Friday, July 25, 2025

Rediscovering a Pioneer: Candido’s Conga Soul Reissue


In mid-2025, Descarga! unveiled a limited-edition pressing of Conga Soul—the complete 1962 masterpiece by Candido Camero, plus one rare bonus track—culled from an original stereo tape source and pressed on heavyweight 180g vinyl in a run of just 500 copies.This is more than a reissue; it’s a time capsule from the early ’60s, spotlighting the trailblazing conguero whose innovations reshaped jazz percussion as we know it.

Recorded in 1962 during one of Candido’s prime years as a bandleader, Conga Soul captures his seamless fusion of Afro‑Cuban rhythms and jazz sensibility. The set features Lalo Schifrin at the piano—credited with all arrangements—and Jimmy Cleveland on trombone.

It’s a superb meeting of minds: Candido—the first to play multiple tuneable congas and develop melodic conga techniques—locks in with Schifrin’s elegant charts and Cleveland’s trombone voice against a backdrop of resonant ensemble interplay.

Track Listing (Complete LP + Bonus)

Side A

  1. Conga Soul

  2. The Lady Is A Tramp

  3. Toccata

  4. The Champ

  5. Love For Sale

Side B

  1. Big Noise From Winnetka

  2. New Secrets

  3. Lady Eve

  4. Dark Eyes

  5. Long, Long Summer

  6. Candido Cocktail (Bonus Track)

Why This Reissue Matters

  • It preserves an early example of Afro‑Cuban jazz led by the man behind melodic conga playing, showcasing his role in pioneering modern Latin jazz techniques.

  • The album’s groove bridges classic Cuban roots and jazz swing, making it one of Candido’s most accessible yet innovative early leader dates.

  • The inclusion of a bonus track makes this release a must-have for collectors and the only official pressing in this format available on vinyl today.

Born Cándido Camero Guerra on April 22, 1921 in Havana, Candido moved to New York in 1946 and quickly became a first-call conga innovator, performing with the likes of Dizzy Gillespie, Billy Taylor, Stan Kenton, and Charlie Parker.

His revolutionary approach—playing multiple tuneable congas, bongos, a cowbell, guiro—all as a one-person setup—set new standards for percussionists worldwide.

Candido recorded more than 17 albums as a leader—including Beautiful (1971, Blue Note) and Inolvidable with Graciela (Chesky Records)—and received honors like the NEA Jazz Masters Award (2008) and a Latin Grammy Lifetime Achievement Award (2009).

He passed away in New York on November 7, 2020, at the age of 99, leaving behind a legacy as jazz’s “master of a thousand fingers”.

Conga Soul is not simply an artifact—it’s proof of a moment where jazz and Afro-Cuban traditions converged in virtuosic harmony. The new limited pressing gives listeners rare access to Candido’s melodic artistry and rhythmic invention in pristine vinyl sound. Whether you're a longtime fan or newly discovering Afro‑Cuban jazz, this reissue offers a vivid and essential listening experience.


An Evening of Elegance: Christian McBride’s Big Band Returns in Without Further Ado, Vol. 1


In 2025, Christian McBride—the bassist whose sound has bridged jazz, funk, soul, hip‑hop, and classical realms—reassembles his Grammy®-winning 17‑piece big band for a dazzling follow-up to 2020’s For Jimmy, Wes & Oliver. The result: Without Further Ado, Vol. 1, a masterclass in reinterpretation, groove, and vocal jazz brilliance, out on Mack Avenue Records on August 29, 2025.

Each track is a showcase of connection and craftsmanship: Sting and Andy Summers reunite for a breathtaking take on “Murder by Numbers”—their first collaboration since The Police’s reunion tour—McBride’s arrangement breathing new life into the classicSamara Joy’s rendition of “Old Folks” radiates tender clarity, while Jeffrey Osborne turns “Back in Love Again” into a soul-drenched big-band reinterpretation. José James, Cécile McLorin Salvant, Dianne Reeves and Antoinette Henry round out the guest roster, each bringing their own personality to standards arranged with McBride’s signature elegance and swing.

Track Listing (Disc 1 / LP Side A–B)

  1. Murder by Numbers (feat. Sting & Andy Summers)

  2. Back in Love Again (feat. Jeffrey Osborne)

  3. Old Folks (feat. Samara Joy)

  4. Moanin’ (feat. José James)

  5. All Through the Night (feat. Cécile McLorin Salvant)

  6. Will You Still Love Me Tomorrow (feat. Dianne Reeves)

  7. Come Rain or Come Shine (feat. Antoinette Henry)

  8. Op. 49 Cold Chicken Suite, 3rd Movement 

This album evolved from McBride’s role as musical director of NJPAC’s annual Gala, where he wrote big‑band charts each year for featured artists. These arrangements—some heard only live once—find their studio home on Without Further Ado.

Critics and fans alike hailed it as a vocal jazz renaissance—a multigenerational lineup, each performance departs with fire, elegance, and deep groove, grounded in the McBride Big Band’s drive and cohesion.

Christian Lee McBride (born May 31, 1972 in Philadelphia) is regarded as one of the most versatile and respected figures in contemporary jazz. A nine‑time Grammy® winner, he has appeared on hundreds of recordings as sideman or leader, working with legends from Chick Corea and McCoy Tyner to Sting and Celine Dion.

As composer, arranger, producer, and bandleader, McBride fronted notable ensembles: Inside Straight, New Jawn, The Christian McBride Trio, Ursa Major, and his celebrated big band, which has won multiple Grammys including for For Jimmy, Wes & Oliver (2022) and The Good Feeling (2012).

Beyond performance, McBride is a cultural curator: Artistic Director of the Newport Jazz Festival, JAZZ HOUSE KiDS, NJPAC’s TD James Moody Festival, and the National Jazz Museum in Harlem. He hosts NPR’s Jazz Night in America and SiriusXM’s The Lowdown: Conversations With Christian.

This album isn’t just a collection of standards—it’s a celebration of relationship. McBride channels decades of collaborations into one vibrant big-band recording that bridges eras and genres. Guest vocalists from jazz, R&B, and pop reconvene under his arrangements, which sparkle with depth, swing, and sophistication. It reaffirms McBride’s place as a creative force and connector: always swinging, always inclusive, always elegant.


A Night in Paris: Rediscovering Pharoah Sanders’s Spiritual Peak


Imagine arriving at Studio 104’s Grand Auditorium in the Maison de la Radio on November 17, 1975. The air hums with expectancy as pharaoh-like presence Pharoah Sanders steps onto the stage—not in riotous frenzy, but guided by purpose and calm. Behind him, a compact quartet: Danny Mixon on piano and organ, Calvin Hill on double bass, and Greg Bandy on drums. For an invited Parisian audience of roughly 800, this was no jam session—it was a spiritual journey awaiting ignition.

The concert opens with a chant-like Love Is Here,” unfolding in two hypnotic parts. Mixon’s vamp pulses steadily, Hill’s bass high on the neck creating pliant propulsion, and Sanders floats above, weaving melody with vocalized yelps that blur the border between instrument and soul. Then, he lets loose briefly in joyous overblowing—not rage, but exhilaration—before easing back into floating calm.

The set continues with the short-lived "Farrell Tune," and a vibrant take on The Creator Has a Master Plan.” Here, the quartet reimagined the 1969 epic from Karma—compressed yet radiant—grounded by piano figures that shimmer like harp strings, and solos filled with purpose, not excess.

Then comes I Want to Talk About You,” the Billy Eckstine ballad beloved by John Coltrane. Sanders’s interpretation resonates with reverence—each note a nod to his former sax mentor, yet infused with his own warmth and nuance.

But it’s the grand finale, Love Is Everywhere,” that transforms the auditorium into a revival meeting. Chant phrases echo like gospel refrains, festival energy charges the air, Sanders’s shrieks summon communal fervor. It’s a celebration—music as communion, love as manifesto. The audience bursts in applause; the revival is complete.

This concert—long relegated to dusty ORTF tape reels—was unearthed decades later by Transversales Disques, cooperatively distilled from the original stereo tapes housed at France’s INA. In 2020, they released it as Live in Paris (1975): Lost ORTF Recordings, mastering with care and housing it in a deluxe gatefold package brimming with photos and liner notes.

Now, on September 5, 2025, Love Is Here – The Complete Paris 1975 ORTF Recordings debuts on 2×180g vinyl (gatefold) and limited‑edition 2CD digipak, including rare photos by Christian Rose and an insightful essay by Kevin Whitehead—making this performance officially accessible in full for the first time.

In 1975, Sanders stood at a creative crossroads. Fresh off his final Impulse! recordings and before his later work under Arista, this quartet captured him in full bloom—less raw than during his days with Coltrane, yet utterly luminous in spiritual intent. Critics hailed the release as a breathtaking reissue: Pitchfork awarded it Best New Reissue, celebrating its radiant joy and cosmic energy. All About Jazz called it a must-have for dedicated collectors, citing the quartet’s short-lived brilliance. Soundohm exalted it as one of Transversales’s most astonishing releases, a polished yet wild document of 1970s jazz at its peak.

This isn’t simply a rerun of familiar tracks—it’s a resurrection. Here, Sanders’s spiritual jazz sparkles with meditative texture one moment and roars with devotional strength the next. From the opening lift of “Love Is Here” through the ecstatic conclusion of “Love Is Everywhere,” what emerges is not just a performance, but a testament: love, music, and transcendence interwoven on a Parisian night—and now given new life on vinyl, CD, and digital.

Thursday, July 24, 2025

Antonio Adolfo Revives the Heart of Brazilian Carnaval with Jazz Mastery on New Album CARNAVAL


Renowned Brazilian pianist, composer, and arranger Antonio Adolfo returns with CARNAVAL, a vibrant new album that pays tribute to Brazil's rich Carnaval music tradition—infused with his signature jazz sensibility. Internationally acclaimed for his lush reharmonizations of both Brazilian classics and American jazz standards, Adolfo once again blurs genre lines, breathing new life into historic compositions with authenticity and style.

Adolfo, a multiple Grammy and Latin Grammy nominee, has redefined what Brazilian jazz can sound like. Over the years, he has offered stunning reinterpretations of works by Milton Nascimento, Tom Jobim, and Wayne Shorter, and tackled American songbook gems by Cole Porter. On CARNAVAL, he dives deep into a lesser-explored realm—music specifically composed for Brazil’s famous pre-Lenten celebration, Carnaval.

Carnaval is more than a party—it’s a cultural explosion of dance, music, costumes, and emotion that precedes Lent. Rooted in African rhythms and European harmonic influences, the music includes styles like samba, frevo, marchinha, marcha-rancho, and Ijexá. Adolfo, who participated in Carnaval as a child with his family, captures both the ebullience and the bittersweet nostalgia of the festival’s most beloved tunes.

While the music is often festive, Adolfo notes that many Carnaval songs also carry an undertone of melancholy. Characters like Pierrot, a heartbroken servant in love with Colombina, symbolize the poignancy hidden beneath the celebration’s colorful exterior. Adolfo explains, “Some of the songs have a sort of tristesse, which makes them even more beautiful.”

Opening with “É Com Esse Que Eu Vou” (I Am Going With This One), originally a 1948 samba classic by Pedro Caetano, Adolfo launches the album with an infectious partido alto rhythm. It’s a compelling introduction to his reimagining of Carnaval.

The lively “Vassourinhas”, a frevo anthem from Recife, showcases energetic solos by Marcelo Martins on tenor sax and Lula Galvão on guitar, while “Oba (O Bafo da Onça)” adopts the Afro-Brazilian Ijexá style, imbuing the track with a spiritual pulse.

“Mal-Me-Quer” is delivered as a delicate marcha-rancho ballad, evoking the dreamy, romantic side of Carnaval. In contrast, “Vai Passar”, originally by Chico Buarque and Francis Hime, nods to Brazil’s fight for democracy with its anthemic samba parade sound.

Other gems include the sweetly nostalgic “As Pastorinhas”, the proud and grand “Exaltação à Mangueira”, and “A Lua É Dos Namorados”, where Adolfo quietly blends samba with the gentle sway of a marchinha.

The album closes with “Agora É Cinza” (Now It Is Ashes), a haunting 1933 samba by Bide and Marçal, serving as a poignant finale that reflects on the end of Carnaval and the start of Lent.

Recorded with top-tier Brazilian jazz musicians—including Lula Galvão (guitar), Jorge Helder (bass), Rafael Barata (drums), Jesse Sadoc (trumpet), and Marcelo Martins (tenor sax)CARNAVAL is a collective achievement in musical finesse and cultural preservation.

Beyond recording, Adolfo has been a cornerstone of Brazilian music education. For over 40 years, he has mentored young talent through his Centro Musical Antonio Adolfo in Rio de Janeiro and published over a dozen instructional music books.

While artists like Jobim and genres like bossa nova are internationally recognized, CARNAVAL explores a more historic and festive tradition. It’s a joyful yet thoughtful celebration, reminding the world that Brazil’s musical legacy goes far deeper than the usual exports.

With CARNAVAL, Antonio Adolfo proves once again that he is not only a brilliant jazz pianist but also a guardian of Brazil’s cultural soul—reviving timeless songs and reimagining them for a global audience with elegance, care, and heart.


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.

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