Review: Javier Nero Jazz Orchestra’s ‘Alkebulan’

2 months ago

With Alkebulan (Outside in Music, 2026), the Javier Nero Jazz Orchestra returns to explore the diasporic roots of its leader…

Review: Lo Steele’s ‘Only a Drop’

2 months ago

Lauren “Lo” Steele’s debut, Only a Drop (Little Village), is in some respects the female equivalent of Kurt Elling’s Superblue, though invariably even…

Alone with Nature: A Conversation with Caroline Davis on ‘Fallows’

2 months ago

Historical literature is replete with stories of humans being alone with nature. There is some romanticized notion that when one…

Review: Gregory Hutchinson’s ‘Kind of Now: The Pulse of Miles Davis’

2 months ago

Just about everywhere you turn in the jazz universe in 2026, there are albums and tours celebrating the centennial birthdates…

Review: Clovis Nicolas’s ‘Blues in Blueprint’

2 months ago

Seldom will one hear a full album of blues on a jazz recording today, particularly performed as imaginatively as on…

Review: Adam O’Farrill’s ‘Elephant’

2 months ago

Most are probably familiar with Adam O’Farrill for his sidemen work, including with Hiromi’s Sonicwonder, Mary Halvorson’s Amyrillis sextet, Anna…

Delight of Process: A Conversation with Thurston Moore and Bonner Kramer on ‘They Came Like Swallows’

2 months ago

A duo is more than simply a musical meeting of two minds; it is a convergence of two paths. A…

Review: Jon Irabagon’s ‘Saturday’s Child’ and ‘Focus Out’

2 months ago

Prolific saxophonist, composer, and bandleader Jon Iragabon released two albums simultaneously on March 13, 2026. First is Focus Out (Irabagast,…

Review: Irreversible Entanglements’ ‘Future Present Past’

2 months ago

Future Present Past (Impulse!, 2026)  is Irreversible Entanglements’ second release for the legendary label after a five-year gap between albums.…

Textural Abundance: Big Ears 2026

2 months ago

For the third consecutive year, photographer Mary Hynes and I made the scenic nine-hour journey to Knoxville, Tennessee, for the annual…