Isaiah Collier

Before Isaiah Collier went into the studio to record his new album, the saxophonist and composer sent his fellow musicians a playlist of sorts. Instead of songs, it contained news clips chronicling racially motivated violence targeting Black men and women — including the 2020 murder of Ahmaud Arbery and the 2023 shooting of the Kansas City, Mo., teenager Ralph Yarl — as well as the protests that followed. Collier wanted the LP to be an “observation log” of the past four years, and he was reminding the members of his band, the Chosen Few, exactly where the music had sprung from.“It’s one thing to hear people who write their inspirations,” Collier, 26, explained on a recent video call from his hometown, Chicago. “It’s another thing for you to be in real time, and knowing that this is really coming from an actual tangible and concrete place.”To make that context clear for listeners, Collier wove broadcast news excerpts into the finished album, “The World Is on Fire,” out Oct. 18. The aesthetic choice plays out powerfully on tracks like one named after Arbery, which opens with a CBS report blended with a somber chord progression from the pianist Julian Davis Reid. Later in the piece, police sirens wail in the background as Collier’s alto solo reaches a torrential climax, backed by the drummer Michael Shekwoaga Ode’s seismic rolls and cymbal crashes.Along with his musical upbringing, Isaiah Collier learned about the perils of racism early on.Lyndon French for The New York Times“This is why this song carries this type of weight,” Collier said. “The air that you feel around it — it’s real.”Much of the record, which finds Collier most often playing tenor, surges ahead with an irrepressible momentum that harks back to John Coltrane’s classic 1960s quartet. Like another album Collier released this year with the Chosen Few, “The Almighty” — which juxtaposes turbulent workouts and meditative interludes in the mode of Pharoah Sanders’s late 1960s and early ’70s masterpieces — “The World Is on Fire” boasts the grit and conviction that have helped Collier stand out in an increasingly crowded field of younger artists engaging with the tradition of so-called spiritual jazz.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More