Bettye Swann – Feel The Feeling, A Lost Chapter From the Atlantic Years, Featuring Five Previously Unreleased Songs

A vital new collection shines fresh light on one of soul music’s most emotive and underappreciated vocalists. Feel The Feeling (S4RLP08) gathers thirteen recordings from Bettye Swann’s tenure at Atlantic Records, including five songs that remained unreleased for decades. The result is both a historical document and a revelation—an intimate portrait of an artist navigating the changing tides of early 1970s soul with grace, grit, and extraordinary vocal depth.

Bettye Swann possessed one of the most emotionally direct voices in the soul canon. Her career, however, was that of a shooting star: it ignited brilliantly, burned with fierce intensity, and then faded with unexpected swiftness. In 1975, after just eleven years in the recording spotlight, she stepped away from the industry, relocated to Las Vegas, and retired the Bettye Swann persona. What remains is a compact but potent body of work that continues to resonate with collectors, DJs, and soul aficionados worldwide.

Born Betty Jean Champion in Louisiana, Swann relocated to Los Angeles as a young woman. Around 1964, she was introduced to Al Scott, owner of Money Records. It was her fourth single for the label, “Make Me Yours,” that propelled her into the national consciousness. One of the defining soul sides of its era, the record’s success led to a contract with Capitol Records in 1968, further cementing her reputation as a formidable interpreter of heartbreak and longing.

By 1972, Swann had signed with Atlantic Records, marking a new chapter in her artistic journey. Her debut Atlantic 45, “Victim Of A Foolish Heart” backed with “Cold Day In Hell,” was recorded at the legendary FAME Studios under the guidance of producers Mickey Buckins and Rick Hall. The single made an immediate impact, reaching #16 on the Billboard chart and signaling a promising new phase in her career. The Muscle Shoals influence lent grit and southern warmth to her delivery, framing her voice against taut rhythms and understated arrangements.

Subsequent releases demonstrated Swann’s gift for bridging genres. Her rendition of Merle Haggard’s “Today I Started Loving You Again” and the tender “Til I Get It Right” leaned into a gentle country-soul sensibility, revealing her remarkable interpretive range. “I’m Not That Easy To Lose” also dates from these fertile sessions, showcasing her ability to balance vulnerability with quiet defiance.

In an effort to broaden her commercial appeal, Atlantic sent Swann to Philadelphia’s renowned Sigma Sound Studios. There, she recorded Phil Hurtt and Tony Bell’s “Kiss My Love Goodbye,” along with “Time To Say Goodbye” and “When The Game Is Played On You.” These sessions embraced the lush textures and sophisticated arrangements associated with the emerging Philly soul sound, placing her voice in a more polished but still emotionally resonant context.

As commercial fortunes shifted, Swann was next paired with Nashville producer Brad Shapiro. The artistic results were stellar, even if not all saw release at the time. Among the treasures finally unveiled on Feel The Feeling are three previously unissued gems: a deeply felt interpretation of The Isley Brothers’ “This Old Heart of Mine,” a definitive take on Maxine Weldon’s “I Want Sunday Back Again,” and the aching “Either You Love Me Or Leave Me.” These recordings underscore Swann’s uncanny ability to inhabit a lyric fully, transforming familiar material into something unmistakably her own.

A duet pairing with Sam Dees, including Barbara Acklin’s “Just As Sure,” was issued as a 45 on the Atlantic-distributed Big Tree Records label, adding yet another dimension to her Atlantic-era output.

Across its thirteen tracks, Feel The Feeling offers a compelling snapshot of an artist in transition—navigating Muscle Shoals grit, Philadelphia sophistication, and Nashville polish while remaining rooted in the emotional truth that defined her work from the beginning. The five originally unreleased songs provide invaluable insight into what might have been, filling in crucial gaps in her discography and reaffirming her status as one of soul’s most expressive vocal stylists.

Now available, Feel The Feeling stands as both tribute and rediscovery: a reminder of a singular voice that, though it burned briefly, illuminated soul music with lasting brilliance.

Shane Sato Announces “Surfliner” With Braxton Cook

Songwriter, drummer, and producer Shane Sato proudly announces the release of “Surfliner,” the third single from his forthcoming album Wavelength. The track, featuring critically acclaimed saxophonist Braxton Cook, arrives February 20, 2026 via Mixto Records and will be available on all streaming platforms.

Blending neo-soul textures with jazz-inflected sophistication, “Surfliner” draws inspiration from the iconic Amtrak route that winds along the Southern California coastline. Written and produced by Sato, the single captures the atmosphere and understated elegance of coastal rail travel, where ocean meets sand in a seamless horizon of motion and light.

At its core, “Surfliner” evokes the quiet luxury of gazing out a train window on a warm summer afternoon. Cook’s warm, breathy saxophone carries both the primary melody and an expressive solo, while his nuanced piano performance deepens the song’s emotional resonance. Soft ambient pads and a groovy yet restrained beat create a gentle forward momentum, mirroring the rhythmic sway of a train gliding along the shore. The arrangement feels spacious yet intimate—an immersive soundscape that invites listeners to slow down and savor the journey.

The track channels a timeless, almost old-world elegance associated with the Surfliner experience: sweeping coastal views, ocean spray lingering in the air, a drink in hand, and the peaceful cadence of travel uninterrupted by urgency. In Sato’s hands, the train becomes more than transportation—it becomes metaphor, a moving meditation on presence and perspective.

“Surfliner” marks the third single in the rollout of Wavelength, Sato’s highly anticipated new album slated for full release in Spring 2026. The project serves as an ode to collaboration, love, and the calming, connective flow of water. With a vibrant palette of warm tones and genre-spanning influences—from jazz to indie to soul—the album highlights a dynamic lineup of collaborators and close creative partners. The single follows the momentum of “Never Let You Go” featuring Oli-J, further building anticipation for the complete collection.

A Japanese-American artist raised in Southern California and now based in Los Angeles, Shane Sato launched his solo project last year with the breakthrough album Until We Meet Again. The release, alongside a series of thoughtful collaborations, earned critical acclaim and surpassed one million streams, establishing Sato as a distinctive voice in contemporary jazz and soul-inflected production.

With “Surfliner,” Sato continues to refine his signature sound—lush yet minimal, nostalgic yet forward-looking—inviting listeners to step aboard for a journey defined not by destination, but by feeling. As Wavelength approaches, the single offers a glimpse into a record shaped by connection, color, and the steady, soothing rhythm of creative flow.

Irreversible Entanglements Announce Future Present Past

Free jazz collective Irreversible Entanglements announces their return with their fifth studio album, Future Present Past, arriving March 27th via Impulse!. The announcement is accompanied by a powerful double single release, “Don’t Lose Your Head” and “Vibrate Higher,” both featuring friend and frequent collaborator MOTHERBOARD. Together, these tracks set the tone for a record that embodies urgency, collective care, and spiritual resistance.

“Don’t lose your head messing with the gods” is the imperative that ignites this new chapter. “Don’t Lose Your Head” unfolds as a rallying cry, grounded in a taut, propulsive arrangement built atop drummer Tcheser Holmes’ agile groove. Vocalist Camae Ayewa and featured guest MOTHERBOARD deliver subdued yet deeply impassioned performances, their voices cutting through the arrangement with clarity and resolve. The track’s disciplined intensity reinforces its message: in times of chaos and imposed disorder, clarity of mind is an act of resistance.

Its counterpart, “Vibrate Higher,” answers in a darker, more brooding register. Originating as a live recording captured before a capacity crowd at Pioneer Works in Brooklyn—on bassist Luke Stewart’s birthday—the piece carries the charged electricity of collective experience. It opens with Keir Neuringer’s atmospheric synth drones, punctuated by Stewart’s expressive bass lines. Gradually, the composition expands into a barrage of percussion and horns, building uneasy density as voices and instruments alike urge the listener to embody the command of its title. At the brink of sonic rupture, Ayewa calls for a “different atmosphere,” and trumpeter Aquiles Navarro responds with dissonant precision, shifting the music as if opening a portal into a hypnotic rhythmic vamp. It is a composed-in-the-moment journey that exemplifies Irreversible Entanglements’ improvisational power—music that doesn’t merely perform but transports.

For Future Present Past, the quintet returned in October 2024 to the legendary Van Gelder Studio, a historic space synonymous with spiritual and avant-garde jazz. There, they recorded most of the album’s main tracks, capturing the immediacy and synergy that define their sound. The record finds the band at the height of its improvisational, compositional, and rhythmic powers, weaving diasporic liberation music into a broader meditation on time and existence: futures brimming with possibility, a present fraught with uncertainty, and a past rich with ancestral wisdom and cautionary memory.

To further develop this expansive vision, additional recording and production unfolded over the next nine months. Producer and engineer Jonathan Schenke collaborated closely with the band in his Brooklyn studio during the summer of 2025, editing and arranging with an ear toward cohesion without sacrificing spontaneity. Andrew Lappin returned to mix the collection, ensuring that the album’s layered intensity remained both immersive and precise. Guests MOTHERBOARD and Helado Negro blend seamlessly into the ensemble’s collective energy, enriching the textural and emotional landscape.

The result is more than an album—it is a call to action. Irreversible Entanglements recognize that no external force will deliver salvation; community, vigilance, and shared responsibility are the only paths forward. The band articulates this ethos in a powerful statement accompanying the record, reflecting on the weight of the present world and the possibility of another that uplifts. They describe themselves as five transforming into billions—billions journeying through existence together, navigating futures of potential, presents filled with anxiety, and pasts that offer both ancestral guidance and warning.

They position this album as “five standing on the shoulders of legions”—honoring healers, alchemists, rebels, and caretakers who have fought and invented new ways of being. In that lineage, Irreversible Entanglements assume their role as messengers, continuing the tradition’s long march toward liberation. “Freedom fighters telling us not to lose our heads amidst imposed chaos,” they write. “It is our duty to vibrate higher, beyond the noise, above the hype, away from the novelty, over the walls, across the borders: to keep going.” In their vision, fight songs are not merely symbolic—they are tools for survival and transcendence.

Future Present Past arrives March 27th via Impulse!, marking another milestone for a collective that has consistently merged avant-garde experimentation with political clarity and communal intention.

Irreversible Entanglements will celebrate the album’s release with a series of live performances, beginning March 26th in Queens, NY at Knockdown Center for a co-release show with Shabaka. They continue with two nights at Solar Myth in Philadelphia on March 27th and 28th, before heading to Europe for appearances at the Torino Jazz Festival in Turin on May 1st, Teatro Massimo in Cagliari on May 2nd, Treibhaus in Innsbruck on May 5th, De Roma in Antwerp on May 6th, and the Jazz à Liège in Liège on May 7th.

With Future Present Past, Irreversible Entanglements once again channel the spirit of collective improvisation into a resonant declaration: amid the turbulence of the now, liberation remains possible if we listen deeply, stand together, and continue to vibrate higher.

COUNTERMEASURE RELEASES GUEST SESSIONS VOL II

Countermeasure is thrilled to announce the release of their fifth studio album, Guest Sessions Vol II, a bold and emotionally resonant recording that reaffirms the group’s place as one of Canada’s most innovative vocal ensembles. Featuring a collection of original compositions influenced by jazz, pop, folk, soul, and contemporary choral traditions, the album pairs Countermeasure’s signature vocal sound with a lineup of powerhouse solo instrumentalists from across the globe. The result is a rich, genre-blurring listening experience filled with catchy hooks, soaring harmonies, virtuosic performances, and unfiltered emotional depth.

Guest Sessions Vol II is a concept album comprised entirely of original works composed by Countermeasure’s Artistic Director, Aaron Jensen. Each track is crafted around a single featured solo instrumentalist who supports and interacts with the ensemble’s twelve voices, creating a distinctive sonic world for every piece. Rather than simply adding instrumental color, each guest artist becomes an integral collaborator, with their musical personality shaping the aesthetic and emotional core of the song. Every composition is tailor-made to complement the guest’s sound, resulting in a dynamic interplay between voice and instrument that feels organic, intimate, and expansive.

The album brings together an extraordinary roster of collaborators, including three multi-GRAMMY Award–winning artists. Bassist Braylon Lacy—known for his work with Erykah Badu and Kirk Franklin—anchors one track with his signature groove and depth. On horn, Dylan Hart, whose credits include John Legend, John Williams, and Barbra Streisand, adds brilliance and cinematic sweep. Drummer Larnell Lewis, celebrated for his work with Snarky Puppy, Yebba, and Mark Ronson, brings rhythmic precision and expressive fire.

International heavyweights further expand the album’s sonic palette. Guitar virtuoso Kaki King, whose collaborations span Timbaland, The Roots, and Dave Grohl, contributes her unmistakable artistry. Keyboardist Clyde Lawrence, co-front person of the celebrated band Lawrence, infuses vibrant energy and soul. Saxophonist Leo P, known for performances with Beyoncé, Too Many Zooz, and at the BBC Proms, delivers electrifying flair. Turkish composer and performer Görkem Şen performs on the yaybahar—his own 14th-century-inspired instrument—bringing an otherworldly resonance heard in scores by Hans Zimmer and Max Richter.

Canadian artists also play a vital role in shaping the album’s character. Harpist Angela Schwarzkopf, recipient of the 2020 JUNO Award for Classical Album of the Year, contributes luminous textures. Flutist Anh Phung, recognized for her work with Twisted Pine, Lydia Persaud, and The Bombadils, brings expressive agility. Fiddler Saskia Tomkins—an All-Britain Champion Irish Fiddler and Celtic consultant on Come From Away—performs on the nyckelharpa, a rare 14th-century Swedish instrument whose haunting tone adds historical depth and texture.

This album follows the success of Countermeasure’s earlier releases, including Guest Sessions (2020), which featured world-renowned musicians such as Randy Brecker, Evelyn Glennie, and Natalie MacMaster, and Orchestral Sessions (2024), recorded with the Burlington New Millennium Orchestra. Together, these projects have established a tradition of collaboration and experimentation that Guest Sessions Vol II proudly continues.

For Aaron Jensen, this record is deeply personal. “This project is a love letter to my bandmates,” he says. “We’ve shared a lot over the past sixteen years of touring, performing, and recording together. Our music has acted as the soundtrack to our lives. We’ve performed at each other’s weddings, baby announcements, and family funerals. Our kids grew up being dragged around the world on tour with us. I composed these songs inspired by our shared experiences. It’s a role I’ve been honoured to hold.” Even the selection of guest artists reflects the passions and histories of the group members themselves—artists who inspired them as teenagers, whose records shaped their musical identities, and whose artistry they have long admired. In this way, the album becomes more than a collection of songs; it is a snapshot of shared history and a celebration of a remarkable musical and social experiment.

Based in Toronto, Countermeasure is a 12-member vocal group that has performed to sold-out theatres across Canada, the United States, Italy, Scotland, Japan, and the United Kingdom. They have recorded with acclaimed artists including Ron Sexsmith, Alan Doyle, Barenaked Ladies, and the Burlington New Millennium Orchestra, and have shared stages with Corey Hart, Alan Frew, The Swingle Singers, and Naturally 7. Their recordings have received recognition from the CARA Awards, the John Lennon Songwriting Competition, and the Independent Music Awards, earning honors for Best Album, Best Song, Best Jazz Song, and Best A Cappella Song. Their original track “Takin’ it Home” was notably covered by the Jazzagals on the Emmy Award–winning television series Schitt's Creek. Countermeasure also provided the soundtrack for the short film Long Road to Freedom, featured at festivals across Canada.

Guest Sessions Vol II was made possible through the generous support of the Canada Council for the Arts and the Ontario Arts Council. With this release, Countermeasure continues to push the boundaries of contemporary vocal music, celebrating collaboration, honoring shared history, and inviting listeners into a world where voice and instrument meet in bold, beautiful conversation.

Lindsey Webster Channels Soul, Strength, and Serenity on Her Most Personal Album Yet, Music In Me

Few artists convey emotional truth as effortlessly as Lindsey Webster. With a voice that is at once grounded, luminous, and unmistakably her own, the Woodstock-raised vocalist continues to carve out a singular lane in contemporary jazz and R&B. Critics have long taken note—PopMatters has praised her consistency and sophistication, while All About Jazz has recognized her ability to honor tradition while pushing it forward. Yet beyond the accolades lies an artist whose greatest strength may be her self-awareness.

“I feel more at ease with myself than ever before,” Webster shares. That confidence permeates both her life and her playlists. Her most-streamed artist is Bob Marley, and her listening habits span an eclectic mix that includes Yo-Yo Ma, Mos Def, Olivia Dean, Aaliyah, Mariah Carey, and Jeff Buckley. That wide-ranging inspiration mirrors her own genre-blending approach—soulful yet refined, intimate yet expansive.

Webster’s calm presence and expressive range have helped her cultivate a loyal global audience. SoulTracks once famously remarked that if Carole King and Sade shared a musical lineage, Webster would be the heir apparent. Notably, she stands as the only vocalist since Sade to reach No. 1 on Billboard’s Contemporary Jazz chart, a milestone achieved with her breakout hit “Fool Me Once.” That accomplishment solidified her status as a defining voice in modern jazz.

Her seventh studio album, Music In Me, arriving February 27, 2026, signals both artistic growth and personal renewal. The project reunites her with longtime collaborator and pianist Keith Slattery and features an impressive roster of guest artists. Among them are Grammy-winning R&B powerhouse Stokley and soul icon Anthony Hamilton. Stokley not only joins Webster for a duet but also contributes drums and percussion across the record. The album also welcomes trumpeter Keyon Harrold, guitarist Isaiah Sharkey, and rapper-composer Kev Choice, creating a textured and dynamic sonic landscape.

For the first time in her career, Webster embraces vocal duets—something she had envisioned for years. She describes collaborating with Hamilton and Stokley as both surreal and deeply meaningful, especially given the personal challenges she has navigated in recent years. The album, crafted over a three-year period, reflects patience, intention, and emotional resilience.

Across its 13 tracks, Webster explores themes of love, longing, healing, and hope. The title song sets the tone as a heartfelt tribute to the transformative power of music itself. For Webster, music is more than a profession—it is sanctuary. She speaks openly about how song has been her refuge and steady companion through every chapter of life, shaping her emotional landscape and offering renewal when it was needed most.

Her vocal performances continue to evolve, revealing new layers of nuance and control. While listeners may hear echoes of great stylists such as Mariah Carey, Anita Baker, or Roberta Flack, Webster’s phrasing and tone remain distinctly hers—warm, centered, and emotionally transparent. The album stands as her most introspective body of work yet, balancing technical finesse with heartfelt storytelling.

Before music claimed her full attention, Webster once considered a path in medicine. Choosing instead to pursue her artistic calling, she built a career defined by steady growth and chart success, including acclaimed projects like Back To Your Heart and Reasons. With Music In Me, she enters a new era—one rooted in gratitude, clarity, and creative freedom.

At its heart, Webster’s mission is connection. She believes music has a quiet but profound ability to bring people together, even when unity is not the explicit goal. In a world often divided by differences, she champions curiosity, empathy, and shared joy. It is that spirit—along with her unmistakable voice—that makes Music In Me more than just an album. It is an invitation.

When the music begins, the message is simple: pause, listen deeply, and hold close the blessings that surround you.

Michael Mani Ignites the Airwaves with “Night Shift,” Building on His Billboard-Charting Momentum

Late nights in the studio have long been part of the creative rhythm for GRAMMY®-winning keyboardist and producer Michael Mani. Best known for earning music’s highest honor for his work alongside guitar icons Carlos Santana and Eric Clapton, Mani has spent decades shaping hits behind the scenes. Now, he’s stepping boldly into the spotlight with “Night Shift,” a hard-grooving, genre-blending single that’s climbing the charts and solidifying his status as a contemporary jazz force.

Born from a 2 a.m. burst of inspiration, “Night Shift” captures the electricity of spontaneous creation. What began as a playful piano warm-up quickly transformed into a sleek fusion of hip-hop beats, dynamic piano lines, and the soulful saxophone stylings of Bay Area standout Ashley J. The result is an infectious, urban-tinged contemporary jazz track that pulses with energy and authenticity.

“Night Shift” arrives as the highly anticipated follow-up to Mani’s Mediabase No. 1 single, “Triangles,” the title track from his 15-song collection released via Baja/TSR Records. The album Triangles blends jazz, R&B, and funk while reflecting the deeper symbolism Mani sees in music and life. For him, melody, rhythm, and harmony form the three sides of a creative triangle—an interconnected structure that shapes every composition. That philosophy resonated widely: “Triangles” topped Mediabase, reached No. 2 on Billboard, and ultimately landed as Billboard’s No. 25 single of 2025. The breakthrough success also earned Mani a Smooth Jazz Network nomination for Breakout Artist of the Year.

Four decades into a multifaceted career, Mani’s résumé reads like a blueprint for modern pop and R&B excellence. He discovered and helped develop three-time GRAMMY® winner Tori Kelly and singer-actress Becky G, guiding emerging talent while continuing to refine his own artistry. A classically trained pianist, Mani sharpened his production skills working alongside celebrated producers Narada Michael Walden—known for his work with Whitney Houston, Mariah Carey, and Aretha Franklin—and Walter Afanasieff, whose credits include Kenny G and Mariah Carey.

Mani’s keyboard work has appeared on recordings by an elite roster of artists including Lady Gaga, Al Jarreau, Michael Bolton, New Kids on the Block, Leona Lewis, Regina Belle, Tevin Campbell, Shanice, En Vogue, Siedah Garrett, and Backstreet Boys. Beyond the recording studio, he has composed music for television and film and crafted campaigns for global brands including Honda, Coca-Cola, Pepsi, Apple, Taco Bell, and Hallmark.

A Bay Area native now based in Los Angeles, Mani operates his recording and production facility, The JAM, where inspiration often strikes long after midnight. It was there that “Night Shift” took shape. After sketching initial sax lines on synthesizer, Mani sent the track to Ashley J, whose live performance elevated the song’s energy and gave it a vibrant, organic edge. The collaboration embodies Mani’s vision of fusion—urban grooves, soulful jazz harmonies, expressive piano riffs, and soaring sax melodies converging into something both contemporary and timeless.

February marks another prolific chapter for Mani, with two additional singles arriving that he co-wrote and produced: “Magic Island” by Kathy Koskins and “Red, Black and Blue” by Tommy Davidson. Meanwhile, Triangles continues to resonate, featuring guest appearances by guitarist Nils and bassist Tony Saunders. Mani plans to bring the album to the stage this summer, with performances alongside both artists as he translates his chart success into a dynamic live experience.

With “Night Shift,” Michael Mani is not just riding momentum—he’s defining a new creative chapter. Blending decades of elite-level experience with a fearless, modern sensibility, he is carving out his own lane in contemporary jazz, proving that even after a career spent elevating others, his own voice still has new heights to reach.

Grammy Award-Winning Bassist Christian Dillingham Returns with New Trio Album ‘As It Relates To Now’

GRAMMY® Award-winning bassist and composer Christian Dillingham will release As It Relates To Now on May 15, 2026 via Shifting Paradigm Records, available on CD, vinyl, and digital formats. The new trio recording features Dillingham alongside alto saxophonist Greg Ward and drummer Jeremy Cunningham, delivering eight original compositions that traverse groove-driven modern jazz, blues-inflected textures, and open, exploratory interplay. Fans of the Brian Blade Fellowship Band, Julian Lage, Orrin Evans, and Joe Lovano will find much to embrace in the trio’s dynamic and emotionally resonant sound.

A central force in Chicago’s creative music community, Dillingham has cultivated a multifaceted career bridging jazz and classical traditions. A regular presence across the city’s vibrant scene, he has performed and recorded with distinguished artists including Sean Jones, Jeff "Tain" Watts, John Legend, Peter Bernstein, Kevin Mahogany, Dee Alexander, Bobby Broom, and Mike Reed. He frequently appears at iconic venues such as Green Mill, Jazz Showcase, Hungry Brain, Constellation Chicago, Andy's Jazz Club, and the Chicago Jazz Festival. Dillingham appears on more than twenty jazz recordings and is a tenured member of the Chicago Sinfonietta, while also performing with ensembles including Present Music, Fulcrum Point New Music Project, and Chicago Philharmonic. His previous releases for Greenleaf Music — Cascades (2023) and Halcyon (2024) — firmly established him as a distinctive composer and bandleader, with critics praising the depth and vision of his work.

With As It Relates To Now, Dillingham turns his focus toward the emotional and social atmosphere of the present moment. Reflecting themes of uncertainty, division, and resilience, the album draws strength from the intimacy and elasticity of the trio format, shaped by more than a decade of shared musical history among the three artists. “This music grew out of a period of tension and reflection,” Dillingham explains. “Writing these pieces became a way to process what I was seeing and feeling, transforming that weight into something honest and human.”

The title track opens with a subtle Motown-inspired pulse, setting a grounded yet searching tone. “Obsoletion” confronts generational tension and shifting cultural realities, while “Special Relativity” references Einstein’s theory as a metaphor for fragmented modern perspectives, unfolding through evolving rhythmic and harmonic frameworks. “Behind The Horizon” captures uncertainty through spacious textures and gradual intensification. “Wooden Lawns” pays tribute to Chicago’s Woodlawn neighborhood, blending lyricism and grit in a meditation on place and community. “If They Knew” reflects on the human consequences of political decisions, building from introspective calm to a powerful collective surge. “Delusional Grandeur” examines power and perception through angular motifs and restless propulsion. The album concludes with “The Divine Current,” a reflective and hopeful meditation suggesting connection, possibility, and shared humanity beneath division.

Across As It Relates To Now, Dillingham, Ward, and Cunningham craft a body of work rooted in lived experience and collective dialogue — music shaped by its time yet grounded in enduring questions of responsibility, resilience, and human connection.

Track Listing

1. As It Relates To Now — 5:12

2. Obsoletion — 5:18

3. Special Relativity — 6:57

4. Behind The Horizon — 3:30

5. Wooden Lawns — 8:01

6. If They Knew — 5:30

7. Delusional Grandeur — 6:12

8. The Divine Current — 4:38

Total Time — 45:24

From the Heart to No. 1: Donald Hayes Turns Passion into a Chart-Topping Jazz Triumph

Creating music from the heart — and connecting with listeners just as deeply — has proven to be a winning formula for contemporary jazz saxophonist Donald Hayes. The lead single from his album Soul Searching, “Longing For You” featuring GRAMMY®-nominated bassist Nathan East, was named Mediabase’s No. 1 Single of the Year, solidifying Hayes as one of the genre’s most compelling voices.

Written and produced by Hayes, “Longing For You” is a lush midtempo R&B/jazz instrumental that showcases his yearning alto saxophone front and center. The track is elevated by East’s probing basslines and the masterful guitar work of Billboard chart-topper Adam Hawley. The single dominated the Billboard Smooth Jazz Airplay chart, holding the No. 1 position for two consecutive weeks — a powerful testament to its emotional resonance and widespread appeal.

“I always write and perform everything heart first. I honestly believe what comes from the heart reaches the heart,” Hayes shared. “‘Longing For You’ is about passion, and I’ve received so many comments about how the song makes people feel. Every time I played it for friends, there was an instant connection. I just never imagined it would become the No. 1 single of the year. Its success tells me it truly reached the hearts of listeners.”

On the track, Hayes intentionally created space for East — whose legendary résumé includes work with Eric Clapton, Daft Punk, and the multi-GRAMMY®-nominated band Fourplay — to shine as a featured soloist. “It was an honor to collaborate with a legend like Nathan East. I wanted him to stand out and leave his signature on the record,” said Hayes, a Memphis native now based in Los Angeles.

Continuing the momentum, Hayes released his follow-up single, “A Funky Attitude,” another self-written and self-produced standout from Soul Searching. Driven by the rubbery basslines of Andrew Gouche, the track radiates confidence and groove. Drummer Jay Williams, pianist Tracy Carter, and guitarist Jonathan Dubose craft a tight rhythmic pocket that allows Hayes’s slinky sax lines to prowl with swagger. “This song is about a woman who walks into a room with pride and confidence,” Hayes explained. “There’s something really funky and cool about that energy.”

Soul Searching is deeply personal and richly collaborative, featuring appearances by Robin Thicke, Brian Culbertson, Russell Gunn, Andrea Lisa, Bobby Sparks of Snarky Puppy, Kirk Fletcher of Fabulous Thunderbirds, Shedrick Mitchell (known for his work with Maxwell), Jonathan Richmond (who has performed with Eric Benet and Boney James), and Hayes’s mentor Derrick Jackson.

Hayes describes the album as “really personal,” explaining that the gap since his 2016 debut, Front Ground, was intentional. “It’s important to live, to experience life, and then pour those experiences into your music. I want listeners to feel everything — my joy, my pain, all of it.”

One of the album’s most emotional moments comes with “Please Don’t Go,” written after the loss of his sister. “I was begging her not to leave me,” Hayes revealed. The following track, “Pressing On,” carries a message of resilience: despite grief and hardship, we must find the courage to keep moving forward and fulfill our purpose.

Beyond his solo career, Hayes has spent twelve years performing alongside Thicke and the past five years touring globally with GRAMMY®-winning bassist Marcus Miller. His résumé spans performances and recordings with R&B royalty including Earth, Wind & Fire, Stevie Wonder, Justin Timberlake, Beyoncé, James Brown, Jamie Foxx, Black Eyed Peas, Chaka Khan, Jill Scott, and Queen Latifah. He has also lent his signature sound to gospel greats such as Yolanda Adams, Kirk Franklin, Kim Burrell, Fred Hammond, John P. Kee, and CeCe Winans.

With Soul Searching, Hayes proves that authenticity is timeless. When music is created from a place of truth and vulnerability, it does more than top charts — it moves people. And in Hayes’s case, it has transformed heartfelt expression into a No. 1 celebration.

JC Sanford Plugs Into the Current: Denki Ignites Jazz-Fusion Electricity

“‘Denki’ – which fittingly translates as ‘electricity’ in Japanese – brings a heady brew of heavy-rock vigor and contemporary jazz-fusion, courtesy of trombonist and composer JC Sanford and his Electric Quartet. Featuring Sanford on trombone and effects, Toivo Hannigan on guitar, Erik Fratzke on electric bass, and Satoshi Takeishi on drums, the album crackles with ambition . . .” — Mike Gates, UKVibe

“With DENKI, Sanford and his EQ band deliver a bold and electrified album that challenges genre boundaries while honoring deep musical traditions. It’s a record that captures an artist unafraid to evolve, explore, and plug directly into the currents of inspiration.” — Jazz Chill

Trombonist and composer JC Sanford unleashes a high-voltage statement with Denki, his eighth album as a leader and a fearless expansion of his sonic vocabulary. Available now on Brooklyn Jazz Underground Records (BJUR 081), the recording finds Sanford’s Electric Quartet—EQ for short—fusing heavy rock energy, contemporary jazz improvisation and textural electronics into a sound that is as cerebral as it is visceral.

The Electric Quartet features Sanford on trombone and effects, Toivo Hannigan on guitar and effects, Erik Fratzke on electric bass, and Satoshi Takeishi on drums. Together, the ensemble creates a surging, genre-blurring tapestry in which distortion, lyricism, rhythmic elasticity and compositional rigor coexist without compromise.

The album’s title, Denki—Japanese for “electricity”—operates on multiple levels. It references the literal current running through Sanford’s expanded pedalboard-driven sound world, while also nodding to his late mentor Bob Brookmeyer, whose 1994 album Electricity (with the WDR Big Band) left a lasting imprint. Sanford’s tribute is not imitation but evolution: a continuation of Brookmeyer’s restless modernism, filtered through 21st-century textures.

Sanford has long been an artist difficult to categorize. Equally at home as composer, conductor, producer, sideman and bandleader, he has collaborated with major voices including Danilo Perez, Matt Wilson, John McNeil and George Schuller, among many others. In New York, he has contributed to adventurous large and small ensembles spanning progressive big band, chamber jazz, film-noir tribute projects and genre-defying hybrids. That breadth of experience fuels Denki, an album that can evoke Brookmeyer’s structural sophistication, the burnished authority of trombone legends like Curtis Fuller and Slide Hampton, the melodic genius of Stevie Wonder and even the seismic weight of Black Sabbath—sometimes within a single listening session.

Sanford’s plunge into electronics began in the post-lockdown period, experimenting with guitar pedals while performing locally in Minneapolis. What started as curiosity quickly deepened into revelation. The expanded tonal palette opened new soundscapes, but Sanford remained vigilant: the electronics would serve as enhancement, not gimmick. The result on Denki is a seamless integration of effects into his compositional language—an extension of timbre rather than a departure from identity.

The album opens with “ausgleicht” (“equalized” in English), a nod to German metal influences and a clever reference to the EQ moniker. The piece embodies duality—precision and power, clarity and distortion—announcing the record’s aesthetic stakes. “The Wise Stone,” dedicated to Takeishi, reflects both the drummer’s musical depth and the meanings embedded within his Japanese name, which include concepts of “stone” and “wisdom.” It is both tribute and testament, anchored by rhythmic intelligence and textural nuance.

“Purple Spring” offers pastoral contrast, inspired by Sanford’s reflections on his garden. After the joyous intensity of the opening tracks, it provides a moment of luminous repose. “Futari” (“two people” in Japanese) is a compelling improvised duet between Sanford and Takeishi, demonstrating the quartet’s fluency in spontaneous dialogue. Similarly, “And So It Begins” emerges from the band’s affinity for open improvisation, revealing structure born in real time.

The intriguingly titled “Head Rare, Red Hair” grew out of improvisational word games Sanford plays with his daughter. The title itself—playful, slightly surreal—mirrors the rarity of both red hair and the kind of collective invention heard here. The album closes with “That 60s Heist Movie,” composed by Scott Miller, conjuring cinematic cool with a wink, followed by Sanford’s impassioned interpretation of Stevie Wonder’s “Love’s in Need of Love Today.” In an era marked by social turbulence and uncertainty, the choice resonates as both reflection and hopeful appeal.

Sanford’s reputation extends far beyond this project. A frequent presence in the DownBeat Critics Poll over the past decade in trombone, big band and arranger categories, he first gained widespread acclaim with his 2014 debut recording, Views From The Inside, which received an Aaron Copland Fund Recording Grant. A founding member of the composers’ federation Pulse alongside Darcy James Argue and Joseph C. Phillips Jr., Sanford has also studied in the BMI Jazz Composers Workshop under Jim McNeely and Mike Abene. His works have been performed by artists including John Abercrombie, Lew Soloff and Dave Liebman.

A respected conductor, Sanford has led ensembles such as the Grammy-nominated John Hollenbeck Large Ensemble, the Alan Ferber Nonet with Strings and the Alice Coltrane Orchestra featuring Ravi Coltrane and Jack DeJohnette. He has guest-conducted Germany’s North German Radio Big Band (NDR) and curated Brooklyn’s “Size Matters” large ensemble series for more than four years.

Holding a D.M.A. in Jazz Studies from the New England Conservatory of Music, where he studied with Brookmeyer, Sanford now balances performance with education, teaching jazz, Western music theory and trombone at Gustavus Adolphus College. Since returning to Minnesota in 2016, he has become a vital presence in the Twin Cities creative scene, co-founding the Twin Cities Jazz Composers’ Workshop and earning multiple grants from the Minnesota State Arts Board, including a 2025 Creative Support for Individuals award.

Upcoming Denki CD release celebrations underscore the album’s communal spirit: October 21 at Threes Brewing in Brooklyn, and November 5 at Berlin in Minneapolis, bringing the electric current directly to audiences in intimate settings.

With Denki, JC Sanford’s Electric Quartet does more than amplify the trombone—it reimagines its possibilities. The album channels tradition, distortion, intellect and heart into a unified surge. It is music that crackles with curiosity and conviction, proving that electricity, in the right hands, is not merely power—it is illumination.

Grammy Award-Winning Adonis Rose and Phillip Manuel Reimagine the Jazz Canon on Unusual Suspects

Grammy Award-winning drummer, composer, producer and educator Adonis Rose returns to the forefront with Unusual Suspects, a deeply crafted and emotionally resonant new project featuring acclaimed New Orleans vocalist Phillip Manuel. Set for release February 27, 2026 on Moocha Music, the album is a masterclass in interpretive artistry, ensemble precision and Crescent City soul.

From its opening moments, Unusual Suspects establishes itself as a standout addition to the year’s jazz landscape. Rose, serving as drummer and producer, shapes an immersive sonic environment in which every nuance breathes. The arrangements—crafted by Manuel’s longtime collaborator and musical director Michael Pellera—are thoughtfully sculpted to honor the emotional core of each selection. The balance between voice and ensemble is meticulous, allowing Manuel’s signature phrasing and tonal warmth to glow while giving equal weight to the formidable musicians surrounding him.

The ensemble is nothing short of exceptional: Adonis Rose on drums and production; Phillip Manuel on vocals; Max Moran on bass; Seth Finch on piano and Fender Rhodes; Steve Masakowski on guitar; Ricardo Pascal on tenor and soprano saxophones; and Stephen Lands on trumpet. Each player operates at the height of their craft, contributing performances that elevate the recording beyond tribute or reinterpretation into something wholly renewed.

Manuel’s voice is arresting—rich, nuanced and deeply human. Comparisons may arise to Johnny Hartman or Andy Bey, but they serve merely as reference points. Manuel is unmistakably himself, delivering lyrics with emotional clarity and unforced authority. His timbre carries both velvet and steel, intimacy and expansiveness, tradition and individuality.

Recorded in the summer of 2025 at Artisound Studios in New Orleans, the album largely reimagines former instrumentals and jazz standards, now given original lyrics by Manuel. Lee Morgan’s “Party Time” receives a lyrical transformation, as does “The Unusual Suspects” by pianist Peter Martin. Guitarist Steve Masakowski’s “Sixth Ward Strut” steps into the spotlight with a vocal treatment, while compositions such as “The Road Less Traveled” and “I’ll Love You” by Joe Sample are reborn through Manuel’s interpretive lens.

Manuel and Pellera also contribute three original compositions, seamlessly woven into the repertoire. Adding further dimension, the sextet delivers a swinging and unexpectedly natural version of Michael Jackson’s “Thriller,” alongside a soulful reading of Bill Withers’ “Hello Like Before.” In each case, the arrangements avoid novelty, instead uncovering melodic and harmonic possibilities that align organically with the album’s aesthetic.

To understand the depth behind this project is to understand Adonis Rose’s lineage. In New Orleans, music is inheritance as much as vocation, and Rose stands in a direct line of rhythmic tradition. He hails from two previous generations of Crescent City drummers: his grandfather Wilfred “Crip” Severin Jr. and his father Vernon Severin, both first-call, deeply influential figures in the local scene. His uncle, bassist Chris Severin, is equally woven into the city’s musical fabric. For Rose, music has never been separate from daily life; it is embedded in family gatherings, parades, church services, clubs, second lines and festival stages. Every note he plays carries that lived experience.

Rose’s career reflects both heritage and innovation. A Grammy Award winner with the New Orleans Jazz Orchestra for Best Large Ensemble, he has performed and recorded with an extraordinary roster of artists including Terence Blanchard, Betty Carter, Dianne Reeves, Marcus Roberts, Harry Connick Jr. and Wynton Marsalis. His performances have graced the world’s most revered stages, including Carnegie Hall, Apollo Theater, the Newport Jazz Festival and Jazz at Lincoln Center, among many others. With more than fifty recordings to his credit—five as a leader—and six collaborations with trumpeter Nicholas Payton, Rose’s artistic footprint is both broad and deeply respected.

In January 2017, Rose was named Artistic Director of the New Orleans Jazz Orchestra, guiding the organization’s artistic vision and expanding its educational and community programming. Central to this growth is The Jazz Market, a 350-seat performance venue in New Orleans’ Central City neighborhood that serves as the orchestra’s home and a vibrant cultural hub.

Phillip Manuel’s journey is equally rooted in New Orleans’ musical soil. Raised in a family where music was omnipresent—his father’s singing voice known to stop listeners in their tracks—Manuel has long been a fixture at clubs and festivals around the globe. He has shared stages with artists such as Terence Blanchard and Bill Summers, and his recorded output includes elegant interpretations of the Nat “King” Cole songbook as well as intimate readings that move fluidly from James Taylor’s “Fire and Rain” to Ellington and Gershwin standards.

Rose and Manuel’s collaboration is not new; it is the culmination of years of mutual respect and shared vision. Manuel has appeared with the New Orleans Jazz Orchestra at The Jazz Market and recorded with the ensemble on its Allen Toussaint tribute project. Rose has also performed on two of Manuel’s recordings. Their artistic chemistry is evident throughout Unusual Suspects, where rhythmic sophistication meets lyrical storytelling.

Notably, Manuel had been contemplating retirement from performance and recording. It was Rose who persuaded him to continue. The decision proves invaluable. Manuel’s artistry here feels renewed and urgent, as though the material carries the weight of lived experience sharpened by reflection. His lyric writing, in particular, transforms familiar instrumental works into deeply personal narratives, expanding the jazz vocal repertoire with intelligence and reverence.

Unusual Suspects is not merely a collection of reimagined standards; it is a testament to lineage, collaboration and artistic conviction. It affirms that jazz remains a living language—one capable of absorbing the past, conversing with the present and sounding entirely contemporary. With Rose’s masterful production and Manuel’s singular voice at its center, the album stands as both celebration and statement: New Orleans tradition, interpreted through modern vision, and delivered with uncompromising craft.