Review: Javier Nero Jazz Orchestra’s ‘Alkebulan’

With Alkebulan (Outside in Music, 2026), the Javier Nero Jazz Orchestra returns to explore the diasporic roots of its leader – trombonist, composer, educator, and bandleader Dr. Javier Nero – while offering an optimistic, unified, and futuristic outlook. The album’s title reflects what is often considered the original name of the African continent and translates to “mother of mankind” or sometimes as “the Garden of Eden.” Contemporary anthropological theory reflects the title as a unified, centralized ancient African society. In many ways, this drawing from the same inspiration as the preceding Kemet (The Black Land) (Outside in Music, 2023) of a pre-diasporic society, where unity and brotherhood were common.

As for sonic influences reflected in Alkebulan, Dr. Nero takes them from many sources. First, there is his family. His daughter’s birth is a centerfold that binds all his work together. It has also instilled a more romantic side in his writing, as evidenced by the namesake of compositions, “Radiant Flower (Zara)” and “Ayla”. But Dr. Nero also cites the ability of video games to tap into a “childlike wonder” that is indiscriminate in its audience and draws in listeners regardless of complexity.  And he takes guidance from some of his earliest jazz heroes – particularly Duke Ellington and Billy Strayhorn – for much of the lush texturing and emotive power in his pieces. Lastly, Dr. Nero’s admiration for jazz fusion shines through the recording as well, notably the stylings of The Pat Metheny Group, The Brecker Brothers, and Bob Mintzer.

Nero’s big band cast includes: woodwindists Daniel Andrews, Daniel Dickinson, Xavier Perez, Clay Pritchard, Lucas Pino and Dustin Mollick; trumpeter-flugelhornists Josh Kauffman, Chris Burbank, Graham Breedlove, Ken McGee, Noah Hocker, and Alec Aldred; trombonists Luke Brimhall, Aaron Eckert, and Jake Craft; guitarist Adam Moezinia and Michael Kramer; pianist James Collins and Alex Brown; drummer Kyle Swan; bassist Regan Brough; vibraphonist Kyle Athayde; vocalist Danielle Wertz; and percussionists Murph Aucamp and Fran Vielma. Nero himself provides trombone and vocals. The record also features several special guests: trumpeters Randy Brecker and Sean Jones; vibraphonist Warren Wolf; vocalists Veronica Swift and Nicole Zuraitis; guitarist Shawn Purcell; and Nathan Skinner on the electronic mallet controller, “malletSTATION.”

The opening title track is one Nero composed fifteen years ago, now repurposed for the larger ensemble. The piece is a strong opener as it reflects a confluence of the leader’s many influences from jazz, classical, cinematic, and Afro-Latin music. The harmonies and rhythms are complex and shifting, highlighted by solos by Warren Wolf and Sean Jones atop a percolating rhythm section of Kyle Swan and Murph Aucamp. Woodwinds and brass create sonic, cinematic textures in “Make It So,” featuring sparkling solos from Daniel Andrews on lead alto, Randy Brecker on trumpet, and Shawn Purcell on guitar.

The aforementioned “Radiant Flower (Zara)” and “Ayla” draw heavily from f Strayhorn and Ellington. Containing much more of a “traditional” big band sound than the rest of the album, these heart-rending pieces capture both the deep love Dr. Nero feels for his daughter and the sudden life changes that come with having a newborn. “Radiant Flower” is practically begging for lyrics and it’s a shame none were provided given the album’s overall strong vocal performances.

Veronica Swift positively slays the first standard, “Softly, as in a Morning Sunrise,” with a gleaming piano turn from Alex Brown as well as a spot from Warren Wolf on vibes. An unidentified tenor saxophonist provides a hard swinging solo that lays way to a feisty turn from Nero. Grammy winner Nicole Zuraitis takes the mic on the other standard “Devil May Care,” sounding positively effusive. Another unnamed, perhaps Lucas Pino, tenor saxophone soloist emerges, with Josh Kaufman taking the honors on trumpet.

The robust big band piece, “The Fourth Dimension,” features solos from Kaufman, Nero, and Andrews on soprano. It’s another piece that swings over a bed of tricky African rhythms with the soloists soaring.  The expansive “Tesseract” begins in blaring form before dissolving calmly to highlight Skinner on the unique, resonating malletSTATION. Michael Karmer’s guitar and James Collin’s piano also contribute subtly. The brass creates a unison passage, responded to by Jake Kraft on tuba. This is the most fusion influenced pice in the program. The closer, “Seminole” swings hard as well, with turns from Nero, Sean Jones, Warren Wolf, and percussionist Murph Aucamp, not to mention Andrews, who shines on soprano.

With Alkebulan, Nero deliveres an imaginative, uplifting big band masterpiece. It is his best album to date, and one that merits more critical attention.

‘Alkebulan’ is out now on Outside in Music. It can be purchased on Bandcamp.