Acclaimed composer and trumpeter Sarah Wilson draws inspiration from visual art, brass bands and the joy of music on her spirited new album Incandescence

Out July 18, 2025 via Brass Tonic Records, the album features Wilson’s brass focused sextet Brass Tonic on an exuberant set sparked by the work of Austrian painter Thomas Reinhold

“Wilson swings naturally between genres and styles, blurring any stylistic boundaries with confidence and charm.” – Eyal Hareuveni, All About Jazz

“…a singular jazz artist with a tremendously evocative book of original material.” – Andrew Gilbert, Contra Costa Times

Community spirit has been a constant in the work of composer and trumpet player Sarah Wilson, whose experiences and inspirations have ranged from socially conscious puppet theater to brass band and New Orleans traditions to her own illuminating style of jazz. When musicians are truly inspired and connected with one another, Wilson describes, time seems to stand still for artist and listener alike.

“Time just evaporates,” Wilson says, “and you’re completely immersed in feeling the euphoria and joy of being in this creative moment. You forget everything else that is happening in space and time, while paradoxically the music is moving through time.”

During a 2023 artist residency in Krems, Austria, the Bay Area-based Wilson experienced a similar epiphany when she encountered the paintings of Viennese artist Thomas Reinhold. One of the founding figures of German “New Painting” or “Junge Wilde,” Reinhold’s large-scale work combines architectural planning with the chance effects of time. Wilson’s reaction to the paintings inspired the music on Incandescence, the joy-fueled new album by her sextet Brass Tonic.

Out July 18, 2025 via Wilson’s own Brass Tonic Records and co-produced by Wilson and Grammy Award-winning producer Hans Wendl, Incandescence was commissioned by InterMusic SF’s Musical Grant Program. It draws equal inspiration from Reinhold’s bold, multi-hued abstracts and from the street-level, community-spirited traditions of brass band, marching and New Orleans parade music. In Brass Tonic, Wilson combines an all-woman horn frontline – herself, alto saxophonist Kasey Knudsen, and trombonist Mara Fox – with the buoyant rhythm section of guitarist John Schott, bassist Lisa Mezzacappa, and, for this recording, drummers Jon Arkin and Tim Bulkley.

Brass Tonic played its first gig in 2022, but the seeds for the band were planted more than 20 years before, when Wilson performed with and composed for NYC drummer Kenny Wollesen’s protest-minded marching jazz band, Himalayas. Or perhaps even earlier, when she toured the world playing music with Vermont’s politically radical and community-oriented Bread & Puppet Theater during the 1990s. “Coming from that background of street theater and traditional New Orleans music, my music is always something that you can dance to,” Wilson explains. “Marching band music has to be simple, but I wanted to hone it into more developed music with a similar vibe.”

Stemming in part from the socially conscious aspects of those earlier projects as well as her experience in ensembles like the Montclair Women’s Big Band, Wilson was determined to forefront women in her new sextet. “I wanted to be intentional about that,” she insists. “It feels empowering to have a majority of women in the band, and in particular to have all women horn players. That's one area in classical and jazz music, where there's a bit of a lag in terms of equity.”

Earlier music for the band was written in 2022 during Wilson’s time at the Djerassi Resident Artists Program in Woodside, California. Through that connection, she traveled to Austria for the AIR-Artist in Residence Niederösterreich, through which she was given free rein to explore the arts-rich town of Krems, 50 miles outside of Vienna. There she found Reinhold’s work in the State Gallery of Lower Austria. “These incredible paintings just looked like music to me,” Wilson says.

Wilson has a history of composing music in response to visual art. In 2011-12 she was an artist fellow at San Francisco’s de Young Museum, where she collaborated on a music and aerial dance performance inspired by the Harlem Renaissance painter Aaron Douglas. “She Stands in a Room,” one of the pieces on Wilson’s 2010 album Trapeze Project, drew from a sculpture by Nicolas Africano in the de Young’s collection.

At the State Gallery of Lower Austria, Wilson was given the unique opportunity to set up a mobile studio in the gallery, allowing her to write music in real time while interacting directly with the paintings. The residency also connected her with the artist himself, facilitating a trip to Reinhold’s studio to discuss his artistic methodology – including his love of John Coltrane’s music. “His process is based on a space time modality,” Wilson relates. “He imagines everything he's going to paint and sketches it out, which is very architectural. Then he layers coats of paint, goes off and lets it dry, and returns later to paint more layers – meaning that he's dealing with elements created in a different space and time.”

Three of the compositions on Incandescence – “Architecture in Space,” “Music Appears to Stand Still,” and “Echoes Refrain” – resulted from Wilson’s Austrian residency. But they share with the remainder of the album’s songs a bright, iridescent sense of joy and ebullience encapsulated in the album’s title.

“When you have visceral, powerful experience with art or music, that is the essence of joy for me,” Wilson concludes. “I really respond to that ability for music to evoke strong feelings. That’s what I really wanted to happen with this project. I want people to feel good and to have that experience of joy.”

Sarah Wilson has emerged as "one of the most intriguing and promising composers and trumpeters on the contemporary music scene,” (San Francisco Chronicle). While deeply shaped by jazz, Wilson’s music stylistically owes as much to avant pop, Afro-Latin grooves and indie rock as the post-bop continuum. Wilson’s artistic work reflects a dynamic interplay of theater, jazz, dance, and film, which frame her unique, fresh compositional style. Wilson has earned wide critical acclaim for her recordings on Brass Tonic Records, including Kaleidoscope (2021) and Trapeze Project (2010), on which she’s joined by a nonpareil cast of improvisers including pianist Myra Melford, drummer Matt Wilson, violinist Charles Burnham, bassist Jerome Harris, guitarist John Schott, clarinetist Ben Goldberg and drummer Scott Amendola. Her music is fueled by large-scale community-based arts projects including a 2022-23 vocal music production, Tenderloin Voices, in collaboration with the Tenderloin Museum and Larkin Street Youth Services working with formerly shelterless youth. She was a 2011-2012 Artist Fellow at the de Young Museum with funding from the National Endowment for the Arts and The James Irvine Foundation and created Off the Walls, a music and aerial dance production in collaboration with LA-based dance company Catch Me Bird. Wilson has received numerous commissions from the Wallace Alexander Gerbode Foundation and the William and Flora Hewlett Foundation, Center for Cultural Innovation, SF Arts Commission, Fleishhacker Foundation, Zellerbach Foundation, East Bay Community Foundation, New Music USA, and Intermusic SF as well as residencies at the AIR-Artist in Residence Niederösterreich in Krems, Austria, Djerassi Resident Artists Program, Z Space, and Stags’ Leap Winery.

Sarah Wilson – Incandescence Brass Tonic Records – BTR 003 – Recorded April 13-14, 2024 Release date July 18, 2025

sarahwilsonmusic.com sarahwilson.bandcamp.com

Thank you to Ann Braithwaite for sharing with us

Singer and storyteller Germana Stella La Sorsa and guitarist Tom Ollendorff present “After Hours” - out 11th July 2025

'Raw and striking vocals’ Jazz in Europe

‘The rising star of the six-string’ Music Paper Italy

Critically acclaimed Italian singer and storyteller Germana Stella La Sorsa is set to release a small but stunning collection of inspired arrangements of legendary songs and original compositions, collaborating with ‘rising star of the six-string’ Tom Ollendorff.

Recorded in February 2025, “After Hours” will be released on 33 Jazz Records and distributed by The Orchard on the 11th of July 2025. The record will be launched on Thursday 10th of July at The Vortex Jazz Club, London and the release will be anticipated by two singles: “Because” (Lennon-McCartney) on the 23 rd of May and “Procida” (Ollendorff-La Sorsa) on the 20th of June.

“After Hours” - consisting of 6 tunes - pays homage to well-known composers and songwriters from a wide spectrum including tunes by Brazilian composer Pixinguinha and The Beatles, along with originals from La Sorsa and Ollendorff.

Working together since 2022, the duo's artistic chemistry was beautifully showcased in their acoustic version of one of La Sorsa's compositions - “In Time and (S)Pace” released in July of the same year. Ollendorff's highly distinctive sound and virtuosic technique elegantly blends with La Sorsa’s ‘poetically interpretive singing’ and sophisticated vocal skills, and the result is breathtaking. This meeting of intertwined sonic minds, naturally led to the creation of new material inspired by their diverse infuences and musical palette.

La Sorsa says: “After the release of my latest work “Primary Colours”, I felt the need to return to the origins of my voice, focusing even more on my instrument rather than on new original compositions. Tom and I had already worked as a duo on one of the songs composed for my frst album “Vapour” and I knew he would be the ideal partner to give vent to my artistic need of returning to the essential. Thinking about “After Hours” - and even before working on the music with Tom - I could hear a simple sound and I knew I wanted to create something completely different from my previous albums.”

This new collaboration, envisioned as a celebration of the beauty of simplicity, is set to inspire audiences once again across the world.

\

'Her voice is powerful when required, but also capable of great variety and soulful subtlety’ - Jazz Journal

'La Sorsa’s raw and striking vocals are prominent in the musical mix, with her impressive scat moments driving the compositions forward.’ - Jazz in Europe

'Ambitiously conceived and perfectly realised. Tom Ollendorff is making his quiet way towards ubiquity’ - Jazzwise

'Young and sophisticated, he is the rising star of the six-string made in England. Ollendorff looks at the aesthetic between post bop, cool and modernism that makes harmonisations rather than virtuosity its strong point.’ - Music Paper Italy

Germana Stella La Sorsa

Italian singer Germana Stella La Sorsa moved to the UK from Puglia (Italy) in 2017 and quickly established herself on the London jazz scene. 'Nudging boundaries as she goes' (The Slow Music Movement) and exploring 'the crossroads of many musical components, including story, composition, genre and style as well as instrumentation and effect' (London Jazz News), La Sorsa released her debut album “Vapour” in 2021 on 33 Jazz Records. The singer melds her disparate infuences in her second studio album, “Primary Colours”, released in January 2024 - once again on 33 Jazz Records - with the support of Help Musicians. Following the success of “Vapour”, “Primary Colours” continues to ride the contemporary/avant-garde jazz wave, further exploring the boundaries of improvisation and sound experimentation, drawing upon modern sounds and grooves, from drum’n’bass to Latin music. The album features long-time collaborators Sam Leak on Hammond Organ, Jay Davis on drums, as well as Tom Ollendorff on guitar and special guest Tara Minton on harp.

Both eclectic and versatile, La Sorsa has performed in the most iconic London jazz venues and International Jazz Festivals including Ronnie Scott's, Cadogan Hall, The Spice of Life, Vortex Jazz Club, Toulouse Lautrec Jazz Club, EFG London Jazz Festival, Al Bustan International Festival (Lebanon), Taranto Jazz Festival and Ceglie Jazz Open Festival (Italy).

La Sorsa started performing in Italy at an early age, working her way up through the Italian Jazz scene to ultimately perform at the side of one of the most infuential European jazz musicians: Franco Cerri (Chet Baker, Dizzy Gillespie, Billie Holiday, Lee Konitz, Gerry Mulligan, Django Reinhardt and many more).

Tom Ollendoff

Tom Ollendorff is fast becoming one of the best-known young guitarists to emerge on the international jazz scene. A graduate from the Royal Welsh College of Music in Cardiff, he was awarded the Yamaha Parliamentary Jazz Scholarship in 2016.

Tom's debut album “A Song For You” was released on Fresh Sound Records in May 2021 and received international acclaim and helped to launch an international touring career that has seen Tom perform at many of Europe’s best known Jazz clubs including Ronnie Scott’s, Sunset-Sunside, Jamboree, Jimmy Glass, Jazz-Hus Montmartre, Nardis, Budapest Jazz Club, Jazz in Bess, Jazz Club Ferrara as well as performances at notable venues and festivals including London Jazz Festival, Koa Jazz Festival, Brecon Jazz Festival and the One Day Jazz Festival.

His latest album “Open House” was released in May 2023 and sees a continuation of his work with his trio with long-term trio featuring Marc Michel on drums and Conor Chaplin on bass, with the addition of the critically acclaimed saxophonist Ben Wendel on four tracks. The recent release has received global recognition and has seen Tom continue to build his international reputation and following.

Alongside his work as a bandleader, Tom has been fortunate to work extensively as a sideman with a wide range of artists including Ari Hoenig, Bill McHenry, Geoff Simkins, Huw Warren, Tim Garland, Nitai Hershkovits and The Fresh Sound Ensemble.

Links www.germanalasorsa.com/

www.tomollendorff.com/

www.instagram.com/germanastellals/

www.instagram.com/tomollendorff/

www.youtube.com/@GermanaStellaLaSorsa

www.youtube.com/@TomOllendorff

Pianist/composer Sumi Tonooka reveals the secret world of trees and the underground connections that bind society in the breathtaking suite Under the Surface, a Chamber Music America New Jazz Works commission, available June 27 via ARC.Album features Tonooka’s trio with Gregg August and Johnathan Blake plus Alchemy Sound Project

Sumi Tonooka looks for the submerged truths and unseen networks that nourish our world. The renowned Philadelphia composer and pianist has been most visible in recent years writing commissions for symphony orchestras and crafting new works for her trio. With Under the Surface, out June 27, 2025 via ARC, various Tonookian worlds converge in an extended work that embodies the interlaced web of connections that manifest beneath our feet and on neighborhood bandstands.

A suite inspired by the roots of trees and the fungi-supported mycorrhizal network that allows them to support the survival of all nearby trees (even outside of their own species), Under the Surface is built on Tonooka’s volatile trio with supremely versatile bassist Gregg August and special guest drum star Johnathan Blake, who also hails from Philadelphia. In giving shape to Tonooka’s compositions, Blake embodies the album’s concept as he’s both the music’s engine and “part of my personal musical family and network,” Tonooka says.

“For 30-plus years I played with his father, the great jazz violinist John Blake, and I knew Johnathan as a boy.” Now, he’s one of the premier drummers of his generation “and firmly holds the baton or mycorrhizal energy to pass off to the next generations,” she says.

While Tonooka’s mycorrhizal concept might sound esoteric, it couldn’t be more grounded. The music flows from the essential web of relationships that allow musicians to connect, flourish and improvise together. Composed during the early months of Covid with the support of a Chamber Music America New Jazz Works grant, the suite took shape as both a tribute to and reflection on the way people reached out to help each other through the crisis.

Writing for the Alchemy Sound Project, a diverse multi-generational collective that’s served as a sonic laboratory in recent years, Tonooka took care to highlight the particular gifts of her collaborators: tenor saxophonist Erica Lindsay, trumpeter Samantha Boshnack, trombonist Michael Ventoso, and Salim Washington on tenor sax, bass clarinet and flute.

The album opens with the trio on “Points Of Departure,” a joy ride that immediately establishes Blake’s textural command and Tonooka’s adventurous spirit. She credits her recent work in groups led by pianist and Philly mainstay Bobby Zankel, an improviser deeply shaped by years under the wing of Cecil Taylor, with honing her skills in unstructured settings. “There’s no chart in terms of the chords,” she says. “We play a theme and just start to go.” 

With Ventoso’s extended wah-wah opening, “Saveur” brings to mind an Ellingtonian rhapsody. The multi-section piece features a long trio passage marked by beautifully calibrated dynamics, and the kinetic interplay between Blake and Lindsay’s poised tenor. At 11 minutes, the suite’s centerpiece and longest movement, “Interval Haiku,” opens with a dissonant, unhurried fanfare featuring the horns that soon gives way to a briskly swinging piano trio passage. Before long we’re back in the woods with a series of solos, led by Boshnack’s expressive trumpet. Thick with wide intervallic movement, these woods are deep, inviting and mysterious.

The action slows to a sensuous saunter with the lapidary ballad “Tear Bright,” which moves from Ventoso’s wending trombone solo to Washington’s lustrous bass clarinet passage. With “Mother Tongue,” the sylvan idyll turns frantic, as the dense mid-tempo piece feels like a trap the musicians seek to navigate. A thicket of melodic lines driven by August’s Latin-powered bass converge as Washington’s flute soars above and Ventoso’s trombone searches the soil. There’s no mincing of words in the intricacies of “Mother Tongue,” but with “For Stanley,” Tonooka offers a simple, heartfelt love letter to the late piano great Stanley Cowell, who died while she was composing the suite.

She was in her early 20s when she got a grant to study with him, and he became an important mentor. “I loved his music, and he introduced me to Akira Tana, because he was playing with the Heath Brothers with Akira,” she said, referring to the great drummer with whom she recorded her first two albums. “He had many musical identities. The last time I saw him was a concert I did with Jon Blake, and I wanted to honor him and his influence on me.”

The suite closes with the title movement, the brisk, inviting and often witty “Under The Surface.” A duo passage between Blake and Washington concludes with a reference to the “Girl From Ipanema,” a cheeky quote that takes us back to the origin of all life, the sea.

In many ways the path to Under the Surface runs through Tonooka’s involvement in the Jazz Composers Orchestra Institute, a program designed to foster connections between jazz artists and symphony orchestras. Encouraged to apply by Lindsay, who’d participated in the JCOI’s inaugural 2012 session, Tonooka thrived in the program. She was one of a few JCOI composers whose work was selected for a premiere, which led to the American Composers Orchestra presenting her piece “Full Circle” in New York City.

Alchemy Sound Project coalesced during her JCOI residency at UCLA, where she connected with players like Detroit-reared Salim Washington, a commanding multi-instrumental improviser who has since become chair of global jazz studies at the UCLA Herb Alpert School of Music. Tonooka recruited Lindsay, with whom she was already co-leading a quartet that records for the label they co-founded, Artists Recording Collective, or ARC. An artist-in-residence at Bard College, Lindsay had mentored JCOI participants Michael Ventoso and Samantha Boshnack, who leads several notable ensembles on Seattle’s creatively charged jazz scene.

The idea for Alchemy Sound Project came to Tonooka in the midst of the Jazz Composers Orchestra Institute residency “hanging out with the other composers during our free time,” she said. “I was thinking, what if we wrote for each other and learned and performed each other’s music? The idea was to give ourselves a community, even a small one, to develop our own work.”

Tonooka’s jazz education took place mostly on the bandstand. By 17, she was writing prolifically for a trio she was leading around Philadelphia featuring future bass star Jamaaladeen Tacuma. Drum legend Philly Joe Jones was so impressed he recruited her for a two-year stint in his band.

Moving to New York City in 1983, Tonooka gained considerable attention as a major new voice, eventually making her recording debut as a leader on 1990’s With An Open Heart, a trio session with Akira Tana and bassist Rufus Reid. Before she started down the orchestral path, Tonooka had also composed scores for about 20 films. One reason Underneath the Surface sounds so cohesive is that Alchemy Sound Project honed the music during its first tour in 2024. As she says with a wink, after all the orchestral writing, touring and recording the suite represents “a return to my roots.”

“This record is a good representation of a lot of what I’ve learned in the past 10 years, exploring orchestration and 20th century music,” she says. It also embodies an alternative vision for social cohesion, a “wood wide web” that takes the mycorrhizal metaphor from nature and applies it to human endeavors, “turning the notion of survival of the fittest on its head to mean that the strong reach out to help the weak and the damaged, fostering a collective cooperation and supporting the whole,” Tonooka says. “In other words, humans need each other and must work together to survive and thrive, just like trees.”

 https://sumitonooka.com/

Thank you to Ann Braithwaite for sharing with us

Rising Danish jazz vocalist Marie Mørck steps away from her own writing and dives into American Songbook repertoire with My One and Only Love — a collection of deeply personal reinterpretations of classic standards, set for release on June 27, 2025, via Zack’s MUSIC.

Best known for her captivating voice and modern take on traditional jazz, Mørck has earned growing acclaim in Denmark and beyond, including a Danish Music Award nomination for her debut and international critical acclaim for her 2023 album Songs to Comfort.

While her past releases have showcased her talent as a songwriter, this new project offers something different: a heartfelt tribute to the quintessential songs that have shaped her musical identity.

“Music has always been a mirror of life, capturing its joys, sorrows, and everything in between. As a jazz singer, I’ve explored these emotions through my own original work, but with this special album, I turn to the timeless beauty of jazz standards - songs that have carried messages of love, hope, and resilience for generations.”

The album’s six-tracks was recorded in fall 2024 at MillFactory Studios in Copenhagen with a trusted trio of collaborators — Magnus Hjorth (piano), Snorre Kirk (drums), and Lasse Mørck (double bass). Mørck’s quartet has developed a rich chemistry through years of live performance, and that closeness is felt throughout this recording. The result is an intimate, emotionally layered collection that highlights Mørck’s ability to bring subtle nuance and fresh energy to the jazz canon.

With My One and Only Love, Marie Mørck opens a new chapter — not through reinvention, but through reverence, warmth, and unmistakable artistic voice. It’s a loving tribute to the classics, told with the grace and clarity of a vocalist whose star continues to rise.

“These songs have been my companions,” says Mørck. “Through them, I want to offer a moment of connection — an invitation to pause, reflect, and enjoy the enduring beauty of these stories and melodies.”

Marie Mørck | Vocals Magnus Hjorth | Piano
Snorre Kirk | Drums Lasse Mørck | Double Bass

Artist website: www.mariemoerck.com

Track Listing

1. ”Look for the Silver Lining” (Jerome Kern / Buddy de Sylva)

2. “Are You Havin’ Any Fun?” (Sammy Fain / Jack Yellen)

3. ”Like Someone in Love” (Jimmy van Heusen / Johnny Burk)

4. ”Young At Heart” (Johnny Richards / Carolyn Leigh)

5. “I’m In The Mood for Love” (Jimmy McHugh / Dorothy Fields)

6. “My One and Only Love” (Robert Mellin / Guy B. Wood)

Background info / Liner Notes:

Recorded at Millfactory Studios in Copenhagen, Autumn 2024.

Mixed by Henrik Holst

Mastered by Sebastian Vinther Olsen

Thank you to JazzFuel for sharing with us

5x GRAMMY Nominee Lakecia Benjamin Ushers In a New Era on “Noble Rise”, New Single featuring Immanuel Wilkins - out June 27, 2025

The Phoenix era — encompassing that 2023 album and its 2024 live counterpart, Phoenix Reimagined — has been good to Lakecia Benjamin.

Stemming from a car accident that nearly claimed her life, Phoenix netted 3 Grammy nominations for Best Instrumental Composition, Best Jazz Instrumental Album, and Best Jazz Performance — with Phoenix Reimagined matching it in the latter two categories. None other than Stephen Colbert announced Phoenix Reimagined, live on air, with the alto saxophonist and composer herself guesting in the Late Show Band.

But Benjamin — much like her heroes John and Alice Coltrane, who she memorably paid tribute to with 2020’s Pursuance — has never been content to rest on her laurels. “We’re not just rising from the ashes anymore—we’ve done that,” Benjamin proclaims, “Now, we’re stepping into a season that honors every side of who I am: the survivor, the sovereign, the storyteller. This is a more regal era—rooted, radiant, and fully claimed.”

The first offering thereof is “Noble Rise” — a simmering collaboration with fellow alto voyager Immanuel Wilkins, who released his acclaimed third album for Blue Note, Blues Blood, in 2024. Less a saxophone battle than a meeting of the minds, the track features Benjamin’s core band as well as guitarist Mark Whitfield.

Benjamin was drawn to Wilkins for many reasons — his Philly roots, his control of his image, his mastery of the instrument at a young age. “I was looking to showcase where Immanuel and I are at in our careers — some of the similarities, some of the differences,” she says. “And to highlight getting knocked down, but striving, trying to get through.”

“Noble Rise” is a riveting introduction to Benjamin’s new chapter. We’re leaning into a more regal expression,” There’s a sense of heroic elevation“The ashes are no longer her origin story—they’re her foundation. Benjamin now creates from power, not pain.”

The launch of “Noble Rise” coincides with the continuation of her international tour, as well as two key performances on the West Coast – on June 13, Lakecia will perform at the SF Jazz Festival and on June 14, she will make her debut at the world famous Hollywood Bowl in Los Angeles. Her European tour dates will see her make stops in Germany, Slovenia, Italy, Belgium, Spain, Portugal and Netherlands. She will return to the Newport Jazz Festival main stage in August.

Pre-save “Noble Rise”, releasing via June 27 Ropeadope, here.

Lakecia Benjamin website click here

Thank you to Lydia Liebman Promotions for sharing with us

RELEASE DATE:  JUNE 26, 2025.  

Soprano saxophonist Jane Ira Bloom is back in zero Gs with her latest recording Songs in Space, a constellation of duets and trios conceived and performed especially for the experience of surround sound listening. The saxophonist who has an asteroid named after her (6083janeirabloom) and long known for her association with NASA pairs with longtime bandmates pianist Dominic Fallaco (from the Grammy nominated ballad project “Sixteen Sunsets”) and bassist Mark Helias and drummer Bobby Previte (from the Grammy award winning trio recording “Early Americans”). There are nine stellar originals including “Better Starlight” and “Riding My Planet” and two gravitationally re-arranged ballad classics “I Could Have Danced All Night” and “My Foolish Heart” that showcase Bloom’s extraordinary connect with Fallacaro and full-throated abandon with her rhythm section. The music is both lyric and motion-filled, played by seasoned performers who know how to just set the soundscape in space. The sound, silence, and acoustic interplay of these improvising musicians has been captured both in high-definition stereo and immersive audio. After years of remote recording during the pandemic Bloom returned to the studio to record live for three days in high-definition surround sound at the Clive Davis Institute in Brooklyn, NY with her Grammy award team of engineering legend Jim Anderson and tonmeister Ulrike Schwarz. Audio science and improvisational art collaborate to make this recording a one-of-a-kind musical experience. Songs in Space is available as a stereo (OTL146) and immersive (OTL146i) digital release on June 26.

Jane Ira Bloom is WINNER  2024 DOWNBEAT CRITICS POLL for SOPRANO SAX

“she tries to capture in music the poetry she imagines of soaring in space.” – Fred Bouchard, JazzTimes

Thank you to Crossover Media for sharing with us