With the Hammond organ riding a wave of visibility it hasn’t seen since late-‘60s soul jazz, what better stratagem than a tribute to one of the avatars of that sound? Brian Charette first established himself in New York playing at a Harlem club on an organ that once belonged to “Brother” (or “Captain”) Jack McDuff, whose vinegary sound and soulful licks Charette successfully channels and extends on You Don’t Know Jack!

It’s not an album of McDuff’s music, per se; only two of his tunes, the blues “Jolly Black Giant” and the bossa nova “6:30 In The Morning,” stand against originals by Charette (and one by tenor saxophonist Cory Weeds, who also produced the album in Vancouver). But it groks the sound and style that made McDuff tick, compositionally — place Charette’s opening “Early America” next to McDuff’s 1969 “Theme From An Electric Surfboard” and see if they’re not congruent — and improvisationally. “Microcosmic Orbit” might sound like a title from a Sun Ra record, but it’s a vehicle for the kind of punctilious, singsong phrasings that McDuff loved. (Not to mention his weirdly scratchy organ timbre; I don’t know how the hell McDuff made that sound, but Charette does.)

All that is not to say that there’s no originality on You Don’t Know Jack! The title track, oddly enough, features Charette playing a hiccup-y blues line that Jack would probably never touch. And while Weeds and guitarist Dave Sikula easily evoke the greasy, gritsy feel of down-home soul jazz, neither conjures the sound of any instrumentalist in particular. (As for drummer John Lee, he simply and tastefully swings: What else is there?) What’s more, Weeds’ “You Don’t Know Joan” is a Bird-style bebop head that, for its six-minute length, recontextualizes the whole affair. Delicious.

Sometimes you just need some trippy music from an artist who’s painting well outside the lines in bright, bold colors. Enter Elliot Galvin, a sound-surfing keyboardist, composer and improviser. Galvin is well-known in his native England through four previous leader recordings as well as his associations with Shabaka Hutchings, Emma-Jean Thackray, Norma Winstone and many more. The album title comes from “the ruins we live with, how we can construct something new from the ashes of what came before, but first we must burn it down, the creative act of destruction,” says Galvin in press notes for the recording. And from that, the album takes on a film noir soundtrack vibe, beginning with “A House, A City,” which employs some cool synth sounds and studio effects sliding into some beautiful solo piano work performed on the first instrument he played as a child. “Still Under Storms” delivers a bit of avant punk nuance with killer, intense synth statements along with a simple, vibrate-your-bones bass line from Ruth Goller (who also delivers some neat atmospheric vocalese elsewhere on the album) and a stanky drum line by Sebastian Rochford. The aforementioned Hutchings makes a guest appearance on several tracks, like the grooving “Gold Bright” (a highpoint of this album) and “High And Wide,” a truly wonderful, atmospheric breath of exploring space with minimalism. Compare that to the bombastically loud “As If By Weapons,” which pulls no punches while indulging in Galvin’s sheer joy of, well, making noise. You can almost see him smiling as this one dives into your ears and stays there, especially with its almost church-like ending. Throughout the recording the Ligeti String Quartet plays a major role — sometimes accenting and tweaking through a tune like “In Concentric Circles,” other times quietly guiding listeners to a more thoughtful space, as on “Giants Corrupted.” If you’re looking for easy listening, you won’t find it here. Elliot Galvin is an explorer with great vision. He has something to say to the world in a voice that is distinct, thoughtful and appealing to listeners who like their music with a double shot of experimentation.

Guitarist Dave Stryker and large-ensemble arranger Brent Wallarab, fellow members of Indiana University’s jazz faculty and kindred movie buffs, get dramatic and cinematic on this 11-song program of music from some of their favorite films, and perhaps yours as well. The highly listenable tracks on Stryker With Strings Goes To The Movies consist of lush, panoramic orchestrations awash in melody and rife with thematic jazz improvisations — a nostalgic submersion into a captivating world of widescreen wonder. Stryker, the perpetually touring guitarist whose prodigious output of small-group jazz and organ-combo albums and headlining gigs dates back decades, and Wallarab, longtime co-leader of the repertoire-diving Buselli-Wallarab Jazz Orchestra, previously teamed up in 2023 to work on music for a public TV broadcast celebrating the centennial of Indiana jazz legend Wes Montgomery. They take their collaboration to new depths and heights on Stryker With Strings Goes To The Movies, which also serves as a followup to the guitarist’s previous release with rhythm section and strings, 2022’s As We Are. The orchestra here is 30-strong, with strings, brass and a New York-style rhythm section of pianist Xavier Davis, bassist Jeremy Allen and drummer McClenty Hunter, complemented by a marquis’ worth of jazz soloists in saxophonist Greg Ward, violinist Sara Caswell, trumpeter Mark Buselli and trombonist Jim Pugh. Highlights include Peter Gabriel’s “In Your Eyes” (from the 1989 teen romance Say Anything), a bossa-grooving “You Only Live Twice” (John Barry’s theme for the 1967 James Bond film), a noir-ish “Taxi Driver” (composed by Bernard Herrmann for Martin Scorsese’s famous 1976 film), a funky-burning romp through Isaac Hayes’ “Theme From Shaft” (from Gordon Parks’ 1971 blaxploitation film), a hard-swinging “Flirtbird” (one of Duke Ellington’s themes written for Otto Preminger’s 1959 courtroom drama Anatomy of a Murder), a balladic “Dreamsville” (written by Henry Mancini for Blake Edwards’ Peter Gunn movie and TV show) and a gorgeous quartet version of Rodgers and Hammerstein’s “Edelweiss” (from 1965’s The Sound of Music), taken as a jazz waltz sans strings and brass. For a complete track listing and other essential information about Stryker With Strings Goes To The Movies, be sure to check out the album’s 16-page booklet with detailed, insightful notes by David Brent Johnson of WFIU Public Radio in Bloomington, Indiana. And, to experience Stryker in a live small-group context, go see his Jan. 24–26 shows at New York’s Birdland with organist Jared Gold, tenor saxophonist Troy Roberts and drummer Hunter (Rob Dixon joins the fold on tenor sax Sunday night only).

There’s a seeming paradox at work on Give Way, the joint debut recording by trumpeter Emily Mikesell and saxophonist Kate Campbell Strauss. The project ostensibly centers on the intimacy of the duo’s friendship and collaboration; yet intimacy is not what we hear, with each player overdubbing themselves into a dense ensemble of horns. Nor is there much spontaneity in these through-composed pieces. The writing was apparently done rather spontaneously, with some improvisation at some point as well, but by the time we receive these six short but multi-layered tracks they’ve been pretty well worked over.

Ignore all that. What Give Way lacks in intimacy and spontaneity it makes up in gorgeousness, pure and simple. Who cares about the mechanics behind the cascading “WWYD” or the lightly contrapuntal “Give Way” when one can simply absorb the exquisite sounds for their own sake? If the intricate, interlocked voicings that vivify “Recipes” weren’t banged out at the spur of the moment, are they less enchanting?

The two players do account for and respond to each other as the pieces progress. Mikesell’s longing, gauzy trumpet melody on the opening “Cloud Castles” is balanced by Campbell Strauss’ call-and-response with themselves later in the piece, each musician providing obbligato punctuation for the other. “Quiet Evenings” — which for all its softness nods to the brass-band heritage of the duo’s New Orleans base — is also a product of close listening; trumpet is the lead voice, but it also allows space for the layered saxes to properly undergird it (and indeed provides some support of its own to the reeds).

To be clear, Give Way does create a hunger to hear what these two smart, creative musicians could do in a looser, more extemporaneous setting. That shouldn’t detract from what they accomplish in this one.

Shabaka (a.k.a. Shabaka Hutchings) continues his exploration of flutes and his atmospheric soul music with the release of Possession. The EP serves as an extension of his February 2024 release Perceive The Beauty, Acknowledge Its Grace, which gave Shabaka the grace to step away from the saxophone and delve into the flute, driving his music into a very new, very soulful direction. “Timepieces,” the opening track, offers a beautifully lush bed of flute and rhythm instruments for rapper billy woods to flow over. It’s an incredibly satisfying confessional built by sampling Shabaka’s tune “End Of Innocence” from Perceive The Beauty. That flow continues with the work of rapper E L U C I D on “I’ve Been Listening,” offering a thoughtful, unrushed sermon accompanied by some lovely harp work (Brandee Younger and Charles Overton both participate in this project). The guests keep coming with the third tune, featuring another artist who’s recently begun to focus on the flute. Shabaka and André 3000 swirl in and through each other on “To The Moon,” a great tune to wake up to each morning if you need that celestial vibe to get your day rolling. Esperanza Spalding joins in on “Cycles Of Growth,” with some earthy vocals and a melody that harkens back to Mother Africa. Continuing that theme, Shabaka invites South African pianist Nduduzo Makhathini to join in for the program’s final tune, “Reaching Back Towards Eternity,” a simple, lush lullaby for a broken world. What’s most lovely about this entire work is the idea that the music, even with guests, is not gimmicky. It feels like community. It’s not driven by trading fours, changing time signatures or blowing each other away. You can feel these artists listening to each other and responding in kind. When the pieces end, you want more. Shabaka’s voice is different on the flute. It’s important. And it’s needed right now.