Uhlmann Johnson Wilkes : Uhlmann Johnson Wilkes

Every once in a while you come across an album that feels entirely new. There’s nothing to compare it to, as nothing that came before was built quite like it. You can label it rock, pop, jazz, etc…but the label is merely a means for cataloging in the record store, or in your own collection. But beyond a tag to file it under, that record stands on its own as something singular.

The debut from guitarist Greg Uhlmann, saxophonist Josh Johnson, and bassist Sam Wilkes is that kind of album.

Each of these three musicians come from storied musical lives, playing within the world of today’s modern jazz. And in terms of jazz, they don’t stick to tradition. They groove, but the grooves are alien at times. The music they create – and the instruments they utilize to create it – is morphed and evolved in real time using various effects. It gives this debut album an ethereal, “out there” vibe that makes it one of the most compelling and engaging albums I’ve heard so far this year.

Johnson and Uhlmann have played together before. Most recently in the band sml. 2024s Small Medium Large feels like a companion to Uhlmann Johnson Wilkes. That record was based in odd grooves and experimentation. Riveting, funky tracks that felt like getting lost in some weird computer world. With Uhlmann Johnson Wilkes, there’s more of a sparse, distant feel. It gives the songs a mysteriousness, but with more of a melodic lean. It’s less about wonky experimentation and more about locking into a mellow headspace. These songs pull you in and don’t let go.

“Marvis”, despite no drums to carry it along, finds a groove and sticks with it. Sam Wilkes’ bass acts as the anchor, allowing Johnson to beep out subtle lines on the saxophone. Uhlmann’s guitar gives the proceedings an esoteric vibe as his guitar comes in with otherworldly sound. “Fumarole” has the vibe of time passing slowly. Wavering effects make the guitar sound like the tick tock of a clock. Johnson’s saxophone running through effects sounds like a trio of flutes. It’s dark and mysterious. “Arpy” is stunning work. It’s melodic, melancholy, and contemplative all at once. It’s one I can listen to on repeat.

Over the course of 36 minutes this trio of longtime friends and bandmates build on motifs, and with the help of some cosmic effects transform their instruments into time machines and world builders. And closing this record on a cover of The Beatles’ “The Fool On The Hill” seems absolutely perfect. They turn a maudlin track into something bordering on transcendent. Spaced out and elegant.

This trio has made a magical, majestic record. You don’t need to be a jazz fan to fall for Uhlmann Johnson Wilkes. You just need a set of ears and a pulse. And an open mind for exploration. One of the best of the year.