At just 17, Zoey Madison’s debut EP Electric bursts with the kind of energy that only comes from someone discovering the full power of her voice. It’s bright, emotional and impeccably crafted but what really stands out is Zoey herself – a powerhouse vocalist with a four octave range.
The title track, “Electric” sets the tone with a burst of shimmering pop that captures the dizzy rush of new love and the desire to make it last forever. There’s a touch of cinematic romance in the lyrics, a nod to Romeo and Juliet and a pulse of teenage recklessness but it’s all grounded by Zoey’s voice. She sings with a sincerity which, for any artist is a tricky balance let alone one at the very beginning of their career.
From there, she takes listeners deeper. “Scars” is the emotional centerpiece. It’s a sweeping ballad that strips everything back and lets Zoey’s voice carry the story. Opening with the haunting line “Be gentle, I bruise easily,” the song builds to an almost cinematic release, closing with a whistle tone.
“Move” lightens the mood with its more laid back groove and glowing guitar textures. This is the kind of song that is like summer in motion – a gentle push towards joy and possibility. Zoey calls it “a reminder to take action and embrace happiness”, and you can hear this spirit when she sings “I’m no longer seeing in blue, I’ve got technicolor dreams coming true.”
The EP closes with “Lullabies,” which is a soft, introspective track. It’s about holding on to love that’s already slipped away, and it shows a different side of Zoey – quieter and more restrained. The harmonies swell and shimmer, wrapping around her voice.
Electric may be Zoey Madison’s first project, but it is truly a statement of her talent. She is not chasing trends or hiding behind production; she is leading with emotion, honesty and a voice that refuses to be ignored.
Whether she’s belting out joy or whispering heartbreak, there’s an undeniable spark running through everything she sings.
Pete Calandra’s latest release Night Mist is an album that doesn’t shout to be heard. It simply waits, patiently to be felt.
This eleven track collection is steeped in quietude, unfolding with the elegance of falling dusk and the emotional gravity of late-night introspection.
As both a skilled pianist and prolific composer across Broadway, film and television, Calandra brings a rare blend of technical finesse and emotional restraint to this work. It’s one that feels like a much needed breather in an overstimulated world.
Listen here:
The pieces on Night Mist are deceptively simple. On the surface, they present as minimal piano compositions touched by ambient textures and occasional soft orchestrations. But underneath that lies an exquisite sense of pacing and purpose. Tracks like “Whispers of the Dawn” and “The Heart of Mount Seleya” operate like emotional landscapes: sparse yet vivid, introspective yet expansive. And it is Calandra’s restraint, the space between notes, that becomes its own kind of melody.
What makes this album resonate so strongly is its consistency in tone without ever becoming over repetitive.
Each track brings a new shade of the same emotional spectrum. “Peaceful Valley” introduces cinematic string beds that evoke a pastoral calm, while “Autumn Nights” leans into the warmth of a felted piano to conjure a deeply intimate sense of place.
The ambient title track, “Night Mist” blends light electronics with improvisational phrasing, perfectly capturing the album’s thesis — serenity in the unknown.
Though best known to some for his work behind the scenes, including more than 100 film scores and music for global events like the FIFA World Cup and Kennedy Center Honors, Pete Calandra’s voice as a solo artist has become increasingly distinct over the last decade.
Night Mist builds on the aesthetic developed in ambient-forward albums like First Light and Carpe Noctem, but it lands with much more maturity and emotional clarity.
In an era defined by speed, distraction and technology burnout, Night Mist feels like a defiant gesture — an insistence on presence, on listening slowly, on valuing space.
It’s not just a collection of music, but also a gentle journey inward.
“Hell’s Kitchen at Christmas Time” is a vivid and vibrant musical journey that celebrates the spirit of a New York neighborhood steeped in history and transformation.
Co-written by Sarah Pillow and Marc Wagnon, the track marries Pillow’s evocative, rich and genre defying vocals with Wagnon’s rhythms and textures, creating a holiday song that perfectly captures the magic of Hell’s Kitchen during this busy season.
Listen in here:
Sarah Pillow’s voice is the star of the song here. She offers a stunning blend of jazz sophistication, classical finesse and rich warmth. Her vocal delivery feels more like a conversation and draws the listener into her world that she paints with her words.
Pillow’s decades long connection to Hell’s Kitchen, where she has lived for nearly 30 years, imbues this song with an authentic edge. Her nuanced performance speaks of a deep love for the neighbourhood with each lyric having a personal touch.
Marc Wagnon’s arrangement brings this love letter to life with a rich, layered instrumental palette: the vibraphone glistens like freshly fallen snow, while his percussion adds a dynamic pulse that reflects the neighborhood’s ever-moving rhythm.
The brass section featuring Summer Camargo (trumpet), Coby Petricone-Berg (alto sax), and Cole Palensky (tenor sax) really infuses the song with warmth and vibrancy, echoing the bustling energy of Manhattan’s streets.
Eliane Amherd’s guitar provides a melodic anchor and balances the richness of the brass with a steady, grounding groove, while Jonathan Price’s bass ties it all together with depth.
The song’s lyrics are as much about Hell’s Kitchen as they are about the essence of the holidays. They capture the duality of the neighborhood: the electric buzz of midtown Manhattan softened by the quieter charm of brownstones adorned with festive lights and local cafes humming with life. It’s a place where the pulse of New York City merges with the heart of a close-knit community.
Lines like “in it all, but off to the side” speak to the unique identity of Hell’s Kitchen – a neighborhood that is part of the city’s relentless energy that retains its own quiet magic.
But where “Hell’s Kitchen at Christmas Time” transcends the typical holiday song is by offering a deeper narrative. It’s not just about twinkling lights or festive cheer – it’s about the people, the stories, and the ambience that make a neighborhood feel like home. The song reflects on the enduring spirit of Hell’s Kitchen, a place that has weathered decades of change while holding onto its identity.
You can almost see the snow-dusted streets, hear the muffled conversations in cozy cafés, and feel the unique warmth of a neighborhood that welcomes everyone.
“Hell’s Kitchen at Christmas Time” is a celebration of place, and a reminder of what makes the holidays special: community, tradition, and the ability to find wonder even in the most familiar corners.
About Sarah Pillow
Sarah Pillow is a vocalist celebrated for her extraordinary versatility, blending jazz, classical, and early music influences into a style uniquely her own.
A graduate of Oberlin College’s prestigious music program, Sarah began her career as a jazz singer and quickly expanded her repertoire, performing as a solo artist and collaborating with renowned ensembles across the United States and Canada. Her projects include a jazz quartet, the crossover ensemble Nuove Musiche, and the early music group Galileo’s Daughters.
Her distinctive voice – rich and vivid, praised by The Washington Post as “genuinely genre-busting” – has graced the stages of legendary venues like the Lincoln Center and Carnegie Hall. Whether delivering an operatic aria or interpreting a jazz standard, she captivates audiences with her emotional depth and technical brilliance.
For nearly 30 years, Sarah has called Hell’s Kitchen home. This iconic New York City neighborhood is steeped in history and creativity and has been a profound source of inspiration for her work. From its roots as a gritty, working-class enclave to its evolution into a vibrant cultural hub, Hell’s Kitchen embodies the energy that Sarah channels into her music.
Sarah Pillow continues to redefine what it means to be an artist. Her work is a celebration of connection – between past and present, tradition and innovation, and the universal language of music.
Renowned composer and keyboard player Peter Calandra’s latest album “Spirit” is a captivating blend of his unique musical style, bringing together 10 original compositions with 3 cherished covers from earlier repertoire.
From the introspective melodies born during the pandemic era to the nostalgic tunes reminiscent of his youth, Calandra’s album promises a rich and varied listening experience.
The album ranges from tender folk-inspired piano solos to more expansive, soul stirring compositions enhanced by ethereal synthesiser textures. Through singles like “Spirit” and “Night Sky”, listeners are treated to glimpses of Calandra’s atmospheric piano compositions, each track offering a serene oasis amidst the noise of the world. His music serves as an invitation to pause, reflect, and find solace in moments of quiet contemplation.
Peter Calandra has had an illustrious career as both composer and keyboard player in New York City’s vibrant music scene, with a prolific output.
With over 100 film scores, thousands of compositions for TV and film, and notable contributions to major events and networks, Calandra’s impact on the industry is undeniable. Recognition from esteemed institutions like the Independent Spirit Awards further solidifies his status as a respected and influential artist.
We caught up with Peter Calandra to get the lowdown on the inspiration behind the beautiful new music video for title track “Spirit”:
Tell us the story of this song, why did you choose to visualize this song specifically?
This song, like every song on the album, came from one of the 65 Saturday Night Live Streams I broadcast from my studio during the pandemic. I set up a droning sound using a Moog app on my iPad and improvised the rest of the song. I did have a concept of what the song should express. I tried to use musical language I associate as a cross between ‘Americana’ and Irish Folk music.
This would be some of the sounds created by classical composers like Aaron Copland and also some of the musical feeling from the piano music of Bruce Hornsby and Lyle Mays as well as the melodic feel used by many Irish folk songs. I did not copy any song, just some of the feeling these musical materials can convey. I also wanted there to be some space in the music and this is where the droning sound on the iPad helped out. It achieves the kind of effect that the droning reeds on an Irish bagpipe does by giving you an inspiring bed of sound over which you can improvise.
What was the inspiration behind this video (visuals, storyline, etc.)?
The main part of the video is taken from the live performance of the music played in my studio during the broadcast. I wanted to contrast that with other visuals I captured in New York City. I also contrasted the live playing, in black and white with the visuals which are in color. The music is peaceful and heartfelt and the scenes captured show that there can be those same moments found in a bustling city if you know how to look. The video clips were taken in Union Square, on the Highline and in Brooklyn at the Brooklyn Bridge Park.
What was the process of making this video?
I started out by mixing and editing the musical performance as the original version was almost 10 minutes long and while fine for a live performance, had too many spots where there were too many notes being played by the pianist (that would be me lol). Once I did that and edited the video to match, I decided to look through my catalog of visual content created from my travels and came up with about 10-15 film clips to choose from. At this point contrasting between the Black and White performance with the colorful and Slo-Motion video content from NYC seemed like a good way to enhance and create a compelling story. Then it was just a matter of choosing and editing the NYC content with the live performance.
“We live in turbulent times where success is measured in clicks and quite a bit of online content is limited to 60 seconds or less. All of this comes together to create a reality that flies by at an alarming rate where you can get swept up in all this and feel like you are on an out of control roller coaster ride. There has to be a place for music and art that moves people and tells a story and develops over time to help slow down the pace of life. That is the essence of what my goals are for the music I create. Telling stories in sound that touch people’s hearts.”
Renowned as “San Francisco’s Favorite Crooner,” Russ Lorenson has emerged victorious over cancer, showing his dedication with the release of a never before heard live jazz-cabaret album, “Standard Time: Live In New York.”
Published under the independent label LML Music, Lorenson celebrated the album’s launch on December 4th at The Triad Theater in New York, presenting an exceptional line-up of singers including Billy Stritch, Mary Foster Conklin, Lennie Watts, Jennifer Roberts, and #1 Billboard Artist Spencer Day. All proceeds from the event were to support the American Songbook Association.
A devoted advocate of The Great American Songbook, Lorenson has charmed audiences across the United States and Europe with his rich tenor and warm charisma. With three critically acclaimed albums under his belt, including two Christmas albums still enjoying a heavy radio rotation nearly two decades later, Lorensen faced a life-altering diagnosis of HPV-positive tonsil cancer in 2021.
Overcoming this health challenge through early detection, he now finds himself in remission. While cancer may have taken his ability to sing, it hasn’t silenced his voice. With deep gratitude and a renewed purpose, Lorenson is channeling his creative energies into various projects, including reintroducing his back catalog, a children’s book inspired by his fan-favorite holiday track “Jingles, The Christmas Cat,” and notably, his first album in 8 years, “Standard Time: Live in New York.”
“Standard Time: Live in New York” offers a captivating glimpse into Lorenson’s live performances at the iconic Metropolitan Room in New York, recorded in 2008. The album demonstrates Lorenson’s vision that The Great American Songbook continues to evolve, featuring a “modern classics” program of songs.
Throughout his musical career, Lorenson masterfully interprets a range of compositions, from a haunting rendition of Lionel Richie’s “Hello” to heartfelt performances like “How I Will Say I Love You,” “Diamond In The Sky,” and the beautifully nostalgic “It’s Raining Memories.” Each track carries versatility and a deep connection to jazz’s profound history.
“Raise the Roof” stands out as a dynamic and energetic musical piece, crafted by composer Andrew Lippa. Infused with a lively, rhythmic melody and spirited jazzy undertones, the song radiates infectious enthusiasm.
“Standard Time: Live in New York” serves as a seamless bridge between the classics of the past and the potential classics of the future, influenced by contemporary greats like Michael Feinstein, Harry Connick Jr., Tony DeSare and John Pizzarelli.
Reflecting on the album, Lorenson remarks:
“Many have deemed that The Great American Songbook is going extinct. But in 2008, I saw it differently. I put together a show of “new standards,” demonstrating that songs with soul and depth were still being crafted. My show, “Standard Time,” was a tribute to love and relationships, shedding light on the fresh pages being added to The Great American Songbook of the New Millennium.”
Beyond the album, Lorenson has exciting plans, including a series of children’s books, starting with his Christmas book in 2024, and other special offerings. His career, and music, have been fuelled by his desire to leave a lasting, positive legacy, and these future endeavors show this lasting commitment.
Standard Time: Live in New York” is a reminder of the timeless appeal of classic song-writing and performances. Lorenson invites listeners to embark on this soulful musical expedition, rekindling their love for The Great American Songbook’s perennial charm, while embracing the promise of tunes that resonate with today’s audiences.
“While initially recorded with the intention of a 2009 release, this album of songs from the sorely missed Metropolitan Room nightclub had been shelved. But now, 15 years later, these rediscovered gems validate my belief: many have indeed evolved into the new generation’s standards.”
Standard Time: Live In New York was co-produced by René Wieland, Dutch music producer, engineer and radio host of The Great American Songbook Radio Station.
Listen to “Standard Time: Live in New York” on Spotify.
Since making his breakthrough club debut in 2005, Russ Lorenson has solidified his standing as one of the foremost interpreters of jazz standards in the San Francisco Bay Area. Whether gracing the stage of a grand concert hall or engaging an audience in the more intimate setting of a cabaret, Lorenson’s singing prowess shines.
Drawing comparisons to the likes of Tony Bennett, Mel Tormé, and Chet Baker, his voice is both memorable and savored, earning him the title of “San Francisco’s Favorite Crooner.”
Lorenson’s musical finesses has not gone unnoticed. Downbeat magazine hailed him as “a showman of taste and discretion,” recognizing his sophisticated command of musical language. The Los Angeles Times commended his “supple voice and strong sense of characterization,” noting his ability to infuse each song with depth. The San Diego Union-Tribute praised his “relaxed, easy deliveries,” deeming them natural and heartfelt. In simpler terms, the Coronado Journal deemed him nothing short of “irresistible.”
Eri Blossom’s latest offering, “Breakthrough,” is a captivating fusion of cultural influences, R&B and hip hop sensibilities, and poignant lyricism that culminate in a track of remarkable depth and resonance.
Inspired by the Academy Awards incident involving Will Smith, Eri Blossom navigates the complex waters of cultural expectations and gender roles, specifically within the backdrop of Japanese society. The track’s introductory notes unveil a soundscape that seamlessly melds traditional R&B grooves, contemporary hip-hop elements, and traditional Japanese instrumentation. The result is a sonic tapestry that defies boundaries, reflecting Eri’s duality as an artist shaped by both her Japanese heritage and American upbringing. As the song unfolds, her bilingual delivery further enriches the narrative, allowing listeners to traverse between languages as she eloquently articulates her message.
Eri Blossom’s ability to encapsulate profound emotions in her music is undeniable. “Breakthrough” delves into the struggle against deeply rooted traditions, particularly those that undermine the agency and potential of women. With heartfelt honesty, Eri unveils the stark contrasts between outdated societal norms and the modern aspirations of women, a theme that resonates far beyond cultural confines.
Her background steeped in both Japanese and American culture is a driving force behind the track’s authenticity. Drawing on influences ranging from R&B legends like Chaka Khan to contemporary hip-hop icons, Eri effortlessly weaves together an intricate musical fabric that transcends genres. Her journey from Japan to New York City and subsequent exploration of jazz and other genres add layers of complexity to her artistry, evident in the multifaceted layers of “Breakthrough.”
“Breakthrough” not only marks a personal triumph for Eri Blossom but also stands as a testament to the power of music to transcend cultural barriers. By blending languages, genres, and perspectives, she creates a musical experience that speaks to the universal struggle for empowerment and self-expression. As the world continues to evolve, artists like Eri Blossom play a vital role in reshaping narratives and fostering a global dialogue. Through “Breakthrough,” she not only delivers a mesmerizing track but also ignites a conversation that reaches far beyond the notes and rhythms.
Modern Mystery 