Nebbia / Banner / Andrzejewski Explore the Ghosts and Presence of Sound on Presencia

The trio of Camila Nebbia (tenor saxophone, composition), James Banner (double bass, composition), and Max Andrzejewski (drums, composition) present Presencia, their immersive and deeply expressive new release, out November 7, 2025 via ears&eyes Records (EE:25-245). Available on CD and digital formats, Presencia bridges jazz, improvised, and experimental music, offering a profound exploration of sound, memory, and identity.

The title Presencia carries a double meaning: it evokes both presences—ghostly, personal, ancestral, historical—and the idea of being present in the moment. For the trio, that presence manifests through a radical openness in performance, where each sound and silence is embraced with full attention. The record becomes a dialogue between past and present, memory and immediacy, structure and freedom.

Formed collectively in Berlin, the group’s ethos stems from the spirit of their early musical roots — bands that thrived on shared ideas, improvisation, and spontaneous composition. There is no hierarchy in this ensemble. Instead, each musician brings frameworks, sketches, and ideas that invite transformation. Over the course of performances and rehearsals, these fragments evolve into expansive, breathing forms that balance intricacy and spontaneity.

Recorded in a single day at Bonello Studio in Berlin after a run of live performances, Presencia captures a snapshot of the trio’s raw energy and intuitive interplay. Rather than seeking perfect takes, the session celebrates immediacy and imperfection — the beauty of catching something real, fleeting, and alive.

Musically, Presencia traverses a wide emotional and sonic landscape. “Choco” unfolds through bright tonal shifts and restless rhythmic cues, while “Arid” paints a dry, almost desolate soundscape that gradually blooms into fiery improvisation. The “Sediment” interludes serve as textural pauses, fragments of improvised dialogue layered and unedited. “Lugar” (Place) meditates on transformation — how environments shift and how memory reshapes them — with chromatic density and evolving groove.

Pieces like “Lattice” and “Meander” invite the listener into more open territory, where structure becomes porous and sound becomes space. “Plateau / Her Name Causes Shudders” merges meditative repetition with political charge, referencing Banner’s earlier protest composition dedicated to former UK Prime Minister Theresa May and her anti-immigration policies. The closing “Sad Song #1” offers a hushed, haunting coda — a meditation on loss, tenderness, and time.

Each track feels like a conversation between three distinct yet deeply attuned voices. Nebbia’s saxophone alternates between lyrical clarity and raw timbral experimentation; Banner’s bass anchors and disrupts in equal measure; Andrzejewski’s drumming traces delicate textures and explosive bursts with painterly precision. Together, they blur the line between composition and improvisation, making Presencia as much a process as a performance.

The album artwork, created by Camila Nebbia with design by Carola Nebbia, mirrors the record’s conceptual depth — layering abstraction and intimacy in visual form. A limited-edition CD with unique artwork will accompany the digital release.

Watch the live teaser: youtu.be/Z1dLTVJIONE

Michael Dulin Captures Life’s Beauty and Transience with “Shimmer and Fade”

GRAMMY®-considered pianist and composer Michael Dulin shines with his latest solo piano masterpiece, “Shimmer and Fade.” A reflective and emotionally rich meditation on the fleeting nature of life, the piece is now up for GRAMMY® consideration in the Best Jazz Performance category—a moment that marks another high point in Dulin’s celebrated career.

The Birmingham, Alabama–based artist composed, produced, and performed the track himself, showcasing his exquisite touch and signature blend of technical brilliance and heartfelt expression. Released via Equity Digital, the piece is accompanied by a beautifully shot performance video, available here.

At the same time, Dulin’s first contemporary jazz single, “Slow Burn,” is turning up the heat on playlists nationwide, combining passionate piano work with sensual Latin rhythms that have been climbing the charts.

“In life, we experience unforgettable moments that shimmer in your memory forever, and all the other ‘stuff’ that fades away,” Dulin reflects. “Like us – we shimmer for a brief time, then fade away from this mortal plane.”

Fans and critics alike have praised “Shimmer and Fade” for its depth and artistry:

“Deeply introspective… music created in the middle of the night while soul-searching at the piano.” – Kathy Parsons, Mainly Piano

“Like a star, the music shimmers with unparalleled elegance and fades with a truly appreciable grace.” – Keith Hannaleck, MuzikMan Reviews

“Solo jazz piano at its very best.” – Steve Sheppard, One World Music Radio

With a career spanning twelve albums, collaborations with legends like The Temptations, and accolades including multiple Lifestyle Achievement Awards, Dulin continues to enchant audiences with music that connects deeply and lingers long after the last note fades.

A GRAMMY® nomination, he says, would be one more shimmering moment in a lifetime devoted to creating beauty through sound:

“It would show that there’s still a place for the simple voice of a piano in this noisy and busy world. And that traditional jazz is something that matters.”

Billy Paul: Four Timeless Journeys Through Sophisticated Soul

Few voices in soul music have ever embodied both sophistication and spirit quite like Billy Paul. A singer’s singer, Paul stood at the intersection of jazz, gospel, and R&B — a product of Philadelphia’s fertile musical scene and a key figure in shaping the smooth yet socially aware sound that came to define Philadelphia International Records.

Now, four of his most iconic albums — Ebony Woman, Going East, 360 Degrees of Billy Paul, and War of the Gods — return in a beautifully remastered 2CD set from BGO Records (UK) and Philadelphia International. It’s more than just a collection; it’s a journey through one of the most creative and expressive eras in modern soul.

Ebony Woman (1970)
This was where it all began — an album that announced Billy Paul as an artist of uncommon range and emotional intelligence. Ebony Woman bridges the gap between the jazz club and the soul stage, balancing lush arrangements with raw feeling. The title track is a love letter wrapped in cultural pride, its message of beauty and strength resonating far beyond its release date. Paul brings new dimension to “Everyday People” and “Psychedelic Sally,” turning familiar tunes into showcases of vocal control and interpretive genius. Even the pop standard “Windmills of Your Mind” becomes something transcendent under his care — meditative, stirring, and unmistakably his own.

Going East (1971)
If Ebony Woman was the spark, Going East was the revelation. The album glows with introspection and spiritual yearning, signaling Paul’s evolution from soul crooner to visionary storyteller. The epic opening track, “East,” is nearly eight minutes of soul-jazz exploration — a journey both sonic and spiritual. Songs like “Magic Carpet Ride” and “This Is Your Life” stretch beyond the traditional boundaries of Philly soul, offering glimpses into the mystical and the political alike. Produced by Gamble & Huff, the record radiates warmth, curiosity, and depth, capturing Paul at his most experimental.

360 Degrees of Billy Paul (1972)
This is the record that made Billy Paul a household name. Anchored by the immortal hit “Me & Mrs. Jones,” it’s an album that finds the perfect balance between sophistication and streetwise grit. Yet beyond its chart-topping single lies a wealth of deeper cuts that showcase Paul’s artistry and conviction. “Am I Black Enough for You” stands as one of the boldest statements of Black pride and identity to emerge from the early ’70s, while tracks like “I’m Just a Prisoner” and “Brown Baby” reflect a blend of vulnerability and political awareness that was rare in mainstream soul. With production from Gamble & Huff and arrangements by Norman Harris, Bobby Martin, and Lenny Pakula, this is Billy Paul at full creative power — elegant, passionate, and unapologetically real.

War of the Gods (1973)
By the time War of the Gods arrived, Billy Paul had transcended genre entirely. This was no mere soul record — it was a cosmic odyssey, a meditation on love, conflict, and redemption. Tracks like “I See the Light” and the title song build slowly, layering gospel intensity with funk rhythms and spiritual yearning. Paul’s voice — equal parts preacher and poet — carries the listener through a musical sermon on humanity’s inner battles. The album also features “Thanks for Saving My Life,” a hit single that adds a touch of warmth and optimism to an otherwise ambitious, conceptual work. Produced once again by Gamble & Huff, War of the Gods stands as one of the most daring and original records of the Philadelphia soul era — often compared to the visionary work of Marvin Gaye and Curtis Mayfield for its scope and emotional depth.

Together, these four albums trace the evolution of an artist who refused to stand still. Billy Paul blended jazz phrasing with soul’s emotional directness, and he brought a philosopher’s sensibility to popular music. His work remains timeless — sensual yet cerebral, deeply personal yet universally human.

The Nigel Price Organ Trio Ignite with Their Tenth Release — A Testament to Groove, Craft, and Chemistry

The tenth release from the celebrated Nigel Price Organ Trio reaffirms the group’s reputation as one of the most prolific and hard-working ensembles in British jazz — perhaps the most relentless touring jazz group in the UK of the 21st century. Known for their blistering live shows, telepathic interplay, and deep roots in the organ trio tradition, this new album captures the trio at their most dynamic, confident, and expressive.

Guitarist Nigel Price, one of the UK’s foremost jazz guitar voices, is joined by two world-class collaborators: Ross Stanley on Hammond organ and Joel Barford on drums. Together they deliver a set that’s as muscular as it is melodic, blending soul-jazz grit with modern sophistication. Price speaks glowingly of his bandmates, saying, “I’ve never heard Ross play a bad note, and he absolutely played out of his skin on this record.” Stanley’s command of the Hammond organ has earned him international respect through collaborations with legends like Maceo Parker and, more recently, Robben Ford. His playing here is both fiery and fluid, anchoring the trio with harmonic depth and rhythmic drive.

Behind the kit, Joel Barford injects fresh energy and imagination. One of the most vibrant young drummers on the UK scene, Barford thrives in the open, conversational space that the organ trio format provides. His touch and timing bring both finesse and fearless swing, making him a perfect counterpart to Price’s blues-infused lines and Stanley’s rich harmonic palette. The trio’s chemistry is electric — years of touring have forged a collective instinct where risk and trust coexist in perfect balance.

Six of the nine tracks are original compositions by Price, highlighting his considerable gifts as a writer as well as a player. His tunes are taut and memorable, steeped in groove yet open to exploration. Each piece feels tailor-made for this compact, powerful ensemble, allowing for intricate interplay and spontaneous moments of magic. The recording session, by all accounts, was a relaxed and inspired affair — the kind of environment where creative sparks fly freely. What emerged is an album brimming with vitality and groove, a showcase of three musicians at the height of their craft.

Price’s credentials read like a map of contemporary British jazz history. With over sixty albums to his name, including eight as a leader, he has carved out a career defined by consistency and creative vision. He spent a decade with the acclaimed acid-jazz outfit The Filthy Six, was a member of James Taylor’s JTQ for three years (recording five albums during his tenure), and has shared stages with legendary composer and producer David Axelrod. Beyond his musicianship, Price has become known for his tireless dedication to the UK jazz scene, single-handedly organizing extensive national tours that have become legendary for their scale and ambition.

This new release stands as both a celebration of that hard-won legacy and a statement of continued artistic evolution. From the joyful pulse of “Make Someone Happy” to the funky swagger of “Backatcha,” the hard-driving “It’s On!,” and the sultry groove of “Midnight Mood,” the album traverses moods with effortless cohesion. Each track reveals another facet of the trio’s shared language — grounded in the jazz tradition but alive with the energy of now.

The Nigel Price Organ Trio have long been admired for their ability to bring sophistication and swing to audiences across the UK and beyond. With this latest album, they reaffirm their position not only as masters of their craft, but as vital keepers of the organ trio flame — balancing soul, intellect, and sheer joy in every bar.

Nigel Price on guitar, Ross Stanley on Hammond organ, and Joel Barford on drums — three voices, one conversation, and a sound that’s unmistakably their own.

Ginman Blachman Dahl Return with Play Ballads — A Soulful Journey Through Jazz Standards

The acclaimed Danish jazz trio Ginman Blachman Dahl — pianist Carsten Dahl, bassist Lennart Ginman, and drummer Thomas Blachman — return with Play Ballads, a luminous collection of fifteen jazz standards rendered in their uniquely reflective style. This is not merely another set of familiar tunes; it’s a masterclass in restraint, communication, and trust between three of Denmark’s most revered jazz artists.

From the first notes, the trio’s deep musical rapport is unmistakable. Every pause, every silence, and every breath is weighed with intention. Their collective voice feels as natural as conversation — three artists who have grown together over decades, finishing each other’s musical sentences. Play Ballads is both intimate and expansive, a reminder that true jazz mastery lies not in technical bravado, but in the courage to slow down and listen.

The album draws from the great American songbook, including timeless pieces such as Matt Dennis’ “Angel Eyes,” Vernon Duke’s “Autumn in New York,” Billy Strayhorn’s “Take the ‘A’ Train,” Thelonious Monk’s “Blue Monk,” and Duke Ellington’s “Satin Doll.” Yet, in the hands of Ginman Blachman Dahl, these classics become something entirely new. Each track is performed at deliberately slow tempos, inviting the listener to hear familiar melodies with fresh ears. The pace is unhurried, the phrasing deliberate, as if the trio were rediscovering the songs in real time.

Carsten Dahl’s piano leads the way with poetic sensitivity, his improvisations unfolding like quiet revelations. Lennart Ginman’s bass offers grounding, breathing space, and melody within melody, while Thomas Blachman’s drumming — spare, textured, and unintrusive — becomes an art of understatement. Together they create a sound world where silence is as expressive as sound, where every note feels inevitable.

The results are extraordinary. “Angel Eyes” emerges as a tender confession, its sparse chords and delicate pacing creating a sense of intimacy rarely heard in trio settings. “Gone With the Wind” carries a gentle melancholy, stripped of nostalgia and filled instead with graceful acceptance. “Autumn in New York” captures the wistfulness of the season itself — a meditation on change, beauty, and impermanence. Ellington’s “Things Ain’t What They Used To Be” is transformed into something quietly profound, a subtle statement on time and transformation that feels deeply personal.

Across the album, the trio’s interplay evokes the great tradition of jazz trios past — Evans, Haden, Motian — yet their sound is unmistakably their own. There’s no rush, no excess. Instead, each phrase is allowed to breathe, and what emerges is a music of patience, precision, and quiet power.

Their shared musical journey stretches back to the late 1980s, through collaborations with Page One, Thomas Agergaard, Claus Hempler, and countless others. Individually, they’ve each built illustrious careers: Dahl, one of Scandinavia’s most imaginative pianists; Ginman, a bassist with both technical brilliance and compositional elegance; and Blachman, a drummer and bandleader known for his rhythmic invention and fearless individuality. Together, they’ve explored both original compositions and jazz standards across multiple acclaimed recordings since 2004. Their collective experience with American greats such as Ed Thigpen, Joe Lovano, and Eddie Gomez has further shaped their artistry, enriching the depth and nuance they bring to every note.

Play Ballads feels like the culmination of all those years of dialogue — not an endpoint, but a distillation. The trio’s chemistry is effortless, their musical intuition so finely tuned that even the simplest gesture feels profound. The album reminds us that jazz, at its core, is about connection: between musicians, between silence and sound, between the familiar and the new.

With Play Ballads, Ginman Blachman Dahl invite listeners to slow down, breathe, and rediscover the beauty of the familiar. These fifteen tracks are less performances than conversations — intimate, unhurried, and deeply human. Every phrase speaks to the trio’s mastery, their mutual trust, and their shared understanding that sometimes the quietest moments carry the greatest weight.

Play Ballads is available now — a timeless addition to the modern jazz canon, and a profound reminder that true artistry is found not in what is played, but in how it is felt.

Yamaha Artist & Billboard #1 Jazz Piano Sensation Kayla Waters Starts Anew on Shanachie Entertainment

When Kayla Waters sits at the piano, something transcendent happens. Her fingers don’t just play notes — they tell stories, painting emotions in sound. “The piano is my heartbeat—my inner rhythm of life!” she shares. The Yamaha Artist and Billboard #1 jazz pianist, producer, and composer embodies her name’s meaning, “keeper of the keys,” both literally and spiritually. With luminous grace, she has built a career defined by purpose, artistry, and faith.

A native of Maryland, Kayla has captivated audiences worldwide and performed alongside legends like Stevie Wonder and Patrice Rushen, as well as R&B stars Marsha Ambrosius and Corinne Bailey Rae. She has made Billboard history as the first jazz pianist to hold the #1 position for six consecutive weeks and boasts five #1 Billboard hits to her name. Yet, despite her remarkable achievements, she remains grounded and deeply connected to her faith. “My faith and my music are intimately intertwined! There’s no way I can separate it,” she confides. “God speaks to me through nature, and He gingerly speaks through the music I’ve been blessed to write.”

Her new album Anew, arriving November 7, 2025, on Shanachie Entertainment, is both a continuation of her artistic evolution and a bold statement of renewal. It’s her fourth album as a leader and second for Shanachie, an eleven-track collection that reflects the many dimensions of her artistry. The first single, “LUSH,” available everywhere now, is an exuberant, rhythmically rich celebration of joy and musical freedom. Its melodic playfulness and vibrant textures immediately draw the listener in, revealing Kayla’s signature blend of jazz sophistication, classical precision, and soulful improvisation.

The album is filled with pieces that honor the intersections of faith, beauty, and creation. “Obedience,” a mid-tempo gem, captures Kayla’s dedication to following her divine path as an artist. “It’s a joy to walk in obedience,” she explains. “For me, that means staying true to my creative, God-given sound while continuously infusing my faith into my artistic offerings. I love that I can be who I am wholeheartedly, with passion and poise.” Another highlight, “Bountiful,” brims with gratitude and spirit, a musical reflection on the abundance of love and blessings in her life. “God’s love, the newfound love of marriage, my creative writing process, and divine opportunities to flourish as an artist have all been bountiful in my life,” she says joyfully.

Nature has long been a source of inspiration for Waters, and her experiences this past year took that connection to new heights. During her guest performance on the Dave Koz Cruise, which sailed to Iceland, The Netherlands, and Norway, Kayla was deeply moved by the dramatic Nordic landscapes. The stunning song “Snowy Fjords,” inspired by that voyage, captures the awe and stillness of her surroundings. Opening with delicate strings, harp, tambourine, and piano in high octaves, the piece evokes the grandeur of the icy terrain. “My spirit was filled with awe-wonder as I basked in the stunning fjords of Iceland,” she recalls. “I’ve never seen anything so beautiful. Snow is my favorite element, so writing a piece about the snow-capped fjords was a treasure.”

The creative bond between Kayla and her father, acclaimed saxophonist Kim Waters, continues to be a cornerstone of her musical journey. He contributes his unmistakable sound to several tracks, including the ethereal “Lofty Chambers,” and assisted with the production and programming for the album. “It is a gift to have a father who has created such a beautiful musical legacy,” Kayla reflects. “His unwavering love and relentless pursuit to help me succeed is profound. I’m forever indebted. We share the same thought processes as music producers. I love that my dad ‘gets me’ and embraces my sound, even though it’s different from his. We make a great team as the Waters duo, and I hope we can do this for a very long time.”

One of the most striking moments on Anew is the two-part suite “Kayla’s Keys,” which showcases her brilliance as both a composer and conceptual artist. The first section unfolds like an impressionist dreamscape before transitioning into a bold, groove-driven finale. “The first half alludes to keys opening doors, while the second half ignites musical keys that unlock new ways of creating at the piano,” she explains. The sense of discovery and wonder that runs through the piece mirrors the overall spirit of the album — a journey of renewal, reflection, and revelation.

Other standout tracks include “Luminous Love,” a soulful exploration of light and emotion, and “Fragrant Faith,” a gentle breeze of serenity and grace. “The Baobab Tree,” a cinematic and symphonic masterpiece written in 11/4 time, is one of Kayla’s personal favorites. Inspired by the mighty African tree of life, the piece captures its strength and spiritual symbolism. “I love this song,” she says. “The Baobab’s resilience and ability to store water within its trunk, nurturing life around it, resonates with me deeply. I know I too am unique by design, planted for faithful works.” The lush “Sweet Honey,” inspired by her time in Utah during her album photoshoot, adds another layer of sweetness and intimacy to the collection. “I love writing mellifluous music,” she shares. “Music that sounds sweet and tastes sweet. This piece pulls on the heartstrings and truly flows like honey.”

Anew concludes with its radiant title track, a soaring melody that encapsulates the album’s core message: transformation and renewal through faith, love, and music. Kayla Waters has long proven herself to be one of contemporary jazz’s most luminous talents, but here she steps even more confidently into her own voice — a voice of clarity, elegance, and devotion.

“It is my hope that all who listen will feel a sense of renewal, refreshing, and ponder how they can recreate life as they know it in bountiful ways,” she says. “I love that the album is releasing in Autumn, one of my favorite seasons, as this is such a pristine time for reflection and peace. I encourage us all to begin Anew.”

Anne Walsh Finds the “Heart” of a Song with New Single “Anyone Who Had A Heart”

Jazz vocalist Anne Walsh has released “Anyone Who Had A Heart,” the first single from her forthcoming album Reach Out For Me: Burt Bacharach Reimagined, arriving November 14 via A to Zink Music. The single and album reimagine ten Burt Bacharach classics through a sophisticated blend of bossa nova and straight-ahead jazz, guided by Walsh’s crystalline soprano and enriched by the lush textures of the Budapest Orchestra.

For this project, Walsh and her longtime creative partner, GRAMMY®-nominated arranger, producer, and pianist Tom Zink, took an unusual and refreshing approach. They submitted “Anyone Who Had A Heart” for GRAMMY® consideration in the Best Arrangement, Instruments and Vocals category as a five-person team—Walsh, Zink, bassist Hussain Jiffry (Herb Alpert), guitarist Mitchell Long, and drummer Kevin Winard—in recognition of the ensemble’s truly collaborative process.

“We knew as a group that we wanted something different from this iconic song made famous by Dionne Warwick,” Zink explains. “The arrangement came to life in the studio where each musician’s ideas shaped the final sound—an interpretation that honors Bacharach and David’s songwriting while showcasing our collective voice.” The team began by exploring the song’s original 6/8 triplet feel, infusing it with subtle world music influences for a contemporary rhythmic energy that still preserves the tune’s timeless emotion.

Zink adds, “We submitted the song for GRAMMY® nomination with all the musicians listed as arrangers. That was intentional—to highlight the contributions that often go unnoticed. Usually one person gets arranger credit, but something unique happens when everyone’s voice helps shape the final sound.”

On “Anyone Who Had A Heart,” Zink’s lyrical piano lines intertwine gracefully with Long’s expressive electric guitar, whose solo mid-song sparks Walsh’s most intimate and impassioned vocal. Beneath them, Jiffry’s supple bass phrasing and Winard’s nuanced percussion create an elegant rhythmic foundation that supports the music’s shifting emotional landscape.

The release marks another creative milestone in the enduring partnership between Walsh and Zink. His GRAMMY® nomination for an arrangement on Walsh’s 2009 album Pretty World and his reworking of Bacharach’s “Say a Little Prayer” on her 2016 album Brand New both paved the way for this new, full-length tribute. Reach Out For Me: Burt Bacharach Reimagined captures that spirit of artistic evolution—reverent yet exploratory, intimate yet cinematic.

Walsh’s voice, soaring yet tender, reclaims Bacharach’s melodies as timeless vessels for new emotion, proving once again that the heart of jazz lies not only in interpretation, but in transformation.

John O’Gallagher’s Ancestral: A Landmark Collaboration Between Two Jazz Drum Masters

Whirlwind Recordings presents Ancestral, the remarkable new release from alto saxophonist and composer John O’Gallagher, featuring the first-ever recorded collaboration between the legendary drummers Andrew Cyrille and Billy Hart, with Ben Monder on guitar. Available now in CD, LP, and digital formats, Ancestral (WR4840) represents a transformative chapter in O’Gallagher’s artistic life—an album that bridges scholarship, experience, and deep musical intuition.

Recorded at Sound on Sound Studios in Montclair, New Jersey, in January 2024, Ancestral reflects the fruits of O’Gallagher’s doctoral research into the music of John Coltrane, particularly the saxophonist’s late-period works Interstellar Space and Stellar Regions. As O’Gallagher explains, “My PhD is an analysis where I transcribed all of Trane’s solos, showing that free music is not as free as people think. Coltrane was organizing his improvisations, and that research helped me find new freedom inside my own systems—freedom that feels organic.”

The album arrives after a major period of change for O’Gallagher, who left Brooklyn for the UK before settling in Lisbon, Portugal, with his wife. This geographical and personal transformation finds expression throughout the record’s eight tracks, which unfold as both introspection and renewal. With an ensemble that unites two drumming titans—Cyrille and Hart—the album’s soundworld is one of depth, tension, and release.

Ancestral opens with “Awakening,” a slow, spectral dawn of mallets, guitar, and saxophone, building toward a muscular crescendo. “‘Awakening’ felt ancient and organic, like a folk song that grows in intensity until it bursts into light,” O’Gallagher says. “Under the Wire” dances on a Monkish groove—playful and percussive—while “Contact,” improvised by Monder, Cyrille, and Hart, inhabits an eerie, floating space. On “Tug,” the drummers weave a regal, tensile pulse beneath O’Gallagher’s searching lines. “‘Tug’ is about the way time breathes,” he notes. “Andrew and Billy are pulling and laying down the time simultaneously—it’s so beautiful.”

Elsewhere, “Profess” swirls with an airy momentum reminiscent of Paul Motian’s work, while “Altar of the Ancestors” reaches toward Coltrane’s spiritual urgency—music as invocation and homage. “‘This is the altar at which we pay homage to our forefathers,’” O’Gallagher reflects. “‘The bandstand itself becomes sacred.’” “Quixotica” disorients with shifting loops and melodies that subtly change each time they return, while the closing track, “Postscript,” entirely improvised, offers a serene conclusion—an open-ended reflection on an album defined by discovery.

Ancestral is an album of questions rather than answers—a dialogue between eras, geographies, and generations. It’s about what happens when master musicians listen, respond, and evolve together in real time. With Cyrille and Hart’s first recorded collaboration, Monder’s signature harmonic textures, and O’Gallagher’s fearless vision, Ancestral captures the vitality of improvisation as both ritual and rebirth.

The recording was engineered by David Amlen, mixed by André Fernandes at Estúdio Timbuktu, and mastered by Mário Barreiros. Album artwork was created by Jamie Breiwick and O’Gallagher himself, with photography by Owen Howard.

Jack DeJohnette: The Rhythmic Soul of Modern Jazz Has Left Us

The world of music lost one of its towering figures on October 26, 2025, with the passing of Jack DeJohnette at the age of 83. The legendary drummer, pianist, and composer left behind a body of work that forever reshaped the sound of modern jazz. Known for his boundless creativity and openness to musical possibility, DeJohnette’s drumming was never merely rhythm—it was conversation, color, and emotion.

Born in Chicago on August 9, 1942, DeJohnette began as a classical pianist before gravitating toward drums in his teens. That duality—the melodic sensibility of a pianist combined with the percussive power of a drummer—became his signature. After moving to New York in the mid-1960s, he quickly found himself at the heart of jazz’s evolution, joining Charles Lloyd’s band and later becoming a key member of Miles Davis’s groundbreaking electric groups. His contributions to Bitches Brew helped define an era, bridging the acoustic traditions of jazz with the adventurous spirit of rock and fusion.

But DeJohnette’s career was never confined to one style or moment. He played with virtually every major figure of his generation—Sonny Rollins, Herbie Hancock, Keith Jarrett, Pat Metheny—and led numerous ensembles of his own, including Special Edition and the New Directions quartet. His long-running partnership with Jarrett and bassist Gary Peacock in the “Standards Trio” became one of the most admired groups in jazz history, celebrated for its telepathic interplay and emotional depth.

What set DeJohnette apart was not only his virtuosity, but his philosophy. “As a child I listened to all kinds of music and I never put them into categories,” he once said. That refusal to be boxed in defined his art. He moved fluidly between jazz, rock, world music, and ambient soundscapes, always guided by intuition rather than genre. His drumming could be thunderous one moment and whisper-light the next, but it was always deeply human—an extension of breath and spirit.

Over his lifetime, DeJohnette earned multiple Grammy Awards and was named an NEA Jazz Master in 2012, yet accolades never seemed to be his motivation. He was an explorer to the end, continually seeking new textures, new conversations, new ways to connect. His later projects often blended piano, electronics, and meditative soundscapes, showing an artist still reaching forward rather than looking back.

Jack DeJohnette passed away in Kingston, New York, from congestive heart failure, surrounded by his family. His death has been met with tributes from musicians across generations, all recognizing how profoundly he shaped the landscape of jazz and beyond. He taught that rhythm could sing, that boundaries were illusions, and that true artistry lies in curiosity.

His drums may have fallen silent, but his influence will continue to pulse through every musician who dares to listen without limits. Jack DeJohnette reminded us that jazz—like life—is at its best when it keeps evolving.

Jakob Dreyer Digs Deep on Roots and Things: A Bold Leap Forward in Sound and Swing

German-born, New York-based bassist and composer Jakob Dreyer unveils a vibrant new chapter in his musical evolution with Roots and Things, his third album as a leader and his most personal statement to date. Out November 14, 2025, via Fresh Sound Records (Barcelona, Spain), the album will be available in CD and digital formats worldwide.

Featuring an inspired quartet — Tivon Pennicott (tenor saxophone), Sasha Berliner (vibraphone), and Kenn Salters (drums) — Dreyer delivers a program of 15 originals and one reimagined standard that balance urgency, lyricism, and groove. The result is a record that swings hard while pushing harmonically and texturally into new territory.

“After my previous two albums, which featured piano, I felt I wanted the next one to sound different,” Dreyer explains. “I thought about various instruments before settling on vibraphone. It just shapes the music so much — and Dave Holland’s use of vibes on several of his records was definitely an influence.”

That shift in instrumentation gives Roots and Things a glowing, modern sonic character. The interplay between Berliner’s shimmering mallets, Pennicott’s muscular tenor lines, and Dreyer’s resonant bass creates a sound that’s at once grounded and ethereal, contemporary yet rooted in the jazz tradition. Salters’ crisp, dynamic drumming propels the quartet with precision and soul.

The album opens with the hypnotic “The Fifth Floor,” setting the tone for a set that moves seamlessly from hard-swinging numbers like “Constellation” and “Fight or Flight” to introspective pieces such as “June Tune” and “Downtime.” Dreyer also sprinkles in short, rhythmic interludes — “Land of 1,000 Blues,” “MTA,” and “Invisible” — serving as musical palate cleansers that keep the album’s pacing both surprising and cohesive.

The lone cover, a modernist 5/4 reworking of Rodgers and Hart’s “With a Song in My Heart,” pays homage to the lineage of jazz improvisation while showing Dreyer’s flair for inventive arranging. The title track, “Roots and Things,” encapsulates the record’s essence — a deep groove and melodic storytelling anchored by the bassist’s instinct for connection. “I thought the title had several meanings,” Dreyer says, “but for me it’s all about the bass, because that’s what I mostly do — play the root.”

Recorded with clarity and warmth, Roots and Things captures a quartet in perfect balance — cerebral yet deeply swinging, elegant yet alive with spontaneity.

About Jakob Dreyer and the Band

A classically trained musician turned first-call jazz bassist, Jakob Dreyer has become a fixture on the New York jazz scene since moving from Germany in 2014. He’s performed with an array of artists including Steve Wilson, Jochen Rueckert, Marta Sánchez, and Manuel Valera, and counts Paul Chambers, Dave Holland, George Mraz, and Niels-Henning Ørsted Pedersen among his bass inspirations.

Joining him on Roots and Things are three of the most exciting voices in modern jazz:

• Tivon Pennicott, a GRAMMY-winning saxophonist and longtime collaborator of Gregory Porter, known for his soulful tone and command of groove.

• Sasha Berliner, a San Francisco–born vibraphonist and composer, named #1 Rising Star Vibraphonist in the 2020 DownBeat Critics Poll and celebrated for her forward-thinking approach to the instrument.

• Kenn Salters, an agile and expressive drummer whose résumé spans jazz, R&B, and beyond, bringing both power and subtlety to every performance.

With Roots and Things, Dreyer channels a lifetime of influences — from the Blue Note swing of Wayne Shorter and Herbie Hancock to the lyricism of Bill Evans — into a cohesive, deeply expressive statement. It’s a record that reaffirms his place among the most imaginative bassists and composers of his generation.

Steve Tibbetts Returns With Close, a Haunting Meditation in Sound

Guitarist and composer Steve Tibbetts unveils Close, his eleventh release on the storied ECM label — a spellbinding continuation of his lifelong dialogue between texture, tone, and transcendence. The Minnesota-based artist resumes his exploration of 12-string and electric guitar, weaving layered loops and drones with the immersive percussion of longtime collaborators Marc Anderson and JT Bates.

Close is available today on digital platforms via ECM, with CD editions arriving in the US on December 4, 2025 — including a limited run of autographed copies for collectors and fans.

Critics have already been deeply moved by Tibbetts’ latest work:

“Close is like a dark Rothko painting on fire. The love of life, the losses. Honestly, this album breaks my heart.” — Flowworker.org

“Close takes us on the kind of enigmatic but enticing journey we’ve come to expect from Tibbetts: strange and beautiful.” — The Big Takeover

In his own words, Tibbetts reflects on his creative process with characteristic humility and wonder:

“Music is as close to magic as we mortals have. Musicians do revel in being thought of as wizards or shamans or conduits or vessels or prophets. News flash: we have no idea what we’re doing. Music is a twilight language. The job is to translate shadow into sound.”

That philosophy runs through every moment of Close. The record captures an unguarded intimacy — breaths, fretboard noises, and all. As percussionist Marc Anderson told Tibbetts during the recording:

“Don’t change it. Yes, I can hear you breathing. Yes, I hear the fretboard sounds. You’re playing with a lot of force and it sounds like you need to.”

Tibbetts’ unique approach to guitar tunings — dropping his low A and E strings to G and C — anchors much of the album in a single tonal space, a choice influenced by his deep connection to gamelan ensembles, Tibetan longhorns, Javanese court music, and the Hardanger fiddle traditions of Norway. “Most of the world’s music stays in the same key,” he notes, “and I’m comfortable with that.”

On Close, Tibbetts seems less concerned with achieving sonic perfection and more with evoking a sense of lived experience — of loss, presence, and persistence. As he puts it simply, “I am still reaching for the evocative sound of Sultan Khan.”

A deeply personal, transcendent work, Close stands as both a culmination and a renewal — an artist still exploring the edges of mystery through sound.

Chano Domínguez and Ethan Margolis Bridge Worlds on The Blues Around Us

Unifying Sounds marks its debut with The Blues Around Us, a stunning new collaboration between former Blue Note Records pianist Chano Domínguez and avant-garde guitarist Ethan Margolis (aka Emaginario). Both artists have devoted their lives to exploring the deep human connection at the heart of genre-crossing music — a philosophy that pulses through every note of this record.

Though Domínguez hails from Cádiz, Spain, and Margolis from just outside Cleveland, Ohio, their partnership is rooted in a shared belief: that music transcends boundaries and speaks to our shared humanity. The Blues Around Us is a beautifully crafted collection of original compositions that fuse the spirit of jazz and blues with the rhythmic soul of flamenco.

Drawing inspiration from icons like Dizzy Gillespie, Duke Ellington, Bessie Smith, and Wes Montgomery, the duo crafts a sound that feels both timeless and daringly new. Most of the pieces — composed by Margolis — were written specifically to highlight Domínguez’s interpretive brilliance and the deep, conversational flow between the two musicians.

“After more than a decade living in Spain, I met Chano, and we quickly realized our potential together,” says Margolis. “We believe in the imperfect beauty of humanity and in genres driven by spirit, not finance. With this album, we wanted to deliver warmth and humanity reminiscent of classic recordings by engineers like Fred Plaut and Rudy Van Gelder.”

The project’s origins trace back to a 2016 concert in Los Angeles, where their creative spark first ignited. Over eight years, the pair shaped and refined the material, including a week-long session in Brooklyn to finalize the album’s palette of blues styles. “Ethan brought a deep mix of Blues styles to my apartment,” recalls Domínguez. “Some were completely new to me, and I felt energized — like a kid discovering music all over again.”

Rounding out the ensemble are Carlos Henriquez (bass) and Obed Calvaire (drums), both members of Wynton Marsalis’s Jazz at Lincoln Center Orchestra. Recorded live at Oktaven Studios in New York by legendary engineer James Farber and mixed by Dave O’Donnell, the album’s sonic warmth evokes the golden age of the Van Gelder era. It was later mastered by Randy Merrill, completing a production team of Grammy-winning excellence.

Beyond its remarkable sound, The Blues Around Us stands as a meditation on authenticity, artistry, and the lifelong journey of musical discovery. The release coincides with Domínguez’s 50th anniversary as a professional pianist — a milestone in a career marked by collaborations with Wynton Marsalis, Blue Note Records, and SFJAZZ. Margolis, based in Camarillo, CA, continues to bridge continents and traditions, following his 2024 Ropeadope release alongside Larry Grenadier and Eric Harland.

Rooted in respect for history yet unafraid to innovate, The Blues Around Us captures the rare magic of two master musicians united by curiosity, craft, and connection.