With no disrespect or disregard to Wayne, I decided to push this post back so that we all could pay those respects do Dolly in real-time.

May both of their memories live on in the amazing legacy they left us, and
Happy Birthday to Wayne Shorter!

Why? They arguably swung too big, too fast.

As we learned in my April conversation with Pompano Beach Mayor Rex Hardin, building a successful festival requires a bit more patience, experimentation, and incremental growth. Not every event gets to be Montreal, Montreux, or Monterey overnight. The two festivals in L.A. and NYC started with massive ambitions, and from my observations in both cases, they probably should have started small.

Despite those big-city cancellations, the festival circuit is thriving where it counts: in the communities that understand how to build a foundation.

Here are some of the upcoming excursions
in My Jazz Life that you should check out:

• August 28–29 | The Inaugural Wilton Jazz Festival (Wilton, CT)
  I am honored to host this brand-new, two-day event in the hometown of the legendary Brubeck Family. They are starting modest but heavy, leveraging the Brubeck legacy with a lineup featuring Taylor Eigsti (who apprenticed under Dave Brubeck), NEA Jazz Master Paquito D’Rivera, the Brubeck Brothers Quartet, and Alphonso Horne & The Gotham Kings.
  Info & Tickets Here

• Labor Day Weekend | DC Jazz Fest (Washington, D.C.)
  Now in its 22nd year, this is how you sustain an event. I will be roaming the DC Wharf and broadcasting live on SiriusXM’s Real Jazz alongside my co-host Angelika Beener. I am looking forward to pressing the flesh with listeners and readers.
  Info & Tickets
  

• November | Hollywood, FL (Embargoed Details)
  Keep your ears open. A new festival is launching to recapture some pre-pandemic momentum. They are smartly starting small with the number of days, but the lineup—featuring an NEA Jazz Master and an established vocal star—is massive. More on this soon.

It is worth remembering that at one point, Newport, Rhode Island, and Monterey, California, weren’t major destination hubs either. They built their legacies from the ground up, proving that if you respect the foundation, the music will grow.

What Would Gil Say Today About the Resurrection of Brian Jackson?

Having listened to Now More Than Ever over and over again, every single time I find myself feeling something I didn’t expect. Let’s get one thing straight immediately: this is not a straight-ahead jazz album. It is a Gil Scott-Heron tribute thatt absolutely fits the description of what we at My Jazz Life call Gateway Jazz.

There are countless routes and inroads woven into these tracks that can lead a curious musical mind directly back to the roots of late-twentieth-century Black American music: jazz, soul, funk, R&B, disco, acid jazz, hip-hop, and spoken word.

That is precisely why this record is so powerful. Brian Jackson has taken music created nearly fifty years ago and, alongside production heavyweights Masters At Work (Louie Vega and Kenny “Dope” Gonzalez), managed to make it sound like it belongs to right now.

This is not retro. This is not revivalist. This is not museum music.

This project belongs on the same mantle as the most conscious, seminal dance and spoken-word album of this decade. It is a byproduct of one of the most impactful musicians from the 70’s? Could it also be the most soulful album of the summer? It’s definitely one of the funkiest.

If you listen closely, the architecture of everything Brian and Gil built together is still standing underneath it all. The harmonic language, the rhythmic insistence, the spoken-word urgency, and the undeniable sense that a groove is not just decoration; it is an argument. It is music that still believes it can change how you think.

That’s more continuity than it is nostalgia, if you ask me.

These nineteen tracks, alongside Brian Jackson’s massive career resurrection, give us the definitive answer to the ultimate hypothetical riddle: “What would Gil say today?”

“Now More Than Ever” works on multiple levels simultaneously.
On one level, it is a funk/soul record - deep and percussive - built for DJs and late-night rooms where the bassline becomes a collective heartbeat. On another, it is a historical conversation revisiting themes that have never stopped being relevant: inequality, resistance, joy as survival, and the politics of everyday life.

If I were to break down exactly what makes this album hit so hard,
I would point to five key elements:

The Space
The grooves are allowed to breathe instead of being overproduced.

The Balance
A perfect equilibrium between live instrumentation and house music sensibilities.

The Energy
The spoken-word elements never feel forced or performative.

The Narrative
Every track feels like part of a larger arc rather than an isolated single.

The Respect
The refusal to treat this legacy as something fragile or untouchable.

And then there is Brian Jackson himself. He returns not as a legacy act, but as a living, evolving composer who still has something urgent to say through rhythm. Louie Vega and Kenny Dope brilliantly place him in the best possible light, letting him do what he does best on the keys and flute, while handing the vocal duties over to a massive cast of stars, including Lisa Fischer, Black Thought, Raheem DeVaughn, Rahsaan Patterson, and London’s soul master, Omar.

Masters At Work do not flatten this material into contemporary dance clichés. They expand it. They understand the lineage they are working within (garage, disco, jazz-funk, Afro-Latin rhythms), and they let all of it coexist without hierarchy.

Now More Than Ever is a must-hear for anyone who lives with the spirit of Gil Scott-Heron in their everyday consciousness. For those who don’t yet know the life-changing inspiration his words can provide, the title of this album says everything.

Now more than ever. We need to be reminded: We need this caliber of original music. And perhaps most of all, we need to always push the envelope.

Timeless and Beyond Genres,
My Inside Review of Now More Than Ever

The liner notes for Now More Than Ever describe the music as:

“a connection between what [Gil and Brian] were trying to accomplish in the 1970s and 80s and today’s lineage of resistance.”

That description is crucial. This isn’t simply an album of old songs being dusted off; it is a profound argument that this music isn’t finished yet. I could write a dissertation on all 19 tracks, but here is my reaction to four of the most essential Gil & Brian anthems reimagined on this project.

“Home Is Where The Hatred Is” (featuring Lisa Fischer)

Many in my era first heard this song covered by Esther Phillips before ever hearing Gil’s voice. She had a massive hit with it, reportedly shocked that someone who wasn’t an ex-junkie like her could write a song that powerful.

But Lisa Fischer takes it somewhere entirely different.

Backed by English R&B strings, Rhodes, congas, and sweeping guitar passages, the track carries a sound unmistakably derivative of the sophisticated 90s acid-jazz movement (think Incognito, Brand New Heavies, Jamiroquai) - musicians who understood that jazz harmony could live comfortably on a dance floor.

The extended version gives Fischer the room to do what great singers do when given time: play. She stretches phrases, swoops to answer the guitar, and finds hidden spaces in the arrangement to occupy. Underneath it all, Brian’s piano is a constant force. By the end, the arrangement strips away until it is just Brian playing. It’s a vital moment that proves he isn’t just here to bless the project as a historical artifact; he is actively contributing and creating.

“The Revolution Will Not Be Televised” (featuring Black Thought)

This iconic piece could have easily been the most obvious place for a project like this to fail. How do you update one of the most important pieces of political spoken word in American music history without turning it into an uninspiring museum exhibit?

You call Black Thought.

I once saw Black Thought perform in a band led by Robert Glasper, featuring the ridiculous drummer Chris Dave. It was a religious experience; I walked away convinced Black Thought is the John Coltrane of freestyling.

Here, he does not simply recite Gil’s words, he updates them. The new version brings in Fox News, social media, live-streaming, and taking a knee, delivering a clever, razor-sharp critique of contemporary consumer culture. Right in the middle is Brian’s flute, connecting the two generations of media consumption. Gil told us what the revolution would not be. Brian and Black Thought are asking what it looks like now.

“The Bottle” (featuring Omar)

The original was already a massive crossover hit for Gil and Brian, landing on jazz, rock, and R&B stations while dominating the dance floor.

Masters At Work decided that to revisit an immortal piece of music like this, they had to push it to the absolute limit. They arrived at a blistering 180 beats per minute. It is relentless and funky, showcasing Brian showing out on both piano and flute. The track became so unwieldy and expansive that it couldn’t even fit on the three-LP album, prompting a separate extended release. It sounds like people having serious fun while delivering a serious message.

“Racetrack In France” (featuring J. Ivy) & “Is That Jazz” (featuring Rahsaan Patterson)

The historical depth on this record is staggering. On “Racetrack In France,” Grammy-winning spoken-word artist J. Ivy acts as the narrator, repeating the original phrase: “Let me give you a little bit of history.” And he does exactly that, breaking down the heretofore unheard story of how Gil and Brian flew into Marseille, dropping unexpected names like Dave Liebman and Taj Mahal into the monologue. Delivered in a poetry-slam style over a deliciously infectious earworm of a groove, it is brilliant.

Meanwhile, “Is That Jazz” speaks directly to the jazz purists, maintaining a steady stream of name-dropping over a simmering horn section and a massive dance beat. Featuring Rahsaan Patterson, the track brings another generation of Black music into the conversation, making the title’s question almost rhetorical.

Jazz doesn’t have to be the destination. Sometimes, jazz is the doorway. Brian Jackson and Gil Scott-Heron built long musical hallways full of doorways into other genres, and Now More Than Ever kicks them all wide open.

BONUS CONTENT

Brian Jackson and Gil Scott-Heron didn’t just write songs; they built gateways. To fully understand their impact on American music and culture, you have to look no further than who followed in their footsteps.

For my paid My Jazz Life subscribers, I have compiled three definitive lists that track the DNA of Gil’s genius across tribute projects, cross-genre covers, and one-off collaborations. Consider this your ultimate Gil Scott-Heron syllabus from your favorite Jazz Griot.

BONUSES FOR THE COMMUNITY:

• Early-Access to related bonus Gateway Playlists:

  • Top 10 Important Gil Scott-Heron Covers & Reconstructions

  • Top 10 One-Offs and Guest Appearances

  • Top 10 Essential Tribute Albums

• On-Demand access to ad-free bonus content in the Our Jazz Lifers media player vault.

  • Some of our community members produced two fun mixtapes they’re making available this month to Our Jazz Life subscribers.

• Unlock this paywalled content with your single-use token from a free/gifted subscription, or upgrade to the paid tiers for unlimited Jazz Lifer access.

Access Our Jazz Life Below This Break

Upgrade to Our Jazz Life

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For decades, the narrative was fixed: New York was the undisputed capital of jazz. Los Angeles was just a sunny detour—a place where musicians went to record film scores, cash a tour check, or dodge the winter before flying back east.

That story is dead.

Today, Los Angeles is in the middle of a massive, undeniable jazz renaissance. The momentum is so heavy that even The New York Times recently devoted a feature to the city’s surging scene, spotlighting the massive, inaugural 17-day L.A. Jazz Festival dropping this August. This excitement isn’t built on one artist or a single lucky venue. It is a collision of historic rooms, a fearless new generation, and a diverse audience desperate for music that refuses to stay inside the lines.

Here is why Los Angeles is currently the most important jazz city in America.

The Architects of the West Coast Get Down

Last month in Los Angeles, near The Garage, I saw a young guy wearing a hat that read, “El Renacimiento de El Lay”. It reminded me about how the unique language and flavor of Los Angeles has reshaped the landscape of our culture time after time. None of this happens without the locals who laid the concrete. The true architects of today’s L.A. renaissance are the members of the West Coast Get Down.

Unlike collectives assembled in stuffy conservatories, these musicians grew up together. They played church gigs, attended the same schools, and developed a collective musical language years before the world caught on.

• Kamasi Washington: His breakthrough album, The Epic, forced the mainstream to pay attention to modern jazz.

• Thundercat (Stephen Bruner): He effortlessly moves between jazz, funk, soul, and pop. He is the walking epitome of the 80s Clarke/Duke Project: he plays bass like Stanley Clarke and sings like George Duke. His 2020 release, It is What it is, is my favorite work of his thus far.

• The Connectors: Multi-instrumentalist/producer Terrace Martin, bassist Miles Mosley, drummers Ronald Bruner Jr. and Tony Austin, pianists Cameron Graves and Brandon Coleman, and the late, great trombonist Ryan Porter.

Collectively, they forged a distinctly Los Angeles sound—one that embraces jazz without treating genre boundaries as sacred.

The Jazz Rooms of LA

Every thriving jazz city needs gathering places—rooms where audiences discover talent, musicians trade ideas, and scenes are born. L.A. finally has the diverse infrastructure to support multiple definitions of what jazz can be.

Sam First: Tucked near LAX, this has become one of the country’s premier listening rooms. Intimate and fiercely musician-friendly.

My Take: I’ve been to Sam First twice... kind of. The first time, I saw the amazing vocal group Saje, backed by my friend and recent L.A. transplant Ben Williams on bass. (I even spotted local vocalists like Mark Winkler in the crowd). My second visit? I couldn’t even get in the door. I had to settle for listening to pianist Gerald Clayton from the sidewalk.

Blue Note Los Angeles: Bringing one of the most recognizable brands in jazz to the West Coast.

My Take: I stumbled on this room entirely by accident last month. My new favorite Airbnb in L.A. is on Sunset, and just a few blocks east, I saw the Blue Note marquee. Luckily, another old friend and recent transplant, Keyon Harrold, was playing that night.

The Baked Potato: The legendary fusion room. It proves L.A.’s jazz roots run much deeper than outsiders realize.

My Take: I started going to the Baked Potato back in the 80s. I saw a young Gerald Albright there, and I’ll never forget a major late-90s gig featuring Lee Ritenour alongside Chicago drummer Oscar Seaton.

The Historic Pillars: Venues like the Catalina Jazz Club in Hollywood serve as the classic supper-club institution, while The World Stage in Leimert Park (founded by drummer Billy Higgins and poet Kamau Daaood) acts as a spiritual and educational hub for young musicians. (Full disclosure: I haven’t made it to either of these two yet, but they are on the short list).

There’s also the Walt Disney Concert Hall - whose exquisite architecture will be the venue for this years’s NEA Jazz Masters Tribute Concert.

The National Spotlight:
The 2026 NEA Jazz Masters

If you need institutional proof that the center of gravity has shifted, look at the National Endowment for the Arts. For decades, New York and Washington, D.C. held a monopoly on jazz honors. But on September 15th, the 2026 NEA Jazz Masters Tribute Concert will be held at the Walt Disney Concert Hall in Los Angeles.

The Class of 2026 is remarkable. Three of the four inductees are Black women who call Los Angeles home:

• Carmen Lundy: The visionary vocalist, composer, and educator.

• Rhonda Hamilton: The veteran broadcaster (and my former colleague on staff at SiriusXM’s Real Jazz).

• Patrice Rushen: The keyboard virtuoso and the sole L.A. native of the group.

• Airto Moreira: The Brazilian percussion legend who spent his most influential recording years in Southern California.

This ceremony isn’t just handing out awards. It is planting a flag on the West Coast. Check out their latest announcements at https://www.arts.gov.

Also read…

I’ll see you guys in a couple of weeks back here, where I have another Gateway Jazz mini-playlist and much more of the jazz content you guys love!

Thanks for subscribing, and a huge shoutout to our new Jazz Lifers who joined this month to support My Jazz Life. As always: keep listening and swing safely.

His latest album, Cream, is the ultimate proof.

Hanging out at the Montreal Jazz Festival, the 43-year-old musician broke down the paradox of his new project to me.

“It’s funny, the most acoustic record I’ve made is a hip-hop record. The whole album is covers of rap songs from the 90s that inspired me. I purposely chose songs that, growing up, expanded me musically. We took the harmony or the rhythm or the arrangement and tried to recreate those songs as if we were reimagining making a jazz record in the 60s. We even recorded it in one room.”

Imagine classic hip-hop joints by the Wu-Tang Clan, The Notorious B.I.G., and Digable Planets sounding as if they were being played by the Jazz Messengers, Antonio Carlos Jobim, or Joe Henderson. Cream is 99 percent acoustic, utilizing the aesthetic of 1960s jazz to mash up the heavy-hitting hip-hop records of the 1990s.

The Avant-Garde Connection

The self-described avant-gardist is a walking dichotomy. He proudly shouts out his time walking the creative high wires with boundary-pushers like pianist Vijay Iyer and saxophonist Steve Coleman (a musician so “out” he created his own sub-genre, M-Base).

“Hey man, I’m from Seattle, we’re known for being a bit out there,” Overall laughed. “That’s me, way more than inside.”

Yet, his influences range from arty free jazz to the most commercial hip-hop imaginable. Overall sees a distinct through-line between the two:

“The interesting similarity with hip-hop producers and composers is that when they’re dealing with sound, like an avant-garde musician, they’re not necessarily interested in chord progressions as mathematics. If you listen to a Public Enemy beat or certain underground West Coast productions, sometimes a chord produces a weird dissonance, and that dissonance inspires a story...”

This is exactly what the Art Ensemble of Chicago and the World Saxophone Quartet do. It is no wonder this Grammy-nominated musician won the prestigious Doris Duke Artist Award last year and the Arts Innovator Award two years prior.

The Bossa-Nova Biggie Smalls

For many listeners, Cream will act as a massive Gateway Album. Just as hearing Al Jarreau sing “Take Five” forced me to go back and discover Carmen McRae’s version, younger jazz fans might find themselves seeking out Biggie Smalls after hearing Overall’s acoustic “standards.”

Take his reimagining of Biggie’s “Big Poppa.” Overall recognized a hidden nuance in the legendary Brooklyn rapper’s delivery:

“Biggie’s tone... his restraint reminded me of a Brazilian singer. The Brazilian singers in that bossa-nova space are always light with that restraint. When you listen to Biggie rap, most of the time he’s cool; he uses that same kind of restraint like he’s in the club rapping in your ear.”

The genius of the track lies in its multiple entry points. The original Biggie version famously sampled the Isley Brothers’ 70s R&B classic, “Between The Sheets.” Overall cleverly embedded that intoxicating riff into his acoustic pastiche, layering bossa nova, jazz, and hip-hop into one cohesive statement.

“We’re creating a cultural time machine,” Overall concluded. “The song that we’re making sounds older than the original we’re covering. Biggie came out in the 90s, the Isleys’ in the 70s, and here we are in 2026 taking it back to bossa nova.”

(Also receiving the jazzed-up hip-hop treatment on Cream: Outkast, A Tribe Called Quest, and Juvenile).

Live from FIJM 2026: Montreal is Still the Undisputed King of Jazz Fests

When Montreal Jazz Festival founders Andre Menard and Alain Simard handed over the reins three years ago, they likely knew it was time for a younger perspective. Jazz is growing younger, and festivals across the globe are reflecting that shift.

The 2026 Festival International de Jazz de Montreal (FIJM) marked the 46th annual iteration of the event, but just the third under Director of Programming Maurin Auxemery. As a veteran well into my third decade of trekking to Quebec every July, I still insist that the Montreal Jazz Festival is the best in the world.

Under Auxemery and his chief assistant programmer, Modibo Kieta, it has somehow gotten even better!

The Paid Highlights & A Family Affair

Because the free stages were so compelling, I didn’t hit too many paid shows, but the ones I did see were spectacular. Standouts included Joshua Redman, a masterful duet between Christian McBride & Julian Lage, and Melody Gardot performing with the incredible Thanda Choir from South Africa.

As my love affair with this event deepens, I’ve tried to bring more friends and family into the fold. Normally, I stay just long enough to cover the five days needed for my SiriusXM broadcasts. But with my all-time favorite band, Earth, Wind & Fire, closing out the festival, I extended my stay to nine days.

That gave my wife and me enough time to host three different groups of visiting friends, including my friend Judy Matthews (returning from last year) and my brother Clifford with his wife Cyndi. (I’m fairly certain Clifford is already booking his flights for next year).

The City of Saints had one more surprise for us before we left, as we’d get to join the parade festivities of Carifête - The annual Carimas Festival. The vibrant multicultural celebration showcased Caribbean culture with colorful floats, elaborate masquerade costumes, steelpan bands with soca and calypso music. Valerie and I absolutely adored the entire experience. There’s a reason this event is in the Guinness Book of World Records as the largest jazz festival on the planet.

I will absolutely be back. Come join me in 2027!

The Power of the “Free” Stage

The most glaring evidence of FIJM’s growth is the explosion of high-quality, free programming. A massive percentage of this festival has always been free, but the sheer caliber of artists accessible to the public is staggering.

Broadcasting daily on SiriusXM Real Jazz, I can request access to virtually any paid show. This year, I was amazed at how rarely I had to bother the press office. Without spending a dime, I was able to catch:

• Kamasi Washington

• Brandee Younger

• Nicholas Payton with Butcher Brown

• Domi & JD Beck

• Willow

• Elena Pinderhughes

• Kassa Overall

This programming is a powerful statement. The adventurous, edgy jazz of right now needs to be heard by the young (who may not have the money) and by the old (who may not have the ears). Montreal is the ultimate landscape for discovery.

I’ve always told friends that aside from travel and lodging, spending a lot of money on music isn’t mandatory here. FIJM prides itself on the quality control of its free acts. A decade ago, I had a paid festival admission to see the then-unknown Catherine Russell. I got stopped in my tracks on my way to the mainstage by a captivating set featuring The Psychedelic Soul Orchestra playing the music of Minnie Riperton. Then, just as I was beginning to peel myself away from that stage, Steely Dan and his African Band held me captive there with their dynamic sound. By the time I finally made it to the main stage, I had missed Catherine’s set completely, but fortune was still smiling in my favor from the amazing musicians I took in.

That is the magic of a festival boasting twenty performance spaces (ten of them outdoors)! So if you’re still not convinced, you can check out their Instagram for more of their coverage.

My Featured Gateway Jazz Albums

As always, I want to share some of my latest favorites in my ongoing collection of Gateway Jazz before I sign off. What are you listening to in your jazz life? Join the community and drop some tunes in our chat:

“Coherence” - Cindy Blackman Santana
Mack Avenue

“A Supreme Blue” - Nicholas Payton & Butcher Brown
Concord

“Last Train to Sanity “ - Stanley Clarke
Roxboro Entertainment

“Slight Accent” - Ray Obiedo
Rhythmus

“No Wind, No Rain” - Chicago Soul Jazz Collective
Calligram

Thanks for checking out this issue of My Jazz Life! I’ll see you later this month for another issue. Until then, thanks for reading and listening. Swing safely out there folks.

As this newsletter hits your inbox, I am in my favorite place in the world: the Montreal Jazz Festival. For over 15 years, I have had the incredible honor of coming to Quebec to broadcast live interviews and music for SiriusXM’s Real Jazz (Channel 67) from what the Guinness Book of World Records officially recognizes as the world’s largest jazz festival.

Next week’s issue will be a full visual and audio recap of My Jazz Life in this great city. But today, something groundbreaking is happening, and I am using this dispatch to unveil two high-end, deeply personal projects I have been working on for a very long time.

Consider this your formal invitation. I am asking you to upgrade your subscription and join me backstage. By becoming a paid subscriber, you aren’t just reading about high art - you are getting a front-row seat to how it is built from the ground up.

Here is what we are building….

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This first project is a direct result of my five years as a judge on the Peabody Awards Board of Jurors. Believe it or not, before joining that distinguished body, I had never listened to a podcast. By the end of my first term in 2021, my creative drive overflowed; I knew I had to produce one.

As a producer, concepts come easy to me, and I rushed headlong into it. Thankfully, my two youngest sons stepped in and slowed me down, insisting we build a proper infrastructure first. We have been shaping the nest for so long, but the ideas are finally hatching.

We are currently in Montreal shooting the principal photography for the first four episodes, and our pilot episode features arguably the biggest star at this year’s Montreal Jazz Festival.

Before we go fully public, upgraded subscribers will receive the “first looks,” exclusive video content, and privileged access to the production process.

The Callier Trilogy

This second project is even more ambitious. If you are a fan of the late cult-legend singer Terry Callier, contemporary crooner Allan Harris, or any of the 18 albums I’ve produced in my career, you will want to be a part of this.

For decades, my devotion to Callier has been woven into My Jazz Life. An article I wrote for Jazzusa.com at the turn of the millennium is cited on his Wikipedia page and was recently included in the liner notes for the archival release Live at the Earl of Old Town. The Callier renaissance is real another UK label is dropping Live at the Jazz Café on vinyl in Q4.

The Terry Callier Wave
Rolls Out in 2027
With Elevated Content
Dedicated to His Legacy

The Allan Harris Sessions

This record is already recorded - with a title that will be unveiled soon. Allan Harris is singing Callier’s classics and deep cuts, backed by a few massive jazz stars. I’ve personally invested about five figures and countless hours to get it tracked. Now, we need mastering, artwork, a distributor, and a promoter. This Summer, upgraded subscribers will get to watch this record cross the finish line with exclusive leaks and behind-the-scenes.

Allan and I will tackle some of Terry’s larger, more complex pieces. We are adding an African choir and locking in some heavy-hitting, unsigned guest stars. Checkout our post below from December 2025 about these great sessions.

The Great Grail

This one is bone-chilling. I have spent a long time securing the rights to three sets of pristine, live Terry Callier performances from the early 2000’s - some recorded beautifully by Terry himself on Pro Tools. I wouldn’t be talking about them if I didn’t finally have the rights. When I first heard this audio, I cried. True fans will do the same when it drops early next year as well.

Lately, Los Angeles has been feeling more and more like another home away from home. Its not just my rapidly growing network of family and friends, as both myself and Valerie have sons on the coast now, but the other big appeal is SiriusXM’s “Garage” Studio. This Hollywood building features a street-level state-of-the-art performance space and 19 broadcast studios configured for audio and video production. In this space I’ve found the perfect creative sanctuary to record live sessions and sit down with touring musicians. It is from this vantage point in the City of Angels that this latest edition of My Jazz Life comes to you.

This weekend, the airwaves on Channel 67 (SiriusXM Real Jazz) are vibrating with the presence of a true legend of the drum kit. I am locked in with Peter Erskine for a retrospective of his monumental career, culminating in an exclusive trio performance of tracks from his brand-new album, Peregrine.

For those following the newsletter, first of all thanks for sharing and posting My Jazz Life. You are all amazing individuals already, and together we have made this community beyond my expectations. So again, to all ONE-THOUSAND SUBSCRIBERS, I really appreciate you swinging with me here.

Lastly, in this issue I’ll finally be sharing my tale of escaping a Chicago riot the night I was supposed to watch a Sly Stone concert - Rest in Power to the Legend. I was here in California just a few weeks ago as well, to honor Ahmir “Questlove” Thompson as a Trailblazer at the 86th Annual Peabody Awards for his Sly Lives and Summer of Soul documentary and much more.

The summer’s definitely in full swing, and I’ve got so much to catch you up on.
So if you’re just checking this out for the first time consider subscribing,
and for My Jazz Lifers…How I’ve missed you guys!

June’s Golden Gateway Jazz

Before jumping into the meat of this issue, I want to share some tunes with you to set a mood. Something about the golden sun rays of this town seems to remind me of the more graceful aesthetics that compel me to jazz. Within our genre there are pieces of art that carry the same radiance and warmth for newcomers and seasoned jazz lovers alike. I consider these “Gateway Jazz” selections - songs that bring people into a journey of deep appreciation for jazz; tunes that form a bridge from hearing the music to listening to the art. Here are some of the tunes that I’m listening to right now, in My Jazz Life:

Peter Erskine: A Lineage of Swing

Erskine’s legendary career was jumpstarted when Jaco Pastorius caught him playing with the Maynard Ferguson big band. That fateful connection changed the trajectory of his life, leading to Erskine anchoring Weather Report and Steps Ahead—two of the most vital, definitive “Gateway Jazz” groups of the twentieth century. From those high-octane arenas of fusion to the intimacy of his current acoustic trios, Peter has remained a master of rhythm, time, and taste.

The Erskine Jazz Gateway

While Peter holds close to 700 album credits (playing behind everyone from Barbra Streisand and Steely Dan to jazz masters Gary Burton and Michael Brecker) his solo output over the last decade has been remarkably prolific. To understand his current artistic trajectory, spend some time with these three essential releases:

Standards (2007): Featuring New Zealand piano genius Alan Pasqua and the deeply missed bassist Dave Carpenter. This record is a masterclass in acoustic group interplay, tackling well-known standards and chestnuts with an almost telepathic sensitivity.

On Call (2021): Credited to Peter Erskine & the Dr. Um Band, this is a modern Gateway album worthy of a 70’s fusion pioneer. Multiple Grammy-winning keyboardist John Beasley and L.A. first-call reed man Bob Sheppard give the session a contemporary kick, all anchored by the incredibly agile, syncopated electric bass lines of Benjamin J. Shepherd.

Bernstein in Vienna (2024): Arguably the finest of his recent releases. This live concert, dedicated to the compositions of Leonard Bernstein, expands beautifully beyond the trio format. It features an eclectic frontline of guitar, harmonica, and violin, rounded out by the stunning piano playing and arrangements of Vienna resident (and L.A. native) Danny Grissett.

Beyond His Peerless Jazz Pedigree

Modern pop culture followers (i.e. my sons) might recognize a different kind of Erskine legacy. His daughter, Maya Erskine, is a rising Hollywood superstar and the creator of the critically acclaimed, Gotham Independent Film Award-winning series Pen15. She is currently co-starring in the hit series Mr. & Mrs. Smith, alongside Donald Glover - and yes, during our sit-down at the Garage, I did make it a point to ask Peter if Donald is indeed as nice a guy as he seems.

Many other music enthusiasts may know his name from the dozens - if not hundreds - of products that have brandished his name in retail music shops all over North America. Regardless of how you know Peter Erskine, he’s had an indelible impact on the music landscape, and I’m excited for you to get to know him a little bit more from our meet-up on The Real Jam Session.

The SiriusXM Real Jam Session airs on Channel 67 (Real Jazz) on Fridays at 3:00 PM ET and Midnight ET. It will also be available on-demand on the SiriusXM App for just two weeks. Do not miss this session.

Questlove, Earth, Wind & Fire, and the Burden of Black Genius

This summer, the legendary Earth, Wind & Fire will bring their cosmic harmonies to close out the 46th annual Montreal Jazz Festival. The fabled group is riding an incredible high, launching a massive national tour alongside Lionel Richie following the premiere of their brand-new documentary.

The film carries a lofty, provocative title: Earth, Wind & Fire (To Be Celestial vs. That’s The Weight of the World). It was directed by Ahmir “Questlove” Thompson, who is currently on an unmatched run as an archival filmmaker and cultural documentarian. Questlove’s debut, Summer of Soul, swept the Oscars, Grammys, BAFTAs, and Peabody’s. His follow-up, Sly Lives (aka the Burden of Black Genius), brought home an Emmy, an NAACP Image Award, and another Peabody Award. An award which I had the distinct honor of judging selections for as a juror on our prestigious board.

With Earth, Wind & Fire and Sly Stone, Questlove has profiled two of the most profound, revolutionary Black music influences of my entire life. Throughout my career, I’ve had the incredible opportunity to interview EWF founder Maurice White twice. But even more thrilling is the personal, enduring friendship I’ve developed with lead singer Philip Bailey - a relationship I’ll be diving into deeply in an upcoming issue.

While I have a deep love for the celestial grooves of Earth Wind & Fire, it was Sly Stone who I fell in love with first and have a deeper connection with.

To get you ready for the summer, I have curated a special playlist titled “The Jazzy Side of Earth, Wind & Fire,” available to stream on the SiriusXM App through the end of July. I highly recommend spending some quality time with it.

The Day I Went Out For a Sly Stone Show, Then Watched Chicago Erupt Into Chaos

Music has always been the pulse of my life, and my mother, Willa Hammond, was the one who let that heartbeat thrive. At six years old, I insisted she take me to see Smokey Robinson & the Motown Revue, or so the family legend goes. By my early teens, I was already a seasoned concertgoer, navigating Chicago’s streets alone, hopping commuter trains to the Auditorium Theatre, or catching the Michigan Avenue bus to the Arie Crown. I witnessed legends for pocket change: Earth, Wind & Fire with Funkadelic (the infamous night George Clinton invited the crowd onstage, only for Maurice White to scold Chicago after a guitar was stolen), Isaac Hayes, and WAR - all before I could drive. But nothing compared to the summer of 1970.

That July, the Chicago Park District offered a staggering lineup of free shows in Grant Park, and I was determined to catch every single one. Just a week before history turned the park into a battleground, I stood in that same grass for Booker T. & the M.G.’s, with the left-handed blues titan Albert King opening. He seared his sound into my soul that night. Little did I know, the following Monday, July 27, would become infamous.

Rocks Flew & Smoke Plumed, but
The Stone Lion Maintained His Frame.

My mother, her best friend Elaine, and I arrived early to find the Flying Burrito Brothers onstage. Decades later, thanks to music journalist Cary Baker, I learned that Gram Parsons and Chris Hillman were among those on the bandstand. The summer air buzzed with a restless, volatile energy. Sly Stone was late. Then came the rumor that tore through the crowd of thousand, “He’s not coming”.

The crowd snapped. I remember the first rock arcing toward the stage, followed by another, and then a hail of them. Elaine, never one to tolerate nonsense, whipped around and scolded a hippie standing right behind us. He dropped his stone, looking sheepish…until she turned away. With a conspiratorial wink at me, he picked up another and hurled it.

Then, the police arrived. A phalanx of Chicago’s finest marched toward the stage, and like some surreal, violent choreography, that sheet of flying rocks shifted, now pelting the cops. The chaos exploded. Dozens of officers were injured. My mother grabbed me tightly. “We’re leaving.”

As we fled down Michigan Avenue, Grant Park burned behind us. I glanced back just long enough to see an iconic image seared into history: a car engulfed in flames, its smoke-framed silhouette set against the Chicago Art Institute’s stone lions.

Later, we would learn that Sly had actually been there, begging to perform, but Mayor Richard J. Daley refused. The ensuing riot overshadowed the music in the newspapers, but it did not diminish Sly’s momentum in the culture, and it certainly didn’t break my obsession with seeing the man himself.

Two Sly Stone Experiences Later

Four years later, in October 1974, I was a freshman at Southern Illinois University in Carbondale when Sly finally took the stage for my ears to bare witness. The encore was “I Wanna Take You Higher,” and I left the hall absolutely euphoric, the ghost of Grant Park finally laid to rest.

Then, nearly 37 years to the day after the riot, I saw him again. This time at the North Sea Jazz Festival. The crowd grew restless, flicking lighters like modern-day torches. The band, billed as “The Family Stone featuring Sly”, erupted without him, playing with such ferocious, tight tempo that I thought, He can’t possibly elevate this. Then, Rosie Stone pleaded for patience, and out he came - a bent, frail, silhouette appearing on stage as a shadow of his former self … that is, until he touched those keys!

The moment Sly’s fingers hit the keyboard, the air crackled. He sang maybe four songs: ”If You Want Me to Stay” , “Family Affair”, a few others - but it didn’t matter. The Legend was there, and the music was pure revolution.

Sly Stone reshaped music in a flash of brilliance, then vanished just as fast. His Grant Park no-show became a myth, but his influence remains eternal. As the world reflects on his memory more and more since his passing, I think of that riot, those two performances, and how music - like memory - refuses to fade. As Pharrell Williams says, “No-one Ever Really Dies”.

Rest in Power, Sly Stone.

Summer is in Full Swing at
Jazz Worldwide

Most of you know that I just launched a creative imprint this April called Jazz Worldwide. Forming this community was a huge turn in the direction that I want to steer this voyage - to bring jazz to new frontiers as a living art form. When this newsletter began, I had no concept of how I would accomplish this. However, with support from you jazz lovers - from all your diverse backgrounds and styles - you’ve help support this publication, and inspire me to see a much more vast vision of jazz in this current digital space.

As this community approaches 1,000 members I’ve been working with a designer to render a few designs for upcoming merch. I wanted to make pieces that represented the brilliance and boldness of our genre so that it could be worn with pride by real jazz lovers. Next month, I finally feel comfortable introducing you to these pieces, along with a special discount offer for all the paying member and Founders of My Jazz Life! If you haven’t upgraded your membership yet, consider these options, or continue swinging with us for free on the Substack App. Check jazzworldwide.com in the upcoming weeks and make sure you have our notifications turned on for our updates here!

Until next time…
Stay Cool, and Swing Safely!

Subscribe now

For over a dozen years, the SiriusXM Real Jazz studio at Jazz at Lincoln Center was where I lived My Jazz Life every single day. Last week, legendary drummer Steve Jordan asked me to come back to the house that Wynton Marsalis built to host the Jazz Foundation of America’s “Great Night Gala.” It was a massive homecoming filled with old friends, NEA Jazz Masters, and a stark reminder of the quiet, essential heavy lifting the JFA does to keep our greatest artists alive and thriving.

As this newsletter was being drafted, I received news that our friend Sonny Rollins has passed away at 95 years old. Such a legendary figure does not simply depart from this planet without leaving a massive impact. Sonny will be remembered and celebrated for his lasting contributions in the world of jazz.

My life in jazz has always been inextricably linked to the calendar. I have a son who shares a birthday with Charlie Parker, a grandson who’s birthday falls on Star Wars Day (May the fourth be with you, Mak), and my oldest sister, Diane Green, shares hers with Miles Davis - turning 74 this week.

For the past 40 years, the very next day on the calendar (May 27th) has meant sending greetings to two heavyweights who are incredibly dear to my heart: Dee Dee Bridgewater, who turns 76, and the late, great Ramsey Lewis, who would have been 91.

In April, during my longest trip back to Chicago since 2007, the spirits of Diane, Dee Dee, and Ramsey all converged around the massive International Jazz Day (IJD) celebrations.

The IJD Intersections

Spending quality time with my sister Diane was the undisputed personal highlight of those ten days. But professionally, the peak was reconnecting with Dee Dee. Despite her grueling schedule co-hosting the IJD Global Concert, she still found the time to sit me down and deliver some meaningful, much-needed professional advice.

Dee Dee and I have shared 35 years of industry ups and downs. Back in 2013, knowing they shared the same super-agent at the Kurlind Agency, I actually suggested she and Ramsey tour together. It felt like a total no-brainer when Dee Dee and Gregory Porter opened this year’s IJD concert by singing Ramsey’s massive hit, “The In Crowd.”

The Ramsey Lewis Lineage

Ramsey’s spirit hovered over the entire week, particularly during the Our Jazz Life event. The top city administrator assigned to help me pull it off was none other than Ramsey’s son, Frayne Lewis (Deputy Commissioner of DCASE).

During a planning meeting with my own son, Sidney-Bachet, Frayne and I nearly came to tears thinking about what Ramsey would say seeing our boys working together. Later, as the doors opened for the event, we played a classic aircheck of Ramsey from his WNUA days. Hearing his voice echo through the room, both Frayne and I teared up all over again.

The Successor: Bob Kessler

I spent over a decade working for Ramsey. I researched, wrote liner notes for his GRP Records releases, and produced his Westwood One syndicated radio show. When I left for WBEZ in 1996, I arrogantly assumed his team would have a hard time replacing me.

I was wrong. They found Bob Kessler.

Back then, Bob was a rising star producer at WGN. Today, he is a star news anchor at the station. Ramsey used to tell me that Bob perfectly fit his philosophy of “sending the elevator down” to elevate new talent. Ramsey recognized that Bob, much like myself and former keyboardist Mike Logan, had layers of hidden artistic drive.

For Bob, that drive manifested in the harmonica. Living in a city with a rich blues heritage, Bob sought out lessons from Chicago harmonica legend Howard Levy (Béla Fleck, Donald Fagen). Today, Bob’s resume includes performances at Carnegie Hall, the Grand Ole Opry, and the Auditorium Theatre.

Jazz Gateway Track of the Month: “Les Fleur”

Bob is a remarkably cool, laid-back character—a vibe befitting his Korean Zen Buddhist order. His first all-harmonica album was cleverly titled Amplitude (as in AM radio). His brand new release is titled Frequency (FM).

This week, we are sending birthday flowers to Diane, Dee Dee, and Ramsey via our Gateway Track of the Month: Bob Kessler’s rendition of “Les Fleur.”

If you our new to My Jazz Lifet- first off, thanks for stopping by and consider subscribing please - A Jazz Gateway selection is a piece of art of body of work that I would consider great “on-ramps” for listeners and lovers of the genre.

“Le Fleur”, written by the legendary Charles Stepney, first recorded by Minnie Riperton, and turned into a massive hit by Ramsey Lewis, the song is Chicago royalty. If you know the history of this track, you’ll immediately feel the spirit of all three legends in Bob’s brilliant interpretation. Ramsey would be incredibly proud.

A Great Night at Home:
The JFA Gala at Jazz at Lincoln Center

On Thursday, May 21st, the Jazz Foundation of America (JFA) presented their annual “Great Night Gala.” When JFA Artistic Director and masterful drummer Steve Jordan asked me to be part of the production, I instantly relished the homecoming.

This year’s event was held at Jazz at Lincoln Center (JALC). Long before the pandemic, JALC was the home of the SiriusXM Real Jazz studio -the very place I lived My Jazz Life broadcasting daily starting in 2007. It is impossible to overstate the impact of this venue or its founder. No singular human has done more for jazz in the last 40 years than Wynton Marsalis, and neither my dozen-year run at JALC nor this flawless JFA event would be possible without the jazz house that Wynton built.

It was also a full-circle moment with the JFA leadership. Shortly after moving to NYC, I met NEA Jazz Master Wendy Oxenhorn and Joe Petrucelli. Wendy was the Executive Director then, and Joe has since ascended from Associate Director to the top spot. They are the engine behind an organization that has saved countless musicians’ lives…and believe me, they know how to throw a party.

The Honorees & The Brotherhood

The gala was anchored by massive recognitions. Singer Norah Jones received the Billy Taylor Humanitarian Award, while NEA Jazz Masters Gary Bartz and Patrice Rushen received well-deserved tribute performances.

But the night also highlighted the Jazz Legacies Fellowships - a Mellon Foundation mandate granting 50 jazz musicians $100,000 unrestricted grants over four years. Bass hero Buster Williams is a second-year recipient, and he performed alongside his group, Something More, featuring heavyweights Lenny White (drums) and Stefon Harris (vibraphone).

Spending quality time with Buster, Stefon, and Lenny was an uplifting highlight. I have a profound respect for these three men, deeply rooted in both personal brotherhood and professional collaboration:

• Stefon Harris: The featured soloist on Charenee Wade’s Offering: Songs of Gil Scott-Heron & Brian Jackson (2015) - arguably the best of the baker’s dozen albums I have produced.

• Lenny White: The distributor for my last publicly released production, Carolyn Fitzhugh’s Living In Peace (2019), via his pre-pandemic label, IYOUWE Records.

• Buster Williams: I had the distinct honor of writing the annotations for his 2023 Smoke Sessions album, Unalome.

The Titan of Jazz & The Griot Moment

Another peak moment was hanging with Jamaican guitar legend Ernest Ranglin, who was honored with the JFA’s Titan of Jazz Award.

Surprisingly, many of the folks in the room didn’t know his full legacy - not to fear, Jazz Lifer! Having recently received a Griot Award myself, I felt that true “griot” energy kicking in as I educated a group of jazz legends about an international African music icon. Magically, during my trip to London just a few weeks prior, I had purchased his classic album Below The Bassline (featuring Monty Alexander). Ernest and his family got a massive kick out of seeing the social media post I had made from the UK just days before we met

.

Passing the Torch: The Next Generation

Before Ernest accepted his award, the crowd was blown away by a 17-year-old guitar prodigy named Marel Hidalgo, who delivered a burning three-song set featuring Ranglin’s hit, “Surfin’.”

Hidalgo was backed by two other phenomenal teenagers: Leonieke Scheuble on piano and Ana Petrova on organ. These kids are the future of the music. Remember their names, and check out their work:

• Marel Hidalgo

• Leonieke Scheuble

• Ana Petrova

When I took the stage, I reminded the audience that the JFA isn’t just about preserving the past; it’s about nurturing the future. I asked the crowd who remembered an 11-year-old piano prodigy from Bali playing the Apollo Theatre during the JFA’s “Great Night in Harlem” a decade ago. That pre-teen looked up into Herbie Hancock’s eyes and said, “I dedicated my life to jazz because of you.” That kid was Joey Alexander, now a 22-year-old international A-list star.

The True Mission: One Musician at a Time

To close out my time on stage, I introduced Dr. Maitreya Padukone, a dentist. Like dozens of other medical professionals across the country, Dr. Padukone donates his services to the JFA to ensure that the jazz musicians who didn’t become massive stars are still treated like they are.

This is what it’s all about. I urge you to visit jazzfoundation.org to learn more about this vital organization. Their tagline says it perfectly:

Honoring Blues, Jazz & Roots One Musician At A Time.

Reminders…

June 4th, 7:00PM - ET

Catch me at the Swing-U Course, in Jazz at Lincoln Center for this single event, or sign up for other Swing-U events here, and tell the “My Jazz Life” sent you.

Huge thanks to all the new subscribers - welcome!
Our Jazz Life paid members, be on the lookout in the upcoming week for some bonus content from us on the Substack App next month!

Until next time, my friends -
Swing safely and Jazz Onward!

Additionally, I can honestly say these warm feelings have been fostering in the front of my mind since the week leading into International Jazz Day, back in my Sweet Home Chicago last month:

The 2026 Summer Festival Itinerary

Jazz Festival Season is here. While more dates are sure to be added, here is where you can find me on the road this summer:

Toronto Jazz Festival

June 19–28

(Tentative - Will update you guys when I finalize my details.)

• The 39th annual lineup features a heavy mix of free and ticketed performances anchored around the Yorkville hub.

• Public Links: You can review scheduling details and secure individual tickets through the Front Stage Festivals Guide or access the primary community updates directly via the festival’s official site at torontojazz.com.

Montreal Jazz Festival

June 29–July 5

My annual trek to the world’s largest festival. I’ll be interviewing Joshua Redman in front of a live audience on the 29th, and broadcasting daily from 3:00 to 6:00 pm ET on SiriusXM’s Real Jazz.

My remote broadcasts and live audience interview with the Joshua Redman Group coincide with a massive 46th-anniversary lineup including Diana Krall, Hiromi, and Marcus Miller.

• Public Link: Full coverage of the 10-day Quartier des Spectacles footprint is hosted on the Tourisme Montréal Experience Guide.

Wilton Jazz Fest (Wilton, CT)

August 28–29

The inaugural festival in the hometown of Dave Brubeck. Driven by the Brubeck Brothers, I am proud to host and interview the musicians as we explore the history of one of jazz’s most prolific families.

• Public Links: Since the programming leverages the family repository, schedule integration updates are monitored via the Official Dave Brubeck Calendar and historical context is preserved through the Brubeck Collection Digital Archive hosted at the Wilton Library.

DC Jazz Fest (Washington DC)

September 2–6

The citywide “DC 250” celebration features headliners like Dee Dee Bridgewater, Joshua Redman, Kurt Elling, and my co-host for SiriusXM’s remote broadcast Angelika Beener.

• Public Link: Tickets, artist-in-residence updates, and the full multi-neighborhood schedule can be tracked at the DC Jazz Festival Lineup Announcement.

Monterey Jazz Festival

September 25–27

The 69th annual soiree at the iconic Monterey County Fairgrounds. I will be anchoring a solo audio tour of the second-oldest jazz festival in the world, bringing you interviews and the unbeatable Monterey vibe.

• Public Link:

  Single-day and multi-day packages for MJF69 at the iconic Monterey County Fairgrounds are officially active.
  Headliner updates (featuring the Jazz at Lincoln Center Orchestra, Ron Carter, and Herbie Hancock) are detailed directly on the Monterey Jazz Festival Official Hub.

An Early Anniversary: English Style

As I mentioned earlier, Val and I just got back from London. When I found out that the legendary pop/funk fusion band Incognito was celebrating their 45th anniversary at the Royal Festival Hall with no U.S. dates on the calendar, I took the plunge. After hearing that founder Jean-Paul “Bluey” Maunick was ill, I knew I couldn’t miss it.

As the incredible luck of this life would have it, on the exact night I arrived, my absolute favorite British jazz artist, Courtney Pine, was celebrating his 40th anniversary at the famous Ronnie Scott’s. I scored tickets to both.

This quick weekend trip also included working on a secret project with the fabulous English songstress Claire Martin, and most importantly, kicking off an early 10th wedding anniversary celebration with my beautiful wife, Valerie.

I’ll be back here on the 24th for the last newsletter of the month, but I’ve left you with plenty to read here. Our Jazz Life members, will have bonus content at the end of this segment, and don’t forget to checkout my newsletter archive for more My Jazz Life.

- M.R.

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When I heard that Incognito was celebrating their 45th anniversary in London at the Royal Festival Hall, I knew I had to be there.

In my opinion, aside from Earth, Wind & Fire, no jazz/funk-based pop group has consistently produced higher-quality live and studio performances for a longer period than Incognito. I have known the band’s leader, Jean-Paul “Bluey” Maunick, since their 1993 U.S. breakthrough album Positivity. That record not only produced their biggest American hit, “Deep Waters” (which launched Maysa Leak’s solo career and nearly topped the Billboard Contemporary Jazz Chart), but it also sparked a friendship that has grown considerably over the decades.

Today, out of all the superstar musicians I call friends, Bluey reaches out the most. Given how much he preaches about love, harmony, and communication in his music, it’s not surprising that he keeps his friends close.

The Catalyst for the Journey

While their 20th album, Music. Magic. Ironic., was released this past Christmas Day, the motivation for my trip was far more personal. Not long ago, Bluey revealed to me that he was battling two serious illnesses - one debilitating and the other potentially fatal.

Combining that sobering news with the fact that the band was facing passport issues that hindered U.S. touring, I took immediate action. I booked a flight to London for their May 8th anniversary show, knowing it could be my last time seeing the band perform live.

The 40th Anniversary of Courtney Pine

With flight tickets in hand, I checked the local schedules to see if my absolute favorite British jazz artist, the genre-bending saxophonist Courtney Pine, was playing. As the incredible luck of My Jazz Life would have it, Pine was celebrating his own 40th anniversary with a record release show on the exact day I arrived in England.

We opted for the 9:30 PM show at the legendary Ronnie Scott’s Jazz Club (opened in 1959) to help fight off jet lag. As is often the case with late-night club sets, the act stretched out. Courtney blasted sheets of sound with his quartet, cajoling the audience with his acerbic humor and seemingly refusing to leave the stage. Knowing it was a small club gig, I didn’t expect his hip-hop explorations; I knew I was getting the hard-charging, Coltrane/Shorter-inspired horn player who takes no prisoners.

The New Album: Out of the Ghetto His new album, Out of the Ghetto: A Modern Day Jazz Story, was released just days prior on April 24th. It is a 2-CD, 28-track compilation chronicling his work for Universal Music Group from the mid-80s through the end of the century.

The opening track is his 1986 version of “Children of the Ghetto.” While many know the Philip Bailey/Phil Collins version, or the original by the 70s British funk mob The Real Thing, none of them would recognize Courtney’s deconstruction of the melody. His powerful tenor dipped and squealed, evoking both Branford Marsalis and John Coltrane. However, on the soprano sax, Courtney has a distinct, incomparable voice.

He toggled between both horns during the 90-minute set, sharing stories of begging his way into Ronnie Scott’s as a kid, and why he chose to never leave the UK for the States. Even though it had been over 25 years since I wrote a major Chicago Sun-Times piece on his reggae-influenced album Closer To Home, he seemed to remember me from a brief hang we shared with Rolling Stones drummer Charlie Watts.

The Incognito Juggernaut at Royal Festival Hall

The next night was the polar opposite of a 200-seat jazz club. We were at the historic 2,700-seat Royal Festival Hall on the Thames River. Every seat was filled.

Bluey did not disappoint his hometown. He augmented his 13-piece juggernaut with a 16-piece orchestra led by Tony Award-winning arranger and conductor Simon Hale. While Hale now has a massive Broadway resume (winning a Tony for Girl From the North Country) and credits with Alicia Keys and Kanye West, it was Bluey who gave him his very first job on Incognito’s 1995 album 100° and Rising.

Early in the set, the band performed music from their latest album, including a soaring tribute to Roy Ayers on the song “Running Away,” which sent the London crowd into an absolute frenzy.

A Great Night for a Greater Cause: Hosting the 2026 JFA Gala

I am incredibly honored to announce that on May 21, 2026, I will be stepping onto the stage at Jazz at Lincoln Center to host the Jazz Foundation of America’s “Great Night Gala.” For decades, the JFA has done the quiet, essential heavy lifting in our community - honoring and supporting jazz and blues musicians one artist at a time. To be asked to guide the ship for their biggest fundraising night of the year is a profound privilege.

I won’t be doing it alone. I will be joined by Special Guest Ann Curry, with the legendary Steve Jordan serving as Artistic Director.

The lineup they have assembled for this 8:00 PM concert is nothing short of historic. Here is a look at who is taking the stage:

• The Humanitarian Honoree: Norah Jones will be receiving the prestigious Dr. Billy Taylor Humanitarian Award.

• The Legends: We will hear from heavyweights including Gary Bartz, Buster Williams, Patrice Rushen, Lenny White, and Jimmy Owens.

• The Tributes: * A tribute to Jamaican guitar master Ernest Ranglin, featuring Marel Hidalgo.

  • A tribute to Latin jazz architects Cal Tjader & Willie Bobo, featuring percussion master Sammy Figueroa.

• The Ensemble: An unbelievable supporting cast featuring Stefon Harris, James Genus, Steve Wilson, Mino Cinelu, Winard Harper, Clifton Anderson, and many more.

The JFA is the safety net for the musicians who built the soundtrack of our lives. By attending, you aren’t just buying a ticket to the best concert in New York City that night; you are directly keeping the music playing for artists in need.

The Details:

• Date: Thursday, May 21, 2026

• Time: 8:00 PM Concert

• Venue: Jazz at Lincoln Center (Broadway at 60th Street, New York, NY)

• Tickets & Donations: Secure your seats and support the mission at jazzfoundation.org.

I cannot wait to see you in the room for this one!

May Gateway Jazz Selections

As you can probably imagine, I come in contact with hundreds of tunes every month in My Jazz Life. Often times, there are projects that have found there way into my personal orbit despite whether they are heard in mainstream jazz programming. Some of these songs continue to push the conversation of jazz outside of common discussions, creating entry points for those just discovering their tastes in the genre. Here are some of my Gateway Songs for May that share these characteristics.

Steam Down - I Realised It Was Me

Gannix Recordings

Javier Nero Jazz Orchestra - Alkebulan

Outside In Music

Around The World With U - Ulysses Owens Jr. & Generation Y

Cellar Music Group

Volcanic - Chris Aschman

Chris Aschman (Youtube)

Giants - Barry Greene

Origin Records

Our Jazz Lifer’s Community Pick:

Echo Thrills - Orange

More from the last Month of
My Jazz Life…

For over seventy years, Chicago has served as a primary epicenter for the evolution of jazz, with the city's radio airwaves acting as the essential medium for breaking new artists and sharing the music with the public. On both a global scale, and street view of culture.

From Cooper Park on 117^th & Ada - named in the memory of Jack L. Cooper, the first major broadcaster of jazz, gospel and community service on local airwaves who serves as the shoulders for which every jazz announcer in Chicago that followed stands on - To the influence of Terry Callier on the sound of Jazz in Northern Africa, France, and beyond that was born in the soil of our great city.

Chicago is proudly serving as the official Global Host City for International Jazz Day 2026, a UNESCO-recognized celebration positioning our city at the center of a landmark cultural moment that unites over 190 countries; and I’m honored to be presenting Our Jazz Life: A Celebration of the History of Jazz Radio in History.

The history of jazz in Chicago is inextricably linked to the dedication of legendary broadcast journalists, producers, and on-air personalities who have programmed, played, and popularized this uniquely American art form for more than five decades.

This month I hit the internet hard to promote our Our Jazz Life with some true “Jazz Lifers” - John Hill, Richard Steele, Neil Tesser, Barry Winograd, Lofton Emenari, Dave Freeman, Dan Bindert, Bob Foskett, and Burt Burdeen. These gentlement have served as cultural stewards, preserving the legacy of icons like Miles Davis, Ramsey Lewis, George Freeman, and Herbie Hancock through compelling storytelling and archival mastery.

Here are some of the media appearances we did together:

Other Airings & Archive Outlets

The following appearances are currently being aired during International Jazz Week programming (April 20–27, 2026).

• WHPK 88.5 FM (”All That’s Jazz”): Scheduled to air Tuesday, April 21, at 12:00 PM CDT. You can listen live or check for archives at whpk.org.

• Chicago Revealed (Chicago Jazz Magazine): Interviews with Mark Ruffin, Richard Steele, and others were recorded April 14 and are dropping throughout this week. Check the official site at chicagojazz.com or their YouTube channel.

• CAN TV (Channel 21): Video episodes of the Heartland panel are airing on Channel 21 in Chicago and streaming online at cantv.org during the week of April 20.

• Lumpen Radio (News From The Entrance Door): Hosted by Mario Smith. Replays are available via lumpenradio.com.

• WCPT 820 AM: Mark Ruffin is scheduled to appear on Sunday morning, April 26, on the program featuring President Preckwinkle. Streaming at wcpt820.com.

Other Press Coverage Outlets

Articles from the following journalists have or will be dropping for the lead up to the Sunday, April 26 “History of Jazz Radio Day” event.

• Hyde Park Herald: Marc Monoghan.

• Block Club Chicago: Maxwell Evans.

• Rolling Out Magazine: Mo Barnes.

• Axios Chicago: Justin Kaufmann.

• INDIGO: Hermene Hartman.

Finally, on Monday, April 27th, I will be part of Vince Wilburn’s panel at the Sketches of Spain Live Concert at the Logan Center. Along with Orbert Davis and Karen Chilton, we’ll celebrate the Miles Davis Centennial and the tremendous potential we see for the future of jazz worldwide.

I can’t wait to see you there!

So, here’s that original piece to give a bit more context for that piece. Enjoy.

Is Montreal’s Festival the Best in the Entire World?

I’ve been extraordinarily fortunate in my jazz life to experience the Montréal Jazz Festival nearly every year of this century. Except during the pandemic years, I’ve rarely spent the Fourth of July in America since 1999—not out of any deliberate protest, but simply because I’ve found myself drawn to Québec during the first two weeks of July.

I hardly know Montréal outside the context of what the Guinness Book of World Records declared the “world’s largest jazz festival“. Whether it’s truly the best is debatable, but for me, the Festival International de Jazz de Montréal (FIJM) is nothing short of magical.

My journey began in 1999 at Québec City’s Festival d’été de Québec, where I fell in love with the city’s vibrant world music scene. Over the next few years, I returned often and began noticing an increasing number of world-class musicians during my Montréal layovers—I distinctly remember catching Kurt Elling and McCoy Tyner among them.

One of my most cherished memories dates to July 4, 2003, the day I returned from Québec City to find an email announcing I’d been named a semi-finalist in the Sundance Institute’s screenwriting competition. My son Sidney Bechet-Mandela (yes, named after that Sidney Bechet) still recalls how my elated scream shook the room. That moment eventually led me to write my first book, Bebop Fairy Tales: A Historical Fiction Trilogy on Jazz, Intolerance, and Baseball. While fiction isn’t my usual focus, the experience cemented Québec City’s place in my heart.

By 2008, I was program director for Real Jazz on satellite radio and assigned to cover FIJM—but I couldn’t bear to skip Québec City’s festival, so I attended both. After just one night in Montréal, I remember slapping my forehead like the Jim Carrey meme, thinking, “What was I thinking”! Montréal was Québec City on high-powered steroids. Unlike Festival d’été de Québec’s world-music focus, FIJM zeroed in on the jazz I lived and breathed. I’ve rarely missed it since.

Why Montréal’s Jazz Fest Stands Apart

The festival’s quality control is unmatched. With over 600 concerts across two dozen stages, its artistic strategists—like Maurin Auxemery and Modibo Keita—travel the globe to curate cutting-edge talent.

A decade ago, I was en route to see Steely Dan at Place des Arts when a voice stopped me in my tracks. On a free stage, the Psychedelic Soul Orchestra (not to be confused with the similarly named “Soul Psychedelic Orchestra”) paid tribute to Minnie Riperton, with three vocalists flawlessly replicating her legendary octave leaps. I later bought their album, Celebrating the Music of Minnie Riperton, and still play it today.

I’d planned to catch Catherine Russell (now a Grammy-nominated star) opening for Steely Dan, but the African Stage (sadly now defunct) lured me with a Nigerian hi-life band so electrifying I stood transfixed. By the time I pulled away, I’d missed half of Steely Dan’s set—and I didn’t care.

The Joy of Free Music

A staggering 75% of FIJM’s shows are free! My most unforgettable free concert? Stevie Wonder performing for 30,000 euphoric fans. This year, Esperanza Spalding, Trombone Shorty, and Julius Rodriguez also graced free stages. With affordable lodging, you could fill your entire schedule with free acts alone.

The festival also makes it easy to support artists directly—I still cherish albums I’ve bought on-site, like The Brooks, a band I discovered opening for Snarky Puppy years ago. This year, they headlined the same venue.

Full-Circle Moments

This year, I joined the festival’s lineup, moderating a 90-minute talk with Branford Marsalis before a packed house at Place des Arts. His paid performance was a highlight, as were Nate Smith with Lalah Hathaway and the Oscar Peterson “Canadiana Suite” tribute led by arranger John Clayton.

Clayton’s orchestra featured three phenomenal musicians I’m proud to call friends:

- Christine Jensen (saxophonist/composer), whom I met through my Québec adventures—her trumpeter sister Ingrid Jensen is more famous, but Christine’s my kindred spirit.

- Jocelyn Gould (guitarist), a Winnipeg native whose rise since her 2020 debut Golden Hour has been meteoric, and former Head of Humber College’s guitar department.

- Rachel Therrien (trumpeter), a Montreal firebrand I met 20 years ago when she was a 19-year-old busking outside the metro, boldly declaring her plans to conquer New York. (Spoiler: She did.)

From Subway to Stardom

I’ll never forget hearing Rachel’s trumpet echoing through the subway in 2004. Years later, I spotted her at Dizzy’s Club in NYC, leading late-night jam sessions during FIJM. My heart swelled in 2015 when she won the festival’s top composition prize, Concours de Jazz. Since then, she’s played with Paquito D’Rivera and the DIVA Jazz Orchestra, released seven albums, and earned a Juno nomination, the Canadian Grammy equivalent.

This June, my SiriusXM show Real Jazz celebrated Jazz Women of Canada, featuring all five of these artists. Their music also graced my “Jazz Life Five Interesting Albums” list—a fitting tribute to the talent that makes FIJM one of my favorite place on Earth.

See you next July. @RuffinJazz

FIVE INTERESTING ALBUMS FROM JAZZ WOMEN OF MONTREAL

• Caity Gyorgy
  Caity Gyorgy with Strings (LA Reserve Music)

• Code Red
  Code Red Quartet, feat. Christine Jensen (Justin Time Records)

• Laura Anglade
  Get Out of Town (Nettwerk Music Group)

• Melissa Pipe Sextet
  Of What Remains (Odd Sounds)

• Rachel Therrien, Latin Jazz Project
  Mi Hogar II (LULAWORLD)

These projects provide such a great perspective and individual stylistic soundscape.
With no particular ranking or order, these are some of the most interesting albums I’ve found from the ladies on the scene here.

I want to thank the folks over at McBride’s World Sea for their considerations to My Jazz Life.
I am an official spokesman for this cruise, so I speak for myself and Christian when I say,
We’d would love for you to come out and make a splash with us this upcoming January!

More information at

https://mcbridesworldatsea.com/

On Youtube, Instagram, and Facebook search “Mark Ruffinjazz” to find me.

"The beach! That's the big draw. People want to come to South Florida and they want to go to the beach. So by God, let's give them what they want."

-Mayor Rex Hardin

For the fifth consecutive year, I’ve had the privilege of hosting the Pompano Beach Jazz Festival, and the growth I’ve witnessed since its inception is nothing short of phenomenal. In the early days, the event was held in a gentrifying corner of the city during unseasonably cool January nights. I still vividly recall Branford Marsalis (who had neglected to bring a coat) teasingly admonishing the shivering crowd for braving the cold just to hear him play.

As you’ll hear Mayor Rex Hardin explain in this audio extra, moving the festivities directly onto the sand was the natural evolution of the brand. It is a logical shift; the city’s identity is inextricably tied to the shoreline, and that is exactly where visitors expect the music to live.

Mayor Hardin has led this attractive enclave since 2007, fostering a culture where the arts are a primary focus of civic and economic development. His impact is remarkably broad, bridging the gap between the arts and the community - he is as comfortable launching a premier jazz festival as well as presenting a special award to hometown rap sensation Kodak Black.

In our interview, the Mayor breaks down how this festival was intentionally designed as a high-value economic engine for the city. For any leader or organizer looking to leverage culture for growth, this conversation serves as an essential primer on using the arts to drive tourism and “bring home the bacon” for local taxpayers.

"The arts, bar none…they’re great. They are the number one economic development tool for a city. I love the arts, but I love economic development more... I’ve got to bring home the bacon for my taxpayers.
If you've got to spend $100,000 to put on a festival, but it brings in half a million dollars... boy, that's a huge ROI."

Jazz Fest Pompano Beach Returns for a Spectacular 5th Year!

On Saturday, April 18, and Sunday, April 19, 2026, Pompano Beach Arts proudly presents a milestone year for Pompano Beach’s premier music celebration. Set along the stunning beachfront, this two-day, free festival brings world-class performances, exciting culinary delights, and vibrant community spirit back to the shoreline.

General admission seating is FREE, but registration is required for security and safety planning! Chairs and blankets are welcome!

VIP Pass for One Day or Both Days are available here.

I’ll see you there!

Happy International Jazz Month! April is full of festivities for us here at My Jazz Life. I just got word that I will be hosting at the Pompano Beach Jazz Fest next week. Then of course, I’ll be making the debut of Our Jazz Life on April 26th, as part of International Jazz Week in back in my hometown of Chicago.

EASY RSVP HERE

In this edition of My Jazz Life, I wanted to shoutout my friend Herbie Hancock on his birthday - for all he’s done for the arts, for myself, for my city, and for the world! So press play on the Maiden Voyage album, kick back, and enjoy!

Herbie Hancock’s last studio release was The Imagine Project in 2010. Shortly after, he stepped into his role as a UNESCO Ambassador, where his first act of “imagination” was the creation of a worldwide day for jazz. International Jazz Day was born, and as we prepare for the 15th annual celebration in Herbie’s hometown of Chicago, it’s impossible not to notice a trend: as his international diplomacy grew, the studio releases paused. It’s been a long time since we’ve had “new” Herbie, but his impact remains constant.

April also happens to be a heavyweight month for “Gateway Artist” birthdays, including Duke Ellington, Hugh Masekela, and Herbie himself. For his 86th birthday on April 12th, I polled the my community of Jazz Lifers to see which compositions and records still resonate most. Here are some of those results.

Jazz-Lifers’ Gateway Herbie Compositions

1. Maiden Voyage

2. Watermelon Man

3. Cantaloupe Island

4. Speak Like A Child

5. Chameleon

6. Tell Me A Bedtime Story

7. Dolphin Dance

8. The Prisoner

9. Actual Proof

10. Butterfly

<playlist>

Jazz-Lifers’ Gateway Herbie Albums

1. Maiden Voyage

2. Headhunters

3. Empyrean Isles

4. Gershwin’s World

5. Fat Albert Rotunda

6. Speak Like A Child

7. River: The Joni Letters

8. Thrust

9. The Prisoner

10. My Point of View

Now, I can’t vouch for the placement/order that you guys chose, but as far as the selections - Spot on. Great work, Jazz Lifers! If you have further opinions or recommendations, please swing away down there in the comments. Tell me what you think about Herbie’s legendary discography.

Mark Ruffin’s Top 10 Herbie Hancock Gateway Albums

To celebrate the centennial-adjacent energy of this month, I’ve broken down my personal list of the ten albums that defined Herbie’s path-and the genre’s future.

1. Maiden Voyage (Blue Note, 1965)

By ‘65, Hancock had already conquered the pop charts with the Latin-funk of “Watermelon Man.” But Maiden Voyage was the flag-planter. Filled with nautical themes, it proved Herbie could write “pretty” songs that were also instant, immortal standards like “Dolphin Dance” and the haunting title track.

2. Speak Like A Child (Blue Note, 1968)

This was Herbie’s “expanded group” period. The unique frontline of bass trombone, flugelhorn, and alto flute created a haunting, atmospheric swing.

Insider Note: That’s Herbie and his then-fiancée Gigi on the cover, and the legendary Thad Jones served as Herbie’s uncredited “shadow arranger” for these sessions.

3. M’Wandishi (Warner Brothers, 1971)

Warner Bros. likely thought they were getting more of the commercial “Fat Albert Rotunda” sound. Instead, Herbie pivoted into the avant-garde electric frontier. This band produced stunningly complex 15/8 rhythms like “Ostinato” while maintaining those hypnotic, slow-burn harmonies on “You’ll Know When You Get There.”

4. Head Hunters (Columbia, 1973)

After the experimental road of Sextant, Herbie finally “found the funk.” With the mastery of electronic keyboards complete and the legendary Bennie Maupin on reeds, he created the then highest-selling jazz record of all time. Columbia Records laughed all the way to the “Artist Development” bank with this one.

5. Thrust (Columbia, 1974)

Four tracks, four classics. Thrust returned Herbie to the upper reaches of the pop charts while simultaneously unveiling “Butterfly”- a song that would go on to be one of his most-covered “pretty” compositions.

6. Sunlight (Columbia, 1978)

Arguably the sleeper of his catalog. Critics originally mauled this record for Herbie’s use of the vocoder, but history has been much kinder. Today, we see Sunlight as the clear forerunner for artists like Robert Glasper, Thundercat, Domi & JD Beck, the late Casey Benjamin and others. It also features the powerhouse rhythm section of Tony Williams and Jaco Pastorius.

7. Future Shock (Columbia, 1983)

While his 28th album (Lite Me Up) tried for a Michael Jackson-esque crossover, it was album #29 that made him a global pop star. “Rockit” became a worldwide smash, winning five MTV Video Awards and introducing the world to the fusion of hip-hop scratch culture and African synthesizers.

8. Dis Is Da Drum (Mercury, 1994)

This is one of the most underrated entries in his career. Herbie distilled a decade of African music and hip-hop into an “Acid Jazz” masterpiece. Bringing back Headhunters veterans Bennie Maupin and Bill Summers, he proved that 70s funk and modern 90s rhythms were perfectly compatible.

9. The New Standard (Verve, 1996)

Herbie might not be a singer, but he gave vocalists permission to evolve. By arranging songs by Prince, Peter Gabriel, and Sade, he started “The New Standard” era. He freed artists like Kurt Elling, Patricia Barber, and Cassandra Wilson to sing the songs they actually grew up with, rather than just the standards of the 40s.

10. River: The Joni Letters (Verve, 2007)

An icon’s tribute to a peer. This Joni Mitchell tribute made Herbie one of only four artists - joining the likes of Lady Gaga and Billie Eilish - to sweep the “Album of the Year” Grammy alongside an Oscar and Video of the Year honors. He did it with a retro-acoustic record, proving that looking back is often the best way to move forward.

PLAY ALL

There’s awesome a Youtube Playlist over on my channel to get you in the groove as you go about your jazz lives. Herbie, if you end up seeing this: We love you, we are inspired by you, and we appreciate all our contributions to our jazz life.

Speaking of Our Jazz Life

Don’t forget to register for featured event during the International Jazz Day celebrations.

EASY RSVP HERE

In the span of just one month, I am witnessing two world-class orchestras, led by two visionary contemporary arrangers, breathing new life into the 1960 masterpiece, Sketches of Spain.

The San Francisco Staging: A Dectet of Stars

On March 20th, the SFJAZZ Center became a portal to 1960. The incomparable pianist and arranger Gil Goldstein (a man mentored by Gil Evans himself) led a star-studded dectet through an emotional 90-minute journey.

The ensemble was a powerhouse of musical mastery:

• The MVP: Trumpeter Keyon Harrold delivered a performance for the ages, capturing the melancholic fire of Miles with modern precision.

• The Rhythms: Legendary drummer Lenny White was the undisputed glue. Watching him work was a masterclass; while every other musician was glued to their sheet music, Lenny sat behind his kit, waiting for the beat with an empty music stand.

• The Color: Bay Area stalwart Mary Fettig provided the essential reed textures, while Carol Robbins reminded us why she is among the premier jazz harpists in the world. Her solo feature was a highlight, proving her place at the top of the instrument’s hierarchy.

The “No Paper” Rule: A Lenny White Masterclass

After the show, I asked Lenny how he navigated such complex orchestral arrangements without a single sheet of music. His answer was pure jazz history:

“Unlike the other musicians, I have been listening to this music all my life,” said the man who played on Bitches Brew while still a teenager. “I know every beat and accent. It would be blasphemous for me to have paper out there.”

The Ferguson Jazz Mafia & the St. Louis Lineage

Keyon Harrold’s performance wasn’t just about talent; it was about DNA. Keyon is a central figure in what I call the “Ferguson Jazz Mafia” - the St. Louis suburb that has produced modern giants like Marcus Baylor, Shedrick Mitchell, and Keyon’s brother, Emmanuel Harrold.

The connection to Miles goes even deeper. Keyon is a direct descendant of Eddie Randle, the first great jazz trumpeter of the St. Louis area. Randle’s band, the Blue Devils, was the proving ground for a young Miles Davis and Clark Terry. Both Randle and Miles were born on the Illinois side of the river, and that “Gateway” spirit was palpable in Harrold’s playing at SFJAZZ.

Looking Toward International Jazz Day 2026

The celebration doesn’t end in San Francisco. The momentum now shifts East to my hometown, Chicago, the host city for International Jazz Day 2026.

On April 27th at 1:00 PM, the Chicago Jazz Philharmonic Orchestra, led by trumpeter Orbert Davis, will stage their own tribute: “Sketches of Spain Revisited” at the Logan Center.

Following the performance, I’ll be joining a panel discussion at 2:15 PM alongside Orbert, Miles’ nephew Vince Wilburn, and moderator Karen Chilton. We’ll be diving deep into the past and future of these iconic collaborations.

If you’re in the Windy City, don’t miss this. It’s more than a tribute; it’s a centennial homecoming. You can RSVP at markruffin.com/ourjazzlife.

Thank You, Jazz Lifers!

It was recently brought to my attention that My Jazz Life was featured in Substack’s Top 100 Rising for March. I can’t begin to express to you all how much your support of this publication has meant to me. I began this newsletter as an outlet for my creativity to reach beyond the airwaves, but also to bring my passion to everyone who loves jazz - with or without a subscription.

I think I always envisioned my followers as a community of art enthusiasts and socially aware individuals. When I encounter you guys in person, I am always so humbled by how my work makes an impact on your lives. I have come to realize that this isn’t just My Jazz Life - it’s Our Jazz Life!

To that point, there have been a number of you who have been generous enough to support My Jazz Life with pledges and subscriptions. I just wanted to take a minute to show some love to the recent additions to a couple of you guys:

The Peabody Doctorate: A Five-Year Masterclass in Culture

As I approach the end of my fifth year on the Peabody Awards Board of Jurors, I’m preparing for the 86th annual ceremony at the Beverly Hills Wilshire, on May 31st. This experience has been far more than a professional appointment; it has been a “graduate humanities class” that has accelerated my artistic drive and made 2025 the most productive year of my creative life.

This year, we celebrate television titans James L. Brooks and Amy Poehler, while our Institutional Award goes to the invaluable PBS Kids. Most notably, the Peabody Trailblazer Award (previously held by the likes of Questlove and Quinta Brunson) will be presented to MacArthur Genius Sterlin Harjo. As a citizen of the Seminole Nation, Harjo’s work on Reservation Dogs and The Lowdown has done more for Native American visibility in modern culture than perhaps any creator in the medium’s history

The “Peabuddy” Network:
Jazz in the Deliberation Room

While I often feel like an “imposter” among such heavy hitters, I’ve found deep jazz roots within this prestigious circle. My fellow jurors aren’t just media moguls; they are “music geeks” of the highest order:

• Dr. Herman Gray: Author of Producing Jazz (the story of Theresa Records and Pharoah Sanders), who has been a primary source of inspiration.

• Mark Whittaker: The CBS News veteran and author of Steeltown, who knows Pittsburgh’s rich jazz history backwards and forwards.

• Dr. Jeffrey Jones: The Peabody Executive Director and a proficient drummer who actually played for Charenee Wade’s senior recital (years before I produced her Gil Scott-Heron tribute).

• Doug Herzog: The former head of MTV and Comedy Central who greenlit South Park and The Daily Show. While he doesn’t “do” fusion or Brazilian, we’ve bonded over live sets by Lakecia Benjamin and Kenny Banks Jr.

The Creative Toll and the “Breath of Fresh Air”

The work is often heavy. We begin each year immersed in the “darkest” corners of journalism - news reports and documentaries detailing political conspiracies and global turmoil. It is an annual reminder of how fractured the world can be. However, shifting into the entertainment entries provides a necessary “breath of fresh air” and a sense of hope, fueled by a new generation of brilliant producers and journalists.

Graduation is Near

When I joined this board at the start of the pandemic, I don’t think I had never even listened to a podcast. Today, I am paving the road toward launching my own endeavors in the same vein. Though the premiere is still a way off, the “Peabody effect” has already reshaped my creative output. Next year, when I officially rotate off the board, I’ll be leaving with what feels like a Doctorate in American Culture. I’m hopeful that we will reap the artistic rewards together, here, and beyond.

I’m putting together something really great for all of the early supporters here. In the next month I’ll be expanding my efforts here - more content, more engagement, and more of Our Jazz Life.

From the bottom of my heart, thank you all so much.
Swing safely out there folks!

Subscribe now

The Queens Behind the Scenes

In the modern era, the impact of women has shifted from the bandstand to the head of the table, as they dismantle the “boys’ club” architecture of the past century. Institutional leaders and masters like Terri Lyne Carrington and Maria Schneider are not only redefining the sonic palette of the big band and the kit; they are reshaping jazz education and advocacy to ensure the genre’s future is equitable. By reclaiming the roles of bandleader, theorist, and executive, women are no longer just the interpreters of the Great American Songbook - they are the definitive visionary force driving the music into its next century.

2026 marks a milestone I never could have predicted: my 30th consecutive year reporting to a woman. Throughout my career, I have been fortunate enough to balance a steady broadcasting life with a vibrant freelance writing practice. In both worlds, the person at the helm has, more often than not, been a woman who was sharper, faster, and more visionary than I was.

In fact, as of this year, I have the honor and pleasure of having yet another strong Black woman in my corner, with the addition of Gail Boyd to my team as my management representation. While the continuous streak began in 1996, the foundation was laid by a true icon of the airwaves.

1990’s: The Architect, Yvonne Daniels
(WNUA-FM)

Before the 30-year streak officially began, I was shaped by the legendary Yvonne Daniels. As the daughter of 50’s crooner Billy Daniels, Yvonne was already royalty, but she earned her Hall of Fame status by shattering glass ceilings at WSDM-FM and later as a pioneer in Top 40 radio. By the time she passed in 1991, she was the definitive morning voice of Chicago’s WNUA. I was her last producer - a role that taught me the high-stakes precision of elite broadcasting.

1996–2000: The Turbulent Transition
(WBEZ-FM)

The “streak” began in earnest when I left WNUA to return to WBEZ, the public radio station where my career first launched in 1980. This era, under Program Director Chris Heim, was a trial by fire. It was such a volatile period that, had I known I’d be reporting to women for the next three decades, I might have retreated entirely into journalism.

At the time, the Chicago media was making bets on my longevity. Heim’s tenure was marked by controversial programming shifts that saw jazz legends fired and the genre sidelined. I lasted over three years before joining that list of dismissals. My exit was cover-page news in the Chicago Sun-Times and the Chicago Reader, with the narrative focusing less on my personal merits and more on the widespread frustration with the station’s new direction.

2000–2006: Discovering the Lens
(WTTW-TV)

Within a week of leaving WBEZ, a call from Dan Andries changed my trajectory. He invited me to a screen test for a Cultural Correspondent position at WTTW. Television wasn’t even on my radar, but Executive Producer Fawn Ring saw something I didn’t. After my audition, she told me, “The camera loves you! You might have missed your calling.”

Fawn wasn’t just being kind; she was right. Under her mentorship, I won the first of my two Emmy Awards. Today, as I serve on the Peabody Board of Jurors, Fawn’s name still resonates as a hallmark of excellence in arts programming.

2006–2007: The Harpo Conduit
(Oprah Winfrey & Corny Koehl)

Joining Harpo Radio felt like entering another dimension of professional responsibility. While the NDAs prevent me from sharing the full depth of the experience, the culture of empowerment there was unparalleled.

The day I decided to leave, I hand-delivered my resignation to Oprah herself. She took me by the hand, led me to her staff, and said: “People, this is Mark Ruffin. He is leaving us. Like him, I want you to use me as a conduit to find and live your best life. I salute him.”

My immediate boss, Corny Koehl, remains one of my closest friends. She was the most inspiring leader I have ever known, pushing me to a creative peak as we produced shows for the likes of Gayle King and Dr. Robin Smith.

2007–Present: The Dream Job
(SiriusXM/Real Jazz)

When a colleague at Harpo asked why I was leaving “the dream job” for SiriusXM, I told her the truth: I hadn’t found my dream job yet. This was it.

For nearly 20 years, I have served as the jazz tastemaker for all of North America. Reporting to Trinity Colon has been the definitive highlight of my career. After the “menace” of my first leadership experience in the streak, the situation improved with every subsequent role. Trinity makes the impossible look easy, allowing me to be exactly what I am: a “jazz nerd” with a continent-wide platform.

A Final Reflection

As we celebrate Women’s History Month, I look back on this 30-year journey with immense clarity. From the morning shows of Chicago to the executive suites of SiriusXM, these women didn’t just manage my career; they expanded my definition of what was possible. I celebrate Trinity, Corny, Fawn, and even Chris, for the unique ways they each moved the needle in my life.

Gail Boyd Artist Management is proud to announce the addition of Mark Ruffin

by Gail Boyd

“Ruffin joins Gail Boyd Artist Management following ​his latest major career milestone: ​last week, he was awarded the Donald E. Meade Griot Award at the Jazz Education Network (JEN) Conference, recognizing his profound impact on jazz culture, advocacy, and education.

With more than four decades of experience shaping and championing jazz, Ruffin is widely regarded as one of the foremost voices in jazz media and cultural storytelling. He currently serves as Program Director and on-air host for SiriusXM’s Real Jazz channel, curating programming for an audience of more than 1.5 million listeners across North America. 

“Mark Ruffin’s voice, knowledge, and passion for jazz have made him a trusted guide for generations of listeners,” said Gail Boyd, President of Gail Boyd Artist Management. “​I​ am honored to welcome him into our family and excited to support the next chapter of his extraordinary work as a cultural leader.”

Ruffin’s career includes an influential tenure as Jazz Editor at Chicago Magazine, where he authored 600+ articles and documented the evolution of the music and its makers, while also serving as a cultural correspondent for PBS/WTTW-TV, earning two regional Emmy Awards for his reporting.​  In addition to his work in broadcasting and journalism, Ruffin is also a highly respected producer, having produced more than 14 albums, including a Grammy-nominated project for René Marie (I Wanna Be Evil: With Love to Eartha Kitt).

He is the author of Bebop Fairy Tales: An Historical Fiction Trilogy on Jazz, Intolerance and Baseball, which earned two Feathered Quill Book Award recognitions, further solidifying his reputation as a powerful storyteller across multiple mediums.

Ruffin has also been honored with the Jazz Journalists Association Career Excellence Award in Broadcasting and the Duke DuBois Humanitarian Award from JazzWeek.com, and he currently serves as a juror for the Peabody Awards, helping elevate impactful storytelling across media. 

As Ruffin continues to expand his work through broadcasting, public speaking, event hosting, moderating, and cultural leadership, Gail Boyd Artist Management will represent him for select engagements and opportunities nationwide.”

Next Month…

This newsletter began as an email thread with just fourteen people just a year ago. Today, marks the one year anniversary of that first newsletter - so from the bottom of my heart “Thank You”. Its been such a joy seeing this publication bring topics of jazz and culture to so many jazz lovers across the globe. Your support and engagement has truly been the fuel for this creative fire that burns in me as of late. From the onset of this newsletter, I wanted to find ways bring people from all over the world together as a community… this isn’t just My Jazz Life, its OURS. Soon, I’ll have a very special announcement regarding the future of this endeavor.

I am very excited about the next edition of My Jazz Life, and what better way to kick off Jazz Appreciation Month!

Until next time my friends,
Jazz Onward.

Camera credit: Terez Dean

Continue to Part 2 after the break…

Checkout the full feature here:

Read more

To kick off this edition, I want to take a moment to wish a Happy Birthday to one of my three Supermen-Sons. With that said, best wishes to Sidney-Bechet - my middle son and human Swiss Army knife. When I told him at the end of January that this month would have a huge focus on paying tribute to Chick, Sid really stepped up to add his contribution and honor our family friend.

I’ll have some reflections on this later in the newsletter, but for now, lets visit Virginia - where I received a warm welcome a few years back.

Jazzin’ Down Hampton Roads

I want to extend a profound thank you to the good people at the Hampton Roads Jazz organization for helping me achieve a first in My Jazz Life. On February 12th, at the Hampton History Museum, I was invited to deliver my very first public lecture. Not only did I receive a great reception from the lecture attendees and staff, but I had the added bonus of seeing our family friend Stevie Watkins and his family. By all measures, we struck a serious chord.

The trip started right in the pocket. I landed in Norfolk, where my host, the drummer and WHRO-FM jazz personality Jae Sinnett, picked me up and took me straight to his station for an in-depth interview. As the gig approached, I found myself wondering: why would folks come out just to hear me speak? As it turned out, the room was filled to its 60-person capacity.

I’ll admit, the weeks leading up to the event carried a heavy weight. I had meticulously prepared a 13-page speech focusing on the people and incidents that shaped me. But just two days before the event, I tore those pages up. I realized that with only 50 minutes to speak (plus a 15-minute Q&A), the audience probably wanted to hear the “greatest hits” of my journey.

I found immediate common ground with the room by invoking the names of Robert Sengstacke Abbott and John H. Sengstacke. They were early graduates of Hampton University, but to a Chicago guy like me, they are legendary as the founding publishers of the Chicago Defender; a newspaper woven into the early fabric of my life.

From there, the stories flowed. I talked about landing my first radio gigs at WBEZ/Chicago and WDCB/Glen Ellyn, and of course, I shared tales from my decade working alongside Ramsey Lewis. I passed along some of the parental wisdom Ram laid on me when relating to my loss of a father, which I had to face years prior - at just 23. I also highlighted the profound impact that musicians like Chick Corea, Kenny Loggins, and Herbie Hancock have had on my personal trajectory.

But I had two main messages to deliver.

To the university students in the room, my advice was simple: use the resources of your institution to the absolute fullest. I used My Jazz Life as the prime example. I don’t have a degree, but I worked at the student radio station, edited the Black student newspaper, and spent my weekends working at the local record store. I dare say the hustle of those experiences taught me just as much as any broadcast or communication theory class.

To the older folks in the audience, the message was: it is never too late to make a change. I told them how I won my very first award as a high school sophomore: ”Most Improved Musician.” I didn’t win another award until I was 44.

It was tough to maintain humility as I listed the incredible wave of accolades that have come my way since then, but I read them all, and when I finished, the room gave me a standing ovation.

Here is what I told them verbatim:

“At 45, I won my first of two Emmy Awards. Then came a Grammy nomination, a Sundance honor, and two Lifetime Achievement Awards (one from the Jazz Journalists Association and another from the Chicago Music Awards), who also honored me as Producer of the Year for the Gil Scott-Heron tribute album I produced for Giacomo Gates. The prestigious British Jazz FM Awards nominated the other Gil Scott-Heron tribute I did for Charenee Wade for Album of the Year.”

“The Chicago Association of Black Journalists gave me two Excellence in Television Awards, and my book, ‘Bebop Fairy Tales,’ was nominated for Book of the Year by the Jazz Journalists Association and won two Feathered Quill Book Awards. The Chicago community of Englewood gave me their ‘Live the Spirit’ Award, and in Harlem, the legendary Jazzmobile gave me their NYC Jazz Readers Award.”

“At two of their conventions, the JazzWeek organization gave me awards. One was Presenter of the Year. The other made me cry: the Duke DuBois Humanitarian of the Year Award. I knew Duke DuBois. Another winner of that award was Jae Sinnett. Duke was an important mentor to both of us.”

“Then, about a month ago to the day, the African American Jazz Caucus left a message that I would receive their Jazz Griot award.”

I made sure to emphasize that this success wouldn’t exist without the amazing, behind-the-scenes help of Oprah Winfrey and Norman Lear. Two people who, on the surface, have very little to do with jazz.

More than anything, delivering this speech forced me to access and assess My Jazz Life like never before. And the cherry on top? Even though I didn’t have time to properly pitch my book, Bebop Fairy Tales: An Historical Fiction Trilogy on Jazz, Intolerance and Baseball, I ended up selling over 20 copies right there in the room. I wish I could sell books at a 33% conversion rate to all my listeners!

All in all, it was an amazing experience that left me thinking: Wow, maybe people really are interested in hearing me talk about this journey.

Bonus Content for Our Jazz Life Members
Coming Soon…

My Jazz Life subscribers who pledge their support with a membership here, can enjoy a full ad-free recording of this Hampton lecture and more, after March 12th.

Check back here on my Substack for updates!

In The Pocket:
Alonzo Bodden on Real Jam Session

This Friday on my radio program Real Jam Session, the great comedian Alonzo Bodden joins me to talk about his latest stand-up special, Comedy and All The Jazz (Volume 4). It features Alonzo alongside nine-time Grammy winner Christian McBride, taped live at the Phi Centre in scenic Old Montreal.

Alonzo is an old friend of mine, and a friend to many jazz musicians. He’s been the resident comedian on the Signature Jazz Cruises for the last 15 years. He came to prominence as the champion of the third season of Last Comic Standing and has been a regular panelist on NPR’s hit series Wait Wait... Don’t Tell Me!

He is a deeply knowledgeable jazz fan, and he’s coming on my show with his own curated playlist and plenty of hilarious stories. On the inaugural sailing of the McBride’s World at Sea cruise just a few weeks ago, Alonzo had the audience yell out topics for him to riff on. I purposely challenged my old friend by shouting out “Minneapolis.” I’ll be sure to have him share with my listeners exactly how he handled that curveball.

Catch The Real Jam Session with Alonzo Bodden on SiriusXM’s Real Jazz this Friday at 3 PM ET / Noon PT, with an encore broadcast at Midnight ET / 9 PM PT.

Miles Ahead: The SFJAZZ Centennial Celebration

Next month, I will be heading to one of my absolute favorite cities, San Francisco, for the SFJAZZ four-day celebration honoring the centennial of Miles Davis. It is going to be historic.

Thursday, March 19: Doo-Bop and Beyond
The festival kicks off with Easy Mo Bee, featuring music from Miles’ final artistic statement, the hip-hop fusion masterpiece Doo-Bop, which Easy co-produced. The night will be hosted by my esteemed SiriusXM colleague, Sway Calloway.

Friday, March 20: Sketches of Miles (Tentatively, I will be your host for this evening!)
This night focuses on the legendary collaborations between Miles and Gil Evans. Trumpeter Keyon Harrold will take the lead, playing those iconic arrangements, augmented and conducted by the genius Gil Goldstein.

Saturday, March 21: Kind of Blue Anticipating a massive crowd, this show features two sets (4 PM and 7 PM). The band is stellar, featuring two New York-bred Bay Area legends: Dr. Eddie Henderson on trumpet and iconic drummer Lenny White. They will be flanked by saxophonist Javon Jackson and the legendary 2026 NEA Jazz Master, pianist Patrice Rushen.

Sunday, March 22: M.E.B. (Miles Electric Band)
The finale brings the core of Miles’ great 80s bands back together. Musical director Robert Irving III, bassist Darryl “Munch” Jones, and Miles’ nephew, drummer Vince Wilburn, hold down the groove. Keyon Harrold returns to the trumpet chair, while percussionist Munyungo Jackson and guitar legend Blackbyrd McKnight round out what promises to be a supercharged night of electric jazz.

What is doubly cool about these shows is that SFJAZZ provides entry for the whole world through the internet. Their SFJAZZ At Home platform brings the corner of Franklin and Fell Streets right into your living room.

I’ll be celebrating Miles all year long. Come join me in San Francisco, or tune in from home.

Fathers, Sons, and the Park That John Built

What an unforgettable afternoon we had last year in Oakland Park, Florida, exploring the monumental life and legacy of Jaco Pastorius. The livestream event (my first, by the way), was a heartfelt tribute, with contributions by heavyweights like Randy Bernsen, who illuminated the vibrant South Florida scene where Jaco developed the revolutionary sound that changed the frequency of music forever.

But the afternoon turned from a historical deep dive into something profoundly personal when John Pastorius, Jaco’s son, surprised us by pulling up to the livestream.

I cannot overstate the honor of shaking John’s hand in that specific setting - huge shoutout to Randy for connecting the dots to make this happen. We often talk about Jaco the “Titan,” the “Technician,” or the “Composer” who utilized the fretless bass as a lead voice. But standing there with John, the conversation shifted to Jaco the Father and the enduring power of bloodlines.

It is truly amazing to consider the work John has done with the city of Oakland Park to carve out this space. Jaco Pastorius Park isn’t just a plot of grass; it is a sanctuary. It is a physical manifestation of a son’s love and a city’s respect, ensuring that the legacy remains a living, breathing source of inspiration for new generations.

As I looked around the grounds, and interacted with John, the journalist in me quieted down, and the father in me awakened. I thought of my own three sons. We spend our lives trying to build a career, to make a mark, to leave something of value behind. To see a son work so hard to erect a landmark in his father’s honor is the ultimate validation of a life well-lived.

I have to admit, once we wrapped my debut livestream, I allowed myself a moment of daydreaming. I thought about my own roots in Chicago and Maywood. I felt a profound sense of hope, and perhaps a challenge to my own legacy. Imagining how proud I would feel if, one day, my own boys rallied to create this kind of landmark in our hometown.

My favorite moment of the entire event actually came from a voice in my ear. My aforementioned son, Sidney-Bechet, was engineering the broadcast remotely from Las Vegas. As I walked past Jaco’s mural, finally shaking off the nerves of my first livestream, Sidney dropped a gem: “Thank you, Jaco, for getting my pops out of his comfort zone.” I had to laugh…that is so Jaco. He’s still pushing boundaries, not just musically, but personally. It struck me then that Jaco wasn’t just connecting me to the audience; he was connecting me to my own sons. Sidney and his brother, Melcolm, edited my entire Jaco Stories Youtube and Podcast feature, and seeing their craftsmanship makes me burst with pride. It felt like a perfect circle: me working with my sons to honor a legend, just as I know Jaco is looking down, smiling at t park John built. Jaco left us the music, but John gave us the place to remember it. That might be the most powerful duet of all.

Leave a comment

What did you think about Jaco Stories? How did my boys do? Let me know in the comments or share your own story.

I’m out here in New York for a little while longer due to my duties as a judge for the Peabody Awards. If you haven’t already, checkout my survey about what content you watched in 2025 - I’m interested in the media that you found interesting!

Fill out the survey here.

With that, we’re closing out the month with some tunes from the upcoming Chick Corea project - We love you and miss you Chick!

My Jazz Life

The essential Substack from two-time Emmy-winner Mark Ruffin. No-frills stories from decades on the mic and the page. Exclusive scoops, deep-dive reviews, and sharp reflections on the pivotal moments connecting jazz, travel, and cultural perseverance.

By Mark Ruffin

We have been living in a total Chick Corea immersion all week. From the SiriusXM programming, to this my Substack, and my RuffinJazz YouTube channel, My Jazz Life has been dedicated to the maestro.

To cap this off, I challenged three legends from three distinct eras: Lenny White, Steve Wilson, and Steve Davis. I tasked them to name their top five Chick albums of the moment. The rule was simple: ignore the history books and give me the vibe that moves you right now.

Lenny White dropped a prophecy before we even started: he predicted one specific album would appear on every single list, regardless of the era.

Today, we put that theory to the test with the incomparable Steve Wilson. Does the Origin-era saxophonist agree with the Fusion-era drummer?

Check out the full breakdown below, and while you’re there, hit that link to the YouTube playlist. Press play on the music while you press play on the tribute…
Let’s see if Steve fulfills the prophecy.

The Origin Story: Chick Corea & Steve Wilson

To understand the connection between Chick Corea and saxophonist Steve Wilson, you have to look at the pivotal moment in 1997 when Chick decided to unplug. After years of electric exploration, he wanted to return to the wood and wire of acoustic jazz, but he didn’t want to just replay the past. He wanted a new sound.

He found it in a sextet he called Origin.

The Era: The “Origin” Workshop (1997–2000)

This was Chick’s “University” period. He recruited a front line of younger masters: Steve Wilson (alto/soprano sax, flute), Bob Sheppard (tenor/soprano sax), and Steve Davis (trombone) - and backed them with the Israeli bassist Avishai Cohen and drummer Adam Cruz.

Steve Wilson was the lyrical heart of this unit. While Chick’s writing in this era was incredibly dense; full of complex, winding unison lines (think “The Matrix” but for six people). Wilson navigated those mazes with a soulful, bluesy elegance that softened Chick’s percussive edge.

The Musical Bond

The chemistry here was about balance.

• The Flute Factor: Chick loved the texture of the flute, and Wilson is one of the finest doublers in the business. On tracks like “Armando’s Rhumba,” Wilson’s flute work provided a lightness that allowed the heavy rhythm section to dance.

• The Live Laboratory: The defining document of this bond is the album Live at the Blue Note (1998). Origin did a residency there, and you can hear the trust developing in real-time. Chick would throw curveballs…changing tempos, re-harmonizing on the fly; and Wilson was always right there, answering the call with a melodic clarity that kept the music grounded.

The Legacy

Steve Wilson represents the specific lineage of mentorship in Chick’s career. Just as Miles Davis lifted Chick up in the late 60s, Chick lifted Wilson, giving him a global platform to showcase his versatility. When Wilson names his favorite albums, he isn’t just speaking as a fan; he’s speaking as a graduate of the School of Corea.

The Gateway Jazz Playlist Submissions from Steve Wilson:

You can find this entire playlist over on my Youtube channel, click here.

Now He Sings, Now He Sobs

Chick Corea (1968)

A masterpiece of tension. It moves from free improvisation into a structured, driving groove. It shows Chick's fearlessness in the studio.

As Light as a Feather

Chick Corea, Return to Forever (1973)

The Anthem. The Concierto de Aranjuez intro is legendary, but the unison lines between the Rhodes and the flute/vocals are what make it eternal.

Inner Space

Chick Corea (1973)

Originally from his debut, “Tones for Joan’s Bones”, proves Chick arrived fully formed. It’s hard bop with a distinct, modern harmonic twist that signaled a new voice had arrived.

Friends

Chick Corea, 1978

That Steve Gadd groove! It’s infectious. This album is pure joy, and this track captures the "Smurf" cover art vibe perfectly—playful, precise, and funky.

Music Magic

Chick Corea, Returen to Forever (1977)

The title track defines this polarizing era. It’s big, vocal-heavy, and unapologetically grandiose. It’s Chick embracing the "showman" side of fusion.

If you haven’t already, checkout the other post in this series below:

I’ve reached out to three musicians from three distinct eras of Chick Corea’s bands with a specific challenge: name your five favorite Chick albums of the moment. The proviso was simple: no particular order, purely vibe-based. These aren’t lists etched in jazz posterity stone; they are snapshots of what moves them right now. It’s a slight pivot from my usual Gateway Jazz Playlists, but it serves the same mission: discovery and the unearthing of tunes that might lead an unfamiliar listener into a deep love for the genre.

The lineup is heavy: Lenny White, Steve Wilson, and Steve Davis.

Lenny, speaking from the engine room of the Return To Forever band, made a prediction before we even started: he said there would be one specific album on everyone’s list, regardless of when they played with Chick. He was right. This is part one of a three-part series, so if you think you know which album made the cut for all three legends, drop it in the comments.

I’ve included a link to the full playlist on my YouTube channel below. While you’re there, hit subscribe for more content like this. I highly suggest taking a second to press play on that playlist while you press play on my featured tribute to Chick Corea.

The Engine Room and the Architect: Lenny White & Chick Corea

To understand the bond between Lenny White and Chick Corea, you have to go back to the source: The University of Miles Davis.

Both men were part of the seismic shift that was the Bitches Brew sessions in August 1969. They were young, hungry, and witnessing the disintegration of musical boundaries in real-time. That shared experience forged a “sonic DNA” that would define their relationship for the next fifty years. But then again, it’s hard not to vibe with Lenny - as a matter of fact, it was Chick who made the premonition that Lenny and I would be lifetime friends!

The Return to Forever Shift

While Chick started Return to Forever with a lighter, Brazilian-influenced sound (featuring Airto Moreira and Flora Purim), the arrival of Lenny White on the drums in 1973 signaled a hard pivot. Lenny didn’t just bring jazz chops; he brought the funk of James Brown and the thunder of Jimi Hendrix.

When you pair Lenny’s aggressive, rock-influenced backbeat with Stanley Clarke’s bass and Chick’s percussive prowess on the Fender Rhodes and synths, you get the “Classic Quartet” lineup. This unit - Corea, White, Clarke, and Di Meola - didn’t just play fusion; they defined it.

The Chemistry

Lenny was the perfect foil for Chick.

• The Drive: Chick’s compositions were complex and often classical in structure (Romantic Warrior), but Lenny gave them a street-level grit. He kept the music from becoming too cerebral.

• The Funk Factor: Tracks like “Sorceress” or “The Magician” rely entirely on Lenny’s pocket. He forced Chick to play with a different kind of rhythmic locking than he did with Roy Haynes or Jack DeJohnette.

The Enduring Dialogue

Their connection didn’t end when RTF disbanded. They reunited for the Echoes of an Era project (backing Chaka Khan) and various RTF reunions over the decades. They spoke a secret language built on high-velocity improvisation and deep groove that I’ve been lucky enough to witness first-hand.

When Lenny White predicts which album everyone will choose, you listen. He isn’t guessing. He helped build the house.

The Gateway Jazz Playlist Submissions from Lenny White:

You can find this entire playlist over on my Youtube channel, click here.

Now He Sings, Now He Sobs

Chick Corea (1968)

A deep-cut at the time of it’s release - Standard repertoire now, but here it’s fresh, open, and captures that perfect balance of structure and freedom.

Romantic Warrior

Chick Corea, Return to Forever (1976)

Full disclosure here: Lenny actually picked Romantic Warrior here , but how could I NOT go with Sorceress! This is Lenny’s tune. It proves that fusion didn't have to be stiff. It’s greasy, it’s funk-laden, and it forces the virtuosos to sit in the pocket.

Vulcan Worlds

Chick Corea, Return to Forever (1974)

Stanley Clarke’s bass anthem. This track announced the arrival of the electric guitar (Al Di Meola) and the shift to a heavier, rock-adjacent sound.

Echoes of an Era

(Compilation, 1985) - Chaka Khan (vocals), Joe Henderson (tenor sax), Freddie Hubbard (trumpet), Chick Corea (piano), Stanley Clarke (bass), and Lenny White (drums)

High-velocity swing. Hearing Chaka scat over this rhythm section is pure joy. It bridges the gap between 52nd Street bebop and 80s soul.

Señor Mouse

Corea, Clarke, & White (2011)

Stripping this electric classic down to acoustic instruments reveals the composition's bones. The interplay is telepathic after 40 years of friendship.

If you haven’t yet, check out the previous post in this series below:

Continue to part three, the finale of The Chick Corea Gateway Jazz Albums series here: