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'This exclusive re-issue of “Brighter Side of Blue” is limited to only 300 copies on baby blue heavyweight vinyl, with an individually-numbered obi strip, and bespoke essay from Amy Campbell.

This was one of our albums of 2023 (Double J agreed, too making #16 in their Album Of The Year Countdown). Released in mid-January, it soundtracked our late Australian summer. It’s not a record that’s easily pigeon-holed. Is it alt-country, with a nod to Gillian Welch? Is it classic rock, mined from a similar vein that Chrissie Hynde has drawn from? Is it indie-folk, a lighter, brighter Jen Choler? You tell us.

‘Brighter Side of Blue’ was recorded in Bellambi in the Illawara throughout 2022. Featuring Cecil Coleman from Body Type on drums, and Russell Fitzgibbon (who also released Skeleten’s ‘Under Utopia’) on bass and co-production, it’s a beautiful shiny record that glistens like the sea in that part of Australia, a place where the waves meet ancient escarpment.

Ladies & gentlemen - get ready for something truly special: Scotland"s best jazz musicians meet one of the best and most influential bands from Scotland! The Colin Steele Quartet play the music of The Blue Nile, undisputed masters of Sophisti-Pop. Especially their second album "Hats" (1989) is regarded as an all-time classic masterpiece. The beautiful and atmospheric, often synth-driven songs of The Blue Nile get the deluxe jazz treatment in exciting new arrangements. All-time classics like "Easter Parade", "Heatwave" and "Let"s Go Out Tonight" shine in bright new shades and colours, and get transformed into something unique by Colin Steele"s very own trumpet style. The album perfectly captures and even enhances the late-night moods and aural landscapes of The Blue Nile"s music, while also adding some unexpected, and, yes, even slightly funky turns to songs like "Body & Soul" and "Headlights On The Parade". Colin Steele"s smooth and emotive trumpet caresses and lifts these beautiful songs to new heights.

Recorded in 1990 for the noted New York audiophile label Chesky Records, My Blue Heaven was John Pizzarelli's frst signifcant album release, heralding the arrival of a major talent and future Grammy- winning star

Supported by a dream team line- up of veteran jazz stars - including Pizzarelli's guitarplaying father, Bucky, together with trumpeter Clark Terry , bass supremo Milt Hinton, and drummer extraordinaire Connie Kay - the New Jersey- born singer and virtuoso of the seven- string guitar serves up a swinging cache of evergreen jazz standards. With the album's highlights ranging from spirited revamps of the Nat King Cole Trio's 'Candy,' and Dave Frishberg's 'Can't Take You Nowhere,' the impeccably recorded My Blue Heaven represented a signifcant step in Pizzarelli's early musical journey, helping to introduce him to a wider audience. The album is reissued on 180g One Step Pressing Vinyl LP.

Mit “Stop And Listen” gelang dem Hammond-B3-Organisten Baby Face Willette 1961 ein Album, das in keiner Soul-Jazz-Sammlung fehlen sollte. Zumal es auch Willettes letzte und beste Aufnahme für Blue Note war. Kritiker nennen diesen Klassiker oft in einem Atemzug mit Grant Greens Blue-Note-Debüt “Grant’s First Stand”, das kurz zuvor mit exakt der gleichen Besetzung eingespielt worden war.

2023 gab Saxofonist Joshua Redman sein erfolgreiches Blue Note-Debüt mit dem für ihn überraschenden Album ”where are we”, seinem ersten Projekt mit durchgehender Beteiligung einer Vokalistin: Gabrielle Cavassa.

Auf seinem neuen Album kehrt Redman nun zum instrumentalen Jazz zurück - Gabrielle Cavassa singt nur einen einzigen Titel -, stattdessen interpretiert Redman stimmungsvolle Originale aus eigener Feder, die er in den letzten Jahren ohne ein bestimmtes Projekt im Kopf erarbeitet hat, mit ebenso jungen wie sensationell guten neuen Musikern (Pianist Paul Cornish, Bassist Philip Norris und Schlagzeuger Nazir Ebo). Als Gäste setzen Saxofonistin Melissa Aldana und Trompeterin Skylar Tang Akzente.

Auf “Down To Earth”, seinem Debütalbum für Blue Note, präsentierte sich der aus der New Yorker Bronx stammende Freddie Roach 1962 als origineller Komponist und außergewöhnlich nuanciert spielender Hammond-B3-Organist mit einer Vorliebe für geschmackvolle bluesige Grooves.

[b] A2 Omelet Rice; Bass – Marty Holoubek; Clarinet – 小林未侑; Guitar – 國田大輔*; Percussion – 石若 駿*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[c] A3 Day By Day; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Drums – 伊吹文裕*; Flute – 野津雄太; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[e] A5 Ambition; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[g] A7 Motivation; Bass – Marty Holoubek; Clarinet – 小林未侑; Drums – 菅野知明*; Electric Piano – 上原ひろみ*; Flute – 片山士駿; Guitar – 國田大輔*; Percussion – 石若 駿*; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴


[j] A10 Monologue; Bass – Marty Holoubek; Cello – 向井 航*, 篠崎由紀*; Piano – 上原ひろみ*; Trombone – 三原万里子; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[l] Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[n] B1 Next Step; Bass – Marty Holoubek; Drums – 菅野知明*; Electric Piano – 上原ひろみ*; Guitar – 國田大輔*; Percussion – 石若 駿*; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[o] B2 Challenge; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 國田大輔*; Trumpet – 伊藤 駿*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[p] B3 Kick Off; Bass – Marty Holoubek; Drums – 菅野知明*; Guitar – 國田大輔*; Piano – 上原ひろみ*; Trombone – 三原万里子; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴


[s] B6 Recollection; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 國田大輔*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[t] B7 No Way Out; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 國田大輔*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[u] C1 New Day; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Drums – 伊吹文裕*; Flute – 野津雄太; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[v] C2 Reunion; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Drums – 伊吹文裕*; Flute – 野津雄太; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[x] C4 Faith; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[y] C5 Nostalgia; Bass – Marty Holoubek; Piano – 上原ひろみ*; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[z] C6 What It Takes; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 井上 銘*; Oboe – 神農広樹; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴


[xc] Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

Matthew Bower's Total released 'Sky Blue Void' in 1994 through Freek, recorded the same year as previous NOHL reissue Skullflower's "Last Shot at Heaven." "Sky Blue Void" is the zoner of zoners, as heavenly and crushing as the rapturous cover art suggests. Release yourself to the void.

BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern remastert, RTI-Pressung (180g), stabiles Tip-on-Sleeve, wattierte Innenhülle.

Serge Chaloff - Blue Serge
Als einer der ersten Baritonsaxofonisten des Bebop verblüffte Serge Chaloff, (1923-1957) die Jazzwelt mit seiner bemerkenswerten Fingerfertigkeit und seinem zutiefst emotionalen Spiel. Da er jedoch nur sieben Alben unter seinem Namen aufnahm und bereits mit 33 Jahren verrstarb, ist er weitgehend in Vergessenheit geraten. “Blue Serge” von 1956 ist laut Penguin Guide To Jazz sein bestes Album: “Chaloffs Meisterwerk ist kraftvoll und bewegend zugleich, nicht weil man weiß, dass er dem Tod so nahe war, sondern wegen der unsentimentalen Stringenz seines Spiels.

BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern remastert, RTI-Pressung (180g), stabiles Tip-on-Sleeve, wattierte Innenhülle.

Andrew Hill - Andrew!!!
Der Pianist und Komponist Andrew Hill stürmte die Jazzszene mit einem Ausbruch an Kreativität. In nur acht Monaten, zwischen November 1963 und Juni 1964, nahm er für Blue Note fünf bemerkenswerte Alben in unterschiedlichen Besetzungen (vom Trio bis zum Sextett) und mit durchweg eigenen Kompositionen auf. Das letzte dieser Alben war “Andrew!!!”, über das AllMusic schrieb: “Die Musik hat oft eine schwebende, hypnotische Qualität, die Hills Dissonanzen, ungewöhnliche Voicings und komplexe Arrangements noch fesselnder macht als sonst.”

Seit 2020 vereinen Sea Fever Kunstfertigkeit, Handwerk und Bühnenerfahrung der beiden New Order-Mitglieder Tom Chapman und Phil Cunningham mit dem Johnny Marr-Bassisten Iwan Gronow (ex-Haven), Sängerin Beth Cassidy (Section 25) und Schlagzeuger Elliot Barlow (Brix, The Extricated). Ermutigt durch kollektive Widerstandskraft kündigt die Band aus Manchester ihr neues Album "Surface Sound" an, Nachfolger ihres 2021er Debüts "Folding Lines". Der britische Musikblog Louder Than War beschreibt Sea Fever als "eine Band aus Manchester, die eine wunderbare Mischung aus fast westküstenartigen Sixties-Psych-Melodien und -Harmonien mit einem Post-Factory-Electropop-Kern spielt".

"62 years ago, the famous film directed by Norman Taurog, “Blue Hawaii,” was released. The film’s soundtrack includes memorable songs like “Can’t Help Falling in Love” and “Blue Hawaii,” which helped popularize Hawaiian music worldwide. This catchy and sunny soundtrack perfectly captures the tropical atmosphere of the film and remains a timeless favorite among Elvis fans and 60s music enthusiasts. To celebrate this cinematic and musical landmark, here is an exclusive limited-edition Shaped Picture-Disc vinyl!"

Embark on a funky synth-drenched journey as the cosmic count Jimi Tenor reunites with Timmion Records’ soul architects Cold Diamond & Mink for yet another album. When placed side by side with the fellows’ recent effort “Is There Love In Outer Space? “July Blue Skies” glides on a slightly more raw and mystical plane.

Crafted over fiery sessions between Tenor and Cold Diamond & Mink, this vinyl release offers six soul-grasping tracks ranging from mellow groove to soundtrack funk. The album’s opening title song kicks off with an extended analog synth intro which eventually develops into a sweet romantic invocation, painting a sonic canvas reminiscent of a boundless summer sky. The most vocal tune of this quite instrumental set of songs “Sky Train Baby” propels the listener on a locomotive ride through the star systems while “Venus of Barsoon” with its drum breaks and fuzz sounds blast you straight into sci fi movie funk territory.

The album’s B-side opens with “Ikuchi,” where Tenor’s always trusted flute and tenor sax take the spotlight over the slinky library beats. Closing the album we discover two single releases, the sublime “Summer Of Synesthesia” and the demonic “Tsicroxe” both completely worthy to hear sequenced inside this album as well. This album might be just the Spring jam that you needed in your life.

Der in Süd-London geborene und mittlerweile in Atlanta lebende Puma Blue - das Pseudonym von Jacob Allen - veröffentlicht sein Überraschungsalbum 'antichamber'. Es markiert eine klangliche Wende für Puma Blue, da er sich von der vollen Band abwendet und ganz auf obskure elektronische Texturen und akustische Instrumente setzt. Während sein bisheriges Material irgendwo zwischen Trip-Hop, Jazz und Electronica schwebte, hat 'antichamber' einen rohen und direkteren Ansatz beim Songwriting. Hauptsächlich getragen von der sanften Stimme Allens und akustischen Gitarren zeigt sich 'antichamber' verletzlich und von überwältigender Schönheit.

Magenta-Canary Yellow-Black A Side/B Side Colourway
Pushing every boundary to a breaking point, GRIDIRON will go to any extreme and then some. They follow quite possibly the most unpredictable playbook in the game. The band might flood the zone with a corpsepaint-smearing death metal barrage only to double back around for a victory lap narrated by blinged-out and braggadocios bars. Their hybridization of metal, hardcore, and hip-hop wouldn’t be out of place at either OZZfest 1997 or Rolling Loud 2027. It’s why the quintet—Matthew Karll vocals, Will Kaelin [guitar, vocals], Xavier Wilson [guitar], Lennon Livesay [bass], and Tyler Mullen [drums]—have bulldozed their own path as a phenomenon with millions of streams and acclaim from Stereogum, Brooklyn Vegan, NO ECHO, and more. GRIDIRON was born out of a series of COVID-era marathon Call of Duty sessions, which led to writing and recording together. Their musical pedigree spoke for itself with Will also in Never Ending Game, Xavier in Simulakra, and Tyler and Lennon in Scarab. Given their individual experiences, the guys instantly locked into a creative groove. Following the Loyalty At All Costs EP [2020] and Worldwide Brotherhood EP [2021], they dropped their first full-length, No Good At Goodbyes [2022]. The title track reeled in over 851K Spotify streams followed by “25-8” with 560K Spotify streams. Along the way, they also shared stages with everyone from Missing Link to Trapped Under Ice. Now, GRIDIRON continue to smash through walls on their second full-length offering and Blue Grape Music debut, Poetry From Pain.












[k] 11. Still Playin' For Keeps (Big Umbrella Remix) [feat. Daniel Son, Pro Dillinger, Jay Royale]
[l] 12. Heavy Metal Money (Seen It All Before) [feat. Big Body Bes]

Seit 2020 vereinen Sea Fever Kunstfertigkeit, Handwerk und Bühnenerfahrung der beiden New Order-Mitglieder Tom Chapman und Phil Cunningham mit dem Johnny Marr-Bassisten Iwan Gronow (ex-Haven), Sängerin Beth Cassidy (Section 25) und Schlagzeuger Elliot Barlow (Brix, The Extricated). Ermutigt durch kollektive Widerstandskraft kündigt die Band aus Manchester ihr neues Album "Surface Sound" an, Nachfolger ihres 2021er Debüts "Folding Lines". Der britische Musikblog Louder Than War beschreibt Sea Fever als "eine Band aus Manchester, die eine wunderbare Mischung aus fast westküstenartigen Sixties-Psych-Melodien und -Harmonien mit einem Post-Factory-Electropop-Kern spielt".

Nachdem er im April 1960 als Sideman auf Jimmy Smiths Soul-Jazz-Zwillingsklassikern “Midnight Special” und “Back At The Chicken Shack” einen starken Eindruck hinterlassen hatte, gab Blue-Note-Chef Alfred Lion Stanley Turrentine im Juni die Chance, sein erstes Album als Leader für das Label aufzunehmen. “Look Out!” verkündete die Ankunft eines zutiefst gefühlvollen neuen Saxofonisten, der sein Herz und seine Seele in jede gespielte Note goss.

Outtakes is a retrospective album featuring nine previously unreleased tracks
from Micke Bjorklof & Blue Strip - This unique collection contains songs,
recorded over the years but for various reasons, were left off past albums,
capture the band's evolving sound and dedication to blues-rock excellence
We usually had a few extra songs when we went into the studio to record the album in
case some of the songs didn't "take off" as expected. Sometimes the direction of
production can also change as the process progresses, which affects the album as a
whole. However, a lot of effort has been put into these songs and they have been
carefully prepared for the album and produced to completion. It is at least justified to
give them another chance to reach listeners, and we felt they deserved a platform of
their own. Although the songs are from different eras, I think they formed a very good
and balanced whole" says Micke Bjorklof.
Spanning from the early 2000s to the present, Outtakes showcases the shifting styles
and influences of one of Finland's most celebrated blues-rock bands. Outtakes is not
only a collection of rare tracks but also a kind of time travel through the arc of the
band's musical and sonic evolution from the early 2000s to the present day. Each
song reflects the shifting moods, styles, and influences the band has embraced over
the years, capturing the essence of one of Finland's most celebrated blues-rock bands
over 30-year journey in the blues-rock scene.

The East Sussex three piece take a sidestep to their country punk debut. The revamped sound is gritty and raw, with basslines that rumble with unfiltered intensity and drums that drive each track with pounding, relentless energy. The dark twang elements have not disappeared but if you break the surface you will find a restless undercurrent of electronic rhythms, adding complexity and tension. Andrew J Davies’ baritone vocals help answer the question you never knew you needed to ask. What would Lee Hazlewood guesting on a Leftfield track sound like?

Anfang der 1960er Jahre hatte der Tenorsaxofonist Hank Mobley, der sonst oft im Schatten von John Coltrane und Sonny Rollins stand, einen wahren Höhenflug. Scheinbar mühelos schüttelte er ein HardBop-Meisterwerk nach dem anderen aus dem Ärmel. Eines dieser Alben war “Roll Call”, auf dem er seinen Erfindungsreichtum, seinen Spielwitz und seine einzigartige rhythmische Fingerfertigkeit vollendet zur Geltung brachte.

Mit seinem ersten Blue-Note-Album ”Blues In Trinty” erweiterte der aus Jamaika stammende und damals in England lebende Trompeter Dizzy Reece seine Fangemeinde um so berühmte Kollegen wie Miles Davis und Sonny Rollins. Und Art Blakey wollte ihn und den britischen Tenorsaxofonisten Tubby Hayes, der hier ebenfalls zu hören ist, sofort für seine Jazz Messengers verpflichten. Das Album, auf dem auch zwei prominente Gäste aus den USA mitwirkten, gilt noch heute als absoluter Bop-Klassiker.

Doris Brendel & Lee Dunham take an unexpected yet electrifying turn into the world of Blues with their latest album, Big Blue Sky. Known for her powerhouse vocals and genre-defying style, Brendel—who recently won the HRH Prog Angel Award 2024—delivers 13 beautifully crafted Blues tracks that blend raw emotion, soulful melodies, and top-tier musicianship. Featuring a stellar lineup, including Sam Brown (Hammond), Sam Blue (vocals), and Sam White (drums), Big Blue Sky is a masterclass in Blues with a contemporary twist. From classic blues ballads (‘Under the Covers’, ‘Red Letter Blues’) to the humour-infused ‘Slow Wi-Fi Weekend’ and soul-stirring duets (‘Is This the Last Time’), the album is a fresh and dynamic take on the genre. Produced by Lee Dunham, Big Blue Sky is available digitally, on CD, and on vinyl (featuring a special 9-track selection). Doris Brendel has performed with some of rock’s greats, including Fish (Marillion), Wishbone Ash, and Nils Lofgren, and was even invited to tour with Pink Floyd. With Big Blue Sky, she proves once again that she refuses to be boxed into a single genre, bringing her signature husky, bluesy vocals to a project that is both timeless and innovative.

Little Blue, the latest album from Nashville artist Kristina Murray was recorded with producers Misa Arriaga and Rachael Moore. The collection grapples with loneliness, desperation, and existential crises through a series of cinematic snapshots of small-town burnouts and last call lovers. Murray is a country artist in the truest sense, a genuine craftswoman with a keen eye and ear for the little details that bring her working-class characters to life, and her delivery is timeless, blurring the lines between the old school honky-tonk, swampy Americana, and R&B-infused southern rock she grew up on in her home state of Georgia. If Murray sounds like a seasoned vet on Little Blue, that’s because she is. While the album marks her Normaltown debut, Murray’s spent the last decade since moving to Nashville paying her dues in an endless series of dive bars and juke joints, and the result is an electrifying introduction to an artist only just beginning to get the kind of wider recognition her talent has long warranted. “I’ve been to some pretty low places these last ten years,” Kristina Murray confesses. “Faced a lot of heartbreak and loss and grief, but you have to learn to live with those things if you’re going to survive. You have to persevere.” That spirit of perseverance forms the bedrock of Little Blue.

Wie so viele Coming-of-Age-Geschichten mit nachhaltigem Eindruck spielt das neue Album der Brooklyner Band Momma in einem bezaubernden und turbulenten Sommer. "Welcome To My Blue Sky" wurde mit der gesamten Band live im Studio aufgenommen und von Bandkollege Aron Kobayashi Ritch produziert. Mit Hilfe des Drummers Preston Fulks gelangen Momma 12 kraftvolle Songs, die die rohe Dringlichkeit des Rock mit den eindringlichen Melodien und straffen Arrangements des Pop kombinieren – eine Dynamik, die aus ihrem Engagement entstand, das direkteste Ventil für ihren emotionalen Ausdruck zu finden. Jeder Track ist zugleich geteilte Erinnerung, gemeinschaftlicher Erguss und fesselnder Reisebericht voller Selbstbewusstsein und Sensibilität. Das Ergebnis ist ein mutiger Sprung nach vorne für eine der kreativsten, kompromisslosesten und einzigartigsten Stimmen im Indie-Rock.

Die Jazzwelt darf sich freuen, dass Blue Note Records das außergewöhnliche Talent von Trompeter Brandon Woody erkannt hat. Der junge, in Baltimore geborene und ansässige Künstler hat in den letzten Jahren in der US-Jazzwelt aufhorchen lassen. „Brandon ist einer der seltenen Künstler, der sowohl eine lebendige Vision als auch die Fähigkeit und das Wissen besitzt, diese umzusetzen“, sagt Blue-NotePräsident Don Was.

Der vielseitige Musiker hat trotz seiner jungen Jahre bereits einen ganz individuellen Sound zwischen Modern Jazz und souligen Elementen entwickelt, der an seinen großen Kollegen Freddie Hubbard erinnert. Um sich herum hat er eine herausragende Band versammelt und für sein Debütalbum sechs mitreißende Eigenkompositionen aufgenommen. „For The Love Of It All“ bezeichnet er als Hommage an die Kraft der Liebe. Die Besetzung besteht aus Troy Long (Klavier, Orgel, Rhodes, Keyboards), Quincy Phillips (Schlagzeug) und Michael Saunders (Bass), sowie den Special Guests Imani Grace (Gesang) und Vittorio Stropoli (Aux-Synthesizer).