There’s something quietly disarming about Willingness. Paul Kahn doesn’t posture as a late-career revelation; he leans into lived-in truths, letting the songs breathe with the ease of someone who’s done the long walk.
With Catherine Russell steering the session, the record feels less like a comeback and more like a gathering of stories, of players, of time itself. The Grammy-nominated Kahn doesn’t stray away from expectations with Willingness. That’s a good thing, as the craftsman brings gravitas to these original songs, while Russell crafts the production, allowing the EP to shine.
“Stain On My Sleeve” opens the record with a shrug and a groove. Russell assembled a stellar New York-based band, which adds melodic depth without stepping on Kahn’s main themes. Shawn Pelton’s drums lock into Russell Hall’s bass in a jaunty shuffle. Russell adds additional flavors with keyboards and backing vocals. Kahn frames regret without melodrama, riding a relaxed swing that feels earned rather than arranged.
“Memory Lane” is a gentle sidestep into nostalgia. The phrasing is conversational, but the band adds subtle harmonic color. Glenn Patscha’s Hammond C-3 stabs spice things up, as do Russell’s and Layla’s subtle backing vocals. The song is direct, relatable, and memorable.
The title track is the thesis. Kahn meditates on perseverance with a plainspoken grace, while Russell’s arrangement wraps “Willingness” in warmth without softening its edges. Sara Caswell guests on Hardanger fiddle here.
Folk wisdom meets jazz intuition in the enchanting, “Pull Another Leaf From The Clover”. Russell Hall’s double bass sets the pace while Pelton moves things along with a laid-back reggae beat. Patsche provides a melodic C-3 solo, while guitarist Matt Munisteri’s guitar passages support yet are essential. Kahn’s vocals are icing on the cake, perfectly cast in this memorable tune.
There’s a looseness here and guitars and rhythm section drifting just enough to suggest possibility rather than certainty.
“Carrie Ann” is brief but telling. A character sketch that feels like it came from a notebook decades ago and finally found its voice. It’s upbeat, with a youthful optimism. Kahn’s vocals are joyful and pleading, and Munisteri’s guitar work matches the enthusiasm. Hats off to Ben Rosenblum’s flight of fancy accordian work.
A cover of Foy Williams and Sid Robin’s “No One to Cry To” is another standout. The emotional center of the record, where restraint becomes power. The ensemble plays with remarkable empathy, never crowding the lyric. My only quibble with the song is that it’s the last one on the record.
Willingness thrives on understatement. Paul Kahn’s writing doesn’t chase hooks—it trusts the listener to meet it halfway. Russell’s production reflects an understanding of instinct, with surrounding him by players who prioritize feel over flash. The result is a record rooted in Americana but fluent in jazz, where memory, loss, and quiet resilience become communal language.
This isn’t music trying to convince you of its importance. It already knows.
- Paul Kahn – ‘Willingness’ (2026) - May 17, 2026
- Bobby Broom – ‘Notes of Thanks’ (2026) - May 10, 2026
- Catherine Russell – ‘Live at Jazz at Lincoln Center’ (2026) - May 3, 2026
