Dany Noel Trio

DANY NOEL TRIO | Latin Jazz (CU)

Dany Noel Trio

Latin Jazz (CU)

AVAILABILITY
2026 | Upon request
DanyNoelTrio DANY NOEL TRIO | Latin Jazz (CU)
DanyNoelTrio DANY NOEL TRIO | Latin Jazz (CU)
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Line-up

Dany Noel | bass and voice
Italuba, Horacio “El Negro” Hernández, Celia Cruz, Omara Portuondo, Chucho Valdés, Bebo Valdés, Paquito D’Rivera, Concha Buika, Jerry González, Ojos de Brujo

Roberto Carcassés | piano
Interactivo, Chucho Valdés, Changuito, Wynton Marsalis, George Benson, Descemer Bueno, Yusa, Telmary, Ojos de Brujo, Selma Reis

Alejandro Chávez Báez | drums
Dany Noel, Adrián Estévez, Raúl Venegas, Agnese Carrubba, Michel Herrera, David Lechuga, Yadier Noa, TimbaLive

Style

A Cuban Latin jazz trio centered on melodic bass, percussive voice and high-density interplay.
Clave becomes architecture: tumbao, montuno and drums converse with open harmonies and modern colors.
A compact, physical and narrative sound suspended between jazz, bolero, timba, funk, flamenco and Afro-Cuban roots.

Profile

Dany Noel Trio is built around Dany Noel’s instrumental and vocal voice: the bass is not only a harmonic foundation, but a melodic guide, rhythmic engine and call point for collective dialogue. With Roberto Carcassés on piano and Alejandro Chávez Báez on drums, the project brings three schools of contemporary Cuban music into tension: tumbao as structural thinking, Afro-Cuban pianism open to funk, timba and modern jazz, and drumming able to translate clave, songo and swing into an elastic language. The result is an essential but dense trio, where singing, groove and improvisation build a direct, urban and deeply Cuban narrative.

Details

Dany Noel | bass and voice. Leader, composer, arranger and producer of the project, he brings to the trio a bass-led approach in which low-end line, singing and rhythmic phrasing act as a single voice. His path crosses Italuba, the European Latin jazz scene, flamenco-jazz and collaborations with Celia Cruz, Omara Portuondo, Chucho Valdés, Bebo Valdés, Paquito D’Rivera, Concha Buika and Jerry González. In a 2022 interview he summed up his relationship with the language this way: “Jazz is simply freedom.”

Roberto Carcassés | piano. Pianist, composer, arranger, producer and director of Interactivo, he works in the trio as a harmonic and rhythmic architect: montuno, reharmonization, timba-funk and modern jazz coexist in a mobile writing style. Public sources connect him with Chucho Valdés, Changuito, Wynton Marsalis, George Benson, Descemer Bueno, Yusa, Telmary and Ojos de Brujo. In a 2021 interview he stated: “You cannot censor yourself,” a phrase consistent with his idea of music as a space for speech and relationship.

Alejandro Chávez Báez | drums. A Cuban drummer documented in Dany Noel Trio contexts and on Dany Noel’s album Detalles, he supports the project with drumming that combines clave precision, dynamic control and contemporary drive. His presence acts as a hinge between Noel’s bass-led voice and Carcassés’ pianism: he does not merely accompany, but opens transitions, answers vocal phrases and gives the trio a dancing trajectory without stiffening the improvisation. Publicly traceable collaborations include Dany Noel, Adrián Estévez, Michel Herrera, David Lechuga, Yadier Noa and TimbaLive.

Discography

Dany Noel: Mi Sentir, Dime Si Tú Sabes, Proposición, Confidence with Dario Chiazzolino, Tinta Unida, Por la Habana, Haciendo Camino, Intercambio, Detalles; with Italuba: Italuba, Italuba II.

Roberto Carcassés: Invitation, Matizar; with Interactivo: Goza Pepillo, Cubanos Por El Mundo, Qué lindo es el amor, Interactivo en vivo en El Sauce, Interactivo en vivo en Fuji Rock, En fa sostenido; relevant credits on Jazz Timbero, Trampas Del Tiempo, Breathe, Techarí, Havana Cultura: The Search Continues.

Alejandro Chávez Báez: Dany Noel’s Detalles; documented activity with Dany Noel Trio and in Afro-Cuban sessions/live contexts with musicians connected to the Cuban, Madrid and Latin jazz scenes.

Quotes

“Jazz is simply freedom.” — Dany Noel; interview for the presentation of Intercambio; Normanno.com; 2022-05-16; https://normanno.com/cultura/la-musica-di-dany-noel-suona-al-retronoveau-di-messina-il-jazz-e-liberta/

“Music is what I feel; I never plan something precise, I sit down and what has to happen happens.” — Dany Noel; interview for the presentation of Intercambio; Normanno.com; 2022-05-16; https://normanno.com/cultura/la-musica-di-dany-noel-suona-al-retronoveau-di-messina-il-jazz-e-liberta/

“I started playing at the age of 10 and since then I have never stopped, and I think I will never stop as long as I have the strength.” — Dany Noel; interview/article by Laura Lipari; LetteraEmme; 2022-05-18; https://www.letteraemme.it/giovedi-jazz-al-retronoveau-dany-noel-presenta-intercambio/

“Noel was ripping through a fast solo while simultaneously vocalising it.” — Sebastian Scotney; live review, Alex Wilson and Friends / London Latin Jazz Festival; London Jazz News; 2016-10-02; https://londonjazznews.com/2016/10/02/review-alex-wilson-and-friends-at-the-2016-london-latin-jazz-festival/

“You cannot censor yourself. I have not stopped expressing myself and backing up what I say with my work.” — Roberto Carcassés; interview by Ismario Rodríguez and Jesús Jank Curbelo; Periodismo de Barrio; 2021-01-23; https://periodismodebarrio.org/2021/01/roberto-carcasses-todas-las-personas-tienen-derecho-a-decir-lo-que-piensan/

“I feel that the culture of a country opens many doors for people, and I think the Cuban government understood that.” — Roberto Carcassés; interview on Interactivo and cultural expression; Miami New Times; 2014-02-28; https://www.miaminewtimes.com/music/interactivos-roberto-carcasses-on-democracy-in-cuba-liberty-is-something-very-personal-6456438/

“I know Dany Noel, we have been working together, is an excellent bass player capable of playing any music genre with absolute mastery.” — Chucho Valdés; testimonial for Dany Noel’s Bass Latin teaching material; Dany Noel official site; 2022; https://www.danynoel.com/projects

Reviews

REVIEW: Alex Wilson and Friends at the 2016 London Latin Jazz Festival — London Jazz News; Sebastian Scotney; 2016-10-02;
https://londonjazznews.com/2016/10/02/review-alex-wilson-and-friends-at-the-2016-london-latin-jazz-festival/
Live review that mentions Dany Noel as a Cuban bassist based in Madrid and highlights his ability to play a fast solo while vocalising it at the same time.

La musica di Dany Noel suona al Retronoveau di Messina: «Il jazz è libertà» — Normanno.com; Alessandra Mammoliti; 2022-05-16;
https://normanno.com/cultura/la-musica-di-dany-noel-suona-al-retronoveau-di-messina-il-jazz-e-liberta/
Interview/article on the European presentation of Intercambio: Noel describes the album as a journey through different sonorities, from Latin jazz to blues and flamenco, and defines jazz as expressive freedom.

Giovedì jazz, al Retronoveau Dany Noel presenta “Intercambio” — LetteraEmme; Laura Lipari; 2022-05-18;
https://www.letteraemme.it/giovedi-jazz-al-retronoveau-dany-noel-presenta-intercambio/
Article presenting the Intercambio release party: it retraces Noel’s Cuban training, collaborations with Pio Leyva, Omara Portuondo and Celia Cruz, and the role of Italuba in his path.

Interactivo, Goza Pepillo — The Guardian; John L Walters; 2007-05-17;
https://www.theguardian.com/music/2007/may/18/worldmusic.shopping
Review of Interactivo’s album Goza Pepillo, a collective also built around Roberto Carcassés: the text highlights its mixture of Afro-Latin music, progressive funk, rap and high-level Cuban musicians.

Que Lindo Es El Amor – Interactivo Review — All About Jazz; James Nadal; 2015-05-24;
https://www.allaboutjazz.com/que-lindo-es-el-amor-interactivo-self-produced-review-by-james-nadal
Review of the album Que Lindo Es El Amor: Interactivo is described as an experimental collective directed by Roberto Carcassés, with a timba-funk concept that integrates rumba, rap, reggae, hip-hop and Cuban tradition.

JazzAmore, all’Unical Dany Noel con Fabrizio Bosso e Roberto Carcassés — Meraviglie di Calabria; author not indicated; 2026;
https://www.meravigliedicalabria.it/jazzamore-allunical-dany-noel-con-fabrizio-bosso-e-roberto-carcasses/
Article presenting the AfroJazz Experience, led by Dany Noel with Roberto Carcassés on piano: the project is presented as a meeting of Afro-Cuban roots, modern jazz, interplay and creative freedom.

Christian Galvez | Jazz (CL)

CHRISTIAN GÁLVEZ & The Organ Trio Prog Jazz/Rock (CL)

CHRISTIAN GÁLVEZ & The Organ Trio

Prog Jazz/Rock (CL)

AVAILABILITY FOR EUROPE

2026 | July/August

Line-up

Christian Gálvez | 6-string electric bass
Billy Cobham, Stanley Clarke, Ron Carter, John Patitucci, Luis Salinas, Dennis Chambers, Jeff Berlin, Eddie Gomez, Dave Young, Frank Gambale

Felipe “Vakuno” Salas | Hammond B3 organ
Christian Gálvez, Juan Pablo Salvo, Billy Cobham, Jeff Berlin, Felipe Duhart, Zudaka Jazz Corp, Juan Pablo Jaramillo, Agustín Moya

Sebastián Acevedo | drums
Juan Pablo Salvo, Darío Barraza, Víctor Carmona, Joaquín Fuentes, Jorge Vargas, Pedro Olivares, Óscar Pizarro, Rana Espinoza, Carlos Cortés, Christian Gálvez

Style

A contemporary organ trio that fuses the electric grain of a 6-string bass with the analog body of the Hammond and a high-drive, detail-focused drum approach. Groove and improvisation alternate with tight writing: soul-jazz, fusion and Latin fragments converse without losing the form. A physical, cinematic sound—warm timbres, wide dynamics, club energy with big-stage ambition.

Profile

Christian Gálvez & The Organ Trio pulls classic organ-jazz DNA into a modern electric language. Felipe “Vakuno” Salas’ B3 opens dense harmonic frames and cuts through the mix with a bold analog presence, while Gálvez’ extended-range bass often steps forward as a melodic voice—almost guitar-like—and Sebastián Acevedo’s drums glue swing, funk and fusion surges into one elastic pulse. The trio focuses on original material built on concise, memorable themes, clear structural arcs and a “locking-gear” interplay where roles swap constantly without ever dropping the groove’s center. Dominant axes are Rhythm/Groove and Interplay/Roles, supported by strong Technique/Idiomatic language and a harmonic vocabulary rooted in 60s organ trios with rock-fusion inflections.

Details

Christian Gálvez Extended-range bass as an orchestral instrument: clean attack, singing phrasing, a taste for inner harmony and theme-building that feels song-driven. His signature balances virtuosity with economy—tight pocket, melodic front lines, improvisation with clear formal control. In this trio he shapes the architecture and pushes the band toward an international, forward-leaning fusion. “Christian is a very inventive and sensitive musician—an humble offering from his musical banquet.” — Billy Cobham, Bear Club Wien, 2023-11-29

Felipe “Vakuno” Salas Hammond B3 as a timbral engine: open drawbars, Leslie upfront, voicings that move between gospel-soul weight and 70s electric psychedelia. He switches between bass function and harmony with ease, leaving space for interlocks with Gálvez and real-time call-and-response. His writing brings electric textures and dynamics that change skin inside the same theme. “He debuts as a leader… marking a milestone in his trajectory with a deeply authorial work where the Hammond organ is central.” — Música Chilena, 2025-11-17

Sebastián Acevedo A precise touch that can pivot from swing to backbeat without losing elasticity. Detail-driven playing—ghost notes, off-angle accents, micro hi-hat shifts that keep the collective phrasing alive. He directs transitions: accelerating, opening space and sealing the sound with a lyrical sense of time. “The bass… and Sebastián Acevedo’s drums converse with the fluency of veterans of a thousand battles.” — Progjazz.org, 2023-06-28

Discography

Christian Gálvez Albums

  • Christian Gálvez (2000)

  • Cero (2002)

  • Dinámica solista (2004)

  • Christian Gálvez Trío vol. 1 (2005)

  • América luz (2006)

  • Imaginario (2007)

  • Crisálido (2009)

  • Cinético (2010)

  • Imaginario Live (2011)

  • Concierto sinfónico N.º 1 para bajo y orquesta (2012)

  • Crisálido Live (2013)

  • Organ kuartet (2014)

  • Live at the Blue Note (2015)

  • The Chilean Project Live at the Blue Note (2016)

  • Origen del Misterio (2017)

  • The Bridge (2017)

  • Christian Gálvez Trío live at Kozlov Club Moscow (2018)

  • The Art Of Chordmelody (2019)

  • Imaginario Live (2019)

  • New Horizons (2022)

  • Trío Sur (2024)

  • Leve (2024)

  • A Special Night in Santiago (2024)

  • Christian Galvez Trio Live (2024)

  • Cinetico Live (2024)

  • Crisalido Live (2024)

  • TEMPO (2025)

  • Groove and Melody (2025)

Singles/EPs

  • The Swinger (2023)

  • The Nomad Lab (2023)

  • Segunda Linea (2023)

  • Nostalgia feat. Marcos Aldana (2023)

  • Cuando Te Vi feat. Luis Salinas (2023)

  • Para Noelia feat. John Patitucci (2023)

  • Sleep feat. Mahesh (2023)

  • New Horizons (2023)

  • Besos Usados (2024)

  • El Chasqui (2024)

  • Like an actor (2025)

  • Danza della sera (2025)

  • In the circle (2025)

Felipe “Vakuno” Salas Albums

  • VaQno Quartet (2025)

Appearances

  • ZUDAKA JAZZ CORP (Zudaka Jazz Corp, 2025)

  • Mood (Felipe Duhart, 2025)

  • Leve (Christian Gálvez, 2024)

  • Chincol (Juan Pablo Salvo, 2020)

  • Big Band (Juan Pablo Salvo, 2022)

Sebastián Acevedo Albums

  • VaQno Quartet (2025)

  • Quinta Temporada (Joaquín Fuentes, 2025)

Singles/Tracks

  • Blues For Dani feat. Christian Galvez (Pedro Olivares Electric BeBop Quintet, 2025-03-24)

Quotes

“Christian is a very inventive and sensitive musician—an humble offering from his musical banquet.” | Billy Cobham, Bear Club Wien, 2023-11-29  https://bearclubvienna.com/event/christian-galvez-trio-jazz-and-wine-vienna-2/

“Christian Gálvez is the best new bass player I’ve heard in years; his playing is fluid and melodic-like a Pat Martino on electric bass. | Jeff Berlin, Bear Club Wien, 2023-11-29  https://bearclubvienna.com/event/christian-galvez-trio-jazz-and-wine-vienna-2/

“Christian is a great musician—I can’t wait to hear his new projects.” | Dennis Chambers, Bear Club Wien, 2023-11-29 — https://bearclubvienna.com/event/christian-galvez-trio-jazz-and-wine-vienna-2/

“He debuts as a leader… marking a milestone in his trajectory with a deeply authorial work where the Hammond organ is central.” | Música Chilena, 2025-11-17 https://www.musicachilena.cl/v2/felipe-vakuno-salas-presenta-vaqno-quartet-su-primer-disco-como-lider-junto-a-pez-records/

“A promising, talented and powerful project: that’s Da-Trío.” | CulturayTendencias.cl, 2023-02-07 — https://culturaytendencias.cl/asi-es-da-trio-la-propuesta-chilena-de-jazz-joven-que-debes-conocer/

“The bass… and Sebastián Acevedo’s drums converse with the fluency of veterans of a thousand battles.” | Progjazz.org, 2023-06-28 https://projazz.cl/web/holman-trio-en-vivo-ritos-de-la-tierra-en-una-nueva-etapa/

Reviews

Vienna

Christian Galvez Trio @ Jazz and Wine in Vienna Bear Club Wien 2023-11-29

https://bearclubvienna.com/event/christian-galvez-trio-jazz-and-wine-vienna-2/

Holman

Holman Trío en vivo: “Ritos de la tierra en una nueva etapa” Progjazz.org 2023-06-28

ttps://projazz.cl/web/holman-trio-en-vivo-ritos-de-la-tierra-en-una-nueva-etapa/

Da-Trío

Así es Da-trío, la propuesta chilena de jazz joven que debes conocer CulturayTendencias.cl 2023-02-07

https://culturaytendencias.cl/asi-es-da-trio-la-propuesta-chilena-de-jazz-joven-que-debes-conocer/

VaQno

Felipe Vakuno Salas presenta “VaQno quartet”, su primer disco como líder junto a Pez Records Música Chilena 2025-11-17

ttps://www.musicachilena.cl/v2/felipe-vakuno-salas-presenta-vaqno-quartet-su-primer-disco-como-lider-junto-a-pez-records/

Profile

Felipe “Vakuno” Salas MusicaPopular.cl 2025-12-04

https://www.musicapopular.cl/artista/felipe-vakuno-salas/

Fuentes

Joaquín Fuentes: “Necesitaba crear una obra que jugara con la invención y la reproducción” La Tercera 2025-06-10

https://www.latercera.com/culto/2025/06/10/joaquin-fuentes-necesitaba-crear-una-obra-que-jugara-con-la-invencion-y-la-reproduccion/

Naima

Naima: Trío musical contemporáneo aborda la improvisación y el jazz gda.com 2022-06-09

https://gda.com/detalle/naima-trio-musical-contemporaneo-aborda-la-improvisacion-y-el-jazz/

STANLEY JORDAN POWER 4tet | Crossover Jazz (USA)

STANLEY JORDAN POWER 4tet | Crossover Jazz (USA)

STANLEY JORDAN POWER 4tet

Jazz, Blues, Rock (USA)

IN COLLABORATION WITH MCM

AVAILABILITY FOR EUROPE

2026 | June 22nd to July 11th

Line-up

Stanley Jordan | Guitar and voice
Miles Davis, Herbie Hancock, Phil Lesh, Dave Matthews Band, Kenny Rogers, Dionne Warwick, Carmen McRae, Les Paul, Stanley Clarke, Art Blakey, Quincy Jones, The String Cheese Incident, Umphrey’s McGee, moe.

Laurence Cottle | Bass
Eric Clapton, Brian Eno, Bill Bruford, Buddy Rich Big Band, Alan Parsons Project, Black Sabbath, Mike Oldfield, Tony Iommi, Cozy Powell, Don Airey, Claire Martin

Kornel Horvath | Percussion
Al Di Meola, Chick Corea, Steve Gadd, John Patitucci, Ferenc Snétberger, László Dés, Gábor Dörnyei, Stanley Jordan, Dom Famularo

Gábor Dörnyei | Drums
Stanley Jordan, Kornel Horvath, Dom Famularo, Pete Lockett, Terry Bozzio, Jojo Mayer, Billy Cobham, Gavin Harrison, Ian Paice, Steve Smith, Chris Coleman

OR

Kenwood Dennard | Drums
Miles Davis, Herbie Hancock, Dizzy Gillespie, Pat Martino, Jaco Pastorius, Sting, Maceo Parker, Marcus Miller, Vernon Reid, John Scofield, The Allman Brothers Band, Phish

Style

A front-row view of Stanley Jordan’s two-handed “touch technique” as both a harmonic engine and a singing voice, powered by a drummer’s drummer and a bassist with prog-jazz precision. The trio moves fluently between modern jazz, groove-driven fusion, and song-form reinventions—keeping the pulse elastic while the harmony opens wide.

Profile

Stanley Jordan Trio frames Jordan’s celebrated touch technique—two-handed tapping applied with piano-like independence—as a complete band language, and the addition of Kornel Horvath opens a new spectrum of rhythmic color. Guitar and voice operate as intertwined narratives: chordal counterpoint, melodic lead lines, and sung phrasing share the same breath. Laurence Cottle brings a deep, articulate low-end that can lock into big-band punch or shift into lyrical, compositional bass lines; Kenwood Dennard answers with a polyrhythmic, colorist approach that turns time into texture without losing drive. With Horvath, the rhythm architecture becomes truly three-dimensional: hand drums, shakers and resonant percussion add micro-dynamics, breath, and timbral “hooks,” creating a live sound that can feel orchestral at conversational volume—virtuosic, never clinical, and built for the immediacy of the room.

Details

  • Jordan’s touch-driven language has inspired superlatives for decades. “Genius is a word often tossed around in musical circles, but it has been rightfully applied to Stanley Jordan.” (Leonard Feather, Los Angeles Times, via stanleyjordan.com, 2019-07-30)

  • Cottle is celebrated for his feel and leadership in large-ensemble contexts. “Special plaudits to bassist Laurence Cottle…” (Frank Griffith, London Jazz News, 2017-05-25)

  • Dennard’s drumming is praised for both drive and imagination. “…a rare kind of joyous abandon… his drums play an integral role…” (Timothy J. O’Keefe, All About Jazz, 2009-03-23)

Stanley Jordan — guitar & voice

American guitarist and vocalist Stanley Jordan is a landmark innovator of the two‑handed “touch technique,” applying piano-like independence to harmony and melody on the fretboard. His 1985 breakthrough Magic Touch reached the top of Billboard’s jazz chart for a record 51 weeks and helped define a new mainstream for modern guitar. A relentless touring artist, he has performed in over 60 countries and moves fluently between straight-ahead jazz, pop/rock reinterpretations, and solo, orchestral-style guitar sets. Alongside his band work, Jordan has collaborated widely—appearing with artists from Les Paul to major jam-band stages—and has increasingly connected performance with music-therapy-oriented outreach.

Laurence Cottle — bass

Welsh bassist, composer, arranger, and bandleader Laurence Cottle is a high-level force across jazz, fusion, and rock—valued equally for deep pocket, clean articulation, and a distinctly “compositional” approach to the bass line. Based in London since his formative years, he has worked with major names on both sides of the spectrum: jazz collaborations include Wayne Shorter, Al Jarreau, Peter Erskine and the Buddy Rich Big Band, while rock credits include Black Sabbath, Ian Gillan, Cozy Powell, and Ginger Baker. He has recorded with artists such as Eric Clapton, Van Morrison, Brian Eno, and Mike Oldfield, leads his own Big Band (active since 1998), and is also active in education, including a professorship in jazz bass.

Kenwood Dennard — drums

New York–born drummer, composer, and educator Kenwood “Woody” Dennard is celebrated for a rare blend of deep funk feel, jazz vocabulary, and polyrhythmic imagination—driving a band hard while coloring every bar. His performance and recording history spans modern jazz, fusion, and pop, with credits including Miles Davis and Quincy Jones (Live at Montreux), Sting (Nothing Like the Sun), and work alongside artists such as Dizzy Gillespie, Herbie Hancock, Chick Corea, and George Clinton. A key figure in the Brand X story, he is also recognized for simultaneous multi-instrument performance concepts and for his long-standing educational impact: he served as a Berklee College of Music professor, teaching specialist ensembles including the music of Jimi Hendrix and James Brown.

Kornel Horvath — percussion

Hungary-born percussionist Kornel Horvath is widely recognized for a distinctive blend of traditional hand-percussion craft and modern, high-impact groove language. Best known internationally as one half of the electrifying duo tHUNder Duo with drummer Gábor Dörnyei, he was highlighted as the 2016 “Best Percussionist” winner in MusicRadar’s overview of the world’s leading players. His palette centers on resonant hand drums and uncommon percussion colors—designed to add depth, motion, and air around the beat rather than simply doubling it. Horvath’s work spans contemporary jazz and fusion contexts, including recording credits on Al Di Meola’s Consequence of Chaos, and long-running European collaborations such as Trio Stendhal with Ferenc Snétberger and László Dés. Onstage, his role is equal parts engine and orchestrator: micro-dynamics, timbral hooks, and quick, musical responses that turn the rhythm section into a living arrangement.

Selected discography highlights

  • Stanley Jordan — Magic Touch (1985), Stolen Moments (1985), Cornucopia (1990), Friends (2014)

  • Kenwood Dennard — Show No Fear (2018)

  • Brand X (Kenwood Dennard) — Livestock (1977)

Stanley Jordan — Reviews & Features

Stanley Jordan: Live in New York — JazzTimes “A high-energy live reading: independence between lines and chords, elastic timing, and phrasing that always stays singable.” https://jazztimes.com/reviews/albums/stanley-jordan-live-in-new-york/

Stanley Jordan: Friends — JazzTimes “An ‘all-star session’ in a jazz key: guests chosen for musical substance, with Jordan moving naturally between guitar and piano.” https://jazztimes.com/reviews/albums/stanley-jordan-friends/

Stanley Jordan: The Healer — JazzTimes “An in-depth portrait: from life in Sedona to a view of music as a wellness practice, without losing an ounce of sonic curiosity.” https://jazztimes.com/features/profiles/stanley-jordan-the-healer/

Stanley Jordan: “My Spirit Transcends Gender” — JazzTimes “A direct, luminous interview about freedom, authenticity, and identity: music as a space for truth, not a mask.” https://jazztimes.com/features/interviews/stanley-jordan-my-spirit-transcends-gender/

Stanley Jordan’s Solo Guitar for the Soul — JAZZIZ Discovery “A chronicle of solo sets ‘against the stereotypes’: the guitar as an orchestra, balancing timbral control and storytelling.” https://jazzizdiscovery.com/stanley-jordans-solo-guitar-for-the-soul/

Kevin Eubanks/Stanley Jordan: Duets — DownBeat “DownBeat calls it near ‘perfection’: two different personalities in an intimate dialogue where every detail feels inevitable.” https://downbeat.com/reviews/detail/duets

Stanley Jordan: State of Nature — All About Jazz (John Barron) “An enthusiastic review: a ‘well-conceived’ program, highlights and tour-de-force moments, all the way to the dual-action guitar plus piano.” https://www.allaboutjazz.com/state-of-nature-stanley-jordan-mack-avenue-records-review-by-john-barron

Stanley Jordan: Friends — All About Jazz (Larry Taylor) “Wide-ranging versatility: blues, straight-ahead, and classical, with improvisation and virtuosity always serving the tune.” https://www.allaboutjazz.com/friends-stanley-jordan-mack-avenue-records-review-by-larry-taylor

Kevin Eubanks & Stanley Jordan: Duets — All About Jazz (Rob Caldwell) “Instead of ‘fireworks,’ a measured, musical album: two stars choosing listening, space, and phrasing.” https://www.allaboutjazz.com/duets-kevin-eubanks-stanley-jordan-mack-avenue-records-review-by-rob-caldwell

Stanley Jordan: State of Nature — All About Jazz (AAJ Italy Staff) “A critical (and affectionate) look at the comeback: acrobatic technique, ‘unorthodox’ tapping, and a set that reopens the debate about his legacy.” https://www.allaboutjazz.com/state-of-nature-stanley-jordan-mack-avenue-records-review-by-aaji-staff

Stanley Jordan Applies Music to Heal the Body and Mind — All About Jazz (News) “A ‘key’ piece on the therapeutic side: music beyond entertainment, as a practice of care and awareness.” https://www.allaboutjazz.com/news/stanley-jordan-applies-music-to-heal-the-body-and-mind/

State of Nature — SUONO.it “Italian review: the ‘impressive’ effectiveness of touch-tapping in holding harmony and melody together, with an impact that still feels current.” https://content.suono.it/en/music-review/stanley-jordan-state-of-nature/

Friends — SUONO.it “A guest-rich project that brings freshness and expressive variety: Jordan moves between guitar and piano with more balance than in the past.” https://content.suono.it/en/music-review/stanley-jordan-friends/

What feels good: Stanley Jordan sees music as therapy — Times Union “A narrative profile: ‘guitar wizard,’ road and academia, and the idea of music as therapy (without losing its popular dimension).” https://www.timesunion.com/preview/article/What-feels-good-5562020.php

Guitarist Stanley Jordan ’81 Is Sharing His Lauded Techniques — Princeton Alumni Weekly “A crystal-clear explanation of touch-tapping: more notes, more instruments, more sonic planes, and a ‘crystalline’ tone distinct from tradition.” https://paw.princeton.edu/article/guitarist-stanley-jordan-81-sharing-his-lauded-techniques

Stanley Jordan’s Renewed Purpose — KUAF / NPR Music News “Interview plus performance: a recording comeback, personal transformation, and research into the link between music and healing.” https://www.kuaf.com/npr-music-news/2008-07-17/stanley-jordans-renewed-purpose

Stanley Jordan – Part Two (Road Stories) — Hawai‘i Public Radio “A road story full of anecdotes and music: between touring, the studio, and the spectacular simultaneity of guitar plus piano.” https://www.hawaiipublicradio.org/podcast/road-stories/2022-09-23/stanley-jordan-part-two-road-stories-with-dave-lawrence

REVIEW: Jordan Rocks: Stanley Jordan at the Dakota Jazz Club — Twin Cities Arts Reader “Live review from the Dakota: a ‘rock’ night in the best sense, with absolute control, wide dynamics, and a won-over crowd.” https://twincitiesarts.com/2018/02/20/jordan-rocks-stanley-jordan-at-the-dakota-jazz-club/

Stanley Jordan, New Morning, Paris, 9th May 2023 — Music Republic Magazine “Detailed live report: the touch technique as melodic and harmonic independence, and as a palette of timbral ‘colors.’” https://musicrepublicmagazine.com/2023/05/stanley-jordannew-morning-paris-9th-may-2023/

REVIEW: Stanley Jordan. The Jazz Lab, Brunswick — Australian Musician “An enthusiastic chronicle: from an original take on ‘Eleanor Rigby’ to ‘breathtaking’ improvisations that turn time into experience.” https://australianmusician.com.au/review-stanley-jordan-the-jazz-lab-brunswick/

Jordan Plays Jimi: An Interview with Stanley Jordan — The Seattle Star “An interview about the Hendrix project: not ‘just guitar,’ but a human and cultural portrait, with Jordan thinking like a curator and interpreter.” https://www.seattlestar.net/2021/10/jordan-plays-jimi-an-interview-with-stanley-jordan/

Jazz Guitar In The Desert — Jazz Guitar Today “Report/feature: two-hand technique, live activity, and attention to music therapy as a natural extension of his research.” https://jazzguitartoday.com/2022/04/jazz-guitar-in-the-desert-phoenix-arizona/

Record Review (June 1985): Stanley Jordan — DownBeat (PDF, archive) “One of the early ‘historical’ verdicts: Jordan’s guitar is presented as something rare, capable of raising the bar for the scene.” https://www.worldradiohistory.com/Archive-All-Music/DownBeat/80s/85/Down-beat-1985-06.pdf