Monday, October 06, 2025

The Spontaneous Jam Session: Turning Audience Imagination Into Live, Unscripted Music


Every Sunday at pinkFROG cafe in Brooklyn, something extraordinary unfolds. Musicians from across the city gather for The Spontaneous Jam Session, a fully improvised musical experience co-hosted by bassist Marcelo Maccagnan and drummer Maxime Cholley, who also serves as the event’s charismatic MC. Unlike a typical jam session built on familiar standards, this one begins with nothing—no tunes, no charts, no plan. Instead, the audience provides prompts—stories, phrases, or emotions—that spark entirely new compositions, created in real time before their eyes.

The project’s new live album captures that electricity. Recorded in a single evening, the session features Simona Smirnova (vocals), Yotam Ishay (keyboard, piano), Andrew Cheng (guitar), Andrew Denicola (saxophone), Marcelo Maccagnan (bass), Maxime Cholley (drums), and special guest Sandra Kluge on tap percussion. Across five audience-suggested prompts, the group collectively composed and performed five original pieces — each titled only after it was played, in reflection of the music’s character:

“A Few More Warm Days”
“Echo Park Rising”
“Real World Human Convention”
“One Part Martyr One Part Fool”
“Staring Up at the Moon”

The album was recorded fully live — no rehearsals, no overdubs, and no second takes. The musicians responded instinctively to one another, weaving together influences from jazz, world music, electronic, and experimental sounds into fluid, ever-evolving sonic landscapes. The result is an album that feels alive — a direct imprint of the creative moment, equal parts vulnerability and discovery.

Beyond the players themselves, the audience is a crucial collaborator. Their prompts act as catalysts for each piece, transforming the boundary between performer and listener into a shared creative space. Every performance becomes an act of collective imagination — unpredictable, ephemeral, and unrepeatable.

Since its founding in November 2022, The Spontaneous Jam Session has grown into a vibrant Brooklyn community. Musicians from every background — jazz, R&B, Indian classical, Middle Eastern, electronic, and beyond — converge each week to explore sound without boundaries, united by the joy of real-time creation.

At its core are its hosts:

Marcelo Maccagnan, a Brazilian-born bassist, composer, and bandleader, known for blending rock, Brazilian music, and electronic textures into what he calls “Progressive Jazz.” His acclaimed album Night Tales established him as a fearless innovator whose music is grounded in communication and improvisation.

Maxime Cholley, a French-born drummer and producer, brings a global sensibility and dazzling rhythmic creativity. With collaborations spanning Steve Vai, Tigran Hamasyan, Paul Winter, and more, his unique left-handed setup and cross-genre command make him one of New York’s most distinctive percussionists.

Together, Maccagnan and Cholley have built something rare — a living laboratory for spontaneous creation, where audiences don’t just witness the music but help shape it.

WAAN Return With “Talking Trees,” a Mesmerizing Prelude to Their Next Chapter


Following the critical success of their 2023 debut Echo Echo, Dutch duo WAAN reemerge with Talking Trees, the first single from their forthcoming album We Want WAAN, due January 23, 2026 via Sonar Kollektiv.

With this new track, Bart Wirtz and Emiel van Rijthoven continue to dissolve the boundaries between the electronic and the organic, crafting music that feels alive, breathing, and deeply human. “Talking Trees” is a slow-burning, melancholic ballad rooted in trip-hop and jazz, its tape-saturated drums grounding layers of synth warmth, plaintive saxophone, and the ghostly presence of an EMS Synthi. As the piece unfolds, it’s overtaken by evolving electronics and processed cello, pulling the listener deeper into an introspective, cinematic world.

Inspired by the silent communication of white pines — trees that signal to one another through the air and underground fungal networks — “Talking Trees” becomes a sonic metaphor for connection, empathy, and quiet resilience in uncertain times.

The release marks the next evolution of WAAN’s acclaimed sound, which first captivated listeners with Echo Echo, earning two Edison Award nominations, widespread international radio play (including Jamie Cullum’s BBC Radio 2 show), and performances across Europe at venues like Paradiso, Bimhuis, and Transition Festival.

In the summer of 2024, the duo retreated to the remote Dutch island of Texel, immersing themselves in nature to begin shaping We Want WAAN — a record that leans further into rhythmic experimentation and collaborative openness. Produced alongside longtime creative partner Oscar de Jong (Kraak & Smaak), the album reflects a sound world that is freer, rawer, and filled with wonder.

“Talking Trees” was recorded at Eminent Studios in Leiden, mixed by de Jong at Kraak & Smaak Studios, and mastered by Max Gilkes. The track features Marta Arpini (vocals), René van Munster (cello), Matteo Mazzù (bass), and Mark Schilders (drums), alongside Wirtz and van Rijthoven on saxophone, keys, and vocals.

Both haunting and hopeful, “Talking Trees” offers a compelling glimpse of what’s to come — a soundscape where nature, emotion, and technology intertwine in the unmistakable world of WAAN.


M³ Festival 2025: A Boundary-Breaking Celebration of Collaboration, Mentorship, and Sound


The 4th Annual M³ Festival returns on Saturday, October 4, 2025, transforming Roulette Intermedium in Brooklyn into a powerful space for musical exploration, connection, and community. Presented by Mutual Mentorship for Musicians (M³) — the visionary initiative founded by Jen Shyu and Sara Serpa — the festival continues its mission to advance women and gender-expansive musicians through mentorship, artistic collaboration, and innovation.

This year’s lineup brings together an extraordinary roster of boundary-defying artists, including Grammy-nominated singer-songwriter Becca Stevens, NEA Jazz Master and pianist Kenny Barron, acclaimed saxophonist Immanuel Wilkins, and a host of M³ musicians presenting new and collaborative works: Siren Xypher (Melanie Dyer, Mara Rosenbloom, Kyoto Kitamura), Shoko Nagai and Satoshi Takeishi’s Vortex, Vertical Sounds (Kess Southpaw, Mnisibass, Melanie Dyer), Maia & Zamonda, Devon Gates’ Ghost Stories (with Victoria Awkward and Matt Greenwood), and Gili Lopes.

The marathon-style evening, beginning at 7 p.m., invites audiences into a sonic landscape that’s as unpredictable as it is unified — an experience that The Wire described as “one of the least stylistically predictable festivals I’ve ever attended.” At its core, the M³ Festival is a celebration of collaboration, mentorship, and the creative freedom that emerges when artists are encouraged to take risks together. As one attendee from a previous year put it, “It’s dynamic, creative, and vibrant — a beautiful collective of people really supporting each other through their creative process.”

This year also marks the launch of the inaugural issue of M³ Magazine, featuring writings from most of the festival’s performers, alongside an interview with 2025 M³ Luminary Awardee Maia, a longtime AACM member giving a rare New York performance. “We wanted to create an archive of writings that takes control of the narrative with regards to underrepresented musicians,” say co-founders Serpa and Shyu. “We envision it as a legacy for future generations.”

Founded during the pandemic in 2020, has grown from a bold idea into a global movement — supporting 92 artists, commissioning 46 new co-compositions, and building an international community grounded in artistic exchange and mutual support. “Music and art keep our imagination and hope alive,” says Serpa. “It’s more important than ever to listen, support, and show up for musicians. Because through them, we feel less isolated.”

From jazz masters to next-generation innovators, from individual voices to collective energy, the M³ Festival remains a rare gathering where mentorship, artistry, and shared purpose merge into one transformative experience.

Kirk Knuffke Opens a “Window” Into His Most Intimate Sound Yet


Acclaimed cornetist Kirk Knuffke returns with Window, his new studio album out now via RPF Records / Royal Potato Family. Joined by bassist Stomu Takeishi and drummer Bill Goodwin, Knuffke delivers a 13-track meditation on jazz minimalism — a work that unfolds with patience, air, and quiet intensity. The album not only showcases Knuffke’s singular touch as an instrumentalist but also reveals a seldom-heard side of his artistry, as he lends his voice to three tracks.

“This trio is really a dream to play with,” Knuffke shares. “It’s a truly one-of-a-kind unit and the only time you’ll hear Stomu and Bill together. I feel completely free to investigate my most personal compositions. It’s intimate and full of breadth, full of freedom of expression.”

There’s a sense of space and deep listening throughout Window — a recording that borders on the ambient in its sensitivity to sound and interaction. The trio’s interplay breathes and evolves with quiet confidence, reflecting Knuffke’s ongoing commitment to balancing formal experimentation and tradition, a duality the New York Times once described as leaving “no either-or.”

Following its release, Knuffke, Takeishi, and Goodwin — with special guest Bob Stewart on tuba — brought Window to life at the San Sebastian International Jazz Festival, performing to a sold-out audience. The trio will continue their celebration with a live performance at Nublu in New York City on Wednesday, September 24.

With praise from outlets like Dusted — which lauds Knuffke’s “restless muse” — and All About Jazz, which calls his cornet playing “flawless,” Window feels like a culmination and a new beginning: a work both spare and generous, personal and expansive.

Track Listing:

  1. Choose

  2. Gong Suite – Part 1

  3. For Your Needing

  4. Mr. Bill

  5. A Divine Image

  6. Runs Red

  7. Ballad

  8. Window

  9. Gong Suite – Part 2

  10. Heavy Times

  11. Gong Suite – Part 3

  12. Carey

  13. A Little More So



Friday, October 03, 2025

DeeAnn Reinvents Brenda Russell’s Classic with Soulful New Take on Piano in the Dark


DeeAnn, the multi-award-winning jazz and blues vocalist, has once again elevated a beloved classic with her sensual, infectious rendition of Brenda Russell’s two-time Grammy-nominated hit Piano in the Dark. Collaborating with legendary producer Ted Perlman, DeeAnn follows her 2024 breakthrough track Stay Here with Me and her 2025 soul-jazz hits, Al Green’s Simply Beautiful and Sade’s Kiss of Life, with this emotionally rousing, contemporary take on Russell’s timeless song.

Russell herself endorsed the new version, saying, “I loved it. I think it’s very cool. Love the groove and DeeAnn’s voice is hauntingly beautiful, as is the track. Congrats to Ted.” DeeAnn shares, “I’m very honored and flattered by Brenda’s words. She’s an amazing singer and songwriter and has a beautiful soul herself.” The song resonates deeply with DeeAnn, who connects with its story of a woman torn between leaving a troubled relationship and being drawn back in by the music of a piano-playing lover. “As much as we want to leave, there are always many reasons to stay and hope things get better,” she explains. Her phrasing and layered vocal delivery, including wordless improvisation and harmonies with backing vocalists Moe Loughran and Damien Horne, emphasize the song’s emotional depth.

Recorded at Perlman’s Nashville studio, Station West, the track features the producer’s fiery electric guitar, bassist Jonathan Nixon, drummer Brian Czach, and pianist/organist Jody Nardone, who delivers a fresh take on the song’s iconic piano solo. The opening bars emerged spontaneously when DeeAnn hummed along during Nardone’s warm-up, giving the track an organic, inspired start, and it culminates with a major chord that feels like an angelic approval of the performance.

Ted Perlman brings decades of music industry experience to the collaboration, having produced, arranged, recorded, and toured with legends including Whitney Houston, Bob Dylan, Burt Bacharach, Ronald Isley, CeCe Winans, Brian Wilson, Diana Ross, Ringo Starr, and many more. Together with DeeAnn, the pair have created a rendition that balances contemporary production, soulful grooves, and her deeply personal vocal connection to the lyrics.

DeeAnn's 2025 has built on a remarkable streak of accolades. She was named Jazz Female Vocalist of the Year in the 10th Annual JazzBuffalo Poll, received the most votes for her 2023 album It’s My Time, and earned runner-up honors for Most Memorable Performance and the John Hunt Jazz Artist of the Year Award. Since returning to music as a “jazzy soul” singer in the mid-2010s, she has consistently earned recognition, including Best Female Blues Vocalist at the Buffalo NightLife Music Awards and a Best Jazz CD nod for her 2019 EP Stay Here.

With Piano in the Dark, DeeAnn demonstrates once again her talent for taking classic material and making it distinctly her own, blending emotion, technical prowess, and contemporary soul-jazz flair into a performance that honors the original while staking its own claim on the modern musical landscape.

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.


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.”

Wednesday, October 01, 2025

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’

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