Atlanta-born multi-instrumentalist, producer, and vocalist Zacchaeus Paul has officially released his latest single, "STAY," featuring close friend and frequent collaborator donSMITH. Available now across all major streaming platforms, the track serves as a centerpiece for Paul’s highly anticipated sophomore studio album, JAZZ MONEY VOL. 2: SWINGIN’ R&B, which is slated for a full release on October 16 via Candid Records.
Produced by Malachi Mabson under the moniker Down To Mars, "STAY" leans heavily into classic R&B sensibilities, enriched by the silky vocal performances of Paul and Safa, alongside titillating trumpet lines from Milena Casado. The release follows a strategic rollout of singles designed to showcase the breadth of Paul’s musicianship ahead of the album’s autumn debut.
Main Facts of the Release
"STAY" is a deliberate exercise in genre fluidity, crafted to remind audiences of Paul’s expansive vocal and compositional range. Rather than positioning himself as a jazz artist experimenting with R&B, Paul views the single as an authentic reflection of his artistic identity.
The track features contributions from an elite lineup of contemporary musicians. Alongside donSMITH—who is not only a frequent musical collaborator but also one of Paul’s groomsmen—the single benefits from the sophisticated production of Down To Mars and the expressive, atmospheric brass arrangements of trumpeter Milena Casado.
According to promotional materials released by Candid Records, JAZZ MONEY VOL. 2: SWINGIN’ R&B aims to challenge conventional industry categorizations. Paul’s artistic mission with the project is to re-center jazz within a foundational Black cultural context, seamlessly bridging the gap between sacred church traditions, secular soul, hip-hop production, and traditional jazz improvisation.
Chronology and Album Rollout
The rollout for JAZZ MONEY VOL. 2: SWINGIN’ R&B has been meticulously structured to demonstrate the diverse sonic landscape of the upcoming album. "STAY" arrives on the heels of last month’s single, "BETTER MUST COME," a daring reimagining of a traditional spiritual hymn through the lens of swingin’ R&B. Co-produced by Paul and DJ OOOCHILD, that track featured guest verses from Happy Qavah and donSMITH, anchored by the upright bass work of Dezron Douglas.
Earlier singles from the project have established a distinct thematic and sonic trajectory. "LOOK TO THE SKY," released earlier in the campaign, serves as a deeply personal love song and an examination of the cycle of life and death. Featuring furiously swinging postbop infused with spiritual jazz, the track includes a saxophone performance by Eric Wyatt—conceived as an homage to his late mother—and poignant lyrics by Paul reflecting on his anticipation of fatherhood. GRAMMY Award-nominated jazz trumpeter Keyon Harrold also contributed to the track, engaging in intricate horn interplay with Wyatt.
Another notable pre-release track, "SHE F*CK WITH THE RACKS," presents a sharp thematic contrast. Exploring themes of loyalty, street ambition, and the pursuit of capital, the song features soulful harmonies and a spiraling soprano saxophone solo by Kebbi Williams. The track acts as a direct manifestation of Paul’s "jazz money" concept—a modern spinoff of the "hood rich" ethos that marries street-level grit with high-art elegance.
Background Context: The Roots of Swingin’ R&B
To understand the architecture of JAZZ MONEY VOL. 2: SWINGIN’ R&B, industry analysts must examine the unique musical upbringing that shaped Zacchaeus Paul. Born and raised in Atlanta, Paul’s foundational musical education took place within the Black church. In interviews regarding the album’s creation, Paul has frequently emphasized that genres such as jazz, R&B, gospel, and blues do not exist in isolation, but rather belong to the same generational family tree.
"Growing up in the church gave me a foundation that allowed me to understand all of these genres because they’re all connected," Paul stated. "I couldn’t make authentic jazz without understanding gospel. I couldn’t make authentic R&B without understanding jazz, blues, and the church."
Paul’s musical lineage draws from a diverse spectrum of influences. While he was formally introduced to jazz through avant-garde movements and the masterworks of John Coltrane and Duke Ellington, his domestic environment was saturated with the sounds of R&B and soul icons such as Anita Baker, Maze featuring Frankie Beverly, K-Ci & JoJo, Marvin Gaye, Sam Cooke, and The O’Jays. Furthermore, his exposure to the quartet tradition—including the Canton Spirituals and his father’s musical outfit, Walt Beasley and the Gospel Explosion—provided the harmonic blueprints that would eventually inform modern R&B.
By synthesizing these disparate influences, Paul has pioneered a distinct aesthetic that resists easy classification. While his works incorporate the spontaneous creation of classic jazz LPs alongside the cinematic storytelling found in the golden age of hip-hop, he deliberately presents the work under the umbrella of jazz to reclaim its cultural narrative.
Statements and Official Perspectives
The collaborative nature of JAZZ MONEY VOL. 2: SWINGIN’ R&B underscores a community-centric approach to modern music production. By enlisting friends, peer producers, and revered instrumentalists, Paul has fostered an environment of collective artistry.
Reflecting on the creation of "STAY," Paul emphasized the intentionality behind crossing musical boundaries: "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."
Regarding his broader artistic goals, particularly on spiritually inclined tracks like "BETTER MUST COME," Paul noted his desire to honor historical traditions while speaking in a contemporary voice. "I knew I wanted a song on this album that centered on God’s love, and I wanted to reinterpret a hymn in a way that felt authentic to my musical language," he shared. "Rather than simply covering the hymn, I wanted to reimagine it through the lens of Swingin’ R&B. I’m especially proud of how this track came together. It captures exactly what I hoped this album would represent: honoring tradition while pushing it forward in my own voice."
Fact-Based Analysis of Industry Implications
The release of "STAY" and the impending arrival of JAZZ MONEY VOL. 2: SWINGIN’ R&B arrive at a critical juncture for contemporary Black American music. In an era dominated by playlist algorithms that demand strict adherence to specific genre tags, artists who fluidly traverse jazz, R&B, hip-hop, and gospel often face commercial friction.
However, Paul’s approach reflects a broader, highly sophisticated movement among young, classically trained Black musicians who reject commercial compartmentalization. By uniting diamond-sharp hip-hop beats with nimble acoustic jazz drumming, and pairing emcees with long-form improvisational soloists, Paul is demonstrating that intellectual rigor and commercial accessibility are not mutually exclusive.
The critical reception of the album’s preceding singles suggests a growing appetite for genre-agnostic projects that honor historical lineages. By rooting his avant-garde jazz explorations in the visceral traditions of gospel harmonies and R&B groove, Paul is establishing a blueprint for how legacy idioms can be revitalized for modern audiences.
Broader Impact and Upcoming Releases
As the release date for JAZZ MONEY VOL. 2: SWINGIN’ R&B approaches on October 16 via Candid Records, industry observers are closely watching how radio programmers and streaming services categorize the multi-faceted project. The album’s success could pave the way for a more expansive understanding of jazz programming, one that acknowledges its inseparable ties to soul and rhythm and blues.
With "STAY" currently streaming on all platforms, listeners are given yet another window into an ambitious sophomore LP that balances personal storytelling, spiritual reflection, and high-level musicianship. Through projects like this, Zacchaeus Paul continues to assert himself not merely as a multi-instrumentalist or producer, but as an essential architect shaping the future of Black American music.
