Multimedia artist Belton Mouras, Jr. is a “Dynamo” on his new jazz single featuring GRAMMY® nominee Gerald Albright and Emmy winner Tony Saunders #jazz #music

Multimedia artist Belton Mouras, Jr. was composing music for an explosive scene from his upcoming feature film, Fingers: The Vegan Zombie Musical, when he realized the song deserved to be released as a standalone single. The pianist, keyboardist, and composer brought in nine-time GRAMMY® nominee Gerald Albright to play saxophone and two-time Emmy winner Tony Saunders to play bass on “Dynamo,” the vibrant and vigorous new Belton Mouras Entertainment single that is already collecting radio and playlist adds.

 

“Dynamo” warms its engines with Mouras, Jr.’s flickering keyboard and piano phrases before the beat kicks in, quickly ramping the track up to full throttle. As Albright’s sax and Saunders’s elastic basslines join, “Dynamo” rockets under the propulsion of Mouras, Jr.’s percussive drum programming. His fingers dance nimbly over the piano keys intertwined with Albright’s impassioned and unrestrained horn play. Hurtling toward its climax, the track surges with the energy of a thrill ride. Touching back down to earth, “Dynamo” concludes with a slow, deliberate fade.

 

“‘Dynamo’ was always meant to express a sudden, dynamic burst of energy. That explosive feeling is where the song title came from. It began while I was working on a film scene that needed something urgent and kinetic, but as the music evolved it took on a life of its own—becoming a driving, beat-forward groove that felt too powerful for the scene and perfect as a standalone track,” said the Sacramento-based Mouras, Jr. He also praised the contributions made by his guest stars.

 

“Tony Saunders’ catchy, propulsive bass instantly gave the song its pulse, and Gerald Albright’s beautifully expressive sax lines sent the track into orbit. The real magic was the conversation between my keyboards, Tony’s bass, and Gerald’s sax— like electricity dancing between the players. ‘Dynamo’ is pure motion and momentum.”

 

Mouras, Jr. has released a half-dozen charting singles in recent years, most of which are contemporary jazz instrumentals that incorporate R&B, funk, and Latin rhythms. His most recent outing, “Get It,” is a Latin-infused dance featuring Saunders and trumpeter Steve Roach, the latter of whom also features on “Keep Rollin’.” “Under My Skin” is a theatrical vocal and flute dalliance showcasing Mouras, Jr. in a swoon with Billboard chart-topper Althea Rene. The single spent twenty weeks on the Billboard and Mediabase charts.

 

Last fall, Mouras, Jr. released a captivating single with an accompanying video titled “What A World (We Live In)” that previews Fingers: The Vegan Zombie Musical. It’s a vocal number that opens the film with an elaborately choreographed scene featuring 25 dancers. The song’s message is how disconnected society has become — a world of phone‑fixated zombies. Production on the feature film shooting in Sacramento is expected to resume next month with the goal of a Halloween release date.  

 

Mouras, Jr.’s film work—from his Amazon Prime‑premiering debut Mickey’s Tree to the cult‑favorite short Fingers: The World’s First Vegan Zombie and its lively music‑and‑dance breakout “Step Step Step”—has collectively drawn more than 2.5 million views on YouTube. Written, directed, scored, and performed by Mouras, Jr., these projects have built the groundswell leading to the upcoming feature film Fingers: The Vegan Zombie Musical.

 

For more information, visit https://beltonmourasentertainment.com.

 

Watch “What A World (We Live In)” here: https://youtu.be/SHWaNonj5E0.

 

 

 

ABOUT BELTON MOURAS ENTERTAINMENT:

 

Belton Mouras Entertainment (BME) is dedicated to passionate storytelling through music, film, and art. Founded by screenwriter, director, composer, and painter Belton Mouras, Jr., the Sacramento, California-based company has produced acclaimed short films such as Fingers: The World’s First Vegan Zombie and Mickey’s Tree. BME’s projects blend humor, heart, and social commentary, with accompanying soundtracks and singles that have charted and reached audiences worldwide. For more information, please visit https://beltonmourasentertainment.com.

 

Soul Jazz saxophonist Reggie Codrington turns resilience into uplift on Nelson Braxton–produced single “Don’t Look Back” #jazz #music

Soul-Jazz saxophonist Reggie Codrington’s life continues to be impacted by the Ataxic Cerebral Palsy (ACP) that required him to have nine surgeries by the time he turned 13. Despite the pain, stiffness, and numerous other physical challenges that make daily living for him difficult as he approaches age 60, Codrington is hopeful, optimistic, and forward-looking — a mindset that shapes his new single, “Don’t Look Back,” already earning airplay and playlist adds.

 

ACP is a chronic condition affecting muscle coordination and depth perception. After learning to read music and other musical fundamentals at age five, Codrington couldn’t physically play an instrument. Surgeons cut and transferred muscles in his arm to improve finger dexterity. His desire to play music didn’t dissipate.

 

A few years later, Codrington’s parents drilled a mantra into his head: find a way. His father, trumpeter Ray Codrington, a professional musician who performed with Little Richard, Gladys Knight, Jackie Wilson, and appears on the Godfather soundtrack, found a way for his son when he bought a small, curved saxophone that enabled Reggie’s rigid and encumbered fingers to play the instrument.

 

In ninth grade, Reggie Codrington was kicked out of the high school band and told by the teacher to find something else to do. As a music major at Howard University, a professor told him to consider another career choice, saying there’s no way he would become a professional because of his lack of speed and dexterity caused by the neurological disorder. Codrington took the admonitions as a challenge and never missed a note.

 

“When God takes something away from you, He gives you something else. In my case, God gave me a special tone. It’s a warm sound that comes through when I play my sax. Just because you can play fast with dexterity doesn’t mean you have something special or more to say (musically). My unique tone is my gift, and it enables me to make a living as a musician,” said Codrington, who plays alto, tenor, and soprano sax on “Don’t Look Back.”

  

“Don’t Look Back” is Codrington’s first single produced by Nelson Braxton, who has produced multiple No. 1 Billboard singles as half of the urban-jazz duo The Braxton Brothers. The track is a midtempo R&B groove on which Codrington’s melodic phrasing across multiple horns delivers uplifting harmonies. Braxton handles all the instrumentation aside from sax and plays a nifty mid-tune guitar solo that provides contrast with its lyrical tone and fleet-footed pacing.  

 

“‘Don't Look Back’ came from a conversation with my mom and it is a testament to overcoming obstacles and trials. If you are going to move forward in life, you cannot afford to dwell on the past. You can’t move forward if you’re looking back,” said Codrington, whose ever-present smile can almost be heard when he plays his saxophone.

 

“After experiencing many disappointments, I had days where I found myself reflecting on negative things. I realized it’s okay to have a bad day but just don't stay there. Be thankful for the things that we do have. Our attitude determines our altitude.”

 

The new single previews Codrington’s forthcoming album The Ray Codrington Signature Series, inspired by memories of his late father. He has already released three singles from the project: “Joy In The Midst,” “Three Shades of Blue,” and “Lights.”

 

Born and raised in Fayetteville, North Carolina, where he still makes his home, Reggie Codrington debuted as a recording artist with 1990’s Never Let You Go album. To date, he has recorded 11 albums and five singles that have received global airplay. Codrington has collaborated in the studio with GRAMMY® winner Jeff Lorber, GRAMMY® nominee Paul Jackson Jr., and Billboard chart-topper Nils. In concert, he has opened for Ramsey Lewis, Charlie Wilson, Frankie Beverly & Maze, Peabo Bryson, Kenny Lattimore, Kim Waters, and Kevin Toney. In 2012, Codrington was invited to perform at one of the inaugural balls for President Barack Obama.

 

Codrington has a daily gratitude practice and lives by what he calls The Five P’s: Prayer, Preparation, Persistence, Patience, and Pay Day. A breakthrough moment in his journey came with a realization he had when he was a young musician.

 

“When I was learning to play, despite all my physical struggles, I realized that I didn’t have to play like John Coltrane. I don’t have to be the next Miles Davis. I only have to be the best Reggie Codrington that I can be. That moment was freeing and it’s what inspires me every time that I play sax.”

 

For more information, visit www.reggiecodringtonmusic.com.

 

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R&B/Jazz singer-songwriter-drummer Arthur Thompson Announces Purpose Driven New Album Keep On Dreaming (March 20), Featuring Peter White on Lead Single “I Needed You” #jazz #music

R&B/jazz singer‑songwriter and drummer Arthur Thompson will release his new album, Keep On Dreaming: Arthurized Volume 1, on March 20. The ten‑song collection blends soulful storytelling with Thompson’s mission‑driven artistry, offering messages of optimism, empowerment, mental‑health awareness, and support for people battling cancer.

 

Thompson’s new single, an uplifting, up‑tempo reimagining of Roberta Flack’s “I Needed You” features Billboard hitmaker Peter White, whose signature nylon‑string guitar illuminates the groove. The single that Flack penned for the 1981 feature film Bustin’ Loose has begun its ascent of the Billboard chart. 

 

“There was a scene in the movie starring Cicely Tyson and Richard Pryor where the characters locked eyes and this beautiful song began playing. At that time, I knew nothing about falling in love, but I felt something during that scene and the music stuck with me. The movie was about helping a group of children that the state wrote off. Fast forward, I never thought that I would grow to help children in need,” said Thompson, who founded Build A Life, Save A Life, the nonprofit home to the Math & Music and Drums Speak programs created to unite music and education for children.

 

Over the last few years, Thompson has released six singles featuring some of the luminaries he performs with: White, Mindi Abair, Dave Koz, Marcus Anderson, Tom Braxton, Erin Stevenson, and The Boneshakers. On his own records, Thompson also sings, using his silky tenor vocals to deliver impactful tales, inspirational messages, and stories of love and connection.

 

Thompson opens Keep On Dreaming with “Smile,” a 2023 single featuring Abair on saxophone. It’s a love song that Thompson wrote for the woman in his life he calls his muse. Next comes the album’s title track, which will be released as a single in May.

 

“Keep on dreaming, dream big, dream forever, dream beyond what you can imagine. Don’t stay in your state of discouragement. Keep believing and absolutely never give up!” enthused Thompson.

 

Thompson sings, scats, drums, and adds African percussion to the vivid “Oasis,” another joyous song originally recorded by Flack.

 

“‘Oasis’ transports you to a place where you feel safe, encouraged, and loved. It describes a longing for that special someone, a feeling of complete peace when you are apart because of the confidence you have in knowing that they will return to you. I always thought ‘Oasis’ was a beautiful song, and it has African undertones with the rhythms and drums. If you listen closely, you will hear that influence with my African Djembe, Sangban, Kenkeni, and Dununba drums,” said Thompson, who released his version as a single two years ago. 

 

A songwriting session with bassist Cortez Johnson and pianist Fred Smith resulted in “Missing My Father,” which was released as a single in 2023. It’s a poignant tribute brought to life by Thompson’s vulnerable yet commanding voice, Smith’s piano artistry, and Ron Reinhart’s dramatic strings. 

 

The mood instantly shifts to uplift on “I’m Free,” an instrumental single released last year featuring Braxton’s impassioned saxophone. Thompson sings the chorus gleefully flanked by powerhouse vocalist Stevenson.

 

“I had been going through some personal things that had me depressed and second guessing myself. Through meditation and prayer, I began to break through. I was able to see myself, understand my worth, and believe that all things are possible if you believe in yourself. ‘I’m Free’ is a self-awareness, feelgood song. It’s about learning to be happy with yourself, learning to walk in your own shoes, being unapologetic about who you are, and the things that you have overcome,” said Thompson, a Tulsa, Oklahoma native who lives in Nashville.

“We Can BEAT Cancer” is a deeply personal song that Thompson wrote when some of the women he’s closest to were diagnosed with breast cancer, including his sister, best friend, and the mother of his daughter. Koz and Stevenson guest on this vintage seventies R&B joint designed to encourage and create awareness of the plight that women face.

 

“My kind words and prayers help but I must do more to help. Millions of dollars have been raised to help with the research for a cure, but the cure remains elusive. All I can do is continue to help the research go forward and inform women about the need to have a mammogram. ‘We Can BEAT Cancer’ is my way to show that I care and that I am going to do what I can to help find a way to beat cancer without surgeries or chemotherapy,” said Thompson.

 

“Show Me” is a rumination about the shortcomings of a relationship based on appearance and attention. Thompson wrote the intense R&B-rocker “Where Are You Now” after a breakup sent him into a dark downward spiral.

 

“It was a rough time for me. I wrote the song back when you didn’t hear much about mental health before social media or cell phones. I decided to tell my story through this song while encouraging people to seek help for mental health and depression. It’s okay not to be okay. I’ve had other challenges in my life since then and I’ve made the call for help. Please don’t suffer in silence. Seek help,” said Thompson, who released the track along with a video last May during Mental Health Awareness Month.

 

Thompson closes the album with “Teardrops,” leaving listeners with a message of self-love underscored by Anderson’s saxophone and flute.

 

“Just because a person decides not to be a part of your life doesn’t mean you’re not worthy of love. Sometimes the very person you need is right in front of you. You just have to step into the light of freedom,” urges Thompson.

 

Thompson debuted as a solo artist in 2020 with The 7 Principles of Kwanzaa album that celebrates African heritage, unity, and culture. His soulful blend of R&B and jazz forms the backdrop for his spiritually tinged stories. Thompson was named the Breakout Artist of the Year by the Smooth Jazz Network in 2023. His Arthurized brand spans music, education, books, and global humanitarian works. Thompson is committed to using music and his platform to foster healing, hope, and human connection. Project after project, he strives to make a difference in the lives of at-risk youth and to counteract the budget cuts in music education. Thompson has authored three books, authoring stories that reflect his belief in the power of family, imagination, and resilience.

 

Keep on Dreaming contains the following songs:

 

“Smile”

“Keep on Dreaming”

“Oasis”

“Missing My Father”

“I’m Free”

“I Needed You”

“We Can BEAT Cancer”

“Show Me”

“Where Are You Now”

“Teardrops”

 

 

For more information or to purchase Keep on Dreaming, visit www.arthurthompsondrums.com.

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Pianist Terry Disley channels contemporary jazz greats on “Ticklin’ the Eighty Eights” #jazz #music

The single produced by Billboard hitmaker Chris Standring pays homage to legends Joe Sample, Bob James, and Dave Grusin.

 

 

Growing up in the United Kingdom, Terry Disley was inspired by American piano jazz greats Joe Sample, Bob James, and Dave Grusin. The classically trained pianist came of age in London and went on to play on two GRAMMY®‑nominated albums as a member of contemporary jazz band Acoustic Alchemy. On “Ticklin’ the Eighty Eights,” the new Ultimate Vibe Recordings single he co‑wrote with Billboard chart-topping guitarist Chris Standring, Disley puts his bright, fluid touch on full display in a tribute to the artists who shaped him.

 

The swinging, piano‑driven groove on “Ticklin’ the Eighty Eights” exudes heart and uplift. Bassist Andre Berry and drummer Chad Wright lay down a warm, propulsive foundation while Disley’s nimble phrasing dances across the keys. The Standring-produced single is earning airplay throughout the U.S., Australia, Germany, Poland, Spain, and the U.K.

 

Disley and Standring’s musical partnership dates back to their early days in London. “Ticklin’ the Eighty Eights” marks their fifth collaborative single on Standring’s Ultimate Vibe Records imprint since 2024.

 

“I’ve known Chris since we were playing together in our twenties. He often hired me to play in his band back then, and we stayed in touch after we both moved to America. We decided to collaborate and found success with four singles— ‘Say No More,’ ‘Bangers and Mash,’ ‘Late Night Rendezvous,’ and ‘Razzle Dazzle,’” said Disley, who lives in the Bay Area and plays two local residencies.

 

Disley was named Best Jazz Musician of the Year with the London-based jazz group Macondo after transitioning from classical to jazz. He toured internationally with the popular English Ska-influenced band Madness before joining Acoustic Alchemy, appearing and co-writing on six of their albums. He later spent five years as keyboardist, arranger, and occasional musical director for GRAMMY® winner Dave Stewart (Eurythmics), touring and recording extensively. His session work includes dates with Sir Paul McCartney, Van Morrison, Sir Mick Jagger, Bon Jovi, George Harrison, Tom Jones, Bryan Ferry, Billy Bragg, and Dee Dee Bridgewater. His piano work also appears in film scores including Showgirls, Beautiful Girls, The Ref, and Crime Time.

 

As a solo artist, Disley has released eight albums since his 2002 debut Experience and is currently working on his ninth, slated for release early 2027. His mission is to carry forward the legacy of the legendary pianists that inspired him.

 

“I’m stepping out to establish myself as a solo contemporary jazz keyboard artist with the purpose of keeping the flame of Joe Sample, Bob James, and Dave Grusin burning brightly.”

 

For more information, visit www.terrydisley.com. 

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Steve Holt Jazz Impact Quintet Nominated for 2026 JUNO Award - Jazz Album of the Year #jazz #music

The nomination for Jazz Album of the Year marks a major milestone for the acclaimed Canadian pianist, composer, and bandleader Steve Holt.

IMPACT was made with intention, honesty, and letting great musicians bring the music fully to life. Being nominated for a JUNO is an honour I truly didn’t expect.”

— Steve Holt

The Steve Holt Jazz Impact Quintet has received a 2026 JUNO Award nomination for Jazz Album of the Year for their latest release, IMPACT — marking a major milestone for the acclaimed Canadian pianist, composer, and bandleader Steve Holt.

The nomination recognizes IMPACT as one of Canada’s most compelling jazz recordings of the year. The album showcases Holt’s return as a leader and composer, supported by a powerhouse quintet featuring Perry White (saxophone), Kevin Turcotte (trumpet), Duncan Hopkins (bass), and Terry Clarke (drums) — five of the country’s most respected jazz musicians.

Released in 2025, IMPACT has drawn positive critical attention from around the world for its musical depth, high-level ensemble interplay, and Holt’s distinctive compositional voice. Jack Kenny, at All About Jazz (USA) described IMPACT as “An intense album bursting with creativity. FOUR STARS”. Gordon J ack, at Jazz Journal (UK) said “This is Canadian jazz at its finest.” And Thierry De Clemensat, from Paris Move (France) concluded “Impact stands as a vibrant new chapter in Steve Holt’s storied career, rooted in tradition, yet resonating firmly in the now.”

Steve Holt is a two-time JUNO-nominated pianist whose career spans more than four decades. He was McGill University’s first-ever Bachelor of Music program majoring in Jazz Performance and later studied in New York City with legendary pianist Kenny Barron. Holt released his JUNO-nominated debut album The Lion’s Eyes in 1983 and has since performed with jazz greats including Archie Shepp, Larry Coryell, James Moody, Eddie “Cleanhead” Vinson, Bob Mover, and Michel Urbaniak.

The JUNO nomination for IMPACT marks Holt’s return to national recognition as a leader and composer and further establishes Steve Holt as a leading force on today’s Canadian jazz stage.

The 2026 JUNO Awards will be presented on March 27th in Hamilton, Ontario, celebrating excellence in Canadian music across all genres.

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Contemporary jazz saxophonist Matt Willard embraces a new artistic identity under the guidance of two-time GRAMMY winner Paul Brown #jazz #music

Becoming Cali Jones: Contemporary jazz saxophonist Matt Willard embraces a new artistic identity under the guidance of two-time GRAMMY? winner Paul Brown

 

 

When contemporary jazz saxophonist Matt Willard landed at LAX last month to work with two-time GRAMMY?-winning producer Paul Brown, he arrived as the artist he had always been. A week later, he flew home with two finished tracks — and a new name: Cali Jones.

 

Becoming Cali Jones isn’t a marketing ploy or a rebrand. It’s an identity shift years in the making. Growing up in Virginia, Willard was captivated by the smooth, soulful West Coast sound — the music of Boney James, Richard Elliot, Peter White, Rick Braun, and other California greats who shaped his imagination.

 

“I always dreamed of California — not just the place, but the sound. That smooth West Coast jazz vibe felt like sunset drives, palm trees, and late-night studio sessions. It wasn’t just music to me; it was a vision,” said 27-year-old Jones, whose 2022 debut album Soul Assassin produced the Groove Jazz/Radiowave Top 5 single “Electric Shock,” also added to SiriusXM Watercolors.

 

Since releasing his debut, Jones has issued several singles that earned national and international airplay, building momentum while searching for the next step in his artistic evolution. Last month, as Willard, his single, “Oh Baby Baby,” went No. 1 on the Urban Influencer chart where it outranked singles by Elliot, Randy Brecker, Herb Alpert, and Samara Joy. 

 

Encouraged and eager to break through to the next level, Willard reached out to Brown — the producer behind more than 80 Billboard No. 1 hits, many from the very California artists who inspired him. Brown agreed, and Willard booked his first trip to Los Angeles to collaborate. What he didn’t expect was a transformation that went far beyond the music.

 

As the two worked together, Brown began calling him “Cali,” casually at first. “It felt natural. It felt right,” Jones recalled. A few days later, Brown posed a question that shifted everything: “Why don’t we start from scratch? Not just your sound — your whole persona.”

 

Willard sat with it. “I thought about the doors I wanted to walk through. The stages I wanted to stand on. The artist I was becoming — not just the one I had been. So, I made a choice. In that moment, I didn’t just change a name; I claimed an identity. From that moment on, I was no longer just dreaming of the West Coast sound — I was it. I became Cali Jones.”

 

Jones returned home with two fully produced tracks produced by Brown, including “Midnight Strut,” his debut single as Cali Jones, slated for release March 30 via MW Records. Brown played guitar on “Midnight Strut,” which he co-wrote with Buddy Jordan (bass, keyboards, and drum programming). Ron King guests on flugelhorn.

 

“Cali Jones has the silky smoothness of Boney James with the edge of Richard Elliot,” said Brown, who will start work on Jones’ next album this year.

 

Back home in Hampton Roads, Jones’s family and friends were receptive to the identity change.

 

“My family and friends have always been extremely supportive when it comes to my music. I certainly have one of the best support systems, and I am extremely grateful to have them on this journey with me. Not using my biological name has been an adjustment, but like everything, in time, it will become more natural.”

 

For more information, please visit www.calijonesmusic.com.

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GRAMMY®-winning keyboardist Michael Mani returns with “Night Shift,” the follow-up to his No. 1 debut single #jazz #music

The rising single marks the next chapter from his chart-topping album, Triangles.

 

 

Late nights in the studio are nothing new for GRAMMY®-winning keyboardist Michael Mani, who earned music’s highest honor for his work with guitar legends Carlos Santana and Eric Clapton. One of those nocturnal sessions sparked “Night Shift,” a hard‑grooving mix of hip-hop beats, playful piano lines, and the soulful sax of Ashley J. The track is now climbing the charts as the follow-up to Mani’s Mediabase No. 1 single, “Triangles.”

 

Four decades into a career that includes discovering and developing three-time GRAMMY® winner Tori Kelly and singer-actress Becky G, Mani stepped into the spotlight last spring when the sleek, funky title track to Triangles hit the airwaves. It topped Mediabase, reached No. 2 on Billboard, and ultimately became Billboard’s No. 25 single of 2025—earning Mani a Smooth Jazz Network nomination for Breakout Artist of the Year.

 

Released by Baja/TSR Records, Triangles is a 15-track collection of jazz, R&B, and funk rooted in the symbolic triangles Mani sees in music, relationships, and faith. For him, melody, rhythm, and harmony form the three sides that shape every song.

 

With “Night Shift,” Mani continues to build on his momentum, reinforcing his emergence as a contemporary jazz hitmaker with a full album of potential chart-toppers.

 

“What started as a playful piano warm-up quickly morphed into an electrifying blend of hip-hop and contemporary jazz,” said Mani, a Bay Area native who lives in Los Angeles, where he has a recording studio and production facility called The JAM. “Around 2 AM, a melody emerged that sparked the whole track—thus, ‘Night Shift’ was born.”

 

After that session, Mani sent the track to Ashley J, who is based in the Bay Area. “Ashley took the initial sax lines I played on synthesizer and sent her magic back, creating a dynamic energy that redefined the track,” he explained. “This single is all about fusion—urban grooves, soulful jazz chords, my piano riffs, and Ashley’s mesmerizing saxophone melodies coming together in a fresh, unforgettable way.”

 

February is a prolific month for Mani, as two songs he co-wrote and produced—Kathy Koskins’ “Magic Island” and Tommy Davidson’s “Red, Black and Blue”—are being released as singles. Two of Mani’s labelmates—guitarist Nils and bassist Tony Saunders—guest on Triangles. Mani anticipates performing with both artists this summer as he brings Triangles to the stage.

 

Mani learned his craft in part by working with three-time GRAMMY®-winning producer-songwriter Narada Michael Walden (Whitney Houston, Mariah Carey, Aretha Franklin) and GRAMMY®-winning producer-songwriter Walter Afanasieff (Mariah Carey, Kenny G). A classically trained pianist, Mani has played on records by Whitney Houston, Mariah Carey, Lady Gaga, Al Jarreau, Michael Bolton, New Kids on the Block, Leona Lewis, Regina Belle, Tevin Campbell, Shanice Wilson, En Vogue, Siedah Garrett, and the Backstreet Boys. Mani has written music for television, film, and commercials for Honda, Coca-Cola, Pepsi, Apple, Taco Bell, and Hallmark.

 

With “Night Shift,” Mani continues to expand his voice as a contemporary jazz artist, blending decades of experience with a fresh, modern sound that’s resonating with audiences nationwide.

 

For more information, visit https://mikemani.com. 

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The Dave Wilson Quartet - When Even Goes East #jazz #music

The Highest Debut This Week On The JazzWeek Plus Increased Airplay!
ACCLAIMED MULTI-INSTRUMENTALIST DAVE WILSON

REINVENTS CLASSIC 60s-70s POP FAVORITES WITH IMPROVISATORY FLAIR, ADDING HIS ORIGINAL COMPOSITIONS FOR THE SEEMLESS

WHEN EVEN GOES EAST

His 8th Album as a Leader

 

“Dave's work on saxophone immediately grabs us, creating an alluring atmosphere and taking us in some interesting directions. His saxophone creates a world I want to check out, want to live in for a while. It promises some excitement, some unusual characters, some fun. Dave's sax work has a beautiful air of melancholy to it at moments, sometimes reaching out, sometimes turning inward.”

Michael Doherty’s Music Log

“There is no doubt that Dave Wilson, both as a saxophonist and as a composer, is an exceptionally gifted musician. From the very first bars, the listener is immediately won over by the clarity, intelligence, and personality of his writing. Wilson’s compositional voice is confident and distinctive, marked by a strong melodic sense and an understated sophistication that rewards close listening.”

Paris Move by Thierry de Clemensat

On WHEN EVEN GOES EAST, the newest release by DAVE WILSON, the saxophonist puts his own spin on pop tunes from the 1960s and 70s and shows off his considerable composing chops on four original compositions. This is Wilson’s eighth album as a leader. 

“On When Even Goes East, the ever-inventive Dave Wilson leads his quartet through a thoughtful blend of originals and reimagined pop tunes, shaping an experience that feels both familiar and freshly personal. Wilson’s tenor and soprano saxophones deliver lyrical depth and an exploratory edge… a recording worthy of repeated listening.”

The Jazz Page by D. Glenn Daniels

Wilson has recorded his last three albums at live shows. This is his first studio recording since his 2015 release There Was Never. Since then, he recorded two live albums at Chris’ Jazz Cafe in Philadelphia, including One Night at Chris’ (2019) and Stretching Supreme (2022), on which he took a deep dive into Coltrane’s landmark 1965 Impulse! recording, A Love Supreme. The Art Music Lounge said, “All in all, this is an excellent CD, fully worthy of the one to whom most of the music is dedicated.” He also recorded Live at Silvana (2024) at the popular Harlem nightclub.

It took a while for Wilson to gather enough material for a new studio album. With 150 dates per year with big bands and small ensembles, playing at festivals, jazz clubs, and private engagements, while also teaching woodwinds and owning and operating Dave Wilson Musical Instruments (a business focusing on the buying and selling of vintage, modern and student brass and woodwind Instruments), his life has been very busy.

Wilson plays both tenor and soprano saxophones on the album and is accompanied by a top-notch rhythm section that includes JESSE GREEN (piano), EVAN GREGOR (bass), and DANIEL GONZALEZ (drums). It’s the same band that backed Wilson on Live at Silvana and frequently perform with him  around the Poconos/Lehigh Valley area and New York City. He is also joined by special guest LENNY CASTRO (percussion) who flew from Los Angeles to take part in this project.

Wilson was born and raised in Bronxville, NY, and currently resides in Lancaster, PA. He began his journey in music in fourth grade, playing the clarinet. He studied piano for a while but became intrigued with the saxophone at the age of 14 after hearing Coltrane’s Live at the Village Vanguard. He eventually went to Wesleyan University where he studied with Bill Barron and continued his studies with some of the top names in jazz, like saxophonists Dave Liebman, Joe Lovano, Ralph Lalama, and others. 

Over the years, Wilson has worked in a variety of musical genres, including funk, rock, jazz fusion, and Chicago-style horn bands. He also led his own straight-ahead jazz group, the Dave Wilson Quartet, and a couple of traditional/New Orleans ensembles, the Canal Street Hot 6 -- which made numerous appearances up and down the East coast -- and Dave Wilson’s Rampart Street Ramblers -- which featured an all-star lineup that included some of the top names in Mid Atlantic Trad circles. He was also a long-standing member of the Dave Stahl Sacred Orchestra and Dave Stahl Big Band, playing alongside jazz luminaries like Wynton Marsalis, Tom Harrell, Lou Soloff, the late Steve Marcus, John Fedchock, Conrad Herwig, Gary Smulyan, and Steve Smith, among others.

For WHEN EVEN GOES EAST, Wilson chose pop songs from the 1970s which he re-arranged as hip, modern jazz tunes. He says, “With these pop tunes, first I have to feel a personal connection with them…I make them my own thing, so they might veer off and not sound like the original…there has to be room for creative expression and improvisation."

The title of the album, WHEN EVEN GOES EAST, harkens back to his brief stint as a New York City cab driver. Most of Manhattan was built on a grid system, with some one-way streets going east and some west. The even numbered streets go east.

Wilson opens the album with his original composition, “Let’s Go.” An avant-garde burner, the tune features exciting, frenetic solos by Wilson and Reese. Other Wilson originals are “When Even Goes East,” “Slow Freeze,” and “Intragalactic Sunset.” Wilson says, “The guys came up with the groove for “When Even Goes East.” We were jamming on this one chord, and then I had this riff which served as an interlude, and it wound up being pretty effective. We recorded the tune in one take.” “Slow Freeze” is a dark, minor key ballad with a spacey vibe. “Intragalactic Sunset” is a Brazilian tinged composition featuring Wilson’s smoky tenor and an effervescent solo by Reese.

One of Wilson’s favorite musicians was guitarist Jerry Garcia, a rock icon and leader of the wildly popular group The Grateful Dead. Wilson chose to record “Eyes of the World,” written by Garcia and Robert Hunter. “This is my third Grateful Dead arrangement,” says Wilson. “I used to really like the Dead, and I love Jerry Garcia’s playing.  For “Eyes of the World,” I embellished the melody but kept the form pretty straightforward.”

Wilson is also a big fan of Jimmy Webb and covers two of his tunes. Webb wrote the sad break-up song “Adios” for Linda Ronstadt. Wilson beautifully captures the poignancy of the lyrics on the soprano sax. Wilson’s wistful version of “Wichita Lineman” is embellished with a lyrical piano solo by Green.

Online:

Davewilsonmusic.org

Facebook.com/davewilsonmusic
facebook.com/davewilsonquartet

davewilsonmusic.bandcamp.com

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