Best of The Month Octobre 2026

Red is a color that never leaves anyone indifferent. Anger, passion, danger, rebellion… Dennis Mitcheltree takes it as the starting point for Seeing Red, his eighth album as a leader. But behind this deliberately provocative title lies a much broader reflection: in a world where divisions sometimes seem to dominate everything, the American saxophonist reminds us that music offers an infinite palette of shades and nuances. And that it can still provide a remarkable space for dialogue.

To bring his eight original compositions to life, Dennis Mitcheltree reunites with three longtime musical companions: Johannes Wallmann on piano, Jesse Crawford on double bass, and Bill McClellan on drums. These musicians have known each other for decades, and their musical chemistry is immediately apparent. Mitcheltree’s expressive and generous tenor saxophone moves between lyricism and intensity, while the quartet embraces a vibrant acoustic jazz sound in which every musician finds their own voice without ever losing sight of the collective conversation.

Seeing Red is therefore much more than an album shaped by the tensions of our time. It is also a heartfelt expression of faith in the essential values of jazz: listening, respect, freedom, and the joy of creating together. Music that favors the richness of dialogue over individual certainties. And a reminder that there are many more colors in the world than red.

A former college basketball player who only took up jazz drumming at the age of 25, Brandon Sanders has followed a rather unconventional path. He even waited until his fifties to record his debut album. Today, with a rapidly growing discography, he presents The Game Changer, his fourth release on Savant Records, surrounded by a particularly impressive lineup.

Warren Wolf on vibraphone, Jeremy Pelt on trumpet, Stacy Dillard on saxophone, William Hill III on piano, and Eric Wheeler on double bass form a sextet firmly rooted in the hard bop tradition. The spirit of Art Blakey’s Jazz Messengers hovers over several compositions, but Sanders is never afraid to explore other musical territories. Bossa nova, soul, and timeless standards enrich a repertoire in which vocalist Briana Swann brings a touch of tenderness to two tracks.

Moving between original compositions and interpretations of works by Cole Porter, Duke Ellington, Antonio Carlos Jobim, and the Isley Brothers, the drummer embraces a generous, boundary-free vision of jazz. His playing, always in service of the ensemble, gives the music an infectious energy. An album that swings, breathes, and reminds us that jazz is also, and perhaps above all, about the joy of making music together.

At a time when technology makes it possible to polish every note to perfection, Sean Mason takes the opposite approach. For his third album, the young American pianist sets himself a simple rule: just one day in the studio and no more than two takes per track. A way of rediscovering what makes jazz so beautiful: its occasional imperfections, but above all its spontaneity and that element of unpredictability born from the interaction between musicians.

After two albums with a quintet, Sean Mason returns to the trio format, joined by Felix Moseholm on double bass and Domo Branch on drums. Here, there is no leader dominating the musical space: everyone plays an equal role in shaping the music. Even more unusually, two dancers, Reyna Nuñez and LeAndre Douglas, take part in the recording sessions, with their footsteps, voices, and spontaneous reactions sometimes becoming integral elements of the music itself.

From the bouncing swing of Honey Pie to the gentle elegance of Carolina Waltz, and the soulful flavors of A Good Day, the pianist brings tradition and modernity into conversation with a wonderfully refreshing spirit. A deeply human album that reminds us that jazz has never needed to be perfect to be captivating.

Born in Botswana and raised in Johannesburg, Bokani Dyer belongs to a generation of South African musicians who keep their musical heritage alive while constantly finding new ways to reinvent it. The son of saxophonist Steve Dyer, he grew up in an environment where music was inseparable from sharing, passing on knowledge, and the African philosophy of Ubuntu, which places humanity and community at the heart of existence. His new album, Traditions, naturally follows this family and musical legacy, but with a fresh approach: for the first time, the pianist focuses on interpreting existing works rather than his own compositions.

Joined by Timothy Norton on double bass and Lumanyano “Unity” Mzi on drums, Bokani Dyer revisits melodies that have shaped his musical identity. Among them is African Piano: Inxembula, an adaptation of a traditional Xhosa song once sung during the struggle against apartheid. The trio offers a deeply personal interpretation, where the freedom of jazz meets the memory of South African popular music. The piano moves effortlessly between melody, rhythm, and profound expression, while the interplay between the musicians gives the music a wonderful sense of space and flow.

Traditions is neither an exercise in nostalgia nor simply a collection of tributes. Bokani Dyer embraces this musical heritage and breathes new life into it with great sensitivity and remarkable musical intelligence. An album that reminds us that traditions are never set in stone: they remain alive as long as musicians continue to enjoy sharing, transforming, and passing them on.

There are plenty of acoustic guitar duos out there, and not just in the world of Gypsy jazz. From Sylvain Luc and Biréli Lagrène to Romane and Stochelo Rosenberg, memorable musical encounters are certainly not lacking. Now it is the turn of two young virtuosos from the south of France, Fanou Torracinta, originally from Corsica, and Hugo Guezbar, from Montpellier, to offer us a particularly captivating six-string conversation.

But this is no exercise in virtuosity for its own sake. The two guitarists prefer to let the melodies, subtle nuances, and their remarkable musical chemistry do the talking. Their repertoire travels freely between the world of Django Reinhardt, the jazz of Bill Evans, Brazilian music, and some of cinema’s most beautiful melodies, including a superb interpretation of Alex North’s theme from Spartacus.

An album full of finesse, where the guitars respond to one another, intertwine, and tell beautiful stories. A musical encounter that places emotion above technical display and confirms the exceptional talent of these two young musicians.

Read the full review on Couleurs Jazz: https://couleursjazz.fr/fr/hugo-guezbar-fanou-torracinta-guitare-de-notre-monde/

Capturing the rich, exuberant sound of Duke Ellington’s big band within a small acoustic ensemble is quite an ambitious challenge! Yet that is precisely what Echoes of the Jungle sets out to achieve. Formed in 2018, the trio brings together Simon Deslandes, Samuel Frin, and Nicolas Lelièvre, three musicians who share a passion for improvisation, spontaneity, and exploring unexpected musical paths. Their playground? The “Jungle” repertoire of the 1920s and 1930s, that fascinating period when Ellington was developing an orchestral language as wild as it was sophisticated.

Rather than attempting to reproduce the original arrangements, the trio seeks to capture their spirit: sometimes untamed rhythms, melodies that emerge unexpectedly, and raw textures that leave plenty of room for imagination. For this debut album, the three musicians invite trombonist Fidel Fourneyron, a remarkable connoisseur of Ellington’s musical universe, whose contributions add another distinctive color to the adventure. The result moves between imaginary blues, free improvisation, and playful nods to tradition.

What makes Jungles de poche so appealing is its sense of freedom, its ability to honor Duke Ellington without turning his music into a museum piece. The music surprises, plays, and occasionally ventures in unexpected directions, yet always retains an infectious energy. An inventive, characterful reinterpretation that proves the Duke’s spirit still has plenty of surprises in store for us.

It only takes a few notes to understand why Jocelyn Gould has become one of the most captivating guitarists of her generation. A warm tone, an effortless swing, and a gift for making every phrase sing, recalling the golden days of Wes Montgomery, Grant Green, and Kenny Burrell. For her new album, So Delighted, the JUNO Award-winning Canadian guitarist returns to a format she particularly loves: the guitar, Hammond B3 organ, and drums trio.

Joined by Ben Paterson on organ and Fabio Ragnelli on drums, she revisits the spirit of Jimmy Smith’s classic groups without ever slipping into nostalgia. From the opening notes of Cakewalk, borrowed from Oscar Peterson, the tone is set: the music swings, breathes, and the musicians clearly take tremendous pleasure in playing together. Her original compositions reveal another side of her talent, particularly June Moon, beautifully enhanced by Christine Jensen’s saxophone. Trumpeter Jon Challoner and guitarist Joey Landreth also contribute to this wonderful musical gathering.

Five original compositions, five interpretations, and one shared desire to create music that is generous and accessible without ever being simplistic. Jocelyn Gould is not trying to reinvent jazz. Instead, she celebrates what makes it so special: swing, melody, and the pure joy of playing. A radiant, elegant, and thoroughly delightful album. We can’t get enough!

Some recording sessions take on a special significance as time goes by. The one that brought together trombonist Steve Davis, pianist Hank Jones, and bassist Peter Washington in June 2008 is undoubtedly one of them. Just weeks before his 90th birthday, Hank Jones, a towering figure in jazz piano, reunited with two trusted musical companions for an unpretentious encounter, guided simply by the joy of playing together. Eighteen years later, these recordings have lost none of their freshness.

Following a first volume released in 2023, largely devoted to ballads, this second installment reveals a more upbeat side of that historic session. Swing takes center stage, driven by Hank Jones’s incomparably elegant touch, the warm sound of Steve Davis’s trombone, and Peter Washington’s consistently impeccable bass playing. Three musicians who listen, respond, and give the music room to breathe, just as they might during an intimate evening in a small New York jazz club.

There is something deeply moving about hearing Hank Jones, who passed away in 2010, playing with such remarkable vitality. No showmanship, no unnecessary flourishes, just the art of making a melody swing with extraordinary class. A precious musical document, but above all a vibrant, luminous album that reminds us how beautiful jazz can be when it gets straight to the heart of the music.

Now that’s a bold idea! Reimagining the hits of Huey Lewis & The News as jazz tunes might have sounded a little crazy on paper. But Cory Weeds loves a challenge, and above all, he loves a great melody. The Canadian saxophonist dives into the repertoire of this iconic 1980s band, giving its songs a fresh new life through hard bop, soul jazz, and swing. And the most surprising thing is just how brilliantly it all works!

Joined by Chris Hazelton on Hammond organ, David Rourke on guitar, and Rudy Petschauer on drums, Cory Weeds transforms these popular songs into a repertoire perfectly suited to jazz. The melodies remain instantly recognizable, but the arrangements give them an entirely new character. The organ brings the irresistible warmth of classic soul jazz groups, the guitar trades phrases with the saxophone, and the rhythm section lays down a groove that simply won’t let go.

Behind this playful, feel-good project lies some genuinely inspired musicianship. Cory Weeds is neither trying to parody the 1980s nor artificially bring them back to life. He simply demonstrates that a great song can travel through time, change its musical clothes, and still retain its soul. A joyful, generous album, and probably one of the most unexpected delights in this selection!

It begins with a clarinet, its beautifully woody tone and relaxed phrasing supported by a rhythm section with an effortlessly supple swing. From the very first bars, Giacomo Smith draws us into a musical world where the elegance of classic jazz meets a distinctly contemporary freedom of expression.

Joined by Joe Webb on piano, Anders Fjeldsted on double bass, and Snorre Kirk on drums, the clarinetist and saxophonist explores a rich palette of colors and moods. At times dreamy, at others more incisive, his clarinet engages in a wonderfully subtle dialogue with the trio. The piano shines with clarity, the bass delivers an irresistible swing, and the drums play a full part in this beautifully balanced musical conversation.

Six original compositions and one interpretation of a Duke Ellington classic make up this album, recorded in a spirit of spontaneity and mutual trust. Music that favors feeling over technical display, allowing each instrument to find its natural place.

Read the full review on Couleurs Jazz: https://couleursjazz.fr/fr/giacomo-smith-artfullee/

Couleurs Jazz Hit

Line-up: Yakir Arbib (solo piano).

Release date: October 16, 2026.

Yakir Arbib – Whisper

Somewhere between Frédéric Chopin, Claude Debussy, and the great improvisers of jazz, Yakir Arbib seems to have found a musical territory entirely his own. A pianist with an unusual background, who notably attracted attention at the Montreux International Jazz Piano Competition, he combines an impressive technique with a highly personal approach to music. Following My Name Is Yakir, Three Colors, and his explorations of the classical repertoire, he returns to solo piano with Whisper, an album made up almost entirely of original compositions, where intimacy takes precedence over virtuoso display.

Listeners should, however, be prepared to move beyond the usual conventions of jazz. The first eight pieces lean more toward classical composition, creating a contemplative atmosphere in which silence, subtle nuances, and the delicacy of his touch play an essential role. Then, in the closing tracks, the blue notes become more prominent, the musical language opens up further to jazz, and even hints of klezmer begin to emerge. This gradual evolution gives the album a distinctive character, balancing the discipline of composition with the freedom of improvisation.

What makes Yakir Arbib so compelling is precisely his ability to move between these two worlds without having to choose one over the other. His compositions are conceived as living works, free to evolve and transform on stage according to his inspiration. Whisper may not be his most immediately jazz-oriented album, but it is a sensitive, sophisticated, and deeply personal work. A different way of experiencing the piano, deservedly recognized with a Couleurs Jazz Hit.