The Sorceress: Audrey Ochoa Conjures a Bold, Genre-Defying Statement of Power and Playfulness

Award-winning trombonist, vocalist, and composer Audrey Ochoa returns with The Sorceress, a vibrant and imaginative new album available now via Chronograph Records. Blending jazz, electronica, swing, and pop into a richly textured sonic experience, the record further establishes Ochoa as one of the most distinctive and fearless voices in contemporary Canadian music.

Long celebrated for her ability to defy expectations, Ochoa has built a career that consistently pushes beyond the traditional boundaries of jazz. As noted by the Edmonton Journal, she “defies jazz horn stereotype with grace and humour,” while critic Keith Black highlights her ability to balance nostalgia with forward-thinking creativity. That balance is at the heart of The Sorceress, an album that feels both rooted and exploratory, polished yet playfully unrestrained.

At its core, The Sorceress is a celebration of transformation—musical, personal, and emotional. Ochoa brings together the many influences that have shaped her artistic journey, crafting a sound where improvisation meets infectious hooks and lush harmonies. The trombone takes center stage not just as an instrument, but as a voice—expressive, dynamic, and deeply human—telling stories of resilience, humor, and acceptance.

This latest release builds on an already remarkable trajectory. Her debut album, Trombone and Other Delights (2013), topped Canadian jazz charts for three consecutive weeks, while Afterthought (2017) reached No. 1 in Canada and broke into the U.S. Top 20. Subsequent projects like Frankenhorn (2020) and The Head of a Mouse (2023) further expanded her sonic palette and earned her widespread recognition, including a 2025 JUNO Awards nomination. Along the way, she has shared stages with artists as diverse as Hilario Duran, PJ Perry, Tommy Banks, Dave Matthews Band, Lew Tabackin, Marcus Miller, Chris Potter, and the UNT One O’Clock Lab Band.

With The Sorceress, Ochoa leans fully into her identity as a multi-dimensional artist. The album’s title itself reflects both humor and empowerment, inspired by past descriptions of her as a “trombone enchantress” and “sorceress of the trombone.” Rather than shy away from such imagery, she embraces it—turning it into a unifying concept that captures the album’s spirit of creativity and self-expression.

Musically, the record offers a wide-ranging listening experience, moving fluidly between swing, groove, and Latin influences, including Cuban and Brazilian elements. Ochoa also steps forward vocally on several tracks, adding another layer of intimacy and storytelling to the project. Her compositions are deeply personal, often rooted in specific memories, ideas, or cultural touchpoints—whether it’s the playful nod to saxophonists in “Button People,” reflections on life’s challenges in “Maintenance Phase,” or the liberating acceptance explored in “Let’s Give Up.”

Surrounding Ochoa is a stellar ensemble of musicians who bring her vision to life with precision and sensitivity. The album features Chris Andrew on piano and keyboards, Jeremiah McDade on tenor saxophone, Mo Lefever on guitar, Jon May on drums, Mike Lent on bass, Nathan Ouellette on percussion, with string contributions from Jen Bustin and Joanne Yu, and additional production by Michael Schlosser.

The result is an album that feels exuberant and expansive, yet grounded in a clear artistic vision. Ochoa’s ability to combine technical mastery with a sense of joy and play sets her apart, making The Sorceress not just a showcase of skill, but a fully realized artistic statement.

With this release, Audrey Ochoa continues to carve out a unique space in the modern jazz landscape—one where genre boundaries dissolve, storytelling takes center stage, and creativity is approached with both seriousness and a sense of fun. The Sorceress is more than an album; it is an invitation into a world where music becomes magic, and where one artist’s fearless imagination leads the way.

Kinesis: Danny Keane’s Boundary-Dissolving Return Redefines Movement in Modern Music

Award-winning multi-instrumentalist, composer, and producer Danny Keane returns with Kinesis, a long-awaited sophomore album that firmly reasserts his place as one of the UK’s most agile and shape-shifting musical voices. Arriving six years after his debut Roamin’, Kinesis is not just a follow-up—it is a bold, genre-defying statement that reflects an artist fully stepping into his own creative identity.

Keane’s reputation has been built in part through collaborations with some of the most respected and boundary-pushing artists in contemporary music, including Mulatu Astatke, Anoushka Shankar, Nitin Sawhney, Damon Albarn, Penguin Café, and The Heliocentrics. These collaborations have seen him traverse continents, styles, and traditions, and their influence is deeply embedded in the sonic fabric of Kinesis. Yet, this album marks a shift: rather than contributing to others’ visions, Keane draws on a vast network of musicians to realize his own.

Across six distinct yet interconnected tracks, Kinesis explores the concept of movement—physical, emotional, and musical. The album reflects Keane’s extensive global travels, particularly his time touring with Mulatu Astatke, as well as his fascination with rhythmic structures and metre. At a more personal level, it also grapples with transition, growth, and the often difficult act of letting go. The result is a cohesive body of work that feels both deeply introspective and expansively outward-looking.

The album’s genre-defying nature places it in conversation with artists such as Shabaka Hutchings and Nik Bärtsch, as well as groups like Mammal Hands, while maintaining a distinctive voice that resists easy categorization. Keane’s willingness to blur lines between jazz, electronic, classical, and global traditions is not just stylistic—it is philosophical, rooted in a rejection of the pressure to specialize and a commitment to creative freedom.

One of the album’s standout moments, “Cathartic Chaos,” exemplifies this approach. Built on an electrifying Moog arpeggiator foundation, the track features Palestinian oud virtuoso Adnan Joubran of Le Trio Joubran. The collaboration highlights a shared musical language that transcends cultural boundaries, grounded in parallel traditions of rigorous training and a mutual desire to push beyond them. The result is a piece that feels both technically masterful and emotionally unrestrained.

Throughout Kinesis, Keane’s multi-instrumental prowess is on full display. He moves seamlessly between piano, Fender Rhodes, analogue synthesizers, cello, and organ, while also handling arrangements, string writing, and programming. Surrounding him is an extraordinary ensemble of musicians who bring depth and texture to the project, including Sarathy Korwar, Jon Thorne, Ruth Goller, Byron Wallen, James Arben, Aref Durvesh, Pirashanna Thejaravah, Richard Olatunde Baker, Ed Ashby, Tom Pigott-Smith, Oli Langford, Max Baillie, and Ian Burdge.

The album’s tracklist—“Running,” “Passing Time,” “Cathartic Chaos,” “Somnolent Stomp,” “A Major Minor Waltz,” and “Time To Go”—unfolds like a journey, each piece offering a different perspective on motion and transformation while maintaining a unifying thread. Whether through intricate rhythmic interplay, lush harmonic landscapes, or moments of raw improvisational energy, Keane constructs a listening experience that rewards both close attention and open-minded exploration.

Ultimately, Kinesis is a statement of artistic liberation. It captures a musician embracing the full spectrum of his influences and experiences, unbound by expectation or convention. In doing so, Danny Keane has created an album that not only reflects movement as a theme but embodies it in every sense—constantly evolving, shifting, and reaching forward.

For listeners drawn to music that thrives on discovery, storytelling, and the breaking of boundaries, Kinesis stands as an essential and deeply resonant work.

Redstone: David Smith’s Deeply Personal and Fearless Statement Arrives April 10

On April 10, 2026, trumpeter and composer David Smith unveils Redstone, a striking new release from Brooklyn Jazz Underground Records (BJUR 082), further cementing his place as one of the most compelling voices in contemporary jazz. Recorded with a formidable quintet—Dan Pratt on tenor saxophone, Nate Radley on guitar, Gary Wang on bass, and Allan Mednard on drums—the album captures a rare balance of urgency, lyricism, and deep musical connection.

Smith, a Canadian-born trumpeter long embedded in New York’s creative music scene, brings both power and nuance to Redstone. Critics have previously praised his work with striking consistency. Frank Alkyer described his playing as driven by “hunger and burst,” noting the beauty of his tone and strength as a composer, while Jonathan Goldman highlighted the “progressive and flawless performance” that places Smith firmly within a thriving Brooklyn jazz movement. Echoes of Clifford Brown and Wynton Marsalis have been heard in his fluid phrasing, yet Redstone is unmistakably his own artistic statement.

This release follows two critically acclaimed albums on the same label, Anticipation and Impetus, and arrives after a prolific period in which Smith contributed to more than sixty recordings, including Grammy-winning and nominated projects with artists such as Dan Pugach, Arturo O’Farrill, and Alan Ferber. His résumé also includes collaborations with Manuel Valera, Meg Okura, and Jon Gordon, as well as regular appearances with Darcy James Argue's Secret Society.

At its core, Redstone is an album about memory, connection, and place. The title track draws inspiration from Redstone Lake, where Smith’s parents retired and where family gatherings shaped his life. The piece carries a profound emotional weight, as the album is dedicated to the memory of his father, Barrie Smith, and to drummer Anthony Pinciotti. That sense of reflection deepens with “Elegy,” a composition written in tribute to his father, offering one of the album’s most intimate moments.

Other compositions explore different facets of Smith’s musical and personal journey. “Blackley” honors Jim Blackley, whose legendary Toronto sessions helped shape generations of musicians. “Almost” captures the emotional complexity of near-success and perseverance, while “Pulse,” written for the Brooklyn venue Brooklyn Artery, demonstrates how creative constraints can spark innovation. Smith’s interpretation of the standard “It Never Entered My Mind,” long associated with Miles Davis, showcases his lyrical depth and tonal control, and the album closes with a reimagined take on “Central Park West” by John Coltrane, performed with renewed energy and perspective.

The recording process itself reinforces the album’s authenticity. Captured live to two-track analog tape at The Bunker Studio, the session used exclusively vacuum tube equipment, preserving the warmth and immediacy of the performance. Produced by Smith with assistance from Jerome Sabbagh and engineered by Pete Rende, the result is a sonic experience that feels both timeless and immediate.

The tracklist unfolds as a cohesive narrative: “Blackley,” “Almost,” “Elegy,” “Redstone,” “Pulse,” “It Never Entered My Mind,” “Misao,” and “Central Park West.” Each piece contributes to a larger story—one that blends personal history with forward-looking artistry.

With Redstone, David Smith delivers an album that is at once deeply personal and boldly exploratory. It stands as a testament to the enduring vitality of the Brooklyn jazz scene and to the power of collaboration among musicians who share a fearless creative vision. This is not just another jazz release—it is a document of lived experience, rendered through sound with clarity, emotion, and conviction.

Stephen Emmer Explores Identity, Legacy, and Global Sound on Asymmetrical Dot

 

Stephen Emmer’s music has always been shaped by worlds colliding. Born from Dutch and Indonesian heritage, Emmer grew up surrounded by contrasting influences: European harmony and Eastern cyclical music, order and asymmetry. For his latest project, Asymmetrical Dot, these dualities are not just acknowledged—they are celebrated, creating a soundscape that is both intimate and universal.

Released on February 27, 2026, Asymmetrical Dot is Emmer’s most personal album to date. It was created during a year of profound transitions: the passing of his mother, the birth of his first grandchild, the loss of a close musical friend, and a serious health scare. These life events shaped an album that meditates on mortality, legacy, and identity, exploring the tensions between departure and arrival, endings and beginnings.

Musically, the album is a fusion of contemporary chamber music, jazz noir, and global sound traditions. Long, sustained notes drawn from Indonesian folk music intertwine with sparkling vibraphone, celesta, and marimba lines from Western classical traditions. Wordless vocals float above these textures, conveying emotion without the constraints of language, inviting listeners to project their own experiences onto the music.

A hallmark of Asymmetrical Dot is its international ensemble. Musicians from Armenia, Peru, Venezuela, Indonesia, the Netherlands, the UK, and the US each bring their distinct voices, creating a polyphonic sound that mirrors Emmer’s philosophy of identity: it is formed not by uniformity, but by dialogue. Tracks like Benja’s Birth exemplify this vision, blending children’s voices and indigenous percussion to celebrate the arrival of a new generation and the continuity of cultural memory.

The album title is deeply symbolic. “Asymmetry” reflects the fluid, in-between nature of life—of cultures, experiences, and inner landscapes. The “dot” is a musical symbol that extends a note beyond its written duration, representing memory, emotional resonance, and a life shaped by motion rather than a fixed center. What might once have seemed like imbalance becomes here a source of harmony and strength.

Collaborators include vocal producer Beth Hirsch, Grammy-winning engineer Fernando Aponte, concertmaster Everton Nelson, mastering legend Patricia Sullivan, and jazz and global music vocalist Maria Alejandra Quintanilla, all contributing to a work that is as rich in human story as it is in sonic texture.

Asymmetrical Dot is a testament to Emmer’s unique vision: a music of heritage, dialogue, and legacy, transforming personal experience into a universal meditation on life, memory, and identity.

Lindsey Webster Finds Her Voice—And Herself—On Music In Me

Some artists have a rare gift: the ability to channel their most authentic selves directly into their music. Lindsey Webster is one of those artists.

Described by PopMatters as “classy, consistent, and exceptional,” and praised by All About Jazz for “keeping the tradition alive and taking it to the next level,” Webster continues to carve out a distinctive lane in contemporary music. Her sound—an elegant blend of Neo-soul, R&B, Jazz, and Pop—feels both timeless and refreshingly modern.

“I really feel comfortable in my skin right now,” Webster shares. That sense of self-assurance is reflected not only in her music but also in her influences. Her listening habits range from Bob Marley to Yo-Yo Ma, Mos Def, Olivia Dean, Aaliyah, Mariah Carey, and Jeff Buckley—an eclectic mix that mirrors the depth and versatility of her own artistry.

Raised in the creative enclave of Woodstock, Webster made the bold decision to walk away from medical school to pursue music. That leap of faith paid off. In 2016, she made history with her hit “Fool Me Once,” becoming the first vocalist since Sade to top the Billboard Contemporary Jazz chart.

Over the past decade, Webster has built a devoted global following and delivered a string of acclaimed releases, including Back to Your Heart and Reasons. SoulTracks perhaps summed it up best: “If Carole King and Sade had a kid, she would be Lindsey Webster.”

Now, Webster enters a new chapter with her seventh studio album, Music In Me, released February 27, 2026. Written, recorded, produced, and mixed over three years, the album stands as her most personal and fully realized work to date.

At the heart of Webster’s sound is her long-standing creative partnership with pianist Keith Slattery. Together, they’ve crafted a signature style that is soulful, hypnotic, and emotionally resonant.

Music In Me also features an impressive roster of collaborators, including Stokley—who not only duets with Webster but contributes drums and percussion—and Anthony Hamilton. Additional appearances from Keyon Harrold, Isaiah Sharkey, and Kev Choice further elevate the project’s rich, genre-blending soundscape.

For Webster, music has always been more than a career—it’s a lifeline. “Music is my best friend,” she says. “It helps move our emotions. You feel differently after you listen. It’s real-time… It has saved my life.”

That emotional honesty is what continues to draw listeners in. Her ability to transform simple, universal truths into timeless songs has made her one of the most compelling voices in contemporary jazz and soul today.

Beyond the music, Webster also reflects on connection and humanity. “Music has a way of uniting people,” she notes. “I wish we weren’t all so focused on our differences… If we focused more on what we love and enjoy, we’d be way better off.”

With Music In Me, Lindsey Webster doesn’t just deliver another album—she offers a deeply personal statement, one that reinforces her place as a defining voice in modern music.

Thundercat Returns with Distracted: A Six-Year Wait Yields a Star-Studded, Genre-Defying Album

 

After six years since his acclaimed It Is What It Is, Stephen Bruner—better known as Thundercat—has returned with his fifth studio album, Distracted, released April 3, 2026, via Brainfeeder. The album is a testament to Thundercat’s evolution as a musician, blending his signature virtuosic bass playing with a sophisticated, genre-blurring approach that spans funk, jazz, R&B, and electronic textures.

Preceded by a string of singles, Distracted arrives with a powerhouse lineup of collaborators. Fans got a taste of the album with “No More Lies,” a dreamy collaboration with Tame Impala, followed by the reflective “I Wish I Didn’t Waste Your Time,” the playful and experimental “I Did This to Myself” featuring Lil Yachty and Flying Lotus, the posthumous tribute “She Knows Too Much” with Mac Miller, and the ethereal “ThunderWave” featuring Willow Smith. Each single illustrates a different facet of Thundercat’s expansive sound world, from introspective lyrics to hypnotic grooves and virtuosic instrumentation.

The album was executive produced by Thundercat himself alongside Greg Kurstin, with additional contributions from Flying Lotus, Kenny Beats, and The Lemon Twigs, resulting in a cohesive yet adventurous sonic palette. Beyond production, Distracted features guest appearances from Lil Yachty, A$AP Rocky, Channel Tres, Willow Smith, Tame Impala, and Mac Miller, along with contributions from a wide array of musicians including JD Beck and Brian and Michael D’Addario of The Lemon Twigs. This collaborative spirit underscores the album’s layered, textured, and expansive sound, giving each track a distinct personality while maintaining a coherent overall vision.

Critics have warmly received the album. On Metacritic, Distracted holds an impressive 81/100, signaling universal acclaim. Rolling Stone praised the album’s restraint, noting that Thundercat’s virtuosic bass playing enhances the songwriting rather than overshadowing it, while HotNewHipHop highlighted how the album balances introspection with humor and warmth. AnyDecentMusic? rated it 7.5/10, praising its inventive arrangements and melodic depth, though Paste offered a more measured assessment, citing moments of mid-tempo monotony amid the brilliance.

The album opens with the short, atmospheric “Candlelight” and moves through standout collaborations such as the groovy, psych-infused “No More Lies,” the heartfelt posthumous tribute “She Knows Too Much,” and the playful, bass-driven “I Did This to Myself.” Other tracks like “Funny Friends” with A$AP Rocky, “What Is Left to Say” featuring The Lemon Twigs, and the jazzy, electronically textured “ThunderWave” demonstrate Thundercat’s signature ability to balance virtuosity with accessibility. The album closes with the intimate “You Left Without Saying Goodbye,” leaving listeners with a contemplative, emotional finish.

While Distracted showcases Thundercat’s musical sophistication, it also reflects his personal evolution. Themes of self-reflection, modern anxiety, resilience, and humor run throughout, revealing an artist unafraid to grapple with vulnerability while maintaining a playful and light-hearted edge. His ability to fuse introspection with groove and melody makes the album both intellectually engaging and deeply satisfying on a visceral level.

After years of anticipation, Distracted demonstrates that Thundercat has not only maintained his signature sound but has expanded it in bold, unexpected ways. The album is a celebration of collaboration, experimentation, and artistic maturity—a record that rewards repeated listening, revealing new details and textures with each play. It confirms Thundercat as one of the most inventive and influential musicians of his generation, capable of blending technical mastery with emotional resonance.

Distracted is available now on streaming platforms and digital download, inviting listeners to step into Thundercat’s uniquely vibrant musical universe. Whether you are a long-time fan or a newcomer, this album is a journey through groove, introspection, and innovation that reaffirms Thundercat’s place at the forefront of contemporary music.

Michelle David & The True-tones Launch “Soul Woman European Tour” with New Single “Pick Up The Pieces”

 

Michelle David & The True-tones return with “Pick Up The Pieces,” a powerful new single that coincides with the launch of their “Soul Woman European Tour.” Arriving just one month after their acclaimed album Soul Woman (via Record Kicks), the track is a mid-tempo soul anthem rooted in resilience, self-love, and emotional renewal.

Driven by uplifting harmonies, heartfelt lyricism, and the band’s signature razor-sharp groove, “Pick Up The Pieces” captures the essence of rebuilding after hardship. Michelle David’s commanding, gospel-infused delivery transforms the song into a message of strength and perseverance—an invitation for listeners to rise, heal, and move forward with conviction.

The release also marks the beginning of an extensive European tour, kicking off March 27 at the iconic New Morning in Paris before traveling through the Netherlands, Belgium, Switzerland, Germany, the UK, and beyond. Known for their electrifying live performances, the group brings a deeply felt connection to every stage, blending vintage soul textures with contemporary energy.

Emerging from The Gospel Sessions project led by Paul Willemsen and Onno Smit, Michelle David & The True-tones have evolved into one of Europe’s most celebrated modern soul acts. Their breakthrough album Truth & Soul earned major accolades—including BBC Radio 6 Music Album of the Year and FIP Album of the Month—while subsequent releases and relentless touring have cemented their reputation across major festivals and venues.

Michelle David herself brings decades of experience to the spotlight. Raised in New York and performing since childhood, her career spans international touring and Broadway productions—experience that continues to shape her dynamic stage presence, balancing raw power with emotional nuance.

With Soul Woman, the band refines its distinctive blend of gospel fire, classic soul, and vintage R&B. Influences echo throughout—from Curtis Mayfield and Bobby Womack to The Supremes and The Blind Boys of Alabama—yet the sound remains unmistakably their own. Anchored by analog-rich arrangements from longtime collaborators Willemsen, Smit, and drummer Bas Bouma, the album underscores the group’s commitment to authenticity and groove.

“Pick Up The Pieces” stands as a defining moment in this chapter—an uplifting, deeply human track that reinforces the band’s place at the forefront of the modern retro-soul movement.

FIJM 2026: Montréal Jazz Festival Unveils Expansive Lineup Blending Legends, Rising Stars, and Free Outdoor Shows

 

The 46th Festival International de Jazz de Montréal (FIJM) returns with its full 2026 lineup, featuring more than 350 concerts—two-thirds of them free—and reaffirming its place as one of the world’s premier gatherings for jazz and beyond. Presented by TD Bank Group in collaboration with Rio Tinto, this year’s edition bridges tradition, heritage, and modernity, offering a sweeping portrait of a genre that continues to evolve in real time.

Among the most anticipated highlights are the free outdoor concerts on the TD Stage, where a diverse mix of local and international artists will take center stage. Patrick Watson returns with his signature cinematic indie-folk, while the enigmatic Quebec duo Angine de Poitrine promises one of the festival’s most talked-about performances. Global acts like Willow and Saint Levant add further breadth, bringing genre-fluid sets that weave together R&B, soul, and cross-cultural influences.

The TD Stage also reflects the festival’s commitment to discovery, offering audiences the chance to catch rising voices such as Mohini Dey, Mei Semones, Annahstasia, and Destin Conrad—artists poised to shape the next wave of jazz and adjacent sounds.

This year’s festival carries added historical weight, marking the centennial of three towering figures born in 1926: Miles Davis, John Coltrane, and Tony Bennett. Their legacies will be honored through a series of special performances and tributes. Highlights include We Want Miles – A Miles Davis Centennial Celebration led by Marcus Miller, a live performance of Kind of Blue, and a cine-concert revisiting Davis’s iconic soundtrack to Ascenseur pour l’échafaud. The music of John Coltrane will be explored through projects like Modes of Coltrane and a full performance of A Love Supreme, while John Pizzarelli pays homage to Tony Bennett in a dedicated tribute concert.

The festival also commemorates key milestones in more recent musical history, including the 20th anniversary of J Dilla’s Donuts, celebrated with a special event led by DJ Jazzy Jeff and the Montréal Loves Dilla collective. Meanwhile, the influential fusion group UZEB marks its 50th anniversary with a documentary premiere and live performances from founding members.

Across indoor venues and outdoor stages, FIJM 2026 showcases the breadth of contemporary jazz and its many offshoots. Established innovators like Craig Taborn, Christian McBride, and Julian Lage share the spotlight with boundary-pushing acts such as DOMi & JD BECK and Nubiyan Twist. Artists like Elena Pinderhughes, Fabiola Méndez, and GENA highlight the global and stylistic diversity that defines today’s scene.

The festival also embraces artists working at the edges of jazz and popular music. Audiences can experience the orchestral folk of Annahstasia, the sleek R&B of Destin Conrad, and the genre-blending sounds of Naïka and Smino. Meanwhile, performances from El Gran Combo de Puerto Rico and a major arena show featuring Lionel Richie alongside Earth, Wind & Fire underscore the event’s wide-ranging appeal.

As FIJM’s Director of Programming Maurin Auxéméry notes, this year’s edition reflects “the great jazz family tree,” celebrating both its deep roots and its ever-expanding branches. From historic tributes to forward-looking performances, the 2026 festival positions Montréal once again as a global hub where jazz history is honored—and its future actively shaped.

Sharada Shashidhar Announces A Foot on the Ground, Shares New Single “Arches”

 

L.A.-based vocalist, composer, and producer Sharada Shashidhar returns with “Arches,” a luminous new single that heralds her forthcoming LP A Foot on the Ground, out June 5 via Colorfield Records. Recorded at Lucy’s Meat Market studio with producer Pete Min, the album features a dynamic cast of collaborators including Benny Bock, Mark Guiliana, and Devin Daniels, and continues Shashidhar’s boundary-blurring journey through jazz, experimental music, and alternative R&B.

“An amazing singer, a bit like the jazz Kate Bush.” — Gilles Peterson

“With Indian classical influences… a reflective journey with few stylistic precedents.” — MOJO

“A deliciously woozy waltz pitched somewhere between Stevie Wonder and Minnie Riperton.” — Uncut

“There’s a quality… that borders on ethereal.” — Bandcamp Daily

With A Foot on the Ground, Shashidhar builds on the acclaim of her 2024 release Soft Echoes, further refining a voice that feels both rooted and unbound. Her music draws deeply from jazz and Indian classical traditions, yet resists easy categorization, unfolding instead as a fluid, exploratory sound world shaped by instinct, collaboration, and a willingness to embrace the unknown.

“Arches,” the album’s lead single, emerged organically. “It took shape from a preexisting backdrop of chords and drums I had played,” Shashidhar explains. “I then had an unusually free-flowing string of lyrics in a moment of solitude, and with the creative Udo additions from Benny, pieced together my favorite song on the record.” The result is a piece that feels intimate yet expansive, anchored by her multi-layered harmonies and the subtle interplay between acoustic and electronic textures.

Recorded over two years at Lucy’s Meat Market in Los Angeles, A Foot on the Ground captures an artist in transition—stepping into new creative roles, experimenting with unfamiliar tools, and reshaping her approach to songwriting. Working closely with Pete Min, Shashidhar learned to loosen her grip on perfectionism, instead embracing spontaneity and the hidden musicality in every idea, even those that initially felt uncertain or incomplete.

The album’s process was deeply collaborative and intentionally open-ended. Rather than adhering to a fixed vision, Shashidhar and her collaborators—both longtime peers and new contributors—allowed each session to unfold naturally, following whatever felt most compelling in the moment. The result is a collection of songs that feel alive with possibility, moving between styles not to demonstrate range, but to resist creative confinement.

Her voice acts as the connective thread throughout—sometimes delivering intricate, composed melodies, other times drifting freely in wordless improvisation. It’s a presence that feels both grounding and otherworldly, equally at home in structure and abstraction.

Shashidhar describes the album as “a documentation of instinct and a challenge to mentally free herself” from past expectations. That sense of liberation is palpable across the record, which she hopes will leave listeners feeling both comforted and inspired. “I want it to excite someone into trying something new,” she says. “If they listen again, they hear something completely different.”

With A Foot on the Ground, Sharada Shashidhar doesn’t just expand her sound—she redefines her creative process, crafting a vivid, immersive listening experience that rewards curiosity and openness.

Journey To Bowerbird: Joe Fiedler Pushes Low Brass Into New Territory

The imaginative, adventurous, and prodigious trombonist, composer, and bandleader Joe Fiedler returns with Journey To Bowerbird, the fourth recording from his critically acclaimed ensemble Big Sackbut. Featuring Fiedler alongside Ryan Keberle and Luis Bonilla on trombones, Marcus Rojas on tuba, and Satoshi Takeishi on drums, the album continues the group’s singular exploration of low brass as a vehicle for bold, expressive, and deeply engaging music.

The concept for Big Sackbut dates back to the late 1980s, when Fiedler first encountered the electrifying force of the World Saxophone Quartet in performance. “The drive and energy that they put forth was quite compelling,” he recalls. “The tunes had a wonderful balance of ‘tight-looseness’ that totally sucked me right in… I immediately thought of how I might incorporate my image of these elements into a trombone-driven project.” Those ideas lingered for more than two decades until, around 2010, a conversation with Ryan Keberle and an invitation to perform in a New York Slide Workers Union series finally brought the vision to life.

Across Big Sackbut’s recordings—including Journey To Bowerbird—the music transcends its unusual instrumentation. It’s entirely possible to be swept up in the sound without consciously noting the ensemble’s makeup. But to do so would miss a key part of the experience: the remarkable range of timbre, tone, rhythm, harmony, melody, wit, and emotion drawn from three trombones and a tuba. With the addition of Satoshi Takeishi on drums, the group gains an added propulsion, giving the new album a dynamic, driving edge.

Fiedler’s recordings have never been mere blowing sessions or reinterpretations of familiar material. Instead, each project represents a deliberate artistic step forward, shaped by significant experiences in his musical life. Journey To Bowerbird is no exception.

The album’s origins trace back to a pivotal invitation from legendary bass trombonist Dave Taylor. In early 2025, Taylor asked Fiedler to perform in a brass quintet presentation of Angels of the Inmost Heaven by composer Lucia Dlugoszewski as part of the Pure Lucia festival at the Bowerbird music space in Philadelphia. The ensemble included an extraordinary lineup: Peter Evans and Chris Coletti on trumpet, and Eric Reed on horn.

What initially seemed like a straightforward engagement quickly revealed itself as a formidable challenge. “At first glance it looked to be unplayable,” Fiedler admits. Despite a career that includes over a hundred recordings and thousands of performances, he found himself struggling to make progress even after weeks of dedicated practice. For the first time, he considered stepping away from a project.

But the weight of Taylor’s trust—and their long-standing relationship as mentor and colleague—kept him committed. Fiedler completely rethought his approach, meticulously re-notating the score, breaking it into manageable sections, and mapping out alternate slide positions and tonguing techniques. He devised a rigorous practice regimen: four hours a day, split into two sessions, all focused on mastering a single nine-minute piece.

The results were transformative. Over three months, every aspect of his playing—accuracy, tone, range, endurance, and focus—reached new levels. Rather than growing fatigued, he found himself increasingly drawn into the subtleties of Dlugoszewski’s music. The eventual performance was a success, but more importantly, it sparked a new creative direction.

Inspired by that intense period of growth, Fiedler reimagined how he might compose for Big Sackbut. He set out to merge elements of brass chamber music and Dlugoszewski’s edgy, demanding language with the structures and spirit of jazz. The outcome is Journey To Bowerbird, an album that channels discipline, discovery, and imagination into a vivid and compelling sonic experience.

Critics have long recognized Fiedler’s unique voice and the ensemble’s impact:

“The group rips, dances and converses… the quartet is so tight that they sound like one big, polyphonic low-brass organ.” — DownBeat Magazine

“An adventurous trombonist, [Fiedler] conceived Big Sackbut as something like a brass answer to the World Saxophone Quartet.” — The New York Times

“Innovative and fun… moving between avant-garde and more mainstream sounds.” — LEO Weekly

With Journey To Bowerbird, Joe Fiedler continues to expand the possibilities of low brass, transforming technical challenge into artistic triumph and reaffirming Big Sackbut as one of the most inventive ensembles in contemporary jazz.

Always Ever: Alister Spence Pushes the Piano Beyond Its Limits

 

Always Ever, out April 24, 2026, features Alister Spence exploring a diverse spectrum of experimental approaches and preparations on the piano.

“Spence is both imaginative and expansive, sensitive to mood and contrast, texture and melody, euphony and cacophony.” – Stuart Nicholson, Jazzwise

"Spence possesses a particular kind of vision that speaks to an original distance, whether from our usual sense of a scene as place or as constituent style, a special capacity to see through time and space to a different territory." – Stuart Broomer, The Free Jazz Collective

The title of Always Ever, the absorbing new album from Australian pianist and composer Alister Spence, suggests a wellspring of sound and inspiration that gazes beyond the present moment into the infinite. An ambitious, singular, and deeply personal collection of inventions and experiments, the album ventures further down the path the pianist began with his acclaimed 2020 release Whirlpool, hailed by All About Jazz as “a good place to hear [Spence’s] uncommon imagination at work.”

Out April 24, 2026, Always Ever consists of 16 wholly improvised pieces, each approaching the piano from a distinct perspective. Some highlight the improvisational versatility that has made Spence one of Australia’s preeminent jazz pianists since his days with the internationally renowned Clarion Fracture Zone; others transform the instrument’s sonic possibilities through eclectic preparations and unconventional techniques.

“Over time,” Spence explains, “the playing of the piano for me has expanded to encompass the whole piano, more than just playing the keys. I'm interested in contingency. I'm interested in accidents and what they cause to happen in the music, and I deliberately try to create those accidents for myself.”

Whirlpool marked the beginning of an investigatory new chapter in Spence’s nearly four-decade career—his first solo outing and an introduction to a broader palette of approaches to the instrument. With Always Ever, he delves deeper into that exploration, documenting an ongoing process of discovery into the boundless possibilities of a piano he has played his entire life.

He traces the roots of this approach back to his time with Clarion Fracture Zone, a group known for blending emerging sampling technology with diverse jazz traditions. During one session, saxophonist Tony Gorman encouraged Spence to channel the abstract energy of Cecil Taylor—an invitation that proved transformative.

“Everything we'd done up to that point had been fairly conventional,” Spence recalls. “I had never been asked to do anything like that before, and I just had the most fun with it. That experience inspired me to follow my ears and my intuition about what pleases me sound-wise, and slowly bled more and more into my practice.”

That spirit of experimentation has taken many forms over the decades. Alongside a prolific career composing for film and television, Spence has pursued a range of adventurous collaborations: a long-running partnership with Japanese pianist and composer Satoko Fujii; a trio with drummer Toby Hall and bassist Lloyd Swanton of The Necks; and a quartet iteration featuring guitarist Ed Kuepper, co-founder of the influential proto-punk band The Saints.

In recent years, however, his solo work has become one of the most fertile outlets for his sonic imagination. “I've long been interested in the color of sound,” he says. “When I play the piano, I'm often just as interested in what happens from a so-called mistake as I am in the more conventional piano note sound. My goal is to break with preconceptions and to just be in the moment as much as possible.”

Always Ever unfolds as sixteen concise improvisations, each a distinct line of inquiry. The album opens with the percussive “Mystic,” resonating with muted string strikes, followed by the restless, shifting currents of “Determination.” From there, contrasts abound: the shimmering insistence of “Play of Light” against the metallic textures of “Distant Cousins”; the Cecil Taylor–inspired abstraction of “Afternoon at Ranscom Street” (named for the Sydney studio where the album was recorded) set alongside the meditative drones of “Begin from the Middle.” The emotional terrain spans the stark, pointillist beauty of “Searchlight,” the wiry spirals of “Rain Dance,” and the aptly titled clamor of “Scrape Rattle Strike.”

A composer of remarkable sensitivity and scope, Spence embraces uncertainty throughout Always Ever, allowing chance and intuition to guide the music in real time. “I do things throughout this album where I'm only broadly aware of how they’re going to sound,” he says. “So much is just open to the moment… Even if I'm playing the piano more conventionally, I try to deliberately make myself go off track so that I’m not able to guess what's going to happen as a result. It’s so exciting to work my way into and out of that situation.”

That sense of unpredictability is precisely what makes Always Ever so compelling. It’s an album that captures not just sound, but the thrill of discovery itself.

At 25, John Pachnos Arrives Fully Formed With a Bold, Genre-Bending Debut

 

At just 25 years old, John Pachnos is not merely introducing himself to the jazz world—he’s making a statement that feels years, even decades, in the making. His self-titled debut album, John Pachnos, set for release on May 15 via his own Avgonyma Music label, reveals an artist with a strikingly mature voice, a fearless compositional approach, and a deep-rooted musical identity that defies his age.

Backed by a formidable quintet—Carter Vames on saxophone and flute, Caleb Heinze on guitar, Frankie Midnight on piano, and Justin Vedovelli on drums—Pachnos presents seven original compositions that collectively establish a compelling and highly individual artistic vision. The ensemble doesn’t simply perform the music; they inhabit it, demonstrating a chemistry forged over years of collaboration and shared musical language.

Though this may be his debut recording, Pachnos’s musical journey began almost as early as memory itself. A former child prodigy, his talents surfaced at the age of three when he instinctively replicated his sister’s piano playing. Recognizing his gift, his family immersed him in music immediately, setting him on a path that would become his life’s foundation. From piano lessons to early explorations on drums and eventually bass guitar, Pachnos developed a multi-instrumental fluency that continues to inform his compositional voice.

Tracks like Gettin’ Outta Dodge showcase his command of tradition while pushing beyond it. Rooted in a hard-bop sensibility, the piece adheres to the classic 32-bar form yet feels anything but predictable, offering each musician space to stretch and assert their individuality. In contrast, No Funks to Give leans into rhythmic and stylistic elasticity, weaving between hard funk and buoyant swing with seamless precision. Meanwhile, Take It All Off! blurs genre lines entirely, balancing jazz improvisation with the raw, electrified energy of rock.

What truly distinguishes Pachnos, however, is not just technical prowess but emotional depth. On Well Well Well, intricate harmonic structures serve as a vehicle for complex emotional storytelling, brought vividly to life through interplay—particularly with Vames’s expressive phrasing. Elsewhere, Floridian Winter and As Summer Turns to Fall reveal a more introspective side, channeling nostalgia and quiet reflection with a sincerity that feels earned rather than performed.

The album’s title track, Avgonyma, carries personal and cultural resonance. Named after a medieval Greek town tied to his ancestry, the piece incorporates the bouzouki—a traditional instrument Pachnos discovered during a visit with his father. By layering its distinctive timbre into the composition, he bridges heritage and modern jazz expression, adding another dimension to an already richly textured record.

Much of the album’s cohesion can be traced to Pachnos’s collaborators, many of whom share roots at Rutgers University Mason Gross School of the Arts. Their longstanding relationships—some dating back to childhood, as in the case of Heinze—translate into a musical dialogue marked by trust, spontaneity, and mutual understanding. This isn’t just a group of skilled players; it’s a collective with a shared history and a unified creative pulse.

Born on March 15, 2001, in Newton, New Jersey, Pachnos grew up immersed in music, drawing early inspiration from his father’s love of classic rock and the influential basslines of James Jamerson. His evolution continued through high school jazz programs, including formative experiences like CampJazz at the Deer Head Inn, and into his collegiate studies under bassist Kenny Davis. Additional time spent studying with Victor Wooten further expanded his stylistic range, particularly in funk.

After graduation, Pachnos honed his versatility on the cruise-ship circuit, mastering a wide array of musical styles while accompanying performers from around the world. Back on land, he continued to explore diverse musical settings—from rock bands to pit orchestras—but it is in jazz that his voice finds its clearest and most personal expression.

With John Pachnos, he doesn’t just enter the conversation—he reshapes it, offering a debut that feels less like a starting point and more like the arrival of a fully realized artist.