Anthony Stanco Swings Forward with In the Groove: A Live Celebration of Hard Bop Energy and Detroit Soul

With his 2024 release Stanco’s Time, trumpet virtuoso Anthony Stanco declared that his moment had arrived—an album that honored the bebop tradition while showcasing his own bold artistic voice. Now, the Detroit native returns with In the Groove (OA2 Records), due out October 17, 2025, a record that captures the trumpet master at full stride—soulful, swinging, and alive in every sense of the word.

As its title suggests, In the Groove is all about feel. The album thrives on deep-pocket grooves and hard bop vitality, recorded live at The Alluvion, an intimate jazz club in downtown Traverse City, Michigan. There, surrounded by an audience of devoted jazz lovers, Stanco and his all-star band—Randy Napoleon (guitar), Xavier Davis (piano), John Webber (bass), and Joe Farnsworth (drums)—created a performance charged with the spontaneous electricity that only live jazz can deliver.

The venue’s name, “Alluvion,” meaning the natural carving of a groove by water, lends the album its thematic and metaphorical depth. Many of Stanco’s compositions echo this water imagery, paying tribute to both the Traverse City landscape and the fluid creativity that has defined his artistry.

“I grew up on the east side of Detroit—fifth generation Detroit Italian,” Stanco says. “Marcus Belgrave and Rodney Whitaker were my mentors, and they shaped everything about how I play. Traverse City has become my second home, though. The musical community here is something special.”

That community spirit is at the heart of In the Groove. Stanco’s relationship with The Alluvion extends beyond performance—he holds a monthly residency there and collaborates with club owner Jeff Haas, founder of Building Bridges with Music, a nonprofit that brings arts education to Detroit-area schools. Haas also contributed the lively composition “Tales” to the new album.

Drawing inspiration from the golden age of live hard bop recordings of the 1950s and ’60s, Stanco sought to channel that same energy and interplay. “I love those old boogaloo grooves,” he explains. “You can’t recreate that vibe in a studio. You need an audience—you need that exchange.”

The album bursts open with “T. Sea,” a sly nod to Traverse City, as Farnsworth’s driving rhythm sets the tone for an evening of joyous swing. Stanco’s love for family shines through once again with “Sonny Boy,” a playful companion piece to “Josie Rosie” from Stanco’s Time, written for his two-year-old daughter. Here, the audience joins in on the refrain, creating a warm, communal moment that defines the live experience.

Listeners are treated to standout moments across the set: Napoleon’s “Hey Cute One” inspires a hand-clapping groove from the crowd, while Duke Pearson’s “Say You’re Mine” links Stanco’s sound to the lineage of Donald Byrd and other Detroit greats. Stanco’s originals—like the swaggering “Riptide,” the contemplative “Pyramid Point,” and the fiery closer “Just a Moment,” a contrafact of John Coltrane’s “Moment’s Notice”—showcase his gift for blending reverence with originality.

“The hard bop era was all about returning to the roots,” Stanco reflects. “That’s what Detroit jazz is built on. We honor the blues, but we also push forward. That’s the spirit of this album.”

With In the Groove, Anthony Stanco not only pays homage to the masters but also cements his own place among them. The album is a living, breathing testament to jazz as a communal art form—vibrant, evolving, and utterly in the moment.

2025 Tour Dates:

• October 16, 2025 – UrbanBeat, Lansing, MI | 6:00–9:00 PM | urbanbeatevents.com

• November 1–2, 2025 – Traverse City Philharmonic: Masterworks Series | tcphil.org

• November 20–22, 2025 – Cliff Bell’s, Detroit, MI | 7:30 PM & 9:30 PM | cliffbells.com

Eric Roberson Returns with Beautifully All Over The Place: A Soulful Journey Through Love, Life, and Growth

With Beautifully All Over The Place, Eric Roberson once again proves why he’s considered one of the true architects of modern soul. The GRAMMY-nominated singer, songwriter, producer, and Howard University alum delivers an album that celebrates the full spectrum of human emotion—love, loss, faith, and resilience—wrapped in his signature blend of R&B, soul, and hip-hop influences.

The album’s tracklist reflects both introspection and celebration, with collaborations that highlight Roberson’s gift for connection:

“BEAUTIFULLY ALL OVER THE PLACE” Tracklist:

1. Come With Me

2. Trust in Love feat. Jayshawn Champion

3. Over You, Under You feat. Najee & Jayshawn Champion

4. Fight Thru It All

5. Where You Gonna Go? feat. BJ The Chicago Kid

6. Sweeter Than You feat. Avery*Sunshine

7. Do Something

8. Believe In Me

9. Harmonize feat. Micki Miller

10. Still Be Loving You

Each track unfolds like a page from Roberson’s life, a story told through lush harmonies and grooves that feel timeless yet distinctly current. Collaborations with artists like Najee, Avery*Sunshine, BJ The Chicago Kid, and Micki Miller add fresh textures while staying rooted in the authenticity that defines Roberson’s artistry.

Fans can catch up with Roberson on his Beautifully All Over The Place Tour, where his performances continue to uplift and inspire audiences around the world. For tickets and additional information, visit the official Beautifully All Over The Place Tour page.

For more than two decades, Eric Roberson has built a legacy as one of the most respected independent artists in R&B and soul. From his debut in 2001 with The Esoteric Movement to 2022’s Lessons, his music has been a soundtrack for love and life. He’s collaborated with icons like Jill Scott, Musiq Soulchild, Dwele, Vivian Green, DJ Jazzy Jeff, and DJ Spinna—artists who, like him, understand the power of honest, heartfelt storytelling.

“It’s R&B and soul music, but I’m a hip-hop dude,” Roberson says of his sound—a reflection of his multi-layered approach that continues to resonate deeply with fans. Over the years, he’s earned two GRAMMY nominations for “Best Urban/Alternative Performance,” a BET J Virtual Award for “Underground Artist of the Year,” and the distinction of being the first independent artist nominated for a BET Award. Through his label, Blue Erro Soul Entertainment, Roberson continues to redefine what independence in music looks like, pairing freedom with finesse.

From the introspective tones of Hear from Here (2020) to the global embrace of Lessons (2022), Eric Roberson’s career stands as a testament to passion, perseverance, and purpose. A former Berklee College of Music professor, he’s also nurtured the next generation of artists while inviting fans into his own creative process through “The Process,” a groundbreaking interactive project that brings listeners behind the scenes of his music-making journey.

With Beautifully All Over The Place, Roberson delivers yet another soulful chapter in his evolving story—proof that vulnerability and groove can coexist beautifully. As always, his message is clear: honest music never goes out of style.

Jimbo Ross Ignites Jazz Once Again with SO DO IT

Despite a long career accompanying some of the top names in the music industry, violin/viola master Jimbo Ross didn’t release his first jazz album until 2024. That debut, Jazz Passion and Latin Satin, earned rave reviews—JW Vibe called it “magnificent, rhythmically multi-faceted and adventurously improvisation-filled.”

Now, with his latest release, SO DO IT, Ross once again dazzles listeners with his virtuosic and high-energy playing on a program of jazz classics.

Ross’s career has been nothing short of remarkable. A first-call session musician and soloist, he’s played with legends across every genre: Frank Sinatra, Tony Bennett, Michael Bublé, Paul McCartney, Don Ellis, Horace Silver, Herbie Hancock, Ray Charles, Aretha Franklin, Elton John, Bob Dylan, and James Brown, among many others. His range spans rock, R&B, pop, blues, and zydeco—reflected in his own group, the Bodacious Band, which released four albums of roots-driven grooves.

Back in the 1970s, the late, great Don Ellis introduced him as “the only jazz violist in captivity.” Decades later, that statement still holds weight. Ross performs on a custom-made electric 5-string viola/violin, expanding his range and enabling seamless leaps between the deep warmth of the viola and the soaring brilliance of the violin.

For SO DO IT, Ross reunites with his Jazz Passion and Latin Satin bandmates—guitarist Joe Gaeta, pianist Stuart Elster, bassist Peter Marshall, and drummer Ron Wagner—a group of top-tier Southern California players who match Ross’s energy and artistry. Recorded live in the studio, the album captures the spontaneous chemistry that defines true jazz interplay. “We recorded all these tunes live to capture that spontaneous combustion,” Ross explains, “that you can only achieve by feeding off of each other.”

Ross handpicked a vibrant mix of jazz standards and overlooked gems, giving each his signature spin. From the propulsive swing of Kurt Weill’s “Speak Low” to the funky turns of Bill Evans’ “Funkallero” and the exuberant burn of Sam Jones’ “Unit 7”, the album brims with vitality. Ross’s tone—gritty, soulful, and lyrical—anchors every tune with passion and authenticity.

Wes Montgomery’s “So Do It” and “Twisted Blues” showcase Ross’s rhythmic agility, while his interpretation of “Canadian Sunset” elegantly dances between Latin and straight-ahead feels. The lesser-known Duke Ellington tune “Sherman Shuffle” gets an energized update, and “Nardis” unfolds as a mesmerizing dialogue between piano, bass, and Ross’s electric viola. The album closes on a high note with a fiery rendition of Jerome Kern’s “The Way You Look Tonight.”

Across the set, Ross proves why he remains one of the few—and finest—jazz violists performing today. Though he’s been immersed in jazz performance for decades, SO DO IT shows that Jimbo Ross is just hitting his stride as a recording artist. Bold, vibrant, and joyously alive, this album is proof that for great music, it’s never too late to make your mark.

Jerome Sabbagh’s Stand Up!: A Bold New Chapter in Analog Jazz

Saxophonist and composer Jerome Sabbagh has long been recognized as an artist who refuses to compromise his ideals — standing firm for artistic integrity, individuality, and a socially conscious vision. His new album, Stand Up!, out October 17, 2025, embodies those convictions with passionate playing and memorable compositions brought to life by his long-standing quartet. Recorded live to analog tape and released on his newly founded label, Analog Tone Factory, the record feels both timeless and urgent.

Stand Up! celebrates more than twenty years of collaboration between Sabbagh and his remarkable bandmates: guitarist Ben Monder, bassist Joe Martin, and drummer Nasheet Waits, who makes his recorded debut with the quartet. It marks their first release in over a decade, following a period in which Sabbagh pursued acclaimed projects with jazz masters like Kenny Barron (Vintage) and the late Al Foster (Heart). Yet the quartet’s bond remained unbroken. “A lot of my favorite music in jazz has been created by working bands,” Sabbagh reflects. “You develop trust, and that’s when real discovery happens.”

The album’s title recalls a tune from Sabbagh’s 2007 album Pogo, but today it resonates even more powerfully — a call to creative and personal courage in turbulent times. “I feel both a desire and a sense of urgency to be myself artistically,” Sabbagh explains. “It’s time to stand up for what you believe in, whether that means making an artistic statement or trying to make a positive impact in the world.”

The compositions on Stand Up! are as intimate as they are expansive, each one dedicated to someone who has shaped Sabbagh’s musical path. The opening track, “Lone Jack,” pays homage to Ray Charles and to pianist and producer Pete Rende, Sabbagh’s Analog Tone Factory partner. “Michelle’s Song” and “High Falls” are personal dedications, the former a tender ballad, the latter a Brazilian-tinged reflection on memory and place. “Lunar Cycle” nods to Sam Rivers’ Fuchsia Swing Song and embodies that same adventurous balance of melody and freedom. “The Break Song,” dedicated to Stevie Wonder, channels soulful joy, while “Mosh Pit,” inspired by Trent Reznor of Nine Inch Nails, unleashes the band’s explosive energy through Monder’s guitar and Waits’ dynamic drumming. “Vanguard” honors drummer Paul Motian, whose ethereal touch left a lasting mark on Sabbagh’s approach, and the closing track, “Unbowed,” salutes the ever-inspiring Kenny Barron.

Visually, Stand Up! is as striking as it sounds. The cover art by Italian photographer Michele Palazzo evokes a futuristic dystopia — light, reflection, and shadow suggesting tension between human creativity and the forces that constrain it. Sabbagh’s Analog Tone Factory, which he co-founded with Rende, stands as a statement against that coldness, recording exclusively to analog tape to preserve the authenticity and warmth of live performance. The band recorded Stand Up! live to two-track tape on a custom Ampex 351 recorder, engineered by James Farber and mastered in the analog domain by Bernie Grundman. The result is pure, human, and direct — a sonic experience as real as the music itself.

“Jazz is social music,” Sabbagh says. “We come up with ideas together that we wouldn’t find alone. That’s one of the great beauties of this art form.” Stand Up! captures that spirit — a testament to trust, connection, and the enduring power of sound made by people, for people.

2025 Tour Dates
Oct. 23 – Bar Bayeux, Brooklyn (Grassroots Jazz Effort: Adam Kolker, Jeremy Stratton, George Schuller)
Oct. 29 – Bar Bayeux, Brooklyn (Album Release: Jerome Sabbagh Quartet – Ben Monder, Joe Martin, Kush Abadey)
Nov. 1 – The Django, NYC (Jerome Sabbagh Quartet – Lawrence Fields, Joe Martin, Otis Brown III)
Nov. 7 – Bar Bayeux, Brooklyn (Jerome Sabbagh Quartet – Simon Moullier, Joe Martin, E.J. Strickland)
Dec. 3 – Close-Up, New York (Jerome Sabbagh Quartet – Ben Monder, Joe Martin, Kayvon Gordon)
Dec. 18 – Le Son la Terre, Paris (Jerome Sabbagh Quartet – Jozef Dumoulin, Florent Nisse, Fabrice Moreau)
Dec. 19 – Le Son la Terre, Paris (Jerome Sabbagh Quartet – Jozef Dumoulin, Florent Nisse, Fred Pasqua)

2026 Tour Dates
Jan. 12 – Smalls, NYC (French Jazz Quarter: Jerome Sabbagh Quartet – Ben Monder, Joe Martin, Nasheet Waits)
Feb. 18 – Sam First, Los Angeles (Jerome Sabbagh & Mark Turner with Jermaine Paul, Jonathan Pinson)

Carlo Muscat’s The Body Is Only Light: A Sonic Tribute to Ukraine’s Resilience

In Kyiv, Ukraine, saxophonist and composer Carlo Muscat, originally from Malta, unveils his latest album, The Body Is Only Light. This evocative work stands as a testament to the country’s unyielding spirit in the face of invasion and ongoing hardship. Set against the backdrop of a nation grappling with the realities of war, each track captures a distinct emotion—strength, resilience, determination, and hope. The album’s title also carries a symbolic weight, evoking an ethereal force that transcends boundaries and resonates with the endurance of a people determined to survive and thrive.

Muscat’s music is brought vividly to life by a powerful Ukrainian rhythm section. Bassist Kostiantyn Ionenko and drummer Dmytro Lytvynenko provide a firm yet fluid foundation, offering both intensity and subtlety that mirror the complexities of life in a country under siege. The trio functions as more than a conventional jazz ensemble; their interactions create a narrative thread, where freedom of expression and improvisational dialogue mirror the liberty sought by a nation facing extraordinary challenges. Every note, every rhythm, and every melodic contour tells a story, inviting listeners to immerse themselves in a sonic landscape that balances tension with release, darkness with light.

This album is not only a personal statement from Muscat but also a cultural reflection. The music conveys hope, courage, and unity, reminding listeners of the power of art to transcend boundaries. It captures the dualities of life in wartime Ukraine—the fragility and the strength, the uncertainty and the persistence, the sorrow and the celebration of human endurance. Muscat’s compositions blend jazz improvisation with emotional storytelling, creating a deeply moving experience that connects on a universal level.

For promoters, venues, and audiences alike, The Body Is Only Light offers more than music—it presents a story of resilience and creativity in the face of adversity. It is a call to witness and engage with the transformative power of sound, a living testament to the courage, spirit, and enduring beauty of the human experience.

Carlo Muscat – saxophone
Kostiantyn Ionenko – double bass
Dmytro Lytvynenko – drums

Terry Gibbs Dream Band, Vol. 7: The Lost Tapes, 1959 Unearths Rare Big Band Magic

Terry Gibbs, the vibraphonist and first-generation bebopper approaching his 100th birthday, continues to delight jazz fans with Terry Gibbs Dream Band, Vol. 7: The Lost Tapes, 1959 on Whaling City Sound, with a digital release on November 8. This newly discovered collection captures Gibbs leading his legendary 16-piece Dream Band at two Hollywood nightclubs in 1959, featuring 18 tracks of exceptional swing and bebop performed by some of the era’s finest soloists and arrangers.

The tapes were uncovered earlier this year when Gibbs stumbled upon a file labeled “1959 Jazz Party” on his son Gerry Gibbs’s computer. The recordings, originally captured during performances at the Seville and Sundown clubs on the Sunset Strip, showcase a repertoire arranged by luminaries such as Bob Brookmeyer, Al Cohn, Marty Paich, Med Flory, and Bill Holman. Each arrangement balances ensemble precision with opportunities for solo brilliance.

Trumpeter Conte Candoli delivers fiery solos on “Bright Eyes” and “Moonglow,” trombonist Carl Fontana impresses on “Let’s Dance,” and drummer Mel Lewis demonstrates his trademark subtle power on “No Heat.” Gibbs himself illuminates the collection with his signature vibes on classics including “The Song Is You,” “Dancing in the Dark,” and “Prelude to a Kiss.”

Gibbs’s journey began in Brooklyn, New York, where he was born Julius Gubenko on October 13, 1924. From early studies on xylophone to performing with Charlie Parker and Dizzy Gillespie-inspired bebop ensembles, Gibbs carved a remarkable career spanning collaborations with Woody Herman, Benny Goodman, Ray Charles, Alice Coltrane, John Lennon, and Leonard Cohen. His story has been chronicled in his award-winning biography Good Vibes: A Life in Jazz, and he remains active today with weekly appearances on his TG Q&A Show.

Dream Band, Vol. 7 is not just a release—it’s a testament to Gibbs’s lifelong dedication to jazz, his love for ensemble playing, and the enduring magic of his big band sound.

Christopher Whitley Explores Intuitive Violin Improvisation on Almost As Soft As Silence

Canadian violinist Christopher Whitley returns with Almost As Soft As Silence, a masterful solo album of improvised violin works recorded at St. Stephen’s Church in Belvedere, California. Performing on the 1700 “Taft” Stradivari, generously provided by the Canada Council for the Arts Musical Instrument Bank, Whitley presents fifteen distinct miniatures that range from fleeting 18-second sketches to meditative four-minute explorations, each demonstrating his decades-long dedication to spontaneous composition and nuanced expression.

The album, captured in a single, unedited take, emphasizes clarity, concision, and melodic interplay, with each piece acting as an intuitive étude in its own right. Tracks such as “i soliloquy [i],” “lake train,” and “rhapsody [redux]” showcase Whitley’s capacity to balance delicate filigrees, extended tones, and gestural improvisation, maintaining cohesion across the album’s approximately thirty-minute runtime. Whitley blends influences from classical, contemporary, and jazz traditions, consistently highlighting the linear and contrapuntal possibilities of the violin.

A graduate of McGill University and the San Francisco Conservatory of Music, Whitley has performed internationally, appearing at venues like Weill Hall at Carnegie Hall, the Kennedy Center, and Massey Hall. He has collaborated with luminaries such as Pulitzer Prize-winning composer Caroline Shaw, Charlotte Day Wilson, and Grammy-winning ensembles Eighth Blackbird and Roomful of Teeth. Almost As Soft As Silence builds on Whitley’s prior solo and collaborative works, including his acclaimed Describe Yourself, and continues his exploration of acoustic improvisation, electronic processing, and multimedia collaborations.

Whitley’s artistry is defined by both technical mastery and a deep curiosity for musical possibilities, transforming the violin into a vessel for storytelling, reflection, and sonic exploration. This album is a concentrated portrait of his singular voice in contemporary violin performance.

Dan Pitt Quintet Explores Linear Jazz Innovation on Horizontal Depths

Canadian guitarist and composer Dan Pitt unveils his latest project, Horizontal Depths, the second album from his quintet featuring Naomi McCarroll-Butler (alto saxophone and bass clarinet), Patrick Smith (tenor and soprano saxophones), Alex Fournier (double bass), and Nick Fraser (drums and cymbals). Recorded at Union Sound Company in Toronto and engineered, mixed, and mastered by Fedge, the album demonstrates Pitt’s ongoing evolution as a composer and bandleader in the Canadian jazz scene.

Following his 2019 debut Fundamentally Flawed, Pitt has continued to expand his ensemble’s sonic palette, integrating intricate linear melodies, contrapuntal interplay, and cross-genre influences ranging from post-minimalism to Balkan folk, modern chamber music, and even bursts of heavy rock. The title Horizontal Depths is a nod to the late jazz legend Phil Nimmons, who guided Pitt to explore dynamic horizontal interplay in music, moving beyond purely vertical harmonic structures.

The 41-minute album features eight compositions, including multi-part explorations like “Horizontal Depths Part One and Two,” the bold opener “27 Hours,” and reflective tracks such as “The Sorrow” and “Lester Sleeps In.” Throughout, Pitt and his quintet emphasize melodic lines, improvisational dialogue, and ensemble color, producing a concentrated, vibrant, and meticulously crafted listening experience.

Pitt, a University of Toronto graduate and Stingray Rising Star Award recipient, has studied with luminaries such as Phil Nimmons, Tony Malaby, Ben Monder, and David Torn. His work has been supported by the Toronto Arts Council, Ontario Arts Council, and Canada Council for the Arts, and his compositional ingenuity shines through on Horizontal Depths, solidifying his place as one of Canada’s most imaginative jazz voices.

Dörthe Drothen Captivates with Sophomore Jazz Pop Album Enamoured

German singer-songwriter Dörthe Drothen enchants listeners with her sophomore album Enamoured, via Dr. Music Records. Seamlessly blending pop melodies with jazz sophistication, Drothen’s ten-track album is a heartfelt exploration of love in all its forms—tender, playful, reflective, and irresistibly catchy. Produced in collaboration with Joonas Lorenz and Markus ‘Be’ Brachtendorf at Tonstudio Be and mastered by Kai Blankenberg in Düsseldorf, the album demonstrates her evolution as a songwriter and performer while retaining the soulful intimacy that marked her 2020 debut Prologue.

Drothen’s journey began in a small town near Düsseldorf, where music captivated her from the age of 13. Her first album, a minimalist piano-and-voice project, introduced audiences to her poignant storytelling and emotive vocals. With Enamoured, Drothen expands her palette, incorporating lush arrangements, subtle jazz phrasing, and infectious pop hooks. Singles like “Shades Of Your Heart” celebrate the beauty and complexity of love, while “Making Time” captures the joy of shared moments, and “Out Of Sight” brings playful romance to the fore through a vibrant music video. Tracks such as “Do I Need To Be Somewhere” provide meditative moments, where gentle piano and her contemplative vocals merge with the sounds of nature, offering a serene counterpoint to the album’s more upbeat moments.

Enamoured traverses the emotional spectrum—lighthearted, introspective, and occasionally tinged with melancholy or humor—yet always lands in the hearts of listeners. From the infectious groove of “Hot Chocolate Mocha Latte” to the nuanced storytelling of her ballads, Dörthe Drothen affirms her place as a unique voice in contemporary jazz pop, delivering music that is both sophisticated and irresistibly human.

Berke Can Özcan & Jonah Parzen-Johnson Release Debut Duo Album It Was Always Time on We Jazz Records

Baritone saxophonist Jonah Parzen-Johnson and Istanbul-based drummer and sound designer Berke Can Özcan join forces for It Was Always Time, their debut duo album out on We Jazz Records. The project is a radiant testament to curiosity, collaboration, and the joy of creating together, offering a refreshing antidote to cynicism in a complex world.

The origins of the duo are as spontaneous as the music itself. In April 2022, Parzen-Johnson boarded a flight from New York to Istanbul for a one-off concert with Özcan, meeting the drummer for the first time only thirty minutes before soundcheck. Yet from their very first notes, the chemistry was undeniable: urgent, playful, and deeply intuitive. This initial encounter laid the foundation for an album that would traverse continents, time zones, and cultures, capturing the immediacy and warmth of their connection.

Recorded across disparate locations, It Was Always Time blends acoustic percussion, found-sound samples, and rich synth textures to frame Parzen-Johnson’s expressive saxophone melodies. Although largely improvised, the album achieves a compositional coherence, as each track unfolds with trust, empathy, and meticulous attention to detail. The music moves fluidly between moods, drawing listeners into a sonic dialogue that feels both intimate and expansive.

More than just a record, the album is a reminder of the transformative power of collaboration. In an era defined by social and political upheaval, it offers a gentle call to curiosity, shared joy, and the creation of something meaningful together. It Was Always Time is both a declaration and a celebration: the time for connection and artistic adventure is now—and it always was.

LEIBA Trío Bridges Buenos Aires and New York on Prohibido Andar en Sulky

Rooted in the vibrant jazz scene of Buenos Aires and shaped by years of creative evolution, LEIBA Trío—pianist Santiago Leibson, double bassist Maximiliano Kirszner, and drummer Nicolás Politzer—returns with Prohibido Andar en Sulky on ears&eyes Records. Translating to “No Riding in Sulkies,” the title evokes a playful yet poetic sensibility, perfectly capturing the trio’s dynamic approach to modern jazz: grounded in tradition but ever in motion toward new possibilities.

Formed in 2010, LEIBA Trío began as an experiment in the classic jazz piano trio format, inspired by the greats—from Bill Evans, Herbie Nichols, and Paul Bley to Keith Jarrett, Thelonious Monk, and Andrew Hill—and later expanded their curiosity toward contemporary innovators such as Kris Davis, Craig Taborn, and Benoît Delbecq. Through deep listening and spontaneous interplay, the trio forged a sound that blends structure and freedom, melody and abstraction, intimacy and exploration.

Over the years, the group has developed its voice through multiple incarnations. As the Santiago Leibson Trio, they released Amón (2014) and Pendular (2015) on KUAI Music—records that established their compositional and improvisational synergy. Critics took notice: All About Jazz praised Pendular for its ability to “explore time and space and paint with their musical colors, echoing the masters of the past.” In 2021, under the name Nicolás Politzer Trío, they released Será Niebla (ears&eyes), highlighting Politzer’s compositional voice while maintaining their collective spirit.

Now, reunited under the banner of LEIBA Trío, the ensemble channels more than a decade of collaboration into Prohibido Andar en Sulky. Written entirely by Leibson, the ten-track album was crafted with the trio’s shared history in mind—a testament to the enduring connection between musicians separated by geography but united in sound. Recorded at Ideo Music in Buenos Aires with engineer Mariano Miguez, the sessions capture the energy of their mid-2023 performances: fluid, organic, and brimming with conversational interplay.

Since relocating to New York in 2014, Leibson has maintained strong ties to Buenos Aires, regularly returning to perform and record with Kirszner and Politzer. That cross-continental rhythm—between two cities, two scenes, and two creative worlds—infuses Prohibido Andar en Sulky with both nostalgia and forward motion. The album is a reflection on continuity, change, and the joy of rediscovering musical companionship through distance and time.

Reggie Watkins Channels Pittsburgh’s Soul and Global Jazz Energy on Rivers

Trombonist and composer Reggie Watkins pays homage to his adopted hometown of Pittsburgh while embracing a world of musical influences on his forthcoming album Rivers. The album—his fourth as a leader and his first consisting entirely of original compositions—flows through the cultural and creative landscapes that have shaped him, from the confluence of Pittsburgh’s iconic three rivers to the boundless energy of global jazz traditions.

Backed by an exceptional local rhythm section featuring pianist Michael Bernabe, bassist Eli Naragon, and drummer Jason Washington Jr., Watkins captures the dynamic pulse of the Steel City’s thriving jazz scene while expanding beyond its borders. The title Rivers naturally nods to Pittsburgh’s geography—the Allegheny, Monongahela, and Ohio that define its skyline—but also pays tribute to avant-garde legend Sam Rivers, whose spirit of exploration courses through the album’s veins.

Throughout Rivers, Watkins crafts a deeply personal musical journey. The bold opener “Blues for 3-D” honors trombone greats David Gibson, Andre Hayward, and Steve Davis. “Ocularity” channels Ornette Coleman and Don Cherry through a playful, angular lens, while “Blue 6” evokes both Thelonious Monk and Jimmy Knepper, one of Watkins’s enduring inspirations. The album’s closing track, “Shanghai Strut,” celebrates the trombonist’s global travels, blending rhythmic vitality with cross-cultural flair.

Yet at its core, Rivers is grounded in Pittsburgh—its people, its musical heritage, and its sense of home. “Hide n Seek” joyfully reflects Watkins’s love for his children, while “Meditations” drifts with the serenity and depth of the rivers that define his city. “I’ve always had this connection to Pittsburgh and its jazz scene,” says Watkins. “Musicians are coming here from places like Akron and Cleveland, and it’s creating a powerful exchange of ideas and energy.”

Born in Wheeling, West Virginia, Watkins’s path to jazz began with a teenage fascination for brass instruments before finding his voice on trombone. After studying at West Virginia University and discovering J.J. Johnson, he immersed himself in the art form. His professional journey has spanned collaborations with Maynard Ferguson (with whom he served as musical director), pop star Jason Mraz, and jazz luminary Orrin Evans’s Captain Black Big Band. Watkins’s diverse resume also includes work with funk collective Steeltown Horns and his acclaimed tribute project Avid Admirer: The Jimmy Knepper Project.

With Rivers, Watkins brings all of these experiences together into a cohesive statement—a reflection of his artistry, his city, and the global jazz continuum he inhabits. It’s a record that moves with both confidence and curiosity, tracing the flow of musical lineage while carving its own path forward.

Rejoicer and Nitai Hershkovits Unveil Cinema Royal — A Mesmerizing Fusion of Jazz, Ambient, and Cinematic Soundscapes

Longtime collaborators Rejoicer and pianist Nitai Hershkovits have come together under a new moniker to present Cinema Royal, an album that feels as much like a film score as it does a meditation on sound itself. Released through their trusted creative circle, the project represents a bold yet delicate exploration of musical storytelling—where modern classical sensibilities meet ambient textures, global instrumentation, and jazz-infused improvisation.

Built around Nitai’s expressive piano work, Cinema Royal unfolds like a dream sequence—filled with percussive bursts, orchestral flourishes, and traditional string instruments from across continents. The compositions weave Afrobeat rhythms, East Asian zithers, and Ethio-jazz keys into a seamless soundscape that feels both organic and otherworldly. While intricate in structure, the album maintains a surprising effortlessness—each piece floating by with cinematic grace and quiet confidence.

The duo’s creative chemistry, honed through years of friendship and musical partnership in projects like Apifera and beyond, lies at the heart of this record. Their process began with something simple: a drum loop and a single-take piano improvisation. From there, Cinema Royal blossomed into a multi-dimensional sound collage, inviting contributions from friends and collaborators who enriched the music’s texture and emotional depth.

“Cinema Royal emerges from years of collaborative writing and recording,” shares Hershkovits. “Our first experience with a complete one-piano take on a drum loop was in Flying Bamboo—a project with MNDSGN and animator Felix Colgrave that reached millions on YouTube. Nearly a decade later, we revisited this improvisational method throughout the album. We love Emahoy Tsegué, Ennio Morricone, Nino Rota, Lalo Schifrin—and a lot of the ECM catalog. There’s a lot of Africa, too—Ebo Taylor, Pat Thomas, Fela Kuti, Ghana highlife, and sounds from Awesome Tapes from Africa.”

The result is a record that whispers rather than shouts. Cinema Royal is cinematic not only in sound but in feeling—each track conjuring a scene, a mood, a fleeting moment of beauty. It’s the sound of two artists in flow, creating something at once playful and profound, rooted in global traditions yet entirely timeless.

Corey Ledet Zydeco Captures the Spirit of the Road with Live in Alaska, Featuring His “Black Magic” Accordion

Corey Ledet Zydeco & Black Magic’s Live In Alaska marks the 16th album from the Grammy-nominated accordion master. Out December 23 on CD, digital download, and streaming platforms, the project is both a celebration of his Louisiana Creole heritage and a document of his boundless live energy.

For more than three decades, Corey Ledet has embodied the phrase “have accordion, will travel.” From the dancehalls of Louisiana to stages across Europe, Hawaii, and even Russia—where fans marveled at his zydeco rubboard, calling it a “magic instrument”—Ledet has carried the spirit of Creole music wherever he goes. But until now, he had never captured that road-tested vitality on a live album.

“When the Anchorage Folk Festival came up, I said this might be a good opportunity,” recalls Ledet. “When I got there, they had all the equipment to record. I got to thinking about Clifton Chenier—some of his best live recordings were done away from home. It worked for the King of Zydeco. I said, ‘Let me try this.’”

The result is Live in Alaska, an electrifying 11-track record distilled from three days of performances. It showcases Ledet’s mastery on his new accordion, affectionately dubbed “Black Magic,” and highlights both his original material and fan favorites from his previous fifteen albums. Among the setlist is “Alaska Funk,” an impromptu jam created live on stage with his Louisiana bandmates. “It’s amazing when you have great musicians,” says Ledet. “You can almost create a song off the top of your head.”

Improvisation runs deep in Ledet’s bloodline. His musical family tree includes relatives who performed with icons like Louis Armstrong, Ike and Tina Turner, Bobby “Blue” Bland, and B.B. King. Growing up in Houston and spending summers in Parks, Louisiana, he absorbed Creole traditions, learned the Kouri-Veni language, and fell in love with zydeco’s driving rhythms. Influenced by legends like Clifton Chenier, John Delafose, and Boozoo Chavis, Ledet began performing professionally at age 10 as a drummer before mastering the accordion.

“I love it all,” Ledet says of his approach to music. “I want my music to be like a good gumbo—full of different styles. Everybody likes gumbo. You’ve got your meat, your seasoning, so many different ingredients. That’s what I want my music to be.”

With Live in Alaska, Corey Ledet Zydeco delivers a vibrant reminder of what zydeco does best—connect, celebrate, and move the soul. It’s a joyful snapshot of a musician deeply rooted in Creole culture yet unafraid to let his music travel the world.

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.