Kenny Barron Trio Unearthed: So Many Lovely Things: Live in Brecon Captures a Rare 1995 Concert in Full Flight

A remarkable previously unissued 1995 live recording of the Kenny Barron trio is set for release as So Many Lovely Things: Live in Brecon, a newly restored concert documenting Barron alongside bassist Ray Drummond and drummer Ben Riley at the height of their mid-1990s European run. Captured at the Brecon Jazz Festival in Wales and sourced from the Jordi Suñol Archives, the recording will be released on June 12, 2026 as a limited-edition 2-LP set, alongside 2-CD and digital formats.

Produced by Zev Feldman and Jordi Suñol under the Elemental Music banner, the release presents ten expansive performances recorded on August 12, 1995 at the Brycheiniog Theatre. Mixed and restored by Marc Doutrepont (EQuuS) with mastering by Matthew Lutthans at The Mastering Lab, the 180-gram vinyl edition was pressed at GZ Media in the Czech Republic and features detailed liner notes and track commentary by jazz historian Ted Panken.

The concert captures Barron’s acclaimed 1990s trio in peak form—fluid, responsive, and deeply interactive. Across more than 100 minutes of music, the group moves effortlessly through swinging standards, ballads, and original compositions, defined by a shared sense of momentum and improvisational risk. Barron’s lyrical pianism is matched by Drummond’s warm harmonic grounding and Riley’s elegant, propulsive drumming, forming a unit widely regarded as one of the most intuitive piano trios of its era.

Recorded during a fertile European tour period, the performance reflects the trio’s philosophy of exploration in real time—stretching harmony, rhythm, and form while remaining tightly connected as a unit. From extended interpretations of repertoire such as “The Very Thought of You” and “Up Jumped Spring” to more rhythmically charged material like “Time Was” and “Shuffle Boil,” the trio consistently builds dynamic, evolving structures rather than fixed readings of the material.

The tapes themselves remained privately held for decades after being recorded by festival director Jed Williams, before resurfacing through promoter Jordi Suñol and eventually being brought to Elemental Music for official release, with full approval from Barron and his management.

So Many Lovely Things: Live in Brecon stands as both a historical document and a vivid reminder of the conversational depth of Barron’s trio work—music shaped by trust, time, and the unspoken logic of three musicians listening as one.

Danny Keane Unveils “Passing Time”, a Meditative, Rhythmically Complex New Chapter from Upcoming Album Kinesis

Award-winning multi-instrumentalist, composer and producer Danny Keane has released “Passing Time”, the second single from his upcoming sophomore album Kinesis, due 10 July 2026. The track is available now, with the album open for pre-order via Keane’s official website and Bandcamp.

“Passing Time” reveals the more contemplative side of Kinesis, evoking what Keane describes as “a mood of gentle melancholy which rises to optimism.” Yet beneath its reflective surface, the composition retains the rhythmic intricacy and global musical language that has defined Keane’s career. At its core is a layered metric structure built around 3 against 4, introduced through tabla, reflecting his long-standing engagement with Indian rhythmic traditions and cross-cultural composition.

Keane frames the piece as a kind of musical pause—an emotional snapshot of transition: the end of a tour, the closing of a recording session, or the reflective quiet that follows intense creative work. It captures the duality of modern musician life, where stillness and complexity often coexist, and where downtime can become unexpectedly revealing.

Known for collaborations with artists including Mulatu Astatke, Anoushka Shankar, Nitin Sawhney, Damon Albarn, Penguin Café, and The Heliocentrics, Keane continues to operate at the intersection of jazz, classical, and global experimental music. His upcoming performance with Mulatu Astatke at London’s Royal Festival Hall on 17 June 2026 further underscores his deep ties to cross-cultural musical exchange.

Following his 2019 debut Roamin’, Kinesis represents both a return and a redefinition. After years of touring and collaboration, Keane has shifted focus toward a more personal artistic vision, assembling a wide ensemble of collaborators to realise a body of work shaped by movement—geographical, rhythmic, and emotional.

The album spans six tracks, each distinct yet conceptually linked through ideas of flow, transition, and temporal perception. Among them, “Cathartic Chaos” stands out as a high-energy collaboration with oud player Adnan Joubran, combining modular synth patterns with improvisational Arabic classical phrasing to create a dialogue between traditions rather than a fusion of them.

Across Kinesis, Keane explores the tension between structure and spontaneity, discipline and release. The result is a genre-fluid record shaped by classical training, improvisational freedom, and an ongoing curiosity about how musical systems from different parts of the world can intersect without losing their identity.

Kinesis tracklist:

1. Running
2. Passing Time
3. Cathartic Chaos
4. Somnolent Stomp
5. A Major Minor Waltz
6. Time To Go

Kronstad 23 Announce Dødehavet: A Live-to-Tape Journey Through Cinematic Jazz and Psychedelic Groove

Norwegian collective Kronstad 23 return with their third album, Dødehavet, a deeply immersive recording that continues their exploration of instinctive, analogue-driven music-making. Set for release on 12 May 2026 via Batov Records, the album marks their first collaboration with the label and their most expansive statement to date.

Formed by four long-time friends spread across Norway, Kronstad 23 operate in a uniquely dispersed way, meeting only a handful of times each year. Yet rather than diluting their chemistry, that distance appears to sharpen it. Their music carries a rare sense of trust and immediacy—an intuitive language built less on repetition and more on shared memory and instinct.

Dødehavet was recorded live to tape at keys player Øyvind Arnodd Vie Berg’s home studio in Bergen, using a 50-year-old mixing console and tape machine. Most tracks were captured in just one or two takes, with minimal preparation and no modern post-production intervention. The result is a recording that prioritizes feel over perfection, capturing musicians responding to each other in real time.

Across its runtime, the album moves fluidly between cinematic jazz, psychedelic rock, Scandinavian folk, soul, Afrobeat, and raga influences, forming what the band describe as a single, unforced musical language. Rather than treating these styles as separate references, Kronstad 23 blend them into a continuous flow shaped by collective improvisation and groove.

Following two earlier albums praised by outlets including Record Collector, Prog Magazine, and Sweden’s Lira, Dødehavet pushes the group further into rhythmic momentum and ensemble interplay. While their earlier work was noted for its atmosphere and restraint, this new record leans more confidently into propulsion—without losing its organic, unpolished character.

Additional contributions from saxophonists Håvar Skaugen and Inge Weatherhead Breistein add depth and texture, reinforcing the album’s live, room-recorded energy.

The album’s final preview single, “Stratosfæren,” draws inspiration from the spirit of early Santana. Built on a Latin-inflected groove, it combines driving rhythm with a bittersweet guitar line and subtle keyboard textures. The track offers a strong entry point into the band’s world—warm, hypnotic, and evolving with each listen.

Kronstad 23’s creative process is intentionally unhurried and informal. The group rarely rehearses in a traditional sense, instead building tracks from simple ideas—basslines, melodic fragments, or rhythmic cues—that are allowed to unfold naturally through group interaction. Their name references Afrobeat-era collective naming traditions, while “23” marks the year the project crystallized, and Kronstad nods to the Bergen neighbourhood where they first recorded together.

Despite growing critical attention, the band have yet to perform live. For now, the studio remains their only stage—a space for experimentation, restraint, and collective listening.

With Dødehavet, Kronstad 23 deliver a record that feels both grounded and expansive: analogue warmth, hypnotic grooves, and cinematic textures that reveal more with every return.

Gerardo Frisina Announces Meridio: A Mediterranean-Infused Funk Collaboration on Schema Records

Italian composer and producer Gerardo Frisina returns with a new project titled Meridio, a collaborative release born from his long-standing creative partnership with Naples-based sound engineer and musician Francesco Borrelli. The project marks another step in Frisina’s evolving relationship with groove-driven, cinematic sound design, this time filtered through a distinctly Mediterranean lens.

Released via Schema Records, Meridio arrives as a debut 7-inch single (also available digitally) on 8 May 2026, featuring two tracks: “Partenope” and “Ligea.” Both titles draw from Mediterranean mythology, referencing sea figures that have long symbolized mystery, movement, and cultural memory across southern coastal traditions.

At its core, Meridio is shaped by geography and shared history. Frisina and Borrelli’s collaboration spans more than a decade of recording sessions, with Borrelli playing a central role in shaping Frisina’s studio output. This new project formalizes that creative dialogue into a fully realized artistic identity—one where composition, engineering, and performance converge into a single vision.

Musically, the release draws from the textures of 1970s and 1980s funk and progressive music, reinterpreted through a contemporary production approach. The result is a sound that balances analog warmth with precise modern structure—layered, rhythmic, and intentionally fluid. Rather than leaning on nostalgia, Meridio reframes its influences as living material, reshaped through arrangement and studio experimentation.

The concept of “Meridio” itself reflects southern roots and a shared Mediterranean sensibility between Naples and Calabria. That influence is not presented as a theme but as an operating principle: a tension between structure and improvisation, elegance and instinct, rhythm and atmosphere.

With Meridio, Frisina continues to expand his catalog while reinforcing his reputation for blending jazz-funk foundations with forward-looking production aesthetics—this time through a deeply collaborative and regionally grounded project.

Release date: 8 May 2026
Format: 7" single / digital
Genre tags: Funk
Label: Schema Records

Martha Reeves Returns With Searching, Her First New Album in More Than Two Decades

 

After more than 20 years away from the recording studio, Motown legend Martha Reeves is stepping back into the spotlight with a brand-new album, Searching. For fans of classic soul music, it’s one of the most exciting comeback stories of the year.

According to recent reports, Searching is scheduled for release on August 14 and marks Reeves’ first full-length album in over two decades.

Best known as the powerhouse voice behind timeless hits like “Dancing in the Street,” “Heat Wave,” and “Nowhere to Run,” Reeves helped define the golden era of Motown in the 1960s. Alongside Martha and the Vandellas, she created music that blended gospel energy, pop hooks, and raw soul into a sound that still resonates generations later.

What makes Searching especially intriguing is its creative direction. Reeves reportedly teamed up with acclaimed New Orleans jazz musician Delfeayo Marsalis for the project, bringing together classic Motown soul and the rich musical traditions of New Orleans jazz. Reeves described the collaboration as “a spark of life,” signaling that this isn’t simply a nostalgia release — it’s a fresh artistic statement from an icon who still has something to say.

The announcement has generated major excitement among longtime soul fans and music historians alike. Reeves has remained active through live performances and public appearances over the years, but a new studio album was something few expected. Her last major studio release, Home to You, arrived back in 2004.

Beyond the music itself, Searching arrives at a moment when classic soul and vintage R&B continue to influence a new generation of artists. From Bruno Mars to Beyoncé, traces of the Motown sound remain everywhere in contemporary music. Reeves’ return feels less like a reunion tour and more like a reminder of where so much modern pop and soul began.

Now in her eighties, Reeves continues to embody the spirit that made Motown revolutionary: resilience, joy, and undeniable rhythm. If the early buzz surrounding Searching is any indication, the album could become one of the year’s most heartfelt and celebrated releases.

For longtime fans, it’s a chance to hear a legendary voice once again. For younger listeners, it may be the perfect introduction to one of soul music’s true pioneers.

Lawrence Udeigwe Explores the Intersection of Mathematics, Identity, and Music on New Album FOUR LEMMAS

For Lawrence Udeigwe, aesthetic sensibility and mathematical rigor are not opposing forces but complementary languages shaping a unified creative vision. Known professionally as UDEiGWE (pronounced “oo-dee-gway”), he moves fluidly between two demanding worlds: academia and music.

A Professor of Mathematics and Director of Integrative Programs at Manhattan University, as well as a Research Affiliate in Brain and Cognitive Sciences at MIT, Udeigwe also maintains a parallel artistic career as a pianist, vocalist, and composer. His previous albums, Live in Williamsburg (2026) and Rhythm Sustained (2018), have been praised for their originality and depth, with Live in Williamsburg described as a vivid snapshot of creative intuition and uninterrupted performance at its peak.

Born in Nigeria and a member of the Igbo tribe, Udeigwe grew up in Makurdi, a town defined by limited media access but rich exposure to American music through radio. That early environment fostered deep focus and curiosity, shaping both his intellectual and musical trajectory. Although he initially aspired to study music and theatre, his strong aptitude for mathematics guided him toward formal academic training. He later earned multiple degrees in mathematics and computer science across Duquesne University, the University of Delaware, and the University of Pittsburgh, all while continuing to study piano and develop his voice as a musician.

After completing his graduate work, Udeigwe established himself in academia at Manhattan University, balancing morning lectures and afternoon research with late-night jazz sessions across New York. That dual life eventually led to regular performances and growing recognition in the jazz community.

With his new album FOUR LEMMAS, Udeigwe continues to merge disciplines, translating abstract mathematical ideas into expressive, atmospheric music. Rather than attempting literal translation, he works impressionistically, using concepts from mathematics as frameworks for mood, structure, and narrative. The result is a warm, meditative body of work shaped by African rhythmic influence, subtle funk elements, and an emphasis on space, phrasing, and ensemble interplay.

Joining him are an accomplished group of East Coast musicians, including Steph Clement, Grammy-nominated Wayne Tucker, Josh Green on drums, and Rade Bema on bass.

At its conceptual core, FOUR LEMMAS reflects Udeigwe’s exploration of identity as both scientist and artist. In mathematics, a lemma is a supporting proposition that leads to broader understanding. Udeigwe structures the album around four such ideas, each paired with a lyrical “corollary” that expands its emotional and philosophical meaning.

The album opens with “Prologue,” establishing its reflective tone through poetic lines that frame identity as a process of discovery and construction. From there, each movement explores a distinct conceptual lens. “Orthogonality” examines independence and separation without disconnection, while its corollary reframes space as something generative rather than empty. “Sparse Matrix” reflects on clarity through reduction, drawing parallels between mathematical structure and mental focus. “Local Maximum” considers the illusion of completion at moments of perceived success, and “Stable Equilibrium” turns toward self-knowledge and the ability to return to one’s core identity through change and challenge.

Throughout the album, Udeigwe’s voice blends singing and spoken word, adding a poetic layer to the music’s already contemplative atmosphere. The compositions avoid excess, instead favoring restraint, collective improvisation, and emotional nuance.

FOUR LEMMAS ultimately presents a unified artistic statement in which mathematics, poetry, and sound converge. Rather than treating science and art as separate domains, Lawrence Udeigwe reveals them as interconnected ways of understanding structure, perception, and human experience.

Jason Miles Celebrates Miles Davis’s Legacy with Powerful New Album 100 Miles

Renowned keyboardist, composer, and producer Jason Miles honors the enduring legacy of Miles Davis with 100 Miles, a deeply personal and sonically adventurous new album commemorating what would have been Davis’s 100th birthday.

More than a traditional tribute project, 100 Miles reflects the profound musical and personal relationship Jason Miles shared with Davis during the final chapter of the jazz icon’s life from 1986 to 1991. As the architect behind much of the groundbreaking sound design and synthesizer programming on landmark Davis recordings including Tutu, Amandla, and Music From Siesta, Miles played a defining role in shaping one of the most daring and misunderstood periods of Davis’s career.

While many jazz tributes revisit familiar territory, 100 Miles stands apart by capturing the spirit of Miles Davis without attempting imitation. Instead, Jason Miles channels the innovative energy, groove, atmosphere, and emotional depth that defined Davis’s later years, creating a collection of original compositions that feel both contemporary and timeless.

The album opens with the dynamic title track “100 Miles,” immediately evoking the cinematic textures and rhythmic pulse associated with the Tutu era. Featuring commanding trumpet work from Randy Brecker and expressive saxophone performances from Ada Rovatti, the track sets the tone for an album filled with rich grooves, layered arrangements, and inspired improvisation.

“The Girl With The Purple Hair,” inspired by Davis’s admiration for Prince, highlights Rovatti’s compelling alto saxophone work, while “Controlled Chaos,” co-composed with Russell Gunn, delivers an elegant fusion of jazz, funk, and electronic textures anchored by Jason Miles’s synth bass grooves.

Other standout moments include the atmospheric “Malibu Midnight Blue,” featuring a beautifully restrained soprano saxophone performance by Jeff Coffin, and the lushly orchestrated “Jeanne Moreau,” a melodic and cinematic composition showcasing the understated sophistication of Miles’s arranging style.

One of the album’s most emotional moments arrives with “Miles to Miles,” a heartfelt solo piano piece written the day after Miles Davis passed away. The album closes with a remastered full-band version recorded in 1994, bringing the project full circle while honoring Davis’s spirit through mood, space, and feeling rather than direct recreation.

Released May 1, 2026, 100 Miles features an extraordinary ensemble of musicians including Jason Miles on keyboards, programming, organ, synth bass, percussion loops, and piano, alongside Randy Brecker, Barry Danielian, Patches Stewart, Ada Rovatti, James Genus, Adam Dorn, Tiago Oliveira, Kat Dyson, Ronnie Drayton, Romero Lubambo, Dean Brown, Bill Washer, Vicky Marques, Leroy Williams Jr., Adrian Harpham, Vinnie Colaiuta, Deodato DaSilva, Gene Lake, Russell Gunn, Jeff Coffin, Jay Rodriguez, and Cyro Baptista.

Rather than looking backward with nostalgia, Jason Miles uses 100 Miles to continue the forward-thinking musical conversation that Miles Davis championed throughout his career — fearless, modern, soulful, and constantly evolving.

Jonathan Karrant & Diane Schuur Reunite for Soulful New Single “Caught a Touch of Your Love”

 

Acclaimed vocalist Jonathan Karrant has released “Caught a Touch of Your Love,” the first single from his forthcoming album Full Circle, a deeply personal project inspired by his longtime friendship and mentorship with jazz legend Diane Schuur.

The album celebrates the musical connection between the two artists, with “Caught a Touch of Your Love” serving as a joyful and heartfelt duet that highlights their natural chemistry and deep artistic bond.

Originally written by James Best, Craig Bickhardt, and Jack Keller, the song became widely known through Schuur’s celebrated 1987 live recording with The Count Basie Orchestra on Diane Schuur & The Count Basie Orchestra. The album earned Schuur her second Grammy Award and remained at No. 1 on the Billboard Jazz Charts for 33 weeks. The song itself was famously recommended to Schuur by her close friend Ray Charles, further cementing its legacy in jazz history.

When choosing material for Full Circle, both Karrant and Schuur were immediately drawn to the song, recognizing it as the ideal showcase for their playful vocal interplay and emotional connection. Their performance captures both warmth and spontaneity, bringing fresh life to a beloved classic while honoring its rich history.

The recording features a sophisticated arrangement by pianist Tamir Hendelman alongside an all-star ensemble including Graham Dechter on guitar, Alex Frank on bass, Kevin Kanner on drums, Kye Palmer on trumpet, and Ricky Woodard on saxophone.

Blending timeless swing and blues influences with contemporary jazz sensibilities, “Caught a Touch of Your Love” delivers an elegant and vibrant interpretation that reflects the enduring artistry of both performers.

Full Circle Track Listing:

1. Meet Me Midnight
2. Sunday Kind of Love
3. Louisiana Sunday Afternoon
4. By Design
5. I Caught a Touch of Your Love (feat. Diane Schuur)
6. You’ll See
7. What a Difference a Day Makes
8. Nobody Does Me
9. New York State of Mind
10. I’ll Close My Eyes
11. I’ll Be Seeing You (feat. Diane Schuur)

Reggie Codrington Celebrates Resilience and Jazz Legacy with “Don’t Look Back”

 

As his latest single “Don’t Look Back” climbs toward the Billboard Top 40 Smooth Jazz Songs chart, saxophonist Reggie Codrington is marking International Jazz Day with gratitude—for the music that shaped his life, the family who supported him, and the determination that carried him through extraordinary challenges.

Born with Ataxic Cerebral Palsy, Codrington faced significant physical obstacles from an early age, undergoing nine surgeries before the age of 13. His father, Ray Codrington—once ranked among the world’s top trumpeters by DownBeat—helped spark his journey by finding a specially sized saxophone he could play despite limited dexterity. That moment laid the foundation for a career many believed was out of reach.

Growing up in Fayetteville, Codrington was immersed in jazz from the start. Through his father, he connected with legends like Dizzy Gillespie, Sonny Rollins, Dexter Gordon, Harold Vick, and Freddie Cole—early influences that helped shape his sound and passion.

“Don’t Look Back,” inspired by his mother’s encouragement to focus on the future, blends a smooth R&B groove with Codrington’s warm tone and expressive phrasing. The track also marks his first collaboration with producer Nelson Braxton of the Braxton Brothers, with whom he’s already developing new music.

Reflecting on his journey, Codrington recalls a standout moment opening for three-time GRAMMY® winner Ramsey Lewis, who later told him, “You are a hard act to follow”—a compliment that continues to inspire him.

Now working on his 12th album, The Ray Codrington Signature Series, Codrington honors his father’s legacy while continuing to push forward with unwavering faith and purpose. His story is a testament to perseverance, proving that with passion and belief, even the steepest obstacles can be overcome.

Emmet Cohen Explores Legacy and Spirit on Universal Truth

 

Acclaimed pianist, composer, and bandleader Emmet Cohen unveils “I. Eternal Glimpse,” the second single from his forthcoming album Universal Truth, arriving May 29 via Mack Avenue Records. The track serves as the opening movement of the ambitious three-part “Universal Truth Suite,” a deeply personal and expansive work that reflects some of Cohen’s most introspective and expressive writing to date.

Created in honor of the 2026 centennial celebrations of Miles Davis and John Coltrane, Universal Truth channels the spirit of innovation and spiritual exploration that defined both legends. Cohen doesn’t simply pay tribute—he extends their legacy through his own modern voice, blending tradition with a forward-looking sensibility rooted in connection and discovery.

Widely recognized as one of the leading pianists of his generation, Cohen has built a reputation for bridging jazz history with a contemporary, community-driven approach. From his Masters Legacy Series—featuring icons like Jimmy Cobb, Benny Golson, Albert Heath, and Houston Person—to his livestream series Live From Emmet’s Place, Cohen has consistently emphasized intergenerational collaboration and accessibility.

The album brings together a thoughtful mix of originals and reimagined classics tied to Davis and Coltrane. A standout moment arrives with “My Funny Valentine,” featuring bassist Ron Carter and tenor saxophonist George Coleman, reuniting decades after their historic performance with Davis. Cohen’s core trio—bassist Yasushi Nakamura and drummer Joe Farnsworth—anchors the session, bringing both precision and spontaneity to the project.

Elsewhere, Cohen delivers a dynamic take on “Budo,” originally associated with Davis and Bud Powell, while Jeremy Pelt adds fire to “Well You Needn’t.” Pelt and Carter also appear on “Gingerbread Boy,” a composition by Jimmy Heath, whose centennial is also recognized. The album closes with a spirited rendition of “Blue Trane,” featuring Coleman alongside saxophonist Tivon Pennicott.

At the heart of the album lies Cohen’s interpretation of “universal truth,” a concept inspired by Coltrane’s lifelong pursuit of spiritual connection through music. For Cohen, it represents a search for meaning, purpose, and a deeper connection that transcends boundaries—an idea that resonates throughout the record.

With Universal Truth, Emmet Cohen not only honors the past but actively engages with it, crafting a work that feels timeless yet immediate. The album stands as both a tribute and a personal statement—an exploration of legacy, spirituality, and the enduring power of jazz to connect us all.

Steve Oliver Ignites a New Chapter with Inner Fire

 

Fueled by resilience and an unwavering positive mindset, Steve Oliver returns with renewed energy and purpose on his upcoming album Inner Fire, arriving June 12. After a personally challenging year, the multi-time Billboard chart-topping guitarist, singer, and songwriter channels transformation into a vibrant, deeply expressive musical journey.

The album’s lead single, “Dancing in the Sand,” offers an irresistible first taste. Blending a Latin-tinged groove with Oliver’s signature melodic guitar lines and soaring vocalese, the track features a standout duet with acclaimed guitarist Peter White. The song quickly gained traction, landing on SiriusXM Watercolors and becoming one of the most-added tracks on smooth jazz radio, climbing the Billboard charts with momentum.

Known for his ability to fuse jazz, R&B, and pop into a seamless sonic palette, Oliver describes Inner Fire as a reflection of growth through adversity. Each track explores themes of resilience, change, and rediscovery, guided by his intricate guitar work and lush, groove-driven arrangements.

The album opens strong with “Hook Shot,” featuring GRAMMY-nominated saxophonist Gerald Albright and GRAMMY-winning keyboardist Michael Broening. Another highlight is Oliver’s fresh interpretation of George Benson’s classic “Give Me The Night,” a nod to both Benson and legendary songwriter Rod Temperton.

Elsewhere, Oliver leans into emotional depth on “Missing You,” a tender, introspective piece inspired by long-distance love, while “Desert Euphoria” captures the vivid energy of his Southern California surroundings. Tracks like “Bounce Back” and “Looking Up” emphasize optimism and perseverance, with “Bounce Back” also featuring saxophonist Will Donato.

“Phoenix Rising” pays tribute to the late percussionist Steve Reid, whose mentorship played a pivotal role in Oliver’s career. Meanwhile, “You Got It” delivers an empowering message backed by a tight rhythm section including Sergio Gonzalez and Larry Antonino.

Closing the album, “Summer Tides” offers a serene, reflective moment inspired by time spent along the Fraser River, leaving listeners with a sense of calm and inner strength.

With a career that includes multiple No. 1 Billboard hits and collaborations with artists like Brian Simpson and Vincent Ingala, Oliver continues to evolve while staying true to his signature sound. Inner Fire stands as both a personal statement and an invitation for listeners to reconnect with their own resilience and hope.

Joey Alexander Announces Celestial Keeper, Shares First Single “Stella By Starlight”

 

GRAMMY-nominated pianist and composer Joey Alexander has announced his new album Celestial Keeper, arriving July 17 via Mack Avenue Records. Drawing inspiration from his lifelong admiration for Miles Davis and Bill Evans, Alexander introduces the project with “Stella By Starlight,” out this Friday—a striking reinterpretation of the standard that highlights his rare ability to reimagine timeless material. He celebrates the announcement with a five-night run at Birdland in New York City.

At just 22, Alexander has already built a remarkable career spanning more than a decade. He first gained international attention in 2013 when Wynton Marsalis invited him to perform at the Jazz at Lincoln Center Gala. Since then, he has shared the stage with icons like Wayne Shorter and Esperanza Spalding at the Obama White House, and has been profiled by major outlets including 60 Minutes and The New York Times.

Celestial Keeper, Alexander’s third release for Mack Avenue Records, finds the pianist exploring themes of creativity, faith, gratitude, and personal transformation. Inspired by what he calls his “Celestial Keeper”—a spiritual presence akin to a muse or guardian—Alexander reflects on overcoming doubt and artistic block. As he describes it, this force serves as a reminder of music as a divine gift, urging him to keep creating and stay connected to his purpose.

The album arrives during a significant transition in Alexander’s life, following his family’s return to his native Bali after years in New York and Baltimore. Immersed once again in Indonesia’s natural beauty and rhythms, he channels that environment into the album’s sense of wonder and introspection.

Celestial Keeper also introduces Alexander’s latest trio, featuring bassist Kris Funn and drummer Jonathan Barber, alongside guest appearances from Philadelphia-born saxophonist Jaleel Shaw. Expanding his artistic range, Alexander adds vocals for the first time, collaborating with rising singer Alita Moses on the original “Whispers of Love” and joining forces with Grammy-winning vocalist Lisa Fischer for a powerful take on “My Funny Valentine.” The album is produced by Jason Olaine, bringing Alexander full circle after Olaine helmed his debut, My Favorite Things.

The record’s tracklist includes “Bemused (solo improv I),” “Aversion,” “Whispers of Love,” “Stella by Starlight,” “Deep Calls to Deep,” “My Funny Valentine,” “Bemused Again (solo improv II),” “Aliceanna (Bmore),” “As Far as the Eye Can See,” and “How Great Thou Art.”

Alexander will support the release with a global tour, including stops in New York, Portsmouth, Oakland, Seattle, Phoenix, Indonesia, Los Angeles, Detroit, and Monterey.

Jarrod Lawson Expands His Soul-Jazz Vision with Genre-Bending Third Album

Internationally acclaimed singer, songwriter, and pianist Jarrod Lawson returns with a bold and collaborative third album that further cements his place as one of contemporary music’s most distinctive voices. Known for blending soul, jazz, gospel, and R&B into a seamless and spiritually charged sound, Lawson continues to draw comparisons to icons like Stevie Wonder and Donny Hathaway while maintaining a deeply personal artistic identity.

Now based in Nashville, Lawson expands his sonic palette across a wide-ranging project built around collaboration and stylistic exploration. The album is introduced through two lead singles: the nostalgic, 90s-influenced “Next Move,” featuring vocalist Raquel Rodriguez, and the atmospheric slow jam “Do Whatchu Gotta,” co-written with French chill-hop artist Rose Noir. Both tracks highlight Lawson’s ability to merge classic soul textures with modern production sensibilities.

Across the album, Lawson continues to push beyond genre boundaries while staying rooted in groove and emotional storytelling. Tracks like “Laugh At Yourself,” featuring Grammy-nominated artist Eric Roberson, bring a playful funk energy, while “Let Your Heart” and “I’d Do It Again,” created with producer Carrtoons and rapper JSWISS, blend soulful melodies with hip-hop influences and introspective lyricism.

Elsewhere, Lawson teams up with Allen Stone on the uplifting “There Can Only Be One,” and collaborates with rapper donSMITH on the rhythm-driven “Head-On,” further showcasing the album’s stylistic range. Each guest appearance feels purposeful, contributing to a larger narrative of connection, self-expression, and musical openness.

The full tracklist spans soulful ballads, groove-heavy funk, and reflective mid-tempo cuts, unified by Lawson’s rich harmonies, thoughtful songwriting, and signature keyboard work. Whether on intimate compositions like “Gentle Soul” or expansive ensemble-driven moments like “Authentically Me,” the album maintains a consistent emotional core.

Since emerging on the international scene, Lawson has built a reputation for powerful live performances and deeply expressive recordings that bridge modern soul with timeless influence. His work continues to resonate across genres and audiences, offering music that feels both uplifting and grounded in lived experience.

Full Tracklist:

A

1. Just Let It
2. Smoke Me Out
3. Do Whatchu Gotta
4. If We Pretend

B

1. Let Your Heart (feat. JSWISS)
2. Laugh At Yourself (feat. Eric Roberson)
3. Gentle Soul

C

1. Next Move (with Raquel Rodriguez)
2. Nothing To Forgive
3. There Can Only Be One (feat. Allen Stone)
4. I’d Do It Again (feat. JSWISS)

D

1. Head-On (feat. donSMITH)
2. I Got Your Back
3. Authentically Me

Adonis Rose and Phillip Manuel Deliver New Orleans Excellence on Unusual Suspects

Grammy Award-winning drummer, composer, producer, and educator Adonis Rose returns with Unusual Suspects, a vibrant new release on Moocha Music that pairs his powerhouse ensemble with acclaimed vocalist Phillip Manuel. Out now, the album stands as a deeply rooted New Orleans statement—rich in history, rhythm, and expressive storytelling—while showcasing a modern, finely detailed production aesthetic.

From its opening moments, Unusual Suspects makes its intent clear: this is a collaborative, high-level jazz recording where every performance matters. Rose leads from the drum kit with authority and nuance, while also shaping the album as producer, ensuring each arrangement has space to breathe. Manuel’s voice sits at the emotional center—warm, expressive, and deeply human—drawing subtle comparisons to classic jazz vocal traditions while remaining entirely his own.

The ensemble features a strong lineup of musicians including Max Moran, Seth Finch, guitarist Steve Masakowski, saxophonist Ricardo Pascal, and trumpeter Stephen Lands. Together, they create a flexible and responsive sonic environment where arrangements unfold with clarity and emotional weight.

A key creative element of the album lies in its concept: many of the songs reimagine instrumental jazz and popular standards with newly written lyrics by Manuel, transforming familiar compositions into vocal narratives. Works associated with artists like Lee Morgan, Joe Sample, and even reinterpretations of pieces by Michael Jackson and Bill Withers are reshaped through Manuel’s lyrical lens and emotional delivery.

Recorded in the summer of 2025 at Artisound Studios, the project benefits from arrangements by Michael Pellera that emphasize narrative flow and dynamic contrast. The result is a balance between vocal storytelling and instrumental interplay, where no single element overwhelms the others. Instead, the music moves with intention—carefully sculpted but never rigid.

Underlying the entire project is the unmistakable imprint of New Orleans. Rose’s musical lineage runs deep, shaped by generations of family musicians and the city’s living, breathing culture. That heritage is reflected in the music’s rhythmic foundation and communal spirit, where performance is inseparable from identity.

Rose’s career has included collaborations with major figures such as Terence Blanchard, Dianne Reeves, and Wynton Marsalis, as well as performances at venues like Carnegie Hall and the Newport Jazz Festival. As Artistic Director of the New Orleans Jazz Orchestra, he has also played a key role in expanding jazz education and community engagement initiatives.

Manuel, long respected for his interpretations of jazz standards and emotionally grounded vocal approach, brings equal depth. His work spans everything from the Nat King Cole songbook to reimagined versions of contemporary material, always filtered through a deeply personal lens. His collaboration with Rose here reflects years of shared musical history and mutual trust.

Ultimately, Unusual Suspects feels less like a studio project and more like a living conversation—one shaped by lineage, friendship, and the enduring spirit of New Orleans jazz.