Jun Iida Blends Heritage, Melody, and Modern Jazz on Sophomore Album: Bellflower

Trumpeter Jun Iida has experienced remarkable momentum since the release of his acclaimed 2023 debut album Evergreen. Praised by critics for his warm tone, inventive improvisations, and ability to seamlessly weave together jazz traditions and Japanese influences, Iida quickly established himself as one of the most compelling emerging voices in contemporary jazz. Now, he returns with Bellflower, a deeply personal second album that further explores his cultural roots while embracing a melodic, accessible approach to modern jazz.

Set for release on June 19, 2026, via Origin Records, Bellflower features nine original compositions and one thoughtfully reimagined cover. The album showcases Iida’s growth as both a composer and bandleader, balancing sophisticated musicianship with memorable melodies and emotional storytelling.

The son of Japanese immigrants, Iida grew up in Pittsburgh, Pennsylvania, surrounded by a rich mix of musical influences. His mother, a semi-professional koto player, ensured that Japanese culture remained an important part of family life, teaching him traditional folk songs and helping him maintain fluency in the language. At the same time, Iida absorbed the sounds of jazz, blues, soul, rock ’n’ roll, and hip-hop that filled his everyday environment, creating a musical identity rooted in multiple traditions.

His fascination with the trumpet began at age nine after hearing Louis Armstrong on his mother's Hello, Dolly! record. Although jazz quickly became his primary passion, Iida immersed himself in a broad range of musical disciplines, performing in classical orchestras and wind ensembles while studying both classical and jazz traditions. His academic path was equally ambitious, earning degrees in classical music from the Cleveland Institute of Music and jazz studies from Case Western Reserve University, where he also majored in aerospace engineering.

After graduation, Iida moved to Los Angeles in 2015 to pursue an engineering career while continuing to develop as a musician. During that period, he recorded Evergreen, laying the foundation for his emergence as a recording artist. His journey later brought him to Seattle, where he performed with the Seattle Jazz Repertory Orchestra before making the life-changing decision to leave engineering behind and pursue music full-time. Relocating to New York City, he formed the Jun Iida Group, which has since toured extensively throughout the United States, Japan, Taiwan, China, and Southeast Asia.

Supported by organizations including Chamber Music America and the South Arts Jazz Road Tour Grant, Iida has steadily built an international reputation as both a performer and composer. On Bellflower, he is joined by an exceptional ensemble featuring vocalist Zelda Harris, pianist and keyboardist Chris McCarthy, guitarist Masami Kuroki, bassist Giulio Xavier Cetto, drummer Jongkuk Kim, and conga player Takafumi Nikaido.

While Evergreen introduced listeners to Iida’s artistic voice, Bellflower represents a deliberate shift in focus. Rather than creating music aimed primarily at fellow musicians, Iida sought to craft songs that could connect with a wider audience.

“I didn’t want to make music just for other musicians,” he explains. “I wanted to make music that reached people whether they were jazz fans or not. The biggest difference between this album and my debut is that Bellflower is less esoteric and more focused on melody.”

That emphasis on melody is evident throughout the record. The album’s title carries special significance for Iida. A bellflower is a delicate purple bloom associated with gratitude, humility, and friendship—qualities that resonate deeply with him. The title also references Bellflower Street in Cleveland, Ohio, where he spent formative college years surrounded by close friends and meaningful conversations about the future.

“Although Bellflower is tinged with nostalgia, it’s also forward-looking,” he says.

Several compositions draw directly from Iida’s personal experiences and memories. “Rivers and Bridges” serves as a musical tribute to Pittsburgh, known as the Three Rivers City, and captures the energy of the place where his musical ambitions first began to take shape. “Hotaru Nights,” inspired by childhood memories of catching fireflies with his siblings, blends nostalgia with accessibility through its connection to the classic Spinners tune “Sadie.”

The album’s lone cover, “The Final View,” pays homage to the late Japanese producer Nujabes, whose genre-defying work left a lasting impact on Iida’s artistic vision. The track reflects the through-line connecting his diverse influences, demonstrating how jazz can evolve while remaining deeply personal and culturally grounded.

Elsewhere, “Next Time” explores the bittersweet reality of missed opportunities, while “Marco the Phoenix” draws inspiration from an anime character whose resilience in the face of adversity becomes a symbol of hope and perseverance. “Will They Remember?” confronts the emotional toll of war and conflict, focusing particularly on the sacrifices made by mothers during times of hardship.

More adventurous compositions such as “No Scuffs” showcase Iida’s appreciation for sophisticated jazz forms and harmonic movement, while “Lovers’ Interlude” reimagines themes from that composition through a neo-soul lens. “Chasing Peace,” inspired by a remark from legendary pianist Ahmad Jamal, reflects a philosophy that resonates deeply with Iida’s own artistic mission: pursuing inner peace through creativity and expression.

The album concludes with the title track, “Bellflower,” a simple yet emotionally resonant composition built on understated melody and harmony. The piece evokes memories of youthful conversations about the future while embracing the uncertainty and possibility that lie ahead.

Throughout Bellflower, Iida demonstrates a rare ability to merge cultural heritage, contemporary influences, and jazz tradition into a cohesive artistic statement. His smooth, expressive trumpet sound remains the centerpiece, but the album’s true strength lies in its sincerity. Whether drawing from childhood memories, Japanese traditions, personal reflection, or modern musical influences, Iida creates music that feels both sophisticated and welcoming.

With a stellar supporting ensemble and a collection of compositions that prioritize connection as much as complexity, Bellflower confirms that Jun Iida is not only fulfilling the promise of his acclaimed debut but expanding it in exciting new directions.

Agneya Unites Global Rhythms on Ambitious Debut Album AGNEYA

 

For nearly fifteen years, drummer and percussionist Agneya has built a career by embracing every opportunity to make music. Born and raised in Western India and now dividing his time between Toronto and Berlin, he has immersed himself in an extraordinary range of musical traditions, from Indian folk music and contemporary jazz to Arabic music, Zimbabwean grooves, Nigerian soul, rock, and experimental sounds. Each collaboration, performance, and cultural exchange has quietly contributed to the creation of AGNEYA, his debut album as a bandleader, arriving September 18, 2026.

The album is both a culmination and a beginning—a deeply personal statement that reflects Agneya’s journey across continents, cultures, and musical traditions. Rather than fitting neatly into a single genre, AGNEYA celebrates the intersections where different rhythmic languages meet, creating a vibrant and expansive musical landscape shaped by friendship, migration, curiosity, and shared experience.

The opening track, “It Began Before Words,” sets the tone with a sense of movement and possibility, evoking ancient journeys carried across oceans and generations. Throughout the album, rhythm serves as both foundation and storyteller. On “Zwischenspiel I,” Agneya’s powerful groove work combines with the melodic brilliance of Canadian bassist Rich Brown, while “Teleology,” inspired by a South Indian Konnakol vocal percussion phrase, unfolds into a dynamic composition where rhythmic perspectives continuously shift and evolve.

“Keiko” highlights Agneya’s collaborative spirit as he joins forces with Indian percussionist Varun Venkit to reimagine a traditional folk melody through a contemporary lens. Elsewhere, “Khoj” features acclaimed trumpeter Ingrid Jensen, whose soaring improvisation elevates one of the album’s most compelling moments. A bold reinterpretation of Coldplay’s “Fix You,” featuring German-Ghanaian vocalist Emily Intsiful, transforms the familiar anthem into an emotionally rich and inventive communal experience. Meanwhile, John Coltrane’s classic “Naima” is reimagined over the West African folk groove Ketju, showcasing the artistry of alto saxophonist Yonatan Hes and pianist Jakob Reisener.

At its core, AGNEYA is built upon genuine human connections. Agneya describes the project as the product of relationships cultivated over many years across multiple countries and musical communities.

“This project was built through real relationships,” he explains. “Part of the album features my European band from Berlin—musicians from Luxembourg, France, Germany, and Wales—and the other part features my friends and mentors in Canada and India, who have all been essential to my growth as an artist and human being. The album is all of me. It’s all the music, people, places, hardships, grooves, friendships, migrations, and contradictions that shaped me into the person I am today.”

For Agneya, rhythm is more than a musical element—it is a universal language. He sees rhythmic traditions from South India, West Africa, New Orleans, and the Balkans as distinct expressions of a shared human impulse toward connection and community.

“Rhythm has always been the thread connecting everything for me,” he says. “This record is my attempt to connect those rhythmic dots honestly—not as a statement of tokenistic diversity, but because this is genuinely the music that lives inside me.”

That authenticity is evident throughout the album. Agneya draws upon the contrasting influences that shaped his upbringing in India, where traditional music existed alongside a rapidly expanding wave of Western popular culture. One moment he was listening to revered Indian classical vocalist Pandit Bhimsen Joshi; the next, he was discovering bands like Korn and Limp Bizkit on MTV. Later influences included heavy metal, West African rhythmic systems, and the spirit of improvisation that eventually led him toward jazz.

Those diverse experiences have informed a creative philosophy rooted in complexity rather than simplicity. Agneya believes music should reflect the layered realities of human experience rather than reduce them to easily digestible formulas.

“I think human beings are incredibly layered and emotionally complex,” he says. “We carry different histories, identities, languages, and tensions within us all at once. With AGNEYA, I wanted to resist the impulse to simplify. I wanted the music to exist like life: intense, joyful, uncertain, rhythmic, contradictory, and alive.”

Produced by Jeremy Ledbetter and Agneya, the album features an impressive international cast of collaborators, including bassists Ursula Harrison, Rich Brown, and Max Serra; pianists Jakob Reisener, Rolf Zielke, and James Hill; tabla player Dhaivat Jani; percussionist Varun Venkit; bansuri player Gandhaar Amin; saxophonists Shirantha Beddage and Yonatan Hes; trumpeter Ingrid Jensen; and vocalist Emily Intsiful.

As Agneya steps into the spotlight as a bandleader, AGNEYA represents more than a debut recording. It is an invitation to experience rhythm as a bridge between cultures, histories, and communities. Through nine thoughtfully crafted tracks, the album reminds listeners that groove, movement, and shared presence remain among humanity’s oldest and most powerful forms of connection.

Track Listing

1. It Began Before Words
2. Zwischenspiel I
3. Teleology
4. Keiko
5. Alone Above (ft. Shirantha Beddage)
6. Khoj (ft. Ingrid Jensen)
7. Fix You (ft. Emily Intsiful)
8. To Hold On To (ft. Rich Brown)
9. Naima

AGNEYA will be released on September 18, 2026.

Kay Kostopoulos Celebrates Heritage, Reinvention, and Jazz on All This Is Possible

For Kay Kostopoulos, a career spanning music, theater, academia, and leadership coaching has been defined by a simple but powerful foundation: the unwavering support of family, friends, and colleagues. Now, the acclaimed jazz vocalist, actress, and former Stanford University lecturer channels a lifetime of artistic and personal experiences into All This Is Possible, a new album that blends beloved jazz standards with the Mediterranean influences that have become her signature sound.

Set for release on June 26, 2026, All This Is Possible is Kostopoulos’ fourth album as a leader, following Black Magic (2006), View from Telegraph Hill (2010), and Exotica (2016). Deeply inspired by her Greek-American heritage, the project embraces what Kostopoulos affectionately calls her “Black Olive Jazz” aesthetic—a rich fusion of classic jazz interpretation and exotic Mediterranean textures.

Critics have long praised Kostopoulos’ expressive artistry. L.A. Jazz Scene described her as possessing a “beautiful voice with a wide range,” equally adept at ballads and up-tempo material, while Billboard highlighted her “velvety vocal work.” Those qualities are fully realized on this latest recording, which showcases her gift for storytelling through song.

Joining Kostopoulos on the album is longtime collaborator Noel Jewkes on tenor and soprano saxophone, alongside an outstanding ensemble of New York-based musicians: Grammy-nominated pianist John DiMartino, Grammy and Latin Grammy-winning saxophonist Peter Brainin, five-time Grammy-winning drummer Vince Cherico, and acclaimed bassist Sean Conly.

Born and raised in Baltimore in a close-knit Greek family, Kostopoulos first fell in love with the Great American Songbook around her family’s piano, where relatives frequently gathered to sing standards. She became the first member of her family to graduate from college, earning a degree in English with a minor in dance from the University of Maryland. Although she initially envisioned a life in academia, her passion for performance led her to an 18-year career as a professional belly dancer, touring throughout the United States and internationally.

Determined to combine artistic expression with intellectual growth, Kostopoulos later earned a master’s degree in acting from the American Conservatory Theater in San Francisco. Her teaching career flourished across multiple disciplines, eventually leading to a 25-year tenure at Stanford University, where she taught in both the Theatre and Business schools, as well as programs in medicine and education. Even after retirement, Stanford invited her back in 2021 to teach at its New York campus. Today, she lives in New York, teaches, and coaches leadership teams at major technology companies.

The title All This Is Possible reflects a period of creative renewal for Kostopoulos. Recording in a new city with mostly new collaborators brought a sense of excitement and discovery that shaped the project’s spirit. Pianist John DiMartino crafted the album’s arrangements, collaborating closely with Kostopoulos and Jewkes on several selections.

Throughout the album, Kostopoulos’ theatrical background shines through. Her interpretations prioritize emotional authenticity, nuanced phrasing, and lyrical depth over vocal showmanship. The collection opens with Rodgers and Hart’s “Lover,” while Jewkes and Brainin trade compelling solos on Dizzy Gillespie’s “Digging for Diz,” a contrafact of the same tune. On “Never Let Me Go,” Kostopoulos explores profound vulnerability, revealing that the song’s emotional weight made it difficult to record.

The mood brightens with the optimistic “I’m All Smiles” before shifting dramatically on a dark and cinematic reimagining of Noël Coward’s “Mad About the Boy,” which begins with spoken-word narration. Kostopoulos also contributes original lyrics to Charlie Parker’s “Segment” and McCoy Tyner’s “Search for Peace.” The latter inspired the album’s title through the lyric: “all this is possible / in the sweet search for peace.”

One of the album’s most inventive moments arrives with “I Enjoy Being a Girl,” transformed through a minor-key arrangement featuring Middle Eastern-inspired finger cymbals and evocative soprano saxophone. The project concludes with the timeless standard “More Than You Know,” bringing its themes of gratitude, possibility, and fulfillment full circle.

With her lush, expressive voice and decades of experience as both performer and educator, Kostopoulos continues to bring fresh perspective to classic material. Supported by an exceptional ensemble, All This Is Possible stands as a distinctive and compelling addition to her growing discography—an album that honors heritage, celebrates reinvention, and affirms the limitless possibilities of artistic expression.

Nicole Zuraitis Explores Love, Loss, and Self-Reckoning on Ambitious New Concept Album: The Devil I Knew

Two-time GRAMMY-winning vocalist, pianist, and songwriter Nicole Zuraitis has never shied away from emotional honesty, but her forthcoming album The Devil I Knew represents her most ambitious and deeply personal artistic statement to date. Arriving July 17, 2026 on La Reserve Records, the sprawling 20-track project unfolds as a cinematic concept album examining the aftermath of a collapsing relationship through themes of accountability, grief, healing, and ultimately self-discovery.

Written and arranged entirely by Zuraitis, The Devil I Knew blends jazz virtuosity, literary inspiration, orchestral grandeur, and confessional songwriting into a work that feels as much like a contemporary song cycle as it does a jazz album. Structured across five interconnected movements—The Mirror, The Martyr, The Malediction, The Reckoning, and The Requiem—the album chronicles an emotional journey from reflection and denial to acceptance and transformation.

What sets the project apart is its fusion of music and literature. Throughout the album, poetry serves as both connective tissue and emotional guidepost, drawing on the words of some of history’s most celebrated female writers, including Dorothy Parker, Emily Dickinson, Edna St. Vincent Millay, Francis Ellen Watkins Harper, Sara Teasdale, and Johanna Telander. Their voices help frame Zuraitis’ deeply personal narrative while expanding its themes into something universal.

Recorded at EastSide Sound in New York City and mastered by legendary engineer Bernie Grundman, The Devil I Knew brings together an extraordinary cast of collaborators. The album was produced by Larry Klein and Zuraitis, with executive production by Susan Bloomberg, and features performances from some of the most respected musicians in contemporary jazz and beyond.

Among the featured artists are bassist Christian McBride, saxophonist Donny McCaslin, guitarist Gilad Hekselman, keyboard master Larry Goldings, bassist and producer Larry Klein, guitarist Dean Parks, and pianist David Cook. Additional contributions from Jon Cowherd, Idan Morim, Sam Weber, Dan Pugach, Scott Sherrard, and others create a richly textured musical landscape that shifts effortlessly between intimate jazz trio settings, orchestral balladry, and cinematic storytelling.

The album’s sonic scope is further elevated by the involvement of acclaimed arrangers Jerry Hey and Vince Mendoza. Hey’s horn arrangements bring dramatic weight and momentum to key moments, while Mendoza’s lush string orchestrations, performed by the Budapest Scoring Orchestra, provide a sweeping emotional backdrop. Vocal arrangements from Sirintip and Vivienne Aerts add further depth to the album’s layered narrative.

At its core, The Devil I Knew is less concerned with assigning blame than with examining the difficult truths that emerge when love falls apart. Songs such as “Won’t Make It Out Alive,” “Call My Name (I Dare You),” “Two Steps Back (The Overlap),” and the title track navigate emotional complexity with remarkable vulnerability, while later pieces including “The Hardest Part,” “It Never Goes Away,” and “Back to You” reveal a gradual movement toward understanding and acceptance.

The album’s structure mirrors that evolution. Each thematic movement functions almost like a chapter in a novel, allowing listeners to experience the emotional arc in real time. Interwoven spoken-word passages and poetic interludes create a sense of continuity that transforms the collection from a series of songs into a fully realized narrative experience.

The title itself hints at one of the album’s central ideas: the realization that the greatest reckoning is often not with another person, but with ourselves. Throughout the project, Zuraitis explores how people construct stories around heartbreak, how they cling to old wounds, and how genuine healing requires confronting uncomfortable truths.

Musically, the album places Zuraitis at the forefront of what some observers have described as a new Romanticism in jazz—a movement embracing emotional depth, literary influence, melodic richness, and unapologetic vulnerability. In an era often dominated by brevity and surface-level engagement, The Devil I Knew offers something increasingly rare: a large-scale artistic statement that invites listeners to sit with difficult emotions and reflect on their own experiences.

The project concludes with a moving sequence that includes a reinterpretation of the standard “I Get Along Without You Very Well (Except Sometimes)” before arriving at the understated finale, “The Epilogue.” Together, they provide a fitting conclusion to a journey that is ultimately less about heartbreak than about reclaiming emotional agency.

With its ambitious scope, literary foundations, world-class ensemble, and fearless emotional candor, The Devil I Knew stands as one of the most compelling projects of Zuraitis’ career. It is a work that bridges jazz, songwriting, poetry, and orchestral composition while remaining grounded in something deeply human: the search for meaning after loss.

The Devil I Knew
Nicole Zuraitis
La Reserve Records
Release Date: July 17, 2026

Written and Arranged by Nicole Zuraitis
Produced by Larry Klein and Nicole Zuraitis
Executive Producer: Susan Bloomberg
Recorded at EastSide Sound, New York City (June 2025)
Mastered by Bernie Grundman

Ize Trio Expands Its Global Vision with the Meditative and Powerful Global Prayer

 

When Ize Trio released its acclaimed debut album The Global Suites in 2024, the Boston-based ensemble introduced a bold musical vision rooted in cultural exchange, dialogue, and healing. Their follow-up, Global Prayer, arriving June 12, 2026, broadens that vision while turning inward, offering a deeply reflective exploration of identity, spirituality, and human connection.

Blending jazz, Western classical traditions, and maqam—the rich microtonal musical language found throughout the Middle East and Eastern Mediterranean—Ize Trio continues to redefine what a contemporary jazz ensemble can be. The group brings together pianist Chase Morrin, percussionist George Lernis, and cellist Naseem Alatrash, three musicians whose diverse backgrounds form the foundation of the trio’s distinctive sound.

Critics have already recognized the ensemble’s unique approach. Michael Ullman of Arts Fuse described the group as “exuberantly and deliberately international,” while Jazz Views praised Ize Trio for blending jazz and Middle Eastern traditions while promoting “a mission focused on social good.”

Recorded over sessions in 2023 and 2025, Global Prayer finds the trio embracing a more personal and spiritual perspective than its predecessor. Rather than focusing primarily on external social issues, the new album examines how individuals navigate an increasingly complex and uncertain world.

“A lot of the music is dedicated to our mentors or is more spiritually focused,” Morrin explains. “Thinking about how we exist within this crazy world right now.”

That spirit is immediately evident on the album’s opening track, “Flying,” a composition inspired by Turkish maqam Neveser and dedicated to pianist and educator Danilo Pérez, whose mentorship helped bring the trio together during their studies at the Berklee Global Jazz Institute. The piece reflects Pérez’s recollection of a transcendent, out-of-body musical experience while performing with the late Wayne Shorter. Through dynamic interplay and shifting textures, Ize Trio transforms that story into a meditation on both physical and spiritual journeys.

Shorter’s influence extends further with “From the Stars,” a composition inspired by the legendary saxophonist’s cosmic imagination, Buddhist philosophy, and lifelong fascination with astronomy and science fiction. Grammy-winning bassist John Patitucci, a longtime collaborator of both Pérez and Shorter, lends his voice to the recording, while saxophonist Lihi Haruvi channels the exploratory spirit that defined Shorter’s music.

The album’s guest roster significantly expands the trio’s already wide-ranging sonic palette. Alongside Patitucci and Haruvi, the recording features laouto virtuoso Vasilis Kostas, violinist Layth Sidiq, artistic director of the New York Arabic Orchestra, and bouzouki player Yaniv Yacoby. Their contributions help deepen the album’s multicultural character while reinforcing its themes of connection across traditions and borders.

One of the album’s most vivid compositions, “Snaefellsjokull,” takes its title from the glacier-capped Icelandic mountain where Morrin and his mother experienced a memorable and challenging journey. Drawing on Irish and Greek musical influences, the piece transforms that personal adventure into a broader metaphor for life’s unpredictable paths. The resulting composition is both exhilarating and contemplative, balancing wonder, uncertainty, beauty, and resilience.

The title track, “Global Prayer,” serves as the emotional centerpiece of the album. Quiet, spacious, and deeply moving, the composition captures both the burdens and hopes of a world searching for healing and understanding. Its stillness becomes one of the album’s most powerful statements.

The second half of the recording ventures further into spontaneity through a series of free improvisations. These brief explorations, culminating in the expansive “Jam for the End of the World,” showcase the trio’s remarkable chemistry and willingness to embrace risk. Despite its ominous title, the latter piece ultimately feels more defiant and life-affirming than apocalyptic.

The album closes with Morrin alone at the piano for “Epilogue,” a hushed and introspective conclusion that leaves listeners with a sense of reflection rather than resolution.

Throughout Global Prayer, Ize Trio demonstrates how deeply its collective language has evolved since its formation. The music remains rooted in jazz improvisation while drawing equally from classical forms, Middle Eastern traditions, and the personal histories of its members.

“We’re constantly digging deeper into how we all bring our influences and our different backgrounds to the table,” Morrin says. “We’ve been able to add so much freedom to the music that no piece is ever the same twice.”

That commitment to openness, curiosity, and cultural dialogue continues to define Ize Trio’s mission. Through original compositions and fearless collaboration, the ensemble seeks to build bridges between traditions and communities, demonstrating how music can foster understanding in an increasingly divided world.

With Global Prayer, Ize Trio delivers a compelling statement of artistic growth—an album that is simultaneously global and intimate, adventurous and meditative. It stands as a testament to the power of shared musical language and a hopeful reminder that connection often begins with listening.

Ize Trio will celebrate the album’s release with a concert at Regattabar in Cambridge, Massachusetts on June 14, 2026.

Global Prayer
Ize Trio
Self-Released
Recorded January 12–13, 2023, and May 24, 2025
Release Date: June 12, 2026

Randy Ingram Pays Deeply Personal Tribute to Bill Evans on Sound Within

 

Few figures cast a longer shadow over jazz piano than Bill Evans. Nearly five decades after his passing in 1980, Evans remains one of the most influential voices in modern jazz, inspiring generations of musicians with his lyrical touch, emotional honesty, and singular approach to the piano trio. On July 10, 2026, pianist and composer Randy Ingram honors that enduring legacy with Sound Within: A Celebration of Bill Evans, released via Chill Tone Records.

Featuring two musicians with direct ties to Evans’ storied career—drummer Joe La Barbera and bassist Rufus Reid—Sound Within is much more than a tribute album. It is a profoundly personal reflection on Evans’ impact, filtered through Ingram’s own artistic voice and life experience.

“A pianist of taste and resourcefulness,” wrote Steve Futterman in The New Yorker, while Budd Kopman of All About Jazz praised Ingram’s music for creating “extended aural landscapes that envelop and excite, soothe and invigorate.”

For Ingram, the project was decades in the making. While Evans has been a defining influence throughout his career, he intentionally waited until he felt ready to approach the music on his own terms.

“The thing that’s most important to me about Bill Evans is not a style,” Ingram explains. “It’s not the way that he plays, or the devices that he uses. It’s the sound of the piano, and that’s something that comes from deep inside. So I made sure to hone in on my own sound for this album.”

That philosophy shapes every aspect of Sound Within. Rather than attempting to recreate Evans’ music, Ingram explores the emotional truth at its core, interpreting classic Evans-associated repertoire alongside original compositions inspired by the pianist’s lasting influence.

The personnel itself reinforces that connection. Joe La Barbera, who performed in Evans’ final trio alongside bassist Marc Johnson, brings a direct link to the legendary pianist’s final years. La Barbera also served as an important mentor to Ingram during his formative years in Southern California, adding another layer of personal significance to the collaboration.

Bassist Rufus Reid rounds out the trio. Reid briefly performed with Evans in 1978, appearing at celebrated venues including New York’s Village Vanguard and Boston’s Jazz Workshop. Reid recalls learning a valuable lesson from Evans during that period: he was chosen not to imitate anyone else, but to bring his own voice to the music. That same spirit guides Ingram throughout Sound Within.

“There’s an introspective thread that extends from Bill Evans through a lot of the music that I love,” Ingram says. “He was never faking anything on an emotional level; he was always able to speak who he was with total honesty. The way that I connect to Bill’s music is through finding something undeniably true there.”

The album opens with Evans’ beloved “Turn Out the Stars,” establishing an intimate, reflective mood before unfolding into a fresh rhythmic setting. Other highlights include a moving interpretation of “My Foolish Heart,” a tune Ingram has cherished since his teenage years, and George Russell’s “Ezz-Thetic,” which pays tribute not only to Evans but also to Russell, one of Ingram’s mentors during his studies at New England Conservatory.

Personal connections run throughout the project. “Letter to Evan,” written by Evans for his son, resonates deeply with Ingram as a father himself. “Mother of Earl” emerged from a creative discovery during a residency at MacDowell, where Ingram learned that composer Earl Zindars—a lifelong friend of Evans—had once occupied the same cabin.

Ingram’s original compositions provide perhaps the clearest insight into how Evans’ influence continues to echo through contemporary jazz. The floating, atmospheric “Aloft,” the expansive title track “Sound Within,” and the poignant closing piece “Remembrance” each explore different facets of Evans’ artistic legacy while remaining unmistakably Ingram’s own.

The pianist’s connection to Evans extends beyond music. In 2013, Ingram portrayed Evans in the acclaimed Swedish film Waltz for Monica (Monica Z), a biographical drama about singer Monica Zetterlund that became Sweden’s highest-grossing film of the year and earned multiple awards.

Widely respected as both a pianist and composer, Ingram has built an impressive discography that includes the acclaimed 2024 trio recording Aries Dance, featuring drummer Billy Hart and bassist Drew Gress. He has also collaborated with leading artists including John Patitucci, Jeff “Tain” Watts, Ari Hoenig, Ben Monder, Ingrid Jensen, Kendrick Scott, Tierney Sutton, Toninho Horta, and many others.

With Sound Within: A Celebration of Bill Evans, Ingram succeeds in achieving something rare: honoring one of jazz’s most revered figures without losing sight of his own identity. The result is not simply a tribute, but a deeply felt conversation between generations—one artist expressing gratitude to another through music that is honest, intimate, and unmistakably his own.

Sound Within: A Celebration of Bill Evans
Randy Ingram Trio featuring Joe La Barbera and Rufus Reid
Chill Tone Records (CT0008)
Recorded November 12, 2025
Release Date: July 10, 2026

Montreal International Jazz Festival Announces 2026 Award Honorees

 

The Festival International de Jazz de Montréal (FIJM) has unveiled the recipients of its prestigious 2026 Festival Awards, recognizing a diverse group of artists whose work continues to shape the global music landscape. During the festival’s 46th edition, acclaimed singer-songwriter Patrick Watson, jazz bassist Christian McBride, London collective KOKOROKO, vocalist Cécile McLorin Salvant, and emerging artist Najib Fenaoui will each be honored for their exceptional contributions to music.

The awards celebrate excellence across multiple genres and generations, reflecting the festival’s longstanding commitment to honoring both established innovators and rising talents.

Patrick Watson will receive the Montréal Jazz Festival Spirit Award, becoming the 14th artist to earn the distinction. The award recognizes musicians whose creativity, innovation, and influence have had a lasting impact on popular music worldwide. Over the past two decades, Watson has built a singular artistic identity that blends orchestral arrangements, indie pop, experimental soundscapes, and deeply emotional songwriting. His distinctive musical voice has resonated with audiences around the globe while remaining firmly connected to Montreal’s vibrant cultural community. Watson will perform a free concert on the TD Stage on July 3.

The 2026 Miles Davis Award goes to Christian McBride, one of the most influential figures in contemporary jazz. As a bassist, composer, arranger, producer, educator, and cultural advocate, McBride has spent more than three decades helping to define modern jazz while bridging generations of musicians. His versatility and remarkable body of work have made him a leading ambassador for the genre. McBride will appear alongside guitarist Julian Lage at Théâtre Maisonneuve on July 4.

The Antônio Carlos Jobim Award will be presented to KOKOROKO, the acclaimed London-based ensemble known for its vibrant fusion of Afrobeat, highlife, jazz, soul, funk, bossa nova, and contemporary influences. Since forming in 2014, the collective has developed a sound that honors African musical traditions while pushing contemporary jazz into exciting new territory. Their innovative approach and international appeal have made them one of the most celebrated groups on today’s global jazz scene. KOKOROKO will perform a free outdoor concert on June 26.

Receiving the Ella Fitzgerald Award is vocalist Cécile McLorin Salvant, whose artistry has established her as one of the defining jazz singers of her generation. Revered for her extraordinary vocal technique, interpretive depth, and fearless creativity, Salvant continually reimagines the boundaries of jazz by incorporating influences from blues, folk traditions, vaudeville, and even Baroque music. Her work has revitalized forgotten repertoire while creating a uniquely modern artistic vision. She will perform at Théâtre Maisonneuve on June 26.

The festival will also honor rising Montreal vocalist Najib Fenaoui with the Oliver Jones Award. Created to support university-level musicians from visible minority and Indigenous communities, the award recognizes emerging talent on the city’s jazz scene. Since making his debut in 2020, Fenaoui has earned attention for his exceptional improvisational skills and distinctive vocal style, drawing inspiration from jazz legends such as Ella Fitzgerald, Al Jarreau, and Bobby McFerrin while incorporating elements of R&B, soul, and gospel into his music. He will perform with his group, NAJIB and the Alter Egos, at Le Studio TD on July 4.

The 2026 honorees reflect the remarkable diversity that has long defined the Montreal International Jazz Festival. From globally celebrated artists pushing creative boundaries to emerging voices carrying jazz into the future, this year’s award recipients embody the spirit of innovation, excellence, and artistic exploration that continues to make the festival one of the world’s premier music events.

Presented by TD Bank Group in collaboration with Rio Tinto, the Festival International de Jazz de Montréal returns for its 46th edition with an ambitious lineup celebrating the many forms and futures of jazz and creative music.

Gergana’s Free Is a Deeply Personal Journey of Renewal, Resilience, and Song

For vocalist and songwriter Gergana Velinova, a song’s true life begins long after it leaves the studio. It starts when a melody quietly finds its way into a listener’s world, becoming woven into their memories, emotions, and personal story. That philosophy lies at the heart of Free, a deeply personal new album that invites listeners into a journey of transformation, healing, and self-discovery.

Written over the course of five pivotal years, Free emerged during a period of profound change in Gergana’s life. While caring for a child whose health required her full attention and later navigating the uncertainty and isolation of the global pandemic, she found herself creating music not for stages or audiences, but for a single listener asleep in her arms. Those intimate moments shaped an album rooted in vulnerability, love, and resilience.

The title Free carries multiple layers of meaning. It reflects the emotional liberation that music can provide—the feeling of being lifted beyond everyday concerns by a soaring melody. It also celebrates Gergana’s own personal milestone of becoming a Canadian citizen in 2025, marking a new chapter in both her life and artistic journey.

Released through Cellar Music Group, the album moves effortlessly across a rich musical landscape. Contemporary jazz inspired by the ECM tradition intertwines with elements of Gergana’s Bulgarian heritage, while jazz-pop influences, sensual bossa nova rhythms, blues-infused reflections, and lyrical ballads create a collection that feels both expansive and deeply intimate. Throughout the album, melody remains central. Every song is crafted to be sung, remembered, and carried forward by listeners long after the music ends.

A key element of the project is Gergana’s creative partnership with producer, multi-instrumentalist, and longtime friend Kristian Alexandrov. The two first met as students at Sofia Music School in Bulgaria and have shared a musical bond for decades. As producer, Alexandrov brings a sophisticated sonic vision to the album, layering rich textures while preserving the warmth and emotional honesty that define the music. His contributions on piano, Rhodes, B3 organ, vibraphone, and percussion help shape a sound that feels both cinematic and deeply personal.

The album features an accomplished ensemble of musicians whose performances enrich each composition. Gergana’s expressive vocals are supported by drummers, bassists, horn players, and string arrangements that bring color and nuance to every track. Guest appearances by saxophonists Cory Weeds, Jon Bentley, and Ryan Oliver, trumpeters Malcolm Aiken and Vince Mai, violinist Cameron Wilson, and background vocalists Shannon Gaye and Gord Maxwell add further depth to the recording.

Yet despite its impressive musical cast, Free remains centered on connection. The album never feels distant or grandiose. Instead, it draws listeners inward, creating the sense that Gergana is sharing her story one song at a time. As the music unfolds, however, something unexpected happens: what begins as her personal narrative gradually becomes a reflection of the listener’s own experiences.

That emotional exchange is captured in one of the album’s most poignant lyrical moments: “Come a little closer. Come look inside this heart. What do you see? Do you see me?” It is both an invitation and a question, one that echoes throughout the record.

With Free, Gergana Velinova delivers more than a collection of songs. She offers a space for reflection, healing, and connection. It is an album born from life’s challenges and triumphs, transformed into music that resonates far beyond its creator’s experiences. By the final note, listeners may discover that the story they thought belonged to Gergana has become, in some small but meaningful way, their own.

New England Jazz Collaborative’s Tributaries Celebrates the Power of Collective Creativity

The New England Jazz Collaborative (NEJC) makes a striking first impression with Tributaries, a vibrant debut album arriving July 17, 2026 via ACP Records. Featuring six original compositions by four member composers—Jeremy Cohen, Darryl Harper, Matan Rubinstein, and Sam Spear—the release showcases the remarkable breadth of contemporary large-ensemble jazz, moving seamlessly from classic swing and lyrical balladry to modern jazz experimentation and West African highlife.

Praised by some of jazz’s most respected voices, Tributaries has already generated significant acclaim. Violinist Regina Carter describes the music as “a diverse range of styles, textures, and moods,” highlighting the ensemble’s creativity and collaborative spirit. Bassist and composer Ben Allison calls the album “refreshing and uplifting,” while veteran critic Bob Blumenthal praises its “uniform excellence and diversity.”

The album also serves as a powerful introduction to the NEJC itself, an artist-run nonprofit collective founded by composer and percussionist Jeremy Cohen. The organization emerged from a simple but pressing challenge: many composers have ambitious works for jazz orchestra but lack access to a professional big band capable of bringing those visions to life. Rather than building a group around a single bandleader, Cohen created a collaborative model that gives multiple composers the opportunity to develop, perform, and record new music with a world-class ensemble.

That idea has quickly evolved into one of the most innovative large-ensemble initiatives in the country. In fewer than five years, the NEJC has commissioned and presented more than 30 new works for jazz orchestra while paying over $100,000 to musicians and creative professionals. Its mission is straightforward but ambitious: expand audiences for jazz and related genres by supporting living composers and creating opportunities for artistic experimentation.

The music on Tributaries reflects that mission in compelling fashion. Cohen’s “Another Brighter Day” opens the album with lush harmonies and melodic warmth, blending intricate orchestration with accessible hooks that evoke influences ranging from Steely Dan to Weather Report. His second contribution, “Green Turtle Strut,” draws inspiration from time spent in Ghana, incorporating elements of guitar-driven highlife and Congolese sebene rhythms into a joyful, globally informed jazz framework.

Matan Rubinstein’s “Ol’ Liminal” pushes the ensemble in a different direction, combining echoes of early New Orleans collective improvisation with influences from rock, hip-hop, and electronic music. The result is an energetic, genre-crossing work that captures the adventurous spirit at the heart of the collaborative.

Darryl Harper contributes two contrasting compositions. The tender ballad “Kiss Me Again” features delicate, expressive writing, while “The Secret” explores odd-meter funk through an engaging series of conversational solo exchanges. Together, the pieces demonstrate Harper’s versatility as both composer and storyteller.

Sam Spear’s “Gee, Em…” rounds out the album with a sophisticated blend of classical and jazz traditions inspired by the legacy of Gunther Schuller and Duke Ellington. Built around Schuller’s famed “Magic Row,” the composition offers a dreamlike and intellectually rich listening experience while remaining deeply engaging.

The orchestra itself is a reflection of New England’s thriving jazz community, bringing together established artists and rising talents from across the region. Musicians with strong ties to the Boston area—including trumpeters Jason Palmer and Bijon Watson, saxophonists Felipe Salles and Brian Landrus, and guitarist Eric Hofbauer—perform alongside emerging voices, all under the direction of acclaimed composer, conductor, and educator Ken Schaphorst.

The album’s title, Tributaries, captures both the diverse influences flowing into the project and the rich musical heritage that informs it. The work draws inspiration from traditions associated with figures such as Gunther Schuller, George Russell, and Bob Brookmeyer, while simultaneously looking forward to the next chapter of large-ensemble jazz.

As Cohen notes, what began as a practical solution for getting composers’ music heard evolved into something much larger. The NEJC has become a creative community dedicated to advancing new music, fostering collaboration, and proving that the jazz orchestra remains a vital and evolving art form.

With its expansive musical vision, exceptional performances, and commitment to collective artistry, Tributaries stands as a compelling debut and a powerful statement about the future of contemporary jazz.

Hannah Gill Reimagines Duke Ellington Classics on I Like the Sunrise

 

With I Like the Sunrise, New York-based vocalist Hannah Gill reveals a more intimate side of her artistry, stepping away from the theatrical flair and high-energy performances that have defined much of her career. The album, her fourth release for Turtle Bay Records, serves as a heartfelt tribute to the timeless music of Duke Ellington, reimagining beloved compositions through a warm, guitar-centered approach that strips away convention and invites listeners into a more personal musical space.

Rather than recreating the grand orchestral arrangements often associated with Ellington’s catalog, Gill focuses on the strength of the songs themselves. Notably absent is the piano, a deliberate choice that allows the melodies, lyrics, and emotional nuances of each composition to take center stage. The result is a collection of performances that feel conversational, spacious, and deeply connected to the spirit of the material.

Gill has long earned acclaim for her versatility, building a devoted following through performances with East Coast swing dance bands, Postmodern Jukebox, Lindy Hop bandleader Gordon Webster, and The Hot Toddies Jazz Band. Her previous Turtle Bay releases, particularly the popular Spooky Jazz albums, showcased her ability to blend vintage swing, theatrical storytelling, and playful imagination. On I Like the Sunrise, however, she embraces a quieter form of expression, demonstrating a new level of artistic maturity and confidence.

The project grew out of Gill’s admiration for Ellington’s unique ability to balance sophistication with emotional accessibility. Drawn to songs such as “Azalea” and “I Like the Sunrise,” she found herself inspired by their beauty, tranquility, and capacity for reflection. By removing the familiar framework of piano accompaniment, Gill allows the lyrical and interpretive core of these songs to emerge with remarkable clarity.

Central to the album’s success is the chemistry of the ensemble. Guitarist Luis Salcedo, bassist Philip Ambuel, and drummer Adam Ray form a cohesive rhythm section that developed naturally through months of live performances. The group spent 33 weeks in residency at Brooklyn’s Cocktail Magique, performing much of this repertoire weekly and refining the arrangements in front of audiences. By the time they entered the studio, the music had evolved organically, shaped by experience rather than strict adherence to written charts.

That sense of familiarity and trust permeates the recording. Captured at The Bunker in Williamsburg and recorded through analog tape, the album possesses a warm, tactile quality that perfectly complements its understated mood. Rather than relying on extensive overdubs or rigid arrangements, the musicians collaborated in real time, creating performances that feel spontaneous and alive. Select appearances by saxophonist Ricky Alexander add another layer of color while maintaining the album’s intimate atmosphere.

The collection opens with “So Far So Good,” a buoyant performance filled with optimism and gentle swing. Gill’s phrasing is playful and assured as Salcedo’s guitar and Alexander’s saxophone engage in lively musical conversation. “I Ain’t Got Nothin’ But the Blues” follows with a more introspective mood, beginning with sparse guitar figures before gradually expanding into a rich emotional landscape. Gill’s storytelling shines here, her vocal delivery balancing sensuality and vulnerability.

Throughout the album, Gill demonstrates remarkable control over tone and dynamics. “Love You Madly” finds the ensemble settling into a joyful groove, while “I’m Just a Lucky So and So” offers one of the vocalist’s most relaxed and heartfelt performances. On “I Didn’t Know About You,” delicate guitar work creates an ideal backdrop for Gill’s breathy, nuanced interpretation.

The emotional depth of the project becomes especially apparent on “I Got It Bad (And That Ain’t Good),” which begins as an intimate dialogue between voice and guitar before gradually opening into a fuller arrangement. Gill’s restrained approach emphasizes the song’s humanity, avoiding melodrama in favor of genuine emotional connection.

One of the album’s standout moments arrives with “Azalea,” a composition perhaps best known through Louis Armstrong’s 1963 recording. Here, Gill transforms the song into a study in atmosphere and subtlety, supported by understated rhythmic movement and intricate guitar textures. Elsewhere, “Do Nothing Till You Hear From Me” introduces a touch of playful swing, while “Take Love Easy” unfolds with a cool, effortless elegance.

The title track serves as the emotional centerpiece of the album. Rendered as a dreamy, hymn-like ballad, “I Like the Sunrise” captures the hope and quiet renewal at the heart of Ellington’s original composition. Gill’s voice floats effortlessly through the arrangement, conveying both fragility and optimism while the ensemble provides a spacious and supportive backdrop.

The album closes with “Azure,” a beautifully minimal performance featuring only voice and guitar. Enhanced by Gill’s charming whistle, the track creates a cinematic and atmospheric conclusion that perfectly reflects the album’s emphasis on nuance, intimacy, and emotional honesty.

More than a tribute to Duke Ellington, I Like the Sunrise represents a significant artistic evolution for Hannah Gill. Known for commanding lively stages and engaging enthusiastic audiences, she chooses here to embrace restraint, inviting listeners to lean in rather than be swept away. The result is a deeply rewarding collection that highlights not only the enduring brilliance of Ellington’s songwriting but also the remarkable depth and versatility of Gill’s own voice.

I Like the Sunrise will be released June 19, 2026, via Turtle Bay Records on CD, vinyl, and all major streaming platforms.

Ralph Alessi Explores New Musical Horizons on A Sun That Never Sets

With A Sun That Never Sets, trumpeter and composer Ralph Alessi expands his celebrated quartet format into a quintet, unveiling eleven new compositions that showcase his intricate writing, adventurous spirit, and deep musical intuition. The album marks a significant evolution in Alessi’s creative journey, bringing a fresh dimension to his sound through the addition of trombonist Joseph Alessi, his brother and one of the world's foremost classical trombonists.

The result is a strikingly original ensemble featuring Ralph Alessi on trumpet, Joseph Alessi on trombone, Matt Mitchell on piano, John Hébert on double bass, and Ches Smith on drums and vibraphone. Together, the group navigates Alessi’s complex, syncopated compositions with remarkable ease, uncovering new possibilities within every melodic turn and rhythmic shift.

“In this band, everybody's just so strong, and very little, if anything, ever has to be said—which is what I prefer,” Alessi says. That near-telepathic communication is evident throughout the album, whether in the haunting, delicately phrased passages of “Nothing Is Dead,” “Sweet Spot,” and “Twichild,” or the dynamic energy of pieces such as “Relaxed Misery” and “Of Trees.”

While Alessi previously worked in a quintet setting alongside saxophonist Ravi Coltrane in his acclaimed ensemble This Against That, A Sun That Never Sets takes a different approach. Rather than adding another reed voice, Alessi introduces the rich tonal possibilities of the trombone, creating a distinctive dialogue between trumpet and trombone that shapes much of the album’s character.

For Ralph, writing for his brother presented a unique challenge. “It was uncharted waters through and through for me,” he explains. “Not just because I was doing it with my brother in this improvisatory context, but also because it’s a trombone. I've never really done any of my records with trombone. It was challenging and there was a lot of thought that went into preparing this music with him in mind. And at the end I have to say I’m very happy with how that played out.”

The brothers’ chemistry is immediately apparent on “Relaxed Misery,” which opens with a playful and spontaneous exchange before unfolding into sharply defined melodic lines and expansive improvisation. Elsewhere, Joseph’s contributions are used with restraint and precision. On “Ether,” winding horn lines drift through shifting harmonies, while a brief trombone passage on “Sweet Spot” provides the final touch that brings the composition to its emotional peak. On “Of Trees,” the brothers lock into tightly synchronized phrases, navigating intricate rhythmic terrain with exhilarating intensity.

Another defining presence throughout the album is percussionist Ches Smith, whose dual role on drums and vibraphone significantly broadens the ensemble’s sonic palette. Smith introduces “Nothing Is Dead” with resonant vibraphone tones before transitioning seamlessly to subtle percussion textures. His vibraphone work adds warmth and lyricism to pieces such as “Sweet Spot” and “Behind Clouds,” while his precise drumming powers rhythmically complex tracks including “Duck Face” and “Transitional Imagery.”

“Obviously Ches is a very unique musician, and he really expands on the possibilities for orchestration,” Alessi says. “I didn't even have to suggest the pieces where he plays vibes. He's just a natural, he just went there. He's bringing that energy to it, adding such an interesting dimension to the music’s color.”

Alessi cites two enduring sources of inspiration as central to his artistic thinking: Ornette Coleman and Igor Stravinsky. Though seemingly opposite poles of musical expression, their influence can be felt throughout A Sun That Never Sets, where contemplative lyricism and angular structures coexist in a constantly evolving musical landscape.

The album also highlights Alessi’s distinctive trumpet voice, balancing technical precision with emotional depth. His clear, expressive tone guides listeners through compositions that shift effortlessly between abstraction and beauty. Pianist Matt Mitchell complements that vision with elegant interpretations of the themes while maintaining a willingness to venture beyond harmonic boundaries. Supported by the fluid interplay of Hébert and Smith, the ensemble creates a musical environment that remains vibrant, unpredictable, and deeply engaging from beginning to end.

Recorded at Oktaven Studio in New York in February 2025 and later mixed in Munich, A Sun That Never Sets was produced by Ralph Alessi and Manfred Eicher. The album stands as both a continuation of Alessi’s acclaimed ECM legacy and a bold step forward, revealing new possibilities within his compositional language while reaffirming his place among the most inventive voices in contemporary jazz.

Cindy Blackman Santana Announces New Album Coherence

 

Acclaimed drummer, composer, bandleader, and vocalist Cindy Blackman Santana will release her new solo album Coherence on July 31 via Mack Avenue Records. The project is introduced by its first single, “Illumination,” available now, offering an electrifying preview of a record that seamlessly blends spiritual jazz, fusion, rock, and improvisation.

Coherence brings together an extraordinary cast of musicians, including Carlos Santana, John McLaughlin, Matt Garrison, Ray Angry, Dave Eggar, and Blackman Santana’s acclaimed touring band. The album thrives on rhythmic interplay, expansive improvisation, and the dynamic energy of live performance, resulting in one of the artist’s most collaborative and adventurous works to date.

The lead single, “Illumination,” highlights the chemistry between Blackman Santana and her ensemble. Driven by her powerful and expressive drumming, the track unfolds through fluid exchanges between saxophone, guitar, and bass, creating a vibrant conversation that captures the spirit of spontaneous creation.

“It was actually our first time ever playing ‘Illumination,’” Blackman Santana explains. “To me, it brings a lot of freshness and energy. I hope you feel the cohesiveness of how we interact together. The title is about bringing brightness to the forefront of people’s minds and hearts. The coming together of the musicians represents the coming together of all people.”

Coherence arrives nearly four decades after Blackman Santana made her debut as a bandleader with 1987’s Arcane. Since then, she has forged one of contemporary music’s most distinctive careers, earning acclaim across jazz, fusion, and rock while continually expanding her artistic voice as a composer, drummer, vocalist, and performer.

Recorded at The Hideout Recording Studio in Las Vegas during late 2024, the album features Blackman Santana alongside her trusted touring band: Emilio Modeste (saxophone), Aurelien Budynek (guitar), Zaccai Curtis (keyboards), and Felix Pastorius (bass). To further realize her vision, she enlisted a remarkable group of collaborators, including Carlos Santana, John McLaughlin, Matt Garrison, Ray Angry, Dave Eggar, and others.

In support of the album, Blackman Santana will perform at BRIC Celebrate Brooklyn! at the Lena Horne Bandshell in Prospect Park on July 24 as part of the festival’s 2026 season. She will also spend the summer on the road as drummer for Santana on the Santana and The Doobie Brothers Oneness Tour, while continuing Santana’s residency at the House of Blues Las Vegas at Mandalay Bay Resort and Casino with additional September dates.

Renowned for her fearless artistry, Cindy Blackman Santana has built a career that transcends genres, moving effortlessly between jazz, rock, funk, and improvisational music. Her extensive list of collaborators includes Santana, Lenny Kravitz, Pharoah Sanders, Cassandra Wilson, Joe Henderson, Vernon Reid, John McLaughlin, and The Isley Brothers. Since joining Santana full-time in 2016, she has appeared on multiple recordings, including Africa Speaks and Blessings and Miracles. With Coherence, she continues to push creative boundaries while showcasing the depth and versatility that have defined her remarkable career.

Coherence Tracklist:

1. Illumination
2. Blue Whale
3. The Message is Love (feat. Carlos Santana)
4. Coherence Tapestry
5. Coherence (feat. Carlos Santana)
6. Coherence Embrace
7. Peace Please
8. Psychedelic Movie House (feat. Carlos Santana)
9. Guitar Love (feat. Carlos Santana & John McLaughlin)
10. Capri (feat. Carlos Santana)
11. SyZyGy
12. Circe
13. Eclipse
14. Soon a Queen
15. Sunday
16. Music
17. Sanctuary (feat. Carlos Santana)