Anthony Wilson Revives His Nonet with House of the Singing Blossoms, a Lush, Live Ode to Legacy and Innovation

The nominees for Best Large Jazz Ensemble Performance category at the Grammy Awards in 1998 included a nonet album from a talented young guitarist and arranger, catapulted into the limelight by the honor. By the time he recorded his fourth nonet album in 2006, The Power of Nine, Anthony Wilson was well-known as the guitarist for Diana Krall and lauded as one of the most outstanding jazz musicians on the West Coast. After nearly two decades, Wilson returns to what first ushered him into the public eye, releasing a brand-new nonet album, House of the Singing Blossoms, performed live and recorded for a boisterous audience at Sam First in Los Angeles.

"I've been feeling for quite some time that I wanted to revisit that instrumentation, the whole ethos of the larger ensemble," Wilson explains; an ethos whose father, bandleader Gerald Wilson, understood very well. "I'd heard people like B.B. King, or Clarence "Gatemouth" Brown, T-Bone Walker, those kinds of guitarists centered in a group with a horn section," he continues. "And, over a period of years it kind of opened up, and I learned to have less of a hold over what we were doing, turning it into the kind of ensemble that incorporated improvisation in a more open, natural way."

Wilson returns from his previous nonets with the twin veterans, drummer Mark Ferber and trombonist Alan Ferber, complementing them with other established artists: tenor saxophonist Bob Reynolds, whom Wilson lauds as the "ultimate team player with a responsibility to the music as well as a sense of freedom and energy," and pianist Gerald Clayton, a constant musical companion of Wilson's. "I've come to depend on the beauty of what he provides, what he embodies as a musician – both a real, abiding interest in all the traditional elements of what we love, and then a look forward and outward that isn't super contained by a traditional identity," says Wilson of his friend.

Then there are emergentists who have redefined the creative music scene in Los Angeles: alto saxophonist Nicole McCabe, baritone saxophonist Henry Solomon, bassist Anna Butterss, and trumpeter and French horn player CJ Camerieri. Wilson says of his crew, "I like to be surrounded by people whom I trust for their musicality, but who most of all make me feel inspired by their presence and energy."

Wilson's recent output includes a turn towards singing and songwriting, and these arrangements similarly have a song-like quality to them. Take the swampy saloon number "Bordertown" by saxophonist Bennie Wallace, who played on Wilson's first two albums and was influential in his textural approach to horn-writing. Wallace also harkens back to Wilson’s history, having first recorded the Lennon/McCartney classic on his third album, Adult Themes. He conjoins two Joe Zawinul compositions, prefacing the groovy Cannonball Adderley-era boogaloo "Walk Tall" with an elaborated "In a Silent Way" from Miles Davis' foray into fusion. Two pieces resound from Keith Jarrett's album Treasure Island: The tender "Introduction & Yaqui Indian Folk Song," and "Le Mistral," which Wilson characterizes as "a rollicking piece that captures the spirit and energy of this band beautifully." And saxophonist Ben Wendel's "Simple Song" has long been a favorite of Wilson's. "I thought I could combine some songs like this with some new pieces that I was writing," he summarizes.

The name for the title track came to Wilson while perusing some photographs specially for album artwork taken by Paul Solomon, founder of Sam First.  Wilson discovered "a nightscape of a building with a door opening out onto a field of glowing purple blooms... House of the Singing Blossoms seems to transport us to an enchanted, almost supernatural location, full of mystery and wonder." Another original, "Blues for Wandering Angels," is a classic minor blues. Wilson ruminates, "I am often thinking of those guardian angels who seem to aid and protect us during the course of our lives and this title expresses the thought that some of those spirits might yet be unattached to their destined beings on the ground – and wandering themselves – until they finally make their connection."

The album begins with a final tribute. Wilson explains, "'Triple Chase' is a song of my father's from the 1980s that was a staple of his orchestra’s live sets until the end of his life." Gerald Wilson's composition exemplifies how Anthony Wilson's biography is quintessentially a part of the music he is making. Regarding his return to nonet, he concludes: "It feels like it opens the door again to developing things with this type of ensemble for the future, in ways that might integrate all the things that I've done along the way. I feel like I'm looking at this as an opportunity to embrace this ensemble again and to begin to explore all the possibilities that might be there..."

Mocean Worker & Joe Alterman Groove Hard on Keep The Line Open—A Soulful, Funky Tribute to Les McCann

Bassist/producer Mocean Worker (aka Adam Dorn) and pianist/composer Joe Alterman have come together for Keep The Line Open, a funky, feel-good tribute to the late soul jazz legend Les McCann. Out September 26 via MOWO! Inc., the nine-track collection taps into the genre-blurring spirit that defined McCann’s music, as well as his influence on Dorn and Alterman, who knew him as a mentor, collaborator and close friend. With credits ranging from Eddie Harris and Ramsey Lewis to Hal Willner, Marcus Miller, and Brian Eno, Dorn and Alterman fuse their distinct artistry into an electrifying set that celebrates McCann’s essence while standing on its own as a joyous, party-starter. 

Dorn and Alterman created Keep The Line Open by melding sampling with live instrumentation to pay homage to an era when the groove reigned supreme and the vibe was decidedly danceable. It’s an album with that ‘live thing’ without actually being a live album. It invites the listener to shake their hips, stomp, shout, and exuberantly raise the collective vibration. Drawing from years of conversations recorded for posterity, saved voicemails and other aural documents of McCann, they’ve woven his voice, laughter, and ever-present sense of humor throughout the album, which threads in and out of the tracks. The infusion of McCann’s raspy timbre is the bond that holds the music together.​

“We wanted to make a record that harkened back to an era, but use the technology of the current era that says, ‘here’s a party and you can come to the party and not feel like you are being preached at...’” explains Dorn.​

Alterman concurs: “The idea of music making people feel good and enjoy themselves is one of the things Adam and I definitely have in common. It's how we got into the music and live with the music, and that’s a point of this project for sure. Hopefully you’ll listen to it and think it’s a live party.”

Dorn’s relationship with Les McCann began through his father, the legendary Atlantic Records' staff producer Joel Dorn, who worked closely with McCann on several albums, including rare-groove classics like Layers, Invitation to Openness, and the multi-platinum Swiss Movement, which also featured electric saxophone pioneer Eddie Harris. As a kid, the younger Dorn would often overhear long conversations between his father and McCann who shared a deep friendship. As he grew older, he himself began a profound relationship with McCann via extended phone conversations. It led McCann to hire Dorn, an accomplished bassist in his own right, to be part of his rhythm section on live dates.​

Alterman, meanwhile, started out as a devoted fan of McCann who received the rare opportunity to open for one of his heroes at The Blue Note. The two connected instantly, forging a friendship that lasted for years, primarily through near daily, hour-plus phone conversations. Although plans to record and tour together never materialized due to McCann’s health issues, they did co-write the song "Don't Forget To Love Yourself." Alterman would later release Joe Alterman Plays Les McCann: Big Mo & Little Joe, a heartfelt tribute to his mentor and friend.

It was ultimately McCann's passing that brought Dorn and Alterman together. They had both become aware of each other through their independent friendships with McCann who would mention each of the artists in his conversations with the other. Following his death, they'd finally meet and quite organically the idea of making a record of original material inspired by McCann was hatched. Dorn began writing sections of music, creating beats and rhythmic ideas that he'd send to Alterman over which he'd improvise. Dorn would then take those parts and shape them into songs.​

“It’s all constructed to sound organic, but if you saw the sessions, they look like a Jackson Pollock painting," recounts Dorn. "It’s like someone who knows how to work with samplers that’s actually a jazz musician. Joe would solo over little ideas and I’d make big arrangements out of them.”​

Alterman adds: “I’d send Adam four or five solos and he’d piece together the catchy parts to make it what you hear.”​

The result is an album that is immensely funky ("Gimme Some Skin"), with nods to Latin grooves ("Moses Gonzalez"), and always heavy on the backbeat ("I Love It!, I Love It!, I Love It!"). There are times on Keep The Line Open where the listener will feel as though they are being taken to church ("Yay Yay Yay"), and at other times being taken on a trip to Haight-Asbury in the '60s ("Circus Going Backwards"), and yet simultaneously the music to feel modern and of the moment ("Lemme Tell You Something"). There is a Les McCann cover tune ("Burnin' Coal"), there is a moment for Alterman to thrill with his considerable stride piano skills ("Isn't She Loverly"), and throughout there is Les, commenting on the proceedings with his inimitable wit, humor, and loving nature, making it all seem like it is being played just as he'd imagined. The limited-edition, 180-gram orange vinyl also includes a 10-page insert with extensive liner notes by Alterman, Dorn and Michael Smith, author of In with the In Crowd: Popular Jazz in 1960s Black America, alongside rare and previously unpublished photos of McCann by Sharon Josepho.​

And while Les McCann is the driving force, the entire spirit of his era, from Ramsey Lewis to Ahmad Jamal, Eddie Harris to Cannonball Adderley, lives in the music. It's this inspiration that guides Mocean Worker and Joe Alterman through each of the nine tracks. Keep The Line Open is a musical celebration that, like Les McCann himself, makes you feel alive and happy and ready to party.

Jon Irabagon Comes Full Circle with “Someone to Someone,” a Bold, Acoustic Tribute to Chicago Roots and Musical Family

On Someone to Someone, the powerhouse new album from Jon Irabagon, the kaleidoscopic saxophonist revisits his past in a tale of two cities—New York, where he rose to prominence, and Chicago, where he simply rose. 

Fresh on the heels of Server Farm, his complexly constructed nonet album incorporating electronics and the large-language modality of A.I., Irabagon unveils this stripped-down, all-acoustic quartet. Starring three exceptionally versatile Midwest musicians—trumpeter Russ Johnson, bassist Clarke Sommers, and drummer Dana Hall—the band he calls PlainsPeak offers six compositions that illustrate the saxophonist’s renewed relationship with Chicago and its environs (where he grew up and currently resides). 

This new band represents not one but two full-circle moments for the endlessly inventive, perpetually curious Irabagon. First, it reunites him with Johnson, who played on the saxophonist’s debut album, Jon Irabagon’s Outright! in 2008. As he was completing studies at Juilliard in New York, Irabagon realized, “I needed to play with people who had more experience on the scene,” and he began informal weekly sessions with Johnson and pianist Kris Davis. Johnson took a teaching job in Wisconsin in the 2010s and quickly made his mark in the fervid improvised music community of Chicago, about an hour away. “When I decided to move back to Chicago, I knew I wanted to reconnect,” says Irabagon. 

Closed circle #2: Irabagon’s ties to Sommers go back to the early 1990s, when the bassist played on the high-school saxophonist’s very first public performance. “So I’ve known Clark for my whole professional career,” he marvels. Sommers’ longtime rhythm partner, the volcanic drummer Dana Hall, was a graduate assistant during Irabagon’s undergrad years at DePaul University in Chicago; Irabagon had no classes with Hall but heard him during rehearsals and immediately knew he’d play with him someday. “This band was meant to be,” he says. 

The name PlainsPeak stays true to Irabagon’s layered personality and penchant for wordplay. On one hand, it pays heed to his then-and-again home: “Vis-à-vis the coasts, we’re the one in the middle. Chicago is the ‘peak’ of the Great Plains.” But when read quickly, it becomes “plain speak,” as good a description as any for the unadorned sound of this basic, two-horn quartet—the first Chicago band under his own name, and a testament to the limitless possibilities of this format. Irabagon foregoes the other instruments at his disposal—ranging from the cumbersome bass sax all the way to the rare mezzo-soprano to the hummingbird-tweeting soprillo—to focus on the alto, his first horn. “I originally planned be on tenor, because of Chicago’s great lineage of tenor players. But I played alto on that first album with Russ, and that won out.” 

Nonetheless, the city imbues each of the compositions on PlainsPeak. “This record reflects everything that I love about Chicago, and Chicago music, from straight-ahead to the avant-garde,” Irabagon explains. It helps that all four artists are superb “inside-outside” players, equally at home in the post-bop mainstream or avant-garde floodwaters. 

The title track immediately shines the spotlight on Sommers and Hall, whose hand-in-glove interaction has led dozens of Chicago jazz ensembles to hire them as a paired entry.  A bittersweet theme brackets an arco bass solo; a superheated drum break follows then introduces a free section of inspired blowing before the theme returns. “So there are these chorale moments before the bass steps out,” says Irabagon. “It’s basically a love song about my family. In a group, like in a family, members have responsibility to the others but also to themselves.” 

“Buggin’ the Bug,” Irabagon’s version of a blues march, is an older piece that he had employed in other bands. “But when the cicada invasion happened last summer in the Midwest, I thought, ‘Wait a minute. Here we go!’” It really shows what Clark and Dana can do, which makes them the ‘A-team” for any kind of straight-ahead music in Chicago. I haven’t heard enough of them going wild, though. For this tune, I wanted the shuffle-beat but I also wanted the uninhibited thing to come through.” 

Chicago is home to Jeppsen’s Malört, a locally produced, wormwood-flavored liqueur once described as tasting “like a baby aspirin wrapped in a grapefruit peel, bound with rubber bands and then soaked in well gin”—by a guy who then became the brand’s marketing director. It’s also the unofficial quaff at The Green Mill, Chicago’s fabled northside jazz club, where shots of the stuff are a rite of passage for newbies. So it’s only natural that punster Irabagon would title his hymn-like ballad “Malört Is My Shepherd.” The quasi-religious invocations give way to some of the hardest blowing on the disc.

Chicago’s famous pizza inspired “At What Price Garlic,” a loping, deceptively easygoing theme built on a vamp; the catch is that the vamp shifts. At various points, it’s in 11/4 time, 3/4, 5/4, or 9 beats to the bar. “Each player gets to solo in his own meter,” notes Irabagon; “it’s the most labyrinthine of all these tunes. It’s like a deep-dish pizza because it has all those layers.” 

Irabagon turns reflective on “Tiny Miracles,” a song he describes as “an amalgamation of sad things—but good things, too. When the Cubs won the World Series in 2016 [their first championship in 108 years] I read all these stories about fans who lived until two days after the Series, or this guy who drove 800 miles to his father’s cemetery, with an old radio, to listen to the last game.” The accumulation of baseball heartbreak, intermingled with memories of a recently deceased friend, colored this composition and the performance. On a lighter note, the album closes with “The Pulseman,” a grandly energetic piece dedicated, says Irabagon, to drummer Hall “and his ability to move in and out of stuff, and to drive the bus—and to drummers throughout Chicago and everywhere.” 

The son of Filipino immigrants, Jon Irabagon grew up in the Chicago suburbs and received his B.M. in music from DePaul University. Armed with post-graduate degrees from Manhattan School of Music and Juilliard, in 2008 he won the Thelonious Monk Saxophone Competition, the first of a long and growing list of awards and honors that include DownBeat “Rising Star” awards (on both alto and tenor saxophones) and the Philippine Presidential Award, the highest civilian honor available to an overseas Filipino. Over the next dozen years he established himself as one of New York’s “25 Jazz Icons” (Time Out New York) through his work in bands led by Dave Douglas, Mary Halvorson, legendary drummer Barry Altschul, and Ralph Alessi, and as a founding member of the provocative ensemble Mostly Other People do the Killing. 

In early 2021, with a budding family and the desire to be closer to his parents, he returned to the Chicago area. He soon invested himself in the city’s improvised music community, while retaining the collaborative relationships he’d nurtured in New York with such artists as Halvorson and his “go-to” rhythm section of Matt Mitchell, Chris Lightcap, and Dan Weiss. Irabagon also founded and runs his own imprint, Irabbagast Records, where he releases his own works as well as those of other cutting-edge artists. 

As for that label name, Irabagon explains: “When I started the label, I was going to Norway a lot to perform. I made a lot of friends there, and I got this nickname, ‘Rabbagast,’ which I combined with the first letters of my last name.” His Norse friends chose the sobriquet wisely. A rabbagast, per the Great Norwegian Encyclopedia, is “a bold, reckless, and mischievous individual—a bit of a wild spirit.” The word comes from a character in French theater; Norwegians adapted it to describe “someone who is fearless, cheeky, and carefree.” 

It’s hard to imagine a better avatar for Irabagon’s puckish personality or his playful, daring music—which, in rejecting convention, has coalesced into a stirring and eclectic body of work.

Rick Braun Celebrates 30 Years of Smooth Jazz Stardom with Funky, Soulful Self-Titled Album

Jazz trumpeter, producer, and genre pioneer Rick Braun is celebrating three decades of smooth jazz excellence in a bold way—by releasing a self-titled album that marks both a look back and a powerful leap forward. Rick Braun is out now on his indie label, Brauntosoarus, and it's a dynamic, genre-blending statement that proves Braun’s creative fire is still burning hotter than ever.

Cheerfully subverting the tradition that self-titled albums are reserved for newcomers, Braun uses Rick Braun as a celebration of 30 years since his breakout hit album Intimate Secrets first established him as a major force in smooth jazz. Since then, he's delivered over 20 #1 hits, produced chart-toppers for the likes of David Benoit, Marc Antoine, and Jeff Golub, and made waves with dual albums like Shake It Up with Boney James and RnR with Richard Elliot. He's also a core member of BWB with Kirk Whalum and Norman Brown—a true all-star trio.

Built during the solitude of the pandemic in his home studio, Braun welcomed some of contemporary jazz’s most acclaimed musicians to the sessions. The album features performances by bassists Darryl Williams, Jimmy Haslip, Oskar Cartaya, and Courtney Wild; drummers Gorden Campbell, Gary Novak, and Eric Valentine; and contributions from keyboard wizard Greg Phillinganes and percussion master Lenny Castro.

The 10-track collection is vibrant and wide-ranging, reflecting Braun’s soulful roots, global inspirations, and love of infectious grooves. Standouts include the lush opener “Far Away Places,” the romantic “Amor De Mi Vida (Love Of My Life),” the exotic flair of “Turkish,” and the infectious, club-ready bounce of “Da Funk.”

Tracklist:

1. Far Away Places

2. Amor De Mi Vida (Love Of My Life)

3. Turkish

4. The Color Of Love

5. Da Funk

6. Back To Mallorca

7. 6th Street

8. Feet First

9. Playin Around

10. Four On The Floor

Rick Braun isn’t just a celebration of legacy—it’s a declaration that this smooth jazz icon is still evolving, innovating, and inspiring.

Nicole Glover Explores Jazz’s Deep Lineage and Bold Future with New Album

Saxophonist Nicole Glover returns with a compelling new album that strikes a rare balance between personal expression and collective tribute. Through a masterfully curated set of compositions—each written by a different composer except for her own originals—Glover crafts a sound that is both intimate and expansive, showcasing not just her own voice, but the echoes of her mentors, elders, and peers.

As bassist Or Bareket eloquently writes in the liner notes:

“Glover's mastery of her instrument is so complete and self-evident that there is no attempt throughout this record to exercise virtuosity for its own sake. If anything, one hears restraint, care, intention, and orchestration in every note and every silence.”

This album is a celebration of Jazz as both an individual and communal art form—a living, breathing conversation where identity is shaped as much by collaboration and lineage as it is by innovation.

Backed by a deeply attuned trio, Glover and her bandmates move fluidly through varied compositional terrain—from the haunting and lyrical “Petrichor,” to the angular grit of “Spy,” to the emotionally charged dedication “II for Richard Davis + Henry Grimes.” Each track reveals a new facet of the group’s collective personality, painted with precision, soul, and a profound sense of musical purpose.

Tracklist:

1. Obsidian

2. No. 2

3. Petrichor

4. Resilience

5. Spy

6. Androgeny

7. Broken

8. II for Richard Davis + Henry Grimes

9. March

10. Bird Feathers

11. Tell Him I Said Hello

With this album, Nicole Glover continues to establish herself as a vital voice in modern jazz—a player who speaks deeply, listens profoundly, and connects traditions with bold originality.

Kombo Returns with Pretty Solid – A Funky, Soulful Ride Through Contemporary Jazz

Following the success of their previous Shanachie release, This is The Good One—which delivered two Top 5 singles on contemporary jazz radio—Kombo is back with a brand-new album, Pretty Solid. The dynamic duo of Ron Pedley and Jon Pendel, both legendary fixtures in the smooth and contemporary jazz scene, bring their signature groove and musicianship to this anticipated release.

The buzz around Pretty Solid is real. A recent live taping for SiriusXM’s Watercolors featured several tracks from the album, earning rave reviews and sparking eager anticipation across contemporary jazz radio stations nationwide.

Pedley and Pendel’s combined experience is nothing short of iconic. Having played with greats like Al Jarreau, Aretha Franklin, and Stevie Wonder, and forming the hit-making jazz group Uncle Festive, these two artists have helped shape the modern jazz sound for decades. Today, you can still catch them collaborating with luminaries like Keiko Matsui and Dave Koz.

Pretty Solid lives up to its name, delivering a tight set of funky, melodic, and soulful tracks. Highlights include:

• The uber-funky opener “Bussin’”

• The hip, hooky title track “Pretty Solid” (also the upcoming single)

• The atmospheric and dreamy “Lavender Dreams”

• And other standouts like “Shadow Mountain” and “On Gray’s Lake”

Tracklist:

1. Bussin’

2. Action D

3. Shadow Mountain

4. Pretty Solid

5. Northern Night

6. Hypotheticals

7. On Gray’s Lake

8. Thick Heat

9. Stranger (No Longer)

10. Lavender Dreams

Whether you’re a longtime fan or discovering Kombo for the first time, Pretty Solid is a must-listen for anyone who loves smart, infectious grooves and masterful playing.

Paul Brown Unveils So Much To Say – A Smooth Jazz Masterclass with Star-Studded Guests

Two-time Grammy Award-winning guitarist and producer Paul Brown returns with a vibrant new album, So Much To Say, available now. Known for his velvety touch on guitar and golden ear as a producer, Brown has crafted yet another smooth jazz gem—this time featuring a stunning lineup of guest collaborators including Rick Braun, Darren Rahn, and Jeff Ryan.

With more than 100 #1 jazz radio hits to his name, Paul Brown’s legacy in contemporary jazz is unmatched. So Much To Say doesn’t just add to his legacy—it elevates it.

The album opens with the radiant and upbeat title track “So Much To Say,” setting a joyous tone for the entire project. Brown reimagines the timeless classic “Summertime” with an inspired freshness, while tracks like “Vice Versa,” “Play It Forward,” and “Smooth Moves” deliver groove-laden smooth jazz perfection. Romantic tunes like “Take Me As I Am” and “My Sweet Baby” showcase Brown’s melodic finesse, while the funk-infused closer “The Get Down” proves he’s still pushing musical boundaries.

Tracklist:

1. So Much To Say

2. Summertime

3. Vice Versa

4. My Sweet Baby

5. Play It Forward

6. Take Me As I Am

7. Spill Da Beans

8. Let’s Bounce

9. Smooth Moves

10. Down On My Knees

11. Step To It

12. The Get Down

“Paul Brown... a top-to-bottom smooth jazz stunner brimming with bright melodies and enough hits to fill a Christmas stocking.” – All About Jazz

Whether you're a longtime fan or just discovering his sound, So Much To Say is a celebration of melody, groove, and collaboration at its finest. With some of the best names in jazz joining the party, this album is not to be missed.

Ola Onabulé and Nicolas Meier Announce New Collaborative Album Proof of Life

British-Nigerian singer-songwriter Ola Onabulé, in collaboration with Swiss guitarist Nicolas Meier, is set to release a new album titled Proof of Life on June 30, 2025.

Proof of Life produced and recorded at Onabulé’s Casa Del Funk Studios, showcases the synergy between the two artists as they explore culturally diverse concepts and themes. Their partnership, which began through a series of livestream performances during the pandemic, has evolved into a collection of ten original songs.

Proof of Life features a blend of Onabulé’s signature songwriting style of polyrhythms and melodies drawn from his African roots with Meier’s love of eastern, world and Jazz themes as well as his expertise with a wide range of stringed instruments. This has resulted in the creation of a work with a rich tapestry of sound that resonates with themes of love, life and philosophies of survival in tumultuous times. The songwriting process was marked by a process of organic collaboration, where both artists contributed ideas and melodies, resulting in a cohesive body of work that captures their individual strengths while exploring creative boundaries were new to both artists.

First single - Rio deJaneiro. On the face of it, ‘Rio de Janeiro’ is a simple song about young love. A sincere declaration of the truest and most abiding affection by a suitor of modest means in the humblest of surroundings! The setting might not be exotic and exciting like, Rio de Janeiro but the declared feelings are real and forever.

Ola Onabulé is also renowned for his remarkable three-and-a-half octave vocal range and collaborative performances with an impressive range of international big bands and symphony orchestras, including The WDR Big Band, The Helsinki Philharmonic Orchestra, The SWR Big Band, The Babelsberg Film Orchestra, HR Big Band, The Liepaja Symphony Orchestra, The Danish Radio Big Band, Latvian Radio Big Band, The Big Band Jazz de Mexico and other Grammy Award-winning ensembles internationally. With twelve albums to his credit, Onabulé has established himself as a versatile artist who seamlessly crosses musical genres, earning worldwide critical acclaim for his impeccable writing and production skills. His last album, Point Less was listed on many international publications as one of the best albums of 2019 including Downbeat Magazine, All About Jazz and Jazz in Europe amongst them. The music from Point Less has since been arranged for Big Band and Symphonic Orchestras and performed in Europe, Mexico and South America.

Nicolas Meier is celebrated for his versatility. He was a featured collaborator in Jeff Beck’s Jeff Beck Group, touring the world with the seminal guitarist twice. Meier is known for his exploration of Eastern, harmonies and melodies which translates into his prodigious mastery of eastern stringed instruments. His work with Turkish Makam and Ayak scales is of particular significance, as is his extensive musical portfolio showcasing his diverse compositional style across many ‘World Music’ genres. His collaboration with Onabulé on Proof of Life represents a unique meeting of minds between two skilled communicators and seasoned performers who share a passion for culturally diverse musical expressions.

Regarding the origins of the project, Onabulé explained, “During the pandemic, I found myself hosting livestream shows from my Casa del Funk Studios. It was at this time that I was introduced to Nicolas Meier. From the moment we started working together, I felt an instant musical synergy. Over the course of about nine live-streamed shows, it became clear that we had something special brewing. Sure, I was impressed by his stint touring with Jeff Beck, but what really caught my attention was Nicolas' prolific work as a composer. As the world began to open up again, I couldn't resist suggesting we collaborate on some new material. So, in late 2021 and early 2022, we finally got together to start this exciting creative journey."

Regarding the compositional process, Ola continued, "The writing sessions were effortlessly enjoyable and immediately very productive. We threw sketches of ideas together with ease and collated the 10 songs that form the basis of the album over 4 or so half-day meetings. Once we decided it a sketch of an idea was a viable option, things generally went one of two ways. With ideas that originated with Nicolas, I would hum into a dictaphone as he played them to me to capture the most organic and instinctive melodic and lyrical responses to the music. In turn, Nicolas would build guitar accompaniments and arrangements around melodies that I had originated. We seemed to find our way to this modus operandi without any pre-emptive discussion or contrivance."

The collaborative process between Onabulé and Meier was characterized by a dynamic and organic approach to music creation. Onabulé developed initial demos with drum, double bass, and keyboard parts, which Meier would then enhance with guitar arrangements. They would meet to refine arrangement details, discussing tempos, song structure and potential modulations. Onabulé innovated his lyric-writing technique by using a stream-of-consciousness approach, recording vocals directly in the control room and making immediate edits. The initial programmed demo tracks were ultimately replaced by live studio recordings, preserving the most inspired and spontaneous musical moments.

Ola Onabulé's multifaceted role in the creation of Proof of Life sets him apart in the genre. As producer, co-composer, vocalist and recording engineer, Onabulé demonstrates a rare level of creative control and technical expertise. This hands-on approach allowed Onabulé to capture spontaneous moments of inspiration while maintaining the highest sound quality.

Nicolas Meier played a crucial role as co-composer and performer on Proof of Life, contributing his exceptional guitar skills and diverse musical influences to the project. His ability to enhance the emotional depth of each track through intricate guitar accompaniments showcases his versatility and artistry, making him an integral part of this innovative musical partnership.

Mixed and mastered by renowned US engineer/musician/keyboardist, George Whitty, this album is a testament to Onabulé’s production quality and songwriting ability. As they prepare for an international tour as a quartet/quintet in 2025/26, Proof of Life promises to offer audiences a captivating live experience that highlights the unique musical dialogue between these two accomplished artists.

Grammy Winner Miguel Zenón to Release First-Ever Live Album Vanguardia Subterránea, Captured at the Village Vanguard

Alto saxophonist and composer Miguel Zenón is a MacArthur laureate, a Guggenheim fellow, a Doris Duke Artist, and in 2024 he won a Grammy Award for El Arte del Bolero, Vol. 2. On August 29, 2025, the pioneering artist takes another step forward in his remarkable career as he releases his first-ever live album, Vanguardia Subterránea along with his longstanding quartet featuring pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole.

Zenón’s 18th album as a leader was recorded over two nights in September 2024 at New York’s iconic Village Vanguard. Released on Zenón’s own label Miel Music, it features all new material including six compositions by Zenón, plus his arrangements of Willie Colón and Héctor Lavoe’s “El Día de Mi Suerte” (1973) and Gilberto Santa Rosa’s “Perdóname” (1990). 

Despite performing many hundreds of concerts around the world over the span of two decades, until now the quartet’s phenomenal, always surprising live shows have never been released as an album. “This album has an energy that's really different than all our other records,” says Zenón, “because it was recorded in this sanctuary of music.” The beloved Village Vanguard’s dim, red, subterranean room on Seventh Avenue South opened in 1935 and has had a full-time jazz policy since 1957. “It’s the dream of every jazz musician,” says Zenón, “to play in that legendary room.” The quartet has played week-long residencies there five times, and will return to celebrate the release of Vanguardia Subterránea from September 16th to the 21st, 2025.

The album opens with the Zenón original “Abre Cuto Güiri Mambo,” a phrase that in bozal, or first-generation African Spanish, means “open up your ear and hear the mambo.” Mambo is a Cuban-Congo musical-spiritual exhortation associated with bandleader Arsenio Rodríguez, whose pathbreaking 1940s Havana dance band with trumpets, piano, and conga was foundational to a way of layering horns over drums. “A lot of these riffs or mambos or jaleos, whatever you want to call them -- they're really coming out of a rhythmic perspective,” says Zenón. “We're like another drum!”

“El Día de Mi Suerte” follows the opening track. Even on this New York-centric album, Zenón’s native Puerto Rico is strongly present. But then again, the two places have been in constant communication throughout the history of jazz. Zenón’s music is a product of that connection. Remembering his first professional job in a salsa band while he was in high school in San Juan, Puerto Rico, Miguel recalls, “We were rehearsing kind of far from my place. So on the drive there, all we listened to was Willie Colón and Héctor Lavoe, over and over, over and over again. Those records are really deep within my DNA as a musician.” Like his other re-arrangements of popular tunes (as on the 2019 Sonero and 2011 Alma Adentro), it’s practically a Zenón composition by the time he’s through. “I'm not trying to replicate the original,” he says. “I'm trying to draw elements from the original that I can use in my own way. The narrative might end up being different than the original, but you can still hear some of those elements.” 

The exquisite “Vita” showcases Zenón’s strong lyrical streak. While he has written and recorded songs with words (in 2009’s Esta Plena, for example), he’s often playing to unheard lyrics. “Vita” originated as a private song, written in 2010 with the title “Segunda Madre” as a birthday present for Miguel’s grandmother, Jovita Soto Santiago. Now 95, she has the original score framed in her home. Zenón  expanded it into a full composition for the quartet, with a chacarera-style rhythm supporting the tender melody. 

“Dale la Vuelta,” which translates to “Turn It Around,” comes from an exercise – or a game, as Zenón calls it – in rhythmic counterpoint. “I’m a rhythms guy,” he says, with emphasis on the plural. In this composition, the same space is subdivided in two different zones (7 and 8), switching back and forth to  create a unique rhythmic identity. Despite its complexity, Zenón’s virtuosic quartet makes it sound easy.

The quartet’s experiences playing at the Village Vanguard form the conceptual basis for “Coordenadas.” To create the main theme, Zenón looked up the geographical coordinates for the Village Vanguard and the birthplaces of each band member: Santurce (Zenón); Mayagüez, Puerto Rico (Cole); Caracas, Venezuela (Perdomo); and Graz, Austria (Glawischnig). He encoded the numbers into pitches, massaged the result until it sounded like the music he wanted, and turned the band loose on it. The result: the four musicians play their origins at this famous location, and when they solo, they’re each at home. 

For the title cut “Vanguardia Subterránea” Zenón crafted what he calls “a melodic poem, inspired by the history of the club.” To transform that into a composition for the quartet, he added “a continuous groove, something that has a straight-up clear pulse. And then we added something else that's floating against that groove – rhythmically disconnected at first, and locked in eventually.” 

“Bendición” is inspired by Latin American traditions and Zenón’s mother, Nancy Matos Soto. “In Puerto Rico and other places in Latin America,” says Zenón, “when you see your elders, you say, bendición, you ask for their blessing. That's the first thing that I say to my mom, to my aunts, to my uncles, to my grandmother when I see them. I was raised this way and it’s common in my family. I wrote it as a tribute to my mom, but also as a way of displaying love and affection.”

Love and affection – and unheard lyrics that every salsa fan knows – are at the core of the album’s closer  “Perdóname,” a reworking of Jorge Luis Piloto’s giant hit from 1990. This version is a tribute to the singer who made it famous, superstar Gilberto Santa Rosa, one of the most facile soneros, or improvising singers, in the rich history of Puerto Rican salsa. In a subtle commentary on the art of the live album, Zenón references Santa Rosa’s famous live version, recorded in 1995 at Carnegie Hall, which contains one of the dizzying extended poetic improvisations for which the singer is known. Playing jazz to evoke a great sonero is the kind of exhilarating, unusual move typical of Zenón’s artistic vision.   

With extraordinary new music and arrangements by a saxophone giant and a commanding composer, Vanguardia Subterránea captures all the riveting excitement of Zenón’s uncommonly bonded quartet in the moment, and marks another significant addition to his remarkable canon. 

Nadav Schneerson Channels Spirituality, Jazz, and Global Rhythms on Debut Album Sheva

A musical offering to express his gratitude to the world we live in, and the beauty within our spirits: Nadav Schneerson’s debut album ‘Sheva’ exposes his compositions written from as early as 17 years old.

At just 25 years old, London-based musician and drummer Nadav Schneerson has already been making his mark, having performed with the likes of Charlie Stacey (Yussef Dayes), Steam Down, Dargz, Finn Rees, Azekel and beyond that, has been involved in projects working with artists such as Jon Batiste, Enny, Allysha Joy and Don Glori to name a few. Having already graced many local UK and international stages such as Montreux Jazz Festival, Jassmine Warsaw, Le Duc des Lombards, WOMAD Gran Canaria and recently spent over a month playing a residency in China.

Schneerson’s debut album features vocalist Afronaut Zu (Steam Down, Rudimental) on lead single ‘Juju Man’, Fellow Tomorrow Warrior’s alumnus Sultan Stevenson on piano and musicians from bands such as Ebi Soda, Levitation Orchestra and Hak Baker to name a few.

An alumnus of Tomorrow’s Warriors (A London youth Jazz organisation) - Nadav has come up alongside some of the finest jazz talent in London, whilst heavily influenced by previous generations of the program - artists such as Nubya Garcia, Joe Armon-Jones and Ezra Collective have paved the way for his path while he individually blends contemporary jazz styles with various influences from around the Middle East. In 2023 Schneerson was also awarded a position in a mentorship scheme with Decca Records, through Tomorrow's Warriors.

Nadav approaches all of his compositions straight from the piano. Predominantly self taught, It’s evident his compositions are a burst of youthful creativity and instinctive melodies. Led by his ears, the album explores a range of avenues and textures, blending acoustic sounds with live electronics - bridging old and new worlds, to modal sounds from around the world. His deep appreciation and respect for Jazz and his spiritual Jewish heritage plays a vital role in the intention of his music. “My goal with my creations are to reach someone in some capacity, whatever that feeling is, my goal is to make someone feel something, think about someone, somewhere, or even inspire new art. The purpose is to heal, educate, bring together. I feel an intense purpose of bringing people together through music, and that’s all I can hope for.”

Recorded over 2 days at The Fish Factory Studio in April 2022, ‘Sheva’ is a documentation of his curious character, intuitive exploration and following what feels right.

Nadav says about the music: “I believe music can be so divine, and it can help us reach a higher place. Spiritually and emotionally, we can communicate in ways no other medium can. This album is my first offering, and is just the beginning of this journey.”

The title track of the album, Sheva (meaning ‘Seven’ in Hebrew) was given due to the time signature it’s in, but later became much more meaningful, having recorded his 7 piece band, 7 tracks, 7 years since Nadav began performing as a band leader and 7 being a sacred number in Judaism, with many symbolic meanings. He felt it was natural to name the album after the title track.

Releasing under his own label ‘Kavana Records’, Nadav aims to curate his own world, network and vessel to freely make art as he desires, with the notion that everything will be created with intention, purpose and be an honest expression of themselves.

Muito Kaballa Returns with Eclectic Modern Soul on ‘Loving You EP’ Ahead of Upcoming Album Tomorrow A Flower

Muito Kaballa return in style with a re!ned modern sound on ‘Loving You EP’ for the London-based imprint Batov Records, blending indie pop, soul, hip hop, jazz, Brazilian rhythms, and West African grooves

Initially the solo project of tenor saxophonist and composer Niklas Mündemann, Muito Kaballa has grown into a full blown ensemble, based between Cologne and Berlin, championed across BBC 6 Music by the likes of Deb Grant, Tom Ravenscroft and Nubya Garcia, Jamie Cullum on BBC Radio 2, Seattle indie institution KEXP, Music Is My Sanctuary, and loved for their energetic live shows.

Their upcoming album ‘Tomorrow A Flower’ (September 2025) builds on the success of the ensemble's acclaimed ‘Like a River’ album, whilst moving away from the previous album’s strong jazz leanings, towards a more direct, contemporary yet sophisticated pop feel. Still oozing with soul, and nods to not only African funk and hip hop but strong modern references, including electronic pop favourites Jungle By Night and cosmic groove merchants Khruangbin.

The album commences with lead single 'Loving You', a heartwarming yet almost melancholy groover simultaneously recalling both classic soul, and the contemporary soul of electronic maverick Jitwam’s 'Opendoors'. Held to earth by a steady mid-tempo snare- and-tambourine rhythm, whilst the irresistible harmonising between voice and horn threatens to lift it o the ground as the vocal slowly unfolds.

'In My Delir' follows perfectly. Featuring South African singer and KEXP fave, Petite Noir, and shaped in collaboration with Muito guitarist Benjamin Schneider, the song opens with a beguiling guitar ri that melts through the speakers like a disintegrating highlife loop. Shuffling Brazilian snares lead us into the song proper, where Petite questions the gap between his dreaming mind and loveworn heart. Destined to soundtrack the petal picking of unrequited lovers. The pace picks up on 'Flowers Only Grow After the Rain Falls'. A highly energetic merging of Muito’s Afrobeat roots with swinging soul and electronic touches. Almost reminiscent of Nina Simone’s 'See-line Woman', if not for the punk-meets-pop vocalising on a search for harmony and benefits of friction.

‘Tomorrow A Flower’ is a modern classic - interlacing multiple genres of sound into new perspectives that complement each and leave room for the enchanting and original songs and sounds of Niklas Mündeman and Muito Kaballa.

Far Out Recordings to Reissue Agustin Pereyra Lucena’s Rare 1988 Gem Puertos De Alternativa on Vinyl for the First Time

Far Out Recordings continues its dedication to preserving vital Latin American musical heritage with the first-ever vinyl release of Puertos De Alternativa, the singular 1988 album from the late Argentinian guitarist Agustin Pereyra Lucena. Long out of print and originally released as a private press, the album has become his most sought-after LP—revered by collectors and admired by fans of Latin jazz and Brazilian guitar music.

Puertos De Alternativa showcases some of Agustin’s most uniquely beautiful compositions, including “Luces de Valeria” and “Preparativos Maritimos,” alongside his masterful interpretations of Baden Powell’s “Pequeño Vals” and “O Cego Aderaldo (Nordeste...),” as well as “Tema Barroco” by his longtime collaborator Guilhermo Reuter.

Agustin's music, marked by a profound connection to both instrument and environment, resists easy categorization. While the album opens deeply rooted in the rhythms and harmonies of South America—drawing inspiration from Brazilian guitar legends like Heitor Villa-Lobos, Garoto, and Baden Powell—it gradually takes listeners on an expansive sonic journey, evoking images of icy Nordic landscapes and the flowing waters of the Rio de la Plata.

The ensemble features renowned Argentinian musicians including drummer Osvaldo Avena, flautist Rubén Izarrualde, and saxophonist Bernardo Baraj. The album was mastered from the original tapes—lovingly preserved by Agustin’s nephew José Lucena Perreyra—by Stuart Hawkes at Metropolis Studios.

Puertos De Alternativa will be reissued on vinyl LP, CD, and digital formats by Far Out Recordings on June 20, 2025. A must-listen for fans of South American guitar, jazz fusion, and timeless musical storytelling.

Reggie Codrington Shines with “Joy in the Midst,” a Soulful Anthem of Hope and Resilience Inspired by Personal Struggles and Family Legacy

Exuding joy via his ever-present smile and an incandescent spirit filled with hope, optimism, and gratitude, soul-jazz saxophonist Reggie Codrington finds inspiration for songs from his own intense challenges. His parents instilled in him a positive mindset from when he underwent nine surgeries by the time he was thirteen years old due to Ataxic Cerebral Palsy, which affects balance, coordination, and motor skills. Doctors had to cut and transfer muscles from his elbow, wrist, and triceps to improve finger dexterity and slice leg muscles to increase mobility and make it easier for Codrington to walk. Overcoming and triumphing against difficult circumstances continues to impact Codrington’s music, including his new single, “Joy in the Midst,” which is currently collecting radio spins and playlist adds.

Codrington wrote “Joy in the Midst” as his mother was facing her own health challenges.

“Life is not easy, and my life adversities taught me that no matter what we go through, we must keep joy in the midst. My mother instilled in me to keep a positive outlook on life and adversity. Despite the health challenges she had while I was composing and recording this song, I watched her remain joyful in the midst of her own challenges,” said Codrington, who is based in Fayetteville, North Carolina.

Codrington’s father, Ray Codrington, was a professional musician who played with Little Richard, Gladys Knight, Jackie Wilson, and others. When his teenage son expressed interest in music, Ray found a small, curved saxophone that made it physically possible for Reggie to play the instrument. Falling in love with the sax, Reggie Codrington made music part of his meaningful mission as an adult.

“Because of my parents’ belief in me and their encouragement, I am so grateful that music is a part of my professional life. My mission is to give hope through music, to inspire people to become great and not allow adversity or circumstances to hinder their potential to dream,” said Reggie Codrington, who majored in music at Howard University.

Keyboardist George Freeman Jr. (Pamela Williams, Gail Jhonson, Eric Darius, Karen Briggs, Marcus Johnson, Althea Rene) produced and programmed the keyboards for “Joy in the Midst,” which is anchored by a sturdy rhythm track deployed by drummer Demetrice Everett and bassist Jermone Randall.

“Joy in the Midst” is the second preview from Reggie Codrington’s forthcoming series that honors his father’s legacy, “The Ray Codrington Signature Series.” Shortly after his father passed away, Reggie Codrington recorded one of his father’s never-been-recorded compositions, “Three Shades of Blue,” and released it as a single last year. The upcoming project will be his twelfth album.  

“Another thing I’m really excited about is that I’m going to be recording new music with Michael Broening,” said Codrington about the producer, songwriter, and pianist who has crafted 25 Billboard No. 1 singles.

Codrington released his debut album, “Never Let You Go,” in 1990. Since then, he has recorded with GRAMMY® winner Jeff Lorber, GRAMMY® nominee Paul Jackson Jr., and Billboard chart-topper Nils; and opened for Ramsey Lewis, Charlie Wilson, Frankie Beverly & Maze, Peabo Bryson, Kenny Latimore, Kim Waters, and Kevin Toney. Another career highlight was in 2012 when Codrington was invited to perform at one of the inaugural balls for President Barack Obama.

 

Joey Alexander Revisits Jazz Icons with Soulful Precision on In a Sentimental Mood (Bonus Collection) — Out November 1, 2025

Prodigious pianist and composer Joey Alexander returns this fall with In a Sentimental Mood (Bonus Collection), a captivating set of previously unreleased recordings that deepen his tribute to the great jazz tradition. Scheduled for release on November 1, 2025, the album gathers bonus tracks originally recorded during the sessions for Alexander’s GRAMMY-nominated albums My Favorite Things and Countdown.

At just 22 years old, Joey Alexander already stands as one of the most compelling and expressive voices in modern jazz. Born in Bali, Indonesia, Alexander rose to international prominence as a preteen jazz sensation whose debut album earned him a GRAMMY nomination at the age of 12. Since then, he has grown into a mature artist whose lyrical sensitivity, harmonic sophistication, and daring improvisations have earned praise from Herbie Hancock, Wynton Marsalis, and Quincy Jones.

On In a Sentimental Mood (Bonus Collection), Alexander pays homage to some of jazz’s most iconic figures, interpreting beloved classics with both reverence and invention. The seven-track album includes spirited renditions of Thelonious Monk’s “Think of One,” Wayne Shorter’s “Footprints,” and Sonny Rollins’ “Green Dolphin Street.” Two standout tracks feature celebrated saxophonist Chris Potter: a lush duet on Duke Ellington’s “In a Sentimental Mood” and an energetic take on Eddie Harris’ “Freedom Jazz Dance.”

For longtime fans and new listeners alike, this collection offers a fresh window into Alexander’s evolving artistry and his enduring connection to the jazz canon. It’s a testament to both where he's been — and where he's headed next.

Christian McBride Assembles an All-Star Cast for New Album Without Further Ado, Vol. 1

Christian McBride is one of the most influential and accomplished jazz artists of his generation. A master bassist, composer, arranger, producer, and bandleader, McBride has spent more than three decades redefining the possibilities of jazz through his unmatched musicality and collaborative spirit. With eight GRAMMY® Awards and countless accolades to his name, he has performed and recorded with a staggering range of artists, from jazz legends like Herbie Hancock and Chick Corea to pop icons like Sting and James Brown.

McBride now returns with Without Further Ado, Vol. 1, a vibrant new chapter in his big band legacy. This album reunites his GRAMMY® Award-winning big band for a sweeping and soulful journey through classic repertoire—reimagined through McBride’s rich arrangements and signature style. What sets this album apart is its extraordinary lineup of guest collaborators, each handpicked by McBride for their distinctive artistry. The album features performances by Sting and Andy Summers on “Murder by Numbers,” Jeffrey Osborne on “Back in Love Again,” and rising star Samara Joy on “Old Folks.” Other standouts include José James’ dynamic take on “Moanin’,” Cécile McLorin Salvant’s haunting version of “All Through the Night,” and powerful vocal turns from Dianne Reeves and Antoinette Henry.

The album also includes an original big band suite by McBride, “Op. 49 - Cold Chicken Suite, 3rd Movement,” showcasing his compositional brilliance. The vinyl edition features exclusive, written commentary from McBride himself—an intimate guide through each track that further deepens the listener’s experience.

With Without Further Ado, Vol. 1, McBride once again affirms his place at the heart of today’s jazz renaissance.

A Transcontinental Jazz Journey: Dr. Meltem Ege Bridges East & West on Debut Solitude

Although jazz is rooted in early 20th century African American communities in the South, particularly in New Orleans, it has been adopted and adapted by different cultures around the world. Turkey, which is one of a handful of countries that straddles two continents, has been the nexus of civilizations since ancient times, creating a unique blend of Eastern and Western traditions. And now, Turkish American jazz singer DR. MELTEM EGE (EG-eh) is releasing her debut jazz album, SOLITUDE, which was recorded in both the U.S. and Turkey.

Ege herself is a blend of two cultures. Her English is fluent because she was born in New York and lived in the U.S. until she was 10 years old. She began studying classical piano when the family returned to Turkey, and at the age of 14 was awarded a scholarship to Bilkent University Music Preparatory High School in Ankara to train as a concert pianist. After earning the first of her two bachelor’s degrees, she felt classical music was not for her and decided to pursue her other passion -- singing rock and metal with local bands. Ultimately, Ege was drawn to the spontaneity and creative freedom of jazz and soon became a devotee and practitioner.

Ege’s singing career took off after performing at jazz festivals around Europe and winning first-place awards at vocal jazz competitions in Turkey, Finland, and Lithuania. Although she was performing frequently and developing her jazz chops, she wanted to deepen her knowledge of the music, so she applied to Berklee College of Music in Boston, where she won a scholarship to the school’s Vocal Performance Department. After graduating with her second BA, Ege returned to Turkey and started touring as a featured soloist with numerous big bands and symphony orchestras as well as headlining at clubs, concert halls, and jazz festivals around the world. So far, she has sung on five continents.

Ege is as passionate about teaching as she is about singing. She went on to study for a master’s degree in performance at Başkent University in Ankara, where she also taught voice, and continued her education at the California Institute of the Arts (CalArts) to pursue a PhD in the school’s prestigious Performer-Composer program. After receiving her degree, Dr. Ege was offered a teaching position at The Herb Alpert School of Music at CalArts where she currently teaches voice-specific classes such as technique, recording, improvisation, and live performance.

The music on SOLITUDE reflects Ege’s cross-cultural pedigree. She recorded the vocal tracks in Los Angeles, singing half the album in English and half in Turkish. Four of the band tracks were recorded in California with an American band and four were recorded in Turkey with Turkish musicians with whom Ege has often worked.

Her California band comprises mostly younger musicians that Ege met through CalArts and Berklee including DEREK BOMBACK (guitar), MILLER WRENN (double bass), MATT SMITH (drums), RACHEL IBA (violin), ALEJANDRA MORENO (violin), CARSON RICK (viola), and BETSY RETTIG (cello). Two guest musicians also appear on one tune. The multi-GRAMMY® nominated vocalist and composer THEO BLECKMANN and Grammy®-nominated Turkish flutist and Berklee College professor SARPAY ÖZÇAĞATAY appear on “We Must Not Say Yes.” Özçağatay also plays flute in the Turkish ensemble, which includes ŞENOVA ÜLKER (trumpet), BULUT GÜLEN (trombone), ÖNDER FOCAN (guitar), OZAN MUSLUOĞLU (double bass), and SERKAN ALAGÖK (drums).

Ege wrote the lyrics to seven of the eight songs on SOLITUDE and composed two. The songs reflect Ege’s diverse background and musical influences. Rooted in jazz, her skills and knowledge of classical music and her passion for hard rock have influenced her unique sound, while her lyrics are concerned with self-acceptance, love, loss, and rebirth. She opens the album with “Anlayana,” a song from the Istanbul sessions. She explains, “I chose to open the album with ‘Anlayana’ because it sets the tone for everything I wanted Solitude to represent. The lyrics weave between English and Turkish, mirroring how my thoughts sound when I’m anxious — layers of language and culture, overlapping and tangled. As caregivers, women are often discouraged from caring for themselves emotionally. This song is a reminder that we can let go of those expectations and trust that those who truly understand us will still be there.” Another song from the Istanbul sessions is “Aklında Kalmasın” (Keep It in Mind), a Turkish swing tune. Ege wrote the music and lyrics at the end of a long relationship.

The other Turkish tunes are “Seninle Dans” and “Eyes of Innocence.” “Seninle Dans” is a Brazilian samba with Turkish lyrics, written with Lucas Longares, whom Ege met at CalArts. The song is light, romantic, and playful. Ege wrote the lyrics to “Eyes of Innocence” which was composed by Utar Artun, a faculty member at Berklee College and the New England Conservatory. Ege says, “The opening melody immediately said “child” to me, and from there, the lyrics became a conversation with my inner child. I keep coming back to that idea of protecting and healing a younger version of ourselves.”

The California sessions include “We Must Not Say Yes,” originally written by Lucas Longaresi, a Brazilian guitarist and composer and a CalArts graduate. She wrote the lyrics with Theo Bleckmann in mind, and their voices weave so closely together that Ege says it felt like an inner conversation. Ege collaborated with Bomback for “Solitude.” For Ege, living between countries means a lot of airport farewells. Her lyrics are about the ache that comes from constantly saying goodbye to people she loves. 

Bomback sent Ege “Brush Strokes” during the COVID lockdown, and she was instantly drawn to its sweet melody. Her vocals have a whispery texture, because she recorded it in a house in Hollywood with thin walls. The song is about the expectations placed on us, especially around gender. “Dawn” was composed by Ege’s friend, Will Kjeer. The song was originally recorded as part of the CalArts Jazz CD project at the legendary Capitol Records. Kjeer asked Ege to be the vocalist for this powerful piece. Ege says, “From the very beginning, I felt deeply connected to the song. It felt so personal, I decided to include it on my own album.” The song is a cinematic, emotional journey about picking up the pieces and moving on after loss.

When Meltem Ege sings in English or Turkish, no translation is necessary because she so beautifully captures the heart and soul of a song. Her voice is light and flexible, and her intonation is spot on. Her artistry spans genres, cultures, and continents. With her international fan base and two decades of performing under her belt, the time has surely come for her music to reach a wider audience. SOLITUDE is an inspiring debut album for this well-traveled artist and academic.

The Jade’s Love Harder 2xLP Arrives June 27—Live-Inspired Grooves Await

Have you ever felt music transforming the air in a room? That’s what Madrid’s Oli Stewart—formerly known as Casbah 73—has captured in Love Harder, his latest project as The Jade. This isn’t just a record; it’s a live musical experience, pressed onto double‑pack vinyl. And it lands June 27, 2025—mark the date, because this one is not staying on shelves for long.

Coming off top-tier releases on Glitterbox, Defected, Boogie Angst, and Lovemonk, Stewart steps out of DJ booths and into the studio with a full ensemble. Singer Josh Hoyer kicks things off with bold, high-energy funk and Afro‑Latin rhythms on “Let The Light In,” illuminated by the gospel brilliance of Nia Martin and Deborah Ayo. You can practically feel the spotlight swing into place.

Then comes the shift—soul-drenched melancholy in “When Love Left,” followed by street‑funk swagger in “Change!” But just when you think you’ve found the pattern, The Jade surprises you again. “Si No Me Quieres Esperar” brings Cuban flair, “Space Lines” drifts into a moody disco‑dub cosmos, and “What It Takes” and “Being Seen” elevate the dance floor to jazz‑fusion euphoria.

Finally, the set closes with calm and sophistication: “At The Queensboro” offers a sleek jazz‑funk side, and “On That Strange” fades into the night with a soundtrack for late‑evening reflection.

Here, live instrumentation isn't an afterthought—it’s the lifeblood. The Jade slaves over every bridge, every groove, every lyrical turn. From Afro‑Latin jazz‑dance to Iberian funk and intimate disco, this album embodies raw emotion and fearless musical dialogue.

With just under a decade of vinyl’s resurgence and The Jade’s reputation for electrifying performances, by June 27 this double‑LP will be gone. Miss it, and you’ll regret it.