Guillaume Muller Pays Tribute to Horace Silver with Solo Guitar Album “Six Pieces of Horace”

In Six Pieces of Horace, French-born, New York-based guitarist Guillaume Muller delivers a heartfelt and skillfully crafted solo guitar tribute to jazz icon Horace Silver. What began in 2021 as a deep dive into Silver’s discography during the pandemic evolved into a focused and intimate project that showcases Muller’s profound respect for the hard bop legend’s work.

Initially, the project wasn’t intended to be a solo guitar record. Muller had set out to study Silver’s discography from the 1950s and ’60s, meticulously transcribing each instrument from his favorite recordings to absorb Silver’s musical language. This rigorous study led to a curated selection of 20 to 30 standout tunes, which Muller began reimagining for solo guitar. Ultimately, he selected six pieces that best captured the essence of Silver’s legacy and Muller’s evolving artistic voice.

The resulting album, Six Pieces of Horace, brings together two of Muller’s enduring passions: solo guitar and Horace Silver’s music. Recorded in a New York City studio with a sound engineer, the sessions were approached with a live performance mindset—recorded in one day to preserve spontaneity and emotional honesty. The result is an organic, nuanced interpretation of Silver’s repertoire, filtered through Muller’s lyrical and blues-tinged style.

The album title and artwork nod to Six Pieces of Silver, one of Silver’s most iconic records, signaling Muller’s reverence for the composer while putting forth his own artistic identity.

Guillaume Muller’s thoughtful and expressive playing has earned praise since his 2019 debut Sketches of Sound. Critics have described him as “a fluid, lyrical guitarist” and “an emerging star in NYC.” With Six Pieces of Horace, Muller continues to distinguish himself in the modern jazz scene—honoring tradition while contributing something entirely his own.

Tony Davis Returns to His Roots with “Jessamine,” a Soulful Journey Through Memory, Music, and Identity

Jessamine is the name of the street I grew up on, and this album is a symbolic return to that origin point—a musical homecoming. The songs are like keepsakes gathered along life’s journey—echoes of memories, influences, people, places, and transformative experiences that have shaped me. This body of work represents a culmination of my musical and creative roots, many of which were planted in those early days on Jessamine Street. That sense of home extends beyond the physical place: two of the musicians featured on the album, Jonathan Barber and Matt Dwonszyk, are also from Hartford. I came up learning and playing music alongside them—looking up to them in my formative years—so having them on this record brings the story full circle.

Growing up in a house filled with music—my parents are both acclaimed jazz musicians—meant that artistry, creativity, and emotional depth were part of everyday life. Brilliant artists were constantly passing through our home, and their presence left a lasting impression. I didn’t fully grasp the significance—or the good fortune—of that environment until much later. This album is a way of recognizing that foundation and honoring it.

Conceptually, I imagine placing each of these songs—these keepsakes—back inside that house on Jessamine Street. It’s about reconnecting with the seeds that were planted early on and viewing them through the lens of all I’ve lived and learned since. Not just a nostalgic return, but a full-circle synthesis of experience, influence, and identity.

About the songs:

And I Do – Originally inspired by the final lyrics of the jazz standard I Should Care: "I should care, and I do." The song embodies dedication to my relationship to music and how emotionally intense it can be. It’s a nostalgic reflection of a lifelong relationship with music and how, despite all the challenges, it’s always been there for me.

Cumbia de Dos Caras – Inspired by my love of Latin music, which started when I heard my neighbors on Jessamine St., a beautiful Peruvian family I spent nearly every day with, playing great salsa and other Latin music. It also reflects my extensive travels throughout Latin America over the years and my love of the Cumbia rhythm. The title means Two-Faced Cumbia, resembling the bipolar nature of the music lifestyle.

I Will – A Beatles tune my mom used to sing to me as a lullaby.

Jessamine –  About childhood me and the house I grew up in. The major sections of the song resemble the joyous, creative inner child in me, while the minor section represents the adult version of me, more withered by life and in turmoil.

Trinkets From Mars –A nod to Hartford, CT (where I’m from) and all the musical influences and personal relationships that come from its lineage, including the people playing on the song. The great Jackie McLean, a legendary jazz musician from Harlem, moved to Hartford and cultivated the scene there. My father used to play in his band, and Jackie became a close family friend. He used to refer to Hartford as Mars.

Secret Love – A jazz standard I’ve always loved. I wanted to include at least one American Songbook tune as a nod to my love of that tradition and its influence on my musical blueprint.

Sphere of Blues – An ode to the blues, my first love on guitar. It encapsulates different approaches to the blues form and my deep love for that tradition. The title is also a play on the last name of a girl I fell for years ago—it didn’t work out, so, of course, I got the blues.

There You Are – About reconnecting with the muse—and loved ones—who were always there, even when I couldn’t see it.

Unrequited – A piece by Brad Mehldau, one of my biggest musical influences, and a fellow Hartford native. He actually played at my parents' wedding.

Viridian – Viridian is a shade of green I’ve always loved and been drawn to since childhood. One time in my adult life, I had an experience that caused me to sob harder than ever before—it felt like I was releasing very old childhood tears. During this, visions of Viridian green kept appearing in my mind.

Hailing from Hartford, CT, Tony Davis is an internationally acclaimed guitarist, vocalist, composer, and producer based in New York City. He has performed at prestigious venues such as The Blue Note, The Village Vanguard, Smalls, Jazz at Lincoln Center, and Birdland, and at major festivals including the Newport Jazz Festival and the Greater Hartford Jazz Festival. In 2016, he was recognized as a rising star guitarist at the Wes Montgomery Tribute Festival in Indianapolis, IN performing alongside legends of jazz guitar such as Bobby Broom, Peter Bernstein and Pat Martino.

Tony’s music seamlessly blends elements of various Latin traditions, folk, rock, and classical music into his deep roots in jazz, contributing a unique and compelling voice to contemporary music. He has recently led performances in Mexico, Chile, and Paris, and over the years, he has shared the stage with notable musicians like Anderson .Paak, Christian McBride, Joe Farnsworth, George Coleman, Abraham Burton, Sullivan Fortner and Harold Maeburn.

In 2020, he signed with the acclaimed record label Posi-Tone and released his debut album, Golden Year, which features an all-star lineup including Dezron Douglas, Eric McPherson, Steve Davis, Alina Engibaryan, JK Kim, Steve Wilson, and David Bryant. His unique style and musical prowess quickly garnered attention, cementing his place as a significant contemporary artist. In 2022, Davis furthered his career by signing with La Reserve Records, a leading force in modern genre-crossing music. His first release on the label was Daring Two Be, a duet album with Brazilian vocalist Jamile Ayres. This was followed by Cloud Nova (2024), a full-length album that marked his first major foray into the singer-songwriter realm while still rooted in jazz. His next album, Jessamine—a deeply personal and stylistically expansive project—is set for release in Fall 2025.

Connor Young’s “Here’s to Now” Invites Us to Embrace the Present Through Light, Sound, and Soul

Here's to Now is about embracing the present moment. It began with the Solas Suite, a four-movement piece inspired by Irish Gaelic words for light - Réalta (Star), Luí na Greine (Setting of the Sun), Oíche (Night), and Eiri (Sunrise). It grew into a larger reflection on how we experience the contrasts of life, moving from darkness to light, shadow to clarity.

The rhythm section - Michael Hartigan (piano), Geza Carr (drums), and John Rivers (bass) anchors the music with each player bringing their own sound and personality. Alongside them, Ana Ruesink, Ben Lively, Jane Kittredge, and John Dunlop on strings provided the rich emotional layers, creating a conversation between the two worlds of jazz and classical influences.

The title track, Here's to Now / Tate's Song, is dedicated to my niece, Tate, born May 12, 2022. Her arrival has shown me what uninhibited, pure joy looks like. In her, I see a reminder of how life's simplest moments can bring light, no matter the circumstances.

Thanks for listening! I hope “Here's to Now” brings you to the present, wherever you are.

Connor Young is a Vermont-born trumpeter, composer, songwriter, and educator. Music became a central part of his life at a young age, leading him to study Jazz Performance at McGill University in Montréal. Since graduating in 2018, he has been an active performer and collaborator, playing across Vermont in a variety of genres.

Connor has recorded two albums: Flight of the Starlings, a contemporary jazz record, and From Me to You, a self-recorded, folk-inspired album that reflects his growth as a songwriter and producer. Seven Days described From Me to You as "a masterful mélange of late-night musings and early-morning affirmations," blending folk, early blues, and hot club-style jazz. Meanwhile, Flight of the Starlings was praised for its "thoughtful and ambitious arrangements," capturing both modern and classic jazz influences.

In addition to performing, Connor is a dedicated educator, sharing his passion for music with the next generation. He is also a core part of Burlington’s jazz scene, playing in the house band every Wednesday at The 126, where he helps run the club’s weekly jam sessions. He was recently awarded a Creation Grant from the Vermont Arts Council to record another contemporary jazz album with his octet.

Secret Tempo Returns with Love You to Death: Jonathan Moritz’s Trio Blends Jazz Tradition with Exploratory Freedom

After over two decades of collaboration, saxophonist and composer Jonathan Moritz reunites with bassist Shayna Dulberger and drummer Mike Pride for Love You to Death, the second album from their trio, Secret Tempo. Rooted in jazz tradition but committed to pushing musical boundaries, the trio continues its quest to discover new terrain between structure and spontaneity. The result is a bold, expressive collection that redefines the possibilities of the modern jazz trio.

Moritz’s decision to focus exclusively on tenor saxophone for this release marks a departure from their debut album, which featured equal parts soprano. This shift allows him to explore the tenor’s full range—from hushed whispers and rich overtones to explosive, sculptural phrasing. Critics have long recognized Moritz for his innovation and nuance, with The New York Times’ Ben Ratliff noting how his music “often sounds off the cuff when it’s actually planned, and the plans are mostly counterintuitive.” That duality—of planning and spontaneity—lies at the heart of Love You to Death.

The album embraces a looser, more improvisational approach than its predecessor. Each piece begins with a composed idea that unravels into open-ended musical landscapes. Eschewing the traditional soloist-rhythm section hierarchy, the trio performs with radical equality and deep listening, blending styles from jazz to punk, contemporary classical to metal. This wide palette yields dynamic contrasts—ethereal textures dissolve into wild swing, while intimate passages erupt into stormy energy.

Tracks like the title piece, “Love You to Death,” begin with a bluesy pulse before giving way to free-form dialogue. “Sick in Love” swings with deep interaction and playful dissonance. “I Think You Hung the Moon” slows the pace into a sparse, poetic meditation, while “Eat Your Heart Out” closes the album with exuberant, high-speed swing.

Complementing the music is artwork by Elodie Blanchard, who created whimsical illustrations inspired by love-related idioms, echoing the album’s blend of humor, emotion, and abstraction.

Moritz’s career stretches beyond performance. Since 2004, he has curated Brooklyn’s Prospect Series, a monthly house concert spotlighting experimental music. He also plays early jazz weekly in a banjo-bass/sousaphone trio, reflecting his deep engagement with jazz history. A graduate of CalArts, where he studied with Charlie Haden and Wadada Leo Smith, Moritz brings the same sense of inquiry and reverence to all his projects.

Dulberger and Pride, meanwhile, are equally prolific. Dulberger, active since 2001, has worked with William Parker and Elliot Sharp, and leads several boundary-pushing ensembles of her own. Pride, a virtuosic drummer with over 150 recording credits, leads multiple bands and has collaborated with artists from John Zorn to Amy Schumer’s touring ensemble.

Together, Moritz, Dulberger, and Pride present a musical vision that’s raw, democratic, and profoundly human. Love You to Death isn’t just an album—it’s a document of trust, risk, and the evolving language of improvisation. It’s a reminder that in an age of quick content, some art takes time to develop—and is all the richer for it.

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Doug Wyatt’s Expansive Soundscape: Bridging Jazz, Classical, and a “Third Thing”

Composer and pianist Doug Wyatt stands at the intersection of jazz and classical music, forging a deeply expressive style that defies categorization. In his latest body of work, Wyatt unveils what he calls a “third thing” — a distinctive musical voice that draws from both traditions while creating something entirely new. Anchored in his nuanced and evocative piano playing, this work weaves together fiery improvisation with saxophone, bass, and drums, and layers it with soaring string quartet arrangements.

Born of isolation and introspection during the 2020 pandemic, this music represents a luminous emergence from darkness. Wyatt channeled the solitude of that time into a creative process fueled by the natural beauty and resilient cultural spirit of his hometown, Ithaca, New York. The region’s vibrant music scene became a springboard for exploration and collaboration, providing fertile ground for Wyatt’s ambitious musical vision.

The recordings, which took place in multiple locations — Silicon Valley, Ithaca, Boston, Nashville, and Italy — reflect both the breadth of Wyatt’s collaborative network and the borderless quality of his music. The result is a tapestry of sound that honors the complexity of jazz, the refinement of classical composition, and the freedom of genre-blending creativity.

Doug Wyatt’s work is more than a fusion; it’s an evolution. By transcending traditional musical boundaries, he invites listeners into a space where improvisation and structure, passion and precision coexist — a space that feels at once intimate and vast. His “third thing” is not merely a genre, but a new lens through which to experience music itself.

Fred Hersch’s The Surrounding Green: A Masterclass in Trio Intimacy and Understated Brilliance

Masterful trio interplay reliant on deeply honed three-way communication and a refined sense of understatement make Fred Hersch’s The Surrounding Green, his third recording for ECM, an essential entry into the piano trio canon. Hersch tackles a handful of 20th century compositions – spanning from standards to less frequented jazz tunes – as well as three originals, with Drew Gress on bass and Joey Baron on drums. 

Gress and Baron are longstanding companions of Hersch’s who have played with him on and off since the late '80s and early '90s respectively – in various combinations Fred was joined by the one or the other on over a dozen recordings. This however marks their first studio recording as a trio, and their exceptional collective approach, shaped by decades of experience, can be heard (and felt) in every song.

“Joey is such a genius with dynamics that it was no problem at all for us to hear each other in the Auditorio,” notes Hersch. “And the way that Drew plays, for example on ‘Plainsong’ and ‘The Surrounding Green’, there’s so much trust in how we get through the harmony, where we pause and where we move on. I feel that on this record you really hear the history! I hope that people can feel the maturity of the interaction, the sonic world and the sensitivity at play.”

Hersch’s own pieces are striking in their lyrical intensity, beaming with elaborate harmonies and interwoven counterpoint on “Plainsong”, timeless melodic invention on the title track “The Surrounding Green” and irresistible Latin groove on “Anticipation”. While previous solo renditions of “Plainsong” already introduced the melody’s intimate quality, the trio formula heard here proves quietly revelatory, with bass and drums adding a fresh pulse and expanded harmonic dimensions to the tune. The title track and “Anticipation” are new entries into the Hersch songbook. 

As to his approach when writing a new song, Hersch insists that he usually composes within a limit timeframe – 45 minutes, the kitchen timer keeps track. His favourite tune writers, Hersch says, “Monk, Wayne shorter, Duke or Kenny Wheeler – many of their songs don’t look like much on a page, but they have a kind of world to them. Everything Monk wrote fits on 86 pages – everything! I’m a believer in that a good tune needs no more than two essential elements – it has to be memorable, as in it has to stick. And it should be fun to play, leaving room for the player to bring in whatever they bring.” 

The trio’s pass at Ornette Coleman’s “Law Years” is a post-free swinging affair, while Egberto Gismonti’s “Palhaço” offers an elegant journey of subtle trio interaction. And on the Gershwin brothers’ “Embraceable You," the pianist and his accompanists boast infectious nonchalance. Dedicated to the haunting quality of a melancholy melody, the trio also explores Charlie Haden’s “The First Song." The late bassist appeared on one of Hersch’s earliest studio dates in 1987, also with Baron on drums. Their intimate bond with the song is apparent throughout, making for a particularly stirring interpretation. 

“This record to me is very concentrated, which always seems to be the case when I work with Manfred,” says Hersch. “It marks my third record with him, all three recorded in Lugano’s Auditorio Stelio Molo – and I can definitely say it’s the perfect condition for kind of playing live, but in a controlled environment.” 

Recorded in May 2024, The Surrounding Green was produced by Manfred Eicher.

Eric McPherson Returns with Double Bass Quartet, an Inventive Tribute to Jazz Lineage and Rhythmic Freedom

When your godfather was legendary bassist Richard Davis and family friends included drummers Max Roach, Michael Carvin, Charles Moffett and Freddie Waits, it's no surprise that Eric McPherson gravitated towards music. And if your mentors were saxophonist Jackie McLean and pianist Andrew Hill, McPherson attaining status as one of the preeminent drummers of his generation became almost preordained. McLean, who worked with a host of legends behind the kit, called McPherson his favorite drummer. 

Nearly 20 years after his first album and extensive work with peers and masters, McPherson returns as a leader with an ambitious new release. Double Bass Quartet continues the long lineage of multi-bass recordings with two of the best, John Hébert and Ben Street, both of whom have long experience with the leader. Filling out the group is one of the rising stars of jazz, Cuban pianist David Virelles. Says McPherson: "I've known Ben for almost 20 to 30 years now. We have a great rapport. I felt like he and John would complement each other conceptually. And David is one of the few piano players out here today that I have a nice rapport with and his rhythmic sensibility is off the charts, so he's very comfortable in a number of different settings." The music was recorded with and without an audience at Hunter College's Ida K. Lang Recital Hall. 

Virelles says, "Eric is part of a lineage of percussion that reflects depth, tradition and continual evolution, with him being one of the people spearheading development and innovation on the drums. Working with Eric has been both a profound lesson in musicianship and humility. We have shared the stage on many occasions and in different formats (one being as a duo). Playing with him is always joyful and an outstanding experience. He is the ultimate musician." 

Using two basses in jazz goes all the way back to Duke Ellington in the '40s and continued over the decades with Don Shirley, Ornette Coleman, John Coltrane, Albert Ayler, Archie Shepp, Pharoah Sanders and Andrew Hill. "Two basses is just a texture that I like," says McPherson, "especially when the musicians are playing together in such a way and I'm playing off of each of them. It creates a nice tonal palette and from a rhythmic standpoint opens up some options as far as how you want to convey the time." 

Though not planned as such, Double Bass Quartet can be heard partially as a tribute to Hill, whose last group before his 2007 death was a trio with McPherson and Hébert. Included are two Hill compositions, "Ode to Von", which had both Davis and Eddie Khan on bass in 1963, and the late '90s piece "Ashes". "Andrew Hill, I feel fortunate to have been able to work with him," says McPherson. "As far as them being his tunes, it was more coincidental than anything else. It was more to bring some material that we could all come together on, that everybody had a familiarity with, that we could implement this two-bass structure using these songs just as a template to basically explore that that dynamic." 

The album also has music by three other iconic and iconoclastic pianists in Stanley Cowell ("Illusion Suite"), Thelonious Monk ("Skippy") and Jaki Byard ("Cinco y Quatro"). This too was happenstance, chosen because McPherson felt it was music "that we could come together on and create something with. And I feel like the songs that we did use, they're not necessarily tunes that you hear every day. So I like that you see what can happen with these in this context." On the other end of the spectrum is "Darn That Dream", the standard now revitalized with the fresh instrumentation. "For me, at the end of the day, it's all just music, you know?," says McPherson. "They're all just templates that we're going to bring to life, however it is that we want." 

Filling out the date are three originals, one each by Hébert and Virelles—"tunes I've been able to play with both of them, presenting some interesting possibilities, just to see what would happen with them, in this setting with the two basses"—and McPherson's simply titled "Solo Drum" about which he says, "rhythm is melody as well, you know? So, for this particular project, that is my compositional offering." 

Double Bass Quartet is replete with depth, subtlety and variety. It starts with the jab and left hook of probing "Ode to Von" and moody ooze of Hébert's "Blind Pig". The paired basses open up the swing of "Illusion Suite" and "Skippy" while "Darn That Dream" and Virelles' "Transmission" float along very different currents. And the sparseness of "Ashes" is contrasted by the bubbling rhythms of "Cinco y Quatro". In the middle of it all is McPherson alone in a six-minute master class of invention and focus. 

McPherson is excited about the band and the music they made collectively. "Ultimately, we're all working together off of whichever vehicle that we're using at that given time. I had a lot of trust in those guys' musicianship to bring what they think is best, for what's happening, so they're listening and playing off of each other very nicely so there's different things happening." 

Double Bass Quartet is the latest entry in Giant Step’s new series Modern Masters and New Horizons. Specially curated by trumpeter Jason Palmer and drummer Nasheet Waits, the series features artists who have helped shape the modern jazz landscape along with rising voices doing the same for the next generation. Artists currently slated to contribute include saxophonists Neta Raanan and Edward Pérez/Michael Thomas.

 

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.