Browsing Tag

jazz

Eric St. Godard’s Jazz Instrumental ‘Lovely Rose’ Scintillates with Swanky Serendipity

Posted on 21 April 2026

Jazz debonair, Eric St. Godard, exhibited seduction’s capacity to become once again synonymous with style and sophistication through ‘Lovely Rose’. As the opening instrumental score from his debut album, New Beginnings, it doesn’t so much ease you in; the opening salvo scintillates you into the presence of the artist and composer who has earned his stripes as a jazz savant by giving it a truly freeform sense of limitless potential, daring to rile traditionalists, and appealing instead to those who have always wanted an accessible gateway into jazz.

Leave your hat, coat and preconceptions at the door, because Beautiful Rose, in all of its swanky ability to make every new progression feel like a surge of serendipity, pulls you down a rabbit hole of passion instead of dragging you into a pit of pretension. With the way the curveballs hit in the most affectingly satisfying ways, it is almost as though Godard has a psychic intuition into when you want the visceral force of the sax and the smokier cinematic opulence that delivers and demands tenderness.

There is a louche elegance in the arrangement that recalls the sophistication of Chet Baker and the easy magnetism of Duke Ellington’s more decadent moments, while the openness in the phrasing gives the composition a modern accessibility. Every turn of the melody carries a flirtation with spontaneity, and the whole score glides with the kind of suave confidence that turns curiosity into full immersion.

Lovely Rose is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Refusing the Constraints of Rock: Jon Valenzuela Delivers a Hypersonically Theatrical ‘Shot of Adrenaline’ in His Debut Single 

Posted on 9 April 2026

Jon Valenzuela delivered exactly what it says on the tin with his debut single, Shot of Adrenaline, which contorts rock into complex atypical time signatures as the arrangement moves at a hypersonic pace. Following years as a guitarist in the Sydney scene, Jon Valenzuela stepped away to prioritise his own voice, resulting in the lead single for his upcoming album, Alive Again.

Orchestral polyphonia and operatic elements with a jazzy-free form sense of uninhibited energy feed into the tilt-a-whirl-esque mayhem of Shot of Adrenaline, which is truly unparalleled in its exuberant execution. Mike Patton’s more obscure bands come to mind, particularly Mr Bungle in the California era, with its cinematic sweeps and general refusal to stick to the arbitrary constraints of rock. Giving Jon Valenzuela his wicked sense of distinction is the sense of theatrical whimsy that is locked into the chameleonically progressive explosion of ingenuity.

This release is indicative of the wider album, which explores everything from hard rock to experimental jazz. Written during a period of self-discovery, the track functions as a sonic document of feeling empowered once again. Fans of high-energy, multifaceted grooves will find plenty to get stuck into here as the Sydney artist finally does things his way.

Shot of Adrenaline is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

Casey Kavanagh Breeds Desire from Regret in the Hot-Under-The-Collar Soul Single, Coulda Woulda Shoulda

Posted on 24 March 2026

The Minnesota-born multi-instrumentalist Casey Kavanagh has delivered a sonic equivalent of the bible for die-hard romantics lusting after reincarnations of old-school soul. Within the expansive architecture of the LP, Peaks & Valleys, the standout single, Coulda Woulda Shoulda, functions as a definitive hot-under-the-collar hit. As a third-generation musician who famously swapped the heavy metal preferences of his peers for the rhythmic magnetism of Stevie Wonder, Casey Kavanagh now retrospectively meditates on the last breath of intimacy before parting ways with a lover in Coulda Woulda Shoulda.

With a voice capable of speeding up climate change through its lush sincerity and melting-point capacity, and the swanky way he approaches jazz-soaked, sax-sexed grooves ensures that Coulda Woulda Shoulda breeds desire from regret with a rare sense of virility.

The self-taught polymath handled every layer of the recording and mixing alone during a period of immense personal grief, yet the result is pure aphrodisiacal magnetism. He efficaciously captured the heat of a fading flame, proving the savant-esque talent on display here was well worth the twenty-year wait for his solo outpourings.

Coulda Woulda Shoulda is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Daniel Walzer bathed jazz in sun-warmed ambience on ‘Sounds of Summer’

Posted on 5 January 2026
Hoosier Songs by Daniel Walzer

Daniel Walzer invited the natural world into the studio for Sounds of Summer, a piece drawn from his labour-of-love LP Hoosier Songs, recorded across the slow arc of 2022 to 2025. In collaboration with nature itself, Walzer shaped a release that feels like a breath of temperate air, capturing the sublimity of summer through a hypnotic synthesis of environmental melodies and jazz’s famously wayward time signatures.

There’s an amorous warmth to the instrumental score, shaped by echoes of Latin grooves you could happily tango to, then softened into a gentle simmer of summer-tinged scintillation. The synaesthesia-inducing flow drifts forward with playful lightness, sitting in sheer juxtaposition to the savant-esque musicianship that allows the track to blossom so effortlessly. Piano, percussion and textured ambience move together with a sense of patience, as though the music itself has learned how to listen before speaking.

Whether experienced on a veranda, absorbed through meditation, or shared with someone close enough to lean into the tenderness, Sounds of Summer leaves its imprint quietly but decisively. This is jazz that breathes, that notices the small details, that allows space for warmth to settle rather than rushing toward resolution.

Beyond the single, Walzer’s wider practice reflects a deep attentiveness to place and process. Based in Indiana, he has spent years gathering field recordings from across the state, weaving them into instrumental compositions that feel rooted, reflective and texturally alive. Working alongside trusted collaborators and co-producer Matthew Parmenter, with final mastering handled by Streaky in Oxford, Walzer’s approach places care and curiosity at the centre of every note.

Sounds of Summer is now available on all major streaming platforms, including Bandcamp. 

Review by Amelia Vandergast

 Inbar Solomon Sextet fused rabbit-hole timbres into front-row escapism in ‘Right on Q ‘

Posted on 15 December 2025

There is a list of accolades that could easily become taller than the Empire State Building trailing behind saxist and composer Inbar Solomon and his Inbar Solomon Sextet as they cement their status as some of NYC’s most prestigious jazz mesmerists. In the live performance of Right on Q at Arnold Hall, his reverence for the expressive art form becomes transfixingly alive. Each instrumental voice is effortlessly synergised with the next, pouring the arrangement so it moves like one fluid motion, each note an extension of the brass-tinged glamour of the genre.

It is a time warp, stripping back the decades and dressing the room in swanky opulence. The way the alto and tenor resist harmony yet still circle around the trombone lets you tumble down the rabbit hole of one of the most scintillating timbre kaleidoscopes you are likely to hear; no bar feels exclusive enough to exclude the Sextet. This piece serves as a reminder of what pure class sounds like.

Originally from Tel Aviv and now rooted in New York, Solomon honed his language at The New School before taking that bebop foundation onto stages from Bern to Jerusalem, and the Brooklyn haunts that shape the city’s current jazz lifeblood. As a bandleader, he writes for interaction and storytelling as much as for chops, which is why Right on Q lands like an invitation into his world of melody-forward, audience-connected improvisation.

The sextet format gives him room to let each player speak while still keeping the lines lucid, so heads who crave intricate horn writing alongside old-school swing energy will find a proper gem here. Right on Q is the kind of performance that makes you want to swap scrolling for a front-row seat.

The Live Performance of Right on Q is now available on YouTube.

Review by Amelia Vandergast

Peter Xifaras and the Budapest Symphony Orchestra Sent Jazz into the Cinematic Stratosphere with Adagio Blue

Posted on 22 August 2025

Peter Xifaras cemented his name in the canon of genre-pushing innovators with Adagio Blue, the opening track from his collaborative jazz-meets-classical release with the Budapest Symphony Orchestra.

The piece allows jazz to reach new cinematic heights; the evocative charge woven through the composition is something you feel in your ribcage as much as you hear. With strings that sear and a suave saxophone that slinks with all the charisma of old-school jazz clubs, Adagio Blue whisks you into Peter Xifaras’s own aural cosmos. It’s the kind of piece that strips everything else from your mind, demanding you listen, no matter how many times you’ve hit repeat.

The addition of the double bass makes Adagio Blue the definition of a big band, but even when the grandeur is in full effect, the accessibility remains. This is jazz for the purists and the adventurers alike, and sharing the platform with an esteemed orchestra enriches the genre’s roots.

Renowned for his genre-defying versatility, Peter Xifaras has seen his music crowned on BILLBOARD’s Classical and Crossover charts, with accolades including The American Prize and a Telly for social impact. From SiriusXM rotations to collaborations with top artists like Justin Chart, his influence is undeniable. With Adagio Grooves, Xifaras writes yet another chapter of audacious, emotionally-charged music for jazz and classical fans hungry for something a little more cinematic.

Adagio Blue is now available on all major streaming platforms via this link; for the full experience, watch the official music video.


Review by Amelia Vandergast

Angelina Christina set indie RnB ablaze with the smoky jazz-infused declaration of self-empowerment, ‘You’re the One’

Posted on 5 August 2025

Angelina Christina ignited contemporary indie RnB against sparks of old-school soul and the smooth, smoky smouldering timbres of jazz in her debut single, You’re the One. While the title might suggest a fawning love song, Christina marked her presence with a subversively empowering track that channels the love she was starved of in a toxic relationship back into herself. The celestial zeal in her harmonies makes clear how unshackling it feels to stop measuring your worth by how others treat you.

This track captures a rare authenticity; its dreamy production floats effortlessly over heartfelt vocals, layered with real voice memos from friends that lend intimacy and strength. Christina’s delivery is as vindictive as it is stylish; more than that,  it’s a reminder that self-worth forms the foundation of love. She refuses to be underestimated, proving with this debut that she is an unreckonable conduit of soul and power.

You’re the One dropped on July 19 and is already a defining statement from an artist poised to carve her own space in indie RnB’s landscape.

You’re the One is now available on all major streaming platforms via this link.

Review by Amelia Vandergast

MEDIANA Breathed Cinematic Fire and Jazz Sorcery into Her Baroque Opus ‘Daydream’

Posted on 2 July 2025

With MEDIANA’s Daydream, the title track from her debut LP and a cello-led baroque opener, you’re greeted by an artist who tears straight through the assumed boundaries of aural connection and conversation. This is far beyond rhythmic translation; it’s a display of how an instrumentalist can conjure entire worlds without uttering a single word.

There’s a sombre weight to the artful beguile that ensures, despite the beckoning of epochs gone by, the dust of antiquity is nowhere to be seen. By laying down almost orchestral folk crescendos, stylistically hammered chords, and a cinematic undercurrent of fire, she breathes dark, moody temptation into the jazz scene.

MEDIANA, also known as Diana Paterek, draws from her Polish classical roots and her academic background in sound engineering to build lush, emotionally potent soundscapes. On Daydream, she uses the cello as a playground for rhythmic textures and narrative atmospheres, deploying col legno, slap pizzicato, and bow chops to redraw the instrument’s boundaries.

The result is an album that effortlessly floats between the nostalgia of classical, the storytelling pulse of film scores, and the genre-stretching heat of modern jazz. The alternative jazz circuit has a new dark temptress—and she wields a cello with enough alchemy to enchant every soul she meets.

Daydream is now available on all major streaming platforms, including Spotify. 
–
Review by Amelia Vandergast

Ben Barnett’s ‘LeeRoy’ Poured Big Band Jazz Sophistication Into Ruin Without Spilling a Drop

Posted on 5 June 2025
New Beginnings by The Ruinous Quartet

With a level of class that refuses to dim under modern spotlights, LeeRoy by The Ruinous Quartet arrives with all the cool confidence of a veteran ensemble that knows precisely when to push and when to hold. The seasoned trombonist Ben Barnett, who has etched his legacy into the walls of New York’s most hallowed jazz institutions, leads with precision, panache, and an unteachable knack for arranging chaos into sophistication.

Having graduated with honours from both Purchase College and Hofstra University, with a Grammy nomination to his name and stage time shared with the likes of Barry Harris, Arturo O’Farrill, and the Afro-Latin Jazz Orchestra, Barnett’s pedigree ensures LeeRoy is more than a nod to tradition. It is a fully animated, genre-scorching demonstration of where big band jazz can go when the right musicians are behind the wheel.

The keys sparkle with enough vivacity to summon a silver age of swing into the present day, while the percussion flickers with a contained urgency that threatens to tip the track into riotous abandon. The Ruinous Quartet live up to their name without ever losing sight of sheer elegance. The blistering drum solo carves a break in the structure sharp enough to shatter glass, yet the whole composition holds its shape with effortless poise.

The sheen of classic jazz may wrap LeeRoy in a satin glove, but the pulse underneath is pure electricity.

LeeRoy is now available to stream on all major platforms, including Bandcamp.

Review by Amelia Vandergast

Guillermo Marigliano Unites Timeworn Soul and Kinetic Jazz Innovation in ‘My New Old Friends’

Posted on 26 May 2025

Guillermo Marigliano brings a kinetic charge to the jazz tradition in ‘My New Old Friends’, letting his guitar strings extend his reverence for the genre beyond the airwaves and into our cultural fabric. Fluid in his stylistic command, Marigliano traverses the shifting territories of jazz, infusing each phrase with tango tempos and South American rhythms, energising his arrangements with a warmth that never cloys. The single bleeds sentiment with intent; each note pulses with a lust for connection, allowing a blossom of newness to flourish within the classic idiom.

The polyphonic keys pulled into the arrangement prove Marigliano’s compositional instinct for innovation without erasing the roots. His decades leading projects such as ‘21st Century Latin Guitar’ and ‘New Latin Fusion Quartet’, releasing eight albums, and performing at international jazz festivals across Argentina, Chile, Colombia, Brazil, the US, and Belgium, coalesce in the refined confidence found here. As a soloist and collaborator, he has championed the fusion of jazz, tango, and Latin energy, making his output a living testament to the genre’s possibilities.

Off stage, Marigliano’s contributions run deep: composing for award-winning films, serving as an educator at ITMC, publishing authoritative guitar method books, and keeping the pulse of Los Angeles’ jazz scene alive at The Industry Café & Jazz. Now signed to The Sundial Agency, Marigliano continues to draw new connections through his playing, teaching, and creativity, cementing ‘My New Old Friends’ as a meeting point between nostalgia and discovery in contemporary jazz.

‘My New Old Friends’ is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast