| Jazz |
Like many American artists, religion weaves itself, almost imperceptibly, into the cultural fabric that shapes their worldview. But in the case of pianist Isaiah J. Thompson, it would be a misstep to interpret his latest work as a religious manifesto. Rather, it should be understood as an intellectual and emotional meditation, one that uses spiritual references not as dogma, but as a vehicle for exploring themes central to the artist’s inner life.
With The Book of Isaiah: Modern Jazz Ministry, Thompson presents what he calls a musical autobiography, a suite of eight compositions exploring faith, musicality, race, and humanity. In doing so, he enlists legendary pianist Cyrus Chestnut as producer, a nod not just to jazz lineage, but to the theological depth Chestnut himself is known to channel through his music. The result is an album that is at once deeply personal and expansively universal.
The title, a playful invocation of his own first name, “Isaiah,” as in “The Book of…” offers a key to unlocking the deeper layers of the album. Thompson draws inspiration from the biblical Book of Isaiah, not as a literal scriptural roadmap, but as a conceptual framework. For those unfamiliar with this prophetic book of the Old Testament, reading its 66 chapters can shed light on the abstract yet deliberate structure of Thompson’s musical journey. The text, rich in allegory and moral vision, is not always easy to grasp. As someone not particularly religious, I turned to a modern resource, here, to gain a clearer understanding of the spiritual architecture that underpins this work.
And indeed, as one moves through the book of Isaiah, echoes of its themes, justice, redemption, suffering, hope, reverberate through Thompson’s compositions. These aren’t quotations, but resonances. From this vantage point, the album becomes not just a suite of jazz pieces, but a reflection on how ancient texts can still infuse contemporary art with urgency and soul.
Musically, the album is nothing short of masterful. But excellence is no surprise from Isaiah J. Thompson. His touch on the piano, the subtlety of his phrasing, and the precision of his compositions confirm what many have long suspected: that he is among the most formidable voices of his generation. His work is both technically astonishing and emotionally resonant.
There is also a timeliness to the album’s release. In an era marked by political unrest, cultural fragmentation, and moral ambiguity, The Book of Isaiah: Modern Jazz Ministry feels like more than a personal project, it feels like a public offering. Thompson seems to be suggesting a path forward, using music as a bridge toward greater humanity. The balance of joy and reflection, beauty and complexity, speaks volumes about the philosophical groundwork behind these pieces.
Thompson’s credentials are equally impressive. He has shared the stage with jazz luminaries such as Christian McBride, Steve Turre, Catherine Russell, and Buster Williams. His first recorded appearance was on Handful of Keys, a release by the Jazz at Lincoln Center Orchestra under the direction of Wynton Marsalis. This deep immersion in the contemporary jazz pantheon clearly informs his latest project. These collaborators are not just musicians, but thinkers, artists who understand jazz not merely as entertainment, but as a vehicle for conveying ideas and inner truth.
Thompson stands squarely in that tradition. The album is both an homage and a bold, original statement. It reflects not only his influences but his singular vision, one shaped by deep study, relentless curiosity, and a profound sense of purpose.
Adding a poignant touch to the album is the presence of vocalist Vuyo Sotashe, who appears on three tracks. Sotashe’s rich, evocative voice complements Thompson’s compositions beautifully, and it leaves listeners eager to hear more of his own work in the future. This month, Mack Avenue Records has delivered several releases of extraordinary quality. The Book of Isaiah: Modern Jazz Ministry stands out even among them, a demanding, layered, and ultimately transcendent piece of art that rewards attentive listening.
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, June 11th 2025
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Musicians:
Isaiah J. Thompson: Piano (all tracks), Background Vocals (II, VIII)
Julian Lee: Tenor Saxophone (all tracks except III, VII), Background Vocals (II, VIII)
Marty Jaffe: Bass (all tracks except VII), Background Vocals (II, VIII)
Miguel Russell: Drums (all tracks except VII), Background Vocals (II, VIII)
Vuyo Sotashe: Vocals (II, V, VI)
Herlin Riley: Tambourine (II, VIII), Vocals (VIII), Background Vocals (II)
Kaitlin Obien-Thompson: Background Vocals (VIII)
All songs written by Isaiah J. Thompson • Isaiah J. Thompson Publishing/ Modern Works Music Publishing (BMI)
Producers: Cyrus Chestnut, Isaiah J. Thompson
Tracklist :
The Cakewalk Dilemma
The Highest Calling (Asé, Yahweh)
Spring Flower, Sprung Flower
In the Temple (Spiritual Warfare)
The Feeling of Freedom
Our Father Who Art in Heaven (The Lord’s Prayer)
A Prayer
The Prophet
Recorded at Sear Sound — New York, NY • June 4-5, 2024
Mixed at The Mud Room — New York, NY
Recording and Mixing Engineer: Chris Allen
Assistant Recording Engineer: Maximilian Troppe
ProTools Engineer/Editor: Chris Gold
Additional Recording at Butcher Studios — New Orleans, LA (tracks II, VIII)
Additional Recording Engineer: Chris Butcher
Mastered at Taloowa Corporation — New York, NY
Mastering Engineer: Chris Muth
Art Direction + Design: El Señor Gomez
Front Cover Photo: Evelyn Freja
℗© 2025 Mack Avenue Records II, LLC. All rights reserved.