By Norman van den Wildenberg 
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 today we post an overview of albums that arrive at the editors in short reviews.
Photo (c) Jorge Fakhouri Filho
Dylan Jack Quartet – Winter Panes
Christmas is approaching, so are the Christmas-inspired albums. On “Winter Panes,” the Dylan Jack Quartet gives winter classics a fresh, new jazz interpretation. The recordings, made in a cold church in Massachusetts, literally and figuratively reflect various cultural views on the winter season. The tone is set immediately with the fiery trumpet of Jerry Sabatini on the opening track “New Africa” by Grachan Moncur III, while Eric Hofbauer’s guitar, subtly enriched with electronics, enhances the soundscape. James Brown’s “Santa Claus Go Straight to the Ghetto” is playful and swinging, with an infectious groove thanks to Jack and bassist Tony Leva. The less obvious choices are the most striking, however. Vince Guaraldi’s “Skating” receives a polymetric treatment, completely refreshing the original waltz pattern. The Sephardic Hanukkah song “Ocho Kandelikas” unfolds from a stately opening to a rousing tango finale. The production is intimate and warm, making full use of the church’s acoustics. The quartet demonstrates that a Christmas album does not have to be predictable. “Winter Panes” is an inventive journey through various musical traditions, unified by the ensemble’s coherent vision. A winter album that captivates all year round. (William Brown) (7/10) (Creative Nation Music)
Thus Love – All Pleasure
The ten tracks, which together span just over thirty minutes, mainly reveal the group’s musical limitations. Their minimalist setup of guitar, bass, and drums seems to stem more from technical restrictions than artistic choices. Although the band members claim a background in jazz and classical music, little of this is evident in the simplistic arrangements. The title track “All Pleasure” is the most successful, with a certain buildup and atmosphere that pique curiosity. Unfortunately, that’s where it ends. Although the band draws inspiration from legends like Grace Jones and ambitious genres like post-punk and glam rock, the musical craftsmanship falls short in convincingly translating these influences. After tours with respected acts such as Wild Nothing and Dry Cleaning, one might have hoped that Thus Love would have picked up something from their tour mates. The youthful enthusiasm is certainly there, but it fails to mask the lack of musical depth. For those who see the band perform in a dark basement with like-minded fans, there may still be some enjoyment. On record, however, it becomes painfully clear that Thus Love still has a long way to go. For the next album, it wouldn’t hurt for the band to invest more time in expanding their musical vocabulary. The heart is in the right place, but good intentions alone do not make for a memorable album. (Jan Vranken) (4/10) (Captured Tracks)
Peter Perrett – The Cleansing
Following his promising comeback in 2017, the former Only Ones frontman delivers a disappointing album with “The Cleansing.” Despite an impressive guest list (including Bobby Gillespie, Johnny Marr, and members of Fontaines D.C.), this 20-track album sounds like a tiresome exercise in recycling. Perrett’s characteristic voice, once refreshingly quirky, now sounds more like a faded Johnny Rotten imitation. The guitar parts are childishly simple, hidden behind a wall of predictable chords that fail to engage at any point. Where his earlier work with The Only Ones (“Another Girl, Another Planet”) once buzzed with originality, “The Cleansing” is nothing more than a lifeless echo from bygone days. This album could indeed have been made 45 years ago – and even then, it would have been mediocre. For an artist who has rediscovered himself after years of struggle, this is painful proof that some comebacks are better left undone. (Anton Dupont) (3/10) (Domino Recording Co)
Scott Colley, Edward Simon & Brian Blade – Three Visitors
It is no exaggeration to say that when Scott Colley, Edward Simon, and Brian Blade come together, we are dealing with a supergroup of the highest level. These three virtuosos, each with an impressive track record in modern jazz, have created an album with “Three Visitors” that perfectly reflects their collective experience and musical vision. It is fascinating to see how these three masters, who have known each other for years through various projects – think of their work in Steel House and other ensembles – come together here as equal partners. Colley, with his organic bass playing and deep harmonic insight, Simon with his refined piano technique that unites his Venezuelan roots with modern jazz, and Blade, the drummer who is as comfortable accompanying Joni Mitchell as Wayne Shorter, form a trio that is more than the sum of its parts.
“Three Visitors” is a masterpiece of balance and subtlety. Take, for example, “Nostalgia,” where Colley’s thoughtful bass lines lay the foundation for a composition that gradually unfolds like a flower in the morning sun. Here, the bass not only serves as a rhythmic anchor but also weaves a harmonic web that gives Simon and Blade the freedom to explore and respond. “Kintsukuroi” opens with one of the most impressive moments on the album: Simon’s sparse but meaningful piano chords create an almost tangible tension. It is a prime example of how silence and sound can enhance each other. When Blade and Colley join him, a three-way conversation of rare intensity and refinement emerges.
The title track “Three Visitors” showcases the collective brilliance of this trio. The composition is built around an ingenious piano motif that runs like a thread through the piece. It is admirable how the three musicians give each other space to shine while forming a cohesive unit. Blade’s subtle brushwork and Colley’s resonant bass playing provide a perfect counterbalance to Simon’s thoughtful piano playing. The production is crystal clear and balanced, allowing each instrument its own space without becoming dominant. The natural acoustics and warmth of the recording contribute to the music’s intimate character. “Three Visitors” is an album that reflects an extraordinary musical maturity. It is not a showcase of technical feats – although they are certainly present – but rather a demonstration of how three masters at the peak of their abilities make music that is both intellectually challenging and emotionally satisfying. (Jan Vranken) (8/10) (GroundUp Music)
Westside Gunn & DJ Drama – Still Praying
The collaboration between Westside Gunn and DJ Drama on “Still Praying” had the potential to be promising but falls short. Drama’s experience with his Gangsta Grillz series and Gunn’s raw Buffalo sound fail to find harmony in this confusing mix. The production is caught between two worlds: the underground energy of Gunn’s Hitler Wears Hermes series and the polished sound that characterizes Drama’s recent successes. The result is a fragmented whole that never truly lands. “Max Caster” is one of the few bright spots, but it remains too brief to make a real impact. The excessive use of samples and ad-libs creates a messy soundscape that disrupts cohesion. The album seems to struggle with its identity, floating between gangsta rap and jazzy West Coast influences without choosing a clear direction. Technically proficient but emotionally distant, “Still Praying” never reaches its full potential. (Elodie Renard) (5/10) (Griselda Records)
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