Rahsaan Barber Finds New Creative Energy on Eternal

Saxophonist and composer Rahsaan Barber enters a deeply personal new chapter with Eternal, an album that combines his sophisticated approach to modern jazz with an unusually powerful sense of emotion and reflection. Due October 9 on his own Jazz Music City Records, the album features eight Barber originals alongside an inventive interpretation of Marvin Gaye’s “What’s Going On.”

Barber is joined by his longtime working rhythm section—pianist Matt Endahl, bassist Kevin Beardsley and drummer Joshua Hunt—along with New Orleans guitarist Ted Ludwig, whose addition brings another distinctive voice to the quartet.

The personal circumstances surrounding Eternal had a profound effect on the recording. Shortly before the sessions, Barber and his wife, classical saxophonist Heidi Radtke, learned that her pregnancy was no longer viable. The loss became part of the album’s emotional foundation, particularly the title track.

Originally called “Awaiting Zora,” after the daughter the couple had been expecting, the composition became “Eternal,” taking on a different meaning as Barber transformed his grief into music.

“I feel like they put a force field around me that allowed me to be in a place that became therapeutic for me, life-affirming,” Barber said of the musicians who surrounded him during the sessions.

That sense of empathy carries throughout the album. Barber’s playing is expressive and commanding, but Eternal is equally notable for the interaction among the musicians. The album often feels less like a showcase for individual players than a conversation among a group that knows how to listen to one another.

Ludwig makes an immediate impression. Barber first encountered the New Orleans guitarist when the two performed together in Memphis, and was intrigued by how Ludwig's more traditional musical language could interact with his own modern compositions. His playing brings what Barber describes as a “sweet kind of fire” to the sessions.

That quality can be heard on “The Skipper,” “Mandela” and particularly “Cabbage,” where Ludwig delivers an energetic guitar contribution to the funky piece. Endahl gets the spotlight on the swinging opener “Day Dreamer” as well as the more reflective “Gratitude (For Claire),” while Beardsley takes a featured role on “Cabbage (Reprise).”

Drummer Joshua Hunt is featured on “Day Dreamer” and “The Skipper,” while making an especially notable contribution to the latter portion of Barber’s transformation of “What’s Going On.” The Marvin Gaye classic becomes something more than a familiar cover, fitting naturally into the album’s broader themes of reflection, loss and perseverance.

At the center of it all is Barber, whose tenor saxophone provides the album with both strength and vulnerability. Eternal represents the latest step in a career that has moved comfortably between performance, composition and education.

Born in Nashville in 1980, Barber grew up in a musical family and chose the tenor saxophone, following the example of his older brother Robert. He and his twin brother Roland, a trombonist, studied under renowned jazz educator David Baker at Indiana University before earning master’s degrees at the Manhattan School of Music. Barber later earned a doctorate in classical saxophone from the University of Memphis.

His academic career has included positions at Belmont University and Tennessee State University before he joined the University of North Carolina, where he is a tenured assistant professor of music. He has also taught master classes at universities around the country.

Alongside his academic work, Barber has maintained an active performing career. He and Roland released the co-led Twinnovation in 2000, while Barber's first album as a leader, Trio Soul, followed in 2005. Years of work on the Nashville scene led to touring opportunities with artists including Kelly Clarkson, Chris Stapleton, the Wooten Brothers and Delfeayo Marsalis.

His subsequent albums have increasingly emphasized his work as a composer. Everyday Magic arrived in 2010, followed by the standards-oriented Music in the Night in 2016, the all-original Mosaic in 2021 and Six Words in 2024, which featured an eight-part original suite.

With Eternal, Barber continues that progression while bringing an especially personal perspective to his music. The album's combination of original compositions, a reimagined soul classic and the chemistry of his working band gives the saxophonist another opportunity to explore the space where modern jazz, groove and deeply personal expression meet.

Barber will celebrate the album with three October CD release performances. The first takes place October 2 at Sharp 9 Jazz Gallery in Durham, North Carolina, with a quintet featuring Jeff “Tain” Watts, Keith Ganz, Kevin Beardsley and Joe Davidian. He follows with a performance at the University of Memphis School of Music on October 16, featuring Watts, Nat Reeves, Kevin Ganz and Matt Endahl. The October 17 Nashville Jazz Workshop performance will feature Matt Endahl, Brian Allen, Keith Ganz and Joshua Hunt.

Eternal arrives October 9, marking another significant chapter in Rahsaan Barber’s development as a saxophonist, composer and bandleader—and one shaped by experiences that have given the music an unmistakably personal voice.

Chris Standring Embraces a New Chapter on Nostalgic Album Time of Change

Contemporary jazz guitarist Chris Standring looks back while moving forward on Time of Change, an album shaped by nostalgia, personal loss and the major life changes that have marked the latest chapter of his life.

Released March 20 on Ultimate Vibe Recordings, Standring’s eighteenth album finds him drawing heavily from the sounds and textures of the 1970s, blending cool jazz, retro R&B grooves, sophisticated horn arrangements and his distinctive electric guitar work. The album’s first single, “Hollywood Hustle,” introduced that approach with an upbeat, horn-driven funk groove.

For Standring, however, Time of Change is about more than revisiting a musical era. Getting married for the first time, losing his father Alistair, and preparing to leave Los Angeles after 35 years have given the album a deeply personal dimension.

“As I get a little older, it's easy to reflect and reminisce about the past, the innocence of youth, the naïveté of decisions, good or bad, and perhaps idolize some of the glory days,” Standring said. “Much of the writing harks back to a familiar time, a nostalgic time. And things in life are different now.”

Standring wrote and produced all eleven tracks, surrounding himself with a core group that includes bassist Andre Berry, drummer Chad Wright and percussionist Lenny Castro. Several songs are expanded by a horn section featuring Brandon Fields on tenor sax, Tom Saviano on alto sax, Michael Stever on trumpet and Erik Hughes on trombone.

The album also brings in several longtime and notable collaborators, including GRAMMY-winning bassist Brian Bromberg, pianist George Whitty, drummer Dave Karasony and keyboardist Rodney Lee. Lee has a particularly personal connection to Standring, having worked with him in the innovative band Solar System roughly three decades ago, near the beginning of Standring’s recording career.

Time of Change opens with “Photographs,” a reflective piece that immediately establishes the album’s nostalgic character. Standring brings an atmospheric quality to his guitar playing while Whitty contributes an expressive piano solo.

Standring described the song in cinematic terms, imagining himself sitting beside a bay window and watching the rain while contemplating life. That imagery becomes something of a recurring theme throughout the album, where memories of the past continually intersect with thoughts about the future.

The upbeat “Magnetic” is built around just two chords and a tight rhythm section from Berry and Wright, with Standring citing the early Yellowjackets as an influence. “Slippin’ In These Streets” moves into a slower, funkier groove that Standring imagined fitting naturally into the soundtrack of a 1970s cop show.

The retro atmosphere continues on “All The Good Times,” while “Where Were You When” slows the pace and introduces strings, including violas and cellos. Standring has described the latter as one of his favorites on the album, particularly for its warmth and spaciousness.

“Hollywood Hustle” brings the funk back into focus before “A Good Game,” where Standring’s production reflects his admiration for the work of legendary producer Quincy Jones. Finger snaps replace a conventional snare pattern, creating a more intimate groove, while layered voices add warmth to the choruses.

The instrumental “One Of These Days” finds Standring looking toward another familiar source of inspiration, drawing on Tom Scott’s horn and string arrangements from Steely Dan recordings. “Remember The Day” returns to the album’s more contemplative side, with Brandon Fields contributing a poignant saxophone solo.

“All That To Say” was originally intended to close the album and carries a sense of resolution, although Standring acknowledged the sadness underneath the music. The album ultimately ends with its most personal statement, “A Song For Alistair,” written in tribute to his father.

Brian Bromberg’s upright bass gives the closing track an especially intimate character. Bromberg told Standring that he believed it was the guitarist’s most beautiful composition, a sentiment Standring considered carefully.

“I loved this melody so much I didn't want to improvise a guitar solo on it,” Standring said. “I just wanted to state the melody and end the song. That statement was enough in my mind.”

That restraint is fitting for an album centered on memory. Rather than simply recreating the sounds of the 1970s, Time of Change uses those influences as a backdrop for Standring’s reflections on youth, family, loss and the future.

Standring began his solo recording career with Velvet in 1998, which produced the breakthrough hit “Cool Shades.” Since then, he has accumulated more than fifteen Billboard top ten singles, including eight No. 1s. His previous album, As We Think, produced another Billboard No. 1 with “Top Hat & Tails.”

Now, with Time of Change, Standring finds himself looking toward what he calls his “third act.” After decades in Los Angeles and the loss of his father, he is preparing for a quieter chapter with his wife, Erica.

The album ultimately captures that transition in music: nostalgic without simply looking backward, reflective without losing its groove, and personal without abandoning the polished contemporary jazz sound that has defined Standring’s career.

Les Sabler Celebrates His Tenth Album with an All-Star Contemporary Jazz Lineup

For Les Sabler, reaching a tenth album is more than a milestone—it is an opportunity to look back at the musicians and musical relationships that have helped shape his career while continuing to push his guitar playing forward.

The Montreal-born, Nashville-based contemporary jazz guitarist will release Ten on October 9, bringing together 10 tracks created over the past two years with an impressive collection of GRAMMY-winning and Billboard-charting musicians and producers.

The album began taking shape in 2024 when Sabler teamed with hitmaker Greg Manning. Their collaboration produced three of the album's defining tracks: the funky, horn-driven “Hot Chicken,” “Patches’ Groove,” featuring trumpeter Michael “Patches” Stewart, and the upbeat “Drive.”

“Patches’ Groove” became a particularly significant recording for Sabler. It gave him his first Billboard No. 1 hit and was named Billboard's No. 2 Smooth Jazz Song of the Year in 2025.

Sabler and Manning later revisited another composition from their sessions, transforming “Boomerang” into a track with a completely different feel from its original conception. Eric Valentine on drums, Mel Brown on bass and Luis Conte on percussion helped bring the reworked arrangement to life.

Another important creative partnership on Ten comes from two-time GRAMMY winner Paul Brown, who previously produced Sabler's Tranquility and Flying High albums. Together with GRAMMY nominee Brian Bromberg and Jeffrey Smith, Sabler created “Café On The Square,” along with “Once In A Lifetime” and the soulful R&B-pop track “Fly Away.”

Sabler also expanded the album's musical palette by working with Nelson Braxton of the Billboard No. 1-charting Braxton Brothers. The two co-wrote “Corner Pocket” and “Sunset Comfort,” with Braxton producing both tracks. “Corner Pocket” also reunites Sabler with pianist Allon Sams, who previously appeared on his Bridge the Gap album.

The album's closing track, “Serengeti,” is perhaps its most personal. Sabler reimagined the song as a tribute to legendary Canadian guitarist Sonny Greenwich, whom he first saw perform in the late 1970s.

“Completing this project with a tribute to Sonny Greenwich brings my journey full circle,” Sabler said, noting Greenwich's influence and friendship throughout his career.

The recording features an impressive supporting cast, including GRAMMY-winning drummer Gregg Bissonette, upright bassist Brian Allen, pianist David Garfield and percussionist Luis Conte, with Braxton contributing keyboards.

Throughout Ten, Sabler puts his versatility as a guitarist on display. His electric guitar work ranges from fast, fluid runs to tightly constructed grooves, while “Sunset Comfort” and “Serengeti” give him an opportunity to explore the expressive qualities of nylon-string guitar. He also adds 12-string acoustic guitar textures to “Serengeti.”

The album reflects a career that has continually moved beyond the expected boundaries of contemporary jazz.

Sabler studied jazz at Concordia University in Montreal before pursuing graduate studies at the University of Miami. He released his debut album, Hidden Treasure, in 1990, followed by Bridge the Gap, whose title track became his first No. 1 single in Canada and earned nominations for Album of the Year and Guitarist of the Year at the Canadian Smooth Jazz Awards.

Over the years, Sabler has worked with artists including Jeff Lorber, Vinnie Colaiuta, Jerry Hey, Eric Marienthal and Alex Acuña. He has also taken his music in different directions, recording exclusively on nylon-string guitars for Crescent Shores and incorporating Portuguese vocals into his elaborately arranged Jobim Tribute project.

His music continues to find a substantial audience. Sabler's recordings generated 6.6 million Spotify plays last year, contributing to more than 21.6 million streams to date.

With Ten, Sabler is also entering another new chapter: the album will be his first release available on vinyl.

“I am thrilled to share this album which features an immersive variety of songs that flow together seamlessly,” Sabler said. “It is deeply meaningful to me that I am continuing to create and release new music so vibrantly infused with inspiration.”

The 10-track Ten arrives October 9, bringing together two years of collaborations, familiar musical partners, new creative connections and a guitarist still finding new ways to make the contemporary jazz format his own.

Gabriel Mark Hasselbach Bridges Straight-Ahead and Contemporary Jazz

Gabriel Mark Hasselbach has spent his career refusing to put his music into a single category. The Juno Award-winning Vancouver-based trumpeter, flugelhornist and flutist moves comfortably between straight-ahead jazz and contemporary jazz, and his recent work has highlighted both sides of his musical personality.

Earlier this year, Hasselbach released MidCentury Modern Vol. 4, the latest installment in his long-running series devoted to the classic jazz tradition. Released by Windtunnel Records in April, the 20-track collection features standards associated with jazz giants including Freddie Hubbard, Antonio Carlos Jobim, Chick Corea, Herbie Hancock, Miles Davis, Duke Ellington and Thelonious Monk, along with two Hasselbach originals.

The album also showcases Hasselbach's versatility as a multi-instrumentalist. He plays trumpet, flugelhorn, flute and valve trombone and also contributes vocals, while serving as the album's producer.

Seven-time GRAMMY-winning trumpeter Randy Brecker praised the project, calling it “a first rate cast of characters” and highlighting its execution from beginning to end.

For Hasselbach, MidCentury Modern Vol. 4 represents something particularly personal. He has described the album as his “legacy project,” an opportunity to explore the straight-ahead jazz that remains at the foundation of his musical identity.

One of the album's original compositions, “Coming Home for Mardi Gras,” draws from Hasselbach's formative years living and playing in New Orleans, adding a personal touch to an album otherwise rooted heavily in the jazz canon.

At the same time, Hasselbach has continued developing his contemporary jazz career. His collaboration with Billboard chart-topping guitarist Chris Standring, “Swizzle Stick,” combines the musicians' polished contemporary styles with a strong groove and accessible melodic approach.

Released through Standring's Ultimate Vibe Recordings, the track was co-written and co-produced by the two musicians and received airplay as it made its way onto the contemporary jazz charts.

Hasselbach has appeared on the Billboard contemporary jazz chart 11 times, and his partnership with Standring demonstrates how naturally he moves between traditional jazz vocabulary and the smoother, groove-oriented sound of contemporary jazz.

His recent activity has extended beyond recording. Inkwell Publishing released his instructional guide Top Tip Masterclass Jazz Trumpet, a compact handbook designed to help both beginning and experienced trumpet players improve their technique and approach to the instrument.

Rather than concentrating simply on what to play, Hasselbach focuses on how to play, drawing on decades of experience as a performer and educator.

“I had a strong calling to help up-and-comers bypass the trials and challenges of the trumpet,” Hasselbach said. “I wanted to help fast track the rewards and increase the fun quotient while keeping attrition low.”

With those three projects—MidCentury Modern Vol. 4, “Swizzle Stick” and Top Tip Masterclass Jazz Trumpet—Hasselbach has recently offered three different perspectives on his career: the traditionalist, the contemporary jazz artist and the educator.

And there is more music ahead. Hasselbach is working on Le Trompette Bleu, a bluesy contemporary jazz album that will combine his original compositions with reimagined versions of songs including John Lee Hooker and Miles Davis' “End Credits,” Marvin Gaye's “Inner City Blues,” Norman Brown's “Pop's Cool Groove” and War's “Slippin' Into Darkness.”

Born in Denver and now based in Vancouver, Hasselbach has earned multiple Juno Awards and has performed or recorded with artists including Michael Bublé, Bob James, Jeff Lorber, Paul Brown, Greg Manning and Darren Rahn. His international festival appearances have taken him to Australia, Canada, Europe, Mexico, South Africa and Japan.

What ties the different sides of Hasselbach's work together is his refusal to treat straight-ahead and contemporary jazz as opposing worlds. For him, they are simply different expressions of the same musical foundation.

Whether he's interpreting a Monk standard, laying down a contemporary groove with Chris Standring or helping the next generation of trumpet players find their voice, Hasselbach continues to move comfortably between tradition and modern jazz without abandoning either.

Sacramento Gets Its Own Singing, Dancing Vegan Zombie Musical

 

Sacramento is getting an unusual addition to its film history: a full-length musical featuring singing, dancing—and vegan zombies.

Multimedia artist Belton Mouras Jr. is bringing his imaginative creation Fingers: The Vegan Zombie Musical to the big screen, expanding his 2024 short film Fingers: The World’s First Vegan Zombie into what is being billed as Sacramento’s first original musical feature.

Shot throughout the Sacramento region, the film combines comedy, music, dance and an eclectic cast of performers. Mouras Jr. wrote the screenplay, composed 12 original songs, is directing the film and stars as the title character, Fingers.

The feature grew out of the success of the original short and two choreographed song-and-dance videos, which have accumulated more than three million views. The new film takes that concept considerably further, creating a musical world where zombies are learning to live—and contribute—to society without eating meat.

The cast reflects the film's anything-goes musical approach. Broadway performer Grace Field joins Sacramento opera vocalists Omari Tau and Vanessa Martucci in an “Opera Rock Hop” number combining opera, rock and hip-hop. Two-time Emmy Award-winning jazz musician Tony Saunders and Billboard-charting flutist Althea René also make cameo appearances.

Another ambitious sequence was filmed in a downtown Sacramento warehouse, bringing together K-pop performer Sean Choi, I-pop artist Lav Raman and their dance teams for a combination dance-off and rap battle. The sequence also incorporates a six-member mariachi folklórico ensemble and a featured vocal performance by co-lead Rachel Williams.

With 12 original songs spanning hip-hop, pop, jazz, rock and country, Mouras Jr. is using the film as a showcase for multiple musical styles while expanding the Fingers story into a larger cinematic world.

For Mouras Jr., the project is also a distinctly Sacramento production. Locations including Auburn, Gibson Ranch and the Apple Hill region provided settings for the film, continuing the local connection established by the original short.

“I’ve been grateful for the incredible opportunity to also play the lead role of Fingers and bring the character to life,” Mouras Jr. said, describing the project as a way of bringing multiple creative platforms together into one cinematic experience.

The film is another chapter in an unusually busy year for the classically trained musician. Mouras Jr. recently released the contemporary jazz instrumental “Dynamo,” featuring nine-time GRAMMY nominee Gerald Albright on saxophone and Saunders on bass. He also released his first country single, “Hold My Hand With Your Heart.”

Meanwhile, the Fingers musical has already begun making its way into the music world. Last year, Mouras Jr. released “What A World (We Live In),” the opening song-and-dance number from the film, accompanied by a video featuring 25 dancers performing in Sacramento.

With its mix of zombies, original music, elaborate choreography and Sacramento locations, Fingers: The Vegan Zombie Musical is shaping up as a decidedly unconventional musical—and a project with a distinctly local identity.

Carmen Jackson Brings Milt Jackson’s “Bags’ Groove” Into a New Generation

Detroit vocalist Carmen Jackson is reaching back into her family history while putting her own stamp on a jazz classic with her new release, “Bags’ Groove,” a fresh interpretation of the composition written by her legendary uncle, vibraphonist Milt Jackson.

Known to the jazz world as “Bags,” Milt Jackson wrote “Bags’ Groove” in 1952, creating a composition that would become closely associated with his distinctive, swinging approach to jazz. More than seven decades later, his niece is giving the piece a new perspective through her smooth, soulful vocal style.

Produced and performed by Randy Scott, Jackson’s version retains the finger-popping feel of straight-ahead jazz while adding contemporary soul and R&B touches. Her silky delivery brings an easy elegance to the song, connecting the timeless character of the original composition with a modern vocal sensibility.

For Jackson, however, the recording is about more than revisiting a famous jazz title. It is a personal connection to her family and to the musical legacy of an uncle whose career helped shape American jazz.

“‘Bags’ Groove’ is my personal tribute to my uncle, Milt Jackson—honoring the iconic piece he wrote in 1952 while bringing its spirit forward with my own voice,” Jackson said. “It’s a celebration of his legacy and the timeless groove he gave to the world.”

The release also brought Jackson back to the Cotton Club in Cannes, France, where she performed June 2–5. Following her appearance at the venue the previous year, Jackson returned for another engagement celebrating jazz history and the international release of “Bags’ Groove.” A new video for the single was also filmed in conjunction with the release.

“I’m honored to return to the Cotton Club in Cannes—a place that celebrates the history of jazz while welcoming artists who are shaping its future,” Jackson said.

Jackson has also shared the stage with four-time GRAMMY-nominated saxophonist Boney James, adding another connection to the contemporary smooth-jazz world.

Born and based in Detroit, Jackson grew up surrounded by music. Her father was a percussionist, and that musical foundation continues to inform an approach that respects jazz tradition while embracing soulful rhythms, contemporary R&B influences and a modern vocal aesthetic.

Jackson released her debut single, “Where Do We Go From Here,” in 2018. She is now developing a new project with R&B-jazz vocalist Robert Imtume Owens, which is scheduled to be recorded in Kansas City. She is also considering a live album that would further capture her work as a performing artist.

The family legacy behind “Bags’ Groove” is substantial. Milt Jackson was named an NEA Jazz Master in 1997 and first gained widespread attention as a member of Dizzy Gillespie’s pioneering bebop band in the 1940s. He later formed the Milt Jackson Quartet, which evolved into the Modern Jazz Quartet, one of jazz’s most enduring ensembles. The group performed together for nearly four decades.

Beyond his work with the Modern Jazz Quartet, Jackson recorded with artists including Cannonball Adderley and Ray Charles. His contributions were later recognized with inductions into the Percussion Hall of Fame and the DownBeat Hall of Fame.

Now, Carmen Jackson is adding her own chapter to that musical story.

“Bags’ Groove” doesn't attempt to simply recreate the past. Instead, Jackson approaches her uncle’s composition as a living piece of music—one that can be carried forward through a new voice, a contemporary production and a deeply personal connection to the artist who originally wrote it.

For Carmen Jackson, the groove is familiar. The voice is entirely her own.

Dan Siegel Embraces the Imperfections on New Album Resolution

After more than four decades of recording, pianist, keyboardist, composer and producer Dan Siegel has reached a point where he is no longer interested in making everything perfect. On Resolution, his forthcoming nine-song contemporary jazz album, Siegel allows more of the original performances to remain intact, embracing the spontaneity and humanity that can sometimes disappear in the pursuit of perfection.

“I have a tendency to overwork things, to iron out all the little kinks,” Siegel explains. “That kind of leaves it without humanity — a little too perfect and polished. This is a little bit raw and rough around the edges in places.”

Due September 11, Resolution takes its title from the album’s opening track, a modal composition that gradually settles into a grand, satisfying conclusion. The music reflects Siegel’s increasingly relaxed approach to his craft: trusting the performances, allowing his collaborators room to contribute and resisting the urge to endlessly refine what is already working.

The album centers on Siegel with bassist Brian Bromberg and drummer/percussionist Jay Bellerose. Siegel initially envisioned the project as a more roots-oriented, Americana-influenced trio recording, but Bellerose’s distinctive approach quickly helped shape its direction.

“His style is really subtle, he came up with different grooves,” Siegel says. “I thought, wow, this guy could be really great for the music.” After sending Bellerose a collection of piano demos, Siegel knew the drummer understood what he was trying to accomplish.

Recorded between January 9 and April 19, 2026, at The Hideaway in Chatsworth and at EastWest Studios, Sunset Sound and Boulevard Recording in Hollywood, Resolution was produced by Siegel, recorded and mixed by Tom McCauley, and mastered by Chris Bellman at Bernie Grundman Mastering.

The album features an impressive group of additional musicians, including percussionist Lenny Castro, vibraphonist Craig Fundyga, guitarists Dean Parks, Allen Hinds and Matt Hornbeck, steel guitarist Greg Liesz, accordionist Patrick Warren, alto saxophonists Alex Hahn and Chris Sullivan, tenor saxophonists Tristan Cappel and Jacob Scesney, drummer Jimmy Branly and longtime collaborator Rogerio Jardim on vocals.

Much of Siegel’s piano playing comes directly from the original trio sessions. That was unusual for an artist accustomed to developing recordings through layers of overdubs and production. With Resolution, however, the musical identity was apparent almost immediately.

“On this project, you kind of knew what it was on that first day or two that we tracked,” Siegel says. “It was like that was what the music was going to be.”

When he returned to some of those performances, Siegel occasionally heard imperfections but also recognized something more important: the feeling of the original take.

“Well, it ain’t perfect, but it’s got a vibe,” he recalls thinking. Rather than attempting to recreate the performance, he sometimes simply decided to leave it alone.

That philosophy extends throughout Resolution. Siegel says he has become less concerned with trends, commercial expectations or deliberately trying to appeal to a particular audience. “The audience — you can go in search of an audience, or you’re gonna let the audience find you.”

The approach is especially striking given Siegel’s long history of creating meticulously crafted contemporary jazz. Over four decades, his music has been defined by melody, harmony, pacing and ensemble interaction. JAZZIZ previously called his 1995 album Hemispheres “one of the most original and intriguing discs of this or any other year,” while AllMusic praised his 2024 release Unity for its “creative vision” and “disciplined consistency.”

Siegel, however, sees himself first and foremost as a composer. “I’m a composer first and I perform piano second,” he says.

His musical journey began in Seattle and Eugene, Oregon, where he started piano lessons at eight. His first teacher, Francis Ragazzino, encouraged him to compose at an early age, introducing him to theory and harmonic analysis while having him fill manuscript books with musical ideas. By twelve, Siegel was already performing professionally at YMCA dances, and by fourteen he was teaching piano.

At eighteen, hearing records by Chick Corea, Herbie Hancock and Bill Evans changed his musical direction. It was the harmonic language that made the strongest impression. He went on to study music composition at the University of Oregon, later earning a master’s degree in jazz studies.

After spending years transcribing fusion recordings for bands he performed with, Siegel eventually decided it was time to concentrate on his own writing. That decision led to a series of early albums including Nite Ride, The Hot Shot, Oasis, Dan Siegel and Reflections. After relocating to Los Angeles, he continued expanding his musical vocabulary through albums including Another Time, Another Place, Hemispheres, Clairvoyance, Origins and Unity.

“I’ve learned how to trust my instincts a little bit more,” he says. “Experience is valuable.”

The songs on Resolution developed gradually over approximately eight months. Siegel originally planned ten compositions, but after nine, the ideas stopped coming.

“It was like somebody turned off the spigot,” he recalls. “I thought, okay, well, that’s it — that’s all I’m gonna get.”

The resulting nine songs proved to be enough.

Among them, “Factotum” takes its name from the Charles Bukowski novel and moves through several contrasting sections that somehow fit together. “Room to Move” carries echoes of Ramsey Lewis, with Dean Parks adding understated wah-inflected guitar. “In Search Of” leaves its destination deliberately undefined, while “Easy Does It” draws on New Orleans influences through Warren’s accordion and Bellerose’s groove.

“Quiet Place,” originally carrying the working title “Bayou,” grew from a chord progression that reminded Siegel of Linda Ronstadt’s “Blue Bayou.” On “Give or Take,” Siegel briefly experimented with singing a melodic overdub before deciding someone else should take over. Jardim ultimately supplied the wordless vocals that lift the latter portion of the track.

“Sometime Somewhere” reminded Siegel of West Side Story, while “Time of Need” closes the album with a church-inspired cadence that emerged during the mixing process.

“It was a good way to end the record,” Siegel says.

Resolution is dedicated to Siegel’s mother, Elizabeth Siegel (1929–2026), who played a crucial role in his musical life. She insisted that her son take piano lessons and encouraged his early composing, even while his father was skeptical about music as a career.

Before heading out for gigs, Siegel recalls leaving the house with his guitar and amplifier while his mother quietly gave him a supportive wink.

Even into her nineties, she continued asking about the progress of his new album. Her influence remains deeply connected to the music.

“She played a big part in my creative life,” Siegel says. “She was a lot of fun.”

In the end, Resolution represents more than another chapter in Siegel’s long recording career. It reflects an artist comfortable enough with his experience to step back and let the music breathe.

“I’ve gotten to a point where I just let the music be what it’s going to be,” Siegel says. “You don’t want to get in the way. Let it speak.”

Kris Davis Trio Returns With the Adventurous and Exhilarating Lost in Geneva

Grammy-winning pianist and composer Kris Davis returns September 25 with Lost in Geneva, the second album from her acclaimed trio featuring bassist Robert Hurst and drummer Johnathan Blake. Released on Davis’ 4166 Records, the album captures a trio that has developed a remarkable musical chemistry through years of touring and performing together.

“Anyone closely concerned with contemporary jazz keeps an ear open for Davis’ next move,” wrote Giovanni Russonello of DownBeat, and Lost in Geneva offers another compelling example of why Davis remains such an important voice in contemporary jazz.

Since the release of the trio’s debut, Run the Gauntlet, in 2024, Davis, Hurst and Blake have spent countless hours together on stages around the world. That sustained experience has produced a deeply intuitive ensemble capable of moving effortlessly between Davis’ intricate compositions, powerful grooves and spontaneous exploration.

“We’ve been touring steadily for a few years now, and I feel a real clarity about who we are as a trio,” Davis says. “I wanted to write music that highlights our strengths—grounded in groove and open enough to explore and engage with my compositional language.”

The trio’s development was particularly evident during a January 2025 appearance at New York’s legendary Village Vanguard. Critic Nate Chinen described the performance as the “first jaw-droppingly great performance” of the year, highlighting how Davis’ “stretchy provocations at the keys” were met by the weight and adventurous spirit of her bandmates.

That chemistry has continued to grow. In 2026, the trio was awarded the Deutscher Jazz Preis (German Jazz Prize) as “Live Act of the Year International.”

Lost in Geneva is in many ways a portrait of that evolving relationship. While Run the Gauntlet paid tribute to six influential women pianists, the new album draws its inspiration from the trio itself. Davis contributes eight originals and reimagined compositions, while Hurst and Blake each contribute a composition. The album also includes Davis’ interpretation of Morton Feldman’s “Nature Piece 5.”

The album’s title comes from one of those experiences that can only emerge from life on the road. “Lost in Geneva” evokes the disorientation of travel, jet lag and unfamiliar surroundings, transforming those feelings into music. The piece may already be familiar to listeners who saw the trio’s recent NPR Tiny Desk Concert, another memorable chapter in the group’s growing history.

The opening track, “The Subtext,” immediately establishes the album’s restless character with a jarring exchange of piano lines. Its elusive rhythms suggest the hidden meanings beneath double-talk, creating a sense of tension and movement.

“Congestion Pricing” begins with a resonant solo from Hurst before gradually building into a hectic musical depiction of New York City traffic. Davis’ percussive piano and Blake’s increasingly forceful drumming turn the composition into a whirlwind of activity.

Davis revisits two pieces from earlier stages of her career, “Where Does That Tunnel Go” and “The Ballerina.” The former originally appeared on her 2010 album Good Citizen, while “The Ballerina” has previously been explored in various settings, including collaborations with Ingrid Laubrock and Craig Taborn. In the hands of this trio, both pieces take on new dimensions.

Hurst’s “The Bluesy Bird in Bob’s Backyard” grew from the bassist’s long-running fascination with birdsong, inspired by a particularly soulful avian visitor to his home. It is preceded by “Mourning Dove,” a spontaneous group improvisation that developed into a standalone composition. A second improvisational piece, “Northern Flicker,” closes the album.

Davis’ “The Deer Fly” takes inspiration from a decidedly less welcome creature. The bloodsucking insect known for dive-bombing New England hikers becomes the source for a composition driven by relentless momentum.

Blake’s “Clues,” originally recorded on his 2012 debut album The Eleventh Hour, receives a new treatment here, transformed into a propulsive and deeply grooving trio performance. Davis also brings an unexpected rhythmic energy to Feldman’s abstract “Nature Piece 5,” creating an arrangement that is simultaneously angular, unpredictable and remarkably kinetic.

The result is an album that reflects the trio’s increasingly distinctive musical language. Davis’ compositions provide the framework, but Hurst and Blake are clearly equal participants in the process, constantly responding, reshaping and pushing the music in unexpected directions.

“It’s been fun to play the same music night after night and find a way to have a different experience every show,” Davis explains. “We’re digging deeper all the time, and this trio has become focused on the smaller details within the structure of the pieces. It’s all about those little discoveries and shaping the music together.”

Those discoveries will continue on stage following the album’s September 25 release. The Kris Davis Trio begins its album-release performances with appearances at the Hyde Park Jazz Festival in Chicago on September 26 and the Monterey Jazz Festival on September 27.

The trio then heads to Australia for an album-release tour October 19–30, including the Melbourne International Jazz Festival on October 19–20, the Perth Jazz Festival on October 23, the Sydney International Women’s Jazz Festival on October 24, and Davis’ artist residency at the Sydney Conservatorium from October 25–30.

A European tour follows November 19–22, with Robert Hurst and drummer Jim Black joining Davis for performances at Kulturzentrum Gems in Singen, Germany, on November 19; the Klaeng Festival Stadtgarten in Cologne on November 20; AMR in Geneva, Switzerland, on November 21; and Music im Pflegidach in Muri, Switzerland, on November 22.

The trio with Hurst and Blake returns to New York for a week-long engagement at the Village Vanguard, January 12–17, 2027.

With Lost in Geneva, Kris Davis, Robert Hurst and Johnathan Blake have created an album that reflects the rewards of sustained collaboration: music that is tightly connected yet open-ended, rhythmically infectious yet filled with unexpected turns. Wherever this trio finds itself, the journey itself becomes part of the music.

Ella Fitzgerald and Louis Armstrong’s Complete Duet Recordings Arrive in 7-LP Box S

Few partnerships in jazz history were as natural, entertaining and enduring as Ella Fitzgerald and Louis Armstrong. Now, the complete body of music they recorded together is being collected in Cheek to Cheek: The Complete Duet Recordings, a definitive seven-LP box set arriving November 6, 2026.

Bringing together 75 tracks and more than five hours of music, the collection documents the remarkable musical chemistry between two of the greatest singers in jazz. Their voices were dramatically different—Fitzgerald's extraordinary precision and improvisational agility contrasting with Armstrong's unmistakable gravelly warmth—yet together they created performances that remain among the most beloved vocal recordings in the jazz canon.

The set gathers everything the pair recorded together, from their Decca singles to the three classic Verve albums Ella and Louis, Ella and Louis Again and Porgy and Bess. It also goes beyond the familiar albums, including live performances, alternate takes, false starts and other previously issued and rare material.

The chemistry between Fitzgerald and Armstrong was apparent from the beginning. On songs such as “Can’t We Be Friends?,” “Isn’t This a Lovely Day?,” “Moonlight in Vermont” and “They Can’t Take That Away From Me,” the two singers turn the Great American Songbook into an intimate musical conversation.

Their interpretation of “Cheek to Cheek” gives the collection its title, but it is only one highlight among a remarkable run of standards. “A Foggy Day,” “Stars Fell on Alabama,” “The Nearness of You” and “April in Paris” demonstrate how naturally Fitzgerald and Armstrong could settle into a song and allow their personalities to become part of the arrangement.

Ella and Louis Again expands that chemistry across another group of standards, including “Don’t Be That Way,” “Makin’ Whoopee,” “They All Laughed,” “Autumn in New York,” “Stompin’ at the Savoy,” “Let’s Call the Whole Thing Off,” “A Fine Romance” and “Love Is Here to Stay.”

There is an unmistakable sense of playfulness throughout these performances. Fitzgerald's ability to swing, scat and improvise meets Armstrong's relaxed phrasing and trademark personality, creating performances that can be simultaneously sophisticated, humorous and deeply musical.

The centerpiece of the collection is Porgy and Bess, their ambitious collaboration on George Gershwin's celebrated opera. Recorded in 1958 with the orchestra conducted and arranged by Russell Garcia, the album finds Fitzgerald and Armstrong inhabiting the roles of Bess and Porgy while tackling some of Gershwin's most enduring compositions.

The Porgy and Bess material occupies much of the fifth and sixth LPs, including “Summertime,” “I Wants to Stay Here,” “My Man’s Gone Now,” “I Got Plenty O’ Nuttin’,” “Bess, You Is My Woman Now,” “It Ain’t Necessarily So” and “There’s a Boat Dat’s Leavin’ Soon for New York.”

The box set also offers a fascinating glimpse behind the finished recordings. The final LP is devoted largely to alternate takes and studio material, including multiple versions of “Bess, Oh Where’s My Bess?,” different takes of “I Get a Kick Out of You,” “Let’s Do It” and “Willow Weep for Me,” along with additional material from the Decca and Ella and Louis Again sessions.

The live recordings provide another perspective, featuring performances of “The Memphis Blues” from the Bing Crosby Chesterfield Show and “You Won’t Be Satisfied” and “Undecided” recorded live at the Hollywood Bowl.

Taken as a whole, Cheek to Cheek illustrates why the Fitzgerald-Armstrong partnership has remained so influential. Their recordings demonstrate the fundamentals of great jazz singing—swing, phrasing, improvisation, emotional expression and, perhaps most importantly, the ability to listen and respond to another musician.

Fitzgerald and Armstrong never sound as though they are simply taking turns singing. Their performances feel conversational, with each vocalist reacting to the other's timing, phrasing and personality. That sense of spontaneous interaction is a major part of what gives the recordings their enduring appeal.

The seven-LP set comes housed in a presentation featuring a 16-page book, photographs and reproductions of original cover art. The accompanying essay is by Grammy Award-winning author and director of research collections for the Louis Armstrong House Museum, Ricky Riccardi.

For listeners who already know the classic Ella and Louis recordings, the collection provides the opportunity to hear the partnership in a much broader context, including live performances and studio material that reveal how these iconic sessions developed. For newcomers, it offers a comprehensive introduction to one of the most important vocal partnerships in jazz.

Cheek to Cheek: The Complete Duet Recordings will be released November 6, 2026, as a seven-LP set containing 75 tracks and more than five hours of music. The set is priced at $149.98 and is limited to four copies per customer.

At its heart, this is a collection about musical conversation. Ella Fitzgerald and Louis Armstrong brought different voices, different styles and different personalities to the microphone, but together they created a sound that has remained remarkably timeless.

Linda Sikhakhane Explores Purpose, Heritage and Belonging on LINDA

South African saxophonist and composer Linda Sikhakhane turns inward on LINDA, his self-titled fifth album and perhaps his most personal recording to date. Inspired by the search for life purpose, the album combines introspection with collaboration, drawing on South African jazz traditions while incorporating contemporary influences from hip-hop, Mzansi neo-soul and amapiano.

Born in Umlazi and a descendant of KwaNongoma, Sikhakhane approaches LINDA as both a personal and cultural exploration. His name becomes the starting point for a deeper examination of spirituality, community, relationships, heritage and the question of how an individual discovers his place within a larger collective.

The project was developed with the guidance of Sikhakhane's mentor and producer Nduduzo Makhathini, whose influence has been an important part of the saxophonist's musical development. Together, they help create a setting in which Sikhakhane can explore familiar South African musical language while pushing it into new territory.

The album's lead track, “Days Begin To Sing,” establishes that direction immediately. Released through Sikhakhane's artistic orbit under the banner of Omagugu, the track is an expansive expression of love, purpose and spiritual awakening. Rather than treating self-discovery as an isolated journey, Sikhakhane presents it as something that emerges through relationships and shared experience.

That idea continues on “Ilanga,” where rapper Zuluboy brings his lyrical perspective to the album's search for guidance and illumination. The combination of saxophone, jazz composition and contemporary South African hip-hop reinforces Sikhakhane's interest in bringing different musical worlds into conversation.

Family and lineage become central on “Uzalo,” featuring trumpeter Thabo Sikhakhane, Linda's younger brother. Their collaboration gives the album a particularly personal dimension, with the composition reflecting on ancestry and the transmission of knowledge and legacy from one generation to the next.

“Uzalo” is more than a family collaboration. It represents Sikhakhane's broader interest in continuity—how musical ideas, cultural traditions and personal histories are carried forward while being reshaped by each new generation.

Generational exchange takes another form on “Izibusiso,” featuring rising vocalist Ovuyonke on a composition by Makhathini. The track captures Sikhakhane's willingness to place emerging voices alongside established artists, creating another connection between past, present and future.

Throughout LINDA, Sikhakhane balances the foundational language of South African jazz with sounds associated with the country's contemporary urban culture. Hip-hop, neo-soul and amapiano become part of the album's vocabulary without displacing the jazz tradition at its core.

That balance is particularly important to Sikhakhane's artistic identity. Rather than viewing heritage and innovation as opposing forces, LINDA treats them as interconnected. The music looks back toward the South African jazz canon while simultaneously asking where that tradition can go next.

Sikhakhane's recognition as the 2022 Standard Bank Young Jazz Artist adds another dimension to an already developing career, but LINDA feels less concerned with achievement than with continued discovery. The album is built around questions of purpose, belonging and identity, with the answers emerging through the music itself.

The result is an album that treats self-discovery as a communal process. Sikhakhane's compositions are deeply personal, yet they continually open outward—to family, mentors, fellow musicians, cultural history and the generations that will follow.

With LINDA, Sikhakhane continues to carve out his own path within contemporary South African jazz. By engaging with the past, embracing the sounds of the present and remaining open to what comes next, he creates music that feels simultaneously rooted and forward-looking.

At its heart, LINDA is an exploration of what it means to compose not only music, but the self.

Joshua Redman Pays Tribute to Sonny Rollins on If Ever You Would Leave Us

Joshua Redman pays tribute to one of his greatest musical influences with If Ever You Would Leave Us (we play for Rollins), a deeply personal celebration of Sonny Rollins arriving November 20 on Blue Note Records.

Redman’s third Blue Note album brings together 11 selections from the vast Rollins repertoire, performed in a variety of configurations by an exceptional group of musicians. Among the participants are drummer Marcus Gilmore, bassists Christian McBride and Larry Grenadier, Rollins alumni Kevin Hays on piano and Peter Bernstein on guitar, tenor saxophonist Chris Potter, and vocalists Cécile McLorin Salvant and Gabrielle Cavassa.

The album is introduced by “Grand Street,” a hard-swinging interpretation of a lesser-known Rollins composition originally recorded on Sonny Rollins and the Big Brass. Redman is joined on the track by Bernstein, McBride and Gilmore. There is also a direct connection to Rollins’ original recording: Gilmore’s grandfather, legendary drummer Roy Haynes, played on the 1958 album.

The origins of If Ever You Would Leave Us are rooted in the immediate aftermath of Rollins’ death on May 26. Redman says that when he woke up the following day, he felt a strong need to do something in response to the loss, although he initially had no idea what that might be.

He began calling friends and colleagues, and the response was immediate. A group of major jazz musicians made themselves available for recording sessions in New York, with the project coming together within just a few weeks.

For Redman, the loss was deeply personal.

“Sonny’s passing definitely hit me hard,” he says. “It felt not unlike the passing of a parent.”

That connection between the two saxophonists goes back to Redman’s childhood. He discovered Rollins when he was around 10 or 11 years old, shortly after picking up the saxophone. While browsing through the Berkeley Public Library, Redman came across Saxophone Colossus, Rollins’ landmark 1956 album.

Even the title caught his attention.

“I thought, ‘Hey, that’s a pretty bold title,’” Redman recalls.

But it was the music itself that changed everything. Hearing Rollins opened Redman’s ears to the possibilities of jazz improvisation and helped establish the musical direction that would follow throughout his own career.

“When I discovered Sonny Rollins, that was my gateway, and my North Star,” he says.

The influence is evident not simply in Redman’s saxophone playing but in his broader approach to jazz. Rollins represented an ideal of improvisation in which a musician could combine an enormous command of tradition with a highly individual voice. Redman has similarly built a career around balancing original compositions with standards, while continually searching for new ways to approach familiar material.

For Redman, Rollins was more than an important influence. He describes him as his “number one” and as a musical father, grandfather and godfather.

“He’s my biggest influence as an improviser and as a saxophonist,” Redman says. “He was with us forever — for the totality of my life, and a lifetime before mine. He was somebody who felt like he would never leave us.”

That idea provides the emotional center of If Ever You Would Leave Us. The album is not simply a collection of Rollins compositions performed by another generation of musicians. It is Redman’s personal response to an artist whose music helped shape his understanding of what a jazz saxophonist could be.

The range of musicians assembled for the project also reflects the breadth of Rollins’ influence. McBride and Grenadier bring contrasting generations of bass expertise, while Bernstein and Hays have direct connections to Rollins’ own bands. Chris Potter provides another tenor voice capable of engaging with Rollins’ formidable improvisational legacy, while Salvant and Cavassa bring the repertoire into the world of jazz vocals.

The result promises to be both a celebration of Rollins’ compositions and a reflection of how his musical ideas continue to resonate with contemporary jazz musicians.

Rollins spent decades demonstrating that the jazz tradition could remain endlessly creative without abandoning its roots. For Redman, that lesson remains central to the music he makes today.

With If Ever You Would Leave Us, Redman and an extraordinary collective of musicians now return to Rollins’ repertoire not simply to look backward, but to demonstrate how deeply his music continues to live through the musicians he influenced.

And in Redman’s words, perhaps that is the ultimate tribute: Rollins may have left the stage, but through the musicians who continue to play his music, he never really leaves us.

Branford Marsalis and Dianne Reeves Honor John Coltrane With Dedicated to You

Saxophonist Branford Marsalis and vocalist Dianne Reeves have joined forces for Dedicated to You, a new album honoring John Coltrane and arriving September 18 as part of the celebrations surrounding the jazz legend’s centennial.

The pair have previewed the project with the title track, a new interpretation that offers a glimpse into an album inspired in large part by one of Coltrane’s most intimate recordings, the 1963 Impulse! classic John Coltrane and Johnny Hartman.

Rather than attempting to recreate Coltrane’s music, Marsalis has taken what he describes as a “road less travelled.” Dedicated to You features new versions of the six standards from the Coltrane-Hartman album, along with additional instrumental performances drawn from Coltrane’s repertoire, creating an expansive tribute that connects one of jazz’s most influential saxophonists with two generations of musicians deeply grounded in the tradition.

For Marsalis, the choice of John Coltrane and Johnny Hartman provided a natural starting point. The album has long been regarded as a landmark example of the relationship between a vocalist and an instrumental ensemble, with Coltrane's restrained, lyrical playing providing the perfect setting for Hartman’s rich baritone.

The more difficult question was who should take the vocal role.

Marsalis initially considered male singers before deciding to wait on the choice. When he woke up the next morning, the answer was Dianne Reeves.

Marsalis describes Reeves as possessing what he calls “the thing”—a quality that goes beyond technique and becomes part of the music itself. Her extensive listening and ability to bring emotional depth to a song made her, in his view, the ideal partner for the project.

Reeves brings her own deep connection to the jazz tradition. As a teenager, she worked with legendary trumpeter Clark Terry, an experience that helped shape her approach to standards and melody.

“Standards and good melody, that’s what we did,” Reeves recalls of working with Terry. His philosophy was straightforward: give the song what it needs. Sometimes that means space, sometimes embellishment, and sometimes simply allowing the melody to speak for itself.

That philosophy is particularly appropriate for music associated with Coltrane and Hartman. Reeves also grew up familiar with the original album because her parents were fans of Johnny Hartman, giving her an early connection to the music that would eventually become the centerpiece of this new project.

For the recording, Reeves joins the Branford Marsalis Quartet, featuring pianist Joey Calderazzo, bassist Eric Revis and drummer Justin Faulkner. The combination creates a musical setting capable of moving between the intimacy of a ballad and the more exploratory instrumental language associated with Coltrane.

Marsalis sees Coltrane not as an artist who simply rejected tradition, but as someone who understood it deeply before expanding its possibilities.

“John Coltrane was not about trying to destroy the norm,” Marsalis says. “He came up like Picasso. He knew the tradition and then saw how to expand it.”

That idea is central to Dedicated to You. Rather than treating Coltrane’s compositions as vehicles for technical display, Marsalis approaches the music with an emphasis on melody, lyricism and respect for the character of each composition.

The album arrives at a significant moment in Coltrane’s legacy, marking his centennial with a project that connects his music to performers who have developed their own voices while remaining deeply connected to the jazz tradition.

Marsalis and Reeves will take the project on the road beginning in the fall, with an extensive schedule spanning North America and Europe. The tour includes major performing arts centers, jazz festivals and concert halls, including Carnegie Hall in New York, Symphony Center in Chicago, the EFG London Jazz Festival and some of Europe's most prominent venues.

Reeves is clearly looking forward to taking the music beyond the recording studio. “I can’t wait to see where we take the music,” she says. “I told Branford we may even need to dance.”

Branford Marsalis Quartet & Dianne Reeves – Tour Dates

2026

September 5 – Curaçao North Sea Jazz Festival – Willemstad, Curaçao

September 10 – Aronoff Center – Cincinnati, OH

September 12 – Cain Park – Cleveland Heights, OH

September 17–20 – Miner Auditorium – San Francisco, CA

September 27 – Heymann Performing Arts Center – Lafayette, LA

September 30 – Mondavi Center – Davis, CA

October 2 – Livermore Valley Performing Arts Center – Livermore, CA

October 3 – Musical Instrument Museum – Phoenix, AZ

October 6 – Hogg Memorial Auditorium – Austin, TX

October 7 – Kingsbury Hall – Salt Lake City, UT

October 8 – The Soraya – Northridge, CA

October 10 – Seattle Jazz Festival @ Town Hall – Seattle, WA

October 11 – Revolution Hall – Portland, OR

October 13 – Chan Centre for the Performing Arts – Vancouver, Canada

October 14 – Jack Singer Concert Hall – Calgary, Canada

October 16 – Symphony Center – Chicago, IL

October 17 – Ordway Concert Hall – St. Paul, MN

October 18 – Powell Symphony Hall – St. Louis, MO

October 27 – Carnegie Hall – New York, NY

November 3 – Palau de la Música Catalana – Barcelona, Spain

November 4 – Concertgebouw – Amsterdam, Netherlands

November 6 – Kulturraffinerie – Monheim am Rhein, Germany

November 8 – NOSPR – Katowice, Poland

November 9 – Wiener Konzerthaus – Vienna, Austria

November 10 – Vatroslav Lisinski Concert Hall – Zagreb, Croatia

November 12 – Béla Bartók National Concert Hall – Budapest, Hungary

November 14 – Isarphilharmonie – Munich, Germany

November 16 – Elbphilharmonie – Hamburg, Germany

November 18 – Philharmonie Luxembourg – Luxembourg

November 19 – Alte Oper – Frankfurt, Germany

November 21 – EFG London Jazz Festival – London, England

2027

February 4 – Millersville University – Lancaster, PA

February 5 – Zellerbach Theatre – Pennsylvania, PA

February 6 – Koerner Hall – Toronto, Canada

April 1 – Coolidge Auditorium – Washington, DC

April 3 – SUNY Purchase Concert Hall – Purchase, NY

April 5 – Carolina Theatre of Greensboro – Greensboro, NC

April 7 – Lensic Performing Arts Center – Santa Fe, NM

April 8 – Popejoy Hall – Albuquerque, NM

April 11 – Charleston Gaillard Center – Charleston, SC

April 13 – Symphony Hall – Boston, MA

April 15 – St. Cecilia Music Center – Grand Rapids, MI

April 17 – Fox Cities Performing Arts Center – Appleton, WI

April 22 – Kleinhans Music Hall – Buffalo, NY

April 24 – Folly Theater – Kansas City, MO