Sue Cahill Announces Evanstonia, a Deeply Personal Statement of Musical Freedom and Form

Double bassist, composer, and educator Sue Cahill announces the release of Evanstonia, arriving May 29, 2026 as a self-released album that marks a defining artistic statement in her evolution as a composer. Long known for her work as a commanding orchestral musician and dedicated teacher, Cahill steps fully into what she describes—through her composition mentor—as “personal music,” where classical discipline, improvisational freedom, tango-inflected rhythm, and lived experience converge.

On Evanstonia, Cahill reshapes her creative identity into something more fluid and self-determined. The album features pianist Dawn Clement, who also contributes vocals on “June February,” and drummer Dru Heller, forming a trio setting that balances intimacy with structural sophistication. Together, they create a sound world that is at once composed and flexible, rooted in form but continually reaching beyond it.

The project represents both a homecoming and a declaration. It reflects Cahill’s decision to step away, at least temporarily, from the security of academic and orchestral environments in order to pursue a more personal compositional voice—one grounded in jazz language and improvisational exploration. That shift, initiated in 2015, became a turning point in her artistic trajectory, opening space for a deeper integration of influences and a more direct connection to her own musical instincts.

Central to this transformation was her study with Boulder-based composer Art Lande, whose philosophy of “personal music” encouraged her to move beyond imitation and instead synthesize her classical training with improvisation. The result is a body of work that resists rigid categorization. Rather than abandoning structure, Cahill reimagines it, allowing form to function as a flexible container for expression rather than a constraint.

“I didn’t want to abandon structure,” Cahill reflects. “I wanted to grow out of it.” That idea becomes a guiding principle across Evanstonia, where early pieces lean toward clarity and directness, while later compositions open into more expansive harmonic movement, unexpected phrasing, and a broader sense of melodic risk.

The music unfolds as a study in balance: written material and improvisation, discipline and spontaneity, tradition and reinvention. Cahill’s bass work anchors the ensemble with clarity and depth, while Clement and Heller respond with fluidity and imagination, shaping each piece as a collaborative exploration rather than a fixed arrangement.

Across the album, Cahill’s compositional voice reveals itself as both grounded and exploratory. The influence of classical structure remains present, but it is continually reshaped by improvisational logic and rhythmic elasticity. Tango rhythms, chamber-like textures, and jazz-inflected harmony coexist within a framework that prioritizes expression over categorization.

Ultimately, Evanstonia stands as a statement of artistic permission—permission to evolve, to blend influences without hierarchy, and to write music that reflects lived experience rather than inherited boundaries. It is both a culmination of years of study and a step into a more open, self-defined creative space.

Dave Douglas Announces Transcend, a Spirit-Driven New Album Bridging Ellington’s Sacred Legacy and a New York All-Star Ensemble

Prolific trumpeter and composer Dave Douglas announces the release of Transcend, a bold new album featuring his all-star GIFTs Quintet, arriving April 24, 2026 via Greenleaf Music. The project brings together a high-powered ensemble of New York improvisers and composers, blending electronics, lyrical writing, deep groove language, and expansive ensemble interplay into a unified spiritual and musical statement.

At the core of Transcend is a continuation of Douglas’s exploration of legacy and meaning, following his 2024 release GIFTS, which honored the music of Billy Strayhorn. With this new work, Douglas extends that lineage further back into the sacred dimensions of jazz history, drawing inspiration from the legendary Sacred Concerts of Duke Ellington—works widely regarded as a culmination of Ellington’s spiritual and compositional vision.

The GIFTs Quintet features a lineup of major contemporary voices, including saxophonist James Brandon Lewis, guitarist Rafiq Bhatia, drummer Ian Chang, and cellist Tomeka Reid, with the ensemble expanded into a flexible, modern chamber-jazz configuration. Together, they create a sound world that moves fluidly between composition and improvisation, acoustic resonance and electronic texture, intimacy and collective force.

Rather than treating Ellington’s sacred influence as historical reference, Transcend engages it as a living framework. The music is shaped by the idea that spirituality in sound is not confined to tradition, but is continually renewed through performance, risk, and listening. Douglas positions the ensemble as both interpreters and creators within that continuum, channeling Ellington’s ethos of openness, dignity, and emotional clarity into a contemporary context.

The album also reflects Douglas’s ongoing interest in ensemble democracy and structural experimentation. Each musician contributes not only performance but identity, shaping the music’s direction in real time. Electronics and acoustic instruments coexist without hierarchy, allowing textures to shift organically across pieces that emphasize flow rather than fixed boundaries.

In the liner notes, Douglas reflects on Ellington’s Sacred Concerts as a model of artistic and spiritual integration, where music becomes a space for reflection on humanity, grace, and imperfection. That philosophical foundation informs Transcend, where the act of playing is framed as both expression and inquiry—an unfolding dialogue between musicians, tradition, and the present moment.

The result is a recording that resists categorization while remaining deeply rooted in jazz history. It carries forward Douglas’s longstanding commitment to blending composition, improvisation, and conceptual framing into works that are as intellectually grounded as they are emotionally direct.

Recorded with a sense of urgency and openness, Transcend stands as a continuation of Douglas’s evolving vision: music as a site of connection, transformation, and shared meaning, shaped as much by history as by the spontaneous decisions made in the studio.

Jon Batiste and Josh Harmon Reimagine “Song of Storms” in Spontaneous Jazz Collaboration

 

Multi-Grammy, Oscar, and Emmy Award-winning artist Jon Batiste has teamed up with musician and content creator Josh Harmon to release a new jazz-inspired reinterpretation of the iconic “Song of Storms” from The Legend of Zelda: Ocarina of Time. Out now, the performance reimagines the 1998 video game classic through an improvisational lens, transforming a familiar melody into a living, breathing moment of spontaneous musical exchange.

Originally composed for one of the most celebrated entries in gaming history, the “Song of Storms” is reworked here into a brief but energetic jazz performance shaped by real-time interaction. Batiste’s expressive, impromptu piano playing leads the dialogue, while Harmon contributes understated percussion that emphasizes groove, space, and responsiveness rather than fixed structure. The result is a compact performance that feels open-ended, conversational, and instinctively joyful.

According to Batiste, the collaboration grew from a shared musical language rooted in jazz, New Orleans tradition, and a mutual appreciation for video game music. He describes Harmon as a creative kindred spirit whose curiosity spans genres and eras, connecting childhood musical memory with contemporary improvisation. Batiste also reflects on his own early experiences in New Orleans, where rearranging video game themes with family members became part of his musical development—an informal foundation that continues to inform his genre-blending approach today.

The collaboration is also connected to a broader creative exchange between the two artists, initially sparked during Batiste’s BIG MONEY campaign, where Harmon—known for his boundary-pushing percussion videos—participated in informal, unrehearsed performances that emphasized spontaneity and play. That spirit carries directly into this recording, where no formal arrangement or rehearsal guided the session.

Harmon emphasizes that the recording is a document of real-time creation, shaped entirely by presence and interaction. For him, the absence of preparation is central to the music’s meaning, highlighting how improvisation captures something fundamentally human: shared time, mutual listening, and the unpredictability of live performance. Even in its short runtime, the piece conveys a sense of immediacy and connection that resonates beyond genre boundaries.

The project also reflects a growing cultural dialogue between video game music and contemporary jazz practices. What was once primarily associated with digital nostalgia is reframed here as a source of improvisational material—melodies that can be stretched, reinterpreted, and reimagined in real time by skilled performers. In this space, composition and spontaneity overlap, and familiar themes become launching points for exploration rather than fixed recordings.

Though brief, the performance underscores a broader artistic idea shared by both musicians: that some of the most meaningful musical moments happen without planning, structure, or rehearsal—only presence, trust, and a willingness to listen.

Nduduzo Makhathini Announces The Myth We Choose, a Visionary New Blue Note Album Centered on Ritual, Memory, and Future Myths

 

South African pianist, composer, healer, and thinker Nduduzo Makhathini has announced the June 26 release of The Myth We Choose, his fourth album for Blue Note Records, a deeply conceptual and spiritually charged work that expands his ongoing exploration of music as ritual, philosophy, and collective memory. The album is available now for pre-order on vinyl, CD, and digital formats, and is introduced with the release of the lead track “Kuzodlula,” a meditation on forgiveness that Makhathini frames as “the very attempt to forgive the unforgivable.”

From its outset, The Myth We Choose positions itself as more than a recording project. It is a constructed world of ideas, sound, and intergenerational collaboration, co-produced by Makhathini and his son, Thingo Makhathini. At just 18 years old, Thingo brings a generational perspective that expands the album’s sonic palette, particularly through subtle electronic textures and groove-based ideas that shift Makhathini’s trio language into new territory. According to Makhathini, these elements are not additions but co-authored transformations—threads that reshape how the music breathes and moves.

The core ensemble features Makhathini’s working trio with bassist Dalisu Ndlazi and drummer Lukmil Pérez (with select tracks featuring drummer Ayanda Sikade). Together, they form a fluid rhythmic and harmonic foundation that allows the music to expand outward, making space for a remarkable roster of collaborators. Among them are saxophonist Shabaka Hutchings, DJ and producer Black Coffee, trumpeter Robin Fassie, guitarist Keenan Ahrends, and vocalists Thando Zide, Muneyi, and Omagugu, Makhathini’s spouse and long-time creative partner. The result is a collective sound that resists hierarchy, instead functioning as a shared field of expression.

At the heart of the album is Makhathini’s enduring belief that music is inseparable from myth-making. For him, songs are not static artifacts but active participants in shaping how history is remembered and reimagined. In his liner notes, he reflects on the idea that songs “look at us” as much as we listen to them, and that the cultural weight of music lies in its ability to survive into the future as a form of memory. Whether voices are preserved or forgotten, he argues, depends on the myths societies choose to construct in the present.

This philosophical framework is not abstract in execution. Makhathini approaches performance as ritual, where musician and listener enter a shared space of vulnerability and reflection. The trio setting becomes a site of transformation rather than display, where sound functions as both invocation and response. In this context, improvisation is not simply musical invention but a form of collective attention, where past, present, and future are held simultaneously.

The album’s conceptual scope is matched by its emotional depth. “Kuzodlula,” the lead single, centers on forgiveness as an ongoing process rather than a resolved state. Elsewhere, the presence of electronics, expanded grooves, and layered ensemble textures points toward a widening of Makhathini’s already expansive sound world. These shifts are shaped in part by Thingo’s influence, which Makhathini describes as essential in guiding the album toward new sonic directions.

Throughout The Myth We Choose, references to ancestral memory, cultural continuity, and spiritual responsibility are woven into the music’s structure. Yet the work remains grounded in lived collaboration, shaped by long-standing musical relationships and an openness to spontaneous creation. The inclusion of voices from across South Africa’s contemporary music landscape reinforces the album’s central idea: that myth is not inherited passively but actively constructed through shared artistic labor.

Makhathini also situates the project within a broader ethical and historical context, reflecting on the limitations placed on Black performance within global entertainment structures. Rather than reinforcing those constraints, he reframes performance as ritual space—an environment where healing, imagination, and cultural restoration can coexist. In this sense, the album is not only reflective but aspirational, proposing a model of music-making rooted in care, presence, and intention.

Ultimately, The Myth We Choose extends Makhathini’s long-standing artistic mission: to create music that envisions the world it wishes to bring into being. As he has often noted, drawing inspiration from Wayne Shorter, the purpose is to play and compose music aligned with the world one hopes for, rather than the one already known. In that spirit, the album becomes both a statement and a proposal—an invitation to listen differently, and to imagine forward.

Jimmy Farace Steps Forward with Big Shoulders, Big Sounds, a Bold Baritone Trio Statement

 

Chicago baritone saxophonist Jimmy Farace returns with the release of his second single, “DST,” from his sophomore album Big Shoulders, Big Sounds, out today on Shifting Paradigm Records. The record follows his critically acclaimed debut Hours Fly, Flowers Die, and continues his emergence as one of the most compelling new voices on the baritone saxophone in contemporary jazz.

This new release arrives with clear intent: a stripped-down, high-risk trio format featuring Farace on baritone saxophone, compositions, and arrangements, alongside bassist Clark Sommers and drummer Dana Hall. With no piano to anchor or cushion the harmonic space, the trio operates in open air—lean, exposed, and highly responsive—placing maximum focus on interaction, time, and melodic invention.

Big Shoulders, Big Sounds is not a quiet continuation of Farace’s earlier work; it is a declaration. Where his debut established him as a composer with a broad emotional range and growing critical recognition, this new album pushes further into directness and risk. The music leans into the full expressive weight of the baritone saxophone, balancing muscular intensity with lyrical clarity, and grounding itself in both tradition and forward motion.

The title itself nods to Chicago’s famous cultural image of “big shoulders,” long associated with strength and resilience, while also pointing toward the lineage of baritone saxophone giants who shaped the instrument’s history. Listeners can hear echoes of that tradition in Farace’s sound—at times recalling the lyricism of Gerry Mulligan, the agility of Pepper Adams, and the exploratory spirit of Hamiet Bluiett—yet the music remains firmly rooted in his own evolving voice.

Across the album, Farace’s original compositions such as “Cloud Splitter,” “Prophetic Dreams,” “DST,” “Decorah’s Dance,” and “Three Headed Dragon” unfold as distinct emotional landscapes, each shaped by shifting energy, rhythmic tension, and melodic openness. The absence of a chordal instrument allows Sommers and Hall to create a flexible harmonic environment that breathes with the music rather than defining it, giving Farace room to move freely between weight and air, structure and spontaneity.

The trio also engages with select standards and repertoire pieces as gestures of respect and continuity. Works such as “Chelsea Bridge,” “I’ll Be Seeing You,” and Charles Davis’s “Just Us Blues” are treated not as reinventions but as points of reflection—anchoring the album in jazz history while highlighting how Farace’s baritone voice situates itself within it.

Early critical response underscores the growing attention around his work. Reviewers have praised the emotional depth of his playing, the maturity of his tone, and his ability to merge compositional clarity with improvisational urgency. Across commentary from outlets such as All About Jazz, DownBeat Magazine, and other jazz voices, a consistent narrative has emerged: Farace is a player and writer whose sound demands attention, and whose trajectory suggests continued evolution.

Big Shoulders, Big Sounds also arrives amid an expanding touring schedule:

April 17th @ Bar Centro – Milwaukee, WI
April 24th @ Trio Jazz Club – Sioux Falls, SD
April 25th @ Berlin – Minneapolis, MN
May 30th @ Merrimen’s Playhouse – South Bend, IN

Recorded as a piano-less trio session, the album emphasizes immediacy and interaction over polish or ornamentation. The result is a record that feels both grounded and exploratory—music shaped in real time, where every gesture carries weight and intention.

As Farace continues to develop his voice as both composer and improviser, Big Shoulders, Big Sounds stands as a confident step forward—one that embraces lineage without imitation, and risk without hesitation.

Judith Berkson Returns on ECM with Thee They Thy, Expanding the Boundaries of Song, Improvisation, and Voice

 

Mezzo-soprano, pianist, composer, and improviser Judith Berkson returns to ECM with a striking new album, Thee They Thy, a work that continues and expands her long-standing exploration of voice, structure, and creative freedom. Berkson describes the recording as a natural extension of her solo practice—intimate songs shaped by jazz sensibilities, moments of improvisation, and influences drawn from song traditions, avant-garde composition, minimalism, and conceptual art. The result is music that resists easy categorization while remaining deeply personal and emotionally direct.

Her 2010 release Oylam first introduced listeners to Berkson’s development of a self-devised vocal language and a highly individual approach to piano accompaniment, an artistic foundation she spent years refining. With Thee They Thy, she moves those ideas into a trio setting, embracing the classic piano-bass-drums format while reshaping it through her own aesthetic lens. She is joined by drummer Gerald Cleaver, a longtime collaborator whose responsiveness and subtle power are central to the album’s fluidity, and bassist Trevor Dunn, making his first appearance on ECM, whose openness to stylistic crosscurrents aligns closely with Berkson’s own approach.

Across ten pieces, the album moves between through-composed material, improvisation, and hybrid forms that blur the line between structure and spontaneity. Tracks such as “Slow,” “Dust,” and “Sated” are carefully constructed songs in which spare melodic ideas carry significant harmonic weight, often drawing on 19th-century harmonic language refracted through modern jazz thinking. Elsewhere, pieces emerge in real time: “Slowly Walk Into It” unfolds as spontaneous composition, where words and music appear together in a stream-of-consciousness flow that embraces vulnerability and risk.

Improvisation plays a central role throughout. In “Torque,” Berkson uses 12-tone ideas as a point of departure, recontextualizing fragments of musical language with a sense of curiosity rather than strict adherence. The title track, “Thee They Thy,” becomes a kind of vocal experiment—part scat, part conceptual play—where atonality and jazz gesture meet in shifting, dreamlike motion. Even within this experimentation, a quiet minimalist sensibility holds the music together, allowing contrasting ideas to coexist without fragmentation.

Midway through the album, Cleaver contributes a solo drum piece, “Cleav,” offering a textured and intimate exploration of rhythm and resonance. His playing reflects both restraint and depth, shaping sound as much through space as through articulation. Meanwhile, “Notice” builds gradually from a repeated vocal phrase into a fuller trio eruption, while “Amerika” gives all three musicians room to expand, with Dunn delivering a particularly expressive bass statement.

A key emotional center of the album lies in Berkson’s engagement with cantorial music. Her performance on “V’shamru” carries a powerful spiritual intensity, continuing a line of work that previously moved listeners on her ECM release Ahavas Oylam. Here, sacred tradition sits alongside experimental form without contradiction, reflecting Berkson’s belief in coexistence rather than separation. Cleaver and Dunn respond with sensitivity, shaping a sound world that is both grounded and elevated.

Berkson’s broader artistic practice spans opera, electroacoustic composition, film scoring, and liturgical music. She studied voice with Lucy Shelton and composition with Joe Maneri at the New England Conservatory, and has created works for film and stage, including the award-winning Christopher at Sea and the chamber opera Partial Memories. In addition to her compositional work, she serves as a cantor and has collaborated widely across experimental, jazz, and Jewish musical traditions.

Cleaver’s ECM history includes work with Roscoe Mitchell’s Note Factory and collaborations with artists such as Craig Taborn and Tomasz Stańko, while Dunn’s wide-ranging career includes projects with Mr. Bungle and John Zorn, as well as his own Trio-Convulsant. Together, the trio forms a flexible and deeply responsive ensemble capable of navigating structure, improvisation, and conceptual invention in real time.

Recorded in July 2021 at Oktaven Audio Studio in Mount Vernon, New York, Thee They Thy was produced by Manfred Eicher and continues ECM’s long tradition of documenting boundary-pushing, genre-defying musical conversations.

Hannah Marks Ignites a Bold New Chapter with Feed The Fire

 

With her sophomore album Feed The Fire, bassist, composer, and educator Hannah Marks takes a decisive and electrifying leap forward, solidifying her place within New York City’s ever-evolving jazz landscape. Backed by her fearless acoustic quartet—Nathan Reising on alto saxophone, Lex Korten on piano, and Steven Crammer on drums—and guided by visionary producer Jason Moran, Marks delivers a recording that thrives on risk, interplay, and the spirit of exploration.

Blending modern, straight-ahead, and avant-garde jazz, Feed The Fire is as much a statement of artistic identity as it is a celebration of the journey that brought her here. Since relocating to New York City in 2019 at Moran’s encouragement, Marks has immersed herself in the city’s vibrant creative energy. That pulse is embedded in every corner of the album, from groove-heavy passages shaped by odd meters and raucous swing to more spacious, introspective moments that evoke rare instances of stillness amid the urban rush.

For Marks, the album represents both culmination and catalyst. “Feed the Fire is a culmination of many meaningful musical experiences I’ve had over the past decade,” she explains, “and a representation of pushing and dedicating myself as an artist to find new musical colors, shades and directions within this music that I love and revere.” That sense of forward motion—of constantly seeking new expressive ground—animates the entire project.

The title track, “Feed The Fire,” composed by the late Geri Allen, carries profound personal significance. Marks recalls a transformative experience hearing Jason Moran’s trio perform the piece at the Village Vanguard shortly after her move to New York. The performance reshaped her understanding of swing, opening her ears to a freer, more uninhibited approach. Since then, the phrase “Feed the Fire” has become both mantra and mission—an ethos that fuels her creative output and defines the album’s core.

Throughout the record, Marks channels her influences while asserting a distinct compositional voice. “Aggro” reflects the adventurous programming ethos of venues like The Jazz Gallery, weaving in complex structures and a Moran-inspired coda. “When Day Becomes Night,” written during a residency at MacDowell, captures a moment of calm while showcasing drummer Steven Crammer’s ability to navigate dramatic rhythmic shifts with precision and sensitivity.

“Room 157” highlights the quartet’s collective intensity, with Reising and Korten pushing into raw, expressive territory. Its shifting meters and unexpected phrasing draw from Marks’ studies with Walter Smith III at Indiana University, underscoring her deep engagement with contemporary compositional language. In contrast, “Unconditional Love,” another piece by Geri Allen, offers a poignant interlude—an intimate duet between Marks and Korten that provides a moment of emotional clarity and reflection.

The album closes with “Fan Club,” a composition inspired by seeing Korten perform alongside saxophonist Melissa Aldana. Structured loosely around the archetype of the hero’s journey, the piece unfolds from an inviting opening into a turbulent, free-form abyss before returning triumphantly to its central theme. Sonically, it nods to the fusion era—particularly Cannonball Adderley’s Phenix—while remaining firmly rooted in a contemporary, exploratory aesthetic.

Feed The Fire arrives just a few years after Marks’ debut album Outsider, Outlier (2023), a project that introduced her as a bold voice unafraid to draw from punk, noise, and free improvisation. With this new release, she expands that vision, delivering a recording that feels both deeply grounded in tradition and unmistakably current. It’s a work that doesn’t just reflect the state of modern jazz in New York—it actively shapes it.

Ultimately, Feed The Fire is about commitment: to craft, to collaboration, and to the ever-burning curiosity that drives artistic growth. Hannah Marks doesn’t just embrace the fire—she invites listeners into it, creating a space where intensity, freedom, and expression collide in thrilling, unpredictable ways.

Jaana Narsipur’s The Re-Collection: Reimagining the Soundtrack of an ’80s Childhood

 

Long before she began captivating audiences across New York City and the Hudson Valley with her polished blend of pop, R&B, and jazz, vocalist Jaana Narsipur was an ’80s kid—immersed in the golden age of MTV, radio hits, and carefully curated mixtapes. That formative musical world now takes center stage in her second album, The Re-Collection, set for release on April 24, 2026. The project is both a tribute and a transformation: a Brit-centric, deeply personal reimagining of iconic—and sometimes overlooked—songs that shaped her early listening life.

Rather than simply reworking familiar tunes through a jazz lens, Narsipur approaches each song as a storyteller, reshaping them with layered arrangements, harmonic sophistication, and an intimate emotional core. The result is a collection that feels both nostalgic and entirely new. As she describes it, the album became “an act of remembering and reimagining—holding onto what made these songs meaningful while discovering new ways to tell their stories.”

At the heart of the album is a close creative partnership with pianist and music director Nicki Adams. Together, they crafted arrangements that preserve the spirit of the originals while opening them up into expressive, improvisation-friendly frameworks. The ensemble supporting Narsipur is equally impressive, featuring returning collaborators drummer/percussionist Joe Abba and tenor saxophonist Sean Nowell, alongside Grammy-nominated trumpeter Wayne Tucker, bassist Marco Panascia, trombonist Alex Jeun, and a distinguished string trio of violinist Meg Okura, violist Hannah Selin, and cellist Laura Masferrer. The group moves seamlessly between intimate trio interplay, groove-driven horn sections, and lush, cinematic string textures, creating a richly varied sonic landscape.

Narsipur’s musical foundation is as diverse as the album itself. She began studying classical voice and piano as a teenager, later earning a Bachelor’s degree in Voice and Music History from Northwestern University. Her time in Chicago immersed her in a vibrant jazz scene, shaping her listening habits and artistic instincts. She went on to complete a master’s degree in Jazz Performance at the Aaron Copland School of Music at Queens College in 2013. Alongside her performing career, she has spent more than 15 years as an educator, teaching voice, choral music, theory, history, and piano to students of all ages.

The Re-Collection unfolds as a stylistically eclectic journey, with each track offering its own emotional and sonic identity. Swing Out Sister’s “Breakout” sets the tone with an upbeat pop-funk energy, driven by lively horn arrangements and a confident, soul-infused vocal performance. Peter Gabriel’s “In Your Eyes” begins with a striking a cappella introduction before blossoming into a layered, atmospheric groove. Basia’s “Time and Tide” shimmers with rhythmic warmth, while Simply Red’s “Holding Back the Years,” reimagined in 6/8, becomes a slow, introspective meditation anchored by expressive trumpet lines.

Julia Fordham’s “Behind Closed Doors” is transformed into a delicate piano ballad that gradually builds in intensity, while Kate Bush’s “Love and Anger” is rendered through ambient textures and subtle rhythmic motion. On U2’s “With or Without You,” Narsipur crafts a minimalist, sensual arrangement that grows organically, and Eurythmics’ “Here Comes the Rain Again” blends trio interplay with evocative string writing to capture a sense of quiet melancholy.

The album also embraces playfulness and groove, particularly on Joe Jackson’s “You Can’t Get What You Want,” which bursts with rhythmic energy, punchy brass, and spirited scatting. Closing the record is Sting’s “Sister Moon,” a smoky, late-night interpretation steeped in moody saxophone lines and sultry vocal phrasing, leaving a lasting, atmospheric impression.

With The Re-Collection, Jaana Narsipur offers more than a reinterpretation of beloved songs—she creates a bridge between past and present, honoring the music that shaped her while asserting her own distinct artistic voice. It’s a project rooted in memory, elevated by craft, and brought to life through collaboration, resulting in a listening experience that feels both familiar and refreshingly original.

Valérie Lacombe’s State of Garden and Shadow: A Debut Rooted in Growth, Collaboration, and Creative Identity

 

Montréal-based jazz drummer, composer, and bandleader Valérie Lacombe steps confidently into the spotlight with her debut album State of Garden and Shadow, set for release on April 17, 2026 via Rhea Records. A deeply personal and musically rich project, the album introduces Lacombe not only as a formidable percussionist, but as a thoughtful composer whose work reflects a period of artistic and personal transformation.

The album’s evocative title, inspired by Clarice Lispector’s Água Viva, conjures imagery of growth, duality, and renewal. That sense of cultivation runs throughout the record, serving as a metaphor for Lacombe’s own creative evolution. Developed during her master’s studies at McGill University under the mentorship of Kevin Dean and Darrell Green, the project captures a moment of transition—where discipline, exploration, and identity converge.

Across seven original compositions, Lacombe crafts a soundscape that feels both intimate and expansive. The ensemble she assembled brings together a remarkable blend of voices: DownBeat Rising Star saxophonist Camille Thurman on tenor, alto saxophonist Caoilainn Power, and veteran bassist Ira Coleman. Their interplay is fluid and expressive, with each musician contributing distinct tonal colors that enrich the album’s overall texture. The inclusion of Benny Golson’s classic “Out of the Past” adds a nod to jazz tradition while seamlessly fitting into Lacombe’s modern, cohesive vision.

Critics have already taken note. Veteran jazz journalist Zan Stewart describes the recording as “fresh, vital, warm, and open,” highlighting the chemistry between the saxophonists and the “deftly-animated” leadership of Lacombe herself. It’s a fitting assessment for an album that balances technical precision with emotional depth, offering performances that feel both grounded and exploratory.

State of Garden and Shadow also marks a significant milestone in Lacombe’s growing career. Beyond her work as a bandleader, she has built an impressive résumé as a collaborator. She is a member of the JUNO-nominated collective The Ostara Project, touring extensively across Canada, including the Yukon, and contributing to their recordings Roots (2025) and the forthcoming Wings (2026). As a side musician, she has also recorded with JUNO-winning vocalist Laura Anglade, further demonstrating her versatility and presence within the contemporary jazz scene.

The album was recorded in Montréal on April 7 and 8, 2024, capturing a moment in time that now arrives fully realized two years later. Tracks like “Jupiter,” “Persona,” “Found a Friend Here,” and “Who’s Afraid of Clarice Hana” hint at a wide emotional and sonic range, while compositions such as “In Case I Forget You” and “Later for That” suggest a reflective, narrative-driven approach to writing.

At its core, State of Garden and Shadow is about emergence—about stepping into one’s voice while embracing the complexity that comes with it. With this debut, Valérie Lacombe establishes herself as a compelling new voice in jazz, one whose music invites listeners into a space of curiosity, connection, and continual growth.

Acclaimed Pianist Emmet Cohen Releases Single “Well You Needn’t” Ahead of New Album Universal Truth

Acclaimed pianist, composer, and bandleader Emmet Cohen today releases his swinging rendition of Thelonious Monk’s “Well You Needn’t”, the lead single from his upcoming album Universal Truth (out May 29 via Mack Avenue Records). Recorded in celebration of the 2026 centennial of jazz icons Miles Davis and John Coltrane, the track features jazz royalty Ron Carter on bass, Jeremy Pelt on trumpet, and Joe Farnsworth on drums.

Universal Truth honors Cohen’s forebears by carrying forward their spirit of personal and spiritual discovery, blending classic repertoire with his distinctive, modern approach. The album also features George Coleman on tenor saxophone, as well as Cohen’s regular trio of bassist Yasushi Nakamura and drummer Joe Farnsworth. Highlights include poignant reunions on “My Funny Valentine” with Carter and Coleman, fiery interpretations of Monk’s “Budo” and Jimmy Heath’s “Gingerbread Boy”, and a rollicking ensemble rendition of Coltrane’s “Blue Trane.”

Cohen’s titular three-part suite, “Universal Truth”, is an ambitious centerpiece that channels his personal journey and ongoing exploration of the profound concepts that shaped his musical heroes. “In all my research and study into John Coltrane, one phrase always stuck out: ‘Universal Truth,’” Cohen explains. “I interpret that to mean his higher power, his version of God, his connection to the source that connects and calls to every living thing on Earth.”

A leading pianist of his generation, Cohen is also the creative force behind Live From Emmet’s Place, a livestream series featuring over 140 two-hour performances with hundreds of musicians across generations, reaching more than 100 million views worldwide. His recordings, including the Masters Legacy Series, consistently emphasize connection, lineage, and discovery.

Tracklisting – Universal Truth

1. Budo
2. Well You Needn’t
3. My Funny Valentine
4. Gingerbread Boy
5. I. Eternal Glimpse
6. II. Compassion
7. III. Universal Truth
8. Blue Trane

Tour Dates – 2026–2027

• Apr 4: Gainesville, FL – University of Florida
• Apr 6-7: La Jolla, CA – Conrad Prebys Performing Arts Center
• Apr 8: Stanford, CA – Bing Concert Hall
• Apr 9: San Francisco, CA – SFJAZZ Center
• Apr 10: Rohnert Park, CA – Sonoma State University
• Apr 11: Irvine, CA – Irvine Barclay Theatre
• Apr 12: Santa Barbara, CA – Campbell Hall
• Apr 14: Santa Cruz, CA – Kuumbwa Jazz Center
• Apr 16-19: Seattle, WA – Jazz Alley
• Apr 21: West Vancouver, BC – Kay Meek Arts Centre
• Apr 22: Portland, OR – The Old Church Concert Hall
• Apr 27: Livestream – Live From Emmet’s Place (feat. Veronica Swift)
• Apr 30: International Jazz Day Celebration – Chicago, IL (with Herbie Hancock)
• May 2: Danbury, CT – Western Connecticut State University
• May 8: Miami, FL – Adrienne Arsht Center for the Performing Arts
• May 17: Buffalo, NY – Kleinhans Music Hall
• May 25: Livestream – Live From Emmet’s Place (Universal Truth Release Show)
• May 28: Los Angeles, CA – The Wallis with Pacific Jazz Orchestra
• Jun 11: Cincinnati, OH – Caffe Vivace
• Jun 12: Lakeside, OH – Hoover Auditorium
• Jun 14: Boone, NC – Appalachian Theatre of the High Country
• Jun 22: Livestream – Live From Emmet’s Place (feat. Chris Potter)
• Jul 8-12: New York, NY – Smoke Jazz Club
• Jul 25: Katonah, NY – Caramoor
• Sept 5-6: Washington, DC – DC Jazz Fest
• Sept 8-12: New York, NY – Birdland NYC
• Sept 18-25: Botti @ Sea
• Oct 9: Provo, UT – BYU
• Oct 11: Berkeley, CA – Freight and Salvage
• Jan 12-17: David Foster at Sea
• Jan 17-24: The Jazz Cruise
• Jan 24-31: Journey of Jazz Cruise
• Feb 12: Boston, MA – Berklee Performance Center
• Feb 19-21: Northridge, CA – Cal State Northridge

With Universal Truth, Cohen celebrates the discoveries of the past masters while charting his own spiritual and musical journey. The album is available for preorder now via Mack Avenue Records, with digital, CD, and vinyl editions.

Rick Braun Honors a Legend with Heartfelt Tribute Album to Chuck Mangione

Over a genre-defining career spanning more than three decades and 20+ Billboard #1 hits, Rick Braun has built a legacy rooted in melody, groove, and emotional connection. Now, with Rick Braun Plays Chuck Mangione, he turns his attention to honoring one of his greatest musical inspirations.

Sparked by the passing of Chuck Mangione in July 2025, the album stands as Braun’s first-ever tribute project—an offering that feels both deeply personal and musically celebratory. Revisiting Mangione’s most iconic compositions, Braun approaches each track with a balance of reverence and reinvention, infusing them with his signature warmth and contemporary flair.

The project features an exceptional roster of collaborators, including Mangione’s original guitarist Grant Geissman, acclaimed saxophonists Richard Elliot and Tom Scott, renowned keyboardist Philippe Saisse, and flutist Steve Kujala. Together, they help shape a vibrant and emotionally rich listening experience that bridges generations of jazz.

From the sweeping orchestration of “Land of Make Believe” to a revitalized and groove-driven take on “Feels So Good,” the album captures the essence of Mangione’s uplifting sound while allowing Braun’s artistry to shine through. The lead single, “Give It All You Got,” produced by Saisse, stands out with its buoyant rhythm, dynamic guitar textures, and a powerhouse sax solo from Tom Scott—delivering an immediate and infectious energy.

Described by Braun as a labor of love that “took over,” the album channels the “overwhelming sense of happiness” that defined Mangione’s music. In doing so, Rick Braun Plays Chuck Mangione not only pays tribute to a legend but also marks a soulful and inspiring beginning to Braun’s fourth decade as a recording artist.

Tracklist

1. Land of Make Believe
2. Doin' Everything With You (feat. Grant Geissman)
3. Feels So Good (feat. Richard Elliot)
4. Long Hair Soulful
5. Give It All You Got (feat. Tom Scott)
6. Do I Dare To Fall In Love (feat. Richard Elliot)
7. Bellavia
8. Love Wears No Disguise
9. Children of Sanchez (feat. Grant Geissman)

Gabrielle Cavassa Makes Her Artistic Arrival with Blue Note Debut Diavola

Award-winning vocalist Gabrielle Cavassa announces her official artistic arrival with the May 1 release of her Blue Note debut, Diavola. The album is a captivating blend of original songs and luminous reinterpretations of standards, showcasing Cavassa’s extraordinary range as a bandleader, songwriter, and fearless interpreter of song.

Co-produced by jazz luminaries Joshua Redman and Don Was, Diavola features an extraordinary ensemble of collaborators, including Jeff Parker on guitar, Larry Grenadier on bass, Brian Blade on drums, Paul Cornish on piano, and Redman on tenor saxophone. The album’s lead single, “Prisoner of Love,” reveals Cavassa’s remarkable ability to inhabit a song, delivering every lyric with deliberate long tones, subtle dynamics, and reverence for the tradition she comes from.

“I really respect songs, and I really want to honor them in the best way,” Cavassa says. “Modernity is important to me, but the truth is I really am coming from a tradition. And I really love singing those songs.”

Diavola explores dualities central to Cavassa’s artistry: the angel and the devil, urgency and repose, possession and surrender. “I’m not willing to let go of either, or I haven’t been able to,” she notes, a tension that resonates throughout the album’s intimate and anthemic moments.

Her collaboration with Redman began after his manager heard her perform at a wedding in New Orleans, propelling her into professional tours and studio work. Redman and Was worked closely with Cavassa during the recording process, guiding production, tone, and listener impact. “Josh was with me every step of the way,” she recalls. “He was the comfort and the trust through the whole process. And Don brought the wisdom of absolutely one-in-a-million experience.”

Born in Escondido, California, of Italian descent, Cavassa began “obsessively listening” to records from a young age. Largely self-taught, she developed a distinctive approach to singing that blends technical precision, emotional clarity, and interpretive depth. After earning a Bachelor of Arts in Music from San Francisco State University, Cavassa credits the Bay Area music scene for her “real education.” Relocating to New Orleans in 2017, she immersed herself in the city’s jazz community, further refining her craft in local clubs. Her independent 2020 debut, produced with collaborator Jamison Ross, and her 2021 win at the International Sarah Vaughan Jazz Vocal Competition established her as a rising force in jazz.

DownBeat called her feature on Redman’s 2023 Blue Note album where are we “a star in the making,” while Stereophile praised her voice as “idiosyncratic, but trustworthy in its clarity and almost physical in its intimacy… her intuitive interpretations and riveting voice make you sit very still in your chair.”

Diavola Track Listing

Side A

1. Heaven Sighs (Jeff Parker)
2. Raindrops Keep Falling On My Head (Burt Bacharach, Hal David)
3. Prisoner of Love (Russ Columbo, Clarence Gaskill, Leo Robin)
4. Bossy Nova (Gabrielle Cavassa)
5. To Say Goodbye (Eduardo Lobo, Torquato Neto, Lani Hall)
6. Angelo (Luigi Tenco)

Side B

1. Be My Love (Nikolaus Brodszky, Sammy Cahn)
2. Diavola (Gabrielle Cavassa, Alexander Warshawsky)
3. Could It Be Magic (Barry Manilow, Adrienne Anderson)
4. La notte dell’addio (Arrigo Amadesi, Giuseppe Diverio, Emmidio Regimi, Alberto Testa)

Diavola is available now for pre-order through the Blue Note Store, including exclusive signed color vinyl, black vinyl, CD, and digital formats. This debut marks a defining moment for Cavassa, whose voice, range, and interpretive insight promise to make her a lasting presence in contemporary jazz.

Sugar On My Blackbeans: Aleph Aguiar’s Vibrant Latin Jazz Revival with a Modern Pulse

 

Venezuelan-born, UK-based guitarist Aleph Aguiar returns with Sugar On My Blackbeans, his third studio release, following Pataruco (2015) and Maku (2017). In the years between albums, Aguiar has quietly built an impressively diverse résumé, working alongside artists such as Tony Kofi, Elton John, and Georgia Cecile, while also contributing behind the scenes as a guitar and vocal coach for Simon Bird during The Inbetweeners 2. His work with contemporary dance artists further broadened his musical perspective, shaping the multifaceted approach heard on this latest project.

That breadth of experience comes alive across nine original compositions, where Aguiar channels the spirit of 1960s Latin jazz while subtly reshaping its conventions. Instead of leaning on the traditional saxophone-piano frontline typical of the era, he opts for trumpet and Hammond organ, creating a sound that feels both rooted and refreshingly distinct. The trumpet, central to many Latin American traditions, blends naturally with Aguiar’s guitar phrasing, while the Hammond organ adds depth and warmth, enriching the ensemble’s tonal palette.

The album opens with “Panspermia,” immediately establishing a confident rhythmic foundation. The interplay between percussionist Will Fry and drummer Shane Forbes is tight and intuitive, laying down grooves that feel both intricate and effortless. Aguiar’s guitar work nods to the influence of Wes Montgomery, yet he avoids imitation, veering into unexpected melodic turns that give the music its sense of spontaneity and identity.

Tracks like “Mudwalk” highlight the dynamic range of the quintet, with trumpeter Quentin Collins delivering bold, expressive lines while Hammond organist Liam Dunachie contributes fluid, textural support. The title track stands out with its infectious sway and memorable motifs, capturing a vintage charm without sounding dated.

Aguiar’s compositional sensitivity becomes especially clear on the more reflective pieces, including “Little Daisy” and “One For Sorrow, Two For Joy.” Here, he embraces space and restraint, allowing his guitar to breathe while maintaining a subtle undercurrent of Latin rhythm. Elsewhere, “Monk Lakes” features an expansive solo that showcases his technical command and expressive depth, while “Reflected Three” and “Mondongo” provide moments for the rhythm section to shine. “Blue Tourpials,” with its lively 3/4 feel, draws inspiration from Venezuelan folk traditions, adding another layer of cultural richness to the album.

Recorded over just two days, Sugar On My Blackbeans captures a raw, first-take energy that enhances its charm. The performances feel alive and immediate, with each musician contributing to a cohesive yet vibrant sound. The result is an album that balances nostalgia with innovation—rooted in the grooves of 1960s Latin jazz but energized by a contemporary sensibility. It’s a feel-good record with depth, offering both warmth and musical intrigue in equal measure.