Independent record label Pacific Records is bringing the breadth of its artist roster into the 2026 GRAMMY® conversation, with three releases submitted for consideration in the first round of voting. Spanning California reggae, Hawaiian-inspired regional roots music, and live jazz, the projects by Sandollar, Slack Key ‘Ohana, and drummer-producer-arranger Kevin Peter Jones reflect the label’s commitment to musical craftsmanship, cultural identity, and recordings that preserve a distinct sense of place.
Rooted in Southern California’s independent music community, Pacific Records has built its identity around artists whose work connects personal expression with broader cultural experiences. This year’s submissions illustrate that approach across three very different musical landscapes: the sun-soaked rhythms of San Diego, the intimate harmonies of a family ensemble, and the spontaneous energy of a historic Washington, D.C., jazz venue.
For Sandollar, the reggae band whose sound blends rock, funk, and hip-hop with the laid-back spirit of San Diego surf culture, the album Sunny Day represents a celebration of California living and the connections that make a community distinctive. Released during the summer, the 13-track collection is submitted for consideration in the Best Reggae Album category.
Written by vocalist, keyboardist, and guitarist Baron Lunbeck, Sunny Day explores themes of connection, escape, and self-discovery through a sound that balances reggae foundations with contemporary influences. Produced by Brian Witkin and Donna Daly at Studio 606, the Foo Fighters’ recording facility, the album continues the band’s evolution while maintaining the relaxed energy that has helped establish its identity.
The title track, featuring KBong, captures the album’s sun-drenched outlook, while a new recording of Sandollar’s song “Up Up,” featuring rapper Dizzy Wright, highlights the group’s willingness to move between musical worlds. The original version of “Up Up” also appeared in the Netflix series Outer Banks, extending the band’s reach beyond its established audience.
“Sandollar’s latest album honors the band’s signature sound while highlighting its continued evolution and its ability to fuse reggae, hip-hop, and California culture with authenticity,” said Witkin, Pacific Records’ founder and CEO. He described the record as an example of how music can capture a lifestyle, give a community its own sound, and contribute to the culture surrounding it.
Where Sandollar channels the energy of the Southern California coast, Slack Key ‘Ohana takes a more intimate approach to musical storytelling. The trio’s The ‘Ohana Sessions, released in August, is submitted for consideration in the Best Regional Roots Music Album category, bringing together family musicianship, island-inspired sounds, and an understated recording aesthetic.
Led by Witkin on vocals, guitar, and steel guitar, Slack Key ‘Ohana features his mother, Carol Witkin, on ukulele and vocals, and his father, Joe Witkin, on bass, keyboards, and vocals. Joe’s musical history includes performing at Woodstock as a member of Sha Na Na, adding another chapter to the family’s longstanding connection with live music.
Recorded with vintage and analog equipment, The ‘Ohana Sessions emphasizes natural textures, three-part harmonies, and the interplay between musicians who share more than a musical partnership. Every instrument and vocal performance on the album comes from the three family members, giving the collection a close-knit character that reflects its title and its central theme of togetherness.
The project also follows Slack Key ‘Ohana’s collaborations with musicians including George Kahumoku Jr., ZZ Top’s Billy Gibbons, Brittni Paiva, and Rand Anderson. Yet on this recording, the focus returns to the family itself, allowing its musical chemistry to take center stage.
“‘The ‘Ohana Sessions’ unique blend of family musicianship and island-inspired sounds connects generations and culture through new music,” Witkin said. He emphasized the authenticity of the project, noting that the shared performances of father, mother, and son create a warmth that cannot simply be manufactured in a studio.
The third submission moves from family harmonies to the charged atmosphere of live jazz. Drummer, producer, and arranger Kevin Peter Jones assembled an all-star ensemble for eight sold-out performances at Blues Alley, the celebrated jazz club in Washington, D.C. Recorded during the performances, the resulting album, Blues Alley, is submitted for consideration in both the Best Historical Album and Best Album Cover categories.
The recording captures a distinguished group of musicians whose collective experience spans generations of jazz, fusion, and studio performance. The ensemble includes GRAMMY®-winning trumpeter Randy Brecker and keyboardist Jeff Lorber, GRAMMY®-nominated saxophonist Eric Marienthal and percussionist Lenny Castro, guitarist Dean Brown, and Senegalese bassist Cheikh Ndoye.
Their combined musical backgrounds give the album a rich instrumental vocabulary, while the live setting preserves the spontaneity and interaction that distinguish a concert performance from a studio recording. The project also carries historical significance: according to Pacific Records, it is among a select few live albums granted permission to be recorded at Blues Alley.
“Kevin brought together an absolutely extraordinary lineup of musicians whose performances capture a singular moment in jazz history,” Witkin said. He described the release as both a celebration and a historical document, with artwork designed to complement the music and reinforce the album’s identity as a carefully preserved performance.
The inclusion of Blues Alley in the Best Historical Album and Best Album Cover categories also highlights the different ways a recording can be valued. Beyond the musicianship captured on tape, the project draws attention to the preservation of a particular performance and the visual presentation that helps frame its place in a wider musical history.
Taken together, the three releases demonstrate Pacific Records’ interest in supporting projects that are united by artistic conviction rather than a single genre. Sunny Day reflects the cultural character of Southern California reggae; The ‘Ohana Sessions celebrates family, tradition, and regional roots; and Blues Alley documents the creative energy of an exceptional live jazz ensemble.
Their paths are distinct, but each project places a premium on authenticity and the relationships that shape music, whether between artists and their communities, family members sharing a musical language, or accomplished performers responding to one another onstage.
As the 2026 GRAMMY® consideration process brings attention to recordings across the musical spectrum, Pacific Records’ three submissions offer a snapshot of an independent label working across styles while maintaining a common commitment to artistry and cultural expression. The projects demonstrate how music can preserve traditions, reflect contemporary life, and document performances that might otherwise exist only in memory.
For Pacific Records, the significance of these releases extends beyond awards consideration. They represent the diversity of the artists it supports and the many ways music can connect communities, generations, and audiences through a shared creative experience.
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