Johan Budi
The global jazz landscape in the mid-2020s continues to be defined by a tension between the preservation of classical traditions and the pursuit of experimental fusion. Three recent releases—the Metropole Orkest’s Arakatak, Gianmarco Ferri’s Sweet and Lovely, and the duo project Dialogue Vol. II by Albert Marquès and Rachel Therrien—provide a comprehensive cross-section of this evolution. From the symphonic grandeur of the Netherlands’ most famous jazz export to the intimate, high-stakes communication of a trumpet-piano duo, these recordings illustrate the diverse methodologies currently driving the genre forward. While each project occupies a different stylistic niche, they collectively highlight the enduring relevance of the jazz idiom as a vehicle for both large-scale celebration and individual technical mastery.
The Metropole Orkest and the Grandeur of Arakatak
The Metropole Orkest, based in the Netherlands, has long been regarded as a premier institution in the world of hybrid orchestral music. Founded in 1945 by Dolf van der Linden at the behest of the Netherlands Public Broadcasting system, the ensemble has spent eight decades navigating the intersection of jazz, pop, and symphonic music. Unlike traditional symphony orchestras that occasionally "dip" into jazz, the Metropole is a permanent 50-piece "jazz orchestra" with a full string section, making it uniquely equipped to handle the complexities of modern big-band arrangements and cinematic scores.
On its latest release, Arakatak, the orchestra celebrates its 80th anniversary. Under the direction of Chief Conductor Miho Hazama, who assumed the role in 2020, the album serves as both a retrospective of the ensemble’s history and a showcase for its contemporary collaborators. Hazama, an acclaimed composer and arranger in her own right, brings a precise, "astute" direction to the project, managing the massive sonic resources of the ensemble without sacrificing the individual voices of the featured soloists.
Compositional Depth and Stylistic Conflict
The repertoire on Arakatak is notably diverse, featuring contributions from a "who’s who" of modern jazz. The title track, composed by French-horn player Morris Kliphuis, sets a high bar for the project. Other significant contributions come from saxophonists Tineke Postma and Donny McCaslin, drummer Mark Guiliana, and pianist Shai Maestro.
However, the album has faced critical scrutiny regarding its "non-minimalist" approach. Critics have noted that the sheer scale of the Metropole can sometimes overwhelm the subtleties of the compositions. For instance, Donny McCaslin’s Luminosity has been described by some as high-grade film music that lacks a visual counterpart, characterized by orchestral longueurs and a "timid rock beat." Similarly, Mark Guiliana’s The Most Important Question utilizes perky woodwinds and elaborate drumming to create an anthemic tumult that leans heavily into the "descriptively cinematic."
The album concludes with Louis Cole’s Doesn’t Matter, a track that highlights the inherent difficulties of musical fusion. With echoes of English rhapsodies for strings—reminiscent of Michael Tippett, Gerald Finzi, and Ralph Vaughan Williams—the piece raises questions about the boundaries of the jazz genre. Analysts suggest that Arakatak represents a "repository of possibilities," where various "imprisoned genres" attempt to coexist, sometimes successfully and sometimes with a sense of internal friction.
Gianmarco Ferri: Mainstream Excellence in Sweet and Lovely
In contrast to the symphonic scale of the Metropole Orkest, Italian guitarist Gianmarco Ferri offers a masterclass in the "muted hard-bop" style with his latest trio album, Sweet and Lovely. This release follows his 2024 effort, On The Scene, and continues his exploration of the guitar trio format, emphasizing a "good, relaxed all-round mainstream" aesthetic.
Ferri is a proponent of the post-bop tradition, with a technical facility that draws frequent comparisons to Wes Montgomery. His approach is characterized by a "super-cool" melodic sensibility and a commitment to the swing feel that defined the mid-century jazz era.
The Power of the Trio and American Collaborations
A significant factor in the success of Sweet and Lovely is the inclusion of American bassist Doug Weiss, who replaces Stefano Battaglia from the previous record. Weiss, known for his work with Al Foster and Chris Potter, brings an "uncompromising, Ray Brown-like drive" to the rhythm section. His presence is felt immediately, providing a commanding foundation for Ferri’s peregrinations. Drummer Luca Santaniello, a holdover from the 2024 sessions, rounds out the trio with a performance that offers a necessary contrast to Ferri’s often understated delivery.
The album’s tracklist is a mix of standards and originals:
- These Foolish Things
- Sweet and Lovely (Title Track)
- Butch and Butch (Oliver Nelson)
- I Hear A Rhapsody
- Friends (Ferri Original)
- You Missed The Turn (Ferri Original)
- Niño (Ferri Original)
- Laying It Down (Ferri Original)
The recording, captured in Civitavecchia on October 25, 2025, benefits from a close-mic technique that highlights the interplay between the three musicians. While Ferri may not be seeking to reinvent the wheel, his ability to make a standard like Oliver Nelson’s Butch and Butch swing, or to navigate the emotional depths of a ballad like You Missed The Turn, solidifies his position as a leading voice in the contemporary European mainstream scene.
Albert Marquès and Rachel Therrien: The Art of the Duo
The third pillar of recent jazz excellence is Dialogue Vol. II, a collaborative effort between American trumpeter Rachel Therrien and pianist Albert Marquès. Released via Chronograph Records, this album delves into the high-wire act of the trumpet-piano duo, a format with deep historical roots.
The historical significance of this pairing cannot be overstated. By stripping away the rhythm section, Marquès and Therrien place themselves in a lineage that includes the legendary 1928 "Weather Bird" recordings by Louis Armstrong and Earl Hines. More modern parallels can be found in the collaborations between Oscar Peterson and giants like Clark Terry or Harry Edison, as well as the avant-garde dialogues of Satoko Fujii and Natsuki Tamura.
Spontaneity and the Reimagining of Standards
Dialogue Vol. II is characterized by a "joyous spontaneity." The duo performs 13 charts, the majority of which are "enduring melodies of modern jazz." Tracks such as A Night In Tunisia, Yesterdays, Caravan, and My Funny Valentine are treated not as museum pieces, but as living frameworks for improvisation.
Marquès, whose virtuosity has been compared to that of Oscar Peterson, demonstrates an uncanny ability to fill the sonic space around Therrien’s trumpet. The duo’s approach is often "quixotic." For example:
- I Mean You: The piano commentary lapses into stride piano, adding a historical layer to the Thelonious Monk classic.
- On Green Dolphin Street: The tune emerges through a "gauze" of abstraction before asserting its melody.
- La Cucaracha: Postponed to the very end of the album, the track is transformed from a carnival anthem into a piece of "meditative gravity" through Therrien’s use of mutes.
The album also features three originals: Marquès’s Abraham Lincoln Brigade and the Spanish-inflected Formentera, and Therrien’s nostalgic Papa. These pieces provide a glimpse into the compositional identities of the two artists, complementing their interpretations of the Great American Songbook.
Chronology of Recordings and Industry Context
The release of these three albums marks a significant moment in the 2024-2025 jazz calendar. The timeline of their production reflects the global nature of the industry:
- October 2022: Albert Marquès and Rachel Therrien record Dialogue Vol. II in New York City, beginning a long post-production and release cycle.
- Early 2024: Gianmarco Ferri releases On The Scene, establishing the momentum for his follow-up.
- October 2025: Ferri records Sweet and Lovely in Civitavecchia, Italy, showcasing a rapid turnaround for his trio.
- 2025: The Metropole Orkest marks its 80th anniversary with the release of Arakatak, supported by V2 Records.
The distribution of these works through independent labels—V2 Records for the Metropole, WoW Records for Ferri, and Chronograph Records for Marquès/Therrien—underscores the vital role that niche labels play in sustaining jazz. These organizations provide the platform for "non-commercial" explorations that might be overlooked by major conglomerates.
Broader Impact and Analytical Implications
The emergence of these three disparate projects suggests several trends in the current jazz ecosystem. First, the "anniversary album" remains a potent tool for large ensembles like the Metropole Orkest to reaffirm their cultural standing while experimenting with modern composers. However, the critical reception of Arakatak suggests that as orchestras grow more "maximalist," they risk losing the "subtlety and history" that define the genre’s core.
Second, the success of Gianmarco Ferri indicates that there is still a robust market for "relaxed mainstream" jazz. In an era of high-concept experimentalism, the demand for well-executed hard-bop and swing remains a constant. Ferri’s collaboration with American musicians like Doug Weiss also points to the continued importance of trans-Atlantic partnerships in maintaining the "American link" to jazz’s origins.
Finally, the Dialogue Vol. II project by Marquès and Therrien proves that the most "quixotic" and "fun" moments in jazz often occur in the most intimate settings. By taking well-known tunes on "the journey of their lives," the duo demonstrates that the jazz canon is far from exhausted. Their ability to return these melodies "in good nick" while providing fresh surroundings is a testament to the creative vitality of the modern improviser.
In summary, while the Metropole Orkest grapples with the roar of its own symphonic power and Gianmarco Ferri perfects the art of the trio swing, Marquès and Therrien find the "sonic ambience" in the gaps between the notes. Together, these releases offer a comprehensive look at a genre that remains as diverse, contentious, and vibrant as ever.
