Review: George Burton’s ‘Reciprocity’

5 years ago

Ralph Waldo Emerson once noted that “to be yourself in a world that is constantly trying to make you something…

Five Genre-Defying Selections from the Newport Jazz Festival’s First Wave of 2020 Performers

5 years ago

The historic Newport Jazz Festival has released a list of 36, out of approximately 60, groups which will appear across…

Review: Kassa Overall’s ‘I THINK I’M GOOD’

5 years ago

The human brain is incredibly powerful. It controls every function of our bodies, allows us to reason, and permits us…

Review: Ben Williams’ ‘I AM A MAN’

5 years ago

On February 1, 1968, a malfunctioning garbage truck fatally crushed two black Memphis sanitation workers – Echol Cole and Robert…

Review: Dave Liebman’s Expansions Group’s ‘Earth’

5 years ago

Scientists estimate that the earth vibrates at varying frequencies between 7.83 and 33.8 Hz. Of course, music also consists of…

Review: Captain Supernova’s ‘The Voyage Never Ends…’

5 years ago

In his early writings, philosopher Søren Kierkegaard utilized various pseudonyms to present distinctive viewpoints and to interact with each other…

Rob Shepherd’s Favorite Jazz Albums: 2009-2019

5 years ago

Editorial Note: Although PostGenre is the home of more than just "jazz" music, much of "jazz" consists of an amalgamation…

Review: Tyshawn Sorey & Marilyn Crispell’s ‘The Adornment of Time’

5 years ago

A single fully-improvised piece of over an hour in length, percussionist Tyshawn Sorey and pianist Marilyn Crispell’s The Adornment of…

Review: Miles Davis’ ‘Rubberband’

5 years ago

Recorded mostly in 1985, the height of Miles Davis’ most critically maligned era, Rubberband is unlikely to be appreciated by…