Miguel Zenon

Over the course of his brilliant and groundbreaking quarter-century career, Grammy Award-winning alto saxophonist and composer Miguel Zenón has reveled in doing the hard work, whether he was transforming Puerto Rican plena into a vehicle for improvisation or writing a body of tunes inspired by the history of the American continent. But no project he’s tackled has involved the kind of intensive, granular research required by Golden City, a sweeping suite inspired by the demographic and political evolution of San Francisco, from the pre-colonial period to the contemporary tech-dominated era. His 17th album as a leader, Golden City is slated for release August 30, 2024 via Zenón’s Miel Music label.

Over the course of his brilliant and groundbreaking quarter-century career, Grammy Award-winning alto saxophonist and composer Miguel Zenón has reveled in doing the hard work, whether he was transforming Puerto Rican plena into a vehicle for improvisation or writing a body of tunes inspired by the history of the American continent. But no project he’s tackled has involved the kind of intensive, granular research required by Golden City, a sweeping suite inspired by the demographic and political evolution of San Francisco, from the pre-colonial period to the contemporary tech-dominated era. His 17th album as a leader, Golden City is slated for release August 30, 2024 via Zenón’s Miel Music label.

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Navona Records is proud to present ROMANCE AL CAMPESINO PORTEÑO, an album threading saxophonist José Antonio Zayas Cabán’s childhood memories with music both old and new.

We All Break dedicates this album to the memory of pi bon zanmi nou Eddy Jean (1970—2020). Music composed by Ches Smith (Preposterous Bee Music, BMI). Song lyrics and melodies by Daniel Brevil (BMI) and traditional.

We All Break dedicates this album to the memory of pi bon zanmi nou Eddy Jean (1970—2020). Music composed by Ches Smith (Preposterous Bee Music, BMI). Song lyrics and melodies by Daniel Brevil (BMI) and traditional.

We All Break dedicates this album to the memory of pi bon zanmi nou Eddy Jean (1970—2020). Music composed by Ches Smith (Preposterous Bee Music, BMI). Song lyrics and melodies by Daniel Brevil (BMI) and traditional.

Like its predecessor, Painter of Dreams features two highly reworked standards along with six recent melody-forward compositions, to which Tsiganov applies his signature blend of radical reharmonization, mixed meters, shifting tempos, and changing keys. Otherwise, this ambitious recital presents documents several "firsts." For one thing, Tsiganov expands beyond the saxophone-trumpet-piano-bass-drums format, scoring five of the eight selections for either three or four horns. For another, he broadens his tonal palette beyond the almost entirely acoustic soundscape of his prior Criss Cross oeuvre, liberally weaving the Rhodes and Minimoog into the flow, as well as the preternaturally flexible voice of Hiske Oosterwijk, who also contributes two lyrics.

Like its predecessor, Painter of Dreams features two highly reworked standards along with six recent melody-forward compositions, to which Tsiganov applies his signature blend of radical reharmonization, mixed meters, shifting tempos, and changing keys. Otherwise, this ambitious recital presents documents several "firsts." For one thing, Tsiganov expands beyond the saxophone-trumpet-piano-bass-drums format, scoring five of the eight selections for either three or four horns. For another, he broadens his tonal palette beyond the almost entirely acoustic soundscape of his prior Criss Cross oeuvre, liberally weaving the Rhodes and Minimoog into the flow, as well as the preternaturally flexible voice of Hiske Oosterwijk, who also contributes two lyrics.

Like its predecessor, Painter of Dreams features two highly reworked standards along with six recent melody-forward compositions, to which Tsiganov applies his signature blend of radical reharmonization, mixed meters, shifting tempos, and changing keys. Otherwise, this ambitious recital presents documents several "firsts." For one thing, Tsiganov expands beyond the saxophone-trumpet-piano-bass-drums format, scoring five of the eight selections for either three or four horns. For another, he broadens his tonal palette beyond the almost entirely acoustic soundscape of his prior Criss Cross oeuvre, liberally weaving the Rhodes and Minimoog into the flow, as well as the preternaturally flexible voice of Hiske Oosterwijk, who also contributes two lyrics.