Dwain

• Carrington gives us a vast range of musical ideas with this project and features some of the most prominent contemporary female composers as well as bright young jazz musicians. This album showcases its well-rounded nature going from African to Latin styles, contemporary compositions such as Respected Destroyer to vocal ballads, and many places in between.

• The level of musicianship is high and the arranging is effortless and seamless. This album feels like a modern compilation of the many places the music can take us. Elena Pinderhughes shines as she often does, providing thoughtful and ever-grooving solos. The rhythm section led by Terri Lyne Carrington seems to always be on the same page.

• There could be more elements of bop or swing present that would add to the level of versatility of this album and really demonstrate the roots of the music. I don’t quite understand the decision to end the album on a free jazz number and not something with more resolution and closure but it seems to be a modern trend. There isn’t a lot of stretching going on but doesn’t feel like it’s needed given the compositions and theme of the albums. It’s about highlighting the compositions and shining a light on female composers which is a promise that is well-delivered on.

Overall score: 8.1/10

Max

• Terri Lyne Carrington is an active performer, and is one of THE drumset players on the scene today. She is associated with the likes of Christian McBride and Berklee College of Music, and is well-known for being a pioneer amongst women jazz musicians. Her activism leads her into directions that others may not take: New Standards Vol. 1 is a prime example. All songs on the album are written by women, and this cast of musical characters includes a large number of women.

• Musically, there are a number of things to like about the album, from the use of different meters, nice melodies, odes to African music, various vocal features and the inclusion of some nice bass and sax solos. Trumpeter Nicholas Payton and flute extraordinaire Elena Pinderhughes are well-featured, in addition to some nice accompaniment and solos from guitarists Matt Stevens and Julian Lage. New vocal sensation Samara Joy shines on “Two Hearts.” In general, the vast array of guest artists is a neat aspect to the album, aiding in providing another dimension to the music.

• There are certain moments that don’t speak out to me personally, yet, every track is well-executed. The seeming trend and tendency to end a modern jazz album with a free-jazz number is solidified through this album’s last track called “Rounds” featuring the ‘out’ stylings of Ambrose Akinmusire. That tune has some nice moments but I am not sure as to how much this ‘composition’ adds to the overall album. Almost all tunes seem to end practically the same way as well, giving way to questions concerning certain arranging decisions. A tad more verbatim swing-feel rhythm would be nice, too. Other than that, there are a huge number of nice musical interactions between instruments, and everyone is working together to accomplish the task at hand. I thoroughly enjoy a lot of this music; yet, for some other moments, I could take it or leave it.

Overall score: 7.9/10