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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

The full tracklist unfolds like a loose narrative:

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

Jason Piccioni Steps Into the Spotlight With New Music That Honors the Past While Forging His Own Path

 

For much of his career, Jason Piccioni has been a creative force behind the scenes—as a producer, songwriter, collaborator, archivist, and innovator. Now, after decades of shaping music from the background, the son of legendary Italian film composer Piero Piccioni is stepping into the spotlight under his own name with two new albums that celebrate both his artistic identity and his remarkable musical heritage.

Born into a family where music, cinema, and creativity were woven into everyday life, Jason grew up surrounded by the work of one of Italy's most influential film composers. His father, Piero Piccioni, helped define the sound of 20th-century Italian cinema through an unmistakable blend of jazz, orchestral music, funk, and cinematic experimentation across hundreds of film scores. Watching recording sessions unfold in world-class studios gave Jason an instinctive understanding of music long before he began creating his own.

His creative journey eventually took him from Italy to England for school and university, followed by time in Paris before settling into New York City's thriving underground house music scene. There, performing under the alias Electric J, he established himself through a series of respected vinyl releases that earned recognition across the international electronic music community.

After returning to London, Jason expanded his musical palette beyond house, embracing drum and bass, trip-hop, jazz fusion, cinematic electronics, and atmospheric production. His evolution as a producer and songwriter led to a publishing agreement with Universal Music Publishing Group, a recording contract with WEA, part of Warner Music Group, and collaborations with renowned artists and producers including Eumir Deodato and Kylie Minogue.

When Piero Piccioni passed away in 2004, Jason inherited an extraordinary archive containing original scores, recordings, and master tapes. Rather than allowing that legacy to fade, he devoted himself to preserving and restoring the collection. Since 2010, his work has introduced his father's music to a new global audience through streaming platforms, film and television sync placements, and carefully curated archival releases. Much of the renewed appreciation for Piero Piccioni's catalog can be traced directly to Jason's dedication behind the scenes.

Now he is embracing a new chapter with two albums that reveal different facets of his musical personality.

Cupid in the Sky showcases Jason's love of groove, melody, jazz, soul, and classic songwriting, delivering an uplifting collection infused with warm funk rhythms and timeless musicality. Alongside it, Piero Piccioni REVIBED draws inspiration from his father's unmistakable sonic universe while reimagining it through a contemporary perspective, blending nu-jazz, cinematic textures, and modern electronic production into something entirely his own.

At the same time, Jason continues to develop Electric J as the more adventurous side of his artistry, exploring cutting-edge electronic music that incorporates drum and bass, trap, futuristic club sounds, and experimental production techniques.

Both albums were produced, programmed, and engineered entirely by Jason, with additional performances from members of Orchestra 014, including drummer Francesco Mendolia of Incognito.

Beyond his own recordings, Jason also oversees Camille 3000, a creative platform dedicated to musical innovation, where analogue traditions meet forward-thinking electronic production and new artistic collaborations.

After years spent preserving a legendary legacy while quietly building one of his own, Jason Piccioni is finally stepping forward as a solo artist. His latest work not only pays tribute to the past but also establishes a distinctive creative voice that looks confidently toward the future.

Calibro 35 Unveil Ellroy vs L.A., Where Cinematic Funk Meets American Noir

 

Italian cinematic funk pioneers Calibro 35 have announced their new album, Ellroy vs L.A., arriving October 9 via Record Kicks. Serving as both a standalone album and the original soundtrack to the award-winning documentary of the same name, the record is inspired by the world of legendary crime novelist James Ellroy. Alongside the announcement, the band has released the explosive first single, Riots, now available on all major streaming platforms.

Some artistic collaborations feel almost destined, and the pairing of Calibro 35 with James Ellroy is one of them. Both have built careers around atmosphere, tension, and storytelling—one through music, the other through literature. Their creative worlds collide in Ellroy vs L.A., a project born from filmmaker Francesco Zippel's acclaimed documentary exploring Ellroy's lifelong relationship with Los Angeles.

Produced by Federica Paniccia and Francesco Zippel for Quoiat Films, the documentary Ellroy vs L.A. received Italy's prestigious Nastro d'Argento Critics' Choice Award. The film combines Ellroy's reflections on the city that shaped both his life and his fiction with archival footage of Los Angeles and scenes of Calibro 35 recording the soundtrack in the studio, creating an immersive portrait of both the writer and the metropolis that has become inseparable from his work.

When invited to score the documentary, Calibro 35 found themselves stepping directly into Ellroy's unmistakable universe. Rather than simply composing background music, the band embraced the darkness, ambiguity, and relentless tension that define the author's vision of Los Angeles. The result is an album that doesn't merely accompany Ellroy's stories—it inhabits them.

Featuring twelve new compositions, Ellroy vs L.A. expands the band's signature blend of cinematic crime funk, psychedelia, jazz, and hypnotic grooves into even darker, more narrative-driven territory. Across the album, Los Angeles emerges as both a real city and a mythological landscape, suspended between glamour and corruption, beauty and violence, dreams and decay.

The first taste of the album arrives with "Riots," an explosive instrumental that captures the volatility and unrest simmering beneath the city's surface. Fueled by muscular grooves, dramatic arrangements, and unmistakable cinematic flair, the track perfectly introduces the atmosphere that defines the entire record.

Since forming in Milan in 2007, Calibro 35 have built an international reputation by reimagining the golden age of Italian film music. Drawing inspiration from legendary composers including Ennio Morricone, Piero Piccioni, and Armando Trovajoli, the band has forged a distinctive sound that bridges vintage soundtrack aesthetics with contemporary jazz, funk, and psychedelic influences.

Their influence has reached far beyond the jazz and soundtrack communities. Their recordings have been sampled by Dr. Dre, Snoop Dogg, Jay-Z, and Damon Albarn's project The Child of Lov. Critics have also consistently praised the group's originality, with Rolling Stone calling them "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years," while Far Out Magazine described them as "one of the most skilful and innovative instrumental outfits on the planet."

The quartet—Enrico Gabrielli, Massimo Martellotta, Fabio Rondanini, and Tommaso Colliva—continues to evolve while remaining true to its distinctive identity. Following the release of the acclaimed Exploration in 2025 and a high-profile performance during the closing ceremony of the Winter Olympics at the Verona Arena, Ellroy vs L.A. represents another bold step in the band's artistic journey.

With this new album, Calibro 35 transform James Ellroy's mythology into music, crafting a soundtrack where rhythm, suspense, and cinematic imagination merge into one immersive listening experience. It's a record that captures the pulse of Los Angeles—not as a postcard city, but as a place forever illuminated by neon and shadow.

Euge Groove Rises Again with The Phoenix, His Most Personal and Spiritually Inspired Album Yet

 

Few albums arrive with a story as powerful as the music itself. For contemporary jazz saxophonist Euge Groove, The Phoenix isn't just the title of his latest release—it's the soundtrack to one of the most profound transformations of his life.

Following a life-threatening open-heart surgery in early 2025 and a grueling year-long recovery, Groove emerged with a renewed outlook on life, creativity, and purpose. The result is The Phoenix, his 14th studio album, arriving July 17, 2026, and arguably his most personal work to date.

Inspired by the mythical bird that rises from its own ashes, Groove embraces the symbolism of rebirth throughout the project. What began as another recording became something much deeper after his near-death experience shifted his perspective. Rather than chasing perfection or urgency, he focused on creating music rooted in peace, gratitude, and authenticity.

"I really wasn't sure I was going to get to the finish line on this album," Groove admits. "I'm just seeking peace right now. I feel like I've returned to the reasons I got into music to begin with."

Ironically, much of The Phoenix had already been written before doctors discovered the heart condition that would eventually require emergency surgery. At the time, Groove couldn't understand why he lacked the strength to finish recording the saxophone parts. Only later did the diagnosis explain everything.

Completing the album became a remarkable journey of perseverance. Longtime collaborators Tracy Carter, Corney Mims, and producer Paul Brown helped carry the project across the finish line, allowing Groove to focus solely on performing. Against all expectations, recording sessions that he feared would last only minutes stretched into hours without fatigue—experiences he describes as nothing short of miraculous.

Musically, The Phoenix showcases everything fans have come to love about Euge Groove while revealing new emotional depth. The uplifting title track radiates optimism and resilience, while "Heart of Gold" opens the album with elegant melodies and Groove's signature soprano saxophone tone. "Wrapped Around Your Finger," written for his first granddaughter, captures heartfelt tenderness, and the reflective ballad "Those Nights Alone" delivers some of his most expressive playing.

One of the album's most touching moments comes with "Odysseus," a joyful tribute to Groove's Bernedoodle service dog, whose cardiac-alert training and unwavering companionship became instrumental during his recovery. Groove credits Odysseus with helping save his life, both physically and emotionally.

The emotional centerpiece may be "At Peace," a composition that Groove says came together almost effortlessly in a single take. Rather than meticulously planning every note, he simply stepped in front of the microphone and allowed instinct—and perhaps something greater—to guide the performance.

Throughout the album, listeners will notice a relaxed confidence replacing the intensity found on some of his previous recordings. That shift reflects the artist's own spiritual awakening.

Groove says surviving such a life-altering experience eliminated much of the fear that once existed in his life. Instead, he now embraces challenges with gratitude and a renewed appreciation for every opportunity to create, perform, and connect with audiences.

A graduate of the University of Miami's Frost School of Music, Euge Groove has enjoyed an extraordinary career spanning decades, collaborating with artists including Tina Turner, Tower of Power, Joe Cocker, Huey Lewis, Aaron Neville, and The Eurythmics. Yet The Phoenix feels less like another chapter in a successful career and more like the beginning of an entirely new one.

As he prepares to return to the stage, Groove says his mission has changed. Rather than performing because he has to, he's performing because he genuinely wants to. That joy, freedom, and sense of peace resonate throughout every note of The Phoenix.

Sometimes the greatest comeback isn't about returning to who you were—it's about becoming someone entirely new. With The Phoenix, Euge Groove has done exactly that.

dee Brown Captures the Spirit of Detroit Summers with “Summer Cruise”

There’s something special about summer in Detroit. After enduring long, unforgiving winters, the city comes alive as classic cars, convertibles, and automotive enthusiasts take to the streets. Nowhere is that energy more evident than along the legendary Woodward Avenue, where the annual Woodward Dream Cruise transforms the city into a celebration of automotive culture. Groove jazz guitarist dee Brown bottles that unmistakable feeling on his latest Innervision Records single, “Summer Cruise.”

Currently climbing the Billboard and Mediabase charts, “Summer Cruise” serves as the first preview of Brown’s upcoming album, Living The Good Life. The single continues his signature blend of smooth jazz, R&B, and heartfelt storytelling rooted in his Detroit upbringing.

Written and produced by fellow Innervision Records artist Blake Aaron, whose résumé includes nine Billboard No. 1 singles, “Summer Cruise” delivers exactly what its title promises. Built on a relaxed, funky groove with a retro go-go beat, the track evokes the freedom of warm evenings spent behind the wheel, windows down, music up, and nowhere in particular to be.

Brown’s expressive guitar work leads the way, supported by an all-star lineup of musicians. GRAMMY-winning bassist Mel Brown and drummer Michael White provide the irresistible rhythm section, while saxophonist Michael Parlett adds soulful melodies that complement Brown’s guitar. The production is elevated further by 13-time GRAMMY nominee Tyries Rolfe’s lush string arrangements and Carnell Harrell’s vibrant keyboard work, creating a rich sonic landscape that perfectly captures the joy of summer cruising.

The collaboration marks another successful partnership between Brown and Aaron, following their 2024 single “Wes 8Mile,” which appeared on Brown’s 2025 album Mister Smooth. Like its predecessor, “Summer Cruise” draws deeply from Detroit culture and the experiences that shaped Brown as both a musician and storyteller.

Reflecting on the collaboration, Brown shared that Aaron first introduced him to the song, believing it naturally fit his musical style. Brown immediately connected with the melody and groove, describing it as music that made him want to dance while celebrating the carefree spirit of summer.

For Brown, however, the song goes beyond great musicianship—it’s a tribute to home.

He says “Summer Cruise” reflects his Detroit roots, especially those warm summer evenings when drivers lower the tops on their convertibles and cruise Woodward Avenue. The annual Woodward Dream Cruise has grown into one of the world's largest automotive celebrations, attracting approximately one million spectators and more than 40,000 classic cars each year, making it the perfect inspiration for the song.

The accompanying music video brings that atmosphere to life, showcasing the vibrant street party and classic car culture that have made the Woodward Dream Cruise an iconic American tradition.

“Summer Cruise” arrives as another milestone in a career spanning nearly two decades. Since releasing his debut album, No Time To Waste, in 2007, Brown has steadily built a reputation as one of contemporary jazz’s standout guitarists. His albums Remembering You (2018) and Deep Secrets (2021) have each surpassed five million streams on Spotify, while Mister Smooth continued his chart success with multiple Billboard Top 30 singles.

Throughout his career, Brown has performed and collaborated alongside an impressive roster of legendary artists across jazz, R&B, and gospel, including George Benson, Al Jarreau, Stephanie Mills, Gerald Albright, Mindi Abair, Bob James, Brian Culbertson, Spyro Gyra, Najee, Jeffrey Osborne, Michael and BeBe Winans, and many more.

With “Summer Cruise,” dee Brown delivers more than another smooth jazz single—he delivers a musical postcard from Detroit, celebrating the city's resilience, rich automotive heritage, and the simple joy of taking the long way home on a warm summer night. As anticipation builds for Living The Good Life, the single offers an inviting glimpse of what's to come while reminding listeners that sometimes the best destination is simply the ride itself.

Agneya Unites Global Rhythms on Powerful Debut Album AGNEYA,

Award-winning Indo-Canadian drummer, percussionist, and composer Agneya is set to release his highly anticipated debut album, AGNEYA, on September 18, 2026, via Agneya Music (ACM 001). A bold artistic statement shaped by nearly fifteen years of musical exploration across continents, the album reflects a deeply personal journey where rhythm becomes a universal language that transcends borders, cultures, and traditions.

Born and raised in western India and now based between Toronto and Berlin, Agneya has built an impressive career performing across an extraordinary range of musical styles, including Indian folk, contemporary jazz, Arabic music, Zimbabwean music, Nigerian soul, rock, and experimental music. Every collaboration has contributed to the artistic vision behind AGNEYA, his first recording as a bandleader.

Ahead of the album's release, Agneya has unveiled the first single and video, "Teleology." Built around a South Indian Konnakol vocal percussion phrase, the track evolves into a dynamic, groove-driven composition where shifting rhythmic perspectives create a compelling musical conversation. The release follows another milestone for the artist, who was recently named the recipient of the Toronto Arts Foundation's prestigious Breakthrough Jazz Artist Award.

The album opens with the atmospheric "It Began Before Words," setting the tone for a collection that embraces rhythm as humanity's oldest form of communication. Tracks such as "Zwischenspiel I" highlight Agneya's inventive rhythmic approach alongside the melodic brilliance of Canadian bassist Rich Brown, while "Keiko" pairs Agneya with Indian percussionist Varun Venkit for a vibrant reinterpretation of a traditional folk melody.

Among the album's standout moments is "Khoj," featuring acclaimed trumpeter Ingrid Jensen, whose soaring improvisation is matched by Agneya's masterful rhythmic foundation. The album also offers an imaginative reinterpretation of Coldplay's "Fix You," featuring the expressive vocals of German-Ghanaian singer Emily Intsiful, alongside a fresh arrangement of John Coltrane's classic "Naima," transformed through the West African Ketju groove and featuring alto saxophonist Yonatan Hes and pianist Jakob Reisener.

"This project was built through real relationships," Agneya explains. "Part of the album features my European band from Berlin—musicians from Luxembourg, France, Germany, and Wales—and the other part features my friends and mentors in Canada and India. The album is all of me. It's all the music, people, places, hardships, grooves, friendships, migrations, and contradictions that shaped me into the person I am today."

For Agneya, rhythm is more than technique—it's a shared human experience. "Rhythm has always been the thread connecting everything for me," he says. "This record is my attempt to connect those rhythmic dots honestly—not as a statement of tokenistic diversity, but because this is genuinely the music that lives inside me."

Growing up in India, Agneya absorbed both centuries-old musical traditions and the explosion of Western popular culture. From listening to Pandit Bhimsen Joshi to discovering Korn, Limp Bizkit, heavy metal, West African rhythmic systems, and eventually jazz, his influences have blended into a musical identity that refuses to fit neatly into a single genre.

"I think human beings are incredibly layered and emotionally complex," Agneya reflects. "With AGNEYA, I wanted to resist the impulse to simplify those complexities. I wanted the music to exist like life: intense, joyful, uncertain, rhythmic, contradictory, and alive."

Produced by Jeremy Ledbetter and Agneya, AGNEYA brings together an exceptional international cast of collaborators, including Ingrid Jensen, Rich Brown, Emily Intsiful, Jakob Reisener, Ursula Harrison, James Hill, Rolf Zielke, Dhaivat Jani, Varun Venkit, Gandhaar Amin, Shirantha Beddage, Yonatan Hes, and Max Serra. Together they create a vibrant musical landscape where tradition and innovation coexist, inviting listeners into a deeply human experience built on groove, movement, and connection.

AGNEYA will be available worldwide on September 18, 2026.

Rediscovering Jan Hammer's Fusion Mastery in This Essential 3CD Collection

Long before Jan Hammer became a household name through the Miami Vice soundtrack, he was one of jazz fusion's most adventurous keyboard innovators. This outstanding three-disc collection brings together three defining recordings from the mid-1970s that showcase his remarkable creativity alongside two legendary collaborators: Jeff Beck and Jerry Goodman.

The collection opens with The First Seven Days, a deeply personal and surprisingly introspective album recorded shortly after Hammer's time with the Mahavishnu Orchestra. Rather than relying on the explosive fusion sound many listeners might expect, Hammer crafts a thoughtful concept album filled with lyrical piano passages, expressive synthesizers, and atmospheric compositions. Tracks like "Oceans & Continents," "Fourth Day," "Darkness/Earth In Search Of A Sun," and "The Animals" reveal a composer equally comfortable creating beauty as technical brilliance.

The second disc, Jeff Beck with The Jan Hammer Group Live, captures one of the most exciting collaborations in jazz-rock history. Beck's electrifying guitar work perfectly complements Hammer's Moog, Oberheim, and keyboard wizardry, creating an energetic performance that helped define 1970s fusion. Classics including "Scatterbrain," "Freeway Jam," "Blue Wind," "She's A Woman," and "Full Moon Boogie" demonstrate why this recording remains a favorite among both rock and jazz fans decades later.

Rounding out the set is Like Children, Hammer's collaboration with violinist and guitarist Jerry Goodman. The album balances adventurous improvisation with memorable melodies, highlighting Hammer's tasteful use of synthesizers, electric piano, and inventive textures. Goodman also contributes vocals on select tracks, while standout pieces such as "Stepping Tones," "Night," "No Fear," "Country & Eastern Music," "Topeka," and "Earth (Still Our Only Home)" capture the adventurous spirit of the era.

What makes this collection especially rewarding is hearing Hammer before the commercial success that later defined much of his career. These recordings reveal an artist pushing boundaries, experimenting with new sounds, and helping shape the evolution of jazz fusion. His chemistry with Jeff Beck and Jerry Goodman remains exceptional, blending technical virtuosity with genuine musical expression.

For longtime fusion fans, this set is an essential addition to the collection. For newcomers, it serves as an ideal introduction to one of the genre's most influential keyboardists at the height of his creative powers. Three classic albums, three distinct musical journeys, and countless moments of brilliance make this one of the best values available for anyone looking to explore the golden age of jazz-rock fusion.

Ayn Inserto and the WDR Big Band Deliver a Stunning Celebration of Contemporary Large Ensemble Jazz on Jagged Edges & Elegant Lines

Acclaimed composer, arranger, and bandleader Ayn Inserto reaches a major milestone in her career with the release of Jagged Edges & Elegant Lines: The Music of Ayn Inserto, arriving August 7, 2026, via Summit Records. Recorded live with the world-renowned WDR Big Band on May 31, 2024, the album captures an unforgettable evening of visionary large ensemble music, showcasing Inserto's distinctive compositional voice alongside one of the finest jazz orchestras in the world.

For Inserto, the project represents both a dream realized and the culmination of years spent establishing herself as one of contemporary jazz's most compelling big band composers. The Singapore-born, Boston-based musician founded the Ayn Inserto Jazz Orchestra 25 years ago to bring her ambitious and rhythmically adventurous compositions to life. Since then, her reputation has steadily grown through acclaimed recordings, international collaborations, and recognition from leading voices in jazz education and performance.

Recent years have seen Inserto serve as musical director and conductor for Germany's Frankfurt Radio Big Band, contribute arrangements for bassist Linda May Han Oh, and earn inclusion in New Standards: 101 Lead Sheets by Women, the landmark collection spearheaded by Terri Lyne Carrington and the Berklee Institute of Jazz and Gender Justice. Her work has also earned praise from DownBeat, which noted her rare ability to balance sophisticated craftsmanship with engaging musical storytelling.

That reputation led to an invitation from the legendary WDR Big Band to present an evening dedicated entirely to her compositions. The ensemble commissioned four new works from Inserto, inspiring what became the emotional centerpiece of the album: the four-movement "Suite for Sean Jones."

Written specifically for acclaimed trumpeter Sean Jones, the suite explores four defining aspects of the musician's life and character—"The Artist," "The Educator," "The Husband and Father," and "The Human Soul." Inserto immersed herself in Jones' recordings for months, seeking to capture not only his remarkable technical brilliance but also the soulfulness and deep blues tradition that define his playing. The result is a powerful work that blends breathtaking complexity with heartfelt lyricism, leaving audiences visibly moved during its premiere performance.

The remainder of the album presents a carefully curated journey through Inserto's compositional catalog. Pieces such as "Eshel Sketch," "Vinifera," "La Danza Infinita," and the exhilarating "Down a Rabbit Hole" highlight her gift for combining intricate rhythmic architecture with memorable melodies and emotional depth. Additional selections, including "Mr. Jones and Company" and her arrangement of Jones' "BJ's Tune," further reinforce the musical dialogue between composer, soloist, and ensemble.

The album's title perfectly reflects Inserto's compositional philosophy. As described in the liner notes by longtime collaborator Jennifer Wharton, her music exists in the space between sharp rhythmic edges and elegant melodic lines, creating tension that feels both intellectually engaging and emotionally rewarding. While her scores challenge performers with sophisticated counterpoint, shifting meters, and layered orchestration, they remain rooted in melodies that connect immediately with listeners.

Critics and fellow musicians have already recognized the significance of the project.

Saxophonist and composer Christine Jensen praised the recording, saying, "In this extraordinary collaboration with the mighty WDR band, Ayn takes the helm, spinning a swath of imaginative tales, capturing and pushing the big band jazz composition legacy forward with her keen imagination. Ayn is at the top of her game as a composer in the contemporary jazz ensemble world."

Acclaimed saxophonist Miguel Zenón echoed that enthusiasm, calling the album "a fabulous tour de force," highlighting Inserto's intricate and elegant writing while applauding the inspired performance by the WDR Big Band.

Now serving as Assistant Chair of Harmony and Jazz Composition at Berklee College of Music, Inserto continues to mentor the next generation of jazz composers while expanding the possibilities of contemporary large ensemble writing. Her work with organizations including the Women in Jazz Organization, the Jazz Education Network, and Jazz Composers Present further underscores her commitment to both artistic excellence and jazz education.

With Jagged Edges & Elegant Lines, Ayn Inserto delivers not only a career-spanning portrait of her evolution as a composer but also a compelling vision for the future of big band jazz. Blending daring harmonic language, rhythmic innovation, lyrical beauty, and emotional storytelling, the album stands as one of the year's most significant releases for fans of modern large ensemble music.

Jagged Edges & Elegant Lines: The Music of Ayn Inserto will be released worldwide on August 7, 2026, via Summit Records.

Nancy Sinatra’s Classic ‘Movin’ With Nancy’ Returns in Definitive Expanded Edition

Nancy Sinatra’s beloved 1967 album Movin’ With Nancy is getting the deluxe treatment, as Light in the Attic announces the first-ever vinyl reissue and definitive expanded edition of the iconic soundtrack album. Scheduled for release on June 26, 2026, the reissue celebrates one of the most ambitious and creative projects of Sinatra’s career, capturing the style, spirit, and cultural energy of the late 1960s.

Originally released alongside the groundbreaking television special of the same name, Movin’ With Nancy was far more than a promotional vehicle. While the project was funded by RC Cola, it became a deeply personal endeavor for Sinatra, who enlisted friends and family—including Frank Sinatra, Dean Martin, and Sammy Davis Jr.—to participate. She also contributed her own wardrobe, cars, home, and even handled her own makeup, creating what stands as a remarkably DIY production for its era.

The new edition arrives freshly remastered from the original analog tapes by GRAMMY-nominated engineer John Baldwin. Fans can choose between a beautifully packaged gatefold LP pressed on “Some Velvet Morning” purple vinyl and a CD edition, both featuring extensive booklets packed with archival content. The LP includes a 20-page booklet, while the CD edition expands to 32 pages. Both formats feature a new Q&A with Nancy Sinatra and GRAMMY-nominated co-producer Hunter Lea, along with never-before-seen photographs from Sinatra’s personal archive.

Adding further value for collectors, the release includes four previously unreleased bonus tracks: “It’s Such A Pretty World Today (Movin’ Version),” “Let’s Get Movin’,” “This Town (Film Intro),” and “RC Cola (It’s A Mad Mad Cola).” A limited run of just 50 autographed test pressings will also be available.

The album features memorable performances and appearances from some of the era’s biggest stars, including Frank Sinatra and Dean Martin, further underscoring the project's significance as a snapshot of 1960s popular culture.

The complete tracklist is as follows:

1. Gotta Get Out of This Town
2. Who Will Buy
3. Wait Till You See Him
4. Younger Than Springtime — Frank Sinatra
5. Things
6. Some Velvet Morning
7. See the Little Children
8. Up Up and Away
9. Friday’s Child
10. Jackson
11. This Town
12. What’d I Say
13. It’s Such A Pretty World Today (Movin’ Version) (previously unreleased)
14. Let’s Get Movin’ (previously unreleased)
15. This Town (Film Intro) (previously unreleased)
16. RC Cola (It’s A Mad Mad Cola) (previously unreleased)

With its stylish blend of music, film, celebrity appearances, and 1960s cool, Movin’ With Nancy remains one of Nancy Sinatra’s most fascinating artistic statements. This long-awaited reissue offers both longtime fans and new listeners the opportunity to rediscover a landmark project in its most complete form yet.

Movin’ With Nancy will be released on June 26, 2026, via Light in the Attic.

Loren Stillman’s Seer Brings Together Three Modern Jazz Visionaries for a Stunning Newvelle Records Release

Saxophonist Loren Stillman continues his remarkable artistic journey with Seer, a captivating new trio recording featuring acclaimed pianist Craig Taborn and bassist Thomas Morgan. Released on April 24, 2026, as part of Newvelle Records’ celebrated Newvelle Ten Collection, the album stands as a profound statement of creativity, intimacy, and collective musical vision.

Recorded over two days at EastSide Sound in New York City on February 1–2, 2025, Seer captures three master improvisers at the height of their powers. The result is an album that gracefully balances structure and spontaneity, blending intricate compositions with inspired improvisation while maintaining a striking sense of emotional clarity throughout.

Stillman has long occupied a distinctive place in contemporary jazz. A former student of the legendary Lee Konitz, he has built a career defined by lyrical expression, fearless exploration, and a commitment to artistic growth. His collaborations with influential figures such as Paul Motian, Charlie Haden, and John Abercrombie established him as one of the most thoughtful and compelling saxophonists of his generation. On Seer, both his alto and soprano saxophone work reveal a mature artist capable of moving effortlessly between melodic beauty and abstract invention.

Joining Stillman are two of the most respected musicians in modern jazz. Pianist Craig Taborn brings his unmistakable harmonic imagination and textural sophistication to every performance. Renowned for his ability to blur the boundaries between composition and improvisation, Taborn's contributions elevate the music with subtle complexity and endless surprise. Bassist Thomas Morgan, whose lyrical playing has made him one of the most sought-after collaborators in jazz, provides both grounding and momentum, shaping the trio’s collective voice with remarkable sensitivity and grace.

Across ten tracks, the trio engages in a deeply conversational musical dialogue. Composed primarily by Stillman, with Morgan contributing the composition “Return,” the album unfolds with an organic flow that rewards attentive listening. The opening piece, “Waterworks,” immediately establishes the trio’s nuanced interplay, while the title track, “Seer,” offers a reflective and contemplative centerpiece that highlights the ensemble’s extraordinary ability to communicate through space, texture, and subtle gestures. By the time the closing “Victory Lap” arrives, listeners have been taken on a journey marked by elegance, curiosity, and emotional depth.

What makes Seer particularly compelling is the balance between individuality and collective expression. Each musician’s distinct voice remains unmistakable, yet the trio consistently prioritizes the needs of the music over individual display. The result is a recording that feels deeply collaborative, with every note serving the larger narrative unfolding across the album.

As with all Newvelle Records releases, Seer extends beyond the music itself. The album features original artwork by internationally acclaimed Icelandic artist Ragnar Kjartansson, whose evocative visual work complements the album’s introspective and immersive character. The pairing of exceptional music with thoughtful visual presentation has become a hallmark of Newvelle’s releases, transforming each project into a complete artistic experience for listeners and collectors alike.

The album also reflects Newvelle’s unwavering commitment to audiophile-quality production. Recorded by Rocky Russo, mixed by Marc Urselli, mastered by Matthew Lutthans, and pressed by Quality Record Pressings (QRP), Seer delivers the depth, warmth, and sonic detail that have made Newvelle one of the most respected labels in contemporary jazz.

Beyond being a standout release in its own right, Seer serves as a centerpiece of the Newvelle Ten Collection, which celebrates the label’s tenth anniversary through a series of distinctive projects pairing world-class musicians with celebrated visual artists. The collection highlights Newvelle’s ongoing dedication to presenting jazz as a living, evolving art form while preserving the highest standards of craftsmanship and presentation.

With Seer, Loren Stillman, Craig Taborn, and Thomas Morgan have created a recording that feels both timeless and forward-looking. Rich in nuance, imagination, and emotional resonance, the album captures three exceptional artists engaged in meaningful musical conversation. It is a testament to the enduring power of improvisation, the beauty of collective expression, and the limitless possibilities of modern jazz..

Loren Stillman – Seer
Newvelle Records (NV039)
Featuring Craig Taborn and Thomas Morgan
Recorded February 1–2, 2025, at EastSide Sound, New York City
Release Date: April 24, 2026

Phil Haynes Bridges Generations on the Expansive New Improvisational Trio Album Terra

 

Few artists embody the spirit of fearless exploration quite like drummer and composer Phil Haynes. Following the publication of his acclaimed 2023 memoir, Chasing the Masters, Haynes has entered a remarkably productive new phase of his career—one that simultaneously reconnects him with influential collaborators from his past while opening doors to a new generation of adventurous musicians.

That dual mission finds its most compelling expression on Terra, a breathtaking new trio recording scheduled for release on May 1, 2026, via Haynes' Corner Store Jazz imprint. The album unites Haynes with renowned guitarist Ben Monder and rising tenor saxophonist Peyton Pleninger, creating a cross-generational collaboration that is both deeply intuitive and strikingly original.

Recorded live on March 1, 2025, at Bucknell University's Natalie Davis-Rooke Recital Hall, Terra captures the trio's very first performance together. Remarkably, it was also the first time Monder and Pleninger had ever made music with one another. What emerged was an hour-long collective improvisation that exceeded even Haynes' highest expectations.

"I was curious about getting Ben and Peyton together, but no one could have imagined that the chemistry would be so good," Haynes reflects. "It felt like a gift."

That chemistry is evident from the opening moments of the album. Delicate chimes introduce an atmosphere of vast openness, setting the stage for a musical journey that unfolds with patience, imagination, and wonder. Haynes enriches the sonic landscape with bamboo percussion textures while Monder's guitar creates shimmering, echoing environments. When Pleninger's tenor saxophone enters, the music transforms continuously, moving through moments of intensity, introspection, and transcendence.

The resulting soundscape often feels celestial. In the album's liner notes, Haynes compares the experience to "laying down, stargazing," a description that perfectly captures the music's expansive character. Yet beneath its cosmic beauty lies an unexpectedly grounded message. As the performance evolved, themes of environmental awareness and humanity's relationship with the planet emerged organically.

"We didn't intend such a message or even discuss the subject beforehand," Haynes explains. "But the collective subconscious of the ensemble was obviously working, and it's reassuring not to be tone deaf to what's happening in the world around us."

The album's title, Terra, reflects this connection to the Earth. While the music reaches skyward in its most adventurous passages, it remains rooted in a shared awareness of the fragility and beauty of the world we inhabit. In that regard, the project continues the socially conscious spirit that informed Haynes' previous work with his Free Country ensemble, particularly the politically charged release Liberty Now!.

Aside from agreeing to keep a handful of familiar standards in reserve, the trio entered the performance without a roadmap. The beloved standard "Skylark" briefly materializes midway through the set, emerging naturally from the surrounding improvisation. Otherwise, the entire hour is created spontaneously, each musician responding instinctively to the unfolding moment.

"Playing free is dangerous," Haynes says. "We were blessed. This trio turned out to be more than the sum of its parts."

For listeners familiar with Ben Monder's work, the guitarist's presence adds another fascinating dimension. Widely celebrated for his role in The Bad Plus and his contributions to David Bowie's final album Blackstar, Monder has long been recognized as one of the most innovative voices in contemporary guitar. His creative partnership with Haynes dates back to the drummer's early New York years, when the two explored adventurous interpretations of John Coltrane's music. Their reunion on 2025's Transition(s) rekindled a musical conversation that had been dormant for more than 25 years.

Peyton Pleninger represents the other side of Haynes' artistic vision. A boundary-pushing saxophonist, improviser, astrologer, visual artist, and researcher, Pleninger embodies a multidisciplinary approach to creativity. His mentorship under the late percussion visionary Milford Graves and studies with saxophone innovator Steve Coleman have helped shape a unique artistic voice that extends well beyond conventional musical boundaries.

Haynes first encountered Pleninger during an improvisational performance in New York's Hudson Valley. The connection was immediate.

"All of a sudden, heads were snapping to attention and I realized that we had crazy chemistry like I hadn't found with a new musician for decades," Haynes recalls. "We just instantly, inexplicably had this magic together."

That magic is the heartbeat of Terra. It is an album built on trust, curiosity, and collective imagination—a rare recording that captures the exhilaration of discovery in real time. By bringing together a longtime collaborator and an emerging creative force, Haynes has crafted a project that reflects both his artistic past and his ongoing pursuit of the future.

More than simply another entry in an already distinguished discography, Terra stands as a powerful statement about connection, mentorship, and the limitless possibilities that emerge when musicians listen deeply to one another. It is a reminder that the most meaningful journeys often begin without a map.

Phil Haynes / Ben Monder / Peyton Pleninger – Terra
Corner Store Jazz (CSJ-0153)
Recorded March 1, 2025
Release Date: May 1, 2026

El Arte del Bolero, Vol. 3: Miguel Zenón and Luis Perdomo Keep the Flame Glowing

 

The much-anticipated El Arte del Bolero, Volume 3 arrives August 28, 2026 on Miguel Zenón’s Miel Music label, extending a duo odyssey with pianist Luis Perdomo that has already won hearts, critics, and a Grammy. Available on vinyl, CD, and all streaming platforms, the new album deepens a project that reimagines beloved Latin repertoire with the directness and daring of jazz at its most intimate.

Volumes 1 and 2 established the blueprint: two virtuosos—Zenón with his distinctive, singing alto tone and Perdomo with his luminous touch—meeting inside timeless songs and letting feeling lead. The concept is clear but the execution is spontaneous: few takes, no fuss, all presence. As Zenón has put it, they just go in and play. That approach helped El Arte del Bolero, Vol. 2 take home the 2024 Grammy for Best Latin Jazz Album, a nod to the power of stand-and-deliver eloquence.

What they’re exploring is the bolero: a bittersweet, slow-dance song form born in eastern Cuba in the 1880s that blossomed across the Americas in the 20th century. Radio carried it everywhere; Mexican and other film industries in the 1930s and ’40s minted hemispheric stars and stamped these melodies into collective memory. Bolero became a pan-Latin lingua franca—intimate yet grand, harmonically rich yet instantly singable.

For Zenón (from Santurce, Puerto Rico) and Perdomo (from Caracas, Venezuela), the connection is personal. They grew up with the harmonies, melodies, and heart-on-sleeve lyrics at home via parents and grandparents. That shared cultural grounding makes their duo feel less like repertory and more like remembering—reviving durable songs while assembling a living Latin American Songbook of their own. They approach it the way jazz musicians dig into the Great American Songbook, and the link is audible: many bolero composers absorbed jazz influence, traceable in cadences and structures that welcome improvisation.

The repertoire choices come from lived experience rather than archival hunts. One of them recalls a tune heard at home; the other brings a cherished version; together they follow where the song points. It’s a personalized curation that brings out soul and nuance without ornament for ornament’s sake.

Their history together undergirds the ease. Zenón—a MacArthur and Guggenheim Fellow, Grammy winner, tireless international bandleader with 19 albums over 25 years—has led the Miguel Zenón Quartet with Perdomo for 27 years. Perdomo, a Grammy-winning pianist with nine leader records and more than 250 sideman credits, is equally steeped in modern harmony and lyric touch. In duo, they listen like old friends and risk like new collaborators.

The series itself has organic roots. The first El Arte del Bolero came together quickly for a pandemic livestream and was released January 8, 2021, when much of the world was still isolated. Volume 2 arrived in 2023 and earned its Grammy the following year. With Volume 3, it’s official: this is a continuing love letter to songs that never stop giving.

Zenón’s broader footprint includes collaborations with the SFJAZZ Collective, Charlie Haden, Fred Hersch, Danilo Pérez, the Mingus Big Band, and commissions from institutions ranging from Chamber Music America to MIT and PRISM Quartet. He’s also an Associate Professor in MIT’s Music & Theater Arts Section and holds an honorary doctorate from Universidad del Sagrado Corazón. Perdomo’s resume spans Ravi Coltrane, Tom Harrell, Henry Threadgill, The Cookers, and The Vanguard Orchestra; he’s taught at Queens College, Berklee, The New School, and is Associate Professor of Jazz Piano at Oberlin Conservatory, as well as faculty for UMass Amherst’s Jazz in July.

If the first two volumes felt like discovery and affirmation, Volume 3 promises deepening: the comfort of masters in their element, the spark of first-take freshness, the glow of melodies that carry family histories. For listeners who fell in love with the series, expect more of what matters most—clarity, warmth, and songs that breathe.