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In many ways, the burgeoning improvised music community in Brooklyn resembles downtown New York’s loft movement of the ‘70s. But it differs in one important way: Brooklyn seems to have an even stronger sense of community, with musicians often collaborating on each other’s albums. Such is the case for Chilean-born, Brooklyn-based bassist and composer Simón Willson and his compositionally strongest album to date, Feel Love (endectomorph, 2025). Willson, though a relatively new bandleader, has appeared on over forty records on both major and niche labels working with artists that include Dave Douglas and Ethan Iverson. But for Feel Love, he turns to old friends; his fellow Brooklynites: tenor saxophonist Neta Ranaan, pianist Evan Main, and drummer Kayvon Gordon. Another member of their tightly bonded community, Kevin Sun,  produced the record. The quartet members all played on Willson’s previous album, Bet: Live at Ornithology (endectomorph, 2025). Both Willson and Gordon also played on Ranaan’s Unforeseen Blossom (Giant Step Arts, 2024).

A deeply personal album, Feel Love, explores the leader’s major life experiences including his journey leaving Chile for the United States at eighteen, his Catholic upbringing, and the concept of “home” as both a birthplace and chosen destination. He approaches his topics from the perspective that love does not solely refer to relations between people but also as a reference for the activities and causes that make life worth living.  At times, the album is deeply reflective, but retains its relatability and a power to transcend cultural boundaries.

The mid-tempo “Repent” – Willson’s reflection upon his Catholic education- starts with a melancholic section reflective of an inherent feeling of guilt brought by the faith. Intriguing harmonic tones segue the piece into feeling of hopefulness, representing grace. The melodies taking these shapes through intense playing from Ranaan and Main while Willson and Gordon stir up a robust underfooting.  There are so many pauses between sections on the piece that one’s often unsure where the final notes lies. The quartet ultimately vigorously steers into “Leave Behind” to examinee the choices made when leaving a comfort zone. Ranaan and Main deliver potent turns. In accordance with these themes, “Long Distances” conveys the tough emotional territory brought on by Willson’s three-month separation from his now-wife. The dialogue between Ranaan and Main on it reads like a tearful phone call. 

The title track incorporates hints of the Chilean cueca rhythm. Though subtle, the bassist’s expressive intro demonstrates his effort to meld his cultural heritage into the contemporary jazz language.  “Feel Love” also appeared on the previous live album without Ranaan, but her counterpoint to Main’s piano luminates this studio take. “Shades” begins with Main’s dark chords and an unhurried beginning that blossoms more brightly when Willson takes a brief solo. It lays down a sturdy bassline for a monstrous solo from Ranaan, complete with pauses, fierce clusters, and marked unpredictability.  The reflective “Life’s Lemons” furthers the level of harmonic complexity heard in the previous pieces.

“Jog” preciously appeared on Bet: Live at Ornithology. This author previously described the older rendition as being “designed to mirror the rhythms of … running at a leisurely pace [as] alternate sustained sequences with staccato passages [] represent breathing and movement in a vigorous section mid-piece, while the bass-drum tandem delivers a mostly steady cadence.” The major difference between the two versions lies in Gordon’s drumming. Live, he is freer and more precise, whereas in the studio, things more slowly build toward a finish. The closer, “Show You Out,” swings hard, with its own share of noteworthy moments. After the muscular head, Main is left alone to improvise freely, Ranaan delivers a series of choppy statements before catching fire.  After a solo by Gordon, the reprise of the head is dynamic and just as brief as the opening version.

One can detect substantial growth in Willson’s compositional approach from his debut, Good Company (Fresh Sound, 2023) to Feel Love. The chemistry of his now seasoned quartet is palpable. Most listeners will likely not read into every piece the emotions and narratives Willson intends to convey, but marvel at the tunes nonetheless.

‘Feel Love’ is out now on Endectomorph Music. It can be purchased on Bandcamp.

Photo credit: Luke Marantz