Jordan Williams Introduces Himself with Playing by Ear, a Poised and Powerful Debut on Red Records

Pianist Jordan Williams makes a confident and deeply musical first statement with Playing by Ear, his debut album as a bandleader and his first release for the storied Milan-based Red Records label. The project announces a new voice grounded in jazz tradition yet unmistakably contemporary, balancing intuition and form with a quiet authority that belies Williams’ early stage in his recording career. Anchored by a rare and formidable ensemble—Jeff “Tain” Watts on drums, Nat Reeves on bass, and Wallace Roney Jr. on trumpet—the album captures the essence of listening as both discipline and instinct.

A native of Philadelphia, Williams comes from a lineage steeped in jazz history. He began picking out standards by ear at the age of six, long before he had the language to name chords or analyze harmony. Those formative experiences shaped not only his technique but his philosophy: music as something felt first, understood later. That sensibility runs throughout Playing by Ear, where Williams blends the exploratory lyricism associated with Herbie Hancock and the grounded swing of Mulgrew Miller, filtering those influences through a modern lens that values space, narrative, and touch over flash.

Across eight thoughtfully curated tracks, Williams leads with patience and clarity, allowing the music to unfold organically. The album opens with Horace Silver’s “Peace,” rendered with reverence and restraint. Each phrase is given room to breathe, setting a contemplative tone and establishing Williams’ commitment to nuance. His comping behind Wallace Roney Jr.’s trumpet feels conversational rather than reactive, guided by empathy and an intuitive sense of balance.

That balance shifts on “Ms. Baja,” the Kenny Garrett composition where the quartet leans into a more kinetic energy. Jeff “Tain” Watts injects sharp rhythmic accents and asymmetrical bursts that challenge the pulse, while Williams’ left hand provides architectural grounding. The result is a dynamic tension that feels alive and unforced, driven by collective listening rather than individual display.

A standout moment arrives with “Tayamisha,” composed by Buster Williams, where Jordan Williams nods to the stride piano lineage of Fats Waller and James P. Johnson. Those early jazz roots surface in his right-hand flourishes, connecting past to present with warmth and intention. The piece also carries deep personal meaning. Williams dedicates “Tayamisha” to his late grandparents, Ralph and Dorris Williams, who were avid fans of records featuring Buster Williams and owned a chicken shop called Wings n Things in Camden, New Jersey—Buster Williams’ hometown—in the 1960s. The dedication adds another layer of memory and lineage to a performance already rich with history.

Bassist Nat Reeves contributes two original compositions, “Waltz for Ellis” and “Blue Ridge,” which further ground the album in unhurried elegance. Reeves’ lines function as both anchor and invitation, offering steady support while encouraging melodic exploration. His presence brings a calm authority shaped by years of experience, including his work with Jackie McLean’s later ensembles.

The chemistry among the four musicians is quietly electric. Reeves provides ballast and steadiness, Watts introduces sparks of disruption that force deeper listening, and Roney Jr. navigates legacy and curiosity with a tone that is both searching and assured. Williams sits at the center, not as a dominating force, but as a facilitator—someone who understands when to lead, when to respond, and when to let silence speak.

Playing by Ear arrives as both a culmination and a beginning for Williams. A recent graduate of The George Washington University, he has already shared stages with artists such as Branford Marsalis, Jazzmeia Horn, Camille Thurman, and Curtis Lundy. That apprenticeship is evident throughout the album, not in imitation, but in the maturity of his choices and the confidence of his musical voice. His interpretations find grace in tension and swing in stillness, revealing an artist more concerned with meaning than momentum.

For Williams, the album’s title reflects a broader philosophy. Playing by ear, he explains, is how he learned not only to listen to music, but to life itself—understanding that silence, memory, and even mistakes shape what comes next. With this debut, Jordan Williams demonstrates that careful listening, when paired with courage and curiosity, can yield music that feels timeless and immediate all at once.

Lisa Addeo Unveils “Still Never Enough,” Expanding a Breakout Era as Billboard’s Most Played Female Smooth Jazz Artist

Contemporary jazz pianist and vocalist Lisa Addeo is carrying the momentum of a landmark year straight into 2026 with the release of “Still Never Enough,” a luminous new single that reflects both artistic evolution and sustained chart dominance. Entering the year on a creative high, Addeo is building on a run of achievements that firmly established her as one of smooth jazz’s most compelling independent voices.

In 2025, Addeo earned her seventh No. 1 single with “Lipstick and Moonlight” and made history as the only woman to appear in Billboard’s Top 10 Most Played Smooth Jazz Artists of the Year. Her breakout extended even further with “Wet Bar,” which became Mediabase’s Most Played Smooth Jazz Song of the Year by a female artist and landed in Billboard’s Top 10 Most Played Smooth Jazz Songs of 2025. The distinction marked the second consecutive year she placed a single in Billboard’s year-end top ten—an especially notable feat for an artist releasing music independently through her own Little Black Dress Records imprint.

For Addeo, the recognition is inseparable from the persistence and self-belief required to sustain an independent career. She describes her outlook as grateful, grounded, and focused, noting that each milestone feels deeply earned. The success of 2025, she says, confirmed that there is still space for music that is honest, handcrafted, and led from the heart, particularly when it is shared live with audiences who connect to its emotional core.

Navigating a male-dominated chart landscape added another layer of meaning to the year’s accomplishments. While Addeo insists she set out only to express her own truth, she has embraced the broader impact of her visibility. She views her presence among the genre’s most-played artists as an opportunity to help open doors wider for other women—especially those who are creating, producing, and leading their own musical visions—and hopes the momentum encourages both artists and listeners to expand what they support and celebrate.

“Still Never Enough” arrives as the latest preview of Addeo’s forthcoming album, Playin’ Out Loud, due later this year. Originally written and produced in 2019 with Billboard chart-topping guitarist Nils, the song explores themes of intimacy, longing, and emotional vulnerability. Since its initial release, it has quietly grown into Addeo’s most-streamed track, surpassing seven million Spotify streams and continuing to climb. Revisiting the song years later allowed Addeo to reimagine it through the lens of personal and artistic growth, revealing new layers while preserving its original emotional honesty.

The song, she explains, lives in the quiet space where love, desire, and vulnerability overlap—the feeling of giving fully while still craving deeper connection. Returning to it after years of evolution felt like a conversation between who she was then and who she is now, as both a woman and a storyteller. The process reaffirmed her belief in letting songs grow alongside the artist, rather than freezing them in time, and underscored the importance of surrounding herself with collaborators and supporters who encourage that growth while keeping the joy in the work.

Musically, “Still Never Enough” provides a shimmering platform for Addeo’s nimble piano work, blending sophistication with accessibility. The arrangement is elevated by David Mann’s sleek saxophone and horn lines, which glide over a groove shaped by drummer Jorel “JFly” Flynn, bassist Darryl Williams, and percussionist Oliver C. Brown. Addeo describes the session as a true musical conversation, driven by players who listen as deeply as they perform and understand that the space between notes can be just as expressive as the notes themselves.

Across her career, Addeo has built a remarkably diverse catalog spanning ten albums and more than 33 million Spotify streams. Her work extends beyond contemporary jazz to include vocal and instrumental interpretations of the Great American Songbook, meditative and spa music, solo grand piano pop, holiday collections, and even a tribute album to Frank Sinatra. Her connection to that legacy runs deeper still, with her voice heard daily on SiriusXM’s Siriusly Sinatra channel.

As a live performer, Addeo is now focused on bringing this expanding body of deeply personal music into concert settings throughout the year, where she believes it can truly live and breathe. She describes her current chapter as one of constant expansion, with new possibilities calling her forward. With songs continuing to evolve, audiences continuing to grow, and her passion for performing stronger than ever, “Still Never Enough” stands as a reflection of where she is now—rooted in experience, open to collaboration, and eager to see how far this music can travel.

Mansur Brown Ushers in a New Era with “Love Is Mine,” Introducing Vocals on Forthcoming Album Rihla

Mansur Brown steps boldly into a new creative chapter with “Love Is Mine,” a striking new single from his forthcoming album Rihla. The track marks the first time Brown introduces his own vocals into his recorded work, expanding his sonic palette while leaning further into heavier rock and electronic influences. Entirely written, performed, and produced by Brown, Rihla will be released on his own imprint, AMAI, and stands as his most personal and expansive statement to date.

Straddling the roles of songwriter, producer, and multi-instrumentalist, Mansur Brown has long embodied a rare kind of musical fluency. A classically trained guitarist and multidisciplinary artist, his work balances virtuosic precision with raw emotional expression. On Rihla, those dual impulses converge more clearly than ever. “Rihla to me is a diary of my life up until now,” Brown explains. “It touches on life in all its beauty alongside the struggle — how it all has meaning, and how it reflects humanity in detail. The album ties together all my influences in the most honest way. I’d call my music genreless, with no bounds.”

Brown’s distinctive compositional voice is shaped by intricate, flamenco-influenced guitar work paired with forward-thinking production. His listening world is vast and unapologetically eclectic, drawing inspiration from Fontaines D.C. and Deftones to early-2000s Timbaland, Afrobeats, and the spectral electronics of Burial. “My music has many different feelings,” he says, “but running through all of it are senses of happiness and gratitude. I want it to feel rejuvenating.”

First emerging from the South London jazz scene, Brown quickly became a sought-after collaborator, working with artists such as Joy Orbison, Yussef Dayes, Little Simz, and Alfa Mist. His debut album Shiroi arrived in 2018, followed by Tesuto, Heiwa, and Naqi in 2020, 2021, and 2022 respectively — a run of releases that cemented his reputation as one of the UK’s most compelling musical voices.

With each project, Brown’s audience has grown steadily, his live shows becoming known for their intensity and immersive energy, often selling out rapidly. Media attention has followed, including standout live sessions for Boiler Room at The Barbican and Benji B. With Rihla and “Love Is Mine,” Mansur Brown doesn’t just evolve — he redefines his artistic frame, offering a work that feels fearless, intimate, and entirely his own.

Dave Wilson Reframes Pop Memory Through a Modern Jazz Lens on When Even Goes East

On When Even Goes East, his eighth album as a leader, saxophonist Dave Wilson delivers a deeply personal and musically adventurous statement that bridges classic pop songwriting and contemporary jazz expression. Blending inventive reimaginings of beloved songs from the 1960s and 1970s with four original compositions that showcase his evolving compositional voice, Wilson affirms his place as a versatile improviser, bandleader, and storyteller.

The album marks Wilson’s first studio release since 2015’s There Was Never, arriving after nearly a decade spent almost entirely on the bandstand. In the intervening years, Wilson documented his music primarily in live settings, issuing One Night at Chris’ (2019) and Stretching Supreme (2022), both recorded at Philadelphia’s Chris’ Jazz Café, as well as Live at Silvana (2024), captured at the storied Harlem nightclub. Stretching Supreme—a deep exploration of John Coltrane’s A Love Supreme—earned high praise, with The Art Music Lounge calling it “an excellent CD, fully worthy of the one to whom most of the music is dedicated.”

While Wilson’s live albums thrived on the energy of spontaneous performance, When Even Goes East reflects a different kind of patience. With a schedule that often reaches 120 performances per year—ranging from jazz clubs and festivals to private engagements—alongside the demands of running Dave Wilson Musical Instruments, his full-time business specializing in vintage, modern, and student brass and woodwind instruments, the process of gathering material for a studio album unfolded gradually. The result is a carefully considered collection shaped by years of lived musical experience.

Wilson performs on both tenor and soprano saxophones throughout the album, supported by a tight-knit rhythm section featuring pianist Jesse Green, bassist Evan Gregor, and drummer Daniel Gonzalez. The trio, which has backed Wilson extensively on the road and appeared on Live at Silvana, brings a cohesive, road-tested chemistry to the session. Adding another layer of rhythmic depth is special guest percussionist Lenny Castro, whose storied résumé includes work with Toto, Eric Clapton, and John Mayer.

Born and raised in Bronxville, New York, and now based in Lancaster, Pennsylvania, Wilson’s musical journey began early. He started on clarinet in fourth grade, studied piano, and discovered the saxophone at age 14 after hearing John Coltrane’s Live at the Village Vanguard—a moment that would shape his artistic direction. He went on to study at Wesleyan University with Bill Barron and continued his education with a who’s who of jazz masters, including Dave Liebman, Joe Lovano, and Ralph Lalama.

Wilson’s career has spanned an unusually wide stylistic spectrum. In addition to leading straight-ahead jazz groups like the Dave Wilson Quartet, he has worked in funk, rock, jazz fusion, Chicago-style horn bands, and traditional jazz. He led New Orleans–influenced ensembles such as the Canal Street Hot 6 and Dave Wilson’s Rampart Street Ramblers, both of which featured prominent figures from the Mid-Atlantic traditional jazz scene. He also spent years as a member of the Dave Stahl Sacred Orchestra and Dave Stahl Big Band, sharing the stage with luminaries including Wynton Marsalis, Tom Harrell, Lou Soloff, John Fedchock, Conrad Herwig, Gary Smulyan, and Steve Smith.

For When Even Goes East, Wilson turned to pop repertoire from the 1960s and 1970s—not as nostalgia, but as raw material for transformation. “With these pop tunes, first I have to feel a personal connection with them,” Wilson explains. “I make them my own thing, so they might veer off and not sound like the original. There has to be room for creative expression and improvisation.”

The album’s title references Wilson’s brief time as a New York City cab driver, when Manhattan’s grid system made a lasting impression. Even-numbered streets run east, odd-numbered streets west—a simple logic that becomes a metaphor for direction, movement, and personal mapping. The concept is visually echoed in the album’s cover art, designed by Jack Frisch.

The record opens with Wilson’s original “Let’s Go,” an avant-garde burner driven by frenetic energy and fearless improvisation. Other originals include the title track “When Even Goes East,” born from a one-chord jam that coalesced into a hypnotic groove and was captured in a single take; “Slow Freeze,” a dark, minor-key ballad with a spacious, atmospheric feel; and “Intragalactic Sunset,” a Brazilian-tinged piece highlighted by Wilson’s smoky tenor and an effervescent solo from Green.

Among the album’s reinterpretations, Wilson revisits “Eyes of the World,” written by Jerry Garcia and Robert Hunter. A longtime admirer of Garcia, Wilson treats the melody with reverence while allowing room for jazz phrasing and improvisation. “This is my third Grateful Dead arrangement,” he notes. “I used to really like the Dead, and I came back to them after a long period of not listening at all.”

Jimmy Webb’s songwriting receives special attention with two selections. “Adios,” written for Linda Ronstadt, becomes a tender soprano sax feature that captures the song’s emotional weight, while “Wichita Lineman” unfolds with understated grace, buoyed by Green’s lyrical piano work.

The album also includes striking jazz transformations of pop and rock standards. Jackson Browne’s “These Days,” written when Browne was just 16, is reimagined as a samba-tinged vehicle for soprano sax. The Lennon-McCartney classic “Fool on the Hill,” arranged by Green, takes on a spacious, dreamlike quality, while Jimi Hendrix’s “Fire” is thoroughly reworked into a funk-infused jazz burner, far removed from its psychedelic rock origins.

Across the album, Wilson’s warm, expressive saxophone sound balances passion with introspection. Whether navigating the intensity of his originals or reshaping familiar melodies into new forms, he plays with empathy, imagination, and an unforced sense of flow. Anchored by a band that shares his creative instincts, When Even Goes East stands as a compelling studio return—one that speaks equally to dedicated jazz listeners and to those who still carry the songs of the 1960s and 70s close to heart.

Roy Hargrove at Full Flame: Unearthed 2000 Bern Jazz Festival Performance Set for Landmark Release

Bern captures Roy Hargrove at the absolute zenith of his artistry. Recorded live on May 4, 2000 at the International Jazzfestival Bern and previously unissued until now, the album documents the Grammy Award–winning trumpeter and bandleader at age 30, leading a blistering all-star quintet in a performance brimming with fire, finesse, and invention. Released by Time Traveler Recordings in partnership with the Roy Hargrove Estate, Bern stands as a vital new chapter in the legacy of one of modern jazz’s most commanding voices.

Produced by Zev Feldman and James Batsford, with Hargrove’s widow Aida Brandes-Hargrove serving as Executive Producer, the recording was originally captured by 3sat during a period when Hargrove was redefining what a modern jazz trumpeter could be. The deluxe 180-gram, limited-edition LP has been painstakingly restored and mastered for vinyl by Matthew Lutthans at The Mastering Lab, then pressed at Optimal Media in Germany. Featuring extensive liner notes by acclaimed jazz writer Nate Chinen, Bern will be released as an exclusive Record Store Day title on April 18, 2026, with CD and digital editions following on April 24. The single “Circus” arrives on all platforms February 4, 2026.

From his explosive arrival on the New York jazz scene in the late 1980s through his untimely passing in 2018, Roy Hargrove stood apart as a singular force. Equally revered for his post-bop mastery, his groundbreaking Afro-Cuban work with Crisol, and his genre-bending contributions to neo-soul and hip-hop alongside artists like Erykah Badu and D’Angelo, Hargrove moved fluently between worlds without ever diluting his voice. Yet at the heart of it all was a jazz musician forged in the lineage of Dizzy Gillespie, Clifford Brown, and Freddie Hubbard — a lineage that burns brightly throughout Bern.

This previously unheard performance places Hargrove in the crucible he thrived in most: the live bandstand. Backed by a quicksilver quintet featuring pianist Larry Willis, bassist Gerald Cannon, drummer Willie Jones III, and alto saxophonist Sherman Irby, Hargrove stretches out across five expansive tracks, each running between ten and sixteen minutes. Familiar material from albums such as Moment to Moment and The Vibe takes on new urgency, while selections connected to Manhattan Projects and Art Blakey’s Jazz Messengers are transformed through the band’s collective intensity.

Driven by Jones’ deep, unshakeable pocket and Cannon’s muscular basslines, Willis’ elegant yet probing pianism and Irby’s soulful alto lines spark Hargrove’s bravura trumpet work at every turn. On Frank Lacy’s fiery “Stranded,” Hargrove’s horn darts and soars with fearless abandon. “Depth” unfolds with rhythmic precision and momentum, while the ballad “Never Let Me Go” reveals the trumpeter’s luminous, burnished tone. “Caryisms” injects funk into the set, peppered with sly nods to Herbie Hancock’s “Chameleon” and the Meters’ “Cissy Strut,” before the album closes with the kinetic, Afro-inflected drive of “Circus.”

For producer Zev Feldman, Bern is both a revelation and a responsibility. “Roy Hargrove is such an important artist with a legacy that burns bright in our hearts,” he says. “I love Roy, and I’m deeply honored to have played a part in bringing this music into the world with the support of Aida Brandes-Hargrove and the Roy Hargrove Estate. This is a big win for the fans — and for jazz history.”

Aida Brandes-Hargrove echoes that sentiment, describing the recording as a vivid snapshot of Hargrove in full command of his art. “Roy is so in his element here, and the group’s chemistry is through the roof,” she writes. “This recording captures what made his live performances so electrifying and mesmerizing. Everyone needs to hear it.”

Roy Hargrove’s premature passing remains one of the great tragedies in contemporary jazz, making every recovered document of his creativity invaluable. Bern is more than an archival discovery — it is a living, breathing testament to a modern master at his peak, and a powerful reminder of how deeply Roy Hargrove continues to resonate in the music we hear today.

Anthony Joseph Explores Surrealism and Afro-Futurism in New Single “James”

Anthony Joseph returns with “James,” the first single from his upcoming album The Ark, produced by Dave Okumu. The track blends soul, dub, electronic textures, and off-the-beaten-path funk, marking a bold new phase in Joseph’s Afro-futurist vision. Following the critical acclaim of Rowing Up River To Get Our Names Back, Joseph continues to push the boundaries of jazz, spoken word, and poetry, creating music that is intellectually rich, rhythmically compelling, and deeply rooted in the African diaspora.

Written about Trinidadian/Canadian scholar James Oscar, the song reflects the profound influence Oscar had on Joseph’s thinking and writing, introducing him to surrealist authors including Ted Joans, Andre Breton, Bob Kaufmann, and Edouard Glissant during their time working together in a London bookshop in the mid-1990s. “James” also recalls a late-90s night out in New York City when Joseph and Oscar imagined what might happen if a dog wandered into a nightclub—a surreal, subversive moment rooted in Caribbean party culture, where such events are ordinary. This blend of lived experience and imaginative storytelling is central to Joseph’s work, where music, poetry, and history collide.

The track demonstrates Joseph’s mastery of rhythm and poetic phrasing, layered over eclectic instrumentation that nods to both classic jazz and forward-looking electronic textures. It is a song that celebrates friendship, intellectual curiosity, and the joy of imagining alternate realities.

“James” will be released on 29 January 2026 via Heavenly Sweetness as a digital single, inviting listeners into Joseph’s unique world of rhythm, words, and Afro-futurist exploration.

Owelu Dreamhouse Reunites to Explore Nigerian Heritage Through Cinematic Soul and Afrobeat

Owelu Dreamhouse reunites Saskwatch vocalist Nkechi Anele and multi-instrumentalist Nic Ryan-Glenie after a five-year hiatus, with Nkechi returning to music to explore her Nigerian heritage through a sonic blend of cinematic soul, psychedelia, and Afrobeat. The album navigates the tender dissonance of being a third-culture kid, with the band’s name inspired by Nkechi’s grandmother’s village, Owaelu, in Nigeria. Lead single “Tourist” captures the complexity of returning home while simultaneously feeling out of place.

Drawing from West African records, Latin influences, and ’90s R&B, the duo worked with co-producer Henry Jenkins and Melbourne’s top session players to create tracks ranging from the Manu Dibango-influenced dance anthem “Stutter” to the contemplative “Niger River,” which uses the river cutting through Nkechi’s ancestral region as a metaphor for letting go. “Owerri Disco” explores female rage and accountability through the lens of history, feminism, and cultural identity, transforming these themes into anthemic, expressive music.

The album is both archival and contemporary, weaving cinematic soul, psychedelia, and Afrobeat into a vibrant reflection on cultural ties, gender, and identity across generations. It will be released on 6 February 2026 via Hopestreet Recordings, available on LP and digital formats.

Soulive Share New Single “East Side” Ahead of First Full Album in 15 Years, Flowers

Woodstock, New York–formed trio Soulive — guitarist Eric Krasno, organist Neal Evans, and drummer-producer Alan Evans — unveil “East Side”, the third single from their upcoming album Flowers, out January 30, 2026 via Flóki Studios. The track, a blues-driven waltz, was a live favorite before being recorded in Iceland and showcases the band’s signature telepathy, groove, and Hammond-organ mastery.

“East Side has become one of our favorite tunes to play live,” says Alan Evans. “We knew as soon as we started recording it, we were going to capture something special. I hope it sparks similar feelings for people when they listen.”

Flowers marks Soulive’s first full-length studio album in 15 years. Tracked at the century-old Flóki Studios on Iceland’s north coast, the sessions emphasized light, space, and inspiration. The trio composed much of the record on the spot, drawing on decades of chemistry, while Flóki’s remote location and unique energy — including subtle nods to the Icelandic huldufólk, or “hidden people” — contributed to the album’s creative flow.

Over 25 years, Soulive became a bridge across jazz, rock, and hip-hop audiences, with early records like Turn It Out (2000) and Doin’ Something (2001) cementing their reputation for soulful Hammond-driven grooves. After a quieter decade of EPs, residencies, and selective performances, Flowers reconnects the trio, allowing them to expand their sonic language while remaining true to their roots.

With “East Side”, Soulive deliver a track that is at once nostalgic and fresh, reflecting the spontaneity, interplay, and groove-driven magic that has defined their career.

Flowers Track Listing:
01.) XL
02.) Baby Jupiter
03.) Flowers at Your Feet ft. Van Hunt
04.) 3 Kings
05.) East Side
06.) Basher
07.) Butter Rock
08.) Vines
09.) Pikes Place
10.) Window Weather

Mark Adams, Roy Ayers’ Longtime Musical Director, Releases “This Is Neo-Soul”

Keyboardist, composer, and longtime Roy Ayers music director Mark Adams returns with This Is Neo-Soul, a 10-track album arriving March 20, 2026, on DownJazz Records — the vinyl-first label founded by New York drummer David Schwartz. The album gathers fifteen all-star musicians from the bands of Roy Ayers, Chic, Lonnie Liston Smith, Luther Vandross, Gloria Gaynor, Gil Scott-Heron, and Chaka Khan, creating a modern neo-soul statement that honors a living musical language rather than a nostalgic tribute.

Adams spent more than 20 years as the keyboardist, arranger, and onstage anchor of Ayers’ touring group Ubiquity, performing thousands of shows worldwide. “It’s a Roy Ayers, ’70s sound, but we authenticated it with the people who played that music and the people trained by them,” Adams says. “I played with Roy for more than 20 years. He taught me everything. So we made this the real thing.”

Produced in collaboration with Schwartz, This Is Neo-Soul channels gospel harmony, jazz-fusion momentum, dance-music architecture, and global DJ culture. Highlights include live-captured crowd favorites such as “Don’t Stop” (originally “Don’t Stop the Feeling”), soulful reinterpretations like “Open Letter” and “Vibrations,” and nods to neo-soul pioneers with tracks like “Expansions” and “LLS Groove.” Vocalists Kimberly Davis, John Pressley, Jonathan Quash, Miya Bass, and B Carter contribute alongside instrumentalists from Ayers’ circle including Chris DeCarmine (drums), Dave Mullins (sax), Monte Croft (vibraphone), Steve Kroon (percussion), and Kenyatta Beasley (trumpet).

The album balances homage and innovation, maintaining Ayers’ harmonic depth and trance-like pocket while incorporating contemporary textures like electronic atmospheres, hip-hop production, and gospel influences. “Every other song has vocals,” Adams notes. “It’s almost like a Robert Glasper record — heavy improv with dance energy.”

A vinyl-first project, This Is Neo-Soul emphasizes warmth, depth, and physical presence. More than 200 U.S. record stores are set to stock the release and host listening sessions. A follow-up remix edition, created by twelve international DJs and producers, is planned for summer 2026, further expanding the album’s global sonic reach.

This Is Neo-Soul is both a tribute and a continuation of Roy Ayers’ legacy — a historic moment in neo-soul performed by the true heirs of the “Godfather of Neo-Soul.”

Javon Jackson Honors Bob Dylan on New Album “Jackson Plays Dylan”

Tenor saxophonist Javon Jackson pays tribute to one of America’s greatest songwriters with the spirited Jackson Plays Dylan, out March 27, 2026, via Solid Jackson Records in collaboration with Palmetto Records. Featuring Grammy-winning vocalist Lisa Fischer and Nicole Zuraitis, the album explores over three decades of Bob Dylan’s iconic songs, transforming folk anthems, protest classics, and love songs into a dynamic jazz conversation.

Jackson, who recently completed two acclaimed collaborations with the late poet and activist Nikki Giovanni, brings both musical virtuosity and personal insight to the project. “I have a deep respect for Bob Dylan’s musicianship and his commitment to the craft,” Jackson says. “I’m a fan.” Guided by Dylan’s blend of poetic sophistication, social conscience, and vulnerability, Jackson infuses the songs with fresh interpretation while honoring their original spirit.

Recorded with pianist/keyboardist Jeremy Manasia, bassist Isaac Levine, drummer Ryan Sands, and featuring Fischer and Zuraitis on vocals, Jackson Plays Dylan opens with the groove-fueled tribute “One for Bob Dylan” and moves through classics including Blowin’ in the Wind, The Times They Are A-Changin’, Hurricane, Gotta Serve Somebody, Lay, Lady, Lay, and Make You Feel My Love. Fischer delivers powerhouse vocals on “Gotta Serve Somebody,” while Zuraitis lends a wistful elegance to Forever Young.

Jackson transforms landmark songs such as Tombstone Blues and Like a Rolling Stone with Coltranesque modal revisions and gospel-infused energy, while his swinging take on Mr. Tambourine Man evokes mentorship, humility, and growth—echoing his own experiences with jazz greats Art Blakey, Elvin Jones, and Freddie Hubbard.

Missouri-born and Berklee-educated, Javon Jackson joined Art Blakey’s Jazz Messengers in 1986 and went on to an acclaimed career as a recording artist and bandleader, including multiple Blue Note albums and his own Solid Jackson Records imprint. Jackson Plays Dylan continues his legacy of innovation, bridging jazz storytelling and transformative interpretation while celebrating one of America’s most influential songwriters.

Trumpeter Dave Adewumi Debuts as Leader with “The Flame Beneath The Silence”

Giant Step Arts continues its Modern Masters and New Horizons series with the debut album by rising star trumpeter Dave Adewumi. The Flame Beneath The Silence, out March 27, 2026, presents Adewumi in his first statement as a leader, supported by a powerful trio of modern jazz masters: vibraphonist Joel Ross, bassist Linda May Han Oh, and drummer Marcus Gilmore.

Praised by Jason Moran, who says, “Dave Adewumi is here. He plays with fearless charm and reckless rigor. His reach grows chorus by chorus,” and by Mary Halvorson as “one of the standout voices of his generation,” Adewumi has already captured the attention of the jazz world well before his 30th birthday.

A graduate of the New England Conservatory and The Juilliard School, Adewumi was the first jazz trumpeter awarded the prestigious Paul & Daisy Soros Fellowship in 2017. His accolades include first place at the 2019 Carmine Caruso International Jazz Trumpet Competition, the 2024 ASCAP Young Jazz Composer Award and Gregory Morris Composing Fellowship, and the 2025 NYSCA/NYFA Artist Fellowship. He has been recognized as a “Rising Star” in the DownBeat Critics Poll.

Recorded live at Brooklyn’s Ornithology, the album showcases Adewumi’s skills as composer, conceptualist, and collaborator. Tracks flow like a suite, with evocative titles including the opening The Flame Beneath The Silence, Infinite Loop, If I Need To Do This Again I’m Going To Throw A Fit, and the closing The Light You Left Behind. Adewumi balances meditative, celebratory, and politically conscious themes, blending the personal with the societal while maintaining a lively, generative tension throughout the album.

Influences span generations, from Louis Armstrong, Donald Byrd, and Don Cherry to Dave Douglas, Ambrose Akinmusire, and mentors such as Moran, Jason Palmer, Mary Halvorson, Frank Carlberg, and the late John McNeil. Adewumi’s compositions channel these lessons into a cohesive, expressive statement, amplified by the virtuosic contributions of Ross, Han Oh, and Gilmore.

The Flame Beneath The Silence marks a powerful debut in Adewumi’s career, heralding a new voice in modern jazz while cementing his place among both rising and established leaders in the genre.

Grammy-Winning Drummer Adonis Rose Unveils “Unusual Suspects” Featuring Vocalist Phillip Manuel

Grammy Award-winning drummer, composer, producer, and educator Adonis Rose presents Unusual Suspects, featuring the extraordinary vocalist Phillip Manuel, set for release on February 27, 2026, via Moocha Music. From the very first note, this project establishes itself as a standout in contemporary jazz, offering a masterclass in musicianship, arrangement, and emotional depth.

The ensemble features Adonis Rose on drums, Phillip Manuel on vocals, Max Moran on bass, Seth Finch on piano/Fender Rhodes, Steve Masakowski on guitar, Ricardo Pascal on tenor/soprano saxophones, and Stephen Lands on trumpet. The arrangements, crafted by Manuel and longtime collaborator Michael Pellera, balance instrumental virtuosity with the emotional weight of each song. Manuel’s rich, singular voice — reminiscent of legends like Johnny Hartman and Andy Bey yet entirely his own — shines alongside a sextet performing at the top of their craft.

Recorded in the summer of 2025 at Artisound Studios in New Orleans, the album transforms classic instrumentals and jazz standards into lyrical treasures. Highlights include Lee Morgan’s Party Time, Peter Martin’s The Unusual Suspects, Steve Masakowski’s Sixth Ward Strut, Joe Sample’s The Road Less Traveled and I’ll Love You, as well as original compositions by Manuel and Pellera. The collection is rounded out with swinging takes on Michael Jackson’s Thriller and Bill Withers’ Hello Like Before.

New Orleans runs in Rose’s veins. Hailing from a family of legendary musicians, including his father Vernon Severin and grandfather Wilfred “Crip” Severin Jr., Rose’s drumming embodies the spirit, culture, and rhythm of the Crescent City. His career includes performances and recordings with Terence Blanchard, Betty Carter, Dianne Reeves, Marcus Roberts, Harry Connick Jr., and Wynton Marsalis, as well as appearances on stages such as Carnegie Hall, the North Sea Jazz Festival, Apollo Theater, Newport Jazz Festival, and Jazz at Lincoln Center. Rose has over fifty recordings to his credit and currently serves as Artistic Director of the New Orleans Jazz Orchestra (NOJO), where he develops educational and community programs.

Phillip Manuel, a native of New Orleans, brings decades of experience performing worldwide and interpreting classics from Nat “King” Cole to James Taylor, Ellington, and Gershwin. His collaboration with Rose spans years of live performances and recordings, including NOJO projects. Manuel considered retiring before Rose encouraged him to continue, and the result is this extraordinary recording.

Unusual Suspects is a celebration of artistry, musical heritage, and the enduring power of collaboration, offering listeners an immersive jazz experience that honors New Orleans’ rich musical lineage while presenting fresh, vocal-driven interpretations of beloved classics.

Kim Kaskiw Triumphs with “The Latin Jazz Fusion Project,” Turning Challenge into Musical Brilliance

In the sophisticated landscape of Canadian jazz, few stories resonate with as much emotional truth and artistic resilience as that of Kim Kaskiw. A Toronto-born, Ottawa-based vocalist, composer, and trailblazing tuba player, Kaskiw has unveiled her latest album, The Latin Jazz Fusion Project, a vibrant bridge between Latin, Jazz, Funk, and Fusion. Drawing from a life defined by music, the album celebrates the beauty of life, perseverance, and the power of creative expression.

The record’s creation is deeply intertwined with Kaskiw’s journey through a 2020 diagnosis of musicians’ focal dystonia, a neurological condition that threatened her ability to perform. Rather than retreating, she used the diagnosis as a creative catalyst, collaborating with tenor saxophonist and arranger Joey Berkley — who also lives with the condition — to craft an album that is both a triumph of will and a masterclass in musicianship. “My motto has always been: If not now, when?” says Kaskiw. “I wanted to find a way to express myself fully in the studio and cheat dystonia in the process. I think I succeeded!” The sessions, featuring stellar musicians from Toronto, Ottawa, and New York City, radiate warmth and strength.

Central to the album is the new single, “HER”, inspired by legendary vocalist Nancy Wilson. Kaskiw explains: “Nancy Wilson could deliver a song with deadly precision. I wanted to write an impactful song with a ‘hard right hook’ like she did in Guess Who I Saw Today?” The slow Bossa Nova track features a haunting harmonica solo by Normand Glaude, elevating the piece to poignant heights. Other highlights include “Come To Me,” showcasing Kaskiw’s triple-threat talent as composer, tuba player, and vocalist; the funky recovery anthem “Rise Up,” nodding to Tower of Power; and the intricate “Sol Sista,” a rhythmic tribute to her sister’s 50th birthday.

Thematically, The Latin Jazz Fusion Project explores love, loss, and the healing power of the present moment. Tracks like “Here and Now” convey empathy and hope to those who have lost loved ones, while “Black Rooster” and “Waltz for JP” reflect travel-inspired experiences and tributes to mentors. Throughout, Kaskiw’s original compositions and lyrics invite listeners into a world of emotional truth, proving that music is a powerful force for healing and uplift.

By blending jazz storytelling with modern Latin Jazz Fusion and elevating the tuba to a central role, Kaskiw not only raises awareness for musicians with focal dystonia but also celebrates the human spirit. The Latin Jazz Fusion Project is a testament to creativity as the ultimate driver of expression, even in the face of life’s most profound challenges.

Drummer Kevin Peter Jones Releases Historic Live Album “Blues Alley” with All-Star Ensemble

Drummer, producer, and arranger Kevin Peter Jones assembled an all-star band featuring GRAMMY® winners Randy Brecker and Jeff Lorber to play eight sold-out shows at the iconic Blues Alley in Washington, DC. The live set, Blues Alley, was released on Friday, January 23, on Pacific Records, making Jones one of only four artists ever granted permission to release a live recording from the storied venue.

To honor Martin Luther King Jr. Day, Jones previewed the album by releasing a radio-friendly edit of the Cannonball Adderley classic “Walk Tall,” the nearly twelve-minute opener from the ten-track set. Joining Jones, Brecker, and Lorber are GRAMMY® nominees Eric Marienthal (saxophone) and Lenny Castro (percussion), guitarist Dean Brown, and Senegalese bassist Cheikh Ndoye, whose world music nuances add depth to the contemporary jazz session.

“I wanted to bring together musicians who don’t just play notes — they tell stories. Each musician has a voice that’s unmistakable. When you put that kind of talent in one room, the music becomes bigger than any one of us,” said Jones. “People ask if having so many strong personalities creates friction. It doesn’t — it creates magic. Everyone listens, everyone reacts, and that’s what makes jazz alive.”

Blues Alley showcases masterful musicianship, the energy of live performance, and the spontaneous magic of improvisation. Jones sets the tone with astute drumming, complex cadences, and locked-in rhythms, supporting the melodic voices of keyboards, trumpet, saxophone, and guitar without overpowering them.

The set list balances reverence for history with innovative compositions, including Lorber’s “Hudson” and “Surreptitious,” Brown’s “Solid,” and Ndoye’s “Alchemy East.” Highlights include Marienthal’s emotive sax on Donny Hathaway’s “Valdez in the Country,” Brecker and Lorber’s rich interpretation of “You Don’t Know What Love Is,” and the bluesy Chick Corea-inspired “Blue Miles.”

Jones reflects on Blues Alley as both a tribute and a celebration: “This album stands as a testament not only to the music but to the spirit of Dean Brown, whose artistry and generosity left an indelible mark on everyone he played with. Recording live in such a storied space felt less like a performance and more like joining a living legacy.”

Blues Alley tracklist:

• “Walk Tall”

• “Hudson”

• “Valdez in the Country”

• “You Don’t Know What Love Is”

• “The Evening News”

• “Blue Miles”

• “Solid”

• “Surreptitious”

• “Alchemy East”

• Percussion Solo

Flutist and Arranger David Crawford Remixes “African Nouveau” for Black History Month

Veteran flutist and arranger David Crawford — whose credits include Patti LaBelle, Gladys Knight, Mary J. Blige, and Bill Withers — marks Black History Month with a newly remixed version of his single “African Nouveau,” officially arriving February 6.

Since releasing “African Nouveau” last fall, Crawford listened closely to feedback from colleagues, promoters, and fans — and the message was clear: listeners wanted his flute front and center.

“On the original version, I shared the leads with the gifted trumpeter Nolan Shaheed, a longtime friend and collaborator. Nolan played with Marvin Gaye, Miles Davis, and Earth, Wind & Fire, and I wanted his sound to offer another perspective in a conversation. The feedback I received was that people wanted to hear more flute. Nolan plays beautifully on the new version, but my flute takes the primary lead voice now,” Crawford explained.

Inspired by the continent he calls his “ancestral beginnings,” Crawford created “African Nouveau,” a vibrant, rhythm-forward piece filled with traditional African melodies and rhythms, layered with distinctly American sounds of modern jazz and R&B.

“African Nouveau” is the first release from Crawford’s forthcoming debut album, Something Borrowed, Something New. He plans to roll out several singles ahead of the album’s release.

A native of Compton, California, now based in Las Vegas, Crawford earned a master’s degree in music at the California Institute of the Arts. He’s a composer, producer, and arranger, producing Vesta Williams’ Billboard R&B top ten single “Once Bitten, Twice Shy” and several tracks for R&B group Woods Empire. He has performed with Stevie Wonder and Isaac Hayes, and recorded with Ahmad Jamal and The Temptations. A seasoned orchestral performer, Crawford has appeared with the Afro-American Chamber Music Society Orchestra, Santa Monica Symphony, and Burbank Philharmonic.

Big Shoulders, Big Sounds: Jimmy Farace Steps Into the Open

Big sound? Jimmy Farace has plenty of it. He uses every inch of the baritone saxophone’s range with authority and imagination, from the throaty upper register crowning his improvisation on “Just Us Blues” to the cellar-shaking depths of the kaleidoscopic cadenza on “Chelsea Bridge.” This is music that doesn’t hedge or hide—it speaks plainly, powerfully, and from the gut.

The phrase “big shoulders,” borrowed from Carl Sandburg’s immortal portrait of Chicago, carries layered meaning here. For Farace, it reflects both the city’s muscular swagger and the giants on whose shoulders he stands, particularly the masters of the baritone saxophone whose voices shaped his own. Big Shoulders, Big Sounds is a statement of purpose, one that embraces lineage while claiming space in the present.

Following his acclaimed 2025 debut Hours Fly, Flowers Die—named one of the Best Jazz Albums of the year by All About Jazz and included in Bill Milkowski’s Top 100 Jazz Albums—Farace pares the music down to its essentials. This time, there’s no piano, no harmonic safety net: just baritone saxophone, bass, and drums. Joined by two of Chicago’s most trusted musicians, bassist Clark Sommers and drummer Dana Hall, Farace steps fully into the light and lets the music take the risk. The result is a trio record rooted in trust, shared history, and the sheer exhilaration of discovering how much sound three musicians can summon together.

The title nods not only to Chicago, but to the baritone lineage itself. Echoes of Gerry Mulligan’s lyric clarity, Charles Davis’s depth and edge, and a broader tradition stretching from Billy Strayhorn to Sammy Fain run quietly through the record. Yet this is no exercise in nostalgia. Farace’s originals—“Cloud Splitter,” “Prophetic Dreams,” “DST,” “Decorah’s Dance,” and “Three Headed Dragon”—are deeply personal, each orbiting an emotional state: restlessness, momentum, irritation, joy, and that charged sensation that something is always about to shift.

With no chordal instrument to define the terrain, the trio operates in open air. Sommers and Hall, longtime musical partners, create a supple, breathing environment that allows Farace to move fluidly between heft and lightness, propulsion and lyricism. The music sounds expansive without ever feeling crowded, virtuosic without losing its narrative thread.

The standards—“Chelsea Bridge,” “I’ll Be Seeing You,” and Charles Davis’s “Just Us Blues”—function less as reinventions than as acknowledgments. They ground the album in history while highlighting how naturally the baritone saxophone can serve as a modern lead voice. Gratitude and forward motion coexist easily here.

If Farace’s debut established him as a composer with a wide emotional range, Big Shoulders, Big Sounds reveals something equally compelling: a player ready to stand at the center of the music and test its limits. Together with Sommers and Hall, he delivers a powerful addition to the trio tradition—music that soars in broad strokes, sparkles with in-the-moment discoveries, and points confidently toward what comes next.

Listeners who care about music with depth, joy, and meaning should take note. Jimmy Farace is creating work that invites you to feel—gratitude, inspiration, excitement—or simply to let go and get lost in the sound. Either way, the reward is real.

Portions of this text draw from the album’s liner notes by Neil Tesser.