Outside in Music is thrilled to announce the May 7th, 2021 release of Soul Conversations, the fiery tour-de-force from jazz luminary Ulysses Owens Jr. Soul Conversations marks the renowned drummer’s recording debut with his exciting new 19-piece outfit, the UOJ Big Band, as well as the artist’s first release on Outside in Music. With his unimpeachable drum mastery Owens Jr. is heralded for augmenting the ensembles of such eminent figures as Christian McBride, Wynton Marsalis and Kurt Elling. Owens Jr. has also proven his excellence at steering and magnifying his own ensembles, including his New Century Jazz Quintet. With Soul Conversations, he demonstrates a fresh and ebullient approach in large ensemble jazz. Alongside Owens Jr., Soul Conversations features trumpeters Walter Cano, Benny Benack III, Summer Camargo and Giveton Gelin; trombonists Eric Miller, Gina Benalcazar, Wyatt Forhan, Chris Glassman, Seth Weaver and Michael Dease who also serves as the album’s associate producer; alto players Alexa Tarantino and Erena Terakubo, tenor players Diego Rivera and Daniel Dickinson; and baritone player Andy Gatauskas as well as pianist Takeshi Ohbayashi, bassist Yasushi Nakamura, vocalist Charles Turner III and special guest vibraphonist Stefon Harris.

Recorded live at Dizzy’s Club at Jazz at Lincoln Center in early December 2019, Soul Conversations captures a jubilant performance from the big band, documenting the electricity of a large ensemble that expertly balances excitement with subtlety, and polish with unbridled innovation. The story of the band’s inception began two years prior on the very same stage when Owens Jr. assembled the group to fill out his renowned New Century Jazz Quintet for one night of a week-long run at Dizzy’s. This outfit, at the time billed as the ‘New Century Jazz Big Band’, received tremendous praise, reportedly even giving Wynton Marsalis and The Lincoln Center Orchestra’s performance in the Rose Hall a “worthy run for their money”. Owens Jr. recalls “Everybody kept asking if [the big band] was coming back for the rest of the week.”

Upon the band’s return two years later, audiences were greeted with a working ensemble with a burgeoning repertoire of exciting material and the beginnings of a new musical institution modeled after the iconic bands of yesteryear most notably Art Blakey and the Jazz Messengers. “The band became a cradle for not only young musicians but for young arrangers who wanted to get their work played,” says Owens Jr. The UOJ Big Band is as multigenerational - the members’ ages range from early 20s to their early 40’s - as its multi-gender and multi-ethnic, and the group’s repertoire contains compositions by a multitude of the group’s members.

Soul Conversations opens appropriately with some snappy rim shots before Owens Jr. ignites “Two Bass Hit” with a pithy arrangement that was inspired by both Roy Hargrove’s Big Band rendition from the late-2000’s and Miles Davis’ up-tempo reading of the piece from his 1961 date at San Francisco’s Black Hawk nightclub. The UOJ Big Band then showcases one of its splendid originals – the pneumatic groover, “London Towne,” written by Benack. It originally appeared on the New Century Jazz Quintet’s Time Is Now album. For this version, Steven Feifke provided the simmering arrangement as the composer delivers a satiny, conversational solo followed by a shimmering vibraphone improvisation by Stefon Harris. The band leader composed three pieces featured on this release, “Beardom X”, “Red Chair” and the title track “Soul Conversations”, penned by Owens Jr. and Ohbayashi. “Beardom X”, is a masterclass in dynamics, with quiet episodic moments and majestic highs. The piece was penned by the leader in tribute to two of his artistic and political guiding lights, visual artist Romare Bearden and civil rights activist Malcolm X. Rivera provided the expansive arrangement heard on this release. The decidedly modern sounding “Soul Conversations” has soul-jazz leanings and a laid-back arrangement provided by trumpeter Jonokuchi. The composition imbues a certain cinematic splendor and features Gelin and Tarantino as soloists.

Aside from innovative original material, the album features impressive arrangements of classic compositions including John Coltrane’s titanic piece “Giant Steps”, Michael Jackson’s “Human Nature”, and Neil Hefti and Bobby Troup’s “Girl Talk”. Rivera’s arrangement heightens the devilish suspense as it allows the saxophone section to ricochet timeless melodies with the trombone and trumpet sections. As the composition builds steam, it becomes a delightful showcase first for Rivera and Dickinson to volley brilliantly inventive solos and then for Gelin to wax a flaring aside. “Girl Talk”, arranged by Nakamura, allows Gelin to unfurl a sensual melodic improvisation, while the other horn sections quietly accompany, sometimes with the soothing

harmonies one would expect from a doo-wop group. Owens Jr.’s dramatic rhythmic bombs were inspired by drummer Sonny Payne, who played on Count Basie’s immortal 1966 version.

This formidable introduction of the UOJ Big Band documents the exuberant, soulful sound of the outfit as well as the genuine love and enthusiasm emanating from the leader of the group. Owens Jr. remarks, “I finally feel like I have a record that is emanating a sound that I can confidently create forever.”

Derived From Liner Notes By John Murph

Trombonist, composer, and bandleader Altin Sencalar is no stranger to the studio. With “crystal clear articulations and impressive control of the wide possibilities of the instrument” that “provides a brilliance in his sound” (International Trombone Association Journal), it is no surprise that Altin has recorded on over 20 albums, including 3 as a bandleader. Stepping into the recording booth once again, Altin brings forth a project both bold and deeply personal as he musically merges the two distinct cultures that define his identity.

Altin Sencalar, whose familial name aptly translates to “entertainer,” is a musician born into Mexican and Turkish cultures. Leaning heavily into elements from both sides of his unique heritage, Altin’s music finds a holistic synergy as he tastefully tailors Afro-Latin, Turkish, and Jazz musical traditions to create a sound both fresh and new to his listeners, and true to his diverse heritage.

Reconnected is Altin’s third album as a bandleader, and is dedicated to his two grandfathers: John Fernando Garcia, who passed away in December 2020, and his Turkish grandfather, Bülent Şençalar, who still resides in Turkey as a renowned musician. The influence of these individuals, their cultures, and their music on Altin has been substantial, to which Reconnected stands as a testament.

Reconnected features a carefully orchestrated chordless trio highlighting trombone as the lead voice. Furthermore, each part is carefully written with the specific musicians and their respective personalities in mind in a way that speaks life into the sounds and emotions created by the group. For this album’s distinctive style, Altin composed with the relationship between music and dance in mind. “This style is greatly influenced by salsa music,” Altin tells. Additionally, the compositions on Reconnected draw on bebop and hard bop tradition, and utilize motifs drawn directly from the music of his Turkish grandfather.

The track “Reconnected” is based upon a solo performance played by Bülent Şençalar, elements of which were transcribed by Altin and combined to create a unique amalgam of salsa, Turkish, and jazz music. “Desnudo,” the third track, is an original composition by Altin dedicated to his late grandfather, John Fernando Garcia. “At his funeral,” Altin recalls, “an accordion player performed a version of “Un Puna de Tierra,” which translates to a “A Fistful of Dirt,” which symbolizes what we leave with when life is over.” Inspired by emotion and the ideas of “Un Puna de Tierra,” Altin composed “Desnudo,” which translates to “naked,” “uncovered,” “bare,” or “minimal.” This piece has three central elements: a continuous bassline that carries throughout the melodies, a similarly consistent drum pattern, and “the most fundamental form of music - the blues.” The minimalist approach present in this song is a direct way Altin chooses to pay honor to his grandfather. “Tenderly'' stands in contrast to the other tracks on this album due to its variation in instrumentation: instead of trombone, Altin performs this piece on euphonium. “Euphonium was my first instrument,” Altin explains. “I’ve always loved euphonium and have continued to play it into my professional years.” This track is a bolero, a slower, emotive dance form often associated with ballads, and the beauty and care presented within “Tenderly'' makes plain the reason for this stylistic choice.

Daniel Dufour, the drummer on Reconnected, has worked alongside Altin for many years and above all, Altin admires his musical intuition. “Daniel Dufour has the intuition… that is not only desired, but is needed in music. He can transform a groove or style into something enjoyable, organic, and singable.” Bassist Utah Hamrick is described by Altin as a musician with phenomenal technical prowess and the ability to adjust his tone to blend and fill up the sonic environment. “Utah has serious facility on the instrument,” Altin says. “I could write any line and he could nail it with ease.” In addition to Altin’s trio, Reconnected features two guest artists: celebrated saxophonist Roxy Coss and three-time GRAMMY winner, trumpeter Pete Rodriguez. Of Roxy, Altin has nothing but exalting words to say, acknowledging her well-earned “all-star” status in the jazz world. “She is someone I admire as she is a [household] name in the jazz world,” Altin says. “I am so happy she recorded on this record.” Pete has been a long-term mentor to Altin, and someone without whom Altin’s musical journey would not be the same. “To be able to incorporate [Pete] into my CD is a full-circle experience,” Altin tells, “as Pete is the person who gave me my first gig as a leader at the Brass House in Austin, Texas when I was 18 years old.”

With Reconnected, Altin has done more than create tasteful cultural fusion; he has intertwined a musical bridge between two seemingly disparate musical cultures and in so doing created for himself a firm identity that honors the past, embraces the present, and looks with hope towards an ebullient future. With a determined brilliance rooted in jazz and the strength of familial ties, Reconnected resounds with a powerful cry to the ears and hearts of its listeners.

Reconnected releases on Next Level, an imprint of Outside in Music on August 27th, 2021.

About Altin Sencalar:

Heralded as one of the “21st century prodigy grandchildren of Jay and Kai” (Stereophile Magazine), Altin Sencalar is a trombonist, composer, educator, and bandleader from Austin, TX whose multifaceted cultural heritage of Mexican and Turkish roots has influenced his unique and critically acclaimed style.

Altin received his Bachelor’s Degree from the University of Texas at Austin and his Master of Music from Michigan State University. As a performer, Altin has received multiple grants, accolades, and awards in competitions such as the J.J. Johnson Competition, the Kai Winding Trombone Ensemble Competition, Downbeat Student Music Awards, UNT/BAC International Jazz Trombone Day Solo Competition, and was named as a 2017 Yamaha Young Performing

Artist, among others. As a sideman, Altin has worked with jazz and wider music icons including DeeDee Bridgewater, Teri Lynn Carrington, Christian McBride, Wayne Bergeron, Rodney Whitaker, The Temptations, Ne-Yo, and Joe Jonas, among others.

Altin is currently on faculty at the University of Mary Hardin Baylor as the Adjunct Professor of Music, where he works as the Director of Jazz Ensembles and the Applied Trombone Instructor.

NEXTLEVEL is an imprint of Outside in Music, dedicated to early career and first-time bandleaders seeking to make an impact on the music. OUTSIDE IN MUSIC is a record label and media company that exists to serve musicians. We are a community that strives to lift its artists above the noise of the 21st-century music industry and make music that expresses the sounds of today's wide-ranging jazz and creative music scene.

Recorded in 2012 after a year of ongoing gigs with a working band molding and refining his unique musical vision, New York-based trombonist and composer Jared Dubin led his band into the studio to make what would become Excuses Excuses, an album that reflects on hardship, family, and the unforgiving pursuit of the arts. Armed with a distinct harmonic concept and an ensemble who first and foremost serve the music, Dubin’s debut leaves listeners awestruck, contemplative, and itching for more.

Excuses Excuses reflects upon both the harsh, unsympathetic nature of launching a jazz career in New York and on the tumultuous task undertaken by Dubin in marking a permanent milestone in the annals of his career with the formal release of a debut album. “Whether it be self doubt or a perfectionist attitude towards the project,” Dubin remarks, “its release has been delayed for some time.” While the expression from which the album draws its title may at first glance appear to have negative connotations, Dubin views it to have a more open meaning. “I think of it as a phrase that… can be interpreted in different ways by the listener,” he says. “Perhaps as a criticism of the current sociopolitical climate, or as encouragement for them to fulfill their own dreams and aspirations.”

Thematically, Excuses Excuses is a musical reflection on a period of hardship in Dubin’s life. From the difficulties and afflictions of city life, to the complexities of interpersonal strain exacerbated by a new environment, to navigating the tumultuous nature and roles of family in one’s life, Jared Dubin’s debut allows listeners to experience and empathize with the convoluted scenarios life presents from a new and elucidating perspective.

Musically, this album draws influence from post-bop, early jazz fusion, hip hop, and 1990s modern jazz. Specifically, Dubin cites jazz rock icon Steely Dan and acclaimed trumpeter Terence Blanchard as holding heavy influence over his music, both in performance and compositional styles. Dubin praises Blanchard’s “big, direct, warm sound,” and “his ability to swing on straight-eighth notes by phrasing with louder upbeats than downbeats” as key elements he

has incorporated and pushed further in his own playing. As a composer, Dubin admires Blanchard’s “memorable melodies on top of rich, interesting harmonies, and compelling bass lines.” Excuses Excuses opens with a track entitled “The Breaks,” whose inspiration and name comes from the continuous string of bad luck and negative situations Dubin experienced when first arriving in Brooklyn. With a strong melody, unique form, and distinctive vamp, “The Breaks” is a powerful opener and features solos from both Dubin and his lifelong friend and musical colleague, Nick Biello. The album also features an original composition that shares its name. The track “Excuses Excuses” utilizes a dirty, bluesy bassline as its foundation. The soulful harmony of the track features use of a Rhodes piano, electric bass, and Stratocaster, creating something that sounds halfway between the aesthetic of Steely Dan and the strong groove of Art Blakey and the Jazz Messengers.

In addition to the album’s composer and bandleader Jared Dubin on trombone, Excuses Excuses features Nick Biello on alto saxophone, Syberen van Munster on guitar, Sebastien Ammann on Rhodes keyboard and piano, Russ Flynn on electric bass, and Danny Wolf on drums.

Jared Dubin’s debut album stands as a testament to the strength and indomitability of the human spirit and the vast effort and passion required for a master craftsman to create the art which so enraptures their soul. With

Excuses Excuses, Dubin creates not only an outstanding formal debut, but tells a tale of pursuit, determination, and strength of will that is transferred from his experiences into his music.

Excuses Excuses releases on Next Level, an imprint of Outside in Music on September 24th, 2021.

Following on the heels of Nick Finzer’s 2020 Release Cast of Characters; the trombonist and composer found himself with more time to focus on himself and his artistry than he anticipated, leading to a boon of creative practice curated by the lockdowns that the year had to offer.

“Rather than sit at home and complain” says Finzer “I decided to see what projects I could dream up that might only take place when you can’t be in the same place as your usual collaborators.” The result is a wide-ranging exploration of settings that the 2020 Downbeat Rising Star Trombonist has yet to explore on his new 2021 release Out of Focus.

The first in this stream of collaborations features NYC Multi-Instrumentalist Dr. Reginald Chapman and Finzer’s colleague from the University of North Texas - drummer Quincy Davis - in a reimagined version of the Kenny Garrett composition Sing a Song of Songs “... this tune was burned into my brain from listening to [Kenny Garrett’s] 1997 Songbook album! That record was on repeat for years in my first car… I’d always wanted to have a chance to explore some of his compositions… and I figured now was my chance!” Finzer noted.

Next, we find a new interpretation of the Duke Ellington classic from his Such Sweet Thunder Suite - The Star Crossed Lovers arranged for five trombones. “Ellington’s music has always been a huge inspiration to me... his sense for creating drama with this melodies constantly inspires me as an artist” Finzer recalled. “I wanted to explore the possibility of this piece with different timbres of trombone playing.” Finzer’s interpretation calls to mind the plunger mute vocalizations of long-time Ellington sideman and trombone innovator “Tricky” Sam Nanton. “Playing the pixie mute/plunger combination is something I’m borrowing from the legacy of my teachers: Steve Turre and Wycliffe Gordon. It’s a skill set that not everyone investigates… but I love the sonic possibilities it provides”

The two traditional jazz quartet settings on the album feature the stellar rhythm section of Xavier Davis on piano, Jay Anderson on bass, and Quincy Davis on drums playing two brand new arrangements of classics from the jazz canon: Hoagy Carmichael’s Stardust and Pat Metheny’s Bright Size Life. “These virtual collaborations were a unique opportunity to connect with musicians I played with in New York, that the pandemic certainly put a pause on... “ Finzer explained, “I wanted to find ways to present some of my all-time favorite tunes from all over the jazz spectrum, and feature the trombone when and where it isn’t always expected…”

Rounding out the album is a 15-Trombone Arrangement of another Ellington classic Mood Indigo featuring the addition of Bass Trombonist Jennifer Wharton (leader of her own trombone group: Bonegasm, as well as Darcy James Argue’s Secret Society) and a collection of solo pieces including Laura, Single Petal of a Rose, and JJ Johnson’s Judy. “Playing solo arrangements on trombone can be a terrifying experience… there’s nowhere to hide… every note you play is right out there for everyone to hear. And even then, you’re solely responsible for creating all of the melodic, harmonic, and musical intrigue! It was one of the biggest challenges for me musically to develop a clearer sense of solo playing on the trombone.”

On Out of Focus Finzer puts his compositional pen to the side, to explore many compositions that have informed his growth as an artist since his early days as a trombonist. This collection of pieces is a document of a time in our history known colloquially by some as “the great pause” - and the process of focusing on his artistry created an outlet for the stress and anxiety that the lockdowns presented us all. “It took a long time to make this statement for me… the overwhelm was real last year. I’m very glad I persisted here and now have the chance to share some music that I really love, with the community.

Out of Focus releases on Outside in Music on November 12th, 2021

With a voice rightly praised as a “well-worked instrument” whose stylings and energy “bring new vitality to classic tunes by the likes of Cole Porter and Duke Ellington,” (Holly Devon, ANTIGRAVITY Magazine) vocalist and arranger Anna Laura Quinn steps forward boldly with Open the Door, a selection of nine deeply emotive, introspective, and textured arrangements that stand as landmark tributes to how music - and the musicians and experiences she has encountered - has profoundly shaped her into the person, musician, and creator that she is today.

Freshly energized by both the knowledge gained from her Master’s degree in Jazz Studies at the University of New Orleans and the rich experiential history and tradition gained from consistently performing within the city itself, Quinn sought to chronicle the development of her musicianship up to this point while simultaneously paving a way for her to step through the threshold into a future of further creative brilliance.  Soon enough, Open the Door took form. With the initial recordings made in February and March 2020 and three more arrangements completed and tracked between March and July 2021, the music presented on Open the Door provides a unique microcosm into the dynamic musical and empathetic growth of an artist.

The album’s title, Open the Door, comes from a featured track of the same name and stands to solidify the concept of paying homage to Quinn’s influences – in this case Betty Carter. For Quinn, however, the significance stretches beyond mere homage; Open the Door perfectly describes what music has done in a holistic sense for her life. “The title speaks to the way that performing music has truly opened doors for me,” Quinn says. “To greater self-understanding and empowerment; to personal connection; to community; and ultimately, to the creation and cultivation of tremendous joy in my life.” After the inimitable isolation experienced in the United States and the wider world due to the lockdowns that accompanied the COVID-19 pandemic, music’s ability to open doors held an even greater magnitude. “Making music and art is what propels me forward, helping me channel my feelings, know myself better, and lean into the unknown, all while nurturing my deep sense of community here in New Orleans,” Quinn says. Through the careful and intentional curation of this album’s musicians, compositions, and lyrical content, Quinn has presented an artistic statement that is distinct to her and her vision, at the crux of which stands the album’s title track. In addition to bearing witness to the power of music in Quinn’s present and past, Open the Door also marks a hope for the future. “I have worked hard and passionately to bring this music to life, and I now want to give it the chance to be heard in circles beyond those that are my own,” explains Quinn. “In the spirit of the title, I want to use this record to ‘open the door’ to the next stage of my career.”

Musically, Open the Door draws on an eclectic pool of influences whose style and aesthetic both acted as a springboard in Quinn’s artistic development and brought her joy. Specifically, Quinn makes tribute to vocal jazz innovators Abbey Lincoln and Betty Carter; composers Cole Porter, Duke Ellington, and Kurt Weill; the music of classic-era Disney films; the harmonic palettes of Ethiopian pianist Mulatu Astatke; and the widespread musical influence on the New Orleans scene by the late Ellis Marsalis. As Quinn processed through the works of each of these stellar musicians, she began to find not just what resonated with her, but why certain music resonated with her. It was during this time that Quinn began to truly personalize each of the songs that would eventually become the music of Open the Door and created, through her arrangements, a way to uniquely display both the original intention of the songs and the content and angles within each that so powerfully struck a chord within her.

While the majority of the arrangements on Open the Door were written prior to those early 2020 recording sessions, it is the handful of arrangements composed during the pandemic that provide the breadth of contrast and variety to the album. “Cry Again,” one of the few compositions by Ellis Marsalis that features lyrics, is performed by Quinn as a duet with guitarist Ed Barrett. The raw emotional content of the lyrics, combined with the open, resounding nature of the vocal/guitar duet, paints a lingering and vivid picture that hangs on to listeners’ heartstrings. “I wanted to include this tune to pay homage to the oeuvre of the late New Orleans pianist,” says Quinn. “[Ellis Marsalis] was the founder of the Jazz Studies program at UNO from which I recently graduated, and a huge influence on generations of jazz musicians in New Orleans.” Another visionary arrangement on the album is Quinn’s take on the Duke Ellington classic, “The Single Petal of a Rose.” While the original composition is a heavily pianistic instrumental piece, Quinn’s arrangement features her voice in a myriad of multi-tracks in continual dialogue with the lush timbres of the baritone saxophone, played by Kate Campbell-Strauss. “I am utterly enchanted by the result of this collaboration,” Quinn says. “The call and response between the horn and the voices evokes a conversation among flowers encountered while on a walk in the woods.”

The band present on Open the Door was a specific combination of musicians hand-picked by Quinn for their distinctive personalities and traits, and shared reverence for the music and its lineage, but who had not played in that specific line-up prior to the start of the project. “I think it’s kind of cool to have called on this unique grouping of musicians, all of whom know each other but really haven’t had many opportunities to play together, and to witness them engaging with one another and with my arrangements with such respect, attention to detail, humor, and, of course, immense talent,” Quinn says. “Each player brought a subtlety of approach and finesse to their craft on this record, and the blend of their voices elevates the arrangements to a level of unity and beauty that is well beyond what I could ever have imagined.” Open the Door features guitarist Ed Barrett, bassist Ben Fox, drummer Brad Webb, tenor and baritone saxophonist Kate Campbell-Strauss, and tenor saxophonist and flautist Brent Rose.

With Open the Door, Anna Laura Quinn presents to her listeners not merely an album, but a steady, thoughtful exhibition of art that is at times painted, at others sculpted, and, on occasion, found riding on the invisible particles and seconds that join each moment to the next. From self-doubt and heartbreak to that which is wondrous and transient, and every feeling between, Quinn both sheds light and shrouds herself in shadow as she holds open the door for listeners to step through from that which they know to that for which only she – joyfully, exuberantly, and with the rarest of knowing smiles – holds the key.

Open the Door releases on Next Level, an imprint of Outside in Music, on February 18th, 2022.

Longstanding collaborators pianist Alex Sjobeck and bassist David Baker have been performing, rehearsing, and creating together for over half a decade. With shared musical experiences in big bands, septets, and a steadfast trio, the two composer-performers now unite with their debut, Pictures in Time, to express a distilled collection of nine original works that act as a “musical diary”. These pieces pay homage not only to the creative tradition of piano-bass duos throughout jazz history, but also to their growth of understanding of themselves and each other, drawing on the musical roots of where their families originated.

The title of the album acts as both an immediate description and a metaphorical lens through which to interpret its sonic journey. Pictures in Time stands as a collection of vignettes: a series of musical snapshots that describe and evoke the moments, emotions, and experiences in life that transcend time and ancestry. “Alex and I have a rich shared history where we tend to be a constant for one another with the only other constant being our past,” Baker says. “Pictures in Time is a title meant to represent that feeling of being connected to our pasts - how our ancestors and stories of our ancestors trickle down and affect who we are in our present day lives.” In addition to the title’s pensive implications, it also holds a physical element to it. Rather than viewing these scenes and stories in a traditional gallery, the audience must listen to participate in the art form of music, and thus each of the pictures are expressed “in time.”

Musically, Sjobeck and Baker are continuing a rare but richly beautiful musical legacy heralded by duos such as Bill Evans and Eddie Gomez, Hank Jones and Charlie Haden, Nitai Hershkovitz and Avishai Cohen, and Kenny Barron and multiplicity of bassists. Steeped in this tradition, Sjobeck and Baker step forward combining it with elements of classical, folk, semitic music, and pop to make something that is uniquely theirs that is set apart in the current musical environment.

As artists, both Sjobeck and Baker have firm concepts of self and of the strengths and flairs that mark their individual artistic statements. Sjobeck’s approach to the piano presents a distinctive form of intricacy, using each hand distinctively and collaboratively to achieve a mastery of expression that feels on par with a full orchestra. Baker views the bass far beyond its typical role, and performs in a way that combines individuality with the roots of blues and bebop to create a curated, vertical approach that uniquely integrates harmony and rhythm. When these two forces combine, the duo crafts a compositional and performance approach that leans not on the constraints of their instrumentation, but the untapped experimental potential of what could be achieved. “We have a studied background with wildly different influences, a long personal history, and a humanist need to tell a story resulting in music that appeals to non-jazz enthusiasts and jazz in-crowd alike,” Baker says. “The duo composes for themselves in true experimental fashion, ignoring the traditional boundaries of the group.”

The deeply human and timeless expressive elements of the album are well captured in the track “Liberation”. The piece is unified around the thematic idea that people often feel the need to hide an aspect of themselves in order to be accepted. This theme appeals to the 21st century individual, as well as the ancestors of Sjobeck and Baker who, in some cases, fled Europe to create a new life in America. Musically, “Liberation” underwent extensive reimagining until the duo felt the final product fully served its conceptual purpose, resulting in a combination of complex melody, arco bass, and a harmonically simpler blues form for the solos. “Aravah” is a piece whose title comes from the Jewish holiday of Sukkot. The title refers to a verdant branch of a willow tree, and symbolizes the pursuit of good deeds with no expectation of recognition or reward. Musically, “Aravah” features a deeply captivating melodic and rhythmic solo by Baker. “Answer Song” is a standout track. Creating a meditative atmosphere, “Answer Song” is a response to the maximalism of contemporary art and finds beauty in elegant simplicity and features solos from both Sjobeck and Baker. Sjobeck’s compositional voice shines through on “Like A Pop Song,” an original that stands in stark contrast to the flashy trends of modern jazz and soars with the power of musical authenticity.

The collaboration process on Pictures in Time was an act of creativity in itself, shaped by the nature of the times. The duo began piecing together the compositions on the album during lockdowns in the United States. Going from a myriad of regular in-person rehearsals, Sjobeck and Baker quickly transitioned into a new collaborative space: Logic Pro. Each would record and create audible sketches for a piece, and the other would add their musical thoughts into the fray, creating a traceable developmental path for each piece that allowed it to become a true collaborative work. This process was woven together with lengthy conversations discussing what could change and in which direction the music should go next. “In some instances, the songs were fleshed out quickly and in others the initial demo would be unrecognizable from the final iteration,” Baker explains. “The entire process was a whole new way of composing that each [of us] had to learn and thankfully both were up for the challenge.”

Sjobeck and Baker’s work shines as a creative triumph of determination, expression, and seamless collaboration. With Pictures in Time, the duo has crafted statements that are powerful most poignantly in the juxtaposition of their deeply personal nature with an intrinsically universal expression that appeals to human nature. By making musical statements rooted in who they are, where they came from, and the potential of that which could be, Sjobeck and Baker have developed a rare thing: a unified duality, and an expectant mark on a bountifully untapped tradition.

Pictures in Time releases on Next Level on September 30th, 2022.

NEXTLEVEL is an imprint of Outside in Music, dedicated to early career and first-time bandleaders seeking to make an impact on the music. OUTSIDE IN MUSIC is a record label and media company that exists to serve musicians. We are a community that strives to lift its artists above the noise of the 21st-century music industry and make music that expresses the sounds of today's wide-ranging jazz and creative music scene.

Wayne Smith, Jr. is a drummer, composer, and educator with a multifaceted palette of soundscapes and genres at his disposal. Having toured across three continents, performed throughout the New York, Philadelphia, and Washington, D.C. music scenes, and currently working as a staple member of the legendary Sun Ra Arkestra, Smith’s accolades rightly herald his abilities as a master craftsman of the drum set. Described as an “inventive drummer who displays an in-depth musical consciousness,” and who is “willing to embrace the moment, yet never [loses] himself nor the tradition in the search,” by acclaimed saxophonist Tim Warfield, Smith is a musician whose ability to engage with both deep technique and emphatic emotion is unrivaled. It is this depth of humanity and emotive response within his playing that Smith brings to the fore with Be Still, an album steeped in varied emotional vignettes, all held together by the underpinnings of and contemplations on tranquility.

Be Still was conceived as an idea in an almost counter-cultural manner: when the majority of the world shut down during the COVID-19 pandemic, Smith found himself pondering the newfound stillness that seemed to abound as everyone’s plans were put on hold and the world went into a

quasi-stasis. It was during this unexpected time of quietude that Smith began the concept that would become Be Still, carving out segments of time until, bit by bit, he had all the pieces that formed the artistic statement he has since taken into the studio. While each piece encapsulates different reflective elements, the album as a whole is tastefully built upon the foundation of musings on this state of societal standstill. In Smith’s words, “The album signifies tranquility… to relax, sit still, and be at peace.”

Musically, each piece on the album makes its own contemplative statement rooted within the overarching theme of tranquility. Evocative in nature, Be Still oscillates between the vibrant and the pensive as Smith paints music that allows a listener to react to and find something new in it upon each hearing. Beneath Smith’s tastefully variegated sonic display lies a bedrock of jazz lineage and gospel sensibilities, which steadfastly support both the emotional and musical direction of each piece and the album as a whole.

Smith’s compositional and performance approach is displayed poignantly on the track “I-5”. The title refers to Interstate 5, the predominant north-to-south highway that runs along the West Coast,

following the shape of the Pacific coastline throughout. During his time on the road, Smith had the opportunity to tour along that highway and found the drive uniquely pleasant, allowing himself time to soak in the serenity of the world passing by. In a way, then, “I-5” stands as a musical meditation upon a preexisting meditation that was born of the moments when the road, sun, and horizon meet each other in just the right way. The album’s introspective themes continue with “Pico,” one of Smith’s original compositions written for Danny Thompson, the late baritone saxophonist of the Sun Ra Arkestra. “[Thompson] looked after me when I joined the band. He told my mom that he would watch me, and made sure I didn’t get in trouble,” Smith recalls fondly. “If I played something that sounded good, he would always turn around, look at me, and smile… Danny was a great man. He passed away a few years ago. I still miss him.” This album’s homage goes on with “The Trade,” a track that stands as an ode to a series of sessions Smith recorded with his peers. During those sessions, they would play endless hours of improvisation but with a catch: they would continually trade instruments. “Everyone else could manage a different instrument. Not me,” Smith laughs, “but I did my best.” Smith revisited the recordings from those old sessions and transcribed one of his favorite moments from them, turning it into what is now “The Trade”.

Smith’s vision for Be Still was not achieved alone, but was brought to life wondrously by his quintet. Comprising Brent White on trombone, Matthew Clayton on alto saxophone, Ian Macaulay on guitar, Madison Rast on bass, and Smith himself leading from the drum set, the band is lauded by their leader for their ability to approached the music with an “open mind” allowing them to “tell a story [on] every song.”

With Be Still, Smith has not only reestablished himself as a masterful creator of groove, but has asserted his prowess as a musician who understands the inner machinations of the human soul. A study in the earnest, the genuine, and the undeniably human, Be Still draws ruminatively from the heartstrings while still overflowing with that inescapable ability to make heads nod and feet tap.

Be Still releases on July 7th, 2023 on Blue Collar Records.

Wayne Smith, Jr. is a drummer, composer, and educator with a multifaceted palette of soundscapes and genres at his disposal. Having toured across three continents, performed throughout the New York, Philadelphia, and Washington, D.C. music scenes, and currently working as a staple member of the legendary Sun Ra Arkestra, Smith’s accolades rightly herald his abilities as a master craftsman of the drum set. Described as an “inventive drummer who displays an in-depth musical consciousness,” and who is “willing to embrace the moment, yet never [loses] himself nor the tradition in the search,” by acclaimed saxophonist Tim Warfield, Smith is a musician whose ability to engage with both deep technique and emphatic emotion is unrivaled. It is this depth of humanity and emotive response within his playing that Smith brings to the fore with Be Still, an album steeped in varied emotional vignettes, all held together by the underpinnings of and contemplations on tranquility.

Be Still was conceived as an idea in an almost counter-cultural manner: when the majority of the world shut down during the COVID-19 pandemic, Smith found himself pondering the newfound stillness that seemed to abound as everyone’s plans were put on hold and the world went into a quasi-stasis. It was during this unexpected time of quietude that Smith began the concept that would become Be Still, carving out segments of time until, bit by bit, he had all the pieces that formed the artistic statement he has since taken into the studio. While each piece encapsulates different reflective elements, the album as a whole is tastefully built upon the foundation of musings on this state of societal standstill. In Smith’s words, “The album signifies tranquility… to relax, sit still, and be at peace.”

Musically, each piece on the album makes its own contemplative statement rooted within the overarching theme of tranquility. Evocative in nature, Be Still oscillates between the vibrant and the pensive as Smith paints music that allows a listener to react to and find something new in it upon each hearing. Beneath Smith’s tastefully variegated sonic display lies a bedrock of jazz lineage and gospel sensibilities, which steadfastly support both the emotional and musical direction of each piece and the album as a whole.

Smith’s compositional and performance approach is displayed poignantly on the track “I-5”. The title refers to Interstate 5, the predominant north-to-south highway that runs along the West Coast, following the shape of the Pacific coastline throughout. During his time on the road, Smith had the opportunity to tour along that highway and found the drive uniquely pleasant, allowing himself time to soak in the serenity of the world passing by. In a way, then, “I-5” stands as a musical meditation upon a preexisting meditation that was born of the moments when the road, sun, and horizon meet each other in just the right way. The album’s introspective themes continue with “Pico,” one of Smith’s original compositions written for Danny Thompson, the late baritone saxophonist of the Sun Ra Arkestra. “[Thompson] looked after me when I joined the band. He told my mom that he would watch me, and made sure I didn’t get in trouble,” Smith recalls fondly. “If I played something that sounded good, he would always turn around, look at me, and smile… Danny was a great man. He passed away a few years ago. I still miss him.”  This album’s homage goes on with “The Trade,” a track that stands as an ode to a series of sessions Smith recorded with his peers. During those sessions, they would play endless hours of improvisation but with a catch: they would continually trade instruments. “Everyone else could manage a different instrument. Not me,” Smith laughs, “but I did my best.” Smith revisited the recordings from those old sessions and transcribed one of his favorite moments from them, turning it into what is now “The Trade”.

Smith’s vision for Be Still was not achieved alone, but was brought to life wondrously by his quintet. Comprising Brent White on trombone, Matthew Clayton on alto saxophone, Ian Macaulay on guitar, Madison Rast on bass, and Smith himself leading from the drum set, the band is lauded by their leader for their ability to approached the music with an “open mind” allowing them to “tell a story [on] every song.”

With Be Still, Smith has not only reestablished himself as a masterful creator of groove, but has asserted his prowess as a musician who understands the inner machinations of the human soul. A study in the earnest, the genuine, and the undeniably human, Be Still draws ruminatively from the heartstrings while still overflowing with that inescapable ability to make heads nod and feet tap.

Be Still releases on July 7th, 2023 on Blue Collar Records.

Guitarist and composer Phil Sargent is a force to be reckoned with in the Boston and New York music scenes. Described by All About Jazz as a musician who "is cognizant of the tradition but thinks outside of the box" and by JazzReviews.com as someone who "incorporates melodic hooks into the mix, where superior technique, cunning interactions, memorable song forms, and seething solo jaunts attain a near-flawless symmetrical presence," Sargent has shared the stage with giants such as Dave Liebman, Jerry Bergonzi, and John Lockwood, as well as contemporary movers and shakers like Matt Wilson, Bob Moses, Phil Grenadier, and Yosuke Inoue, among others. Now, over a decade since his last release, Sargent returns as a bandleader with "Sons," an album that serves as both a tribute to and reflection on fatherhood and its transformative impact on him and his world.

Phil Sargent is a composer and performer as eclectic as he is prolific. With a profound mastery of and deep respect for the musical traditions of Jazz, Classical, Americana, and the rich tonalities and metric complexities of the Balkans, Sargent has carved out a distinctive artistic and educational identity. This reputation has made him a sought-after figure both by peers on the bandstand and by students in the practice room. Following his 2010 release "A New Day," Sargent's life took on a more vibrant hue, attributed not just to the album's acclaim. "I released my last original recording of music in 2010, a few months before my first son was born," Sargent recalls. "The experience of fatherhood, with all its struggles and joys, has propelled my music to a much deeper level." The rich and varied experience of becoming a father twice over inspired the creation of "Sons." Like many musicians, Sargent uses composition and improvisation to express the spectrum of life's experiences. Thus, this album acts like a journal, chronicling his journey of growth as a father, musician, and human being, especially through the tumultuous COVID and post-COVID era.

"Sons" marked a first for Sargent as he recorded not only with his signature electric guitar sound but also incorporated nylon and steel-string guitars into the mix. The synthesis of these three guitar timbres creates an immersive soundscape that captivates and intrigues listeners. As a bandleader and composer, Sargent strives for a unified ensemble sound rather than just providing a backdrop for soloists. The result is a cohesive musical statement that harnesses the creative energies and improvisational prowess of his band members, some of whom have collaborated with him for over twenty years, and directs them toward a singular vision. His seamless movement across genres and his natural affinity for mixed meters and expansive tonalities coalesce into a masterful blend of spontaneity and precision.

The album's title and its eponymous track, "Sons," stem from the life-altering events that inspired the project: the birth of Sargent's sons. "Sons is an unambiguous homage to my two boys," Sargent explains. "They were the inspiration for the song 'Sons,' so it seemed fitting to name the album after them as well."

The narrative arc of the album takes a slight detour with tracks like "Skyline" and "Breathe," which Sargent penned in 2012 during an inspired phase. On "A New Day," Sargent featured vocalist Aubrey Johnson, garnering critical acclaim. One admirer was Johnson's uncle, the legendary Lyle Mays, who reached out through Aubrey to express his admiration for Sargent's work, prompting him to write the two tracks to showcase Johnson on one of her albums. "I was incredibly honored and a bit daunted, so I got to work, and 'Skyline' and 'Breathe' were the outcomes," says Sargent. "Earning the respect of one of my heroes undoubtedly spurred my writing to new heights."

"Sons" is a testament to a master architect's vision. Just as an architect relies on a team to bring a blueprint to life, Sargent's album owes its breath to his longest-standing friends and collaborators, many of whom he has worked with for over two decades. The album features Jerry Sabatini on trumpet, Anastassiya Petrova on piano, Greg Loughman on bass, Mike Connors on drums, and Phil Sargent himself on guitars. Sargent's ensemble plays with a near-telepathic synergy. "Playing with them always feels like coming home," he says. Petrova, the newest addition, has earned high praise from Sargent for her commitment and exceptional talent, elevating the music to unprecedented levels.

With "Sons," Sargent captures the essence of the human experience—family—melding it into a musical expression of life's responsibilities and joys. He composes and performs not just for himself or his craft, but to communicate something meaningful to an audience that has inspired and shaped his journey.

"Sons" will be released on Higher Level Media on January 12, 2024.

Guitarist and composer Phil Sargent is a name to be reckoned with in the Boston and New York music scenes. Described as a musician who “is cognizant of the tradition but thinks outside of the box” (All About Jazz) and who “incorporates melodic hooks into the mix, where superior technique, cunning interactions, memorable song forms, and seething solo jaunts attain a near-flawless symmetrical presence” (JazzReviews.com), Sargent has shared the stage with the likes of giants such as Dave Liebman, Jerry Bergonzi, and John Lockwood, to contemporary earthshakers such as Matt Wilson, Bob Moses, Phil Grenadier, and Yosuke Inoue, among others. Now, over a decade since his previous release, Sargent once more takes the stage and studio as a bandleader with Sons, an album that stands both as a tribute to and reflection on fatherhood and how it has transformed him and his world.

Phil Sargent is a composer and performer who is as eclectic as he is prolific. With a mastery of and deep admiration for the musical traditions stemming from Jazz, Classical, Americana, and the rich tonalities and metric approach of the Balkans, Sargent has developed a distinctive identity as an artist and educator that has led him to be sought after full-time, both by peers on the bandstand and by students in the practice room. Following his 2010 release A New Day, Sargent’s world changed to a more vibrant and more jubilant one than he’d ever known possible, and it was not merely due to the acclaim the album had received. “I released my last original recording of music in 2010 a few months before my [first] son was born,” Sargent says. “The experience of being a father (both the struggle and joy) has pushed my music to a much deeper place.” It is this wondrously variegated experience of becoming a father - not once, but twice - that inspired and spurred on the creation of his upcoming album, Sons. Like most musicians, Sargent uses composition and improvisation as a form of expression and an outlet for the highs and lows. This album then acts in many ways like a journal, documenting the process of learning and growing as a father, as a musician, and as a human being, particularly in the disorientingly fluid COVID and post-COVID landscape of the past few years.

Musically, Sons presented a first for Sargent, as he not only recorded with his steadfast electric guitar sound, but also contributed his nylon and steel-string guitars to the session. The resulting synthesis of the three timbres presents a distinctly enveloping soundscape that finds listeners mesmerized and intrigued. As a bandleader and composer, Sargent emphasizes the pursuit of creating a single ensemble sound. Like the tradition of landmark composers before him, Sargent is more interested in creating a cohesive sonic statement rather than merely having a chart for soloists to play over. The end result is music that utilizes the powerfully creative personalities and improvisations of his long-standing band members of over twenty years and channels them in specific directions. Add to that Sargent’s seamless overflow from genre to genre and his effortless flair for mixed meter and broad tonalities and what one receives is a masterful synergy of spontaneity and structure.

The title of the album, as well as the track after which it is named, is taken from the experiences that inspired the album itself: the birth of Sargent’s sons. Rightly lauded as a world-changing two events by the guitarist, the track “Sons” was written as an ode to the boys who changed his life and enriched his existence. “Sons is a not-so-subtle shout out to my two boys,” Sargent explains. “They were the inspiration for the song “Sons”, so it seemed like a no-brainer to name the album after them too.”

The album’s storytelling arc deviates somewhat with the tracks “Skyline” and “Breathe”, which were both written in 2012 during a moment in which the stars seemed to align for Sargent. On his previous album, A New Day, Sargent featured the vocalist Aubrey Johnson and their collaboration was critically received. One of the individuals who greatly admired Sargent’s approach and collaboration on that album was Johnson’s uncle - who happened to be the late great Lyle Mays. Mays contacted Sargent through Aubrey Johnson saying he was so impressed by his compositions and performance that he asked him to compose two pieces to feature Johnson on an album of hers. “Needless to say, I was blown away and terrified, so I got started and “Skyline” and “Breathe” were the result,” Sargent says. “It was great to have the respect of one of my heroes and it definitely pushed my writing into new places.”

The brilliance contained on Sons is one of a master architect drawing the most ingenious of plans. Just like an architect, it takes a team to bring the concept to life and to build the lasting monument. Sargent’s album was brought to life by some of his longest-standing friends and collaborators, many of whom he has been collaborating with for over two decades. The personnel on Sons comprises Jerry Sabatini on trumpet, Anastassiya Petrova on piano, Greg Loughman on bass, Mike Connors on drum set, and the bandleader himself, Phil Sargent, on guitars. Sargent lauds each of his peers’ performances on this record. “Loughman, Connors, Sabatini and I have been playing in each others’ bands since 2000 or 2001 and the collaboration is downright telepathic,” he says. “Playing with them is always like coming home.” Of Petrova, the newest member of his ensemble, he has only praise: “Petrova absolutely blew me away. Not only with her incredible playing, but with her commitment to the music,” Sargent says. “She brought it to a level that can only be reached not only with that kind of talent, but with the equally important drive to get inside the music.”

With Sons, Sargent makes emotively tangible that which is held deeply at the center of the human experience: family. To grow and create, to provide and protect, to wrestle and raise up - all this is held testimonial within the vast textural landscapes and sweeping genre fluidity of Sons. Sargent composes and plays not merely for himself and for his music, but because he has something worthwhile to say, and an audience worthwhile to say it to who inspired it all to begin with.

Sons releases on Higher Level Media on January 12, 2024.

Brian Scarborough, a standout trombonist, has established himself both as a performer and a composer. His music, described by Chicago Jazz Magazine as "simultaneously stimulating and accessible, refreshingly modern yet rooted in tradition," showcases Scarborough’s ability to blend tradition with innovation. In his second album as a bandleader, “We Need The Wind,” he continues this trend. Trombone legend Michael Dease lauds the album, noting it “beautifully captures Scarborough’s attractive tone and vibrant melodic playing.” “We Need The Wind” not only showcases Scarborough's brilliantly organic melodies but also boldly steps into new realms of color and harmony.

Drawing conceptual inspiration from Scarborough’s personal healing process post the COVID-era pandemic, “We Need The Wind” stands as a paradox, being both deeply introspective and universally appealing. The album, autobiographical in concept, is an emotive and honest work, laying bare the composer’s heart. Each composition, steeped in the earnest feelings Scarborough experienced at the time of creation, allows listeners to step into the artist's shoes. They journey with him through a world-altering experience, understanding and hoping anew, and growing through what once seemed shattering. “Inspired by experiences and emotions felt during the global pandemic, and reflecting on society and the world at large, this project reflects my experiences during this deeply troubling time,” explains Scarborough. “We Need The Wind documents my journey through this experience and the healing process, personally and artistically.”

The album's title and the track from which it derives its name were inspired by an image that came to Scarborough while contemplating the complexities of COVID and post-COVID society. The concept of prayer flags, rooted in Buddhist tradition, struck him profoundly. These flags are believed to carry mantras, blessings, and petitions with the wind to wherever it blows. Scarborough was moved by the idea of nature disseminating messages of hope, kindness, and empathy through the wind. This concept is visually represented in the album artwork, designed by his aunt, Patricia Scarborough. The artwork's lines symbolize the various colors of the prayer flags, blending and mixing in the wind, creating a non-specific visual representation of a universal language as the blessings are transported by the breeze.

In terms of composition, “We Need The Wind” marks a shift in Scarborough's sonic palette compared to his previous release, “Sunflower Song.” He describes the writing process for this album as liberating, signaling the start of a new chapter where he explores new musical directions and redefines himself artistically. “Following the release of ‘Sunflower Song,’ I felt a sense of freedom in composing,” says Scarborough. “It was as though the music for that project was complete, and I was free to move on.” In “We Need The Wind,” he leans more actively into the emotions felt during the compositional phase, coupled with an exploration of new harmonic concepts, while still prioritizing his idiomatic emphasis on the organic development of melody.

The album features a wide array of emotions, each poignantly showcased. The contrast between the first two tracks, “Broken” and “3E,” exemplifies this. “Broken,” written at the start of global lockdowns, reflects Scarborough’s feelings of being broken. Initially an unharmonized melody, it later transformed into a testament to overcoming adversity. “3E,” on the other hand, was inspired by a Zoom call during the pandemic with Scarborough’s former roommate in Chicago, becoming a dedication to camaraderie.

The overarching metaphor of Buddhist prayer flags continues throughout the album, most notably in “One of One.” Starting with a simple melody performed in unison by saxophone and trombone, it takes inspiration from the concept of the Buddhist chant. As the melody progresses, the instruments diverge, with the trombone maintaining the melody and the saxophone improvising over it, reminiscent of the prayer flags and the wind carrying the prayers afar.

For the album to realize its vision, Scarborough assembled “a band filled with some of Kansas City’s finest players, committed to elevating the music to its highest level.” The ensemble includes Matt Otto on tenor saxophone, Roger Wilder on Fender Rhodes, Jeff Harshbarger on bass, Brian Steever on drum set, and Scarborough himself on trombone. “We Need The Wind” showcases Scarborough candidly as a composer and performer, capable of both grandiose creative gestures and nuanced emotive expression. His work appeals not just intellectually, but also to the soul of his audience.

“We Need The Wind” will be released on Outside in Music on February 23rd, 2024. OUTSIDE IN MUSIC is a record label and media company dedicated to serving musicians and elevating artists above the noise of the 21st-century music industry, showcasing the sounds of today's diverse jazz and creative music scene.