Leon Ware – Inside Is Love

Legendary soul artist Leon Ware delivers a masterclass in smooth, sophisticated grooves with his 1979 album Inside Is Love, now available on CD via TK/Solid (Japan). Positioned between his celebrated 1970s Motown work and his later resurgence at Elektra, this album captures Ware at a peak of compositional and production skill — warm, mellow, and effortlessly stylish.

Ware wrote and produced the entire set himself, bringing the same masterful studio sensibility he famously applied to Marvin Gaye’s I Want You. The album flows seamlessly from track to track, with no filler — just pure, meticulously crafted soul and R&B. Standout tracks include the infectious two-step “What’s Your Name,” the title track “Inside Is Love,” and other gems such as “Try It Out,” “Club Sashay,” “Inside Your Love,” and “Love Is a Simple Thing.” Each cut brims with melodic sophistication, silky vocal delivery, and midtempo grooves that sparkle with elegance and energy, demonstrating why Ware has long been revered as a master of the genre.

Born in Detroit in 1940, Leon Ware was a songwriter, producer, and performer whose influence on soul and R&B is immeasurable. He gained acclaim for his work with Motown, penning and producing tracks for Marvin Gaye, Michael Jackson, and Minnie Riperton, among others. Known for his warm, intimate vocal style and lush, sophisticated arrangements, Ware’s music often combined sensuality with subtle musical innovation. Albums like Musical Massage and his work on Gaye’s I Want You cemented his reputation as a visionary architect of modern soul. Ware’s career spanned decades, balancing behind-the-scenes brilliance with captivating solo recordings that continue to inspire generations of artists.

Inside Is Love is a prime example of Ware’s artistry: refined, soulful, and timeless, offering a listening experience that stands shoulder to shoulder with the best of his catalog.

Nina Simone – Let It All Out: Selected Singles 1961 to 1978

The legendary Nina Simone’s unmistakable voice and revolutionary artistry are on full display in Let It All Out: Selected Singles 1961 to 1978, a powerhouse compilation released by Ace Records (UK). Spanning nearly two decades, this collection brings together singles from a variety of labels, offering listeners a fresh lens on Simone’s genre-defying career and capturing the full breadth of her soul, jazz, and pop sensibilities.

Unlike standard album compilations, this set focuses on singles — songs that were intended to reach the airwaves and resonate immediately with listeners. The result is a groove-driven, energetic portrait of Nina Simone at her most compelling and accessible. Tracks such as “Real Real,” “Suzanne,” “Revolution (Part 1),” “Do I Move You,” “Ooh Child,” and “Baltimore” highlight her deep emotional resonance and unique approach to melody and rhythm. The compilation also features iconic numbers like “To Be Young, Gifted & Black,” “I Put a Spell on You,” and “Ain’t Got No, I Got Life” (UK single version), showcasing her remarkable ability to blend political, social, and personal expression into unforgettable performances.

Ace Records delivers this collection with their signature care: detailed liner notes, excellent sound quality, and thoughtful presentation, making this compilation a must-have for both longtime fans and newcomers seeking a concentrated glimpse into Simone’s artistry.

Born Eunice Kathleen Waymon in 1933 in Tryon, North Carolina, Nina Simone was a classically trained pianist who became one of the most innovative and powerful voices of the 20th century. Blending jazz, blues, soul, gospel, and classical music, she created a sound that was uniquely her own. Simone was not only a performer but also an outspoken activist, using her music to address civil rights, social justice, and personal empowerment. From her early recordings in the 1960s to her later politically charged work in the 1970s, Simone left an indelible mark on music history. Hits like “Mississippi Goddam,” “Feeling Good,” and “I Put a Spell on You” remain touchstones of artistry, courage, and emotional depth. Her influence can be heard across generations of musicians in jazz, R&B, pop, and beyond.

Let It All Out offers a concentrated glimpse into this legendary voice, spanning the 1960s and 1970s, and demonstrating why Nina Simone continues to be celebrated as one of the most compelling and revolutionary artists in modern music.

Levitation Orchestra Finds Peace in Motion with New Album Sanctuary

A collective of rising stars from London’s thriving jazz scene, Levitation Orchestra returns with Sanctuary — an expansive new album out November 14, 2025, on 5dB Records. Led by trumpeter Axel Kaner-Lidstrom, the ensemble features an inspired lineup including James Akers (tenor saxophone), Maria Osuchowska (harp), Lluís Domènech Plana (flute), Plumm (vocals), and Harry Ling (drums). Together, they create music that feels both spiritual and cinematic — a reflection on the modern search for peace, community, and purpose.

Three years in the making, Sanctuary explores the beauty and tension of human emotion. The group treats the concept of sanctuary not as an escape, but as something built intentionally — through openness, compassion, and collaboration. The result is a transcendent record that fuses orchestral color, raw improvisation, and London’s multicultural pulse, drawing influence from Sun Ra and Alice Coltrane, with subtle nods to Stravinsky and Ravel.

As with their acclaimed albums Inexpressible Infinity (2019) and Illusions & Realities (2021), Levitation Orchestra continues to expand what contemporary jazz can be — fearless, immersive, and communal. Their music feels alive, grounded in shared exploration rather than individual display. It’s a sound that has captured the attention of tastemakers like Gilles Peterson (Worldwide FM), Soweto Kinch (BBC Radio 3), and Craig Charles (BBC 6 Music), as well as rave reviews from Jazzwise, Loud & Quiet, and The Financial Times.

Sanctuary is not just a listening experience — it’s a meditation on connection. Through sweeping harmonies, meditative harp textures, soaring brass, and moments of collective improvisation, the album invites listeners to build their own refuge within the music.

Levitation Orchestra has once again proven that jazz, at its best, is an act of creation and care — a sanctuary shared by all who listen.

Dan Bruce Launches New Trio Ohm! with Debut Album The Architects

Guitarist and composer Dan Bruce introduces a bold new chapter in his creative journey with the debut of Ohm! and their first album The Architects, out now on Shifting Paradigm Records. Following his acclaimed work with the boundary-pushing group :beta collective, Bruce ventures into rawer territory—melding groove, improvisation, and sonic exploration into a sound that’s as electric as it is introspective.

Rooted in the push and pull between chaos and control, The Architects captures the trio’s kinetic energy and emotional depth. “I’m always trying to reconcile my joy for life with my fear of death,” says Bruce. “This album is about accepting both sides—the beauty and the disorder—and finding the groove that holds them together.”

Based in Cleveland after a decade in Chicago’s thriving jazz scene, Bruce has established himself as a guitarist of uncommon versatility, balancing virtuosic improvisation with compositional nuance. His previous albums drew praise for their adventurous yet inviting sound, with All About Jazz calling his music “generous, accessible, and exploratory.”

Ohm! features Bruce with bassist Jordan McBride (Orrin Evans, Sean Jones) and drummer Gabe Jones (Howie Smith, Sean Jones), forming a powerhouse trio that thrives on rhythmic intensity and open-ended dialogue. Their name reflects dual meanings—“Ohm” as a measure of electrical resistance and “Om” as the sacred sound of unity. True to that spirit, the group often begins live shows with a shared chant, bridging energy between band and audience. “Community building is what art should be doing right now,” Bruce explains.

The album’s title track, “The Architects,” sets the tone with tightly woven compositions that burst into expansive improvisation—featuring guest saxophonist Jason Kush and a cameo from Bruce’s own children, symbolizing a future built on creation rather than destruction. “Eh?” adds a playful nod to Bruce’s Canadian connections, while “Ice” draws inspiration from Gerhard Richter’s paintings, layering nylon-string guitar and ethereal vocals from Nadine Douds.

On “Glimpse,” the trio crafts a journey from tension to transcendence, offering a fleeting vision of harmony in a fractured world. “Major_Chord” (by producer Nathan Douds) embodies joy within instability, its solo section unfolding as a shared conversation among equals. The set closes with “Rare Birds,” a jubilant finale featuring Reggie Watkins on trombone and Douds on keyboards, celebrating the joy of risk and collaboration.

With The Architects, Dan Bruce’s Ohm! emerges as a thrilling new force in contemporary jazz—a project that grooves hard, questions deeply, and builds connection through sound.

Deborah Shulman Finds Healing and Hope Through Song on We Had a Moment

Los Angeles-based vocalist and renowned vocal coach Deborah Shulman transforms personal hardship into musical grace with her latest album, We Had a Moment, released October 24, 2025 on Summit Records. The deeply intimate collection—her sixth album and fifth for the label—was conceived during one of the most difficult periods of her life, when she was undergoing radiation therapy for breast cancer. Between treatments, Shulman began revisiting the songs that had marked her journey — pieces that spoke to love, loss, resilience, and the will to keep creating.

Now cancer-free, Shulman delivers her most personal and emotionally resonant work to date — a record that feels less like a performance and more like a life story told in song. “Music carried me through,” she says. “These are songs I’ve always wanted to sing, but this time, I finally understood what they truly meant.”

We Had a Moment features ten songs recorded across two eras of her life — seven recent sessions with her longtime collaborator and pianist Jeff Colella, and three unreleased gems from earlier recordings with Terry Trotter, the acclaimed pianist whose credits include work with Frank Sinatra, Ella Fitzgerald, Natalie Cole, Celine Dion, and Larry Carlton. The result is an album that spans time, experience, and emotion, weaving together reflections of past and present.

Throughout her career, Shulman has been celebrated as an interpreter who breathes new life into beloved standards. Critics have lauded her ability to make the familiar feel freshly revealed — DownBeat Magazine awarded her previous work four stars, while The Entertainment Report praised her “innate talent to make the listener re-think a song,” and Michael Doherty noted “honesty and intimacy in her approach.”

On We Had a Moment, Shulman dives deeper than ever into the emotional core of each lyric. She opens with Stephen Sondheim’s “Anyone Can Whistle,” a song she connects to her early struggles in show business and the challenge of finding her voice in an industry that often wanted her to fit a mold. She swings warmly on “No Moon at All,” recorded with Trotter, bassist Kenny Wild, and drummer Joe La Barbera, a nod to her late husband Rick, who was her steadfast musical and emotional partner.

During her cancer treatments, she found strength in “Without a Song,” her father’s favorite tune, while the moving mashup of “New York State of Mind / On Broadway” reflects her lifelong connection to musical theater and the dream of performing on stage. The album’s title comes from Sondheim’s “With So Little to Be Sure Of,” a piece that took on new poignancy following the unexpected passing of her husband soon after recording wrapped.

Other highlights include “Goodbye Love / Not Like This,” a haunting Colella arrangement that fuses jazz and classical textures, “The Laughter and the Tears” by Randy Edelman, and “Miss Otis Regrets,” Cole Porter’s darkly elegant tale of passion and consequence. Shulman closes the record with “You Must Believe in Spring,” performed with Trotter and guitarist Larry Koonse — a tender affirmation of hope and renewal that feels like a benediction.

Anchored by an all-star rhythm section — Colella, Trotter, Wild, Chris Colangelo, La Barbera, Kendall Kay, and Koonse — the album captures Shulman’s voice at its most expressive and unguarded. Her delivery carries the weight of experience and the grace of survival, offering listeners an emotional journey through love, grief, and healing.

We Had a Moment is more than a jazz vocal album — it’s a chronicle of endurance, gratitude, and rediscovery. Each song feels like a letter from someone who has seen the fragility of life up close yet still sings with unwavering faith in beauty and connection.

Nebbia / Banner / Andrzejewski Explore the Ghosts and Presence of Sound on Presencia

The trio of Camila Nebbia (tenor saxophone, composition), James Banner (double bass, composition), and Max Andrzejewski (drums, composition) present Presencia, their immersive and deeply expressive new release, out November 7, 2025 via ears&eyes Records (EE:25-245). Available on CD and digital formats, Presencia bridges jazz, improvised, and experimental music, offering a profound exploration of sound, memory, and identity.

The title Presencia carries a double meaning: it evokes both presences—ghostly, personal, ancestral, historical—and the idea of being present in the moment. For the trio, that presence manifests through a radical openness in performance, where each sound and silence is embraced with full attention. The record becomes a dialogue between past and present, memory and immediacy, structure and freedom.

Formed collectively in Berlin, the group’s ethos stems from the spirit of their early musical roots — bands that thrived on shared ideas, improvisation, and spontaneous composition. There is no hierarchy in this ensemble. Instead, each musician brings frameworks, sketches, and ideas that invite transformation. Over the course of performances and rehearsals, these fragments evolve into expansive, breathing forms that balance intricacy and spontaneity.

Recorded in a single day at Bonello Studio in Berlin after a run of live performances, Presencia captures a snapshot of the trio’s raw energy and intuitive interplay. Rather than seeking perfect takes, the session celebrates immediacy and imperfection — the beauty of catching something real, fleeting, and alive.

Musically, Presencia traverses a wide emotional and sonic landscape. “Choco” unfolds through bright tonal shifts and restless rhythmic cues, while “Arid” paints a dry, almost desolate soundscape that gradually blooms into fiery improvisation. The “Sediment” interludes serve as textural pauses, fragments of improvised dialogue layered and unedited. “Lugar” (Place) meditates on transformation — how environments shift and how memory reshapes them — with chromatic density and evolving groove.

Pieces like “Lattice” and “Meander” invite the listener into more open territory, where structure becomes porous and sound becomes space. “Plateau / Her Name Causes Shudders” merges meditative repetition with political charge, referencing Banner’s earlier protest composition dedicated to former UK Prime Minister Theresa May and her anti-immigration policies. The closing “Sad Song #1” offers a hushed, haunting coda — a meditation on loss, tenderness, and time.

Each track feels like a conversation between three distinct yet deeply attuned voices. Nebbia’s saxophone alternates between lyrical clarity and raw timbral experimentation; Banner’s bass anchors and disrupts in equal measure; Andrzejewski’s drumming traces delicate textures and explosive bursts with painterly precision. Together, they blur the line between composition and improvisation, making Presencia as much a process as a performance.

The album artwork, created by Camila Nebbia with design by Carola Nebbia, mirrors the record’s conceptual depth — layering abstraction and intimacy in visual form. A limited-edition CD with unique artwork will accompany the digital release.

Watch the live teaser: youtu.be/Z1dLTVJIONE

Michael Dulin Captures Life’s Beauty and Transience with “Shimmer and Fade”

GRAMMY®-considered pianist and composer Michael Dulin shines with his latest solo piano masterpiece, “Shimmer and Fade.” A reflective and emotionally rich meditation on the fleeting nature of life, the piece is now up for GRAMMY® consideration in the Best Jazz Performance category—a moment that marks another high point in Dulin’s celebrated career.

The Birmingham, Alabama–based artist composed, produced, and performed the track himself, showcasing his exquisite touch and signature blend of technical brilliance and heartfelt expression. Released via Equity Digital, the piece is accompanied by a beautifully shot performance video, available here.

At the same time, Dulin’s first contemporary jazz single, “Slow Burn,” is turning up the heat on playlists nationwide, combining passionate piano work with sensual Latin rhythms that have been climbing the charts.

“In life, we experience unforgettable moments that shimmer in your memory forever, and all the other ‘stuff’ that fades away,” Dulin reflects. “Like us – we shimmer for a brief time, then fade away from this mortal plane.”

Fans and critics alike have praised “Shimmer and Fade” for its depth and artistry:

“Deeply introspective… music created in the middle of the night while soul-searching at the piano.” – Kathy Parsons, Mainly Piano

“Like a star, the music shimmers with unparalleled elegance and fades with a truly appreciable grace.” – Keith Hannaleck, MuzikMan Reviews

“Solo jazz piano at its very best.” – Steve Sheppard, One World Music Radio

With a career spanning twelve albums, collaborations with legends like The Temptations, and accolades including multiple Lifestyle Achievement Awards, Dulin continues to enchant audiences with music that connects deeply and lingers long after the last note fades.

A GRAMMY® nomination, he says, would be one more shimmering moment in a lifetime devoted to creating beauty through sound:

“It would show that there’s still a place for the simple voice of a piano in this noisy and busy world. And that traditional jazz is something that matters.”

Billy Paul: Four Timeless Journeys Through Sophisticated Soul

Few voices in soul music have ever embodied both sophistication and spirit quite like Billy Paul. A singer’s singer, Paul stood at the intersection of jazz, gospel, and R&B — a product of Philadelphia’s fertile musical scene and a key figure in shaping the smooth yet socially aware sound that came to define Philadelphia International Records.

Now, four of his most iconic albums — Ebony Woman, Going East, 360 Degrees of Billy Paul, and War of the Gods — return in a beautifully remastered 2CD set from BGO Records (UK) and Philadelphia International. It’s more than just a collection; it’s a journey through one of the most creative and expressive eras in modern soul.

Ebony Woman (1970)
This was where it all began — an album that announced Billy Paul as an artist of uncommon range and emotional intelligence. Ebony Woman bridges the gap between the jazz club and the soul stage, balancing lush arrangements with raw feeling. The title track is a love letter wrapped in cultural pride, its message of beauty and strength resonating far beyond its release date. Paul brings new dimension to “Everyday People” and “Psychedelic Sally,” turning familiar tunes into showcases of vocal control and interpretive genius. Even the pop standard “Windmills of Your Mind” becomes something transcendent under his care — meditative, stirring, and unmistakably his own.

Going East (1971)
If Ebony Woman was the spark, Going East was the revelation. The album glows with introspection and spiritual yearning, signaling Paul’s evolution from soul crooner to visionary storyteller. The epic opening track, “East,” is nearly eight minutes of soul-jazz exploration — a journey both sonic and spiritual. Songs like “Magic Carpet Ride” and “This Is Your Life” stretch beyond the traditional boundaries of Philly soul, offering glimpses into the mystical and the political alike. Produced by Gamble & Huff, the record radiates warmth, curiosity, and depth, capturing Paul at his most experimental.

360 Degrees of Billy Paul (1972)
This is the record that made Billy Paul a household name. Anchored by the immortal hit “Me & Mrs. Jones,” it’s an album that finds the perfect balance between sophistication and streetwise grit. Yet beyond its chart-topping single lies a wealth of deeper cuts that showcase Paul’s artistry and conviction. “Am I Black Enough for You” stands as one of the boldest statements of Black pride and identity to emerge from the early ’70s, while tracks like “I’m Just a Prisoner” and “Brown Baby” reflect a blend of vulnerability and political awareness that was rare in mainstream soul. With production from Gamble & Huff and arrangements by Norman Harris, Bobby Martin, and Lenny Pakula, this is Billy Paul at full creative power — elegant, passionate, and unapologetically real.

War of the Gods (1973)
By the time War of the Gods arrived, Billy Paul had transcended genre entirely. This was no mere soul record — it was a cosmic odyssey, a meditation on love, conflict, and redemption. Tracks like “I See the Light” and the title song build slowly, layering gospel intensity with funk rhythms and spiritual yearning. Paul’s voice — equal parts preacher and poet — carries the listener through a musical sermon on humanity’s inner battles. The album also features “Thanks for Saving My Life,” a hit single that adds a touch of warmth and optimism to an otherwise ambitious, conceptual work. Produced once again by Gamble & Huff, War of the Gods stands as one of the most daring and original records of the Philadelphia soul era — often compared to the visionary work of Marvin Gaye and Curtis Mayfield for its scope and emotional depth.

Together, these four albums trace the evolution of an artist who refused to stand still. Billy Paul blended jazz phrasing with soul’s emotional directness, and he brought a philosopher’s sensibility to popular music. His work remains timeless — sensual yet cerebral, deeply personal yet universally human.

The Nigel Price Organ Trio Ignite with Their Tenth Release — A Testament to Groove, Craft, and Chemistry

The tenth release from the celebrated Nigel Price Organ Trio reaffirms the group’s reputation as one of the most prolific and hard-working ensembles in British jazz — perhaps the most relentless touring jazz group in the UK of the 21st century. Known for their blistering live shows, telepathic interplay, and deep roots in the organ trio tradition, this new album captures the trio at their most dynamic, confident, and expressive.

Guitarist Nigel Price, one of the UK’s foremost jazz guitar voices, is joined by two world-class collaborators: Ross Stanley on Hammond organ and Joel Barford on drums. Together they deliver a set that’s as muscular as it is melodic, blending soul-jazz grit with modern sophistication. Price speaks glowingly of his bandmates, saying, “I’ve never heard Ross play a bad note, and he absolutely played out of his skin on this record.” Stanley’s command of the Hammond organ has earned him international respect through collaborations with legends like Maceo Parker and, more recently, Robben Ford. His playing here is both fiery and fluid, anchoring the trio with harmonic depth and rhythmic drive.

Behind the kit, Joel Barford injects fresh energy and imagination. One of the most vibrant young drummers on the UK scene, Barford thrives in the open, conversational space that the organ trio format provides. His touch and timing bring both finesse and fearless swing, making him a perfect counterpart to Price’s blues-infused lines and Stanley’s rich harmonic palette. The trio’s chemistry is electric — years of touring have forged a collective instinct where risk and trust coexist in perfect balance.

Six of the nine tracks are original compositions by Price, highlighting his considerable gifts as a writer as well as a player. His tunes are taut and memorable, steeped in groove yet open to exploration. Each piece feels tailor-made for this compact, powerful ensemble, allowing for intricate interplay and spontaneous moments of magic. The recording session, by all accounts, was a relaxed and inspired affair — the kind of environment where creative sparks fly freely. What emerged is an album brimming with vitality and groove, a showcase of three musicians at the height of their craft.

Price’s credentials read like a map of contemporary British jazz history. With over sixty albums to his name, including eight as a leader, he has carved out a career defined by consistency and creative vision. He spent a decade with the acclaimed acid-jazz outfit The Filthy Six, was a member of James Taylor’s JTQ for three years (recording five albums during his tenure), and has shared stages with legendary composer and producer David Axelrod. Beyond his musicianship, Price has become known for his tireless dedication to the UK jazz scene, single-handedly organizing extensive national tours that have become legendary for their scale and ambition.

This new release stands as both a celebration of that hard-won legacy and a statement of continued artistic evolution. From the joyful pulse of “Make Someone Happy” to the funky swagger of “Backatcha,” the hard-driving “It’s On!,” and the sultry groove of “Midnight Mood,” the album traverses moods with effortless cohesion. Each track reveals another facet of the trio’s shared language — grounded in the jazz tradition but alive with the energy of now.

The Nigel Price Organ Trio have long been admired for their ability to bring sophistication and swing to audiences across the UK and beyond. With this latest album, they reaffirm their position not only as masters of their craft, but as vital keepers of the organ trio flame — balancing soul, intellect, and sheer joy in every bar.

Nigel Price on guitar, Ross Stanley on Hammond organ, and Joel Barford on drums — three voices, one conversation, and a sound that’s unmistakably their own.

Ginman Blachman Dahl Return with Play Ballads — A Soulful Journey Through Jazz Standards

The acclaimed Danish jazz trio Ginman Blachman Dahl — pianist Carsten Dahl, bassist Lennart Ginman, and drummer Thomas Blachman — return with Play Ballads, a luminous collection of fifteen jazz standards rendered in their uniquely reflective style. This is not merely another set of familiar tunes; it’s a masterclass in restraint, communication, and trust between three of Denmark’s most revered jazz artists.

From the first notes, the trio’s deep musical rapport is unmistakable. Every pause, every silence, and every breath is weighed with intention. Their collective voice feels as natural as conversation — three artists who have grown together over decades, finishing each other’s musical sentences. Play Ballads is both intimate and expansive, a reminder that true jazz mastery lies not in technical bravado, but in the courage to slow down and listen.

The album draws from the great American songbook, including timeless pieces such as Matt Dennis’ “Angel Eyes,” Vernon Duke’s “Autumn in New York,” Billy Strayhorn’s “Take the ‘A’ Train,” Thelonious Monk’s “Blue Monk,” and Duke Ellington’s “Satin Doll.” Yet, in the hands of Ginman Blachman Dahl, these classics become something entirely new. Each track is performed at deliberately slow tempos, inviting the listener to hear familiar melodies with fresh ears. The pace is unhurried, the phrasing deliberate, as if the trio were rediscovering the songs in real time.

Carsten Dahl’s piano leads the way with poetic sensitivity, his improvisations unfolding like quiet revelations. Lennart Ginman’s bass offers grounding, breathing space, and melody within melody, while Thomas Blachman’s drumming — spare, textured, and unintrusive — becomes an art of understatement. Together they create a sound world where silence is as expressive as sound, where every note feels inevitable.

The results are extraordinary. “Angel Eyes” emerges as a tender confession, its sparse chords and delicate pacing creating a sense of intimacy rarely heard in trio settings. “Gone With the Wind” carries a gentle melancholy, stripped of nostalgia and filled instead with graceful acceptance. “Autumn in New York” captures the wistfulness of the season itself — a meditation on change, beauty, and impermanence. Ellington’s “Things Ain’t What They Used To Be” is transformed into something quietly profound, a subtle statement on time and transformation that feels deeply personal.

Across the album, the trio’s interplay evokes the great tradition of jazz trios past — Evans, Haden, Motian — yet their sound is unmistakably their own. There’s no rush, no excess. Instead, each phrase is allowed to breathe, and what emerges is a music of patience, precision, and quiet power.

Their shared musical journey stretches back to the late 1980s, through collaborations with Page One, Thomas Agergaard, Claus Hempler, and countless others. Individually, they’ve each built illustrious careers: Dahl, one of Scandinavia’s most imaginative pianists; Ginman, a bassist with both technical brilliance and compositional elegance; and Blachman, a drummer and bandleader known for his rhythmic invention and fearless individuality. Together, they’ve explored both original compositions and jazz standards across multiple acclaimed recordings since 2004. Their collective experience with American greats such as Ed Thigpen, Joe Lovano, and Eddie Gomez has further shaped their artistry, enriching the depth and nuance they bring to every note.

Play Ballads feels like the culmination of all those years of dialogue — not an endpoint, but a distillation. The trio’s chemistry is effortless, their musical intuition so finely tuned that even the simplest gesture feels profound. The album reminds us that jazz, at its core, is about connection: between musicians, between silence and sound, between the familiar and the new.

With Play Ballads, Ginman Blachman Dahl invite listeners to slow down, breathe, and rediscover the beauty of the familiar. These fifteen tracks are less performances than conversations — intimate, unhurried, and deeply human. Every phrase speaks to the trio’s mastery, their mutual trust, and their shared understanding that sometimes the quietest moments carry the greatest weight.

Play Ballads is available now — a timeless addition to the modern jazz canon, and a profound reminder that true artistry is found not in what is played, but in how it is felt.

Yamaha Artist & Billboard #1 Jazz Piano Sensation Kayla Waters Starts Anew on Shanachie Entertainment

When Kayla Waters sits at the piano, something transcendent happens. Her fingers don’t just play notes — they tell stories, painting emotions in sound. “The piano is my heartbeat—my inner rhythm of life!” she shares. The Yamaha Artist and Billboard #1 jazz pianist, producer, and composer embodies her name’s meaning, “keeper of the keys,” both literally and spiritually. With luminous grace, she has built a career defined by purpose, artistry, and faith.

A native of Maryland, Kayla has captivated audiences worldwide and performed alongside legends like Stevie Wonder and Patrice Rushen, as well as R&B stars Marsha Ambrosius and Corinne Bailey Rae. She has made Billboard history as the first jazz pianist to hold the #1 position for six consecutive weeks and boasts five #1 Billboard hits to her name. Yet, despite her remarkable achievements, she remains grounded and deeply connected to her faith. “My faith and my music are intimately intertwined! There’s no way I can separate it,” she confides. “God speaks to me through nature, and He gingerly speaks through the music I’ve been blessed to write.”

Her new album Anew, arriving November 7, 2025, on Shanachie Entertainment, is both a continuation of her artistic evolution and a bold statement of renewal. It’s her fourth album as a leader and second for Shanachie, an eleven-track collection that reflects the many dimensions of her artistry. The first single, “LUSH,” available everywhere now, is an exuberant, rhythmically rich celebration of joy and musical freedom. Its melodic playfulness and vibrant textures immediately draw the listener in, revealing Kayla’s signature blend of jazz sophistication, classical precision, and soulful improvisation.

The album is filled with pieces that honor the intersections of faith, beauty, and creation. “Obedience,” a mid-tempo gem, captures Kayla’s dedication to following her divine path as an artist. “It’s a joy to walk in obedience,” she explains. “For me, that means staying true to my creative, God-given sound while continuously infusing my faith into my artistic offerings. I love that I can be who I am wholeheartedly, with passion and poise.” Another highlight, “Bountiful,” brims with gratitude and spirit, a musical reflection on the abundance of love and blessings in her life. “God’s love, the newfound love of marriage, my creative writing process, and divine opportunities to flourish as an artist have all been bountiful in my life,” she says joyfully.

Nature has long been a source of inspiration for Waters, and her experiences this past year took that connection to new heights. During her guest performance on the Dave Koz Cruise, which sailed to Iceland, The Netherlands, and Norway, Kayla was deeply moved by the dramatic Nordic landscapes. The stunning song “Snowy Fjords,” inspired by that voyage, captures the awe and stillness of her surroundings. Opening with delicate strings, harp, tambourine, and piano in high octaves, the piece evokes the grandeur of the icy terrain. “My spirit was filled with awe-wonder as I basked in the stunning fjords of Iceland,” she recalls. “I’ve never seen anything so beautiful. Snow is my favorite element, so writing a piece about the snow-capped fjords was a treasure.”

The creative bond between Kayla and her father, acclaimed saxophonist Kim Waters, continues to be a cornerstone of her musical journey. He contributes his unmistakable sound to several tracks, including the ethereal “Lofty Chambers,” and assisted with the production and programming for the album. “It is a gift to have a father who has created such a beautiful musical legacy,” Kayla reflects. “His unwavering love and relentless pursuit to help me succeed is profound. I’m forever indebted. We share the same thought processes as music producers. I love that my dad ‘gets me’ and embraces my sound, even though it’s different from his. We make a great team as the Waters duo, and I hope we can do this for a very long time.”

One of the most striking moments on Anew is the two-part suite “Kayla’s Keys,” which showcases her brilliance as both a composer and conceptual artist. The first section unfolds like an impressionist dreamscape before transitioning into a bold, groove-driven finale. “The first half alludes to keys opening doors, while the second half ignites musical keys that unlock new ways of creating at the piano,” she explains. The sense of discovery and wonder that runs through the piece mirrors the overall spirit of the album — a journey of renewal, reflection, and revelation.

Other standout tracks include “Luminous Love,” a soulful exploration of light and emotion, and “Fragrant Faith,” a gentle breeze of serenity and grace. “The Baobab Tree,” a cinematic and symphonic masterpiece written in 11/4 time, is one of Kayla’s personal favorites. Inspired by the mighty African tree of life, the piece captures its strength and spiritual symbolism. “I love this song,” she says. “The Baobab’s resilience and ability to store water within its trunk, nurturing life around it, resonates with me deeply. I know I too am unique by design, planted for faithful works.” The lush “Sweet Honey,” inspired by her time in Utah during her album photoshoot, adds another layer of sweetness and intimacy to the collection. “I love writing mellifluous music,” she shares. “Music that sounds sweet and tastes sweet. This piece pulls on the heartstrings and truly flows like honey.”

Anew concludes with its radiant title track, a soaring melody that encapsulates the album’s core message: transformation and renewal through faith, love, and music. Kayla Waters has long proven herself to be one of contemporary jazz’s most luminous talents, but here she steps even more confidently into her own voice — a voice of clarity, elegance, and devotion.

“It is my hope that all who listen will feel a sense of renewal, refreshing, and ponder how they can recreate life as they know it in bountiful ways,” she says. “I love that the album is releasing in Autumn, one of my favorite seasons, as this is such a pristine time for reflection and peace. I encourage us all to begin Anew.”

Anne Walsh Finds the “Heart” of a Song with New Single “Anyone Who Had A Heart”

Jazz vocalist Anne Walsh has released “Anyone Who Had A Heart,” the first single from her forthcoming album Reach Out For Me: Burt Bacharach Reimagined, arriving November 14 via A to Zink Music. The single and album reimagine ten Burt Bacharach classics through a sophisticated blend of bossa nova and straight-ahead jazz, guided by Walsh’s crystalline soprano and enriched by the lush textures of the Budapest Orchestra.

For this project, Walsh and her longtime creative partner, GRAMMY®-nominated arranger, producer, and pianist Tom Zink, took an unusual and refreshing approach. They submitted “Anyone Who Had A Heart” for GRAMMY® consideration in the Best Arrangement, Instruments and Vocals category as a five-person team—Walsh, Zink, bassist Hussain Jiffry (Herb Alpert), guitarist Mitchell Long, and drummer Kevin Winard—in recognition of the ensemble’s truly collaborative process.

“We knew as a group that we wanted something different from this iconic song made famous by Dionne Warwick,” Zink explains. “The arrangement came to life in the studio where each musician’s ideas shaped the final sound—an interpretation that honors Bacharach and David’s songwriting while showcasing our collective voice.” The team began by exploring the song’s original 6/8 triplet feel, infusing it with subtle world music influences for a contemporary rhythmic energy that still preserves the tune’s timeless emotion.

Zink adds, “We submitted the song for GRAMMY® nomination with all the musicians listed as arrangers. That was intentional—to highlight the contributions that often go unnoticed. Usually one person gets arranger credit, but something unique happens when everyone’s voice helps shape the final sound.”

On “Anyone Who Had A Heart,” Zink’s lyrical piano lines intertwine gracefully with Long’s expressive electric guitar, whose solo mid-song sparks Walsh’s most intimate and impassioned vocal. Beneath them, Jiffry’s supple bass phrasing and Winard’s nuanced percussion create an elegant rhythmic foundation that supports the music’s shifting emotional landscape.

The release marks another creative milestone in the enduring partnership between Walsh and Zink. His GRAMMY® nomination for an arrangement on Walsh’s 2009 album Pretty World and his reworking of Bacharach’s “Say a Little Prayer” on her 2016 album Brand New both paved the way for this new, full-length tribute. Reach Out For Me: Burt Bacharach Reimagined captures that spirit of artistic evolution—reverent yet exploratory, intimate yet cinematic.

Walsh’s voice, soaring yet tender, reclaims Bacharach’s melodies as timeless vessels for new emotion, proving once again that the heart of jazz lies not only in interpretation, but in transformation.

John O’Gallagher’s Ancestral: A Landmark Collaboration Between Two Jazz Drum Masters

Whirlwind Recordings presents Ancestral, the remarkable new release from alto saxophonist and composer John O’Gallagher, featuring the first-ever recorded collaboration between the legendary drummers Andrew Cyrille and Billy Hart, with Ben Monder on guitar. Available now in CD, LP, and digital formats, Ancestral (WR4840) represents a transformative chapter in O’Gallagher’s artistic life—an album that bridges scholarship, experience, and deep musical intuition.

Recorded at Sound on Sound Studios in Montclair, New Jersey, in January 2024, Ancestral reflects the fruits of O’Gallagher’s doctoral research into the music of John Coltrane, particularly the saxophonist’s late-period works Interstellar Space and Stellar Regions. As O’Gallagher explains, “My PhD is an analysis where I transcribed all of Trane’s solos, showing that free music is not as free as people think. Coltrane was organizing his improvisations, and that research helped me find new freedom inside my own systems—freedom that feels organic.”

The album arrives after a major period of change for O’Gallagher, who left Brooklyn for the UK before settling in Lisbon, Portugal, with his wife. This geographical and personal transformation finds expression throughout the record’s eight tracks, which unfold as both introspection and renewal. With an ensemble that unites two drumming titans—Cyrille and Hart—the album’s soundworld is one of depth, tension, and release.

Ancestral opens with “Awakening,” a slow, spectral dawn of mallets, guitar, and saxophone, building toward a muscular crescendo. “‘Awakening’ felt ancient and organic, like a folk song that grows in intensity until it bursts into light,” O’Gallagher says. “Under the Wire” dances on a Monkish groove—playful and percussive—while “Contact,” improvised by Monder, Cyrille, and Hart, inhabits an eerie, floating space. On “Tug,” the drummers weave a regal, tensile pulse beneath O’Gallagher’s searching lines. “‘Tug’ is about the way time breathes,” he notes. “Andrew and Billy are pulling and laying down the time simultaneously—it’s so beautiful.”

Elsewhere, “Profess” swirls with an airy momentum reminiscent of Paul Motian’s work, while “Altar of the Ancestors” reaches toward Coltrane’s spiritual urgency—music as invocation and homage. “‘This is the altar at which we pay homage to our forefathers,’” O’Gallagher reflects. “‘The bandstand itself becomes sacred.’” “Quixotica” disorients with shifting loops and melodies that subtly change each time they return, while the closing track, “Postscript,” entirely improvised, offers a serene conclusion—an open-ended reflection on an album defined by discovery.

Ancestral is an album of questions rather than answers—a dialogue between eras, geographies, and generations. It’s about what happens when master musicians listen, respond, and evolve together in real time. With Cyrille and Hart’s first recorded collaboration, Monder’s signature harmonic textures, and O’Gallagher’s fearless vision, Ancestral captures the vitality of improvisation as both ritual and rebirth.

The recording was engineered by David Amlen, mixed by André Fernandes at Estúdio Timbuktu, and mastered by Mário Barreiros. Album artwork was created by Jamie Breiwick and O’Gallagher himself, with photography by Owen Howard.