Christmas round-up

Like Jarrett, Austrian guitarist Wolfgang Muthspiel has classical music in his background, and studied at Berklee and the New England Conservatory. Where

The River Goes comprises six compositions by Muthspiel, one by the band’s pianist Brad Mehldau, and ‘Clearing’, an exemplary group improvisation. The quintet (Ambrose Akinmusire, Larry Grenadier and Eric Harland) adds up to something of a dreamteam. Regardless of influences, background and other baggage, this is a programme of utterly absorbing, atmospheric, frequently beautiful music, realised by highlyaccomplished musicians whose skills are so poised and secure that they never need to grandstand, though they can certainly cut loose when necessary, as on Mehldau’s ‘Blueshead’. It’s missed our Choice status by the merest whisker. (ECM 675 1712 ★★★★)

At 23, pianist James Francies has an impressive track record in jazz, hip-hop and other genres, even without allowing for his relatively tender years. On Flight he’s flanked by a sturdy rhythm section of bassist Burniss Travis II and drummer Jeremy Dutton, with guests including guitarist Mike Moreno on some tracks. This is a programme of impeccably-crafted compositions given attractive, fluent and elegant treatments by musicians who sound as if they were born to play together. (Blue Note 677 4134 ★★★)

In 2015, inspired by Tchaikovsky’s similar 1876 project, Ben Wendel created videos of 12 duets, month-by-month. Critical and popular success of The Seasons led him to develop the project into these quintet performances. Where Tchaikovsky titles each piano piece saxophonist Wendel leaves us to form our own interpretations, or just enjoy the music for its own sake. He conjures images for each month that don’t chime with mine, but then I don’t live in Brooklyn, and the original pieces portray the musicians as much as the months’ characteristics anyway. Bravura performances add up to a satisfying suite, variously bustling, edgy, light-hearted, vigorous or reflective. (Motema MTM0309 ★★★)

Time was when over-dubbing and jazz-rock with prog-rock leanings was sneezed at in jazz circles.

Neither causes much affront these days, and both are included on New Life, the second album by Flying Machines. The metal-plated title track grabs your lapels and holds on tightly. ‘Moondust’ shows the band in gentler mood, whilst ‘Elation’ folds in various approaches against a minimalist riff. The album proceeds with atmospheric ballad-like pieces and some collective improvisation. This showcase for their eclectic range is enjoyable, but next time it might be nice to hear them dig deeper into a more focused approach. (Ubuntu Music UBU0017 ★★★)

In the four years since guitarist Ant Law’s previous album, he has been busy as a sideman while, as he says, ‘charging up’ compositional ideas which now emerge as Life I Know. Law, too, is happy to include elements of rock (‘Movies’) and other genres, including South

Indian konnakol (vocalised percussion, performed by

Asaf Sirkis) on the prelude to the intriguing ‘Laurvin Glaslowe’. ‘Searching’, a pastoral theme, slowly, subtly builds in intensity, as does ‘Aquilinus’, which has saxophonist Tim Garland guesting. The core of the album is the 12'37'' ‘The Act Itself’ which unfurls like a tapestry full of individual incident but with a cohesive overall narrative.

(Edition EDN1119 ★★★★)