Thursday, July 24, 2025

Chuck Mangione (1940–2025): A Life That Truly Felt So Good

Chuck Mangione, the celebrated American jazz musician whose warm, melodic flugelhorn sound bridged the gap between jazz and pop and touched millions around the world, passed away peacefully in his sleep on July 22, 2025, at the age of 84. His death, confirmed by his family and longtime attorney, closes a monumental chapter in American music—but his legacy continues to resonate through airwaves, orchestras, and hearts worldwide.

Born Charles Frank Mangione on November 29, 1940, in Rochester, New York, Chuck was surrounded by music from the very beginning. His Italian-American household fostered a love for melody and tradition, and by the time he was in high school, he and his brother, pianist Gap Mangione, were already playing gigs around town. The two would eventually form The Jazz Brothers, a hard bop outfit that earned national attention in the 1960s, releasing a string of records on Riverside Records—no small feat for two musicians barely in their twenties.

After earning his degree from the prestigious Eastman School of Music in 1963, Mangione joined Art Blakey’s Jazz Messengers, the legendary ensemble known for launching the careers of some of jazz’s greatest trumpeters. There, Mangione held the trumpet chair once occupied by icons like Clifford Brown, Lee Morgan, and Freddie Hubbard. Though his time with Blakey was brief, it was pivotal—it sharpened his chops and affirmed his place in the jazz elite.

Mangione’s real breakthrough, however, came in 1970 with the genre-bending "Friends & Love", a live album recorded with the Rochester Philharmonic Orchestra. Seamlessly blending jazz, classical, folk, and pop, the project was a bold experiment that not only earned a Grammy nomination but also signaled the arrival of a fresh, emotionally resonant sound. This wasn’t just jazz for jazz lovers—this was music for everyone.

The next decade saw Mangione at the height of his powers, crafting a string of albums that brought flugelhorn into the mainstream. In 1975, he composed "Chase the Clouds Away", a beautifully atmospheric piece selected by ABC Sports as the official theme for the 1976 Montreal Olympics. This cemented Mangione’s music as a soundtrack to hope and inspiration.

That sense of uplifting energy reached its zenith in 1977 with the release of "Feels So Good", an instrumental pop-jazz crossover that soared to No. 4 on the Billboard Hot 100. With its soaring melody and instantly recognizable hook, the track became one of the most beloved instrumentals in music history—an unlikely radio staple that stayed on the charts for over a year and helped sell millions of records worldwide. Even the album cover, featuring Mangione beaming in a red windbreaker and trademark hat, became iconic.

While “Feels So Good” may have been his biggest hit, it was hardly his only triumph. That same period saw the release of the ambitious soundtrack "Children of Sanchez" (1978), written for the Anthony Quinn film of the same name. The expansive, emotional score earned Mangione a second Grammy and showcased his versatility as a composer. He followed this up with "Give It All You Got", used by ABC as the theme for the 1980 Winter Olympics in Lake Placid. The tune, spirited and triumphant, was performed by Mangione live at the closing ceremonies before a global audience of millions.

During this prolific era, Mangione assembled a core band of virtuosic musicians—most notably saxophonist Chris Vadala, guitarist Grant Geissman, bassist Charles Meeks, and drummer James Bradley Jr. Together, they toured relentlessly, performing at festivals, concert halls, and on national television. One of their high points was a sold-out performance at the Hollywood Bowl in 1978, captured in the live album "An Evening of Magic", where Mangione and his ensemble played alongside a full orchestra.

Though his popularity waned somewhat in the 1990s and early 2000s—as tastes shifted and smooth jazz became a more crowded field—Mangione never stopped recording or performing. His final studio album, "Everything for Love", was released in 2000. That same year, he took on a delightfully self-aware voice acting role on the hit animated series "King of the Hill", where he appeared as a fictionalized version of himself, flugelhorn in hand, as the spokesperson for Mega Lo Mart. The recurring gag introduced him to a new generation, rebranding him as a pop-culture cult hero.

Throughout his life, Mangione remained committed to education and mentorship. He returned often to the Eastman School of Music, where he served as an adjunct faculty member and later as director of the jazz ensemble. He was inducted into the Rochester Music Hall of Fame in 2012, a full-circle moment for a musician whose roots were always central to his story.

Despite personal hardships—including the loss of close bandmates and a brief hiatus following the 2009 crash of Flight 3407, which killed two of his musicians—Mangione remained grateful and humble. He continued to tour well into his 70s, always closing his shows with the same words: “Love is the key.”

At the time of his passing, tributes poured in from across the music world. Jazz legends, pop stars, Olympic athletes, and fans alike expressed their gratitude for a man whose music brought comfort, joy, and inspiration. Chuck Mangione didn’t just play jazz—he played emotion. Whether through the triumphant brass of “Give It All You Got” or the wistful lyricism of “Feels So Good,” he reminded us that instrumental music could sing.

He is survived by his brother Gap, several nieces and nephews, and an enduring catalog of over 30 albums. His music continues to be used in films, commercials, sports events, and high school jazz programs across the world.

As we remember Chuck Mangione, we honor not just a musician, but a melodist, an innovator, and a cultural bridge. His flugelhorn may be silent now, but the warmth of his sound still lingers in the air—timeless, familiar, and, yes, still feeling so good.

Wednesday, July 23, 2025

Airelle Besson’s Surprise!: A Bold, Bass-Free Exploration of Modern Jazz


French trumpeter Airelle Besson continues to expand the boundaries of European jazz with Surprise!, a bold and luminous album featuring pianist Sebastian Sternal and drummer Jonas Burgwinkel. This unique trio formation—conspicuously lacking a bassist—breathes new life into the jazz ensemble tradition, embracing harmonic openness and rhythmic elasticity in a way that is both daring and deeply musical.

Long celebrated for her radiant tone and lyrical phrasing, Besson has become a fixture on the international jazz stage, earning acclaim not only for her solo work but also for her collaborations with giants like Charlie Haden, Carla Bley, and Michel Portal. On Surprise!, she co-leads with Sternal, a pianist known for his touch, textural depth, and use of Fender Rhodes and FX pedals, while Burgwinkel supplies vibrant, shape-shifting rhythms that elevate each composition with kinetic precision.

What makes this project especially compelling is the absence of a traditional bass instrument. By forgoing this sonic anchor, Besson and her bandmates open up space for experimentation and interplay that feels both spontaneous and intricately designed. The music floats, surges, and converses in a way that defies expectation, revealing fresh colors in every measure.

Recorded at Loft Studios in Cologne, Germany, Surprise! is a testament to creative trust and compositional strength. The album features ten original pieces—five each from Besson and Sternal—that range from introspective ballads to energetic, rhythm-driven works, all unified by the trio’s unmistakable synergy.

Track Listing (Disc 1, Side 1):

  1. Time to Say Goodbye

  2. J.T.

  3. Surprise!

  4. Ma-Ion

  5. The Painter and the Boxer

  6. Lulea's Sunset

  7. Prayer

  8. Go

  9. Calgary

From the elegant simplicity of Prayer to the cinematic sweep of Lulea’s Sunset and the sparkling title track Surprise!, each piece reveals a different facet of Besson’s artistry and the trio’s unique chemistry.

In addition to her role as bandleader, Besson remains an in-demand collaborator, composer, and arranger. Her credits include work with artists as diverse as Metronomy, Manu Katché, and Rhoda Scott, as well as orchestral arrangements for the Orchestre National de Lyon. With Surprise!, she confirms her status as one of Europe’s most imaginative and expressive jazz voices.


Olatuja: A Joyful Reunion Rooted in Rhythm, Culture, and Healing


More than just a band or an album, Olatuja is a celebration of connection, heritage, and transformation. The self-titled project marks the creative reunion of bassist-composer Michael 'Leye' Olatuja and mezzo-soprano Alicia 'Lisa' Olatuja—a pair whose musical bond has only deepened over time, despite the evolution of their personal relationship.

The story of Olatuja begins at Manhattan School of Music, where Michael and Alicia first met as students. A partnership quickly formed—both romantic and artistic—leading to their 2011 debut release under the Olatuja name. Though no longer married, their friendship and creative chemistry endured, with each artist flourishing in their own right: Michael becoming one of New York City’s most in-demand bassists, and Alicia earning international acclaim as a powerful and expressive vocalist.

Now, after more than a decade, they come together once again—not as a couple, but as artistic soulmates—with Olatuja, a vibrant and emotionally resonant album that blends Afrobeat, soul, gospel, jazz, and cinematic textures into something wholly uplifting.

Backed by an all-star lineup including drummers Obed Calvaire and Joshua Keitt, guitarists Femi Temowo and David Rosenthal, percussionist Magatte Sow, and jazz luminary Christian Sands on piano, Olatuja is rich in both musicianship and heart.

Michael brings the deep grooves and rhythmic complexities of Yoruba musical traditions, while Alicia infuses each track with soul, grace, and the narrative power of gospel and jazz. Together, their sound is one of joyous reunion—a healing dialogue between two artists who know each other intimately and trust each other implicitly.

“We wanted to merge our visions to create something greater than what we could create on our own,” says Alicia.

“Alicia is my longest and closest collaborator,” adds Michael. “This album comes from a place of knowing and growing.”

Track Listing (Disc 1, Side 1):

  1. Sumo Mi Intro

  2. Royalty

  3. Kadara

  4. Gold And Silver

  5. Ijo

  6. Bright Side

  7. On And On

  8. Leye’s Groove

From the ceremonial opening of Sumo Mi Intro to the infectious rhythm of Ijo, and the shimmering hope of Bright Side, Olatuja is an album that resonates emotionally and spiritually. It's both a tribute to their shared past and a forward-looking vision of musical unity—rooted in African tradition, bound by love, and lifted by joy.


Lifeline’s Electrified Alchemy: A Bold Leap into Improvised Terrain


In their latest release under the name Lifeline, the trio of Pat Thomas, Dominic Lash, and Tony Orrell break free from the acoustic roots of their well-established project Bleyschool and plunge into a dynamic, electronic frontier. This spontaneous performance captures the raw energy and evolving language of improvisation, where complex textures bounce around the stereo field with both finesse and volatility.

Gone are the familiar contours of the piano trio. In their place: a bristling palette of keyboards, electroacoustic percussion, and electric guitar—an entirely reimagined soundscape that channels the spirit of free jazz through the unpredictable lenses of noise, dance, and rock.

From the very first moments of Lifeline 1, the group makes their intentions clear. This is not background music or ambient drift; this is full-contact sound art. Pat Thomas, a master of keyboard manipulation, pushes electronic tones into swirling, glitching constellations. Dominic Lash, usually heard on double bass, wields an electric guitar with a sharp, sculptural instinct—layering harmonic abrasion, delay trails, and feedback swells into each unfolding moment. Meanwhile, Tony Orrell’s approach to electric drums and cymbals fuses rhythm and texture, often dismantling the concept of a steady beat in favor of something far more expressive.

"What makes a band a band?" the liner notes ask—a question that reverberates throughout this recording. If musical identity were defined solely by personnel, Lifeline would be interchangeable with Bleyschool. But this record proves the opposite: while the players remain the same, the sound world—and perhaps the underlying philosophy—has shifted dramatically. The name change is no gimmick; it’s a signal of intent.

As Lifeline, Thomas, Lash, and Orrell engage in sonic risk-taking that feels both immediate and expansive. There’s no fallback on familiar motifs, no predictable arc. Each track—Lifeline 1 through Lifeline 6—unfolds as a unique ecosystem of sound, with the trio leaning into surprise, tension, and the unknown. Despite the instrumental change-up, their years of collaboration shine through. This is music born from trust and telepathy, even as it explodes with chaos and dissonance.

Track Listing (Disc 1, Side 1):

  1. Lifeline 1

  2. Lifeline 2

  3. Lifeline 3

  4. Lifeline 4

  5. Lifeline 5

  6. Lifeline 6

Each track is a snapshot of improvisational chemistry—moments where circuit-bent textures, skittering beats, and fractured melodies coalesce into something entirely their own.

Lifeline is a bold, electrified document from three seasoned improvisers who refuse to sit still. In shedding the acoustic skin of Bleyschool and stepping into the charged atmosphere of electronic improvisation, Pat Thomas, Dominic Lash, and Tony Orrell have not only expanded their sonic vocabulary—they've reminded us that true collaboration isn't bound by instrumentation. It's bound by intention, curiosity, and the willingness to leap into the unknown.

This is not music that asks for passive listening. It demands engagement, and rewards it in full.

Pino Palladino and Blake Mills Return with That Wasn’t A Dream, a Bold New Album


Grammy-winning bassist Pino Palladino and acclaimed guitarist/producer Blake Mills reunite for their next collaborative statement, That Wasn’t A Dream, releasing August 22 on New Deal / Impulse! Records. With the announcement comes the lead single “Taka,” a vibrant, exploratory instrumental with a new video.

Building on the layered spontaneity of their 2021 debut Notes With Attachments, the new album takes a more focused turn, centering on restraint, balance, and sonic minimalism. As Mills explains, That Wasn’t A Dream expands their musical dialogue, “harnessing chaos with intention,” as they stretch the boundaries of genre and form.

Recorded over two months at the legendary Studio A at Sound City Studios—Mills’s home base since 2018—the album welcomes returning collaborator Sam Gendel, who adds finishing flourishes to nearly every track. But at the heart of it all is the deepening rapport between Palladino and Mills, a duo that defies traditional musical roles.

Palladino, long known for his bass innovations alongside artists like D’Angelo, The Who, John Mayer, and Erykah Badu, used this record as a platform to pare dense harmonic ideas down to their essence. “If we could make something work with the least possible ingredients,” he says, “space could become the centerpiece.”

Mills, a Grammy-winner and two-time Producer of the Year nominee, took that philosophy even further, using a newly developed fretless baritone sustainer guitar—co-designed with luthier Duncan Price—to color the album with tones reminiscent of brass, woodwinds, and strings. One track, “What Is Wrong With You?,” marks the instrument’s first appearance on record.

Lead single “Taka” showcases the duo’s unique musical instincts: a shifting blend of groove, melody, and abstraction that resolves into a shimmering funk landscape. It’s music that is both sonically rich and emotionally subtle—an auditory experience that rewards repeated listening.

As That Wasn’t A Dream moves from hushed passages to unexpected bursts of complexity, it reaffirms Palladino and Mills’s place as sonic explorers—pioneers of a sound that’s hard to define but impossible to ignore.

Look for live performances this fall in support of the album.


Giant Step Arts Presents Rico Jones' Powerful NYC Leader Debut, BloodLines


Out July 25, 2025, BloodLines marks an emotionally resonant and deeply spiritual live album from rising tenor saxophonist Rico Jones, released as part of Giant Step Arts’ Modern Masters and New Horizons series.

A standout talent blending rich heritage and modern jazz vision, Jones brings a reflective and personal voice to this recording—his New York City leader debut. The performance, captured live at Brooklyn’s Ornithology in August 2024, features a stellar multi-generational band: guitarist Max Light, bassist Joe Martin, and drummer Nasheet Waits.

“Rico is one of the few original voices emerging. His musicianship and passion have forged to create an original voice we will joyfully be hearing more from in the future!”Vincent Herring

Jones’ accomplishments are remarkable for an artist still early in his career. A winner of both the Vandoren and Yamaha Emerging Artist competitions, Jones has participated in elite programs like the Betty Carter Jazz Ahead at the Kennedy Center and the JAS Aspen Workshop. At the Manhattan School of Music, he was awarded the William H. Borden Award and earned multiple DownBeat Magazine ensemble honors.

In 2024, Jones co-led the first all-Indigenous big band with Julia Keefe and appeared alongside Esperanza Spalding at the Mary Lou Williams Jazz Festival and later at Blue Note NYC. He's been mentored by masters including Vincent Herring, David Kikoski, Buster Williams, and Miguel Zenón.

Jones’ Latino and Indigenous heritage is central to his music. “The Latino and Indigenous perspectives have always been a part of my life,” he shares. His ancestry traces back to the Manso people of New Mexico and Juarez, and he credits both his family and the Black church he played in growing up for shaping his cultural and spiritual lens.

The album opens with the five-part suite Bloodlines: Suite of the Omnipotent and Eternal Spirit,” emphasizing unity and divine connection. “Invocation” sets the tone with a spontaneous group improvisation, a kind of spiritual calling. Tracks like “Across Time,” “The Moment,” and “The Voice of God Shines Brightly On My Heart” reflect his introspective search for clarity, divinity, and purpose.

Other pieces are deeply personal:

  • “Lone Wolf” honors a departed friend.

  • “Queen Isabelle” celebrates his beloved great-grandmother.

Jones’ tone remains elegant, precise, and emotionally charged throughout, revealing a maturity well beyond his years.

Jones carefully chose his ensemble to reflect jazz’s tradition of mentorship and multi-generational exchange. Guitarist Max Light, a longtime collaborator, brings “enthusiasm and creativity,” while veterans Joe Martin and Nasheet Waits contribute “wisdom and grounding” that elevate and challenge the group’s younger voices.

“The beauty of music is that it is cultural, traditional, and aural. This ensemble embodies the legacy of multigenerational dialogue in the arts.”Rico Jones

BloodLines serves as more than a debut—it’s a musical rite of passage. “This music marks a convergence of prayer, dreams, and hard work,” Jones says. “It’s part of my journey from Colorado to New York and a way to honor my ancestors, remember loved ones, and connect with the divine.”

As part of Giant Step Arts’ ongoing Modern Masters and New Horizons series, the album places Jones among a bold new wave of artists reshaping the modern jazz landscape. Curated by Jason Palmer and Nasheet Waits, the series also features Mark Turner, Neta Raanan, Eric McPherson, and the Edward Pérez/Michael Thomas Band.

With BloodLines, Rico Jones emerges not only as a brilliant saxophonist but also as a compelling composer, bandleader, and spiritual storyteller for a new generation.


Tuesday, July 22, 2025

After a Year of Silence, Saxophonist Matt Willard Returns with Euphoric Single “Oh Baby Baby”


The pain in Matt Willard’s jaw, neck, and shoulders was so severe that he had to stop playing his saxophone for a full year. That’s a difficult ask of an emerging 26-year-old contemporary jazz recording artist, but the TMJ or lockjaw diagnosis explained why the muscles in his jaw locked up and prevented movement. The joy Willard experienced when he had healed and was able to pick up his sax and return to the studio permeates his celebratory new single, “Oh Baby Baby,” which he wrote and produced with Martin Blockson. The track is now available digitally.

Listening to “Oh Baby Baby,” there are no traces of the difficult journey Willard endured over the last year marked by hurt, discomfort, and frustration. His lead and backing tenor sax play pours forth harmonious hooks, elated melodies, and impassioned technical prowess in lock step with the beats and groove skillfully constructed by bassist Donnell Smith and drummer Chris Jernigan.

"The pain from TMJ was difficult to deal with, but the hardest part was my inability to play saxophone. I had to stop playing saxophone for about a year to heal enough to play my horn again. Given my intense lifelong passion for music and desire to keep playing, this forced year-long hiatus was extremely challenging,” Willard admitted.

“So, when I was able to get back in the studio to write more songs, I decided to write something that was driven towards finding that distraction from everyday life, whether it be driving your car down the highway or chilling on a beach with a margarita or pina colada in hand. ‘Oh Baby Baby’ was written to take your mind to your own version of paradise. Even though you may not physically be in paradise, you can still get a glimpse of serenity, peace, and relaxation by just closing your eyes and listening to some good music.”

Willard debuted with the tropical, Latin-tinged single “Por la Orrilla del Mar” in 2021, which he recorded and produced in Nashville with Eric Copeland. A year later, he dropped his debut album, "Soul Assassin.” The project’s lead single, "Electric Shock," was added out of the box to national broadcaster SiriusXM’s Watercolors playlist and charged into the top five on the Groove Jazz/Radiowave chart.

Willard’s reemergence includes returning to the concert stage. He has a handful of concert dates lined up in July and August near his Hampton Roads, Virginia home. And he’s inspired to write and record new music for his next album.

Monday, July 21, 2025

Lettuce Returns with New Album Cook, Drops Funky New Single “Gold Tooth” + Announces Global Tour


Acclaimed funk powerhouse Lettuce has announced the release of their sizzling new studio album, Cook, arriving December 3 on the band’s own Lettuce Records. The reveal comes alongside their fiery new single Gold Tooth,” now available on all streaming platforms and accompanied by a groove-heavy music video.

“This is something that we've sat on for a minute, and I'm glad to finally put some ears on it,” shares keyboardist/vocalist Nigel Hall.

“This is what happens when me and Shmeeans get together and make sumn FUNKY,” adds drummer Adam Deitch, while trumpeter Eric “Benny” Bloom describes the track as “strong 1990s Prince & Chaka Khan vibes.”

Cook isn’t just a nod to the band’s musical heat—it’s a vibrant blend of funk, soul, jazz, rock, and hip-hop, cooked to perfection. The band continues expanding their sonic recipe, drawing on experiences from recent collaborations with GZA of Wu-Tang Clan and Ziggy Marley, while still staying true to their funk roots in the spirit of James Brown, Tower of Power, and Maceo Parker.

“This record is more three-dimensional than our past albums,” says Deitch. “We really explored deeper levels of production and arrangement.”

The project also ties in Lettuce’s growing lifestyle brand. Alongside Cook, the band has launched two wines—Red Crush and Orange Crush—in partnership with Aquila Cellars, curated by Bloom and saxophonist Ryan “Zoid” Zoidis through their wine company Benny & Zoid Selections. Each vinyl order comes with a digital recipe book of food pairings.

“Music and food are so connected,” notes Deitch. “Use the wrong ingredients in either, and you can ruin the sound or the meal.”

With Cook, Lettuce serves up their most flavorful work yet—backed by an evolving team and reinvigorated creative vision. “It’s the start of a brand-new era,” Deitch affirms. “We finally have the infrastructure to match our vision.”

The band will take Cook on the road with a world tour that stretches through 2026, hitting North America, Europe, Japan, and Australia. In early 2026, fans can also upgrade their experience with the exclusive "Cookin’ with the Band" VIP package, featuring pre-show soundcheck access, voting power on setlists, early merch shopping, discounts, and themed keepsakes like a Cook apron, signed tour laminate, and custom recipe zine. Limited to 75 guests per show.

Lettuce is:

  • Adam Deitch – drums, percussion

  • Adam “Shmeeans” Smirnoff – guitar

  • Erick “Jesus” Coomes – bass

  • Ryan “Zoid” Zoidis – saxophones, synths

  • Eric “Benny” Bloom – trumpet, horns

  • Nigel Hall – vocals, keys

Lettuce 2025–2026 Tour Dates

(Selected dates listed — full list available at lettucefunk.com/tour)

August 2025

  • 08/13 – Paw Paw, MI @ Warner Vineyards

  • 08/14 – Huber Heights, OH @ Rose Music Center (w/ BALTHVS)

  • 08/15–08/23 – Midwest run including Indianapolis, Detroit, Milwaukee, and Kansas

  • 08/27 – Toronto, ON @ Annabel's

  • 08/28 – Jim Thorpe, PA @ Penn’s Peak

  • 08/30 – Burlington, VT @ Higher Ground Ballroom

  • 08/31 – Portsmouth, NH @ The Music Hall

September–October 2025: Europe Tour

  • 09/17 – Paris, FR @ Alhambra

  • 09/22 – Amsterdam, NL @ Paradiso

  • 09/30 – Barcelona, ES @ Razzmatazz 2

  • 10/03–04 – London, UK @ Ronnie Scott’s

October 2025: Australia + Japan

  • 10/24 – Melbourne International Jazz Festival

  • 10/25 – Sydney, AU @ The Metro Theatre

  • 10/29–30 – Osaka & Tokyo, JP

January–February 2026: U.S. East Coast

  • 01/21 – Pittsburgh, PA @ Mr. Smalls Theatre

  • 01/23–24 – Ardmore, PA @ Ardmore Music Hall

  • 01/31 – Port Chester, NY @ The Capitol Theatre

  • 02/07–12 – Miami, FL @ Jam Cruise 22

Tracklist – Cook

  1. Grewt Up

  2. Clav it Your Way

  3. Sesshins 1

  4. 7 Tribes

  5. Rising to the Top

  6. Sesshins 2

  7. Gold Tooth

  8. Breathe

  9. The Matador

  10. Sesshins 3

  11. Cook

  12. Storms Coming

  13. Keep On

  14. Sesshins 4

  15. The Mac

  16. Ghosts of Yest


Daniel Casares Channels Psychedelic Jazz Roots in New Album 1971


Guitarist, composer, and producer Daniel Casares discovered his love for music through the power of classic rock. As a teenager, his curiosity led him beyond rock’s borders and into the world of jazz fusion. Landmark albums like Miles DavisBitches Brew and In a Silent Way, Soft Machine’s Third, and Weather Report’s early releases revealed a new kind of freedom—one that redefined the musical structures he’d grown up with. But it was his encounter with the music of John Coltrane at age 18 that sparked a deep dive into traditional jazz, prompting him to set fusion aside temporarily to focus on jazz fundamentals.

With 1971, Casares returns to his fusion roots—but with a new lens. The album seeks to recapture the daring, experimental spirit of early ’70s jazz fusion, while filtering it through Casares’ personal sonic vision. Colorful melodies, modal harmonies, and dynamic improvisation on alto sax, electric keys, and guitar give the record a textured, futuristic vibe. It features a “fictional” rhythm section—constructed by Casares himself—giving the music an otherworldly yet grounded energy.

Composition, production, guitar, synthesizer, alto saxophone, electric piano, electric bass, drums, percussion, mixing, mastering

Hailing from A Coruña, Spain, Daniel Casares began his musical journey early—starting classical guitar at age 10 and electric guitar by 12. By 15, he was already writing and producing his own music. After playing in rock bands throughout Galicia, he moved to Boston to study at Berklee College of Music, earning his degree in 2018. Since then, he’s become a rising name in both jazz and experimental music circles.

Casares has shared stages with jazz greats like Dave Holland, Terence Blanchard, Devin Daniels, Lluc Casares, Francesco Ciniglio, Iago Fernández, and Gonzalo del Val. He’s led performances across the U.S. and Europe, known for his inventive live shows that blur the boundaries between avant-garde jazz and progressive rock. He’s also appeared at major festivals in Spain, Portugal, and India.

As a recording artist, Casares has embraced a multi-instrumental approach—taking inspiration from Madlib’s Yesterday’s Universe. He performs full-band recordings solo, mastering drums, saxophone, synths, and production alongside his primary guitar and bass work. This DIY ethic led him to experimental label HOUT Records, where he released the Villa Bonita EP (2022) and full-length From a Cabin in the Woods (2023).

Now, with 1971 (out October 2025), Casares comes full circle—reviving the jazz fusion of his youth and giving it a bold, modern twist.


Friday, July 18, 2025

Mike Field Explores the World Through Sound on New Album Nashland


Out July 22, 2025 | Contemporary Jazz, Hard Bop, World Influences

Award-winning Canadian jazz trumpeter and composer Mike Field returns with Nashland, a vibrant and story-rich album set for digital release on July 22, 2025. Known for his energetic sound, cinematic flair, and globetrotting inspirations, Field delivers a bold new statement in modern jazz with this, his fifth full-length release.

Nashland is a focused, seven-track project built entirely around Field’s core quintet—no studio tricks, no overdubs, just the raw, in-the-moment synergy of a band deeply in tune with one another. The result is an album that captures the electricity of their live performances while transporting listeners across continents and cultures.

Each composition on Nashland is a self-contained narrative, pulled from Field’s travels and personal experiences around the world. His storytelling approach merges hard bop intensity, world rhythms, and melodic finesse, creating a journey that is as emotive as it is sonically adventurous.

Fans of Chet Baker, Dave Douglas, Wynton Marsalis, and Avishai Cohen will find plenty to love in Nashland's blend of technical prowess, emotional range, and cross-cultural flavor. It’s an album that appeals to listeners who value both the tradition and the evolution of jazz.

Whether performing across North America, Europe, or Latin America, Mike Field has consistently brought his unique perspective to jazz, combining travel, storytelling, and high-octane musicality. Nashland is the next chapter in that creative journey—worldly, fresh, and unapologetically bold.

Release Date: July 22, 2025
Format: Digital
Genre: Contemporary Jazz / Hard Bop / World Jazz
Label: Independent


Jen Allen’s Possibilities: A Sonic Journey Through Discovery, Wonder, and Reimagined Dreams


Possibilities is an album born from a desire to explore beyond the known. The music was written as a way to move past what I already understood and step into new spaces—both musically and personally. Though it's music about the field of possibilities it’s music I believe everyone can relate to, with themes that are universally understood. The original compositions reflect the possibilities I’ve explored as an adult—in nature, relationships, and creativity. Alongside these originals, the album features two of my favorite pop songs, reimagined with a fresh perspective. As a child of the ’80s, pop music was my world—it filled me with a deep sense of wonder and possibility and that's why those songs are included on this album. Through Possibilities, I hope to offer listeners a journey that not only resonates emotionally, but also reminds us of the endless potential within ourselves and the world around us.

Jen Allen is a dynamic pianist, composer, and author who captivates audiences worldwide. From New York City to Europe and beyond, she performs with her own bands or collaborates with acclaimed ensembles, appearing at renowned events like the Winnipeg Jazz Festival and Litchfield Jazz Festival. She’s shared the stage with jazz greats such as Don Braden, Nat Reeves, Freddie Hendrix Jimmy Greene, and Camille Thurman, to name a few.

Her discography includes her upcoming release, Possibilities, her sophomore album Sifting Grace, her debut Pieces of Myself, and collaborative works like Raise Up. Jen also appears on many other albums as a sideman. Jen’s creative footprint extends to compositions for big bands, string quartets, and ensembles, earning her a spot in the elite BMI Jazz Composers Workshop.

Jen Allen created a new multi-artistic piece called Collective Breath, which weaves together music and visuals to guide audiences through an immersive journey. The work is designed to foster self-awareness, deepen connections with others, and strengthen one’s relationship with the world around them. By integrating breathwork and music, Collective Breath creates a powerful space for personal reflection and shared connection.

Thursday, July 17, 2025

Heirloom’s Familiar Beginnings Introduces a Distinctive New Voice in Modern Jazz


The rising jazz quartet Heirloom makes a compelling entrance with their debut album Familiar Beginnings, set for release on September 26, 2025, via Shifting Paradigm Records. Co-led by guitarist/composer Ben Dameron and drummer/composer Hannah Johnson, the ensemble also includes saxophonist Sam Taylor, a DownBeat Award winner, and esteemed bassist Tim Ipsen. Together, they deliver a project full of melodic depth, emotional nuance, and genre-blending innovation.

The album’s central idea—new experiences that feel comfortingly known—shapes its sonic direction. “We wanted the record to evoke the feeling of discovering something new that still feels like home,” says Dameron. “It’s about cycles and moments that echo through our lives.”

Dameron’s compositions serve as the album’s core. With classical roots from the San Francisco Conservatory and the University of Wisconsin–Milwaukee, he composes with narrative focus and organic fluency, weaving together elements of jazz, chamber music, folk, and cinematic soundscapes. Legendary Brazilian guitarist Sérgio Assad has called Dameron “a natural talent” destined for leadership in the contemporary guitar world.

Equally foundational to Heirloom’s sound is Hannah Johnson, whose adventurous drumming embodies joy, curiosity, and emotional range. A multi-genre artist, she brings wide experience—including a recent stint touring with Durand Jones on Orville Peck’s Stampede Tour—and a deep artistic vision. She’s also a core member of indie-folk band Finding Frances, where her songwriting was featured on their 2023 release For Flowers Yet to Bloom.

Johnson contributes two standout pieces to Familiar Beginnings: a hauntingly beautiful reimagining of Ellington and Strayhorn’s “Isfahan,” and her own contemplative miniature, “Interlude.” Together, they create a moody, inward-facing suite that balances the album’s broader narrative scope.

The title track, “Familiar Beginnings,” opens the album with soaring melody and subtle counterpoint, establishing the quartet’s conversational style. It’s followed by “Eucalyptus Breeze,” an homage to Dameron’s Bay Area years, evoking sunlit streets and aromatic winds. “Spice Trance,” inspired by Frank Herbert’s Dune, builds on layered grooves and tension, culminating in an explosive group improvisation. Later, “Chased Out of a Dream” conjures cinematic moods with urgency and lyrical depth, mirroring the emotional residue of a half-remembered dream.

Messages from the Deep” invites introspection, asking unspoken questions through space, breath, and texture. The tone then shifts with “Fake Block,” a witty, rhythmically playful composition referencing a fictional software gag from Arrested Development. The humor is understated, but the musicianship is fearless. The album closes with “Indigo Tears,” another Dune-inspired piece that fuses Americana with free jazz—a solemn meditation on longing, beauty, and resilience.

Throughout the album, Sam Taylor’s saxophone elevates the melodic narrative with graceful phrasing and a rich tonal palette, while Tim Ipsen delivers agile bass lines that root the ensemble with warmth and clarity.

Though grounded in jazz, Heirloom’s sound reaches far beyond easy classification. Their music embraces tradition while inviting change, creating a space for both the cerebral and the heartfelt. Familiar Beginnings is more than a debut—it’s a statement of purpose from two thoughtful composers and the creative circle they’ve cultivated.

Track Listing:

  1. Familiar Beginnings – 3:55

  2. Eucalyptus Breeze – 9:45

  3. Spice Trance – 8:11

  4. Chased Out of a Dream – 6:01

  5. Interlude – 3:05

  6. Isfahan – 5:45

  7. Messages from the Deep – 7:29

  8. Fake Block – 7:16

  9. Indigo Tears – 7:49

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