Artist: The Ali Ryerson Quartet
Album: The Ali Ryerson Quartet
Genre: Post-Bop
Label: ACR Music
Released: 2026
Quality: FLAC (tracks)
Tracklist:
1. Chuck's Tune / Solar 05:42
2. Cold Snap 07:37
3. Three and One 06:06
4. Flying in Space / Falling Grace 06:23
5. Before Today / Yesterdays 06:02
6. Começar de Novo (The Island) 05:44
7. Let's Call It Love / What Is This Thing Called Love? 05:30
8. AliCat Blues 04:45
9. Nada Como Ter Amor 05:27
10. Boppin' Low 06:14
11. Fé 06:44
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Personnel:
Ali Ryerson - flute
Larry Ham - piano
Lou Pappas - bass
Tom Melito - drums
Accomplished flutist Ali Ryerson is one of the most exciting proponents of the instrument in jazz. Over the course of a long career, both performing and teaching, she has honed a unique style. It is rooted in the Western classical tradition. Yet it has a boppish and soulful spontaneity. Her 17th release as a leader, simply titled The Ali Ryerson Quartet, showcases her masterful command of the instrument and signature sound.
The energetic "Chuck's Tune" is a perfect introduction to this effervescent album. After the band plays the main theme, each member takes a brief solo, setting the stage for Ryerson's intricately constructed improvisation. The flutist's agile lines flitter through the laid-back cadence, creating an impressionistic melody. Pianist Larry Ham takes center stage with a bluesy embellishment of the main theme. Bassist Lou Pappas follows with lyricism and elegance. Drummer Tom Melito's suave solo is punctuated by brief refrains from his bandmates, resulting in a delightful repartee.
This type of camaraderie marks the entire recording, giving it a dynamic structure. For instance, on the energetic "Before Today." Pappas tastefully interprets the main theme and exchanges vibrant phrases with Ryerson before the leader launches into a warm and captivating performance. Ham's response, as he takes his place in the spotlight, is mellifluous and polished. Ryerson then leads the ensemble in a lively collective discourse that ushers in the tune's exciting conclusion.
Ryerson tackles Brazilian bossa nova with the same sophisticated musicianship as American blues. The infectious groove of "Nada Como Ter Amor" that the side men create buoys Ryerson's resonant flute. Ryerson's well-structured extemporization, nevertheless, crackles with spontaneity and reserved passion. Ham adds a touch of romance to the song with his cascading notes, especially as he engages the leader in a graceful duet. The swinging "AliCat Blues," meanwhile, opens with Ham's crisp chords. The rhythm trio's vamps simmer with soul, perfectly complementing Ryerson's cool, haunting musings.
On this captivating set, Ryerson demonstrates her mature creativity and undampened, youthful enthusiasm. Ryerson and her side men craft music that is accessible without being humdrum and stimulating without being self-indulgent. The result is a charming and cohesive work that makes for a satisfying listen and should have a wide appeal.