A Global Musical Tribute to Gandhi: Mantras of Compassion

The project was conceived during a four-city tour through India in 2024, where three-time GRAMMY-winning composer Ricky Kej and Nobel Peace Prize Laureate Kailash Satyarthi reflected on the enduring legacy of Gandhi’s teachings. Inspired by his commitment to peace, nonviolence, and compassion, they set out to create an album that would carry his timeless message across cultures and generations.

Kej partnered with lyricist and producer Sumathy Ram, GRAMMY-nominated cellist Tina Guo, and GRAMMY-winning shamisen master Masa Takumi, forming the creative core of the project. To amplify Gandhi’s universal message, Kej invited musicians from around the world, recording across 31 studios over a year-long process.

The album’s contributors read like a “who’s who” of the global music scene:

• Stewart Copeland (The Police)

• The GRAMMY-winning choir Tonality

• Philip Lawrence (Bruno Mars collaborator)

• The Le Boeuf Brothers

• Folk legend Peter Yarrow (Peter, Paul & Mary)

• New York Youth Symphony

• Gospel powerhouse Ricky Dillard

• And many more across genres and continents.

Satyarthi’s spoken word passages throughout the album add profound reflections on Gandhi’s immortality, religion, oneness, and personal meaning, grounding the music in its spiritual essence.

Each track is rooted in Gandhi’s values:

• “Compassion (Karuna)” opens the album with orchestral grandeur and choral beauty.

• “Coexist (Ekam)” unites voices from 40 countries in harmony, symbolizing global peace.

• “We Are One (Raghupati Raghava)”, Gandhi’s favorite hymn, blends Indian choirs with Hollywood strings.

• “Empathy (Vaishnava Janato)” invokes love and tolerance through a mix of East-West instrumentation.

• “The Lord’s Prayer (Sarvesa)”, uniquely sung in Sanskrit, was blessed by Pope Francis before his passing.

• “Where Are My Rainbows”, featuring the late Peter Yarrow, ties Gandhi’s vision to environmental and social justice.

• The closing track, “Abide With Me”, resonates as both a Christian hymn and a Gandhi favorite, reimagined with gospel and Indian choirs.

For Kej, this is not his first tribute to Gandhi—songs from his GRAMMY-winning Winds of Samsara and Divine Tides also honored the Mahatma. But Mantras of Compassion is his most ambitious effort yet, with accompanying videos for every track and a planned promotional tour beginning September 20 at the Eternal Gandhi Museum Houston.

“This is more than just a tribute,” says Ram. “It is a call to live with compassion, to embrace oneness (Ekam), truth (Satya), nonviolence (Ahimsa), and love (Karuna). Gandhi’s message remains as urgent today as ever.”

Through this global collaboration, Gandhi’s voice continues to echo—not just as history, but as a living force of peace.

Thom Rotella Returns with Soulful New Album Right Time Left

Jazz guitarist Thom Rotella has long been admired for his warm tone, lyrical phrasing, and ability to bridge the worlds of jazz, pop, and studio work. On his upcoming release Right Time Left (out September 26, 2025 on HighNote Records), Rotella offers a collection that’s as soulful as it is sophisticated—a record that balances groove, intimacy, and artistry in equal measure.

Rotella’s career includes collaborations with Norah Jones, Seth MacFarlane, Diane Schuur, and the legendary Stanley Turrentine. He has carved out a reputation as a versatile guitarist who can deliver across genres while always sounding unmistakably himself. With Right Time Left, he returns to the forefront, building on the success of his 2019 Savant release Side Hustle while pushing into fresh creative territory.

The album thrives on the interplay between Rotella and his top-shelf collaborators:

• Wil Blades brings deep groove and sparkle on organ.

• Charles Ruggiero anchors the trio with dynamic, responsive drumming.

• Ernie Watts, a saxophone titan, lends lyrical depth on select tracks.

• Jeremy Pelt, one of today’s most inventive trumpeters, adds radiant brass textures.

• Tierney Sutton, acclaimed jazz vocalist, appears with wordless, ethereal lines that hover like another instrument—haunting and elegant.

Together, this ensemble finds that elusive balance where taste meets feeling, crafting music that’s both refined and inviting.

Whether swinging on standards, stretching on originals, or savoring ballad moments, Right Time Left is about connection—between musicians, between listener and sound, between tradition and modern sensibility. From the blues-soaked swagger of “What Hump?” to the shimmering lyricism of “Shimmer,” Rotella leads with warmth and honesty.

Tracklist

1. This Is for Lou

2. How Sweet It Is

3. In the Garden

4. Willow Weep for Me

5. What Hump?

6. Lazy Afternoon

7. Light It Up

8. Benny Thanks

9. Mr. Malone

10. Ray Brown’s Shoes

11. The Girl from Ipanema

12. It Ain’t What It Ain’t (‘Till It Is)

13. Shimmer

Available September 26, 2025, in CD (Jewel Case) format via HighNote Records, Right Time Left is a must-hear for jazz lovers—an album of substance, swing, and soul that invites repeated listening.

Robert Mitchell Explores New Horizons with Little Black Book

Diversity has always been at the heart of pianist, keyboardist, composer, and poet Robert Mitchell’s extraordinary career. From solo works and chamber collaborations to large-scale ensembles, Mitchell has consistently expanded the possibilities of modern jazz and improvised music. His latest project, Little Black Book, continues this journey with bold new directions—building on his legacy while sounding unlike anything he’s done before.

Born from his recent tenure as Artist in Residence at Morley College, Little Black Book draws inspiration from a wide range of influences: the heavy fusion brilliance of Chick Corea and Allan Holdsworth, the blues-drenched psychedelia of Jimi Hendrix, and the fearless multimedia explorations of Cecil Taylor. It’s a record that blends power, virtuosity, and imagination in equal measure.

Mitchell is joined by two exceptional collaborators: Laurie Lowe on drums and Zayn Mohammed on guitar. Together, they form a trio defined by chemistry, energy, and daring interplay.

“All the compositions were written specially with this trio in mind,” Mitchell explains. “The word jazz can be so limiting. Zayn brings in influences from the Middle East, India, rock, and blues, while Laurie is one of the most versatile drummers around—equally brilliant at interpreting arrangements or improvising fresh solutions on the spot. For myself, I’ve always been inspired by the harmonic daring of Geri Allen, the inventiveness of Django Bates, and the trailblazing freedom of Cecil Taylor, alongside the sonic worlds of synth pioneers like D-Train. It’s all in there.”

The album’s title carries both mystery and promise, perfectly suiting its expansive sound. From the thunderous opener “The Symbiote” to the meditative depth of “Peace in Mind,” and the raw Hendrix-inspired fire of “Jimi @ Granada,” Little Black Book offers a journey through rhythm, texture, and emotional color.

Mitchell also embraces new territory by diving into electronic keyboards, taking on multiple roles in the studio—sometimes the lead voice, sometimes the bass, sometimes the atmosphere in between. “It’s been exciting to explore the world of electronic keyboards in this way,” he says. “And it’s fulfilling a long-held dream to work more with guitar, realizing the sense of excitement and exploration it brings.”

Tracklist

1. The Symbiote

2. Consensus

3. I Greet The Universe (With All Your Person)

4. Blueprint (Of An Infinite Gift)

5. Jimi @ Granada

6. Within The Storm

7. Be The Change

8. Peace In Mind

9. Touchstone

Little Black Book is more than just an album—it’s the next chapter in Robert Mitchell’s ever-evolving artistic story. Each track is both a stand-alone statement and part of a larger tapestry of innovation, exploration, and deeply human creativity.

Sun Speak Break Boundaries with Probiotic Orchestrations

As genre conventions continue to morph and blur, a wealth of stunning new music is being created by artists who dare to transcend traditional boundaries and simply play what comes naturally. Few groups embody that adventurous spirit more than Sun Speak, whose new album Probiotic Orchestrations offers a dazzling journey through sound, style, and imagination.

Formed a decade ago in the crucible of Chicago’s experimental music scene, guitarist Matt Gold and drummer Nate Friedman first collaborated with some of the city’s brightest talents, including Makaya McCraven and Patricia Barber. Together, they forged a sonic partnership rooted in curiosity, intensity, and playfulness. Over the years, Sun Speak has expanded its horizons, and with Probiotic Orchestrations—their sixth release—they reach new creative heights.

The project now thrives as a trio with Daniel Pierson, a fellow Chicagoan who first joined as engineer and sound designer but has evolved into a full creative collaborator on keyboards. The three musicians now live in different parts of the country, yet in 2024 they reunited in a remote seaside cabin in New Hampshire. There, amid quiet isolation and daily bursts of inspiration, they composed and recorded the material that would become Probiotic Orchestrations.

The result is music that feels both urgent and unbound, pulling together the rhythmic drive of rock, the improvisatory daring of jazz, the shimmer of electronica, the storytelling spirit of Americana, and the expansive textures of progressive music. It’s adventurous yet accessible, powerful yet playful.

“This record showcases everything we love about our way of making music together,” says Nate. “Playing with sounds and textures, improvisation and chance alongside deliberate songwriting. We're enjoying folding Dan into the tapestry of the music—it’s a new and exciting avenue for us.”

Dan reflects on their shared roots: “We all come from that Chicago scene where jazz and noise rock and hip hop all collide. There’s deep experimentation alongside great songwriting, freedom alongside discipline.”

For Matt, the essence is simple: “It’s all about trusting each other as long-time friends—and simply playing the music.”

Probiotic Orchestrations captures that trust and creativity across nine tracks that weave humor, depth, and bold sonic textures:

Tracklist

1. With Our Chins to the Sky

2. Canadian Dream

3. Running While Crying

4. Everything is a Clock

5. Ruby and the Flam

6. Way Too Early

7. There’s a New Librarian in Town

8. Fine Line

9. The Return of KJ

From the propulsive urgency of “Running While Crying” to the whimsical mystery of “There’s a New Librarian in Town,” each piece unfolds like a chapter in an unpredictable story, blending composition with improvisation in thrilling ways.

Probiotic Orchestrations is available now in heavyweight black vinyl and digipak CD editions—a must-have for listeners who crave music that expands the imagination while remaining deeply human and inviting.

Sun Speak’s latest release proves once again that when musicians trust each other, embrace experimentation, and play from the heart, boundaries disappear—and music flourishes.

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.

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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.