DAVID BORGO, Panta Rhei

For saxophonist and composer David Borgo, jazz is less a fixed destination than a constantly shifting landscape, where melodies evolve, rhythms mutate, and musicians discover new possibilities by responding to one another in the moment. That philosophy animates Panta Rhei, a richly varied collection of ten original compositions whose title translates from ancient Greek as “everything flows.”

Joined by pianist Josh Nelson, bassist Luca Alemanno, and drummer Dan Schnelle, Borgo moves effortlessly between lyrical modern jazz, brisk post-bop, atmospheric balladry, and exotic instrumental excursions. Although rooted in the familiar saxophone-piano-bass-drums quartet format, the album continually surprises through its diverse musical colors, imaginative textures, and adventurous interplay.

“Blissando” establishes the quartet’s melodic sensibility with graceful piano figures, understated percussion, and a smoky, breathy saxophone line that gradually gathers emotional force. The performance blossoms from dreamy reflection into a lilting swing groove, with Nelson’s increasingly animated piano improvisation and Alemanno’s resonant bass adding momentum before Borgo returns to a soulful, searching tune The title track takes the concept of flow further, weaving circular piano patterns and a hypnotic bass introduction into an exhilarating exchange between Borgo’s tenor and soprano saxophones. As the two horns intertwine, their contrasting timbres create the impression of a musical conversation with Borgo himself, while the rhythm section steadily intensifies the groove.

The quartet’s versatility shines throughout. “Farewell” unfolds as a shadowy, tender ballad, balancing dark piano harmonies and deep bass resonance against Borgo’s warm, impassioned tenor. By contrast, “Mid Evil” launches into a spirited post-bop romp, full of punchy saxophone phrases, brisk stop-start figures, and an especially inventive Nelson solo. “Flow” returns to  a darker, more meditative mood, with Borgo layering soprano and tenor lines into a soaring, emotionally charged dialogue above the brooding accompaniment. Elsewhere, the brief “Paro” distills the expressive possibilities of a slow, breathy tenor melody into an intimate meditation, while “Stray Thoughts” delivers nimble piano work and a buoyant, fast-moving swing groove.

Borgo’s background as an ethnomusicologist adds another dimension to the album’s adventurous character. On “Málaga,” inspired by time spent in the Andalusian city, he introduces the gaita chuana, a Western flute fitted with a head joint modeled on an Indigenous Colombian instrument. Its haunting, wind-like tones gradually give way to a vibrant fusion of flamenco-inspired rhythms, soaring soprano saxophone, and spirited quartet improvisation. The closing pair creates an especially compelling contrast: “Dark Days,” despite its title, is an exuberant, funk-driven jazz workout, while “Longing” offers a brief, elegiac Irish low-whistle ballad, its wistful tunefulness providing a beautifully understated farewell.

Borgo’s work as a professor and author of Sync or Swarm: Improvising Music in a Complex Age explores how musical ensembles function through collective interaction rather than rigid hierarchy. Panta Rhei makes that idea audible without sacrificing warmth or accessibility. Thoughtful yet spontaneous, it’s a vibrant reminder that the most rewarding musical journeys often emerge when musicians remain open to change.