Charlie Curnow

“Play Monk” is the new album by European jazz group Ahmed.

The quartet has already released six albums dedicated to reimagining the work of American double-bassist and oud player Ahmed Abdul-Malik. With this new release, they now turn to the material of Malik’s bandmate Thelonious Monk in their search for what they call “future music,” according to their Bandcamp page.

Before going on to develop his own groundbreaking approach to jazz, Abdul-Malik worked in Thelonious Monk’s late 1950’s quartets, appearing on seminal Monk recordings. Including “Thelonious In Action” (1958) and “Misterioso” (1958). As well as the more recently unearthed “Thelonious Monk Quartet with John Coltrane at Carnegie Hall” (2005).

In the music of both Monk and Abdul-Malik, fragments of time are scattered and re-arranged in the present, the group says. An idea that’s also central to the work of the Ahmed quartet.

All four members of the Ahmed quartet have engaged with Monk’s standards in various individual and collective ways over four decades. But “Play Monk,” recorded in the same three-day London studio sessions as the group’s 2025 album “Sama’a (Audition),” is the first released documentation of the group’s versions of Monk’s music which began with a spontaneous interpretation of “Evidence” in Novara, Italy in 2023.

Across 2 discs, Ahmed atomize Monk’s standards. Transforming each composition into a shifting quantum time artifact. Into the fissures of Monk’s form, the group pours their own play. Colliding and dancing with Duke Ellington, Cecil Taylor, Caribbean diasporic music, European improvisation and Jah Shaka.

The cover art was designed by Maja Larrson. And features a photograph of Thelonius Monk at Fisherman’s Wharf in San Francisco in 1968 by Baroness Pannonica de Koenigswarter (1913-1988). A British-born jazz patron, photographer and writer who was a leading patron of bebop, and a member of the Rothschild family.

The album’s cover design places the Monk photograph sideways. So both his profile and the masts of the ships in Fisherman’s Wharf point arrow-like, to the right. Onward.  

“GarciaLive Volume 22: September 25^th, 1971,” the latest addition to the Jerry Garcia vault series, was released earlier this month.

Capturing almost every note across the early and late shows at San Anselmo’s intimate Lion’s Share, it’s a rare slice of two-guitar alchemy between Grateful Dead founder Jerry Garcia and keyboardist Merl Saunders. As well as a document of a parallel musical life for Garcia at the time.

Somewhat of a local phenomenon in small Bay Area musical clubs, Garcia and Saunders were joined that evening by rhythmic anchor and bassist John Kahn, and Grateful Dead drummer Bill Kreutzmann. As well as Tom Fogerty on rhythm guitar, who had recently departed from Creedence Clearwater Revival.

The quintet specialized in power pockets and strong grooves. Which gave Garcia space to elaborate and extend his musical knowledge, free from the expectations that followed him elsewhere. The key ingredient was fun.

This setlist brims with rarities born from the band members’ restless energy for exploration. Including an opening 10-minute Saunders original that dissolves into an ethereal instrumental reading of John Lennon’s “Imagine.” A tender Garcia vocal on Blind Lemon Jefferson’s “One Kind Favor” contrasts with romping blues and the rare Jesse Winchester gem “Biloxi.”

The late show carries the same adventurous spirit, moving from the bluesy shuffle of “Hi-Heeled Sneakers” into an expansive “Summertime.” Fogerty steps forward with ‘50s R&B fire on “Annie Had a Baby” and “W-P-L-J,” the latter once called by Garcia one of his “junior high anthems.”

The set closer, “The Night They Drove Old Dixie Down,” unfortunately does not survive in the 1/4″ analog reels originally captured by Betty Cantor-Jackson and Bob Matthews. Aside from some unavoidable tape wear on “Biloxi,” however, what remains is an intimate performance in a small Marin County club, now preserved in full color.

Or, as the press release describes, they “stretched the room wide.” A demonstration, perhaps, of what a change in context can sometimes do to help spark something new.

While the New York Knicks might not win a championship this year, they’re currently meeting the base requirement to make basketball history in a great basketball town, Ian O’Connor wrote in a recent article for the Athletic. And that’s to play championship-level ball.

The Oklahoma City Thunder are still the heavy betting favorites to win it all. If waiting on the other side of the NBA Finals, they’ll be more than a handful, O’Connor said. And fixing to go back-to-back.

But right now, the way the Knicks are playing defense and running what coach Mike Brown calls “an equal opportunity offense,” it’s hard to see them losing in the Eastern Conference Finals to the Detroit Pistons. Assuming Detroit, a team defined by a singular force in Cade Cunningham, gets there.

In Friday night’s Game 3 of the conference semifinals against the Philadelphia 76ers, the Knicks won their sixth straight playoff matchup. This one by a 108-94 margin. Despite the home team scoring the first nine points and taking a 12-point first-quarter lead.

Many Knicks teams over the decades would have punted in this situation, O’Connor says. With a 2-0 series lead, the Knicks could or should have said the hell with Game 3, especially with forward OG Anunoby sidelined by injury. And waited to take control of the Sixers on Sunday.

But these Knicks don’t give away possessions, never mind games, O’Connor says. They fight for everything as if everything depends on it.

Despite the team’s recent success, Knicks point guard Jalen Brunson has actually described them as something of a work in progress. Stating that they “still have a lot of room that we can grow.”

But if the Knicks keep getting better and better, they’ll frighten whoever they see in the next two rounds, OKC included, says O’Connor.

Even with the team sharing the ball like mad, Brown also understands Brunson will be the one who makes the team’s first title in 53 years possible. Saying that if he’s Linus, “Jalen’s my blanket.”

A comparison that perhaps shows some of the underlying tension beneath a team whose current success seems to rely in large part on “equal opportunity,” in a league often defined by “singular forces.”

In an article for Fast Company, staff writer Elizabeth Segran details a recent revitalization at Gap. And what lessons it could hold for fellow retail brand Lululemon as it grapples with a recent decline in stock value.

After several years of declining sales, over the past two years, Gap, the legacy apparel retailer founded in 1969, has had hit marketing campaigns every season, Segran says. Tapping stars like Young Miko, Troye Sivan, and Katseye.

Fashion designer Zac Posen created a high-fashion version of the Gap label, GapStudio. Which produced red-carpet garments that were worn by celebrities like Timothée Chalamet and Anne Hathaway. It has also launched collaborations with Béis, Dôen, and Victoria Beckham, all of them huge hits.

Gap president and CEO Mark Breitbard has made it clear that this has been the result of a lot of hard work, Segran says. And has required deep knowledge of the brand.

When Breitbard took his current role in 2020, he inherited some deep structural challenges. The brand had too many stores, many of them unprofitable. It had too much inventory, which resulted in heavy discounting. The quality of the clothing had declined.

Breitbard, a Gap veteran from 2009 to 2013 and then from 2017 onwards who is steeped in supply chains and merchandizing, therefore worked to improve the quality of materials and fit.

And consumers have responded, says Segran. People rushed to Gap to buy 90s-style jeans after the video starring global girl group Katseye that featured retro denim styles, and weren’t disappointed. When Gap created an activation at the Coachella music and arts festival focused on sweats, people loved how cozy they were.

This is an important lesson for Lululemon, Segran says. The brand has had many blockbusters in its past. Including its proprietary buttery-soft Nulu fabric, which is in its famous Align pants that have generated $1 billion for the company.

Lululemon customers come to the brand for its high quality and reputation for innovation. Once the pillar of product is in place, it’s possible to bring the brand back into the cultural conversation.

Gap’s Breitbard notably didn’t push out its recent creative campaigns five years ago, Segran says. Instead, he waited until he believed the foundations of the business were in order.

Or as Bill Bernbach said, “a great ad campaign will make a bad product fail faster. It will get more people to know it’s bad.”

McDonald’s announced this month that it has expanded its McValue platform with a new Under $3 Menu and a $4 Breakfast Meal Deal.

Far more than a limited marketing play, this move reflects a calculated response to market conditions and consumer psychology, Gary Occhiogrosso, founder of Franchise Growth Solutions, wrote in Forbes. As well as the increasingly delicate balance among traffic, profitability, and brand strength in the quick-service business.

In 2026, McDonald’s recognizes that millions of consumers still want the convenience, speed, and familiarity that quick-service restaurants provide, Occhiogrosso says. But they are still far more disciplined about how and where they spend their money.

While still visiting restaurants, consumers are visiting more carefully, says Occhiogrosso. They are still eating out, but they are thinking more carefully before ordering.

And that’s why this move by McDonald’s isn’t only about adding another value layer to the menu. It’s about meeting a consumer who is becoming more selective, more price aware, and more sensitive to the feeling of whether a meal is actually worth the money.

Many consumers now approach restaurant purchases the same way they approach grocery shopping or household budgeting. They notice the price more, and compare more. They weigh whether purchases feel justified. And they look for deals, bundles, loyalty perks, and menu items that help them stay within a self-imposed budget.

In practical terms, that means customers are not necessarily abandoning their favorite brands. Often they are simply buying from them differently.

Instead of switching chains, they may order lower on the menu, says Occhiogrosso. Instead of purchasing a full priced combo, they may lean into a value offer. Instead of adding premium items, they may narrow the ticket to the essentials.

For the rest of the industry, this move by McDonald’s presents a challenge as well. Competing on price can bring traffic, protect share, and reinforce routine. But it can also pressure margins, weaken brand distinction, and train consumers to wait for a deal.

The chains that succeed won’t be the ones that merely lower prices, Occhiogrosso says. They’ll be the ones that understand how to deliver real value without sacrificing the health of the business.

All in all, seems like another argument for the importance of a strong and consistent long-term brand experience, regardless of the short-term economic conditions.

Tedeschi Trucks Band released their sixth studio album, “Future Soul,” this week via Fantasy Records.

The album includes the previously released singles “I Got You” and “Who Am I,” as well as the album’s title track. All of which were performed this month on TV on “Jimmy Kimmel Live!” The Kimmel broadcast in turn was actually a live feed from New York City’s Beacon Theatre, where the ensemble is completing a 10-show, sold-out residency.

“I feel like this is the most unique record we’ve done,” guitarist Derek Trucks said in the Concord Records press release.  “It’s my favorite collection of songs that we’ve ever put on a record. From song to song, there’s just not a weak spot.”

The majority of the songwriting on the 11-track album was done by Trucks with singer, songwriter, and guitarist Susan Tedeschi, and bandmates Mike Mattison, Gabe Dixon, and Tyler Greenwell. With the music, which relies uniquely on 12-piece, full-band collaboration, sonically pulling from a variety of influences including funk, rock ‘n roll, blues, soul, and punk.

In a first for the band, the album was produced by Mike Elizondo (Twenty One Pilots, Eminem, Dr. Dre, Carrie Underwood) and co-produced by Trucks.

“We wanted to shake things up,” said Trucks.

The album is the follow-up to the band’s 2022 conceptual quadruple studio album, “I Am The Moon.” As well as their 2025 live release, “Tedeschi Trucks Band and Leon Russell Present: Mad Dogs & Englishmen Revisited (LIVE AT LOCKN’).”

At Glide Magazine, Jim Hynes says new management and the outside perspective of new producer Elizondo perhaps account for the shift toward more radio-friendly, albeit less exploratory turf.

That said, Hynes remarks, “Future Soul” is also arguably the ensemble’s most fully rounded album to date. Coming close to the cliché of “all killer, no filler.”

While “I Am the Moon” was more inner-directed, Hynes says, “Future Soul” is more outward-directed. Although some fans will miss the lengthy improvisatory solos, the band will still likely bring those to the live shows.

It all seems to show how outside perspectives can help bring both new energy, and consistent quality to creative output.

Outdoor apparel retailer Eddie Bauer filed for Chapter 11 bankruptcy protection this month.

The company was founded in 1920 in Seattle by the eponymous Eddie Bauer, who patented the first quilted down jacket in America. And grew from a small sporting goods shop into a nationally recognized name synonymous with rugged, accessible outdoor wear, says Emma Rogers at WebProNews.

The brand now seeks court protection as it attempts to restructure its operations and find a viable path forward in a challenging environment for once-dominant names.

Eddie Bauer has struggled for years to maintain relevance in a market increasingly dominated by performance-oriented brands like Patagonia, The North Face, and Arc’teryx on the premium end, says Rogers. And by fast-fashion and direct-to-consumer upstarts on the value side.

The company’s positioning somewhere between hardcore technical gear and casual weekend wear left it vulnerable to competitors on both flanks. And its stores, many of which located in shopping malls facing their own secular declines, have become liabilities rather than assets as foot traffic erodes.

More broadly, the retail sector has seen a wave of bankruptcies and restructurings since 2025 as tariff-related cost pressures act as an accelerant on pre-existing financial problems.

The outdoor and casual apparel segment has been hit particularly hard. As discretionary spending on clothing is among the first categories consumers cut when confidence falters.

Digital-First, Outdoor Technical Authority

Any revival of Eddie Bauer likely involves a shift from being a “mall staple” back to a technical outdoor gear authority. The most obvious first pillar of this return to excellence would seem to be a doubling down on the brand’s “First Ascent” elite performance line.

In addition to returning the brand to its 1940s roots as a technical innovator, this line could help the brand prioritize technical features such as waterproofing, tapered seams and durability that have become part of the “Gorpcore” trend demonstrated by brands like Patagonia and Arc’teryx. Where high-performance gear is worn as high fashion.

But to succeed, First Ascent must truly perform on the level of those newcomers. As Bill Bernbach reminds us, “A great ad campaign will make a bad product fail faster. It will get more people to know it’s bad.”

Equally critical is the transition to a more agile, digital-first business model. Including deeper focus on e-commerce innovation and strategic wholesale partnerships.

A recently expanded partnership with Outdoor 5, LLC, a specialist in technical apparel, for example, will allow for a more agile supply chain focused on online sales.

Rather than managing high-rent real estate for standalone brick-and-mortar stores, Eddie Bauer might also find success through “shop-in-shop” concepts at major retailers and expanding into the experience economy.

Through collaborations that launch branded adventure clubs and outdoor-focused resorts, such as the upcoming Moab, UT location in partnership with Travel + Leisure, the brand is already evolving into a lifestyle curator.

Such a holistic approach would ensure that Eddie Bauer isn’t just selling a jacket, but an entry point into the outdoor experience.

One that would only be made stronger if also secured by modern commitments to sustainability and product circularity. Including things like “Made-for-Disassembly” construction, or official repair services to tap into the growing secondary market (“Eddie Bauer Re-Used”). As well as blockchain or digital passports to prove the sustainability of materials like RDS-certified down.

Then maybe, just maybe, the goose will soar again.

Minute Maid decided to discontinue its line of frozen canned juices in both the U.S. and Canada in January, citing changing consumer preferences, Good Housekeeping reported.

That means their classic frozen orange juice, lemonade, limeade, pink lemonade, and raspberry lemonade concentrates will soon be gone for good. Any time between now through April, in-store inventory will only be available while supplies last.

The fall in demand is partially due to the degrading quality of orange juice in recent years due to citrus greening, Good Housekeeping contributing writer Stacy Leasca said. A bacterial infection that causes most trees to die within a few years and makes the fruit taste bitter.

The Florida Department of Agriculture and Consumer Services reported that the disease has caused a 92.5% reduction in orange production in the state since it was discovered in 2005. Meaning fewer oranges overall, and less sweet ones at that.

This has made an impact on both demand and prices for orange juice. According to the Florida Citrus Commission last year, 100% orange juice held 67% of the beverage market share within its total fruit juice and fruit drink category in 2022. But this dropped five full percentage points by 2024.

Prices for orange juice have also subsequently fallen, dropping 55.53% per pound over the past year.

Frozen orange juice concentrate was first developed during World War II by scientists as a way to improve the quality of food for American troops.

In the early 1940s, soldiers were supplied with lemon crystals for Vitamin C. But too many of them went uneaten because of their unpleasant taste. Frozen juice concentrate proved to be a better solution.

The technology to create the concentrate was patented after the war, and it quickly became a staple on the American breakfast table. Helping bolster the Florida citrus industry.

For many families in second half of the 20^th century and into the 21^st, frozen juice wasn’t just a beverage. It was part of a routine. The simple ritual of opening a can, adding water, and stirring it together became a small but meaningful component of breakfast for decades.

Today, ready-to-drink juices dominate the modern category. And Coca-Cola, who own Minute Maid, have said they now plan to concentrate efforts there instead.

Refocus on Fitness and Sustainability?

Ultimately, it seems that if Minute Maid were ever to stage of a revival of its frozen line, it wouldn’t just be about bringing back a nostalgic staple. It would more likely be about reimagining the freezer aisle as a destination for things like sustainability and wellness.

As Bill Bernbach said, “The truth isn’t the truth until people believe you… and they won’t listen to you if you’re not interesting.”

By shifting the focus from a simple pitcher drink to a high-nutrient, high-potency “smoothie booster” or an eco-friendly culinary essential, for example, the brand could potentially turn a compact health and carbon footprint into its greatest competitive advantage.

New Minute Maid concentrates infused with electrolytes, collagen, or prebiotics such as a “Frozen Citrus Recovery,” for example, could appeal to a fitness crowd who already use frozen ingredients.

And in an era where consumers are increasingly wary of plastic waste and oversized shipping weights, the “canned, frozen concentrate” model could become more relevant than ever, if given a modern wardrobe.

Then, who knows? Maybe there’s even a world where the iconic “ker-plunk” of a frozen juice cylinder might just become the sound of the next big beverage industry trend.

What do Starbucks’ 2025 collectible Bearista cup and Chipotle’s snack-sized High Protein Cup have in common?

They might be prime examples of the types of restaurant promotions that work in 2026, according to an article at Business Insider.

The Starbucks Bearista, a highly coveted, viral bear-shaped 20 oz. glass cold cup, was introduced in November 2025 as part of the brand’s holiday collection. Featuring a bear in a green beanie holding a drink, it often sold out instantly, causing resale prices to soar.

Meanwhile, Chipotle’s snack-sized High Protein Cup was introduced in December 2025 to cater to the “protein-hacking” trend on social media. And to support customers focusing on macronutrients. Particularly those using GLP-1 medications for weight loss who may prefer smaller, protein-dense meals.

Many brands are currently using limited-time offers or collectible promotions to drive repeat visits, app downloads, or loyalty program sign-ups, Evert Gruyaert, restaurants and food service leader at Deloitte US, told Business Insider. But the question is bigger than a limited-time offer.

Rather, restaurant operators are often trying to align with a broader mission that resonates with consumers, such as sustainability or locally sourced ingredients.

Overall, analysts predict that the restaurant world faces a value-conscious shift in customer behavior in 2026, Business Insider’s Katherine Tangalakis-Lippert reported.

Diners will likely be more selective in the coming year, analysts predicted, and willing to stay home. Meanwhile, costs and competition continue to rise for restaurant operators.

Despite these headwinds, some brands such as fried chicken chain Jollibee are now looking to go public this year, Tangalakis-Lippert said.

And quick-service restaurants with consistent, simple menus like Chick-fil-A could be likely to see gains this year, according to Asit Sharma, analyst for The Motley Fool. As could comfort food concepts that have low overhead and tech stacks purpose-built for digital orders, such as Wingstop.

Some fast casual chains could also have a real edge in this cost environment, said Sharma. These include chains that can monitor inventory levels at restaurants in real time and react quickly and efficiently through centralized ingredient kitchens. Including brands such as mediterranean grill chain Cava.

The small French tidal island of Mont Saint-Michel introduced its new brand identity this month.

Founded in the 8^th century as a religious site, the island became a major center of pilgrimage during the Middle Ages. It earned designation as a UNESCO World Heritage site in 1979 for its striking architecture, dramatic tidal setting, and historical relevance, Brand New notes. And today it attracts an estimated 2.5 million visitors per year.

The new logo and brand identify for the site was commissioned by the Établissement Public National du Mont Saint-Michel, a public body created by the French government. And was designed by the French design studio Graphéine.

Ultimately, the uniquely stacked text of the new logo aims to echo the silhouette of Mont Saint-Michel itself in the collective imagination, Graphéine’s project page says. An image that’s associated with France internationally.

Most representations of Mont Saint-Michel in the press, on postcards, on the web, or in our minds are associated with this unique silhouette, says Graphéine. In fact, there are already hundreds of logos featuring it.

The challenge was therefore to find an original way to represent the Mont that would give this public brand a unique identity while also guaranteeing it solid legal protection.

In keeping with the logo design, an original typeface was also developed in collaboration with Blaze Type. This typeface draws inspiration from the medieval Gothic scripts found in the manuscripts of the island’s Mont-Saint-Michel abbey. Its design is based on a subtle balance between finesse and power.

Intended to soar vertically, the typography echoes the architectural principles of the abbey itself. It’s thus not only functional or aesthetic, but also designed to provoke a form of inner elevation.

The colors of the new identity range from soft shades directly inspired by the Mont-Saint-Michel Bay to more vibrant hues intended to reflect the actions and events promoted by the public institution, says Graphéine.  

While the logo frames the Mont, the new brand identity’s illustration system invites us to view and admire the bay in its entirety. The text appears on the horizon and floats, as if in constant motion. Iconography blends into the landscape and creates a layered effect.

The result is an ethereal and contemplative universe, reflecting both the natural and the protected character of Mont Saint-Michel.