Max Jaffe to Release You Want That Too! on November 21 via Colorfield Records

Los Angeles-based drummer and producer Max Jaffe is set to release his highly anticipated LP, You Want That Too!, on November 21st via Colorfield Records. Known for his innovative approach to drumming and composition, Jaffe’s latest album is a captivating journey through eclectic rhythms, space jazz, and experimental textures. Recorded at Pete Min's Lucy’s Meat Market Studio in LA, You Want That Too! features an impressive lineup of collaborators, including Jeff Parker, Meg Duffy (Hand Habits), Spencer Zahn, Logan Kane, and many others.

A Sonic Exploration: You Want That Too!

Jaffe’s new LP is the result of a deep and experimental creative process. Describing the album as a “process-driven experiment,” Jaffe says, “Each track was sculpted from pristine silence — whittled away with tone, harmony, rhythm.” The album was recorded with the goal of a clean slate every day in the studio, allowing Jaffe and his collaborators to explore sound freely and create something fresh each time they picked up their instruments.

The result is an album that is as experimental as it is joyful, with a focus on discovery, collaboration, and the creation of new sounds. Jaffe’s work has always been defined by his commitment to pushing boundaries, and You Want That Too! is no exception. The music itself is propulsive yet mellow, with an experimental edge that draws on influences from early Warp Records releases, space jazz, and glitch-funk. Throughout the LP, listeners are invited to engage with the tension between structure and freedom, as Jaffe and his collaborators craft a sound that is dynamic and ever-evolving.

Collaborations that Tell a Story

One of the defining features of You Want That Too! is its collaborative nature. Jaffe explains that the musicians on the album “tell a story,” with some being long-time friends and others newly forged connections in his ever-expanding musical network. Jeff Parker’s expressive guitar work, Meg Duffy’s delicate yet powerful guitar tones, and Spencer Zahn’s deep bass grooves all contribute to the album’s intricate layers. Other collaborators include Gavin Gamboa, Daniel Rotem, Shelley Burgon, and Logan Kane, each adding their unique voice to the project.

While the album embraces a wide range of musical ideas, it never feels scattered. The variety of sounds and influences is carefully curated, resulting in an album that maintains a coherent identity while offering moments of playful experimentation and discovery.

Key Tracks: A Glimpse into You Want That Too!

The first single, “In Green”, released ahead of the album, is a perfect introduction to Jaffe’s creative world. With a buoyant groove and improvisational moments provided by Jeff Parker, Daniel Rotem, and Logan Kane, the track offers a glimpse into the kind of sonic exploration Jaffe has been working on. Max describes it as a “personal flotation device,” inviting listeners to drift downstream through the music’s flowing, improvisational wonder.

Another standout track, “S-NARE”, will be released on October 29th. The track draws inspiration from early Warp Records and Jaffe’s work with electronic drum sensors like Sensory Percussion. “S-NARE” is a drum-centric freakout, where the snare drum takes center stage as both a historical and musical symbol of control and power. “The snare has a loaded history of leading militaries into bloodshed,” Jaffe says. “S-NARE” uses that tension to lead the listener through a cathartic, driving rhythm that both captivates and challenges.

A New Chapter for Max Jaffe

For Jaffe, You Want That Too! represents a new chapter in his musical journey. His previous album, Reduction of Man, was a reflection on his twenties in pre-pandemic New York City, an elegy to a period of his life that felt like it had come to a close. With You Want That Too!, Jaffe is building a fresh foundation, one that draws on his experiences, his history, and the collaborative spirit of his time in LA.

“This is not a complete fresh start,” Jaffe reflects. “I am still, for better or worse, me. But it’s a new story.” This “new story” feels more expansive, open, and optimistic—a celebration of collaboration and the creative possibilities that come from working with others.

A Diverse, Eclectic Sound

What stands out most about You Want That Too! is its eclecticism. The album spans a wide range of musical genres and styles, from experimental jazz and glitch-funk to ambient and atmospheric soundscapes. But it’s not just a mix of disparate sounds; the album thrives on its ability to find cohesion in diversity. It’s an album that embraces the unknown, and in doing so, offers listeners a rich, immersive experience.

One track that exemplifies this eclecticism is “Ancestral Creeks”, which feels like a unique blend of psychedelic rock, jazz, and experimental music. The track recalls the spirit of CAN’s Tago Mago, yet it’s undeniably personal to Jaffe and Min. The deep, hypnotic grooves and expansive soundscapes invite listeners to lose themselves in the music, making it one of the album’s standout moments.

What’s Next for Max Jaffe?

With You Want That Too!, Jaffe continues to cement his place as a forward-thinking artist in the world of experimental jazz and electronic music. His exploration of new sounds, his commitment to collaboration, and his willingness to push the boundaries of what’s possible in the studio make this album one of his most exciting releases yet.

Fans of Josh Johnson, Jeff Parker, CAN, Plaid, and Pharoah Sanders will find much to love here, but Jaffe’s unique voice and approach ensure that You Want That Too! stands on its own as a truly distinctive work.

Album Details

Album Title: You Want That Too!
Artist: Max Jaffe
Release Date: November 21, 2023
Label: Colorfield Records
Genres: Jazz, Experimental

Chino Amobi Unveils New Single 'Space City' and Striking Visual Ahead of Highly Anticipated Album Eroica II: Christian Nihilism

Chino Amobi, the multi-talented American musician, painter, director, and graphic designer, has released his highly anticipated new single, “Space City”, alongside a visually arresting music video directed by his longtime collaborator, Nathan De Paz Habib. The track serves as a precursor to his upcoming album, Eroica II: Christian Nihilism, due out on October 31st via Drowned By Locals.

Space City: A Meditation on Houston, Memory, and Contradiction

Following the minimalistic, reflective tones of “Aristides”, Amobi's latest release, “Space City”, represents a darker, more magnetic exploration of his personal and philosophical terrain. With its atmospheric layers and brooding intensity, the track is a sonic descent into the depths of spiritual doubt, transcendence, and emotional reckoning.

In a statement about the track, Amobi shared:

“‘Space City’ is about my time spent living and rooted in Houston after travelling around the world and the influences that it has had on me mentally, physically, and psychically. It’s a drone-like meditation of The Eroica Onticide — where I am at in my life and philosophy, in truth and contradiction.”

The song is a profound meditation on place, memory, and the contradictions that define existence. The title “Space City” references Houston, Amobi's home after years of global travel, a city that stands as both a symbol of ambition and isolation. It reflects the spiritual tensions that run through Amobi’s life, blending drone-like minimalism with haunting atmospherics to craft a soundscape that is as cerebral as it is emotional.

The Video: A Haunting Visual Journey

To accompany the release, Amobi has teamed up once again with director Nathan De Paz Habib, who also crafted the visually stunning music video. The video, starring Rufin Doh, mirrors the song’s themes of internal struggle and transformation, enhancing the track’s brooding atmosphere with cinematic visuals that are both haunting and beautiful.

The cinematography by Andrea Pietro Munafó complements the track’s tonal depth, creating an immersive visual experience that amplifies the track’s themes of spiritual confrontation and introspection.

Eroica II: Christian Nihilism — A Deep Dive Into Spiritual Upheaval

Space City serves as a glimpse into the broader thematic landscape of Amobi’s upcoming album, Eroica II: Christian Nihilism. The album is set to explore spiritual doubt and transcendence in stark, minimalistic tones, marking a significant departure from the sweltering, postcolonial soundscapes of Amobi’s debut album, Paradiso (2017). While Paradiso was a fierce exploration of global South tensions, displacement, and resistance, Eroica II is more introspective—an exploration of memory, exile, and spiritual upheaval.

Drawing inspiration from a variety of genres, Amobi combines folky drones, glacial ambient textures, spectral trap, and sacred music influences to create a sound that is at once haunting and serene. The album’s minimalism invites listeners to reckon with silence, voids, and spiritual questions with contemplative force.

This transition from the confrontational to the contemplative signals Amobi’s growth as an artist—one who is less concerned with outward conflict and more focused on the internal struggles that define the human experience.

Chino Amobi: A Multifaceted Artist

Chino Amobi was born in Tuscaloosa, Alabama, to Nigerian parents and grew up in Virginia. His early experiences, shaped by frequent trips to Nigeria, deeply informed his art and music. Initially, Amobi experimented with rap, alongside his brother (now known as Chichi The Eternal), before adopting the moniker Diamond Black Hearted Boy in the early 2010s. His early work was defined by raw, conceptual internet music that explored themes of futurism and emotional dissonance.

Amobi’s music has always pushed boundaries, blending genres and ideas in a way that defies categorization. He co-founded the influential label and art collective NON Worldwide alongside Angel-Ho and Nkisi, a platform dedicated to artists of the African diaspora. NON quickly gained global recognition for its radical political ethos and genre-defying sound.

Amobi’s works span across multiple disciplines, including fashion, film, and visual art. His visual work has been showcased in galleries across the world, with his paintings represented by major galleries in New York, Paris, and Washington, D.C.

Eroica II: Christian Nihilism — Tracklist

1. The Triumph of the Cross

2. Alpha and Omega

3. Space City

4. Hand of God

5. The Eroica Mystery School

6. I Love Beauty, I Am a Nihilist, but I Love Beauty

7. I Wouldn't Be Alive Without You

8. 777

9. 222

10. Wicked City

11. Aristides

12. This Is the Best of Seth Price

13. Gallerina

14. Legend

15. Close Enemies (Bonus Digital)

16. Pleiades (Bonus Digital)

17. Glory to the Highest (feat. The Eternal) (Bonus Digital)

18. You Want It Darker (Bonus Digital)

The Future of Chino Amobi

Amobi’s continued exploration of sound, memory, and existentialism has positioned him as one of the most intriguing and boundary-pushing artists of his generation. As Eroica II: Christian Nihilism looms on the horizon, his listeners can expect an album that challenges the very fabric of spiritual and sonic expression.

For now, the release of Space City offers a compelling taste of what’s to come—a track that’s both meditative and intense, filled with layers of meaning and sonic complexity. With a release date set for October 31st, Eroica II: Christian Nihilism promises to be an album of monumental emotional and philosophical weight.

John Taylor, Marc Johnson, Joey Baron – Tramonto

A revelatory live trio recording from ECM, capturing John Taylor in radiant form with Marc Johnson and Joey Baron.

A Night in Birmingham, 2002

Recorded live during the Contemporary Music Network tour in January 2002, Tramonto captures UK pianist John Taylor (1942–2015) in celebratory, expansive mood. The concert finds him fronting one of his most dynamic and quick-witted trios, alongside bassist Marc Johnson and drummer Joey Baron—a powerhouse rhythm team whose agility and inventiveness match Taylor’s mercurial artistry.

The chemistry between the three musicians is unmistakable. Just months later, they would record the acclaimed ECM release Rosslyn in Oslo, but Tramonto preserves the trio in an earlier, rawer state—live, risk-taking, and electric with possibility.

John Taylor and the ECM Connection

Taylor’s long relationship with ECM dates back to 1977, when he co-founded Azimuth with Norma Winstone and Kenny Wheeler. Over the decades, he contributed to more than two dozen projects, yet he was rarely featured in a piano trio context on the label. Exceptions came with drummer Peter Erskine’s trio, where Taylor both played and composed.

Two of his Erskine Trio compositions resurface on Tramonto:

• “Pure and Simple” – elegant yet harmonically adventurous.

• “Ambleside” – transformed here into a 15-minute epic of shifting moods and extended improvisation, spotlighting all three musicians.

Taylor’s gift as a composer—what critic John Fordham called “romantically song-like yet harmonically unpredictable”—shines throughout the set.

The Music

The programme blends originals and inspired interpretations:

• “Between Moons” – Tender and lyrical, a Taylor composition that would later appear on Rosslyn. Its Bill Evans lineage is unmistakable, underscored by Johnson’s presence as Evans’s final bassist.

• “Up Too Late” (Steve Swallow) – A spirited excursion leaping from bop to free playing, complete with Johnson’s arco bass and Baron’s mercurial drumming.

• “Tramonto” (Ralph Towner) – The title track, first premiered on ECM thirty years earlier by Towner and Gary Peacock on Oracle, receives a fresh and vibrant reinterpretation.

Together, these performances reveal a trio deeply attuned to surprise, texture, and nuance—qualities that would define their later studio work.

Legacy and Lineage

Beyond Tramonto and Rosslyn, John Taylor’s ECM legacy includes:

• The Azimuth albums (Azimuth, The Touchstone, Départ, Azimuth ’85, How It Was Then – Never Again).

• Collaborations with John Surman, Jan Garbarek, Kenny Wheeler, Norma Winstone, Peter Erskine, Miroslav Vitous, Arild Andersen, Mark Feldman, and Marilyn Mazur.

Marc Johnson and Joey Baron, meanwhile, have their own deep ECM histories:

• As a rhythm tandem in John Abercrombie’s bands (Cat’n’Mouse, Class Trip, The Third Quartet).

• As key players on Johnson’s Shades of Jade and Swept Away, with Baron’s drums lending color and drive.

• Johnson’s leader work spans decades, from the electric urgency of Bass Desires (with Scofield, Frisell, and Erskine) to the intimate solo bass recording Overpass (2021).

• Baron remains a force in contemporary jazz, most recently with the Fred Hersch Trio (The Surrounding Green, 2025) and in collaborations with Danish guitarist Jakob Bro (Streams, Bay of Rainbows, Once Around the Room).

Why Tramonto Matters

More than a long-lost live tape, Tramonto offers a rare glimpse of John Taylor in full trio flight, balancing lyricism, wit, and daring improvisation. It documents the pianist’s ability to compose for improvisers while surrounding himself with musicians capable of turning every twist into fresh inspiration.

For listeners who admired Rosslyn, this is its natural companion: rawer, more immediate, and suffused with the joy of discovery on stage. For newcomers, it’s a chance to hear one of Britain’s greatest jazz pianists at the height of his creative powers.

✨ Tramonto isn’t just a recording—it’s a reminder of the vitality, openness, and brilliance John Taylor brought to every performance.

Akiko Yano – 7 O’Clock in Tokyo (1979)

A legendary live recording featuring Yellow Magic Orchestra, Tatsuro Yamashita, and Minako Yoshida – newly remastered and released worldwide for the first time.

Tokyo, 1978: A Scene in Motion

The late 1970s marked a seismic shift in Japan’s musical landscape. Economic optimism was fueling cultural experimentation, and Tokyo’s clubs and concert halls were buzzing with new sounds that blurred the lines between jazz, funk, rock, and emerging electronic music.

At the center of this movement stood Akiko Yano, a young pianist and songwriter whose music refused to sit neatly in any category. By 1978, she had already released three albums showcasing her playful songwriting and daring arrangements. That same year, she assembled an extraordinary lineup for a live performance in Tokyo:

• Haruomi Hosono, Ryuichi Sakamoto, Yukihiro Takahashi — the trio that would soon become Yellow Magic Orchestra, pioneers of electronic pop.

• Tatsuro Yamashita — the rising star of what would soon be dubbed city pop.

• Minako Yoshida — one of Japan’s most soulful and expressive voices.

The result was 7 O’Clock in Tokyo, a one-night-only meeting of creative forces at a moment when Japanese music was about to reach global recognition.

Akiko Yano: The Playful Visionary

Born in Tokyo in 1955, Yano trained as a classical pianist but quickly gravitated toward pop and jazz, infusing her music with humor, eccentricity, and sharp musicianship. Unlike many of her contemporaries, she wasn’t afraid to experiment — one moment playful and childlike, the next deeply soulful or rhythmically complex.

Her music resonated with Japan’s growing cosmopolitan youth, who were eager for something fresh, and it has since gone on to influence generations of musicians. Today, artists like Mac DeMarco, Clairo, and Jessy Lanza cite Yano as an inspiration, proof of her enduring relevance.

The Concert Document

Recorded in September 1978, 7 O’Clock in Tokyo captures Yano at a creative crossroads. She had just released her third studio album, To-Ki-Me-Ki, and YMO was preparing their debut. This performance, then, wasn’t just a concert — it was a glimpse into the future of Japanese pop.

Highlights include:

• “Shiny Moments (To-Ki-Me-Ki)” – A sparkling performance of her then-new album’s title track.

• “Satchan” – A humorous interlude with Yano alone at the piano, reminding listeners of her childlike charm.

• “Walk on the Way of Life” – An eight-minute groove that pulls the entire ensemble together in a joyous finale.

The blend of styles is striking: funk basslines from Hosono, Sakamoto’s adventurous keyboard textures, Takahashi’s crisp drumming, and Yamashita and Yoshida’s soulful presence — all woven together by Yano’s commanding piano and playful vocals.

A Cultural Crossroads

Listening to 7 O’Clock in Tokyo today is like opening a time capsule. In its grooves, you can hear the seeds of what would become:

• City Pop — soon to dominate Japanese radio with its slick, Western-influenced production, led by artists like Tatsuro Yamashita.

• Yellow Magic Orchestra — whose fusion of electronic experimentation and pop sensibility would inspire musicians around the world.

• Akiko Yano’s own trajectory — moving between pop, avant-garde, and collaborations that kept her at the center of Japan’s creative ferment.

The album doesn’t just document a concert — it captures a moment when the future of Japanese music was being sketched in real time.

Tracklist

Side 1

1. God’s Loyal Love / (7 O’Clock in Tokyo) – 7:16

2. Water Ways Flow Backward Again – 2:37

3. Satchan – 2:03

4. Go For It, Yanagida – 4:45

5. Riding in the Balloon – 4:32

Side 2

1. Imomushi Gorogoro – 4:01

2. Kataroon Karurun – 4:01

3. Shiny Moments (To-Ki-Me-Ki) – 5:06

4. Walk on the Way of Life – 8:22

Why This Release Matters

For decades, 7 O’Clock in Tokyo remained a cult gem, known mainly to collectors and hardcore fans of Akiko Yano. Now, with its first-ever international release, newly remastered audio, original artwork, and liner notes by Paul Bowler, the album is finally getting the recognition it deserves.

It’s more than just a reissue — it’s a rare chance to hear the Japanese pop scene at its most fertile and daring, when musical boundaries were being broken and redefined.

A captivating snapshot of Tokyo in the late 70s, this release affirms Akiko Yano’s place not just in Japanese music history, but in the global story of pop innovation.

✨ For fans of Japanese city pop, Yellow Magic Orchestra, and adventurous pop experimentation, Akiko Yano’s 7 O’Clock in Tokyo is an unmissable rediscovery.

Michelle David & The True-tones Unleash Soul-Shaking New Single “Speak To Me” Ahead of Forthcoming Album Soul Woman

The first thing you notice when Michelle David opens her mouth to sing is the sheer power of her voice. It’s not just volume or technical skill—it’s conviction. That conviction is on full display in “Speak To Me”, the fiery new single from Michelle David & The True-tones, released today across all digital platforms. The track serves as the first glimpse of their upcoming album Soul Woman, out February 27, 2026 on Record Kicks.

A Groove With a Message

“Speak To Me” isn’t just another soul single—it’s a demand for connection. Driving percussion, gritty guitar lines, and a blast of brass create an urgent backdrop for David’s unmistakable vocals. At once pleading and commanding, her performance cuts straight to the core. The chorus feels like a rallying cry, pulling listeners onto the dancefloor while tugging at something deeper.

It’s a song made to be played loud, preferably in a crowded room, where its gospel-soul energy can bounce from wall to wall. But even through headphones, the single radiates the fire that has long set Michelle David & The True-tones apart.

Setting the Stage for Soul Woman

Due out in early 2026, Soul Woman is already being described as the band’s most expansive work yet. While fans can expect their trademark fusion of gospel fervor, vintage soul, and classic R&B, the new record pushes into fresh emotional territory. It’s music that celebrates vulnerability without losing its joyful punch, balancing moments of intimacy with unshakable grooves.

If “Speak To Me” is any indication, Soul Woman will be an album about reaching out—whether spiritually, romantically, or communally. It’s both a reflection of Michelle David’s lifelong roots in gospel and a declaration of how soul music continues to evolve in the hands of artists willing to honor tradition while moving boldly forward.

A Voice Born in Gospel

Michelle David’s story begins in New York, where she was singing in church by age four. By five, she was already performing with The Mission of Love, developing the spiritual grounding that has shaped every note she’s sung since. Her career path has been wide-ranging: Broadway productions like Mama and The Sound of Motown, recording sessions with Diana Ross and Michael Bolton, and eventually, the cross-continental collaboration that birthed Michelle David & The True-tones.

The band’s chemistry is no accident. Over the years, their partnership has produced seven acclaimed albums, each building on their reputation as one of Europe’s most exciting live acts. From North Sea Jazz to Pinkpop to the Winter Olympics 2022, their performances are as likely to stir a crowd’s soul as to keep it moving. Recognition has followed, from a Dutch Edison Award nomination to praise by BBC Radio 6 (Album of the Year) and FIP Radio (Album of the Month).

Building Momentum

Their 2024 record Brothers & Sisters cemented their standing in the international soul scene, earning them new audiences and proving that their sound resonates well beyond genre purists. Now, with Soul Woman, the band seems poised for their biggest chapter yet.

What makes this moment so exciting is the balance they strike: Michelle David & The True-tones aren’t chasing trends or nostalgia. Instead, they’re carrying forward a lineage of gospel and soul music, translating it for today’s audiences without losing its raw essence.

What Comes Next

With “Speak To Me” already out in the world, the countdown to February 27 begins. Fans who’ve seen the band live know what’s coming: a record that demands not just to be heard, but to be felt. Whether you catch them on stage or stream their new music from your living room, one thing is certain—Michelle David & The True-tones are here to remind us why soul music, at its best, moves body and spirit alike.

For now, though, let “Speak To Me” play on repeat. It’s more than a single. It’s a promise of what’s to come.

Soul Woman is available for pre-order now on LP, CD, and digital formats via Record Kicks.

Saku Mantere’s Divine Apology: Jazz, Poetry, and the Search for Meaning

Vocalist, composer, and bandleader Saku Mantere presents Divine Apology, a jazz album that explores purgatory, memory, and longing with poetic depth and musical sensitivity. More than just a collection of songs, the record unfolds as a meditation on the human condition—layered with philosophy, literature, and improvisational artistry.

Half of the album’s lyrics are drawn from the work of poet Norman Cristofoli, whose metaphysical play The Pub inspired the album’s overarching structure: a liminal space where souls gather to reflect and await passage. Through this framing, each song becomes a meditation on grief, childhood, resistance, redemption, or love—anchored by a central question: How does one measure the quality of life?

The title itself carries dual meanings. “Apology” here suggests both a gesture of regret and a defense of existence. Divine Apology imagines a divinity capable of saying sorry while also mounting a lyrical defense of humanity’s contradictions.

The album features some of Canada’s most expressive jazz voices:

• Saku Mantere – Vocals

• Kate Wyatt – Piano

• Adrian Vedady – Bass

• Jim Doxas – Drums

• Lex French – Trumpet (1–4, 6–8, 10)

• Eric Hove – Alto Saxophone (1, 3, 6, 8–10)

• Bohdanna Novak – Vocals (5)

Their interplay creates a shifting, cinematic landscape: Jim Doxas’ intuitive drumming, Wyatt’s luminous piano, French’s aching trumpet lines, Hove’s searching alto sax, Vedady’s lyrical bass, and Novak’s haunting wordless vocal feature on Not Fair.

• Lapin Äidin Kehtolaulu – A reimagined Finnish lullaby that threads cultural roots into the project.

• Velvet – An intimate love song written for Mantere’s future wife, Maryam, whose artwork graces the album cover.

• Not Fair – Featuring Bohdanna Novak’s ethereal voice in a wordless role, offering one of the album’s most moving moments.

The repertoire travels seamlessly between traditional influences and deeply personal compositions, creating a narrative that feels both timeless and immediate.

Divine Apology is an album of paradoxes—irreverent yet reverent, vulnerable yet defiant, grounded yet transcendent. Rather than offering answers, it extends an invitation: to reflect, to feel, to question.

As the usher at the back door of The Pub might say: your fate is your own to determine, but the soundtrack can make all the difference.

• Artist: Saku Mantere

• Album: Divine Apology

• Release Date: September 19, 2025

• Link: sakumantere.ca 

Chad Lawson Releases Sanctuary (Together) Featuring Esther Abrami

New EP Where We Are, Together Out October 10 on World Mental Health Day

Pianist, composer, and wellness advocate Chad Lawson continues to blur the lines between contemporary classical music and mental health advocacy with his new single “Sanctuary (Together),” featuring acclaimed violinist Esther Abrami. The track arrives ahead of Lawson’s upcoming EP Where We Are, Together (Decca Records US), releasing October 10, 2025, in honor of World Mental Health Day.

Called “an invitation to decompress” by NPR and praised by Equinox for offering listeners something grounding when life feels out of control, Lawson’s music sits at the crossroads of artistry and healing. Sanctuary (Together) reflects this mission perfectly: a gentle, collaborative reimagining of material from his 2024 album Where We Are, now reinterpreted as part of a shared musical space.

Joining Lawson is Esther Abrami, the French violinist redefining classical presentation for new generations, with over one million social media followers. Their collaboration is both intimate and expansive—music designed not only for listening but for finding calm in connection.

The EP features three reimagined works arranged by Geoff Lawson, each involving world-class collaborators:

• “Solace (Together)” with VOCES8, two-time GRAMMY nominee Seth Parker Woods, and lyrics by poet Rupi Kaur

• “Sanctuary (Together)” with violinist Esther Abrami

• “Like The Stars In The Sky (Together)” with harpist Ashley Jackson

Visual artist and writer Morgan Harper Nichols created the artwork, reinforcing the sense of community at the project’s heart.

As Lawson explains:

“At its core, Where We Are, Together is about how healing feels a little more possible when we don’t feel so alone. I didn’t want this to be a solo project. I wanted it to feel shared—something made with others, not just by me.”

Lawson is the first musician to serve as a UN ambassador for the World Federation for Mental Health, and his work frequently aligns with initiatives for awareness and healing. In 2022, he released the double album breathe for National Suicide Prevention and Awareness Month. His podcast Calm It Down, nominated for an iHeart Radio Award, has surpassed 6 million downloads and continues to guide listeners through meditation and mental health practices.

Beyond his recordings, Lawson regularly leads workshops at Amazon, Nike, and Peloton, and partners with the Ryan Seacrest Foundation to bring music and breathwork to children’s hospitals. His compositions have also appeared across TV, film, and advertising, from The Walking Dead and Vampire Diaries to campaigns for Chevrolet and Microsoft.

With more than one billion streams of his work worldwide, Lawson has become one of today’s leading voices at the intersection of music and mindfulness.

Tracklist — Where We Are, Together

1. Solace (Together) [with VOCES8, Seth Parker Woods, and lyrics by Rupi Kaur]

2. Sanctuary (Together) [with Esther Abrami]

3. Like The Stars In The Sky (Together) [with Ashley Jackson]

With Where We Are, Together, Chad Lawson proves again that music can be more than entertainment—it can be a form of care, an invitation to pause, and a reminder that none of us are alone. Released on World Mental Health Day, this EP is both a celebration of artistry and a deeply human act of connection.

Nina Simone’s A Single Woman: The Complete Elektra Recordings

On November 7, Omnivore Recordings will release A Single Woman: The Complete Elektra Recordings, the definitive edition of Nina Simone’s final studio album. Available as a 2-LP set and a 21-track CD, this collection revisits the icon’s 1993 Elektra sessions with newly remastered sound, detailed new liner notes, and four previously unreleased recordings.

By the early 1990s, Nina Simone had already reshaped 20th-century music. From her groundbreaking 1959 debut Little Girl Blue to decades of genre-defying work, Simone’s artistry blended classical training, jazz sensibility, folk traditions, and searing social commentary.

In 1992, after a triumphant return to Carnegie Hall, Elektra Records executive Michael Alago approached Simone about recording again. Her reply was characteristically direct: “Get me the money… then we can talk!”

What followed was her final studio project: A Single Woman (1993). Modeled after two albums Simone loved—Frank Sinatra’s A Man Alone and Billie Holiday’s Lady in Satin—the sessions placed her unmistakable voice against the lush backdrop of a 50-piece orchestra. Produced by Andre Fischer, the album captured Simone exploring themes of love, longing, and independence in her own unflinching way.

While the original release featured ten tracks, Simone recorded much more during those sessions. She tackled material from Bob Dylan, The Beatles, Prince, and Bob Marley—songs that hinted at directions she might have pursued had this not been her last studio outing.

A Single Woman was reissued in 2006 with seven bonus tracks, but now, for the first time, the full scope of the Elektra sessions is being revealed. The Complete Elektra Recordings adds four previously unissued performances, bringing the total to 21 tracks.

The set is accompanied by extensive liner notes from David Nathan—known as the “British Ambassador of Soul.” Nathan not only details the making of the album but also shares personal reflections from his decades-long relationship with Simone, beginning with the founding of the UK Nina Simone Appreciation Society in 1965.

Nina Simone’s influence stretches across generations and genres. Her voice—simultaneously tender, defiant, and unyieldingly human—remains one of the most distinctive in music history. A Single Woman stands as her final studio statement, an album that balances intimacy and grandeur, rooted in tradition yet forward-looking.

With this expanded edition, listeners can experience Simone’s last chapter in full: her orchestral ballads, her interpretations of contemporary songwriters, and her playful takes on standards and blues. It’s the closest thing to being in the room as she shaped her final recorded legacy.

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Track List — A Single Woman: The Complete Elektra Recordings

Original Album

1. A Single Woman

2. Lonesome Cities

3. If I Should Lose You

4. The Folks Who Live On The Hill

5. Love’s Been Good To Me

6. Papa, Can You Hear Me?

7. Il N’y A Pas D’amour Heureux

8. Just Say I Love Him

9. The More I See You

10. Marry Me

Bonus Tracks
11. The Long And Winding Road
12. The Times They Are A-Changin’
13. Sign ‘O’ The Times
14. Baseball Boogie
15. I’m Gonna Sit Right Down And Write Myself A Letter
16. Do I Move You? (Take 2)
17. The Times They Are A-Changin’ (Alternate Take) ★
18. No Woman, No Cry
19. Do I Move You (Take 1) ★
20. I’m Gonna Sit Right Down And Write Myself A Letter (Alternate Take) ★
21. Baseball Boogie (Instrumental) ★

★ = Previously Unissued

A Single Woman: The Complete Elektra Recordings is more than a reissue—it’s the most comprehensive look yet at Nina Simone’s last studio chapter. For fans old and new, it’s a chance to hear the High Priestess of Soul in her final recorded bloom, reminding us why her voice continues to resonate across time.

Michael Sarian’s Live at Cliff Bell’s Vol. II Out November 21 on Shifting Paradigm

When trumpeter and composer Michael Sarian and his quartet walked onstage at Detroit’s storied Cliff Bell’s in spring 2023, no one—including the band—expected the performance to be recorded. By the end of the night, though, engineer Jon Georgievski had captured something remarkable: a group at the height of its creative powers, shaping music with intensity, empathy, and spontaneity.

That serendipitous session became Live at Cliff Bell’s (2024), an album praised by critics and named one of the best live recordings of the year by The NYC Jazz Record. Now, from that same unforgettable night, Sarian returns with a second installment: Live at Cliff Bell’s Vol. II, out November 21, 2025, on Shifting Paradigm.

The album features Sarian with his long-standing collaborators—pianist Santiago Leibson, bassist Marty Kenney, and drummer Nathan Ellman-Bell. Over years of touring, this lineup has developed a kind of musical telepathy, the ability to stretch and contract time, push each other into new territories, and respond to each shift with fluidity.

The repertoire on Vol. II highlights the quartet’s range: from the restless swing of Tomasz Stańko’s “First Song” to the meditative stillness of Sarian’s “Portrait of a Postman”; from the folkloric weight of Komitas’ “Dle Yaman” to the playful rhythmic twists of “Picklepuss Romp.” Each piece feels less like a performance and more like an unfolding conversation—sometimes tender, sometimes fiery, always alive.

Praised by All About Jazz for his “unique compositional and instrumental voice” and by DownBeat for his “endlessly renewable strain of lyric improvisation,” Sarian has built an international career defined by versatility.

Born in Toronto and raised in Buenos Aires, he grew up at the crossroads of cultures, a background that continues to shape his artistry. Now based in New York City, Sarian has appeared everywhere from Montreux and Kennedy Center to the Blue Note and Lincoln Center. His projects range from the intimate acoustic quartet heard here to the electro-acoustic group ESQUINA, which released its debut on Dave Douglas’ Greenleaf Music. He has toured globally not only with his own music but also alongside artists as varied as Bette Smith, The NYChillharmonic, and the Jonas Brothers.

Residencies at Art Omi, Millay Arts, and the Virginia Center for the Creative Arts have given him time to refine his compositional voice, but it’s onstage, in the charged space of live performance, that his music finds its truest expression.

The album’s opening track, Stańko’s “First Song,” pays homage to the Polish trumpet legend. Kenney’s commanding bass sets the stage, while the quartet honors Stańko’s fiery spirit with their own restless energy.

The mood shifts with Komitas’ “Dle Yaman,” an Armenian love song turned lament after the genocide. Sarian’s elegiac trumpet captures its sense of longing before the band flows seamlessly into “Portrait of a Postman,” a delicate, dreamlike piece inspired by Paul Motian’s trio aesthetic.

Elsewhere, the band flexes its adventurous side: the gritty swing of “Floating Sharks” channels Wayne Shorter, while “Regarding Kobe” offers a moment of intimacy and reflection, written in 2020 to honor Kobe Bryant’s passing. The set closes with “Picklepuss Romp,” a buoyant piece in 7/4 dedicated to Sarian’s brother’s dog, complete with second-line groove and playful exchanges that bring the audience to its feet.

Releasing two albums from the same night might seem unusual, but it speaks to the depth of material and energy this band brings to the stage. Vol. I offered a snapshot of a group in full stride; Vol. II widens the frame, revealing just how much ground they covered in a single set.

For Sarian, the recording stands as both a celebration of his quartet’s journey and a document of live jazz at its most vital: unpredictable, deeply personal, and grounded in the joy of shared creation.

Track Listing

1. First Song (7:55)

2. Dle Yaman (2:31)

3. Portrait of a Postman (6:33)

4. Trumpet Interlude (1:11)

5. Floating Sharks (9:13)

6. Regarding Kobe (7:10)

7. Picklepuss Romp (8:25)

Live at Cliff Bell’s Vol. II is not just a sequel—it’s an expansion, a second window into a night when everything clicked. With it, Michael Sarian and his quartet affirm their place among today’s most compelling voices in jazz, carrying forward tradition while carving out new paths of their own.