GUY KLUCEVSEK and VOLKER GOETZE Little Big Top

Step right up! Step right in… to Little Big Top, the debut album of a new jazz quartet led by Slovenian-American accordion legend Guy Klucevsek (kloo-SEH-vik) with innovative German-born, New York City based trumpeter/producer Volker Goetze. This compendium of fourteen Klucevsek creations, written over two decades, is arranged by Klucevsek, produced by Goetze, and filled with musical thrills and spills that surprise and delight.

Goetze and Klucevsek accidentally discovered their musical alchemy when the Snug Harbor Cultural Center commissioned Goetze to curate music for the ‘Little Amal Walks’ project as it passed through Staten Island, on September 30, 2022. Upon hearing the ensemble gathered for that occasion, Goetze knew he shouldn’t leave that gold in the vein, so he proposed to capture the magic on an album. Klucevsek agreed, Staten Island Arts provided funding, and the resulting album will be available for all to hear on November 8, 2024.

Guy Klucevsek is one of the world’s most versatile and highly respected accordionists. A composer as well as accordion virtuoso, he has performed or recorded with the American Composers Orchestra, Laurie Anderson, Alan Bern, Brave Combo, Boston Pops, Buffalo Philharmonic Orchestra, Dave Douglas, Bill Frisell, Robin Holcomb, Kronos Quartet, Natalie Merchant, Relâche, and John Zorn, among many others. He has also appeared as a guest on the children’s tv show, Mr. Rogers’ Neighborhood and, along with a string quartet, accompanied soprano Renee Fleming at the memorial service for Senator John McCain. His accordion has also graced the orchestral film scores of A.R. Rahman (People Like Us) and John Williams for Steven Spielberg’s The Terminal, Munich, Indiana Jones and the Kingdom of the Crystal Skull, and The Adventures of Tin-Tin. In addition to his recordings, Klucevsek has composed the scores for dance-theater pieces by Karen Bamonte, Angela Caponigro, David Dorfman, Maureen Fleming, Hellmut Gottschild, Victoria Marks, Stuart Pimsler, Claire Porter, and Sandy Silva. He has also composed pieces for music-theater performances by the Bloomsburg Theatre Ensemble, Ping Chong, and Dan Hurlin.

As a soloist, composer, leader, and co-leader, Klucevsek is a co-founder of Accordion Tribe, and has released twenty-five recordings on the Starkland, Tzadik, Winter & Winter, Innova, Review, Intuition, CRI, Steinway and Sons, and XI record labels. His Starkland recording, “Transylvanian Software,” was cited by Stereo Review as a “Recording of Special Merit” and his 1987 project, Polka From the Fringe was named “Best Recordings of 1992” on WNYC’s New Sounds.  Klucevsek’s music has been described as “endlessly inventive, witty, moody and heartbreakingly beautiful.”  He is featured in the documentaries Behind the Bellows and Accordion Tribe: Music Travels.

An award-winning German jazz trumpeter, composer, filmmaker, producer, and conceptualist based in New York City since 2002, Goetze specializes in bringing ancient folkloric cultures together with contemporary jazz soundscapes, creating narratives that support peace and cooperation. Initially gaining his trumpet degree with Markus Stockhausen in Cologne, Goetze completed his master’s degree at Aaron Copland School of Music in New York City.  A visit to Senegal in 1996 indelibly changed his life when he struck up a musical partnership with a Senegalese Griot, Ablaye CIssoko, leading to a successful three-album, twelve-year run of producing, recording, and touring internationally as a duo.  Goetze also directed an award-winning documentary film, GRIOT, that was reviewed as “Stunningly beautiful” by The Globe and Mail (UK), and became an official selection of film festivals in Amsterdam, Vancouver, Warsaw, Valladolid, and Thessaloniki.

In 2012 Goetze joined the Motéma roster with the release of Amanke Dionti, his second of three collaborations with Ablaye Cissoko.  Following that he released a third album with Cissoko, two quintet albums, and a duo project with pianist Christian Torkewitz, before rejoining the Motéma roster in 2023 to release Flamenkora, his current touring group which features the esteemed Paris-based Senegalese Griot and Kora master Ali Boulo Santo Cissoko, and the Brazilian-born, Madrid-based, flamenco guitar ace, Roberto Monteiro and which unites West African Mande music with authentic Spanish flamenco guitar and American and Euro jazz trumpet to create a transglobal alliance unlike any other..  Flamenkora is selling out performances in Europe and is now developing their second album. Goetze and Ali Boulo Santo Cissoko also have a new duo release, Sargal, coming in 2025, which features, on three tracks, the highly respected Guadalupian percussionist Mino Cinelu (Miles Davis, Sting, Weather Report, Herbie Hancock, Peter Gabriel, Stevie Wonder).

“Collaborating with Maestro Klucevsek has been a profound lesson in depth, humanity, sincerity, and honesty,” explains Goetze. “He is a true master, who has redefined the role of the accordion in jazz, dance, world, pop, rock, world and classical music.”

“It has been my great privilege to collaborate closely with Volker,” relates the accordionist, ”Wearing his producer hat, he took care of so many details to make this album possible, and he turned Casa Klucevsek into a first-class recording studio. As a musician, he amazes me with his earnest dedication to internalizing the language of so many musical traditions. He studied the intricacies of each Little Big Top composition closely and played such beautiful trumpet lines that organically complement each song. What a blessing was brought to both of us by Little Amal! I hope this album brings some joy to all who hear it.”

The quartet will regroup for an album release concert on November 6 at Klucevek’s long-time haunt, Roulette in Brooklyn, where he sold out his 75th Birthday concert in 2022. The concert will be live-streamed and eventually shared with the world via the artist’s and label’s social media channels as well.

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Shuteen Erdenebaatar | Rising Sun

Sun is the debut album by Munich-based pianist and composer Shuteen Erdenebaatar. At just 25, this rising star from Mongolia’s capital, Ulaanbaatar. Erdenebaatar is leading three world class ensembles and has accumulated an impressive array important prizes for young musicians on the European jazz scene including the Kurt Maas Jazz Award, the Music Scholarship of the City of Munich, the Young Munich Jazz Prize, the Biberach Jazz Prize and the BMW Young Artist Jazz Award. With the release of Rising Sun, Motéma proudly ushers this bright new talent onto the world stage, as backed by her impressive and dedicated young quartet.

The daughter of an opera director, Erdenebaatar was brought up surrounded by music - particularly classical. Accordingly, she studied classical piano and classical composition at the Music University of Ulaanbaatar before coming into contact with jazz through a program at the Goethe Institute. This “jazz lab” under the direction of Martin Zenker turned out to be a pivotal moment for the budding pianist-composer. "It was then that a whole new world opened up to me," she says. "Suddenly I had the freedom to play what I heard in my heart, not just what was written in the notes. With her bachelors degree in hand at only 20 years old, she yearned to explore the world of jazz, and eventually came to study at the conservatory in Munich. Mentored by Gregor Hübner, Christian Elsässer, Tizian Jost and Andreas Kissenbeck among others, Erdenebaatar earned two masters degrees (in Peformance and Composition), and most importantly was able to find and cultivate her own jazz voice.

That voice is undeniably present on Rising Sun. Whether on the lilting, lyrical opener “In A Time Warp” , the rhythmically challenging burner "Ups And Downs", the melancholic-dramatic solo piece "Summer Haze" or the climactic, nostalgia-fueled "Olden Days", Erdenebaatar’s singular approach stands front and center. The rest of Rising Sun includes the dramaturgically ingenious “An Answer From A Distant Hill” (carried by a beguiling flute melody); the powerful, blues-soaked title track, which takes cues from a Mongolian folk song; the touching ballad “Saudade;” and the surprising love song “I’m Glad I Got To Know You”, on which the rising pianist and her quartet really step on the gas.

Erdenebaatar’s classical foundation is unmistakable throughout, displayed by her technical brilliance, stylistic finesse, and thematic structure of her compositions. Enriched by expressive harmonies and rhythm variability, Erdenebaatar’s memorable melodies serve as a framework for her formidable band to stretch out. The quartet consists of a German cadre of fellow players from her university cohort, all now award-winning rising stars and bandleaders in their own right. Bassist Nils Kugelmann, whom Southern Germany’s leading daily paper The Süddeutsche Zeitung named “one of the best in his field”, is a rhythmically and melodically outstanding all-rounder, who also shines with moving arco work on Erdenebaatar’s “Saudade”. Drummer Valentin Renner is one of Germany’s busiest jazz drummers, currently the backbone of several notable jazz ensembles in the country. Finally, the creative and highly virtuosic Anton Mangold rounds out the ensemble on saxophones and flutes. The quartet’s charismatic interplay is a highlight of the album . "It helped me a lot to know everyone well. I already had in mind who was playing each part when I was composing,” Erdenebaatar shares.

The quartet recorded Rising Sun soon after taking part in “Jazz Summer Week” at Munich’s Jazzclub Unterfahrt. During this week, the quartet had the opportunity to work out the program in front of an audience for five nights straight. Thus, unlike most of today’s youthful productions, the album was not created before, but rather following the live experience of the material, a difference that lends a powerful soulful connectivity to their already distinctive sound.

Rising Sun is a startlingly mature debut from a remarkable new talent. Shuteen Erdenebaatar’s signing to Motéma Music comes during their year-long, 20th anniversary celebration. "We have a small staff these days, and only put out a few albums a year, so, frankly, it's very rare that I have time to listen to unsolicited projects, but somehow Shuteen's email caught my eye. That she was Mongolian intrigued me and her beautiful smile led me to listen. Moved by what I heard, and seeing her many accomplishments, I recognized a contemporary jazz master on the rise.” Motéma is honored to introduce this debut, and also to work with Shuteen towards releases for her "Lightville" duo, and Chamber Jazz Orchestra albums which are in development,” shares Motéma founder and president Jana Herzen.

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Geri Allen and Kurt Rosenwinkel | A Lovesome Thing

"Geri Allen and Kurt Rosenwinkel are beautifully compatible. Their sound and musicality are a perfect fit on this gem recording. So happy it is finally being shared with the world! I always felt that Geri’s chordal motion was very guitar-oriented, so the simpatico between them is no surprise.” – Terri Lyne Carrington

Motéma Music, in harmonious collaboration with Kurt Rosenwinkel’s Heartcore Records, looks forward to joyfully unveiling to the world a musical treasure that has been hidden in the vaults of Cite de La Musique in Paris since 2012. The delicate masterwork, A Lovesome Thing allows the magical synergy between the late and legendary pianist Geri Allen and the innovative and very much in-demand guitarist Kurt Rosenwinkel to be heard for the first time on record. For friends and fans of Geri Allen, who were heartbroken by her untimely death in 2017, this release offers a blessed opportunity to hear her voice (both musically and literally) once again and to experience a magical evening of music that was especially important to her.

Terri Lyne Carrington, one of Allen’s closest collaborators notes, “This is an important album in the rich legacy of Geri Allen recordings, and I believe the fans of Kurt Rosenwinkel will be quite delighted as well!” “Everybody wanted to play with Geri Allen –” began Allen Morrison’s July 2022 Downbeat feature, inducting her into the Downbeat Hall of Fame. “…Ornette Coleman, Betty Carter, Ron Carter and Tony Williams, Charlie Haden and Paul Motian, Dave Holland and Jack DeJohnette, Esperanza Spalding, David Murray, Terri Lyne Carrington, and on and on.” Add to that list the great Kurt Rosenwinkel, who invited her to sit in with his band at the Jazz Standard in July of 2012. The simpatico was strong. “Geri was so impressed with the flow and the freedom of the music she experienced during that one night that she urged me to arrange another performance with Kurt as soon as possible,” explains Ora Harris, Geri’s long-time manager. “So Anders Chan-Tidemann, Kurt Rosenwinkel’s manager at the time, and I put our heads together and were able to book a duo date for Geri and Kurt to perform later that year at the Jazz à la Villette festival in Paris.“ The concert took place on Sept 5th, 2012 before a packed and hugely appreciative audience at the famed Philharmonie de Paris, a stunningly beautiful hall with world-renowned acoustics.

Allen and Rosenwinkel flew in that night from separate cities. There was no rehearsal. Yet in a mesmerizing display of improvised musical telepathy, they wove a harmonious tapestry, enthralling their listeners with layers upon layers of ambiguous yet mystically elegant and expansive expressions. The tones of the guitar and piano merged and re-emerged in a dense and majestic field where musical ideas budded, blossomed, turn to seed, and sprouted anew as the artists thoroughly re-imagined Strayhorn, Gershwin, and Monk and each revealed two delightful and never-before-recorded originals. As their instruments became extensions of their beings, notes flew between them as if an unseen hand was directing this intimate conversation between maestros. It was soul-stirring, and lovesome.

“There was a strong bond between Geri and myself: a beautiful internal smile, a deep respect.” Rosenwinkel relates. “I am so grateful we had the opportunity to work together. We talked through the years about projects we wanted to do, songs we wanted to play, but alas, we only had the chance to play a few times. This concert was the first and only time we played duo together. There was no rehearsal.”

The artists were so caught up in their musical collaboration that night that they mutually vowed to memorialize their creative bond in the studio soon. “Geri spoke often to me of her desire to record with Kurt,” says Motéma founder and director Jana Herzen. “And it was an idea I was keen to pursue.” Fate, however, had other plans, and the dream of a studio date died along with Geri when she succumbed to complications related to cancer in 2017.

She was just sixty. Her death shocked the jazz community. Messages of respect and love poured in from the far corners of the jazz world evidencing Allen’s quiet, yet totally pervasive influence on contemporary jazz. “In this music, there was before Geri Allen and after Geri Allen. She’s that important,” wrote pianist Ethan Iverson. “She truly has had a great influence on my style and approach to music thanks to her innate genius,” wrote Herbie Hancock. “Her spirit and legacy will live on forever,” said McCoy Tyner, who Allen herself had tributed with her solo masterwork “‘Flying Toward The Sound,” which marked her 2010 Motéma debut.

In his album note, Rosenwinkel comments that “Geri was a powerful force: a master musician and a true Magician. I felt a connection with her – the level of interaction with the subtle planes, the inner lives of spirit and contact with the universe. We felt it in the music, something magical happening, and I believe you can hear it in this recording,” Indeed we can hear it. The guitarist proved to be a perfect musical soulmate for the soft-spoken Allen, whose sensitivity was as legendary as her playing. If she were here, she would surely endorse Rosenwinkel in equally glowing terms, as did the New York Times, which commented, “Kurt Rosenwinkel can say more in a few lines (of music) than most guitarists manage over the course of an entire career.”

Motéma’s founder and president, Jana Herzen, who oversaw the release of four prior acclaimed Allen albums, worked in loving detail with Rosenwinkel as well as with illustrator Jenya Hitz, mastering engineer Alan Sliverman, and Motéma’s long-time graphic artist Rebecca Meek to create the Lovesome package. For those who revere the legacy of Geri Allen, admire the virtuosity of Kurt Rosenwinkel, or simply appreciate the enchanting allure of piano and guitar jazz, this album serves as a portal to an ephemeral moment when music transcended the mundane and reached the sublime.

The release of A Lovesome Thing finds Rosenwinkel in a watershed moment as he tours to support the four Heartcore albums that he’s released since January of 2022: Undercover, Berlin Baritone, The Chopin Project, and Kurt Rosenwinkel Plays Piano. Happily, he will be joining Motéma in Paris on as part of a three-night celebration of the label’s 20th Anniversary releases to take place at the Sunset/Sunside Club in Paris on November 2–4. On Nov 2 & 3, the Afro/jazz/flamenco trio Flamenkora and Mongolian piano sensation Shuteen Erdenebaatar (with her Quartet) will celebrate their debut recordings, and then on November 4, Rosenwinkel will close out the celebration with music from A Lovesome Thing performed with pianist Gerald Clayton who previously worked under Allen’s wing in her ‘Errol Garner, Concert by the Sea’ project.

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On-Ly Unveils Debut Band Album Wonderlust: A Jazz-Rock Odyssey

In March 2024, pianist and producer Joshua Smeltink, under his moniker On-Ly, will released his first band album, Wonderlust, through La Sape Records. This highly anticipated album showcases Smeltink's eclectic musical background, blending house and hip-hop influences with the hard-hitting post-bop jazz-rock that defined the 1960s and 70s.

Wonderlust pulls at the coat-tails of legendary influences such as Santana’s Moonflower, The Mars Volta, and the original Herbie Hancock and the Headhunters, all while offering listeners a taste of Bob James’ signature style. The result is a rich tapestry of sound that pays homage to the past while forging a distinct path forward.

Smeltink’s journey into music began with a foundation in house and hip-hop, genres that continue to permeate his work. His appreciation for the complex rhythms and improvisational nature of jazz is evident in Wonderlust, where he channels the ethos of influential bands like Weather Report and the Miles Davis Group. This synthesis of genres creates a unique soundscape that resonates with both jazz aficionados and contemporary music fans alike.

The album functions as a post-bop jazz-rock odyssey, reflecting Smeltink's deep reverence for the great leaders and bands of the past. Every detail of Wonderlust has been meticulously crafted, from its arrangements to its production style. It assumes a role akin to that of classic psychedelic albums, inviting listeners on a journey through intricately composed pieces that transition from heartfelt ballads to vibrant, sun-soaked heights.

One of the standout features of Wonderlust is its engaging arrangements and the caliber of musicianship involved. Collaborating with a talented roster of musicians, Smeltink has cultivated a sound that is not only innovative but also deeply rooted in the traditions of jazz. Each track showcases the remarkable interplay between musicians, highlighting the improvisational spirit that jazz embodies.

The production of Wonderlust is also noteworthy. Smeltink’s unique approach melds contemporary production techniques with the warmth and depth characteristic of classic jazz recordings. This fusion allows the album to resonate on multiple levels, providing listeners with a nuanced experience that invites repeated listens.

In addition to its musical depth, Wonderlust serves as a platform for introspection, encouraging listeners to explore their own musical journeys and experiences. The album’s themes of exploration and discovery are woven throughout its tracks, making it an essential addition to the collections of both jazz enthusiasts and casual listeners.

With Wonderlust, On-Ly establishes itself as a formidable presence in the contemporary jazz landscape. The album not only marks Smeltink’s first collaborative effort but also signifies a new chapter in his artistic evolution. As listeners prepare for its release, they can expect an immersive experience that bridges the past and present, inviting them to embark on their own musical pilgrimage.

As an Amazon affiliate, we earn from qualifying purchases. Available in both LP and digital format HERE, Wonderlust promises to be a highlight in 2024’s music calendar. It stands as a testament to the power of collaboration and the enduring legacy of jazz, inviting fans to discover the magic that arises when diverse musical influences converge. Whether you’re a long-time jazz lover or new to the genre, On-Ly’s Wonderlust is an album that is sure to inspire and captivate.

Vinícius Mendes: Macunaísmo Tardio Vol. 1 & 2

''Clube Da Esquina, a musical movement born in Belo Horizonte, is the principal means through which I was able to access the different sounds and styles that exist within my music. People like Milton Nascimento, Lô Borges, Nelson Angelo, and Novelli brought me closer to jazz and to the experimentation that '70s Brazilian music made possible. Whether it be a jazz waltz, a samba, or a baião, it can be ‘Brazilian music’ as long as it’s made in Brazil.” — Vinícius Mendes

Vinícius Mendes is a saxophonist, flautist, composer, improviser, and researcher hailing from Minas Gerais, Brazil. This region is renowned not only for its wealth of minerals but also for its rich musical heritage, heavily influenced by pioneers like Milton Nascimento and Lô Borges. Mendes graduated from the Universidade Federal de Minas Gerais, a prestigious center for music education, with a BA in Popular Music and an MA in Music. His academic pursuits led him to research improvisation in free jazz and Brazilian popular instrumental music, shaping his unique artistic voice.

In 2014, Mendes debuted his first instrumental work at the Savassi Jazz Festival, and in 2015, he released the album NAU, which fused free jazz with traditional Brazilian styles. This laid the groundwork for his upcoming project, Macunaísmo Tardio, recorded in two volumes: Volume One in 2021 and Volume Two in 2022. Released via Sonar Kollektiv’s sub-label Notes On A Journey, this album is a celebration of both original compositions and fresh arrangements of Brazilian classics.

Macunaísmo Tardio features stunning reinterpretations of works by artists like Lucca Noacco and Toninho Horta, alongside a breathtaking version of Joyce Moreno's dance floor classic "Aldeia de Ogum." With Mendes at the helm, this album promises to blend the essence of Brazilian music with innovative improvisation, showcasing the depth and diversity of a genre that continues to evolve. Prepare for an auditory journey that highlights Mendes' profound connection to his roots while embracing the expansive possibilities of contemporary music.

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Quinn DeVeaux | Leisure

His origin story is almost too good to be true. As a teenager, Quinn was raised on a healthy diet of his mom’s '80s R&B favorites and dad’s classic rock leanings. Leaving his hometown of Gary, Indiana, he set off on a journey across the country when he first truly heard Muddy Waters. He recalls, “I couldn't believe it. Didn't seem real - that bone-raw emotion.”

Quinn was no stranger to the important legacy of American roots music; it was entwined with his family’s heritage. His jazz singer grandmother mentored him on church songs and harmonies, nudging him into piano lessons. His uncle booked shows in northern Indiana, coaxing the likes of Chicago-based blues giant Howlin’ Wolf 30 miles south to Gary. By the time Quinn started digging into Chess Records artists like Chuck Berry and Bo Diddley, he felt a powerful call to action.

“USA” digs into Quinn’s Midwestern story with evocative precision: “wake up early on a Sunday morning, put on a cotton suit / I didn’t mind the songs we sang, but preachin’ I could never do,” before resigning to “bow my head and roll my eyes - oh, USA.” This track encapsulates Quinn’s ability to weave personal narrative with broader social commentary, reflecting his journey and the complex relationship many have with their homeland.

Quinn DeVeaux’s latest album, Leisure, which dropped this summer, finds the singer-songwriter refining his soul while injecting new elements into his work. Here are familiar DeVeaux calling cards: the appropriately swampy New Orleans funk of “Bayou,” “You Got Soul”’s joyous gospel vamp, and the epic ballad “Give Love a Try,” a sure-bet future live showstopper. However, Leisure also revels in a broader palette, as seen in the unique “Evil Woman,” which features an organ versus synclavier showdown, and the smoky '50s lounge vibe of “Many Days,” where horns launch the tune into Ennio Morricone terrain.

The album’s most compelling moments, however, are found in DeVeaux’s restless songwriting, exploring new stylistic lanes and tackling weightier themes. Tracks like “Bayou” and “Give Love a Try” highlight his knack for blending genres, while others delve into personal and societal narratives, inviting listeners into his world with authenticity and emotional depth.

In Leisure, Quinn not only pays homage to the musical influences of his past but also forges a path forward, creating a sound that is distinctly his own. With each note, he invites listeners to join him on a journey through the diverse landscape of American music, connecting the threads of blues, soul, and funk that have shaped his artistry. As he continues to grow and evolve, Quinn DeVeaux stands poised to make his mark as a vital voice in contemporary music, breathing new life into the roots that have informed his journey.

As the release date approaches, fans eagerly await the opportunity to experience Quinn's artistic evolution in Leisure, a testament to the power of music to capture the essence of personal and collective stories.

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The Sofia Goodman Group | Receptive

Sofia Goodman continues her meteoric ascent in the jazz world with Receptive, her release on Joyous Records. The much-lauded Nashville drummer-composer presents on her third album a profoundly personal cycle of eight original compositions that explore the human values that she holds most dear. The team that augments her journey through her inner self includes the latest incarnation of the renowned Sofia Goodman Group—trumpeter Blaise Hearn, trombonist Desmond Ng, saxophonists Dan Hitchcock and Jovan Quallo, pianist Alex Murphy, bassist Leland Nelson, and percussionist Jimmy Lopez—as well as Grammy-nominated musician and recent Nashville transplant Pascal Le Boeuf, who serves as producer. 

Receptive represents a careful refinement of the rich, expansive approach that was the hallmark of Goodman’s previous album, 2023’s Secrets of the Shore. It offers the same panoply of grooves, lush harmonies, and textural colors, delivered in a variety of introspective moods (befitting their titles) as well as with a fresh compositional and conceptual confidence. 

She attributes this in part to the involvement of Le Boeuf, her first experience with an outside producer. “He’d want us to really experiment and get into new territory and get out of our heads to try new things,” Goodman says. “Having him in the studio raised the bar for everybody there, because he’s such an amazing talent.”

Let there be no doubt, however, that Goodman is the leader; Receptive is her vision. From the sweet warmth of the opening “Trust,” to the suspenseful stop-time and driving swing of “The Space Within,” to the knowing contentment (and again, driving swing) of the closing title track, the drummer’s presence both literal and psychic is unmistakable.

But that doesn’t mean the other Group members aren’t powerful presences in their own right. Quallo’s gorgeous flute illuminates the charming “Allow,” both in his pacific reading of the melody and his gymnastic solo (which Lopez follows with a purposeful solo statement of his own). Nelson and Ng each offer sharp-eared melodic submissions on “Presence,” while “Socket” finds Goodman’s thoughtfully improvised drums leading the whole Group into a dark, querulous free counterpoint that calls upon the listener to be receptive indeed.

Sofia Goodman was born December 22, 1987, in Michigan, but adopted as an infant by a family living near Boston, Massachusetts. There her musical pursuits began with childhood piano lessons. A friend’s drum kit, however, quickly stole both her ears and her heart. 

She was a punk-rock kid when she attended Berklee College of Music’s Summer Program—but a class there taught by bassist esperanza spalding turned her head. She enrolled in Berklee’s undergraduate program, determined to hone her craft as a drummer, and gradually made her way deeper into jazz as she was earning her degree in Drum Set Performance. 

Goodman’s postcollege life in Boston was suddenly upended by a fire that consumed her apartment in the city. Needing a fresh start, she relocated to Music City, USA, also known as Nashville, Tennessee. It was an ideal place for a young freelance musician to live and work—and, as it turned out, the city’s concert halls and recording studios were filled with far more than just the country music it’s best known for.

Goodman plied her skills with musicians of all stripes, at the same time studying composition for a master’s degree from Belmont University. It was only a short time before she was ready to form her own band. Those early efforts would evolve into what is now the Sofia Goodman Group, building a following throughout the South and into the Midwest. Her first album, 2018’s Myriad of Flowers, received a nomination for Best Jazz Album from the Nashville Industry Music Awards. With Secrets of the Shore, Goodman’s 2023 follow-up, she won that award, and began as well to gain national recognition in the greater jazz community. Receptive, her third effort, pushes her further still on the path to success.

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SANTANA ANNOUNCES 2025 RESIDENCY DATES AT HOUSE OF BLUES LAS VEGAS

As he prepares for an electrifying return to the House of Blues inside Mandalay Bay Resort and Casino this week, Carlos Santana is thrilled to announce additional performances for his residency, An Intimate Evening with Santana: Greatest Hits Live: Presented by SiriusXM. Scheduled for January, February, and May 2025, this marks the 13th year of Santana's captivating residency at the iconic venue, known for its unparalleled energy and connection with fans.

Santana's residency promises an unforgettable live experience, showcasing the legendary guitarist's greatest hits, which have redefined the landscape of rock, blues, and Latin music over the decades. Known for his distinctive sound and electrifying performances, Santana has captivated audiences worldwide, earning numerous awards, including 10 Grammy Awards and three Latin Grammy Awards.

This intimate concert setting allows fans to experience Santana’s music up close, creating an atmosphere that amplifies the emotional resonance of his timeless songs. The band features some of the most talented musicians in the industry, bringing vibrant arrangements and dynamic performances to every show. Attendees can expect classics like "Smooth," "Maria Maria," and "Evil Ways," alongside newer material that reflects Santana’s ongoing evolution as an artist.

2025 Performance Dates:

January: 22, 23, 25, 26, 29, 30

February: 1, 2

May: 14, 15, 17, 18, 21, 22, 24, 25

Fan Club Presale Information: The presale for fans begins on Tuesday, October 29, at 10 AM PT. To participate, fans should log into their Fan Club account and visit the Santana.com Tour Page. 

Carlos Santana, born on July 20, 1947, in Autlán de Navarro, Mexico, is an iconic musician known for his groundbreaking fusion of rock, Latin music, and blues. Rising to fame in the late 1960s with hits like "Black Magic Woman" and "Oye Como Va," Santana has sold over 100 million records worldwide. His innovative guitar work and distinctive sound have influenced countless artists and continue to resonate with fans across generations.

Santana is not just a musician; he is a cultural icon and a humanitarian. Through the Milagro Foundation, he supports education and health programs for underserved children around the world, demonstrating his commitment to social change and empowerment. Discover Santana.

Steve Davis | We See

Trombonist Steve Davis was still in his late teens when he first shared the stage with trumpet master Eddie Henderson. While studying with Jackie McLean at the University of Hartford’s Hartt School of Music he frequented the 880 Club, which regularly hosted big-name players from New York on Thursday nights. At the urging of house pianist Don DePalma, Davis sat in with Dr. Henderson, who put the young trombonist through his paces by calling “There Is No Greater Love,” then invited him to remain while he led the band through Herbie Hancock’s “Maiden Voyage” and “Dolphin Dance.”

At the end of the set, Henderson encouraged Davis, telling him, “Man, you're going to be a star one day.”

That prediction has long since been fulfilled. Davis is revered as one of the leading trombone voices in modern jazz, featured on more than 100 recordings with such legends as Freddie Hubbard, Chick Corea, Horace Silver, Cedar Walton and Hank Jones. He served a brief tenure in the formidable ranks of Art Blakey’s Jazz Messengers, and later co-founded the all-star sextet One For All. JazzTimes called him, “an updated amalgam of J.J. Johnson and Slide Hampton,” hailing his “inventive ear for harmony and passion for melody,” while no less an icon than Freddie Hubbard lauded him as “one of the greatest trombone players in the world.”

So to call the ensemble that Davis has assembled for his latest Smoke Sessions release, We See, an all-star sextet is definitely no exaggeration. The album features Eddie Henderson on trumpet – that first encounter in Hartford has blossomed into a nearly four-decade collaboration and friendship – along with tenor saxophonist Ralph Moore, pianist Renee Rosnes, bassist Essiet Essiet, drummer Lewis Nash. Recorded live at Smoke Jazz & Supper Club, We See is the latest release in a series of live recordings celebrating the 25th anniversary of the club and the tenth anniversary of its record label.

We See continues Davis’ tradition of conjuring unparalleled three-horn frontlines for his Smoke Sessions releases. “Having three voices on the frontline is always a pleasure and an inspiration,” he says. “Not only because of the possibilities for harmony and texture, but also to draw inspiration from the incredible soloists flowing together and in juxtaposition to one another. It’s amazing to hear the creativity that everybody brings.”

The album’s title, of course, is borrowed from the Thelonious Monk classic of the same name, featured here in a bracingly swinging rendition. The “We” half hints at the many connections represented in the band, which extend to the liner notes penned by the trombonist’s father, journalist Jeff Davis. A lifelong jazz aficionado, the elder Davis would volunteer to cover notable jazz performances coming to Binghamton, NY, and wrote liner notes for albums by Buster Williams, Larry Coryell and Joe Beck.

Davis’ history with Henderson has included countless performances and recordings, including Davis’ 2015 Smoke Sessions release Say When. Moore, Rosnes and Nash all played together with trombonist J.J. Johnson, one of Davis’ heroes. Essiet and Davis served together as Jazz Messengers, while the trombonist has worked often with Nash, including on 2017’s Think Ahead and with the Dizzy Gillespie All-Stars and the Jimmy Heath Big Band.

Other connections can be traced, allowing the band to draw on well-honed chemistry while experiencing the thrill of a first-time meeting of all six on stage together. Rather than confront the band with new music to navigate, the bandleader called a set of smartly chosen classics, each one fertile ground for this superb band to stretch out and explore.

“We had very little written music on stage, so we could maintain a very natural, spontaneous feeling,” Davis enthuses. “But within that, some really beautiful ensemble playing shined through, along with plenty of freewheeling, swinging, hard playing. The approach was to take all this experience and friendship and seasoning and just play some jazz.” (The emphasis makes clear that this is not as easy as it sounds – at least not on the intended level.)

Rosnes echoes the leader’s enthusiasm. “Joining forces with these magnificent musicians on the Smoke stage was a joy,” the pianist says. “Our many years of friendship come through in the music, and every set was filled with excitement, discovery, and good vibes.”

The setlist includes favorites by the likes of Monk, Miles Davis, and Freddie Hubbard, but Larry Willis’ stentorian “To Wisdom, The Prize” stands out. Not just a stellar composition, the piece provided an opportunity to pay homage to the great pianist, who passed away in 2019. Willis became one of Davis’ closest collaborators over the years, serving a foundational role on many of the trombonist’s albums, including Think Ahead with Nash. “Larry Willis was a dear friend and very close to many of us in the band,” Davis says. “All of us loved him and loved his music, and ‘To Wisdom, The Prize’ is a modern classic. I hope this recording helps to honor Larry and his great works.”

Extending the use of the Monk title from the album to a name for what will hopefully be a recurring band is a wise choice on Davis’ part. Its conciseness is reminiscent of Muhammad Ali’s famously terse two-word poem, “Me / We.” A mere one letter longer, We See captures the myriad qualities of the sextet: its collective and communal spirit, as well as its forward-looking approach and the visionary qualities of each member.

“We've seen a lot collectively and individually,” Davis says. “We're continuing to see and search right now. It’s so gratifying to be in the midst of all that musicality and creativity.”

“We See" was produced by Paul Stache, and recorded live in New York at Smoke Jazz Club at 96KHz/24bit. Available in audiophile HD format, on limited 180g LP, and on 8-panel digipak CD. 

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Lucian Ban, Mat Maneri | Transylvanian Dance

Transylvanian Dance takes as its starting point transcriptions of folk songs and dance tunes collected by Béla Bartók a century ago. For Lucian Ban and Mat Maneri, these pieces have become “springboards and sources of melodic material” for performances “that capture the spirit of the original yet allow us to improvise and bring our own world to them…” Ban explains: “In our process we don’t have any preconceived notions of how we should arrange these songs. Some take a very improvisational approach. Some are more defined compositionally and harmonically. And others combine the folk material with original motives of ours. If you go deeper into the source material, new vistas are opening.

Recorded live in October 2022 in the context of the Retracing Bartók project in Timișoara, the album also bears testimony to the finely attuned understanding that Ban and Maneri have achieved in their long-running musical partnership.

The Romanian-born pianist and the US violist first played together in 2009, when the George Enescu Festival in Bucharest invited Ban to “re-imagine” Enescu’s music for a cast of jazz players. Maneri’s particular background, informed by classical and contemporary music as well as improvisation, made him an ideal partner for the project. A duet album, Transylvanian Concert (ECM 2313) soon followed, and Ban and Maneri have since collaborated in numerous undertakings, often playing in each other’s bands. Developing the music from the Transylvanian folk transcriptions has become a priority in recent years, with both players finding new freedoms in the material. On the present album, Mat Maneri, taking heed of Bartók’s observations about the “connective tissue” linking the musics of the world, subtly draws influence from Arabian, West African and Korean music as well as from the richly divergent folk sources of Transylvania in his uniquely liquid viola playing.

Lucian Ban moved from Romania to the US in 1999 to get closer to the jazz world that had long inspired him but has latterly drawn on earlier memories in his work. Raised in the rural community of Teaca in Transylvania, some of the first sounds Ban recalls are of traditional music played in the villages. On Transylvanian Dance such recollections come to the surface. But ‘jazz’, of course, is never far away. On “The Boyar’s Doina”, for example, the duo draws inspiration from Duke Ellington’s “Fleurette Africaine”, and explores connections between the doina and the blues…

Mat Maneri first appeared on ECM almost 30 years ago, on 1995’s Three Men Walking, one of several albums with his saxophonist/clarinettist father, the improviser, composer and sound poet Joe Maneri. Subsequent recordings with Joe included In Full Cry and the duo album Blessed. Tales of Rohnlief and Angles of Repose featured the Maneris’ collaborations with bassist Barre Phillips. Mat has also been heard on ECM albums with Robin Williamson and Ches Smith, as well as his own solo violin album Trinity.

Lucian Ban and Mat Maneri bring the music of Transylvanian Dance on the road in the months ahead, with concerts on both sides of the Atlantic. 

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Vince Guaraldi | You’re Not Elected, Charlie Brown

Lee Mendelson Film Productions (LMFP) is thrilled to announce the release – for the first time ever – of the complete Vince Guaraldi soundtrack for You’re Not Elected, Charlie Brown, the timeless 8th animated Peanuts® special, from writer and creator Charles Schulz, director Bill Melendez and producers Melendez and Lee Mendelson. Originally airing on October 29, 1972 on CBS-TV, the special is currently available for streaming on Apple TV+.

All versions of the album include the original 16 recordings that comprise the song cues of the special – with extended performances never available before now – plus another nine bonus or alternative tracks never heard before.

Guaraldi brought Dixieland jazz, his classic favorites, and even his voice (for the first time in a Peanuts special) to the score for Linus’s campaign for student body president.

Some highlights include: the complete (over five minutes) “Joe Cool” where Guaraldi sings about one of Snoopy’s most famous alter egos; multiple versions of “Incumbent Waltz” written for the special; probably his saddest tune in “Deserted Charlie Brown”; classic Linus and Lucy updated for the ’70s; and several of the eponymous “You’re Not Elected, Charlie Brown” tunes. There are bonus tracks for “Joe Cool,” alternate takes of songs like “Blue Charlie Brown” and a bonus of “African Sleigh Ride,” which they ended recording a different version of for a latter special.

When the session tapes were rediscovered, it became apparent that many of the songs had been cut down or edited (or replaced) for time or feel within the special for its final edit. This release resurrects many of those performances to their original full length. And for the first time they can be appreciated on their own, not underneath dialogue or effects from the special.

The recording features Guaraldi (piano, electric piano, vocals and guitar), Seward McCain (bass and flute), Tom Harrell (trumpet), Glenn Cronkhite (drums), Mel Martin (woodwinds), Pat O‘Hara (trombone) and John Scott Trotter as the music supervisor. The soundtrack was produced by Sean Mendelson and Jason Mendelson; remixed at Bones and Knives by Terry Carleton and restored and re-mastered by Vinson Hudson.

The album became available September 6, 2024, including an exclusive vinyl variant in Woodstock Yellow LP via Record Store Day Indie Exclusive, available at participating stores. A 12” LP in black, a CD of all 25 tracks, and a complete digital release are also available. Order here.

The records and CDs are all eco-minded: The records are made with BioVinyl, a new and unique product that replaces petroleum in S-PVC by recycling used cooking oil or industrial waste. There will be a 100% CO2 savings compared to traditional PVC vinyl, without sacrificing any acoustic or optical quality. Each record comes in a reusable, compostable PLA bag that is made from 99% renewable material, and the jacket, label, and liner notes are all made from sustainably forested trees for minimum ecological harm. The CDs are also made of recycled material, and their paper inserts are from sustainably forested trees as well.

The physical copies will include liner notes that give a track-by-track analysis by Derrick Bang and notes from Sean Mendelson, son of Peanuts producer Lee Mendelson and co-producer of the record. The LP liner notes are four pages, the CD liner notes are eight pages, and all versions contain images from the special. The LP release also includes rare photographs and images from the original tape boxes recently re-discovered that led to this release.

The characters of Peanuts and related intellectual property are owned by Peanuts Worldwide, which is 41% owned by WildBrain Ltd., 39% owned by Sony Music Entertainment (Japan) Inc., and 20% owned by the family of Charles M. Schulz, who first introduced the world to Peanuts in 1950, when the comic strip debuted in seven newspapers. Since then, Charlie Brown, Snoopy and the rest of the Peanuts gang have made an indelible mark on popular culture. In addition to enjoying beloved Peanuts shows and specials on Apple TV+, fans of all ages celebrate the Peanuts brand worldwide through thousands of consumer products, as well as amusement park attractions, cultural events, social media, and comic strips available in all formats, from traditional to digital. In 2018, Peanuts partnered with NASA on a multi-year Space Act Agreement designed to inspire a passion for space exploration and STEM among the next generation of students.

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Luther Vandross | Never Too Much: Greatest Hits

"Never Too Much: Greatest Hits," set for release on December 13, features 20 tracks across two CDs that showcase the highlights of Luther Vandross' solo career. This collection includes timeless hits from his extensive catalog, such as "Never Too Much," "Here and Now," "Power of Love/Love Power," "I'd Rather," and "Dance with My Father." Fans will also be treated to four rare and unreleased tracks. Notably, a cover of The Beatles' "Michelle". This track was unearthed by longtime friend and collaborator Fonzi Thornton from Vandross' archives, labeled simply with the title and a date of June 1, 1989. The 2CD set will feature an exclusive radio edit, while both the full version and the radio edit will appear on the CD and double vinyl editions.

In addition to these gems, the compilation includes the unreleased outtake "Speak Your Love," a new remix of "Never Too Much" by Belgian DJ Lost Frequencies, and a rare radio mix of "Get Myself Together," recorded during the 1979 sessions for "Never Too Much" and later released in 2016 on a project by Bronx producer Louie Vega, one half of the Masters At Work duo.

Renowned for his smooth, velvety voice, Vandross seamlessly traversed disco hits and heartfelt ballads. His music significantly shaped the sound of the '80s and '90s, yet his influence often feels underappreciated, especially following his passing in 2005 due to complications from a stroke two years earlier. Vandross was a dedicated figure in soul and pop music. Before signing with Epic Records, he made a name for himself performing at venues like The Apollo in Harlem and with the theater group Listen My Brother, which participated in the 1969 Harlem Cultural Festival documented in Questlove's Oscar-winning film, Summer of Soul. During the '70s, he became a sought-after backing vocalist, contributing to albums by Roberta Flack & Donny Hathaway, David Bowie, and CHIC, among others.

Vandross also sang commercial jingles, wrote "Everybody Rejoice/A Brand New Day" for the Broadway musical The Wiz, and led a vocal group that struggled commercially, prompting him to purchase the masters to prevent their release (though these recordings were later made available on CD by Legacy). He was also the voice behind the European disco project Change, whose hit "The Glow of Love" topped dance charts.

Nearly all of Vandross' studio albums achieved platinum or multiplatinum status in the U.S., alongside three compilations and three singles. His accolades include eight Grammy Awards and eight American Music Awards, as well as a posthumous induction into the National Rhythm & Blues Hall of Fame in 2021. Known for his privacy regarding personal matters, "Luther: Never Too Much" aims to provide a fuller portrait of the man behind the music, while "Never Too Much: Greatest Hits" invites fans to explore the rich musical legacy he left behind.

"Never Too Much: Greatest Hits" will be available in stores on December 13. A streaming version of the documentary "Luther: Never Too Much" is anticipated to premiere on Max in 2025. Pre-orders for the album are available below. As an Amazon affiliate, we earn from qualifying purchases. Amazon

Emaginario | Interlude of the Duende

World-traversed and genre-fluid guitarist Ethan Margolis, aka “Emaginario,” is a prime example of an artist who has become greater than the sum of his many parts and pathways. Through the eclectic filter of his musical passions, studies and influences, Margolis has evolved into a creative and worldly artist, whose deep connections with Romaní people, flamenco, jazz, blues and even punk coalesce into a unique musical voice.

Elements of that Margolis style can be heard coming to fruition on his forthcoming album, Interlude of the Duende, in trio form with jazz masters Larry Grenadier and drummer Eric Harland, released on Ropeadope. 

Duende, the Spanish word in the title, has been called “a heightened state of emotion, expression and authenticity” and is often connected with flamenco and the Andalusian Romaní population. On this recording, the term appropriately reflects the complexity of the music, the power of the collaboration itself and more broadly Margolis’ life experience in Spain and beyond.

Margolis, who spent more than two decades playing guitar within Spain’s Romaní community, continues to translate that rhythmic language into American jazz formats and recordings in the vein of Hungarian Roma guitarist Gabor Szabó and the jazz-flamenco crossover playing of Lenny Breau.

“Initially I wrote the compositions for my style of guitar playing and out of my love for roots-based genres such as blues, flamenco and jazz,” Margolis says of Interlude of the Duende. “I had full ideas for congas, bongo, batá, and shakers in these compositions but circumstance brought drummer Eric Harland to the session, and we worked together to harness the essence of the drums in the songs.”

Of the upright bass aspects and Grenadier’s participation, Margolis says, “Larry played with a masterful accompanist-mentality staying ‘out of the way’ of the guitar very naturally but at the same time keeping the groove moving forward as needed — check out ‘Solace and Descent’ as a reference to this. He also plays some really special stuff on ‘Continuance’ and ‘A Beating Heart.’”

Margolis wrote out several of the bass parts on the record so that harmonically he might achieve a natural fusion of sounds for his style. He adds, “I am extremely sensitive to the frequency clashes between acoustic guitars and upright basses, so understanding where the bass might play is an important aspect to my comfort zone as an improviser. The tunings and keys were deliberate compositional tools to highlight the acoustic guitar as a world jazz instrument and I wanted to play equal parts ‘finger style’ as well as ‘picking.’”

Illustrating the diverse reach of his musical impulses, Margolis initially ventured into his debut “world jazz” album, Soleángeles, in 2014, during a period of live activity at venerated Los Angeles jazz venues The Blue Whale and The Baked Potato. From another hybridized corner of his musical mind comes the 2015 album Sonikete Blues. Recorded both in Spain and the USA, that album proposed an inventive merging of flamenco and Delta blues—idioms with more emotional and fringe socio-cultural connections than might be expected. 

Following these two albums would be a 2016 EP and video release of Speakeasy Session alongside Miles Davis’s alumni pianist, Deron Johnson, the 2020 electronic jazz EP, Arsa 100, with pianist, Chano Domínguez, a 2022 piano and voice duo EP with Cuban virtuoso pianist, Caramelo de Cuba, En Madrid, and lastly a 2023 full length release of his original songs, Songs of Mind which garnered an editor’s choice selection from JAZZIZ and a ‘best of the rest of 2023’ write-up from Goldmine Magazine.

Entrenched by now in his still-maturing musical saga, Margolis continues the process of finding surprising–yet also logical–connections in the many strands of his musical life’s tapestry. He is an artist firmly in sync with an era of redefining of musical identities, in flamenco, jazz and other formerly fixed musical genres. In effect, Margolis has found himself in both the roots and various offshoots, and his own links thereof, within the music world.

Devin Daniels | LesGo!

Hailing from the vibrant Los Angeles suburb of Inglewood, CA, alto saxophonist Devin Daniels stands out as one of the most unique and versatile voices to emerge from LA’s rapidly evolving creative music landscape. After honing his craft at the Berklee College of Music and FocusYear Basel, Daniels was selected to study at the Herbie Hancock Institute of Jazz Studies at UCLA (class of 2023) where he was mentored by luminaries Wayne Shorter and Herbie Hancock. Daniels then spent the early part of 2024 as the Artist-In-Residence at the esteemed 18th Street Arts Organization, during which time he composed much of the music that ended up being recorded for this exciting new album, LesGo!

Recorded live at LA’s westside jazz club, Sam First for their in-house label Sam First Records, LesGo!, which captures the live, unadulterated energy from five exceptionally gifted LA-based musicians– trumpeter Julien Knowles, pianist Chris Fishman, bassist Jermaine Paul and drummer Benjamin Ring. With an impressive list of collective performance credits that include Herbie Hancock, Dianne Reeves, Billy Childs and Pat Metheny, it goes without saying that these incredibly talented musicians represent a very important branch of LA’s evolving music scene.

In the album’s liner notes, esteemed jazz critic Nate Chinen explains: “What you have here is the roar of takeoff. LesGo! — say it fast, with hard emphasis on the second syllable. Then hear how Devin Daniels articulates the idea, first in the quick foreshadowing of his alto saxophone intro, and then in a composition that surges and shudders, over a chord cycle repeatedly pointing skyward. It’s a shrewd first move on an album with a declarative unity of purpose: a manifesto of sorts, for Daniels and the emerging Los Angeles peer group that populates his wildly dynamic band.”

Kicking off the album is the title track “LesGo!,” which Daniels describes as a “simple singable line that is versatile in improvisation and composition alike. I thought of opening with this song because it captures my light composition style and heavy emphasis on improvisation.”

As the lead-off tune concludes, the band seamlessly morphs into John Coltrane’s “Spiral.” Daniels says, “I was listening to a Jordan Peterson Interview on YouTube about toxic masculinity or something and he said something about moving forward in life and spiraling upward. I had never heard of spiraling upward. I thought it was only a downwards thing. Then for some reason, I thought of Coltrane’s spiral, then started thinking of this 11/8 clave I heard from a Vijay Iyer joint, Actions Speak. I thought it fit perfectly with the melody and chords, so I didn’t make any major changes.”

In 2023, Hancock invited Daniels to join him on stage at the Hollywood Bowl alongside luminaries Ron Carter and Jack DeJohnette for a celebration honoring the late, great Wayne Shorter. The experience served as the impetus for Hancock inviting Daniels to join his band for a month-long US tour alongside heavyweights Terence Blanchard, Chris Potter, Lionel Loueke, James Genus and Trevor Lawrence.

“Devin is an amazing young talent creating new directions in music,” Hancock says.

Featuring top-level creative artists five nights/week, Sam First has served as a watering hole and jazz incubator for LA musicians and music lovers since its opening in 2017. Being positioned adjacent to LAX airport, just minutes from Daniels’ “home turf” of Inglewood makes it the perfect venue to celebrate a “hometown hero.”

Following suit with previous releases from Sam First Records, LesGo! is available as beautifully packaged, limited run foil-numbered 180-G vinyl LPs, and high-res digital downloads, all of which are available at samfirstrecords.com as well as a variety of record stores worldwide. Additionally, LesGo! will be available digitally exclusively on Qobuz beginning on August 9. Founded in 2007 and a pioneer in high-quality sound, Qobuz is a French music streaming and download platform for anyone who wants to fully experience and share their passion for music, making them the perfect match for Sam First Records’ hi-res releases.

Pritesh Walia | Hopetown

Jazz guitarist extraordinaire Pritesh Walia has been bubbling under the surface of wider public awareness and acclaim for several years. His nimble technical skills and deep sense of musicality has been making its mark in performances as a leader and as sideman, while his strides in education—after graduating from Berklee College of Music and New England Conservatory–have helped to spread his message in that capacity.

But with the release of Walia’s impressive debut album Hopetown, featuring his guitar trio with bassist Chris Worden and drummer Gen Yoshimura, Walia is poised to go public in a more game-changing way. His long-awaited recording debut, a fresh and deep excursion into the neo-mainstream, clean-toned jazz guitar trio tradition, boldly initiates the discography portion of his career, with yet three other varied albums soon to follow. Earlier this year, he released the self-titled album with his organ trio PSA, and coming soon are albums by his big band and a special strings project.

Clearly, the New Delhi-born and currently Los Angeles-based Walia’s musical life is taking flight with a new fervor and higher profile. Hopetown makes for an auspicious introduction to Walia’s musical voice. Its ripe collection of original compositions—plus a venturesome new arrangement of The Beatles classic “Blackbird”—weave a narrative about the inner and outer life of the artist thus far.

Probably the most disarming and pleasant surprise on the album is Walia’s original, and slightly subversive, reading of “Blackbird,” which takes its place alongside a recent move in jazz to find expressive fodder in The Beatles songbook. Among the key Beatle-maniacal jazz proponents is Brad Mehldau, a strong influence on Walia who helped the guitarist look at The Beatles in jazz context. (He also points to the influence of mentors Miguel Zenon, Jerry Bergonzi, Jason Moran, Ethan Iverson and Donny McCaslin, with whom Walia has performed).

“The Beatles are like the Bach for rock and roll,” Walia comments. “A lot of their tunes almost feel like they have a form of a jazz standard.”

Walia remembers calling out “Blackbird” at a weekly jam session he led with his trio in the Boston club called The Bebop (an ongoing tradition, with Walia’s name still attached). The song “started to get solidified into something new, something that was coming up. I kept reharmonizing it, finding hits and things that I could deconstruct and reconstruct It’s pretty radically revised. I feel either people are going to like it or really hate it,” he laughs.

When it came time to record Hopetown, Walia was insistent that it be in a live way, together in a studio with sight lines between his highly empathetic bandmates. Jazz, he asserts, is “communicative music. I want to have a line of sight to cue a lot of things. Also, there’s something about visually being able to see each other that helps us improvise. There are so many moments in the music where it feels like we’re all on the same page, in the same stream of consciousness.”

Hopetown’s title tune itself stems from a vulnerable transition moment in the young Walia’s life, an epiphany on a bus trip from his work sites in Boston and New York City, passing by an idyllic small town along the route. “It seemed very calm,” he recalls, “like the place I wanted to be at. I had just finished my graduate studies and being a musician in general is tough. But then you add the fact that I’m from India and my parents have no clue about what it means to be a musician—let alone trying to be a musician in jazz. I remember singing pretty much the full melody on my phone.”

The sweet and infectious tune quickly became popular in Walia’s expanding circles, and an NEC ally Henry Godfrey created a big band version of it. “He wants to put it out and I hadn’t even put out the original,” Walia laughs.

Other songs on the album come equipped with back stories or ulterior motives, beyond their musical forms. “Thankful” expresses gratitude in a suitably gospel-hued palette. “Colors” pays musical tribute to his respect for NEC teacher Ben Schwendener, dealing with the post-George Russell’s Lydian concept developed into his book, Organic Music Theory. In the song, Walia explains, “each chord used in the song for this doesn’t have a relationship to each other. It has its own color–each vertical structure in the song. That’s what led me into writing the song.”

A Brazilian undertow tugs at the mischievous “Low Talks,” opening with a bass melody and a skittering, chattering guitar-bass melody in the body of the tune. Walia further explains that “’Low Talks’ is what I would call talking smack about anyone else. In music school and art school, you hear that quite a lot about people. It troubled me so much that as much of a community that jazz is, there’s also enough people trying to battle each other and compete. It’s a terrible position because I feel the only thing we have left is the communal aspect of this music.”

The album’s bittersweet balladic closing tune, aptly entitled “Finishing Up” makes emotional reference to the end of his 10-15 years of education and pondering “where my direction was. That was a song of hope I wrote for myself.”

Hopetown showcases the fact that Walia was very culturally versed. “My parents both being from north and south of India,” he says, “we had different influences of music and culture that I was thrown into and was exposed to. But I think by 15, I was kind of musically exhausted by Indian classical music. You can’t escape it if you live in it. For me, I was like ‘wow, what is this band called ACDC? This is really happening.

“I would start learning these tunes and I only had dial-up internet. I used to just download a Led Zeppelin song and play it, then show up to my Indian classical class and play that riff on the low two strings of the instrument. And my Indian classical teacher would say ‘ouch.’”

Fast forward to extensive jazz studies in Boston and establishing himself as a strong guitarist force, alongside expanding work in music education and the “gear” side of music, and a move to Los Angeles. His initial entry point to jazz, per se, came through guitarists blending tougher rock tones and blues airs with jazz sophistication–especially the Indian music-centric John McLaughlin, as well as John Scofield, Pat Metheny and Al DiMeola.

Consider Hopetown phase one in a musical career teeming with promise for the future. Bringing this music out into the world is also, for the creative restless and forward-leaning Walia, a necessity.

“All the songs in this record have a story, and they are a reflection of my past 15 years or so, in some shape or form. This is a good start.”

Vocalist Youn Sun Nah Teams with Pianist Jon Cowherd on Elles

Award-winning vocalist Youn Sun Nah has released her groundbreaking new album, Elles, arriving via Warner Music Arts.

Long hailed for her style-blurring renditions of artists spanning Tom Waits and Jimi Hendrix to Marvin Gaye and Metallica, Elles sees Youn Sun Nah bringing her remarkable voice and unique perspective to a range of songs that have deeply fueled her own indescribable musical approach, all made famous by such iconic female artists as Björk, Sarah Vaughan, Grace Jones, Roberta Flack, Edith Piaf, Grace Slick, Maria João, and more. Get it here.

Recorded in New York City alongside acclaimed pianist Jon Cowherd (Brian Blade, Cassandra Wilson, Lizz Wright) and producer/musician Tomek Miernowski, Elles spans a wide array of songs either written or performed by notable women artists, from soulful spirituals (“Sometimes I Feel Like A Motherless Child”) and psychedelic milestones (“White Rabbit”) to long-overdue takes on “Feeling Good,” “My Funny Valentine,” “I’ve Seen That Face Before (Libertango)” and “Killing Me Softly With His Song” (the latter performed alone with a treasured music box). Backed by Cowherd’s subtle yet inventive work on a variety of keyboards, Youn Sun Nah reimagines standards both old and new in typically captivating fashion, traversing gender and generation with precision, magic, and intimacy.

“I realized that the songs I’ve recorded over the years, most have been from male singers,” Youn Sun Nah says. “So this time I wanted to honor the female singers I’ve been admiring since a long time, the songs which move me and the voices that touch me.”

Since late 2023, Youn Sun Nah has been celebrating Elles with an international tour that included stops in Finland, Spain, France, Romania, Austria, South Korea and Germany. For complete details and ticket information, please visit www.younsunnah.com/dates.

Youn Sun Nah is among contemporary jazz’s most admired vocalists, an international award-winning singer, songwriter, and performer, hailed by The Guardian for her “seamless” movement “between impressionistic high drama, abstract improv, or a folk artist’s candid simplicity.” The Seoul, South Korea-based artist began her musical journey with piano lessons as a child before singing gospel with the Korean Symphony Orchestra as a teen. A career in musical theatre beckoned but Youn Sun Nah instead chose to pursue her own muse by attending Paris’ Institut National de Musique de Beauvais, Nadia and Lili Boulanger Conservatory, and the CIM, a school of jazz and contemporary music. Youn Sun Nah quickly affirmed herself as an exceptional vocal star, winning prizes at jazz festivals and competitions before truly arriving in 2001 with her debut album Reflets.

A series of increasingly acclaimed albums followed, including 2010’s breakthrough Same Girl and 2013’s Lento, earning her Gold certification in both France and Germany amidst a plethora of honors and accolades.

Along with her growing body of work as recording artist, Youn Sun Nah has performed countless live shows and tours in historic venues and at prestigious festivals across Europe, Asia, and North America, including performances at closing ceremony of the 2014 Winter Olympics in Sochi and at the International Jazz Day All-Star Global Concerts in Havana in 2017 and at the United Nations Headquarters in New York in 2022.

Appointed Officier des Arts et des Lettres by the French Ministry of Culture in 2019, Youn Sun Nah made her Warner Music debut that same year with the highly lauded Immersion. Stuck in place by the pandemic, Youn Sun Nah wrote and recorded her first ever collection of all original songs, 2022’s evocative Waking World, marked as always by deep emotional insight and a haunting musical approach bridging pop gestures, folk intimacy, and surprising jazz instrumentations. Now, with the remarkable Elles, Youn Sun Nah continues to explore musical possibilities through her idiosyncratic creativity and deep sense of craft, reaching across boundaries and borders to once again touch something universal and true.

US TOUR DATES

• November 7-9 – Mondavi Center for the Performing Arts, Davis, CA
• November 13 – Joe’s Pub, NYC

The Vanguard Jazz Orchestra celebrates the 100th Birthday of its Legendary Founder with the Album, Centennial: The Music of Thad Jones

March 28, 2023 would have marked the 100th birthday of the legendary trumpeter, composer and bandleader Thad Jones, who passed away in 1986 at the age of 63. Always ahead of his time, Jones had anticipated the occasion by more than four decades, recording “My Centennial” in 1980 with his big band Eclipse.

That piece inevitably makes up part of the repertoire for Centennial: The Music of Thad Jones, the celebration concert recorded by the Vanguard Jazz Orchestra, the now-legendary ensemble that he co-founded in 1966 as the Thad Jones/Mel Lewis Orchestra. Released via BCM+D Records, Centennial is a vibrant two-album set captured live on stage at the ensemble’s Monday night home for nearly six decades, the iconic Village Vanguard. 

“I always say that we have two things going for us that no other band has,” explains bass trombonist Douglas Purviance, who joined the VJO in 1978 and now serves as its business manager. “That’s Thad Jones’ music and a steady gig at the Mecca of jazz. It’s every jazz musician’s goal to play the Village Vanguard, and we get to do that every week.”

Centennial was recorded in February 2024, during the VJO’s annual anniversary week. Late in 1965, Jones – middle brother of the famed jazz family that also included pianist Hank and drummer Elvin – and the drummer Mel Lewis had agreed to share the helm of a new big band, booking three nights the following February to test the concept on the stage of the Village Vanguard.

The club’s cantankerous owner, Max Gordon, grudgingly acknowledged the Orchestra’s successful debut, reportedly suggesting, “We’ll keep it going until it tapers off.”

Nearly six decades and more than 2,700 Monday nights later, the Vanguard is still waiting. Even after a pandemic-necessitated hiatus the band quickly returned to capacity crowds, continuing a historic tenure that has featured a who’s-who line-up, a pair of Grammy Awards from 17 nominated albums, and eleven “Best Big Band” nods in the DownBeat Critics and Readers Polls.

The Thad Jones/Mel Lewis Orchestra modernized the big band sound as the world changed through the late 60s and early 70s. Jones’ writing and arranging drew upon the inspiration of the two most iconic bands in jazz history, elegantly interweaving the complexity and elegance of Duke Ellington with the fervor and blues roots of Count Basie, in whose band Jones had launched his career. It’s a combination that Purviance calls, “sophisticated yet down home.”

“Thad set the Orchestra up as a small group with a lot of horns,” adds lead alto saxophonist Dick Oatts, the current band’s senior member and artistic director. “The way Thad wrote was just ingenious. It was the future the of the jazz big band tradition.”

With more than 300 compositions now in its book, the VJO prides itself on never repeating the same show from week to week, mixing in a blend of music from throughout its 58-year history. When it came time to honor its founder, however, Oatts decided on a selection that would represent the cornerstones of the band’s identity. “These are the tunes that really put Thad Jones and Mel Lewis on the map,” he says.

The setlist reaches all the way back to the band’s beginnings. “Back Bone,” bookended here by Oatts’ captivating unaccompanied intro and Purviance’s rousing solo turn, was already in the mix for the Orchestra’s debut performance; it opens All My Yesterdays, the essential 2016 release of its earliest recordings. It includes such indelible compositions as the spellbinding ballad “A Child Is Born,” which has become both a jazz standard and a Christmas classic, interpreted by the likes of Bill Evans, Tony Bennett, Dee Dee Bridgewater and Geri Allen. “61st & Rich’It” serves as a tribute to another foundational band member, original Orchestra bassist Richard Davis, who died in September 2023.

The release of Centennial on Temple University’s five-time Grammy-nominated imprint BCM+D coincides with the Orchestra’s establishment as artists-in-residence at the school, bringing members to the school for classes and performances and opening the Vanguard’s doors to students on Monday nights. The partnership continues a longstanding relationship between the VJO and Temple’s Boyer College of Music and Dance. Terell Stafford, director of Jazz Studies and chair of Instrumental Studies, has played trumpet with the Orchestra for more than 20 years, while Oatts is a longtime faculty member.

“The Village Vanguard has essentially become another classroom for our students,” says Boyer College Dean Robert Stroker. “At Temple we’re all about building bridges to the professional world for our students, so this relationship provides an important opportunity to take jazz out of the Ivory Tower and onto the bandstand.”

Oatts’ tenure in the Vanguard Jazz Orchestra, which began in 1976, is nearing the halfway point of its own centennial. But the saxophonist remains focused on the band’s future, never its past – however historic that past may be. “We’ve all taken on the responsibility to ensure that this legacy is going to stay true for the next hundred years.”

John Alvey | Loft Glow

Drummer John Alvey announces his formidable presence to the jazz world with the release of Loft Glow on Jazz Music City Records. Alvey’s recording debut presents a remarkably assured, but also risk-taking set of straight-ahead postbop jazz, joined by a killer sextet of stalwarts from the increasingly hot Nashville jazz scene: trombonist Roland Barber, tenor saxophonist Joel Frahm, alto saxophonist Jovan Quallo, pianist Matt Endahl, and bassist Jacob Jezioro. 

Alvey is a native of Nashville, the son of pianist and former Opryland USA conductor Michael Alvey. He grew up, studied, apprenticed, listened, and honed his craft all in the environs of Music City. Loft Glow is a nod to that immersion. “A small studio apartment south of Nashville was my home for a few years about ten years ago,” Alvey recalls. “It was a peaceful period of practicing and listening, a relaxed, focused, and transitional time in my life. This album is a reflection on that time and place, with an emphasis on the solitary, undistracted listening experiences I had there every evening.” 

The album title refers directly to those experiences: “the many lamps I kept on late at night, aglow in the window as seen from the street below my apartment.” 

We can hear how that intensive work paid off on Loft Glow’s combination of band originals and covers of tunes by Alvey’s musical heroes Ron Carter, Benny Golson, and John Stubblefield. The drummer drives the stately suspenseful interpretation of Stubblefield’s “Baby Man” and adds depth, shading, and a Latin tinge to Golson’s “Terminal 1,” giving sharp-eared empathy to smart solos by Endahl, Barber, and Frahm and making his own thoughtful, curiously colored statement on Golson’s tune. Alvey takes a more subtle, but still defining role on Carter’s fun, gospel-inflected “Blues for D.P."

Alvey brings the same level of respect and sensitivity to the album’s original tunes. His deft treatments of Barber’s sweet “Winslow Nocturne” and Quallo’s introspective “June 23” beautifully maintain the balance—so often neglected on drummer-led albums—of firmly outlining the rhythmic shapes while also giving his bandmates maximal room to express themselves. Even on his own tune, the harder-driving “Azure,” Alvey proves himself a careful drummer, injecting the performance with the required energy but never getting carried away (as his dazzling but punctilious solo demonstrates). 

In short, it’s Alvey’s remarkable discipline behind the kit that helps elevate Loft Glow to the polished, eminently pleasurable record that it is. It augurs well for the leader’s, and the musics future.

John Alvey was born February 3, 1985, in Nashville, Tennessee, the son of noted jazz pianist, conductor, and educator Michael Alvey. While growing up in the suburbs of the country music capital of the world, Alvey the younger was nonetheless first drawn to rock music. It was the energy of those artists and songs that led him to the drums, forsaking his father’s piano for them at nine years old. 

But if country music surrounded him and rock inspired him, it was jazz—in the guise of his father’s influence—that guided him. He taught his son how to play drum rolls, encouraged him to check out the great jazz albums, and jammed with him at home. Eventually, they played a gig together, which led to seven years of John’s presence in Michael’s established piano trio at a Nashville restaurant. 

That, in turn, led Alvey to find work with fellow Nashvillians Barber (as well as his saxophonist twin brother Rahsaan), Joel Frahm, and Rod McGaha, and with musicians like Taj Mahal and Sherman Holmes. He’s also been an active freelancer on Nashville’s rich circuit of country, bluegrass, and Americana music, playing with Rob Ickes & Trey Hensley and Sierra Hull. Each was a valuable educational and artistic experience that worked along with those late-night practice and listening sessions to feed the creation of his debut album, Loft Glow.