I STILL RISE, the title of the newest album by LISA RICH, came to her during a time of national protest. Unable to march with the crowds, she did what she has always done: she sang. She sat down and wrote a poem, then took it to the piano and set it to a minor blues — “How Can We Sing About Freedom?” — a song of resilience, her way of speaking through music to a troubled world.

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Rich continued her recording comeback in 2024 with Long As You’re Living, which JW Vibe praised as “exquisite, exciting, and surprise-filled…her eclectic set finds her in giddy, happy-to-be-alive mode from the start, infusing the cheery, life-affirming title track with her wild and witty phrasing and whimsical, multi-octave scatting.” The album reached #51 on the JazzWeek chart and marked her first release since Highwire, which was recorded in 1987 and released in 2019 as the beginning of her comeback. Earlier in her career, Rich recorded two other acclaimed albums: Touch of the Rare (1985) with the Clare Fischer Quartet and Listen Here (1983).

Before stepping away from the stage, Rich’s career was flourishing. She performed historic concerts in China, sang in India, appeared at the Kennedy Center, served as an artist-in-residence at the Smithsonian Institution, and was frequently heard on NPR and Voice of America. When performing became impossible, she turned her focus to teaching and became a respected and influential voice teacher in Washington, D.C.

Rich credits her return to singing to the unwavering support of her close friend, the late jazz vocalist and master teacher Jay Clayton. During the pandemic, Rich began taking online lessons with Clayton twice a week. “She told me that if I could picture myself clearly and in detail accomplishing my dream, it would come true,” Rich says. “And it did.” Clayton traveled to Washington, D.C. to produce Long As You’re Living. Rich brought in Marc Copland and Drew Gress, friends from New York she has known for many years, while Clayton introduced her to trumpeter Dave Ballou. Clayton passed away in December 2023; Long As You’re Living is dedicated to her memory.

For I STILL RISE, Rich reunites with the same band from Long As You’re Living. She has known pianist MARC COPLAND since 1978; the prolific artist has recorded more than three dozen albums as a leader and appeared on many more as a sideman. She has known bassist DREW GRESS for over 40 years; one of New York’s most celebrated bassists, he has performed across Europe, Asia, and North and South America, and can be heard on recordings with Fred Hersch, Tim Berne, Dave Douglas, and Marc Copland, among many others. Trumpeter DAVE BALLOU has performed with jazz luminaries including Sheila Jordan, Dave Liebman, Joe Lovano, and Maria Schneider. He also worked closely with the late Gunther Schuller and was a featured soloist for the world premiere of Schuller’s Encounters.

Rich wanted to explore a different sonic palette — one without drums. “I liked the idea of creating more space for my voice and for the intimate interaction it allows with the other musicians.”

Rich’s warm, syrupy tone, hip phrasing, and tasteful, unforced scatting shine throughout the album. The group’s inspired interplay reflects decades of friendship and shared musical language. Rich selected the songs, but what unfolded in the studio was largely spontaneous — the introductions, the improvisations, and even the endings were created entirely in the moment. The entire album was recorded in just two days.

The tone is set immediately with the opening track, an unplanned and unrehearsed vocal-bass duet on “No Moon at All.” Rich simply pulled out the sheet music in the studio, and she and Gress began improvising. Rich and Copland bring a plaintive tenderness to Bill Evans’ “The Two Lonely People.” Next, Rich performs Jay Clayton’s instrumental “Beginner” as both the introduction and closing of her own “How Can We Sing About Freedom?” — a tribute to Clayton’s enduring influence as her mentor and beloved friend.

Rich sings “Estate” — Italian for “summer,” a heartbreaking song of longing and loss — in the original Italian. On Paul Desmond’s “Take Five” — the best-selling jazz single of all time — Rich offers a fresh, effervescent interpretation highlighted by joyful scatting. After hearing Rich’s recording of Denny Zeitlin’s “Quiet Now,” the composer wrote: “Wow, you are a helluva singer. I love your version of ‘Quiet Now.’ I love the timbre of your voice, your phrasing, the level of relaxation, the confidence, the way you inhabit the lyrics.” Kitty Margolis contributed lyrics to Wayne Shorter’s “Footprints,” retitled “Ancient Footprints,” with Ballou adding soulful, harmonizing trumpet lines.

Rich first performed “Like Someone in Love” with the Clare Fischer band, the Baltimore Symphony, and in China — but it took decades before the song finally found its place on a record. Ballou contributes a beautifully shaped solo on “Never Let Me Go,” which Rich delivers with heartfelt clarity. She closes the album with Thelonious Monk’s “It’s Over Now (Well, You Needn’t),” featuring her percussive scatting and Ballou’s deft muted trumpet.

Writing in Paris-Move, Thierry De Clemensat — who has followed Rich’s music since the 1980s — finds in the album “something increasingly rare: music that does not demand to be heard but quietly insists on being felt.” Author and lyricist Tony Cohan, known for his work with Chick Corea, says it simply: “This album doesn’t just sing about freedom. It exemplifies it.”

Lisa Rich website click here

Thank you to Mouthpiece Music for sharing with us

GRAMMY-nominated ensemble Terri Lyne Carrington + Social Science released a powerful pair of new singles that tackle systemic change in honor of Juneteenth, which has been celebrated since the 1800s by African Americans across the country to commemorate the end of slavery. From the forthcoming album Trip the Night Fantastic (out July 31 via Candid Records), “Abolition Song” and “Solidarity Song” are out now

Featuring renowned civil rights activist Angela Y. Davis, emcee Kassa Overall, and vocalist Debo Ray, “Abolition Song” draws on Fannie Lou Hamer’s wisdom to advocate for transformative justice and her potent phrase: “Nobody’s free until everybody is free.” It is paired with “Solidarity Song,” a satirical, country blues track featuring legendary R&B singer Miki Howard, who plays the Black woman who “Ain’t takin’ no mess” from the white guy – GRAMMY-nominated jazz musician Larry Goldings – who’s "protecting” what’s “his.” Together, these tracks explore the prison-industrial complex and partisan division, using provocative lyrics and sophisticated grooves to champion collective liberation.

The moodier “Solidarity Song” is a brilliant parody of the “left” and “right” of America, who in the end come together, ultimately realizing that they have a shared enemy. “They realize that their differences can be exploited to keep them fighting against each other and distracted from the common forces of oppression,” shares Carrington. “The song, which also features guitarist Marc Ribot, seeks to enlighten both “sides” to the fact that we’re stronger together.”

In an exclusive with FLOOD, Carrington explains, “Both ‘Solidarity Song’ and ‘Abolition Song‘ speak to the spirit of Juneteenth and the struggle for justice in America. ‘Solidarity Song,’ written by Matthew Stevens and myself, is a parody that sketches the interaction between two people of opposing views that starts off rocky, but ends well with an understanding that they have more in common than they thought and that ‘the system’ doesn’t really care about either of them. This is where we are now in our current political landscape. Understanding the struggle of others requires empathy, courage, and curiosity. Forces of division and distraction will always be present for fear of a solid unification of the working class.”

“And ‘Abolition Song,’” she continues, “is like an intro to the idea of rejecting the punitive justice system and replacing it with ideas of how to care for everyone so that this system becomes obsolete. The U.S. holds a disproportionate percentage of the world's prison population, disproportionately impacting low-income communities and people of color. The song asks, ‘Where is the love?’ When America decides to take care of all of its people, and rejects greed and hatred, the for-profit prison system will fall, allowing the focus to be on human dignity, transformative justice and systemic change.”

Miki Howard adds, “What a great pleasure it was to work with the legendary Terri Lyne Carrington in the studio on ‘Solidarity Song.’ Terri creates purposeful music. Music that not only inspires but documents the times. Music that will last forever. I’m impressed with the endless passion Terri brings to each song, the respect for the songs’ needs, abandoning the complaints of ‘critics’ or conventional restraints or commercialism. To serve the song is the goal. I know ‘Solidarity Song’ will be a timely offering and will inspire more love. Thank you Terri for sharing your love.”

More info on Trip The Night Fantastic here

Pre order Trip The Night Fantastic here

Elsa Nilsson’s Band of Pulses Channels Change on New Album Liminal, out June 12 via Adhyâropa Records

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Flutist and composer Elsa Nilsson explores the "in-between" on Liminal, her new album with Band of Pulses, releasing on June 12 via Adhyâropa Records. Nilsson's 15th release as a leader and fourth with Band of Pulses, Liminal features adventurous and singular flutist Nilsson alongside pianist Santiago Leibson, bassist Marty Kenney and drummer Rodrigo Recabarren for an eight-part exploration that examines decision-making through the internal processes and actions that shape life-altering choices, both personal and collective.

"Liminality has been at the front of my mind recently," Nilsson states. "I've become fascinated with the in-betweens." The in-betweens — those transitional or initial stages of a process — serve as the inspiration behind the Brooklyn-based musician's most personal album yet. Composed entirely by Nilsson, each piece reflects a distinct phase within the cognitive process of navigating a significant turning point. Central to Liminal is Nilsson's observation that the mechanisms behind major life decisions operate the same way at both the personal and societal level: "I find it interesting how the mechanisms of making big, life-changing decisions are the same on both the micro and macro level of the human experience." Just as the Fibonacci sequence appears across nature, the internal processes Nilsson observed in herself mirror those she sees in the broader currents of social and political life.

Nilsson looked inward on Liminal, creating it during an eventful time personally, including the dissolution of a long-term relationship. The music reaches outward from that experience, connecting personal upheaval to the collective disillusionment of the times. "Music captures what it feels like to be alive in the moment when it is created, both on the personal and the societal level," she explains. The resulting eight tracks form an artful exploration of complex emotional terrain that is at once intimate and universal.

Across Liminal, each composition represents a distinct stage within a broader process of transformation. The album opens with "Andetag" (Swedish for "breath"), a meditation on gathering strength before confronting something difficult. Whether that hard thing is a personal truth or a larger social reality, Nilsson frames the breath as an act of preparation, the inhale of spirit required before any meaningful change can begin. Drawing from chemistry, "‡ Transition State" captures the suspended, high-energy moment before irreversible change, where doubt and momentum coexist. As Nilsson notes, these transition states exist in political and social life too: the interval between an election and an inauguration, or the time between a decision and its execution, are spaces where something significant is clearly happening, but its meaning only becomes legible in hindsight.

"Not Said, Not Heard" reflects the internal pressure of attempting to normalize the unlivable, tracing the psychological strain of cognitive dissonance as it accumulates and reshapes one's inner and outer world. Like a wave hitting a rocky beach, the flashpoints that expose this tension cover everything momentarily before sinking into consciousness, eventually forcing a reckoning with a new reality. That tension gives way to "Capacity," which oscillates between periods of perceived calm and explosion, illustrating the breaking point once cognitive dissonance has reached its limit. The piece also speaks to the uneven way this pressure is distributed: some are shielded from uncomfortable realities by circumstance or privilege, while for others, the personal and societal collide in ways that cannot be ignored.

On "Yesterday's Promise," shifting perspectives are embodied through a flexible bass line, mirroring the fragile negotiation between holding one's ground and losing oneself in compromise. The bass represents a shared reality, while everything around it bends, illustrating how the same set of facts can be interpreted in entirely different directions when certain truths go unaddressed. Nilsson shifts gears on the next composition: "1 year, 10 months, 3 days for Ahmaud Arbery." A flashpoint in both her personal and social reckoning, the piece was written on November 24th, exactly 1 year, 10 months and 3 days after Ahmaud Arbery was shot while going for a run. The compositional structure reflects that date, with the first part comprising 24 bars and the second 11 bars (24/11). "There is a point, a moment, a switch in every liminal state that creates an understanding," Nilsson explains. "These are the points from which we can imagine a different reality, where we step into the next version of our existence. Rage can be the fire that burns through illusions." She adds plainly: "I went for a run today without getting shot. That should be true for everyone. I don't find this to be a political or inflammatory statement, just a statement of fact."

"Mourning For Two," based on the call of the mourning dove woven into the melody, considers grief as an active, necessary process: the work of accepting the world as it is rather than as one wishes it to be. As Azita Ardakani Walton said: "Grief is a digestive enzyme." There is discomfort, Nilsson suggests, in honestly viewing one's own agency, or lack thereof, in a world one wishes were different. But that acceptance is a precondition for change. The album closes with "Stepping Away," a quiet but resolute emergence into selfhood, leaving behind systems, beliefs, and structures that no longer hold. "Allowing grief to peel away layers of identity and leave us standing with who we really are," she says, "...stepping into our own strength and moving toward an unknown life ahead."

On Liminal, most striking is the musical interplay between Nilsson, Leibson, Recabarren and Kenney, perfected by years of collaboration. Leibson, who hails from Argentina, most recently worked with Nilsson in duet on Quila Quina -40°17'38.21"S, -71°45'68.48"W, the second volume of her expansive Atlas of Sound series, while Chilean drummer Recabarren has been a long-standing member in many of Nilsson's ensembles since 2020. With the addition of wide-ranging bassist Kenney, Band of Pulses showcases four major creative forces on the New York jazz and improvised music scene at their peak. Their debut album as an ensemble, Pulses, was praised as "original, heartfelt and reaching" by Allen Michie of The Arts Fuse.

Liminal adds to Nilsson's growing discography, which reflects her astute perspective informed by deep research and immersion. Her eclectic recorded history includes the aforementioned Atlas of Sound series, which brings listeners into specific geographic locations through a multimedia approach; several albums with the Esthesis Quartet, of which she is a co-leader; and her social justice-tinged Hindsight, inspired by protests following the 2016 election. Like her previous projects, for Liminal she consulted various texts including Clarissa Pinkola Estés' The Women Who Run With The Wolves and James Baldwin's The Fire Next Time.

"At times, things move as slow as molasses and simultaneously too fast to be noticed," Elsa says. "I believe one of the magical aspects of music is its ability to hold each gradient of a moment for long enough that we can fully experience and observe it." With Liminal, Nilsson gives shape to the in-between, translating lived experience into a clear and deeply human musical statement.

Elsa Nilsson website click here

Thank you to Lydia Liebman for sharing with us

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