Dionne Warwick – Make It Easy on Yourself: The Scepter Recordings 1962–1971

A Landmark 12-CD Box Set Celebrating the First Lady of Soul-Pop

There are few artists whose voices helped define an era, and Dionne Warwick is one of them. With elegance, vocal precision, and emotional nuance, she carved a singular space in the world of 1960s pop, R&B, and soul. Now, with the release of Make It Easy on Yourself: The Scepter Recordings 1962–1971, fans and collectors can finally own the most comprehensive anthology of Warwick’s golden years.

This 12-CD collection chronicles Warwick's recording career at Scepter Records from her 1963 debut to her final studio sessions with the label in 1971. Over these nine years, Warwick released a remarkable body of work that includes:

• 15 original albums restored and remastered in their entirety

• More than 60 bonus tracks, with 16 previously unreleased

• Complete mono and stereo versions of several early albums

• Rarities including international singles, live concert recordings, and soundtrack contributions

Each CD is housed in a custom wallet featuring original album artwork, and the package includes a 68-page booklet with in-depth liner notes, rare photographs, and a new essay by Joe Marchese of The Second Disc.

Here’s a look at some of the standout material included in the set:

Presenting Dionne Warwick (1963)

Her debut album, featuring the Bacharach/David classic “Don’t Make Me Over,” marked the beginning of a fruitful collaboration that would shape pop music for decades.

Make Way for Dionne Warwick (1964)

This album includes “Walk On By” and “Reach Out for Me,” where Dionne’s elegant delivery is perfectly paired with Bacharach’s lush, jazzy orchestrations.

Dionne Warwick in Paris (1966)

An electrifying live set that captures Warwick’s early stage charisma in front of a French audience—an early testament to her international appeal.

Here Where There Is Love (1966)

One of her best-reviewed albums, featuring the stunning “Alfie,” which was one of her personal favorites and showcased her interpretive finesse.

Dionne (1972 sessions for Warner, included as bonus material)

Tracks that point to her post-Scepter evolution, providing a sonic bridge to her later, more mature recordings.

Bonus Treasures

• Her first public service announcement recording

• A previously unreleased duet with Leslie Uggams

• A rare live set from the 1969 Mid-Day in D.C. television special

All tracks were newly remastered by Nick Robbins from the best available sources, with meticulous attention paid to preserving the warmth and clarity of the original recordings. These new masters present Dionne’s voice in pristine detail, from her smooth lower register to her radiant high notes.

The audio restoration also brings new vibrancy to Bacharach’s intricate arrangements—layers of horns, strings, and unconventional rhythms that were ahead of their time.

While other singers of the era may have leaned into more overt expressions of soul or pop, Dionne Warwick created a unique niche: sophisticated, restrained, emotionally intelligent music that crossed boundaries of race, age, and geography.

This box set is not just a compilation; it’s a cultural document of the evolution of American pop-soul in the 1960s. It also completes the trilogy of Warwick retrospectives released by SoulMusic Records and Second Disc Records, following:

• Sure Thing: The Warner Bros. Recordings 1972–1977

• Déjà Vu: The Arista Recordings 1979–1994

Together, these collections offer a near-complete look at one of the most iconic recording careers in modern music.

Whether you're a longtime fan or just discovering her music, Make It Easy on Yourself: The Scepter Recordings 1962–1971 is a must-have. It not only celebrates Dionne Warwick’s chart-topping success, but also reveals the depth and versatility of an artist who helped shape the very sound of 20th-century pop.

Nick Gomez Makes His Gritty Hollywood Debut with Jazz-Driven Score for Hollywood Grit

Jazz saxophonist, composer, and 8-time Emmy nominee Nick Gomez makes a powerful cinematic debut with Hollywood Grit, delivering a jazz-infused score that’s more than a soundtrack — it’s a living, breathing character in the film. The noir mystery, directed by longtime collaborator Ryan Curtis, opens in AMC Theatres nationwide on August 22, the same day Gomez releases his own jazz-funk single, “Stimulus,” from his upcoming EP the blue one.

Set against the moody backdrop of a fictional Hollywood jazz club, Hollywood Grit stars Max Martini, Tyrese Gibson, Linda Purl, and Patrick Duffy in a story dripping with classic noir ambiance. From the very first scene — a haunting solo saxophone piece written and performed by Gomez himself — the music sets the tone with grit, intimacy, and authenticity.

“There was only one choice for me musically,” said Curtis. “Nick not only set the tone for the film, but he also surpassed all expectations and delivers a score that is absolutely magical.”

Gomez, who played tenor sax, clarinet, flute, piano, and guitar on the score, composed over an hour of music, incorporating elements of big band, straight-ahead, orchestral, contemporary, and avant-garde jazz. Alongside Curtis, he created ten songs — eight originals co-written with Jon Gus and Sarah Cardenas, and two artfully reimagined covers — to serve the film’s narrative.

One standout moment came early in the scoring process. Instead of relying on the expected film noir trope of muted trumpet, Gomez placed his own spin on tradition:

“I put my individual stamp on it by using the tenor sax instead,” he said. “That two-minute opener turned into something cool — a launchpad for the rest of the score.”

The original songs in Hollywood Grit reflect a wider range of musical influences. “Get Me Down,” for example, began as an R&B/pop tune before Gomez reoriented it with a jazz orchestra palette, blending modern flair with vintage texture. Each piece was crafted with intention, bridging the score’s instrumentation and the emotional core of the film.

This creative freedom stemmed from years of trust between Gomez and Curtis. Having worked together on television and documentary projects since 2014, their synergy allowed for bold risks and innovative storytelling through music.

“Writing music for film is where there are almost no rules,” Gomez explains. “It’s a place where emotion and feeling drive everything — and that’s where I thrive.”

Born in Los Angeles and raised around Hollywood film sets, Gomez studied saxophone at Berklee College of Music and has released six albums of his own. His compositions have been featured in films, commercials, and stand-up specials, including Katt Williams: Live, and he scored the tango-inspired TV pilot Yanqui, which premiered at the Tribeca Film Festival.

A true multi-genre talent, Gomez has worked with punk icon Billy Bones (The Skulls) and toured with 80s new wave legends Naked Eyes and Haircut 100. Yet it’s his jazz roots and cinematic imagination that converge powerfully on Hollywood Grit, revealing a composer at the height of his creative clarity.

And there’s deeper meaning behind the timing of this milestone: August 22 also marks six years of sobriety for Gomez.

“None of these amazing things would’ve been possible without my sobriety,” he reflects. “This is an exciting time — and a grateful one.”

With Hollywood Grit, Gomez delivers more than a debut — he claims his space as a distinctive voice in the intersection of jazz and film. His work doesn’t just underscore the drama; it shapes it, elevates it, and — in the best cinematic tradition — leaves a lasting impression.

Hollywood Grit opens in AMC Theatres on August 22. Nick Gomez’s new single “Stimulus” drops the same day on all major streaming platforms.

Lauren Scales, Mike Flanagan & Chris Grasso Cross Musical Borders with Soulful Debut Many Rivers

Due out August 8 on Truth Revolution Recording Collective, Many Rivers is the genre-blending, heart-forward trio debut from vocalist Lauren Scales, saxophonist Mike Flanagan, and pianist Chris Grasso — a dynamic meeting of artistic voices whose combined experience spans jazz tradition, queer creative spaces, and fearless personal storytelling.

With support from Grammy-winning bassist Luques Curtis and versatile drummers Richie Barshay and Charles Haynes, Many Rivers flows effortlessly between eras and influences. The nine-track collection includes two originals by Scales and seven reimagined covers — from Thelonious Monk and Jimmy Van Heusen to D’Angelo and Neil Diamond.

The album’s title speaks not only to its musical diversity, but to its emotional and geographical reach. Scales splits her time between New York and the Midwest, while both Flanagan and Grasso are based in Provincetown, Massachusetts — a long-celebrated hub for LGBTQ+ artists. That sense of rootedness in identity and creative freedom permeates Many Rivers, which Scales describes as “uplifting, poetic, emotionally honest — and accessible across genres and generations.”

The trio’s origin story began when Scales and Flanagan met during graduate studies at NYU. Flanagan later moved to Provincetown, where he met Grasso — a master accompanist revered by NEA Jazz Master Willard Jenkins and known for his empathetic collaborations with vocalists. That personal and professional synergy laid the foundation for Many Rivers.

“As a woman in the industry, you don’t always feel like you’re in the safest spaces,” Scales reflects. “But with these guys, it felt democratic, creative, safe. And I think being in P-town was a big part of that.”

The album opens with a daring take on “Spanish Joint,” a modern classic from D’Angelo’s Voodoo, where Scales brings new clarity to the lyrics and Flanagan pays tribute to the late trumpet legend Roy Hargrove. The project also includes unexpected choices like Neil Diamond’s “Play Me,” reimagined through Grasso’s elegant reharmonization and Scales’ intimate interpretation.

Rooted in the jazz canon, the trio draws inspiration from albums like Sarah Vaughan with Clifford Brown and Nancy Wilson / Cannonball Adderley, while pushing the form outward. “You Know Who (I Mean You)” pays tribute to Carmen Sings Monk, with a standout trombone solo by Steve Davis, a former Jazz Messenger who has graced the Provincetown stage.

Grasso brings refined lyricism to ballads like “But Beautiful” and “Star Eyes,” the latter offering a sly nod to Charlie Parker in its intro and showcasing Scales' crisp vocalese. The album's penultimate track, “Never Will I Marry,” finds all three taking solos in homage to Nancy Wilson, while Scales unleashes a confident scat chorus that nods to her jazz lineage.

The album closes with two poignant originals. “Find a Way” recounts a long-distance relationship during a time of career shifts, while “Saving Grace” channels the emotional weight of arriving in New York and searching for community. Together, these songs underline Scales’ talents as both a storyteller and a composer — with her collaborators matching every emotional turn.

“In this big, lonely city, who will help me?” she asks in “Saving Grace.” The answer is found in the music itself — in friendship, in listening, and in shared improvisation. Many Rivers is less about overcoming difference than about celebrating the unity that can arise from it.

Whether honoring the Great American Songbook, experimenting with neo-soul, or writing modern standards of her own, Lauren Scales proves herself a vocal force. Paired with Flanagan’s tuneful warmth and Grasso’s impeccable pianism, Many Rivers is a testament to collaboration, community, and the open-hearted possibilities of jazz today.

From Scandinavia to Shikiori: Sinne Eeg and Jacob Christoffersen Release Intimate Duo Album Celebrating Global Jazz and Cultural Connection

Acclaimed Danish vocalist Sinne Eeg (pronounced Seeneh Ee) has built a global fanbase with her impeccable technique, rich tone, and expressive interpretations. With accolades from DownBeat Magazine and JazzTimes, Eeg is widely recognized as one of the finest jazz vocalists of her generation—praised for her enunciation, emotional depth, and commanding presence onstage.

Now, after twelve albums as a leader, Eeg steps into a new chapter with the release of SHIKIORI, a deeply personal and atmospheric live album recorded in duo with her longtime pianist Jacob Christoffersen. The project, released on July 11, 2025 via Stunt Records, captures the chemistry and creative trust between these two virtuosos as they explore a repertoire of originals, jazz standards, and a reimagined pop tune.

The setting for SHIKIORI was as significant as the music itself: a 150-year-old traditional Japanese home turned concert venue nestled in the countryside. Restored by bassist Seigo Matsunaga, the house is steeped in history and spiritual energy, with a Shinto altar and artifacts honoring jazz lineage—like a photo of bass legend Niels-Henning Ørsted Pedersen. Eeg and Christoffersen performed live there, their music naturally shaped by the reverent atmosphere and their intuitive interplay.

“Singing with just a piano accompaniment does have some limitations,” Eeg admits, “but it also provides the opportunity for greater freedom and self-expression.”

Indeed, the results are intimate, spontaneous, and emotionally rich. The album opens with “Losing You,” Eeg’s haunting original with lyrics by Søren Sko, setting a moody tone with its raw sincerity. Other highlights include “Hebi” (Japanese for "snake"), a wordless, ethereal piece with a flowing, cinematic feel, and “Don’t Be So Blue,” a revisited ballad from Eeg’s 2010 catalog, reimagined here in a minimalist and poignant duet.

Christoffersen contributes three songs of his own, including the charming “Soba Flower,” inspired by his love of Japanese cuisine and culture, with lyrics from local artist Remi. His melodic instincts shine on “A Second Chance at Love,” featuring lyrics by Lisa Freeman, and the nostalgic “Seems Like Yesterday,” which gives Eeg room to showcase her signature scat improvisation.

The pair also breathe fresh life into jazz standards. Billy Strayhorn’s “Lush Life” becomes a personal statement; “Better Than Anything” is joyfully swinging; and “Maria” (from West Side Story) is given a lyrical transformation and cinematic pacing. Eeg’s version of Annie Lennox’s “Cold” adds a jazz pulse to the pop ballad, revealing her range of influence and versatility.

What makes SHIKIORI especially noteworthy is not just the musicianship but the cultural bridge it creates. Fusing Danish artistry with Japanese aesthetics, the album is a testament to music’s power to transcend borders. Eeg’s artistic reach was formally recognized in Spring 2025 when she was awarded France’s Order of Arts and Letters, a distinction she now shares with luminaries like David Bowie and Meryl Streep.

As the first-ever jazz vocalist to receive the Ben Webster Prize, five-time winner of the Danish Music Award, and recipient of France’s Prix du Jazz, Eeg continues to cement her place in the global jazz pantheon. Her longtime musical partner, Jacob Christoffersen, is a melodic force in his own right—his sensitivity and technical finesse making him the ideal complement.

Lance Ferguson Channels Disco-Funk Brilliance with New Idris Muhammad Rework, 'Could Heaven Ever Be Like This'

Lance Ferguson—the New Zealand-born, Melbourne-based producer, guitarist, songwriter, DJ, and recording artist—returns to the Tru Thoughts label with a vibrant, club-ready release: “Could Heaven Ever Be Like This.” A bold reimagining of Idris Muhammad’s seminal 1977 jazz-funk classic, the single lands July 29, 2025, and marks the first preview of Rare Groove Spectrum Vol. 3, Ferguson’s highly anticipated tribute to crate-digger gold.

Driven by a propulsive four-to-the-floor rhythm, layered percussion, and a soaring alto sax solo, Ferguson’s version breathes new energy into the original while honoring its lush sonic palette. It’s equal parts reverent and inventive—true to the spirit of the Rare Groove Spectrum series, which digs deep into forgotten funk, soul, and jazz gems and revives them for modern ears.

Ferguson’s musical résumé reads like a masterclass in genre versatility. As leader of The Bamboos, he helped redefine modern soul and funk in Australia. He also leads or contributes to an array of other projects—Menagarie, Rare Groove Spectrum, Machines Always Win—while lending his guitar and production talents to artists including Aloe Blacc, Roy Ayers, Alice Russell, Durand Jones, and Lyrics Born.

A seven-time ARIA nominee and five-time APRA Music Award nominee, Ferguson’s prolific discography spans 45 full-length albums and over 100 singles and remixes, across top-tier labels such as Atlantic, Universal, Warner, BMG, and Ubiquity.

His biggest commercial breakthrough came in 2016 with the global smash hit “This Girl” by Kungs vs Cookin’ on 3 Burners, a track co-written and originally produced by Ferguson. The song topped charts in 10 countries, went Diamond and Multi-Platinum across Europe and the U.S., and racked up 1.27 billion Spotify streams and 545 million YouTube views—a massive cultural moment with undeniable staying power.

Whether DJing or performing live, Ferguson has taken his genre-blurring sets around the world: from New York to Tokyo, Berlin to Barcelona, Paris to Hong Kong, and all throughout Australia and New Zealand. His music has appeared on TV shows like Grey’s Anatomy, Homeland, Suits, and CSI: NYC, in feature films such as Crazy, Stupid, Love and Good Hair, and in major campaigns for BMW, Miss Dior, Chase Manhattan, and more.

Ferguson’s Rare Groove Spectrum series continues to showcase his deep musical knowledge, studio precision, and ear for modern reinterpretation. With “Could Heaven Ever Be Like This”, he bridges disco, funk, and jazz fusion with a contemporary club feel—making this release perfect for both dancefloors and audiophile playlists alike.

Look out for the full Rare Groove Spectrum Vol. 3 coming soon from Tru Thoughts, and in the meantime, let this single be your gateway to groove heaven.

• Title: Could Heaven Ever Be Like This

• Artist: Lance Ferguson’s Rare Groove Spectrum

• Release Date: July 29, 2025

• Format: Digital

• Label: Tru Thoughts

• Genre: Disco-funk

Miguel Zenón’s Vanguardia Subterránea Captures the Electric Spirit of a Jazz Milestone at the Village Vanguard

Alto saxophonist and composer Miguel Zenón—MacArthur “Genius,” Guggenheim fellow, Doris Duke Artist, and 2024 Grammy winner—returns with a landmark release: Vanguardia Subterránea, the first-ever live album from his longstanding quartet. Arriving August 29, 2025 on Miel Music, the project commemorates 20 years of creative unity and innovation with pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole.

Recorded over two magical nights at New York City’s Village Vanguard in September 2024, the album is a milestone not just for the quartet, but for Zenón’s ever-evolving legacy. Despite playing hundreds of shows globally, this marks the first live documentation of a group whose chemistry has only deepened with time.

“This album has an energy that's really different than all our other records,” says Zenón. “Because it was recorded in this sanctuary of music.”

Founded in 1935, the Vanguard is one of jazz’s most sacred venues, and Zenón’s group has held multiple week-long residencies there. In fact, they’ll return again September 16–21, 2025, to celebrate the album’s release in the very space it was born.

The album opens with “Abre Cuto Güiri Mambo,” a bozal phrase urging listeners to tune in and hear the groove. It’s a bold call to action rooted in Cuban-Congo rhythms and the layered horn traditions of mambo pioneers.

Zenón then dives into Willie Colón and Héctor Lavoe’s 1973 classic “El Día de Mi Suerte”, a track close to his heart from his teenage days in San Juan salsa bands. As always, Zenón reimagines rather than imitates—preserving emotional DNA while infusing the piece with his own rhythmic and harmonic language.

One of the album’s most poignant pieces is “Vita”, originally written as a birthday gift for Zenón’s grandmother. Now reworked with a chacarera pulse and full quartet arrangement, it showcases Zenón’s melodic sensitivity and emotional depth.

“Dale la Vuelta” is built on rhythmic counterpoint—where patterns in 7 and 8 cycle between each other to create a new pulse. The quartet makes the complexity feel effortless, a testament to their decade-spanning synergy.

With “Coordenadas,” Zenón gets personal: encoding the birth coordinates of each band member and the Vanguard itself into musical pitches. It’s an inspired concept that fuses origin and place into an avant-garde but accessible framework.

The title track, “Vanguardia Subterránea”, offers a groove-heavy tribute to the Vanguard’s storied history, layered with rhythmic dislocation and eventual cohesion—a metaphor for the club’s unique energy.

“Bendición” is a loving tribute to Zenón’s mother and Latin American customs of showing respect through blessings. Emotional and warm, it reveals Zenón’s deep connection to cultural tradition and family.

Closing out the set is “Perdóname,” a new take on Gilberto Santa Rosa’s 1990 hit. Instead of mimicking Santa Rosa’s voice, Zenón and his band channel the spirit of the song—its flow, its passion, and its improvisational brilliance, evoking the essence of a true sonero through jazz phrasing.

Vanguardia Subterránea isn’t just a live recording—it’s a living, breathing document of musical brotherhood and cultural memory. With bold compositions, deeply personal themes, and fresh interpretations of Latin classics, the album affirms Zenón’s place as a boundary-pushing figure in contemporary jazz. It's a must-listen for longtime followers and newcomers alike.

Boom Boom Reborn: John Lee Hooker’s Late-Era Classic Returns with Vinyl and CD Reissue

Blues icon John Lee Hooker’s powerhouse 1992 album Boom Boom has returned in a fresh reissue that honors his timeless groove and late-career legacy. Originally released during a remarkable creative resurgence, this re-release arrives via BMG on both CD and vinyl—remastered from the original analog master tapes and enhanced with two bonus tracks.

The album's title track, a fresh take on Hooker's own blues staple “Boom Boom,” sees him teaming up with guitarist Jimmie Vaughan. It’s a standout moment on a record packed with heavy hitters and musical chemistry.

First released when Hooker was well into his seventies, Boom Boom showcases the blues master riding a wave of renewed recognition, spurred on by collaborations with producer and guitarist Roy Rogers. Their partnership had already yielded The Healer (1989), a Grammy-winning triumph featuring Bonnie Raitt, Carlos Santana, Los Lobos, and more. That success was followed by Mr. Lucky in 1991, which brought in Keith Richards, Van Morrison, and Ry Cooder.

Boom Boom cemented this trilogy with equally compelling guest appearances. Albert Collins tears through “Boogie At Russian Hill,” Robert Cray lends soul to “Same Old Blues Again,” Charlie Musselwhite’s harmonica howls on “Thought I Heard,” and Vaughan’s presence adds bite throughout. Hooker remains firmly at the center—his voice gravelly, his phrasing hypnotic, his sense of rhythm utterly his own.

This 2025 CD edition mirrors the 2007 Shout! Factory reissue, featuring two extra tracks: “Dimples” and “Ain’t No Love in This House,” and a redesigned booklet that preserves the original liner notes by Jas Obrecht. Meanwhile, vinyl fans are treated to a pristine cut directly from the analog masters—marking the first wide vinyl release of this late-era gem.

Whether you're a lifelong fan or just diving into the deep, soulful waters of John Lee Hooker, Boom Boom is an essential listen that pulses with vitality, grit, and electric blues power.

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Tracklist:

1. Boom Boom (feat. Jimmie Vaughan)

2. I'm Bad Like Jesse James

3. Same Old Blues Again

4. Sugar Mama

5. Trick Bag (Shoppin’ for My Tombstone)

6. Boogie At Russian Hill

7. Hittin' the Bottle Again

8. Bottle Up and Go

9. Thought I Heard

10. Ain’t Gonna Suffer No More

11. Dimples (Bonus Track)

12. Ain’t No Love in This House (Bonus Track)

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Aruán Ortiz’s Créole Renaissance: A Sonic Manifesto Rooted in Diasporic Memory and Radical Imagination

Cuban-born, Brooklyn-based pianist and composer Aruán Ortiz returns with Créole Renaissance—his first solo piano album in eight years—due August 29, 2025 via Intakt Records. Drawing deeply from the intellectual and cultural ferment of the Négritude movement, the album is a singular reflection on the evolution of the African diaspora as told through sound.

Renowned for his fearless musical experimentation, Ortiz here constructs a deeply personal and intellectually rigorous world—a musical tapestry interweaving Afro-Cuban tradition, avant-garde classical techniques, and the radical poetic vision of 20th-century Black thinkers like Aimé Césaire and Léopold Sédar Senghor.

“Ortiz’s compositional style bears the imprint of Cuba’s musical heritage: the pulse of African-derived beats, the modern vocabulary of classical pianism, and the abandon of free improvisation.” — DownBeat

The Créole Renaissance is not just a return to solo performance; it’s an auditory reckoning with Black modernity, imagined as a series of intricate piano reflections. The opening track, “L’Étudiant noir,” sets the tone: Ortiz traverses the full expanse of the keyboard, signaling a musical geography that stretches from Paris to Fort-de-France to Santiago de Cuba and Brooklyn.

Inspired by the poetic surrealism of Suzanne and Aimé Césaire and the incendiary ideas in journals like L’Étudiant noir, Légitime Défense, and Tropiques, Ortiz lets memory and politics bleed into technique. He channels the “determining gaps” between continents and centuries not as a void but as a generative force, evoking what scholar Édouard Glissant called “relation.”

In “Seven Aprils in Paris (and a Sophisticated Lady),” Ortiz spins out disjointed fragments of Ellington into impressionist dreamscapes. “Lo Que Yo Quiero Es Chan Chan” reimagines the classic Buena Vista anthem with jagged harmonies and ghostly counterpoint, while “We Belong to Those Who Say No to Darkness” pushes the piano into new territory. Here, Ortiz dampens strings, plucks them like a zither, scrapes them like percussion, and invokes a sonic palette as broad as the diasporic experience itself—from Afro-Cuban batá to Balinese gamelan.

This is music that speaks to the past while propelling forward. As Ortiz says, a true Créole Renaissance must be diasporic, “a matter of correspondence, interrogation, and boundary-crossing.” Whether drawing from Schoenberg and Messiaen, Don Pullen and Cecil Taylor, or the ethnomusicological lens of Fernando Ortiz, his approach is one of radical multiplicity.

Already the recipient of a 2024 Guggenheim Fellowship and Hermitage Fellowship, Ortiz is being increasingly recognized for his dual role as a visionary composer and cultural thinker. Créole Renaissance is a clear demonstration of both, anchoring his avant-garde explorations within a deep understanding of Afro-diasporic history and sonic imagination.

For listeners willing to engage with music that challenges, transforms, and transcends, Créole Renaissance is an album of consequence, one that rewrites the rules of solo jazz piano in real-time.

From Trauma to Transcendence: Cody Steinmann Channels Chaos into a Bold New Album

On October 7, 2023, a moment of unimaginable fear became the catalyst for profound musical creation. A stray bullet pierced the window of Minneapolis-based guitarist and composer Cody Steinmann’s home—an act of violence that, while leaving no visible scars, ignited an emotional upheaval. From this raw, vulnerable space emerged a powerful new album that confronts fragility, fear, and resilience with unflinching honesty.

“This album is a musical expression of a harrowing personal experience,” Steinmann writes. “It’s not simply a recounting of trauma—it’s about reclaiming it.” Blending jazz, blues, rock, metal, and improvisational fire, the record speaks in many tongues, each one conveying the weight of survival and the triumph of creativity. Each track bears witness to a moment that could have ended differently, yet now lives as sonic testimony—proof that out of rupture, art can rise.

Far from just a cathartic outpouring, this album showcases Steinmann's continued evolution as one of today’s most daring jazz voices. His work has always defied genre boundaries, but this project takes that fluidity further, stitching together fury and fragility with a guitarist’s precision and a survivor’s soul.

Cody Steinmann is a genre-bending jazz guitarist, composer, and educator based in Minneapolis, Minnesota. Originally from Wisconsin, he studied music at Milwaukee Area Technical College and the University of Wisconsin – Parkside, where he was a recipient of the Rita Tallent Picken scholarship. His artistic development has been shaped by a rich lineage of mentors including JD Allen, Ari Hoenig, Steve Peplin, Russ Johnson, and many others.

A mainstay in the Twin Cities’ jazz scene, Steinmann leads the Cody Steinmann Trio and Sightless Quartet, pushing boundaries with music that fuses jazz, hip-hop, and metal. His work explores the outer edges of improvisation and genre, challenging audiences to engage deeply with the present moment.

His growing discography includes 7 (2019, as C0D3 7), Sightless Quartet Live (2021), and Confined Spaces (2024), featuring Chris Bates and Abinnet Berhanu. He’s collaborated with a broad range of artists including Javier Santiago, Solomon Parham, Kevin Washington, Ben Williams, JT Bates, and Fode Bangoura.

At the core of Steinmann’s music lies a commitment to truth—emotional, sonic, and social. With this latest album, born from a night of chaos and fear, he transforms vulnerability into vitality, inviting listeners to join him in a shared act of creative survival.

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Soul! Live in New York City: Bill Withers and McCoy Tyner’s Rare Convergence of Jazz, Poetry, and Soul

Imagine tuning into WNDT/WNET’s Soul! on December 29, 1971, to witness an unforgettable convergence of artistry. Bill Withers—straight from his debut Just As I Am—takes the stage with voice, guitar, and piano, while poet Mae Jackson offers her verses. Then enters the McCoy Tyner Quartet: Tyner on piano, Joe Lovano on tenor sax, Christine McBride on bass, and Jeff "Tain" Watts on drums. This rare broadcast, produced by cultural visionary Ellis Haizlip, is now preserved on CD via Offbeat as Soul! Live in New York City.

At stake was more than music—it was cultural synergy. Withers, rooted in soul storytelling, and Tyner, a jazz force born from the McCoy Tyner–John Coltrane legacy, formed a duo that spoke both spiritual depth and everyday emotion. The result: a meditative yet vibrant performance that stands out—as one descriptive review put it—as “rich, contemplative, and unforgettable”.

Performance

• Bill Withers — Vocals, Guitar, Keyboards

• McCoy Tyner Quartet

  • McCoy Tyner — Piano

  • Joe Lovano — Tenor Sax

  • Christine McBride — Double Bass

  • Jeff "Tain" Watts — Drums

• Special guest: Poet Mae Jackson, contributing spoken-word interludes.

Track Listing (Disc 1 / Single CD):

1. “Ain’t No Sunshine”

2. “If I Could (I’d Build a Castle)” (poem)

3. “Castles in the Sand”

4. “What Better Way to Say Goodbye?”

5. “Ain’t No Sunshine” (reprise)

6. “When We Were Young” (poem)

7. Interview leading into...

8. McCoy Tyner Quartet jam

9. “Please Don’t Fall” (poem)

10. Bill Withers intro to...

11. “Grandma’s Hand”

12. “Full Grown Man”

13. “Harlem'

Bill Withers (1938–2020), born in West Virginia, rose from humble roots working in aerospace before launching his music career in his early 30s. With hits like “Ain’t No Sunshine,” “Lean on Me,” and “Use Me,” he became a defining voice of 1970s soul: honest, sparing, and deeply felt. Withers's songwriting and emotional presence made him a rare crossover star in both pop and soul realms.

While not in the McCoy Tyner biography database directly, he joined the jazz world many times through mutual respect. His performance here echoes his aptitude for storytelling woven into performance context beyond studio albums and pop charts.

Soul! Live in New York City is not just a concert. It’s an artifact of cultural convergence—visualize live broadcast, jazz improvisation, soul narrative, and spoken word all coalescing into one hour. Limited CD pressing via Offbeat (OFBCD5014), released July 18, 2025, makes it essential for both Withers fans and jazz lovers alike. Though currently out of stock, it's worth waiting for or requesting—a hidden gem of early ’70s Black artistic expression.