Kim Cypher Releases Catching Moments

 British jazz saxophonist, vocalist, composer, and bandleader Kim Cypher releases the single Birdie In The Grass, the first track from her album Catching Moments (out October 4th, 2024). 

A beloved figure in the UK jazz scene, Kim Cypher is known for her support of grassroots musicians and her extensive contributions to independent arts. She collaborates with the Women In Jazz Media collective, hosts the weekly radio show The Big Jazz Hullabaloo on Jazz Bites Radio alongside her husband, Mike, and has raised thousands of pounds for charity through her music, all while spotlighting talented artists both from the UK and abroad.

“Accessible and classy music with a very wide appeal.” – London Jazz News

The single opens with the warm tones of Kim's signature tenor saxophone, a sound that reflects the influences of her mentors, jazz greats Andy Sheppard and Pee Wee Ellis. The track quickly falls into a dreamy groove, as Kim’s production and arrangement provide ample space for each instrument to shine. The playful syncopation and solos of the ensemble give the lighthearted Latin tune a charming and lively feel.

The song’s inspiration came from a moment Kim observed a baby bird learning to fly in the grass. As she watched this joyful scene, the lively Latin melody emerged, reflecting the bird’s freedom and exuberance. Kim says, “Standing at the window observing the activity, a cheeky little Latin melody soon evolved to accompany the joyful scene.” The tune captures the essence of a peaceful, golden-hour moment in nature.

“A bright, passionate performing light on the UK Jazz scene.” – Jazz In Europe

The track features an all-star lineup, including guitarist Antonio Forcione, bassist Raph Mizraki, percussionist Karl Vanden Bossche, and drummer Mike Cypher. Birdie In The Grass is part of Kim’s Brighter Tomorrow project, initiated during the COVID lockdowns to showcase the resilience and dedication of artists. Special guests on the album include pianist and vocalist Liane Carroll, saxophonist and vocalist Ray Gelato, and trombonist Ashley Slater.

The album, featuring twelve tracks (ten of which are originals), explores personal and global events of the past few years and centers on the theme of capturing life’s precious moments. 

“Always innovative and surprising.” – Jazz Views

Odyssey to Self, the intimate 5-track debut EP by Pianist Orson Claeys

Pianist Orson Claeys is a refreshing newcomer to the Belgian jazz scene, influenced by a diverse musical upbringing that ranged from hip hop to classical. His journey with the piano began in art school, but it was the discovery of Herbie Hancock's melodies that steered him towards jazz. 

After being featured on the third instalment of the 'Lefto presents Jazz Cats' compilations with his track 'Conversations' and a support tour for De Beren Gieren, Orson Claeys now releases his 5-track debut EP 'Odyssey to Self' on Sdban Ultra. ‘Odyssey to Self’ offers a deep dive into Claeys' personal life, where he openly shares his journey through significant changes. The music resonates more than just a collection of songs, but as a reflection of the universal human experience of embracing transformation. 

It continues within themes from his previous singles, Primrose and W.A.R., which served as odes to his mother's love and his late grandfather, amongst other things that play an important role in his life. Alongside his debut EP, Claeys created a compelling short film, visually translating the auditory journey of the record. This project stands out due to its unique approach, where the creative process started with composing the music, unlike the usual procedure in filmmaking. 

The accompanying film can only be viewed exclusively with the purchase of the vinyl. The music takes cues from the rich sounds of the Middle East, influenced by artists like Dhafer Youssef and Anouar Brahem, and also from the fresh, creative styles of contemporary jazz musicians such as Aaron Parks, Brad Mehldau, and Ambrose Akinmusire.

Doo’s Blues: Unveiling the Rare Belgian Recordings of Jazz Legend Dusko Goykovich

Sdban Records present Doo’s Blues, a collection of previously unreleased Belgian radio recordings capturing Serbian jazz trumpeter, composer and band leader Dusko Goykovich (1931-2023) at the moment he definitively established himself as one of Europe’s most distinctive jazz artists. 

Born and raised in Bosnia and Herzegovina, Dusko Goykovich studied at the Belgrade Music Academy from 1948 to 1953, playing trumpet in Dixieland bands and joining the big band of Radio Belgrade at the age of 18. After leaving Yugoslavia in 1956, Goykovich spent the next ten years developing his sound on the West German jazz scene, where he played with the renowned big bands of Kurt Edelhagen and Kenny Clarke & Francy Boland and made appearances at the world’s largest jazz festivals such as Comblain-la-Tour in Belgium, Antibes in France and Newport. Goykovich then moved stateside where he spent four years studying at the world famous Berklee College and worked with the likes of Woody Herman and Maynard Ferguson. 

Returning to Europe in the mid-sixties Goykovich soon introduced the world to his innovative Balkan jazz sound with Swinging Macedonia (1966). Today this release still stands as one of the most important and sought-after works of European folk inspired jazz. 

Not long after Swinging Macedonia’s release Goykovich was invited to record two sessions for BRT (Belgian Radio & TV), which he performed with three different ensembles. For the first session Goykovich was accompanied by Belgian vibraphonist Fats Sadi’s quartet. Later that same day Goykovich was also joined by the BRT Jazzorkest. Less than two months later Goykovich found himself once again ensconced in BRT’s Brussels studios, this time heading up an international quintet that also included Bent Jædig (tenor saxophone and flute), Scott Bradford (piano), Jimmy Woode (bass) and Al Jones (drums). 

Whilst the metaphor ‘jazz with an accent’ has been widely used to describe the music that European jazz artists created in the 1950s and 1960s, it fails to do justice to the entirely new language that Dusko Goykovich was developing. No mere dialect Goykovich’s jazz was a delicate, multi-layered language, one that owed just as much to the folk music of the Balkans as it did to the modern music of America. And to the blues. For this is Doo’s Blues. 

Doo’s Blues was compiled by Lander Lenaerts. Lander’s a DJ and writer who plays an important part in documenting the rich jazz history Belgium has to offer.

Zacc Harris’s Chasing Shadows: A Masterful Reflection of Nature and Composition

Zacc Harris’s acclaimed 2021 release, Small Wonders, was made up of songs composed over nearly a decade and evoked a photo album, lovingly curated and focused on the joys and challenges of parenthood. The Minneapolis-based guitarist’s new album Chasing Shadows, out now on Shifting Paradigm Records, was written over an idyllic five-day retreat in western Wisconsin. It’s more like a single image, precise but mysterious, capturing what photographer Henri Cartier-Bresson called “the decisive moment.” The adventurous and unified album showcases a symbiotic quintet in which Harris is joined by tenor saxophonist Brandon Wozniak, pianist Bryan Nichols, bassist Chris Bates, and drummer Pete James Johnson.

Long a leading light of Minnesota’s jazz scene—in 2017, City Pages named him Twin Cities Best Jazz Artist—Harris’s national reputation grew with the release of Small Wonders. In a four-star review in Downbeat, Bill Milkowski praised the album’s “intricate heads and chops-busting unisons,” and the magazine later included the album in its Best Albums of the Year list. In All About Jazz, Mike Jurkovic likewise named it among the year’s best. Harris has also won fans and praise as a co-leader of the long-running Atlantis Quartet and he steers American Reverie, a trio centered on interpretations of folk, country, and pop songs. Other projects include Grain Trio, an organ trio led by drummer JT Bates, and Boundaries, a free-improvisation collaboration with trumpeter Jake Baldwin and drummer Pete Hennig.

Chasing Shadows was recorded in March of this year but started to take shape in the summer of 2022. One of Harris’s students offered the guitarist access to a lakeside cabin outside the propitiously named Luck, Wisconsin. Between nature walks and breaks to brew coffee, Harris composed all but two of the album’s eight songs. He started with a set of simple melodic and harmonic ideas on which he incrementally expanded by turns. The process felt both systematic and spiritual, the sort of concentrated period of creativity and reflection hard to come by in the teeth of the attention economy. The music began to cohere around linked compositional procedures while taking cues from the riparian setting. “Interesting things happen when you’re observing a space in nature for a few days,” Harris says. “Sometimes it’s sunshine glistening on the water, sometimes darkness in the woods. The songs took on those contrasts.”

This mix of light and shade is apparent on the album’s titular opening track. It starts with a foreboding, melancholy section—with its crisp tempo and tense intervals, the tune seems indeed to be chasing shadows. The title has a sweet origin, though—Harris’s son, as a little boy, used to chase his own shadow—and the song soon gives way to a soaring, cinematic melody. Like much of the album, “Chasing Shadows” is quickly hummable but doesn’t settle into a key center. Instead, Harris uses careful chromatic voice leading to ground his high-contrast melody. For the solo section, Harris, Wozniak, and Nichols pass the baton through the song’s three-part form, an appealing introduction to their distinct improvisational conceptions.

“Moonrise” demonstrates one of the group’s signatures: how deftly Harris and Wozniak meld on unison heads. The opening bars teeter-totter through variations of an almost Monkish phrase, and as the theme progresses, we see that, again, Harris is using an inviting melody to connect nonfunctional harmony. His leadoff solo displays his lyricism and rich, sculpted tone. Drummer Johnson is unflappable through the frequently shifting time signatures of “Catalyst.” Listen especially to how he locks in during Nichols’s galvanizing solo. For the piece, the album’s lead single, Harris wanted to explore different ways to break up eleven; the tune swerves and surprises, but the pulse is ever kinetic.

“Fleeting Moments” is aptly named: it’s fast and swinging and doesn’t linger in a tonality. Wozniak, who with Chris Speed provide the tenor madness in Dave King Trucking Company, plays a dark-toned solo stocked with inventive lines and smartly placed rests. Harris’s driven solo shows his deep study of blues. “Worlds Apart” highlights the quintet’s interplay, nurtured over years of friendship and collaboration and honed further while touring in support of Small Wonders. Bates, one of Harris’s bandmates in Atlantis Quartet, is a maven of time and tone and an expressive soloist, as evidenced by “Pinwheel,” a dynamic meditation in three.

Like a few of the album’s other compositions, “Conduits” derives some of its allure through constant-structure progressions, that is, by moving a single chord quality through changes not readily analyzed through functional harmony. The album closes with “This Day,” a ballad with a bobbing groove and a transporting build. Under Harris and Wozniak’s solos, Nichols, Bates, and Johnson know precisely when to recede and when to prod.

That last title is another one credited to Harris’s son, who preferred “this day” to “today.” By stressing this, the phrase was a reminder to live in the moment, something many of us strive to do and something this album models. Written in a concentrated burst but born of a lifetime of devotion, in the end Chasing Shadows lives in several moments: fleeting, decisive, ongoing, eternal.  

Countermeasure's Orchestral Sessions Celebrates 14 Years of Vocal Mastery with Full Orchestra

Countermeasure announces the release of their fourth studio album, Orchestral Sessions. Mixed in both stereo and ATMOS, the album features fan-favourites, and new works composed by Artistic Director, Aaron Jensen. Defined by their genre-defying sound, the jazz, pop, soul and choral-inspired repertoire is presented for the first time with a full orchestra and rhythm section. Countermeasure is a 12-member Toronto-based vocal group who have sold-out theatres across Canada, the U.S., Italy, Scotland, Japan, and the U.K. The group has become known for their complex harmonies, engaging performances, and their musical spirit of adventure - experimenting with live-looping, instrument imitation, and theatrical staging. 

Countermeasure has recorded with GRAMMY and JUNO award-winning artists including Randy Brecker, Cindy Cashdollar, and The Barenaked Ladies; and has performed alongside the likes of Corey Hart, The Swingle Singers, and Naturally 7. They have won multiple awards from The Contemporary A Cappella Society of America, including Best CAL Album, Best Video, and Best Original Song. They’ve contributed to the soundtracks of internationally-featured short films, and their music has been featured on the EMMY award-winning TV series, Schitt’s Creek. 

”Orchestral Sessions feels like a retrospective album.” says Jensen. “We’re currently enjoying our fourteenth season together. Countermeasure has become a second family to us. We’ve played a role in each other’s major life events. The process of making music, and the music itself have merged into one. I don’t just write songs for the group, they're inspired by the singers. These pieces are born of shared experiences, written in response to members’ personal stories and life events, and shaped by our remarkable musical collaborators. CARRY AWAY reflects upon the emotionally-stirring experience of touring to Japan for the first time. HOLD ON gives the stage to Qwyn Alexis to sing about her hopes and fears in raising a daughter. I WILL chronicles our co-founder, J-M Erlendson's, battle with cancer. TRAIN THE B TAKE underscores a hilarious National Film Board of Canada animated short, and was developed in tandem with SING! The Toronto International Vocal Arts Festival, TAKIN IT HOME has been a long-time raucous finale for Countermeasure concerts. These songs have earned their place in the collective soundtrack of our lives.” 

Releasing an orchestral album is a conceptual about-face for Countermeasure. The group's previous release, Guest Sessions, explored the opportunities presented for voice plus solo instrumentalists (including notable performances by Dame Evelyn Glennie, Randy Brecker, and Pamelia Stickney). After their experiment in artistic austerity, the new record, Orchestral Sessions, is a celebration of abundance. The Burlington New Millennium Orchestra is joined by a GRAMMY/JUNO award-winning rhythm section made up of Larnell Lewis on drums (Snarky Puppy, Jacob Collier, Quincy Jones), Jeremy Ledbetter on keys (Eliana Cuevas, Canefire, Andy Narell), and George Koller on bass (Peter Gabriel, Bruce Cockburn, Dizzy Gillespie). 

Countermeasure embraced the opportunity to join forces with the notable Canadian conductor/ orchestrator, Charles Cozens. “I was delighted to be asked by composer, Aaron Jensen, and Countermeasure to help arrange and orchestrate the Countermeasure Orchestral Sessions recordings. Always a challenge of blending compelling a cappella vocal textures with orchestra, the songs are exciting, poignant, evocative and simpatico with Countermeasure's unique presence. Conducting and recording this project with my very own Burlington New Millennium Orchestra was exhilarating and rewarding. I sincerely hope you enjoy this masterful work.” 

Charles Cozens is a celebrated performer, orchestrator and conductor. His compelling symphony shows, featuring his arrangements for full orchestra, have been performed by artists such as Sir Elton John, Randy Bachman, The Canadian Tenors, Countermeasure, Quartetto Gelato, Mark Masri, The Nylons, and many more. With over 150 CD recordings to his credit as a composer, arranger, performer, conductor and producer, he was recognized by the International Conductors Guild in 2007 as a leading expert on orchestral conducting in the recording environment. In 2023, Maestro Cozens was inducted into the Burlington Performing Arts Centre Hall of Fame. Aaron Jensen's original music has been premiered and recorded by JUNO and GRAMMY award- winning artists, celebrated choirs, and symphony orchestras around the world. He acted as musical director, band leader, and composer for the nine-time EMMY award winning series, Schitt’s Creek. He has contributed to a Broadway-optioned musical, a BAFTA-nominated video game, and a New York Times Bestselling book. Jensen is the Artistic and Musical Director of Countermeasure, and the Artistic Director Emeritus of SING! The Toronto Vocal Arts Festival.  

Orchestral Sessions was recorded by Stephen Kosler, Luke Schindler and Kohen Hammond at Revolution Recording, and Kai Koschmider at T+J Studios (Toronto). The album was mixed by the GRAMMY award-winning, John “Beetle” Bailey. This project was made possible with the support of Canada Council for the Arts, Ontario Arts Council and Toronto Arts Council. Countermeasure singers are Gianna Antonacci, Nina Brown, Elora Burns, Icarus Devdas, J-M Erlendson, Aaron Jensen, Marla Kishimoto, Qwyn Alexis, Tara Park, Hayley Preziosi, Daniel Boyle, and Jeremy Voltz.

Guitar Masters Synowiec and Noy Bring the Heat on Recreational Substance

Ready to elevate your musical experience? On their co-led quartet release Recreational Substance, renowned guitarists Andrew Synowiec and Oz Noy push the boundaries of jazz, rock, and funk. Joined by a powerhouse rhythm section—bassist Hadrien Feraud (John McLaughlin, Chick Corea) and drummer Marvin “Smitty” Smith (Dave Holland, Steve Coleman)—the duo combines virtuosity and raw energy to deliver an album that is as intricate as it is explosive.

Both Synowiec and Noy are celebrated figures in the music world, known for their fiery playing and extensive session work. Synowiec, a sought-after session guitarist since relocating to Los Angeles in 2004, has contributed to soundtracks like Frozen and The Walking Dead while playing with artists such as Robbie Robertson and Seal. Meanwhile, Noy has built a reputation as one of the most distinctive and versatile guitarists, collaborating with stars like Gavin DeGraw and Joe Bonamassa.

Recreational Substance features eight tracks—five composed by Synowiec and three by Noy—blending the duo’s individual styles into a seamless whole. From the high-octane opener "Big City" to the mellow "The Royal You," the album is a masterclass in harmonic complexity, dynamic shifts, and gut-punching guitar solos. Synowiec and Noy's interplay is the centerpiece, with each guitarist complementing the other's approach, whether through soaring leads or tight rhythm sections.

The album also offers moments of contrast, like the gorgeous acoustic track “Brothers,” where Synowiec plays a nylon-string guitar melody while Noy explores unique 12-string tunings. Meanwhile, Noy's "101 Blues" takes the listener on a slow, soulful journey that channels the spirit of Stevie Ray Vaughan.

Drawing from their shared love of jazz, rock, and blues, Synowiec and Noy bring out the best in each other, creating a sound that is both familiar and fresh. The album is a celebration of musical collaboration, where two virtuosos learn from and inspire each other with every note.

Don’t miss your chance to catch the duo live in Los Angeles and New York in January and February 2025!

Randal Despommier Explores New Orleans Roots with South – A Soulful Tribute to Crescent City Sounds

Some of the first public performances by alto saxophonist and composer Randal Despommier were at Mardi Gras parades in New Orleans alongside his father, a drummer who studied with Crescent City guru James Black and served a stint in the Big Easy rock band South. Although Randy grew up in Metairie, just outside New Orleans, and was steeped in the regional sounds of funk, R&B and jazz (not to mention digging punk and grunge), he would stretch his musical wings far beyond in subsequent years. He studied early sacred music in Italy, earned a doctorate at New England Conservatory, played the organ and led choirs in churches, and eventually settled into the bustling, ever-challenging jazz scene of New York City. Despommier’s 2021 album Dio C’è, his debut as a leader, earned praise from such outlets as All Music Guide for being a “wildly ambitious, genre-mashing” record that reflected his wide-ranging influences. After teaming with venturesome guitarist Ben Monder to explore the folk-inflected lyricism of Swedish composer Lars Gullin for 2022’s A Midsummer Odyssey — which Offbeat magazine touted as “fascinating” and “exquisite” — Despommier has returned to his New Orleans roots with the soulful album South, to be released digitally and on CD by Sunnyside Records on March 7, 2025, with a vinyl edition to follow. 

For the bulk of the sessions for South, held at Marigny Studios in New Orleans, Despommier drafted in “heavy hitters” that aficionados of the town’s music culture know and love as the real deal: keyboardist David Torkanowsky, bassist James Singleton and always-in-the-pocket drummer Johnny Vidacovich; as a foursome, they recorded a jubilant take on Professor Longhair’s iconic “Goin’ to the Mardi Gras” and an enchanting version of super-producer Allen Toussaint’s FM-smash “Southern Nights,” as well as the Despommier-penned “Jelly Roll’s Living Room,” an homage to jazz godfather Jelly Roll Morton that showcases some blues-rich piano by Torkanowsky. A very special guest at the drum kit in New Orleans was the saxophonist’s father Phil, who came out of retirement to supply the ideal gospel rhythm for “Just a Closer Walk with Thee,” a New Orleans jazz-funeral standard. Despommier co-produced South alongside longtime collaborator Jason Yeager, who also played piano during additional sessions at The Bunker Studio in Brooklyn; they were joined there by their regular quartet compatriots on the New York scene, bassist Aaron Holthus and drummer Rodrigo Recabarren, for such numbers as clarinet/soprano-sax kingpin Sidney Bechet’s “Si Tu Vois Ma Mère” (If You See My Mother) and Despommier’s deeply felt fantasia on “Goodbye Pork Pie Hat,” Charles Mingus’s tribute to sax great Lester Young (who grew up across the Mississippi River from New Orleans, in Algiers).

“The music of New Orleans has a distinct sound and sensibility, like an accent,” Despommier explains. “You can hear it in the way Jelly Roll Morton bends those blue notes when he sang ‘I Thought I Heard Buddy Bolden Say.’ That sound intoxicated me as a kid — and it still does, no matter the different musical paths I’ve taken over the years, with classical music and ethnomusicology. I grew up hearing the funky ‘street beats’ in New Orleans, and they’re still very much the rhythm of the city. It’s easy to love because it’s a festive, celebratory sound, a music that pulls people in and brings them together. On Mardi Gras day, everyone’s moving and grooving — it’s not the Macy’s Day Parade, after all!”

About working with Vidacovich, Singleton and Torkanowsky, Despommier adds: “I’m truly honored that these representatives of New Orleans culture were so open and generous in the way they infused my album with their rare brand of spice, not only breathing energy into the arrangements but helping to pull out my own New Orleans accent. The music of New Orleans comes out of an oral tradition, one where feel is the essential thing, and these guys have that authentic feel deep in their bones. It was infectious playing with them. And just hearing their banter in the studio — that was music in itself.”

Another track recorded by the New Orleans crew for South was Edgar Winter’s ’70s Southern-rock gospel ballad “Dying to Live” — a favorite number for the band South when Despommier’s father was in the group. (Winter was regional kin for them, hailing from Beaumont, Texas, just over the border from Louisiana.) As for Phil Despommier’s presence behind the kit for “Just a Closer Walk with Thee,” it made for a double reunion: with him and the New Orleans cats he knew from years gone by, but also with Randal, who hadn’t played music with his dad for decades. “South is a homecoming album for me, musically and personally,” the saxophonist says. “Johnny and the guys had to help me coax my dad into playing drums again, and it took a couple of minutes for him to shake the rust off — but then he laid down the gospel groove for ‘Just a Closer Walk with Thee’ like second nature, in one take and complete with the snare pop of the street beat. That will always be one of my all-time favorite moments in a recording studio.”

Back in Brooklyn, Despommier and his fellow New Yorkers taped not only the Bechet and Mingus tunes but also two more of the leader’s compositions: the languid, Billy Strayhorn-inspired post-Covid ballad “Blues Rheumatica” and the lovely “ ’Round 3AM (A Blues Nocturne).” Beyond the latter’s sly wee-hours Monk allusion in the title, Despommier says: “It’s my blending of the blues and the nocturne. The blues evolved in the Deep South after the Civil War, from the voices and guitars of formerly enslaved people. The nocturne was a mid-19th-century genre of pensive piano music, popularized by Irish composer John Field, the first to use the term, and Frédéric Chopin, a Parisian from Poland. Although a blend of two disparate traditions, both are driven by a solo performer, have a lyrical, improvisational quality, and are imbued with the pathos of a minor key. The key of my piece is F minor — a nod to the first Chopin piece I learned on the piano, the Nocturne in F minor, Op. 55, No. 1.”

Along with his evocative, melody-minded attributes as composer, Despommier has a pure-toned allure as a saxophonist, one that’s evident whether he’s tracing serpentine lines through “Si Tu Vois Ma Mère” or singing mournfully in his extended coda to “Goodbye Pork Pie Hat.” But he can also wail, as he does in the galvanizing opener “Goin’ to the Mardi Gras.” He is very much the sinuous, animating voice of South. Characteristically, though, he’s quick to keep highlighting others, pointing to the contributions of his musical “kindred spirit” and studio enabler Yeager (who also partnered with Despommier for the 2018 duo album All at Onceness, along with being integral to Dio C’è and A Midsummer Odyssey). The saxophonist also credits the French Quarter photography and graphic design of Evie Wang for creating an album package that “really reflects the vibe of the music inside.”

Reflecting on the appeal of Crescent City sounds for music lovers the world over, Despommier concludes: “Whether it’s funk or gospel or traditional jazz or vintage R&B, New Orleans musical culture is the unique result of many types of music — Afro-Caribbean and European, the deep blues and Chopin-esque parlour music — coming together gumbo- or jambalaya-style over a couple of centuries or more. There’s a lot of things to like about New Orleans music, but it really does represent a very American cultural ideal of the melting pot, something that’s as precious now as it has ever been.”

Marina Albero Embarks on a New Musical Journey with A Nomad of Sound

Marina Albero resumes her journey across the world on here new album: A Nomad of Sound. Barcelona-born jazz pianist charts an exciting course abroad with a release inspired by the freedom to explore A Nomad of Sound, written and recorded during a self-designed musical residency in New Orleans in early 2024, is the overture to an ambitious new chapter in jazz pianist Marina Albero’s lifelong musical travelogue.

The album will be self-released on November 3rd at a performance by Albero in the closing days of Seattle’s Earshot Jazz Festival. It will initially be available on CD and digital music platforms, with a vinyl pressing soon to follow. Albero’s previous album A Life Soundtrack (2019, also self-released) spent five weeks on the national jazz charts, where it peaked at #23.

A Nomad of Sound was engineered, mixed and mastered by top producer Justin Armstrong. The album’s six tracks feature several diverse lineups of predominantly NOLA-based musicians, including bassist Amina Scott, drummer Pedro Segundo, and Cuban multi-instrumentalist Yusa. Albero’s daughter Serena contributes vocals in English, Spanish and Catalan.

Stylistically, A Nomad of Sound wanders as freely as its creator, delivering contemplative pieces for jazz quintet, a hard-driving Latin number, and a New Orleans style funeral march on which Albero’s fiery keytar excursions conduct a full brass band. Recording sessions took place at New Orleans’ Marigny Studios and Ellis Marsalis Center, where Albero had the honor of playing on the late master’s piano.

Raised in her native Spain among a traveling musical family, Albero relocated to Seattle with her two children in 2014. Over the next ten years, she built a devoted local community through her joyous performances and worked as a piano instructor at Cornish College of the Arts. Her industrious musical output has repeatedly won recognition from Seattle improvised music institution Earshot Jazz, including two Golden Ear awards for Musician of the Year (2019 and 2022), one for Acoustic Ensemble of the Year (2021, for the Marina Albero Trio), and one for Album of the Year (2019, for A Life Soundtrack)

After a dynamic decade, Albero has embraced the urge to set sail on her next adventure. The result is A Nomad of Sound: a celebration of personal transformation and newfound independence. The Crescent City is only her first stop – the album’s title evokes her drive to travel the world sparking musical connections. As much as Albero has already accomplished as a pianist, composer, mother and teacher, A Nomad of Sound announces to the world that her next journey is just beginning.

Florian Weber's Imaginary Cycle: A Groundbreaking Fusion of Composition and Improvisation

Florian Weber’s Imaginary Cycle is a unique and expansive musical work, blending diverse musical languages into a seamless whole. Conceived for an innovative instrumentation that includes a brass ensemble, piano, and additional musicians like flautist Anna-Lena Schnabel and Michel Godard on the serpent, the composition transcends traditional boundaries. It explores the space between composition and improvisation, with symphonic elements intertwining with intricate counterpoint and contemporary textures. The cycle unfolds in four parts: "Opening," "Word," "Sacrifice," and "Blessing," each one reflecting Weber’s deep connection to the liturgical mass as a conceptual model.

Weber, alongside producer Manfred Eicher, developed the project through a process of shared imagery, with a particular focus on the piano. Over time, the concept expanded to incorporate other instruments, including a euphonium quartet and trombone ensemble, guided by Weber’s trusted collaborators. Notable among these are Michel Godard, who plays both serpent and tuba, and Anna-Lena Schnabel, whose improvisational skill bridges the gap between the piano and the brass section. The musicians engage in dynamic, spontaneous interaction throughout the work, reflecting Weber’s approach to comprovisation (a term he coined to describe the synergy between composed and improvised elements) and polyphonic intuition.

Recorded at the Sendesaal Bremen in July 2022, the album was produced by Manfred Eicher, bringing Weber’s vision to life in a work that merges the ancient and the contemporary, the composed and the improvised, into a truly unique musical experience.

Improvisatory Observatory: Live and Raw at the BAKED – The John Daversa Story

John Daversa, a visionary musician and educator, continues to redefine the boundaries of jazz with his latest release, Improvisatory Observatory: Live and Raw at the BAKED. This remarkable live album, recorded at the legendary Baked Potato, is a celebration of Daversa’s dynamic artistry and his enduring impact on the world of music.

A distinguished trumpet player, composer, arranger, producer, bandleader, and educator, Daversa has earned multiple Grammy Awards and numerous accolades throughout his career. His journey began in Los Angeles, where he grew up in a musical household and discovered a passion for music early on. From his formative years at the Hamilton Academy of Music to his rise as a celebrated artist, Daversa has consistently pushed the boundaries of jazz and beyond.

The Path to Innovation

Daversa’s journey has been marked by milestones that showcase his diverse talents. A graduate of UCLA, the California Institute of the Arts, and the University of Southern California, he honed his craft through rigorous study and performance. Over the years, he has collaborated with iconic artists such as Herbie Hancock, Fiona Apple, and Regina Spektor, contributing to both the jazz world and mainstream music.

His work with ensembles like the John Daversa Progressive Big Band and the Frost School of Music's Concert Jazz Band highlights his commitment to fostering creativity and excellence. Under his leadership, these groups have achieved critical acclaim, including multiple DownBeat awards and performances at prestigious venues worldwide.

A Legacy of Groundbreaking Albums

Improvisatory Observatory: Live and Raw at the BAKED follows a series of groundbreaking projects that have cemented Daversa’s reputation as a visionary. His Grammy-winning album American Dreamers: Voices of Hope, Music of Freedom celebrated young DACA artists, blending social consciousness with extraordinary musicality. Albums like Kaleidoscope Eyes: Music of the Beatles and Cuarentena: With Family at Home showcase his ability to blend genres, themes, and cultures seamlessly.

This latest album captures the raw energy and spontaneity of a live performance at the historic Baked Potato. Known for its intimate setting and rich jazz history, the venue provides the perfect backdrop for Daversa’s explorative and unfiltered approach. The album delivers electrifying solos, intricate arrangements, and an emotional connection that only live jazz can achieve.

Educator and Innovator

As Professor and Chair of Studio Music and Jazz at the Frost School of Music, Daversa is deeply committed to mentoring the next generation of musicians. His inclusive and collaborative teaching philosophy encourages students to explore their creativity and push boundaries. Under his guidance, the Frost Concert Jazz Band has achieved national recognition, and his dedication to education has earned him prestigious honors, including the Frost Award for Excellence in Teaching and Scholarship.

Looking Ahead

With Improvisatory Observatory: Live and Raw at the BAKED, Daversa reaffirms his place as a trailblazer in the jazz world. The album is more than a collection of live tracks; it’s a snapshot of his artistic essence—a testament to his ability to innovate and inspire.

As a musician, educator, and cultural influencer, John Daversa continues to shape the future of jazz and enrich the global music community. His journey is a beacon of creativity, passion, and excellence, promising even greater achievements in the years to come.

"It Was Always Time": New Album by Berke Can Özcan & Jonah Parzen-Johnson

Turkish drummer Berke Can Özcan and Brooklyn saxophonist Jonah Parzen-Johnson have joined forces to create "It Was Always Time," a new album set to release on 1 November 2024 under We Jazz Records. This collaboration is both urgent and timeless, showcasing a musical partnership that is solid, innocent, and joyful—a true celebration of curiosity, togetherness, and the transformative power of creative music.

Fans of Sam Gendel, Ben LaMar Gay, Alabaster DePlume, Joe Lovano & Paul Motian, and Natural Information Society will find this album particularly appealing. Early praise for "It Was Always Time" has already come from notable sources such as BBC 6 Music New Music Fix, Uncut Magazine, DownBeat Magazine, The Bandcamp Weekly, The Lot Radio, and BKLYN Sounds.

"It Was Always Time," the debut duo release from Berke Can Özcan & Jonah Parzen-Johnson, is a refreshing and full-throated expression of joy and curiosity. In a year marked by global challenges, this album offers an innocent reminder that curiosity fuels change and joy builds something transformative together.

In April 2022, Jonah Parzen-Johnson flew from New York to Istanbul for a one-off duo concert with Berke Can Özcan. Meeting for the first time just 30 minutes before soundcheck, their performance felt like the culmination of years of collaboration. Their musical partnership is both urgent and timeless, instantly solid, innocent, and joyful.

New Compilation "Chakalaka Jazz" by Heavenly Sweetness

Heavenly Sweetness is excited to unveil "Chakalaka Jazz," a brand-new compilation of South African jazz gems. This eclectic collection has been expertly curated by vinyl archeologist Fred “Voom Voom” Spider, who has delved deep into the rich and diverse world of South African jazz to bring forth a selection that truly captures the spirit and history of the genre.

"Chakalaka Jazz" pays homage to the golden years of the '70s, featuring a treasure trove of rare musical tracks from local artists, exiles, and expats. The compilation channels the unique eclecticism and hybridization that defines South African jazz, with influences from musical currents like marabi, goema, and mbaqanga.

Spider named the compilation after "chakalaka," a popular South African relish made from tomatoes, onions, and chili, symbolizing the vibrant and essential ingredient that unites and spices up this diverse selection of tracks spanning the years 1969 through 2003. Each track offers a reverent nod to the past while contributing to the evolving narrative of South African jazz.

While South African music traditions are often defined by established and protected characteristics, the country's popular music scene shows a remarkable willingness to adapt and incorporate new influences. "Chakalaka Jazz" captures this spirit, presenting a compilation that is both diverse and unified by that distinctive South African flavor.

Unionen: Scandinavian Jazz Supergroup Releases Debut Album Blending Misty Introspection and Rock-Out Hard Jazz

Unionen takes its name from the United Kingdoms of Sweden and Norway, which shared a common monarch between 1814 and 1905. This ensemble brings together Ståle Størlokken (Supersilent), Per "Texas" Johansson, Petter Eldh (Koma Saxo), and Gard Nilssen (Supersonic Orchestra).

The album features eight original pieces that defy clear classification, ranging from misty introspection to full-on rock-out hard jazz. Each composition, with writing credits from all four members in true "unionen" fashion, showcases their genuine desire for musical storytelling and their ability to create captivating narratives.

Unionen has already received early praise and support from Jazzwise Magazine, DownBeat Magazine, Jazztrail, Deb Grant, Tom Ravenscroft, and Guy Garvey on BBC 6 Music, among many others.

Unionen is a new quartet of top-tier Norwegian and Swedish jazz musicians. The group takes its name from the historical United Kingdoms of Sweden and Norway and brings together Ståle Størlokken (Supersilent), Per "Texas" Johansson, Petter Eldh (Koma Saxo), and Gard Nilssen (Supersonic Orchestra).

It might not be trendy to call them a "supergroup," but Unionen certainly fits the bill. Each member contributes uniquely to a sound that blends misty introspection with full-on rock-out hard jazz. Tracks like 'Ståhlbad' draw listeners in with subtle intensity, while the high-energy '6983' offers a "live" feel. Unionen's music is not about easy licks to impress but deep, original compositions set to stand the test of time. Early live shows have been triumphant, with UK's Jazzwise calling them a "highlight scoop" at the Cologne Jazzweek.

The album's eight original tracks resist clear classification. Each piece, credited to all four members in true "unionen" style, demonstrates a collective storytelling prowess and the ability to construct narratives that keep listeners engaged. Instruments include grand piano, Fender Rhodes, double bass, and drums, along with jazz rarities like cor anglais, contrabass clarinet, and MPC, creating a unified sound that transcends individual elements.

Unionen's music evokes emotions akin to autumn evenings—misty, reflective, and unified. This quartet doesn't need a monarch; they are true democracy in jazz form.

Jazz vocalist Sherine Wong celebrates the Great American Songbook on her album 3 & More

Renowned jazz vocalist Sherine Wong brings her love for the Great American Songbook to life with her debut U.S. album, 3 & More. Born out of Hong Kong's vibrant jazz scene, Wong’s latest project offers a fresh and sophisticated take on classic jazz standards, marking a new chapter in her musical journey and her effort to reach American audiences.

For Wong, the Great American Songbook is more than just a collection of timeless classics—it’s an opportunity to showcase the universal language of jazz. On 3 & More, her third album, Wong reinterprets ten iconic standards, accompanied by an acoustic jazz trio at the core of the collection. Some tracks, however, feature a progressively expanding ensemble, with the instrumentation swelling to a full ten-piece band, creating a lush, dynamic sound that elevates the rich harmonies of these beloved songs.

Wong kicked off the album’s launch with an intimate concert at Hong Kong’s Fringe Club, a venue known for its commitment to cultural exchange and supporting emergent artists. Mirroring the concept of her album, Wong began her performance with the trio format and gradually added new musicians, culminating in a full ten-piece ensemble. Her performance featured iconic songs by legendary composers such as George & Ira Gershwin, Richard Rodgers, and Bill Evans, alongside reimagined renditions of classics made famous by jazz legends like Ella Fitzgerald, Billie Holiday, Chet Baker, Miles Davis, and Tony Bennett.

The Fringe Club, which promotes Hong Kong artists abroad and conserves the city’s cultural heritage, was a fitting venue for Wong's performance, symbolizing her mission to introduce her music to a global audience—especially in the U.S., where she aims to connect with jazz lovers.

After releasing two albums primarily for the Hong Kong market, Wong’s 3 & More marks her expansion into the international music scene. She assembled a team of world-class musicians, arrangers, and engineers to help realize her vision. The album features an array of jazz luminaries, including Thelonious Monk International Jazz Guitar Competition winner Jesse van Ruller, Japanese vocalist and flugelhornist TOKU, trombonist Dree Peremans, and trumpeter Stéphane Belmondo. The album was produced by the renowned Paul Pouwer at Power Sound Studios and mastered by three-time GRAMMY® winner Bernie Grundman.

The resulting sound is an exquisite balance of warmth, depth, and airiness, with each track skillfully arranged to highlight Wong’s urbane yet emotive vocal style. Her poised delivery, dexterous control, and genuine emotion are brought to the forefront of every song, making 3 & More a testament to her artistry and growth as a jazz vocalist.

Leading up to the album’s release, three singles—“On Green Dolphin Street,” “Tenderly,” and “Moonglow”—gave fans a taste of what was to come. In celebration, Wong performed at the Hong Kong West Kowloon Jazz Festival, sharing the stage with GRAMMY-winning pianist Herbie Hancock. She also participated in an extensive media tour across Hong Kong, appearing on television and radio programs and garnering attention from both print and online publications.

With 3 & More now available, Wong has set her sights on the U.S. market, hoping to bring her unique sound to jazz clubs, theaters, and concert halls across America.

Wong’s musical journey began in Hong Kong, where she studied jazz singing with top musicians from around the world, including in Japan, Europe, and New York City. Her debut album, Sherine Wong (2018), was followed by the duo-focused Two For The Road (2021). With 3 & More, she takes her artistry to new heights, embracing trios and beyond, and showcasing her evolution as both a vocalist and an interpreter of jazz standards.

Originally from Kuala Lumpur, Malaysia, Wong has a diverse background as a former Miss Malaysia Universe winner and a successful model and actress. She has been featured in global advertising campaigns for major brands like HSBC, Vidal Sassoon, Levi’s, and Shiseido. Now, with 3 & More, Sherine Wong is poised to captivate audiences worldwide with her sophisticated take on jazz and the Great American Songbook.

Lakecia Benjamin: Pushing Boundaries with Phoenix Reimagined (Live) and Phoenix

Lakecia Benjamin is a 5x GRAMMY-nominated saxophonist, composer, arranger, and educator whose music transcends the boundaries of jazz, R&B, funk, and soul. Known for her rich, resonant tone — often compared to that of the legendary Johnny Hodges — Benjamin has become one of the most distinctive voices in contemporary jazz. With her work, she has fused genres and broken down walls, continually evolving as both a performer and bandleader. Her 2023 release, Phoenix, a genre-blending masterpiece produced by Terri Lyne Carrington, earned her three GRAMMY nominations and widespread critical acclaim. Building on the success of Phoenix, Lakecia Benjamin also released Phoenix Reimagined (Live), further showcasing her creativity and artistry.

A Journey of Musical Mastery

Benjamin’s journey to becoming one of jazz’s most exciting voices began in New York City, where she was raised in the culturally rich Washington Heights neighborhood. Her early exposure to music, particularly through playing the recorder in grade school, set the stage for a future in music. She later switched to saxophone, and by high school, she was already a formidable player. After graduating from the prestigious Fiorello LaGuardia High School for the Performing Arts, she went on to study at New York’s New School, where she was mentored by jazz veterans like Billy Harper, Reggie Workman, Gary Bartz, and Buster Williams.

Benjamin quickly made her mark on the New York City jazz scene, playing in groups led by Clark Terry and joining ensemble projects with artists such as Rashied Ali, Vanessa Rubin, and James Blood Ulmer. Over time, she developed a unique voice, blending jazz improvisation with soul, funk, and R&B influences — a sound that would become her signature.

Breakthrough Albums: Retox and Rise Up

Lakecia Benjamin’s debut album, Retox (2012), marked her arrival as a bandleader. The album blended jazz with soul, funk, and hip-hop influences, featuring a mixture of originals and covers. Notably, she expanded her role as a bandleader, arranger, and composer, rather than simply focusing on her saxophone playing. Her versatility allowed her to explore a range of styles, and the album set the tone for her future projects.

In 2018, Benjamin released Rise Up, an album inspired by the music of Prince and contemporary R&B, paired with her deep jazz roots. The album was a jazz-funk tour de force, incorporating bold social commentary and contemporary rhythms, and it featured contributions from a variety of talented musicians, including vocalists and rappers. Rise Up continued to build Benjamin’s reputation as one of jazz’s most innovative voices, further demonstrating her ability to fuse genres while pushing the boundaries of modern jazz.

Pursuance: The Coltranes — A Groundbreaking Tribute

2020 saw the release of Pursuance: The Coltranes, a revolutionary project that honored the music of John and Alice Coltrane. Benjamin’s reinterpretation of their compositions was far from traditional. With a cast that included saxophonists like Steve Wilson and Greg Osby, bassist Reggie Workman, and vocalists Dee Dee Bridgewater and Jazzmeia Horn, Pursuance was hailed for its innovative approach. Benjamin’s personal connection to the Coltranes’ music and her bold arrangements made this tribute an unforgettable contribution to the jazz canon. The album was widely praised for its creative reimaginings and for how it re-contextualized Coltrane's legacy within the 21st-century jazz landscape.

Phoenix — A Star-Studded Masterpiece

In 2023, Benjamin released Phoenix, her most ambitious and successful project to date. Produced by the legendary drummer and producer Terri Lyne Carrington, Phoenix is a genre-defying fusion of jazz, soul, funk, R&B, and hip-hop. Featuring a remarkable cast of guests including Dianne Reeves, Wayne Shorter, Georgia Ann Muldrow, Sonia Sanchez, Patrice Rushen, and Wallace Roney, the album explores themes of transformation, empowerment, and resilience. The 12 tracks, mostly original compositions by Benjamin, reflect both personal and social themes, capturing the current moment while paying homage to her deep roots in jazz.

Phoenix received universal acclaim and earned Benjamin three GRAMMY nominations, marking a significant milestone in her career. The album’s unique blend of genres, intricate arrangements, and powerful collaborations made it one of the standout jazz albums of 2023. Benjamin’s saxophone playing, with its warm, full-bodied tone, was at the forefront, but the album’s expansive sound — incorporating lush vocal harmonies, electronic textures, and intricate rhythms — showcased her evolution as an artist who seamlessly blends the old and the new.

Phoenix Reimagined (Live) — A Dynamic Live Experience

Building on the success of Phoenix, Benjamin released Phoenix Reimagined (Live), a live album that captures the energy and spirit of her Phoenix compositions in a live setting. The album was recorded during live performances and reimagines the original tracks, providing listeners with a raw, unfiltered version of the material.

With Phoenix Reimagined (Live), Benjamin offers a fresh perspective on the album’s core themes and arrangements. The live performances are electric, featuring extended improvisations, dynamic group interplay, and unique versions of the songs that weren’t heard on the studio album. The energy of the live setting allows Benjamin and her bandmates to push the boundaries even further, creating a visceral connection between the audience and the musicians. The album features many of the same star-studded guests as the original Phoenix, but the live setting allows for a more spontaneous, open-ended expression of the music.

This live album is a celebration of the freedom of performance — an opportunity for Benjamin to experiment and engage with the audience in real time. It's a testament to her skill as a bandleader and her ability to curate a compelling live experience that blurs the lines between genres and elevates the emotional impact of her work. Phoenix Reimagined (Live) proves that the music from Phoenix was not only innovative in its studio form but can be just as groundbreaking and exciting in the live arena.

Educator and Advocate

In addition to her performing career, Lakecia Benjamin is also a dedicated educator, teaching at institutions such as Jazz at Lincoln Center and Jazz House Kids. She works to pass on her knowledge to the next generation of musicians, particularly young women and people of color, empowering them to explore the rich world of jazz and beyond.

The Legacy and Impact Of Lakecia Benjamin's Musical Evolution

Lakecia Benjamin’s contributions to contemporary jazz and beyond have made her one of the most compelling voices in modern music. From her early days as a sidewoman and collaborator to her development as a bandleader with groundbreaking albums like Retox, Rise Up, Pursuance: The Coltranes, and the genre-defying Phoenix, Benjamin’s work has continuously redefined the boundaries of jazz.

Her latest projects — Phoenix and Phoenix Reimagined (Live) — showcase her multifaceted artistry, blending jazz, funk, soul, R&B, and hip-hop in fresh and exciting ways. With these albums, Benjamin not only expands her musical vocabulary but also cements her place as one of the leading innovators in the jazz world today. Whether in the studio or on stage, Lakecia Benjamin’s music resonates with emotional depth, technical mastery, and a visionary spirit that is reshaping the future of jazz.

Erik Truffaz's Clap! – A Cinematic Soundtrack Journey Through Jazz and Film

After the success of Rollin’, Erik Truffaz, the innovative French trumpet player, returns with Clap!, the second album in his Cinema Stories series. Following his ability to transcend the original film scores in Rollin’, Truffaz once again manages to substitute his own sonic landscapes for the images conjured up by the original soundtracks. In Clap!, his mastery of blending jazz improvisation with iconic film music takes listeners on a thrilling, emotional ride that simultaneously evokes and reinvents the worlds of cinema.

As director Bruno Nuyten so eloquently describes: “Beyond the memories of the films that are mentioned, Erik Truffaz’s interpretation opens the imagination to other films that have never been made.” This insight reflects the essence of Clap!—Truffaz is not merely covering film music; he is creating a new narrative, one that reimagines the cinematic stories through his trumpet’s haunting, lyrical voice.

A Reinterpretation of Cinematic Memories

In Clap!, Truffaz continues his exploration of soundtracks from classic films, but this time, he takes a more varied approach, pulling from a wide range of genres and moods. Each track on the album reinterprets an iconic piece of film music, transforming it into something both familiar and completely new.

The opening track, “Les Choses de la Vie,” originally composed by Philippe Sarde for the film Les Choses de la Vie, sets the stage with Truffaz’s signature sound—a rich, melodic trumpet line that evokes the intimacy of the film's contemplative nature. His rendition is soft and meditative, creating a sense of nostalgia and reflection while maintaining a distinct jazz sensibility.

Next up is “In Heaven,” a tribute to Peter Ivers’ haunting theme for David Lynch’s surreal masterpiece Eraserhead. Truffaz's interpretation builds tension and mystery, turning the original eerie, unsettling melody into an expansive, atmospheric piece that invites listeners to step into the strange world of Lynch’s iconic film.

Truffaz continues his reinterpretation of iconic film music with the groove-laden “L’Alpagueur,” originally composed by Michel Colombier for the French thriller L’Alpagueur. The track is playful, its rhythms bubbling with energy, and Truffaz’s trumpet dances effortlessly over the infectious beats. This track captures the spirit of the film’s tension but adds a layer of coolness and sophistication.

A Journey Through Jazz and Filmic Imagination

One of the standout pieces on the album is “Thème de Camille” from Jean-Luc Godard’s Le Mépris (Composed by Georges Delerue). Truffaz’s rendition of this beautiful, melancholic theme is filled with longing and introspection. The trumpet’s rich, rounded tones echo the emotional depth of the film, adding a new layer of intimacy and reflection.

“Requiem pour un Con,” originally composed by Michel Colombier and Serge Gainsbourg for the film of the same name, is another striking piece. Truffaz takes the original’s funky, playful groove and transforms it into a smoother, more contemplative jazz exploration, shifting the mood from mischievous to reflective.

The album also includes “Lonesome Cowboy,” a classic tune from Amour Frénétique (composed by Roy C. Bennett and Sid Tepper) that Truffaz plays with a deep, mournful quality. His interpretation, while paying homage to the original, adds a layer of sadness and solitude, turning it into an introspective jazz ballad.

Another emotional highlight is “Thème de Gerbier,” originally composed by Eric Demarsan for L’Armée des Ombres, a film known for its tense and dramatic narrative. Truffaz’s trumpet here has an almost cinematic quality, moving seamlessly between dark and light, as if telling a story of resistance and perseverance.

Finally, Clap! concludes with “L’Oiseau” from Belle et Sébastien, composed by Eric Demarsan and Daniel White. Truffaz infuses this sweet, sentimental theme with a gentle, warm energy, transforming it into a rich, jazz-inflected exploration of innocence and beauty.

Tracklist:

1. Les Choses de la Vie (Les Choses de la Vie, Philippe Sarde)
2. In Heaven (Eraserhead, Peter Ivers, David Lynch)
3. L’Alpagueur (L’Alpagueur, Michel Colombier)
4. Thème de Camille (Le Mépris, Georges Delerue)
5. Requiem pour un Con (Requiem pour un Con, Michel Colombier, Serge Gainsbourg)
6. Lonesome Cowboy (Amour Frénétique, Roy C. Bennett, Sid Tepper)
7. Thème de Gerbier (L’Armée des Ombres, Eric Demarsan)
8. L’Oiseau (Belle et Sébastien, Eric Demarsan, Daniel White)

A Symphony of Reimagination

What makes Clap! such a captivating album is Truffaz's ability to conjure up entirely new worlds from existing film scores. Each track feels like a film in itself, a self-contained narrative that takes the listener on a journey through emotion, memory, and imagination. Truffaz’s trumpet, at once soulful and evocative, replaces the visuals of cinema with sound, allowing the music to conjure new images, new stories, and new possibilities.

Clap! is more than just an album of jazz interpretations—it is an invitation to imagine the unmade films, the untold stories, and the emotional landscapes that live in the space between music and memory. For Truffaz, the music is the film, and in this way, Clap! feels like a visual experience, despite the absence of a single frame.

Whether you’re a cinephile, a jazz enthusiast, or simply someone who enjoys music that transcends boundaries, Clap! is an album that will open up new worlds to explore and new emotions to feel. It's an inspiring, immersive journey that highlights Erik Truffaz’s unique ability to bridge the worlds of jazz and cinema.

Out now, Clap!—the second installment in Truffaz's Cinema Stories series.

Joe Chambers Returns with Dance Kobina – A Fusion of Jazz, Latin, and Global Rhythms

Drummer, percussionist, vibraphonist, composer, and Blue Note legend Joe Chambers returns with his highly anticipated third album as a leader for the iconic label, Dance Kobina. Following the success of his 2021 release Samba de Maracatu, Chambers continues to explore the dynamic fusion of jazz with Latin, Brazilian, Argentinian, and African music. This ambitious new project further cements Chambers as one of the most versatile and innovative musicians of his generation.

Dance Kobina sees the legendary percussionist expanding his musical boundaries, co-producing the album alongside pianist Andrés Vial. The album was recorded in both New York and Montreal, capturing the vibrancy and complexity of Chambers’ global influences. With a mix of original compositions and interpretations of works by some of his most revered collaborators, Dance Kobina is a rich, textured journey through rhythm and melody.

A Celebration of Global Rhythms

The title track, “Dance Kobina,” sets the tone for the album with a pulsating groove that blends the rhythmic intensity of Latin jazz with African and Brazilian influences. Chambers, known for his masterful command of percussion, creates a dynamic soundscape that invites listeners to move and engage with the music on a deeply physical level. Throughout the album, his percussion work shines—whether it's the driving beats of “City of Saints” or the evocative texture of the “Gazelle Suite,” where intricate rhythms evoke the majesty and fluidity of the animal world.

In addition to his own originals, Chambers includes several covers that breathe new life into classic compositions. “Ruth,” a standout track, is a tender, soulful piece that features Chambers’ ability to seamlessly blend complex rhythm with melody. His reinterpretation of Joe Henderson’s “Power to the People” is equally captivating, imbuing the song with a fresh sense of urgency and emotion.

Collaborations and Unique Interpretations

One of the defining features of Dance Kobina is the collaborative spirit that permeates the album. Pianist Andrés Vial, who co-produced the album, brings his distinctive voice to the project, contributing original compositions like “Intermezzo.” This piece, with its rhythmic drive and harmonic inventiveness, showcases Vial’s ability to complement Chambers’ percussive energy with his own expressive piano work.

The album also includes a daring version of Kurt Weill’s “This Is New,” where the chamber jazz elements blend seamlessly with Latin and African rhythms, creating a compelling reimagining of Weill's classic. “Caravanserai,” another standout track, is a joyful, expansive piece that showcases Chambers' dexterity on both drums and vibraphone, creating a dense, atmospheric texture that transports the listener to another world.

Argentine guitarist Karl Ratzer’s “Moon Dance” is reinterpreted with a shimmering, hypnotic groove, bringing yet another global influence to the album's already eclectic blend of sounds. Whether on vibraphone, percussion, or drums, Chambers brings his distinct touch to every track, balancing the technical precision of jazz with the spontaneity of Latin and African rhythms.

Tracklist:

1. This Is New
2. Dance Kobina
3. Ruth
4. Caravanserai
5. City of Saints
6. Gazelle Suite
7. Intermezzo
8. Power to the People
9. Moon Dance

A Global Masterpiece

With Dance Kobina, Joe Chambers once again proves his exceptional ability to bring together the diverse worlds of jazz, Latin, Brazilian, Argentinian, and African music. The album is a true testament to his decades of experience and deep understanding of the interconnections between musical cultures. Chambers’ compositions are both innovative and timeless, while his arrangements pay tribute to the traditions that have shaped his musical journey.

As one of the most influential figures in the modern jazz scene, Chambers continues to push the boundaries of what jazz can be. His work on Dance Kobina is both a celebration of his roots and a bold exploration of the future, blending rhythm and melody in new and unexpected ways.

Dance Kobina is a vibrant, multi-layered album that invites listeners to experience the power of music as a universal language, uniting people and cultures through the beauty of rhythm and harmony. It’s a must-listen for jazz lovers and anyone who appreciates the rich textures of global music.

Coleman Mellett’s Long-Awaited Solo Album, Sing You a Brand New Song, Reveals His Musical Legacy 16 Years After His Tragic Passing

Sixteen years after the world lost jazz guitarist Coleman Mellett, his long-awaited solo album Sing You a Brand New Song is finally being released, capturing a musical spirit rich with warmth, optimism, and undeniable talent. Set to drop on the anniversary of his tragic passing in 2009, the album offers an intimate glimpse into Mellett’s world of songwriting, influenced by the '70s singer-songwriters he revered, including James Taylor, Michael Franks, and Paul Simon.

While Mellett was known as a key member of Chuck Mangione’s band, few were aware of his deep connection to the singer-songwriter tradition. Inspired by his wife, renowned jazz vocalist Jeanie Bryson, and their life together, Mellett recorded dozens of songs in his home studio, infusing each track with themes of love, joy, and reflection. Though rooted in jazz, his music draws from folk and pop, creating a sound that feels both timeless and instantly familiar.

The journey to completing Sing You a Brand New Song was nothing short of extraordinary. On February 12, 2009, Mellett tragically lost his life in a plane crash while en route to a performance with Mangione and the Buffalo Philharmonic Orchestra. In the wake of this unimaginable loss, Bryson and Mellett’s close friend, jazz legend Barry Miles, took it upon themselves to finish the album as a tribute to his vision and legacy.

In the months that followed, Miles, Bryson, and engineer Ron DiCesare painstakingly worked to complete Mellett’s unfinished demos, listening to hundreds of takes and carefully selecting the best ones. They called upon the musicians Mellett had admired to help bring his songs to life, becoming “musical detectives” as they honored every note and lyric he had left behind.

The album’s lead single, “Everymornin’,” was released on November 8, showcasing Mellett’s ability to blend '70s-inspired singer-songwriter styles with his jazz sensibilities. Sing You a Brand New Song features 11 original tracks, along with an instrumental cover of James Taylor’s “Fire and Rain.”

A true collaborative effort, the album boasts appearances from Chuck Mangione on flugelhorn, who remarked, “Coleman was one of my favorite people and musicians,” as well as Steve Gadd on drums, Larry Goldings on organ, and Will Lee on bass. One of the standout tracks, “Come on Home,” features James Taylor himself, who lends his voice and guitar to this heartfelt song of longing that Mellett wrote for Bryson while she was on tour. Another highlight is the tender duet “You Got Me Too,” a love song that captures the deep bond between Mellett and Bryson.

Reflecting on the process of completing the album, Barry Miles says, “We honored Coleman’s wishes. This is the album he would have released.” Bryson adds, “This music is Coley’s legacy—his gift to the world.”

With Sing You a Brand New Song, listeners are invited into the heart and soul of a musician taken far too soon, with every song telling a story of love, beauty, and life’s fragile magic. Each note serves as a reminder that music can outlive us, carrying our stories forward. Don’t miss this opportunity to experience the lasting legacy of Coleman Mellett through Sing You a Brand New Song.

Lee Mendelson Film Productions Announces the Release of Complete Vince Guaraldi Soundtrack for "Be My Valentine, Charlie Brown"

Lee Mendelson Film Productions (LMFP) is excited to unveil the full Vince Guaraldi soundtrack for Be My Valentine, Charlie Brown — marking the first-ever release of the complete score from the beloved 13th animated Peanuts® special. Originally airing on CBS-TV on January 28, 1975, this timeless special earned an Emmy® nomination for Outstanding Children’s Program. Today, it is available for streaming on Apple TV+.

The soundtrack features all 24 original cues that make up the heart of the special’s score, now available across 22 tracks. For the first time ever, fans will also enjoy 8 additional bonus tracks, some never-before-heard, offering a fresh experience of this cherished Peanuts classic. The 42-minute album represents the longest individual soundtrack produced by LMFP to date.

Vince Guaraldi's Signature Sound

Vince Guaraldi, renowned for his jazz-inspired compositions, returns with a stunning score that seamlessly blends mid-tempo originals, timeless favorites, and even a mambo. One of the defining features of the Be My Valentine, Charlie Brown soundtrack is the use of the ARP String Ensemble synthesizer, an innovative instrument that Guaraldi employed throughout the score to create a distinctive, string-laced sound that elevates the music’s emotional impact.

Album Highlights

Among the album’s standout tracks are:

• “Heartburn Waltz”: The centerpiece of the album, featuring eight dynamic variations that capture the essence of love and longing.
• “Jennie L.” and “There’s Been A Change”: Ballad-like tracks that evoke emotion and nostalgia, perfect for Charlie Brown’s journey through Valentine’s Day.
• “Pawpet Overture”: An upbeat, fun track that brings the Peanuts gang to life with a lively beat.
• “Woodstock’s Mambo”: A playful, rhythmic piece that captures the whimsical spirit of the beloved character.
• “Freddie’s Mood”: A classical-inspired piece, paying homage to Chopin, which accompanies Snoopy’s “pawpet” show in the special.

In addition to these highlights, the album features several bonus tracks, offering alternate versions of the familiar themes, including “Last Call for Love,” a rare extended jam recorded during the session that has never been heard before.

The First Time You Can Hear the Full Score

Until now, the magic of Vince Guaraldi’s full score has been hidden beneath dialogue and sound effects from the special. This release gives fans the chance to fully appreciate the melodies and emotional depth that Guaraldi wove into the music, unencumbered by the usual distractions. It’s a treat for both new listeners and long-time fans of the Peanuts franchise.

The Creative Team Behind the Soundtrack

The album features a talented group of musicians who helped bring Guaraldi’s compositions to life: Guaraldi himself on piano, electric piano, clavinet, ARP String Ensemble, electric harpsichord, and guitar; Seward McCain on bass; Vince Lateano on drums; and John Scott Trotter as the music supervisor. The soundtrack was produced by Sean Mendelson and Jason Mendelson, mixed at Bones and Knives by Terry Carleton, and expertly restored and re-mastered by Vinson Hudson.

Exclusive Vinyl Release

The album will be available on January 17, 2025, including a limited-edition variant on Heartburn Red vinyl. This exclusive 12” BioVinyl version will be released as a Record Store Day Indie Exclusive, available at participating stores, offering Peanuts and vinyl collectors a chance to own a truly special piece of music history.

Final Thoughts

For fans of Vince Guaraldi, the Peanuts franchise, and classic holiday specials, this complete Be My Valentine, Charlie Brown soundtrack release is a must-have. The album not only captures the spirit of the special but also allows listeners to experience the full depth and beauty of Guaraldi’s timeless score. Whether you're revisiting an old favorite or experiencing it for the first time, this release is sure to resonate for years to come.

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Nicole McCabe Announces New LP A Song to Sing – Out March 7, 2025 via Colorfield Records

Los Angeles-based saxophonist Nicole McCabe is set to release her highly anticipated new LP A Song to Sing on March 7, 2025, via Colorfield Records. Known for her bold and innovative approach to jazz, McCabe has already made waves with her past albums and collaborations, including Mosaic and Landscapes. Now, with A Song to Sing, she continues to push boundaries and expand the possibilities of the saxophone in the modern jazz landscape.

A Journey Into the Unexpected

Recorded at Pete Min's Lucy’s Meat Market Studio, A Song to Sing brings together McCabe's rich, experimental sensibility with a collection of powerful collaborators. The album is a masterclass in genre-defying music, blending elements of jazz, electronic, and improvisational forms. While some tracks lean into the traditional jazz textures McCabe is known for—such as the drum kit and sax workout “Inner Critic”—the album also embraces the adventurous spirit of Colorfield Records, a label that challenges musicians with unexpected curveballs in the studio. Players are encouraged to experiment, pick up new instruments, and explore new sonic territories, leading to rich, layered compositions that merge the acoustic and electronic worlds.

On tracks like Passages, the interplay between McCabe’s woodwinds and analog synths is hypnotic, at times blurring the lines between the two. The result is a sound that is simultaneously forward-thinking and deeply connected to the history of jazz, one that never slows down or stagnates. As Bandcamp Daily aptly put it, A Song to Sing reminds listeners that even in an era where jazz has evolved far from its origins, “the past still has plenty to say.”

Praise for McCabe’s Artistry

Nicole McCabe has earned recognition for her distinct voice and approach to the saxophone. All About Jazz describes her playing as “humble and respectful,” with “a true cognizance of the tradition from where her art comes from, and a feeling of surrender to where the music is directionally headed.” Her ability to balance tradition with innovation has made her one of the most exciting voices in the contemporary jazz scene.

About the Artist

McCabe is a saxophonist, composer, and educator hailing from Marin County, California, and currently based in Los Angeles. A rising star in the city’s vibrant jazz community, she has previously released several acclaimed albums, including Mosaic (Ghost Note Records), Landscapes (Fresh Sound), and Introducing Nicole McCabe (Minaret). Her latest project, What Is My Porpoise?, a collaboration with bassist Logan Kane, is currently available, showcasing her unique blend of electro-jazz and improvisation.

Her extensive experience as a sideman includes performances and recordings with jazz luminaries such as Ari Hoenig, Dan Weiss, David Binney, Sasha Berliner, and Amy Aileen Wood, among others. McCabe’s influence in the Los Angeles scene also extends to her work as a teacher and mentor, currently serving as a lecturer at Loyola Marymount University and a mentor in California State University, Northridge’s Jazz Studies program. Additionally, McCabe is a regular contributor to Los Angeles' vibrant improvised music scene, performing at venues like ETA and Altamira Sound.

Release Calendar:

• Jan 22, 2025: Single 1 (TBD) + Album Announcement
• Feb 12, 2025: Single 2 (TBD)
• March 7, 2025: A Song to Sing LP Release

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