We Speak Music
Saxophonist Bernell Jones II Releases Jazz-Fusion Single ‘1979’
Memphis-born, New York-based saxophonist and composer Bernell Jones II has officially returned with his latest single, “1979.” A groove-heavy jazz fusion release featuring acclaimed keyboard virtuoso Julius Rodriguez, the track blends smoky late-night textures, lo-fi warmth, 1970s disco influences, and sharp modern jazz improvisation into a bold statement of Jones’s rapidly evolving artistic identity.
The origins of “1979” highlight an artist willing to let his music breathe and grow over time. Originally written during the isolation of the 2020 lockdown period, the track began inside Jones’s tiny New York bedroom as part of a raw, self-recorded Bandcamp project, with the multi-instrumentalist performing nearly every instrument himself.
Five years later, after developing a tight-knit live band and refining the arrangement on stage, Jones revisited the composition with a much grander sonic vision—one rooted in live collective chemistry, analog atmosphere, and expansive synth-driven grooves.
To bring this vision fully to life, he enlisted rising jazz innovator Julius Rodriguez, whose genre-defying musicianship and mastery of synthesis became a defining element of the final recording. Renowned for blending avant-garde jazz, hip-hop, R&B, and experimental electronics, Rodriguez delivers a signature synth solo midway through the track, elevating it into a rich, cinematic listening experience.
The song’s title is a direct nod to a monumental milestone in music history: the year Michael Jackson’s landmark album Off the Wall was unleashed, a record that profoundly shaped Jones’s musical upbringing.
“The title ‘1979’ pays homage to my favorite artist of all time, Michael Jackson,” Jones shares. “Off the Wall had a huge impact on me as a child and as a musician. I didn’t want to recreate that album sonically, but I wanted to capture the mood and the feel-good energy it gave me.”
That particular emotional spirit dictates the entire flow of the song. Funk-driven basslines, shimmering synth textures, fluid saxophone melodies, and an understated rhythmic swagger combine to create a soundscape that feels both nostalgic and distinctly modern—a jazz fusion record equally suited for analytical headphone listening, packed downtown clubs, or solitary late-night city drives.
Bernell Jones II has steadily emerged as one of the most compelling and relatable young voices in contemporary jazz, recognized not just for his elite musicianship but for his unique approach to audience connection. Alongside performing with heavyweights like Ms. Lauryn Hill, Wyclef Jean, Olivia Dean, Eric Bellinger, and Philip Harper, Jones has built a substantial online following. His viral music-comedy content and documentary-style series, What It’s Like Being a Musician in NYC, offer an honest and humorous window into the unvarnished realities of a working modern musician.
His ambitious 2024 debut album, TYPEWRITER, showcased his overarching mission to bridge the gap between rigid jazz traditions and broader, genre-fluid audiences by seamlessly incorporating elements of gospel, blues, soul, and deep groove.
With “1979,” Bernell Jones II continues that trajectory, honoring the emotional legacy of the past while pushing jazz fusion into fresh, accessible, and deeply human territory. The final product is a track that feels entirely timeless, immersive, and unmistakably alive.
We Speak Indie Artist
Plain Mister Smith Pieces Together a World of Sound on Bric-À-Brac Attack
Plain Mister Smith returns with Bric-À-Brac Attack, a beautifully offbeat collection of indie-folk, pop and atmospheric songwriting. Released via Amelia Records, the album finds the Vancouver and London-based multi-hyphenate turning fragments of memory, relationships and everyday absurdity into something quietly cinematic.
At its centre is “Grindavik”, a shimmering, reflective track inspired by the Icelandic town shaped by recent volcanic activity. Bright acoustic guitars and steady drums carry a constantly shifting chord progression, mirroring the song’s central metaphor of a relationship under pressure and the hope that its fissures can eventually heal. Featuring Jordan Klassen and Kitt, the track captures the emotional tension that runs throughout the album.
Elsewhere, Bric-À-Brac Attack moves effortlessly between playful guitar-driven moments, lush arrangements and more introspective passages. “Miss Sunshine” brings infectious energy, while collaborations with Findlay Brown, Leeroy Stagger, Krystle Dos Santos and Tyson Mostenbocher add colour to an already eclectic record.
Former guitarist of Canadian darkwave band Moev and a cellist with the Vancouver Philharmonic Orchestra, Plain Mister Smith brings an unusually broad musical perspective to his songwriting. Yet Bric-a-Brac attack never feels overly calculated. Instead, it has the charm of something discovered rather than constructed.
Warm, strange, melodic and emotionally searching, Bric-À-Brac Attack is a record that rewards getting lost in its details. Plain Mister Smith may remain deliberately mysterious, but the music itself speaks with remarkable clarity.
Photo credit: Sandra Lockwood
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