Sometimes, albums slip through the cracks, not because they’re forgettable, but because they demand a more considered approach—a time to marinate in their complexities before one can even attempt to articulate their impact. *Impermanent* by the Daniele Martini Quartet is one such album, and while this review may be fashionably late to the party, it’s a record that refuses to let go until it’s properly understood. If you also consider that the cat managed to take and hide it for a long time in the basket of his toys...

By the way, when we talk about "Impermanent", the title might suggest something fleeting, but the reality is quite the opposite. This album’s impact is durable and lasting, as it gracefully weaves through contemporary jazz with an adventurous spirit. Saxophonist Daniele Martini leads this journey, surrounded by a trio of remarkable talents: Bram De Looze on piano, Manolo Cabras on double bass, and João Lobo on drums. Together, they navigate through a spectrum of emotions and styles, creating a work that’s as cohesive as it is unpredictable.
The album opens with “For Those Who Stay”, a track that lulls you into a contemplative state with its delicate balance of melancholy and hope. Martini’s saxophone drifts over De Looze’s gentle piano, while Cabras and Lobo provide a rhythm that’s as steady as it is subtle. It’s a conversation of sorts, where each instrument knows when to lead and when to listen—a skill that defines the quartet’s dynamic throughout the album.

But don’t be lulled into thinking that "Impermanent" is all soft edges and quiet reflection. The title track, "Impermanent", jolts the listener awake with its rhythmic complexities and sharp turns. It’s a track that demands attention, much like the entire album, revealing new layers with each listen. Martini and his bandmates navigate these twists and turns with precision, making the track a highlight of the album.
“Cells” pushes the envelope even further, with Martini’s saxophone taking on a more confrontational tone. There’s a rawness here that challenges the listener, a refusal to settle into easy patterns or predictable melodies. Yet, the track never descends into chaos; instead, it’s anchored by the quartet’s impeccable sense of structure and direction.

“Auroshika” offers a breath of calm after the intensity of “Cells”. Here, Martini’s saxophone takes on a more tender tone, floating above the delicate interplay of the other instruments. It’s a moment of quiet beauty, where the quartet’s cohesion shines through in every note. The track exemplifies the album’s ability to move seamlessly between moods, showcasing the versatility and depth of the musicians.

“Fang Song Song” continues this reflective mood, with a slow, deliberate build that recalls the best of Miles Davis — not in sound, but in its patient, unhurried approach to thematic development. The track unfolds like a story, each phrase carefully considered, leading to a conclusion that feels both inevitable and satisfying.

The album closes with “Born Work Sad Happy”, a track that encapsulates the quartet’s unique blend of emotional depth and technical brilliance. It’s a fitting end to an album that refuses to be pinned down to any one emotion or style, leaving the listener with a sense of having experienced something truly special.

So, while this review may have arrived late to the party, it’s clear that "Impermanent" by the Daniele Martini Quartet is worth the wait. This is a quartet that has something profound to say, and they say it with a grace and conviction that’s rare in today’s jazz scene. If impermanence is the theme, let’s hope this album’s influence is anything but.