Jazz in 2025 didn’t just look backward or push forward—it did both at once, with purpose, grit, and imagination. This installment of Slang of Ages’ Best of 2025 Series (Jazz) highlights a wide, invigorating spectrum: live documents from master improvisers, deeply personal statements forged through adversity, large-ensemble works with social and historical weight, and small-group sessions driven by telepathic interplay and groove. From the Village Vanguard to the studio floor, these releases capture artists at pivotal moments—honoring tradition while reshaping it in real time. What follows isn’t a ranking so much as a celebration of jazz as a living, breathing language in 2025: resilient, restless, and very much alive.

Miguel Zenón Quartet – Vanguardia Subterránea

It’s hard to believe that New York-based, multi-Grammy-winning alto saxophonist Miguel Zenón has not done a proper live album this far into his career. While a first-call sideman, Zenón has made a lasting impression on the traditional jazz community with his previous seventeen albums as a leader. However, to celebrate the twentieth anniversary of his quartet, Zenón, along with drummer Henry Cole, pianist Luis Perdomo, and bassist Hans Glawischnig, makes a joyful noise with six all-new compositions and a couple of fascinating covers.

Willie Colon and Hector Lavoe’s “El Dia De Mi Suerte” from their classic 1973 album Lo Mato is represented here, though finely reimagined. The telepathic interaction between Zenón and the rest of the band is inspiring.

“Vanguardia Subterránea,” the album’s title track, dances with different rhythms before taking a more direct path. Zenón’s interaction with Perdomo establishes the mood before the band leader takes us on a flight of fancy, leading the band through a rhythmically rocking and challenging journey. Vanguardia Subterránea: Live At The Village Vanguard is eight tracks of fantastic, forward-leaning jazz by musicians at the top of their game.

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La Tanya Hall – If Not Now, When…

If Not Now, When… is more than just a return; it’s a reclamation. After losing her voice during the COVID-19 pandemic, Hall has emerged with a project that feels intimate, courageous, and artistically liberated. Produced by fellow Steely Dan bandmate Michael Leonhart and featuring a stellar ensemble that includes Gary Bartz, Eddie Henderson, Cyrus Chestnut, Gregoire Maret, Gerald Cannon, Marvin Sewell, and Mark McLean, the eight-track set explores overlooked songs that carry lyrical weight and emotional nuance.

Her take on Randy Newman’s “Let’s Burn Down the Cornfield” (popularized by Etta James) distills its sinister edge into something hauntingly fragile, while Abbey Lincoln’s “A Turtle’s Dream” and “Tender as a Rose” highlight Hall’s affinity for material rooted in wisdom and resilience.

This isn’t a comeback record so much as a testament: music as survival, memory, and renewal.

—

The Chicago Jazz Orchestra featuring Bobby Broom – More Amor: A Tribute to Wes Montgomery

Jazz guitar hero Bobby Broom continues to move forward while looking back. His ten-song collaboration with the famed Chicago Jazz Orchestra, led by Artistic Director Jeff Lindberg, allows this renowned ensemble to celebrate Wes Montgomery.

Broom soars on “West Coast Blues,” arranged by Tom Garling, who brilliantly combines the orchestra’s swagger with Broom’s hefty leads. Garling also arranges “Fried Pies,” another standout. Explosive big-band energy and elegant guitar work shine on “West Coast Blues,” “Fried Pies,” and “Boss City.” This is a must-own 2025 release.

—

Colin Hancock’s Jazz Hounds featuring Catherine Russell – Cat & The Hounds

A glorious collaboration bringing 1920s Black jazz and blues roaring back to life.

“West Indies Blues” combines 1920s Black dance music with Caribbean influences. Vince Giordano’s bass saxophone adds depth and complements Russell’s spirited vocal delivery. “Goin’ Crazy With The Blues” features the band’s telepathic interaction, Hancock’s subtle cornet, and Tucker’s soulful trombone soloing. Russell’s delivery matches the musicians’ passion, lifting the song even higher.

Other standouts—“Panama Limited Blues,” “Telephoning the Blues,” and “West Indies Blues”—showcase Russell’s powerhouse vocals and Hancock’s masterful period arranging: vital, joyful, and endlessly replayable.

—

Andrew Synowiec and Oz Noy – Recreational Substance

East meets West in this joyous live-in-studio recording by two guitar greats. Oz Noy, a New York-based jazz icon, and Andrew Synowiec, a Los Angeles session ace and solo star, spent just one day recording Recreational Substance, a collection of original songs featuring Hadrien Feraud on bass and Marvin “Smitty” Smith on drums.

The lead-off track, “Big City,” is a joyous festival. Synowiec’s meaty Les Paul carries the main theme, while Noy brings the funk with his Fender. The rhythm section drives the point home with a funky backbeat as the two principals trade solos.

Noy’s composition “I Don’t Know Why,” from his 2006 album Oz Live, is revisited with grit and energy. Meanwhile, the nylon-string-driven “Brothers” showcases rich textures from Synowiec and Noy on 12-string acoustic. This eight-track album is vibrant, astonishingly recorded in just one day.

—

Ron Blake – Scratch Band

Powerhouse saxophonist Ron Blake follows up his acclaimed 2023 release Mistaken Identity with the deeply personal Scratch Band, featuring Reuben Rogers and John Hadfield.

Recorded in two whirlwind sessions at Brooklyn Recording Studio, Blake channels his Caribbean heritage with four originals and powerful covers of Roy Hargrove, Quelvis Ochoa Cruz, and J. Rosamond Johnson. The closer, “April’s Fool,” ends with Blake’s inspired sax in a delicate dance with Rogers’ bass.

Explosive interplay and soulful intensity define the trio, shining brightest on “Bassman,” “Appointment,” and “Lift Every Voice and Sing.” A fierce, resonant highlight of 2025.

—

Dennis Mitcheltree and Johannes Wallmann – Holding Space

Telepathic interplay and bold improvisation define this long-overdue collaboration.

The opener, “Annus Mirabilis,” a Wallmann composition, is joyous and dynamic, capturing the strong chemistry between piano and tenor sax. Mitcheltree’s “Via Valse,” featuring Russ Johnson on trumpet, adds another vivid dimension to the session.

Other highlights include “Willis” and “Digging a Shallow Grave for My Enemy.” This lyrical, fearless album leaves the listener wanting more.

—

Omar Thomas Large Ensemble – Griot Songs

The third album by the Omar Thomas Large Ensemble is a bold statement, following the landmark We Will Know: An LGBT Civil Rights Piece in Four Movements. Griot Songs honors the West African storytelling tradition with vivid, sweeping compositions.

“The Sun in September” radiates urgency and beauty, with solos by Jason Palmer and soprano saxophonist Lihi Haruvi. A daring cover of Radiohead’s “Sail to the Moon” furthers the album’s forward-leaning vision.

Other standouts, including “Nothing There,” showcase radiant soloists, emotional depth, and fearless arranging—a sweeping, essential 2025 release.

—

Fat Produce – Soulful Days

Fat Produce’s sophomore LP celebrates soul-jazz and funk with intimate, live-to-8-track energy.

Guitarist Addison Rifkind, drummer Michael Duffy, and bassist Nestor Del Prado craft groove-driven melodies and dynamic rhythms. Highlights include Boogaloo Joe Jones’ “No Way,” The Gaturs’ “Gator Bait,” and the creative mash-up “90% of Me Is You / Bam Bam.”

Soulful Days is an irresistible statement from a rising modern trio.

—

Ben Tweedt – Life Cycle

Pianist and composer Ben Tweedt delivers a powerful, nuanced trio album with Tom Buckley (drums) and Justin Dawson (bass).

“Back to School” shifts through moods and time signatures, showcasing the trio’s seamless communication. “Elegy” offers a tender solo reflection on mortality, while the closer “Lullaby” builds with quiet intensity, affirming Tweedt’s gifts as pianist and bandleader.

Life Cycle is a vivid, vital work in contemporary jazz.

—La Tanya Hall – *If Not Now, When…

If Not Now, When… is more than just a return; it’s a reclamation. After losing her voice during the COVID-19 pandemic, Hall has emerged with a project that feels intimate, courageous, and artistically liberated. Produced by fellow Steely Dan bandmate Michael Leonhart and featuring a stellar ensemble that includes Gary Bartz, Eddie Henderson, Cyrus Chestnut, Gregoire Maret, Gerald Cannon, Marvin Sewell, and Mark McLean, the eight-track set explores overlooked songs that carry lyrical weight and emotional nuance.

Her take on Randy Newman’s “Let’s Burn Down the Cornfield” (popularized by Etta James) distills its sinister edge into something hauntingly fragile, while Abbey Lincoln’s “A Turtle’s Dream” and “Tender as a Rose” highlight Hall’s affinity for material rooted in wisdom and resilience.

This isn’t a comeback record so much as a testament: music as survival, memory, and renewal.

—

The Chicago Jazz Orchestra featuring Bobby Broom – More Amor: A Tribute to Wes Montgomery

Jazz guitar hero Bobby Broom continues to move forward while looking back. His ten-song collaboration with the famed Chicago Jazz Orchestra, led by Artistic Director Jeff Lindberg, allows this renowned ensemble to celebrate Wes Montgomery.

Broom soars on “West Coast Blues,” arranged by Tom Garling, who brilliantly combines the orchestra’s swagger with Broom’s hefty leads. Garling also arranges “Fried Pies,” another standout. Explosive big-band energy and elegant guitar work shine on “West Coast Blues,” “Fried Pies,” and “Boss City.” This is a must-own 2025 release.

—

Colin Hancock’s Jazz Hounds featuring Catherine Russell – Cat & The Hounds

A glorious collaboration bringing 1920s Black jazz and blues roaring back to life.

“West Indies Blues” combines 1920s Black dance music with Caribbean influences. Vince Giordano’s bass saxophone adds depth and complements Russell’s spirited vocal delivery. “Goin’ Crazy With The Blues” features the band’s telepathic interaction, Hancock’s subtle cornet, and Tucker’s soulful trombone soloing. Russell’s delivery matches the musicians’ passion, lifting the song even higher.

Other standouts—“Panama Limited Blues,” “Telephoning the Blues,” and “West Indies Blues”—showcase Russell’s powerhouse vocals and Hancock’s masterful period arranging: vital, joyful, and endlessly replayable.

—

Andrew Synowiec and Oz Noy – Recreational Substance

East meets West in this joyous live-in-studio recording by two guitar greats. Oz Noy, a New York-based jazz icon, and Andrew Synowiec, a Los Angeles session ace and solo star, spent just one day recording Recreational Substance, a collection of original songs featuring Hadrien Feraud on bass and Marvin “Smitty” Smith on drums.

The lead-off track, “Big City,” is a joyous festival. Synowiec’s meaty Les Paul carries the main theme, while Noy brings the funk with his Fender. The rhythm section drives the point home with a funky backbeat as the two principals trade solos.

Noy’s composition “I Don’t Know Why,” from his 2006 album Oz Live, is revisited with grit and energy. Meanwhile, the nylon-string-driven “Brothers” showcases rich textures from Synowiec and Noy on 12-string acoustic. This eight-track album is vibrant, astonishingly recorded in just one day.

—

Ron Blake – Scratch Band

Powerhouse saxophonist Ron Blake follows up his acclaimed 2023 release Mistaken Identity with the deeply personal Scratch Band, featuring Reuben Rogers and John Hadfield.

Recorded in two whirlwind sessions at Brooklyn Recording Studio, Blake channels his Caribbean heritage with four originals and powerful covers of Roy Hargrove, Quelvis Ochoa Cruz, and J. Rosamond Johnson. The closer, “April’s Fool,” ends with Blake’s inspired sax in a delicate dance with Rogers’ bass.

Explosive interplay and soulful intensity define the trio, shining brightest on “Bassman,” “Appointment,” and “Lift Every Voice and Sing.” A fierce, resonant highlight of 2025.

—

Dennis Mitcheltree and Johannes Wallmann – Holding Space

Telepathic interplay and bold improvisation define this long-overdue collaboration.

The opener, “Annus Mirabilis,” a Wallmann composition, is joyous and dynamic, capturing the strong chemistry between piano and tenor sax. Mitcheltree’s “Via Valse,” featuring Russ Johnson on trumpet, adds another vivid dimension to the session.

Other highlights include “Willis” and “Digging a Shallow Grave for My Enemy.” This lyrical, fearless album leaves the listener wanting more.

—

Omar Thomas Large Ensemble – Griot Songs

The third album by the Omar Thomas Large Ensemble is a bold statement, following the landmark We Will Know: An LGBT Civil Rights Piece in Four Movements. Griot Songs honors the West African storytelling tradition with vivid, sweeping compositions.

“The Sun in September” radiates urgency and beauty, with solos by Jason Palmer and soprano saxophonist Lihi Haruvi. A daring cover of Radiohead’s “Sail to the Moon” furthers the album’s forward-leaning vision.

Other standouts, including “Nothing There,” showcase radiant soloists, emotional depth, and fearless arranging—a sweeping, essential 2025 release.

—

Fat Produce – Soulful Days

Fat Produce’s sophomore LP celebrates soul-jazz and funk with intimate, live-to-8-track energy.

Guitarist Addison Rifkind, drummer Michael Duffy, and bassist Nestor Del Prado craft groove-driven melodies and dynamic rhythms. Highlights include Boogaloo Joe Jones’ “No Way,” The Gaturs’ “Gator Bait,” and the creative mash-up “90% of Me Is You / Bam Bam.”

Soulful Days is an irresistible statement from a rising modern trio.

—

Ben Tweedt – Life Cycle

Pianist and composer Ben Tweedt delivers a powerful, nuanced trio album with Tom Buckley (drums) and Justin Dawson (bass).

“Back to School” shifts through moods and time signatures, showcasing the trio’s seamless communication. “Elegy” offers a tender solo reflection on mortality, while the closer “Lullaby” builds with quiet intensity, affirming Tweedt’s gifts as pianist and bandleader.

Life Cycle is a vivid, vital work in contemporary jazz.