Nick Biello, New America Review

Unity in Motion: Nick Biello’s New America

By Nolan DeBuke

New America is Nick Biello’s third release as a leader and is an artistic statement from a saxophonist-composer steeped in jazz tradition, engaging with the evolving patterns of modern jazz. The album fuses hard-bop lineage with expressive post-bop textures, and its thematic arc flows as a journey. Biello’s rich compositional palette and the synergy of an ensemble with years of shared history yield performances marked by intuition, depth, and collective purpose. The six performances reflect this interplay between composition, improvisation, and ensemble dialogue, offering an excellent musical commentary for jazz fans.

There’s a clarity of voice and confidence of direction that defines New America from alto saxophonist and composer Biello. With six original compositions ranging from bebop swing to brooding Bossa Nova and cinematic modal suites, Biello and his seasoned quintet deliver a project that balances narrative with a broader lens of jazz styles. This is modern jazz steeped in lineage but unfettered by convention to form an elegant and deeply expressive set.

The album opens with “Bel Canto,” a high-energy declaration of intent. Drawing on Biello’s early exposure to Italian opera, the track pulses with hard-bop vitality while showcasing a strong lyricism. His solo soars with command, displaying exceptional control of the altissimo range and a sense of time that dances effortlessly across the barline. Trumpeter Charlie Porter offers a solo that is melodic in phrasing and guided by harmonic clarity. Pianist George Colligan’s solo is textural and harmonically rich. The performance is punctuated by bassist Alex Tremblay’s agile lines and Peter Kronreif’s buoyant drumming. Tremblay’s bass solo is warm in tone and melodic instinct. The ensemble chemistry is immediately evident from the start.

Shifting into a different feel terrain, “Queen of Jordan” introduces a relaxed Latin jazz feel, crafted with melodic nuance. The composition’s harmonic structure is lush and well-structured, offering space for layered horn voicings and rhythmic detail. The interaction between Porter and Biello is especially rewarding, the two weaving in and out of harmony and counterpoint with grace. Biello’s solo phrasing here is sinuous and supple, unfolding over Colligan’s elegantly voiced piano comping and subtle rhythmic hits from Kronreif. Colligan’s solo is soulful, blues-tinged, and rhythmically elastic. Porter’s improvisation is a joy, which in turn sets up Biello’s final solo passages of rhythmic inventiveness and motivic development, showing the depth of his improvisational vocabulary.

On “Slightly Perilous,” the quintet dives headfirst into an up-tempo bebop-based structure that marries bop with expressive modern jazz colors. Biello channels the spirit of alto titans, there’s Cannonball’s clarity and playfulness, Bird’s fire, and Stitt’s angular, bluesy phrasing, but his tone and articulation are uniquely his own. The lines tumble out with popping accents and elastic phrasing, supported by high-energy comping from Colligan and an assertive ride cymbal from Kronreif. Porter and Colligan deliver compact, energized solos before Kronreif takes a turn, his solo structured around interactive hits and responsive phrasing, not mere flash. This is the ensemble being unified, daring, and deeply musical.

A standout for its emotional breadth and compositional fluidity, “Before the Flood” conjures the atmosphere of spiritual modal jazz. The rubato opening by the ensemble leads to Biello’s lyrical unaccompanied playing, unfolding organically into a tempo that establishes the feel. Kronreif and Biello establish the swing feel with natural, soon joined by Colligan and Tremblay for a modal voyage reminiscent of 1960s spiritual jazz, but with modern harmonic sophistication. The dual-horn interlude that marks the piece’s structural pivot is memorable, leading into a modal landscape where Colligan stretches out with motivic patience and textural awareness. The composition returns full circle, closing with the serenity it began with, this time anchored in collective time.

“A Long Way To You” is a ballad rendered with understated beauty. Biello and Colligan begin in duet, setting a scene of intimate lyricism. Biello’s tone is full-bodied, centered, and expressive across the range of the horn. As the rhythm section enters for the B section, the piece expands without losing its intimacy. Porter’s warm, trumpet sound pairs beautifully with Biello’s lines, evoking a quiet yearning. There’s storytelling in every phrase—subtle dynamics, elastic phrasing, and purposeful space.

Closing the album is the title track, “New America,” a wide-angled reflection on modern jazz. The tune begins with a syncopated piano-bass unison that sets a compelling rhythmic motif. The transition to a modern post-bop groove offers yet another facet of Biello’s compositional voice, emphasizing rhythmic dialogue and harmonic layering. Biello’s solo here is technically masterful and emotionally resonant with fluid lines, thematic development, and harmonic clarity. Colligan’s solo introduces a switch to swing, the trio exploring rhythmic elasticity without breaking the flow as they ride the top of the beat. The return of the groove re-centers the piece, closing the album with cohesion.

New America reflects compositional craft and ensemble artistry. Nick Biello has an album that navigates deep into a jazz terrain, virtuosity, and layered storytelling with rare finesse. For jazz fans, this project offers a merging of tradition and modern without compromise. It’s a potent, narrative-driven jazz set of modern hard-bop and post-bop.