Pino Palladino & Blake Mills Release That Wasn’t A Dream – A Bold New Chapter in Jazz, Funk, and Beyond

Today marks the release of That Wasn’t A Dream, the highly anticipated new album from Pino Palladino and Blake Mills, out now via New Deal / Impulse! Records. Following their acclaimed 2021 collaboration Notes With Attachments, the Grammy-winning duo returns with an exploratory, genre-defying project that critics are already hailing as one of the year’s most innovative works.

Critical Praise for That Wasn’t A Dream

The album has drawn early acclaim from across the music press:

• The New York Times praised the single “Taka” as “nimble, unpredictable… a global-funk instrumental that seems to take shape on the spot like a Weather Report composition.”

• KCRW called it “expansive jazz bliss,” urging listeners to “sit back, relax, and listen to masters at work.”

• Esquire highlighted its playful virtuosity, naming “Taka” one of the Best Songs of 2025 So Far: “a slithery slab of math funk…a game to even figure out who’s doing what.”

• The FADER declared, “With That Wasn’t a Dream, they canonize themselves in the tradition of L.A. legends whose cool brilliance will endure for generations.”

A Meeting of Masters

Palladino, one of the most revered bassists of his generation, has expanded the role of the instrument across genres—working with everyone from D’Angelo to Nine Inch Nails, Erykah Badu to John Mayer. Mills, a Grammy-winning guitarist, producer, and songwriter, has worked with Alabama Shakes, Fiona Apple, Bob Dylan, and Perfume Genius, in addition to his acclaimed solo work.

Together, they dissolve traditional musical hierarchies, weaving soundscapes that balance intricate detail with wide-open space. Pitchfork once described their collaboration as “the sound of consummate collaborators imagining a world where there’s no such thing as a lead performer.” On That Wasn’t A Dream, that vision expands further—quietly audacious, profoundly cohesive, and always surprising.

Inside the Music

Recorded at the legendary Studio A at Sound City in Los Angeles, the album features contributions from longtime collaborator Sam Gendel and drummer Chris Dave (on the track “Taka”), among others. But at its core, this record deepens the intuitive chemistry between Palladino and Mills.

Highlights include:

• “Contour” – the starry, slow-building opener that sets the album’s immersive tone.

• “Taka” – a kinetic, global-funk experiment with shifting grooves and dazzling interplay.

• “What Is Wrong With You?” – showcasing Mills on the fretless baritone sustainer guitar, an instrument he helped develop, producing sounds somewhere between woodwind, brass, and bowed strings.

Palladino explains that much of the record is about restraint and space: “If we could make something work with the least possible ingredients, space could become the centerpiece.”

Beyond Genre, Beyond Expectation

From deceptively minimal sketches to swirling, layered improvisations, That Wasn’t A Dream rewards deep listening. It is at once intimate and expansive, disordered and precise, a testament to two artists pushing each other into new territories while redefining what modern instrumental music can be.

Experience It Live

Pino Palladino & Blake Mills will bring That Wasn’t A Dream to audiences live this fall with a series of tour dates, offering fans a rare chance to hear this music in the moment of its creation.

Till Brönner Breathes New Life into Lucio Battisti Classic with Instrumental “Amarsi Un Po’”

One of Italy’s most beloved singer-songwriters, Lucio Battisti, left behind a catalog of songs defined by poetic lyrics and timeless melodies. Now, German trumpet virtuoso Till Brönner reimagines one of Battisti’s most nostalgic hits, “Amarsi Un Po’” (1977), stripping away the words and letting the horn sing instead.

The single—paired with an evocative new video—is the third advance track from Brönner’s forthcoming album Italia, produced by acclaimed Italian jazz musician Nicola Conte.

A Voice Without Words

By choosing trumpet over vocals, Brönner highlights the emotional core of the original song while revealing new dimensions in its melody. Where Battisti’s version reflected bittersweet longing through lyrics, Brönner communicates the same depth of feeling through phrasing, tone, and silence. The result is an instrumental reading that feels intimate and cinematic, capable of speaking directly to the listener’s heart.

“Italian songs like Amarsi Un Po’ carry an emotional weight that transcends language,” Brönner notes. “My aim was to honor Battisti’s timeless composition while offering a new perspective—one that tells the story without words.”

A Cross-Cultural Collaboration

The track also underscores the strong creative bond between Brönner and Nicola Conte, whose work as producer brings a refined, jazz-infused sensibility to the project. Conte’s Italian roots and deep knowledge of Mediterranean musical traditions provide the perfect framework for Brönner’s luminous trumpet lines.

Together, the two artists craft a sound that’s elegant, soulful, and deeply respectful of Battisti’s legacy while pushing his music into a fresh jazz context.

Italia: A Tribute to Melody and Emotion

Italia promises to be one of Brönner’s most personal and heartfelt projects to date. By curating and reinterpreting iconic songs from Italy’s rich pop canon, he not only pays homage to a country that has long inspired him but also continues his mission of blurring boundaries between jazz, pop, and classical traditions.

With Amarsi Un Po’, Till Brönner shows that music doesn’t always need words to communicate the most powerful emotions—sometimes, a trumpet alone can say it all.

“Amarsi Un Po’” is out now on all streaming platforms, with the full album Italia set for release later this year.

Miguel Zenón Marks 20 Years with His Quartet on First-Ever Live Album, Vanguardia Subterránea

On August 29, 2025, alto saxophonist and composer Miguel Zenón—a MacArthur Fellow, Guggenheim recipient, Doris Duke Artist, and 2024 Grammy Award winner—releases Vanguardia Subterránea, the long-awaited first live recording from his acclaimed quartet. Out on Zenón’s own imprint Miel Music, the album will be available on vinyl, CD, and all major streaming platforms. To celebrate, the quartet will return to New York’s legendary Village Vanguard for a special week of performances, September 16–21, 2025.

A Landmark Anniversary

For two decades, Zenón’s quartet—featuring pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole—has been one of the most enduring and innovative ensembles in modern jazz. Though the group has performed hundreds of concerts across the globe, Vanguardia Subterránea marks their first official live release, recorded over two unforgettable nights in September 2024 at the Vanguard.

“This album has an energy that's really different than all our other records,” Zenón reflects. “It was recorded in this sanctuary of music. It’s the dream of every jazz musician to play in that legendary room.”

New Compositions, Bold Arrangements

The album showcases six original Zenón compositions plus daring new arrangements of salsa classics: Willie Colón and Héctor Lavoe’s “El Día de Mi Suerte” and Gilberto Santa Rosa’s “Perdóname.” As always, Zenón bridges Puerto Rican traditions, jazz improvisation, and cutting-edge rhythmic concepts into a singular artistic voice.

Highlights include:

• “Abre Cuto Güiri Mambo” – a mambo-inspired opener that positions the quartet as “another drum.”

• “Vita” – a deeply personal piece originally written for Zenón’s grandmother, expanded into a lyrical chacarera-style gem.

• “Dale la Vuelta” – a rhythmic counterpoint experiment balancing 7 and 8 beats, executed with effortless fluidity.

• “Coordenadas” – based on the geographical coordinates of the Vanguard and each musician’s birthplace, symbolically uniting them in sound.

• “Bendición” – a heartfelt tribute to Zenón’s mother and the tradition of seeking blessings from elders.

The title track, “Vanguardia Subterránea,” ties the project together as a “melodic poem inspired by the history of the club,” layering groove and floating textures that eventually lock into unity.

A Legacy in Motion

With Vanguardia Subterránea, Zenón captures the raw vitality of a live performance while honoring his roots, his quartet’s unique chemistry, and the profound relationship between jazz and Latin American music. It’s not only a 20th-anniversary milestone, but also a bold artistic statement that adds to his already remarkable body of work.

For fans of improvisation, Afro-Caribbean traditions, and adventurous contemporary jazz, Vanguardia Subterránea is a landmark release—one that embodies the living spirit of the Village Vanguard itself.

Release Date: August 29, 2025
Formats: Vinyl, CD, Digital Streaming
Release Shows: Village Vanguard, NYC | September 16–21, 2025

Johnathan Blake’s My Life Matters — A Suite for Family, Justice, and Hope

On September 19, drummer-composer Johnathan Blake will release My Life Matters, a stirring new Blue Note album that blends the personal with the political. Conceived as a commission for The Jazz Gallery, the suite is both a tribute to Blake’s family values and a searing response to systemic injustice.

Co-produced by bassist Derrick Hodge—an acclaimed artist and labelmate known for his work with Robert Glasper—the album showcases a stellar ensemble: saxophonist Dayna Stephens, pianist Fabian Almazan, vibraphonist Jalen Baker, bassist Dezron Douglas, with special guests DJ Jahi Sundance and vocalist Bilal.

Music as Testimony

The music took shape during a time of social upheaval, when Blake found himself deeply affected by the relentless news cycle.

“Every other day, it seemed like another Black or Brown person was being taken from us at the hands of those who were supposed to protect us,” Blake recalls. “I didn’t want to become numb. I wanted to speak up through my music.”

His conviction echoes the lessons instilled by his parents. “They always told me, if you see injustice happening and you do nothing, you’re just as much the problem.” That wisdom forms the emotional backbone of My Life Matters.

The Shape of the Suite

The album unfolds across 14 original compositions, many titled by Rio Sakairi, Artistic Director of The Jazz Gallery, who immediately grasped the spirit of Blake’s work. The suite balances contrasts—tragedy and hope, present reality and future possibility—while drawing strength from community and resilience.

The lead track, “Last Breath,” is dedicated to Eric Garner, whose dying words, “I can’t breathe,” became a rallying cry of the Black Lives Matter movement. Opening with Baker’s commanding vibraphone before building into waves of sound led by Stephens’ EWI and Almazan’s piano, the piece captures both anguish and urgency.

While Blake insists he did not set out to make a protest album, he acknowledges the tradition of socially conscious jazz, citing Max Roach’s We Insist! Freedom Now Suite as a guiding star. “Those musicians set the bar very high,” Blake says. “If we’re not following their lead, then we’re doing them a disservice.”

Beyond the New Album

My Life Matters follows Blake’s acclaimed 2021 Blue Note debut, Homeward Bound, which will receive its first-ever vinyl release on December 5 as part of the Tone Poet Vinyl Series. That earlier record was a celebration of life and legacy with his quintet Pentad, featuring Immanuel Wilkins, Joel Ross, David Virelles, and Dezron Douglas.

Together, Homeward Bound and My Life Matters illustrate Blake’s dual vision: music as a celebration of family, and music as a call for justice. Both testify to his place within the continuum of jazz as a living, breathing art form of resistance, reflection, and hope.

Charles Lloyd Announces Figure In Blue — A Double Album of Reflection and Renewal

Jazz master Charles Lloyd continues to expand his artistic horizons with the upcoming release of Figure In Blue, a spacious double album set to arrive October 10 via Blue Note Records. At 87 years old, the revered saxophonist and flutist remains as adventurous as ever, presenting a new studio recording with a fresh trio featuring pianist Jason Moran and guitarist Marvin Sewell.

Available for pre-order now in multiple formats — including Blue Note Store exclusive color vinyl, standard black vinyl, CD, and digital download — Figure In Blue captures Lloyd at a reflective yet radiant stage of his career. The elegant title track, “Figure In Blue, memories of Duke,” offers a graceful homage to Duke Ellington, and sets the tone for an album that traverses everything from delicate ballads to earthy Delta blues.

A Living Memoir in Sound

Across two discs of new originals, reimagined earlier works, and carefully chosen tributes, Lloyd crafts what feels like both a personal memoir and a bold artistic statement. The album contains dedications to Ellington, Billie Holiday, and Zakir Hussain, while also reaffirming Lloyd’s own voice as one of jazz’s most distinctive storytellers. His sound remains both mighty and ethereal — powerful in its surges of intensity, yet equally moving in hushed, meditative passages.

The Trio: Empathy in Motion

Lloyd first convened this new trio for his 87th birthday concert at the Lobero Theater in Santa Barbara. The immediate chemistry convinced him to take the group into the studio.

• Jason Moran, a pianist from Houston and one of the most influential voices of his generation, has been a trusted collaborator of Lloyd’s for nearly two decades. Their connection, Lloyd says, requires “very few words” to find the heart of the music.

• Marvin Sewell, equally at home in classical piano, jazz guitar, and bottleneck blues, brings a soulful authenticity rooted in his family ties to the Mississippi Delta. His playing evokes Lloyd’s own Memphis beginnings, a reminder of the trials and triumphs of the South’s red clay roads.

The result is an ensemble defined by empathy — each musician deeply attuned to when to lead and when to listen.

Breaking New Ground

Though Lloyd has often explored unconventional trio settings — from his groundbreaking Sangam project with Zakir Hussain to the Trio of Trios recordings — Figure In Blue stands apart. It radiates a new sense of harmony, patience, and generosity. The album projects reverence for the past while charting a luminous new chapter in Lloyd’s journey.

As he nears his tenth decade, Charles Lloyd proves once more that jazz is not only about mastery of form, but also about living, breathing evolution. Figure In Blue is both a testament to his legacy and a gift for the future.

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.