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AFTER LOSING — AND RECLAIMING — HER VOICE, LA TANYA HALL RETURNS WITH TRIUMPHANT NEW ALBUM, IF NOT NOW , WHEN…  La Tanya Hall — a vocalist, educator, and longtime Steely Dan touring member known for her story-driven approach and stylistic versatility — is honored to announce the upcoming release of If Not Now, When…, her most personal and intentional project to date. Born from a period of vocal silence and artistic reflection, the album offers a thoughtfully curated collection of lesser-known songs chosen for their lyrical power and emotional weight. If Not Now, When… arrives October 10 via Blue Canoe Records. Produced by Michael Leonhart, the project features an all-star band including saxophonist Gary Bartz, trumpeter Eddie Henderson, pianist Cyrus Chestnut, harmonicist Gregoire Maret, bassist Gerald Cannon, drummer Mark McLean, and guitarist Marvin Sewell. Across its eight tracks, Hall explores material that is often overlooked — songs chosen for their storytelling and emotional resonance.The result is a deeply personal and musically openhearted album shaped by Hall’s renewed artistic purpose following a prolonged loss of her voice during the early months of the COVID-19 pandemic. A Colorado native, Hall began performing at age 13 with her father, a jazz pianist. Her solo debut, It’s About Time (Bridge Records, 2008), earned praise from JazzTimes for “the keen interpretative smarts of Maxine Sullivan underscored by the elegant sophistication of Nancy Wilson,” calling her “marvelously dexterous.” Her 2019 follow-up, Say Yes (Blue Canoe), was hailed by ClevelandClassical.com for its “full, alluring color-palette, impeccable diction, and an expansive vocal range,” while JazzTimes highlighted the album’s “alternating glimpses of Hall’s various musical personas.” In addition to her solo work, Hall has built a multifaceted career as a touring and session vocalist with Diana Ross, Bobby McFerrin, Seal, Harry Belafonte, Rob Thomas and Steely Dan; and as a jazz educator, building the vocal jazz program at Oberlin Conservatory, where she teaches today. Hall contracted COVID-19 in the early days of the pandemic and spent over five months recovering—much of it unable to speak, let alone sing. “I lost my voice completely,” she recalls. “It was terrifying. Singing has always been part of how I connect with the world, and suddenly that was gone.” As her voice slowly returned, self-doubt began to creep in. “I started to question everything — was I ready to record again? Would it be good enough? Would people want to hear it?” It was her husband, pianist Andy Milne, who broke through the hesitation: If not now, when? “It was kind of a lightning bolt,” Hall says. “I’ve been making music for a long time, and I realized I still have things to say.” She immersed herself in seldom-recorded repertoire, seeking out songs with lyrical substance and emotional weight. “I’ve always been drawn to the rare gem,” she says. “Songs that haven’t been overly done — that tell a story.” From there, she assembled not just a band of master musicians, but a circle of collaborators she trusted on a deeper level. “I wanted to be surrounded by people who would allow me to be vulnerable,” she explains. “People who play with heart and create space for a vocalist.” At Teaneck Sound in Teaneck, New Jersey, this trusted circle of musicians brought Hall’s vision to life with warmth and precision. The first track, Horace Silver’s “Pretty Eyes,” sets the tone—a lilting, harmonically rich ballad featuring saxophonist Gary Bartz and trumpeter Eddie Henderson. Both longtime collaborators and fellow faculty members at Oberlin Conservatory, the two bring a fluid, intuitive rapport to the tune. “They already have a musical history and bond that comes alive when they play together,” Hall says. “I was nervous to ask them — but neither one of them hesitated to say yes.” Hall was inspired to put her own stamp on “Cornfield” (Randy Newman’s “Let’s Burn Down the Cornfield,” originally from his 1970 album 12 Songs) after hearing Lou Rawls’ seminal interpretation. Staying true to her mission of championing overlooked songs, Hall and her band deliver a stripped-down arrangement that emphasizes the track’s haunting quality and nuanced storytelling. The vocalist then turns her attention to another underappreciated gem, Abbey Lincoln’s seldom-covered “A Turtle’s Dream.” Drawn to Lincoln’s insightful lyricism and unique compositional voice, Hall presents the tune with sensitivity and grace. Pianist Cyrus Chestnut sets the tone with what Hall describes as “one of the most beautiful solo openings,” providing a gentle, reflective foundation for her vocal storytelling. Hall emphasizes the modern day relevance of Oscar Brown Jr.’s “Long As You’re Living,” a joyful meditation on gratitude and the preciousness of life. In a nod to the broader cultural moment, she highlights the song’s central message: “No matter what side of the fence you fall on, we have to lead with love.” Returning to Abbey Lincoln’s rich songbook, Hall puts her stamp on “Tender as a Rose,” another rarely covered tune. Guitarist Marvin Sewell’s intuitive playing particularly shines here—Hall notes their immediate, deep musical connection, describing the recorded performance as their very first take. Reflecting on their nearly 30-year friendship, Hall calls Sewell “a wonder” and highlights the unspoken understanding that permeates their collaboration. On If Not Now, When…, Hall makes a deliberate effort to spotlight female composers, and her selection of Bernice Petkere’s “Lullabye of the Leaves” speaks directly to that intent. Acknowledging that Petkere’s contributions have often been overlooked, Hall uses this performance as an opportunity to honor her legacy and artistry. The album concludes with two songs from different sides of the musical realm. The first, “Azure,” is from Duke Ellington’s expansive repertoire, co-written by Ellington and Irving Mills. Hall chose the rarely performed composition specifically to highlight its sophisticated melodic contours and emotional subtlety. The second, “Day Dreaming,” is an Aretha Franklin classic that has been stripped down to an intimate acoustic conversation between Hall, guitarist Sewell and Maret on harmonica. This bare-bones approach lets each phrase land with quiet assurance, ending the album on a note of spacious resolve. “I just want to keep spreading light and music,” Hall concludes, her voice and confidence restored. “That’s my main goal in this existence.”   Blue Canoe Records proudly announces the highly anticipated return of the Dave Pope Trio with their new album “Skyline,” available July 18, 2025. This release reunites drummer Dave Pope, pianist and bassist Mike Pope, and world-renowned bassist John Patitucci in a soulful, spontaneous, and deeply expressive collection of originals and jazz standards.
After a 14-year hiatus following their acclaimed debut You and The Night and The Music (2012), the trio reconnected in August 2024 at Vatican City Sound in Marriottsville, MD. Despite having no live performances together in the interim—and with minimal rehearsal—what emerged was a session overflowing with chemistry, creativity, and courage. “Skyline” features two original compositions—Dave Pope’s title track “Skyline” and “Country Nocturne” by Mike Pope—alongside a curated selection of jazz classics including:
Of special note is the unique interpretation of “Falling Grace,” which features both Mike and John on 6-string electric bass, transforming the trio into a piano/guitar-style ensemble for this track. The recording nearly faced a setback when Mike Pope suffered a detached retina just one week prior to the session—his second eye surgery in recent months. Despite limited vision, he pressed forward with determination and humor, even jokingly suggesting the album be titled Flying Blind. Thankfully, Mike has since fully recovered, and his performances on this recording are nothing short of remarkable. Reflecting on the experience, Dave Pope shares: “We covered a lot of musical ground in just two days. Although we hadn’t played live as a group, the session flowed naturally. I’m proud of what we captured and grateful to have had this opportunity with Mike and John.” About Dave Pope: An Atlanta-based multi-instrumentalist (drums, guitar, bass), Dave Pope has spent decades cultivating a diverse musical career spanning the Midwest, East Tennessee, and the Southeast. From garage bands at 14 to sessions with jazz luminaries like Randy Brecker, Joe Gransden, and Louis Heriveaux, Dave brings a deep well of experience and artistic sensitivity to every project. About Mike Pope: An acclaimed bassist, pianist, composer, and educator, Mike Pope is a faculty member at Berklee College of Music. He’s known for his extensive solo work and collaborations with artists like Chick Corea, Al Di Meola, and David Sanborn. About John Patitucci: A multiple Grammy Award-winning bassist, John Patitucci has played with legends including Wayne Shorter, Herbie Hancock, Chick Corea, and Esperanza Spalding. His unmistakable sound and virtuosity are on full display throughout Skyline. “Skyline” by the Dave Pope Trio is a testament to resilience, chemistry, and timeless artistry. Available on all major digital platforms July 18, 2025, via Blue Canoe Records.  Guitar phenom Dan Baraszu creates a twenty-song solo guitar album titled, "Lone Guitar" featuring multi-genre interpretations of the American SongBook from jazz to rock, pop, and in-between.   Trombonist Ron Westray self-releases a CD recorded live at Club Contxt, Toronto, Ontario-Canada. This trio features Ron Westray (Trombone), Daniel Barnes (drums), and Brendan Davis (bass). CHECK OUT RON'S OTHER RELEASES   We are excited to announce the launch of Blue Canoe Records Radio - streaming live 24 . x 7 x 365 days a year. Click to listen to the live stream. Blue Canoe Radio currently has 29 programs and shows - click here to see the weekly schedule and speciality programs.
Listen Live Now “Reflections from Dave Pope”  This project, which is my first commercial recording, has come to fruition much too late in life in life but better late than never. Juggling family life, a career in banking, and a music career on multiple instruments has been quite an endeavor but one I would not trade for anything. I made a conscious decision in my early twenties to choose a dual career path, knowing the challenge would be to do justice to both. Since then, I have committed to being the best musician I can be under the circumstances and have worked very, very hard at being able to “hang” with musicians at the level on this record. There are several special aspects of this record worth mentioning. It is the debut recording of my brother Mike on piano, which is actually his “second”instrument. Primarily known as a virtuoso bass player, this record gives Mike the opportunity to make a musical contribution as a pianist and as you will hear, the contribution is remarkable. Also, it joins Mike with his mento on bass, John Patitucci of whom I have always been a big fan and am honored to have on the record.  This recording was tracked in two half-day sessions at Mike’s studio with virtually no pre-session planning. It was also mixed and mastered by Mike with the kind assistance of our brother Peter during tracking. The project was intentionally loose, spontaneous, and not overly produced. My objective was to have fun and document what was happening musically in our lives in the moment. More importantly, I hope you will have fun listening. - DAVE POPE
 After enjoying accolades while singing, performing and touring with icons in numerous genres as a support artist, La Tanya Hall re-emerges as a multi-faceted jazz vocalist and interpreter extraordinaire with her first full-length album in a decade. Though her gorgeous, emotionally intuitive vocals take center stage, the expansive collection is, at heart, a collaborative effort with Unison, a newly formed NYC trio led by Hall’s husband Andy Milne on piano, featuring John Hebert on bass and Clarence Penn on drums. Say Yes was produced and arranged by Milne, a distinct and respected voice at the heart of NYC’s creative jazz scene for over 20 years. While Say Yes is technically a follow-up to La Tanya’s 2009 recording, It’s About Time, she sees Say Yes as the first project that is a true reflection of her artistic spirit. Fans wondering why it took her so many years to return to the studio can look to her busy schedule touring these past seven years with Steely Dan – and her 10-year career as an instructor, passing along her experience and expertise to the next generation of singers as Associate Professor of Jazz Voice at Oberlin Conservatory and at The New School in NYC.  Over the years, La Tanya’s versatility in a multitude of genres has made her a first-call vocalist for some of music’s most celebrated artists, including Diana Ross, Bobby McFerrin, Harry Belafonte, Michael McDonald, Burt Bacharach, Quincy Jones, Aretha Franklin, Rob Thomas, Patti Labelle, Michael Feinstein and Steve Tyrell. Developing her solo artistry, she has performed in recent years at some of New York’s most renowned venues, including Jazz at Lincoln Center, Birdland, Symphony Space, Iridium, and Feinstein’s/54 Below. In addition, she has appeared as a soloist with the American Composer’s Orchestra, The Colorado Symphony, the Jefferson Symphony and the St. Louis Symphony. “I have been busy singing with everybody else,” La Tanya says, “and even though my first album received critical acclaim, it featured arrangements that I couldn’t fully immerse myself in vocally and as an artist. So, with Say Yes, I was eager to present material that would support and showcase my disposition and broad range of musical tastes. Working so closely with my husband afforded me a trusting, collaborative dynamic that allowed me to sing as fully and as freely as I could." Besides her exquisite vocal tone and Milne’s elegant arrangements and piano work, the most remarkable aspect of Say Yes is La Tanya’s unique choices of material – a set list that truly reflects her deep musical curiosity, spanning generations and many genres. She reaches outside the jazz realm with lush re-imaginings of folk-rocker Jonatha Brookes’ “Because I Told You So” (which the singer calls “the most personal song on the album to me”) and Joni Mitchell’s “The Fiddle and the Drum” – a Vietnam era tune whose poetry resonates perfectly in response to today’s intense socio-political climate. Another remarkable theme that La Tanya develops with this recording is the decision to re-interpret classic jazz pieces that originated as instrumentals before lyrics were added later. These include “All You Need To Say,” which first appeared as the instrumental “Never Say Yes” on Cannonball Adderley’s 1961 album with Nancy Wilson; Benny Golson’s “Whisper Not,” whose lyrics were added later by Leonard Feather; “Pannonica,” Thelonious Monk’s tribute to elusive “patron saint of jazz” Pannonica de Koenigswarter, with lyrics added later by Jon Hendricks; another Monk-Hendricks classic, “Well You Needn’t”; and Clare Fischer’s “Pensativa,” whose lyrics were later penned by Norma Winstone. In addition, La Tanya reaches back to 1944 and revamps Cole Porter’s classic, “Ev’ry Time We Say Goodbye,” incorporating a Pablo Neruda poem which adds new life to the already powerful lyrics, to 1942 for a fresh, bourbon-soaked spin on Fats Waller’s “Jitterbug Waltz,” and to 1916 for the Raymond Hubbell tune “Poor Butterfly,” – the latter of which is a part of La Tanya’s Sarah Vaughan tribute show.  |
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