Brazilian Breeze For P-Vine: A Soulful Journey Through Brazil, Jazz, Funk, and Café Culture

Some compilations simply collect songs. Others create an atmosphere, a mood, and an entire musical world. Free Soul/Café Apres Midi Brazilian Breeze For P-Vine belongs firmly in the latter category—a beautifully curated exploration of Brazilian-inspired soul, jazz, funk, and bossa nova influences that captures the spirit of discovery at the heart of P-Vine’s celebrated compilation series.

Bringing together two acclaimed collections that were originally released separately on vinyl, this special CD edition offers a deep and diverse listening experience for fans of Brazilian music, rare groove, jazz fusion, and sophisticated soul. Rather than presenting a traditional overview of Brazilian sounds, the collection explores the many ways artists around the world have absorbed Brazil’s rhythms and transformed them into something uniquely their own.

The long-running Free Soul series has always been known for uncovering music with a distinctive sense of style—tracks that are uplifting, adventurous, and full of unexpected twists. Brazilian Breeze continues that tradition with a selection of vibrant recordings that blend Brazilian influences with soul, funk, and jazz sensibilities. The result is a collection filled with grooves that feel familiar yet refreshingly original, showcasing artists who push beyond conventional boundaries.

Highlights include Judy Roberts’ sparkling “Rainbow In Your Eyes,” Patricia Marx with Seu Jorge on the elegant “Espelhos D’Agua,” and Billy Wooten’s soulful “Dancing & Singing.” Tracks such as Meta Roos’ “Zazueira,” Joe Fender’s “Todo Bien,” Joyce Cooling’s “It’s You,” Nico Gomez’s “Aquarela,” Alive’s “Skindo Le Le,” and Paprika Soul’s “He Loves You” further demonstrate the incredible range of sounds connected by the Brazilian musical spirit.

The Café Apres Midi portion of the collection offers a different but equally captivating experience. Designed for those moments when the evening slows down and the atmosphere becomes more intimate, these selections move effortlessly between vocal jazz, instrumental funk, European bossa nova, and Brazilian-inspired grooves. It is music that invites close listening while creating the perfect soundtrack for relaxed gatherings, late-night conversations, or simply enjoying a quiet moment.

Fans familiar with the Café Apres Midi series will recognize its signature approach: sophisticated, stylish, and impossible to categorize. These are not typical Brazilian recordings, nor are they background lounge pieces. Instead, they represent a creative meeting point where the sounds of Rio merge with global jazz and soul traditions.

Among the standout selections are Janice Borla’s “He Loves You,” Alive’s “Somebody’s Talkin To You,” Penny Goodwin’s “Little Girl Lost,” Augustin Pereyra Lucena’s “Vem Viver,” and Joe Fender’s “Nice & Easy.” The collection also ventures into jazz territory with Gerry Mulligan’s “North Atlantic Run,” while Roman Andren with Miriam Aida deliver the beautifully textured “Bumblebee.” Additional gems include The G/9 Group’s “P’ra Que Chorar,” Lemuria’s “All I’ve Got To Give,” Irene Sjogren’s “Real Guitarist In The House,” and Judy Roberts’ “Common Ground.”

What makes Free Soul/Café Apres Midi Brazilian Breeze For P-Vine so compelling is its ability to connect seemingly different musical worlds. Brazilian rhythm, American soul, European jazz, and global funk all meet here, creating a collection that feels both timeless and forward-thinking. Every track reveals another layer of influence and creativity, rewarding longtime collectors while offering newcomers an exciting introduction to a rich musical landscape.

For listeners who appreciate rare groove discoveries, elegant jazz arrangements, and the endless possibilities created when cultures and genres intersect, this P-Vine release is a must-have addition. Brazilian Breeze is more than a compilation—it is a celebration of musical curiosity, a passport to a world of rhythm and imagination, and a reminder that great music has no borders.

Orchestra Baobab Returns with Made In Senegal, Celebrating a Legacy That Continues to Thrive

More than half a century after its formation, Orchestra Baobab remains one of Africa's most beloved and influential musical institutions. Their timeless blend of Afro-Cuban rhythms, Wolof griot traditions, mbalax, Congolese rumba, and jazz has captivated audiences around the world for generations. Now, the legendary Senegalese ensemble begins an exciting new chapter with Made In Senegal, their first new studio album in over a decade and a powerful celebration of heritage, resilience, and renewal.

Scheduled for release via Strut Records and Madoky Music, Made In Senegal finds the iconic orchestra honoring its remarkable history while looking confidently toward the future. The album follows Tribute to Ndiouga Dieng, released in 2017, and demonstrates that the unmistakable Orchestra Baobab sound remains as elegant, soulful, and hypnotic as ever.

"We are like the tree we are named after," says bandleader and saxophonist Thierno Koité. "No matter what happens, the baobab stands firm."

That spirit has defined Orchestra Baobab throughout its extraordinary journey. Formed in Dakar over 50 years ago as the resident band of the famed Baobab Club, the group has survived changing musical trends and the loss of several founding members while continuing to inspire audiences across continents. Rather than fading with time, the orchestra has evolved organically, welcoming sons, nephews, and longtime collaborators who carry forward the band's rich musical tradition with remarkable authenticity.

Today's lineup beautifully balances experience and fresh energy. Longtime members Thierno Koité, drummer Taga Koité, percussionist Moussa Cissokho, and guitarist Yahya Fall are joined by a new generation that includes lead vocalists Zacharia "Papino" Koité and Korka Dieng, the orchestra's first female frontwoman, alongside bassist Malick Sy, lead guitarist René "Bolero" Sowatche, and saxophonist and trombonist Wilfrid Zinzou. Together they preserve the warmth, sophistication, and irresistible groove that have become synonymous with Orchestra Baobab.

The album's latest single, "Ana Maria," offers a moving glimpse into the emotional depth of Made In Senegal. Written by the late singer and songwriter Rudy Gomis, the song serves as a heartfelt tribute to his grandmother, the one member of his family who wholeheartedly supported his musical ambitions. Drawing upon the poetic imagery of Casamance Creole tradition, "Ana Maria" uses the wind as a symbol of memory, love, and the enduring connection between generations. Even as time passes, the blessings and voices of ancestors continue to guide those who follow.

Recorded entirely in Dakar, Made In Senegal is rooted firmly in home, community, and cultural identity. The collection seamlessly blends newly composed material with thoughtful reinterpretations of beloved classics. "Togne Bakhoul," another composition by the late Rudy Gomis, stands as a tender tribute to his wife, while "Tioro Bye Samba" breathes new life into a classic by the legendary Thione Seck. The vibrant "Casamance" celebrates the culturally rich southern region of Senegal, homeland to several members of the orchestra, while "Baobab 50 Ans" commemorates the band's remarkable 50-year journey.

Across its twelve tracks, the album captures everything that has made Orchestra Baobab one of Africa's defining musical voices. The elegant interplay of guitars, horns, percussion, and rich vocal harmonies creates music that feels simultaneously timeless and contemporary. It is a sound deeply rooted in Senegalese traditions yet open to global influences, continuing the unique musical language the orchestra pioneered decades ago.

As Made In Senegal arrives on LP, CD, and digital formats, it offers longtime admirers another remarkable chapter in the Orchestra Baobab story while providing the perfect introduction for a new generation of listeners. It is a testament to the enduring power of tradition, friendship, and artistic evolution—proof that, much like the magnificent tree from which they take their name, Orchestra Baobab continues to stand strong.

With an extensive European tour accompanying the album's release, audiences across the UK, France, Germany, and the Netherlands will once again have the opportunity to experience one of Africa's greatest big bands in full flight. More than 50 years after first taking the stage in Dakar, Orchestra Baobab remains a vibrant musical force whose legacy continues to grow with every new performance and every new recording.

Made In Senegal is not simply a celebration of the past—it is a confident reminder that one of world music's greatest ensembles continues to create music with elegance, purpose, and unmistakable soul.

Danny Keane's Kinesis: A Genre-Defying Journey of Movement, Growth, and Musical Freedom

Few musicians move as effortlessly between musical worlds as Danny Keane. An award-winning multi-instrumentalist, composer, and producer, the Anglo-Irish artist has spent years collaborating with some of the most adventurous names in contemporary music, including Mulatu Astatke, Anoushka Shankar, Nitin Sawhney, Damon Albarn, Penguin Café, and The Heliocentrics. With his long-awaited second album, Kinesis, Keane steps confidently into the spotlight with a deeply personal and strikingly original collection that confirms his place among the UK's most inventive musical voices.

Arriving six years after his acclaimed debut Roamin', Kinesis is more than simply a follow-up—it's a statement of artistic identity. Drawing from jazz, classical, Ethiopian music, Indian classical traditions, electronic textures, and progressive rhythms, the six-track album resists easy categorization while maintaining a remarkably cohesive emotional arc. Listeners who appreciate the boundary-pushing work of Mammal Hands, Shabaka Hutchings, Anoushka Shankar, and Nik Bärtsch will find much to admire in Keane's richly layered compositions.

At its heart, Kinesis is an exploration of movement in every sense of the word. The title reflects the years of international travel Keane has undertaken while touring with Ethiopian jazz pioneer Mulatu Astatke, the constantly shifting meters that shape the album's musical language, and the deeply personal transitions that have defined his own life. It is an album about knowing when to embrace change, when to leave familiar places behind, and how creative freedom often comes from refusing to remain still.

One of the album's greatest inspirations came through Keane's close relationship with Astatke, widely regarded as the father of Ethio-jazz. Touring together became an education that extended far beyond the concert stage. Keane recalls being welcomed into Addis Ababa by Astatke himself, who would personally collect him from the airport before introducing him to local musicians and jam sessions. Among the many gifts Astatke shared was a traditional Ethiopian masenqo, an instrument Keane treasures as a symbol of both friendship and artistic generosity.

Reflecting on those experiences, Keane credits Astatke's unwavering commitment to originality as one of the defining influences on his own musical outlook. Coming from a traditional Western classical education, where technical mastery often takes precedence over individuality, Keane found inspiration in Astatke's insistence that every musician must develop a unique voice. That philosophy resonates throughout Kinesis, an album that never settles comfortably within one genre but instead celebrates curiosity and creative exploration.

The impressive ensemble assembled for the recording reflects the breadth of Keane's musical life. Many of the performers are longtime collaborators from his work with Astatke, Anoushka Shankar, and Nitin Sawhney, creating an atmosphere built on trust and shared musical language. Progressive drummer Sarathy Korwar, percussionists Pirashanna Thevarajah and Aref Durvesh, trumpeter Byron Wallen, saxophonist and clarinetist James Arben, percussionist Richard Olatunde Baker, bassist Jon Thorne, bassist Ruth Goller, tuba player Ed Ashby, and Palestinian oud virtuoso Adnan Joubran all contribute distinctive voices. Keane's own imaginative string arrangements are brought to life by violinists Tom Pigott-Smith and Oli Langford, violist Max Baillie, and cellist Ian Burdge, creating textures that consistently avoid conventional orchestration.

Each composition reveals a different facet of Keane's expansive musical imagination. Opening track "Running" immediately establishes the album's adventurous spirit with a driving riff in 7/8 that generates constant forward momentum. "Passing Time" creates the sensation of travel through shifting tonal centers while drawing on Indian rhythmic traditions, layering hypnotic patterns over a steady pulse.

Perhaps the album's boldest experiment arrives with "Cathartic Chaos," where Keane's pulsating Moog synthesizer provides an exhilarating foundation for Adnan Joubran's expressive oud improvisations. The meeting of electronic soundscapes and traditional Middle Eastern instrumentation creates one of the album's most compelling musical conversations, showcasing two classically trained musicians pushing beyond the boundaries of their respective traditions.

"Somnolent Stomp" unfolds with the patience and intensity of an extended Afrobeat performance, gradually building toward a thrilling collective improvisation. Built around a harmonically adventurous 5/4 groove, the composition gave Keane the opportunity to realize a long-held ambition of allowing the ensemble complete freedom to shape the music together in real time.

The reflective "Major Minor Waltz" continues the album's fascination with ambiguity, constantly shifting between major and minor tonalities while inviting listeners to decide for themselves whether its emotional character feels joyful, melancholic, or somewhere beautifully in between.

The album concludes with "Time To Go," a sparse and deeply intimate trio performance featuring Keane on piano alongside Jon Thorne on double bass and Sarathy Korwar on drums. The composition draws directly from Keane's own experience of leaving the communal house where he had lived, created, and celebrated music with close friends for two decades. What had once been a place of endless creativity and companionship had gradually become unsustainable, making departure both painful and necessary. That bittersweet acceptance gives the closing piece—and indeed the entire album—its emotional center.

Ultimately, Kinesis is an album about embracing change without losing sight of the experiences that shape us. It celebrates movement as both a physical and emotional journey, while reaffirming Danny Keane's remarkable ability to connect musical traditions that might otherwise seem worlds apart. Richly textured, emotionally resonant, and fearlessly original, Kinesis is the work of an artist who has found complete confidence in following his own creative path.

For listeners who value musical storytelling, adventurous composition, and fearless collaboration, Kinesis stands as one of Danny Keane's most compelling achievements to date.

Joshua Breakstone's Wonderful! Returns: A Brilliant Jazz Debut Finally Gets Its Long-Awaited CD Release

Some debut albums announce the arrival of a promising new artist. Others reveal a musician who already sounds fully formed. Joshua Breakstone's Wonderful! belongs firmly in the latter category.

Recorded in 1983 when the acclaimed jazz guitarist was just 27 years old, Wonderful! captured a young artist whose command of melody, swing, and improvisation already reflected the maturity of a seasoned jazz veteran. Although the album quickly became a favorite among jazz enthusiasts, it disappeared from circulation for nearly four decades. That changes on August 21, 2026, when Capri Records reissues the recording, marking its long-awaited debut on CD.

From the opening notes of George Gershwin's "S'Wonderful," Breakstone's quartet establishes an irresistible chemistry. Joining the guitarist are pianist Barry Harris, bassist Earl Sauls, and drummer Leroy Williams, four musicians whose effortless interplay gives every performance warmth, elegance, and undeniable swing. Their collective energy transforms each selection into something vibrant and timeless.

The album also reflects the influences that helped shape Breakstone's musical voice. Around the time of the recording, he was performing regularly with legendary saxophonist Warne Marsh, whose close association with pianist Lennie Tristano inspired Breakstone to include Tristano's "Two Not One." The legendary Django Reinhardt is honored with a spirited reading of "Django's Castle," acknowledging another giant whose artistry helped define jazz guitar.

While the interpretations of classic compositions are exceptional, Wonderful! also highlights Breakstone's gifts as a composer. His originals, "Sevens-Up" and "This Is It!," fit seamlessly alongside standards, demonstrating a composer already capable of writing sophisticated, memorable jazz. Tadd Dameron's expansive "Soultrane" provides one of the album's standout moments, while Vincent Youmans' "Time on My Hands" rounds out the seven-track program with grace and lyricism.

Despite the acclaim the album has earned over the years, Breakstone remains characteristically humble when reflecting on his younger self. "When I hear the young guitar player that I was," he says, "I can't help but think, if I only knew then what I know now."

Listeners, however, are likely to hear something entirely different: the unmistakable sound of an artist destined for greatness. Even at this early stage, the qualities that would define Breakstone's remarkable career are unmistakable. His playing combines technical brilliance with warmth, subtlety, and emotional depth—qualities that prompted the Santa Fe New Mexican to describe his guitar work as "fire in velvet," while DownBeat recognized him as being "among the best" of his generation's young jazz guitarists.

Born on July 22, 1955, in Elizabeth, New Jersey, Breakstone's musical journey began in a home filled with Broadway cast recordings, classical music, jazz, and rock. He picked up the guitar at age 14, initially playing in a high school band with the delightfully unconventional lineup of guitar, bass, drums, organ, and flute. It wasn't until he discovered the recordings of Lee Morgan and Charlie Parker that jazz became his lifelong passion.

After studying at the New College of the University of South Florida and Berklee College of Music, Breakstone moved to New York City, where he quickly established himself as both a performer and educator. He worked alongside an impressive roster of jazz greats, including Warne Marsh, Emily Remler, Vinnie Burke, Aaron Bell, Joanne Brackeen, Cecil McBee, Billy Hart, and Glen Hall before recording Wonderful! His follow-up release, 4/4 = 1, featured pianist Kenny Barron, and his career soon expanded internationally with his first tour of Japan in 1986. Since then, Breakstone has released well over a dozen albums, including acclaimed tributes to Thelonious Monk, Wes Montgomery, and Bud Powell, cementing his place among today's most respected jazz guitarists.

Looking back, Breakstone views Wonderful! as a snapshot of an artist in the earliest stages of discovering his own musical identity. "This recording documents the germ of musical ideas that were just beginning to flower in my approach to playing jazz," he reflects.

That flowering would continue throughout an extraordinary career, but Wonderful! remains where it all began—a sparkling debut filled with imagination, confidence, and extraordinary musicianship. Seven exceptional performances. Four remarkable musicians. One unforgettable recording. Nearly 40 years after it first appeared, Wonderful! remains every bit as its title promises.

Finding Home in the Music: Zeju Zheng's A Mind in Motion Marks an Impressive Debut

Every musician's first album tells a story. Some announce an arrival. Others showcase technical mastery or establish a distinctive artistic identity. Guitarist and composer Zeju Zheng's debut recording, A Mind in Motion, does something subtler—and perhaps more compelling.

Rather than presenting himself as a finished artist, Zheng documents the process of becoming one.

Due September 18, 2026, on Shifting Paradigm Records, A Mind in Motion captures the guitarist during his first years living in New York City, navigating the uncertainties that come with leaving one home to build another. The six original compositions that comprise the album reflect themes of transition, memory, resilience, and self-discovery, offering a deeply personal portrait of a young musician finding his place in one of the world's most demanding jazz communities.

Born in China and now based in New York, Zheng arrived in the city with a strong musical foundation and an eagerness to continue growing. After earning his master's degree in Jazz Performance from New York University, he studied with acclaimed guitarists Peter Bernstein, Adam Rogers, and Brad Shepik—three players whose individual approaches to harmony, improvisation, and tone have helped shape generations of modern jazz guitarists.

Those influences are certainly present throughout A Mind in Motion, but Zheng never sounds interested in imitation. Instead, he uses the jazz tradition as a framework for exploring his own experiences, balancing lyrical melodies with thoughtful improvisation and allowing each composition to unfold organically rather than chasing technical display.

His collaborators play an equally important role in bringing that vision to life.

Joining Zheng are bassist Drew Gress, one of modern jazz's most respected improvisers; pianist Arnie Sainz; and drummer Chidiebere Emmanuel. Together, the quartet creates an atmosphere defined by attentive listening and conversational interplay, giving the music room to breathe while allowing every composition to develop naturally.

For Zheng, however, the album represents something more personal than simply documenting a collection of original tunes.

"To me," he explains, "pursuing goals and happiness is not really the meaning of life. Being able to live with regret, let go, and move forward has more beauty in it. This album is my practice of that."

That philosophy quietly guides the recording from beginning to end.

The opening track, "53," was among the first pieces Zheng composed after arriving in New York. Written during a period marked by uncertainty, pressure, and possibility, it establishes many of the emotional themes that return throughout the album. Rather than offering easy resolutions, the composition embraces the tension between anxiety and optimism that accompanies any significant life change.

"Drain" follows with a very different mood. Inspired in part by the harmonic language of Wayne Shorter, the piece demonstrates Zheng's appreciation for musical restraint. Instead of filling every available space, the quartet allows silence and subtle interaction to become essential parts of the performance, creating an atmosphere that feels reflective without becoming overly sentimental.

"Simple" emerged from Zheng's studies with guitarist Brad Shepik. Built around an unusual meter, the composition avoids treating rhythmic complexity as an end in itself. Instead, the shifting pulse becomes another storytelling device, supporting melodies that remain clear, inviting, and emotionally direct.

Perhaps the album's most intimate moment arrives with "At the Corner."

For Zheng, the piece became a way of expressing emotions that resisted language altogether. Rather than explaining those feelings, he allows the composition itself to communicate them, trusting melody, harmony, and improvisation to say what words cannot.

"Little Song" continues that emotional openness by occupying the delicate space between joy and melancholy. Refusing to settle comfortably into either emotion, the music instead reflects the ambiguity that often accompanies memory, growth, and change.

The album concludes with "Waiting for You to Be Home," written on the very same evening as "53." While the opening composition captures uncertainty, the closing work offers something resembling acceptance. Without abandoning the questions raised at the beginning of the record, it suggests that stability sometimes comes not from having all the answers but from discovering where one belongs.

Taken together, the six compositions function almost like chapters in a journal, documenting not simply a period of artistic development but an evolving way of understanding life itself.

That sense of honesty distinguishes A Mind in Motion from many debut recordings.

Rather than attempting to define himself through stylistic declarations or displays of virtuosity, Zheng presents music that remains curious, patient, and open-ended. The album invites listeners into an ongoing conversation rather than offering definitive conclusions.

It is a quality reflected in Zheng's guitar playing as well. His solos favor melody over excess, careful phrasing over speed, and interaction over individual spotlight. Every note seems chosen in service of the composition, reinforcing the album's quiet confidence and emotional sincerity.

There is also a remarkable sense of trust among the quartet. Drew Gress's experienced bass work provides both harmonic depth and rhythmic flexibility, while Arnie Sainz contributes elegant, understated piano textures throughout. Drummer Chidiebere Emmanuel complements the group's conversational aesthetic with sensitive, responsive playing that consistently elevates the music without drawing attention away from it.

Together, the musicians create performances that feel less like polished studio constructions than genuine moments of shared discovery.

For a debut album, A Mind in Motion displays impressive maturity—not because Zheng claims to have arrived, but because he recognizes that artistic growth is an ongoing process. The music acknowledges uncertainty without being overwhelmed by it, embracing change as an essential part of both life and creativity.

In doing so, Zeju Zheng introduces himself not simply as an accomplished guitarist or promising composer, but as an artist committed to exploration. A Mind in Motion is less a destination than the beginning of a journey, and that openness may prove to be its greatest strength.

For listeners drawn to the lyrical sophistication of Peter Bernstein, the adventurous harmonic language of Gilad Hekselman, the inventive modernism of Adam Rogers, or the global sensibility of Brad Shepik, Zeju Zheng's debut offers an exciting new voice—one that speaks quietly, honestly, and with remarkable depth.

A Lost Jazz Masterpiece Returns: The Third World Underground Finally Receives Its First International Release

Some jazz albums arrive with fanfare. Others quietly disappear into history, known only to collectors and devoted fans fortunate enough to track down elusive original pressings.

The Third World Underground belongs firmly in the latter category.

Recorded live in Copenhagen in 1972 by Abdullah Ibrahim (then performing as Dollar Brand), Don Cherry, and Carlos Ward, the remarkable collaboration was released only once—in Japan in 1974 on Trio Records' cult Nadja imprint. Despite bringing together three of jazz's most adventurous voices, the album never received an international release and was never reissued on vinyl, gradually becoming one of the most sought-after recordings in the catalogs of all three musicians.

More than fifty years later, that oversight is finally being corrected.

On September 11, 2026, Wewantsounds will issue the first-ever international edition of The Third World Underground, presenting the album with newly remastered audio, faithfully reproduced original artwork, and an extensive booklet featuring new bilingual liner notes by noted French jazz writer Jacques Denis.

The release arrives at an especially poignant moment. Following the deaths of Carlos Ward in January 2026 and Abdullah Ibrahim earlier this year, the album now stands not only as the long-overdue restoration of an overlooked classic but also as a celebration of two extraordinary artistic legacies.

At the heart of The Third World Underground is a meeting of three musicians who helped redefine what jazz could become during one of the genre's most fertile periods.

By the early 1970s, Don Cherry had already secured his place as one of modern jazz's great innovators through his groundbreaking work alongside Ornette Coleman. Yet Cherry's ambitions reached well beyond the boundaries of American jazz. Constantly traveling and absorbing musical traditions from Africa, India, Turkey, and countless other cultures, he developed an artistic language that dissolved distinctions between jazz, folk music, spiritual music, and collective improvisation. Trumpet, voice, percussion, and communal performance all became equal parts of his creative vocabulary.

Abdullah Ibrahim was engaged in a similarly transformative journey. Deeply rooted in the musical traditions of South Africa while drawing inspiration from Duke Ellington, gospel, township jive, and the realities of political exile, Ibrahim developed one of jazz's most distinctive pianistic voices. His performances could shift effortlessly from joyous celebration to profound meditation, often within a single composition.

Carlos Ward completed the trio with a powerful alto saxophone voice equally capable of lyricism and raw emotional intensity. His playing provides both grounding and propulsion throughout the performance, creating a perfect counterbalance to Cherry's exploratory instincts and Ibrahim's hypnotic piano figures.

Although Cherry and Ibrahim had known one another since the mid-1960s, The Third World Underground captures a particularly inspired moment in their musical relationship.

Recorded live on November 14, 1972, at Copenhagen's legendary Jazzhus Montmartre, the performance unfolds less like a conventional concert than a continuous conversation among equals. Across seven compositions—including the expansive "Don's Song," the meditative title "Cherry," and the unforgettable "Bra Joe From Kilimanjaro"—the musicians move fluidly between structured composition and spontaneous improvisation.

Ibrahim's repeating melodic cycles establish emotional landscapes rather than harmonic destinations. Cherry responds with trumpet, percussion, and vocal interjections that seem to search endlessly for new possibilities, while Ward's alto saxophone alternately anchors and liberates the music. Together they create performances that feel simultaneously deeply rooted and entirely unbound.

The trio recorded under the name The Third World Underground, a title reflecting both the political climate of the early 1970s and a growing global consciousness shaped by decolonization movements throughout Africa, Asia, and Latin America. Rather than functioning as a political slogan, however, the name mirrors the music itself—an artistic expression unconstrained by national borders or stylistic conventions.

Jazz, African rhythms, spiritual traditions, and collective improvisation coexist naturally throughout the performance. Nothing feels imposed or theoretical. Instead, the musicians allow traditions to intersect organically, anticipating the global musical conversations that would become increasingly common decades later.

When the album appeared in Japan two years after the recording, it found a home on Trio Records' highly respected Nadja imprint, a label that would later become equally revered for releasing Ryo Fukui's landmark Scenery. Yet despite the significance of the musicians involved, The Third World Underground remained exclusive to the Japanese market.

As original copies disappeared into private collections, the recording gradually acquired near-mythic status among collectors and devotees of both Don Cherry and Abdullah Ibrahim. For decades, it remained one of the most intriguing omissions from the international jazz catalog—a recording celebrated by those who knew it yet inaccessible to most listeners.

This new edition finally restores the album to the place it has long deserved.

The remastered audio reveals remarkable warmth and clarity while preserving the immediacy of the original live performance. Combined with the faithfully reproduced artwork and Jacques Denis's thoughtful new liner notes, the release offers both longtime collectors and first-time listeners the opportunity to experience one of the era's most compelling collaborations.

Denis captures the album's enduring appeal perfectly, writing that the music remains "emancipated from all preordained order," continuing to surprise listeners while offering "a delight of the present moment that lingers long after the needle leaves the groove."

Those words speak not only to the recording's artistic achievement but also to its timelessness.

More than half a century after it was captured inside Copenhagen's Jazzhus Montmartre, The Third World Underground still sounds startlingly contemporary. Its seamless blending of jazz, African musical traditions, free improvisation, and spiritual exploration anticipated directions that countless musicians would pursue in the decades that followed.

Yet the recording never feels concerned with innovation for its own sake. Instead, it documents three master musicians listening deeply to one another, responding instinctively, and creating something that could only exist in that particular moment.

That is perhaps the greatest gift of this long-overdue reissue.

Far more than an archival curiosity, The Third World Underground emerges as a living document of artistic freedom—one that reminds listeners why Abdullah Ibrahim, Don Cherry, and Carlos Ward remain among the most visionary figures in modern jazz. More than fifty years after its creation, this once-hidden masterpiece finally receives the worldwide audience it has always deserved.

Tributaries Introduces the New England Jazz Collaborative with a Bold New Vision for Big Band Jazz

Big bands have long been vehicles for singular artistic voices, from Duke Ellington and Count Basie to Maria Schneider and Darcy James Argue. The New England Jazz Collaborative (NEJC) proposes a different model—one that embraces multiple composers, diverse musical traditions, and a shared commitment to expanding the future of jazz.

That vision comes to life on Tributaries, the ensemble's vibrant debut album, due July 17, 2026, via ACP Records. Featuring six original works by four of the collaborative's founding composers—Jeremy Cohen, Darryl Harper, Matan Rubinstein, and Sam Spear—the recording moves effortlessly across musical landscapes, from New Orleans swing and elegant ballads to Third Stream experimentation, modern jazz, funk, and the infectious rhythms of West African highlife.

The result is an album that celebrates both individuality and collaboration, earning praise from some of jazz's most respected voices.

Violinist Regina Carter calls the recording "a diverse range of styles, textures, and moods," adding that "each performer contributes a dynamic presence and expression to the music, creating a vibrant soundscape that defines the ensemble's creativity, individuality, and collaborative spirit."

Bassist and composer Ben Allison echoes that sentiment, saying, "The music on this new album by the New England Jazz Collaborative is fantastic… I hear the individual voices of Jeremy, Matan, Darryl, and Sam… It's refreshing and uplifting to hear this music."

Veteran jazz critic Bob Blumenthal perhaps summarizes the achievement most succinctly: "The uniform excellence and diversity of the present music has created a powerful debut."

The story behind the New England Jazz Collaborative is every bit as compelling as the music itself.

The project began when percussionist and composer Jeremy Cohen found himself confronting a challenge familiar to many composers: he had written ambitious works for jazz orchestra but lacked consistent access to the kind of professional ensemble capable of bringing those scores to life. Rather than accept those limitations, Cohen reached out to fellow composers throughout the Boston jazz community with a simple but transformative idea.

Instead of building a big band around one leader, why not create an organization devoted to many composers?

The concept quickly evolved into an artist-run nonprofit dedicated to commissioning, performing, recording, and promoting new music for large jazz ensemble. In doing so, the NEJC created something remarkably rare—a repertory orchestra devoted almost exclusively to living composers.

Unlike traditional repertory ensembles that revisit established classics, the New England Jazz Collaborative focuses on expanding the canon itself. Every performance introduces audiences to new music while giving composers access to one of jazz's most powerful creative instruments: the 17-piece big band.

In fewer than five years, the organization has commissioned more than 30 new works for jazz orchestra while paying more than $100,000 to musicians, composers, and creative artists. Its success has already inspired additional composer-led ensembles to emerge throughout the region.

"The variety is what makes NEJC's approach to programming both contemporary and accessible," Cohen says. "I've witnessed it first-hand in our concerts. Between the different colors, the dynamic range of the orchestra, and how that was put to use by all the different composers, even audiences who are unfamiliar with jazz find something on the program that captivates them."

That philosophy shapes every moment of Tributaries.

The album opens with Cohen's "Another Brighter Day," beginning quietly with birdsong and shimmering harmonies before unfolding into an optimistic, melody-driven work that hints at influences ranging from Steely Dan to Weather Report. Guitarist Mitch Selib contributes an elegant solo before Nigerian-born saxophonist Temidayo Balogun delivers a lyrical soprano statement that immediately establishes the collaborative spirit defining the ensemble.

Cohen returns later with "Green Turtle Strut," inspired by time spent living in Ghana. Rather than simply borrowing from African traditions, the composition thoughtfully blends Ghanaian highlife with the rhythmic propulsion of Congolese sebene, resulting in music that feels both rooted and contemporary. Balogun adds talking drum and percussion alongside his saxophone work, while guitarist Eric Hofbauer delivers a solo that captures the character of West African guitar music without sacrificing his own jazz identity.

Composer Matan Rubinstein brings an entirely different perspective with "Ol' Liminal." Born in Jerusalem, Rubinstein draws from an astonishing range of influences, combining the collective improvisation of early New Orleans jazz with elements of rock, hip-hop, and electronic music. He has cited artists as varied as The Velvet Underground, Aphex Twin, and Squarepusher among the work's inspirations, and the composition reflects that eclecticism without ever feeling forced. Anchored by drummer Lumanyano Mzi and bassist Bob Nieske, the piece drives forward with restless energy while allowing the horns to shift effortlessly between tightly orchestrated passages and exhilarating bursts of collective improvisation.

Darryl Harper contributes two contrasting compositions that demonstrate his versatility as both composer and clarinetist. A Philadelphia native and longtime collaborator of Regina Carter and Jason Moran, Harper first became involved with the NEJC when Cohen approached him with the fledgling concept for the organization.

"Kiss Me Again" unfolds as an exquisitely understated ballad, highlighted by a luminous piano solo from Emily Pruneau. By contrast, "The Secret" embraces an infectious odd-meter funk groove, creating a lively musical conversation as soloists exchange concise statements over the shifting rhythmic landscape.

Sam Spear closes the circle with "Gee, Em...," perhaps the album's most overt nod to New England's rich compositional heritage. A student of the late Gunther Schuller, Spear based the dreamlike work on Schuller's famous twelve-tone "Magic Row," creating an elegant fusion of classical structure and jazz improvisation. Alto saxophonist Allan Chase responds with a witty and expressive solo that perfectly complements the composition's sophisticated architecture.

Throughout the recording, the ensemble itself proves every bit as impressive as the writing.

The orchestra combines many of the Boston area's most respected performers—including trumpeters Jason Palmer and Bijon Watson, saxophonists Felipe Salles and Brian Landrus, guitarist Eric Hofbauer, and a host of emerging voices—with conductor Ken Schaphorst guiding the performances. Their collective precision never diminishes the music's warmth or spontaneity, instead reinforcing the collaborative spirit at the heart of the project.

That spirit has prompted comparisons to the influential Jazz Composers Collective, the groundbreaking cooperative founded in New York during the early 1990s.

Ben Allison, himself a founding member of that celebrated organization, immediately recognized the parallels.

"We collaborated and supported each other through experimentation," Allison says. "The worry for us at the time was that by working so closely together our music might homogenize into one kind of sound. However, what we found was working in this way actually brought out our individualism and helped us each to find our voices as composers and artists."

The comparison feels especially appropriate.

Like the Jazz Composers Collective before it, the New England Jazz Collaborative demonstrates that artistic communities often strengthen individual voices rather than diminish them. The diversity heard throughout Tributaries never feels fragmented because each composition is unified by the exceptional musicians interpreting it and by the ensemble's shared commitment to adventurous new music.

The album's title reflects that philosophy. Tributaries speaks not only to the many influences flowing into each composer's work but also to the rich musical traditions that have shaped New England's jazz community. The legacy of Gunther Schuller's Third Stream movement, George Russell's Lydian Chromatic Concept, and Bob Brookmeyer's groundbreaking orchestral writing all flow into the project, yet the NEJC is focused firmly on creating its own future rather than preserving the past.

"The composers' breadth gives the album an element of surprise and a genuine something-for-everyone quality," Cohen says. "It reflects a contemporary musical reality in which artists and listeners move fluidly across styles and traditions. Tributaries feels like a carefully curated playlist, but with a strong sense of authorship, continuity, and ensemble sound."

What began as one composer's practical solution has evolved into something considerably larger: a new model for how contemporary big band music can be created, performed, and sustained.

"This project started out as a way for each of us to get our music heard," Cohen reflects. "But it became something much more compelling. We have a mission."

With Tributaries, that mission receives a remarkable introduction—one that honors the rich traditions of jazz orchestra while demonstrating that its future may be even more adventurous than its past.

Jared Schonig Brings His Big Band Vision to Life on Live at Dizzy's

Few modern jazz musicians have arrived as bandleaders with as much momentum as drummer and composer Jared Schonig. His ambitious 2023 double release, Two Takes Vol. 1: Quintet and Two Takes Vol. 2: Big Band, established him as one of the most compelling new voices in contemporary large ensemble jazz. Critics took notice immediately. Ron Netsky of Rochester City Paper called the project "a prime candidate for album of the year," while WBGO's Nate Chinen observed that the albums "decisively put him forward as a bandleader."

DownBeat awarded the recordings 4½ stars, praising both the strength of Schonig's writing and the bold concept of presenting his compositions first in intimate quintet form before expanding them into fully realized big band arrangements. Reviewer Gary Fukushima wrote that the true brilliance lay in allowing listeners to hear how the music was transformed by "some truly incredible arrangers."

With Live at Dizzy's, Schonig takes the next logical step, presenting those compositions where they arguably belong most: on stage before a live audience.

Recorded at New York City's famed Dizzy's Club before a sold-out crowd, the album captures the excitement, spontaneity, and collective energy that define both Schonig's writing and the remarkable musicians who bring it to life.

"Playing live music for human beings is my favorite thing to do," Schonig says. "It's probably the number one reason I play. Seeing people react to what is happening onstage becomes an instant bond and is forever cemented in the memory of the band and the audience."

For Schonig, recording at Dizzy's was an easy decision.

"I've had a steady yearly gig with the big band at Dizzy's for many years and naturally it's where I chose to record this live album. It's my favorite room to play with my big band. We had sold out the room for at least two years in a row, so I figured the vibe would be amazing—and it was."

The recording showcases an elite ensemble of New York musicians performing arrangements by some of today's most respected composers and orchestrators, including Mike Holober, Miho Hazama, John Daversa, Alan Ferber, Jim McNeely, and Laurence Hobgood. Their relationship with Schonig stretches back years. Many were heroes during his formative years before eventually becoming collaborators and employers as Schonig established himself as one of New York's most sought-after sidemen.

That spirit of collaboration has become central to his music.

Peter Vacher of JazzWise described the project as "a huge gesture of confidence in both composer and executant," noting the remarkable variety of approaches each arranger brings to Schonig's compositions. "Lucky Jared," Vacher concluded.

The band itself reflects years of musical relationships built on stages around the world.

Bassist Matt Clohesy has performed with Schonig for more than two decades. Pianist David Cook shares a similarly deep musical history, giving the trio an almost telepathic rapport. Lead trumpeter Tony Kadleck, one of the most respected players in New York, has appeared on virtually every big band performance Schonig has led. Trombonist Mike Davis brings equal authority, while saxophonists Jason Rigby and Andrew Gould have become essential voices within Schonig's musical language.

For this recording, acclaimed trumpeter Terell Stafford joined the ensemble for the first time.

"I've been a fan of his for years," Schonig says. "He plays some incredible solos here. I was so glad to have him."

Veteran trumpeter Scott Wendholt also returns, someone Schonig admired long before they became colleagues.

"The level of professionalism, care, and brilliance that these musicians put into my music is what I wanted to showcase."

That commitment is immediately apparent on the album's opening selection, "Sound Evidence," arranged by Miho Hazama. The arrangement unfolds gradually, layering textures before exploding into powerful solos by Ryan Keberle, Scott Wendholt, and guitarist Alex Goodman. It serves as both an introduction and a statement of purpose, demonstrating the band's remarkable balance between tightly crafted orchestration and fearless improvisation.

The program continues with "Climb," originally composed for the Wee Trio, reflecting what Schonig describes as the challenges everyone inevitably faces throughout life.

Perhaps no composition better represents Schonig's catalog than "White Out," inspired by the first time he found himself caught in a fierce New York snowstorm. It has become one of his most frequently performed and recorded pieces, combining rhythmic urgency with memorable melodic writing.

Among the album's new compositions is "Jiggle Jaggle," whose title arrived unexpectedly thanks to Schonig's young son.

"We had been playing and I had this melody in my head," he recalls. "I sang it into my phone, fleshed it out on the piano, and played it for him. He said, 'Jiggle Jaggle.'"

Schonig commissioned longtime collaborator Mike Holober to arrange the piece.

"The results were amazing. I always heard John Ellis on this in my head, and he was available for the recording. Boy, was I glad."

The lyrical centerpiece of the album is "Eight Twenty," a love letter to Schonig's wife.

"It's a dedication to my beautiful wife and mother of our children. Eight Twenty is the day we got married. I just wanted to write a beautiful melody reminiscent of her."

Another highlight arrives with "Canyons," co-written during the pandemic with bassist and composer Adam Neely. Miho Hazama originally arranged the composition to feature vocalist Michael Mayo. When scheduling conflicts prevented Mayo from appearing, Schonig turned to Grammy-winning vocalist Nicole Zuraitis.

"Her performance on this tune is one of my favorite parts of this record," he says. "She sings an incredible solo that is just mesmerizing."

The album concludes with "Sabotage," another composition originally written for the Wee Trio. The title references a memorable incident during a live recording session in St. Louis when the group discovered that microphone cables had been cut before the second day of recording. On Live at Dizzy's, it becomes an exhilarating finale that leaves audiences wanting more.

Critics have repeatedly singled out Schonig's drumming as one of the defining elements of his music.

Peter Margasak of The Chicago Reader praised the drummer's "snappy, powerful backbone," writing that the music develops "in surprising and spontaneous ways."

Steve Greenlee of The Boston Globe highlighted Schonig's "skittery, electronica-influenced rhythm," calling it "oddly infectious."

All About Jazz's Troy Collins pointed to Schonig's "throttling trap set palpitations," "machine gun drum fills," and "spry bop rhythms," while Richard Kamins of Step Tempest described him as "the exemplar of the 21st Century musician," praising music that is "rich in melodic material, ripe with strong solos, and excellent accompaniment."

Perhaps the broadest assessment came from Jay Miller of The Patriot Ledger, who noted that Schonig's music possesses "bigger dynamics than most rock, more groove than a lot of modern soul, and certainly more excitement and accessibility than a lot of contemporary jazz."

Those observations help explain why Live at Dizzy's succeeds as more than another live jazz album. It documents a composer who understands both intimacy and scale, balancing sophisticated writing with emotional immediacy. It also captures a band that performs with uncommon trust, where individual virtuosity consistently serves the collective sound.

At a time when large ensemble jazz often struggles for visibility, Jared Schonig continues to demonstrate what makes the tradition so compelling. His music is energetic without sacrificing nuance, intellectually ambitious without becoming inaccessible, and deeply rooted in the collaborative spirit that has always defined jazz at its best.

If Two Takes announced Jared Schonig's arrival as an important composer and bandleader, Live at Dizzy's confirms it. The album captures a remarkable ensemble performing at the highest level, preserving the excitement of one unforgettable evening while pointing toward an even brighter future for one of contemporary jazz's most engaging creative voices.

This version is much closer to a feature you'd find in DownBeat, JazzTimes, or a music blog: it flows as a narrative instead of reading like a press release, while preserving nearly all of the substance from the original. It also improves SEO by naturally incorporating terms like "Jared Schonig," "Live at Dizzy's," "big band jazz," and "contemporary jazz" throughout the article.

Sam Blakeslee Unveils New Blood, a Bold New Statement in Modern Large Ensemble Jazz

Award-winning trombonist, composer, and educator Sam Blakeslee continues to push the boundaries of contemporary jazz with the release of New Blood, the latest album from the Sam Blakeslee Large Group. Arriving September 25, 2026, via Brooklyn Jazz Underground Records, the recording showcases Blakeslee's exceptional compositional voice and features an all-star ensemble of New York City's finest musicians.

A recipient of the 2018 David Baker Prize in Composition from the Ravinia Steans Music Institute, Blakeslee has built a reputation as one of today's most compelling writers for large ensembles. New Blood reflects years of dedication to the craft, combining sophisticated orchestration with memorable melodies, dynamic improvisation, and a modern perspective rooted in the jazz tradition. Recorded during an intensive three-day session, the album captures the energy of a band whose chemistry feels years in the making.

"I wanted to write music that was provocative but not overly difficult, complex but not complicated, create frameworks that allowed soloists to truly express themselves, and balance density and openness," Blakeslee says of his approach. That philosophy resonates throughout the album, where intricate arrangements never overshadow the expressive power of the ensemble.

Originally from Columbus, Ohio, Blakeslee relocated to New York City in 2017, an experience he describes as both humbling and transformative. Immersing himself in the city's world-class jazz scene sharpened his compositional voice while allowing him to discover where his own musical identity fit between tradition and innovation. Influenced by legendary trombonist and composer Bob Brookmeyer, Blakeslee found inspiration in large ensemble writing that emphasized warmth, daring creativity, and emotional depth.

His impressive résumé includes performances and collaborations with Remy Le Boeuf's Assembly of Shadows, Manuel Valera's New Cuban Express Big Band, the Terraza Big Band, Emilio Solla's Tango Jazz Orchestra, Sean Jones, Joe Lovano, Dick Oatts, Aretha Franklin, and many others. He also appeared on Architecture of Storms, the Grammy-nominated 2023 release by Remy Le Boeuf's Assembly of Shadows. Beyond the stage, Blakeslee serves on the faculty of the University of Hartford's Hartt School of Music, where he directs the Jackie McLean Institute Big Band and teaches trombone.

The album's seven compositions each tell a personal story. The title track, "New Blood," celebrates the emergence of a new generation of creative voices on Northeast Ohio's vibrant jazz scene. "Franklin's Blues" pays tribute to both the blues tradition and Blakeslee's beloved cat, Franklin. "Another Day In Which To Excel," commissioned by the International Society of Jazz Arrangers & Composers, honors his late grandfather's daily words of encouragement. "Slow Growth/New Growth" traces its origins to Blakeslee's award-winning work at the Ravinia Steans Music Institute, while "Escaping Shadows" reflects his determination to move beyond the influence of his mentors and discover his own unmistakable artistic voice.

At its core, New Blood is a testament to perseverance. From the group's beginnings performing in basement venues in Akron, Ohio, to recording alongside many of New York's most respected jazz musicians, the album documents a journey defined by passion, growth, and an unwavering commitment to artistic excellence.

Featuring standout performances from Charles Pillow, David Smith, Alex Norris, Pete McCann, Matt Pavolka, Erica Seguine, Jennifer Wharton, Martha Kato, Lee Fish, and many more, New Blood is both a showcase of extraordinary musicianship and a powerful statement from a composer entering his creative prime.

With New Blood, Sam Blakeslee delivers a modern big band album that honors jazz's rich legacy while confidently pointing the music toward its future.

Jade Monet Ignites a New Era With “Too Hot To Behave”

After two deeply personal releases in 2025, In the Shade of the Willow and Night Bloom, singer-songwriter Jade Monet is stepping into an exciting new creative era with her latest single, “Too Hot To Behave.”

Written following a period of reflection during the pandemic, Jade’s recent music explored resilience, healing, love, and self-discovery. Drawing from profoundly personal experiences—including family estrangement, an eating disorder, and the loss of her brother-in-law to the opioid crisis—those songs captured an artist finding strength through vulnerability.

Now, Jade is embracing the music that first captured her imagination as a child. “Too Hot To Behave” marks a confident return to the timeless sounds of jazz, soul, and traditional pop, introducing listeners to the sophisticated world of Club Jade Monet. The project blends the elegance of classic jazz club culture with a contemporary edge, drawing inspiration from legendary voices such as Etta James, Ella Fitzgerald, Nina Simone, and Peggy Lee while appealing to fans of modern artists including Laufey, RAYE, and Olivia Dean.

The single was recorded at Vancouver’s legendary Warehouse Studio with some of the city’s finest jazz musicians, using entirely live instrumentation to capture the warmth, intimacy, and authenticity that define the genre. The result is a record that feels both nostalgic and refreshingly modern, celebrating the enduring appeal of timeless songwriting and live performance.

Music has always been at the center of Jade’s story. Raised by her single mother in the coastal community of Halfmoon Bay, British Columbia, she showed extraordinary promise from an early age. At just two years old, an impromptu performance aboard a ferry prompted a fellow passenger to suggest vocal lessons. By seven, hearing Etta James perform “At Last” sparked a dream that would shape the course of her life.

Since launching her recording career in 2016, Jade has explored an impressive range of musical styles, from rock and blues to country-rock and pop, establishing herself as a dynamic songwriter and captivating live performer. Her career has included appearances at Canadian Music Week, Los Angeles’ Hotel Café, Atlanta’s A3C Festival, and Vancouver’s Westward Festival, along with more than 500 live performances throughout Vancouver. She has also sung for crowds of more than 15,000 on five occasions at Vancouver Canucks games at Rogers Arena.

With “Too Hot To Behave,” Jade Monet brings every chapter of her musical journey together. The single represents more than a stylistic shift—it is the culmination of years of artistic growth, personal resilience, and a lifelong passion for timeless music. As she opens the doors to Club Jade Monet, listeners are invited into a world where classic glamour meets modern sophistication, revealing an artist who has truly found her voice.

The Quiet Storm Enters a New Era as Lenny Green Partners with Compass Media Networks

One of radio's most enduring and beloved brands is entering an exciting new chapter. Beginning June 1, 2026, The Quiet Storm with Lenny Green will be nationally syndicated through Compass Media Networks, which will oversee the program's marketing, distribution, and advertising sales while WBLS 107.5 FM in New York City continues as the show's flagship station.

For generations of listeners, The Quiet Storm has been more than a radio program—it has been a nightly ritual. Blending smooth R&B, soulful ballads, and intimate conversation, the show has provided the soundtrack for quiet evenings, romantic moments, late-night reflection, and countless memories.

The Quiet Storm format has deep roots in radio history. The concept originated in 1976 at Washington, D.C.'s WHUR-FM, inspired by Smokey Robinson's album A Quiet Storm. The original host, the legendary Melvin Lindsey, created a sophisticated late-night format that paired mellow soul music with an understated, conversational presentation. The format quickly became a national phenomenon, influencing radio stations across the country.

In New York, The Quiet Storm became synonymous with WBLS and legendary broadcaster Vaughn Harper, whose rich, velvet voice made him one of the most recognizable personalities in urban radio. Harper's signature sign-on—"Hello, sweetheart"—and his smooth delivery helped define the program for decades, creating an intimate connection with listeners that made The Quiet Storm a cultural institution.

Today, Lenny Green proudly carries that legacy forward.

Broadcast nationally from 7 p.m. to midnight Monday through Thursday and 7 p.m. to 10 p.m. on Sundays, The Quiet Storm with Lenny Green reaches audiences across the country through affiliates including WBLS in New York, WJMR in Milwaukee, KRMP in Oklahoma City, WTUG in Tuscaloosa, KJMH in Lafayette, WAKB in Augusta, and many more.

Known for his warm personality and authentic connection with listeners, Green has become one of radio's most respected voices. His thoughtful storytelling and carefully curated mix of classic and contemporary R&B continue the tradition that made The Quiet Storm one of the most successful nighttime radio formats ever created.

Reflecting on the new partnership, Green said, "I'm blessed to be in the position I'm in, and my ultimate goal is to continue to touch lives and spread love to more cities. The Quiet Storm has always been about connection, passion, and bringing people together through music and conversation. I'm excited to begin this new chapter with Compass Media Networks as we continue growing the brand and reaching even more listeners nationwide."

Nancy Abramson, Senior Vice President of Affiliate Sales and Content for Compass Media Networks, expressed similar enthusiasm, noting that she has long admired both Lenny Green and The Quiet Storm, describing him as a personality who is deeply respected by affiliates and listeners alike.

Beyond his work behind the microphone, Green has earned numerous honors throughout his career, including Billboard's Air Personality of the Year. He is also recognized for his philanthropic efforts, mentoring emerging artists, hosting charitable events, and establishing the Juanita Green Women of Dignity Award, created in honor of his late mother.

Nearly five decades after The Quiet Storm first changed the sound of late-night radio, the format continues to evolve while remaining true to its original mission: creating a space where great music, meaningful conversation, and genuine human connection come together. With this new syndication partnership, Lenny Green is poised to introduce that timeless experience to even more listeners across America.

Stefon Harris Celebrates 20 Years of Blackout with Legacy Dances, a Powerful Tribute to Casey Benjamin

Four-time GRAMMY®-nominated vibraphonist, composer, educator, and arts leader Stefon Harris marks the 20th anniversary of his groundbreaking ensemble Blackout with Legacy Dances, an inspiring new album that celebrates community, ancestry, innovation, and the transformative power of jazz.

Set for release on August 28, Legacy Dances is both a milestone and a deeply personal tribute. The album honors the extraordinary legacy of electro-jazz pioneer Casey Benjamin, a founding member of Blackout whose sudden passing in 2024 profoundly impacted the band and the jazz community. Rather than ending the group's anniversary celebration, the recording transforms loss into a celebration of creativity, friendship, and enduring artistic influence.

The album will be introduced through a series of singles, beginning with "I Know Love" on May 8 and "What a Wonderful World" on June 5, both showcasing Benjamin's signature vocoder artistry. Harris then follows with two original instrumental compositions, "Echoes of the Lion" on July 3 and "A Radical's Love" on July 31, before unveiling the complete 11-track album.

Since its debut with Evolution in 2004, Blackout has consistently redefined the possibilities of modern jazz by blending virtuosic musicianship with hip-hop, funk, fusion, R&B, and global rhythmic traditions. Harris's breathtaking command of the vibraphone and marimba, combined with the adventurous performances of pianist Marc Cary, drummer Terreon Gully, and especially Casey Benjamin's revolutionary use of electronically processed saxophone, vocoder, and aerophone, established Blackout as one of the most forward-thinking ensembles of its generation.

Reflecting on his longtime friend, Harris says:

"Every once in a while, a truly original being shares this limited space and time with us. Casey occupied a rarefied space brimming with genius, audacity, kindness, and humility. We were all incredibly lucky to have been blessed with the opportunity to create beauty with a true musical master."

Throughout Legacy Dances, Harris explores his philosophy of jazz as "Empathy in Action," viewing the music as a living tradition built upon listening, communication, and collective expression. As he writes in the album's liner notes, jazz carries within its DNA "a blueprint for the transformative power of empathy," providing generations of musicians with tools to amplify the voices and experiences of their communities.

That philosophy resonates across every composition. The title track bursts with energy as Harris's shimmering vibraphone intertwines with Benjamin's soaring saxophone over an irresistible groove, while Christian Sands makes his first appearance with Blackout on piano. Supported by Terreon Gully's masterful drumming and Dezron Douglass's commanding bass lines, the ensemble seamlessly balances intricate composition with fearless improvisation.

The album also pays homage to jazz history with inspired interpretations of Louis Armstrong classics "What a Wonderful World" and "West End Blues." Harris further honors pioneering stride pianist Willie "The Lion" Smith through "Echoes of the Lion," a contemporary reimagining inspired by Smith's legendary "Echoes of Spring."

Several original works draw inspiration from Harris's family, mentors, and the cultural legacy of Newark, New Jersey, particularly poet, playwright, and activist Amiri Baraka, whose vision continues to influence Harris's artistic mission. As Harris explains, legacy is preserved not only through artistic achievements but through the communities and cultural environments that nurture creativity.

Beyond the recording studio and concert stage, Harris continues to shape the future of jazz through education and innovation. He serves as a tenured professor at Rutgers University, co-directs the groundbreaking arts initiative Express Newark, and has spent more than a decade developing Harmony Cloud™, an innovative platform for ear training and improvisation that officially launched at the 2026 Jazz Education Network Conference. Already embraced by thousands of users, Harmony Cloud has been featured at leading institutions including Harvard University, Peabody Conservatory, Temple University, the University of Miami, the University of Oregon, and the University of Southern California, with additional workshops planned around the world.

While Legacy Dances celebrates Harris's remarkable evolution as an artist, educator, and cultural leader, it also serves as a heartfelt farewell to one of jazz's most visionary voices. Harris invites listeners to experience the album as an act of shared listening, learning, dancing, and human connection.

Casey Benjamin's influence, however, continues to grow. Widely recognized for his groundbreaking work with Blackout, the Robert Glasper Experiment, and collaborations with artists including Kendrick Lamar, Beyoncé, Lady Gaga, Nas, Common, Anderson .Paak, Drake, Solange, Maxwell, Q-Tip, and many others, Benjamin helped redefine the relationship between jazz, technology, hip-hop, and contemporary music.

As noted by WBGO's Angelika Beener, Benjamin was "a wizard of sound and texture" whose artistry permanently expanded the possibilities of modern music.

His legacy will continue through two forthcoming posthumous albums currently being completed by his brother Kevin Benjamin alongside longtime collaborator Blair Wells, ensuring that one of the most innovative musical voices of his generation will continue to inspire audiences for years to come.

Following the release of Legacy Dances, Stefon Harris and Blackout will bring the music to audiences across the country, including performances at Stanford University, New York's Blue Note Jazz Club, Seattle's Jazz Alley, the Exit Zero Jazz Festival, and additional festival appearances this fall.