The State of New Music

All is well. If you can avoid televised singing contests (among other depressing purveyors of nicely packaged sweet nothings), you realize that music, genuinely new and never heard-before music, is being composed and produced and distributed at unprecedented levels. So much of it is good — in all that imprecise word’s manifestations. There’s the straight-ahead virtuosity of trombonist Nick Finzer’s “The Chase,” the modernist angularity of bassist Sam Trapchak’s “Land Grab,” and the uncategorizable sublime noise of Satoko Fujii, whether with her trumpet quartet on “Yamiyo Ni Karasu” or with a German orchestra on “Ichigo Ichie .” The flow of creativity is constant. These artists — and hundreds more like them — are capturing the moment.