Johan Budi
The contemporary jazz landscape in 2025 continues to be shaped by a synthesis of archival reverence and avant-garde experimentation, as evidenced by a series of high-profile releases from the GleAM, Jazzland, and ECM labels. This period of artistic production highlights a significant cross-generational dialogue, ranging from the debut of French trumpeter Jean-Baptiste Rousseaux to the evolution of established figures like Norwegian guitarist Eivind Aarset and American vocalist-composer Judith Berkson. These releases underscore the diversifying aesthetics of the genre, where classical discipline, indie-rock sensibilities, and liturgical traditions intersect to redefine the boundaries of modern improvised music.
The Rise of Jean-Baptiste Rousseaux and the Strategic Evolution of GleAM Records
The Italian record label GleAM, under the direction of Angelo Mastronardi, has recently entered what industry analysts describe as a "new chapter." This strategic shift was catalyzed by the high-profile 2025 release of More Than You Know, a double-CD set featuring a previously unreleased 1981 concert by tenor saxophone legend Dexter Gordon in Genoa. The archival recording, which features Gordon alongside pianist Kirk Lightsey, bassist David Eubanks, and drummer Eddie Gladden, set a high standard for production quality and historical documentation. By pairing such archival treasures with contemporary talent, GleAM has positioned itself as a bridge between the golden age of American jazz in Italy and the modern European scene.
Central to this new chapter is the debut release of Jean-Baptiste Rousseaux, titled Kaveriot Korridor. Born in Clermont-Ferrand in 2001, Rousseaux represents the latest generation of French jazz musicians emerging from the rigorous conservatory system. A 2019 graduate of the Vichy Conservatory, Rousseaux has rapidly ascended within the European circuit, noted for a trumpet sound that combines technical clarity with expressive modulation.
Technical Analysis of Kaveriot Korridor
Kaveriot Korridor serves as a testament to Rousseaux’s dual capability as a composer and a soloist. The album’s architecture is rooted in a modernist jazz sensibility, yet it incorporates a disciplined approach to dynamics and structure that reflects an engagement with contemporary classical music. The repertoire choice is telling: it includes a rendition of Sonny Rollins’s "Airegin," a staple of the hard-bop era, alongside Gordon Jenkins’s "Goodbye." The latter is presented as a double-tracked solo performance, showcasing Rousseaux’s ability to manipulate texture and harmony in a solitary setting.
The ensemble performance on the album is marked by a high degree of organic interplay. Bassist Konrad Waldert provides a foundational role, utilizing both pizzicato and arco techniques to create a resonant, patient sound, particularly evident on the track "Intro." Drummer Gianbattista Di Genio contributes a vibrant, shifting energy that draws comparisons to the organic, "free-bop" style of Don Cherry. The inclusion of Canadian guitarist Alex Goodman on tracks like "Emmêlées Ancolies" and "Duo Grave Alla Rava" adds a layer of harmonic complexity, further elevating the project’s sophisticated aesthetic.
Eivind Aarset and the Rhythmic Shift in Nordic Jazz
In Norway, the Jazzland Recordings label has released Strange Hands, the latest effort from the Eivind Aarset 4tet. Aarset, a pivotal figure in the post-Terje Rypdal landscape of European guitarists, has long been associated with the "Norwegian sound"—a mix of ambient textures, electronic processing, and spacious improvisation. While his previous work, such as the 2012 ECM release Dream Logic, leaned heavily into enfolded acoustic and amplified moods, Strange Hands signals a move toward more "restless" and rhythmically assertive territory.
The Influence of Indie Rock and Funk
The 2025 quartet session is characterized by what the label describes as a "lean" and "stubborn" rhythmic approach. Tracks like "Snow Crash" and "Slumberjack" utilize insistent backbeats that lean toward indie rock, a departure from the more fluid, rubato textures often associated with Aarset’s earlier output. "Space Bob" introduces a lopsided riff that flirts with funk and blues without fully committing to either genre, creating a sense of tension and unresolved energy.
This stylistic shift has prompted discussions regarding the evolving nature of jazz-rock fusion. While traditionalists might find the "stadium-rock" undertones of the backbeats polarizing, the album’s deeper layers offer significant rewards. "Deep Green" features the pullankulal (a traditional South Indian flute) played by Mira Thiruchelvam, paired with violin figures from Sara Övinge. This integration of global folk instruments and Western strings provides a meditative counterpoint to the album’s more aggressive rhythmic sections. The title track, "Strange Hands," and "What Drifts Below" continue this exploration of eerie, slow-motion soundscapes, suggesting that Aarset’s quartet remains committed to sonic world-building even as they embrace more rigid rhythmic structures.
Judith Berkson: A Synthesis of Liturgy and the Avant-Garde
The third major pillar of this contemporary survey is Judith Berkson’s Thee They Thy, released on the prestigious ECM label. Berkson, a mezzo-soprano, pianist, and composer born in 1977, brings a formidable academic and performance background to her work. Having studied under Joe Maneri at the New England Conservatory and earned a doctorate from the California Institute of the Arts, her work is frequently cited as a pinnacle of intellectual and emotional rigour in modern vocal jazz.
Interdisciplinary Collaboration and Compositional Depth
Recorded in Mount Vernon, New York, in July 2021, Thee They Thy features Berkson in a trio setting with bassist Trevor Dunn and drummer Gerald Cleaver. The album is notable for its refusal to adhere to conventional melodic or lyrical structures. Berkson’s vocal style, which includes acrobatic leaps and minimalist phrasing, has been compared to the work of Meredith Monk, though it remains firmly rooted in her own compositional voice.
The album’s repertoire includes "V’shamru," a piece of Jewish liturgical music, which Berkson reimagines through a lens of modern improvisation. This intersection of sacred tradition and the avant-garde is a hallmark of Berkson’s career, following her 2010 solo release Oylam. On tracks like "Torque," the trio’s interaction reaches a level of intensity reminiscent of Cecil Taylor, with edgy, pulsing phrases that challenge the listener’s perceptions of time and harmony. The lyrical content, featuring poems that evoke the minimalism of Robert Creeley, adds a literary dimension to the music, making Thee They Thy a demanding but ultimately rewarding addition to the ECM catalog.
Chronology and Industry Context
The timeline of these releases illustrates the varying speeds at which the jazz industry operates. While the Judith Berkson session was recorded in 2021, its release in the mid-2020s reflects the careful curation and post-production timelines typical of ECM. Conversely, the Jean-Baptiste Rousseaux recordings from November 2024 were brought to market relatively quickly by GleAM, highlighting the label’s agility and commitment to capturing the "now" of the European scene.
| Artist | Album | Label | Recording Date | Key Personnel |
|---|---|---|---|---|
| Jean-Baptiste Rousseaux | Kaveriot Korridor | GleAM Records | Nov 2024 | Konrad Waldert, Gianbattista Di Genio |
| Eivind Aarset 4tet | Strange Hands | Jazzland | c. 2025 | Audun Erlien, Erland Dahlen, Wetle Holte |
| Judith Berkson | Thee They Thy | ECM | July 2021 | Trevor Dunn, Gerald Cleaver |
Broader Impact and Implications for the Genre
The convergence of these three distinct projects points toward several broader trends in the global jazz market. First, the role of the independent European label remains paramount. GleAM (Italy), Jazzland (Norway), and ECM (Germany) continue to act as the primary conduits for both regional talent and international collaborations, often outperforming major US labels in terms of artistic risk-taking.
Second, the educational background of these artists—ranging from the French conservatory system to elite American institutions—suggests that the future of jazz is increasingly "literate." The music of Rousseaux and Berkson, in particular, demonstrates a deep knowledge of music theory and history, which they use not to replicate the past, but to dismantle and reconstruct it.
Finally, the reception of these works indicates a shift in audience demographics. The inclusion of indie-rock rhythms in Aarset’s work and the minimalist, almost "indie-classical" feel of Berkson’s vocals suggest an attempt to engage with listeners outside the traditional jazz "bubble." As the genre continues to evolve, the ability to integrate diverse influences while maintaining a core of improvisational integrity remains the hallmark of its most successful practitioners.
In conclusion, the releases by Jean-Baptiste Rousseaux, Eivind Aarset, and Judith Berkson represent a vibrant cross-section of the current jazz environment. Whether through the lens of a young trumpeter’s debut, a veteran guitarist’s rhythmic experimentation, or a vocalist’s liturgical avant-garde, these albums confirm that jazz in 2025 is a robust, multifaceted, and increasingly global art form.
