Benny Benack III: Third Time’s The Charm (La Reserve/Bandstand Presents) is the singer-trumpeter’s third album, with pianist Emmet Cohen‘s trio of bassist Russell Hall and drummer Kyle Poole, a
long with guests such as guitarist Peter Bernstein, and tenor saxophonists Chad Lefkowitz-Brown and Michael Stephenson The 14 tracks include familiar numbers such as the Bacharach-David tune, “I’ll Never Fall in Love Again, ” “It’s Not Unusual,” “American Woman,” and Duke Ellington’s “In a Mellow Tone,” featuring vocalist-trumpeter Bria Skonberg. There’s also the boogaloo “Scootin,'” the bossa-based “Jade” and noir-ish “Twilight Blue,” plus the scat-friendly closer “Pretty Eyed Baby.”
Allan Harris: Live at Blue LLama (Love Productions Records/Blue Llama Records) was recorded at the state-of-the-art jazz club in January, with miinimal editing. Harris’ first live album in over thirteen years and latest of his 14 total, showcases his current working band, which inc
ludes keyboardist Arcoiris Sandoval, bassist Marty Kenney, drummer Norman Edwards and saxophonist-flutist Irwin Hall. The curated collection of ten selections was combed from Harris’ diverse and genre-spanning repertoire, sourced from over forty years of musical artistry. The numbers include “Sunny,” the Bobby Hebb-classic; “Jeannine;” Miles Davis’ “So What;” “New Day,” from his latest studio album, Kate’s Soulfood; and a pair of originals: “Black Coffee Blues” and “Shimmering Deep Blue Sea,” which takes inspiration from old black and white noir films.
Victor Goines: The Woodlawn Suite is a 13 movement work celebrating the lives of New Yorkers at rest at The Woodlawn Cemetery in the Bronx. Commissioned by The Wo
odlawn Conservancy to create a modern memorial, the award-winning saxophonist and composer created these biographical sketches that link listeners to the lives of those who transformed our culture. These include the sounds of Madame C. J Walker struttingg down a Harlem Street, Dorothy Parker, raising a glass, Cicely Tyson whispering to Miles Davis, the sounds of trains as the Redcaps ply their trade on the railroad, and the sounds of jazz by the members of the Duke Ellington Orchestra who rest with The Maestro in the cemetery’s jazz corner. The CD of The Woodlawn Suite can be purchased by clicking here.
Nicole Zuraitis: How Love Begins (Outside in Music) is a meditation on modern love featuring Christian McBride on bass, Gilad Hekselman on guitar, Maya Kronfeld on organ, Wurlitzer and Rhodes, and Dan Pugach on drums. 
The album also features special guests David Cook on piano, Billy Kilson on drums and Sonica,a co-led vocal trio comprised of Thana Alexa, Julia Adamy and Zuraitis. Musically, the album of original works pays homage to many of Zuraitis’ favorite songwriters from Tin Pan Alley to today, ultimately telling the story of love from beginning to end, with all of the ups and downs, moods and feels of romance, passion and partnership. Zuraitis divides the ten songs into two sections entitled “part I: oil” and “part II: water” to connote initial bliss and inevitable discords that follow, yet moving beyond the cliché that oil and water don’t mix.
Bobby Sanabria: Vox Humana (Jazzheads) was recorded live at Dizzy’s Club with the leader’s Multiverse Big Band and vocalists Janis Siegel, Antoinette Montague and Jennifer Jade Ledesna. In celebration of th
e 25th anniversary of drummer, percussionist, composer, arranger and educator Sanabria’s group, the album was conceived and executed as long-envisioned by Sanabria, with the band doing an entire vocal album. The high-energy tracks include the Ellington-Tizol classic, “Caravan,” and Latin standards such as “Capullito De Aleli,” “Puerto Rico” and “Amazonas.” Other selections include “Genie In A Bottle,” “Spooky” and “Do It Again,” and a Latin arrangement of “I Love You Porgy.”
Wynton Marsalis Plays Louis Armstrong’s Hot Fives and Sevens (Blue Engine) reimag
ines and captures the 1920s spirit of Louis Armstrong sessions often cited as some of the most influential jazz music ever recorded. This live recording includes classics such as “Basin Street Blues,” “St. James Infirmary” and “Heebie Jeebies,” among others. In addition to leader, trumpeter Marsallis, the album features an all-star band of Marsalis collaborators, including trombonist Wycliffe Gordon, reed man Victor Goines and pianist Jon Batiste. But, of course, it’s Marsalis out front, in the same way that Armstrong was forward on the original Hot 5 and 7 recordings—with Marsalis performing lead lines, melodic creativity, breaks and solos , plus vocalizing in the Armstrong tradition.
Champian Fulton: Meet Me at Birdland is Fulton’s sixteenth album as a leader, recorded live at the club, including an introduction from Birdland club owner Gianni Valenti as he welcomes and thanks the au
dience for supporting live music. Personnel are her standing trio of bassist Hide Tanaka and drummer Fukushi Tainaka. begins with a melodic “Too Marvelous for Words” and includes many blue-chip standards such as It’s Been A Long Long Time,” “I Didn’t Mean A Word I Said,” “I’ve Only Got Eyes for You” and “Spring Can Really Hang You Up the Most.” Fulton’s influences include Count Basie, and so the album includes her rendition of Phineas Newborn’s instrumental “Theme for Basie.”
The Hot Toddies Jazz Band (Prohibition Productions) is the group’s debut album. It celebrates the array of swinging vocal and big band numbers of the Prohibition Era inspired by singers and composers such as Duk
e Ellington, Billy Holiday, Count Basie and more. Founded in 2018, the Hot Toddies Jazz Band is led by Grammy-nominated violinist Gabe Terracciano and composer/producer/drummer Patrick Soluri. The band features some of today’s notable musicians in the swing and jazz worlds who offer numbers such as “Digga Digga Doo,” which was first recorded in 1928 by Duke Ellington and his Orchestra. The oldest track, William C. Handy’s 1914 hit “Saint Louis Blues,” follows the album’s only original work: “Kilowatt Stomp” by Terracciano. The music is geared towards swing dancing, but with influences of bluegrass, Americana, classic rock and even classical music.
Joe Alterman: Solo Joe: Songs You Know offers 15 tracks 
total including a diverse collection of music, such as Gilbert O’Sullivan’s “Alone Again, Naturally” to “The Long and Winding Road” to “Shenandoah” and even “America the Beautiful.” This release is Alterman’s sixth album, beginning with 2009’s Piano Tracks, Volume 1, as a college sophomore. His last, The Upside of Down, was released in 2019. The style is trad jazz, in that for piano, despite the music’s era, there is space between notes to allow the music to breathe and build drama, versus emphasis is placed on technique and speed.
Anya Turner and Robert Grusecki: Mid-Century Modern is the ninth studio album from the composer-performer team (Grusecki plays piano and Turner sings). Ten songs range from the opening swing tune “Mid-Century Modern,” to the closing romantic anthem, “One Last 
ime,” with all the stops along the way: a contemporary memoir “Small Town;” a pop anthem, “The Sound of My Voice;” a mystery duet, “Our Little Secret;” a song of hopeful yearning with a Latin vibe, “Piñata;: and more, including a rock ‘n’ roll rant, “Can’t Get There From Here.” The album was recorded with the support of The ASCAP Foundation and The Anna Sosenko Assist Trust. The couple write, perform, record and publish works for the
musical theatre and cabaret and are recipients of the The ASCAP Foundation 2022 Jamie deRoy & friends Award as well as the 2022 Anna Sosenko Assist Trust Grant.
Jack Jones: Artwork (Cavalry Productions/BFE Entertainment) features Joey DeFrancesco, who died shortly after recording this release. With a 53-piece orchestra, the now 85-year-old “singer’s singer” offers “Here’s to Life,” “One Day” and “Empty Chairs,” plus “Hello,” “Feve
r” and “At Last,” among the 15 tracks total. Other musicians featured on the CD beside Defrancesco (B3 organ, tenor sax, trumpet solos) are Jeff Hamilton (drums), Tamir Hendelman (piano), Jon Hamar (bass), Graham Dechter (guitar) and Tom Scott (tenor sax). The orchestra was conducted by John Clayton. Jones, winner of two Grammy Awards, has been continuously recording and performing since 1959, with his current popularity at a peak in Las Vegas.
Dr. John (Mac Rebennack): Dr. John: The Montreux Years features 14 tracks recorded between 1986 and 2012. The album is a live compilation that shows the many facets of musicianship of Dr. John. 
The album begins with four tracks from 1986 with Dr. John performing solo, and includes “Professor Longhair Boogie” and “Stack-A-Lee.” The remaining songs cover a variety of standards such as “Accentuate the Positive,” “Love for Sale,” “Makin’ Whoopie” and “Let The Good Times Roll.” Notable is a solo rendition of the medley “In a Sentimental Mood/Mississippi Mud/Happy Hard Times” from 2011 that in its seven and a half minutes, explores the history of New Orleans-style piano. A solo performance from 1986, Lead Belly‘s folk standard, “Goodnight Irene,” closes the album, which is dedicated to James Booker.
Angie Wells: Truth Be Told features the singer and songwriter in an exploration of the truths of life and living in 13 jazz standards and covers, plus four original songs. This is Wells’ second release and follows Love and Mischief (2017). Produced by bassist John Clayton—who is also featured as a special guest in a duet with Wells—personnel also includes Josh Nelson (piano), Clayton Camerson (drums), Trevor Ware (bass), Larry Koonse (guitar), Jacob Scesney (tenor sax), Ivan Malespin (trombone), Kye Palmer (trumpet and flugelhorn), Katisse Buckingham (flute) and Carey Frank (Hammond B3). Vocalists are Lynne Fiddmont and Valerie Geason who provide background vocals on two tracks and vocalist Zion G, who duets with Wells on one track.
