Hannah Marks Ignites a Bold New Chapter with Feed The Fire

 

With her sophomore album Feed The Fire, bassist, composer, and educator Hannah Marks takes a decisive and electrifying leap forward, solidifying her place within New York City’s ever-evolving jazz landscape. Backed by her fearless acoustic quartet—Nathan Reising on alto saxophone, Lex Korten on piano, and Steven Crammer on drums—and guided by visionary producer Jason Moran, Marks delivers a recording that thrives on risk, interplay, and the spirit of exploration.

Blending modern, straight-ahead, and avant-garde jazz, Feed The Fire is as much a statement of artistic identity as it is a celebration of the journey that brought her here. Since relocating to New York City in 2019 at Moran’s encouragement, Marks has immersed herself in the city’s vibrant creative energy. That pulse is embedded in every corner of the album, from groove-heavy passages shaped by odd meters and raucous swing to more spacious, introspective moments that evoke rare instances of stillness amid the urban rush.

For Marks, the album represents both culmination and catalyst. “Feed the Fire is a culmination of many meaningful musical experiences I’ve had over the past decade,” she explains, “and a representation of pushing and dedicating myself as an artist to find new musical colors, shades and directions within this music that I love and revere.” That sense of forward motion—of constantly seeking new expressive ground—animates the entire project.

The title track, “Feed The Fire,” composed by the late Geri Allen, carries profound personal significance. Marks recalls a transformative experience hearing Jason Moran’s trio perform the piece at the Village Vanguard shortly after her move to New York. The performance reshaped her understanding of swing, opening her ears to a freer, more uninhibited approach. Since then, the phrase “Feed the Fire” has become both mantra and mission—an ethos that fuels her creative output and defines the album’s core.

Throughout the record, Marks channels her influences while asserting a distinct compositional voice. “Aggro” reflects the adventurous programming ethos of venues like The Jazz Gallery, weaving in complex structures and a Moran-inspired coda. “When Day Becomes Night,” written during a residency at MacDowell, captures a moment of calm while showcasing drummer Steven Crammer’s ability to navigate dramatic rhythmic shifts with precision and sensitivity.

“Room 157” highlights the quartet’s collective intensity, with Reising and Korten pushing into raw, expressive territory. Its shifting meters and unexpected phrasing draw from Marks’ studies with Walter Smith III at Indiana University, underscoring her deep engagement with contemporary compositional language. In contrast, “Unconditional Love,” another piece by Geri Allen, offers a poignant interlude—an intimate duet between Marks and Korten that provides a moment of emotional clarity and reflection.

The album closes with “Fan Club,” a composition inspired by seeing Korten perform alongside saxophonist Melissa Aldana. Structured loosely around the archetype of the hero’s journey, the piece unfolds from an inviting opening into a turbulent, free-form abyss before returning triumphantly to its central theme. Sonically, it nods to the fusion era—particularly Cannonball Adderley’s Phenix—while remaining firmly rooted in a contemporary, exploratory aesthetic.

Feed The Fire arrives just a few years after Marks’ debut album Outsider, Outlier (2023), a project that introduced her as a bold voice unafraid to draw from punk, noise, and free improvisation. With this new release, she expands that vision, delivering a recording that feels both deeply grounded in tradition and unmistakably current. It’s a work that doesn’t just reflect the state of modern jazz in New York—it actively shapes it.

Ultimately, Feed The Fire is about commitment: to craft, to collaboration, and to the ever-burning curiosity that drives artistic growth. Hannah Marks doesn’t just embrace the fire—she invites listeners into it, creating a space where intensity, freedom, and expression collide in thrilling, unpredictable ways.

Jaana Narsipur’s The Re-Collection: Reimagining the Soundtrack of an ’80s Childhood

 

Long before she began captivating audiences across New York City and the Hudson Valley with her polished blend of pop, R&B, and jazz, vocalist Jaana Narsipur was an ’80s kid—immersed in the golden age of MTV, radio hits, and carefully curated mixtapes. That formative musical world now takes center stage in her second album, The Re-Collection, set for release on April 24, 2026. The project is both a tribute and a transformation: a Brit-centric, deeply personal reimagining of iconic—and sometimes overlooked—songs that shaped her early listening life.

Rather than simply reworking familiar tunes through a jazz lens, Narsipur approaches each song as a storyteller, reshaping them with layered arrangements, harmonic sophistication, and an intimate emotional core. The result is a collection that feels both nostalgic and entirely new. As she describes it, the album became “an act of remembering and reimagining—holding onto what made these songs meaningful while discovering new ways to tell their stories.”

At the heart of the album is a close creative partnership with pianist and music director Nicki Adams. Together, they crafted arrangements that preserve the spirit of the originals while opening them up into expressive, improvisation-friendly frameworks. The ensemble supporting Narsipur is equally impressive, featuring returning collaborators drummer/percussionist Joe Abba and tenor saxophonist Sean Nowell, alongside Grammy-nominated trumpeter Wayne Tucker, bassist Marco Panascia, trombonist Alex Jeun, and a distinguished string trio of violinist Meg Okura, violist Hannah Selin, and cellist Laura Masferrer. The group moves seamlessly between intimate trio interplay, groove-driven horn sections, and lush, cinematic string textures, creating a richly varied sonic landscape.

Narsipur’s musical foundation is as diverse as the album itself. She began studying classical voice and piano as a teenager, later earning a Bachelor’s degree in Voice and Music History from Northwestern University. Her time in Chicago immersed her in a vibrant jazz scene, shaping her listening habits and artistic instincts. She went on to complete a master’s degree in Jazz Performance at the Aaron Copland School of Music at Queens College in 2013. Alongside her performing career, she has spent more than 15 years as an educator, teaching voice, choral music, theory, history, and piano to students of all ages.

The Re-Collection unfolds as a stylistically eclectic journey, with each track offering its own emotional and sonic identity. Swing Out Sister’s “Breakout” sets the tone with an upbeat pop-funk energy, driven by lively horn arrangements and a confident, soul-infused vocal performance. Peter Gabriel’s “In Your Eyes” begins with a striking a cappella introduction before blossoming into a layered, atmospheric groove. Basia’s “Time and Tide” shimmers with rhythmic warmth, while Simply Red’s “Holding Back the Years,” reimagined in 6/8, becomes a slow, introspective meditation anchored by expressive trumpet lines.

Julia Fordham’s “Behind Closed Doors” is transformed into a delicate piano ballad that gradually builds in intensity, while Kate Bush’s “Love and Anger” is rendered through ambient textures and subtle rhythmic motion. On U2’s “With or Without You,” Narsipur crafts a minimalist, sensual arrangement that grows organically, and Eurythmics’ “Here Comes the Rain Again” blends trio interplay with evocative string writing to capture a sense of quiet melancholy.

The album also embraces playfulness and groove, particularly on Joe Jackson’s “You Can’t Get What You Want,” which bursts with rhythmic energy, punchy brass, and spirited scatting. Closing the record is Sting’s “Sister Moon,” a smoky, late-night interpretation steeped in moody saxophone lines and sultry vocal phrasing, leaving a lasting, atmospheric impression.

With The Re-Collection, Jaana Narsipur offers more than a reinterpretation of beloved songs—she creates a bridge between past and present, honoring the music that shaped her while asserting her own distinct artistic voice. It’s a project rooted in memory, elevated by craft, and brought to life through collaboration, resulting in a listening experience that feels both familiar and refreshingly original.

Valérie Lacombe’s State of Garden and Shadow: A Debut Rooted in Growth, Collaboration, and Creative Identity

 

Montréal-based jazz drummer, composer, and bandleader Valérie Lacombe steps confidently into the spotlight with her debut album State of Garden and Shadow, set for release on April 17, 2026 via Rhea Records. A deeply personal and musically rich project, the album introduces Lacombe not only as a formidable percussionist, but as a thoughtful composer whose work reflects a period of artistic and personal transformation.

The album’s evocative title, inspired by Clarice Lispector’s Água Viva, conjures imagery of growth, duality, and renewal. That sense of cultivation runs throughout the record, serving as a metaphor for Lacombe’s own creative evolution. Developed during her master’s studies at McGill University under the mentorship of Kevin Dean and Darrell Green, the project captures a moment of transition—where discipline, exploration, and identity converge.

Across seven original compositions, Lacombe crafts a soundscape that feels both intimate and expansive. The ensemble she assembled brings together a remarkable blend of voices: DownBeat Rising Star saxophonist Camille Thurman on tenor, alto saxophonist Caoilainn Power, and veteran bassist Ira Coleman. Their interplay is fluid and expressive, with each musician contributing distinct tonal colors that enrich the album’s overall texture. The inclusion of Benny Golson’s classic “Out of the Past” adds a nod to jazz tradition while seamlessly fitting into Lacombe’s modern, cohesive vision.

Critics have already taken note. Veteran jazz journalist Zan Stewart describes the recording as “fresh, vital, warm, and open,” highlighting the chemistry between the saxophonists and the “deftly-animated” leadership of Lacombe herself. It’s a fitting assessment for an album that balances technical precision with emotional depth, offering performances that feel both grounded and exploratory.

State of Garden and Shadow also marks a significant milestone in Lacombe’s growing career. Beyond her work as a bandleader, she has built an impressive résumé as a collaborator. She is a member of the JUNO-nominated collective The Ostara Project, touring extensively across Canada, including the Yukon, and contributing to their recordings Roots (2025) and the forthcoming Wings (2026). As a side musician, she has also recorded with JUNO-winning vocalist Laura Anglade, further demonstrating her versatility and presence within the contemporary jazz scene.

The album was recorded in Montréal on April 7 and 8, 2024, capturing a moment in time that now arrives fully realized two years later. Tracks like “Jupiter,” “Persona,” “Found a Friend Here,” and “Who’s Afraid of Clarice Hana” hint at a wide emotional and sonic range, while compositions such as “In Case I Forget You” and “Later for That” suggest a reflective, narrative-driven approach to writing.

At its core, State of Garden and Shadow is about emergence—about stepping into one’s voice while embracing the complexity that comes with it. With this debut, Valérie Lacombe establishes herself as a compelling new voice in jazz, one whose music invites listeners into a space of curiosity, connection, and continual growth.

Acclaimed Pianist Emmet Cohen Releases Single “Well You Needn’t” Ahead of New Album Universal Truth

Acclaimed pianist, composer, and bandleader Emmet Cohen today releases his swinging rendition of Thelonious Monk’s “Well You Needn’t”, the lead single from his upcoming album Universal Truth (out May 29 via Mack Avenue Records). Recorded in celebration of the 2026 centennial of jazz icons Miles Davis and John Coltrane, the track features jazz royalty Ron Carter on bass, Jeremy Pelt on trumpet, and Joe Farnsworth on drums.

Universal Truth honors Cohen’s forebears by carrying forward their spirit of personal and spiritual discovery, blending classic repertoire with his distinctive, modern approach. The album also features George Coleman on tenor saxophone, as well as Cohen’s regular trio of bassist Yasushi Nakamura and drummer Joe Farnsworth. Highlights include poignant reunions on “My Funny Valentine” with Carter and Coleman, fiery interpretations of Monk’s “Budo” and Jimmy Heath’s “Gingerbread Boy”, and a rollicking ensemble rendition of Coltrane’s “Blue Trane.”

Cohen’s titular three-part suite, “Universal Truth”, is an ambitious centerpiece that channels his personal journey and ongoing exploration of the profound concepts that shaped his musical heroes. “In all my research and study into John Coltrane, one phrase always stuck out: ‘Universal Truth,’” Cohen explains. “I interpret that to mean his higher power, his version of God, his connection to the source that connects and calls to every living thing on Earth.”

A leading pianist of his generation, Cohen is also the creative force behind Live From Emmet’s Place, a livestream series featuring over 140 two-hour performances with hundreds of musicians across generations, reaching more than 100 million views worldwide. His recordings, including the Masters Legacy Series, consistently emphasize connection, lineage, and discovery.

Tracklisting – Universal Truth

1. Budo
2. Well You Needn’t
3. My Funny Valentine
4. Gingerbread Boy
5. I. Eternal Glimpse
6. II. Compassion
7. III. Universal Truth
8. Blue Trane

Tour Dates – 2026–2027

• Apr 4: Gainesville, FL – University of Florida
• Apr 6-7: La Jolla, CA – Conrad Prebys Performing Arts Center
• Apr 8: Stanford, CA – Bing Concert Hall
• Apr 9: San Francisco, CA – SFJAZZ Center
• Apr 10: Rohnert Park, CA – Sonoma State University
• Apr 11: Irvine, CA – Irvine Barclay Theatre
• Apr 12: Santa Barbara, CA – Campbell Hall
• Apr 14: Santa Cruz, CA – Kuumbwa Jazz Center
• Apr 16-19: Seattle, WA – Jazz Alley
• Apr 21: West Vancouver, BC – Kay Meek Arts Centre
• Apr 22: Portland, OR – The Old Church Concert Hall
• Apr 27: Livestream – Live From Emmet’s Place (feat. Veronica Swift)
• Apr 30: International Jazz Day Celebration – Chicago, IL (with Herbie Hancock)
• May 2: Danbury, CT – Western Connecticut State University
• May 8: Miami, FL – Adrienne Arsht Center for the Performing Arts
• May 17: Buffalo, NY – Kleinhans Music Hall
• May 25: Livestream – Live From Emmet’s Place (Universal Truth Release Show)
• May 28: Los Angeles, CA – The Wallis with Pacific Jazz Orchestra
• Jun 11: Cincinnati, OH – Caffe Vivace
• Jun 12: Lakeside, OH – Hoover Auditorium
• Jun 14: Boone, NC – Appalachian Theatre of the High Country
• Jun 22: Livestream – Live From Emmet’s Place (feat. Chris Potter)
• Jul 8-12: New York, NY – Smoke Jazz Club
• Jul 25: Katonah, NY – Caramoor
• Sept 5-6: Washington, DC – DC Jazz Fest
• Sept 8-12: New York, NY – Birdland NYC
• Sept 18-25: Botti @ Sea
• Oct 9: Provo, UT – BYU
• Oct 11: Berkeley, CA – Freight and Salvage
• Jan 12-17: David Foster at Sea
• Jan 17-24: The Jazz Cruise
• Jan 24-31: Journey of Jazz Cruise
• Feb 12: Boston, MA – Berklee Performance Center
• Feb 19-21: Northridge, CA – Cal State Northridge

With Universal Truth, Cohen celebrates the discoveries of the past masters while charting his own spiritual and musical journey. The album is available for preorder now via Mack Avenue Records, with digital, CD, and vinyl editions.

Rick Braun Honors a Legend with Heartfelt Tribute Album to Chuck Mangione

Over a genre-defining career spanning more than three decades and 20+ Billboard #1 hits, Rick Braun has built a legacy rooted in melody, groove, and emotional connection. Now, with Rick Braun Plays Chuck Mangione, he turns his attention to honoring one of his greatest musical inspirations.

Sparked by the passing of Chuck Mangione in July 2025, the album stands as Braun’s first-ever tribute project—an offering that feels both deeply personal and musically celebratory. Revisiting Mangione’s most iconic compositions, Braun approaches each track with a balance of reverence and reinvention, infusing them with his signature warmth and contemporary flair.

The project features an exceptional roster of collaborators, including Mangione’s original guitarist Grant Geissman, acclaimed saxophonists Richard Elliot and Tom Scott, renowned keyboardist Philippe Saisse, and flutist Steve Kujala. Together, they help shape a vibrant and emotionally rich listening experience that bridges generations of jazz.

From the sweeping orchestration of “Land of Make Believe” to a revitalized and groove-driven take on “Feels So Good,” the album captures the essence of Mangione’s uplifting sound while allowing Braun’s artistry to shine through. The lead single, “Give It All You Got,” produced by Saisse, stands out with its buoyant rhythm, dynamic guitar textures, and a powerhouse sax solo from Tom Scott—delivering an immediate and infectious energy.

Described by Braun as a labor of love that “took over,” the album channels the “overwhelming sense of happiness” that defined Mangione’s music. In doing so, Rick Braun Plays Chuck Mangione not only pays tribute to a legend but also marks a soulful and inspiring beginning to Braun’s fourth decade as a recording artist.

Tracklist

1. Land of Make Believe
2. Doin' Everything With You (feat. Grant Geissman)
3. Feels So Good (feat. Richard Elliot)
4. Long Hair Soulful
5. Give It All You Got (feat. Tom Scott)
6. Do I Dare To Fall In Love (feat. Richard Elliot)
7. Bellavia
8. Love Wears No Disguise
9. Children of Sanchez (feat. Grant Geissman)

Gabrielle Cavassa Makes Her Artistic Arrival with Blue Note Debut Diavola

Award-winning vocalist Gabrielle Cavassa announces her official artistic arrival with the May 1 release of her Blue Note debut, Diavola. The album is a captivating blend of original songs and luminous reinterpretations of standards, showcasing Cavassa’s extraordinary range as a bandleader, songwriter, and fearless interpreter of song.

Co-produced by jazz luminaries Joshua Redman and Don Was, Diavola features an extraordinary ensemble of collaborators, including Jeff Parker on guitar, Larry Grenadier on bass, Brian Blade on drums, Paul Cornish on piano, and Redman on tenor saxophone. The album’s lead single, “Prisoner of Love,” reveals Cavassa’s remarkable ability to inhabit a song, delivering every lyric with deliberate long tones, subtle dynamics, and reverence for the tradition she comes from.

“I really respect songs, and I really want to honor them in the best way,” Cavassa says. “Modernity is important to me, but the truth is I really am coming from a tradition. And I really love singing those songs.”

Diavola explores dualities central to Cavassa’s artistry: the angel and the devil, urgency and repose, possession and surrender. “I’m not willing to let go of either, or I haven’t been able to,” she notes, a tension that resonates throughout the album’s intimate and anthemic moments.

Her collaboration with Redman began after his manager heard her perform at a wedding in New Orleans, propelling her into professional tours and studio work. Redman and Was worked closely with Cavassa during the recording process, guiding production, tone, and listener impact. “Josh was with me every step of the way,” she recalls. “He was the comfort and the trust through the whole process. And Don brought the wisdom of absolutely one-in-a-million experience.”

Born in Escondido, California, of Italian descent, Cavassa began “obsessively listening” to records from a young age. Largely self-taught, she developed a distinctive approach to singing that blends technical precision, emotional clarity, and interpretive depth. After earning a Bachelor of Arts in Music from San Francisco State University, Cavassa credits the Bay Area music scene for her “real education.” Relocating to New Orleans in 2017, she immersed herself in the city’s jazz community, further refining her craft in local clubs. Her independent 2020 debut, produced with collaborator Jamison Ross, and her 2021 win at the International Sarah Vaughan Jazz Vocal Competition established her as a rising force in jazz.

DownBeat called her feature on Redman’s 2023 Blue Note album where are we “a star in the making,” while Stereophile praised her voice as “idiosyncratic, but trustworthy in its clarity and almost physical in its intimacy… her intuitive interpretations and riveting voice make you sit very still in your chair.”

Diavola Track Listing

Side A

1. Heaven Sighs (Jeff Parker)
2. Raindrops Keep Falling On My Head (Burt Bacharach, Hal David)
3. Prisoner of Love (Russ Columbo, Clarence Gaskill, Leo Robin)
4. Bossy Nova (Gabrielle Cavassa)
5. To Say Goodbye (Eduardo Lobo, Torquato Neto, Lani Hall)
6. Angelo (Luigi Tenco)

Side B

1. Be My Love (Nikolaus Brodszky, Sammy Cahn)
2. Diavola (Gabrielle Cavassa, Alexander Warshawsky)
3. Could It Be Magic (Barry Manilow, Adrienne Anderson)
4. La notte dell’addio (Arrigo Amadesi, Giuseppe Diverio, Emmidio Regimi, Alberto Testa)

Diavola is available now for pre-order through the Blue Note Store, including exclusive signed color vinyl, black vinyl, CD, and digital formats. This debut marks a defining moment for Cavassa, whose voice, range, and interpretive insight promise to make her a lasting presence in contemporary jazz.

Sugar On My Blackbeans: Aleph Aguiar’s Vibrant Latin Jazz Revival with a Modern Pulse

 

Venezuelan-born, UK-based guitarist Aleph Aguiar returns with Sugar On My Blackbeans, his third studio release, following Pataruco (2015) and Maku (2017). In the years between albums, Aguiar has quietly built an impressively diverse résumé, working alongside artists such as Tony Kofi, Elton John, and Georgia Cecile, while also contributing behind the scenes as a guitar and vocal coach for Simon Bird during The Inbetweeners 2. His work with contemporary dance artists further broadened his musical perspective, shaping the multifaceted approach heard on this latest project.

That breadth of experience comes alive across nine original compositions, where Aguiar channels the spirit of 1960s Latin jazz while subtly reshaping its conventions. Instead of leaning on the traditional saxophone-piano frontline typical of the era, he opts for trumpet and Hammond organ, creating a sound that feels both rooted and refreshingly distinct. The trumpet, central to many Latin American traditions, blends naturally with Aguiar’s guitar phrasing, while the Hammond organ adds depth and warmth, enriching the ensemble’s tonal palette.

The album opens with “Panspermia,” immediately establishing a confident rhythmic foundation. The interplay between percussionist Will Fry and drummer Shane Forbes is tight and intuitive, laying down grooves that feel both intricate and effortless. Aguiar’s guitar work nods to the influence of Wes Montgomery, yet he avoids imitation, veering into unexpected melodic turns that give the music its sense of spontaneity and identity.

Tracks like “Mudwalk” highlight the dynamic range of the quintet, with trumpeter Quentin Collins delivering bold, expressive lines while Hammond organist Liam Dunachie contributes fluid, textural support. The title track stands out with its infectious sway and memorable motifs, capturing a vintage charm without sounding dated.

Aguiar’s compositional sensitivity becomes especially clear on the more reflective pieces, including “Little Daisy” and “One For Sorrow, Two For Joy.” Here, he embraces space and restraint, allowing his guitar to breathe while maintaining a subtle undercurrent of Latin rhythm. Elsewhere, “Monk Lakes” features an expansive solo that showcases his technical command and expressive depth, while “Reflected Three” and “Mondongo” provide moments for the rhythm section to shine. “Blue Tourpials,” with its lively 3/4 feel, draws inspiration from Venezuelan folk traditions, adding another layer of cultural richness to the album.

Recorded over just two days, Sugar On My Blackbeans captures a raw, first-take energy that enhances its charm. The performances feel alive and immediate, with each musician contributing to a cohesive yet vibrant sound. The result is an album that balances nostalgia with innovation—rooted in the grooves of 1960s Latin jazz but energized by a contemporary sensibility. It’s a feel-good record with depth, offering both warmth and musical intrigue in equal measure.

Joe Magnarelli’s Decidedly So Reaffirms the Timeless Power of Straight-Ahead Jazz

Trumpeter Joe Magnarelli makes a compelling case for the enduring vitality of straight-ahead jazz on Decidedly So, a session steeped in tradition yet alive with present-day clarity. Recorded at the legendary Rudy Van Gelder Studio in March 2025 before a small but attentive audience, the album captures a group of seasoned musicians fully at ease with their craft. There’s a sense of purpose here—unforced, confident, and deeply rooted in swing.

Magnarelli is joined by trombonist Steve Davis and a stellar rhythm section: pianist Jeremy Manasia, bassist Clovis Nicolas, and drummer Rodney Green. Together, they move through a set of originals and standards with precision, warmth, and an easy sense of interplay that never feels overworked.

The opener, “D.J.,” immediately taps into the spirit of mid-’50s hard bop, driven by a buoyant rhythmic pulse. Magnarelli’s tone is crisp and assured, while Davis answers with a robust, lyrical presence. The rhythm section fuels the momentum—Manasia’s piano cuts through with intensity, and Green’s drumming is quick, responsive, and full of subtle accents.

Davis’ composition “Decidedly So” settles into a relaxed medium tempo, offering a thoughtful exchange between trumpet and trombone. The two horns weave together and pull apart with natural ease, supported by harmonic touches from Manasia and Nicolas that feel both grounded and inventive.

On the Richard Rodgers classic “This Nearly Was Mine,” Magnarelli switches to flugelhorn, and the mood shifts instantly. His playing becomes warmer and more introspective, favoring long, flowing phrases. Manasia responds with delicate, rippling lines, while Davis adds depth with a measured, expressive solo. Nicolas anchors the piece with a steady, resonant presence.

A similar sense of restraint shapes Sigmund Romberg’s “When I Grow Too Old To Dream,” which unfolds at a gently forward-moving pace. The horns state the melody with quiet affection before branching into improvisations that feel organic and unforced. Manasia’s phrasing stands out here—his ideas develop naturally, never sounding imposed—while Nicolas continues to demonstrate both strength and versatility.

The album closes with Magnarelli’s “Jimmy’s Blues,” a spirited return to fundamentals. Rooted firmly in the blues tradition, the track gives each player room to stretch. Magnarelli and Davis dig in with rich, expressive lines, Manasia balances grit with elegance at the piano, Nicolas delivers a confident solo, and Green drives the ensemble with clarity and purpose.

Decidedly So doesn’t try to reinvent jazz—it doesn’t need to. Instead, it celebrates the core elements that have sustained the music for generations: swing, melody, interaction, and feel. In doing so, Joe Magnarelli and his band deliver a session that is both grounded and quietly exhilarating.

James Brown’s Sex Machine Still Hits Like a Jolt of Pure Funk Power

 

Before launching into “Get Up I Feel Like Being Like a Sex Machine,” James Brown asks his band a simple question: “Can I get into the thing, really?” The answer is immediate and emphatic—and what follows is nothing short of explosive. Over the next stretch of music, Brown delivers a relentless, high-voltage performance packed with sweat, swagger, and unstoppable rhythm. Widely recognized—including by Rolling Stone—as one of the greatest albums ever made, Sex Machine stands as a defining statement of his artistry at full throttle.

This 55th anniversary reissue, sourced from the original master tapes, finally gives the album the sonic depth it deserves. Presented in audiophile-quality sound, every element bursts to life—from the punch of the horns and the crack of the snare to the rich swell of the organ. The clarity and immediacy place you right in the middle of the action, capturing both the tight precision of the band and the raw energy of the performance.

At the center of it all is Brown himself, delivering one of the most commanding vocal performances in popular music history. He doesn’t just sing—he testifies. His voice shifts constantly: shouting, pleading, grunting, crooning, and driving the music forward with unmatched intensity. It’s a masterclass in funk expression, where emotion and rhythm are inseparable.

Though originally marketed as a live album, Sex Machine is actually a hybrid. Part of it was recorded in the studio with overdubbed crowd noise, while the rest captures a real performance from October 1969 at Bell Auditorium in Augusta, Georgia—Brown’s adopted hometown. That live material crackles with electricity, fueled by a palpable connection between Brown and the audience.

The album also marks a pivotal moment in Brown’s career. Around this time, his backing group evolved into the first iteration of the legendary J.B.’s, featuring bassist Bootsy Collins and guitarist Catfish Collins. Their arrival brought a sharper, more rhythm-driven sound that pushed Brown’s music further into the foundations of funk. A late-night session in Cincinnati, Ohio yielded extended, groove-heavy takes like the nearly 11-minute title track and a dynamic medley of “Bewildered,” “I Got the Feeling,” and “Give It Up or Turnit a Loose.”

Yes, the album’s structure is unconventional—a mix of live recordings, studio tracks, and different band lineups—but Brown turns that complexity into pure fire. Tracks like “Brother Rapp” showcase his evolving philosophy of rhythm, treating every instrument as part of a larger percussive engine. Meanwhile, the title track remains a cornerstone of funk itself: hypnotic, cyclical, and driven by an irresistible groove that never lets up.

The live cuts are equally powerful. “I Don’t Want Nobody to Give Me Nothing” positions Brown as both performer and leader, while “Licking Stick” and “Spinning Wheel” highlight the band’s tight interplay and musical sophistication, with saxophonist Maceo Parker shining in the mix. The set closes on a more reflective note with “If I Ruled the World,” balancing the album’s intensity with a touch of grace.

More than five decades later, Sex Machine still feels urgent and alive. It’s not just a landmark funk record—it’s a blueprint for rhythm, performance, and artistic control. Complicated in its construction but undeniable in its impact, it captures James Brown doing what he did best: turning music into movement, and movement into something unforgettable.

Fabiano do Nascimento’s Vila Blends Memory, Samba, and Orchestral Jazz into Something Timeless

L.A.-based virtuoso guitarist and composer Fabiano do Nascimento continues his astonishing creative run with Vila, his 15th album in just over a decade—and remarkably, his second release within a three-month span. Following the enigmatic Cavejaz, a collaboration with vocalist Jennifer Souza and Uakti’s Paulo Santos, this new project shifts toward something more expansive and cinematic. Teaming up with longtime collaborator, arranger, and trombonist Vittor Santos and his orchestra, Nascimento delivers a collection that feels suspended outside of time.

Recorded between Los Angeles and Rio de Janeiro, Vila draws deeply from personal memory. Nascimento has described it as an homage to his childhood in Bairro Saavedra, in Rio’s Catete neighborhood. That sense of place runs through the album’s DNA, where Brazilian folk traditions, samba rhythms, and classical sensibilities intertwine with the sweep of orchestral jazz. Across the record, Nascimento moves between six- and seven-string guitars as well as soprano guitar, weaving his playing through a rich backdrop of strings, woodwinds, brass, and percussion.

The opening track, “O Tempo (Foi O Meu Mestre),” sets the tone with a vibrant samba that feels both grounded and weightless. Nascimento’s guitar and voice sit at the center, surrounded by lively string arrangements and expressive woodwinds, including clarinet and oboe. The rhythm shifts subtly between time signatures, giving the piece a gentle elasticity before his vocal enters, adding warmth and intimacy.

“Spring Theme” lives up to its name with a light, airy elegance. Built on a delicate fingerpicked motif, it gradually blooms as strings and bass expand the harmonic space around the guitar. On “Tema em Harmônicos,” a jazz-inflected samba, shimmering guitar harmonics interplay with hand percussion and muted trumpet, eventually giving way to a lyrical trombone passage from Santos. The arrangements throughout echo the lushness of the bossa nova era, lending emotional depth to pieces like “Valsa” and “Floresta Dos Sonhos.”

The album’s more impressionistic moments are equally striking. “Uirapurú” surrounds Nascimento’s guitar with warm, enveloping strings, while piano and flute drift gently overhead. “Trenzinho Imaginário” introduces a subtle tension, its cyclical guitar figure weaving against a moving bassline as the orchestration swells and recedes. Tracks like “Plateau” and “Prelude 5” highlight the album’s emotional core—graceful, intricate compositions that balance restraint with expressive depth.

“Vittor e Fabi” closes one of the album’s arcs with a richly textured jazz samba, where layered rhythms and orchestral flourishes create a sense of lift and forward motion. Throughout, Nascimento’s playing remains fluid and deeply melodic, never overpowering the ensemble but always guiding it.

Vila stands apart within Nascimento’s already expansive catalog. It signals a clear evolution in his compositional voice, revealing a broader, more orchestral vision. Vittor Santos proves an ideal partner—his arrangements are thoughtful and restrained, allowing the music to breathe while framing Nascimento’s guitar within both Brazil’s samba tradition and a contemporary jazz context.

The result is an album that feels both deeply personal and musically expansive—rooted in memory, yet reaching far beyond it.

Marquis Hill’s Sweet Surrender Channels Spirit, Soul, and Chicago Jazz Energy

 

Throughout his career, Chicago trumpeter Marquis Hill has created music that honors Black life while holding onto a grounded sense of hope. His work often draws deeply from the influence of the Black Church, shaping both his artistic voice and spiritual perspective. On (Beautifulism) Sweet Surrender, a ten-track EP, Hill turns his focus toward transcendence and inner reflection, supported by a wide-ranging and adventurous group of collaborators.

The core ensemble features guitarist Emmanuel Michel, bassist Junius Paul, saxophonist Josh Johnson, drummer Marcus Gilmore, and percussionist Juan Pastor. They’re joined by an eclectic lineup of guests, including Makaya McCraven, vocalists Amyna Love, Zacchae’us Paul, and Manessah, along with rappers Cisco Swank and Kumbayaaa. Across its 34-minute runtime, the EP moves fluidly between contemporary jazz, neo-soul, and gospel-infused pop, never settling into just one lane.

The title track appears in three variations, beginning with a brief, meditative introduction where horns drift through a rich modal theme alongside organ textures reminiscent of a church service. That opening melts into one of the project’s highlights, “Water (Feelings, Emotions),” where Amyna Love’s vocals blend seamlessly with alto saxophonist Immanuel Wilkins. A warm, inviting bassline anchors the piece before Gilmore’s crisp, expressive drumming opens things up. Love and Manessah initially use their voices as instruments, adding texture before the song unfolds into a soulful, emotionally resonant performance. The band locks into a tight, intuitive groove, creating space for expressive solos from both Wilkins and Hill.

Zacchae’us Paul takes the lead on the full version of “Sweet Surrender,” delivering reflective, almost prayer-like lyrics over a smooth fusion of jazz and R&B. Hill’s trumpet—switching between muted and open tones—adds both warmth and bite, while Manessah’s harmonies enrich the chorus. The rhythm section keeps things fluid and understated, letting the song breathe.

Elsewhere, “Free #1” leans into a more experimental edge. Layered synth textures from Jeremiah Chiu deepen the low end as Kumbayaaa delivers a sharp, rhythmically agile rap. Hill responds with layered horn arrangements before stepping forward with a standout solo. “Blues” taps into Chicago’s musical heritage, transforming it into a fiery, freewheeling jam that highlights guitarist Matt Gold’s raw, expressive playing against a driving rhythm section.

Tracks like “Demo 1.1 (The Pleasures Of You)” and “Free #1B” continue to push stylistic boundaries, blending post-bop structures with hip-hop rhythms and spoken-word energy. On “Bible Study,” Hill brings everything into focus—merging gospel, jazz, and neo-soul into something deeply moving. With contributions from Mike King on keys and McCraven on drums, the track swells with a choir-like richness, as Manessah’s layered vocals evoke a spiritual gathering. Hill’s trumpet here feels especially purposeful, offering moments of calm and reflection.

The EP closes by revisiting “Sweet Surrender” in demo form, stripping things down to reveal the emotional core of the composition. Hill’s trumpet alternates between tender lyricism and expressive intensity, reinforcing the project’s central themes.

(Beautifulism) Sweet Surrender ultimately feels like a cohesive meditation—one that bridges the sacred and the secular, blending romance, spirituality, and modern jazz into a unified, immersive sound. It’s a vivid reminder of Marquis Hill’s ability to evolve while staying rooted in purpose.

Joe Jackson’s Hope and Fury Finds Clarity in a Career Built on Constant Change

 

For nearly five decades, Joe Jackson has built a career on forward motion, rarely lingering in one stylistic place for long. From the sharp, genre-blending energy of his debut Look Sharp! in 1979 to more divisive experiments like Heaven & Hell in 1997, Jackson has moved fluidly across musical boundaries. His restless creativity often invites comparisons to Elvis Costello, another artist known for refusing to be boxed in.

His most recent outing prior to this release, Mr. Joe Jackson Presents: Max Champion in ‘What a Racket!’ (2023), leaned fully into theatricality. Drawing inspiration from the fading era of British music hall, it was packed with lively brass, playful percussion, and witty, double-edged lyrics. At this stage in his career, there are few styles Jackson hasn’t explored.

With his 22nd album, Hope and Fury, Jackson once again casts a wide net, experimenting across genres to see what resonates. While not every idea lands, the album feels more grounded than much of his recent work. It marks a return to a more direct, less conceptual approach—one that emphasizes strong songwriting and refined musicianship, qualities that first defined his legacy.

Stripped of elaborate stylistic masks, tracks like “I’m Not Sorry” and “Fabulous People” reveal a more straightforward and unguarded Jackson. The album occasionally echoes the cosmopolitan polish of Night and Day and the Afro-Cuban jazz influences of Body and Soul, blending them into what Jackson himself calls a “Bicoastal LatinJazzFunkRock” sound—a hybrid shaped by his ties to both New York City and Portsmouth.

Still, Hope and Fury doesn’t entirely abandon his penchant for experimentation. The opening track and lead single, “Welcome to Burning-by-Sea,” offers an offbeat entry point, driven by insistent percussion as Jackson half-sings, half-chants through vivid imagery of a fictional seaside town. Meanwhile, the sprawling “End of the Pier” leans into a jazz-inflected narrative style that highlights both the ambition and occasional excess that have long defined his work.

The album may not fully resolve Jackson’s ongoing musical wanderlust, but it strikes a satisfying balance. There’s comfort in hearing him revisit familiar territory while still pushing at the edges—a reminder that even after decades of reinvention, Joe Jackson remains an artist in motion.

Ayman Fanous Shares Duo with Joe McPhee as Second Single from 5-CD Boxset Brooklyn Stories

 

Brooklyn-based guitarist and bouzouki player Ayman Fanous is releasing a monumental 5-CD boxset, Brooklyn Stories, via Infrequent Seams, featuring duos, trios, and quartets with some of the most inventive voices in contemporary jazz and avant-garde improvisation.

The second single, a striking duo with saxophone legend Joe McPhee, is now available to stream and pre-order on Bandcamp ahead of the full release on April 24, 2026. This collection showcases Fanous’ extraordinary versatility and deep musical empathy, spanning collaborations with William Parker, Tatsuya Nakatani, Jason Kao Hwang, Ned Rothenberg, Susan Alcorn, Mark Feldman, Thomas Ulrich, James Ilgenfritz, Denman Maroney, and the late Susan Alcorn.

Though Fanous has been active in music for decades, Brooklyn Stories marks his first major release as a leader of such an expansive project. A scientist and physician by profession, Fanous brings a unique analytical and soulful approach to improvisation. As liner notes writer Elliott Sharp observes: “How all of Ayman Fanous’ interests and vocations feed each other is the better question—how music of this intensity and complexity emerges from his fingers and soul.”

The 5-CD set includes recordings ranging from intimate duos to intricate quartets, blending jazz, avant-garde, and free improvisation. Listeners familiar with the work of Matthew Shipp, Alice Coltrane, Mary Halvorson, Cecil Taylor, or Anthony Braxton will find rich parallels in Fanous’ explorations, along with a distinctly personal voice on classical guitar, electric guitar, and bouzouki.

Release Schedule:

• Feb 24 – First single: Trio With William Parker, Tatsuya Nakatani – 4
• Mar 10 – Second single: Duo with Joe McPhee – 2 (streaming now)
• Apr 7 – Third single: Trio With Susan Alcorn, Ned Rothenberg
• Apr 24 – Full 5-CD boxset release

Brooklyn Stories is a rare and immersive journey through the intersections of improvisation, composition, and emotional depth—a must-listen for anyone interested in the outer edges of jazz and avant-garde music.