Frank Swart Unleashes Bold New Album Mischief In The Musitorium

Bassist-producer Frank Swart has never been one to play it safe. With a career spanning multiple genres and collaborations with some of the most adventurous musicians of the past few decades, Swart has built a reputation as a fearless sonic architect. Now, he returns with his second alternative jazz full-length, Mischief In The Musitorium—a boundary-smashing record that refuses to be categorized. Released via Need To Know Records and available digitally, the album is a bold testament to improvisation, groove, and pure creative freedom.

A Fearless Cast of Innovators

Part of what makes Mischief In The Musitorium so thrilling is its staggering roster of collaborators. Swart has assembled an all-star lineup including Lenny White (Miles Davis, Return to Forever), Vernon Reid (Living Colour), Nduduzo Makhathini, Jason Marsalis, Donald Harrison, Hamid Drake, Guitar Shorty, Adam Holzman, G Calvin Weston (Ornette Coleman), Grant Green Jr., and Joseph Bowie. Each brings their own history of innovation, collectively forging an album that thrives on the unexpected.

A Sound Without Borders

Blending alt-jazz, progressive blues, and cosmic funk, the record feels like an otherworldly jam session where traditions collide and boundaries collapse. Swart describes the album as “Ornette Coleman meets King Crimson in a New Orleans warehouse”—an image that perfectly captures its raw, unboxed energy. From searing guitar lines to deep bass-driven grooves, the record is alive with improvisational fire.

What sets Mischief In The Musitorium apart is its refusal to sit still. Just when you think a groove has locked in, it twists into new territory. Just when you expect resolution, the music dissolves into abstraction. It is both challenging and deeply visceral—an album that demands attention while rewarding repeated listening.

Frank Swart: A Sonic Explorer

While Swart might not be a household name, his fingerprints are all over modern music. A bassist, producer, and engineer, he has worked with a wide spectrum of artists from rock to jazz to experimental music. His work has consistently pushed against the boundaries of genre, favoring collaboration and risk-taking over formulas and comfort zones.

Mischief In The Musitorium feels like a culmination of that journey. By bringing together such a wide-ranging group of musicians, Swart has created not just a record, but a musical ecosystem—one that celebrates improvisation as both an art and an act of rebellion.

Unapologetically Bold

At its core, Mischief In The Musitorium is about freedom: freedom to play, to experiment, to take risks, and to embrace the unexpected. It’s wild, untamed, and unapologetically bold—a sonic manifesto for anyone who believes music should be alive, unpredictable, and limitless.

Kayhan Kalhor Brings Rare Concert of Persian Classical Music to New York City

On Sunday, November 30 at 7pm, The Town Hall in New York City will host a rare and historic evening of Persian classical music, led by one of Iran’s most celebrated musicians: Kayhan Kalhor, Grammy-winning virtuoso of the kamancheh (spiked fiddle). This marks Kalhor’s first large-scale New York performance of Persian classical music in over a decade.

Joining him on stage will be acclaimed setar player Kiya Tabassian and tombak master Behrouz Jamali, together creating an authentic presentation of a musical tradition known for its subtle beauty, spiritual depth, and cultural richness.

Kalhor is widely regarded as a transcendent figure in world music. His career spans performances with major orchestras, groundbreaking ensembles, and cross-cultural collaborations. He was a founding member of Yo-Yo Ma’s Silk Road Ensemble, co-founder of The Masters of Persian Music with Mohammad Reza Shajarian and Hossein Alizadeh, and part of the Grammy-nominated Persian–Indian group Ghazal with sitarist Shujaat Husain Khan. His collaborations extend to the New York Philharmonic, Kronos Quartet, Brooklyn Rider, Malian kora legend Toumani Diabaté, and Turkish virtuoso Erdal Erzincan.

Earlier this year, Kalhor premiered Venus in the Mirror, his double concerto for kamancheh, cello, and orchestra, alongside Yo-Yo Ma and the NDR Elbphilharmonie Orchestra in Hamburg, Germany—underscoring his role as a bridge between Eastern and Western traditions.

For Kalhor, Persian music is more than performance—it is cultural storytelling. “We come from a venerable culture that has made profound contributions to the world through poetry, science, philosophy, and art,” he reflects. “Through my music, I hope to reveal the splendor of my homeland, so often misrepresented. When people connect through music, the space opens for dialogue, awareness, and discovery.”

Born in Iran to a Kurdish family, Kalhor was recognized as a prodigy early on, joining the Iranian National Radio and Television Orchestra at just 13. His musical journey has since encompassed studies in Persian traditions, Kurdish folk, Western classical music in Rome, and a degree in music from Ottawa.

At The Town Hall, audiences will witness the depth of Persian classical artistry in its purest form. As Kalhor emphasizes, “Our music is not religious, but it is deeply connected to Iranian philosophy and mysticism, and this makes it spiritual. This concert is pure music. It has nothing to do with politics or social matters. As musicians, our mission is to tell the story of our culture.”

For lovers of world music, classical traditions, or transcendent live performance, this concert is not to be missed.

Kayhan Kalhor in Concert
The Town Hall, New York City
Sunday, November 30, 7pm

Najee Releases Vibrant New Jazz Album Under the Moon Over the Sky, Blending Contemporary Jazz with Brazilian Rhythms

Grammy-nominated and internationally acclaimed saxophonist and flautist Najee returns with his highly anticipated new project, Under the Moon Over the Sky, set for release on August 12, 2025. Known for his ability to bridge contemporary jazz with soul, R&B, and world music traditions, Najee’s latest recording takes listeners on a journey that beautifully fuses modern jazz with the warmth and vibrancy of Brazilian rhythms.

The album is a celebration of cross-cultural collaboration, featuring an exceptional lineup of guest artists and producers from across the globe. Legendary vocalist Regina Belle lends her voice to several tracks, weaving dynamic jazz arrangements with the soul of Brazilian music. Najee also collaborates with Will Downing, Eric Roberson, and Chris Walker, adding depth and versatility to the project.

Produced in part by Barry Eastmond (New York), Robert Hebert (Brazil), and Jean Paul “Bluey” Maunick (UK) of the iconic group Incognito, the record is a testament to Najee’s fearless creative spirit and his mission to unify music lovers through diverse sounds.

Tracklist – Under the Moon Over the Sky

1. La Costa

2. Novo Romance

3. Being With You

4. Salvador

5. Nothing on You

6. Catch a Feelin'

7. Under the Moon and Over the Sky

8. Nice for You

9. Tudo O Que Você Podia Ser

10. Juan Le Pins

11. Living in the Moment

Each track highlights a different side of Najee’s artistry—from the romantic melodies of Novo Romance to the vibrant Brazilian flair of Salvador and the contemplative tones of Living in the Moment. The title track, Under the Moon and Over the Sky, stands out as a centerpiece, blending smooth grooves with rich instrumentation that embodies the album’s cross-cultural vision.

Reflecting on the project, Najee shared:

“I am extremely honored to present this special project to the world. Working with artists such as Regina Belle, Will Downing, Eric Roberson, and Chris Walker offers a diverse cultural experience I think everyone will enjoy.”

With a career spanning over four decades, Najee has solidified his place as one of the most influential voices in contemporary jazz. His albums have achieved multiple platinum and gold certifications, and his distinctive style on both the saxophone and flute has earned him a global fan base.

Born in New York City, Najee first gained recognition in the mid-1980s with the release of Najee’s Theme (1986), which quickly achieved platinum status. Since then, he has worked with a who’s-who of the music industry, including Prince, Quincy Jones, Chaka Khan, Patti LaBelle, and George Duke, while continuously pushing jazz forward with innovative projects.

Over the years, Najee has become known for his ability to blend jazz, R&B, soul, and world music in a way that feels both contemporary and timeless. His artistry, combined with a dedication to reaching new audiences, ensures that his work remains at the forefront of the jazz world.

Under the Moon Over the Sky is more than an album—it’s a celebration of collaboration, rhythm, and cultural harmony. By bridging the worlds of contemporary jazz and Brazilian music, Najee has crafted a body of work that not only honors the traditions of jazz but also pushes its boundaries into exciting new territory.

Be sure to stream the album on August 12, 2025, and immerse yourself in Najee’s radiant new soundscape.

Conrad Herwig: Reflections–Facing South

Featuring the Late Eddie Palmieri & Luques Curtis

Multiple GRAMMY®-nominated trombonist, composer, and bandleader Conrad Herwig returns with a bold new release, Reflections–Facing South (Savant Records), featuring the late Latin jazz icon Eddie Palmieri and bassist Luques Curtis.

This album is unlike anything Herwig has released before. Stripping the music down to its essence, the trio performs without a drummer — a daring move in a rhythm-driven genre like Latin jazz. Instead, Curtis anchors the sound with a melodic, driving bass; Palmieri transforms the piano into a rhythmic powerhouse; and Herwig soars above with his bold, fluid trombone lines. The result is Latin jazz reimagined — unfiltered, intimate, and electrifying.

A Legacy of the “Latin Side”

For nearly three decades, Herwig has been celebrated for his groundbreaking “Latin Side” series, which has paid tribute to jazz legends including John Coltrane, Miles Davis, Wayne Shorter, Joe Henderson, Horace Silver, Herbie Hancock, McCoy Tyner, and Charles Mingus. His ability to merge Afro-Caribbean rhythms with modern jazz sensibilities has earned him recognition worldwide, as well as multiple GRAMMY® nominations.

Reflections–Facing South continues that legacy while standing apart as a deeply personal project. It captures the energy of Herwig’s long partnership with Palmieri, a collaboration that has spanned several Grammy-winning recordings and countless live performances.

Remembering Eddie Palmieri (1936–2025)

Herwig dedicates this project to his late friend and mentor, Eddie Palmieri:

“Without a doubt – Eddie Palmieri was an innovator, a virtuoso musician, a brilliant composer, master communicator, and creative genius. But deeper still, he approached life and music as a sacred calling. His energy, his passion, and his love for his public, his musicians, and his family were limitless. For me, he was my Compay and blood brother. For the world, he will always be our Padrino, the godfather of this sacred music.”

Palmieri’s presence on this recording is both a celebration and a farewell, a final document of his creative brilliance alongside one of his closest collaborators.

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

Conrad Herwig has recorded nearly 30 albums as a leader and appeared on more than 200 as a sideman. He has worked with legends including Joe Henderson, Horace Silver, McCoy Tyner, Joe Lovano, Tito Puente, and Michel Camilo. He is a longtime member of the Mingus Big Band, where he has also served as musical director. Beyond performance, Herwig is a respected educator, currently serving as Artistic Director and Chair of Jazz Studies at Rutgers University.

With Reflections–Facing South, Herwig delivers not only a tribute to Palmieri but also a striking new chapter in Latin jazz — proof that innovation, passion, and respect for tradition can all thrive together in the same breath.

Satoko Fujii & Natsuki Tamura Dare to Be Quietly Adventurous on Ki

When pianist-composer Satoko Fujii and trumpeter-composer Natsuki Tamura make music together, the results are always extraordinary. Their deep musical intuition and fearless creativity have shaped one of the most distinctive duos in modern jazz. On September 19, 2025, they will release Ki (Libra Records), their tenth duo album—a work that proves restraint can be just as daring as explosive virtuosity.

Unlike past projects filled with fiery improvisations, Ki thrives on quiet intensity. The album features seven new Tamura compositions, each named after a species of tree, alongside one Fujii original. The entire program unfolds at a meditative, slow tempo—yet the performances remain endlessly fascinating thanks to the duo’s command of tone, silence, and emotional depth.

Tracks like Keyaki open with Fujii’s tolling piano notes fading into stillness before Tamura’s muted trumpet etches delicate melodies in response. On Sugi, sharp piano figures play against translucent trumpet lines, creating tension and suspense without raising the volume. Pieces such as Kusunoki and Fujii’s Dan’s Oceanside Listening Post highlight their ability to balance improvised freedom with hushed lyricism, crafting music that is as fragile as it is powerful.

This approach recalls Tamura’s acclaimed Gato Libre quartet, known for its graceful lyricism and dignified quietude. “The lyricism of Gato Libre was always in my mind,” Tamura explained. “With Ki, I wanted to create an even more extremely dignified world—like standing tall in clear air.” Fujii adds, “It was not easy for me to play less than I usually do, but I came to love the challenge. The emotions it stirred were unlike anything I had experienced before.”

Before recording, the pair tested the new material in a series of California concerts, experiences that reinforced the music’s emotional depth. Each performance underscored the duo’s ability to weave intimacy, silence, and spontaneity into something timeless.

With Ki, Fujii and Tamura prove that adventurous jazz does not always roar—it can whisper, breathe, and still carry the force of discovery. For long-time followers and new listeners alike, this is a remarkable document of two masters pushing the boundaries of expression by embracing quietude.

DeeAnn Breathes New Soul into Sade Classic Kiss of Life

Buffalo’s own award-winning jazz and blues vocalist DeeAnn is once again showcasing her versatility and emotional depth with the release of her latest single, a soulful reinterpretation of Sade’s 1992 R&B hit “Kiss of Life.”

Known for her ability to fuse jazz, blues, soul, and rock with grace and authenticity, DeeAnn brings a fresh and deeply personal perspective to this classic. Following her acclaimed cover of Al Green’s “Simply Beautiful,” her version of “Kiss of Life” highlights her rich vocal delivery, exquisite jazz scatting, and the ongoing creative synergy she shares with legendary producer Ted Perlman.

While Sade’s original speaks of romantic love, DeeAnn’s interpretation embraces a more spiritual dimension. Having endured the heartbreaking loss of her son William in 2023, she now finds profound resonance in the song’s imagery of an angel bringing new love and joy to earth.

“It’s a great song and I’ve always loved Sade,” DeeAnn reflects. “I relate to those lyrics about an angel bringing someone to us on a different level now. To me, the song is about our connection to God, about angels bringing us new life and love after loss. The angel could even be William, bringing the beauty of God into my life. The lyrics remind me that even after grief, the world can truly hear our hearts beating again.”

This deepened perspective gives her Kiss of Life performance an emotional richness that transcends romance, touching instead on healing, resilience, and faith.

Perlman — whose résumé includes collaborations with Whitney Houston, Harry Belafonte, Bob Dylan, Diana Ross, and Brian Wilson — has become a key partner in DeeAnn’s recent work. He describes her artistry with admiration:

“I love her combination of soul, jazz, blues and rock. She has a unique sound, and I’m always on the lookout for artists who are unique and have that special je ne sais quoi. It’s wonderful to create music with her, and I often feel like a custom tailor coming up with the perfect vibe around an artist who can really bring a song home.”

Recorded at Perlman’s Nashville studio, Station West, the single features some of Music City’s finest session musicians, including pianist/organist Jody Nardone, bassist Jonathan Nixon, drummer Brian Czach, and background vocalists Moe Loughran and Damien Horne, with Perlman himself contributing evocative electric guitar textures.

The arrangement balances smooth, soulful grooves with jazz-inspired playfulness, perfectly framing DeeAnn’s voice as it moves effortlessly between her powerful low register and expressive higher tones.

Earlier in 2025, DeeAnn earned multiple honors in the 10th Annual JazzBuffalo Poll, including Jazz Female Vocalist of the Year. Her 2023 album It’s My Time remains a fan favorite, earning the most votes in the poll while she was also named runner-up for both Most Memorable Performance and the John Hunt Jazz Artist of the Year Award.

These accolades build on a career that began in Buffalo’s pop/rock scene, where she twice won Best Female Vocalist at the Buffalo Music Awards, later earning Best Female Blues Vocalist at the Buffalo NightLife Music Awards before launching her recording career with her 2016 debut album Desperately Seeking DeeAnn.With Kiss of Life, DeeAnn proves once again that her artistry is about more than honoring classics — it’s about transforming them into deeply personal statements of resilience and hope. Her upcoming album, blending originals with reimagined gems from across eras, promises to further reveal the depth of her journey and the boundless range of her voice.

For DeeAnn, the music isn’t just performance — it’s healing, testimony, and a reminder that love and joy are never far away, even after loss.

Ellis Hall Returns with Soulful New Single: I’d Really Love To See You Tonight

Ellis Hall is back with a powerful new release: a stunning remake of the 1976 England Dan & John Ford Coley classic “I’d Really Love To See You Tonight.”

Reimagined with Hall’s signature artistry, the track is a deeply soulful ballad that blends timeless R&B smoothness with a fresh, modern vibrancy. Channeling the emotional depth of Luther Vandross and the magnetic energy of Bruno Mars, Hall delivers a performance that promises to captivate listeners across generations.

“This song is my way of honoring the foundation of R&B while embracing a fresh sound,” says Hall. “It’s a personal journey—rich in emotion, layered with depth, and designed to resonate with anyone who’s ever loved and longed.”

With soaring vocals, lush harmonies, and heartfelt delivery, Hall reminds audiences of his mastery as a singer, songwriter, and producer.

An acclaimed singer, songwriter, producer, and multi-instrumentalist, Ellis Hall has built a career defined by both tradition and innovation. Known for seamlessly blending musical heritage with forward-looking artistry, his return to R&B feels both like a homecoming and a bold new step.

With I’d Really Love To See You Tonight, Ellis Hall proves once again that great soul music never fades—it evolves, carrying its legacy forward to inspire new generations.

This striking new ballad is more than just a song — it’s a celebration of timeless soul. Whether you’re a longtime admirer or discovering Ellis Hall for the first time, this release is a reminder of music’s power to connect hearts across time.

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The Secret Trio Returns with Old Friends

With the release of Old Friends, The Secret Trio continues its mission of bringing people together through the universal language of music. Known for their ability to weave together seemingly contrasting traditions, the ensemble blends eastern micro-tonal modes and intricate rhythmic patterns with western harmony and form, creating a sonic world that is at once familiar and refreshingly new.

This cross-cultural vision has been the hallmark of the Trio’s acclaimed recordings — Soundscapes, Three of Us, and Coexist. Now, with Old Friends, they deepen their artistry, proving that music truly has the power to dissolve boundaries.

Meet The Secret Trio

Ismail Lumanovski (clarinet) — Born in Macedonia in 1984, Lumanovski is recognized as one of the world’s leading clarinetists. Equally at home as a classical soloist with major symphony orchestras and a boundary-pushing improviser at global music festivals, his versatility and virtuosity bring unmatched depth to the Trio’s sound.

Tamer Pınarbaşı (kanun) — Born in Turkey in 1970, Pınarbaşı has revolutionized the playing of the kanun, a centuries-old Middle Eastern instrument. By developing a groundbreaking ten-finger technique, he expands its possibilities, merging traditional makams (modes) with modern harmonic concepts. His playing gives the Trio limitless flexibility in reimagining genres and idioms.

Ara Dinkjian (oud) — An Armenian-American composer and musician, Dinkjian was born in 1958 in the United States. His songs have been translated into 16 languages, but within The Secret Trio he is the grounding force. On the oud, he provides bass lines, chords, counterpoint, and rhythm — occasionally stepping into dazzling passages with his bandmates, but always with an ear toward balance and connection.

A Friendship in Music

Pınarbaşı and Dinkjian first met in 1996; nearly a decade later, in 2005, they were introduced to Lumanovski. What began as mutual admiration quickly evolved into a lasting friendship. Today, their chemistry on stage is undeniable. Audiences often remark not only on the Trio’s musical brilliance, but also on the joy the three radiate while playing together. It’s as if you are watching old friends share a musical conversation — and in many ways, you are.

The New Single

From Old Friends comes the single “Bülbülüm Altın Kafeste” (My Nightingale in the Golden Cage) — a traditional folksong from Thessaloniki. The piece is set in the Kürdi melodic mode and the aksak (9/8) rhythmic cycle, featuring a stunning improvisation by kanun virtuoso Tamer Pınarbaşı. It captures the Trio’s gift for marrying makam-based traditions with the harmonic richness of the western idiom.

Behind the Sound

Produced by Anderson Audio New York in collaboration with The Secret Trio, Old Friends was recorded and mixed at the Clive Davis Institute of Recorded Music, Studio 4 in Brooklyn between 2023 and 2024. Legendary engineer Jim Anderson handled recording and mixing, with mastering by Ulrike Schwarz at the Tippet Rise Arts Center in Montana. Immersive audio authoring was completed by Morten Lindberg (2L, Norway), ensuring the album delivers a multidimensional listening experience.

The Secret Trio Today

Featuring:

• Ismail Lumanovski – clarinet

• Ara Dinkjian – oud

• Tamer Pınarbaşı – kanun

With Old Friends, The Secret Trio reminds us that music is more than entertainment — it is a force for connection, friendship, and shared humanity.

Ned Rothenberg Returns with Looms & Legends: A Masterclass in Intimate Improvisation

Multi-instrumentalist Ned Rothenberg is back with his first solo album in 13 years, Looms & Legends, out September 5, 2025 via Pyroclastic Records. Known as “America’s most intimate composer and improviser” (All Music Guide), Rothenberg showcases his unique voice on alto saxophone, clarinets, bass clarinet, and shakuhachi flute, weaving mesmerizing, narrative-driven improvisations that push sonic and spatial boundaries.

“Rothenberg reconciles an unapologetically cerebral approach with accessibility and emotional expression. No mean feat, indeed.” – Peter Margasak, Chicago Reader

On Looms & Legends, Rothenberg continues to develop the singular language he has honed over more than four decades. His first solo recording since 2012’s World of Odd Harmonics (Tzadik) reveals a master storyteller capable of creating rich, multi-layered musical landscapes. The album’s title hints at its dual approach: weaving melodic narratives (“Y-axis”) alongside expansive, immersive sonic textures (“X-axis”), inviting listeners to engage actively with each composition.

“In my improvisations, there are the more melodic pieces that have a definite sense of starting at a certain place and taking you along a storyline. Then there are the ‘loom' pieces, which present the listener a rich and atypical aural environment in which to weave their own subjective narrative,” Rothenberg explains.

Each track is a journey. From the brisk, ascending miniatures of “Brief Tall Tale” to the shifting, multiphonic landscapes of “Urgency,” Rothenberg conjures worlds of color and resonance. Highlights include:

• Fra Gile – Ethereal clarinet melodies unfurl like delicate tendrils exploring the surrounding sonic environment.

• BellKeyBell – A percussive alto sax exploration that reduces the instrument to key clicks and resonances, creating an intimate portrait of sound.

• Dance Above – A propulsive opener pulsating with rhythm, balancing grace and intensity.

• Resistance Anthem – Rothenberg’s original composition, a marchlike reflection on the role of art in a challenging cultural moment.

• ’Round Midnight – A haunting shakuhachi rendition of Thelonious Monk’s classic, timeless in its mournful beauty.

The album balances improvisation with a few carefully chosen compositions, allowing Rothenberg to guide listeners through both structured and exploratory spaces.

Rothenberg’s studies of African and Asian musical traditions, combined with decades of performance experience across five continents, have shaped a sound that is both worldly and entirely his own. He describes his work as “future primitivism,” imagining music as the indigenous sounds of an undiscovered culture, centered on circular breathing and woodwind exploration.

“I feel like musicians who are doing work of depth need to push back against the TikTok culture… An album like this goes against the grain, where music has to grab you in 30 seconds. I can unapologetically say that's never what I've been about.”

Rothenberg has performed globally both solo and in ensembles like Crossings 4 (with Sylvie Courvoisier, Mary Halvorson, and Tomas Fujiwara) and Sync (with Jerome Harris and Samir Chatterjee). His collaborations include Evan Parker, Marc Ribot, Sainkho Namchylak, and John Zorn. His discography spans solo and ensemble recordings including Lockdown, World of Odd Harmonics, Ryu Nashi, and Inner Diaspora.

Looms & Legends is set for release on September 5, 2025.

George Coleman with Strings: A Lyrical Late-Career Masterpiece from a Living Jazz Legend

Few saxophonists in jazz history can match the breadth and depth of George Coleman’s career. A member of Max Roach’s ensemble in the late 1950s, a key voice in Miles Davis’s groundbreaking quintet in the early 1960s, and a collaborator with giants like Herbie Hancock, Chet Baker, and Elvin Jones, Coleman has been a major influence on generations of saxophonists. With 19 albums as a leader already to his credit, he could easily rest on his laurels. Instead, at the age of 90, Coleman has chosen to do something entirely new—record his first album backed by a string orchestra.

A Tradition with Deep Roots

His new release, George Coleman with Strings (out August 29, 2025 on HighNote Records), places Coleman in a lineage of lyrical jazz milestones—joining the ranks of Charlie Parker, Stan Getz, Coleman Hawkins, and Ben Webster, all of whom explored lush string settings to reveal a different side of their artistry. Known for his warm, smoky tone and melodic inventiveness, Coleman sounds utterly at home in this setting, his tenor weaving through Bill Dobbins’ elegant arrangements with both grace and authority.

“Still growing. Still reaching. He’s telling you a story he’s been holding onto for years,” producer Diane Armesto says. “This album isn’t just another notch in his belt—it’s a gift.”

A Life in Music

Born in Memphis, Tennessee, Coleman came of age surrounded by extraordinary peers—Booker Little, Harold Mabern, Frank Strozier, Jamil Nasser, Hank Crawford, Phineas Newborn Jr., and blues legend B.B. King. By the mid-1950s, he was a fixture in Chicago’s jazz scene before joining Max Roach’s band in 1958. New York became his permanent home soon after, and from there he worked with some of the greatest names in jazz while leading his own groups from 1973 onward.

Coleman’s career has also been defined by his commitment to jazz education, teaching at institutions including The New School University, NYU, and the Mannes School of Music, while conducting workshops and master classes across the country.

The Making of George Coleman with Strings

The project was recorded in 2022 at the legendary Van Gelder Studio and brought to life by Coleman’s producer Diane Armesto along with his longtime friend and protégé, saxophonist Eric Alexander. The rhythm section features members of Coleman’s trusted quartet: John Webber (bass), Joe Farnsworth (drums), and David Hazeltine (piano)—who stepped into the chair once held by Harold Mabern. The lush 10-piece string arrangements were penned by Bill Dobbins, with percussion virtuoso Café Da Silva adding rhythmic colors to select tracks.

The repertoire, chosen by Armesto and Alexander, allows Coleman to simply step into the studio and do what he does best: tell stories through his horn.

Inside the Music

The album opens with a tender reading of Sammy Cahn’s “Dedicated to You”, Coleman’s tenor enveloped in rich string harmonies. On Henry Mancini’s “Moment to Moment”, Hazeltine states the melody while Coleman enters later, riding a gentle Latin tango feel supported by Webber, Farnsworth, and Da Silva’s bongos and shakers.

Coleman’s interpretation of Victor Young’s “Stella by Starlight” is a masterclass in harmonic sophistication, while Johnny Mandel’s “A Time for Love” appears twice: a short version and an extended cut featuring a sweeping orchestral introduction.

Thelonious Monk’s “Ugly Beauty” might seem an unlikely candidate for strings, but Dobbins’ atmospheric arrangement and Coleman’s understated delivery transform it into one of the album’s most compelling moments. Like “A Time for Love,” it appears in two versions, one with the full orchestral prelude.

A Vital Voice at 90

Even after six decades in the spotlight, George Coleman’s playing remains vibrant, soulful, and deeply human. His sound—rooted in Memphis blues, shaped by modern jazz innovation—resonates with both seasoned jazz fans and new listeners alike. Backed by a distinguished rhythm section and Dobbins’ sumptuous strings, George Coleman with Strings stands as both a late-career triumph and a timeless addition to the jazz canon.

When it comes to George Coleman, there’s no question—age has only deepened his artistry. And with this album, he’s given us not just a performance, but a legacy.

Wolfgang Muthspiel Trio’s Tokyo: A Masterclass in Subtle Interplay and Boundless Exploration

On September 26, 2025, Austrian guitarist Wolfgang Muthspiel and his long-standing trio partners—bassist Scott Colley and drummer Brian Blade—will release Tokyo (ECM Records), their third outing as a unit. If their earlier albums hinted at an almost telepathic bond, Tokyo confirms it beyond doubt, offering a set that is at once adventurous, lyrical, and deeply interactive.

DownBeat once described their rapport as carrying “something of the empathy of the Bill Evans Trio,” and Tokyo shows just how much that empathy has deepened. The album’s opening track, a delicate rendering of Keith Jarrett’s “Lisbon Stomp”, sets the tone: intricate, conversational, and fearless in its harmonic exploration. From there, the program tilts toward Muthspiel’s own captivating originals, weaving through balladic lyricism (“Pradela,” “Traversia”), subtle folk flavors (“Strumming,” “Flight”), oblique chamber jazz (“Weill You Wait”), and even twang-inflected rock and roll (“Roll”).

“It’s never about a solo trip,” says Muthspiel. “Everything is intertwined, forming one single narrative. That’s what I love about playing with these guys.”

A Working Band’s Intimacy

Over several years—and tours spanning Europe, the US, and Japan—Muthspiel, Colley, and Blade have cultivated a rare chemistry. All three are masters in their own right, but together they create music that feels less like a series of solos and more like a shared conversation. That intimacy is heightened by the trio’s consistent setting: each of their ECM albums has been recorded in Japan, and Tokyo continues the tradition.

Muthspiel moves fluidly between acoustic and electric guitars, shaping melodies with a soft touch and unfailing lyricism. His nearly five-year partnership with Colley has forged an intuitive harmonic relationship, evident in the freer passages of “Lisbon Stomp,” where the two spontaneously create progressions in real time. Blade’s drumming—always musical and never ornamental—serves as the connective tissue, from the sparse, laid-back fills on “Weill You Wait” to the constantly evolving backbeat on “Roll.”

Moments of Surprise

The album thrives on understatement and unorthodox choices. On “Strumming,” Muthspiel likens his role to a ride cymbal, using percussive guitar textures while Colley’s bowed bass takes the melodic lead. Blade’s climactic coda is a slow-building percussive crescendo, eschewing a typical mid-song solo. In “Roll,” Muthspiel plays Jaco Pastorius-like basslines on guitar while Colley’s bass functions like a horn section—an arrangement inspired by both Keith Jarrett vamps and Weather Report grooves. That fusion spirit surfaces again on “Christa’s Dream,” where Muthspiel sprinkles brief synthesizer-guitar textures reminiscent of Joe Zawinul.

The inspirations behind these compositions are as varied as their sound worlds. The folk-tinged “Strumming” recalls the simplicity of Bob Dylan and Leonard Cohen, while “Traversia,” written during a hike along the Camino de Santiago, carries a modal design that Muthspiel associates more with Olivier Messiaen than with traditional jazz harmony. A children’s guitar used during its composition led him to adopt a higher tuning, lending the piece a Renaissance, lute-like color.

Homages and History

Muthspiel’s humor and reverence for jazz history surface in the punned title “Weill You Wait,” a direct homage to composer Kurt Weill. Drawing on Lotte Lenya’s uniquely sharp interpretations, the trio performs the piece with deliberate edge rather than sentimentality. The closing track, Paul Motian’s “Abacus”, ties the album to ECM’s deep jazz lineage, creating a circular narrative with the opener’s nod to Keith Jarrett.

Captured in Tokyo, Shaped in Munich

Recorded in Tokyo in October 2024 and mixed in Munich in February 2025 by ECM founder Manfred Eicher, the album’s sound reflects the label’s signature clarity and atmosphere. It’s the kind of project that could only be made by a “working band”—one that has lived inside the music long enough to know when to push, when to yield, and when to simply let a moment breathe.

In Tokyo, Muthspiel, Colley, and Blade offer more than a set of tunes—they deliver a seamless narrative where every note feels both spontaneous and inevitable. It’s chamber jazz, folk poetry, electric groove, and improvisational telepathy all in one.

When the trio takes the stage—or the studio—there’s no hierarchy, only three voices speaking as one. And in Tokyo, that voice is as eloquent and adventurous as it has ever been.

Mark Sherman’s Bop Contest: A Triumphant Return to the Vibraphone with Ron Carter and an All-Star Cast

On November 7, 2025, vibraphonist, pianist, and composer Mark Sherman releases his highly anticipated 22nd album as a bandleader, Bop Contest (Miles High Records). The project marks a bold and joyful return to the vibraphone for Sherman, whose recent output showcased his prowess on the piano. With Bop Contest, he reclaims his place among the instrument’s modern masters, in the grand tradition of Milt Jackson and Lionel Hampton.

To make the occasion even more special, Sherman enlisted a dream team of collaborators, including pianist Donald Vega, drummer Carl Allen, guest trumpeter Joe Magnarelli, and—most notably—jazz bass legend Ron Carter. Carter, who holds the Guinness World Record as the most recorded jazz bassist in history, didn’t just join the project—he inspired it.

Sherman recalls the moment:

“One day at Juilliard, Ron asked me, ‘How come you never use me on bass?’ I knew I couldn’t pass that up. Finally, the time arrived.”

Carter’s presence elevated the entire session. The album was recorded at the hallowed Van Gelder Recording Studios in Englewood, NJ—a space that has preserved countless jazz milestones. For Sherman, playing alongside Carter in such a setting was “a miracle” and one of the most memorable moments of his career.

Sherman carefully curated the lineup to match Carter’s artistry. Vega, a longtime member of Carter’s Golden Striker Trio, brings a lyrical sensibility inspired by Kenny Barron and the late Cedar Walton—two pianists close to Sherman’s heart. Allen, a frequent collaborator of Sherman’s, lays down the rhythmic foundation with both precision and swing. Magnarelli, a trusted musical ally, steps in to lend his trumpet and flugelhorn brilliance to two Sherman originals.

The title Bop Contest is both a nod to the bebop tradition and a wink to Sherman and Magnarelli’s shared love for The Honeymooners. In one episode, Ralph Kramden complains about his wife Alice wanting to enter a bop dance contest—a joke that resonated with Sherman while writing his first bebop tune.

The title track launches with Carl Allen’s explosive unaccompanied intro, leading into a tightly woven unison melody and fiery solos from Sherman, Magnarelli, and Vega. It’s a high-energy display of musicianship worthy of the “contest” in the title.

Sherman’s second original, “Love Always Always Love,” offers a gentle contrast. Built on a lyrical melody and imbued with the leader’s personal philosophy, it’s a reminder that music—like life—is best lived with love at its center.

The album’s repertoire is as rich as its performances. Highlights include:

• “111-44” – An Oliver Nelson gem from 1961, full of swinging sophistication.

• “Bremond’s Blues” and “Martha’s Prize” – Two Cedar Walton compositions, the first originally recorded with Ron Carter himself.

• “My One and Only Love” – Reimagined from a tender ballad into a simmering bossa nova.

• “Skylark” – A dreamy closing track where Sherman duets with himself on piano and vibes.

Mark Sherman’s career has spanned collaborations with jazz luminaries like Wynton Marsalis, Joe Lovano, Kenny Barron, and Michael Brecker, as well as pop icons Natalie Cole and Michael Bolton. His compositions have reached massive audiences—his song “Changes in My Life” has earned over 150 million YouTube views. As a dedicated educator at Juilliard, Sherman imparts not only technical skill but the professional insight to help students shape their own careers.With Bop Contest, Sherman celebrates both a personal and artistic homecoming. Surrounded by five masters at the top of their game, he proves that his voice on the vibraphone remains as vibrant, eloquent, and full of life as ever.

As Sherman himself says:

“Ron was a joy to work with—a gentle, kind human being and very giving. I’m blessed and grateful to have recorded with this incredible group of musicians.”

When the album drops this November, listeners will discover that there’s no contest—Mark Sherman has delivered a winner.