Nels Cline has never been one to stay in one place for too long. Whether helping to reshape Wilco’s sound or diving headfirst into experimental jazz, the guitarist is always searching, always expanding. His latest endeavor, Consentrik Quartet, is no exception. Featuring saxophonist Ingrid Laubrock, bassist Chris Lightcap, and drummer Tom Rainey, the album delivers 12 evocative compositions that move effortlessly between swing, groove, and avant-garde exploration.

This is a jazz record, but its unlike most other jazz records if you really pay attention. From the hypnotic pulse of “The 23” to the bristling free swing of “Surplus,” Consentrik Quartet showcases a band that thrives on both tight interplay and untethered improvisation. Cline’s trademark guitar work alternates between righteous blues phrasing and lush textural swells, blending nicely with Laubrock’s fluid, unpredictable saxophone lines. Lightcap and Rainey lock into grooves with a vigourous push-and-pull, providing every moment with deep, rhythmic intuition.

The album, which at times echoes the exploratory spirit of John Scofield and Joe Lovano’s classic quartets, also nods toward the cerebral yet soulful approach of the late Jimmy Giuffre. Tracks like “The Returning Angel” and “Allende” drift into meditative, new-music territory, while “The Bag” delivers a burst of kinetic energy anchored by Rainey’s explosive drumming. Perhaps the most compelling element of Consentrik Quartet is how deeply personal it feels. Cline’s compositions serve as love letters to the musicians who’ve shaped him, from post-bop pioneers to the Brooklyn avant-garde scene he’s been immersed in for years. The album’s closer, “Time Of No Sirens,” is a starkly beautiful meditation, filled with the kind of quiet intensity that stays with you long after the album ends. With Consentrik Quartet, Cline has delivered not only one of his most cohesive statements as a bandleader but also a record that stands as a bold addition to Blue Note’s legacy.