It certainly can be challenging. Fatherhood, at its best, is an improvisation. It’s listening, responding, adapting, and showing up — even when the rhythm changes. And that spirit is reflected in two recent jazz recordings that celebrate the bond between parent and child, each in their own way.

Geoff Mann’s Underground: A Tribute to His Father’s Classic Album

Drummer and composer Geoff Mann is working on a full-length tribute to his father Herbie Mann’s 1969 popular fusion album Memphis Underground. The first single, “Memphis Underground,” was released on April 16, 2025 – what would’ve been Herbie Mann’s 95th birthday. The track feels like a conversation between past and present. Geoff preserves the core groove of the original while pushing it forward with modern textures, featuring artists like Latin GRAMMY-winning flautist Domenica Fossati and Marcos Garcia of Antibalas.

“This album is a love letter to my father, to the musicians who created the original, and to the idea that music can evolve across generations,” Geoff says. “The original Memphis Underground was a radical blend of voices and backgrounds. I’ve tried to approach this tribute with that same spirit of creative risk and reverence.”

It’s soulful, gritty, and rooted in deep respect. Geoff even picked up the flute for the first time after completing the project, a testament to how legacy can still inspire new beginnings.

Nathan & Noah East: Father Son as a Musical Dialogue

Meanwhile, bass legend Nathan East has teamed up with his pianist son Noah for Father Son, their first full collaboration album — one that is as heartfelt as it is musically rich. Released in April 2025, the album showcases their intuitive interplay through originals and classic tunes like “My Favorite Things,” “Killer Joe” (with Hubert Laws) wand “On the Sunny Side of the Street.” It’s an intimate and warm recording, with the spotlight clearly on bass and keys.

“As a father, you try to lead by example,” the senior East says. “Noah showed extraordinary talent from an early age and it’s been a joy to watch him grow into a sought-after artist in his own right. I couldn’t be more proud of the musician and person he has become, and this album is truly a dream come true.”

Noah echoed the sentiment, reflecting, “Music has been a part of my life for as long as I can remember, and I’ve been incredibly fortunate to witness my dad’s career up close. Growing up around so many different amazing musicians has provided me with a rich musical background, which has immensely shaped my playing. Recording this album together is an experience I will cherish forever.”

“This project has been a labor of love, a heartfelt expression of the deep bond between a Father and Son. Music is a powerful, spiritual language that unites us. We have all poured our hearts into every note,” says the the elder East.

The Common Thread

Whether you’re a parent, a child, or just someone who appreciates the power of legacy, these albums offer a reminder: the most meaningful improvisations in life don’t always happen on stage.

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The thunderous power that is conjured up by SMV is awe-inspiring, not just in the low and middle registers, but in the compositions and arrangements as well. This isn’t some ego driven free-for-all that’s all chops and no meat. In my opinion, it’s the compositions that drive this recording, with each bassist unselfishly contributing for the benefit of the whole. I have to admit that of the three players, I’m least familiar with Victor Wooten; but I was easily able to identify each distinctive voice, in fact, this is probably the best setting I’ve heard Stanley play in in quite some time.

To have three of today’s leading bassists, each of which bring much more to the table than just being a recording artist, creating such a cohesive project, speaks volumes of their talents and obvious kinship. One could only hope that this doesn’t end up being a one-off project.

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