Philly 3: James Fernando’s Daring, Playful Reimagining of the Modern Piano Trio

James Fernando—the prodigiously talented pianist and composer known for equal parts mischief and mastery—steps boldly into a new chapter with Philly 3, his sixth album overall and the debut recording of his working trio. Across nine original compositions and a single, lovingly reimagined nod to Erroll Garner, Fernando positions himself at the intersection of virtuosity, humor, and serious compositional intent, pushing the piano-trio tradition forward while keeping listeners perpetually off balance and irresistibly locked into the groove. The album arrives via Spring Garden Records, a boutique label operated through the Community College of Philadelphia that spotlights the city’s music community while creating real-world learning opportunities for students.

The trio—Fernando on piano, Dan McCain on bass for most of the record (with Sam Harris guesting on “The Parisian” and “Like It Is”), and the incandescent drummer Kyon Williams—came together under unlikely circumstances in 2023, when Fernando received a last-minute call to assemble a group for a Kennedy Center performance with just three days’ notice. That first meeting happened onstage, and the chemistry was immediate. What followed was a rapid ascent into one of the most dynamic piano trios emerging from the region, with appearances at venues and universities across the country confirming the group’s depth, elasticity, and shared intuition.

After five albums as a leader and years of touring and collaboration, Fernando felt an urgency to document a trio that had coalesced so quickly and emphatically. Writing with the individual voices of McCain, Harris, and Williams in mind, he advanced compositional ideas he had been refining for years: metric modulation as narrative propulsion, multi-section forms that unfold like short films, and a harmonic language that draws as freely from classical counterpoint as from bebop lineage. The result is both laboratory and love letter—music that tests technique while remaining deeply personal, rooted in story, humor, and emotional clarity.

“As much as I love a big, ridiculous piano flourish,” Fernando says, “I wanted this record to feel like a conversation; fun, surprising, sometimes dark, always human. I also wanted to make music that couldn’t have been written by just anyone with a jazz degree—and certainly not by an algorithm. I crave music with breadth, humor, and contradictions.” That ethos animates every corner of Philly 3, a record that refuses to separate playfulness from rigor.

Fernando’s influences surface not as quotation but as lived vocabulary. Erroll Garner’s joyful swing is honored through a modernized take on “Like It Is,” while the technical clarity and lyricism of Oscar Peterson and Brad Mehldau inform Fernando’s phrasing and harmonic risk-taking. The adventurous rhythmic sensibility of Tigran Hamasyan is felt in the album’s odd-meter maneuvers, yet imitation is never the goal. Fernando instead situates himself as a next-generation voice in this lineage, committed to transcending genre boundaries and positioning the piano as a tool for cultural conversation rather than stylistic containment.

The album opens with “Persistence,” which begins in near-chamber territory with bowed bass and a classically inspired piano introduction before Williams reshapes the landscape with inventive, elastic drumming. A drum solo rides a vamp into a Vijay Iyer-esque pocket before yielding to a fierce piano improvisation marked by independent hands and surging momentum. “Unlikely Animal Friendships” unfolds as a miniature narrative film: a solo-piano opening in 5/8, a composed contrapuntal passage, an expansive melodic improvisation, and a tear-stained bass solo from McCain, culminating in a triumphant reprise that dramatizes tenderness across difference.

“The Parisian” juxtaposes odd meters, slap bass, and stride piano into something buoyant, swinging, and quietly powerful. Written with Harris in mind, it becomes a standout bass feature, equal parts charm and muscle. “Singularity” functions as Fernando’s human response to computer-generated music, beginning with machine-like processing before blooming into a montuno that asserts warmth, breath, and bodily presence. “Neon Kyon,” an ode to Williams’ luminous energy, fuses bop language, blues grit, and second-line swagger, revealing the trio’s near-telepathic communication.

“Beings On Toast,” sparked by a family joke from Fernando’s UK roots riffing on the classic British breakfast, imagines humans themselves as the “beings” served up on toast. The tune leans into absurdity through witty interplay, but beneath the humor lies a gentle philosophical inquiry about value, care, and consumption. “Potions” moves through balladry, quintuplet-driven modern jazz, and a final djent-like section, linking disparate musical worlds into a single haunted arc. “What’s the Password?” reframes bebop for 2025, using metric modulation and formal structure to carry Charlie Parker’s spirit into contemporary language. Closer “Like It Is” swings ferociously, offering an affectionate but unsentimental homage to Erroll Garner, with Harris returning on bass to lock in the feel and propel the trio forward.

Philly 3 ultimately challenges the jazz tradition to remain alive, playful, and unafraid. It presents James Fernando as both storyteller and technician, a musician capable of making audiences laugh, think, and move—sometimes all at once. The trio’s debut recording is not just a document of a band finding its footing, but an invitation to follow a group committed to craft, connection, and the joyful risk-taking that keeps jazz urgent and relevant.

2026 Tour Dates

Feb 7 – Williamsburg Music Center – Brooklyn, NY – 9:30pm
Feb 17 – CPAC – Green Valley, AZ – 7pm
Feb 18 – Central Arizona College – Casa Grande, AZ – 7pm
Feb 19 – The Century Room – Tucson, AZ – 6:30pm
Feb 20 – The Ravenscroft – Scottsdale, AZ – 7pm
Feb 22 – Davies Concert Series – Temple Hills, MD – 4pm
Feb 28 – Sharp 9 Gallery – Durham, NC – 7:30–9:30pm
Mar 1 – Sharp 9 Gallery – Durham, NC – 2–4pm
Mar 2 – UNC Pembroke – Pembroke, NC – Concert 7pm
Mar 7 – The Mainstay – Rock Hall, MD – 7:30pm
Mar 20 – Plainfield Performing Arts Center – Plainfield, NJ – 7pm
Mar 21 – Concord Community Music School – Concord, NH – 7pm
Mar 22 – New York State Museum – Albany, NY – 4pm
Apr 12 – Levine Jazz Fest – Bethesda, MD – Free show

The Skipper and Mike Clark: Daggerboard Puts the Groove Front and Center

Daggerboard—the collaborative project of trumpeter and composer Erik Jekabson and multi-instrumentalist and composer Gregory Howe—turns its spotlight squarely onto the rhythm section with The Skipper and Mike Clark, dropping March 6 on Howe’s Wide Hive Records. The album’s titular figures are bassist Henry “Skipper” Franklin and drummer Mike Clark, two living legends of jazz whose deep history and near-telepathic chemistry form the core of the record.

Neither Franklin nor Clark is new to the Daggerboard universe. Franklin appeared on the group’s 2022 sophomore effort Daggerboard and the Skipper, while Clark joined the fold on 2024’s Escapement, which also featured Franklin. Beyond the band, the two have shared a musical friendship spanning nearly three decades, a connection that translates into an immediate, wordless understanding. As Clark puts it, “We always could right away play together without saying anything. I love Skipper. He’s a very close friend and a deep musician. His time is so strong.”

That powerful, intuitive groove has never been as central to a Daggerboard release as it is here. Joined by guitarist Dave MacNab, pianist Matt Clark, violinist Mads Tolling, saxophonist Dave Ellis, vibraphonist Dillon Vado, and conguero Babatunde Lea, the band moves through eight Jekabson–Howe compositions clearly shaped around the rhythmic gravity Franklin and Clark provide. From the seamy, crawling opener “Desierto de Tabernas” to the funky struts of “Runnin’ Into One” and “A Pride in the Prairie,” and the mellow melancholia of “Tranquil Blue,” bass and drums define both direction and atmosphere.

Ironically, it’s Franklin’s two contributions—“Tanzanian Skies” and “Ruaha Daybreak”—that feel the most overtly melodic, though there’s sleight of hand involved. “Tanzanian Skies” features one of Franklin’s most rhythmically complex and satisfying solos on the album, while both pieces give Clark ample room to display his virtuosic, conversational kit work. Elsewhere, melodic riches are everywhere. “Changing Emphasis” unfolds with an orchestral sweep, anchored by a tough yet thoughtful tenor solo from Ellis, who also shines on soprano on “Brother Ranelin.” Clark and MacNab paint in subtle hues on “Tranquil Blue,” while Jekabson’s flugelhorn takes center stage on “Street Sheik,” a moody, lyrical ballad delivered with bravura restraint.

Though The Skipper and Mike Clark proudly places bass and drums at its heart, it ultimately plays as a full-band triumph. The album captures Daggerboard at its most focused and confident, balancing groove-forward intent with compositional depth. What emerges is not just a showcase for two masters of time and feel, but a vivid reminder of how deeply rhythm can shape melody, mood, and meaning when the right musicians are in the room.

Jazz Gone Dub: Gaudi’s Deep Conversation Between Modern Jazz and Dub Reggae

Gaudi’s Jazz Gone Dub is a masterful exercise in wedding modern jazz to dub reggae, a project that feels both patiently crafted and joyfully alive. Created and recorded over four years, the album is saturated in heavy dub rhythms, killer solos, glorious melodies, and canny, immersive production. Its illustrious lineup alone signals ambition: the late, legendary rhythm section of Sly & Robbie; guitarists Ernest Ranglin and David Hinds of Steel Pulse; bassists Jah Wobble and Colin Edwin; saxophonist and flutist Gavin Tate-Lovery; trumpeter and trombonist Tim Hutton; reggae drummer Horseman (Winston Williams); and several others. Gaudi himself is everywhere, playing piano, Fender Rhodes, Hammond B-3, glockenspiel, santoor, and taishōgoto harp. The album was recorded in London and Sardinia by Papa Ntò, with Sly & Robbie and Ranglin tracked at Kingston’s legendary Tuff Gong Studios.

Gaudi wastes no time revealing his chops on opener “Cool Jazztice,” winding blues-drenched piano lines around reverbed horns, Wurlitzer, and a wah-clavinet, all anchored by a skanking rhythm that supports soul-jazz phrasing and a trancey, economically funky bassline. His solo feels completely at home inside the reggae cadence, never forcing the fusion. “H.E.L.P. (Happy Elephants Love Pistachio)” rides a reverb-soaked dub foundation, decorated with tenor sax, trombone, and trumpet shaping a harmonically rich, contemporary jazz melody. Tim Hutton’s trumpet solo is lyrical and precise, while Tate-Lovery delivers a righteous flute statement amid crisscrossing rhythms and a pummeling bassline.

“Deflated and Discombobulated” leans into funky, soulful contemporary jazz, with punchy Wurlitzer, layered pianos, wah-clavinet, and a hard dub rhythm section flowing effortlessly through the mix. Gaudi plays piano, bass, and santoor on the gorgeous “Alabaster Moon,” threading groove-heavy jazz into a ferocious palette of deep dread rhythm and electronics. Slippery funk converses with finger-popping, nocturnal swing as biting, double-timed bass and drums whirl beneath hovering horns.

“Bach @ Liszt (Bucket List)” becomes a showcase for David Hinds, who walks the tightrope between lead and rhythm guitar while comping deftly behind shifting solos. Tate-Lovery’s flute, floating amid brass and reeds, adds an exotic, Quincy Jones-esque orchestral sheen over the insistent pulse. Gaudi’s vampy introduction to “Dub Lu” recalls a young Herbie Hancock, framed by Edwin’s dub-heavy bassline and two guitarists, while echo-laden production gives the track depth and dimension. “Susceptible,” featuring Sly & Robbie and Ranglin, reimagines Ranglin’s “Ernie’s Dub” from Havana Meets Kingston in Dub. Gaudi’s Hammond B-3 guides the pulse as dub effects slip and shimmer through the backdrop, and Ranglin delivers a jaw-dropping solo that weds his iconic phrasing with echoes of Grant Green and Boogaloo Joe Jones. Tate-Lovery’s flute and sax add grace, polish, and soul.

Closer “Tokyo Subterfuge” opens with a vintage hard-bop piano vamp before Gaudi’s solo nods to the in-the-pocket funk of Ray Bryant. When Gaudi switches to Rhodes or harp, Matteo Saggese takes over the acoustic keys, while Wobble, Horseman, and guitarist Marcus Upbeat drive the groove home. Jazz Gone Dub ultimately unfolds as an easy yet deeply rewarding conversation between hip jazz and dub reggae, where vintage traditions meet breathtakingly modern sound design. Guided by Gaudi’s taste, texture, innovation, and grit, the album feels less like a crossover experiment and more like a natural evolution.

Terry Callier at the Earl of Old Town Reveals the Roots of a Singular Voice

Time Traveler Recordings will release Terry Callier At The Earl Of Old Town, a remarkable and newly unearthed solo performance by the influential singer-songwriter, as an exclusive 180-gram two-LP Record Store Day set on April 18, 2026. Captured in 1967 at Chicago’s intimate and historic Earl of Old Town folk club, the recording presents Callier at just 22 years old, already forging a sound that quietly defied genre boundaries. The album will also be issued on CD on April 24, a date that would have marked the 100th birthday of Joe Segal, the legendary jazz presenter who recorded the performance.

The release is the latest archival project from acclaimed producer Zev Feldman, widely known as the “Jazz Detective,” and offers a rare glimpse into the formative years of one of American music’s most distinctive artists. Recorded a year before the release of Callier’s debut LP, the performance finds him infusing the folk club tradition with the harmonic imagination, rhythmic elasticity, and emotional depth of jazz improvisation. Segal—founder of Chicago’s revered Jazz Showcase—captured the set as part of his personal recordings, which were opened to Feldman in 2025 by Segal’s son Wayne, revealing a vast and invaluable archive of unheard performances.

Sonically restored by Joe Lizzy and mastered by Matthew Lutthans, the album is presented with care befitting its historical and artistic significance. The package includes liner notes by Mark Ruffin, longtime friend of Callier and program director of SiriusXM’s Real Jazz, with Callier’s daughter Sunny Callier serving as executive producer. Together, they frame the recording not as a curiosity, but as a vital document in understanding Callier’s artistic journey.

Raised in Chicago’s Cabrini-Green public housing projects alongside future R&B icons Jerry Butler and Curtis Mayfield, Callier charted a different course. While his peers gravitated toward soul and pop stardom, Callier brought his acoustic guitar and quietly commanding voice into the countercultural folk clubs of the Old Town neighborhood. At the Earl of Old Town, his voice and guitar sit front and center, accompanied only by the ambient sounds of the room—glasses clinking, audience murmurs—adding a sense of immediacy and place. The performance reveals an artist already in full command of the stage, hinting clearly at the expansive path his music would take in the decades to come.

Terry Callier At The Earl Of Old Town also highlights striking contrasts with both his official debut, The New Folk Sound of Terry Callier, and the groundbreaking albums he would later record for Chess Records in the early 1970s. His debut LP, recorded three years before this performance, featured dual basses, while his Chess releases were shaped by Charles Stepney’s lush and experimental orchestrations. Later still, Callier would explore jazz-inflected soul on albums for Warner/Elektra, Premonition, and Verve. Here, alone onstage, the rhythmic drive of his guitar and the expressive contours of his unmistakable voice fill the roles that entire ensembles would later occupy. The difference between this stark, intimate version of “900 Miles” and the more arranged take on The New Folk Sound is a telling example.

In his liner notes, Ruffin situates the performance as both prophecy and foundation. He notes that the young Callier was still several years away from signing with Chess Records and embarking on the prolific recording career that would span 15 albums between 1967 and his death in 2012. Yet even in this early setting, Callier’s uncompromising and difficult-to-categorize style is already apparent, subtly foreshadowed as he navigates a noisy Wells Street crowd with calm authority. Ruffin describes the ten tracks as both a preamble and a blueprint—each song either a direct connection to an inspirational source or an extension of an admired stylistic idea.

The set list itself reflects Callier’s wide-ranging sensibility, moving fluidly through traditional material, ballads, blues, jazz, contemporary folk, and even a recent pop hit, all transformed into deeply personal statements. The album opens with “Work Song,” Callier’s gripping interpretation of Nat Adderley’s melody with lyrics by Oscar Brown Jr., delivered with a solitary voice and percussive guitar that evoke the longing of an imprisoned narrator. On Tom Paxton’s “Last Thing On My Mind,” Callier renders melancholy with lyrical grace, while Jimmy Drew’s “Willie Jean” is stripped down to its emotional core, far removed from the big-band arrangement of Drew’s original recording.

Blues run throughout the performance, including Callier’s readings of Billy Hancock’s “St. Mark’s Blues” and the traditional “Deep Elem Blues.” His joyful take on Willie Dixon’s “The Seventh Son” stands as a loving nod to his Chicago blues roots. Other selections point unmistakably toward Callier’s future. “Birdses” reveals his optimism and sly humor, while the dramatic vocal arc of “Gallows Pole” anticipates a hallmark of his lifelong performance style. His reinterpretation of the pop and R&B hit “Hang On Sloopy,” retitled “My Girl Sloopy,” carries the emotional depth he would later bring to his soul recordings. Ruffin draws a line from “Four Strong Winds” to Callier’s later classic “Lazarus Man,” noting their shared darkness and narrative pull.

At the time of the recording, Joe Segal had already been operating the Jazz Showcase in various Chicago locations for two decades, nurturing generations of artists and listeners. Segal was also the first to articulate what Callier was doing in a way that resonated deeply with the singer himself. That insight, preserved alongside the music, is one of the reasons this release carries such resonance today.

As Callier reflected years later, Segal’s words captured the essence of his approach: “Joe was the first person to say, ‘What you’re doing is folk jazz.’ That’s Joe Segal’s description and I thought, ‘Yeah, that’s it. It’s never the same way twice.’” More than half a century later, Terry Callier At The Earl Of Old Town stands as living proof of that idea—an intimate, powerful document of an artist discovering a language entirely his own.

Michel Petrucciani’s Kuumbwa Triumph Captured in a Newly Discovered 1987 Trio Recording

Elemental Music will release Kuumbwa, a stunning previously unreleased trio concert by pianist Michel Petrucciani, recorded live at the Kuumbwa Jazz Center in Santa Cruz, California, on May 11, 1987. Issued as an exclusive two-LP set on 180-gram vinyl on April 18, 2026, the album is part of Record Store Day in the EU, with CD and digital editions following on April 24, 2026. The release offers a vivid snapshot of Petrucciani at the height of his powers, in a setting renowned for its intimacy, adventurous spirit, and deep connection between musicians and audience.

This marks the first Petrucciani artifact in Elemental Music’s growing archive of jazz treasures and is produced for release by acclaimed reissue producer Zev Feldman, widely known as the “Jazz Detective.” The recording was discovered within the archives of Kuumbwa Jazz co-founder Tim Jackson and has been meticulously mixed and sonically restored by Marc Doutrepont at EQuuS, with vinyl mastering by Matthew Lutthans at The Mastering Lab. Beyond the music, the package is framed as both a historical and personal document, featuring reflections from Jackson on the pioneering role of Kuumbwa Jazz and on Petrucciani himself, along with insights from Petrucciani’s son Alexandre, longtime drummer Eliot Zigmund, French jazz journalist Thierry Pérémarti, and fellow pianist Enrico Pieranunzi.

Producer Feldman recalls first reconnecting with Jackson in the mid-2000s during his time at Concord, when Jackson was Artistic Director of the Monterey Jazz Festival. Their continued relationship ultimately led Jackson to share the Kuumbwa archives, where this recording immediately stood out as something extraordinary. Feldman describes being blown away upon first hearing the tapes, recognizing instantly that they captured a rare and essential moment.

The performance brings together a remarkable trio: Petrucciani on piano, Zigmund on drums, and English bass virtuoso Dave Holland. All three are heard at the peak of their individual and collective creativity. At just 24 years old, Petrucciani had recently signed with Blue Note Records and was only beginning to make his full impact on American audiences after relocating to New York in 1984. The Kuumbwa performance finds him asserting that presence with confidence, imagination, and fearless momentum.

Despite living with osteogenesis imperfecta, the genetic bone disorder that stunted his growth and caused lifelong physical pain, Petrucciani’s vitality and joy radiate through every moment of the recording. His playing overflows with exuberance, lyricism, and daring, offering what many contributors describe as an unfiltered portrait of the artist’s spirit. Journalist Thierry Pérémarti characterizes the music as a mirror of Petrucciani’s personality—extravagant, romantic, turbulent, tender, impatient, funny, and utterly alive—played with both childlike wonder and unrelenting energy.

That energy is matched and amplified by his bandmates. Holland and Zigmund respond with electrifying interplay, clearly inspired by Petrucciani’s unpredictability and drive. Zigmund, whose storied career includes work with Bill Evans, Vince Guaraldi, and Lee Konitz, recalls his time with Petrucciani as one of the most exciting periods of his life, marked by freshness, risk, and the thrill of never knowing where the music might go once Petrucciani stepped onstage.

Tim Jackson adds that while audiences were often struck by Petrucciani’s physical challenges, what lingered was the sense of wonder in his performances. He notes Petrucciani’s distinctive blend of a funky, grounded touch with a luminous, impressionistic sensibility, a sound that defied easy categorization and reflected the pianist’s own warmth and down-to-earth personality. For Jackson, Petrucciani’s music represented a beautiful melding of cultures, woven into a tapestry that continues to speak deeply to listeners.

Alexandre Petrucciani frames the release in even broader terms, describing his father as a force of nature whose impact extended beyond music itself. He expresses hope that Kuumbwa communicates not only Petrucciani’s profound love for jazz, but also the generosity of spirit he brought to the world—an energy that made him larger than life.

Captured at a moment when Petrucciani’s international profile was rapidly rising, Kuumbwa offers a fresh lens on his artistry, fueled by a highly responsive audience and the crackling intimacy of the club. Feldman describes the performance as “smoking,” emphasizing the enthusiasm in the room and the special chemistry preserved on tape. Decades later, this newly unearthed recording stands as a powerful testament to Michel Petrucciani’s brilliance, vitality, and enduring influence.

Bill Evans at the BBC Preserves a Rare 1965 Television Moment on Vinyl for Record Store Day

Elemental Music will shine a new light on a singular moment in jazz history with Bill Evans at the BBC, presenting a rare 1965 British television performance by the legendary pianist for the first time on vinyl. Slated for release exclusively for Record Store Day on April 18, 2026, the deluxe 180-gram two-LP set captures Evans in peak form with his remarkable second working trio, bassist Chuck Israels and drummer Larry Bunker. The album will also be released on CD and digital platforms on April 24.

The recording brings together two episodes of the BBC program Jazz 625, hosted by British trumpeter Humphrey Lyttelton, and documents Bill Evans’ only known performance at the BBC television studios. Produced for release by award-winning archivist Zev Feldman—widely known as the “Jazz Detective”—in cooperation with the Bill Evans Estate, the project represents Feldman’s 15th collaboration with the estate, further enriching one of the most carefully curated legacies in modern jazz. Audio was transferred from the original BBC tapes, with mixing and restoration by Marc Doutrepont at EQuuS and vinyl mastering by Matthew Lutthans at The Mastering Lab.

The broadcasts originally aired on May 12 and December 29, 1965, though they were filmed back-to-back on March 19 of that year during the trio’s four-week residency at Ronnie Scott’s Jazz Club in London. By that point, Evans, Israels, and Bunker had been working together for two years, forging a deeply intuitive rapport following the dissolution of Evans’ first trio after Scott LaFaro’s tragic death in 1961 and Paul Motian’s departure in 1963.

Chuck Israels recalls that by the time the Jazz 625 episodes were taped, the trio had become a finely tuned unit, comfortable enough with one another and the material to take genuine interpretive risks. That ease and freedom permeate Bill Evans at the BBC, which reveals a group playing with unhurried confidence, subtle swing, and an almost conversational intimacy.

The repertoire will be instantly familiar to Evans listeners. Five selections later appeared on Trio ’65, which the group recorded in February 1965 but which had not yet been released at the time of these broadcasts. These include John Carisi’s “Israel,” Earl Zindars’ “Elsa” and “How My Heart Sings,” along with the standards “Who Can I Turn To?” and “Come Rain or Come Shine.” The program is rounded out with enduring Evans touchstones such as “Waltz for Debby” and “Re: Person I Knew,” as well as frequently revisited pieces like “Summertime,” “Someday My Prince Will Come,” and Miles Davis’ “Nardis.”

Originally airing from April 1964 through August 1966, Jazz 625 was a landmark BBC series whose title referenced the 625-line UHF broadcast system used by BBC Two. The program emerged after the resolution of a long-standing dispute between the UK Musicians Union and the American Federation of Musicians, which had prevented U.S. musicians from performing in Britain for decades. Over its brief run, the series featured appearances by giants including Duke Ellington, Dave Brubeck, Thelonious Monk, the Modern Jazz Quartet, and Art Blakey and the Jazz Messengers, situating Evans’ performance within a rare and historic context.

While devoted fans may have encountered these Evans episodes over the years—on laserdisc in the 1990s, DVD releases in the early 2000s, or scattered online clips—this release marks the first time the music has been officially presented on its own, detached from the visuals and newly remastered to emphasize its sonic depth. The result, according to Evans scholar Marc Myers in his liner notes, is a more immersive listening experience that demands deeper attention and reveals the trio at its expressive peak, playing with a caressing touch and extraordinary focus.

The deluxe package expands the historical context even further, featuring a new interview with Chuck Israels reflecting on Evans and the BBC sessions, reflections on Evans’ influence from singer-pianist Jamie Cullum and pianist James Pearson, artistic director of Ronnie Scott’s, and extensive liner notes by Myers. Cullum, in particular, praises the Israels-Bunker trio for its swinging intensity and understated fire, noting the propulsion of Bunker’s brushwork and Evans’ remarkable economy of motion and sound. He emphasizes that this trio deserves to be appreciated on its own terms, not simply measured against the shadow of Evans’ earlier ensemble.

For Feldman, the release is a personal milestone. Having first encountered the material decades ago, he describes Bill Evans at the BBC as a vital chapter in Evans’ recorded story—one long deserving of an official LP and CD release. More than sixty years after the trio performed before a reserved but attentive British television audience, the music remains strikingly alive. As Israels later reflected, with characteristic understatement, the group was “damn near perfect at the BBC”—a sentiment vividly borne out by these luminous recordings.

Freddie King at Full Force: Feeling Alright Brings the Texas Cannonball’s 1975 Nancy Jazz Pulsation Concerts to Light

Slated for release by Elemental Music as an exclusive Record Store Day title on April 18, 2026, Feeling Alright: The Complete 1975 Nancy Jazz Pulsation Concerts unveils a monumental live document from blues guitar giant Freddie King. Captured before more than 50,000 fans at France’s Nancy Jazz Pulsations Festival in October 1975, the limited-edition three-LP set preserves a towering artist in the final full year of his life, delivering the blues with unrelenting power and authority on an international stage.

Previously unreleased and sourced from original ORTF (Office de radiodiffusion-télévision française) recordings, the newly restored 180-gram vinyl collection shines a long-overdue spotlight on a musician whose ferocious tone, commanding vocals, and genre-bridging vision helped reshape both modern blues and rock. Issued in cooperation with the Freddie King Estate, the release is produced by award-winning archivist Zev Feldman—widely known as the “Jazz Detective”—with mixing and sound restoration by Marc Doutrepont at EQuuS and mastering by Matthew Lutthans at The Mastering Lab. CD and digital editions will follow on April 24.

Known as the Texas Cannonball, Freddie King carved out a singular place in music history by fusing raw blues tradition with explosive modern energy. His stinging thumb-and-fingerpick attack produced instrumentals like “Hide Away” and “Sen-Sa-Shun” that became foundational texts for generations of guitarists. At the same time, his impassioned singing—heard here in a searing performance of “Have You Ever Loved a Woman”—matched the intensity of his guitar work. Onstage, King’s commanding presence and sheer force of delivery infused the blues with rock ’n’ roll urgency, directly influencing players from Eric Clapton to Stevie Ray Vaughan.

The expansive Feeling Alright set moves effortlessly through the breadth of King’s repertoire. Classic instrumentals such as “Sen-Sa-Shun,” paired in a medley with Magic Sam’s “Lookin’ Good,” sit alongside signature vocal performances including “Have You Ever Loved a Woman,” which segues into B.B. King’s “Whole Lot of Lovin’.” King also delivers authoritative readings of blues standards like “Sweet Little Angel,” “Got My Mojo Working,” “The Things I Used to Do,” “Sweet Home Chicago,” “Messin’ with the Kid,” “Danger Zone,” and “Stormy Monday,” reaffirming his command of the tradition he helped modernize.

Reflecting the rock musicians he inspired—and the audiences he increasingly reached—King includes two rock staples that had become fixtures in his live shows: Dave Mason’s “Feelin’ Alright,” popularized by Traffic and Joe Cocker, and Don Nix’s “Goin’ Down.” Across sixteen performances spanning six sides of vinyl, the collection captures a setlist as expansive as King’s influence.

The Nancy Jazz Pulsations performance represents a convergence of every phase of Freddie King’s career: the Texas swing roots, the Chicago blues sharpened in clubs, and the later rock-inflected sound shaped in collaboration with figures like Leon Russell and Don Nix. Delivered before a massive European festival crowd, the music reflects an artist fully in command of his powers, transcending genre and geography alike.

The album features King on guitar and vocals, backed by a formidable band including Alvin Hemphill on organ, Ed Lively on guitar, Lewis Stephens on piano, Benny Turner on bass, and Calep Emphrey on drums. Stephens, who played keyboards with King during those European dates, recalls the Nancy appearance as part of a “blistering” five- to six-week run through France, noting that King had truly hit his stride as a blues-rock star on both sides of the Atlantic.

Complementing the music, the set includes liner notes by music journalist and historian Cary Baker, author of Down on the Corner: Adventures in Busking and Street Music, along with reflections from producer Zev Feldman and appreciations from Freddie King’s daughter and estate administrator Wanda King, as well as ZZ Top guitarist Billy F. Gibbons. Gibbons captures the spirit of the performance succinctly, writing that at the Nancy show—just a year before his untimely passing—the Texas Cannonball “poured it on in a big way.”

For Feldman, the project is both a celebration and a restoration. He emphasizes Freddie King’s enduring status as a defining figure in blues and rock guitar, noting that these recordings capture a moment when King was transcending audiences and influencing players around the world. Working closely with Wanda King, Feldman describes the release as an opportunity not only to share extraordinary music, but to honor a legacy that continues to resonate. Feeling Alright presents Freddie King at his very best—fearless, commanding, and thrilling to hear.

Cecil Taylor’s Lost Fire Reignites on Fragments: The Complete 1969 Salle Pleyel Concerts

One of the most formidable yet under-documented ensembles in avant-garde jazz history is finally receiving its due with Fragments: The Complete 1969 Salle Pleyel Concerts, a revelatory three-LP set capturing previously unreleased performances by Cecil Taylor and his Unit. Issued by Elemental Music on April 18 as an exclusive Record Store Day release, the collection presents the legendary pianist at a moment of extraordinary creative intensity, surrounded by a lineup that existed for just one year yet left an outsized imprint on the music.

The release is the result of an ongoing partnership between INA (Institut National de l’Audiovisuel), France’s official radio and television archive, and producer Zev Feldman, whose work with INA has already unearthed essential recordings by Albert Ayler, Pharoah Sanders, Cannonball Adderley, Larry Young, Yusef Lateef, and others. Sonically restored and mixed by Marc Doutrepont at EQuuS and mastered for vinyl by Matthew Lutthans at The Mastering Lab, Fragments is also slated for CD release on April 24, ensuring wider access to this long-hidden chapter of jazz history.

The Cecil Taylor Unit heard on Fragments was both fleeting and formidable. In January 1969, tenor saxophonist and flutist Sam Rivers joined Taylor’s long-standing trio with alto saxophonist Jimmy Lyons and drummer Andrew Cyrille. By June, the quartet traveled to France, where they spent nearly two months in residence at the Fondation Maeght on the French Riviera. Immersed in an interdisciplinary environment alongside painters, sculptors, dancers, and composers, the group rehearsed daily and sharpened a musical language that fused structure and freedom. Two marathon concerts capped the residency; one was documented on the triple LP Nuits De La Fondation Maeght (released in the U.S. as The Great Concert of Cecil Taylor), though that landmark recording has never been reissued on CD.

Later that year, the quartet was invited by legendary promoter George Wein to join the Duke Ellington Orchestra and Miles Davis’s then-current band on the Newport Jazz Festival in Europe tour. Spanning 15 dates across major European cities—including Milan, Rome, Vienna, London, Copenhagen, Stockholm, Berlin, and Rotterdam—the tour culminated in two performances at Paris’s Salle Pleyel: an afternoon set and an evening concert. Those two shows, recorded but never officially released, form the core of Fragments and are presented here in their entirety for the first time.

Each performance consisted of a single extended work, created anew each time the band took the stage yet rooted in composed material. Titled “Fragments of a Dedication to Duke Ellington,” the music balanced spontaneous creation with formal intent, with both Rivers and Lyons working from written parts. The afternoon concert stretches beyond 90 minutes and occupies the second and third LPs of the set, while the evening performance, a comparatively concise 50 minutes, offers a different perspective on the same creative framework. Both concerts were also filmed by ORTF, the French national broadcaster, though the footage has never been released officially.

Beyond the music itself, Fragments is framed as a full-spectrum historical document. The package includes an expansive essay by Philip Freeman—author of In the Brewing Luminous: The Life & Music of Cecil Taylor—exploring the intertwined musical and personal relationships among Taylor, Duke Ellington, and Miles Davis. Additional reflections come from Andrew Cyrille, the last surviving member of the 1969 Unit; Karen Borca, widow of Jimmy Lyons; Monique Rivers, daughter of Sam Rivers; drummer Jack DeJohnette, who was a member of Miles Davis’s band on the 1969 tour; and pianist Matthew Shipp. Rare and never-before-seen photographs from the actual concerts further deepen the sense of immersion.

For Feldman, the significance of the release cannot be overstated. He describes the music as being of “biblical importance” for fans of Cecil Taylor and the avant-garde movement, noting that it captures the pianist at a thrilling juncture, joined by musicians who were absolute titans in their own right. Freeman echoes that sentiment, emphasizing the vivid contrast between Rivers and Lyons, the astonishing interplay between Taylor and Cyrille, and the remarkable fidelity of the tapes themselves.

In the liner notes, Andrew Cyrille reflects on the deep familiarity within the group by the time of the Salle Pleyel concerts, recalling how years of shared experience allowed the music to unfold with ease and purpose. Jack DeJohnette, who passed away in October 2025, offers a visceral memory of the band’s impact, remembering how Taylor would open the shows and leave the stage “still on fire” by the time the next act stepped up.

Fragments: The Complete 1969 Salle Pleyel Concerts stands as a breathtaking testament to Cecil Taylor and his Unit operating at full strength—unfettered, fearless, and yet guided by a shared creative vision. It is not only a vital archival release, but a living document of music that continues to challenge, inspire, and astonish.

Jordan Williams Introduces Himself with Playing by Ear, a Poised and Powerful Debut on Red Records

Pianist Jordan Williams makes a confident and deeply musical first statement with Playing by Ear, his debut album as a bandleader and his first release for the storied Milan-based Red Records label. The project announces a new voice grounded in jazz tradition yet unmistakably contemporary, balancing intuition and form with a quiet authority that belies Williams’ early stage in his recording career. Anchored by a rare and formidable ensemble—Jeff “Tain” Watts on drums, Nat Reeves on bass, and Wallace Roney Jr. on trumpet—the album captures the essence of listening as both discipline and instinct.

A native of Philadelphia, Williams comes from a lineage steeped in jazz history. He began picking out standards by ear at the age of six, long before he had the language to name chords or analyze harmony. Those formative experiences shaped not only his technique but his philosophy: music as something felt first, understood later. That sensibility runs throughout Playing by Ear, where Williams blends the exploratory lyricism associated with Herbie Hancock and the grounded swing of Mulgrew Miller, filtering those influences through a modern lens that values space, narrative, and touch over flash.

Across eight thoughtfully curated tracks, Williams leads with patience and clarity, allowing the music to unfold organically. The album opens with Horace Silver’s “Peace,” rendered with reverence and restraint. Each phrase is given room to breathe, setting a contemplative tone and establishing Williams’ commitment to nuance. His comping behind Wallace Roney Jr.’s trumpet feels conversational rather than reactive, guided by empathy and an intuitive sense of balance.

That balance shifts on “Ms. Baja,” the Kenny Garrett composition where the quartet leans into a more kinetic energy. Jeff “Tain” Watts injects sharp rhythmic accents and asymmetrical bursts that challenge the pulse, while Williams’ left hand provides architectural grounding. The result is a dynamic tension that feels alive and unforced, driven by collective listening rather than individual display.

A standout moment arrives with “Tayamisha,” composed by Buster Williams, where Jordan Williams nods to the stride piano lineage of Fats Waller and James P. Johnson. Those early jazz roots surface in his right-hand flourishes, connecting past to present with warmth and intention. The piece also carries deep personal meaning. Williams dedicates “Tayamisha” to his late grandparents, Ralph and Dorris Williams, who were avid fans of records featuring Buster Williams and owned a chicken shop called Wings n Things in Camden, New Jersey—Buster Williams’ hometown—in the 1960s. The dedication adds another layer of memory and lineage to a performance already rich with history.

Bassist Nat Reeves contributes two original compositions, “Waltz for Ellis” and “Blue Ridge,” which further ground the album in unhurried elegance. Reeves’ lines function as both anchor and invitation, offering steady support while encouraging melodic exploration. His presence brings a calm authority shaped by years of experience, including his work with Jackie McLean’s later ensembles.

The chemistry among the four musicians is quietly electric. Reeves provides ballast and steadiness, Watts introduces sparks of disruption that force deeper listening, and Roney Jr. navigates legacy and curiosity with a tone that is both searching and assured. Williams sits at the center, not as a dominating force, but as a facilitator—someone who understands when to lead, when to respond, and when to let silence speak.

Playing by Ear arrives as both a culmination and a beginning for Williams. A recent graduate of The George Washington University, he has already shared stages with artists such as Branford Marsalis, Jazzmeia Horn, Camille Thurman, and Curtis Lundy. That apprenticeship is evident throughout the album, not in imitation, but in the maturity of his choices and the confidence of his musical voice. His interpretations find grace in tension and swing in stillness, revealing an artist more concerned with meaning than momentum.

For Williams, the album’s title reflects a broader philosophy. Playing by ear, he explains, is how he learned not only to listen to music, but to life itself—understanding that silence, memory, and even mistakes shape what comes next. With this debut, Jordan Williams demonstrates that careful listening, when paired with courage and curiosity, can yield music that feels timeless and immediate all at once.

Lisa Addeo Unveils “Still Never Enough,” Expanding a Breakout Era as Billboard’s Most Played Female Smooth Jazz Artist

Contemporary jazz pianist and vocalist Lisa Addeo is carrying the momentum of a landmark year straight into 2026 with the release of “Still Never Enough,” a luminous new single that reflects both artistic evolution and sustained chart dominance. Entering the year on a creative high, Addeo is building on a run of achievements that firmly established her as one of smooth jazz’s most compelling independent voices.

In 2025, Addeo earned her seventh No. 1 single with “Lipstick and Moonlight” and made history as the only woman to appear in Billboard’s Top 10 Most Played Smooth Jazz Artists of the Year. Her breakout extended even further with “Wet Bar,” which became Mediabase’s Most Played Smooth Jazz Song of the Year by a female artist and landed in Billboard’s Top 10 Most Played Smooth Jazz Songs of 2025. The distinction marked the second consecutive year she placed a single in Billboard’s year-end top ten—an especially notable feat for an artist releasing music independently through her own Little Black Dress Records imprint.

For Addeo, the recognition is inseparable from the persistence and self-belief required to sustain an independent career. She describes her outlook as grateful, grounded, and focused, noting that each milestone feels deeply earned. The success of 2025, she says, confirmed that there is still space for music that is honest, handcrafted, and led from the heart, particularly when it is shared live with audiences who connect to its emotional core.

Navigating a male-dominated chart landscape added another layer of meaning to the year’s accomplishments. While Addeo insists she set out only to express her own truth, she has embraced the broader impact of her visibility. She views her presence among the genre’s most-played artists as an opportunity to help open doors wider for other women—especially those who are creating, producing, and leading their own musical visions—and hopes the momentum encourages both artists and listeners to expand what they support and celebrate.

“Still Never Enough” arrives as the latest preview of Addeo’s forthcoming album, Playin’ Out Loud, due later this year. Originally written and produced in 2019 with Billboard chart-topping guitarist Nils, the song explores themes of intimacy, longing, and emotional vulnerability. Since its initial release, it has quietly grown into Addeo’s most-streamed track, surpassing seven million Spotify streams and continuing to climb. Revisiting the song years later allowed Addeo to reimagine it through the lens of personal and artistic growth, revealing new layers while preserving its original emotional honesty.

The song, she explains, lives in the quiet space where love, desire, and vulnerability overlap—the feeling of giving fully while still craving deeper connection. Returning to it after years of evolution felt like a conversation between who she was then and who she is now, as both a woman and a storyteller. The process reaffirmed her belief in letting songs grow alongside the artist, rather than freezing them in time, and underscored the importance of surrounding herself with collaborators and supporters who encourage that growth while keeping the joy in the work.

Musically, “Still Never Enough” provides a shimmering platform for Addeo’s nimble piano work, blending sophistication with accessibility. The arrangement is elevated by David Mann’s sleek saxophone and horn lines, which glide over a groove shaped by drummer Jorel “JFly” Flynn, bassist Darryl Williams, and percussionist Oliver C. Brown. Addeo describes the session as a true musical conversation, driven by players who listen as deeply as they perform and understand that the space between notes can be just as expressive as the notes themselves.

Across her career, Addeo has built a remarkably diverse catalog spanning ten albums and more than 33 million Spotify streams. Her work extends beyond contemporary jazz to include vocal and instrumental interpretations of the Great American Songbook, meditative and spa music, solo grand piano pop, holiday collections, and even a tribute album to Frank Sinatra. Her connection to that legacy runs deeper still, with her voice heard daily on SiriusXM’s Siriusly Sinatra channel.

As a live performer, Addeo is now focused on bringing this expanding body of deeply personal music into concert settings throughout the year, where she believes it can truly live and breathe. She describes her current chapter as one of constant expansion, with new possibilities calling her forward. With songs continuing to evolve, audiences continuing to grow, and her passion for performing stronger than ever, “Still Never Enough” stands as a reflection of where she is now—rooted in experience, open to collaboration, and eager to see how far this music can travel.

Mansur Brown Ushers in a New Era with “Love Is Mine,” Introducing Vocals on Forthcoming Album Rihla

Mansur Brown steps boldly into a new creative chapter with “Love Is Mine,” a striking new single from his forthcoming album Rihla. The track marks the first time Brown introduces his own vocals into his recorded work, expanding his sonic palette while leaning further into heavier rock and electronic influences. Entirely written, performed, and produced by Brown, Rihla will be released on his own imprint, AMAI, and stands as his most personal and expansive statement to date.

Straddling the roles of songwriter, producer, and multi-instrumentalist, Mansur Brown has long embodied a rare kind of musical fluency. A classically trained guitarist and multidisciplinary artist, his work balances virtuosic precision with raw emotional expression. On Rihla, those dual impulses converge more clearly than ever. “Rihla to me is a diary of my life up until now,” Brown explains. “It touches on life in all its beauty alongside the struggle — how it all has meaning, and how it reflects humanity in detail. The album ties together all my influences in the most honest way. I’d call my music genreless, with no bounds.”

Brown’s distinctive compositional voice is shaped by intricate, flamenco-influenced guitar work paired with forward-thinking production. His listening world is vast and unapologetically eclectic, drawing inspiration from Fontaines D.C. and Deftones to early-2000s Timbaland, Afrobeats, and the spectral electronics of Burial. “My music has many different feelings,” he says, “but running through all of it are senses of happiness and gratitude. I want it to feel rejuvenating.”

First emerging from the South London jazz scene, Brown quickly became a sought-after collaborator, working with artists such as Joy Orbison, Yussef Dayes, Little Simz, and Alfa Mist. His debut album Shiroi arrived in 2018, followed by Tesuto, Heiwa, and Naqi in 2020, 2021, and 2022 respectively — a run of releases that cemented his reputation as one of the UK’s most compelling musical voices.

With each project, Brown’s audience has grown steadily, his live shows becoming known for their intensity and immersive energy, often selling out rapidly. Media attention has followed, including standout live sessions for Boiler Room at The Barbican and Benji B. With Rihla and “Love Is Mine,” Mansur Brown doesn’t just evolve — he redefines his artistic frame, offering a work that feels fearless, intimate, and entirely his own.

Dave Wilson Reframes Pop Memory Through a Modern Jazz Lens on When Even Goes East

On When Even Goes East, his eighth album as a leader, saxophonist Dave Wilson delivers a deeply personal and musically adventurous statement that bridges classic pop songwriting and contemporary jazz expression. Blending inventive reimaginings of beloved songs from the 1960s and 1970s with four original compositions that showcase his evolving compositional voice, Wilson affirms his place as a versatile improviser, bandleader, and storyteller.

The album marks Wilson’s first studio release since 2015’s There Was Never, arriving after nearly a decade spent almost entirely on the bandstand. In the intervening years, Wilson documented his music primarily in live settings, issuing One Night at Chris’ (2019) and Stretching Supreme (2022), both recorded at Philadelphia’s Chris’ Jazz Café, as well as Live at Silvana (2024), captured at the storied Harlem nightclub. Stretching Supreme—a deep exploration of John Coltrane’s A Love Supreme—earned high praise, with The Art Music Lounge calling it “an excellent CD, fully worthy of the one to whom most of the music is dedicated.”

While Wilson’s live albums thrived on the energy of spontaneous performance, When Even Goes East reflects a different kind of patience. With a schedule that often reaches 120 performances per year—ranging from jazz clubs and festivals to private engagements—alongside the demands of running Dave Wilson Musical Instruments, his full-time business specializing in vintage, modern, and student brass and woodwind instruments, the process of gathering material for a studio album unfolded gradually. The result is a carefully considered collection shaped by years of lived musical experience.

Wilson performs on both tenor and soprano saxophones throughout the album, supported by a tight-knit rhythm section featuring pianist Jesse Green, bassist Evan Gregor, and drummer Daniel Gonzalez. The trio, which has backed Wilson extensively on the road and appeared on Live at Silvana, brings a cohesive, road-tested chemistry to the session. Adding another layer of rhythmic depth is special guest percussionist Lenny Castro, whose storied résumé includes work with Toto, Eric Clapton, and John Mayer.

Born and raised in Bronxville, New York, and now based in Lancaster, Pennsylvania, Wilson’s musical journey began early. He started on clarinet in fourth grade, studied piano, and discovered the saxophone at age 14 after hearing John Coltrane’s Live at the Village Vanguard—a moment that would shape his artistic direction. He went on to study at Wesleyan University with Bill Barron and continued his education with a who’s who of jazz masters, including Dave Liebman, Joe Lovano, and Ralph Lalama.

Wilson’s career has spanned an unusually wide stylistic spectrum. In addition to leading straight-ahead jazz groups like the Dave Wilson Quartet, he has worked in funk, rock, jazz fusion, Chicago-style horn bands, and traditional jazz. He led New Orleans–influenced ensembles such as the Canal Street Hot 6 and Dave Wilson’s Rampart Street Ramblers, both of which featured prominent figures from the Mid-Atlantic traditional jazz scene. He also spent years as a member of the Dave Stahl Sacred Orchestra and Dave Stahl Big Band, sharing the stage with luminaries including Wynton Marsalis, Tom Harrell, Lou Soloff, John Fedchock, Conrad Herwig, Gary Smulyan, and Steve Smith.

For When Even Goes East, Wilson turned to pop repertoire from the 1960s and 1970s—not as nostalgia, but as raw material for transformation. “With these pop tunes, first I have to feel a personal connection with them,” Wilson explains. “I make them my own thing, so they might veer off and not sound like the original. There has to be room for creative expression and improvisation.”

The album’s title references Wilson’s brief time as a New York City cab driver, when Manhattan’s grid system made a lasting impression. Even-numbered streets run east, odd-numbered streets west—a simple logic that becomes a metaphor for direction, movement, and personal mapping. The concept is visually echoed in the album’s cover art, designed by Jack Frisch.

The record opens with Wilson’s original “Let’s Go,” an avant-garde burner driven by frenetic energy and fearless improvisation. Other originals include the title track “When Even Goes East,” born from a one-chord jam that coalesced into a hypnotic groove and was captured in a single take; “Slow Freeze,” a dark, minor-key ballad with a spacious, atmospheric feel; and “Intragalactic Sunset,” a Brazilian-tinged piece highlighted by Wilson’s smoky tenor and an effervescent solo from Green.

Among the album’s reinterpretations, Wilson revisits “Eyes of the World,” written by Jerry Garcia and Robert Hunter. A longtime admirer of Garcia, Wilson treats the melody with reverence while allowing room for jazz phrasing and improvisation. “This is my third Grateful Dead arrangement,” he notes. “I used to really like the Dead, and I came back to them after a long period of not listening at all.”

Jimmy Webb’s songwriting receives special attention with two selections. “Adios,” written for Linda Ronstadt, becomes a tender soprano sax feature that captures the song’s emotional weight, while “Wichita Lineman” unfolds with understated grace, buoyed by Green’s lyrical piano work.

The album also includes striking jazz transformations of pop and rock standards. Jackson Browne’s “These Days,” written when Browne was just 16, is reimagined as a samba-tinged vehicle for soprano sax. The Lennon-McCartney classic “Fool on the Hill,” arranged by Green, takes on a spacious, dreamlike quality, while Jimi Hendrix’s “Fire” is thoroughly reworked into a funk-infused jazz burner, far removed from its psychedelic rock origins.

Across the album, Wilson’s warm, expressive saxophone sound balances passion with introspection. Whether navigating the intensity of his originals or reshaping familiar melodies into new forms, he plays with empathy, imagination, and an unforced sense of flow. Anchored by a band that shares his creative instincts, When Even Goes East stands as a compelling studio return—one that speaks equally to dedicated jazz listeners and to those who still carry the songs of the 1960s and 70s close to heart.