Jalen Prepares Sophomore Album Doctrine of Love, Expanding His Soulful Vision

 

Since the release of his critically acclaimed debut full-length album, 2023’s Come Around and Love Me, Jalen has experienced a meteoric rise. His track “If You Don’t Want My Love” went viral, amassing over 253 million streams to date, and he has appeared on major television programs including The Graham Norton Show, The Late Show with Stephen Colbert, and Later with Jools Holland. Beyond the screen, Jalen has opened for Thee Sacred Souls on their U.S. tour and sold out numerous headlining club shows worldwide.

Now, in 2026, he prepares to release his eagerly anticipated sophomore album, Doctrine of Love. The record emerges from the momentum and experience gained through relentless touring and creative refinement following his debut. Guided by a personal philosophy—“The doctrine of love holds that every thought and action should be guided first by compassion for others, because love is the highest measure of human worth”—the album channels this ethos into each track.

Musically, Doctrine of Love builds on the orchestral sophistication of Come Around and Love Me, adding bold flourishes of horns and gospel-kissed backing vocals. The album blends pop sensibility with soulful melodies and a raw, groove-driven energy, demonstrating Jalen’s deep understanding and appreciation of classic soul while firmly staking his place in modern soul artistry.

Track Listing – Disc 1

1. Anyone In Love
2. Doctrine Of Love
3. Mr. Train Conductor
4. Burning Temptation
5. Love Is Gone
6. I Can't Ever Leave You
7. Hannah, What's The Matter?
8. Good Good Love
9. Hang It On The Shelf
10. Taken Out Of The Picture

Doctrine of Love promises to further establish Jalen as a defining voice in contemporary soul, combining heartfelt storytelling with compelling arrangements that honor the tradition while moving it forward.

Dr. John Live At Rockpalast 1999: A Timeless Night of New Orleans Groove

 

On July 9, 1999, Dr. John took the stage at the famed Rockpalast festival at Loreley and transformed a summer performance into something enduring. More than just a concert, it was a moment where atmosphere, history, and artistry converged—captured now in Live At Rockpalast 1999, available as a CD/DVD set beginning March 27, 2026.

The recording presents the six-time Grammy Award winner and Rock and Roll Hall of Fame inductee in commanding form. Rooted deeply in the rhythms of New Orleans, the performance moves through blues, R&B, and funk with the unmistakable rolling piano style that defined his sound. Every note carries the weight of a lifetime spent shaping one of the most distinctive voices in American music.

Born Malcolm “Mac” Rebennack Jr., Dr. John built a career that defied easy categorization. His landmark debut Gris-Gris introduced a hypnotic fusion of voodoo mysticism, Creole influences, and rhythm and blues—a sonic identity that would echo throughout his work. While his Night Tripper persona became iconic, it was always anchored in the spirit of his hometown: raw, rhythmic, and deeply human.

At Loreley, he is joined by a tight-knit ensemble of New Orleans musicians—David Barard on bass, Bobby Broom on guitar, and Herman Ernest on drums—who together create a sound that is both grounded and electric. The performance is marked by authority and ease, as the band moves seamlessly between groove-heavy vamps and loose, expressive improvisation.

The setlist reads like a roadmap through Dr. John’s legacy. From the Mardi Gras energy of “Iko Iko” to the laid-back swagger of “Right Place, Wrong Time,” each track is delivered with a sense of lived-in authenticity. “I Walk On Guilded Splinters” unfolds with hypnotic intensity, a reminder of the song’s enduring influence and its reinterpretation by artists such as Cher and The Neville Brothers. Elsewhere, songs like “Such A Night” and “Goin’ Back To New Orleans” reinforce the deep connection between the music and the culture that shaped it.

Track Listing:

1. Iko Iko
2. Qualified
3. I Walk On Guilded Splinters
4. Soulful Warrior
5. I'm Gonna Go Fishin'
6. Sweet Home New Orleans
7. Right Place, Wrong Time
8. Such A Night
9. Mama Roux
10. Goin' Back To New Orleans
11. Big Chief

Throughout his career, Dr. John collaborated with a remarkable range of artists, including Eric Clapton, Mick Jagger, Van Morrison, and Frank Zappa. His presence also extended to film, with appearances in The Last Waltz and Blues Brothers 2000, further cementing his cultural impact.

This release has been carefully prepared through collaboration between MIG Music and the Dr. John.

Joy Arrives: MT Jones Channels Soul Tradition and Modern Sensibility into a Breakthrough Debut

MT Jones, born Michael Thomas Jones, emerges as one of the most compelling new voices in contemporary soul with Joy, a debut album that feels both deeply rooted in musical history and vividly present in its emotional honesty. Based in Liverpool, Jones crafts a sound that bridges eras—drawing from the warmth of 1960s and 1970s songwriting while embracing the textures of modern R&B and jazz.

What defines Jones as an artist is not simply his stylistic blend, but the authenticity that underpins it. His music is built on live instrumentation, thoughtful arrangements, and a voice capable of conveying both vulnerability and strength. There is a timeless quality to his songwriting—melodies that feel familiar yet personal, lyrics that resonate without excess, and performances that prioritize feeling over flash.

Raised in Ellesmere Port, Jones grew up surrounded by the sounds of classic soul, thanks to the influence of his father and uncle. That early exposure shaped his musical instincts, but it was his own initiative that set him on his path. Busking on the streets of Chester at just 11 or 12 years old, he began developing the performance skills and resilience that would later define his live presence.

A pivotal moment came when he saw Stevie Wonder perform at age 13. Inspired, Jones taught himself piano, unlocking a new dimension of musical expression that would become central to his songwriting. That combination of self-driven learning and deep listening continues to inform his approach today.

His formal training at Liverpool Institute for Performing Arts further expanded his horizons, placing him in a community of like-minded musicians. There, he formed a key creative relationship with Jalen Ngonda, a connection that would prove instrumental in his early career. Joining Ngonda’s touring band, Jones performed on bass, keys, and backing vocals, gaining invaluable experience on stages around the world—including shows supporting Lauryn Hill.

These formative years were marked by constant growth. Balancing odd jobs with cover gigs, Jones steadily honed his craft—not only as a performer but also as a songwriter and producer. The global pause during the COVID-19 pandemic became an unexpected turning point, offering him the time and space to focus intensely on original material. What emerged from that period laid the foundation for his solo career.

His debut single, “I Won’t Ever Say Goodbye,” released in late 2022, introduced listeners to his signature blend of soulful sincerity and modern polish. Subsequent releases, including “All I Do” in early 2024, built momentum and anticipation, leading to his self-titled EP later that year. Collaborations with Baltic Jazz Recordings and contributions to tracks like “Forever & A Day” and “So Glad” by Maevey further showcased his versatility and growing presence within the scene.

Even before the release of a full-length album, Jones’ music began to travel widely. Airplay across major outlets—including BBC Radio 2, BBC 6 Music, Jazz FM, and international stations such as FIP in France and Radio Capital in Italy—signaled a growing recognition of his artistry. Coverage in publications like Echoes and Rockerilla reinforced that sense of momentum, positioning him as an artist to watch.

His live performances have played an equally important role in his rise. Headline shows at venues like The Moroccan Lounge, Baby's All Right, and Islington Assembly Hall have demonstrated his ability to translate studio intimacy into compelling stage presence. With an extensive European tour and an appearance at SXSW scheduled for 2026, his reach continues to expand.

Joy, his debut album, represents the culmination of these experiences. Comprising eleven tracks, the record explores themes of love, loss, and personal growth with a clarity that feels earned rather than constructed. The arrangements balance lush instrumentation with space and restraint, allowing Jones’ voice to remain at the center of each song.

There is a careful pacing to the album—heartfelt ballads sit לצד mid-tempo grooves, creating a dynamic listening experience that mirrors the emotional spectrum of its subject matter. The influence of classic soul is ever-present, yet it never feels imitative. Instead, Jones channels those traditions into something distinctly his own, blending them with contemporary sensibilities in production and structure.

What makes Joy particularly striking is its coherence. Despite the variety of tempos and moods, the album maintains a strong sense of identity, guided by Jones’ consistent voice and perspective. It feels less like a collection of songs and more like a unified statement—an introduction not just to his sound, but to his worldview.

As anticipation builds around the album’s release in Spring 2026, it is clear that MT Jones is entering a pivotal moment in his career. He stands at the intersection of tradition and innovation, drawing from the past while speaking directly to the present. His music resonates because it is grounded in real experience, shaped by years of dedication, and delivered with sincerity.

In an era often defined by rapid turnover and fleeting trends, Joy offers something enduring. It is an album that invites listeners to slow down, to feel deeply, and to connect—not only with the music, but with the artist behind it. For MT Jones, this debut is not just an arrival; it is the beginning of a journey that promises to unfold with both purpose and passion.

Paramount Quartet Rises: Joe Lovano Channels Decades of Mastery into a New Creative Peak

 

“There’s a lot of magic that just kind of unfolds as we play. And the more we play, the more magical it becomes.” With that simple but revealing reflection, Joe Lovano captures the essence of Paramount Quartet, a recording that feels less like a summation of a storied career and more like the beginning of a bold new ascent.

The word “Paramount” in the quartet’s name is no accident. It signals intention, elevation, and a sense of arrival—not in the conventional sense of culmination, but as a springboard into unexplored territory. Lovano, despite decades of experience and an extensive catalog of recordings as a leader, speaks of the project with the enthusiasm of discovery. There is a sense that something rare has crystallized within this ensemble, something that cannot be manufactured, only recognized when it appears.

That chemistry is rooted in both chance and history. The quartet emerged from an impromptu meeting at a 2023 fundraiser for Puerto Rican hurricane relief, where Lovano connected with Asante Santi Debriano and Will Calhoun. The connection was immediate and profound, the kind musicians often describe in near-mythic terms—an instant familiarity that bypasses the need for explanation. Bringing Julian Lage into the fold completed the picture, fulfilling a musical partnership that had been years in the making, dating back to their early encounters at Berklee College of Music.

What emerges on Paramount Quartet is a deeply attuned ensemble capable of shifting seamlessly between intimacy and intensity. The album unfolds as a carefully balanced program, one that traverses multiple modes of improvisation without ever losing its internal coherence. Each piece feels like a distinct environment, yet all are connected by the quartet’s shared language and intuitive interplay.

The opening track, Charlie Haden’s “First Song,” sets the tone with a sense of reverence and spaciousness. Lovano’s history with the composition—having performed it alongside Haden—imbues the performance with a quiet authority. The quartet approaches it not as a standard to be reinterpreted, but as a meditation to be inhabited, allowing its emotional depth to unfold gradually and organically.

Lovano’s original compositions provide the album’s structural and expressive backbone. Pieces like “Amsterdam” explore the elasticity of time through rubato interplay, while “Fanfare For Unity” channels a groove-driven momentum that recalls post-bop traditions while pushing beyond them. “The Great Outdoors” expands into extended form, weaving together composed passages and open improvisation in a way that highlights the quartet’s architectural sensitivity. Meanwhile, “Congregation” offers a more grounded, mid-tempo flow, demonstrating the group’s ability to communicate with subtlety and restraint.

Throughout these shifting contexts, the ensemble exhibits an extraordinary responsiveness. Will Calhoun’s drumming is both expansive and precise, capable of igniting high-energy passages or dissolving into delicate textures. Asante Santi Debriano anchors the music with a deeply rooted sense of groove and history, his playing informed by a wide range of experiences and influences. Julian Lage brings a distinctive harmonic voice, his lines weaving in and out of Lovano’s phrases with remarkable clarity and purpose.

Lage’s presence is particularly significant. Making his debut recording for ECM, he demonstrates an uncanny ability to both complement and challenge Lovano’s ideas. His solos unfold with a quiet intensity, marked by intricate voicings and a strong sense of narrative. As a collaborator, he listens as much as he speaks, shaping the music from within rather than imposing upon it.

Lovano himself adds another layer of depth by moving fluidly between instruments—tenor saxophone, soprano saxophone, and tarogato—each chosen for its unique tonal qualities. This shifting palette allows him to respond to the music in real time, emphasizing color and texture as much as melody and rhythm.

The album also includes a striking interpretation of “Lady Day” by Wayne Shorter, a piece that carries its own rich lineage. Lovano approaches it with a sense of openness, allowing the melody to breathe while exploring the harmonic possibilities embedded within it. The performance reflects not only his admiration for Shorter but also his ability to engage with that legacy in a deeply personal way.

Recorded in February 2025 at La Buissonne Studios in Southern France and produced by Manfred Eicher, the album benefits from ECM’s signature aesthetic—clarity, space, and a focus on sonic detail. Every nuance of the quartet’s interaction is captured with precision, allowing listeners to fully experience the subtle dynamics that define the music.

What ultimately sets Paramount Quartet apart is its sense of ongoing evolution. This is not a static document but a snapshot of a living process, a moment in which four musicians converge to create something that continues to grow with each performance. The “magic” Lovano speaks of is not a fixed quality but a dynamic force, one that deepens as the ensemble’s relationships develop.

In that sense, the album embodies a paradox: it feels both fully realized and full of potential. It stands as a testament to the enduring vitality of jazz as an art form, demonstrating that even for an artist of Lovano’s stature, there are always new horizons to explore.

Paramount Quartet is not just another entry in an already distinguished discography—it is a reaffirmation of the creative spirit that drives it. It reminds us that mastery is not about reaching a final destination, but about remaining open to discovery, to connection, and to the transformative possibilities of collective expression.

Tributaries Flows with Vision: A Bold, Collective Debut Redefining the Modern Big Band

 

The vibrant debut album from the New England Jazz Collaborative presents dazzling new compositions, ranging from classic swing to modern jazz to West African highlife, arriving as both a statement of purpose and a reimagining of what a contemporary big band can be. Tributaries, out July 17, 2026 via ACP Records, features six new works for big band by four composers—founder Jeremy Cohen, Darryl Harper, Matan Rubinstein, and Sam Spear—and stands as a compelling testament to the power of collaboration, diversity, and artistic ambition.

From its opening moments, the album signals that it is not bound by tradition but instead energized by it. The music flows across stylistic borders with remarkable fluidity, embracing the full spectrum of jazz history while engaging deeply with global influences and modern sensibilities. The result is a listening experience that feels both expansive and cohesive, rooted in shared purpose yet alive with individual expression.

“The compositions offer a diverse range of styles, textures, and moods, highlighting the strength and versatility of the musicians. Each performer contributes a dynamic presence and expression to the music, creating a vibrant soundscape that defines the ensemble's creativity, individuality, and collaborative spirit,” notes Regina Carter. Her observation captures the essence of the project: a unified ensemble that thrives on multiplicity.

Ben Allison echoes that sentiment, emphasizing the individuality within the collective: “The music on this new album by the New England Jazz Collaborative is fantastic… I hear the individual voices of Jeremy, Matan, Darryl, and Sam… It’s refreshing and uplifting to hear this music.” Meanwhile, critic Bob Blumenthal underscores the album’s impact, calling it “a powerful debut” defined by “uniform excellence and diversity.”

At its core, Tributaries is a panoramic showcase of compositional approaches. It moves effortlessly from echoes of New Orleans swing and lush balladry to daring fusions and West African highlife grooves. Each piece contributes to a broader narrative about the possibilities of contemporary large ensemble jazz—one that honors lineage while pushing forward into new terrain.

The origins of the New England Jazz Collaborative are rooted in a practical challenge that many composers face: access. Jeremy Cohen, a composer and percussionist, found himself with a wealth of music but limited means to bring it to life. Recognizing this as a shared struggle, he gathered a community of like-minded artists to form an ensemble that would not only perform new works but also sustain the creative ecosystem around them. What began as a solution quickly evolved into a groundbreaking model—an artist-led nonprofit collective dedicated to commissioning, presenting, and recording new music.

Unlike traditional big bands centered around a single bandleader, this ensemble operates more like a living, breathing repertory orchestra. Its identity is shaped not by one voice but by many, allowing for a dynamic and ever-evolving repertoire. This approach challenges the conventional hierarchy of jazz ensembles and replaces it with a collaborative framework that amplifies innovation and inclusivity.

In less than five years, the collective has already commissioned over 30 new works and directed significant financial support toward musicians and creatives. Its impact extends beyond performance, fostering a sustainable environment for composers to experiment, develop, and be heard. The emergence of additional composer-led big bands from within its orbit suggests that its influence is already rippling outward.

Musically, Tributaries reflects this ethos in vivid detail. Jeremy Cohen’s “Another Brighter Day” opens the album with a sense of emergence—birdsong textures and warm harmonies unfolding into an uplifting, melodic statement. His closing contribution, “Green Turtle Strut,” draws on his experiences in Ghana, blending highlife rhythms with jazz language in a way that feels organic and celebratory.

Matan Rubinstein’s “Ol’ Liminal” injects kinetic energy into the album, merging early jazz collectivity with contemporary rhythmic and textural ideas. Its references span genres and eras, creating a piece that feels as informed by experimental rock and electronic music as it is by jazz tradition.

Darryl Harper contributes two contrasting works: the intimate, lyrical “Kiss Me Again,” anchored by a delicate piano feature, and “The Secret,” an angular, rhythmically playful piece that thrives on interaction and spontaneity. Together, they highlight Harper’s range as both a melodist and a structural innovator.

Sam Spear’s “Gee, Em…” closes the compositional circle with a nod to Third Stream traditions, weaving classical techniques into a jazz framework. Its conceptual foundation—built on a 12-tone row—translates into a piece that is at once cerebral and expressive, bridging intellectual rigor with emotional resonance.

The ensemble itself plays a crucial role in bringing these compositions to life. A mix of established voices and emerging talents, the group embodies the collaborative spirit at the heart of the project. Under the direction of Ken Schaphorst, the musicians navigate the demanding material with precision and personality, ensuring that each piece retains its distinct identity while contributing to the album’s overarching cohesion.

The title Tributaries is especially fitting. It suggests not only the diverse influences feeding into the music but also the convergence of those streams into a larger artistic current. The album reflects a musical reality in which boundaries are increasingly porous and creativity thrives at intersections. It is both a culmination of individual journeys and a starting point for something larger.

In this sense, the New England Jazz Collaborative positions itself within a broader lineage while carving out its own space. Drawing inspiration from past movements that emphasized collective creativity and experimentation, it reimagines those ideals for a contemporary context. Its commitment to new work, diversity, and accessibility ensures that it is not simply preserving a tradition but actively shaping its future.

Ultimately, Tributaries is more than a debut album—it is a declaration. It affirms that jazz, as a living art form, continues to evolve through collaboration, curiosity, and courage. It demonstrates that when artists are given the space and support to realize their visions, the results can be both deeply personal and universally resonant.

As Cohen reflects, what began as a means to an end has become something far more significant: a mission-driven collective with a clear sense of purpose. That purpose is audible in every note of Tributaries, an album that not only introduces a remarkable ensemble but also invites listeners into a vibrant, ever-expanding musical conversation.

Kind of Now: Gregory Hutchinson Leads a Bold All-Star Tribute to Miles Davis

“Time isn’t the main thing, it’s the only thing,” famously declared Miles Davis. The quote resonates as both a philosophical observation and a profound musical truth. Time—rhythm, pulse, momentum—lies at the heart of jazz, shaping the way musicians interact, create, and transform sound in the moment. It is also the perfect guiding principle behind Kind of Now – The Pulse of Miles Davis, an ambitious new tribute album led by one of modern jazz’s most revered drummers, Gregory Hutchinson.

Released April 3, 2026 by Warner Music Group, the album arrives at a significant cultural moment: the centenary celebration of Miles Davis, widely recognized as one of the most innovative, influential, and transformative figures in the history of music. Rather than simply revisiting familiar standards, Hutchinson and his all-star ensemble offer a fresh and forward-looking exploration of Davis’s musical legacy, drawing from different eras of the trumpeter’s groundbreaking career.

Across ten reinterpretations of classic compositions associated with Davis—alongside three original pieces by Hutchinson himself—the album moves fluidly through decades of jazz history. From the bebop language that shaped Davis’s early career in the 1950s to the electrified sonic explorations that culminated in albums such as Bitches Brew, Kind of Now captures the spirit of innovation that defined Davis’s artistic journey.

Hutchinson, often described as “the drummer of his generation” by critics, approaches this tribute with both deep reverence and creative independence. Rather than reproducing the original arrangements, he reimagines them through contemporary interpretations that emphasize rhythmic vitality, spontaneous interplay, and modern sonic textures.

The album opens with a powerful version of “Ah-Leu-Cha,” originally written by bebop pioneer Charlie Parker. The performance sets the tone for the project with dynamic ensemble interaction and a sense of adventurous energy. Trumpeter Ambrose Akinmusire leads the melodic charge, supported by saxophonist Ron Blake, pianist Gerald Clayton, bassist Joe Sanders, and Hutchinson’s propulsive drumming.

Throughout the album, this ensemble demonstrates remarkable cohesion while leaving room for individual voices to shine. Akinmusire’s trumpet work channels both the lyrical introspection and exploratory daring that characterized Miles Davis’s own playing. Blake contributes rich tenor saxophone and bass clarinet textures, adding depth and tonal contrast to the arrangements.

Another standout interpretation is “Seven Steps to Heaven,” one of Davis’s most celebrated compositions from the 1960s. The band approaches the tune with fresh rhythmic momentum, maintaining its melodic elegance while introducing contemporary harmonic and textural elements. The performance reflects Hutchinson’s philosophy of honoring the past without becoming confined by it.

Several pieces on the album draw from the repertoire of legendary saxophonist and composer Wayne Shorter, who was a key member of Davis’s influential 1960s quintet. Tracks such as “Fall,” “Orbits,” “Feio,” and “Water Babies” highlight Shorter’s compositional brilliance, offering intricate structures that invite both disciplined interpretation and open improvisation.

Guitarist Jakob Bro adds atmospheric color to several tracks, bringing a spacious and lyrical approach that complements the album’s modern aesthetic. Meanwhile, guitarist Emmanuel Michael contributes additional harmonic layers, enriching the ensemble’s sonic palette.

The program reaches a particularly ambitious moment with its reinterpretation of “Bitches Brew,” the iconic composition that helped launch Davis’s electric jazz revolution in 1970. Rather than replicating the sprawling sonic density of the original recording, Hutchinson’s ensemble distills its spirit into a focused yet expansive performance that emphasizes groove, tension, and evolving rhythmic patterns.

Another highlight is “Black Comedy,” written by legendary drummer Tony Williams, whose groundbreaking work in Davis’s mid-1960s band helped redefine the role of drums in jazz ensembles. The track serves as both homage and inspiration for Hutchinson, whose own drumming carries forward Williams’s spirit of rhythmic innovation.

In addition to these reinterpretations, Hutchinson contributes three original compositions that extend the album’s concept. “Marley’s Mood” offers a reflective interlude within the program, while “Ellehcem’s Time” and “I’m Done” showcase Hutchinson in solo drum performances. These pieces emphasize the central theme of time—both as rhythmic structure and philosophical idea—while allowing the drummer to explore the expressive possibilities of his instrument in intimate detail.

Another compelling moment arrives with “Circle in the Round,” a composition from Davis’s later period that blends modal jazz with subtle experimental textures. The ensemble’s interpretation captures the mysterious atmosphere of the original while adding its own distinctive voice.

Throughout Kind of Now – The Pulse of Miles Davis, Hutchinson acts not only as drummer but also as curator and storyteller. His drum interludes function as connective threads, linking the various pieces into a cohesive hour-long journey. These rhythmic transitions provide a sense of continuity while reinforcing the album’s central focus on pulse, groove, and momentum.

The project’s strength lies in its ability to balance historical awareness with contemporary imagination. Rather than treating Davis’s music as museum material, Hutchinson and his collaborators approach it as a living language—one that continues to evolve through new interpretations and perspectives.

In doing so, the album reflects the essence of Miles Davis’s artistic philosophy. Throughout his career, Davis constantly reinvented his sound, pushing jazz into new territories and challenging musicians to rethink established conventions. That spirit of fearless innovation remains the guiding force behind Kind of Now.

By bringing together a group of exceptional musicians and encouraging them to explore the music with curiosity and individuality, Gregory Hutchinson ensures that this tribute feels vibrant and relevant. The album celebrates Davis not only as a historical figure but as an enduring source of inspiration for generations of musicians.

As the world marks the centenary of Miles Davis, Kind of Now – The Pulse of Miles Davis stands as a fitting tribute—one that captures the restless creativity, rhythmic power, and boundless imagination that defined his legacy.

Mountain Call: Miroslav Vitous Returns with a Powerful ECM Statement Blending Improvisation, Composition, and Sonic Innovation

With Mountain Call, legendary Czech bassist and composer Miroslav Vitous delivers one of the most compelling projects of his career. Marking his first album as a leader for ECM Records in a decade, the release stands as both a creative summit and an artistic self-portrait. Drawing together multiple threads from Vitous’s long and influential musical journey, Mountain Call showcases his wide-ranging talents as an improviser, composer, arranger, and pioneer of creative sampling technology.

Across the album, Vitous performs in a variety of ensemble settings, prominently featuring two extraordinary collaborators: the late French clarinetist Michel Portal and the late American drummer Jack DeJohnette. Their presence adds historical depth and emotional resonance to the recording, resulting in music that feels both deeply personal and widely expansive.

At its core, Mountain Call balances spontaneous improvisation with carefully crafted sonic environments shaped through studio technology. Vitous blends live performance with orchestral samples and layered textures, creating evolving soundscapes that extend the expressive potential of the ensemble. The result is a dynamic listening experience where acoustic interplay meets contemporary production techniques without sacrificing the immediacy of improvisation.

Vitous first became widely known as a founding member of the influential jazz fusion group Weather Report, whose groundbreaking approach helped redefine the possibilities of jazz in the 1970s. His relationship with ECM began later in that decade when he joined guitarist Terje Rypdal and drummer Jack DeJohnette in a powerful collaborative trio recording. Even then, the chemistry between Vitous and DeJohnette was unmistakable, forming an explosive rhythm section defined by energy, imagination, and fearless interplay.

That musical partnership resurfaces prominently on Mountain Call. The bassist and drummer reconnect with remarkable vitality on tracks such as “Tribal Dance” and “Epilog,” where their rhythmic dialogue becomes a central pillar of the album’s sound. On “Epilog,” their interaction is framed by Vitous’s dramatic orchestral sample chords, creating a cinematic backdrop that highlights the expressive intensity of their playing.

DeJohnette’s artistry also shines within Vitous’s tripartite composition “Evolution.” Here, the drummer contributes a richly detailed solo performance, revealing his painterly approach to rhythm and texture. The piece also features saxophonist and bass clarinetist Bob Mintzer, whose expressive bass clarinet lines add further depth to the composition. Mintzer previously collaborated with Vitous on the acclaimed album Universal Syncopations II, making his appearance here part of a continuing musical dialogue.

Another major highlight of Mountain Call is the five-part suite “Rhapsody,” which introduces bassist, vocalist, and composer Esperanza Spalding in her first appearance on ECM. Spalding performs Vitous’s lyrics while also using her voice as a purely musical element, blending melodic expression with atmospheric texture.

Within the suite’s section “Fun and Games,” Spalding engages in lively call-and-response exchanges with Vitous and saxophonist Gary Campbell, all unfolding against a layered soundscape of orchestral samples created by Vitous. The suite also features drummer Gerald Cleaver, whose sensitive and nuanced playing adds color and subtle shading to the evolving musical landscape.

Despite the album’s many ensemble moments, Mountain Call begins and ends with something more intimate: a series of dazzling improvised duets between Vitous and Michel Portal. These performances capture two master improvisers in pure creative conversation, free of structural constraints yet guided by deep musical intuition.

The closing title track stands out as one of the album’s most powerful moments. Vitous performs with dramatic arco bass while Portal responds with evocative bass clarinet lines, producing a dialogue rich with tension, lyricism, and emotional depth. The duo interactions recall some of Vitous’s most celebrated improvised work, including his collaboration with Norwegian saxophonist Jan Garbarek on the ECM recording Atmos.

Portal’s presence on the album carries particular significance. A musician equally respected in both classical and jazz traditions, he collaborated throughout his career with major composers including Pierre Boulez, Luciano Berio, and Karlheinz Stockhausen. His improvisational wit and stylistic versatility make him an ideal partner for Vitous’s adventurous musical thinking.

The duets between Vitous and Portal highlight the essence of improvisation: attentive listening, quick response, and the courage to explore unknown territory together. Their exchanges are spontaneous yet purposeful, demonstrating the profound communication that emerges when two seasoned improvisers meet in open musical dialogue.

Mountain Call also reflects the remarkable breadth of Vitous’s work with ECM over the decades. Following his early trio recordings with Rypdal and DeJohnette, he formed his own group with saxophonist John Surman, drummer Jon Christensen, and pianist Kenny Kirkland for the album First Meeting. Later projects including Miroslav Vitous Group and Journey’s End featured pianist John Taylor.

During the 1980s, Vitous reunited with pianist Chick Corea and drummer Roy Haynes to revive the trio that recorded the modern jazz classic Now He Sings, Now He Sobs. The reunion produced the ECM album Trio Music, which combined free improvisations with compositions by Thelonious Monk, followed by the live recording Trio Music Live in Europe.

Vitous also made a landmark contribution to ECM’s catalog of solo recordings with his 1985 album Emergence, a bold exploration of the sonic possibilities of the double bass. In the 1990s he continued exploring collaborative improvisation with Jan Garbarek on the recordings Atmos and Star.

After a period away from recording—during which Vitous developed highly successful orchestral sampling software—he returned to the studio with the ambitious Universal Syncopations series. Featuring collaborators such as Garbarek, Chick Corea, guitarist John McLaughlin, and Jack DeJohnette, the recordings were both critical and popular successes. The second volume, Universal Syncopations II, received the prestigious German Record Critics’ Award for Album of the Year.

Vitous later revisited the legacy of Weather Report through albums such as Remembering Weather Report and Music of Weather Report, offering fresh interpretations of the band’s groundbreaking repertoire.

Recorded over a seven-year period at Vitous’s Universal Syncopations Studio in Prague, Mountain Call reflects a long and thoughtful creative process. The album was produced by Miroslav Vitous together with legendary ECM founder and producer Manfred Eicher.

The result is an album that feels both reflective and forward-looking. It draws on decades of musical experience while continuing to explore new sonic territory, demonstrating that Vitous’s curiosity and creativity remain as vibrant as ever.

With Mountain Call, Miroslav Vitous once again affirms his place among the most imaginative and influential bassists in modern jazz—an artist whose music continues to evolve while remaining deeply connected to the spirit of improvisation.

Alchemist: Alexander IV Opens a Cinematic New Chapter in Beat-Driven Soul, Jazz, and Hip-Hop

Alexander IV is the latest creative alias of Dutch producer, multi-instrumentalist, and composer Joris Feiertag, an artist already widely respected for his club-oriented productions under his own name and for his work with the acclaimed Dutch collective Kraak & Smaak. With this new project, Feiertag steps into a more reflective and exploratory musical space, trading dance-floor immediacy for deep listening, layered textures, and richly cinematic beats.

His debut full-length album as Alexander IV, Alchemist, presents thirteen meticulously crafted tracks that weave together hip-hop rhythms, soulful grooves, jazz sensibilities, and cinematic sound design. The result is an album that feels both modern and timeless—an immersive listening experience where organic instrumentation and electronic production blend seamlessly.

Rather than simply assembling a collection of beats, Feiertag approaches Alchemist as a narrative journey. Each track contributes a distinct mood or texture, yet together they form a cohesive sonic environment shaped by curiosity, craft, and attention to detail.

The album opens with “Touch of Gold,” an instrumental introduction that immediately sets the tone for the project’s jazz-infused aesthetic. Built around a compelling jazz sample, the track features a bold beat switch that deliberately disrupts expectations. Feiertag recalls that the sample instantly captured his attention, and the syncopated rhythmic flip that opens the track was designed to surprise listeners right from the start. It serves as both an invitation and a statement of intent, signaling that Alchemist will move freely between musical traditions and production techniques.

That dialogue between jazz and hip-hop continues across tracks like “Génie” and “All I Have to Say.” The latter in particular embodies a smoky late-night atmosphere, balancing laid-back grooves with subtle forward motion. Feiertag describes the track as living somewhere between the soulful phrasing of Roy Hargrove and the influential beat craftsmanship of J Dilla. The groove drifts with relaxed ease while still pushing forward, creating a delicate tension that defines much of the album’s rhythmic character.

One of the album’s most striking moments arrives with “Now, Pause…,” featuring legendary American spoken word poet Ursula Rucker. Her presence introduces a powerful lyrical dimension to the record. Through poetic reflection and rhythmic delivery, Rucker encourages listeners to slow down, breathe, and reconnect with the present moment. Her message of awareness and resistance adds emotional gravity to the album’s sonic landscape.

The sense of global groove expands further on “Long Way from Home,” a collaboration with vocalist Pete Josef, a longtime contributor to the influential Berlin-based label Sonar Kollektiv. What began as a studio jam built around Afrobeat percussion and a guitar riff inspired by Fela Kuti gradually evolved into one of the album’s most layered compositions. Josef contributed rich choral textures and vocal lines, while trumpet player Luuk Hof added melodic flourishes that completed the arrangement. The track intentionally avoids conventional pop structure, instead unfolding organically as its musical elements interact and develop.

Beyond its groove-driven centerpieces, Alchemist also explores more atmospheric territory. Downtempo tracks like “Palau” and “La Vie” introduce cinematic textures that broaden the album’s emotional palette. “Palau” drifts through slow-motion jazz-funk landscapes before dissolving into dub-infused ambience, evoking the hazy glow of a sunset. Meanwhile, “La Vie” channels vintage trip-hop aesthetics, blending spacey brass lines with French-inspired soundbites and a nostalgic sense of urban melancholy.

Another highlight emerges with “Time of Day,” featuring British vocalist Oli Hannaford. Built around a delicate Spanish guitar loop and recorded live alongside trumpet player Luuk Hof and musician Darius Christian, the track carries echoes of artists such as Bill Withers and Tom Misch while subtly nodding to classic bossa nova traditions. Feiertag describes it as one of the few songs on the album constructed entirely from scratch in the studio. When Hannaford’s vocals arrived, the composition fell into place naturally, transforming the track into one of the record’s most memorable moments.

Momentum builds again with “Bop,” which injects the album with Latin-tinged percussion and energetic rhythm. Shortly afterward, “This Won’t Do,” featuring vocalist Cézanne, brings a more structured songwriting approach. The track unfolds as a restrained neo-soul composition, driven by chopped jazz drums and understated emotion that emphasizes mood over spectacle.

The album’s closing sequence continues to blur stylistic boundaries. Tracks like “La Parisienne,” “Midnight,” and “That Blew My Mind” showcase Alexander IV’s ability to merge dub textures, exotica influences, broken-beat rhythms, and jazz harmonies into a unified sonic world. “That Blew My Mind” in particular concludes the record on an uplifting note, with a relaxed, skanking groove that feels celebratory and open.

Central to the success of Alchemist is Feiertag’s meticulous production process. The album reflects countless hours spent manipulating sound—chopping samples, isolating drum patterns, reversing fragments, and stretching time until each element finds its perfect place. Feiertag describes the project as a process of transforming small sonic fragments into complete musical worlds.

This attention to detail extends to the album’s countless subtle references and sonic quotations. Every sample, texture, and rhythmic layer is placed deliberately, contributing to the record’s immersive atmosphere. Despite its complex construction, however, the music never feels overly technical. Instead, it retains a warm, human quality that invites listeners to sink into its grooves.

The influences behind Alchemist span a wide musical spectrum. Feiertag draws inspiration from eclectic artists such as Mr. Scruff, Thievery Corporation, Kruder & Dorfmeister, SAULT, and Khruangbin. These inspirations are evident throughout the album’s blend of downtempo grooves, soulful melodies, and global rhythmic influences.

At the same time, Alchemist remains unmistakably personal. Feiertag’s background as both a producer and a live musician—particularly as a drummer—allows him to balance rhythmic precision with organic flow. His experience performing alongside talented collaborators and growing up within a musically gifted family has further shaped the project’s collaborative spirit.

The result is music that feels both nostalgic and forward-looking. Alchemist captures the warmth of classic sample-based production while embracing modern sonic possibilities. It is an album designed not for quick consumption but for deep listening—one that rewards attention with new details and textures on every return.

With Alexander IV, Joris Feiertag has created a new artistic identity that allows him to explore the more soulful, introspective dimensions of his musical imagination. Alchemist marks the beginning of that journey, revealing an artist unafraid to step beyond the club and into a wider cinematic soundscape.

In doing so, Feiertag expands his creative universe while reaffirming his reputation as one of the Netherlands’ most versatile and inventive musical voices.

Lucid: Micah Thomas Explores Balance, Space, and Collective Imagination on His Fifth Album

Since arriving in New York in 2015, pianist and composer Micah Thomas has steadily become one of the most compelling voices within the city’s vibrant jazz and improvisational music communities. Known for his thoughtful, exploratory approach to the piano and his ability to balance tradition with forward-thinking creativity, Thomas has built a reputation both as a bandleader and as a highly sought-after collaborator. His fifth album, Lucid, arriving June 19, continues that evolution with a striking musical statement centered on balance, space, and the interconnectedness of musical ideas.

Over the past decade, Thomas has developed deep roots within the contemporary jazz landscape, performing extensively with saxophonist Immanuel Wilkins’ quartet while also leading his own trio since 2017. In addition to those projects, he has worked with a wide range of notable artists including Ambrose Akinmusire, Joshua Redman, Walter Smith III, Tyshawn Sorey, and Sidra Bell. Across these collaborations and his growing catalog of recordings, Thomas has cultivated a sound that merges intellectual curiosity with emotional depth.

Fellow pianist Aaron Parks once described Thomas’ playing as possessing “a restlessly inventive and futuristic tilt while simultaneously remaining deeply rooted in the history of the music,” while jazz master Fred Hersch has praised him as an artist with “a unique style as well as all the tools needed to make a major contribution to the world of jazz piano.” Those observations resonate strongly throughout Lucid, an album that embraces subtlety, patience, and the expressive potential of space.

At the heart of Lucid lies Thomas’ fascination with balance—both within individual musical phrases and within the larger architecture of a composition. Rather than pursuing long, sprawling musical statements, Thomas focuses on concise phrases that move dynamically yet remain contained, suspended in a kind of perfect equilibrium.

“Short enough phrases have a special tactility,” Thomas explains. “They become like physical objects where, in a single moment, one can look at them with the mind’s eye and gain an immediate all-encompassing awareness.”

This philosophy shapes the album’s musical language. Each phrase is carefully weighted through variations in range, texture, and dynamics, almost as though the musicians are adjusting elements on a scale until equilibrium is reached. The result is music that feels simultaneously fluid and deliberate, constantly shifting while maintaining an underlying sense of compositional clarity.

Equally essential to this sense of balance is the role of silence. Instead of filling every moment with sound, the ensemble approaches space as a creative medium. The musicians carve their phrases into silence rather than layering them continuously on top of one another. In this approach, silence becomes the canvas upon which musical gestures are placed.

By allowing sound to emerge from quiet rather than compete within a constant stream of activity, each phrase gains a heightened sense of identity. The listener becomes acutely aware of the present moment, unsure of when the next musical idea will arrive or how it will unfold. This unpredictability creates a listening experience that feels intimate, alert, and alive.

Alongside this exploration of balance, Lucid also reflects Thomas’ fascination with the concept of ecosystem and habitat within music. In this framework, musical ideas may initially appear independent—or even random—but ultimately contribute to a larger interconnected structure.

Thomas likens this concept to the feeling of belonging within a creative community. The ideal environment, he explains, allows each participant to remain fully themselves while still adapting and responding to others. Rather than dissolving individuality into a homogenous group identity, each voice retains its distinct character while contributing to a shared creative outcome.

That philosophy carries directly into the music of Lucid. Phrases interact like organisms within a living environment, sometimes moving independently and sometimes intertwining in unexpected ways. Each musician introduces ideas that may diverge from the surrounding texture, yet those ideas ultimately find coherence within the collective sound.

The ensemble assembled for Lucid plays a crucial role in bringing this vision to life. Saxophonist Immanuel Wilkins, a longtime collaborator with Thomas, contributes lines that seem to possess their own internal personalities. Each phrase unfolds according to its own logic, often surprising the listener while remaining completely coherent within the music’s evolving structure.

Trombonist Kalia Vandever adds another distinctive voice, crafting melodic lines that twist and turn across the instrument’s range. Her playing often feels like it is navigating unexpected corners, knotting and unknotting musical ideas while maintaining a lyrical sense of motion.

Bassist Thomas Morgan provides a foundation that is both subtle and deeply expressive. Known for his fearless use of silence and his compositional sensibility, Morgan shapes the music as much through what he chooses not to play as through the notes he contributes. His approach reinforces the album’s central theme of balance, ensuring that space remains an integral part of the ensemble’s texture.

Drummer Lesley Mok offers yet another perspective within the group’s sonic ecosystem. While percussion often provides the feeling of solidity in many ensembles, Mok’s playing introduces a surprising sense of fluidity. Their drumming bends and flows around the other instruments, entering and withdrawing at strategic moments to create shifting layers of motion and support.

In this configuration, the rhythmic dimension often acts as the album’s source of liquidity, balancing the sharper contours of the melodic instruments. Mok’s dynamic presence adds a subtle yet vital dimension to the ensemble’s overall sound.

Thomas reflects that the group’s apparent independence masks a deeper level of communication. Each musician maintains an acute awareness of the others, listening closely and responding with remarkable agility. The result is music that feels simultaneously free and tightly interconnected.

This delicate interplay is central to the album’s concept of collective creativity. Each musician contributes phrases that reflect their personal voice, trusting that those ideas will find resonance within the group. That trust creates an atmosphere in which experimentation becomes not only possible but essential.

Lucid ultimately presents a musical environment where individuality and collaboration coexist in perfect balance. Each phrase, each silence, and each interaction contributes to a larger sonic habitat where creativity thrives.

Recorded at Power Station at Berklee NYC and mixed and mastered by Tyler McDiarmid, the album captures the ensemble with remarkable clarity and intimacy. Thomas himself designed the cover artwork, further emphasizing the deeply personal nature of the project.

With Lucid, Micah Thomas continues to refine a musical vision that values attentiveness, subtlety, and the courage to leave space where others might fill it. In doing so, he offers listeners an experience that feels both contemplative and invigorating—a reminder that sometimes the most powerful musical statements are the ones that breathe.

As Thomas’ career continues to evolve, Lucid stands as an elegant reflection of his artistic philosophy: a belief that true creativity emerges not from dominance or excess, but from balance, listening, and the quiet possibility contained within every moment of sound and silence.

Sunrise: Adam Rudolph’s Boundary-Dissolving New Album Charts a Global Journey Through Sound

For more than half a century, visionary percussionist and composer Adam Rudolph has pursued a singular musical path—one defined not by genre, but by curiosity, exploration, and a profound respect for the cultural and spiritual traditions of sound. Across a remarkable 54-year career, Rudolph has consistently ventured beyond established musical borders, weaving together influences from across the globe to create music that is both deeply rooted and radically forward-looking. His forthcoming album Sunrise, set for release May 15, 2026 on his Meta Records label, continues that journey with breathtaking originality.

The album introduces the Sunrise Trio, a collaborative ensemble featuring Rudolph alongside pianist and multi-instrumentalist Alexis Marcelo and Japanese flutist, percussionist, and composer Kaoru Watanabe. Together, the trio delivers a stunning program of non-idiomatic music—music that refuses to be confined by stylistic labels or historical categories. Instead, Sunrise unfolds as a living sonic ecosystem where ancient traditions meet contemporary experimentation, where acoustic instruments converse with electronics, and where spontaneous improvisation merges seamlessly with subtle post-production sculpting.

Recorded at Firehouse 12 in New Haven, Connecticut, Sunrise captures the trio in a state of deep creative dialogue. Rather than adhering to familiar jazz structures or conventional improvisational frameworks, Rudolph guides the group through what he calls “sonic weaving,” an orchestral approach to spontaneous composition. In this process, musical ideas emerge organically through listening, interaction, and intuition, creating evolving textures and atmospheres that feel simultaneously intimate and expansive.

The instrumentation alone reveals the album’s global perspective. Traditional instruments from Japan, Africa, and Europe intermingle with electronic processing to form a striking palette of sound. Rudolph performs on an extraordinary array of instruments—including kongos, djembe, tarija, glockenspiel, thumb pianos, overtone flutes, mouth bow, mbuti harp, cup gongs, and Fender Rhodes piano—alongside his distinctive hand drum setup and electronic treatments. Marcelo contributes acoustic piano, electric keyboards, melodica, and percussion, while Watanabe brings together noh kan and fue flutes, C flute, taiko drums, electric koto, vocals, and electronic processing. The resulting orchestration is as unusual as it is immersive.

The album’s eight tracks form a cohesive yet unpredictable journey. Pieces such as “Clouds of Joy” and “Stumbled Upon” introduce the trio’s exploratory spirit with shimmering textures and rhythmic interplay, while “Nebula” expands the ensemble’s sonic landscape into cosmic dimensions. On the second side, “Lunar Mind” and “A Glimmer Glimpsed” showcase moments of reflective subtlety, while longer works like “Sidereal” and “Inception”—featuring cornetist Stephen Haynes—open expansive improvisational terrain.

This release marks Rudolph’s 63rd recording as a leader or co-leader, yet it retains the excitement and discovery of a debut. The music exists entirely on its own terms, reflecting a rare alchemy between the three artists as they construct dialogues, moods, and textures in real time. Each musician contributes equally to the process, responding to the evolving sonic landscape with virtuosity, sensitivity, and openness.

For Rudolph, the guiding principle behind every project is continual reinvention. As he explains, his goal with each new recording is simple but demanding: to create something he has never done before. That philosophy has shaped a career defined by experimentation and cultural exchange.

Sunrise also arrives in the wake of Rudolph’s 2025 trio album Beingness, recorded with NEA Jazz Masters Dave Liebman and Billy Hart. Reflecting on that collaboration, Rudolph emphasizes the importance of mentorship and artistic lineage in his creative life. Over the decades he has learned from legendary musicians such as Yusef Lateef and Don Cherry—artists who shared not only musical knowledge but a deeper creative philosophy.

What Rudolph received from those mentors, he explains, was more than information. It was a transmission of spirit: an understanding that each note of music must carry genuine feeling, intention, and presence. That principle continues to guide his work and informs his dedication to passing that knowledge on to younger generations of musicians.

In Marcelo and Watanabe, Rudolph has found collaborators who embody that spirit of exploration. Both artists have worked with him for more than two decades across multiple ensembles, including the expansive Go: Organic Orchestra as well as projects like Moving Pictures and Hu: Vibrational. Their long history together has fostered a shared musical language built on trust, listening, and creative risk-taking.

Rudolph describes his role as bandleader not as directing from above, but as shaping an environment in which individuality and collective expression coexist. Within that environment, each musician’s voice contributes to a greater whole. The trio format magnifies this dynamic, allowing every nuance and gesture to resonate clearly within the ensemble.

Watanabe, equally skilled as a woodwind player and percussionist, moves fluidly between the thunderous power of taiko drumming and the delicate phrasing of Japanese and Western flutes. His use of electronics further expands the trio’s orchestral possibilities. Marcelo, meanwhile, brings a highly personal approach to both acoustic piano and electric keyboards. Having shared a musical lineage with Rudolph through their work with Yusef Lateef, Marcelo consistently introduces unexpected textures and harmonic ideas that push the music in new directions.

Perhaps most importantly, Rudolph notes, both musicians possess the rare ability to listen deeply. Their willingness to relax into the moment and allow the music to unfold organically is essential to the trio’s creative process.

Rudolph himself has long been recognized as a pioneering figure in what later became known as world music. As early as the 1970s he was actively forging connections between musical traditions, including co-founding the Mandingo Griot Society with Gambian kora master Foday Musa Suso—one of the first ensembles to merge African and American musical traditions. A decade later he recorded one of the earliest fusions of American jazz and Moroccan Gnawa music alongside sintir master Hassan Hakmoun.

Across his career Rudolph has collaborated with an extraordinary range of artists spanning jazz, contemporary classical, experimental, and global traditions. His compositional work extends beyond small ensembles to large-scale projects such as the 30-piece Go: Organic Orchestra, for which he developed an original notation and conducting system designed to facilitate spontaneous composition within large ensembles.

In addition to his recordings and performances, Rudolph has shared his musical philosophy through teaching and writing. His books Pure Rhythm and Sonic Elements explore the principles behind his rhythmic language and creative methodology, and they have been widely used by composers, performers, and educators around the world.

Sunrise stands as a powerful continuation of that lifelong exploration. It is not merely an album but an invitation into a sonic landscape where tradition and innovation coexist, where musicians from different cultures meet in spontaneous dialogue, and where the act of listening becomes the central creative force.

In a musical world often defined by categories and algorithms, Adam Rudolph’s work remains refreshingly human—driven by curiosity, spirit, and the endless possibility of sound. With Sunrise, he once again reminds us that the most compelling music often emerges not from repeating the past, but from courageously imagining what has not yet been heard.