Change is a part of life, and it always impresses me when someone embraces change instead of running from it. That’s exactly what Standring is doing with his latest release, Time Of Change.

Getting married for the first time and the passing of his father have both shaped this chapter of the musician’s life, giving Time Of Change a deeper emotional weight. It is also a moment of independence. Releasing the album on his own Ultimate Vibe Recordings label, Standring takes full creative control of his music, a reflection of an artist shaping his work on his own terms. Even a recent hernia surgery, which briefly has paused his touring schedule, fits into that broader picture of life shifting and resetting in real time.

You can feel that shift right away. This is not just a collection of songs. It feels like reflection. Like someone taking stock of where they have been and where they are going next.

The first glimpse into this new chapter comes with the single “Hollywood Hustle,” inspired by his move to Los Angeles and the grind that comes with building something new. The fun, accompanying video uses AI generated visuals to tell that story, but Standring makes it clear where the heart of it all lives:

“Even though all the video is AI generated, rest assured that the music is not! That’s all me!”

That line says a lot. Technology may help tell the story, but the emotion, the experience, and the perspective behind Time Of Change are deeply human.

And that intention comes through clearly:

“With Time Of Change, I wanted the music to reflect who I am right now both musically and spiritually.”

That sense of honesty carries throughout the album. Musically, there is a warm, retro-soulful feel that draws from a golden era of sophisticated arrangements and rich harmonies. You hear touches of ’70s-inspired cool jazz and rhythm and blues, but it never feels like nostalgia for nostalgia’s sake.

With a four piece horn section, layered orchestral textures, and Standring’s signature guitar tone at the center, the album has a fullness that supports that emotional direction without overpowering it.

Beyond the music, there is also a more personal side emerging. Standring and his wife Erica have launched a YouTube series, Love Miles & Music, offering a window into their life together, both on and off the road.

“It will be a behind the scenes look into our life, personal and professional. But most of all we want it to be a whole lot of fun.”

When an album is shaped by both new beginnings and personal loss, you can hear it. And here, you can feel it.

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Authentically Norman finds the guitarist doing what he’s always done best – blending jazz, R&B, soul, and groove into something that feels both effortless and deeply intentional. This is an album built on feel. On phrasing. On that signature ability he has to make the guitar sound like it’s speaking directly to you.

“With Authentically Norman, I wanted the music to reflect who I am right now both musically and spiritually. Instead of chasing trends, I focused on honesty in the sound and letting the guitar really speak,” says Brown.

The lead single “Chillax” sets the tone with a laid-back groove, while tracks like “King Normantic,” “Valentine,” and “Revolution of Love” showcase styles ranging from silky and romantic to rhythmically infectious and reflective. Notably, the album is made up entirely of original compositions, giving Brown the space to fully express where he is creatively and spiritually at this point in his career.

“I spend a lot of time focusing on balance. I practice Tai Chi, which helps center my mind and body,” shares Grammy-winning and multi-platinum selling guitarist Norman Brown. “I also enjoy quiet reflection, being outdoors, and spending time with positive people in my life. Sometimes the best way to recharge is simply to step away from the noise and reconnect with yourself.”

That mindset comes through clearly across the album. There’s a sense of confidence here – a seasoned artist fully comfortable in his own voice. The collaborations feel natural, the grooves are locked in, and the melodies linger long after the tracks end.

Authentically Norman is out now on Shanachie Records.

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The “Avengers” Assemble

To manifest that light, Benjamin didn’t just hire session players; she assembled a collective statement. Her self-described team of “Avengers” features a staggering lineup of artists chosen for their capacity to evolve and reshape musical language.

The core of the project centers on Benjamin’s frequent collaborators—pianists Oscar Pérez and Miki Hayama and bassist Elias Bailey—but the expanded cast is massive. Benjamin is quick to point out that these artists are not bound by the traditional confines of jazz; instead, she has gathered an “expansive cast of guest collaborators drawn from across jazz, R&B, hip-hop, and experimental music.”

• The Horns: Terence Blanchard, Chief Xian aTunde Adjuah, Sean Jones, and Chris Potter.

• The Rhythm Section: Jeff “Tain” Watts, drummer Jonathan Barber, Kassa Overall, and Hiromi.

• The Voices: The Roots’ Black Thought, Bilal, and Tarriona “Tank” Ball (Tank and the Bangas).

A Cinematic Reckoning

The album is structured as a “poem-driven journey,” blending spoken word with high-energy improvisation and groove-based writing.

• “Beyond the Dawn”: Featuring Terence Blanchard alongside Sean Jones, this track is driven by the nuanced mallet work of drummer Jonathan Barber. Benjamin describes the piece as a “spoken-word invocation” that sets the tone for the record—calling it “part meditation, part reckoning.”

• “Mi Gente”: Featuring Chief Xian aTunde Adjuah, this track centers on community and cultural exchange, grounded in rhythm and collective movement.

• “Dream Breaker” and “Flamekeeper”: Featuring Jeff “Tain” Watts, Hiromi, and Chris Potter, these tracks reflect Benjamin’s admiration for artists “who are not standing still, who are pushing forward, who are innovating.”

• “Right Now”: This serves as the dramatic peak, bringing together Bilal and Kassa Overall in a space where Benjamin says “lyric, rhythm, and improvisation converge.”

Ultimately, We Dream is an intentional artistic statement. In Benjamin’s words, it’s about the “power of sound to illuminate even the darkest spaces.” It’s an album that insists on forward motion and collective imagination at a time when things feel, as she puts it, “really dark right now—everywhere.”

We Dream is Lakecia Benjamin’s debut for Artwork Records and will be available on June 5, 2026.

Listen to the first single “Flame Keeper,” out now.

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This year’s cohort represents a wide spectrum of backgrounds, musical influences, and creative perspectives. The seven artists selected for 2026 are Alden Hellmuth (saxophone), Allison Philips (trumpet), Destiny “Lé Queen” Diggs (bass), Devon Gates (bass/vocals), Lily Finnegan (drums), Sequoia “REDWOOD” Snyder (piano/producer), and Siya Charles (trombone). Each participant will spend the year apprenticing with a renowned bandleader while also working with a creative mentor who can help guide the bigger picture of their artistic careers. It’s a powerful model—one that mirrors how jazz knowledge has historically been passed down from generation to generation, on bandstands, in rehearsals, and through creative collaboration.

In just a few years, Next Jazz Legacy has already proven how impactful this approach can be. Alumni of the program have performed at major festivals like Winter Jazzfest and the DC Jazz Festival while collaborating with acclaimed artists including Makaya McCraven, esperanza spalding, Regina Carter, Christian McBride, and the late Wayne Shorter. By the end of 2026, the program will have directly supported 36 emerging artists and engaged more than 100 mentors and bandleaders, helping ensure that the music continues to grow, evolve, and welcome new voices. It’s another reminder that jazz isn’t standing still—the next chapter of the music is already being written. Read the full announcement.

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I had, and still have, a love of technology, a love of communicating and sharing, and a love of the music. I was born to do something like this—the medium just didn’t exist until the World Wide Web started becoming a thing.

You can view greater details on the origin of the site in a series of posts I wrote in 2009.

The site, initially called cJazz: The Contemporary Jazz Site, was one of the first 16 jazz websites indexed by Yahoo! This was years before Google was on the scene. It became a popular music site. Record labels that were hip to the web (not many then) would reach out. Its content was being read on the NAC/New Adult Contemporary (later smooth jazz) radio stations. I updated it nearly daily for numerous years.

When I had children, I gave the site up. I was so caught up in being a father that I didn’t want to do anything that took time away from my kids. Fatherhood has been my favorite role in life. As the kids got older, I regretted giving the site up and was fortunate to return to it a few years ago.

Being a very early creator on the web changed my life. And, as my son points out, this site is part of my legacy.

I will be reminiscing on those early days throughout the year. I have so many memories. In the meantime, enjoy the site’s first logo. It is 90’s clip art, and the logo was probably created in Paint Shop Pro.

If you enjoy the site or just want to say something kind, please drop a message over on Contemporary Jazz on Facebook or the newly created Reddit board! It inspires me to hear from you!

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