Adam Rudolph Enters a New Sonic Frontier with “Sunrise”

Visionary percussionist and composer Adam Rudolph continues to expand the boundaries of global music with Sunrise, a bold new trio recording arriving May 15, 2026 via Meta Records. Marking his 63rd release as a leader or co-leader, the album introduces a fresh chapter in a career spanning more than five decades—one defined by fearless experimentation and a deep commitment to musical exploration.

At the core of Sunrise is Rudolph’s newly formed trio, featuring longtime collaborators Kaoru Watanabe and Alexis Marcelo. Together, they construct a richly textured sound world that resists categorization, blending acoustic traditions from across continents with modern electronics. The result is a fluid, improvisation-driven experience that dissolves the lines between past and present, structure and spontaneity.

Recorded at Firehouse 12 in New Haven, Connecticut, the album captures the trio’s organic chemistry and shared artistic language. Drawing from influences that span African, Japanese, and European musical traditions, the instrumentation is as expansive as it is unconventional. From hand drums and flutes to electric koto and keyboards, each element contributes to a layered, evolving sonic palette that feels both ancient and futuristic.

Rather than adhering to traditional jazz frameworks, Rudolph employs what he describes as “sonic weaving”—an orchestral approach to spontaneous composition. This method allows the trio to shape music in real time, creating immersive soundscapes that emphasize dialogue, texture, and emotional depth over predictable forms. It’s a philosophy that has guided Rudolph throughout his career and continues to define his artistic identity.

Sunrise follows closely behind his 2025 release Beingness, a collaboration with jazz luminaries Dave Liebman and Billy Hart. Reflecting on those experiences, Rudolph has often emphasized the importance of mentorship and the transmission of creative spirit—lessons he absorbed from legendary figures like Yusef Lateef and Don Cherry. That lineage is evident in Sunrise, not just in its sound, but in its ethos of openness, curiosity, and artistic risk-taking.

Watanabe and Marcelo, both deeply rooted in Rudolph’s musical world, bring decades of collaboration into this new setting. Their ability to move seamlessly between instruments and ideas allows the trio to explore a wide dynamic range—from meditative passages to rhythmically intricate bursts of energy. Just as importantly, their sensitivity as listeners helps shape the music into something greater than the sum of its parts.

Across eight tracks, the album unfolds as a series of spontaneous yet cohesive journeys, each piece emerging from collective intuition rather than rigid composition. Guest contributions from cornetist Stephen Haynes add further dimension, enriching the trio’s already expansive sound.

Long regarded as a pioneer in what is now called world music, Rudolph has spent his career building bridges between cultures and musical traditions. From co-founding early cross-cultural ensembles to developing innovative systems for large improvising groups, his work has consistently challenged conventions while remaining deeply human at its core.

With Sunrise, Adam Rudolph once again demonstrates that true innovation doesn’t come from following trends—it comes from listening deeply, taking risks, and creating space for something entirely new to emerge.

Samuel Torres Redefines Intimacy and Innovation with “Trio Libre”

 

“What happens when counterpoint transcends boundaries—lifting itself beyond time and geography? According to harpist Bridget Kibbey, the answer lies in the kind of reinvention that invites listeners to rediscover music in entirely new ways.” That spirit of exploration is at the heart of Trio Libre, the latest project from Latin Grammy-winning percussionist and composer Samuel Torres.

Set for release on May 1, 2026 via Blue Conga Music, Trio Libre marks a deliberate shift in artistic direction. Rather than expanding his sound outward, Torres draws inward—embracing a stripped-down, intimate trio format that highlights nuance and emotional immediacy. Joined by pianist Carmen Staaf and vibraphonist Felipe Fournier, Torres crafts a sonic environment where every note feels exposed, conversational, and deeply personal.

The album blends original compositions with inventive reinterpretations, including a reimagined piece by Johann Sebastian Bach, “Duet No. 1 in E minor, BWV 802,” which is already available as the project’s first single. This fusion of classical structure with Afro-Latin rhythmic language reflects Torres’ ongoing commitment to pushing musical boundaries while honoring tradition.

At its core, Trio Libre is both a musical and emotional response to the complexities of the modern world. Torres channels themes of uncertainty, vulnerability, and resilience—particularly through a central suite inspired by contemporary sociopolitical realities. Yet, the album doesn’t dwell in tension alone; it also reveals moments of connection, solidarity, and quiet strength.

Torres’ career has long resisted easy categorization. Born in Bogotá and now based in New York, he has collaborated with an extraordinary range of artists, from Chick Corea to Shakira, weaving together Afro-Latin traditions, jazz improvisation, and classical composition. His previous works, including A Dance for Birds and Alegría, established him as a bold innovator, and Trio Libre feels like a refined distillation of that journey.

This release also continues a streak of recognition and achievement. Torres, a three-time recipient of the Chamber Music America New Jazz Works Grant, earned a Latin Grammy Award for his album Regreso, a concerto for congas and symphony orchestra. Across his body of work, he has consistently expanded the role of percussion, transforming it from rhythmic foundation into a central melodic and narrative voice.

Listeners will have the opportunity to experience Trio Libre live during select performances, including an appearance on International Jazz Day in Bogotá and an album release celebration in New York City. These performances promise to capture the same intimacy and immediacy that define the recording.

Ultimately, Trio Libre stands as a bold artistic statement—one that challenges expectations of Latin jazz while inviting audiences into a more vulnerable, deeply human musical space.

Love, Resilience, and a New Beginning: Michael Cates Celebrates with “She’s My Summer”

 

After a deeply personal and challenging chapter, contemporary jazz saxophonist Michael Cates is marking a joyful return to life’s brighter moments with his upcoming single, “She’s My Summer,” set for release on May 1 through Sonic Redoubt Entertainment.

The inspiration behind the track comes from a life-altering experience. Last summer, Cates stood by his wife Judy during a critical spinal surgery—an experience that reshaped his perspective and deepened his appreciation for their time together. Now, with her recovery complete, he channels that gratitude into music that feels both celebratory and heartfelt.

Cates took a hands-on approach in crafting the single, writing and producing it while performing most of the instrumentation himself, including his signature tenor saxophone. To elevate the sound, he collaborated with guitarist Paul Pesco—known for his work with major pop and R&B acts—and bassist Larry Antonino, whose groove-driven style adds depth to the track. The result is a smooth, midtempo R&B piece that radiates warmth, with vibrant sax lines and a chorus that feels like pure sunlight.

For Cates, the song is more than just a release—it’s a reflection of enduring love. As he and Judy approach their 30th wedding anniversary, the music captures his commitment to cherishing every moment after nearly facing unimaginable loss. His wife has long been his creative muse, and that connection continues to shape his artistry.

This new single follows a strong run of success. His previous release, “Judith Lorraine,” earned recognition as Best Smooth Jazz Song of the Year at the World Entertainment Awards. That track appeared on Us, a 2025 album filled with intimate musical snapshots inspired by their relationship. In the same year, his project Sunset Kiss was also honored as Best Smooth Jazz Album, highlighting a particularly prolific period in his career.

“She’s My Summer” is expected to hit radio playlists starting May 4, with a live debut shortly after in New York City. Cates will headline two performances at Chelsea Table + Stage, bringing the new music directly to audiences in a setting that holds personal significance for him. Having grown up in nearby New Jersey and spent formative years in New York’s music scene, the return feels especially meaningful.

Before fully dedicating himself to music, Cates also made a name in television, appearing for five seasons on the Emmy-winning series Ally McBeal as “The Saxophonist.” Over the years, he has built a diverse career, releasing multiple albums and performing alongside global icons such as Elton John, Tina Turner, and Mariah Carey.

At its core, “She’s My Summer” stands as a tribute to love, resilience, and the gift of second chances—an artist’s way of turning personal trials into something uplifting and universally relatable.

Joe Fiedler’s Journey To Bowerbird Pushes Big Sackbut Into Bold New Territory

 

Trombonist, composer, and bandleader Joe Fiedler continues to expand the possibilities of low-brass ensemble music with Journey To Bowerbird, the fourth release from his acclaimed group Big Sackbut. Featuring Fiedler alongside fellow trombonists Ryan Keberle and Luis Bonilla, with Marcus Rojas on tuba and Satoshi Takeishi on drums, the album captures a powerful blend of compositional ambition and collective virtuosity.

The roots of Big Sackbut stretch back decades. Fiedler traces the original spark to a live performance he witnessed in the late 1980s by the World Saxophone Quartet. Struck by their energy, balance between structure and freedom, and the individuality of each voice, he began imagining a similarly dynamic ensemble built around trombones. That idea stayed with him for years before finally taking shape around 2010, when an opportunity—encouraged by Keberle—helped bring the concept to life.

Across its previous recordings and now on Journey To Bowerbird, Big Sackbut has developed a distinctive sound that transcends its unusual instrumentation. While the ensemble consists primarily of low brass, the music never feels limited. Instead, the group draws out an astonishing range of color, texture, and expression, weaving together intricate harmonies, rhythmic interplay, and moments of humor and emotional depth. The addition of Takeishi on drums further energizes the group, adding momentum and expanding the ensemble’s sonic palette.

Fiedler’s work as a composer has always been driven by exploration rather than convention, and this latest project is no exception. His albums are not rooted in standard repertoire or straightforward session formats; instead, they emerge from deeply personal artistic challenges and experiences. In the case of Journey To Bowerbird, the catalyst came from an unexpected invitation.

In early 2025, legendary bass trombonist Dave Taylor invited Fiedler to participate in a brass quintet performance as part of a festival celebrating composer Lucia Dlugoszewski at Philadelphia’s Bowerbird venue. The featured work, Angels of the Inmost Heaven, initially appeared deceptively brief but proved extraordinarily demanding upon closer study. Known for navigating complex and unconventional music, Fiedler nevertheless found himself facing one of the most difficult pieces of his career.

After weeks of practice with little progress, he considered stepping away from the performance. Ultimately, the trust placed in him—and his long-standing relationship with Taylor—compelled him to continue. What followed was an intense period of disciplined preparation. Fiedler reworked the notation, broke the composition into smaller sections, explored alternate slide positions and articulation techniques, and committed to a rigorous daily practice routine focused entirely on mastering the piece.

Over the course of three months, this process became transformative. His technical abilities—precision, tone, endurance, and range—reached new levels, while his connection to the music deepened with each passing day. Rather than growing fatigued, he became more engaged, uncovering new subtleties within the composition. The eventual performance was a success, but its impact extended far beyond the stage.

Inspired by the experience, Fiedler reimagined his approach to writing for Big Sackbut. Instead of proceeding with a planned quartet recording, he chose to channel the lessons learned into new material that integrates elements of contemporary chamber music with the improvisational spirit of jazz. The result is Journey To Bowerbird, an album that reflects both technical rigor and creative reinvention.

Critics have long recognized Fiedler and Big Sackbut for their originality and musicianship. Observers frequently note the ensemble’s ability to balance complexity with accessibility, delivering performances that are both intellectually engaging and immediately enjoyable. The group’s tight interplay and rich tonal blend have been likened to a unified, multi-voiced instrument, while still allowing each player’s individuality to shine.

With Journey To Bowerbird, Fiedler not only builds on that reputation but also pushes it further. The album stands as a testament to persistence, artistic growth, and the willingness to confront—and ultimately overcome—formidable creative challenges.

DREAMSCAPES Debut with Tales of a Wanderer, A Genre-Blurring Journey Through Sound and Self

A new voice emerging from the ever-evolving London jazz scene, DREAMSCAPES introduces a striking debut with Tales of a Wanderer, released April 17, 2026 via Field Recordings. Blending jazz, ambient, rock, and electronica into a fluid and immersive sound, the album positions the six-piece collective as one of the more adventurous ensembles in the UK’s contemporary jazz landscape.

The group—Julien Durand, Cenk Esen, Lucy-Anne Daniels, George Garford, John Jones, and Jack Robson—brings together musicians with diverse and impressive backgrounds. Their individual experiences range from experimental projects connected to John Zorn’s orbit to collaborations within the groove-driven world of Alfa Mist. That breadth of influence feeds directly into DREAMSCAPES’ identity: a band unafraid to move between textures, moods, and styles in a single piece.

At the center of the project is composer and producer Julien Durand, whose vision for Tales of a Wanderer draws equally from progressive rock traditions and the improvisational ethos of jazz. Echoes of bands like Led Zeppelin, Pink Floyd, and King Crimson can be felt in the album’s expansive structures, but the music never settles into imitation. Instead, it uses those inspirations as a launchpad for something more exploratory and contemporary.

The recording process reflects this balance between structure and spontaneity. Co-produced with Chris Hyson—known for his work with artists such as Snowpoet and Jordan Rakei—the album was crafted with an emphasis on leaving space for improvisation. Rather than tightly scripting every moment, the sessions allowed for organic ideas to surface naturally. Many of the album’s transitions and atmospheric layers originated from these unscripted moments, later shaped and woven into the final compositions.

Conceptually, Tales of a Wanderer is rooted in Durand’s travels through Brazil, where he collaborated with renowned musicians including Toninho Horta, Daniel Santiago, and Guinga. That period of exploration—marked by solitude and creative independence—became a catalyst for the album’s central themes: self-discovery, resilience, and trust in one’s own instincts. Removed from familiar surroundings, Durand found clarity in navigating both life and music on his own terms, an experience that deeply informs the album’s emotional core.

These ideas come into sharp focus on the single “wanderer,” featuring lyrics by vocalist Lucy-Anne Daniels. Her words trace an internal dialogue shaped by uncertainty, introspection, and eventual self-acceptance, giving voice to the emotional arc that underpins the entire record. The track stands as a centerpiece, capturing both the vulnerability and quiet strength that define the album’s narrative.

While Durand provides much of the compositional framework, Tales of a Wanderer thrives on collective expression. Each member contributes a distinct musical personality: Cenk Esen brings textural depth and electronic nuance, notably on “maddy II,” which connects to his solo work; Daniels delivers expressive vocal performances, particularly on “sisyphus II”; and George Garford injects raw energy into “sisyphus I” with a spontaneous, unedited solo. Garford also contributes “shiverwarm,” the album’s only piece not written by Durand, offering a reflective take on heartbreak.

The rhythm section—Jack Robson and John Jones—provides a cohesive foundation throughout, grounding the album’s stylistic shifts with a strong sense of unity. Their interplay allows the music to move freely without losing its center, helping tie together the record’s wide-ranging influences.

Importantly, Tales of a Wanderer is designed to be experienced as a complete work rather than a collection of standalone tracks. Seamless transitions connect each piece, encouraging listeners to engage with the album from beginning to end. In an era dominated by single releases and algorithm-driven listening, DREAMSCAPES makes a deliberate statement by prioritizing the long-form album experience. The project is available on LP and digitally via Bandcamp, with select singles accessible on streaming platforms.

To support the release, DREAMSCAPES will perform across the UK and Europe, with scheduled appearances including April 21 at Digbeth Jazz in Birmingham; April 22 at Vortex Jazz Club in London; April 28 at Mr Wolf’s in Bristol; May 11 at Duc des Lombards in Paris; May 22 at Ronnie’s Late Show in London; and June 26 at PizzaExpress Live Soho in London.

With Tales of a Wanderer, DREAMSCAPES offers more than just a debut—it presents a fully realized artistic statement. Rich in atmosphere, grounded in improvisation, and driven by a deeply personal narrative, the album invites listeners to slow down and immerse themselves in a carefully crafted sonic journey.

Armen Donelian’s Inquiry Marks a Haunting New Chapter in a Singular Jazz Career

Pianist and composer Armen Donelian continues his lifelong pursuit of musical evolution with Inquiry, his 15th album, arriving June 5 on Sunnyside Records. Years in the making, the project reflects an intensive creative process that stretches across four years, ultimately yielding one of the most intimate and sonically distinctive recordings of his career.

What began as a set of solo piano demos gradually transformed into something far more ambitious. As Donelian revisited the material, he became increasingly interested in expanding the expressive range of the piano itself. Working alongside engineer Dave Cook, he experimented with subtle tonal adjustments—using equalization to shape contrasting timbres that function almost like separate instrumental voices. This approach allowed him to “orchestrate” pieces from within the piano, creating a layered soundscape without relying solely on traditional ensemble arrangements.

Still, Inquiry is not purely a solo endeavor. Donelian carefully incorporates the contributions of a small group of highly respected collaborators: vocalist Dominique Eade, trombonist Ed Neumeister, bassist Jay Anderson, and drummer Dennis Mackrel. Their appearances are deliberate and restrained, enhancing specific compositions while preserving the album’s introspective core. The interplay is so fluid that even the more constructed tracks carry the immediacy of live performance.

Only two pieces were recorded entirely live: a nuanced interpretation of “Blue in Green,” associated with Miles Davis and Bill Evans, and “Aqua Reminiscence,” an improvisational offshoot from the same session. On these recordings, Eade (performing lyrics popularized by Cassandra Wilson), Anderson, and Mackrel form a cohesive quartet with Donelian, bringing warmth and spontaneity to the music. This same ensemble contributes to original works such as “What Is” and “Petite Triste (A Little Sad),” while Neumeister joins the group for the more intense and emotionally charged “Inverted Reality.”

Elsewhere, the album’s atmosphere is shaped by sparseness and contrast. “Dark Moon” offers a striking reimagining of Beethoven’s Moonlight Sonata, moving from a stark solo introduction into an unsettling dialogue with trombone. On “Weeping Willow,” Anderson’s bass lines subtly deepen the track’s melancholic tone. Donelian’s unaccompanied performances are equally compelling, particularly his reworking of Stephen Sondheim’s “Somewhere” and the original compositions “Beyond” and “Too Soon Gone,” which highlight both his technical command and expressive depth.

At its heart, Inquiry is an exploration of sound, space, and reflection. Donelian has described the album as an exercise in continuous introspection and a tribute to the piano’s expressive possibilities. The result is a recording that feels both deeply personal and quietly expansive.

Born on December 1, 1950, in New York City to Armenian immigrant parents, Donelian grew up in Jackson Heights, Queens, and began studying piano at a young age. His early musical development included formal training at the Westchester Conservatory of Music and formative experiences playing jazz as a teenager. He later attended Columbia University, where he studied composition, theory, and conducting, while simultaneously working as a performing musician.

Following his graduation in 1972, Donelian refined his artistry through private study with pianist Richie Beirach. This period helped open doors to collaborations with notable figures such as Mongo Santamaria, Sonny Rollins, Chet Baker, and Billy Harper, experiences that would shape his identity as a performer and composer.

His recording career gained significant momentum with the release of his debut trio album Stargazer in 1981, later reissued in 2025. Over the decades, he has continued to build a diverse and respected discography, including albums like A Reverie, Secrets, Leapfrog, Sayat-Nova: Songs of My Ancestors, and Fresh Start. With Inquiry, he adds another distinctive statement—one that underscores his commitment to artistic growth and exploration.

Donelian’s upcoming summer performances include: weekly Sunday solo piano appearances beginning May 3 at Isaan Thai Star Restaurant in Hudson, NY (6pm); a June 20 duet with saxophonist Michael Zsoldos at North Chapel in Woodstock, VT (7pm); the Interplay Jazz and Arts Workshop from June 21–27 in Meriden, NH; solo performances July 13–16 at Bryant Park in New York City (12:30pm); the 20th Annual Hudson Jazz Workshop/Alumni Priority Reunion August 6–9 in Hudson, NY; the Hudson Jazzworks Concert on August 9 at Hudson Hall (4pm); the Zonora Jazz Workshop August 17–23 in Tucson, AZ; a quintet performance August 21 at Century Room (6:30pm and 8:30pm); a trio performance August 22 at the same venue (6:30pm and 8:30pm); and the Zonora Jazz Workshop Concert on August 23 at Century Room (4:30pm).

With Inquiry, Armen Donelian once again demonstrates that creative reinvention is not confined to early career breakthroughs—it can continue to unfold in meaningful and surprising ways over a lifetime.

Sue Cahill Announces Evanstonia, a Deeply Personal Statement of Musical Freedom and Form

Double bassist, composer, and educator Sue Cahill announces the release of Evanstonia, arriving May 29, 2026 as a self-released album that marks a defining artistic statement in her evolution as a composer. Long known for her work as a commanding orchestral musician and dedicated teacher, Cahill steps fully into what she describes—through her composition mentor—as “personal music,” where classical discipline, improvisational freedom, tango-inflected rhythm, and lived experience converge.

On Evanstonia, Cahill reshapes her creative identity into something more fluid and self-determined. The album features pianist Dawn Clement, who also contributes vocals on “June February,” and drummer Dru Heller, forming a trio setting that balances intimacy with structural sophistication. Together, they create a sound world that is at once composed and flexible, rooted in form but continually reaching beyond it.

The project represents both a homecoming and a declaration. It reflects Cahill’s decision to step away, at least temporarily, from the security of academic and orchestral environments in order to pursue a more personal compositional voice—one grounded in jazz language and improvisational exploration. That shift, initiated in 2015, became a turning point in her artistic trajectory, opening space for a deeper integration of influences and a more direct connection to her own musical instincts.

Central to this transformation was her study with Boulder-based composer Art Lande, whose philosophy of “personal music” encouraged her to move beyond imitation and instead synthesize her classical training with improvisation. The result is a body of work that resists rigid categorization. Rather than abandoning structure, Cahill reimagines it, allowing form to function as a flexible container for expression rather than a constraint.

“I didn’t want to abandon structure,” Cahill reflects. “I wanted to grow out of it.” That idea becomes a guiding principle across Evanstonia, where early pieces lean toward clarity and directness, while later compositions open into more expansive harmonic movement, unexpected phrasing, and a broader sense of melodic risk.

The music unfolds as a study in balance: written material and improvisation, discipline and spontaneity, tradition and reinvention. Cahill’s bass work anchors the ensemble with clarity and depth, while Clement and Heller respond with fluidity and imagination, shaping each piece as a collaborative exploration rather than a fixed arrangement.

Across the album, Cahill’s compositional voice reveals itself as both grounded and exploratory. The influence of classical structure remains present, but it is continually reshaped by improvisational logic and rhythmic elasticity. Tango rhythms, chamber-like textures, and jazz-inflected harmony coexist within a framework that prioritizes expression over categorization.

Ultimately, Evanstonia stands as a statement of artistic permission—permission to evolve, to blend influences without hierarchy, and to write music that reflects lived experience rather than inherited boundaries. It is both a culmination of years of study and a step into a more open, self-defined creative space.

Dave Douglas Announces Transcend, a Spirit-Driven New Album Bridging Ellington’s Sacred Legacy and a New York All-Star Ensemble

Prolific trumpeter and composer Dave Douglas announces the release of Transcend, a bold new album featuring his all-star GIFTs Quintet, arriving April 24, 2026 via Greenleaf Music. The project brings together a high-powered ensemble of New York improvisers and composers, blending electronics, lyrical writing, deep groove language, and expansive ensemble interplay into a unified spiritual and musical statement.

At the core of Transcend is a continuation of Douglas’s exploration of legacy and meaning, following his 2024 release GIFTS, which honored the music of Billy Strayhorn. With this new work, Douglas extends that lineage further back into the sacred dimensions of jazz history, drawing inspiration from the legendary Sacred Concerts of Duke Ellington—works widely regarded as a culmination of Ellington’s spiritual and compositional vision.

The GIFTs Quintet features a lineup of major contemporary voices, including saxophonist James Brandon Lewis, guitarist Rafiq Bhatia, drummer Ian Chang, and cellist Tomeka Reid, with the ensemble expanded into a flexible, modern chamber-jazz configuration. Together, they create a sound world that moves fluidly between composition and improvisation, acoustic resonance and electronic texture, intimacy and collective force.

Rather than treating Ellington’s sacred influence as historical reference, Transcend engages it as a living framework. The music is shaped by the idea that spirituality in sound is not confined to tradition, but is continually renewed through performance, risk, and listening. Douglas positions the ensemble as both interpreters and creators within that continuum, channeling Ellington’s ethos of openness, dignity, and emotional clarity into a contemporary context.

The album also reflects Douglas’s ongoing interest in ensemble democracy and structural experimentation. Each musician contributes not only performance but identity, shaping the music’s direction in real time. Electronics and acoustic instruments coexist without hierarchy, allowing textures to shift organically across pieces that emphasize flow rather than fixed boundaries.

In the liner notes, Douglas reflects on Ellington’s Sacred Concerts as a model of artistic and spiritual integration, where music becomes a space for reflection on humanity, grace, and imperfection. That philosophical foundation informs Transcend, where the act of playing is framed as both expression and inquiry—an unfolding dialogue between musicians, tradition, and the present moment.

The result is a recording that resists categorization while remaining deeply rooted in jazz history. It carries forward Douglas’s longstanding commitment to blending composition, improvisation, and conceptual framing into works that are as intellectually grounded as they are emotionally direct.

Recorded with a sense of urgency and openness, Transcend stands as a continuation of Douglas’s evolving vision: music as a site of connection, transformation, and shared meaning, shaped as much by history as by the spontaneous decisions made in the studio.

Jon Batiste and Josh Harmon Reimagine “Song of Storms” in Spontaneous Jazz Collaboration

 

Multi-Grammy, Oscar, and Emmy Award-winning artist Jon Batiste has teamed up with musician and content creator Josh Harmon to release a new jazz-inspired reinterpretation of the iconic “Song of Storms” from The Legend of Zelda: Ocarina of Time. Out now, the performance reimagines the 1998 video game classic through an improvisational lens, transforming a familiar melody into a living, breathing moment of spontaneous musical exchange.

Originally composed for one of the most celebrated entries in gaming history, the “Song of Storms” is reworked here into a brief but energetic jazz performance shaped by real-time interaction. Batiste’s expressive, impromptu piano playing leads the dialogue, while Harmon contributes understated percussion that emphasizes groove, space, and responsiveness rather than fixed structure. The result is a compact performance that feels open-ended, conversational, and instinctively joyful.

According to Batiste, the collaboration grew from a shared musical language rooted in jazz, New Orleans tradition, and a mutual appreciation for video game music. He describes Harmon as a creative kindred spirit whose curiosity spans genres and eras, connecting childhood musical memory with contemporary improvisation. Batiste also reflects on his own early experiences in New Orleans, where rearranging video game themes with family members became part of his musical development—an informal foundation that continues to inform his genre-blending approach today.

The collaboration is also connected to a broader creative exchange between the two artists, initially sparked during Batiste’s BIG MONEY campaign, where Harmon—known for his boundary-pushing percussion videos—participated in informal, unrehearsed performances that emphasized spontaneity and play. That spirit carries directly into this recording, where no formal arrangement or rehearsal guided the session.

Harmon emphasizes that the recording is a document of real-time creation, shaped entirely by presence and interaction. For him, the absence of preparation is central to the music’s meaning, highlighting how improvisation captures something fundamentally human: shared time, mutual listening, and the unpredictability of live performance. Even in its short runtime, the piece conveys a sense of immediacy and connection that resonates beyond genre boundaries.

The project also reflects a growing cultural dialogue between video game music and contemporary jazz practices. What was once primarily associated with digital nostalgia is reframed here as a source of improvisational material—melodies that can be stretched, reinterpreted, and reimagined in real time by skilled performers. In this space, composition and spontaneity overlap, and familiar themes become launching points for exploration rather than fixed recordings.

Though brief, the performance underscores a broader artistic idea shared by both musicians: that some of the most meaningful musical moments happen without planning, structure, or rehearsal—only presence, trust, and a willingness to listen.

Nduduzo Makhathini Announces The Myth We Choose, a Visionary New Blue Note Album Centered on Ritual, Memory, and Future Myths

 

South African pianist, composer, healer, and thinker Nduduzo Makhathini has announced the June 26 release of The Myth We Choose, his fourth album for Blue Note Records, a deeply conceptual and spiritually charged work that expands his ongoing exploration of music as ritual, philosophy, and collective memory. The album is available now for pre-order on vinyl, CD, and digital formats, and is introduced with the release of the lead track “Kuzodlula,” a meditation on forgiveness that Makhathini frames as “the very attempt to forgive the unforgivable.”

From its outset, The Myth We Choose positions itself as more than a recording project. It is a constructed world of ideas, sound, and intergenerational collaboration, co-produced by Makhathini and his son, Thingo Makhathini. At just 18 years old, Thingo brings a generational perspective that expands the album’s sonic palette, particularly through subtle electronic textures and groove-based ideas that shift Makhathini’s trio language into new territory. According to Makhathini, these elements are not additions but co-authored transformations—threads that reshape how the music breathes and moves.

The core ensemble features Makhathini’s working trio with bassist Dalisu Ndlazi and drummer Lukmil Pérez (with select tracks featuring drummer Ayanda Sikade). Together, they form a fluid rhythmic and harmonic foundation that allows the music to expand outward, making space for a remarkable roster of collaborators. Among them are saxophonist Shabaka Hutchings, DJ and producer Black Coffee, trumpeter Robin Fassie, guitarist Keenan Ahrends, and vocalists Thando Zide, Muneyi, and Omagugu, Makhathini’s spouse and long-time creative partner. The result is a collective sound that resists hierarchy, instead functioning as a shared field of expression.

At the heart of the album is Makhathini’s enduring belief that music is inseparable from myth-making. For him, songs are not static artifacts but active participants in shaping how history is remembered and reimagined. In his liner notes, he reflects on the idea that songs “look at us” as much as we listen to them, and that the cultural weight of music lies in its ability to survive into the future as a form of memory. Whether voices are preserved or forgotten, he argues, depends on the myths societies choose to construct in the present.

This philosophical framework is not abstract in execution. Makhathini approaches performance as ritual, where musician and listener enter a shared space of vulnerability and reflection. The trio setting becomes a site of transformation rather than display, where sound functions as both invocation and response. In this context, improvisation is not simply musical invention but a form of collective attention, where past, present, and future are held simultaneously.

The album’s conceptual scope is matched by its emotional depth. “Kuzodlula,” the lead single, centers on forgiveness as an ongoing process rather than a resolved state. Elsewhere, the presence of electronics, expanded grooves, and layered ensemble textures points toward a widening of Makhathini’s already expansive sound world. These shifts are shaped in part by Thingo’s influence, which Makhathini describes as essential in guiding the album toward new sonic directions.

Throughout The Myth We Choose, references to ancestral memory, cultural continuity, and spiritual responsibility are woven into the music’s structure. Yet the work remains grounded in lived collaboration, shaped by long-standing musical relationships and an openness to spontaneous creation. The inclusion of voices from across South Africa’s contemporary music landscape reinforces the album’s central idea: that myth is not inherited passively but actively constructed through shared artistic labor.

Makhathini also situates the project within a broader ethical and historical context, reflecting on the limitations placed on Black performance within global entertainment structures. Rather than reinforcing those constraints, he reframes performance as ritual space—an environment where healing, imagination, and cultural restoration can coexist. In this sense, the album is not only reflective but aspirational, proposing a model of music-making rooted in care, presence, and intention.

Ultimately, The Myth We Choose extends Makhathini’s long-standing artistic mission: to create music that envisions the world it wishes to bring into being. As he has often noted, drawing inspiration from Wayne Shorter, the purpose is to play and compose music aligned with the world one hopes for, rather than the one already known. In that spirit, the album becomes both a statement and a proposal—an invitation to listen differently, and to imagine forward.

Jimmy Farace Steps Forward with Big Shoulders, Big Sounds, a Bold Baritone Trio Statement

 

Chicago baritone saxophonist Jimmy Farace returns with the release of his second single, “DST,” from his sophomore album Big Shoulders, Big Sounds, out today on Shifting Paradigm Records. The record follows his critically acclaimed debut Hours Fly, Flowers Die, and continues his emergence as one of the most compelling new voices on the baritone saxophone in contemporary jazz.

This new release arrives with clear intent: a stripped-down, high-risk trio format featuring Farace on baritone saxophone, compositions, and arrangements, alongside bassist Clark Sommers and drummer Dana Hall. With no piano to anchor or cushion the harmonic space, the trio operates in open air—lean, exposed, and highly responsive—placing maximum focus on interaction, time, and melodic invention.

Big Shoulders, Big Sounds is not a quiet continuation of Farace’s earlier work; it is a declaration. Where his debut established him as a composer with a broad emotional range and growing critical recognition, this new album pushes further into directness and risk. The music leans into the full expressive weight of the baritone saxophone, balancing muscular intensity with lyrical clarity, and grounding itself in both tradition and forward motion.

The title itself nods to Chicago’s famous cultural image of “big shoulders,” long associated with strength and resilience, while also pointing toward the lineage of baritone saxophone giants who shaped the instrument’s history. Listeners can hear echoes of that tradition in Farace’s sound—at times recalling the lyricism of Gerry Mulligan, the agility of Pepper Adams, and the exploratory spirit of Hamiet Bluiett—yet the music remains firmly rooted in his own evolving voice.

Across the album, Farace’s original compositions such as “Cloud Splitter,” “Prophetic Dreams,” “DST,” “Decorah’s Dance,” and “Three Headed Dragon” unfold as distinct emotional landscapes, each shaped by shifting energy, rhythmic tension, and melodic openness. The absence of a chordal instrument allows Sommers and Hall to create a flexible harmonic environment that breathes with the music rather than defining it, giving Farace room to move freely between weight and air, structure and spontaneity.

The trio also engages with select standards and repertoire pieces as gestures of respect and continuity. Works such as “Chelsea Bridge,” “I’ll Be Seeing You,” and Charles Davis’s “Just Us Blues” are treated not as reinventions but as points of reflection—anchoring the album in jazz history while highlighting how Farace’s baritone voice situates itself within it.

Early critical response underscores the growing attention around his work. Reviewers have praised the emotional depth of his playing, the maturity of his tone, and his ability to merge compositional clarity with improvisational urgency. Across commentary from outlets such as All About Jazz, DownBeat Magazine, and other jazz voices, a consistent narrative has emerged: Farace is a player and writer whose sound demands attention, and whose trajectory suggests continued evolution.

Big Shoulders, Big Sounds also arrives amid an expanding touring schedule:

April 17th @ Bar Centro – Milwaukee, WI
April 24th @ Trio Jazz Club – Sioux Falls, SD
April 25th @ Berlin – Minneapolis, MN
May 30th @ Merrimen’s Playhouse – South Bend, IN

Recorded as a piano-less trio session, the album emphasizes immediacy and interaction over polish or ornamentation. The result is a record that feels both grounded and exploratory—music shaped in real time, where every gesture carries weight and intention.

As Farace continues to develop his voice as both composer and improviser, Big Shoulders, Big Sounds stands as a confident step forward—one that embraces lineage without imitation, and risk without hesitation.

Judith Berkson Returns on ECM with Thee They Thy, Expanding the Boundaries of Song, Improvisation, and Voice

 

Mezzo-soprano, pianist, composer, and improviser Judith Berkson returns to ECM with a striking new album, Thee They Thy, a work that continues and expands her long-standing exploration of voice, structure, and creative freedom. Berkson describes the recording as a natural extension of her solo practice—intimate songs shaped by jazz sensibilities, moments of improvisation, and influences drawn from song traditions, avant-garde composition, minimalism, and conceptual art. The result is music that resists easy categorization while remaining deeply personal and emotionally direct.

Her 2010 release Oylam first introduced listeners to Berkson’s development of a self-devised vocal language and a highly individual approach to piano accompaniment, an artistic foundation she spent years refining. With Thee They Thy, she moves those ideas into a trio setting, embracing the classic piano-bass-drums format while reshaping it through her own aesthetic lens. She is joined by drummer Gerald Cleaver, a longtime collaborator whose responsiveness and subtle power are central to the album’s fluidity, and bassist Trevor Dunn, making his first appearance on ECM, whose openness to stylistic crosscurrents aligns closely with Berkson’s own approach.

Across ten pieces, the album moves between through-composed material, improvisation, and hybrid forms that blur the line between structure and spontaneity. Tracks such as “Slow,” “Dust,” and “Sated” are carefully constructed songs in which spare melodic ideas carry significant harmonic weight, often drawing on 19th-century harmonic language refracted through modern jazz thinking. Elsewhere, pieces emerge in real time: “Slowly Walk Into It” unfolds as spontaneous composition, where words and music appear together in a stream-of-consciousness flow that embraces vulnerability and risk.

Improvisation plays a central role throughout. In “Torque,” Berkson uses 12-tone ideas as a point of departure, recontextualizing fragments of musical language with a sense of curiosity rather than strict adherence. The title track, “Thee They Thy,” becomes a kind of vocal experiment—part scat, part conceptual play—where atonality and jazz gesture meet in shifting, dreamlike motion. Even within this experimentation, a quiet minimalist sensibility holds the music together, allowing contrasting ideas to coexist without fragmentation.

Midway through the album, Cleaver contributes a solo drum piece, “Cleav,” offering a textured and intimate exploration of rhythm and resonance. His playing reflects both restraint and depth, shaping sound as much through space as through articulation. Meanwhile, “Notice” builds gradually from a repeated vocal phrase into a fuller trio eruption, while “Amerika” gives all three musicians room to expand, with Dunn delivering a particularly expressive bass statement.

A key emotional center of the album lies in Berkson’s engagement with cantorial music. Her performance on “V’shamru” carries a powerful spiritual intensity, continuing a line of work that previously moved listeners on her ECM release Ahavas Oylam. Here, sacred tradition sits alongside experimental form without contradiction, reflecting Berkson’s belief in coexistence rather than separation. Cleaver and Dunn respond with sensitivity, shaping a sound world that is both grounded and elevated.

Berkson’s broader artistic practice spans opera, electroacoustic composition, film scoring, and liturgical music. She studied voice with Lucy Shelton and composition with Joe Maneri at the New England Conservatory, and has created works for film and stage, including the award-winning Christopher at Sea and the chamber opera Partial Memories. In addition to her compositional work, she serves as a cantor and has collaborated widely across experimental, jazz, and Jewish musical traditions.

Cleaver’s ECM history includes work with Roscoe Mitchell’s Note Factory and collaborations with artists such as Craig Taborn and Tomasz Stańko, while Dunn’s wide-ranging career includes projects with Mr. Bungle and John Zorn, as well as his own Trio-Convulsant. Together, the trio forms a flexible and deeply responsive ensemble capable of navigating structure, improvisation, and conceptual invention in real time.

Recorded in July 2021 at Oktaven Audio Studio in Mount Vernon, New York, Thee They Thy was produced by Manfred Eicher and continues ECM’s long tradition of documenting boundary-pushing, genre-defying musical conversations.

Hannah Marks Ignites a Bold New Chapter with Feed The Fire

 

With her sophomore album Feed The Fire, bassist, composer, and educator Hannah Marks takes a decisive and electrifying leap forward, solidifying her place within New York City’s ever-evolving jazz landscape. Backed by her fearless acoustic quartet—Nathan Reising on alto saxophone, Lex Korten on piano, and Steven Crammer on drums—and guided by visionary producer Jason Moran, Marks delivers a recording that thrives on risk, interplay, and the spirit of exploration.

Blending modern, straight-ahead, and avant-garde jazz, Feed The Fire is as much a statement of artistic identity as it is a celebration of the journey that brought her here. Since relocating to New York City in 2019 at Moran’s encouragement, Marks has immersed herself in the city’s vibrant creative energy. That pulse is embedded in every corner of the album, from groove-heavy passages shaped by odd meters and raucous swing to more spacious, introspective moments that evoke rare instances of stillness amid the urban rush.

For Marks, the album represents both culmination and catalyst. “Feed the Fire is a culmination of many meaningful musical experiences I’ve had over the past decade,” she explains, “and a representation of pushing and dedicating myself as an artist to find new musical colors, shades and directions within this music that I love and revere.” That sense of forward motion—of constantly seeking new expressive ground—animates the entire project.

The title track, “Feed The Fire,” composed by the late Geri Allen, carries profound personal significance. Marks recalls a transformative experience hearing Jason Moran’s trio perform the piece at the Village Vanguard shortly after her move to New York. The performance reshaped her understanding of swing, opening her ears to a freer, more uninhibited approach. Since then, the phrase “Feed the Fire” has become both mantra and mission—an ethos that fuels her creative output and defines the album’s core.

Throughout the record, Marks channels her influences while asserting a distinct compositional voice. “Aggro” reflects the adventurous programming ethos of venues like The Jazz Gallery, weaving in complex structures and a Moran-inspired coda. “When Day Becomes Night,” written during a residency at MacDowell, captures a moment of calm while showcasing drummer Steven Crammer’s ability to navigate dramatic rhythmic shifts with precision and sensitivity.

“Room 157” highlights the quartet’s collective intensity, with Reising and Korten pushing into raw, expressive territory. Its shifting meters and unexpected phrasing draw from Marks’ studies with Walter Smith III at Indiana University, underscoring her deep engagement with contemporary compositional language. In contrast, “Unconditional Love,” another piece by Geri Allen, offers a poignant interlude—an intimate duet between Marks and Korten that provides a moment of emotional clarity and reflection.

The album closes with “Fan Club,” a composition inspired by seeing Korten perform alongside saxophonist Melissa Aldana. Structured loosely around the archetype of the hero’s journey, the piece unfolds from an inviting opening into a turbulent, free-form abyss before returning triumphantly to its central theme. Sonically, it nods to the fusion era—particularly Cannonball Adderley’s Phenix—while remaining firmly rooted in a contemporary, exploratory aesthetic.

Feed The Fire arrives just a few years after Marks’ debut album Outsider, Outlier (2023), a project that introduced her as a bold voice unafraid to draw from punk, noise, and free improvisation. With this new release, she expands that vision, delivering a recording that feels both deeply grounded in tradition and unmistakably current. It’s a work that doesn’t just reflect the state of modern jazz in New York—it actively shapes it.

Ultimately, Feed The Fire is about commitment: to craft, to collaboration, and to the ever-burning curiosity that drives artistic growth. Hannah Marks doesn’t just embrace the fire—she invites listeners into it, creating a space where intensity, freedom, and expression collide in thrilling, unpredictable ways.