Gregory Groover, Jr. Returns with Old Knew: A Bold Evolution of Sound and Spirit

In 2024, tenor saxophonist Gregory Groover, Jr. made a powerful statement with his Criss Cross debut Lovabye, an intimate and soulful collection of “love songs and songs of people I love.” Backed by an all-star band featuring Joel Ross, Aaron Parks, Vicente Archer, and Marcus Gilmore, Groover displayed a deeply reflective and lyrical voice across that acclaimed 11-track recital.

Now, with his follow-up album Old Knew (recorded January 6, 2025, at Sear Sound Studio, New York), Groover—at just 32 years old—continues his artistic ascent with a fresh approach. This time, the focus is less on mood-driven composition and more on interaction, energy, and the kinetic spark of improvisation.

To achieve that vision, Groover assembled a pan-generational quintet of some of today’s most dynamic improvisers:

• Joel Ross, vibraphone

• Paul Cornish, piano

• Harish Raghavan, bass

• Kendrick Scott, drums

Produced by Groover’s mentor-turned-peer, saxophonist Walter Smith III (also a Blue Note artist and Berklee faculty colleague), Old Knew embodies both collective spirit and personal storytelling. “On this record, I wanted the energy to feel different—less about the written composition and the mood, and more about the interaction and my playing,” Groover explains.

Groover’s role at Berklee College of Music—as Assistant Chair of the Ensemble Department and Interim Director of Danilo Pérez’s Global Jazz Institute for much of 2024–25—has kept him deeply engaged with the evolution of jazz pedagogy and performance. That spirit of exchange and mentorship carries directly into Old Knew, where he crafts 11 new compositions and arrangements designed to spotlight the tonal personalities of his bandmates.

The result is a record where structure meets spontaneity, where the conversation among instruments becomes just as vital as the notes themselves.

• Recording: Chris Allen at Sear Sound Studio, NY

• Editing: Ryan Renteria

• Mixing & Mastering: Mike Marciano at Systems Two, NY

• Producer: Walter Smith III

• Executive Producer: Jerry Teekens

• Photography: Robert Torres

Side 1

1. Spaces

2. 551

3. Go For Broke

4. Rain Shall Fall

5. Retrogade

6. Sumner

7. Good Sir

8. Juanita and Betty

(Disc 2 info forthcoming if part of final release)

With Old Knew, Gregory Groover, Jr. both honors his roots and pushes boldly forward—expanding the vocabulary of modern jazz while remaining true to the soulful essence that first drew listeners to his music.

Holly Palmer Unveils Metamorphosis: A Bold Reinvention of Voice and Vision

Both unflinchingly experimental and undeniably listenable, Metamorphosis marks a mid-career rebirth for vocalist Holly Palmer. Known for her eclectic collaborations with legends like David Bowie, Gnarls Barkley, Seal, Michael Bublé, Billy Preston, and Dr. Dre, Palmer now takes a fearless leap into new territory—blending jazz-inflected art-pop, improvisation, and avant-vocal innovation into a body of work unlike anything she has released before.

Conceived with producer and multi-instrumentalist Pete Min, Metamorphosis was born in the studio through improvisation, experimentation, and a willingness to explore unknown sonic landscapes. The record brims with radiant performances from a stellar supporting cast, including Cuong Vu, Jeff Parker, Benny Bock, Jay Bellerose, and David Bowie’s Blackstar rhythm section of Mark Guiliana and Tim Lefebvre.

Palmer, who first came to national attention with her mid-1990s major-label debut, has always been an adventurous artist. With a background at Berklee College of Music and advanced training as a vocologist and holder of a Master’s in Vocal Arts and Opera, she has long been fascinated by the possibilities of the human voice. On Metamorphosis, she pushes those possibilities to the edge, creating a vocabulary of sounds that communicate volumes without the need for words.

“Metamorphosis is an album about turning into the thing, the person, the force, the energy that you’ve been headed for all along,” Palmer explains. “I thought my life was headed in one direction and at a certain point, everything shifted and took on a different shape. That’s the ‘metamorphosis’ this album embodies.”

Although the album’s roots lie in improvisation, Palmer and Min shaped the material into tight, focused art-pop compositions. The result balances exploration with accessibility, echoing the groove-driven soundscapes of Tune-Yards and the avant-vocal jazz of Jeanne Lee, while remaining uniquely Palmer’s.

The music is exploratory, yet intentional—full of layered textures and fresh sonic ideas. “This marks a new phase of my musicianship and writing approach,” Palmer notes. “We made this album for the love of making the music, and no other agenda. I had no idea that we’d end up with such a personal statement.”

Release Calendar

• July 30: “Requiem for a Dream” + Album Announce

• August 20: “Metamorphosis (Capes Up!)” ft. Jeff Parker

• September 12: Full LP Release

Perhaps the most striking element of Metamorphosis is that while the record contains no decipherable lyrics, it still feels deeply communicative. It’s a testament to Palmer’s artistry that her voice—untethered from words—can still channel emotion, narrative, and transformation with such clarity.

“This record is full of feelings I’d previously not found a way to express,” she reflects. And in that sense, Metamorphosis isn’t just a reinvention—it’s a revelation.

---

Paul Cornish Steps Into the Blue Note Legacy With You’re Exaggerating!

Every artist who records for Blue Note becomes part of a grand legacy that now stretches 86 years. Pianist Paul Cornish is not only stepping into that tradition — he’s carrying forward several overlapping strands of it. His debut album for the label, You’re Exaggerating!, serves as both a mission statement and a bold vision for Blue Note’s next generation.

Cornish enters a Blue Note piano lineage that runs from the early 78-rpm releases of Meade Lux Lewis and Albert Ammons, through Bud Powell, Thelonious Monk, Horace Silver, Herbie Hancock, McCoy Tyner, and Geri Allen, right up to contemporary voices like Aaron Parks and Gerald Clayton. His arrival places him among innovators who reshaped how jazz piano sounds in every era.

Cornish is also part of another proud Blue Note thread: the stream of artists hailing from Houston, Texas. Alumni of the city’s Kinder High School for the Performing and Visual Arts (HSPVA) include Jason Moran, Robert Glasper, Walter Smith III, Kendrick Scott, Chris Dave, and James Francies. Cornish, born and raised in Houston and now based in Los Angeles, continues this lineage while adding his own modern voice.

As Cornish puts it, “Those early Robert Glasper records on Blue Note, like Canvas and In My Element, were my first window into this legacy I’m part of. With each one of us, it evolves and expands.”

Recorded with bassist Joshua Crumbly and drummer Jonathan Pinson, Cornish’s debut brims with personality and emotional range. The nine originals draw on memory, mentors, and inspiration:

• “Queinxiety” reveals the tension between Cornish’s calm surface and inner restlessness.

• “5AM” meditates on youthful ambition and late-night searching.

• “Queen Geri” pays homage to the late Geri Allen, celebrating overlooked brilliance of women in jazz.

• “Palindrome” riffs off a Ben Riley drum rhythm, featuring guitarist Jeff Parker in sleek, Monk-inspired conversation.

• “Modus Operandi” nods to Jason Moran’s Bandwagon and Baroque counterpoint.

• “DB Song” borrows its spark from the experimentation of visual artist David Hammons.

The trio’s interplay — full of groove, abstraction, and surprise — reflects Cornish’s belief that jazz is about curiosity, not easy resolutions. Under the production of Henry Solomon, the recording captures the subtleties of Cornish’s touch and the dynamics of his group.

Cornish’s foundation began early. He studied percussion as a child, classical piano by age five, and jazz during middle school. The city’s Summer Jazz Workshop deepened his passion, while church music gave him both professional experience and spiritual grounding. By his teens he was a paid musician, blending gospel with contemporary sounds — training that instilled discipline and purpose he carries into his career today.

As Robert Glasper says of him: “Continuing the legendary lineage of Houston pianists while still carving out your own lane is not an easy feat. Paul is doing just that, giving us a few pages from his personal story.”

Cornish moved to Los Angeles for USC and later the elite Herbie Hancock Institute of Jazz at UCLA. There he learned from Hancock himself and Wayne Shorter, absorbing lessons about artistry and integrity. Beyond jazz, Cornish has worked with Kanye West, Louis Cole, HAIM, and Snoh Aalegra, while also touring and recording with Joshua Redman.

On Redman’s Words Fall Short, Cornish demonstrated the poise and openness that now defines his own trio work.

With You’re Exaggerating!, Paul Cornish offers one of Blue Note’s most compelling debuts in recent years. It’s music that honors the label’s history while pushing its sound forward — rooted in Houston, shaped in Los Angeles, and inspired by mentors past and present.

Cornish himself puts it simply: “Watching those players before me in Houston, it just gave me motivation to keep working hard. I’m really just grateful to be a part of this story.”

Paul Cornish’s emergence shows how Blue Note continues to regenerate, creating a living tradition that’s always evolving. With You’re Exaggerating!, Cornish proves himself both a torchbearer and an innovator — exactly the kind of voice that will define jazz’s next era.

Chano Domínguez & Ethan Margolis Release The Blues Around Us – A Bold Jazz-Blues Flamenco Fusion

Unifying Sounds makes its debut with the release of The Blues Around Us, a remarkable new album by acclaimed pianist Chano Domínguez and avant-garde guitarist Ethan Margolis (aka “Emaginario”). The record is a heartfelt exploration of jazz, blues, and flamenco traditions, brought to life by two artists who believe deeply in the power of music to connect people and transcend boundaries.

Domínguez, a celebrated pianist from Cádiz, Spain with decades of international acclaim—including collaborations with Blue Note Records and Wynton Marsalis—joins forces with Margolis, a Cleveland-born guitarist who spent over a decade living in Spain and immersing himself in flamenco culture. Together, they have crafted an album that bridges continents, traditions, and musical identities.

A Fusion of Styles with Roots in History

The Blues Around Us draws inspiration from jazz-blues legends such as Dizzy Gillespie, Duke Ellington, Bessie Smith, and Wes Montgomery, while seamlessly incorporating the fiery rhythmic underpinnings of flamenco. Many of the compositions—primarily written by Margolis—feature flamenco-inspired intros that evolve into swinging jazz-blues progressions, offering a dynamic blend of tradition and innovation.

Margolis reflects:

“We have both dedicated so much of our lives to the modern exploration of Jazz, Blues and Flamenco music that it was only natural to record an album inspired by these investigations. We believe in the imperfect beauty of humanity and in musical genres that are driven by the spirit, not by finance.”

Domínguez echoes the spirit of discovery:

“Ethan brought a deep mix of Blues styles to my apartment in Brooklyn and we experimented with some 20 styles before deciding what pieces worked best for the album design. I felt energized, like a little kid discovering new music again.”

A World-Class Ensemble

The duo is joined by Carlos Henriquez (bass) and Obed Calvaire (drums), both current members of Wynton Marsalis’s Jazz at Lincoln Center Orchestra. Recorded live as a quartet at Oktaven Studios in New York with legendary engineer James Farber, the album was later mixed by Grammy-winning Dave O’Donnell and mastered by Randy Merrill, ensuring a sound quality that pays homage to the warmth of classic recordings from the Rudy Van Gelder era.

A Celebration of Longevity and Authenticity

The Blues Around Us is not only a fresh creative statement but also a milestone in Domínguez’s career, marking his 50th year as a professional pianist. With a legacy of collaborations across Europe and the U.S., Domínguez continues to be one of the most in-demand musicians of his generation. Margolis, meanwhile, builds on his growing discography, fresh off his 2024 Ropeadope release with Larry Grenadier and Eric Harland.

At its heart, the album speaks to the timeless beauty of music born from dedication, authenticity, and human connection. It’s a powerful reminder that new artistic fruit can blossom from lifetimes of experience and a shared commitment to truth in music.

The Blues Around Us is available now from Unifying Sounds.

JC Sanford’s EQ: DENKI – A Bold Electric Journey

Trombonist and composer JC Sanford is set to release his eighth album as a leader, DENKI, on October 10, 2025, via Brooklyn Jazz Underground Records (BJUR 081). Performed with his band EQ (Electric Quartet)—featuring Toivo Hannigan (guitar/effects), Erik Fratzke (electric bass), and Satoshi Takeishi (drums)—the album is a vibrant, electrified statement from one of jazz’s most versatile and imaginative voices.

A Tribute to Electricity – and a Mentor

The title DENKI (Japanese for “electricity”) serves a dual purpose. It nods to Sanford’s increasing exploration of effects, pedals, and electronic soundscapes, but it also pays homage to his mentor Bob Brookmeyer, who released an album called Electricity in 1994 with the WDR Big Band.

Sanford’s career defies easy categorization. He is equally at home as a composer, bandleader, sideman, producer, and conductor. He has worked with jazz luminaries including Danilo Pérez, Matt Wilson, John McNeil, George Schuller, and many more, while also serving as a conductor for ensembles like the Grammy-nominated John Hollenbeck Large Ensemble and the Alice Coltrane Orchestra. DENKI represents the culmination of these wide-ranging influences: a sound that channels both jazz tradition and electric experimentation.

Pushing Sound Forward

The seeds of DENKI were planted during the post-pandemic years, when Sanford began experimenting with guitar effects pedals in small Minneapolis gigs. Encouraged by peers and audiences, he dove deeper into the sonic possibilities, discovering new textures that enhanced rather than obscured his trombone voice.

“I’ve always been conscious about the results not being a gimmick, but an enhancement of my language and timbre,” Sanford explains.

The resulting music stretches boundaries—drawing inspiration from Curtis Fuller, Slide Hampton, Stevie Wonder, Black Sabbath, and Brookmeyer himself—yet remains deeply personal.

The Music of DENKI

The album opens with “ausgleicht” (“equalized” in German), a powerful track with roots in German metal that also references the EQ band name. Other highlights include:

• “The Wise Stone” – a dedication to drummer Satoshi Takeishi, celebrating his wisdom and steadfast artistry.

• “Purple Spring” – a pastoral reflection on Sanford’s garden and the beauty of renewal.

• “Futari” – an improvised duet between Sanford and Takeishi, full of spontaneity and connection.

• “Head Rare, Red Hair” – inspired by improvisational word games with Sanford’s daughter, showcasing the quartet’s playful creativity.

• “That 60s Heist Movie” – written by composer Scott Miller, evoking cinematic swagger and mischief.

• A stirring cover of Stevie Wonder’s “Love’s in Need of Love Today”, reimagined for today’s turbulent world, carrying a message of empathy and hope.

A Life in Music

JC Sanford’s career is as rich as his music. Recognized in DownBeat magazine’s Critic’s Poll across trombone, big band, and arranger categories, he is a founding member of the composers’ federation Pulse and an alumnus of the BMI Jazz Composer’s Workshop. His compositions have been performed by the likes of Dave Liebman, Lew Soloff, John Abercrombie, and ensembles worldwide.

Since returning to his native Minnesota in 2016, Sanford has remained an essential figure in the Twin Cities jazz scene, co-founding the Twin Cities Jazz Composers’ Workshop and continuing to write, perform, and teach.

DENKI – Available October 10

With DENKI, Sanford and his EQ band deliver a bold and electrified album that challenges genre boundaries while honoring deep musical traditions. It’s a record that captures an artist unafraid to evolve, explore, and plug directly into the currents of inspiration.

DENKI will be released October 10, 2025, on Brooklyn Jazz Underground Records.

Ike Quebec – The Complete Blue Note 45 Sessions Coming Oct. 10 in Deluxe Tone Poet Vinyl Edition

Blue Note Records has announced the October 10 release of Ike Quebec – The Complete Blue Note 45 Sessions, a landmark collection that shines new light on one of the label’s most soulful and often overlooked saxophonists. Presented as part of the acclaimed Tone Poet Vinyl Series, this set brings together a magnificent body of work Quebec recorded between 1959 and 1962—a period that marked both a creative resurgence and a key chapter in Blue Note history.

Produced by Tone Poet curator Joe Harley, the 3-LP vinyl set is fully analog, cut directly from Rudy Van Gelder’s original master tapes by Kevin Gray, and pressed on 180g vinyl at RTI. The music is housed in a deluxe tip-on trifold jacket with an accompanying booklet featuring never-before-seen Francis Wolff photographs and a deeply researched essay by jazz scholar Loren Schoenberg. For those who prefer digital convenience, the collection will also be released as a 2-CD set.

A Saxophonist with Deep Roots in Blue Note History

Ike Quebec’s story is woven into the very fabric of Blue Note. In the 1940s, he recorded a series of 78s for co-founder Alfred Lion and even served as a talent scout, urging Lion to capture the groundbreaking music of bebop innovators like Thelonious Monk and Bud Powell. Despite his early contributions, Quebec fell into obscurity through much of the 1950s.

That all changed in 1959, when Lion reconnected with his old friend and invited him back to the studio. What followed was a remarkable series of 45 rpm jukebox singles that not only reintroduced Quebec to jazz fans but also revealed an artist at the height of his expressive powers. His warm, blues-infused tenor saxophone sound blended R&B accessibility with modern jazz sophistication, winning over audiences and reaffirming his place in the Blue Note legacy.

Rediscovering a Master Musician

“When I first listened to Ike’s 45 sessions, I was shocked,” Harley recalls. “I had imagined it would consist solely of short groove-oriented tunes. No—these stunning sessions capture a player who had already lived a full musical life, playing fully fleshed-out tunes with restraint, emotional weight, and a blues-drenched approach that bridged R&B accessibility with jazz sophistication.”

This Tone Poet edition finally gives Quebec’s 45 sessions the deluxe treatment they deserve, offering both longtime collectors and new listeners the chance to experience his artistry in its full depth and richness.

Fans can secure their copy of Ike Quebec – The Complete Blue Note 45 Sessions now, available for pre-order on the Blue Note Store. Whether on vinyl or CD, this release is a must-have for anyone interested in the history of jazz, the story of Blue Note Records, and the soulful voice of a saxophonist who deserves much wider recognition.

Adrian Sherwood Releases The Well Is Poisoned Ahead of First Solo Album in 13 Years

Legendary UK producer Adrian Sherwood has unveiled The Well Is Poisoned, the third single from his highly anticipated new album The Collapse Of Everything, out August 22 via multiple formats including clear and black 12” LP vinyl, CD, digital download, and streaming platforms. The release marks Sherwood’s first solo album in 13 years and finds him pushing his signature dub sound into more cinematic, experimental realms.

A Cinematic Dub Journey

The Well Is Poisoned embodies the widescreen vision of Sherwood’s latest work. Built around an epic bass line, cavernous snare hits, and the haunting cry of saxophone, the track unfolds like a film score infused with deep dub sensibility. Adding to its weight is the fact that it was co-written with Brian Eno, Sherwood’s longtime friend and collaborator in sonic experimentation. The single arrives with an animated visualizer created by artist Peter Harris and animator Katie King, extending the music’s surreal and immersive qualities.

The Collapse Of Everything

Across the new record, Sherwood channels a lifetime of listening and producing into a fluid, genre-defying project that is at once reflective and expansive. While underpinned by dub techniques, the music ventures into ambient washes, desert blues textures, tuned percussion experiments, and hallucinogenic soundscapes. “I was basically trying to make a soundtrack encompassing all the things I like including good musicianship, dub techniques, and also good rhythms,” Sherwood explains.

The album’s title carries personal resonance. Sherwood cites the passing of two close collaborators, Mark Stewart and Keith LeBlanc, as the catalyst for revisiting solo work after more than a decade. Stewart had written a lyric containing the phrase “The Collapse of Everything”, which struck Sherwood as both a poignant tribute and a reflection of today’s political and environmental crises.

From the Studio to the Stage

For the first time in his career, Sherwood will also step out as a solo live performer, touring internationally with his own band. The live show premieres this autumn at the Dub Sessions 20th Anniversary in Japan and will feature long-time collaborators including Doug Wimbish (Living Colour, Tackhead), Alex White (Primal Scream, Fat White Family), and Mark Bandola (The Lucy Show). A major London show is planned for February 2026, with further dates across North America, Europe, and Australia.

Sherwood reflects on this new chapter: “I’ve made record after record as a producer for other artists, and I’m proud of every single one. But doing it as a solo artist I get the choice to call every shot. On this album it’s going to be a joy working it and trying to represent it live, and hopefully people will get off on it, because I think it’s a really good piece of work.”

A Career of Constant Evolution

Adrian Sherwood’s career has long paralleled his work as producer, performer, and label founder. From his groundbreaking On-U Sound label to his collaborations with reggae legends like Lee “Scratch” Perry and Dennis Bovell, his production has shaped the sound of countless artists. His solo albums—Never Trust a Hippy, Becoming A Cliché, and Survival & Resistance—each revealed a different dimension of his artistry, from rhythm-heavy experimentation to conceptual sound worlds.

With The Collapse Of Everything, Sherwood continues that evolution, stepping forward not just as a producer but as a composer, performer, and front-facing artist ready to bring his sonic vision to global stages.

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.