Jon Irabagon Returns to His Roots with PlainsPeak Quartet and Someone to Someone

Saxophonist and composer Jon Irabagon, one of the most compelling voices in contemporary jazz, presents Someone to Someone—a heartfelt new release from his label, Irabbagast Records, available August 15, 2025. Featuring his newly formed quartet PlainsPeak, the album reunites him with longtime friends and fellow musical innovators from the Midwest.

Widely celebrated for his genre-defying sound and described by PopMatters as “ripe and rowdy, burnished, tender all at the right moments,” Irabagon once again showcases his versatility—this time through a back-to-basics, acoustic approach.

Following the adventurous, tech-forward Server Farm, Someone to Someone offers a more intimate sound with trumpeter Russ Johnson, bassist Clark Sommers, and drummer Dana Hall. Each member shares a deep history with Irabagon: Johnson played on his 2008 debut, Sommers accompanied his first-ever public performance in high school, and Hall was already a mentor figure during Irabagon’s undergrad years at DePaul University in Chicago.

The album’s title track, “PlainsPeak,” captures the spirit of Chicago’s Great Plains locale while nodding to the group’s straightforward, emotionally resonant sound—“plain speak” in musical form. It's also the first Chicago-based ensemble Irabagon has led under his name, built around alto sax, his first instrument.

Every track tells a story. “Buggin’ the Bug” references both the blues and last summer’s cicada swarm. “Malört Is My Shepherd” honors Chicago’s notoriously bitter liqueur with quasi-spiritual flair and full-throttle improvisation. “At What Price Garlic” serves up shifting time signatures as layered as a deep-dish pizza. “Tiny Miracles” reflects on loss, resilience, and the Cubs’ 2016 World Series win. And “The Pulseman” is a percussive tribute to Hall and drummers everywhere.

Irabagon—Filipino-American, Thelonious Monk Competition winner, and recipient of both DownBeat honors and the Philippine Presidential Award—has lived many musical lives: from New York icon to Chicago improviser. With Someone to Someone, he merges past and present, mentors and peers, inside tradition and outside freedom. The result is both personal and powerful.

The Secret Trio Celebrates Timeless Bonds and Cultural Fusion with Old Friends

With Old Friends, The Secret Trio continues its inspiring mission to bring people together through the universal language of music. Building on their earlier albums (Soundscapes, Three of Us, Coexist), they once again fuse Eastern microtonal modes and intricate rhythms with Western harmony and form—crafting a distinctive, contemporary sound that bridges traditions.

Clarinetist Ismail Lumanovski, born in Macedonia in 1984, has become a globally recognized soloist, featured with symphonic orchestras and at major world music festivals. His dazzling technique and versatility span genres and improvisational styles alike.

Tamer Pınarbaşı, a native of Turkey (born 1970), brings new dimensions to the ancient kanun. By developing an innovative 10-fingered technique and drawing from deep knowledge of makams and harmony, he opens up rich possibilities for genre-crossing creativity within the Trio.

Ara Dinkjian, an Armenian-American born in 1958, is known internationally for his compositions—sung in over 16 languages—and for his uniquely expressive oud playing. While he occasionally joins the other two in virtuosic runs, he often anchors the music with bass lines, counterpoint, and harmonic textures.

Tamer and Ara first met in 1996 and were joined by Ismail in 2005. What began as musical admiration has evolved into a profound, enduring friendship—felt both on and off stage.

Audiences who experience The Secret Trio live witness this bond firsthand. It’s a celebration of joy, cultural depth, and a shared love for music—as natural as the connection between old friends.

Michael Cates Hits the Charts with Soaring New Jazz-Blues Single

The saxophonist composed and produced “77 Hours,” the newest track from his “Always Together” EP.

Athletes often describe a state of total immersion—where thinking stops, the inner voice quiets, and the body moves effortlessly in sync. Jazz-blues saxophonist Michael Cates tapped into that exact zone while creating “77 Hours,” the high-energy new single released on Sonic Redoubt Entertainment. Inspired by a football player who wore number 77 and by his own creative process—which typically spans 77 hours from start to finish—Cates says this one came together in record time. The result is a fiery, soul-drenched track now soaring up the national charts.

Cates walked into the studio that evening looking to shake off some frustration. He wasn’t aiming for radio play. He just wanted to blow the doors off.

“I write constantly—it’s a ritual. I shut out the noise and I create. That’s who I am. Everything I’ve absorbed finds its way into my music. I’m a fusion and rock guy with a funky edge. Blues and gospel shaped my roots, and they still drive what I do,” said Cates. “Even though my music gets airplay on smooth jazz stations, it also gets passed over for being too bold. But I’m not writing to fit a format. That night, I set out to write a blues tune that no one would ever spin. And now, ‘77 Hours’ is taking off. Radio embraced it right away.”

Cates, who believes the number seven is “perfect,” considers the double sevens on the single’s cover a sign of creative alignment. After crafting the melody and the first solo section, he enlisted a powerhouse team: GRAMMY® nominee Rob Mullins on keys, guitarist Randy Jacobs, bassist Larry Antonino, and drummer Sergio Gonzalez. With Cates leading on tenor sax, “77 Hours” is a bold, expressive ride—his horn cutting through with raw energy and precision.

“There have literally been 77 takeoffs and landings in that Piper plane you see on the cover,” added Cates, a licensed pilot since 1985.

Originally from New Jersey, Cates launched his career in Los Angeles, where he spent five seasons playing the saxophonist on the Emmy-winning show Ally McBeal. Since then, he’s released three full albums, two EPs, and scored multiple charting singles. His performance credits span the globe and include collaborations with legends like Elton John, Jennifer Lopez, Barry White, Tina Turner, Joe Sample, and Mariah Carey. Cates has graced stages from BB King Blues Club and Spaghettini to the Newport Beach and San Francisco Jazz Festivals.

Next up, he’ll bring his band to The Bank of America Performing Arts Center Thousand Oaks on August 9.

Love, Craft, and Convergence: The Story Behind Ben Jones and Laurence Hobgood’s Electrifying New Collaboration

There’s a deep well of narrative woven into the sonic tapestry of this album — and those narratives unfold on two levels. First, through the stories each song tells. Second, through the personal and artistic journeys of the two collaborators: Ben Jones and Laurence Hobgood, whose convergence produced a work of great emotional resonance.

The songs chart a powerful emotional arc — one that reflects the raw, honest, often messy nature of romantic love. The lyrics chronicle the timeless journey: from heartbreak and bitterness, to aching vulnerability, to the cautious — yet often inevitable — embrace of love again. These stories, though universal, feel intensely personal in the hands of Jones and Hobgood.

Then there is the story of the artists themselves. Ben and Laurence both grew up in Midwestern towns less than 100 miles apart — Peoria and Urbana, Illinois — though separated by a generation. Laurence’s classical roots gave way to jazz improvisation, while Ben’s path took him from operatic training to a more genre-fluid career encompassing musical theater, jazz, and beyond. Both artists pursued their crafts with extraordinary focus: Laurence perfecting the delicate balance of jazz piano, Ben mastering the physical art of vocal performance.

Their meeting wasn’t predestined by geography but by artistic serendipity. They crossed paths not in the Midwest, but in the global creative sphere where artists evolve, collide, and collaborate. Their connection was immediate — a shared language built from musical curiosity, interpretive sensitivity, and respect for the eclectic: from jazz to soul, from musical theater to rock.

The result of their collaboration is a rich, emotionally intelligent recording — one that places as much value on silence and phrasing as on virtuosity. Duke Ellington famously said, “There are two kinds of music: good music and the other kind.” That ethos underpins this project entirely. What you hear is music made with honesty, clarity, and an elevated commitment to beauty.

Helping shape this sonic experience is the pristine engineering of Leslie Ann Jones, and the world-class acoustics of Skywalker Sound. Every note, every phrase is rendered with striking detail and warmth.

So lean back, listen with intent, and let the outside world fade. What awaits is a masterclass in storytelling, musical synergy, and the power of connection.

Ben Jones is a multifaceted performer whose credits span Off-Broadway, opera, and international cabarets. He has appeared in productions like Twist of Fate and Brooklyn’s Bridge, as well as classics such as Chicago, Sweeney Todd, and Show Boat. With a background in theater, dance, and classical music from the University of Illinois and the San Francisco Conservatory of Music, Ben has shared stages with luminaries like Rita Moreno, Nathan Gunn, and Frederica Von Stade. His dynamic voice has appeared in radio, video games (Halo, Civilization), and on Carnegie Hall’s 2021 Voices of Hope. He continues to tour globally with his acclaimed solo performances.

A Grammy-winning pianist, composer, and arranger, Laurence Hobgood has carved out an illustrious career across genres and stages. From Aspen to Carnegie Hall, the White House to the Sydney Opera House, he is recognized for his sophisticated touch and emotive arrangements. He was an integral force behind Kurt Elling’s first ten albums — all Grammy-nominated — and is a Yamaha® artist celebrated for pushing the boundaries of modern jazz. Whether leading his own ensembles or collaborating with top-tier vocalists, Hobgood remains a vital force in contemporary music.

El Muki: The Gabriel Alegría Afro‑Peruvian Sextet’s 20th‑Anniversary Jazz Revelation

The Gabriel Alegría Afro-Peruvian Sextet is set to release its 20th-anniversary recording, El Muki, on August 15. This album, the group’s 7th, commemorates their two prolific decades as champions for Afro-Peruvian jazz music. More importantly, it’s an expression of the transformative power of the music—a sound rooted in the real human experience found when people on the streets of Lima and New York come together.

Inspired by El Muki, a mythical figure from Andean culture in Peru that is said to protect miners working in the mountains, the band assumes this protectorate role for music, safeguarding the essence of human-driven music itself. The Sextet’s mission is clear: to resist any attempt by technology to replace humans in the inspirational process of creating works of art.

Gabriel Alegría, now a dual national of the U.S. and Peru, infuses his bicultural identity into every aspect of his music. His life—immersed in both the vibrant traditions of Afro-Peruvian culture and the improvisational spirit of jazz—drives the band’s pursuit of a unique musical language that bridges worlds and elevates consciousness. 

Saxophonist/composer Laura Andrea Leguía, an integral force in the group, beautifully encapsulates the creative spirit behind El Muki. Before this record, she navigated the profound changes brought on by motherhood, which reshaped her perspective and artistry. “This album represents my return to writing music,” she says. “Motherhood changed everything—including my brain—and with this recording, I was happy to discover my writing chops are back!”

The compositions are crafted with intention, utilizing traditional Afro-Peruvian acoustic instruments such as the cajón, cajita, and quijada, layering cultural narratives into a dynamic soundscape that, like the roots of jazz and Afro-Peruvian music, are true alter egos of one another.

The return of producer Jocho Velásquez, who lent his talents as guitarist to the band’s 2008 debut album Nuevo Mundo, adds another exciting dimension to this new project. His expertise is a perfect fit for his experience as producer and arranger of some of Peru’s greatest Afro-Peruvian artists.

Each track offers a visceral exploration of contemporary themes. “El Muki” asserts the role of musicians as guardians of cultural authenticity in a world increasingly saturated with mechanized sound. On “Luciérnagas,” the mysterious groove called lando is stretched to 7 beats to represent the equally mysterious communication patterns of fireflies. “Mala Señal” (“bad sign”), a fast festejo described as “aggressive” by composer Leguía, disrupts the traditional minor blues form.

The Amazon River is home to the protagonist of the festejo “Panabe,” named after the rare pink river dolphin, while “Vista Panorámica,” a metaphorical journey in 5/4, takes the listener through and above an urban landscape.

“Ausencia,” another new composition by Leguía, captures the void felt in the absence of life and limb. The melancholic cello conjures our collective yearning for connection.

The harvest season is known as la zafra, particularly as it refers to sugar cane in some areas. “La Zafra” contrasts the poignant and the sweet, while “Despertar,” written to a sunrise, is meant to evoke and reawaken. The track was named by an anonymous fan who left the suggestion written on a napkin at a club performance by the Sextet.

The album concludes with a tribal arrangement of “Walking on the Moon,” the Police hit written by Sting. In this setting, walking on the moon is a dangerous prospect.

The Gabriel Alegría Afro-Peruvian Sextet will preview El Muki at an official concert on Sun. 7/27 at the 800-seat Teatro Segura, a landmark venue in Lima, Peru that dates back to 1615. The band’s signature “Journey to Peru—Behind the Scenes” project offers fans an intimate opportunity to travel to Peru for the preview concert and experience life with the band in the vibrant cultural setting that inspires their work.

Weekly Friday night live-streamed performances from Lima are available free of charge on the band’s official Youtube Channel. The band performs Wednesday and Friday nights at Lima’s quintessential club The Jazz Zone.

In addition, fans can engage with the Sextet during their fall U.S. tour: Cameron Art Museum, Wilmington, NC, Thurs. 10/2; Shakori Hills GrassRoots Festival of Music & Dance, Pittsboro, NC, Fri. 10/3; Blues Alley, Washington, DC, Mon. 10/6; Origins Concert Series, Oneonta, NY, Thurs. 10/9; The Cutting Room, NYC, Fri. 10/10. 

Lalo Schifrin – Intégrale: Jazz & Bossa Nova 1955–1962 (3‑CD Set)

Long before Lalo Schifrin became a household name with Mission: Impossible, he was a restless young pianist from Buenos Aires, steeped in classical rigor—his first teacher even “rapped Schifrin’s fingers with a sharp pencil”. That foundational intensity fueled the music in Intégrale: Jazz & Bossa Nova 1955–1962, a new 3-CD set that stitches together his first recordings and early explorations into the jazz-Latin fusion that would define his legacy.

On Disc 1, Rendez‑Vous Dansant à Copacabana (1955) lands like a secret session in 1950s Paris—Schifrin’s angular piano dancing over Latin percussion, alongside Pierre Michelot’s bass and Jack Del Rio’s shakers. Contrast that with Spectrum, where he steps into orchestral territory, strings swelling behind jazz-driven compositions like Purple Pastel and White Orchids, his soundtrack instincts beginning to surface .

Disc 2 reveals more textured contrast. Piano Español blends dramatic Latin piano lines with hard percussion in pieces such as Caravan and El Cumbanchero. Then comes Lalo = Brilliance (1962), with Leo Wright and Jimmy Raney stretching out modal jazz grooves—Kush and The Snake’s Dance pulse with the energy of his soon-to-be Dizzy Gillespie ensemble.  

The story crescendos on Disc 3. Bossa Nova: New Brazilian Jazz (1962) marks Schifrin’s full embrace of Brazilian rhythms, recorded with Gillespie colleagues including Chris White and Rudy Collins. Reviewers praise the “high-caliber performers” but note that its frenzied pace can leave listeners breathless. AmbientExotica adds that tracks like Apito No Samba shimmer with “frizzling… energy and vitality”. Then Piano, Strings & Bossa Nova merges lush orchestration with hypnotic bossa grooves—“The Wave” foreshadows his cinematic flair, while “Insensatez” blooms with string-laden introspection.

From pencil-slapping classrooms in Buenos Aires to Parisian quartet rooms, and New York’s Dizzy studios to early Brazilian jazz explorations, this set captures a restless artist in formation. It traces that journey—brilliant, unpredictable, and brimming with creative sparks. Intégrale isn’t just a collection—it’s a narrative of transformation.

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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