Logan Richardson’s alto saxophone is a beacon cutting through a big mass of sound on his fifth album, Afrofuturism. He’ll sing through the horn lyrically or with a fraying, dissonant edge, or layer multiple saxes (“Sunrays,” “Trap”) for an unusual kind of choral effect. But for all that, Afrofuturism is not a saxophone record: Richardson also plays piano and synth—the sonic and harmonic worlds of “Light,” “Photo Copy,” and “According to You” have an especially strange and well-conceived beauty. Vibraphonist Peter Schlamb also doubles on piano/keyboards, while Ezgi Karakus weaves a dark string chamber ensemble texture on “Black Wallstreet” (a stark commemoration of Tulsa’s infamous anti-Black rampage of 1921). There’s a soaring vocal from Laura Taglialatella on “Farewell, Goodbye” (for McCoy Tyner), and a valiant shred-solo from guitarist Igor Osypov on “Round Up,” which culminates in a show-stealing drum feature for the gifted Ryan Lee.

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