Mike Clark Returns with Star-Studded New Album Kuon Ganjo (Time Without Beginning)

Legendary drummer Mike Clark continues his remarkable late-career resurgence with the release of Kuon Ganjo (Time Without Beginning), arriving August 7 on Wide Hive Records. Featuring an all-star ensemble that includes NEA Jazz Master Eddie Henderson on trumpet, tenor saxophonist Craig Handy, pianist Patrice Rushen, and bassist Essiet Okon Essiet, the album showcases Clark’s lifelong mastery of swing while highlighting the adventurous spirit that has defined his career for more than six decades.

Although rooted largely in the straight-ahead jazz tradition, Kuon Ganjo is anything but conventional. Across the album, Clark draws from the many musical influences that have shaped his journey, creating a collection that moves effortlessly between hard-driving grooves, thoughtful explorations, and unexpected turns.

“Playing with this band is a drummer’s dream,” Clark says. “They make it so easy all I have to do is be myself with all my idiosyncrasies. I want to do it my way, and they make that possible.”

That approach is evident throughout the recording. The gritty, blues-infused “Austin City Shuffle” recalls Clark’s formative years sitting in with hard-bop musicians throughout Texas, while spirited interpretations of “Softly, as in a Morning Sunrise” and Jan Hammer’s “Lungs” showcase the drummer’s explosive energy and deep jazz roots. Elsewhere, the ensemble takes a more nuanced approach on Herbie Hancock’s whimsical “Toys,” Wayne Shorter’s imaginative “Beauty and the Beast,” and “Eddy and Hyde,” an unrecorded composition co-written by producer Gregory Howe and trumpeter Erik Jekabson.

The surprises continue from the opening track. Clark launches the album with Sonny Rollins’ “East Broadway Rundown,” a composition that balances blues grit with avant-garde edge. Thelonious Monk’s “Monk’s Dream” follows with a standout bass feature from Essiet Okon Essiet, whose playful and inventive performance becomes one of the album’s highlights. The title track, inspired by the Buddhist concept of “time without beginning,” takes listeners on a free-form journey that unexpectedly transforms into hard-swinging jazz before dissolving back into abstraction.

The strength of Kuon Ganjo lies not only in Clark’s vision but also in the contributions of his collaborators. Henderson brings lyrical sophistication to the rough textures of “Austin City Shuffle,” while Handy adds distinctive character and edge to “Toys.” Rushen’s harmonic creativity enriches every track she touches, particularly on “East Broadway Rundown,” where her solo provides one of the album’s most memorable moments. Together, the ensemble creates a recording that feels both spontaneous and deeply connected.

For Clark, the album represents another chapter in a career that has spanned nearly 80 years of life and more than six decades behind the drum kit. Born in Sacramento, California, in 1946, he was introduced to music by his father George Clark, a railroad switchman, union representative, and accomplished jazz drummer. By the age of four, Clark was already playing jazz and blues rhythms, often accompanying his father to performances and sitting in with musicians throughout Texas, New Orleans, and beyond.

After relocating to the San Francisco Bay Area, Clark quickly became a fixture on the local jazz scene. Alongside bassist Paul Jackson, he formed a rhythm section that powered countless performances at San Francisco’s famed Both/And Club. Early recording opportunities with pianist Vince Guaraldi helped establish his reputation, but it was his groundbreaking work in Oakland’s funk and R&B scene that would eventually lead him to Herbie Hancock’s influential Headhunters. As a member of that pioneering ensemble, Clark helped redefine modern rhythm while gaining worldwide recognition.

Despite his success in funk and fusion, jazz remained at the core of Clark’s musical identity. Over the decades he has collaborated with an extraordinary list of artists including Tony Bennett, Eddie Henderson, Dave Liebman, Chet Baker, Andrew Hill, Dr. Lonnie Smith, Christian McBride, Babatunde Olatunji, and many others. Since releasing his debut album as a leader, Give the Drummer Some, in 1989, Clark has built an impressive catalog while earning a reputation as one of the most respected drummers in jazz.

Known equally for his storytelling as for his musicianship, Clark is also preparing for the publication of his autobiography, God Make Me Funky, co-written with acclaimed jazz biographer Bill Milkowski and scheduled for release in 2027. Like his music, the book promises an unfiltered look at a life spent pushing boundaries and embracing creativity.

With Kuon Ganjo (Time Without Beginning), Clark demonstrates that his artistic curiosity remains as vibrant as ever. Blending tradition, experimentation, and world-class musicianship, the album stands as another compelling entry in the catalog of a drummer who continues to evolve while staying true to his roots.

Fans can catch Clark live at the San Jose Jazz Festival on August 8, where he will perform alongside Eddie Henderson, Craig Handy, pianist Dave Kikoski, and bassist Essiet Okon Essiet, bringing the spirit of this dynamic new project to the stage.

François Bourassa Quartet Celebrates 30 Years with Cross-Canada Anniversary Tour and New Music

 

The François Bourassa Quartet is marking a major milestone in 2026 with a coast-to-coast Canadian tour celebrating the ensemble’s 30th anniversary. Led by acclaimed pianist, composer, and JUNO Award winner François Bourassa, the tour will bring one of Canada’s most respected jazz groups to some of the nation’s premier festivals and concert stages while introducing new music created specifically for the occasion.

Beginning June 19 at the Medicine Hat Jazz Festival and concluding August 9 at the North Hatley Jazz Festival in Quebec, the anniversary tour highlights three decades of artistic collaboration between Bourassa and his longtime bandmates: André Leroux on saxophones and flute, Guy Boisvert on upright bass, and Guillaume Pilote on drums. Together, they have built a reputation for creating adventurous, emotionally engaging music that seamlessly blends jazz, contemporary classical influences, and improvisation.

Bourassa has long been recognized as one of Canada’s leading jazz artists. A native of Montreal, he first gained national attention after winning the Montreal International Jazz Festival’s New Talent Prize in 1985. Over the following decades, he established an international profile through performances across Europe, Asia, and North America, sharing stages with jazz legends including Stan Getz, Dizzy Gillespie, Wayne Shorter, and Dave Brubeck. In 2007, he received the prestigious Oscar Peterson Award from the Montreal International Jazz Festival, recognizing his significant contributions to Canadian jazz. His quartet’s 2001 live recording, captured at Toronto’s Top O’ The Senator, earned a JUNO Award and further solidified the group’s standing among the country’s elite jazz ensembles.

The quartet’s most recent release, Swirl (2023), showcased the chemistry and spontaneity that have defined the ensemble throughout its history. Recorded live at Studio Piccolo in Montreal, the album received widespread international praise for its musical interplay and creative depth. Critics highlighted the group’s rare ability to function as a true collective, with performances that balance technical virtuosity and genuine emotional connection.

That sense of unity has become a hallmark of the François Bourassa Quartet. While Bourassa’s compositions are celebrated for their complexity, rich harmonies, and evolving structures, the ensemble’s greatest strength lies in its ability to bring those ideas to life in a way that feels fresh and immediate on stage. Audiences can expect a program that reflects the group’s extensive catalog while also introducing new material created in conjunction with the anniversary tour.

A major highlight of the summer schedule will be the quartet’s appearances at the Montreal International Jazz Festival. Bourassa will perform with the Christine Jensen Sextet on July 1 as part of the FIJM’s “Modes of Coltrane” celebration honoring the centenary of John Coltrane’s birth. Additional Montreal performances include a quartet appearance at Dièse Onze on July 3 and a special trio performance at Messe Jazz at the Gésu on July 5.

Supported by the Canada Council for the Arts, the 30th anniversary tour is both a celebration of the quartet’s remarkable history and a testament to its continuing artistic evolution. Three decades after its founding, the François Bourassa Quartet remains one of the most compelling voices in Canadian jazz, demonstrating that longevity and innovation can thrive side by side.

The 2026 tour includes performances in Alberta, Saskatchewan, British Columbia, and Quebec, with additional dates in France scheduled for November. For jazz fans across Canada, this anniversary tour offers a rare opportunity to experience a group whose music continues to evolve while remaining grounded in the trust, creativity, and collaboration that have sustained it for 30 years.

Four Tops Live! Returns in Expanded 60th Anniversary Edition with Unreleased Performances and Restored Motown Magic

 

Motown fans have something special to look forward to this summer as UMe and Elemental Music prepare to release a newly remixed and expanded 60th Anniversary Edition of Four Tops Live! on July 24, 2026. Available on deluxe vinyl and digital platforms, the reissue breathes new life into one of Motown’s most celebrated live recordings while offering fans a deeper look into the legendary group's electrifying stage presence.

Originally recorded during two performances at Detroit’s iconic Roostertail nightclub in August and September 1966, Four Tops Live! captured the quartet at the height of their popularity. The expanded edition transforms the original album into a four-sided vinyl collection, adding ten previously unreleased tracks from the concerts. Alongside timeless Four Tops classics such as “Baby I Need Your Loving,” “I Can’t Help Myself (Sugar Pie, Honey Bunch),” “It’s the Same Old Song,” “Ask the Lonely,” and “Reach Out I’ll Be There,” listeners will hear the group’s interpretations of contemporary favorites including “Michelle,” “The Girl from Ipanema,” “Climb Ev’ry Mountain,” and “I Left My Heart in San Francisco.” The collection also includes a spirited performance of The Supremes’ chart-topping hit “You Can’t Hurry Love.”

The project was produced by Motown archivist and UMe Vice President of A&R Harry Weinger, with extensive restoration work handled by Drew Schultz, former drummer and music director for the Four Tops and current curator at Detroit’s Motown Museum. Working from the original master tapes, Schultz remixed and remastered the recordings, removing the overdubbed applause that appeared on the original release and restoring the authentic audience reactions from inside the Roostertail. The expanded edition also reinstates stage banter from lead singer Levi Stubbs and introductions from legendary Detroit radio personality Scott Regen, who served as emcee during the performances.

The deluxe gatefold package includes Regen’s original liner notes, newly written commentary, and producer notes that provide additional historical context. As an added bonus, the set closes with “You Name It,” a previously unreleased instrumental performance featuring Earl Van Dyke and the musicians who would later become known worldwide as The Funk Brothers.

The release also serves as a reminder of Motown’s remarkable impact beyond the recording studio. During the 1960s, live albums became a milestone for the label’s biggest stars, with artists including The Miracles, Marvin Gaye, Mary Wells, The Marvelettes, and The Supremes all receiving concert releases. Four Tops Live! stands apart, however, thanks to its connection to “Motown Monday,” a popular live concert series broadcast from the Roostertail and promoted by WKNR radio. The Four Tops were the inaugural headliners for the series, making the album an important document of both Motown and Detroit music history.

Equally remarkable is the group's longevity. Founding members Levi Stubbs, Abdul “Duke” Fakir, Renaldo “Obie” Benson, and Lawrence Payton first came together in 1953, years before Motown Records was established. The lineup remained unchanged for more than four decades, a rarity in popular music. Their consistency helped build one of the most enduring catalogs in soul music history and cemented their place among Motown’s greatest acts.

In a fitting tribute to the album’s legacy, the current incarnation of the Four Tops will celebrate the release with a July 24 performance at the Roostertail, the very venue where these historic recordings were made sixty years ago. For longtime fans and newcomers alike, the expanded edition of Four Tops Live! offers an unforgettable snapshot of a group whose energy, talent, and timeless songs continue to resonate across generations.

Unearthed Ella Fitzgerald Concert From 1966 Captures the Queen of Jazz at Her Brilliant Best

 

More than half a century after it was performed, a remarkable new chapter has been added to the legacy of jazz icon Ella Fitzgerald. Live at Falkoner Theatre Copenhagen 6th February 1966, arriving July 24, 2026 via Gearbox Records, presents a previously unreleased concert recording that captures the legendary vocalist in a setting where she sounds completely free, relaxed, and at the height of her powers.

Available on 180g vinyl with OBI strip and on CD in a replica LP-style sleeve, the release offers listeners a rare opportunity to hear Fitzgerald in an unguarded live environment, backed by the Duke Ellington Orchestra and the Jimmy Jones Trio. More than just another archival release, the album stands as a significant historical document from one of the most celebrated voices in the history of popular music.

Ella Fitzgerald's influence on jazz and vocal music is almost impossible to overstate. Born in Newport News, Virginia, in 1917 and raised in Yonkers, New York, Fitzgerald rose from humble beginnings to become one of the defining artists of the twentieth century. Her career began in earnest after winning an amateur talent contest at Harlem's Apollo Theater in 1934. Soon after, she joined drummer Chick Webb's orchestra, where her breakthrough hit "A-Tisket, A-Tasket" transformed her into a national star.

Over the following six decades, Fitzgerald would become known as the "First Lady of Song" and the "Queen of Jazz," earning admiration for her flawless intonation, extraordinary vocal range, impeccable phrasing, and groundbreaking scat singing. Her celebrated Songbook series, featuring the works of composers such as Cole Porter, George and Ira Gershwin, Duke Ellington, Irving Berlin, and Harold Arlen, remains among the most important recorded achievements in American music.

Fitzgerald won 13 Grammy Awards, sold millions of records worldwide, and inspired generations of singers across jazz, pop, soul, and beyond. Artists from Sarah Vaughan and Frank Sinatra to Stevie Wonder and Diana Krall have acknowledged her profound influence. Yet despite her immense success, she never lost the sense of joy and spontaneity that made her live performances so captivating.

That spontaneity is on full display throughout Live at Falkoner Theatre Copenhagen 6th February 1966.

The recording captures Fitzgerald just one night before she entered Stockholm's Konserthuset to record The Stockholm Concert, 1966, a live album now regarded as one of the essential recordings of her later career. While that Stockholm performance has long been celebrated, the Copenhagen concert remained unheard for decades, making this newly discovered recording a major find for jazz historians and fans alike.

What makes the performance especially compelling is its sense of freedom. Unlike a formal studio session or a concert intended for commercial release, Fitzgerald performs with complete ease. There is no sense of restraint, no pressure to deliver a definitive statement. Instead, listeners are treated to an artist fully immersed in the moment, responding instinctively to the musicians around her and drawing energy from the audience.

The setting itself is significant. During the 1950s and 1960s, many African American jazz musicians found Europe to be a welcoming refuge from the racial discrimination they frequently encountered in the United States. Countries such as Denmark, Sweden, France, and the Netherlands embraced jazz artists as cultural ambassadors and often afforded them a level of respect and appreciation that was not always available at home.

For Fitzgerald, Denmark became one of those special places. Her comfort on the stage of Copenhagen's Falkoner Theatre is evident from the opening moments of the performance. The warmth of the audience and the chemistry between Fitzgerald and her accompanying musicians create an atmosphere that feels both intimate and electrifying.

The setlist showcases the extraordinary breadth of her artistry. Opening with Duke Ellington's "Satin Doll," Fitzgerald immediately establishes a playful rapport with both band and audience. "Hey Little Girl" and "Something To Live For" reveal her gift for storytelling and emotional nuance, while Cole Porter's "Let's Do It, Let's Fall In Love" demonstrates her effortless command of sophisticated lyric interpretation.

Her rendition of "Sweet Georgia Brown" swings with infectious energy, reminding listeners why she was revered not only for her technical mastery but also for her ability to make every performance feel fresh and alive.

The second half of the concert contains several highlights that rank among the most exciting moments of the recording. "How High The Moon," one of Fitzgerald's signature pieces, provides ample opportunity for her legendary scat improvisation. Few singers in jazz history possessed the rhythmic inventiveness and melodic imagination that Fitzgerald brought to her scat solos, and this performance offers a vivid example of that artistry.

The emotional depth of "Lover Man" contrasts beautifully with the Brazilian-inspired rhythms of "So Danço Samba," highlighting the remarkable versatility that allowed Fitzgerald to move effortlessly between jazz standards, ballads, swing, bebop, and international repertoire.

Her interpretation of "I'm Just A Lucky So-And-So" is charming and understated, while the concert closes with a spirited rendition of "Mack The Knife," a song she famously transformed into one of her signature showpieces. By this point in the performance, Fitzgerald sounds completely liberated, weaving humor, improvisation, and vocal brilliance into a finale that leaves little doubt about why she remains one of the most beloved performers in jazz history.

The newly unearthed recording has been mastered by Caspar Sutton-Jones at Gearbox Productions and released with the full blessing of Fitzgerald's estate. The result is a pristine presentation of a concert that many assumed had been lost to time.

For longtime admirers of Ella Fitzgerald, Live at Falkoner Theatre Copenhagen 6th February 1966 offers a rare glimpse into a legendary artist during one of the most celebrated periods of her career. For newer listeners, it serves as a perfect introduction to the qualities that made her one of the greatest singers who ever lived: joy, elegance, technical brilliance, and an unwavering ability to connect with audiences through song.

Sixty years after the performance took place, the magic of that February evening in Copenhagen remains undiminished. If anything, the passage of time has only made this discovery more extraordinary.

Ella Fitzgerald – Live at Falkoner Theatre Copenhagen 6th February 1966 will be released by Gearbox Records on July 24, 2026, on CD and 180g vinyl.

Chuck Bergeron’s Bass and Face Celebrates the Art of Intimate Musical Conversation

 

For more than four decades, bassist Chuck Bergeron has thrived in virtually every jazz setting imaginable, from powerhouse big bands to small-group improvisation. Along the way, one aspect of music-making has remained especially meaningful to him: the connection between bassist and vocalist.

That connection takes center stage on Bass and Face, a deeply personal new album arriving June 5, 2026, via Summit Records. The project pairs Bergeron in intimate duet performances with ten exceptional vocalists, creating a collection that is both musically adventurous and emotionally revealing.

The album’s title traces back to Bergeron’s years living in Seattle, where he frequently performed with vocalist Kendra Shank. During their concerts, Shank would set aside a portion of the evening for a stripped-down bass-and-vocal duet segment she affectionately called “Bass and Face.”

“Pianists and guitar players get to do that sort of thing all the time,” Bergeron explains. “The harmonic range of the bass is a bit more limited, so it’s rare that I get that opportunity—but I really loved it. It's a really naked and vulnerable situation, and requires a different approach to playing the instrument.”

The experience left a lasting impression. Ever since, Bergeron dreamed of creating an entire album built around one-on-one musical conversations with singers who had played important roles throughout his life and career. Bass and Face finally brings that vision to life.

The album features an extraordinary lineup of vocalists, including Janis Siegel, Pete McGuinness, Roseanna Vitro, George Rabbai, Lisanne Lyons, Deborah Silver, Kate Reid, Nicole Yarling, Sheila Jordan, and Kevin Mahogany. Together, they explore a wide-ranging repertoire that highlights both the intimacy and expressive possibilities of the bass-and-voice format.

The recording opens with Janis Siegel’s breezy interpretation of “An Occasional Man,” a tropical-tinged gem by Ralph Blane and Hugh Martin. Percussionist Richie Bravo subtly enhances the performance, one of several guest appearances throughout the album that add color without disrupting the duet concept. Siegel also returns later for “When I Drink,” a bittersweet song by the Italian duo Musica Nuda, where Bergeron’s bass becomes a sympathetic companion to the lyric’s late-night reflections.

Longtime friend Pete McGuinness contributes both his voice and his own arrangement of Johnny Mandel’s “Emily,” the only track on the album not arranged by Bergeron. Their playful chemistry is evident throughout, particularly during an engaging scat exchange that reflects decades of friendship dating back to their college years.

Another longtime collaborator, Lisanne Lyons, joins Bergeron for a haunting rendition of “Detour Ahead,” while George Rabbai brings a unique dual role to “I Thought About You,” contributing both trumpet and vocals. Roseanna Vitro delivers a spirited take on Jeannie Cheatham’s witty “Take the Wrinkles Out of Your Birthday Suit,” a blues-infused celebration of humor and resilience.

Closer to home, Bergeron collaborates with University of Miami colleagues Kate Reid and Nicole Yarling. Reid lends effortless sophistication to “Devil May Care,” while Yarling joins Bergeron for a joyful New Orleans-inspired medley that pays tribute to the city where he was born and raised.

Deborah Silver, whose recent work with the Count Basie Orchestra earned Grammy recognition, appears on “Analog,” a charming rejection of modern complications that feels perfectly suited to the album’s acoustic simplicity.

Among the project’s most meaningful moments are the contributions from two legendary vocalists who are no longer with us. Sheila Jordan, recorded at age 95 shortly before her passing, brings wisdom, warmth, and decades of jazz history to “Fair Weather.” Rather than revisit the bass-and-vocal format she had explored extensively with bassist Harvie S, Jordan opted to include guitarist John Hart, creating a unique setting for a lyric she wrote in honor of trumpeter Kenny Dorham.

The album also includes two performances featuring the late Kevin Mahogany, drawn from sessions recorded in 2005 during Bergeron’s seven-year tenure in Mahogany’s band. Their interpretations of John Lewis’ “Two Degrees East, Three Degrees West” and Charles Mingus’ “Duke Ellington’s Sound of Love” serve as heartfelt tributes to a singer whose encouragement and friendship profoundly influenced Bergeron’s career.

The album concludes with a piano-bass duet featuring pianist Phil Strange on the New Orleans classic “Do You Know What It Means To Miss New Orleans?” The performance provides a fitting farewell, returning the listener to Bergeron’s roots while underscoring the album’s central themes of connection, memory, and shared musical experience.

“This is the definition of a passion project,” Bergeron says. “So I wanted to make sure that I invited people who I enjoy working with—and simply enjoy spending time with. Every one of these singers has their own unique personality, and they're all great fun to work with.”

That spirit of friendship and collaboration resonates throughout Bass and Face. More than a collection of duets, the album is a celebration of relationships forged over decades, brought to life through the simple yet profound conversation between a voice and a bass.

Bass and Face will be released on June 5, 2026, via Summit Records.

Joe Lovano’s Paramount Quartet Finds New Magic in Collective Improvisation

 

"There's a lot of magic that just kind of unfolds as we play. And the more we play, the more magical it becomes." — Joe Lovano

The title Paramount Quartet feels less like a name and more like a declaration of purpose. For saxophonist Joe Lovano, the project represents a fresh creative ascent, despite a career that already spans decades and includes dozens of recordings as a bandleader.

“I feel like at this point I’m on the rise,” Lovano says. “We've arrived at this unique place with this quartet. It’s very special. It's a new thing. Recording this with Manfred Eicher in the studio, I was really thrilled with the way the group continuously developed. And those cats, they play with a real global awareness.”

The quartet brings together an exceptional cast: guitarist Julian Lage, bassist Asante Santi Debriano, and drummer Will Calhoun, widely known for his work with Living Colour. Together, they create a dynamic and adventurous ensemble that opens a compelling new chapter in Lovano’s ever-evolving musical journey.

The origins of the group trace back to a 2023 fundraiser supporting Puerto Rican hurricane relief, where Lovano first met Debriano and Calhoun. The chemistry was immediate.

“Sometimes you meet, and it's like you've known each other your whole life,” Lovano recalls. “That happened with Will, Asante and I.”

Adding Julian Lage completed the vision. Lovano and Lage had discussed collaborating for years, dating back to the guitarist’s time in one of Lovano’s ensembles at Berklee College of Music in the mid-2000s.

That deep connection is evident throughout the album. The quartet moves effortlessly between intimate ballads and energetic explorations, balancing sophistication, spontaneity, and emotional depth. The record opens with Charlie Haden’s “First Song,” a soulful and meditative interpretation that sets the tone for the journey ahead.

Lovano’s relationship with the piece goes back years. Having performed it alongside Haden while occasionally substituting for Ernie Watts in Quartet West, he developed a lasting affection for the composition. Only recently did he feel ready to revisit it with his own ensemble, discovering new possibilities within its reflective spirit.

The album’s original material showcases the quartet’s remarkable versatility. Tracks such as “Amsterdam” highlight intricate rubato interplay, while “Fanfare For Unity” channels groove-driven post-bop energy. “The Great Outdoors” expands into a larger, episodic form that blends carefully structured passages with open improvisation, and “Congregation” settles into an inviting mid-tempo flow.

Throughout the recording, each musician demonstrates an extraordinary sensitivity to the music’s shifting demands. The chamber-like restraint of “The Call” contrasts beautifully with the explosive energy of “Fanfare For Unity,” while Lovano himself adds further texture by moving seamlessly between tenor saxophone, soprano saxophone, and tarogato.

Lovano speaks enthusiastically about his collaborators. He praises Calhoun’s expansive musicality and Debriano’s rich experiences shaped by his Panamanian heritage and decades of work with artists such as Archie Shepp and Randy Weston. Their collective history and openness to exploration create an ideal foundation for the music.

For Julian Lage, Paramount Quartet marks his first appearance on ECM. His contributions are both subtle and profound, characterized by lyrical phrasing, harmonic sophistication, and an intuitive responsiveness to Lovano’s improvisations. The long-standing relationship between the two musicians is evident in every exchange, a connection that dates back to when Lovano first encountered Lage as a teenage prodigy attending one of his performances with McCoy Tyner in California.

The album’s second and final interpretation of an outside composition is Wayne Shorter’s “Lady Day.” Lovano first encountered the piece through Shorter’s Soothsayer and has long been captivated by its haunting melody and rich harmonic possibilities. Originally arranged for a big band residency in Orvieto, Italy, he later adapted it for the quartet, where it found an entirely new life.

The performance exemplifies the group’s defining quality: an ability to create in the moment. Lovano notes that Calhoun, Debriano, and Lage are constantly introducing new ideas from within the music itself, allowing each performance to evolve organically and unpredictably.

Recorded in February 2025 at La Buissonne Studios in Southern France and produced by Manfred Eicher, Paramount Quartet captures four master improvisers at a rare point of creative alignment. It is a recording built on trust, curiosity, and shared musical vision—a reminder that even for an artist as accomplished as Joe Lovano, the most exciting discoveries can still lie ahead.

Paramount Quartet was released by ECM on May 29, 2026.

Why People Are Still Searching for CD 101.9—Years After It Left the Airwaves

 

More than a decade after it disappeared from the dial, CD 101.9 continues to attract an audience. I know this because articles about the station remain among the most visited pages on this website. In fact, one article published back in 2011 has consistently been my most-read article for weeks, outperforming pieces on much newer topics.

That raises an interesting question: Why does a radio station that signed off years ago still occupy so much space in people's memories?

The answer goes beyond nostalgia.

It Was More Than a Radio Station

Many radio stations are simply background noise. People may enjoy them, but they rarely form a lasting emotional connection.

CD 101.9 was different.

For many listeners, the station became part of their daily routine. It played at work, during commutes, while studying, or during quiet evenings at home. The station's smooth jazz format created a distinctive atmosphere that listeners came to associate with specific periods of their lives.

When people remember CD 101.9, they are often remembering much more than music. They are remembering a time, a place, and a feeling.

It Filled a Unique Niche

Today's audio landscape offers almost unlimited choice. Streaming services provide millions of songs, countless playlists, and personalized recommendations.

Ironically, that abundance may be one reason people continue to remember CD 101.9.

The station offered something increasingly rare: a carefully curated experience. Listeners didn't have to decide what to play next. They trusted the station's programmers to create a consistent mood and sound.

Smooth jazz itself occupied a unique middle ground. It wasn't pop music, but it wasn't traditional jazz either. It appealed to listeners looking for something sophisticated, relaxing, and accessible.

When CD 101.9 disappeared, many listeners felt that no direct replacement ever emerged.

The End of an Era

The station's format change wasn't merely a programming decision. For many listeners, it symbolized the broader transformation of radio.

During the late twentieth century, local and regional stations often developed distinct identities. They served specific audiences and cultivated loyal followings over many years.

As media ownership consolidated and listening habits shifted toward digital platforms, many specialty formats struggled to survive. Smooth jazz stations across the country disappeared, and CD 101.9 became one of the most notable examples.

People continue to search for the station because they are still trying to reconnect with something they feel was lost.

Search Engines Preserve Cultural Memory

There is another reason CD 101.9 remains visible today: the internet never entirely forgets.

When listeners remember the station, they search for it. They look for former DJs, playlists, recordings, station histories, and stories from other fans. They want to confirm that the station was real and that others remember it too.

Every search sends them to websites that documented the station's history. Articles written years ago continue attracting visitors because they answer questions that listeners are still asking.

In a sense, search engines have become archives of radio history.

The Power of Shared Experience

Streaming music is highly personal. Everyone has their own playlists, algorithms, and listening habits.

Radio was different.

Thousands of people heard the same songs at the same time. They listened to the same personalities and shared the same experience. That collective connection created a sense of community that is difficult to replicate in today's fragmented media environment.

When former listeners talk about CD 101.9, they are often talking about that shared experience as much as the music itself.

Why It Still Matters

The continued popularity of articles about CD 101.9 suggests that the station occupies a special place in broadcasting history. Long after the transmitter stopped broadcasting, people are still looking for information about it.

Perhaps that is the ultimate measure of a successful radio station. Years after it leaves the airwaves, listeners still remember it, still search for it, and still want to talk about it.

Most radio stations disappear quietly.

CD 101.9 never really did.

Hernán Cassibba Expands the Boundaries of Contemporary Jazz on Nuevos Aires

 

Argentinian bassist, composer, and arranger Hernán Cassibba returns with Nuevos Aires, a richly layered and ambitious follow-up to his 2018 debut Homenaje, further exploring the intersection of contemporary jazz, chamber music, improvisation, and rhythmic experimentation. Released on April 21, 2023, the album showcases Cassibba’s evolving vision through an expansive sextet format enhanced by strings, voice, and intricate orchestration.

Led by Cassibba on bass and compositions, the core ensemble features Lucas Goicoechea on alto sax, Gonzalo Rodriguez Vicente on tenor sax, Nahuel Bracchitta on guitar, Leo Duck on piano, and Matias Crouzeilles on drums. Guest musicians contribute additional textures on selected tracks, including vocalist Juana Sallies and a string quintet that deepens the album’s cinematic and emotional reach.

At the heart of Nuevos Aires lies Cassibba’s fascination with balancing simplicity and complexity. While melody remains central and immediately accessible, the compositions unfold through sophisticated harmonic development, contrapuntal writing, rhythmic displacement, and orchestral contrast. Drawing from years of research into polyrhythms, extended techniques, modal harmony, and improvisational structures outside traditional jazz forms, Cassibba creates music that feels intellectually adventurous while remaining emotionally grounded.

The album’s title track, “Nuevos Aires,” stands as one of its boldest statements. Built around a constant five-over-four rhythmic illusion, the composition challenges the listener’s perception of pulse while maintaining a deceptively simple melodic framework. The rhythmic language intensifies during the piano solo as subdivisions shift into 5/8, while the closing section employs Guillermo Klein-inspired “filters,” layering binary and ternary interpretations of the same phrase to create a sensation of expanding and collapsing time. Similar rhythmic experimentation appears throughout “Isolation Dance,” which incorporates an 11/4 introduction and a funk-driven groove in 9/4.

Elsewhere, Cassibba allows improvisation to occupy a more prominent role than on his previous work. Tracks such as “Resistencia” embrace freer improvisational spaces while preserving the album’s cohesive harmonic and rhythmic identity. The conversational interplay between instruments — melodies exchanged fluidly between saxophones, guitar, piano, and strings — gives the music a sense of constant movement and freshness.

The album also reveals a more intimate side. “Chin” and “Loyola” slow the momentum to focus on subtle melodic and harmonic detail, highlighting expressive performances from Lucas Goicoechea and guitarist Nahuel Bracchitta. Meanwhile, “Lili” and “Perro Blanco” integrate the string ensemble beautifully, expanding the chamber-jazz aesthetic while preserving the emotional clarity of the melodies.

Cassibba’s broader musical background also shapes the record in compelling ways. Having spent years performing rock, funk, and fusion across Argentina, those influences emerge strongly in “Anti-Alérgico” and “P-Mc,” the latter written in tribute to Paul McCartney, whom Cassibba cites as his favorite musician. Distorted guitar textures, driving rhythms, and simplified harmonic structures provide a contrast to the album’s more orchestral passages while opening space for expansive improvisation.

A graduate of EMC Berklee and the Manuel de Falla Superior Conservatory of Music, Cassibba has established himself as one of the Argentine jazz scene’s most respected bassists and arrangers. Beyond leading his own ensembles, he has collaborated with legendary artists including Charly García, Luis Alberto Spinetta, Guillermo Klein, Tim Berne, and many others. His work has earned numerous scholarships and awards, including recognition as Best Bassist twice at the Pepsi Music Festival and a National Fund for the Arts creation scholarship that helped fund Nuevos Aires.

Recorded, mixed, and mastered by Pablo Lopez Ruiz at Estudio Doctor F in Buenos Aires, Nuevos Aires feels both meticulously crafted and vibrantly alive. Cassibba’s ability to merge intricate rhythmic design, chamber textures, jazz improvisation, and melodic warmth results in an album that constantly rewards repeated listening while remaining emotionally resonant from beginning to end.

Tracklist:
“Anti-Alérgico”
“P-Mc.”
“Chin”
“Lili (Strings)”
“Resistencia”
“Loyola”
“Nuevos Aires”
“Perro Blanco”
“Isolation Dance”
“Lili (Ensamble)”
“Resistencia (Alt. Take)”

Kat Eaton Finds Grace in Transition on Stunning New Album What Happens Now

Welsh-born, Sheffield-based artist Kat Eaton returns with her stunning third album, What Happens Now, a richly textured collection that blends soul, jazz, blues-inflected grooves, and timeless pop into one deeply human listening experience. Following the acclaimed Honestly in 2023 and her breakout 2021 debut Talk To Me, the new record further establishes Eaton as one of the UK’s most compelling modern soul voices.

Produced by longtime collaborator Nick Atkinson, with whom Eaton has been making music since they were sixteen, What Happens Now is a record rooted in transition, resilience, and renewal. Their creative chemistry gives the album remarkable cohesion, balancing emotional vulnerability with quiet confidence. Together, they craft songs that feel intimate yet expansive, personal yet universally relatable.

Much of the album was recorded at the duo’s own Reason & Rhyme Studios in Sheffield, while key sessions took place at the legendary Konk Studios — the iconic studio founded by The Kinks and later used by artists including Adele, Massive Attack, and Bee Gees. Surrounded by vintage Wurlitzers, analogue synths, retro microphones, and classic instruments steeped in history, Eaton and Atkinson shaped a sound that feels simultaneously nostalgic and refreshingly modern. “Being at Konk really influenced how we approached performance and tone — every instrument had a story,” Eaton explains. The album was mixed by two-time GRAMMY-nominated engineer James Campbell and mastered by Christian Wright at Abbey Road Studios.

Musically, What Happens Now traverses classic and contemporary soul with jazz sophistication, drawing subtle inspiration from artists like Carole King, Stevie Wonder, and Allen Stone while remaining distinctly Kat Eaton. Atkinson’s production foregrounds organic instrumentation — live drums, bass, guitars, horns, and vintage keyboards — favouring warmth, immediacy, and emotional honesty over studio perfectionism.

Opening track “Break Free” bursts forward with gospel-soul energy and a powerful rhythmic drive, serving as Eaton’s declaration of independence and self-trust. “Not Pretending” channels the spirit of Stevie Wonder with syncopated grooves and bright keyboard work, delivering one of the album’s most uplifting moments as Eaton embraces honesty and authenticity over people-pleasing.

Elsewhere, “Better Left Unsaid” explores restraint and emotional tension through smooth mid-tempo soul textures, while “Humming Low,” recorded live at Konk Studios with no overdubs or additional production, strips everything back to just Eaton’s voice and Atkinson’s guitar. The result is intimate, nostalgic, and quietly devastating — a meditation on simpler human connection before technology overtook daily life.

“Kings and Queens” celebrates the roots of Northern Soul culture, paying tribute to the clubs, collectors, and communities that shaped one of Britain’s defining musical movements. Meanwhile, “By Now” confronts the unspoken pressures placed upon women to meet society’s milestones within a prescribed timeline. Through slow-burning harmonies and understated jazz flourishes, Eaton reclaims those expectations with warmth, grace, and acceptance.

The album closes with the reflective title track “What Happens Now,” a tender meditation on uncertainty, change, and renewal. Anchored by delicate piano and swelling harmonies, the song leaves listeners suspended between reflection and hope, asking the same open-ended question that inspired the entire record: what comes after change, and how do we meet it with grace?

With What Happens Now, Kat Eaton delivers her most fully realised work to date — a soulful, sophisticated, and deeply affecting album that confirms her place among the UK’s most exciting contemporary soul artists.

Isabella Isherwood’s The Sweetest Sounds Introduces a Remarkably Mature New Jazz Voice

 

Debut albums often feel like introductions. The Sweetest Sounds, the first full-length release from vocalist, pianist, and actor Isabella Isherwood, feels more like an arrival.

At just 23 years old, the Chicago-born artist steps confidently into the national jazz conversation with a record that balances technical sophistication, emotional intelligence, and deep reverence for songcraft. Drawing from the Great American Songbook, modern jazz repertoire, Broadway standards, and even contemporary material, The Sweetest Sounds reveals an artist who already understands one of jazz’s hardest lessons: great singing is not about showing off a voice — it’s about telling the truth of a song.

Released April 3, 2026 on Sabrina Records and produced by acclaimed vocalist and pianist Champian Fulton, the album presents Isherwood as both a traditionalist and an interpreter willing to reshape familiar material through her own perspective. Her warm alto, precise phrasing, and actor’s instinct for language give the record a striking sense of intimacy from the opening track onward.

That theatrical sensitivity is a major part of what separates Isherwood from many emerging jazz vocalists. Alongside her music career, she is also an accomplished actor and co-founder of a theater company, and that dramatic awareness permeates every performance here. Lyrics are never treated casually. Each song unfolds like a scene, with Isherwood carefully navigating emotional tension, subtext, and narrative pacing in ways that feel unusually mature for a debut recording.

Her musical foundation runs equally deep.

Isherwood began studying classical piano at age four and was raised around jazz through her grandfather, Detroit pianist and club owner Jerry Libby, whose independent label Sabrina Records dates back to 1964. Today, Isherwood helps carry forward that legacy herself, even honoring Libby through the album’s catalog number — 063, a tribute to his June 3 birthday. That connection to jazz history gives The Sweetest Sounds a strong sense of continuity without making the project feel nostalgic or museum-like.

Instead, the album sounds refreshingly alive.

The title track serves as the emotional center of the record, embodying Isherwood’s broader philosophy about music and creativity. She has described the songs not simply as explorations of romantic love, but as reflections on artistic imagination itself — the fragile space where emotions and ideas exist before becoming fully realized. That perspective gives the album an introspective quality that quietly ties the diverse repertoire together.

Musically, the record thrives on collaboration and restraint.

Backing Isherwood is an exceptional trio of Chicago musicians: guitarist Mike Allemana, bassist Joe Policastro, and drummer Alejandro Salazar. Rather than overpowering the vocalist, the ensemble creates spacious, conversational arrangements that allow every lyric and melodic shift to breathe naturally.

The album’s quieter moments are especially effective. Three intimate duets with individual band members highlight Isherwood’s emphasis on musical dialogue over grandstanding. Her interpretation of 'Round Midnight strips the classic ballad down to its emotional core, while “My Buddy,” performed with only piano and voice, reveals remarkable control and vulnerability. Elsewhere, her haunting take on Love Is a Losing Game bridges classic jazz phrasing with modern melancholy in a way that feels completely natural.

The album also avoids the trap of excessive reverence toward standards. Isherwood approaches familiar material with confidence and curiosity rather than caution. A 5/4 arrangement of “Devil May Care” opens the record with rhythmic boldness, while Bob Dylan’s “Don’t Think Twice, It’s All Right” is reframed not simply as a breakup song, but as a meditation on forgiveness and emotional release.

Her admiration for Nancy Wilson becomes especially apparent during a vibrant performance of “The Song Is You,” where Isherwood channels Wilson’s elegance and emotional clarity without drifting into imitation. Meanwhile, “Teach Me Tonight” captures her lighter, more playful side, revealing a natural ease with swing and audience connection.

The album closes with “I Love Being Here with You,” which Isherwood describes as a love letter to Chicago itself — its jazz clubs, musicians, and audiences. It’s a fitting ending for a debut rooted so deeply in place, mentorship, and artistic community.

What makes The Sweetest Sounds so compelling is not simply that Isabella Isherwood can sing standards well. Many young vocalists can do that. What’s rare is hearing an emerging artist approach classic material with this level of emotional clarity, narrative discipline, and personal identity. The album never feels like a student exercise in jazz tradition. It feels like the beginning of a serious artistic voice discovering how much it already has to say.

For listeners drawn to vocal jazz that values storytelling as much as technique, The Sweetest Sounds is a debut worth spending time with. Isabella Isherwood may be introducing herself to a wider audience here, but she already sounds like an artist with a fully formed point of view.

Joe Fiedler’s Journey To Bowerbird Pushes Low Brass Into Bold New Territory

There are jazz records that entertain, and there are jazz records that expand the possibilities of the music itself. Journey To Bowerbird, the latest release from trombonist, composer, and bandleader Joe Fiedler and his acclaimed ensemble Big Sackbut, firmly belongs in the latter category.

Featuring Fiedler alongside fellow trombonists Ryan Keberle and Luis Bonilla, with Marcus Rojas on tuba and Satoshi Takeishi on drums, the album transforms what could seem like an unusual instrumental setup into something thrillingly alive, emotional, and deeply inventive.

The roots of Big Sackbut stretch back decades. Fiedler traces the original spark to seeing World Saxophone Quartet perform live in the late 1980s. Their balance of structure and freedom left a permanent impression on him, planting the idea of building a similarly dynamic ensemble centered around trombones rather than saxophones. That concept lingered for more than twenty years before finally taking shape around 2010, eventually becoming one of the most distinctive brass-driven projects in modern jazz.

What makes Journey To Bowerbird especially compelling is how naturally it avoids feeling like a technical exercise. The instrumentation is unconventional, but the music never feels trapped by novelty. Instead, the arrangements unfold with warmth, tension, groove, and surprising elegance. The interplay between the three trombones and tuba creates an astonishing range of textures — sometimes dense and orchestral, other times playful and conversational. With Satoshi Takeishi’s drums now added to the ensemble, the music gains an entirely new sense of propulsion.

The album’s deeper story, however, is what truly elevates it.

The inspiration for Journey To Bowerbird came from a transformative challenge in Fiedler’s career. In early 2025, legendary bass trombonist Dave Taylor invited Fiedler to perform composer Lucia Dlugoszewski’s demanding work Angels of the Inmost Heaven as part of the Pure Lucia festival at the Bowerbird music space in Philadelphia. What initially appeared to be a straightforward invitation quickly became something much larger.

Fiedler has described the composition as nearly “unplayable” upon first encounter. Despite decades spent navigating avant-garde jazz and contemporary classical music, he found himself struggling in ways he never had before. For the first time in his extensive career — one spanning thousands of performances and over one hundred recordings — progress felt elusive.

Instead of walking away, he rebuilt his entire approach.

Fiedler painstakingly recopied the handwritten score into modern notation software, reorganized the music into manageable sections, mapped alternate slide positions and tonguing systems, and committed himself to an intense practice schedule of four hours a day devoted entirely to one nine-minute composition. Over the course of three months, the process transformed not only his technical abilities but also his relationship with sound, nuance, endurance, and musical focus.

That breakthrough became the creative fuel for Journey To Bowerbird.

Rather than directly recreating Dlugoszewski’s music, Fiedler absorbed its spirit into his own compositional language, blending avant-garde chamber music techniques with jazz improvisation and rhythmic freedom. The result is an album that feels exploratory without becoming inaccessible. There’s sophistication here for serious jazz listeners and composers, but there’s also humor, movement, beauty, and momentum that make the music surprisingly inviting even for casual listeners.

Critics have long recognized the uniqueness of Big Sackbut’s approach. Publications ranging from The New York Times to DownBeat have praised the ensemble for transforming low brass into something agile, swinging, and emotionally resonant. Those descriptions feel especially accurate on this release. The band sounds unified but never rigid, adventurous but never academic.

What’s most impressive is how Journey To Bowerbird manages to feel fearless without losing its humanity. Many experimental jazz records can feel intentionally difficult. Fiedler’s work, by contrast, feels curious. The music invites listeners into its complexity rather than using complexity as a barrier.

At a time when genre lines continue to blur and instrumental music is finding renewed audiences, Journey To Bowerbird arrives as a reminder that innovation in jazz does not require abandoning melody, groove, or emotional connection. Joe Fiedler and Big Sackbut have created a record that honors experimentation while remaining deeply listenable — a rare achievement in any musical landscape.

Matterform’s Debut Album Is a Cosmic Acid Jazz Journey Worth Getting Lost In

 

Some albums feel engineered for playlists. Others feel lived in. The self-titled debut from Matterform belongs firmly in the second category — a record shaped by years of late-night grooves, improvisation, experimentation, and chemistry developed onstage across Ventura and Santa Barbara.

Set for release on June 19, 2026 through Lost Beat 6, Matterform captures four years of evolution from a band deeply rooted in acid jazz, psychedelic funk, lo-fi textures, and exploratory fusion. The result is an instrumental album that feels cinematic without losing its intimacy.

There’s a looseness to the project that works in its favor. Nothing sounds rushed or overly polished. Instead, the album breathes. You can hear musicians listening to each other in real time, pushing songs forward through feel rather than formula. That organic approach is what gives the record its gravity.

The early singles already hint at the range Matterform brings to the table. “Oxnardis,” described as a tribute to Miles Davis, leans into smoky jazz harmonies and drifting grooves that feel suspended in space. Music writers have compared its atmosphere to floating through neon-lit streets at midnight, and the description fits. It’s immersive, meditative, and quietly hypnotic.

Then there’s “Toaster,” which swings the pendulum in the opposite direction. More energized and rhythmically aggressive, it reveals the band’s funk instincts while still maintaining the hazy psychedelia that defines their sound. Together, the two singles showcase a group comfortable moving between restraint and momentum without sacrificing cohesion.

The full tracklist — including songs like “Awakening,” “Duster,” “Paper,” “Weight,” and “Morpheus” — suggests an album designed as a continuous experience rather than a collection of disconnected tracks. That approach makes sense considering the band’s background in live performance. These songs sound built to evolve in the room.

Matterform also arrives with a strong visual identity. A vinyl edition is reportedly in preparation featuring artwork by guitarist Tony Pelosi, reinforcing the project’s handmade, analog spirit. In an era where so much music is optimized for speed and algorithmic reach, Matterform feels intentionally immersive.

For listeners who gravitate toward artists like Khruangbin, Glass Beams, BADBADNOTGOOD, or Tommy Guerrero, this debut should land naturally in rotation. But the album also stands comfortably on its own. It’s less interested in recreating familiar sounds than in building atmosphere through groove, texture, and patience.

At a time when instrumental music is increasingly finding wider audiences, Matterform arrives with the kind of debut that feels both timeless and contemporary — rooted in jazz traditions while unafraid to drift into stranger territory. If this first full-length is any indication, the band’s next chapter could extend well beyond the California coast where these songs were born.

For now, Matterform feels like the soundtrack to getting pleasantly lost.