[UNRELEASED RECORDINGS]… This collection of Ellingtonia features mostly previously unreleased material from two sources: the Sun Ra Music Archive, maintained by Michael D. Anderson, and the Experimental Sound Studio (ESS)

Despite the fact that Sun Ra has over 1,000 titles copyrighted in his name, a good part of his concert and recorded repertoire consisted of works by other composers. He arranged—in his idiosyncratic way— tunes by Monk, Gershwin, Henderson (Fletcher and Horace), Jerome Kern, Irving Berlin, and countless others. But no one breezed into Sun Ra setlists more often than the “Duke”—Edward Kennedy Ellington.

Growing up in Birmingham, Alabama, Herman Poole “Sonny” Blount (born 1914) came of age in the 1930s, when big band “Swing” jazz was in vogue. When he later formed his Arkestra, Sonny drew on this legacy, though he re-shaped the big band format into something his own—a singular (afro-)futuristic reinvention that somehow echoed the music of his youth. Ra as an artist looked forward and backward. He relished innovation, but revered tradition. Paradoxically, the older he got—by the 1970s and ’80s—the more Swing Era chestnuts he revived in his work. Despite the fact that many of his admired composers matured to create more advanced works after the 1930s—Ellington a perfect case in point—Ra’s taste remained rooted in the ’30s. Of the 12 titles in this collection, all but two dates from that decade—”East St. Louis Toodle-oo” is even earlier (1926), and “Duke’s Place” dates from 1942.

John Szwed, writing in the biography, SPACE IS THE PLACE: THE LIVES AND TIMES OF SUN RA offers an interesting Ellingtonian vignette. In his twenties, Sonny was listening to, studying, transcribing, and performing contemporary big band jazz with a passion. Yet, writes Szwed, “Swing music was by now easy for him, formulaic and predictable. But he had another book of arrangements which [his] band rehearsed but never performed and whose purpose he never explained. … The compositions and arrangements in this book were inspired by dreams or made up of ideas derived from reading ‘Popular Mechanics,’ pieces … built on complex and oddly shifting rhythm patterns.”

Szwed continues: “When Duke Ellington was in town, Sonny took his book of arrangements backstage to show him. They talked for over an hour, Ellington gracious and regal in his black silk dressing gown. At one point the Duke pulled out his own arrangements. Sonny saw that Ellington also used dissonance in his writing, only it never seemed dissonant. Sonny was thrilled to see his own ideas confirmed.”

This collection of Ellingtonia features mostly previously unreleased material from two sources: the Sun Ra Music Archive, maintained by Michael D. Anderson, and the Experimental Sound Studio (ESS), Chicago. As with any Sun Ra compilation, audio fidelity varies from the sublime to the near-ridiculous. However, as any Ra fan will attest, the fidelity is usually secondary to the excitement of the performance. The collection opens with an early (1951), intimate Ra duet with Wilbur Ware, recorded at Ra’s Chicago apartment. From there things get raucous and reckless with concert recordings and two home-taped jams featuring Ra and a small ensemble of Arkestrans messing around with “Caravan” and “It Don’t Mean a Thing”; the year and location of the latter session are unknown. There’s more where that came from.—I.C. ~BandCamp

Released: May 27, 2022

All keyboards by Sun Ra. Arkestra personnel varies, but the following soloists have been identified:

3. Nöel Scott
5. Michael Ray, John Gilmore
6. Craig Harris, John Gilmore, Michael Ray
7. Marshall Allen
8. Ahmed Abdullah, Marshall Allen, Bruce Edwards
10. Marshall Allen
11. Tyrone Hill, John Gilmore
12. Walter Miller, John Gilmore

Cover art and design by Tony Kellers/Twelve3

Tape transfers: Haruhi Kobayashi and Matt Mehlan of ESS, and Michael D. Anderson/Sun Ra Music Archive
Master rights: Sun Ra LLC

The compilation, audio restoration, annotation: Irwin Chusid

Awarded the Django Reinhardt Prize from the Academie du Jazz, Fred Nardin is back with the bass player Or Bareket and the drummer Leon Parker for the Fred Nardin Trio s second album: Look Ahead.

Two years after the revelation Opening which was awarded the Django Reinhardt Prize from the Academie du Jazz, Fred Nardin is back with the bass player Or Bareket and the drummer Leon Parker for the Fred Nardin Trio s second album: Look Ahead. You can be both as intellectual and as soulful as you want, and the swing beat is powerful but subtle. I think you have to devote yourself to it exclusively to do it at that level. (Mulgrew Miller, DownBeat Magazine.)

A pianist bred on experience(s) and tradition, Fred Nardin has only one aim in life: to play as well as he can, just as long as it swings. Reasonable but determined, passionate, and enthralling when it is a question of tackling the great masters – Kenny Barron, McCoy Tyner, or Mulgrew Miller every day Fred Nardin gets a little closer to his objective, and Look Ahead is the resounding proof.

Co-founder of The Amazing Keystone Big-Band, chosen sideman for Cecile McLorin Salvant, Bria Skonberg, Jacques Schwarz-Bart, Natalia M.King, Stefano Di Battista, Jesse Davis, and Gael Horellou, regular feature After-Hours at the Duc Des Lombards in Paris: Fred Nardin is everywhere where jazz is happening but it is with the trio of the album Opening that he was really discovered in 2017. ~Editorial Reviews | Amazon

Original Release DateMarch 19, 2019

At your leisure, spin “LOOK AHEAD” by Fred Nardin Trio 

[New Arrival] Back to Back bounces with expressive rhythms featuring an extraordinary combination of instruments underpinned by the voices of Zaitz, Kavuma, & Cleasby

Artie Zaitz is swiftly establishing himself as one of the jazz scene’s most exciting guitarists. When he’s not touring with Moses Boyd or performing and recording with The Banger Factory or leading his own groovy outfit, he can be found pulling out all the stops on his 1961 Hammond C-3 named Big Bertha and executing complex lines on bass pedals, just like organ giants before him; Jimmy Smith, Brother Jack McDuff and Larry Goldings.

Mark Kavuma is renowned for his fabulously expressive trumpet playing. Mark leads The Banger Factory, one of the finest and most thrilling live acts on the scene and is no stranger to high-profile gigs with some of the best in jazz music including Nu Civilisation Orchestra, Jazz Jamaica All Stars, Salif Keita, and Wynton Marsalis.

Back To Back may represent the first studio recording of an extraordinary combination of instruments underpinned by William Cleasby’s dexterity and mastery of groove.

The unique collaboration has been bubbling for many years, fully bursting into life during the pandemic when due to restrictions Kavuma and Zaitz found themselves practicing literally back to back. This extremely rare configuration (1961Hammond C-3 Organ against 1971 Wurlitzer 200A Electric Piano, or a Steinway Grand Piano with support from William Cleasby’s drums) delivers sonic delights and a ‘bomb’ within the traditions of century-old jazz music.

Stand-out moments on the album are; the monumental ‘Lockdown Blues‘ penned by Zaitz, a spellbinding, absorbing, and ultimately a sincere commentary on the current global state of affairs, Kavuma’s own reflection of the personal struggle to cope with separation in ‘Mia’s Waltz, and the spectacular interpretation of Thelonious Monk’s ‘Round Midnight‘ the kind of reading that makes you wonder whether you ever knew this tune at all.  ~Bandcamp

Original Release Date: March 4, 2022

At your leisure, check out “BACK TO BACK” by Artie Zaitz &Mark Kavuma w/William Cleasby

Drummer Taru Alexander celebrates the legacy of his father and his father’s peers on Echoes of the Masters, a collection of pieces by well-known jazz composers

On Echoes of the Masters, Taru Alexander creates an aural tribute to his father, the great Roland Alexander, and the tremendous musicians who passed the tradition down to him and the future generations through their impact on the bandstand and their examples off of it. Drummer Taru Alexander was endowed with music by his father, saxophonist Roland Alexander, and an extended family of professional musician mentors in his native Brooklyn, New York.

The younger Alexander celebrates the legacy of his father and his father’s peers on Echoes of the Masters, a collection of pieces by well-known jazz composers performed by an outstanding group of musicians who came of age under the tutelage of legendary performers on the bandstand. // A lifetime of musical experience has imbued Alexander with the skills, the knowledge, and the swagger to play jazz as it should be played. His credentials spread from bands led by Roy Hargrove, Gary Bartz, Carlos Garnett, and many more, so when he was considering who should join him on his new recording, Alexander wanted to include other musicians who had truly paid their dues. Pianist James Hurt has been a focal part of the New York jazz scene since he arrived in 1994.

Alexander met saxophonist Antoine Roney and bassist Rashaan Carter on a recording session led by saxophonist Michael Marcus in 2008. Roney has been a stalwart leader and sideman in New York alongside fantastic musicians like Jacky Terrasson, Donald Byrd, John Patton, and his brother, Wallace Roney. Carter carries the history of the jazz bass on his shoulders having studied with Buster Williams, Reggie Workman, and Ron Carter. ~Editorial Review | Amazon

Original Release Date: October 30, 2021

Preview of Early to Mid New Jazz Releases for 2022 by Braithwaite & Katz

January 2022
Tony Malaby’s Sabino – The Cave of Winds – Jan. 7, 2022  – Pyroclastic
Fred Hersch  Breath by Breath – January 7, 2022 – PalmettoCrosby Street String Quartet and Hersch with Drew Gress & Jochen Reuchert
Pete Malinverni – On the Town, Pete Malinverni Plays Leonard Bernstein  –January 14, 2022 – Planet Arts
OGJB – Ode to O – January 21, 2022 – TUMOliver Lake, Graham Haynes, Joe Fonda, Barry Altschul
Andrew Cyrille, William Parker & Enrico Rava – 2 Blues for Cecil – January 21, 2022 – TUM
Satoko Fujjii / Joe Fonda – Thread of LIght  – January 28, 2021 – FSR Fujii’s 99th album as a leader/co-leader.

February 2022

Natsuki Tamura – Summer Tree – Libra – February 11, 2022 Rudresh Mahanthappa’s Hero Trio – Animal Crossing (EP) – February 4, 2022 – WhirlwindDigital only – EP with four tracks. MOPDtK – Disasters Vol. 1 – February 18, 2022 – Hot Cup RecordsTrio album with both Kevin Shea and Ron Stabinsky playing Nord electronics in addition to drums and piano. All the tunes are named after Pennsylvania towns where disasters occurred.  Gordon Grdina’s Haram w. special guest Marc Ribot – Night’s Quietest Hour  – February 18, 2022 – Attaboygirl RecordsGrdina’s Arabic music ensemble Haram with special guest Marc Ribot.Just before the Pandemic hit Marc joined our ensemble for two concerts in Vancouver Feb 28 and Seattle on March 1st, with a recording session on the leap year Feb 29th. This was an incredible experience and Marc blended into the ensemble from the beginning. He played almost our entire repertoire with us and these tracks are the previously unreleased pieces. This album reflects our continued exploration of the Classic Arabic repertoire and new exploration of Sudanese music from the ’60s and ’70s. This was an already incredibly dynamic group, and Marc’s presence pushed the group’s delicacy, intensity, and explosive nature to new heights. An already incredibly dynamic group Marc’s presence pushed the group’s delicacy, intensity, and explosive nature to new heights. The process of creating this album has realigned the trajectory of the ensemble. Gordon Grdina – Oddly Enough – February 18, 2022 – Screwgun (digital) + AttaboyGirl Records (physical)Solo album featuring the music of Tim Berne.Near the beginning of the pandemic, Tim Berne had mentioned that he was writing a piece for solo guitar and sent it over. I sent him back a short recording of it and he sent me another piece. We went on like this for about a year or so. The pieces were incredibly challenging yet beautiful and aligned with what I had been exploring in my own writing on my last two solo albums.  I started getting the idea to record a predominantly electric solo album of his music. I wanted to explore the use of midi to create a sonic world that wasn’t completely unrecognizable but was connected in a different way than an ensemble or typical solo album would be. I designed a new guitar that could simultaneously record midi data, acoustic and electric. I recorded all of the pieces that Tim had sent me. This album is about half of that material with a combination of acoustic, electric, and midi sampler instruments. There are a couple pieces with overdubs but most of the music is live solo guitar. The compositions are incredibly complex, personal, and harmonically unique.Martin Wind –  Air – February 25, 2022  – Laika Records Rare bass quartet album featuring bassist Wind, Gregg August, Jordan Frazier, and Sam Suggs along with special guests Matt Wilson, Gary Versace, and Lenny White.Javon Jackson – The Gospel According to Nikki Giovanni  – February 18, 2022 – Solid JacksonGospel music and spirituals are curated by Nikki Giovanni with Giovanni singing on one track.

MARCH 2022

Tomas Fujiwara’s Triple Double – March  – March 4, 2022 – Firehouse 12 Wadada Leo Smith –  String Quartets No. 1 – 12 – March 18 – TUM RecordsMajor box set with 7 CDs featuring RedKoral Quartet plus featured soloists including Smith, Anthony Davis, Alison Bjorkedal, Thomas Buckner and more. Wadada Leo Smith – Emerald Duets – March 18 – TUM RecordsBox set with 4 CDs, one each with Pheeroan akLaff, Han Bennink, Andrew Cyrille and Jack DeJohnette.  This set adds to Smith’s long history of duo recordings with some of the greatest drummers in the history of creative music.

APRIL 2022

Lynne Arriale – The Lights are Always On  – April 8, 2022 – Challenge Live from Summit Rock in Seneca Village  – April 8, 2022  – Giant Step Arts (Date may be pushed back)Three albums – from groups led by Abraham Burton, Sarah Hanahan, and Jason Palmer – all recorded during Jimmy Katz’s outdoor concert series.Manel Fortià – Despertar – April 21, 2022 – Segell Microscopi Stunning young Barcelona-born bassist.April 23, 2022 – Special Project for Record Store Day.Info is embargoed, so please ask me about this.
May 2022
Ches Smith Interpret It Well – May 6, 2022– PyroclasticQuartet album with Bill Frisell, Craig Taborn, and Mat Maneri   Project conceived by Henry Threadgill – Baker’s Dozen – May 2022Baker’s Dozen is a project conceived by Henry Threadgill during the lockdown to try to do something for musicians by releasing music without using the normal business model. Baker’s Dozen is a set of 13 albums by 13 individual artists — some quite well known, others not — and at the moment there will be 3 “digital box sets” of these (it’ll be a digital-only release on Bandcamp).
Gordon Grdina’s Nomad Trio – Boiling Point May 2022 – Astral SpiritsThis is the second album for the group. We recorded this after our last North American tour in January 2020 just before the pandemic hit. The group had really come together over the course of the tour and the pieces took on a life of their own. It is some of the most challenging music I’ve ever written but through the tour, it reached that great state of still revealing new avenues to explore while becoming comfortable and second nature. Matt’s playing is always incredible and this record is no exception. He expresses a raw sense of abandonment while continuing to be completely in control at all times. Jim is astonishing throughout the album building a massive sonic world while making every note groove. We have delayed releasing the album until we can tour again which will be at the end of June.

June 2022

Josh Sinton – Title TBA – June 3, 2022 – Form is Possibility RecordingsReedist Josh Sinton (Ideal Bread, Nate Wooley quintet) and longtime friends Jed Wilson (pianist with Dominique Eade and Heather Masse), and Tony Falco (drummer with Tsiziji Munoz) reunited musically in the wake of Covid-19’s impact on the world. Affirming the invaluable ties of friendship and human closeness, they spent an afternoon playing free, lyrical, and inspired music that will provide a much-needed balm for everyone.Brian Landrus – The Red List – June 17, 2022 – Palmetto Records2022 Releases from Pyroclastic – Dates TBA
Nate Wooley – Columbia Icefield 2 – Date TBA – PyroclasticKris Davis – Diatom Ribbons –  Live at the Village Vanguard  – Date TBA – Pyroclastic
Copyright © 2021 Braithwaite & Katz, All rights reserved.

Tenor Saxophonist Javon Jackson Joins Forces with Renowned African American Poet, Activist and Educator in Historic Collaboration with Nikki Giovanni

Why would one of poetry’s most revered voices want to curate a jazz saxophonist’s album of gospel hymns and spirituals? “These songs are so important,” says Nikki Giovanni, one of Oprah Winfrey’s 25 “Living Legends” and a Maya Angelou Lifetime Achievement Award winner for 2017. “They comforted people through times of slavery, and during recent years we needed them to comfort us again. But a lot of the students today do not know about the history of these songs, and they should. So I’m out here putting water on the flowers because they need a drink.”Giovanni’s historic collaboration with saxophonist-composer and former Jazz Messenger Javon Jackson has yielded The Gospel According to Nikki Giovanni, available February 18, 2022, on his Solid Jackson label. “The spirituals have been around so long,” says the renowned poet, activist, and educator, who came to prominence in the 1960s and ’70s as a foundational member of the Black Arts movement following the publication of such early works as 1968’s book of poetry Black Feeling, Black Talk/Black Judgment and 1970’s Re:Creation. “Some spirituals have been updated and stayed around and some have been lost over time,” Giovanni notes “So for me, it’s just helping to keep something going. And I do it because there’s a need.Jackson brings his bold-toned, Trane-inspired tenor lines to bear on a series of hymns, spirituals, and gospel numbers hand-picked by Giovanni, who was also the first person to receive the Rosa L. Parks Women of Courage Award. And the 78-year-old poet makes a rare vocal appearance on the tender ballad “Night Song,” singing a song identified with her close friend, the late civil rights activist and High Priestess of Soul, Nina Simone. “Nina was a friend of mine, and I knew that one of her favorite songs was ‘Night Song’,” she explains. “And even though I’m not a singer, I told Javon I wanted to sing it because I just wanted Nina to be remembered.” Jackson, who flew to Nikki’s home in Roanoke, Virginia, to record her vocal track on the existing instrumental tracks, says, “I sat beside her when she sang it and by the time she finished that chorus, I was deeply moved. I just love the fragile nature of the way she treated it. It was very emotional.”Joined by an outstanding crew comprised of pianist Jeremy Manasia, bassist David Williams and drummer McClenty Hunter — the same lineup that appeared on Jackson’s 2018 album For You and his 2020 follow-up, Deja Vu — Jackson interprets gospel staples like “Swing Low, Sweet Chariot,”Wade in the Water,” “Didn’t My Lord Deliver Daniel” and “Leaning on the Everlasting Arms” with authoritative tenor tones, deep walking bass lines and an organic sense of group swing. “It’s the first time I worked in a collaborative manner,” Jackson says. “The project is personal for me. I come from a lineage of devout Christians, and that has afforded me the chance to connect with that ancestral stream.”

Giovanni & Jackson, © Shaban_R._Athuman

The Gospel According to Nikki Giovanni came about through a serendipitous meeting between the two principals when Jackson, a faculty member of The Hartt School at the University of Hartford and director of its Jackie McLean Institute of Jazz, invited Giovanni to speak to his students there. As he recalls, “Ever since I’ve been at the University of Hartford, I felt that the school would be well-served to bring great scholars of color and scholars who were freedom fighters and activists, if you will. So I brought in Dr. Cornel West, Sonia Sanchez, Angela Davis, and Michael Eric Dyson. Then in February of 2020, I brought Nikki Giovanni.”The renowned poet’s appearance at the University coincided with her receiving an honorary doctorate there. And as Jackson recalls, “After Nikki spoke to the students, she noticed that the Hank Jones and Charlie Haden CD of hymns and spirituals (1994’s Steal Away) were playing in the auditorium. She said she loved it and wanted to hear more, and just then I was hit with the idea. Two days later, after she returned to her home in Roanoke, I contacted her and said, ‘Would you be willing to pick 10 hymns? And that’ll be my next recording.’ She got back to me in a few days and gave me the 10 selections.”The collection opens with the driving shuffle “Didn’t My Lord Deliver Daniel,” a spiritual recorded by Paul Robeson in 1937. Jackson delivers the melody in a straightforward fashion with golden tenor tones before Manasia “goes to church” on his piano solo. The minor-key “Wade in the Water” is lifted by a mid-tempo swing feel, paced by Williams’ deep walking basslines and Hunter’s steady, syncopated ride-cymbal pulse. After Jackson delivers a robust tenor solo and Manasia follows suit with an earthy piano solo, Christina Greer enters, dropping some wisdom from Giovanni’s poem “A Very Simple Wish.” As Jackson explains, “For this, I reached out to Markeysha Davis, an assistant professor of Africana studies and literature at the University of Hartford. She is really a fan and knows Nikki’s work far better than I do. Nikki’s got 50 years’ worth of poetry, so I didn’t know where to begin. But I sent Markeysha John Coltrane’s ‘Spiritual’ to give her an idea of what we were trying to do, and she came back with that poem.”The quartet’s rendition of the dirge-like “Sometimes I Feel Like a Motherless Child” carries the somber feeling of Coltrane’s “Equinox,” while their interpretation of “Mary Had a Baby, Yes Lord” recalls Trane’s powerful civil-rights era requiem, “Alabama.” “Leaning on the Everlasting Arms,” one of Giovanni’s favorites from her own Baptist church upbringing, is rendered at a loping beat, conveying a distinctive Southern gospel feel. “A lot of times when I’ve heard this song in church, it’s a little faster, a little more upbeat,” Jackson says. “I wanted to make it slower, where I could really expose the melody a lot more and lay on some of those phrases—so I could be as emotive as possible with the melody, as if I was playing in church with people in the audience.”“I’ve Been ’Buked,” a spiritual sung by Mahalia Jackson in front of the Lincoln Memorial during the March on Washington on August 28, 1963, where Dr. Martin Luther King also delivered his famous “I Have a Dream” speech, opens with some dramatic unaccompanied arco bass work by Williams before the full band enters with Jackson conveying the melody simply and deliberately. “In a perfect world, I would love to have had David bowing with Paul Robeson singing that melody,” says the leader. “The bow is so beautiful because, to me, it’s close to the human voice in a way.”

Jackson and company render the normally somber “Swing Low, Sweet Chariot” as a buoyant calypso. In fact, you can hear the saxophonist directly quoting from Sonny Rollins’ most famous calypso, “St. Thomas,” midway through the song. Bassist Williams, being from Trinidad, is uniquely qualified to provide the requisite bounce on this ebullient calypso rendition of this well-known African American spiritual. “Doing that song this way is a reminder that the departure or the transition doesn’t have to be one of sadness,” says Jackson. “We don’t want it to be where the person or persons listening to the CD become downtrodden. We want it to be celebratory. It’s like what Art Blakey always used to tell us: ‘You cry when they come in, and you rejoice when they go out.’ I never forgot that.”

The most intimate piece of the collection is the gentle hymn “Lord, I Want to Be a Christian,” performed as a rubato duet between Jackson’s tenor sax and Manasia’s piano. The quartet closes on a rousing note with a swinging “I Opened My Mouth to the Lord,” which again features Williams’ deeply resonant bass carrying the melody and Jackson in strong ‘speechifying’ mode on tenor sax. Manasia also turns in an exhilarating piano solo here, and even drummer Hunter gets a solo taste near the end of this triumphant closer.  Captured live at Telefunken Studios in South Windsor, Connecticut, the 10 tunes on The Gospel According to Nikki Giovanni were all done without the use of headphones, another first for Jackson. “I’ve never done a recording before in a studio where I didn’t use headphones, so it felt like performing a gig,” he says. “We never counted off a piece and there were no endings, where I might dictate or give a direction towards an ending. I really wanted to do it just like if you’re in church, where there’s a preacher talking and all of a sudden the choir begins. So each time, whether the bass would start the tune or the piano or myself, there were no count-offs because I wanted to make it as natural as possible.”

“This music is something that people will probably be a little surprised to see coming from me,” Jackson says. But given the state of the world, it could be just in time. Both poets and saxophonists stand on the shoulders of their ancestors on The Gospel According to Nikki Giovanni.




AJE’S BEST JAZZ RELEASES, 2021 in alphabetical order…

Aakash Mittal, NOCTURNE



Amaro Freita, BAQUAQUA


Andrew Cyrille Quartet, THE NEWS

Archie Shepp, Jason Moran, LEY MY PEOPLE GO

Arnan Raz, 7 DAYS


Arturo O’Farrill, …DREAMING IN LIONS…

Belmondo Quintet, BROTHERHOOD

Ben Tiberio, RARE PEACE

Benoît Delbecq, ANAMORPHOSES



Cassie Kinoshi SEED Ensemble, BALLETBOYZ: BRADLEY 4:18



Damon Locks Black Monument Ensemble, NOW

Dave Holland, ANOTHER LAND


David Tixier Trio, BECAUSE I CARE

DeAndre Lettsome, IMPETUS

Dr. Lonnie Smith, BREATHE

Edward Simon, SOLO LIVE


Enrico Rava, ROMA

Florian Arbenz, CONVERSATION #1



Gretchen Parlato, FLOR


Irreversible Entanglements, OPEN THE GATES

Jaimie Branch, FLY OR DIE LIVE


James Francies, PUREST FORM

James Brandon Lewis, CODE OF BEING




Joe Lovano & Dave Douglas Sound Prints, OTHER WORLDS


John Pope Quintet, THE RIGHT-HAND PATH


Kazemde George, I INSIST

Keith Brown Trio, African RIPPLES


Kurt Elling w/guitarist Charlie Hunter, SUPERBLUE


Lionel Loueke, CLOSE YOUR EYES

Magnus Lindgren, BIRD LIVES


Malcolm Jiyane Tree-O, UMDALI


Mareike Wiening, FUTURE MEMORIES

Marques Carroll, THE ANCESTOR’S CALL


Matthew Shipp, CODEBREAKER

Menagerie, MANY WORLDS

Michael Mayo, BONES






Pat Metheny, SIDE-EYE NYC (V1. IV)


Remy Le Boeuf’s Assembly of Shadows, ARCHITECTURE OF STORMS

Roberto Olzer Trio, NOTTURNO

Sebastian Noelle, SYSTEM ONE

Shai Maestro, HUMAN

Simone Blasioli, CONVERSATION


Tamill Rogeon, SON OF NYX

Terence Blanchard, ABSENCE

The Baylor Project, GENERATIONS


Thommy Andersson, WOOD CIRCLES

Timothee Robert, QUARKS

Victor Gould, In Our Time

Vijay Iyer, UNEASY


William Parker, TABASCO

*Playlist coming soon to Spotify

[What are you listening to?] … pianist/composer Cyrus Chestnut’s SOUL FOOD is the ideal recipe for a homecooked musical feast.

SOUL FOOD, the delicious new album from Cyrus Chestnut, might well be the acclaimed pianist’s most succulent dish yet. From the gorgeous simplicity of his solo piano rendition of “Swing Low Sweet Chariot,” to the classic trio swing of “Fantasia,” the album is a lip-smacking musical buffet encompassing an array of flavors such as gospel, R&B, and good old fashioned jazz.

Chestnut is accompanied by an equally tasty lineup of players, including bassist Christian McBride, drummer Lewis Nash, trombonist Wycliffe Gordon, trumpeter Marcus Printup, vibraphonist Stefon Harris, alto saxophonist Gary Bartz, and labelmate James Carter on tenor sax. His seventh Atlantic release – and first collection of original material since 1998 – Cyrus Chestnut’s SOUL FOOD is the ideal recipe for a homecooked musical feast. ~Editorial Review | Amazon

Original Release Date:  2001

At your leisure, spin this tasty gem “SOUL FOOD” by Cyrus Chestnut 

[COMPARED TO WHAT?]: Circle offers a sweeping anthology of Miles Davis recordings from 1955 to 1970 that show the restless genius of jazz

Circle offers a sweeping anthology of Miles Davis recordings from 1955 to 1970 that show the restless genius of jazz undergoing swift changes as thoroughgoing as the era where they took place. “Two Bass Hit” was recorded at his first Columbia session. “Love for Sale” features the “Kind of Blue” lineup of John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. The title track shows Miles stretching into new conceptual worlds with Wayne Shorter on tenor, Herbie Hancock on celeste, Ron Carter on bass, Tony Williams on drums, and Joe Beck on guitar. The set closes with Miles’s fusion band playing an atmospheric version of David Crosby’sGuinnevere.” ~John Swenson | Amazon

Original Release Date: ‎1979

At your leisure, spin “CIRCLE IN THE ROUND” by Miles Davis.

[JAZZ-NOT-JAZZ]: Founding member of the original funk band Parliament-Funkadelic, pianist Bernie Worrell plays Standards

JAZZNOTJAZZ in theory is an innovative approach by visionary artists whose passion for aesthetics, listening, and the concept of playing and composing by non-jazz musicians who deeply love and respect this music.

Rock and Roll Hall of Famer and founding member of the original Parliament-Funkadelic, Bernie Worrell returns with this slab of funk-drenched jazz standards. This traditional compilation effectively positions the Great American Songbook as the control in that grand democratic social experiment known as jazz.

Featuring a variety of definitive songs like “Take the ‘A’ Train,” “Take Five,” and “Moon River,” Standards truthfully tells the story of the song with the ultimate mixture of sonic flavor. ~Editorial Review | Amazon

Original Release Date: May 27, 2011

At your leisure, check out “STANDARDS” by Bernie Worrell