Review: Mike Clark’s ‘Itai Doshin’

3 months ago

The title of Mike Clark’s latest record, Itai Doshin (Wide Hive, 2025) comes from the drummer’s Buddhist beliefs, a worldview…

Honoring the Feeling: A Conversation with Mocean Worker (Adam Dorn) and Joe Alterman on ‘Keep the Line Open’

4 months ago

Tribute albums have been an ubiquitous part of modern music. They generally fall into two categories. Some honor a specific…

Review: Noah Garabedian’s ‘Quartets and Solos’

4 months ago

With Quartets and Solos (Contagious, 2025), bassist and composer Noah Garabedian appears for the first time on saxophonist Dayna Stephens'…

Review: ‘Trio of Bloom’ with Nels Cline, Craig Taborn, and Marcus Gilmore

4 months ago

Trio of Bloom (Pyroclastic, 2025) is the first meeting of three titans of creative music, artists to whom genres and…

Review: Henry Threadgill’s ‘Listen Ship’

4 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’

4 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’

4 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’

4 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’

4 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’

4 months ago

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