Album Review: Nubya Garcia - Odyssey

Nubya Garcia’s sophomore album, Odyssey, feels like a sonic road trip through shifting landscapes—each track a distinct but interconnected stop. Released via Concord Jazz, this album goes beyond just flexing her saxophone chops. It’s a meticulously crafted journey through jazz, with pit stops in R&B, dub, and even classical territory. Odyssey may be rooted in jazz, but Garcia clearly had other genres whispering directions in her ear as she pieced this together.

From the first note of “Dawn,” featuring the ever-exceptional Esperanza Spalding, you know you’re in for something special. The track unfolds like a sunrise—slow, deliberate, and shimmering with potential. Garcia orchestrates strings for the first time, which adds layers of depth without making the sound feel overly grandiose. It’s tasteful, even when the compositions lean into their cinematic tendencies.

But don’t let that opening fool you into thinking this album is all about subtlety. Just as you’re settling in, Garcia throws “We Walk in Gold” at you—a dub-infused anthem where Georgia Anne Muldrow’s vocals soar and pulse alongside thunderous drumming by Sam Jones. The track refuses to sit still, much like the album as a whole. This is the kind of song that would make even the most rhythmically challenged person consider getting up and moving, albeit awkwardly.

It’s not just Garcia’s saxophone that takes centre stage here; her ability to curate and collaborate is impressive. The presence of Richie Seivwright on “Set It Free” gives the track a soulful twist that’s both tender and tough. Her bandmates—Joe Armon-Jones on keys and Daniel Casimir on bass—add depth to the compositions, particularly in the title track. Clocking in at over seven minutes, “Odyssey” feels like the album’s anchor. It has moments of serene beauty punctuated by bursts of complex, almost frantic instrumentation. It’s a reminder that while Garcia is guiding you through this journey, she’s not afraid to let things get a little wild.

Yet, for all the album’s strengths, there are moments where it feels like Garcia’s experimenting just for the sake of it. The instrumental “Clarity,” while beautifully performed, doesn’t quite leave a lasting impact. It’s one of those tracks that feels more like a 6-minute breather between heavier songs rather than a standout moment on its own. Similarly, some listeners might feel that the ambitious string arrangements occasionally toe the line between lush and excessive, though they never quite overstay their welcome.

At its core, Odyssey is a bold statement from a musician who knows exactly where she’s headed but isn’t afraid to take a few detours along the way. Garcia’s ability to blend influences without ever fully committing to one genre is what makes this album a compelling listen. She’s not trying to reinvent jazz here; she’s just expanding its horizons, making it clear that the path forward is as winding and unpredictable as ever. And honestly, that’s half the fun.

Tracklist