Artists
Leadership Transition at Musicians Foundation
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A native of Zaragoza, Spain, David Gracia has, for almost two decades, made his home in New York City, where he earned a Bachelor of Music in piano performance and a Master of Arts in musicology, both degrees summa cum laude from the Aaron Copland School of Music of Queens College (CUNY). He also holds a Post-Graduate Sistema Fellowship, summa cum laude, from the New England Conservatory.
David founded and led two El Sistema-inspired organizations in New York City: the nonprofit “Orchestrating Dreams” and the WHIN Music Community Charter School, the first elementary charter school modeled after the principles of El Sistema. Concurrently, he also served as Manager of Artist Training Programs at Carnegie Hall and Associate Music Director of “Playground Sessions” (a music software company co-created by Quincy Jones). David has also held senior fundraising positions with New York City’s Mark Morris Dance Group, Kaufman Music Center, and the Jupiter 360 Foundation.
Musicians Foundation President Lisa Megeaski welcomed Mr. Gracia, saying: “With his musical training and professional experience, David has the right mix of talents and vision to lead Musicians Foundation in its next chapter of growth and service to musicians throughout the country.”
About Musicians Foundation: Musicians Foundation is the country’s oldest independent nonprofit organization dedicated to providing financial assistance to musicians and their families in times of need, crisis, or transition. Founded in 1914 by The Bohemians, a New York-based musicians club whose membership has included renowned names in the music industry throughout its 100+ year history, Musicians Foundation was created by musicians for musicians.
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SENSANE, a Derby producer and DJ, will launch his upcoming album on 22 October 2026 via AHK Global Records, his own record label, according to the announcement. The album combines prominent voices from Panjabi music, new talent from India, and UK artists, marking SENSANE’s debut appearance as a vocalist.
The album follows SENSANE’s long-running mix of Panjabi and Bhangra traditions with folk, hip-hop, R&B, garage and electronic production, a sound he’s built his name on as both a touring DJ and label head. AHK Global Records, which he founded, has previously put out Punjabi-facing projects, including a five-track EP with vocalist Kulvinder Johal that reportedly debuted at number six and was described by some as the first Punjabi album to reach that position on its chart.
"This album brings together the sounds and artists that have shaped me," SENSANE said in the announcement. "I wanted the album to honour the legends, give new voices a platform and show where I’m going next. Putting my own voice on a track is a big moment for me, and I can’t wait for people to hear it."
Details about the complete track listing, collaborators, and SENSANE’s vocal debut track will be revealed before the album drops, according to the statement.
Studio CarryOnHarry will be watching whether SENSANE’s own vocal debut changes how listeners place him: as a producer stepping forward, or as an artist who’s been building toward this the whole time.
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C’batch has released “Our Little Pooh Pea (The Last Light) 4 – Cinematic,” an instrumental track built from a previously recorded guitar performance that the artist has reshaped into a new piece.
The release continues a pattern in C’batch’s work: revisiting prior work and reimagining it across multiple versions instead of viewing recordings as standalone pieces. Multiple outlets covering the release have noted that this approach — returning to older ideas and giving them new context — has become something of a signature, with this track functioning as the fourth installment under the “Our Little Pooh Pea (The Last Light)” title.
The piece is instrumental, with the guitar serving as the primary voice throughout the piece rather than functioning as one element among vocals or other lead instruments. Coverage of the release has described the guitar as the connective thread of the piece, tying its texture and tone together in a way multiple reviewers have called cinematic — the arrangement building mood and movement without lyrics to guide it.
Studio CarryOnHarry finds the more interesting story here isn’t the track itself but the method: a musician who views archived material as material for reinterpretation across multiple versions, and building a numbered series out of revisiting it.
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