Dynasty: Tia Fuller & Shamie Fuller-Royston: Fuller Sound Vol. 2

Release Date: April 3, 2026 Cellar Music Group

Purchase here

When sisters Tia Fuller and Shamie Fuller-Royston returned to the Fuller Sound name on their new album, Dynasty they formalized a musical history that long predates their individual careers.

Fuller Sound was the name of the saxophonist and pianist’s original family ensemble, led by their parents, vocalist/ mother Elthopia Fuller and bassist/father Fred Fuller — a working band built around shared repertoire, performance discipline, and nightly music-making rather than commercial recording projects. Dynasty frames that living history in recorded form for the second time (vol. 2), carrying the family’s musical lineage into the present.

Recorded as an intimate duo at Klavierhaus in New York on March 21, 2025, Dynasty pairs Fuller’s alto saxophone and voice with Royston-Fuller’s piano. The stripped-down setting draws directly from music the family played together for years alongside new compositions written in response to those formative experiences. Following their mother, Elthopia Fuller’s passing in 2022, the album also marks a personal shift: Tia’s decision to sing, bringing voice into the Fuller Sound language as a continuation of her mother’s artistry.

The material on Dynasty reflects lives shaped inside music from an early age. Shamie’s “Ode to Bach” traces a melody she first heard as a child through a playful Sesame Street ABC segment, long before she knew it was Bach — a tune that stayed with her and was often sung around the house.

“In This Quiet Place” was written for healing during troubled times, or for moments when silence itself becomes a place to escape. “Windsoar,” written years earlier, reflects the simple feeling of being able to soar through the sky — of enjoying life and freedom without complication are both compositions by Shamie.

Tia’s compositions place family directly at the center. “Dooty Baby” was written for their younger brother Ashton, a playful double meaning that nods to childhood games, sibling squabbles, and the unspoken duty to look out for one another. “Momma Said” celebrates the radiant, loving spirit of Elthopia Fuller, whose guiding words — “surround yourself with love and light” — served as a daily prayer of protection and optimism.

“Black Viking” was written after touring with pianist Leszek Możdżer and his Symphosphere Orchestra, reflecting the contrapuntal harmonies of that experience as seen through Tia’s perspective as a Black woman.

Standards appear not as repertoire choices but as inherited language. Sam River’s “Beatrice” was a favorite the sisters performed growing up as a trio with their father. Horace Silver’s “Summer in Central Park” recalls a tune Shamie loved playing with him while learning jazz, whether as a duo or with Tia.

Freddie Hubbard’s “Dear John” was a go-to melody learned sitting in at Denver’s El Chapultepec Lounge, often played over the changes to “Giant Steps.” The brief postlude “Descend to Barbados,” written while descending on a plane into Barbados, closes the album in motion.

Dynasty follows the Fuller Sound concept with greater focus and clarity. Fuller is a Grammy-nominated alto saxophonist whose album Diamond Cut earned a nomination for Best Jazz Instrumental Album and whose career spans leading roles in jazz alongside global touring with Beyoncé.

Shamie, praised by The New York Times as “a rhythmic vanguardist,” is a composer and educator whose work appears on Terri Lyne Carrington’s Grammy-winning album The New Standard and whose commissions and teaching have shaped contemporary jazz practice.

Produced by Tia and executive produced by Cory Weeds, Dynasty is not a retrospective or a memorial. It is a present-tense document — music shaped by family, shared memory, and a lifetime of making music together.

Thank you to Lydia Liebman for sharing

March 2026 will mark the release of Realms, the new album by singer, songwriter and charismatic entertainer Rachel Sutton. Rachel’s emotive and uplifting performances filled with theatrical skill, humour and heartfelt expression, have enchanted audiences at leading venues and festivals across the UK and abroad. Now Rachel presents Realms: her best work to date, which captures the magic of Rachel and her band’s live show, while adding many subtle nuances and impressive techniques as part of the recording process.

“There is a thrill involved in the discovery of an amazing artist” - CABARET SCENE

Links here

Rachel’s vocal ability has landed her roles in award winning shows at the Edinburgh and New York Fringe festivals. Her theatrical training is at the core of every song, moreover her charming flair and easy rapport with her audience has gained her a first-class reputation across both theatre and music.

Rachel’s role in Lansky: The Mob’s Money Manat The Queen Elizabeth Hall, Southbank and Cadogan Hall received widespread acclaim, with UK Jazz News calling her a “stand out performer… a revelation”. Her debut album, A Million Conversations (released on 33 Jazz Records), received rave reviews, celebrated for its personal approach which saw Rachel reach poignant levels of self-expression. Realms continues along this path of deep emotion, adding some vibrant and captivating optimism, reflecting a new stage in Rachel’s journey as an artist and performer.

Photo by John Lyons

The album is further enhanced by a dream team of players consisting of Roland Perrin on piano, Curtis Ruiz on bass and Paul Robinson on drums – all longstanding collaborators and excellent musicians in their own right, who’s synergy with Rachel’s voice creates a magnetic quality to the recording, making Realms a sublimely engaging listen.

Speaking about the new album, Rachel says: This album has been a true labour of love for me in countless ways. Realms is a world made up of many parts, drawing on stories from different moments in my life, and as a result, each piece is entirely its own. Together, they form a landscape that is cross-genre by nature—an eclectic blend of emotions, sounds, and sensations. When I write, I don’t confine myself to a genre, I like to let what feels good guide me. Every song on this album tells its own story. Drawing on my theatrical background, I’ve woven in moments of drama and humour, and I hope the result is something deeply personal yet universally resonant—something listeners can find themselves reflected in.

Realms will be launched on 10th March 2026 at at Pizza Express Jazz Club in Soho, London – don’t miss the chance to witness the magic of this project in a live setting tickets here

Thank you to Dynamic Agency for sharing with us

Rachel Sutton website click here

Award-winning jazz vocalist April Varner announces Ella, a vibrant tribute album to the First Lady of Song, Ella Fitzgerald, arriving March 20, 2026 via Cellar Music Group. The recording finds Varner reimagining Fitzgerald classics through contemporary arrangements that honor the spirit of the original performances while forging an entirely fresh artistic path.

 Buy album here on Bandcamp

Varner's connection to Fitzgerald deepened significantly in 2023 when she won the International Ella Fitzgerald Jazz Vocal Competition. "I only just started singing jazz back in 2016," Varner explains. "The first vocalist I remembered listening to was naturally the First Lady of Song, Ella Fitzgerald. Everything about her, her vibrant personality on stage, the ease in which she captured her audience's attention, and the effortless range of her voice—I knew she would be my biggest inspiration. I always knew I'd want to dedicate an album to her given all that her music has done for me in my career."

 Rather than attempting imitation, Varner captures Fitzgerald's essence while maintaining her distinctive vocal identity. The album features pianist and arranger Emmet Cohen, bassist Yasushi Nakamura, and drummer and producer Ulysses Owens Jr. on the small group tracks, with additional arrangements by trumpeter Brian Lynch for the big band selections. The ensemble also includes pianist William Hill III, trumpeters Nathaniel Williford and Michael Cruse, trombonists Jeffrey Miller and Jacob Melsha, and saxophonists Cleave Guyton and Bruce Williams.

The album opens with "A-Tisket, A-Tasket," Fitzgerald's 1938 breakthrough hit. Cohen's arrangement alternates between swing and Latin feels, with Varner offering a completely different perspective on the nursery rhyme adaptation. "A-Tisket, A-Tasket was Ella Fitzgerald's first major hit and her launch to stardom in 1938," says Varner. "I felt it was only fitting to kick off this album with this iconic tune."

Cole Porter's "I've Got You Under My Skin" showcases Lynch's tight big band arrangement with dramatic shifts between Latin and swing sections. Varner's sophisticated approach to melody and rhythm demonstrates her technical command without drawing attention to the craft itself. The album's second single, "Night and Day," strips away the brassy energy for an intimate reading of Porter's love song. "Night and Day has to be my top favorite Cole Porter composition," Varner notes. "I especially love the famous verse, and Emmet does a masterful job with the floating reharmonizations and lulling atmosphere."

According to liner notes writer Thomas Cunniffe, "This is the true mark of a great singer: the ability to sing softly while effectively communicating an intimate message." The ballad medley that follows includes "I Couldn't Sleep a Wink Last Night" (a song Fitzgerald never recorded) and "In the Wee Small Hours," with Varner's warm delivery suggesting temporary separation rather than permanent loss.

"Cheek to Cheek" highlights the musical partnership between Varner and Nakamura, whose bass work pays homage to Fitzgerald's former husband, the legendary Ray Brown. Cunniffe writes that "April and Yasushi perform like a well-prepared dance team, each one doing their best to make their partner look good."

The deceptively complex arrangement of "Mr. Paganini" draws from the multi-tempo innovations of the Boswell Sisters, early influences on Fitzgerald herself. On "Bewitched, Bothered and Bewildered," Varner takes a different approach than Fitzgerald's celebrated Rodgers and Hart Songbook version, featuring an extended spotlight for Cohen before closing with melodic variation. "Fly Me to the Moon" opens with the tender verse before settling into gentle swing, while "Undecided" concludes the album with blazing tempo and brilliant improvisations.

Varner came to jazz during her undergraduate years at Indiana University, initially training in the show choir The Singing Hoosiers before studying with noted jazz vocalists Sachal Vasandani, Tierney Sutton, and then Theo Bleckmann at the Manhattan School of Music. Her previous releases include the critically acclaimed April (2024) and Winter Songs Vol. 2 (2024), both on Cellar Music Group.

Born just one year after Fitzgerald's passing, Varner discovered the icon's expansive recorded legacy through careful study. Ella represents both a continuation of that legacy and a statement of Varner's own artistic voice. "I hope that inspiration shines through to those listening…and my twist on these timeless tunes," she says.

 Derived from Liner Notes by jazz journalist Thomas Cunniffe

 Thank you to Lydia Liebman for sharing with us

April Varner website

Vocalist and composer Aubrey Johnson crafts an experience of raw emotion and boundless artistry with her latest album: The Lively Air

Out March 20, 2026 via Greenleaf Music

Pre order here

Greenleaf Music is pleased to announce the March 20, 2026 release of The Lively Air, the second album from vocalist and composer Aubrey Johnson, featuring her six-piece jazz ensemble. An exquisitely crafted program of original arrangements and songs, the album marks Johnson's return to composing after several years focused primarily on recording and interpreting other artists’ music (notably, Lyle Mays, Billy Childs, Alex Sipiagin, Randy Napoleon, and more). The album serves as a brilliant companion to her critically hailed debut, the 2020 Outside In Music release Unraveled.

The album opens with two revelatory originals. Propelled by the elastic pulse laid down by bassist Matt Aronoff and texturally acute drummer Jay Sawyer, "Hope" is a delicately feathered but acrobatic ode to optimism in the face of tribulations. Written as part of a commission from the Portola Vineyards Summer Jazz series, it encapsulates many of Johnson's defining features as her liquid-mercury voice soars and swoops with breathtaking agility and she blends wordless vocal lines within the ensemble.

Moving into confessional mode, "The Words I Cannot Say" is a soul-bearing sojourn of emotional discovery, from wrath to rueful acceptance. Johnson wrote the piece at MacDowell and the arrangement makes brilliant use of her ensemble with Tomoko Omura's violin seeming to coax and anticipate the journey toward resolution, while Alex LoRe's bass clarinet evokes dark undercurrents of regret and dismay.

Writing for her ensemble, Johnson creates lush, shifting textural settings, favoring extended melodic lines whether she's delivering a lyric or a wordless passage. She credits a Chamber Music America-supported mentorship with pianist and composer Billy Childs with helping her hone the band's instrumental geography, creating arrangements where every instrument is calibrated around her voice.

"I like writing music that takes you on an emotional or dramatic journey, long-form pieces with an unusual number of sections or phrases," Johnson says. "I keep myself open to whatever I'm hearing, and resist the temptation to do melody-solo-melody, though of course I do that sometimes too. Alex's bass clarinet has such a beautiful, warm, round sound. I can have him doubling bass lines and low piano lines. And Tomoko can play arco or pizz, so I can almost write for two different instruments."

Omura also contributes "The Miracle Is In Us," an inventive piece that transforms text from Maggie Tokuda-Hall's children's book Love In The Library into an enthralling musical account of the author's Japanese-American grandparents falling in love while interned during World War II. Bisected by a passionate dance between Omura's violin and LoRe's flute in a long central passage, the song reaches an ecstatic plateau as Johnson's wordless vocals reach her upper register.

Aubrey Johnson photo by Lauren Desberg

Johnson's crystalline sound takes center stage with her reverent arrangement of Joni Mitchell's "Help Me," which ingeniously expands on the blueprint of the Court and Spark original. It's a performance that affirms her deep affinity for Mitchell's music (a relationship introduced with her liquid grace rendition of "Conversation" on her 2022 duo album with pianist Randy Ingram, Play Favorites). For sheer jaw-dropping fluidity, Johnson offers a joyous romp through "Chorinho," a piece written as a tribute to Brazilian composer Egberto Gismonti by her late uncle, the great keyboardist and composer Lyle Mays (1953-2020). It was conceived as an instrumental, but Mays "challenged me to learn it for some performances we did back in 2010, and it has been with me since," Johnson writes in the album's liner notes.

Kurt Elling's and bassist Rob Amster's setting for Theodore Roethke's poem "The Waking" is a duo tour de force for Johnson and Aronoff and provides fuel for its rise as a contemporary jazz standard. Her collaboration with her brother Gentry Johnson, "I'll Never Need To Know," is a strong contender for standard status itself. As part of the Portola commission she challenged herself to set someone else's text to music, and after a long fruitless search for an appropriate poem she recalled that her brother had sent her one during the Covid lockdown. "We collaborated on the first album, but that was a song we wrote years ago, so it was fun for us to work together again," she recalls. "The music was inspired a lot by Fred Hersch, a good friend and mentor whose music I've sung quite a bit."

The album closes with another gorgeous composition by Mays, "Quem é Você" (Close To Home). She had always loved the tune, but it was only after Mays was gone that Johnson discovered the song's Portuguese lyrics by Luiz Avellar, recorded by Milton Nascimento on his overlooked 1991 album O Planeta Blue na Estrada do Sol. It's a big, sublime performance by Johnson, and another compelling example of her group's powerful chemistry.

She arranged all the pieces, except Omura's "The Miracle Is In Us," but fmully credits her bandmates for their contributions. Omura and Aronoff have been part of the group since Johnson first assembled it for a residency at the lamented Cornelia Street Café. She has known Sawyer since they were undergrads together, and he took over the drum chair after the 2022 death of Jeremy Noller, to whom the album is dedicated. She knew LoRe from her graduate studies at New England Conservatory. Primarily an alto saxophonist, he stretched for the album. Pianist Chris McCarthy, who attended NEC after Johnson, rounds out the ensemble.

"The music is shaped around what they can do individually," she says. "Chris McCarthy went to NEC after me and he's brilliant. He can play anything. He had so much to add orchestrationally. Everything he plays is incredibly tasteful. I'm a pianist and I write from the piano, so finding him was a very important piece to making this happen."

As on her first album, The Lively Air was co-produced and edited by bassist Steve Rodby, who worked extensively with Mays in the Pat Metheny Group, and mixed and mastered by Rich Breen. It's the same production team she collaborated with on "Eberhard," Mays' 13-minute piece composed in homage to his mentor, the German composer and jazz bassist Eberhard Weber. Released the year after his death, the piece, which features Johnson on vocals, garnered Mays his 12th Grammy Award (for best instrumental composition).

"We're carrying forward my family legacy," Johnson says. "Lyle entrusted his estate to me and made it clear he wanted me to keep going. He was such a natural composer. He wrote all the time. It's less natural for me, but something I love. It was so cool to work with Steve and Rich again, they're the best team."

With The Lively Air, Johnson continues to define her own sonic space, a realm of startling and unapologetic beauty.

The Lively Air will be available on March 20, 2026, via Greenleaf Music.

Aubrey Johnson website click here

Thank you to Lydia Liebman Promotions for sharing with us.

Pioneering vocalist/composer/producer Claire Dickson explores new pathways of song on her adventurous third album Balance

Due March 13, 2026 on New Amsterdam Records, Balance features guest artists Zoh Amba, Lex Korten, Lesley Mok, Maya Keren, Cleek Schrey, Jon Starks, and Kitba Album release concerts at Currents Festival in Zurich, Switzerland (March 4) and Birds of Paradise Festival in Utrecht, Netherlands (March 21)

Pre order here

"A composer of enchanted, majestic soundscapes; a daring songwriter unafraid to break form, time, and harmony in pursuit of new truths; a poet full of mysterious yearning; an intensely subtle vocalist who can soar, glide, hover, shapeshift, and dive into the abyss — Claire is somehow all of these geniuses at once.” – MacArthur Fellow Vijay Iyer

Berlin-based vocalist, composer, and producer Claire Dickson, lauded for her “striking – at times, wordless – lyricism and melody-driven sound chambers within shapeshifting ambience” (DownBeat), releases Balance, due March 13, 2026 via New Amsterdam Records (digital only), showcasing the fruits of what Dickson calls “emergent songwriting,” a process where songs grow organically through her daily improvising practice. Balance follows Dickson’s 2022 debut Starland, her acclaimed 2024 second album The Beholder, and her 2025 EP Through.

How does one achieve balance in a disordered world? The songs on Balance, all written and produced by Dickson, explore this question and its themes of order and chaos as reflected in personal growth, safety, and the growing pains of living a fulfilled life. Dickson’s singular vocals are featured alongside an all-star group of forward-thinking musicians including saxophonist Zoh Amba, percussionist Lesley Mok, fiddler Cleek Schrey, harpist Kitba, pianists Lex Korten and Maya Keren, and drummer Jon Starks.

Dickson’s artistic approach embraces cultivation of all aspects of her creative process, including writing and producing her own music and using her voice as a pure instrument of expression. Whether delivering hushed lyrics, creating otherworldly sonic landscapes, or laying down riveting percussive sounds, her voice “[draws] the listener into a world complex and jostled, where everything seems possible, loaded with…fascination and mystery” (Silence and Sound).

“I've been working on this album for about three years and its creation was a very detailed, intricate, and multi-phase process,” says Dickson. “While I was making the album, this conceptualization of my process as emergent and embodied started to come together.” The resulting songs became “little homes” for Dickson’s voice and lyrics. “I would wake up at the crack of dawn and record vocals when I was in a dreamlike state,” she says. “I used airplane earbuds for tracking the vocals so I could only hear these really low-fi shapes of the music.” This process of selective hearing while tracking became the central pillar for the production and recording of Balance.

In 2024, when Dickson lived in Brooklyn, her recording was interrupted by a fire in her apartment. Much was lost, but the music was saved. Thanks to the extraordinary generosity of the Brooklyn music community, Dickson was able to finish tracking vocals at Shahzad Ismaily’s studio, Figure 8. It was then that she invited in Korten, Mok, Amba, Schrey, Kitba, Keren, and Starks. “Having the studio space gave me the option to bring in other people from my community to play on the album,” she says. “This was a really amazing opportunity for me to work with my colleagues as both a performer and a producer.”

During a marathon series of 30-minute recording slots, Dickson broke down her tracks into three categories: “bones” (rhythm and structure), “flesh” (ambient and harmonic layers), and her vocals. These were then presented to the musicians in different layered combinations with an ask for them to “be a protagonist in the music they were hearing.” Dickson later took these recordings and threaded them into the existing song worlds of Balance.

The title track boldly opens the record with large pockets of silence within the opening phrases, inspired by a technique she calls “tunneling” that she noticed while reading Clarice Lispecto’s The Passion According to G.H. The author, Dickson explains, “unpacks her sentences. She'll be describing something, then take out a magnifying glass and go way deeper into this detail of the previous sentence that you didn't even think was relevant.”

Doors the album’s first single (out Jan. 20), showcases Dickson’s one-of-a-kind vocals alongside Amba’s visceral saxophone, Mok’s subtly dynamic drumming, and Korten’s lush piano. “Sign” explores one of the record’s recurring themes, breaking out of established cycles into new spaces. Dickson calls “Waterfeel” the comfort song on the album: “It represents this safe, close, comforting feeling. That's also why it's in the middle of the album. It's protected by the other tracks.” The infinite upward spiral of “Stair” explores relationship questions through the lens of Dickson’s hyper detailed production. Small pings, string plucks, bird sounds, and melodic fragments create a tapestry for Dickson's dreamlike world building. What began as an exploration of the Velvet Hand Phenomenon (a tactile illusion where rubbing your palms across two parallel moving wires makes one feel a smooth, velvety, or even oily surface) became a platform for Dickson to express bold production choices on tracks like “Hurt Me” (the album’s second single, out Feb. 19), framed by an infectious drum groove while Dickson’s lyrical fragments explore themes of vulnerability and hurt. “Eyelid” closes the album, gathering all its themes with a knowing wink. “It is,” says Dickson, “a conclusion to all of these ideas:

being intense and vital, playing the game of life, going in circles and returning to where I found comfort before, and reaching again for that elusive ‘white hot feeling’ we all crave.”

Claire Dickson is a vocalist and producer composing emergent, embodied songs. She considers song to be an artistically flexible modality and is inspired by ancient song practices embedded in everyday life. Her work utilizes microphones, pedals, synthesizers, field recordings, acoustic instruments, and draws from lineages of improvisation, extended vocal technique, sampling, and deep listening. Her two solo albums, Starland (2022) and The Beholder (2024, New Amsterdam Records), have been praised as “enticingly atmospheric… growing in depth and substance on return visits,” by The Wire. DownBeat highlighted her “striking – at times wordless – lyricism.” Her work has also appeared in Bandcamp New & Notable, Harvard Magazine, Dummy Mag, Digital in Berlin, New Sounds (WNYC), and All Songs Considered (NPR). Her recent EP Through (2025) uses electromagnetic microphones to capture the hidden language of city electronics, weaving ATM hums, router ticks, and synthesizers into songs. As a collaborator, she co-leads the experimental songwriting duo Myrtle and is part of Lex Korten’s Canopy. Some of her recent collaborations in creative music include the Emmanuel Michael group, Careful in the Sun, Joanna Mattrey and Vinicius Cajado, and Camila Nebbia, Julius Windisch, and Elias Brown. She has performed across the U.S. and Europe, at venues including NYC Winter JazzFest, The Jazz Gallery, DC Jazz Festival, San Teodoro Jazz Festival, and KM28. Claire is a Metropolis Ensemble commissioned composer and has been recognized by the Herb Alpert Young Jazz Composer Awards. A U.S. Presidential Scholar in the Arts, Claire studied with esperanza spalding, Vijay Iyer, Yosvany Terry, and Claire Chase at Harvard (BA, Psychology and Music, 2019) and completed a Master’s in Creative Production at Catalyst Berlin in 2025.

All songs on Balance composed, produced, and sung by Claire Dickson with additional performers: Zoh Amba, tenor sax (tracks 1,2) Lesley Mok, drums (tracks 1,2) Cleek Schrey, violin (tracks 4, 5, 7) Lex Korten, piano (tracks 1, 2, 3) Maya Keren, piano (tracks 4, 5, 6, 7) Jon Starks, drums (tracks 5, 6, 7) Kitba, harp (tracks 4, 5)

Recorded by Claire Dickson with additional recording and engineering support from Figure 8 Recording and Varun Jhunjhunwalla. Mixing and mastering by Lee Meadvin. Cover photography by Aaron Eidman of an artwork by Nina Blass.

Claire Dickson – Balance New Amsterdam Records – March 13, 2026

TINA CARR Presents: MOON OVER MILDMAY Released: 6th March 2026

Moon Over Mildmay is the enchanting new album by British jazz singer Tina Carr. Though still a relative newcomer to the international scene, Tina Carr has been swiftly building a reputation as a vibrant and charismatic vocalist. Her 2023 debut album ‘Songs For Curly’ received universal praise, culminating in a sell-out headline show at London’s Hoxton Hall as part of the EFG London Jazz Festival. Having honed her craft on the live circuit, collaborating with many notable musicians, Tina now presents her best and most personal work to date.

Tina Carr is holding the torch for the great jazz vocal tradition, but also casts a unique take on proceedings with her distinctive and instantly recognisable voice. Moon Over Mildmay has everything that fans of classic jazz singers could wish for, but Tina also provides a distinctive edge, by carefully curating the material so as to perfectly suit her voice, while interpreting the repertoire in her own inimitable way.

Commenting on the album, Tina says: "I didn’t realise this when I was making the album ‘Moon Over Mildmay’, but somehow it has turned out to be a very personal piece of work. There's love, of course. But it’s also about otherness, where I am, who I’ve been - and about life still being an utter puzzle, and trying to find meaning and beauty in it all. Most of all, it’s about re-discovering my love of music, and what it means to me. After many years doing different things and being different people – and being different things to different people, I am, finally, being true to me.

Photo by Tatiana Gorilovsky

The title track has Tina’s lyrics, and is based on the instrumental theme tune ‘Love Song from Apache’. ‘The Crazy Woman’ is Tina’s musical treatment of a poem by Gwendolyn Brooks, the first African-American to win the Pulitzer Prize for poetry, while ‘Ouve o Silencio’ is a beautiful classical piano piece by the renowned Brazilian composer , conductor Claudio Santoro. It’s a short piece, part of a group of compositions “12 Preludes” that was turned into a lyrical song. But as Tina listened, she heard her own words. A plethora of magical songs continue as the album unfolds.

Joining Tina Carr on Moon Over Mildmay are Miguel Gorodi (trumpet) Oli Hayhurst (Bass) Kieran McLeod (trombone) Sam Newbould (alto-sax) Tom Ollendorf (guitar) Rod Oughton (drums) Àánú Sodipe (violin) and Matt Robinson (piano) – all respected musicians in their own right, who gel seamlessly as a unit, but also all provide their own spectacular contributions to the recording. Moon Over Mildmay is a delightful listen and an early contender for vocal jazz album of the year. For a live experience, don’t miss Tina’s album launch at The Mildmay Club on 18th February 2026. Tickets available here

Tina Carr website

Thank you to Dynamic Agency for sharing with us