Sharada Shashidhar Announces A Foot on the Ground, Shares New Single “Arches”

 

L.A.-based vocalist, composer, and producer Sharada Shashidhar returns with “Arches,” a luminous new single that heralds her forthcoming LP A Foot on the Ground, out June 5 via Colorfield Records. Recorded at Lucy’s Meat Market studio with producer Pete Min, the album features a dynamic cast of collaborators including Benny Bock, Mark Guiliana, and Devin Daniels, and continues Shashidhar’s boundary-blurring journey through jazz, experimental music, and alternative R&B.

“An amazing singer, a bit like the jazz Kate Bush.” — Gilles Peterson

“With Indian classical influences… a reflective journey with few stylistic precedents.” — MOJO

“A deliciously woozy waltz pitched somewhere between Stevie Wonder and Minnie Riperton.” — Uncut

“There’s a quality… that borders on ethereal.” — Bandcamp Daily

With A Foot on the Ground, Shashidhar builds on the acclaim of her 2024 release Soft Echoes, further refining a voice that feels both rooted and unbound. Her music draws deeply from jazz and Indian classical traditions, yet resists easy categorization, unfolding instead as a fluid, exploratory sound world shaped by instinct, collaboration, and a willingness to embrace the unknown.

“Arches,” the album’s lead single, emerged organically. “It took shape from a preexisting backdrop of chords and drums I had played,” Shashidhar explains. “I then had an unusually free-flowing string of lyrics in a moment of solitude, and with the creative Udo additions from Benny, pieced together my favorite song on the record.” The result is a piece that feels intimate yet expansive, anchored by her multi-layered harmonies and the subtle interplay between acoustic and electronic textures.

Recorded over two years at Lucy’s Meat Market in Los Angeles, A Foot on the Ground captures an artist in transition—stepping into new creative roles, experimenting with unfamiliar tools, and reshaping her approach to songwriting. Working closely with Pete Min, Shashidhar learned to loosen her grip on perfectionism, instead embracing spontaneity and the hidden musicality in every idea, even those that initially felt uncertain or incomplete.

The album’s process was deeply collaborative and intentionally open-ended. Rather than adhering to a fixed vision, Shashidhar and her collaborators—both longtime peers and new contributors—allowed each session to unfold naturally, following whatever felt most compelling in the moment. The result is a collection of songs that feel alive with possibility, moving between styles not to demonstrate range, but to resist creative confinement.

Her voice acts as the connective thread throughout—sometimes delivering intricate, composed melodies, other times drifting freely in wordless improvisation. It’s a presence that feels both grounding and otherworldly, equally at home in structure and abstraction.

Shashidhar describes the album as “a documentation of instinct and a challenge to mentally free herself” from past expectations. That sense of liberation is palpable across the record, which she hopes will leave listeners feeling both comforted and inspired. “I want it to excite someone into trying something new,” she says. “If they listen again, they hear something completely different.”

With A Foot on the Ground, Sharada Shashidhar doesn’t just expand her sound—she redefines her creative process, crafting a vivid, immersive listening experience that rewards curiosity and openness.

Journey To Bowerbird: Joe Fiedler Pushes Low Brass Into New Territory

The imaginative, adventurous, and prodigious trombonist, composer, and bandleader Joe Fiedler returns with Journey To Bowerbird, the fourth recording from his critically acclaimed ensemble Big Sackbut. Featuring Fiedler alongside Ryan Keberle and Luis Bonilla on trombones, Marcus Rojas on tuba, and Satoshi Takeishi on drums, the album continues the group’s singular exploration of low brass as a vehicle for bold, expressive, and deeply engaging music.

The concept for Big Sackbut dates back to the late 1980s, when Fiedler first encountered the electrifying force of the World Saxophone Quartet in performance. “The drive and energy that they put forth was quite compelling,” he recalls. “The tunes had a wonderful balance of ‘tight-looseness’ that totally sucked me right in… I immediately thought of how I might incorporate my image of these elements into a trombone-driven project.” Those ideas lingered for more than two decades until, around 2010, a conversation with Ryan Keberle and an invitation to perform in a New York Slide Workers Union series finally brought the vision to life.

Across Big Sackbut’s recordings—including Journey To Bowerbird—the music transcends its unusual instrumentation. It’s entirely possible to be swept up in the sound without consciously noting the ensemble’s makeup. But to do so would miss a key part of the experience: the remarkable range of timbre, tone, rhythm, harmony, melody, wit, and emotion drawn from three trombones and a tuba. With the addition of Satoshi Takeishi on drums, the group gains an added propulsion, giving the new album a dynamic, driving edge.

Fiedler’s recordings have never been mere blowing sessions or reinterpretations of familiar material. Instead, each project represents a deliberate artistic step forward, shaped by significant experiences in his musical life. Journey To Bowerbird is no exception.

The album’s origins trace back to a pivotal invitation from legendary bass trombonist Dave Taylor. In early 2025, Taylor asked Fiedler to perform in a brass quintet presentation of Angels of the Inmost Heaven by composer Lucia Dlugoszewski as part of the Pure Lucia festival at the Bowerbird music space in Philadelphia. The ensemble included an extraordinary lineup: Peter Evans and Chris Coletti on trumpet, and Eric Reed on horn.

What initially seemed like a straightforward engagement quickly revealed itself as a formidable challenge. “At first glance it looked to be unplayable,” Fiedler admits. Despite a career that includes over a hundred recordings and thousands of performances, he found himself struggling to make progress even after weeks of dedicated practice. For the first time, he considered stepping away from a project.

But the weight of Taylor’s trust—and their long-standing relationship as mentor and colleague—kept him committed. Fiedler completely rethought his approach, meticulously re-notating the score, breaking it into manageable sections, and mapping out alternate slide positions and tonguing techniques. He devised a rigorous practice regimen: four hours a day, split into two sessions, all focused on mastering a single nine-minute piece.

The results were transformative. Over three months, every aspect of his playing—accuracy, tone, range, endurance, and focus—reached new levels. Rather than growing fatigued, he found himself increasingly drawn into the subtleties of Dlugoszewski’s music. The eventual performance was a success, but more importantly, it sparked a new creative direction.

Inspired by that intense period of growth, Fiedler reimagined how he might compose for Big Sackbut. He set out to merge elements of brass chamber music and Dlugoszewski’s edgy, demanding language with the structures and spirit of jazz. The outcome is Journey To Bowerbird, an album that channels discipline, discovery, and imagination into a vivid and compelling sonic experience.

Critics have long recognized Fiedler’s unique voice and the ensemble’s impact:

“The group rips, dances and converses… the quartet is so tight that they sound like one big, polyphonic low-brass organ.” — DownBeat Magazine

“An adventurous trombonist, [Fiedler] conceived Big Sackbut as something like a brass answer to the World Saxophone Quartet.” — The New York Times

“Innovative and fun… moving between avant-garde and more mainstream sounds.” — LEO Weekly

With Journey To Bowerbird, Joe Fiedler continues to expand the possibilities of low brass, transforming technical challenge into artistic triumph and reaffirming Big Sackbut as one of the most inventive ensembles in contemporary jazz.

Always Ever: Alister Spence Pushes the Piano Beyond Its Limits

 

Always Ever, out April 24, 2026, features Alister Spence exploring a diverse spectrum of experimental approaches and preparations on the piano.

“Spence is both imaginative and expansive, sensitive to mood and contrast, texture and melody, euphony and cacophony.” – Stuart Nicholson, Jazzwise

"Spence possesses a particular kind of vision that speaks to an original distance, whether from our usual sense of a scene as place or as constituent style, a special capacity to see through time and space to a different territory." – Stuart Broomer, The Free Jazz Collective

The title of Always Ever, the absorbing new album from Australian pianist and composer Alister Spence, suggests a wellspring of sound and inspiration that gazes beyond the present moment into the infinite. An ambitious, singular, and deeply personal collection of inventions and experiments, the album ventures further down the path the pianist began with his acclaimed 2020 release Whirlpool, hailed by All About Jazz as “a good place to hear [Spence’s] uncommon imagination at work.”

Out April 24, 2026, Always Ever consists of 16 wholly improvised pieces, each approaching the piano from a distinct perspective. Some highlight the improvisational versatility that has made Spence one of Australia’s preeminent jazz pianists since his days with the internationally renowned Clarion Fracture Zone; others transform the instrument’s sonic possibilities through eclectic preparations and unconventional techniques.

“Over time,” Spence explains, “the playing of the piano for me has expanded to encompass the whole piano, more than just playing the keys. I'm interested in contingency. I'm interested in accidents and what they cause to happen in the music, and I deliberately try to create those accidents for myself.”

Whirlpool marked the beginning of an investigatory new chapter in Spence’s nearly four-decade career—his first solo outing and an introduction to a broader palette of approaches to the instrument. With Always Ever, he delves deeper into that exploration, documenting an ongoing process of discovery into the boundless possibilities of a piano he has played his entire life.

He traces the roots of this approach back to his time with Clarion Fracture Zone, a group known for blending emerging sampling technology with diverse jazz traditions. During one session, saxophonist Tony Gorman encouraged Spence to channel the abstract energy of Cecil Taylor—an invitation that proved transformative.

“Everything we'd done up to that point had been fairly conventional,” Spence recalls. “I had never been asked to do anything like that before, and I just had the most fun with it. That experience inspired me to follow my ears and my intuition about what pleases me sound-wise, and slowly bled more and more into my practice.”

That spirit of experimentation has taken many forms over the decades. Alongside a prolific career composing for film and television, Spence has pursued a range of adventurous collaborations: a long-running partnership with Japanese pianist and composer Satoko Fujii; a trio with drummer Toby Hall and bassist Lloyd Swanton of The Necks; and a quartet iteration featuring guitarist Ed Kuepper, co-founder of the influential proto-punk band The Saints.

In recent years, however, his solo work has become one of the most fertile outlets for his sonic imagination. “I've long been interested in the color of sound,” he says. “When I play the piano, I'm often just as interested in what happens from a so-called mistake as I am in the more conventional piano note sound. My goal is to break with preconceptions and to just be in the moment as much as possible.”

Always Ever unfolds as sixteen concise improvisations, each a distinct line of inquiry. The album opens with the percussive “Mystic,” resonating with muted string strikes, followed by the restless, shifting currents of “Determination.” From there, contrasts abound: the shimmering insistence of “Play of Light” against the metallic textures of “Distant Cousins”; the Cecil Taylor–inspired abstraction of “Afternoon at Ranscom Street” (named for the Sydney studio where the album was recorded) set alongside the meditative drones of “Begin from the Middle.” The emotional terrain spans the stark, pointillist beauty of “Searchlight,” the wiry spirals of “Rain Dance,” and the aptly titled clamor of “Scrape Rattle Strike.”

A composer of remarkable sensitivity and scope, Spence embraces uncertainty throughout Always Ever, allowing chance and intuition to guide the music in real time. “I do things throughout this album where I'm only broadly aware of how they’re going to sound,” he says. “So much is just open to the moment… Even if I'm playing the piano more conventionally, I try to deliberately make myself go off track so that I’m not able to guess what's going to happen as a result. It’s so exciting to work my way into and out of that situation.”

That sense of unpredictability is precisely what makes Always Ever so compelling. It’s an album that captures not just sound, but the thrill of discovery itself.

At 25, John Pachnos Arrives Fully Formed With a Bold, Genre-Bending Debut

 

At just 25 years old, John Pachnos is not merely introducing himself to the jazz world—he’s making a statement that feels years, even decades, in the making. His self-titled debut album, John Pachnos, set for release on May 15 via his own Avgonyma Music label, reveals an artist with a strikingly mature voice, a fearless compositional approach, and a deep-rooted musical identity that defies his age.

Backed by a formidable quintet—Carter Vames on saxophone and flute, Caleb Heinze on guitar, Frankie Midnight on piano, and Justin Vedovelli on drums—Pachnos presents seven original compositions that collectively establish a compelling and highly individual artistic vision. The ensemble doesn’t simply perform the music; they inhabit it, demonstrating a chemistry forged over years of collaboration and shared musical language.

Though this may be his debut recording, Pachnos’s musical journey began almost as early as memory itself. A former child prodigy, his talents surfaced at the age of three when he instinctively replicated his sister’s piano playing. Recognizing his gift, his family immersed him in music immediately, setting him on a path that would become his life’s foundation. From piano lessons to early explorations on drums and eventually bass guitar, Pachnos developed a multi-instrumental fluency that continues to inform his compositional voice.

Tracks like Gettin’ Outta Dodge showcase his command of tradition while pushing beyond it. Rooted in a hard-bop sensibility, the piece adheres to the classic 32-bar form yet feels anything but predictable, offering each musician space to stretch and assert their individuality. In contrast, No Funks to Give leans into rhythmic and stylistic elasticity, weaving between hard funk and buoyant swing with seamless precision. Meanwhile, Take It All Off! blurs genre lines entirely, balancing jazz improvisation with the raw, electrified energy of rock.

What truly distinguishes Pachnos, however, is not just technical prowess but emotional depth. On Well Well Well, intricate harmonic structures serve as a vehicle for complex emotional storytelling, brought vividly to life through interplay—particularly with Vames’s expressive phrasing. Elsewhere, Floridian Winter and As Summer Turns to Fall reveal a more introspective side, channeling nostalgia and quiet reflection with a sincerity that feels earned rather than performed.

The album’s title track, Avgonyma, carries personal and cultural resonance. Named after a medieval Greek town tied to his ancestry, the piece incorporates the bouzouki—a traditional instrument Pachnos discovered during a visit with his father. By layering its distinctive timbre into the composition, he bridges heritage and modern jazz expression, adding another dimension to an already richly textured record.

Much of the album’s cohesion can be traced to Pachnos’s collaborators, many of whom share roots at Rutgers University Mason Gross School of the Arts. Their longstanding relationships—some dating back to childhood, as in the case of Heinze—translate into a musical dialogue marked by trust, spontaneity, and mutual understanding. This isn’t just a group of skilled players; it’s a collective with a shared history and a unified creative pulse.

Born on March 15, 2001, in Newton, New Jersey, Pachnos grew up immersed in music, drawing early inspiration from his father’s love of classic rock and the influential basslines of James Jamerson. His evolution continued through high school jazz programs, including formative experiences like CampJazz at the Deer Head Inn, and into his collegiate studies under bassist Kenny Davis. Additional time spent studying with Victor Wooten further expanded his stylistic range, particularly in funk.

After graduation, Pachnos honed his versatility on the cruise-ship circuit, mastering a wide array of musical styles while accompanying performers from around the world. Back on land, he continued to explore diverse musical settings—from rock bands to pit orchestras—but it is in jazz that his voice finds its clearest and most personal expression.

With John Pachnos, he doesn’t just enter the conversation—he reshapes it, offering a debut that feels less like a starting point and more like the arrival of a fully realized artist.

Triumvirate arrives: Billy Childs reimagines jazz trio power with “Ask Me Now”

Billy Childs, the six-time GRAMMY-winning pianist and composer հայտնի for bridging the worlds of jazz and classical music, continues to expand his formidable legacy with the release of “Ask Me Now,” a deeply expressive new single from his forthcoming album Triumvirate, due April 24 via Mack Avenue Records. The track offers a masterclass in restraint, interplay, and interpretive depth, as Childs revisits a composition by Thelonious Monk with a trio that thrives on nuance and shared musical authority.

Clocking in at nearly seven minutes, “Ask Me Now” unfolds with patience and intention, allowing each musician to shape the narrative in real time. Alongside Childs, bassist Matt Penman and drummer Ari Hoenig form a trio defined not by hierarchy but by balance. Their interpretation breathes—expanding and contracting organically—as melodic ideas pass fluidly between piano, bass, and drums. Each player contributes distinct textures: Childs with his harmonic sophistication, Penman with grounded yet lyrical bass lines, and Hoenig with rhythmically inventive phrasing that subtly redirects the music’s course.

For Childs, the piece carries personal resonance. Having first performed “Ask Me Now” years ago alongside Joe Henderson, the composition has remained one of his favorite Monk works. That long-standing connection is evident in the care and reverence embedded in this recording, which feels less like a reinterpretation and more like a conversation across generations of jazz tradition.

The single follows “One Fleeting Instant,” a luminous lead release that reaches back to Childs’ 1988 debut album Take for Example This…. In assembling the repertoire for Triumvirate, Childs intentionally revisited earlier material, uncovering compositions that could evolve within a trio setting. The result is both retrospective and forward-looking—a dialogue between past and present shaped by decades of artistic growth.

The album’s title reflects more than just its format. Historically associated with shared governance dating back to ancient Rome, “triumvirate” signifies a balance of power among three individuals. That concept is fully realized here. Though Childs leads the project, the trio operates as a collective organism, with each member capable of steering the musical direction at any moment. This equality gives the recording a sense of spontaneity and vitality, marking Childs’ first trio album in 25 years as a significant and intentional return to the format.

Both Penman and Hoenig bring formidable pedigrees to the project. Penman, a longtime member of the SFJAZZ Collective, has collaborated with artists such as John Scofield, Joe Lovano, and Wayne Shorter, and co-founded the group James Farm with Joshua Redman, Aaron Parks, and Eric Harland. Hoenig’s résumé is equally expansive, including work with Chris Potter, Kurt Rosenwinkel, Wayne Krantz, Mike Stern, Richard Bona, and Pat Martino. Despite their extensive experience, Triumvirate marks the first official recording of this particular trio configuration, though their chemistry has been honed through shared performances in various ensemble settings.

The album follows Childs’ 2023 release The Winds of Change, which earned the GRAMMY Award for Best Jazz Instrumental Album, further cementing his standing as a leading voice in contemporary jazz. Beyond his achievements as a performer, Childs has built an extraordinary parallel career as a classical composer, receiving commissions from prestigious institutions such as the Kronos Quartet, Detroit Symphony Orchestra under Leonard Slatkin, Esa-Pekka Salonen and the Los Angeles Philharmonic, the National Symphony Orchestra, the Orpheus Chamber Orchestra, the Lincoln Center Jazz Orchestra, and the American Brass Quintet. His compositions have been performed at iconic venues including Carnegie Hall, Kennedy Center, and Walt Disney Concert Hall, underscoring the breadth of his artistic reach.

Triumvirate features a thoughtfully curated tracklist—“One Fleeting Instant,” “Carefree,” “Like Father Like Son,” “Heroes,” “Whisper Not,” “Ask Me Now,” “Lazy Afternoon,” and “Flamenco Sketches”—each piece offering space for exploration while maintaining cohesion through the trio’s shared sensibility. The album is not merely a collection of performances but a statement of artistic equilibrium, where technical mastery serves emotional expression rather than overshadowing it.

In support of the release, Childs will embark on a series of performances across major U.S. cities, including stops in San Francisco, Los Angeles, New York City, and Washington. These concerts will showcase not only the trio format but also expanded configurations, reflecting Childs’ versatility as both a bandleader and collaborator.

With “Ask Me Now,” Billy Childs demonstrates that innovation in jazz often lies not in reinvention for its own sake, but in deep listening, shared intention, and the courage to let music unfold at its own pace. Triumvirate promises to be a defining chapter in a career already rich with achievement—one that continues to evolve while remaining rooted in the expressive core of the music.

Don’t Look Back: Reggie Codrington’s resilient sound rises above adversity

 

Soul-jazz saxophonist Reggie Codrington has spent a lifetime transforming physical limitation into artistic strength, and his latest single, “Don’t Look Back,” stands as both a personal philosophy and a musical statement shaped by decades of perseverance. Living with Ataxic Cerebral Palsy, a condition that affects coordination, balance, and depth perception, Codrington endured nine surgeries before the age of 13. The procedures, which involved cutting and transferring muscles in his arm to improve dexterity, were necessary for even the possibility of playing an instrument—yet they never guaranteed ease, comfort, or certainty. What they did provide, however, was a path forward for someone determined to follow it.

From an early age, music was already part of his identity. By five, Codrington had learned to read music and grasp its fundamentals, though his body could not yet cooperate with his ambition. Where others might have seen a dead end, his family instilled a mindset that would define his life: find a way. That directive became reality through his father, Ray Codrington, a professional trumpeter who had performed alongside icons such as Little Richard, Gladys Knight, and Jackie Wilson, and contributed to the soundtrack of The Godfather. Recognizing his son’s limitations but refusing to let them define him, Ray purchased a small curved saxophone that accommodated Reggie’s rigid fingers. That instrument became more than a tool—it became an entry point into a lifelong calling.

The road forward was anything but smooth. In ninth grade, Codrington was dismissed from his high school band, told bluntly to pursue something else. Years later, while studying music at Howard University, he encountered similar discouragement from a professor who doubted his ability to succeed professionally due to his limited speed and dexterity. For Codrington, these moments did not signal defeat; they became fuel. Each dismissal sharpened his resolve, reinforcing a quiet but unwavering belief that his voice—however unconventional—deserved to be heard.

That voice ultimately emerged not through technical flash, but through tone. Codrington came to understand that what he lacked in speed, he compensated for with a distinctive warmth and emotional depth. His sound, rich and expressive, became his signature. Rather than imitate legends like John Coltrane or Miles Davis, he embraced a liberating realization: he only needed to be the best version of himself. That mindset not only shaped his musicianship but also defined his personal philosophy.

“Don’t Look Back,” produced by Nelson Braxton of The Braxton Brothers, reflects that philosophy in sound. The midtempo R&B groove provides a smooth, uplifting foundation for Codrington’s melodic phrasing across alto, tenor, and soprano saxophones. His harmonies glide with intention rather than speed, emphasizing feeling over virtuosity. Braxton’s instrumentation, including a lyrical mid-song guitar solo, complements the saxophone’s warmth, creating a dynamic contrast that enhances the track’s emotional resonance. The result is a piece that feels both reflective and forward-moving, grounded in experience yet focused on possibility.

The song’s message is deeply personal. Inspired by a conversation with his mother, “Don’t Look Back” is rooted in the idea that progress requires release—that dwelling on past disappointments can anchor a person in place. Codrington acknowledges that difficult days are inevitable, but insists they are not permanent. Gratitude, perspective, and forward momentum form the core of his outlook. For him, attitude is not just a mindset but a determining force, shaping both personal and professional trajectories.

Now approaching 60, Codrington continues to navigate the daily realities of ACP—pain, stiffness, and physical challenges that complicate even routine tasks. Yet his optimism remains intact, even strengthened. His upcoming album, The Ray Codrington Signature Series, serves as both a tribute to his father and a continuation of the legacy that began with a single, thoughtfully chosen instrument. The project builds on earlier singles such as “Joy In The Midst,” “Three Shades of Blue,” and “Lights,” each reflecting facets of his journey.

Born and raised in Fayetteville, North Carolina, where he still resides, Codrington has built a career spanning decades. Since his 1990 debut album Never Let You Go, he has released 11 albums and multiple singles that have reached global audiences. His collaborations include work with Jeff Lorber, Paul Jackson Jr., and Nils, while his live performances have placed him alongside artists such as Ramsey Lewis, Charlie Wilson, Maze featuring Frankie Beverly, Peabo Bryson, Kenny Lattimore, Kim Waters, and Kevin Toney. In 2012, he performed at an inaugural event for Barack Obama, marking a significant milestone in a career defined by persistence.

At the center of it all is a daily practice of gratitude and a guiding framework Codrington calls The Five P’s: Prayer, Preparation, Persistence, Patience, and Pay Day. These principles are not abstract ideals but lived disciplines, forged through years of challenge and reinforced by every note he plays. His story is not simply about overcoming adversity—it is about redefining it, transforming limitation into identity, and using that identity to create something meaningful.

Jalen Prepares Sophomore Album Doctrine of Love, Expanding His Soulful Vision

 

Since the release of his critically acclaimed debut full-length album, 2023’s Come Around and Love Me, Jalen has experienced a meteoric rise. His track “If You Don’t Want My Love” went viral, amassing over 253 million streams to date, and he has appeared on major television programs including The Graham Norton Show, The Late Show with Stephen Colbert, and Later with Jools Holland. Beyond the screen, Jalen has opened for Thee Sacred Souls on their U.S. tour and sold out numerous headlining club shows worldwide.

Now, in 2026, he prepares to release his eagerly anticipated sophomore album, Doctrine of Love. The record emerges from the momentum and experience gained through relentless touring and creative refinement following his debut. Guided by a personal philosophy—“The doctrine of love holds that every thought and action should be guided first by compassion for others, because love is the highest measure of human worth”—the album channels this ethos into each track.

Musically, Doctrine of Love builds on the orchestral sophistication of Come Around and Love Me, adding bold flourishes of horns and gospel-kissed backing vocals. The album blends pop sensibility with soulful melodies and a raw, groove-driven energy, demonstrating Jalen’s deep understanding and appreciation of classic soul while firmly staking his place in modern soul artistry.

Track Listing – Disc 1

1. Anyone In Love
2. Doctrine Of Love
3. Mr. Train Conductor
4. Burning Temptation
5. Love Is Gone
6. I Can't Ever Leave You
7. Hannah, What's The Matter?
8. Good Good Love
9. Hang It On The Shelf
10. Taken Out Of The Picture

Doctrine of Love promises to further establish Jalen as a defining voice in contemporary soul, combining heartfelt storytelling with compelling arrangements that honor the tradition while moving it forward.

Dr. John Live At Rockpalast 1999: A Timeless Night of New Orleans Groove

 

On July 9, 1999, Dr. John took the stage at the famed Rockpalast festival at Loreley and transformed a summer performance into something enduring. More than just a concert, it was a moment where atmosphere, history, and artistry converged—captured now in Live At Rockpalast 1999, available as a CD/DVD set beginning March 27, 2026.

The recording presents the six-time Grammy Award winner and Rock and Roll Hall of Fame inductee in commanding form. Rooted deeply in the rhythms of New Orleans, the performance moves through blues, R&B, and funk with the unmistakable rolling piano style that defined his sound. Every note carries the weight of a lifetime spent shaping one of the most distinctive voices in American music.

Born Malcolm “Mac” Rebennack Jr., Dr. John built a career that defied easy categorization. His landmark debut Gris-Gris introduced a hypnotic fusion of voodoo mysticism, Creole influences, and rhythm and blues—a sonic identity that would echo throughout his work. While his Night Tripper persona became iconic, it was always anchored in the spirit of his hometown: raw, rhythmic, and deeply human.

At Loreley, he is joined by a tight-knit ensemble of New Orleans musicians—David Barard on bass, Bobby Broom on guitar, and Herman Ernest on drums—who together create a sound that is both grounded and electric. The performance is marked by authority and ease, as the band moves seamlessly between groove-heavy vamps and loose, expressive improvisation.

The setlist reads like a roadmap through Dr. John’s legacy. From the Mardi Gras energy of “Iko Iko” to the laid-back swagger of “Right Place, Wrong Time,” each track is delivered with a sense of lived-in authenticity. “I Walk On Guilded Splinters” unfolds with hypnotic intensity, a reminder of the song’s enduring influence and its reinterpretation by artists such as Cher and The Neville Brothers. Elsewhere, songs like “Such A Night” and “Goin’ Back To New Orleans” reinforce the deep connection between the music and the culture that shaped it.

Track Listing:

1. Iko Iko
2. Qualified
3. I Walk On Guilded Splinters
4. Soulful Warrior
5. I'm Gonna Go Fishin'
6. Sweet Home New Orleans
7. Right Place, Wrong Time
8. Such A Night
9. Mama Roux
10. Goin' Back To New Orleans
11. Big Chief

Throughout his career, Dr. John collaborated with a remarkable range of artists, including Eric Clapton, Mick Jagger, Van Morrison, and Frank Zappa. His presence also extended to film, with appearances in The Last Waltz and Blues Brothers 2000, further cementing his cultural impact.

This release has been carefully prepared through collaboration between MIG Music and the Dr. John.

Joy Arrives: MT Jones Channels Soul Tradition and Modern Sensibility into a Breakthrough Debut

MT Jones, born Michael Thomas Jones, emerges as one of the most compelling new voices in contemporary soul with Joy, a debut album that feels both deeply rooted in musical history and vividly present in its emotional honesty. Based in Liverpool, Jones crafts a sound that bridges eras—drawing from the warmth of 1960s and 1970s songwriting while embracing the textures of modern R&B and jazz.

What defines Jones as an artist is not simply his stylistic blend, but the authenticity that underpins it. His music is built on live instrumentation, thoughtful arrangements, and a voice capable of conveying both vulnerability and strength. There is a timeless quality to his songwriting—melodies that feel familiar yet personal, lyrics that resonate without excess, and performances that prioritize feeling over flash.

Raised in Ellesmere Port, Jones grew up surrounded by the sounds of classic soul, thanks to the influence of his father and uncle. That early exposure shaped his musical instincts, but it was his own initiative that set him on his path. Busking on the streets of Chester at just 11 or 12 years old, he began developing the performance skills and resilience that would later define his live presence.

A pivotal moment came when he saw Stevie Wonder perform at age 13. Inspired, Jones taught himself piano, unlocking a new dimension of musical expression that would become central to his songwriting. That combination of self-driven learning and deep listening continues to inform his approach today.

His formal training at Liverpool Institute for Performing Arts further expanded his horizons, placing him in a community of like-minded musicians. There, he formed a key creative relationship with Jalen Ngonda, a connection that would prove instrumental in his early career. Joining Ngonda’s touring band, Jones performed on bass, keys, and backing vocals, gaining invaluable experience on stages around the world—including shows supporting Lauryn Hill.

These formative years were marked by constant growth. Balancing odd jobs with cover gigs, Jones steadily honed his craft—not only as a performer but also as a songwriter and producer. The global pause during the COVID-19 pandemic became an unexpected turning point, offering him the time and space to focus intensely on original material. What emerged from that period laid the foundation for his solo career.

His debut single, “I Won’t Ever Say Goodbye,” released in late 2022, introduced listeners to his signature blend of soulful sincerity and modern polish. Subsequent releases, including “All I Do” in early 2024, built momentum and anticipation, leading to his self-titled EP later that year. Collaborations with Baltic Jazz Recordings and contributions to tracks like “Forever & A Day” and “So Glad” by Maevey further showcased his versatility and growing presence within the scene.

Even before the release of a full-length album, Jones’ music began to travel widely. Airplay across major outlets—including BBC Radio 2, BBC 6 Music, Jazz FM, and international stations such as FIP in France and Radio Capital in Italy—signaled a growing recognition of his artistry. Coverage in publications like Echoes and Rockerilla reinforced that sense of momentum, positioning him as an artist to watch.

His live performances have played an equally important role in his rise. Headline shows at venues like The Moroccan Lounge, Baby's All Right, and Islington Assembly Hall have demonstrated his ability to translate studio intimacy into compelling stage presence. With an extensive European tour and an appearance at SXSW scheduled for 2026, his reach continues to expand.

Joy, his debut album, represents the culmination of these experiences. Comprising eleven tracks, the record explores themes of love, loss, and personal growth with a clarity that feels earned rather than constructed. The arrangements balance lush instrumentation with space and restraint, allowing Jones’ voice to remain at the center of each song.

There is a careful pacing to the album—heartfelt ballads sit לצד mid-tempo grooves, creating a dynamic listening experience that mirrors the emotional spectrum of its subject matter. The influence of classic soul is ever-present, yet it never feels imitative. Instead, Jones channels those traditions into something distinctly his own, blending them with contemporary sensibilities in production and structure.

What makes Joy particularly striking is its coherence. Despite the variety of tempos and moods, the album maintains a strong sense of identity, guided by Jones’ consistent voice and perspective. It feels less like a collection of songs and more like a unified statement—an introduction not just to his sound, but to his worldview.

As anticipation builds around the album’s release in Spring 2026, it is clear that MT Jones is entering a pivotal moment in his career. He stands at the intersection of tradition and innovation, drawing from the past while speaking directly to the present. His music resonates because it is grounded in real experience, shaped by years of dedication, and delivered with sincerity.

In an era often defined by rapid turnover and fleeting trends, Joy offers something enduring. It is an album that invites listeners to slow down, to feel deeply, and to connect—not only with the music, but with the artist behind it. For MT Jones, this debut is not just an arrival; it is the beginning of a journey that promises to unfold with both purpose and passion.

Paramount Quartet Rises: Joe Lovano Channels Decades of Mastery into a New Creative Peak

 

“There’s a lot of magic that just kind of unfolds as we play. And the more we play, the more magical it becomes.” With that simple but revealing reflection, Joe Lovano captures the essence of Paramount Quartet, a recording that feels less like a summation of a storied career and more like the beginning of a bold new ascent.

The word “Paramount” in the quartet’s name is no accident. It signals intention, elevation, and a sense of arrival—not in the conventional sense of culmination, but as a springboard into unexplored territory. Lovano, despite decades of experience and an extensive catalog of recordings as a leader, speaks of the project with the enthusiasm of discovery. There is a sense that something rare has crystallized within this ensemble, something that cannot be manufactured, only recognized when it appears.

That chemistry is rooted in both chance and history. The quartet emerged from an impromptu meeting at a 2023 fundraiser for Puerto Rican hurricane relief, where Lovano connected with Asante Santi Debriano and Will Calhoun. The connection was immediate and profound, the kind musicians often describe in near-mythic terms—an instant familiarity that bypasses the need for explanation. Bringing Julian Lage into the fold completed the picture, fulfilling a musical partnership that had been years in the making, dating back to their early encounters at Berklee College of Music.

What emerges on Paramount Quartet is a deeply attuned ensemble capable of shifting seamlessly between intimacy and intensity. The album unfolds as a carefully balanced program, one that traverses multiple modes of improvisation without ever losing its internal coherence. Each piece feels like a distinct environment, yet all are connected by the quartet’s shared language and intuitive interplay.

The opening track, Charlie Haden’s “First Song,” sets the tone with a sense of reverence and spaciousness. Lovano’s history with the composition—having performed it alongside Haden—imbues the performance with a quiet authority. The quartet approaches it not as a standard to be reinterpreted, but as a meditation to be inhabited, allowing its emotional depth to unfold gradually and organically.

Lovano’s original compositions provide the album’s structural and expressive backbone. Pieces like “Amsterdam” explore the elasticity of time through rubato interplay, while “Fanfare For Unity” channels a groove-driven momentum that recalls post-bop traditions while pushing beyond them. “The Great Outdoors” expands into extended form, weaving together composed passages and open improvisation in a way that highlights the quartet’s architectural sensitivity. Meanwhile, “Congregation” offers a more grounded, mid-tempo flow, demonstrating the group’s ability to communicate with subtlety and restraint.

Throughout these shifting contexts, the ensemble exhibits an extraordinary responsiveness. Will Calhoun’s drumming is both expansive and precise, capable of igniting high-energy passages or dissolving into delicate textures. Asante Santi Debriano anchors the music with a deeply rooted sense of groove and history, his playing informed by a wide range of experiences and influences. Julian Lage brings a distinctive harmonic voice, his lines weaving in and out of Lovano’s phrases with remarkable clarity and purpose.

Lage’s presence is particularly significant. Making his debut recording for ECM, he demonstrates an uncanny ability to both complement and challenge Lovano’s ideas. His solos unfold with a quiet intensity, marked by intricate voicings and a strong sense of narrative. As a collaborator, he listens as much as he speaks, shaping the music from within rather than imposing upon it.

Lovano himself adds another layer of depth by moving fluidly between instruments—tenor saxophone, soprano saxophone, and tarogato—each chosen for its unique tonal qualities. This shifting palette allows him to respond to the music in real time, emphasizing color and texture as much as melody and rhythm.

The album also includes a striking interpretation of “Lady Day” by Wayne Shorter, a piece that carries its own rich lineage. Lovano approaches it with a sense of openness, allowing the melody to breathe while exploring the harmonic possibilities embedded within it. The performance reflects not only his admiration for Shorter but also his ability to engage with that legacy in a deeply personal way.

Recorded in February 2025 at La Buissonne Studios in Southern France and produced by Manfred Eicher, the album benefits from ECM’s signature aesthetic—clarity, space, and a focus on sonic detail. Every nuance of the quartet’s interaction is captured with precision, allowing listeners to fully experience the subtle dynamics that define the music.

What ultimately sets Paramount Quartet apart is its sense of ongoing evolution. This is not a static document but a snapshot of a living process, a moment in which four musicians converge to create something that continues to grow with each performance. The “magic” Lovano speaks of is not a fixed quality but a dynamic force, one that deepens as the ensemble’s relationships develop.

In that sense, the album embodies a paradox: it feels both fully realized and full of potential. It stands as a testament to the enduring vitality of jazz as an art form, demonstrating that even for an artist of Lovano’s stature, there are always new horizons to explore.

Paramount Quartet is not just another entry in an already distinguished discography—it is a reaffirmation of the creative spirit that drives it. It reminds us that mastery is not about reaching a final destination, but about remaining open to discovery, to connection, and to the transformative possibilities of collective expression.

Tributaries Flows with Vision: A Bold, Collective Debut Redefining the Modern Big Band

 

The vibrant debut album from the New England Jazz Collaborative presents dazzling new compositions, ranging from classic swing to modern jazz to West African highlife, arriving as both a statement of purpose and a reimagining of what a contemporary big band can be. Tributaries, out July 17, 2026 via ACP Records, features six new works for big band by four composers—founder Jeremy Cohen, Darryl Harper, Matan Rubinstein, and Sam Spear—and stands as a compelling testament to the power of collaboration, diversity, and artistic ambition.

From its opening moments, the album signals that it is not bound by tradition but instead energized by it. The music flows across stylistic borders with remarkable fluidity, embracing the full spectrum of jazz history while engaging deeply with global influences and modern sensibilities. The result is a listening experience that feels both expansive and cohesive, rooted in shared purpose yet alive with individual expression.

“The compositions offer a diverse range of styles, textures, and moods, highlighting the strength and versatility of the musicians. Each performer contributes a dynamic presence and expression to the music, creating a vibrant soundscape that defines the ensemble's creativity, individuality, and collaborative spirit,” notes Regina Carter. Her observation captures the essence of the project: a unified ensemble that thrives on multiplicity.

Ben Allison echoes that sentiment, emphasizing the individuality within the collective: “The music on this new album by the New England Jazz Collaborative is fantastic… I hear the individual voices of Jeremy, Matan, Darryl, and Sam… It’s refreshing and uplifting to hear this music.” Meanwhile, critic Bob Blumenthal underscores the album’s impact, calling it “a powerful debut” defined by “uniform excellence and diversity.”

At its core, Tributaries is a panoramic showcase of compositional approaches. It moves effortlessly from echoes of New Orleans swing and lush balladry to daring fusions and West African highlife grooves. Each piece contributes to a broader narrative about the possibilities of contemporary large ensemble jazz—one that honors lineage while pushing forward into new terrain.

The origins of the New England Jazz Collaborative are rooted in a practical challenge that many composers face: access. Jeremy Cohen, a composer and percussionist, found himself with a wealth of music but limited means to bring it to life. Recognizing this as a shared struggle, he gathered a community of like-minded artists to form an ensemble that would not only perform new works but also sustain the creative ecosystem around them. What began as a solution quickly evolved into a groundbreaking model—an artist-led nonprofit collective dedicated to commissioning, presenting, and recording new music.

Unlike traditional big bands centered around a single bandleader, this ensemble operates more like a living, breathing repertory orchestra. Its identity is shaped not by one voice but by many, allowing for a dynamic and ever-evolving repertoire. This approach challenges the conventional hierarchy of jazz ensembles and replaces it with a collaborative framework that amplifies innovation and inclusivity.

In less than five years, the collective has already commissioned over 30 new works and directed significant financial support toward musicians and creatives. Its impact extends beyond performance, fostering a sustainable environment for composers to experiment, develop, and be heard. The emergence of additional composer-led big bands from within its orbit suggests that its influence is already rippling outward.

Musically, Tributaries reflects this ethos in vivid detail. Jeremy Cohen’s “Another Brighter Day” opens the album with a sense of emergence—birdsong textures and warm harmonies unfolding into an uplifting, melodic statement. His closing contribution, “Green Turtle Strut,” draws on his experiences in Ghana, blending highlife rhythms with jazz language in a way that feels organic and celebratory.

Matan Rubinstein’s “Ol’ Liminal” injects kinetic energy into the album, merging early jazz collectivity with contemporary rhythmic and textural ideas. Its references span genres and eras, creating a piece that feels as informed by experimental rock and electronic music as it is by jazz tradition.

Darryl Harper contributes two contrasting works: the intimate, lyrical “Kiss Me Again,” anchored by a delicate piano feature, and “The Secret,” an angular, rhythmically playful piece that thrives on interaction and spontaneity. Together, they highlight Harper’s range as both a melodist and a structural innovator.

Sam Spear’s “Gee, Em…” closes the compositional circle with a nod to Third Stream traditions, weaving classical techniques into a jazz framework. Its conceptual foundation—built on a 12-tone row—translates into a piece that is at once cerebral and expressive, bridging intellectual rigor with emotional resonance.

The ensemble itself plays a crucial role in bringing these compositions to life. A mix of established voices and emerging talents, the group embodies the collaborative spirit at the heart of the project. Under the direction of Ken Schaphorst, the musicians navigate the demanding material with precision and personality, ensuring that each piece retains its distinct identity while contributing to the album’s overarching cohesion.

The title Tributaries is especially fitting. It suggests not only the diverse influences feeding into the music but also the convergence of those streams into a larger artistic current. The album reflects a musical reality in which boundaries are increasingly porous and creativity thrives at intersections. It is both a culmination of individual journeys and a starting point for something larger.

In this sense, the New England Jazz Collaborative positions itself within a broader lineage while carving out its own space. Drawing inspiration from past movements that emphasized collective creativity and experimentation, it reimagines those ideals for a contemporary context. Its commitment to new work, diversity, and accessibility ensures that it is not simply preserving a tradition but actively shaping its future.

Ultimately, Tributaries is more than a debut album—it is a declaration. It affirms that jazz, as a living art form, continues to evolve through collaboration, curiosity, and courage. It demonstrates that when artists are given the space and support to realize their visions, the results can be both deeply personal and universally resonant.

As Cohen reflects, what began as a means to an end has become something far more significant: a mission-driven collective with a clear sense of purpose. That purpose is audible in every note of Tributaries, an album that not only introduces a remarkable ensemble but also invites listeners into a vibrant, ever-expanding musical conversation.