In considering America’s musical landscape over the past few decades, it’s obvious there would be an immense void without the songs of JD Souther. As one of the architects of Southern California’s country-rock movement, Souther became well know for his literate, intelligent lyrics and distinctive melodies. He co-wrote Don Henley’s “The Heart of the Matter” and contributed to some of the Eagles' biggest hits, among them “Heartache Tonight,” “Best of My Love” and “New Kid in Town” as well as Linda Ronstadt’s “Prisoner in Disguise,” “Silver Blue,” and “Faithless Love.” Born in Detroit and raised in Amarillo, Souther grew up consumed with music, learning to play violin, clarinet, tenor sax and drums, and before he hit his teens, was completely immersed in jazz. That passion is often evident in his chord progressions, melodies, tonal and instrumental choices, and close, sophisticated harmonies, which owe as much to Gil Evans and Wayne Shorter as they do to the Everly Brothers and the Beatles. Souther was in a jazz trio and a rock and roll band in Amarillo, where he was naturally exposed to and drawn toward the rockabilly music that was prevalent in Texas. He also developed a near obsession with the recordings of the already deceased Hank Williams. Souther studied music in college, but dropped out to head to California. After collaborating with Glenn Frey in the duo Longbranch Pennywhistle and later with Richie Furay and Chris Hillman in the Souther Hillman Furay Band, Souther opted to fly solo. Leaving SHF, he went into the studio to record the diverse and critically acclaimed, Black Rose, an album which would further define him musically and point the way toward the current work, before most notably scoring the 1979 top ten hit “You’re Only Lonely” and then “Her Town, Too” which he wrote and sang with James Taylor. These days, Souther resides in a spacious log home on a hill near Nashville. While soaking up the Music City scene, he began collaborating with local jazz musicians and the result is Souther’s first album in nearly 20 years. “I kept writing pieces that I thought would play well in this band - the poetry and lyric writing never really stops, you know - and the music began to unfold,” he says of the new work. This new chapter in his life has Souther fulfilling a longtime ambition. “You know, if you don’t grow as an artist, you wither. I have always wanted to be a good band leader, especially in this small ensemble configuration: two horns, piano, bass, and drums. We were aiming at an intimate sound, soft but capable of powerful musical statements when indicated. Though our own sound began to quickly emerge, our sonic model early on was probably most like the Miles Davis quintets of the late ‘50s and early ‘60s. Though Miles didn’t have to or need to accommodate a songwriter who sings and plays a bit of guitar,” he says. When pressed to describe his new music, Souther smiles and says, “Chris Walters, the pianist, says this in trying to describe the songs, ‘They are JD’s apocalyptic urban fables accompanied by a jazz ensemble.’ I would add, ‘an extraordinary jazz ensemble.’ These are my favorite players in the city... world-class. I love jazz musicians. Like writers, painters and poets, the great classical and jazz players were the kids you don’t quite remember from school. They were home practicing, jamming, or standing quietly somewhere and watching, learning, and trying to absorb a way to make sense of the world. These players are the best. We can go anywhere and play anything.” It’s obvious his creative spark remains undimmed: “I still love it, am addicted to it,” he confesses. “I love making music and I love writing songs.”