Award-winning trombonist, vocalist, and composer Audrey Ochoa returns with The Sorceress, a vibrant and imaginative new album available now via Chronograph Records. Blending jazz, electronica, swing, and pop into a richly textured sonic experience, the record further establishes Ochoa as one of the most distinctive and fearless voices in contemporary Canadian music.
Long celebrated for her ability to defy expectations, Ochoa has built a career that consistently pushes beyond the traditional boundaries of jazz. As noted by the Edmonton Journal, she “defies jazz horn stereotype with grace and humour,” while critic Keith Black highlights her ability to balance nostalgia with forward-thinking creativity. That balance is at the heart of The Sorceress, an album that feels both rooted and exploratory, polished yet playfully unrestrained.
At its core, The Sorceress is a celebration of transformation—musical, personal, and emotional. Ochoa brings together the many influences that have shaped her artistic journey, crafting a sound where improvisation meets infectious hooks and lush harmonies. The trombone takes center stage not just as an instrument, but as a voice—expressive, dynamic, and deeply human—telling stories of resilience, humor, and acceptance.
This latest release builds on an already remarkable trajectory. Her debut album, Trombone and Other Delights (2013), topped Canadian jazz charts for three consecutive weeks, while Afterthought (2017) reached No. 1 in Canada and broke into the U.S. Top 20. Subsequent projects like Frankenhorn (2020) and The Head of a Mouse (2023) further expanded her sonic palette and earned her widespread recognition, including a 2025 JUNO Awards nomination. Along the way, she has shared stages with artists as diverse as Hilario Duran, PJ Perry, Tommy Banks, Dave Matthews Band, Lew Tabackin, Marcus Miller, Chris Potter, and the UNT One O’Clock Lab Band.
With The Sorceress, Ochoa leans fully into her identity as a multi-dimensional artist. The album’s title itself reflects both humor and empowerment, inspired by past descriptions of her as a “trombone enchantress” and “sorceress of the trombone.” Rather than shy away from such imagery, she embraces it—turning it into a unifying concept that captures the album’s spirit of creativity and self-expression.
Musically, the record offers a wide-ranging listening experience, moving fluidly between swing, groove, and Latin influences, including Cuban and Brazilian elements. Ochoa also steps forward vocally on several tracks, adding another layer of intimacy and storytelling to the project. Her compositions are deeply personal, often rooted in specific memories, ideas, or cultural touchpoints—whether it’s the playful nod to saxophonists in “Button People,” reflections on life’s challenges in “Maintenance Phase,” or the liberating acceptance explored in “Let’s Give Up.”
Surrounding Ochoa is a stellar ensemble of musicians who bring her vision to life with precision and sensitivity. The album features Chris Andrew on piano and keyboards, Jeremiah McDade on tenor saxophone, Mo Lefever on guitar, Jon May on drums, Mike Lent on bass, Nathan Ouellette on percussion, with string contributions from Jen Bustin and Joanne Yu, and additional production by Michael Schlosser.
The result is an album that feels exuberant and expansive, yet grounded in a clear artistic vision. Ochoa’s ability to combine technical mastery with a sense of joy and play sets her apart, making The Sorceress not just a showcase of skill, but a fully realized artistic statement.
With this release, Audrey Ochoa continues to carve out a unique space in the modern jazz landscape—one where genre boundaries dissolve, storytelling takes center stage, and creativity is approached with both seriousness and a sense of fun. The Sorceress is more than an album; it is an invitation into a world where music becomes magic, and where one artist’s fearless imagination leads the way.
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