Few songwriters have left as indelible a mark on modern music as Bob Dylan. Across decades, Dylan’s work has fused poetry, social consciousness, and deeply personal storytelling into songs that have shaped American culture. Now, acclaimed tenor saxophonist Javon Jackson brings a fresh perspective to that legacy with Jackson Plays Dylan, a vibrant jazz exploration of Dylan’s music set for release on April 10, 2026 via Solid Jackson Records in collaboration with Palmetto Records.
Known for his resonant tenor tone and fearless musical curiosity, Jackson has long been recognized as one of the most thoughtful players of his generation. Over the years he has built a career that bridges tradition and innovation, and this latest project finds him revisiting the songs of one of America’s most influential artists through the lens of jazz improvisation. Drawing material from more than three decades of Dylan’s songwriting, the album explores a rich spectrum of music—from timeless protest anthems to intimate love songs—revealing the remarkable adaptability and enduring power of Dylan’s catalog.
Jackson is joined on the album by a dynamic quartet featuring pianist and keyboardist Jeremy Manasia, bassist Isaac Levine, and drummer Ryan Sands. Adding further depth to the project are two extraordinary guest vocalists: Grammy Award–winning singer Lisa Fischer and acclaimed vocalist and pianist Nicole Zuraitis. Together, the ensemble transforms Dylan’s familiar songs into expansive jazz statements while preserving the emotional core that has made them resonate for generations.
Despite his deep admiration for Dylan today, Jackson’s connection to the legendary songwriter did not begin early in life. Growing up immersed primarily in jazz, the saxophonist had little exposure to rock music and was largely unaware of Dylan’s work during his youth. That changed dramatically in the late 1980s when Jackson joined the final incarnation of the Art Blakey's Jazz Messengers under the mentorship of the legendary drummer Art Blakey.
It was during this period that Jackson encountered Dylan’s music through an unexpected source. Blakey’s attorney happened to be a devoted Dylan fan and began sharing recordings with the young saxophonist. Those introductions sparked Jackson’s curiosity and opened the door to an entirely new musical world. His awareness deepened further with the release of the 1999 film The Hurricane, which dramatized the story of middleweight boxer Rubin “Hurricane” Carter. The film renewed attention to Dylan’s powerful 1976 protest song “Hurricane,” a searing critique of racial injustice and the criminal justice system’s wrongful conviction of Carter.
For Jackson, the song revealed an important dimension of Dylan’s artistry. Beyond the poetic imagery and melodic craftsmanship lay a fearless commitment to addressing social injustice and amplifying marginalized voices. That discovery resonated strongly with the saxophonist, whose own artistic path has often intersected with themes of cultural reflection and social awareness.
Indeed, the spirit of social consciousness present in Dylan’s work parallels the creative partnership Jackson formed with the renowned poet, activist, and educator Nikki Giovanni. Their collaborations produced two critically acclaimed recordings—The Gospel According to Nikki Giovanni in 2022 and Javon and Nikki Go to the Movies in 2024—both of which blended spoken-word poetry with jazz performance. The idea for a Dylan tribute had been quietly developing in Jackson’s mind since his discovery of “Hurricane,” and the saxophonist initially envisioned Giovanni contributing new poetry that would engage directly with Dylan’s lyrics.
Tragically, those plans were interrupted when Giovanni passed away on December 9, 2024, following complications from lung cancer. In the wake of her passing, Jackson chose to move forward with the project as a dual tribute—celebrating Dylan’s songwriting while honoring the creative journey he had shared with Giovanni. In that sense, Jackson Plays Dylan carries emotional weight beyond its musical ambitions, representing both remembrance and continuation.
The album opens with Jackson’s original composition “One for Bob Dylan,” a groove-driven salute that establishes the album’s tone while acknowledging its inspiration. From there, the recording flows into one of Dylan’s most iconic works, “Blowin’ in the Wind.” Jackson’s interpretation takes the song at a resolute pace, with Manasia’s piano underscoring its unanswered questions through subtly dissonant harmonies. The result is both reflective and searching, echoing the timeless uncertainty embedded within Dylan’s lyrics.
Another early Dylan classic, “The Times They Are A-Changin’,” unfolds gradually across the performance, evolving from a somber meditation into a declaration of resilience. Jackson has noted that the song’s message remains as relevant today as it was when Dylan first wrote it, its call for awareness and transformation resonating across generations.
The energy intensifies with the band’s urgent interpretation of “Hurricane,” followed by a spirited version of “Gotta Serve Somebody.” This latter track showcases the extraordinary vocal power of Lisa Fischer, whose commanding performance injects the song with electrifying soul and gospel intensity. Though Fischer won a Grammy Award for her 1991 hit “How Can I Ease the Pain,” she is perhaps equally celebrated for her decades-long career as a touring vocalist with the legendary rock band The Rolling Stones, a partnership that lasted twenty-five years. Her career as a backing vocalist was memorably documented in the Oscar-winning documentary 20 Feet from Stardom, which highlighted the contributions of singers who often remain behind the spotlight.
While Dylan’s protest songs are central to the album’s thematic core, Jackson was equally drawn to the emotional vulnerability present in many of the songwriter’s love songs. According to the saxophonist, Dylan possesses a rare ability to combine fearless social commentary with intimate expressions of human feeling. That duality—strength and vulnerability coexisting within the same artistic voice—makes Dylan’s music particularly compelling for reinterpretation.
“Lay, Lady, Lay” receives a sultry jazz arrangement in which bassist Isaac Levine shares the melodic spotlight with Jackson while Manasia sets the mood with shimmering Rhodes textures. The album concludes with a delicate rendition of “Make You Feel My Love,” originally released by Dylan in 1997. Jackson’s expressive ballad playing glides gracefully above the rhythm section’s understated accompaniment, offering a quiet and emotionally resonant finale.
Another standout vocal performance comes from Nicole Zuraitis, whose interpretation of “Forever Young” carries a wistful sense of longing. Zuraitis, a Grammy-nominated artist who has performed with jazz luminaries including Dave Brubeck and Christian McBride, as well as former U.S. President Jimmy Carter, previously collaborated with Jackson on Javon and Nikki Go to the Movies. Her voice brings both warmth and emotional clarity to the song’s enduring message of hope.
Jackson also revisits two classics from Dylan’s landmark 1965 album Highway 61 Revisited. “Tombstone Blues” is reimagined through a modal jazz framework inspired by the exploratory spirit of John Coltrane, while “Like a Rolling Stone” is transformed into a jubilant gospel-inflected celebration. Meanwhile, Jackson’s brisk, swinging take on “Mr. Tambourine Man” reflects his interpretation of the song as a form of mentorship narrative—a musical conversation in which humility and curiosity guide personal growth.
That concept resonates deeply with Jackson’s own journey as a musician. Over the course of his career he has benefited from the mentorship of towering jazz figures such as Elvin Jones, Freddie Hubbard, and Betty Carter. Their guidance shaped his musical philosophy, encouraging the same blend of tradition and forward-thinking exploration that characterizes Jackson’s work today.
Ultimately, Jackson has come to see Dylan as part of a lineage that includes some of jazz’s greatest innovators. In his view, Dylan’s artistic approach mirrors the restless creativity of figures such as Miles Davis and Duke Ellington—artists who continually reinvented their music while honoring the traditions that inspired them.
“Bob Dylan reminds me of Miles Davis and Duke Ellington in a way,” Jackson has said. “Like them, he’s always trying to find another, better version of what came before, with one foot in the past and one foot in the future.”
That perspective lies at the heart of Jackson Plays Dylan. Rather than simply covering Dylan’s songs, Jackson approaches them as living compositions—musical frameworks capable of evolving through improvisation and reinterpretation. By placing Dylan’s songwriting within a jazz context, the saxophonist reveals new dimensions of melody, harmony, and rhythm that might otherwise remain hidden.
Recorded on November 18 and 19, 2025, the album represents yet another chapter in Jackson’s ever-evolving career. From his early days leaving Berklee College of Music to join Art Blakey’s Jazz Messengers in 1986, to his debut album Me and Mr. Jones in 1991 and his eclectic recordings for Blue Note Records, Jackson has consistently embraced musical exploration. His work has drawn from a wide range of influences—from Brazilian composer Caetano Veloso to rock icon Frank Zappa, Latin legend Carlos Santana, blues pioneer Muddy Waters, soul singer Al Green, and French songwriter Serge Gainsbourg.
With Jackson Plays Dylan, that spirit of curiosity continues. The album not only celebrates one of America’s greatest songwriters but also demonstrates the remarkable versatility of jazz as an interpretive art form. In Jackson’s hands, Dylan’s songs become fresh landscapes for improvisation—bridging folk, rock, poetry, and jazz into a unified musical conversation that honors the past while pointing toward the future.
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