Home » Jazz Articles » Album Review » Joe Santa Maria: Oblique Rhyme

Joe Santa Maria: Oblique Rhyme

By Jack Kenny
July 9, 2025
View read count

The perennial challenge of balancing individual expression with collective harmony is masterfully addressed by

Joe Santa Maria

saxophone, alto

" data-original-title="" title="">Joe Santa Maria (saxophones),

David Tranchina

bass

" data-original-title="" title="">David Tranchina (bass),

Gary Fukushima

piano

" data-original-title="" title="">Gary Fukushima (piano), and

" data-original-title="" title="">Colin Woodford (drums). Their collaboration weaves contemporary jazz with blues and avant-garde elements, crafting an eclectic sound that showcases the quartet's versatility and chemistry.

Fukushima's style is strikingly individualistic, marked by an idiosyncratic flair. He fills every open space with stimulating, unpredictable phrases, sidestepping clich��s with a nod to jazz's rich history. While influences are hard to pin down, his playing suggests a deep study of piano greats, positioning him as an emerging force in jazz. Beyond performing, Fukushima is a journalist, contributing features on contemporary jazz artists to Downbeat and Los Angeles publications.

Each musician contributes original compositions—Santa Maria with four, Tranchina with three, and one each from Woodford and Fukushima. This diversity highlights their distinct voices while maintaining a cohesive group sound, thanks to their multifaceted backgrounds. The result is a polished yet adventurous album that thrives on bold exploration and tight interplay.

The opening track, "War Crimes," composed by Santa Maria, sets a daring acrid tone with its angular

Ornette Coleman

saxophone, alto
1930 - 2015

" data-original-title="" title="">Ornette Coleman-inspired melody, driven by his commanding tenor saxophone. Tranchina, a student of

Charlie Haden

bass, acoustic
1937 - 2014

" data-original-title="" title="">Charlie Haden, anchors the group with a rich, steady bass sound. He values "spontaneous simplicity" and reimagining tradition, evident in his composition "Hidden Lake," a pastoral piece with a yearning quality that inspires evocative solos from Santa Maria and Fukushima. Woodford's "This Must Be For You" introduces a gentle, ballad-like feel, with Santa Maria channeling a subdued

Wayne Shorter

saxophone
1933 - 2023

" data-original-title="" title="">Wayne Shorter-influenced solo before Fukushima's introspective solo takes over. On "Caricature," Santa Maria's angular, edgy saxophone contrasts with Fukushima's searching, deliberately unresolved piano lines, all grounded by Tranchina's steadfast rhythm and Woodford's dynamic drumming. The crisp production ensures each instrument—from Fukushima's Fender Rhodes to Woodford's vibrant percussion—shines without overwhelming the ensemble.

The solid bass of Tranchina, the variegated tones of Santa Maria, the driving drums of Woodford and the masterly compendium of styles that is Fukushima all blend into artistic alchemy. This quartet brims with potential. Their next album will reveal whether this intriguing blend of instrumental prowess and genre-defying compositions can evolve further. Let us hope the adventure continues.

Learn more about our star rating system

Track Listing

War Crimes; Hidden Lake; Mood of Mind; Sum Thymes; Prism; Ambient Ambiance; This Must Be For You; Caricature; Picking Up the Pieces

Personnel

Joe Santa Maria

saxophone, alto

David Tranchina

bass

Gary Fukushima

piano

Colin Woodford

drums

Additional Instrumentation

Joe Santa Maria: alto sax; Gary Fukushima: synthesizer.

Album information

Title: Oblique Rhyme | Year Released: 2025 | Record Label: Orenda Records

PREVIOUS / NEXT

The Plaintive Sigh of a Sonic Doppel...
< Previous

Tomorrow May Not Be Your Day: The Un...
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.