Todd Mosby – Acoustic and Electric Guitars
Vinnie Colaiuta – Drums
Tom Scott – Saxophone, Aerophone
Lee Sklar – Bass
Luis Conte – Percussion
Michael Manring – Bass
Dapo Torimiro – Keyboards, Acoustic Piano
Nick Lane – Trombone
Lola Kristine – Vocals, Acoustic Piano
Laura Vall – Vocals
Dan Fornero – Trumpet
John Dickson – French Horn
Judy Kang – Cello
Bruce Carver – Glockenspiel

Producer: Jeffrey Weber
Associate Producer, Score Supervisor: Michael Clark
Recorded at: Village Studios, Los Angeles, CA

Recording and Mixing Engineer: Clark Germain
Assistant Engineer: Nicole Schmidt (Village Studios)
Mixed at Wonder World Studio, Hollywood, CA
Recorded at: Shock City Studios, St. Louis, MO.

Recording Engineer: Sam Swaine
Mastering Engineer: Chris Bellman
Bernie Grundman Mastering, Los Angeles, CA
Photographer: Andrew Matusik
Art Direction & Design: Allie Oliver-Barnes
Travel Agent: Megan Stout

American Heartland: Missouri Musician Todd Mosby and Producer Jeff Weber Engage an All-Star Lineup to Capture the Soul of Missouri

St Louis, MO (April 3, 2026) - Sparing no time nor expense, Missouri-born musician Todd Mosby and Mosby Music Group announce American Heartland, a 12-track collection that unites contemporary jazz and folk, New Age, solo acoustic guitar, blues and jazz-rock to capture the soul of his home state. Recorded primarily at The Village Studios and mastered at Bernie Grundman Studios, American Heartland is available for streaming, downloads, and as an 8-panel CD with a 16-page booklet with poetry, images, lyrics and stories about the music.

On American Heartland, Mosby is joined by two-time Grammy-winning producer Jeffrey Weber, associate producer and score supervisor Michael Clark, and top-shelf musicians Vinnie Colaiuta, Tom Scott, Leeland Sklar, Luis Conte, Michael Manring, Dapo Torimiro, Nick Lane, Lola Kristine, Laura Vall, Dan Fornero, Judy Kang, John Dickson, and Bruce Carver.

Mosby's music synthesizes the show-me sounds of Missouri into his own genre-defying, evocative language blending jazz, folk, new age, country, blues, and even samba, to create richly-textured geotemporal soundscapes. In addition to Jeffrey Weber, Mosby has also worked extensively with world-renowned, multi Grammy-winning contemporary folk producer/guitarist and Windham Hill Records founder Will Ackerman. Mosby crafts sophisticated yet accessible music, in the tradition of artists like Steely Dan, Wes Montgomery, James Taylor, and Joni Mitchell. His compositions feature compelling melodic structures and complex instrumental passages that appeal to both seasoned musicians and casual listeners alike.

The production of American Heartland reflects a thoughtful collaboration across some of the industry’s most respected studios and engineers. Recording and mixing were led by Clark Germain, with the album mixed at WonderWorld Studio in Hollywood, California, and additional support from assistant engineer Nicole Schmidt of Village Studios. Additional recording sessions took place at Shock City Studios in St. Louis, Missouri, engineered by Sam Swaine, while select solo acoustic guitar tracks were mixed by Tom Eaton at Sounds & Substance in East Kingston, New Hampshire. The project was mastered by renowned engineer Chris Bellman at Bernie Grundman Mastering in Los Angeles, ensuring a polished and dynamic final sound. Visual elements were equally considered, with photography by Andrew Matusik and art direction and design by Allie Oliver-Barnes, completing a production that is as cohesive visually as it is sonically.

Twin Portraits of Place - Todd Mosby Releases "Land of Green" and "American Heartland"

Two latest singles bring the American Heartland to life through rhythm, texture and memory.

By Whitney Miller

Published March 23, 2026 • 4 min read

There’s a quiet confidence in the decision to release two singles simultaneously, especially when both are so deeply rooted in identity.

With “Land of Green” and “American Heartland,” composer and guitarist Todd Mosby offers more than just a preview of his forthcoming album American Heartland. He presents a dual perspective on what it means to belong to a place.

These are not simply companion tracks. They are two sides of the same landscape. One captures the physical beauty of Missouri in vivid, almost painterly detail, while the other taps into its emotional, cultural and spiritual pulse.

“Land of Green,” arranged by Tom Scott, immediately establishes a sense of immersion. Built in a contemporary big band style, the track is expansive without losing intimacy. There’s a lushness to the arrangement that mirrors the terrain it draws from like the dense greenery of the St. Louis region and the rolling, humid expanses of the Ozarks.

You can hear the environment in the music. The slow drift of air in the heat, the shimmer of sunlight on water, the quiet intensity of a Midwestern summer. The reference to the Huzzah River, which is a beloved canoeing destination, grounds the piece in a real, tactile memory. You are not simply observing the landscape, but you are inside it.

Musically, the track flows with an organic ease. Mosby’s electric guitar moves within the arrangement, interacting fluidly with Scott’s saxophone lines. Beneath them, a world-class rhythm section, featuring Vinnie Colaiuta and Leland Sklar, creates a foundation that feels both grounded and gently propulsive. The textures added by Dapo Torimiro expand the sonic palette, while the vocals of Lola Kristine and Laura Vall bring light and atmosphere, drifting through the arrangement like reflections on water.

If “Land of Green” is about immersion, then “American Heartland” is about motion.

It pulses with energy from the outset, built around an upbeat, contemporary jazz rock framework that is both structured and free-flowing. The heartbeat in the drums is unmistakable with its steady, insistent, grounding where everything unfolds above it.

Structurally, the track is more dynamic and segmented than its counterpart. A stop-time A section introduces tension and space before giving way to a grooving, cross-pollinated swing-style bridge.

It’s in these transitions that Mosby’s compositional instincts shine. He’s less interested in staying within one genre or tradition and instead, he allows them to overlap and inform one another.

The most compelling moment arrives in the latter half of the piece, where a three-part counterpoint - both instrumental and vocal - gradually builds into something resembling a Baptist church choir. It’s a powerful shift that reframes the track entirely.

What begins as a rhythmic, almost abstract composition becomes something communal, spiritual and deeply human. It’s here that the “Heartland” reveals itself not just as geography but as shared experience.

Taken together, these two singles reveal the full scope of Mosby’s artistic vision. He’s not simply documenting a place. He is interpreting it, translating its textures and histories into sound. Missouri becomes both subject and collaborator, and is shaping the music as much as the music reflects it.

There’s also a broader resonance at play. In a time when cultural narratives often lean toward fragmentation, these tracks are unifying. They remind us that identity can be rooted in land, in memory, in sound and that these elements can coexist in harmony.

Most importantly, the music never loses its sense of accessibility. Despite the complexity of the arrangements and the caliber of the musicians involved, there’s an openness to both of these tracks. They invite and draw in the listener through feeling rather than forcing.

As an introduction to the upcoming album American Heartland, “Land of Green” and “American Heartland” suggests an album that is both expansive as well as deeply personal and introspective, one that captures not just a place, but the experience of living within it.