Rick Braun Honors a Legend with Heartfelt Tribute Album to Chuck Mangione

Over a genre-defining career spanning more than three decades and 20+ Billboard #1 hits, Rick Braun has built a legacy rooted in melody, groove, and emotional connection. Now, with Rick Braun Plays Chuck Mangione, he turns his attention to honoring one of his greatest musical inspirations.

Sparked by the passing of Chuck Mangione in July 2025, the album stands as Braun’s first-ever tribute project—an offering that feels both deeply personal and musically celebratory. Revisiting Mangione’s most iconic compositions, Braun approaches each track with a balance of reverence and reinvention, infusing them with his signature warmth and contemporary flair.

The project features an exceptional roster of collaborators, including Mangione’s original guitarist Grant Geissman, acclaimed saxophonists Richard Elliot and Tom Scott, renowned keyboardist Philippe Saisse, and flutist Steve Kujala. Together, they help shape a vibrant and emotionally rich listening experience that bridges generations of jazz.

From the sweeping orchestration of “Land of Make Believe” to a revitalized and groove-driven take on “Feels So Good,” the album captures the essence of Mangione’s uplifting sound while allowing Braun’s artistry to shine through. The lead single, “Give It All You Got,” produced by Saisse, stands out with its buoyant rhythm, dynamic guitar textures, and a powerhouse sax solo from Tom Scott—delivering an immediate and infectious energy.

Described by Braun as a labor of love that “took over,” the album channels the “overwhelming sense of happiness” that defined Mangione’s music. In doing so, Rick Braun Plays Chuck Mangione not only pays tribute to a legend but also marks a soulful and inspiring beginning to Braun’s fourth decade as a recording artist.

Tracklist

1. Land of Make Believe
2. Doin' Everything With You (feat. Grant Geissman)
3. Feels So Good (feat. Richard Elliot)
4. Long Hair Soulful
5. Give It All You Got (feat. Tom Scott)
6. Do I Dare To Fall In Love (feat. Richard Elliot)
7. Bellavia
8. Love Wears No Disguise
9. Children of Sanchez (feat. Grant Geissman)

Gabrielle Cavassa Makes Her Artistic Arrival with Blue Note Debut Diavola

Award-winning vocalist Gabrielle Cavassa announces her official artistic arrival with the May 1 release of her Blue Note debut, Diavola. The album is a captivating blend of original songs and luminous reinterpretations of standards, showcasing Cavassa’s extraordinary range as a bandleader, songwriter, and fearless interpreter of song.

Co-produced by jazz luminaries Joshua Redman and Don Was, Diavola features an extraordinary ensemble of collaborators, including Jeff Parker on guitar, Larry Grenadier on bass, Brian Blade on drums, Paul Cornish on piano, and Redman on tenor saxophone. The album’s lead single, “Prisoner of Love,” reveals Cavassa’s remarkable ability to inhabit a song, delivering every lyric with deliberate long tones, subtle dynamics, and reverence for the tradition she comes from.

“I really respect songs, and I really want to honor them in the best way,” Cavassa says. “Modernity is important to me, but the truth is I really am coming from a tradition. And I really love singing those songs.”

Diavola explores dualities central to Cavassa’s artistry: the angel and the devil, urgency and repose, possession and surrender. “I’m not willing to let go of either, or I haven’t been able to,” she notes, a tension that resonates throughout the album’s intimate and anthemic moments.

Her collaboration with Redman began after his manager heard her perform at a wedding in New Orleans, propelling her into professional tours and studio work. Redman and Was worked closely with Cavassa during the recording process, guiding production, tone, and listener impact. “Josh was with me every step of the way,” she recalls. “He was the comfort and the trust through the whole process. And Don brought the wisdom of absolutely one-in-a-million experience.”

Born in Escondido, California, of Italian descent, Cavassa began “obsessively listening” to records from a young age. Largely self-taught, she developed a distinctive approach to singing that blends technical precision, emotional clarity, and interpretive depth. After earning a Bachelor of Arts in Music from San Francisco State University, Cavassa credits the Bay Area music scene for her “real education.” Relocating to New Orleans in 2017, she immersed herself in the city’s jazz community, further refining her craft in local clubs. Her independent 2020 debut, produced with collaborator Jamison Ross, and her 2021 win at the International Sarah Vaughan Jazz Vocal Competition established her as a rising force in jazz.

DownBeat called her feature on Redman’s 2023 Blue Note album where are we “a star in the making,” while Stereophile praised her voice as “idiosyncratic, but trustworthy in its clarity and almost physical in its intimacy… her intuitive interpretations and riveting voice make you sit very still in your chair.”

Diavola Track Listing

Side A

1. Heaven Sighs (Jeff Parker)
2. Raindrops Keep Falling On My Head (Burt Bacharach, Hal David)
3. Prisoner of Love (Russ Columbo, Clarence Gaskill, Leo Robin)
4. Bossy Nova (Gabrielle Cavassa)
5. To Say Goodbye (Eduardo Lobo, Torquato Neto, Lani Hall)
6. Angelo (Luigi Tenco)

Side B

1. Be My Love (Nikolaus Brodszky, Sammy Cahn)
2. Diavola (Gabrielle Cavassa, Alexander Warshawsky)
3. Could It Be Magic (Barry Manilow, Adrienne Anderson)
4. La notte dell’addio (Arrigo Amadesi, Giuseppe Diverio, Emmidio Regimi, Alberto Testa)

Diavola is available now for pre-order through the Blue Note Store, including exclusive signed color vinyl, black vinyl, CD, and digital formats. This debut marks a defining moment for Cavassa, whose voice, range, and interpretive insight promise to make her a lasting presence in contemporary jazz.

Sugar On My Blackbeans: Aleph Aguiar’s Vibrant Latin Jazz Revival with a Modern Pulse

 

Venezuelan-born, UK-based guitarist Aleph Aguiar returns with Sugar On My Blackbeans, his third studio release, following Pataruco (2015) and Maku (2017). In the years between albums, Aguiar has quietly built an impressively diverse résumé, working alongside artists such as Tony Kofi, Elton John, and Georgia Cecile, while also contributing behind the scenes as a guitar and vocal coach for Simon Bird during The Inbetweeners 2. His work with contemporary dance artists further broadened his musical perspective, shaping the multifaceted approach heard on this latest project.

That breadth of experience comes alive across nine original compositions, where Aguiar channels the spirit of 1960s Latin jazz while subtly reshaping its conventions. Instead of leaning on the traditional saxophone-piano frontline typical of the era, he opts for trumpet and Hammond organ, creating a sound that feels both rooted and refreshingly distinct. The trumpet, central to many Latin American traditions, blends naturally with Aguiar’s guitar phrasing, while the Hammond organ adds depth and warmth, enriching the ensemble’s tonal palette.

The album opens with “Panspermia,” immediately establishing a confident rhythmic foundation. The interplay between percussionist Will Fry and drummer Shane Forbes is tight and intuitive, laying down grooves that feel both intricate and effortless. Aguiar’s guitar work nods to the influence of Wes Montgomery, yet he avoids imitation, veering into unexpected melodic turns that give the music its sense of spontaneity and identity.

Tracks like “Mudwalk” highlight the dynamic range of the quintet, with trumpeter Quentin Collins delivering bold, expressive lines while Hammond organist Liam Dunachie contributes fluid, textural support. The title track stands out with its infectious sway and memorable motifs, capturing a vintage charm without sounding dated.

Aguiar’s compositional sensitivity becomes especially clear on the more reflective pieces, including “Little Daisy” and “One For Sorrow, Two For Joy.” Here, he embraces space and restraint, allowing his guitar to breathe while maintaining a subtle undercurrent of Latin rhythm. Elsewhere, “Monk Lakes” features an expansive solo that showcases his technical command and expressive depth, while “Reflected Three” and “Mondongo” provide moments for the rhythm section to shine. “Blue Tourpials,” with its lively 3/4 feel, draws inspiration from Venezuelan folk traditions, adding another layer of cultural richness to the album.

Recorded over just two days, Sugar On My Blackbeans captures a raw, first-take energy that enhances its charm. The performances feel alive and immediate, with each musician contributing to a cohesive yet vibrant sound. The result is an album that balances nostalgia with innovation—rooted in the grooves of 1960s Latin jazz but energized by a contemporary sensibility. It’s a feel-good record with depth, offering both warmth and musical intrigue in equal measure.

Joe Magnarelli’s Decidedly So Reaffirms the Timeless Power of Straight-Ahead Jazz

Trumpeter Joe Magnarelli makes a compelling case for the enduring vitality of straight-ahead jazz on Decidedly So, a session steeped in tradition yet alive with present-day clarity. Recorded at the legendary Rudy Van Gelder Studio in March 2025 before a small but attentive audience, the album captures a group of seasoned musicians fully at ease with their craft. There’s a sense of purpose here—unforced, confident, and deeply rooted in swing.

Magnarelli is joined by trombonist Steve Davis and a stellar rhythm section: pianist Jeremy Manasia, bassist Clovis Nicolas, and drummer Rodney Green. Together, they move through a set of originals and standards with precision, warmth, and an easy sense of interplay that never feels overworked.

The opener, “D.J.,” immediately taps into the spirit of mid-’50s hard bop, driven by a buoyant rhythmic pulse. Magnarelli’s tone is crisp and assured, while Davis answers with a robust, lyrical presence. The rhythm section fuels the momentum—Manasia’s piano cuts through with intensity, and Green’s drumming is quick, responsive, and full of subtle accents.

Davis’ composition “Decidedly So” settles into a relaxed medium tempo, offering a thoughtful exchange between trumpet and trombone. The two horns weave together and pull apart with natural ease, supported by harmonic touches from Manasia and Nicolas that feel both grounded and inventive.

On the Richard Rodgers classic “This Nearly Was Mine,” Magnarelli switches to flugelhorn, and the mood shifts instantly. His playing becomes warmer and more introspective, favoring long, flowing phrases. Manasia responds with delicate, rippling lines, while Davis adds depth with a measured, expressive solo. Nicolas anchors the piece with a steady, resonant presence.

A similar sense of restraint shapes Sigmund Romberg’s “When I Grow Too Old To Dream,” which unfolds at a gently forward-moving pace. The horns state the melody with quiet affection before branching into improvisations that feel organic and unforced. Manasia’s phrasing stands out here—his ideas develop naturally, never sounding imposed—while Nicolas continues to demonstrate both strength and versatility.

The album closes with Magnarelli’s “Jimmy’s Blues,” a spirited return to fundamentals. Rooted firmly in the blues tradition, the track gives each player room to stretch. Magnarelli and Davis dig in with rich, expressive lines, Manasia balances grit with elegance at the piano, Nicolas delivers a confident solo, and Green drives the ensemble with clarity and purpose.

Decidedly So doesn’t try to reinvent jazz—it doesn’t need to. Instead, it celebrates the core elements that have sustained the music for generations: swing, melody, interaction, and feel. In doing so, Joe Magnarelli and his band deliver a session that is both grounded and quietly exhilarating.

James Brown’s Sex Machine Still Hits Like a Jolt of Pure Funk Power

 

Before launching into “Get Up I Feel Like Being Like a Sex Machine,” James Brown asks his band a simple question: “Can I get into the thing, really?” The answer is immediate and emphatic—and what follows is nothing short of explosive. Over the next stretch of music, Brown delivers a relentless, high-voltage performance packed with sweat, swagger, and unstoppable rhythm. Widely recognized—including by Rolling Stone—as one of the greatest albums ever made, Sex Machine stands as a defining statement of his artistry at full throttle.

This 55th anniversary reissue, sourced from the original master tapes, finally gives the album the sonic depth it deserves. Presented in audiophile-quality sound, every element bursts to life—from the punch of the horns and the crack of the snare to the rich swell of the organ. The clarity and immediacy place you right in the middle of the action, capturing both the tight precision of the band and the raw energy of the performance.

At the center of it all is Brown himself, delivering one of the most commanding vocal performances in popular music history. He doesn’t just sing—he testifies. His voice shifts constantly: shouting, pleading, grunting, crooning, and driving the music forward with unmatched intensity. It’s a masterclass in funk expression, where emotion and rhythm are inseparable.

Though originally marketed as a live album, Sex Machine is actually a hybrid. Part of it was recorded in the studio with overdubbed crowd noise, while the rest captures a real performance from October 1969 at Bell Auditorium in Augusta, Georgia—Brown’s adopted hometown. That live material crackles with electricity, fueled by a palpable connection between Brown and the audience.

The album also marks a pivotal moment in Brown’s career. Around this time, his backing group evolved into the first iteration of the legendary J.B.’s, featuring bassist Bootsy Collins and guitarist Catfish Collins. Their arrival brought a sharper, more rhythm-driven sound that pushed Brown’s music further into the foundations of funk. A late-night session in Cincinnati, Ohio yielded extended, groove-heavy takes like the nearly 11-minute title track and a dynamic medley of “Bewildered,” “I Got the Feeling,” and “Give It Up or Turnit a Loose.”

Yes, the album’s structure is unconventional—a mix of live recordings, studio tracks, and different band lineups—but Brown turns that complexity into pure fire. Tracks like “Brother Rapp” showcase his evolving philosophy of rhythm, treating every instrument as part of a larger percussive engine. Meanwhile, the title track remains a cornerstone of funk itself: hypnotic, cyclical, and driven by an irresistible groove that never lets up.

The live cuts are equally powerful. “I Don’t Want Nobody to Give Me Nothing” positions Brown as both performer and leader, while “Licking Stick” and “Spinning Wheel” highlight the band’s tight interplay and musical sophistication, with saxophonist Maceo Parker shining in the mix. The set closes on a more reflective note with “If I Ruled the World,” balancing the album’s intensity with a touch of grace.

More than five decades later, Sex Machine still feels urgent and alive. It’s not just a landmark funk record—it’s a blueprint for rhythm, performance, and artistic control. Complicated in its construction but undeniable in its impact, it captures James Brown doing what he did best: turning music into movement, and movement into something unforgettable.

Fabiano do Nascimento’s Vila Blends Memory, Samba, and Orchestral Jazz into Something Timeless

L.A.-based virtuoso guitarist and composer Fabiano do Nascimento continues his astonishing creative run with Vila, his 15th album in just over a decade—and remarkably, his second release within a three-month span. Following the enigmatic Cavejaz, a collaboration with vocalist Jennifer Souza and Uakti’s Paulo Santos, this new project shifts toward something more expansive and cinematic. Teaming up with longtime collaborator, arranger, and trombonist Vittor Santos and his orchestra, Nascimento delivers a collection that feels suspended outside of time.

Recorded between Los Angeles and Rio de Janeiro, Vila draws deeply from personal memory. Nascimento has described it as an homage to his childhood in Bairro Saavedra, in Rio’s Catete neighborhood. That sense of place runs through the album’s DNA, where Brazilian folk traditions, samba rhythms, and classical sensibilities intertwine with the sweep of orchestral jazz. Across the record, Nascimento moves between six- and seven-string guitars as well as soprano guitar, weaving his playing through a rich backdrop of strings, woodwinds, brass, and percussion.

The opening track, “O Tempo (Foi O Meu Mestre),” sets the tone with a vibrant samba that feels both grounded and weightless. Nascimento’s guitar and voice sit at the center, surrounded by lively string arrangements and expressive woodwinds, including clarinet and oboe. The rhythm shifts subtly between time signatures, giving the piece a gentle elasticity before his vocal enters, adding warmth and intimacy.

“Spring Theme” lives up to its name with a light, airy elegance. Built on a delicate fingerpicked motif, it gradually blooms as strings and bass expand the harmonic space around the guitar. On “Tema em Harmônicos,” a jazz-inflected samba, shimmering guitar harmonics interplay with hand percussion and muted trumpet, eventually giving way to a lyrical trombone passage from Santos. The arrangements throughout echo the lushness of the bossa nova era, lending emotional depth to pieces like “Valsa” and “Floresta Dos Sonhos.”

The album’s more impressionistic moments are equally striking. “Uirapurú” surrounds Nascimento’s guitar with warm, enveloping strings, while piano and flute drift gently overhead. “Trenzinho Imaginário” introduces a subtle tension, its cyclical guitar figure weaving against a moving bassline as the orchestration swells and recedes. Tracks like “Plateau” and “Prelude 5” highlight the album’s emotional core—graceful, intricate compositions that balance restraint with expressive depth.

“Vittor e Fabi” closes one of the album’s arcs with a richly textured jazz samba, where layered rhythms and orchestral flourishes create a sense of lift and forward motion. Throughout, Nascimento’s playing remains fluid and deeply melodic, never overpowering the ensemble but always guiding it.

Vila stands apart within Nascimento’s already expansive catalog. It signals a clear evolution in his compositional voice, revealing a broader, more orchestral vision. Vittor Santos proves an ideal partner—his arrangements are thoughtful and restrained, allowing the music to breathe while framing Nascimento’s guitar within both Brazil’s samba tradition and a contemporary jazz context.

The result is an album that feels both deeply personal and musically expansive—rooted in memory, yet reaching far beyond it.

Marquis Hill’s Sweet Surrender Channels Spirit, Soul, and Chicago Jazz Energy

 

Throughout his career, Chicago trumpeter Marquis Hill has created music that honors Black life while holding onto a grounded sense of hope. His work often draws deeply from the influence of the Black Church, shaping both his artistic voice and spiritual perspective. On (Beautifulism) Sweet Surrender, a ten-track EP, Hill turns his focus toward transcendence and inner reflection, supported by a wide-ranging and adventurous group of collaborators.

The core ensemble features guitarist Emmanuel Michel, bassist Junius Paul, saxophonist Josh Johnson, drummer Marcus Gilmore, and percussionist Juan Pastor. They’re joined by an eclectic lineup of guests, including Makaya McCraven, vocalists Amyna Love, Zacchae’us Paul, and Manessah, along with rappers Cisco Swank and Kumbayaaa. Across its 34-minute runtime, the EP moves fluidly between contemporary jazz, neo-soul, and gospel-infused pop, never settling into just one lane.

The title track appears in three variations, beginning with a brief, meditative introduction where horns drift through a rich modal theme alongside organ textures reminiscent of a church service. That opening melts into one of the project’s highlights, “Water (Feelings, Emotions),” where Amyna Love’s vocals blend seamlessly with alto saxophonist Immanuel Wilkins. A warm, inviting bassline anchors the piece before Gilmore’s crisp, expressive drumming opens things up. Love and Manessah initially use their voices as instruments, adding texture before the song unfolds into a soulful, emotionally resonant performance. The band locks into a tight, intuitive groove, creating space for expressive solos from both Wilkins and Hill.

Zacchae’us Paul takes the lead on the full version of “Sweet Surrender,” delivering reflective, almost prayer-like lyrics over a smooth fusion of jazz and R&B. Hill’s trumpet—switching between muted and open tones—adds both warmth and bite, while Manessah’s harmonies enrich the chorus. The rhythm section keeps things fluid and understated, letting the song breathe.

Elsewhere, “Free #1” leans into a more experimental edge. Layered synth textures from Jeremiah Chiu deepen the low end as Kumbayaaa delivers a sharp, rhythmically agile rap. Hill responds with layered horn arrangements before stepping forward with a standout solo. “Blues” taps into Chicago’s musical heritage, transforming it into a fiery, freewheeling jam that highlights guitarist Matt Gold’s raw, expressive playing against a driving rhythm section.

Tracks like “Demo 1.1 (The Pleasures Of You)” and “Free #1B” continue to push stylistic boundaries, blending post-bop structures with hip-hop rhythms and spoken-word energy. On “Bible Study,” Hill brings everything into focus—merging gospel, jazz, and neo-soul into something deeply moving. With contributions from Mike King on keys and McCraven on drums, the track swells with a choir-like richness, as Manessah’s layered vocals evoke a spiritual gathering. Hill’s trumpet here feels especially purposeful, offering moments of calm and reflection.

The EP closes by revisiting “Sweet Surrender” in demo form, stripping things down to reveal the emotional core of the composition. Hill’s trumpet alternates between tender lyricism and expressive intensity, reinforcing the project’s central themes.

(Beautifulism) Sweet Surrender ultimately feels like a cohesive meditation—one that bridges the sacred and the secular, blending romance, spirituality, and modern jazz into a unified, immersive sound. It’s a vivid reminder of Marquis Hill’s ability to evolve while staying rooted in purpose.

Joe Jackson’s Hope and Fury Finds Clarity in a Career Built on Constant Change

 

For nearly five decades, Joe Jackson has built a career on forward motion, rarely lingering in one stylistic place for long. From the sharp, genre-blending energy of his debut Look Sharp! in 1979 to more divisive experiments like Heaven & Hell in 1997, Jackson has moved fluidly across musical boundaries. His restless creativity often invites comparisons to Elvis Costello, another artist known for refusing to be boxed in.

His most recent outing prior to this release, Mr. Joe Jackson Presents: Max Champion in ‘What a Racket!’ (2023), leaned fully into theatricality. Drawing inspiration from the fading era of British music hall, it was packed with lively brass, playful percussion, and witty, double-edged lyrics. At this stage in his career, there are few styles Jackson hasn’t explored.

With his 22nd album, Hope and Fury, Jackson once again casts a wide net, experimenting across genres to see what resonates. While not every idea lands, the album feels more grounded than much of his recent work. It marks a return to a more direct, less conceptual approach—one that emphasizes strong songwriting and refined musicianship, qualities that first defined his legacy.

Stripped of elaborate stylistic masks, tracks like “I’m Not Sorry” and “Fabulous People” reveal a more straightforward and unguarded Jackson. The album occasionally echoes the cosmopolitan polish of Night and Day and the Afro-Cuban jazz influences of Body and Soul, blending them into what Jackson himself calls a “Bicoastal LatinJazzFunkRock” sound—a hybrid shaped by his ties to both New York City and Portsmouth.

Still, Hope and Fury doesn’t entirely abandon his penchant for experimentation. The opening track and lead single, “Welcome to Burning-by-Sea,” offers an offbeat entry point, driven by insistent percussion as Jackson half-sings, half-chants through vivid imagery of a fictional seaside town. Meanwhile, the sprawling “End of the Pier” leans into a jazz-inflected narrative style that highlights both the ambition and occasional excess that have long defined his work.

The album may not fully resolve Jackson’s ongoing musical wanderlust, but it strikes a satisfying balance. There’s comfort in hearing him revisit familiar territory while still pushing at the edges—a reminder that even after decades of reinvention, Joe Jackson remains an artist in motion.

Ayman Fanous Shares Duo with Joe McPhee as Second Single from 5-CD Boxset Brooklyn Stories

 

Brooklyn-based guitarist and bouzouki player Ayman Fanous is releasing a monumental 5-CD boxset, Brooklyn Stories, via Infrequent Seams, featuring duos, trios, and quartets with some of the most inventive voices in contemporary jazz and avant-garde improvisation.

The second single, a striking duo with saxophone legend Joe McPhee, is now available to stream and pre-order on Bandcamp ahead of the full release on April 24, 2026. This collection showcases Fanous’ extraordinary versatility and deep musical empathy, spanning collaborations with William Parker, Tatsuya Nakatani, Jason Kao Hwang, Ned Rothenberg, Susan Alcorn, Mark Feldman, Thomas Ulrich, James Ilgenfritz, Denman Maroney, and the late Susan Alcorn.

Though Fanous has been active in music for decades, Brooklyn Stories marks his first major release as a leader of such an expansive project. A scientist and physician by profession, Fanous brings a unique analytical and soulful approach to improvisation. As liner notes writer Elliott Sharp observes: “How all of Ayman Fanous’ interests and vocations feed each other is the better question—how music of this intensity and complexity emerges from his fingers and soul.”

The 5-CD set includes recordings ranging from intimate duos to intricate quartets, blending jazz, avant-garde, and free improvisation. Listeners familiar with the work of Matthew Shipp, Alice Coltrane, Mary Halvorson, Cecil Taylor, or Anthony Braxton will find rich parallels in Fanous’ explorations, along with a distinctly personal voice on classical guitar, electric guitar, and bouzouki.

Release Schedule:

• Feb 24 – First single: Trio With William Parker, Tatsuya Nakatani – 4
• Mar 10 – Second single: Duo with Joe McPhee – 2 (streaming now)
• Apr 7 – Third single: Trio With Susan Alcorn, Ned Rothenberg
• Apr 24 – Full 5-CD boxset release

Brooklyn Stories is a rare and immersive journey through the intersections of improvisation, composition, and emotional depth—a must-listen for anyone interested in the outer edges of jazz and avant-garde music.

In a Space Outta Dub: Nightmares On Wax and Adrian Sherwood Reimagine a Downtempo Classic for Its 20th Anniversary

 

2026 marks twenty years since the release of In a Space Outta Sound, the landmark album from Nightmares On Wax, the long-running project of producer George Evelyn. To celebrate the anniversary, Evelyn revisits the record through a bold new lens, teaming up with legendary dub producer Adrian Sherwood for In a Space Outta Dub—a richly textured reinterpretation that transforms eight of the original tracks into something deeper, hazier, and more sonically adventurous.

Rather than simply remixing the material, Sherwood approaches the project as a full reimagining, applying his signature On-U Sound aesthetic—dense with echo, reverb, and low-end weight—to reshape the album’s DNA. The result is a dub “clash” that maintains the spirit of the original while pushing it into new, immersive territory defined by humid atmospheres, languid grooves, and psychedelic depth.

The opener “You Bliss” immediately signals this shift. A rework of “You Wish,” it retains the original William Bell Stax-era guitar sample but submerges it beneath smoky saxophone lines, swirling organ textures reminiscent of The Doors’ L.A. Woman era, and a cavernous, echo-drenched bassline. It’s a track that feels both familiar and transformed—rooted in soul but drifting into dub-infused dreamspace.

“On Purpose,” a reimagining of “Soul Purpose,” leans into a lover’s rock sensibility, blending ’70s soul influences with nyabinghi rhythms and subtle hip-hop undertones. Loose guitar strums, flanged keys, and a languid bassline create a hypnotic foundation, while saxophone and piano add warmth and melodic richness. The track unfolds slowly, inviting the listener deeper into its hazy, meditative groove.

Elsewhere, Sherwood takes greater liberties. “Flippin’ Eck,” based on “Flip Ya Lid,” replaces the original’s rocksteady guitar loop—drawn from Lloyd Charmers’ “Oh Me Oh My”—with a simmering Hammond B-3, detuned bass, and nocturnal piano textures. The result is a looser, more abstract piece, punctuated by bursts of distorted effects and unexpected sonic collisions that add a playful unpredictability.

“Positive Touch,” reworking “Me!,” strips the original down to its essence before rebuilding it around a deep, sensual bassline courtesy of Doug Wimbish. Flute, fragmented piano, and sparse guitar drift through the mix, creating an almost weightless, ambient quality that blurs the line between structure and improvisation.

One of the album’s standout transformations arrives with “On the Seven Seas Dub,” a reimagining of “African Pirates.” Here, Sherwood constructs a dense Afro-funk tapestry, layering horns, electric guitar vamps, and dubbed-out vocals over a rumbling bassline that anchors the track’s rhythmic complexity. It’s a piece that bridges continents and traditions, embodying the global spirit of dub.

“Looking at You Dub” retains the soulful vocal of Mozez (Osmond Wright), reframing it within a rasta soul progression enriched by electric piano, tom-toms, and bluesy guitar. Melodica and celeste add a psychedelic shimmer, giving the track a warm, immersive glow.

“Sweeter Still” evolves into a playful, groove-heavy exploration of organ-driven dub, channeling the spirit of Jackie Mittoo. Propulsive bass, sticky snares, and jazz-inflected piano underpin the track, while Sara Garvey’s vocal is filtered through raw, expressive saxophone lines that alternately sing and shout.

Closing track “Nyabinghi Dub,” a radical reworking of “Passion,” brings the album to a contemplative finish. Combining pizzicato and bowed cello with melodica, jazz piano, and syncopated drumming, it creates a richly layered soundscape where bluesy guitar lines provide emotional grounding amid the swirling textures.

Ultimately, In a Space Outta Dub is more than an anniversary project—it is a testament to the enduring flexibility of great music. By inviting Adrian Sherwood into the process, George Evelyn opens the door to reinterpretation, allowing these tracks to evolve in ways that feel both respectful and daring.

The result is a collaboration that celebrates not just a milestone, but a mindset: one rooted in experimentation, reinvention, and deep listening. For longtime fans of Nightmares On Wax, it offers a fresh perspective on a beloved classic; for newcomers, it serves as an entry point into a world where downtempo, dub, soul, and psychedelia converge in endlessly fascinating ways.

Jazz Is Dead 026: Antonio Carlos & Jocafi Return in a Vibrant Cross-Continental Reinvention

The first 2026 release from Jazz Is Dead brings together a remarkable convergence of legacy and innovation, as producers Adrian Younge and Ali Shaheed Muhammad collaborate with legendary Brazilian songwriting duo Antonio Carlos & Jocafi. For Antonio Carlos and Jocafi—icons of Bahia’s rich musical heritage—this project marks their first new recording since the 1990s, making it both a return and a reinvention.

Hailing from Salvador, Bahia, the duo have been shaping Brazilian music since the late 1960s, crafting their own hits while also writing for a wide range of artists across generations. Their sound—deeply rooted in MPB, samba, and Afro-Brazilian traditions—finds new life here through the cinematic, analog-rich lens of Younge and Muhammad. The collaboration itself feels almost fated: introduced in 2022 by Beto Barreto of BaianaSystem, the artists quickly discovered a shared musical language. That connection ultimately led to recording sessions in 2025 at the Jazz Is Dead studio, with additional vocal work captured in Rio at the studio of Kassin.

The resulting album is a rich, genre-blurring tapestry. Across six co-written tracks and two compositions by Younge—featuring soulful vocals from Loren Oden—the project seamlessly merges Brazilian traditions with jazz, funk, soul, and psychedelic textures. It’s a record that honors its roots while pushing confidently into new sonic territory.

Opening track “Rala-Bucho” sets the tone with a driving forró-inspired rhythm layered with funky candombe undertones. The hypnotic vocal interplay of Antonio Carlos & Jocafi rides atop a dense, propulsive groove, with Younge’s multi-instrumental approach—spanning guitars, bass, keys, and flute—creating a dynamic, immersive soundscape. That energy carries into “Canarin Da Alemanha,” a vibrant fusion of MPB and Bahian carnival rhythms, bursting with playful vocal exchanges and intricate instrumental textures.

Elsewhere, the album reveals its versatility. “Menina Do Tororó” offers a joyful blend of samba and MPB, its buoyant acoustic foundation enriched by colorful arrangements of saxophones, keys, and flutes. “Tá Com Medo Por Quê” leans into a funkier direction, driven by electric guitars, horns, and a trance-like bassline that underscores the duo’s effortless vocal charisma.

“Bacaxá” introduces a breezy, midtempo samba with lyrics by Younge, featuring layered instrumentation and subtle psychedelic flourishes, while “Quixodó” presents a modern take on MPB with a light, swinging feel. The final two tracks shift the spotlight to Loren Oden, whose soulful delivery adds a new dimension to the project. “Nunca Mais” blends samba with understated dub influences, maintaining a sultry, hypnotic atmosphere, while “Loca Pasión” closes the album on a high note—its seductive groove weaving together marimba, vibraphone, synths, and lush vocal harmonies into a captivating fusion of soul and Brazilian psychedelia.

What makes this release particularly compelling is its sense of dialogue—between generations, cultures, and musical traditions. Younge and Muhammad’s production does not overshadow the essence of Antonio Carlos & Jocafi; instead, it amplifies it, placing their timeless artistry within a contemporary, globally resonant context.

Jazz Is Dead 026 is more than a comeback—it is a celebration of enduring creativity and cross-cultural collaboration. For longtime fans, it offers a welcome return from two legendary figures. The result is undeniable: a vibrant, forward-looking album that expands the boundaries of both Brazilian music and the Jazz Is Dead universe.

SPRING: Tierney Sutton and Tamir Hendelman Craft an Intimate Masterclass in Renewal and Connection

With nine GRAMMY® nominations and a reputation as one of the most compelling voices in modern jazz, Tierney Sutton returns with SPRING, a luminous new recording that distills her artistry to its most intimate and essential form. Widely praised by The New York Times as “one of the most-lauded jazz vocalists of her generation,” Sutton has long been celebrated for her ability to transform song into story—an approach that finds new depth and immediacy in this voice-and-piano duo project with pianist Tamir Hendelman.

As her 17th album as a leader or co-leader, SPRING marks a significant moment in Sutton’s career. While the The Tierney Sutton Band has been a cornerstone of the international jazz scene for nearly three decades, this recording shifts the focus toward a more stripped-down, conversational format. The result is an album that captures not just performances, but real-time musical dialogue—fluid, spontaneous, and deeply attuned.

Hendelman, an acclaimed pianist with a remarkable résumé that includes collaborations with the Jeff Hamilton Trio, the Clayton-Hamilton Jazz Orchestra, and artists such as Paul McCartney and Natalie Cole, proves to be the ideal partner. Sutton herself describes him as “an encyclopedia of songs” and a musician whose rhythmic drive is unmatched. Their connection, built over years of collaboration, manifests here as something close to telepathic—an effortless exchange that elevates each piece to something quietly extraordinary.

The album was born from the duo’s live performances, where the freedom of the format allowed for greater flexibility in phrasing, harmony, and interpretation. Recorded essentially as a live set, SPRING preserves that immediacy. The arrangements are intentionally open, allowing each song to breathe and evolve organically. What emerges is not just a collection of tracks, but a cohesive and immersive listening experience—one that feels at once relaxed and profoundly focused.

Thematically, SPRING explores the idea of renewal, though not without complexity. Conceived during a period of global uncertainty, the album approaches its titular season as both metaphor and emotional landscape. Sutton acknowledges the duality inherent in spring—the promise of growth alongside the melancholy of change—and curates a repertoire that reflects that tension with nuance and sensitivity.

The selections themselves span a wide range of composers and styles, a hallmark of Sutton’s expansive musical vision. From the elegant lyricism of Antonio Carlos Jobim to the timeless brilliance of George Gershwin, and from the introspective songwriting of Paul Simon to the poetic depth of Johnny Mercer, Sutton brings each piece into her own orbit. Her interpretations are never static; instead, they are living, breathing conversations between voice, piano, and lyric.

Highlights include a mesmerizing opening with Jobim’s “Double Rainbow,” where Hendelman’s lush prelude sets the stage for Sutton’s ethereal entrance. “Waters of March” receives a fresh and inventive treatment, while “April Come She Will” is transformed into a tender, introspective meditation. Gershwin’s “S’Wonderful” sparkles with wit and interplay, and Peggy Lee’s “Things Are Swinging” becomes a playful showcase for both artists, featuring a virtuosic piano solo that is sure to inspire musicians for years to come.

Elsewhere, Sutton delves into deeper emotional territory with “Spring Can Really Hang You Up the Most,” a song whose title draws from T. S. Eliot’s The Waste Land. Her conversational delivery brings out the song’s bittersweet core, while “Spring Will Be a Little Late This Year” offers a gentle, optimistic counterpoint. The rarely performed “Spring, Spring, Spring” stands as a testament to Mercer’s lyrical genius, and the album closes with a deeply moving rendition of “You Must Believe in Spring,” featuring a previously unheard verse by Alan Bergman and Marilyn Bergman—a fitting conclusion to a project rooted in hope and reflection.

A bonus track, a dazzling take on “L.O.V.E.,” provides a spirited and improvisational finale, underscoring the duo’s playful chemistry and technical brilliance.

Throughout SPRING, Sutton’s voice remains the emotional anchor—supple, precise, and deeply expressive—while Hendelman’s pianism provides both foundation and flight. Together, they create a musical environment where every note feels intentional and every silence meaningful.

In an era often defined by excess and complexity, SPRING stands out for its clarity and restraint. It is an album that reminds us of the power of simplicity, the beauty of collaboration, and the enduring capacity of music to heal, connect, and renew. With this release, Tierney Sutton and Tamir Hendelman offer not just a collection of songs, but a deeply human experience—one that lingers long after the final note fades.

The Sorceress: Audrey Ochoa Conjures a Bold, Genre-Defying Statement of Power and Playfulness

Award-winning trombonist, vocalist, and composer Audrey Ochoa returns with The Sorceress, a vibrant and imaginative new album available now via Chronograph Records. Blending jazz, electronica, swing, and pop into a richly textured sonic experience, the record further establishes Ochoa as one of the most distinctive and fearless voices in contemporary Canadian music.

Long celebrated for her ability to defy expectations, Ochoa has built a career that consistently pushes beyond the traditional boundaries of jazz. As noted by the Edmonton Journal, she “defies jazz horn stereotype with grace and humour,” while critic Keith Black highlights her ability to balance nostalgia with forward-thinking creativity. That balance is at the heart of The Sorceress, an album that feels both rooted and exploratory, polished yet playfully unrestrained.

At its core, The Sorceress is a celebration of transformation—musical, personal, and emotional. Ochoa brings together the many influences that have shaped her artistic journey, crafting a sound where improvisation meets infectious hooks and lush harmonies. The trombone takes center stage not just as an instrument, but as a voice—expressive, dynamic, and deeply human—telling stories of resilience, humor, and acceptance.

This latest release builds on an already remarkable trajectory. Her debut album, Trombone and Other Delights (2013), topped Canadian jazz charts for three consecutive weeks, while Afterthought (2017) reached No. 1 in Canada and broke into the U.S. Top 20. Subsequent projects like Frankenhorn (2020) and The Head of a Mouse (2023) further expanded her sonic palette and earned her widespread recognition, including a 2025 JUNO Awards nomination. Along the way, she has shared stages with artists as diverse as Hilario Duran, PJ Perry, Tommy Banks, Dave Matthews Band, Lew Tabackin, Marcus Miller, Chris Potter, and the UNT One O’Clock Lab Band.

With The Sorceress, Ochoa leans fully into her identity as a multi-dimensional artist. The album’s title itself reflects both humor and empowerment, inspired by past descriptions of her as a “trombone enchantress” and “sorceress of the trombone.” Rather than shy away from such imagery, she embraces it—turning it into a unifying concept that captures the album’s spirit of creativity and self-expression.

Musically, the record offers a wide-ranging listening experience, moving fluidly between swing, groove, and Latin influences, including Cuban and Brazilian elements. Ochoa also steps forward vocally on several tracks, adding another layer of intimacy and storytelling to the project. Her compositions are deeply personal, often rooted in specific memories, ideas, or cultural touchpoints—whether it’s the playful nod to saxophonists in “Button People,” reflections on life’s challenges in “Maintenance Phase,” or the liberating acceptance explored in “Let’s Give Up.”

Surrounding Ochoa is a stellar ensemble of musicians who bring her vision to life with precision and sensitivity. The album features Chris Andrew on piano and keyboards, Jeremiah McDade on tenor saxophone, Mo Lefever on guitar, Jon May on drums, Mike Lent on bass, Nathan Ouellette on percussion, with string contributions from Jen Bustin and Joanne Yu, and additional production by Michael Schlosser.

The result is an album that feels exuberant and expansive, yet grounded in a clear artistic vision. Ochoa’s ability to combine technical mastery with a sense of joy and play sets her apart, making The Sorceress not just a showcase of skill, but a fully realized artistic statement.

With this release, Audrey Ochoa continues to carve out a unique space in the modern jazz landscape—one where genre boundaries dissolve, storytelling takes center stage, and creativity is approached with both seriousness and a sense of fun. The Sorceress is more than an album; it is an invitation into a world where music becomes magic, and where one artist’s fearless imagination leads the way.