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.

Harold Melvin & The Blue Notes: The Essential Philly International Years

 

Few groups defined the sound of 1970s soul quite like Harold Melvin & The Blue Notes, and this outstanding collection captures the group at their absolute peak. Spanning four landmark Philly International albums alongside a bonus disc of rare and extended material, this set is both a celebration of Teddy Pendergrass’ rise and a showcase for one of the greatest eras in soul music history.

The journey begins with I Miss You, a groundbreaking release that helped reshape male soul music in the 1970s. With a young Teddy Pendergrass stepping into the spotlight, the album strikes a perfect balance between grit and sophistication, intimacy and polish. Long-form masterpieces like “I Miss You” and “Be For Real” highlight Teddy’s commanding blend of spoken-word intensity and soaring vocals, delivering songs filled with mature emotion and masculine vulnerability. Backed by the lush sophistication of the Philly International sound, tracks such as “Ebony Woman,” “Yesterday I Had The Blues,” and “Let It Be You” cement the album as a true soul classic.

Black & Blue follows with an even more expansive sound. Despite the live-style cover image, the album delivers a deeply orchestrated studio experience, with arrangements from Bobby Martin, Norman Harris, and Vince Montana creating a sweeping, almost symphonic soul atmosphere. Teddy’s raw edge blends seamlessly with the harmonies of the group, resulting in a powerful and emotionally charged collection. Timeless cuts like “The Love I Lost” and “Is There A Place For Me” stand alongside gems including “Concentrate On Me,” “It All Depends On You,” and “I’m Weak For You.”

The brilliance continues with To Be True, widely regarded as one of the defining records of the Philly International era. Teddy Pendergrass is in magnificent form throughout, delivering passionate lead performances while the Blue Notes provide rich harmonic support. The production, songwriting, and Sigma Studios craftsmanship are flawless, creating a seamless fusion of elegance and emotional depth. Highlights include “Hope That We Can Get Together Soon,” “Where Are All My Friends,” “Bad Luck,” “To Be True,” “Nobody Could Take Your Place,” and “All Because Of A Woman.” The album also introduces Sharon Paige, whose contributions hint at the larger role she would later play within the group.

By the time Wake Up Everybody arrived, Harold Melvin & The Blue Notes had embraced a more socially conscious direction. Drawing inspiration from the politically charged soul of fellow Philly International stars The O’Jays, the group delivered one of the era’s most enduring statements. The title track, “Wake Up Everybody,” remains a towering anthem of hope and social awareness, while “Don’t Leave Me This Way” became a crossover club classic that continues to resonate decades later. Other standout tracks include “Keep On Lovin You,” “Tell The World How I Feel About Cha Baby,” “I’m Searching For A Love,” and “You Know How To Make Me Feel So Good,” the latter pair once again featuring Sharon Paige. With arrangements by Bobby Martin, Norman Harris, and Ronnie Baker, the album also marks Teddy Pendergrass’ final recording with the group.

The third disc rounds out the collection with a superb selection of bonus material, including extended mixes and live performances that capture the group’s incredible stage presence. Highlights include “I Miss You (Live),” “Everybody’s Talkin’,” Tom Moulton mixes of “Bad Luck” and “Don’t Leave Me This Way,” plus live renditions of “The Love I Lost” and “If You Don’t Know Me By Now.”

For longtime fans and newcomers alike, this collection stands as an essential document of the golden age of Philadelphia soul — a timeless reminder of the power, elegance, and emotion that made Harold Melvin & The Blue Notes legendary.

Barney Wilen’s French Story Returns in a Stunning Vinyl Reissue

 

Legendary French tenor saxophonist Barney Wilen is once again stepping into the spotlight with the upcoming reissue of French Story (Movie Themes From France), arriving July 3, 2026, through Music On Vinyl. Originally released in 1990, the album captures Wilen’s deep connection to cinema, jazz, and the timeless elegance of French film music.

Widely respected for his collaborations with jazz icons including Miles Davis, Art Blakey, and Thelonious Monk, Wilen built a reputation as one of Europe’s most expressive and adventurous jazz musicians. His work on film soundtracks became a defining part of his artistic identity, making French Story a natural extension of his creative vision.

Recorded in 1989 at Studio 44 in the Netherlands, the album features Wilen alongside the acclaimed Mal Waldron Trio. Jazz pianist Mal Waldron, bassist Stafford James, and drummer Eddie Moore provide the rich and atmospheric foundation for Wilen’s lyrical saxophone performances throughout the project. Together, the quartet reimagines beloved themes from classic French cinema, transforming them into moody and sophisticated jazz interpretations.

Among the album’s standout moments is “Julien Dans L'Ascenseur / Florence Sur Les Champs-Elysees,” originally associated with Miles Davis’ legendary soundtrack for Ascenseur Pour L'échafaud. Wilen also revisits timeless compositions such as “Les Feuilles Mortes (Autumn Leaves),” which first gained recognition through the French film Les Portes de la Nuit, and “Un Homme Et Une Femme,” one of the most recognizable themes in French cinema history.

While the album first appeared on vinyl in 1992, that pressing only included six tracks. This new edition restores the complete recording for the first time on vinyl, adding the previously omitted tracks “No Problem” and “Quiet Temple.” The reissue arrives as a deluxe 2LP black vinyl set housed in a slip sleeve and includes a commemorative 50th Anniversary Timeless Jazz sticker attached to the protective sleeve.

The collection beautifully showcases Wilen’s ability to blend cinematic emotion with improvisational jazz, creating an atmosphere that feels equally nostalgic and timeless. Whether revisiting familiar melodies from French film classics or exploring the subtle interplay between the musicians, French Story stands as a reminder of Wilen’s lasting influence on European jazz.

Set across two LPs, the album flows through romantic themes, melancholic ballads, and understated grooves that highlight the elegance of both French cinema and late-night jazz club culture. Tracks such as “Les Parapluies de Cherbourg,” “Manha De Carnaval,” and “Generique” further expand the album’s cinematic mood while showcasing the quartet’s remarkable chemistry.

For jazz collectors and fans of classic film scores alike, this expanded reissue offers a chance to experience one of Barney Wilen’s most atmospheric recordings in its fullest form.

Juan Carlos Quintero Reimagines Timeless Latin Classics on The Story of Love

Latin jazz guitarist Juan Carlos Quintero is reconnecting with the music that shaped his childhood on his latest album, The Story of Love, available now through Moondo Music (BFD/The Orchard). The project marks Quintero’s 13th studio release and finds the Colombian-born musician breathing fresh life into beloved romantic Latin standards from the 1950s and 1960s.

For Quintero, the album is deeply personal. Growing up in Medellín, he often heard these melodies playing throughout his family home from his parents’ stereo and his father’s piano. At the time, his focus was fixed on mastering rock guitar riffs inspired by legends like Jimmy Page and Jeff Beck. Years later, while selecting material for a new recording project, he realized those same songs from his childhood had stayed with him and continued influencing his artistic direction.

Blending expressive electric guitar work with lush Latin rhythms and jazz improvisation, Quintero co-produced the album alongside Guillermo Guzmán. The recording features his accomplished quartet, including Eddie Resto on upright bass, Aaron Serfaty on drums and percussion, Joey Deleon on percussion, and Joe Rotondi on piano. GRAMMY®-nominated musicians Justo Almario and Luis Conte also make standout guest appearances throughout the album.

The collection opens with “Poodle Mambo,” featuring Almario’s airy flute melodies, immediately setting the tone for a sophisticated journey through Latin jazz traditions. Quintero credits legendary pianist George Shearing as a major influence on the project, particularly Shearing’s late-1950s Latin jazz recordings that merged melodic elegance with rhythmic complexity. Quintero says those recordings expanded his understanding of how the guitar could function within Latin jazz and inspired him to reinterpret that style through his own musical voice.

Classic standards receive vibrant new interpretations across the album. “Poinciana,” famously recorded by artists such as Ahmad Jamal, Sonny Rollins, Frank Sinatra, and Dave Brubeck, became a centerpiece for Quintero because of its timeless melodic strength and adaptability. He notes that regardless of arrangement or tempo, the song’s emotional impact always remains intact.

Another highlight, “Softly As In A Morning Sunrise,” reflects Quintero’s admiration for guitarist John Scofield. Hearing Scofield’s interpretation during his years studying at Berklee College of Music opened new creative possibilities for him as a guitarist. On The Story of Love, Quintero reshapes the standard into a vibrant Cha-Cha-Cha arrangement that merges jazz sophistication with infectious Latin grooves.

The album’s emotional center arrives with “Corcovado (Quiet Nights of Quiet Stars),” a song closely tied to Quintero’s memories of his father playing Antonio Carlos Jobim compositions around the house. Looking back, Quintero now sees those moments as foundational to the musician he would become. Recording and performing these songs, he says, feels less like revisiting the past and more like honoring his father’s musical legacy.

Another standout track, “The Moon Was Yellow (and The Night Was Young),” transforms the classic tune into a romantic Cuban Danzón inspired by Frank Sinatra’s legendary phrasing and Nelson Riddle’s iconic arrangements. Luis Conte’s percussion performance drives the track’s graceful movement and emotional warmth.

Throughout the album, Quintero explores multiple traditional Latin styles, from boleros and mambos to cha-cha-cha and danzón rhythms. Songs like “Tres Palabras,” “Yours (Quiéreme Mucho),” and “Cuban Love Song” showcase the project’s balance of refined arrangements, heartfelt performances, and rhythmic sophistication.

Closing the album is the title track, “The Story of Love (Historia De Un Amor),” dedicated to Quintero’s wife, Viviana. Featuring Almario’s expressive clarinet work, the song captures the romance and devotion that inspired the album’s overarching theme. Quintero describes the piece as a reflection of enduring love and the beauty that meaningful relationships bring into life.

Quintero’s musical journey began at age eight, eventually leading him to Berklee College of Music and later the New England Conservatory, where he studied composition with George Russell. After moving to Los Angeles, he released his debut album in 1990 featuring legendary guitarist Tommy Tedesco of The Wrecking Crew. Over the decades, Quintero built a respected career blending jazz, Latin, and world music influences while also establishing Moondo Music in 2000.

Beyond performing and recording, Quintero has become a respected educator and music industry professional. He has taught jazz, composition, and music business courses at several colleges and currently serves as head of the music business program at the University of Tennessee. His career also expanded into television production, where he supervised music and rights management for projects connected to Saban Brands, including Power Rangers, Julius Jr., and Glitter Force.

With The Story of Love, Quintero hopes listeners will rediscover timeless melodies through the lens of Latin rhythm and culture. He believes rhythms like mambo, bolero, cha-cha-cha, and danzón have the power to transport audiences to places where romance, passion, and celebration come alive through music and dance.

Tony Saunders Revives a Classic Groove With a Fresh Mashup

Acclaimed bassist Tony Saunders is bringing new energy to two timeless R&B favorites with the release of his latest single, a creative mashup of Mark Morrison’s “Return of the Mack” and El DeBarge’s “I Like It.” The idea first caught attention during January’s NAMM Show, where Saunders performed the track for renowned saxophonist Gerald Albright. The nine-time GRAMMY® nominee immediately recognized the song’s crossover appeal and agreed to join the recording. Since its release, the single has steadily gained traction on both the Billboard and Mediabase charts.

The collaboration also features GRAMMY®-winning keyboardist Michael Mani, known for his work with Carlos Santana, Eric Clapton, and Tori Kelly. Mani co-produced the single alongside Saunders while contributing keyboards, synths, drum programming, guitar synths, key bass, and vocal production. Drummer John Mitchell added live percussion that gives the track its driving rhythm and dynamic feel.

Saunders explained that the project was inspired by his longtime admiration for “Return of the Mack,” particularly its unforgettable groove. Pairing it with “I Like It” came naturally because both songs share the same musical key. According to Saunders, audiences have responded enthusiastically whenever the mashup is performed live.

The single also carries personal significance for Saunders, who dedicated the release to the memory of his cousins, Kurt Kaywood and Oliver Rodgers. Both passed away within weeks of one another while he was completing the track. Saunders reflected on the important role they played in his life and how they constantly introduced him to new experiences and ideas.

Originally released in 1996, “Return of the Mack” became one of the era’s defining hits, climbing to No. 2 on the Billboard Hot 100. Likewise, “I Like It” marked a major breakthrough for El DeBarge in 1982, reaching No. 2 on Billboard’s R&B chart and becoming a staple of classic soul and R&B radio.

Beyond music, Saunders recently stepped into the film world once again with a cameo appearance in the upcoming Belton Mouras Entertainment production Fingers: The Vegan Zombie Musical, expected to premiere this Halloween season. Although Saunders has composed music for several films over the years, his on-screen debut dates back to 1986 when he appeared in Francis Ford Coppola’s Peggy Sue Got Married alongside Nicolas Cage.

Saunders’ musical roots run deep. He studied piano under jazz legend Herbie Hancock, received an organ from Sly Stone, and was gifted his first bass guitar by Tom Fogerty of Creedence Clearwater Revival. His professional career began performing with his father, Merl Saunders, whose band frequently collaborated with Grateful Dead icon Jerry Garcia. Over the years, Saunders has built a reputation for seamlessly blending jazz, funk, rock, R&B, and Latin influences into his sound. He also co-created the musical Rock Justice with Jefferson Starship founder Marty Balin.

Launching his solo career with 2011’s Romancing the Bass, Saunders has continued to evolve as an artist. His 2024 project The Romance Continues generated several Billboard Top 10 hits and further established his presence in contemporary jazz. Throughout his career, he has collaborated with respected artists including Jeff Lorber, Paul Brown, Randy Crawford, Blake Aaron, and Adam Hawley.

Looking ahead, Saunders plans to release more music while touring with a newly assembled band featuring John Mitchell on drums, Vernon Hall on bass, guitarist Tim Landis, and keyboardist Ray Roland. Saunders says the chemistry within the group is undeniable and perfectly captures the musical energy he has always envisioned.

Mica Millar Steps Into a Bold New Era With “A Little More Time For Love”

British soul singer, songwriter, and producer Mica Millar returns with “A Little More Time For Love,” the latest single from her upcoming sophomore album A Little Bit of Me, arriving June 5 via her independent imprint, Golden Hour Music. Written and produced by Millar and recorded at the iconic Studio Miraval in the south of France, the new album represents a major creative leap for the acclaimed artist, revealing a more confident, vibrant, and expansive side of her songwriting.

The new single follows the release of “See You On The Other Side,” featuring Grammy Award-winning trumpeter Keyon Harrold, as well as the album’s title track. Together, the songs have introduced a project rooted in emotional honesty, transformation, resilience, and personal evolution while already earning support from BBC Radio 2 and Jazz FM.

While Millar’s 2022 debut Heaven Knows was shaped by profound emotional depth and personal adversity following a devastating spinal cord injury that nearly left her paralyzed, “A Little More Time For Love” embraces a lighter and more immediate energy. Built around driving rhythms, uplifting grooves, and the spirit of classic soul music, the track reflects a deliberate shift toward movement, joy, and connection without losing the emotional richness that defines her work.

The song was inspired by a headline performance at New Morning in Paris, where a mistakenly printed setlist unexpectedly altered the pacing of the show. With many of her slower, more introspective songs removed from the first half of the set, the audience energy surged much earlier than anticipated. That experience sparked Millar’s desire to sustain that feeling of momentum and excitement, becoming a major creative influence on the direction of her new album.

As work on A Little Bit of Me began, Millar challenged herself to imagine what a more upbeat and rhythm-focused record could sound like. Rather than starting compositions at the piano, she shifted her process toward grooves and percussion, building songs from the rhythm section outward. Gregory Porter drummer Emanuel Harrold contributed early demo ideas that helped shape the track’s foundation, later connecting Millar with his brother, celebrated trumpeter Keyon Harrold, leading to ongoing creative collaborations.

Musically, “A Little More Time For Love” draws inspiration from the timeless sound of 1960s soul and girl group recordings, echoing influences such as The Supremes, The Staple Singers, Aretha Franklin, and The Emotions. The result blends vintage soul textures with a modern production approach, anchored by Millar’s powerful and unmistakable vocal delivery.

The single also arrives with a visually striking music video featuring Millar alongside an all-female backing band made up of some of Los Angeles’ top session musicians. Brightly stylized and influenced by classic soul-era visuals, the video reinterprets that aesthetic through a contemporary lens while reinforcing the song’s celebratory energy.

Since releasing Heaven Knows in 2022, Millar has steadily emerged as one of the UK’s most compelling modern soul artists. Entirely self-managed and independently operated, she has built her career on her own terms while earning widespread critical acclaim. Her debut album featured collaborations with Prince associates Ricky Peterson and David Z and received major recognition including five-star reviews from the Daily Express and Daily Mirror, the cover of Blues & Soul Magazine, and the Jazz FM Award for Soul Act of the Year.

Millar has since toured internationally, headlined sold-out performances including Manchester’s Albert Hall and London’s Union Chapel, and shared stages with legendary artists including Stevie Wonder, Lionel Richie, Gladys Knight, and Gregory Porter. Additional support from BBC television and radio, along with her 2023 induction into The Recording Academy, has further solidified her growing reputation as a vital new voice in soul music.

This autumn, Millar will embark on her biggest European headline tour to date, including major UK performances at Manchester’s New Century Hall on September 26, London’s Shepherd’s Bush Empire on October 9, and Glasgow’s Old Fruit Market on October 11, alongside dates across France, Germany, the Netherlands, Norway, Sweden, and Poland.

Connection Works Records Unveils New Albums From Michel Gentile and Rob Garcia

 

Connection Works Records has announced two new jazz releases arriving worldwide on May 29, 2026, showcasing adventurous new music from flutist/composer Michel Gentile and drummer/composer Rob Garcia. The label’s latest projects highlight two distinct creative visions while celebrating deep collaboration, improvisation, and modern jazz innovation.

Michel Gentile makes his long-awaited debut as a bandleader with Light Of Day, recorded with his ensemble Flow. The album features Gentile performing on flute, alto flute, bass flute, and piccolo alongside Mike McGinnis on clarinet, Jacob Garchik on trombone, Chris Lightcap on bass, and Tom Rainey on drums. Built around the concept of musical immersion and interaction, Flow was designed to give each instrument the freedom and sonic space to fully develop its own voice within the ensemble.

Gentile’s compositions move fluidly between structured arrangements and open improvisation, drawing inspiration from visionaries such as Charles Mingus, Duke Ellington, and Henry Threadgill. Across Light Of Day, layered textures, spontaneous interplay, overlapping solos, and shifting ensemble dynamics create a listening experience rooted in both precision and exploration.

The album’s title track was written for Gentile’s wife and reflects the emotional and structural depth that defines the project as a whole. The composition evolves through contrasting musical identities, intricate counterpoint, rhythmic hockets, and a powerful extended drum feature from Tom Rainey before returning transformed by the journey it has taken.

Other standout moments include “Chthonian,” inspired by mythic underworld spirits, and “Flesh and Steel,” written in response to the tragedy of 9/11 and intended to capture both personal grief and collective trauma. “Solidaire” draws from an Albert Camus story centered on the tension between solitude and solidarity, while “This Reminds Me of You” emerged almost instantaneously after Gentile watched the film Stranger Than Fiction. The album also explores blues abstraction, poetic imagery, and meditative ensemble improvisation through pieces such as “Ici là-bas” and “Hold Infinity in the Palm of Your Hand.”

Gentile has built an expansive career as both performer and composer, collaborating with artists including Ray Charles, Anthony Braxton, Jane Ira Bloom, Dave Liebman, Joe Lovano, and Fred Hersch. A graduate of the New England Conservatory, he studied with influential figures including Jimmy Giuffre, Geri Allen, Dave Holland, and George Russell. DownBeat previously recognized him as a “Talent Deserving Wider Recognition,” and he continues to work extensively across jazz, theater, dance, and film while co-directing the nonprofit organization Connection Works.

Also arriving May 29 is Sizzle Ensemble, the latest recording from acclaimed drummer and composer Rob Garcia. Expanding upon the foundation of his longtime Rob Garcia 4 project, Garcia introduces a vibrant new quintet featuring Noah Preminger on tenor saxophone, Shane Endsley on trumpet, Gary Versace on piano and electric piano, and Kim Cass on bass.

The album blends original compositions with inventive reinterpretations of jazz classics, revealing Garcia’s ability to balance accessibility with fearless experimentation. The title Sizzle references both the excitement generated by a band in peak form and the shimmering cymbal textures central to Garcia’s rhythmic language.

Garcia’s original works cover a wide emotional spectrum. “Early Celebration” channels the energy of Ornette Coleman through accelerating momentum and explosive improvisation, while “Autumn Mischief” reflects childhood memories tied to Halloween and Mischief Night. “Department of Peace” was written as both protest and hope, inspired by political unrest and the enduring pursuit of global peace. “Bully” examines the inner conflicts people carry within themselves, and “River” revisits and reshapes an earlier Garcia composition with fresh perspective.

The album’s arrangements are equally ambitious. Garcia transforms Thelonious Monk’s “Epistrophy” through Afro 12/8 rhythms and shifting meters, reshapes Marcus Miller’s “Tutu,” and gives Herbie Hancock’s “Maiden Voyage” a more urgent, groove-oriented energy. Reinvention has long been central to Garcia’s work, which has included jazz interpretations of music by The Beatles, Leonard Cohen, Chopin, Bob Dylan, and Hildegard von Bingen.

A major force within Brooklyn’s jazz community, Garcia has performed on more than seventy-five recordings and collaborated with artists including Joe Lovano, Wynton Marsalis, David Byrne, Diana Krall, Anat Cohen, and Kronos Quartet. In addition to leading his own projects, he serves as founder and artistic director of Connection Works, a nonprofit organization dedicated to presenting jazz performance and education programs throughout Brooklyn.

The albums will also be celebrated with several upcoming live performances, including Rob Garcia Sizzle Ensemble appearances at Bay Bayeux in Brooklyn on May 9 and Smalls Jazz Club in New York City on May 28, followed by a June 6 double bill featuring both Michel Gentile Flow and Rob Garcia Sizzle Ensemble at Wide Open Works at IBeam in Brooklyn.

The Solomon Gundy Band Announce Debut Album Hancestry

 

British trumpeter and composer Sean Corby introduces Hancestry, the debut release from The Solomon Gundy Band, arriving on 31 July 2026 via Dundus Records. Bringing together a cross-generational collective of musicians from across the UK jazz scene, the album delivers a rich and contemporary blend of soul jazz, Afro-diasporic rhythms and sound-system culture.

Rooted in Corby’s personal return to music after years away from the trumpet, Hancestry is both a celebration of artistic resilience and a reflection on the evolving story of British jazz. Across the album, traditional jazz influences meet experimental textures and modern grooves, creating a sound that honours the past while firmly embracing the present.

The project features an impressive lineup of collaborators, including UK jazz icon Courtney Pine, acclaimed pianist Sultan Stevenson, vocalist Julie Dexter and Drew Gonsalves. Mixed by Ashley Slater of Loose Tubes and mastered by Carmen Rizzo, the album bridges generations, connecting the pioneering spirit of Jazz Warriors with the vibrant sounds of today’s UK jazz underground.

Tracks such as “Hancestry (for Zora Neale Hurston),” “Choose To Be (for James Baldwin)” and “Wadada (for Ismael Leo Smith)” highlight the album’s deep cultural and literary inspirations, while pieces like “Duke of Da Bronx” and “Jazz Interlude/Solomon A Dub” showcase its fusion of jazz improvisation with dub and contemporary rhythmic influences.

With Hancestry, The Solomon Gundy Band deliver a debut that is thoughtful, adventurous and deeply rooted in community, identity and musical exploration.

Hancestry will be available on LP and CD formats.

Track Listing

1. Hancestry (for Zora Neale Hurston)
2. Divine Days (for Leon Forrest)
3. Sparkey’s Lament
4. Duke of Da Bronx
5. Drum Song (for Chino)
6. Choose To Be (for James Baldwin)
7. Wadada (for Ismael Leo Smith)
8. Seasons
9. Jazz Interlude / Solomon A Dub

Judith Owen Returns with Jazz and Blues Collection Suit Yourself

Acclaimed vocalist Judith Owen continues her celebrated exploration of jazz and blues with the release of her new album, Suit Yourself, arriving on 12 June 2026 via Twanky Records. Recorded at the renowned Esplanade Studios in New Orleans, the album sees Owen once again uncovering overlooked classics and reimagining them with elegance, soul, and unmistakable style.

Blending intimate piano-led performances with arrangements for jazz sextet and contemporary big band, Suit Yourself showcases Owen’s rich and expressive voice across a carefully curated collection of songs. From the sophistication of “That’s Why I Love My Baby” to powerful interpretations of classics such as Aretha Franklin’s “Evil Gal Blues,” Nellie Lutcher’s “For You My Love,” and Etta James’s “Since I Fell For You,” the album captures both the timelessness and emotional depth of the genres she continues to champion.

Among the album’s standout moments is a duet with celebrated New Orleans musician Davell Crawford on “Today I Sing The Blues,” while renowned guitarist Joe Bonamassa delivers fiery guitar work on “Mind Is On Vacation.” The album closes on a stirring note with the gospel-inspired “Inside Out,” featuring the Tonya Boyd-Cannon Choir.

Combining vintage influences with modern arrangements, Suit Yourself further cements Judith Owen’s reputation as one of the most distinctive interpreters working in contemporary jazz and blues today.

Suit Yourself will be available on CD and LP formats.

Track Listing

1. That’s Why I Love My Baby
2. Blue Skies
3. To Your Door
4. If I Were A Bell
5. Today I Sing Blues ft. Davell Crawford
6. Moanin’ – With the J.O. Big Band
7. Shall We Dance
8. Spooky
9. Have A Good Life
10. Mind Is On Vacation ft. Joe Bonamassa
11. Evil Gal Blues – With the J.O. Big Band
12. Since I Fell For You
13. Inside Out ft. Tonya Boyd-Cannon Choir

Alternative Guitar Summit Pays Tribute to Pat Martino on Honoring Pat Martino, Vol. 2

Alternative Guitar Summit returns with Honoring Pat Martino, Vol. 2, a deeply personal and expansive tribute to one of jazz guitar’s most influential voices. Arriving five years after the first volume, this new collection brings together an exceptional lineup of guitarists and collaborators to celebrate the enduring brilliance of Pat Martino’s music and legacy.

Much of the album was shaped during the isolation of the 2021 pandemic, when a planned live event was transformed into a series of intimate studio sessions. In a period when making music together carried a renewed sense of purpose, the recordings took on a unique emotional depth, capturing both the spirit of collaboration and the timeless power of Martino’s compositions.

Featuring performances from acclaimed guitarists including Kurt Rosenwinkel, Cecil Alexander, Dave Stryker, Paul Bollenback, and producer Joel Harrison, the album offers interpretations that honour Martino without attempting to imitate his singular style. Instead, each artist approaches the material with individuality and respect, exploring the sophistication, intensity, and melodic richness that made Martino a towering figure in modern jazz.

Additional recordings completed in 2025 add fresh perspectives to the project, helping shape a tribute that feels both reflective and forward-looking. Across the album, Martino’s compositions are reaffirmed as essential works within the contemporary jazz canon.

Honoring Pat Martino, Vol. 2 will be released on 3 July 2026 via HighNote Records.

Track Listing

1. Villa Hermosa
2. Lean Years
3. Rememberance
4. A Blues for Mickey O
5. City Lights
6. El Hombre
7. Song Bird
8. A Portrait of Diana
9. Lean Years (Slight Return)
10. Welcome to a Prayer

Dexter Wansel’s Time Is Slipping Away Returns on Limited Translucent Blue Vinyl

Philadelphia soul innovator Dexter Wansel returns to the spotlight with a new reissue of his 1980s-era classic Time Is Slipping Away, arriving April 3, 2026 via Music On Vinyl.

Originally the final chapter in Wansel’s run with Philadelphia International Records, the album captures a moment where R&B, jazz-funk, P-funk, and early-80s quiet storm aesthetics converged into a richly textured and forward-looking sound. Across its tracklist, Wansel blends synthesizer-driven grooves, soulful songwriting, and instrumental experimentation in a way that reflects his dual identity as both producer and composer.

The album features standout cuts including “The Sweetest Pain,” featuring vocalist Terri Wells, and “I’ll Never Forget (My Favorite Disco),” both of which helped define the record’s blend of emotional warmth and rhythmic sophistication. Alongside these are funk-driven pieces like “Funk Attack” and atmospheric instrumentals such as the title track, which highlight Wansel’s expansive approach to arrangement and sound design.

Time Is Slipping Away also demonstrates Wansel’s ability to move fluidly between styles without losing cohesion—shifting from P-funk energy to introspective quiet storm balladry and jazz-inflected instrumental passages. It stands as a snapshot of an artist working at the intersection of soul tradition and electronic innovation during a transformative era for R&B.

This new edition is presented as a limited pressing of 500 copies on translucent blue vinyl, complete with an insert featuring lyrics, making it a desirable collector’s item for fans of Philadelphia soul, jazz-funk, and vintage R&B production craft.

More than a reissue, it serves as a reminder of Wansel’s lasting influence on modern soul and funk—an artist whose work continues to resonate through contemporary R&B and sample culture.

Anthony Joseph Announces Afrofuturist New Album The Ark, a Cosmic Extension of Black Cultural Memory

Trinidadian poet, vocalist, and composer Anthony Joseph returns with The Ark, a 2LP release arriving May 1, 2026 via Heavenly Sweetness. The album continues Joseph’s ambitious two-part conceptual cycle that began with 2025’s Rowing Up River To Get Our Names Back, expanding his blend of poetry, jazz, R&B, and experimental Black Atlantic sound into a deeper Afrofuturist narrative.

Rooted in themes of memory, mythology, and speculative history, The Ark explores what Joseph describes as using “the future in order to correct the wrongs of the past.” The result is a work shaped by Afrofuturism’s long lineage—drawing inspiration from visionary figures such as Sun Ra, Parliament-Funkadelic, and writer Octavia E. Butler—while grounding itself in lived experience and contemporary cultural reflection.

Produced by Dave Okumu, known for his work with The Invisible, the album takes shape through a process of sonic experimentation and poetic assembly. Okumu’s textured production style provides a foundation for Joseph’s spoken-word narratives, which unfold gradually across months of collaborative refinement.

A core ensemble of collaborators deepens the album’s sonic palette, including vocalist Eska Mtungwazi, drummer Tom Skinner, trumpeter Byron Wallen, keyboardist Nick Ramm, and saxophonist Colin Webster. Together they construct a fluid musical environment where jazz improvisation, dub atmospherics, and funk-driven grooves converge into a single evolving language.

Across its six tracks, The Ark moves between meditative spoken word and expansive ensemble interplay. Pieces such as “The African Origines of UFOs” and “Transposition of Space (Glissant)” reflect Joseph’s interest in philosophical and historical re-imaginings, while the title track anchors the record in a broader mythic framework—positioning the “ark” as both vessel and metaphor for cultural survival and transformation.

More than a genre exercise, The Ark functions as a conceptual and emotional continuum, blending autobiography with collective history. Joseph describes the work as less about individual experience and more about “a communal experience in which the artist is conduit, messenger, urban griot,” a sentiment reflected in the album’s open, exploratory structure.

With its fusion of poetry, jazz improvisation, dub textures, and Afrofuturist vision, The Ark stands as one of Anthony Joseph’s most expansive statements to date—a record that imagines new worlds while reframing the past in sound.