Unreleased 1967 Rahsaan Roland Kirk Live Set Seek & Listen: Live at the Penthouse Arrives on Vinyl and CD

Fresh bright moments are set to be added to the extraordinary discography of Rahsaan Roland Kirk with the November 28, 2025, release of Seek & Listen: Live at the Penthouse, a two-LP set capturing jubilant, previously unreleased performances from 1967. The album, an exclusive RSD Black Friday release from Resonance Records, was produced in collaboration with Dorthaan Kirk of the musician’s estate and Jim Wilke and Charlie Puzzo, Jr. of the Penthouse, a legendary Seattle jazz club. This release continues a long-running relationship between the Penthouse and Resonance co-president Zev Feldman, who has previously issued unheard recordings by Les McCann, the Three Sounds, Wes Montgomery, and the Wynton Kelly Trio.

The performances on Seek & Listen showcase Kirk at his inventive peak, blazing through originals like “Now Please Don’t You Cry Beautiful Edith” and expansive interpretations ranging from a Duke Ellington medley to Bobbie Gentry’s then-new hit “Ode to Billie Joe.” Kirk’s astonishing double-blowing and circular breathing techniques on multiple horns—including the manzello and stritch—are complemented by pianist Rahn Burton, bassist Steve Novosel, and drummer Jimmy Hopps. The recordings have been sonically restored and remastered by Matthew Lutthans at the Mastering Lab and pressed on 180-gram vinyl at Le Vinylist in Quebec. A CD edition will follow on December 5.

The expansive release package includes extensive liner notes by Kirk biographer John Kruth, reflections from novelist Mary Cobb, memories from bassist Steve Novosel, and appreciations from saxophonists James Carter and Chico Freeman, as well as trombonist Steve Turre. Feldman recalls first hearing these recordings around 2010 or 2011, noting, “They are full of so much energy, passion and charisma that Rahsaan magically creates. It is playing at a monumentally high level.” Wilke adds, “I had great admiration for him as a scholar, as well as a musician,” while Puzzo says, “To see these live sets of recordings from the Penthouse become available now on vinyl and CD is a dream come true.”

Kirk’s widow, Dorthaan, reflects, “Rahsaan’s true legacy is his music. He made a whole lot of people happy through his music. His music is going to live on. I’m always amazed at the young people who have continued to discover him over the years.” John Kruth highlights Kirk’s singular talents: “Roland Kirk was both a great and greatly misunderstood musician, a brilliant multi-instrumentalist who expressed himself through a homemade sonic toolkit that included tenor sax, the manzello, and the stritch…He also was a hell of a clarinet player, winning the DownBeat poll in that category year after year.”

Novosel remembers the spontaneity of performing with Kirk: “The whole time I was with Roland, it was a trip because you never knew what was going to happen. We never had any music to read. I learned all the songs on the bandstand, just playing for the first time.” Carter emphasizes Kirk’s jaw-dropping abilities: “He could not only play three horns at once and sound like a saxophone section, he could also alternate between two horns and sound like two different people trading phrases.” Turre adds, “I got from Rahsaan the idea that jazz music in particular is something that brings all people together…He could tell just by the tone of a person’s voice whether their spirit was right or not.” Novelist Mary Cobb observes Kirk’s creative genius: “Perhaps no other musician has lived more fully in the world of sound…He played music, because he had to.”

In addition to Seek & Listen: Live at the Penthouse, Resonance Records will also issue Vibrations in the Village: Live at the Village Gate, an explosive previously unissued 1963 performance by Kirk, also as a two-LP RSD Black Friday set.

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Ben Marc Unveils Who Cares Wins Pt. 1 with Arrested Development, Kay Young & More

London-based musician Ben Marc has released the first EP installment of his upcoming album Who Cares Wins, arriving alongside a new video for the track “Love.” The EP follows last month’s opening single “Back Again,” featuring Arrested Development and Speech, and marks the beginning of a staggered rollout that will see two four-track EPs released in October and November, leading up to the full 14-track LP in December. Though conceived as a single body of work, Marc has chosen to let the music arrive in stages, mirroring his layered approach to composition and giving each chapter space to resonate before the full story comes together.

Even as Who Cares Wins carries a contemporary pulse, some of its quirkiest inspiration comes from an unlikely source: the ’70s detective series Columbo. Marc was as captivated by the adventurous jazz scores as by the title character’s rumpled charm, and that sense of curiosity and experimentation remains central to his own music. As Ethio-jazz pioneer Mulatu Astatke once reminded him, “It’s for the people.” For Marc, that is the guiding spirit of this record—genre-bending, collaborative, and deeply human. Speaking about the track “Love,” he says, “Love is built out of unity and this song reminds me of ambling through a field hand in hand with joy. It brings a circular movement and repetition which enables growth, trust, and renewal—an endless rhythm that carries us back to one another.”

Marc is an artist who has always thrived on blurring lines. His career has taken him from collaborations with Radiohead’s Jonny Greenwood and Dizzee Rascal to world tours with Astatke and performances with the Sun Ra Arkestra. He co-founded the experimental trio Zed-U with Shabaka Hutchings and Tom Skinner, a project that ultimately connected him with Greenwood and Thom Yorke’s band The Smile. His stage name reflects his dual heritage: “Ben,” a nickname given to him in the jazz collective Tomorrow’s Warriors, and “Marc,” tied to his Birmingham roots steeped in reggae, hip-hop, and soul. Raised between Birmingham and the Caribbean island of Carriacou, he grew up absorbing a wide range of traditions that shaped him into a versatile player across bass, guitar, keys, and cello.

The seeds of Who Cares Wins were planted during the pandemic, while Marc was volunteering with the NHS. The project became a way to bring together the many sides of his musical identity. “I ended up thinking, ‘Well, it’s a genre — it’s just me,’” he explains. His 2022 debut Glass Effect distilled his influences into a playful, J Dilla-inspired fusion that Pitchfork described as “evocative and full of integrity.” But he considers it only the beginning. For this new record, he built his own studio, surrounded himself with synths, drums, strings, and guitars, and allowed a freer, more mature sound to take shape. The title flips the British Special Air Service motto “Who Dares Wins” into something cheeky and rebellious, perfectly reflecting the spirit of music that embraces grooves, samples, and collaborations as if there were no boundaries at all.

Across the album, Kay Young, Khazali, Wahid, and Speech each contribute their voices, adding distinct textures to Marc’s restless, yet grounded production. Tracks like “The Blues” and “Cheddar Man” reveal his playful side, while “Love” offers something more tender, built on repetition and renewal. With Who Cares Wins, Ben Marc continues to push forward, unafraid to take risks, and confident in the idea that music should connect us back to each other.

Who Cares Wins Pt. 1 Tracklist:

1. Love

2. Take Control

3. Back Again (feat. Arrested Development & Speech)

4. Get You Gone (feat. Kay Young)

Ian Smit’s New Album ¿QUÉ? — A Fully Improvised Journey with David Torn, Tom Rainey & Scott Petito

Experimental jazz guitarist Ian Smit will release his new album ¿QUÉ? on December 5, 2025, featuring an extraordinary ensemble of David Torn on electric and national steel guitar, Tom Rainey on drums, and Scott Petito on acoustic and electric bass, who also served as recording engineer.

The album was created almost entirely in the moment. Smit’s only guiding principle for the session was to keep the music conversational, full of dynamic ups and downs that felt natural to the players. Apart from two tracks that began as loose harmonic sketches—“Bee Still” and “Raindrops and Waterspouts”—everything was fully improvised as soon as the studio light turned red. The intention was never to perform written compositions but instead to shape spontaneous ones through interaction, whether with melody, groove, sound interventions, or silence.

Smit has known David Torn for decades. Torn produced his very first professional recording, Ping, back in 1987 with Scott Petito also involved, though that album was only released on cassette. Years later, a chance session with a friend brought Smit back into Petito’s orbit, this time as mixing and mastering engineer. The atmosphere in the studio left such a strong impression that Smit knew he wanted Petito to not only engineer but also play bass on this project. Choosing Tom Rainey was just as clear. After hearing him perform with Torn over the years, Smit considered him the perfect drummer for the session. “Tom was definitely number one on the list,” Smit recalls. “This recording would not have come to fruition if Tom wasn't available.”

The session took place at Petito’s NRS Recording Studio in Catskill, NY, on April 28, 2025. Smit, Torn, and Rainey played together in the same room with only gobo panels between them, allowing for intentional feedback and interaction, while Petito tracked bass separately depending on whether he was on acoustic or electric. When Smit played acoustic guitar, Torn switched to electric, and when Torn played national steel, Smit picked up electric. In the final mix, Smit’s guitar can be heard on the left, with his effects amp sometimes placed near the center, while Torn’s guitars occupy the right side of the stereo spectrum.

Though it was the first time Rainey and Petito ever performed together, and the first time Smit had played with any of the three, the chemistry was undeniable. “Scott and David hadn’t played together in decades, and when they did back in 1987, it was only overdubs. I was the true newcomer here. Was all that risky? Evidently not,” Smit laughs. “I was riding on a rocket ship!”

The album’s track list reflects its playful and exploratory spirit, from the spacious opener “Bee Still” to titles like “A Quiet Cafe Until It’s Not,” “Barker de la Carnivale,” and “Wizard of Wut.” Cover art was designed by Stephen Byram.

The musicians behind ¿QUÉ? each bring remarkable histories. Bassist, composer, and producer Scott Petito has appeared on more than 1,000 recordings across genres, working with artists such as James Taylor, Dave Brubeck, Chick Corea, Pete Seeger, and Sting. He is a long-time member of the Fugs and the Blues Project, and leads bands such as Modern Times and the Trio ELP. His acclaimed solo albums include Rainbow Gravity, Many Worlds, and the solo bass project Sbass Music.

Drummer Tom Rainey, born in Pasadena in 1957, has been a key voice in New York’s creative music scene since 1979. He has performed with John Abercrombie, Tim Berne, Jane Ira Bloom, Nels Cline, Anthony Braxton, Joe Lovano, and many others. He currently leads the Tom Rainey Trio as well as the quintet Obbligato, while continuing to collaborate widely.

As for Ian Smit, he describes himself as a composer, guitarist, melodist, and noise maker, unbound by genre. His projects over the decades include Monkeyworks, Savage & Smit, e’fessioux, So It Goes, and collaborations with Brian Kastan, Chris Koch, and QWERT. His first professional outing, Ping, was produced by Torn in 1987, and he has continued to create art on his own terms ever since.

David Torn, also known as “splattercell,” is a guitarist, composer, producer, and sound innovator of international stature. His influential career spans solo work, film scoring, and collaborations with artists such as David Bowie, k.d. lang, Madonna, Tori Amos, John Legend, Tim Berne, Bill Bruford, and Meshell Ndegeocello. His solo release Only Sky was described by the New York Times as “[an abstract landscape that is] both immersive and deftly disorienting,” and he continues to work across genres, including with his group Sun of Goldfinger.

With such a lineup, ¿QUÉ? captures the thrill of risk, trust, and discovery, offering listeners a rare window into music made with no script, only ears and instincts. As Smit sums it up: “Play because you love it, and maybe good things might come your way if you're lucky enough to see and latch on to them—like playing with a bunch of truly exceptional ringer nice guys like David, Tom, and Scott.”

Nādt Orchestra Bridges Worlds with Dualism — A Bold Debut of Sound and Spirit

Founded in Bologna in 2020, the Nādt Orchestra is a collective of eight boundary-pushing musicians who have spent the past few years forging a sound that refuses to be boxed in. Their debut album, Dualism, out May 9 on Locomotiv Records, is a vibrant musical statement where jazz meets Africa, the Middle East, Central America, and electronica—all woven into a seamless, genre-defying tapestry.

At the helm is guitarist Domenico Romano, whose vision has guided the band’s evolution into a dynamic force. Under the expert production of Tommaso Colliva (Muse, Calibro 35), a Grammy-winner known for capturing sonic clarity and raw energy, Dualism unfolds as a multidimensional listening experience—rich in texture, rhythm, and emotion.

The group’s name draws from the Sanskrit word nādt, which refers to subtle energetic pathways through which prāṇa (life force) flows. These nādt aren’t physical, but part of the yogic understanding of human vitality—offering a conceptual link to the music’s intention: to be a channel for connection, energy, and transformation across cultures and traditions.

“There are few things as exciting as listening to nine musicians interacting in the same room at the same time,” says Colliva. “It used to be the norm, but nowadays it's becoming more of a rarity—almost a kind of magic. That’s what this record is about.”

The first glimpse into that magic comes through “Koko,” the lead single featuring Italian jazz titan Gianluca Petrella on trombone. The track is inspired by the Japanese aesthetic of Wabi Sabi, embracing imperfection, simplicity, and transience. In “Koko,” Afro-Cuban percussion creates a hypnotic rhythm bed for Petrella’s emotive trombone lines, evoking the spiritual ambiance of John Coltrane’s Africa/Brass or Randy Weston’s African Rhythms, but with a stripped-back, meditative intimacy.

“Koko” isn’t just a composition—it’s a statement of intent. Dualism is a space where opposites collide and transform: digital and analog, ancient and modern, structured and improvised. It invites the listener to sit in the tension between worlds and hear what’s possible when boundaries dissolve.

This is music that transcends genre and speaks in a language of its own—formed not by formulas, but by feeling. Dualism isn’t just an album; it’s a sonic exploration of balance, contrast, and collective creativity in a time that needs all three.

A Master’s Last Bow: Chick Corea’s Forever Yours Is a Jazz Farewell for the Ages

Candid Records and Chick Corea Productions have announced the upcoming release of Forever Yours: The Farewell Performance—a moving, masterful tribute to one of jazz’s greatest voices. Arriving digitally on October 17, the album captures Chick Corea’s final solo piano performances, recorded just four months before his passing in 2021.

More than just a final statement, Forever Yours is a portrait of an artist at full power, freely exploring a lifetime of music with playfulness, generosity, and fearless virtuosity. Starting today, fans can pre-order the CD and 2-LP vinyl set, which will be available in stores February 27, 2026.

To mark the announcement, Corea’s vibrant rendition of Stevie Wonder’s “Overjoyed” has been released—a joyful take that highlights his curiosity and ability to bring fresh life to any melody.

Recorded in October 2020 over two solo-piano concerts at Ruth Eckerd Hall in Clearwater, Florida, these performances are rich in the flowing brilliance Corea was famous for: dazzling runs, harmonic depth, and rhythmic joy that never sacrifices emotional connection. He moves fluidly between original compositions, jazz standards, and tributes to composers he admired—Thelonious Monk, Bud Powell, Mozart, Bill Evans, Stevie Wonder, and Duke Ellington, to name a few.

There’s a generous spirit in every note. Corea’s original works—like “Armando’s Rhumba” and a suite of his Children’s Songs—shine next to reinterpretations of classics like “Waltz for Debby” and “In A Sentimental Mood.” Spoken interludes are included throughout, offering warmth, humor, and insight as Corea introduces pieces and reflects on his inspirations—making the listener feel as if they’re in the room with him.

A standout moment includes his improvisational “Portrait” pieces, where audience members joined him onstage, and he composed music inspired by their presence—an example of the spontaneous generosity that defined him both on and off stage.

Corea’s legacy is more than awards and accolades—though they were many. A 28-time GRAMMY® winner with 75 nominations, he was a NEA Jazz Master, DownBeat Hall of Famer, and pioneer of nearly every style of modern jazz—from bebop to fusion to classical crossover.

“He looked up to the musicians he loved,” said longtime collaborator Bernie Kirsh, “and in his own exploration of some of their pieces, he found similarities between them—even if centuries separated their works.”

That sense of timeless connection is exactly what Forever Yours offers. And with liner notes featuring reflections from legends like Herbie Hancock, Alicia Keys, Hans Zimmer, Robert Glasper, Bobby McFerrin, and Stanley Clarke, the album is as much tribute as it is time capsule.

In the end, this is more than a farewell. It’s a final gift—one that invites listeners to hear the world the way Chick Corea did: full of wonder, possibility, and joy.

Forever Yours: The Farewell Performance – Track Listing

1. Chick’s Welcome

2. Armando’s Rhumba

3. It Could Happen to You

4. Overjoyed

5. Piano Sonata in F Major, K. 322: II. Adagio

6. Smoke Gets In Your Eyes

7. Chick Talks About Monk And Bud

8. ‘Round Midnight

9. Trinkle Tinkle

10. Dusk In Sandi

11. Waltz For Debby

12. In A Sentimental Mood

13. Chick Talks Portraits

14. Portrait: Sam

15. Chick Introduces The Next Portrait

16. Portrait: Terri

17. Chick Talks Children’s Songs

18. Children’s Song No. 1

19. Children’s Song No. 2

20. Children’s Song No. 10

21. Children’s Song No. 17

22. Children’s Song No. 19

23. Children’s Song No. 20

Still Rough, Still Tough: Stranger Cole Returns With a Genre-Defying New Album

When the young Wilburn Theodore Cole was first nicknamed “Stranger,” it was because he didn’t resemble anybody else in the family. And when he first stepped into a Kingston recording studio in 1962, he was a stranger there as well—just another teenage hopeful on a seethingly competitive music scene.

Nobody could have guessed, let alone predicted, that close to 65 years later, that same Stranger would be one of the most familiar, best-loved, and most recognized names and faces in reggae history. And with his latest album Rough and Tough scheduled for release on October 24, that familiarity is only going to grow.

Rough and Tough is Stranger unleashed—exercising that still exquisite voice across thirteen tracks and placing his unmistakable stamp on such beloved (but surely unexpected!) classics as Journey’s “Don’t Stop Believin’,” Tears for Fears’ “Everybody Wants to Rule the World,” and War’s “Low Rider.”

He dives deep into the reggae and ska songbook for an impassioned take on Bob Marley’s “No Woman No Cry,” an astonishing reinvention of The Beat’s “Mirror In The Bathroom,” Prince Buster’s “Madness,” and—perhaps most audaciously of all—Symarip’s 1960s shocker “Skinhead Moonstomp.”

Stranger also revisits his own mighty catalog, starting with the 1963 anthem “Rough and Tough” (originally recorded with Duke Reid for his idiosyncratically-spelled Dutchess label), and continuing through the fierce 1966 cut “Drop The Ratchet,” 1968’s game-changing “Bangarang”—often hailed as the first “true” reggae track—and the soulful “When I Call Your Name,” first recorded as a duet with the fabulous Patsy Todd.

And then there’s “Crying Every Night,” released today as Stranger’s latest single. Originally a 1971 smash recorded with Tommy McCook and the Supersonics for Byron Smith—a pioneer producer who inadvertently birthed the very first dub record—it’s a timeless performance brought vibrantly back to life.

Stranger is clearly proud of this new chapter:

“I’m feeling great to have worked on this great project,” he says. “I hope you enjoy it as much as I do. I have put all my love into it.”

Rough and Tough – Track Listing:

1. Crying Every Night (These Eyes)

2. Just Like a River

3. Rough and Tough

4. Low Rider

5. Bangarang

6. Madness

7. Drop the Ratchet

8. Skinhead Moonstomp

9. Mirror in the Bathroom

10. When I Call Your Name

11. Everybody Wants to Rule the World

12. No Woman No Cry

13. Don’t Stop Believin’

Mark Turner’s Reflections on: The Autobiography of an Ex-Colored Man Is a Landmark Jazz Statement

Tenor saxophonist Mark Turner delivers one of the most profound works of his career with Reflections on: The Autobiography of an Ex-Colored Man, a bold, literary-inspired album arriving October 10, 2025, via Giant Step Arts. Known as a “musician’s musician” and revered for his postmodern yet historically rooted approach to jazz, Turner has crafted an emotionally resonant and intellectually rich musical suite that bridges art, identity, and social commentary.

This is not just another jazz album—it’s a statement. Drawing deep inspiration from James Weldon Johnson’s seminal 1912 novel The Autobiography of an Ex-Colored Man, Turner uses the book as both a creative anchor and a mirror for his own lived experience. The novel’s themes of race, identity, and belonging—told through the story of a biracial man able to pass as white—hit especially close to home for Turner, who recalls his mother and great-aunts navigating similar realities. “I hadn’t read a book that talked about passing that was written that early on,” he says. “In my family, we talked about that all the time.”

Rather than composing a programmatic or overly literal interpretation of the book, Turner channels the novel’s psychological and cultural textures into music that stands on its own while remaining thematically connected. The album weaves together composed and improvised material, and features spoken word passages lifted directly from the text—quotes Turner selected for their ability to make listeners pause and reflect. “I wanted to have music that was enhanced with words,” he explains, “not words that were enhanced by music.”

The band—assembled for a residency at the Village Vanguard in 2018—includes long-time collaborators Jason Palmer (trumpet), David Virelles (piano/synths), Matt Brewer (bass), and Nasheet Waits (drums). Virelles’s quote of “Lift Every Voice and Sing”—penned by Johnson and his brother—brings the literary inspiration full circle in a particularly moving moment. In two standout tracks, “New York” and “Europe,” Virelles also turns to synthesizers, an homage to Sun Ra and a way of exploring Afro-diasporic sonic landscapes across continents and eras.

The album doesn’t simply evoke emotion—it provokes thought. Whether through the dense harmonic interconnectivity across the suite or through starkly recited lines like “Sometimes it seems to me that I have never really been a Negro...”, the work invites deep introspection about race, identity, and the internal conflicts so many navigate silently.

This is a landmark addition to the Modern Masters and New Horizons series from Giant Step Arts, curated by Jason Palmer and Nasheet Waits. The series is dedicated to presenting artists who have defined or are redefining the sound of modern jazz. Turner’s contribution is not just a musical triumph—it’s a model for how jazz can intersect with literature, history, and lived experience to speak to the present moment.

Founded in 2018 by Jimmy and Dena Katz, Giant Step Arts remains one of the few platforms offering artists complete creative control and ownership of their work. With deep respect for musicianship and an eye toward legacy, the organization continues to support bold, uncompromising projects like this one—works that challenge listeners not just to hear differently, but to think differently.

Mark Turner’s Reflections on: The Autobiography of an Ex-Colored Man is available October 10, 2025, on CD and digital platforms. Vinyl to follow via Giant Step Arts.

Denise King Releases New Album People Get Ready, Blending Jazz and Protest Songs

Philadelphia-born vocalist Denise King has long enchanted audiences as a luminous interpreter of jazz standards and Songbook treasures. But on her breathtaking new album People Get Ready, due out October 17, 2025 via Jazzbook Records, King takes a bold leap into a different kind of repertoire—bringing the same depth of soul, sensuality, and emotional clarity to a collection of socially conscious songs drawn from rock, blues, R&B, and folk traditions.

This album marks one of the most powerful and personal statements in King’s four-decade career. Inspired by timeless messages of peace, unity, and justice, the collection includes anthems from songwriters like Curtis Mayfield, Bob Dylan, Abbey Lincoln, and the team of Norman Whitfield and Barrett Strong. These are songs that once lit the fire of civil rights movements—and still burn with urgency today.

“Being a jazz head all my life, I never imagined I’d be covering Bob Dylan or the Animals,” King reflects. “But these songs have been with me since they were new. Singing them now, they feel even more relevant. The lyrics speak to today as much as they did back then.”

The project came together in unexpected but fateful fashion. After a concert in Aix-en-Provence, France, King met Jazzbook label founder Seydou Barry—producer and manager of the late jazz icon Ahmad Jamal. Their connection was instant, and the idea of this album sparked almost immediately. As King puts it, “Things happen when they’re meant to. The stars aligned for us to meet and take my recording career in a new direction.”

Guitarist John Shannon, also on Jazzbook with his own recent release A Day in Tarifa, served as the musical director and arranger. Alongside a stellar lineup—Shannon on guitars, Vieux Kanté on percussion, Cliff Barnes on piano and organ, James Johnson III on drums, and Chyco Siméon on bass—the group simply needed the right voice. They found it in King, whose commitment to justice and empathy extends far beyond the stage.

Offstage, she’s the founder of the Hope and Healing Community Arts Project in Philadelphia, which provides school supplies, coats, and holiday gifts to children in need. She also launched BeBoppin' Books, a literacy program that combines reading with music to inspire young minds. “I connected with this project immediately because it speaks to everything that is important to me,” she says.

From the opening track, “You Gotta Move,” King channels the holy fire of gospel music, reviving a spiritual made famous by everyone from Sister Rosetta Tharpe to the Rolling Stones. It sets the tone for an album that calls listeners to reflection, action, and transformation. Her rendition of Timmy Thomas’s “Why Can’t We Live Together” captures the longing for peace in a fractured world, while her take on “War” blends Flamenco-infused choruses with hard-driving funk, bringing searing energy to the Motown protest classic.

The music gets personal—sometimes painfully so. King recalls performing “War” in Dakar, Senegal, where the audience reaction was overwhelming. “At one point, the band cuts out and I scream the word, ‘war!’ The background singer started crying. I was close to tears myself.”

That emotional intensity carries into the quieter moments. Abbey Lincoln’s “Throw It Away” becomes a meditation on letting go, while “House of the Rising Sun” and “Amazing Grace” blur together in a stunning fusion of lament and redemption. “Sinner Man” races with desperation, echoing Nina Simone’s legendary take, while U2’s “Pride (In the Name of Love)” becomes an acoustic prayer, which King dedicates to the LGBTQ+ community. The title track, of course, is a soulful rallying cry, and Dylan’s “Gotta Serve Somebody” brings things to a close with a funk-driven meditation on life’s deeper choices.

With People Get Ready, Denise King steps into new creative territory—still grounded in her jazz roots, but free to explore. “At this stage of my life, I’m leaning more toward doing whatever I feel like doing,” she says. “I’ve been in the jazz box for a long time—and I love it—but sometimes you just want to have some fun and say something meaningful at the same time.”

She’ll bring this new energy to audiences around the world this fall, with a tour that begins on October 31 and includes stops in the U.S., India, and Europe:

• Oct 31 – Con Alma, Pittsburgh, PA

• Nov 1 – Con Alma, Pittsburgh, PA

• Nov 7 – Windmills, Grandscape, TX

• Nov 8 – Windmills, Grandscape, TX

• Nov 14 – Windmills, Hyderabad, INDIA

• Nov 15 – Windmills, Hyderabad, INDIA

• Nov 21 – Windmills, Bangalore, INDIA

• Nov 26 – Studio de L'Ermitage, Paris, FRANCE

People Get Ready will be available on CD and digital platforms starting October 17, 2025, with a vinyl edition to follow on December 5.

Shoko Nagai’s Forbidden Flowers: A Bold, Sonic Journey from NYC’s Experimental Underground

Shoko Nagai, the New York-based Japanese pianist and composer, unveils a bold new quartet that's as electrifying as it is unorthodox. Her latest project, Forbidden Flowers, bursts with color and raw emotion, blending avant-garde textures with personal storytelling. Featuring violinist Pauline Kim Harris, known for her virtuosic command of contemporary classical music; Pam Fleming, whose trumpet playing is both hauntingly lyrical and soulfully expressive; and drummer Kate Gentile, whose intricate rhythms bring cosmic precision to every beat—the group pulses with experimental energy and fearless artistry.

Nagai’s own performance spans an eclectic array of instruments—piano, Farfisa, Fender Rhodes, Nintendo DS, and electronics—each adding its own shade to the album’s vibrant palette. Forbidden Flowers reads like a musical memoir, each track unfolding as a chapter from Nagai’s life as a female experimental musician navigating New York City. Her sound defies categorization, weaving together threads of jazz, contemporary classical, world, and electronic music. The result is deeply personal and sonically adventurous, guided not by genre but by the authenticity of lived experience and unfiltered artistic expression.

The project was made possible by the NYFA Women’s Fund NYC grant, helping to support and amplify the voices of female artists like Nagai, who continue to challenge conventions and expand the boundaries of contemporary music.

Each member of the quartet brings a distinct voice to the table. Nagai herself has long captivated audiences with her unique fusion of influences—from classical and jazz to Klezmer and Balkan music—drawing inspiration from her early training on Yamaha’s Electone in Japan to her studies at Berklee. Her dynamic stage presence and deeply focused performances have made her a staple of the experimental music scene, with collaborations ranging from John Zorn and Pauline Oliveros to Miho Hatori and Butch Morris.

Drummer Kate Gentile brings a sharp-edged complexity to the group’s rhythm section. A fixture in the NYC creative music world, Gentile’s work is equally grounded in structure and spontaneity, with recent releases on Pi Recordings showcasing her compositional depth and daring. Her other projects, like the electro-acoustic duo Gloatmeal and the noise-jazz trio Secret People, highlight her relentless exploration of sound.

Pauline Kim Harris, a GRAMMY-winning violinist and composer, adds a soaring, virtuosic layer to the group. A former prodigy and the youngest ever student of Jascha Heifetz, she has spent her career bridging classical discipline with avant-garde experimentation, most notably through her work with String Noise and ensembles like ICE, Talea, and Alarm Will Sound.

Pam Fleming’s trumpet brings a deep emotional resonance to the quartet. Whether through her work with her band Fearless Dreamer or across her many collaborations, she plays with a lyricism and vulnerability that lingers long after the music fades. Her contributions to Forbidden Flowers help transform it into something more than a collection of compositions—it becomes a sonic diary, full of atmosphere, memory, and mood.

The first single, “Three Years on a Stone,” dropped September 30, offering a haunting preview of what’s to come. The full album will be released November 14.

Forbidden Flowers was produced by Satoshi Takeishi, recorded by Andy Taub at Brooklyn Recording Studio, and mixed/mastered by Marc Urselli at Eastside Recording. Album visuals include CD design by Arushi Uniyal and photography by Takeishi.

Jazzanova’s In Between (Remixes) Reimagines a Genre-Defining Classic for a New Generation

To celebrate the 20th anniversary of their genre-defining album In Between, Berlin-based collective Jazzanova and their label Sonar Kollektiv present In Between (Remixes) — a bold, full-length reinterpretation that reimagines the original 2002 LP through fresh perspectives and global influences. Out October 17, 2025, the compilation brings together a carefully curated lineup of forward-thinking producers and longtime collaborators who breathe new life into the original tracks.

Released at a time when nu-jazz, broken beat, and future soul were emerging as new frontiers in electronic music, In Between helped set the tone for an entire movement. Two decades later, In Between (Remixes) pays homage to that foundation while pointing decisively toward the future. The album features 11 brand-new remixes from artists who push the boundaries of genre—including Jacana People, Eric Hilton (Thievery Corporation), The KBCS, Nautilus, DJ Slowz, Magro, Crackazat, Paskal & Urban Absolutes, Kid Fonque, Groove Chronicles, and Satin Jackets.

Each producer brings their own style and cultural background to the table. Jacana People kick off the album with a spacious, club-ready take on “Another New Day,” fusing ambient textures with pulsing rhythms. Eric Hilton wraps Clara Hill’s vocals in a smoky, dub-inflected rework of “No Use,” while The KBCS infuse “The One-Tet” with rich analog soul and funk instrumentation. Nautilus transforms “Mwela, Mwela (Here I Am)” into a retro-futurist jazz-funk jam steeped in rare groove aesthetics.

Vietnamese B-boy and DJ culture ambassador DJ Slowz offers a deeply hip-hop-rooted reinterpretation of “L.O.V.E.” and “You & I,” full of raw texture and vinyl crackle. Berlin’s Magro brings glitchy future-jazz stylings to “Keep Falling,” featuring Ursula Rucker. Crackazat turns “No Use” into a euphoric house journey brimming with groove, keys, and soul. Paskal & Urban Absolutes give “That Night” a sleek deep house finish, while Kid Fonque fuses Berlin club vibes with Jo’burg rhythms on his remix of “Another New Day.” UKG innovator Groove Chronicles flips “The One-Tet” into a gritty, bass-heavy refix, and Satin Jackets closes the set with a shimmering Balearic slow-burn version of “No Use.”

The result is a genre-blending, cross-continental celebration of Jazzanova’s far-reaching influence. While rooted in nostalgia, In Between (Remixes) avoids sentimentality by remaining sonically adventurous and uncompromising. It’s a fresh reinterpretation that still honors the spirit of the original album—one that helped solidify Jazzanova as pioneers of the global nu-jazz sound.

Formed in the late 1990s, Jazzanova quickly emerged as one of the most forward-thinking collectives in electronic music. Blending jazz, soul, house, broken beat, and Latin influences with intricate production and deep crate-digging sensibilities, the group became a cornerstone of the evolving nu-jazz and future soul scenes. Their debut album In Between (2002) was met with international acclaim and has since become a touchstone for fans of genre-defying, groove-based music. Alongside running the independent label Sonar Kollektiv, Jazzanova continues to evolve—both as a studio outfit and live band—remaining vital to global underground music culture more than two decades into their career.

In Between (Remixes) is the second chapter in Jazzanova’s 20th anniversary celebration. It follows In Between Revisited: Jazzanova Live, a live reinterpretation of the album performed by a full band. The campaign will conclude later this year with In Between (Deluxe Edition)—a definitive box set including the original album, the 2025 remix compilation, the live version, the classic 2003 remix album, and a curated collection of rare Jazzanova singles like “That Night,” “Days To Come,” and “Bohemian Sunset.”

The full remix album drops October 17, 2025 via Sonar Kollektiv.