Sly Stone, Funk Pioneer and Revolutionary Music Icon, Dies at 82

Sly Stone, the trailblazing architect of funk and founder of the groundbreaking band Sly and the Family Stone, has died at the age of 82. The iconic singer, songwriter, and producer passed away peacefully on June 9, 2025, in Los Angeles after a prolonged battle with chronic obstructive pulmonary disease (COPD). His death closes the chapter on one of the most dynamic, turbulent, and influential careers in modern music history.

Sylvester Stewart—known to the world as Sly Stone—was more than a musician. He was a cultural detonator. With a look as flamboyant as his sound, and a message as urgent as his groove, Sly redefined what pop, soul, funk, and rock could be. From the late 1960s into the early ’70s, his music became the soul of a generation longing for change, unity, and something to dance to in the face of it all.

Born March 15, 1943, in Denton, Texas, and raised in Vallejo, California, Stewart was a child prodigy who mastered multiple instruments by age eleven. He sang gospel with his siblings in The Stewart Four before launching into DJing, producing, and eventually forming what would become a musical revolution—Sly and the Family Stone.

Their debut album A Whole New Thing in 1967 quietly set the stage, but it was 1968’s “Dance to the Music” that exploded them into mainstream consciousness. With a racially integrated, gender-diverse lineup—radical at the time—the band created a visual and sonic statement that was impossible to ignore. “Everyday People,” “I Want to Take You Higher,” “Thank You (Falettinme Be Mice Elf Agin),” and the epochal Stand! album offered not only genre-defying innovation but urgent, inclusive messages that resonated through a fractured America.

They didn’t just play music—they embodied a new social contract. They brought together Black and white, men and women, gospel and rock, in a thrilling blend that would go on to influence artists from Prince to Public Enemy, Beyoncé to Beck.

But as the ’70s unfolded, Sly’s brilliance became increasingly shadowed by drug addiction, missed performances, and legal issues. The band splintered, the funk darkened, and Sly spiraled. Yet, even as he retreated from public life, his music continued to speak.

In the 2010s, reports surfaced that Sly had been living in a van, suffering physically and financially. But he began a quiet comeback—emerging sober, supported by his daughter and manager, and determined to tell his story on his own terms.

That story was finally shared in his searing 2023 memoir, Thank You (Falettinme Be Mice Elf Agin), co-written with Ben Greenman and introduced by Questlove. The book marked a cathartic reckoning with fame, addiction, and genius. Then came the 2025 documentary Sly Lives!, directed by Questlove, which premiered to acclaim at Sundance, reigniting appreciation for his artistry and impact.

At the time of his death, Sly had just completed a screenplay adaptation of his memoir. According to his family, he remained creatively active and spiritually at peace in his final years.

The tributes following his death have been overwhelming. Questlove wrote, “He made the world dance and think at the same time. He made music that looked like the future—and it still sounds like it.”

Sly Stone may be gone, but his rhythm lives on in every bassline that thumps with meaning, every artist who defies categorization, and every soul that still believes music can change the world. His was a funk not just of sound, but of purpose. He didn’t just entertain—he inspired, provoked, and united.

And through the haze of stage lights and the hum of amplifiers, he left us one enduring truth: we are all everyday people, bound by groove, lifted by love, and still trying to take each other higher.

Anupam Shobhakar Reimagines Shakti's "La Danse du Bonheur" with a Fusion of Indian Classical and Jazz-Rock in 'Liquid Reality'

Brooklyn-based guitarist Anupam Shobhakar has just released a video for "La Danse du Bonheur", a remake of the classic track by Shakti. It's the latest from his new album Liquid Reality, and one that perfectly captures the freeform jazz and rock that Shobhakar has added to his already deep roots in Indian classical music. It's a wild auditory ride as unique as the musician's own story.

Growing up in Bombay, India, Shobhakar was fascinated by the fretboard sorcery of Western shred guitarists like Eddie Van Halen, Joe Satriani, Steve Vai, and Allan Holdsworth. But after witnessing a life-changing performance by the great sarod master Ustad Ali Akbar Khan, the aspiring teen took up the North Indian instrument and eventually established a flourishing career as a sarod player that took him around the globe.

But much like John McLaughlin and Ustad Zakir Hussain’s groundbreaking Shakti ensemble found a common language between Indian classical music and Western jazz and guitar traditions in the 1970s, Shobhakar always dreamed of bringing together the distinct sounds that so deeply inspired him. On Liquid Reality he does just that, crossing firmly placed boundaries of musical vocabulary and aesthetic to create a thrilling new sonic vision for the 21st century.

And it took the discovery of a literal dream instrument to bring everything together.

“Listening to the first Shakti record,” he remembers, “I heard John McLaughlin play all of this Indian music on the guitar, and that just blew my mind. I was like, ‘Wow, the guitar can do this!? It can play Indian music?’” Just as McLaughlin turned to his studies on the veena, a fretted string instrument, to immerse himself in the vocabulary of Indian classical music, Shobhakar took to the sarod, a fretless 25-string instrument that looks guitar-like but has its own unique technical demands.

While he stuck with the instrument and built his musical career around it, Shobhakar’s idea to fuse styles lingered in the background. “My music was never just about being a classical sarod player,” he recalls. “There was always a writing bug. I wanted to collaborate with Western classical artists, rock musicians, and jazz artists.” That pursuit eventually landed Shobhakar in New York, where he found those types of collaborative relationships. But, he says, “When I was picking up the sarod, I was missing the guitar,” he recalls, “and when I was playing the guitar, I was missing the sarod.”

The solution required a breakthrough, though. “It was brewing in my subconscious,” he recalls, “and it came to me in a dream.” Shobhakar envisioned a double-neck electric guitar with both fretted and fretless necks, providing access to both traditional electric guitar techniques as well as a way to translate the vocabulary of the sarod to guitar. While this is a rare but not completely unheard-of combination of instruments, as a left-handed player, the ideal instrument simply didn’t exist. He commissioned a custom guitar and immediately unlocked his sound.

Liquid Reality, released on guitar-centric AGS Records on March 14, presents the debut of Shobhakar’s radical new approach. The opening “Anjaneya” is a winding course through fretted and fretless wizardry propelled by the powerful combination of South Indian rhythms played by celebrated percussionist and composer Swaminathan Selvaganesh and drum kit played by Satoshi Takeishi, the versatile, in-demand New York jazz percussionist. It’s immediately evident that Shobhakar is forging a brave new sonic future—and one that is wholly his own.

Beyond Shobhakar’s obvious instrumental virtuosity, his compositions, written with his individual collaborators in mind, make Liquid Reality one of a kind. “Ladders to the Sky” is an epic journey with a Brazilian tinge that was composed in part as an homage to the Pat Metheny Group’s 1984 record, First Circle. This track was created to work with Barcelona-born vocalist Ona K (Ona Kirei), who “sings like an angel,” and percussionist Gumbi Ortiz, best known for his work with guitarist Al DiMeola.

“Formless” was conceived as a duo with Swaminathan Selvaganesh on kanjeera. Its expertly executed serpentine form -- “a weird mix of ideas between West and East with a lot of mathematical juggling going on” -- offers a joyous, energetic, and personal musical conversation between the two artists.

Shobhakar decided to tackle Shakti’s looming influence head-on with “La Danse Du Bonheur,” composed by McLaughlin and violinist L. Shankar for the group’s 1976 Handful of Beauty. More than simple cover, though, the version on Liquid Reality provides a link between the original masters of the form and the new generation.

“Swami and I are very good friends, and we would always nerd out to Shakti,” the guitarist says, and quickly points out that Swaminathan Selvaganesh is the third generation of his family to play this music: his father, percussionist and vocalist V. Selvaganesh, has been performing with Shakti since the ensemble reformed in the late ’90s as Remember Shakti, taking on the role played by his father, percussionist Vikku Vinayakram, in the original ensemble. “He was literally born to play this music,” says Shobhakar.

Rather than re-hash what has already been done, Shobhakar explains, “I didn’t just want to do a carbon copy.” Joined by New York-based Indian artists Ben Parag (vocals) and Utsav Lal (piano) Shobhakar was able to add chords to the original, borrowing outside harmony to help make it his own arrangement. As a final touch, he added his own original composition in the middle of the track, delivering new twists and turns to the notably athletic tune. In this blazing take on his most formative influence, Shobhakar makes the Shakti classic his own and pushes it to even more extreme heights.

"La Danse du Bonheur" is a tribute to Shakti but, even more, it’s a poetic way to celebrate the artistic achievement we hear throughout Liquid Reality. After decades spent dreaming of a way to cross Western electric guitar styles with Indian classical music, Shobhakar, with his new bespoke instrument in hand, has connected the traditions and broken through to a new world of sound. 

Ted Olsen's Violette Blends Jazz, Classical, and Songcraft in a Lush, Genre-Defying Album

At once intimate and expansive, Violette presents a vivid and emotionally resonant collection of chamber works performed by the Violette Ensemble, a genre-crossing group of acclaimed soloists, improvisers, and classical performers—including members of the Minnesota Orchestra, international touring artists, and Grammy-nominated musicians. The album also features special guests John Raymond (trumpet/flugelhorn), and vocalists Aby Wolf and Eric Mayson, whose expressive contributions further enrich the ensemble’s textured sound. With this group as his vehicle, Olsen explores themes of twilight and transformation—rooted in his long-standing fascination with the romanticism of autumn, as seen in earlier works like “October Hues” and “Crepuscular Sketches,” and most fully realized here.

Formed in 2021 and inspired by Olsen’s McKnight Composer Fellowship awarded by the American Composers Forum, the Violette Ensemble brings to life a series of works that blur the boundaries between jazz, pop, classical, and art song. The album’s centerpiece, “Dusk, WSQ,” evokes an autumn evening in New York’s Washington Square, with a stunning performance from vocalist Aby Wolf, pianist Will Kjeer, and Olsen’s richly orchestrated writing. Wolf’s perceptive delivery and Kjeer’s precise touch anchor the piece in tender lyricism, while the strings, led by violinists Sarah Grimes and Ernest Bisong, violist Lydia Grimes, and cellist Sonia Mantell, usher in sweeping textures that elevate the composition’s emotional arc.

Though rooted in detailed and elegant writing, Violette also leaves space for improvisation. Trumpeter John Raymond delivers a radiant solo on “To Acquiesce,” while Olsen himself weaves melodic bass improvisations through the string ensemble on “Present Tense.” Elsewhere, the hybridic art songs “Split Rock Postcard,” “Aubade (Violet),” and the aforementioned “Dusk, WSQ” find Olsen merging his roles as composer, songwriter, and arranger with rare fluidity—his melodies welcoming yet nuanced, the borders between vocal and instrumental lines gently dissolved.

The album features contributions from a remarkable cast, including flutist Alicia McQuerrey, bass clarinetist Paul Schimming, drummer Ben Ehrlich, and vocalist Eric Mayson, who, along with Wolf and Olsen, also performs in the chamber-pop group Champagne Confetti. Mayson shines on “Bright Star,” a stark and powerful track performed by the ensemble’s piano trio.

While the vinyl edition presents a tightly curated five-track arc—including two instrumentals and three vocal-forward pieces—the digital release expands the narrative with additional material such as “Intermezzo (Bloom)” and the emotionally climactic “Bright Star.” In both forms, Violette achieves a rare integration of structure and spontaneity, composition and expression.

Violette marks a new creative high point in Olsen’s prolific career. Since receiving his McKnight Fellowship in 2020, he has composed more than 60 original works and released two albums of original music. His 2017 debut Joyfire was lauded by the Minneapolis Star Tribune as “sprawling yet cohesive,” while his 2020 EP It’s Easy to Pretend further showcased his evolving artistic voice. Olsen’s accolades also include recognition from the ASCAP Herb Alpert Young Jazz Composers Awards and a finalist nod from the International Society of Bassists’ Jazz Bass Competition in 2019.

As a performer, Olsen has appeared with artists such as Michael Cain, Dayna Stephens, Javier Santiago, John Raymond, and Aby Wolf, on stages ranging from Twin Cities Jazz Festival and First Avenue to Rockwood Music Hall and Dirty Dog Jazz Café. His music is steeped in jazz tradition but never beholden to it—forward-looking, accessible, and filled with harmonic color, rhythmic vitality, and heartfelt clarity.

With Violette, Ted Olsen offers a deeply personal and genre-blurring statement—music that is as intellectually engaging as it is emotionally stirring. It’s a record of nuance, depth, and imagination that may stand as his compositional masterpiece.

WAR Marks 50 Years of 'Why Can’t We Be Friends?' with Deluxe Anniversary Set Honoring Their Legacy and Message of Unity

This June, WAR will unveil Why Can’t We Be Friends? (50th Anniversary Collector’s Edition), a tribute to the multi-million-selling, chart-topping album that left an indelible mark on music history. This deluxe 3CD and digital set honors 50 years of some of the band's most iconic tracks, including the timeless title song “Why Can’t We Be Friends?,” the effortlessly cool “Low Rider,” “So,” and more. Originally released in 1975, Why Can’t We Be Friends? remains a groundbreaking album—defined by unforgettable melodies, a unifying message, and a cultural influence that continues to resonate in music, film, and social movements today.

Arriving June 6th via Avenue/Rhino, this special edition not only celebrates the album’s milestone anniversary but also honors WAR’s 55-year journey as musical innovators and cultural changemakers. Hailed as “one of the most seminal bands in music” (Billboard), WAR also “wrote the biggest, loudest book” on low rider Cali-cool multiculturalism (Variety).

Newly remastered by Bernie Grundman, the Collector’s Edition features the original album plus two additional discs packed with unreleased bonus tracks, rare jam sessions, and behind-the-scenes audio—including a revealing recording about the making of “Why Can’t We Be Friends?” This expanded 3CD and Digital release follows the 3LP vinyl edition, which debuted as a 2025 Record Store Day exclusive. WAR’s previous box set for The World Is a Ghetto was named Best New Reissue by Pitchfork and hailed among the year’s best by The New York Times, Variety, and more.

WAR’s dynamic blend of funk, soul, jazz, Latin, and rock—rooted in streetwise rhythms and socially conscious lyrics—first catapulted them to prominence 55 years ago. Their signature message of peace and unity reached far and wide, even being broadcast into space by NASA during the 1975 Apollo-Soyuz mission. Their songs have since been sampled or covered by countless artists, including Tupac, Janet Jackson, Method Man, Sublime, De La Soul, The Muppets, George Clinton, ZZ Top, and many more.

With over 50 million albums sold, 20 gold and platinum records, multiple Rock & Roll Hall of Fame nominations, and a GRAMMY Hall of Fame induction, WAR helped shape the soundtrack of the 1970s—and their message of harmony still resonates. More than a musical milestone, this anniversary edition reaffirms the album’s relevance today.

As WAR enters its sixth decade, their impact remains undeniable. Their 2024 debut in the Macy’s Thanksgiving Day Parade and a packed international tour schedule—including a headlining set at the LA County Fair—highlight the ongoing power of their music. 

Track Listing:

CD 1 – Why Can’t We Be Friends?

1. Don’t Let No One Get You Down

2. Lotus Blossom

3. Heartbeat

4. Leroy’s Latin Lament (Medley):
    - Lonnie Dreams
    - The Way We Feel
    - La Fiesta
    - Lament

5. Smile Happy

6. So

7. Low Rider

8. In Mazatlan

9. Why Can’t We Be Friends?

CD 2 – Bonus Tracks & Alternate Mixes (Disc 1):

1. Zorro (Bonus Track)

2. Don’t Let No One Get You Down (Original Unedited Mix)

3. Roam & Ramble (Bonus Track)

4. Low Rider (Original Unedited Mix)

5. So (Unedited Remix)

CD 3 – Bonus Tracks & Studio Footage (Disc 2):

1. Oatmeal Box (Bonus Track)

2. Heartbeat (Original Jam)

3. The Making of “Why Can’t We Be Friends?”

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Rick James’ Street Songs: The Punk-Funk Classic That Redefined R&B Returns in Audiophile Glory

When Rick James dropped Street Songs in 1981, the world didn’t just get another R&B album—it got a musical revolution. Infused with brazen sexuality, street-smart attitude, and genre-bending grooves, Street Songs introduced the world to the bold and unstoppable force of punk-funk. Now, thanks to Mobile Fidelity Sound Lab, this iconic album returns in an exquisitely remastered 180g 45RPM 2LP set sourced directly from the original master tapes—limited to just 4,000 numbered copies.

With hits like “Give It to Me Baby,” the steamy duet “Fire and Desire” featuring Teena Marie, and the unforgettable “Super Freak” (whose DNA runs through generations of hip-hop and pop), this new pressing offers the chance to hear James’ groove-laden brilliance in the highest fidelity ever released.

Every bass thump, every gritty lyric, every horn stab—it’s all here, polished to perfection and ready to light up your living room like it’s 1981 again.

Audiophile Features:

• Sourced from the original 1/4" analog master tapes

• Cut via DSD 256 & analog console lathe

• Pressed at Fidelity Record Pressing

• Housed in a premium Stoughton gatefold jacket

• Limited to 4,000 individually numbered copies

Tracklist

Side One

1. Give It to Me Baby

2. Ghetto Life

Side Two

1. Make Love to Me

2. Mr. Policeman

Side Three

1. Super Freak

2. Fire and Desire

Side Four

1. Call Me Up

2. Below the Funk (Pass the J)

Who Was Rick James?

Born James Ambrose Johnson Jr. in Buffalo, New York, Rick James was a genre-blending musical force whose career pushed the boundaries of funk, soul, rock, and pop. A multi-instrumentalist and visionary producer, James began his journey playing with Neil Young in Canada before returning to the U.S. to craft a sound all his own—a sound that would come to define the '80s.

Known as the “King of Punk Funk,” James rose to fame with his 1978 breakout Come Get It!, but it was Street Songs that catapulted him into the stratosphere. The album was more than just a commercial success—it was a cultural moment, spending 20 consecutive weeks at #1 on the R&B Album Chart and going multi-platinum.

Rick James was as known for his outlandish persona and controversial lifestyle as he was for his music, but beneath the flamboyance was a genius songwriter and producer. He penned hits for Teena Marie, The Mary Jane Girls, and Eddie Murphy, and his influence is still felt today—from MC Hammer’s “U Can’t Touch This” to the sonic DNA of modern funk and trap-soul artists.

Though his life had its ups and downs, Rick James’ musical legacy is undeniable. His boldness, humor, and fearless honesty made him an icon—and Street Songs remains his crowning achievement.

Why This Reissue Matters

This deluxe Mobile Fidelity edition isn’t just a reissue—it’s a full resurrection. The new mastering and pressing reveal depth and clarity previously buried in analog haze. Feel every throb of the bass on “Ghetto Life,” every seductive breath in “Fire and Desire,” and every tight guitar riff in “Super Freak” with stunning immediacy. It’s like hearing the record again for the first time—only better.

Whether you’re a vinyl collector, a funk aficionado, or simply ready to get down and get freaky, Street Songs in this form is a must-have.

Gwen McCrae’s On My Way: A Soul-Drenched Classic That Still Burns Bright

Originally released in 1982, On My Way stands as a shimmering, emotional, and funk-driven portrait of one of soul music’s most expressive and resilient voices—Gwen McCrae. A fixture in R&B and disco circles throughout the '70s and '80s, McCrae's voice is full of fire, grit, and grace. This album, reissued and remastered, reminds us why she became—and remains—one of the genre’s most revered figures.

At the heart of the album is the immortal “Keep the Fire Burning”—a dancefloor anthem that has inspired remixes, covers, and crate-digging devotion from DJs and collectors around the world. But the album runs deeper than one classic cut. Songs like “I Need To Be With You” and “I Didn’t Take Your Man” showcase McCrae’s unique ability to balance vulnerability and confidence, while “Doin’ It” and “Hang In” ride silky grooves that feel as fresh now as they did in the early ‘80s.

Tracklist:

1. Hang In (Remastered Version)

2. Make Believe (Remastered Version)

3. Keep the Fire Burning

4. I Need to Be with You (Remastered Version)

5. Be for Real (Remastered Version)

6. Hey World (Remastered Version)

7. I Didn't Take Your Man (Remastered Version)

8. Doin' It (Remastered Version)

Who Is Gwen McCrae?

Gwen McCrae was born Gwen Mosley in 1943 in Pensacola, Florida. She began singing in church and quickly made a name for herself in the Florida R&B scene during the 1960s. Early in her career, she performed and recorded with her then-husband George McCrae, best known for the disco hit “Rock Your Baby.” Together, they were a formidable soul duo, but Gwen would ultimately break out as a powerful solo artist in her own right.

She signed with TK Records in the 1970s, a label that would become pivotal in the Miami soul and disco movements. Gwen scored her first major hit with “Rockin’ Chair” in 1975, a sultry slow jam that reached No. 9 on the Billboard Hot 100 and cemented her status as a top-tier soul vocalist.

Over the years, her music evolved to blend Southern soul, gospel roots, funk, and disco—creating a signature sound marked by emotional intensity and dancefloor energy. Unlike many of her contemporaries, McCrae’s recordings feel both raw and polished, honest and exhilarating. Her phrasing, vocal grit, and deep emotive delivery made her a favorite not only in the U.S. but also in the U.K. and across Europe, where she’s been continuously celebrated and sampled by soul revivalists and DJs alike.

Even as the music industry shifted, McCrae’s legacy endured. Her work has been widely sampled in house, hip-hop, and electronic music, and her songs continue to appear in DJ sets, reissues, and soul playlists worldwide.

Why On My Way Still Matters

On My Way is more than just a reissue—it’s a document of a woman at the height of her powers, delivering an album filled with emotional clarity, groove-heavy arrangements, and unapologetic self-expression. Whether she’s laying down a powerful ballad or riding a funk-fueled rhythm, Gwen McCrae sings like her life depends on it—and that’s what makes this record essential listening.

Bernard Purdie Drops First Album in Six Years: A Groove-Fueled Celebration of Rhythm, Soul, and Legacy

The Groove Master Returns—And He's Still Got Plenty to Say

Legendary drummer Bernard “Pretty” Purdie returns with a brand-new album—his first in six years, and the first as an octogenarian—that delivers a bold, genre-blurring tribute to rhythm, soul, and timeless musicianship. Out now, this all-vocal studio release isn't just another entry in a celebrated discography—it’s a masterclass in groove, collaboration, and artistic maturity. Featuring an all-star lineup that includes Bill Champlin, Robben Ford, Chuck Rainey, and Christian McBride, the project is a vibrant, soulful testament to Purdie’s enduring brilliance.

From R&B to jazz, AOR to bossa nova, Purdie lays down deep, unmistakably “Pretty” grooves that elevate each track to pure musical joy. His signature pocket drumming—tight, soulful, and always danceable—is the invisible hand that unites a stunning cast of vocalists and instrumentalists into a cohesive, rhythm-first experience.

Tracklist:

1. Ain't You No Shame (Feat. Rob Paparozzi & Vaneese Thomas)

2. I Got the Blues (Feat. Roy Bennet, Robben Ford & Chuck Rainey)

3. Sea and You and Me (Feat. Stephane San Juan & Emanuelle Araujo)

4. Testify (Feat. Gene McCormick, Paul Shaffer & Robben Ford)

5. Stay (Feat. Bill Champlin & Paul Nowinski)

6. Ain’t I the Fool (Feat. Jack Hoban)

7. Chance for Love (Feat. John Korba & Christian McBride)

8. Halfway to the Moon (Feat. Nicolas Bearde)

9. Night Shift (Feat. Roy Bennet & Kenny Black)

With a voice in every beat and a story behind every groove, this album proves that age is just a number when you’re still playing with passion and purpose. Each track is laced with finesse and warmth, showcasing Purdie's rare ability to make even the most complex rhythms feel utterly natural.

Who Is Bernard “Pretty” Purdie?

Widely regarded as one of the most recorded drummers in history, Bernard Purdie’s influence spans more than six decades of popular music. Born in 1939 in Elkton, Maryland, Purdie first rose to prominence in the 1960s and quickly became known for his versatility, rock-solid timing, and unmatched pocket—what he famously calls the “Purdie Shuffle.” His trademark groove has influenced generations of drummers and has been sampled by hip-hop producers and studied in music conservatories around the world.

Purdie’s recording credits are staggering. He’s played with Aretha Franklin, Steely Dan, James Brown, B.B. King, Donny Hathaway, Miles Davis, Hall & Oates, and Cat Stevens, among countless others. His work appears on over 4,000 albums, including many that helped define the sound of funk, soul, R&B, and jazz fusion.

What sets Purdie apart is his expressive, groove-centric style—often marked by a deceptively simple hi-hat pattern layered over intricate, swinging snare and kick drum work. His rhythmic feel is infectious and unmistakable.

Beyond his drumming, Bernard Purdie is a celebrated bandleader, educator, and mentor. He’s published instructional books and videos that have helped shape aspiring drummers around the world, and his live performances continue to captivate audiences with energy, humor, and wisdom.

A Record That Lives in the Pocket—And in the Heart

This latest album is not only a fresh creative statement from one of the greatest drummers of all time, but also a reminder that music is timeless—and that true groove never grows old. For longtime fans, it’s a chance to hear Purdie in peak form. For newer listeners, it’s an invitation into the warm, soul-saturated world of a rhythmic genius.

Whether you’re into jazz, funk, R&B, or just good music played by great musicians, this is one release you don’t want to miss.

Melba Moore and Brenda Russell Among Honorees as Women Songwriters Hall of Fame Marks 5th Anniversary in DC

The Women Songwriters Hall of Fame (WSHOF) is celebrating a major milestone — its fifth anniversary — with an inspiring two-day event honoring groundbreaking female songwriters who’ve left an indelible mark on global music. Taking place June 20–21, 2025 at the prestigious Mead Center for American Theatre in Washington, DC, this celebratory gala is more than an award show — it’s a tribute to legacy, innovation, and empowerment through music.

Hosted by acclaimed TV personality and entrepreneur Claudia Jordan, the weekend will shine a spotlight on 12 influential women of song whose work spans genres and generations. This year’s honorees include iconic names like Melba Moore, Brenda Russell, Regina Belle, Janis Ian, and Asha Puthli, alongside notable contributors such as Sylvia Moy, Julie Giroux, Janiva Magness, Vicki Peterson, YoYo (Yolanda Whitaker), Christina Shusho, Dr. Stacy L. Smith (USC Annenberg), and the late Lari White.

Celebrating Women’s Creative Power

Since its inception, the Women Songwriters Hall of Fame has championed women in every facet of the music industry — not just songwriters, but also composers, educators, engineers, and executives. As Founder and CEO Dr. Janice McLean DeLoatch shares, “The Women Songwriters Hall of Fame Awards is like the Grammys — but with a sharper focus on elevating women’s voices. We’re creating long-overdue recognition and opening doors for the next 50 years of female musical brilliance.”

Over the years, WSHOF has honored artists such as Roberta Flack, Valerie Simpson, Loretta Lynn, Gloria Estefan, and Olivia Newton-John, among many others. Each event builds on the organization’s core mission: achieving parity, fostering creative collaborations, and inspiring the next generation of women in music.

Weekend Highlights

Friday, June 20 kicks off with WSHOF’s annual songwriting contest and exclusive industry mixer, hosted by Montanique “Monei” Sutton. Ten emerging songwriters will present their original music to a panel of veteran judges, vying for studio time at Omega Recording Studios, a new guitar, and the opportunity to perform at Saturday’s awards ceremony. The mixer also serves as a unique networking platform, giving new talent a chance to meet and connect with established industry professionals.

Saturday, June 21 features the main event — the glamorous WSHOF Awards Ceremony, packed with live performances, moving tributes, and plenty of surprises. Attendees can look forward to music from Nes Powers, Evelyn Rubio, Robert Cristian Jordan, and Mallow Hill, plus special entertainment from magician and mentalist Adam Stone and the acclaimed theatrical troupe Women on Fire, known for their humorous and thought-provoking takes on women’s issues.

Additional participants include DJ Supreme Da Barber, Songwriting Ambassador Versie Jean, awards presenters Andree Harris and Telishia Berry, and musical director Christopher Valentine, who will help bring the event to life with his signature sonic style.

Get Involved

For brands, organizations, and individuals eager to support women in music, sponsorship opportunities are now available. From ad placements to inductee sponsorships and event visibility, the gala offers unique exposure to a diverse, influential audience of creatives, tastemakers, and industry leaders.

For more information and to support the cause, visit:
🔗 womensongwritershalloffame.org

British Jazz Star Emma Smith Makes Bold U.S. Debut with Soul-Stirring New Album Bitter Orange

Celebrated British jazz vocalist Emma Smith, already a musical force with a devoted and ever-growing following in the UK and European markets, embarks on captivating the US fans with her forthcoming album, Bitter Orange, due out July 18th on La Reserve Records. Known for her virtuosic chops and signature vivacious live shows, Smith, who is a multi-million streams artist, is the first UK artist to join the label’s roster and brings a lifetime of stories to these shores.

Bitter Orange is an intimate snapshot of the reality of Smith’s modern inner life with a sound rooted in yesterday — the glamour and the introspection of a self-making woman trying to be heard and make an impact.

“This album is my space to play with the juxtaposition of bitter and sweet, the humor and heartbreak that punctuate my life — the ups and downs, the wins and the losses,” she says. “There’s camp ridiculousness and raw vulnerability — and somehow, all of that is me.”

Emma was raised in a musically-rich family of accomplished musicians. Her mother played saxophone for Leonard Bernstein and Paul Weller, among others, and her father’s orchestrations were commissioned by The Three Degrees, Herb Miller (brother of Glenn Miller), Princess Diana and King Charles III. But it was her grandfather, Chris Smith Sr., a celebrated East End trombonist, who was her greatest influence. He performed with Frank Sinatra, Tony Bennett, Sammy Davis Jr., Oscar Peterson, and Barbra Streisand, among others. “He never skipped a day’s practice,” Smith recalls. “He taught me that you’re only as good as your last gig.” That discipline, paired with a deep love for the music, became the foundation of Smith’s artistry.

Bitter Orange pays homage to Emma’s musical inspirations including Ella Fitzgerald, Julie London, Oscar Peterson, and British jazz royalty Dame Cleo Laine but with a sound distinctly her own. Smith and her trio have been seamlessly playing together for over a decade. The trio includes pianist and co-producer Jamie Safir, (Kylie Minogue and Claire Martin OBE), double bassist Conor Chaplin, (Jacob Collier and drummer Luke Tomlinson, a guest member of the NDR Big Band).

“We’ve been making records and playing shows together for years,” Smith explains. "There’s a real friendship and deep trust between the trio and me. It’s our hope that listeners can hear the camaraderie that exists between us on every track.”

Songs on Bitter Orange include a stripped-down and haunting “Bewitched, Bothered and Bewildered;” a playful revival of the forgotten Disney Cinderella gem, “I’m in the Middle of a Muddle,” and a meditative medley combining “Funny Face” and “My Funny Valentine.” Smith honors her British heritage with London Pride, composed by Noël Coward during the Blitz. An original song, co-written with Safir, “What Took You So Long?” is the centerpiece of the album and takes its narrative inspiration from Nancy Wilson’s “Guess Who I Saw Today,” while walking its own path.

 “We were really moved by the storytelling in that song,” Smith explains. “So we wrote something that captures that dramatic arc but with a narrative voice that feels more like me.”

Recent accolades Smith has won include the 2024 Parliamentary Jazz Vocalist of the Year, and the Jools Holland Boisdale Music Award for Jazz Act of the Year (competing alongside Ezra Collective, Courtney Pine, and Nubya Garcia). She was also a finalist in the 2023 Sarah Vaughan International Vocal Competition, and the only non-U.S. singer in the top five. Her career highlights include collaborations and performances with Michael Bublé, The Quincy Jones Orchestra, Jeff Goldblum’s Mildred Snitzer Orchestra, and Postmodern Jukebox. She is also a longtime member of the internationally acclaimed group, The Puppini Sisters. Having spent four years as a program host for “Jazz Now” on BBC Radio 3, Smith is already a familiar voice to British jazz audiences nationwide.

Smith supports her album release with debut US performances on July 17 at Catalina’s Jazz Club (Los Angeles), and July 19 at the Cultural Center (Palm Springs). Her UK album launch includes four shows at Ronnie Scott’s (London) August 6–7, and additional dates across Europe and North America that will continue throughout 2025 and beyond. She is represented by Music Works International, home to artists including Dianne Reeves, Samara Joy, Emmet Cohen, and Branford Marsalis.

Bitter Orange is a record of contrast — delivered with guts and elegance — from an artist whose story is just beginning in the U.S., but who has spent years laying the groundwork. For American audiences, this is the first chapter. For Smith, it’s a moment she’s been building toward her whole life.

“I feel ready now — secure enough in myself — to be vulnerable through my music and show my edges to the world,” she says. “I’m looking forward to sharing my stories and songs with American jazz fans.”

Mark Masters Honors Jazz Giants with Two Visionary New Albums Reimagining the Music of Sam Rivers & Billy Harper

On a pair of thrilling new albums for longtime label home Capri Records, acclaimed arranger and bandleader Mark Masters works his recompositional magic on the work of two masters of the tenor saxophone, both very different but equally brilliant composers. With Sam Rivers 100, Masters honors the 2023 centenary of avant-garde jazz pioneer Sam Rivers, while on Dance, Eternal Spirits, Dance! he explores the wide-ranging compositions of spiritual jazz legend Billy Harper. Both albums, to be released on June 6, 2025, feature ingenious new arrangements for different configurations of the Mark Masters Ensemble, and are graced by the breathtaking solo work of Billy Harper.

“Billy Harper is a longtime hero of mine,” says Masters, who first invited the tenor great to guest on his 1990 album Priestess, which also featured trombonist and Charles Mingus sideman Jimmy Knepper. “Billy is a very gifted composer whose music is singular, and I also love his playing.”

Priestess was also Masters’ debut release for Tom Burns’ Denver-based Capri Records imprint, kicking off an association that now extends to 15 releases over 35 years. “First and foremost, Tom is a friend,” Masters says about the longstanding relationship. “He cares about and believes in the music, and he apparently likes what those of us on Capri do.”

“Mark and I have similar tastes in almost everything,” Burns says, “but most importantly the music. His arranging style is reminiscent of so many great arrangers without being an imitator. He has a unique voice and never ceases to surprise me with his creativity.”

One needn’t ponder very hard about Capri’s ongoing support for Masters’ output given the scintillating music to be found on both Sam Rivers 100 and Dance, Eternal Spirits, Dance! The former grew out of a series of performances in late 2023 to celebrate what would have been Rivers’ 100th birthday on September 25. Masters was drawn to Rivers’ earlier, mid-‘60s work for Blue Note Records, in particular the saxophonist’s classic 1964 debut, Fuchsia Swing Song. He arranged all six of the album’s tracks for Sam Rivers 100, which comprise more than half of its 11 pieces.

“I've been a fan of Sam Rivers for many years,” Masters says. The idea for arranging his music was born almost 20 years ago, when Masters brought Rivers, then in his early 80s, and his trio to Claremont McKenna College as part of a series produced by the American Jazz Institute.

“I was intrigued by how different Sam’s approach to music was at different times of his career. I was attracted to his music and was determined to do something with it eventually.”

In thinking about a guest soloist to join the Ensemble for the tribute, Masters quickly decided on Harper. Though he is 20 years Rivers’ junior, Harper’s career and wide-ranging approach to the instrument overlapped inspiringly with the elder tenor master. “He was the building blocks of jazz music,” Harper told Orlando Weekly in a preview of the concerts. “He's the stepping stone to go to the next place.”

Approaching Harper’s own music for Dance, Eternal Spirits, Dance!, Masters surveyed a broader swath of the composer’s career, culling material from a nearly 30-year span from 1972 to 2000. “Billy is a very melodic composer,” Masters says. “Each of his compositions is so different from the others, and that's one of the many interesting things about his music. He doesn't compose from a formula, so each of his tunes has a very distinct personality.”

The two albums are a study in contrasts, with Harper’s music carefully constructed and Rivers’ much more skeletal and oriented towards free improvisation. In that spirit, Sam Rivers 100 includes two completely free pieces by a smaller configuration of the 13-piece Ensemble, including guest appearances by longtime collaborator Tim Hagans – whose trumpet also makes up part of the 17-piece Ensemble for Dance, Eternal Spirits, Dance! That version of the band also includes Francesca Tanksley on piano, a continuation of her more than 35-year collaboration with Harper.

“Some elements of Billy’s compositions are written in stone, so you have to write around that. I approached Sam's music like lead sheets, because unlike Billy he didn't write profound bass lines that were so much a part of the composition. Sam just wrote a melody and a set of chord changes. The challenge came in finding an orchestral way of addressing that material. So they were two equal but very different challenges.”

Long recognized as one of the great jazz arrangers of the last few decades, Mark Masters formed his first ensemble in 1982. He’s gone on to found the non-profit American Jazz Institute and has recorded tributes to Jimmy Knepper, Clifford Brown, Dewey Redman and other greats. The vehicle for his transformative orchestrations, The Mark Masters Ensemble, has featured some of the music’s most revered performers, including Billy Harper, Tim Hagans, Gary Smulyan, Peter Erskine, Steve Kuhn, Ray Drummond and Oliver Lake. His most recent album, Sui Generis, spotlighted longtime collaborator Tim Hagans in a concerto for trumpet and chamber orchestra, Prior to that, Masters & Baron Meet Blanton & Webster featured the legendary Art Baron, the last trombonist hired by Duke Ellington himself for his iconic orchestra, on new arrangements of music by the early ‘40s Jimmy Blanton-Ben Webster era band. Masters delved deep into the catalogue of composer Alex Wilder for 2020’s Night Talk with Gary Smulyan, reimagined works by Gerry Mulligan and Charles Mingus on 2017’s acclaimed Blue Skylight and assembled an all-star band of creative musicians to perform his own original works for Our Métier (2018). He has been named a Rising Star Arranger in the annual DownBeat Magazine Critics Poll on numerous occasions.

Mike Morrison Sets Sail with Missed the Boat — A Bold Baritone-Driven Journey into Modern Jazz

Missed the Boat, the latest album from baritone saxophonist Mike Morrison, is now available on Lucky Buck Records. The album offers a fresh take on modern jazz, weaving together intricate melodies, deep grooves, and emotive improvisation in a powerful, highly personal release. Featuring an all-star lineup of Dallas-Fort Worth’s finest musicians, Missed the Boat is a collection of original compositions that reflects Morrison’s diverse influences and years of experience as a performer, educator, and sideman.

Born and raised in Levelland, Texas, Morrison’s musical journey began early, rooted in the rich jazz tradition. He holds both a Bachelor’s and a Master’s degree in Music/Performance with an emphasis on Jazz Studies from the University of Texas at Arlington. During his time at UTA, he performed with renowned artists such as Arturo Sandoval, Jon Faddis, and Bob Mintzer, among others. He also served as a Graduate Teaching Assistant in the Jazz Studies program, teaching jazz theory and combos, which helped refine his understanding of jazz and his connection to the music community.

Morrison’s career as a performer spans across many genres, but his primary focus has always been jazz. He’s active as an adjunct professor at both UTA and Texas Christian University and is a fixture on the Dallas-Fort Worth music scene, playing with groups like the DFW Jazz Orchestra and Memphis Brass Big Band, as well as leading his own trio. Missed the Boat captures his deep knowledge of jazz and his ability to merge traditional forms with modern sounds, while pushing the boundaries of baritone saxophone playing.

On Missed the Boat, Morrison is joined by bassist Mike Luzecky and drummer Matt Young, both of whom bring their own remarkable talents to the project. The trio delivers a compelling performance across seven tracks that range from soulful ballads to funky grooves, with every note feeling intentional and packed with emotion. The album opens with the title track, "Missed the Boat," a smooth, reflective piece that sets the tone for the rest of the album. Following it is "Impermanence," which features a more introspective approach, with Morrison's baritone saxophone leading the way through the complex harmonic structures.

"Ferguson’s Song" is a heartfelt tribute, while "Blues for H.M." brings a touch of old-school jazz with its bluesy feel and infectious rhythm. The playful "Diana" adds a lighthearted touch to the album, while "Tacocat" closes the record on an upbeat, funky note.

The album was produced by R. Jason Vandygriff and David J. Pierce, both of whom have worked with many of the region's top jazz musicians. Missed the Boat was recorded at the Echo Lab in Denton, Texas, with Jake Greenburg engineering and mixing the project. The album was mastered by David Willingham at 70 Hurtz Audio in Bend, Oregon, ensuring that every nuance of Morrison’s sound is captured in pristine detail.

The release of Missed the Boat marks a significant step in Morrison’s career as a bandleader, showcasing his versatility not only as a performer but as a composer. His intricate arrangements and heartfelt solos bring a sense of depth to the music, making it a standout in the ever-evolving world of modern jazz.

Missed the Boat is available now on all major streaming platforms and in vinyl format. With the support of Lucky Buck Records, Morrison is set to continue sharing his passion for jazz with the world, bringing his unique voice and musical vision to listeners everywhere.

Dave Monsch Makes His Bold Debut with Struttin’ at the Winedale — A Genre-Spanning Jazz Showcase

Struttin' at the Winedale, the highly anticipated debut album from Dallas-based saxophonist and flautist Dave Monsch, is now available on Lucky Buck Records. This dynamic release marks a significant milestone in Monsch's musical career, showcasing his mastery of both the saxophone and flute while drawing from a diverse range of jazz influences. A collection of original compositions and exciting ensemble performances, Struttin’ at the Winedale is a testament to Monsch's rich musical background and his passion for pushing the boundaries of modern jazz.

Born and raised in Pittsburgh, Pennsylvania, in a musical household, Monsch was introduced to music early in life, with both of his parents being musicians and educators. His formal training began with saxophone lessons under the guidance of local legend Cy Hays. As he honed his craft, Monsch’s love for jazz flourished, and he eventually moved to Texas to attend the prestigious University of North Texas (UNT) where he immersed himself in a diverse range of musical genres, including big band, small group jazz, funk, world music, and avant-garde styles. His experiences at UNT, alongside a rich career of touring and performing, helped shape his unique sound, which blends technical prowess with deep emotional expression.

After earning his Bachelor’s degree in Music/Jazz Performance, Monsch's career took him from cruise ships to New York City, before eventually landing in Dallas, where he became a prominent figure in the city's vibrant jazz scene. His time playing with the group Flipside proved to be a pivotal chapter in his musical journey, influencing both his compositions and his approach to live performance. Over the years, Monsch has also worked as a sought-after studio musician, collaborating with a wide range of exceptional artists.

Now, with Struttin’ at the Winedale, Monsch brings his vast experience and distinctive voice to the forefront. Featuring a stellar lineup of musicians, the album blends intricate melodies and improvisation with a deep groove that draws listeners in from the first note. Monsch’s versatility on saxophone, alto flute, and bass clarinet is showcased across the eight tracks, which include the playful "Joe Through Osmosis," the reflective "Mind Dream," and the upbeat title track, "Struttin’ at the Winedale." His compositions reflect a diverse musical background, seamlessly weaving elements of jazz, funk, and world music into a cohesive and dynamic sound.

The album features a talented group of musicians, including bassist Paul Unger, drummer Dennis Durick, pianist Brad Williams, and trombonist/accordionist David Pierce. Together, they create a rich, layered sound that complements Monsch’s vision while allowing each musician to shine. The result is an album that is both exploratory and accessible, offering something for jazz aficionados and casual listeners alike.

Struttin’ at the Winedale marks the beginning of an exciting new chapter for Dave Monsch and Lucky Buck Records, a label known for its commitment to nurturing and supporting exceptional talent. Lucky Buck Records, based in the Dallas-Fort Worth area, has quickly become a go-to destination for high-quality jazz releases, and Monsch’s debut further solidifies the label's reputation for producing world-class music.

As the album hits shelves, both digital and vinyl, it represents not just a personal achievement for Monsch, but also an exciting new voice in the ever-evolving landscape of contemporary jazz. With Struttin’ at the Winedale, Dave Monsch proves that he is not just a talented instrumentalist, but also a gifted composer who is ready to take his place among the next generation of jazz greats.

Noah Haidu Unveils Standards III (Infinite Distances) : A Deep Dive into Jazz Legacy, Modern Soul, and Masterful Trio Chemistry

On the heels of glowing reviews from national press, widespread streaming and radio play, and sold-out touring across the U.S., New York pianist Noah Haidu releases Standards III (Infinite Distances) on June 6, 2025.  

“He has developed his own compelling brand of pianism,” declares The Wall Street Journal. Recent work has been hailed as “extraordinary” by Jazz Magazine, “really beautiful” by National Public Radio, and “stunning” by DownBeat. Indeed, it seems that audiences have caught up to the praise long bestowed upon this important voice in jazz – a multi-dimensional artist who combines modernism, soul, and swing into his own singular style.

This new album, the third installment in Haidu’s Standards series, continues his collaboration with legendary bassist Buster Williams and noted drummer Billy Hart while also debuting an equally impressive new band featuring Gervis Myles on bass and Charles Goold on drums, both rising stars in the New York scene.  

The two trios explore imaginative interpretations, contemporary influences, and grooves so deep you could fall into them. Haidu’s clear, light touch renders variations on themes composed or inspired by Thad Jones, Richard Rodgers, Sammy Cahn, Dinah Washington, and Jerome Kern. Popular artists Chappell Roan and Stevie Wonder provide additional source material and inspiration, while the original “Slipstream,” a striking reinterpretation of the title track from Haidu’s debut album, holds its own alongside any standard.  

Steve Wilson (alto saxophone), Peter Washington (bass), and Lewis Nash (drums) also join Haidu for "Slipstream."  Whether collaborating with his elders or his peers, Standards III cements Haidu’s legacy leading arguably “the best trio performing today” (Robert Nicosia, Musicman Blog).

This third collection of standards continues to build on the buzz which has been growing around Haidu’s recording efforts in recent years. His Keith Jarrett tribute project Slowly  garnered a rave from The Wall Street Journal and a spot in DownBeat’s Best Albums Of The Year issue. Noah’s ambitious multimedia deep-dive into the work of Kenny Kirkland found praise not just for his Kirkland tribute album Doctone but also the accompanying documentary short film and book he produced. It was an album of Haidu’s own heralded originals Infinite Distances, anchored by a six-part suite for quintet, which prompted DownBeat to hail him as an “innovative composer” in a four-and-a-half-star review.

Haidu will soon be recording his most personal album to date, as well as more music written and inspired by Kenny Kirkland.

With a remarkable talent for forging fluid collaboration among some of the most elite players in jazz alongside the up-and-coming next generation, any Noah Haidu Trio show is the embodiment of “three masters of the craft of trio playing, conjuring magic” (Jazzwise).  Transcending expectations at every turn, Haidu “by now has his own unique approach…sounding buoyant and free, like a pent-up spirit released.” (Wall Street Journal). 

Noah Haidu – 2025 Tour Dates
Catch acclaimed jazz pianist Noah Haidu live in an exciting series of trio, quartet, and special collaboration performances across the U.S., U.K., and Europe. Featuring a powerhouse lineup of artists including Gervis Myles, Charles Goold, Kevin Sun, Buster Williams, Lenny White, Nasheet Waits, and Randy Brecker.

Upcoming Performances:

• June 10 – Seattle, WA
  The Royal Room (Presented by KNKX)
  Noah Haidu Trio w/ Gervis Myles & Charles Goold

• July 9 – New York, NY
  Smalls Jazz Club
  Quartet w/ Kevin Sun

• July 17 – Weehawken, NJ
  Linear Park
  Noah Haidu Trio w/ Gervis Myles & Charles Goold

• July 18–19 – Hollywood, CA
  Catalina Jazz Club
  Noah Haidu | Buster Williams | Lenny White

• August 9 – New York, NY
  The Django
  Noah Haidu Quartet w/ Kevin Sun

• October 13 – London, UK
  Pizza Express
  Noah Haidu | Gervis Myles | Nasheet Waits

• October 15 – Paris, France
  Jazz Sur Seine Festival @ Sunside-Sunset
  Noah Haidu | Gervis Myles | Nasheet Waits

• October 18 – Phoenix, AZ
  Ravenscroft Concert Hall
  Noah Haidu | Randy Brecker | Gervis Myles | Charles Goold
  Featuring music composed by and inspired by Kenny Kirkland

Toronto’s Heavyweights Brass Band Drops “Knockout” Album – A Horn-Fueled, Funk-Soaked Celebration of Brass, Soul & Swagger

After 15 years of bringing the party wherever they play, The Heavyweights Brass Band are ready to make you dance, strut, and testify with their fifth full-length album, Knockout, dropping June 27, 2025. With a sound steeped in New Orleans brass traditions, Toronto’s reigning brass band champions fuse jazz, funk, and soul into a heady, horn-heavy celebration of everything that makes music joyful and alive.

Their lead single “Carnicero,” arrived April 25 and nods to their roots and their future. Written by sousaphone sensation Nolan Murphy, the track is a Latin-influenced shout-out to the band's co-founder Christopher Butcher, who now calls New Orleans home. Think street parades, steamy late-night clubs, and a trumpet line that makes your heart do backflips. This is the kind of song that makes you want to dance in traffic.

Follow-up single “Splacka,” out today, and you’ll know why they call it that as soon as the drums kick in. “It’s funk from the jump,” says trombonist RJ Satchithananthan, who composed the track. “The name ‘Splacka’ is literally the sound of the beat.” The track’s got that classic sitcom-style band intro energy — full of swagger, horn call-and-response, and a groove so deep you’ll need a passport.

And just when you think you’ve caught your breath, the album closer “Greater Good” (out June 27 with the album) brings it all back to the bayou. “It’s our love letter to New Orleans brass bands,” the group says, name-checking heroes like Rebirth, Dirty Dozen, and Hot 8. “This is who we are, and who we’ve always aspired to be.”

Knockout was recorded over two days at Taurus Studios, with the entire band playing together in one room. That energy — that sweat-on-the-walls, live-off-the-floor magic — is the soul of the album. With 11 songs and contributions from a new generation of jazz trailblazers like Kae Murphy (trumpet) and Nolan Murphy (tuba), the album is both a celebration and a passing of the torch. “The Toronto brass scene has grown so much,” the band says. “Including younger musicians who are pushing boundaries was vital for this project.”

In their own words, “The Heavyweights Brass Band is a flag planted in the middle of the dancefloor. We hit hard with groove, energy, and originality. We’ve always believed in putting our personalities in the music, from gritty funk to bold soul to pure brass band joy. This record shows where we’ve been — and where we’re going.”

Formed in 2010, HWBB has carved out a unique place in Canadian music. From sweaty club gigs to festival stages, they've opened for The Roots, jammed with Trombone Shorty, and recorded with everyone from Giovanni Hidalgo to Joe Lastie of Preservation Hall. They've earned standing ovations from the Toronto Jazz Festival to hometown bars and built a catalogue of genre-bending originals and electrifying covers.

To celebrate the release of Knockout, the band will appear at the Toronto Jazz Festival on June 28, 2025 (details TBA). Expect two trumpets, a sousaphone, a drum kit, and enough brass swagger to power a second line through downtown traffic.

Jake Baldwin Returns with Vanishing Point: A Bold Fusion of Jazz and Rock

Grammy-winning trumpeter and composer Jake Baldwin returns with Vanishing Point, a striking new album of jazz-rock fusion out August 15, 2025 via Shifting Paradigm Records. Following the critical acclaim of 2023’s Misc. Items, Baldwin reunites with guitarist Toivo Hannigan, bassist Cody McKinney, and drummer Adam Harder Nussbaum—a quartet that has quickly emerged as one of the most adventurous and dynamic ensembles in the Midwest creative music scene.

Vanishing Point builds on the momentum of its predecessor while expanding the group’s musical vocabulary. Featuring eight new original compositions and a reimagined take on the classic “You Are My Sunshine,” the album explores the tension between clarity and uncertainty, groove and abstraction, structure and spontaneity. Baldwin and Hannigan split the compositional duties, crafting pieces that balance harmonic richness with textural depth, often blending the openness of jazz improvisation with the visceral punch of rock.

The album’s title track sets the tone both sonically and thematically. “This record is about transition,” Baldwin says. “The vanishing point is that place on the horizon where things disappear from view—but you know more lies beyond. That’s where I feel I am in my musical life right now.” The tune nods to the ambient indie rock textures of Broken Social Scene while offering a searching, spacious introduction to the record’s atmosphere.

Hannigan’s “Space Heater” injects a touch of lo-fi charm into the mix, built around a hypnotic guitar riff and inspired by the quiet comfort of an electric heater during a cold Minnesota autumn. Baldwin’s “Orb,” on the other hand, draws from deep within his musical subconscious—a melodic pattern his fingers have defaulted to since childhood—ultimately emerging as a tightly wound piece in 11/8 that blends cerebral complexity with emotional warmth.

Other standout tracks include “Meditation,” a lyrical and introspective tune dedicated to longtime friend and fellow musician Francisco Garrido, and “Phantasm,” a bass guitar–driven piece built around major 10ths and a driving A pedal that opens into an anthemic rock chorus. “Fastlo,” one of the album’s most rhythmically adventurous tracks, came to Baldwin in a dream and dances between 7/4 and 4/4, merging dream logic with grounded intensity.

“Riverway” serves as a reflective centerpiece, written at the onset of the COVID-19 lockdown in Hannigan’s apartment overlooking a rain-slicked Huntington Avenue when he was living in Boston. Baldwin’s “Low” offers a sonic tribute to the influential Duluth-based band, distilling their haunting minimalism into a moody, trumpet-led meditation.

The album closes with a bold reinterpretation of “You Are My Sunshine,” a piece Baldwin has been refining since college. “I wanted it to feel like I was searching for the answer among life’s ambiguity,” he explains. The arrangement uses dissonance, chromatic descent, and strategic tension to create a powerful emotional resolution—an elegant bookend to an album steeped in questions, transitions, and discoveries.

A fixture of the Minneapolis music scene, Baldwin has earned a reputation for stylistic versatility and creative fearlessness. His résumé includes performances with The Four Freshmen, the Minnesota Orchestra, and contributions to the animated show Archer. In 2023, he received a Grammy for his work on Assassin’s Creed: Ragnarok. His previous albums Where You’re Planted (2021) and Misc. Items (2023)—both released by Shifting Paradigm Records—have been praised for their originality and depth, with Misc. Items earning a 4-star review from DownBeat Magazine.

With Vanishing Point, Baldwin and his quartet continue to chart their own path in modern jazz, blending electric textures, intricate composition, and fearless improvisation into a vivid and compelling musical statement.