Lalah Hathaway Readies VANTABLACK: Expansion Pack Remix Album + Bold New Single “Poison + The Cure”

Following her two 2024 Grammy nominations—Best R&B Album for VANTABLACK and Best Traditional R&B Performance for “No Lie” featuring Michael McDonald—five-time Grammy winner Lalah Hathaway returns with a thrilling new project. VANTABLACK: Expansion Pack—a remix companion loaded with fresh reinterpretations and bold new originals—will be released worldwide next Friday, July 18, 2025, via Hathaway Entertainment/SRG‑ILS/Virgin Music 

Hathaway shares:

“Reimagining music has always been at the core of my artistic journey. This project is a heartfelt tribute to the transformative power of the REMIX, and a celebration of the timelessness of great SONGS!”

True to the wide-ranging sonics of the original VANTABLACK—which dropped June 14, 2024—Expansion Pack dives into house vibes (“Myth of Being”, “Clearly”), funk-pop rhythms (“Uptown”, “Mood For You”), and smooth grooves courtesy of Robert Glasper’s “Returning” remix and Amber Navran’s take on “#BITMFW.” Meanwhile, the rebellious “Poison + The Cure” and its visual counterpart mark a bold new chapter for the Chicago-born artist 

Lalah Hathaway is tied with Beyoncé for the most Grammys in the Best Traditional R&B Performance category (three each), and every solo album she’s released in the past decade has been nominated for Best R&B Album. Her 2017 Lalah Hathaway Live took home the win . The title VANTABLACK—named after the darkest substance on earth—reflects Hathaway’s deeply personal exploration of identity (“the blackest I’ve ever been”), while Expansion Pack turns that inward intimacy outward, emphasizing collaboration, community, and an electrifying summer vibe 

Hathaway on her artistic essence:

“VANTABLACK was always the name of the project… being the blackest I’ve ever been… similar to how all the music around me informs the black music that I create. So, it’s all a melting pot of all of me.”

VANTABLACK: EXPANSION PACK – Tracklist

1. THE BLACK [Phil Beaudreau Remix]

2. THE MACHINE [Butter Remix]

3. YOU DON’T KNOW [Mr. Talkbox & JayJ Remix]

4. VANTABLACK [Pikfunk & Jubu Remix]

5. MOOD FOR YOU [Complexive Remix]

6. UPTOWN

7. SO IN LOVE [Misha Remix]

8. TUNNELS [Ariza Remix]

9. THE ENERGY [Mocean Worker Remix]

10. MYTH OF BEING [Mark Francis Remix]

11. NO LIE [Phil Beaudreau Remix] feat. Michael McDonald

12. CLEARLY [Phil Beaudreau Remix]

13. I AM [Misha Remix]

14. POISON + THE CURE

15. #BITMFW [Amber Navran Remix]

16. RETURNING feat. Robert Glasper [Lalah Hathaway & Phil Beaudreau Remix]

17. YOU DON’T KNOW [A Cappella] feat. Mr. Talkbox

A five-time Grammy awardee, Hathaway shares the record for Best Traditional R&B Performance Grammys with Beyoncé (three each). With eight solo albums and collaborations spanning Pharrell Williams to Esperanza Spalding, she has been invited onstage by legends like Prince, Stevie Wonder, and Herbie Hancock. Daughter of the late Donny Hathaway, she continues her legacy with soul, versatility, and authenticity.

Jazz Funk Soul Returns With Simpatico – A Joyful, Soul-Stirring Summer Groove

On July 11, 2025, Contemporary Jazz supergroup Jazz Funk Soul—featuring pianist Jeff Lorber, saxophonist Everette Harp, and guitarist Paul Jackson, Jr.—drops their highly anticipated fifth studio album, Simpatico. It’s a ten-track sonic escape designed to lift spirits and move bodies, offering the ultimate soundtrack for summer.

More than just a collaboration, Jazz Funk Soul (JFS) is a union of three musical giants whose combined experience spans decades and thousands of studio credits. Collectively, they’ve sold millions of albums and landed over 50 #1 Contemporary Jazz radio hits. Now, with Simpatico, the trio delivers a fresh, high-energy set that blends sophisticated jazz with irresistible funk, smooth grooves, and soulful melodies.

“There’s a natural chemistry between us,” says Lorber. “We’re friends first, and that connection comes through in the music.” Harp adds, “Our goal is to bring joy—to offer listeners an escape from the pressures of everyday life. If we can help someone find a moment of happiness or groove, then we’ve succeeded.”

Each member of JFS brings a heavyweight pedigree. Jeff Lorber, a pioneer of the Fender Rhodes sound, has worked with legends like Miles Davis and Michael Franks and is often credited for helping launch Kenny G’s career. Saxophone powerhouse Everette Harp has performed with Aretha Franklin, Luther Vandross, Billy Joel, and Patti LaBelle, while Paul Jackson, Jr.—whose guitar work graced Michael Jackson’s Thriller—has recorded with everyone from Elton John and Natalie Cole to Quincy Jones and Whitney Houston.

Their new release Simpatico reflects that shared legacy and deep musical respect. “There’s real synergy,” notes Jackson. “We’re all walking in unity,” referencing Psalms 133. Harp echoes this, saying, “We want to keep things fun and funky, but also challenge ourselves—and our listeners—with unexpected musical turns.”

The album kicks off with Harp’s explosive “Get Up With JFS,” a high-octane blues-funk anthem featuring a fiery horn section. “That live horn feel reminds me of the great Jerry Hey arrangements from the Al Jarreau and Jay Graydon days,” says Harp. “And Paul’s gritty, rock-influenced guitar playing—very Larry Carlton—took this one over the top.”

From there, the trio detours to Paris with Lorber’s “Rue De Seine,” a stylish, melodic ride that captures the elegance of the City of Light. “It’s about capturing a mood,” says Lorber. “Paris is a city that loves jazz—and this song reflects that romantic energy.”

Jackson’s acoustic ballad “Janyce” floats in like a soft summer breeze, highlighting a more tender side of JFS. “This is my first acoustic guitar piece for the group,” Jackson reveals. “And having bassist Cornelius Mims—who I’ve known for over 50 years—on the track makes it even more special.”

Lorber’s “Rekindle” introduces a laid-back R&B-rock groove, while “Something Old, Something Borrowed, Something Blue” pays homage to George Duke, jazz tradition, and Harp’s earlier works. “It’s a fusion of past influences,” explains Harp. “The blues element is foundational—it’s always been in the DNA of jazz.”

Jackson’s funky throwback to 1980s club music, simply titled “Throwback,” is pure dancefloor magic. “We bring different flavors to the table,” says Harp. “And we push each other to deliver our best—every single time.”

The infectious title track “Simpatico” showcases Lorber’s signature bounce and vintage keys, channeling an “EWF meets Lorber Fusion” aesthetic. “It’s about joy,” says Lorber. “Music should feel good, even when it challenges you.”

Other highlights include the dreamy “Dreaming My Life Away,” where melody and soloing interplay seamlessly, and Harp’s shuffle-fueled “Ramblin’.” The album closes strong with the soulful, radio-friendly “Over Easy,” co-written by Lorber and Jackson.

Jazz Funk Soul originally formed in 2014 with guitarist Chuck Loeb as a founding member. His passing in 2017 left an indelible mark on the group. “Chuck was the ‘Jazz’ in Jazz Funk Soul,” says Harp. “He was inspiring, demanding, and always pushed us to rise to the occasion.”

Lorber agrees. “He had so much talent—as a guitarist, composer, and producer. I feel lucky to have collaborated with him.” Jackson adds, “Touring and trading solos with Chuck was one of the most rewarding experiences of my life. I joined JFS to honor his legacy—and I hope he’d be proud.”

Past JFS albums include Jazz Funk Soul (2014), More Serious Business (2016), Life and Times (2019), and Forecast (2022). With Simpatico, they add another gem to their ever-expanding musical legacy.

Jeff Lorber has been a dominant force in Contemporary Jazz for more than 50 years. His Grammy-winning Jeff Lorber Fusion earned ‘Best Contemporary Instrumental Album’ in 2017 for Prototype. A prolific producer, he’s worked with Kenny G, Dave Koz, and Gerald Albright. His recent solo album Elevate further showcases his passion for exploration and reinvention. “Good is never good enough,” Lorber says. “It has to be great.”

Everette Harp, a Grammy nominee and one of the genre’s most respected saxophonists, fuses jazz, R&B, pop, and funk with effortless soul. His sound is instantly recognizable—from hit records to TV themes like Entertainment Tonight and Soul Train. A former Arsenio Hall band member, Harp also hosted his own smooth jazz radio show in Florida and released his last solo album First Love in 2009.

Paul Jackson, Jr. is one of the most recorded guitarists in pop and jazz history. His credits include Michael Jackson, Barbra Streisand, Quincy Jones, Daft Punk, and more. He’s contributed to scores for Get On Up, Zootopia, and The Color Purple, and continues to inspire through his teaching at USC. Offstage, he’s a fan of vintage cars, dog training, and leads a men’s Bible study. His latest solo release is Stompin’ Willie Presents More Stories (2023).

With Simpatico, Jazz Funk Soul doesn’t just deliver another album—they offer a musical experience full of heart, groove, and expert craftsmanship. Each track reflects a trio perfectly in sync, honoring their roots while pushing boundaries. Whether you’re cruising the coast, relaxing at home, or dancing under the stars, this is the summer album your soul has been waiting for.

Roger Glenn Celebrates 80th Birthday with First Album in Nearly 50 Years: My Latin Heart

Legendary multi-instrumentalist Roger Glenn, known for decades as a vital yet under-recognized figure in jazz and Latin music, will release My Latin Heart on August 22, 2025 via Patois Records. The album marks his return as a bandleader after nearly five decades—an Afro-Caribbean and Brazilian jazz explosion that celebrates his 80th birthday and the full range of his musical vision.

For decades, Glenn has brought his distinctive talents—on flute, vibes, saxophones, marimba, and voice—to recordings and performances with some of the greatest names in music: Cal Tjader, Mary Lou Williams, Mongo Santamaria, Donald Byrd, Herbie Mann, Dizzy Gillespie, Taj Mahal, and many more. Yet, outside of his 1976 cult-favorite LP Reachin’ (produced by the Mizell Brothers), Glenn has rarely taken center stage—until now.

My Latin Heart is a deeply personal statement, recorded with a who’s-who of Bay Area jazz veterans including Ray Obiedo, David K. Mathews, David Belove, Paul van Wageningen, and Derek Rolando, with percussion giants John Santos and Michael Spiro adding additional fire. Across its tracks, the album reflects Glenn’s lifelong fascination with Latin music, and his mastery of blending jazz’s improvisational core with Caribbean and South American rhythmic traditions.

“This music comes directly from my soul,” says Glenn. “I’ve spent my life supporting other artists, but now it’s time to make my own statement.” That statement is bold, rich, and emotionally vibrant. My Latin Heart finds Glenn embracing his multiple instruments with joyful command. He delivers shimmering flute on the dancing “Zambo’s Mambo,” vibraphone sorcery in “Cal’s Guajira” (a nod to his mentor Tjader), and swooning alto flute in “A Night of Love.” On “Angola,” with Santos and Spiro, he invokes sacred Afro-Cuban traditions, while “Congo Square” celebrates the historic fusion of African and European sounds that birthed jazz. The album ends on the high note of “Samba De Carnaval,” a spirited homage to Brazil’s enduring musical heartbeat.

Born in Manhattan and raised in Englewood, NJ, Roger Glenn inherited musical brilliance from his father, trombonist/vibraphonist Tyree Glenn, who played with Duke Ellington, Cab Calloway, and Louis Armstrong. Childhood memories of Ellington rehearsals, thanks to his dad, were paired with early exposure to Latin music from his Cuban-loving mother. By his teens, Glenn was leading his own Latin jazz group.

Though he initially studied math and physics in college, Glenn’s passion for music prevailed. After serving in the military during the late ’60s—where he played in an Army band alongside Grover Washington Jr. and Billy Cobham—he returned to New York and recorded with Mary Lou Williams on her historic Mary Lou’s Mass. He later moved to San Francisco, where he joined Mongo Santamaria and ultimately collaborated with Cal Tjader, including on the Grammy-winning La Onda Va Bien.

Glenn’s range knows no limits: he’s played everything from piccolo and clarinet to baritone sax and organ trio settings. He’s toured with Kurt Elling, Taj Mahal, and even performed with the Count Basie Orchestra in Australia. He was recently honored as the 32nd Annual Vibe Summit Honoree by the Los Angeles Jazz Society.

Beyond music, Glenn is a licensed pilot and Civil Air Patrol volunteer, flying search and rescue missions in his spare time. His wide-ranging interests and refusal to be boxed in have contributed to his being a well-kept secret—until now.

As My Latin Heart hits the airwaves—with radio promotion by Kate Smith Promotions and CDs shipping out this week—it signals not just a return, but a radiant arrival. Glenn steps into the spotlight with a full-color self-portrait of his musical life. Multifaceted, untamed, and deeply expressive, My Latin Heart is a long-overdue revelation from an artist who’s always moved to his own rhythm.

👉 Visit rogerglennjazz.com for more.

Natalie Cole Celebrated with Deluxe Digital Reissues of Everlasting and Good to Be Back for Her 75th Birthday Year

In celebration of what would have been Natalie Cole’s 75th birthday, Craft Recordings proudly announces expanded digital reissues of two classic albums from the GRAMMY®-winning singer, songwriter, and actress. Fans can now revisit 1987’s Everlasting and 1989’s Good to Be Back in newly remastered deluxe digital editions, featuring the original tracklists along with rare remixes, B-sides, and single edits—many available digitally for the first time. Pre-saves are open now for both titles.

Bonus tracks include standouts like “I Wanna Be That Woman” from the “Pink Cadillac” 12", a new mix of “The Urge to Merge,” and an edited version of “Rest of the Night.” Four unreleased tracks from Everlasting and three from Good to Be Back will roll out over the coming weeks. Everlasting arrives August 1, followed by Good to Be Back on August 29. Two tracks—“Jump Start (Dance Mix)” and “As a Matter of Fact (Urban Radio Mix)”—are available to stream today.

Born in Chicago in 1950, Natalie Cole was the daughter of Nat King Cole, one of the most beloved artists of the 20th century. But Natalie carved her own lane, launching her solo career in 1975 with the soulful Inseparable, which included the breakout hit “This Will Be (An Everlasting Love).” Her star rose rapidly through the late ’70s with a series of platinum-selling albums and R&B chart smashes such as “I’ve Got Love on My Mind,” “Our Love,” and “Stand By.” After a brief retreat from the spotlight in the early ’80s, Cole’s return was marked by the release of Everlasting, her acclaimed 11th studio album.

Everlasting found Cole embracing a fresh sound. Produced by Reggie and Vincent Calloway, the kinetic lead single “Jump Start” stormed to No.2 on the R&B chart and No.13 on the Hot 100, setting the tone for a successful reinvention. The follow-up, “I Live for Your Love,” became a signature ballad, while her sizzling take on Bruce Springsteen’s “Pink Cadillac” became a massive global hit, reaching Top 5 status in the U.S., U.K., Canada, Switzerland, and beyond. A remix by David Cole and Robert Clivillés (C+C Music Factory) topped Billboard’s Dance chart.

Other notable tracks include “Split Decision” (co-written by Burt Bacharach and Carole Bayer Sager), and her smooth cover of “When I Fall in Love”—a nod to her father’s 1956 classic, featuring a saxophone solo by Kenny G. José Feliciano also makes an appearance on the upbeat “More Than the Stars.” Hailed by AllMusic as “one of Cole’s best ’80s albums,” Everlasting earned Gold status and climbed to No.8 on the R&B chart—her highest position since 1979. It also returned her to the Billboard 200 Top 50.

Good to Be Back, released in 1989, reinforced Cole’s return to form. It blended energetic, radio-ready pop with lush ballads, led by the dramatic hit “Miss You Like Crazy,” produced by ballad master Michael Masser. The track topped both R&B and Adult Contemporary charts and became a global sensation, reaching No.2 in the U.K.—Cole’s highest international chart placement. The album also featured “Starting Over Again” (written for Dionne Warwick), and the R&B Top 10 duet “I Do” with Freddie Jackson.

Other highlights include the infectious “Rest of the Night” (penned by Glen Ballard and Randy Goodrum), “As a Matter of Fact,” and the breezy title track. Good to Be Back was well received in the U.S., reaching the R&B Top 20, and became her first Top 10 album in the U.K., earning Gold certification from the BPI.

These two albums marked a creative and commercial rebirth for Cole and laid the foundation for her 1991 mega-hit Unforgettable… with Love, a heartfelt digital duet project with her late father that earned her multiple GRAMMYs and 7x Platinum certification. Cole continued to push creative boundaries in later releases like Take a Look (1993), Stardust (1996), and Still Unforgettable (2008).

With a catalog of 22 studio albums and three live recordings, Natalie Cole built an extraordinary legacy. Her talents extended beyond music to television and film, from autobiographical performances to hosting TV shows. She earned nine GRAMMY Awards, multiple NAACP Image Awards, the Songwriters Hall of Fame’s Hitmaker Award, and the prestigious George and Ira Gershwin Lifetime Achievement honor in 1993.

Harold López-Nussa Charts a Bold New Path with Nueva Timba, a Visionary Latin Jazz Statement

Cuban-born pianist Harold López-Nussa unveils Nueva Timba, his latest Blue Note Records release due out September 5, offering a vibrant and personal take on the future of Latin jazz. The album’s lead single “Bonito y Sabroso”, a bold reinterpretation of the Benny Moré classic, is available today—infused with colorful electronic textures and rhythmic production from José Angel Blanco (El Negro WADPRO).

Rooted in Cuban tradition while pushing musical boundaries, Nueva Timba blends the intensity of live jazz performance with refined studio craft. Recorded at Le Duc des Lombards, a celebrated Parisian jazz club, and polished post-session, the album captures López-Nussa’s dynamism on stage and his experimental studio vision.

The core quartet includes Harold’s brother Ruy Adrian López-Nussa on drums, Luques Curtis on bass, and the expressive harmonica of Grégoire Maret—each artist contributing to a sound that’s rich, exploratory, and emotionally charged.

More than just a musical evolution, Nueva Timba is a deeply intimate journey shaped by López-Nussa’s relocation from Cuba to France, a transformative chapter marked by both grief and hope. Wrestling with the heartbreak of leaving his homeland and mourning the loss of his mother, the pianist found healing through creativity. What emerges is a story of survival, memory, and new beginnings—expressed through rhythm, harmony, and soul.

Following 2023’s Timba a la Americana, Nueva Timba solidifies López-Nussa’s place as a leading innovator in Latin jazz. It’s a celebration of roots and reinvention, told through musical “tears of joy” that signal brighter days ahead.

Strat Andriotis Explores Boundaries of Genre with Exits: A Jazz-Rock-Classical Fusion Journey

With his latest release Exits, Canadian guitarist and composer Strat Andriotis delivers another fearless exploration of sound, texture, and genre-blending composition. Known for his signature “sweet and sour” approach to writing, Andriotis crafts eight dynamic pieces that bridge the melodic elegance of classical music, the raw edge of rock, and the improvisational heart of jazz.

A native of Greece who grew up in Hamilton, Ontario, Andriotis brings a global and deeply personal sensibility to his music. His early influences—ranging from Cream and Jimi Hendrix to Miles Davis’ In a Silent Way—helped shape his multi-genre curiosity. That curiosity has matured into a refined yet adventurous compositional voice that shines brightly on Exits.

The album features two alternating rhythm sections, each bringing a different energy to the project. Tom Altobelli (bass) and Vincent Walters (drums) provide the pulse on tracks 1, 3, 4, 7, and 8, offering a tight and responsive groove. Meanwhile, Joel Banks (bass) and Alex Karcza (drums) infuse tracks 2, 5, and 6 with their own bold interpretations, ensuring the album never grows static or predictable.

Andriotis’ Fender Stratocaster sings with clarity, complexity, and warmth throughout. Whether gliding through lyrical melodies or launching into angular, progressive solos, his touch is masterful and distinct. These compositions aren’t just vehicles for improvisation—they’re structured narratives with emotional arcs, drawing listeners into a cinematic sound world.

Over the years, Andriotis has collaborated with a wide array of artists, from Blue Öyster Cult’s Albert Bouchard to jazz greats like Gonzalo Rubalcaba and Jerry Goodman. Exits represents both a continuation and a refinement of that creative legacy—an album that feels at once expansive and deeply personal.

From the first note to the last, Exits is a genre-defying statement by an artist who refuses to be boxed in. With this album, Strat Andriotis once again proves himself a boundary-pushing guitarist and composer with a vision uniquely his own.

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Rachel Therrien Returns Home with Mi Hogar II: A Dazzling Celebration of Latin Jazz Unity

Trumpeter and composer Rachel Therrien delivers a vibrant and deeply personal musical statement with Mi Hogar II, her eighth studio album and the sequel to her acclaimed 2023 release Mi Hogar. Translated as “My Home,” the title is a reflection of Therrien’s ever-deepening connection to Latin jazz, and the global family of musicians who have shaped her artistic voice.

In Mi Hogar II, Therrien curates a diverse and electrifying ensemble of collaborators. The album features some of the most respected names in Afro-Caribbean and Latin jazz, including Grammy-winning bassist John Benítez, Cuban-Canadian duo OKAN (violinist Elizabeth Rodriguez and percussionist Magdelys Savigne), Grammy winner Mireya Ramos, saxophonists Iván Renta and Nestor Rodriguez, and celebrated pianists Danae Olano and Manuel Valera. Their collective brilliance infuses the album with rich textures and vibrant rhythmic interplay.

From the dynamic changüí rhythms of Benítez’s Fiestas Campesinas to the introspective Back Home, Therrien balances celebration and reflection. The album’s repertoire bridges folkloric traditions with contemporary jazz, such as in Mambo ‘Chucho’ Influenciado, a nod to the great Chucho Valdés, arranged with inventive harmonies and percussive drive.

The percussive core is held together by Michel Medrano Brindis on drums, with a rotation of master percussionists—Keisel Jiménez, Carlos Maldonado, Magdelys Savigne, and Diomer Gonzalez, among others—laying down the polyrhythmic foundations that make this album a sonic feast.

Therrien plays both trumpet and flugelhorn on all tracks, weaving in lyrical phrasing, crisp articulation, and soulful improvisation. Her playing anchors the album, acting as both storyteller and interpreter, pushing boundaries while staying rooted in cultural reverence.

Mi Hogar II is more than a sequel—it’s a celebration of cultural identity, musical camaraderie, and Therrien’s bold voice in the evolving landscape of Latin jazz. Through masterful arrangements, a star-studded ensemble, and heartfelt performance, Rachel Therrien once again proves why she remains a leading force in modern jazz innovation.

Dr. Purgatory Blurs Boundaries with The Consumption: A Haunting Jazz-Folktale Fusion

When Toronto guitarist and composer David Riddel, known artistically as Dr. Purgatory, began work on his second LP, The Consumption: A Tragic Folktale in Six Parts, he didn’t anticipate it evolving into a fully multidisciplinary endeavor.

“I wanted to make an album that was one part Reinier Baas, one part Maurice Ravel, and one part Björk,” says Riddel, citing his musical touchstones. While the latter’s influence might not be sonically obvious, Riddel insists that Vespertine, Björk’s 2001 opus, shaped the very essence of his writing. The result is a 10-track chamber jazz concept album—lush, angular, and entirely original.

The project assembles some of Canada’s most respected jazz artists: Colleen Allen (alto sax, flute), Andrew Downing (upright bass), Noam Lemish (piano), Aline Homzy (violin), Stefan Hegerat (drums), and Conrad Gluch (alto sax, bass clarinet). Together with Riddel on guitar, the ensemble breathes life into a suite that is both sonically adventurous and emotionally raw.

Yet The Consumption is more than music. Alongside the album comes a 40-page novella written by Riddel himself—a modern dark folktale populated by mythological archetypes and occult references. “Once the musical concept became clear, the story just started forming,” says Riddel, whose literary voice has been shaped by the likes of George Saunders’ Lincoln in the Bardo, Ottessa Moshfegh’s Lapvona, and the mystical Lesser Key of Solomon attributed to Aleister Crowley.

The novella, illustrated by Toronto artist Sid Sharp, pairs with the music to form a unique, narrative-driven art object—both brooding and darkly humorous. Each enhances the other: the music giving pulse to the story, the prose deepening the sonic world.

Steve Holt’s IMPACT Album Brings Fire, Elegance, and Originality to the Modern Jazz Scene

Veteran pianist Steve Holt returns with IMPACT, an exhilarating new release that signals a powerful and imaginative evolution in his illustrious jazz career. The album showcases a stunning collection of original compositions, brimming with passion, sophistication, and a sense of joyful exploration.

Composed over the span of a year, IMPACT is more than just a musical statement—it's a testament to Holt's enduring creativity and his deep-rooted connection to the jazz tradition. Each track features inventive writing and inspired improvisation, capturing the spirit of a quintet that plays with precision, freedom, and soul.

Leading the charge is the explosive title track “Impact,” a high-energy tune that encapsulates the album’s bold tone and collective chemistry. Tracks like “Second Voyage” take listeners on cinematic sonic journeys—dreamlike and expansive, with echoes of Herbie Hancock’s Maiden Voyage. Meanwhile, “Lalita’s Waltz,” a tender jazz waltz dedicated to Holt’s wife, channels the romantic, harmonic richness of Bill Evans with modern twists that surprise and delight.

Rounding out the album are several more Holt originals, a fiery take on Tom McIntosh’s “Cup Bearers,” and a moving solo piano rendition of “O Canada.” This national anthem reimagined becomes a stunning showcase of Holt’s technical and emotional range—elevating the familiar to something profound and personal.

Joining Holt on this powerful recording are some of Canada’s most respected jazz artists:

• Kevin Turcotte (trumpet & flugelhorn)

• Perry White (tenor saxophone)

• Duncan Hopkins (bass)

• Terry Clarke (drums)

Together, The Steve Holt Jazz Impact Quintet delivers an album that feels fresh and timeless—an essential listen for jazz lovers everywhere.

Joshua Banks Makes a Bold Debut with Para Sayo — A Personal Journey Through Jazz and Cultural Identity

On his striking debut album Para Sayo, Edmonton-based pianist and composer Joshua Banks announces himself as a powerful new voice in contemporary jazz. Released on May 16, 2025, this stunning project blends Banks’ classical training with the dynamic influence of Asian jazz luminaries like Hiromi Uehara, Kie Katagi, and Nahre Sol. The result is a uniquely expressive and deeply personal sonic journey.

The nine-track album was meticulously refined over two years, with Banks channeling his own experience as an Asian/Filipino-Canadian to create music that speaks to both his identity and artistic vision. “I was born here in Canada,” Banks explains, “but I have nothing from ‘there’—my family’s homeland. This album is an exploration of what it means to find space as an Asian artist, and to make room for our families, our people, and our cultures in the West.”

A key collaborator in shaping the emotional core of Para Sayo is lyricist Hazel Cavida, who contributed bilingual lyrics in English and Tagalog, helping to ground the album in Filipino cultural and linguistic roots. This collaborative spirit also extends to Banks’ mother, Corazon Banks, whose spoken word performance in Ibaloi—an Indigenous Philippine language—pays homage to ancestral history in a deeply moving track.

The album features an impressive roster of young Canadian musicians, including bassists Connor Milkman and Kessler Douglas, drummers Graeme Newburn and Joel Jeschke, saxophonists Dana Anderson and Nick Lange, and rapper Tea Fannie, who adds a dynamic verse to the final track. String arrangements bring additional richness, performed by Raphaelle Erdman, Louisa Lu, Yitian Fan, and Julian Eveneshen.

From field recordings to rap verses, from classical composition to cultural exploration, Para Sayo is more than a jazz debut—it’s an invitation into Joshua Banks’ world: one rooted in heritage, identity, and the endless possibility of sound.

William Carn’s The Unburdening Explores Deep Emotions Through a Modern Jazz Lens

Renowned Canadian jazz trombonist, composer, and producer William Carn returns with The Unburdening, the powerful second installment of his innovative CHOICES project. Set for release on Friday, July 18, 2025, the album continues Carn’s bold exploration of jazz’s evolving boundaries, blending digital soundscapes with acoustic instrumentation to stunning emotional effect.

Through The Unburdening, Carn delves into the depths of the human experience, drawing out themes of loneliness, anxiety, inner turmoil, and emotional rebirth. The result is a sonically rich, highly introspective record that captures the universal pursuit of peace and happiness. His skillful integration of keyboards, trombone, and vocals weaves a narrative that’s both deeply personal and broadly resonant.

Carn enlists some of Canada’s finest musical talents to bring this album to life. Collaborators include HiFiLo (Todd Pentney) on keyboards, Brad Turner and Lina Allemano on trumpet, Luis Deniz and Tara Davidson on alto saxophone, Selena Evangeline on vocals, and world-class drummers Larnell Lewis, Davide Direnzo, and Colin Kingsmore. Each artist contributes remotely, highlighting the album’s national scope and collaborative spirit.

As jazz broadcaster Heather Bambrick of JazzFM91 aptly notes:

“With this new solo recording, Carn showcases a diversity of approach and modernity of tone that doesn’t eschew his incredibly strong traditional roots.”

With The Unburdening, William Carn doesn’t just release an album—he offers listeners a transformative experience that mirrors our own journeys through emotional hardship and healing.

For more information, visit williamcarn.com.

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Butcher Brown Drops Letters From The Atlantic — A Sonic Journey Across Genres and Oceans

Genre-defying collective Butcher Brown returns with their new album Letters From The Atlantic, released via Concord Jazz. Arriving with the final pre-release single “Unwind” featuring Melanie Charles, the album draws from an eclectic sonic palette: jazz, funk, R&B, bossa nova, rock, and more. It’s a vibrant, exploratory record that journeys from the American East Coast to Europe, layered with warmth, chemistry, and a deep sense of place.

Previous singles like “Dinorah Dinorah,” “Ibiza,” and “Montrose Forest” hinted at the record’s wide-ranging influences, but “Unwind” reveals the band at their most free and spontaneous. It’s a lush, almost-improvised studio creation that leans into acid jazz, drum & bass, and house, with Charles delivering a magnetic performance on vocals and flute. “Her ear is crazy,” the band shared. “She knew exactly what to do with the track and just exploded all over it.”

Fans can now listen to “Unwind” and view the visualizer online, along with pre-ordering or pre-saving Letters From The Atlantic.

A follow-up to their critically acclaimed 2023 project Solar Music, this new record feels more grounded and fluid—an audio postcard from Butcher Brown’s travels and inspirations. “We want this album to feel like a trip,” they explain. “It captures our nostalgia for Virginia, the East Coast, and Europe. Each track represents a different place, a different vibe.”

The album’s opening track “Seagulls” evokes peaceful coastal energy from Virginia Beach, while “Unwind” channels downtown New York cool, straight from Avenue C on the Lower East Side. “Something New About You” featuring Neal Francis leans into a breezy yacht rock vibe, reminiscent of sunsets in the Florida Keys. “Hold You” travels across the Atlantic, evoking the tranquil feeling of a train ride through Europe. The record closes with “Infant Eyes,” a beautiful instrumental tribute to Wayne Shorter, a hero and guiding light for the band.

Throughout the album, Butcher Brown collaborates with an impressive range of vocalists and instrumentalists—especially women artists—who bring rich texture and perspective to the work. Vocalists Yaya Bey, Melanie Charles, Leanor Wolf, Mia Gladstone, and Victoria Victoria all lend their voices. “We’re fans of all of them,” says the band. “They brought harmony, chemistry, and real energy to the sessions.”

One especially memorable collaboration came with Yaya Bey, who joined the band in Richmond for an in-person session that blossomed into the laid-back, soulful track “I Remember.” “We chopped it up for hours before even recording,” the band recalls. “It felt like family. That’s why we prioritize in-person sessions—if the vibe is right, everything else follows.”

Letters From The Atlantic was recorded at Spacebomb Studios in Richmond, VA with Alex De Jong at the helm. Sessions took place over the summer, and the group leaned deep into their love of electronic genres like house, disco, drum & bass, trip hop, and acid jazz—flavors that fuse effortlessly with their jazz and funk foundations. Compared to the more angular energy of Solar Music, this album feels smoother, more intentional, and emotionally resonant.

“Our sound’s evolving,” says drummer Corey Fonville. “This record has more nuance—it’s about letting things breathe, trusting the moment, and making music that reflects where we are now.” Bassist Andrew Randazzo adds, “We wanted to make something that feels like it floats—something immersive.”

That fluidity and grounded self-awareness come through across every track. “Whatever happens with this band,” says keyboardist DJ Harrison, “it won’t be forced. We make the music we want to make. Whatever happens outside of that—it’s all built on honesty and vibe.”

Butcher Brown’s music continues to resonate across genres, generations, and geographies. With praise from NPR, The New York Times, Bandcamp, The FADER, and more, the group has built a loyal following while remaining creatively fearless. Their Tiny Desk performance was lauded as “hot and funky from the count-in,” while The Washington Post calls them “respected across the genre spectrum.”

Letters From The Atlantic is an invitation to journey with Butcher Brown—not just across the map, but through sound, memory, and meaning.

Hiromi’s OUT THERE Delivers Funk, Fusion, and Fierce Improvisation

Twenty years into her genre-defying career, there’s still no one who sounds quite like Hiromi. Continuing her tradition of boundary-pushing innovation, she releases her 13th studio album, OUT THERE (Telarc), a bold new entry in her discography and her second collaboration with Sonicwonder—a blazing quartet featuring Hadrien Feraud on bass, Gene Coye on drums, and Adam O’Farrill on trumpet.

The follow-up to 2023’s Sonicwonderland, OUT THERE captures a thrilling evolution—deep chemistry forged through relentless touring and improvisational synergy. Hiromi's distinctive sound remains intact: a whirlwind of classic jazz-rock fusion, virtuosic classical flourishes, synth-heavy funk, acoustic jazz, and melodic pop sensibility, all sharpened through a new lens.

Two previews—“Balloon Pop”, an infectious throwback to ’80s-era Miles Davis, and the soul-inflected ballad “Pendulum”—offer just a taste. Now, fans can enjoy the video for the standout track “Yes! Ramen!!”, a genre-defying tribute to Hiromi’s favorite food. The video follows her through ramen shops in Japan, scoring each shift in setting with ska rhythms, disco energy, Sabbath-style riffs, and progressive jazz flair. It’s a sonic flavor bomb, and the whole band shares her ramen obsession—especially Coye and O’Farrill, who scout new bowls while on tour.

“For this song, I was scoring the film in my mind,” says Hiromi. “Each scene—a different restaurant, a different mood—deserved its own musical flavor. Ramen is pure inspiration, and I deeply respect the artistry behind it.”

Tonight marks the start of Hiromi’s U.S. tour, with stops at iconic venues in Chicago, Toronto, and a special album release performance at NYC’s Blue Note on Monday, April 7. The group’s live energy, honed by nearly two years of shows, promises unforgettable musical storytelling.

“On Sonicwonderland, I had the songs first and searched for musicians to bring them to life,” Hiromi explains. “Now, after playing together extensively, I write with this band’s unique energy and strength in mind.”

Each member brings virtuosity and character: French-born Feraud, often likened to Jaco Pastorius, brings electric fusion brilliance. Chicago native Coye combines gospel grounding with infectious groove. Brooklyn-born O’Farrill, heir to a Latin jazz dynasty, explores deep sonic experimentation using electronic effects—an avenue Hiromi actively encouraged.

Reflecting on her career, Hiromi invokes bass icon Anthony Jackson, who once told her: “A first-class musician can play anything.” With that ethos in mind, she pursued the boldest ideas for OUT THERE, allowing curiosity to guide her. “Curiosity is the fuel,” she says. “It pushes you to write more, feel more, and say more with sound.”

At the album’s core lies a four-part suite Hiromi urges fans to hear as a continuous journey. It begins with the breakneck “Takin’ Off”, glides into the groovy, ’70s-inspired “Strollin’”, swells with cinematic scope in “Orion”, and culminates in “The Quest”, a fusion of chopped-up rhythms, soaring synths, and fearless ambition. The suite is followed by the closer, “Balloon Pop”—as catchy as any Top 40 hit, and a reminder of Hiromi’s melodic genius. O’Farrill’s trumpet calls back to the hooky brilliance of late-era Miles Davis.

Hiromi’s resume continues to dazzle: a viral NPR Tiny Desk Concert (2M+ views), a historic performance at the Tokyo 2021 Olympics, a 2024 Best Music Score win for Blue Giant, and a GRAMMY Award for her collaboration with Stanley Clarke. As The New Yorker once put it, her artistry remains nothing short of “dazzling.”