Album Reviews

Review: Phil Haynes’s ‘Terra’

Phil Haynes keeps pushing ahead, often in unexpected directions. Terra (Corner Store Jazz, 2026) is less a revolutionary setting than…

4 weeks ago

Review: Dave Douglas’s ‘Transcend’

We have barely caught our collective breaths. Only three months after trumpeter and composer Dave Douglas released his outstanding Four…

4 weeks ago

Review: Jason Moran, BlankFor.ms and Marcus Gilmore’s ‘Shards’

Shards (Red Hook, 2026) is the follow-up to Refract (Red Hook, 2023) by the trio of pianist Jason Moran, electronic…

1 month ago

Review: Javier Nero Jazz Orchestra’s ‘Alkebulan’

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

1 month ago

Review: Lo Steele’s ‘Only a Drop’

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…

1 month ago

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

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

1 month ago

Review: Clovis Nicolas’s ‘Blues in Blueprint’

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

1 month ago

Review: Adam O’Farrill’s ‘Elephant’

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

1 month ago

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

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

2 months ago

Review: Irreversible Entanglements’ ‘Future Present Past’

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

2 months ago