Ben Wolfe - Any Time After Now

Jazz

Summary : Bassist Ben Wolfe delivers a richly composed jazz album that blends post-bop tradition with modern sensibility, driven by a cohesive ensemble and standout performances from Sullivan Fortner and Joel Ross.

Ben Wolfe Reimagines Post-Bop with a Contemporary Edge

Ben Wolfe’s new album doesn’t waste any time, it grabs you right away. There’s a strong sense of purpose here, almost like Wolfe’s saying, “Listen up, this is what I’m about.” Right from the first track, you’re in a post-bop world that’s full of life. It’s got rich textures and colors, and the energy feels both grounded and adventurous.

What stands out as you move through the album is Wolfe’s compositional voice. He’s really come into his own here. You can tell he’s spent time developing his writing, and now it holds everything together, not just shaping individual tracks, but tying them into a whole.

The band itself heightens that sense of growth. Joel Ross on vibraphone adds this smooth, searching vibe that lifts the music. Sullivan Fortner’s piano, always so locked in with Wolfe, doesn’t just add harmony, it sparks real, thoughtful conversation inside the group. Chris Lewis’s sax lines shimmer and bite, and Aaron Kimmel’s drumming is alive, detailed, and always responsive. They sound like a unit, not musicians dropped in for a session.

After a punchy opener, the record expands and surprises. There are passages that remind you of early Miles Davis, not by imitation, but with mood, space, and tension that feels timeless without getting stuck in the past. Wolfe pushes past nostalgia; he’s working with a living language that keeps shifting.

That easy, flowing unity comes straight from the band’s experience together. Years playing, listening, hanging out, those moments give the album its natural feel. “Everything flowed naturally in the studio. It was all very organic. The essence lay in the overall sound,” Wolfe said. He admits: “In some ways, it’s my favorite album from beginning to end.” Critics have noticed, too. The New York Times called Wolfe’s music a crossroads between Mingus, Miles, Bartók, and Bernard Herrmann. DownBeat praised the melodies and the band’s touch. The Wall Street Journal singled out Wolfe’s swinging sophistication. And Wynton Marsalis cut right to it: “Ben Wolfe swings with authority.”

So yeah, there’s a consensus—Wolfe’s hitting his stride, and this record shows it. It draws you in. The writing is tuneful, never too easy, and the band keeps enough grit to stop things from getting complacent. Chris Lewis’s sax brings the bite, always landing his phrases exactly where they need to be.

Wolfe hears music in colors and shapes, and you can feel that on this record. Lines crisscross, sounds blend and pull apart, it almost feels like watching a painting take shape. Fortner gets this, too; he isn’t just comping behind everyone. He listens, he waits, he jumps in at the perfect moment, nudging things forward with a quiet confidence.

The more you listen, the more Fortner’s role pops out. He has this subtle knack, sometimes just a gentle touch, sometimes a bigger move, but always shifting the music’s balance and helping it flow.

Even when the tunes lean on jazz tradition, they never feel stuck. Wolfe is always playing with tension, mixing the old with the new, shifting between stretchy, open sections and tight, swinging grooves, and sometimes slipping right back into looser zones. None of these transitions feel forced, they just happen naturally, thanks to the band’s alertness and a playful undercurrent.

That sense of movement makes you want to replay it. Each listen brings out new details, some fresh turn or hidden layer. Doesn’t matter if you’re wild about jazz’s edges or love its classic swings, you’ll find something here. Wolfe isn’t picking sides; he’s blending influences and honoring the tradition.

If you’re already a fan, yeah, waiting until May 15 is going to be tough. This album totally lives up to Wolfe’s reputation. It also hints at a new chapter for him, where composition, band chemistry, and pure expression come together in a deeper way.

Thierry De Clemensat
Member at Jazz Journalists Association
USA correspondent for Paris-Move and ABS magazine
Editor in chief – Bayou Blue Radio, Bayou Blue News

PARIS-MOVE, April 29th 2026

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