Armen Donelian’s 1981 Debut Stargazer Returns in a Stunning Reissue from Sunnyside Records

azz pianist and composer Armen Donelian is revisiting his artistic roots this fall with the long-awaited reissue of his 1981 debut album Stargazer—a hidden gem that until now had only been available as a rare Japanese import. Sunnyside Records will release the newly remastered edition on October 3, just ahead of Donelian’s 75th birthday.

Originally recorded in April 1980, Stargazer captured the then 29-year-old Donelian in peak creative form alongside two jazz icons: bassist Eddie Gomez (of Bill Evans fame) and drummer Billy Hart (known for his work with Herbie Hancock). What resulted was a deeply expressive and dynamic piano trio album that showcased not only Donelian’s compositional skill but also his improvisational daring and deep musical communication with his bandmates.

“I’m not tied to the past,” says Donelian. “But I felt strongly this was a document that needed to be available.”

A Rediscovered Masterwork

From the lyrical grace of “Southern Belle” to the contemplative waltz of “Silent Afternoon,” Stargazer shines with a bold originality shaped by Donelian’s early tutelage under Richie Beirach, Mongo Santamaria, and Sonny Rollins. The title track opens the album with spirited interplay between the trio, and “Love’s Endless Spin” bursts with rhythmic joy and playful exploration.

One of the album’s standout moments is “Free at Last,” a free improvisation that feels almost sacred in its spontaneous unity. And the track “Monday,” introduced by a wake-up-call solo from Hart, moves into energetic territory, using complex counterpoint and bebop feel to blur the line between rhythm and melody—an approach Donelian continues to teach in his university ensemble classes today.

A Long-Lost Bonus

The reissue also unveils a previously unreleased track, “Queen of Light,” which didn’t make the original LP but was recorded during the same session. Built on a sultry groove from Hart, it finds Donelian and Gomez pushing bluesy motifs into cerebral twists—a fitting finale to a collection that now finally gets the wider audience it has long deserved.

A Legacy in Jazz and Education

Born in Queens in 1950 to Armenian immigrant parents, Donelian began piano studies at age 7 and discovered jazz at 12. After studying at Columbia University, his real-world education came through playing with legends like Chet Baker, Claudio Roditi, Billy Harper, and of course, Sonny Rollins. Over the decades, he’s released more than a dozen albums including the acclaimed Secrets (1988), Sayat-Nova: Songs of My Ancestors (2014), and Fresh Start (2022).

Beyond the stage and studio, Donelian has shaped generations of musicians through his teaching. He’s earned seven Fulbright awards, co-founded the Hudson Jazz Workshop, taught at the New School and William Paterson University, and authored essential pedagogical works including Training the Ear and Whole Notes: A Piano Masterclass.

Now, with Stargazer finally available worldwide, we’re gifted a chance to revisit the moment Donelian began his journey as a recording artist—a moment that sounds as timeless and inspired today as it did in 1980.

---

Phil Casagrande Serenades Summer with a Jazzed-Up “Make It With You”

Jazz keyboardist Phil Casagrande is setting the mood for romance this summer with his soulful, sun-drenched rendition of Bread’s 1970s pop classic “Make It With You.” The newly released instrumental is already climbing radio airplay charts and joining romantic jazz playlists, offering listeners a warm breeze of nostalgia mixed with modern jazz sensibility.

It all began with a walk on Orchard Beach in the Bronx. Casagrande was moved by the young couples basking in the glow of summer love—a scene that transported him back to simpler times. That emotional moment deepened as he drove home, tuned in to SiriusXM’s 70s on 7, and was greeted by the timeless melody of “Make It With You.” Moved by inspiration, he went straight to his keyboard, crafting a smooth, sensual reinterpretation of the David Gates-penned hit.

“The childhood memories the beach scene evoked for me led to the creation of a track that embodies a spirit that we can all appreciate today,” said Casagrande.

Backed by longtime collaborators Emedin Rivera on percussion and John Henderson on breezy electric guitar, Casagrande brings a slow-burning groove to the beloved ballad. His interpretation is lush and layered—lush keyboard leads, floating harmonies, and a rhythm that’s as relaxing as a hammock swing at sunset. The result is a track that respects the original while carving out a uniquely soothing jazz vibe.

No stranger to reimagining classics, Casagrande has previously put his spin on beloved tunes like Barry White’s “Love Theme,” Double’s “The Captain of Her Heart,” and Tommy James & The Shondells’ “Crystal Blue Persuasion.” His skill at bridging genres and eras is rooted in a career that began in the dance music scene, most notably with the 1984 club hit “Four Year Battle” performed by Paula Anderson.

Phil Casagrande’s solo career began in earnest with the 2012 release of Manhattan Vibe, drawing from his NYC roots. His following albums, Taken Off (2015) and Missing You (2016), landed songs in both television and film—proof of his versatile artistry.

In addition to “Make It With You,” Casagrande recently released “Dreamy Sunday,” a lo-fi jazz chill-out track that’s found a home on Spotify and YouTube playlists. It marks a fresh lane for the artist, who plans to continue releasing both lo-fi experiments and polished contemporary jazz productions in the months to come.

Whether you're strolling the beach, winding down your day, or lost in a memory of a first love, Phil Casagrande’s “Make It With You” is the soundtrack you didn’t know you needed.

Eddie Palmieri: The Relentless Fire of Latin Jazz, Silenced at 88

On August 6, 2025, the world lost more than a musician — it lost a force. A storm. A relentless innovator who refused to play by anyone’s rules but rhythm itself. Eddie Palmieri, the Grammy-winning pianist, composer, and salsa architect, passed away peacefully at his home in New Jersey. He was 88.

But Eddie Palmieri never really did anything “peacefully.”

From the very beginning, his was a life set to clave. Born in Spanish Harlem in 1936 to Puerto Rican parents, Eddie was raised in the Bronx where the streets pulsed with Afro-Caribbean sound and jazz was in the air like oxygen. His older brother, the legendary Charlie Palmieri, was already a piano prodigy and the house echoed with music. Eddie, just a boy, watched. Then followed.

He played Carnegie Hall at 11. By 13, he was in his uncle’s orchestra, pounding timbales and studying the bandstand like it was sacred scripture. But it wasn’t until he sat down at the piano — his instrument of rebellion — that Eddie Palmieri’s true revolution began.

“La Perfecta” and the Birth of a New Sound

In 1961, Palmieri launched what would become his first act of war against tradition: Conjunto La Perfecta. Rather than follow the popular charanga style of the time, he stripped the violins and replaced them with trombones. The result was heavier, punchier, with a swing that knocked the wind out of your lungs. Salsa, as the world would soon come to know it, was being redefined in real time.

It wasn’t just the instrumentation — it was attitude. Palmieri’s arrangements were complex, his harmonies borrowed from jazz, his solos unrestrained. His music didn’t ask for permission. It demanded you dance.

A Pianist with Fire in His Hands

Though salsa made him famous, jazz remained his secret language — and sometimes his public declaration. In 1971, he released Harlem River Drive, a groundbreaking album that married Latin jazz, soul, funk, and spoken-word protest. It was Palmieri at his most fearless — unapologetically political, musically ahead of his time, and rhythmically thunderous.

In 1975, he became the first Latino artist to win a Grammy Award, for The Sun of Latin Music. He would go on to win seven more, spanning both salsa and Latin jazz categories. But he remained, always, the same: a man who approached the piano not with delicacy, but with dynamite.

Collaborations That Changed the Game

Palmieri wasn’t just a solo star — he was a master collaborator. From the fiery exchanges with Tito Puente on Obra Maestra to launching the career of vocalist La India with their 1992 salsa masterpiece, he had a knack for lifting others into the spotlight.

In later years, albums like Listen Here! and Simpático brought him together with jazz giants like Michael Brecker and Regina Carter, proving that even in his 70s, Palmieri could challenge — and outshine — the best.

A Humble Revolutionary

Despite his awards, honors, and international acclaim, Palmieri never spoke like a legend. In a 2011 interview, he said simply:

“Being a piano player is one thing. Being a pianist is another.”

It was never about fame. It was about the groove. The clave. The joy of invention. The resistance to stasis.

And above all, it was about freedom.

The Final Note

As the news of his passing spread, tributes poured in from around the globe. Fellow musicians called him a genius, a pioneer, a spiritual father of Latin jazz. Fans remembered the way his solos made their hearts race. Dancers recalled how the drop of his montuno could shift a whole dancefloor into ecstasy.

He died quietly, but Eddie Palmieri’s life was anything but. His music continues to echo through generations of salseros, jazz artists, and innovators who still dream in rhythm.

And somewhere, just beyond the beat, his piano is still playing.

Stax Revue – Live in ’65: Raw Soul Power from the 5/4 Club Gets a Long-Awaited Double LP Release

Featuring Booker T & The MGs, Rufus Thomas, William Bell, David Porter & More

Out August 8, 2025 via Craft Recordings – 2LP Gatefold Vinyl

Before there were sold-out European tours and iconic theater stages, Stax Records artists were lighting up gritty clubs across the U.S.—none more electrifying than their appearance at the 5/4 Ballroom in Los Angeles in 1965. Now, for the first time in expanded form, this searing document of Memphis soul at its rawest gets a deluxe release with Stax Revue – Live in '65, out August 8, 2025 via Craft Recordings on 2LP gatefold vinyl.

This album delivers an unmatched front-row seat to the sweat-soaked power of early Stax legends—just as they were on the verge of conquering the world.

More Than a Reissue – A Revelation

This set builds on the original 5/4 Ballroom release, adding several never-before-issued tracks—including some laid down back in Memphis prior to the LA event. The collection now spans 21 explosive tracks, revealing not only the club’s ferocious energy but also the versatility of the Stax roster.

Unlike the polished presentation of later Stax/Volt European tours, Live in ’65 captures an intimate, raucous, high-octane performance, with the musicians playing direct to the dance floor, not a concert hall.

Track Highlights: Soul on Fire

The album opens with Booker T & The MGs, not as background players but as stars in their own right, delivering heavy-grooved cuts like:

• “Soul Twist”

• “Summertime”

• “You Can’t Sit Down”

• “Boot Leg”

These performances are lean, mean, and deep in the pocket—evoking a vibe that’s closer to a Hammond B-3 jazz club than a glossy soul revue.

The set moves fluidly into scorching vocal showcases, including:

• William Bell: “You Don’t Miss Your Water”, “Any Other Way”

• David Porter: “Out of Sight”, “Can’t See You When I Want To”

• The Astors: “What Can It Be”, “Candy”

• Rufus Thomas: “The Dog”, “Walking the Dog”

• Wendy Rene: “Bar-B-Q”

• Carla Thomas: “Every Ounce of Strength”

• Wilson Pickett: “In the Midnight Hour”

• The Mar-Keys: “Last Night”

• The Mad Lads: “Don’t Have to Shop Around”

Each track radiates raw emotion, danceable grooves, and no-holds-barred showmanship. It’s a stunning glimpse into the soulful, gritty world of Stax’s golden age, when even the biggest names were still working the clubs and battling it out for every scream from the crowd.

In an era increasingly defined by reissues and nostalgia, Stax Revue – Live in ’65 does more than look back—it celebrates the hunger and grind of these artists before superstardom. You hear the urgency, the sweat, the grind of life on the road—all delivered through some of the most legendary voices in soul music history.

More than a historical document, this album is a time machine to the beating heart of 1960s soul.

Anthony Stanco Keeps the Hard Bop Flame Burning with In the Groove, a Live Album Bursting with Spirit and Tradition

Out October 17, 2025, on OA2 Records – Recorded Live at The Alluvion in Traverse City, MI

With his new live album In the Groove, trumpet virtuoso Anthony Stanco captures the heat, joy, and immediacy of a band firing on all cylinders before a crowd of passionate jazz lovers. Due out October 17, 2025, via OA2 Records, this vibrant set is both a heartfelt tribute to the hard bop tradition and a fresh, forward-looking expression of Stanco’s modern voice as a composer, bandleader, and educator.

Following up 2024’s critically acclaimed Stanco’s Time, which reintroduced him as a master craftsman fluent in the bebop vocabulary, Stanco now steps fully "in the groove"—a term rich with multiple meanings, from rhythmic momentum to geological transformation, all perfectly fitting this live performance captured at The Alluvion, a celebrated jazz venue in Traverse City, Michigan.

A Live Jazz Experience that Feels Like a Homecoming

While Detroit remains Stanco’s home city—and central to his musical DNA—it’s in Traverse City where this album took root. He holds a monthly residency at The Alluvion and has fostered meaningful ties to the community there through Building Bridges with Music, an education-focused nonprofit founded by club owner Jeff Haas.

“Traverse City has become a second home,” says Stanco. “I’ve managed to create a lot of great musical and personal relationships there.”

That sense of belonging radiates throughout In the Groove. Featuring an all-star quintet—Randy Napoleon (guitar), Xavier Davis (piano), John Webber (bass), and Joe Farnsworth (drums)—the recording crackles with the energy that only a live audience can inspire.

Paying Tribute, Pushing Forward

The album is a full-circle moment for Stanco. It honors the classic live hard bop recordings of the late ‘50s and ‘60s while affirming his own voice as a contemporary torchbearer. Tracks like the album-opening “T. Sea” (a Traverse City nod with a wink) and the swaggering “Riptide” channel the earthy groove and blues-based roots of the style.

“You just can’t get a convincing boogaloo in a studio the way you can live,” says Stanco. That truth is fully realized here, especially on the title track, where the audience breaks into call-and-response with Stanco’s growling, muted trumpet—an electric moment that embodies the communal spirit of jazz.

Family, Humor, and Heart

Stanco’s music is not only steeped in tradition but also brimming with heart. “Sonny Boy,” written for his infant son, features the audience joining in to sing a lullaby—mirroring the participatory spirit of Stanco’s Time, which included a tribute to his daughter, “Josie Rosie.” The intentional connection between the two compositions shows Stanco’s deepening artistry and personal investment.

“I couldn't have them fighting about which one was better for the rest of their lives,” he jokes.

Detroit Roots, Global Resonance

Born and raised on Detroit’s east side, Stanco is a fifth-generation Detroiter who studied under Marcus Belgrave and Rodney Whitaker—two titans of the city’s jazz scene. His musical values—respect for lineage, love for swing, dedication to craft—are firmly planted in the Detroit tradition, but they bloom anew on In the Groove.

One such bloom is “Pyramid Point,” a reflective piece inspired by a scenic spot overlooking Lake Michigan. Opening with a harp-like solo from Davis, it reveals the album’s contemplative side, counterbalancing the high-octane fire found elsewhere.

A Carefully Chosen Band of Equals

The album’s quintet comprises musicians who know each other deeply:

• Randy Napoleon and Xavier Davis are fellow MSU faculty and played on Stanco’s Time.

• Joe Farnsworth, a hard bop master, returned eagerly for the live follow-up.

• John Webber, a longtime partner of Farnsworth’s, provides a rock-solid bass foundation.

Their chemistry is evident throughout, from the gentle clapping on “Hey Cute One” to the blazing finish of “Just a Moment,” a contrafact of Coltrane’s “Moment’s Notice.”

Stanco even includes a Detroit-flavored homage to Donald Byrd via Duke Pearson’s “Say You’re Mine,” connecting the dots between eras, cities, and inspirations.

A Living, Breathing Homage to Hard Bop

In the Groove isn’t just a concert—it’s a living document. A snapshot of an artist in stride, a scene in bloom, and a tradition renewed. It affirms that hard bop isn’t a relic—it’s a living, breathing force, especially in the hands of musicians who honor it while carving new paths.

As Stanco puts it:

“We’re paying our homage and playing the tradition of the blues—but doing our own thing with it.”

Anthony Stanco – 2025 Tour Dates

September 28 – Blue Llama Jazz Club, Ann Arbor, MI

October 16 – UrbanBeat, Lansing, MI

November 1–2 – TC Philharmonic Center, Traverse City, MI

November 20–22 – Cliff Bell’s, Detroit, MI

Mark Turner’s Magnum Opus: Reflections on The Autobiography of an Ex-Colored Man Brings Literature, Legacy, and Jazz into Vivid Focus

In a world where albums are frequently produced but fewer works truly resonate as statements, tenor saxophonist Mark Turner has crafted a landmark musical and social commentary with Reflections on The Autobiography of an Ex-Colored Man. Set for release on October 10, 2025, the album arrives via Giant Step Arts as part of its Modern Masters and New Horizons series, curated by Jason Palmer and Nasheet Waits.

Turner, often cited as one of modern jazz's most influential saxophonists, turns inward and outward in this powerful suite—melding his personal lineage with literary resonance to explore deep and often unspoken themes of identity, race, history, and the human condition.

“A cult hero and musician’s musician in jazz circles… a tenor player with a sound and language of his own.”
– Josef Woodard, DownBeat

From Harlem Archives to Harmonic Truths

The genesis of the album dates back more than 20 years, when Turner—engaged in a self-guided study of African-American history—visited Harlem’s Schomburg Center for Research in Black Culture. Among the many essential texts he discovered was James Weldon Johnson’s The Autobiography of an Ex-Colored Man. First published anonymously in 1912, Johnson’s semi-fictional narrative explores the life of a biracial man who “passes” for white in post-Reconstruction America.

For Turner, the story wasn’t just historical fiction—it echoed his own family history.

“My mother can pass. My great aunts did exactly what the protagonist does in the book,” he shares. “I hadn't ever read a book that talked about passing before… at least not one that early on. The nuance with which Johnson handles these issues struck me. It’s still profoundly relevant.”

Literary Inspiration, Musical Innovation

Turner doesn’t attempt to write a programmatic score for the novel. Instead, he creates a musical suite inspired by the book’s emotional and philosophical gravity, embedding spoken excerpts throughout the album. Phrases like:

“Sometimes it seems to me that I have never really been a Negro... at other times I feel that I have been a coward, a deserter…”

linger long after the notes have faded.

Each composition follows the arc of the book without being bound to it. The track titles mirror the novel’s chronology, and the album culminates in a touching quote of “Lift Every Voice and Sing”—the Black National Anthem written by Johnson and his brother J. Rosamond Johnson—performed by pianist David Virelles, who also anchors the album’s ensemble.

The Ensemble: Long-Term Collaborators and Creative Allies

Turner’s band features trumpeter Jason Palmer, bassist Matt Brewer, drummer Nasheet Waits, and pianist/synthesist David Virelles—a group of long-standing creative collaborators who first premiered the suite during a Village Vanguard residency in 2018.

Each player brings a deep understanding of Turner’s aesthetic vision, resulting in a sound that is cerebral, soulful, exploratory, and emotionally gripping. Highlights include the twin tracks “New York” and “Europe”, where Virelles employs synthesizers in a nod to Sun Ra’s Afrofuturist palette.

“You will come to see that evil is a force… to attempt to right the wrongs and ease the sufferings of the world in general is a waste of effort…”
— Spoken excerpt from The Autobiography of an Ex-Colored Man featured in the suite

Craft and Cohesion: A Compositional Triumph

“I wanted to have music that was enhanced with words, not words that were enhanced by music,” Turner explains. “The compositions are musically interconnected—through harmonic motifs, forms, even keys. The book gave me an emotional thread to follow.”

Turner’s attention to structural cohesion is unmistakable. Each track serves as a reflective lens—not just on the protagonist of Johnson’s book, but on the broader implications of identity, generational trauma, and cultural duality.

A Defining Release in a Bold Series

Turner’s album is part of Giant Step Arts’ Modern Masters and New Horizons initiative—a platform for contemporary jazz’s most vital voices. Curated by Jason Palmer and Nasheet Waits, the series honors musicians who are both architects and avant-gardists, pushing the art form forward.

Upcoming entries in the series will spotlight saxophonist Neta Raanan, drummer Eric McPherson, and the Edward Pérez/Michael Thomas Band, among others.

A Bold, Reflective Work for Our Times

Reflections on The Autobiography of an Ex-Colored Man is not just an album. It is a musical essay, a cultural meditation, and a spiritual reckoning. Turner’s voice—instrumental and literary—stands as a testament to jazz’s enduring ability to speak the unspeakable, to articulate what lies between words, and to connect deeply personal stories to universal themes.

Release Date: October 10, 2025
Label: Giant Step Arts
Series: Modern Masters and New Horizons
Personnel:

• Mark Turner – tenor saxophone, spoken text

• Jason Palmer – trumpet

• David Virelles – piano, synthesizers

• Matt Brewer – bass

• Nasheet Waits – drums

Awakening to Love: Cecily's Awakening Pt. II Illuminates the Power of Unconditional Love

Cecily, the acclaimed Washington, DC-born vocalist and songwriter, returns with Awakening Pt. II—a deeply soulful and spiritual album that continues the powerful journey she began on 2019’s Awakening Pt. I. Known for her soothing soprano voice and tender, poetic songwriting, Cecily invites listeners to explore the transformative nature of love—beyond romance and into the realms of self, family, community, nature, and the divine.

Rooted in a timeless blend of mid-century soul, jazz, 90s R&B, and reimagined folk, Awakening Pt. II is not just an album—it’s a philosophy in sound. Inspired by bell hooks’ seminal work All About Love, Cecily builds upon the idea that “all awakening to love is spiritual awakening.” Through this lens, she unpacks the different forms of love that sustain and heal us. Her lyrics, rich in honesty and introspection, are elevated by sophisticated arrangements and collaborations with artists such as Jenna Camille, Muhsinah, Allyn Johnson, Zachary Cutler, and Jacob Ungerleider.

A Love Letter to Home

The album's focus track, “Come Home,” is a nostalgic and moving reflection on childhood and the comforts of home. With vivid imagery—“baked apples in the morning,” “Nintendo in the attic,” and “dancing to Jackson 5 tunes”—Cecily paints a picture of joy and safety that lingers in memory. Her delicate vocals float gently above warm instrumentation, echoing the tender yearning in the repeated refrain: “Please come home.” The song captures both the innocence of youth and the adult longing for a return to a simpler, more connected time.

Dedication and Intention

Awakening Pt. II is dedicated to three profound influences in Cecily’s life: bell hooks, Thich Nhat Hanh, and George Alexander Bumbray Jr. Each of these figures helped shape Cecily’s understanding of love as a spiritual, ethical, and transformative force. As she shares in her notes: “bell hooks said, ‘All awakening to love is spiritual awakening’ and that’s how I felt when I wrote these songs and more broadly in my journey to awakening to love.”

Supported in part by the Maryland State Arts Council, Montgomery County Government, and the Arts & Humanities Council of Montgomery County, the album was created with thoughtful purpose and intention. Each track on the LP possesses its own identity, traveling across musical styles and emotional tones while staying grounded in the central theme of love as awakening.

A Journey Born of Passion and Purpose

Though Cecily studied Political Science and Black Studies with plans for a career in public service, she soon found herself disillusioned by traditional politics. At 21, she left her international relations classroom to follow a deeper calling. After 10 years of singing as a hobby, Cecily committed herself fully to music, determined to use her voice and songwriting to uplift and inspire.

With a sound shaped by her parents’ record collection—Miles Davis from her father, Smokey Robinson from her mother—and a deep connection to poetry, Cecily’s artistry is both refined and emotionally raw. Her music celebrates vulnerability as a strength, unconditional love as a foundation, and joy as a basic human right.

A Celebrated Career

Cecily’s debut album Songs of Love and Freedom won a Wammie Award for Best Soul Album and was named Best New Soul on Bandcamp. Awakening Pt. I continued her rise, earning a SoulTracks Readers’ Choice Award nomination for Female Vocalist of the Year, an Indie Soul Music Award for Best Female Artist of the Year, and another Wammie for Best Soul Song with “Clumsy.”

Now, with Awakening Pt. II, Cecily returns with her most personal and profound work yet—a musical meditation on love that feels both timely and timeless.

Conrad Herwig Explores New Rhythmic Terrain with Reflections–Facing South, Featuring Eddie Palmieri & Luques Curtis

Multiple Grammy-nominated trombonist and composer Conrad Herwig returns with a bold new statement in Latin jazz: Reflections–Facing South, out August 29 on Savant Records. A continuation of his legendary “Latin Side of…” series, this new release breaks with tradition while honoring the rhythmic and emotional intensity that has long defined Herwig’s music.

Teaming up with Latin jazz icon Eddie Palmieri and bassist Luques Curtis, Herwig strips down the ensemble and goes drum-less — an almost unheard-of move in Latin jazz. But instead of losing intensity, this daring trio arrangement results in raw, exhilarating grooves where Palmieri’s percussive piano takes center stage and Curtis’s melodic bass becomes the heartbeat. Over it all, Herwig’s trombone delivers soaring solos that marry virtuosity with deep feeling.

“The real McCoy would have loved it.” – Chris Pearson, The London Times

An Evolution of the “Latin Side” Legacy

For over 25 years, Herwig has redefined jazz classics through a Latin lens with his celebrated series of albums: The Latin Side of John Coltrane, Miles Davis, Herbie Hancock, Wayne Shorter, Horace Silver, Joe Henderson, and most recently, Charles Mingus. These projects have earned him Grammy nominations, international acclaim, and a well-earned reputation as a boundary-pusher in jazz.

His most recent release before this was The Latin Side of McCoy Tyner, and with Reflections–Facing South, Herwig explores yet another level of harmonic richness and rhythmic innovation.

A Career Rooted in Innovation and Excellence

Beyond his own recordings, Herwig has appeared on more than 200 albums across a 40-year career, performing with luminaries like Joe Lovano, McCoy Tyner, Tito Puente, Clark Terry, Frank Sinatra, and Quincy Jones. He’s a regular member of the Mingus Big Band, serving as musical director and arranger, and is currently the Artistic Director of Jazz Studies at Rutgers University.

He has received accolades including #1 Jazz Trombonist in DownBeat’s Critics Poll, the Paul Acket Award from the North Sea Jazz Festival, and grants from the National Endowment for the Arts.

Reflections–Facing South Track Listing:

1. Bianco’s Waltz – 5:10

2. C’mon (Mi Guajira) – 4:56

3. Que Viva Barry – 5:08

4. Reflections–Facing South – 5:33

5. Listen Lady – 7:59

6. Augmented Blues – 5:30

7. Cuando se Habla de Amor – 6:14

8. Monica – 5:09

9. El Guerrero Solitario – 6:02

A Must-Hear for Fans of Modern Latin Jazz

Reflections–Facing South is an invigorating listen — both intimate and explosive, cerebral and sensual. It’s a reminder that innovation in jazz doesn’t require more; sometimes, it thrives on less. Without drums, the music finds a new kind of space and depth — one that makes every note count.

If you're a fan of Latin jazz, straight-ahead jazz with a twist, or just brilliant musicianship, this album is essential listening.

Chicago IX: Chicago’s Greatest Hits (50th Anniversary Expanded Edition)

Chicago’s music is forever etched into the soundtrack of American pop and rock. Their blend of brassy rock, jazz fusion, ballads, and progressive arrangements helped define the 1970s — and their chart dominance remains undeniable. Now, 50 years after its original release, Chicago IX: Chicago’s Greatest Hits is getting the deluxe treatment it deserves.

Arriving this Friday, August 8, 2025, via Rhino Records, the 50th Anniversary Expanded Edition of Chicago IX more than doubles the track count from 11 to 21. It not only preserves the original's spirit but refreshes it for longtime fans and new listeners alike.

First released for the 1975 holiday season on Columbia Records, Chicago IX served as the band’s first compilation, covering material from 1969's Chicago Transit Authority through 1974’s Chicago VII. The original LP was a massive success, topping the Billboard 200 and earning 5x Platinum certification while staying on the charts for a staggering 72 weeks.

Now, Rhino Records is expanding that legacy. The new gold-hued edition of Chicago IX takes the concept further, revisiting not just the original tracks but also incorporating songs from 1975 to 1980, closing the chapter just before the band’s dramatic shift into the David Foster-produced era.

Unlike the original compilation, which began with the smash “25 or 6 to 4,” the new edition opens with the band’s very first single — “Questions 67 and 68” — featuring a powerful vocal blend between Robert Lamm and Peter Cetera.

The track order has been rearranged to follow a chronological arc, making it a more accurate reflection of the band’s stylistic evolution. “Beginnings,” which once closed the album, now follows the opener. Several tracks also appear in newly remixed forms, thanks to Steven Wilson’s 2017 stereo edits, including:

• “Make Me Smile”

• “25 or 6 to 4”

• “Colour My World”

➕ 10 Bonus Tracks That Fill In the Gaps

This expanded version not only re-sequences and remixes, but adds ten more songs, rounding out the band's first prolific decade:

From earlier albums:

• “Free” (Chicago III), a notable omission in 1975, finally makes the cut.

• “Dialogue (Part I & II)” (Chicago V) adds a socially conscious, two-part dynamic.

From Chicago VIII and beyond:

• “Old Days” (No. 5, 1975) finally joins the mix.

• “If You Leave Me Now” (No. 1, 1976), the band's first Grammy winner and soft rock classic.

• “Baby, What a Big Surprise” (No. 4, 1977) continues Cetera’s melodic legacy.

• “Alive Again” and “No Tell Lover” (both Top 20 hits in 1978) capture the band's later horn-pop polish.

• “Street Player” (1979), although it didn’t chart, became a cult favorite and a sampling staple in house music.

• “Thunder and Lightning” (No. 56, 1980), co-written by drummer Danny Seraphine, closes the chapter before the band’s sonic pivot in the early 1980s.

🎶 Full Track Listing:

(asterisk denotes tracks not on the original 1975 release)

1. Questions 67 and 68 *

2. Beginnings

3. Make Me Smile (2017 Steven Wilson Remix/Edit)

4. 25 or 6 to 4 (2017 Steven Wilson Remix/Edit)

5. Does Anybody Really Know What Time It Is?

6. Free *

7. Colour My World (2017 Steven Wilson Remix)

8. Saturday in the Park

9. Dialogue (Part I & II) *

10. Feelin’ Stronger Every Day

11. Just You ’N’ Me

12. (I’ve Been) Searchin’ So Long

13. Call on Me

14. Wishing You Were Here

15. Old Days *

16. If You Leave Me Now *

17. Baby, What a Big Surprise *

18. Alive Again *

19. No Tell Lover *

20. Street Player *

21. Thunder and Lightning *

In many ways, this expanded Chicago IX feels less like a repackaged reissue and more like a proper retrospective anthology of the band’s first ten years — one that captures their evolution from jazz-rock pioneers to adult contemporary superstars.

Whether you're discovering their catalog for the first time or replacing your worn-out LP, this release offers a definitive overview of a band whose sound defined a generation.