Listen to a new album from New York free jazz legend Alan Braufman.

Two years prior to releasing Pharoah Sanders’ 1977 psychedelic spiritual jazz masterpiece Pharoah (aka Harvest Time), New York-based independent label India Navigation released another now-cult-classic, Valley of Search, the debut album by a young 23-year-old saxophonist named Alan Braufman. A stunning document of the vibrant Soho loft jazz scene in the ’70s, the album features a Bahá’í prayer, dulcimer, wildly free flowing improvisations, along with bowed bass drones from the great Cecil McBee, who played on iconic albums from Pharoah Sanders, Alice Coltrane, Leon Thomas, Yusef Lateef, Charles Lloyd, and countless others. At the time, Village Voice jazz critic Gray Giddins wrote, “These are the musicians who are taking the chances today and their gifts and commitment ought to be attended.”

Known for his powerful alto saxophone playing, Braufman would later go on to record and tour with everyone from jazz pianist Carla Bley to avant-garde composer Philip Glass to post-punk group The Psychedelic Furs. After a decades long break from releasing solo material, Braufman has recently re-emerged as a vital voice in the free jazz world with a string of critically lauded releases: Live at WKCR, May 22, 1972 in 2019, The Fire Still Burns in 2020, and Live In New York City (February 8, 1975) in 2022. His latest Infinite Love Infinite Tears was released last week on his own Valley of Search imprint, which has largely been spearheaded by his nephew, Nabil Ayers, son of soul jazz legend Roy Ayers and a prominent figure in the music industry.

The album beams with that same youthful, fierce energy of “the new music” that Braufman recorded so many years ago from his legendary 501 Canal Street loft. Braufman’s alto sound remains huge and fully his own, while his flute playing brings a beautiful optimism and levity alongside Patricia Brennan’s sparkling vibraphone. Our pick of the bunch, “Liberation” is a spiritual journey of a tune featuring drummer Chad Taylor playing completely freely across the kit, beautifully textural bowed bass, tension-building vibraphone, and Braufman powerfully improvising inside and outside of the main theme.

From the liner notes: “Infinite Love Infinite Tears emerged from Braufman’s near-constant mental soundtrack shortly before convening with his band. Rarely does he sit down at the piano or assemble his horn to compose, instead singing tunes to himself and whatever sticks after a few days ends up in his composition book. The result is a surprisingly catchy program of free jazz.”

Braufman: “Love and tears are completely intertwined. You won’t have grief without love.”