GODTET and the Sydney Symphony Orchestra Redefine Boundaries on GODTET + The Sydney Symphony Orchestra

GODTET’s upcoming album captures the extraordinary synergy of their landmark performance with the Sydney Symphony Orchestra at the Sydney Opera House, a meeting of worlds where free improvisation meets classical orchestration. Orchestrated by long-time collaborator Novak Manojlovic and conducted by Nicolas Buc, the project transforms GODTET’s distinctive rhythmic language and live sampling artistry into a richly textured orchestral suite, bridging the intimacy of bedroom production with the grandeur of the concert hall.

In this ambitious collaboration, the orchestra navigates fully composed material while GODTET improvises within the harmonic architecture, creating a delicate tension between structure and spontaneity. Manojlovic’s arrangements amplify the ensemble’s groove, translating the band’s experimental sounds into symphonic color and weight. The result is a textural, cinematic suite that honors both the idiosyncratic energy of GODTET and the expansive sonic palette of the Sydney Symphony Orchestra.

The album celebrates the fluid exchange between disciplines. GODTET’s improvisational vitality intertwines with orchestral sophistication, dissolving hierarchies and demonstrating that music born in bedrooms and warehouses can resonate just as profoundly in concert halls. The performance and its recording stand as a testament to fearless artistic exploration, expansive imagination, and the beauty of bridging musical worlds.

Novak Manojlovic reflects on the project: “This collaboration weds two worlds I feel deeply connected to—the improvisatory aesthetic of GODTET, and the formal composition environment of the Sydney Symphony Orchestra. By letting GODTET improvise and the orchestra play the written material, we found a path that amplifies the best of each. Witnessing these two musical worlds interact seamlessly was one of the great privileges of my career. I hope this recording helps bridge perceptions between music created in bedrooms and warehouses and that presented in concert halls—truthful music transcends its origins.”

GODTET + The Sydney Symphony Orchestra is out 14/11/2025 via La Sape Records on LP and digital formats, a bold statement of innovation, collaboration, and genre-defying artistry.

James Allsopp Explores Cosmic Landscapes on Stars And Sand

James Allsopp, one of the UK’s most gifted saxophonists, returns with Stars And Sand, a richly cinematic and imagistic jazz album that stretches the boundaries of improvisation and storytelling through sound. Drawing on the adventurous spirit of free-jazz icons such as Eric Dolphy, John Coltrane, and Sun Ra, Allsopp blends ambient textures, psychedelic shading, and avant-garde sensibilities to craft a record that feels more like a journey through vivid sonic landscapes than a traditional jazz session.

Joining Allsopp on this exploration are alto saxophonist Steve Buckley, electric bassist Tom Herbert, and the emergent drummer Dave Storey, while co-producer Ben Lamdin (Nostalgia 77) adds dubwise textures, reverb-washed interludes, and a touch of psychedelia, elevating the quartet’s already immersive sound. Tracks like Yew shimmer with liquid horn dialogue and synth-like basslines, moving into ghostlike, reverberant passages that conjure supernatural atmospheres. The title track radiates exotic heat, Allsopp’s tenor sax and bass clarinet flowing endlessly, punctuated by moments of intense, focused expression.

On Slinky, distant thunderclaps and electric keyboard droplets create shifting weather across the sonic canvas, while Gravity channels turbulent storms through expressive, halting dialogues between instruments. Orugōru introduces hints of the oriental, with Buckley’s penny whistle fluttering high in Sun Ra–like exploratory flights over Allsopp’s grounding bass clarinet. The closing tracks, Tincture and Red Sky, guide listeners through subtle bossanova shades, dark abstractions, and luminous resolutions, encapsulating the album’s central vision: the stars, the sand, and the infinite space above.

Stars And Sand is an album of meticulous craft and inspired intuition, but for the listener, it is pure pleasure—a holiday for the mind, a cinematic journey that evokes color, drama, and the endless possibilities of sound.

Or Kantor Unveils Snake Island, a Cinematic and Imagistic Second Album

Or Kantor returns with Snake Island, a vivid and atmospheric sophomore album shaped by imagined landscapes, vanished memories, and the emotional residue of lost love. Building on the instrumental storytelling of his acclaimed 2024 debut Sarda Sarda—which drew praise from BBC Radio 6 Music, FIP, KCRW, and Songlines—Kantor deepens his sonic world with a richer, more cinematic vision. Conceived as the soundtrack to a fictional film that no one has ever seen, Snake Island channels the haunting beauty of a remote Cycladic island into a mythic narrative woven from mood, memory, and imagination.

Kantor’s artistic path has always been unconventional. A respected tattoo artist and founder of the Love Light studio, he entered the music world unexpectedly when Johnny Sharoni of Garden City Movement—now A&R at Anova Records—heard Kantor’s demos during a tattoo session. Struck by their raw, evocative sound, Sharoni signed him on the spot. That serendipitous moment led to Sarda Sarda, and now, to the expansive universe of Snake Island.

Describing his evolving style as “Subterranean music,” Kantor blends Mediterranean ballads, spiritual jazz, desert blues, and psychedelic textures into something wholly his own. Influences like Gábor Szabó, Omar Khorshid, Dorothy Ashby, The Budos Band, and Tommy Guerrero echo throughout the record, but the atmosphere is unmistakably Kantor’s: timeless, dreamlike, and cinematic.

“Snake Island was written as a soundtrack to a fictional film that disappeared from the world—one that, most likely, no one has ever seen,” Kantor explains. “It began as a tragic love story imagined during my time on a remote island in the Cyclades. Every landscape felt like a scene waiting for music. Eventually, the story gave way to sound.”

Snake Island marks a confident leap forward—a mythic, imagined film score rendered in music that shimmers like heat over stone. With its blend of nostalgic coastal moods, vintage cinematic color, and sweeping instrumental emotion, the album stands as a bold new step in Kantor’s creative evolution.

TSD Celebrates the 100th Birthday of Sammy Davis, Jr. with “Once in a Lifetime”

As the world prepares to mark what would have been Sammy Davis, Jr.’s 100th birthday on December 8, 2025, TSD is proud to announce Once in a Lifetime: A Sammy Davis, Jr. Centennial Celebration—a star-studded tribute honoring the life, legacy, and unmatched artistry of one of America’s greatest entertainers. Though Mr. Entertainment left us in 1990 at just 64 years old, his influence continues to shine across music, Broadway, film, and culture. Beginning his career in vaudeville at just two years old, Sammy Davis, Jr. spent seven decades breaking barriers, inspiring peers and future generations, and redefining what it meant to be a multi-hyphenate performer.

On Sunday, December 7 at 7:00 p.m., some of Broadway’s brightest talents will take the stage at New York’s legendary 54 Below to honor Sammy on the eve of his centennial. With the in-person event fully sold out, fans everywhere can still experience the magic through a worldwide livestream. Produced by TSD’s Joe Marchese and Motown historian Andy Skurow, the concert will be led by musical director and pianist Michael Lavine, joined by drummer Daniel Glass and bassist Michael O’Brien.

The evening boasts an extraordinary roster of acclaimed performers, including Rupert Holmes, Keith David, Blinky Williams, Jasmine Amy Rogers, Lee Roy Reams, Michael-Demby Cain, Jerry Dixon, Ava Nicole Frances, Nicolas King, Marc Kudisch, T. Oliver Reid, and Eric Jordan Young. Together, they will deliver Sammy’s biggest hits—along with a few surprises—paying tribute to a man who influenced countless artists and left an indelible mark on American entertainment. From Tony Bennett’s praise of Sammy’s incomparable spirit to Gregory Hines’ admiration of his gifts, and Frank Sinatra’s heartfelt tribute to his friend, the impact of Sammy Davis, Jr. remains as powerful as ever.

Once in a Lifetime promises an unforgettable evening of music, memories, and celebration. TSD invites fans worldwide to join in honoring a true icon by securing a livestream ticket and enjoying this centennial tribute from home.

Vance Thompson Rediscovers His Voice on Vibraphone with Lost and Found

Grammy-nominated composer, educator, and bandleader Vance Thompson is stepping boldly into a new musical chapter—this time as a vibraphonist—following a years-long battle with the neurological disorder Focal Dystonia that forced him to lay down the trumpet for good. What could have been the end of his performing career instead sparked a reinvention, culminating in Lost and Found, out January 16, 2026 on Moondo Records. The album marks Thompson’s first release as a leader in more than a decade and his first since embracing an entirely new instrument.

Thompson’s struggle began in late 2017, when the disorder gradually compromised his ability to play the trumpet. By May 2022, after half a decade of exhausting practice, therapy, and hope, he accepted the heartbreaking truth that he would never again perform on the instrument that had defined his life. But out of that loss came an unexpected spark: the vibraphone. Long inspired by masters like Gary Burton, Stefon Harris, and Milt Jackson, Thompson picked up a pair of borrowed mallets and decided to take things one day at a time. What began as an experiment quickly reignited his artistic fire.

Lost and Found is the joyous result of that rebirth—a lively, swinging testament to creativity, resilience, and rediscovery. Joined by a trusted quartet of longtime collaborators—pianist Taber Gable, guitarist Steve Kovalcheck, bassist Tommy Sauter, and drummer Marcus Finnie—Thompson unveils a sound that is unmistakably his own, even on a completely different instrument. His compositional and improvisational voice remains intact, evolved, and newly liberated.

Thompson recalls that it took only two weeks from first picking up mallets to calling friends for jam sessions. Although transitioning from a wind instrument to vibes required adjustments, it also opened new possibilities—chords, multi-note textures, and a shimmering resonance that became central to his new musical identity.

Teaching sustained him during the hardest years, and in that time, he feels he grew significantly as a musician. The album reflects that evolution, weaving together six new originals and thoughtful interpretations that trace the emotional terrain of his journey. The title track, begun before his diagnosis and finished years later on vibraphone, serves as a musical map of loss, reflection, and renewal. Other compositions draw from poetry, family, humor, and life’s most intimate milestones, all wrapped in the quartet’s warm rapport. The set also includes a luminous reading of “Over the Rainbow,” a funky take on Chick Corea’s “Bud Powell,” and Donald Brown’s “My Three Suns,” which steers the band into fusion-inflected terrain.

Through Lost and Found, Thompson becomes an inspiration himself—a testament to the idea that when one door closes, another may open in the most surprising form. His story echoes through every note: even in moments of profound loss, creativity can carve out new paths forward.

Music. Magic. Ironic.: Incognito’s 20th Studio Album Arrives This Month

Incognito founder Jean-Paul “Bluey” Maunick announces the arrival of Music. Magic. Ironic., the band’s 20th studio album—another expansive double release featuring 17 tracks. Issued on Bluey’s own label, Splash Blue, in partnership with Splash Music Productions, the album lands 24 December in Japan and 25 December worldwide, perfectly timed for the holiday season.

Bluey explains that the heart of Music. Magic. Ironic. reaches back to his childhood in Mauritius. He recalls watching sugar cane workers collapse onto the beach after long, punishing days in the sun—only to be transformed by the arrival of local musicians. With nothing more than a bottle, a fork, a spoon, hand drums, and clapping hands, the players conjured something powerful enough to lift exhausted bodies into joyful dancing. As a child, Bluey mistook “magic” for “music”—a misunderstanding that, in hindsight, was no misunderstanding at all.

From the age of five, inspired most of all by a desire to heal his grandmother, he felt a clear calling: to ease people’s burdens through music. Music. Magic. Ironic. is the latest chapter in that lifelong mission. Joined by a brilliant lineup of Incognito collaborators—Joy Rose, Tony Momrelle, Natalie Duncan, Cleo Reign Stewart, Maysa, Megan Khan, Imaani, Zebulon Ellis, Richard Bull, Charlie Allen, Chicco Allotta, Trevor Mires, Alistair White, Sid Gauld, Ryan Quigley, Paul Booth, Andy Ross, Graham Harvey, Francis Hylton, Francesco Mendolia, João Caetano, Mo Hausler, Drew Wynen, Max Beesley, Kevin Robinson, Ski Oakenfull, Simon Grey, Simon Hale, Richard Spaven, Everton Nelson, Ian Humphries, Natalia Bonner, Warren Zielinski, Marianne Haynes, Richard George, Charlie Brown, Louisa Fuller, Bruce White, Reiad Chibah, Chris Worsey, Ian Burdge, Phillipa Mo, Dave Larkin, Gillon Cameron, Dave Williams, Penny Ainscow, Ivana Cetkovic, Virginia Slater, Fiona Leggett, Nathanael Horton, and Bluey himself—the album radiates collective joy and creative energy. Graphic design comes from Mitchybwoy, accompanied by photography from Amanda Searle.

At 68, Bluey continues to practice what he calls “the magic of music,” even while facing Parkinson’s and Osteoporosis. These challenges have only strengthened his drive to create and to help others navigating similar diagnoses. Though he began his journey wanting to heal the world, he now finds himself healed by the very force he has dedicated his life to. “Isn’t that ironic?” he reflects.

Bluey invites listeners everywhere to let music elevate their spirits, restore balance, and carry them through difficult moments. On behalf of the entire Incognito family, he shares warm wishes for the year’s end—and hopes that Music. Magic. Ironic. finds a joyful home in the hearts of listeners around the world.

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 Muwashahat—classical 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 “Birdland – Dr 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.”

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 Rollins’ piano-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.