Hannah Gill Reimagines Duke Ellington Classics on I Like the Sunrise

 

With I Like the Sunrise, New York-based vocalist Hannah Gill reveals a more intimate side of her artistry, stepping away from the theatrical flair and high-energy performances that have defined much of her career. The album, her fourth release for Turtle Bay Records, serves as a heartfelt tribute to the timeless music of Duke Ellington, reimagining beloved compositions through a warm, guitar-centered approach that strips away convention and invites listeners into a more personal musical space.

Rather than recreating the grand orchestral arrangements often associated with Ellington’s catalog, Gill focuses on the strength of the songs themselves. Notably absent is the piano, a deliberate choice that allows the melodies, lyrics, and emotional nuances of each composition to take center stage. The result is a collection of performances that feel conversational, spacious, and deeply connected to the spirit of the material.

Gill has long earned acclaim for her versatility, building a devoted following through performances with East Coast swing dance bands, Postmodern Jukebox, Lindy Hop bandleader Gordon Webster, and The Hot Toddies Jazz Band. Her previous Turtle Bay releases, particularly the popular Spooky Jazz albums, showcased her ability to blend vintage swing, theatrical storytelling, and playful imagination. On I Like the Sunrise, however, she embraces a quieter form of expression, demonstrating a new level of artistic maturity and confidence.

The project grew out of Gill’s admiration for Ellington’s unique ability to balance sophistication with emotional accessibility. Drawn to songs such as “Azalea” and “I Like the Sunrise,” she found herself inspired by their beauty, tranquility, and capacity for reflection. By removing the familiar framework of piano accompaniment, Gill allows the lyrical and interpretive core of these songs to emerge with remarkable clarity.

Central to the album’s success is the chemistry of the ensemble. Guitarist Luis Salcedo, bassist Philip Ambuel, and drummer Adam Ray form a cohesive rhythm section that developed naturally through months of live performances. The group spent 33 weeks in residency at Brooklyn’s Cocktail Magique, performing much of this repertoire weekly and refining the arrangements in front of audiences. By the time they entered the studio, the music had evolved organically, shaped by experience rather than strict adherence to written charts.

That sense of familiarity and trust permeates the recording. Captured at The Bunker in Williamsburg and recorded through analog tape, the album possesses a warm, tactile quality that perfectly complements its understated mood. Rather than relying on extensive overdubs or rigid arrangements, the musicians collaborated in real time, creating performances that feel spontaneous and alive. Select appearances by saxophonist Ricky Alexander add another layer of color while maintaining the album’s intimate atmosphere.

The collection opens with “So Far So Good,” a buoyant performance filled with optimism and gentle swing. Gill’s phrasing is playful and assured as Salcedo’s guitar and Alexander’s saxophone engage in lively musical conversation. “I Ain’t Got Nothin’ But the Blues” follows with a more introspective mood, beginning with sparse guitar figures before gradually expanding into a rich emotional landscape. Gill’s storytelling shines here, her vocal delivery balancing sensuality and vulnerability.

Throughout the album, Gill demonstrates remarkable control over tone and dynamics. “Love You Madly” finds the ensemble settling into a joyful groove, while “I’m Just a Lucky So and So” offers one of the vocalist’s most relaxed and heartfelt performances. On “I Didn’t Know About You,” delicate guitar work creates an ideal backdrop for Gill’s breathy, nuanced interpretation.

The emotional depth of the project becomes especially apparent on “I Got It Bad (And That Ain’t Good),” which begins as an intimate dialogue between voice and guitar before gradually opening into a fuller arrangement. Gill’s restrained approach emphasizes the song’s humanity, avoiding melodrama in favor of genuine emotional connection.

One of the album’s standout moments arrives with “Azalea,” a composition perhaps best known through Louis Armstrong’s 1963 recording. Here, Gill transforms the song into a study in atmosphere and subtlety, supported by understated rhythmic movement and intricate guitar textures. Elsewhere, “Do Nothing Till You Hear From Me” introduces a touch of playful swing, while “Take Love Easy” unfolds with a cool, effortless elegance.

The title track serves as the emotional centerpiece of the album. Rendered as a dreamy, hymn-like ballad, “I Like the Sunrise” captures the hope and quiet renewal at the heart of Ellington’s original composition. Gill’s voice floats effortlessly through the arrangement, conveying both fragility and optimism while the ensemble provides a spacious and supportive backdrop.

The album closes with “Azure,” a beautifully minimal performance featuring only voice and guitar. Enhanced by Gill’s charming whistle, the track creates a cinematic and atmospheric conclusion that perfectly reflects the album’s emphasis on nuance, intimacy, and emotional honesty.

More than a tribute to Duke Ellington, I Like the Sunrise represents a significant artistic evolution for Hannah Gill. Known for commanding lively stages and engaging enthusiastic audiences, she chooses here to embrace restraint, inviting listeners to lean in rather than be swept away. The result is a deeply rewarding collection that highlights not only the enduring brilliance of Ellington’s songwriting but also the remarkable depth and versatility of Gill’s own voice.

I Like the Sunrise will be released June 19, 2026, via Turtle Bay Records on CD, vinyl, and all major streaming platforms.

Ralph Alessi Explores New Musical Horizons on A Sun That Never Sets

With A Sun That Never Sets, trumpeter and composer Ralph Alessi expands his celebrated quartet format into a quintet, unveiling eleven new compositions that showcase his intricate writing, adventurous spirit, and deep musical intuition. The album marks a significant evolution in Alessi’s creative journey, bringing a fresh dimension to his sound through the addition of trombonist Joseph Alessi, his brother and one of the world's foremost classical trombonists.

The result is a strikingly original ensemble featuring Ralph Alessi on trumpet, Joseph Alessi on trombone, Matt Mitchell on piano, John Hébert on double bass, and Ches Smith on drums and vibraphone. Together, the group navigates Alessi’s complex, syncopated compositions with remarkable ease, uncovering new possibilities within every melodic turn and rhythmic shift.

“In this band, everybody's just so strong, and very little, if anything, ever has to be said—which is what I prefer,” Alessi says. That near-telepathic communication is evident throughout the album, whether in the haunting, delicately phrased passages of “Nothing Is Dead,” “Sweet Spot,” and “Twichild,” or the dynamic energy of pieces such as “Relaxed Misery” and “Of Trees.”

While Alessi previously worked in a quintet setting alongside saxophonist Ravi Coltrane in his acclaimed ensemble This Against That, A Sun That Never Sets takes a different approach. Rather than adding another reed voice, Alessi introduces the rich tonal possibilities of the trombone, creating a distinctive dialogue between trumpet and trombone that shapes much of the album’s character.

For Ralph, writing for his brother presented a unique challenge. “It was uncharted waters through and through for me,” he explains. “Not just because I was doing it with my brother in this improvisatory context, but also because it’s a trombone. I've never really done any of my records with trombone. It was challenging and there was a lot of thought that went into preparing this music with him in mind. And at the end I have to say I’m very happy with how that played out.”

The brothers’ chemistry is immediately apparent on “Relaxed Misery,” which opens with a playful and spontaneous exchange before unfolding into sharply defined melodic lines and expansive improvisation. Elsewhere, Joseph’s contributions are used with restraint and precision. On “Ether,” winding horn lines drift through shifting harmonies, while a brief trombone passage on “Sweet Spot” provides the final touch that brings the composition to its emotional peak. On “Of Trees,” the brothers lock into tightly synchronized phrases, navigating intricate rhythmic terrain with exhilarating intensity.

Another defining presence throughout the album is percussionist Ches Smith, whose dual role on drums and vibraphone significantly broadens the ensemble’s sonic palette. Smith introduces “Nothing Is Dead” with resonant vibraphone tones before transitioning seamlessly to subtle percussion textures. His vibraphone work adds warmth and lyricism to pieces such as “Sweet Spot” and “Behind Clouds,” while his precise drumming powers rhythmically complex tracks including “Duck Face” and “Transitional Imagery.”

“Obviously Ches is a very unique musician, and he really expands on the possibilities for orchestration,” Alessi says. “I didn't even have to suggest the pieces where he plays vibes. He's just a natural, he just went there. He's bringing that energy to it, adding such an interesting dimension to the music’s color.”

Alessi cites two enduring sources of inspiration as central to his artistic thinking: Ornette Coleman and Igor Stravinsky. Though seemingly opposite poles of musical expression, their influence can be felt throughout A Sun That Never Sets, where contemplative lyricism and angular structures coexist in a constantly evolving musical landscape.

The album also highlights Alessi’s distinctive trumpet voice, balancing technical precision with emotional depth. His clear, expressive tone guides listeners through compositions that shift effortlessly between abstraction and beauty. Pianist Matt Mitchell complements that vision with elegant interpretations of the themes while maintaining a willingness to venture beyond harmonic boundaries. Supported by the fluid interplay of Hébert and Smith, the ensemble creates a musical environment that remains vibrant, unpredictable, and deeply engaging from beginning to end.

Recorded at Oktaven Studio in New York in February 2025 and later mixed in Munich, A Sun That Never Sets was produced by Ralph Alessi and Manfred Eicher. The album stands as both a continuation of Alessi’s acclaimed ECM legacy and a bold step forward, revealing new possibilities within his compositional language while reaffirming his place among the most inventive voices in contemporary jazz.

Cindy Blackman Santana Announces New Album Coherence

 

Acclaimed drummer, composer, bandleader, and vocalist Cindy Blackman Santana will release her new solo album Coherence on July 31 via Mack Avenue Records. The project is introduced by its first single, “Illumination,” available now, offering an electrifying preview of a record that seamlessly blends spiritual jazz, fusion, rock, and improvisation.

Coherence brings together an extraordinary cast of musicians, including Carlos Santana, John McLaughlin, Matt Garrison, Ray Angry, Dave Eggar, and Blackman Santana’s acclaimed touring band. The album thrives on rhythmic interplay, expansive improvisation, and the dynamic energy of live performance, resulting in one of the artist’s most collaborative and adventurous works to date.

The lead single, “Illumination,” highlights the chemistry between Blackman Santana and her ensemble. Driven by her powerful and expressive drumming, the track unfolds through fluid exchanges between saxophone, guitar, and bass, creating a vibrant conversation that captures the spirit of spontaneous creation.

“It was actually our first time ever playing ‘Illumination,’” Blackman Santana explains. “To me, it brings a lot of freshness and energy. I hope you feel the cohesiveness of how we interact together. The title is about bringing brightness to the forefront of people’s minds and hearts. The coming together of the musicians represents the coming together of all people.”

Coherence arrives nearly four decades after Blackman Santana made her debut as a bandleader with 1987’s Arcane. Since then, she has forged one of contemporary music’s most distinctive careers, earning acclaim across jazz, fusion, and rock while continually expanding her artistic voice as a composer, drummer, vocalist, and performer.

Recorded at The Hideout Recording Studio in Las Vegas during late 2024, the album features Blackman Santana alongside her trusted touring band: Emilio Modeste (saxophone), Aurelien Budynek (guitar), Zaccai Curtis (keyboards), and Felix Pastorius (bass). To further realize her vision, she enlisted a remarkable group of collaborators, including Carlos Santana, John McLaughlin, Matt Garrison, Ray Angry, Dave Eggar, and others.

In support of the album, Blackman Santana will perform at BRIC Celebrate Brooklyn! at the Lena Horne Bandshell in Prospect Park on July 24 as part of the festival’s 2026 season. She will also spend the summer on the road as drummer for Santana on the Santana and The Doobie Brothers Oneness Tour, while continuing Santana’s residency at the House of Blues Las Vegas at Mandalay Bay Resort and Casino with additional September dates.

Renowned for her fearless artistry, Cindy Blackman Santana has built a career that transcends genres, moving effortlessly between jazz, rock, funk, and improvisational music. Her extensive list of collaborators includes Santana, Lenny Kravitz, Pharoah Sanders, Cassandra Wilson, Joe Henderson, Vernon Reid, John McLaughlin, and The Isley Brothers. Since joining Santana full-time in 2016, she has appeared on multiple recordings, including Africa Speaks and Blessings and Miracles. With Coherence, she continues to push creative boundaries while showcasing the depth and versatility that have defined her remarkable career.

Coherence Tracklist:

1. Illumination
2. Blue Whale
3. The Message is Love (feat. Carlos Santana)
4. Coherence Tapestry
5. Coherence (feat. Carlos Santana)
6. Coherence Embrace
7. Peace Please
8. Psychedelic Movie House (feat. Carlos Santana)
9. Guitar Love (feat. Carlos Santana & John McLaughlin)
10. Capri (feat. Carlos Santana)
11. SyZyGy
12. Circe
13. Eclipse
14. Soon a Queen
15. Sunday
16. Music
17. Sanctuary (feat. Carlos Santana)

Architects of Sound Return With AOS II, Arriving Worldwide June 5 via SRG Jazz

Architects of Sound II (AOS II) will be released globally on all major streaming and download platforms on Friday, June 5, through SRG Jazz, distributed by Virgin Music Group and Universal Music Group.

The creative force behind a string of contemporary jazz successes from artists including Damien Escobar, David Benoit, and Randy Brecker is back with a new chapter. Architects of Sound is the collaborative project of SRG/ILS CEO Claude Villani and jazz fusion icon Jeff Lorber, whose musical partnership has continued to evolve since Villani signed Lorber to the SRG Jazz label.

Their collaboration began with Lorber’s first SRG Jazz release, Elevate, which Villani co-produced and contributed to as a songwriter. Among the album’s highlights was “Teardrops In The Rain,” a Top 10 hit penned by Villani.

The inspiration for AOS II grew from the chemistry and momentum created during the making of the duo’s debut project, AOS I. According to Villani, the success of the first album and the abundance of material recorded during those sessions made a follow-up a natural next step.

“The project was so successful, and we had such a great time working on AOS I and literally recorded so many amazing records, that we said, why not go back to the lab and recreate the magic,” Villani said.

That magic was evident on AOS I, which produced “Where We Belong,” a Billboard Top 5 jazz single. For Lorber, the appeal of the project has always been its freedom from convention.

“The project allowed for us to get away from the traditional mentality and allowed for us to just have fun with no restrictions,” Lorber said.

For AOS II, Villani and Lorber once again wrote and produced every track, creating an album that showcases both their songwriting chemistry and their shared passion for contemporary jazz.

The project features an impressive lineup of musicians, including Gary Novak, Lenny Castro, Mark Lettieri, Cornelius Mims, and David Mann. Lorber praised the opportunity to bring longtime friends and collaborators into the recording process, noting Mann’s significant contributions as both an arranger and saxophonist.

The album also carries a deeper personal significance for Lorber. Following the devastating fires of 2025, rebuilding became part of the creative journey.

“This project also allowed me to start over and rebuild after losing so much during the fires last year, so it was a rebirth in so many ways,” Lorber shared.

One of the most emotional aspects of returning to the studio was rebuilding a recording environment capable of meeting the standards he and Villani had established over years of collaboration. Notably, the final song recorded in Lorber’s previous studio was “755” from the AOS I project.

With AOS II, Architects of Sound continue to push the boundaries of contemporary jazz while celebrating the creative partnership that has fueled the project from the very beginning.

Architects of Sound II Track Listing:

1. Incognito
2. Horizons
3. Kyoto
4. Summer Solstice
5. Orvieto
6. Riding The Wave
7. Turn It Up
8. Beyond Blue
9. Coffee Shop
10. The Last to Know
11. Strawberry Letter 23 (featuring LeVelle)

Kenny Barron Trio’s Long-Lost 1995 Brecon Jazz Festival Performance Finally Sees Release

A remarkable piece of jazz history is set to reach listeners for the first time as Elemental Music announces the release of So Many Lovely Things: Live in Brecon, a previously unheard 1995 concert recording featuring legendary pianist Kenny Barron alongside bassist Ray Drummond and drummer Ben Riley.

Arriving June 12, 2026, the album captures Barron’s acclaimed 1990s trio at the height of its powers during a performance at the Brecon Jazz Festival in Wales. Produced by renowned "Jazz Detective" Zev Feldman and Jordi Suñol, the release presents ten inspired performances from a trio widely regarded as one of the most cohesive and dynamic groups of its era.

The recording remained hidden for more than three decades before being unearthed from the Jordi Suñol Archives. Originally captured on August 12, 1995, at the Brycheiniog Theatre during the trio’s European tour, the performance showcases the extraordinary chemistry between Barron, Drummond, and Riley as they navigate standards, originals, and jazz classics with remarkable spontaneity and intuition.

Available as a limited-edition 180-gram 2-LP set, a 2-CD edition, and on digital and streaming platforms, the release features newly restored audio by Marc Doutrepont and mastering by Matthew Lutthans at The Mastering Lab. The package also includes extensive liner notes and track-by-track commentary from acclaimed jazz journalist and historian Ted Panken.

For producer Zev Feldman, the project serves as both a historical document and a celebration of one of jazz's finest working trios.

“This co-led supergroup celebrates a fantastic trio that so many of us were fortunate to see live over the years,” Feldman says. “I think back to the times I saw them at the Village Vanguard and at Bradley’s in New York City. I think we're all grateful that Jordi Suñol captured these moments from these master musicians. This is a gift to all of us.”

The concert's journey to release began when Suñol, who originally presented Barron at the festival, reconnected with Elemental Music's Jordi Soley in 2024. The tapes, recorded by festival director Jed Williams, had remained in private hands for decades before receiving approval from Barron and his management for official release.

Across more than 105 minutes of music, the trio demonstrates the telepathic interplay that made them a favorite among jazz audiences throughout the 1990s. Highlights include a swinging take on “Oh, Look At Me Now,” an expansive exploration of “Canadian Sunset,” and a blistering performance of “Time Was,” where Barron’s melodic inventiveness is matched by Drummond’s masterful bass work and Riley’s driving rhythmic support.

The trio also delivers memorable interpretations of “Surrey With the Fringe On Top,” Freddie Hubbard’s “Up Jumped Spring,” and Thelonious Monk’s “Ask Me Now.” Barron’s original compositions are equally compelling, particularly the lyrical “Nikara’s Song” and the reflective solo piano piece “Silent Rain.”

The recording offers a vivid snapshot of three jazz masters operating as one musical organism. Barron’s elegant touch, Drummond’s impeccable sense of time and melody, and Riley’s unmistakable swing combine to create a performance that feels as fresh and vital today as it did in 1995.

Reflecting on the trio, Barron recalls the ease and camaraderie that defined their collaboration.

“On a personal level, it was a great trio,” Barron says. “I can’t recall a sour moment. I loved the way Ray played—solid, with great time and personality. The way he and Ben grooved together was perfect. If this concert turned into something special, it happened organically. When momentum builds, it’s because of everyone’s contribution. It was a group effort.”

More than three decades after it was recorded, So Many Lovely Things: Live in Brecon stands as a powerful reminder of the artistry, chemistry, and enduring brilliance of Kenny Barron, Ray Drummond, and Ben Riley—three masters captured in a truly special moment.

Molly Johnson Announces New Album Talk To Me, Shares New Single “Holiday”

 

Celebrated Canadian jazz vocalist and songwriter Molly Johnson has announced her new album, Talk To Me, arriving June 26 via Universal Music Canada. The 10-track collection brings together music from her recent All I See and Long Time Running EPs alongside four brand-new recordings, including the newly released lead single, “Holiday.”

Widely regarded as one of Canada’s most distinctive and enduring voices, Johnson continues to evolve creatively on Talk To Me, a project that blends soul, jazz, R&B, and rock while highlighting her gift for meaningful musical collaboration.

The album features an impressive lineup of Canadian artists spanning multiple generations, including JUNO Award-winning rapper Haviah Mighty, emerging producer and artist CUBE, and Blue Rodeo’s Jim Cuddy. Together, they help shape a collection that bridges generations, genres, and perspectives.

At the center of the album is the title track, “Talk To Me,” a compelling collaboration with Haviah Mighty that explores communication, understanding, and connection. Built around a call-and-response structure, the song pairs Johnson’s expressive vocals with Haviah’s thoughtful lyricism, creating a dialogue that reflects the power of listening across generational lines.

Johnson also embraced a fresh creative dynamic while working with producer and artist CUBE, whose youthful perspective brought new energy to the recording process.

“What does a 67-year-old woman and a 21-year-old kid have in common? A real love of great music,” Johnson says. “I really believe we need to listen to younger voices, and I feel so excited that I get to be part of this new generation of music. The future looks bright to me.”

Another standout moment on the album is Johnson’s interpretation of The Tragically Hip classic “Long Time Running,” recorded alongside Jim Cuddy of Blue Rodeo. Originally released in 1991, the beloved Canadian anthem is reimagined here with warmth, intimacy, and deep respect for its legacy.

“This has been a long time coming,” Johnson says. “I’ve always wanted to record a duet with Jim. We’ve been friends for years, so to finally collaborate on a song by our beloved The Tragically Hip feels like real magic.”

Throughout Talk To Me, Johnson is supported by her longtime musical collaborators Davide Di Renzo, Mike Downes, and Robi Botos, whose contributions remain an integral part of her signature sound. New songs including “Holiday,” “Happy,” “Sunday Morning,” and “Just As Bad As You” further expand the album’s rich musical landscape while showcasing Johnson’s continued artistic growth.

A two-time JUNO Award winner and recipient of some of Canada’s highest honors, including the Order of Canada, the Governor General’s Award, and France’s Chevalier Ordre des Arts et des Lettres, Johnson has spent decades building a career defined by artistic excellence and community impact. Beyond her acclaimed recordings and performances, she is also known for her philanthropic work, including founding the historic Kumbaya Festival and serving as the founding artistic director of Toronto’s Kensington Market Jazz Festival.

With Talk To Me, Johnson delivers a collection rooted in collaboration, curiosity, and connection—demonstrating that great music has the power to unite voices across generations.

Talk To Me arrives June 26 via Universal Music Canada.

Upcoming Live Dates:

June 17, 2026 – Winnipeg, MB – Desautels Concert Hall

June 26, 2026 – Montréal, QC – Gesù

July 1, 2026 – Vienne, France – Théâtre Antique

Somi Announces New Album What Does It Take to Bloom?, Shares Powerful New Single “We’re All Falling”

GRAMMY-nominated singer-songwriter Somi has announced her highly anticipated new album, What Does It Take to Bloom?, arriving August 7 via Salon Africana. Marking her first collection of original music in six years, the album explores the ongoing journey of remaining true to oneself amid life's uncertainties, losses, and transformations.

A two-time NAACP Image Award winner and Doris Duke Artist Award recipient, Somi wrote and recorded the project across Dakar, Lagos, Paris, and New York City. The album blends global influences with deeply personal storytelling, reflecting on whether growth is something we recognize in real time or only after we have already changed.

Alongside the announcement, Somi has released the album's first single, “We’re All Falling,” a moving meditation on mortality, resilience, and grace. Written during a period marked by significant personal loss, the song acknowledges life's fragility while encouraging listeners to embrace the present moment with gratitude and intention.

Reflecting on the album, Somi shared:

“I wrote this body of work while traversing many places and losing many people. This album is a mirror of searching for where and how to take root in spite of that. I pray these songs offer each listener a sense of Home or, at the very least, a witnessing of me coming Home to myself.”

Throughout her career, Somi has built a catalog that bridges Africa and America, drawing inspiration from migration, memory, culture, and identity. Her previous works have explored places both physical and spiritual, from Nigeria and Harlem to the legacy of South African icon Miriam Makeba. On What Does It Take to Bloom?, however, the focus shifts inward. Rather than mapping a city or a cultural landscape, Somi charts the evolving terrain of self-discovery.

Known for her genre-defying blend of jazz, soul, highlife, spoken word, and African musical traditions, Somi continues to push creative boundaries on the new album. The project showcases a more adventurous vocal approach and a deeper trust in her artistic instincts. By rejecting labels and embracing authenticity, she presents blooming not as a destination, but as a continuous process of becoming.

At its core, What Does It Take to Bloom? is about belonging, healing, and accepting that personal growth is rarely linear. Through reflections on womanhood, identity, loss, and resilience, Somi invites listeners into an intimate exploration of what it means to come home to oneself.

Born to Ugandan and Rwandan immigrant parents and raised in the American Midwest, Somi has become one of the most respected voices in contemporary jazz and global music. Her 2021 GRAMMY nomination for Best Jazz Vocal Album made her the first African woman ever nominated in a GRAMMY jazz category. In addition to her acclaimed recording career, she is an accomplished actor, playwright, and recent Broadway performer, having starred in the Tony Award-winning production Jaja’s African Hair Braiding.

What Does It Take to Bloom? Tracklist:

1. Throw Something
2. Sometimes Love (ft. The Cavemen)
3. What Does It Take to Bloom?
4. Mama On Blooming
5. So You Want to Be a Woman (ft. Lakecia Benjamin)
6. Aiwah
7. Sugar
8. Mama On Tradition
9. Ngayaya
10. Lay It Down
11. Interlude: Skin To Skin
12. We’re All Falling
13. Love Could Be Anywhere

Select Tour Dates:

June 25 – New Haven, CT – International Festival Arts & Ideas

September 17 – Champaign, IL – Krannert Center for Performing Arts

September 18 – Evanston, IL – Space

September 19 – Indianapolis, IN – Jazz Kitchen

September 27 – Saratoga Springs, NY – Skidmore College

September 29 – Madison, WI – Wisconsin Union Theater

October 1 – New York, NY – World Music Institute at Sony Hall

October 10 – Denver, CO – Dazzle

October 11 – San Francisco, CA – SFJAZZ Center

October 12 – Santa Cruz, CA – Kuumbwa

Additional dates will be announced.

Mike Clark Returns with Star-Studded New Album Kuon Ganjo (Time Without Beginning)

Legendary drummer Mike Clark continues his remarkable late-career resurgence with the release of Kuon Ganjo (Time Without Beginning), arriving August 7 on Wide Hive Records. Featuring an all-star ensemble that includes NEA Jazz Master Eddie Henderson on trumpet, tenor saxophonist Craig Handy, pianist Patrice Rushen, and bassist Essiet Okon Essiet, the album showcases Clark’s lifelong mastery of swing while highlighting the adventurous spirit that has defined his career for more than six decades.

Although rooted largely in the straight-ahead jazz tradition, Kuon Ganjo is anything but conventional. Across the album, Clark draws from the many musical influences that have shaped his journey, creating a collection that moves effortlessly between hard-driving grooves, thoughtful explorations, and unexpected turns.

“Playing with this band is a drummer’s dream,” Clark says. “They make it so easy all I have to do is be myself with all my idiosyncrasies. I want to do it my way, and they make that possible.”

That approach is evident throughout the recording. The gritty, blues-infused “Austin City Shuffle” recalls Clark’s formative years sitting in with hard-bop musicians throughout Texas, while spirited interpretations of “Softly, as in a Morning Sunrise” and Jan Hammer’s “Lungs” showcase the drummer’s explosive energy and deep jazz roots. Elsewhere, the ensemble takes a more nuanced approach on Herbie Hancock’s whimsical “Toys,” Wayne Shorter’s imaginative “Beauty and the Beast,” and “Eddy and Hyde,” an unrecorded composition co-written by producer Gregory Howe and trumpeter Erik Jekabson.

The surprises continue from the opening track. Clark launches the album with Sonny Rollins’ “East Broadway Rundown,” a composition that balances blues grit with avant-garde edge. Thelonious Monk’s “Monk’s Dream” follows with a standout bass feature from Essiet Okon Essiet, whose playful and inventive performance becomes one of the album’s highlights. The title track, inspired by the Buddhist concept of “time without beginning,” takes listeners on a free-form journey that unexpectedly transforms into hard-swinging jazz before dissolving back into abstraction.

The strength of Kuon Ganjo lies not only in Clark’s vision but also in the contributions of his collaborators. Henderson brings lyrical sophistication to the rough textures of “Austin City Shuffle,” while Handy adds distinctive character and edge to “Toys.” Rushen’s harmonic creativity enriches every track she touches, particularly on “East Broadway Rundown,” where her solo provides one of the album’s most memorable moments. Together, the ensemble creates a recording that feels both spontaneous and deeply connected.

For Clark, the album represents another chapter in a career that has spanned nearly 80 years of life and more than six decades behind the drum kit. Born in Sacramento, California, in 1946, he was introduced to music by his father George Clark, a railroad switchman, union representative, and accomplished jazz drummer. By the age of four, Clark was already playing jazz and blues rhythms, often accompanying his father to performances and sitting in with musicians throughout Texas, New Orleans, and beyond.

After relocating to the San Francisco Bay Area, Clark quickly became a fixture on the local jazz scene. Alongside bassist Paul Jackson, he formed a rhythm section that powered countless performances at San Francisco’s famed Both/And Club. Early recording opportunities with pianist Vince Guaraldi helped establish his reputation, but it was his groundbreaking work in Oakland’s funk and R&B scene that would eventually lead him to Herbie Hancock’s influential Headhunters. As a member of that pioneering ensemble, Clark helped redefine modern rhythm while gaining worldwide recognition.

Despite his success in funk and fusion, jazz remained at the core of Clark’s musical identity. Over the decades he has collaborated with an extraordinary list of artists including Tony Bennett, Eddie Henderson, Dave Liebman, Chet Baker, Andrew Hill, Dr. Lonnie Smith, Christian McBride, Babatunde Olatunji, and many others. Since releasing his debut album as a leader, Give the Drummer Some, in 1989, Clark has built an impressive catalog while earning a reputation as one of the most respected drummers in jazz.

Known equally for his storytelling as for his musicianship, Clark is also preparing for the publication of his autobiography, God Make Me Funky, co-written with acclaimed jazz biographer Bill Milkowski and scheduled for release in 2027. Like his music, the book promises an unfiltered look at a life spent pushing boundaries and embracing creativity.

With Kuon Ganjo (Time Without Beginning), Clark demonstrates that his artistic curiosity remains as vibrant as ever. Blending tradition, experimentation, and world-class musicianship, the album stands as another compelling entry in the catalog of a drummer who continues to evolve while staying true to his roots.

Fans can catch Clark live at the San Jose Jazz Festival on August 8, where he will perform alongside Eddie Henderson, Craig Handy, pianist Dave Kikoski, and bassist Essiet Okon Essiet, bringing the spirit of this dynamic new project to the stage.

François Bourassa Quartet Celebrates 30 Years with Cross-Canada Anniversary Tour and New Music

 

The François Bourassa Quartet is marking a major milestone in 2026 with a coast-to-coast Canadian tour celebrating the ensemble’s 30th anniversary. Led by acclaimed pianist, composer, and JUNO Award winner François Bourassa, the tour will bring one of Canada’s most respected jazz groups to some of the nation’s premier festivals and concert stages while introducing new music created specifically for the occasion.

Beginning June 19 at the Medicine Hat Jazz Festival and concluding August 9 at the North Hatley Jazz Festival in Quebec, the anniversary tour highlights three decades of artistic collaboration between Bourassa and his longtime bandmates: André Leroux on saxophones and flute, Guy Boisvert on upright bass, and Guillaume Pilote on drums. Together, they have built a reputation for creating adventurous, emotionally engaging music that seamlessly blends jazz, contemporary classical influences, and improvisation.

Bourassa has long been recognized as one of Canada’s leading jazz artists. A native of Montreal, he first gained national attention after winning the Montreal International Jazz Festival’s New Talent Prize in 1985. Over the following decades, he established an international profile through performances across Europe, Asia, and North America, sharing stages with jazz legends including Stan Getz, Dizzy Gillespie, Wayne Shorter, and Dave Brubeck. In 2007, he received the prestigious Oscar Peterson Award from the Montreal International Jazz Festival, recognizing his significant contributions to Canadian jazz. His quartet’s 2001 live recording, captured at Toronto’s Top O’ The Senator, earned a JUNO Award and further solidified the group’s standing among the country’s elite jazz ensembles.

The quartet’s most recent release, Swirl (2023), showcased the chemistry and spontaneity that have defined the ensemble throughout its history. Recorded live at Studio Piccolo in Montreal, the album received widespread international praise for its musical interplay and creative depth. Critics highlighted the group’s rare ability to function as a true collective, with performances that balance technical virtuosity and genuine emotional connection.

That sense of unity has become a hallmark of the François Bourassa Quartet. While Bourassa’s compositions are celebrated for their complexity, rich harmonies, and evolving structures, the ensemble’s greatest strength lies in its ability to bring those ideas to life in a way that feels fresh and immediate on stage. Audiences can expect a program that reflects the group’s extensive catalog while also introducing new material created in conjunction with the anniversary tour.

A major highlight of the summer schedule will be the quartet’s appearances at the Montreal International Jazz Festival. Bourassa will perform with the Christine Jensen Sextet on July 1 as part of the FIJM’s “Modes of Coltrane” celebration honoring the centenary of John Coltrane’s birth. Additional Montreal performances include a quartet appearance at Dièse Onze on July 3 and a special trio performance at Messe Jazz at the Gésu on July 5.

Supported by the Canada Council for the Arts, the 30th anniversary tour is both a celebration of the quartet’s remarkable history and a testament to its continuing artistic evolution. Three decades after its founding, the François Bourassa Quartet remains one of the most compelling voices in Canadian jazz, demonstrating that longevity and innovation can thrive side by side.

The 2026 tour includes performances in Alberta, Saskatchewan, British Columbia, and Quebec, with additional dates in France scheduled for November. For jazz fans across Canada, this anniversary tour offers a rare opportunity to experience a group whose music continues to evolve while remaining grounded in the trust, creativity, and collaboration that have sustained it for 30 years.

Four Tops Live! Returns in Expanded 60th Anniversary Edition with Unreleased Performances and Restored Motown Magic

 

Motown fans have something special to look forward to this summer as UMe and Elemental Music prepare to release a newly remixed and expanded 60th Anniversary Edition of Four Tops Live! on July 24, 2026. Available on deluxe vinyl and digital platforms, the reissue breathes new life into one of Motown’s most celebrated live recordings while offering fans a deeper look into the legendary group's electrifying stage presence.

Originally recorded during two performances at Detroit’s iconic Roostertail nightclub in August and September 1966, Four Tops Live! captured the quartet at the height of their popularity. The expanded edition transforms the original album into a four-sided vinyl collection, adding ten previously unreleased tracks from the concerts. Alongside timeless Four Tops classics such as “Baby I Need Your Loving,” “I Can’t Help Myself (Sugar Pie, Honey Bunch),” “It’s the Same Old Song,” “Ask the Lonely,” and “Reach Out I’ll Be There,” listeners will hear the group’s interpretations of contemporary favorites including “Michelle,” “The Girl from Ipanema,” “Climb Ev’ry Mountain,” and “I Left My Heart in San Francisco.” The collection also includes a spirited performance of The Supremes’ chart-topping hit “You Can’t Hurry Love.”

The project was produced by Motown archivist and UMe Vice President of A&R Harry Weinger, with extensive restoration work handled by Drew Schultz, former drummer and music director for the Four Tops and current curator at Detroit’s Motown Museum. Working from the original master tapes, Schultz remixed and remastered the recordings, removing the overdubbed applause that appeared on the original release and restoring the authentic audience reactions from inside the Roostertail. The expanded edition also reinstates stage banter from lead singer Levi Stubbs and introductions from legendary Detroit radio personality Scott Regen, who served as emcee during the performances.

The deluxe gatefold package includes Regen’s original liner notes, newly written commentary, and producer notes that provide additional historical context. As an added bonus, the set closes with “You Name It,” a previously unreleased instrumental performance featuring Earl Van Dyke and the musicians who would later become known worldwide as The Funk Brothers.

The release also serves as a reminder of Motown’s remarkable impact beyond the recording studio. During the 1960s, live albums became a milestone for the label’s biggest stars, with artists including The Miracles, Marvin Gaye, Mary Wells, The Marvelettes, and The Supremes all receiving concert releases. Four Tops Live! stands apart, however, thanks to its connection to “Motown Monday,” a popular live concert series broadcast from the Roostertail and promoted by WKNR radio. The Four Tops were the inaugural headliners for the series, making the album an important document of both Motown and Detroit music history.

Equally remarkable is the group's longevity. Founding members Levi Stubbs, Abdul “Duke” Fakir, Renaldo “Obie” Benson, and Lawrence Payton first came together in 1953, years before Motown Records was established. The lineup remained unchanged for more than four decades, a rarity in popular music. Their consistency helped build one of the most enduring catalogs in soul music history and cemented their place among Motown’s greatest acts.

In a fitting tribute to the album’s legacy, the current incarnation of the Four Tops will celebrate the release with a July 24 performance at the Roostertail, the very venue where these historic recordings were made sixty years ago. For longtime fans and newcomers alike, the expanded edition of Four Tops Live! offers an unforgettable snapshot of a group whose energy, talent, and timeless songs continue to resonate across generations.

Unearthed Ella Fitzgerald Concert From 1966 Captures the Queen of Jazz at Her Brilliant Best

 

More than half a century after it was performed, a remarkable new chapter has been added to the legacy of jazz icon Ella Fitzgerald. Live at Falkoner Theatre Copenhagen 6th February 1966, arriving July 24, 2026 via Gearbox Records, presents a previously unreleased concert recording that captures the legendary vocalist in a setting where she sounds completely free, relaxed, and at the height of her powers.

Available on 180g vinyl with OBI strip and on CD in a replica LP-style sleeve, the release offers listeners a rare opportunity to hear Fitzgerald in an unguarded live environment, backed by the Duke Ellington Orchestra and the Jimmy Jones Trio. More than just another archival release, the album stands as a significant historical document from one of the most celebrated voices in the history of popular music.

Ella Fitzgerald's influence on jazz and vocal music is almost impossible to overstate. Born in Newport News, Virginia, in 1917 and raised in Yonkers, New York, Fitzgerald rose from humble beginnings to become one of the defining artists of the twentieth century. Her career began in earnest after winning an amateur talent contest at Harlem's Apollo Theater in 1934. Soon after, she joined drummer Chick Webb's orchestra, where her breakthrough hit "A-Tisket, A-Tasket" transformed her into a national star.

Over the following six decades, Fitzgerald would become known as the "First Lady of Song" and the "Queen of Jazz," earning admiration for her flawless intonation, extraordinary vocal range, impeccable phrasing, and groundbreaking scat singing. Her celebrated Songbook series, featuring the works of composers such as Cole Porter, George and Ira Gershwin, Duke Ellington, Irving Berlin, and Harold Arlen, remains among the most important recorded achievements in American music.

Fitzgerald won 13 Grammy Awards, sold millions of records worldwide, and inspired generations of singers across jazz, pop, soul, and beyond. Artists from Sarah Vaughan and Frank Sinatra to Stevie Wonder and Diana Krall have acknowledged her profound influence. Yet despite her immense success, she never lost the sense of joy and spontaneity that made her live performances so captivating.

That spontaneity is on full display throughout Live at Falkoner Theatre Copenhagen 6th February 1966.

The recording captures Fitzgerald just one night before she entered Stockholm's Konserthuset to record The Stockholm Concert, 1966, a live album now regarded as one of the essential recordings of her later career. While that Stockholm performance has long been celebrated, the Copenhagen concert remained unheard for decades, making this newly discovered recording a major find for jazz historians and fans alike.

What makes the performance especially compelling is its sense of freedom. Unlike a formal studio session or a concert intended for commercial release, Fitzgerald performs with complete ease. There is no sense of restraint, no pressure to deliver a definitive statement. Instead, listeners are treated to an artist fully immersed in the moment, responding instinctively to the musicians around her and drawing energy from the audience.

The setting itself is significant. During the 1950s and 1960s, many African American jazz musicians found Europe to be a welcoming refuge from the racial discrimination they frequently encountered in the United States. Countries such as Denmark, Sweden, France, and the Netherlands embraced jazz artists as cultural ambassadors and often afforded them a level of respect and appreciation that was not always available at home.

For Fitzgerald, Denmark became one of those special places. Her comfort on the stage of Copenhagen's Falkoner Theatre is evident from the opening moments of the performance. The warmth of the audience and the chemistry between Fitzgerald and her accompanying musicians create an atmosphere that feels both intimate and electrifying.

The setlist showcases the extraordinary breadth of her artistry. Opening with Duke Ellington's "Satin Doll," Fitzgerald immediately establishes a playful rapport with both band and audience. "Hey Little Girl" and "Something To Live For" reveal her gift for storytelling and emotional nuance, while Cole Porter's "Let's Do It, Let's Fall In Love" demonstrates her effortless command of sophisticated lyric interpretation.

Her rendition of "Sweet Georgia Brown" swings with infectious energy, reminding listeners why she was revered not only for her technical mastery but also for her ability to make every performance feel fresh and alive.

The second half of the concert contains several highlights that rank among the most exciting moments of the recording. "How High The Moon," one of Fitzgerald's signature pieces, provides ample opportunity for her legendary scat improvisation. Few singers in jazz history possessed the rhythmic inventiveness and melodic imagination that Fitzgerald brought to her scat solos, and this performance offers a vivid example of that artistry.

The emotional depth of "Lover Man" contrasts beautifully with the Brazilian-inspired rhythms of "So Danço Samba," highlighting the remarkable versatility that allowed Fitzgerald to move effortlessly between jazz standards, ballads, swing, bebop, and international repertoire.

Her interpretation of "I'm Just A Lucky So-And-So" is charming and understated, while the concert closes with a spirited rendition of "Mack The Knife," a song she famously transformed into one of her signature showpieces. By this point in the performance, Fitzgerald sounds completely liberated, weaving humor, improvisation, and vocal brilliance into a finale that leaves little doubt about why she remains one of the most beloved performers in jazz history.

The newly unearthed recording has been mastered by Caspar Sutton-Jones at Gearbox Productions and released with the full blessing of Fitzgerald's estate. The result is a pristine presentation of a concert that many assumed had been lost to time.

For longtime admirers of Ella Fitzgerald, Live at Falkoner Theatre Copenhagen 6th February 1966 offers a rare glimpse into a legendary artist during one of the most celebrated periods of her career. For newer listeners, it serves as a perfect introduction to the qualities that made her one of the greatest singers who ever lived: joy, elegance, technical brilliance, and an unwavering ability to connect with audiences through song.

Sixty years after the performance took place, the magic of that February evening in Copenhagen remains undiminished. If anything, the passage of time has only made this discovery more extraordinary.

Ella Fitzgerald – Live at Falkoner Theatre Copenhagen 6th February 1966 will be released by Gearbox Records on July 24, 2026, on CD and 180g vinyl.

Chuck Bergeron’s Bass and Face Celebrates the Art of Intimate Musical Conversation

 

For more than four decades, bassist Chuck Bergeron has thrived in virtually every jazz setting imaginable, from powerhouse big bands to small-group improvisation. Along the way, one aspect of music-making has remained especially meaningful to him: the connection between bassist and vocalist.

That connection takes center stage on Bass and Face, a deeply personal new album arriving June 5, 2026, via Summit Records. The project pairs Bergeron in intimate duet performances with ten exceptional vocalists, creating a collection that is both musically adventurous and emotionally revealing.

The album’s title traces back to Bergeron’s years living in Seattle, where he frequently performed with vocalist Kendra Shank. During their concerts, Shank would set aside a portion of the evening for a stripped-down bass-and-vocal duet segment she affectionately called “Bass and Face.”

“Pianists and guitar players get to do that sort of thing all the time,” Bergeron explains. “The harmonic range of the bass is a bit more limited, so it’s rare that I get that opportunity—but I really loved it. It's a really naked and vulnerable situation, and requires a different approach to playing the instrument.”

The experience left a lasting impression. Ever since, Bergeron dreamed of creating an entire album built around one-on-one musical conversations with singers who had played important roles throughout his life and career. Bass and Face finally brings that vision to life.

The album features an extraordinary lineup of vocalists, including Janis Siegel, Pete McGuinness, Roseanna Vitro, George Rabbai, Lisanne Lyons, Deborah Silver, Kate Reid, Nicole Yarling, Sheila Jordan, and Kevin Mahogany. Together, they explore a wide-ranging repertoire that highlights both the intimacy and expressive possibilities of the bass-and-voice format.

The recording opens with Janis Siegel’s breezy interpretation of “An Occasional Man,” a tropical-tinged gem by Ralph Blane and Hugh Martin. Percussionist Richie Bravo subtly enhances the performance, one of several guest appearances throughout the album that add color without disrupting the duet concept. Siegel also returns later for “When I Drink,” a bittersweet song by the Italian duo Musica Nuda, where Bergeron’s bass becomes a sympathetic companion to the lyric’s late-night reflections.

Longtime friend Pete McGuinness contributes both his voice and his own arrangement of Johnny Mandel’s “Emily,” the only track on the album not arranged by Bergeron. Their playful chemistry is evident throughout, particularly during an engaging scat exchange that reflects decades of friendship dating back to their college years.

Another longtime collaborator, Lisanne Lyons, joins Bergeron for a haunting rendition of “Detour Ahead,” while George Rabbai brings a unique dual role to “I Thought About You,” contributing both trumpet and vocals. Roseanna Vitro delivers a spirited take on Jeannie Cheatham’s witty “Take the Wrinkles Out of Your Birthday Suit,” a blues-infused celebration of humor and resilience.

Closer to home, Bergeron collaborates with University of Miami colleagues Kate Reid and Nicole Yarling. Reid lends effortless sophistication to “Devil May Care,” while Yarling joins Bergeron for a joyful New Orleans-inspired medley that pays tribute to the city where he was born and raised.

Deborah Silver, whose recent work with the Count Basie Orchestra earned Grammy recognition, appears on “Analog,” a charming rejection of modern complications that feels perfectly suited to the album’s acoustic simplicity.

Among the project’s most meaningful moments are the contributions from two legendary vocalists who are no longer with us. Sheila Jordan, recorded at age 95 shortly before her passing, brings wisdom, warmth, and decades of jazz history to “Fair Weather.” Rather than revisit the bass-and-vocal format she had explored extensively with bassist Harvie S, Jordan opted to include guitarist John Hart, creating a unique setting for a lyric she wrote in honor of trumpeter Kenny Dorham.

The album also includes two performances featuring the late Kevin Mahogany, drawn from sessions recorded in 2005 during Bergeron’s seven-year tenure in Mahogany’s band. Their interpretations of John Lewis’ “Two Degrees East, Three Degrees West” and Charles Mingus’ “Duke Ellington’s Sound of Love” serve as heartfelt tributes to a singer whose encouragement and friendship profoundly influenced Bergeron’s career.

The album concludes with a piano-bass duet featuring pianist Phil Strange on the New Orleans classic “Do You Know What It Means To Miss New Orleans?” The performance provides a fitting farewell, returning the listener to Bergeron’s roots while underscoring the album’s central themes of connection, memory, and shared musical experience.

“This is the definition of a passion project,” Bergeron says. “So I wanted to make sure that I invited people who I enjoy working with—and simply enjoy spending time with. Every one of these singers has their own unique personality, and they're all great fun to work with.”

That spirit of friendship and collaboration resonates throughout Bass and Face. More than a collection of duets, the album is a celebration of relationships forged over decades, brought to life through the simple yet profound conversation between a voice and a bass.

Bass and Face will be released on June 5, 2026, via Summit Records.

Joe Lovano’s Paramount Quartet Finds New Magic in Collective Improvisation

 

"There's a lot of magic that just kind of unfolds as we play. And the more we play, the more magical it becomes." — Joe Lovano

The title Paramount Quartet feels less like a name and more like a declaration of purpose. For saxophonist Joe Lovano, the project represents a fresh creative ascent, despite a career that already spans decades and includes dozens of recordings as a bandleader.

“I feel like at this point I’m on the rise,” Lovano says. “We've arrived at this unique place with this quartet. It’s very special. It's a new thing. Recording this with Manfred Eicher in the studio, I was really thrilled with the way the group continuously developed. And those cats, they play with a real global awareness.”

The quartet brings together an exceptional cast: guitarist Julian Lage, bassist Asante Santi Debriano, and drummer Will Calhoun, widely known for his work with Living Colour. Together, they create a dynamic and adventurous ensemble that opens a compelling new chapter in Lovano’s ever-evolving musical journey.

The origins of the group trace back to a 2023 fundraiser supporting Puerto Rican hurricane relief, where Lovano first met Debriano and Calhoun. The chemistry was immediate.

“Sometimes you meet, and it's like you've known each other your whole life,” Lovano recalls. “That happened with Will, Asante and I.”

Adding Julian Lage completed the vision. Lovano and Lage had discussed collaborating for years, dating back to the guitarist’s time in one of Lovano’s ensembles at Berklee College of Music in the mid-2000s.

That deep connection is evident throughout the album. The quartet moves effortlessly between intimate ballads and energetic explorations, balancing sophistication, spontaneity, and emotional depth. The record opens with Charlie Haden’s “First Song,” a soulful and meditative interpretation that sets the tone for the journey ahead.

Lovano’s relationship with the piece goes back years. Having performed it alongside Haden while occasionally substituting for Ernie Watts in Quartet West, he developed a lasting affection for the composition. Only recently did he feel ready to revisit it with his own ensemble, discovering new possibilities within its reflective spirit.

The album’s original material showcases the quartet’s remarkable versatility. Tracks such as “Amsterdam” highlight intricate rubato interplay, while “Fanfare For Unity” channels groove-driven post-bop energy. “The Great Outdoors” expands into a larger, episodic form that blends carefully structured passages with open improvisation, and “Congregation” settles into an inviting mid-tempo flow.

Throughout the recording, each musician demonstrates an extraordinary sensitivity to the music’s shifting demands. The chamber-like restraint of “The Call” contrasts beautifully with the explosive energy of “Fanfare For Unity,” while Lovano himself adds further texture by moving seamlessly between tenor saxophone, soprano saxophone, and tarogato.

Lovano speaks enthusiastically about his collaborators. He praises Calhoun’s expansive musicality and Debriano’s rich experiences shaped by his Panamanian heritage and decades of work with artists such as Archie Shepp and Randy Weston. Their collective history and openness to exploration create an ideal foundation for the music.

For Julian Lage, Paramount Quartet marks his first appearance on ECM. His contributions are both subtle and profound, characterized by lyrical phrasing, harmonic sophistication, and an intuitive responsiveness to Lovano’s improvisations. The long-standing relationship between the two musicians is evident in every exchange, a connection that dates back to when Lovano first encountered Lage as a teenage prodigy attending one of his performances with McCoy Tyner in California.

The album’s second and final interpretation of an outside composition is Wayne Shorter’s “Lady Day.” Lovano first encountered the piece through Shorter’s Soothsayer and has long been captivated by its haunting melody and rich harmonic possibilities. Originally arranged for a big band residency in Orvieto, Italy, he later adapted it for the quartet, where it found an entirely new life.

The performance exemplifies the group’s defining quality: an ability to create in the moment. Lovano notes that Calhoun, Debriano, and Lage are constantly introducing new ideas from within the music itself, allowing each performance to evolve organically and unpredictably.

Recorded in February 2025 at La Buissonne Studios in Southern France and produced by Manfred Eicher, Paramount Quartet captures four master improvisers at a rare point of creative alignment. It is a recording built on trust, curiosity, and shared musical vision—a reminder that even for an artist as accomplished as Joe Lovano, the most exciting discoveries can still lie ahead.

Paramount Quartet was released by ECM on May 29, 2026.