Bass CDs
Chick Corea Reunites with Christian McBride & Brian Blade for “Trilogy 2”
Trilogy 2, due out October 4 on Concord Jazz, is culled from the trio’s recent world tour, featuring jazz standards, modern classics and favorites from Corea’s remarkable catalog.
When an iconic pianist like Chick Corea gets together with such modern masters as bassist Christian McBride and drummer Brian Blade, perhaps it should come as no surprise that the music they create together is absolutely magical.
Their 2014 release Trilogy earned universal acclaim, including a pair of GRAMMY Awards (Best Jazz Instrumental Album and Best Improvised Jazz Solo for “Fingerprints”), and confirmed the trio as one of Corea’s most revered ensembles.
Despite sprawling across three jam-packed CDs, Trilogy left fans everywhere clamoring for more. So when the three virtuosos reunited for another world tour, the results were captured for posterity and the highlights are now collected on the long-awaited follow-up, Trilogy 2. Set for release on October 4,
Each member of this trio is a giant in the jazz world and beyond, but the peerless chemistry they share elevates their collaborations into the realm of the truly special.
Even before coming together as a self-contained unit, the three had gelled on tour with Corea’s Five Peace Band, an electrifying all-star ensemble he co-founded with fellow legend, guitarist John McLaughlin, and featuring Kenny Garrett on saxophone. On their own, the trio pairs high-caliber musicianship with an easy camaraderie, making for music that is as artistically exhilarating as it is fresh and playful.
“In every group that I work with, the fun factor is the number one criterion,” Corea says. “This trio is incredible fun. That’s not something you can dictate, but if that’s the experience then the music just flows. With Christian and Brian, we have a blast on the road.”
That feeling is captured throughout Trilogy 2, which features tracks hand-picked by Corea from throughout the trio’s recent world tour.
The albums capture the feel of a concert program, both in the flow of the music and in the illuminating recording by Bernie Kirsh, Corea’s longtime engineer. The material spans a range of inspirations, from American Songbook standards to jazz classics, reaching back into Corea’s own catalogue as well as that of some of his most renowned collaborators, including Miles Davis and Joe Henderson.
Corea likens the experience of playing live with this trio to “taking a stroll down the street and having a casual conversation. We have a pretty extensive repertoire of songs, and because of the looseness of the trio each one becomes a new thing every time we approach it.”
After briefly welcoming an audience in Bologna and introducing his “genius partners,” Corea kicks off the program with an incisive, querying solo introduction to “How Deep Is the Ocean?” – one of only two tracks reprised from the original Trilogy. Over the next twelve minutes the trio plumbs the depths of the familiar standard, seemingly intent on exhausting every possible answer to the titular philosophical question. From the depths to the heavens, they follow up with Corea’s own “500 Miles High,” originally recorded by the first incarnation of Return to Forever in 1972.
The trio delves into Corea’s composition book for two other pieces on the album.
“La Fiesta” dates back to the first Return to Forever album and showcases the pianist’s passion for Latin music, a side that he explored earlier this year with the release of Antidote, the debut of his Spanish Heart Band. “Now He Sings, Now He Sobs” is the title track to Corea’s first-ever trio album (and only the second release to his name), recorded in 1968 with Miroslav Vitous and Roy Haynes. This marks his first official recording of the tune since then; McBride and Blade both requested it for this tour, and the result is the set’s most expansive excursion.
“More than being a pianist,” Corea says, “I always think of my basic purpose as being a composer. Though I love playing the piano, too. Thelonious Monk was a model for me in that regard. He was a composer, a piano player, and a bandleader, who defied so many conventions and created a body of work that is completely up there with Stravinsky and Mozart, in my opinion.”
Monk’s compositions are as ubiquitous a part of Corea’s live repertoire as are his own tunes, and Trilogy 2 offers a pair of the jazz icon’s eccentric pieces.
“Crepuscule with Nellie” is a favorite of jazz pianists (despite Corea’s admission to a lifelong misreading of the title), taken here at a warm, leisurely pace. “Work” is a more obscure selection, though a particular favorite of Corea’s; it also appears on the first Trilogy, and he recently arranged it for Wynton Marsalis’ Jazz at Lincoln Center Orchestra.
“‘Work’ is a quirk,” Corea jokes. “Monk was a quirk, for that matter – the most genius, amazing quirk in the music world. His tunes are incredibly fun to play and rework.”
The trio’s romantic side emerges on a lovely reading of Jimmy Van Heusen’s “But Beautiful,” featuring lush brushwork from Blade, an elegant, wistful solo by Corea and a breathtakingly lyrical turn from McBride. The pace picks up for bassist Steve Swallow’s “Eiderdown,” its sharp turns unleashing a ricocheting, rapid-fire back-and-forth between Blade and Corea.
Corea’s arrangement of Stevie Wonder’s classic “Pastime Paradise” was sparked by a suggestion from the soul genius himself.
“I’ve been friends with Stevie since he used to come around to listen to Return to Forever in 1973 at The Bitter End,” Corea says. “A few years ago Stevie sat in with us at Catalina’s in Los Angeles and we went out to dinner afterwards. We were talking about songs and I was using the term ‘standards,’ and Stevie turned to me and said, ‘Hey Chick, what do you think about playing some new standards?’ I thought that was interesting and asked, ‘What do you mean?’ And he said, ‘You know – my music!’ He was kind of kidding around, but not completely, and I thought that was a great idea.”
“All Blues,” of course, harkens back to Kind of Blue, the landmark album by Corea’s famed former bandleader, Miles Davis. The trio takes the tune at a loose, buoyant tempo that’s as infectiously fun to listen to as it undoubtedly was to perform. Corea also spent some formative years in the band of tenor giant Joe Henderson, whose “Serenity” (another McBride suggestion) is rendered in a smoldering take featuring the bassist’s fleet, muscular solo. The piece is tied in Corea’s memory with the closing tune, Kenny Dorham’s “Lotus Blossom.”
As the pianist recalls, “I spent a great, memorable week playing with Kenny at the Jazz Workshop in Boston when he and Joe Henderson had their quintet with Reggie Workman and Joe Chambers. We played ‘Lotus Blossom’ and ‘Blue Bossa’ and some of Joe’s tunes. That was a really pleasant memory for me.”
At the age of 78 Corea continues to generate indelible memories for audiences around the world.
No doubt the performances captured on Trilogy 2have lingered in the imaginations of the audiences fortunate enough to catch them live; now they get to live on in the minds of jazz lovers everywhere.
Click here to order Trilogy 2 at Amazon
Pops Magellan unveils her debut live EP, DAMAGE (Live at EastWest Studios), a three-track performance project recorded at the legendary EastWest Studios. Captured in Studio One using one-take camera performance, the session offers a raw and intentional introduction to Magellan’s artistic world as a solo artist, bandleader, and producer.
The live EP features three compositions from her DAMAGE era:
“Misunderstood,” featuring Taylor Graves and Robert Sput Searight
“Deep Thoughts,” featuring Noa Kahn
“Drive Complaining,” featuring Robert Sput Searight and Artur Menezes
Originally released as a series of live performance videos on YouTube, the session now lives as a body of work, highlighting Magellan’s ability to merge high-level musicianship with groove-driven, emotionally resonant compositions. Each track unfolds as a conversation between players, balancing technical precision with spontaneity.
Recorded in a single day at EastWest, the session reflects Magellan’s commitment to capturing music in its most honest form. With a focus on raw live interplay, DAMAGE (Live at EastWest Studios) sets a clear tone: this is an artist building her identity in real time.
The session features a handpicked group of collaborators. Robert Searight, founding member of Ghost-Note, brings his signature groove, alongside virtuoso Noa Kahn, acclaimed guitarist Artur Menezes, and Grammy winner Taylor Graves, who co-produced two songs on the original EP.
“It was a way to start a strong foundation for the world I’m building.” says Pops. “I wanted to make something beautiful, strong, and honest, something I’d be proud of looking back.”
Pops leads every aspect of the project, from curating collaborators to shaping the sonic and visual identity. The result is a refined yet powerful debut live statement that positions her at the intersection of musicianship, artistry, and modern performance culture.
With more music on the way and live shows to be announced soon, DAMAGE (Live at EastWest Studios) marks the beginning of a larger vision still unfolding.
Stream DAMAGE (Live at EastWest Studios) HERE
Watch the Live Session HERE
Martin Wind celebrates 30th Anniversary and release of new CD “September”…
Bassist/ Composer Martin Wind celebrates the 30th anniversary of his move to NYC with the release of his new album “September” (Laika Records) at these Tri-State concerts:
April 9: Smalls, NYC (sets at 6 and 7:30 pm)
April 10: Puffin Cultural Forum, Teaneck, NJ (7 pm)
April 11: Deer Head Inn, Delaware Water Gap, PA (7 – 10 pm):
He will be joined by the partners of his acclaimed Gravity Trio – Peter Weniger on tenor saxophone and Jonas Burgwinkel on drums.
The trio’s special guest will be pianist Glenn Zaleski, who’s been playing for artists such as saxophonist Melissa Aldana and vocalist Cécile McLorin Salvant, among others. Together, Martin and Glenn used to work frequently with the late, great clarinetist and saxophonist Ken Peplowski.
The group will be performing selections from the new CD “September,” which is now available as of March 6 on all streaming platforms and for sale at
www.laika-records.de and www.martinwind.com (U.S. only).
As leader and co-leader, Wind has released more than 30 albums, among them Turn Out the Stars – Music Written or Inspired by Bill Evans (2014), My Astorian Queen (2021), and New York Bass Quartet – Air (2022), which DB Magazine heralded as “a bass manifesto”.
Also available as of January 30: Newvelle Records release of Martin Wind’s LP “Stars” featuring the
All-Star line-up of Anat Cohen (clarinet), Matt Wilson (drums) and Maestro Kenny Barron on piano.
Bassist Nate Edgar and The Nth Power have released their latest single, available on all major streaming platforms.
“Simple Life” showcases Nate’s deep-pocketed, country-funk groove, locking in seamlessly with bandmates Nick Cassarino (guitar/vocals) and Nikki Glaspie (drums/vocals). The tune also features the brass power of The Soul Rebels.
“Simple Life” is the second single from The Nth Power’s upcoming album, out May 1. The album “Never Alone” marks the band’s first release on the GroundUp music label, and includes contributions by:
Nicholas Payton
Skerik
Courtney Smith
Dominique Xavier
Jon Deas
And The Soul Rebels
The Nth Power:
thenthpowermusic.com
https://ffm.bio/thenthpower
https://music.apple.com/us/artist/the-nth-power/657446657
https://soundcloud.com/the-nth-power
https://www.youtube.com/channel/UC95_b9RpVDiTUt1EpPI3OEQ
Out today, April Records proudly presents the new album from Stockholm-based bassist and composer Jon Henriksson – a confident and flexible statement that deepens his place within contemporary Scandinavian jazz. Following the success of his 2023 debut Harmonia, which placed second in Orkesterjournalen’s “Golden Album” readers’ poll, Henriksson returns with music that foregrounds collective interplay, shifting forms, and a strong compositional voice.
Born in Gothenburg and now active across Sweden and Europe, Henriksson has collaborated and toured with artists including Lars Jansson, Håkan Broström, Erik Söderlind, Klas Lindquist, Jonas Kullhammar and Christina von Bülow. Alongside leading his own ensembles, he remains a sought-after bassist in a wide range of projects, balancing a deep connection to the jazz tradition with a modern, exploratory approach.
Shapeshifter is built around a core quartet of tenor saxophone, piano, double bass and drums, expanded with guitar on three tracks and trombone on two. The album moves fluidly between contrasting moods, from forceful and driving to reflective and restrained, with each piece shaped by the musicians’ intuition and responsiveness. The title reflects Henriksson’s compositional philosophy: allowing roles, textures, and forms to evolve as the music unfolds.
The ensemble brings together long-standing musical relationships. Pianist Rasmus Sørensen and Henriksson have collaborated since their studies at Skurups Folkhögskola (Henriksson is a longstanding member of Sørensen’s own trio), while drummer Jonas Bäckman forms part of a well-established rhythm section partnership with the bassist across numerous projects, including the Britta Virves Trio. Saxophonist Karl-Martin Almqvist, a member of the Danish Radio Big Band, completes the quartet, with guitarist Pelle von Bülow and trombonist Rasmus Holm joining the session shortly before recording to expand the album’s sonic palette, where the music called for it.
Originally conceived as a quartet album, Shapeshifter took its final shape in the lead-up to recording as additional instrumental colours were introduced organically. The piece Toninho, a tribute to Brazilian guitarist and composer Toninho Horta, features acoustic guitar and subtle wordless vocals, reflecting melodic influences that sit naturally within the album’s contemporary jazz framework.
Across the record, space, pacing, and interaction remain central. Rather than forcing constant motion, the music allows ideas to develop with clarity and intent, resulting in an album that highlights Henriksson’s growing assurance as a composer and bandleader, while keeping the collective at its core.
Bassist Oteil Burbridge and vocalist Lamar Williams. Jr. have announced the release of The Offering, a full-length studio album coming out via Floki Studios on May 1st. Recorded at the rising destination studio in Iceland’s Northern Coast and produced by drummer, engineer, and Soulive co-founder Alan Evans, the collaborative project shares the first offering off of the new album, “The Way We Rise.”
The album features an all-star lineup of drummer John Morgan Kimock, percussionist Weedie Braimah, organist Melvin Seals of the Jerry Garcia Band, pianist and violinist Jason Crosby, guitarists Tom Guarna and Jaden Lehman — musicians whose overlapping histories connect the Allman Brothers Band, Dead & Company, the Jerry Garcia Band, Soulive, and West African percussion traditions.
“The Way We Rise” opens the album with a message of endurance. Burbridge describes it as a reflection on “how we get through hard times” and on “tenacity and perseverance,” adding that its closing groove feels “spiritually fortifying” and “like a strengthening thing.”
Across its eight songs, The Offering centers on melody, groove, and message rather than genre, drawing together Southern soul, gospel harmony, improvisational rock, and African-rooted rhythm carried through Burbridge’s banjo explorations into song-driven ensemble music.
The music began more than a decade earlier during informal writing sessions between Burbridge and Williams in Burbidge’s basement studio in Georgia, where Burbridge was teaching himself banjo and developing rhythmic and harmonic exercises as a way of learning the instrument’s structure and lineage.
“I didn’t have any kind of aim in mind when we wrote these songs,” Burbridge says. “I was just learning to play the banjo, and those exercises ended up turning into songs.” He brought the melodies to Williams and asked whether he heard lyrics within them. “He did, so we just put two and two together,” Burbridge adds.
The material remained unfinished for years — written but not arranged — carried through touring schedules, family life, and other projects until the collaborators unexpectedly circled back. “It was mind-blowing that after all those years we came back and got to record this music,” Williams says.
Their connection reaches back to the late 1990s in the extended orbit of the Allman Brothers Band. Burbridge first gained national recognition with Aquarium Rescue Unit before joining the Allman Brothers in 1997, performing with the group for seventeen years and later co-founding Dead & Company.
Williams — the son of Allman Brothers bassist Lamar Williams — forged his own path as a vocalist, songwriter, and bandleader shaped by gospel phrasing, soul repertoire, and years of touring. What began as porch writing between friends slowly became the foundation of The Offering, though more than ten years passed before the music was finally recorded.
Producer Alan Evans provided the bridge from unfinished material to a completed album. His path into production emerged organically through years of recording, mixing, and problem-solving in the studio, often finding himself asked to guide projects once musicians recognized his broader creative perspective. “It all comes down to the song,” Evans says.
Having previously worked with Burbridge at Flóki Studios, he returned to Iceland determined to capture a live, ensemble-driven performance rather than assemble recordings piece by piece. The demos, Evans explains, revealed something distinct from any expected Dead-adjacent sound, pointing instead toward a more song-centered approach shaped by banjo textures, deep groove, and layered influences. This ensemble, Evans says, could perform “both live and in the studio at a high level.”
Nathan East, Echoes of a Lineage – April/May 2026 Issue
Gear Review: Italia Leather Straps
New Album: Oteil Burbridge & Lamar Williams, The Offering
Interview With Bassist Tom Doyle
Interview With Bassist Alex Blake
Feb 16 Edition – This Week’s Top 10 Basses on Instagram
Feb 23 Edition – This Week’s Top 10 Basses on Instagram
Mar 2 Edition – This Week’s Top 10 Basses on Instagram
Mar 9 Edition – This Week’s Top 10 Basses on Instagram