Donny McCaslin

Saxophonist Donny McCaslin , widely acclaimed for his pivotal role on David Bowie’s opus Blackstar , returns with Lullaby for the Lost , a bold new album that leans into a guitar-driven, rock-influenced aesthetic over the course of nine dynamic and emotionally charged compositions. Embracing expanded sonic textures and fearless exploration, McCaslin continues to venture into uncharted musical territory on his 14th release as a leader, available September 26, 2025 via Edition Records . Following his acclaimed I Want More (2023), McCaslin doubles down on the visceral power of a live band energy, sculpting improvised moments into focused, progressive songs, where emotional resonance meets compositional clarity. “The balance of expressing passion, anger, and the wonder of beauty, while striving for oneness with the band has led to this moment,” McCaslin explains. The record draws from diverse influences, from Neil Young’s primal energy – whose “Rockin’ in the Free World” performance on Saturday Night Live McCaslin calls “an iconic moment in music history” – to the industrial punch of Nine Inch Nails and the righteous roar of Rage Against the Machine. These influences shape tracks like the single “Wasteland” , where McCaslin’s saxophone approaches the intensity of a lead vocal, delivering lines that burn through the mix with the same fire he brought to Bowie’s final masterwork. McCaslin recorded the album with his long-term collaborators: Jason Lindner on keyboards, Tim Lefebvre on bass (who also serves as producer), Jonathan Maron on bass, Zach Danziger and Nate Wood on drums, and Ben Monder on guitar. Their shared versatility and deep musical rapport allow for a seamless fusion of raw rock intensity with nuanced, exploratory sophistication that defines the album’s sound. “So much of the vibe and the feel of this record came from us bouncing ideas, just following that connection wherever it led,” McCaslin shares. A key force in shaping that direction was producer Lefebvre . “I can’t imagine making this music without him,” McCaslin comments. The album’s detailed and expansive production approach was shaped by mixing from legendary producer Dave Fridmann (The Flaming Lips, MGMT), with additional mixing from Steve Wall ( “Celestial” , “Solace” , “Lullaby for the Lost” ) and Aaron Nevezie ( “Stately” , “Mercy” ). The production seamlessly integrates effects like reverb, modulation, and delays to create contrasts between organic and synthetic spaces, highlighting musical moments both subtly and dramatically. The lead single “Celestial” exemplifies the band’s spontaneous chemistry. Born during a soundcheck in Fano, Italy, the track emerged when Lindner laid down a synthesizer sound “full of wonder,” Lefebvre contributed a bass line with “a tinge of Weather Report,” and Wood added a compelling groove. McCaslin recorded the moment on his phone, later developing it into the finished song with Lefebvre and Lindner . The album’s title holds multiple meanings for McCaslin, representing both the weight of personal and collective trauma, and the resilience that can emerge through it. “It’s about hope…that inner light not being extinguished, but instead transformed,” he reflects. “It’s learning to channel pain into something meaningful, even beautiful.” The compositions reflect that balance, merging emotional depth and melodic clarity with the raw, unfiltered energy of the band’s live performances, offering some of McCaslin’s most personal and resonant music to date. The title track was initially inspired by Neil Young’s Le Noise album, with Monder ‘s guitar work creating what McCaslin describes as a spirit reminiscent of Bowie’s “I Can’t Give Everything Away.” The result captures “beauty and yearning over a bed of angst—beautiful angst.” Since his breakthrough with Bowie’s Blackstar , McCaslin has carved new pathways in contemporary jazz fusion, first with Blow (2018), which introduced electric guitars and studio effects, and then with