Bellbird: The Call

CONSTELLATION RECORDS (RELEASED FEBRUARY 6, 2026)

I can remember exactly where I was when I first heard the groundbreaking music of Dave Holland’s Conference of the Birds back in 1973. Fifty-four years later, the idea of two saxophonists, a drummer and bassist playing music inspired by birds doesn’t seem quite so radical. Such is the case with Bellbird’s The Call. This Montreal-based quartet of Claire Devlin (tenor sax), Allison Burik (alto sax and bass clarinet), Eli Davidovici (bass) and Mili Hong (drums) creates sonic improvisations based on the bird responsible for one of the loudest and most distinct calls in nature — the bellbird. Devlin and Burik chirp, squawk, tweet, warble and coo their way through eight tunes as they preciously balance on the shifting branches created by Davidovici and Hong. Tunes such as “The Call” are raucous while composition such as “Mourning Dove” are more peaceful and soothing. There is even a sense of chamber jazz on the conversational counterpoint of “Phthalo Green.” Individually, each member of Bellbird expresses their unique voice in a variety of solos ranging from Burik’s bass clarinet work on “Eternity Perspective” and Devlin’s meditative mood on “Blowing on Embers,” to Davidovici’s strong arco bass on “Blowing on Embers” and Hong’s punkish beats on “Murmuration.” Together, they achieve what they refer to as a “true collective without sacrificing their individual voices.” There are moments on The Call that bear a striking resemblance to Conference of the Birds. However, there are other moments that show Bellbird’s rock, fusion and folk influences much like they did on their earlier release — Root in Tandem — in 2023. Although The Call may hold my interest, it doesn’t have the panache of Conference of the Birds. By the way I remember driving from Des Moines to Omaha (135 miles) to hear that recording at the home of a former Downbeat reviewer, and it was worth the trip!

BOTTOM LINE: Like Dave Holland’s Conference of the Birds, the music on The Call is as much conversational as it is confrontational. The similarities between these two releases that are 54 years apart is uncanny — the instrumentation, the influence of nature and the intertwining melodies and rhythms. Comparing The Call to Conference of the Birds may not be fair. After all, as a rabbi I knew would always answer when asked to compare elements of the Jewish religion — “They’re equal, but different.”