Tributaries Introduces the New England Jazz Collaborative with a Bold New Vision for Big Band Jazz

Big bands have long been vehicles for singular artistic voices, from Duke Ellington and Count Basie to Maria Schneider and Darcy James Argue. The New England Jazz Collaborative (NEJC) proposes a different model—one that embraces multiple composers, diverse musical traditions, and a shared commitment to expanding the future of jazz.

That vision comes to life on Tributaries, the ensemble's vibrant debut album, due July 17, 2026, via ACP Records. Featuring six original works by four of the collaborative's founding composers—Jeremy Cohen, Darryl Harper, Matan Rubinstein, and Sam Spear—the recording moves effortlessly across musical landscapes, from New Orleans swing and elegant ballads to Third Stream experimentation, modern jazz, funk, and the infectious rhythms of West African highlife.

The result is an album that celebrates both individuality and collaboration, earning praise from some of jazz's most respected voices.

Violinist Regina Carter calls the recording "a diverse range of styles, textures, and moods," adding that "each performer contributes a dynamic presence and expression to the music, creating a vibrant soundscape that defines the ensemble's creativity, individuality, and collaborative spirit."

Bassist and composer Ben Allison echoes that sentiment, saying, "The music on this new album by the New England Jazz Collaborative is fantastic… I hear the individual voices of Jeremy, Matan, Darryl, and Sam… It's refreshing and uplifting to hear this music."

Veteran jazz critic Bob Blumenthal perhaps summarizes the achievement most succinctly: "The uniform excellence and diversity of the present music has created a powerful debut."

The story behind the New England Jazz Collaborative is every bit as compelling as the music itself.

The project began when percussionist and composer Jeremy Cohen found himself confronting a challenge familiar to many composers: he had written ambitious works for jazz orchestra but lacked consistent access to the kind of professional ensemble capable of bringing those scores to life. Rather than accept those limitations, Cohen reached out to fellow composers throughout the Boston jazz community with a simple but transformative idea.

Instead of building a big band around one leader, why not create an organization devoted to many composers?

The concept quickly evolved into an artist-run nonprofit dedicated to commissioning, performing, recording, and promoting new music for large jazz ensemble. In doing so, the NEJC created something remarkably rare—a repertory orchestra devoted almost exclusively to living composers.

Unlike traditional repertory ensembles that revisit established classics, the New England Jazz Collaborative focuses on expanding the canon itself. Every performance introduces audiences to new music while giving composers access to one of jazz's most powerful creative instruments: the 17-piece big band.

In fewer than five years, the organization has commissioned more than 30 new works for jazz orchestra while paying more than $100,000 to musicians, composers, and creative artists. Its success has already inspired additional composer-led ensembles to emerge throughout the region.

"The variety is what makes NEJC's approach to programming both contemporary and accessible," Cohen says. "I've witnessed it first-hand in our concerts. Between the different colors, the dynamic range of the orchestra, and how that was put to use by all the different composers, even audiences who are unfamiliar with jazz find something on the program that captivates them."

That philosophy shapes every moment of Tributaries.

The album opens with Cohen's "Another Brighter Day," beginning quietly with birdsong and shimmering harmonies before unfolding into an optimistic, melody-driven work that hints at influences ranging from Steely Dan to Weather Report. Guitarist Mitch Selib contributes an elegant solo before Nigerian-born saxophonist Temidayo Balogun delivers a lyrical soprano statement that immediately establishes the collaborative spirit defining the ensemble.

Cohen returns later with "Green Turtle Strut," inspired by time spent living in Ghana. Rather than simply borrowing from African traditions, the composition thoughtfully blends Ghanaian highlife with the rhythmic propulsion of Congolese sebene, resulting in music that feels both rooted and contemporary. Balogun adds talking drum and percussion alongside his saxophone work, while guitarist Eric Hofbauer delivers a solo that captures the character of West African guitar music without sacrificing his own jazz identity.

Composer Matan Rubinstein brings an entirely different perspective with "Ol' Liminal." Born in Jerusalem, Rubinstein draws from an astonishing range of influences, combining the collective improvisation of early New Orleans jazz with elements of rock, hip-hop, and electronic music. He has cited artists as varied as The Velvet Underground, Aphex Twin, and Squarepusher among the work's inspirations, and the composition reflects that eclecticism without ever feeling forced. Anchored by drummer Lumanyano Mzi and bassist Bob Nieske, the piece drives forward with restless energy while allowing the horns to shift effortlessly between tightly orchestrated passages and exhilarating bursts of collective improvisation.

Darryl Harper contributes two contrasting compositions that demonstrate his versatility as both composer and clarinetist. A Philadelphia native and longtime collaborator of Regina Carter and Jason Moran, Harper first became involved with the NEJC when Cohen approached him with the fledgling concept for the organization.

"Kiss Me Again" unfolds as an exquisitely understated ballad, highlighted by a luminous piano solo from Emily Pruneau. By contrast, "The Secret" embraces an infectious odd-meter funk groove, creating a lively musical conversation as soloists exchange concise statements over the shifting rhythmic landscape.

Sam Spear closes the circle with "Gee, Em...," perhaps the album's most overt nod to New England's rich compositional heritage. A student of the late Gunther Schuller, Spear based the dreamlike work on Schuller's famous twelve-tone "Magic Row," creating an elegant fusion of classical structure and jazz improvisation. Alto saxophonist Allan Chase responds with a witty and expressive solo that perfectly complements the composition's sophisticated architecture.

Throughout the recording, the ensemble itself proves every bit as impressive as the writing.

The orchestra combines many of the Boston area's most respected performers—including trumpeters Jason Palmer and Bijon Watson, saxophonists Felipe Salles and Brian Landrus, guitarist Eric Hofbauer, and a host of emerging voices—with conductor Ken Schaphorst guiding the performances. Their collective precision never diminishes the music's warmth or spontaneity, instead reinforcing the collaborative spirit at the heart of the project.

That spirit has prompted comparisons to the influential Jazz Composers Collective, the groundbreaking cooperative founded in New York during the early 1990s.

Ben Allison, himself a founding member of that celebrated organization, immediately recognized the parallels.

"We collaborated and supported each other through experimentation," Allison says. "The worry for us at the time was that by working so closely together our music might homogenize into one kind of sound. However, what we found was working in this way actually brought out our individualism and helped us each to find our voices as composers and artists."

The comparison feels especially appropriate.

Like the Jazz Composers Collective before it, the New England Jazz Collaborative demonstrates that artistic communities often strengthen individual voices rather than diminish them. The diversity heard throughout Tributaries never feels fragmented because each composition is unified by the exceptional musicians interpreting it and by the ensemble's shared commitment to adventurous new music.

The album's title reflects that philosophy. Tributaries speaks not only to the many influences flowing into each composer's work but also to the rich musical traditions that have shaped New England's jazz community. The legacy of Gunther Schuller's Third Stream movement, George Russell's Lydian Chromatic Concept, and Bob Brookmeyer's groundbreaking orchestral writing all flow into the project, yet the NEJC is focused firmly on creating its own future rather than preserving the past.

"The composers' breadth gives the album an element of surprise and a genuine something-for-everyone quality," Cohen says. "It reflects a contemporary musical reality in which artists and listeners move fluidly across styles and traditions. Tributaries feels like a carefully curated playlist, but with a strong sense of authorship, continuity, and ensemble sound."

What began as one composer's practical solution has evolved into something considerably larger: a new model for how contemporary big band music can be created, performed, and sustained.

"This project started out as a way for each of us to get our music heard," Cohen reflects. "But it became something much more compelling. We have a mission."

With Tributaries, that mission receives a remarkable introduction—one that honors the rich traditions of jazz orchestra while demonstrating that its future may be even more adventurous than its past.

Jared Schonig Brings His Big Band Vision to Life on Live at Dizzy's

Few modern jazz musicians have arrived as bandleaders with as much momentum as drummer and composer Jared Schonig. His ambitious 2023 double release, Two Takes Vol. 1: Quintet and Two Takes Vol. 2: Big Band, established him as one of the most compelling new voices in contemporary large ensemble jazz. Critics took notice immediately. Ron Netsky of Rochester City Paper called the project "a prime candidate for album of the year," while WBGO's Nate Chinen observed that the albums "decisively put him forward as a bandleader."

DownBeat awarded the recordings 4½ stars, praising both the strength of Schonig's writing and the bold concept of presenting his compositions first in intimate quintet form before expanding them into fully realized big band arrangements. Reviewer Gary Fukushima wrote that the true brilliance lay in allowing listeners to hear how the music was transformed by "some truly incredible arrangers."

With Live at Dizzy's, Schonig takes the next logical step, presenting those compositions where they arguably belong most: on stage before a live audience.

Recorded at New York City's famed Dizzy's Club before a sold-out crowd, the album captures the excitement, spontaneity, and collective energy that define both Schonig's writing and the remarkable musicians who bring it to life.

"Playing live music for human beings is my favorite thing to do," Schonig says. "It's probably the number one reason I play. Seeing people react to what is happening onstage becomes an instant bond and is forever cemented in the memory of the band and the audience."

For Schonig, recording at Dizzy's was an easy decision.

"I've had a steady yearly gig with the big band at Dizzy's for many years and naturally it's where I chose to record this live album. It's my favorite room to play with my big band. We had sold out the room for at least two years in a row, so I figured the vibe would be amazing—and it was."

The recording showcases an elite ensemble of New York musicians performing arrangements by some of today's most respected composers and orchestrators, including Mike Holober, Miho Hazama, John Daversa, Alan Ferber, Jim McNeely, and Laurence Hobgood. Their relationship with Schonig stretches back years. Many were heroes during his formative years before eventually becoming collaborators and employers as Schonig established himself as one of New York's most sought-after sidemen.

That spirit of collaboration has become central to his music.

Peter Vacher of JazzWise described the project as "a huge gesture of confidence in both composer and executant," noting the remarkable variety of approaches each arranger brings to Schonig's compositions. "Lucky Jared," Vacher concluded.

The band itself reflects years of musical relationships built on stages around the world.

Bassist Matt Clohesy has performed with Schonig for more than two decades. Pianist David Cook shares a similarly deep musical history, giving the trio an almost telepathic rapport. Lead trumpeter Tony Kadleck, one of the most respected players in New York, has appeared on virtually every big band performance Schonig has led. Trombonist Mike Davis brings equal authority, while saxophonists Jason Rigby and Andrew Gould have become essential voices within Schonig's musical language.

For this recording, acclaimed trumpeter Terell Stafford joined the ensemble for the first time.

"I've been a fan of his for years," Schonig says. "He plays some incredible solos here. I was so glad to have him."

Veteran trumpeter Scott Wendholt also returns, someone Schonig admired long before they became colleagues.

"The level of professionalism, care, and brilliance that these musicians put into my music is what I wanted to showcase."

That commitment is immediately apparent on the album's opening selection, "Sound Evidence," arranged by Miho Hazama. The arrangement unfolds gradually, layering textures before exploding into powerful solos by Ryan Keberle, Scott Wendholt, and guitarist Alex Goodman. It serves as both an introduction and a statement of purpose, demonstrating the band's remarkable balance between tightly crafted orchestration and fearless improvisation.

The program continues with "Climb," originally composed for the Wee Trio, reflecting what Schonig describes as the challenges everyone inevitably faces throughout life.

Perhaps no composition better represents Schonig's catalog than "White Out," inspired by the first time he found himself caught in a fierce New York snowstorm. It has become one of his most frequently performed and recorded pieces, combining rhythmic urgency with memorable melodic writing.

Among the album's new compositions is "Jiggle Jaggle," whose title arrived unexpectedly thanks to Schonig's young son.

"We had been playing and I had this melody in my head," he recalls. "I sang it into my phone, fleshed it out on the piano, and played it for him. He said, 'Jiggle Jaggle.'"

Schonig commissioned longtime collaborator Mike Holober to arrange the piece.

"The results were amazing. I always heard John Ellis on this in my head, and he was available for the recording. Boy, was I glad."

The lyrical centerpiece of the album is "Eight Twenty," a love letter to Schonig's wife.

"It's a dedication to my beautiful wife and mother of our children. Eight Twenty is the day we got married. I just wanted to write a beautiful melody reminiscent of her."

Another highlight arrives with "Canyons," co-written during the pandemic with bassist and composer Adam Neely. Miho Hazama originally arranged the composition to feature vocalist Michael Mayo. When scheduling conflicts prevented Mayo from appearing, Schonig turned to Grammy-winning vocalist Nicole Zuraitis.

"Her performance on this tune is one of my favorite parts of this record," he says. "She sings an incredible solo that is just mesmerizing."

The album concludes with "Sabotage," another composition originally written for the Wee Trio. The title references a memorable incident during a live recording session in St. Louis when the group discovered that microphone cables had been cut before the second day of recording. On Live at Dizzy's, it becomes an exhilarating finale that leaves audiences wanting more.

Critics have repeatedly singled out Schonig's drumming as one of the defining elements of his music.

Peter Margasak of The Chicago Reader praised the drummer's "snappy, powerful backbone," writing that the music develops "in surprising and spontaneous ways."

Steve Greenlee of The Boston Globe highlighted Schonig's "skittery, electronica-influenced rhythm," calling it "oddly infectious."

All About Jazz's Troy Collins pointed to Schonig's "throttling trap set palpitations," "machine gun drum fills," and "spry bop rhythms," while Richard Kamins of Step Tempest described him as "the exemplar of the 21st Century musician," praising music that is "rich in melodic material, ripe with strong solos, and excellent accompaniment."

Perhaps the broadest assessment came from Jay Miller of The Patriot Ledger, who noted that Schonig's music possesses "bigger dynamics than most rock, more groove than a lot of modern soul, and certainly more excitement and accessibility than a lot of contemporary jazz."

Those observations help explain why Live at Dizzy's succeeds as more than another live jazz album. It documents a composer who understands both intimacy and scale, balancing sophisticated writing with emotional immediacy. It also captures a band that performs with uncommon trust, where individual virtuosity consistently serves the collective sound.

At a time when large ensemble jazz often struggles for visibility, Jared Schonig continues to demonstrate what makes the tradition so compelling. His music is energetic without sacrificing nuance, intellectually ambitious without becoming inaccessible, and deeply rooted in the collaborative spirit that has always defined jazz at its best.

If Two Takes announced Jared Schonig's arrival as an important composer and bandleader, Live at Dizzy's confirms it. The album captures a remarkable ensemble performing at the highest level, preserving the excitement of one unforgettable evening while pointing toward an even brighter future for one of contemporary jazz's most engaging creative voices.

This version is much closer to a feature you'd find in DownBeat, JazzTimes, or a music blog: it flows as a narrative instead of reading like a press release, while preserving nearly all of the substance from the original. It also improves SEO by naturally incorporating terms like "Jared Schonig," "Live at Dizzy's," "big band jazz," and "contemporary jazz" throughout the article.

Sam Blakeslee Unveils New Blood, a Bold New Statement in Modern Large Ensemble Jazz

Award-winning trombonist, composer, and educator Sam Blakeslee continues to push the boundaries of contemporary jazz with the release of New Blood, the latest album from the Sam Blakeslee Large Group. Arriving September 25, 2026, via Brooklyn Jazz Underground Records, the recording showcases Blakeslee's exceptional compositional voice and features an all-star ensemble of New York City's finest musicians.

A recipient of the 2018 David Baker Prize in Composition from the Ravinia Steans Music Institute, Blakeslee has built a reputation as one of today's most compelling writers for large ensembles. New Blood reflects years of dedication to the craft, combining sophisticated orchestration with memorable melodies, dynamic improvisation, and a modern perspective rooted in the jazz tradition. Recorded during an intensive three-day session, the album captures the energy of a band whose chemistry feels years in the making.

"I wanted to write music that was provocative but not overly difficult, complex but not complicated, create frameworks that allowed soloists to truly express themselves, and balance density and openness," Blakeslee says of his approach. That philosophy resonates throughout the album, where intricate arrangements never overshadow the expressive power of the ensemble.

Originally from Columbus, Ohio, Blakeslee relocated to New York City in 2017, an experience he describes as both humbling and transformative. Immersing himself in the city's world-class jazz scene sharpened his compositional voice while allowing him to discover where his own musical identity fit between tradition and innovation. Influenced by legendary trombonist and composer Bob Brookmeyer, Blakeslee found inspiration in large ensemble writing that emphasized warmth, daring creativity, and emotional depth.

His impressive résumé includes performances and collaborations with Remy Le Boeuf's Assembly of Shadows, Manuel Valera's New Cuban Express Big Band, the Terraza Big Band, Emilio Solla's Tango Jazz Orchestra, Sean Jones, Joe Lovano, Dick Oatts, Aretha Franklin, and many others. He also appeared on Architecture of Storms, the Grammy-nominated 2023 release by Remy Le Boeuf's Assembly of Shadows. Beyond the stage, Blakeslee serves on the faculty of the University of Hartford's Hartt School of Music, where he directs the Jackie McLean Institute Big Band and teaches trombone.

The album's seven compositions each tell a personal story. The title track, "New Blood," celebrates the emergence of a new generation of creative voices on Northeast Ohio's vibrant jazz scene. "Franklin's Blues" pays tribute to both the blues tradition and Blakeslee's beloved cat, Franklin. "Another Day In Which To Excel," commissioned by the International Society of Jazz Arrangers & Composers, honors his late grandfather's daily words of encouragement. "Slow Growth/New Growth" traces its origins to Blakeslee's award-winning work at the Ravinia Steans Music Institute, while "Escaping Shadows" reflects his determination to move beyond the influence of his mentors and discover his own unmistakable artistic voice.

At its core, New Blood is a testament to perseverance. From the group's beginnings performing in basement venues in Akron, Ohio, to recording alongside many of New York's most respected jazz musicians, the album documents a journey defined by passion, growth, and an unwavering commitment to artistic excellence.

Featuring standout performances from Charles Pillow, David Smith, Alex Norris, Pete McCann, Matt Pavolka, Erica Seguine, Jennifer Wharton, Martha Kato, Lee Fish, and many more, New Blood is both a showcase of extraordinary musicianship and a powerful statement from a composer entering his creative prime.

With New Blood, Sam Blakeslee delivers a modern big band album that honors jazz's rich legacy while confidently pointing the music toward its future.

Jade Monet Ignites a New Era With “Too Hot To Behave”

After two deeply personal releases in 2025, In the Shade of the Willow and Night Bloom, singer-songwriter Jade Monet is stepping into an exciting new creative era with her latest single, “Too Hot To Behave.”

Written following a period of reflection during the pandemic, Jade’s recent music explored resilience, healing, love, and self-discovery. Drawing from profoundly personal experiences—including family estrangement, an eating disorder, and the loss of her brother-in-law to the opioid crisis—those songs captured an artist finding strength through vulnerability.

Now, Jade is embracing the music that first captured her imagination as a child. “Too Hot To Behave” marks a confident return to the timeless sounds of jazz, soul, and traditional pop, introducing listeners to the sophisticated world of Club Jade Monet. The project blends the elegance of classic jazz club culture with a contemporary edge, drawing inspiration from legendary voices such as Etta James, Ella Fitzgerald, Nina Simone, and Peggy Lee while appealing to fans of modern artists including Laufey, RAYE, and Olivia Dean.

The single was recorded at Vancouver’s legendary Warehouse Studio with some of the city’s finest jazz musicians, using entirely live instrumentation to capture the warmth, intimacy, and authenticity that define the genre. The result is a record that feels both nostalgic and refreshingly modern, celebrating the enduring appeal of timeless songwriting and live performance.

Music has always been at the center of Jade’s story. Raised by her single mother in the coastal community of Halfmoon Bay, British Columbia, she showed extraordinary promise from an early age. At just two years old, an impromptu performance aboard a ferry prompted a fellow passenger to suggest vocal lessons. By seven, hearing Etta James perform “At Last” sparked a dream that would shape the course of her life.

Since launching her recording career in 2016, Jade has explored an impressive range of musical styles, from rock and blues to country-rock and pop, establishing herself as a dynamic songwriter and captivating live performer. Her career has included appearances at Canadian Music Week, Los Angeles’ Hotel Café, Atlanta’s A3C Festival, and Vancouver’s Westward Festival, along with more than 500 live performances throughout Vancouver. She has also sung for crowds of more than 15,000 on five occasions at Vancouver Canucks games at Rogers Arena.

With “Too Hot To Behave,” Jade Monet brings every chapter of her musical journey together. The single represents more than a stylistic shift—it is the culmination of years of artistic growth, personal resilience, and a lifelong passion for timeless music. As she opens the doors to Club Jade Monet, listeners are invited into a world where classic glamour meets modern sophistication, revealing an artist who has truly found her voice.

The Quiet Storm Enters a New Era as Lenny Green Partners with Compass Media Networks

One of radio's most enduring and beloved brands is entering an exciting new chapter. Beginning June 1, 2026, The Quiet Storm with Lenny Green will be nationally syndicated through Compass Media Networks, which will oversee the program's marketing, distribution, and advertising sales while WBLS 107.5 FM in New York City continues as the show's flagship station.

For generations of listeners, The Quiet Storm has been more than a radio program—it has been a nightly ritual. Blending smooth R&B, soulful ballads, and intimate conversation, the show has provided the soundtrack for quiet evenings, romantic moments, late-night reflection, and countless memories.

The Quiet Storm format has deep roots in radio history. The concept originated in 1976 at Washington, D.C.'s WHUR-FM, inspired by Smokey Robinson's album A Quiet Storm. The original host, the legendary Melvin Lindsey, created a sophisticated late-night format that paired mellow soul music with an understated, conversational presentation. The format quickly became a national phenomenon, influencing radio stations across the country.

In New York, The Quiet Storm became synonymous with WBLS and legendary broadcaster Vaughn Harper, whose rich, velvet voice made him one of the most recognizable personalities in urban radio. Harper's signature sign-on—"Hello, sweetheart"—and his smooth delivery helped define the program for decades, creating an intimate connection with listeners that made The Quiet Storm a cultural institution.

Today, Lenny Green proudly carries that legacy forward.

Broadcast nationally from 7 p.m. to midnight Monday through Thursday and 7 p.m. to 10 p.m. on Sundays, The Quiet Storm with Lenny Green reaches audiences across the country through affiliates including WBLS in New York, WJMR in Milwaukee, KRMP in Oklahoma City, WTUG in Tuscaloosa, KJMH in Lafayette, WAKB in Augusta, and many more.

Known for his warm personality and authentic connection with listeners, Green has become one of radio's most respected voices. His thoughtful storytelling and carefully curated mix of classic and contemporary R&B continue the tradition that made The Quiet Storm one of the most successful nighttime radio formats ever created.

Reflecting on the new partnership, Green said, "I'm blessed to be in the position I'm in, and my ultimate goal is to continue to touch lives and spread love to more cities. The Quiet Storm has always been about connection, passion, and bringing people together through music and conversation. I'm excited to begin this new chapter with Compass Media Networks as we continue growing the brand and reaching even more listeners nationwide."

Nancy Abramson, Senior Vice President of Affiliate Sales and Content for Compass Media Networks, expressed similar enthusiasm, noting that she has long admired both Lenny Green and The Quiet Storm, describing him as a personality who is deeply respected by affiliates and listeners alike.

Beyond his work behind the microphone, Green has earned numerous honors throughout his career, including Billboard's Air Personality of the Year. He is also recognized for his philanthropic efforts, mentoring emerging artists, hosting charitable events, and establishing the Juanita Green Women of Dignity Award, created in honor of his late mother.

Nearly five decades after The Quiet Storm first changed the sound of late-night radio, the format continues to evolve while remaining true to its original mission: creating a space where great music, meaningful conversation, and genuine human connection come together. With this new syndication partnership, Lenny Green is poised to introduce that timeless experience to even more listeners across America.

Stefon Harris Celebrates 20 Years of Blackout with Legacy Dances, a Powerful Tribute to Casey Benjamin

Four-time GRAMMY®-nominated vibraphonist, composer, educator, and arts leader Stefon Harris marks the 20th anniversary of his groundbreaking ensemble Blackout with Legacy Dances, an inspiring new album that celebrates community, ancestry, innovation, and the transformative power of jazz.

Set for release on August 28, Legacy Dances is both a milestone and a deeply personal tribute. The album honors the extraordinary legacy of electro-jazz pioneer Casey Benjamin, a founding member of Blackout whose sudden passing in 2024 profoundly impacted the band and the jazz community. Rather than ending the group's anniversary celebration, the recording transforms loss into a celebration of creativity, friendship, and enduring artistic influence.

The album will be introduced through a series of singles, beginning with "I Know Love" on May 8 and "What a Wonderful World" on June 5, both showcasing Benjamin's signature vocoder artistry. Harris then follows with two original instrumental compositions, "Echoes of the Lion" on July 3 and "A Radical's Love" on July 31, before unveiling the complete 11-track album.

Since its debut with Evolution in 2004, Blackout has consistently redefined the possibilities of modern jazz by blending virtuosic musicianship with hip-hop, funk, fusion, R&B, and global rhythmic traditions. Harris's breathtaking command of the vibraphone and marimba, combined with the adventurous performances of pianist Marc Cary, drummer Terreon Gully, and especially Casey Benjamin's revolutionary use of electronically processed saxophone, vocoder, and aerophone, established Blackout as one of the most forward-thinking ensembles of its generation.

Reflecting on his longtime friend, Harris says:

"Every once in a while, a truly original being shares this limited space and time with us. Casey occupied a rarefied space brimming with genius, audacity, kindness, and humility. We were all incredibly lucky to have been blessed with the opportunity to create beauty with a true musical master."

Throughout Legacy Dances, Harris explores his philosophy of jazz as "Empathy in Action," viewing the music as a living tradition built upon listening, communication, and collective expression. As he writes in the album's liner notes, jazz carries within its DNA "a blueprint for the transformative power of empathy," providing generations of musicians with tools to amplify the voices and experiences of their communities.

That philosophy resonates across every composition. The title track bursts with energy as Harris's shimmering vibraphone intertwines with Benjamin's soaring saxophone over an irresistible groove, while Christian Sands makes his first appearance with Blackout on piano. Supported by Terreon Gully's masterful drumming and Dezron Douglass's commanding bass lines, the ensemble seamlessly balances intricate composition with fearless improvisation.

The album also pays homage to jazz history with inspired interpretations of Louis Armstrong classics "What a Wonderful World" and "West End Blues." Harris further honors pioneering stride pianist Willie "The Lion" Smith through "Echoes of the Lion," a contemporary reimagining inspired by Smith's legendary "Echoes of Spring."

Several original works draw inspiration from Harris's family, mentors, and the cultural legacy of Newark, New Jersey, particularly poet, playwright, and activist Amiri Baraka, whose vision continues to influence Harris's artistic mission. As Harris explains, legacy is preserved not only through artistic achievements but through the communities and cultural environments that nurture creativity.

Beyond the recording studio and concert stage, Harris continues to shape the future of jazz through education and innovation. He serves as a tenured professor at Rutgers University, co-directs the groundbreaking arts initiative Express Newark, and has spent more than a decade developing Harmony Cloud™, an innovative platform for ear training and improvisation that officially launched at the 2026 Jazz Education Network Conference. Already embraced by thousands of users, Harmony Cloud has been featured at leading institutions including Harvard University, Peabody Conservatory, Temple University, the University of Miami, the University of Oregon, and the University of Southern California, with additional workshops planned around the world.

While Legacy Dances celebrates Harris's remarkable evolution as an artist, educator, and cultural leader, it also serves as a heartfelt farewell to one of jazz's most visionary voices. Harris invites listeners to experience the album as an act of shared listening, learning, dancing, and human connection.

Casey Benjamin's influence, however, continues to grow. Widely recognized for his groundbreaking work with Blackout, the Robert Glasper Experiment, and collaborations with artists including Kendrick Lamar, Beyoncé, Lady Gaga, Nas, Common, Anderson .Paak, Drake, Solange, Maxwell, Q-Tip, and many others, Benjamin helped redefine the relationship between jazz, technology, hip-hop, and contemporary music.

As noted by WBGO's Angelika Beener, Benjamin was "a wizard of sound and texture" whose artistry permanently expanded the possibilities of modern music.

His legacy will continue through two forthcoming posthumous albums currently being completed by his brother Kevin Benjamin alongside longtime collaborator Blair Wells, ensuring that one of the most innovative musical voices of his generation will continue to inspire audiences for years to come.

Following the release of Legacy Dances, Stefon Harris and Blackout will bring the music to audiences across the country, including performances at Stanford University, New York's Blue Note Jazz Club, Seattle's Jazz Alley, the Exit Zero Jazz Festival, and additional festival appearances this fall.

Providence: Charles Lloyd’s Musical Confluence Honoring Zakir Hussain

Some musical collaborations feel inevitable, as though they were destined long before the artists ever met. Providence tells the story of one such journey—a profound meeting of traditions, cultures, and lifelong friendships centered around saxophonist Charles Lloyd, tabla master Zakir Hussain, and drummer Eric Harland.

When the trio searched for a name, Zakir Hussain suggested Sangam, the Sanskrit word for the confluence of three rivers. Charles Lloyd immediately expanded the image: "Of course—the Ganges, the Rio Grande, and the mighty Mississippi."

That vision became more than a name. It became a philosophy.

Like rivers flowing toward the sea, the music moves unpredictably—sometimes gentle and reflective, sometimes turbulent and exhilarating, always carrying listeners toward something greater than the individual musicians themselves. It is a meeting of blues, jazz, Indian classical music, and spiritual exploration.

For Charles Lloyd, that current began decades earlier while studying at the University of Southern California. Hearing Ravi Shankar and Alla Rakha perform in 1957 opened an entirely new musical universe. Throughout the 1960s, he immersed himself in the sounds of Ali Akbar Khan, the Ali Brothers, and other Indian masters while discovering the writings of Hazrat Inayat Khan and the poetry of Rabindranath Tagore. Those influences gradually found their way into his own music, from his work with Chico Hamilton to his groundbreaking album Geeta, which featured Ali Akbar Khan's sons, Aasheesh and Pranesh Khan.

The next chapter unfolded in November 2000 when guitarist John McLaughlin invited Lloyd to attend a Remember Shakti performance at UCLA's Royce Hall. There, Lloyd experienced another artistic awakening as he heard Zakir Hussain perform live. Meeting backstage afterward, Zakir smiled and remarked, "I wanted to be on your album Geeta!" It was a remarkable full-circle moment, connecting Lloyd directly with the son of the legendary Alla Rakha, whose music had first inspired him more than four decades earlier.

Threaded throughout this journey was the enduring presence of drummer Billy Higgins, Lloyd's friend and musical companion for over fifty years. From their teenage years in Los Angeles to decades of collaborations, Higgins remained a constant source of inspiration. Shortly before his passing in 2001, he told Lloyd, "I won't always be there, but I'll always be with you."

Only months later, in the aftermath of September 11, Lloyd found himself performing at New York's Blue Note. There he first heard a young drummer named Eric Harland during an after-hours set. Lloyd immediately recognized something extraordinary, later describing the experience as though Billy Higgins had sent him a message.

That same year, SFJAZZ founder Randall Kline invited Lloyd and Zakir Hussain to perform a duo concert at San Francisco's Grace Cathedral, only weeks after 9/11. The atmosphere was heavy with uncertainty, and there had even been threats against the Golden Gate Bridge that day. During the performance, Zakir offered words that have become timeless:

"Music is about building bridges, not destroying them."

Those words perfectly captured the spirit of what would become Sangam.

In 2004, Lloyd reunited Zakir Hussain and Eric Harland for a tribute honoring Billy Higgins. The chemistry was immediate and undeniable, leading to the acclaimed ECM recording Sangam.

The journey continued in 2009 when Zakir invited Lloyd to India to perform at the annual Abbaji Concert honoring his father, Alla Rakha. Experiencing Mumbai for the first time immersed Lloyd in an overwhelming tapestry of humanity, color, rhythm, and sound. During the concert, Sangam was joined by an extraordinary collection of Indian musicians whose instruments—including bansuri, sarangi, sitar, and voice—expanded the trio's musical language even further.

In the days that followed, the musicians gathered at Nirvana Studio, where much of Providence was recorded. Featuring remarkable performances by Rakesh Chaurasia on bansuri, vocalist Vijay Prakash, Sabir Khan on sarangi, Ranjit Barot on keyboards, and Niladri Kumar on sitar and electric sitar, the sessions produced inspired recordings including Clear the Dust, The Blessing, Eternal Dreamer, and Sam on the Ganges. Other selections, including Jai Ganga, Tagore, and Bharati's Dance, emerged from the Sangam archives, completing a project whose journey extended across many years.

Life, however, had its own timeline. Although the musicians intended to reunite and finish the album together, fate intervened.

On December 15, 2024, Zakir Hussain passed away, leaving behind one of the most extraordinary musical legacies of our time.

Providence now stands as both a celebration and a remembrance—a testament to artistic friendship, spiritual searching, and the universal language of music. It tells the story of rivers that began worlds apart yet ultimately flowed together into a single current of creativity, compassion, and love.

As Charles Lloyd reflects, this is their homage to Zakir Hussain. The most meaningful way to understand its beauty is simply to listen.

Sonny Clark’s The Art Of The Trio Returns in a Stunning Tone Poet 2-LP Vinyl Edition

Blue Note Records is set to release Sonny Clark: The Art Of The Trio on September 25 as a premium 2-LP Tone Poet Vinyl Edition, offering jazz collectors and audiophiles a definitive presentation of these remarkable trio recordings.

Produced by Joe Harley and mastered in all-analog (AAA) by Kevin Gray directly from the original analog master tapes, the set is pressed on 180-gram vinyl at RTI and housed in a deluxe tip-on gatefold jacket complete with an accompanying booklet. This beautifully crafted edition celebrates one of hard bop's most lyrical and sophisticated pianists in exceptional sound quality.

Often regarded as the quintessential hard bop pianist, Sonny Clark possessed an effortlessly swinging style defined by elegance, warmth, and remarkable musical sensitivity. While he is best known for his landmark Blue Note albums—including Dial "S" For Sonny, Sonny's Crib, and Cool Struttin'—Clark's trio recordings reveal another side of his artistry. Centered on timeless standards from the Great American Songbook and compositions by leading jazz writers of the era, these intimate performances showcase his extraordinary interpretive gifts.

The journey began in October 1957 when Clark entered Rudy Van Gelder's legendary Hackensack studio alongside bassist Paul Chambers and drummer Philly Joe Jones to record Sonny Clark Trio, originally released in the spring of 1958 as BLP 1569. Later that year, Clark returned to the trio format twice more—first in November with bassist Jymie Merritt and drummer Wes Landers, and again in December with Chambers and Landers.

Those later sessions, together with alternate takes from the original Sonny Clark Trio recording, were eventually released only in Japan as Blues In The Night and The Art Of The Trio. For the first time, all of this extraordinary music has been brought together in a single vinyl collection.

The deluxe package also includes newly commissioned liner notes by Syd Schwartz, the original notes by Ben Sidran and Bob Porter, and a collection of never-before-seen photographs by legendary Blue Note photographer Francis Wolff, making this release as visually compelling as it is musically significant.

Producer Joe Harley has long championed these overlooked recordings.

"Many people are completely unaware of these recordings by Sonny Clark. I picked them up on Japanese-only editions back in the '70s and found myself returning to them repeatedly over the years. Sonny transforms these beloved standards into intimate conversations that tell their stories with uncommon honesty, lyricism, and swing."

For longtime Blue Note enthusiasts and newcomers alike, The Art Of The Trio is an essential release that highlights Sonny Clark's brilliance in one of jazz's most intimate settings while giving these treasured recordings the deluxe presentation they have long deserved.

OPEN: Isabelle Olivier and Raphaël Olivier’s Musical Journey of Connection, Curiosity, and Innovation

 

OPEN: Isabelle Olivier and Raphaël Olivier’s Musical Journey of Connection, Curiosity, and Innovation.

Recognized by audiences and music professionals alike as both accomplished performers and composers, Isabelle Olivier and Raphaël Olivier are a remarkable mother-and-son duo whose artistic partnership has flourished for more than 13 years. Together, they create a distinctive musical landscape where the harp and guitar intertwine, blending jazz, folk, contemporary influences, and inspired improvisation into an unforgettable listening experience.

Their latest album, OPEN, was born from years of shared travels, meaningful encounters, and creative collaboration. More than a collection of songs, it is an invitation to embrace openness—to reconnect with ourselves, each other, and the moments that matter most.

From jazz standards and modern improvisations to subtle touches of British pop, OPEN explores a rich emotional spectrum. Isabelle Olivier’s expressive harp and Raphaël Olivier’s inventive guitar engage in a captivating musical dialogue that is by turns introspective, playful, adventurous, and deeply moving. Raphaël also lends his intimate vocals to two standout tracks, adding another layer of warmth and emotion to the album.

The journey begins with Bird in the Forest, where the gentle glow of sunrise and birdsong welcome listeners into a peaceful sonic world. Throughout the album, the conversation between harp and electric guitar evolves in fascinating ways—from the intricate exchanges of Shapes to the playful pursuit of Looking for Dad. Tracks such as How Many Miles and On the Edge reveal moments of quiet reflection, while Yarrow builds into majestic, storm-like intensity.

As the album unfolds, listeners move effortlessly through jazz, folk, and swing with pieces like Woman Farmer and Bread Blues, before being captivated by Raphaël’s heartfelt interpretations of No Surprises and Moon River, as well as his cello performance on Yarrow. Isabelle’s extraordinary harp artistry provides a constant thread, guiding the listener through a musical experience that feels both intimate and expansive. By the album’s conclusion, OPEN leaves the impression of having traveled somewhere transformative, emerging changed from where the journey began.

A celebrated jazz harpist and composer, Isabelle Olivier has established herself as one of the most distinctive voices in contemporary music. Her unmistakable style has earned international recognition, with 13 albums, performances in 25 countries, and a career spanning jazz, Celtic traditions, contemporary music, film, and live performance. She has composed scores for 11 films, including four directed by Agnès Varda, and is the recipient of the prestigious Villa Albertine award. Her collaborations include acclaimed artists such as Peter Erskine, Didier Lockwood, Ernie Adams, Mitch Haupers, and Paul Wertico.

Raphaël Olivier is a composer, producer, guitarist, songwriter, and author whose catalog of more than 300 compositions has generated over 2 billion views and 15 million streams worldwide. A musical prodigy, he began playing the cello at age three and was performing professionally by the age of eight. After studying in Europe and the United States, he continued his musical education at the Conservatoire National Supérieur de Paris, performing across Europe with renowned artists including Étienne Daho, Yael Naim, and the Orchestre National de Jazz. Based between Paris and Los Angeles, he works across music and literature. His debut novel, La Mélodie d’Oklahoma, winner of the Paris FoRTE Prize, will be published in 2026 and adapted into a one-man performance blending storytelling and live music. Inspired by a residency at the Rinzai-Ji Zen temple in the footsteps of Leonard Cohen, his creative work explores the intersection of introspection, spirituality, and musical storytelling.

OPEN is more than an album—it is an invitation to slow down, listen deeply, and experience music as a journey of discovery, connection, and shared humanity.

Pete Roth Trio Featuring Bill Bruford Release New Single "Full Circle" Ahead of Live Album Group Chat

The Pete Roth Trio has released its new single, "Full Circle," the first preview of the upcoming live CD/DVD album Group Chat. Available now, the track captures the chemistry between guitarist Pete Roth, bassist Mike Pratt, and legendary drummer Bill Bruford, offering listeners a taste of the trio's dynamic musical interplay.

"Full Circle" holds a special place in the band's repertoire, as it was one of the first compositions the trio developed together several years ago. Opening the new album, the song showcases the group's conversational approach to improvisation and groove. In a twist longtime fans will appreciate, it also features Bill Bruford performing in a straightforward 4/4 rhythm—a rarity throughout his celebrated career. The performance is also featured on the accompanying live DVD.

Group Chat marks Pete Roth's third major album and a milestone release for Bill Bruford, whose return to headline performance follows a 13-year hiatus. It also represents Bruford's first appearance on newly recorded material in 19 years, making the project a significant moment for fans of progressive music and contemporary jazz alike.

Produced by Pete Roth and Bill Bruford for Winterfold Records, Group Chat blends jazz, funk, contemporary classical influences, and spontaneous improvisation into a collection that celebrates musical conversation and creative risk-taking. Alongside original compositions including "Full Circle," "Dancing With Grace," and "Original Sin," the album features collaborative works such as "Part Of The Charm" and "Looking Forward To Looking Back," as well as an imaginative improvisation on the Largo from Dvořák's Symphony No. 9. The result is a recording that feels spontaneous, adventurous, and deeply connected.

The release arrives as a deluxe two-disc CD/DVD digipak featuring a nine-track live album and a bonus 35-minute DVD that includes live performances, an introduction to the project, and a special spoken segment from Pete Roth.

Early critical response has been overwhelmingly positive. Biff Bam Pop! called the trio "a band of equals, clearly loving the opportunity to improvise and have musical conversations," while Innerviews praised the group's "rich nuance, invention, and telepathic rapport." Dr. Jazz Talks described the album as "a feast of rhythm and melody," and Make Weird Music summed up its appeal simply: "I wish more jazz was this much fun."

Drawing from backgrounds in blues, rock, jazz, jazz fusion, and progressive music, Pete Roth, Mike Pratt, and Bill Bruford have created a trio that reimagines the traditional guitar trio format. Their shared musical curiosity and instinctive communication allow melody, groove, texture, and improvisation to coexist naturally throughout the performance.

Group Chat stands as a compelling live document of three accomplished musicians in open musical dialogue. "Full Circle" is available to stream now, with the full CD/DVD release arriving soon from Winterfold Records.

NicoleYvette Shares New Single "Such Is the Love" Featuring Kurt Elling Ahead of Debut Album Say Yes

Vocalist, composer, and storyteller NicoleYvette has released her new single, "Such Is the Love," featuring acclaimed jazz vocalist Kurt Elling. The song offers another glimpse into her debut album, Say Yes, arriving August 14, 2026.

Produced by three-time GRAMMY® winner Sara Gazarek, Say Yes is a deeply personal collection that traces NicoleYvette's journey from the dark night of the soul to self-discovery. The album blends original compositions with modern interpretations of classics while exploring themes of faith, love, grief, resilience, and transformation.

"I was thrilled to learn Kurt Elling agreed to record 'Such Is the Love' with me," NicoleYvette says. "That alone felt like an endorsement, a blessing. I love the song, and his voice and interpretation make me love it all the more. With three-time GRAMMY® winner Sara Gazarek's production skills, the process was easy and collaborative. Kurt and I recorded our parts separately, but I later had the chance to meet him in New York City, and it was a joy to learn he's as lovely a human being as his voice suggests."

The album features an impressive lineup of collaborators, including Kurt Elling, Terri Lyne Carrington, Joel Ross, Keyon Harrold, J. Ivy, Paul Cornish, Larry Goldings, Lenard Simpson, Geoffrey Keezer, and Amanda Taylor. The core band includes pianist and arranger Dawn Clement, guitarist Andrew Renfroe, bassist Jermaine Paul, and drummer Christian Euman.

Gazarek describes NicoleYvette as "fully formed and luminous, with no excess and no apology," praising her ability to channel the rich traditions of jazz and soul into an unmistakably personal artistic voice.

The project's title track, "Say Yes," featuring vibraphonist Joel Ross, was written during a pivotal moment in NicoleYvette's musical journey. Raised in a conservative Christian household, she found jazz became a new spiritual language after stepping away from gospel music, making the song a declaration of artistic freedom and self-expression.

Two transformative trips to India inspired several of the album's opening tracks, including "Such Is the Love," "Let It Be," and "Crossing Over," each reflecting on love, suffering, healing, and personal growth. Throughout the album, NicoleYvette draws from deeply personal experiences, including the illness and passing of her father, whose memory informs songs like "If I Could" and "Inuka Uangaze."

n addition to 10 original compositions, Say Yes includes fresh interpretations of Cole Porter's "Night and Day" and the beloved standard "What a Wonderful World."

NicoleYvette will celebrate the album with performances across California, Washington, and Oregon, culminating in her official album release show at The Royal Room in Seattle on August 30.

Say Yes arrives August 14, 2026. "Such Is the Love" featuring Kurt Elling is available to stream now.

Matt Wilson's Love Is the Whole Thing, We Are Only Pieces Finds Hope, Community and Quiet Resistance Through Jazz

More than 750 years after the Sufi poet Rumi wrote, "Love is the whole thing. We are only pieces," drummer and composer Matt Wilson has found a powerful way to bring those words to life. On Love Is the Whole Thing, We Are Only Pieces, arriving September 18, 2026 via Palmetto Records, Wilson reunites his acclaimed Good Trouble ensemble for a deeply human collection that celebrates love, community and compassion as acts of gentle protest.

Following the band's 2024 debut, which drew inspiration from civil rights icon John Lewis and his call to create "good trouble," Wilson expands that vision with music that embraces connection over division. Rather than responding to uncertainty with anger, the album offers warmth, generosity and shared experience, inviting listeners into a space where jazz becomes both sanctuary and statement.

"I wanted to make a love record," Wilson says. "I'm blessed to have this community. I'm blessed to have the career that I've had. I'm blessed to have a beautiful family. So I want to use the music to help celebrate what's possible, especially in the world we're in right now. It's nice to know that we can take people away from their troubles for a little bit, sonically and spiritually."

Love Is the Whole Thing, We Are Only Pieces reunites Wilson with Good Trouble members Tia Fuller, Dawn Clement, Jeff Lederer and Ben Allison while welcoming alto saxophonist Anisha Rush, whose performances with the group over the past several years have made her a natural addition. Their chemistry reflects relationships built over decades, giving the music an effortless sense of trust and shared purpose.

Wilson's extended musical family is reflected throughout the project. The album cover features a quilt created by his wife, Kim Taylor Wilson, whose artistry echoes the record's themes of connection and care. The release also marks 30 years since Wilson's Palmetto Records debut, As Wave Follows Wave, celebrating a remarkable three-decade collaboration between the drummer, the label and producer/engineer Matt Balitsaris.

The album's repertoire mirrors Wilson's expansive musical outlook. His own compositions sit comfortably alongside works by jazz visionaries and beloved songwriters, creating a program that feels both adventurous and deeply inviting. The opening "Wind Spirit" unfolds with remarkable patience as Dawn Clement sings the Biblical verse from John 3:8 before the ensemble gradually gathers around her. Bobby Watson's "Fuller Love (aka In Case You Missed It)" serves as both a tribute to trombone legend Curtis Fuller and a showcase for Tia Fuller, while Andrew Hill's "Black Fire" ignites with fearless improvisation.

Perhaps the album's most unexpected moment comes with Tom Petty's "I Won't Back Down." Reimagined as an understated anthem of resilience, the familiar rock classic becomes a meditation on quiet perseverance. As Wilson explains, "I'm not going to back down. I'm just going to keep trying this stuff and keep forging ahead. Besides, it's kind of cool to have Andrew Hill and Tom Petty on the same record."

Original compositions such as "Joonam" and "Welcome Table" deepen the album's message of inclusion and belonging. Inspired by a Farsi term of endearment, "Joonam" carries a timeless sense of familial affection, while "Welcome Table," borrowing its title from James Baldwin, celebrates dialogue, fellowship and the transformative power of gathering together. Ben Allison contributes "Green Al," given a dreamlike new dimension through Dawn Clement's lyrics and electric bass textures, while Wilson honors the late Jack DeJohnette with a joyful interpretation of "Festival."

The title track brings the journey to a moving conclusion as friends and family join together to chant Rumi's enduring words, transforming ancient poetry into a communal expression of hope for the future.

Few artists embody the spirit of modern jazz quite like Matt Wilson. Across more than 400 recordings as a leader, co-leader and sideman, he has built a reputation for joyful swing, boundless curiosity and an unwavering commitment to bringing people together through music. Love Is the Whole Thing, We Are Only Pieces may be his clearest expression yet of that lifelong mission, reminding us that even in difficult times, love remains the force that binds us together.

Love Is the Whole Thing, We Are Only Pieces will be released September 18, 2026 via Palmetto Records. Wilson celebrates the album with release concerts at Birdland in New York City from September 25-27, featuring Tia Fuller, Anisha Rush, Dawn Clement, Jeff Lederer and Ben Allison.