Listen to this week’s playlist on YouTube and Spotify      
With her recorded projects ranging from post-bop arrangements of Israeli songs from youth to commissioned new works for classical saxophone, Idit Shner has been a tireless advocate for ‘making things happen’ since receiving her DMA from the University of North Texas 15 years ago. On the faculty of the University of Oregon in Eugene, Idit continues to inspire others while using the city’s central jazz gathering, The Jazz Station, to workshop ideas and perform regularly with her quartet. Recorded in June of 2019, “Live at the Jazz Station” captures the joy and exuberance heard each night there, with a high-energy group of friends exploring a favorite standard or their own compositions.

     Not a stranger to the idea of infusing one’s art with examinations of societal conditions, Grammy-winning trumpeter Charlie Porter follows 2019’s “Immigration Nation” with thoughts of how we act in hindsight to deal with the collateral damage of ‘progress’ and the centuries-old struggles with racism, inequality and corruption Born during the upheavels of 2020, “Hindsight” reflects the tumult, uncertainty, and fiery emotions of the times, and thoughts on how we’re going to leave the planet for the next generation.

Also this week, “The Remainder” is the third studio album from Brooklyn-based saxophonist and composer Jonathan Parker featuring his long-standing quintet from his days living in Washington, D.C.;

the Delvon Lamarr Organ Trio mixes in a big helping of ‘60s organ jazz stylings, a pinch of snappy soul strut, and sprinkles Motown, Stax, blues and cosmic Jimi Hendrix-style guitar into the mix on “I Told You So”;

and The Rooibos Quartet is one of the outstanding ensembles to emerge from Charleston, South Carolina’s  fertile jazz scene as they present their debut release, “Rooibos,” showcasing a particular blend of contemporary  and classic jazz styles with a laid-back Southern demeanor.

    Listen to this week’s playlist on YouTube and Spotify 
Born in New York to Colombian parents, Nelson Riveros grew up learning about the music and cultures of the Americas. After playing a gig of some of Wes Montgomery’s vaunted repertoire a few years ago, he had the idea of reimagining the legendary guitarist’s music in Latin American styles. “The Latin Side of Wes Montgomery” is the long-awaited second release by the acclaimed guitarist, composer and arranger. “I started to hear all kinds of rhythms, basslines, and melodic variations to some of his tunes,” Riveros explains. “The next day I started writing arrangements, and this very project began to take shape.”

     More than fifteen years after his last release as a leader, saxophonist Rick Margitza makes his long-awaited return with the captivating new album, “Sacred Hearts.” The deeply personal disc takes stock of the joys and tragedies that have unfolded over the last decade and a half, with new compositions dedicated to those lost along the way as well as the new life that has come into being. The overall feeling is far from mournful. Margitza set out to celebrate lives well lived rather than to dwell on tragic losses.

 Also this week, “Cleveland Time” is the debut release from Matthew Alec and the Soul Electric, a jazz fusion group based in, and celebrating, Cleveland;

for her sophomore release, “Everybody Knows,” vocalist Brianna Thomas presents a book of songs that encapsulates common human experiences and honors the universal truths “everybody knows”;

      and the Mexico City-born, Los Angeles-based bassist/composer/arranger Mauricio Morales delivers his compelling first outing, “Luna.”