Adam O’Farrill has been a busy musician lately. In 2025 alone, the trumpeter appeared on Mary Halvorson‘s acclaimed About Ghosts (as part of her Amaryllis Sextet), Hiromi’s jazz-fusion stunner Out There, Tarun Balani’s Kadahin Milandaasin, and his own octet project For These Streets. Over the years, he’s collaborated with the likes of Rudresh Mahanthappa, Vijay Iyer, Tyshawn Sorey, Anna Webber, and countless others.
However, for the person whom the New York Times referred to as “one of the leading trumpeters in jazz”, O’Farrill is jumping into something new this year, namely his first project as the leader of a quartet. ELEPHANT checks off that box with a fiery collection of compositions and performances that rank among the best work he’s ever done, and that’s saying a lot.
Joining O’Farrill on this project are Yvonne Rogers on piano and synthesizer, Walter Stinson on double bass, and Russell Holzmann on drums. ELEPHANT – both the name of the album and the quartet, named simply because O’Farrill really likes the animal, and according to the press notes, he explains that he “needed to call the group something” is a breathtaking journey that explores standard post-bop stylings but also digs deeper. The opening track “Curves and Convolutions” is led by Rogers’ spidery piano figure before winding its way into delightfully freeform chaos and typically ferocious soloing from O’Farrill, eloquently and artfully setting the scene.
It’s not long before a conceptual suite follows in the form of the three-part “Sea Triptych”. This section, arguably the album’s centerpiece, represents the idea of water, both as a comforting presence and an endless enigma. The off-kilter rhythm of the first part, “Along the Malecon”, provides the enigma while the solos float effortlessly along (occasionally aided by spacey effects on O’Farrill’s trumpet).
The second part, “The Three of Us, Floating”, is gentler and more ethereal, as O’Farrill explains: “The gently repeating piano represents the constancy of water, the bass its weight and vibrancy, and the trumpet flits around like a sea creature.” Indeed, O’Farrill’s trumpet explores the spaces with a sort of experimental curiosity, while still invoking deep emotions through the melodies. Conversely, in the third section, “Iris Murdoch”, there’s a more percussive feel, and the joy and playfulness are palpable, perhaps representing the raw, unbridled joy of diving, swimming, and frolicking in the sea.
Still, O’Farrill finds joy and inspiration in shifting gears and straying often from traditional jazz tropes, particularly on “Eleanor’s Dance”, which incorporates a steady 4/4 beat, borrowing its vibes from dance and funk. The band takes these cues with vigor, locking into the beat while still maintaining their swinging bop stylings.
“Herkimer Diamond”, on the other hand, employs a bit of a knotty groove that somewhat recalls Radiohead and has Stinson and Holzmann cooking, as on the breezy, frenetic “Thank You Song”. Meanwhile, the occasionally chaotic “The Return” is wonderfully unhinged and features some beautifully intricate, dynamic piano work from Rogers.
ELEPHANT concludes with the record’s lone cover, an exquisite take on Ryuichi Sakamoto‘s “Bibo No Aozora”. Here, O’Farrill smartly replaces the original recording’s lush strings with effects-laden trumpet, creating an atmosphere that is reverent to the original yet puts its own unique spin on the composition.
Adam O’Farrill’s work on ELEPHANT (as well as the extraordinary work of the other three musicians) is truly remarkable, which shouldn’t surprise anyone familiar with his resume. He remains a joyous, endlessly curious artist who plugs his artistic sensibilities into yet another combination; this time, a quartet with his own compositions. He continues to forge a path befitting one of the most exciting and truly enjoyable voices in jazz today.