By | Published January 2026
One of the defining characteristics of jazz in the 2020s has been the rise of the vibraphone from a peripheral and occasional instrument to a central one. The rise has been sparked by the emergence of virtuosos like Joel Ross and Patricia Brennan as well as the several up-and-coming performers like Sasha Berliner, Simon Moullier and Yuhan Su. It fits the trends in the music. Jazz in the 21st century has become more densely layered, more discretely percussive, and there’s a much greater emphasis on texture. The vibraphone with its resonances and versatility is a perfect fit for this moment.
Su’s new recording shows that the leading players are going beyond announcing themselves and easing out of the shadows of their major influences, a ritual for most young musicians; instead, she’s demonstrating unique compositional mettle and rare virtuosity.
The recording launches with “Pieces Peace,” a deftly orchestrated composition that showcases Yu’s solo style alongside elegant work from pianist Matt Mitchell, and a pithy feature for Anna Webber. Mitchell is also featured on the kaleidoscopic “Roaring Hours” creating a foundation for Su, guitarist Yingda Chen and Shinya Lin’s electronics. “Double Consciousness” might be the signature tune of this work, which is inspired by Su’s experience as an immigrant to America from Taiwan. At times, this recording feels like a savvy updating of Bobby Hutcherson’s classic Dialogue, and at times it feels like something wholly new that will be equally revered in decades to come.
