Atlanta-born and based producer, singe/songwriter and multi-instrumentalist Zacchae’us Paul will be releasing his highly-anticipated sophomore album JAZZ MONEY VOL. 2: SWINGIN’ R&B on October 16, 2026 through Candid Records. Sonically, the album sees the rising Atlanta-based artist crating an effortless blend of jazz, R&B, neo-soul and hip-hop that features razor sharp beats complementing nimble, acoustic jazz drumming, emcees effortlessly spitting bars alternating with jazz solos.There’s R&B-styled crooning and sangin.’ There are producer tags, interludes and spoken word sections. And it’s all anchored in jazz improvisation and cinematic storytelling influenced by hip-hop’s golden age.
JAZZ MONEY VOL. 2: SWINGIN’ R&B will include “LOOK TO THE SKY” “SHE F*CK WITH THE RACKS,” the Zacchae’us Paul and DJ OOOCHILD co-produced “BETTER MUST COME” feat. happy qavah, donSMITH, Keenyn Omari and Derzon Douglas, and the album’s latest single, the Down To Mars-produced “STAY” feat. donSMITH. “Stay” is a modern, Quiet Storm-like bit of R&B featuring twinkling keys and skittering boom bap beats beneath silky crooning from Paul and Safa, some conscious bars from the Atlanta-based artist’s longtime friend and collaborator donSmith, and soulful trumpet from Milena Casado. While remarkably modern and radio friendly, “Stay” is rooted in an old-school desire to slow down and not rush things, to escape in a warm, loving cocoon away from the stresses and worries of the outside world.
“This right here is a classic R&B record featuring one of my closest friends and one of my groomsmen, donSMITH, produced by Malachi Mabson of Down To Mars,” Paul says. “I wanted a record that reminded people I have range—that I can step into this lane just as naturally as any other. This isn’t me trying R&B. This is part of who I am. Today, people love to put artists into boxes. You’re the jazz guy. You’re the R&B guy. You’re the gospel guy. I’ve never looked at music that way. ”
“Growing up in the church gave me a foundation that allowed me to understand all of these genres because they’re all connected,” Paul continues. “I couldn’t make authentic jazz without understanding gospel. I couldn’t make authentic R&B without understanding jazz, blues, and the church. They’re all part of the same family tree. I’m an R&B artist, and I’m a jazz artist. The only difference is that I’m presenting this work under the umbrella of jazz because my mission is to re-center jazz in a Black cultural context. I was introduced to jazz through John Coltrane, Duke Ellington, and the avant-garde movement, but I was also raised on Anita Baker, Maze featuring Frankie Beverly, K-Ci & JoJo, Marvin Gaye, Sam Cooke, and The O’Jays. Add to that the quartet tradition—the Canton Spirituals and my father’s group, Walt Beasley and the Gospel Explosion—and you can hear how those harmonies shaped what eventually became modern R&B. To me, none of these styles exist in isolation. They’re all connected through the Black musical tradition. This record is proof that I don’t have to choose one lane. I do this.”
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