Nick Biello, New America Review

by Jeff Becker

Nick Biello has released his third leader album, New America, a six-song set of modern hard-bop explorations. Having honed his craft under the tutelage of Jackie McLean, won the Julius Keilwerth “Saxophone Idol” competition, and spent years shaping young improvisers at The New School and NJCU, Biello now presents a body of work that synthesizes his decades of performance, composition, and pedagogy. New America is a narrative documentation of Biello’s playing while simultaneously celebrating the resilient spirit of jazz as a communal language.

The opening track, “Bel Canto,” bursts forth with a swinging swagger that instantly distinguishes the album as an excellent hard‑bop inspired release. The frontline, alto saxophone and trumpet, evokes a grand aria before diving into buoyant swinging solos. Biello’s alto soars with a dynamic timbre, his phrasing is lyrical and rhythmically daring. Biello’s command of the horn will make it impossible not to stay for the whole set. Charlie Porter’s trumpet mirrors this jazz language, offering a melodic solo. The rhythm section of George Colligan on piano, Alex Tremblay on bass, and Peter Kronreif on drums locks into a propulsive swing that feels exceptional.

Transitioning to “Queen of Jordan,” the quintet adopts a relaxed Bossa Nova feel, trading the high‑octane swing for a subtler, Latin jazz groove. The composition’s lush harmonic palette provides a fertile ground for the two horns to weave counter‑melodies, while Colligan’s piano solo has a soulful, blues‑tinged hue. Biello’s lines expand and contract with rhythmic flow, moving between eighth note sixteenth phrases. The Brazilian idiom is the perfect platform to show his ability to play across the alto’s parameters. His rhythmic foundation remains clear, allowing the melodic flow of his lines to capture the listening space. Biello’s versatility as a composer, capable of moving fluidly between energetic hard‑bop and nuanced Latin‑music influences is impressive.

“Slightly Perilous” ramps the tempo back up, delivering an up‑tempo bebop vehicle brimming with intricate melodic lines and counterpoints. The piece reflects the quintet’s ability to play at a fast tempo while still conveying a relaxed swing feel. Biello’s solo is a study in technical precision as his alto attacks the changes with driving articulation and harmonic ingenuity. Porter’s trumpet solo is equally incisive, and Kronreif’s drum work maintains the momentum without ever feeling mechanical as he interacts with the ensemble. The track is a modern jazz performance that remains firmly rooted in the bebop tradition.

“Before the Flood” shows another angle of the quintet. With elements of spiritual jazz, they stretch the performance to eleven minutes as they traverse various feels and qualities. The listening and interacting unfolding like a conversation narrative. It begins with a rubato, that hints at avant‑garde textures before settling into a swinging groove. Biello’s solo evolves from reflective lyricism to fiery intensity, while Colligan’s modal explorations provide a harmonic bridge between the contrasting sections. The composition’s structural of spiritual, avant‑garde, then modal, offers a mini‑suite experience.

Within a lovely jazz waltz, “A Long Way To You,” the quintet shows another side of their chemistry. The texture allows Biello’s tone to be savored, each line rendered with spacing and activity that invites deep listening. This track exemplifies Biello as a composer and performer, offering a heartfelt feel change and character amid the more kinetic numbers.

The closing title track, “New America,” encapsulates the record’s theme with a post‑bop statement that doubles as a sociopolitical commentary. Angular melodic fragments clash with an anthemic refrain, mirroring the tension and hope embedded in the nation’s current discourse. The ensemble’s hits and responsive dynamics convey a collective resolve, while Biello’s solo weaves a narrative of critique and optimism. The composition’s groove shifts fluidly, reflecting the multifaceted nature of contemporary American life, and the final chord leaves the listener with a lingering sense of possibility.

New America is a compelling synthesis of Nick Biello’s compositional voice and his alto playing, articulate and expressive, and the quintet’s chemistry. While the record leans heavily into hard‑bop and post‑bop aesthetics, it pushes those idioms forward through inventive harmonic twists, rhythmic flexibility, and a narrative thread that ties the six pieces into a cohesive statement about the current cultural moment.