We Dream is the new studio album by New York–based alto saxophonist, composer, and bandleader Lakecia Benjamin. Conceived as a deeply band-driven project, her sixth album and Artwork Records debut, out June 5, centers on Benjamin’s frequent collaborators in pianists Oscar Pérez and Miki Hayama and bassist Elias Bailey — along with new associates in trumpeter Sean Jones, and drummer Jonathan Barber — alongside an expansive cast of guest collaborators drawn from across jazz, R&B, hip-hop, and experimental music.

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“It does, as usual, have some of my guest flair,” Benjamin explains. “But this time, it’s for a different purpose.” Following the arc of 2023’s Phoenix and 2025’s Grammy-nominated, standalone single “Noble Rise,” We Dream reflects what Benjamin describes as a shift in perspective — a response to the present moment and the world around her. “It felt like that story couldn’t go all the way, given the state of the world,” she says. “So I started thinking about the idea of being a bright light in a dark space. Things feel really dark right now — everywhere — and we’re trying to be that light.”

Rather than assembling guests for ornamentation, Benjamin approached the project as a collective statement, bringing together artists she admires for their capacity to evolve, innovate, and reshape musical language. Her self-described team of “Avengers” includes trumpeters Terence Blanchard and Chief Xian aTunde Adjuah; saxophonist Chris Potter; drummer Jeff “Tain” Watts; pianist Hiromi; the Roots’ Black Thought; vocalists Bilal and Tiaranna “Tank” Ball of Tank and the Bangas; and drummer and producer Kassa Overall.

When describing her collaborators, Benjamin emphasizes that they are not bound by genre, pointing instead to artists who have reshaped music through sound, presentation, and the spaces in which it can exist.

We Dream arrives after a period of heightened visibility for Benjamin. After years working with artists including Stevie Wonder, Alicia Keys, Prince, Missy Elliott, Anita Baker, Gregory Porter, Kool & the Gang, and The Roots, she redefined her artistic direction with 2020’s Pursuance: The Coltranes, a guest-driven project honoring John and Alice Coltrane as parallel creative forces. Released during the pandemic, the album marked a turning point — reconnecting Benjamin’s work to lineage, spirituality, and personal responsibility during a moment of global pause.

She followed Pursuance with Phoenix, recorded after surviving a near-fatal car accident. The album proved a breakthrough, earning multiple Grammy nominations — including Best Jazz Instrumental Performance, Best Instrumental Composition (“Amerikkan Skin”), and Best Jazz Performance (“Basquiat”) — and expanding both the scale and audience for her work.

Phoenix’s sister album, Phoenix Reimagined (Live) — announced on national TV by Stephen Colbert while she sat in with the Late Show Band — was nominated for Best Jazz Instrumental Album and Best Jazz Performance. At the forthcoming 2026 ceremony, Benjamin is nominated for Best Jazz Performance for the standalone single “Noble Rise,” featuring fellow alto saxophonist Immanuel Wilkins.

Musically, We Dream unfolds as a cinematic, poem-driven journey. The album opens with the mesmerizing, tenacious spoken word piece “First Light.” This segues into  “Beyond the Dawn,” featuring Terence Blanchard alongside Sean Jones, Barber’s mallet work, and a spoken-word invocation by Benjamin that sets the album’s tone — part meditation, part reckoning. The music then surges forward, channeling intensity, propulsion, and forward motion.

Throughout the record, Benjamin blends spoken word, groove-based writing, and high-energy improvisation. “My Only,” featuring Jones, explores isolation and endurance. “Mi Gente,” with Chief Xian aTunde Adjuah, centers community and cultural exchange, grounded in rhythm and collective movement.

“Dream Breaker,” featuring Watts, Potter, and Jones, pushes the music into a more combustible space, while “Flamekeeper,” with Hiromi and Potter, accelerates through force, volume, and extended exchange — reflecting Benjamin’s admiration for artists “who are not standing still, who are pushing forward, who are innovating.”

The album’s title track, “We Dream,” features spoken word and vocals by Tiaranna “Tank” Ball, whose narrative presence shapes the composition’s emotional arc. Later, “Right Now” brings together Bilal and Kassa Overall in what Benjamin describes as the record’s dramatic peak, where lyric, rhythm, and improvisation converge. The closing track, “New World,” offers a quieter resolution — a glimpse of the light Benjamin set out to find.

Across We Dream, Benjamin situates jazz within a broader cultural landscape, reflecting her growing presence at festivals where jazz shares the stage with DJs, reggae acts, and genre-defying artists. But genre aside, it stands as a bold, intentional artistic statement — one that insists on forward motion, collective imagination, and the power of sound to illuminate even the darkest spaces.

 Lakecia Benjamin website

Thank you to Lydia Liebman for sharing with us

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

Thank you to Jazz Promo Services for sharing with us

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

We are delighted to announce the upcoming album from Finnish vocalist and composer Selma Savolainen. The album will be released worldwide may 15, 2026, her second release with Whirlwind Recordings.

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One of the challenges facing the contemporary artist is how to negotiate a balance between an outward facing engagement with the wider world and an inward looking focus on a private inner realm. It’s exactly this tension that gives such energy and depth to in the shade, the stunning second album from Finnish singer/composer Selma Savolainen. “The title came from a day when I was trying to write in a sun-lit apartment in Paris. I felt like the sun was sort of like checking on me every day. Like are you doing the job? Are you busy? And I felt that I was taking part in a conversation between inside and outside.” Selma’s powerful voice and her adventurous musicality are the driving forces behind a mesmerizing set of songs that are rooted in contemporary jazz but use a sound-world that ranges far beyond, bringing in influences from the adventurous edges of post-rock and beyond. Selma’s lyrics explore powerful themes of identity, belonging and personal agency, with her clear-toned, expressive voice leading the way, ranging from intimate whisper to searing emotional outpouring.

Each song is brought vividly to life by the extraordinary creativity of her band. Trumpeter Tomi Nikku and multi-reed specialist Max Zenger provide textural backing and melodic improvisation: Toomas Keski-Säntti deploys a range of different keyboards to expand the vocabulary: the bass and drum team of Eero Tikkanen and Okko Saastamoinen expertly control the dynamics. The sense of fellowship between the players – all long-time friends as well as bandmates – adds a feeling of playful spontaneity that lightens the mood even in the music’s darkest moments.

Each song deals with a very different situation, yet themes of identity and belonging thread through them all. ‘Last Summer’ uses a snarling, heavily distorted Wurlitzer and insistent groove to tell a story of responsibilities and missed opportunities that morphs unexpectedly into a heavy, Radiohead-style coda. Selma’s own mother is the subject of the eerily poised, calmly reflective ‘Your Eyes’ which builds into a stunning trumpet solo from Tomi Nikku. “Tomi has such a wonderful clear sound, and he’s just the sweetest guy, and him and Max have this deep, intuitive relationship when they play together.” The album’s centerpiece is the epic 10-minute magnum opus of ‘Lamb’ that moves though a range of moods and textures to deliver Selma’s heartfelt meditations contrasting the innocence of childhood contrasted with the dangers of different forms of fanaticism.

By contrast, ‘Angry Man’ uses a portentous, urgent groove to tell a story of the way public and private interactions spill over in the age of social media, opening out into a free-ranging keyboard solo from Toomas Keski-Säntti that recalls The Doors at their most compelling. Selma herself plays piano on the hushed, intense ballad ‘House’, spelling out further meditations on the mother-child relationship, that merges into the quirky ‘Lie’ with its entirely original mix of jazz inflections and Kate Bush inspired theatrics . Finally, the title track ‘In The Shade’ moves at stately pace from the opening vocal and bass duet through intricate horn parts and some mesmerizing improvisations from all the participants.

‘in the shade’ is the work of an artist fearlessly moving forward, developing her own unique voice, unafraid to tackle serious themes and creating adventurous, ambitious musical settings in which to explore them. At the same time, the deep friendship and trust between all the players comes across in the audible excitement and playfulness of the performances, creating an interplay of light and shade that captures the attention at every moment.

Thank you to Whirlwind Recordings for sharing with us

Selma website click here

Whirlwind Recordings 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.

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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