Chieli Minucci Celebrates Special EFX’s Legacy With “The Hits” Collection

Responding to longtime fan demand and decades of chart-topping success, Emmy-winning guitarist Chieli Minucci has assembled a definitive collection from his GRAMMY®-nominated jazz fusion group Special EFX. Titled The Hits, the Chieli Music release gathers the majority of the band’s No. 1 Billboard singles, remastered fan favorites, and three brand-new songs into one celebratory package. The album arrives as one of its new tracks, “Marbella,” is poised to enter the Top 40 on both the Billboard and Mediabase Smooth Jazz charts.

Nearly 45 years ago, Minucci co-founded Special EFX with Hungarian percussionist George Jinda. Though Jinda passed away in 2002, Minucci has continued to evolve and lead the band, preserving its signature blend of world music textures, contemporary jazz sophistication, and blues-tinged grooves. In recent years, Minucci noticed that while audiences enthusiastically attend Special EFX concerts, many are less familiar with the band’s newer recordings — a reflection of the shrinking number of contemporary jazz radio stations. With frequent requests to “play the hits,” he curated The Hits to satisfy both nostalgia and discovery, giving fans a cohesive collection that honors the band’s legacy while introducing fresh material.

Mining Special EFX’s expansive 25-album catalog, Minucci selected seven of the group’s eight No. 1 Billboard hits for inclusion. Four additional fan favorites were remixed and refreshed, breathing new life into beloved tracks. Minucci wrote and produced 13 of the album’s 14 songs, including three new compositions that extend the band’s signature sound into new territory.

Leading the new material is the Spain-inspired single “Marbella,” a rousing, sun-drenched groove that captures the romance and warmth of the Mediterranean coast. The track features saxophonist Michael Paulo and was produced by two-time GRAMMY® winner Paul Brown. Minucci describes Marbella, Spain as his fantasy vacation destination and notes that the song’s melodies were written against its rhythmic backing groove. Paulo’s heartfelt sax solo adds emotional depth and lyrical elegance, elevating the track’s celebratory feel. Minucci remains optimistic that audiences will connect with the song’s beauty and spirit.

The project also features an impressive lineup of GRAMMY® winners and nominees, Billboard hitmakers, and renowned musicians, including Warren Hill, Eric Marienthal, Elan Trotman, Nicholas Cole, Elliott Yamin, Lin Rountree, Oli Silk, David Mann, Roger Smith, Roberto Vally, Greg Vail, Shane Theriot, Ron King, Omar Hakim, and Lionel Cordew, underscoring the collaborative depth and prestige surrounding the release.

Special EFX earned a GRAMMY® nomination for their 1985 album Modern Manners, cementing their place in the evolution of contemporary jazz fusion. Over the decades, the band’s global influences and melodic accessibility have made them a mainstay on the Billboard charts and international stages.

Based in New York City, Minucci maintains a relentless touring schedule, performing throughout the United States and abroad in various Special EFX configurations. This year, he will tour Canada and parts of the U.S. as a featured guest with Hungary’s top jazz fusion band, Djabe, and appears on their upcoming album Butterflies. He is also featured on percussionist Curtis McCain’s forthcoming single “Oceanside,” set for release this summer.

A prodigious and versatile guitarist, Minucci has played or recorded with major international artists including Celine Dion, Lou Reed, Lionel Richie, Jennifer Lopez, Jewel, Marc Anthony, Michael Bolton, Eartha Kitt, and Eddie Fisher. Within contemporary jazz circles, he has collaborated with luminaries such as Kirk Whalum, Jeff Lorber, Norman Brown, Rick Braun, Maysa, Marion Meadows, and Mindi Abair.

Beyond recording and touring, Minucci is a three-time Emmy Award winner who has composed music for film, television, and theater. His credits include the Academy Award-winning film No Country for Old Men, as well as Bowfinger, Legally Blonde, Panic, Peter Pan, and children’s favorites Dora the Explorer and Thomas & Friends.

The Hits track list includes: “Uptown East,” “Blue Lagoon,” “Cool Summer,” “Kickin’ It Hard,” “Waterfall,” “Lavish,” “You Make Me Blue,” “Meant To Be,” “Dreams,” “Been So Long,” “Marbella,” “Passions,” “Till The End Of Time,” and “Cruise Control.”

Praised by Cultuurmania as “a beautiful album… a chance to get acquainted with the oeuvre of Chieli Minucci & Special EFX,” The Hits stands as both a celebration of an enduring musical legacy and a vibrant reminder that the band’s sound continues to evolve, inspire, and chart new territory.

Sharon Rae North Reimagines The Cars’ “Drive” With Soulful Elegance and Emotional Depth

For adult contemporary/jazz vocalist Sharon Rae North, Drive has long held a special place in her heart. Originally released in 1984 by The Cars, the band’s biggest international hit carried an unmistakable current of soul, longing, and heartbreak beneath its sleek pop exterior. When North heard the song again last fall for the first time in years, it stirred the same emotions she felt decades ago. Inspired by that wave of nostalgia and emotional resonance, she decided to record her own interpretation — partnering with two-time GRAMMY® nominee Chris Davis, known throughout the industry as “Big Dog.” The independently released single is now gaining traction at radio and earning playlist adds.

Determined to honor the essence of the original while firmly making it her own, North and Davis immersed themselves in the song’s emotional core — from Ric Ocasek’s vulnerable lyrics to Benjamin Orr’s aching vocal performance. Together, they reshaped “Drive” into a version that reflects North’s perspective and vocal identity. In her capable hands, the song transforms into a tender reassurance — less distant observation and more intimate consolation. Davis, architect of more than twenty Billboard No. 1 singles, constructs a lush, soulful R&B groove around North’s commanding yet deeply personal vocal delivery. Jazzy keyboard flourishes and atmospheric textures preserve the dreamy, melancholic quality of the original while elevating it into contemporary adult jazz territory.

North speaks openly about the emotional gravity of the song. To her, “Drive” embodies a profound sadness born from helplessness — the pain of wanting to support someone who may not be ready to confront their own struggles. Though she hasn’t personally experienced that exact dynamic, she connects with the complexity of caring deeply for someone who may be in denial about challenges in their life or relationship. That emotional nuance informs her vocal phrasing, allowing vulnerability and strength to coexist in every line.

Capturing the perfect vocal performance proved essential. After initial takes were recorded and mixed, North felt something was missing. Without informing Davis, she returned to the studio to recut her vocals in pursuit of a deeper emotional truth. When Davis discovered the surprise revision — after having already completed a mix — he wasn’t initially pleased. Yet he ultimately remixed the track with the new vocals, resulting in a finished version that satisfied them both and further solidified the creative trust built over more than a decade of collaboration.

That trust has been cultivated through a long-standing partnership. Davis helmed North’s 2016 EP, Sincerely Yours. In 2022, Davis joined forces with two-time GRAMMY®-winning producer Paul Brown to produce North’s first full-length album, Silhouette. The album followed the 2019 single “Moments,” which featured acclaimed saxophonist Marion Meadows and helped further establish North’s presence in the contemporary jazz world.

Before fully committing to her recording career, North built a distinguished résumé as an award-winning television news anchor, journalist, and reporter, with roles at local media outlets and nationally with CNN in Atlanta. Music initially began as a parallel passion, with early releases including The Way You Make Me Feel in 2007 and Gee Baby in 2012. Over time, her recordings have charted domestically and internationally, including appearances on major charts such as Billboard. As a live performer, North has opened for notable artists including Paul Brown, Patti LaBelle, Joe Sample, Adrian Crutchfield, Dee Lucas, and Patrick Lamb. She has graced respected stages and premier jazz venues across the country and abroad, including Blues Alley, Catalina Jazz Club, Vibrato Jazz Club, and the Richmond Music & Jazz Festival.

North continues to connect with audiences on stage, with upcoming concert dates in Columbus on March 21 at the ICON Jazz Lounge and in Atlanta on April 12 at St. James Live!. With her evocative new interpretation of “Drive” now resonating at radio and streaming platforms, she is already planning to release another new single later this year — further expanding a career defined by sophistication, emotional honesty, and artistic evolution.

Blake Aaron Rises Higher With “The Upside” After a Record-Breaking Year

As he navigates turbulent times with clarity, gratitude, and unshakable optimism, R&B/jazz guitarist Blake Aaron continues to channel hope into music that resonates deeply on both emotional and spiritual levels. That forward-looking mindset fuels his newly released Innervision Records single, “The Upside,” a vibrant, groove-driven statement that launches the next chapter of his career and serves as the first release from his forthcoming album Fire and Velvet.

“The Upside” arrives on the heels of the most successful year of Aaron’s recording career. In 2025, he scored two Billboard No. 1 singles — “Let’s Get Lost” and “Dare To Fly” — achievements that propelled him to Billboard’s No. 2 Artist of the Year. He also claimed the No. 1 Artist of the Year title on both the Mediabase and Radiowave charts, further solidifying his standing as one of contemporary jazz’s most dominant forces. “Let’s Get Lost” closed out the year as Billboard’s No. 5 single and Radiowave’s No. 4 single, capping a milestone year that saw Aaron earn his eighth and ninth No. 1 singles across all four major smooth jazz charts: Billboard, Mediabase, Radiowave, and SmoothJazz.com.

Reflecting on the breakthrough year, Aaron expressed deep gratitude for the journey. Achieving multiple No. 1 singles in a single year across all major charts marked a personal and professional pinnacle. Being named No. 1 Artist of the Year on Mediabase and No. 2 Artist of the Year on Billboard pushed that success even further. For Aaron, the numbers represent more than chart positions — they signify a lifelong dream of reaching hundreds of millions of people emotionally and spiritually through his music, a dream he feels closer to realizing every day.

Determined to build on that momentum in 2026, Aaron released “The Upside,” which began earning immediate airplay and playlist adds upon impact. The track is a dynamic fusion of retro R&B groove and contemporary jazz sophistication. His agile electric guitar takes command from the opening bars, delivering lyrical phrasing with confidence and warmth. Sprightly horns, lilting strings, and a full, vibrant rhythm section create a cinematic soundscape bursting with energy and forward motion. The funky instrumental serves as both celebration and affirmation, showcasing Aaron’s signature melodic storytelling and expressive tone while delivering a timely message of resilience.

Aaron describes the inspiration behind the track as a response to the mounting challenges people face in everyday life — financial pressures, health struggles, career obstacles, and relationship hardships. “The Upside” is about finding light even when the climb seems overwhelming. He envisioned the song as an inspiring, bright, cinematic journey that transforms challenge into triumph through melody, groove, and musical optimism — something revitalizing, instantly memorable, and impossible to forget, reminding listeners that no matter where they are, there is always a way up.

The recording features an all-star lineup of collaborators. GRAMMY-winning bassist Mel Brown anchors the groove alongside Carnell Harrell on piano and keyboards, Michael White on drums, and Ramon Yslas on percussion. The horn section includes Michael Stever on trumpet and arrangements, Andrew Neu on saxophone, and Lane on trombone, while Tyries Rolfe crafted the lush string arrangements that elevate the track’s cinematic sweep.

Aaron’s latest album, Love and Rhythm, his seventh collection, was released in 2024 and further expanded his signature blend of smooth jazz, R&B, and soulful melody. Beyond recording his upcoming Fire and Velvet album — anticipated for release later this year or early next year — he is currently producing four additional artists, continuing to shape the sound of contemporary jazz both on stage and behind the scenes.

A sought-after live performer, Aaron’s touring schedule remains robust. March dates include performances in Virginia and Delaware, as well as appearances at the prestigious Boscov's Berks Jazz Festival in Reading, Pennsylvania on March 25 and 26. In May, he travels overseas for concerts in the Netherlands and the United Kingdom, including a featured performance at the Algarve Jazz Festival in Portugal. While in Europe, he will also teach music clinics at several universities, further demonstrating his commitment to mentorship and musical education. Later this year and again in March 2027, he will join the celebrated Dave Koz & Friends At Sea cruises, bringing his electrifying stage presence to international audiences at sea.

A first-call guitarist throughout his career, Aaron has recorded and/or performed with an eclectic roster of marquee artists including Philip Bailey, Sheila E., The Alan Parsons Project, The Gap Band, Lakeside, Ronnie Laws, Keiko Matsui, Warren Hill, Bobby Womack, and Carlos Santana. His versatility extends beyond the stage and studio, with film and television credits that include MADtv, Super Dave Osborne, and The Ben Stiller Show.

With chart-topping momentum, a powerful new single, and a global touring schedule ahead, Blake Aaron continues to ascend — turning optimism into artistry and proving once again that the upside is always within reach.

Philly 3: James Fernando’s Daring, Playful Reimagining of the Modern Piano Trio

James Fernando—the prodigiously talented pianist and composer known for equal parts mischief and mastery—steps boldly into a new chapter with Philly 3, his sixth album overall and the debut recording of his working trio. Across nine original compositions and a single, lovingly reimagined nod to Erroll Garner, Fernando positions himself at the intersection of virtuosity, humor, and serious compositional intent, pushing the piano-trio tradition forward while keeping listeners perpetually off balance and irresistibly locked into the groove. The album arrives via Spring Garden Records, a boutique label operated through the Community College of Philadelphia that spotlights the city’s music community while creating real-world learning opportunities for students.

The trio—Fernando on piano, Dan McCain on bass for most of the record (with Sam Harris guesting on “The Parisian” and “Like It Is”), and the incandescent drummer Kyon Williams—came together under unlikely circumstances in 2023, when Fernando received a last-minute call to assemble a group for a Kennedy Center performance with just three days’ notice. That first meeting happened onstage, and the chemistry was immediate. What followed was a rapid ascent into one of the most dynamic piano trios emerging from the region, with appearances at venues and universities across the country confirming the group’s depth, elasticity, and shared intuition.

After five albums as a leader and years of touring and collaboration, Fernando felt an urgency to document a trio that had coalesced so quickly and emphatically. Writing with the individual voices of McCain, Harris, and Williams in mind, he advanced compositional ideas he had been refining for years: metric modulation as narrative propulsion, multi-section forms that unfold like short films, and a harmonic language that draws as freely from classical counterpoint as from bebop lineage. The result is both laboratory and love letter—music that tests technique while remaining deeply personal, rooted in story, humor, and emotional clarity.

“As much as I love a big, ridiculous piano flourish,” Fernando says, “I wanted this record to feel like a conversation; fun, surprising, sometimes dark, always human. I also wanted to make music that couldn’t have been written by just anyone with a jazz degree—and certainly not by an algorithm. I crave music with breadth, humor, and contradictions.” That ethos animates every corner of Philly 3, a record that refuses to separate playfulness from rigor.

Fernando’s influences surface not as quotation but as lived vocabulary. Erroll Garner’s joyful swing is honored through a modernized take on “Like It Is,” while the technical clarity and lyricism of Oscar Peterson and Brad Mehldau inform Fernando’s phrasing and harmonic risk-taking. The adventurous rhythmic sensibility of Tigran Hamasyan is felt in the album’s odd-meter maneuvers, yet imitation is never the goal. Fernando instead situates himself as a next-generation voice in this lineage, committed to transcending genre boundaries and positioning the piano as a tool for cultural conversation rather than stylistic containment.

The album opens with “Persistence,” which begins in near-chamber territory with bowed bass and a classically inspired piano introduction before Williams reshapes the landscape with inventive, elastic drumming. A drum solo rides a vamp into a Vijay Iyer-esque pocket before yielding to a fierce piano improvisation marked by independent hands and surging momentum. “Unlikely Animal Friendships” unfolds as a miniature narrative film: a solo-piano opening in 5/8, a composed contrapuntal passage, an expansive melodic improvisation, and a tear-stained bass solo from McCain, culminating in a triumphant reprise that dramatizes tenderness across difference.

“The Parisian” juxtaposes odd meters, slap bass, and stride piano into something buoyant, swinging, and quietly powerful. Written with Harris in mind, it becomes a standout bass feature, equal parts charm and muscle. “Singularity” functions as Fernando’s human response to computer-generated music, beginning with machine-like processing before blooming into a montuno that asserts warmth, breath, and bodily presence. “Neon Kyon,” an ode to Williams’ luminous energy, fuses bop language, blues grit, and second-line swagger, revealing the trio’s near-telepathic communication.

“Beings On Toast,” sparked by a family joke from Fernando’s UK roots riffing on the classic British breakfast, imagines humans themselves as the “beings” served up on toast. The tune leans into absurdity through witty interplay, but beneath the humor lies a gentle philosophical inquiry about value, care, and consumption. “Potions” moves through balladry, quintuplet-driven modern jazz, and a final djent-like section, linking disparate musical worlds into a single haunted arc. “What’s the Password?” reframes bebop for 2025, using metric modulation and formal structure to carry Charlie Parker’s spirit into contemporary language. Closer “Like It Is” swings ferociously, offering an affectionate but unsentimental homage to Erroll Garner, with Harris returning on bass to lock in the feel and propel the trio forward.

Philly 3 ultimately challenges the jazz tradition to remain alive, playful, and unafraid. It presents James Fernando as both storyteller and technician, a musician capable of making audiences laugh, think, and move—sometimes all at once. The trio’s debut recording is not just a document of a band finding its footing, but an invitation to follow a group committed to craft, connection, and the joyful risk-taking that keeps jazz urgent and relevant.

2026 Tour Dates

Feb 7 – Williamsburg Music Center – Brooklyn, NY – 9:30pm
Feb 17 – CPAC – Green Valley, AZ – 7pm
Feb 18 – Central Arizona College – Casa Grande, AZ – 7pm
Feb 19 – The Century Room – Tucson, AZ – 6:30pm
Feb 20 – The Ravenscroft – Scottsdale, AZ – 7pm
Feb 22 – Davies Concert Series – Temple Hills, MD – 4pm
Feb 28 – Sharp 9 Gallery – Durham, NC – 7:30–9:30pm
Mar 1 – Sharp 9 Gallery – Durham, NC – 2–4pm
Mar 2 – UNC Pembroke – Pembroke, NC – Concert 7pm
Mar 7 – The Mainstay – Rock Hall, MD – 7:30pm
Mar 20 – Plainfield Performing Arts Center – Plainfield, NJ – 7pm
Mar 21 – Concord Community Music School – Concord, NH – 7pm
Mar 22 – New York State Museum – Albany, NY – 4pm
Apr 12 – Levine Jazz Fest – Bethesda, MD – Free show

The Skipper and Mike Clark: Daggerboard Puts the Groove Front and Center

Daggerboard—the collaborative project of trumpeter and composer Erik Jekabson and multi-instrumentalist and composer Gregory Howe—turns its spotlight squarely onto the rhythm section with The Skipper and Mike Clark, dropping March 6 on Howe’s Wide Hive Records. The album’s titular figures are bassist Henry “Skipper” Franklin and drummer Mike Clark, two living legends of jazz whose deep history and near-telepathic chemistry form the core of the record.

Neither Franklin nor Clark is new to the Daggerboard universe. Franklin appeared on the group’s 2022 sophomore effort Daggerboard and the Skipper, while Clark joined the fold on 2024’s Escapement, which also featured Franklin. Beyond the band, the two have shared a musical friendship spanning nearly three decades, a connection that translates into an immediate, wordless understanding. As Clark puts it, “We always could right away play together without saying anything. I love Skipper. He’s a very close friend and a deep musician. His time is so strong.”

That powerful, intuitive groove has never been as central to a Daggerboard release as it is here. Joined by guitarist Dave MacNab, pianist Matt Clark, violinist Mads Tolling, saxophonist Dave Ellis, vibraphonist Dillon Vado, and conguero Babatunde Lea, the band moves through eight Jekabson–Howe compositions clearly shaped around the rhythmic gravity Franklin and Clark provide. From the seamy, crawling opener “Desierto de Tabernas” to the funky struts of “Runnin’ Into One” and “A Pride in the Prairie,” and the mellow melancholia of “Tranquil Blue,” bass and drums define both direction and atmosphere.

Ironically, it’s Franklin’s two contributions—“Tanzanian Skies” and “Ruaha Daybreak”—that feel the most overtly melodic, though there’s sleight of hand involved. “Tanzanian Skies” features one of Franklin’s most rhythmically complex and satisfying solos on the album, while both pieces give Clark ample room to display his virtuosic, conversational kit work. Elsewhere, melodic riches are everywhere. “Changing Emphasis” unfolds with an orchestral sweep, anchored by a tough yet thoughtful tenor solo from Ellis, who also shines on soprano on “Brother Ranelin.” Clark and MacNab paint in subtle hues on “Tranquil Blue,” while Jekabson’s flugelhorn takes center stage on “Street Sheik,” a moody, lyrical ballad delivered with bravura restraint.

Though The Skipper and Mike Clark proudly places bass and drums at its heart, it ultimately plays as a full-band triumph. The album captures Daggerboard at its most focused and confident, balancing groove-forward intent with compositional depth. What emerges is not just a showcase for two masters of time and feel, but a vivid reminder of how deeply rhythm can shape melody, mood, and meaning when the right musicians are in the room.

Jazz Gone Dub: Gaudi’s Deep Conversation Between Modern Jazz and Dub Reggae

Gaudi’s Jazz Gone Dub is a masterful exercise in wedding modern jazz to dub reggae, a project that feels both patiently crafted and joyfully alive. Created and recorded over four years, the album is saturated in heavy dub rhythms, killer solos, glorious melodies, and canny, immersive production. Its illustrious lineup alone signals ambition: the late, legendary rhythm section of Sly & Robbie; guitarists Ernest Ranglin and David Hinds of Steel Pulse; bassists Jah Wobble and Colin Edwin; saxophonist and flutist Gavin Tate-Lovery; trumpeter and trombonist Tim Hutton; reggae drummer Horseman (Winston Williams); and several others. Gaudi himself is everywhere, playing piano, Fender Rhodes, Hammond B-3, glockenspiel, santoor, and taishōgoto harp. The album was recorded in London and Sardinia by Papa Ntò, with Sly & Robbie and Ranglin tracked at Kingston’s legendary Tuff Gong Studios.

Gaudi wastes no time revealing his chops on opener “Cool Jazztice,” winding blues-drenched piano lines around reverbed horns, Wurlitzer, and a wah-clavinet, all anchored by a skanking rhythm that supports soul-jazz phrasing and a trancey, economically funky bassline. His solo feels completely at home inside the reggae cadence, never forcing the fusion. “H.E.L.P. (Happy Elephants Love Pistachio)” rides a reverb-soaked dub foundation, decorated with tenor sax, trombone, and trumpet shaping a harmonically rich, contemporary jazz melody. Tim Hutton’s trumpet solo is lyrical and precise, while Tate-Lovery delivers a righteous flute statement amid crisscrossing rhythms and a pummeling bassline.

“Deflated and Discombobulated” leans into funky, soulful contemporary jazz, with punchy Wurlitzer, layered pianos, wah-clavinet, and a hard dub rhythm section flowing effortlessly through the mix. Gaudi plays piano, bass, and santoor on the gorgeous “Alabaster Moon,” threading groove-heavy jazz into a ferocious palette of deep dread rhythm and electronics. Slippery funk converses with finger-popping, nocturnal swing as biting, double-timed bass and drums whirl beneath hovering horns.

“Bach @ Liszt (Bucket List)” becomes a showcase for David Hinds, who walks the tightrope between lead and rhythm guitar while comping deftly behind shifting solos. Tate-Lovery’s flute, floating amid brass and reeds, adds an exotic, Quincy Jones-esque orchestral sheen over the insistent pulse. Gaudi’s vampy introduction to “Dub Lu” recalls a young Herbie Hancock, framed by Edwin’s dub-heavy bassline and two guitarists, while echo-laden production gives the track depth and dimension. “Susceptible,” featuring Sly & Robbie and Ranglin, reimagines Ranglin’s “Ernie’s Dub” from Havana Meets Kingston in Dub. Gaudi’s Hammond B-3 guides the pulse as dub effects slip and shimmer through the backdrop, and Ranglin delivers a jaw-dropping solo that weds his iconic phrasing with echoes of Grant Green and Boogaloo Joe Jones. Tate-Lovery’s flute and sax add grace, polish, and soul.

Closer “Tokyo Subterfuge” opens with a vintage hard-bop piano vamp before Gaudi’s solo nods to the in-the-pocket funk of Ray Bryant. When Gaudi switches to Rhodes or harp, Matteo Saggese takes over the acoustic keys, while Wobble, Horseman, and guitarist Marcus Upbeat drive the groove home. Jazz Gone Dub ultimately unfolds as an easy yet deeply rewarding conversation between hip jazz and dub reggae, where vintage traditions meet breathtakingly modern sound design. Guided by Gaudi’s taste, texture, innovation, and grit, the album feels less like a crossover experiment and more like a natural evolution.

Terry Callier at the Earl of Old Town Reveals the Roots of a Singular Voice

Time Traveler Recordings will release Terry Callier At The Earl Of Old Town, a remarkable and newly unearthed solo performance by the influential singer-songwriter, as an exclusive 180-gram two-LP Record Store Day set on April 18, 2026. Captured in 1967 at Chicago’s intimate and historic Earl of Old Town folk club, the recording presents Callier at just 22 years old, already forging a sound that quietly defied genre boundaries. The album will also be issued on CD on April 24, a date that would have marked the 100th birthday of Joe Segal, the legendary jazz presenter who recorded the performance.

The release is the latest archival project from acclaimed producer Zev Feldman, widely known as the “Jazz Detective,” and offers a rare glimpse into the formative years of one of American music’s most distinctive artists. Recorded a year before the release of Callier’s debut LP, the performance finds him infusing the folk club tradition with the harmonic imagination, rhythmic elasticity, and emotional depth of jazz improvisation. Segal—founder of Chicago’s revered Jazz Showcase—captured the set as part of his personal recordings, which were opened to Feldman in 2025 by Segal’s son Wayne, revealing a vast and invaluable archive of unheard performances.

Sonically restored by Joe Lizzy and mastered by Matthew Lutthans, the album is presented with care befitting its historical and artistic significance. The package includes liner notes by Mark Ruffin, longtime friend of Callier and program director of SiriusXM’s Real Jazz, with Callier’s daughter Sunny Callier serving as executive producer. Together, they frame the recording not as a curiosity, but as a vital document in understanding Callier’s artistic journey.

Raised in Chicago’s Cabrini-Green public housing projects alongside future R&B icons Jerry Butler and Curtis Mayfield, Callier charted a different course. While his peers gravitated toward soul and pop stardom, Callier brought his acoustic guitar and quietly commanding voice into the countercultural folk clubs of the Old Town neighborhood. At the Earl of Old Town, his voice and guitar sit front and center, accompanied only by the ambient sounds of the room—glasses clinking, audience murmurs—adding a sense of immediacy and place. The performance reveals an artist already in full command of the stage, hinting clearly at the expansive path his music would take in the decades to come.

Terry Callier At The Earl Of Old Town also highlights striking contrasts with both his official debut, The New Folk Sound of Terry Callier, and the groundbreaking albums he would later record for Chess Records in the early 1970s. His debut LP, recorded three years before this performance, featured dual basses, while his Chess releases were shaped by Charles Stepney’s lush and experimental orchestrations. Later still, Callier would explore jazz-inflected soul on albums for Warner/Elektra, Premonition, and Verve. Here, alone onstage, the rhythmic drive of his guitar and the expressive contours of his unmistakable voice fill the roles that entire ensembles would later occupy. The difference between this stark, intimate version of “900 Miles” and the more arranged take on The New Folk Sound is a telling example.

In his liner notes, Ruffin situates the performance as both prophecy and foundation. He notes that the young Callier was still several years away from signing with Chess Records and embarking on the prolific recording career that would span 15 albums between 1967 and his death in 2012. Yet even in this early setting, Callier’s uncompromising and difficult-to-categorize style is already apparent, subtly foreshadowed as he navigates a noisy Wells Street crowd with calm authority. Ruffin describes the ten tracks as both a preamble and a blueprint—each song either a direct connection to an inspirational source or an extension of an admired stylistic idea.

The set list itself reflects Callier’s wide-ranging sensibility, moving fluidly through traditional material, ballads, blues, jazz, contemporary folk, and even a recent pop hit, all transformed into deeply personal statements. The album opens with “Work Song,” Callier’s gripping interpretation of Nat Adderley’s melody with lyrics by Oscar Brown Jr., delivered with a solitary voice and percussive guitar that evoke the longing of an imprisoned narrator. On Tom Paxton’s “Last Thing On My Mind,” Callier renders melancholy with lyrical grace, while Jimmy Drew’s “Willie Jean” is stripped down to its emotional core, far removed from the big-band arrangement of Drew’s original recording.

Blues run throughout the performance, including Callier’s readings of Billy Hancock’s “St. Mark’s Blues” and the traditional “Deep Elem Blues.” His joyful take on Willie Dixon’s “The Seventh Son” stands as a loving nod to his Chicago blues roots. Other selections point unmistakably toward Callier’s future. “Birdses” reveals his optimism and sly humor, while the dramatic vocal arc of “Gallows Pole” anticipates a hallmark of his lifelong performance style. His reinterpretation of the pop and R&B hit “Hang On Sloopy,” retitled “My Girl Sloopy,” carries the emotional depth he would later bring to his soul recordings. Ruffin draws a line from “Four Strong Winds” to Callier’s later classic “Lazarus Man,” noting their shared darkness and narrative pull.

At the time of the recording, Joe Segal had already been operating the Jazz Showcase in various Chicago locations for two decades, nurturing generations of artists and listeners. Segal was also the first to articulate what Callier was doing in a way that resonated deeply with the singer himself. That insight, preserved alongside the music, is one of the reasons this release carries such resonance today.

As Callier reflected years later, Segal’s words captured the essence of his approach: “Joe was the first person to say, ‘What you’re doing is folk jazz.’ That’s Joe Segal’s description and I thought, ‘Yeah, that’s it. It’s never the same way twice.’” More than half a century later, Terry Callier At The Earl Of Old Town stands as living proof of that idea—an intimate, powerful document of an artist discovering a language entirely his own.

Michel Petrucciani’s Kuumbwa Triumph Captured in a Newly Discovered 1987 Trio Recording

Elemental Music will release Kuumbwa, a stunning previously unreleased trio concert by pianist Michel Petrucciani, recorded live at the Kuumbwa Jazz Center in Santa Cruz, California, on May 11, 1987. Issued as an exclusive two-LP set on 180-gram vinyl on April 18, 2026, the album is part of Record Store Day in the EU, with CD and digital editions following on April 24, 2026. The release offers a vivid snapshot of Petrucciani at the height of his powers, in a setting renowned for its intimacy, adventurous spirit, and deep connection between musicians and audience.

This marks the first Petrucciani artifact in Elemental Music’s growing archive of jazz treasures and is produced for release by acclaimed reissue producer Zev Feldman, widely known as the “Jazz Detective.” The recording was discovered within the archives of Kuumbwa Jazz co-founder Tim Jackson and has been meticulously mixed and sonically restored by Marc Doutrepont at EQuuS, with vinyl mastering by Matthew Lutthans at The Mastering Lab. Beyond the music, the package is framed as both a historical and personal document, featuring reflections from Jackson on the pioneering role of Kuumbwa Jazz and on Petrucciani himself, along with insights from Petrucciani’s son Alexandre, longtime drummer Eliot Zigmund, French jazz journalist Thierry Pérémarti, and fellow pianist Enrico Pieranunzi.

Producer Feldman recalls first reconnecting with Jackson in the mid-2000s during his time at Concord, when Jackson was Artistic Director of the Monterey Jazz Festival. Their continued relationship ultimately led Jackson to share the Kuumbwa archives, where this recording immediately stood out as something extraordinary. Feldman describes being blown away upon first hearing the tapes, recognizing instantly that they captured a rare and essential moment.

The performance brings together a remarkable trio: Petrucciani on piano, Zigmund on drums, and English bass virtuoso Dave Holland. All three are heard at the peak of their individual and collective creativity. At just 24 years old, Petrucciani had recently signed with Blue Note Records and was only beginning to make his full impact on American audiences after relocating to New York in 1984. The Kuumbwa performance finds him asserting that presence with confidence, imagination, and fearless momentum.

Despite living with osteogenesis imperfecta, the genetic bone disorder that stunted his growth and caused lifelong physical pain, Petrucciani’s vitality and joy radiate through every moment of the recording. His playing overflows with exuberance, lyricism, and daring, offering what many contributors describe as an unfiltered portrait of the artist’s spirit. Journalist Thierry Pérémarti characterizes the music as a mirror of Petrucciani’s personality—extravagant, romantic, turbulent, tender, impatient, funny, and utterly alive—played with both childlike wonder and unrelenting energy.

That energy is matched and amplified by his bandmates. Holland and Zigmund respond with electrifying interplay, clearly inspired by Petrucciani’s unpredictability and drive. Zigmund, whose storied career includes work with Bill Evans, Vince Guaraldi, and Lee Konitz, recalls his time with Petrucciani as one of the most exciting periods of his life, marked by freshness, risk, and the thrill of never knowing where the music might go once Petrucciani stepped onstage.

Tim Jackson adds that while audiences were often struck by Petrucciani’s physical challenges, what lingered was the sense of wonder in his performances. He notes Petrucciani’s distinctive blend of a funky, grounded touch with a luminous, impressionistic sensibility, a sound that defied easy categorization and reflected the pianist’s own warmth and down-to-earth personality. For Jackson, Petrucciani’s music represented a beautiful melding of cultures, woven into a tapestry that continues to speak deeply to listeners.

Alexandre Petrucciani frames the release in even broader terms, describing his father as a force of nature whose impact extended beyond music itself. He expresses hope that Kuumbwa communicates not only Petrucciani’s profound love for jazz, but also the generosity of spirit he brought to the world—an energy that made him larger than life.

Captured at a moment when Petrucciani’s international profile was rapidly rising, Kuumbwa offers a fresh lens on his artistry, fueled by a highly responsive audience and the crackling intimacy of the club. Feldman describes the performance as “smoking,” emphasizing the enthusiasm in the room and the special chemistry preserved on tape. Decades later, this newly unearthed recording stands as a powerful testament to Michel Petrucciani’s brilliance, vitality, and enduring influence.

Bill Evans at the BBC Preserves a Rare 1965 Television Moment on Vinyl for Record Store Day

Elemental Music will shine a new light on a singular moment in jazz history with Bill Evans at the BBC, presenting a rare 1965 British television performance by the legendary pianist for the first time on vinyl. Slated for release exclusively for Record Store Day on April 18, 2026, the deluxe 180-gram two-LP set captures Evans in peak form with his remarkable second working trio, bassist Chuck Israels and drummer Larry Bunker. The album will also be released on CD and digital platforms on April 24.

The recording brings together two episodes of the BBC program Jazz 625, hosted by British trumpeter Humphrey Lyttelton, and documents Bill Evans’ only known performance at the BBC television studios. Produced for release by award-winning archivist Zev Feldman—widely known as the “Jazz Detective”—in cooperation with the Bill Evans Estate, the project represents Feldman’s 15th collaboration with the estate, further enriching one of the most carefully curated legacies in modern jazz. Audio was transferred from the original BBC tapes, with mixing and restoration by Marc Doutrepont at EQuuS and vinyl mastering by Matthew Lutthans at The Mastering Lab.

The broadcasts originally aired on May 12 and December 29, 1965, though they were filmed back-to-back on March 19 of that year during the trio’s four-week residency at Ronnie Scott’s Jazz Club in London. By that point, Evans, Israels, and Bunker had been working together for two years, forging a deeply intuitive rapport following the dissolution of Evans’ first trio after Scott LaFaro’s tragic death in 1961 and Paul Motian’s departure in 1963.

Chuck Israels recalls that by the time the Jazz 625 episodes were taped, the trio had become a finely tuned unit, comfortable enough with one another and the material to take genuine interpretive risks. That ease and freedom permeate Bill Evans at the BBC, which reveals a group playing with unhurried confidence, subtle swing, and an almost conversational intimacy.

The repertoire will be instantly familiar to Evans listeners. Five selections later appeared on Trio ’65, which the group recorded in February 1965 but which had not yet been released at the time of these broadcasts. These include John Carisi’s “Israel,” Earl Zindars’ “Elsa” and “How My Heart Sings,” along with the standards “Who Can I Turn To?” and “Come Rain or Come Shine.” The program is rounded out with enduring Evans touchstones such as “Waltz for Debby” and “Re: Person I Knew,” as well as frequently revisited pieces like “Summertime,” “Someday My Prince Will Come,” and Miles Davis’ “Nardis.”

Originally airing from April 1964 through August 1966, Jazz 625 was a landmark BBC series whose title referenced the 625-line UHF broadcast system used by BBC Two. The program emerged after the resolution of a long-standing dispute between the UK Musicians Union and the American Federation of Musicians, which had prevented U.S. musicians from performing in Britain for decades. Over its brief run, the series featured appearances by giants including Duke Ellington, Dave Brubeck, Thelonious Monk, the Modern Jazz Quartet, and Art Blakey and the Jazz Messengers, situating Evans’ performance within a rare and historic context.

While devoted fans may have encountered these Evans episodes over the years—on laserdisc in the 1990s, DVD releases in the early 2000s, or scattered online clips—this release marks the first time the music has been officially presented on its own, detached from the visuals and newly remastered to emphasize its sonic depth. The result, according to Evans scholar Marc Myers in his liner notes, is a more immersive listening experience that demands deeper attention and reveals the trio at its expressive peak, playing with a caressing touch and extraordinary focus.

The deluxe package expands the historical context even further, featuring a new interview with Chuck Israels reflecting on Evans and the BBC sessions, reflections on Evans’ influence from singer-pianist Jamie Cullum and pianist James Pearson, artistic director of Ronnie Scott’s, and extensive liner notes by Myers. Cullum, in particular, praises the Israels-Bunker trio for its swinging intensity and understated fire, noting the propulsion of Bunker’s brushwork and Evans’ remarkable economy of motion and sound. He emphasizes that this trio deserves to be appreciated on its own terms, not simply measured against the shadow of Evans’ earlier ensemble.

For Feldman, the release is a personal milestone. Having first encountered the material decades ago, he describes Bill Evans at the BBC as a vital chapter in Evans’ recorded story—one long deserving of an official LP and CD release. More than sixty years after the trio performed before a reserved but attentive British television audience, the music remains strikingly alive. As Israels later reflected, with characteristic understatement, the group was “damn near perfect at the BBC”—a sentiment vividly borne out by these luminous recordings.

Freddie King at Full Force: Feeling Alright Brings the Texas Cannonball’s 1975 Nancy Jazz Pulsation Concerts to Light

Slated for release by Elemental Music as an exclusive Record Store Day title on April 18, 2026, Feeling Alright: The Complete 1975 Nancy Jazz Pulsation Concerts unveils a monumental live document from blues guitar giant Freddie King. Captured before more than 50,000 fans at France’s Nancy Jazz Pulsations Festival in October 1975, the limited-edition three-LP set preserves a towering artist in the final full year of his life, delivering the blues with unrelenting power and authority on an international stage.

Previously unreleased and sourced from original ORTF (Office de radiodiffusion-télévision française) recordings, the newly restored 180-gram vinyl collection shines a long-overdue spotlight on a musician whose ferocious tone, commanding vocals, and genre-bridging vision helped reshape both modern blues and rock. Issued in cooperation with the Freddie King Estate, the release is produced by award-winning archivist Zev Feldman—widely known as the “Jazz Detective”—with mixing and sound restoration by Marc Doutrepont at EQuuS and mastering by Matthew Lutthans at The Mastering Lab. CD and digital editions will follow on April 24.

Known as the Texas Cannonball, Freddie King carved out a singular place in music history by fusing raw blues tradition with explosive modern energy. His stinging thumb-and-fingerpick attack produced instrumentals like “Hide Away” and “Sen-Sa-Shun” that became foundational texts for generations of guitarists. At the same time, his impassioned singing—heard here in a searing performance of “Have You Ever Loved a Woman”—matched the intensity of his guitar work. Onstage, King’s commanding presence and sheer force of delivery infused the blues with rock ’n’ roll urgency, directly influencing players from Eric Clapton to Stevie Ray Vaughan.

The expansive Feeling Alright set moves effortlessly through the breadth of King’s repertoire. Classic instrumentals such as “Sen-Sa-Shun,” paired in a medley with Magic Sam’s “Lookin’ Good,” sit alongside signature vocal performances including “Have You Ever Loved a Woman,” which segues into B.B. King’s “Whole Lot of Lovin’.” King also delivers authoritative readings of blues standards like “Sweet Little Angel,” “Got My Mojo Working,” “The Things I Used to Do,” “Sweet Home Chicago,” “Messin’ with the Kid,” “Danger Zone,” and “Stormy Monday,” reaffirming his command of the tradition he helped modernize.

Reflecting the rock musicians he inspired—and the audiences he increasingly reached—King includes two rock staples that had become fixtures in his live shows: Dave Mason’s “Feelin’ Alright,” popularized by Traffic and Joe Cocker, and Don Nix’s “Goin’ Down.” Across sixteen performances spanning six sides of vinyl, the collection captures a setlist as expansive as King’s influence.

The Nancy Jazz Pulsations performance represents a convergence of every phase of Freddie King’s career: the Texas swing roots, the Chicago blues sharpened in clubs, and the later rock-inflected sound shaped in collaboration with figures like Leon Russell and Don Nix. Delivered before a massive European festival crowd, the music reflects an artist fully in command of his powers, transcending genre and geography alike.

The album features King on guitar and vocals, backed by a formidable band including Alvin Hemphill on organ, Ed Lively on guitar, Lewis Stephens on piano, Benny Turner on bass, and Calep Emphrey on drums. Stephens, who played keyboards with King during those European dates, recalls the Nancy appearance as part of a “blistering” five- to six-week run through France, noting that King had truly hit his stride as a blues-rock star on both sides of the Atlantic.

Complementing the music, the set includes liner notes by music journalist and historian Cary Baker, author of Down on the Corner: Adventures in Busking and Street Music, along with reflections from producer Zev Feldman and appreciations from Freddie King’s daughter and estate administrator Wanda King, as well as ZZ Top guitarist Billy F. Gibbons. Gibbons captures the spirit of the performance succinctly, writing that at the Nancy show—just a year before his untimely passing—the Texas Cannonball “poured it on in a big way.”

For Feldman, the project is both a celebration and a restoration. He emphasizes Freddie King’s enduring status as a defining figure in blues and rock guitar, noting that these recordings capture a moment when King was transcending audiences and influencing players around the world. Working closely with Wanda King, Feldman describes the release as an opportunity not only to share extraordinary music, but to honor a legacy that continues to resonate. Feeling Alright presents Freddie King at his very best—fearless, commanding, and thrilling to hear.

Cecil Taylor’s Lost Fire Reignites on Fragments: The Complete 1969 Salle Pleyel Concerts

One of the most formidable yet under-documented ensembles in avant-garde jazz history is finally receiving its due with Fragments: The Complete 1969 Salle Pleyel Concerts, a revelatory three-LP set capturing previously unreleased performances by Cecil Taylor and his Unit. Issued by Elemental Music on April 18 as an exclusive Record Store Day release, the collection presents the legendary pianist at a moment of extraordinary creative intensity, surrounded by a lineup that existed for just one year yet left an outsized imprint on the music.

The release is the result of an ongoing partnership between INA (Institut National de l’Audiovisuel), France’s official radio and television archive, and producer Zev Feldman, whose work with INA has already unearthed essential recordings by Albert Ayler, Pharoah Sanders, Cannonball Adderley, Larry Young, Yusef Lateef, and others. Sonically restored and mixed by Marc Doutrepont at EQuuS and mastered for vinyl by Matthew Lutthans at The Mastering Lab, Fragments is also slated for CD release on April 24, ensuring wider access to this long-hidden chapter of jazz history.

The Cecil Taylor Unit heard on Fragments was both fleeting and formidable. In January 1969, tenor saxophonist and flutist Sam Rivers joined Taylor’s long-standing trio with alto saxophonist Jimmy Lyons and drummer Andrew Cyrille. By June, the quartet traveled to France, where they spent nearly two months in residence at the Fondation Maeght on the French Riviera. Immersed in an interdisciplinary environment alongside painters, sculptors, dancers, and composers, the group rehearsed daily and sharpened a musical language that fused structure and freedom. Two marathon concerts capped the residency; one was documented on the triple LP Nuits De La Fondation Maeght (released in the U.S. as The Great Concert of Cecil Taylor), though that landmark recording has never been reissued on CD.

Later that year, the quartet was invited by legendary promoter George Wein to join the Duke Ellington Orchestra and Miles Davis’s then-current band on the Newport Jazz Festival in Europe tour. Spanning 15 dates across major European cities—including Milan, Rome, Vienna, London, Copenhagen, Stockholm, Berlin, and Rotterdam—the tour culminated in two performances at Paris’s Salle Pleyel: an afternoon set and an evening concert. Those two shows, recorded but never officially released, form the core of Fragments and are presented here in their entirety for the first time.

Each performance consisted of a single extended work, created anew each time the band took the stage yet rooted in composed material. Titled “Fragments of a Dedication to Duke Ellington,” the music balanced spontaneous creation with formal intent, with both Rivers and Lyons working from written parts. The afternoon concert stretches beyond 90 minutes and occupies the second and third LPs of the set, while the evening performance, a comparatively concise 50 minutes, offers a different perspective on the same creative framework. Both concerts were also filmed by ORTF, the French national broadcaster, though the footage has never been released officially.

Beyond the music itself, Fragments is framed as a full-spectrum historical document. The package includes an expansive essay by Philip Freeman—author of In the Brewing Luminous: The Life & Music of Cecil Taylor—exploring the intertwined musical and personal relationships among Taylor, Duke Ellington, and Miles Davis. Additional reflections come from Andrew Cyrille, the last surviving member of the 1969 Unit; Karen Borca, widow of Jimmy Lyons; Monique Rivers, daughter of Sam Rivers; drummer Jack DeJohnette, who was a member of Miles Davis’s band on the 1969 tour; and pianist Matthew Shipp. Rare and never-before-seen photographs from the actual concerts further deepen the sense of immersion.

For Feldman, the significance of the release cannot be overstated. He describes the music as being of “biblical importance” for fans of Cecil Taylor and the avant-garde movement, noting that it captures the pianist at a thrilling juncture, joined by musicians who were absolute titans in their own right. Freeman echoes that sentiment, emphasizing the vivid contrast between Rivers and Lyons, the astonishing interplay between Taylor and Cyrille, and the remarkable fidelity of the tapes themselves.

In the liner notes, Andrew Cyrille reflects on the deep familiarity within the group by the time of the Salle Pleyel concerts, recalling how years of shared experience allowed the music to unfold with ease and purpose. Jack DeJohnette, who passed away in October 2025, offers a visceral memory of the band’s impact, remembering how Taylor would open the shows and leave the stage “still on fire” by the time the next act stepped up.

Fragments: The Complete 1969 Salle Pleyel Concerts stands as a breathtaking testament to Cecil Taylor and his Unit operating at full strength—unfettered, fearless, and yet guided by a shared creative vision. It is not only a vital archival release, but a living document of music that continues to challenge, inspire, and astonish.