Nicole Zuraitis Explores Love, Loss, and Self-Reckoning on Ambitious New Concept Album: The Devil I Knew

Two-time GRAMMY-winning vocalist, pianist, and songwriter Nicole Zuraitis has never shied away from emotional honesty, but her forthcoming album The Devil I Knew represents her most ambitious and deeply personal artistic statement to date. Arriving July 17, 2026 on La Reserve Records, the sprawling 20-track project unfolds as a cinematic concept album examining the aftermath of a collapsing relationship through themes of accountability, grief, healing, and ultimately self-discovery.

Written and arranged entirely by Zuraitis, The Devil I Knew blends jazz virtuosity, literary inspiration, orchestral grandeur, and confessional songwriting into a work that feels as much like a contemporary song cycle as it does a jazz album. Structured across five interconnected movements—The Mirror, The Martyr, The Malediction, The Reckoning, and The Requiem—the album chronicles an emotional journey from reflection and denial to acceptance and transformation.

What sets the project apart is its fusion of music and literature. Throughout the album, poetry serves as both connective tissue and emotional guidepost, drawing on the words of some of history’s most celebrated female writers, including Dorothy Parker, Emily Dickinson, Edna St. Vincent Millay, Francis Ellen Watkins Harper, Sara Teasdale, and Johanna Telander. Their voices help frame Zuraitis’ deeply personal narrative while expanding its themes into something universal.

Recorded at EastSide Sound in New York City and mastered by legendary engineer Bernie Grundman, The Devil I Knew brings together an extraordinary cast of collaborators. The album was produced by Larry Klein and Zuraitis, with executive production by Susan Bloomberg, and features performances from some of the most respected musicians in contemporary jazz and beyond.

Among the featured artists are bassist Christian McBride, saxophonist Donny McCaslin, guitarist Gilad Hekselman, keyboard master Larry Goldings, bassist and producer Larry Klein, guitarist Dean Parks, and pianist David Cook. Additional contributions from Jon Cowherd, Idan Morim, Sam Weber, Dan Pugach, Scott Sherrard, and others create a richly textured musical landscape that shifts effortlessly between intimate jazz trio settings, orchestral balladry, and cinematic storytelling.

The album’s sonic scope is further elevated by the involvement of acclaimed arrangers Jerry Hey and Vince Mendoza. Hey’s horn arrangements bring dramatic weight and momentum to key moments, while Mendoza’s lush string orchestrations, performed by the Budapest Scoring Orchestra, provide a sweeping emotional backdrop. Vocal arrangements from Sirintip and Vivienne Aerts add further depth to the album’s layered narrative.

At its core, The Devil I Knew is less concerned with assigning blame than with examining the difficult truths that emerge when love falls apart. Songs such as “Won’t Make It Out Alive,” “Call My Name (I Dare You),” “Two Steps Back (The Overlap),” and the title track navigate emotional complexity with remarkable vulnerability, while later pieces including “The Hardest Part,” “It Never Goes Away,” and “Back to You” reveal a gradual movement toward understanding and acceptance.

The album’s structure mirrors that evolution. Each thematic movement functions almost like a chapter in a novel, allowing listeners to experience the emotional arc in real time. Interwoven spoken-word passages and poetic interludes create a sense of continuity that transforms the collection from a series of songs into a fully realized narrative experience.

The title itself hints at one of the album’s central ideas: the realization that the greatest reckoning is often not with another person, but with ourselves. Throughout the project, Zuraitis explores how people construct stories around heartbreak, how they cling to old wounds, and how genuine healing requires confronting uncomfortable truths.

Musically, the album places Zuraitis at the forefront of what some observers have described as a new Romanticism in jazz—a movement embracing emotional depth, literary influence, melodic richness, and unapologetic vulnerability. In an era often dominated by brevity and surface-level engagement, The Devil I Knew offers something increasingly rare: a large-scale artistic statement that invites listeners to sit with difficult emotions and reflect on their own experiences.

The project concludes with a moving sequence that includes a reinterpretation of the standard “I Get Along Without You Very Well (Except Sometimes)” before arriving at the understated finale, “The Epilogue.” Together, they provide a fitting conclusion to a journey that is ultimately less about heartbreak than about reclaiming emotional agency.

With its ambitious scope, literary foundations, world-class ensemble, and fearless emotional candor, The Devil I Knew stands as one of the most compelling projects of Zuraitis’ career. It is a work that bridges jazz, songwriting, poetry, and orchestral composition while remaining grounded in something deeply human: the search for meaning after loss.

The Devil I Knew
Nicole Zuraitis
La Reserve Records
Release Date: July 17, 2026

Written and Arranged by Nicole Zuraitis
Produced by Larry Klein and Nicole Zuraitis
Executive Producer: Susan Bloomberg
Recorded at EastSide Sound, New York City (June 2025)
Mastered by Bernie Grundman

Ize Trio Expands Its Global Vision with the Meditative and Powerful Global Prayer

 

When Ize Trio released its acclaimed debut album The Global Suites in 2024, the Boston-based ensemble introduced a bold musical vision rooted in cultural exchange, dialogue, and healing. Their follow-up, Global Prayer, arriving June 12, 2026, broadens that vision while turning inward, offering a deeply reflective exploration of identity, spirituality, and human connection.

Blending jazz, Western classical traditions, and maqam—the rich microtonal musical language found throughout the Middle East and Eastern Mediterranean—Ize Trio continues to redefine what a contemporary jazz ensemble can be. The group brings together pianist Chase Morrin, percussionist George Lernis, and cellist Naseem Alatrash, three musicians whose diverse backgrounds form the foundation of the trio’s distinctive sound.

Critics have already recognized the ensemble’s unique approach. Michael Ullman of Arts Fuse described the group as “exuberantly and deliberately international,” while Jazz Views praised Ize Trio for blending jazz and Middle Eastern traditions while promoting “a mission focused on social good.”

Recorded over sessions in 2023 and 2025, Global Prayer finds the trio embracing a more personal and spiritual perspective than its predecessor. Rather than focusing primarily on external social issues, the new album examines how individuals navigate an increasingly complex and uncertain world.

“A lot of the music is dedicated to our mentors or is more spiritually focused,” Morrin explains. “Thinking about how we exist within this crazy world right now.”

That spirit is immediately evident on the album’s opening track, “Flying,” a composition inspired by Turkish maqam Neveser and dedicated to pianist and educator Danilo Pérez, whose mentorship helped bring the trio together during their studies at the Berklee Global Jazz Institute. The piece reflects Pérez’s recollection of a transcendent, out-of-body musical experience while performing with the late Wayne Shorter. Through dynamic interplay and shifting textures, Ize Trio transforms that story into a meditation on both physical and spiritual journeys.

Shorter’s influence extends further with “From the Stars,” a composition inspired by the legendary saxophonist’s cosmic imagination, Buddhist philosophy, and lifelong fascination with astronomy and science fiction. Grammy-winning bassist John Patitucci, a longtime collaborator of both Pérez and Shorter, lends his voice to the recording, while saxophonist Lihi Haruvi channels the exploratory spirit that defined Shorter’s music.

The album’s guest roster significantly expands the trio’s already wide-ranging sonic palette. Alongside Patitucci and Haruvi, the recording features laouto virtuoso Vasilis Kostas, violinist Layth Sidiq, artistic director of the New York Arabic Orchestra, and bouzouki player Yaniv Yacoby. Their contributions help deepen the album’s multicultural character while reinforcing its themes of connection across traditions and borders.

One of the album’s most vivid compositions, “Snaefellsjokull,” takes its title from the glacier-capped Icelandic mountain where Morrin and his mother experienced a memorable and challenging journey. Drawing on Irish and Greek musical influences, the piece transforms that personal adventure into a broader metaphor for life’s unpredictable paths. The resulting composition is both exhilarating and contemplative, balancing wonder, uncertainty, beauty, and resilience.

The title track, “Global Prayer,” serves as the emotional centerpiece of the album. Quiet, spacious, and deeply moving, the composition captures both the burdens and hopes of a world searching for healing and understanding. Its stillness becomes one of the album’s most powerful statements.

The second half of the recording ventures further into spontaneity through a series of free improvisations. These brief explorations, culminating in the expansive “Jam for the End of the World,” showcase the trio’s remarkable chemistry and willingness to embrace risk. Despite its ominous title, the latter piece ultimately feels more defiant and life-affirming than apocalyptic.

The album closes with Morrin alone at the piano for “Epilogue,” a hushed and introspective conclusion that leaves listeners with a sense of reflection rather than resolution.

Throughout Global Prayer, Ize Trio demonstrates how deeply its collective language has evolved since its formation. The music remains rooted in jazz improvisation while drawing equally from classical forms, Middle Eastern traditions, and the personal histories of its members.

“We’re constantly digging deeper into how we all bring our influences and our different backgrounds to the table,” Morrin says. “We’ve been able to add so much freedom to the music that no piece is ever the same twice.”

That commitment to openness, curiosity, and cultural dialogue continues to define Ize Trio’s mission. Through original compositions and fearless collaboration, the ensemble seeks to build bridges between traditions and communities, demonstrating how music can foster understanding in an increasingly divided world.

With Global Prayer, Ize Trio delivers a compelling statement of artistic growth—an album that is simultaneously global and intimate, adventurous and meditative. It stands as a testament to the power of shared musical language and a hopeful reminder that connection often begins with listening.

Ize Trio will celebrate the album’s release with a concert at Regattabar in Cambridge, Massachusetts on June 14, 2026.

Global Prayer
Ize Trio
Self-Released
Recorded January 12–13, 2023, and May 24, 2025
Release Date: June 12, 2026

Randy Ingram Pays Deeply Personal Tribute to Bill Evans on Sound Within

 

Few figures cast a longer shadow over jazz piano than Bill Evans. Nearly five decades after his passing in 1980, Evans remains one of the most influential voices in modern jazz, inspiring generations of musicians with his lyrical touch, emotional honesty, and singular approach to the piano trio. On July 10, 2026, pianist and composer Randy Ingram honors that enduring legacy with Sound Within: A Celebration of Bill Evans, released via Chill Tone Records.

Featuring two musicians with direct ties to Evans’ storied career—drummer Joe La Barbera and bassist Rufus Reid—Sound Within is much more than a tribute album. It is a profoundly personal reflection on Evans’ impact, filtered through Ingram’s own artistic voice and life experience.

“A pianist of taste and resourcefulness,” wrote Steve Futterman in The New Yorker, while Budd Kopman of All About Jazz praised Ingram’s music for creating “extended aural landscapes that envelop and excite, soothe and invigorate.”

For Ingram, the project was decades in the making. While Evans has been a defining influence throughout his career, he intentionally waited until he felt ready to approach the music on his own terms.

“The thing that’s most important to me about Bill Evans is not a style,” Ingram explains. “It’s not the way that he plays, or the devices that he uses. It’s the sound of the piano, and that’s something that comes from deep inside. So I made sure to hone in on my own sound for this album.”

That philosophy shapes every aspect of Sound Within. Rather than attempting to recreate Evans’ music, Ingram explores the emotional truth at its core, interpreting classic Evans-associated repertoire alongside original compositions inspired by the pianist’s lasting influence.

The personnel itself reinforces that connection. Joe La Barbera, who performed in Evans’ final trio alongside bassist Marc Johnson, brings a direct link to the legendary pianist’s final years. La Barbera also served as an important mentor to Ingram during his formative years in Southern California, adding another layer of personal significance to the collaboration.

Bassist Rufus Reid rounds out the trio. Reid briefly performed with Evans in 1978, appearing at celebrated venues including New York’s Village Vanguard and Boston’s Jazz Workshop. Reid recalls learning a valuable lesson from Evans during that period: he was chosen not to imitate anyone else, but to bring his own voice to the music. That same spirit guides Ingram throughout Sound Within.

“There’s an introspective thread that extends from Bill Evans through a lot of the music that I love,” Ingram says. “He was never faking anything on an emotional level; he was always able to speak who he was with total honesty. The way that I connect to Bill’s music is through finding something undeniably true there.”

The album opens with Evans’ beloved “Turn Out the Stars,” establishing an intimate, reflective mood before unfolding into a fresh rhythmic setting. Other highlights include a moving interpretation of “My Foolish Heart,” a tune Ingram has cherished since his teenage years, and George Russell’s “Ezz-Thetic,” which pays tribute not only to Evans but also to Russell, one of Ingram’s mentors during his studies at New England Conservatory.

Personal connections run throughout the project. “Letter to Evan,” written by Evans for his son, resonates deeply with Ingram as a father himself. “Mother of Earl” emerged from a creative discovery during a residency at MacDowell, where Ingram learned that composer Earl Zindars—a lifelong friend of Evans—had once occupied the same cabin.

Ingram’s original compositions provide perhaps the clearest insight into how Evans’ influence continues to echo through contemporary jazz. The floating, atmospheric “Aloft,” the expansive title track “Sound Within,” and the poignant closing piece “Remembrance” each explore different facets of Evans’ artistic legacy while remaining unmistakably Ingram’s own.

The pianist’s connection to Evans extends beyond music. In 2013, Ingram portrayed Evans in the acclaimed Swedish film Waltz for Monica (Monica Z), a biographical drama about singer Monica Zetterlund that became Sweden’s highest-grossing film of the year and earned multiple awards.

Widely respected as both a pianist and composer, Ingram has built an impressive discography that includes the acclaimed 2024 trio recording Aries Dance, featuring drummer Billy Hart and bassist Drew Gress. He has also collaborated with leading artists including John Patitucci, Jeff “Tain” Watts, Ari Hoenig, Ben Monder, Ingrid Jensen, Kendrick Scott, Tierney Sutton, Toninho Horta, and many others.

With Sound Within: A Celebration of Bill Evans, Ingram succeeds in achieving something rare: honoring one of jazz’s most revered figures without losing sight of his own identity. The result is not simply a tribute, but a deeply felt conversation between generations—one artist expressing gratitude to another through music that is honest, intimate, and unmistakably his own.

Sound Within: A Celebration of Bill Evans
Randy Ingram Trio featuring Joe La Barbera and Rufus Reid
Chill Tone Records (CT0008)
Recorded November 12, 2025
Release Date: July 10, 2026

Montreal International Jazz Festival Announces 2026 Award Honorees

 

The Festival International de Jazz de Montréal (FIJM) has unveiled the recipients of its prestigious 2026 Festival Awards, recognizing a diverse group of artists whose work continues to shape the global music landscape. During the festival’s 46th edition, acclaimed singer-songwriter Patrick Watson, jazz bassist Christian McBride, London collective KOKOROKO, vocalist Cécile McLorin Salvant, and emerging artist Najib Fenaoui will each be honored for their exceptional contributions to music.

The awards celebrate excellence across multiple genres and generations, reflecting the festival’s longstanding commitment to honoring both established innovators and rising talents.

Patrick Watson will receive the Montréal Jazz Festival Spirit Award, becoming the 14th artist to earn the distinction. The award recognizes musicians whose creativity, innovation, and influence have had a lasting impact on popular music worldwide. Over the past two decades, Watson has built a singular artistic identity that blends orchestral arrangements, indie pop, experimental soundscapes, and deeply emotional songwriting. His distinctive musical voice has resonated with audiences around the globe while remaining firmly connected to Montreal’s vibrant cultural community. Watson will perform a free concert on the TD Stage on July 3.

The 2026 Miles Davis Award goes to Christian McBride, one of the most influential figures in contemporary jazz. As a bassist, composer, arranger, producer, educator, and cultural advocate, McBride has spent more than three decades helping to define modern jazz while bridging generations of musicians. His versatility and remarkable body of work have made him a leading ambassador for the genre. McBride will appear alongside guitarist Julian Lage at Théâtre Maisonneuve on July 4.

The Antônio Carlos Jobim Award will be presented to KOKOROKO, the acclaimed London-based ensemble known for its vibrant fusion of Afrobeat, highlife, jazz, soul, funk, bossa nova, and contemporary influences. Since forming in 2014, the collective has developed a sound that honors African musical traditions while pushing contemporary jazz into exciting new territory. Their innovative approach and international appeal have made them one of the most celebrated groups on today’s global jazz scene. KOKOROKO will perform a free outdoor concert on June 26.

Receiving the Ella Fitzgerald Award is vocalist Cécile McLorin Salvant, whose artistry has established her as one of the defining jazz singers of her generation. Revered for her extraordinary vocal technique, interpretive depth, and fearless creativity, Salvant continually reimagines the boundaries of jazz by incorporating influences from blues, folk traditions, vaudeville, and even Baroque music. Her work has revitalized forgotten repertoire while creating a uniquely modern artistic vision. She will perform at Théâtre Maisonneuve on June 26.

The festival will also honor rising Montreal vocalist Najib Fenaoui with the Oliver Jones Award. Created to support university-level musicians from visible minority and Indigenous communities, the award recognizes emerging talent on the city’s jazz scene. Since making his debut in 2020, Fenaoui has earned attention for his exceptional improvisational skills and distinctive vocal style, drawing inspiration from jazz legends such as Ella Fitzgerald, Al Jarreau, and Bobby McFerrin while incorporating elements of R&B, soul, and gospel into his music. He will perform with his group, NAJIB and the Alter Egos, at Le Studio TD on July 4.

The 2026 honorees reflect the remarkable diversity that has long defined the Montreal International Jazz Festival. From globally celebrated artists pushing creative boundaries to emerging voices carrying jazz into the future, this year’s award recipients embody the spirit of innovation, excellence, and artistic exploration that continues to make the festival one of the world’s premier music events.

Presented by TD Bank Group in collaboration with Rio Tinto, the Festival International de Jazz de Montréal returns for its 46th edition with an ambitious lineup celebrating the many forms and futures of jazz and creative music.

Gergana’s Free Is a Deeply Personal Journey of Renewal, Resilience, and Song

For vocalist and songwriter Gergana Velinova, a song’s true life begins long after it leaves the studio. It starts when a melody quietly finds its way into a listener’s world, becoming woven into their memories, emotions, and personal story. That philosophy lies at the heart of Free, a deeply personal new album that invites listeners into a journey of transformation, healing, and self-discovery.

Written over the course of five pivotal years, Free emerged during a period of profound change in Gergana’s life. While caring for a child whose health required her full attention and later navigating the uncertainty and isolation of the global pandemic, she found herself creating music not for stages or audiences, but for a single listener asleep in her arms. Those intimate moments shaped an album rooted in vulnerability, love, and resilience.

The title Free carries multiple layers of meaning. It reflects the emotional liberation that music can provide—the feeling of being lifted beyond everyday concerns by a soaring melody. It also celebrates Gergana’s own personal milestone of becoming a Canadian citizen in 2025, marking a new chapter in both her life and artistic journey.

Released through Cellar Music Group, the album moves effortlessly across a rich musical landscape. Contemporary jazz inspired by the ECM tradition intertwines with elements of Gergana’s Bulgarian heritage, while jazz-pop influences, sensual bossa nova rhythms, blues-infused reflections, and lyrical ballads create a collection that feels both expansive and deeply intimate. Throughout the album, melody remains central. Every song is crafted to be sung, remembered, and carried forward by listeners long after the music ends.

A key element of the project is Gergana’s creative partnership with producer, multi-instrumentalist, and longtime friend Kristian Alexandrov. The two first met as students at Sofia Music School in Bulgaria and have shared a musical bond for decades. As producer, Alexandrov brings a sophisticated sonic vision to the album, layering rich textures while preserving the warmth and emotional honesty that define the music. His contributions on piano, Rhodes, B3 organ, vibraphone, and percussion help shape a sound that feels both cinematic and deeply personal.

The album features an accomplished ensemble of musicians whose performances enrich each composition. Gergana’s expressive vocals are supported by drummers, bassists, horn players, and string arrangements that bring color and nuance to every track. Guest appearances by saxophonists Cory Weeds, Jon Bentley, and Ryan Oliver, trumpeters Malcolm Aiken and Vince Mai, violinist Cameron Wilson, and background vocalists Shannon Gaye and Gord Maxwell add further depth to the recording.

Yet despite its impressive musical cast, Free remains centered on connection. The album never feels distant or grandiose. Instead, it draws listeners inward, creating the sense that Gergana is sharing her story one song at a time. As the music unfolds, however, something unexpected happens: what begins as her personal narrative gradually becomes a reflection of the listener’s own experiences.

That emotional exchange is captured in one of the album’s most poignant lyrical moments: “Come a little closer. Come look inside this heart. What do you see? Do you see me?” It is both an invitation and a question, one that echoes throughout the record.

With Free, Gergana Velinova delivers more than a collection of songs. She offers a space for reflection, healing, and connection. It is an album born from life’s challenges and triumphs, transformed into music that resonates far beyond its creator’s experiences. By the final note, listeners may discover that the story they thought belonged to Gergana has become, in some small but meaningful way, their own.

New England Jazz Collaborative’s Tributaries Celebrates the Power of Collective Creativity

The New England Jazz Collaborative (NEJC) makes a striking first impression with Tributaries, a vibrant debut album arriving July 17, 2026 via ACP Records. Featuring six original compositions by four member composers—Jeremy Cohen, Darryl Harper, Matan Rubinstein, and Sam Spear—the release showcases the remarkable breadth of contemporary large-ensemble jazz, moving seamlessly from classic swing and lyrical balladry to modern jazz experimentation and West African highlife.

Praised by some of jazz’s most respected voices, Tributaries has already generated significant acclaim. Violinist Regina Carter describes the music as “a diverse range of styles, textures, and moods,” highlighting the ensemble’s creativity and collaborative spirit. Bassist and composer Ben Allison calls the album “refreshing and uplifting,” while veteran critic Bob Blumenthal praises its “uniform excellence and diversity.”

The album also serves as a powerful introduction to the NEJC itself, an artist-run nonprofit collective founded by composer and percussionist Jeremy Cohen. The organization emerged from a simple but pressing challenge: many composers have ambitious works for jazz orchestra but lack access to a professional big band capable of bringing those visions to life. Rather than building a group around a single bandleader, Cohen created a collaborative model that gives multiple composers the opportunity to develop, perform, and record new music with a world-class ensemble.

That idea has quickly evolved into one of the most innovative large-ensemble initiatives in the country. In fewer than five years, the NEJC has commissioned and presented more than 30 new works for jazz orchestra while paying over $100,000 to musicians and creative professionals. Its mission is straightforward but ambitious: expand audiences for jazz and related genres by supporting living composers and creating opportunities for artistic experimentation.

The music on Tributaries reflects that mission in compelling fashion. Cohen’s “Another Brighter Day” opens the album with lush harmonies and melodic warmth, blending intricate orchestration with accessible hooks that evoke influences ranging from Steely Dan to Weather Report. His second contribution, “Green Turtle Strut,” draws inspiration from time spent in Ghana, incorporating elements of guitar-driven highlife and Congolese sebene rhythms into a joyful, globally informed jazz framework.

Matan Rubinstein’s “Ol’ Liminal” pushes the ensemble in a different direction, combining echoes of early New Orleans collective improvisation with influences from rock, hip-hop, and electronic music. The result is an energetic, genre-crossing work that captures the adventurous spirit at the heart of the collaborative.

Darryl Harper contributes two contrasting compositions. The tender ballad “Kiss Me Again” features delicate, expressive writing, while “The Secret” explores odd-meter funk through an engaging series of conversational solo exchanges. Together, the pieces demonstrate Harper’s versatility as both composer and storyteller.

Sam Spear’s “Gee, Em…” rounds out the album with a sophisticated blend of classical and jazz traditions inspired by the legacy of Gunther Schuller and Duke Ellington. Built around Schuller’s famed “Magic Row,” the composition offers a dreamlike and intellectually rich listening experience while remaining deeply engaging.

The orchestra itself is a reflection of New England’s thriving jazz community, bringing together established artists and rising talents from across the region. Musicians with strong ties to the Boston area—including trumpeters Jason Palmer and Bijon Watson, saxophonists Felipe Salles and Brian Landrus, and guitarist Eric Hofbauer—perform alongside emerging voices, all under the direction of acclaimed composer, conductor, and educator Ken Schaphorst.

The album’s title, Tributaries, captures both the diverse influences flowing into the project and the rich musical heritage that informs it. The work draws inspiration from traditions associated with figures such as Gunther Schuller, George Russell, and Bob Brookmeyer, while simultaneously looking forward to the next chapter of large-ensemble jazz.

As Cohen notes, what began as a practical solution for getting composers’ music heard evolved into something much larger. The NEJC has become a creative community dedicated to advancing new music, fostering collaboration, and proving that the jazz orchestra remains a vital and evolving art form.

With its expansive musical vision, exceptional performances, and commitment to collective artistry, Tributaries stands as a compelling debut and a powerful statement about the future of contemporary jazz.

Hannah Gill Reimagines Duke Ellington Classics on I Like the Sunrise

 

With I Like the Sunrise, New York-based vocalist Hannah Gill reveals a more intimate side of her artistry, stepping away from the theatrical flair and high-energy performances that have defined much of her career. The album, her fourth release for Turtle Bay Records, serves as a heartfelt tribute to the timeless music of Duke Ellington, reimagining beloved compositions through a warm, guitar-centered approach that strips away convention and invites listeners into a more personal musical space.

Rather than recreating the grand orchestral arrangements often associated with Ellington’s catalog, Gill focuses on the strength of the songs themselves. Notably absent is the piano, a deliberate choice that allows the melodies, lyrics, and emotional nuances of each composition to take center stage. The result is a collection of performances that feel conversational, spacious, and deeply connected to the spirit of the material.

Gill has long earned acclaim for her versatility, building a devoted following through performances with East Coast swing dance bands, Postmodern Jukebox, Lindy Hop bandleader Gordon Webster, and The Hot Toddies Jazz Band. Her previous Turtle Bay releases, particularly the popular Spooky Jazz albums, showcased her ability to blend vintage swing, theatrical storytelling, and playful imagination. On I Like the Sunrise, however, she embraces a quieter form of expression, demonstrating a new level of artistic maturity and confidence.

The project grew out of Gill’s admiration for Ellington’s unique ability to balance sophistication with emotional accessibility. Drawn to songs such as “Azalea” and “I Like the Sunrise,” she found herself inspired by their beauty, tranquility, and capacity for reflection. By removing the familiar framework of piano accompaniment, Gill allows the lyrical and interpretive core of these songs to emerge with remarkable clarity.

Central to the album’s success is the chemistry of the ensemble. Guitarist Luis Salcedo, bassist Philip Ambuel, and drummer Adam Ray form a cohesive rhythm section that developed naturally through months of live performances. The group spent 33 weeks in residency at Brooklyn’s Cocktail Magique, performing much of this repertoire weekly and refining the arrangements in front of audiences. By the time they entered the studio, the music had evolved organically, shaped by experience rather than strict adherence to written charts.

That sense of familiarity and trust permeates the recording. Captured at The Bunker in Williamsburg and recorded through analog tape, the album possesses a warm, tactile quality that perfectly complements its understated mood. Rather than relying on extensive overdubs or rigid arrangements, the musicians collaborated in real time, creating performances that feel spontaneous and alive. Select appearances by saxophonist Ricky Alexander add another layer of color while maintaining the album’s intimate atmosphere.

The collection opens with “So Far So Good,” a buoyant performance filled with optimism and gentle swing. Gill’s phrasing is playful and assured as Salcedo’s guitar and Alexander’s saxophone engage in lively musical conversation. “I Ain’t Got Nothin’ But the Blues” follows with a more introspective mood, beginning with sparse guitar figures before gradually expanding into a rich emotional landscape. Gill’s storytelling shines here, her vocal delivery balancing sensuality and vulnerability.

Throughout the album, Gill demonstrates remarkable control over tone and dynamics. “Love You Madly” finds the ensemble settling into a joyful groove, while “I’m Just a Lucky So and So” offers one of the vocalist’s most relaxed and heartfelt performances. On “I Didn’t Know About You,” delicate guitar work creates an ideal backdrop for Gill’s breathy, nuanced interpretation.

The emotional depth of the project becomes especially apparent on “I Got It Bad (And That Ain’t Good),” which begins as an intimate dialogue between voice and guitar before gradually opening into a fuller arrangement. Gill’s restrained approach emphasizes the song’s humanity, avoiding melodrama in favor of genuine emotional connection.

One of the album’s standout moments arrives with “Azalea,” a composition perhaps best known through Louis Armstrong’s 1963 recording. Here, Gill transforms the song into a study in atmosphere and subtlety, supported by understated rhythmic movement and intricate guitar textures. Elsewhere, “Do Nothing Till You Hear From Me” introduces a touch of playful swing, while “Take Love Easy” unfolds with a cool, effortless elegance.

The title track serves as the emotional centerpiece of the album. Rendered as a dreamy, hymn-like ballad, “I Like the Sunrise” captures the hope and quiet renewal at the heart of Ellington’s original composition. Gill’s voice floats effortlessly through the arrangement, conveying both fragility and optimism while the ensemble provides a spacious and supportive backdrop.

The album closes with “Azure,” a beautifully minimal performance featuring only voice and guitar. Enhanced by Gill’s charming whistle, the track creates a cinematic and atmospheric conclusion that perfectly reflects the album’s emphasis on nuance, intimacy, and emotional honesty.

More than a tribute to Duke Ellington, I Like the Sunrise represents a significant artistic evolution for Hannah Gill. Known for commanding lively stages and engaging enthusiastic audiences, she chooses here to embrace restraint, inviting listeners to lean in rather than be swept away. The result is a deeply rewarding collection that highlights not only the enduring brilliance of Ellington’s songwriting but also the remarkable depth and versatility of Gill’s own voice.

I Like the Sunrise will be released June 19, 2026, via Turtle Bay Records on CD, vinyl, and all major streaming platforms.

Ralph Alessi Explores New Musical Horizons on A Sun That Never Sets

With A Sun That Never Sets, trumpeter and composer Ralph Alessi expands his celebrated quartet format into a quintet, unveiling eleven new compositions that showcase his intricate writing, adventurous spirit, and deep musical intuition. The album marks a significant evolution in Alessi’s creative journey, bringing a fresh dimension to his sound through the addition of trombonist Joseph Alessi, his brother and one of the world's foremost classical trombonists.

The result is a strikingly original ensemble featuring Ralph Alessi on trumpet, Joseph Alessi on trombone, Matt Mitchell on piano, John Hébert on double bass, and Ches Smith on drums and vibraphone. Together, the group navigates Alessi’s complex, syncopated compositions with remarkable ease, uncovering new possibilities within every melodic turn and rhythmic shift.

“In this band, everybody's just so strong, and very little, if anything, ever has to be said—which is what I prefer,” Alessi says. That near-telepathic communication is evident throughout the album, whether in the haunting, delicately phrased passages of “Nothing Is Dead,” “Sweet Spot,” and “Twichild,” or the dynamic energy of pieces such as “Relaxed Misery” and “Of Trees.”

While Alessi previously worked in a quintet setting alongside saxophonist Ravi Coltrane in his acclaimed ensemble This Against That, A Sun That Never Sets takes a different approach. Rather than adding another reed voice, Alessi introduces the rich tonal possibilities of the trombone, creating a distinctive dialogue between trumpet and trombone that shapes much of the album’s character.

For Ralph, writing for his brother presented a unique challenge. “It was uncharted waters through and through for me,” he explains. “Not just because I was doing it with my brother in this improvisatory context, but also because it’s a trombone. I've never really done any of my records with trombone. It was challenging and there was a lot of thought that went into preparing this music with him in mind. And at the end I have to say I’m very happy with how that played out.”

The brothers’ chemistry is immediately apparent on “Relaxed Misery,” which opens with a playful and spontaneous exchange before unfolding into sharply defined melodic lines and expansive improvisation. Elsewhere, Joseph’s contributions are used with restraint and precision. On “Ether,” winding horn lines drift through shifting harmonies, while a brief trombone passage on “Sweet Spot” provides the final touch that brings the composition to its emotional peak. On “Of Trees,” the brothers lock into tightly synchronized phrases, navigating intricate rhythmic terrain with exhilarating intensity.

Another defining presence throughout the album is percussionist Ches Smith, whose dual role on drums and vibraphone significantly broadens the ensemble’s sonic palette. Smith introduces “Nothing Is Dead” with resonant vibraphone tones before transitioning seamlessly to subtle percussion textures. His vibraphone work adds warmth and lyricism to pieces such as “Sweet Spot” and “Behind Clouds,” while his precise drumming powers rhythmically complex tracks including “Duck Face” and “Transitional Imagery.”

“Obviously Ches is a very unique musician, and he really expands on the possibilities for orchestration,” Alessi says. “I didn't even have to suggest the pieces where he plays vibes. He's just a natural, he just went there. He's bringing that energy to it, adding such an interesting dimension to the music’s color.”

Alessi cites two enduring sources of inspiration as central to his artistic thinking: Ornette Coleman and Igor Stravinsky. Though seemingly opposite poles of musical expression, their influence can be felt throughout A Sun That Never Sets, where contemplative lyricism and angular structures coexist in a constantly evolving musical landscape.

The album also highlights Alessi’s distinctive trumpet voice, balancing technical precision with emotional depth. His clear, expressive tone guides listeners through compositions that shift effortlessly between abstraction and beauty. Pianist Matt Mitchell complements that vision with elegant interpretations of the themes while maintaining a willingness to venture beyond harmonic boundaries. Supported by the fluid interplay of Hébert and Smith, the ensemble creates a musical environment that remains vibrant, unpredictable, and deeply engaging from beginning to end.

Recorded at Oktaven Studio in New York in February 2025 and later mixed in Munich, A Sun That Never Sets was produced by Ralph Alessi and Manfred Eicher. The album stands as both a continuation of Alessi’s acclaimed ECM legacy and a bold step forward, revealing new possibilities within his compositional language while reaffirming his place among the most inventive voices in contemporary jazz.

Cindy Blackman Santana Announces New Album Coherence

 

Acclaimed drummer, composer, bandleader, and vocalist Cindy Blackman Santana will release her new solo album Coherence on July 31 via Mack Avenue Records. The project is introduced by its first single, “Illumination,” available now, offering an electrifying preview of a record that seamlessly blends spiritual jazz, fusion, rock, and improvisation.

Coherence brings together an extraordinary cast of musicians, including Carlos Santana, John McLaughlin, Matt Garrison, Ray Angry, Dave Eggar, and Blackman Santana’s acclaimed touring band. The album thrives on rhythmic interplay, expansive improvisation, and the dynamic energy of live performance, resulting in one of the artist’s most collaborative and adventurous works to date.

The lead single, “Illumination,” highlights the chemistry between Blackman Santana and her ensemble. Driven by her powerful and expressive drumming, the track unfolds through fluid exchanges between saxophone, guitar, and bass, creating a vibrant conversation that captures the spirit of spontaneous creation.

“It was actually our first time ever playing ‘Illumination,’” Blackman Santana explains. “To me, it brings a lot of freshness and energy. I hope you feel the cohesiveness of how we interact together. The title is about bringing brightness to the forefront of people’s minds and hearts. The coming together of the musicians represents the coming together of all people.”

Coherence arrives nearly four decades after Blackman Santana made her debut as a bandleader with 1987’s Arcane. Since then, she has forged one of contemporary music’s most distinctive careers, earning acclaim across jazz, fusion, and rock while continually expanding her artistic voice as a composer, drummer, vocalist, and performer.

Recorded at The Hideout Recording Studio in Las Vegas during late 2024, the album features Blackman Santana alongside her trusted touring band: Emilio Modeste (saxophone), Aurelien Budynek (guitar), Zaccai Curtis (keyboards), and Felix Pastorius (bass). To further realize her vision, she enlisted a remarkable group of collaborators, including Carlos Santana, John McLaughlin, Matt Garrison, Ray Angry, Dave Eggar, and others.

In support of the album, Blackman Santana will perform at BRIC Celebrate Brooklyn! at the Lena Horne Bandshell in Prospect Park on July 24 as part of the festival’s 2026 season. She will also spend the summer on the road as drummer for Santana on the Santana and The Doobie Brothers Oneness Tour, while continuing Santana’s residency at the House of Blues Las Vegas at Mandalay Bay Resort and Casino with additional September dates.

Renowned for her fearless artistry, Cindy Blackman Santana has built a career that transcends genres, moving effortlessly between jazz, rock, funk, and improvisational music. Her extensive list of collaborators includes Santana, Lenny Kravitz, Pharoah Sanders, Cassandra Wilson, Joe Henderson, Vernon Reid, John McLaughlin, and The Isley Brothers. Since joining Santana full-time in 2016, she has appeared on multiple recordings, including Africa Speaks and Blessings and Miracles. With Coherence, she continues to push creative boundaries while showcasing the depth and versatility that have defined her remarkable career.

Coherence Tracklist:

1. Illumination
2. Blue Whale
3. The Message is Love (feat. Carlos Santana)
4. Coherence Tapestry
5. Coherence (feat. Carlos Santana)
6. Coherence Embrace
7. Peace Please
8. Psychedelic Movie House (feat. Carlos Santana)
9. Guitar Love (feat. Carlos Santana & John McLaughlin)
10. Capri (feat. Carlos Santana)
11. SyZyGy
12. Circe
13. Eclipse
14. Soon a Queen
15. Sunday
16. Music
17. Sanctuary (feat. Carlos Santana)

Architects of Sound Return With AOS II, Arriving Worldwide June 5 via SRG Jazz

Architects of Sound II (AOS II) will be released globally on all major streaming and download platforms on Friday, June 5, through SRG Jazz, distributed by Virgin Music Group and Universal Music Group.

The creative force behind a string of contemporary jazz successes from artists including Damien Escobar, David Benoit, and Randy Brecker is back with a new chapter. Architects of Sound is the collaborative project of SRG/ILS CEO Claude Villani and jazz fusion icon Jeff Lorber, whose musical partnership has continued to evolve since Villani signed Lorber to the SRG Jazz label.

Their collaboration began with Lorber’s first SRG Jazz release, Elevate, which Villani co-produced and contributed to as a songwriter. Among the album’s highlights was “Teardrops In The Rain,” a Top 10 hit penned by Villani.

The inspiration for AOS II grew from the chemistry and momentum created during the making of the duo’s debut project, AOS I. According to Villani, the success of the first album and the abundance of material recorded during those sessions made a follow-up a natural next step.

“The project was so successful, and we had such a great time working on AOS I and literally recorded so many amazing records, that we said, why not go back to the lab and recreate the magic,” Villani said.

That magic was evident on AOS I, which produced “Where We Belong,” a Billboard Top 5 jazz single. For Lorber, the appeal of the project has always been its freedom from convention.

“The project allowed for us to get away from the traditional mentality and allowed for us to just have fun with no restrictions,” Lorber said.

For AOS II, Villani and Lorber once again wrote and produced every track, creating an album that showcases both their songwriting chemistry and their shared passion for contemporary jazz.

The project features an impressive lineup of musicians, including Gary Novak, Lenny Castro, Mark Lettieri, Cornelius Mims, and David Mann. Lorber praised the opportunity to bring longtime friends and collaborators into the recording process, noting Mann’s significant contributions as both an arranger and saxophonist.

The album also carries a deeper personal significance for Lorber. Following the devastating fires of 2025, rebuilding became part of the creative journey.

“This project also allowed me to start over and rebuild after losing so much during the fires last year, so it was a rebirth in so many ways,” Lorber shared.

One of the most emotional aspects of returning to the studio was rebuilding a recording environment capable of meeting the standards he and Villani had established over years of collaboration. Notably, the final song recorded in Lorber’s previous studio was “755” from the AOS I project.

With AOS II, Architects of Sound continue to push the boundaries of contemporary jazz while celebrating the creative partnership that has fueled the project from the very beginning.

Architects of Sound II Track Listing:

1. Incognito
2. Horizons
3. Kyoto
4. Summer Solstice
5. Orvieto
6. Riding The Wave
7. Turn It Up
8. Beyond Blue
9. Coffee Shop
10. The Last to Know
11. Strawberry Letter 23 (featuring LeVelle)

Kenny Barron Trio’s Long-Lost 1995 Brecon Jazz Festival Performance Finally Sees Release

A remarkable piece of jazz history is set to reach listeners for the first time as Elemental Music announces the release of So Many Lovely Things: Live in Brecon, a previously unheard 1995 concert recording featuring legendary pianist Kenny Barron alongside bassist Ray Drummond and drummer Ben Riley.

Arriving June 12, 2026, the album captures Barron’s acclaimed 1990s trio at the height of its powers during a performance at the Brecon Jazz Festival in Wales. Produced by renowned "Jazz Detective" Zev Feldman and Jordi Suñol, the release presents ten inspired performances from a trio widely regarded as one of the most cohesive and dynamic groups of its era.

The recording remained hidden for more than three decades before being unearthed from the Jordi Suñol Archives. Originally captured on August 12, 1995, at the Brycheiniog Theatre during the trio’s European tour, the performance showcases the extraordinary chemistry between Barron, Drummond, and Riley as they navigate standards, originals, and jazz classics with remarkable spontaneity and intuition.

Available as a limited-edition 180-gram 2-LP set, a 2-CD edition, and on digital and streaming platforms, the release features newly restored audio by Marc Doutrepont and mastering by Matthew Lutthans at The Mastering Lab. The package also includes extensive liner notes and track-by-track commentary from acclaimed jazz journalist and historian Ted Panken.

For producer Zev Feldman, the project serves as both a historical document and a celebration of one of jazz's finest working trios.

“This co-led supergroup celebrates a fantastic trio that so many of us were fortunate to see live over the years,” Feldman says. “I think back to the times I saw them at the Village Vanguard and at Bradley’s in New York City. I think we're all grateful that Jordi Suñol captured these moments from these master musicians. This is a gift to all of us.”

The concert's journey to release began when Suñol, who originally presented Barron at the festival, reconnected with Elemental Music's Jordi Soley in 2024. The tapes, recorded by festival director Jed Williams, had remained in private hands for decades before receiving approval from Barron and his management for official release.

Across more than 105 minutes of music, the trio demonstrates the telepathic interplay that made them a favorite among jazz audiences throughout the 1990s. Highlights include a swinging take on “Oh, Look At Me Now,” an expansive exploration of “Canadian Sunset,” and a blistering performance of “Time Was,” where Barron’s melodic inventiveness is matched by Drummond’s masterful bass work and Riley’s driving rhythmic support.

The trio also delivers memorable interpretations of “Surrey With the Fringe On Top,” Freddie Hubbard’s “Up Jumped Spring,” and Thelonious Monk’s “Ask Me Now.” Barron’s original compositions are equally compelling, particularly the lyrical “Nikara’s Song” and the reflective solo piano piece “Silent Rain.”

The recording offers a vivid snapshot of three jazz masters operating as one musical organism. Barron’s elegant touch, Drummond’s impeccable sense of time and melody, and Riley’s unmistakable swing combine to create a performance that feels as fresh and vital today as it did in 1995.

Reflecting on the trio, Barron recalls the ease and camaraderie that defined their collaboration.

“On a personal level, it was a great trio,” Barron says. “I can’t recall a sour moment. I loved the way Ray played—solid, with great time and personality. The way he and Ben grooved together was perfect. If this concert turned into something special, it happened organically. When momentum builds, it’s because of everyone’s contribution. It was a group effort.”

More than three decades after it was recorded, So Many Lovely Things: Live in Brecon stands as a powerful reminder of the artistry, chemistry, and enduring brilliance of Kenny Barron, Ray Drummond, and Ben Riley—three masters captured in a truly special moment.

Molly Johnson Announces New Album Talk To Me, Shares New Single “Holiday”

 

Celebrated Canadian jazz vocalist and songwriter Molly Johnson has announced her new album, Talk To Me, arriving June 26 via Universal Music Canada. The 10-track collection brings together music from her recent All I See and Long Time Running EPs alongside four brand-new recordings, including the newly released lead single, “Holiday.”

Widely regarded as one of Canada’s most distinctive and enduring voices, Johnson continues to evolve creatively on Talk To Me, a project that blends soul, jazz, R&B, and rock while highlighting her gift for meaningful musical collaboration.

The album features an impressive lineup of Canadian artists spanning multiple generations, including JUNO Award-winning rapper Haviah Mighty, emerging producer and artist CUBE, and Blue Rodeo’s Jim Cuddy. Together, they help shape a collection that bridges generations, genres, and perspectives.

At the center of the album is the title track, “Talk To Me,” a compelling collaboration with Haviah Mighty that explores communication, understanding, and connection. Built around a call-and-response structure, the song pairs Johnson’s expressive vocals with Haviah’s thoughtful lyricism, creating a dialogue that reflects the power of listening across generational lines.

Johnson also embraced a fresh creative dynamic while working with producer and artist CUBE, whose youthful perspective brought new energy to the recording process.

“What does a 67-year-old woman and a 21-year-old kid have in common? A real love of great music,” Johnson says. “I really believe we need to listen to younger voices, and I feel so excited that I get to be part of this new generation of music. The future looks bright to me.”

Another standout moment on the album is Johnson’s interpretation of The Tragically Hip classic “Long Time Running,” recorded alongside Jim Cuddy of Blue Rodeo. Originally released in 1991, the beloved Canadian anthem is reimagined here with warmth, intimacy, and deep respect for its legacy.

“This has been a long time coming,” Johnson says. “I’ve always wanted to record a duet with Jim. We’ve been friends for years, so to finally collaborate on a song by our beloved The Tragically Hip feels like real magic.”

Throughout Talk To Me, Johnson is supported by her longtime musical collaborators Davide Di Renzo, Mike Downes, and Robi Botos, whose contributions remain an integral part of her signature sound. New songs including “Holiday,” “Happy,” “Sunday Morning,” and “Just As Bad As You” further expand the album’s rich musical landscape while showcasing Johnson’s continued artistic growth.

A two-time JUNO Award winner and recipient of some of Canada’s highest honors, including the Order of Canada, the Governor General’s Award, and France’s Chevalier Ordre des Arts et des Lettres, Johnson has spent decades building a career defined by artistic excellence and community impact. Beyond her acclaimed recordings and performances, she is also known for her philanthropic work, including founding the historic Kumbaya Festival and serving as the founding artistic director of Toronto’s Kensington Market Jazz Festival.

With Talk To Me, Johnson delivers a collection rooted in collaboration, curiosity, and connection—demonstrating that great music has the power to unite voices across generations.

Talk To Me arrives June 26 via Universal Music Canada.

Upcoming Live Dates:

June 17, 2026 – Winnipeg, MB – Desautels Concert Hall

June 26, 2026 – Montréal, QC – Gesù

July 1, 2026 – Vienne, France – Théâtre Antique

Somi Announces New Album What Does It Take to Bloom?, Shares Powerful New Single “We’re All Falling”

GRAMMY-nominated singer-songwriter Somi has announced her highly anticipated new album, What Does It Take to Bloom?, arriving August 7 via Salon Africana. Marking her first collection of original music in six years, the album explores the ongoing journey of remaining true to oneself amid life's uncertainties, losses, and transformations.

A two-time NAACP Image Award winner and Doris Duke Artist Award recipient, Somi wrote and recorded the project across Dakar, Lagos, Paris, and New York City. The album blends global influences with deeply personal storytelling, reflecting on whether growth is something we recognize in real time or only after we have already changed.

Alongside the announcement, Somi has released the album's first single, “We’re All Falling,” a moving meditation on mortality, resilience, and grace. Written during a period marked by significant personal loss, the song acknowledges life's fragility while encouraging listeners to embrace the present moment with gratitude and intention.

Reflecting on the album, Somi shared:

“I wrote this body of work while traversing many places and losing many people. This album is a mirror of searching for where and how to take root in spite of that. I pray these songs offer each listener a sense of Home or, at the very least, a witnessing of me coming Home to myself.”

Throughout her career, Somi has built a catalog that bridges Africa and America, drawing inspiration from migration, memory, culture, and identity. Her previous works have explored places both physical and spiritual, from Nigeria and Harlem to the legacy of South African icon Miriam Makeba. On What Does It Take to Bloom?, however, the focus shifts inward. Rather than mapping a city or a cultural landscape, Somi charts the evolving terrain of self-discovery.

Known for her genre-defying blend of jazz, soul, highlife, spoken word, and African musical traditions, Somi continues to push creative boundaries on the new album. The project showcases a more adventurous vocal approach and a deeper trust in her artistic instincts. By rejecting labels and embracing authenticity, she presents blooming not as a destination, but as a continuous process of becoming.

At its core, What Does It Take to Bloom? is about belonging, healing, and accepting that personal growth is rarely linear. Through reflections on womanhood, identity, loss, and resilience, Somi invites listeners into an intimate exploration of what it means to come home to oneself.

Born to Ugandan and Rwandan immigrant parents and raised in the American Midwest, Somi has become one of the most respected voices in contemporary jazz and global music. Her 2021 GRAMMY nomination for Best Jazz Vocal Album made her the first African woman ever nominated in a GRAMMY jazz category. In addition to her acclaimed recording career, she is an accomplished actor, playwright, and recent Broadway performer, having starred in the Tony Award-winning production Jaja’s African Hair Braiding.

What Does It Take to Bloom? Tracklist:

1. Throw Something
2. Sometimes Love (ft. The Cavemen)
3. What Does It Take to Bloom?
4. Mama On Blooming
5. So You Want to Be a Woman (ft. Lakecia Benjamin)
6. Aiwah
7. Sugar
8. Mama On Tradition
9. Ngayaya
10. Lay It Down
11. Interlude: Skin To Skin
12. We’re All Falling
13. Love Could Be Anywhere

Select Tour Dates:

June 25 – New Haven, CT – International Festival Arts & Ideas

September 17 – Champaign, IL – Krannert Center for Performing Arts

September 18 – Evanston, IL – Space

September 19 – Indianapolis, IN – Jazz Kitchen

September 27 – Saratoga Springs, NY – Skidmore College

September 29 – Madison, WI – Wisconsin Union Theater

October 1 – New York, NY – World Music Institute at Sony Hall

October 10 – Denver, CO – Dazzle

October 11 – San Francisco, CA – SFJAZZ Center

October 12 – Santa Cruz, CA – Kuumbwa

Additional dates will be announced.