Finding Home in the Music: Zeju Zheng's A Mind in Motion Marks an Impressive Debut

Every musician's first album tells a story. Some announce an arrival. Others showcase technical mastery or establish a distinctive artistic identity. Guitarist and composer Zeju Zheng's debut recording, A Mind in Motion, does something subtler—and perhaps more compelling.

Rather than presenting himself as a finished artist, Zheng documents the process of becoming one.

Due September 18, 2026, on Shifting Paradigm Records, A Mind in Motion captures the guitarist during his first years living in New York City, navigating the uncertainties that come with leaving one home to build another. The six original compositions that comprise the album reflect themes of transition, memory, resilience, and self-discovery, offering a deeply personal portrait of a young musician finding his place in one of the world's most demanding jazz communities.

Born in China and now based in New York, Zheng arrived in the city with a strong musical foundation and an eagerness to continue growing. After earning his master's degree in Jazz Performance from New York University, he studied with acclaimed guitarists Peter Bernstein, Adam Rogers, and Brad Shepik—three players whose individual approaches to harmony, improvisation, and tone have helped shape generations of modern jazz guitarists.

Those influences are certainly present throughout A Mind in Motion, but Zheng never sounds interested in imitation. Instead, he uses the jazz tradition as a framework for exploring his own experiences, balancing lyrical melodies with thoughtful improvisation and allowing each composition to unfold organically rather than chasing technical display.

His collaborators play an equally important role in bringing that vision to life.

Joining Zheng are bassist Drew Gress, one of modern jazz's most respected improvisers; pianist Arnie Sainz; and drummer Chidiebere Emmanuel. Together, the quartet creates an atmosphere defined by attentive listening and conversational interplay, giving the music room to breathe while allowing every composition to develop naturally.

For Zheng, however, the album represents something more personal than simply documenting a collection of original tunes.

"To me," he explains, "pursuing goals and happiness is not really the meaning of life. Being able to live with regret, let go, and move forward has more beauty in it. This album is my practice of that."

That philosophy quietly guides the recording from beginning to end.

The opening track, "53," was among the first pieces Zheng composed after arriving in New York. Written during a period marked by uncertainty, pressure, and possibility, it establishes many of the emotional themes that return throughout the album. Rather than offering easy resolutions, the composition embraces the tension between anxiety and optimism that accompanies any significant life change.

"Drain" follows with a very different mood. Inspired in part by the harmonic language of Wayne Shorter, the piece demonstrates Zheng's appreciation for musical restraint. Instead of filling every available space, the quartet allows silence and subtle interaction to become essential parts of the performance, creating an atmosphere that feels reflective without becoming overly sentimental.

"Simple" emerged from Zheng's studies with guitarist Brad Shepik. Built around an unusual meter, the composition avoids treating rhythmic complexity as an end in itself. Instead, the shifting pulse becomes another storytelling device, supporting melodies that remain clear, inviting, and emotionally direct.

Perhaps the album's most intimate moment arrives with "At the Corner."

For Zheng, the piece became a way of expressing emotions that resisted language altogether. Rather than explaining those feelings, he allows the composition itself to communicate them, trusting melody, harmony, and improvisation to say what words cannot.

"Little Song" continues that emotional openness by occupying the delicate space between joy and melancholy. Refusing to settle comfortably into either emotion, the music instead reflects the ambiguity that often accompanies memory, growth, and change.

The album concludes with "Waiting for You to Be Home," written on the very same evening as "53." While the opening composition captures uncertainty, the closing work offers something resembling acceptance. Without abandoning the questions raised at the beginning of the record, it suggests that stability sometimes comes not from having all the answers but from discovering where one belongs.

Taken together, the six compositions function almost like chapters in a journal, documenting not simply a period of artistic development but an evolving way of understanding life itself.

That sense of honesty distinguishes A Mind in Motion from many debut recordings.

Rather than attempting to define himself through stylistic declarations or displays of virtuosity, Zheng presents music that remains curious, patient, and open-ended. The album invites listeners into an ongoing conversation rather than offering definitive conclusions.

It is a quality reflected in Zheng's guitar playing as well. His solos favor melody over excess, careful phrasing over speed, and interaction over individual spotlight. Every note seems chosen in service of the composition, reinforcing the album's quiet confidence and emotional sincerity.

There is also a remarkable sense of trust among the quartet. Drew Gress's experienced bass work provides both harmonic depth and rhythmic flexibility, while Arnie Sainz contributes elegant, understated piano textures throughout. Drummer Chidiebere Emmanuel complements the group's conversational aesthetic with sensitive, responsive playing that consistently elevates the music without drawing attention away from it.

Together, the musicians create performances that feel less like polished studio constructions than genuine moments of shared discovery.

For a debut album, A Mind in Motion displays impressive maturity—not because Zheng claims to have arrived, but because he recognizes that artistic growth is an ongoing process. The music acknowledges uncertainty without being overwhelmed by it, embracing change as an essential part of both life and creativity.

In doing so, Zeju Zheng introduces himself not simply as an accomplished guitarist or promising composer, but as an artist committed to exploration. A Mind in Motion is less a destination than the beginning of a journey, and that openness may prove to be its greatest strength.

For listeners drawn to the lyrical sophistication of Peter Bernstein, the adventurous harmonic language of Gilad Hekselman, the inventive modernism of Adam Rogers, or the global sensibility of Brad Shepik, Zeju Zheng's debut offers an exciting new voice—one that speaks quietly, honestly, and with remarkable depth.

A Lost Jazz Masterpiece Returns: The Third World Underground Finally Receives Its First International Release

Some jazz albums arrive with fanfare. Others quietly disappear into history, known only to collectors and devoted fans fortunate enough to track down elusive original pressings.

The Third World Underground belongs firmly in the latter category.

Recorded live in Copenhagen in 1972 by Abdullah Ibrahim (then performing as Dollar Brand), Don Cherry, and Carlos Ward, the remarkable collaboration was released only once—in Japan in 1974 on Trio Records' cult Nadja imprint. Despite bringing together three of jazz's most adventurous voices, the album never received an international release and was never reissued on vinyl, gradually becoming one of the most sought-after recordings in the catalogs of all three musicians.

More than fifty years later, that oversight is finally being corrected.

On September 11, 2026, Wewantsounds will issue the first-ever international edition of The Third World Underground, presenting the album with newly remastered audio, faithfully reproduced original artwork, and an extensive booklet featuring new bilingual liner notes by noted French jazz writer Jacques Denis.

The release arrives at an especially poignant moment. Following the deaths of Carlos Ward in January 2026 and Abdullah Ibrahim earlier this year, the album now stands not only as the long-overdue restoration of an overlooked classic but also as a celebration of two extraordinary artistic legacies.

At the heart of The Third World Underground is a meeting of three musicians who helped redefine what jazz could become during one of the genre's most fertile periods.

By the early 1970s, Don Cherry had already secured his place as one of modern jazz's great innovators through his groundbreaking work alongside Ornette Coleman. Yet Cherry's ambitions reached well beyond the boundaries of American jazz. Constantly traveling and absorbing musical traditions from Africa, India, Turkey, and countless other cultures, he developed an artistic language that dissolved distinctions between jazz, folk music, spiritual music, and collective improvisation. Trumpet, voice, percussion, and communal performance all became equal parts of his creative vocabulary.

Abdullah Ibrahim was engaged in a similarly transformative journey. Deeply rooted in the musical traditions of South Africa while drawing inspiration from Duke Ellington, gospel, township jive, and the realities of political exile, Ibrahim developed one of jazz's most distinctive pianistic voices. His performances could shift effortlessly from joyous celebration to profound meditation, often within a single composition.

Carlos Ward completed the trio with a powerful alto saxophone voice equally capable of lyricism and raw emotional intensity. His playing provides both grounding and propulsion throughout the performance, creating a perfect counterbalance to Cherry's exploratory instincts and Ibrahim's hypnotic piano figures.

Although Cherry and Ibrahim had known one another since the mid-1960s, The Third World Underground captures a particularly inspired moment in their musical relationship.

Recorded live on November 14, 1972, at Copenhagen's legendary Jazzhus Montmartre, the performance unfolds less like a conventional concert than a continuous conversation among equals. Across seven compositions—including the expansive "Don's Song," the meditative title "Cherry," and the unforgettable "Bra Joe From Kilimanjaro"—the musicians move fluidly between structured composition and spontaneous improvisation.

Ibrahim's repeating melodic cycles establish emotional landscapes rather than harmonic destinations. Cherry responds with trumpet, percussion, and vocal interjections that seem to search endlessly for new possibilities, while Ward's alto saxophone alternately anchors and liberates the music. Together they create performances that feel simultaneously deeply rooted and entirely unbound.

The trio recorded under the name The Third World Underground, a title reflecting both the political climate of the early 1970s and a growing global consciousness shaped by decolonization movements throughout Africa, Asia, and Latin America. Rather than functioning as a political slogan, however, the name mirrors the music itself—an artistic expression unconstrained by national borders or stylistic conventions.

Jazz, African rhythms, spiritual traditions, and collective improvisation coexist naturally throughout the performance. Nothing feels imposed or theoretical. Instead, the musicians allow traditions to intersect organically, anticipating the global musical conversations that would become increasingly common decades later.

When the album appeared in Japan two years after the recording, it found a home on Trio Records' highly respected Nadja imprint, a label that would later become equally revered for releasing Ryo Fukui's landmark Scenery. Yet despite the significance of the musicians involved, The Third World Underground remained exclusive to the Japanese market.

As original copies disappeared into private collections, the recording gradually acquired near-mythic status among collectors and devotees of both Don Cherry and Abdullah Ibrahim. For decades, it remained one of the most intriguing omissions from the international jazz catalog—a recording celebrated by those who knew it yet inaccessible to most listeners.

This new edition finally restores the album to the place it has long deserved.

The remastered audio reveals remarkable warmth and clarity while preserving the immediacy of the original live performance. Combined with the faithfully reproduced artwork and Jacques Denis's thoughtful new liner notes, the release offers both longtime collectors and first-time listeners the opportunity to experience one of the era's most compelling collaborations.

Denis captures the album's enduring appeal perfectly, writing that the music remains "emancipated from all preordained order," continuing to surprise listeners while offering "a delight of the present moment that lingers long after the needle leaves the groove."

Those words speak not only to the recording's artistic achievement but also to its timelessness.

More than half a century after it was captured inside Copenhagen's Jazzhus Montmartre, The Third World Underground still sounds startlingly contemporary. Its seamless blending of jazz, African musical traditions, free improvisation, and spiritual exploration anticipated directions that countless musicians would pursue in the decades that followed.

Yet the recording never feels concerned with innovation for its own sake. Instead, it documents three master musicians listening deeply to one another, responding instinctively, and creating something that could only exist in that particular moment.

That is perhaps the greatest gift of this long-overdue reissue.

Far more than an archival curiosity, The Third World Underground emerges as a living document of artistic freedom—one that reminds listeners why Abdullah Ibrahim, Don Cherry, and Carlos Ward remain among the most visionary figures in modern jazz. More than fifty years after its creation, this once-hidden masterpiece finally receives the worldwide audience it has always deserved.

Tributaries Introduces the New England Jazz Collaborative with a Bold New Vision for Big Band Jazz

Big bands have long been vehicles for singular artistic voices, from Duke Ellington and Count Basie to Maria Schneider and Darcy James Argue. The New England Jazz Collaborative (NEJC) proposes a different model—one that embraces multiple composers, diverse musical traditions, and a shared commitment to expanding the future of jazz.

That vision comes to life on Tributaries, the ensemble's vibrant debut album, due July 17, 2026, via ACP Records. Featuring six original works by four of the collaborative's founding composers—Jeremy Cohen, Darryl Harper, Matan Rubinstein, and Sam Spear—the recording moves effortlessly across musical landscapes, from New Orleans swing and elegant ballads to Third Stream experimentation, modern jazz, funk, and the infectious rhythms of West African highlife.

The result is an album that celebrates both individuality and collaboration, earning praise from some of jazz's most respected voices.

Violinist Regina Carter calls the recording "a diverse range of styles, textures, and moods," adding that "each performer contributes a dynamic presence and expression to the music, creating a vibrant soundscape that defines the ensemble's creativity, individuality, and collaborative spirit."

Bassist and composer Ben Allison echoes that sentiment, saying, "The music on this new album by the New England Jazz Collaborative is fantastic… I hear the individual voices of Jeremy, Matan, Darryl, and Sam… It's refreshing and uplifting to hear this music."

Veteran jazz critic Bob Blumenthal perhaps summarizes the achievement most succinctly: "The uniform excellence and diversity of the present music has created a powerful debut."

The story behind the New England Jazz Collaborative is every bit as compelling as the music itself.

The project began when percussionist and composer Jeremy Cohen found himself confronting a challenge familiar to many composers: he had written ambitious works for jazz orchestra but lacked consistent access to the kind of professional ensemble capable of bringing those scores to life. Rather than accept those limitations, Cohen reached out to fellow composers throughout the Boston jazz community with a simple but transformative idea.

Instead of building a big band around one leader, why not create an organization devoted to many composers?

The concept quickly evolved into an artist-run nonprofit dedicated to commissioning, performing, recording, and promoting new music for large jazz ensemble. In doing so, the NEJC created something remarkably rare—a repertory orchestra devoted almost exclusively to living composers.

Unlike traditional repertory ensembles that revisit established classics, the New England Jazz Collaborative focuses on expanding the canon itself. Every performance introduces audiences to new music while giving composers access to one of jazz's most powerful creative instruments: the 17-piece big band.

In fewer than five years, the organization has commissioned more than 30 new works for jazz orchestra while paying more than $100,000 to musicians, composers, and creative artists. Its success has already inspired additional composer-led ensembles to emerge throughout the region.

"The variety is what makes NEJC's approach to programming both contemporary and accessible," Cohen says. "I've witnessed it first-hand in our concerts. Between the different colors, the dynamic range of the orchestra, and how that was put to use by all the different composers, even audiences who are unfamiliar with jazz find something on the program that captivates them."

That philosophy shapes every moment of Tributaries.

The album opens with Cohen's "Another Brighter Day," beginning quietly with birdsong and shimmering harmonies before unfolding into an optimistic, melody-driven work that hints at influences ranging from Steely Dan to Weather Report. Guitarist Mitch Selib contributes an elegant solo before Nigerian-born saxophonist Temidayo Balogun delivers a lyrical soprano statement that immediately establishes the collaborative spirit defining the ensemble.

Cohen returns later with "Green Turtle Strut," inspired by time spent living in Ghana. Rather than simply borrowing from African traditions, the composition thoughtfully blends Ghanaian highlife with the rhythmic propulsion of Congolese sebene, resulting in music that feels both rooted and contemporary. Balogun adds talking drum and percussion alongside his saxophone work, while guitarist Eric Hofbauer delivers a solo that captures the character of West African guitar music without sacrificing his own jazz identity.

Composer Matan Rubinstein brings an entirely different perspective with "Ol' Liminal." Born in Jerusalem, Rubinstein draws from an astonishing range of influences, combining the collective improvisation of early New Orleans jazz with elements of rock, hip-hop, and electronic music. He has cited artists as varied as The Velvet Underground, Aphex Twin, and Squarepusher among the work's inspirations, and the composition reflects that eclecticism without ever feeling forced. Anchored by drummer Lumanyano Mzi and bassist Bob Nieske, the piece drives forward with restless energy while allowing the horns to shift effortlessly between tightly orchestrated passages and exhilarating bursts of collective improvisation.

Darryl Harper contributes two contrasting compositions that demonstrate his versatility as both composer and clarinetist. A Philadelphia native and longtime collaborator of Regina Carter and Jason Moran, Harper first became involved with the NEJC when Cohen approached him with the fledgling concept for the organization.

"Kiss Me Again" unfolds as an exquisitely understated ballad, highlighted by a luminous piano solo from Emily Pruneau. By contrast, "The Secret" embraces an infectious odd-meter funk groove, creating a lively musical conversation as soloists exchange concise statements over the shifting rhythmic landscape.

Sam Spear closes the circle with "Gee, Em...," perhaps the album's most overt nod to New England's rich compositional heritage. A student of the late Gunther Schuller, Spear based the dreamlike work on Schuller's famous twelve-tone "Magic Row," creating an elegant fusion of classical structure and jazz improvisation. Alto saxophonist Allan Chase responds with a witty and expressive solo that perfectly complements the composition's sophisticated architecture.

Throughout the recording, the ensemble itself proves every bit as impressive as the writing.

The orchestra combines many of the Boston area's most respected performers—including trumpeters Jason Palmer and Bijon Watson, saxophonists Felipe Salles and Brian Landrus, guitarist Eric Hofbauer, and a host of emerging voices—with conductor Ken Schaphorst guiding the performances. Their collective precision never diminishes the music's warmth or spontaneity, instead reinforcing the collaborative spirit at the heart of the project.

That spirit has prompted comparisons to the influential Jazz Composers Collective, the groundbreaking cooperative founded in New York during the early 1990s.

Ben Allison, himself a founding member of that celebrated organization, immediately recognized the parallels.

"We collaborated and supported each other through experimentation," Allison says. "The worry for us at the time was that by working so closely together our music might homogenize into one kind of sound. However, what we found was working in this way actually brought out our individualism and helped us each to find our voices as composers and artists."

The comparison feels especially appropriate.

Like the Jazz Composers Collective before it, the New England Jazz Collaborative demonstrates that artistic communities often strengthen individual voices rather than diminish them. The diversity heard throughout Tributaries never feels fragmented because each composition is unified by the exceptional musicians interpreting it and by the ensemble's shared commitment to adventurous new music.

The album's title reflects that philosophy. Tributaries speaks not only to the many influences flowing into each composer's work but also to the rich musical traditions that have shaped New England's jazz community. The legacy of Gunther Schuller's Third Stream movement, George Russell's Lydian Chromatic Concept, and Bob Brookmeyer's groundbreaking orchestral writing all flow into the project, yet the NEJC is focused firmly on creating its own future rather than preserving the past.

"The composers' breadth gives the album an element of surprise and a genuine something-for-everyone quality," Cohen says. "It reflects a contemporary musical reality in which artists and listeners move fluidly across styles and traditions. Tributaries feels like a carefully curated playlist, but with a strong sense of authorship, continuity, and ensemble sound."

What began as one composer's practical solution has evolved into something considerably larger: a new model for how contemporary big band music can be created, performed, and sustained.

"This project started out as a way for each of us to get our music heard," Cohen reflects. "But it became something much more compelling. We have a mission."

With Tributaries, that mission receives a remarkable introduction—one that honors the rich traditions of jazz orchestra while demonstrating that its future may be even more adventurous than its past.

Jared Schonig Brings His Big Band Vision to Life on Live at Dizzy's

Few modern jazz musicians have arrived as bandleaders with as much momentum as drummer and composer Jared Schonig. His ambitious 2023 double release, Two Takes Vol. 1: Quintet and Two Takes Vol. 2: Big Band, established him as one of the most compelling new voices in contemporary large ensemble jazz. Critics took notice immediately. Ron Netsky of Rochester City Paper called the project "a prime candidate for album of the year," while WBGO's Nate Chinen observed that the albums "decisively put him forward as a bandleader."

DownBeat awarded the recordings 4½ stars, praising both the strength of Schonig's writing and the bold concept of presenting his compositions first in intimate quintet form before expanding them into fully realized big band arrangements. Reviewer Gary Fukushima wrote that the true brilliance lay in allowing listeners to hear how the music was transformed by "some truly incredible arrangers."

With Live at Dizzy's, Schonig takes the next logical step, presenting those compositions where they arguably belong most: on stage before a live audience.

Recorded at New York City's famed Dizzy's Club before a sold-out crowd, the album captures the excitement, spontaneity, and collective energy that define both Schonig's writing and the remarkable musicians who bring it to life.

"Playing live music for human beings is my favorite thing to do," Schonig says. "It's probably the number one reason I play. Seeing people react to what is happening onstage becomes an instant bond and is forever cemented in the memory of the band and the audience."

For Schonig, recording at Dizzy's was an easy decision.

"I've had a steady yearly gig with the big band at Dizzy's for many years and naturally it's where I chose to record this live album. It's my favorite room to play with my big band. We had sold out the room for at least two years in a row, so I figured the vibe would be amazing—and it was."

The recording showcases an elite ensemble of New York musicians performing arrangements by some of today's most respected composers and orchestrators, including Mike Holober, Miho Hazama, John Daversa, Alan Ferber, Jim McNeely, and Laurence Hobgood. Their relationship with Schonig stretches back years. Many were heroes during his formative years before eventually becoming collaborators and employers as Schonig established himself as one of New York's most sought-after sidemen.

That spirit of collaboration has become central to his music.

Peter Vacher of JazzWise described the project as "a huge gesture of confidence in both composer and executant," noting the remarkable variety of approaches each arranger brings to Schonig's compositions. "Lucky Jared," Vacher concluded.

The band itself reflects years of musical relationships built on stages around the world.

Bassist Matt Clohesy has performed with Schonig for more than two decades. Pianist David Cook shares a similarly deep musical history, giving the trio an almost telepathic rapport. Lead trumpeter Tony Kadleck, one of the most respected players in New York, has appeared on virtually every big band performance Schonig has led. Trombonist Mike Davis brings equal authority, while saxophonists Jason Rigby and Andrew Gould have become essential voices within Schonig's musical language.

For this recording, acclaimed trumpeter Terell Stafford joined the ensemble for the first time.

"I've been a fan of his for years," Schonig says. "He plays some incredible solos here. I was so glad to have him."

Veteran trumpeter Scott Wendholt also returns, someone Schonig admired long before they became colleagues.

"The level of professionalism, care, and brilliance that these musicians put into my music is what I wanted to showcase."

That commitment is immediately apparent on the album's opening selection, "Sound Evidence," arranged by Miho Hazama. The arrangement unfolds gradually, layering textures before exploding into powerful solos by Ryan Keberle, Scott Wendholt, and guitarist Alex Goodman. It serves as both an introduction and a statement of purpose, demonstrating the band's remarkable balance between tightly crafted orchestration and fearless improvisation.

The program continues with "Climb," originally composed for the Wee Trio, reflecting what Schonig describes as the challenges everyone inevitably faces throughout life.

Perhaps no composition better represents Schonig's catalog than "White Out," inspired by the first time he found himself caught in a fierce New York snowstorm. It has become one of his most frequently performed and recorded pieces, combining rhythmic urgency with memorable melodic writing.

Among the album's new compositions is "Jiggle Jaggle," whose title arrived unexpectedly thanks to Schonig's young son.

"We had been playing and I had this melody in my head," he recalls. "I sang it into my phone, fleshed it out on the piano, and played it for him. He said, 'Jiggle Jaggle.'"

Schonig commissioned longtime collaborator Mike Holober to arrange the piece.

"The results were amazing. I always heard John Ellis on this in my head, and he was available for the recording. Boy, was I glad."

The lyrical centerpiece of the album is "Eight Twenty," a love letter to Schonig's wife.

"It's a dedication to my beautiful wife and mother of our children. Eight Twenty is the day we got married. I just wanted to write a beautiful melody reminiscent of her."

Another highlight arrives with "Canyons," co-written during the pandemic with bassist and composer Adam Neely. Miho Hazama originally arranged the composition to feature vocalist Michael Mayo. When scheduling conflicts prevented Mayo from appearing, Schonig turned to Grammy-winning vocalist Nicole Zuraitis.

"Her performance on this tune is one of my favorite parts of this record," he says. "She sings an incredible solo that is just mesmerizing."

The album concludes with "Sabotage," another composition originally written for the Wee Trio. The title references a memorable incident during a live recording session in St. Louis when the group discovered that microphone cables had been cut before the second day of recording. On Live at Dizzy's, it becomes an exhilarating finale that leaves audiences wanting more.

Critics have repeatedly singled out Schonig's drumming as one of the defining elements of his music.

Peter Margasak of The Chicago Reader praised the drummer's "snappy, powerful backbone," writing that the music develops "in surprising and spontaneous ways."

Steve Greenlee of The Boston Globe highlighted Schonig's "skittery, electronica-influenced rhythm," calling it "oddly infectious."

All About Jazz's Troy Collins pointed to Schonig's "throttling trap set palpitations," "machine gun drum fills," and "spry bop rhythms," while Richard Kamins of Step Tempest described him as "the exemplar of the 21st Century musician," praising music that is "rich in melodic material, ripe with strong solos, and excellent accompaniment."

Perhaps the broadest assessment came from Jay Miller of The Patriot Ledger, who noted that Schonig's music possesses "bigger dynamics than most rock, more groove than a lot of modern soul, and certainly more excitement and accessibility than a lot of contemporary jazz."

Those observations help explain why Live at Dizzy's succeeds as more than another live jazz album. It documents a composer who understands both intimacy and scale, balancing sophisticated writing with emotional immediacy. It also captures a band that performs with uncommon trust, where individual virtuosity consistently serves the collective sound.

At a time when large ensemble jazz often struggles for visibility, Jared Schonig continues to demonstrate what makes the tradition so compelling. His music is energetic without sacrificing nuance, intellectually ambitious without becoming inaccessible, and deeply rooted in the collaborative spirit that has always defined jazz at its best.

If Two Takes announced Jared Schonig's arrival as an important composer and bandleader, Live at Dizzy's confirms it. The album captures a remarkable ensemble performing at the highest level, preserving the excitement of one unforgettable evening while pointing toward an even brighter future for one of contemporary jazz's most engaging creative voices.

This version is much closer to a feature you'd find in DownBeat, JazzTimes, or a music blog: it flows as a narrative instead of reading like a press release, while preserving nearly all of the substance from the original. It also improves SEO by naturally incorporating terms like "Jared Schonig," "Live at Dizzy's," "big band jazz," and "contemporary jazz" throughout the article.

Sam Blakeslee Unveils New Blood, a Bold New Statement in Modern Large Ensemble Jazz

Award-winning trombonist, composer, and educator Sam Blakeslee continues to push the boundaries of contemporary jazz with the release of New Blood, the latest album from the Sam Blakeslee Large Group. Arriving September 25, 2026, via Brooklyn Jazz Underground Records, the recording showcases Blakeslee's exceptional compositional voice and features an all-star ensemble of New York City's finest musicians.

A recipient of the 2018 David Baker Prize in Composition from the Ravinia Steans Music Institute, Blakeslee has built a reputation as one of today's most compelling writers for large ensembles. New Blood reflects years of dedication to the craft, combining sophisticated orchestration with memorable melodies, dynamic improvisation, and a modern perspective rooted in the jazz tradition. Recorded during an intensive three-day session, the album captures the energy of a band whose chemistry feels years in the making.

"I wanted to write music that was provocative but not overly difficult, complex but not complicated, create frameworks that allowed soloists to truly express themselves, and balance density and openness," Blakeslee says of his approach. That philosophy resonates throughout the album, where intricate arrangements never overshadow the expressive power of the ensemble.

Originally from Columbus, Ohio, Blakeslee relocated to New York City in 2017, an experience he describes as both humbling and transformative. Immersing himself in the city's world-class jazz scene sharpened his compositional voice while allowing him to discover where his own musical identity fit between tradition and innovation. Influenced by legendary trombonist and composer Bob Brookmeyer, Blakeslee found inspiration in large ensemble writing that emphasized warmth, daring creativity, and emotional depth.

His impressive résumé includes performances and collaborations with Remy Le Boeuf's Assembly of Shadows, Manuel Valera's New Cuban Express Big Band, the Terraza Big Band, Emilio Solla's Tango Jazz Orchestra, Sean Jones, Joe Lovano, Dick Oatts, Aretha Franklin, and many others. He also appeared on Architecture of Storms, the Grammy-nominated 2023 release by Remy Le Boeuf's Assembly of Shadows. Beyond the stage, Blakeslee serves on the faculty of the University of Hartford's Hartt School of Music, where he directs the Jackie McLean Institute Big Band and teaches trombone.

The album's seven compositions each tell a personal story. The title track, "New Blood," celebrates the emergence of a new generation of creative voices on Northeast Ohio's vibrant jazz scene. "Franklin's Blues" pays tribute to both the blues tradition and Blakeslee's beloved cat, Franklin. "Another Day In Which To Excel," commissioned by the International Society of Jazz Arrangers & Composers, honors his late grandfather's daily words of encouragement. "Slow Growth/New Growth" traces its origins to Blakeslee's award-winning work at the Ravinia Steans Music Institute, while "Escaping Shadows" reflects his determination to move beyond the influence of his mentors and discover his own unmistakable artistic voice.

At its core, New Blood is a testament to perseverance. From the group's beginnings performing in basement venues in Akron, Ohio, to recording alongside many of New York's most respected jazz musicians, the album documents a journey defined by passion, growth, and an unwavering commitment to artistic excellence.

Featuring standout performances from Charles Pillow, David Smith, Alex Norris, Pete McCann, Matt Pavolka, Erica Seguine, Jennifer Wharton, Martha Kato, Lee Fish, and many more, New Blood is both a showcase of extraordinary musicianship and a powerful statement from a composer entering his creative prime.

With New Blood, Sam Blakeslee delivers a modern big band album that honors jazz's rich legacy while confidently pointing the music toward its future.

Jade Monet Ignites a New Era With “Too Hot To Behave”

After two deeply personal releases in 2025, In the Shade of the Willow and Night Bloom, singer-songwriter Jade Monet is stepping into an exciting new creative era with her latest single, “Too Hot To Behave.”

Written following a period of reflection during the pandemic, Jade’s recent music explored resilience, healing, love, and self-discovery. Drawing from profoundly personal experiences—including family estrangement, an eating disorder, and the loss of her brother-in-law to the opioid crisis—those songs captured an artist finding strength through vulnerability.

Now, Jade is embracing the music that first captured her imagination as a child. “Too Hot To Behave” marks a confident return to the timeless sounds of jazz, soul, and traditional pop, introducing listeners to the sophisticated world of Club Jade Monet. The project blends the elegance of classic jazz club culture with a contemporary edge, drawing inspiration from legendary voices such as Etta James, Ella Fitzgerald, Nina Simone, and Peggy Lee while appealing to fans of modern artists including Laufey, RAYE, and Olivia Dean.

The single was recorded at Vancouver’s legendary Warehouse Studio with some of the city’s finest jazz musicians, using entirely live instrumentation to capture the warmth, intimacy, and authenticity that define the genre. The result is a record that feels both nostalgic and refreshingly modern, celebrating the enduring appeal of timeless songwriting and live performance.

Music has always been at the center of Jade’s story. Raised by her single mother in the coastal community of Halfmoon Bay, British Columbia, she showed extraordinary promise from an early age. At just two years old, an impromptu performance aboard a ferry prompted a fellow passenger to suggest vocal lessons. By seven, hearing Etta James perform “At Last” sparked a dream that would shape the course of her life.

Since launching her recording career in 2016, Jade has explored an impressive range of musical styles, from rock and blues to country-rock and pop, establishing herself as a dynamic songwriter and captivating live performer. Her career has included appearances at Canadian Music Week, Los Angeles’ Hotel Café, Atlanta’s A3C Festival, and Vancouver’s Westward Festival, along with more than 500 live performances throughout Vancouver. She has also sung for crowds of more than 15,000 on five occasions at Vancouver Canucks games at Rogers Arena.

With “Too Hot To Behave,” Jade Monet brings every chapter of her musical journey together. The single represents more than a stylistic shift—it is the culmination of years of artistic growth, personal resilience, and a lifelong passion for timeless music. As she opens the doors to Club Jade Monet, listeners are invited into a world where classic glamour meets modern sophistication, revealing an artist who has truly found her voice.

The Quiet Storm Enters a New Era as Lenny Green Partners with Compass Media Networks

One of radio's most enduring and beloved brands is entering an exciting new chapter. Beginning June 1, 2026, The Quiet Storm with Lenny Green will be nationally syndicated through Compass Media Networks, which will oversee the program's marketing, distribution, and advertising sales while WBLS 107.5 FM in New York City continues as the show's flagship station.

For generations of listeners, The Quiet Storm has been more than a radio program—it has been a nightly ritual. Blending smooth R&B, soulful ballads, and intimate conversation, the show has provided the soundtrack for quiet evenings, romantic moments, late-night reflection, and countless memories.

The Quiet Storm format has deep roots in radio history. The concept originated in 1976 at Washington, D.C.'s WHUR-FM, inspired by Smokey Robinson's album A Quiet Storm. The original host, the legendary Melvin Lindsey, created a sophisticated late-night format that paired mellow soul music with an understated, conversational presentation. The format quickly became a national phenomenon, influencing radio stations across the country.

In New York, The Quiet Storm became synonymous with WBLS and legendary broadcaster Vaughn Harper, whose rich, velvet voice made him one of the most recognizable personalities in urban radio. Harper's signature sign-on—"Hello, sweetheart"—and his smooth delivery helped define the program for decades, creating an intimate connection with listeners that made The Quiet Storm a cultural institution.

Today, Lenny Green proudly carries that legacy forward.

Broadcast nationally from 7 p.m. to midnight Monday through Thursday and 7 p.m. to 10 p.m. on Sundays, The Quiet Storm with Lenny Green reaches audiences across the country through affiliates including WBLS in New York, WJMR in Milwaukee, KRMP in Oklahoma City, WTUG in Tuscaloosa, KJMH in Lafayette, WAKB in Augusta, and many more.

Known for his warm personality and authentic connection with listeners, Green has become one of radio's most respected voices. His thoughtful storytelling and carefully curated mix of classic and contemporary R&B continue the tradition that made The Quiet Storm one of the most successful nighttime radio formats ever created.

Reflecting on the new partnership, Green said, "I'm blessed to be in the position I'm in, and my ultimate goal is to continue to touch lives and spread love to more cities. The Quiet Storm has always been about connection, passion, and bringing people together through music and conversation. I'm excited to begin this new chapter with Compass Media Networks as we continue growing the brand and reaching even more listeners nationwide."

Nancy Abramson, Senior Vice President of Affiliate Sales and Content for Compass Media Networks, expressed similar enthusiasm, noting that she has long admired both Lenny Green and The Quiet Storm, describing him as a personality who is deeply respected by affiliates and listeners alike.

Beyond his work behind the microphone, Green has earned numerous honors throughout his career, including Billboard's Air Personality of the Year. He is also recognized for his philanthropic efforts, mentoring emerging artists, hosting charitable events, and establishing the Juanita Green Women of Dignity Award, created in honor of his late mother.

Nearly five decades after The Quiet Storm first changed the sound of late-night radio, the format continues to evolve while remaining true to its original mission: creating a space where great music, meaningful conversation, and genuine human connection come together. With this new syndication partnership, Lenny Green is poised to introduce that timeless experience to even more listeners across America.

Stefon Harris Celebrates 20 Years of Blackout with Legacy Dances, a Powerful Tribute to Casey Benjamin

Four-time GRAMMY®-nominated vibraphonist, composer, educator, and arts leader Stefon Harris marks the 20th anniversary of his groundbreaking ensemble Blackout with Legacy Dances, an inspiring new album that celebrates community, ancestry, innovation, and the transformative power of jazz.

Set for release on August 28, Legacy Dances is both a milestone and a deeply personal tribute. The album honors the extraordinary legacy of electro-jazz pioneer Casey Benjamin, a founding member of Blackout whose sudden passing in 2024 profoundly impacted the band and the jazz community. Rather than ending the group's anniversary celebration, the recording transforms loss into a celebration of creativity, friendship, and enduring artistic influence.

The album will be introduced through a series of singles, beginning with "I Know Love" on May 8 and "What a Wonderful World" on June 5, both showcasing Benjamin's signature vocoder artistry. Harris then follows with two original instrumental compositions, "Echoes of the Lion" on July 3 and "A Radical's Love" on July 31, before unveiling the complete 11-track album.

Since its debut with Evolution in 2004, Blackout has consistently redefined the possibilities of modern jazz by blending virtuosic musicianship with hip-hop, funk, fusion, R&B, and global rhythmic traditions. Harris's breathtaking command of the vibraphone and marimba, combined with the adventurous performances of pianist Marc Cary, drummer Terreon Gully, and especially Casey Benjamin's revolutionary use of electronically processed saxophone, vocoder, and aerophone, established Blackout as one of the most forward-thinking ensembles of its generation.

Reflecting on his longtime friend, Harris says:

"Every once in a while, a truly original being shares this limited space and time with us. Casey occupied a rarefied space brimming with genius, audacity, kindness, and humility. We were all incredibly lucky to have been blessed with the opportunity to create beauty with a true musical master."

Throughout Legacy Dances, Harris explores his philosophy of jazz as "Empathy in Action," viewing the music as a living tradition built upon listening, communication, and collective expression. As he writes in the album's liner notes, jazz carries within its DNA "a blueprint for the transformative power of empathy," providing generations of musicians with tools to amplify the voices and experiences of their communities.

That philosophy resonates across every composition. The title track bursts with energy as Harris's shimmering vibraphone intertwines with Benjamin's soaring saxophone over an irresistible groove, while Christian Sands makes his first appearance with Blackout on piano. Supported by Terreon Gully's masterful drumming and Dezron Douglass's commanding bass lines, the ensemble seamlessly balances intricate composition with fearless improvisation.

The album also pays homage to jazz history with inspired interpretations of Louis Armstrong classics "What a Wonderful World" and "West End Blues." Harris further honors pioneering stride pianist Willie "The Lion" Smith through "Echoes of the Lion," a contemporary reimagining inspired by Smith's legendary "Echoes of Spring."

Several original works draw inspiration from Harris's family, mentors, and the cultural legacy of Newark, New Jersey, particularly poet, playwright, and activist Amiri Baraka, whose vision continues to influence Harris's artistic mission. As Harris explains, legacy is preserved not only through artistic achievements but through the communities and cultural environments that nurture creativity.

Beyond the recording studio and concert stage, Harris continues to shape the future of jazz through education and innovation. He serves as a tenured professor at Rutgers University, co-directs the groundbreaking arts initiative Express Newark, and has spent more than a decade developing Harmony Cloud™, an innovative platform for ear training and improvisation that officially launched at the 2026 Jazz Education Network Conference. Already embraced by thousands of users, Harmony Cloud has been featured at leading institutions including Harvard University, Peabody Conservatory, Temple University, the University of Miami, the University of Oregon, and the University of Southern California, with additional workshops planned around the world.

While Legacy Dances celebrates Harris's remarkable evolution as an artist, educator, and cultural leader, it also serves as a heartfelt farewell to one of jazz's most visionary voices. Harris invites listeners to experience the album as an act of shared listening, learning, dancing, and human connection.

Casey Benjamin's influence, however, continues to grow. Widely recognized for his groundbreaking work with Blackout, the Robert Glasper Experiment, and collaborations with artists including Kendrick Lamar, Beyoncé, Lady Gaga, Nas, Common, Anderson .Paak, Drake, Solange, Maxwell, Q-Tip, and many others, Benjamin helped redefine the relationship between jazz, technology, hip-hop, and contemporary music.

As noted by WBGO's Angelika Beener, Benjamin was "a wizard of sound and texture" whose artistry permanently expanded the possibilities of modern music.

His legacy will continue through two forthcoming posthumous albums currently being completed by his brother Kevin Benjamin alongside longtime collaborator Blair Wells, ensuring that one of the most innovative musical voices of his generation will continue to inspire audiences for years to come.

Following the release of Legacy Dances, Stefon Harris and Blackout will bring the music to audiences across the country, including performances at Stanford University, New York's Blue Note Jazz Club, Seattle's Jazz Alley, the Exit Zero Jazz Festival, and additional festival appearances this fall.

Providence: Charles Lloyd’s Musical Confluence Honoring Zakir Hussain

Some musical collaborations feel inevitable, as though they were destined long before the artists ever met. Providence tells the story of one such journey—a profound meeting of traditions, cultures, and lifelong friendships centered around saxophonist Charles Lloyd, tabla master Zakir Hussain, and drummer Eric Harland.

When the trio searched for a name, Zakir Hussain suggested Sangam, the Sanskrit word for the confluence of three rivers. Charles Lloyd immediately expanded the image: "Of course—the Ganges, the Rio Grande, and the mighty Mississippi."

That vision became more than a name. It became a philosophy.

Like rivers flowing toward the sea, the music moves unpredictably—sometimes gentle and reflective, sometimes turbulent and exhilarating, always carrying listeners toward something greater than the individual musicians themselves. It is a meeting of blues, jazz, Indian classical music, and spiritual exploration.

For Charles Lloyd, that current began decades earlier while studying at the University of Southern California. Hearing Ravi Shankar and Alla Rakha perform in 1957 opened an entirely new musical universe. Throughout the 1960s, he immersed himself in the sounds of Ali Akbar Khan, the Ali Brothers, and other Indian masters while discovering the writings of Hazrat Inayat Khan and the poetry of Rabindranath Tagore. Those influences gradually found their way into his own music, from his work with Chico Hamilton to his groundbreaking album Geeta, which featured Ali Akbar Khan's sons, Aasheesh and Pranesh Khan.

The next chapter unfolded in November 2000 when guitarist John McLaughlin invited Lloyd to attend a Remember Shakti performance at UCLA's Royce Hall. There, Lloyd experienced another artistic awakening as he heard Zakir Hussain perform live. Meeting backstage afterward, Zakir smiled and remarked, "I wanted to be on your album Geeta!" It was a remarkable full-circle moment, connecting Lloyd directly with the son of the legendary Alla Rakha, whose music had first inspired him more than four decades earlier.

Threaded throughout this journey was the enduring presence of drummer Billy Higgins, Lloyd's friend and musical companion for over fifty years. From their teenage years in Los Angeles to decades of collaborations, Higgins remained a constant source of inspiration. Shortly before his passing in 2001, he told Lloyd, "I won't always be there, but I'll always be with you."

Only months later, in the aftermath of September 11, Lloyd found himself performing at New York's Blue Note. There he first heard a young drummer named Eric Harland during an after-hours set. Lloyd immediately recognized something extraordinary, later describing the experience as though Billy Higgins had sent him a message.

That same year, SFJAZZ founder Randall Kline invited Lloyd and Zakir Hussain to perform a duo concert at San Francisco's Grace Cathedral, only weeks after 9/11. The atmosphere was heavy with uncertainty, and there had even been threats against the Golden Gate Bridge that day. During the performance, Zakir offered words that have become timeless:

"Music is about building bridges, not destroying them."

Those words perfectly captured the spirit of what would become Sangam.

In 2004, Lloyd reunited Zakir Hussain and Eric Harland for a tribute honoring Billy Higgins. The chemistry was immediate and undeniable, leading to the acclaimed ECM recording Sangam.

The journey continued in 2009 when Zakir invited Lloyd to India to perform at the annual Abbaji Concert honoring his father, Alla Rakha. Experiencing Mumbai for the first time immersed Lloyd in an overwhelming tapestry of humanity, color, rhythm, and sound. During the concert, Sangam was joined by an extraordinary collection of Indian musicians whose instruments—including bansuri, sarangi, sitar, and voice—expanded the trio's musical language even further.

In the days that followed, the musicians gathered at Nirvana Studio, where much of Providence was recorded. Featuring remarkable performances by Rakesh Chaurasia on bansuri, vocalist Vijay Prakash, Sabir Khan on sarangi, Ranjit Barot on keyboards, and Niladri Kumar on sitar and electric sitar, the sessions produced inspired recordings including Clear the Dust, The Blessing, Eternal Dreamer, and Sam on the Ganges. Other selections, including Jai Ganga, Tagore, and Bharati's Dance, emerged from the Sangam archives, completing a project whose journey extended across many years.

Life, however, had its own timeline. Although the musicians intended to reunite and finish the album together, fate intervened.

On December 15, 2024, Zakir Hussain passed away, leaving behind one of the most extraordinary musical legacies of our time.

Providence now stands as both a celebration and a remembrance—a testament to artistic friendship, spiritual searching, and the universal language of music. It tells the story of rivers that began worlds apart yet ultimately flowed together into a single current of creativity, compassion, and love.

As Charles Lloyd reflects, this is their homage to Zakir Hussain. The most meaningful way to understand its beauty is simply to listen.

Sonny Clark’s The Art Of The Trio Returns in a Stunning Tone Poet 2-LP Vinyl Edition

Blue Note Records is set to release Sonny Clark: The Art Of The Trio on September 25 as a premium 2-LP Tone Poet Vinyl Edition, offering jazz collectors and audiophiles a definitive presentation of these remarkable trio recordings.

Produced by Joe Harley and mastered in all-analog (AAA) by Kevin Gray directly from the original analog master tapes, the set is pressed on 180-gram vinyl at RTI and housed in a deluxe tip-on gatefold jacket complete with an accompanying booklet. This beautifully crafted edition celebrates one of hard bop's most lyrical and sophisticated pianists in exceptional sound quality.

Often regarded as the quintessential hard bop pianist, Sonny Clark possessed an effortlessly swinging style defined by elegance, warmth, and remarkable musical sensitivity. While he is best known for his landmark Blue Note albums—including Dial "S" For Sonny, Sonny's Crib, and Cool Struttin'—Clark's trio recordings reveal another side of his artistry. Centered on timeless standards from the Great American Songbook and compositions by leading jazz writers of the era, these intimate performances showcase his extraordinary interpretive gifts.

The journey began in October 1957 when Clark entered Rudy Van Gelder's legendary Hackensack studio alongside bassist Paul Chambers and drummer Philly Joe Jones to record Sonny Clark Trio, originally released in the spring of 1958 as BLP 1569. Later that year, Clark returned to the trio format twice more—first in November with bassist Jymie Merritt and drummer Wes Landers, and again in December with Chambers and Landers.

Those later sessions, together with alternate takes from the original Sonny Clark Trio recording, were eventually released only in Japan as Blues In The Night and The Art Of The Trio. For the first time, all of this extraordinary music has been brought together in a single vinyl collection.

The deluxe package also includes newly commissioned liner notes by Syd Schwartz, the original notes by Ben Sidran and Bob Porter, and a collection of never-before-seen photographs by legendary Blue Note photographer Francis Wolff, making this release as visually compelling as it is musically significant.

Producer Joe Harley has long championed these overlooked recordings.

"Many people are completely unaware of these recordings by Sonny Clark. I picked them up on Japanese-only editions back in the '70s and found myself returning to them repeatedly over the years. Sonny transforms these beloved standards into intimate conversations that tell their stories with uncommon honesty, lyricism, and swing."

For longtime Blue Note enthusiasts and newcomers alike, The Art Of The Trio is an essential release that highlights Sonny Clark's brilliance in one of jazz's most intimate settings while giving these treasured recordings the deluxe presentation they have long deserved.

OPEN: Isabelle Olivier and Raphaël Olivier’s Musical Journey of Connection, Curiosity, and Innovation

 

OPEN: Isabelle Olivier and Raphaël Olivier’s Musical Journey of Connection, Curiosity, and Innovation.

Recognized by audiences and music professionals alike as both accomplished performers and composers, Isabelle Olivier and Raphaël Olivier are a remarkable mother-and-son duo whose artistic partnership has flourished for more than 13 years. Together, they create a distinctive musical landscape where the harp and guitar intertwine, blending jazz, folk, contemporary influences, and inspired improvisation into an unforgettable listening experience.

Their latest album, OPEN, was born from years of shared travels, meaningful encounters, and creative collaboration. More than a collection of songs, it is an invitation to embrace openness—to reconnect with ourselves, each other, and the moments that matter most.

From jazz standards and modern improvisations to subtle touches of British pop, OPEN explores a rich emotional spectrum. Isabelle Olivier’s expressive harp and Raphaël Olivier’s inventive guitar engage in a captivating musical dialogue that is by turns introspective, playful, adventurous, and deeply moving. Raphaël also lends his intimate vocals to two standout tracks, adding another layer of warmth and emotion to the album.

The journey begins with Bird in the Forest, where the gentle glow of sunrise and birdsong welcome listeners into a peaceful sonic world. Throughout the album, the conversation between harp and electric guitar evolves in fascinating ways—from the intricate exchanges of Shapes to the playful pursuit of Looking for Dad. Tracks such as How Many Miles and On the Edge reveal moments of quiet reflection, while Yarrow builds into majestic, storm-like intensity.

As the album unfolds, listeners move effortlessly through jazz, folk, and swing with pieces like Woman Farmer and Bread Blues, before being captivated by Raphaël’s heartfelt interpretations of No Surprises and Moon River, as well as his cello performance on Yarrow. Isabelle’s extraordinary harp artistry provides a constant thread, guiding the listener through a musical experience that feels both intimate and expansive. By the album’s conclusion, OPEN leaves the impression of having traveled somewhere transformative, emerging changed from where the journey began.

A celebrated jazz harpist and composer, Isabelle Olivier has established herself as one of the most distinctive voices in contemporary music. Her unmistakable style has earned international recognition, with 13 albums, performances in 25 countries, and a career spanning jazz, Celtic traditions, contemporary music, film, and live performance. She has composed scores for 11 films, including four directed by Agnès Varda, and is the recipient of the prestigious Villa Albertine award. Her collaborations include acclaimed artists such as Peter Erskine, Didier Lockwood, Ernie Adams, Mitch Haupers, and Paul Wertico.

Raphaël Olivier is a composer, producer, guitarist, songwriter, and author whose catalog of more than 300 compositions has generated over 2 billion views and 15 million streams worldwide. A musical prodigy, he began playing the cello at age three and was performing professionally by the age of eight. After studying in Europe and the United States, he continued his musical education at the Conservatoire National Supérieur de Paris, performing across Europe with renowned artists including Étienne Daho, Yael Naim, and the Orchestre National de Jazz. Based between Paris and Los Angeles, he works across music and literature. His debut novel, La Mélodie d’Oklahoma, winner of the Paris FoRTE Prize, will be published in 2026 and adapted into a one-man performance blending storytelling and live music. Inspired by a residency at the Rinzai-Ji Zen temple in the footsteps of Leonard Cohen, his creative work explores the intersection of introspection, spirituality, and musical storytelling.

OPEN is more than an album—it is an invitation to slow down, listen deeply, and experience music as a journey of discovery, connection, and shared humanity.

Pete Roth Trio Featuring Bill Bruford Release New Single "Full Circle" Ahead of Live Album Group Chat

The Pete Roth Trio has released its new single, "Full Circle," the first preview of the upcoming live CD/DVD album Group Chat. Available now, the track captures the chemistry between guitarist Pete Roth, bassist Mike Pratt, and legendary drummer Bill Bruford, offering listeners a taste of the trio's dynamic musical interplay.

"Full Circle" holds a special place in the band's repertoire, as it was one of the first compositions the trio developed together several years ago. Opening the new album, the song showcases the group's conversational approach to improvisation and groove. In a twist longtime fans will appreciate, it also features Bill Bruford performing in a straightforward 4/4 rhythm—a rarity throughout his celebrated career. The performance is also featured on the accompanying live DVD.

Group Chat marks Pete Roth's third major album and a milestone release for Bill Bruford, whose return to headline performance follows a 13-year hiatus. It also represents Bruford's first appearance on newly recorded material in 19 years, making the project a significant moment for fans of progressive music and contemporary jazz alike.

Produced by Pete Roth and Bill Bruford for Winterfold Records, Group Chat blends jazz, funk, contemporary classical influences, and spontaneous improvisation into a collection that celebrates musical conversation and creative risk-taking. Alongside original compositions including "Full Circle," "Dancing With Grace," and "Original Sin," the album features collaborative works such as "Part Of The Charm" and "Looking Forward To Looking Back," as well as an imaginative improvisation on the Largo from Dvořák's Symphony No. 9. The result is a recording that feels spontaneous, adventurous, and deeply connected.

The release arrives as a deluxe two-disc CD/DVD digipak featuring a nine-track live album and a bonus 35-minute DVD that includes live performances, an introduction to the project, and a special spoken segment from Pete Roth.

Early critical response has been overwhelmingly positive. Biff Bam Pop! called the trio "a band of equals, clearly loving the opportunity to improvise and have musical conversations," while Innerviews praised the group's "rich nuance, invention, and telepathic rapport." Dr. Jazz Talks described the album as "a feast of rhythm and melody," and Make Weird Music summed up its appeal simply: "I wish more jazz was this much fun."

Drawing from backgrounds in blues, rock, jazz, jazz fusion, and progressive music, Pete Roth, Mike Pratt, and Bill Bruford have created a trio that reimagines the traditional guitar trio format. Their shared musical curiosity and instinctive communication allow melody, groove, texture, and improvisation to coexist naturally throughout the performance.

Group Chat stands as a compelling live document of three accomplished musicians in open musical dialogue. "Full Circle" is available to stream now, with the full CD/DVD release arriving soon from Winterfold Records.