Review: Henry Threadgill’s ‘Listen Ship’

2 months ago

Audiences who saw artist-in-residence Henry Threadgill at Big Ears in 2024 were enthralled with five performances, each featuring a different…

Review: Carmen Staaf’s ‘Sounding Line’

2 months ago

Carmen Staaf’s Sounding Line (Sunnyside, 2025) is the second album recently covered on this site that envisions a conversation between…

Hearing the Future: A Conversation with Gary Bartz on ‘The Eternal Tenure of Sound: Damage Control’

2 months ago

As a vehicle to facilitate group improvisation - or collaborative creation in the moment, as some artists refer to it-…

Review: Gary Bartz’s ‘The Eternal Tenure of Sound: Damage Control’

2 months ago

One of our few links to bands of Miles, McCoy Tyner, Pharaoh Sanders, Lee Morgan, and Roy Hargrove, NEA Jazz…

Review: Charlie Rouse’s ‘Cinnamon Flower: The Expanded Edition’

3 months ago

This is the year that some of us learned that tenor saxophonist Charlie Rouse was a leader of other bands…

Review: Patricia Brennan’s ‘Of the Near and Far’

3 months ago

A fierce expansion on the percussive focus of More Touch (Pyroclastic Records, 2022) and the addition of intricate saxophone parts…

Review: Shuteen Erdenebaatar and Nils Kugelmann’s ‘Under the Same Stars’

3 months ago

Under the Same Stars (Motéma, 2025) is the second installment of Mongolian-born and Germany-based pianist-composer Shuteen Erdenebaatar’s planned trilogy drawing…

Review: Nicole Zuraitis’ ‘Live at Vic’s Las Vegas’

3 months ago

Go ahead and try this - Ask your friends who the most prominent female jazz vocalists have been in the…

Review: Dave Douglas’ ‘Alloy’

3 months ago

With Alloy (Greenleaf, 2025), trumpeter, composer, and forward thinker Dave Douglas unveils his latest unique ensemble. Joined by two young…

Folklore: A Conversation with Ben LaMar Gay

3 months ago

In a musical environment that too often propagates concepts of genre, one label in particular often stands out as problematic:…