, but also expands with rock guitar and fast saxophone. True to his name, Chris Speed blazes his sax solo with such furious speed. Ben Monder sets quiet fire on his guitar. “Casa Ben” kicks off with Reid Anderson’s hypnotic bass and Dave King’s crips drums. Speed joins in with sweet melodic intro. The star is Monder who plays some organic, futurist vibes with such an incredible feedbacks. The whole album is a wonderful treat.

I am an old head who knows nothing about Tate McRae. I came across her new release So Close to What. Although her pronunciation is hard to follow, she has a decent voice and he productions are banging. On the first track, “Miss Possessive,” she drops the first f-bomb, “I know what you are, tryin’ so hard / Runnin’ ’round tryna fuck a star, go.” On the first track, she drops another f-bomb, “You ain’t gonna win with the jewelry / Don’t need the cute fuckin’ names (No).” On the third track, she drops more f-bombs, “Fuck me good, fuck me up, thеn I gotta move towns / How’d I get from your gym to your couch? Oh, how?” Of course, the forth track, “bloodonmmyhands,” featuring Flo Milli, she drops more f-bombs, “Oh baby boy, you’re seein’ stars / And it fucks you up so hard.” I sweared I heard her singing “pussy star” instead of “you’re seein’ stars.” Thank goodness that she didn’t drop any f-bomb on “Dear God.” That would have been pretty controversial.

I have been enjoying another wonderful jazz standard album from the Tsuyoshi Yamamoto Trio. A Shade of Blue kicks off with a swinging tempo “Speed Ball of Blues.” My personal favorite is the down-low blues in “Midnight Sugar.” Yamamoto’s arpeggios are just so damn intoxicating. I also dig the bossa-nova flavor in “Last Tango in Paris.” Albums like these made my commute pleasurable, especially at 5 am on Sundays.

Just happened to stumble upon the Tsuyoshi Yamamoto Trio. I loved the duo rendition of “Jealous Guy,” in which Mr. Yamamoto played the pop melody then he added some syncopations in the left hand. Isao Fukui joined in with his hypnotic double-bass. With “Girl Blues,” drummer Tetsujiro Obara and Mr. Fukui held down the rhythm section while Mr. Yamamoto played the blues and some classic poundings, which reminded me of Cecil Taylor’s style. I enjoyed their take on jazz standards on Speak Low.

Dave Brubeck’s Jazz Impressions of Japan is succinct yet impressive. With Eugene Wright on bass, Joe Morello on drum, Paul Desmond on saxophone, and Brubeck on piano, the quartet captures the vibe of Japan. In the opener “Tokyo Traffic,” the band swings vibrantly with a sweet Japanese melody. “Toki’s Theme” brings out the twist. Brubeck must had noticed that Asian people liked to do the twist. The rest of the album is enjoyable.

I had been listening to Dave Brubeck’s classic Time Out for years. And yet, I only came across his follow-up Time Further Out last week. “Far More Blues” expanded his time signatures from “Take Five” and Paul Desmond was killing it on his alto saxophone. I always have a soft spot for Desmond’s sensual sax sound. “Far More Drum” gave Joe Morello the space to solo. I always enjoyed an energetic drum improvisation and Morello delivered. The rhythm in “Unsquare Dance” is exhilarating. Loved this album.