Jersey City Jazz Festival 2026 Expands Into Three-Day Waterfront Celebration with Full Lineup Revealed

The Jersey City Jazz Festival returns bigger than ever in 2026, unveiling its full schedule for a free, three-day celebration of music, culture, and community. Running from May 29 through May 31 along the scenic Hudson River waterfront at Exchange Place Plaza, this year’s festival marks a major evolution with the addition of the Jersey City Latin Jazz Festival—bringing an even broader spectrum of global sounds into one unified event.

Presented by Exchange Place Alliance, the festival continues to attract more than 30,000 attendees annually, offering a welcoming, high-energy environment for both dedicated jazz fans and newcomers alike. With sweeping views of lower Manhattan and easy access via public transit, it’s become a go-to destination for a weekend immersed in live performance.

This year’s expanded format transforms the festival into a dynamic, multi-stage experience. Audiences can move freely between performances spanning straight-ahead jazz, Latin jazz, and genre-blurring styles, all while soaking in the relaxed, collaborative atmosphere the event is known for. Often described as a “musician’s hang,” the festival encourages spontaneous moments and creative exchanges between artists.

The 2026 lineup features an impressive mix of internationally acclaimed performers, standout New York talent, and emerging voices shaping the future of jazz. Highlights include Nate Smith, Joe Lovano with his Trio Tapestry project alongside Marilyn Crispell, Bobby Sanabria & Ascension, Eddie Palmieri’s special showcase, and Winard Harper & Jeli Posse. Additional performances from artists such as Andromeda Turre, Hyeseon Hong Jazz Orchestra, Tim Berne, and The Roy Hargrove Band round out a diverse and forward-thinking bill.

Beyond the music, the festival offers a full cultural experience. Attendees can browse a curated artisan marketplace, enjoy a wide range of food trucks, and visit the Community Zone—featuring free activities for kids and interactive dance classes for all ages.

In the days leading up to the main event, a citywide Jazz Week sets the tone with a series of more intimate, ticketed performances across Jersey City venues. Artists like Emily Braden, Champian Fulton, and Edmar Castaneda will take the stage at local spots including The Junto, Pet Shop, and White Eagle Hall, offering a closer, more personal lead-in to the waterfront festivities.

While the main festival remains free and open to the public, a limited number of VIP packages and Jazz Alley passes are available for those looking to enhance their experience with premium seating, exclusive access areas, and additional performances.

With its continued growth and commitment to accessibility, the Jersey City Jazz Festival stands out as one of the most vibrant and inclusive jazz events in the country—bringing together world-class talent and community spirit for an unforgettable weekend.

Matt Slocum Unveils A Revolving Alliance, A Bold All-Analog Trio Statement

Drummer and composer Matt Slocum returns with A Revolving Alliance, a striking new release arriving worldwide on June 19, 2026 via Sunnyside Records. Available digitally and as an all-analog 180g LP, the album pairs Slocum with rising guitarist Emmanuel Michael and legendary bassist Larry Grenadier in a deeply intuitive trio setting that balances spontaneity with emotional depth.

Following the acclaim of Lion Dance (2024), Slocum’s latest project leans fully into original compositions, creating a cohesive and immersive listening experience. The chemistry between the trio is palpable, with six of the seven tracks captured in first takes—preserving a raw, unfiltered energy that mirrors the immediacy of live performance. Despite the controlled environment of the studio, the session unfolded with a sense of unpredictability that brought out unexpected creative instincts from all three musicians.

This marks Grenadier’s fourth collaboration with Slocum, their musical connection continuing to evolve across varied ensemble formats. At the same time, A Revolving Alliance introduces a fresh dynamic through Emmanuel Michael, whose forward-thinking approach adds new dimension to the trio’s sound. The interplay between generations results in a fluid, conversational musical language that feels both grounded and exploratory.

Conceptually, the album expands on themes Slocum has explored in earlier works, including reflections on societal tension, hope, and the cyclical nature of change. While his 2021 release With Love and Sadness focused more directly on systemic issues in America, this project takes a broader, more abstract view—grappling with uncertainty while holding onto the possibility of renewal and compassion.

Each composition contributes to a larger narrative arc. The title track unfolds from a winding bass line that shifts through complex meters, while pieces like “Yerazel” evoke a dreamlike sense of innocence and mystery. “A Disappearing Path” begins to reveal the album’s central themes, and “Solstice” offers a reflective look back at brighter moments. The closing track, “A Dissolving Alliance,” brings the journey to a poignant conclusion.

The album’s sonic character is equally deliberate. Produced by Jerome Sabbagh and recorded live to two-track analog tape by James Farber at Sear Sound, the project avoids edits or post-production fixes, emphasizing authenticity and musical interaction. During mastering, Bernie Grundman preserved the integrity of the recording by bypassing equalization entirely, resulting in a remarkably pure and dynamic sound.

Slocum’s artistic voice has been shaped by the legacy of jazz greats like Max Roach, Philly Joe Jones, and Roy Haynes—influences he has distilled into a distinct and personal style over years of performing and recording. With eight previous albums as a bandleader, he continues to carve out a path defined by individuality, creative risk, and a commitment to meaningful musical expression.

A Revolving Alliance stands as a testament to Slocum’s evolving vision—music that is introspective yet expansive, technically intricate yet emotionally direct, and above all, rooted in genuine artistic connection.

Kevin Peter Jones Honors Jazz Appreciation Month with Electrifying New Single from Blues Alley

Contemporary jazz drummer Kevin Peter Jones is marking Jazz Appreciation Month with the release of a powerful new single from his live album Blues Alley. Out now via Pacific Records, the track showcases Jones alongside an exceptional ensemble featuring GRAMMY® winners Randy Brecker on trumpet and Jeff Lorber on keyboards, as well as GRAMMY® nominee Eric Marienthal on saxophone. Together, they deliver a vibrant and deeply expressive interpretation of Donny Hathaway’s “Valdez in the Country.”

Jones’s connection to jazz began early. At just 15, he discovered his passion while performing in his high school band in Chicago, where the Elk Grove High School music program played a pivotal role in shaping his musical path. Those formative years opened doors to unforgettable experiences—meeting and performing with jazz greats, attending high-level recording sessions, and earning both recognition and scholarship opportunities. That foundation continues to inform his artistry today.

Recorded across eight sold-out performances, Blues Alley captures the raw energy and spontaneity of live jazz at one of Washington, DC’s most iconic venues. Jones is among a select few artists ever granted permission to release a live recording from the club, making the project especially significant. In curating the setlist, he chose “Valdez in the Country” as a tribute to Hathaway, an artist he deeply admires for both his musical brilliance and his commitment to education and emotional authenticity in music.

Jones’s arrangement brings a fresh, rhythmic vitality to the classic, blending soulful grooves with Latin jazz-funk influences. The performance is elevated by standout solo work, particularly from Eric Marienthal, adding another layer of intensity and nuance to the track. For Jones, the piece represents both a personal homage and a shared moment of connection with the audience.

Earlier this year, the first single from the album—a rendition of Cannonball Adderley’s “Walk Tall”—was released on Martin Luther King Jr. Day, setting the tone for a project rooted in both musical excellence and meaningful tribute.

The album features a stellar lineup rounded out by percussionist Lenny Castro, bassist Cheikh Ndoye, and guitarist Dean Brown. Across ten tracks, Blues Alley weaves together reimagined standards and original compositions, with each musician stepping into the spotlight while anchored by Jones’s dynamic and driving rhythms.

A Berklee College of Music alumnus, Jones has collaborated with a range of influential jazz artists throughout his career. Looking ahead, he continues to expand his creative output, with multiple new projects in development—including producing his son’s debut album.

Tema Due Expand Their Vision with “Universo Astratto,” a Double LP of Cosmic Club Jazz and Spiritual Electronica

Universo Astratto marks the full-length debut of Tema Due, the collaborative project of Nicola Conte and Nico Lahs, and builds on the foundation laid by their 2025 Schema Records EPs. The result is a double LP that feels expansive in both scale and intention, weaving together strands of electronica, spiritual jazz, African-American rhythmic traditions, and richly textured percussion into a deeply immersive listening experience.

Rather than simply extending their earlier work, Conte and Lahs push their sound into more ambitious territory, shaping a record that feels like both evolution and declaration. The album’s opening moments immediately set the tone, nodding toward the spiritual depth of jazz lineage while folding it seamlessly into contemporary electronic production.

A key strength of Universo Astratto lies in its extraordinary lineup of collaborators. Pianists Giovanni Guidi and Pietro Lussu, along with Dario Bassolino on keyboards, bring harmonic depth and fluidity, while percussionists Gabriel Prado and Abdissa Assefa add layered, organic rhythm structures. Magnus Lindgren contributes winds and Hammond organ textures that expand the album’s sonic palette, and saxophonist Pasquale Calò adds further melodic weight. The vocal contributions are equally striking, featuring Lalin St. Juste, Siya Makuzeni, Nina Miranda on “Share Your Love,” and Toco, who also revisits “Macumba de Oxalà” in a newly reimagined version drawn from the duo’s earlier EP.

Across its runtime, the album resists reduction to a typical club record. Instead, it operates as a conceptual space where rhythm and intention merge, treating dance music as a vehicle for heightened awareness. The interplay of tribal percussion, jazz improvisation, and electronic structure creates a sense of movement that is both physical and reflective, inviting repeated listening to uncover its subtler layers.

With Universo Astratto, Tema Due articulate a clear artistic statement: club music can be expansive, reflective, and transformative without losing its grounding in rhythm and groove. It is a record built for immersion, designed to move bodies while also encouraging a deeper, almost meditative engagement with sound.

Release date: 8 May 2026
Label: Schema Records
Format: 2xLP / Digital
Tags: house / electronic / spiritual

The 5th Dimension Celebrate 60 Years with Expansive New Box Set “Let the Sunshine In”

 

Six decades after first redefining the sound of pop-soul harmony, The 5th Dimension are being honored with their most comprehensive collection to date—a sweeping box set that captures the heart of their groundbreaking catalog.

Arriving May 22, Let the Sunshine In: The Soul City & Bell Albums 1967–1974 gathers the group’s essential recordings into a newly remastered 6CD collection. The release spans their work across the Soul City, Bell, and Arista labels, while also reaching back to include rare material from their earliest days performing under the name The Versatiles.

At the core of the set are all ten of the group’s original albums from their most influential era, from Up, Up & Away through Soul & Inspiration. These recordings showcase the unmistakable blend of pop, soul, and sophisticated vocal arrangements that defined their sound and helped shape late-’60s and early-’70s radio. Across these albums, their interpretations of songs by some of the era’s most celebrated writers helped turn standout compositions into enduring hits.

The collection features chart-topping classics like “Aquarius/Let the Sunshine In” and “Wedding Bell Blues,” alongside fan favorites and Top 10 staples including “Up, Up and Away,” “Stoned Soul Picnic,” and “One Less Bell to Answer.” Also included is the ambitious The Magic Garden, a cohesive song cycle that remains one of the group’s most distinctive artistic statements.

Beyond the original albums, the box set expands the story with 25 bonus tracks. These include non-album singles, alternate takes, rare live recordings making their official debut, and even a previously unreleased studio production of “Hi-De-Ho.” Together, these additions offer a deeper look into the group’s creative range and evolution during a pivotal era in music.

The audio has been newly remastered, giving fresh clarity to recordings that have long been staples of classic pop and soul. The accompanying booklet adds further depth, featuring newly compiled liner notes built from recent conversations with founding members, archival interviews, and reflections from key collaborators. Rare photographs and a newly written introduction from a longtime creative partner round out the package, making it as much a historical document as it is a listening experience.

More than just a retrospective, this release serves as a reminder of how The 5th Dimension’s sound—polished yet expressive, accessible yet ambitious—helped bridge musical styles and audiences. Sixty years on, their harmonies still resonate, and this collection brings that legacy into sharp focus for both longtime fans and new listeners alike.

WaKaNa Turns Midnight Reflection into a Billboard No. 1 with “After Hours”

Sometimes the most powerful creative breakthroughs don’t happen in studios packed with people—they happen in still, quiet moments when everything else finally slows down.

For alto saxophonist WaKaNa, that moment came late at night, in the middle of juggling two demanding roles: artist and mother. Out of that tension came “After Hours,” a track that would go on to become her first Billboard No. 1—and a defining milestone not just for her, but for everyone involved in bringing it to life.

Co-written with two-time GRAMMY®-nominated producer Greg Manning, the song carries a reflective, mid-tempo groove that feels like a deep exhale after a long day. There’s a sense of intimacy woven into every note, with WaKaNa’s warm, expressive saxophone tone at the center. The arrangement stays deliberately understated—soft keyboard textures, subtle rhythm work, and a gentle guitar presence—all allowing the emotion of the melody to speak clearly.

What makes the track resonate isn’t just its musicality, but the feeling behind it. It captures that familiar late-night headspace—when thoughts are louder, emotions are layered, and clarity feels just within reach. WaKaNa has described the piece as embodying the idea that no night lasts forever, a reminder that even the heaviest moments eventually give way to light.

That sentiment clearly connected. “After Hours” didn’t just top the Billboard chart—it also reached No. 1 on Mediabase and the Smooth Jazz Network, marking a major breakthrough for both the artist and Manning’s label, EQuity Records. In fact, it became the label’s first chart-topping hit, setting the tone for what’s shaping up to be a significant run.

The collaboration itself has been years in the making. Manning recognized something distinctive in WaKaNa’s playing early on—her phrasing, her tone, the emotional clarity she brings to each performance. When the time came to build his label, she was an obvious choice. That long-term creative trust shows up in the music—it feels intentional, patient, and deeply aligned.

And the momentum hasn’t stopped there. With more releases on the horizon and a growing roster of talent, EQuity Records seems positioned for a strong year ahead.

At its core, though, this story isn’t just about chart positions or industry milestones. It’s about what can happen when you stay committed through the complicated seasons—the ones where you’re pulled in multiple directions and still choose to create anyway.

Because sometimes, the quietest hours produce the loudest impact.

Adam Rudolph Enters a New Sonic Frontier with “Sunrise”

Visionary percussionist and composer Adam Rudolph continues to expand the boundaries of global music with Sunrise, a bold new trio recording arriving May 15, 2026 via Meta Records. Marking his 63rd release as a leader or co-leader, the album introduces a fresh chapter in a career spanning more than five decades—one defined by fearless experimentation and a deep commitment to musical exploration.

At the core of Sunrise is Rudolph’s newly formed trio, featuring longtime collaborators Kaoru Watanabe and Alexis Marcelo. Together, they construct a richly textured sound world that resists categorization, blending acoustic traditions from across continents with modern electronics. The result is a fluid, improvisation-driven experience that dissolves the lines between past and present, structure and spontaneity.

Recorded at Firehouse 12 in New Haven, Connecticut, the album captures the trio’s organic chemistry and shared artistic language. Drawing from influences that span African, Japanese, and European musical traditions, the instrumentation is as expansive as it is unconventional. From hand drums and flutes to electric koto and keyboards, each element contributes to a layered, evolving sonic palette that feels both ancient and futuristic.

Rather than adhering to traditional jazz frameworks, Rudolph employs what he describes as “sonic weaving”—an orchestral approach to spontaneous composition. This method allows the trio to shape music in real time, creating immersive soundscapes that emphasize dialogue, texture, and emotional depth over predictable forms. It’s a philosophy that has guided Rudolph throughout his career and continues to define his artistic identity.

Sunrise follows closely behind his 2025 release Beingness, a collaboration with jazz luminaries Dave Liebman and Billy Hart. Reflecting on those experiences, Rudolph has often emphasized the importance of mentorship and the transmission of creative spirit—lessons he absorbed from legendary figures like Yusef Lateef and Don Cherry. That lineage is evident in Sunrise, not just in its sound, but in its ethos of openness, curiosity, and artistic risk-taking.

Watanabe and Marcelo, both deeply rooted in Rudolph’s musical world, bring decades of collaboration into this new setting. Their ability to move seamlessly between instruments and ideas allows the trio to explore a wide dynamic range—from meditative passages to rhythmically intricate bursts of energy. Just as importantly, their sensitivity as listeners helps shape the music into something greater than the sum of its parts.

Across eight tracks, the album unfolds as a series of spontaneous yet cohesive journeys, each piece emerging from collective intuition rather than rigid composition. Guest contributions from cornetist Stephen Haynes add further dimension, enriching the trio’s already expansive sound.

Long regarded as a pioneer in what is now called world music, Rudolph has spent his career building bridges between cultures and musical traditions. From co-founding early cross-cultural ensembles to developing innovative systems for large improvising groups, his work has consistently challenged conventions while remaining deeply human at its core.

With Sunrise, Adam Rudolph once again demonstrates that true innovation doesn’t come from following trends—it comes from listening deeply, taking risks, and creating space for something entirely new to emerge.

Samuel Torres Redefines Intimacy and Innovation with “Trio Libre”

 

“What happens when counterpoint transcends boundaries—lifting itself beyond time and geography? According to harpist Bridget Kibbey, the answer lies in the kind of reinvention that invites listeners to rediscover music in entirely new ways.” That spirit of exploration is at the heart of Trio Libre, the latest project from Latin Grammy-winning percussionist and composer Samuel Torres.

Set for release on May 1, 2026 via Blue Conga Music, Trio Libre marks a deliberate shift in artistic direction. Rather than expanding his sound outward, Torres draws inward—embracing a stripped-down, intimate trio format that highlights nuance and emotional immediacy. Joined by pianist Carmen Staaf and vibraphonist Felipe Fournier, Torres crafts a sonic environment where every note feels exposed, conversational, and deeply personal.

The album blends original compositions with inventive reinterpretations, including a reimagined piece by Johann Sebastian Bach, “Duet No. 1 in E minor, BWV 802,” which is already available as the project’s first single. This fusion of classical structure with Afro-Latin rhythmic language reflects Torres’ ongoing commitment to pushing musical boundaries while honoring tradition.

At its core, Trio Libre is both a musical and emotional response to the complexities of the modern world. Torres channels themes of uncertainty, vulnerability, and resilience—particularly through a central suite inspired by contemporary sociopolitical realities. Yet, the album doesn’t dwell in tension alone; it also reveals moments of connection, solidarity, and quiet strength.

Torres’ career has long resisted easy categorization. Born in Bogotá and now based in New York, he has collaborated with an extraordinary range of artists, from Chick Corea to Shakira, weaving together Afro-Latin traditions, jazz improvisation, and classical composition. His previous works, including A Dance for Birds and Alegría, established him as a bold innovator, and Trio Libre feels like a refined distillation of that journey.

This release also continues a streak of recognition and achievement. Torres, a three-time recipient of the Chamber Music America New Jazz Works Grant, earned a Latin Grammy Award for his album Regreso, a concerto for congas and symphony orchestra. Across his body of work, he has consistently expanded the role of percussion, transforming it from rhythmic foundation into a central melodic and narrative voice.

Listeners will have the opportunity to experience Trio Libre live during select performances, including an appearance on International Jazz Day in Bogotá and an album release celebration in New York City. These performances promise to capture the same intimacy and immediacy that define the recording.

Ultimately, Trio Libre stands as a bold artistic statement—one that challenges expectations of Latin jazz while inviting audiences into a more vulnerable, deeply human musical space.

Love, Resilience, and a New Beginning: Michael Cates Celebrates with “She’s My Summer”

 

After a deeply personal and challenging chapter, contemporary jazz saxophonist Michael Cates is marking a joyful return to life’s brighter moments with his upcoming single, “She’s My Summer,” set for release on May 1 through Sonic Redoubt Entertainment.

The inspiration behind the track comes from a life-altering experience. Last summer, Cates stood by his wife Judy during a critical spinal surgery—an experience that reshaped his perspective and deepened his appreciation for their time together. Now, with her recovery complete, he channels that gratitude into music that feels both celebratory and heartfelt.

Cates took a hands-on approach in crafting the single, writing and producing it while performing most of the instrumentation himself, including his signature tenor saxophone. To elevate the sound, he collaborated with guitarist Paul Pesco—known for his work with major pop and R&B acts—and bassist Larry Antonino, whose groove-driven style adds depth to the track. The result is a smooth, midtempo R&B piece that radiates warmth, with vibrant sax lines and a chorus that feels like pure sunlight.

For Cates, the song is more than just a release—it’s a reflection of enduring love. As he and Judy approach their 30th wedding anniversary, the music captures his commitment to cherishing every moment after nearly facing unimaginable loss. His wife has long been his creative muse, and that connection continues to shape his artistry.

This new single follows a strong run of success. His previous release, “Judith Lorraine,” earned recognition as Best Smooth Jazz Song of the Year at the World Entertainment Awards. That track appeared on Us, a 2025 album filled with intimate musical snapshots inspired by their relationship. In the same year, his project Sunset Kiss was also honored as Best Smooth Jazz Album, highlighting a particularly prolific period in his career.

“She’s My Summer” is expected to hit radio playlists starting May 4, with a live debut shortly after in New York City. Cates will headline two performances at Chelsea Table + Stage, bringing the new music directly to audiences in a setting that holds personal significance for him. Having grown up in nearby New Jersey and spent formative years in New York’s music scene, the return feels especially meaningful.

Before fully dedicating himself to music, Cates also made a name in television, appearing for five seasons on the Emmy-winning series Ally McBeal as “The Saxophonist.” Over the years, he has built a diverse career, releasing multiple albums and performing alongside global icons such as Elton John, Tina Turner, and Mariah Carey.

At its core, “She’s My Summer” stands as a tribute to love, resilience, and the gift of second chances—an artist’s way of turning personal trials into something uplifting and universally relatable.

Joe Fiedler’s Journey To Bowerbird Pushes Big Sackbut Into Bold New Territory

 

Trombonist, composer, and bandleader Joe Fiedler continues to expand the possibilities of low-brass ensemble music with Journey To Bowerbird, the fourth release from his acclaimed group Big Sackbut. Featuring Fiedler alongside fellow trombonists Ryan Keberle and Luis Bonilla, with Marcus Rojas on tuba and Satoshi Takeishi on drums, the album captures a powerful blend of compositional ambition and collective virtuosity.

The roots of Big Sackbut stretch back decades. Fiedler traces the original spark to a live performance he witnessed in the late 1980s by the World Saxophone Quartet. Struck by their energy, balance between structure and freedom, and the individuality of each voice, he began imagining a similarly dynamic ensemble built around trombones. That idea stayed with him for years before finally taking shape around 2010, when an opportunity—encouraged by Keberle—helped bring the concept to life.

Across its previous recordings and now on Journey To Bowerbird, Big Sackbut has developed a distinctive sound that transcends its unusual instrumentation. While the ensemble consists primarily of low brass, the music never feels limited. Instead, the group draws out an astonishing range of color, texture, and expression, weaving together intricate harmonies, rhythmic interplay, and moments of humor and emotional depth. The addition of Takeishi on drums further energizes the group, adding momentum and expanding the ensemble’s sonic palette.

Fiedler’s work as a composer has always been driven by exploration rather than convention, and this latest project is no exception. His albums are not rooted in standard repertoire or straightforward session formats; instead, they emerge from deeply personal artistic challenges and experiences. In the case of Journey To Bowerbird, the catalyst came from an unexpected invitation.

In early 2025, legendary bass trombonist Dave Taylor invited Fiedler to participate in a brass quintet performance as part of a festival celebrating composer Lucia Dlugoszewski at Philadelphia’s Bowerbird venue. The featured work, Angels of the Inmost Heaven, initially appeared deceptively brief but proved extraordinarily demanding upon closer study. Known for navigating complex and unconventional music, Fiedler nevertheless found himself facing one of the most difficult pieces of his career.

After weeks of practice with little progress, he considered stepping away from the performance. Ultimately, the trust placed in him—and his long-standing relationship with Taylor—compelled him to continue. What followed was an intense period of disciplined preparation. Fiedler reworked the notation, broke the composition into smaller sections, explored alternate slide positions and articulation techniques, and committed to a rigorous daily practice routine focused entirely on mastering the piece.

Over the course of three months, this process became transformative. His technical abilities—precision, tone, endurance, and range—reached new levels, while his connection to the music deepened with each passing day. Rather than growing fatigued, he became more engaged, uncovering new subtleties within the composition. The eventual performance was a success, but its impact extended far beyond the stage.

Inspired by the experience, Fiedler reimagined his approach to writing for Big Sackbut. Instead of proceeding with a planned quartet recording, he chose to channel the lessons learned into new material that integrates elements of contemporary chamber music with the improvisational spirit of jazz. The result is Journey To Bowerbird, an album that reflects both technical rigor and creative reinvention.

Critics have long recognized Fiedler and Big Sackbut for their originality and musicianship. Observers frequently note the ensemble’s ability to balance complexity with accessibility, delivering performances that are both intellectually engaging and immediately enjoyable. The group’s tight interplay and rich tonal blend have been likened to a unified, multi-voiced instrument, while still allowing each player’s individuality to shine.

With Journey To Bowerbird, Fiedler not only builds on that reputation but also pushes it further. The album stands as a testament to persistence, artistic growth, and the willingness to confront—and ultimately overcome—formidable creative challenges.

DREAMSCAPES Debut with Tales of a Wanderer, A Genre-Blurring Journey Through Sound and Self

A new voice emerging from the ever-evolving London jazz scene, DREAMSCAPES introduces a striking debut with Tales of a Wanderer, released April 17, 2026 via Field Recordings. Blending jazz, ambient, rock, and electronica into a fluid and immersive sound, the album positions the six-piece collective as one of the more adventurous ensembles in the UK’s contemporary jazz landscape.

The group—Julien Durand, Cenk Esen, Lucy-Anne Daniels, George Garford, John Jones, and Jack Robson—brings together musicians with diverse and impressive backgrounds. Their individual experiences range from experimental projects connected to John Zorn’s orbit to collaborations within the groove-driven world of Alfa Mist. That breadth of influence feeds directly into DREAMSCAPES’ identity: a band unafraid to move between textures, moods, and styles in a single piece.

At the center of the project is composer and producer Julien Durand, whose vision for Tales of a Wanderer draws equally from progressive rock traditions and the improvisational ethos of jazz. Echoes of bands like Led Zeppelin, Pink Floyd, and King Crimson can be felt in the album’s expansive structures, but the music never settles into imitation. Instead, it uses those inspirations as a launchpad for something more exploratory and contemporary.

The recording process reflects this balance between structure and spontaneity. Co-produced with Chris Hyson—known for his work with artists such as Snowpoet and Jordan Rakei—the album was crafted with an emphasis on leaving space for improvisation. Rather than tightly scripting every moment, the sessions allowed for organic ideas to surface naturally. Many of the album’s transitions and atmospheric layers originated from these unscripted moments, later shaped and woven into the final compositions.

Conceptually, Tales of a Wanderer is rooted in Durand’s travels through Brazil, where he collaborated with renowned musicians including Toninho Horta, Daniel Santiago, and Guinga. That period of exploration—marked by solitude and creative independence—became a catalyst for the album’s central themes: self-discovery, resilience, and trust in one’s own instincts. Removed from familiar surroundings, Durand found clarity in navigating both life and music on his own terms, an experience that deeply informs the album’s emotional core.

These ideas come into sharp focus on the single “wanderer,” featuring lyrics by vocalist Lucy-Anne Daniels. Her words trace an internal dialogue shaped by uncertainty, introspection, and eventual self-acceptance, giving voice to the emotional arc that underpins the entire record. The track stands as a centerpiece, capturing both the vulnerability and quiet strength that define the album’s narrative.

While Durand provides much of the compositional framework, Tales of a Wanderer thrives on collective expression. Each member contributes a distinct musical personality: Cenk Esen brings textural depth and electronic nuance, notably on “maddy II,” which connects to his solo work; Daniels delivers expressive vocal performances, particularly on “sisyphus II”; and George Garford injects raw energy into “sisyphus I” with a spontaneous, unedited solo. Garford also contributes “shiverwarm,” the album’s only piece not written by Durand, offering a reflective take on heartbreak.

The rhythm section—Jack Robson and John Jones—provides a cohesive foundation throughout, grounding the album’s stylistic shifts with a strong sense of unity. Their interplay allows the music to move freely without losing its center, helping tie together the record’s wide-ranging influences.

Importantly, Tales of a Wanderer is designed to be experienced as a complete work rather than a collection of standalone tracks. Seamless transitions connect each piece, encouraging listeners to engage with the album from beginning to end. In an era dominated by single releases and algorithm-driven listening, DREAMSCAPES makes a deliberate statement by prioritizing the long-form album experience. The project is available on LP and digitally via Bandcamp, with select singles accessible on streaming platforms.

To support the release, DREAMSCAPES will perform across the UK and Europe, with scheduled appearances including April 21 at Digbeth Jazz in Birmingham; April 22 at Vortex Jazz Club in London; April 28 at Mr Wolf’s in Bristol; May 11 at Duc des Lombards in Paris; May 22 at Ronnie’s Late Show in London; and June 26 at PizzaExpress Live Soho in London.

With Tales of a Wanderer, DREAMSCAPES offers more than just a debut—it presents a fully realized artistic statement. Rich in atmosphere, grounded in improvisation, and driven by a deeply personal narrative, the album invites listeners to slow down and immerse themselves in a carefully crafted sonic journey.

Armen Donelian’s Inquiry Marks a Haunting New Chapter in a Singular Jazz Career

Pianist and composer Armen Donelian continues his lifelong pursuit of musical evolution with Inquiry, his 15th album, arriving June 5 on Sunnyside Records. Years in the making, the project reflects an intensive creative process that stretches across four years, ultimately yielding one of the most intimate and sonically distinctive recordings of his career.

What began as a set of solo piano demos gradually transformed into something far more ambitious. As Donelian revisited the material, he became increasingly interested in expanding the expressive range of the piano itself. Working alongside engineer Dave Cook, he experimented with subtle tonal adjustments—using equalization to shape contrasting timbres that function almost like separate instrumental voices. This approach allowed him to “orchestrate” pieces from within the piano, creating a layered soundscape without relying solely on traditional ensemble arrangements.

Still, Inquiry is not purely a solo endeavor. Donelian carefully incorporates the contributions of a small group of highly respected collaborators: vocalist Dominique Eade, trombonist Ed Neumeister, bassist Jay Anderson, and drummer Dennis Mackrel. Their appearances are deliberate and restrained, enhancing specific compositions while preserving the album’s introspective core. The interplay is so fluid that even the more constructed tracks carry the immediacy of live performance.

Only two pieces were recorded entirely live: a nuanced interpretation of “Blue in Green,” associated with Miles Davis and Bill Evans, and “Aqua Reminiscence,” an improvisational offshoot from the same session. On these recordings, Eade (performing lyrics popularized by Cassandra Wilson), Anderson, and Mackrel form a cohesive quartet with Donelian, bringing warmth and spontaneity to the music. This same ensemble contributes to original works such as “What Is” and “Petite Triste (A Little Sad),” while Neumeister joins the group for the more intense and emotionally charged “Inverted Reality.”

Elsewhere, the album’s atmosphere is shaped by sparseness and contrast. “Dark Moon” offers a striking reimagining of Beethoven’s Moonlight Sonata, moving from a stark solo introduction into an unsettling dialogue with trombone. On “Weeping Willow,” Anderson’s bass lines subtly deepen the track’s melancholic tone. Donelian’s unaccompanied performances are equally compelling, particularly his reworking of Stephen Sondheim’s “Somewhere” and the original compositions “Beyond” and “Too Soon Gone,” which highlight both his technical command and expressive depth.

At its heart, Inquiry is an exploration of sound, space, and reflection. Donelian has described the album as an exercise in continuous introspection and a tribute to the piano’s expressive possibilities. The result is a recording that feels both deeply personal and quietly expansive.

Born on December 1, 1950, in New York City to Armenian immigrant parents, Donelian grew up in Jackson Heights, Queens, and began studying piano at a young age. His early musical development included formal training at the Westchester Conservatory of Music and formative experiences playing jazz as a teenager. He later attended Columbia University, where he studied composition, theory, and conducting, while simultaneously working as a performing musician.

Following his graduation in 1972, Donelian refined his artistry through private study with pianist Richie Beirach. This period helped open doors to collaborations with notable figures such as Mongo Santamaria, Sonny Rollins, Chet Baker, and Billy Harper, experiences that would shape his identity as a performer and composer.

His recording career gained significant momentum with the release of his debut trio album Stargazer in 1981, later reissued in 2025. Over the decades, he has continued to build a diverse and respected discography, including albums like A Reverie, Secrets, Leapfrog, Sayat-Nova: Songs of My Ancestors, and Fresh Start. With Inquiry, he adds another distinctive statement—one that underscores his commitment to artistic growth and exploration.

Donelian’s upcoming summer performances include: weekly Sunday solo piano appearances beginning May 3 at Isaan Thai Star Restaurant in Hudson, NY (6pm); a June 20 duet with saxophonist Michael Zsoldos at North Chapel in Woodstock, VT (7pm); the Interplay Jazz and Arts Workshop from June 21–27 in Meriden, NH; solo performances July 13–16 at Bryant Park in New York City (12:30pm); the 20th Annual Hudson Jazz Workshop/Alumni Priority Reunion August 6–9 in Hudson, NY; the Hudson Jazzworks Concert on August 9 at Hudson Hall (4pm); the Zonora Jazz Workshop August 17–23 in Tucson, AZ; a quintet performance August 21 at Century Room (6:30pm and 8:30pm); a trio performance August 22 at the same venue (6:30pm and 8:30pm); and the Zonora Jazz Workshop Concert on August 23 at Century Room (4:30pm).

With Inquiry, Armen Donelian once again demonstrates that creative reinvention is not confined to early career breakthroughs—it can continue to unfold in meaningful and surprising ways over a lifetime.

Sue Cahill Announces Evanstonia, a Deeply Personal Statement of Musical Freedom and Form

Double bassist, composer, and educator Sue Cahill announces the release of Evanstonia, arriving May 29, 2026 as a self-released album that marks a defining artistic statement in her evolution as a composer. Long known for her work as a commanding orchestral musician and dedicated teacher, Cahill steps fully into what she describes—through her composition mentor—as “personal music,” where classical discipline, improvisational freedom, tango-inflected rhythm, and lived experience converge.

On Evanstonia, Cahill reshapes her creative identity into something more fluid and self-determined. The album features pianist Dawn Clement, who also contributes vocals on “June February,” and drummer Dru Heller, forming a trio setting that balances intimacy with structural sophistication. Together, they create a sound world that is at once composed and flexible, rooted in form but continually reaching beyond it.

The project represents both a homecoming and a declaration. It reflects Cahill’s decision to step away, at least temporarily, from the security of academic and orchestral environments in order to pursue a more personal compositional voice—one grounded in jazz language and improvisational exploration. That shift, initiated in 2015, became a turning point in her artistic trajectory, opening space for a deeper integration of influences and a more direct connection to her own musical instincts.

Central to this transformation was her study with Boulder-based composer Art Lande, whose philosophy of “personal music” encouraged her to move beyond imitation and instead synthesize her classical training with improvisation. The result is a body of work that resists rigid categorization. Rather than abandoning structure, Cahill reimagines it, allowing form to function as a flexible container for expression rather than a constraint.

“I didn’t want to abandon structure,” Cahill reflects. “I wanted to grow out of it.” That idea becomes a guiding principle across Evanstonia, where early pieces lean toward clarity and directness, while later compositions open into more expansive harmonic movement, unexpected phrasing, and a broader sense of melodic risk.

The music unfolds as a study in balance: written material and improvisation, discipline and spontaneity, tradition and reinvention. Cahill’s bass work anchors the ensemble with clarity and depth, while Clement and Heller respond with fluidity and imagination, shaping each piece as a collaborative exploration rather than a fixed arrangement.

Across the album, Cahill’s compositional voice reveals itself as both grounded and exploratory. The influence of classical structure remains present, but it is continually reshaped by improvisational logic and rhythmic elasticity. Tango rhythms, chamber-like textures, and jazz-inflected harmony coexist within a framework that prioritizes expression over categorization.

Ultimately, Evanstonia stands as a statement of artistic permission—permission to evolve, to blend influences without hierarchy, and to write music that reflects lived experience rather than inherited boundaries. It is both a culmination of years of study and a step into a more open, self-defined creative space.

Dave Douglas Announces Transcend, a Spirit-Driven New Album Bridging Ellington’s Sacred Legacy and a New York All-Star Ensemble

Prolific trumpeter and composer Dave Douglas announces the release of Transcend, a bold new album featuring his all-star GIFTs Quintet, arriving April 24, 2026 via Greenleaf Music. The project brings together a high-powered ensemble of New York improvisers and composers, blending electronics, lyrical writing, deep groove language, and expansive ensemble interplay into a unified spiritual and musical statement.

At the core of Transcend is a continuation of Douglas’s exploration of legacy and meaning, following his 2024 release GIFTS, which honored the music of Billy Strayhorn. With this new work, Douglas extends that lineage further back into the sacred dimensions of jazz history, drawing inspiration from the legendary Sacred Concerts of Duke Ellington—works widely regarded as a culmination of Ellington’s spiritual and compositional vision.

The GIFTs Quintet features a lineup of major contemporary voices, including saxophonist James Brandon Lewis, guitarist Rafiq Bhatia, drummer Ian Chang, and cellist Tomeka Reid, with the ensemble expanded into a flexible, modern chamber-jazz configuration. Together, they create a sound world that moves fluidly between composition and improvisation, acoustic resonance and electronic texture, intimacy and collective force.

Rather than treating Ellington’s sacred influence as historical reference, Transcend engages it as a living framework. The music is shaped by the idea that spirituality in sound is not confined to tradition, but is continually renewed through performance, risk, and listening. Douglas positions the ensemble as both interpreters and creators within that continuum, channeling Ellington’s ethos of openness, dignity, and emotional clarity into a contemporary context.

The album also reflects Douglas’s ongoing interest in ensemble democracy and structural experimentation. Each musician contributes not only performance but identity, shaping the music’s direction in real time. Electronics and acoustic instruments coexist without hierarchy, allowing textures to shift organically across pieces that emphasize flow rather than fixed boundaries.

In the liner notes, Douglas reflects on Ellington’s Sacred Concerts as a model of artistic and spiritual integration, where music becomes a space for reflection on humanity, grace, and imperfection. That philosophical foundation informs Transcend, where the act of playing is framed as both expression and inquiry—an unfolding dialogue between musicians, tradition, and the present moment.

The result is a recording that resists categorization while remaining deeply rooted in jazz history. It carries forward Douglas’s longstanding commitment to blending composition, improvisation, and conceptual framing into works that are as intellectually grounded as they are emotionally direct.

Recorded with a sense of urgency and openness, Transcend stands as a continuation of Douglas’s evolving vision: music as a site of connection, transformation, and shared meaning, shaped as much by history as by the spontaneous decisions made in the studio.