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.

Average White Band Celebrate Later Career Era on New 4CD Box Set Renaissance 1988–2003

Legendary funk and soul outfit Average White Band are set to be reissued in expansive form with Renaissance 1988–2003, a new 4CD box set arriving September 18, 2026 via Edsel Records.

Long recognised as one of the most influential groove bands of the 1970s, AWB made a lasting mark on global music through hits like “Pick Up the Pieces” and “Work to Do,” while their tight rhythm section and horn-driven arrangements became foundational touchstones for modern funk, R&B, and hip-hop sampling culture.

This new collection focuses on the band’s later-era resurgence, beginning with 1988’s Aftershock and continuing through Soul Tattoo (1996), the live recording Face to Face (1999), and 2003’s Living in Colour. Across these releases, the group’s evolving lineup—anchored by founding members Alan Gorrie and Onnie McIntyre—demonstrates how AWB adapted to changing production styles while retaining their unmistakable musical identity.

The set features collaborations with major artists including Chaka Khan and Ronnie Laws on “The Spirit of Love,” appearances from The Ohio Players, and contributions from Daryl Hall and Hall & Oates collaborator Klyde Jones, reflecting the band’s continued deep connections across the R&B and soul landscape.

Beyond studio material, Renaissance 1988–2003 also captures AWB’s live evolution, including recordings from their San Francisco Fillmore performance alongside Tower of Power, highlighting the enduring chemistry between two of the most respected horn-driven groups in modern funk history.

Spanning reinterpretations, guest-heavy studio sessions, and live recordings, the box set documents a period often overshadowed by AWB’s 1970s peak but essential to understanding their long-term legacy. It showcases a band continuing to evolve—experimenting with production, embracing new collaborators, and maintaining the rhythmic sophistication that made them one of the most sampled acts in music history, influencing artists from Snoop Dogg to Mark Ronson.

More than a retrospective, Renaissance 1988–2003 reframes this era as a creative rebirth—proof that AWB’s groove language remained vital across decades, lineups, and shifting musical landscapes.

Mr Bongo Record Club Vol. 8 Expands the Global Soundscape with Soul, Brazil, Jazz-Funk and Rare Groove Gems

Various Artists return with Mr Bongo Record Club Vol. 8, the latest edition in the acclaimed compilation series curated by Mr Bongo, set for release on June 26, 2026.

Now eight volumes deep, the Record Club series continues its mission of unearthing and celebrating deep cuts, overlooked treasures, and personal favourites drawn from across the global musical spectrum. Volume 8 brings together an expansive selection of soul, boogie, jazz-funk, disco-reggae, Latin, and Brazilian music—reflecting the label’s long-standing commitment to cross-cultural discovery and dancefloor storytelling.

This edition opens with the emotional depth of As Ganhadeiras de Itapuã’s “Mare mansa,” setting the tone for a journey that moves through contemporary Brazilian productions, rare groove rediscoveries, and soulful classics. Brazilian music plays a particularly central role throughout the compilation, with selections that highlight both traditional regional sounds and modern reinterpretations, including contributions from artists such as Ubunto, Castanheiro, Tyaraju & Dutra, and Eduardo Araújo.

Alongside its Brazilian focus, the compilation dives deep into vintage and modern soul, featuring standout cuts from Tommy McGee, Trevor Dandy, and Wil Collins & Willpower, alongside disco, reggae, and Brit-funk rarities from artists including Powerline and Tapper Zukie.

A standout moment comes in the form of a rework of The Sylvers’ “Wish That I Could Talk To You,” reimagined by legendary producer Kenny Dope, who injects new rhythmic weight while preserving the original’s soulful essence.

True to the series’ ethos, Vol. 8 resists genre boundaries in favour of flow, emotion, and discovery. Tracks move fluidly between eras and regions, united by an underlying sense of groove and musical curiosity rather than style or chronology.

More than a compilation, Mr Bongo Record Club Vol. 8 functions as a curated listening experience shaped by DJ culture, crate-digging tradition, and a global network of sound collectors. It reflects not only what is being rediscovered, but also how music continues to connect places, generations, and emotional states across borders.

Down To The Bone Return with Groove-Heavy New Album This Way Forward

Grammy-nominated acid jazz collective Down To The Bone return after a decade with This Way Forward, a groove-driven, jazz-funk and soul-infused album set for release on June 5, 2026 via Dome Records.

Known for their distinctive blend of acid jazz, funk, and dancefloor-ready jazz grooves, the group’s new record spans ten tracks that draw from jazz-funk, soul, and Brazilian rhythms, reinforcing their reputation for finely crafted, high-energy ensemble music.

This Way Forward brings together an expansive lineup of collaborators, bridging past and present contributors. Vocal performances include Hil St Soul, who co-wrote the opening track “Get Up And Dance,” alongside soulful contributions from Natasha Watts and Brazilian vocalist Guida de Palma, adding international flavour and warmth across the record.

At the core of the album is a seasoned instrumental ensemble featuring key figures from the UK jazz and funk scenes. The horn section includes musicians such as Tim Smart, Ryan Jacob (known for work with Bonobo and Alice Russell), and saxophonist James Arben. The rhythm section is anchored by bassist Julian Crampton and drummer Davide Giovannini (associated with Snowboy and Jazztronik), while guitars from Tony Remy, Mark Jaimes, and Gianni Chiarello bring additional texture and funk-driven momentum.

Keys and harmonic direction come from Neil Angilley and Anders Olinder, both deeply embedded in the UK jazz circuit, while percussionist Joe “Bongo” Becket adds rhythmic colour throughout.

Across its tracklist, This Way Forward moves fluidly between dancefloor energy and smooth, melodic jazz-funk. Highlights include the celebratory opener “Get Up And Dance,” the expansive “Sending You Love (Parts 1 and 2),” the Brazilian-tinged “Bird Of Paradise,” and the closing burst of energy on “Umph!”

With its blend of vocal soul, tight horn arrangements, and infectious grooves, This Way Forward reaffirms Down To The Bone’s position as one of the UK’s most consistent and rhythm-focused jazz-funk outfits—returning with renewed energy and a global sonic palette.

Cult 1968 Soul-Pop Gem The Soul Of The Matter by Herbie And The Royalists Reissued on Vinyl

British soul-pop outfit Herbie And The Royalists return to the spotlight with a long-awaited reissue of The Soul Of The Matter, a cult 1968 album originally released on the budget Saga label and now restored by Morgan Blue Town for release on May 29, 2026.

Long regarded as a hidden treasure of the late-1960s British underground, the album has circulated among collectors and crate-diggers for decades, prized for its combination of raw charm, ambitious songwriting, and stylistic range far beyond its modest production origins. Fronted by vocalist Herbie Hunte, the group blended blue-eyed soul, mod-era pop, early psychedelia, and baroque pop influences into a distinctive and emotionally direct sound.

Across its original tracklist, The Soul Of The Matter moves between infectious soul-pop, experimental arrangements, and cinematic instrumental passages. Early highlight “Baby I Love You” showcases the band’s immediate melodic appeal, while tracks like “Royal Suite” and “Lost Voyage” reveal a more expansive, exploratory side that helped the record gain cult status over time.

Despite its limited initial pressings, the album gradually developed a reputation as one of the most compelling low-budget British soul releases of its era—an example of creativity flourishing outside the mainstream studio system. Its rediscovery and reissue now offer a new generation of listeners the chance to experience its blend of sincerity, invention, and period atmosphere in high-quality form.

This new edition presents the album on 180-gram vinyl (and CD), complete with sleeve notes and restored audio, reaffirming its place within the canon of British ‘60s soul, mod, and underground pop culture.

For collectors and fans of lost-era discoveries, The Soul Of The Matter stands as both a time capsule and a reminder that great music often emerges from the most unlikely circumstances.

Jim Keller Announces Vinilly! — A Europe-Only Vinyl Compilation Celebrating His Late-Career Revival

 

American singer-songwriter Jim Keller returns with Vinilly!, a limited-edition vinyl compilation set for release on May 29, 2026 via Continental Song City. Issued exclusively in Europe and positioned as a Record Store Day 2026 special release, the album collects key tracks from Keller’s recent creative resurgence, spanning his post-2023 output and highlighting a prolific late-career renaissance.

Best known as a founding member of Tommy Tutone, the group behind the classic hit “867-5309/Jenny,” Keller’s career has traversed chart success, industry reinvention, and decades of behind-the-scenes work in music publishing and production. After stepping away from the spotlight, he re-emerged in 2009 with Sunshine in My Pocket, beginning a new chapter that has since produced a steady stream of acclaimed solo albums.

Vinilly! draws from six solo records, including 2024’s Daylight and 2025’s End of the World, the latter featuring the Americana-charting single “Black Dog.” Across twelve tracks, the compilation showcases Keller’s signature blend of pop songwriting, rhythm & blues warmth, and soul-inflected storytelling, reflecting both his early rock roots and his more recent introspective writing style.

Keller’s path back to performing followed an unconventional trajectory. After Tommy Tutone’s rapid rise and dissolution in the early 1980s, he spent over two decades working in music publishing, most notably running the company of influential composer Philip Glass and collaborating with artists such as Tom Waits, Ravi Shankar, and Rufus Wainwright. That period of immersion in diverse musical worlds continues to inform the depth and eclecticism of his recent songwriting.

From reflective ballads like “Sunshine in My Pocket” to upbeat, melodic cuts such as “Modern Girl” and “A Girl Like You,” Vinilly! traces a songwriter reconnecting with performance while refining a voice shaped by experience, collaboration, and time away from the stage.

For long-time fans and new listeners alike, the collection serves as both a retrospective and a reaffirmation—capturing Jim Keller not as a legacy act, but as an active, evolving songwriter in full creative stride.

Steve Cropper’s Final Studio Statement Watching The Tide Brings Together Rock and Soul Legends in One Last Creative Burst

 

The passing of legendary guitarist, songwriter, producer, and Stax architect Steve Cropper in December 2025 marked a profound moment for American music. As a foundational figure in the development of soul, R&B, and rock—both through his work at Stax Records and across decades of session and production work—Cropper helped define the sound of post-war popular music. Now, posthumously, his final recording project Watching The Tide stands as a fitting and emotional closing chapter.

Assembled by project leader Jon Tiven, the album gathers an extraordinary lineup of collaborators, including Eric Clapton, Brian May, Ronnie Wood, and Billy Gibbons, across twelve newly completed songs. Rather than functioning as a retrospective, the record presents itself as a vibrant, living session—full of energy, collaboration, and creative momentum that Cropper himself considered among the strongest work of his later years.

According to Tiven, Cropper remained deeply engaged with the project during its creation, finding genuine joy in the sessions that would ultimately become his final studio recordings. That sense of vitality runs through the album, which balances gritty soul textures with blues-rock drive and classic songcraft.

Across Watching The Tide, Cropper’s unmistakable rhythmic guitar style anchors a wide-ranging set of performances that move between swaggering groove tracks, introspective blues, and full-band rock collaborations. The material reflects both his deep roots in Southern soul tradition and his enduring openness to collaboration across generations and genres.

Standout tracks include “Ticket First” featuring Eric Clapton, the expansive “My Angels Are Calling” pairing Brian May and Billy Gibbons, and “Until Now” with Ronnie Wood—each highlighting a different facet of Cropper’s musical world. Elsewhere, songs such as “Blood From A Stone,” “It’s Gonna Get Worse,” and “Stand Right Here” reinforce the album’s grounded, band-led energy, while “Tandoori Chicken” bookends the record with raw, groove-driven fire.

More than just a final album, Watching The Tide feels like a gathering of musical peers paying tribute through performance—an album shaped by mutual respect, shared history, and the unmistakable influence of a musician whose fingerprints are embedded across modern music itself.

For listeners, it stands as both celebration and farewell: the last recorded chapter of a life spent shaping the language of American guitar.

Alessio Menconi and Nigel Price Capture Intimate Guitar Dialogue on New Duo Album

Italian jazz guitarist Alessio Menconi joins forces with acclaimed UK guitarist Nigel Price for Duo, a new collaborative album arriving June 12, 2026 via Nervy Nigel Records.

Recorded during a brief pause in the pair’s 2025 touring schedule, the album documents an instinctive meeting between two highly expressive players whose shared language is rooted in melody, swing, and deep jazz tradition. Originally intended as an entirely acoustic session, the direction shifted the moment the musicians entered London’s Masterlink Studios and discovered two vintage 1963 Fender Bassman amplifiers waiting in the control room. The decision to plug in immediately reshaped the atmosphere of the recording, giving the album a warm, resonant electric tone while preserving the intimacy of a conversational duo setting.

The collection blends standards, original compositions, and tributes to jazz guitar icons including Pat Martino, Wes Montgomery, and Emily Remler. Across the record, Menconi and Price move fluidly between lyrical balladry and energetic interplay, balancing technical sophistication with spontaneity and emotional warmth.

Studio performances are complemented by two live recordings captured at the legendary The Bull's Head in Barnes, London. According to Price, additional live material was intended for the release, though an unintentional failure to hit record during the first set meant some performances disappeared forever into “the ether”—a fitting reminder of jazz’s ephemeral nature and the unrepeatable magic of live improvisation.

Tracks such as “She’s Leaving Home,” “Turn Out The Stars,” “Darn That Dream,” and “In A Sentimental Mood” showcase the pair’s ability to reinterpret familiar material with elegance and restraint, while originals including “Look To The Sky” and “Sweet Georgie Fame” reveal the duo’s shared affection for groove, melody, and nuanced harmonic storytelling.

Known for his prolific recording output and relentless touring schedule, Nigel Price has long been regarded as one of the UK jazz scene’s most consistent and dynamic guitarists. Menconi, meanwhile, brings decades of international experience and fluid virtuosity shaped by both straight-ahead jazz and contemporary European influences. Together, they create a recording defined less by showmanship than by attentive listening, trust, and the subtle intensity of two musicians fully engaged in dialogue.

Duo arrives as a richly textured and deeply personal guitar record—one that captures not only technical mastery, but the fleeting chemistry that makes improvised music so enduring.

Deirdre Cartwright Returns With ORGANIK, Her First Album in 15 Years

Acclaimed British guitarist and composer Deirdre Cartwright returns with ORGANIK, her first new album in 15 years, reconnecting with the roots of jazz guitar trio interplay while embracing a stripped-back, deeply expressive sound.

Built around the classic organ trio format, the album pairs Cartwright with Pete Whittaker on Hammond organ and Gary Hammond on percussion. Together, the trio moves fluidly through swing, Latin grooves, blues-inflected improvisation, and soulful reinterpretations, balancing technical finesse with warmth and spontaneity.

For ORGANIK, Cartwright intentionally simplified her setup, plugging her Gibson guitar directly into a Fender amplifier without using effects pedals or studio processing. The result is an intimate, resonant tone that places touch, phrasing, and interaction at the forefront of the music. Combined with Whittaker’s classic Hammond textures and Hammond’s richly atmospheric percussion work, the trio creates a sound that feels timeless yet highly personal.

The album blends original compositions with imaginative reinterpretations of familiar material, including a striking version of Eleanor Rigby alongside pieces such as “Sultans of Swing,” “Softly as in a Morning Sunrise,” and “On Green Dolphin Street.” Cartwright also includes tributes to influential figures such as late jazz guitarist Emily Remler, whose lyrical and adventurous spirit echoes throughout the project.

Whittaker brings a deep connection to the hard-bop organ tradition, informed by collaborations with major UK jazz figures including Art Themen and John Etheridge. Meanwhile, Hammond’s broad rhythmic vocabulary—shaped through work with artists including Nina Simone and The Beautiful South—adds texture, movement, and subtle colour across the record.

Rather than aiming for virtuosity alone, ORGANIK thrives on feel, restraint, and collective chemistry. The album highlights Cartwright’s ability to move between melodic clarity and exploratory improvisation while maintaining an inviting, groove-oriented atmosphere throughout.

After a 15-year recording absence, ORGANIK feels less like a comeback and more like a reaffirmation of Deirdre Cartwright’s distinctive musical voice—rooted in jazz tradition yet entirely her own.

Kasper Bjørke Quartet Explore Memory, Time and Spiritual Ambient Jazz on Passages in Time

Kasper Bjørke returns with Passages in Time, the third album from the Kasper Bjørke Quartet project, a deeply meditative work that blends spiritual jazz, ambient composition, and reflective electronic textures into an expansive contemplation of time and memory.

Inspired in part by filmmaker Christopher Nolan’s idea that “time is the most fundamental part of our human experience,” the album unfolds as a series of musical fragments—moments suspended between recollection, emotion, and introspection. Across the record, freeform jazz improvisations merge with cyclical synthesizer patterns, creating compositions that drift with quiet momentum while reflecting the elusive, fluid nature of time itself.

Dreamlike synth textures intertwine with guitar, harp, flute, saxophone, trumpet, and flugelhorn, forming spacious arrangements that emphasize atmosphere as much as melody. Rather than imposing narrative structure, Passages in Time leaves emotional space open to the listener, inviting personal reflection and interpretation through its gradual movement and understated beauty.

The album’s subtitles reportedly read like fragments from a private diary, touching on themes of love, parenthood, connection, and the fleeting significance of daily choices. Together, the compositions form what feels like a musical memoir—less concerned with chronology than with emotional resonance and memory’s fragmented, shifting nature.

Passages in Time also marks an evolution of the Quartet itself. While longtime collaborator Langstrakt (Claus Noreen) continues to shape the project’s synthesizer work alongside Bjørke, the surrounding ensemble has transformed considerably. Strings and piano give way to a new palette featuring flute and saxophone from Oilly Wallace, ambient guitar textures by Danish composer Anna Roemer, trumpet and flugelhorn contributions from Malthe Kaptain, and orchestral harp arrangements by Katie Buckley.

Visually, the album is accompanied by cover artwork from American painter Marcus Leslie Singleton, courtesy of V1 Gallery, reinforcing the record’s contemplative and timeless atmosphere.

Released on Bjørke’s own Sensitive Records imprint, the album follows The Fifty Eleven Project (2018) and Mother (2022), both originally released through Kompakt Records. Together, the trilogy charts Bjørke’s gradual movement from ambient experimentation toward a fully realized synthesis of jazz improvisation, electronic composition, and emotional storytelling.

With Passages in Time, Kasper Bjørke Quartet offer a record that resists urgency in favor of stillness—music designed not simply to be heard, but inhabited.

Stein/Smith/Shead Document the Full Arc of Collective Improvisation on Five Nights in the Midwest

Improvising trio Jason Stein, Damon Smith, and Adam Shead return with Five Nights in the Midwest, a new three-CD live release capturing the ensemble’s December 2025 tour across the American Midwest in complete, unedited form. Due May 22, 2026 via Irritable Mystic Records and Balance Point Acoustics, the album presents seven extended performances exactly as they unfolded onstage, preserving the evolving energy and architecture of the trio’s night-by-night improvisational process.

Recorded across venues in Wisconsin, Indiana, Missouri, and Illinois, Five Nights in the Midwest functions both as a live document and as a sonic travelogue. Rather than selecting highlights or editing performances into condensed statements, the trio chose to present the music in the precise order it was performed, emphasizing continuity, momentum, and the gradual evolution of interaction over the course of the tour.

The release marks the trio’s first tour document since their acclaimed collaborations with Marilyn Crispell, whose work with the group drew renewed attention to their approach to long-form collective improvisation. Here, Stein, Smith, and Shead return to their core trio format with sharpened focus and an expanded sonic vocabulary developed through years of collaboration.

At the center of the music is Jason Stein’s bass clarinet work—physical, expressive, and deeply attentive to texture and duration. Stein approaches improvisation as a narrative form, balancing abstraction with structural coherence while drawing out the full timbral range of the instrument. His playing moves fluidly between raw intensity and spacious restraint, sustaining momentum across extended performances without sacrificing detail or clarity.

Supporting and reshaping that momentum in real time are Damon Smith and Adam Shead, whose rhythm section interplay constantly shifts between propulsion and suspension. Smith’s elastic double bass lines and Shead’s highly responsive percussion create a framework where form emerges organically through listening, reaction, and shared intuition rather than predetermined structure.

Recorded live between December 9 and 14, 2025, the performances span intimate venues including Sugar Maple in Milwaukee, State Street Pub in Indianapolis, Spot Tavern in Lafayette, Dissonant Works in St. Louis, and Reverberation Records in Bloomington. The recordings were captured, mixed, and mastered by Shead himself, maintaining the immediacy and atmosphere of each space.

With Five Nights in the Midwest, Stein/Smith/Shead offer their most complete statement to date—an immersive document of collective improvisation unfolding in real time, shaped equally by geography, interaction, and the subtle transformations that occur across a week on the road.

Release Date: May 22, 2026
Artist: Stein/Smith/Shead
Label: Irritable Mystic Records / Balance Point Acoustics

Calibro 35 Enter the World of James Ellroy on New Album Ellroy vs L.A., First Single “Riots” Out Now

Italian cinematic funk collective Calibro 35 have announced their new album Ellroy vs L.A., due October 9 via Record Kicks. Inspired by the dark mythology of Los Angeles and the work of legendary noir author James Ellroy, the record began as the original soundtrack to filmmaker Francesco Zippel’s award-winning documentary Ellroy vs L.A. before evolving into a fully realized album of cinematic crime funk, psychedelia, and hypnotic groove-driven compositions.

The first single, “Riots,” is available now and offers an explosive introduction to the project’s atmosphere. Built around tense rhythms, distorted textures, and propulsive instrumental energy, the track captures the volatility and urban chaos associated with Ellroy’s vision of Los Angeles—a city suspended between glamour, corruption, violence, and myth.

The collaboration emerged through Zippel’s documentary, which received Italy’s prestigious Nastro d’Argento Critics’ Choice Award. Produced by Federica Paniccia and Francesco Zippel for Quoiat Films, the film explores Ellroy’s relationship with Los Angeles through archival footage, interviews, and scenes of Calibro 35 recording the score in the studio. Rather than simply accompanying the documentary, the music became an extension of Ellroy’s world itself.

Across twelve new compositions, Ellroy vs L.A. sees Calibro 35 operating in perhaps their most natural territory to date. Drawing on the tension and atmosphere of noir fiction, the band expand their signature blend of vintage Italian soundtrack influences, jazz, and funk into darker, more narrative-driven territory. The result feels less like a traditional soundtrack and more like an imagined sonic map of Los Angeles—fragmented, seductive, paranoid, and alive after dark.

Formed in Milan in 2007, Calibro 35 built their reputation by reinterpreting the legacy of Italian film music composers such as Ennio Morricone, Piero Piccioni, and Armando Trovajoli. Over time, they transformed those influences into a distinct contemporary sound that bridges cinematic funk, psychedelia, jazz, and crate-digger culture. Their music has since been sampled by artists including Dr. Dre, Jay-Z, and Damon Albarn, while earning praise from outlets such as Rolling Stone and Far Out Magazine.

Now nearly two decades into their career, the quartet—Enrico Gabrielli, Massimo Martellotta, Fabio Rondanini, and Tommaso Colliva—continue to evolve without abandoning the cinematic DNA at the center of their identity. Following the acclaim of their 2025 release Exploration and a high-profile performance at the Winter Olympics closing ceremony in Verona, Ellroy vs L.A. further expands their universe into something darker, stranger, and deeply immersive.

With this project, Calibro 35 do more than score a film—they translate the mythology of James Ellroy into rhythm, tension, atmosphere, and groove, creating a soundtrack for a Los Angeles that exists somewhere between reality and noir fiction.

Kenny Barron Trio Unearthed: So Many Lovely Things: Live in Brecon Captures a Rare 1995 Concert in Full Flight

A remarkable previously unissued 1995 live recording of the Kenny Barron trio is set for release as So Many Lovely Things: Live in Brecon, a newly restored concert documenting Barron alongside bassist Ray Drummond and drummer Ben Riley at the height of their mid-1990s European run. Captured at the Brecon Jazz Festival in Wales and sourced from the Jordi Suñol Archives, the recording will be released on June 12, 2026 as a limited-edition 2-LP set, alongside 2-CD and digital formats.

Produced by Zev Feldman and Jordi Suñol under the Elemental Music banner, the release presents ten expansive performances recorded on August 12, 1995 at the Brycheiniog Theatre. Mixed and restored by Marc Doutrepont (EQuuS) with mastering by Matthew Lutthans at The Mastering Lab, the 180-gram vinyl edition was pressed at GZ Media in the Czech Republic and features detailed liner notes and track commentary by jazz historian Ted Panken.

The concert captures Barron’s acclaimed 1990s trio in peak form—fluid, responsive, and deeply interactive. Across more than 100 minutes of music, the group moves effortlessly through swinging standards, ballads, and original compositions, defined by a shared sense of momentum and improvisational risk. Barron’s lyrical pianism is matched by Drummond’s warm harmonic grounding and Riley’s elegant, propulsive drumming, forming a unit widely regarded as one of the most intuitive piano trios of its era.

Recorded during a fertile European tour period, the performance reflects the trio’s philosophy of exploration in real time—stretching harmony, rhythm, and form while remaining tightly connected as a unit. From extended interpretations of repertoire such as “The Very Thought of You” and “Up Jumped Spring” to more rhythmically charged material like “Time Was” and “Shuffle Boil,” the trio consistently builds dynamic, evolving structures rather than fixed readings of the material.

The tapes themselves remained privately held for decades after being recorded by festival director Jed Williams, before resurfacing through promoter Jordi Suñol and eventually being brought to Elemental Music for official release, with full approval from Barron and his management.

So Many Lovely Things: Live in Brecon stands as both a historical document and a vivid reminder of the conversational depth of Barron’s trio work—music shaped by trust, time, and the unspoken logic of three musicians listening as one.

Danny Keane Unveils “Passing Time”, a Meditative, Rhythmically Complex New Chapter from Upcoming Album Kinesis

Award-winning multi-instrumentalist, composer and producer Danny Keane has released “Passing Time”, the second single from his upcoming sophomore album Kinesis, due 10 July 2026. The track is available now, with the album open for pre-order via Keane’s official website and Bandcamp.

“Passing Time” reveals the more contemplative side of Kinesis, evoking what Keane describes as “a mood of gentle melancholy which rises to optimism.” Yet beneath its reflective surface, the composition retains the rhythmic intricacy and global musical language that has defined Keane’s career. At its core is a layered metric structure built around 3 against 4, introduced through tabla, reflecting his long-standing engagement with Indian rhythmic traditions and cross-cultural composition.

Keane frames the piece as a kind of musical pause—an emotional snapshot of transition: the end of a tour, the closing of a recording session, or the reflective quiet that follows intense creative work. It captures the duality of modern musician life, where stillness and complexity often coexist, and where downtime can become unexpectedly revealing.

Known for collaborations with artists including Mulatu Astatke, Anoushka Shankar, Nitin Sawhney, Damon Albarn, Penguin Café, and The Heliocentrics, Keane continues to operate at the intersection of jazz, classical, and global experimental music. His upcoming performance with Mulatu Astatke at London’s Royal Festival Hall on 17 June 2026 further underscores his deep ties to cross-cultural musical exchange.

Following his 2019 debut Roamin’, Kinesis represents both a return and a redefinition. After years of touring and collaboration, Keane has shifted focus toward a more personal artistic vision, assembling a wide ensemble of collaborators to realise a body of work shaped by movement—geographical, rhythmic, and emotional.

The album spans six tracks, each distinct yet conceptually linked through ideas of flow, transition, and temporal perception. Among them, “Cathartic Chaos” stands out as a high-energy collaboration with oud player Adnan Joubran, combining modular synth patterns with improvisational Arabic classical phrasing to create a dialogue between traditions rather than a fusion of them.

Across Kinesis, Keane explores the tension between structure and spontaneity, discipline and release. The result is a genre-fluid record shaped by classical training, improvisational freedom, and an ongoing curiosity about how musical systems from different parts of the world can intersect without losing their identity.

Kinesis tracklist:

1. Running
2. Passing Time
3. Cathartic Chaos
4. Somnolent Stomp
5. A Major Minor Waltz
6. Time To Go

Kronstad 23 Announce Dødehavet: A Live-to-Tape Journey Through Cinematic Jazz and Psychedelic Groove

Norwegian collective Kronstad 23 return with their third album, Dødehavet, a deeply immersive recording that continues their exploration of instinctive, analogue-driven music-making. Set for release on 12 May 2026 via Batov Records, the album marks their first collaboration with the label and their most expansive statement to date.

Formed by four long-time friends spread across Norway, Kronstad 23 operate in a uniquely dispersed way, meeting only a handful of times each year. Yet rather than diluting their chemistry, that distance appears to sharpen it. Their music carries a rare sense of trust and immediacy—an intuitive language built less on repetition and more on shared memory and instinct.

Dødehavet was recorded live to tape at keys player Øyvind Arnodd Vie Berg’s home studio in Bergen, using a 50-year-old mixing console and tape machine. Most tracks were captured in just one or two takes, with minimal preparation and no modern post-production intervention. The result is a recording that prioritizes feel over perfection, capturing musicians responding to each other in real time.

Across its runtime, the album moves fluidly between cinematic jazz, psychedelic rock, Scandinavian folk, soul, Afrobeat, and raga influences, forming what the band describe as a single, unforced musical language. Rather than treating these styles as separate references, Kronstad 23 blend them into a continuous flow shaped by collective improvisation and groove.

Following two earlier albums praised by outlets including Record Collector, Prog Magazine, and Sweden’s Lira, Dødehavet pushes the group further into rhythmic momentum and ensemble interplay. While their earlier work was noted for its atmosphere and restraint, this new record leans more confidently into propulsion—without losing its organic, unpolished character.

Additional contributions from saxophonists Håvar Skaugen and Inge Weatherhead Breistein add depth and texture, reinforcing the album’s live, room-recorded energy.

The album’s final preview single, “Stratosfæren,” draws inspiration from the spirit of early Santana. Built on a Latin-inflected groove, it combines driving rhythm with a bittersweet guitar line and subtle keyboard textures. The track offers a strong entry point into the band’s world—warm, hypnotic, and evolving with each listen.

Kronstad 23’s creative process is intentionally unhurried and informal. The group rarely rehearses in a traditional sense, instead building tracks from simple ideas—basslines, melodic fragments, or rhythmic cues—that are allowed to unfold naturally through group interaction. Their name references Afrobeat-era collective naming traditions, while “23” marks the year the project crystallized, and Kronstad nods to the Bergen neighbourhood where they first recorded together.

Despite growing critical attention, the band have yet to perform live. For now, the studio remains their only stage—a space for experimentation, restraint, and collective listening.

With Dødehavet, Kronstad 23 deliver a record that feels both grounded and expansive: analogue warmth, hypnotic grooves, and cinematic textures that reveal more with every return.