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Canadian saxophonist and composer Erik Hove has recently released Saturated Colour, featuring his Chamber Ensemble. Here's an excerpt from my review: "It took me a minute to get used to the unusual harmonies Hove uses, but once I acclimated I was all in. It reminds me a little of Steve Lehman’s Octet, and no wonder, as both Lehman and Hove have been influenced by the spectral techniques of composers such as Murail. Both Hove and Lehman play alto, and both have a tart, angular style. But Hove definitely has his own take on the spectral school, with more pastel shading to his music and a more impressionistic approach vs. Lehman. The spectral influence does result in that unique shimmering sound that I noted in my review of Lehman’s Mise en Abîme, and as I listened to Saturated Colour I had the feeling of being held in suspended animation. Hove makes beautiful use of the combination of woodwinds and strings in the arrangements, such as on the track Ascending. There’s a slight third-steam influence here as well, which I really dig, but without the stiffness or stuffiness that is sometimes ascribed to that movement. Enigmatic, in a good way." You can read the full review of Saturated Colour on improvisedblog.

Canadian saxophonist/flautist Anna Webber has a great new CD out on Skirl. Here's an excerpt from from my review: "SIMPLE is at once an apt and a misleading title for this CD. Saxophonist Webber, a new name to me, has attracted a couple of A-listers in (Matt) Mitchell and (John) Hollenbeck for her project, and upon listening it’s easy to see why they wanted to be on board – there’s a lot to sink your teeth into. Ms. Webber uses only the three instruments to fulfill her compositional vision over the seven tracks of the album. However, she deploys an impressive variety of approaches to the material, from quieter minimalist passages to themes stated in unison to knotty full-bore free improv. Using only woodwinds, piano and drums creates a lot of open space in the music, and Webber plays in and around the compositions, suggesting they could unspool infinitely. Her tone on tenor is malleable, bending and stretching notes in a way that calls to mind the spirit, if not the exact style, of a young David Murray." You can read the full review of SIMPLE on my blog.