Marcus Strickland continues to grow in stature with every release. This is his seventh as a leader and the fourth for his own label. Unquestionably one of the most important saxophonists on the whole New York jazz scene, one of his best attributes is his refusal to play it safe. These two CDs are even more adventurous than their predecessors. Volume 2 is a live recording by his pianoless trio, taped at a New Haven club called Firehouse 12, featuring twin EJ and ‘triplet brother’, Ben Williams on bass – the same group that made Idiosyncrasies two years ago when they’d just started working together. The new set shows how they really grew as a unit after extensive touring and were prepared to take improvisational risks that would maybe have been too risky (sorry!) in the early stages. The empathy and virtual telepathy between Marcus and EJ grows more pronounced all the time and Ben Williams shows further proof that this former Thelonious Monk Competition winner is one of the very best of the many prolific new bassists. It’s almost as though Scott LaFaro has reappeared in the 21st Century. Marcus is in especially fluent form on tenor and soprano. Volume 1 features his new quartet – the same trio with pianist David Bryant added on piano, with Marcus stressing the latter’s percussive style as an important rhythmic addition. Again the leader is heard on tenor and soprano, but also for the first time, on four tracks, on alto, which apparently was his original instrument. He’s obviously getting a lot of pleasure from it and sounds as equally adept and confident as on the other saxophones. (Incidentally, on the closing track, ‘Lectronic’, he also overdubs some clarinet and bass clarinet). All but two of the 17 titles (the exceptions are drummer Karriem Riggins’ ‘Virgo’ and, on the trio set, Jaco Pastorius’ ‘Portrait of Tracy’) are recent compositions by Marcus. Some seem just motifs from which to take off and extend with improvisation, but most have repetitive melody lines which you’ll find stay in your head. What is perhaps most striking about the whole project is the total command he now has of virtually every situation (and saxophone) and the self-belief he exudes.