Ayman Fanous Shares Duo with Joe McPhee as Second Single from 5-CD Boxset Brooklyn Stories

 

Brooklyn-based guitarist and bouzouki player Ayman Fanous is releasing a monumental 5-CD boxset, Brooklyn Stories, via Infrequent Seams, featuring duos, trios, and quartets with some of the most inventive voices in contemporary jazz and avant-garde improvisation.

The second single, a striking duo with saxophone legend Joe McPhee, is now available to stream and pre-order on Bandcamp ahead of the full release on April 24, 2026. This collection showcases Fanous’ extraordinary versatility and deep musical empathy, spanning collaborations with William Parker, Tatsuya Nakatani, Jason Kao Hwang, Ned Rothenberg, Susan Alcorn, Mark Feldman, Thomas Ulrich, James Ilgenfritz, Denman Maroney, and the late Susan Alcorn.

Though Fanous has been active in music for decades, Brooklyn Stories marks his first major release as a leader of such an expansive project. A scientist and physician by profession, Fanous brings a unique analytical and soulful approach to improvisation. As liner notes writer Elliott Sharp observes: “How all of Ayman Fanous’ interests and vocations feed each other is the better question—how music of this intensity and complexity emerges from his fingers and soul.”

The 5-CD set includes recordings ranging from intimate duos to intricate quartets, blending jazz, avant-garde, and free improvisation. Listeners familiar with the work of Matthew Shipp, Alice Coltrane, Mary Halvorson, Cecil Taylor, or Anthony Braxton will find rich parallels in Fanous’ explorations, along with a distinctly personal voice on classical guitar, electric guitar, and bouzouki.

Release Schedule:

• Feb 24 – First single: Trio With William Parker, Tatsuya Nakatani – 4
• Mar 10 – Second single: Duo with Joe McPhee – 2 (streaming now)
• Apr 7 – Third single: Trio With Susan Alcorn, Ned Rothenberg
• Apr 24 – Full 5-CD boxset release

Brooklyn Stories is a rare and immersive journey through the intersections of improvisation, composition, and emotional depth—a must-listen for anyone interested in the outer edges of jazz and avant-garde music.

In a Space Outta Dub: Nightmares On Wax and Adrian Sherwood Reimagine a Downtempo Classic for Its 20th Anniversary

 

2026 marks twenty years since the release of In a Space Outta Sound, the landmark album from Nightmares On Wax, the long-running project of producer George Evelyn. To celebrate the anniversary, Evelyn revisits the record through a bold new lens, teaming up with legendary dub producer Adrian Sherwood for In a Space Outta Dub—a richly textured reinterpretation that transforms eight of the original tracks into something deeper, hazier, and more sonically adventurous.

Rather than simply remixing the material, Sherwood approaches the project as a full reimagining, applying his signature On-U Sound aesthetic—dense with echo, reverb, and low-end weight—to reshape the album’s DNA. The result is a dub “clash” that maintains the spirit of the original while pushing it into new, immersive territory defined by humid atmospheres, languid grooves, and psychedelic depth.

The opener “You Bliss” immediately signals this shift. A rework of “You Wish,” it retains the original William Bell Stax-era guitar sample but submerges it beneath smoky saxophone lines, swirling organ textures reminiscent of The Doors’ L.A. Woman era, and a cavernous, echo-drenched bassline. It’s a track that feels both familiar and transformed—rooted in soul but drifting into dub-infused dreamspace.

“On Purpose,” a reimagining of “Soul Purpose,” leans into a lover’s rock sensibility, blending ’70s soul influences with nyabinghi rhythms and subtle hip-hop undertones. Loose guitar strums, flanged keys, and a languid bassline create a hypnotic foundation, while saxophone and piano add warmth and melodic richness. The track unfolds slowly, inviting the listener deeper into its hazy, meditative groove.

Elsewhere, Sherwood takes greater liberties. “Flippin’ Eck,” based on “Flip Ya Lid,” replaces the original’s rocksteady guitar loop—drawn from Lloyd Charmers’ “Oh Me Oh My”—with a simmering Hammond B-3, detuned bass, and nocturnal piano textures. The result is a looser, more abstract piece, punctuated by bursts of distorted effects and unexpected sonic collisions that add a playful unpredictability.

“Positive Touch,” reworking “Me!,” strips the original down to its essence before rebuilding it around a deep, sensual bassline courtesy of Doug Wimbish. Flute, fragmented piano, and sparse guitar drift through the mix, creating an almost weightless, ambient quality that blurs the line between structure and improvisation.

One of the album’s standout transformations arrives with “On the Seven Seas Dub,” a reimagining of “African Pirates.” Here, Sherwood constructs a dense Afro-funk tapestry, layering horns, electric guitar vamps, and dubbed-out vocals over a rumbling bassline that anchors the track’s rhythmic complexity. It’s a piece that bridges continents and traditions, embodying the global spirit of dub.

“Looking at You Dub” retains the soulful vocal of Mozez (Osmond Wright), reframing it within a rasta soul progression enriched by electric piano, tom-toms, and bluesy guitar. Melodica and celeste add a psychedelic shimmer, giving the track a warm, immersive glow.

“Sweeter Still” evolves into a playful, groove-heavy exploration of organ-driven dub, channeling the spirit of Jackie Mittoo. Propulsive bass, sticky snares, and jazz-inflected piano underpin the track, while Sara Garvey’s vocal is filtered through raw, expressive saxophone lines that alternately sing and shout.

Closing track “Nyabinghi Dub,” a radical reworking of “Passion,” brings the album to a contemplative finish. Combining pizzicato and bowed cello with melodica, jazz piano, and syncopated drumming, it creates a richly layered soundscape where bluesy guitar lines provide emotional grounding amid the swirling textures.

Ultimately, In a Space Outta Dub is more than an anniversary project—it is a testament to the enduring flexibility of great music. By inviting Adrian Sherwood into the process, George Evelyn opens the door to reinterpretation, allowing these tracks to evolve in ways that feel both respectful and daring.

The result is a collaboration that celebrates not just a milestone, but a mindset: one rooted in experimentation, reinvention, and deep listening. For longtime fans of Nightmares On Wax, it offers a fresh perspective on a beloved classic; for newcomers, it serves as an entry point into a world where downtempo, dub, soul, and psychedelia converge in endlessly fascinating ways.

Jazz Is Dead 026: Antonio Carlos & Jocafi Return in a Vibrant Cross-Continental Reinvention

The first 2026 release from Jazz Is Dead brings together a remarkable convergence of legacy and innovation, as producers Adrian Younge and Ali Shaheed Muhammad collaborate with legendary Brazilian songwriting duo Antonio Carlos & Jocafi. For Antonio Carlos and Jocafi—icons of Bahia’s rich musical heritage—this project marks their first new recording since the 1990s, making it both a return and a reinvention.

Hailing from Salvador, Bahia, the duo have been shaping Brazilian music since the late 1960s, crafting their own hits while also writing for a wide range of artists across generations. Their sound—deeply rooted in MPB, samba, and Afro-Brazilian traditions—finds new life here through the cinematic, analog-rich lens of Younge and Muhammad. The collaboration itself feels almost fated: introduced in 2022 by Beto Barreto of BaianaSystem, the artists quickly discovered a shared musical language. That connection ultimately led to recording sessions in 2025 at the Jazz Is Dead studio, with additional vocal work captured in Rio at the studio of Kassin.

The resulting album is a rich, genre-blurring tapestry. Across six co-written tracks and two compositions by Younge—featuring soulful vocals from Loren Oden—the project seamlessly merges Brazilian traditions with jazz, funk, soul, and psychedelic textures. It’s a record that honors its roots while pushing confidently into new sonic territory.

Opening track “Rala-Bucho” sets the tone with a driving forró-inspired rhythm layered with funky candombe undertones. The hypnotic vocal interplay of Antonio Carlos & Jocafi rides atop a dense, propulsive groove, with Younge’s multi-instrumental approach—spanning guitars, bass, keys, and flute—creating a dynamic, immersive soundscape. That energy carries into “Canarin Da Alemanha,” a vibrant fusion of MPB and Bahian carnival rhythms, bursting with playful vocal exchanges and intricate instrumental textures.

Elsewhere, the album reveals its versatility. “Menina Do Tororó” offers a joyful blend of samba and MPB, its buoyant acoustic foundation enriched by colorful arrangements of saxophones, keys, and flutes. “Tá Com Medo Por Quê” leans into a funkier direction, driven by electric guitars, horns, and a trance-like bassline that underscores the duo’s effortless vocal charisma.

“Bacaxá” introduces a breezy, midtempo samba with lyrics by Younge, featuring layered instrumentation and subtle psychedelic flourishes, while “Quixodó” presents a modern take on MPB with a light, swinging feel. The final two tracks shift the spotlight to Loren Oden, whose soulful delivery adds a new dimension to the project. “Nunca Mais” blends samba with understated dub influences, maintaining a sultry, hypnotic atmosphere, while “Loca Pasión” closes the album on a high note—its seductive groove weaving together marimba, vibraphone, synths, and lush vocal harmonies into a captivating fusion of soul and Brazilian psychedelia.

What makes this release particularly compelling is its sense of dialogue—between generations, cultures, and musical traditions. Younge and Muhammad’s production does not overshadow the essence of Antonio Carlos & Jocafi; instead, it amplifies it, placing their timeless artistry within a contemporary, globally resonant context.

Jazz Is Dead 026 is more than a comeback—it is a celebration of enduring creativity and cross-cultural collaboration. For longtime fans, it offers a welcome return from two legendary figures. The result is undeniable: a vibrant, forward-looking album that expands the boundaries of both Brazilian music and the Jazz Is Dead universe.

SPRING: Tierney Sutton and Tamir Hendelman Craft an Intimate Masterclass in Renewal and Connection

With nine GRAMMY® nominations and a reputation as one of the most compelling voices in modern jazz, Tierney Sutton returns with SPRING, a luminous new recording that distills her artistry to its most intimate and essential form. Widely praised by The New York Times as “one of the most-lauded jazz vocalists of her generation,” Sutton has long been celebrated for her ability to transform song into story—an approach that finds new depth and immediacy in this voice-and-piano duo project with pianist Tamir Hendelman.

As her 17th album as a leader or co-leader, SPRING marks a significant moment in Sutton’s career. While the The Tierney Sutton Band has been a cornerstone of the international jazz scene for nearly three decades, this recording shifts the focus toward a more stripped-down, conversational format. The result is an album that captures not just performances, but real-time musical dialogue—fluid, spontaneous, and deeply attuned.

Hendelman, an acclaimed pianist with a remarkable résumé that includes collaborations with the Jeff Hamilton Trio, the Clayton-Hamilton Jazz Orchestra, and artists such as Paul McCartney and Natalie Cole, proves to be the ideal partner. Sutton herself describes him as “an encyclopedia of songs” and a musician whose rhythmic drive is unmatched. Their connection, built over years of collaboration, manifests here as something close to telepathic—an effortless exchange that elevates each piece to something quietly extraordinary.

The album was born from the duo’s live performances, where the freedom of the format allowed for greater flexibility in phrasing, harmony, and interpretation. Recorded essentially as a live set, SPRING preserves that immediacy. The arrangements are intentionally open, allowing each song to breathe and evolve organically. What emerges is not just a collection of tracks, but a cohesive and immersive listening experience—one that feels at once relaxed and profoundly focused.

Thematically, SPRING explores the idea of renewal, though not without complexity. Conceived during a period of global uncertainty, the album approaches its titular season as both metaphor and emotional landscape. Sutton acknowledges the duality inherent in spring—the promise of growth alongside the melancholy of change—and curates a repertoire that reflects that tension with nuance and sensitivity.

The selections themselves span a wide range of composers and styles, a hallmark of Sutton’s expansive musical vision. From the elegant lyricism of Antonio Carlos Jobim to the timeless brilliance of George Gershwin, and from the introspective songwriting of Paul Simon to the poetic depth of Johnny Mercer, Sutton brings each piece into her own orbit. Her interpretations are never static; instead, they are living, breathing conversations between voice, piano, and lyric.

Highlights include a mesmerizing opening with Jobim’s “Double Rainbow,” where Hendelman’s lush prelude sets the stage for Sutton’s ethereal entrance. “Waters of March” receives a fresh and inventive treatment, while “April Come She Will” is transformed into a tender, introspective meditation. Gershwin’s “S’Wonderful” sparkles with wit and interplay, and Peggy Lee’s “Things Are Swinging” becomes a playful showcase for both artists, featuring a virtuosic piano solo that is sure to inspire musicians for years to come.

Elsewhere, Sutton delves into deeper emotional territory with “Spring Can Really Hang You Up the Most,” a song whose title draws from T. S. Eliot’s The Waste Land. Her conversational delivery brings out the song’s bittersweet core, while “Spring Will Be a Little Late This Year” offers a gentle, optimistic counterpoint. The rarely performed “Spring, Spring, Spring” stands as a testament to Mercer’s lyrical genius, and the album closes with a deeply moving rendition of “You Must Believe in Spring,” featuring a previously unheard verse by Alan Bergman and Marilyn Bergman—a fitting conclusion to a project rooted in hope and reflection.

A bonus track, a dazzling take on “L.O.V.E.,” provides a spirited and improvisational finale, underscoring the duo’s playful chemistry and technical brilliance.

Throughout SPRING, Sutton’s voice remains the emotional anchor—supple, precise, and deeply expressive—while Hendelman’s pianism provides both foundation and flight. Together, they create a musical environment where every note feels intentional and every silence meaningful.

In an era often defined by excess and complexity, SPRING stands out for its clarity and restraint. It is an album that reminds us of the power of simplicity, the beauty of collaboration, and the enduring capacity of music to heal, connect, and renew. With this release, Tierney Sutton and Tamir Hendelman offer not just a collection of songs, but a deeply human experience—one that lingers long after the final note fades.

The Sorceress: Audrey Ochoa Conjures a Bold, Genre-Defying Statement of Power and Playfulness

Award-winning trombonist, vocalist, and composer Audrey Ochoa returns with The Sorceress, a vibrant and imaginative new album available now via Chronograph Records. Blending jazz, electronica, swing, and pop into a richly textured sonic experience, the record further establishes Ochoa as one of the most distinctive and fearless voices in contemporary Canadian music.

Long celebrated for her ability to defy expectations, Ochoa has built a career that consistently pushes beyond the traditional boundaries of jazz. As noted by the Edmonton Journal, she “defies jazz horn stereotype with grace and humour,” while critic Keith Black highlights her ability to balance nostalgia with forward-thinking creativity. That balance is at the heart of The Sorceress, an album that feels both rooted and exploratory, polished yet playfully unrestrained.

At its core, The Sorceress is a celebration of transformation—musical, personal, and emotional. Ochoa brings together the many influences that have shaped her artistic journey, crafting a sound where improvisation meets infectious hooks and lush harmonies. The trombone takes center stage not just as an instrument, but as a voice—expressive, dynamic, and deeply human—telling stories of resilience, humor, and acceptance.

This latest release builds on an already remarkable trajectory. Her debut album, Trombone and Other Delights (2013), topped Canadian jazz charts for three consecutive weeks, while Afterthought (2017) reached No. 1 in Canada and broke into the U.S. Top 20. Subsequent projects like Frankenhorn (2020) and The Head of a Mouse (2023) further expanded her sonic palette and earned her widespread recognition, including a 2025 JUNO Awards nomination. Along the way, she has shared stages with artists as diverse as Hilario Duran, PJ Perry, Tommy Banks, Dave Matthews Band, Lew Tabackin, Marcus Miller, Chris Potter, and the UNT One O’Clock Lab Band.

With The Sorceress, Ochoa leans fully into her identity as a multi-dimensional artist. The album’s title itself reflects both humor and empowerment, inspired by past descriptions of her as a “trombone enchantress” and “sorceress of the trombone.” Rather than shy away from such imagery, she embraces it—turning it into a unifying concept that captures the album’s spirit of creativity and self-expression.

Musically, the record offers a wide-ranging listening experience, moving fluidly between swing, groove, and Latin influences, including Cuban and Brazilian elements. Ochoa also steps forward vocally on several tracks, adding another layer of intimacy and storytelling to the project. Her compositions are deeply personal, often rooted in specific memories, ideas, or cultural touchpoints—whether it’s the playful nod to saxophonists in “Button People,” reflections on life’s challenges in “Maintenance Phase,” or the liberating acceptance explored in “Let’s Give Up.”

Surrounding Ochoa is a stellar ensemble of musicians who bring her vision to life with precision and sensitivity. The album features Chris Andrew on piano and keyboards, Jeremiah McDade on tenor saxophone, Mo Lefever on guitar, Jon May on drums, Mike Lent on bass, Nathan Ouellette on percussion, with string contributions from Jen Bustin and Joanne Yu, and additional production by Michael Schlosser.

The result is an album that feels exuberant and expansive, yet grounded in a clear artistic vision. Ochoa’s ability to combine technical mastery with a sense of joy and play sets her apart, making The Sorceress not just a showcase of skill, but a fully realized artistic statement.

With this release, Audrey Ochoa continues to carve out a unique space in the modern jazz landscape—one where genre boundaries dissolve, storytelling takes center stage, and creativity is approached with both seriousness and a sense of fun. The Sorceress is more than an album; it is an invitation into a world where music becomes magic, and where one artist’s fearless imagination leads the way.

Kinesis: Danny Keane’s Boundary-Dissolving Return Redefines Movement in Modern Music

Award-winning multi-instrumentalist, composer, and producer Danny Keane returns with Kinesis, a long-awaited sophomore album that firmly reasserts his place as one of the UK’s most agile and shape-shifting musical voices. Arriving six years after his debut Roamin’, Kinesis is not just a follow-up—it is a bold, genre-defying statement that reflects an artist fully stepping into his own creative identity.

Keane’s reputation has been built in part through collaborations with some of the most respected and boundary-pushing artists in contemporary music, including Mulatu Astatke, Anoushka Shankar, Nitin Sawhney, Damon Albarn, Penguin Café, and The Heliocentrics. These collaborations have seen him traverse continents, styles, and traditions, and their influence is deeply embedded in the sonic fabric of Kinesis. Yet, this album marks a shift: rather than contributing to others’ visions, Keane draws on a vast network of musicians to realize his own.

Across six distinct yet interconnected tracks, Kinesis explores the concept of movement—physical, emotional, and musical. The album reflects Keane’s extensive global travels, particularly his time touring with Mulatu Astatke, as well as his fascination with rhythmic structures and metre. At a more personal level, it also grapples with transition, growth, and the often difficult act of letting go. The result is a cohesive body of work that feels both deeply introspective and expansively outward-looking.

The album’s genre-defying nature places it in conversation with artists such as Shabaka Hutchings and Nik Bärtsch, as well as groups like Mammal Hands, while maintaining a distinctive voice that resists easy categorization. Keane’s willingness to blur lines between jazz, electronic, classical, and global traditions is not just stylistic—it is philosophical, rooted in a rejection of the pressure to specialize and a commitment to creative freedom.

One of the album’s standout moments, “Cathartic Chaos,” exemplifies this approach. Built on an electrifying Moog arpeggiator foundation, the track features Palestinian oud virtuoso Adnan Joubran of Le Trio Joubran. The collaboration highlights a shared musical language that transcends cultural boundaries, grounded in parallel traditions of rigorous training and a mutual desire to push beyond them. The result is a piece that feels both technically masterful and emotionally unrestrained.

Throughout Kinesis, Keane’s multi-instrumental prowess is on full display. He moves seamlessly between piano, Fender Rhodes, analogue synthesizers, cello, and organ, while also handling arrangements, string writing, and programming. Surrounding him is an extraordinary ensemble of musicians who bring depth and texture to the project, including Sarathy Korwar, Jon Thorne, Ruth Goller, Byron Wallen, James Arben, Aref Durvesh, Pirashanna Thejaravah, Richard Olatunde Baker, Ed Ashby, Tom Pigott-Smith, Oli Langford, Max Baillie, and Ian Burdge.

The album’s tracklist—“Running,” “Passing Time,” “Cathartic Chaos,” “Somnolent Stomp,” “A Major Minor Waltz,” and “Time To Go”—unfolds like a journey, each piece offering a different perspective on motion and transformation while maintaining a unifying thread. Whether through intricate rhythmic interplay, lush harmonic landscapes, or moments of raw improvisational energy, Keane constructs a listening experience that rewards both close attention and open-minded exploration.

Ultimately, Kinesis is a statement of artistic liberation. It captures a musician embracing the full spectrum of his influences and experiences, unbound by expectation or convention. In doing so, Danny Keane has created an album that not only reflects movement as a theme but embodies it in every sense—constantly evolving, shifting, and reaching forward.

For listeners drawn to music that thrives on discovery, storytelling, and the breaking of boundaries, Kinesis stands as an essential and deeply resonant work.

Redstone: David Smith’s Deeply Personal and Fearless Statement Arrives April 10

On April 10, 2026, trumpeter and composer David Smith unveils Redstone, a striking new release from Brooklyn Jazz Underground Records (BJUR 082), further cementing his place as one of the most compelling voices in contemporary jazz. Recorded with a formidable quintet—Dan Pratt on tenor saxophone, Nate Radley on guitar, Gary Wang on bass, and Allan Mednard on drums—the album captures a rare balance of urgency, lyricism, and deep musical connection.

Smith, a Canadian-born trumpeter long embedded in New York’s creative music scene, brings both power and nuance to Redstone. Critics have previously praised his work with striking consistency. Frank Alkyer described his playing as driven by “hunger and burst,” noting the beauty of his tone and strength as a composer, while Jonathan Goldman highlighted the “progressive and flawless performance” that places Smith firmly within a thriving Brooklyn jazz movement. Echoes of Clifford Brown and Wynton Marsalis have been heard in his fluid phrasing, yet Redstone is unmistakably his own artistic statement.

This release follows two critically acclaimed albums on the same label, Anticipation and Impetus, and arrives after a prolific period in which Smith contributed to more than sixty recordings, including Grammy-winning and nominated projects with artists such as Dan Pugach, Arturo O’Farrill, and Alan Ferber. His résumé also includes collaborations with Manuel Valera, Meg Okura, and Jon Gordon, as well as regular appearances with Darcy James Argue's Secret Society.

At its core, Redstone is an album about memory, connection, and place. The title track draws inspiration from Redstone Lake, where Smith’s parents retired and where family gatherings shaped his life. The piece carries a profound emotional weight, as the album is dedicated to the memory of his father, Barrie Smith, and to drummer Anthony Pinciotti. That sense of reflection deepens with “Elegy,” a composition written in tribute to his father, offering one of the album’s most intimate moments.

Other compositions explore different facets of Smith’s musical and personal journey. “Blackley” honors Jim Blackley, whose legendary Toronto sessions helped shape generations of musicians. “Almost” captures the emotional complexity of near-success and perseverance, while “Pulse,” written for the Brooklyn venue Brooklyn Artery, demonstrates how creative constraints can spark innovation. Smith’s interpretation of the standard “It Never Entered My Mind,” long associated with Miles Davis, showcases his lyrical depth and tonal control, and the album closes with a reimagined take on “Central Park West” by John Coltrane, performed with renewed energy and perspective.

The recording process itself reinforces the album’s authenticity. Captured live to two-track analog tape at The Bunker Studio, the session used exclusively vacuum tube equipment, preserving the warmth and immediacy of the performance. Produced by Smith with assistance from Jerome Sabbagh and engineered by Pete Rende, the result is a sonic experience that feels both timeless and immediate.

The tracklist unfolds as a cohesive narrative: “Blackley,” “Almost,” “Elegy,” “Redstone,” “Pulse,” “It Never Entered My Mind,” “Misao,” and “Central Park West.” Each piece contributes to a larger story—one that blends personal history with forward-looking artistry.

With Redstone, David Smith delivers an album that is at once deeply personal and boldly exploratory. It stands as a testament to the enduring vitality of the Brooklyn jazz scene and to the power of collaboration among musicians who share a fearless creative vision. This is not just another jazz release—it is a document of lived experience, rendered through sound with clarity, emotion, and conviction.

Stephen Emmer Explores Identity, Legacy, and Global Sound on Asymmetrical Dot

 

Stephen Emmer’s music has always been shaped by worlds colliding. Born from Dutch and Indonesian heritage, Emmer grew up surrounded by contrasting influences: European harmony and Eastern cyclical music, order and asymmetry. For his latest project, Asymmetrical Dot, these dualities are not just acknowledged—they are celebrated, creating a soundscape that is both intimate and universal.

Released on February 27, 2026, Asymmetrical Dot is Emmer’s most personal album to date. It was created during a year of profound transitions: the passing of his mother, the birth of his first grandchild, the loss of a close musical friend, and a serious health scare. These life events shaped an album that meditates on mortality, legacy, and identity, exploring the tensions between departure and arrival, endings and beginnings.

Musically, the album is a fusion of contemporary chamber music, jazz noir, and global sound traditions. Long, sustained notes drawn from Indonesian folk music intertwine with sparkling vibraphone, celesta, and marimba lines from Western classical traditions. Wordless vocals float above these textures, conveying emotion without the constraints of language, inviting listeners to project their own experiences onto the music.

A hallmark of Asymmetrical Dot is its international ensemble. Musicians from Armenia, Peru, Venezuela, Indonesia, the Netherlands, the UK, and the US each bring their distinct voices, creating a polyphonic sound that mirrors Emmer’s philosophy of identity: it is formed not by uniformity, but by dialogue. Tracks like Benja’s Birth exemplify this vision, blending children’s voices and indigenous percussion to celebrate the arrival of a new generation and the continuity of cultural memory.

The album title is deeply symbolic. “Asymmetry” reflects the fluid, in-between nature of life—of cultures, experiences, and inner landscapes. The “dot” is a musical symbol that extends a note beyond its written duration, representing memory, emotional resonance, and a life shaped by motion rather than a fixed center. What might once have seemed like imbalance becomes here a source of harmony and strength.

Collaborators include vocal producer Beth Hirsch, Grammy-winning engineer Fernando Aponte, concertmaster Everton Nelson, mastering legend Patricia Sullivan, and jazz and global music vocalist Maria Alejandra Quintanilla, all contributing to a work that is as rich in human story as it is in sonic texture.

Asymmetrical Dot is a testament to Emmer’s unique vision: a music of heritage, dialogue, and legacy, transforming personal experience into a universal meditation on life, memory, and identity.

Lindsey Webster Finds Her Voice—And Herself—On Music In Me

Some artists have a rare gift: the ability to channel their most authentic selves directly into their music. Lindsey Webster is one of those artists.

Described by PopMatters as “classy, consistent, and exceptional,” and praised by All About Jazz for “keeping the tradition alive and taking it to the next level,” Webster continues to carve out a distinctive lane in contemporary music. Her sound—an elegant blend of Neo-soul, R&B, Jazz, and Pop—feels both timeless and refreshingly modern.

“I really feel comfortable in my skin right now,” Webster shares. That sense of self-assurance is reflected not only in her music but also in her influences. Her listening habits range from Bob Marley to Yo-Yo Ma, Mos Def, Olivia Dean, Aaliyah, Mariah Carey, and Jeff Buckley—an eclectic mix that mirrors the depth and versatility of her own artistry.

Raised in the creative enclave of Woodstock, Webster made the bold decision to walk away from medical school to pursue music. That leap of faith paid off. In 2016, she made history with her hit “Fool Me Once,” becoming the first vocalist since Sade to top the Billboard Contemporary Jazz chart.

Over the past decade, Webster has built a devoted global following and delivered a string of acclaimed releases, including Back to Your Heart and Reasons. SoulTracks perhaps summed it up best: “If Carole King and Sade had a kid, she would be Lindsey Webster.”

Now, Webster enters a new chapter with her seventh studio album, Music In Me, released February 27, 2026. Written, recorded, produced, and mixed over three years, the album stands as her most personal and fully realized work to date.

At the heart of Webster’s sound is her long-standing creative partnership with pianist Keith Slattery. Together, they’ve crafted a signature style that is soulful, hypnotic, and emotionally resonant.

Music In Me also features an impressive roster of collaborators, including Stokley—who not only duets with Webster but contributes drums and percussion—and Anthony Hamilton. Additional appearances from Keyon Harrold, Isaiah Sharkey, and Kev Choice further elevate the project’s rich, genre-blending soundscape.

For Webster, music has always been more than a career—it’s a lifeline. “Music is my best friend,” she says. “It helps move our emotions. You feel differently after you listen. It’s real-time… It has saved my life.”

That emotional honesty is what continues to draw listeners in. Her ability to transform simple, universal truths into timeless songs has made her one of the most compelling voices in contemporary jazz and soul today.

Beyond the music, Webster also reflects on connection and humanity. “Music has a way of uniting people,” she notes. “I wish we weren’t all so focused on our differences… If we focused more on what we love and enjoy, we’d be way better off.”

With Music In Me, Lindsey Webster doesn’t just deliver another album—she offers a deeply personal statement, one that reinforces her place as a defining voice in modern music.

Thundercat Returns with Distracted: A Six-Year Wait Yields a Star-Studded, Genre-Defying Album

 

After six years since his acclaimed It Is What It Is, Stephen Bruner—better known as Thundercat—has returned with his fifth studio album, Distracted, released April 3, 2026, via Brainfeeder. The album is a testament to Thundercat’s evolution as a musician, blending his signature virtuosic bass playing with a sophisticated, genre-blurring approach that spans funk, jazz, R&B, and electronic textures.

Preceded by a string of singles, Distracted arrives with a powerhouse lineup of collaborators. Fans got a taste of the album with “No More Lies,” a dreamy collaboration with Tame Impala, followed by the reflective “I Wish I Didn’t Waste Your Time,” the playful and experimental “I Did This to Myself” featuring Lil Yachty and Flying Lotus, the posthumous tribute “She Knows Too Much” with Mac Miller, and the ethereal “ThunderWave” featuring Willow Smith. Each single illustrates a different facet of Thundercat’s expansive sound world, from introspective lyrics to hypnotic grooves and virtuosic instrumentation.

The album was executive produced by Thundercat himself alongside Greg Kurstin, with additional contributions from Flying Lotus, Kenny Beats, and The Lemon Twigs, resulting in a cohesive yet adventurous sonic palette. Beyond production, Distracted features guest appearances from Lil Yachty, A$AP Rocky, Channel Tres, Willow Smith, Tame Impala, and Mac Miller, along with contributions from a wide array of musicians including JD Beck and Brian and Michael D’Addario of The Lemon Twigs. This collaborative spirit underscores the album’s layered, textured, and expansive sound, giving each track a distinct personality while maintaining a coherent overall vision.

Critics have warmly received the album. On Metacritic, Distracted holds an impressive 81/100, signaling universal acclaim. Rolling Stone praised the album’s restraint, noting that Thundercat’s virtuosic bass playing enhances the songwriting rather than overshadowing it, while HotNewHipHop highlighted how the album balances introspection with humor and warmth. AnyDecentMusic? rated it 7.5/10, praising its inventive arrangements and melodic depth, though Paste offered a more measured assessment, citing moments of mid-tempo monotony amid the brilliance.

The album opens with the short, atmospheric “Candlelight” and moves through standout collaborations such as the groovy, psych-infused “No More Lies,” the heartfelt posthumous tribute “She Knows Too Much,” and the playful, bass-driven “I Did This to Myself.” Other tracks like “Funny Friends” with A$AP Rocky, “What Is Left to Say” featuring The Lemon Twigs, and the jazzy, electronically textured “ThunderWave” demonstrate Thundercat’s signature ability to balance virtuosity with accessibility. The album closes with the intimate “You Left Without Saying Goodbye,” leaving listeners with a contemplative, emotional finish.

While Distracted showcases Thundercat’s musical sophistication, it also reflects his personal evolution. Themes of self-reflection, modern anxiety, resilience, and humor run throughout, revealing an artist unafraid to grapple with vulnerability while maintaining a playful and light-hearted edge. His ability to fuse introspection with groove and melody makes the album both intellectually engaging and deeply satisfying on a visceral level.

After years of anticipation, Distracted demonstrates that Thundercat has not only maintained his signature sound but has expanded it in bold, unexpected ways. The album is a celebration of collaboration, experimentation, and artistic maturity—a record that rewards repeated listening, revealing new details and textures with each play. It confirms Thundercat as one of the most inventive and influential musicians of his generation, capable of blending technical mastery with emotional resonance.

Distracted is available now on streaming platforms and digital download, inviting listeners to step into Thundercat’s uniquely vibrant musical universe. Whether you are a long-time fan or a newcomer, this album is a journey through groove, introspection, and innovation that reaffirms Thundercat’s place at the forefront of contemporary music.

Michelle David & The True-tones Launch “Soul Woman European Tour” with New Single “Pick Up The Pieces”

 

Michelle David & The True-tones return with “Pick Up The Pieces,” a powerful new single that coincides with the launch of their “Soul Woman European Tour.” Arriving just one month after their acclaimed album Soul Woman (via Record Kicks), the track is a mid-tempo soul anthem rooted in resilience, self-love, and emotional renewal.

Driven by uplifting harmonies, heartfelt lyricism, and the band’s signature razor-sharp groove, “Pick Up The Pieces” captures the essence of rebuilding after hardship. Michelle David’s commanding, gospel-infused delivery transforms the song into a message of strength and perseverance—an invitation for listeners to rise, heal, and move forward with conviction.

The release also marks the beginning of an extensive European tour, kicking off March 27 at the iconic New Morning in Paris before traveling through the Netherlands, Belgium, Switzerland, Germany, the UK, and beyond. Known for their electrifying live performances, the group brings a deeply felt connection to every stage, blending vintage soul textures with contemporary energy.

Emerging from The Gospel Sessions project led by Paul Willemsen and Onno Smit, Michelle David & The True-tones have evolved into one of Europe’s most celebrated modern soul acts. Their breakthrough album Truth & Soul earned major accolades—including BBC Radio 6 Music Album of the Year and FIP Album of the Month—while subsequent releases and relentless touring have cemented their reputation across major festivals and venues.

Michelle David herself brings decades of experience to the spotlight. Raised in New York and performing since childhood, her career spans international touring and Broadway productions—experience that continues to shape her dynamic stage presence, balancing raw power with emotional nuance.

With Soul Woman, the band refines its distinctive blend of gospel fire, classic soul, and vintage R&B. Influences echo throughout—from Curtis Mayfield and Bobby Womack to The Supremes and The Blind Boys of Alabama—yet the sound remains unmistakably their own. Anchored by analog-rich arrangements from longtime collaborators Willemsen, Smit, and drummer Bas Bouma, the album underscores the group’s commitment to authenticity and groove.

“Pick Up The Pieces” stands as a defining moment in this chapter—an uplifting, deeply human track that reinforces the band’s place at the forefront of the modern retro-soul movement.

FIJM 2026: Montréal Jazz Festival Unveils Expansive Lineup Blending Legends, Rising Stars, and Free Outdoor Shows

 

The 46th Festival International de Jazz de Montréal (FIJM) returns with its full 2026 lineup, featuring more than 350 concerts—two-thirds of them free—and reaffirming its place as one of the world’s premier gatherings for jazz and beyond. Presented by TD Bank Group in collaboration with Rio Tinto, this year’s edition bridges tradition, heritage, and modernity, offering a sweeping portrait of a genre that continues to evolve in real time.

Among the most anticipated highlights are the free outdoor concerts on the TD Stage, where a diverse mix of local and international artists will take center stage. Patrick Watson returns with his signature cinematic indie-folk, while the enigmatic Quebec duo Angine de Poitrine promises one of the festival’s most talked-about performances. Global acts like Willow and Saint Levant add further breadth, bringing genre-fluid sets that weave together R&B, soul, and cross-cultural influences.

The TD Stage also reflects the festival’s commitment to discovery, offering audiences the chance to catch rising voices such as Mohini Dey, Mei Semones, Annahstasia, and Destin Conrad—artists poised to shape the next wave of jazz and adjacent sounds.

This year’s festival carries added historical weight, marking the centennial of three towering figures born in 1926: Miles Davis, John Coltrane, and Tony Bennett. Their legacies will be honored through a series of special performances and tributes. Highlights include We Want Miles – A Miles Davis Centennial Celebration led by Marcus Miller, a live performance of Kind of Blue, and a cine-concert revisiting Davis’s iconic soundtrack to Ascenseur pour l’échafaud. The music of John Coltrane will be explored through projects like Modes of Coltrane and a full performance of A Love Supreme, while John Pizzarelli pays homage to Tony Bennett in a dedicated tribute concert.

The festival also commemorates key milestones in more recent musical history, including the 20th anniversary of J Dilla’s Donuts, celebrated with a special event led by DJ Jazzy Jeff and the Montréal Loves Dilla collective. Meanwhile, the influential fusion group UZEB marks its 50th anniversary with a documentary premiere and live performances from founding members.

Across indoor venues and outdoor stages, FIJM 2026 showcases the breadth of contemporary jazz and its many offshoots. Established innovators like Craig Taborn, Christian McBride, and Julian Lage share the spotlight with boundary-pushing acts such as DOMi & JD BECK and Nubiyan Twist. Artists like Elena Pinderhughes, Fabiola Méndez, and GENA highlight the global and stylistic diversity that defines today’s scene.

The festival also embraces artists working at the edges of jazz and popular music. Audiences can experience the orchestral folk of Annahstasia, the sleek R&B of Destin Conrad, and the genre-blending sounds of Naïka and Smino. Meanwhile, performances from El Gran Combo de Puerto Rico and a major arena show featuring Lionel Richie alongside Earth, Wind & Fire underscore the event’s wide-ranging appeal.

As FIJM’s Director of Programming Maurin Auxéméry notes, this year’s edition reflects “the great jazz family tree,” celebrating both its deep roots and its ever-expanding branches. From historic tributes to forward-looking performances, the 2026 festival positions Montréal once again as a global hub where jazz history is honored—and its future actively shaped.