Johan Budi
The global jazz landscape continues to diversify as established veterans and emerging innovators release works that span the spectrum from traditionalist straightahead arrangements to avant-garde big band experiments and classically influenced conceptual suites. The simultaneous emergence of these three distinct projects—the Peter Furlan Project’s live recording, Fergus Quill’s "The New Atomic," and Luke Bainbridge’s "Petstep"—offers a comprehensive look at the state of the genre in the mid-2020s. These releases demonstrate not only the technical proficiency of modern improvisers but also a growing trend toward cross-genre integration, where jazz intersects with classical theory, electronic textures, and hip-hop sensibilities.
The Enduring Vitality of Straightahead Jazz: The Peter Furlan Project
Peter Furlan, a seasoned saxophonist, composer, and educator, has long been a pillar of the New York jazz scene. His career, which includes collaborations with legendary figures such as Dizzy Gillespie and Frank Foster, as well as commercial giants like The Temptations and The Four Tops, provides the foundation for his latest release, Live At Maureen’s Jazz Cellar. Recorded in Nyack, New York, in June 2025, this album captures Furlan leading a nonet through a series of original compositions and arrangements that prioritize the "straightahead" aesthetic.
Furlan’s versatility is well-documented; while he co-leads the ensemble Mr. Gone with pianist Neil Alexander—a group dedicated to the electric fusion of the 1970s and 80s—his work at Maureen’s Jazz Cellar represents a deliberate return to acoustic purity. The only electronic element present in this performance is the guitar of Joel Newton, allowing the natural resonance of the brass and woodwinds to dominate the soundstage. The ensemble, featuring Vinnie Cutro on trumpet and flugelhorn and Erick Storckman on trombone, operates with a level of precision typical of a unit that has spent significant time in rehearsal and performance.
The repertoire on the live date includes "Perfidia," an original composition that shares a title with the Glenn Miller classic but remains a distinct creative entity. The track "Mrs. Clean Freak" and the opener "Introductions" showcase Furlan’s ability to write for a nine-piece ensemble, creating a sound that is richer than a quintet but more nimble than a full big band. Analysis of the performance suggests that while the solos remain within the boundaries of traditional jazz idioms, the collective synergy of the group provides a "tight-knit" delivery that serves as a testament to the longevity of the bebop and post-bop traditions.
Large Ensemble Deconstruction: Ferg’s Imaginary Big Band and the Modern Big Band Tradition
In stark contrast to the disciplined acoustic arrangements of the Furlan Project, Fergus Quill’s "The New Atomic" presents a radical reimagining of the big band format. Released under Trash City Records, the album utilizes a provocative cover image—a black-and-white mushroom cloud—that directly references the 1958 classic The Atomic Mr. Basie. However, the similarity is purely aesthetic. Quill’s ensemble, which involves over 40 musicians, moves far beyond the swing-era conventions established by Count Basie.
The opening track, "J Surfing On Saturn," serves as a manifesto for the group’s eclectic approach. It features abrupt tempo shifts, classical piano interludes, and hints of marching band orchestration, all layered with electronic effects. This "mood-shifting" quality is a hallmark of the release, as Quill attempts to bridge the gap between Ellingtonian reed textures and contemporary cinematic soundscapes. The track "Besszilla," which identifies the titular character as the "Queen Of The Monsters," exemplifies the playful, almost theatrical nature of the project.
Despite its experimental leanings, "The New Atomic" does not entirely abandon the past. The ballad "Same Sky" features a traditional female vocal and a sweet alto saxophone solo, providing a moment of respite that suggests the band is capable of authentic swing when it chooses to be. The album concludes with a rendition of the spiritual "I Shall Not Be Moved," performed by a vocal choir and horn section. This blend of the sacred and the profane, the traditional and the experimental, positions Ferg’s Imaginary Big Band as a disruptive force in the modern large-ensemble category, appealing to listeners who favor innovation over purism.
Conceptual Architecture and Emotional Resonance: Luke Bainbridge’s Petstep
The third pillar of this contemporary jazz survey is Luke Bainbridge’s Petstep, a project that sits at the intersection of jazz, classical music, and contemporary urban sounds. Bainbridge, an award-winning drummer and composer, leads from the drum stool, a tradition established by greats like Max Roach and Art Blakey. However, Bainbridge’s approach is heavily informed by formal composition techniques, specifically "palindromic" structures that offer a sense of angular, logical progression.
The inspiration for Petstep is deeply personal, stemming from the death of the family dog, Olive. Bainbridge has described the album as a subtle exploration of grief, influenced by figures as diverse as the French composer Olivier Messiaen and the underground hip-hop producer MF Doom. This duality is most evident on the track "Spillage In The Village," which incorporates jazz-rap elements, challenging the listener’s preconceived notions of genre boundaries.
The instrumentation on Petstep is notably unique, featuring Kieran McLeod on trombone and Ralph Wyld on vibraphone. The absence of a traditional chordal instrument like a piano or guitar—replaced by the metallic shimmer of the vibes—creates a transparent, airy texture. Huw V Williams’ mobile bass lines provide the necessary anchor for Bainbridge’s "restless" drumming. Tracks like "It’ll Pass" offer tangible melodies that hint at classical influences, while "Hell’s Stairwell" and "Septstep" require multiple listens to fully grasp their complex, mirror-like constructions.
Chronological Overview of Recording and Production Timelines
The production of these three albums occurred within a two-year window, reflecting a high level of activity in the independent jazz sector despite the economic challenges facing the music industry.
- July 15–16, 2024: Luke Bainbridge records Petstep. The sessions focused on capturing the interplay between the trombone and vibraphone, utilizing the "palindromic" scripts Bainbridge developed during his period of mourning.
- June 20–21, 2025: The Peter Furlan Project records Live At Maureen’s Jazz Cellar in Nyack, NY. These recordings captured the energy of a live audience, which Furlan cited as essential for the "straightahead" feel of the nonet.
- Late 2025 – Early 2026: Fergus Quill finalizes the production of The New Atomic for Trash City Records. The large-scale nature of the project, involving 40+ musicians, required extensive post-production to manage the "electronic wizardry" and the muddy recording textures inherent in such a massive ensemble.
Structural Analysis and Personnel Distribution
An examination of the personnel involved in these projects reveals a significant overlap in the professional jazz community, particularly in the New York and UK scenes.
- The Peter Furlan Nonet: This group is built on a standard jazz hierarchy. Vinnie Cutro (trumpet) and Neil Alexander (piano) serve as the primary foils to Furlan’s saxophone. The inclusion of both alto and baritone saxophones (Andrew Beals and Bard Hubbard) provides the harmonic depth necessary for the nonet’s "crisp" ensemble work.
- Ferg’s Imaginary Big Band: With over 40 musicians, this is less a band and more a community collective. The sheer volume of performers allows for the "marching band" and "vocal choir" effects seen in the tracklist. The logistics of such a group suggest a move toward "session-based" big bands rather than the permanent touring orchestras of the 1940s.
- The Bainbridge Quartet: This smaller, agile unit relies on the technical dexterity of Ralph Wyld. The vibraphone serves as both a melodic and harmonic engine, allowing the trombone of Kieran McLeod to explore a "true sound" without competing with a piano’s overtones.
Broader Implications for the Global Jazz Marketplace
The release of these three albums suggests several key trends in the current jazz market. First, there is a clear appetite for "live" documentation, as seen with Furlan’s project. In an era of digital perfection, the raw, unedited energy of a live club date at a venue like Maureen’s Jazz Cellar holds significant value for purists.
Second, the "Big Band" is being reclaimed by a younger generation of musicians who are not bound by the swing-era playbook. Fergus Quill’s use of the Basie imagery coupled with electronic distortion signals a postmodern approach to jazz history—one that respects the iconography of the past while subverting its musical rules.
Finally, Luke Bainbridge’s Petstep highlights the increasing academicization of jazz, where complex mathematical concepts like palindromes are used to drive emotional narratives. This "intellectual jazz" caters to a niche but dedicated audience that values the intersection of musicology and performance.
Collectively, these works confirm that jazz remains a "broad church." Whether it is the straightahead reliability of the Peter Furlan Project, the chaotic maximalism of Ferg’s Imaginary Big Band, or the disciplined conceptualism of Luke Bainbridge, the genre continues to evolve by looking both backward at its traditions and forward at the possibilities of cross-disciplinary art. The diversity of these releases ensures that the jazz discography of the mid-2020s will be remembered as a period of significant stylistic pluralism and creative resilience.
