Bill Frisell’s “In My Dreams” Turns Decades of Musical Friendship Into a Singular Sound

When Bill Frisell released In My Dreams on Blue Note Records on February 27, 2026, the album arrived as more than another chapter in the celebrated guitarist’s long recording career. It was a musical reunion built around friendship, trust and decades of shared history, bringing together five musicians who have repeatedly crossed paths with Frisell but had never before appeared together in this particular sextet.

Joining Frisell are violinist Jenny Scheinman, violist Eyvind Kang, cellist Hank Roberts, bassist Thomas Morgan and drummer Rudy Royston. Together, they create a richly textured ensemble capable of moving freely between jazz, Americana, improvisation and Frisell's own compositions.

The album also marked an important moment in Frisell's career. He turned 75 on March 18, 2026, celebrating the milestone with a series of concerts across the United States, including performances in Los Angeles, San Francisco, Portland, Seattle, Denver, Kansas City, Tulsa, New York and Sellersville, Pennsylvania.

But the heart of In My Dreams lies less in the milestone itself than in the unusual musical chemistry of the musicians assembled for it.

Frisell has spent more than four decades developing a sound that resists easy categorization. His guitar playing can move from spacious and atmospheric to rhythmically intricate, often connecting jazz with American roots music, folk, country and experimental traditions. With In My Dreams, that expansive musical vocabulary is placed in the hands of musicians who understand Frisell's language from years of working alongside him.

The sextet effectively brings together two of Frisell's most important musical circles.

Morgan and Royston formed the rhythm section of Frisell's acclaimed trio, most recently heard on the 2020 album Valentine. Scheinman, Kang and Roberts represent a string ensemble that dates back two decades to Richter 858, first released in 2002. Each musician has developed an individual musical relationship with Frisell through years of concerts and recordings.

The resulting chemistry is the product of familiarity rather than formal orchestration. These are musicians who know how to listen to one another, leave space and respond in the moment.

That quality is especially important to the album's unusual production history. Produced by Lee Townsend and engineered by Adam Muñoz, the core performances were recorded live during concerts in Brooklyn, Denver and New Haven in 2025. Additional material was recorded at Opus Studios in Berkeley, California.

Rather than simply correcting isolated notes or cleaning up individual performances, the studio work involved adding entire sections and soundscapes. The finished album therefore occupies a space between concert document and studio creation, retaining the unpredictability of live performance while using the studio as another instrument in the creative process.

The album's title is rooted in a dream Frisell has carried with him for more than three decades.

In the dream, he finds himself in a magnificent library surrounded by leather-bound books and antiquities. Seated around a table are hooded, monk-like figures who initially appear intimidating but soon reveal themselves as welcoming guides. They tell Frisell they want to show him what things really are.

First, they show him what colors truly look like. Then they offer him the chance to hear what real music sounds like.

The sound that follows brings together many of the artists and musical traditions Frisell loves: Nino Rota, Thelonious Monk, Sonny Rollins, Charles Ives, Jimi Hendrix, Hank Williams, Andrés Segovia and Robert Johnson. In the dream, their music exists simultaneously, yet every element remains perfectly clear.

That vision has stayed with Frisell, becoming a kind of artistic reference point. In My Dreams represents another attempt to approach that ideal—different musical worlds coexisting without losing their individual character.

It is a fitting concept for a musician whose career has consistently blurred boundaries. Frisell has never treated jazz, Americana, blues, folk or experimental music as isolated territories. Instead, he has spent decades exploring what happens when those traditions are allowed to interact.

The musicians on In My Dreams make that approach particularly vivid. Scheinman's violin, Kang's viola and Roberts' cello create a flexible string texture around Frisell's guitar, while Morgan and Royston provide a rhythm section capable of shifting between delicate restraint and more expansive improvisation.

The result is an ensemble sound built as much on conversation as composition.

By the time In My Dreams arrived in early 2026, Frisell had already established himself as one of the defining guitarists of his generation. Yet the album demonstrates that longevity has not narrowed his musical curiosity. If anything, the record suggests that the accumulated relationships of a long career can become a source of new possibilities.

That makes the album's title especially appropriate. The dream Frisell remembers is about hearing familiar musical voices with unusual clarity and discovering how seemingly distant traditions can exist together. In My Dreams turns that idea into a living ensemble.

The album is ultimately a portrait of an artist surrounded by trusted collaborators and still searching for new ways to hear. At 75, Frisell's music remains less concerned with arriving at a fixed destination than with following the sound wherever it leads.

And on In My Dreams, that journey is shared with some of the musicians who have helped shape the path along the way.

Vel Lewis Brings Six Decades of Groove to “Smoovee”

More than six decades after first stepping in front of a microphone as a teenage vocalist in Philadelphia, Hammond organ master Vel Lewis is entering a new chapter with “Smoovee,” a lush, groove-driven single featuring acclaimed soprano and tenor saxophonist Marion Meadows. The recording has already made an immediate impact, debuting as the #1 Most Added recording at smooth jazz radio and continuing to build momentum across multiple formats.

“Smoovee” is now appearing on the Smooth Jazz Network Top 100, Mediabase Smooth Jazz, RadioWave Monitor Groove Jazz 100 and the Top 30 Weekend Radio chart in Madrid, Spain, while reaching audiences across every major streaming platform. At its core, the recording captures the sound Lewis has spent a lifetime refining: groove jazz, smooth jazz, soul, funk and rhythm and blues woven into one melodic, infectious performance.

The story behind “Smoovee” reaches back to the late 1990s, when Lewis wrote the composition in his living room on a home workstation. He envisioned a smooth, uncomplicated groove built specifically around the soprano saxophone. Lewis had admired Meadows' distinctive tone and phrasing since the saxophonist's RCA Records years, and the two eventually became friends after meeting at a Houston jazz club.

When Lewis finally presented the song to Meadows, the saxophonist agreed immediately. What followed was a remarkably international recording project. During an extended stay in Brazil, Lewis recorded the rhythm section in a Rio de Janeiro studio with musicians Adalberto Miranda and Dede Silva, laying down keys, bass and drums. Percussionist Cassio Duarte later overdubbed Brazilian pandeiro from Texas, adding another layer of rhythmic color to the production.

The recording also brought together several important relationships from Lewis' musical journey. Guitarist and mixer Paul Brown, whom Lewis met the same night Meadows performed at Houston's House of Blues, helped shape the final mix. Mastering was handled by Steve Hall of Future Disc Systems.

For Lewis, the international production of “Smoovee” reflects a career that has rarely respected musical boundaries.

Born Velbert Lewis Jr. on November 30, 1954, in Philadelphia, Lewis began his musical journey in 1965 as a first soprano vocalist with the Philadelphia All Boys Choir. He eventually toured internationally as a featured soloist with the choir's Small Ensemble, including a performance at Expo '67 in Montreal.

His early training included voice and piano studies at Philadelphia's Settlement Music School. He later turned his attention to the organ, the instrument that would ultimately become his defining musical voice, studying under Milton Myers and Dr. E. Woodley Kalehoff, a former White House pianist during the Truman administration.

Even as a teenager, Lewis was moving comfortably between musical worlds. He appeared on television performing jazz with drummer Gerry Brown and bassist John Lee while simultaneously working as a Hammond organist on gospel sessions for ABC/Peacock Records produced by Ira Tucker Sr. Those sessions placed him alongside legendary gospel groups including The Sensational Nightingales, The Gospelaires and The Dixie Hummingbirds.

By 1972, Lewis had become part of Philadelphia's vibrant soul music scene. He signed with Philadelphia International Records as a member of The Futures and later performed with The Delfonics during the Major Harris era. Along the way, he shared stages with Earth, Wind and Fire, Parliament Funkadelic, Al Green, The Stylistics and Frankie Beverly and Maze.

His work as a songwriter also produced a lasting piece of soul music history. Lewis co-wrote and sang lead on “Tell Me Why” with The Life Group, released by Warner Bros. and Reprise in 1974. The recording has since gained recognition within the international Northern Soul community as a Top 100 classic, a distinction that continues to attract the attention of soul historians and collectors.

Lewis' career eventually expanded beyond live performance and recording. Beginning in 1995, he composed for Los Angeles Post Music, creating music for a series of national Chrysler Plymouth television commercials featuring Tina Turner. His compositions also appeared in television programs including “Sex and the City,” “Friends,” “Mad About You” and “The Fresh Prince of Bel Air.”

In 2003, Lewis joined Dionne Warwick's touring ensemble, spending three years performing internationally and drawing upon the combination of pop, soul, gospel and orchestral musicianship demanded by Warwick's repertoire.

Two years later, he released his debut solo album, “All Wound Up,” under the name Shady Grady. Lewis wrote or co-wrote every track on the project, establishing another chapter in a career defined by versatility and musical independence.

The years that followed brought continued recording activity and international recognition, including the charting singles “PlayTyme” and “Bossaflowz,” recorded with guitarist Michael Garvin, as well as “Forever More,” a 2021 collaboration featuring vocalist Larry Braggs. In June 2024, Lewis received the Houston Black Music Award for Best Jazz Male Performer from the Black Music Association and Academy of America.

Now, “Smoovee” brings many of those musical experiences together.

The Hammond organ remains at the center, surrounded by the grooves of funk, the emotional language of soul and blues, the rhythmic pulse of R&B, the improvisational freedom of jazz and the spiritual foundation of gospel. Rather than placing those influences into separate categories, Lewis folds them into a single musical identity.

That philosophy is also informing the next phase of his live performances. Lewis is bringing groove jazz, smooth jazz, soul, funk, blues, gospel and rhythm and blues together onstage, with the Hammond organ serving as the common thread.

The significance of “Smoovee” ultimately extends beyond a new single. It is the latest expression of a musician whose career has moved through Philadelphia gospel, soul revues, major touring productions, television composition, international performance and studio collaborations without losing sight of the instrument that has defined his voice for roughly 60 years.

From a teenage soprano in Philadelphia to a Hammond organist recording in Rio de Janeiro, Vel Lewis continues to write, produce, record and perform with the same curiosity that has driven his musical journey from the beginning.

Lewis is scheduled to appear at the Sugar Land Arts Fest in Sugar Land, Texas, on November 8, 2026, followed by an appearance at SoHo Restaurant & Music Club in Santa Barbara, California, on November 28, 2026. With “Smoovee” continuing its climb at radio and across streaming platforms, the latest chapter of Lewis' six-decade musical story is already in motion.

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.