Saturday, November 29, 2025

David Friedman and Rob Waring Explore Sonic Frontiers on Wayfarers



American percussionists David Friedman and Rob Waring return with Wayfarers, a magical collaboration that seamlessly crosses jazz, classical, and improvised music. Recorded over several years in Friedman’s Berlin apartment, the album captures the duo’s extraordinary interplay, where vibraphone and marimba merge into a communal, improvisational soundscape. Featuring original compositions by both artists, as well as two jointly composed pieces, the album closes with a fresh interpretation of Bobby Timmons’ classic Moanin’.

From the opening track, listeners are enveloped in a dialogue where individual virtuosity takes a backseat to collective expression. As John Surman observes, the musical interplay is so intertwined that trying to distinguish who plays what becomes irrelevant — the music itself is the ultimate communicator. Tracks like Wayfarer, Hungarian Snipsody, and Go Figure showcase the duo’s shared sensitivity and creativity, while compositions such as Web of the Spider and That, and Something Beyond reflect their fearless approach to improvisation and textural exploration. The closing piece, Moanin’, honors jazz tradition while underscoring the duo’s capacity to breathe new life into familiar repertoire.

The album was engineered by Friedman and Waring themselves, with mixing by Thomas Hukkelberg in Oslo, capturing the intimacy, nuance, and detail of their instruments. Across seven tracks, Wayfarers becomes a journey of sonic discovery, blending subtlety, energy, and expressive depth into a single cohesive statement. The result is a recording that transcends genre boundaries, revealing the profound possibilities of collaboration between two master percussionists.

David Friedman contributes vibraphone and marimba on select tracks, while Rob Waring alternates between marimba and vibraphone, creating a dynamic interplay that continuously shifts the listener’s focus. Wayfarers is an intimate, boundary-defying work that celebrates improvisation, connection, and the transformative power of sound.

Klara Cloud and The Vultures Explore Life, Loss, and Renewal on Their New Album


Klara Cloud returns with her latest work alongside The Vultures, an album that channels the timeless Baroque qualities of polyphony, contrast, and expression into a contemporary jazz-fusion narrative. The record unfolds as a profoundly human journey through emotion, memory, and rebirth, tracing a musical path from the first spark of life to the quiet afterglow of death. Each track opens a new chapter of introspection and feeling, offering listeners an immersive experience that is both intimate and expansive.

Moments of serene melancholy, as in “Peony,” coexist with the flowing, kinetic energy of tracks like “Waterfalls.” The song “Se Tu Me Dimentichi” brings Pablo Neruda’s poetry vividly to life, while “Funeral” transforms loss into light, meditating on a silence that feels already wise. At the heart of the album is the track “Stephanie,” a symbol of endurance and wonder, framed by a sonic tapestry as intricate and vivid as a Baroque painting.

Cloud is joined by a stellar ensemble of musicians: Mateusz Smoczynski on violin, Mateusz Gaweda on piano, Adam Tadel on double bass, Piotr Budniak on drums, and guest violinist Bartosz Dworak. Their contributions help realize Cloud’s vision, which balances delicate intimacy with sweeping grandeur. Produced by Klara Cloud and recorded at Poland’s Sound & Wave Studio, the album captures the essence of transformation—fragile yet fearless, lyrical yet raw.

Dedicated to her children, Stefania and Julian, the album stands as both a deeply personal diary and a universal reflection, echoing the beauty that can emerge from silence and the passage of time. With this release, Cloud and The Vultures offer listeners a richly layered, emotional, and musically sophisticated exploration of life in all its complexities.

Rima Khcheich Fulfills a Three-Decade-Old Musical Promise with Ya Man Itha


Lebanese singer Rima Khcheich brings to life an album she has carried in her heart for decades with Ya Man Itha, a deeply personal tribute to the late Egyptian composer Fouad Abdel Majeed. Abdel Majeed’s music shaped Khcheich’s artistic voice from an early age, and in this recording, she revisits ten of his Muwashahatclassical Arabic vocal compositions set to poetry and marked by intricate rhythms and modes—placing them in dialogue with the colors and sensibilities of French chanson. At first glance, chanson may seem far removed from the Arabic Muwashah, yet both traditions share a deep commitment to poetic expression, lyrical nuance, and the marriage of words and harmony. This cross-cultural resonance inspired the ensemble’s refined arrangements, crafted by Maarten Ornstein, Tony Overwater, and Juan Rodriguez.

For Khcheich, Ya Man Itha is not merely a tribute; it is the fulfillment of a promise made thirty years ago. As a young singer of 13, she traveled to Cairo in early 1994 to meet Fouad Abdel Majeed. They spoke of making an album together, and he even composed new works for her. Just months later, however, he passed away, and the dream was left unrealized. Three decades on, Khcheich returns to his music guided by rare recordings and cherished memories, creating a living, breathing conversation between memory and renewal, past and present.

Joining Khcheich are musicians with whom she has shared a profound artistic bond for over 25 years: Maarten Ornstein on clarinet, Tony Overwater on double bass, and Joost Lijbaart on drums. Their long collaboration has cultivated a rare musical language rooted in trust, openness, and deep listening. For the first time, they are joined by Juan Rodriguez on piano, whose youthful sensitivity and energy infuse the music with fresh colors. The ensemble recorded the album live, preserving the immediacy of performance and the intimacy of shared breath.

The arrangements—three by Tony, five by Maarten, and two by Juan—reflect the spirit of the project: respectful of tradition, yet unafraid to explore new terrain. With Ya Man Itha, Kepera Records presents an album that embodies timeless heritage while speaking directly to the present moment, a musical promise finally kept.

Weather Report in Full Flight: Live in New York 1976


Release Date: 16 January 2026, Offbeat proudly presents Weather Report: Live in New York 1976, a thrilling double-CD capture of one of jazz fusion’s most influential bands at the height of their creative powers. Recorded during a live broadcast on WBGO FM at New York City Center, this performance brings together Joe Zawinul, Wayne Shorter, and Jaco Pastorius alongside the group’s powerhouse rhythm section in an electrifying showcase of invention, interplay, and sheer virtuosity.

This recording documents Weather Report at a time when the band was redefining the boundaries of jazz and fusion. Every track brims with energy and imagination, from atmospheric improvisations that shimmer and pulse to razor-sharp grooves that drive the audience forward. The chemistry among Zawinul, Shorter, and Pastorius is palpable, with each musician pushing the others toward new heights while maintaining an intuitive musical dialogue that feels both spontaneous and cohesive. The audience’s reactions feed into the intensity, making this a truly immersive listening experience.

Highlights include the lush textures of “Elegant People” and the hauntingly melodic “Scarlet Woman,” Jaco Pastorius’ groundbreaking bass work on “Portrait of Tracy,” and the blistering energy of “BirdlandDr Honorus Causa – Directions.” Solo moments, including drum and percussion features, allow the individual brilliance of the band’s members to shine, while ensemble pieces demonstrate the group’s telepathic synergy. From the adventurous “Barbary Coast – Come On Over” to the fiery finale of “Birdland II,” every note exemplifies Weather Report’s fearless approach to musical exploration.

Remastered for optimal clarity, this release not only preserves the raw excitement of a live broadcast but also offers modern listeners a chance to experience Weather Report as they sounded at their peak. The double-CD Brilliant Case edition ensures that both longtime fans and newcomers can savor the full scope of the performance, capturing the band’s innovative fusion of jazz, rock, and world music.

Live in New York 1976 is essential listening for anyone seeking a definitive statement of Weather Report’s artistry and the electrifying spirit of jazz fusion in the 1970s. With this album, Offbeat cements the band’s legacy, providing a window into a performance that is as bold, inventive, and unforgettable today as it was nearly fifty years ago.

Tracklisting includes classics such as “Elegant People,” “Scarlet Woman,” “Barbary Coast – Come On Over,” “Portrait of Tracy,” “Cannonball,” drum and percussion solos, “Birdland – Dr Honorus Causa – Directions,” “Blackthorn Rose,” “Gibraltar,” and “Birdland II.”


Friday, November 28, 2025

QOW Trio Unleash Their Boldest Statement Yet with The Rule of Three


Release Date: 30 January 2026, Whirlwind Recordings presents The Rule of Three, the third album from the adventurous and generation-spanning QOW Trio. Building naturally on the trajectory of their first two collections, this album finds the trio venturing deeper than ever into the intersection of classic jazz tradition and free improvisation. Their sound blends the melodic and swinging tenor-trio heritage with uncharted, untamed musical territories, creating an experience that is at once familiar and refreshingly unpredictable.

At the heart of the ensemble is drummer Spike Wells, whose unmistakable rhythm drives the trio with authority and finesse. In 2026, Wells celebrates his 80th birthday and an extraordinary 65-year career at the forefront of UK jazz, having performed with legends such as Tubby Hayes, Bobby Wellins, Stan Getz, and Roland Kirk. Alongside him is saxophonist Riley Stone-Lonergan, representing the London-based millennial generation. Stone-Lonergan’s compositions and improvisational inventiveness continually expand the trio’s creative palette. Completing the ensemble is bassist Eddie Myer, whose big-toned playing and Gen X sensibilities provide both depth and adventurous counterpoint. Together, the three musicians bridge decades of jazz history, merging influences and voices into a cohesive and exploratory sound.

The QOW Trio’s origins lie in their shared admiration for Sonny Rollinspiano-less trios of the late 1950s and early 1960s. Over time, the group expanded its repertoire, exploring diverse stylistic landscapes shaped by their individual tastes and generational perspectives. The Rule of Three represents their most coherent and ambitious recording to date. The album journeys from the spiritual intensity of Ayler to the refined elegance of Strayhorn, from bebop and calypso rhythms to cinematic cowboy motifs, and from structured arrangements to unrestrained free-jazz improvisations. Every track delivers surprises while maintaining the sincerity, conviction, and infectious energy that defines the trio’s live performances.

This album is a bold declaration from a project committed to both honoring jazz’s rich past and charting a visionary future. Available on 180-gram black vinyl and a 6-panel digipak CD edition, The Rule of Three captures the adventurous spirit of three generations coming together to push the limits of jazz expression. The tracklisting includes eight compelling compositions: “The Rule of Three,” “Egglet,” “Kurt Angle,” “Lush Life,” “NowHere,” “Sheriff Elvin,” “Ghosts,” and “Do Not Forsake Me Oh My Darling,” each demonstrating the trio’s imaginative interplay and fearless creativity.

The Rule of Three is an essential listen for anyone seeking a modern yet historically grounded exploration of jazz, delivered with virtuosity, empathy, and a deep sense of adventure.

John O’Gallagher Unites Master Drummers Cyrille and Hart on Ancestral


Whirlwind Recordings proudly presents Ancestral, the latest album from acclaimed saxophonist and composer John O’Gallagher. Available on CD, LP, and digital formats from October 24, 2025, the album is historic for featuring the first-ever recorded collaboration between two legendary drummers: Andrew Cyrille and Billy Hart. Completing the quartet is the virtuoso guitarist Ben Monder.

Ancestral marks a significant artistic transformation for O’Gallagher. Following a period of personal change—including relocations from Brooklyn to the UK and ultimately Lisbon—O’Gallagher also drew inspiration from his PhD studies, analyzing John Coltrane’s late recordings Interstellar Space and Stellar Regions. This deep dive into Coltrane’s structured improvisations informed the album’s approach, revealing how “free” music can emerge organically within organized systems.

Recorded in January 2024 at Sound on Sound Studios in Montclair, New Jersey, the album captures first takes, improvised group compositions, and carefully constructed pieces. O’Gallagher’s alto saxophone leads the ensemble through a diverse range of moods and textures, from spectral calm to fiery intensity, all complemented by Monder’s fluid guitar and the masterful, interplay of Cyrille and Hart on drums.

Tracks on Ancestral explore a spectrum of sonic landscapes:

  • Awakening begins like a spectral dawn, with mallets dancing on drumheads and guitar and saxophone unfurling like mist, growing to a powerful crescendo.

  • Under the Wire blends swing with Monder’s bass ostinato, evoking playful, Monkish energy.

  • Contact is an eerie improvised dialogue, hinting at uncharted territory.

  • Tug flows with regal, wily energy, demonstrating the drummers’ intuitive interplay.

  • Profess bubbles with a floating drive reminiscent of Paul Motian.

  • Altar of the Ancestors pays homage to jazz forebears, echoing Coltrane’s spiritual explorations.

  • Quixotica loops familiar motifs into subtly shifting patterns.

  • Postscript, the first piece recorded, concludes the album with a descending, contemplative tone.

Each piece highlights the quartet’s mastery of texture, form, and improvisation. Ancestral exemplifies the synergy of seasoned artists who continue to push the boundaries of jazz while honoring its lineage.

About the Artists

John O’Gallagher (alto saxophone) is an internationally recognized musician whose career spans over three decades in New York City and Europe. He has performed with luminaries such as Joe Henderson, Kenny Wheeler, Tyshawn Sorey, Maria Schneider, and Rudresh Mahanthappa. He is also the author of Twelve-Tone Improvisation and continues to develop his PhD research on Coltrane.

Andrew Cyrille (drums) emerged in the 1960s as a pioneering free jazz drummer, best known for his work with Cecil Taylor. His extensive career includes collaborations with David Murray, Mal Waldron, Roswell Rudd, and many others. Cyrille has received the Doris Duke Artist Award, a Guggenheim Fellowship in Composition, and numerous lifetime achievement recognitions.

Billy Hart (drums) has performed with McCoy Tyner, Herbie Hancock, Wayne Shorter, and Miles Davis. A master of rhythm and texture, Hart also teaches at prestigious institutions including Oberlin Conservatory and the New England Conservatory, and leads his own acclaimed quartet.

Ben Monder (guitar) is celebrated as one of the most innovative guitarists of his generation, performing with Marc Johnson, Maria Schneider, George Garzone, and contributing to David Bowie’s final album Blackstar. Monder has released seven albums as a leader and is known for his work in both solo and collaborative settings.

Produced by John O’Gallagher and executive produced by Michael Janisch, Ancestral was engineered by David Amlen, mixed by André Fernandes, and mastered by Mário Barreiros. Photography is by Owen Howard, and the album artwork and design were created by Jamie Breiwick, O’Gallagher, and Bside Graphics.

Ancestral is a bold statement of artistic evolution, bridging the legacy of jazz with contemporary improvisational exploration. It is a must-listen for fans of adventurous, boundary-defying jazz.

Bobby Charles’ Last Train to Memphis Returns: A Definitive, Star-Studded American Roots Masterpiece, Finally Back in Print


The Last Music Company is bringing a long-lost treasure back into the light with its reissue of Last Train to Memphis, the powerful late-career statement from Louisiana songwriter Bobby Charles. Originally released in 2004 and unavailable since shortly before Charles’ death in 2010, the collection assembles more than three decades of recordings—tracks written, sung, and produced by Charles during his reclusive years in Abbeville. With its November 21 release, fans will finally have access to a 2-CD edition and, for the first time ever, a 2-LP vinyl version.

Far from a typical compilation, Last Train to Memphis plays like a single, lived-in narrative, tracing the arc of an artist who remained remarkably true to his tone, humor, and heart across the years. Songs recorded in the ’70s seamlessly sit beside those from the ’90s, unified by Charles’ unmistakable melodic ease. These sessions also capture the deep respect he commanded: Willie Nelson, Neil Young, Fats Domino, Clarence “Frogman” Henry, Sonny Landreth, Delbert McClinton, Dan Penn, Maria Muldaur, and Spooner Oldham all make appearances.

Charles, who first hit the charts in the ’50s with “Later, Alligator” and wrote iconic songs like “Walking to New Orleans” and “(I Don’t Know Why) But I Do,” spent most of his life happier behind the scenes than in the spotlight. But Last Train to Memphis foregrounds his warm, raspy voice—an instrument Bob Dylan once praised as “one of the most melodious ever transmuted into a piece of vinyl.” Across the album, that voice anchors stories of longing, grit, and lived-in wisdom.

The new reissue honors the original intent of the 15-track core album, which Charles considered the project’s heart. From the title track’s rollicking journey, through the bayou-rooted balladry of “The Legend of Jolie Blonde,” to quietly devastating moments like “The Sky Isn’t Blue Anymore,” the album unfolds as a testament to Charles’ lifelong devotion to songwriting. Sessions from Dockside Studios, Willie Nelson’s Pendernales Studio, and pivotal Nashville dates weave together into a portrait of an artist who never stopped creating, even after losing nearly everything in a house fire in the ’90s.

The vinyl edition adds “The Jealous Kind,” Charles’ take on one of his most-recorded compositions, while the CD includes the original 2004 bonus disc collecting songs from Wish You Were Here Right Now and Secrets of the Heart. Those tracks—with guest turns from Fats Domino and other friends—complete the picture of a quietly prolific American original.

With Last Train to Memphis, Bobby Charles’ voice and vision return in full: unvarnished, soulful, and gently rebellious, a songwriter forever blending blues, country, R&B, and rock & roll into something distinctly his own.

George Klabin Returns to His Roots with Heart of Brasil, a New Online Radio Celebration of Bossa Nova and Brazilian Jazz


Legendary producer, engineer, and Resonance Records founder George Klabin has stepped back into the world that first ignited his musical imagination with Heart of Brasil, a new online radio program devoted to the golden era of Bossa Nova and Brazilian jazz. Streaming on Connect Brazil and archived on YouTube, the show draws deeply from Klabin’s personal record collection and private archives to present classics, rarities, and illuminating stories from someone who witnessed the birth of the music firsthand.

Klabin grew up between New York and São Paulo, spending his teenage summers in Brazil at the very moment Bossa Nova was taking shape. That early exposure never left him. Even as he became a highly respected producer, studio owner, engineer, and ultimately co-president of Resonance Records, Brazilian music remained central to his creative life. With Heart of Brasil, he returns to that passion with intention and care, curating more than three decades of artistry from icons like Antonio Carlos Jobim, Milton Nascimento, Flora Purim and Airto Moreira, Egberto Gismonti, Hermeto Pascoal, Eliane Elias, Toninho Horta, and many more.

Each 90-minute episode blends music with personal memories and historical insight, revealing the evolution of Brazilian jazz and the global impact of Bossa Nova. Klabin also opens his private vault, sharing previously unheard recordings — including an unreleased demo of “Parana” by Flora Purim and Airto Moreira, heard in the show’s third episode — offering listeners a rare glimpse into the music’s creative lineage. For Klabin, the mission is equal parts celebration and preservation. “My purpose is to get this music out there and to educate people about its importance and beauty,” he says. “I want to help ensure that this incredible music stays around long after the artists — and myself — are gone.”

Klabin’s path has always been intertwined with discovery and documentation. From his days recording jazz legends at WKCR, to running New York’s Sound Ideas studio, to overseeing the archival masterworks at Resonance Records, his career has quietly shaped the way listeners encounter some of the most significant jazz in history. With Heart of Brasil, he brings that same reverence and experience to a genre that shaped him personally — one defined by warmth, lyrical beauty, rhythmic subtlety, and emotional depth.

Episodes stream twice weekly at Connect Brazil, with full archives available on the Resonance Records YouTube channel. For longtime fans or newcomers to Brazilian music, Klabin’s perspective and personal storytelling offer an invaluable guide to a timeless musical world.

KICKIN’ IT: Chicago Vocal Powerhouse Josie Falbo Delivers a Dazzling, Genre-Spanning New Album


For more than 35 years, Josie Falbo has been one of Chicago’s most in-demand and instantly recognizable studio vocalists. With KICKIN’ IT — her latest and most eclectic project to date — Falbo steps confidently into the spotlight, showcasing her three-octave range, impeccable control, and deep fluency across jazz, pop, swing, and Brazilian styles.

Released October 17, 2025, KICKIN’ IT marks Falbo’s third full-length album as a leader, following Taylor Street (2010) and You Must Believe in Spring (2020), as well as her holiday EP A Jazzy Interlude with Josie Falbo (2021). Praised by Paris Move for her balance of technical mastery and emotional nuance, Falbo again demonstrates timeless artistry and versatility on this new release.

Falbo’s entrée into the Chicago jazz scene began with a chance sit-in with local legend Bobby Centano. Word spread quickly, and soon she was performing regularly around the city before forming her own band with Gary Loizzo — lead singer of the American Breed. Loizzo recognized her extraordinary vocal adaptability and encouraged her to pursue jingle work. A four-song demo opened the floodgates, launching a prolific commercial singing career. Her voice went on to represent major brands including McDonald’s, Oscar Mayer, Green Giant, Coca-Cola, United Airlines, Nationwide, and Budweiser, and she later sang backup for stars such as Celine Dion, Michael Bolton, Mavis Staples, Nancy Wilson, Vic Damone, Della Reese, and Ben Vereen.

Despite decades of success, Falbo didn’t initially feel compelled to record as a solo artist. “I never really needed to be a big star,” she says. “I loved singing jingles. I didn’t have to travel, and I could be with my family.” But persistent encouragement from a producer eventually led to Taylor Street, which earned glowing praise for its technical brilliance and stylistic range. A decade later she returned with You Must Believe in Spring, collaborating with producer and arranger Carey Deadman, whose credits span Frank Sinatra, Barbra Streisand, Sting, and Seal.

Deadman returns for KICKIN’ IT, arranging eight of the album’s eleven tracks. The remaining three — all Brazilian selections — were arranged by MARSHALL VENTE, host of Jazz Tropicale on WDCB. The album features an all-star Chicago rhythm section with JEREMY KAHN (piano), FAREED HAQUE (guitar), LAWRENCE KOHUT (bass), and BOB RUMMAGE (drums), supported by lush horn and string ensembles. Yet it is Falbo’s radiant voice — expressive, nimble, and deeply musical — that shines at the center.

KICKIN’ IT moves fluidly through styles and moods:

  • A big band blast of “I Get a Kick Out of You” opens the album with classic swing swagger.

  • Autumn Nocturne” reveals Falbo’s sensitivity and emotional depth.

  • Flor de Lis” features a glowing introduction by Haque and a graceful bilingual performance from Falbo.

  • On “Love Dance,” she leans into sensuality, honoring the Ivan Lins classic with warm phrasing and lush tone.

  • I Just Found Out About Love” showcases her effortless swing, while “Yellow Days” becomes an intimate ballad, opening with a tender duet with Kahn.

  • Vente’s arrangement of “Brigas Nunca Mais” concludes with Falbo’s playful, cuíca-inspired scat.

  • “Social Call” pares down to quartet, highlighting Falbo’s self-penned vocalese.

  • “Lazy Afternoon” glows with satiny languor, while “Estamos Oi” displays her scat and melodic invention — “gorgeous, lyrical new lines,” as Neil Tesser notes in the album’s liner notes.

  • The record closes with a haunting interpretation of Billy Strayhorn’s “Chelsea Bridge,” demonstrating her remarkable command of tone and atmosphere.

A lifelong singer who began vocalizing in both Italian and English before the age of two, Josie Falbo earned early acclaim through scholarships, operatic performances, and work in both classical and pop idioms. One of the final artists signed to the storied Vee-Jay label, she went on to become a fixture in Chicago’s recording studios, concert halls, and commercial music world. Her voice has appeared in television ads, film restorations — including the reconstructed sequences of Orson Welles’ Othello — theme songs, and internationally heard performances with the Lakeside Singers.

KICKIN’ IT is now available on CD and all streaming platforms.

Flamenco Drums: Emaginario’s Avant-Jazz Odyssey Blending Andalusia, Rhythm, and Cosmic Imagination


Ethan Margolis — known artistically as Emaginario — returns with Flamenco Drums, a galactically charged avant-garde jazz single arriving December 5, 2025 on Unifying Sounds. Following his recent collaboration with legendary pianist Chano Domínguez, Margolis now ventures into a daring new space, crafting a piece that fuses flamenco spirit, post-bop fire, and adventurous rhythmic architecture.

The track features a powerhouse ensemble: Margolis on vocals, Larry Grenadier on bass, Gary Novak on drums, Nick Mancini on vibraphone, and Roma percussionist Manuel Valencia contributing dynamic palmas and jaleos. As the label’s second release — and a striking contrast to Domínguez’s more traditional debut offering — Flamenco Drums signals Unifying Sounds’ intent to explore a wide expanse of musical expression.

Built around a meticulously composed drum part, the piece pays homage to the lineage of jazz drumming greats: Elvin Jones, Kenny Clarke, Tony Williams, and Art Blakey. Margolis wrote the entire percussion blueprint bar-by-bar, entrusting its interpretation to the formidable Gary Novak, whose career has included collaborations with Chick Corea, George Benson, and Allan Holdsworth.

For Margolis, the single has been a long time coming. “This is something I’ve wanted to write and record for more than a decade,” he says, citing the deep influence of Miles Davis, Chick Corea, Lenny Breau, and John Coltrane’s own journeys through Spanish themes. After 25 years immersed in Andalusian culture and friendships with Roma families, Margolis sought to articulate his personal bridge between jazz and flamenco. “In this composition, the drums lead the charge. Everything else supports what the drums are saying,” he explains — mirroring rhythmic traditions in flamenco, Indian, and African music where percussion lays the foundation for improvisation.

The result is bold, boundary-smashing, and confidently situated in the realm of “beyond-genre modern jazz.” Grenadier’s resonant bass, Mancini’s shimmering vibraphone, Novak’s explosive rhythmic drive, and Valencia’s spirited palmas create a vivid, pulsing world around Margolis’s vocal narrative.

The accompanying official music video amplifies the piece’s tension between tradition and modernity. Filmed in an Andalusian wine bodega at Bodegas González-Palacios in Lebrija — with additional footage at the Guggenheim Museum Bilbao — the visuals juxtapose rough-hewn wood and historic ambiance against sleek futurist architecture. Margolis appears among his Roma-Gitano collaborators — Manuel Vargas (dance), Fernanda Peña (rhythm), and Gonzalo Peña (rhythm) — creating a cinematic tableau with shades of Tarantino’s flamboyant intensity. Shot by Nané S. Moreno in Lebrija and by Margolis in Bilbao, and edited by LA filmmaker Jeff Katz, the video stands as a work of art in its own right, underscoring the idea that powerful creativity transcends category.

Flamenco Drums is both a tribute and a leap forward — a rhythmic manifesto linking jazz’s rebellious heart to the spirit of flamenco and the wider global imagination.

Black Hole Blues: Quadrature’s Raga-Driven, Genre-Bending Debut


Born from the legendary Brooklyn Raga Massive (BRM) jam sessions, Quadrature steps boldly into the spotlight with Black Hole Blues, their debut album on Deko Entertainment (ADA/Warner Music Group). The quartet — sitarist/effects wizard Neel Murgai, Firebird trumpeter/effects innovator Indofunk Satish, drummer Tripp Dudley, and bassist Damon Banks — forges an electrifying musical language that fuses raga, rock, jazz, and psychedelia into something entirely its own.

Quadrature began as a fully improvised experiment, channeling Indian classical ragas through amplified, high-energy ensemble interplay. They first turned heads in Brooklyn’s open-air BRM sessions, where their spontaneous street-side sets felt like cosmic explorations unfolding in real time. In 2023, the group deepened its sound as artists-in-residence at the David Rockefeller Creative Arts Center, refining arrangements without losing the raw spark that defines their identity.

Their path since has been unmistakably upward, with performances at Globalfest at Lincoln Center, the Ragas Live Festival at Pioneer Works, Joe’s Pub, Barclays Center Plaza, and more. True to their mathematically inspired name — quadrature being the area under a curve — the band inhabits the space between raga form and contemporary expression, where right angles twist into odd meters and gravity bends into black hole blues.

Reflecting on the album, Murgai notes, “My sound on sitar has evolved a lot the last few years as I electrified and got together with the like minded musicians in Quadrature. This recording documents our take on raga inspired prog rock, jazz and more.” Satish echoes the spirit of the project: “We just wanted to capture the feeling of playing together… the deep musical conversations that were happening on our live shows. And we totally captured that! We had a blast making it, and ended up creating exactly the kind of music we’d want to listen to ourselves. We hope that energy and joy translates to our listening audience.”

Black Hole Blues marks the arrival of a band that thrives on fearless creativity, rooted tradition, and a shared hunger to explore sonic extremes.

Watch “Black Hole Blues” video: https://www.quadraturemusic.com/bhbmusicvideo

Burning Wick: Satoko Fujii Quartet Reignites Their Ferocious Avant Jazz-Rock Spirit


On Burning Wick, pianist-composer Satoko Fujii leads her revitalized avant jazz-rock fusion quartet into exhilarating new territory. Originally formed in 2001, the all-star group — Fujii, trumpeter Natsuki Tamura, bassist Hayakawa Takeharu, and drummer Tatsuya Yoshida — was one of her earliest working bands, known for its explosive energy and fearless improvisation. After a nearly 20-year hiatus, the quartet reunited last year with its mischievous spark fully intact. “We are not young anymore — our average age is 68 — but we have so much fun making music together that we feel like teenagers,” Fujii says.

This time around, Fujii’s compositions take center stage. Unlike their previous album, Dog Days of Summer, where she reworked arrangements at the last minute to preserve the group’s wildness, Burning Wick finds the quartet thriving within the structures exactly as written. The band sounded so strong in rehearsals, Fujii says, she barely changed a thing.

The album opens with “Solar Orbit,” a piece that both honors and bridges the members’ differing musical personalities. Fujii’s delicate, atmospheric introduction and Yoshida’s muted drum textures soon erupt into full-throttle turbulence. After a maze of sharp turns and sudden shifts — hallmark traits of Fujii’s writing — Tamura delivers one of the album’s standout moments, unfurling a slow-burn, voodoo-tinged solo over a simmering jazz-rock pulse.

Hayakawa’s imposing, effects-laced bass solo sets the tone for “Rain in the Wee Small Hours,” a striking contrast to one of the quartet’s most relaxed, jazz-forward compositions. The band’s unruly signature returns on “Walking Through the Border Town,” where eerie vocalizations and sound effects intersect with a swaggering rock theme before devolving into a glorious freak-out courtesy of Hayakawa and Yoshida.

Neverending Summer” pivots from meditative piano reverie to pounding, rock-heavy force, cycling through passages at breakneck speed. Hayakawa unleashes a fuzz-toned bass solo, while Tamura shines in a fiery, jazz-rooted improvisation. “Mountain Gnome” creeps in with fragmented sound snippets — a collage of warped textures — before exploding into the quartet’s most urgent, unhinged playing on the record, complete with vocal shrieks and blistering instrumental volleys.

Three Days Later,” first introduced on Fujii’s 2019 duet album Confluence, becomes a showcase for individual expression: unaccompanied solos, rotating duets, and a final collective surge. The title track brings the album to a kaleidoscopic close, with Fujii at the center of its churning, colorful motion.

The Satoko Fujii Quartet remains an ensemble of remarkably distinctive voices. Yoshida — legendary co-founder of The Ruins — brings his boundary-pushing rock intensity. Tamura melds lyricism and extended techniques into a singular trumpet language. Hayakawa continues to defy genre expectations with his commanding presence, whether leaning avant-rock or jazz-improv. Fujii herself, hailed by The New York Times for her “rumbling intensity and generous restraint,” continues to stand as one of the most original and prolific forces in creative music.

With over 100 albums as a leader, groundbreaking ensembles from trios to large-scale orchestras, and a global reputation as a composer and improviser, Fujii’s return to this high-voltage quartet feels both historic and vibrantly alive. Burning Wick captures a band reborn — older, wiser, and more joyfully explosive than ever.

Satoko Fujii Quartet — Burning Wick
Libra Records · Catalog 204-082
Recorded September 2, 2025
Release Date: November 21, 2025

Vibrations in the Village: A Newly Unearthed Rahsaan Roland Kirk Treasure


Resonance Records is set to unveil a rare, previously unheard live performance by Rahsaan Roland KirkVibrations in the Village: Live at the Village Gate — as a two-LP RSD Black Friday exclusive on November 28, 2025. Captured in 1963 at New York’s iconic Village Gate, the recording showcases Kirk in ferocious, imaginative form, supported by bassist Henry Grimes, drummer Sonny Brown, and an unusual rotation of pianists: Horace Parlan, Melvin Rhyne, and a young Jane Getz. A deluxe CD edition follows on December 5.

Released with the blessing of Dorthaan Kirk, the musician’s widow, the set presents Kirk wielding his signature arsenal of reeds and flute with explosive creativity. The package includes extensive liner notes by biographer John Kruth, heartfelt remembrances from Getz and Dorthaan Kirk, and tributes from James Carter, Steve Turre, Chico Freeman, Adam Dorn, and novelist May Cobb. Restored and mastered by Matthew Lutthans, the LP edition arrives on 180-gram vinyl pressed by Le Vinylist in Quebec.

The tapes themselves have a miraculous backstory. In 1963, a now-unknown filmmaker began work on a documentary about Kirk and hired engineer Ivan Berger to capture performances at the Village Gate. The filmmaker died before the project could be completed, and the recordings remained untouched for decades. Sixty years later, Berger resurfaced the tapes, sparking the release. “Yet another story of how important recordings were made, lost and through some miracle eventually came to light,” says Resonance co-president and producer Zev Feldman.

Dorthaan Kirk expresses both pride and joy at the release: “I am elated that this music will be out for the world to hear… his name is probably right up there with Coltrane or Dizzy.” Kruth highlights the historic venue itself, recalling how the Gate consistently inspired artists — from Nina Simone and Bill Evans to Monk and Albert Ayler — to bring their best. Now, this recording captures Kirk (still pre-“Rahsaan”) doing the same.

Getz remembers the night vividly: visiting Grimes at the club, being invited to sit in, and feeling immediately at ease with Kirk’s warmth and intuition. James Carter calls Kirk “a walking miracle,” marveling at how his visual impairment seemed only to intensify his creative energy. Chico Freeman recounts a life-changing lesson Kirk taught him onstage — calling Coltrane’s “Giant Steps” when Freeman least expected it — a challenge that became a formative push. Turre emphasizes Kirk’s unifying spirit, while Adam Dorn notes how proudly his late father, producer Joel Dorn, would have embraced this release. Cobb frames the album as fueling a “Rahsaainasance,” nurturing the legacy Dorthaan has long protected.

Alongside this major discovery, Resonance will issue another Kirk rarity for RSD Black Friday: Seek and Listen: Live at the Penthouse (1967), also as a 2-LP exclusive. Together, the releases illuminate an artist whose boundless imagination and humanity continue to resonate across generations.

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