Absinthe by Ramona Horvath out now!

Purchase here

No sooner had pianist Ramona Horvath wrapped up the recording of her interpretation of Carmen than the urge to return to the studio struck again. It was time to reunite with her longtime musical companions — a trio that feels as natural and intuitive as the fingers on her pianist’s hand: André Villeger on tenor saxophone, Nicolas Rageau on double bass, and Antoine Paganotti on drums.

The chemistry between them is rare — a true musical fusion, built on deep listening and instinct. Their communication is so seamless it feels like the music flows freely, wordlessly, from one to the other. So: back to the studio. But with what vision?

Ramona has never been one to follow predictable paths. For her, being an artist means embracing risk, challenging boundaries, and seeking the unexpected. She’s always on a quest to uncover what has yet to be heard — to breathe new life into forgotten gems or familiar songs seen from new angles.

Just like absinthe — the so-called “green fairy” — Ramona gently intoxicates listeners with refined, elusive musical fragrances. Her project Absinthe is a celebration of rarity and reinvention: whether it’s rediscovering obscure compositions or transforming well-known pop melodies into something entirely fresh.

Originally, the project focused on unearthed, rarely played works by Billy Strayhorn — pieces Ramona literally went searching for on the other side of the world. But the idea grew into something more expansive.

Absinthe: A Double-Faced Project

Absinthe unfolds in two complementary parts:

In acoustic trio, Ramona reimagines pop songs from the 70s and 80s through a jazz lens, bringing out their emotional and harmonic richness. In quartet, she delves into little-known works by Billy Strayhorn and other overlooked composers, reshaping them with both reverence and freedom. What ties it all together is Ramona’s deep musical memory and her love for melody — whether drawn from Broadway, jazz standards, or the pop songs of her youth.

Now, under the spell of Absinthe, imagine for a moment what might have happened if Erroll Garner, Red Garland, or Tommy Flanagan had met Stevie Wonder, Michael Jackson, or Billy Joel. Ramona makes these imagined encounters come alive — with arrangements that are both unexpected and irresistible.

Track Highlights – Between Fantasy, Elegance and Rediscovery

With her signature mix of boldness and finesse, Ramona Horvath takes us on a journey where pop melodies and jazz rarities coexist — transformed by her touch and by the subtle interplay of her trio and quartet.

You Are the Sunshine of My Life A lively, grooving take that feels like Erroll Garner inviting Stevie Wonder to a joyful jam session. And as a playful encore, a wink to Isn’t She Lovely—like a smile slipped into the final bars.

Heal the World Recast as a 6/8 piece with the feel of an African round dance. The subtle, hypnotic pulse from Antoine Paganotti and Nicolas Rageau adds warmth and depth, while Ramona’s phrasing brings unexpected grace.

Just the Way You Are Inspired by Billy Joel’s tender lyrics, this version embraces a velvet swing. Ramona’s soft touch enhances the intimacy of the tune without ever losing its groove.

How Deep Is Your Love Transformed into a jazz waltz, the Bee Gees’ melody remains intact but gains harmonic depth. The trio breathes with one voice here — special mention to Nicolas Rageau’s lyrical solo, all warmth and elegance. You might find yourself singing along.

Saving All My Love for You The ghost of Whitney Houston hovers gently over this version. Ramona’s piano sings, note by note, infused with the emotion of the lyrics. Paganotti and Rageau provide a heartbeat that’s both tender and steady. A timeless standard is born anew.

The Rarities: Strayhorn and Beyond

The second half of Absinthe explores lesser-known repertoire with equal artistry.

Absinthe (aka “Lament for an Orchid”) A dark, nocturnal piece by Billy Strayhorn, rarely performed. Ramona gives it new harmonic textures, highlighting its melancholic beauty. A spellbinding tribute.

Your Love Has Faded Another Strayhorn gem, elegantly revived. André Villeger soars here in a Dexter Gordon-esque solo, while Ramona subtly nods to The Surrey with the Fringe on Top — a musical wink for attentive ears.

Ballad for Very Tired and Very Sad Lotus Eaters A rare, poetic ballad that seems suspended in time. Gentle and introspective, it’s a meditation on silence and slowness. Music that breathes and listens.

The Heather on the Hill A solo piano moment of pure color and nuance. This Frederick Loewe piece becomes a palette of shimmering tones under Ramona’s fingers — an unexpected treasure.

Here I’ll Stay Kurt Weill’s haunting melody is elevated by Villeger’s rich sax tone and Ramona’s buoyant piano lines — like wings lifting the theme skyward.

I Know Why Known only to a few through Sun Valley Serenade or Red Garland’s version, this Glenn Miller-era gem is given new life by the quartet. A rediscovered beauty that touches the heart.

JFK A powerful tribute to Ramona’s mentor, Jancy (Francis) Korossy, the Hungarian-American pianist. With a burning hard bop energy, this original composition showcases Villeger at his fiery best and evokes the spirit of Blue Note’s golden age. Sonny Clark would have approved.

Ignasi Terraza: The first time I heard Ramona Horvath, I was struck by her style and sound. Because of academic influences, almost all young pianists today end up sounding like Evans, Hancock, Corea, or Jarrett—as if jazz piano history could be summed up by those names alone. But when you listen to Ramona, you quickly realize her influences are quite different.

She knows the jazz piano tradition extremely well. With a masterful command of the instrument and a solid background in impressionistic romantic piano, she offers a unique cocktail of references upon which she builds her own musical language.

In her playing, you can also feel the legacy of her teacher Jancy Korossy, a jazzman of great stature who deserved much broader recognition during his lifetime. On this recording, Ramona is accompanied by a tightly knit trio, with Nicolas Rageau on bass and Antoine Paganotti on drums—both perfectly attuned to the various musical moods she explores.

The album presents a bold repertoire, combining two sessions: one revisits pop melodies that marked Ramona’s childhood, reimagined through her own jazz language; in the second session, the trio is joined by the lyrical and tasteful saxophone of the great André Villeger. Together, they present lesser-known melodies by composers such as Billy Strayhorn, Kurt Weill, and Harry Warren.

Without a doubt, this is a jazz album through and through—one you’ll want to listen to more than once.

Ramona's website please click here

MULTI-LINGUAL JAZZ VOCALIST AND GLOBAL CULTURAL AMBASSADOR SACHA BOUTROS REIMAGINES 100 YEARS OF POPULAR MUSIC BY FRENCH AND AMERICAN COMPOSERS

SACHA: PARIS AFTER DARK

Released October 17, 2025 on Hear Me Roar Records

Purchase here

Using the power of music as a bridge to foster a sense of community among people from different cultures and backgrounds, jazz vocalist, composer, producer and global peace ambassador with an international following, SACHA BOUTROS, has the unique distinction of speaking seven languages and singing in 14. On SACHA: PARIS AFTER DARK, a celebration of 100 Years of French and American composers in the City of Light and Love, she taps into her deep stylistic reservoir of jazz, blues, pop and swing, and her dual love for the Great American Songbook and classic French pop. She sings in French and English (with a little Italian), featuring stylish and deeply soulful re-imaginings of pop and jazz standards written and/or popularized by, among others, Gilbert Becaud, Jacques Brel, Sidney Bechet, Sacha Distel, Joe Dassin, Cole Porter, Dalida and Serge Gainsbourg.

The 10-track collection, Boutros’ fifth full-length album, is the second in a series of After Dark recordings from the singer that began with Sacha: NY After Dark (2013) and will soon include Sacha: Las Vegas After Dark introducing Patrick Hogan, and Sacha: Mexico After Dark, the latter being an ode to her heritage on her mother’s side.

“For me, this album is a love letter to Paris, to music, to my childhood and family, and to the powerful bond between cultures,” says Boutros. “The After Dark aesthetic captures the sound and spirit of a city at night -- the music you hear in cafés, clubs, taxis, and on the streets. I’ve never been more found than when I’m lost in Paris.” Rooted in jazz yet spanning multiple genres, the project blends beloved French pop songs of the 1960s and ’70s with classic American standards, creating a soundscape that reflects the city’s vibrant energy after dark.

SACHA: PARIS AFTER DARK features a core ensemble of renowned veteran French and French/American musicians, including trumpeter STÉPHANE BELMONDO (Michel Legrand/Stéphane Grappelli, Gil Evans, Yusef Lateef), pianist FRANCK AMSALLEM (Joshua Redman, Gerry Mulligan, Ravi Coltrane), guitarist HUGO LIPPI (Samara Joy, Melody Gardot, Christian McBride), bassist THOMAS BRAMERIE (Chet Baker, Toots Thielemans, Dee Dee Bridgewater) and Madagascar-born drummer TONY RABESON (Toots Thielemans, Joe Lovano, Lee Konitz).

Boutros opens the album with a sensual, delightfully breezy and hypnotically percussive twist on Gilbert Becaud’s “Je Reviens Te Chercher,” a charming romantic tune about coming back to a lover many years after breaking up, which the singer calls “symbolic of the soundtrack of my childhood.” Typifying the mystique of an American in Paris, Sidney Bechet brought New Orleans to France in 1950 and two years later wrote the beautiful jazz-blues standard “Si tu Vois Ma Mère” (If You See My Mother),” which was popularized decades later on the soundtrack to Woody Allen’s film, Midnight in Paris. Boutros follows her sultry rendition of this tune with a clever French-English “love dance” medley of Jacques Brel’s 1959 song “Ne Me Quitte Pas” and the Frank Sinatra co-write “I’m a Fool To Want You,” featuring a graceful musical dialogue and arrangement between the singer and Belmondo’s trumpet in homage to Frank Sinatra and Ava Gardner written by Sacha.

After breathing fresh, spritely new life into the winsome Songbook standard “April in Paris,” Boutros pops into the mid-70s for the smoky, intimate seduction of NYC born American-French pop singer Joe Dassin’s “Et si tu n’existais,” then heads back a decade for a moody take on Serge Gainsbourg’s 1963 hit “La Javanaise,” one of the most famous examples of a French chanson. It features dynamic solos by Amsellem and Lippi.

Boutros included a passionate arrangement of Charlie Chaplin’s bittersweet “Smile” – which includes an extra line, “share your joy wherever you go” – simply because it’s a ubiquitous part of life in Paris. She chose to cover Dalida’s sexy trilingual (English, French, Italian) 1959 classic “Love in Portofino” to show admiration for and solidarity with the multi-cultural roots of the Egyptian-born, Italian-naturalized French singer and actress.

Boutros closes the set with a haunting, heartbreaking version of Cole Porter’s “In the Still of the Night” (featuring Bramerie’s dark upright bass tones) and a spirited, soulfully swinging English-French romp through “La Belle Vie” (“The Good Life”) with solos by Belmondo and Amsellem.

ABOUT SACHA BOUTROS

Of Mexican and French Lebanese heritage, Boutros was raised in a European home in San Diego. A former semi-professional soccer and tennis player, she attended one of the top business schools in the U.S., graduating with honors in Marketing and International Business. She later founded a record label, production, and publishing company, establishing herself as one of the few female producers in jazz. Her production company, Hear Me Roar, curates entertainment across all genres for Fortune 500 companies and major festivals. Her recordings have topped the charts and hit #1 on iTunes, #5 on Billboard in the United States, Europe and Asia, reaching #2 on the Jazz charts in Japan and rising to #3 on the Francophile and Canadian Charts.

In 2014, Boutros founded Sacha’s Supper Club 501(c)3, the first vintage pop-up experience blending fine dining, American big band and dancing, reminiscent of the elegant New York café societies of the 1940s. In 2017, Sacha joined the Border Public Art Committee to lead a project with a team of local artists and architects as well as the consulate of Mexico and the San Ysidro Chamber of Commerce. She designed a mural called “The Place Where Soles Meet” at the border of San Ysidro and Tijuana at the main pick up and drop off point where 26,000 people crossed each day. Sacha uses music as a tool to heal, connect and build community. In France Sacha is known as “La Reine du Jazz” The Jazz Queen.

SACHA: PARIS AFTER DARK is releasing on October 17, 2025 on Hear Me Roar Records and is available on CD and all streaming platforms.

Lareinedujazz.com Instagram.com/lareinedujazz Facebook.com/lareinedujazz YouTube.com/@SachaBoutros

Vibraphonist Yuhan Su Explores Cultural Duality with OVER the MOONs

Out October 17, 2025 via Endectomorph Music

2025 DownBeat Rising Star Nominee Presents Her Most Ambitious Work Yet, featuring an Eight-Piece Ensemble and Groundbreaking Electronic Integration.

Pre order here

Endectomorph Music is proud to announce the October 17, 2025 release of OVER the MOONs, the fifth album from New York-based Taiwanese vibraphonist Yuhan Su. This extraordinary recording represents a bold new chapter in Su's artistic evolution, presenting her most ambitious compositional vision to date through an expanded eight-piece ensemble that seamlessly blends acoustic improvisation with cutting-edge electronic processing.

The album emerges from Su's profound exploration of dual consciousness—the experience of navigating two languages, cultures, and identities simultaneously. "I feel there are always two moons inside of my head and each of them draws its tide," Su reflects. "I want to embrace this beautiful, chaotic feeling and explore the use of layers in music." This deeply personal concept, crystallized during her transformative time at the Ucross Foundation Artist Residency in Wyoming in 2024, forms the foundation for her most conceptually resourceful work to date.

Unlike Su's previous albums, which featured a more narrative focus, OVER the MOONs presents a broader creative canvas that plays with layering through soundscapes, counterpoint, color, and rhythmic complexity. The recording showcases Su's distinctive approach to the vibraphone, with a pickup system connected to effects pedals that allow for distortion, pitch shifting, and bending—all of which expand the expressive range of her instrument.

The ensemble features an exceptional cast of musicians: Alex LoRe on alto saxophone and flute, Anna Webber on tenor saxophone and flute, Matt Mitchell on piano, Yingda Chen on guitar, Marty Kenney on acoustic and electric bass, James Paul Nadien on drums, and Shinya Lin on electronics. Lin's self-developed sensor technology with Max/MSP enables real-time gesture control, adding a unique dimension to the group's sound palette.

Su's detailed orchestration creates remarkable textural diversity, with ensemble playing novel timbres where individual instruments often merge in unexpected ways. The music contains interesting juxtapositions of aesthetics, such as events that recall mid-century electroacoustic  musique concrète transforming into open acoustic improvisation. The ensemble manages to adhere to Su's compositional structures even in the densest improvisational moments.

Among the album's most striking compositions is "Two Moons," which opens with Su's solo vibraphone enhanced by delay effects that create an ethereal, contemplative space. As Su describes it, "It's a longer length message which delivers this image of two separate worlds eventually blending together into one." The ensemble gradually emerges through subtle harmonic and melodic entrances, creating lush orchestral textures while maintaining an open, coloristic rhythmic approach. These layered musical events coalesce into a unified chorale, with all instrumentalists blending into a singular timbre that captures the album's exploration of dual consciousness.

The album's compositions also show Su's playful engagement with bilingual wordplay and cultural intersection. "Pieces Peace" draws from a Mandarin idiom spoken during Lunar New Year, while "Genius and Dumb" features Su's voice speaking in Mandarin, processed through electronics that fragment and interact with her vibraphone solos throughout the piece. "Roaring Hours" channels both the emotional intensity of New York life and the raw power of Wyoming's winter storms into heavy rhythms and distorted vibraphone textures.

Collaborators praise Su's artistic evolution on this project. Pianist Matt Mitchell notes the music represents "significant forward movement in her relentless quest for new sounds and approaches, Novel compositional forms, kaleidoscopic textures, high energy improvising, unusual balladry… Triumphantly idiosyncratic, as music should be” while tenor saxophonist Anna Webber describes it as "a super ambitious and cool new book of music" that pushes Su's "compositional voice forward into new areas." Alto saxophonist Alex LoRe, a longtime collaborator spanning eight years, reflects that the music "has made me a better musician in helping to bring her newest musical vision into focus."

Su's career trajectory continues its remarkable ascent. Recent winner of the “Best Instrumental Composer Award” at Taiwan's Golden Melody Awards and recipient of multiple Golden Indie Music Awards, she has been recognized by DownBeat Critics’ Poll as a 2024 and 2025 Rising Star nominee for vibraphone and named among the "Top 25 Best Vibraphonists in History" by U Discover Music. In 2025, she was selected as residency commission artist at The Jazz Gallery and as a member of the M3 (Mutual Mentorship of Musicians) cohort.

Her extensive performance history includes collaborations with Vijay Iyer, Amir ElSaffar's Rivers of Sound, Greg Osby Sextet, Brian Krock's Big Heart Machine, Miho Hazama's M_Unit, and the Webber/Morris Big Band. DownBeat has praised her work as featuring "unpredictable compositions, the originality of her playing and the consistently stimulating interplay", while All About Jazz noted the "sublime balance between the emotional and the cerebral" that "endows the work with its enchanting impressionism”.

OVER the MOONs stands as a rigorous exploration of identity, creativity, and the beautiful chaos of living between worlds. The music is conceived to highlight the ensemble's evolved group playing rather than serving as a showcase for Su's impressive individual skills, resulting in a cohesive artistic statement that captures the vibrant contradictions and conflicts of contemporary multicultural experience.

OVER the MOONs will be available October 17, 2025, via Endectomorph Music

Yuhan Su website click here

Thank you to Lydia Liebman Promotions for sharing with us

Blessed & Bewitched (2025, Origin Records)

Release Date: October 17, 2025

Label: Origin Records (USA)

Recorded at: Bunker Studio, New York

Purchase here

A deeply personal, fully original album exploring the emotional and spiritual dimensions of jazz — raw, poetic, and transcendent.

Blessed & Bewitched blends five original compositions with two reimagined jazz classics, recorded between New York City and Vienna with an international ensemble. The music bridges the intimacy and elegance of golden-era jazz with a modern, deeply personal sensibility.

 Featuring:

 • Johnathan Blake (Blue Note artist, drums)

• Adrian Varady (protégé of Quincy Jones, drums)

• Michael Rodriguez (Grammy-winning trumpeter)

• Alan Bartus (Herbie Hancock Competition semi-finalist, piano)

• Dezron Douglas (bassist for Pharoah Sanders, Ravi Coltrane, etc.)

The album is not just music—it is a declaration of authenticity, vulnerability, and uncompromising artistry.

Maja Jaku is an acclaimed jazz and soul vocalist, composer, and respected university professor whose voice and artistry transcend cultural and musical boundaries. In 1991, she passed the fiercely competitive entrance exam for the University of Music and Performing Arts in Graz, where she studied under jazz legends Sheila Jordan, Mark Murphy, Andy Bey, and Jay Clayton. These formative years shaped her singular style—a sound rooted in emotional honesty, fearless improvisation, and technical brilliance. Since then, Maja has released several acclaimed albums, collaborated with world-class musicians, and performed across Europe and internationally. In addition to her career as a performer, she is a respected educator at Jam Music Lab University in Vienna, where she mentors the next generation of vocalists. Maja’s artistry has been described as courageous, poetic, and transcendent — a singular voice in contemporary jazz.

Maja Jaku website click here

Veteran guitarist and composer Amanda Monaco announces vinyl-only release of new music from long-standing ensemble Deathblow

Due out October 11, 2025, DEATHBLOW is a set of new compositions from one of modern jazz's most tuneful yet exploratory players.

“The name is a red herring: there’s nothing inherently deathly about Deathblow. A project of the guitarist Amanda Monaco, its sound, evasive but hardly confrontational, is a result of Ms. Monaco’s writing.” – Nate Chinen, The New York Times

Album release events:

Saturday, October 11 – Michiko Studios, New York NY / Saturday, October 18 – Lilypad Inman, Cambridge, MA

As the battle between the overly cerebral and doggedly hidebound continues to rage in the jazz landscape, a battle-tested warrior has returned, armed with whimsy and melody, to give succor to a populace starving for memorable sounds: DEATHBLOW, the freebopping alter-ego of guitarist Amanda Monaco. She embodies the anime-style portrait on this limited edition, vinyl-only release: limber, focused, drawing you in before slicing you to ribbons.

DEATHBLOW is Monaco's sixth album, released on her revived Genevieve Records label and with her band of many years in Michael Attias (saxophones), Sean Conly (bass) and Satoshi Takeishi (drums): "Sean and I went to college together at William Paterson. We became fast friends and always kept in touch. Satoshi was recommended to me by my friend Adam Levy, and we’ve been playing together since the late '90s. Michael was someone I met through Sean. When I had a deal with LateSet Records in 2008, I asked them to record with me. The band has been together ever since."

While Monaco's influences include Jim Hall, Grant Green, Attila Zoller and John McLaughlin, the seeds of her approach came much earlier. "An early influence was The Muppet Show," she says. "Every episode featured a jazz standard in a wacky way. The music was wild at times and fun and creative." It was that balance of upending tradition that would inform her music going forward. As to where she sees herself in the jazz firmament, she says "I’m not a flashy player, so that often has me 'under the radar' in the jazz guitar world. I’m OK with that, as long as the melody is strong."

The album begins with "Aw Gee, Thanks", an oddly lilting theme whose foundation is constantly shifting. "Submarine Nuke Officer" is a drunken waltz, wah-wah pedal adding extra room spin, while "Post-Toenail Theory" shows how she has absorbed advanced musical concepts into her unique aesthetic. If "Ya!" could be the soundtrack to a merry-go-round flying off its tracks to the terror/delight of its passengers, "Four People" has the complexity of modern drama. The album closes with the post-industrial noir of "J. Walter Hawkes Will Save The Day" and caffeinated jitteriness of "A Nespresso Moment". For those accustomed to albums where each song fits neatly into a premeditated slot and moves in expected directions, DEATHBLOW will provide constant surprise. Monaco's music is evocative: "A lot of times I’ll come up with a song title before I write the tune itself," she observes.

While it took a while for life to get out of the way of Monaco releasing DEATHBLOW—"We recorded the album when I started teaching at Berklee, then I started the non-profit Convergence Arts and another band, my Pirkei Avot Project, made a couple of records, and then I made another record with my quartet Glitter and then with my collective Lioness"—it gave time for her cousin Mia, just born when the album was made, to blossom as an artist: "I knew she was the one to design the cover. I sent her a photograph and she adapted it to a fun drawing."

Just as she focuses on the essentials as a teacher, she brings the same purpose to her playing: "I try to practice what I preach. I really focus on the music and what I’m hearing, being in the moment and allowing what’s there to come out."

AMANDA MONACO – DEATHBLOW (Genevieve 30604)

Release date October 11th, 2025 amandamonaco.com

AFTER LOSING — AND RECLAIMING — HER VOICE, LA TANYA HALL RETURNS WITH TRIUMPHANT NEW ALBUM, IF NOT NOW, WHEN…

OUT OCTOBER 10 VIA BLUE CANOE

THE MICHAEL LEONHART–PRODUCED ALBUM FEATURES GARY BARTZ, EDDIE HENDERSON, CYRUS CHESTNUT, AND MORE

La Tanya Hall — a vocalist, educator, and longtime Steely Dan touring member known for her story-driven approach and stylistic versatility — is honored to announce the upcoming release of If Not Now, When…, her most personal and intentional project to date. Born from a period of vocal silence and artistic reflection, the album offers a thoughtfully curated collection of lesser-known songs chosen for their lyrical power and emotional weight. If Not Now, When… arrives October 10 via Blue Canoe Records.

Produced by Michael Leonhart, the project features an all-star band including saxophonist Gary Bartz, trumpeter Eddie Henderson, pianist Cyrus Chestnut, harmonicist Gregoire Maret, bassist Gerald Cannon, drummer Mark McLean, and guitarist Marvin Sewell. Across its eight tracks, Hall explores material that is often overlooked — songs chosen for their storytelling and emotional resonance. The result is a deeply personal and musically openhearted album shaped by Hall’s renewed artistic purpose following a prolonged loss of her voice during the early months of the COVID-19 pandemic.

A Colorado native, Hall began performing at age 13 with her father, a jazz pianist. Her solo debut, It’s About Time (Bridge Records, 2008), earned praise from JazzTimes for “the keen interpretative smarts of Maxine Sullivan underscored by the elegant sophistication of Nancy Wilson,” calling her “marvelously dexterous.” Her 2019 follow-up, Say Yes (Blue Canoe), was hailed by ClevelandClassical.com for its “full, alluring color-palette, impeccable diction, and an expansive vocal range,” while JazzTimes highlighted the album’s “alternating glimpses of Hall’s various musical personas.”

In addition to her solo work, Hall has built a multifaceted career as a touring and session vocalist with Diana Ross, Bobby McFerrin, Seal, Harry Belafonte, Rob Thomas and Steely Dan; and as a jazz educator, building the vocal jazz program at Oberlin Conservatory, where she teaches today.

Hall contracted COVID-19 in the early days of the pandemic and spent over five months recovering—much of it unable to speak, let alone sing. “I lost my voice completely,” she recalls. “It was terrifying. Singing has always been part of how I connect with the world, and suddenly that was gone.” As her voice slowly returned, self-doubt began to creep in. “I started to question everything — was I ready to record again? Would it be good enough? Would people want to hear it?” It was her husband, pianist Andy Milne, who broke through the hesitation: If not now, when? “It was kind of a lightning bolt,” Hall says. “I’ve been making music for a long time, and I realized I still have things to say.”

She immersed herself in seldom-recorded repertoire, seeking out songs with lyrical substance and emotional weight. “I’ve always been drawn to the rare gem,” she says. “Songs that haven’t been overly done — that tell a story.” From there, she assembled not just a band of master musicians, but a circle of collaborators she trusted on a deeper level. “I wanted to be surrounded by people who would allow me to be vulnerable,” she explains. “People who play with heart and create space for a vocalist.”

At Teaneck Sound in Teaneck, New Jersey, this trusted circle of musicians brought Hall’s vision to life with warmth and precision. The first track, Horace Silver’s “Pretty Eyes,” sets the tone—a lilting, harmonically rich ballad featuring saxophonist Gary Bartz and trumpeter Eddie Henderson. Both longtime collaborators and fellow faculty members at Oberlin Conservatory, the two bring a fluid, intuitive rapport to the tune. “They already have a musical history and bond that comes alive when they play together,” Hall says. “I was nervous to ask them — but neither one of them hesitated to say yes.”

Hall was inspired to put her own stamp on “Cornfield” (Randy Newman’s “Let’s Burn Down the Cornfield,” originally from his 1970 album 12 Songs) after hearing Lou Rawls’ seminal interpretation. Staying true to her mission of championing overlooked songs, Hall and her band deliver a stripped-down arrangement that emphasizes the track’s haunting quality and nuanced storytelling.

The vocalist then turns her attention to another underappreciated gem, Abbey Lincoln’s seldom-covered “A Turtle’s Dream.” Drawn to Lincoln’s insightful lyricism and unique compositional voice, Hall presents the tune with sensitivity and grace. Pianist Cyrus Chestnut sets the tone with what Hall describes as “one of the most beautiful solo openings,” providing a gentle, reflective foundation for her vocal storytelling.

Hall emphasizes the modern day relevance of Oscar Brown Jr.’s “Long As You’re Living,” a joyful meditation on gratitude and the preciousness of life. In a nod to the broader cultural moment, she highlights the song’s central message: “No matter what side of the fence you fall on, we have to lead with love.”

Returning to Abbey Lincoln’s rich songbook, Hall puts her stamp on “Tender as a Rose,” another rarely covered tune. Guitarist Marvin Sewell’s intuitive playing particularly shines here—Hall notes their immediate, deep musical connection, describing the recorded performance as their very first take. Reflecting on their nearly 30-year friendship, Hall calls Sewell “a wonder” and highlights the unspoken understanding that permeates their collaboration.

On If Not Now, When…, Hall makes a deliberate effort to spotlight female composers, and her selection of Bernice Petkere’s “Lullabye of the Leaves” speaks directly to that intent. Acknowledging that Petkere’s contributions have often been overlooked, Hall uses this performance as an opportunity to honor her legacy and artistry.

The album concludes with two songs from different sides of the musical realm. The first, “Azure,” is from Duke Ellington’s expansive repertoire, co-written by Ellington and Irving Mills. Hall chose the rarely performed composition specifically to highlight its sophisticated melodic contours and emotional subtlety. The second, “Day Dreaming,” is an Aretha Franklin classic that has been stripped down to an intimate acoustic conversation between Hall,  guitarist Sewell and Maret on harmonica. This bare-bones approach lets each phrase land with quiet assurance, ending the album on a note of spacious resolve.

“I just want to keep spreading light and music,” Hall concludes, her voice and confidence restored. “That’s my main goal in this existence.”

La Tanya Hall website click here

Thank you to Lydia Liebman Promotions for sharing with us