Johan Budi
The global jazz community is witnessing a significant period of creative output as three distinct projects—Kemuel Roig’s solo piano excursion Both Sides Now, The Phoenix Trio’s live recording Tomorrow Is Today, and Matthew Stevens’ self-titled studio album—demonstrate the evolving boundaries of the genre. These releases, spanning from early 2025 to 2026, represent a cross-section of modern jazz, ranging from the intimate, classically-infused solo performances of the Cuban-American tradition to the experimental, "pianoless" trio formats of the New York avant-garde, and the genre-blurring production of contemporary guitarists. Together, they highlight a trend toward deep introspection and the synthesis of decades of professional experience into definitive personal statements.
The Solo Introspection of Kemuel Roig: Both Sides Now
Kemuel Roig’s latest release, Both Sides Now, serves as a technical and emotional culmination of a career that began in the rigorous conservatory system of Cuba and matured in the vibrant jazz scene of Miami, Florida. Born in Cuba, Roig’s musical trajectory was established early; he began his piano studies at age four and by age eight was enrolled in the National Vocational Art School, where he dual-specialized in classical piano and percussion. This foundational training provided the rhythmic complexity and technical precision that would later define his professional work after his family’s relocation to the United States in 2002.
Upon arriving in Miami, Roig’s exposure to the American jazz idiom led him to the Frost School of Music at the University of Miami, a premier institution for jazz studies. His academic success paved the way for nearly a decade of high-level professional engagement, most notably touring with the legendary trumpeter Arturo Sandoval from 2010 to 2018 and guitarist Al Di Meola from 2018 to 2020. His collaborators have also included luminaries such as Brian Lynch, Chris Potter, and Giovanni Hidalgo, establishing him as a top-tier sideman before his transition to a focused solo career.
Both Sides Now is a solo piano recording that clocks in at 84 minutes, a substantial duration that demands both stamina and a vast repertoire of improvisational ideas. Recorded at 19 Oaks Studios in Miami in January 2026, the album is a collaborative production between Roig and Gary Galimidi. The technical choice of a Steinway piano and the intimate engineering are central to the album’s identity, creating a sonic space that emphasizes the nuances of Roig’s touch.
The repertoire is a sophisticated blend of the Great American Songbook, pop standards, and Latin classics. Notable tracks include:
- "How Can I Be Sure": A reimagining of the 1967 Young Rascals hit.
- "Don’t Explain": A brooding interpretation of the Billie Holiday and Arthur Herzog Jr. classic.
- "Both Sides Now": The Joni Mitchell title track which serves as the thematic anchor for the project.
- "Bésame Mucho" and "Solamente Una Vez": Nods to his Hispanic heritage, treated with the same classical-jazz synthesis found throughout the disc.
Industry analysts note that Roig’s approach avoids the common pitfalls of solo piano recordings—namely, over-sentimentality or technical bravado for its own sake. Instead, the album is characterized by "nuanced, delicate interpretations" that prioritize honesty over cliché.
The Phoenix Trio and the Evolution of the Pianoless Format
In contrast to Roig’s melodic introspection, The Phoenix Trio represents the "sharp-edged" and "urban" side of the contemporary jazz spectrum. The trio, a new collective consisting of tenor saxophonist Mark Turner, bassist Joe Martin, and drummer Marcus Gilmore, released Tomorrow Is Today following a series of live recordings at the Ornithology Jazz Club in Brooklyn, New York, in March 2025.
The "pianoless" trio is a demanding format in jazz, famously utilized by Sonny Rollins and later by the trio Fly, which also featured Mark Turner. Without a chordal instrument like a piano or guitar to provide a harmonic safety net, the responsibility for defining the structure and movement of the music falls entirely on the interplay between the saxophone, bass, and drums. Turner, a highly influential figure in modern jazz known for his complex harmonic language and altissimo range, brings a clinical yet deeply intellectual approach to this recording.
The album features six tracks, four of which were composed by bassist Joe Martin. The opening track, "The Fencer," is anchored by a pulsing bass line reminiscent of Art Pepper’s "Red Car," setting a high-energy, driving tone for the set. Another standout, "1946," serves as a tribute to trumpeter Tom Harrell, utilizing his composition "Helios" as a structural foundation.
Critics have described the album as "hard-edged" and "sometimes difficult to warm to," reflecting a broader trend in the New York scene toward music that is technically accomplished but intentionally "inaccessible." The closing track, "Safe," begins with an extended drum solo by Marcus Gilmore—grandson of the legendary Roy Haynes—before building into a "frenetic" climax with the full trio. The album was released via Giant Steps Arts, a non-profit label and arts organization known for supporting innovative jazz musicians through high-quality live recordings.
Matthew Stevens: A Twenty-Year Artistic Culmination
The third pillar of this contemporary landscape is the self-titled album by guitarist Matthew Stevens. Released through Candid Records, the album is described by Stevens as the most personal reflection of his career to date, summarizing two decades of work as a producer, sideman, and composer. Stevens has long been a sought-after collaborator, working with Esperanza Spalding, Terri Lyne Carrington, and Christian Scott aTunde Adjuah.
The eponymous album Matthew Stevens is notable for its stylistic breadth, which Stevens attributes to his multifaceted experience in the studio. Unlike the singular focus of Roig or the specific format of The Phoenix Trio, Stevens’ project utilizes a large ensemble of collaborators to create a varied sonic palette. Participants include vibraphonist Joel Ross, keyboardist Chris Fishman, and drummers Eric Doob and Terri Lyne Carrington.
The album is structured with a distinct contrast between its "bookends" and its "heart":
- The Experimental Periphery: The opening track "Take Heart" and the closing "The Air Is Thick" are characterized by distorted, frenetic compositions. These tracks utilize electronic manipulation to create "alien and cold" soundscapes, showcasing Stevens’ interest in the intersection of jazz and experimental rock.
- The Melodic Core: The middle of the album shifts toward warmer, more accessible textures. Tracks like "1000 Times" and "Edgewood" lean into melodicism, while "Alberta"—featuring vocals by Anna B Savage—is a stark, intimate folk ballad that highlights Stevens’ ability to operate within the simplicity of traditional song structures.
Chronology and Production Context
The release of these three albums marks a significant timeline in the mid-2020s jazz market:
- March 2025: The Phoenix Trio records Tomorrow Is Today live at Ornithology Jazz Club, capturing the raw energy of the New York scene.
- May 2025: Matthew Stevens completes the recording sessions for his self-titled album in Los Angeles, utilizing a diverse array of West Coast and East Coast talent.
- January 2026: Kemuel Roig records Both Sides Now in Miami, representing the most recent of the three sessions and a shift toward expansive solo projects.
Industry Implications and Critical Reception
The divergent paths taken by these artists provide a snapshot of the current state of the jazz industry. Roig’s work on Both Sides Now suggests a resurgence in the popularity of solo piano albums that prioritize high-fidelity engineering and "intimate atmospheres." This trend aligns with the growing demand for "mindful" or "introspective" listening experiences in the digital streaming era.
Conversely, The Phoenix Trio’s Tomorrow Is Today reaffirms the importance of the live venue as a laboratory for high-level improvisation. While some listeners find the "urban, sharp-edged" sound of the pianoless trio challenging, it remains a vital area of exploration for musicians seeking to push the boundaries of harmonic freedom.
Matthew Stevens’ self-titled release illustrates the "producer-as-artist" model, where the album is not just a collection of songs but a curated journey through various textures and moods. By blending distortion with folk-like simplicity, Stevens mirrors the eclectic listening habits of modern audiences who no longer adhere to strict genre boundaries.
Conclusion
As the jazz world moves through 2025 and 2026, the works of Kemuel Roig, The Phoenix Trio, and Matthew Stevens stand as benchmarks for their respective sub-genres. Roig offers a masterclass in the fusion of classical technique and Cuban soul; The Phoenix Trio provides a rigorous, unsentimental look at the power of the live ensemble; and Stevens presents a kaleidoscopic view of the modern guitar’s possibilities. Together, they confirm that while the methods and moods may vary, the commitment to technical excellence and personal honesty remains the driving force of the contemporary jazz idiom.
