The sagacious guitarist from Maine is back from a long layover with a new band, a fresh process to making a record, but with many of the same old artistic features that’s made him a long-time favorite in this space. The Woods (April 17 2026, Fishkill Records) is Blotnick’s fifth offering (plus another one co-led with saxophonist Danny Fisher-Lochhead), but the first under his name in a decade.
Blotnick’s layover from leading dates hasn’t meant he hadn’t been making music. He’s scored some films and worked on them with Tyler G. Wood (piano, organ) and Otto Hauser (drums) over in New York state’s Hudson Valley. Wanting to capitalize on the rapport the three developed, Blotnick asked them to help him on a new album, and completed the ensemble with an old associate, the bassist Adam Chilenski.
Blotnick’s backing band have worked in indie rock acts ranging from the War on Drugs to Joan As Police Woman, and this background lends a flavor to the music where folk and rock forms are present alongside the jazz; this is just what Blotnick’s compositions call for. It’s one thing for accomplished musicians to show off their chops but this band is striving to attain the higher goal of getting the most out of the strains Blotnick conceived.
The quartet recorded this music live in a single room of a studio (“The Woods,” of course) in Woodstock, NY. It’s a very cozy sound that evokes the best engineered analog recordings of jazz in the 60s; the separation and dynamic range of the recordings do great justice to this band.
The organ combined with Blotnick’s soft but harmonically sensitive lines sometimes calls to mind John Abercrombie’s mid-90’s trio with organist Dan Wall but with more conciseness and a folk flair that’s part of Blotnick’s language. That’s certainly true of the unassuming “Cuyo,” where both Blotnick and Wood are not so such stating the melody as they are softly emitting it. For “Lurvey Spring” — with Wood on piano — the strain unrolls slowly, steadily, revealing its softened charms to the patient listener.
The gently swaying “Peceo” reflects the flavor of the Mexican Yucatan where the song originated when Blotnick visited the area. His thoughtful lead lines reveals traces of Bill Frisell and Kurt Rosenwinkel.
“Smokey Corners” is the most overtly jazz piece here, an extended composition that conjures up the exquisite, unhurried feel of Miles Davis/Bill Evans’ “Blue In Green.” Blotnick’s commanding presence through a mastery of hue and tone and Wood’s sensitive use of space greatly serves the song.
“Nerptuno 2000” is brief but a fascinating view into a band with this makeup taking on free improvisation. The vibe remains even if the chord patterns go to different places. “Subnivean” is a longer group improv but every bit as mellifluous and contemplative as the preconceived numbers.
“Snowfields” is a jam here the band livens up with an enigmatic pulse that approximates a New Orleans second-line and Blotnick letting loose with fuzzy but resonating notes.
Hauser’s elusive rhythm also drives “The Woods,” where Blotnick’s lead guitar reveals here (and elsewhere) the blues-dusted soulful Grant Green feeling. Chilenski’s solo spot brings to fore his accurate sense for the groove.
When looking back to Ryan Blotnick’s output going back to his 2008 debut, it becomes clear that the years and a wealth of experience gained during that time hasn’t altered his basic approach. It’s been a solid approach that’s all his own. With The Woods, he’s consolidated all his strengths into his most consistent effort yet.
Pre-order/order The Woods from Bandcamp.
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