Jim Hynes

Review: Fieldwork’s ‘Thereupon’

Fresh off their appearance at the Big Ears Festival,  which this author unfortunately missed, the trio Fieldwork return with their…

3 months ago

Review: Caelan Cardello’s ‘Chapter One’

Caelan Cardello is breaking out. As part of vocalist Tyreek McDole's backing quartet at this summer’s Newport Jazz Festival, the…

3 months ago

Review: Miguel Zenon Quartet’s ‘Vanguardia Subterránea: Live at the Village Vanguard’

Vanguardia Subterránea: Live at the Village Vanguard (Miel Music, 2025) is alto saxophonist-composer Miguel Zenón’s first live album with his…

3 months ago

Review: Jacob Garchik’s ‘Ye Olde 2: At The End of Time’

Strap yourself in for an exhilarating ride. Trombonist and composer Jacob Carchik’s Ye Olde 2: At the End of Time…

3 months ago

Review: Linda May Han Oh’s ‘Strange Heavens’

The comparison of a familiar hell to a strange heaven drives Australian-born bassist and composer Linda May Han Oh’s thinking…

3 months ago

Review: Aruán Ortiz’s ‘Créole Renaissance’

The well-decorated Cuban-born, Brooklyn-based pianist Aruán Ortiz has developed his reputation in the avant-garde or free jazz world. Typically, when…

3 months ago

Review: Eric Alexander and Vincent Herring’s ‘Split Decision’

Tenorist Eric Alexander and altoist Vincent Herring celebrate the twentieth anniversary of their first saxophone ‘battle’ on Split Decision (SMOKE…

4 months ago

Review: Adegoke Steve Colson and Iqua Colson’s ‘GLOW: Music for Trio …. Add Voice’

It has been quite some time since we heard from second generation AACM members  Adegoke “Ade” Steve Colson and Iqua…

4 months ago

Review: Josh Lawrence’s ‘Still We Dream’

Still We Dream (Posi-Tone, 2025) is trumpeter and composer Josh Lawrence’s seventh release for the label that prides itself on…

4 months ago

Review: Nicole Glover’s ‘Memories, Dreams, Reflections’

Portland, Oregon native and current NYC resident, tenor saxophonist Nicole Glover may be best known as a member of the…

4 months ago