William Bell’s Never Like This Before Celebrates the Golden Years of Stax Soul

With a recording career spanning more than six decades, William Bell stands among the enduring voices of Southern soul. A vital part of Memphis’ legendary Stax Records throughout virtually the label’s entire 15-year existence, from 1960 to 1975, Bell helped create some of the era’s most memorable music, both as a songwriter and performer.

His remarkable catalogue includes his Stax debut, the timeless “You Don’t Miss Your Water,” the blues classic “Born Under a Bad Sign,” and “Private Number,” his hugely popular duet with Judy Clay. Now, Ace Records shines a spotlight on the first chapter of Bell’s Stax legacy with Never Like This Before, the first of two CD collections bringing together the A- and B-sides of his solo singles for the label.

Covering the first seven years of his Stax recording career, the collection gathers all 14 singles released on the label’s original blue-label design featuring its distinctive ‘Stack Of Records’ logo. Alongside “You Don’t Miss Your Water,” highlights include the much-loved seasonal favourite “Every Day Will Be Like A Holiday” and “A Tribute To A King,” Bell’s heartfelt musical salute to his recently departed Stax labelmate Otis Redding.

The recordings capture the unmistakable sound of the Stax house band, with members of Booker T. & the M.G.’s and the Memphis Horns providing the musical foundation. Their arrangements and performances bring the perfect combination of grit, groove and emotional depth to Bell’s soulful vocals.

Presented in release-date sequence, Never Like This Before also features an illustrated booklet with extensive annotation, making it both an enjoyable listening experience and a valuable document of an important period in Southern soul history.

Ace Records has represented Bell’s Stax catalogue in the UK for decades, issuing original albums and various compilations. This new collection offers a particularly comprehensive look at his early singles, celebrating the records that helped establish him as one of the great voices of Memphis soul.

Remarkably, Bell was still performing many of these songs live at the age of 82, demonstrating that the voice and feeling behind these classics had lost none of their power. The second collection, covering his later ‘Yellow’ Stax-label years from 1968 to 1974, was announced as a forthcoming companion release.

For fans of William Bell, Stax and classic Southern soul, Never Like This Before is an essential celebration of a truly remarkable musical legacy.

Martin Freeman and Eddie Piller Return with Jazz On The Corner 3, a Deep-Digging Celebration of Funk, Soul and Jazz

The Acid Jazz label's acclaimed compilation series continues with a richly eclectic collection of rare grooves, jazz-funk gems, and vintage sounds spanning the late 1960s and 1970s, curated by two passionate music devotees.

In an era when streaming playlists make virtually every musical genre instantly accessible, there's something special about a carefully assembled compilation that takes listeners on a journey of discovery. Martin Freeman & Eddie Piller Present Jazz On The Corner 3 does exactly that, bringing together an eclectic selection of funky, soulful, and adventurous jazz recordings that celebrate the musical spirit of the late 1960s and 1970s.

Released through the influential UK-based Acid Jazz label, the third installment in the series reunites actor and music enthusiast Martin Freeman with label founder and DJ Eddie Piller. Both have long demonstrated an appreciation for the deeper connections between jazz, soul, funk, and the British mod culture that helped inspire the Acid Jazz movement.

The compilation draws heavily on the sounds that shaped the original mod and rare-groove scenes, while expanding its reach into the more exploratory musical territory of the 1970s. The selections move between hard-driving jazz-funk, soulful vocal performances, cinematic instrumentals, and rhythmically adventurous recordings, creating a listening experience that feels both historically rooted and remarkably fresh.

Among the highlights is Gary Burton's “Vibrafinger,” showcasing the vibraphonist's distinctive approach to jazz and improvisation. Little Charles & The Sidewinders bring their soulful energy to “Please Open The Door,” while Francis Monkman's “Theme From Long Good Friday” adds a cinematic dimension to the collection.

The funk quotient rises with Mandrill's “Too Late,” Buddy Rich's explosive “Space Shuttle,” and Ike Turner's “Funky Mule.” Meanwhile, Kadhja Bonet's “Procession” introduces a more contemporary-feeling atmospheric quality, demonstrating the breadth of musical expression represented throughout the set.

Other standout selections include Hi Tension's “Hi Tension,” Light Of The World's “Time,” and the celebrated collaboration between Julie Driscoll and Brian Auger on “Rope Ladder To The Moon.” Jean Battle's “I've Got To Come In,” Deidre Wilson Tabac's “I Can't Keep From Crying Sometimes,” and Jacques Dutronc's “Le Responsable” further expand the compilation's international and stylistic reach.

What makes the collection particularly engaging is the way it connects seemingly different musical worlds. Jazz musicians embrace funk rhythms, soul singers explore jazz-inflected arrangements, and instrumentalists stretch beyond conventional genre boundaries. The result is a collection that captures an especially creative period in popular music, when experimentation and cross-pollination produced some of the most enduring grooves of the era.

Freeman and Piller approach the project with the instincts of genuine record collectors, prioritizing musical character and discovery over predictable selections. Rather than assembling a straightforward greatest-hits package, they offer listeners an opportunity to explore overlooked recordings alongside familiar names, creating connections between artists and styles that might otherwise remain undiscovered.

The compilation also reflects the cultural foundations of Acid Jazz, the British musical movement and record label that emerged in the late 1980s. Founded by Piller and Gilles Peterson, Acid Jazz helped revive interest in vintage soul-jazz, funk, and rare groove while encouraging a new generation of musicians and DJs to reinterpret those influences.

Jazz On The Corner 3 is available on CD and vinyl, giving collectors and enthusiasts another opportunity to enjoy the experience of a thoughtfully sequenced physical music collection.

Ultimately, this is more than a nostalgic trip through vintage grooves. It's a reminder of the extraordinary musical creativity that flourished across jazz, funk, and soul during the late 1960s and 1970s, and of the continuing appeal of discovering great music through the ears of people who genuinely love it. In a world dominated by algorithms and endless playlists, Freeman and Piller make a persuasive case for the enduring pleasure of a well-curated compilation.

Joyce Moreno Returns with Never Too Soon, Celebrating Five Decades of Brazilian Musical Excellence

European tour begins next week as the celebrated Brazilian singer, guitarist, and composer unveils a reflective new album featuring an exceptional lineup of Brazilian jazz musicians.

More than five decades into one of Brazilian music's most distinguished careers, Joyce Moreno continues to find new ways to express the musical language that has made her an internationally admired artist. With her new album, Never Too Soon, the Rio de Janeiro-born singer, guitarist, and composer delivers a deeply personal collection that captures the warmth, lyrical sophistication, and creative adventurousness that have defined her remarkable journey.

Produced by Joyce alongside her husband and longtime musical collaborator, drummer Tutty Moreno, Never Too Soon finds the artist in a reflective musical space, bringing together Brazilian rhythms, sophisticated harmonies, and the intimate storytelling that have become hallmarks of her work. The album also features an impressive gathering of musicians, including legendary guitarist and composer Toninho Horta, whose distinctive harmonic sensibility adds another dimension to the recording.

Additional contributions come from José Arimatéa, Teco Cardoso, Nailor Proveta, Josué dos Santos, and Raphael Sampaio. Each brings a distinctive musical voice to the project, adding color, depth, and texture while allowing Joyce's songwriting, guitar playing, and unmistakable vocals to remain at the center.

The result is an album that reflects both the continuity and evolution of an artist who has never been content to stand still creatively. Joyce's music has long occupied a special place at the intersection of Brazilian popular music, jazz, and sophisticated contemporary songwriting. Her ability to move effortlessly between intimate melodies, intricate arrangements, and rhythmic exploration has earned her admirers across generations and around the world.

That artistic identity will soon be brought to European audiences as Joyce begins a new tour next week in support of Never Too Soon. She will be accompanied by her internationally acclaimed quintet, featuring Tutty Moreno on drums, Rodolfo Stroeter on bass, Helio Alves on keyboards, and Tom Andrade on percussion.

The ensemble brings together musicians whose collective experience and understanding of Brazilian music provide the ideal setting for Joyce's compositions. With Tutty's rhythmic imagination, Stroeter's bass foundation, Alves' harmonic sophistication, and Andrade's percussion, the group promises an engaging live interpretation of the new material alongside the musical richness of Joyce's extensive catalog.

Joyce Moreno's influence on Brazilian music extends across generations. Emerging from Rio de Janeiro's vibrant musical culture, she developed a distinctive voice as both a songwriter and instrumentalist, building an international reputation through her sophisticated compositions and adventurous approach to Brazilian rhythms. Her work has consistently demonstrated how the traditions of samba and bossa nova can coexist with jazz improvisation, contemporary harmonies, and deeply personal songwriting.

Throughout her career, Joyce has remained committed to artistic independence and musical exploration, establishing herself as one of Brazil's most respected and enduring creative voices. Her recordings have reached audiences well beyond Brazil, while her performances have introduced international listeners to the extraordinary possibilities of contemporary Brazilian music.

With Never Too Soon, Joyce Moreno reaffirms the vitality of an artistic journey that continues to evolve. The album is both a celebration of experience and a reminder that creativity has no timetable. As she prepares to take the new music across Europe, Joyce once again demonstrates that her relationship with music remains as immediate, curious, and expressive as ever.

Hank Bilal Assembles All-Star Lineup of Hitmakers for New Jazz-Funk Single “Astronomical”

GRAMMY®-nominated trombonist and producer Hank Bilal brings together ten Billboard No. 1 hitmakers and award-winning musicians for “Astronomical,” an expansive jazz-funk collaboration that is gaining momentum on the Billboard, Mediabase, Smooth Jazz Network, and Groove Jazz charts.

A musical journey fueled by stellar musicianship, infectious grooves, and otherworldly melodies, “Astronomical” showcases Bilal’s vision for bringing some of contemporary jazz’s most accomplished artists together in a single, cohesive production.

Written and produced by Bilal, the track features an impressive ensemble led by Phil Denny on tenor saxophone and Marcus Anderson on flute. Drummer PJ Spraggins, bassist Michael Fields, and percussionist Sedar Jones establish the track’s gravity-defying rhythmic foundation, while guitarist Big Mike Hart, Bilal, and Marcus Johnson on keyboards, and Nathan Mitchell on organ create its rich melodic landscape. Trumpeter Lin Rountree and Randy Scott, performing on electronic wind instrument, add atmospheric horn textures that elevate the production.

The collaboration came together through relationships Bilal has cultivated throughout his career, with the musicians responding enthusiastically to his invitation to participate.

“As I reached out to every musician on the song, they didn't hesitate to give me a yes,” said Bilal. “They not only played on the tracks, but they played their best and didn't cut any corners. I'm grateful for the musical relationships I have with each and every one of these musicians.”

At its heart, “Astronomical” is about wonder, connection, and musical escapism. Bilal envisioned a sound that would transport listeners into an expansive sonic universe, creating a sensation of weightlessness while maintaining an irresistible rhythmic pulse.

“We wanted to create something that felt weightless, like you're floating, but the groove keeps you grounded,” Bilal explained.

The producer began by asking Spraggins to establish the rhythmic direction before layering Fields' bass and Hart's guitar. From there, the arrangement continued to evolve, with Johnson contributing soulful piano, Mitchell bringing his gospel and funk influences to the organ, and Jones adding percussion that gave the groove additional character. Rountree and Scott subsequently expanded the horn arrangement, complementing the melodic contributions of Denny and Anderson.

The result is a sophisticated blend of contemporary jazz, funk, and atmospheric instrumentation, with each musician contributing a distinctive voice without losing sight of the composition's collective identity.

The creative achievement behind “Astronomical” is also receiving significant industry attention. The composition is currently receiving GRAMMY® consideration in three categories: Best Jazz Performance, Best Arrangement, Instrumental or A Cappella, and Best Instrumental Composition. Bilal brings his own GRAMMY® pedigree to the project, having performed at the 50th Annual GRAMMY Awards alongside the legendary Aretha Franklin.

Born, raised, and based in South Carolina, Bilal has built an impressive musical résumé through collaborations and performances with some of the industry's most celebrated artists. His professional associations include 10-time GRAMMY® winner Chaka Khan, nine-time GRAMMY® nominee Gerald Albright, and three-time GRAMMY® winners and GRAMMY® Lifetime Achievement Award recipients The Clark Sisters.

Beyond performing and producing, Bilal is also a music educator, bringing a commitment to musicianship and artistic development to his work. His recording catalog includes four albums: the reimagined-cover collection Beneath The Covers (2022), the holiday release A Bona Fide Christmas (2020), The Black Aquarius (2019), and his debut album, Brassential Elements (2015).

With “Astronomical,” Bilal adds another ambitious chapter to his musical journey, demonstrating how creative vision, longstanding relationships, and exceptional musicianship can converge to produce something greater than the sum of its parts. As the single continues its climb across multiple jazz charts, its all-star ensemble delivers a compelling reminder of the vitality and collaborative spirit of contemporary jazz.

Pacific Records Showcases Genre Diversity With Three Releases in the 2026 GRAMMY® Conversation

Independent record label Pacific Records is bringing the breadth of its artist roster into the 2026 GRAMMY® conversation, with three releases submitted for consideration in the first round of voting. Spanning California reggae, Hawaiian-inspired regional roots music, and live jazz, the projects by Sandollar, Slack Key ‘Ohana, and drummer-producer-arranger Kevin Peter Jones reflect the label’s commitment to musical craftsmanship, cultural identity, and recordings that preserve a distinct sense of place.

Rooted in Southern California’s independent music community, Pacific Records has built its identity around artists whose work connects personal expression with broader cultural experiences. This year’s submissions illustrate that approach across three very different musical landscapes: the sun-soaked rhythms of San Diego, the intimate harmonies of a family ensemble, and the spontaneous energy of a historic Washington, D.C., jazz venue.

For Sandollar, the reggae band whose sound blends rock, funk, and hip-hop with the laid-back spirit of San Diego surf culture, the album Sunny Day represents a celebration of California living and the connections that make a community distinctive. Released during the summer, the 13-track collection is submitted for consideration in the Best Reggae Album category.

Written by vocalist, keyboardist, and guitarist Baron Lunbeck, Sunny Day explores themes of connection, escape, and self-discovery through a sound that balances reggae foundations with contemporary influences. Produced by Brian Witkin and Donna Daly at Studio 606, the Foo Fighters’ recording facility, the album continues the band’s evolution while maintaining the relaxed energy that has helped establish its identity.

The title track, featuring KBong, captures the album’s sun-drenched outlook, while a new recording of Sandollar’s song “Up Up,” featuring rapper Dizzy Wright, highlights the group’s willingness to move between musical worlds. The original version of “Up Up” also appeared in the Netflix series Outer Banks, extending the band’s reach beyond its established audience.

“Sandollar’s latest album honors the band’s signature sound while highlighting its continued evolution and its ability to fuse reggae, hip-hop, and California culture with authenticity,” said Witkin, Pacific Records’ founder and CEO. He described the record as an example of how music can capture a lifestyle, give a community its own sound, and contribute to the culture surrounding it.

Where Sandollar channels the energy of the Southern California coast, Slack Key ‘Ohana takes a more intimate approach to musical storytelling. The trio’s The ‘Ohana Sessions, released in August, is submitted for consideration in the Best Regional Roots Music Album category, bringing together family musicianship, island-inspired sounds, and an understated recording aesthetic.

Led by Witkin on vocals, guitar, and steel guitar, Slack Key ‘Ohana features his mother, Carol Witkin, on ukulele and vocals, and his father, Joe Witkin, on bass, keyboards, and vocals. Joe’s musical history includes performing at Woodstock as a member of Sha Na Na, adding another chapter to the family’s longstanding connection with live music.

Recorded with vintage and analog equipment, The ‘Ohana Sessions emphasizes natural textures, three-part harmonies, and the interplay between musicians who share more than a musical partnership. Every instrument and vocal performance on the album comes from the three family members, giving the collection a close-knit character that reflects its title and its central theme of togetherness.

The project also follows Slack Key ‘Ohana’s collaborations with musicians including George Kahumoku Jr., ZZ Top’s Billy Gibbons, Brittni Paiva, and Rand Anderson. Yet on this recording, the focus returns to the family itself, allowing its musical chemistry to take center stage.

“‘The ‘Ohana Sessions’ unique blend of family musicianship and island-inspired sounds connects generations and culture through new music,” Witkin said. He emphasized the authenticity of the project, noting that the shared performances of father, mother, and son create a warmth that cannot simply be manufactured in a studio.

The third submission moves from family harmonies to the charged atmosphere of live jazz. Drummer, producer, and arranger Kevin Peter Jones assembled an all-star ensemble for eight sold-out performances at Blues Alley, the celebrated jazz club in Washington, D.C. Recorded during the performances, the resulting album, Blues Alley, is submitted for consideration in both the Best Historical Album and Best Album Cover categories.

The recording captures a distinguished group of musicians whose collective experience spans generations of jazz, fusion, and studio performance. The ensemble includes GRAMMY®-winning trumpeter Randy Brecker and keyboardist Jeff Lorber, GRAMMY®-nominated saxophonist Eric Marienthal and percussionist Lenny Castro, guitarist Dean Brown, and Senegalese bassist Cheikh Ndoye.

Their combined musical backgrounds give the album a rich instrumental vocabulary, while the live setting preserves the spontaneity and interaction that distinguish a concert performance from a studio recording. The project also carries historical significance: according to Pacific Records, it is among a select few live albums granted permission to be recorded at Blues Alley.

“Kevin brought together an absolutely extraordinary lineup of musicians whose performances capture a singular moment in jazz history,” Witkin said. He described the release as both a celebration and a historical document, with artwork designed to complement the music and reinforce the album’s identity as a carefully preserved performance.

The inclusion of Blues Alley in the Best Historical Album and Best Album Cover categories also highlights the different ways a recording can be valued. Beyond the musicianship captured on tape, the project draws attention to the preservation of a particular performance and the visual presentation that helps frame its place in a wider musical history.

Taken together, the three releases demonstrate Pacific Records’ interest in supporting projects that are united by artistic conviction rather than a single genre. Sunny Day reflects the cultural character of Southern California reggae; The ‘Ohana Sessions celebrates family, tradition, and regional roots; and Blues Alley documents the creative energy of an exceptional live jazz ensemble.

Their paths are distinct, but each project places a premium on authenticity and the relationships that shape music, whether between artists and their communities, family members sharing a musical language, or accomplished performers responding to one another onstage.

As the 2026 GRAMMY® consideration process brings attention to recordings across the musical spectrum, Pacific Records’ three submissions offer a snapshot of an independent label working across styles while maintaining a common commitment to artistry and cultural expression. The projects demonstrate how music can preserve traditions, reflect contemporary life, and document performances that might otherwise exist only in memory.

For Pacific Records, the significance of these releases extends beyond awards consideration. They represent the diversity of the artists it supports and the many ways music can connect communities, generations, and audiences through a shared creative experience.

Bluey Turns Personal Struggle Into Musical Strength on Skint, His Fourth Solo Album

For Jean-Paul “Bluey” Maunick, music has always been a source of connection, expression, and renewal. Best known as the creative force behind British soul-jazz institution Incognito, the guitarist, composer, and bandleader returns to his solo career with Skint, a deeply personal 13-track album that transforms life’s challenges into an affirmation of resilience, creativity, and the enduring power of groove.

Released through Splash Blue on CD and double vinyl, Skint marks Bluey’s fourth solo album and a significant chapter in a career spanning decades of musical exploration. Drawing on the soulful sophistication, jazz sensibilities, and infectious rhythms that have defined his work, the record also reveals a more introspective side of an artist whose music has long brought people together on dance floors and concert stages around the world.

At the heart of Skint is Bluey’s personal journey following his diagnosis of Parkinson’s disease, which he has discussed openly. The experience has reshaped his relationship with music, creativity, and the physical act of playing guitar, bringing a new sense of urgency and perspective to his songwriting. Rather than allowing the diagnosis to define the album, he channels the experience into music that embraces vulnerability while celebrating the determination to keep moving forward.

“Music has always been my healer, but on this album, it became my sanctuary,” Bluey explains. He describes Skint as a process of stripping away distractions to rediscover what matters most: passion, truth, and genuine connection. The title, too, reflects that idea of reduction and renewal, suggesting that being stripped back can become an opportunity to reconnect with the essentials.

The result is an album that brings emotional honesty into dialogue with the rhythmic vitality that has long characterized Bluey’s musical identity. Across its 13 tracks, Skint moves through reflections on relationships, personal growth, perseverance, and the everyday experiences that give life its meaning. Its strength lies in the relationship between those intimate themes and the warmth of soul, funk, and jazz, creating a musical world in which reflection and celebration can exist side by side.

The title track establishes the album’s identity, while songs such as “Because of You,” “Bring On The Day,” and “Move It Up” suggest a collection that balances personal storytelling with forward momentum. “Repeating Myself,” “Show Me,” and “It Ain’t Worth It” add further perspectives to the album’s emotional landscape, while “Best of Me” and “Life Is a Dance” point toward resilience and the restorative potential of music.

The tracklist also includes “Francis Plays the Bass,” “She Plays Me,” and “Broken Satellite,” before the collection closes with “All My Favourite Things.” Together, the songs form a portrait of an artist reflecting on his experiences while continuing to explore the musical language he has spent a lifetime developing.

For longtime listeners, Skint offers continuity with the sound that has made Bluey a defining figure in British soul-jazz. Yet the album’s personal context gives that familiar musical vocabulary a different weight. Groove becomes more than an invitation to dance; it becomes a means of maintaining connection, finding release, and confronting uncertainty without surrendering to it.

Bluey’s ability to bring these dimensions together reflects the qualities that have sustained his career. His work has consistently crossed boundaries between jazz, soul, funk, R&B, and contemporary dance music, pairing sophisticated musicianship with melodies and rhythms that communicate directly with listeners. On Skint, that approach becomes a vehicle for a particularly personal statement about the relationship between artistic expression and lived experience.

The album also underscores the significance of Bluey’s work beyond Incognito. While the band has provided the principal platform for his international influence, his solo recordings allow him to explore his own perspective with greater intimacy. Skint extends that tradition, offering a more direct view of the person behind the celebrated bandleader.

Rather than presenting adversity as a story of defeat, Bluey approaches it as an opportunity to reassess priorities and discover new forms of strength. The album’s emotional core lies in this shift: the recognition that creativity can remain vital even as circumstances change, and that music can provide both refuge and a way forward.

With Skint, Bluey delivers more than another entry in his solo catalog. He offers a statement of artistic persistence, rooted in decades of experience but shaped by a new understanding of vulnerability and resilience. Its message is ultimately one of connection—to music, to other people, and to the passions that continue to give life meaning.

Jean-Paul “Bluey” Maunick is a British guitarist, composer, producer, and bandleader best known as the founder and creative driving force behind Incognito, one of the most influential groups to emerge from the UK acid-jazz movement. Born in Mauritius and raised in the United Kingdom, Bluey developed a musical identity shaped by soul, funk, jazz, and the rich traditions of Black American music.

Since Incognito emerged in the late 1970s, Bluey has helped guide the group through decades of musical evolution, building an international following with its sophisticated arrangements, infectious grooves, and distinctive blend of live instrumentation and contemporary soul. The band's breakthrough in the early 1990s helped establish it as a central name in the acid-jazz movement, with recordings such as “Always There,” “Don't You Worry ’Bout a Thing,” and “Still a Friend of Mine” becoming enduring favorites among soul and jazz audiences.

As a composer, arranger, and producer, Bluey has also collaborated with a wide range of vocalists and musicians, cultivating a collective approach that allows individual talent to flourish within a recognizable musical identity. His work with Incognito has consistently emphasized collaboration, drawing on generations of performers while keeping the band's sound connected to the evolving landscape of contemporary soul and jazz.

Alongside his work with the group, Bluey has developed a solo catalog that provides space for more personal musical exploration. His solo recordings retain his signature rhythmic sophistication while allowing him to express different aspects of his creative personality.

With Skint, his fourth solo album, Bluey brings that personal dimension into especially sharp focus. His openness about living with Parkinson’s disease gives the record an added emotional resonance, but the music remains grounded in the qualities that have defined his career: soulful expression, musical craftsmanship, optimism, and an unwavering belief in the power of groove to bring people together.

Miguel Atwood-Ferguson’s ANANTA: Spirit Of Coltrane Reconnects a Jazz Legacy With a New Generation

For composer, arranger, and multi-instrumentalist Miguel Atwood-Ferguson, John Coltrane has always been more than a towering figure in jazz. For more than three decades, Coltrane’s music, philosophy, and spiritual vision have served as a source of inspiration, shaping Atwood-Ferguson’s understanding of what music can express and how deeply it can move people. With ANANTA: Spirit Of Coltrane, he transforms that lifelong connection into an expansive tribute arriving during the year of Coltrane’s 100th birthday.

Due October 30 via Impulse! Records, the album brings together a 21-piece collective of musicians spanning generations and approaches to contemporary jazz, improvisation, and experimental music. Among the featured artists are harpist Brandee Younger, guitarist Jeff Parker, producer Flying Lotus, saxophonists Immanuel Wilkins and Shabaka Hutchings, saxophonist Azar Lawrence, and vibraphonist Joel Ross. Poet Aja Monet also contributes words to an original composition, extending the project’s reach beyond instrumental music into the realm of spoken expression and poetic reflection.

The announcement arrives with “Compassion,” the album’s lead single featuring Flying Lotus, Immanuel Wilkins, and pianist David Virelles. The track offers an introduction to the project’s central philosophy: honoring Coltrane’s enduring compositions and spiritual ideals while allowing a new generation of artists to bring their own sensibilities to the music.

The title ANANTA, evoking the infinite, reflects the album’s ambition to approach Coltrane’s legacy as something continually unfolding rather than fixed in history. This is not simply an exercise in revisiting celebrated recordings. Atwood-Ferguson approaches the material as a living tradition, one in which reverence and experimentation can coexist, and in which the emotional and philosophical dimensions of Coltrane’s work remain as relevant as ever.

That perspective is especially meaningful given the album’s home on Impulse! Records, the label closely associated with some of Coltrane’s most celebrated and spiritually ambitious recordings. Returning this music to the label’s catalog creates a direct connection between Coltrane’s original artistic world and the contemporary musicians gathered here. Yet Atwood-Ferguson is careful not to let the weight of history overwhelm the music itself.

Rather than radically deconstructing every composition, he has chosen a more considered approach, preserving the recognizable character of Coltrane’s work while allowing the musicians’ individual voices to reveal new possibilities. The result is a balance between fidelity and freedom, rooted in the belief that a great composition does not need to be dismantled to discover another dimension of meaning.

On “A Love Supreme, Pt. II (Resolution),” “Central Park West,” and “My Favorite Things,” the arrangements remain comparatively close to their original forms. Their familiarity becomes an invitation to listen more attentively, hearing how changes in phrasing, instrumentation, and collective interplay can illuminate music that listeners may already know intimately.

Other pieces venture further into reinterpretation. “Naima,” featuring Brandee Younger and Joel Ross, reshapes one of Coltrane’s most tender compositions while retaining traces of its original harmonic language and emotional atmosphere. The transformation is not about abandoning the source material but discovering what remains when the music is approached through different instrumental voices and a contemporary sensibility.

Perhaps the most striking departure comes with “Giant Steps.” Known for its demanding harmonic structure and blistering pace, the composition has long represented one of the most formidable challenges in Coltrane’s catalog. Here, Atwood-Ferguson recasts it as a ballad, shifting the emphasis from speed and technical virtuosity toward reflection and emotional depth. The change in tempo opens up a different way of experiencing the piece, revealing a contemplative dimension beneath its famously intricate architecture.

Across the eight-track collection, these choices reflect an arranger more interested in what the music can communicate than in demonstrating the limits of his own technical ability. Atwood-Ferguson has the musical range to reshape familiar material in countless ways, but his stated ambition reaches beyond virtuosity. “I'm not trying to impress people,” he says, emphasizing instead the power of soulful music to encourage listeners to understand themselves and their lives more fully.

That philosophy connects ANANTA to Atwood-Ferguson’s earlier work, particularly Suite for Ma Dukes, his landmark orchestral tribute to the late producer J Dilla. The project demonstrated his ability to translate the language of hip-hop into an expansive orchestral setting without losing the emotional character of the original music. With ANANTA, he brings a similar sensitivity to Coltrane’s compositions, recognizing that the strongest tribute is not necessarily the most elaborate, but the one that understands what makes the source material endure.

The album’s ensemble also reflects the breadth of Coltrane’s influence across contemporary music. Artists such as Flying Lotus and Jeff Parker bring perspectives shaped by experimental production, improvisation, and genre-crossing collaboration, while musicians including Immanuel Wilkins, Shabaka Hutchings, Azar Lawrence, Brandee Younger, and Joel Ross contribute distinct voices rooted in different strands of jazz and its evolving traditions. Together, they create a collective in which the music’s history remains present without dictating every artistic decision.

Aja Monet’s contribution further expands the project’s expressive possibilities, placing poetry alongside instrumental composition as another means of exploring Coltrane’s spiritual legacy. The inclusion underscores the album’s broader vision of jazz not as an isolated genre, but as part of a larger conversation about consciousness, creativity, and human connection.

The tracklist moves between familiar landmarks and new perspectives: “Naima,” “Compassion,” the Aja Monet-featured “a force,” “Giant Steps,” “My Favorite Things,” “After The Rain,” “A Love Supreme, Pt. II (Resolution),” and “Central Park West.” Featuring contributions from artists including Justin Brown, Devin Daniels, Javier Santiago, and Elena Pinderhughes, the collection draws on a wide musical vocabulary while maintaining a shared sense of purpose.

Ultimately, ANANTA: Spirit Of Coltrane is a work of gratitude. Atwood-Ferguson approaches Coltrane not simply as a historical figure whose music deserves preservation, but as an artist whose search for spiritual understanding continues to offer direction. The album’s balance of familiarity and transformation reflects that belief, allowing the compositions to remain recognizable while opening them to fresh interpretations.

As the centenary of Coltrane’s birth brings renewed attention to his extraordinary influence, ANANTA offers a reminder that his legacy extends far beyond a catalog of celebrated recordings. It lives in the musicians who continue to study his work, in the listeners who find meaning in its emotional and spiritual depth, and in the creative possibilities that emerge when one generation passes its discoveries to the next.

Through this ambitious collective project, Atwood-Ferguson makes that inheritance audible. ANANTA honors the past without confining itself to it, embracing Coltrane’s music as an ongoing invitation to explore, reflect, and reach toward something larger than oneself.

Isabelle and Raphaël Olivier’s OPEN: A Mother-Son Musical Journey Beyond Boundaries

Some musical partnerships are built on shared influences; others are shaped by a lifetime of connection. For harpist and composer Isabelle Olivier and her son, composer, guitarist, producer, and songwriter Raphaël Olivier, music is both a family bond and a space for discovery. On OPEN, the duo brings together harp and guitar in an intimate, genre-crossing journey that invites listeners to slow down, breathe, and reconnect with what matters most.

For 13 years, the pair have woven their distinct musical identities into a shared sonic language, drawing inspiration from travels, encounters, and moments of everyday life. Their latest project reflects that ongoing dialogue, embracing openness not only as a musical philosophy but also as an invitation to approach the world with greater curiosity and sensitivity.

Moving fluidly between jazz standards, contemporary improvisation, folk, swing, and British pop, OPEN resists easy categorization. Its appeal lies in the contrast between the two musicians: Isabelle’s sound can be melancholic, reflective, and introspective, while Raphaël brings a playful, adventurous energy. Rather than competing, these sensibilities complement one another, creating a musical conversation full of unexpected turns, delicate exchanges, and moments of spontaneous discovery.

The album opens with “Bird in the Forest,” a gentle invitation into a landscape awakened by the first rays of sunlight and birdsong. The harp and electric guitar establish a dialogue that feels almost organic, as though the instruments are responding to the natural world around them. In “Shapes,” that exchange becomes a vivid interplay of textures and ideas, while “Looking for Dad” transforms it into a musical chase, playful and unpredictable.

Elsewhere, the atmosphere grows more contemplative. “How Many Miles” and “On the Edge” explore more pensive, melancholic territory, while “Yarrow” builds into something majestic and stormy. Across the record, rhythmic exchanges give way to unexpected melodic shifts and moments of silence, allowing each instrument room to breathe. The result is music that feels less like a sequence of carefully separated compositions than a continuous journey through changing emotional landscapes.

Jazz provides the album’s foundation, but the duo’s curiosity carries them far beyond it. “Woman Farmer” introduces folk influences, while “Bread Blues” brings a swing-inflected energy to the collection. These stylistic shifts never feel forced; instead, they reflect the musicians’ willingness to follow an idea wherever it leads.

Two covers offer a particularly intimate dimension to the record. Raphaël’s vocals come to the forefront in interpretations of Radiohead’s “No Surprises” and “Moon River,” revealing a softer, more personal side of the project. His cello playing on “Yarrow” adds another layer of expression, broadening the album’s instrumental palette. By the final track, Isabelle’s harp once again takes center stage, bringing the listening experience full circle.

What distinguishes OPEN is the sense of movement that runs through it. The musicians move between intimacy and exuberance, stillness and momentum, familiarity and experimentation. Each piece offers a different perspective on the relationship between two artists who share a family history but maintain their own creative identities. Their connection gives the music its warmth, while their differences keep it alive with possibility.

Isabelle Olivier has spent much of her career expanding perceptions of the harp, an instrument she approaches with a distinctive voice that bridges jazz, Celtic traditions, and contemporary music. An accomplished performer and composer, she has composed, arranged, and recorded 13 albums and toured in 25 countries. Her work extends beyond the concert stage into film and live performance, including music for 11 films, four of them directed by Agnès Varda. A recipient of the Villa Albertine award, Olivier traveled to Washington to develop a film-concert paying tribute to women filmmakers from racial minorities. Her collaborations have included musicians Peter Erskine, Didier Lockwood, Ernie Adams, Mitch Haupers, and Paul Wertico.

Raphaël Olivier brings an equally wide-ranging background to their collaboration. A composer, producer, guitarist, and songwriter, he has built a catalog of more than 300 tracks that has accumulated over two billion views and 15 million streams worldwide. Born in Paris into a musical family, he began studying cello at the age of three and was performing professionally by eight, appearing with classical ensembles in Italy, England, and France. His musical education later took him between Europe and the United States, encompassing jazz and film composition at the Conservatoire National Supérieur de Paris.

His subsequent career has included recording at Studio Davout and touring Europe with artists such as Étienne Daho, Yael Naim, and the Orchestre National de Jazz. Now working between Paris and Los Angeles, Raphaël continues to explore connections across musical and literary forms. His first novel, La Mélodie d’Oklahoma, winner of the Paris FoRTE Prize, is scheduled for publication in 2026 and is set to be adapted into a one-man show combining readings and music. A residency at the Rinzai-Ji Zen temple, following in the footsteps of Leonard Cohen, has also informed his interest in the relationship between monastic introspection and musical storytelling.

These individual paths converge naturally on OPEN, where technical experience and artistic ambition serve a more personal purpose. The album is a testament to the possibilities that emerge when musicians remain receptive to one another, allowing different perspectives to coexist without losing their individuality.

Ultimately, OPEN asks little of its listeners beyond a willingness to be present. Its music offers room for reflection, moments of playfulness, and the pleasure of hearing familiar genres approached from unexpected angles. As the final notes fade, the experience leaves behind the impression of having traveled somewhere new—not necessarily to a distant place, but to a different state of mind. For Isabelle and Raphaël Olivier, openness becomes both the subject of the music and the way it is made: a shared invitation to listen more closely, embrace discovery, and find connection in the spaces between sounds.

Lali P Makes a Sultry Debut With “Keep It Smooth,” Featuring Najee and Produced by Michael Mani

Emerging Colombian vocalist Lali P is carving out a distinctive musical identity with “Keep It Smooth,” a sophisticated debut single that blends Latin soul, R&B, contemporary jazz, and Afrobeat into a sound built on sensual rhythms, understated elegance, and effortless confidence. Featuring acclaimed saxophonist Najee and produced by GRAMMY-winning artist and producer Michael Mani, the track introduces a compelling new voice with a style that feels both timeless and refreshingly contemporary.

“Think of a Latin Sade. That sound suits Lali’s voice and style perfectly,” says Mani, who earned a GRAMMY for his work with Carlos Santana and Eric Clapton. The comparison captures the single’s central appeal: a sultry vocal delivery, polished arrangements, and a relaxed sophistication that allows every musical element to breathe.

The collaboration began with a chance discovery on social media. While scrolling through videos, Mani came across a performance by Lali, a Barranquilla, Colombia-born singer now based in Miami. Her voice immediately caught his attention, prompting him to invite her to his North Hollywood recording studio. What followed was an introduction to a musical direction she had never previously considered, but one that resonated with her almost immediately.

Mani envisioned a sound he describes as “sophisticated Latin soul,” a lane designed to draw on Lali’s cultural roots while expanding her artistic possibilities through soulful R&B, jazz harmonies, and Afrobeat-inspired rhythms. The producer has a proven track record of identifying and developing emerging talent, having helped shape the careers of Becky G, Tori Kelly, and H.E.R. His approach with Lali reflects that same instinct for matching a distinctive voice with a compelling musical identity.

For Lali, the connection was instinctive. “Coming from Colombia and working in Miami, Latin music is part of who I am,” she explains. “When Michael introduced me to this blend of soulful R&B, jazz harmony, and Afrobeat rhythms, I immediately connected with it. ‘Keep It Smooth’ felt like the perfect song to introduce myself as an artist.”

The chemistry between vocalist and producer soon extended beyond the recording studio. Together, they began sharing performances of classic songs on social media, with Lali delivering interpretations of Stevie Wonder’s “Overjoyed” and “Don’t You Worry ’Bout a Thing,” as well as Michael Jackson’s “I Can’t Help It” and “Human Nature,” accompanied by Mani’s keyboards. The videos collectively generated more than a million views across multiple platforms, demonstrating an appetite for their combination of expressive vocals, sophisticated musicianship, and contemporary soul.

That growing online audience helped establish the foundation for “Keep It Smooth,” a song co-written by Lali, Mani, and Allen Kepler. Built around sultry Afropop rhythms, the track balances a contemporary rhythmic pulse with jazz-inflected instrumental passages. Mani’s keyboard work creates space for the vocal melody to interact with the saxophone, giving the arrangement an organic, conversational quality rather than overwhelming the song with production flourishes.

The addition of Najee brings another layer of musical distinction. A respected figure in contemporary jazz, the saxophonist lends the recording his signature blend of expressive phrasing and polished musicianship. Kepler, who helped coin the term “smooth jazz” and founded the influential Smooth Jazz Network, suggested bringing Najee into the project.

“When Najee heard the song, he loved it and agreed to join us,” Lali says. “His saxophone added another level of soul and sophistication that elevated the entire record.”

The result is a track that occupies the space between genres without losing its sense of purpose. Latin rhythms provide the cultural foundation, R&B supplies the emotional warmth, jazz contributes harmonic depth, and Afrobeat influences give the production its understated momentum. Rather than treating these styles as separate ingredients, “Keep It Smooth” brings them together in a cohesive sound that feels tailor-made for Lali’s voice.

Her background provides an important part of that musical equation. Born in Barranquilla, Colombia, and now working in Miami, Lali P—whose surname is Paez—earned a bachelor’s degree in music from Universidad del Norte in Colombia. Her professional experience includes studio and stage performances with Latin GRAMMY winner Tony Succar and Latin music luminaries Oscar D’León and Nacho, giving her a foundation that spans Latin music traditions and contemporary performance.

With “Keep It Smooth,” she steps into the spotlight with a more personal artistic statement, one that preserves her connection to Latin music while embracing a broader palette of influences. The single also marks another milestone for Mani, whose recent success as a recording artist includes his first No. 1 single with the title track from his debut album, Triangles.

As “Keep It Smooth” gains airplay and chart traction across outlets tracked by Billboard, Mediabase, Smooth Jazz Network, and Groove Jazz, Lali’s introduction is already reaching audiences beyond the social media platforms where her collaboration with Mani first attracted attention. Her appearance at Thursday’s Billboard Latin Music Awards in Miami adds to the momentum surrounding the release and places the emerging vocalist within a wider conversation about the continuing evolution of Latin music.

For Lali P, “Keep It Smooth” is more than a debut single. It is the opening statement of an artist finding her own space at the intersection of Latin soul, contemporary jazz, and modern R&B. With Mani’s production, Kepler’s creative input, and Najee’s distinctive saxophone, she delivers a performance that favors subtlety over excess and personality over formula.

The track’s message is reflected in its sound: confidence without force, sensuality without exaggeration, and sophistication that never sacrifices accessibility. If this debut is any indication, Lali P is poised to make her mark with a musical identity that honors her roots while moving comfortably across borders and genres.

Listen to “Keep It Smooth” at ffm.to/keep-it-smooth, watch the official video on YouTube, and visit iamlalip.com for more information. Follow Lali P on Instagram at @iamlalip.

Tony Moreno Honors His Mentor Elvin Jones With A Celebration of Elvin Jones, a Powerful Tribute to a Jazz Legend

For drummer Tony Moreno, the story of his musical life begins with an extraordinary act of generosity from one of jazz’s greatest innovators. In 1967, an 11-year-old Moreno was determined to see legendary drummer Elvin Jones perform live for the first time. Finding himself out past his bedtime, the young aspiring musician eventually fell asleep on a table inside the jazz club. When Jones discovered the boy, he sat down with him, learned that Moreno did not yet own a drum set and invited him to his apartment. There, Jones assembled and gifted him a set of drums—an instrument Moreno still owns today, and one Jones had played with John Coltrane’s legendary quartet.

That encounter sparked a friendship and mentorship that would shape Moreno’s life for decades. Now, with A Celebration of Elvin Jones, arriving November 6, 2026, via Mayimba Music, Moreno pays tribute to the man who helped set his musical journey in motion. Featuring ten spirited interpretations of compositions associated with Jones’ recordings as a leader, the album captures the celebrated drummer’s power, complexity and humanity through the perspective of a musician who knew him not only as an icon, but as a friend and father figure.

The album announcement arrives alongside the release of “E.J.’s Blues,” a fiery blues performance that brings Moreno back to his musical roots and offers a compelling introduction to the project. The track reflects the spirit of the tribute as a whole: energetic, deeply felt and grounded in the rhythmic language that made Jones one of the most influential drummers in jazz history.

“This album is a tribute to a man I consider to be my father figure,” Moreno says. “Elvin gave me a purpose, to live and grow and to be a musician, so this is my way of giving thanks.”

Jones, who lived from 1927 to 2004, transformed the role of the jazz drummer through his revolutionary approach to rhythm, dynamics and improvisation. As the polyrhythmic engine of Coltrane’s celebrated quartet, he helped redefine the possibilities of the instrument on landmark recordings including A Love Supreme, My Favorite Things and Crescent. Rather than simply marking time, Jones treated the drums as a fluid, multilayered voice, creating waves of rhythmic energy that could challenge, support and propel the ensemble simultaneously.

His influence extended well beyond his years with Coltrane. As a bandleader, Jones cultivated a distinctive musical environment in which intensity and freedom coexisted with a deep respect for melody and composition. His recordings became essential listening for generations of jazz musicians, and his rhythmic vocabulary continues to shape how drummers approach improvisation today.

For Moreno, revisiting Jones’ music is a deeply personal undertaking. Over a career spanning more than half a century, he has performed around the world with artists including Dave Liebman, Barry Harris, Mal Waldron and Frank Kimbrough. Emerging from New York’s influential loft-jazz scene and the Jazz Composers Orchestra Association milieu, Moreno developed a reputation as a distinctive drummer with a broad musical perspective. Yet the lessons he learned from Jones remain central to his identity.

“Playing Elvin’s music is like going home,” Moreno says. “My formative years were based on the things that I learned from him, but every musician gets to a point where they realize that your own identity is paramount. It may be difficult to shed some of the history that you’ve lived in your music, but you realize at a certain point that you have to make personal statements, which took me in different directions. So this feels like returning home, and it’s been an emotional journey.”

That tension between honoring the past and asserting an individual voice gives A Celebration of Elvin Jones its artistic purpose. Moreno is not attempting to recreate Jones’ performances note for note. Instead, he approaches the music with the understanding of someone who absorbed its lessons firsthand and has spent decades developing his own musical language.

The project began taking shape in 2024, marking the 20th anniversary of Jones’ passing. Moreno felt the time was right to bring together a group of accomplished musicians and revisit the repertoire that had helped define his earliest musical ambitions. To realize the project, he collaborated with arranger Rich Shemaria, whose credits include work with Stevie Wonder, Michael Brecker and Lady Gaga.

Shemaria’s arrangements give the album an orchestral dimension, expanding the musical framework while retaining the intensity and rhythmic freedom associated with Jones. The approach also brings greater attention to aspects of the drummer’s artistry that can sometimes be overshadowed by his formidable power: sensitivity, melodic awareness, dynamic control and an extraordinary attention to detail.

The ensemble assembled for the recording reflects that balance of virtuosity and musical understanding. Moreno is joined by tenor saxophonist Tony Roberts, a three-time GRAMMY nominee; pianist Manuel Valera, a GRAMMY nominee; GRAMMY-winning percussionist Mauricio Herrera; alto saxophonist Patrick Cornelius; and bassist Gene Perla, who spent the first half of the 1970s performing in Jones’ band.

Perla’s presence is especially meaningful. Having played directly alongside Jones during a formative period in the drummer’s career, he brings a firsthand connection to the music and its original performance tradition. Combined with the individual strengths of the other musicians, his experience helps create a setting in which the compositions can be approached with both historical awareness and fresh interpretive energy.

The album’s ten tracks explore different facets of Jones’ repertoire and musical personality. “E.J.’s Blues” opens the collection with a direct, hard-driving statement, establishing the blues foundation beneath the music’s adventurous rhythmic language. “For All the Other Times” and “Day and Night” continue the journey, while “Eclipse” and “Brite Piece” offer opportunities to explore the repertoire’s more intricate compositional and rhythmic dimensions.

“Raunchy Rita” and “New Breed” further showcase the ensemble’s ability to balance muscular interplay with expressive nuance. The inclusion of “Everything Happens to Me” brings a familiar standard into the program, broadening the emotional palette, while “Three Card Molly” adds another distinctive voice to the sequence. The album closes with “What’s Up? That’s It!,” rounding out a program designed to reflect the range of Jones’ musical vision rather than reduce his legacy to a single signature sound.

Throughout the collection, Moreno’s perspective is that of a musician returning to the source while carrying the experience of a lifetime. The performances acknowledge Jones’ influence without diminishing the individuality of the players involved. The orchestral arrangements create new possibilities for the material, while the ensemble’s rhythmic fluency keeps the music connected to the spontaneous energy that defined Jones’ work.

That balance is central to understanding Jones’ lasting impact. His contribution to jazz was not simply a matter of technical innovation or sheer physical intensity. He expanded the drummer’s expressive role, showing how rhythm could function as melody, counterpoint and dramatic structure all at once. His playing could be explosive, but it was also responsive and deeply connected to the musicians around him.

Moreno’s tribute recognizes those qualities through a personal lens. The story of the gifted drum set is more than a remarkable anecdote; it represents the beginning of a relationship that helped shape an artist’s sense of purpose. By returning to Jones’ music, Moreno reconnects with the experiences that first drew him to jazz while demonstrating how those early lessons continue to inform his own work.

A Celebration of Elvin Jones is therefore both a musical statement and an expression of gratitude. Its performances honor a giant of modern jazz while revealing the enduring influence of a mentor whose generosity extended beyond the bandstand. For Moreno, the journey comes full circle—not by abandoning the musical identity he has built over five decades, but by bringing that experience back to the music that first inspired him.

A Celebration of Elvin Jones arrives November 6, 2026, via Mayimba Music. The first single, “E.J.’s Blues,” is available now, and the album is available to pre-save online.

Full tracklist — A Celebration of Elvin Jones

1. “E.J.’s Blues”

2. “For All the Other Times”

3. “Day and Night”

4. “Eclipse”

5. “Brite Piece”

6. “Raunchy Rita”

7. “New Breed”

8. “Everything Happens to Me”

9. “Three Card Molly”

10. “What’s Up? That’s It!”

Don Was and the Pan-Detroit Ensemble Celebrate the Grateful Dead’s Blues for Allah With New Live Album

Few musicians have spent as much time moving between musical worlds as Don Was. The six-time GRAMMY-winning producer, bassist and composer has helped shape recordings across rock, blues, Americana and jazz, while maintaining a deep connection to the musical traditions of his hometown, Detroit. Now, Was is bringing two defining parts of his musical life together with Live Dispatch Vol. 1: Blues for Allah ’26, a new live album from Don Was and the Pan-Detroit Ensemble honoring his longtime friend and collaborator Bob Weir and celebrating the 50th anniversary of the Grateful Dead’s landmark Blues for Allah.

Set for release November 20, 2026, via Verve Records, the album captures performances from the Ensemble’s recent tour devoted to the Grateful Dead’s 1975 release. The announcement arrives with the first single, “The Music Never Stopped,” a fitting introduction to a project rooted in the enduring power of the Dead’s music and the improvisational spirit that has kept its songs alive across generations.

For Was, the album carries a particularly personal significance. In 2018, he joined Weir, the Grateful Dead’s founding guitarist and vocalist, to form the Wolf Bros. The group toured extensively in the United States and internationally until Weir’s passing in 2026, creating a musical partnership that deepened Was’s appreciation for the Grateful Dead’s catalog and its devoted community of listeners.

“Playing with Bobby Weir and The Wolf Bros drew me deep into the music of the Grateful Dead,” Was says. “The songs became way more than lyrics and a chord chart — they became more like ‘friends’ that I looked forward to hanging out with night after night. We hope that this record conveys our deep respect and love for this music and for the fans who have made it such an important part of their lives.”

That sense of familiarity and affection lies at the heart of Live Dispatch Vol. 1: Blues for Allah ’26. Rather than approaching the material as a straightforward retrospective, Was and the Pan-Detroit Ensemble bring their own musical language to compositions that have long invited extended improvisation, rhythmic exploration and unexpected turns. The result is a meeting of the Grateful Dead’s adventurous repertoire and Detroit’s distinctive blend of groove, grit and soul.

The album’s six-track program draws heavily from Blues for Allah, the Grateful Dead’s seventh studio album, originally released in 1975. Known for its unconventional structures, intricate instrumental passages and willingness to push beyond traditional rock song forms, the record marked one of the band’s most exploratory creative periods. Its music provides fertile ground for Was and his ensemble, whose collective approach embraces jazz improvisation, blues expression and funk-driven rhythms.

The opening sequence, “Help on the Way” into “Slipknot!” and “Franklin’s Tower,” brings together three interconnected pieces that have long been associated with the Grateful Dead’s live performances. The suite offers a natural setting for the Ensemble’s musicians to stretch out, moving between tightly composed passages and the open-ended interplay that has always been central to the Dead’s concert identity.

“King Solomon’s Marbles” continues the exploration with a composition built around shifting rhythmic ideas and instrumental conversation, while “The Music Never Stopped” brings an unmistakable sense of forward motion. The latter’s appearance as the first single underscores its place as one of the Dead’s most enduring performances, a song whose momentum and celebratory spirit make it an ideal showcase for the Pan-Detroit Ensemble.

The program continues with “Crazy Fingers,” a composition whose intricate melodic writing and reflective atmosphere reveal another side of the band’s musical personality. “Sage and Spirit” offers a more contemplative moment before the title track, “Blues for Allah,” closes the album with one of the Grateful Dead’s most ambitious compositions. The original piece’s shifting sections and exploratory character make it a natural centerpiece for a project built around improvisation and reinterpretation.

The musicians bringing these songs to life are among Detroit’s accomplished jazz performers. The Pan-Detroit Ensemble features longtime Was collaborator Dave McMurray on saxophone, alongside drummer Jeff Canady, trombonist Vincent Chandler, vocalist Steffanie Christi’an, trumpeter John Douglas, guitarist Wayne Gerard, percussionist Mahindi Masai and keyboardist Phil Whitfield.

Together, they bring an expansive instrumental palette to the material. Horn arrangements, percussion, keyboards and guitar create opportunities for the compositions to move beyond familiar rock configurations, while the ensemble’s rhythmic foundation reflects the deep musical traditions of Detroit. The group’s strength lies in its ability to balance individual expression with a collective groove, allowing the songs to develop organically without losing their essential character.

“There’s a unique sound and feel to Detroit that permeates the music in a way that resonates all over the globe,” Was says. “There’s a rawness, a lack of pretension, and an unmistakable underlying groove that reflects the people and culture of the entire city.”

That philosophy has informed the Pan-Detroit Ensemble’s broader musical identity. The group’s 2025 album, Groove in the Face of Adversity, channeled the soul of the Motor City through a blend of steamy jazz, juke-joint blues and loose-limbed funk. The recording demonstrated Was’s ability to draw from a wide range of influences while maintaining a cohesive sound that feels both deeply personal and connected to Detroit’s musical heritage.

The new live project extends that approach into the Grateful Dead’s repertoire, revealing common ground between the band’s exploratory songwriting and the Ensemble’s jazz-centered sensibility. Both traditions value the possibilities of live performance, the interplay among musicians and the idea that a song can remain familiar while changing shape from one performance to the next.

Was’s own career makes him a natural guide for that musical conversation. Over five decades, he has established himself as one of the industry’s most respected producers, working with artists including The Rolling Stones, Bonnie Raitt, Bob Dylan, John Mayer and Willie Nelson. His production credits account for combined sales exceeding 100 million albums, while his honors include a BAFTA Award for Backbeat, an Emmy for The Beatles: The Night That Changed America and a Lifetime Achievement Award from the Americana Music Association.

His work has also remained closely connected to the music community in Detroit. In addition to leading the Don Was Detroit All-Star Revue for more than 15 years, he co-hosts The Don Was Motor City Playlist on WDET-FM in Detroit and Dinner with Don Was on SiriusXM. His tenure as longtime head of Blue Note Records further reflects his enduring commitment to jazz and to musicians whose creativity crosses stylistic boundaries.

With Live Dispatch Vol. 1: Blues for Allah ’26, Was brings those experiences to a project that is as much an expression of friendship as it is a musical celebration. His years performing alongside Weir gave him a firsthand connection to the Grateful Dead’s music and the community surrounding it. The new album carries that relationship forward, honoring Weir’s legacy through performances that keep the songs moving rather than freezing them in time.

The release also arrives as the Pan-Detroit Ensemble continues its tour, with dates spanning Ohio, New York, Connecticut, Massachusetts and Maine in October. The performances provide an opportunity to hear the group’s approach to the material in a live setting, where the music’s improvisational possibilities can unfold in real time.

Ultimately, Live Dispatch Vol. 1: Blues for Allah ’26 connects several strands of American music: the Grateful Dead’s exploratory rock, the improvisational freedom of jazz, the expressive directness of blues and the unmistakable rhythmic character of Detroit. Through Was’s personal history with Weir and the Ensemble’s collective musicianship, the album becomes a tribute that looks toward the future as much as it reflects on the past.

Live Dispatch Vol. 1: Blues for Allah ’26 arrives November 20, 2026, via Verve Records. The first single, “The Music Never Stopped,” is available now.

Full tracklist — Live Dispatch Vol. 1: Blues for Allah ’26

1. “Help on the Way” > “Slipknot!” > “Franklin’s Tower”

2. “King Solomon’s Marbles”

3. “The Music Never Stopped”

4. “Crazy Fingers”

5. “Sage and Spirit”

6. “Blues for Allah”

Don Was and the Pan-Detroit Ensemble — Tour Dates

• October 9 — Kent, OH — The Kent Stage

• October 10 — Nelsonville, OH — Stuart’s Opera House

• October 11 — Buffalo, NY — Asbury Hall

• October 13 — Homer, NY — Center for the Arts of Homer

• October 14 — New York, NY — Le Poisson Rouge

• October 15 — Fairfield, CT — The Warehouse at FTC

• October 16 — Boston, MA — The Sinclair

• October 17 — Groton, MA — Groton Hill Music Center

• October 18 — Bar Harbor, ME — Criterion Theatre