John Oates Returns with Soulful New Solo Album “Oates”

Rock & Roll Hall of Famer, Songwriters Hall of Fame inductee, and multiple-time GRAMMY nominee John Oates releases his long-awaited solo album, Oates, today. The self-titled LP marks a return to the soulful, groove-driven sound that defined a generation while introducing a vibrant new chapter in one of music’s most celebrated careers. The album is now available on all major streaming platforms.

Critics are already praising Oates as a bold step forward. PEOPLE notes, “His next era as an artist is one to watch… an album that is equally looking ahead to pop and R&B music's future, and offering a sonic harkening back to yesteryear.” NPR Music calls it “lovely songs,” while Entertainment Weekly adds, “Juxtaposes tales of love, heartbreak, and frustration on a bed of swirling soul, R&B, and bossa nova melodies. It's a reminder to listeners to keep their spirits high even when navigating life's low points.”

Recorded primarily in his longtime hometown of Nashville, Oates was co-produced by John Oates and multi-platinum producer David Kalmusky (Keith Urban, Shawn Mendes, Carrie Underwood). Together, they crafted a sound that is both timeless and modern — smooth, funky, and brimming with soul. The 13-track collection reflects Oates’ signature groove-driven style while incorporating fresh influences from a new generation of collaborators.

The album features several notable collaborations. Lead single “Enough Is Enough” features powerhouse vocals from Clyde and Gracie Lawrence of Lawrence, while the soaring track “Mending” includes rising soul star Devon Gilfillian. Other highlights include the slinky, rhythm-heavy “Pushin’ a Rock,” the optimistic groove of “Real Thing Going On,” and a smoky, Spanish-tinged reimagining of “Walking in Memphis,” which also receives a bold remix from genre-defying producer Grabbitz.

Oates reflects on the project: “This album is a full-circle moment. I’ve spent years exploring the roots of American music — folk, blues, acoustic storytelling — but this time, I wanted to revisit the soul and pop that shaped me early on. It’s music that feels good, grooves hard, and still says something real.”

Oates just wrapped a cross-country tour, culminating in a packed album release show at the legendary Troubadour in West Hollywood. Audiences experienced electrifying previews of the new material, with full-band arrangements bringing the record's soulful energy to life. Earlier this week, NPR Music featured Oates in their prestigious Field Recordings series at the Aspen Ideas Festival. Accompanied by percussionist John Michel, he delivered an intimate, raw set, including stripped-down versions of “A Ways Away” and “Get Your Smile On.” Fans can already enjoy a visualizer for the album’s track “A Ways Away,” with a full music video coming next week.

The album’s tracklist includes: Enough Is Enough (feat. Lawrence), Real Thing Going On, Mending (feat. Devon Gilfillian), A Ways Away, Let Me Be the One, World Gone Wrong, Pushin' a Rock, Disconnected, Get Your Smile On, Dreaming About Brazil, Bajo la Luz de la Luna, Walking In Memphis, and Walking In Memphis (Grabbitz Remix).

Though widely recognized as the co-creator of the pop duo Hall & Oates, John Oates’ musical roots run deep. Growing up in the 1950s, Oates absorbed the sounds of Chuck Berry, Little Richard, the Everly Brothers, and Elvis, as well as the rich regional rhythms of AM radio stations. During the folk revival of the 1960s, he immersed himself in blues and folk legends like Mississippi John Hurt, Doc Watson, and Sonny Terry & Brownie McGhee, while enjoying R&B icons like Sam & Dave, Otis Redding, and James Brown. In the early 2000s, Oates moved to Nashville, reconnecting with his early musical DNA and collaborating with the city’s vibrant Americana community. Over the years, this journey has produced seven solo albums, numerous singles, and a multitude of memorable collaborations, culminating now in Oates, a record that bridges past and present while looking boldly toward the future.

Calibro 35 Returns to the U.S. for Exclusive Shows Celebrating Exploration and Classic Italian Film Scores

This October, Milan-based cinematic funk ensemble Calibro 35 return to the United States for two highly anticipated concerts, presenting their latest album Exploration and paying homage to classic Italian film scores from the likes of Ennio Morricone and other masters of the golden age of Italian cinema.

The performances will take place at Miami Beach Bandshell on October 18 and at the legendary Whisky a Go Go in Los Angeles on October 20. Both are free RSVP events: Miami Beach Bandshell RSVP | Los Angeles RSVP.

Exploration, released on June 6, 2025, via Record Kicks, is a masterful blend of cinematic funk, ‘70s jazz, soul, and the playful textures of ‘80s Italian television soundtracks. Across eleven tracks, including originals such as Reptile Strut, Pied De Poule, and The Twang, Calibro 35 reinterpret classics by Azymuth, Lalo Schifrin, Herbie Hancock, Roy Ayers, and Piero Umiliani, balancing homage with fearless reinvention.

“In recent years we’ve absorbed a huge amount of music,” the band explains. “Through our soundtrack work (Blanca, Sandokan for Rai TV), festival appearances, and sharing stages with artists like Makaya McCraven, The Headhunters, Roy Ayers, and Robert Glasper, we’ve immersed ourselves in the global ‘new jazz’ scene. That journey led us to Exploration.”

Calibro 35 have earned international acclaim as one of Italy’s most innovative independent bands. Rolling Stone calls them “the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years.” Since forming in 2007, the group has combined technical mastery with groove, precision with creativity, and eclecticism with coherence. Their music has been sampled by hip-hop icons including Dr. Dre, Jay-Z, Damon Albarn, and Demigodz, and they have collaborated with artists ranging from PJ Harvey and Mike Patton to Stewart Copeland and Rokia Traoré.

The U.S. tour is presented by Hit Week, the festival of Italian music around the world, supported by the Italian Ministry of Foreign Affairs and International Cooperation, and organized by ITA – Italian Trade Agency together with FIMI – the Federation of the Italian Music Industry.

Calibro 35 Live in the U.S.:

• October 18 — Miami Beach Bandshell, Miami – Free RSVP
  

• October 20 — Whisky a Go Go, Los Angeles – Free RSVP
  
  

Album Details:

• Title: Exploration

• Artist: Calibro 35

• Release Date: June 6, 2025

• Label: Record Kicks

• Private EPK & Streaming: Available to press upon request

• Public Streaming & Purchase: Record Kicks

The Architects of Soul Vol. 16 – 20-Track Summer 2025 Soul Collection

The architects of soul return with Volume 16, a stunning 20-track Summer 2025 collection of premium mid-tempo Northern and Crossover soul. Digging deep into the Charly archives and rare U.S. independent labels like True Soul (Little Rock), Soulin’ (New Orleans), and Soul Clock (Los Angeles), this compilation uncovers the building blocks of modern soul.

Curated with the help of the Modern Soul Collective’s Andy Rix, the set features gems from both well-known and overlooked soul artists. Choice Of Colour opens the collection with the heartfelt groove “Your Love,” while Adam Wade’s “Russell Never Had A Chance” showcases his smooth, emotive vocal style. Thomas East’s “Follow The Rainbow” is a melodic gem from the St. Louis soul scene, and Tony Owens’ “All That Matters” demonstrates the polished crossover appeal that made Northern soul so irresistible.

Premium Fortenberry III contributes the infectious “You Know You Want To Be Loved,” a track that highlights his silky vocals and intricate arrangements, while The Whispers’ “Needle In A Haystack” adds a classic touch of vocal harmony and sophisticated groove. The Fuller Bros. deliver the rawer soul of “Stranger At My Door,” while Ohio Players’ “I Gotta Get Away” leans into funk-infused rhythms that prefigure their later hits.

The Impalas’ “Speed Up” and The Esquires’ “Listen To Me” represent the energetic pulse of mid-tempo soul, and Swiss Movement’s “Trying To Win Your Love” captures the smooth, romantic sensibility of the era. Al Wilson’s “Touch And Go” is a perfect example of crossover soul sophistication, and Kenny Smith & The Lovelitters’ “One More Day” radiates heartfelt emotion and vocal prowess.

Jackey Beavers’ “Bring Me All Your Heartaches” and Ruby Winters’ “If Only We Had Met Sooner” offer deep lyrical intimacy, while Don Varner’s “When It’s Over” and Swamp Dogg’s “Synthetic World” introduce socially aware storytelling with lush instrumentation. John Craig Doing’s “My Own Thing” is a standout track blending groove and melody, and Bill Brandon’s “All I Need Is You” captures the passionate essence of modern soul. The collection closes with Music ‘N’ Motion’s “I’ve Got To Find My Place,” a reflective and rhythmically compelling finale.

From Northern soul classics to rare crossover treasures, Volume 16 brings together a rich tapestry of voices, grooves, and styles, celebrating the diversity and depth of soul music. Each track has been carefully selected to honor the legacy of the artists while introducing listeners to hidden gems that shaped the genre.

Track Listing

Disc 1

1. Choice Of Colour – Your Love

2. Adam Wade – Russell Never Had A Chance

3. Thomas East – Follow The Rainbow

4. Tony Owens – All That Matters

5. Premium – You Know You Want To Be Loved

6. The Whispers – Needle In A Haystack

7. The Fuller Bros. – Stranger At My Door

8. Ohio Players – I Gotta Get Away

9. The Impalas – Speed Up

10. The Esquires – Listen To Me

11. Swiss Movement – Trying To Win Your Love

12. Al Wilson – Touch And Go

13. Kenny Smith & The Lovelitters – One More Day

14. Jackey Beavers – Bring Me All Your Heartaches

15. Ruby Winters – If Only We Had Met Sooner

16. Don Varner – When It’s Over

17. Swamp Dogg – Synthetic World

18. John Craig Doing – My Own Thing

19. Bill Brandon – All I Need Is You

20. Music ‘N’ Motion – I’ve Got To Find My Place

Ronnie McNeir Makes a Move: Unearthed 1971 Sessions Finally See the Light

The tapes for Ronnie McNeir Makes a Move were discovered in Mickey Stevenson’s extensive master tape collection, and the result is a full new LP of classic McNeir—a true gift for his many soul fans, particularly in Europe where he is so deeply admired.

In 1971, Ronnie recorded more than twenty tracks with Stevenson’s production company. Eleven appeared on his RCA debut Ronnie McNeir, but ten remained in the vaults—until now.

The title cut, “Let’s Make a Move,” composed with longtime collaborator Andre Moore, bursts with urgent funk energy. “I’m Sorry” offers an earlier take on “Gone Away,” complete with a female vocal response track that didn’t make it onto the 1972 RCA release.

McNeir also reimagines Motown classics. “Say You,” first recorded by the Monitors in 1965, is given a laid-back twist, while “The Girl’s Alright With Me” features stellar backing vocals from Hodges, James, Smith & Crawford. Both the single and alternate versions of “Say You” are featured here. In a surprising turn, Bob Dylan’s “Blowin’ in the Wind” gets a jaunty, soulful makeover.

Other standouts include the slow-burning “My Day Will Come,” co-written with his wife Mona and already drawing attention from modern soul DJs, and “Tell Your Mama,” a sensuous groove in the spirit of Marvin Gaye. “East Side, West Side” brings a streetwise social edge, tackling the realities faced by young people at the time.

A multi-instrumentalist with deep jazz influences, McNeir also included two instrumental jams: “Ronnie’s Bag #1” and “Ronnie’s Bag #2.” Driven by piano, keyboards, and early synthesizers, the first leans toward jazz while the second heads straight into funk territory.

Ronnie McNeir Makes a Move is a fascinating rediscovery that expands the picture of McNeir as an artist—versatile, soulful, and ahead of his time.

Track Listing
A1. Let’s Make a Move
A2. I’m Sorry
A3. My Day Will Come
A4. East Side, West Side
A5. Ronnie’s Bag #1

B1. Ronnie’s Bag #2
B2. The Girl’s Alright With Me
B3. Say You
B4. Tell Your Mama
B5. Blowin’ in the Wind

Just to Keep You Satisfied: Motown’s Overlooked Male Voices of the 1970s Resurface

Satisfaction comes in many forms. When the magical word Motown is uttered, most people are hard-wired to think of The Four Tops, The Temptations, and The Supremes. But to reduce Motown to the effervescent sixties is only part of the label’s remarkable legacy.

By the 1970s, a different sound was emerging. America was on edge—the Vietnam War had been a disaster, urban street crime was epidemic, and college campuses were alive with political resistance. The joyful hope that had inspired “Baby Love” now felt out of place in a world where unrest was impossible to ignore.

The industry was shifting too. The 45rpm single that had driven Motown’s success in the 1960s was being eclipsed by concept albums. Edwin Starr released his anti-war statement War and Peace in 1970. The Temptations ventured into psychedelic territory with Psychedelic Shack. And in 1971, Marvin Gaye reshaped the possibilities of soul with his state-of-the-nation masterpiece What’s Going On.

By then, Motown had arguably the greatest roster of male vocalists in the world, including former Temptations leads David Ruffin, Dennis Edwards, and Eddie Kendricks. Around them, singer-producers like Leon Ware and Frank Wilson were stepping forward with their own powerful visions. Ruffin’s “Crime in the Street” captured Detroit’s epidemic of violence, his voice raging quietly against gun crime. A few years later, his cult favorite “Rode by the Place” would sound even more ahead of its time.

This was the fertile ground where Motown helped shape what would later be called “quiet storm”—a mid-tempo, moody, and deeply soulful style that carried intimacy and fire in equal measure. Groups like The Originals and The Fantastic Four, led by the impassioned “Sweet” James Epps, pushed this sound forward, leaving behind music that still resonates today.

Just to Keep You Satisfied invites listeners to revisit this overlooked chapter in Detroit soul, showcasing the creativity of Motown’s male voices during the early 1970s. It’s a collection that proves Motown was more than just the hit machine of the 1960s—it was a label willing to evolve, innovate, and reflect its times.

Track Listing
A1. Blackmail – David Ruffin
A2. Crime in the Street – David Ruffin
A3. Look Out Your Window – Frank Wilson
A4. Just to Keep You Satisfied – The Originals
A5. I Pray You Still Love Me – Jimmy Ruffin

B1. I Hate Myself for Loving You – The Fantastic Four
B2. If I Can’t Love You Then I Can’t Love Me – Eddie Kendricks
B3. When the Lights Come Down on Love – Dennis Edwards
B4. You Are the Way You Are – Leon Ware
B5. Don’t You Wanna Come – Leon Ware

Bassist Zack Lober Delivers a Deeply Personal Statement with So We Could Live

After more than 25 years as an in-demand sideman working with some of jazz’s most adventurous voices, bassist and composer Zack Lober steps forward with his most personal work to date: So We Could Live, releasing in 2025 on Zennez Records. Featuring a core trio of rising stars Sun-Mi Hong (drums) and Suzan Veneman (trumpet), joined by Dutch tenor saxophone legend Jasper Blom, the album balances singable melodies with fiery collective improvisation. At its heart, the project is a moving tribute to Lober’s late father and to all who sacrifice so that others may live better lives.

The album was recorded live in one large room at the renowned Wisseloord Studios in Hilversum, The Netherlands. The open setup allowed the group to capture immediacy, spontaneity, and connection. Longtime friend Ben van Gelder produced the session, with Alessandro Mazzieri as recording engineer, Micha de Kanter mixing, and Peter Brussee mastering.

The opening track and lead single, “Joe Type Tune,” pays tribute to Joe Henderson and his iconic chord-less trio The State of the Tenor. A two-bar descending bass line sets the stage for high-energy fireworks from Blom and Hong. “Behind a Myth,” Blom’s contribution inspired by Paul Hindemith, pushes furthest into atonality, while “The Loose End” was designed to leave space and suspense, ending with a musical cliffhanger. Lober’s “Vignette” nods to Wayne Shorter’s Etcetera album, mixing polytonal twists with an open, improvisational spirit.

The centerpiece of the record is Lober’s solo bass medley “Dad / Besame Mucho,” combining his own tribute to his father with his parents’ wedding song, creating the album’s most intimate moment. Blom returns with “Landscape” and “Feathered Head,” the latter inspired by Dave Holland’s Conference of the Birds. The closing title track, “So We Could Live,” builds slowly into an emotional climax, highlighted by Sun-Mi Hong’s dynamic solo.

Born in Montreal and now based in the Netherlands, Lober has built an international career performing with artists including David Binney, Henry Threadgill, Seamus Blake, Butch Morris, Ingrid Jensen, and Christine Jensen. His collaborators on this album bring equally impressive résumés: Blom, winner of the 2019 Boy Edgar Prize, is one of the Netherlands’ most versatile saxophonists; Veneman is a rising trumpeter and composer leading multiple projects across Europe; and Hong has become a vital force on the Amsterdam scene, recording for Edition Records and earning acclaim for her fearless creativity.

With So We Could Live, Lober transforms a career of collaboration into a bold, personal leader statement—one that celebrates family, sacrifice, and the joy of collective creation. By combining accessible melodies with adventurous improvisation, the album offers listeners a moving journey of resilience, intimacy, and connection.

---

Dan Bruce Introduces New Trio Ohm! with Debut Album The Architects

After two acclaimed releases with his adventurous ensemble :beta collective, guitarist and composer Dan Bruce returns with a bold new project: Ohm!, a groove-driven trio making its debut with the album The Architects, arriving October 31, 2025 on Shifting Paradigm Records.

The record is a vibrant journey through funky pockets, jazz/rock fusion, and deep improvisational energy, perfect for fans of Kurt Rosenwinkel, Nir Felder, Wayne Krantz, and Tim Berne.

For Bruce, The Architects is as much a philosophical statement as it is a musical one.

“I’m always trying to deal with my incredible fear of death amidst my joy for life, and the anxiety it causes me to know that the two are inextricably linked,” Bruce shares. “By including disorder and dissonance in my music alongside the joyous moments, I’m working to accept both as an integral part of the experience. That said, the guiding principle for this album was to groove and have fun.”

That duality—joy and dissonance, groove and freedom—runs throughout the album’s nine tracks.

Known for his fiery improvisation and thoughtful compositions, Bruce has carved out a distinctive place in the modern jazz landscape. A former fixture of Chicago’s vibrant scene, he now resides in Cleveland, where he balances performing, teaching, and composing.

With over 50 sideman credits and four leader albums, Bruce has collaborated with some of the leading voices in jazz, including Seamus Blake, Ali Jackson, Sean Jones, Dan Wilson, and Marquis Hill. His work with :beta collective earned acclaim for its exploratory edge, with All About Jazz praising Bruce’s “generous, accessible sound with an exploratory edge.”

Ohm! unites Bruce with two of Northeast Ohio’s most in-demand players:

• Jordan McBride (bass) – known for work with Orrin Evans, Sean Jones, Roger Humphries

• Gabe Jones (drums) – a versatile force with Sean Jones, Howie Smith, and others

The trio’s name reflects both electrical current (Ohm) and the sacred vibration “Om”, symbolizing power, unity, and creation. True to that spirit, Ohm! performances often begin with group chanting to foster community.

“The most important thing art can be doing in these times is community building,” Bruce explains.

The album opens with its expansive title track, featuring saxophonist Jason Kush. Blending intricate passages with free improvisation, the piece meditates on building, rather than tearing down. In a touching moment, Bruce’s children are heard in the background, underscoring his hope that “we are raising architects” of the future.

Other highlights include:

• “Eh?” – a playful nod to Bruce’s Canadian tours, with a recurring A chord inspiring its tongue-in-cheek title.

• “Ice” – inspired by Gerhard Richter’s paintings, with nylon-string guitar textures and vocals by Nadine Douds.

• “Glimpse” – a restless ostinato blossoming into a vision of peace.

• “Major_Chord” – composed by producer Nathan Douds, embodying both joy and instability.

• “Rare Birds” – a groove-heavy closer featuring Reggie Watkins (trombone) and Nathan Douds (keyboards).

Douds also contributes programming to the album’s “Incidental” interludes, adding atmospheric links throughout the set.

With The Architects, Dan Bruce’s Ohm! emerges as a thrilling new force in modern jazz—groove-driven, exploratory, and deeply human in its embrace of joy, dissonance, and connection.

Reggae Legend Johnny Clarke Returns with New Album “African Roots”

Johnny Clarke, one of reggae’s most iconic voices, is back with African Roots, his latest album due October 3 on vinyl, CD, and digital platforms. Clarke first emerged on the Kingston music scene at just 17, releasing singles in 1972, and shortly after, his debut album None Shall Escape established him as one of the leading militant dread artists of his generation.

Clarke’s career is filled with reggae staples such as “Move Out of Babylon Rastaman,” “None Shall Escape The Judgement,” and “Enter Into His Gates With Praise,” tracks that continue to resonate with reggae fans worldwide. African Roots is his most ambitious project in years, combining fresh recordings with nods to the classic roots sound that defined his early work.

The album title comes from a song Clarke first recorded in 1976 with legendary producer Bunny Lee. African Roots contains 13 tracks that revisit Clarke’s storied back catalog while paying homage to the roots reggae era more broadly. The album’s lead single, “Legalize It,” is a passionate reinterpretation of Peter Tosh’s iconic anthem advocating for cannabis legalization.

Clarke also revisits fan favorites such as “Blood Dunza,” “Declaration of Rights” (originally by the Abyssinians), “Roots Natty Congo,” and “None Shall Escape The Judgement.” He further interprets Max Romeo’s “Chase The Devil”, Bob Marley’s “Crazy Baldhead” and “Stir It Up,” and delivers a bold, unexpected Caribbean take on The Eagles’ “Take It Easy.”

Reflecting on the project, Clarke shared:

“I am very grateful to work on this project. We have to do what we do to make the music great. I’m glad to be a part of it.”

The album not only revisits classics but also celebrates the sound, spirit, and cultural significance of the 1960s soul and roots jazz era that shaped reggae music. Fans can expect a collection that is both audacious and deeply authentic, blending Clarke’s militant roots style with modern production and Caribbean flair.

Track Listing – African Roots

1. None Shall Escape The Judgement

2. Declaration of Rights

3. Rain From The Sky

4. Roots Natty Roots Natty Congo

5. Crazy Baldhead

6. Blood Dunza

7. It’s A Shame

8. African Roots

9. Legalize It

10. Chase The Devil

11. Stir It Up

12. Cruisin’

13. Take It Easy

African Roots stands as a testament to Clarke’s longevity and influence in reggae music. By revisiting classics while introducing new recordings, the album bridges decades of roots music, honoring legends like Peter Tosh, Max Romeo, and Bob Marley, while reimagining songs in a fresh, contemporary context.

The inclusion of rare photographs and liner notes in the limited-edition vinyl, along with Clarke’s passionate vocal performances, makes African Roots not only a musical experience but also a collector’s item for serious reggae fans.

This album cements Johnny Clarke’s place as a defining voice of reggae, proving that his music continues to inspire and resonate with listeners across generations.

Joe Alterman & Mocean Worker Pay Tribute to Les McCann with New Cover “Burnin’ Coal”

Today, jazz fans can celebrate a new release as Joe Alterman & Mocean Worker (Adam Dorn) unveil their cover of the Les McCann classic “Burnin’ Coal.” This marks the third single from their forthcoming album, Keep The Line Open, which will be released on September 26 via MOWO! Inc.

The nine-track album is a vibrant celebration of McCann’s sound and the spirit of 1960s soul jazz. From funky late-night club vibes to nods to Latin grooves and gospel-like intensity, the project captures the energy and joy that defined McCann’s music. The limited-edition 180-gram orange vinyl also includes a 10-page insert featuring extensive liner notes by Alterman, Dorn, and Michael Smith, as well as rare and previously unpublished photos of McCann by Sharon Josepho.

Both Alterman and Dorn share a deep connection with McCann, who served as a mentor, collaborator, and friend. Alterman first met the pianist at New York City’s Blue Note, where McCann encouraged him to play blues during a soundcheck, ultimately giving Alterman his approval with a simple “Amen.” Dorn, through his father Grammy-winning producer Joel Dorn, had known McCann for years and worked with him on multiple projects, including live and reissue albums.

It was McCann’s passing that brought Alterman and Dorn together to create Keep The Line Open. Inspired by McCann’s legacy, the duo combined Dorn’s rhythmic ideas with Alterman’s improvisation to craft songs that feel both spontaneous and meticulously arranged.

“Burnin’ Coal” embodies McCann’s triumphant spirit, with a killer bass line, infectious rhythm, and piano grooves that are impossible to ignore. Alterman and Dorn aimed to both honor McCann’s classic track and infuse it with their own creative energy.

The full album spans multiple moods and textures:

• Funky grooves (“Gimme Some Skin”)

• Latin-inspired rhythms (“Moses Gonzalez”)

• Backbeat-heavy jazz (“I Love It!, I Love It!, I Love It!”)

• Soulful, church-like moments (“Yay Yay Yay”)

• Psychedelic 60s vibes (“Circus Going Backwards”)

• Modern, contemporary jazz (“Lemme Tell You Something”)

Throughout, McCann’s influence shines through, with his wit, humor, and loving nature echoing in every note.

Keep The Line Open is more than an album—it’s a musical celebration of a jazz legend and an era that defined modern soul jazz. Drawing inspiration from artists like Ramsey Lewis, Ahmad Jamal, Eddie Harris, and Cannonball Adderley, the album captures the joy, energy, and life-affirming spirit that McCann exemplified. For listeners, it’s a journey through the past and a reminder of the timelessness of soulful jazz.

Jeff Logan Channels Four Generations of Domestic Violence Into Powerful New Album “Ghost Protocol”

For singer-songwriter Jeff Logan, the subject of domestic violence is deeply personal. When he discovered that his daughter had been abused for the third time by her partner, Logan faced a breaking point. He could either take matters into his own hands with irreversible consequences—or channel his rage into something constructive. Choosing the latter, the veteran correctional officer and musician poured his emotions into his studio, writing, producing, arranging, and recording sixteen raw, unflinching R&B and hip-hop tracks in just eight days.

The result is “Ghost Protocol,” an album that shines a spotlight on the generational cycles of abuse that have scarred Logan’s family for decades. The project will be released October 3 on Fire & Ice Entertainment Network, aligning with Domestic Violence Awareness Month.A Family Legacy of Pain—and Resilience

Domestic violence is not new to Logan. His paternal grandmother, mother, himself, and now his daughter have all been victims. This painful family history gave Logan both urgency and perspective in creating “Ghost Protocol.”

“I consciously tried to enter into an alter ego state of mind for each perspective as I attempted to channel my angst about what happened to my daughter, my mother, me when I was a child, my paternal grandmother, and a host of women who have, over the years, confided in me about their experiences,” Logan explained. “Domestic violence does not discriminate. It is pervasive, devastating, and too often lethal. My purpose with this album is to do something about it.”

Each track on “Ghost Protocol” is written from a different vantage point: the victim, the abuser, the abuser’s mother, and the victim’s family. Logan’s 35 years of experience working in corrections add authenticity to his narratives, grounding the songs in unvarnished truth.

The soundscape is as varied as the stories: neo-soul ballads, hip-hop anthems, R&B grooves, and gospel-like confessionals.

Highlights include:

• “Misery Loves Company” – A bluesy ballad about realizing you’re trapped in a toxic, abusive relationship.

• “Daddy’s PSA” – Logan’s visceral outburst after seeing the physical damage inflicted on his daughter.

• “I Don’t Know Why” – From the abuser’s perspective, questioning their own violent impulses.

• “Ghost Protocol” (title track) – A chilling warning from a victim who speaks from beyond the grave.

• “2-Minute Reflections” – Family members mourning at a victim’s funeral, recalling their unanswered pleas for her to leave.

• “Flame” – A heartbreaking song from a child’s perspective, dealing with the loss of a parent to domestic violence.

• “M.O.S. (Mother of Suspect)” – A mother’s lament as her son is charged with abuse.

• “P.R.T. (Preach, Reach, Teach)” – A call to mentor young men before they repeat cycles of violence.

• “Penal Purgatory” – The closing track, offering a chilling inner monologue from an incarcerated abuser, reflecting on life behind bars.

Logan doesn’t shy away from graphic storytelling. Instead, he uses his platform to confront hard truths about abuse, justice, and healing. “Ghost Protocol” is meant to be more than an album—it’s a cautionary tale.

“My overarching desire is for it to strongly encourage victims and victimizers to seek immediate help,” Logan said.

A multi-instrumentalist with a gift for melody, Jeff Logan first made waves with his 2011 debut Black Tie Affair. Last year, he teamed with two-time GRAMMY® winner Paul Brown for Indigo, a smooth R&B-jazz set. His recent single Fire and Ice has enjoyed worldwide radio play. With Ghost Protocol, Logan ventures into R&B and hip-hop storytelling for the first time, proving his versatility and depth as a creator.

Looking ahead, Logan plans to release his next urban-jazz instrumental project, “Obsidian,” in early 2026. But for now, his mission is clear: to use music as a force for awareness, healing, and change.

Track Listing – Ghost Protocol

1. Misery Loves Company (part 1)

2. Please to the 3rd Power

3. Daddy’s PSA (part 1)

4. I Don’t Know Why (reflective version)

5. Ghost Protocol (part 1)

6. 2-Minute Reflections

7. BOLO-Juris Prudence (part 1)

8. M.O.S. (Mother of Suspect)

9. Flame!

10. Move to the Cool

11. a2 + b2 = c2 (Extended Version)

12. V.I. (Victim Impact Statement)

13. P.R.T. (Preach, Reach, Teach)

14. Adulting 101

15. Ghost Host Protocol 2

16. Penal Purgatory (part 1)

Johanna Linnea Jakobsson Releases New Single “Better Off” Ahead of Forthcoming Album

Copenhagen-based singer and songwriter Johanna Linnea Jakobsson returns with her new single, “Better Off”, a preview of her forthcoming full-length album Don’t Overthink It, set for release on October 31, 2025 via Zack’s MUSIC.

“Better Off” is a refreshingly candid take on the end of a relationship. Rather than dwelling on heartbreak, Jakobsson turns the theme into what she calls a “happy breakup song.” The track captures the emotional push and pull leading up to the final decision to walk away—acknowledging a touch of sentimentality but ultimately celebrating freedom, closure, and growth.

“It isn’t necessarily about a romantic relationship,” Jakobsson explains. “It could just as easily be about a friendship. The overall feeling is the same: you feel like you’ve tried your best, but it just isn’t working out—and that is okay.” This sense of emotional honesty, combined with her natural melodic touch, gives the single a universal quality that listeners can immediately connect with.

The track features a minimal but impactful ensemble. Jakobsson’s warm, expressive vocal delivery is supported by Olof Wullt on electric guitar and Simon Petersson on double bass, creating an intimate yet uplifting sound. The production, guided by John Fernold, lets the lyrics breathe while balancing delicacy with energy.

“Better Off” was recorded at Signalverket Studios in Malmö, Sweden, by Jesse Emmoth, and later mixed and mastered by Markus Nilsson at Sunnanå Studio. The result is a polished yet organic sound that reflects Jakobsson’s storytelling focus and her ability to blend heartfelt songwriting with elegant musical arrangements.

With her sophomore album Don’t Overthink It just around the corner, Jakobsson is poised to expand her reach as both a vocalist and songwriter. The new record promises to further explore her gift for crafting songs that are personal yet universally resonant, balancing lyrical depth with melodic accessibility.

• Vocals: Johanna Linnea Jakobsson

• Electric Guitar: Olof Wullt

• Double Bass: Simon Petersson

• Music & Lyrics: Johanna Linnea Jakobsson

• Producer: John Fernold

• Recording Engineer: Jesse Emmoth (Signalverket Studios, Malmö)

• Mixing & Mastering: Markus Nilsson (Sunnanå Studio, Malmö)

• Label: Zack’s MUSIC