Joe Fiedler Trio 2.0 w/Pete McVann & Michael Sarin

Joe Fiedler Trio 2.0, comprised of the imaginative, adventurous and prodigious trombonist, composer and bandleader, Joe Fiedler, first-call guitarist Pete McCann and uber-creative drummer Michael Sarin, proudly present an expressive tour-de-force, which finds these three co-conspirators stretching their melodic and harmonic range, traversing sundry rhythmic trails, and generally sticking their necks out musically, resulting in the singular new album, Dragon Suite (available on Multiphonics Music on March 14, 2025).

After almost two decades of leading his various trios (documented on I’m In, Plays The Music of Albert Mangelsdorff, The Crab and Sacred Chrome Orb), Fiedler finds the format still bears fruit, and remains a configuration which enables him and his collaborators to fully explore and express themselves through Fiedler’s compositions. With Fiedler, we are treated to more of his extended techniques on trombone, not to mention his inviting open and muted sounds. Dragon Suite offers up nine new Fiedler compositions with a twist, a foray into the bass-less trio world.

Fiedler has always been intrigued by bass-less ensembles, especially trios, and relished the challenge the musicians face without that sonic foundation and pulse; each player taking on a much greater role within the music. "Over the years I have been drawn to bass-less trios led by notables such as Paul Motion, Ray Anderson and Ron Miles. I love to study the creative strategies employed for their unique line-ups. However, the trio that really made me want to add my name to the list was Dave Douglas’ Tiny Bell Trio," explains Fiedler. "For me, the biggest difference was in that it wasn’t just amazing improvisors playing a tune together, but a fully orchestrated ensemble with specific arrangements - yet leaving room for each personality to insert their individual musical identity."

When setting out to write this music for Dragon Suite, Tiny Bell Trio, became somewhat of a template for Fiedler. And given that each player would need to carry a larger load - especially with this very challenging music, Fiedler composed every note specifically for his cohorts in The Joe Fiedler Trio 2.0, guitarist Pete McCann, and drummer Michael Sarin. "Both incredible musicians, but somewhat more importantly for this project, trusted friends," stated Fiedler.

Joe Fiedler on Pete McCann: Pete was the very first person to come to mind for Dragon Suite. I have played with him in many different bands for more than twenty years and his creativity and virtuosity are second to none, not to mention the sense of humor and positivity that he brings to the bandstand/studio/hang.

Joe Fiedler on Michael Sarin: Michael Sarin is my all-time favorite drummer and a long-time collaborator and friend. At the outset of this project I briefly thought of using another drummer - for no other reason but to just to change things up, but the more I thought about the complexity of the music that I wanted to compose, I realized that Michael would be the perfect fit. He always is thinking like a composer and he has a unique ability to balance groove, texture and color in real time which was hugely beneficial to this project.

Believers Trio Releases Genre-Defying Album "Hard Believer" on March 7, 2025

 Hard Believer is the captivating second album by Believers, a world-influenced jazz/fusion trio featuring guitarist Brad Shepik, percussionist John Hadfield, and bassist Sam Minaie, out March 7, 2025 on Shifting Paradigm Records. Showcasing a dynamic range of styles and moods, the album weaves jazz, rock, and blues with influences from Balkan, South Indian, and Armenian traditions. Blending fiery improvisation, bold grooves, and an expansive sonic palette, Hard Believer delivers a riveting musical journey that redefines the boundaries of jazz and global fusion.

Guitarist Brad Shepik is grounded in jazz and blues, having performed with Paul Motian, Charlie Haden, and Carla Bley, among a long list of others. His work is also enriched by global influences from the Balkans, Middle East, and South Asia, having worked with Yuri Yunakov, Simon Shaheen, and kanjira virtuoso Swaminathan Selvaganesh. Sam Minaie is an Iranian-American electric and upright bassist, producer, and recording engineer based in New York City, well-known for his versatility and unique style of playing and production across many genres. He has performed with numerous bands and artists worldwide, including Tigran Hamasyan, Kneebody, Donny McCaslin, Tim Miller, and others. Composer, drummer, and percussionist John Hadfield has worked with a broad range of artists such as the Saturday Night Live Band on NBC, The Jazz at Lincoln Center Orchestra, Yo-Yo Ma, Abel Selaocoe and the Seattle Symphony and the Silk Road Ensemble. He has released four albums and has composed for many collaborative projects, including Heard By Others, a duo project with Lenny Pickett; Speaking in Tongues, a duo project with Rachel Eckroth; and For James, a duo with Ron Blake.

For guitarist Shepik, this trio offers a dynamic outlet and a chance to explore new musical terrain. “Both John and Sam have such unique voices on their instruments and deep approaches; it makes playing in this trio a wide-open field of possibility. I’m also really inspired and challenged by the music they bring into the band. Personally, it makes performing so much more rewarding because we are each contributing to a wider shared vision.”

Bassist and engineer Minaie adds, “For me, this record is the product of where our lives have taken us throughout the years. Brad is one of my favorite musicians and composers, and much of my musical journey has had his sound in my mind. John is an incredible and versatile player, and a brilliant production mind. The three of us have been collaborating now for years, and this record is the meeting place of all of our influences. As the mixing and mastering engineer, I used that history to make this record into a very different one. There is not one style on this record, and the mix reflects that, from jazz to electronic and metal. Each song has a different sound and production technique, from very natural and acoustic to very aggressive post-production. I'm excited for the world to hear this record.”

Hadfield states, “Believers is truly one of the most enjoyable groups that I am a part of. I had been a fan of both Brad and Sam for a long time before the formation of this group. I knew Brad’s playing as someone to check out when I moved to New York. Once I moved to NYC, I heard how great Sam was, and he was part of the younger musicians from the West Coast who moved to NYC. As a drummer and percussionist, it is such a joy to play with Brad and Sam. Rhythmically, they are so advanced that there is this contradiction created by the fact that we are so tight and rhythmically locked that it opens a sense of “loose freedom” where we can explore and manipulate time without limits. It allows me to function differently than just being the timekeeper.”

The album opens with “Hard Believer,” a piece that took Shepik considerable time to perfect. He shares that finding the right combination of vibe, meter, and tempo was a challenge “but after playing it with Sam and John it fell right into place.” Hadfield's “Broken English” crafts an intricate and uneasy soundscape, built around a rhythmic puzzle in 13/8. Hadfield explains that “the shifting groupings over a four-bar phrase aim to create a sense of unease and disorientation,” keeping listeners engaged and intrigued.

“In the Weeds” emerged organically during its initial session. Shepik says that the song felt natural from the first beat of Hadfield’s ocean drum, allowing the composition to flow seamlessly. Minaie's “Corduroy” offers a contrasting mood, described as carrying a sense of brooding optimism, weaving subtle yet powerful emotions into the album’s texture.

One of Shepik’s personal highlights is “Falling Grace,” which he names as one of his all-time favorite songs, adding, “The harmony and circular form are an inspiration and a fun challenge to play 9/8.” Shepik’s composition “Ranglin” was written as an homage to legendary Jamaican guitarist Ernest Ranglin.

The album concludes with two notable pieces: “Pilgrimage,” an early composition that Shepik revisits, revitalized by Hadfield and Minaie’s contributions, and “Rocinante,” written by Minaie. The latter takes its name from Don Quixote’s loyal steed, reflecting both endurance and strength—a fitting metaphor for the closing track of a deeply collaborative and richly textured record.

Hard Believer is a testament to the creative synergy and global influences that define Believers as a trio. With contributions from each member, the album seamlessly bridges diverse musical traditions, from jazz and rock to Balkan, South Indian, and Armenian sounds. The collaboration between Shepik, Hadfield, and Minaie not only highlights their individual artistry but also reflects years of shared musical exploration and innovation. As they push the boundaries of jazz and fusion, Hard Believer stands as a vivid and compelling addition to the contemporary jazz landscape.

 

Chet Baker: Re:imagined

Chet Baker Re:Imagined, a collection of songs recorded by a varied selection of international talent to celebrate the legacy of one of the most unique, charismatic and influential figures in the history of jazz. Released to mark the 70th anniversary of seminal album Chet Baker Sings, the 15-track compilation presents modern reworkings of the trumpeter and singer’s repertoire and underscores the enduring influence of one of 20th century music’s most creative artists.

Featuring an array of international artists spanning R&B, pop, soul and jazz. British artists dodie, Matt Maltese, Matilda Mann, Joel Culpepper, Ife Ogunjobi, Hohnen Ford, Eloise and Puma Blue line up alongside Benny Sings from the Netherlands, Canada’s Stacey Ryan, American artists Delaney Bailey and Mxmtoon, South Korean Sara Kang and Australian-Filipino grentperez. These musicians, singers, songwriters and beat-makers all sit within a fast-emerging scene and together they cast Baker’s sublime.Chet Baker, born Chesney Henry Baker Jr. on December 23, 1929, in Yale, Oklahoma, was a defining figure of the West Coast jazz movement. Renowned for his hauntingly lyrical trumpet playing and smooth, understated vocals, Baker’s artistry captured the essence of "cool jazz." His talent, charisma, and tragic personal struggles made him one of jazz’s most fascinating and enduring legends.

Baker’s father was a professional guitarist, and his mother encouraged his musical pursuits from a young age. Starting with the trombone, Baker eventually transitioned to the trumpet, which became his signature instrument. After dropping out of high school, he briefly studied music theory before enlisting in the Army, where he played in military bands.

Following his discharge, Baker moved to Los Angeles and immersed himself in the thriving jazz scene of the 1950s. His breakthrough came in 1952 when he joined Charlie Parker for a series of West Coast performances. This opportunity brought him to the attention of bandleader Gerry Mulligan.

Baker’s collaboration with baritone saxophonist Gerry Mulligan in the Gerry Mulligan Quartet marked a turning point in his career. The group’s 1952 hit “My Funny Valentine” became a signature piece for Baker and a standard in the jazz repertoire. His lyrical, melodic trumpet playing stood out for its clarity and emotion, a departure from the bebop-driven virtuosity of contemporaries like Dizzy Gillespie.

Baker’s matinee-idol looks and introspective style earned him widespread popularity beyond the jazz world, making him a crossover star in the 1950s.

In 1954, Baker began showcasing his vocal abilities. His singing was soft, intimate, and vulnerable, capturing listeners with songs like “I Fall in Love Too Easily” and “Let’s Get Lost.” These tracks, paired with his trumpet, solidified his status as one of the era’s most beloved jazz artists.

As a solo artist, Baker toured extensively and recorded prolifically, producing albums that remain classics, such as Chet Baker Sings and Chet. His work exemplified the West Coast jazz aesthetic, with its emphasis on melody, restraint, and cool sophistication.

Despite his success, Baker’s life was marred by personal struggles, particularly with drug addiction. His battles with heroin began in the mid-1950s, leading to arrests, incarcerations, and setbacks in his career. A violent altercation in the 1960s left him with severe dental injuries, threatening his ability to play the trumpet. However, Baker demonstrated remarkable resilience, relearning his embouchure and returning to music with renewed determination.

In the 1970s and 1980s, Baker found a new audience in Europe, where he lived and performed extensively. During this period, he collaborated with a variety of musicians, blending elements of bebop, post-bop, and free jazz. His later recordings, such as Chet Baker in Tokyo and Chet Baker Quartet: No Problem, reveal a depth and maturity born of years of hardship and artistic growth.

On May 13, 1988, Baker died tragically in Amsterdam after falling from a hotel window under mysterious circumstances. His death marked the end of a tumultuous life, but his influence on jazz remains profound.

Chet Baker’s legacy is defined by his ability to convey deep emotion through his music. His trumpet playing and vocals continue to resonate with new generations of listeners, inspiring artists across genres. From his cool jazz classics to his late-career explorations, Baker’s contributions to music are timeless, reminding us of the beauty and fragility of his artistry.

Blues Legend Charlie Musselwhite Joins Forty Below Records: New Single 'Storm Warning' Drops January 10th

Forty Below Records is thrilled to announce the signing of the legendary Blues musician Charlie Musselwhite. On January 10th, Charlie will unveil "Storm Warning," the first single from his forthcoming Spring release. 

Charlie Musselwhite is an American icon whose story is entangled in a mix of Delta, Chicago Blues, and Memphis Soul. He's been tracing its highways and entertaining its audiences, and those abroad, for nearly six decades. He's a prolific songwriter who writes organic, compelling stories with ease. There is real emotional depth at the core of his songs.

More than any other harmonica player of his generation, Charlie Musselwhite can rightfully lay claim to inheriting the mantle of many of the great harp players that came before him with music as dark as Mississippi mud and uplifting as California's blue skies. In an era when the term legendary gets applied to auto-tuned pop stars, this singular blues harp player, singer, songwriter, and guitarist has earned and deserves to be honored as a true master of American classic vernacular music.

Recorded at Kid Andersen's Greaseland Studio in San Jose, California, it's the first time Charlie has recorded with his long-time touring band, comprised of guitarist Matt Stubbs (GA-20), drummer June Core (Robert Lockwood Jr.) and bassist Randy Burmudes (James Cotton), along with Andersen who has been in and out of the band for many years. Their chemistry and command are abundantly clear from the opening notes. "We finished a gig at The Iridium in New York City and flew straight to California to record," Charlie effuses.

About the single "Storm Warning," Musselwhite explains, "The beat came from an old Gospel tune, and I just had it rolling around in my head until I caught the scent and found the trail that led to the melody and lyrics." The groove is all business, hypnotizing like the white lines of the highway. The vocal is soulful and plaintive, and the harmonica playing is ferocious, as you'd expect.

Charlie Musselwhite has received 13 Grammy nominations throughout his illustrious career, including his last release, Mississippi Son, and 33 Blues Music Awards. In 2014 his collaboration with Ben Harper Get Up won a Grammy and in 2010 he was inducted into the Blues Hall of Fame. 

Charlie's career took off quickly soon after arriving in Chicago in the early sixties, where he was an integral part of the blues renaissance along with The Paul Butterfield Blues Band, both genuine proteges of Little Walter, Muddy Waters, and Howlin' Wolf. In 1967, at just 22 years of age, he released his debut album, Stand Back! , which garnered significant critical acclaim.

On a whim, Musselwhite relocated to San Francisco that same year. Contemporaries like Butterfield and Mike Bloomfield followed suit and were welcomed into the counterculture scene around the Fillmore West as authentic purveyors of real-deal blues.

Charlie has also collaborated with an eclectic list of incredible artists over the years, including Ben Harper, Cyndi Lauper, Eddie Vedder, Tom Waits, Bonnie Raitt, The Blind Boys of Alabama, Gov't Mule, INXS, Mickey Hart, and Japan's Kodo Drummers, George Thorogood, Eliades Ochoa, Cat Stevens, Elvin Bishop and, close friend and best man at his wedding John Lee Hooker. In 2023, Musselwhite was cast in Martin Scorsese's film Killers of the Flower Moon.

Musselwhite's sixty-year journey has taken him from Mississippi to Memphis, Chicago, and California. He is living proof that great music only gets better with age. Sixty years of nonstop touring, 20 albums, 1 Grammy, and 13 Blues Music Awards later, his depth of expression as a singer and an instrumentalist grew more profound with each passing year.

Forty Below Records, based in Los Angeles and helmed by Eric Corne, is proud to be Charlie's new home. Corne declared, "Working with an artist of Charlie's caliber is an honor and privilege. He's one of the most iconic Blues musicians working today. And we look forward to taking his legacy to the next level."

TOKYO BLISS - JAPANESE FUNK, BOOGIE & CITY POP SELECTED BY DJ NOTOYA

Following the success of the 'Tokyo Glow' and 'Funk Tide' sets, Wewantsounds once again teams up with Tokyo-based DJ Notoya for a breezy selection of Funk and Boogie recorded in Japan for King Records in the 70s and 80s. Most tracks here are making their debut on vinyl outside of Japan and the album, like its predecessors, has been designed by Optigram's Manuel Sepulveda and is annotated by DJ Notoya. The audio has been newly mastered in Tokyo by King Records and remastered for vinyl by Colorsound in Paris. 

For Tokyo Bliss, Japanese Funk expert DJ Notoya has picked a diverse selection of great Funk, Boogie and City Pop tracks recorded between 1974 and 1988 for King Records, one of the most venerable record labels in Japan. These tracks - which are in demand on the Japanese groove scene - are mostly new to international ears and showcase the breadth and quality of Nippon music recorded during the 70s and 80s. 

The selection kicks off with the group Buzz, a folk duet formed in the early 70s by Hiroshi Koide and Masakazu Togo who released a handful of albums for King during the 70s. The track "Garasumado" (Glass Window) is from the 1974 album "Requiem The City" which was produced by Nobuyuki Takahashi, the older brother of future YMO superstar Yukihiro Takahashi who's playing drums here seconded by Ray Ohara's formidable bass line. At the time both were members of cult group Sadistic Mika Band. 

Next comes the synth boogie sound of singer Mami Ayukawa, who was active on the Japanese music scene in the mid 80s, followed by drummer Johnny Yoshinaga's 1978 hard funk "The Rain" featuring great keyboards action from Hiroyuki Namba one of Tatsuro Yamashita's key musicians, present on the latter's cult album "For You." Keiko Toda's mid tempo delight "Fade In" was released in 1983 and adds a touch of class to the ensemble with its languid rhythm and synth riffs. For the anecdote Toda is also a well known voice actress famous for being the voice of Anpanman, one of Japan's most famous anime cartoons.

The rest of Tokyo Bliss alternate between the stylish funk-folk floater "Bokura no Date" by Koji Kobayashi from 1978 and the 80s funk bomb "Your Love's Away" by Kumiko Sawada, produced by prolific guitarist Kazuo Takeda with his group Creation who is backing Sawada here.

The selection closes with the superb Moog and Fender Rhodes-led space funk instrumental "Paper Machine" released in 1977 by Fujimaru Band and which ends the set on a perfect note.  To quote DJ Notoya from his liner notes - Tokyo Bliss is "a perfect snapshot of the cool Tokyo sound from the 1970s and ‘80s" and which Wewantsounds it delighted to release.

Nanami Haruta’s The Vibe: Jazz Trombone’s New Voice Takes Center Stage

With her debut album, The Vibe, Japanese-born, Michigan-based trombonist Nanami Haruta establishes herself as a remarkable new force in the jazz world. Slated for release on February 28, 2025, via Origin Records, this exhilarating debut brings together Haruta’s stunning artistry with an all-star lineup of jazz heavyweights, including her mentor and producer, Michael Dease.

The album’s dynamic sound, inspired by the iconic Kai Winding and J.J. Johnson frontline, features a rhythm section of pianist Xavier Davis, bassist Rodney Whitaker, and drummer Ulysses Owens Jr., providing a powerhouse foundation for Haruta’s creative voice. Dease, who switches to baritone sax on select tracks, praises Haruta’s artistry:

“Nanami’s ethereal deftness on trombone makes you forget how challenging it is to play. She has the fire of Detroit’s Curtis Fuller mingled with the charm of Japan’s Sapporo countryside. She’s poised to lead her generation on this instrument.”

A Global Journey to Jazz Stardom

Haruta’s path to jazz began in her hometown of Sapporo, Japan, where she started on classical piano before discovering the trombone at eight. The instrument’s human-like expressiveness sparked a love for jazz, which offered creative freedom and variety beyond her classical training.

Her talents soon gained recognition, earning accolades like the Most Outstanding Student Award at the 2019 Seiko Summer Jazz Camp in Tokyo. There, she connected with Dease, whose mentorship eventually brought her to Michigan State University (MSU) in 2023 after a detour through Tokyo’s vibrant jazz scene.

At MSU, Haruta flourished under the guidance of Dease, Whitaker, and Davis. Her burgeoning reputation is underscored by honors like the Yamaha Young Performing Artist Award, the Michigan Jazz Festival Award, and top placement in the Carl Fontana Jazz Trombone Soloist Competition.

The Vibe: A Diverse and Compelling Collection

Haruta’s debut showcases her versatility with an eclectic repertoire. From Curtis Fuller’s classic “Algonquin” to contemporary works like Renee Rosnes’ “Girlie’s World” and Christian McBride’s “Sister Rosa,” the album spans the breadth of jazz traditions. Haruta’s own compositions shine equally bright:

• “Toshi”: A buoyant tribute to her first mentor, pianist Toshiaki Yamada.
• “Heartstrings”: A tender serenade to her partner.
• “Woodpecker”: A lively bop inspired by the rhythmic persistence of its avian namesake.

Dease’s ballad “How It Goes” and Whitaker’s graceful “Jamerson’s Lullaby” further enrich the album’s tapestry, while The Vibe concludes with a soulful rendition of “Unchained Melody,” featuring Haruta alongside Whitaker and guitarist Chris Minami.

Looking Ahead

As Haruta plants her flag in the jazz world, her debut album signals the arrival of a transformative voice on the trombone. The Vibe not only pays homage to her influences but also cements her place in the lineage of modern jazz innovators.

KYN: A Sonic Odyssey Where Global Voices and Avant-Garde Harmony Collide

In the vibrant world of contemporary music, few groups dare to blend the eclectic and the emotional with the fearless creativity of KYN. This transcontinental vocal trio—featuring the talents of Yoon Sun Choi, Hanna Schörken, and Noa Fort—transcends borders, genres, and expectations. Their debut album, releasing January 24, 2025, on the independent label ears&eyes Records, is a masterclass in musical storytelling, defying categorization and challenging listeners to rethink the possibilities of sound.

Hailing from three corners of the world—Korea, Germany, and Israel—KYN weaves the rich textures of their diverse cultural and musical backgrounds into a kaleidoscopic tapestry. Yoon Sun Choi’s evolution from classical pianist to jazz vocalist adds a touch of virtuosity, while Hanna Schörken’s experimental improvisation injects bold unpredictability. Noa Fort, rooted in jazz and the healing arts, offers emotional depth and a nuanced sensitivity that ties their sound together.

The KYN Experience

The trio’s live performances have already captured critical acclaim. Their unforgettable show at Brooklyn's Main Drag was celebrated as one of the Musical Path Contemporary Music Magazine’s best improvised music performances of 2023. Salt Peanuts, a leading pan-Nordic journal of improvised music, hailed their debut album as “a joyful and talkative meeting of opinionated and eccentric extraterrestrial pixies...beautiful, sensual, unpredictable, and funny.”

Each track on the album is a sonic adventure. From the playful hooks of "One Stop Pop" (2:11) to the eerie, meditative depths of "Spelunking" (5:44), and the rhythmic incantations of "Wicca Dance" (4:33), KYN keeps listeners on their toes. Their ability to oscillate between humor, sensuality, and intellectual exploration is nothing short of mesmerizing.

A Testament to Unity

At its heart, KYN is more than music; it’s a celebration of connection. Despite geographical distance—Hanna resides in Germany while Yoon Sun and Noa are based in Brooklyn—the trio’s chemistry is undeniable. Each rare reunion becomes a fertile ground for uninhibited creativity, as their voices harmonize across time zones, genres, and life experiences.

Their music not only reflects their collective artistry but also speaks to the power of global collaboration in a world often divided by borders. KYN reminds us that creativity has no limits and harmony can emerge from the most unexpected intersections of identity.

Join the Journey

KYN’s debut album, with standout tracks like "Resign the Throne" (3:33) and "Landing Inside" (3:18), offers a front-row seat to this unparalleled creative journey. Whether you're a fan of jazz, experimental music, or simply enjoy a good story told through sound, this album is a must-listen.

For music lovers and bloggers, this is your chance to spotlight one of 2025’s most exciting releases. Exclusive single and full-album streams are available for review, making it easy to join the conversation about a group redefining what it means to make music in the 21st century.

Don’t miss out—step into KYN’s world and let their boundary-breaking artistry leave an indelible mark.

Tatiana Eva-Marie's Latest Album: Djangology

Tatiana Eva-Marie’s latest project, Djangology, celebrates the music of Django Reinhardt, the trailblazing guitarist and pioneer of Gypsy jazz (jazz Manouche). This album represents her journey to reconnect with her Gypsy heritage and reinterpret Reinhardt’s compositions through original lyrics and arrangements. Rather than focusing on Reinhardt’s iconic playing style, Djangology highlights his brilliance as a composer, bringing his music to life with Tatiana’s unique storytelling.

A Personal and Cultural Revival

“I grew up in jazz Manouche circles dominated by guitarists—it’s not easy fitting in as a singer,” Tatiana shares. “I wanted to participate in the Django repertoire in my own way, so I wrote my own lyrics, told my stories, and reinvented his music in my image.” Through multilingual lyrics—English, French, Romanian, and Rromanes (the Gypsy language)—Tatiana shares her journey from the Latin Quarter’s shadowed streets to the elegant salons of New York City, blending humor, poetry, and heritage.

The album’s cover art, a deeply personal collage, was designed by Tatiana herself. It incorporates photos of century-old Gypsy dresses from her ancestors’ village in Romania, symbolizing her connection to history. “These fabrics still feel alive when I wear them,” she explains. “To me, this resonated with Django’s music, which remains fresh and adaptable today, taking on new forms without losing its essence.”

About Tatiana Eva-Marie

Born into a family of artists, Tatiana Eva-Marie began her career at just four years old, excelling as a singer, actress, and creative force. By her twenties, she had recorded numerous albums, starred in Parisian theater productions, and written two musicals—all while earning a Master’s degree in medieval literature from the Sorbonne University. Her fascination with the Renaissance Man archetype inspired her global artistic collaborations.

After moving to New York, Tatiana quickly became a celebrated figure in French swing, leading the Avalon Jazz Band, whose performances have garnered over 80 million YouTube views. Recognized as the international ambassador of “1930s Paris,” she has performed on prestigious stages worldwide.

In 2022, she starred in Swing Rendez-Vous, a feature film inspired by her life as a jazz singer. Tatiana has also written a “prohibition opera” (Eden Park), founded Shrine Magazine, and serves as lyricist, arranger, producer, and artistic director for her projects.

Currently, she is working on a Django songbook featuring her original lyrics, a second opera based on a Boris Vian novel, and her upcoming album A Whole New World, a collection of Disney songs in French set to release in April 2025 through Burton Avenue.

Dafnis Prieto Unveils New Book: What Are the Odds

After releasing 3 Sides of the Coin with the Dafnis Prieto Sí o Sí Quartet, you might expect drummer, composer, and educator Dafnis Prieto to take a creative pause. Instead, Prieto expands his artistic contributions with his third book, What Are the Odds.

This groundbreaking instructional work explores rhythm and meter, showcasing Prieto’s dedication to music education. Featuring 519 rhythmic examples, each paired with audio and video content, the book serves as a comprehensive guide for musicians seeking to deepen their rhythmic understanding.

About the Book

In What Are the Odds, Prieto focuses on fundamental rhythms in Latin music and beyond, drawing from the traditions of Cuba, the Dominican Republic, Puerto Rico, and Brazil. Each chapter develops these rhythms through basic variations and explores their transformations across meters, offering a fresh perspective on their anatomy and potential.

“This is a journey of rhythms and meters,” Prieto explains. “By the end of this book, you will have a deeper understanding of not only these rhythms but also the ability to apply these strategies to your own music. It’s about creativity, exploration, and empowerment.”

Prieto’s innovative approach challenges musicians to explore odd meters, including 4/4, 12/8, 5/4, 7/4, 15/8, and beyond. The book organizes examples by pulse, offering clarity on rhythmic distribution within each time signature.

Dafnis Prieto

A celebrated artist from Cuba, Dafnis Prieto has profoundly impacted the music world with his revolutionary drumming techniques and compositions. He is a MacArthur “Genius” Fellow, a GRAMMY Award winner for Back to the Sunset (2018), and has received numerous other accolades, including GRAMMY and Latin GRAMMY nominations.

Prieto’s work as a composer spans diverse mediums, from chamber music to big band arrangements. As an educator, he has inspired students worldwide through workshops, masterclasses, and teaching roles, including his tenure at the University of Miami’s Frost School of Music.

His earlier books, A World of Rhythmic Possibilities (2016) and Rhythmic Synchronicity (2020), have become essential resources for musicians. With What Are the Odds, Prieto continues to push the boundaries of rhythmic exploration, offering a valuable tool for musicians of all levels.

Paul Adams and Elizabeth Geyer Release A Journey of Dreams

Despite being separated by thousands of miles, award-winning multi-instrumentalist Paul Adams (United States) and award-winning pianist, flugelhorn player, and vocalist Elizabeth Geyer (Australia) have been creating extraordinary music together for years. Their artistic synergy, spanning oceans and continents, began with their debut collaboration, Imaginings, which won “Contemporary Instrumental Album of the Year” at the 2015 Zone Music Reporter Awards. This success was followed by Deeper Imaginings and Sanctuary, the latter being named New Age Music Guide's “Album of the Year” in 2022.

Their latest album, A Journey of Dreams, released on November 15, 2024, continues this legacy of creating timeless, spiritual, and emotionally resonant music. This project blends Adams’ inventive musicianship, featuring exotic world instruments and his handcrafted electric sitar, with Geyer’s delicate piano, evocative flugelhorn, and ethereal vocalizations.

A Beautiful Vision

Adams and Geyer’s collaboration has garnered over 138 million streams on Pandora and consistent airplay on SiriusXM Radio. With its release delayed following the success of the December 2023 single of the same name, A Journey of Dreams is a deeply personal and artistic response to a chaotic world. “We wanted to focus on beauty, especially as the world seems to be in such deep chaos,” said Adams. Geyer described the album as a safe, dreamlike space: “Imagine a place where you once came from, where you will go back to, and a place you sometimes visit in dreams.”

A Universal Message

Adams calls the album an exploration of humanity’s potential, blending exotic artistic sensibilities with chill ethnic impressions. “From the heinous to the sublime, it’s all right here on ‘circus Earth,’” he explained. “We felt a need to create something that might focus on the deep beauty we are all capable of. We believe God, nature, or whatever you call it, is challenging us to find the maturity and skills to work together in this rapidly changing world.”

Legacy and Collaboration

Elizabeth Geyer has been praised by Blue Note Records’ Bruce Lundvall as “a brilliant musician and songwriter,” and her solo projects reflect her nuanced artistry. Meanwhile, Paul Adams’ craftsmanship as a luthier and musician adds a layer of authenticity and depth to their shared projects. Together, their music transcends borders, creating a universal language of hope, sanctuary, and beauty.

With A Journey of Dreams, Adams and Geyer continue to redefine contemporary instrumental music, offering a compelling, heartfelt experience to listeners worldwide.

Seun Kuti & Egypt 80 to Perform at Coachella 2025, Presenting Heavier Yet (Lays the Crownless Head)

Afrobeat powerhouse Seun Kuti & Egypt 80 are set to light up the Coachella stage on April 11th and 18th, 2025, bringing their explosive energy and signature sound to one of the world’s most iconic music festivals. Held at the Empire Polo Club in Indio, California, the festival’s star-studded lineup includes Lady Gaga, Missy Elliott, Benson Boone, The Marias, Lisa, The Prodigy, and many others.

Seun Kuti & Egypt 80 will perform selections from their critically acclaimed album, Heavier Yet (Lays the Crownless Head), released globally on October 4, 2024, via the Milan-based label Record Kicks. 

Landmark Album

Executive produced by legendary artist Lenny Kravitz and original Afrobeat producer Sodi Marciszewer, Heavier Yet (Lays the Crownless Head) has received widespread acclaim from The Guardian, Le Monde, Mojo Magazine, Rolling Stone Africa, and others. Critics have hailed it as Seun’s most compelling album yet, blending socially conscious themes with the unmistakable rhythms of Afrobeat.

The Legacy of Seun Kuti

As the youngest son of Afrobeat pioneer Fela Kuti, Seun has dedicated his life to preserving and evolving his father’s legacy. Leading Egypt 80 since age 14, he has infused the band’s traditional sound with his own contemporary influences. Over the years, he has collaborated with artists such as Black Thought, Janelle Monáe, Talib Kweli, and Damian Marley, while releasing five studio albums to widespread acclaim.

Tour Highlights

Currently on a European tour, Seun Kuti & Egypt 80 will bring their electrifying stage presence to Coachella before continuing their global performances. Their appearance at Coachella promises to be an unforgettable showcase of Afrobeat's rich history and its vibrant future.

Dave Potter Presents: Retro Groove 2

Acclaimed drummer, composer, arranger, and bandleader Dave Potter announces the highly anticipated release of his third album as a leader, Retro Groove 2. This project, set to drop on February 7, 2025, features Potter and his band delivering ingenious arrangements of 1980s classics by iconic artists such as Whitney Houston, Rush, The Isley Brothers, Toto, and more. With a unique fusion of swing, blues, and post-bop sensibilities, Retro Groove 2 bridges the gap between jazz purists and casual listeners, offering a compelling and fresh take on retro radio hits.

A Stellar Lineup

The album features a remarkable ensemble:

• Dave Potter – drums

• Miguel Alvarado – tenor saxophone (tracks 1-5, 8)

• Angelo Versace – piano

• Rob Linton – bass

• Greg Tardy – tenor saxophone (track 7)

• Jason Marsalis – vibes (track 6)

A Blend of Nostalgia and Innovation

In Retro Groove 2, Potter reimagines 1980s hits with a jazz-forward approach, injecting swing, improvisation, and high-level creativity into beloved songs. As Jazziz Magazine notes of the Retro Groove series: “Potter arranged a mixtape’s worth of hits from an ear-friendly era, injecting swing and improvisation into songs by Prince, Peter Gabriel, Living Colour, Steve Winwood, The Doobie Brothers, etc.… Aided by a first-rate quartet, the Atlanta-based drummer brings post-bop sensibilities to his interpretations of retro radio hits powered by Potter’s aggressive attack.”

Highlights of Retro Groove 2 include:

• An uptempo jazz reinterpretation of Paula Abdul’s “Straight Up”

• A soulful rendition of Whitney Houston’s “Saving All My Love For You,” which transforms the ballad into a Great American Songbook-style standard

• A bold take on Rush’s “Tom Sawyer,” showcasing its adaptability to jazz contexts

• A second-line-inspired version of Toto’s “Rosanna,” featuring Greg Tardy’s tenor sax

• The album’s closer, Michael Sembello’s “Maniac,” propelled by Angelo Versace’s piano and Miguel Alvarado’s saxophone

Tour Dates

Catch Dave Potter and his band on tour:

• 1/9/25 – The JEN Conference, Atlanta

• 2/7/25 – Rudy’s Jazz Room, Nashville

• 2/8/25 – Red Light Café, Atlanta

• 3/21/25 – The Nash, Phoenix

• 3/22/25 – The Century Room, Tucson

• 4/13/25 – Baby Grand Jazz, Hartford, CT

About Dave Potter

Potter’s journey to jazz mastery is a testament to his passion and perseverance. A latecomer to the drum set during high school, he became enamored with jazz after discovering Tony Williams and the Miles Davis Quintet. Guided by mentors such as Marcus Roberts and Jason Marsalis, Potter honed his craft through rigorous study, practice, and collaboration.

Despite challenges, including the 2008-2009 recession, Potter balanced a day job with his robust teaching, performing, and recording career. His dedication to creating meaningful and innovative music shines through in Retro Groove 2, an album that underscores his belief in jazz’s ability to resonate across audiences and genres.

Pepito y Paquito: Unearthing the Beginnings of a Flamenco Legend

Pepito y Paquito offers a glimpse into the humble and homespun beginnings of a genius who marked a turning point in flamenco guitar and reveals a series of rudimentary musical recordings of Paco de Lucía and his older brother Pepe, at ages 11 and 13 respectively. These recordings, hidden in a quince box for more than half a century, showcase the genesis of a universal figure in contemporary flamenco and highlight his brother's significance as a singer. The extraordinary home recordings that, like a home movie, take listeners back to a time of the need in Franco's Spain, and how the brothers, gifted with preternatural talent, allowed them to to escape poverty through art and ingenuity.

Thanks to BMG and the Paco de Lucía Foundation, these early sound recordings, collected by Antonio Sánchez Pecino, the boys' father, and Reyes Benítez, their main supporter and custodian of the recordings, have reached us. Made between 1959 and 1960 on a Grundig tape recorder. The recording sessions took place in the coastal town of Algeciras, first in the Sánchez family home and then in the quiet house of Benítez's mother. Their existence was known, but their whereabouts were not. Until Quique Benítez, Reyes' son, discovered them in 2022.

Pepito y Paquito represents a work of musical archaeology with immense historical value. A total of 21 songs were recovered and restored using new technologies to create an album that composes the artistic prequel of both brothers, before their revolutionary breakthrough in the 1st International Flamenco Art Contest of Jerez de la Frontera in 1962 and their first records as Los Chiquitos de Algeciras.

INNATE VIRTUOSITY OF PACO

Pepito y Paquito is an auditory window through which we observe two children having fun, playing, and singing naturally and festively. Simultaneously, their inherent talent projects the long shadow of the legacy they would develop in their respective careers as two icons of contemporary flamenco, especially that of a universal master of the guitar.

"For all the possibilities discovered in our instrument over the generations, it is not surprising to hear master Paco at 12 years old already chasing the next level of what could be. In fact, according to these recordings, he was already there in many ways," commented American jazz guitarist Pat Metheny. “Hearing and knowing Paco, and to have been on the planet with him at the same time, is one of the things I am most grateful to have experienced in life."

The influence of celebrated flamenco guitar innovator Nino Ricardo, Paco’s first hero of the guitar, is evident in his playing from an early age; however, his virtuosity and genius are revealed in his ability to play like an adult despite being a child. Moreover, he mastered various styles of flamenco, as these 21 songs include Bulerías, Soleares, Cuplés, Rumbas, Fandangos, Tangos, Seguiriyas, Alegrías, and even Villancicos. All of them are performed astonishingly, allowing us to instantly recognize his art.

THE RECOGNITION OF PEPE

Pepe is a central figure in Pepito y Paquito. His singing is pure rawness, passion, and brilliance. We understand where the admiration and appreciation for his vocal power in the early years of his career came from. His privileged position in flamenco is evident, both accompanying Paco and in various solo projects.

“Thanks to my friendship with Paco, I met his brother Pepe and heard him sing, and here is another phenomenon. Pepe's singing at 13 years old is incredible. How can two children play and sing so well, with such passion and maturity? Two prodigies born in the same house with such enormous talent can only happen once every 100,000 years,” explains the revered British guitarist John McLaughlin.

It is paradoxical that Pepito y Paquito becomes the first album that Pepe and Paco recorded together and, at the same time, the last of their extensive flamenco careers. For Pepe, it also represents a crowning achievement for someone who always dedicated love, affection, pride, and respect, witnessing firsthand the success of his younger brother. At the same time, it asserts his own stature within flamenco singing, with a personal voice full of feeling, conveying raw and honest emotions.

A decade has passed since the death of Paco de Lucía. Pepito y Paquito commemorates an anniversary that reminds us of the genius of an artist who marked a turning point in the world of flamenco guitar, an artist whose loss is still deeply felt. His dedication, talent, and innovation made him the most universal flamenco guitarist, daring to incorporate fusions that, without betraying tradition, have now become hallmarks of six-stringed music.

Nothing was impossible with Paco's perfectionist determination and his enchanting presence on stage or in the studio. A legacy that has opened countless doors for future generations. In Pepito y Paquito, we revisit a musical childhood where we can feel what Paco would later become, honing a technique that already amazed from his early years and that we now rediscover as if he had never left. An enduring icon.

ED NEUMEISTER QUARTET + 3: COVERS

Trombonist, composer, arranger, educator Ed Neumeister is an artist operating at the forefront of creative music for more than forty years, with more than a dozen compelling releases under his own name (most recently, What Have I Done? and Explorations), and countless collaborations. He continues to create thought-provoking music for curious ears; music that challenges, inspires and delights.

Neumeister’s upcoming release, Covers, takes the listener on a trip through familiar tunes that resonated from his youth – five by the Beatles, two by Led Zeppelin, one made famous by Otis Redding and another just hatched only a few years ago by Taylor Swift. His core band features Gary Versace on piano, organ/accordion, Drew Gress on bass and Tom Rainey on drums, and is augmented by the “Covers Horn Section” of Billy Drewes, Caroline Davis and Ingrid Laubrock. Bassist Cameron Brown appears on three tunes as well.

Neumeister put his stamp on these beloved tunes from the late ‘60s and early ‘70s, and he encourages the others, particularly Versace, to bring their own personal expression to the proceedings. “Gary and I talk about what he should play on these tunes, but I trust him implicitly,” said the leader. “He always plays exactly what’s needed without overplaying. He’s been in my quartet for years now so we have a great connection. We seem to know what each other will play before playing it.” In addition to being the leader and arranger, Neumeister is the “singer” of these timeless melodies. Through his highly-developed techniques on trombone, and use of an array of plungers and mutes, his singular voice gives these melodies a newly-harvested sound.

The idea for doing Covers came about because Neumeister loves expressing beautiful melodies, and it was pointed out to him that he has not recorded any standards in a while. The artist elaborates, “it was suggested by several people that I do my treatments of some rock, pop and R&B tunes from my youth. Since I grew up with the Beatles and vividly remember when the White Album was released, those tunes were a natural. Added to that were my days playing with Jerry Garcia in the great Bay Area band Reconstruction with Merl Saunders, Ron Stallings, Gaylord Birch and John Kahn. We played Jerry’s version of the Beatles’ ‘Dear Prudence’ every night to a great response, so that tune was a natural as well. Throw in a couple of tunes by Led Zeppelin, who I used to go see at the Fillmore West when I was still in high school, and ‘Try a Little Tenderness,’ a big hit for Wilson Picket in the ’60s and I remember hearing Linda Tillery sing it with the very influential Bay Area band Loading Zone, and I had the bulk of the material for the album.” Due to the hubbub about Taylor Swift as of late, Neumeister gave her albums a listen to see if anything resonated with him. “I discovered her tune ‘The Last Great American Dynasty’ (from 2020’s Folklore), so I decided to add my treatment to that,” said Neumeister.

“I’ve worked with Ed since the ’80s, when we played in the Mel Lewis Jazz Orchestra together. We’ve done many projects since in Europe and New York, and now he plays in my Nonet. He is an inspired arranger, composer and conductor, as well as a soloist of deep expressive passion.” – Joe Lovano

In the past years, Neumeister has focused on more modern approaches – sometimes abstract or experimental. But the priority is always on the groove and the melody. Whether free form or structured, the groove is always the master, or should be, and melody is always of prime concern. Sometimes these elements are easily discernable in Neumeister’s music, and other times more elusive, but ever present and deep in the musical texture. Neumeister elaborates, “I’ve always loved playing good melodies while putting my own personal touches in the statement of the melodies and in the arrangements themselves. We’ve accomplished that on Covers, and this project also let me delve into my history, especially my younger days when I hardly knew what jazz was. I’m still not sure . . . but that’s a whole other conversation.”

The extensiveness and profundity of Neumeister’s experience informs every note he composes and plays. The strain of musicianship, technique and inventiveness heard from Neumeister on his albums and collaborations has remarkably deep roots, stretching back to the earliest days of being a teenage, professional musician in the Bay Area, featured in high level marching bands, collaborating with Jerry Garcia (in the band, Reconstruction), backing up the likes of Chuck Berry, Ella Fitzgerald, Sarah Vaughan and Frank Sinatra, embarking on a creative sojourn to Amsterdam, winning the first trombone chair with the Sacramento Symphony, and numerous other gigs, finally arriving in NYC in 1980 where he quickly became a “first-call” for Lionel Hampton, The Duke Ellington Orchestra (in which he played the trombone book made famous by Joe ‘Tricky Sam” Nanton), the Mel Lewis Jazz Orchestra (alongside Joe Lovano, Kenny Garrett and Tom Harrell), a stint with Buddy Rich, and many others. Neumeister has basically “worked with everyone,” as they say, including a forty year musical relationship with Joe Lovano (currently a member of his Nonet), Gerry Mulligan’s Concert Band, the aforementioned Mel Lewis Jazz Orchestra, which became the Vanguard Jazz Orchestra after Lewis’ passing (Neumeister’s arrangement of “A Nightingale Sang In Berkeley Square” on the album To You: A Tribute To Mel Lewis, was nominated for a Grammy Award), and many others. On top of all this, he has been leading his own ensembles throughout his entire career, and they have served as vehicles for his prolific output as a composer/arranger.

Larry Goldings Redefines His Legacy with First Live Piano Trio Album in Nearly Three Decades: I Will

For over thirty years, Larry Goldings has been hailed as one of the greatest jazz organists of his generation, a premise made salient with the continued success of his long-standing organ trio with guitarist Peter Bernstein and drummer Bill Stewart. However, the brightly glowing accolades for his organ playing have perhaps blinded the jazz-loving public to Goldings' equally astonishing and singularly unique talents on the piano, beyond those fortunate enough to catch a live show in Los Angeles (his home since 2001). 

Thankfully, Goldings is addressing the imbalance in perception with a rarity for him: a live piano trio album, his first in all those years as a professional musician. I Will features Goldings on piano, along with Karl McComas-Reichl on bass and Christian Euman on drums, three of the most inventive rhythm section players in L.A. 

On an October night in 2023, this new trio debuted at Sam First, the intimate listening room near LAX Airport, known for its cozy, living room vibe and pristine, audiophile-grade sound. They returned the following spring for an encore performance, and both nights were recorded using Sam First’s state-of-the-art analog to digital recording setup. However, it was only after Goldings heard the results that he decided to make an album. 

"It's probably good that we didn't know we were going to put it out at that point," Goldings says. "I was pleasantly surprised to realize that we definitely had a record." That the album is live contextualizes it with other recorded shows by notable piano trios – Oscar Peterson, Bill Evans, Chick Corea, Keith Jarrett, Fred Hersch (Goldings' third cousin), Brad Mehldau, et al – and the brilliant performance of Goldings' trio invites and deserves such lofty comparisons. For Goldings, this album not only serves as a proclamation of his pianistic prowess, but also a bit of a reckoning (or reconciliation) for him as a pianist. It's been 27 years since he released his first piano trio album, Awareness, with bassist Larry Grenadier and the great Paul Motian on drums, after Goldings was already well-known as an organist. 

"I think I hired Paul with the thought that he would steer me away from clichés, and to generally free things up,” Goldings says. A signature track from that early album, the Gershwin evergreen "Embraceable You," was done in complete rubato, out of time and very open harmonically. It's akin to a time capsule to hear the same tune and arrangement reprised so many years later, on I Will. How has Goldings' piano playing evolved over that span? "I'm less worried about fitting into somebody's expectation of how a piano trio should sound, or what a piano player should be able to do," he answers. "I wish I could say I've logged in so many hours over the years as a piano player, and that's led to some kind of breakthrough. Instead, it's just been that the older I get, the more comfortable I feel with my choices." 

Choices informed by all the music Goldings has been exposed to in his wide-ranging career. "I think as a result perhaps of some of the non-jazz gigs that I've done – particularly the really authentic settings like being with James Taylor and Maceo Parker – it's drawn out these other interests that I've always had. Not to mention seeing the potential for getting audiences involved in a different way and not just playing for musicians, which is often a jazz musician mindset." Goldings' material on I Will certainly reflects a populist approach to his artful eclecticism, from his edgy, odd-time original blues "Roach" (inspired by drummer Max Roach's own composition, "Driva'man") and his hero's-journey storybook piece, "Sing Song," to the traditionally hard-swinging "It Ain't Necessarily So," another Gershwin classic.

The trio also grooves, whether via the extroverted Afro-Latin clave of Mario Bauzá's "Mambo Inn" or the introspective folk-rock beat of Judee Sill's "Jesus Was a Cross Maker." Conversely, the ballads float on suspensions of time and belief; on "Embraceable You," and on Paul McCartney's "I Will" and "Somewhere" from West Side Story, the Leonard Bernstein masterpiece he recorded many years ago in similar fashion with guitarist Jim Hall. "I was lucky enough to be around people like Jim Hall," Goldings says. "He could play so sparsely and thoughtfully, with the purest of sounds and a deep understanding of the of the song. Never any showboating or over-playing." Those insights power Goldings' musical core, ever more in this new chapter in the storied career of a generational organist – and pianist. 

When asked to complete the sentence, "I will...," Goldings offers a laundry list of resolutions: "I will...play more piano, that's one. I will concentrate on having fun with the music – I think that's the most important thing, and I know that I will particularly with those guys. And I will worry less, I will exercise more, and I will be grateful that I still can do this."

ZY THE WAY Announces Debut Album Then And Now: Bridging Ancient Chinese Poetry and Contemporary Jazz

In a groundbreaking fusion of cultural heritage and modern artistry, the innovative jazz ensemble ZY THE WAY is set to release their highly anticipated debut full-length album, Then And Now. This album reimagines the boundaries of music and storytelling, blending ancient Chinese poetry with the dynamic sounds of contemporary jazz, global influences, and improvisation.

A Cultural Odyssey Through Music

Based in Taipei, ZY THE WAY leads a new era of musical innovation. Their work transforms the ancient verses of the Book of Songs (Shijing 詩經), a cornerstone of Chinese literary tradition compiled nearly 3,000 years ago, into vibrant modern compositions. The band’s debut EP, A Different Destiny, earned critical acclaim, including a 3.5-star review from Downbeat Magazine and accolades in Australia and Taiwan. With Then And Now, the group reaches new creative heights, bridging millennia of tradition and contemporary expression.

Revitalizing the Shijing 詩經

Then And Now draws inspiration from the Book of Songs (Shijing 詩經), an anthology from China’s Zhou Dynasty (1046–256 BCE). Regarded as the oldest and most revered collection of Chinese poetry, the Shijing offers profound insights into early Chinese society’s cultural, social, and spiritual life.

In collaboration with Dr. Annie Luman Ren, an award-winning translator and classical Chinese scholar, ZY THE WAY brings these ancient texts to life for modern audiences. This partnership deepens global understanding of these historical works while empowering the band to create jazz compositions that honor their essence, combining traditional scholarship with innovative artistry.

Track Highlights and Context

1. Sun In The East (東方之日)
   Evoking celestial imagery, this track explores the fleeting beauty of romantic encounters and the ephemeral nature of love.

2. Then And Now (權輿)
   Reflecting on contrasts between a glorious past and present challenges, this piece offers commentary on the cyclical nature of prosperity and change.

3. Agile (還)
   Celebrating the exhilaration of hunting, this song underscores its cultural and ceremonial significance in ancient Chinese society.

4. Wild Winds (終風)
   Attributed to China’s first female poet, Zhuang Jiang, this melancholic poem delves into emotional turbulence, connecting weather and personal suffering.

5. Wedding Night (綢繆)
   A celebratory piece highlighting the transformative and ceremonial beauty of marriage.

6. Ten Acres (十畝之間)
   A tribute to rural life, portraying harmony between work and leisure while celebrating agrarian simplicity.

7. A Hermit’s Hut (考槃)
   Inspired by Daoist philosophy, this track reflects on the peace of nature and spiritual fulfillment through solitude.

8. Blue Collar (子衿)
   Exploring themes of longing and separation, this piece connects ancient sentiments with modern audiences.

About ZY THE WAY

Since forming in 2019 in Taipei, Taiwan, ZY THE WAY has trailblazed by merging the Shijing’s ancient poetry with contemporary jazz improvisation and innovative sounds. The group celebrates the Chinese diaspora’s cultural heritage, reinterpreting 3,000-year-old literary masterpieces with fresh energy. Their multimedia approach, including live poetry readings and visual elements, creates an immersive audience experience.

Renowned for their originality, ZY THE WAY’s music blends memorable melodies with strong grooves, bridging the sophistication of jazz and Western classical music. Their compositions invite listeners into a profound yet accessible musical journey, transcending cultural boundaries.

With Then And Now, ZY THE WAY promises an unforgettable experience that honors the past while resonating deeply with today’s global audience.

Kim Cypher Releases Catching Moments

 British jazz saxophonist, vocalist, composer, and bandleader Kim Cypher releases the single Birdie In The Grass, the first track from her album Catching Moments (out October 4th, 2024). 

A beloved figure in the UK jazz scene, Kim Cypher is known for her support of grassroots musicians and her extensive contributions to independent arts. She collaborates with the Women In Jazz Media collective, hosts the weekly radio show The Big Jazz Hullabaloo on Jazz Bites Radio alongside her husband, Mike, and has raised thousands of pounds for charity through her music, all while spotlighting talented artists both from the UK and abroad.

“Accessible and classy music with a very wide appeal.” – London Jazz News

The single opens with the warm tones of Kim's signature tenor saxophone, a sound that reflects the influences of her mentors, jazz greats Andy Sheppard and Pee Wee Ellis. The track quickly falls into a dreamy groove, as Kim’s production and arrangement provide ample space for each instrument to shine. The playful syncopation and solos of the ensemble give the lighthearted Latin tune a charming and lively feel.

The song’s inspiration came from a moment Kim observed a baby bird learning to fly in the grass. As she watched this joyful scene, the lively Latin melody emerged, reflecting the bird’s freedom and exuberance. Kim says, “Standing at the window observing the activity, a cheeky little Latin melody soon evolved to accompany the joyful scene.” The tune captures the essence of a peaceful, golden-hour moment in nature.

“A bright, passionate performing light on the UK Jazz scene.” – Jazz In Europe

The track features an all-star lineup, including guitarist Antonio Forcione, bassist Raph Mizraki, percussionist Karl Vanden Bossche, and drummer Mike Cypher. Birdie In The Grass is part of Kim’s Brighter Tomorrow project, initiated during the COVID lockdowns to showcase the resilience and dedication of artists. Special guests on the album include pianist and vocalist Liane Carroll, saxophonist and vocalist Ray Gelato, and trombonist Ashley Slater.

The album, featuring twelve tracks (ten of which are originals), explores personal and global events of the past few years and centers on the theme of capturing life’s precious moments. 

“Always innovative and surprising.” – Jazz Views

Odyssey to Self, the intimate 5-track debut EP by Pianist Orson Claeys

Pianist Orson Claeys is a refreshing newcomer to the Belgian jazz scene, influenced by a diverse musical upbringing that ranged from hip hop to classical. His journey with the piano began in art school, but it was the discovery of Herbie Hancock's melodies that steered him towards jazz. 

After being featured on the third instalment of the 'Lefto presents Jazz Cats' compilations with his track 'Conversations' and a support tour for De Beren Gieren, Orson Claeys now releases his 5-track debut EP 'Odyssey to Self' on Sdban Ultra. ‘Odyssey to Self’ offers a deep dive into Claeys' personal life, where he openly shares his journey through significant changes. The music resonates more than just a collection of songs, but as a reflection of the universal human experience of embracing transformation. 

It continues within themes from his previous singles, Primrose and W.A.R., which served as odes to his mother's love and his late grandfather, amongst other things that play an important role in his life. Alongside his debut EP, Claeys created a compelling short film, visually translating the auditory journey of the record. This project stands out due to its unique approach, where the creative process started with composing the music, unlike the usual procedure in filmmaking. 

The accompanying film can only be viewed exclusively with the purchase of the vinyl. The music takes cues from the rich sounds of the Middle East, influenced by artists like Dhafer Youssef and Anouar Brahem, and also from the fresh, creative styles of contemporary jazz musicians such as Aaron Parks, Brad Mehldau, and Ambrose Akinmusire.

Doo’s Blues: Unveiling the Rare Belgian Recordings of Jazz Legend Dusko Goykovich

Sdban Records present Doo’s Blues, a collection of previously unreleased Belgian radio recordings capturing Serbian jazz trumpeter, composer and band leader Dusko Goykovich (1931-2023) at the moment he definitively established himself as one of Europe’s most distinctive jazz artists. 

Born and raised in Bosnia and Herzegovina, Dusko Goykovich studied at the Belgrade Music Academy from 1948 to 1953, playing trumpet in Dixieland bands and joining the big band of Radio Belgrade at the age of 18. After leaving Yugoslavia in 1956, Goykovich spent the next ten years developing his sound on the West German jazz scene, where he played with the renowned big bands of Kurt Edelhagen and Kenny Clarke & Francy Boland and made appearances at the world’s largest jazz festivals such as Comblain-la-Tour in Belgium, Antibes in France and Newport. Goykovich then moved stateside where he spent four years studying at the world famous Berklee College and worked with the likes of Woody Herman and Maynard Ferguson. 

Returning to Europe in the mid-sixties Goykovich soon introduced the world to his innovative Balkan jazz sound with Swinging Macedonia (1966). Today this release still stands as one of the most important and sought-after works of European folk inspired jazz. 

Not long after Swinging Macedonia’s release Goykovich was invited to record two sessions for BRT (Belgian Radio & TV), which he performed with three different ensembles. For the first session Goykovich was accompanied by Belgian vibraphonist Fats Sadi’s quartet. Later that same day Goykovich was also joined by the BRT Jazzorkest. Less than two months later Goykovich found himself once again ensconced in BRT’s Brussels studios, this time heading up an international quintet that also included Bent Jædig (tenor saxophone and flute), Scott Bradford (piano), Jimmy Woode (bass) and Al Jones (drums). 

Whilst the metaphor ‘jazz with an accent’ has been widely used to describe the music that European jazz artists created in the 1950s and 1960s, it fails to do justice to the entirely new language that Dusko Goykovich was developing. No mere dialect Goykovich’s jazz was a delicate, multi-layered language, one that owed just as much to the folk music of the Balkans as it did to the modern music of America. And to the blues. For this is Doo’s Blues. 

Doo’s Blues was compiled by Lander Lenaerts. Lander’s a DJ and writer who plays an important part in documenting the rich jazz history Belgium has to offer.

Zacc Harris’s Chasing Shadows: A Masterful Reflection of Nature and Composition

Zacc Harris’s acclaimed 2021 release, Small Wonders, was made up of songs composed over nearly a decade and evoked a photo album, lovingly curated and focused on the joys and challenges of parenthood. The Minneapolis-based guitarist’s new album Chasing Shadows, out now on Shifting Paradigm Records, was written over an idyllic five-day retreat in western Wisconsin. It’s more like a single image, precise but mysterious, capturing what photographer Henri Cartier-Bresson called “the decisive moment.” The adventurous and unified album showcases a symbiotic quintet in which Harris is joined by tenor saxophonist Brandon Wozniak, pianist Bryan Nichols, bassist Chris Bates, and drummer Pete James Johnson.

Long a leading light of Minnesota’s jazz scene—in 2017, City Pages named him Twin Cities Best Jazz Artist—Harris’s national reputation grew with the release of Small Wonders. In a four-star review in Downbeat, Bill Milkowski praised the album’s “intricate heads and chops-busting unisons,” and the magazine later included the album in its Best Albums of the Year list. In All About Jazz, Mike Jurkovic likewise named it among the year’s best. Harris has also won fans and praise as a co-leader of the long-running Atlantis Quartet and he steers American Reverie, a trio centered on interpretations of folk, country, and pop songs. Other projects include Grain Trio, an organ trio led by drummer JT Bates, and Boundaries, a free-improvisation collaboration with trumpeter Jake Baldwin and drummer Pete Hennig.

Chasing Shadows was recorded in March of this year but started to take shape in the summer of 2022. One of Harris’s students offered the guitarist access to a lakeside cabin outside the propitiously named Luck, Wisconsin. Between nature walks and breaks to brew coffee, Harris composed all but two of the album’s eight songs. He started with a set of simple melodic and harmonic ideas on which he incrementally expanded by turns. The process felt both systematic and spiritual, the sort of concentrated period of creativity and reflection hard to come by in the teeth of the attention economy. The music began to cohere around linked compositional procedures while taking cues from the riparian setting. “Interesting things happen when you’re observing a space in nature for a few days,” Harris says. “Sometimes it’s sunshine glistening on the water, sometimes darkness in the woods. The songs took on those contrasts.”

This mix of light and shade is apparent on the album’s titular opening track. It starts with a foreboding, melancholy section—with its crisp tempo and tense intervals, the tune seems indeed to be chasing shadows. The title has a sweet origin, though—Harris’s son, as a little boy, used to chase his own shadow—and the song soon gives way to a soaring, cinematic melody. Like much of the album, “Chasing Shadows” is quickly hummable but doesn’t settle into a key center. Instead, Harris uses careful chromatic voice leading to ground his high-contrast melody. For the solo section, Harris, Wozniak, and Nichols pass the baton through the song’s three-part form, an appealing introduction to their distinct improvisational conceptions.

“Moonrise” demonstrates one of the group’s signatures: how deftly Harris and Wozniak meld on unison heads. The opening bars teeter-totter through variations of an almost Monkish phrase, and as the theme progresses, we see that, again, Harris is using an inviting melody to connect nonfunctional harmony. His leadoff solo displays his lyricism and rich, sculpted tone. Drummer Johnson is unflappable through the frequently shifting time signatures of “Catalyst.” Listen especially to how he locks in during Nichols’s galvanizing solo. For the piece, the album’s lead single, Harris wanted to explore different ways to break up eleven; the tune swerves and surprises, but the pulse is ever kinetic.

“Fleeting Moments” is aptly named: it’s fast and swinging and doesn’t linger in a tonality. Wozniak, who with Chris Speed provide the tenor madness in Dave King Trucking Company, plays a dark-toned solo stocked with inventive lines and smartly placed rests. Harris’s driven solo shows his deep study of blues. “Worlds Apart” highlights the quintet’s interplay, nurtured over years of friendship and collaboration and honed further while touring in support of Small Wonders. Bates, one of Harris’s bandmates in Atlantis Quartet, is a maven of time and tone and an expressive soloist, as evidenced by “Pinwheel,” a dynamic meditation in three.

Like a few of the album’s other compositions, “Conduits” derives some of its allure through constant-structure progressions, that is, by moving a single chord quality through changes not readily analyzed through functional harmony. The album closes with “This Day,” a ballad with a bobbing groove and a transporting build. Under Harris and Wozniak’s solos, Nichols, Bates, and Johnson know precisely when to recede and when to prod.

That last title is another one credited to Harris’s son, who preferred “this day” to “today.” By stressing this, the phrase was a reminder to live in the moment, something many of us strive to do and something this album models. Written in a concentrated burst but born of a lifetime of devotion, in the end Chasing Shadows lives in several moments: fleeting, decisive, ongoing, eternal.  

Countermeasure's Orchestral Sessions Celebrates 14 Years of Vocal Mastery with Full Orchestra

Countermeasure announces the release of their fourth studio album, Orchestral Sessions. Mixed in both stereo and ATMOS, the album features fan-favourites, and new works composed by Artistic Director, Aaron Jensen. Defined by their genre-defying sound, the jazz, pop, soul and choral-inspired repertoire is presented for the first time with a full orchestra and rhythm section. Countermeasure is a 12-member Toronto-based vocal group who have sold-out theatres across Canada, the U.S., Italy, Scotland, Japan, and the U.K. The group has become known for their complex harmonies, engaging performances, and their musical spirit of adventure - experimenting with live-looping, instrument imitation, and theatrical staging. 

Countermeasure has recorded with GRAMMY and JUNO award-winning artists including Randy Brecker, Cindy Cashdollar, and The Barenaked Ladies; and has performed alongside the likes of Corey Hart, The Swingle Singers, and Naturally 7. They have won multiple awards from The Contemporary A Cappella Society of America, including Best CAL Album, Best Video, and Best Original Song. They’ve contributed to the soundtracks of internationally-featured short films, and their music has been featured on the EMMY award-winning TV series, Schitt’s Creek. 

”Orchestral Sessions feels like a retrospective album.” says Jensen. “We’re currently enjoying our fourteenth season together. Countermeasure has become a second family to us. We’ve played a role in each other’s major life events. The process of making music, and the music itself have merged into one. I don’t just write songs for the group, they're inspired by the singers. These pieces are born of shared experiences, written in response to members’ personal stories and life events, and shaped by our remarkable musical collaborators. CARRY AWAY reflects upon the emotionally-stirring experience of touring to Japan for the first time. HOLD ON gives the stage to Qwyn Alexis to sing about her hopes and fears in raising a daughter. I WILL chronicles our co-founder, J-M Erlendson's, battle with cancer. TRAIN THE B TAKE underscores a hilarious National Film Board of Canada animated short, and was developed in tandem with SING! The Toronto International Vocal Arts Festival, TAKIN IT HOME has been a long-time raucous finale for Countermeasure concerts. These songs have earned their place in the collective soundtrack of our lives.” 

Releasing an orchestral album is a conceptual about-face for Countermeasure. The group's previous release, Guest Sessions, explored the opportunities presented for voice plus solo instrumentalists (including notable performances by Dame Evelyn Glennie, Randy Brecker, and Pamelia Stickney). After their experiment in artistic austerity, the new record, Orchestral Sessions, is a celebration of abundance. The Burlington New Millennium Orchestra is joined by a GRAMMY/JUNO award-winning rhythm section made up of Larnell Lewis on drums (Snarky Puppy, Jacob Collier, Quincy Jones), Jeremy Ledbetter on keys (Eliana Cuevas, Canefire, Andy Narell), and George Koller on bass (Peter Gabriel, Bruce Cockburn, Dizzy Gillespie). 

Countermeasure embraced the opportunity to join forces with the notable Canadian conductor/ orchestrator, Charles Cozens. “I was delighted to be asked by composer, Aaron Jensen, and Countermeasure to help arrange and orchestrate the Countermeasure Orchestral Sessions recordings. Always a challenge of blending compelling a cappella vocal textures with orchestra, the songs are exciting, poignant, evocative and simpatico with Countermeasure's unique presence. Conducting and recording this project with my very own Burlington New Millennium Orchestra was exhilarating and rewarding. I sincerely hope you enjoy this masterful work.” 

Charles Cozens is a celebrated performer, orchestrator and conductor. His compelling symphony shows, featuring his arrangements for full orchestra, have been performed by artists such as Sir Elton John, Randy Bachman, The Canadian Tenors, Countermeasure, Quartetto Gelato, Mark Masri, The Nylons, and many more. With over 150 CD recordings to his credit as a composer, arranger, performer, conductor and producer, he was recognized by the International Conductors Guild in 2007 as a leading expert on orchestral conducting in the recording environment. In 2023, Maestro Cozens was inducted into the Burlington Performing Arts Centre Hall of Fame. Aaron Jensen's original music has been premiered and recorded by JUNO and GRAMMY award- winning artists, celebrated choirs, and symphony orchestras around the world. He acted as musical director, band leader, and composer for the nine-time EMMY award winning series, Schitt’s Creek. He has contributed to a Broadway-optioned musical, a BAFTA-nominated video game, and a New York Times Bestselling book. Jensen is the Artistic and Musical Director of Countermeasure, and the Artistic Director Emeritus of SING! The Toronto Vocal Arts Festival.  

Orchestral Sessions was recorded by Stephen Kosler, Luke Schindler and Kohen Hammond at Revolution Recording, and Kai Koschmider at T+J Studios (Toronto). The album was mixed by the GRAMMY award-winning, John “Beetle” Bailey. This project was made possible with the support of Canada Council for the Arts, Ontario Arts Council and Toronto Arts Council. Countermeasure singers are Gianna Antonacci, Nina Brown, Elora Burns, Icarus Devdas, J-M Erlendson, Aaron Jensen, Marla Kishimoto, Qwyn Alexis, Tara Park, Hayley Preziosi, Daniel Boyle, and Jeremy Voltz.