FATHERS is a collective of acclaimed artists and producers, renowned for their jazz-rooted musicianship, their production acumen and their love of the possibilities one can create in the studio. The collective features:

Kenneth Blume, a producer formerly known as Kenny Beats, who has worked on efforts by Vince Staples, Denzel Curry, Rico Nasty, IDLES, Freddie Gibbs, Geese, Weezer and a long list of others, He has also invited Doja Cat, Thundercat and Skrillex to participate in viral, streamed concepts across both Twitch and YouTube.

Kiefer Shackelford, a keyboardist and producer best known as Kiefer. Shackelford’s own work has earned acclaimed for his uniquely atmospheric blend of jazz, electronic music and hip hop. As a collaborator and producer, he has worked with Terrace Martin and Anderson .Paak. He produced two tracks on .Paak’s Grammy Award-winning 2019 album, Ventura, including the album’s lead single “King James.”

Ben “CARRTOONS” Carr, a New York-based genre-blurring multi-instrumentalist and artist, who in addition to producer-led projects like last year’s Space Cadet has gained traction through his inventive socials, multiple NPR Tiny Desk Concert appearances and production work with George Clinton, Freddie Gibbs, Jadakiss, Usher, and Roy Ayers. With FATHERS, Carr takes up bass duties.

Nate Smith a highly-respect and influential drummer, songwriter and producer, who has collaborated with an impressive and eclectic list of artists including Michael Jackson, Brittany Howard, Jon Batiste, Pat Metheny, Dave Holland, Childish Gambino, Vulpeck and a growing list of others. Earlier this year, Smith won two Grammy Awards for last year’s LIVE ACTION, a guest-packed effort that showcased his gifts as a conceptualist and as the fulcrum of an astonishing network of artists.

FATHERS core trio — Smith, Carr and Shackelford — can trace their origins back to 2023: Smith assembled the core trio as part of his residency at that year’s Montréal Jazz Festival. Tours of the States and Japan followed, where the trio further developed their chemistry as a working group. “We all write, we all play at a high level, and we’re pushing each other to be better,” says CARRTOONS. “So we know going into anything that there’s going to be an inspiration and a push from everybody else, so that hunger that we all have independently becomes this super-being when we get together.” 

The outfit’s self-titled full-length debut is slated for a Friday, July 10, 2026 release through Blue Note Records. Produced by Blume, the album was recorded at his Los Angeles-based Putnam Hill Studio in an impromptu two day recording session. And as a result, the material possesses the magical spark of spontaneity and serendipity, while fittingly showcasing the talents of three talented musicians vibing and pushing each other.

“I was 95 percent through building my studio, and I asked Kiefer if he could come by with a band and play some instruments,” Blume recalls. “We custom-built our recording console and hadn’t heard anything through it yet. So it was meant to be a test day to make sure the studio was up and running. Kiefer happened to be playing shows with Ben and Nate at the time, and in testing out the equipment we recorded these songs in 48 hours. Turns out the board works just fine.”

The album includes the previously creased “PEARL,” a bit of Bossa Nova-tinged jazz pop that channels Stan Getz anchored around a bubbling groove and a gently swaying and shimmering melody.

To celebrate the album’s release, the trio recently released a half-hour long performance and interview video that features the outfit’s core compositional and performing trio performing stripped down jazzier arrangements of their debut’s material shot at Wonderland Park. The live session showcases that material is equally underpinned by bop era jazz and J. Dilla productions and is rooted in the trio’s soulful musicianship and effortless simpatico. Throughout the session, each member of the trio intuitively knows when to lead and when to follow in service of the melody and the overarching song.

The stylized video was inspired by the Bill Evans Trio’s 1972 appearance on the TV show The Jazz Set and in some way it has a surreal, yet deeply cool air.