Spinifex Marks 20 Years with “Maxximus” — An Acoustic Reinvention of Fire and Freedom

After two decades of defying genre boundaries, Amsterdam-based sextet Spinifex celebrates its 20th anniversary with an audacious twist. Their upcoming album, Maxximus, out November 14, 2025 via Trytone Records, expands the group to a nine-piece ensemble while stripping away some of the electric ferocity that has defined its sound. The result: a daring acoustic reinvention that both honors and upends the band’s fiery legacy.

Spinifex — saxophonist and artistic director Tobias Klein, trumpeter Bart Maris, saxophonist John Dikeman, guitarist Jasper Stadhouders, bassist Gonçalo Almeida, and drummer Philipp Moser — has long been a force in European improvised music. Over the years, critics have praised the band’s ability to fuse “mathematical structures, punk aggression, [and] free jazz fire” (All About Jazz) and to “push boundaries, crafting a compelling combination of meticulous complexity and primal energy” (Jazz Views).

But with Maxximus, Spinifex opens new sonic territory. To mark the milestone, they invited three guests — vibraphonist Evi Filippou, cellist Elisabeth Coudoux, and violist Jessica Pavone — each adding depth and texture to the band’s already volatile chemistry. At the same time, the core players swapped their amplified weapons for acoustic ones: Maris adds piccolo trumpet, Klein takes up bass clarinet, Dikeman delves into bass saxophone, Stadhouders trades electric for acoustic guitar, Almeida switches to double bass, and Moser extends his kit with a spectrum of percussion.

“We wanted to approach this project with a different concept of our sound,” Klein explains. “Opening more space to acoustic rather than amplified sound would allow us to use colors we’ve explored individually, but not within Spinifex.”

The shift is felt immediately. The album opens with “Smitten,” an unexpected Spinifex ballad that unfolds with tense beauty before erupting into rhythmic chaos — a kind of musical palindrome. Klein’s compositions “Sack & Ash” and “Phoenix” harness the group’s trademark propulsion but temper it with intricate layers and open improvisational space. Coudoux contributes “Springend,” a piece that challenges the ensemble to rethink its habits and roles, while Maris’ “Annie Golden” pays homage to the punk singer-turned-actress with a build from hushed textures to raucous climax. The closing track, Almeida’s “The Privilege of Playing the Wrong Notes,” serves as a playful manifesto for both the band and avant-garde jazz itself.

As Klein puts it, “I normally see Spinifex as a compact ball that rolls with definite momentum. With Maxximus we fan out a bit. I really enjoyed going back and forth between the rolling and the fanning out.”

After 20 years of relentless experimentation, Maxximus shows Spinifex not settling down but expanding — finding intensity in restraint, power in quiet, and endless invention in sound itself.

---

The Cincinnati Contemporary Jazz Orchestra Reimagines a Classic with “The Nutcracker Remix”

The Cincinnati Contemporary Jazz Orchestra (CCJO), one of the Midwest’s leading jazz ensembles, is bringing new life to a timeless holiday favorite. Founded in 2013 by University of Cincinnati College-Conservatory of Music professor Scott Belck and arts administrator LeAnne Anklan, the CCJO is a 17-piece nonprofit big band dedicated to performing, preserving, and teaching jazz as a living art form. Under the artistic direction of Eric Lechliter, the orchestra performs six shows per season at The Redmoor, making jazz accessible to audiences of all backgrounds.

After several sold-out holiday performances of their jazz reinterpretation of Tchaikovsky’s The Nutcracker, the CCJO has captured the magic on record with The Nutcracker Remix — a 12-track album featuring nine reimagined pieces from the ballet and three bonus Christmas tracks sung by powerhouse jazz vocalist Mandy Gaines.

The project was first imagined by former CCJO band director Rob Parton (now at the University of North Texas), inspired by Duke Ellington’s 1960 classic The Nutcracker Suite. Together with Lechliter and trombonist/arranger Dominic Marino, he set out to reinvent The Nutcracker for the 21st century — blending global jazz influences, inventive rhythms, and bold improvisation.

Lechliter and Marino split the arranging duties, while Billboard-charting trumpeter and producer Kim Pensyl handled production, mixing, and mastering. The result is a modern big band masterpiece filled with wit, groove, and musical craftsmanship.

Tracks like “The Pistachio March (March of the Toy Soldiers)” and “Sugar Rush (Dance of the Sugar Plum Fairy)” explode with energy, inventive solos, and genre-crossing flair — from samba and funk to hip hop and swing. Elsewhere, “Everybody Digs Flowers (Waltz of the Flowers)” and “Caiproska” show the band’s versatility, flowing from delicate trio moments to full-throttle brass power. The playful titles pay homage to Ellington’s whimsical spirit while giving each tune a 21st-century edge.

To close the album, Mandy Gaines delivers three stunning bonus tracks: a lush take on Vince Guaraldi’s “Christmas Time Is Here,” a soulful R&B-infused “Merry Christmas Baby,” and her touching original “Christmas This Year,” written in memory of a close friend.

For over a decade, the CCJO has carved out a place among America’s most dynamic big bands, collaborating with Grammy-winning artists and premiering original works that celebrate both tradition and innovation. With The Nutcracker Remix, they reaffirm that jazz is not only alive — it’s constantly reinventing itself.

Jon Fadem’s “Thankful” — A Guitarist’s Life in Sound

With Thankful, Jon Fadem steps into the spotlight after years of touring and collaborating, unveiling a solo debut that feels both intimate and expansive. It’s a fully instrumental, all-original collection that tells a personal life story through tone, texture, and groove — a musical autobiography written in the language of the guitar.

Across its tracks, Thankful traverses the landscapes of rock, jazz, and soul — sometimes soulful and contemplative, sometimes burning with fusion energy. Fadem’s guitar sings in voices that nod to his heroes — Jeff Beck, Stevie Wonder, George Benson, Jerry Garcia, Jimi Hendrix, and Steely Dan — yet his phrasing and melodic choices make this record unmistakably his own. The result is a sonic journey that’s as organic as it is precise, a body of work that invites deep listening but also flows effortlessly into the rhythm of everyday life.

Fadem not only plays guitars but also bass, keyboards, mandolin, and dulcimer, crafting each piece with meticulous care. Drummer John Kimock (of Mike Gordon and Oteil Burbridge’s bands) adds subtle but vital pulse and color throughout. The album’s production team — including engineers Bob Stander and Phil Joly, mastering by Heba Kadry, and artwork by Ashli Truchon Novak — helps Thankful radiate warmth and detail, giving it the feel of a classic ’70s record heard through a modern lens.

As Fadem himself puts it, “After many years of playing and touring nationally with different cover bands, I decided to make an album of my own music, and it is a very personal project to me.” Influenced by the spirit of Jeff Beck’s Blow by Blow, Stevie Wonder’s Talking Book, and Joni Mitchell’s The Hissing of Summer Lawns, Thankful is designed to meet listeners wherever they are — whether they’re tuned in with headphones or letting the grooves carry them through their day.

An album built from gratitude and persistence, Thankful is both a reflection and a release — a testament to a musician who has spent years preparing to sound exactly like himself.

Les Baxter, Harry Revel & Dr. Samuel Hoffman: The Birth of Space Age Sound – Music Out of the Moon / Music for Peace of Mind

If you’ve ever wondered where electronic music truly began, look no further than the eerie, enchanting hum of the theremin in Music Out of the Moon and Music for Peace of Mind. These two visionary recordings — first released in 1947 and 1950 — unite the lush orchestral imagination of Les Baxter, the compositional sophistication of Harry Revel, and the pioneering electronic artistry of Dr. Samuel J. Hoffman.

Music Out of the Moon broke ground as one of the first albums to use the theremin — that haunting, hands-free instrument that would soon define the sound of sci-fi cinema and early experimental pop. Hoffman’s ethereal tones weave through Baxter’s sweeping orchestrations, rich with jazzy inflections, exotic textures, and wordless vocals that shimmer like lunar light. Tracks like “Moon Moods,” “Radar Blues,” and “Celestial Nocturne” still sound otherworldly today.

Three years later, the trio reunited for Music for Peace of Mind, a lushly cinematic sequel that deepened their exploration of mood and texture. Less about outer space, more about inner calm, this record balances the mysterious and the meditative — prefiguring the exotica and ambient movements decades ahead. Titles like “This Room Is My Castle of Quiet” and “Your Soft Hand on My Brow” say it all: it’s music designed to soothe, haunt, and inspire all at once.

Now reissued by Modern Harmonic on CD and green vinyl, these albums remind us how far ahead of their time these artists were — crafting electronic soundscapes long before “synth” was even a word. This isn’t nostalgia; it’s history vibrating in real time.

Music Out of the Moon / Music for Peace of Mind
Les Baxter / Harry Revel / Dr. Samuel Hoffman
Capitol / Modern Harmonic, 1947–1950

CD:  – available November 7

Flutist David Crawford Channels Africa and Hope in His Uplifting New Single “Africa Nouveau”

After decades of shaping the sounds of R&B and soul greats like Patti LaBelle, Gladys Knight, Mary J. Blige, Bill Withers, Rene & Angela, Bobby Womack, and Confunkshun, flutist and arranger David Crawford is stepping into the spotlight with his inspired new single, “Africa Nouveau.” The track, written, produced, and performed by Crawford, is now streaming on all major digital platforms.

Drawing from both African roots and the words of Michelle Obama, Crawford fuses cultural pride with a call for unity and self-worth. The former First Lady’s voice rings through mid-song with the powerful excerpt: “All our contributions deserve to be accepted and valued.” For Crawford, this message felt urgent and timeless. “I wanted to record a song that would be encouraging, empowering, and be a hopeful endeavor for the world at large,” he says. “Africa, being my ancestral beginnings, was my first inspiration for a new world order.”

Sonically, “Africa Nouveau” is a lush, contemporary jazz journey. Crawford’s soulful flute glides confidently over rhythms and melodies inspired by African traditions, while trumpeter Nolan Shaheed—a veteran who has performed with Miles Davis, Earth, Wind & Fire, and Marvin Gaye—adds his signature muted trumpet, weaving a textured dialogue with Crawford’s flute. “Adding his unique instrumental voice brings a lot of depth and color to the track,” Crawford notes.

A Compton native now based in Las Vegas, Crawford holds a master’s degree in music from CalArts. His résumé includes producing Vesta Williams’ Billboard Top 10 R&B hit “Once Bitten, Twice Shy,” recording with Ahmad Jamal and The Temptations, and performing alongside Stevie Wonder and Isaac Hayes.

With “Africa Nouveau,” Crawford sets the stage for a new chapter—one that blends artistry, ancestry, and aspiration. He plans to release additional singles leading up to his debut album, “Something Borrowed."

Laura Camacho Tango Project Bridges Eras and Genres on Todo Tiempo Pasado

With her new album Todo Tiempo Pasado, Argentine bassist, composer, and ethnomusicologist Laura Camacho reinvents tango for the modern world — honoring its deep roots while daring to explore its limitless future. Out November 28, 2025, the album showcases the Laura Camacho Tango Project and features special guests Emiliano Messiez and Ariel Pirotti, both Latin GRAMMY® nominees.

The result is a genre-defying celebration of musical universality — connecting tango’s past, present, and future through the prism of Camacho’s global perspective. The album traverses folk, classical, jazz, pop, and contemporary tango, creating a vibrant sonic mosaic where tradition meets innovation.

“At its heart, Todo Tiempo Pasado is about connection,” says Camacho. “It’s about honoring the music that shaped me while opening tango to new interpretations — emotionally, culturally, and stylistically.”

The tracklist reflects that wide-reaching vision. Alongside Camacho’s own compositions — the introspective “Todo Tiempo Pasado” and the evocative “ECOS” — listeners will find works by tango icons Astor Piazzolla (Adiós Nonino, Libertango) and Mariano Mores, as well as Pirotti’s dynamic “Tifón.” There’s also a haunting double bass solo rendition of “Milonga Triste,” and two strikingly original tango-inspired reimaginings of pop classics: Britney Spears’ “Tóxico” and Kate Bush’s “Running Up That Hill.”

Each track offers a different lens on tango’s expressive power — from its dramatic pulse and emotional weight to its playful rhythmic elasticity. With arrangements that weave together bandoneon-like phrasing, string textures, and jazz harmonies, Camacho’s ensemble creates a sound that is at once cinematic and intimate.

Camacho’s story begins in Buenos Aires, where tango’s pulse first resonated through her grandmother’s living room in San Telmo. After formative years at the Manuel de Falla Conservatory, she performed widely, even opening for the legendary Mariano Mores — a performance she describes as “life-changing.” Later, she moved to the United States to pursue advanced studies in double bass and ethnomusicology, eventually earning two graduate degrees and establishing herself as both a performer and scholar.

Now based in Texas, where she’s pursuing her doctorate at the University of Texas at Austin, Camacho’s research focuses on tango communities across Latin America and the U.S., exploring how tradition adapts across borders. Her artistic practice mirrors that research: collaborative, deeply rooted, and always evolving.

Having collaborated with artists including Horacio Romo, Pablo Agri, Pablo Estigarribia, Julián Peralta, and others, Camacho has become a vital voice in contemporary tango — bridging academia and artistry, Buenos Aires and Austin, history and reinvention.

With Todo Tiempo Pasado, she invites listeners into a space where tango breathes freely — where the past doesn’t fade, but resonates anew.

Zhengtao Pan Blends Jazz and Classical Vision on Mirror Floating On The Water

Composer and arranger Zhengtao Pan returns with Mirror Floating On The Water, an ambitious, emotionally resonant new album out November 14, 2025 on Outside In Music. Featuring special guests Nick Finzer, Itai Kriss, and Tomoko Omura, the recording blurs the boundaries between jazz and classical music to create a chamber-jazz soundscape that is both intimate and expansive.

Hailed by critics as “a bold and inspired statement” (UK Vibe) and “a symphony full of melodic grace and excitement” (The JW Vibe), Mirror Floating On The Water continues Pan’s evolution as one of the most promising young voices in contemporary composition. The album grew out of Pan’s award-winning piece of the same name, which premiered at the Ravinia Festival after earning him the David Baker Prize in the Bridges Composition Competition.

At the heart of the project is Pan’s fascination with strings — their ability to embody both delicacy and strength. Inspired by Ryuichi Sakamoto, Pan sought simplicity on the surface and profound emotion beneath, crafting melodies that are sparse yet deeply affecting. “I infused this concept into every piece,” he explains. “It’s pure, direct, and unadorned — like the reflection of a mirror on still water.”

Much of the album’s emotional core stems from a vivid personal memory: Pan’s first experience of snowfall in Shanghai. The composition “Snowy Days” (featuring Finzer and Omura) captures the bittersweet wonder of that moment — a metaphor for finding light within solitude. “That piece represents the idea of kǔ zhōng zuò lè — finding sweetness within bitterness,” Pan says. “It’s about discovering beauty even when you feel unseen.”

Pan’s creative vision resists categorization. “Jazz and classical aren’t separate,” he notes. “Ravel used jazz; Herbie used classical. There’s a space between them — the so-called ‘Third Stream’ — but I just write what resonates with me.” That philosophy shines through in “Page Two” (featuring flutist Itai Kriss), where elegant orchestration meets spontaneous improvisation, and throughout the album’s luminous, introspective pieces.

Only 22 years old, Pan has already made a global impact. Born in Shanghai and now pursuing his master’s degree at The Eastman School of Music, he has earned top honors from DownBeat Magazine, ASMAC, and the Jazz Education Network. His compositions have been performed by artists including Steven Feifke, Alexa Tarantino, and the Eastman New Jazz Ensemble, as well as orchestras across Europe and Asia. His debut, Scenery In My Story (2023), introduced his sweeping big-band voice; Mirror Floating On The Water reveals a new side — meditative, spacious, and emotionally transparent.

Pan’s collaborators on the album include Isamu McGregor (piano), Federico Gucciardo (drums), Maria Grig (violin/viola), and Natalia Nazarova (cello), among others. The result is a sonic tapestry where every note feels essential — a reflection of memory, identity, and artistic courage.

With Mirror Floating On The Water, Zhengtao Pan redefines what modern jazz composition can be: cinematic yet personal, technically brilliant yet deeply human.

---

Lena Bloch Honors Poet Marina Tsvetaeva with a Deeply Moving Jazz Suite on Marina

Russian-born saxophonist and composer Lena Bloch brings poetry and jazz together in a profoundly emotional way with her new album Marina, out November 14, 2025 on Fresh Sound Records. The project reimagines the work of the legendary Russian poet Marina Tsvetaeva, whose words of resilience and spirit find new life through Bloch’s lush compositions and her quintet’s evocative improvisation.

“Throughout my life, Tsvetaeva has been a model of resilience as an immigrant, an artist, and a woman,” Bloch shares. “All of which have been under siege in modern political discourse — all the more reason to amplify her voice for a modern audience.”

Featuring vocalist Kyoko Kitamura, pianist Jacob Sacks, bassist Ken Filiano, and drummer Michael Sarin, Marina builds on Bloch’s reputation for intellectual depth and emotional power. The commissioned suite, supported by a Chamber Music America grant, sets Bloch’s own English translations of Tsvetaeva’s poems, blending jazz expression with poetic sensitivity.

Born in Moscow, Tsvetaeva lived a life marked by displacement and tragedy — from her early success as a teenage poet to her years in exile across Europe and her devastating return to the Soviet Union. Bloch, who also grew up in Moscow before immigrating to Israel, then Europe, and finally settling in New York in 2008, feels a deep kinship with the poet’s themes of endurance, freedom, and identity.

As one of the first jazz artists to interpret Tsvetaeva’s poetry through music, Bloch finds beauty not in despair, but in strength. “Her poetry never bemoaned exile,” Bloch explains. “It celebrated strength — the power to speak freely despite all circumstances. That resonates with me as a lifelong nomad and with so many immigrants in this country.”

Across the album, Bloch and her ensemble create soundscapes that are both intricate and immediate. On “Refuse,” Filiano’s searching bass and Kitamura’s haunting vocal embody defiance. “Insomnia” drifts between wistfulness and longing, while “Such Tenderness” moves with sensual grace. “Immeasurable” and the title track “Marina” pulse with the vitality of womanhood and survival, leading to the closing piece, “The Time Will Come,” a powerful reflection on the endurance of art and spirit.

For Bloch, Marina is more than a musical tribute — it’s a dialogue across time, language, and experience. As Kitamura sings Tsvetaeva’s lines — “for all my poems / like for precious wine / the time will come” — it’s clear that for both poet and composer, that time is now.

Album release concert: Saturday, November 15, 2025 at IBeam, Brooklyn, NY.

Byron Miller Turns Up the Heat with Sultry Jazz-Funk Take on “Any Time Any Place”

When jazz-funk powerhouse Byron Miller first saw Janet Jackson perform her steamy hit “Any Time Any Place,” one unforgettable moment lit a spark. As Jackson sang, she invited a bold fan onto the stage, sat on his lap, and turned the concert into an intimate, iconic performance. That memory stuck with Miller — and decades later, he’s channeling that same energy into his own soulful interpretation of the track.

Produced by two-time GRAMMY® nominee Chris “Big Dog” Davis, the new single infuses Jackson’s sensual classic with a jazz-funk pulse that’s both romantic and electrifying. Davis handled most of the instrumentation, with Miller delivering his signature, lyrical bass lines — rich, expressive, and dripping with emotion.

Adding to the allure, Billboard chart-topping flutist Ragan Whiteside joins the mix, her performance weaving a smooth, feminine touch through the groove. “Chris decided we needed a woman’s touch,” Miller says. “When I heard Ragan play, I loved what she brought — that missing female energy.” Vocalist Devin Tiana adds another layer of seduction, echoing the song’s title with silky restraint.

“Any Time Any Place” teases what’s to come on Miller’s forthcoming fifth album, due in April. Beyond his own project, he’s also working with Davis on a George Duke tribute album and consulting on a television venture.

Known to fans as PsychoBass, Miller’s solo journey began in 2015 with his debut of the same name — a series that has continued through 2022’s PsychoBass 3: Real Love and this year’s PsychoBass 4: Motor City Love. The Detroit native’s groove legacy includes collaborations with icons like Luther Vandross, Whitney Houston, Santana, Herbie Hancock, Marvin Gaye, and Roy Ayers, solidifying his reputation as one of the genre’s most expressive bass voices.

Now based in Los Angeles, Miller even has two signature basses handcrafted by Michael Tobias Design, in his trademark green and orange. With “Any Time Any Place,” he proves that sensuality, groove, and musicianship can coexist — anytime, anyplace.

Leon Ware – Inside Is Love

Legendary soul artist Leon Ware delivers a masterclass in smooth, sophisticated grooves with his 1979 album Inside Is Love, now available on CD via TK/Solid (Japan). Positioned between his celebrated 1970s Motown work and his later resurgence at Elektra, this album captures Ware at a peak of compositional and production skill — warm, mellow, and effortlessly stylish.

Ware wrote and produced the entire set himself, bringing the same masterful studio sensibility he famously applied to Marvin Gaye’s I Want You. The album flows seamlessly from track to track, with no filler — just pure, meticulously crafted soul and R&B. Standout tracks include the infectious two-step “What’s Your Name,” the title track “Inside Is Love,” and other gems such as “Try It Out,” “Club Sashay,” “Inside Your Love,” and “Love Is a Simple Thing.” Each cut brims with melodic sophistication, silky vocal delivery, and midtempo grooves that sparkle with elegance and energy, demonstrating why Ware has long been revered as a master of the genre.

Born in Detroit in 1940, Leon Ware was a songwriter, producer, and performer whose influence on soul and R&B is immeasurable. He gained acclaim for his work with Motown, penning and producing tracks for Marvin Gaye, Michael Jackson, and Minnie Riperton, among others. Known for his warm, intimate vocal style and lush, sophisticated arrangements, Ware’s music often combined sensuality with subtle musical innovation. Albums like Musical Massage and his work on Gaye’s I Want You cemented his reputation as a visionary architect of modern soul. Ware’s career spanned decades, balancing behind-the-scenes brilliance with captivating solo recordings that continue to inspire generations of artists.

Inside Is Love is a prime example of Ware’s artistry: refined, soulful, and timeless, offering a listening experience that stands shoulder to shoulder with the best of his catalog.

Nina Simone – Let It All Out: Selected Singles 1961 to 1978

The legendary Nina Simone’s unmistakable voice and revolutionary artistry are on full display in Let It All Out: Selected Singles 1961 to 1978, a powerhouse compilation released by Ace Records (UK). Spanning nearly two decades, this collection brings together singles from a variety of labels, offering listeners a fresh lens on Simone’s genre-defying career and capturing the full breadth of her soul, jazz, and pop sensibilities.

Unlike standard album compilations, this set focuses on singles — songs that were intended to reach the airwaves and resonate immediately with listeners. The result is a groove-driven, energetic portrait of Nina Simone at her most compelling and accessible. Tracks such as “Real Real,” “Suzanne,” “Revolution (Part 1),” “Do I Move You,” “Ooh Child,” and “Baltimore” highlight her deep emotional resonance and unique approach to melody and rhythm. The compilation also features iconic numbers like “To Be Young, Gifted & Black,” “I Put a Spell on You,” and “Ain’t Got No, I Got Life” (UK single version), showcasing her remarkable ability to blend political, social, and personal expression into unforgettable performances.

Ace Records delivers this collection with their signature care: detailed liner notes, excellent sound quality, and thoughtful presentation, making this compilation a must-have for both longtime fans and newcomers seeking a concentrated glimpse into Simone’s artistry.

Born Eunice Kathleen Waymon in 1933 in Tryon, North Carolina, Nina Simone was a classically trained pianist who became one of the most innovative and powerful voices of the 20th century. Blending jazz, blues, soul, gospel, and classical music, she created a sound that was uniquely her own. Simone was not only a performer but also an outspoken activist, using her music to address civil rights, social justice, and personal empowerment. From her early recordings in the 1960s to her later politically charged work in the 1970s, Simone left an indelible mark on music history. Hits like “Mississippi Goddam,” “Feeling Good,” and “I Put a Spell on You” remain touchstones of artistry, courage, and emotional depth. Her influence can be heard across generations of musicians in jazz, R&B, pop, and beyond.

Let It All Out offers a concentrated glimpse into this legendary voice, spanning the 1960s and 1970s, and demonstrating why Nina Simone continues to be celebrated as one of the most compelling and revolutionary artists in modern music.

Levitation Orchestra Finds Peace in Motion with New Album Sanctuary

A collective of rising stars from London’s thriving jazz scene, Levitation Orchestra returns with Sanctuary — an expansive new album out November 14, 2025, on 5dB Records. Led by trumpeter Axel Kaner-Lidstrom, the ensemble features an inspired lineup including James Akers (tenor saxophone), Maria Osuchowska (harp), Lluís Domènech Plana (flute), Plumm (vocals), and Harry Ling (drums). Together, they create music that feels both spiritual and cinematic — a reflection on the modern search for peace, community, and purpose.

Three years in the making, Sanctuary explores the beauty and tension of human emotion. The group treats the concept of sanctuary not as an escape, but as something built intentionally — through openness, compassion, and collaboration. The result is a transcendent record that fuses orchestral color, raw improvisation, and London’s multicultural pulse, drawing influence from Sun Ra and Alice Coltrane, with subtle nods to Stravinsky and Ravel.

As with their acclaimed albums Inexpressible Infinity (2019) and Illusions & Realities (2021), Levitation Orchestra continues to expand what contemporary jazz can be — fearless, immersive, and communal. Their music feels alive, grounded in shared exploration rather than individual display. It’s a sound that has captured the attention of tastemakers like Gilles Peterson (Worldwide FM), Soweto Kinch (BBC Radio 3), and Craig Charles (BBC 6 Music), as well as rave reviews from Jazzwise, Loud & Quiet, and The Financial Times.

Sanctuary is not just a listening experience — it’s a meditation on connection. Through sweeping harmonies, meditative harp textures, soaring brass, and moments of collective improvisation, the album invites listeners to build their own refuge within the music.

Levitation Orchestra has once again proven that jazz, at its best, is an act of creation and care — a sanctuary shared by all who listen.

Dan Bruce Launches New Trio Ohm! with Debut Album The Architects

Guitarist and composer Dan Bruce introduces a bold new chapter in his creative journey with the debut of Ohm! and their first album The Architects, out now on Shifting Paradigm Records. Following his acclaimed work with the boundary-pushing group :beta collective, Bruce ventures into rawer territory—melding groove, improvisation, and sonic exploration into a sound that’s as electric as it is introspective.

Rooted in the push and pull between chaos and control, The Architects captures the trio’s kinetic energy and emotional depth. “I’m always trying to reconcile my joy for life with my fear of death,” says Bruce. “This album is about accepting both sides—the beauty and the disorder—and finding the groove that holds them together.”

Based in Cleveland after a decade in Chicago’s thriving jazz scene, Bruce has established himself as a guitarist of uncommon versatility, balancing virtuosic improvisation with compositional nuance. His previous albums drew praise for their adventurous yet inviting sound, with All About Jazz calling his music “generous, accessible, and exploratory.”

Ohm! features Bruce with bassist Jordan McBride (Orrin Evans, Sean Jones) and drummer Gabe Jones (Howie Smith, Sean Jones), forming a powerhouse trio that thrives on rhythmic intensity and open-ended dialogue. Their name reflects dual meanings—“Ohm” as a measure of electrical resistance and “Om” as the sacred sound of unity. True to that spirit, the group often begins live shows with a shared chant, bridging energy between band and audience. “Community building is what art should be doing right now,” Bruce explains.

The album’s title track, “The Architects,” sets the tone with tightly woven compositions that burst into expansive improvisation—featuring guest saxophonist Jason Kush and a cameo from Bruce’s own children, symbolizing a future built on creation rather than destruction. “Eh?” adds a playful nod to Bruce’s Canadian connections, while “Ice” draws inspiration from Gerhard Richter’s paintings, layering nylon-string guitar and ethereal vocals from Nadine Douds.

On “Glimpse,” the trio crafts a journey from tension to transcendence, offering a fleeting vision of harmony in a fractured world. “Major_Chord” (by producer Nathan Douds) embodies joy within instability, its solo section unfolding as a shared conversation among equals. The set closes with “Rare Birds,” a jubilant finale featuring Reggie Watkins on trombone and Douds on keyboards, celebrating the joy of risk and collaboration.

With The Architects, Dan Bruce’s Ohm! emerges as a thrilling new force in contemporary jazz—a project that grooves hard, questions deeply, and builds connection through sound.

Deborah Shulman Finds Healing and Hope Through Song on We Had a Moment

Los Angeles-based vocalist and renowned vocal coach Deborah Shulman transforms personal hardship into musical grace with her latest album, We Had a Moment, released October 24, 2025 on Summit Records. The deeply intimate collection—her sixth album and fifth for the label—was conceived during one of the most difficult periods of her life, when she was undergoing radiation therapy for breast cancer. Between treatments, Shulman began revisiting the songs that had marked her journey — pieces that spoke to love, loss, resilience, and the will to keep creating.

Now cancer-free, Shulman delivers her most personal and emotionally resonant work to date — a record that feels less like a performance and more like a life story told in song. “Music carried me through,” she says. “These are songs I’ve always wanted to sing, but this time, I finally understood what they truly meant.”

We Had a Moment features ten songs recorded across two eras of her life — seven recent sessions with her longtime collaborator and pianist Jeff Colella, and three unreleased gems from earlier recordings with Terry Trotter, the acclaimed pianist whose credits include work with Frank Sinatra, Ella Fitzgerald, Natalie Cole, Celine Dion, and Larry Carlton. The result is an album that spans time, experience, and emotion, weaving together reflections of past and present.

Throughout her career, Shulman has been celebrated as an interpreter who breathes new life into beloved standards. Critics have lauded her ability to make the familiar feel freshly revealed — DownBeat Magazine awarded her previous work four stars, while The Entertainment Report praised her “innate talent to make the listener re-think a song,” and Michael Doherty noted “honesty and intimacy in her approach.”

On We Had a Moment, Shulman dives deeper than ever into the emotional core of each lyric. She opens with Stephen Sondheim’s “Anyone Can Whistle,” a song she connects to her early struggles in show business and the challenge of finding her voice in an industry that often wanted her to fit a mold. She swings warmly on “No Moon at All,” recorded with Trotter, bassist Kenny Wild, and drummer Joe La Barbera, a nod to her late husband Rick, who was her steadfast musical and emotional partner.

During her cancer treatments, she found strength in “Without a Song,” her father’s favorite tune, while the moving mashup of “New York State of Mind / On Broadway” reflects her lifelong connection to musical theater and the dream of performing on stage. The album’s title comes from Sondheim’s “With So Little to Be Sure Of,” a piece that took on new poignancy following the unexpected passing of her husband soon after recording wrapped.

Other highlights include “Goodbye Love / Not Like This,” a haunting Colella arrangement that fuses jazz and classical textures, “The Laughter and the Tears” by Randy Edelman, and “Miss Otis Regrets,” Cole Porter’s darkly elegant tale of passion and consequence. Shulman closes the record with “You Must Believe in Spring,” performed with Trotter and guitarist Larry Koonse — a tender affirmation of hope and renewal that feels like a benediction.

Anchored by an all-star rhythm section — Colella, Trotter, Wild, Chris Colangelo, La Barbera, Kendall Kay, and Koonse — the album captures Shulman’s voice at its most expressive and unguarded. Her delivery carries the weight of experience and the grace of survival, offering listeners an emotional journey through love, grief, and healing.

We Had a Moment is more than a jazz vocal album — it’s a chronicle of endurance, gratitude, and rediscovery. Each song feels like a letter from someone who has seen the fragility of life up close yet still sings with unwavering faith in beauty and connection.