Lucid: Micah Thomas Explores Balance, Space, and Collective Imagination on His Fifth Album

Since arriving in New York in 2015, pianist and composer Micah Thomas has steadily become one of the most compelling voices within the city’s vibrant jazz and improvisational music communities. Known for his thoughtful, exploratory approach to the piano and his ability to balance tradition with forward-thinking creativity, Thomas has built a reputation both as a bandleader and as a highly sought-after collaborator. His fifth album, Lucid, arriving June 19, continues that evolution with a striking musical statement centered on balance, space, and the interconnectedness of musical ideas.

Over the past decade, Thomas has developed deep roots within the contemporary jazz landscape, performing extensively with saxophonist Immanuel Wilkins’ quartet while also leading his own trio since 2017. In addition to those projects, he has worked with a wide range of notable artists including Ambrose Akinmusire, Joshua Redman, Walter Smith III, Tyshawn Sorey, and Sidra Bell. Across these collaborations and his growing catalog of recordings, Thomas has cultivated a sound that merges intellectual curiosity with emotional depth.

Fellow pianist Aaron Parks once described Thomas’ playing as possessing “a restlessly inventive and futuristic tilt while simultaneously remaining deeply rooted in the history of the music,” while jazz master Fred Hersch has praised him as an artist with “a unique style as well as all the tools needed to make a major contribution to the world of jazz piano.” Those observations resonate strongly throughout Lucid, an album that embraces subtlety, patience, and the expressive potential of space.

At the heart of Lucid lies Thomas’ fascination with balance—both within individual musical phrases and within the larger architecture of a composition. Rather than pursuing long, sprawling musical statements, Thomas focuses on concise phrases that move dynamically yet remain contained, suspended in a kind of perfect equilibrium.

“Short enough phrases have a special tactility,” Thomas explains. “They become like physical objects where, in a single moment, one can look at them with the mind’s eye and gain an immediate all-encompassing awareness.”

This philosophy shapes the album’s musical language. Each phrase is carefully weighted through variations in range, texture, and dynamics, almost as though the musicians are adjusting elements on a scale until equilibrium is reached. The result is music that feels simultaneously fluid and deliberate, constantly shifting while maintaining an underlying sense of compositional clarity.

Equally essential to this sense of balance is the role of silence. Instead of filling every moment with sound, the ensemble approaches space as a creative medium. The musicians carve their phrases into silence rather than layering them continuously on top of one another. In this approach, silence becomes the canvas upon which musical gestures are placed.

By allowing sound to emerge from quiet rather than compete within a constant stream of activity, each phrase gains a heightened sense of identity. The listener becomes acutely aware of the present moment, unsure of when the next musical idea will arrive or how it will unfold. This unpredictability creates a listening experience that feels intimate, alert, and alive.

Alongside this exploration of balance, Lucid also reflects Thomas’ fascination with the concept of ecosystem and habitat within music. In this framework, musical ideas may initially appear independent—or even random—but ultimately contribute to a larger interconnected structure.

Thomas likens this concept to the feeling of belonging within a creative community. The ideal environment, he explains, allows each participant to remain fully themselves while still adapting and responding to others. Rather than dissolving individuality into a homogenous group identity, each voice retains its distinct character while contributing to a shared creative outcome.

That philosophy carries directly into the music of Lucid. Phrases interact like organisms within a living environment, sometimes moving independently and sometimes intertwining in unexpected ways. Each musician introduces ideas that may diverge from the surrounding texture, yet those ideas ultimately find coherence within the collective sound.

The ensemble assembled for Lucid plays a crucial role in bringing this vision to life. Saxophonist Immanuel Wilkins, a longtime collaborator with Thomas, contributes lines that seem to possess their own internal personalities. Each phrase unfolds according to its own logic, often surprising the listener while remaining completely coherent within the music’s evolving structure.

Trombonist Kalia Vandever adds another distinctive voice, crafting melodic lines that twist and turn across the instrument’s range. Her playing often feels like it is navigating unexpected corners, knotting and unknotting musical ideas while maintaining a lyrical sense of motion.

Bassist Thomas Morgan provides a foundation that is both subtle and deeply expressive. Known for his fearless use of silence and his compositional sensibility, Morgan shapes the music as much through what he chooses not to play as through the notes he contributes. His approach reinforces the album’s central theme of balance, ensuring that space remains an integral part of the ensemble’s texture.

Drummer Lesley Mok offers yet another perspective within the group’s sonic ecosystem. While percussion often provides the feeling of solidity in many ensembles, Mok’s playing introduces a surprising sense of fluidity. Their drumming bends and flows around the other instruments, entering and withdrawing at strategic moments to create shifting layers of motion and support.

In this configuration, the rhythmic dimension often acts as the album’s source of liquidity, balancing the sharper contours of the melodic instruments. Mok’s dynamic presence adds a subtle yet vital dimension to the ensemble’s overall sound.

Thomas reflects that the group’s apparent independence masks a deeper level of communication. Each musician maintains an acute awareness of the others, listening closely and responding with remarkable agility. The result is music that feels simultaneously free and tightly interconnected.

This delicate interplay is central to the album’s concept of collective creativity. Each musician contributes phrases that reflect their personal voice, trusting that those ideas will find resonance within the group. That trust creates an atmosphere in which experimentation becomes not only possible but essential.

Lucid ultimately presents a musical environment where individuality and collaboration coexist in perfect balance. Each phrase, each silence, and each interaction contributes to a larger sonic habitat where creativity thrives.

Recorded at Power Station at Berklee NYC and mixed and mastered by Tyler McDiarmid, the album captures the ensemble with remarkable clarity and intimacy. Thomas himself designed the cover artwork, further emphasizing the deeply personal nature of the project.

With Lucid, Micah Thomas continues to refine a musical vision that values attentiveness, subtlety, and the courage to leave space where others might fill it. In doing so, he offers listeners an experience that feels both contemplative and invigorating—a reminder that sometimes the most powerful musical statements are the ones that breathe.

As Thomas’ career continues to evolve, Lucid stands as an elegant reflection of his artistic philosophy: a belief that true creativity emerges not from dominance or excess, but from balance, listening, and the quiet possibility contained within every moment of sound and silence.

Sunrise: Adam Rudolph’s Boundary-Dissolving New Album Charts a Global Journey Through Sound

For more than half a century, visionary percussionist and composer Adam Rudolph has pursued a singular musical path—one defined not by genre, but by curiosity, exploration, and a profound respect for the cultural and spiritual traditions of sound. Across a remarkable 54-year career, Rudolph has consistently ventured beyond established musical borders, weaving together influences from across the globe to create music that is both deeply rooted and radically forward-looking. His forthcoming album Sunrise, set for release May 15, 2026 on his Meta Records label, continues that journey with breathtaking originality.

The album introduces the Sunrise Trio, a collaborative ensemble featuring Rudolph alongside pianist and multi-instrumentalist Alexis Marcelo and Japanese flutist, percussionist, and composer Kaoru Watanabe. Together, the trio delivers a stunning program of non-idiomatic music—music that refuses to be confined by stylistic labels or historical categories. Instead, Sunrise unfolds as a living sonic ecosystem where ancient traditions meet contemporary experimentation, where acoustic instruments converse with electronics, and where spontaneous improvisation merges seamlessly with subtle post-production sculpting.

Recorded at Firehouse 12 in New Haven, Connecticut, Sunrise captures the trio in a state of deep creative dialogue. Rather than adhering to familiar jazz structures or conventional improvisational frameworks, Rudolph guides the group through what he calls “sonic weaving,” an orchestral approach to spontaneous composition. In this process, musical ideas emerge organically through listening, interaction, and intuition, creating evolving textures and atmospheres that feel simultaneously intimate and expansive.

The instrumentation alone reveals the album’s global perspective. Traditional instruments from Japan, Africa, and Europe intermingle with electronic processing to form a striking palette of sound. Rudolph performs on an extraordinary array of instruments—including kongos, djembe, tarija, glockenspiel, thumb pianos, overtone flutes, mouth bow, mbuti harp, cup gongs, and Fender Rhodes piano—alongside his distinctive hand drum setup and electronic treatments. Marcelo contributes acoustic piano, electric keyboards, melodica, and percussion, while Watanabe brings together noh kan and fue flutes, C flute, taiko drums, electric koto, vocals, and electronic processing. The resulting orchestration is as unusual as it is immersive.

The album’s eight tracks form a cohesive yet unpredictable journey. Pieces such as “Clouds of Joy” and “Stumbled Upon” introduce the trio’s exploratory spirit with shimmering textures and rhythmic interplay, while “Nebula” expands the ensemble’s sonic landscape into cosmic dimensions. On the second side, “Lunar Mind” and “A Glimmer Glimpsed” showcase moments of reflective subtlety, while longer works like “Sidereal” and “Inception”—featuring cornetist Stephen Haynes—open expansive improvisational terrain.

This release marks Rudolph’s 63rd recording as a leader or co-leader, yet it retains the excitement and discovery of a debut. The music exists entirely on its own terms, reflecting a rare alchemy between the three artists as they construct dialogues, moods, and textures in real time. Each musician contributes equally to the process, responding to the evolving sonic landscape with virtuosity, sensitivity, and openness.

For Rudolph, the guiding principle behind every project is continual reinvention. As he explains, his goal with each new recording is simple but demanding: to create something he has never done before. That philosophy has shaped a career defined by experimentation and cultural exchange.

Sunrise also arrives in the wake of Rudolph’s 2025 trio album Beingness, recorded with NEA Jazz Masters Dave Liebman and Billy Hart. Reflecting on that collaboration, Rudolph emphasizes the importance of mentorship and artistic lineage in his creative life. Over the decades he has learned from legendary musicians such as Yusef Lateef and Don Cherry—artists who shared not only musical knowledge but a deeper creative philosophy.

What Rudolph received from those mentors, he explains, was more than information. It was a transmission of spirit: an understanding that each note of music must carry genuine feeling, intention, and presence. That principle continues to guide his work and informs his dedication to passing that knowledge on to younger generations of musicians.

In Marcelo and Watanabe, Rudolph has found collaborators who embody that spirit of exploration. Both artists have worked with him for more than two decades across multiple ensembles, including the expansive Go: Organic Orchestra as well as projects like Moving Pictures and Hu: Vibrational. Their long history together has fostered a shared musical language built on trust, listening, and creative risk-taking.

Rudolph describes his role as bandleader not as directing from above, but as shaping an environment in which individuality and collective expression coexist. Within that environment, each musician’s voice contributes to a greater whole. The trio format magnifies this dynamic, allowing every nuance and gesture to resonate clearly within the ensemble.

Watanabe, equally skilled as a woodwind player and percussionist, moves fluidly between the thunderous power of taiko drumming and the delicate phrasing of Japanese and Western flutes. His use of electronics further expands the trio’s orchestral possibilities. Marcelo, meanwhile, brings a highly personal approach to both acoustic piano and electric keyboards. Having shared a musical lineage with Rudolph through their work with Yusef Lateef, Marcelo consistently introduces unexpected textures and harmonic ideas that push the music in new directions.

Perhaps most importantly, Rudolph notes, both musicians possess the rare ability to listen deeply. Their willingness to relax into the moment and allow the music to unfold organically is essential to the trio’s creative process.

Rudolph himself has long been recognized as a pioneering figure in what later became known as world music. As early as the 1970s he was actively forging connections between musical traditions, including co-founding the Mandingo Griot Society with Gambian kora master Foday Musa Suso—one of the first ensembles to merge African and American musical traditions. A decade later he recorded one of the earliest fusions of American jazz and Moroccan Gnawa music alongside sintir master Hassan Hakmoun.

Across his career Rudolph has collaborated with an extraordinary range of artists spanning jazz, contemporary classical, experimental, and global traditions. His compositional work extends beyond small ensembles to large-scale projects such as the 30-piece Go: Organic Orchestra, for which he developed an original notation and conducting system designed to facilitate spontaneous composition within large ensembles.

In addition to his recordings and performances, Rudolph has shared his musical philosophy through teaching and writing. His books Pure Rhythm and Sonic Elements explore the principles behind his rhythmic language and creative methodology, and they have been widely used by composers, performers, and educators around the world.

Sunrise stands as a powerful continuation of that lifelong exploration. It is not merely an album but an invitation into a sonic landscape where tradition and innovation coexist, where musicians from different cultures meet in spontaneous dialogue, and where the act of listening becomes the central creative force.

In a musical world often defined by categories and algorithms, Adam Rudolph’s work remains refreshingly human—driven by curiosity, spirit, and the endless possibility of sound. With Sunrise, he once again reminds us that the most compelling music often emerges not from repeating the past, but from courageously imagining what has not yet been heard.

Walter Smith III’s Twio, Vol. 2: A Masterclass in Trio Chemistry and Jazz Tradition

Few tenor saxophonists working today possess the commanding presence and expressive clarity of Walter Smith III. Known for his powerful tone and thoughtful improvisational voice, Smith has steadily built a reputation as one of the most compelling artists in modern jazz. With the release of Twio, Vol. 2, his third album for Blue Note Records, he offers a recording that celebrates both the joy of spontaneous musical conversation and the enduring vitality of jazz tradition.

Smith’s playing has long embodied a delicate balance between modern innovation and deep respect for the lineage of jazz saxophone. His sound is both muscular and articulate, capable of filling a room with resonant warmth while maintaining remarkable nuance. As an improviser, he represents a generation of musicians who continue to evolve the language of jazz organically—absorbing the wisdom of past masters while shaping new directions for the music’s future.

Throughout his career, Smith has had the opportunity to learn from some of the genre’s greatest figures, including trumpeter Terence Blanchard and legendary drummer Roy Haynes. Those experiences helped refine his musical voice and reinforced a philosophy of constant exploration that continues to guide his work.

Over the past two decades, Smith has also become part of a remarkable cohort of forward-thinking musicians who are equally dedicated to composition and improvisation. His creative circle includes artists such as Ambrose Akinmusire, Eric Harland, Jason Moran, Chief Xian aTunde Adjuah, Taylor Eigsti, and Matthew Stevens—musicians who have reshaped contemporary jazz through ambitious original compositions and collaborative experimentation.

Yet Twio, Vol. 2 emerges from a different impulse. Rather than presenting complex new scores or elaborate arrangements, the album reflects a simple but powerful idea: sometimes great musicians just want to play. No extensive rehearsal schedules, no dense charts, and no pressure to master entirely new repertoires. Instead, Smith and his collaborators return to the music that shaped them—songs they have known and loved for years—and allow their shared experience to guide the performances.

At the heart of the album is a tightly knit trio featuring Smith alongside bassist Joe Sanders and drummer Kendrick Scott. Together they form a highly intuitive ensemble capable of navigating both structure and spontaneity with remarkable ease. Their interplay reflects years of musical and personal connection, creating a sound that feels both relaxed and deeply focused.

Adding to the album’s excitement are two extraordinary guest artists. Legendary bassist Ron Carter appears on half of the album’s ten tracks, bringing with him the experience of thousands of recording sessions and a deep connection to the history of modern jazz. Meanwhile, saxophonist Branford Marsalis joins the group on two tracks, creating exhilarating moments where two of the most respected tenor players of their generation engage in spirited musical dialogue.

For Smith, the opportunity to collaborate with Marsalis holds special significance. The saxophonist was a formative influence during Smith’s early years as a musician, shaping his understanding of what was possible on the instrument. Carter, meanwhile, represents a towering figure in jazz history whose guidance during the sessions proved both supportive and creatively challenging.

Rather than simply accompanying the trio, Carter approached the sessions as an active collaborator. His musical philosophy emphasizes listening as much as playing—encouraging fellow musicians to respond to the ideas unfolding around them rather than simply following their own instincts. That approach helped deepen the collective energy of the recordings, reinforcing the album’s central theme of shared exploration.

Twio, Vol. 2 builds upon the concept introduced in Smith’s earlier release Twio from 2018. That first volume featured bassist Harish Raghavan and drummer Eric Harland as the core rhythm section, along with guest appearances by bassist Christian McBride and saxophonist Joshua Redman. Critics praised the album’s stripped-down approach, noting how Smith focused on the essence of jazz improvisation.

The new volume continues that process of artistic distillation. Like its predecessor, the album employs a piano-less trio format reminiscent of classic ensembles led by saxophone icon Sonny Rollins. Without a chordal instrument providing harmonic structure, the musicians enjoy extraordinary freedom to shape the music collectively. Every note played by the bass or saxophone subtly influences the harmonic direction, while the drums guide the ensemble’s rhythmic pulse.

When Marsalis enters the picture, the dynamic becomes even more compelling. The interaction between two tenor saxophonists can easily descend into competitive showmanship, but the performances here reflect something far more nuanced. Instead of battling for attention, Smith and Marsalis engage in a musical conversation built on mutual respect and shared curiosity.

Equally notable is the album’s thoughtfully curated repertoire. Rather than relying on the most frequently performed jazz standards, Smith selected songs that exist on the edges of the traditional canon—pieces familiar enough to provide structure yet open enough to encourage reinterpretation.

Many of these compositions have personal significance for Smith. Songs like “My Ideal,” “I Should Care,” and “Circus” represent melodies and harmonic frameworks that have accompanied him throughout his musical development. Revisiting them in a trio setting allows him to explore their possibilities in new ways.

One particularly inventive moment arrives with “Casual-Lee,” a track featuring both Marsalis and Carter. The piece overlays a newly composed melody onto the harmonic progression of the classic standard East of the Sun (and West of the Moon), creating a bridge between tradition and modern creativity.

Another highlight is “Swingin’ at the Haven,” written by pianist and educator Ellis Marsalis. Smith first encountered the tune on the 1986 album Royal Garden Blues, one of the many recordings by Branford Marsalis that helped shape his musical imagination.

The album also pays tribute to the work of composer Carla Bley with a performance of “Lawns,” a composition Smith revisited through drummer and educator Terri Lyne Carrington and her influential project New Standards: 101 Lead Sheets by Women Composers.

Two additional selections honor composers who have profoundly influenced Smith’s musical thinking. Thelonious Monk’s “Light Blue” offers a playful and structurally rich canvas for improvisation, demonstrating why Monk’s compositions remain among the most beloved in jazz. Meanwhile, “Fall” by Wayne Shorter brings a more introspective mood to the album. For Smith, Shorter’s compositions often evoke distinct emotional landscapes, and performing this piece alongside Ron Carter—who originally recorded it as part of Miles Davis’ famed Second Great Quintet—adds an extra layer of historical resonance.

Other selections reflect Smith’s admiration for saxophone legend Joe Henderson. The Ellington–Strayhorn classic “Isfahan” first captured Smith’s attention through Henderson’s 1992 tribute album Lush Life, which celebrated the compositions of Billy Strayhorn. Henderson’s influence also appears in Smith’s interpretation of “Escapade,” written by trumpeter Kenny Dorham and featured on Henderson’s 1964 album Our Thing.

For Smith, Henderson’s early recordings were transformative. The saxophonist recalls learning his very first jazz tune—Blue Bossa—from Henderson’s landmark album Page One. That experience helped spark his lifelong fascination with the Blue Note catalog and ultimately fueled his desire to record for the label himself.

The resulting album captures a rare balance between spontaneity and mastery. Many of the tracks were recorded in only a few takes, reflecting the trio’s ability to communicate instinctively without elaborate preparation. Instead of carefully planned arrangements, the musicians simply begin playing and allow the music to unfold naturally.

What emerges is a set of performances that feel both exhilarating and deeply comfortable. The musicians respond to one another with remarkable sensitivity, adjusting dynamics, texture, and tempo in real time. Every interaction feels purposeful, yet nothing sounds forced.

In this way, Twio, Vol. 2 offers listeners a glimpse into the living heart of jazz improvisation. It demonstrates how seasoned musicians can take familiar forms and transform them into something vibrant and unpredictable.

For Walter Smith III, the album represents both a continuation of his artistic journey and a reminder of why he fell in love with jazz in the first place. At its core, the music is about connection—between musicians, between past and present, and between the shared experiences that shape the language of improvisation.

Skerik Embraces the Ambient Frontier with SKERIK 061725

For more than three decades, the Seattle music scene has been home to some of the most inventive and boundary-defying artists in modern American music. Among them stands the singular saxophonist and composer Skerik, whose adventurous spirit has carried him across the worlds of jazz, funk, rock, and experimental improvisation. Now, with the release of SKERIK 061725, the veteran musician takes a bold step into new sonic territory—delivering the first fully realized ambient album of his career.

Set for release on April 24 via Loosegroove Records—the influential Seattle-based label co-founded by Stone Gossard of Pearl Jam—the album marks a significant milestone for the saxophonist. While ambient textures have appeared throughout Skerik’s music over the years, SKERIK 061725 represents the first time he has fully embraced the genre across an entire project. The album’s first single, “Air Garden,” introduces listeners to its immersive atmosphere, offering a preview of the dreamlike sonic landscapes that define the record.

Across six tracks, Skerik crafts a deeply atmospheric listening experience built around layered saxophone textures that he describes as “saxophonics.” By combining multiple instrumental lines with electronic processing and looping techniques, he transforms the traditional sound of the saxophone into something far more expansive. The resulting compositions drift between melody and abstraction, creating a multidimensional environment where tone, resonance, and subtle harmonic shifts become the primary narrative elements.

This immersive approach draws heavily from ambient music’s central philosophy: that sound can function not only as a focal point but also as a surrounding atmosphere. In Skerik’s hands, the saxophone becomes both instrument and environment, capable of shaping sonic landscapes that unfold slowly and organically.

The roots of this creative direction stretch back decades. Skerik’s earliest exposure to ambient music came from the groundbreaking 1978 album Ambient 1: Music for Airports by pioneering composer Brian Eno. The record, widely regarded as one of the foundational works of the ambient genre, was played frequently in Skerik’s childhood home by his mother.

At the time, however, the young musician struggled to connect with the music’s minimalist aesthetic. His early tastes leaned toward the visceral energy of rock, fusion, and jazz, styles that emphasized rhythmic drive and dramatic improvisation. Ambient music’s quiet subtlety initially felt puzzling to him.

That perception began to change during his teenage years thanks to the influence of bassist and longtime friend Keith Lowe. Lowe, who would later become a fellow artist on Loosegroove Records, introduced Skerik to a wider world of exploratory music, including releases from the influential jazz label ECM Records. Through these discoveries, Skerik encountered artists such as bassist and composer Eberhard Weber, whose spacious compositions demonstrated how atmosphere and improvisation could coexist within jazz.

Those formative listening experiences opened the door to new creative possibilities. At the same time, Lowe also introduced Skerik to pioneering fusion artists including the legendary group Weather Report and virtuoso bassist Jaco Pastorius. Together, these influences expanded Skerik’s musical imagination, revealing how sound design and improvisational freedom could merge into something entirely new.

Despite these early inspirations, it was not until the early 1990s that Skerik began to fully appreciate the conceptual depth of ambient music. The genre’s focus on environmental sound, minimalism, and texture gradually began to influence his own recordings.

One of the first clear manifestations of this influence appeared in 1999 with the album Amoeba by Skerik’s experimental ensemble Critters Buggin. That project incorporated ambient elements alongside the band’s signature blend of funk, improvisation, and sonic experimentation. Two years later, Skerik explored looping techniques more directly on his solo recording Psychochromatic, where layered saxophone parts hinted at the ambient explorations that would eventually culminate in SKERIK 061725.

In many ways, the new album represents the culmination of these decades of exploration. Drawing inspiration from film scores, science fiction literature, and the evolving possibilities of digital sound manipulation, Skerik constructs pieces that feel both cinematic and introspective. The compositions invite listeners to engage with sound in a fluid way—whether as active listening or as atmospheric accompaniment to other experiences.

The album opens with “Synesthesia,” a title that suggests the blending of sensory perception. Like much of the record, the track unfolds gradually, building its sonic architecture from layered saxophone loops and subtle electronic processing. Rather than emphasizing traditional melody, the piece focuses on tonal interaction, allowing harmonies to emerge organically.

“Air Garden,” the album’s lead single, continues this aesthetic with a gently evolving soundscape that evokes openness and tranquility. The track’s airy textures and drifting melodic fragments create a sense of weightlessness, inviting listeners to lose themselves within its sonic environment.

Other pieces explore darker or more introspective moods. “Crusading Frequencies” introduces more dynamic movement within the layered textures, while “I Have Been Who You Are” carries a reflective, almost meditative quality. “Blood’s Current” offers one of the album’s most intense atmospheres, its deep resonances and shifting harmonics suggesting an undercurrent of emotional tension. The closing track, “Somatic,” brings the journey to a contemplative conclusion, its subtle textures dissolving gradually into silence.

While SKERIK 061725 represents a stylistic departure in some respects, it also fits naturally within the broader arc of Skerik’s career. Over the past thirty years he has built a devoted following by refusing to remain confined within any single genre. His music has consistently drawn from multiple traditions—jazz improvisation, funk grooves, rock energy, and experimental sound design—while maintaining a fiercely independent voice.

Throughout that journey, Skerik has been an integral member of several influential ensembles. He helped found the boundary-pushing collective Critters Buggin and the improvisational trio Garage A Trois, both of which became known for their fearless blending of styles. His work with the avant-garde group The Dead Kenny Gs further cemented his reputation as a fearless musical experimenter, while his participation in the jazz-fusion project DRKWAV showcased his ability to navigate complex rhythmic and harmonic structures.

Beyond his own projects, Skerik has also collaborated with a diverse array of artists across the musical spectrum. He has contributed to recordings and performances by Pearl Jam and the grunge supergroup Mad Season, while also appearing in projects led by bassist and eccentric funk visionary Les Claypool. His collaborative résumé even extends to performances with legendary rock musician Roger Waters, illustrating the wide reach of his musical influence.

With SKERIK 061725, however, the saxophonist strips away much of the external energy that defined many of those projects. Instead, he turns inward, exploring the expressive potential of sound itself. The album’s layered saxophone textures demonstrate how a single instrument can create entire sonic ecosystems when combined with imagination and technology.

For Skerik, the process of building these soundscapes remains a source of ongoing discovery. Experimenting with looping techniques allows him to construct harmonic progressions and evolving textures that would be impossible in a traditional performance setting. Each layer interacts with the others, producing unexpected tonal relationships and rhythmic patterns.

The result is an album that feels both deeply personal and widely accessible. Whether experienced as immersive listening or as atmospheric accompaniment to everyday life, SKERIK 061725 invites listeners into a sonic environment where curiosity and experimentation guide the journey.

More than three decades into his career, Skerik continues to challenge expectations and redefine the possibilities of the saxophone. With this new ambient exploration, he demonstrates that artistic evolution never truly ends—there are always new sound worlds waiting to be discovered.

Track Listing – SKERIK 061725

1. Synesthesia

2. Air Garden

3. Crusading Frequencies

4. I Have Been Who You Are

5. Blood’s Current

6. Somatic

Caleb Wheeler Curtis’ Ritual: A Powerful Exploration of Community, Sound, and the Spiritual Practice of Music

For many listeners, the experience of music begins and ends with performance—the electrifying moment when musicians take the stage and transform preparation into sound before a live audience. Yet the true life of music is far more intricate. It grows through repetition, reflection, experimentation, and collaboration. On his new album Ritual, multi-instrumentalist Caleb Wheeler Curtis invites listeners into that deeper world, celebrating the many unseen rituals that lead to artistic creation.

Scheduled for release on April 10, 2026 via Chill Tone Records, Ritual is both an exploration of musical process and a vibrant example of contemporary jazz collaboration. The album assembles an extraordinary group of musicians whose collective chemistry reflects Curtis’ longstanding commitment to artistic dialogue and community building. The ensemble includes pianist Orrin Evans, saxophonist and flutist Hery Paz, guitarist Emmanuel Michael, bassist Vicente Archer, and drummer Michael Sarin—a lineup that bridges multiple creative circles within the modern jazz world.

Critics have long recognized Curtis for his distinctive voice and fearless approach to improvisation. Writing for Jazzwise, critic John Fordham praised Curtis for cultivating “a resolutely personal sax sound,” one that reflects the spirit of visionary artists such as John Coltrane, Ornette Coleman, and Albert Ayler while remaining grounded in an evolving compositional language. That sensibility—balancing freedom and structure—lies at the heart of Ritual.

The album’s concept centers on the idea that music-making itself is a ritualistic process. While audiences witness the final ceremonial moment of performance, musicians spend years engaged in smaller, quieter rituals: daily practice sessions, compositional exploration, collaborative rehearsals, and the gradual development of artistic voice. Curtis’ album acknowledges these processes as essential elements of musical life.

For Curtis, assembling the right ensemble was crucial to realizing that vision. Unlike his previous work in trio and quartet formats, Ritual expands his sonic palette through a flexible group that reshapes itself across different tracks. This approach allows the music to evolve organically, reflecting the shifting dynamics of collaboration.

A particularly distinctive element of Curtis’ sound is his use of the stritch, a straight alto saxophone popularized by the multi-instrumentalist Rahsaan Roland Kirk. Curtis has embraced the instrument as a central component of his musical identity. While its tonal range remains close to the traditional alto saxophone, its physical design and sonic character offer subtle differences that encourage new approaches to phrasing and improvisation.

By adopting the stritch as a primary instrument, Curtis situates himself within a lineage of jazz innovators while forging his own path. The instrument’s voice connects naturally to the explorations of figures such as Ornette Coleman and Arthur Blythe, while also echoing the adventurous spirit of later experimentalists like Thomas Chapin and Tim Berne. At the same time, Curtis’ ensemble blends musicians representing multiple generations of jazz artists—including rising guitarist Emmanuel Michael—creating a dialogue between past traditions and contemporary experimentation.

The album opens with “Fantasmas,” an evocative piece performed by the core quartet of Curtis, Michael, Archer, and Sarin. The track unfolds like an invocation, its searching melodies and layered textures suggesting a call to musical ancestors. Whether interpreted spiritually or historically, the piece acknowledges the traditions that shape every improviser’s journey.

“Bleakout,” which introduces Paz on tenor saxophone, carries a more dramatic narrative. Curtis composed the piece while stranded during a power blackout in Madrid that threatened to derail the beginning of his European tour. The resulting composition captures the tension and uncertainty of that moment, translating it into restless rhythms and expressive improvisations.

A gentler mood emerges with “Florence,” the first track to feature Evans on piano. The piece is named after a unique natural feature located on South Manitou Island in Lake Michigan—a “lake within a lake” that Curtis visited during childhood camping trips with his family. The composition evokes a sense of reflective calm, its spacious harmonies suggesting both memory and landscape.

The full sextet comes together for “Black Box Extraction,” one of the album’s most urgent pieces. The composition evolved from a larger work that Curtis initially struggled to complete. Producer Julian Shore suggested distilling the most compelling elements—an approach Curtis likens humorously to constructing an airplane entirely from the indestructible black box.

Amid these ensemble pieces, Curtis also explores more intimate musical conversations. “You Can’t Just Keep the Music” presents a delicate duet between Curtis and Evans, highlighting their longstanding musical camaraderie. The brief but poignant performance reflects the emotional depth that can emerge from minimal instrumentation.

Flute textures add another dimension to the album’s sonic palette when Paz switches instruments on “Pond” and “Tenastic.” These tracks reveal the lush blend that inspired much of Curtis’ concept for the album: the intertwining colors of flute, piano, and guitar. “Pond” unfolds with an atmospheric, almost mysterious quality, while “Tenastic” introduces sharper rhythms and kinetic energy.

Near the album’s conclusion, Curtis turns to soprano saxophone for “The End of Power,” a contemplative piece shaped by Sarin’s gentle brushwork and subtle guitar textures from Michael. The music carries a quiet sense of optimism, as though suggesting renewal after struggle.

The album closes with the luminous title track, “Ritual,” where Curtis layers sopranino saxophone with trumpet to create an almost otherworldly sonic landscape. The piece serves as both a culmination and a meditation—an acknowledgment that music, at its core, is a shared act of devotion.

For Curtis, the concept of ritual extends beyond composition or performance. It reflects the discipline and commitment required to pursue music as a lifelong vocation. Every musician participates in a daily practice: refining tone, imagining new ideas, writing and rehearsing music, and ultimately surrendering to the unpredictability of live creation.

That philosophy resonates throughout Curtis’ career. Based in Brooklyn, he has developed a reputation as one of the most adventurous musicians in contemporary jazz. His work spans numerous projects and collaborations, each exploring different approaches to improvisation and composition.

His previous album, The True Story of Bears and the Invention of the Battery, released in 2024 by Imani Records, demonstrated the breadth of his musical interests. Across its two discs, Curtis performed on multiple instruments—including stritch, sopranino saxophone, trumpet, and tenor saxophone—while presenting both original compositions and interpretations of works by Thelonious Monk.

Beyond his solo recordings, Curtis is also deeply engaged in collaborative projects. He is a founding member of the ensemble Ember and the group Walking Distance, both of which emphasize collective creativity. He has also appeared on three Grammy-nominated recordings by the Captain Black Big Band, further illustrating his versatility across different jazz settings.

Curtis’ collaborative résumé includes work with numerous influential musicians, among them pianist Jason Moran, guitarist Max Light, trumpeter Josh Lawrence, and Swiss pianist Laurent Nicoud. These partnerships reflect the same community-oriented philosophy that drives Ritual.

Ultimately, Ritual is more than a collection of compositions. It is an exploration of the communal spirit that sustains jazz and the dedication required to keep that tradition evolving. By bringing together musicians from different backgrounds and creative circles, Curtis demonstrates how collaboration can bridge artistic and cultural divides.

In doing so, the album reminds listeners that the most powerful moments in music are rarely spontaneous accidents. They are the culmination of countless rituals—practice, reflection, experimentation, and connection—that shape the artist long before the first note reaches an audience.

Through Ritual, Caleb Wheeler Curtis invites listeners to witness not just the performance, but the deeper process that makes music possible.

Ashley Jackson’s Cover Girl: A Harpist Reimagines Iconic Songs by Women Who Shaped Popular Music

In the ever-evolving landscape of contemporary classical and crossover music, artists who push the boundaries of their instruments often create some of the most compelling listening experiences. Harpist Ashley Jackson is one such artist. With the release of her new EP Cover Girl, Jackson transforms beloved songs by some of the most influential women in popular music into elegant, emotionally rich instrumental interpretations for harp.

Praised for her “soulful” and “eloquent” playing by Musical America, Jackson has built a career defined by artistic curiosity and collaboration. A recording artist with Decca Records in the United States, she has distinguished herself as both a solo performer and ensemble musician, bridging classical tradition with contemporary influences. With Cover Girl, she takes that cross-genre sensibility even further, crafting a musical tribute to women whose voices, songwriting, and cultural impact have transformed the popular music landscape.

The concept behind the EP is both personal and celebratory. Rather than presenting the songs with vocals or traditional arrangements, Jackson interprets them entirely through the expressive capabilities of the harp. In doing so, she highlights the timeless melodic strength of these works while also expanding the instrument’s expressive palette. The result is an intimate and reflective listening experience that honors the original artists while revealing new emotional textures within their music.

Jackson’s performances throughout the EP are guided by a deep admiration for women who challenged expectations in the music industry. From trailblazing legends to contemporary innovators, the selections on Cover Girl reflect artists who reshaped genres, spoke truth through their work, and inspired future generations of musicians.

The EP opens with a striking instrumental interpretation of “Don’t Let Me Be Misunderstood,” famously associated with the legendary singer and pianist Nina Simone. Simone’s recordings often balanced raw emotional intensity with sophisticated musicality, and Jackson captures that duality through delicate phrasing and resonant harp textures. By removing the lyrics yet preserving the emotional architecture of the melody, Jackson invites listeners to hear the song in an entirely new light.

Another highlight of the recording is Jackson’s rendition of “I’m Every Woman,” the anthem made famous by powerhouse vocalist Whitney Houston. In Houston’s hands, the song became a celebration of strength, independence, and feminine identity. Jackson’s harp arrangement transforms the energetic pop classic into a graceful instrumental piece while preserving the uplifting spirit that made the song a defining moment in Houston’s career.

The EP also reaches into contemporary global music with “Udhero Na,” a piece by the acclaimed Pakistani singer and composer Arooj Aftab. This track features guest performer Emi Ferguson, whose contribution adds an additional dimension to the arrangement. By including Aftab’s music alongside more familiar pop and soul classics, Jackson emphasizes the continuing evolution of women’s voices in modern music and the global nature of artistic influence.

The EP concludes with a hauntingly beautiful interpretation of “Dreaming My Dreams,” a poignant ballad originally recorded by Irish rock band The Cranberries. Known for its gentle melancholy and emotional vulnerability, the song becomes a deeply introspective moment on the album. Jackson’s harp performance draws out the delicate phrasing of the melody, transforming the piece into a reflective closing statement that lingers long after the final note.

While the songs themselves originate from diverse musical worlds—soul, pop, global fusion, and alternative rock—Jackson’s arrangements unify them through the harp’s distinctive voice. The instrument’s shimmering resonance allows her to reinterpret familiar melodies with warmth and nuance, demonstrating its versatility far beyond traditional classical repertoire.

Jackson’s path to this artistic moment reflects years of rigorous training and diverse musical experiences. As a soloist, she has appeared at some of New York City’s most respected cultural institutions, including Lincoln Center, the outdoor performance series Celebrate Brooklyn!, and the historic Schomburg Center for Research in Black Culture. Each of these venues reflects a different dimension of the city’s cultural life, and Jackson’s presence across them illustrates her ability to move seamlessly between classical and contemporary audiences.

Her orchestral collaborations further demonstrate her range. Jackson has performed with the prestigious New York Philharmonic as well as the internationally respected Qatar Philharmonic Orchestra. She is also an active member of the Harlem Chamber Players, an ensemble dedicated to showcasing outstanding musicians of color and expanding the reach of classical music through innovative programming.

In addition to her performing career, Jackson is deeply committed to education and mentorship. She currently serves as Assistant Professor and Director of Performance in the music department at Hunter College in New York City. In that role she teaches harp, chamber music, and courses such as Arts in New York City and Storytelling Through Performance. These classes reflect Jackson’s belief that music is not only a technical discipline but also a powerful form of narrative expression and cultural dialogue.

Her academic background is equally impressive. Jackson holds a Doctor of Musical Arts degree from Juilliard School, widely regarded as one of the world’s premier performing arts conservatories. She also earned a Master of Music degree from the Yale School of Music and a Bachelor of Arts degree from Yale University, institutions known for nurturing both intellectual rigor and artistic excellence.

These experiences inform Jackson’s approach to Cover Girl. Rather than treating the harp as a purely classical instrument, she uses it as a storytelling device capable of engaging with popular music traditions. The EP celebrates the voices of women who have shaped culture while simultaneously challenging assumptions about genre and instrumentation.

At its core, Cover Girl is a project about inspiration. Each of the artists represented on the EP carved out space for their creativity in industries that often impose strict expectations about style and identity. By interpreting their music through the harp, Jackson acknowledges their influence while continuing that tradition of artistic exploration.

Although the recording contains no vocals, the emotional presence of the original songs remains unmistakable. Jackson’s harp lines carry the melodies with clarity and depth, allowing listeners to recall the lyrics and cultural context of the original performances while experiencing the music in a new instrumental form.

In doing so, Cover Girl accomplishes something quietly remarkable. It reminds listeners that great songs transcend the boundaries of genre and instrumentation. A melody written for a voice can find new life through strings; a pop anthem can become an intimate meditation; and a harp—often associated with classical concert halls—can speak fluently in the language of modern popular music.

Through this thoughtful and imaginative recording, Ashley Jackson not only honors the women who shaped the soundtrack of generations but also expands the possibilities of her own instrument. Cover Girl stands as both tribute and transformation, revealing how the language of music continues to evolve when artists approach it with curiosity, reverence, and fearless creativity.

Track Listing – Cover Girl

1. Don’t Let Me Be Misunderstood

2. I’m Every Woman

3. Udhero Na (feat. Emi Ferguson)

4. Dreaming My Dreams

Javon Jackson Reimagines Bob Dylan: A Jazz Tribute to an American Songwriting Icon

Few songwriters have left as indelible a mark on modern music as Bob Dylan. Across decades, Dylan’s work has fused poetry, social consciousness, and deeply personal storytelling into songs that have shaped American culture. Now, acclaimed tenor saxophonist Javon Jackson brings a fresh perspective to that legacy with Jackson Plays Dylan, a vibrant jazz exploration of Dylan’s music set for release on April 10, 2026 via Solid Jackson Records in collaboration with Palmetto Records.

Known for his resonant tenor tone and fearless musical curiosity, Jackson has long been recognized as one of the most thoughtful players of his generation. Over the years he has built a career that bridges tradition and innovation, and this latest project finds him revisiting the songs of one of America’s most influential artists through the lens of jazz improvisation. Drawing material from more than three decades of Dylan’s songwriting, the album explores a rich spectrum of music—from timeless protest anthems to intimate love songs—revealing the remarkable adaptability and enduring power of Dylan’s catalog.

Jackson is joined on the album by a dynamic quartet featuring pianist and keyboardist Jeremy Manasia, bassist Isaac Levine, and drummer Ryan Sands. Adding further depth to the project are two extraordinary guest vocalists: Grammy Award–winning singer Lisa Fischer and acclaimed vocalist and pianist Nicole Zuraitis. Together, the ensemble transforms Dylan’s familiar songs into expansive jazz statements while preserving the emotional core that has made them resonate for generations.

Despite his deep admiration for Dylan today, Jackson’s connection to the legendary songwriter did not begin early in life. Growing up immersed primarily in jazz, the saxophonist had little exposure to rock music and was largely unaware of Dylan’s work during his youth. That changed dramatically in the late 1980s when Jackson joined the final incarnation of the Art Blakey's Jazz Messengers under the mentorship of the legendary drummer Art Blakey.

It was during this period that Jackson encountered Dylan’s music through an unexpected source. Blakey’s attorney happened to be a devoted Dylan fan and began sharing recordings with the young saxophonist. Those introductions sparked Jackson’s curiosity and opened the door to an entirely new musical world. His awareness deepened further with the release of the 1999 film The Hurricane, which dramatized the story of middleweight boxer Rubin “Hurricane” Carter. The film renewed attention to Dylan’s powerful 1976 protest song “Hurricane,” a searing critique of racial injustice and the criminal justice system’s wrongful conviction of Carter.

For Jackson, the song revealed an important dimension of Dylan’s artistry. Beyond the poetic imagery and melodic craftsmanship lay a fearless commitment to addressing social injustice and amplifying marginalized voices. That discovery resonated strongly with the saxophonist, whose own artistic path has often intersected with themes of cultural reflection and social awareness.

Indeed, the spirit of social consciousness present in Dylan’s work parallels the creative partnership Jackson formed with the renowned poet, activist, and educator Nikki Giovanni. Their collaborations produced two critically acclaimed recordings—The Gospel According to Nikki Giovanni in 2022 and Javon and Nikki Go to the Movies in 2024—both of which blended spoken-word poetry with jazz performance. The idea for a Dylan tribute had been quietly developing in Jackson’s mind since his discovery of “Hurricane,” and the saxophonist initially envisioned Giovanni contributing new poetry that would engage directly with Dylan’s lyrics.

Tragically, those plans were interrupted when Giovanni passed away on December 9, 2024, following complications from lung cancer. In the wake of her passing, Jackson chose to move forward with the project as a dual tribute—celebrating Dylan’s songwriting while honoring the creative journey he had shared with Giovanni. In that sense, Jackson Plays Dylan carries emotional weight beyond its musical ambitions, representing both remembrance and continuation.

The album opens with Jackson’s original composition “One for Bob Dylan,” a groove-driven salute that establishes the album’s tone while acknowledging its inspiration. From there, the recording flows into one of Dylan’s most iconic works, “Blowin’ in the Wind.” Jackson’s interpretation takes the song at a resolute pace, with Manasia’s piano underscoring its unanswered questions through subtly dissonant harmonies. The result is both reflective and searching, echoing the timeless uncertainty embedded within Dylan’s lyrics.

Another early Dylan classic, “The Times They Are A-Changin’,” unfolds gradually across the performance, evolving from a somber meditation into a declaration of resilience. Jackson has noted that the song’s message remains as relevant today as it was when Dylan first wrote it, its call for awareness and transformation resonating across generations.

The energy intensifies with the band’s urgent interpretation of “Hurricane,” followed by a spirited version of “Gotta Serve Somebody.” This latter track showcases the extraordinary vocal power of Lisa Fischer, whose commanding performance injects the song with electrifying soul and gospel intensity. Though Fischer won a Grammy Award for her 1991 hit “How Can I Ease the Pain,” she is perhaps equally celebrated for her decades-long career as a touring vocalist with the legendary rock band The Rolling Stones, a partnership that lasted twenty-five years. Her career as a backing vocalist was memorably documented in the Oscar-winning documentary 20 Feet from Stardom, which highlighted the contributions of singers who often remain behind the spotlight.

While Dylan’s protest songs are central to the album’s thematic core, Jackson was equally drawn to the emotional vulnerability present in many of the songwriter’s love songs. According to the saxophonist, Dylan possesses a rare ability to combine fearless social commentary with intimate expressions of human feeling. That duality—strength and vulnerability coexisting within the same artistic voice—makes Dylan’s music particularly compelling for reinterpretation.

“Lay, Lady, Lay” receives a sultry jazz arrangement in which bassist Isaac Levine shares the melodic spotlight with Jackson while Manasia sets the mood with shimmering Rhodes textures. The album concludes with a delicate rendition of “Make You Feel My Love,” originally released by Dylan in 1997. Jackson’s expressive ballad playing glides gracefully above the rhythm section’s understated accompaniment, offering a quiet and emotionally resonant finale.

Another standout vocal performance comes from Nicole Zuraitis, whose interpretation of “Forever Young” carries a wistful sense of longing. Zuraitis, a Grammy-nominated artist who has performed with jazz luminaries including Dave Brubeck and Christian McBride, as well as former U.S. President Jimmy Carter, previously collaborated with Jackson on Javon and Nikki Go to the Movies. Her voice brings both warmth and emotional clarity to the song’s enduring message of hope.

Jackson also revisits two classics from Dylan’s landmark 1965 album Highway 61 Revisited. “Tombstone Blues” is reimagined through a modal jazz framework inspired by the exploratory spirit of John Coltrane, while “Like a Rolling Stone” is transformed into a jubilant gospel-inflected celebration. Meanwhile, Jackson’s brisk, swinging take on “Mr. Tambourine Man” reflects his interpretation of the song as a form of mentorship narrative—a musical conversation in which humility and curiosity guide personal growth.

That concept resonates deeply with Jackson’s own journey as a musician. Over the course of his career he has benefited from the mentorship of towering jazz figures such as Elvin Jones, Freddie Hubbard, and Betty Carter. Their guidance shaped his musical philosophy, encouraging the same blend of tradition and forward-thinking exploration that characterizes Jackson’s work today.

Ultimately, Jackson has come to see Dylan as part of a lineage that includes some of jazz’s greatest innovators. In his view, Dylan’s artistic approach mirrors the restless creativity of figures such as Miles Davis and Duke Ellington—artists who continually reinvented their music while honoring the traditions that inspired them.

“Bob Dylan reminds me of Miles Davis and Duke Ellington in a way,” Jackson has said. “Like them, he’s always trying to find another, better version of what came before, with one foot in the past and one foot in the future.”

That perspective lies at the heart of Jackson Plays Dylan. Rather than simply covering Dylan’s songs, Jackson approaches them as living compositions—musical frameworks capable of evolving through improvisation and reinterpretation. By placing Dylan’s songwriting within a jazz context, the saxophonist reveals new dimensions of melody, harmony, and rhythm that might otherwise remain hidden.

Recorded on November 18 and 19, 2025, the album represents yet another chapter in Jackson’s ever-evolving career. From his early days leaving Berklee College of Music to join Art Blakey’s Jazz Messengers in 1986, to his debut album Me and Mr. Jones in 1991 and his eclectic recordings for Blue Note Records, Jackson has consistently embraced musical exploration. His work has drawn from a wide range of influences—from Brazilian composer Caetano Veloso to rock icon Frank Zappa, Latin legend Carlos Santana, blues pioneer Muddy Waters, soul singer Al Green, and French songwriter Serge Gainsbourg.

With Jackson Plays Dylan, that spirit of curiosity continues. The album not only celebrates one of America’s greatest songwriters but also demonstrates the remarkable versatility of jazz as an interpretive art form. In Jackson’s hands, Dylan’s songs become fresh landscapes for improvisation—bridging folk, rock, poetry, and jazz into a unified musical conversation that honors the past while pointing toward the future.