Zach Tenorio Takes Listeners on a Sonic Adventure with His Second Solo Album Field Trip

Maximum Overdub has announced the release of Field Trip, the second solo album from producer, composer, and keyboard virtuoso Zach Tenorio. Alongside the announcement comes the infectious new single “What’d It Take,” a vibrant glimpse into the record’s creative whirlwind.

Tenorio has long been known for his fearless musicality—a performer whose stage presence feels like electricity in motion, with a sound that’s equal parts virtuoso precision and joyful chaos. From the moment he began touring at age 16 with Jon Anderson of YES, Tenorio’s career has been defined by collaboration and experimentation. Over the years, he’s worked with artists such as Willow Smith (co-writing a Grammy-nominated song from her latest album), Kimbra, Guster, Gene Ween, and Clap Your Hands Say Yeah, while also holding down his role in the adventurous art-pop band Arc Iris and jamming with the improvisational collective Taper’s Choice.

On Field Trip, Tenorio distills that kinetic energy into 21 tracks spanning 30 minutes—a dazzling, genre-defying blend of analog warmth and futuristic exploration. Imagine Rick Wakeman colliding with the LA beat scene, or Hermeto Pascoal reimagined through the lens of J Dilla. There are flashes of 70s funk, bursts of moody organ, psychedelic synth runs, and unexpected samples of Tenorio’s own voice. The result is an album that feels alive—vivid, unpredictable, and deeply human.

The project began unintentionally. During the late-pandemic era, Tenorio found himself in a creative limbo—unsure when live music would fully return. To stay connected, he began posting spontaneous musical sketches online: playful, funky, often brilliant snippets that captured the joy of making music in real time. Over time, those sketches evolved into a cohesive body of work. “It wasn’t originally supposed to be a record,” Tenorio explains. “But I realized I was in a creative flow I really liked. I started pulling ideas back in—catching fish, so to speak—and turning them into songs.”

Despite its digital origins, Field Trip doesn’t worship technology. Instead, it revels in the human impulse to create. “The fact that so many of us have to post online to be seen is a bummer,” Tenorio admits. “But I tried to make it fun.” The result is a record that feels like scrolling through an algorithm designed by a musician rather than a machine—unexpected, full of joy, and endlessly curious.

Like his hero Hermeto Pascoal, Tenorio resists easy categorization. “When people hear my music, they find it hard to pinpoint,” Pascoal once said. “When they think I’m doing one thing, I’m already doing something else.” The same could be said for Field Trip: a playful, prismatic exploration of sound that captures the thrill of discovery and the freedom of creative expression.

Igor Lumpert’s Resistance of the Earth Channels Urgency, Spirit, and Sonic Earthquake Energy

The declining state of our planet has long been a source of creative urgency for tenor and soprano saxophonist Igor Lumpert. More than a decade ago, the Slovenian-born artist conceived a multimedia project, Prayer for the Earth, blending music, video, and choir to reflect humanity’s uneasy relationship with nature. Yet it wasn’t until recently that Lumpert was able to bring those ideas into the studio. In one inspired day—after just a single rehearsal—he captured the heart of that vision with a band of kindred spirits: Leo Genovese (piano), Drew Gress (acoustic bass), and Damion Reid (drums).

The resulting album, Resistance of the Earth, is a potent statement of resilience and reflection. It opens with the title track’s defiant choral shouts and surges forward with spiritual urgency reminiscent of John Coltrane and McCoy Tyner—whose influence is clearly alive in Genovese’s roiling intensity. Lumpert, who has split his time between New York and Slovenia for 15 years, lets the music unfold with spontaneous, open-hearted conviction.

“Everything was very last minute,” he recalls. “But it ended up being a very special moment. Everything just came together so well.”

The record’s scope stretches from the elemental to the deeply personal. “Vinku (for dad)” honors Lumpert’s late father, while “Underwater Snow (for Željka)” captures the tenderness of meeting his wife. “Choir Song” finds Lumpert returning to accordion for a sense of homecoming, while “Mediterranean Samurai” reflects on bird-watching and stillness in nature. The closer, “Blues for Code Talkers,” salutes the Native American soldiers whose wartime communication inspired Lumpert’s own “pure message song.”

Each composition breathes with color and feeling—what Lumpert calls “green.” The inspiration runs deep: from witnessing natural disasters like Hurricane Sandy and the Japanese tsunami to the broader awareness that the earth itself is crying out for empathy.

Lumpert’s career threads through Slovenia’s blossoming ‘90s jazz scene, studies in Austria, and his arrival in New York in 2000 to study with Reggie Workman. Since then, he’s worked with Robert Glasper, John Abercrombie, and Chico Hamilton, while leading his evolving ensemble Innertextures. His 2022 album I Am the Spirit of the Earth affirmed his ongoing dedication to music as an act of resistance and reverence alike.

With Resistance of the Earth, Lumpert captures that balance perfectly—melding fire and grace, intellect and intuition, sound and soul.

Dave McMurray Finds Joy and Healing in His Upcoming Album I Love Life Even When I’m Hurting

Saxophonist Dave McMurray is set to release his fourth Blue Note album, I Love Life Even When I’m Hurting, on November 14—a powerful affirmation of resilience and a heartfelt love letter to his hometown of Detroit. Known for his rich tone and soul-infused jazz phrasing, McMurray continues to bridge the worlds of emotional depth and musical celebration with his most personal project to date.

The first single, a stunning cover of Al Jarreau’s “We Got By” featuring Grammy-nominated vocalist Kem, captures that blend of vulnerability and hope. McMurray says the collaboration was decades in the making: “I was heavily influenced by Al Jarreau. I listened to his first album all the time. From watching Kem progress as a singer, I’ve always had him in mind to sing on my version.” Their connection—rooted in Detroit’s deep musical legacy—brings new life to the soulful classic.

The album’s title was born from a moment of reflection. After hearing about a friend who passed away after losing his battle with illness, McMurray was struck by the need to embrace life even amid pain. “Man, I love life even when I’m hurting,” he wrote. That affirmation became the album’s core theme—a collection of songs built on positivity, gratitude, and the sustaining power of music.

Co-produced with longtime collaborator Don Was, the album was recorded at Rustbelt Studios in Royal Oak, Michigan, and features a stellar lineup of Detroit musicians including Was and Ibrahim Jones on bass, Luis Resto and Maurice O’Neal on keyboards, Wayne Gerard on guitar, Jeff Canady on drums, Mahindi Masai on percussion, and Herschel Boone on vocals. McMurray wrote six of the nine tracks, each radiating with soulful melodicism and heartfelt groove.

“Making this album was such a cool project,” McMurray shares. “Everyone on it is somebody that I love.”

Gerardo Frisina Expands His Cosmic Groove on “In Sight Vol. 1”

Few artists have bridged the worlds of jazz and electronic music with as much elegance and consistency as Gerardo Frisina. Firmly tied to Schema Records since his 2001 debut Ad Lib, the Milan-based producer, composer, and DJ has spent more than two decades carving out a distinct space where Latin rhythms, jazz improvisation, and club culture coexist in perfect harmony. His latest work, In Sight Vol. 1 — the first of a two-part release — marks a new chapter in that evolution.

Following the forward-thinking Moving Ahead (2020), Frisina continues to push his sound into the cosmic and the futuristic. Yet from the very first notes, In Sight Vol. 1 remains unmistakably his: warm, rhythmic, and endlessly grooving. The album’s seven tracks reflect both precision and playfulness — music crafted for dance floors but rich in musical detail and texture.

Two singles have already set the tone: “Mindoro”, a percussive, brass-driven storm of rhythm, and “Desejar”, which weaves tropical sensuality with tight, jazz-informed structure. The full album reveals the complete picture — from the cinematic bossa nova dreamscape of “O Soñho” to the high-energy pulse that runs through the set’s other tracks. Frisina even revisits one of his personal favorites, originally featured on a 2009 10” EP, bringing new color and vitality to a fan-beloved classic.

Every element of In Sight Vol. 1 reflects Frisina’s meticulous approach: conceived, written, arranged, and produced by the artist himself, and recorded at Blue Spirit Recording Studio between September and December 2024. The album features a stellar ensemble including Giovanni Guerretti (piano, Fender Rhodes), Gendrickson Mena (trumpet, piano, vocals), Ernesto Lopez (percussion), Ralph Adiles (bass), and contributions from Francesco Borrelli, Ermanno Principe, Enzo Frassi, Simone Daclon, Germano Zenga, and Gilson Silveira.

The result is a record that feels both grounded in tradition and untethered by time. In Sight Vol. 1 captures Frisina’s signature blend of Afro-Cuban rhythms, soul-jazz sensibility, and contemporary electronic production, while expanding it toward something visionary — a sound that looks to the stars without ever losing its groove.

As the first installment of a two-volume project, In Sight is both a continuation and a revelation — a reminder that evolution doesn’t mean leaving the past behind, but listening for its echoes in new frequencies.

High Society New Orleans Jazz Band Keeps the Spirit Swinging on “Live at Birdland”

On Oscar night in 1978, while Annie Hall swept four Academy Awards — including Best Picture — Woody Allen was across the country, clarinet in hand, playing New Orleans jazz at Michael’s Pub in Manhattan. That lifelong devotion to the music would evolve into a storied Café Carlyle residency that lasted more than two decades, featuring a band of world-class players like Zambian-born, Grammy-winning pianist Conal Fowkes and Australian trumpeter Simon Wettenhall.

Now, that spirit lives on in the High Society New Orleans Jazz Band, co-led by Fowkes and Wettenhall, who’ve brought their jubilant energy and reverence for tradition to a weekly Thursday night residency at Birdland since March 2024. Their debut on Turtle Bay Records, Live at Birdland, recorded August 22 and 29, captures the band’s electrifying interplay, heartfelt swing, and unfiltered joy.

The group — Fowkes, Wettenhall, Harvey Tibbs (trombone), Tom Abbott (clarinet), Kevin Dorn (drums), Brian Nalepka (bass), and Josh Dunn (banjo and guitar) — channels the spontaneous, communal energy of old-school New Orleans jazz. They don’t use written charts, relying instead on intuition and shared pulse. “They are living and breathing as one,” wrote jazz historian Chip Deffaa, praising their “terrific ensemble sound” and “organic feel,” calling them “essentially Woody Allen’s band, without Woody Allen.”

The band’s collective resume reads like a who’s who of classic jazz revivalists — many have appeared in Allen’s films, from Sweet and Lowdown and Midnight in Paris to Blue Jasmine and Café Society. But on Live at Birdland, the spotlight is fully theirs.

After a brief “Introduction,” the band opens with a New Orleans funeral-style medley of “Flee as a Bird” and “Oh Didn’t He Ramble,” shifting from mournful procession to full-on street-party jubilation. “In a nutshell,” says Fowkes, “this beautiful hymn followed by all the exuberance says a lot about the breadth of emotion in New Orleans music.” That breadth carries through the record, from the joyful romp of “Here Comes the Hot Tamale Man” to the blues-soaked “Dallas Blues,” where Wettenhall’s vocals and horn lead anchor a powerful statement of longing and movement.

The set hits its stride on “Ace in the Hole,” a good-humored jam packed with blazing solos, and “Shreveport Stomp,” their fiery nod to Jelly Roll Morton that lets Fowkes cut loose on piano while the horns and drums trade call-and-response lines. The mood shifts with “Say Si Si,” a charming Cuban classic sung by Fowkes that highlights the Caribbean roots running through New Orleans jazz.

Of course, no show would be complete without “High Society” — the band’s namesake tune and an enduring jazz anthem first recorded in 1911. Their version is a barn burner, driven by Abbott’s clarinet fireworks and Dunn’s snappy banjo. They close the album with “When I Leave the World Behind,” an Irving Berlin gem sung by Nalepka. It’s a clever, heartfelt reflection on legacy and remembrance — and, as Wettenhall jokes, “it ended up being the perfect farewell for the album too.”

From start to finish, Live at Birdland is a vibrant, joyous celebration — not just of New Orleans jazz, but of the living, breathing conversation that keeps it alive. Fowkes, Wettenhall, and company don’t simply preserve a tradition — they inhabit it, transforming Birdland into a modern-day Frenchmen Street.

Max Jaffe’s “You Want That Too!” Is a Fearless Exploration of Sound, Silence, and Collaboration

Eclectic, tuneful, and exuberant, You Want That Too! — the new album from drummer, producer, and composer Max Jaffe — feels less like a record and more like a living conversation. Recorded with producer Pete Min at Lucy’s Meat Market studio in Los Angeles, the ten-track collection is the result of a deeply open creative process — one rooted in curiosity, connection, and the joy of discovery.

“The collaborators tell a story,” Jaffe says. And what a cast it is: Jeff Parker, Meg Duffy, Gavin Gamboa, Daniel Rotem, Shelley Burgon, Spencer Zahn, and Logan Kane all lend their voices to the project. Some are longtime acquaintances finally crossing paths; others are new connections found in the studio’s gravitational field. Together, they form a radiant network of sound — what Jaffe calls “the great cosmic conversation that is music.”

At the core of that conversation are Jaffe and Min. But, as Jaffe explains, “the center itself is nothing at all.” Each piece began from silence — a daily ritual of erasure and renewal. “Every morning we’d start fresh,” he says. “A new day, a new track, a new chance to build from nothing.” The result is what he describes as “a process-driven experiment,” and it’s easy to hear: You Want That Too! is alive with the energy of risk-taking and play.

The record is propulsive but often dreamlike, blending space jazz textures and glitch-funk grooves with an elastic sense of time and tone. It’s the sound of exploration with purpose — reminiscent at times of early Warp Records, or the boundary-pushing spirit of Josh Johnson’s “Unusual Object” and Steph Richards’ “Power Vibe” (which Jaffe also played on). Where those albums carve deep into singular sound worlds, Jaffe’s thrives in its eclecticism — a curated spectrum of moods and styles bound together by curiosity and craft.

Tracks like “Looking at the Inside of Your Eyelids” and “Putney Waltz” form a compelling duo — meditative yet rhythmically alive — while “Ancestral Creeks” channels something ancestral and raw, like a lost transmission between past and present. Jaffe’s drumming anchors the album’s cosmic wanderings, but there’s also something deeply personal at play. “My last record, Reduction of Man, was an elegy to my twenties in pre-pandemic NYC,” he says. “It felt like a capstone — like something I’d built was covered in ash. You Want That Too! is me building on top of that ash. Not a complete fresh start, but a new story.”

It’s a story told through sound and silence, through improvisation and intention. A record with no rigid concept but a clear sense of self — the musical DNA of both Jaffe and Min woven into every moment of spontaneity.

You Want That Too! is out November 21, with two singles leading the way: “In Green” (Oct 8) and “S-NARE” (Oct 29).

About the singles:

“In Green and its buoyant groove can serve as a personal flotation device,” says Jaffe. “Strap in and drift downstream through moments of improvisational wonder provided by Jeff Parker, Daniel Rotem, and Logan Kane.”

On “S-NARE”: “Early Warp Records and my work with electronic drum sensors informed this drum freakout. Pete pushed me to lean into the kind of drumming that first hooked me — immediate, hard, driving. The snare has a history of leading armies into battle; this one leads with love, but it can draw blood too.”

You Want That Too! is an invitation — to listen closely, to let go, and to rediscover what music can be when it’s guided by both openness and intention.

Jazz in the City: A New Era of Collaboration Takes the Stage in Denver

Jazz has always been about connection—artists coming together, improvising, and creating magic in the moment. That spirit is at the heart of Jazz in the City, a new concert experience debuting October 18 at Denver’s King Center Concert Hall.

Led by GRAMMY® winner Norman Brown, Billboard chart-topper Paul Taylor, guitar virtuoso Ron Bosse, and hometown sax favorite Tony Exum Jr., Jazz in the City goes beyond the typical tour. It’s a fusion of artistry, community, and innovation—designed to celebrate live performance while also giving back through music education and creative outreach.

The concept was born from the vision of Bosse, Brown, and promoter Pat Duncan, who wanted to merge top-tier musicianship, state-of-the-art production, and community engagement into one powerful series. Each city will feature live performances, masterclasses, and conversations with artists and local figures, filmed and shared online to extend the project’s reach and impact.

Denver’s debut is extra special—Taylor and Exum Jr. both have roots in the city, making it a fitting launch for a series built on collaboration and connection. The evening will unfold with Exum Jr. opening, followed by Taylor, then Brown and Bosse taking the stage before all four unite for a grand finale that blends jazz, R&B, and soul into a seamless groove.

As Bosse explains, “Each show is a one-of-a-kind experience. We’re capturing the energy and creativity of these musicians in a way that lives far beyond the stage.”

Bosse will also oversee production, ensuring the concerts are filmed and mixed with the same quality as a studio release, offering audiences an immersive sound and visual experience.

Each of the Jazz in the City artists brings a remarkable legacy to the project.

Ron Bosse is a master guitarist whose work has been praised by Guitar Player, JazzTimes, DownBeat, and The New York Times. A natural collaborator, he’s performed with legends like Jeff Lorber, Randy Brecker, and Mike Stern. His next album, produced by two-time GRAMMY® winner Paul Brown, is due out next year. ronbosse.com

Norman Brown is a GRAMMY®-winning guitarist and vocalist known for blending smooth jazz and R&B with the sophistication of George Benson. With ten No. 1 singles, three No. 1 albums, and a career that includes his supergroup BWB with Kirk Whalum and Rick Braun, Brown remains one of the genre’s most dynamic forces. normanbrown.com

Tony Exum Jr., a Denver native, brings his unique mix of R&B, contemporary jazz, and funk to the stage. His albums Finally and The One have earned international acclaim, and his collaborations span artists like Adam Hawley, Julian Vaughn, and Najee, as well as R&B greats Ginuwine and Donell Jones. tonyexumjr.com

Paul Taylor, also from Denver, has been one of smooth jazz’s most consistent hitmakers for three decades. Since his 1995 debut On the Horn, he’s released 13 albums and racked up numerous Billboard hits. His latest release, It’s A Brand New Day, continues his tradition of groove-driven, melodic jazz. paultaylorsax.com

With its combination of artistry, storytelling, and community spirit, Jazz in the City is more than a concert—it’s a movement. Upcoming dates in Boston, Atlanta, and Chicago are expected in early 2026.

Lea Maria Fries Introduces Cleo — A Daring, Soulful Debut from Switzerland’s Rising Voice

Lea Maria Fries steps boldly onto the international stage with her debut album Cleo, a stunning introduction to one of Switzerland’s most captivating new voices. Written and composed primarily by Fries, and produced by her longtime collaborator and bassist Julien Herné, the album is a delicate yet powerful statement — full of stories that trace an artist’s journey to define her own path with confidence, grace, and vulnerability.

Rooted in Black music and jazz yet unafraid of experimentation, Cleo moves fluidly across genres and languages. Across its 13 tracks, Fries weaves sonic textures that shimmer with elegance and emotional depth. Her voice — warm, arresting, and unflinchingly expressive — recalls the introspective explorations of Mélanie De Biasio and the haunting presence of Portishead’s Beth Gibbons. Like them, the stage is her true element: a place where she commands attention with what she calls an attitude both “classy and trashy.”

Cleo is an album of transformation — the story of a young Swiss woman discovering the world and herself along the way. Born in the Swiss countryside near the Alps, Lea Maria Fries (pronounced Fri-ès) grew up surrounded by nature and inspired by a music teacher who encouraged improvisation. The nearby Willisau Jazz Festival opened her ears to a world of creative expression, sparking her lifelong love for jazz and experimentation.

After studying at the Haute École de Jazz in Lucerne, Fries found the courage to step into the spotlight, competing in the Montreux Jazz Festival’s Vocal Competition, where Quincy Jones was among the judges. At just 21, she was the youngest finalist — and performing live for the first time. That moment proved transformative, launching her into a string of performances across the growing Swiss music scene.

To evolve further, she left the comfort of home for Berlin — a city of contrasts that would challenge and inspire her. In solitude and self-reflection, she found her creative voice, drawing inspiration from artists like Björk, Joni Mitchell, Shirley Horn, and Meshell Ndegeocello. It was there that she founded her first trio, embarking on tours across Russia and Eastern Europe, solidifying her reputation as a daring and emotive performer.

Now based in Paris, Lea Maria Fries stands at the crossroads of experience and innovation. Cleo captures her evolution — a portrait of growth, courage, and artistic freedom — announcing her as one of Europe’s most intriguing new talents.

Openness Trio: Nate Mercereau, Josh Johnson & Carlos Niño Deliver a Stunning Debut on Blue Note Records

Openness Trio, the debut album from Los Angeles–based musicians Nate Mercereau, Josh Johnson, and Carlos Niño, is now out on Blue Note Records. The release captures a rare sense of connection and creativity from three free-thinking artists whose collective resume includes collaborations with André 3000, Meshell Ndegeocello, Kamasi Washington, Shabaka, Sam Gendel, Jeff Parker, and Makaya McCraven. Together, they’ve crafted a deeply resonant, exploratory work that feels both grounded in the natural world and unbound by it.

The album’s centerpiece, “Openness,” follows the radiant “Hawk Dreams” and embodies the record’s ethos of trust, listening, and pure communication. Across its five expansive tracks—each recorded in a different outdoor or intimate setting around Los Angeles and Ventura County—the trio captures music as an act of presence.

From the Ojai hills overlooking the Topatopa Mountains to a cozy Elysian Park living room, an Echo Park courtyard “Garden of Electronics,” a pepper tree session in Topanga Canyon, and the “Oak Tree Cathedral” at Churchill Orchard in Ojai, Openness Trio transforms these spaces into living, breathing instruments.

Josh Johnson recalls their early Ojai session: “I remember so fondly being together and playing in the orchard in early 2021. It was the first time I’d played music with people in a long time, and I remember feeling so connected. The trio became 3D to me that day—soaring from the start.” A moment from that day lives on in the luminous single “Openness.”

“‘Openness’ is the ideal word and description for what is happening here,” says Nate Mercereau. “Listening, immersive emoting, deep communication, discovery, trust, exploration, and arriving at the moment to witness and share where we are, where we’re going, and where we’ve been—these are all things that allow our music to happen in the way that it does.”

Carlos Niño adds, “It is very rare to feel so able to trust anyone so much. It expands your awareness of yourself and your sense of being trustworthy. My favorite thing about playing with this trio is in the title: Openness. The totally psychic communication and connection we have together is electric and deeply nourishing. It is open.”

More than an album, Openness Trio feels like a conversation between three kindred spirits—an offering of sound, space, and sensitivity that invites listeners to simply be present.

James Allsopp Unveils “Red Sky” — A Vivid Prelude to His Forthcoming Album Stars And Sand

James Allsopp, long hailed as one of the most gifted saxophonists of his generation, continues to expand the boundaries of jazz with his new single “Red Sky.” Taken from his upcoming album Stars And Sand, the track showcases Allsopp’s immense range as both player and composer — a sonic journey that balances structure and spontaneity, intellect and emotion.

For over two decades, Allsopp has been one of the most sought-after saxophonists on the scene, collaborating with legends like The Last Poets, David Axelrod, Jamie Cullum, and Dr. John, as well as boundary-pushers such as Nostalgia 77 and Polar Bear. Stars And Sand captures that same adventurous spirit, with nods to free-jazz icons like Eric Dolphy, John Coltrane, and Sun Ra, and even experimental pioneers such as Brian Eno and Edgard Varèse. Yet, more than anything, Allsopp’s work stands apart for its bold individualism and painterly imagination.

This isn’t just jazz that rolls, honks, and blows — it’s imagistic jazz that paints with sound, conjuring vivid moods of color, light, and shadow. Joining Allsopp on the record is a stellar lineup featuring alto saxophonist Steve Buckley (Loose Tubes), electric bassist Tom Herbert (Polar Bear), and rising drummer-percussionist Dave Storey. Allsopp himself handles tenor saxophone, bass clarinet, and keyboards, while co-producer and remixer Ben Lamdin (Nostalgia 77) infuses the project with psychedelic textures and dub-inspired layers.

Underpinned by swirling electronics and a hypnotic beat, “Red Sky” is a radiant piece for sun worshippers — a celebration of light and life. “I wanted this piece to feel joyous; an ecstatic whirling atmosphere that descends into madness,” says Allsopp. The result is both exhilarating and transcendent — a preview of what promises to be one of his most visionary works yet.

Stars and Sand Album Tour 2025
25/10 – Listen, Cambridge
07/11 – Vortex, London (Album Launch)
11/11 – 1000 Trades, Birmingham
15/11 – The Hive, Shrewsbury
16/11 – The Garibaldi, Northampton
18/11 – The Glad Café, Glasgow
19/11 – Soundhouse, Edinburgh
21/11 – The Blue Lamp, Aberdeen
22/11 – Scott’s, Belfast
23/11 – Arthur’s, Dublin
30/11 – Southampton Modern Jazz Club
02/12 – Fringe in the Round, Bristol

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Nicholas David Returns With More Than Music: A Soulful Journey of Heart and Healing

Nicholas David is thrilled to announce the release of his new album, More Than Music, out October 3rd. This heartfelt collection of original songs captures his soulful artistry and personal evolution, marking his second full-length project since placing third on The Voice in 2012. The album reflects a transformative journey through loss, resilience, and rediscovery—both personally and musically.

Born and raised in Minnesota, a state steeped in musical legacy from icons like Bob Dylan and Prince, Nicholas channels the raw emotion of Southern soul while staying grounded in his Midwestern roots. More Than Music stands as a testament to his growth as an artist and a man, weaving together themes of love, grief, and hope with deeply moving melodies.

“This is my first record since a series of personal losses — both for me and my guitarist Dylan Nau,” Nicholas shares. “In between life and death, there’s more than music, and that’s a fitting title for this new record.”

Self-produced primarily at Daydream Studios, the album features twelve original tracks that blend soul, country, and gospel influences. Songs like “United” and “St. OG” showcase Nicholas’s ability to turn pain into powerful, healing art. “A lot of good art comes through pain, and I’ve learned to embrace it,” he says.

From the polka rhythms played by his grandfather to the soul and rock harmonies that filled his childhood home, Nicholas’s passion for music has always been a driving force. Through years of mentorship and experience, he’s honed a sound that’s both timeless and true to himself.

With More Than Music, Nicholas David invites listeners to truly experience his journey. “I hope people will feel this album — it’s me naturally doing what I do best: making music for the heart from the heart,” he smiles.

Tour Dates:
10/3 – Winona, MN – Academy Theater
10/5 – Blue Earth, MN – Lost Saint Brewing Company
10/11 – Trempealeau, WI – Honeycrisp Hootenanny 2025, Eckers Apple Farm
10/26 – Lakeville, MN – The Greenhouse
11/18 – Mason City, IA – Lorados
11/22 – La Crosse, WI – Pumphouse Regional Art Center
12/3 – Minneapolis, MN – The Dakota
12/5 – Rochester, MN – History Center of Olmsted County
12/12 – Duluth, MN – Sacred Heart Music Center
12/18 – Sandstone, MN – Sandrocks
1/16 – Little Falls, MN – Great River Arts

Michael Dulin Ignites Emotion and Latin Fire on “Slow Burn”

Juilliard-trained pianist and composer Michael Dulin has reignited his long-standing love affair with Latin rhythms on his latest contemporary jazz single, “Slow Burn.” The track, which debuted as the second most-added song to radio playlists nationwide, blends smoldering passion with the magnetic allure of Latin grooves.

Dulin first fell for the genre thirty years ago while performing Latin jazz charts in George Doerner’s big band. That early spark inspired “Slow Burn,” a piece he composed and produced as a meditation on desire, control, and release. Recorded at Nashville’s renowned Starstruck Studios, the single captures what Dulin describes as “controlled passion—always on the verge of breaking out but never losing its composure.”

Teaming with award-winning musician Scotty McDavid, who co-produced and contributed bass, drums, and percussion, Dulin crafted an elegant yet fiery sonic experience. The track moves fluidly between reflective jazz passages and vibrant samba-infused energy, showcasing his signature emotional depth and virtuosity.

Dulin’s artistry has long transcended genres, spanning twelve acclaimed albums that weave contemporary instrumental, classical, and jazz influences. His performances have graced global stages and screens, earning him two Lifestyle Achievement Awards and an EPR Solo Piano Album of the Year honor presented at Carnegie Hall.

Earlier this year, Dulin also released “Shimmer and Fade,” a poignant solo piano work now under first-round GRAMMY® consideration for Best Jazz Performance.

Reviewers are already praising “Slow Burn” for its infectious energy and emotional resonance. Kathy Parsons of Mainly Piano called it “Dulin at his light-hearted best,” while Keith Hannaleck of MuzikMan Reviews hailed it as “a heartfelt tribute to the essence of jazz music.”

“Slow Burn” is available now on all major platforms, accompanied by a vivid performance video on YouTube: Watch here.

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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.