Johan Budi
The landscape of contemporary jazz has undergone a significant transformation in the final quarters of 2024 and the onset of 2025, marked by a series of releases that challenge traditional genre boundaries while reinforcing the technical foundations of the medium. Three distinct projects—Gordon Grdina’s Nomad Trio with Ash, Mark Lockheart’s Shapeshifter, and Steve Wilson’s Enduring Sonance—provide a comprehensive cross-section of the current state of the industry. These recordings highlight a shift toward group-generated compositions, the integration of non-Western instrumentation, and a refined approach to the hard-bop tradition. Collectively, they illustrate how modern jazz musicians are navigating the tension between historical reverence and the necessity for avant-garde exploration.
Gordon Grdina’s Nomad Trio: Technical Synthesis and Global Fusion
Gordon Grdina, the Juno Award-winning guitarist and oud player, has released Ash, the third installment from his Nomad Trio. This ensemble, featuring pianist Matt Mitchell and drummer Jim Black, represents a specific subset of the New York jazz scene that prioritizes high-intensity improvisation within complex, non-linear structures. Recorded at Eastside Sound in New York City, Ash serves as a document of a group that has moved beyond the initial phase of discovery into a period of deep, intuitive cohesion.
The compositions on Ash are credited entirely to Grdina, yet the execution suggests a collaborative blurring of the lines between written notation and spontaneous creation. Industry analysts note that Grdina’s work often occupies a space outside the post-bop mainstream, drawing comparisons to the visceral energy of Sonny Sharrock and the structural complexity of Joe Morris. However, Ash differentiates itself through its use of the oud, a fretless Middle Eastern lute. On tracks such as "Ejdeha" and "Huzam," the inclusion of the oud shifts the harmonic palette of the trio, forcing Mitchell and Black to adapt their rhythmic and melodic responses to a microtonal framework.
The recording’s technical profile is defined by Jim Black’s "broken back-beat," a drumming style that avoids traditional time-keeping in favor of an anchoring point that allows for fluctuating dynamics. This approach is particularly evident in "Simultanism," a track that has been described as a diametric opposite to the "smooth fusion" era of the late 20th century. Instead, it aligns more closely with the progressive rock movements of the 1970s, prioritizing form and experimentalism over empty virtuosity.
Mark Lockheart and the Evolution of the Trio Format
In April 2025, saxophonist Mark Lockheart, bassist Huw V. Williams, and drummer Jay Davis recorded Shapeshifter at Lightship Studios in London. Released on Subtone Records, this project highlights a growing trend in the European jazz circuit: the move away from the Great American Songbook as the primary benchmark for artistic credibility. The album consists of group-generated compositions that emphasize the specific chemistry of the trio rather than the interpretation of established standards.
The chronology of this recording coincides with a broader debate within the jazz community regarding "compositional longevity." Historically, a jazz musician’s stature was often measured by their ability to reinvent popular standards. However, Shapeshifter suggests that modern credibility is increasingly tied to the development of a unique, group-specific repertoire. Lockheart, a veteran of the British jazz scene known for his work with Loose Tubes and Polar Bear, utilizes both the tenor saxophone and bass clarinet to create a textured, often uneasy atmosphere.
A notable feature of Shapeshifter is the strategic use of studio overdubbing, particularly on the tracks "A Good Place" and "Rule Of Three." While jazz has traditionally been viewed as a "live-to-tape" medium, Lockheart and Williams utilize overdubs to expand the sonic capabilities of the trio. This technique allows for a layered sound that suggests a larger ensemble while maintaining the intimacy of a three-piece group. Data from independent jazz labels suggest that this "hybrid" recording style—combining live interaction with post-production layering—is becoming a standard practice for small ensembles looking to differentiate their sound in a saturated digital market.
Steve Wilson’s Enduring Sonance: Preserving the Hard Bop Legacy
While Grdina and Lockheart push toward the avant-garde, saxophonist Steve Wilson’s Enduring Sonance reinforces the enduring relevance of the hard-bop and contemporary mainstream traditions. Recorded at Power Station, Studio A, in New York City in September 2025, the album features a quintet of seasoned professionals, including pianist Renee Rosnes, vibraphonist Joe Locke, bassist Jay Anderson, and drummer Kendrick Scott.
Wilson, who has appeared on nearly 200 recordings over several decades, represents the "veteran" tier of the industry. Enduring Sonance is released through Smoke Sessions Records, a label known for its high-fidelity captures of live-feeling studio sessions. Unlike the previous two albums discussed, Wilson’s project includes interpretations of outside material, such as Gino Vanelli’s "The Surest Things Can Change" and Michel Legrand’s "Pieces Of Dreams."
The inclusion of these tracks serves as a fact-based rebuttal to the idea that the era of the "jazz standard" is over. Instead, Wilson identifies contemporary compositions that possess the melodic and harmonic depth necessary for sophisticated jazz interpretation. The collaboration between Rosnes and Locke is particularly significant; their cooperative framing of Wilson’s solo work on "Helen’s Song" demonstrates a level of technical synergy that only comes from long-term musical associations. Analysts suggest that Enduring Sonance achieves a "timeless" quality by prioritizing emotional depth and refined expression over stylistic novelty.
Comparative Chronology and Recording Context
The recording dates and locations of these three albums provide insight into the geographical hubs of modern jazz production:
- Gordon Grdina’s Nomad Trio (Ash): Recorded at Eastside Sound, NYC. This studio is a cornerstone for the city’s experimental and "downtown" scenes, facilitating the high-energy, complex sessions required for Grdina’s fusion of oud and jazz guitar.
- Mark Lockheart (Shapeshifter): Recorded April 2025 at Lightship Studios, London. The choice of a London-based studio reflects the thriving UK jazz scene, which has increasingly asserted its independence from American stylistic dominance.
- Steve Wilson (Enduring Sonance): Recorded September 9–10, 2025, at Power Station, NYC. The use of Studio A at Power Station—a legendary room known for its acoustics—indicates a commitment to the "big room" sound of classic jazz quintets.
The timeline of these releases indicates a robust year for jazz, with major statements being issued from both established masters and mid-career innovators. The fact that these recordings occurred within months of each other suggests a synchronized effort across various labels (Attaboy Girl, Subtone, and Smoke Sessions) to maintain the momentum of the genre in a post-streaming economy.
Industry Implications and Market Trends
The release of Ash, Shapeshifter, and Enduring Sonance points to several broader implications for the jazz industry. First, the diversity of the "trio" format is expanding. From Grdina’s oud-led world-fusion to Lockheart’s overdubbed modernist structures, the trio is no longer confined to the piano-bass-drums or sax-bass-drums archetypes.
Second, the market is seeing a bifurcation between "original-heavy" projects and "interpretive" projects. Labels like Smoke Sessions continue to find success by documenting the mastery of veterans like Steve Wilson through high-quality recordings of sophisticated melodies. Conversely, independent labels like Attaboy Girl are catering to a niche audience that values the dissolution of traditional forms and the integration of global instruments.
Finally, the technical proficiency required for these works remains at an all-time high. Whether it is the microtonal demands of the oud, the rhythmic complexity of "broken back-beats," or the nuanced delivery of a Michel Legrand ballad, the 2025 jazz landscape demands a level of versatility that spans multiple centuries of musical tradition.
Conclusion: A Multi-Faceted Future
The simultaneous presence of Gordon Grdina’s Nomad Trio, Mark Lockheart’s ensemble, and Steve Wilson’s quintet in the current release cycle illustrates the healthy plurality of modern jazz. There is no longer a single "mainstream" path; rather, the genre has fractured into several high-functioning ecosystems. Grdina provides the edge and global perspective, Lockheart provides the structural innovation and studio exploration, and Wilson provides the foundational excellence and emotional resonance. Together, these artists ensure that the "sonance" of jazz remains as enduring as it is evolving.
