The great Cameroonian musician Manu Dibango once sagely noted that “Although music is business, [] you don’t start thinking about money from the initial stages when you are in music. First[,] propose to the people what they want[,] and if they like it, then the money comes later.” Far too often, the music business is […]
Joshua Redman did not follow suit after his first vocal album, where are we (Blue Note, 2024). Sure, vocalist Gabrielle Cavassa appears on a track, but gone is the supergroup rhythm section of Aaron Parks, Joe Sanders, and Brian Blade, all of whom left to honor other commitments. Yet, Redman had compositions in the tank […]
Pianist and composer Matthew Shipp seems to be garnering as much publicity for his criticisms of André 3000’s piano album as his own music lately. As is often said, even negative publicity may be good in the long run. This site has certainly given Shipp his fair due, of the positive kind, with the two-part […]
If you have not yet read the two-part interview with saxophonist Ivo Perelman and pianist Matthew Shipp regarding Armageddon Flower (TAO Forms, 2025), it provides important context to the recording. The album features a quartet with those two joined by bassist William Parker and violist Mat Maneri, in a chamber-like, drummer-less session to which these […]
Across cultures and ages, the harp has long been associated with peace and tranquility. Its light tones are painted as a ray of light shining down from the heavens. But there is so much more to the instrument. As George R.R. Martin provided in the literary antecedent to the show Game of Thrones, “a harp […]
In a music so heavily built around collective communication, there is something inherently special about a solo performance. Far too often, playing unaccompanied is perceived as a show of virtuosity. While true mastery is requisite for a solo performance to reach its full potential, the same can be said for any type of performance, from […]
One criticism occasionally levied against the more recent editions of the iconic Newport Jazz Festival is that it somehow abandoned its mooring in jazz. A pseudo-purist faction asserts that the music that first put George Wein’s festival on the map was discarded years ago. But this perspective is deeply flawed. For one, it ignores the […]
My review of emerging piano great Isaiah J. Thompson’s Power of the Spirit (Blue Engine, 2023) ended thusly: “a must-have for enthusiasts of straight-ahead, blood-pumping soul-jazz, 21st-century style. Thompson will be a force to be reckoned with well into the foreseeable future.” While there is still plenty of soul-jazz present in The Book of Isaiah: […]
We continue our conversation with Ivo Perelman and Matthew Shipp on ‘Armageddon Flower’ (TAO Forms, 2025). You can read Part One here. PostGenre: As far as focusing on the heart, does that go back to getting out of the way, too? Obviously, you need mental and technical skills to be able to make the music […]
In Lonely on the Mountain (Bantam, 1980), Western novelist Louis L’Amour wisely noted that “there will come a time when you believe everything is finished, that will be the beginning.” Instead, as Nicholas Copernicus’ heliocentric model posits, our universe is infinite; there is no real end. The concept of continuity is not truly foreign to […]
