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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Track Listing

1. As It Relates To Now — 5:12

2. Obsoletion — 5:18

3. Special Relativity — 6:57

4. Behind The Horizon — 3:30

5. Wooden Lawns — 8:01

6. If They Knew — 5:30

7. Delusional Grandeur — 6:12

8. The Divine Current — 4:38

Total Time — 45:24

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“The Music Takes You Where You Need to Go”: Marilyn Crispell and Anders Jormin’s Memento as a Meditation on Memory, Loss and Luminous Space

“The music takes you where you need to go.” — Marilyn Crispell

With Memento, the first duo release from American pianist Marilyn Crispell and Swedish bassist Anders Jormin, that sentiment becomes both guiding principle and quiet manifesto. Issued by ECM Records on March 20, 2026, and recorded at the Auditorio Stelio Molo RSI in July 2025 with Manfred Eicher producing, Memento is an album of rare stillness and depth—lyrical, spacious and profoundly attentive to the emotional afterlife of memory.

Although this is their first duo album, Crispell and Jormin’s musical kinship stretches back decades. Crispell first encountered Jormin at a Stockholm festival in 1992, an experience she has described as transformative. Hearing him play “touched a chord” that resonated deeply within her. From Jormin and other Scandinavian improvisers she absorbed what she calls an “aesthetic of space, beauty and tenderness,” discovering that freedom in improvisation need not be equated solely with energy, velocity or intensity. The encounter subtly reshaped her artistic compass; her music, she has said, began “becoming more whole.” Their paths crossed again on Jormin’s sacred song cycle In Winds, In Light (2004), and over the years a mutual admiration matured into the quiet inevitability of Memento.

The album opens with four freely created pieces that establish its emotional terrain. “For the Children,” dedicated to innocents caught in the crossfire of global conflicts from Sudan to Gaza and Ukraine, unfolds as an act of collective mourning. Jormin’s high arco bass—its phrasing at times recalling the keening inflections of a kamancheh—threads through Crispell’s spacious harmonic architecture. The performance brims with restrained emotion, its intensity conveyed not through volume but through touch and timbre.

“Dialogue” follows as an intimate exchange, melody discovered and shared in real time. Each gesture feels provisional yet inevitable, as though both musicians are listening toward something just beyond reach. In “Embracing the Otherness,” silence becomes an active force. The upper registers of piano and bass shimmer, hover and recede, creating a fragile lattice of sound in which absence speaks as eloquently as presence. “Contemplation in D” concludes the fully improvised opening sequence with the bass in a leading role, floating above gently suspended piano chords. It is meditation in the truest sense: attentive, unhurried, luminous.

“Three Shades of a House,” a composition Jormin has previously explored with Bobo Stenson—notably on Contra la indecisión—originated as a commission to accompany an exhibition by Norwegian painter Hanne Borchgrevink. Her visual art has been described as a series of variations on a compositional theme, music rendered in form and colour. In Memento, the piece appears in two versions. “Morning” places pellucid piano at the forefront, its clarity evoking early light diffused across quiet walls. “Evening,” by contrast, yields to the dark-toned resonance of Jormin’s bass, shadows lengthening, colours deepening into dusk. Together they form a diptych of atmosphere and emotional hue.

Crispell’s “Song,” composed in the 1990s, addresses “the distance between two people.” The performance carries a sense of suspended yearning—notes placed with care, intervals stretching like unspoken words across space. The title track, “Memento,” is a miniature for solo piano, perfectly phrased and intimate. It reflects closeness rather than distance, referencing people Crispell feels connected to around the world and those she has lost in recent years. The piece becomes a vessel for remembrance—neither nostalgic nor sentimental, but clear-eyed and tender.

“The Beach at Newquay” evokes Crispell’s first visit to Cornwall while touring with saxophonist Raymond MacDonald. Standing on the shore at night, she encountered sea and stars in a moment she describes simply as magical. Jormin’s high arco bass suggests distant seagull cries, while the piano captures the vast hush of tide and sky. The music shimmers with nocturnal wonder, a memory rendered in sound.

“The Dark Light,” as Jormin explains, only hints at a larger composition he had brought to the session; the full piece was never performed. Its paradoxical title refers to counterpoint and emotional simultaneity—the coexistence of joy and sorrow. In Swedish there is a word for this intermingling of feelings: vemod, a wistful melancholy suffused with warmth. The music embodies that word without translating it. Layers intertwine, tones glow faintly, and something unnamed opens behind the contradiction—a silent song, a frozen sunbeam, a whispering storm.

The album closes with Crispell’s “Dragonfly,” written in memory of bassist Gary Peacock, with whom she recorded luminous trio sessions including Nothing ever was, anyway and Amaryllis, as well as the duo album Azure. In the month before Peacock’s death, Crispell visited him often; they would sit outside on his porch in early fall, dragonflies darting through the warm air, a chipmunk appearing for food. The piece carries that pastoral stillness. Its melody feels grounded and affectionate, a farewell shaped not by grief alone but by gratitude.

Crispell has been an ECM Records artist since 1997, debuting with her striking interpretation of Annette Peacock’s music on Nothing ever was, anyway. Her ECM catalogue spans solo work such as Vignettes, duets including One Dark Night I Left My Silent House with clarinettist David Rothenberg, and trio recordings of remarkable cohesion. More recently she has been featured in the trio of Joe Lovano on Trio Tapestry, Garden of Expression and Our Daily Bread. In 2025 she was honoured as a National Endowment for the Arts Jazz Master, a recognition of her singular voice in contemporary improvisation.

Jormin first appeared on ECM alongside Don Cherry on Dona Nostra (recorded 1993) and has since collaborated widely, including long-standing membership in the Bobo Stenson Trio. His projects range from the Nordic supergroup Arcanum to albums as a leader such as In Winds, In Light and 2023’s Pasado en claro. The first contemporary improviser elected to the Royal Swedish Academy of Music, Jormin has also taught at the University of Gothenburg and Helsinki’s Sibelius Academy, shaping generations of musicians with the same sensitivity he brings to performance.

In Memento, Crispell and Jormin distill decades of experience into music that breathes with patience and emotional clarity. The album does not demand attention; it invites it. Its themes—memory, absence, connection—are universal, yet expressed with the specificity of two artists listening deeply to one another. Space is not emptiness here but presence; silence is not void but possibility. The music moves as remembrance moves—circling, returning, illuminating from different angles. And in that movement, as Crispell’s words suggest, it takes the listener precisely where they need to go.

Van Morrison Delivers Another Masterful Blues Collection With “Somebody Tried to Sell Me a Bridge”

Sir Van Morrison, the legendary singer-songwriter now in his 80s, continues to astound with the release of his 51st solo album, “Somebody Tried to Sell Me a Bridge”. The latest offering highlights Morrison’s enduring love for the blues, blending a dozen classic covers with a handful of his own original compositions. Remarkably, the prolific artist has released more than an album per year since turning 70, demonstrating an energy and creativity that defies time.

Morrison’s career began in the late 1950s, mastering guitar and saxophone before forming the R&B-influenced band Them in 1963, which produced iconic tracks like “Gloria” and “Baby Please Don’t Go.” He embarked on his solo journey in 1967 with the hit single “Brown-Eyed Girl”, followed by the seminal albums Astral Weeks and Moondance, which established his reputation for blending folk, rock, jazz, R&B, pop, and Celtic influences. While not every album achieved universal acclaim, Morrison’s adventurous arrangements and distinct vocals have consistently resonated, particularly on his blues-infused recordings.

Before this 2026 release, Morrison had explored the blues in only one prior album: 2017’s Roll with the Punches, a record featuring ten blues covers alongside five originals. His mastery of timing and phrasing transformed classics such as the “Stormy Monday/Lonely Avenue” mash-up into contemporary yet faithful tributes to the genre.

In Somebody Tried to Sell Me a Bridge, Morrison revisits the same territory with an 80-minute, 20-track set. Only four of the tracks are his originals, while the rest pay homage to legendary blues composers from Chicago, Memphis, and Texas. Special guests include blues titans Elvin Bishop, Taj Mahal, and Buddy Guy, while a cadre of veteran session musicians anchors the project: David Hayes (bass), Larry Vann and Bobby Ruggiero (drums), Anthony Paule (electric guitar), Mitch Woods (jump blues piano), and John Allair (Hammond B3 organ).

The album opens with two songs by Eddie “Cleanhead” Vinson, showcasing Morrison’s signature sax riffs alongside stellar instrumental performances. Highlights include a slowed-down interpretation of Fats Domino’s “Ain’t That a Shame”, the rollicking “Madame Butterfly Blues” by Dave Lewis, and shared vocal duties with Taj Mahal on Sonny Terry and Brownie McGhee’s “Can’t Help Myself” and the traditional “Betty and Dupree”. Morrison’s originals, “Monte Carlo Blues” and “Loving Memories”, are standout tracks, with Elvin Bishop’s guitar and rich call-and-response backing adding depth.

Other memorable selections include Marie Adams’ “Play the Honky Tonks”, a 60s doo-wop number “Social Climbing Scene”, and the title track inspired by a classic early-1900s con artist anecdote. The album concludes with two Chicago blues standards, Willie Dixon’s “I’m Ready” and BB King’s “Rock Me Baby”, featuring Morrison’s interpretative flair alongside Buddy Guy’s masterful guitar.

Overall, Somebody Tried to Sell Me a Bridge demonstrates Morrison’s unwavering commitment to the blues. With its restrained yet expressive arrangements, thoughtful pacing, and variety, the album offers both homage and innovation, proving that even after six decades, Van Morrison is far from slowing down.

Roberta Flack’s Legacy Celebrated with “With Her Songs: The Atlantic Albums 1969–1978” Box Set

On February 10, Roberta Flack would have celebrated her 90th birthday. Though the legendary singer and pianist passed away in February 2025, her extraordinary legacy is being honored with a comprehensive new box set from Rhino. With Her Songs: The Atlantic Albums 1969–1978 gathers Flack’s first eight studio albums for Atlantic Records into one newly remastered collection, restoring much of her foundational catalog to print in a compact and cohesive package.

The set begins with 1969’s First Take, the album that introduced the world to Flack’s singular interpretive power. Though recorded in early 1969, its breakthrough came in 1972 after her haunting rendition of Ewan MacColl’s “The First Time Ever I Saw Your Face” was featured in Play Misty for Me, directed by and starring Clint Eastwood. The song spent six weeks at No. 1 and earned the Grammy Award for Record of the Year in 1973. Yet First Take runs deeper than its signature hit, featuring collaborations with Donny Hathaway, a striking cover of Leonard Cohen’s “Hey, That’s No Way to Say Goodbye,” and a politically charged reading of Gene McDaniels’ “Compared to What.” The album itself topped the Billboard 200 for five weeks.

Producer Joel Dorn returned for 1970’s Chapter Two, joined by arranger-conductor Eumir Deodato. The album continued Flack’s gift for reinvention, transforming works by Jimmy Webb, Bob Dylan, and Broadway writers Joe Darion and Mitch Leigh into intimate soul-jazz statements. With 1971’s Quiet Fire, Flack deepened her fusion of jazz, soul, and R&B, earning a Grammy nomination for Best Pop Vocal Performance, Female. Her interpretations of songs by Goffin and King, Bee Gees, Paul Simon, and others demonstrated her ability to slow time and inhabit a lyric with remarkable emotional clarity.

In 1972, Atlantic executive Jerry Wexler encouraged a full-length duet project pairing Flack with Donny Hathaway. The resulting album, Roberta Flack and Donny Hathaway, yielded enduring hits including “Where Is the Love,” written by Ralph MacDonald and William Salter, which topped the R&B and Adult Contemporary charts and earned the duo a Grammy Award. Their chemistry would become one of soul music’s defining partnerships, culminating years later in “The Closer I Get to You.”

Flack reached even greater commercial heights with 1973’s Killing Me Softly, her most successful album. The double-platinum release peaked at No. 3 on the Billboard 200 and was anchored by the Grammy-winning title track written by Charles Fox and Norman Gimbel. The album also featured songs by Janis Ian and Leonard Cohen and boasted an all-star roster of musicians including guitarist Eric Gale, bassist Ron Carter, drummer Grady Tate, and percussionist Ralph MacDonald. Dedicated to multi-instrumentalist Rahsaan Roland Kirk, the album remains a landmark in sophisticated soul.

Following creative tensions with Dorn, Flack self-produced 1975’s Feel Like Makin’ Love. Its Gene McDaniels-penned title track became her third No. 1 hit, prompting Atlantic to award her what was reportedly the largest contract ever given to a female recording artist at the time. 1977’s Blue Lights in the Basement followed after a lengthy gap and featured the reunited Flack and Hathaway on “The Closer I Get to You,” which reached No. 1 R&B and No. 2 Pop. The album also included material associated with Diana Ross and a Gwen Guthrie co-write, underscoring Flack’s continued ability to balance elegance with contemporary appeal.

The box concludes with 1978’s Roberta Flack, a more fraught project anchored by “If Ever I See You Again,” written by Joe Brooks. Though the single reached No. 1 on the Adult Contemporary chart, its association with a poorly received film dampened its broader impact. The album also attempted to revisit the magic of “Killing Me Softly” with another Fox and Gimbel collaboration and included a cover of Thom Bell and Linda Creed’s “You Are Everything.” Notably, this marks the album’s first appearance on CD in the United States.

Though With Her Songs: The Atlantic Albums 1969–1978 does not include bonus tracks—despite some albums previously receiving expanded digital editions—Discs 4 through 8 have been newly remastered. Until a more expansive physical anthology emerges, this collection serves as a vital archival restoration, returning Flack’s formative Atlantic catalog to circulation and reminding listeners of the depth and refinement that defined her artistry.

Spanning 1969 to 1978, these recordings trace Roberta Flack’s ascent from conservatory-trained pianist to one of the most emotionally resonant voices in modern soul. Her phrasing, restraint, and interpretive intelligence transformed familiar songs into intimate confessions and elevated popular music into high art. This box set stands not merely as a reissue campaign, but as a tribute to a singular artist whose voice continues to echo long after the final note fades.