Bremen Meets New York: The Live Alchemy of Timo Vollbrecht

When saxophonist Timo Vollbrecht set out to record Bremen New York, he wasn’t just making an album—he was building a bridge between two worlds he calls home. The project brings together a dream lineup: Ralph Alessi on trumpet, Elias Stemeseder on piano, Chris Tordini on bass, and Thomas Strønen on drums. It’s a gathering of international voices, each with a distinct musical dialect, speaking in the common language of jazz.

For Vollbrecht, this record is as much about place as it is about music. Fifteen years ago, he left Berlin for New York, chasing both education and the pulse of the city’s jazz scene. Since then, he’s carved out a multifaceted career as a performer, composer, Ivy League professor, and scholar. Yet the connection to his European roots remains strong—especially to Bremen, a city that’s played host to his artistic milestones.

The album was recorded entirely live in Bremen’s legendary Sendesaal, a venue whose acoustic warmth shapes every note. Vollbrecht’s compositions were written with this space in mind, the room’s resonance guiding the band’s phrasing and pacing. “Jazz is an art form that really thrives when it’s played live,” he says. “It’s the synergy with the audience that can lift the music to completely new heights.”

The opener, Com Tempo, begins with a nod to the late ’60s—Alessi’s trumpet gliding over intricate bass-and-drum interplay—before Vollbrecht’s signature lyricism takes center stage. Stemeseder’s piano, when it enters, feels less like an addition and more like a new dimension unfolding. Throughout the record, Strønen’s gran cassa drum rumbles like a heartbeat, expanding the sonic palette.

While Vollbrecht has explored wildly different sound worlds—like the electro-acoustic landscapes of his Fly Magic project—Bremen New York is a return to a “classic” quintet form, albeit with his modern sensibilities. The album sits at the intersection of chamber-music elegance and deep jazz lineage, evoking the spirit of live recordings by Joe Henderson or Keith Jarrett, but never mimicking them.

The magic here lies not just in composition, but in trust. With little rehearsal and only one recording day, Vollbrecht gave his band space to shape the music in real time. The result is a collection of pieces—Brighton Blues, Spicy Moon, New York Love Affair—that feel both meticulously crafted and impossibly free.

Upcoming performances will see this quintet bringing their synergy to audiences from New York to Cairo, a fitting journey for music that was born at the crossroads of continents. For Timo Vollbrecht, Bremen New York isn’t just an album—it’s proof that when the right musicians meet in the right room at the right moment, the results can be timeless.

Erika Dohi Confronts Memory, Myth, and Resilience on Myth of Tomorrow

On October 24, 2025, Switch Hit/Figureight will release Myth of Tomorrow, the second album from Osaka-born, New York-based composer and pianist Erika Dohi. It’s a work born from solitude and shaped by transformation—melding personal myth, historical memory, and an expansive sonic vision into something both deeply intimate and breathtakingly cinematic.

For many, Dohi first emerged on the global stage with her acclaimed debut I, Castorpollux (37d03d), a recording that drew praise from the BBC, The New York Times, and other international outlets. In the years since, she has become a vital force in New York’s music scene, performing in ensembles that blur the lines between genres and lending her talents to artists as varied as Ichiko Aoba, the International Contemporary Ensemble, and Wadada Leo Smith.

But Myth of Tomorrow marks an artistic leap—a leap inspired by a haunting image. The title references a mural by Japanese artist Taro Okamoto, a vivid, unsettling depiction of the Hiroshima bombing. Dohi saw in Okamoto’s work a mirror of her own emotional and creative reckoning.

“I began writing this music in the earliest days of the pandemic,” Dohi says. “I had just moved back to New York, only to find the city—and my career—suddenly paused. In that stillness, I confronted what I’ve come to call my ‘inner jails’: the emotional and mental confines we carry with us, no matter where we are.”

From that stillness grew music that’s anything but static. Produced by Grammy-winning composer William Brittelle (known for his work with Room Full of Teeth and Julia Holter) and supported by Metropolis Ensemble, the album layers Dohi’s piano and voice with an eclectic cast of collaborators: poet Carol Féliz, trumpeter Adam O’Farrill, violinist Lauren Cauley, and multi-instrumentalist Shahzad Ismaily. The arrangements move fluidly between electronic soundscapes, chamber textures, jazz phrasing, and moments of ambient stillness.

The Rain Woman’s Song

The lead single, Ame Onna, released today alongside a striking video by Michael VQ, offers an entry point into the album’s emotional world. In Japanese folklore, an ame onna—“rain woman”—is a spirit who brings rain wherever she goes. For Dohi, this wasn’t just a legend; it was her life.

“I was born in June, right in the middle of Japan’s monsoon season, and it felt like rain followed me everywhere—on school trips, birthdays, even my wedding day,” she says. “Over time, I learned to embrace that part of me, not as bad luck but as something quietly powerful and deeply tied to emotion. ‘Ame Onna’ is about that space between holding on and letting go. Rain teaches us that there’s strength in vulnerability—that release can be a form of resilience.”

The song begins with Dohi’s processed vocals, sounding as if sung underwater, suspended over delicate synths and the shimmer of a single cymbal. Halfway through, the atmosphere shifts: a deep bass pulse enters, doubling and folding back on itself, before dissolving into the surrounding soundscape.

Expanding the Palette

Myth of Tomorrow also sees Dohi embracing new sonic tools. As an artist-in-residence at Brooklyn’s Figure 8 studio, in partnership with Gotye’s Forgotten Futures project, she gained access to rare instruments—including the iconic Fairlight CMI synthesizer—as well as traditional Japanese instruments that ground her experimental approach in cultural roots. Hip-hop rhythms, chamber strings, and prepared piano textures all find a place here.

Still, at its core, the album is about connection: the way personal narratives can resonate with collective histories, and how music can bridge the two. Dohi describes Myth of Tomorrow as “an invitation to look inward, to sit with uncertainty, and to find hope and resilience in our shared human experience.”

Track titles like Izanagi no Mikoto, Saturn Square Venus, and 1111 / First Responders April 29, 2020 hint at the album’s scope—blending folklore, astrology, memory, and lived experience into a singular vision.

As the rain woman steps into her next chapter, Myth of Tomorrow feels less like a collection of songs and more like a constellation of emotional landscapes—a reminder that even in the heaviest storms, there is beauty to be found.

Erika Dohi – Myth of Tomorrow
October 24, 2025 – Switch Hit/Figureight

Tracklist

1. Izanagi no Mikoto

2. Ame Onna

3. Aratani (feat. Adam O’Farrill)

4. Saturn Square Venus (feat. Lauren Cauley)

5. In The Wild

6. Myth of Tomorrow

7. Transplante (feat. Carol Féliz)

8. Shahzad + Erika

9. 1111 / First Responders April 29, 2020

Sylvie Courvoisier & Wadada Leo Smith Unite for Angel Falls

On October 3, 2025, Intakt Records will release Angel Falls, a spellbinding duo album from pianist Sylvie Courvoisier and trumpeter Wadada Leo Smith. It’s the first time these two towering figures have recorded alone together, and yet, the music feels as if it’s the result of a lifetime of shared journeys.

Their connection didn’t happen overnight. It began in 2017 in a downtown Manhattan performance space, at a concert organized by John Zorn. Courvoisier, the Swiss-born pianist known for her fearless improvisations and meticulous ear for detail, took the stage alongside Smith, the Mississippi-born trumpet legend whose “Creative Music” ethos has shaped the course of modern jazz and avant-garde composition.

That night left a lasting impression. As Courvoisier recalls, “Right after the concert he asked for my number, and a couple of months later, we did a trio recording with Marcus Gilmore in New Haven.” That session never saw an official release, but it sparked a series of collaborations—varied, adventurous, and never predictable. Over the years, they found themselves together in trios, large ensembles, and even a two-piano project within one of Smith’s own groups. Each encounter deepened their musical rapport.

It was Smith’s fondness for the piano duo format that eventually brought the idea of Angel Falls to the table. He’s no stranger to the setting, having recorded memorable partnerships with Vijay Iyer, John Tilbury, Angelica Sanchez, and Amina Claudine Myers. But when Courvoisier suggested they work without written charts, the stage was set for something uniquely alive.

The recording itself was almost shockingly immediate. In just two hours, they played straight through the eight pieces in the order they appear on the album—no edits, no overdubs. By late afternoon, the entire record was recorded, mixed, and finished. This directness is audible in every note: the music breathes with a sense of risk, trust, and discovery.

Listening to Angel Falls is like eavesdropping on a conversation in a language only the two of them speak. Smith’s trumpet can be regal and declarative one moment, whisper-soft the next, its tones sometimes burnished by a mute, sometimes pure and open. Courvoisier answers with a piano vocabulary that stretches from crystalline classical clarity to inside-the-piano explorations, plucking and preparing strings on the fly.

There’s no traditional comping here, no soloist-accompanist dynamic. Instead, the music unfolds like an intricate dance—alternately melodic and abstract, open and tightly interwoven, playful and solemn.

The album’s title track references Angel Falls in Venezuela, the highest uninterrupted waterfall in the world. For Courvoisier, the imagery resonates both with the power of nature and the poetic vision of “an angel falling down.” The other track titles, chosen together after playback, share a similar elemental quality, reflecting the organic, unforced nature of the session.

For Smith, this collaboration is another chapter in a career defined by integrity, spiritual resonance, and creative courage. Born in Leland, Mississippi, in 1941, his roots in Delta blues and African American musical traditions have always informed his work, even as he’s pushed the boundaries of form and genre. A Pulitzer Prize finalist, Guggenheim Fellow, Doris Duke Artist, and Vision Festival Lifetime Achievement Award recipient, Smith’s body of work spans chamber music, large-scale orchestral pieces, and intimate improvisations like those on Angel Falls.

Courvoisier’s journey is equally compelling. A winner of the Swiss Grand Prix and the 2025 American Academy of Arts and Letters Music Award, she’s spent over two decades in New York City forging a career that defies easy categorization. She moves fluidly between European chamber traditions and the improvisatory spirit of the avant-jazz scene, whether reimagining Stravinsky’s Rite of Spring, leading her acclaimed trio, or partnering with innovators like guitarist Mary Halvorson.

When Courvoisier speaks about her approach, you can sense the childlike curiosity that still fuels her art. “If I hear a sound in my head, which needs to be not tempered or I want something more pecky, I will do an instant preparation,” she explains. This habit goes back to her youth in Switzerland, when she would experiment with the family piano while her parents were out, imitating radio sounds and trying any household object she could find to change the instrument’s tone.

That spirit of exploration is alive and well in Angel Falls. “With Wadada I feel like we are creating in the moment and I feel something very joyful,” she says. “We’re like kids discovering things.”

And that’s perhaps the essence of this record: two seasoned masters approaching the music with the openness and wonder of beginners, unburdened by expectations, free to follow the sound wherever it might lead. The result is a work that feels at once fleeting and timeless—an unrepeatable conversation caught on record, and a testament to the magic that can happen when two musical worlds meet.

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Terry Riley – The Columbia Recordings: A Landmark Four-Disc Set Celebrates a Minimalist Pioneer

One of the most influential composers of the 20th century, Terry Riley, is honored with a comprehensive new box set, Terry Riley – The Columbia Recordings, due August 22, 2025, from Sony Classical. Available for preorder now, this four-disc collection compiles Riley’s groundbreaking work for Columbia Masterworks between 1968 and 1980—a pivotal era that reshaped contemporary music.

The set includes Riley’s seminal albums In C (1968), A Rainbow in Curved Air (1969), Church of Anthrax (1971, with Velvet Underground’s John Cale), and Shri Camel (1980). These recordings mark a period when Columbia boldly embraced experimental American music, capturing Riley’s innovative spirit and his pioneering role in minimalist composition.

Beyond the music, the box features a 50-page booklet packed with rare archival photos from Columbia’s famed 30th Street Studios and essays by notable figures, including Grammy-nominated producer Tom Laskey, original producer David Behrman, and Riley’s longtime manager Thomas M. Welsh. These insights offer a deeper understanding of Riley’s creative process and lasting influence.

Riley, who turned 90 this past June, is widely regarded as the father of minimalism. His 1968 In C recording is credited with launching the minimalist movement, influencing contemporaries such as Steve Reich, Philip Glass, and La Monte Young. Drawing on jazz, Indian classical music, improvisation, and early electronic techniques, Riley forged a musical language that was both avant-garde and accessible—an unprecedented feat that expanded the possibilities of 20th-century sound.

This box set not only celebrates those landmark recordings but also highlights Riley’s enduring musical journey, which continues to inspire listeners and musicians worldwide.

Patricia Brennan Looks to the Cosmos for Inspiration on New Album Of The Near And Far

Visionary vibraphonist, marimbist, and composer Patricia Brennan returns with a stunning new album, Of The Near And Far, out October 24, 2025 on Pyroclastic Records. Drawing inspiration from the constellations and the vast universe beyond, Brennan crafts exhilarating compositions that blend jazz, classical, and alt-rock influences into a genre-defying experience.

For millennia, humanity has looked to the stars to tell stories and find meaning. Brennan continues this tradition, using the geometric shapes of constellations as a foundation for her music. “I became curious as to how I could translate that into music in the same way that I’ve translated numbers into rhythmic structures in the past,” she explains. On Of The Near And Far, she explores symmetry by superimposing astronomical shapes with musical structures, creating a unique harmonic and melodic language.

The album builds on the universal acclaim of her 2024 release Breaking Stretch, which received widespread praise from NPR Music, The New York Times, JazzTimes, and more. With Of The Near And Far, Brennan takes another bold step forward, assembling a ten-piece ensemble that marries jazz with contemporary chamber music. Joined by pianist Sylvie Courvoisier, guitarist Miles Okazaki, bassist Kim Cass, drummer John Hollenbeck, a string quartet, and electronic musician Arktureye, Brennan’s compositions weave intricate textures and vibrant improvisations.

Critics have hailed the album’s complexity and emotional depth. The New York Times praised her prior work as “challenging as it is danceable,” while NPR Music called her “a brilliant vibraphonist and composer rattling along the volatile edge of contemporary chamber music.” On Of The Near And Far, pieces like “Andromeda” evoke cosmic mythology and celestial phenomena, while “Antlia” reflects the mechanical precision of the air pump constellation. Throughout the album, Brennan balances cerebral compositional techniques with organic, instinctive melodies.

The album’s release will be celebrated with concerts at the Berlin Jazz Festival on November 1 and Roulette in New York City on December 1.

Brennan’s music is a journey bridging the near—her rich musical collaborations and classical training—with the far: the boundless mystery of the universe. “This is a way for me to try to make sense of the universe through my own world, which is music,” she says. “We’re all dust and matter that eventually goes back to the universe.”

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Oleksandr Kolosii Bridges Global Influences on Upcoming Album Crossed Sounds

Saxophonist and composer Oleksandr Kolosii, a rising force on the European jazz scene, returns this fall with his most expansive and sophisticated work to date: Crossed Sounds, available October 2, 2025. Featuring an international all-star quintet and recorded during a peak period of creative momentum, the album is a bold statement of Kolosii’s evolving artistry—melding bebop tradition with modern world-jazz textures.

On Crossed Sounds, Kolosii (tenor saxophone) is joined by a top-shelf ensemble: Alex Sipiagin (trumpet), Lorenz Kellhuber (piano), Makar Novikov (bass), and Donald Edwards (drums). Together, they create a sound that is at once rooted in straight-ahead jazz and flavored by the global and classical influences that shape Kolosii’s distinctive musical voice.

Stream or download Crossed Sounds and experience the fusion of classic jazz vocabulary with modern European nuance.

A Saxophonist Rooted in Bebop, Reaching Across Borders

Born in 1990 into a family of professional musicians, Oleksandr Kolosii began classical piano at age six before turning to the saxophone at twelve. Deeply influenced by bebop and hard bop legends such as Charlie Parker, Dexter Gordon, Sonny Stitt, and John Coltrane, his sound reflects reverence for jazz history while embracing a globally diverse future.

After moving to Denmark in 2017, Kolosii immersed himself in the thriving Scandinavian jazz scene. His studies at The Danish National Academy of Music put him under the mentorship of artists like Karl-Martin Almqvist, Anders Mogensen, and later Seamus Blake. Further mentorship came through private lessons with top-tier saxophonists including Ben Wendel, Joe Lovano, Melissa Aldana, and George Garzone.

A Career in Ascent

Crossed Sounds follows Kolosii’s recent release Paws Up (2023, Unit Records), and his 2021 debut Multicolored, both praised for their emotional clarity and instrumental command. While his earlier works established him as a prominent new voice in modern jazz, Crossed Sounds is poised to solidify Kolosii’s position on the international stage.

His resume includes performances at prestigious festivals such as Blue Note Jazz Competition (Poland), Elbjazz (Germany), Vinterjazz, Copenhagen Jazz Festival, and Aarhus Jazz Festival in Denmark.

Global Rhythms, Deep Tradition

With Crossed Sounds, Kolosii weaves together his global influences—melding Eastern European lyricism, classical phrasing, and hard-hitting swing. The result is a project that speaks across borders and generations, staying true to the jazz tradition while fearlessly exploring new creative terrain.

Don’t miss the release of this landmark project on October 2, 2025.

Till Brönner and Mario Biondi Breathe Soulful Jazz into Paolo Conte’s Beloved Classic “Via Con Me”

German trumpet master Till Brönner teams up with Italy’s baritone crooner Mario Biondi for a lush and elegant reimagining of Paolo Conte’s iconic “Via Con Me”, out now digitally via earMusic / Edel.

The new single is the second release from Brönner’s upcoming album Italia—a passion project co-produced with Nicola Conte that pays tribute to Italian music and culture. With “Via Con Me”, Brönner and Biondi infuse the timeless melody with soul-jazz elegance, sensual grooves, and cinematic flair, creating a fresh interpretation that bridges Italian chanson, jazz, and soul.

A classic reborn: smooth trumpet lines meet Biondi’s unmistakable voice for a version of “Via Con Me” that is as suave as it is soulful.

An International Collaboration with Italian Soul

Originally penned by Paolo Conte in the early 1980s, “Via Con Me” is known the world over for its whimsical phrasing, jazzy rhythm, and effortless cool. Brönner—a prolific artist known for his refined trumpet tone and cross-genre fluidity—honors the spirit of the original while elevating it through a modern jazz lens.

Biondi’s rich, velvet vocals glide through the arrangement with charismatic charm, making this collaboration one of the most anticipated jazz duets of the summer. The result is a stylish homage that’s perfect for late summer evenings, cocktail playlists, and lovers of European jazz-soul fusion.

What’s Next

The single is a preview of Brönner’s Italia album—slated for release later this year—which will continue his exploration of Italy’s musical landscape. With Nicola Conte’s signature touch on production, fans can expect a rich tapestry of nu jazz, bossa nova, cinematic funk, and retro-soul influences throughout the project.

Whether you're revisiting Paolo Conte’s original or discovering “Via Con Me” for the first time, this version is a must-add for your end-of-summer soundtrack.

Peter Evans’ Being & Becoming Unleash Electrifying New Single “Hank’s” Ahead of Third Album Ars Ludicra

After a whirlwind period of international touring and sonic reinvention, Peter Evans and his band Being & Becoming return with the explosive new single “Hank’s,” offering a thrilling preview of their forthcoming album Ars Ludicra, due out August 8 on More Is More Records.

Recorded at the iconic Van Gelder Studios in New Jersey, Ars Ludicra marks the third studio release from Being & Becoming—and perhaps their boldest yet. The lineup remains a powerhouse: Peter Evans (trumpets, piano, electronics), Joel Ross (vibraphone, synth), Nick Jozwiak (bass, synth), and Michael Shekwoaga Ode (drums), who deliver a cohesive yet explosive performance shaped by two years of relentless musical growth on the road.

“Hank’s” is a showstopping jam driven by Shekwoaga’s searing drums and a ferocious synth bass that shakes the ground.

The Sound of Evolution

Being & Becoming has never shied away from pushing boundaries, and Ars Ludicra is no exception. Building upon the symphonic sweep of their 2022 album Ars Memoria, the new record dives even deeper—blending musique concrète, Brazilian-influenced textures, and stadium-level dynamics with meticulous post-production by Mike Pride.

Each member brings a singular voice to the album, navigating intricate compositions with fearlessness and finesse. The result is an electrifying sonic journey that retains continuity with the group’s earlier work while boldly charting new territory.

Touring Legacy and Future Vision

Since its formation in 2017, Being & Becoming has become Peter Evans’ main creative vehicle, channeling a spectrum of influences through the stylistic diversity of its members. Their 2020 debut and 2022 follow-up laid the foundation for what’s now a mature, deeply collaborative ensemble.

From sold-out sets at Zebulon (Los Angeles) and Jazz em Agosto (Lisbon) to major appearances at the Winter Jazz Festival and Public Records (NYC), the group’s 2023–24 tour schedule supercharged their musical cohesion—moments now captured and distilled on Ars Ludicra.

The group’s momentum doesn’t stop here. In 2025, the band welcomed Pulitzer Prize-winning composer Dr. Tyshawn Sorey to the lineup on drums, with plans for extended touring in 2026 and beyond.

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.

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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.