Singer-trumpeter Christine Fawson performs 11 of her favorite jazz standards in fresh and lively versions on It Could Happen To You, released on June 1st. Available here

Her fifth album teams the skilled artist with a top-notch rhythm section for consistently infectious performances. A delightful entertainer who is equally skilled as a jazz singer and trumpeter, Christine Fawson is heard in spirited form throughout her fifth album as a leader, It Could Happen To You.

She is joined by a top-notch rhythm section from New England consisting of pianist Tim Ray, bassist Dave Zinno, and drummer Casey Scheuerell. With Ms. Fawson, Ray, and producer Brad Hatfield supplying the arrangements, the quartet’s versions of standards are filled with subtle surprises, a few unexpected twists and turns, and creative playing.

The first selection on this set, “It Could Happen To You,” has an opening statement by Christine Fawson on trumpet, a bit of her warm singing, and piano, trumpet and bass solos that help to introduce the impressive group. “It’s Alright With Me” features fetching vocalizing and some particularly soulful trumpet playing while Christine sounds quite assertive on “Lazybones.” Irving Berlin’s heartbreaking ballad “What’ll I Do” is a duet with pianist Ray whose atmospheric patterns provide a perfect accompaniment to her quietly emotional singing.

Other selections include a joyful rendition of “My Heart Stood Still,” “Like Someone In Love” which benefits from an unexpected rhythm and an extended trumpet/piano tradeoff, and an inventive arrangement by Tim Ray on “You Don’t Know What Love Is” that will keep listeners guessing. The latter is quite a tour-de-force for Christine. It Could Happen To You concludes with “You’ve Changed” (which has Christine singing the rarely-heard verse), a swinging “I Was Doing Alright,” an uptempo “Oh, Lady Be Good” that at one point has the leader trading off with herself on trumpet and scat-filled singing, and a heartfelt rendition of Cole Porter’s classic “Every Time We Say Goodbye.”

Christine Fawson, who is originally from Ukiah, California, early in life sang with her family in church where she had opportunities to perform solos. In middle school she took up the trumpet and developed very quickly, soon playing first chair with her school band. She studied trumpet at BYU-Hawaii and the Berklee College of Music. Christine taught at Berklee for 14 years until 2017 as a professor of Brass, Ear Training, Harmony, Voice, Performance Studies, and Ensemble. At the same time, she was a member of the vocal jazz ensemble Syncopation during 2002–12 (including making three recordings with the group) and was with Sherrie Maricle’s DIVA Orchestra during 2004-09. While she continues to teach privately, Christine has worked as a side person with many bands. She was a finalist in the Sarah Vaughan International Jazz Vocal Competition Finalist in 2017 and 2019 and regularly leads her own quartet. Prior to the new project, she had recorded four albums as a leader: Happy Talk, My Side (which features her originals), Here Now, and Christine Fawson Sings Jazz.

The release of It Could Happen To You features Christine Fawson in prime form as a jazz singer and trumpeter and is a major accomplishment in her career.

Christine Fawson website click here

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Heidi Martin is proud to present Attunement: Her latest album due to be released 26th May 2026.

Having completed two years of research at Rutgers University (2023-2024) on the Estate of American jazz vocalist, songwriter, actress and civil rights activist Abbey Lincoln, Heidi Martin was subsequently awarded the 2024 Berger-Carter Berger Fellowship from Rutgers Dana Library Jazz Studies Department. During this time, Heidi reached out to bassist Michael Bowie and pianist Mark Cary, who both played with Abbey Lincoln for over a decade.

Originally Heidi reached out to Michael and Marc to see if they could share stories while she was studying Abbey’s journals in chronological order. Inspired by their recollections, the in depth research of Abbey’s personal journals, and her own alignment with Abbey’s philosophy and spirit, Heidi began composing a poetic tribute beyond the traditional tributes to monuments in the music. She wondered, could compositions be channelled through this energy as a tribute to Abbey Lincoln (Aminata Moseka), but not in the traditional sense of “tribute album”? As songs were emerging, Heidi brought them to Michael Bowie who became her MD, both working on them for several months, eventually resulting in the studio recording that is Attunement. With Marc Cary on piano, Michael Bowie on bass Eric Kennedy on drums and features from Elijah Easton on tenor saxophone and Ethan Bailey Gould on guitar, the group became the perfect ensemble to enhance Heidi’s work and to reflect the true nature of Heidi’s inspiration and ‘attunement’ from her studies.

Having performed at a whole range of legendary venues and festivals throughout the USA. Her previous album ‘Gifts & Sacrifices’ gaining widespread positive attention, Heidi brings her unique singer-songwriter perspective to Attunement, combining folk influence with jazz sensibility to produce her very best work to date.

Heidi Martin is an award-winning vocalist and composer. She is the recipient of
Chamber Music America "Jazz Works" commission 2023, South Arts Touring Grant 2022, Rutgers University Fellowship (2024) to research the Abbey Lincoln Estate in the Dana Library of Jazz Studies and MOCO Arts and Humanities Grant to record the music she composed during extensive 2 year research. ATTUNEMENT is her lastest recording (2026) with Marc Cary, Michael Bowie and Eric Kennedy. She brings to DC Jazz Festival Education; her commitment to creativity and success nurturing young learners. Martin develops quality music education programs and experiences for schools and organizations across the DC area. Deeply rooted in the District’s creative community, she exudes patience, warmth and enthusiasm in her work to continue the rich legacy of jazz, especially our earliest Prek3-4 learners.

Martin was a vocal music major in the University of District of Columbia’s jazz studies program. A finalist in the London International Vocalist Competition, is a sought-after teaching artist who has written, directed and produced music programs for DC Public Schools and Montgomery County Public Schools. Martin is certified by the DC Office of the State Superintendent of Education to teach pre-K-12th grade music, and is certified by the State of Maryland. Heidi was a contributing composer for the PBS documentary “Revolution ’67.” She has performed nationally at the Winter JazzFest, Black ArtsFest, NOMA Fest, Mad JazzFest, Pori JazzFest, Tatmine Cultural Arts Concert (Morocco) and DC JazzFest!

“A breezy stroll through the Civil Rights movement at a level deeper than the mere political. Martin has a vision—oneness with all—and she promotes it with her lyrics. She cuts to the chase with little conversation, more Hemingway than Faulkner. But there's stlll a distinct Southern vernacular in her words.” All About Jazz

"Heidi brings a singer-songwriter perspective, applies that folk influence from the 60’s, to a whole different genre of music…” ~ George Burton

“Soaring soulful riffs…a wonderful experience for the listener!” Vanessa Rubin

Thank you to Dynamic Agency for sharing with us

Heidi Martin website click here

British saxophonist, composer, and bandleader Hannah Horton presents: Stories On The Wind

Release date: May 22nd

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“Rising sax star Hannah Horton…..there’s bold and gritty playing, on both baritone and tenor sax…. – JazzWise

“Hannah is real. She is authentic. She is an artist who draws you in, engages you, inspires you and captivates you” - Jazz In Europe

British saxophonist, composer, and bandleader Hannah Horton is carving out a distinctive place on the UK jazz scene. An Official Selmer Artist and award-winning musician, she trained at the prestigious Junior Guildhall School of Music and Trinity College of Music, drawing inspiration from jazz luminaries like Mark Lockheart, Tim Garland, and Paul Bartholomew. Alongside her own career, Hannah champions the next generation of talent through ‘J Steps,’ a program supporting young musicians under 18 who identify as female or non-binary, tackling the historic gender imbalance in jazz.

Widely recognised for her dedication to honouring the legacy of legendary tenor saxophonist Dexter Gordon. She regularly performs Gordon’s repertoire so much so her work has earned the admiration of Gordon’s widow, Maxine Gordon, who wrote the liner notes for Horton’s upcoming album, Stories On The Wind.

"The first time I heard Hannah Horton I was reminded of something I learned from Dexter Gordon. When he encountered a musician he had never heard before, anywhere in the world we travelled, he would listen, quietly, with his eyes closed. Then he would turn to me and say, “That’s the real sound. Real music. A real musician.” And then he would smile and nod his head to the music.That was my experience when I first heard Hannah Horton at The Jazz Café – Maxine Gordon

Renowned for her emotional depth, lyrical melodies, and compelling storytelling, Hannah delivers a powerful, expressive sound across both tenor and baritone saxophones. Her forthcoming third studio album, Stories on the Wind is her most personal and ambitious project to date. Evocative and timeless, the music explores themes of memory, longing and the subtle traces of belonging that shape our lives. The album unfolds as a rich, immersive soundscape, spacious and open to interpretation, yet firmly grounded in rhythm, where soaring melodies intertwine with compelling grooves.

Recorded at Red Kite Studio with renowned engineer and producer Martin Levan (Barbara Thompson, June Tabor, Andrew Lloyd Webber, Neil Ardley), the album captures a warmth and depth of sound that perfectly reflects Hannah’s artistic vision. Her band consists of Sam Leak (piano and organ), Rob Statham (electric bass), and Steve Taylor (drums and percussion) , brings additional colour and momentum, forming a dynamic backdrop for Hannah’s expressive saxophone lines. Recent highlights include a headline performance at the EFG London Jazz Festival**,** further cementing her reputation as a compelling live performer.

The album opens with‘Out of the Shadows’, a deeply personal composition inspired by moments when life veers off course. The piece captures that quiet, internal stirring, a sense that change is coming, and that, in time, everything will find its place.

‘Whisper’ is a lyrical baritone-led ballad dedicated to Hannah’s partner, Nick. Written in gratitude for his unwavering support during some of her most challenging times, including the loss of her father. The piece reflects intimacy, resilience and enduring connection. Having met just before lockdown, the two have been together ever since, a bond echoed in the tenderness of the music.

‘Alone’ reflects the solitude that often accompanies life as an independent artist, bandleader, booker, promoter, administrator, and everything in between. While the journey can be lonely at times, the music ultimately moves toward calm and acceptance. Its dreamy, floating ending captures a moment of release: a quiet peace found when the weight begins to lift, and letting go becomes possible.

The album ends on ‘Remembering Mr Gone’, written in response to the passing of Wayne Shorter , known as “Mr Gone”.

“This piece is shaped by the sound world I have always associated with him, particularly the colour and resonance of major seventh chords. While a full quartet version was recorded, an unplanned moment in the studio led to something more intimate. “One morning, instinct took over and we captured a stripped-back take, just baritone saxophone and piano, no rehearsal, no headphones, early in the day. When the final notes faded, there were tears in the control room, including my own”- explains Hannah.

The piece became more than a tribute to Wayne Shorter; it also transformed into a quiet act of remembrance for her father.

Being a female instrumentalist in the jazz world has never been easy, finding your voice in a historically male-dominated space demands resilience and resolve. Stories on the Wind is Hannah’s most personal statement to date: a reflection of where she stands now, both as an artist and as a person. Each composition began as a feeling, a fleeting moment, or a lived story, echoes of childhood, love and loss, hope, and the quiet strength that comes from forging your own path and finally being heard.

Hannah Horton Website click here

Empire Child is the new musical project of Ruth Rothwell, slated for release 15th May 2026

Empire Child is a singer songwriter from London, a child of the Empire. Born and raised in London by parents from Jamaica and South Africa, the Empire Child links the continents of Asia, Africa, Europe and the Americas and tells the story of navigating life's unpredictable journey.

THIS IS A DIGITAL ONLY RELEASE. Available here

Having spent decades shaping music culture from the inside out, Ruth—formerly a senior A&R manager at MCA/Universal—played a defining role in the UK’s 90s dance boom, working across BCM Records and later MCA Publishing, where she helped develop artists including Zero 7, Basement Jaxx and Air, while also nurturing key songwriters behind era-defining hits such as Kylie Minogue’s “Can’t Get You Out of My Head” and Adele’s “Chasing Pavements.” Despite that success, songwriting remained her constant pull. “Songwriting is really my calling and I could no longer ignore that fact,” she says. That instinct now takes centre stage with Empire Child, her most personal body of work to date.

The forthcoming album, produced by Madrid-based jazz professor and producer Mariano Diaz, is rooted in Ruth’s own story, shaped by her upbringing in London and her mixed heritage. Blending jazz, soul, singer-songwriter intimacy and subtle reggae influences, the record explores identity, resilience and self-belief, with themes of letting go of the past and finding the courage to move forward. “The music represents my culture growing up in London,” Ruth explains. “Music will always bring us back together.”

Written between London and Spain, the album unfolds as a reflection on lived experience, from heritage and migration to healing and growth. “Music is my sanctuary, a way to deal with life on life’s terms,” Ruth says. With Empire Child, she steps forward not as the architect behind other artists’ success, but with a voice and story entirely her own.

Empire Child website here

Thank you to Jazz Promo Services for sharing with us

French-Italian pianist and composer Milena Granci introduces To Some Place New (May 14th, 2026), a striking debut that blends contemporary jazz with folk lyricism and cinematic atmosphere. Based in London, Granci leads a six-piece ensemble whose music unfolds like a journey - built on flowing melodies, layered harmonies and an expansive, emotionally rich sound world.

At the heart of the project is Granci’s desire to move beyond traditional jazz structures, allowing the music to evolve continuously rather than return to fixed forms. “I wanted the music to feel as close to ‘through-composed’ as possible - with minimal repetition,” she says. “When ideas return, they come back transformed, like a story unfolding.” The album’s title track, To Some Place New, reflects that idea directly: music that gradually shifts from introspection and melancholy toward a sense of quiet hope, unfolding layer by layer as the narrative moves forward.

A formative influence on Granci’s approach has been composer and bandleader Maria Schneider, whose expansive writing first inspired her during her conservatoire studies. “Maria Schneider’s compositions opened my ears to a completely different way of developing music.” Another personal influence appears in Remembering John, dedicated to the late pianist John Taylor, whose work Granci studied closely while writing a thesis. The project brings together musicians Granci met while studying at the Guildhall School of Music & Drama: vocalist Aitzi Cofre Real, alto saxophonist Harry Toulson, accordionist James Pettinger, bassist Ali Watson and drummer Ollie Peszynski. Their interplay helps shape the album’s distinctive palette, where improvisation meets carefully crafted composition. Wordless vocals play a central role in the music’s atmosphere, enabling listeners to impart their own stories and feelings to the music.

With To Some Place New, Granci introduces a distinctive compositional voice shaped by storytelling, collaboration and a rich array of influences. The album marks the arrival of a thoughtful new artist on the London jazz scene - one whose music balances a deeply personal writing style with the openness and imagination of improvisation.

Milena Granci | Piano, Compositions Aitzi Cofre Real | Vocals Harry Toulson | Alto Saxophone James Pettinger | Accordion Ali Watson | Double Bass Ollie Peszynski | Drums

All compositions by Milena Granci

Background info / Liner Notes: Recorded by Nick Taylor at Porcupine Studio London May 2024 Mixing and Mastering: Alex Killpartrick Photography: Camille Lemoine Graphic Design: Giulia Cavallini

Supported by Help Musicians

Thank you to Jazz Fuel for sharing with us

The Julia Keefe Indigenous Big Band (JKIBB) – one of the only jazz big bands in the world comprised exclusively of Native and Indigenous people – is releasing its debut album, Incarnadine, on May 8, 2026. Led by celebrated vocalist Julie Keefe (Nez Perce), Incarnadine brings together a 16-piece ensemble to celebrate a largely unrecognized lineage of Indigenous artists in jazz, while presenting new compositions rooted in tribal histories and storytelling. Following extensive touring at major performing arts centers and jazz clubs across the country, Incarnadine offers the ensemble's first recorded statement.

 Pre order here

On Incarnadine, celebrated vocalist Julia Keefe (Nez Perce) leads her all-star Indigenous Big Band featuring pianist Marc Cary (Wampanoag), trumpeter Delbert Anderson (Diné), bassist Mali Obomsawin (Abanaki of Odanak), trombonist Quinn Carson (Apache/Kiowa), drummer Edward Littlefield (Lingít), and many more. “We are not culturally monolithic,” said Keefe. “We each bring with us the cultural practices of our ancestors and many of our compositions are derived from traditional melodies and stories. With Incarnadine, we dive deeper into improvisatory music from the Indigenous perspective.”

Reflecting on the album’s title, Keefe mused that “while a word from Shakespeare’s Macbeth might not immediately bring “Indigenous jazz” to mind, ‘incarnadine’ means to redden. I think in many ways, the word encapsulates the goals of this band and this album. We are shining a light on history which is fraught with bloodshed and trauma, but also celebrating the brilliance and resilience of Indigenous people who survived and thrived through the beauty of their culture, prayers, and songs. We are broadening the scope of the listener’s understanding of jazz to include Native and Indigenous jazz musicians. Some people say, ‘decolonize your mind’ and I say, ‘incarnadine your mind.”

The album features music made famous by Indigenous jazz musicians from the Twentieth Century such as Mildred Bailey (Coeur d’Alene) and Jim Pepper (Kaw/Mvskoke) but also amplifies new works from musicians within the band’s ranks. Mali Obomsawin’s “Wawasint8da” is a haunting exploration of a Catholic hymn that was translated into the Abanaki language by an early French Jesuit missionary. DDAT Suite by Delbert Anderson pays homage to his tribal lands, commemorates Diné code talkers, and tells the story of an overnight train ride from Gallup, NM to Los Angeles. Keefe’s composition “Sonnet” was inspired by the poetry of Chilean poet Pablo Neruda. To quote the late Jim Pepper, “you can’t generalize about Indian music, it’s too diverse.”

“Incarnadine is musical commentary on our Indigeneity and resilience against the generational impacts of colonial powers upon the indigenous peoples of the Americas,” Keefe said. “Incarnadine offers musical history, protest, and celebration all wrapped up in one album.”

Incarnadine was recorded through the support of The Prior Performing Arts Center at the College of the Holy Cross.

About Julia Keefe:

Heralded by the New York Times as "a songbird of a jazz vocalist," Julia Keefe is an internationally acclaimed Native American singer, actor, educator, and director of the Julia Keefe Indigenous Big Band, her flagship project celebrating the diversity and vitality of Indigenous people in jazz. Her professional career has spanned over two decades, and she has headlined marquee events at the John F. Kennedy Center, the Smithsonian Museum in Washington D.C., as well as opened for the likes of 20-time GRAMMY Award winner Tony Bennett and 5-time GRAMMY Award winner Esperanza Spalding. Her life’s work is the revival and honoring of legendary Coeur d’Alene jazz musician Mildred Bailey. Julia earned her bachelor's and master's degrees in jazz vocal performance from the University of Miami and Manhattan School of Music respectively, and currently resides in Brooklyn, NY.

 Julia Keefe website

Thank you to Lydia Liebman for sharing with us