EMP Project Releases Best of EMP Project — A Remastered Collection of Modern Jazz Trio Recordings…

Blue Canoe Records proudly announces the release of Best of EMP Project, a newly remastered compilation album from the Southern-based jazz trio EMP Project, available worldwide on May 1, 2026.

Bringing together a powerful blend of modern jazz, fusion, groove, and improvisational interplay, Best of EMP Project revisits standout recordings originally captured between 2002 and 2005. These selections, drawn from the group’s debut EMP Project and sophomore release Wherever We Go, have been carefully remastered to introduce the trio’s music to a new generation of listeners.

At the core of EMP Project is a deeply rooted musical connection between three longtime collaborators: 

William Ellis (drums) — a Nashville-based, in-demand drummer known for his versatility across genres, with touring and recording credits including Montgomery Gentry, Travis Tritt, Martina McBride, and Hunter Hayes.

Joseph Patrick Moore (double, electric & fretless bass) — a recording artist, composer, and producer with a career spanning over three decades, currently serving as bassist and back-up-band leader for Cirque du Soleil’s Mystère in Las Vegas.

Shawn Perkinson (acoustic & electric guitar) — a respected educator and performer, serving as Commercial/Jazz Guitar instructor at Lee University, with a career that bridges jazz, rock, and contemporary styles. 

The trio’s origins trace back to their time studying at the University of Tennessee, Knoxville (1989–1994), where they developed a shared musical language under the guidance of renowned educators, including Jerry Coker, Donald Brown, Rusty Holloway, Keith Brown, Mark Boling, and others. After years of pursuing individual careers across the country, the musicians reunited— capturing lightning in a bottle during a series of live studio recordings in Atlanta, Georgia. 

Recorded on August 6–7, 2002, with no rehearsals, the sessions document the trio’s raw chemistry, spontaneity, and collective musical intuition. Each member contributed original compositions, resulting in a truly collaborative artistic statement. 

Best of EMP Project is available on all major streaming platforms beginning May 1, 2026. 

Award-winning musician Suzy Starlite brings her debut solo album to the stage for the first time — an intimate, once-only preview concert in one of Portugal’s most beautiful cultural spaces, filmed live for international release.

On Saturday, 9th May 2026, award-winning musician, multi-instrumentalist and songwriter Suzy Starlite takes the stage for a landmark solo performance: the world-premiere live preview of her debut album 1966, held in the extraordinary Atelier-Museu António Duarte in Caldas da Rainha — a space where Portuguese cultural history and sculpture create a breathtaking backdrop for an evening of original music.

The evening will be filmed in full for international release, the camera crew present not merely to document, but to become part of the atmosphere of the night.

“The room is incredible, and we are lighting it specifically to capture the mood of the record. Because we are filming the evening, it adds an extra layer of magic and intensity to the experience.”— Suzy Starlite

THE ALBUM: 1966

1966 is Suzy Starlite’s first solo record — a deeply personal collection of original songs written and performed entirely by Suzy herself, playing bass, keyboards, acoustic guitar and singing lead vocals throughout. The album title reflects the year of her birth: she is a Fire Horse, a rare and high-energy sign in the Chinese zodiac, and the record draws on that spirit of transformation, defiance and creative freedom.

The songs were born from a period of intense personal reflection — written through the night by candlelight with an acoustic guitar, searching for her own voice after losing herself.

“These songs come from a deeply personal place. They are stories inspired by and written about real people I have met — an attempt to capture the human condition in all its multi-faceted, complicated, wonderful simplicity. My heartbeat is ingrained in the music.”— Suzy Starlite

Rooted in the tradition of 80s New Wave — with echoes of Siouxsie Sioux, Alison Moyet and The Pretenders — 1966 moves between infectious art-pop energy and cinematic, contemplative depth. The album is produced by Simon Campbell and is set for release in February 2027 on Supertone Records.

Visit online @ suzystarlite.com

Tickets available @ gigs.supertone.eu

It’s not often you get to witness a performance that feels both masterfully polished and deeply personal. “Father Son: An Evening with Nathan and Noah East and Friends” delivered exactly that when it recently rolled through Las Vegas.

Nathan East is undeniably one of the most iconic, versatile, and prolific bass players of our time. With a résumé that spans decades and genres, his musicianship has become part of the soundtrack of modern music.

Following naturally in his footsteps is his son, Noah East, an accomplished pianist and organist whose growth as a musician feels both organic and genuinely earned. Growing up in a musical household may have opened doors, but Noah has clearly put in the work to cultivate his own voice, one that’s mature, confident, and increasingly commanding.

Last year, the father-son duo released their aptly titled album, Father Son, a project that beautifully captures their musical chemistry.

In a recent conversation I had with Nathan (full interview going live in Bass Musician Magazine on April 1st), he spoke enthusiastically about taking the project on the road. When he mentioned a Las Vegas date, I immediately secured tickets.

The show took place at Myron’s at The Smith Center for the Performing Arts, one of the city’s most inviting listening rooms. The venue’s art deco ambiance and pristine acoustics make it ideal for a performance of this intimacy and sophistication. With its comfortable table seating, guests can enjoy food and beverages while remaining fully immersed in the music, a perfect setting for an evening of jazz-infused artistry.

The lineup for the evening featured Nathan on upright and electric bass, Noah on piano and Hammond B-3 organ, Donald Barrett on drums, and Michael “Nomad” Ripoll on guitar. Together, they formed a tight, well-oiled unit that impressed from the first downbeat. There was an ease on stage, an unspoken communication, that only seasoned musicians can achieve.

The set list offered a thoughtful blend of jazz standards, selections from Father Son, and songs associated with some of the biggest names Nathan has collaborated with over the years, including Stevie Wonder, Eric Clapton, and Daft Punk. The audience was treated to a seamless 90-minute performance with no intermission, just continuous, captivating music.

As expected, Nathan’s bass work was exceptional. His note choices and phrasing elevated every arrangement, serving the music with taste and authority. Noah’s virtuosity was evident throughout the night on both piano and organ, though it was on the Hammond B-3 where he truly seemed to shine. His touch, dynamic control, and tonal choices revealed a musician well beyond his years.

“Nomad” Ripoll’s guitar work was equally compelling, with several moments to stretch out and deliver expressive, fiery solos. Meanwhile, Donald Barrett’s drumming was tight, precise, and deeply musical. He drove the band with subtle power and, during his solo feature, displayed jaw-dropping technique that drew wide smiles from his bandmates and enthusiastic applause from the audience.

In the end, “Father Son” is more than a concert; it’s a celebration of legacy, mentorship, and shared passion. It’s rare to see generational artistry unfold in real time with such authenticity. This is a must-see show, and I’ll certainly be in the audience again the next time they return to Las Vegas.

You can check to see if they will be in your area by going to nathaneast.com or facebook.com/NathanEast/.

NEA Jazz Master and bass virtuoso Ron Carter returns to Birdland Jazz Club, the Jazz Corner of the World, this October for his popular annual residency. This month-long residency will kick off on Wednesday, October 8 and run through November 1, and will comprise 32 performances over four weeks. 

Renowned for his unmatched talent, Ron Carter stands as one of jazz’s most inventive and prolific bassists. With a staggering discography boasting over 2,000 albums, Carter is certified as the most recorded bass player in the history of recorded music. Honored with the prestigious 1998 National Endowment for the Arts Jazz Masters Fellowship, Carter’s collaborative footprint spans an astonishing spectrum of musical genres, with performances and recordings alongside an eclectic array of artists. 

The first week, October 8-11, Carter joins forces with acclaimed guitarist and composer Bill Frisell. This isn’t their first musical meeting—the duo previously collaborated on the acclaimed 2006 trio album Bill Frisell, Ron Carter, Paul Motian, and their musical connection runs deep, with Frisell having composed pieces inspired by Carter, including the aptly named “Ron Carter” and “Throughout, Ron Carter.” Their shared commitment to musical exploration and interplay promises an evening of sublime jazz artistry. Don’t miss this rare opportunity to witness two masters of their craft create musical magic in one of New York’s most storied jazz venues.

The second week, October 15-18, spotlights Ron Carter’s New Jazz Trio. Following the untimely passing of the great Russell Malone last summer, Carter assembled a new ensemble, which plays for the second consecutive year at Birdland. Featuring Carter alongside Grammy-nominated pianist Donald Vega, the New Jazz Trio features NEA Jazz Master saxophonist Donald Harrison.

The third week, October 22-25, will feature Carter’s Foursight Quartet, featuring an outstanding lineup of contemporary jazz luminaries including Jimmy Greene on saxophone, Renee Rosnes on piano, and Payton Crossley on drums. Based in Connecticut, Jimmy Greene stands as one of his generation’s most admired saxophonists, with an extensive catalog of recordings and a rich history as a sideman for luminaries such as Horace Silver and Freddie Hubbard. Similarly, Vancouver-born pianist Renee Rosnes has forged an illustrious career marked by her collaborations with jazz legends like Joe Henderson and Wayne Shorter. Her tenure with the Carnegie Hall Jazz Orchestra, the SFJAZZ Collective and her groundbreaking group Artemis have solidified her place in the jazz pantheon. Drummer Payton Crossley, who entered the jazz scene as a young prodigy, trained under drum great Alan Dawson, before joining the revered pianist Ahmad Jamal. This great quartet has drawn universal praise.

Carter’s Great Big Band takes the stage during the closing week of the residency, October 29-November 1. The large ensemble, which The New Yorker said “swings mightily”,  is always a major highlight of the Birdland residency. Like previous years, the program will likely pull from Carter’s previously released big band albums including Ron Carter’s Big Band (Sunnyside, 2011), Ron Carter and the WDR Big Band’s My Personal Songbook (In+Out Records, 2014), and the GRAMMY nominated Remembering Bob Freedman (2021) by Ron Carter & The Jazzaar Festival Big Band.

Every Thursday performance at 7pm will be streamed exclusively at veeps.com/birdland.

There is no better place to be than Birdland Jazz Club this October. Join this living legend for four incredible weeks of music that are not to be missed. 

Ron Carter is at Birdland Jazz Club October 8-11, 15-18, 22-25, and 29-Nov 1. On Wednesday through Thursday, sets begin at 7:00 and 9:30 PM, and on Friday and Saturday, at 8:30 and 10:30. Tickets start at $40, and there is a $20 minimum. 

For more information, visit online at birdlandjazz.com/calendar/.

Photo: Ron Carter by Alan Nahigian, Provided by Lydia Liebman Promotions

The 2025 DC Jazz Festival (DCJF) is shaping up to be a bassist’s dream, with a powerhouse lineup that reads like a who’s who of legendary four-string masters. Leading the charge is none other than Marcus Miller, the iconic bassist, composer, and producer whose groundbreaking work has shaped the sound of contemporary jazz and R&B for decades.

Miller, a two-time GRAMMY winner, brings his extraordinary band to DC JazzFest at The Wharf on Saturday, August 30, promising to deliver the kind of electrifying performance that has made him one of the most sought-after bassists in the world. His resume speaks volumes—from producing Miles Davis’ acclaimed “Tutu” album to co-writing hits like “Power of Love/Love Power” and “Jump To It,” Miller has left an indelible mark on music history. His collaborations span an incredible range, from jazz legends like Miles Davis and Herbie Hancock to pop icons like Beyoncé, David Bowie, and Aretha Franklin.

“Marcus Miller is a singular force in modern music and a brilliant addition to our 2025 lineup,” said DCJF CEO Sunny Sumter. “We are thrilled to present his extraordinary artistry to DC audiences.”

But Miller won’t be the only bass virtuoso commanding attention at the festival. The event is unprecedented in its celebration of the instrument, featuring multiple generations of bass masters who have each contributed their own distinctive voice to jazz history.

Ron Carter, the Guinness Book of World Records designee as the most recorded bassist in music history, takes the Arena Stage on Sunday, August 31. As the 2024/2025 DC Jazz Festival Artist-in-Residence and NEA Jazz Master, Carter’s presence adds immense gravitas to the lineup. While his incomparable profile was cemented as a member of Miles Davis’ legendary mid-60s “second great quintet” alongside Wayne Shorter, Herbie Hancock, and Tony Williams, Carter’s contributions extend far beyond that iconic group. His work as a bandleader has been equally impressive, from his celebrated trio with the late guitarist Russell Malone to his innovative “Piccolo Quartet,” where he showcased his unique piccolo bass, and his ongoing big band projects.

The festival also spotlights rising talent with DC native Corcoran Holt, another 2024/2025 DC Jazz Festival Artist-in-Residence, who shares the Arena Stage with Carter on August 31. A graduate of the Duke Ellington School of the Arts and current faculty member at Arizona State University, Holt represents the next generation of bass excellence. His impressive credits include tours and recordings with jazz pioneers and NEA Jazz Masters Jimmy Cobb, Benny Golson, Jimmy Heath, and Kenny Garrett. Remarkably, Holt’s musical journey began at age four with West African percussion instruments before he found his calling on the bass.

Beyond the bass spotlight, the 21st edition of DC JazzFest promises what Artistic Director Willard Jenkins calls “a stunning array of artistic expressions from a broad range of jazz and jazz-informed styles, representing the true 21st century state-of-the-artform.” The lineup includes NEA Jazz Masters Eddie Palmieri, Branford Marsalis, Gary Bartz, and Marshall Allen leading Sun Ra Arkestra, alongside acclaimed vocalists Lalah Hathaway and Cécile McLorin Salvant, plus John Scofield, Emmet Cohen, Matthew Whitaker, Keyon Harrold, The Baylor Project, The String Queens, and many more artists yet to be announced.

The festival will also celebrate the exceptional talent of the DMV’s jazz community, featuring local artists including Christie Dashiell, Paul Carr, Herb Scott, Akua Allrich, Todd Marcus, Charles Covington, Leigh Pilzer, Joshua Bayer, and the JazzDC Orchestra directed by Allyn Johnson.

For bass players and jazz enthusiasts alike, this year’s DC JazzFest represents a rare opportunity to witness multiple generations of bass mastery in one spectacular weekend. With legends like Miller and Carter sharing stages with rising stars like Holt, the festival promises to be both a celebration of the instrument’s rich history and a glimpse into its bright future.

2025 DC JazzFest at The Wharf, takes place August 27 – August 31, 2025 over Labor Day Weekend. Tickets are available now at dcjazzfest.org.

For a complete lineup and more information, visit the festival’s official website.