The Black Crowes Keyboardist Erik Deutsch ​D​eep Dives into Cinematic, Psychedelic, Groovy Jazz on This Was Then

This Was Then is the ninth full-length album by pianist/composer Erik Deutsch. His long-running NYC sextet has once again been enlisted to conjure their magic: Tony Mason on drums, Jeff Hill on bass, Avi Bortnick on drums, Mike McGinnis on Reeds, and Brian Drye on trombone; plus special guests Mauro Refosco on percussion and Victoria Reed on vocals. In between touring full time with The Black Crowes, piloting multiple projects, and recording with an incredible variety of artists, Deutsch has found the time to create an excellent new album of original material.

Stylistically, This Was Then may be Deutsch’s finest work yet, as the music cruises effortlessly thru genre, tempo, and mood. Sure, some of Deutsch’s previous musical tendencies are present once again, but nothing feels like a redux--rather an updated vision or a glance towards a fresh path altogether. The production team of Erik and Jeff Hill has elevated their vision and skill (they’ve been working together editing, overdubbing, mixing, and producing Deutsch’s records since the 2012 release Demonio Teclado). Once presented with what the duo has accomplished sonically, it’s nearly impossible to deny the uniqueness present within the artistry of this record. Simply put, “jazz” artists these days don’t typically offer this level of production to their records; and having said that, it’s clear that Deutsch’s vision of jazz music (evident in his catalog over for the past 20 years) has been thoughtful and clear, and that he has continued to not only stay the course but expand and elevate his concept along the way.

So sit back, relax, and soak in this musical journey. You may ask yourself “is this record about the memorable compositions? Or the stellar musicianship and improvisation? Or the tones and sonic palettes? Or the production and aural brilliance of the recording?” The answer is whatever you choose it to be, whatever you want it be, and whatever you want from it in that very moment. It’s a gift that will continue to give, to reveal more magic upon each listen, and hopefully bring joy and inspiration to your ears and heart. Is it jazz? Is it fusion? Is it cinematic? It’s music-- made by a musician who cares and a group of talented folks who get it. Let’s dig into the tracks:

"Saddest Day in Paradise" kicks off our musical journey with a palette of vintage keyboards and an outstanding acoustic bass solo by Jeff Hill. With a fiery beat from Tony Mason, dreamy horn lines, and tasty guitar fills throughout from Avi Bortnick, this psychedelic stylistic mash-up of R&B and jazz is a perfect introduction to the vibe that encompasses this record.

When “This Was Then" begins to spin, we once again find ourselves exploring the worlds of dub and jazz (as Deutsch has done frequently on past recordings). Featuring the magic touch of Brazilian master percussionist Mauro Refosco and a little taste of the Beatles and Burt Bacharach, this composition is one of the moodiest and intriguing on the entire record.

A song in two distinct parts, "Immortals" begins in the spiritual jazz world of 1970's McCoy Tyner, Pharaoh Sanders, and Alice Coltrane. When the dreamy interplay between Deutsch's piano, Mauro Refosco's percussion, and Mike McGinnis' alto flute concludes, we are drawn into another world completely: the funky psychedelia of Herbie Hancock and the Headhunters. Outstanding groove courtesy of Tony Mason and Avi Bortnick lays the foundation for a palette of synthesizers and an epic soprano saxophone solo from McGinnis. Two of Deutsch’s historically favorite style are showcased here in truly beautiful, groovy, funky, and enjoyable suite.

A staple of Deutsch's live show for years, "Memory" is a stunning original composition from vocalist/composer Victoria Reed. Tucked inside a smokey ballad is a nostalgic, thoughtful, soul-searching quest to understand the meaning of youth and it's connection to one’s path as an adult. This truly unique blend of 90s heroin country and 60s psychedelic jazz features Mike McGinnis on alto flute and Bill Evans-like stylings from Erik on the piano.

"Neon Blue" is a trip to Memphis with a layover in New Orleans. The influence of some of Erik's mentors (Charlie Hunter) and recent gigs (Al Green) can be heard flowing clearly through the speakers on this toe-tapper. Featuring a righteous trombone solo from Brian Drye and big boy drumming from Tony Mason, “Neon Blue” is just another stop on the stylistic journey of this wide-ranging album.

A vibey, film-noir evoking waltz, “Snake Alley" is a tribute to the beautiful and moody cliffs of the Northern California coast near the Deutsch family home in Half Moon Bay. Inspired by a path to the beach inhabited by a variety of snakes aptly named by Erik's late brother, Jonathan, the song conjures the mysterious and hidden magic of this special place and the unique energy of Erik's brother. Featuring a thoughtful bass solo by Jeff Hill, the soulful whistle of Restoration Sound’s Hammond organ, and a wonderful harmonic connection between the trombone and bass clarinet.

"Pretty Pigeon" is a dreamy blues-tinged journey through the rolling hills of a vast countryside. Deutsch has somehow attempted to summon Nick Drake, the Grateful Dead, Pink Floyd, and the Lord of the Rings inside the jazzy walls of this feel-good original composition. Featuring the deft slide-guitar stylings of Avi Bortnick.

A rootsy romp in the style of Keith Jarret and the folk-jazz of the 1970s, "Invisible Temples" was the final song written and the last song tracked for this record. The interesting rhythmic structure and whimsical hook of the opening section leads us to a dreamy, atmospheric group improvisation led by Brian Drye's trombone. After Erik's piano takes us for another journey, we find ourselves back where we started, and it’s where “This Was Then” comes to a gentle conclusion.

Samara Joy Unveils “Flor de Lis (Upside Down),” a Soulful Tribute to Brazilian Jazz Legacy

Five-time Grammy Award winner Samara Joy has released a stunning new single, “Flor de Lis (Upside Down),” offering a fresh, heartfelt take on the Brazilian classic originally written by Djavan nearly 50 years ago. Sung entirely in Portuguese and arranged by Joy’s longtime drummer Evan Sherman, the track honors Brazil’s timeless contribution to jazz and arrives just ahead of her tour dates across South America, running July 27 through August 2.

The single’s artwork features an original painting by acclaimed Brazilian illustrator Anna Cunha, perfectly capturing the emotional depth of the song.

“Although it’s a heartbreaking story, the poetic lyrics and beautiful melody resonated with me immediately,” Joy shared. “I got the chance to sing ‘Flor de Lis’ in Rio during my first trip there over a year ago. Hearing the audience join in harmony only cemented how important this song is to the fabric of Brazilian music and culture. In this new arrangement by Evan Sherman—with a beautiful painting by Anna Cunha—we hope to show our appreciation for the impact Brazilian music has on our artistry and the world.”

A native of the Bronx, Samara Joy continues to captivate global audiences with her rich vocals, magnetic stage presence, and reverence for jazz traditions. She recently made history by winning two more Grammy Awards at the 67th Annual Grammy Awards—for Best Jazz Vocal Album and Best Jazz Performance—bringing her career total to five Grammys. Shortly after, she earned her first NAACP Image Award for Outstanding Jazz Album for Portrait, her most recent studio release, which she co-produced with jazz legend Brian Lynch.

This year, Joy has also been featured in Sesame Street, ELLE Magazine’s Women in Music issue, and EBONY’s STAMPED: The Headliners list, which celebrates Black artists shaping modern culture. EBONY described her voice as “echoing legends yet entirely her own.”

Joy’s global tour follows her acclaimed sold-out Carnegie Hall debut in NYC, and her momentum only continues to build. Her South American leg kicks off July 27 in Santiago, Chile, with stops in Buenos Aires, São Paulo, and Rio de Janeiro. She’ll continue touring across North America through the fall, including dates in Philadelphia, Chicago, San Diego, and Kansas City, before heading to the Cayman Islands and New York’s Geffen Hall in 2026.

Upcoming Tour Highlights:

• June 28 – Montreal Jazz Festival

• July 7 – Montreux Jazz Festival, Switzerland

• July 12 – North Sea Jazz Festival, Netherlands

• July 27–Aug 2 – Chile, Argentina, Brazil

• Nov 11 – Philadelphia, PA – Miller Theater

• Nov 19 – Chicago, IL – Thalia Hall

• Jan 24, 2026 – Grand Cayman – McBride’s World at Sea

• May 16, 2026 – New York, NY – Geffen Hall

Samara Joy emerged as one of jazz’s most important young voices after winning the 2019 Sarah Vaughan International Jazz Vocal Competition. Influenced by greats like Sarah Vaughan, Carmen McRae, and Abbey Lincoln, her sound blends vintage jazz soulfulness with a modern, globally aware perspective. Her self-titled debut in 2021 introduced her as a force to watch, and her follow-up Linger Awhile on Verve solidified her place in jazz history, earning her a Best New Artist Grammy, a rare feat for a jazz vocalist.

With her latest album Portrait, Joy showcases not only her singular voice but also her growing prowess as a lyricist and bandleader. The album features reinterpretations of works by Charles Mingus, Sun Ra, and her late mentor Barry Harris—a testament to her deep roots and bold vision.

Richard D. Johnson Releases Warm Embrace: A Global Jazz Journey Born in Shanghai Residency

Acclaimed jazz pianist, composer, and educator Richard D. Johnson will release his newest album, Warm Embrace, on September 5, 2025 on all major streaming platforms. The album is the product of an extraordinary three-week residency in Shanghai, China, where Johnson and his ensemble performed two to three sets nightly, allowing themes and arrangements to evolve organically through deep collaboration, improvisation, and emotional connection.

A native of Pittsburgh—home to jazz greats like Art Blakey, Ray Brown, and Ahmad Jamal—Johnson has forged a remarkable international career. A graduate of Berklee College of Music, Boston Conservatory, and the Herbie Hancock Institute of Jazz, he has toured and recorded with jazz legends including Herbie Hancock, Wayne Shorter, Wynton Marsalis, and Stevie Wonder. As a United States Musical Ambassador, Johnson has brought jazz to audiences in 91 different countries throughout the world. 

On Warm Embrace, Johnson leads a stellar ensemble featuring DownBeat Rising Star Vocalist Alyssa Allgood, Gregory Tardy on tenor saxophone, Jeremy Boettcher on acoustic bass, and Gregory Artry on drums. The group’s chemistry is palpable, honed over weeks of nightly performances that blurred the line between rehearsed material and spontaneous invention. The pianist says, “Music has the power to bring people together—just like a warm embrace. That’s what we aimed to capture on this album—something uplifting, spontaneous, and full of heart.”

The album opens with “East of the Sun,” a standard that Johnson reimagines with fresh harmonic movement developed from a vamp he experimented with in concert. The title track and Johnson original, “Warm Embrace,” was inspired by the groove-driven elegance of Ahmad Jamal’s “Poinciana” and brought to life through lush Fender Rhodes textures and Allgood’s warm, expressive voice. “Moonlight in Vermont,” a tune Johnson had long admired and recently revisited, felt destined for the session. “Dear Ruby” follows with its simple but poignant message of love, reinforcing the album’s emotional theme.

Original compositions like “Do You Hear Me” address the need to be truly seen and heard in a distracted world—something Boettcher’s grounded bass work helps amplify. “Don’t You Know I Care,” a heartfelt nod to Duke Ellington, is both tender and affirming. Johnson’s own “When I’m With You” speaks to the comfort and ease of being with a loved one, while “Stop, Drop, & Roll” playfully encourages listeners to pause and enjoy the moment, powered by Artry’s engaging rhythmic drive.

“Still We Dream” is a hopeful piece about perseverance and vision in times of stagnation with lyrics by Carmen McCrae set to Thelonious Monk’s “Ugly Beauty,” and “1324 Broadway” channels the constant motion and chaos of a busy Baltimore street, vividly rendered through Tardy’s expressive saxophone lines. The album closes with “I Make Believe,” a reflective original composed when Johnson was younger, envisioning a future self looking back with wonder and wisdom.

Currently, Johnson serves as Associate Jazz Professor at the Peabody Conservatory of Johns Hopkins University and was recently named the 2025 Public Engagement Fellow for Johns Hopkins. He is the founder and CEO of AFAR Music, a Chicago-based jazz label, and continues to be an active force in global jazz education and performance.

Ryan Keberle and Collectiv do Brasil Celebrate Ivan Lins with Choro das Águas

Trombonist Ryan Keberle and Collectiv do Brasil explore the music of one of the world’s greatest living musical masters with Choro das Águas, set for a July 18 release on Alternate Side Records. The album—Keberle’s third with the São Paulo pianist/arranger Felipe Silveira, bassist Felipe Brisola, and drummer Paulinho Vicente—features compositions by Brazilian jazz and popular music tunesmith Ivan Lins, marking the composer’s 80th-birthday year, along with two of Keberle’s unique original compositions. (Lins and Keberle share a June 16th birthday.)

“Ivan Lins’s songwriting stands among the giants … his music a masterful fusion of sophistication and soul,” Keberle explains in Choro das Águas’ liner notes. “I chose eight of my favorite songs—hidden gems, even to many Brazilian music fans. Collectiv do Brasil brings these songs to life with fresh, inventive arrangements.

“The result is something beyond category,” he adds. “A sound that is entirely its own.”

One certainly can’t fit these renditions into any recognizable box. For all the rhythmic assurance and assertiveness put into Lins pieces like “Essa Maré” and “Lua Cirandeira,” they are offset by the delicacies of “Saindo de Mim” and “Tens—Long Life” (a medley deftly combining Lins’s “Tens” with pianist Lyle Mays’s “Long Life”). In fact, one of the special gifts of this formidable quartet is their ability to balance strong grooves with fragile melodicism, as they do on “Rei do Carnaval,” “Sai de Baixo,” and the exquisite title track.

Not to be outshined, however, are Keberle’s own compositions. “Quintessence,” a staple of the trombonist’s repertoire (and always one with a strong clave component) here takes on an upbeat samba feel, adding a layer of radiant joy and palpable excitement to the tune. An effective counterpoint comes in “Simple Sermon,” a gorgeous ballad with Silveira’s yearning chords playing off Keberle’s thoughtful melodic statement—another supple demonstration of the sense of balance the musicians bring to this music.

Indeed, the real jewel of Choro das Águas lies in the empathy and chemistry between the foursome who perform it. Keberle and Silveira’s interplay is one stellar example; Brisola and Vicente’s deft lock-in all throughout the album is another. More potent still is the angular but shrewd collective improvisation that the whole ensemble plays during Lins’s “Noites Sertanejas”: their joint creation couldn’t be more different than the composition, yet their sensitivity to each other and to the material make it work brilliantly.

Lins himself waxes rhapsodic about Keberle and the Collectiv’s work on the album. “Muito bom mesmo!!!!” (“Very good indeed!!!!”) he said upon hearing it. “Tocam muito. E têm estilo próprio. Jazz de primeira linha!!! Adorei!!!” (“They play a lot. And they have their own style. First class jazz!!! I loved it!!!”) So will you.

Ryan Keberle was born June 16, 1980 in Bloomington, Indiana, but he grew up in Spokane, Washington. The Keberles are a musical family: Ryan’s father, Dan, plays trumpet and chaired the Whitworth University jazz studies program for 38 years, while his mother Ann taught piano and directed a church choir. Their son began taking lessons with his mom at four years old, then transitioned to the trombone at ten.

He distinguished himself as a student trombonist first in high school, then in college, earning diplomas from the prestigious programs at both the Manhattan School of Music and the Juilliard School. He also became an instructor at the former school, and for 20 years has directed jazz studies at Hunter College.

But jazz education is only one aspect of a very busy and successful career. Keberle made his debut as a leader in 2004 as the artistic director for Jazz Band Classic, the youth jazz ensemble associated with the New York Symphony. It was the first of several big bands in which he made a name for himself; Keberle has also been a star soloist and ensemble player in big bands led by Miguel Zenon, Rufus Reid, David Berger, Ryan Truesdell, Maria Schneider, and Darcy James Argue, among others.

In 2006, Keberle completed his first album as a leader, the self-titled album by the Ryan Keberle Double Quartet. (They recorded a second album, Heavy Dreaming, in 2009.) In addition, Keberle leads and has recorded five albums with the indie jazz quartet Catharsis, three with the chamber-jazz trio Reverso, and three with Collectiv do Brasil, giving him an array of projects in which to explore his prolific and diverse musical concepts.

“Saindo de Mim” has been released as the first single from Choro das Águas, with “Sai de Baixo” to follow 6/6 and “Rei do Carnaval” on 6/27.

Brazilian dates in support of the new album include the following, with more to be announced: 6/27-28 Clube de Jazz, Belo Horizonte; 7/3 Soberano, Rio de Janeiro; 7/5 Jazz B, São Paulo; 7/6 Rabeca Cultural, Sousas. Keberle and Collectiv do Brasil will also be appearing at Small’s, NYC, 9/24; and the Cooperage Project, Honesdale, PA, 9/26. 

Omar Returns with Radiant New Album Brighter The Days

Soul pioneer Omar Lyefook MBE is back with his long-awaited ninth studio album, Brighter The Days, available now on vinyl, CD, and digital formats via Impressive Collective and BBE Music. Widely considered one of the UK’s most influential soul artists, Omar delivers what he proudly calls his magnum opus—a vibrant and emotionally rich album that honors his roots while pushing his signature sound into fresh, new territory.

Produced alongside longtime collaborator Greg Boraman, Brighter The Days seamlessly fuses soul, jazz, funk, hip-hop, and classic orchestration. The result is an album that feels both timeless and incredibly relevant. Omar’s masterful vocals, layered arrangements, and thoughtful songwriting remind us why he's long been celebrated as a genre-defying artist.

Adding to the album’s brilliance is an impressive roster of guest artists, including Paul Weller, India Arie, Giggs, Ledisi, Raheem DeVaughn, Eric Roberson, Jeru The Damaja, and more. Their collaborations bring a global soul flavor to the project, enhancing its depth and universal message.

From the uplifting anthem “There’s Much Love In The World” to the introspective “This Thing Called Life,” Omar invites listeners to reflect, rejoice, and reconnect. The album shines as a reminder that even in uncertain times, there’s always room for love, unity, and light.

Whether you’re spinning it on vinyl or streaming it on your favorite platform, Brighter The Days is music made to move you—mind, body, and soul.

Miles Davis’ 1955 Prestige Sessions Get a Fresh Look with Miles ’55

Craft Recordings continues its deep dive into the legacy of Miles Davis with Miles ’55: The Prestige Recordings, set for release on August 22. This beautifully remastered collection revisits a pivotal year in jazz history—a time when Miles was just beginning to assemble the band that would soon change the course of the genre.

Spanning 16 tracks across 3 LPs, 2 CDs, or digital formats, Miles ’55 features three distinct studio sessions recorded at Rudy Van Gelder’s Hackensack, NJ studio. These sessions mark the early days of what would soon be known as Miles’ First Great Quintet and include contributions from jazz giants like Sonny Rollins, Red Garland, Philly Joe Jones, and a then-emerging John Coltrane.

In 1955, a newly clean-and-sober Miles Davis was on a mission. He reunited with Sonny Rollins and began crafting what would become one of jazz’s most legendary lineups. Though he’d already signed with Columbia Records by the fall of that year, he still owed Prestige a few final sessions—recordings that would become some of his most formative.

The first session (June 7) featured Oscar Pettiford, Red Garland, and Philly Joe Jones, and was originally released as The Musings of Miles. It included standards like “A Gal in Calico” and “A Night in Tunisia,” alongside Davis originals “I Didn’t” and “Green Haze.”

Later that year, Miles teamed up with Milt Jackson (of Modern Jazz Quartet fame), Jackie McLean, Ray Bryant, and others for a session that produced the album Miles Davis and the Modern Jazz Giants.

But perhaps most historically significant was the November 16 session, which officially introduced John Coltrane to the lineup. This marked the recording debut of Miles’ First Great Quintet and was released as Miles: The New Miles Davis Quintet—featuring now-classic takes on “Stablemates,” “Just Squeeze Me,” and “There Is No Greater Love.”

While these recordings have appeared in various forms over the years, Miles ’55 offers something new: all tracks have been remastered from the original analog tapes by Paul Blakemore, with lacquers cut by Kevin Gray. The package includes insightful new liner notes by jazz author Ashley Kahn and a tribute from the late jazz historian Dan Morgenstern.

Whether you're a long-time collector or new to Miles’ early catalog, Miles ’55 offers a clear, cohesive snapshot of a revolutionary artist finding his voice—and setting the stage for the legendary music still to come.

Joni Mitchell Embraces Her Inner Jazz Spirit with Joni’s Jazz Box Set

What does jazz mean to Joni Mitchell? If you've ever wondered how one of music’s most genre-defying artists defines her relationship with jazz, the upcoming box set Joni’s Jazz might just be the answer.

Arriving September 5 via Rhino, Joni’s Jazz is the first themed release in Mitchell’s ongoing Archives series—and it's a sprawling, stunning tribute to the jazz currents running through her body of work. Spanning 61 tracks across 4 CDs or 8 LPs, this collection traces Mitchell’s jazz explorations from her earliest acoustic beginnings to lush orchestral reimaginings and daring fusion collaborations.

Jazz purists might not place “Marcie” from 1968’s Song to a Seagull in the genre, but Mitchell includes it here. Her point? Jazz isn’t just a sound—it's a sensibility, a freedom. Even her folk-era staples like “Blue” and the haunting “Cold Blue Steel and Sweet Fire” are invited into the conversation.

By the time she reached Court and Spark in 1974, the jazz undertones became more overt. Tracks like “Just Like This Train” and her witty cover of “Twisted” (originally by Annie Ross and Wardell Gray) marked a turning point. From there, Joni dove headfirst into full-blown jazz experimentation with albums like Hejira, Don Juan’s Reckless Daughter, Mingus, and the electrifying live set Shadows and Light.

One of the joys of Joni’s Jazz is hearing the musical alchemy between Mitchell and some of jazz’s biggest legends: Jaco Pastorius, Wayne Shorter, Herbie Hancock, Pat Metheny, Charles Mingus himself, and more. These players didn’t just accompany her—they challenged and expanded her sound.

Even Joni’s more pop-leaning albums from her Geffen years (like Wild Things Run Fast and Dog Eat Dog) are re-contextualized here with a jazz lens. Tracks like “Be Cool” and “Moon at the Window” appear as early demos, previously unreleased until now.

Also included are selections from her orchestral Both Sides Now project, featuring lush takes on standards like “At Last,” “You’re My Thrill,” and “Stormy Weather.” And fans of her collaborations will appreciate the presence of Herbie Hancock’s Grammy-winning River: The Joni Letters and Kyle Eastwood’s cover of “Trouble Man,” both featuring Mitchell.

The most recent performance in the collection is a special one—Joni’s live rendition of Gershwin’s “Summertime” at the 2022 Newport Folk Festival, part of the now-legendary “Joni Jam.” It’s a moving bookend that shows she’s still evolving and still surprising us.

The set’s cover art features a 2022 photo of Joni with Hancock and the late, great Wayne Shorter, to whom the release is dedicated. “It was a joy to play with him,” Joni writes. “He will be missed, but he will remain alive for me in this music.”

Joni’s Jazz arrives in both CD and LP formats. The CD edition comes in a book-style case reminiscent of her 2014 box Love Has Many Faces, while the LPs are housed in a slipcase. 

This isn’t just a retrospective—it’s a reimagining. Joni’s Jazz invites listeners to experience her catalog through a new prism, one that honors jazz as both a form and a feeling. Whether you're a long-time fan or diving in for the first time, there’s no better way to rediscover Joni Mitchell.

Kelly Green Honors Her Late Mother and Reaches New Musical Heights with Corner of My Dreams

By taking a wistful look backward, Kelly Green takes a tremendous artistic stride forward with her August 22 release of Corner of My Dreams (La Reserve Records/Green Soul Studios). Inspired by and in tribute to her late mother, Green’s fifth album also finds her at the head of an ambitious assemblage. Her working trio with bassist Luca Soul Rosenfeld and drummer Evan Hyde is augmented by an accomplished, all-female string quartet under the leadership of violinist Ludovica Burtone; percussionist Andromeda Turre; and a distinctive grouping of vocalists that includes Emily Braden, Tahira Clayton, Jimmy Kraft, and Michael Mayo.

Compounding her achievement, Green herself handled all of the compositions, arrangements, and production on Corner of My Dreams. “Inspired by the Disney classic film scores from my childhood, I wanted to have many different perspectives represented, to have a very full, lush sound,” she explains.

Green’s mother Kathie, who took her own life in 2021, was her best friend and biggest fan; her daughter’s music was a balm to her. It was Kathie who asked Green to make a new recording of her original compositions. Although two (the opening pair “Let Me In” and “Corner of My Dreams”) were written before her passing, both take on new meaning and emotional weight in the context of her loss—especially the title track, since Green’s mother still appears in her dreams.

The other tunes were either directly inspired or informed by Green’s grief. The gospel-like waltz ballad “Nothing at All” came to her whole cloth on a day when she was keenly feeling her mother’s absence from her daily life; its exquisite string quartet “Intro” struck her in the midst of a sleepless night not long after. “At Eternity’s Sunrise,” the fond, bittersweet elegy that closes the album, came to Green just days after Kathie’s death; she sang it a week later at the memorial service.

Much of the album’s heft is conveyed through Green’s marvelous voice and its remarkable combination of huskiness and light (with the vocal quartet adding resonance and depth); however, her prowess as a writer and arranger of instrumental music takes center stage on the aforementioned “Nothing at All (Intro)” and on “Tea with Kathie,” a dreamlike piece for strings that presents a panorama of feelings from crushing sadness to joyful hope. Another emotional spectrum emanates from the piano-trio setting “When It’s Time to Go,” which doubles as a deft showcase for Green’s tight chemistry and communication with Rosenfeld (her husband) and Hyde.

These sweeping emotional statements cut very much to the heart of Corner of My Dreams; though it’s not a concept album, Green recognizes the personal dimension that the recording takes on and means it to encompass a full palette of emotions, with contributions thereto from each of her collaborators. In doing so, the pianist, vocalist, and composer has brought her own music to an astonishing new level of richness and possibility.

“Like all highly realized artists, Kelly embraces vision, inspiration, and affinity in her work,” writes Michelle Mercer in her liner notes. The CD package also features an insert with full lyrics and a beautiful personal note by Green.

Born in Orlando, Florida in 1989, Kelly Green has memories of singing and making music from the time she was a very little girl. At the age of seven, she started taking piano lessons and singing in choirs, and also wrote her first song. At 11, she discovered jazz through her father, a bassist and audio engineer, and began attending the Jamey Aebersold Jazz Workshop with him every year.

Green sang in her high school chorus and at 18 recorded Aspire, an album of her original compositions. She went on to study jazz at the University of North Florida in Jacksonville, earning a bachelor’s degree in piano performance—and while she was at it, winning first prize in the Generation Next Youth Talent Competition at the 2011 Jacksonville Jazz Festival.

In 2012 she moved to the New York City area, beginning graduate studies at William Paterson University (where she would earn her master’s degree) and working under the tutelage of Mulgrew Miller, Gary Kirkpatrick, and Cecil Bridgewater while also taking private lessons with James Weidman and Harold Mabern.

In 2017, Green recorded Life Rearranged, an accomplished album with the fearsome veterans Christian McBride and Steve Nelson, among others; the following year she released Kelly Green Trio Volume One. Green and her trio welcomed the uniquely talented quartet member Elijah J. Thomas on 2024’s Seems, with 2025 bringing her largest project to date, Corner of My Dreams.

Green and Rosenfeld are the founders of Green Soul Studios, a recording and performance space in Queens, where they host a concert series and record their own music.

The Kelly Green Quartet featuring Elijah J. Thomas received the Spring 2025 South Arts/Jazz Road Grant for their California tour in July (dates below).

Kelly Green appears with her trio every Friday at the Flatiron Room NoMad, 37 W. 26th St, NYC, 9pm-12am. In support of Corner of My Dreams, Green and trio will be appearing at the following venues: 6/29 Close Up, NYC (154 Orchard St); 7/1 Mezzrow, NYC; 7/10 Sam First, Los Angeles; 7/11 The Grape, Ventura, CA; 7/12 The Sound Room, Oakland; 7/13 Mr. Tipple’s, San Francisco; 8/10 Birdland, NYC (5:30), featuring Scott Robinson; 9/6 Black Squirrel Club, Philadelphia; 9/16 Official album release with full ensemble: Zinc Bar, NYC (7-10pm); 10/4 Bar Bayeux, Brooklyn; 10/10 Muse, Denver; 11/20 Crazy Coqs, London; 11/21 The Music Village, Brussels; 11/23 Atelier 57, Beroun, Czechia; 11/26 Blue Note, Dresden, Germany; 11/29 Sunset Jazz Club, Girona, Spain; 2/27/26 Ravenscroft, Scottsdale, AZ; 2/28/26 Century Room, Tucson, AZ. 

Jennifer Lee Expands Her Universe with Glimpse, a Vibrant New Jazz Album of Original Stories and Soundscapes

For her newest release Glimpse, Oakland-raised vocalist and songwriter Jennifer Lee returns with a collection of original songs that reflect love, transformation, and musical adventure. Partnering once again with longtime collaborator and renowned guitarist Peter Sprague, Lee delivers an album that’s rich in style, instrumentation, and emotional honesty.

Glimpse is Lee’s fourth album as a leader, following the acclaimed Jaywalkin’ (2003), Quiet Joy (2009), and My Shining Hour (2018). Throughout her recording career, she has earned a reputation for blending Brazilian influences, straight-ahead jazz, and singer-songwriter intimacy into a sound uniquely her own. On Glimpse, Lee explores a diverse range of musical moods—from modern jazz ballads to uptempo Brazilian grooves—while keeping her distinct voice front and center.

The album features nine original songs, one jazz standard, and a composition by two close friends. It's performed by a stellar group of California-based jazz musicians, including Peter Sprague (guitar), Adam Shulman (piano/Rhodes), Gunnar Biggs (acoustic bass), Duncan Moore and Vince Lateano (drums), Tommy Aros (percussion), Derek Cannon (trumpet), Tripp Sprague (sax), Rich Kuhns (accordion), Justin Grinnell and Doug Pohorski (bass), and Anton Schwartz and John Wiitala (saxophones and bass, respectively). Grammy-winning flugelhornist Randy Brecker also contributes a standout performance on the track “Warrior, Drop Your Sword.”

Many of the songs on Glimpse are inspired by Lee’s personal life, especially her relationship with her husband George. The opening track, “I Caught a Glimpse of Your Soul,” is a poignant account of the profound connection they shared from their first meeting. Other originals like “Farewell to Comfort” and “Vivid Technicolor Love” reflect both joy and change, rooted in Lee’s journey of love and self-discovery.

One of the album’s most compelling aspects is Lee’s ability to find the universal within the personal. On “Dave Don’t Mind the Rain,” composed by Shanna Carlson with lyrics by the late Cathi Walkup, Lee brings humor and depth to a story about a rainy-day gig. “If I Only Had a Brain,” reimagined as a ballad, showcases Lee’s vocal nuance and emotional insight, while her arrangement strips the song down to its lyrical essence.

Lee’s personal evolution is also a theme. “Serendipity” expresses her belief in the power of positivity, and “Hold On” was written immediately after a profound experience during a 2014 ayahuasca ceremony. “Superhero” and “Here You Are” pay tribute to her husband, while “Strange and Beautiful” closes the album on a whimsical, reflective note.

A Bay Area native, Lee’s musical journey began with jazz piano and evolved as she gradually stepped into the role of singer-songwriter. Her artistic voice deepened after decades of performing across California, including a long-standing collaboration with Peter Sprague, who also produced Glimpse on his label SBE Records. She adopted the moniker “Jennifer Lee and the Ever-Expanding Universe” in 2017 to distinguish herself from another artist with the same name on streaming platforms.

Glimpse is an album of vulnerability, elegance, and expert musicianship. With her luminous voice and polished songwriting, Lee continues to push the boundaries of modern jazz vocals while remaining deeply connected to the roots of the genre. For fans of jazz infused with lyrical storytelling and bold originality, Glimpse is a must-listen.

Jennifer Lee Shines on Glimpse, a Soulful New Collection of Jazz Originals and Inspired Collaborations

For Glimpse, the newest album by Jennifer Lee, the multi-faceted singer and songwriter once again teams up with master guitarist Peter Sprague to record an album of hip, mostly original songs. Glimpse is Lee’s fourth album as a leader. It follows Jaywalkin' (2003), Quiet Joy (2009), and My Shining Hour (2018). All her albums have received wide critical acclaim. Jazz, Bossa and Beyond said, “On My Shining Hour, Lee emerges as a composer who has developed a striking repertoire exploring the human condition with humor, compassion, and imagination.” And the San Diego Tribune said, “Lee sings and writes with warmth and clarity. She sparkles whether performing her own material or jazz and Brazilian-music classics.”

Glimpse comprises nine originals, one standard, and one song written by her close friends. The music covers a range of styles – from jazz swingers to bluesy, modern ballads, to toe-tapping Brazilian-influenced melodies to fun, pop-inflected tunes. All the music hangs together beautifully with Lee’s crystalline voice and the deep pool of top California jazz musicians, including Peter Sprague (guitar), Adam Shulman (piano/Rhodes), Gunnar Biggs (acoustic bass), Duncan Moore (drums), Vince Lateano (drums), Tommy Aros (percussion), Derek Cannon (trumpet), Tripp Sprague (sax), Rich Kuhns (accordion), Justin Grinnell (electric bass), Doug Pohorski (acoustic bass), Anton Schwartz (saxophone), and John Wiitala (acoustic bass); as well as one East Coast jazz virtuoso, Randy Brecker (flugelhorn).

Born in Redwood City, CA, Lee spent her entire life in the Bay Area — the last 22 years in Oakland — until a recent move to Southwestern Idaho. Lee played piano as a young child and after high school, studied jazz piano at Foothill College. She often accompanied vocalists while nursing her secret desire to sing. Unfortunately, she had to leave school to take care of her ailing father who died the following year. Lee relates, “My dad was only 51. That really brought things into focus for me. I realized that none of us knows how long we have on planet earth, so I’d better do what I want to do now. I returned to school, but instead of backing other singers, I took over the microphone myself.”

She soon became a regular on the San Francisco Bay Area jazz scene and began touring around the state. She met Sprague when she hired him to accompany her at Dizzy’s in downtown San Diego, thus launching a partnership that has lasted 24 years, with Lee recording all her full-length albums on his label, SBE Records. “No words are adequate to express how lucky I feel to get to work with Peter,” says Lee. “He’s incredibly skillful and creative as a guitarist, recording engineer, arranger and producer. My writing and arranging styles are heavily influenced by Peter. Not that he ever set out to teach me anything. Just watching him work and listening to his arrangements, aspects of his musical style have seeped into my ears and into my consciousness.” Lee changed her artist name to “Jennifer Lee and the Ever-Expanding Universe” in 2017 when she realized that on the streaming platforms her profile had been interwoven with that of another vocalist named Jennifer Lee.

She dedicates Glimpse to her husband, George. Five of the original tracks were inspired by him and by their relationship. Lee opens the album with “I Caught a Glimpse of Your Soul” – a song she refers to as a musical/lyrical description of the experience she had when George came into her life. She explains, “When we first met, we each felt an unusually strong connection to the other. It was a feeling that we had known one another forever. Neither of us had experienced anything like this before. It was truly remarkable.”

“Farewell to Comfort,” a spritely samba that Lee penned in 2017, turned out to be a premonition, foretelling some monumental changes in her life that include meeting her husband. While Lee currently does most of her own arranging, Sprague wrote the lines for the beautiful, wordless overdubbed vocal interludes. “Dave Don’t Mind the Rain” was composed by friend Shanna Carlson with lyrics by the late Cathi Walkup. The inspiration for the lyric was a rainy-day gig for one of their mutual friends, pianist David Udolf, with whom Lee has performed and recorded many times. “Vivid Technicolor Love” began as two musical phrases Lee recorded on her phone’s voice memo app and rediscovered ten years later while clearing things out. At that point, having the inspiration of George in her life, the words “I’ve never felt this before, such a vivid technicolor love” came to her quickly. The horn arrangement is the first one she ever wrote. Lee was inspired to sing “If I Only Had a Brain” as a ballad after hearing Harry Connick Jr.’s version. She relates, “I found it to be so touching. I think it was the first time I really got how deep the lyrics are — how they speak to something so fundamental in the human condition: the fear that we’re not enough.” The intimate arrangement features Lee on piano and vocals and Rich Kuhns on accordion. During the pandemic lockdown, Lee shifted her energy from live performance to creating videos, among them a humorous version of this classic with an alternate lyric, “If I Only Had T.P.”

The lyric for “Serendipity” makes it clear that Lee believes in a higher power and in the power of gratitude. “I learned a long time ago that believing in my victimhood did not serve me, while choosing a positive outlook always did serve both me and those around me. So I try every day to do just that.” “Warrior, Drop Your Sword,” featuring Brecker’s soulful playing, is a metaphysical take on her husband’s dramatic journey – nine brain surgeries and a 38-year legal battle following his NFL career.

Lee’s lifelong quest to overcome the psychological wounds of childhood trauma eventually led her to psychedelic therapy. In a 2014 ayahuasca ceremony, she experienced an intense emotional release. Following the session, she went directly to her piano, and the song “Hold On” emerged. “Superhero” is a wacky but heartfelt musical tribute to her loving and supportive superhero of a husband. Reminiscent of the pop ballads from the ’70s, “Here You Are” expresses Lee’s awe and wonder at the transcendent love they share. Lee closes the album with “Strange and Beautiful.” The kernel of the song originated with a throwaway lick she played while teaching her piano student to improvise over the chord changes for “Hit the Road, Jack.”

Lee’s luminous voice, perfect intonation, and rhythmic dexterity, coupled with her pianism and superb songwriting skills make Glimpse an outstanding showcase for an artist who deserves much wider recognition. Backed by a band of top-notch musicians, this album will surely catch the attention of vocalists in search of beautifully crafted songs to add to their repertoire.

Eric Hilton Delivers a Global Groove Odyssey with Midnight Ragas — A Lush, Downtempo “Compilation” That Isn’t

Montserrat House Music and trip-hop pioneer Eric Hilton have announced the release of Midnight Ragas, the godfather of downtempo’s brand new “compilation mix” LP. Featuring three different vocalists — Puma Ptah, Natalia Clavier and Kristina Westernik-Dandridge of The Infinite Daisy Chains — and lyrics sung in French, Spanish and English, Midnight Ragas has the distinct feel of international exotica, a sound that Hilton has cultivated over 30 years of album releases. Check out album singles ”Je ne t’aime plus,” “Leave It All,” “Beautiful Moment” and “L’Ocean” on YouTube HERE.

Compilation albums have always been a great tool for discovery, especially in electronic music. A couple of familiar artists or tracks, sequenced amongst unknown treasures, taking the listener on a satisfying journey through different moods and sounds. It’s not easy to make a good compilation album, one bad track can throw off the whole vibe, the flow. A great compilation album can elevate the individual tracks and put them into a context where the whole is greater than the sum of its parts.

With Midnight Ragas, Eric Hilton has made a great compilation album. Except not really. We’ll explain.

Midnight Ragas is a new album by the downtempo electronic music producer, with vocal contributions by longtime collaborators Natalia Clavier and Puma Ptah, along with newer recruit Kristina Westernik-Dandridge. And while the tracks are all new Eric Hilton recordings, the album sounds like a killer compilation record, with shifting tempos, moods, vocalists, and languages across twelve tracks. The vintage age of mix CDs may be long over, but listen to Midnight Ragas and you’ll think it never left.

Hilton has plenty of experience with compilation albums. Tracks by Thievery Corporation, the downtempo combo Hilton co-founded in 1995, have been featured on over 600 mix CDs, according to music database website Discogs. "I loved compilations back in the day. You bought them to get turned on to new sounds, or you liked the artist compiling it. ‘Midnight Ragas’ was not conceptualized as a compilation; the album is a moment of eclecticism,” says Hilton.

The opener, "Life In the Deep End”, hits like an even more laid-back Khruangbin, soundtracking a vintage Billy Dee Williams Malt liquor advert. Next up: "Leave It All”, a ballad in the Massive Attack/Zero 7 wheelhouse — minimal groove, smart sounding, sounds like a single. Puma Ptah pours it on smooth here. Track three is "Je ne t’aime plus" (I don’t love you anymore) — imagine it’s 1970 and you’re Alain Delon or Catherine Deneuve, driving a light gold Ferrari Daytona along the coast from Cannes to Monaco. Clavier provides the vocal accompaniment, singing for Hilton in French for the first time. The third song is "Behind My Eyes" (‘70s crime flick meets ambient drum & bass). "I love the wildness of this track, we really nailed the production on this one, it’s tough and sets the tone for the next few tracks,” says Hilton.

"All I Want” also features Ptah; the track is an ass-shaking, purple crushed velvet groove, hard but smoooooth. Track six, "Burkina Faso”, will be a standout track for longtime Thievery fans, a tough D.C. bounce and "you know what time it is” feel. Things start to shift with the title track — seven songs in and things start sounding mysterious on “Midnight Raga”. “Traditional ragas are improvisational but repetitive; this song somehow is repetitive but doesn’t hit you that way,” opines the producer. Next up: "Sol Interior", with gorgeous vocals from Clavier amid Ipcress File/John Barry twinkles. It sounds a bit like a great lost track from Air’s classic debut Moon Safari.

The album closes out with a trifecta of late-night slow burners. “Madame Asha” is classic trip-hop, a nod to legendary Indian American vocalist Asha Puthli. “L’Ocean" stays on the ‘90s trip-hop wavelength and is a standout for Hilton, as good as any track of the era/genre. And it all comes down to "Beautiful Moment", unquestionably the most romantic track on the album. Vocals by Westernik-Dandridge summon thoughts of the late summer evening sun, slow kisses and dew drops on agave leaves. It’s as perfect a sonic representation of apres-release afterglow that you’re likely to hear.

And then it’s all over, sigh … unless you’ve put your CD player/turntable/streamer on auto repeat, which is the right idea. Midnight Ragas is the compilation album that isn’t; perhaps that’s why it’s so listenable, and so unforgettable.