Although it is difficult to classify, A Way In lends itself to the worlds of Afrobeat, Cumbia, Salsa, and Soul-a stirring of potent rhythms and enigmatic melodies that make Mitchum Yacoub's sophomore album stand tall in the world of groove music. Syncopated dance tracks, definitive horns, and steady backbeats carry tales of anguish, love, and uprising. It is a record that reveals the human spirit: a confluence of thoughtful introspection and earth-shaking ritmo. Yacoub recorded, produced, and mixed the album, ensuring the meticulously layered sound first heard of his debut, Living High in the Brass Empire. His formidable horn section-Travis Klein, Bradley Nash, and Wesley Etienne-returns in full force and with a range of masterful spotlights. Longtime friend and collaborator Divina also returns, offering understated, soulful vocals on Hurtin', When I'm With You, and Gold. Panamanian vocalist, Lourdes Iri, stamps her debut on the resistance anthem Profec�a and the sensual upbeat Cumbia, Deseo Celestial. These vocal tunes fit into a kaleidoscope of instrumentals, including Away, found in the echoes of Ethio-jazz, and Sala, which feels like Hermanos Guti�rrez meets Willie Colon-after sharing a smoke and a listen to Water No Get Enemy. The diversity of vocal and instrumental pieces is unified by an understanding of vintage production styles and Afro-Latin musical sensibilities. Yacoub credits his father-who immigrated to Detroit from Egypt in 1968-for opening his ears to an array of global music. His childhood home resonated loudly with the sounds of Ali Farka Tour�, Oum Kalthoum, Keith Jarrett, Santana, Toumani Diabat�, Stevie Wonder, Lauryn Hill, etc. Later, while attending UCSC, Yacoub studied African music with Karlton Hester-a tenor saxophonist and former student of Joe Henderson-who introduced him to Afrobeat pioneer Fela Kuti. After hearing the hypnotic force of James Brown-infused funk with Yoruba drumming, Yacoub knew there was no turning back. It wasn't just Fela's sonic phenomena, but the summoning of a higher power in the call for justice. A Way In channels the spirit of Afrobeat and imbues the many genres mentioned above with an angle of self-reflection. In a time when artificial music is rising and originality risks being buried, this album offers a refreshing dose of soulful dance music-meant to bring people together, and inward. - Nelson Khoury 2026

Chet Baker - Two a Day Recorded on December 29, 1978 at the Ch�teau d'H�rouville with Jean-Louis Rassinfosse on bass, Jeff Brillinger on drums and Phil Markowitz on piano, then mixed at Studios Davout on December 8, 1979, Two A Day has not been reissued on vinyl since 1980. This little-known but remarkable album from Chet Baker brings together instrumental and vocal tracks, all infused with the swing and emotional depth that define his finest recordings. To fully highlight the qualities of this masterful session, a high-quality remastering has been carried out, restoring the warmth and intimacy of the legendary Ch�teau d'H�rouville studios, which also hosted artists such as David Bowie and Pink Floyd. The LP edition features hot gold foil numbering.

My current project is called Omniphoria... a title conceived by Mary Suzanne Garvey (my wife/partner for many years). Mary also provides the lovely painting for the cover art. The project consists of 13 tracks featuring several of my longtime associates and musicians from years of making music, Dan Balmer, Dave Captein, Doug Durbrow and several others joined me. We were even able to squeeze in a live track from my band in 1989. And I was thrilled to record a piano/voice duet with my brother Mukunda who joins me in a song from the world of Hare Krishna of which he is a founding devotee.

Although it is difficult to classify, A Way In lends itself to the worlds of Afrobeat, Cumbia, Salsa, and Soul-a stirring of potent rhythms and enigmatic melodies that make Mitchum Yacoub's sophomore album stand tall in the world of groove music. Syncopated dance tracks, definitive horns, and steady backbeats carry tales of anguish, love, and uprising. It is a record that reveals the human spirit: a confluence of thoughtful introspection and earth-shaking ritmo. Yacoub recorded, produced, and mixed the album, ensuring the meticulously layered sound first heard of his debut, Living High in the Brass Empire. His formidable horn section-Travis Klein, Bradley Nash, and Wesley Etienne-returns in full force and with a range of masterful spotlights. Longtime friend and collaborator Divina also returns, offering understated, soulful vocals on Hurtin', When I'm With You, and Gold. Panamanian vocalist, Lourdes Iri, stamps her debut on the resistance anthem Profec�a and the sensual upbeat Cumbia, Deseo Celestial. These vocal tunes fit into a kaleidoscope of instrumentals, including Away, found in the echoes of Ethio-jazz, and Sala, which feels like Hermanos Guti�rrez meets Willie Colon-after sharing a smoke and a listen to Water No Get Enemy. The diversity of vocal and instrumental pieces is unified by an understanding of vintage production styles and Afro-Latin musical sensibilities. Yacoub credits his father-who immigrated to Detroit from Egypt in 1968-for opening his ears to an array of global music. His childhood home resonated loudly with the sounds of Ali Farka Tour�, Oum Kalthoum, Keith Jarrett, Santana, Toumani Diabat�, Stevie Wonder, Lauryn Hill, etc. Later, while attending UCSC, Yacoub studied African music with Karlton Hester-a tenor saxophonist and former student of Joe Henderson-who introduced him to Afrobeat pioneer Fela Kuti. After hearing the hypnotic force of James Brown-infused funk with Yoruba drumming, Yacoub knew there was no turning back. It wasn't just Fela's sonic phenomena, but the summoning of a higher power in the call for justice. A Way In channels the spirit of Afrobeat and imbues the many genres mentioned above with an angle of self-reflection. In a time when artificial music is rising and originality risks being buried, this album offers a refreshing dose of soulful dance music-meant to bring people together, and inward. - Nelson Khoury 2026

MONTREUX, ZARAGOZA & RAMATUELLE JAZZ FESTIVALS

Randy Weston is known to the public thru the lens of the small ensemble of the African Rhythm group, recognition that is very well deserved and his signature around the world. Randy Weston is not only in direct lineage of Duke Ellington and Thelonious Monk, he was also the real integrator of African music into the Jazz World. In 1985 the city of Brooklyn honored Randy with a week-long tribute, culminating in a unique concert at the Brooklyn Academy of Music (BAM) on February 16. For this rare occasion, Randy assembled a dream ensemble - dancers, singers (including Andy Bey), and a big band like no other. The arrangements and conducting were entrusted to none other than Melba Liston - his trusted collaborator and musical sister. Melba, a brilliant trombonist and an even more masterful arranger, transformed Randy's compositions into grand orchestrations that paid tribute to his musical legacy. One of three releases marking the 100th birthday of Randy Weston. It features previously unreleased live material.

Electric is the seventh studio album from 2025 Billboard Artist of the Year and 19-time Billboard #1 guitarist producer Adam Hawley-a forward-thinking collection that pushes contemporary jazz deeper into the streaming era while staying rooted in melody, groove, and emotional connection. The album has already delivered two Billboard #1 singles-"Automatic" and "RollerSk8." "Automatic" blends polished guitar phrasing with an effortlessly catchy hook, mid-tempo pocket, and sleek modern production-ideal for core smooth jazz playlists that balance accessibility with musicianship. "RollerSk8," by contrast, leans into playful rhythmic motion and nostalgic funk undertones, offering a bright, feel-good energy that keeps listeners engaged without overpowering the mood. The album also features marquee appearances by Dave Koz, Everette Harp, Marion Meadows, Jeff Ryan, and Kat Hawley-artists whose audiences align strongly with smooth jazz streaming demographics. These collaborations add tonal variety while preserving cohesion: soaring saxophone lines, silky melodic exchanges, and conversational improvisation moments that elevate the project without drifting from playlist-friendly structure.

GIANTS is jazz guitarist Barry Greene's most fully realized recording to date-a powerful tribute to the players who shaped his musical voice, including Pat Martino, Grant Green, Wes Montgomery, and Russell Malone. Spanning organ trio, modern ensemble, and solo guitar settings, the album reflects a lifetime of deep immersion in the jazz tradition, delivered with authority, swing, and an unmistakable personal voice. With Pat Bianchi on B3 organ and drummer Ulysses Owens Jr., Greene captures the raw energy and soulful drive of the classic organ trio. The broader sound palette of his quintet setting with David Kikoski on piano, Steve Nelson on vibraphone, bassist Marco Panascia, and Owens, yields richly textured performances that balance fire, lyricism, and harmonic depth. More than a tribute, Giants is a statement-an artist at the peak of his powers honoring the lineage while speaking unmistakably in his own voice. "Monster chops, soulful feel, full/rich classic jazz tone, and virtuosic harmonic techniques establish him as a top-tier guitarist." - Benedetto Guitars. Barry Greene is just about one of the best; not only as a player, but also as a writer and a teacher & a world-class musician. Pat Martino

One of three releases marking the 100th birthday of Randy Weston. It features previously unreleased live material. Randy Weston is known to the public thru the lens of the small ensemble of the African Rhythm group, recognition that is very well deserved and his signature around the world. Randy Weston is not only in direct lineage of Duke Ellington and Thelonious Monk, he was also the real integrator of African music into the Jazz World. Brooklyn, a cradle of jazz history and home to countless musical legends like Max Roach, Duke Jordan, and Cecil Payne, celebrated one of it's finest with a weeklong tribute at the Brooklyn Academy of Music (BAM). "African Sunrise"-also presented that year at the Kool Jazz Festival in Chicago with Machito's orchestra featuring Dizzy Gillespie, Johnny Griffin, Art Blakey, and Richard Davis (a recording of that event exists!)-appears here in an arrangement by Melba Liston, showcasing her genius once again.

DYNASTY

WHISKY SCENTED KISSES

MONTREUX JAZZ FESTIVAL 1985

EERIE GLOW OF JELLYFISH

A compilation of jazz hits including "The Way You Look Tonight", "Moondance", "Cheek To Cheek" and more; performed by legendary jazz musicians Beegie Adair, Jack Jezzro, Stephen Kummer, and more.

AFHGAN WOMEN

While Sam Phillips of Sun Records is known as one of the architects of rock and roll, he also dabbled in other genres - 1960's The Martini Set is a great example of his jazzy side. Featuring pianist Graham Forbes and his trio, this midcentury lounge music gem has interpretations of standards like "Autumn in New York" and "The Lady is a Tramp." Fans of romantic jazz can raise their glass to the shimmering version of "Adios" that provided the soundtrack to an episode of The Marvelous Mrs. Maisel.

MINUTIAE

Dave Digs Disney is a 1957 studio album by the Dave Brubeck Quartet. It features jazz renditions of songs from the animated Disney films Alice in Wonderland, Pinocchio and Snow White and the Seven Dwarfs. It is one of Brubeck's most popular albums. The album was reissued in 2011, with remastered recordings and two bonus tracks: "Very Good Advice" (from Alice in Wonderland) and "So This Is Love" (from Cinderella).

MOVIE SINFONICA

MOVIE SINFONICA

MUTUDI UA UFOLO / VIUVA DA LIBERDADE

Even with less than essential bonus material, Ella and Oscar - recorded May 19, 1975 - is a welcome reissue that warrants repeated listening. Bassist Ray Brown, closely associated to both artists, appears on four tracks, but this is a decidedly duo effort that focuses on two close friends who happened to be among jazz's most historic figures. To call this collection of Great American Songbook standards intimate would be an understatement. Ella and Oscar is a low-key album of small, quiet pleasures. Even during the second half where Brown's bass provides additional rhythmic variety, the focus is squarely on voice and piano. Most of the album's tracks are under five minutes in length. Only on the closing number, 'April In Paris, ' do they really stretch out significantly. Peterson delivers a relaxed but swinging solo. Fitzgerald follows suit with remarkably expressive scatting. Earlier on 'When Your Lover Has Gone, ' she and Peterson trades four bars solos in captivating exchange of melodic ideas. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape, and pressed at Quality Record Pressings for optimal sound quality, this Analogue Productions 180-gram reissue is a must-have for jazz fans. Housed in a single pocket Stoughton Printing tip-on jacket. 180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in Stoughton Printing tip-on jacket Tracklist: Side 1 1. Mean To Me 2. How Long Has This Been Going On? 3. When Your Lover Has Gone 4. More Than You Know 5. There's A Lull In My Life Side 2 1. Midnight Sun 2. I Hear Music 3. Street Of Dreams 4. April In Paris

Virtually to the end, Count Basie was at the piano in front of the band that was his natural environment for more than half a century, inspiring music that defined the verb 'to swing.' In this collection recorded a little more than a year before he died, Basie divided the performances between the big band and a small group. In his last couple of decades, Basie went into the Pablo studios frequently with combos ranging in size from two (the pianist and Zoot Sims) to the octet heard here. In this case, the small group came out of the big band and featured the bright young trumpeter Bob Summers along with veteran trombonist Booty Wood and saxophonists Eric Dixon and Chris Woods. In large group or small, Basie and guitarist Freddie Green were at the heart of the rhythm, lifting the proceedings to a rarified plane of swing never to be duplicated after they were gone. Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a Stoughton Printing tip-on single pocket jacket. 180-gram vinyl Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape Pressed at Quality Record Pressings Housed in a Stoughton Printing tip-on jacket Tracklist: Side 1 1. Mr. Softie 2. Moten Swing 3. She's Funny That Way 4. Right On, Right On Side B 1. Me And You 2. Crip 3. Bridge Work 4. Easy Living

Released in 1962, Jazz Samba is a landmark collaboration between saxophonist Stan Getz and guitarist Charlie Byrd that effectively launched the bossa nova craze in the United States. The album features a smooth blend of cool jazz and Brazilian rhythms, highlighted by the classic hit "Desafinado," which won a Grammy for Best Jazz Performance.

Louis Armstrong's career began nearly 15 years before Ella Fitzgerald's. In fact, Louis was one of Ella's first musical idols. Although both Ella and Louis had probably met and performed together previously, they wouldn't be heard on record together until January 18, 1946, when they waxed a single 78 rpm disc coupling "The Frim Fram Sauce" with "You Won't Be Satisfied". They wouldn't record a lot together until 1956, when producer Norman Granz reunited them for three memorable albums: Ella & Louis (presented here), it's sequel Ella & Louis Again and the selection of tunes from George Gershwin's folk opera Porgy & Bess. The results: some of the most fascinating jazz music ever produced. THE COMPLETE LP - 180-GRAM VIRGIN VINYL - LIMITED EDITION