Thelonious Monk's Live in Paris, 1967 Volume One Launches Historic Archival Series

One of the most significant jazz archival releases of 2026 arrives on April 24 with Thelonious Monk: Live in Paris, 1967 Volume One. Released by the Monk Estate through Rhythm-A-Ning Entertainment, the previously unreleased concert recording inaugurates an ambitious archival series that will present rare live performances by one of jazz's most influential pianists and composers while reclaiming recordings that have circulated for decades only as unauthorized bootlegs.

Few artists have shaped modern jazz as profoundly as Thelonious Monk. His unmistakable piano style, angular yet lyrical compositions, unconventional rhythms, and unmistakable visual identity helped redefine the possibilities of jazz performance. From his signature hats and distinctive fashion to his famously unpredictable stage presence, Monk embodied originality in every aspect of his artistry, leaving a legacy that continues to inspire generations of musicians.

The new release captures Monk's celebrated working quartet during a remarkable 1967 Paris performance featuring longtime tenor saxophonist Charlie Rouse, bassist Larry Gales, and drummer Ben Riley. Making the concert even more extraordinary is the addition of an all-star lineup of guest musicians, including alto saxophonist Phil Woods, trombonist Jimmy Cleveland, trumpeter Ray Copeland, and tenor saxophone great Johnny Griffin. A second volume, scheduled for release on October 9, 2026, expands the ensemble further with the addition of legendary trumpeter Clark Terry.

Live in Paris, 1967 Volume One presents four of Monk's enduring compositions while showcasing the remarkable chemistry between the quartet and its distinguished guests. "Epistrophy" features commanding solos from Johnny Griffin and Ray Copeland, while "Evidence" highlights Charlie Rouse's expressive tenor alongside Woods' blues-infused alto work. The ensemble's richly layered horn arrangements create an energetic, jam session atmosphere that complements Monk's unmistakable piano language. "We See" continues the adventurous interplay before the quartet closes the album with a moving performance of the ballad "Ruby, My Dear."

For Monk's son, drummer and producer T.S. Monk, the recording highlights an often-overlooked chapter of his father's career.

"Giants like Rollins and Coltrane, Abdul Malik, Roy Haynes or Art Blakey, Mingus and Max Roach spent much time with Monk," he explains. "People are quite aware of his touring and recording quartet... His touring with larger ensembles especially in Europe, not as much. The Clark Terrys, Phil Woods, Jimmy Clevelands, Johnny Griffins and others highlight the respect his peers had for him."

Beyond the music itself, the release represents a significant milestone in the Monk family's efforts to preserve and control the pianist's artistic legacy. The archival series seeks to replace decades of unauthorized releases with carefully restored editions curated directly by the Monk Estate.

"Thelonious Monk never wrote music to fit a system," says Monk's grandson, Thelonious Monk IV. "He wrote to expand imagination and move the culture forward. We've spent years navigating piracy, legacy structures, and an industry not always built for artist control. This album release marks a shift—stewarded independently, handled with intention, and delivered directly to listeners."

To commemorate the launch, the Monk Estate has partnered with luxury hatmaker Optimo to create The Monk, only the second release in the company's Icon Series. Limited to just 88 individually numbered hats—a tribute to the piano's 88 keys—the collection draws inspiration from the distinctive hats Monk wore throughout the 1960s. Available in Black, Smoke, and a custom "'Round Midnight Grey," each hat includes a first pressing of the album on a special edition colored vinyl signed by Thelonious Sphere Monk III and Optimo founder Graham Thompson.

The recording itself receives equally meticulous treatment. Mastered by legendary engineer Rudy Van Gelder and presented on a 180-gram audiophile vinyl pressing, Live in Paris, 1967 Volume One features cover artwork by acclaimed Japanese graphic designer Gaku Inada. The album will also be available digitally.

More than half a century after it was recorded, Thelonious Monk: Live in Paris, 1967 Volume One offers jazz fans an invaluable glimpse of one of the music's greatest innovators performing alongside an extraordinary collection of peers. As the first chapter in the Monk Estate's new archival initiative, the release not only celebrates Monk's enduring genius but also ensures that future generations will experience these historic performances as they were meant to be heard.

Thelonious Monk: Live in Paris, 1967 Volume One released on April 24, 2026, via Rhythm-A-Ning Entertainment.

Kevin Sun Announces Kevin Sun, I & Kevin Sun, II: Two New Jazz Albums Arrive September 25, 2026

New York-based saxophonist and composer Kevin Sun will release two ambitious new jazz albums, Kevin Sun, I and Kevin Sun, II, on September 25, 2026, through his independent label, Endectomorph Music. Rather than presenting a conventional double album, Sun offers two interconnected recordings that explore modern jazz composition, improvisation, and ensemble interaction from different perspectives, making them among the most anticipated contemporary jazz releases of 2026.

Both albums are designed to complement one another while standing independently. "This isn't really a conventional double album," Sun explains. "It's more like a pair of video games set in the same universe, each with its own style and cast of characters."

Across the two releases, Sun demonstrates the compositional approach that has made him one of the most distinctive voices in contemporary jazz. His writing provides structured frameworks that encourage spontaneous creativity, allowing each musician to develop an individual voice within carefully crafted compositions.

As Brad Cohan of The New York City Jazz Record noted, "Sun is a protean force who displays relative ease in hurdling from majestic melodicism to seat-gripping improvisational intensity."

Following ten acclaimed releases over the past eight years, Sun began asking himself a deceptively simple question: What makes a great jazz composition? That search became the foundation for both Kevin Sun, I and Kevin Sun, II.

"For me, the best compositions are at heart vehicles for improvisation," Sun says. "They're designed to bring out the best in each individual musician. They raise the stakes for improvising and let everyone sound their best, or just more like themselves than anything else."

Kevin Sun, I features guitarist Max Light, bassist Walter Stinson, and drummer Jon Starks in a studio production that evolved through more than a year of performances at Brooklyn's Lowlands Bar. The extensive live performances allowed the quartet to refine the material before entering the recording studio, resulting in performances that feel both polished and spontaneous.

The album opens with "Go In," the lead single and one of Sun's most technically demanding compositions. Inspired by John Coltrane's harmonic innovations, the piece combines complex harmonic movement with shifting meters while maintaining an energetic sense of forward momentum. Other highlights include "Scrollwork," an intricate exploration of four-part rhythmic counterpoint, and "Hold Music," which transforms the frustration of a lengthy IRS phone call into an inventive musical narrative filled with tension and release.

Recorded under very different circumstances, Kevin Sun, II captures the energy of a working band fresh off the road. Featuring bassist Walter Stinson alongside pianist Christian Li and drummer Kayvon Gordon, the album was recorded in a single afternoon at Terrarium Studio in Minneapolis following a week-long U.S. tour. With minimal editing, the recording preserves the immediacy and chemistry developed through live performance.

The second volume also reflects the broad range of influences that shape Sun's musical identity. His interpretation of Ryuichi Sakamoto's "Chanson" showcases the quartet's lyrical sensitivity, while "Laura Palmer's Theme" pays tribute to the late filmmaker David Lynch through a fresh arrangement of Angelo Badalamenti's iconic composition from Twin Peaks. Another standout, "Unformed, Shrouded by Fog," adapts the memorable spoken introduction from the acclaimed video game Dark Souls into an atmospheric jazz composition dedicated to actress Pik-Sen Lim.

Sun's music comfortably bridges jazz tradition with contemporary cultural influences. His compositions draw inspiration from John Coltrane, Benny Golson, David Lynch, FromSoftware's immersive video games, and Ryuichi Sakamoto's distinctive blend of minimalism and lyricism. Rather than functioning as stylistic references, these influences become launching points for music that is deeply personal and unmistakably his own.

Over the past decade, Kevin Sun has earned recognition as one of New York City's leading modern jazz composers and tenor saxophonists. His recordings have been praised for their harmonic sophistication, inventive structures, and emotional depth, while his work as founder of Endectomorph Music has helped spotlight a new generation of creative improvised music.

With Kevin Sun, I and Kevin Sun, II, Sun brings together years of musical exploration into two complementary recordings that celebrate melody, improvisation, and collaboration. The albums reaffirm his belief that the strongest jazz compositions are those that inspire musicians to create something unique in the moment—a philosophy that resonates throughout both releases.

Kevin Sun will celebrate the albums with a release concert on Saturday, September 19, 2026, at Bar Bayeux in Brooklyn, giving audiences an opportunity to hear music from both recordings performed live ahead of their official release.

Kevin Sun, I and Kevin Sun, II will be released on September 25, 2026, via Endectomorph Music.

Alister Spence Pushes the Boundaries of the Piano on Always Ever

Australian pianist, composer, and improviser Alister Spence continues his fearless exploration of sound with Always Ever, an ambitious new solo album released April 24, 2026. Featuring 16 fully improvised pieces, the release finds Spence expanding his relationship with the piano through an array of experimental techniques, prepared piano methods, and spontaneous invention.

The album builds upon the creative path established with his acclaimed 2020 solo release Whirlpool, which was praised by All About Jazz as "a good place to hear [Spence's] uncommon imagination at work." On Always Ever, however, Spence ventures even further beyond conventional piano performance, embracing the instrument as an entire sonic landscape rather than simply a keyboard.

"The playing of the piano for me has expanded to encompass the whole piano, more than just playing the keys," Spence explains. "I'm interested in contingency. I'm interested in accidents and what they cause to happen in the music, and I deliberately try to create those accidents for myself."

That philosophy permeates every moment of Always Ever. The collection moves effortlessly between percussive prepared piano textures, meditative drones, abstract improvisation, and lyrical passages, with each composition offering a distinct perspective on the instrument's limitless possibilities. From the resonant string strikes of the opening track "Mystic" to the metallic textures of "Distant Cousins," the album continually surprises while inviting listeners into Spence's process of discovery.

Critics have long recognized Spence's singular artistic voice. Stuart Nicholson of Jazzwise writes, "Spence is both imaginative and expansive, sensitive to mood and contrast, texture and melody, euphony and cacophony." Stuart Broomer of The Free Jazz Collective similarly praises the pianist's originality, noting that Spence "possesses a particular kind of vision that speaks to an original distance... a special capacity to see through time and space to a different territory."

Spence traces the roots of his adventurous approach back to his years with the internationally acclaimed ensemble Clarion Fracture Zone, where experimentation first became central to his musical identity. Over the decades, that curiosity has flourished through collaborations with renowned artists including Satoko Fujii, Lloyd Swanton of The Necks, Toby Hall, and Ed Kuepper, while his work as a composer for film and television has further broadened his creative perspective.

Yet it is in his solo work where Spence's sonic imagination has found perhaps its most compelling outlet. Throughout Always Ever, he embraces uncertainty, allowing chance, texture, resonance, and instinct to shape each performance in real time.

"I do things throughout this album where I'm only broadly aware of how they're going to sound," Spence says. "So much is just open to the moment... Even if I'm playing the piano more conventionally, I try to deliberately make myself go off track so that I'm not able to guess what's going to happen as a result."

Recorded on September 28, 2025, Always Ever stands as a captivating document of an artist continually redefining both his instrument and his own creative process. For listeners drawn to adventurous improvisation, prepared piano, and boundary-pushing contemporary jazz, Alister Spence's latest release offers an absorbing journey into the infinite possibilities of sound.

Martha Reeves Returns With Searching, A Soulful New Chapter From A Motown Legend

After more than two decades away from the recording studio, Martha Reeves returns with Searching, her first new album in 22 years, arriving August 14, 2026. Released as she celebrates her 85th birthday, the album is a powerful statement of resilience, creativity, faith, and the enduring strength of one of soul music’s most recognizable voices.

For Reeves, Searching is more than a comeback—it is a celebration of a lifetime devoted to music. The album explores jazz, soul, blues, and gospel influences while showcasing the expressive voice that helped define the golden era of Motown. Filled with warmth, honesty, and emotional depth, the project reflects an artist still exploring new possibilities rather than simply revisiting the past.

Born in Eufala, Alabama, and raised in Detroit, Martha Reeves became one of the defining voices of the Motown era as the lead singer of Martha and the Vandellas. The group became one of the label’s most successful acts, delivering timeless classics including “Dancing in the Street,” “Heat Wave,” “Nowhere to Run,” and “Jimmy Mack.” With her powerful vocal delivery, dynamic stage presence, and unmistakable energy, Reeves helped establish the sound that introduced Motown to audiences around the world.

Before becoming a star, Reeves worked behind the scenes at Motown, where she gained valuable experience as a secretary and studio presence before stepping into the spotlight. Her journey from aspiring singer to international icon became one of the most inspiring stories of the Motown movement.

Following her success with The Vandellas, Reeves continued her career as a solo artist, performer, and advocate for music and culture. Her influence has stretched across generations, with her recordings continuing to inspire artists and fans decades after their original release.

For Searching, Reeves traveled to New Orleans to collaborate with acclaimed trombonist Delfeayo Marsalis and longtime manager Chris Roe. What began as a jazz-focused project evolved naturally as Reeves brought her soulful instincts into the sessions, resulting in a record that blends the rich musical traditions of New Orleans with the R&B foundation that made her famous.

The album features two interpretations of “To Know You Is to Love You,” the classic song written by Syreeta and Stevie Wonder. One version delivers a vibrant, horn-driven arrangement, while another highlights the intimacy and emotion of Reeves’ vocals. She also brings her unique perspective to beloved standards including “Mood Indigo” and “Summertime,” songs that allow her to explore new shades of her artistry.

The title track, “Searching,” co-written with Marsalis, stands as one of the album’s defining moments, combining powerful musicianship with Reeves’ commanding vocal performance. Her original composition “Thank You, Jesus” reflects the gospel roots that shaped her childhood and helped form the foundation of her musical identity.

Reeves’ career has always been built on connection—between performer and audience, tradition and innovation, past and future. Searching continues that journey, proving that great artistry has no expiration date.

As she approaches 85, Reeves remains committed to performing and creating, embracing each new opportunity with gratitude and enthusiasm. Her message is clear: the music is still alive, the voice is still powerful, and the journey is far from over.

The Womack Sisters Carry a Legendary Soul Legacy Into a New Era With Their Self-Titled Debut Album

Soul music royalty meets a fresh new generation with the long-awaited debut album from The Womack Sisters, arriving August 14, 2026, via Daptone Records. A deeply personal and soulful collection, The Womack Sisters celebrates family heritage while introducing a distinct sound shaped by experience, resilience, and a lifelong connection to music.

Featured in MOJO’s 2026 “Essential Albums” preview, the album represents a major milestone for sisters Kucha, Zeimani, and BG Womack, who have spent their lives surrounded by music. As the granddaughters of legendary soul pioneer Sam Cooke and nieces of iconic songwriter, guitarist, and vocalist Bobby Womack, the Sisters carry a remarkable musical lineage—but this debut proves they are far more than heirs to a famous name.

The Womack Sisters look to the past while creating something entirely their own. The album channels the spirit of classic soul, when songwriting, emotion, and musicianship were at the center of popular music, while bringing a modern perspective and their own individual voices to every track.

The Sisters’ musical journey began almost from birth. Raised by their parents Zekkariyas and Zeriiya (formerly known as Womack & Womack), they grew up performing around the world, learning through real-life experience rather than traditional classrooms. Their childhood was spent on stages and in studios across the globe, with homes ranging from London and Amsterdam to Kenya, Paris, Sydney, Zurich, Vienna, Tanzania, New York, Miami, West Virginia, Thailand, and the Bahamas.

That unique upbringing shaped their artistry, giving them a rare understanding of performance, harmony, and storytelling. Each sister brings her own personality and vocal character to the album, allowing every song to feel both connected and individual.

The album’s lead single, “Chauffeur,” introduces listeners to the Sisters’ rich harmonies, emotional depth, and timeless approach to soul music. Other standout moments include the heartfelt “If You Want Me,” the powerful “Monster,” the reflective “Laughter & Tears,” and the closing tribute “My Sisters And Me.”

Released through Daptone Records, a label known for preserving and celebrating authentic soul sounds, The Womack Sisters feels like both a continuation and a new beginning. It honors the artists who came before them while establishing Kucha, Zeimani, and BG as voices with their own story to tell.

With unforgettable melodies, soulful arrangements, and a connection to one of music’s greatest family legacies, The Womack Sisters is a debut that celebrates where they came from while confidently stepping into the future.

Track Listing:

Side A

1. Chauffeur
2. If You Want Me
3. Monster
4. If I Let You
5. I Just Don’t Want You

Side B

1. Laughter & Tears
2. Didn’t Mean Much To Me
3. You Went Away Too Long
4. I Am Your Season
5. All Around
6. My Sisters And Me

John Edwards’ Lost Soul Classic Tin Man Finally Arrives on Vinyl

For decades, soul fans have known the name John Edwards as one of the great voices of his generation. Now, a long-lost chapter of his remarkable career is finally receiving the vinyl release it deserves with Tin Man – The Unissued Second Aware LP, a stunning collection of recordings that captures Edwards at the height of his early solo powers.

Originally recorded for Aware Records under the guidance of producer Floyd Smith, these tracks represent a fascinating moment in Edwards’ career. Following the success of his early Aware singles, including the acclaimed soul gems "Stop This Merry-Go-Round" and "Careful Man," the label prepared a second album that was expected to continue his rise as one of the most exciting male vocalists in soul music.

Unfortunately, Aware Records collapsed due to the criminal activities of its owner, leaving the album unreleased and the master tapes hidden away for years. When the recordings were eventually rediscovered in the 1990s, several tracks appeared on the Kent CD Careful Man, while select singles earned praise from collectors and modern soul enthusiasts. Now, for the first time, the complete collection is available on vinyl, allowing fans to experience these recordings exactly as they were intended.

The album showcases Edwards’ extraordinary vocal ability—powerful, emotional, and filled with the kind of sincerity that defined classic soul. Songs like "Tin Man," "How Can I Go On Without You," and "Cold Hearted Woman" demonstrate why Edwards became such a respected figure among soul fans and musicians alike.

John Edwards’ journey extends far beyond his solo recordings. His remarkable voice and stage presence led the legendary The Spinners to recruit him as the replacement for their celebrated lead singer Philippe Wynne. Edwards became the group’s frontman during a new era of their career, bringing his own distinctive style while honoring the legacy of one of soul music’s most influential vocal groups.

A native of St. Louis, Edwards began singing professionally in the 1960s, developing a reputation as a powerful performer with deep roots in gospel and R&B. Before joining The Spinners, he built a strong following through his Aware Records recordings, where his passionate delivery and sophisticated phrasing earned him recognition as one of the finest emerging voices in soul music.

During his time with The Spinners, Edwards helped continue the group’s legacy, performing alongside one of the most successful vocal ensembles in R&B history. His tenure with the group introduced his voice to a worldwide audience, further cementing his reputation as a gifted interpreter of emotional soul.

Tin Man is more than a lost album—it is an important piece of soul history finally restored. For collectors, modern soul enthusiasts, and longtime fans of John Edwards, this release is an essential reminder of a singer whose talent always deserved a bigger spotlight.

Track Listing:

Side A

1. John Edwards – "How Can I Go On Without You"
2. "Ain’t That Good Enough"
3. "It’s Got To Be The Real Thing"
4. "Come Back Strong"
5. "Tin Man"
6. "Walls That Separate Our Love"

Side B

1. "Time"
2. "Cold Hearted Woman"
3. "Everybody Don’t Get A Second Chance"
4. "I Had A Love"
5. "The Way We Were"

Jai Alai Returns with a Stunning Collection of Rare Soul, Jazz, and Boogie Gems

The second installment of the Jai Alai series delivers another exceptional journey through the deepest corners of soul, jazz, boogie, and R&B, bringing together rare recordings, forgotten classics, and previously unreleased treasures from some of the most remarkable voices in music history.

Taking its name from the Kleeer track "Open Your Mind," originally released on the New York band’s 1979 album Winners, this collection celebrates the adventurous creativity of artists who helped shape the soul and boogie movement. Kleeer’s journey from Pipeline and The Universal Robot Band into one of the defining groups of the era is reflected in the sophisticated grooves and futuristic energy of their music.

Among the highlights are two incredible previously unreleased recordings from legendary vocal icons. Aretha Franklin’s "The Boy From Bombay," co-produced with Quincy Jones, offers a fascinating glimpse into the Queen of Soul’s more experimental side, while Dionne Warwick’s "Someone Else Gets The Prize," produced by Ashford & Simpson, carries the emotional power and songwriting brilliance of a song that deserved far greater recognition.

The collection continues with Philadelphia’s Pieces Of A Dream, the acclaimed group discovered by Grover Washington Jr. Their elegant fusion of jazz, soul, and R&B made them favorites across Europe during the 1980s, and "It’s Time For Love" remains one of their most captivating recordings.

Further exploration of the vaults reveals more essential discoveries, including Teddy Pendergrass’ sought-after Phat Phili Mix of "Believe In Love" and Leon Ware’s stunning "Got To Be Loved" from his 1981 masterpiece Rockin’ You Eternally. Ware’s genius for creating deeply sensual, sophisticated soul has long deserved greater recognition, and this track stands among his finest achievements.

Gerald Levert’s "What About Me" adds another powerful moment to the compilation, showcasing the extraordinary voice and emotional depth of an artist who helped define contemporary R&B. His influence continues to be felt by generations of singers who followed.

The set also highlights two lesser-known but highly deserving artists. Andy Bey’s "I Know This Love Can’t Be Wrong" recalls the elegance of classic jazz-soul greats, while Phajja’s "What Are You Waiting For" demonstrates the group’s polished harmonies and sophisticated production, reminiscent of the finest vocal groups of the era.

Closing the collection is Etta James’ "Evening Of Love," a stunning Southern soul ballad that showcases the timeless power of one of music’s greatest voices. Recorded decades into her legendary career, James delivers the song with the passion, confidence, and emotional honesty that made her an icon.

Featuring a remarkable lineup of rare recordings and hidden gems, Jai Alai’s second release is a treasure trove for collectors and music lovers alike—a celebration of soulful artistry that deserves to be heard again.

Track Listing:

Side A

1. Aretha Franklin – "The Boy From Bombay" (originally unissued Atlantic recording)
2. Dionne Warwick – "Someone Else Gets The Prize" (originally unissued Warner Bros. recording)
3. Andy Bey – "I Know This Love Can’t Be Wrong"
4. Pieces Of A Dream – "It’s Time For Love"
5. Kleeer – "Open Your Mind"

Side B

1. Leon Ware – "Got To Be Loved"
2. Teddy Pendergrass – "Believe In Love" (Phat Phili Mix)
3. Phajja – "What Are You Waiting For"
4. Gerald Levert – "What About Me"
5. Etta James – "Evening Of Love"

Pete Roth Trio and Bill Bruford Reunite for Group Chat, a Captivating New Live CD/DVD Release

The Pete Roth Trio, featuring legendary drummer Bill Bruford, will release Group Chat on September 18, 2026, a compelling new CD/DVD package that celebrates musical spontaneity, fearless improvisation, and the chemistry of three exceptional musicians. The two-disc collection features a nine-track live audio CD alongside a 35-minute bonus DVD, offering fans an immersive look at one of today's most adventurous jazz ensembles.

Perhaps the biggest story surrounding Group Chat is the return of Bill Bruford. Best known for his groundbreaking work with Yes, King Crimson, and Earthworks, Bruford makes his first headline performance appearance in 13 years and his first recording of new material in 19 years. His return is nothing short of a milestone for progressive music and modern jazz fans alike.

Led by guitarist Pete Roth and rounded out by bassist Mike Pratt, the trio thrives on musical conversation. Their performances are rooted in jazz but stretch far beyond traditional boundaries, incorporating elements of funk, contemporary classical music, and spontaneous improvisation. The result is an album that feels fresh, unpredictable, and completely alive.

Original compositions including "Full Circle," "Dancing With Grace," and "Original Sin" showcase the trio's remarkable interplay, while collaborative works such as "Part Of The Charm" and "Looking Forward To Looking Back" highlight the democratic spirit that defines the group. One of the album's most intriguing moments is their imaginative improvisation on the Largo from Antonín Dvořák's Symphony No. 9, demonstrating the trio's ability to transform a classical masterpiece into something entirely new.

The deluxe digipak edition also includes a beautifully produced booklet featuring extensive liner notes and exclusive group photographs. The accompanying DVD expands the experience with live performances, an introduction to the project, and a special spoken segment from Pete Roth, providing fans with additional insight into the trio's creative process.

Early reviews have been overwhelmingly positive. Critics have praised the group's effortless communication, inventive musicianship, and willingness to take risks. Reviewers have described the trio as a band of equals whose performances are filled with nuance, invention, groove, and genuine joy, with one publication perfectly summarizing the music as "loose enough that it could fall apart and tight enough that it grooves."

Pete Roth brings decades of experience spanning blues, rock, and jazz, while Mike Pratt contributes a deep understanding of jazz fusion, groove, and modern composition. Together with Bruford's legendary rhythmic imagination and decades of groundbreaking work, the trio creates something that feels both sophisticated and refreshingly accessible.

Group Chat isn't simply another live jazz recording—it's a celebration of listening, collaboration, and musical trust. Every performance unfolds as an open conversation where melody, rhythm, and improvisation meet in real time, reminding listeners why live music remains one of jazz's greatest strengths.

For longtime fans of Bill Bruford and newcomers discovering the Pete Roth Trio, Group Chat promises to be one of the year's most engaging and rewarding jazz releases.

Stephan Moccio Returns to His Roots with the Elegant New Album Scenes From A Velvet Room

Award-winning pianist, songwriter, and composer Stephan Moccio has released his deeply personal new album, Scenes From A Velvet Room, a beautiful collection inspired by the formative years that helped shape his remarkable career. The twelve-track instrumental release serves as a musical time capsule, blending jazz and classical influences while reflecting on the nights Moccio spent performing six evenings a week in the lobby of Toronto's iconic Four Seasons Hotel.

Rather than looking ahead, Scenes From A Velvet Room invites listeners to journey back to a pivotal chapter in Moccio's life. Long before writing some of the biggest songs of the past two decades, he honed his craft as a lounge pianist, learning to connect with audiences through subtlety, atmosphere, and emotion. Those experiences became the foundation for the graceful, melodic storytelling that defines the new album.

Among the album's highlights is "I Break Everything I Love," accompanied by a striking visualizer that captures the reflective mood of the project. Another standout is "Opaline," an elegant collaboration with legendary saxophonist Branford Marsalis. Best known for his work alongside artists ranging from Herbie Hancock to The Grateful Dead, Marsalis brings warmth and expressive depth to Moccio's delicate piano performance, creating one of the album's most memorable moments.

The project follows a period of personal reflection for Moccio, whose songwriting résumé already includes some of modern music's most recognizable hits. His compositions have helped define the careers of artists including Celine Dion with "A New Day Has Come," Miley Cyrus' global smash "Wrecking Ball," The Weeknd's Academy Award-nominated "Earned It," and "I Believe," the official theme song of the 2010 Winter Olympics.

Despite a career filled with international success, Scenes From A Velvet Room demonstrates that Moccio remains drawn to the quiet moments that first inspired him. He recalls his years at the Four Seasons not simply as a stepping stone, but as an invaluable education in musicianship—learning how to read a room, shape an atmosphere, and let music enhance an experience without demanding attention.

That understated elegance flows throughout the album. Every composition feels intimate and cinematic, allowing the listener to experience the refined ambiance of an upscale hotel lounge while appreciating the emotional depth behind each melody.

With Scenes From A Velvet Room, Stephan Moccio offers more than an album—he delivers a heartfelt reflection on where his musical journey began. It's a graceful reminder that sometimes the most meaningful stories are found not in the spotlight, but in the quiet spaces where artistry first takes shape.

Teddy Pendergrass’s Golden Run: Four Classic Albums That Defined Sophisticated Soul

Few artists have ever made the transition from group member to solo superstar as seamlessly as Teddy Pendergrass. After establishing himself as the unmistakable voice of Harold Melvin & The Blue Notes, Pendergrass stepped into the spotlight and created one of the greatest runs of albums in soul music history. Collected together in this excellent two-CD set are four essential releases—Teddy Pendergrass (1977), Life Is a Song Worth Singing (1978), Teddy (1979), and TP (1980)—capturing the evolution of one of the most powerful and influential voices of the 1970s.

Produced during the golden era of Philadelphia International Records, these albums showcase the masterful songwriting and production of Kenneth Gamble and Leon Huff. Together, they helped shape the sophisticated "Philly Soul" sound, blending lush orchestration, irresistible grooves, and heartfelt storytelling into timeless recordings.

Pendergrass's self-titled debut immediately proved that leaving Harold Melvin & The Blue Notes was the right decision. His commanding yet vulnerable vocals shine throughout classics like "The Whole Town's Laughing at Me," "You Can't Hide from Yourself," and "The More I Get, the More I Want." The album perfectly balances smooth ballads with upbeat soul, establishing the signature style that countless male R&B singers would later emulate.

Life Is a Song Worth Singing elevated his solo career even further. Featuring the unforgettable hits "Close the Door" and "When Somebody Loves You Back," the album remains one of the defining releases of late-'70s soul. It also captures the moment when Philadelphia soul matured beyond its disco roots into something richer, deeper, and more emotionally resonant.

By the time Teddy arrived in 1979, Pendergrass had become the undisputed king of romantic soul. Tracks like "Come Go With Me," "Turn Off the Lights," and "Do Me" helped define the Quiet Storm format that would dominate late-night radio for years. His ability to combine raw passion with refined elegance made these recordings timeless.

The collection concludes with TP, an album that further cemented his legacy. Anchored by the immortal "Love TKO," one of the greatest soul ballads ever recorded, the record also delivers standout performances on "Take Me In Your Arms Tonight," "Is It Still Good to Ya," and "Can't We Try." The production is polished, the songwriting exceptional, and Pendergrass's voice remains as commanding as ever.

More than four great albums, this collection documents the artistic peak of a singer who helped redefine modern soul music. Teddy Pendergrass possessed a voice that could be both commanding and tender, delivering love songs with unmatched conviction and emotional depth. His influence can still be heard across generations of R&B artists today.

Whether you're discovering his music for the first time or revisiting these classics, this four-album collection is an outstanding reminder of why Teddy Pendergrass remains one of soul music's greatest voices.

Tiwayo Returns With Outsider, a Raw, Borderless Soul Album Produced by Adrián Quesada

 

Paris-born soul singer and songwriter Tiwayo returns with his new album Outsider, arriving April 10, 2026 worldwide via production by Grammy-winning musician Adrián Quesada, co-founder of Black Pumas. The record marks a long-awaited comeback for an artist whose voice and story have already earned him a cult following across the modern soul scene.

Nicknamed “The Young Old,” Tiwayo’s artistic identity was born on a road trip to Memphis, where a Cajun bluesman reportedly heard his performance and was struck by the contrast between his youthful appearance and the deep, gravel-toned emotional weight of his voice. The encounter left a lasting impression, leading him to adopt the name Tiwayo—an evolution of his initials T.Y.O. that has stayed with him ever since.

Raised in France, Tiwayo stands apart from traditional expectations of European soul music. His sound draws instead from deep Southern traditions, shaped by years of travel, immersion, and lived experience rather than stylistic imitation. While France is more often associated with electronic music and chanson than raw American-rooted soul, Tiwayo has built a career defined by precisely that tension—between geography, identity, and genre.

His reputation has been quietly strengthened through admiration from respected figures including Norah Jones, Marcus Miller, Tony Visconti, and Don Was. He has also shared stages with artists such as Curtis Harding, Cody Chesnutt, and Marcus Miller, building a reputation as a compelling and unpredictable live performer.

Prior to Outsider, Tiwayo released Desert Dream via Yotanka Records and The Gypsy Soul of Tiwayo on Blue Note Records, the latter produced by Mark Neill, known for his work with The Black Keys. After a period of relative absence from the spotlight, he re-emerged when Adrián Quesada encountered his demos, leading to a creative partnership that brought him from Paris to Austin and into Quesada’s Electric Deluxe Studio.

There, Tiwayo and Quesada shaped Outsider into a raw, genre-crossing statement rooted in Southern soul, vintage R&B textures, and unfiltered emotional delivery. The album also features contributions from members of the Black Pumas extended musical circle, reinforcing its connection to contemporary retro-soul while resisting polish in favor of grit and immediacy.

The record includes appearances by guitarist Doyle Bramhall II, longtime collaborator of Eric Clapton, on tracks including “Daddy Was Born with the Blues,” a tribute to Tiwayo’s late father enhanced by string arrangements from Sly5thAve. Brooklyn-based vocalist Kendra Morris also joins for “Unchained Lovers,” a duet shaped by classic Hi Records-era Southern soul aesthetics.

Across its tracklist, Outsider moves between reflection, groove, and emotional release. Songs such as “I’ve Got to Travel Alone” explore artistic independence, while “Up for Soul” leans into rhythm-driven energy. “Sunshine Lady” and “My House Is Your Home” celebrate intimacy and everyday beauty, while “Dark Skies” confronts themes of loss and resilience.

What emerges is a portrait of an artist who exists between worlds. Tiwayo’s music resists easy categorization, shaped as much by migration and experience as by genre tradition. Neither fully inside nor outside the contemporary soul landscape, he occupies a space defined by movement, contradiction, and emotional honesty.

With Outsider, Tiwayo embraces that position fully—delivering a record that is both deeply personal and broadly universal, rooted in tradition yet unmistakably his own.

Faye Carol Releases FOREVER DYNAMIC, a Powerful 20-Track Testament to Jazz, Blues, and the Living Tradition of Black American Music

Veteran vocalist Faye Carol releases her new album FOREVER DYNAMIC,  via Getdown Records. A 20-track collection spanning jazz, blues, gospel, and soul-infused interpretations of beloved classics, the record stands as both a culmination of her decades-long career and a powerful statement of artistic identity.

Long revered in the San Francisco Bay Area but still awaiting broader national recognition, Carol has spent more than half a century shaping and embodying the traditions of Black American music. Her voice—often described as commanding, fearless, and deeply rooted in lived experience—has made her a fixture across jazz and blues communities since her early recordings in the late 1960s.

Born in Mississippi and raised in the Bay Area, Carol emerged as “The Dynamic Miss Faye Carol,” a title reflecting her ability to weave together jazz, blues, R&B, and gospel into a singular expressive language. Over the years, critics have consistently praised her live performances for their intensity and emotional depth, with the San Francisco Chronicle noting her as “steeped in jazz, blues, and R&B,” and the San Jose Mercury News describing her concerts as “a master class in the soul-steeped marrow of jazz and blues.”

Her career has placed her alongside an extraordinary range of musical giants, including Pharoah Sanders, Bobby Hutcherson, Cedar Walton, Gary Bartz, Ray Charles, Marvin Gaye, Otis Redding, and Sister Rosetta Tharpe, among many others.

Her cultural and artistic contributions have been recognized through numerous honors, including the 2026 Comcast Black Joy Parade Icons Among Us Award, the Walter & Elise Haas Fund Creative Power Award, the Jazz Journalists Association Bay Area Jazz Hero Award, and lifetime achievement recognition from the City of Berkeley and City of Oakland, both of which have officially dedicated commemorative days in her name.

Beyond performance, Carol has built a lasting institutional legacy through her organization School of the Getdown, now in its 26th year. The program provides vocal training, workshops, masterclasses, youth camps, and community-centered festivals dedicated to preserving and advancing Black arts traditions through education and performance.

For FOREVER DYNAMIC, Carol collaborates with an exceptional ensemble of musicians. Pianist and musical director Joe Warner co-produces and co-arranges the project, marking his first full recording partnership with Carol after more than a decade of collaboration. Bassist Tarus Mateen brings versatility drawn from work with Jason Moran and the Bandwagon as well as R&B and hip-hop projects, while drummer Dennis Chambers contributes his distinctive blend of jazz fusion, funk, and Latin rhythmic power.

The album’s repertoire reflects songs Carol has carried with her throughout her life—works she approaches not as fixed standards, but as living material shaped by experience. Her interpretations move freely across styles and emotional registers, from blues-inflected swing to tender balladry and bebop-driven intensity.

Tracks include reimagined versions of “Hello Young Lovers,” “Can’t Take My Eyes Off You,” “Unforgettable,” “Fine and Mellow,” “Nature Boy,” “Ceora,” and “Groovin’ High,” culminating in “I Rise, I Rise, Still I Rise,” a setting of Maya Angelou’s work adapted with music by Carol and Warner.

Throughout the album, Carol’s approach reflects a lifelong philosophy: that music is not confined by category, but defined by feeling, history, and communication. Her artistry resists simple classification, moving fluidly between jazz, blues, gospel, soul, and beyond.

With FOREVER DYNAMIC, Faye Carol delivers a definitive artistic statement—one that honors tradition while reaffirming her place as a vital, evolving voice in American music. The album captures not only the breadth of her repertoire, but the depth of her commitment to music as a living, communal force.

Mike Lorenz Returns With I’m Not There, a Reflective and Intimate Trio Statement Built on Melody, Memory, and Change

 

Guitarist Mike Lorenz announces his new album I’m Not There, arriving June 5, 2025 via Philadelphia-based label Each & Only (EO-013). Marking his return as a bandleader after several years focused on other projects, the record finds Lorenz in a more direct, acoustic, and songwriting-driven space, recorded with longtime collaborators bassist Sandy Eldred and drummer Matt Scarano.

After a period of personal and artistic transition, I’m Not There represents both a return and a reinvention. Lorenz had not released an album under his own name since 2018’s speak between, instead exploring the folk-adjacent direction of his band the Witherbees. The disruption of the pandemic, followed by significant life changes, created a long pause in his trajectory as a leader. By 2025, however, he had gathered a substantial body of new material and a renewed focus on the guitar as a primary expressive voice.

Across 2020 to 2024, Lorenz wrote more than forty compositions before narrowing them down to the ten tracks that make up the final album. The result is a set of pieces that trace an emotional arc shaped by shifting relationships, uncertainty, and personal reassessment. While deeply personal in origin, the music resists closed interpretation, instead opening into a broader sense of shared experience.

At the center of the album is a renewed emphasis on acoustic guitar, which reshapes both the trio’s dynamic and the overall sound world of the record. Moving away from the electronic textures and experimental devices of earlier projects, Lorenz embraces clarity, form, and melodic intention. The result is music that feels both composed and conversational, balancing structure with improvisational responsiveness.

The album’s lead single, “We Used to Talk All the Time,” introduces this aesthetic with understated intimacy, while pieces such as “Renovated Heart” serve as emotional anchors. Lorenz describes that composition as a turning point in the writing process, noting its immediacy and directness as the spark that shaped the direction of the record.

The full tracklist unfolds like a loose narrative:

Where Do You Go?
We Used to Talk All the Time
Never Seen
One Can Hope
I Don’t Have Time to Love You
Close the Book
Aimless
Not the Same
Renovated Heart
Beta

Recorded by John Anthony at Gradwell House in Haddon Heights, New Jersey, and mixed and edited by Anthony with mastering by G&J Audio, the album captures the trio’s long-standing musical chemistry in a focused studio setting.

That chemistry is central to the identity of I’m Not There. Eldred and Scarano—both longtime collaborators of Lorenz—bring a deep sense of trust and responsiveness to the performances, allowing the music to unfold with natural balance and precision. Their shared history gives the trio an intuitive language, one built on listening, restraint, and collective timing rather than display.

Stylistically, the album draws from a wide set of influences beyond jazz, including songwriting traditions associated with artists such as Jeff Tweedy, Elliott Smith, and Sam Amidon. These influences surface not as imitation, but as part of a broader aesthetic shift toward narrative-driven instrumental music—where melody and improvisation coexist in equal measure.

Tracks like “Never Seen” and “Aimless” explore tension and release through shifting harmonies and group interplay, while “Beta” and “We Used to Talk All the Time” highlight the expressive possibilities of acoustic guitar within a trio context, from meditative stillness to more energetic, folk-leaning momentum.

At its core, I’m Not There is shaped by absence as much as presence—by what has changed, what has been lost, and what remains. Lorenz frames the record as a document of transition, but also as a reaffirmation of musical connection: between three players who have worked together for nearly two decades, and between composition and improvisation as intertwined modes of storytelling.

The result is a record that feels grounded yet searching, structured yet open—an intimate trio statement that reflects both where Mike Lorenz has been and where his music is heading next.

Ariana Kim Explores the Boundaries of Musical Language on (un)common thread: exploring improvisation from Mozart to Macedonia

 

Award-winning violinist Ariana Kim announces her new album (un)common thread: exploring improvisation from Mozart to Macedonia, arriving May 26, 2026 via Saffron Soul Records. The recording, which carries the catalog number SNH-ED-519061, is a wide-ranging exploration of improvisation across eras, genres, and global traditions, reframing the idea of authorship in classical and folk music alike.

At its core, the album sets canonical Western classical works—Wolfgang Amadeus Mozart’s Sonata in B-flat Major, K. 454, and Ludwig van Beethoven’s Sonata in E-flat Major, Op. 12 No. 3—alongside original compositions by Kim and percussionist-composer Shane Shanahan, as well as traditional music drawn from Macedonia, Bulgaria, and beyond. The result is a dialogue across centuries and cultures, unified by a shared emphasis on improvisation as a foundational musical practice.

Kim describes the project as the culmination of nearly a decade of artistic inquiry, shaped by her curiosity about improvisation in both Western classical and Americana traditions, and expanded through deeper engagement with musical cultures from around the world. The album’s guiding idea—its “(un)common thread”—is the discovery of continuity between seemingly distant musical languages.

The second half of the recording opens with Kim’s improvisation on the Carnatic raga Bahudari, reflecting her studies and experiences in South India. From there, the music moves into a more contemporary sonic space, with Kim performing on steel-string violin alongside Shanahan on percussion. Together, they present the world premiere recordings of three original compositions by Shanahan, shaped by influences from Indian, Middle Eastern, and West African musical traditions.

These works emphasize rhythmic cycles, groove-based structures, and melodic freedom, creating space for improvisation to unfold organically between the two performers. Layered repetition and shifting meters allow ideas to evolve in real time, blurring the boundary between composition and spontaneous creation.

The program continues with folk music from Macedonia and Bulgaria, where complex time signatures—such as 7 and 13—frame pieces that alternate between mournful reflection and exuberant dance. Within these structures, Kim and Shanahan explore ornamentation, intonation flexibility, and improvisatory phrasing, bringing a contemporary sensibility to deeply rooted traditional forms.

Kim also makes her debut as a composer with a new work for violin and looper pedal, performing in dialogue with herself in real time. This self-reflective approach extends the album’s central theme: improvisation not only as collaboration across cultures and histories, but also as an internal conversation between performer and instrument.

Throughout the recording, Kim and her collaborators engage deeply with the performance practices of late 18th- and early 19th-century Western music, emphasizing ornamentation, temporal flexibility, and spontaneity within the Classical idiom. These approaches are set in contrast and conversation with the improvisational traditions of global folk and contemporary music, highlighting shared principles across disparate musical worlds.

As Kim notes, “It reminds us that everything is once improvised, until it's put down on paper.”

Early praise from fortepianist Malcolm Bilson underscores the recording’s ambition and range: “It is rare to find a violinist with range like this - presented at a world-class level - and Kim’s collaborators are ideal partners. A wonderful, inspiring recording.”

With (un)common thread, Ariana Kim reframes improvisation not as a genre-bound practice, but as a universal musical language—one that connects Mozart to Macedonia, and tradition to invention in real time.

Sharada Shashidhar Announces A Foot on the Ground, a Bold and Introspective Leap Into Spiritual Jazz and Experimental Sound

 

Los Angeles-based vocalist, composer, and producer Sharada Shashidhar returns with her new album A Foot on the Ground, arriving June 2026 via Colorfield Records. Following the critical success of her 2024 debut Soft Echoes, the new record expands her distinctive blend of spiritual jazz, experimental production, and beat-driven composition into deeper and more exploratory territory.

Rooted in both jazz and Indian classical traditions, Shashidhar’s voice moves fluidly between discipline and improvisation, shaping a sonic language defined by elaborate harmonies, vocal layering, and emotional depth. Her work continues to challenge the boundaries of contemporary jazz by merging instinctive performance with carefully constructed production.

Over the past several years, she has become a key figure in Los Angeles’ experimental jazz community, performing internationally at venues and festivals including Le Guess Who?, Badehaus Berlin, Public Records, Solar Myth, and Zebulon. Her collaborative history spans a wide creative spectrum, including work with Nightmares on Wax, Carlos Niño, the Pan Afrikan Peoples Arkestra, and Zeroh.

Her 2024 album Soft Echoes, released on Leaving Records, marked a defining moment in her artistic evolution as a bandleader. The project received widespread critical acclaim from outlets including Bandcamp Daily, The Guardian, and Mojo Magazine, and was named one of the Top 10 Jazz Albums of 2024 by Gilles Peterson and Worldwide FM.

With A Foot on the Ground, Shashidhar enters a new phase of artistic risk and discovery. Recorded over two years at Lucy’s Meat Market in Los Angeles, the album was shaped through an open-ended, collaborative process with producer Pete Min, encouraging spontaneity, imperfection, and instinct over refinement or pre-planning.

Rather than following a fixed structure, the sessions prioritized presence and experimentation. Shashidhar explored new instruments, tools, and compositional approaches, often embracing unexpected or imperfect takes as essential parts of the creative process. The result is an album that feels sculptural in nature—assembled through intuition, layered memory, and emotional honesty.

The record features contributions from a wide circle of collaborators, including Caleb Buchanan, Timothy Angulo, Devin Daniels, pianist Mark Bock, and drummer Mark Guiliana. Together, they helped shape a body of work that resists singular interpretation, instead unfolding as a collective and evolving musical conversation.

Across its sonic landscape, A Foot on the Ground moves through shifting moods and styles—not to demonstrate range, but to resist the flattening of identity into a single expression. Shashidhar describes the work as “a documentation of instinct,” an effort to release preconceived expectations and allow music to form in real time.

The album’s upcoming release has been previewed through a series of singles that trace its emotional and conceptual arc:

“Arches,” arriving April 1 alongside the album announcement, emerged from spontaneous lyric writing layered over pre-existing harmonic material. “With Myself,” released April 22, was born from a moment of vocal vulnerability and restraint, later elevated by a string arrangement. “Reassurance,” arriving May 13, grew from a vocoder-driven loop developed with Pete Min and refined through collaborative layering, including contributions from Mark Guiliana’s drumming.

Ultimately, A Foot on the Ground is designed as an immersive listening experience—one that invites repetition and rediscovery. Shashidhar hopes listeners will find familiarity within its complexity, describing the album as something that should feel both challenging and comforting at once, revealing new details with each listen.

With this release, Sharada Shashidhar continues to redefine contemporary spiritual jazz on her own terms, balancing freedom and structure, vulnerability and control, intuition and craft.