New Album: House Party on Turtle Bay Records, Out April 10

CHAMPIAN FULTON MARKS HER 20TH ALBUM WITH HOUSE PARTY, A LIVE NEW YORK CELEBRATION RECORDED AMONG FRIENDS AT TURTLE BAY HEADQUARTERS

FEATURING HER LONGTIME TRIO WITH HIDE TANAKA ON BASS AND FUKUSHI TAINAKA ON DRUMS, WITH SPECIAL GUESTS KLAS LINDQUIST ON ALTO SAXOPHONE AND CORY WEEDS ON TENOR SAXOPHONE

OUT APRIL 10 VIA TURTLE BAY RECORDS

Pianist and vocalist Champian Fulton is thrilled to announce her 20th album, the aptly titled House Party, arriving April 10 on Turtle Bay Records. She recorded the album live in March 2025 during a private evening at producer Scott Asen’s home — Turtle Bay Headquarters in New York City — backed by her longtime trio of bassist Hide Tanaka and drummer Fukushi Tainaka, with alto saxophonist Klas Lindquist and tenor saxophonist Cory Weeds joining across the program.

Friends, longtime listeners, and close collaborators gathered for dinner and stayed as the music began. As the band kicks off, you hear champagne popping in the background — recalling the informal jam-session atmosphere of Dinah Washington’s 1955 classic Dinah Jams!. The evening also marked Fulton’s 40th birthday.

Across more than twenty years in New York, Fulton has built an international career grounded in the American song tradition and in the swing lineage passed down through her father’s mentor, Clark Terry. Her first paid performance came at Terry’s 75th birthday celebration when she was ten. Since then, she has performed in more than twenty-five countries, and maintained a long-running presence at Birdland, where her live recording Meet Me at Birdland earned Best Vocal Album of the Year from the NYC Jazz Record.

House Party follows Fulton’s earlier Turtle Bay release At Home and continues her practice of recording jazz in intimate, lived-in spaces. The gathering also grew from Cory Weeds’s annual visits to New York with groups of Canadian listeners who spend days moving from club to club across the city. Instead of presenting a traditional concert, Fulton invited everyone to dinner and performed without advance preparation. “I wanted to lean toward real jazz — jazz musicians hanging out with their friends, having a nice time, making music just for that moment. Getting together in a room, talking and eating and listening to music, that’s my reality. That’s what I love.”

“I moved to New York when I was 17, and I’m here and doing a lot of things that I always wanted to do, playing nice gigs and recording with great people. I feel pretty good about turning 40.”

The program opens with Isham Jones and Gus Kahn’s “The One I Love (Belongs to Somebody Else),” a standard Fulton first recorded on her second album, 2010’s The Breeze and I; her longtime affection for the song drew her to revisit it. The trio then tackles Gus Arnheim, Abe Lyman, and Arthur Freed’s “I Cried for You,” which she performs frequently with Tanaka and Tainaka. “I just never get tired of singing and playing that song,” she says.

Several selections carry personal and musical history. Hoagy Carmichael’s immortal “Stardust,” featuring Lindquist on alto saxophone, was a song Fulton often performed with her father and one he requested again the night before the party. Wayne Shorter’s “One by One,” drawn from the Jazz Messengers repertoire, appears here in a trio setting without horns and reflects Fulton’s ongoing exploration of Shorter’s music. Cole Porter’s “Get Out of Town” reunites her with Weeds on a song they first recorded together more than a decade earlier and have recently brought back into performance.

By the time the band reaches Charlie Parker’s “Billie’s Bounce,” the gathering has taken on the character of an extended jam session, allowing soloists to stretch without the time limits of a studio take. Listeners briefly wondered whether the evening was a concert, a session, or a party before settling fully into celebration.

An unplanned encore closes the album — Douglas Cross, George Cory, and J. Windsor’s “Carry Me Back to Old Manhattan,” which Fulton and Weeds had not performed since recording it the previous year. Prompted by an audience request, Fulton quickly reviewed the harmony, laughed through half-remembered lyrics, and carried the performance forward as friends in the room tried to help her recall the words. Asen chose to leave the moment intact — preserving the warmth and spontaneity of the evening.

There’s a bittersweetness just below the surface: the absence of her father Stephen Fulton. A trumpeter, bandleader, and educator closely associated with Clark Terry, he spent his final years on dialysis and passed away in early September 2025. While he couldn’t be there for the party, he was deeply aware of it — and father and daughter remained in daily contact, sharing news of performances, recordings, and future plans. “If I can’t share these things with him, are they really happening?” she asks today.

Listening back now, “It just brings back these warm memories of what fun we had,” Fulton says. “It’s a celebration of me moving to New York as a 17-year-old girl with not a lot of money, and a dream to become a jazz musician and play with great jazz musicians and travel the world and make records. Turning 40, I realize that is exactly what I’m doing. Literally living my young-girl dream.”

Tracklisting

1. The One I Love (Belongs to Somebody Else)

2. I Cried for You

3. Stardust

4. One by One

5. Get Out of Town

6. Billie’s Bounce

7. Carry Me Back to Old Manhattan

Champian As Producer: A STRIKING DEBUT FROM CHICAGO-BASED JAZZ VOCALIST ISABELLA ISHERWOOD THE SWEETEST SOUNDS

At just 23, jazz vocalist, pianist, and actor ISABELLA ISHERWOOD steps onto the national stage with THE SWEETEST SOUNDS, a debut album that reveals a mature artist with a strong command of lyrics, tone, and narrative. The album draws from the Great American Songbook, modern jazz repertoire, and select contemporary material, unified by Isherwood’s clear, warm alto and actor’s sensitivity to language. THE SWEETEST SOUNDS was produced by Champian Fulton, whose work as both pianist and vocalist has earned consistent recognition from the Jazz Journalists Association and DownBeat critics.

A Chicago native, Isherwood’s musical gifts run deep. She began studying classical piano at age four and grew up immersed in jazz recordings through her grandfather, Jerry Libby, a Detroit-based pianist and club owner whose independent label, Sabrina Records, was founded in 1964. Today, Isherwood helps steward the label’s legacy. In tribute to Libby, the catalog number of The Sweetest Sounds is 063, marking June 3, Libby’s birthday.

Despite her young age, Isherwood has already built a résumé that spans concert halls, festivals, and international touring. She has performed with the Chicago Symphony Orchestra at Symphony Hall and Ravinia, appeared at the Chicago Jazz Festival, and toured extensively throughout Europe. Parallel to her music career, she is also an accomplished actor and co-founder of a theater company, bringing a distinctly dramatic and textual awareness to her vocal interpretations.

Joining Isherwood on THE SWEETEST SOUNDS are three outstanding Chicago musicians. Guitarist MIKE ALLEMANA, formerly a member of Charles Earland’s quartet, has shared the stage with Dr. Lonnie Smith, Von Freeman, and Jimmy Cobb, and co-founded the George Freeman/Mike Allemana Organ Quartet. Bassist JOE POLICASTRO, a writer and arranger, leads the Joe Policastro Trio and has performed and recorded with artists including Diane Schuur, Jeff Hamilton, Phil Woods, Tim Ries, Ira Sullivan, and Billy Hart. Drummer ALEJANDRO SALAZAR has toured extensively throughout Europe and the U.S., performing with Bobby Watson, Jon Faddis, Emmet Cohen, and many others.

The title track, “The Sweetest Sounds,” serves as the album’s emotional and conceptual anchor. “These songs aren’t only about romantic love,” Isherwood explains. “They’re about the creative act, the music that exists inside you before it becomes real.” That philosophy shapes performances that feel lived-in rather than ornamental, with each lyric treated as a piece of storytelling.

Three of the album’s twelve tracks are intimate duets with individual band members, underscoring Isherwood’s emphasis on musical dialogue and trust. Highlights include a stripped-down, rhythm-forward take on “Till There Was You,” a spare and emotionally charged reading of Thelonious Monk’s “’Round Midnight,” and a haunting interpretation of “Time Heals Everything” from the musical Mack and Mabel. Isherwood also delivers a solo piano-and-voice performance of “My Buddy,” revealing both restraint and emotional gravity.

The album opens with a bold 5/4 arrangement of “Devil May Care” that reveals Isherwood’s confident maturity. Isherwood reframes Bob Dylan’s “Don’t Think Twice, It’s All Right” as a song not just about a failed relationship but about forgiveness and the freedom it brings. “This Time the Dream’s on Me” receives a contemporary update perfectly suited to her plaintive delivery.

A devoted admirer of Nancy Wilson, Isherwood channels that influence on a fiery rendition of “The Song Is You.” “It captures the euphoria of falling in love for the first time—or experiencing love more deeply than ever before,” she says. Her effervescent take on “Teach Me Tonight” is a perennial audience favorite. A proud lifelong Chicagoan, Isherwood closes THE SWEETEST SOUNDS with “I Love Being Here with You,” which she calls “a love letter to Chicago—the clubs, the city, the musicians who raised me, my band, and the audiences who come out to listen.”

While the repertoire ranges from buoyant swing to blues-tinged introspection, including a striking version of Amy Winehouse’s “Love Is a Losing Game,” the album never feels eclectic for its own sake. Instead, THE SWEETEST SOUNDS presents a cohesive artistic statement: a young artist using classic material to articulate a personal, contemporary voice.

With inventive arrangements, seasoned collaborators, and a vocalist who approaches every song as a dramatic role, THE SWEETEST SOUNDS marks the arrival of Isabella Isherwood as a serious new presence in jazz, one whose artistry extends beyond genre, geography, or age.

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THE SWEETEST SOUNDS will be released April 3, 2026 on Sabrina Records. Physical and digital editions will be available via isabellaisherwood.com, Bandcamp, and all major streaming platforms.

Isabellaisherwood.com

American-Swedish couple Champian Fulton and Klas Lindquist stoke their musical rapport at Jazz at the Bolt

READ THE ARTICLE ON CREATEASTIR.COM

Partners in music and life, the pianist-singer and sax master share a love of jazz’s rich history, plus a fresh warmth and energy on their first album together, At Home

By Alexander Varty

IT WAS PRETTY CLEAR that something was up.

At Home, the new duo release from American pianist and singer Champian Fulton and Swedish saxophonist Klas Lindquist, is marked by the ease of the two musicians’ interplay and the depth of their musical rapport. This is easy-to-listen-to jazz but not Easy Listening jazz: close attention reveals finely etched nuances of tone and phrasing, and a shared love of the jazz past that results in familiar-but-fresh interpretations of such standard tunes as “The Very Thought of You”, “Bésame Mucho”, and “My Monday Date”. Even “Tea for Two” is mined for its inherent wit rather than its cornball potential, a feat last accomplished circa 1927 by the Russian composer Dmitri Shostakovich. (Doubters, look it up.)

But there’s more to At Home than meets the ears—more than just musical rapport and a shared aesthetic sensibility. Yes, jazz duos are necessarily intimate and conversational, but there’s a palpable warmth here that transcends anything performative. It’s just there, like a hand-spun sweater or a hot toddy on a cold night or a nice, big hug.

So what gives?

Reached in her home state of Oklahoma, Fulton has a ready explanation. “We met in the summer of 2023, at the Copenhagen Jazz Festival,” she says. “I was going to be there with my trio, and the festival had said, ‘Oh, we have a great saxophone player. We’d like to put you two together.’ We met at sound check and then we performed, and then we went on tour that week. I think we did five shows, and immediately I was just blown away by his playing. I thought, ‘Wow!’

“I love a horn,” she continues. “I play in a trio a lot, but I’ve recorded with [local sax star] Cory Weeds, and I’ve recorded a lot with my father on trumpet and flugelhorn, and I love having a horn in my band. But not just any horn: the right horn! And then I found out that Klas had a nonet, this nine-piece band, and I became very interested in that. I went, ‘Oh, he’s also a great arranger. Maybe we could do a nonet and it could feature me…’ I had all these ideas, and I immediately started calling him for gigs. ‘Oh, can you come to California? Can you come to New York? Can you do this? Can you do that?’ We started talking more and more and found a very good musical relationship, where our ideas fit well together. We liked working together; it was very natural.

“That’s how it started out. But I will tell you that we did get engaged on New Year’s Eve, so we’re getting married. And I’m very happy!”

Reached in Stockholm via Zoom, Lindquist is equally delighted. After being congratulated, he beams and holds a hand up to the camera; it sports a plain but substantial golden band. No more need be said about that, but the Swedish saxophonist is perfectly happy to talk about his fiancee’s musical charms.

“I think that we are similar, in that we both started to listen to jazz very early on,” he explains. “Even when I was eight or nine, I started to listen to jazz music, and the first CD I ever bought was Charlie Parker’s Now’s the Time. And my first idols, when I started playing the saxophone, were Charlie Parker and Johnny Hodges. I think Champian was, in a way, similar to that, but it was maybe even more extreme, because she started when she was, like, six, and she was around all these great jazz musicians. I wasn’t really, here in Sweden. But that is one reason we have the same taste in jazz. We very often agree on what we think is good, and we both love the depth in jazz music.”

As a performer, Lindquist continues, Fulton “has good timing. She’s got an insane technique in the vocal; her vocal technique is amazing. She’s a brilliant piano player. And this might sound weird, but she is like a skier that goes downhill. Is that an alpine skier? So she is like an alpine skier when she is onstage and she is playing the piano. She throws herself out.”

Lindquist pauses to make a whooshing sound, like a skier cutting a schuss through fresh powder. “I mean, we did 15 sets at [New York City’s fabled jazz club] Birdland this Christmas; she sang right through 15 sets, five days in a row, and no problem at all. She’s very secure in her vocal technique, and she’s not scared at all, especially when she plays the piano. She just jumps right into it. With fast tempos and stuff like that, she’s amazing, and the crowd loves her.”

Local crowds will have three opportunities to test Lindgren’s hypothesis, beginning at the Shadbolt Centre for the Arts on February 13, when he and Fulton will kick off local jazz entrepreneur Weeds’s annual Jazz at the Bolt mini-festival by debuting a new big-band project with the all-star Vancouver Jazz Orchestra. The two will return to the Bolt for an early matinee on Valentine’s Day, offering an appropriately intimate reprise of their At Home duo, before heading over to Frankie’s Jazz Club to play in a quartet setting with local musicians on Saturday night.

“I love playing with big bands,” Fulton says, sounding excited by the prospect of the Vancouver Jazz Orchestra set. “I started off my career in New York, and my very first album, which came out in 2007, is actually with a big band. I’ve always liked that format. But it’s a little bit tricky because a lot of arrangers don’t know how to feature me, because it’s piano and voice. So it’s always been sort of a dream of mine to find a collaborator who understood my vision of what I wanted. Klas understands that I want both instruments to be at the forefront of the arrangements—and I like to play instrumental tunes also, where the piano is featured and where I get the opportunity to comp behind soloists. So it’s a new thing, but a thing I’ve had in my mind for a long time.

“I get these ideas, like creative or artistic ideas, and then I tell them to people and they’re like, ‘Wow, really? How are you going to make that work?’” she adds, laughing. “And then I’ll figure out a way. So when Cory came to me with this idea about Jazz at the Bolt, he mentioned the Vancouver Jazz Orchestra, and I was like, ‘Well, you know, I want to start a big-band project, so let’s do that.’ And then I told Klas, and he went, ‘But we’re not ready!’ Because this was a year ago. But he and I both work well with a deadline in mind, a performance deadline, and so we just finalized the setlist and all the arrangements last week.” 

In other words, you’ll hear it here first, and it should be both thrilling and lovely.

New Album: Flying High "Still Soaring" Out March 12

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Flying High: Still Soaring is the second installment in the Jazz at the Ballroom/ Songbook Ink partnership ongoing Flying High series, conceived and produced by Suzanne Waldowski, founder of the Songbook Ink jazz label and Executive Director of the Jazz at the Ballroom concert series. Created and produced in close collaboration with pianist, vocalist, and musical director Champian Fulton, the album features guest vocal appearances by a formidable line-up of modern band leaders and vocalists including Bria Skonberg, Tahira Clayton, Carmen Bradford, and Nicole Zuraitis, and instrumental contributions from bassist Buster Williams, alto saxophonist and clarinetist Klas Lindquist, bassist Neal Miner, and drummers Fukushi Tainaka and Charles Ruggiero. Coinciding with Women’s History Month, there will be six album release shows will be at Birdland from March 27-29 featuring Champian Fulton, Tahira Clayton and Laura Anglade.

Conceived as a long-term program rather than a one-off release, Flying High reflects Jazz at the Ballroom’s commitment to presenting jazz history through working musicians and live performance. Timed to Women’s History Month, Still Soaring builds on 2024’s Flying High, returning to the women singers who came of age inside the swing and big band era, artists whose voices helped define American popular song while their working lives were shaped by conditions few audiences ever saw. Often the only woman in a traveling ensemble, they channeled repertoire, personality, and authority across the country night after night, while enduring circumstances that demanded both resilience and resolve.

“Women were there from the beginning of this period,” says Fulton. “They were integral to the music and to the entire cultural fabric of the twentieth century. But they made enormous sacrifices to do their jobs.” Singers spent close to fifty weeks a year on the road, traveling by bus or train with all-male bands, navigating racism, sexism, and physical exhaustion while being expected to project glamour and command onstage.

“Conditions were harsh,” Fulton points out. “There were no bathrooms on the bus, no air conditioning. You’re traveling with 18 men, playing one-nighters, and you’re still expected to get up every night dressed to the nines, singing songs that were going to lift people up.”

For Waldowski, the historical weight became clearer the deeper she went. “These singers worked in an industry shaped by objectification and control,” she says. “There was such sexism. They were told what to wear, what to sing, and then got none of the recognition they deserved. This was one of the first times in the twentieth century that women decided to build careers in an industry that normally didn’t welcome them. To be accepted, they had to be both talented and tough.”

This legacy shapes Still Soaring at every level, from repertoire to personnel to sound. Fulton selected the material alongside Waldowski with a specific historical lens: the moment when many singers stepped out from behind large orchestras and began recording in smaller, more flexible settings.

“In the ’50s, a lot of these women made small-group sessions that were off the cuff,” Fulton explains. “They weren’t hyper-arranged. You could hear that they were singing songs they loved with musicians they loved. That looseness — that sense of trust — was something I really wanted here.”

The core ensemble reflects that intention. Miner, Tainaka, and Ruggiero return from the first Flying High volume, joined this time by Buster Williams, whose bass work undergirds some of the most important vocal records of the postwar era.

“I kept listening to my favorite records,” Fulton says, “and Buster was on all of them — Sarah Vaughan, Nancy Wilson, Shirley Horn. Bringing him into this project felt authentic, like pulling a thread through generations of great vocalists and tying it to the present.”

Klas Lindquist, appearing on alto saxophone and clarinet, adds another historical layer. His presence nods to the horn-forward small-group sessions many singers made after the big band era, when instrumentalists and vocalists shared space more fluidly, without hierarchy.

The album’s repertoire draws entirely from the Great American Songbook and swing-era canon, with each selection framed around the singer carrying it forward.

The set opens with “S’posin’,” the 1926 Andy Razaf–Paul Denniker standard, delivered by Juno-awarded and 10 time Downbeat Rising Star, trumpeter/vocalist Bria Skonberg with rhythmic ease and conversational swing. Skonberg also appears on “It’s Been a Long, Long Time,” the Jule Styne–Sammy Cahn ballad made famous by Kitty Kallen with the Harry James Orchestra, a song whose postwar associations still linger in its melodic architecture.

Tahira Clayton, an ambassador of the National Jazz Museum in Harlem and leader of their three house bands, takes on two contrasting facets of the era. On “Good Morning Heartache,” written by Irene Higginbotham and closely associated with Billie Holiday, she inhabits the song’s interior gravity. She then turns to “Swing! Brother, Swing!,” the Fletcher Henderson and Elmer Schoebel anthem built for propulsion, reminding listeners that swing-era singers were required to cut through volume, motion, and spectacle with clarity and force.

Grammy-winner and five-time Grammy-nominee Carmen Bradford’s appearance carries particular resonance. Discovered and hired by William “Count” Basie when she was just 22, she went on to be the featured vocalist with the legendary Count Basie Orchestra for nine years. In 2026, she won the Grammy Award for “Basie Swings the Blues – the Count Basie Orchestra. With her bona fides, Bradford stands as a direct inheritor of the tradition this project examines. Her performance on “What a Little Moonlight Can Do” places lived experience alongside repertoire, collapsing decades of history into the present tense. “Lullaby of the Leaves,” another Bradford feature, nods to Bernice Petkere’s role as one of Tin Pan Alley’s most successful composers, a reminder of how many women shaped the repertoire itself.

Fulton herself, who regularly ranks high in both the Jazz Journalist Awards and Downbeat’s Rising Star Critics Poll, appears as a vocalist on two selections that foreground women’s authorship. “Just for a Thrill,” written by Lil Hardin Armstrong, centers on a composer whose contributions have too often been framed only in relation to others. “Do It Again,” introduced in 1922 by Belle Baker, reflects the porous boundary between vaudeville, jazz, and popular song that early women navigated as working artists. “If Dreams Come True,” presented as a duo with Fulton and Lindquist, emerged organically during the sessions and remains intentionally spare. Fueled by Fulton’s virtuosic piano work, a moment of shared space that reflects how these songs once circulated outside rigid formats. 

The album closes with “Sentimental Journey,” sung by 2025 Grammy-awarded Nicole Zuraitis. A bandleader and composer with a long-standing commitment to women-led collaboration, Zuraitis joined the project without hesitation. “When Champian called me, I didn’t even ask what song it was,” she says. “I just said, ‘I’m in.’” Reflecting on the environment the project creates, she adds, “The faster I built real friendship and camaraderie with women in this industry, the safer I felt — and the more sustainable this life became.”

Beyond the studio, Flying High: Still Soaring continues onstage through Jazz at the Ballroom’s presenting work, including a 2026 return to Birdland on March 27,28 and 29, following 2025 sold-out residencies tied to the first Flying High release. Whether in the studio or on the stage, it’s a welcome reminder that strong, smart, innovative women helped this music take wing.

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PREVIEW THE ALBUM HERE.

Order CDs and LPs from Bandcamp HERE.

CD & Digital Version

1. Sposin - featuring Bria Skonberg *

2. Good Morning Heartache - featuring Tahira Clayton **#

3. If Dreams Come True - featuring Champian Fulton and Klas Lindquist #

4. Just for a Thrill - featuring Champian Fulton *

5. What a Little Moonlight - featuring Carmen Bradford **

6. Swing it Brother Swing - featuring Tahira Clayton **#

7. It’s Been a Long Long Time - featuring Bria Skonberg *

8. Lullaby of the Leaves - featuring Carmen Bradford **

9. Do It Again - featuring Champian Fulton *#

10. Sentimental Journey - featuring Nicole Zuraitis **#

Personnel:

*Champian Fulton (piano), Charles Ruggiero (drums) and Buster Williams (bass)

**Champian Fulton (piano), Fukushi Tainaka (drums) and Neal Miner (bass)

#Klas Lindquist (alto sax and clarinet)

Champian Fulton and Klas Lindquist Announce Upcoming Western Canada and San Francisco Tour – Celebrating Their Duo Album At Home

Internationally acclaimed Jazz pianist and vocalist Champian Fulton and Swedish saxophonist/clarinetist Klas Lindquist are thrilled to announce a special tour across Western Canada and San Francisco this February 2026. The duo will bring their intimate, heartfelt music to audiences, building on the success of their critically acclaimed 2025 duo album At Home (Turtle Bay Records, released May 2, 2025).

At Home captures the warmth and spontaneity of their musical partnership, featuring elegant interpretations of jazz standards like "The Very Thought of You," "Tea for Two," and "Bésame Mucho." Recorded in a cozy living-room setting, the album has been praised as “a conversation of high art” by GRAMMY-winning historian Ricky Riccardi and hailed for its relaxed, timeless charm. In France the album has been nominated for Jazz album of the Year by the Academie du Jazz Prix.

The tour also precedes the release of Champian Fulton’s highly anticipated new album, (her 20th release!) titled House Party, set to drop on April 10, 2026. This vibrant project celebrates 20 years of Champian’s recording success. Recorded live during a party in New York City, the project is meant to pay homage to Dinah Washington’s 1955 “Dinah Jams!” album, with special guests sitting in and champagne popping in the background. 

Performances in Saskatoon SK, Vancouver BC, and Gabriola Island BC are topped off by a special quartet engagement in San Francisco at The Black Cat. The duo will appear in several formats during the tour, including with the Vancouver Jazz Orchestra on February 13 at the Shadbolt Center for the Arts in Burnaby BC. 

Champian Fulton, recognized as “the most gifted pure Jazz singer of her generation” (Detroit Free Press) and “a charming young steward of the mainstream Jazz tradition” (The New York Times) is joined by Klas Lindquist, celebrated for his “technical brilliance” and “elegant style” (Göteborgs-Posten). Their collaboration brings a fresh, conversational energy to the Great American Songbook.

Tickets are available now via venue websites (e.g., The Bassment for Saskatoon shows) and Champian’s official site at www.champian.net. 

Don’t miss this rare chance to witness two masterful Jazz artists in an intimate, conversational setting—fresh from the acclaimed warmth of their duo album At Home and poised to usher in an exhilarating new chapter with House Party.

Tour Dates: 

January 29, 30 & 31 - The Jazz Genius, NYC (quartet) 

February 6 & 7 - The Bassment, Saskatoon SE (duo) 

February 13 - Shadbolt Center for the Arts, Vancouver BC (with the Vancouver Jazz Orchestra)

February 14 - Jazz at the Bolt, Burnaby BC (duo) 

February 14 - Frankie's, Vancouver BC (quartet) 

February 15 - Gabriola Island, BC (duo) 

February 19, 20 & 21 - Black Cat, SF CA (quartet) 

"At Home" Nominated for Academie du Jazz Awards in France

Champian Fulton’s latest release “At Home”, featuring Klas Lindquist, has been nominated for the Prix Jazz Heritage in the Academie du Jazz Awards in France. Winners will be announced in March.

See the full list of nominees here: https://www.academiedujazz.com/

Champian Featured in Hot House Jazz Magazine

Read it HERE