*Analog Tone Factory is pleased to offer Stand Up! as both a traditional 3-step pressing and a limited numbered 1-step pressing. → Read More
**Please note: If you order other Vinyl/Cds with your Stand Up! pre-order, everything will ship in one package on the 31st of October.
Please note: If you order other Vinyl/Cds with your Stand Up! pre-order, everything will ship in one package on the 31st of October.
International shipping available for all albums.
It is possible to pick up your orders in Paris — choose option in check out.
Stand Up!
Jerome Sabbagh, Ben Monder, Joe Martin, Nasheet Waits
AAA 180g Vinyl
The Standard Edition and Limited Numbered 1-Step Edition both feature AAA 180g Vinyl, cut by Bernie Grundman and pressed at Gotta Groove. Both versions include a high resolution digital download at 192/24.
Track Listing:
1. Lone Jack (for Ray Charles and Pete Rende) 6:02
2. Michelle’s Song (for Michelle Egan) 4:20
3. Lunar Cycle (for Sam Rivers) 4:18
4. The Break Song (for Stevie Wonder) 5:06
5. High Falls (for Meaghan Glennan) 5:57
6. Mosh Pit (for Trent Reznor) 3:21
7. Vanguard (for Paul Motian) 5:17
8. Unbowed (for Kenny Barron) 5:23
Total Time: 39:43
Jerome Sabbagh (tenor saxophone), Ben Monder (guitar), Joe Martin (bass), Nasheet Waits (drums)
About Stand Up!
Jerome Sabbagh reconvenes his longstanding quartet for the first time in more than a decade for the timely Stand Up!. With all original compositions by Sabbagh, the album features guitarist Ben Monder, bassist Joe Martin, and new addition, drummer Nasheet Waits. The album was recorded by James Farber at Power Station, direct to analog tape and mastered by Bernie Grundman.
Read Full Press Release
Saxophonist and composer Jerome Sabbagh has always prided himself on being an artist who stands up strongly for the qualities and principles that he believes in – artistic integrity, bold individuality, social consciousness, and a distinctive personal vision. His vibrant new album, Stand Up!, asserts those values in a number of ways, wedding memorable compositions to fervent playing by Sabbagh’s longtime quartet. Stand Up! was recorded live to analog tape and released on the saxophonist’s own newly-founded label, Analog Tone Factory.
With Stand Up!, due out October 17, 2025, Sabbagh celebrates more than 20 years with his outstanding quartet – guitarist Ben Monder, bassist Joe Martin, and, making his recorded debut with the band, drummer Nasheet Waits. The album marks the group’s first release in over a decade, a period in which Sabbagh has focused on fruitful collaborations with jazz elders including pianist Kenny Barron (Vintage) and the late drummer Al Foster (Heart).
Throughout that time, the quartet has never lost its prominent place among Sabbagh’s priorities. “A lot of my favorite music in jazz has been created by working bands,” the saxophonist states. “Miles Davis’ first and second quintets, the John Coltrane quartet, the Bill Evans Trio, Lovano / Frisell / Motian – those are real bands. Part of what made them so great is the fact that they played together with a certain frequency, even if they didn’t stay together for so many years.”
The centrality of the core idea behind Stand Up! to Sabbagh’s artistic thinking is reflected by the fact that the album shares its title with a composition that the quartet recorded on its second album, 2007’s Pogo. It felt all the more relevant as a cri de cœur today, both as the band’s debut on Sabbagh’s new independent imprint and in regards to the larger backdrop of political turmoil against which it was created.
“I believe that the title captures the feel of the moment,” Sabbagh explains. “I feel both a desire and a sense of urgency to be myself artistically, to try to write music I believe in and play it with the people that I have a strong connection with. It’s also time to stand up for what you believe in, whether that means making an artistic statement or finding a way to affect our political reality in a positive way.”
As far-reaching as that concept may be, the pieces that Sabbagh wrote for Stand Up! are also intimate and deeply personal, each one dedicated to a person (or people) who has impacted the path of his music – some of them friends and colleagues, most of them influences and inspirations.
The rollicking country blues feel of opener “Lone Jack,” for instance, is a tribute to R&B icon Ray Charles, in particular his country-influenced classics like Modern Sounds in Country and Western Music. The title is the name of the Missouri hometown of pianist and producer Pete Rende, also Sabbagh’s partner in Analog Tone Factory and the song’s co-dedicatee. Both “Michelle’s Song” and “High Falls” were written for personal acquaintances of Sabbagh’s, the former a tender ballad buoyed by Martin’s elegant bass, the latter a Brazilian-flavored tune evoking memories of a scenic waterfall in Upstate New York and of seeing João Gilberto perform at Carnegie Hall.
“Lunar Cycle” is a play on Sam Rivers’ “Cyclic Episode,” from the saxophonist’s 1965 debut Fuchsia Swing Song. The piece also shares genetic material with Rivers’ work in its ability to straddle the line between edge-walking audacity and indelible melody. This stems in large part from the heavy influence that Sabbagh draws from singers, which emerges through the warm vocal quality in his own playing. That aspect is also showcased on “The Break Song,” dedicated to Stevie Wonder, a soulful tune that serves as an ideal set-closer for the quartet.
Waits’ gift for explosivity and Monder’s mastery of noise-metal extremes come to fore on the blistering “Mosh Pit,” dedicated to Trent Reznor of the pioneering industrial rock band Nine Inch Nails (and now an acclaimed, Oscar-winning soundtrack composer). “[Nine Inch Nails’] Downward Spiral and The Fragile were both important records for me,” Sabbagh says. “I listened to them a lot, and I found their energy, their creativity, and their unique mix of rawness and sophistication really appealing.”
Another formative experience for Sabbagh was seeing the great drummer Paul Motian play at the Village Vanguard. Even more crucially, Sabbagh and Monder were called to form a new trio with Motian that played a week on that venerated stage shortly before the drummer passed away in 2011. Those experiences, and the singular floating yet grounded sensation generated by Motian’s airy-sculptural approach to the drums, are captured on “Vanguard.” The album closes with “Unbowed,” an homage to the indefatigable Kenny Barron.
As always, Sabbagh has a strong sense of matching artwork with content on his releases, choosing impactful imagery that echoes the album’s themes in oblique yet poetic fashion. The pictures that grace the front and back covers of Stand Up! are both the work of Italian photographer Michele Palazzo, who also provided the cover shot for Heart. The front cover’s play of light, reflection and distortion suggest a Blade Runner sci-fi dystopia; the reverse is a stark black and white image of a lone human figure dwarfed by a looming, oppressive concrete wall. Both conjure the threat of cold, anti-human forces and the desire for escape.
A return to a more human-centered approach is key to Sabbagh’s efforts with Analog Tone Factory, which aims to capture the live sound of bands as effectively and as beautifully as possible, and eschews digital manipulation to do so. On each of the label’s releases, the band records together in one room to analog tape. For ultimate fidelity, Stand Up!, the third release on Analog Tone Factory following Heart and Chris Cheek’s album featuring Bill Frisell, Keepers of the Eastern Door, was recorded live to two track on 1/2 inch tape at 30 ips on a custom tube Ampex 351 tape recorder by famed engineer James Farber. It was mastered in the analog domain by the legendary Bernie Grundman.
Humanity converging to create something of beauty – that is the spirit summoned by Stand Up! “It’s so important to me that this band is still together after all these years,” Sabbagh says. “If you’re going to go out on a limb and take chances to try to come up with something you’ve never played before, you need trust, and we have that in this band. Jazz is social music. We come up with ideas when playing with other people that we wouldn’t necessarily discover by ourselves. That’s one of the great beauties of this music, and a big part of what attracts me to it.”
Production Credits
All compositions by Jerome Sabbagh (SACEM)
Recorded by James Farber at Power Station, New York, live to 1/2 inch two track analog tape on a custom tube Ampex 351 at 30 ips, November 7, 2024
Assistant Engineers: Pete Rende, Matthew Soares, Omisha Chaitanya
Mastered by Bernie Grundman at Bernie Grundman Mastering, Hollywood
Produced by Jerome Sabbagh & Pete Rende
Executive Producer: Ana Mighty Sound
Graphic Design: Element-s/Jérôme Witz
Photos by Michele Palazzo
Band & Session Photography by Adrien H. Tillmann
Analog Tone Factory would like to thank John Chester, Dave Dintenfass, James Farber, Bernie Grundman, Tim Chapman, François Saint-Gérand, David Smith, Marie Griffin, Beattie-Powers Place and the NY State Council on the Arts.
Special Thanks to Ana Mighty Sound for supporting Analog Tone Factory from the very beginning, and for continuing to do so.
This album is dedicated to my early teachers, without whom I would not play music: Annick Chartreux, Philippe Chagne, Jean-Louis Chautemps and Eric Barret.
*Analog Tone Factory is pleased to offer Stand Up! as both a traditional 3-step pressing and a limited numbered 1-step pressing. → Read More
**Please note: If you order other Vinyl/Cds with your Stand Up! pre-order, everything will ship in one package on the 31st of October.
Stand Up!
Jerome Sabbagh, Ben Monder, Joe Martin and Nasheet Waits
AAA 180g Vinyl
The Standard Edition and Limited Numbered 1-Step Edition both feature AAA 180g Vinyl, cut by Bernie Grundman and pressed at Gotta Groove. Both versions include a high resolution digital download at 192/24.
Please note: If you order other Vinyl/Cds with your Stand Up! pre-order, everything will ship in one package on the 31st of October.
International shipping available for all albums.
It is possible to pick up your orders in Paris — choose option in check out.
Track Listing:
1. Lone Jack (for Ray Charles and Pete Rende) 6:02
2. Michelle’s Song (for Michelle Egan) 4:20
3. Lunar Cycle (for Sam Rivers) 4:18
4. The Break Song (for Stevie Wonder) 5:06
5. High Falls (for Meaghan Glennan) 5:57
6. Mosh Pit (for Trent Reznor) 3:21
7. Vanguard (for Paul Motian) 5:17
8. Unbowed (for Kenny Barron) 5:23
Total Time: 39:43
Jerome Sabbagh (tenor saxophone), Ben Monder (guitar), Joe Martin (bass), Nasheet Waits (drums)
About Stand Up!
Jerome Sabbagh reconvenes his longstanding quartet for the first time in more than a decade for the timely Stand Up!. With all original compositions by Sabbagh, the album features guitarist Ben Monder, bassist Joe Martin, and new addition, drummer Nasheet Waits. The album was recorded by James Farber at Power Station, direct to analog tape and mastered by Bernie Grundman.
Read Full Press Release
Saxophonist and composer Jerome Sabbagh has always prided himself on being an artist who stands up strongly for the qualities and principles that he believes in – artistic integrity, bold individuality, social consciousness, and a distinctive personal vision. His vibrant new album, Stand Up!, asserts those values in a number of ways, wedding memorable compositions to fervent playing by Sabbagh’s longtime quartet. Stand Up! was recorded live to analog tape and released on the saxophonist’s own newly-founded label, Analog Tone Factory.
With Stand Up!, due out October 17, 2025, Sabbagh celebrates more than 20 years with his outstanding quartet – guitarist Ben Monder, bassist Joe Martin, and, making his recorded debut with the band, drummer Nasheet Waits. The album marks the group’s first release in over a decade, a period in which Sabbagh has focused on fruitful collaborations with jazz elders including pianist Kenny Barron (Vintage) and the late drummer Al Foster (Heart).
Throughout that time, the quartet has never lost its prominent place among Sabbagh’s priorities. “A lot of my favorite music in jazz has been created by working bands,” the saxophonist states. “Miles Davis’ first and second quintets, the John Coltrane quartet, the Bill Evans Trio, Lovano / Frisell / Motian – those are real bands. Part of what made them so great is the fact that they played together with a certain frequency, even if they didn’t stay together for so many years.”
The centrality of the core idea behind Stand Up! to Sabbagh’s artistic thinking is reflected by the fact that the album shares its title with a composition that the quartet recorded on its second album, 2007’s Pogo. It felt all the more relevant as a cri de cœur today, both as the band’s debut on Sabbagh’s new independent imprint and in regards to the larger backdrop of political turmoil against which it was created.
“I believe that the title captures the feel of the moment,” Sabbagh explains. “I feel both a desire and a sense of urgency to be myself artistically, to try to write music I believe in and play it with the people that I have a strong connection with. It’s also time to stand up for what you believe in, whether that means making an artistic statement or finding a way to affect our political reality in a positive way.”
As far-reaching as that concept may be, the pieces that Sabbagh wrote for Stand Up! are also intimate and deeply personal, each one dedicated to a person (or people) who has impacted the path of his music – some of them friends and colleagues, most of them influences and inspirations.
The rollicking country blues feel of opener “Lone Jack,” for instance, is a tribute to R&B icon Ray Charles, in particular his country-influenced classics like Modern Sounds in Country and Western Music. The title is the name of the Missouri hometown of pianist and producer Pete Rende, also Sabbagh’s partner in Analog Tone Factory and the song’s co-dedicatee. Both “Michelle’s Song” and “High Falls” were written for personal acquaintances of Sabbagh’s, the former a tender ballad buoyed by Martin’s elegant bass, the latter a Brazilian-flavored tune evoking memories of a scenic waterfall in Upstate New York and of seeing João Gilberto perform at Carnegie Hall.
“Lunar Cycle” is a play on Sam Rivers’ “Cyclic Episode,” from the saxophonist’s 1965 debut Fuchsia Swing Song. The piece also shares genetic material with Rivers’ work in its ability to straddle the line between edge-walking audacity and indelible melody. This stems in large part from the heavy influence that Sabbagh draws from singers, which emerges through the warm vocal quality in his own playing. That aspect is also showcased on “The Break Song,” dedicated to Stevie Wonder, a soulful tune that serves as an ideal set-closer for the quartet.
Waits’ gift for explosivity and Monder’s mastery of noise-metal extremes come to fore on the blistering “Mosh Pit,” dedicated to Trent Reznor of the pioneering industrial rock band Nine Inch Nails (and now an acclaimed, Oscar-winning soundtrack composer). “[Nine Inch Nails’] Downward Spiral and The Fragile were both important records for me,” Sabbagh says. “I listened to them a lot, and I found their energy, their creativity, and their unique mix of rawness and sophistication really appealing.”
Another formative experience for Sabbagh was seeing the great drummer Paul Motian play at the Village Vanguard. Even more crucially, Sabbagh and Monder were called to form a new trio with Motian that played a week on that venerated stage shortly before the drummer passed away in 2011. Those experiences, and the singular floating yet grounded sensation generated by Motian’s airy-sculptural approach to the drums, are captured on “Vanguard.” The album closes with “Unbowed,” an homage to the indefatigable Kenny Barron.
As always, Sabbagh has a strong sense of matching artwork with content on his releases, choosing impactful imagery that echoes the album’s themes in oblique yet poetic fashion. The pictures that grace the front and back covers of Stand Up! are both the work of Italian photographer Michele Palazzo, who also provided the cover shot for Heart. The front cover’s play of light, reflection and distortion suggest a Blade Runner sci-fi dystopia; the reverse is a stark black and white image of a lone human figure dwarfed by a looming, oppressive concrete wall. Both conjure the threat of cold, anti-human forces and the desire for escape.
A return to a more human-centered approach is key to Sabbagh’s efforts with Analog Tone Factory, which aims to capture the live sound of bands as effectively and as beautifully as possible, and eschews digital manipulation to do so. On each of the label’s releases, the band records together in one room to analog tape. For ultimate fidelity, Stand Up!, the third release on Analog Tone Factory following Heart and Chris Cheek’s album featuring Bill Frisell, Keepers of the Eastern Door, was recorded live to two track on 1/2 inch tape at 30 ips on a custom tube Ampex 351 tape recorder by famed engineer James Farber. It was mastered in the analog domain by the legendary Bernie Grundman.
Humanity converging to create something of beauty – that is the spirit summoned by Stand Up! “It’s so important to me that this band is still together after all these years,” Sabbagh says. “If you’re going to go out on a limb and take chances to try to come up with something you’ve never played before, you need trust, and we have that in this band. Jazz is social music. We come up with ideas when playing with other people that we wouldn’t necessarily discover by ourselves. That’s one of the great beauties of this music, and a big part of what attracts me to it.”
Stand Up! Recording Session
Production Credits
All compositions by Jerome Sabbagh (SACEM)
Recorded by James Farber at Power Station, New York, live to 1/2 inch two track analog tape on a custom tube Ampex 351 at 30 ips, November 7, 2024
Assistant Engineers: Pete Rende, Matthew Soares, Omisha Chaitanya
Mastered by Bernie Grundman at Bernie Grundman Mastering, Hollywood
Produced by Jerome Sabbagh & Pete Rende
Executive Producer: Ana Mighty Sound
Graphic Design: Element-s/Jérôme Witz
Photos by Michele Palazzo
Band & Session Photography by Adrien H. Tillmann
Analog Tone Factory would like to thank John Chester, Dave Dintenfass, James Farber, Bernie Grundman, Tim Chapman, François Saint-Gérand, David Smith, Marie Griffin, Beattie-Powers Place and the NY State Council on the Arts.
Special Thanks to Ana Mighty Sound for supporting Analog Tone Factory from the very beginning, and for continuing to do so.
This album is dedicated to my early teachers, without whom I would not play music: Annick Chartreux, Philippe Chagne, Jean-Louis Chautemps and Eric Barret.
