Art and music collide on pianist Marta Sanchez‘s first album of solo prepared piano with 2026’s For the Space You Left. Born in Spain and based in New York City, Sanchez often explores the connections between modern jazz, classical, and Iberian-folk traditions; a quality that marked both 2022’s SAAM (Spanish American Art Museum) and 2024’s Perpetual Void.
Here, she takes a more esoteric approach, crafting songs that often have the tactile, textural quality of sculpture. Much of this is due to the “prepared” aspects of her work, a process by which pianists use objects and materials to alter the sound of the instrument; in Sanchez’s case that means placing metallic paper, tape, Blu-Tack, and other materials between the strings.
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Blues? Maybe, in atmospheric terms. But not in the 12-bar, blues-rock or Delta blues sense. Or most other senses. The album title is a play on Miles Davis’ end-of-’60s LP Bitches Brew which, at that point, was his most overt nod to the dynamics of rock music. Nonetheless, Bitches Blues doesn’t obviously use the 1969 set as a point from which to jump. But the reference sets up the first studio album from Hedvig Mollestad Weejuns – the latter word a slang reference to the trio’s Norwegian identity – as non-conformist, carving-out their own musical character; albeit just within the limits of the outer edges of jazz.
In overseeing 
Drummer Gregory Hutchinson, who consistently uses timbre and cymbal color to his advantage, embarks on an enjoyable and occasionally surprising program of tunes connected to and paying homage to the groundbreaking jazz trumpeter Miles Davis. Hutchinson — known for his collaborations with Roy Hargrove, Joe Henderson, Joshua Redman, Ray Brown, and Kurt Rosenwinkel — blends tradition and modernity in his approach, assembling a group of contemporary jazz players whose quality and flexibility fully serve his vision.
The 
“Nothing is impossible.” That was 
South Africa’s 
…19-track deluxe album, with four new songs.
Tenor saxophonist Javon Jackson brings out the soulful side of Bob Dylan on his 2026 covers album, Jackson Plays Dylan. One of the final members of Art Blakey’s Jazz Messengers, Jackson plays with a big warm tone and lyrical harmonic style that evokes a pure balance of both John Coltrane and Joe Henderson. While he’s never been shy about underscoring his influences, he’s been deliberate about tribute projects, releasing one Coltrane album in 2012 and unexpectedly pairing with poet/activist Nikki Giovanni for two covers albums that creatively expanded the format. Tackling Dylan feels less out of the blue, yet no less inspired, as Jackson takes on some of the iconic folk singer’s best-known songs, transforming them into something that feels as earthy…
After Oylam (2010), Judith Berkson, mezzo-soprano, pianist, composer and improviser, returns with another unclassifiable, and strangely compelling, artistic statement. On 
On Alkebulan, the second recording by his Washington, DC-area Jazz Orchestra, composer, arranger and trombonist 
Long before 
1. Miles Davis – When Lights Are Low
When 
Heights Prospection, the debut album by Swiss saxophonist