Grammy Award-winning bassist, composer and cherished educator John Clayton — one of jazz’s most celebrated voices on the instrument — has released Two-o Duo, his 8th leader album exclusively via ArtistShare. This much-anticipated release features his longtime collaborator, vocalist and contemporary storyteller René Marie, and his son & frequent musical partner, 7-time Grammy-nominated pianist and composer Gerald Clayton. With a strong focus on duo playing, Two-o Duo presents 11 songs, spotlighting a range of material through different cultural eras, plus lyrical and compositional contributions from both Marie and the Claytons, respectively. 

The worldwide digital release of Two-o Duo will be on July 3, 2026. 

While the duo context and its many iterations shapes the project’s sound, Clayton seized the opportunity to explore further: “Since we were all there [in the studio], hanging out on the same day, why not do a few trio things as well?” Together, the three artists breathe through the repertoire, filling and leaving space and letting resonances linger. They embrace all that’s intimate and vulnerable. “Some really magical things happened,” he says. “If you’re close with somebody and you’re in the room with them, both of you feel the closeness that you share. There’s no word for it. It’s intangible. But it’s very real.” 

When he began gathering ideas for the record, Clayton encouraged Marie to share repertoire selections that held meaning for her. His goal was to center her personal & eclectic musical tastes as part of the album’s character and development. “She’s not just singing jazz tunes,” says Clayton. “She’s singing songs that she would hear on AM radio, for instance, and pop hits. She’ll just walk around her house singing these tunes and the next thing you know, she’s asking her group if she can do these songs. She’s always been like that, which is a cool thing that I’ve always loved about her.” 

The album opens on an utterly syncopated invention of “Blue Bayou,” the early ’60s ballad made famous by its co-composer Roy Orbison, then later by Linda Ronstadt. “We came up with this other vibe,” says Clayton. “I liken it to a cart that’s missing a wheel. It’s always just a little bit off.” With certain harmonic exceptions that allow the song to breathe through Marie’s treatment of the lyric, the Claytons keep it weird, anchored throughout by Clayton’s characteristically fluid yet propulsive bass lines. — even through Gerald’s piano solo. “It’s as if he didn’t want to destroy the weirdness.” 

Two-o Duo’s first instrumental, Gerald’s blues composition “Nail… In Need” expands the album’s familial connection. When he performed it live at Pasadena’s Bacchus Kitchen, his godfather, drummer Jeff “Hammer” Hamilton fell in love with the aptly named tune and recorded it with his trio. Another deeply felt, intuitive gesture, “Beautiful” showcases Marie’s ability to embody a lyric’s poetry, musicality and stark humanness. “There’s a beautiful arc to this song where you feel René preaching with more intensity as the song goes on,” says Clayton. She amplifies that energy through her part-spoken, part-sung performance of “On the Day You Were Born,” taking her lead from Clayton’s melodic and conversational bass intro. After reading through Marie’s original lyrics ,and experiencing their dramatic yet intimate delivery, both John and Gerald contributed pieces of the composition, leaving plenty of room for the unfolding of Marie’s story. “I was frozen by its dramatic impact on me,” says Clayton. Together, they recorded a single take. “When it was over and we listened back, I said, ‘We could do another take, but it won’t be better. It’ll be different but it won’t be better.’ So we left it.” 

A song that touches so many listeners through so many generations, Martin Rojas’ “En La Orilla del Mundo” pays homage to Charlie Haden and features John and Gerald at their most tender and resonant. Opening on piano-arco duo, the artists treat the iconic melody with curiosity and care. “It’s one of those songs I’m jealous I didn’t write,” says Clayton. “I don’t know what I’m capable of but I wish I were capable of writing a song like that [laughs].” Back and forth between them, Clayton and Marie pass intimate energy, dream walking through Billy Joel’s timeless love song “For the Longest Time.” 

Combining “When You’re Smiling,” “Smile,” “Make Someone Happy” and a sweet shadow of “Put on a Happy Face,” Two-o Duo’s “Smile Medley” shares a moment of joy, with an almost literal translation of something abstract: genuine connection between artists. Marie provided the song selections but the arrangement, according to Clayton, was a team effort. Of their approach to “Some Other Time,” he says, “I feel Rio in the air on this one.” Clayton’s tight arrangement creates the movement of brushes without the brushes. “It’s a samba but we allow the listener to provide the drums.” 

The arco tremolo introducing Duke Ellington’s treasured ballad “Come Sunday” sets the tone for a fog lifting moment when Gerald’s piano enters. “There’s a completeness to this song that’s absent in the first A because it’s just René and me,” says Clayton. “And then when that A comes in again, it’s Gerald. And now he’s got the entire orchestra — the piano — to fill in the gaps that you weren’t getting when it was just us.” 

Clayton and Marie deliver a contemplative, rubato verse and ending on “Somewhere Over the Rainbow.” Her handling of the verse prompted Clayton, again, to pull out his bow. “René knows how to invite freedom and inspire creativity,” he says. “It’s what every artist wants to bathe in.” Two-o Duo concludes on Gerald’s layering composition “Forth,” performed as a duo with Clayton. The latter creates a bass orchestra in concert with Gerald’s piano and collection of keyboards. “I didn’t know what the song was about. I just had to read the music and watch it unfold. It wasn’t until the mix that I finally went, ‘Ahh…’ and heard how the pieces came together … It’s like unwrapping a gift.” 

Dedicated to Clayton’s dear friend, the recently departed engineer Joel Moss, Two-o Duo is a gesture toward connection, in generous tribute to family, friendship and the sacred bond between artist and listener. “There’s always something spiritual about people who are related. It usually isn’t conscious and it doesn’t always have to be in your face. There’s some kind of line unspoken that’s going through there. I may not be related to René but we’re sharing energy. And the audience may not know what’s going on but they’re going to feel something, too.” 

Bassist Tony Saunders Reimagines Two R&B Classics on “Return of the Mack (I Like It)” with GRAMMY® Nominee Gerald Albright

During January’s NAMM Show, two?time EMMY?winning bassist Tony Saunders played a demo mashup of Mark Morrison’s “Return of the Mack” that weaves in El DeBarge’s “I Like It” for 9?time GRAMMY® nominee Gerald Albright. The saxophonist instantly heard its radio potential and agreed to play on the recording. The newly released single is now climbing the Billboard and Mediabase charts.

Joining Saunders and Albright on the track is GRAMMY®-winning keyboardist Michael Mani (Carlos Santana, Eric Clapton, Tori Kelly), who produced the single with Saunders along with playing keyboards, synths, key bass, vocal processing, drum programming, and guitar synths. John Mitchell added live drums to anchor the rhythm track.

“I’ve always loved ‘Return of the Mack’ — the groove is off the hook — and I knew I’d record it someday. ‘I Like It’ has also been one of my favorites, and because it’s in the same key, the mashup came together naturally. The reaction from fans when we play it live is incredible,” said Saunders, who records for the Baja/TSR label and received clearance to release the single on his own imprint.

Saunders dedicates the new single to the memory of two of his cousins, Kurt Kaywood and Oliver Rodgers. They passed away two weeks apart as Saunders was finishing up work on the track. “They played an important part of my life, always introducing me to new things.”

“Return of the Mack” peaked at No. 2 on the Billboard Hot 100 in 1996. El DeBarge’s “I Like It” was the group’s breakthrough hit, peaking at No. 2 on Billboard’s R&B chart in 1982.

Last week, Saunders was on-set in Sacramento shooting a cameo appearance in the Belton Mouras Entertainment film Fingers: The Vegan Zombie Musical, which is expected this Halloween. In addition to scoring several films, Saunders made his big screen debut in 1986 in the Francis Ford Coppola blockbuster Peggy Sue Got Married playing in a scene as a band member of Nicolas Cage.

Saunders’ musical path began with taking piano lessons from Herbie Hancock. He was gifted with an organ by Sly Stone and received his first bass from Creedence Clearwater Revival’s Tom Fogerty. His professional career began when he was invited to play in his father’s band. His father was Merl Saunders, and the co-band’s leader was Grateful Dead legend Jerry Garcia. Tony Saunders’ diverse musical journey spans jazz, funk, rock, R&B, and Latin music. He also composed the musical Rock Justice with Jefferson Starship’s Marty Balin.

Saunders debuted as a solo artist with 2011’s Romancing the Bass. His latest collection, 2024’s The Romance Continues, spawned multiple Billboard Top 10 hits. Over the years, Saunders has collaborated with contemporary jazz luminaries Jeff Lorber,Paul Brown, Paul Jackson Jr., Nils, Jeff Ryan, Randy Crawford, Blake Aaron, and Adam Hawley.

In addition to releasing more new music this year, Saunders is eager to perform with his new band: Mitchell on drums, bassist Vernon Hall (Tony! Toni! Tone!), guitarist Tim Landis, and keyboardist Ray Roland.

“I have played with a lot of musicians in my life, but this group really gets the Tony Saunders vibe!”

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

VIDEO: “Who Are the People?” – Composed by Brandon Kyle Miller, Performed by Golden Flower

Golden Flower is an improvising quintet from Orlando, Florida… violin, trumpet/flugelhorn, Rhodes/piano, upright and electric bass, and drums, whose debut studio album “Are You Even Awake?” releases June 12, 2026, on Romantic Poker Records.

Brandon Kyle Miller handles both upright and electric bass with effects throughout the record, navigating everything from deep funk grooves to Indian classical-inspired rhythmic structures to post-rock textures, often in the same song. The album was recorded live at Phat Planet Studios and mixed and mastered by Aaron Gandia, and represents five years of development from a band that has clearly found its voice.

Standout bass moments include the deeply grooving “Piecemeal” and “Distant Glow,” the slow-burn intensity of “Intrasomatic” (composed by Brandon) and “The Search Goes On,” and the album’s epic closing triptych “Perihelion I, Interlude, & Perihelion II,” which moves through funk, African 12/8, and metric modulation with purpose and power.

The band also cites Roy Hargrove, The Bad Plus, Kneebody, and Vijay Iyer among their touchstones, a lineage that should resonate with Bass Musician readers.

Pre-order: goldenflower.bandcamp.com/album/are-you-even-awake and visit online at goldenflowermusic.com

This 8-song collection by Linc Bloomfield (also known as Ambassador Lincoln Bloomfield Jr.), longtime bass player for Kelakos, showcases his songwriting, singing and overall musicianship, along with his studio engineering skills. After remixing and re-releasing the 1978 Kelakos album in 2015 as Kelakos Uncorked, Linc produced Kelakos’ second album, the 2023 Deko double LP release Hurtling Towards Extinction, in which the collection of accompanying videos have racked up over one million views.

Echoes of Dreamwold is a true solo project. With the skillful studio work of two great drummers, Carl Canedy and Andy Hamburger, a sweet country pedal steel track by Billy Cooper on ‘No Second Chances’, and a classic lead guitar track by George Haberstroh on ‘(Got to) Save the World’, Linc sang all the vocals, played all the guitar, bass, keyboard and percussion tracks, and mixed every song, before they were mastered by Blaine Misner.

Listen to Echoes of Dreamwold here: https://push.fm/fl/nhz0a3fg

This album is meant to be played over and over, in the tradition of the sixties’ and seventies’ legends who inspired and influenced LB JUNIOR’s own songwriting. No two songs are in the same genre. As he explains the origins of each of the songs

“Walk Away My Girl” is a soft-rock tale of heartbreak, originally written on his dad’s 1917 Steinway baby grand piano, on which he recorded this smooth, melodic track.

“Alive” explores the insecurity that holds many people back. Against a lively track derived from the reggae sounds heard on local radio on the island of Kauai, the lyrics are about coming to terms with self-doubts.

“Shot Down”, the first song Linc wrote after leaving Kelakos, in 1978, is a lively pop song featuring bright acoustic guitar harmonics and chords, and a story about how not to try and meet women.

“Greedy Child”, also written years ago, captures the sadness as the giants from the golden age of rock and pop music pass from the scene and along with it, a generation for whom their music was the soundtrack of their lives.

“(Got to) Save the World” reflects Linc’s life’s work promoting international security. This fast-paced rocker featuring George Haberstroh’s lead guitar and Andy Hamburger’s relentless backbeat, is a wake-up call to do something about armed conflict, mass shootings, and environmental destruction, and realize what is at stake.

“The (2nd) Fiddler’s Song” is a personal message set to a soft acoustic track, in which LB JUNIOR explains why contributing to something worthy and necessary is more satisfying than chasing personal glory.

“No Second Chances” is a country song, pure and simple, featuring Billy Cooper’s pedal steel licks and the distinctive rich tone of Linc’s 1955 Gretsch Country Club guitar.

“Sand in My Hourglass” completes the 8-song set with a blues song, inspired by the recent pandemic, and showing LB JUNIOR’s chops on his 60s Les Paul guitar – inspired long ago, in 1968, when teenage Linc saw a memorable performance by bluesman Mike Bloomfield accompanied by Al Kooper and his whipping Hammond organ sound. This one is a real ‘echo’ of late sixties’ Dreamwold, as Linc’s earlier band Emergency Exit used to perform Kooper’s classic tune with Blood, Sweat, and Tears, ‘I Love You More than You’ll Ever Know.’

Dreamwold was a grand estate built in 1901–1902 by financier Thomas W. Lawson in Scituate, Massachusetts. By the late 1960s, the ballroom had become a popular venue for live music. One of the regular performers was Emergency Exit, from nearby Cohasset, that included Linc, George Haberstroh, and Mark Sisson, who would later join Carl Canedy to form Kelakos. The band had a homemade light show, black lights, and a vintage Kustom P.A. system wrapped in sparkling Naugahyde. The Dreamwold estate was eventually redeveloped into condominium residences.

Order the vinyl of Echoes of Dreamwold:  dekoentertainment.com/inthesquare/lb-junior

The double bassist Alon Near presents his first album of compositions, “Names, Places”, a musical travel journal, written over five years of touring, traveling, and hiking. Available
May 22nd, 2026. Each composition reflects a place and a meaningful encounter that left a melody behind. Alon Near’s debut album moves between city and village, complexity and simplicity, tracing a personal journey shaped by movement, memory and human connection. 

“Names, Places” starts with Alon’s first composition from years ago, Breathe, which he carried through years and changing landscapes. The music unfolds with openness and release, followed by Missing, written on a small keyboard after hiking Mount St. Catherine in Egypt with his grandfather, which inspired a melody searching for steadiness between distance and memory. The Same Story reflects the awareness of an old pattern repeating itself and the quiet decision to turn away from it. Strength of Repetition is a solo bass reflection on repetition as a quiet virtue: The piece unfolds through gradual development, suggesting that consistency and patience can shape one’s voice more deeply than sudden inspiration. The fifth song, Shiguim, a playful yet intricate composition, moves through shifting phases and rhythmic turns. Lichi centers on clarity and warmth, as Yotam Silberstein’s classical guitar meets a string quartet, creating a lingering and intimate musical landscape. Tokyo carries a light and affectionate spirit while Coral is structured in the spirit of a Bach chorale, leading to the outro, a quiet gesture of closure. 

About Alon:

Based between Europe and New York, he began playing at 14. After winning 1st Prize at the Rostov International Jazz Competition in 2013 and earning scholarships to Berklee College of Music and The New School in 2015, he moved to New York City, where he performed with Grammy Award-winning Billy Childs, saxophonist Eli Degibri, piano virtuoso Joey Alexander, and WDR Big Band alongside Chris Potter. Awarded 3rd Prize at the International Society of Bassists competition in 2021, Alon’s ensemble features pianist Tom Oren, winner of the Thelonious Monk Institute of Jazz competition, alongside trumpeter Itamar Borochov and drummer Ofri Nehemya. 

Visit online at alonnear.com/