The title track from John Finbury’s American Nocturnes – Final Days of July presents an original Americana composition arranged for a remarkable quartet. At the heart of the performance is Tim Ray on piano. A recipient of an NEA grant, faculty member at Berklee...
Chano Domínguez is the kind of pianist whose fingers tell stories—his music bridges the fiery soul of flamenco with the boundless spirit of jazz. On John Finbury’s album Quatro, and especially on the instrumental “Independence Day,”Domínguez’s touch transforms typical...
Antonio Sánchez doesn’t just play the beat—he builds the framework the music lives in. On John Finbury’s Quatro, his drumming acts as a living architecture, shaping the space for melodies to move and breathe. Whether driving the intensity of “Llegará El Día” or adding...
It starts low and resonant, almost as if the air itself is humming. Then, without rushing, the sound begins to travel—across chords, through grooves, around melodies—until it’s no longer just bass, but a voice in its own right. This is how John Patitucci approaches...
Dan Tepfer brings something unexpected to “Bastille Day”: a lineage of Baroque elegance fused with contemporary improvisational boldness. His piano voice interlaces with Magos Herrera’s lyrical finesse and Hamilton Berry’s cello warmth in a way that feels both ancient...
In “Bastille Day,” Hamilton Berry doesn’t merely play cello—he colors the air with deep emotional resonance. His voice folds effortlessly into the tapestry of the track, shaping its narrative with warmth and lyrical flourish. Recorded at New York’s Power Station, this...
