Two Paths, One Sound: Luke Marantz & Simon Jermyn Rediscover Connection on Echoes

Musical partnerships often form in fleeting moments—chance encounters, overlapping gigs, a brief overlap in geography before the road bends again. For pianist Luke Marantz and guitarist Simon Jermyn, one such moment in 2015 sparked a creative rapport neither was willing to let time or distance undo.

Their story begins with Marantz making regular escapes from Boston, where he’d been studying at New England Conservatory and deepening his voice on the bandstand with trumpeter Jason Palmer at Wally’s Café. He frequently found himself drawn to New York, where his brother, saxophonist Matt Marantz, was actively gigging. One night, carrying a Fender Rhodes, he made the trip for a short set at the now-closed Rockwood Music Hall. It was the first time he played with Dublin-born guitarist and bassist Simon Jermyn.

The connection was immediate. Jermyn remembers being struck by Marantz’s intensity and commitment; Marantz recalls bonding unexpectedly over a shared love of William Byrd’s choral works. More importantly, making music together felt like conversation—easy, open, and deeply aligned. Their chemistry became one of the forces that eventually inspired Marantz to relocate to New York.

For the next five years, the two collaborated in various projects, letting their partnership evolve naturally. But in 2020, Jermyn moved to Berlin. It was the kind of life shift that often dissolves musical relationships, even fruitful ones. Yet both musicians felt unfinished business—unfinished possibility—and agreed that the work they’d built together mattered too much to abandon.

That commitment led to Echoes, their atmospheric and beautifully textural new duo album, arriving January 9, 2026 on Chill Tone. Recorded over two and a half years in the home studio shared by the Marantz brothers, the album finds the pair expanding their sonic language while maintaining the intimacy that first drew them together. Drummer Josh Dion adds subtle rhythmic color on two pieces, but the heart of Echoes remains the uncommon synergy between piano and guitar.

From the outset, there was no plan—no stylistic template, no overarching concept. Piano-guitar duos can easily crowd themselves, but in this case, openness became the guiding principle. Marantz describes their sessions as doorways into “an ocean of sonic possibilities,” a space in which each idea unlocked unexpected paths for the other. Jermyn, who resists categorizing music by genre, leans into that sense of freedom. What matters to both musicians is the shared sensibility—the trust that allows them to follow a sound wherever it leads.

The album’s title reflects how their process unfolded. Like echoes, their ideas move independently yet remain deeply connected, each gesture shaping what follows. The “Echoes” miniatures scattered throughout the tracklist capture this concept most directly: Jermyn recorded textures in Berlin, which Marantz later enveloped in layers of piano, synth, and atmosphere, turning them into shimmering exchanges across continents.

The broader compositions showcase the duo’s expressive range. Marantz’s “Country” gallops with pastoral energy, touching Appalachian folk and Copland-like Americana. Jermyn’s “Hovering” levitates gently, guided by his own bass work and grounded midway through by Dion’s entry. “Shori,” named for the central character of Octavia E. Butler’s Fledgling, brings incisive rhythmic motion, while “Light Scatters Green” washes in luminous colors inspired by Marantz’s memories of Texas skies. Dion appears again on “Passages,” where the music shifts gradually from searching abstraction into a quietly determined groove.

Through it all, Echoes feels less like a studio album and more like a document of two artists in constant dialogue—not bound by place, time, or genre, but linked by instinct and curiosity. Even with the ocean now between them, Marantz and Jermyn continue to find each other in sound.

Their paths may diverge geographically, but Echoes proves their musical conversation is only deepening, rippling outward with each shared moment.

Temple University Jazz Band Captures a Triumphant First Tour of Japan on Live From Japan

Under the direction of Grammy-winning trumpeter Terell Stafford, the Temple University Jazz Band has long been known for taking its music far beyond its Philadelphia home—appearing at major venues such as Dizzy’s Club at Lincoln Center, the Kennedy Center, and the Kimmel Center, and touring internationally to Germany and the Netherlands. But in March 2025, the ensemble embarked on a milestone journey: its first-ever trip to Japan. Over five intense days of travel, performance, and cultural immersion, the students experienced the kind of growth that only comes from performing abroad—culminating in a two-set, sold-out concert at Tokyo’s renowned Akasaka B-flat. That electrifying night is now preserved on Live From Japan, set for release February 6, 2026 on BCM+D Records.

The album captures the band at full strength—energized by the whirlwind pace of touring, bonded by shared challenges, and inspired by the warm reception from Japanese audiences. For Stafford, who directs jazz studies and chairs instrumental studies at Temple’s Boyer College of Music and Dance, making this trip a reality was a long-held dream disrupted by the COVID pandemic in 2020. Having performed in Japan many times over his own distinguished career, he knew how life-changing the experience could be. What he didn’t expect was the joy of watching students encounter the country’s culture, people, and musical appreciation for the first time. Exhausted from jetlag yet rising to the expectations of professionalism, the ensemble navigated each day with dedication that Stafford found deeply inspiring.

Their emotional journey is etched into every track of Live From Japan. The recording opens with a spirited take on Johnny Hodges’ “Squatty Roo,” arranged by John Clayton, setting the tone for a program steeped in swing and expressive ensemble work. The band then dives into three Duke Ellington classics—“Jack the Bear,” highlighted by bassist Graham Kozak; “I Didn’t Know About You,” featuring Jacquee Paul’s tender vocals; and a powerful, deeply felt “Black and Tan Fantasy.” Don Menza’s “I Just Found Out About Love” brings punch and exuberance, while Bob Mintzer’s arrangement of Herbie Hancock’s “Eye of the Hurricane,” drawn from the Vanguard Jazz Orchestra’s repertoire, channels the band’s technical precision and collective fire.

At the heart of the album is “Fantasia,” an intricate and emotionally rich new work composed for the band by Tokyo native and Temple alum Yoichi Uzeki. Blending classical and jazz influences with remarkable finesse, the piece reflects Uzeki’s close collaboration with Stafford and his understanding of the specific musical strengths of this year’s ensemble. It also serves as a symbolic bridge between Temple’s program and the Japanese musical community that hosted the band so warmly.

A vital part of any live album is its audience, and Japan delivered one like no other. The students were met with enthusiasm, respect, and heartfelt appreciation—an atmosphere that elevated their performance and shaped the recording’s infectious energy. The success of the tour was so overwhelming that a return trip is already set for March 2026, this time featuring legendary trumpeter Randy Brecker as guest soloist. A second volume of Live From Japan is planned to accompany that visit.

For young musicians forging their path, international touring is not simply about performance—it is about perspective, growth, and community. Live From Japan captures that transformation in real time, offering listeners a ticket to an unforgettable night and a defining moment in the band’s story.

dee Brown Unveils “Deep Secrets,” a Spirit-Driven Groove Jazz Journey

Detroit groove jazz guitarist dee Brown released his fifth album, Deep Secrets, on September 3 via Innervision Records, just days before the single “Tie The Knot,” featuring soul trumpeter Lin Rountree, headed to playlists. Though the cover resembles a captivating mystery novel, the secrets Brown explores aren’t fictional—they’re spiritual. Inspired by scripture and rooted in faith, the project blends R&B, jazz, soul, and gospel into a reflective, uplifting collection.

Brown began crafting the music a few years ago, and after the loss of his mother, to whom the album is dedicated, he found himself turning to the Bible for guidance and creative direction. The Detroit native quotes Corinthians as the cornerstone of the album: “For his Spirit searches out everything and shows us God’s deep secrets.” When the pandemic struck, the recording process shifted to remote collaborations, with musicians sending their parts from home studios to Brown and GRAMMY-nominated producer Valdez Brantley, who handled piano, keyboards, strings, and programming. Billboard chart-topper Blake Aaron, multi-GRAMMY nominee Darren Rahn, and Nate Harasim also contributed production and mixing support.

The album’s first preview, “Smooth Talk,” climbed into the Billboard Top 30 last fall. Brown explains that the song’s inspiration came from Romans 16 and its warning about people who use “smooth talk and glowing words” to deceive. Michael Parlett’s fiery sax solo closes the track with soulful intensity. A second taste of the album arrived with “The Prize,” a warm, sunlit groove built on the idea of running life’s race with purpose—another nod to Corinthians.

“Love You Too,” released as a single last March, features bassist Darryl Williams and drummer Tony Moore laying down a deep, driving rhythm, earning the song more than 100,000 YouTube views. “Tie The Knot,” the next single, pairs Brown’s cool, melodic guitar lines with Rountree’s smooth and expressive trumpet, creating a charismatic musical conversation.

Throughout Deep Secrets, Brown explores everything from spiritual discipline and passion (“Controlled Passion”) to purpose and awakening (“Wake Up”) to the joy of family, as heard in “Pretty Girl (Skyler),” written for his first grandchild. The album also includes a powerful rendition of the gospel standard “Praise Is What I Do,” featuring vocalist Gerard Brooks, a full gospel choir, Merlon Devine on soprano sax, and an orchestral swell that sets the stage for Brown’s guitar to deliver a sermon of its own.

Since debuting with No Time To Waste in 2007 and later joining Innervision Records for Brown Sugar Honey-Coated Love, Brown has consistently delivered charting singles and memorable live performances. He has shared the stage with luminaries including Aretha Franklin, Al Jarreau, Jeffrey Osborne, Bob James, Spyro Gyra, Gerald Albright, Brian Culbertson, Najee, Paul Taylor, Paul Brown, Alexander Zonjic, and many others. With Deep Secrets, he brings together his musical influences, his spiritual grounding, and his signature groove into one deeply personal work.

Mariea Antoinette Finds New Power in “Afrika,” Her First Foray Into World Music

R&B/jazz harpist Mariea Antoinette returned from a recent trip to Africa feeling transformed. What she encountered there—the elevated energy, deep-rooted wisdom, lingering pain, and overwhelming beauty—reshaped her creatively. The continent’s vibrant cities, joyful markets, breathtaking landscapes, flavorful foods, and the grace of its Indigenous communities offered her an experience far richer than any images she had known from afar. When she came home to San Diego, she brought that emotional imprint straight to the studio, teaming with producer Allan Phillips to create “Afrika,” now a chart-topping single and a contender for a GRAMMY® nomination for Best Global Music Performance. The song serves as the first glimpse of her forthcoming fourth album, Fierce, arriving next year.

Known for her genre-blending approach—funk, soul, hip-hop, contemporary jazz, and reimagined R&B classics—Antoinette enters new territory with “Afrika.” The track incorporates African musical textures, percussive rhythms, and subtle sonic nuances while keeping her harp front and center. Her playing becomes the guiding voice through this musical journey: sometimes delicate, sometimes bold, always deeply expressive. The song feels like a celebration, a homecoming, and a spiritual reunion, punctuated by a vocal chorus chanting the single word “Afrika.”

Antoinette describes the piece as a world anthem—a tribute to humanity’s birthplace and a reminder of the global ties that bind communities of African descent. Reflecting on everything from the blood diamond conflicts in Sierra Leone to the struggles in Congo, from the resilience of African Americans and Afro-South Americans to the mistreatment of Aboriginal peoples, she sought to create a piece rooted in connection. “‘Afrika’ carries the heartbeat of humanity itself,” she said. “Its creativity, its intellectual power, its energy, and even the untamed beauty of its wildlife. By honoring and healing Africa, we also honor and heal ourselves.”

The recording brings together a talented ensemble: Allan Phillips on keyboards, percussion, and vocals; drummer Tiki Pasillas; bassist Nathan Brown; guitarist Evan Marks; trumpeter Derek Cannon; tenor saxophonist John Rekevics; trombonist Jordan Morita; the AP All Stars Strings; and vocalist Natalya Phillips. The accompanying music video amplifies the spiritual and cultural energy of the song.

For Antoinette, the potential of a GRAMMY® nomination carries a special significance. She sees it not only as recognition of her artistry but also as an opportunity to elevate the harp—a rarely spotlighted instrument—to the global contemporary stage. Through “Afrika,” she believes she has connected the harp to Africa’s expansive rhythms, spirit, and natural majesty.

A visionary artist grounded in classical training but fearless in pushing boundaries, Antoinette has long been a force in contemporary music. Her recordings frequently climb the Billboard charts, with her single “Overture” dominating the No. 1 spot for thirteen weeks. She has dazzled audiences at prestigious venues including Walt Disney Concert Hall and the Hollywood Bowl, played major jazz festivals, performed with Ne-Yo at the BET Awards, and even entertained First Lady Michelle Obama. With “Afrika,” she opens a new chapter—one rooted in ancestry, artistic evolution, and global connection.

ChatGPT said: Phil Upchurch: The Shape-Shifting Guitar Master Who Bridged Soul, Jazz, and the Blues

Phil Upchurch (July 19, 1941 – November 23, 2025) was the rare kind of musician who seemed to belong everywhere at once. A guitarist and bassist who moved fluidly across soul, jazz, blues, and R&B, Upchurch wasn’t defined by a single genre—he defined the sound of all of them. From Chicago’s South Side clubs to sessions with Michael Jackson, Donny Hathaway, George Benson, and The Staple Singers, his fingerprints are scattered across some of the most influential American recordings of the past six decades.

Quiet, versatile, and endlessly inventive, Upchurch was the kind of musician other musicians revered. His career reads like a living map of modern Black music.

A Chicago Upbringing and a Life in Motion

Born in Chicago in 1941, Phil Upchurch came of age in a city where blues and jazz collided nightly. He entered the scene early, playing with R&B vocal groups like the Kool Gents, the Dells, and the Spaniels. The connections he made would echo throughout his life—most notably with Dee Clark, whose 1961 hit “Raindrops” featured Upchurch’s unmistakable guitar work.

His early years were defined by constant movement: from Chicago to touring circuits with Curtis Mayfield, Otis Rush, and Jimmy Reed, then back home again to immerse himself in the city’s busy recording studios. There, he played with giants—Woody Herman, Stan Getz, Groove Holmes, B.B. King, Dizzy Gillespie—and honed the seamless adaptability that made him indispensable.

A Surprise Hit and a Steady Rise

In 1961, Upchurch stepped into the spotlight with “You Can’t Sit Down,” a raw, joyful instrumental recorded with the Philip Upchurch Combo. The track sold over a million copies, earning a gold disc and hitting No. 29 on the Billboard chart—an early glimpse of the broad appeal his music could carry.

But Upchurch wasn’t chasing stardom. He returned to what he loved most: playing, recording, and exploring. As a house guitarist for Chess Records in the mid-1960s, he became part of the label’s deep creative engine, working with The Dells, Gene Chandler, Howlin’ Wolf, John Lee Hooker, and Muddy Waters. He recorded with The Soulful Strings and the Rotary Connection, both of which pushed soul music into new orchestral and psychedelic directions.

Upchurch was everywhere—and everything.

A Partner to Greatness

One of the most profound collaborations of his career began in the 1970s, when he connected with Donny Hathaway. Upchurch’s guitar and bass work is woven throughout Hathaway’s catalog, including:

• “This Christmas”

• “The Ghetto”

• Hathaway’s landmark Live album (1972)

• Everything Is Everything and Extension of a Man

Their musical chemistry was deep, intuitive, and emotionally electric.

During the same years, Upchurch played with a dazzling array of artists: Quincy Jones, Harvey Mason, Ramsey Lewis, Cat Stevens, Carmen McRae, Chaka Khan, Michael Jackson, Natalie Cole, and Mose Allison. He toured with George Benson, collaborated with jazz-fusion innovators, and pushed his own artistry in groups like the Upchurch/Tennyson quartet.

Few musicians could slide so naturally from soul to swing to pop—but Upchurch moved between them like they were different dialects of the same language.

The Later Years: A Lifelong Explorer

Even as trends changed, Upchurch remained a vibrant creative force. In the 1990s, he recorded with Jimmy Smith and Jack McDuff, returned to blues and jazz roots, and released albums that highlighted his evolving voice as a leader.

His 2012 project Impressions of Curtis Mayfield—which he co-produced, arranged, and performed—was a deeply personal tribute. Upchurch often said it was the album he was proudest of.

Across more than 60 years, he built a body of work that was vast, surprising, and unwavering in its musicality. His career wasn’t defined by one big moment, but by thousands of small ones—each time his guitar elevated a song without ever overpowering it.

Final Years and Legacy

Phil Upchurch died in Los Angeles on November 23, 2025, at age 84. His passing marked the end of a career that stretched across generations and genres, touching the lives of anyone who listened closely to the music of the last half-century.

To many mainstream listeners, he was a name in liner notes; to artists, he was a hero. A musician’s musician. A man who never stopped exploring.

Phil Upchurch didn’t chase fame.
He chased sound—and helped shape the sound of modern America.

Steve Cropper: The Quiet Guitar Hero Who Shaped the Sound of American Soul

Steve Cropper never needed to stand in the spotlight to change the course of American music. With a sharply ringing Telecaster and an instinct for exactly when not to play, he became one of the most influential guitarists of the 20th century—without ever raising his voice. As the musical backbone of Stax Records and a co-writer of some of soul’s most enduring songs, Cropper helped define an era with understated brilliance. His story is one of quiet mastery, deep collaboration, and a lifelong devotion to groove.

The Making of a Musical Craftsman

Born in the tiny town of Dora, Missouri, in 1941, Steve Cropper grew up far from the musical centers he would later transform. When his family relocated to Memphis, he found himself surrounded by the city’s electrifying cultural energy. Gospel spilled from church windows. Blues drifted across street corners. Rhythm and soul pulsed through every neighborhood.

At 14, he bought his first guitar—and something clicked. Cropper wasn’t drawn to showmanship; he was drawn to feel. He devoured the styles of Chuck Berry, Chet Atkins, Jimmy Reed, and Lowman Pauling, listening closely for the little details that made records come alive. That instinct—to serve the song, not overshadow it—became the foundation of his career.

Stax Records, The Mar-Keys, and a Musical Revolution

By the late 1950s, Cropper had joined up with fellow Memphis teenagers to form the Royal Spades, who soon became the Mar-Keys. Their 1961 hit “Last Night” put them—and Cropper—on the national map.

But the real transformation came when he began working at Stax Records, the now-legendary Memphis label that blended Black and white musicians into one of the most fruitful integrated creative environments in American history. Recognizing his maturity and vision, Stax co-founder Jim Stewart quickly elevated the young guitarist to A&R duties.

Then came the band that would define him: Booker T. & the M.G.’s.

With Booker T. Jones on Hammond organ, Donald “Duck” Dunn on bass, and Al Jackson Jr. on drums, Cropper helped forge a sound both gritty and elegant—lean grooves that let the emotion breathe. Together, they became the heartbeat of Stax, backing a who’s-who of soul royalty: Otis Redding, Sam & Dave, Wilson Pickett, Carla Thomas, and many more.

A Songwriter Behind the Classics

Though Cropper rarely claimed the spotlight, he left an enormous imprint on the American songbook. His co-writing credits include three of the most iconic soul songs ever recorded:

• “In the Midnight Hour” with Wilson Pickett

• “Knock on Wood” with Eddie Floyd

• “(Sittin’ On) The Dock of the Bay” with Otis Redding

That last song holds a special place in music history. Cropper finished the lyrics and arranged the recording after Redding’s death—a bittersweet act of artistry that helped turn the track into a timeless masterpiece.

His playing style—clean, sharp, sparse—became a signature. Never flashy, always essential.

Hollywood, The Blues Brothers, and the Wider World

Cropper’s influence extended far beyond Stax. When the original era of the label ended, he built TMI Studios and recorded with Rod Stewart, Ringo Starr, José Feliciano, and The Jeff Beck Group. His reputation soared.

In 1978, an unexpected twist cemented his fame with a new generation: The Blues Brothers. Alongside Dan Aykroyd, John Belushi, and his old Stax bandmates, Cropper became part of a pop-culture phenomenon. His stoic stage presence—shades on, Telecaster in hand—became iconic. He appeared in The Blues Brothers (1980), Blues Brothers 2000 (1999), and continued performing with versions of the band for decades.

A Lifetime of Honors and Music Without Boundaries

Cropper was never content to coast. He continued writing, producing, and recording well into his eighties. He played at Eric Clapton’s Crossroads Guitar Festival, toured with Neil Young, released new albums, and collaborated across genres—from soul to country to blues to rock.

Awards and honors accumulated:

• Inducted into the Rock and Roll Hall of Fame with Booker T. & the M.G.’s

• Two Grammy Awards, with multiple nominations

• Inducted into the Songwriters Hall of Fame

• Ranked among the 100 Greatest Guitarists by Rolling Stone

Even in his later years, he kept pushing forward. His 2024 album Friendlytown, backed by Billy Gibbons and featuring Brian May, proved he remained a creative force at age 82.

A Quiet Farewell

Steve Cropper died on December 3, 2025, in Nashville at the age of 84. He had recently been recovering from a fall, and no immediate cause of death was released. His passing closed the final chapter on a career that had touched nearly every corner of popular music.

What remains is a legacy woven through decades of recordings—riffs and lines that feel as elemental as the songs themselves. Cropper wasn’t loud. He didn’t need to be. His guitar spoke in precise, soulful phrases that helped define a genre and influence generations.

Steve Cropper leaves behind a body of work that proves something profound:
Sometimes the quietest musicians change everything.

GODTET and the Sydney Symphony Orchestra Redefine Boundaries on GODTET + The Sydney Symphony Orchestra

GODTET’s upcoming album captures the extraordinary synergy of their landmark performance with the Sydney Symphony Orchestra at the Sydney Opera House, a meeting of worlds where free improvisation meets classical orchestration. Orchestrated by long-time collaborator Novak Manojlovic and conducted by Nicolas Buc, the project transforms GODTET’s distinctive rhythmic language and live sampling artistry into a richly textured orchestral suite, bridging the intimacy of bedroom production with the grandeur of the concert hall.

In this ambitious collaboration, the orchestra navigates fully composed material while GODTET improvises within the harmonic architecture, creating a delicate tension between structure and spontaneity. Manojlovic’s arrangements amplify the ensemble’s groove, translating the band’s experimental sounds into symphonic color and weight. The result is a textural, cinematic suite that honors both the idiosyncratic energy of GODTET and the expansive sonic palette of the Sydney Symphony Orchestra.

The album celebrates the fluid exchange between disciplines. GODTET’s improvisational vitality intertwines with orchestral sophistication, dissolving hierarchies and demonstrating that music born in bedrooms and warehouses can resonate just as profoundly in concert halls. The performance and its recording stand as a testament to fearless artistic exploration, expansive imagination, and the beauty of bridging musical worlds.

Novak Manojlovic reflects on the project: “This collaboration weds two worlds I feel deeply connected to—the improvisatory aesthetic of GODTET, and the formal composition environment of the Sydney Symphony Orchestra. By letting GODTET improvise and the orchestra play the written material, we found a path that amplifies the best of each. Witnessing these two musical worlds interact seamlessly was one of the great privileges of my career. I hope this recording helps bridge perceptions between music created in bedrooms and warehouses and that presented in concert halls—truthful music transcends its origins.”

GODTET + The Sydney Symphony Orchestra is out 14/11/2025 via La Sape Records on LP and digital formats, a bold statement of innovation, collaboration, and genre-defying artistry.

James Allsopp Explores Cosmic Landscapes on Stars And Sand

James Allsopp, one of the UK’s most gifted saxophonists, returns with Stars And Sand, a richly cinematic and imagistic jazz album that stretches the boundaries of improvisation and storytelling through sound. Drawing on the adventurous spirit of free-jazz icons such as Eric Dolphy, John Coltrane, and Sun Ra, Allsopp blends ambient textures, psychedelic shading, and avant-garde sensibilities to craft a record that feels more like a journey through vivid sonic landscapes than a traditional jazz session.

Joining Allsopp on this exploration are alto saxophonist Steve Buckley, electric bassist Tom Herbert, and the emergent drummer Dave Storey, while co-producer Ben Lamdin (Nostalgia 77) adds dubwise textures, reverb-washed interludes, and a touch of psychedelia, elevating the quartet’s already immersive sound. Tracks like Yew shimmer with liquid horn dialogue and synth-like basslines, moving into ghostlike, reverberant passages that conjure supernatural atmospheres. The title track radiates exotic heat, Allsopp’s tenor sax and bass clarinet flowing endlessly, punctuated by moments of intense, focused expression.

On Slinky, distant thunderclaps and electric keyboard droplets create shifting weather across the sonic canvas, while Gravity channels turbulent storms through expressive, halting dialogues between instruments. Orugōru introduces hints of the oriental, with Buckley’s penny whistle fluttering high in Sun Ra–like exploratory flights over Allsopp’s grounding bass clarinet. The closing tracks, Tincture and Red Sky, guide listeners through subtle bossanova shades, dark abstractions, and luminous resolutions, encapsulating the album’s central vision: the stars, the sand, and the infinite space above.

Stars And Sand is an album of meticulous craft and inspired intuition, but for the listener, it is pure pleasure—a holiday for the mind, a cinematic journey that evokes color, drama, and the endless possibilities of sound.

Or Kantor Unveils Snake Island, a Cinematic and Imagistic Second Album

Or Kantor returns with Snake Island, a vivid and atmospheric sophomore album shaped by imagined landscapes, vanished memories, and the emotional residue of lost love. Building on the instrumental storytelling of his acclaimed 2024 debut Sarda Sarda—which drew praise from BBC Radio 6 Music, FIP, KCRW, and Songlines—Kantor deepens his sonic world with a richer, more cinematic vision. Conceived as the soundtrack to a fictional film that no one has ever seen, Snake Island channels the haunting beauty of a remote Cycladic island into a mythic narrative woven from mood, memory, and imagination.

Kantor’s artistic path has always been unconventional. A respected tattoo artist and founder of the Love Light studio, he entered the music world unexpectedly when Johnny Sharoni of Garden City Movement—now A&R at Anova Records—heard Kantor’s demos during a tattoo session. Struck by their raw, evocative sound, Sharoni signed him on the spot. That serendipitous moment led to Sarda Sarda, and now, to the expansive universe of Snake Island.

Describing his evolving style as “Subterranean music,” Kantor blends Mediterranean ballads, spiritual jazz, desert blues, and psychedelic textures into something wholly his own. Influences like Gábor Szabó, Omar Khorshid, Dorothy Ashby, The Budos Band, and Tommy Guerrero echo throughout the record, but the atmosphere is unmistakably Kantor’s: timeless, dreamlike, and cinematic.

“Snake Island was written as a soundtrack to a fictional film that disappeared from the world—one that, most likely, no one has ever seen,” Kantor explains. “It began as a tragic love story imagined during my time on a remote island in the Cyclades. Every landscape felt like a scene waiting for music. Eventually, the story gave way to sound.”

Snake Island marks a confident leap forward—a mythic, imagined film score rendered in music that shimmers like heat over stone. With its blend of nostalgic coastal moods, vintage cinematic color, and sweeping instrumental emotion, the album stands as a bold new step in Kantor’s creative evolution.

TSD Celebrates the 100th Birthday of Sammy Davis, Jr. with “Once in a Lifetime”

As the world prepares to mark what would have been Sammy Davis, Jr.’s 100th birthday on December 8, 2025, TSD is proud to announce Once in a Lifetime: A Sammy Davis, Jr. Centennial Celebration—a star-studded tribute honoring the life, legacy, and unmatched artistry of one of America’s greatest entertainers. Though Mr. Entertainment left us in 1990 at just 64 years old, his influence continues to shine across music, Broadway, film, and culture. Beginning his career in vaudeville at just two years old, Sammy Davis, Jr. spent seven decades breaking barriers, inspiring peers and future generations, and redefining what it meant to be a multi-hyphenate performer.

On Sunday, December 7 at 7:00 p.m., some of Broadway’s brightest talents will take the stage at New York’s legendary 54 Below to honor Sammy on the eve of his centennial. With the in-person event fully sold out, fans everywhere can still experience the magic through a worldwide livestream. Produced by TSD’s Joe Marchese and Motown historian Andy Skurow, the concert will be led by musical director and pianist Michael Lavine, joined by drummer Daniel Glass and bassist Michael O’Brien.

The evening boasts an extraordinary roster of acclaimed performers, including Rupert Holmes, Keith David, Blinky Williams, Jasmine Amy Rogers, Lee Roy Reams, Michael-Demby Cain, Jerry Dixon, Ava Nicole Frances, Nicolas King, Marc Kudisch, T. Oliver Reid, and Eric Jordan Young. Together, they will deliver Sammy’s biggest hits—along with a few surprises—paying tribute to a man who influenced countless artists and left an indelible mark on American entertainment. From Tony Bennett’s praise of Sammy’s incomparable spirit to Gregory Hines’ admiration of his gifts, and Frank Sinatra’s heartfelt tribute to his friend, the impact of Sammy Davis, Jr. remains as powerful as ever.

Once in a Lifetime promises an unforgettable evening of music, memories, and celebration. TSD invites fans worldwide to join in honoring a true icon by securing a livestream ticket and enjoying this centennial tribute from home.

Vance Thompson Rediscovers His Voice on Vibraphone with Lost and Found

Grammy-nominated composer, educator, and bandleader Vance Thompson is stepping boldly into a new musical chapter—this time as a vibraphonist—following a years-long battle with the neurological disorder Focal Dystonia that forced him to lay down the trumpet for good. What could have been the end of his performing career instead sparked a reinvention, culminating in Lost and Found, out January 16, 2026 on Moondo Records. The album marks Thompson’s first release as a leader in more than a decade and his first since embracing an entirely new instrument.

Thompson’s struggle began in late 2017, when the disorder gradually compromised his ability to play the trumpet. By May 2022, after half a decade of exhausting practice, therapy, and hope, he accepted the heartbreaking truth that he would never again perform on the instrument that had defined his life. But out of that loss came an unexpected spark: the vibraphone. Long inspired by masters like Gary Burton, Stefon Harris, and Milt Jackson, Thompson picked up a pair of borrowed mallets and decided to take things one day at a time. What began as an experiment quickly reignited his artistic fire.

Lost and Found is the joyous result of that rebirth—a lively, swinging testament to creativity, resilience, and rediscovery. Joined by a trusted quartet of longtime collaborators—pianist Taber Gable, guitarist Steve Kovalcheck, bassist Tommy Sauter, and drummer Marcus Finnie—Thompson unveils a sound that is unmistakably his own, even on a completely different instrument. His compositional and improvisational voice remains intact, evolved, and newly liberated.

Thompson recalls that it took only two weeks from first picking up mallets to calling friends for jam sessions. Although transitioning from a wind instrument to vibes required adjustments, it also opened new possibilities—chords, multi-note textures, and a shimmering resonance that became central to his new musical identity.

Teaching sustained him during the hardest years, and in that time, he feels he grew significantly as a musician. The album reflects that evolution, weaving together six new originals and thoughtful interpretations that trace the emotional terrain of his journey. The title track, begun before his diagnosis and finished years later on vibraphone, serves as a musical map of loss, reflection, and renewal. Other compositions draw from poetry, family, humor, and life’s most intimate milestones, all wrapped in the quartet’s warm rapport. The set also includes a luminous reading of “Over the Rainbow,” a funky take on Chick Corea’s “Bud Powell,” and Donald Brown’s “My Three Suns,” which steers the band into fusion-inflected terrain.

Through Lost and Found, Thompson becomes an inspiration himself—a testament to the idea that when one door closes, another may open in the most surprising form. His story echoes through every note: even in moments of profound loss, creativity can carve out new paths forward.

Music. Magic. Ironic.: Incognito’s 20th Studio Album Arrives This Month

Incognito founder Jean-Paul “Bluey” Maunick announces the arrival of Music. Magic. Ironic., the band’s 20th studio album—another expansive double release featuring 17 tracks. Issued on Bluey’s own label, Splash Blue, in partnership with Splash Music Productions, the album lands 24 December in Japan and 25 December worldwide, perfectly timed for the holiday season.

Bluey explains that the heart of Music. Magic. Ironic. reaches back to his childhood in Mauritius. He recalls watching sugar cane workers collapse onto the beach after long, punishing days in the sun—only to be transformed by the arrival of local musicians. With nothing more than a bottle, a fork, a spoon, hand drums, and clapping hands, the players conjured something powerful enough to lift exhausted bodies into joyful dancing. As a child, Bluey mistook “magic” for “music”—a misunderstanding that, in hindsight, was no misunderstanding at all.

From the age of five, inspired most of all by a desire to heal his grandmother, he felt a clear calling: to ease people’s burdens through music. Music. Magic. Ironic. is the latest chapter in that lifelong mission. Joined by a brilliant lineup of Incognito collaborators—Joy Rose, Tony Momrelle, Natalie Duncan, Cleo Reign Stewart, Maysa, Megan Khan, Imaani, Zebulon Ellis, Richard Bull, Charlie Allen, Chicco Allotta, Trevor Mires, Alistair White, Sid Gauld, Ryan Quigley, Paul Booth, Andy Ross, Graham Harvey, Francis Hylton, Francesco Mendolia, João Caetano, Mo Hausler, Drew Wynen, Max Beesley, Kevin Robinson, Ski Oakenfull, Simon Grey, Simon Hale, Richard Spaven, Everton Nelson, Ian Humphries, Natalia Bonner, Warren Zielinski, Marianne Haynes, Richard George, Charlie Brown, Louisa Fuller, Bruce White, Reiad Chibah, Chris Worsey, Ian Burdge, Phillipa Mo, Dave Larkin, Gillon Cameron, Dave Williams, Penny Ainscow, Ivana Cetkovic, Virginia Slater, Fiona Leggett, Nathanael Horton, and Bluey himself—the album radiates collective joy and creative energy. Graphic design comes from Mitchybwoy, accompanied by photography from Amanda Searle.

At 68, Bluey continues to practice what he calls “the magic of music,” even while facing Parkinson’s and Osteoporosis. These challenges have only strengthened his drive to create and to help others navigating similar diagnoses. Though he began his journey wanting to heal the world, he now finds himself healed by the very force he has dedicated his life to. “Isn’t that ironic?” he reflects.

Bluey invites listeners everywhere to let music elevate their spirits, restore balance, and carry them through difficult moments. On behalf of the entire Incognito family, he shares warm wishes for the year’s end—and hopes that Music. Magic. Ironic. finds a joyful home in the hearts of listeners around the world.