{"id":103,"date":"2020-02-13T02:36:53","date_gmt":"2020-02-13T02:36:53","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?page_id=103"},"modified":"2021-01-26T11:08:44","modified_gmt":"2021-01-26T17:08:44","slug":"album-reviews","status":"publish","type":"page","link":"https:\/\/postgenre.org\/staging\/4567\/content\/album-reviews\/","title":{"rendered":"Album Reviews"},"content":{"rendered":"\n<p style=\"font-size:clamp(16.293px, 1.018rem + ((1vw - 3.2px) * 0.989), 25px);px\"><strong><em>REVIEWS<\/em><\/strong><\/p>\n\n\n<ul class=\"wp-block-latest-posts__list wp-block-latest-posts\"><li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3928.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3928.jpg?w=1200&amp;ssl=1 1200w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3928.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3928.jpg?resize=1024%2C683&amp;ssl=1 1024w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3928.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3928.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"12194\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_3928-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3928.jpg?fit=1200%2C800&amp;ssl=1\" data-orig-size=\"1200,800\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_3928.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3928.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3928.jpg?fit=1024%2C683&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-lage-scenes-above\/\">Review: Julian Lage Quartet\u2019s  \u2018Scenes from Above\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Julian Lage&nbsp;is unafraid to switch gears. While the guitarist has held together his trio with bassist&nbsp;Jorge Roeder&nbsp;and drummer&nbsp;Dave King, over the last four years, recently he\u2019s been l branching out. First, there was the Joe Henry-produced Speak to Me (Blue Note, 2024) with keyboardists&nbsp;Patrick Warren&nbsp;and Kris Davis, and saxophonist Levon Henry. Last&nbsp;year, Lage toured with\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-lage-scenes-above\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Julian Lage Quartet\u2019s  \u2018Scenes from Above\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3902.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3902.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3902.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"12175\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_3902-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3902.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_3902.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3902.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3902.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-john-ellis-fireball\/\">Review: John Ellis and Doublewide\u2019s \u2018Fireball\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Despite the name of woodwind specialist John Ellis\u2019s Double Wide, suggesting a large ensemble, the group is a quintet, with slightly unusual instrumentation. The name reflects less the size of the group and more the breadth of&nbsp;sounds with Ellis (clarinet, soprano saxophone, bass clarinet, tenor saxophone) on the high end, and a robust&nbsp;bottom featuring sousaphonist&nbsp;Matt\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-john-ellis-fireball\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: John Ellis and Doublewide\u2019s \u2018Fireball\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3839.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3839.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3839.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11999\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_3839-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3839.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_3839.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3839.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3839.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-dream-archives-craig-taborn\/\">Review: Craig Taborn\u2019s \u2018Dream Archives\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">The first release by Craig Taborn since being named a MacArthur Fellow in late 2025, Dream Archives (ECM, 2026) finds the pianist\/composer leading an unusual trio with noted cellist Tomeka Reid and in-demand drummer-vibraphonist Ches Smith. All three are acclaimed bandleaders in their own right, with Reid having an extensive history of collaboration through her\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-dream-archives-craig-taborn\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Craig Taborn\u2019s \u2018Dream Archives\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3584.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3584.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3584.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11920\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_3584-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3584.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_3584.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3584.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3584.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-solastalgia-davis-lutoslwaski\/\">Review: Kris Davis and the Lutos\u0142awski Quartet\u2019s \u2018The Solastalgia Suite\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Coined by the philosopher Glenn Albrecht, the term \u2018solastalgia\u201d centers on the theme of homesickness while still at home with a focus towards surveying environmental damage. \u201cOur environment is transforming around us, and we grieve for the landscapes and ecologies we knew,\u201d says Albrecht. These feelings inspire The Solastalgia Suite (Pyroclastic, 2025), Grammy-winning pianist and\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-solastalgia-davis-lutoslwaski\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Kris Davis and the Lutos\u0142awski Quartet\u2019s \u2018The Solastalgia Suite\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2807.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2807.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2807.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11669\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2807-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2807.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2807.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2807.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2807.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-stand-up-jerome-sabbagh\/\">Review: Jerome Sabbagh\u2019s \u2018Stand Up!\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Over the last few years, tenor saxophonist Jerome Sabbagh has released recordings thst featured his dulcet tones with several jazz&nbsp;elders &#8211; Kenny Barron&nbsp;(Vintage (Sunnyside, 2023)) and the late drummer Al Foster&nbsp;(Heart (Analog Tone Factory, 2024)). With Stand Up! (Analog Tone Factory, 2025), Sabbagh returns with&nbsp;this twenty-year running quartet with guitarist&nbsp;Ben Monder,&nbsp;bassist&nbsp;Joe Martin, and&nbsp;newly added drummer&nbsp;Nasheet\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-stand-up-jerome-sabbagh\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Jerome Sabbagh\u2019s \u2018Stand Up!\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2767-9.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2767-9.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2767-9.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11617\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2767-9-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2767-9.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2767-9.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2767-9.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2767-9.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-martian-sunset-bill-ware\/\">Review: Bill Ware and the Club Bird All Stars\u2019 \u2018Martian Sunset\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">The vibraphonist Bill Ware is perhaps best known for his work with The Jazz Passengers and Groove Collective. He has a cross-genre bent that includes work with Steely Dan and Elvis Costello. He is also incredibly prolific. Since 2016, he has composed over two hundred and fifty pieces, including sixty during the pandemic. These pieces\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-martian-sunset-bill-ware\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Bill Ware and the Club Bird All Stars\u2019 \u2018Martian Sunset\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/0014970438_10.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/0014970438_10.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/0014970438_10.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11596\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-john-ogallagher-ancestral\/0014970438_10\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/0014970438_10.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"0014970438_10\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/0014970438_10.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/0014970438_10.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-john-ogallagher-ancestral\/\">Review: John O&#8217;Gallagher&#8217;s &#8216;Ancestral&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">With Ancestral (Whirlwind, 2025), alto saxophonist and composer John O&#8217;Gallagher explores the late-period work of John Coltrane, specifically Interstellar Space (Impulse!, 1974) and Stellar Regions (Impulse!, 1995). These examinations build upon O\u2019Gallagher\u2019s doctoral work, which argues that so-called \u201cfree\u201d music is not actually free as the term is commonly used. \u00a0Or, in O\u2019Gallagher\u2019s words, researching\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-john-ogallagher-ancestral\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: John O&#8217;Gallagher&#8217;s &#8216;Ancestral&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/simon-led-1-of-4_orig.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/simon-led-1-of-4_orig.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/simon-led-1-of-4_orig.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11588\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/simon-willson-feel-love-review\/simon-led-1-of-4_orig\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/simon-led-1-of-4_orig.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"simon-led-1-of-4_orig\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/simon-led-1-of-4_orig.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/simon-led-1-of-4_orig.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/simon-willson-feel-love-review\/\">Review: Sim\u00f3n Willson&#8217;s &#8216;Feel Love&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">In many ways, the burgeoning improvised music community in Brooklyn resembles downtown New York&#8217;s loft movement of the \u201870s. But it differs in one important way: Brooklyn seems to have an even stronger sense of community, with musicians often collaborating on each other\u2019s albums. Such is the case for Chilean-born, Brooklyn-based bassist and composer Sim\u00f3n\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/simon-willson-feel-love-review\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Sim\u00f3n Willson&#8217;s &#8216;Feel Love&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2618.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2618.jpg?w=2000&amp;ssl=1 2000w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2618.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2618.jpg?resize=1024%2C682&amp;ssl=1 1024w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2618.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2618.jpg?resize=1536%2C1024&amp;ssl=1 1536w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2618.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11581\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2618-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2618.jpg?fit=2000%2C1333&amp;ssl=1\" data-orig-size=\"2000,1333\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2618.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2618.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2618.jpg?fit=1024%2C682&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-memories-home-scofield-holland\/\">Review: John Scofield and Dave Holland\u2019s \u2018Memories of Home\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Guitarist John Scofield and NEA Jazz Master bassist Dave Holland are not only both masters of their respective instruments but incredibly prolific. Versatile too, especially Holland. Since both artists\u2019 rise &#8211; a decade apart &#8211; through their times with Miles Davis, they have respectively explored a wide area of music. That includes intimate duo settings.\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-memories-home-scofield-holland\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: John Scofield and Dave Holland\u2019s \u2018Memories of Home\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2579.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2579.jpg?w=1008&amp;ssl=1 1008w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2579.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2579.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2579.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11569\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2579-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2579.jpg?fit=1008%2C672&amp;ssl=1\" data-orig-size=\"1008,672\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2579.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2579.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2579.jpg?fit=1008%2C672&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-billy-hart-multidirectional\/\">Review: Billy Hart\u2019s \u2018Multidirectional\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Over the past six months, several NEA Jazz Masters &#8211; all of them octogenarian, or close to &#8211; have released records that defy convention and obliterate preconceptions many may have about their work. The combination of age and the prestige of the prestigious NEA title is an enabler. Kenny Barron issued his first vocal album,\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-billy-hart-multidirectional\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Billy Hart\u2019s \u2018Multidirectional\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2547.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2547.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2547.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11557\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2547-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2547.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2547.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2547.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2547.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-allemano-diptychs\/\">Review: Lina Allemano Four\u2019s \u2018The Diptychs\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Give the devil of algorithmic media its due for knowing things about you that you never suspected. Who knew, for instance, that Japanese woodworking videos were an obsession lying dormant in my mind, waiting to be activated? Even though I am hopeless with a tool in my hand\u2014or perhaps because of it\u2014I found these little\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-allemano-diptychs\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Lina Allemano Four\u2019s \u2018The Diptychs\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/unnamed-2.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/unnamed-2.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/unnamed-2.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11553\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-mark-turner-autobiography\/copyright-jimmy-katz\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/unnamed-2.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;JIMMY KATZ&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;COPYRIGHT JIMMY KATZ&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;JIMMY KATZ&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;COPYRIGHT JIMMY KATZ&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"COPYRIGHT JIMMY KATZ\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;COPYRIGHT JIMMY KATZ&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/unnamed-2.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/unnamed-2.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-mark-turner-autobiography\/\">Review: Mark Turner&#8217;s &#8216;Reflections on: The Auto-Biography of an Ex-Colored Man&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">A more cerebral artist, saxophonist and composer Mark Turner, never makes it too easy for the listener. However, he may have reached his zenith with Reflections on: The Autobiography of an Ex-Colored Man (Giant Step Arts, 2025), a work that combines verbal narrative and music. As its title suggests, the album reflects upon the named\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-mark-turner-autobiography\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Mark Turner&#8217;s &#8216;Reflections on: The Auto-Biography of an Ex-Colored Man&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2508.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2508.jpg?w=759&amp;ssl=1 759w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2508.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2508.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11544\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2508-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2508.jpg?fit=759%2C506&amp;ssl=1\" data-orig-size=\"759,506\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2508.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2508.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2508.jpg?fit=759%2C506&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-thomas-morgan-around-forest\/\">Review: Thomas Morgan\u2019s \u2018Around You is a Forest\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">As evidenced by two recent collaborations with Wadada Leo Smith, Jakob Bro\u2019s Loveland Music, is releasing some of the most interesting improvised music recently. Yet, also on the label comes Thomas Morgan\u2019s Around You is a Forest (Loveland, 2025), which may well be the most unique album made in a long time. Morgan long ago\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-thomas-morgan-around-forest\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Thomas Morgan\u2019s \u2018Around You is a Forest\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11527\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2468-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2468.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-chad-taylor-smoke-shifter\/\">Review: Chad Taylor\u2019s \u2018Smoke Shifter\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Drummer&nbsp;Chad Taylor&nbsp;is perhaps best known for his work as a sideman for the likes of James Brandon Lewis, Marc&nbsp;Ribot, Luke Stewart, jaimie branch, and many others, but his latest,&nbsp;Smoke Shifter (Otherly Love), is his sixth album as a&nbsp;leader. Those aforementioned names suggest an edgy, \u2019out\u2019 approach. Instead, with Smoke Shifter, Taylor looks more to&nbsp;the inside,\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-chad-taylor-smoke-shifter\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Chad Taylor\u2019s \u2018Smoke Shifter\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2432.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2432.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2432.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11514\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2432-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2432.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2432.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2432.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2432.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-hikmah-pat-thomas\/\">Review: Pat Thomas\u2019 \u2018Hikmah\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Hikmah (TAO Forms) is the solo album from [Ahmed]\u2019s virtuoso pianist Pat Thomas, whom Matthew Shipp has identified in his recent book as among the Black Mystery School Pianists. While Thomas may be in that school, his playing bears only a few similarities to his contemporary, Shipp. Thomas\u2019s music is seemingly more spiritually focused. As\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-hikmah-pat-thomas\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Pat Thomas\u2019 \u2018Hikmah\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2422.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2422.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2422.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11511\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2422-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2422.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2422.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2422.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2422.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-for-living-lovers-natural-name\/\">Review: For Living Lovers\u2019 \u2018Natural Name\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Natural Name (Sunnyside, 2025) is the second album by For Living Lovers, the acoustic duo of guitarist Brandon Ross and bass guitarist Stomu Takeishi. Ross has appeared in so many contexts &#8211; electric, free, and as a leader and sideman &#8211; that sometimes his versatility on acoustic instruments becomes lost in the conversation. That is,\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-for-living-lovers-natural-name\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: For Living Lovers\u2019 \u2018Natural Name\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2328-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2328-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2328-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11488\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2328-1-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2328-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2328-1.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2328-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2328-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-domo-branch-hand-of-gifts\/\">Review: Domo Branch\u2019s \u2018Hands of Gifts\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">The gratitude of drummer-composer Domo Branch, an in-demand rising star of contemporary jazz, is evident in many ways as on Hand of Gifts (Albina Music Trust, 2025). Artists often honor tradition, as Branch does here, while going beyond simply honoring his mentors.&nbsp; Albina Music Trust, a new label to most, is a non-profit organization and\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-domo-branch-hand-of-gifts\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Domo Branch\u2019s \u2018Hands of Gifts\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2257.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2257.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2257.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11479\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2257-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2257.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2257.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2257.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2257.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-schlesinger-falling-from-earth\/\">Review: Bob Schlesinger\u2019s \u2018Falling From Earth\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">To say that Colorado-based pianist\/composer Bob Schlesinger\u2019s Falling from Earth (Digmatic, 2025) was a long time coming is a vast understatement. The project &#8211; the sixty-eight year old keyboardist\u2019s leader debut &#8211; had been simmering for half a decade. Tracks were recorded in two separate sessions, Sear Sound in New York City and Coupe Studios\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-schlesinger-falling-from-earth\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Bob Schlesinger\u2019s \u2018Falling From Earth\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2234.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2234.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2234.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11475\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2234-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2234.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2234.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2234.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2234.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-jakob-bro-musasaki-montclair\/\">Review: Jakob Bro\u2019s \u2018Murasaki\u2019 and \u2018The Montclair Sessions\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Danish guitarist Jakob Bro is the owner of the Copenhagen-based Loveland Records,, a label issuing two albums within a month of each other: the more recently recorded trio of Bro, trumpeter Wadada Leo Smith, and drummer Marcus Gilmore for Murasaki (Loveland, 2025), and The Montclair Sessions (Loveland, 2025), from a 2022 recording session that paired\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-jakob-bro-musasaki-montclair\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Jakob Bro\u2019s \u2018Murasaki\u2019 and \u2018The Montclair Sessions\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2114.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2114.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2114.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11453\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2114-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2114.jpg?fit=750%2C499&amp;ssl=1\" data-orig-size=\"750,499\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2114.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2114.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2114.jpg?fit=750%2C499&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-stargazer-donelian\/\">Review: Armen Donelian\u2019s \u2018Stargazer\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Stargazer (Sunnyside, 2025) is a reissue of an album by a trio of pianist Armen Donelian with bassist Eddie Gomez and drummer Billy Hart that first appeared forty-five years ago, in 1980. Originally released and distributed on Atlas Records in Japan, it was available only as an import elsewhere. Soon thereafter, Atlas went out of\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-stargazer-donelian\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Armen Donelian\u2019s \u2018Stargazer\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2105.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2105.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2105.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11450\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2105-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2105.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2105.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2105.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2105.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-time-traveler-brooks-barron-garnett\/\">Jazz Detective Zev Feldman Begins Yet Another Journey with New Imprint, Time Traveler Recordings, and Resurrecting Three Largely Forgotten Gems from the Muse Records Catalog<\/a><div class=\"wp-block-latest-posts__post-excerpt\">By now, most readers know that the Jazz Detective, Zev Feldman, does not limit his archival work to Black Friday and Record Store Day. Recently, he unveiled the terrific Charlie Rouse Brazilian recording, Cinnamon Flower (Resonance, 2025). As the archival consultant for Blue Note Records, he has another great one &#8211; Horace Silver\u2019s Silver in\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-time-traveler-brooks-barron-garnett\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Jazz Detective Zev Feldman Begins Yet Another Journey with New Imprint, Time Traveler Recordings, and Resurrecting Three Largely Forgotten Gems from the Muse Records Catalog<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2034.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2034.jpg?w=1452&amp;ssl=1 1452w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2034.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2034.jpg?resize=1024%2C683&amp;ssl=1 1024w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2034.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2034.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11442\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2034-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2034.jpg?fit=1452%2C968&amp;ssl=1\" data-orig-size=\"1452,968\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2034.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2034.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2034.jpg?fit=1024%2C683&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-free-country-liberty-now\/\">Review: Phil Haynes &amp; Free Country\u2019s \u2018Liberty Now!\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Drummer\/composer Phil Haynes constantly leaves listeners anticipating what he will do next. In the past three years alone, he has presented No Fast Food &#8211; his trio with Dave Leibman and Drew Gress, Transitions &#8211; a duet album with Ben Monder, the romantic piano trio called Daydream, the complete American recordings of Four Horns &amp;\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-free-country-liberty-now\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Phil Haynes &amp; Free Country\u2019s \u2018Liberty Now!\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1935.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1935.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1935.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11410\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1935-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1935.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1935.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1935.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1935.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-sarah-elizabeth-charless-dawn\/\">Review: Sarah Elizabeth Charles\u2019s \u2018Dawn\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">While it\u2019s been done in pop, appearing noticeably pregnant on an album cover is a rarity for improvisation-based music. Indeed, vocalist and composer Sarah Elizabeth Charles\u2019 Dawn (Ropeadope, 2025) may be one of the first. The album\u2019s cover is striking &#8211; the artist in a stunning silhouette, leaving no doubt that she is indeed with\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-sarah-elizabeth-charless-dawn\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Sarah Elizabeth Charles\u2019s \u2018Dawn\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1904.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1904.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1904.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11406\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1904-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1904.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1904.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1904.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1904.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-mccaslin-lullaby-lost\/\">Review: Donny McCaslin\u2019s \u2018Lullaby for the Lost\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Saxophonist-composer Donny McCaslin is determined to move way beyond conventional concepts of jazz,\u00a0 jazz-rock fusion, or any label you want to ascribe to his music. Just when we didn\u2019t think his music could be louder and more rock-influenced than I Want More (Edition, 2023),\u00a0 he kicks it up a couple of notches with Lullaby for\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-mccaslin-lullaby-lost\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Donny McCaslin\u2019s \u2018Lullaby for the Lost\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1861.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1861.jpg?w=846&amp;ssl=1 846w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1861.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1861.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1861.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11400\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1861-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1861.jpg?fit=846%2C564&amp;ssl=1\" data-orig-size=\"846,564\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1861.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1861.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_1861.jpg?fit=846%2C564&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/itai-doshin-mike-clark-review\/\">Review: Mike Clark\u2019s \u2018Itai Doshin\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">The title of Mike Clark\u2019s latest record, Itai Doshin (Wide Hive, 2025) comes from the drummer\u2019s Buddhist beliefs, a worldview shared with his onetime bandleader, Herbie Hancock. The title translates into the saying of&nbsp; \u201cmany in body, one in mind.\u201d That\u2019s the equivalent in musical speak of \u2018in the pocket.\u201d Or, in plainer language, a\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/itai-doshin-mike-clark-review\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Mike Clark\u2019s \u2018Itai Doshin\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1824.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1824.jpg?w=2000&amp;ssl=1 2000w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1824.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1824.jpg?resize=1024%2C682&amp;ssl=1 1024w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1824.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1824.jpg?resize=1536%2C1024&amp;ssl=1 1536w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1824.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11357\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1824-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1824.jpg?fit=2000%2C1333&amp;ssl=1\" data-orig-size=\"2000,1333\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1824.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1824.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1824.jpg?fit=1024%2C682&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-garabedian-quartets-solos\/\">Review: Noah Garabedian\u2019s \u2018Quartets and Solos\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">With Quartets and Solos (Contagious, 2025), bassist and composer Noah Garabedian appears for the first time on saxophonist Dayna Stephens&#8217; label. As one might expect, Stephens is a vital member of the quartet, wielding his tenor saxophone and EWI. Rounding out the ensemble are pianist Carmen Staaf, drummer Jimmy MacBride, and Samuel Adams on synths,\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-garabedian-quartets-solos\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Noah Garabedian\u2019s \u2018Quartets and Solos\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1731.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1731.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1731.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11350\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1731-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1731.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1731.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1731.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1731.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-trio-of-bloom\/\">Review: \u2018Trio of Bloom\u2019 with Nels Cline, Craig Taborn, and Marcus Gilmore<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Trio of Bloom (Pyroclastic, 2025) is the first meeting of three titans of creative music, artists to whom genres and boundaries hold little meaning. You can regularly find each of them in conventional or edgy sessions, or within the turf that lies between. The term in the promotional notes is a better one &#8211; genre\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-trio-of-bloom\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: \u2018Trio of Bloom\u2019 with Nels Cline, Craig Taborn, and Marcus Gilmore<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1714.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1714.jpg?w=780&amp;ssl=1 780w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1714.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1714.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1714.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11343\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1714-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1714.jpg?fit=780%2C520&amp;ssl=1\" data-orig-size=\"780,520\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1714.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1714.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1714.jpg?fit=780%2C520&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/henry-threadgill-listen-ship-review\/\">Review: Henry Threadgill\u2019s \u2018Listen Ship\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Audiences who saw artist-in-residence Henry Threadgill at Big Ears in 2024 were enthralled with five performances, each featuring a different configuration, and left eagerly anticipating the artist&#8217;s next move. Listen Ship (Pi, 2025), like many of Threadgill\u2019s recent works, finds the eighty-one-year-old NEA Jazz Master conducting rather than participating instrumentally. The ensemble under his direction\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/henry-threadgill-listen-ship-review\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Henry Threadgill\u2019s \u2018Listen Ship\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1684.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1684.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1684.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11340\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1684-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1684.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1684.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1684.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1684.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-staff-sounding-line\/\">Review: Carmen Staaf\u2019s \u2018Sounding Line\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Carmen Staaf\u2019s Sounding Line (Sunnyside, 2025) is the second album recently covered on this site that envisions a conversation between Thelonious Monk and another pianist-composer. Just a few weeks ago, trumpeter Josh Lawrence positioned Chopin with Monk. Here, Staff has Monk conversing with a contemporary, Mary Lou Williams. Just about every jazz pianist and many\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-staff-sounding-line\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Carmen Staaf\u2019s \u2018Sounding Line\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1624.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1624.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1624.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11325\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1624-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1624.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1624.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1624.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1624.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-bartz-damage-control\/\">Review: Gary Bartz\u2019s \u2018The Eternal Tenure of Sound: Damage Control\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">One of our few links to bands of Miles, McCoy Tyner, Pharaoh Sanders, Lee Morgan, and Roy Hargrove, NEA Jazz Master and soon-to-be-eighty-five-year-old Gary Bartz has earned the right to do whatever he pleases. Damage Control (OYO, 2025) is the first installment in The Eternal Tenure of Sound trilogy, self-funded by Bartz and produced by\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-bartz-damage-control\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Gary Bartz\u2019s \u2018The Eternal Tenure of Sound: Damage Control\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?w=2000&amp;ssl=1 2000w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?resize=1024%2C682&amp;ssl=1 1024w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?resize=1536%2C1024&amp;ssl=1 1536w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11297\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1549-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?fit=2000%2C1333&amp;ssl=1\" data-orig-size=\"2000,1333\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1549.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1549.jpg?fit=1024%2C682&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-cinnamon-flower-rouse\/\">Review: Charlie Rouse\u2019s \u2018Cinnamon Flower: The Expanded Edition\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">This is the year that some of us learned that tenor saxophonist Charlie Rouse was a leader of other bands rather than simply a member of Thelonious Monk\u2019s quartet. Earlier this year, Strata-East reissued 1974\u2019s guitar-driven, funky Two Is One (Mack Avenue, 2025). Now comes Cinnamon Flower: The Expanded Edition (Resonance, 2025), a double LP\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-cinnamon-flower-rouse\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Charlie Rouse\u2019s \u2018Cinnamon Flower: The Expanded Edition\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1532.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1532.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1532.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11293\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1532-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1532.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1532.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1532.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1532.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/kiwanuka-review-brennan-near-far\/\">Review: Patricia Brennan\u2019s \u2018Of the Near and Far\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">A fierce expansion on the percussive focus of More Touch (Pyroclastic Records, 2022) and the addition of intricate saxophone parts made Breaking Stretch (Pyroclastic Records, 2024) a bold step forward for vibraphonist Patricia Brennan. The progression from More Touch&nbsp; to Breaking Stretch sounded natural, but the difference between those albums and Of The Near And\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/kiwanuka-review-brennan-near-far\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Patricia Brennan\u2019s \u2018Of the Near and Far\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1518.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1518.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1518.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11288\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1518-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1518.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1518.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1518.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1518.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/erdenebaatar-kugelmann-under-same-stars-review\/\">Review: Shuteen Erdenebaatar and Nils Kugelmann\u2019s \u2018Under the Same Stars\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Under the Same Stars (Mot\u00e9ma, 2025) is the second installment of Mongolian-born and Germany-based pianist-composer Shuteen Erdenebaatar\u2019s planned trilogy drawing inspiration from the mythology of her Mongolian homeland surrounding the sun, moon, and stars. The first, Rising Sun (Motema, 2023), was an acclaimed quartet recording that evoked vitality, positivity, and optimism \u2013 a fitting choice\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/erdenebaatar-kugelmann-under-same-stars-review\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Shuteen Erdenebaatar and Nils Kugelmann\u2019s \u2018Under the Same Stars\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1498.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1498.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1498.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11284\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1498-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1498.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1498.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1498.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1498.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/vics-zuraitis-review\/\">Review: Nicole Zuraitis\u2019 \u2018Live at Vic\u2019s Las Vegas\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Go ahead and try this &#8211; Ask your friends who the most prominent female jazz vocalists have been in the past five years. Or, do a Google search with the question. More often than not, you won\u2019t find Nicole Zuraitis\u2019s name on the list. That\u2019s criminal. Consider the Grammy Awards. Samara Joy has won five\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/vics-zuraitis-review\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Nicole Zuraitis\u2019 \u2018Live at Vic\u2019s Las Vegas\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1418-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1418-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1418-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11281\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1418-jpg-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1418-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1418.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1418-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1418-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-alloy-dave-douglas\/\">Review: Dave Douglas\u2019 \u2018Alloy\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">With Alloy (Greenleaf, 2025), trumpeter, composer, and forward thinker Dave Douglas unveils his latest unique ensemble. Joined by two young trumpeters &#8211; UK native Alexandra Ridout and New Hampshire native Dave Adewumi, both of whom now live in New York &#8211; he creates, for lack of a better term, a trumpet choir. The group\u2019s rhythm\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-alloy-dave-douglas\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Dave Douglas\u2019 \u2018Alloy\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11265\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-george-coleman-strings\/georgecoleman_1200x675\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"GeorgeColeman_1200x675\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-george-coleman-strings\/\">Review: &#8216;George Coleman with Strings&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">There are no written rules for NEA Jazz Masters. Clearly, they have earned the right to undertake their long-dreamed-of projects. Or to buck the music establishment with something unexpected. Or to fulfill a \u201cbucket list\u201d item. George Coleman with Strings (High Note, 2025), unequivocally the most gorgeous album of the &nbsp;tenor saxophonist\u2019s storied career, meets\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-george-coleman-strings\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: &#8216;George Coleman with Strings&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1279.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1279.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1279.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11233\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1279-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1279.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1279.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1279.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1279.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-cantica-profana-ban-maneri-surman\/\">Review: Lucian Ban, Mat Maneri, and John Surman\u2019s \u2018Cantica Profana &#8211; The B\u00e9la Bart\u00f3k Field Recordings\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Despite its jagged start, listen to Cantica Profana &#8211; The B\u00e9la Bart\u00f3k Field Recordings (Sunnyside, 2025) its whole way through as it\u00a0 evolves into gorgeously flowing music. On the album- those who purchase the two LP set will also receive The Athenaeum Concert (Sunnyside, 2025) by the same artists &#8211; pianist Lucian Ban, violist Mat\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-cantica-profana-ban-maneri-surman\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Lucian Ban, Mat Maneri, and John Surman\u2019s \u2018Cantica Profana &#8211; The B\u00e9la Bart\u00f3k Field Recordings\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/9-19-25-Fieldwork-Credit_LynneHarty-780x525-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/9-19-25-Fieldwork-Credit_LynneHarty-780x525-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/9-19-25-Fieldwork-Credit_LynneHarty-780x525-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11222\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-fieldwork-thereupon\/9-19-25-fieldwork-credit_lynneharty-780x525\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/9-19-25-Fieldwork-Credit_LynneHarty-780x525-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"9-19-25-Fieldwork-Credit_LynneHarty-780&amp;#215;525\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/9-19-25-Fieldwork-Credit_LynneHarty-780x525-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/9-19-25-Fieldwork-Credit_LynneHarty-780x525-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-fieldwork-thereupon\/\">Review: Fieldwork&#8217;s &#8216;Thereupon&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Fresh off their appearance at the Big Ears Festival, &nbsp;which this author unfortunately missed, the trio Fieldwork return with their first album in almost two decades, Thereupon (Pi, 2025). You will likely not find three more decorated individuals in any trio than those in this band: Vijay Iyer, Steve Lehman, and Tyshawn Sorey. Pianist Iyer\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-fieldwork-thereupon\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Fieldwork&#8217;s &#8216;Thereupon&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11206\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1257-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1257.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-chapter-one-caelan-cardello\/\">Review: Caelan Cardello\u2019s \u2018Chapter One\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Caelan Cardello is breaking out. As part of vocalist Tyreek McDole&#8217;s backing quartet at this summer\u2019s Newport Jazz Festival, the pianist-composer impressed the audience with his comfort with hard swinging numbers and his duetting with McDole on the standard \u201cLush Life.\u201d&nbsp; Few in attendance knew Cardello&#8217;s forthcoming debut, Chapter One (Jazz Bird, 2025), would arrive\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-chapter-one-caelan-cardello\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Caelan Cardello\u2019s \u2018Chapter One\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1191.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1191.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1191.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11201\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1191-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1191.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1191.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1191.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1191.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-miguel-zenon-vanguardia-subterranea\/\">Review: Miguel Zenon Quartet\u2019s \u2018Vanguardia Subterr\u00e1nea: Live at the Village Vanguard\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Vanguardia Subterr\u00e1nea: Live at the Village Vanguard (Miel Music, 2025) is alto saxophonist-composer Miguel Zen\u00f3n\u2019s first live album with his quartet and eighteenth overall. Its eight tracks were recorded over two nights in September 2024 at the hallowed jazz shrine in Greenwich Village. Zenon employs his longstanding quartet of pianist Luis Perdomo, bassist Hans Glawischnig,\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-miguel-zenon-vanguardia-subterranea\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Miguel Zenon Quartet\u2019s \u2018Vanguardia Subterr\u00e1nea: Live at the Village Vanguard\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/Ye-Olde-plus-Simulacrus-pic-by-Ernest-Stuart.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/Ye-Olde-plus-Simulacrus-pic-by-Ernest-Stuart.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/Ye-Olde-plus-Simulacrus-pic-by-Ernest-Stuart.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11185\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-garchiks-ye-olde-2\/ye-olde-plus-simulacrus-pic-by-ernest-stuart\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/Ye-Olde-plus-Simulacrus-pic-by-Ernest-Stuart.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Ye Olde plus Simulacrus pic by Ernest Stuart\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/Ye-Olde-plus-Simulacrus-pic-by-Ernest-Stuart.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/Ye-Olde-plus-Simulacrus-pic-by-Ernest-Stuart.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-garchiks-ye-olde-2\/\">Review: Jacob Garchik&#8217;s &#8216;Ye Olde 2: At The End of Time&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Strap yourself in for an exhilarating ride. Trombonist and composer Jacob Carchik\u2019s Ye Olde 2: At the End of Time (Yestereve, 2025) is the follow-up to the first Ye Olde (Yestereve, 2015) from a decade earlier. The older album imagined a band of heroes journeying through an imaginary medieval Brooklyn. For the second voyage, many\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-garchiks-ye-olde-2\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Jacob Garchik&#8217;s &#8216;Ye Olde 2: At The End of Time&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1162.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1162.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1162.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11174\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1162-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1162.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1162.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1162.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1162.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/strange-heavens-oh-review\/\">Review: Linda May Han Oh\u2019s \u2018Strange Heavens\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">The comparison of a familiar hell to a strange heaven drives Australian-born bassist and composer Linda May Han Oh\u2019s thinking for her trio album Strange Heavens (Biophilia, 2025). It is far too easy to be lulled by society&nbsp; into complacency and benign acceptance of social and political conditions. Strange Heavens stands opposed to this status\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/strange-heavens-oh-review\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Linda May Han Oh\u2019s \u2018Strange Heavens\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1144.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1144.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1144.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11166\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1144-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1144.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1144.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1144.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1144.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-aruan-ortiz-creole-renaissance\/\">Review: Aru\u00e1n Ortiz\u2019s \u2018Cr\u00e9ole  Renaissance\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">The well-decorated Cuban-born, Brooklyn-based pianist Aru\u00e1n Ortiz has developed his reputation in the avant-garde or free jazz world. Typically, when thinking of a free jazz pianist, Cecil Taylor, or more recently, Matthew Shipp, comes to most people\u2019s minds.&nbsp; Ortiz only barely resembles either, rarely taking free-form rollicking excursions on this album. He is far more\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-aruan-ortiz-creole-renaissance\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Aru\u00e1n Ortiz\u2019s \u2018Cr\u00e9ole  Renaissance\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1061.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1061.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1061.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11163\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1061-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1061.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1061.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1061.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1061.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/alexander-herring-split-decision\/\">Review: Eric Alexander and Vincent Herring\u2019s \u2018Split Decision\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Tenorist Eric Alexander and altoist Vincent Herring celebrate the twentieth anniversary of their first saxophone \u2018battle\u2019 on Split Decision (SMOKE Sessions, 2025),&nbsp; recorded live at NYC\u2019s SMOKE Jazz Club. This is the third time on record that the two giants have sparred, with each session growing a little friendlier since 2005\u2019s The Battle (Highnote, 2005).\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/alexander-herring-split-decision\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Eric Alexander and Vincent Herring\u2019s \u2018Split Decision\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11153\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1017-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1017.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-colson-glow-trio-add-voice\/\">Review: Adegoke Steve Colson and Iqua Colson\u2019s \u2018GLOW: Music for Trio \u2026. Add Voice\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">It has been quite some time since we heard from second generation AACM members&nbsp; Adegoke \u201cAde\u201d Steve Colson and Iqua Colson, but GLOW: Music for Trio \u2026 Add Voice (Silver Sphinx, 2025) sums up their artistry well: protest pieces, spirituality, and pure jazz that is more accessible than you might think.&nbsp; The couple has been\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-colson-glow-trio-add-voice\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Adegoke Steve Colson and Iqua Colson\u2019s \u2018GLOW: Music for Trio \u2026. Add Voice\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11141\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_0891-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&amp;ssl=1\" data-orig-size=\"750,499\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_0891.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-josh-lawrence-still-we-dream\/\">Review: Josh Lawrence\u2019s \u2018Still We Dream\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Still We Dream (Posi-Tone, 2025) is trumpeter and composer Josh Lawrence\u2019s seventh release for the label that prides itself on revealing the \u201cNew Frontier of Jazz.\u201d With it, the four-time Grammy nominee and regular member of Orrin Evans\u2019 Captain Black Big Band delivers a rather unusual album for a trumpeter. The music mostly consists of\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-josh-lawrence-still-we-dream\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Josh Lawrence\u2019s \u2018Still We Dream\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0881.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0881.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0881.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11137\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_0881-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0881.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_0881.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0881.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0881.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-glover-memories-dreams-reflections\/\">Review: Nicole Glover\u2019s \u2018Memories, Dreams, Reflections\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Portland, Oregon native and current NYC resident, tenor saxophonist Nicole Glover may be best known as a member of the all-female jazz supergroup Artemis. Or possibly as a member of Christian McBride\u2019s Ursa Major. But she is also a bandleader, having recently released her third album as a leader &#8211; Memories, Dreams, Reflections (Savant, 2025).\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-glover-memories-dreams-reflections\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Nicole Glover\u2019s \u2018Memories, Dreams, Reflections\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0843.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0843.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0843.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11109\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_0843-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0843.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_0843.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0843.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0843.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-irabagon-someone-to-someone\/\">Review: Jon Irabagon PlainsPeek\u2019s \u2018Someone to Someone\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Fresh off his complex project Server Farm (Irrabagast, 2025), where he led a nonet in blending electronics and hues of Artificial Intelligence with acoustic jazz, Jon Iragabon now moves to a more conventional chord-less quartet on Someone to Someone (Irrabagast, 2025). That statement is not to imply that Iragabon\u2019s music has suddenly turned conventional. For\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-irabagon-someone-to-someone\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Jon Irabagon PlainsPeek\u2019s \u2018Someone to Someone\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0569.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0569.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0569.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11103\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_0569-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0569.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_0569.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0569.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0569.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/scratch-band-ron-blake\/\">Review: Ron Blake\u2019s \u2018SCRATCH Band\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">For a musician who excels in both big bands and combo settings, large and small, sometimes it\u2019s refreshing to take a \u2018less is more&#8217; approach. Such is the case with Ron Blake. With SCRATCH Band (7t\u0113n33, 2025), the veteran saxophonist, composer, and educator forms a trio with fellow Virgin Island native Reuben Rogers on bass\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/scratch-band-ron-blake\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Ron Blake\u2019s \u2018SCRATCH Band\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0257.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0257.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0257.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11063\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_0257-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0257.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_0257.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0257.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0257.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/rachael-vilray-broadway\/\">Review: Rachael &amp; Vilray\u2018s \u2018West of Broadway\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Timed nicely for their appearance at the 2025 Newport Jazz Festival, Rachael and Vilray issue their third album, West of Broadway (Concord Jazz, 2025). The vocalist Rachael Price (also of Lake Street Dive) and the guitarist\/singer\/songwriter Vilray exist in that rare intersection of jazz, pop, and singer-songwriter fare. Their producer is Dan Knobler, Rodney Crowell\u2019s\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/rachael-vilray-broadway\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Rachael &amp; Vilray\u2018s \u2018West of Broadway\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0143-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0143-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0143-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"11030\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_0143-1-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0143-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_0143-1.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0143-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0143-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-jimmy-greenes-as-we-are-now\/\">Review: Jimmy Greene\u2019s \u2018As We Are Now\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Saxophonist and composer Jimmy Greene is recognized by many as a vital member of Ron Carter\u2019s Foursight Quartet, which will be appearing at the 2025 Newport Jazz Festival. Greene has also established a solid career as a leader, having received a Grammy nomination and acknowledgment in the DownBeat Magazine Critics Poll. He also endured a\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-jimmy-greenes-as-we-are-now\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Jimmy Greene\u2019s \u2018As We Are Now\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_2911-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_2911-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_2911-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10837\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2911-1-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_2911-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2911-1.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_2911-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_2911-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-etienne-charles-gullah-roots\/\">Review: Etienne Charles\u2019 \u2018Gullah Roots\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Trumpeter\/percussionist\/bandleader\/composer\/educator Etienne Charles is mostly known for his Creole Soul band and orchestrations. On Gullah Roots (Culture Shock, 2025), the Trinidadian explores another culture with a rich history in Africa and the Trans-Atlantic slave trade between the sixteenth and nineteenth centuries. Gullah culture &#8211; also called Gullah Geechee &#8211; resides in a narrow strip of\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-etienne-charles-gullah-roots\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Etienne Charles\u2019 \u2018Gullah Roots\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?w=944&amp;ssl=1 944w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?resize=768%2C513&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10770\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2706-1-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?fit=944%2C630&amp;ssl=1\" data-orig-size=\"944,630\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2706-1.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2706-1.jpg?fit=944%2C630&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-itai-kriss-daybreak\/\">Review: Itai Kriss\u2019 \u2018Daybreak\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">New York-based flutist Itai Kriss leads his quartet and special guests on Daybreak (JoJo, 2025), an album sequenced to follow the progression of a day. Kriss has musical roots in Israel, but those influences are subtle here. Instead, traditional jazz, gospel, Brazilian, and Afro-Cuban strains course through the music. Other than in Latin music, the\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-itai-kriss-daybreak\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Itai Kriss\u2019 \u2018Daybreak\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2704-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2704-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2704-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10769\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2704-1-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2704-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2704-1.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2704-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2704-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-abstraction-jbl\/\">Review: James Brandon Lewis Quartet&#8217;s &#8216;Abstraction Is Deliverance&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Tenor saxophonist James Brandon Lewis has established himself as the most versatile tenorist on the scene today in a relatively short time. He\u2019s played in classical settings, gospel settings, in a punk trio, with a rock band, and as a sideman for Ches Smith and others. But his most consistent project has been his working\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-abstraction-jbl\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: James Brandon Lewis Quartet&#8217;s &#8216;Abstraction Is Deliverance&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10750\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-pollack-soul-and-circuitry\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Martin Zeman - datelier.cz&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-pollack-soul-and-circuitry\/\">Review: Julian \u201cJ3PO\u201d Pollack&#8217;s &#8216;Soul &amp; Circuitry&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">With Soul &amp; Circuitry (Ropeadope, 2025), Los Angeles-based pianist\/keyboardist\/electronics wizard\/producer Julian \u201cJ3PO\u201d Pollack issues his second album on one of our most trustworthy labels. The record is his tenth overall as a leader. If you\u2019re unfamiliar with Pollack\u2019s other output, he\u2019s been the keyboardist for Marcus Miller and Chris Botti and is currently a member\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-pollack-soul-and-circuitry\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Julian \u201cJ3PO\u201d Pollack&#8217;s &#8216;Soul &amp; Circuitry&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"225\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2698-1.jpg?fit=300%2C225&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2698-1.jpg?w=880&amp;ssl=1 880w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2698-1.jpg?resize=300%2C225&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2698-1.jpg?resize=768%2C576&amp;ssl=1 768w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10767\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2698-1-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2698-1.jpg?fit=880%2C660&amp;ssl=1\" data-orig-size=\"880,660\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2698-1.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2698-1.jpg?fit=300%2C225&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2698-1.jpg?fit=880%2C660&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-solace-of-the-mind-amina-claudine-myers\/\">Review: Amina Claudine Myers\u2019 \u2018Solace of the Mind\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Every so often, an album moves beyond music, carrying the listener to an array of deeply reflective moods. Last year, we were gifted such an album in Central Park&#8217;s Mosaics of Reservoir, Lake, Paths and Gardens (Red Hook, 2024) by pianist Amina Claudine Myers and trumpeter Wadada Leo Smith. Now, with the latest release on\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-solace-of-the-mind-amina-claudine-myers\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Amina Claudine Myers\u2019 \u2018Solace of the Mind\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?w=813&amp;ssl=1 813w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10707\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2605-1-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?fit=813%2C542&amp;ssl=1\" data-orig-size=\"813,542\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2605-1.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2605-1.jpg?fit=813%2C542&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/words-fail-joshua-redman\/\">Review: Joshua Redman\u2019s \u2018Words Fall Short\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Joshua Redman did not follow suit after his first vocal album, where are we (Blue Note, 2024).&nbsp; 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\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/words-fail-joshua-redman\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Joshua Redman\u2019s \u2018Words Fall Short\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2609-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2609-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2609-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10721\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2609-1-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2609-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2609-1.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2609-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2609-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-cosmic-piano-shipp\/\">Review: Matthew Shipp\u2019s \u2018The Cosmic Piano\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Pianist and composer Matthew Shipp seems to be garnering as much publicity for his criticisms of Andr\u00e9 3000\u2019s 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\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-cosmic-piano-shipp\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Matthew Shipp\u2019s \u2018The Cosmic Piano\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2607-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2607-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2607-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10717\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_2607-1-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2607-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_2607-1.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2607-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2607-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-armageddon-flower-perelman-shipp\/\">Review: Ivo Perelman and the Matthew Shipp String Trio\u2019s \u2018Armageddon Flower\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">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\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-armageddon-flower-perelman-shipp\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Ivo Perelman and the Matthew Shipp String Trio\u2019s \u2018Armageddon Flower\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Isaiah_Thompson-Paolo-Soriani_fma-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Isaiah_Thompson-Paolo-Soriani_fma-1.jpg?w=1350&amp;ssl=1 1350w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Isaiah_Thompson-Paolo-Soriani_fma-1.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Isaiah_Thompson-Paolo-Soriani_fma-1.jpg?resize=1024%2C683&amp;ssl=1 1024w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Isaiah_Thompson-Paolo-Soriani_fma-1.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Isaiah_Thompson-Paolo-Soriani_fma-1.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10554\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-book-of-isaiah\/isaiah_thompson-paolo-soriani_fma-1\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Isaiah_Thompson-Paolo-Soriani_fma-1.jpg?fit=1350%2C900&amp;ssl=1\" data-orig-size=\"1350,900\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Isaiah_Thompson-Paolo-Soriani_fma (1)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Isaiah_Thompson-Paolo-Soriani_fma-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Isaiah_Thompson-Paolo-Soriani_fma-1.jpg?fit=1024%2C683&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-book-of-isaiah\/\">Review: Isaiah J. Thompson&#8217;s &#8216;The Book of Isaiah: Modern Jazz Ministry&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">My review of emerging piano great Isaiah J. Thompson\u2019s Power of the Spirit (Blue Engine, 2023) ended thusly: \u201ca 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.\u201d While there is still plenty of soul-jazz present in The Book of Isaiah:\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-book-of-isaiah\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Isaiah J. Thompson&#8217;s &#8216;The Book of Isaiah: Modern Jazz Ministry&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Credit_Chase-Pierson_FOR03806-ARW_DxO_DeepPRIME-copy-2.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Credit_Chase-Pierson_FOR03806-ARW_DxO_DeepPRIME-copy-2.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Credit_Chase-Pierson_FOR03806-ARW_DxO_DeepPRIME-copy-2.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10558\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-ches-smith-clone-row\/credit_chase-pierson_for03806-arw_dxo_deepprime-copy-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Credit_Chase-Pierson_FOR03806-ARW_DxO_DeepPRIME-copy-2.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;2.8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;ILCE-7M2&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1720014375&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;55.9&quot;,&quot;iso&quot;:&quot;160&quot;,&quot;shutter_speed&quot;:&quot;0.0013333333333333&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Credit_Chase Pierson_FOR03806-ARW_DxO_DeepPRIME copy (2)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Credit_Chase-Pierson_FOR03806-ARW_DxO_DeepPRIME-copy-2.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Credit_Chase-Pierson_FOR03806-ARW_DxO_DeepPRIME-copy-2.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-ches-smith-clone-row\/\">Review: Ches Smith&#8217;s &#8216;Clone Row&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">One never knows where drummer-composer Ches Smith\u2019s muse will take him next. From the Haitian voudou of We All Break: Path of Seven Colors (Pyroclastic, 2021) to the uncategorizable mash-ups of Laugh Ash (Pyroclastic, 2024) to inventive trio albums with violist Mat Maneri and Craig Taborn to whatever else strikes his fancy, Smith is there.\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-ches-smith-clone-row\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Ches Smith&#8217;s &#8216;Clone Row&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/img_1978-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/img_1978-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/img_1978-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10443\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_1978-1-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/img_1978-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_1978-1.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/img_1978-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/img_1978-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-quantum-blues\/\">Review: \u2018Quantum Blues\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">There are widely publicized and wildly anticipated supergroups, and then there are those &#8211; at least a few &#8211; that sprout suddenly without heralding fanfare.&nbsp; The Quantum Blues Quartet is the epitome of the latter, joining four iconic players who came together in New York in 2024 for a day-long session. They are avant-garde jazz\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-quantum-blues\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: \u2018Quantum Blues\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/NelsCline_ConsentrikQuartet_byNathanWest-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/NelsCline_ConsentrikQuartet_byNathanWest-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/NelsCline_ConsentrikQuartet_byNathanWest-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10400\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-consentrik-quartet\/nelscline_consentrikquartet_bynathanwest-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/NelsCline_ConsentrikQuartet_byNathanWest-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"NelsCline_ConsentrikQuartet_byNathanWest\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/NelsCline_ConsentrikQuartet_byNathanWest-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/NelsCline_ConsentrikQuartet_byNathanWest-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-consentrik-quartet\/\">Review: Nels Cline&#8217;s &#8216;Consentrik Quartet&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Considering guitarist Nels Cline&#8217;s history, it&#8217;s no surprise that the music of the Consentrik Quartet occasionally has shades of rock. \u201cSlipping Into Something\u201d starts subtly before bursting into a drum-driven groove fit for a rock song. Tom Rainey (drums) and Chris Lightcap (bass) keep heads nodding as Ingrid Laubrock (tenor saxophone) and Cline impressively trade\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-consentrik-quartet\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Nels Cline&#8217;s &#8216;Consentrik Quartet&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/01\/img_0915-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/01\/img_0915-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/01\/img_0915-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"10056\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/img_0915-1-jpg\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/01\/img_0915-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"img_0915-1.jpg\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/01\/img_0915-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/01\/img_0915-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-michel-petruccianis-jazz-club-montmartre-cph-1988\/\">Review: Michel Petrucciani\u2019s \u2018Jazz Club Montmartre &#8211; CPH 1988\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Michel Petrucciani exploded onto the North American consciousness in 1982 when he persuaded Charles Lloyd to come out of a self-imposed retirement. The French pianist was a sensation and quickly found himself on a New York-bound Concorde to become the first European artist signed by Bruce Lundvall to a Blue Note Records contract. The label\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-michel-petruccianis-jazz-club-montmartre-cph-1988\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Michel Petrucciani\u2019s \u2018Jazz Club Montmartre &#8211; CPH 1988\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/08\/Untitled3.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/08\/Untitled3.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/08\/Untitled3.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"9421\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-milton-esperanza\/untitled3\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/08\/Untitled3.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Untitled(3)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/08\/Untitled3.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/08\/Untitled3.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-milton-esperanza\/\">Review: Milton Nascimento and esperanza spalding&#8217;s &#8216;Milton + esperanza&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">esperanza spalding has made no secret of her love for Milton Nascimento\u2019s music. Her sophomore album features a spirited rendition of Nascimento\u2019s \u201cPonta de Areia\u201d &#8211; early evidence of her strong affinity with the Brazilian legend\u2019s compositions. After having heard Nascimento and spalding on Milton + esperanza (Concord, 2024), listening to spalding\u2019s \u201cPonta de Areia\u201d\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-milton-esperanza\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Milton Nascimento and esperanza spalding&#8217;s &#8216;Milton + esperanza&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Untitled-.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Untitled-.jpg?w=1084&amp;ssl=1 1084w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Untitled-.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Untitled-.jpg?resize=1024%2C683&amp;ssl=1 1024w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Untitled-.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Untitled-.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"7830\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-triple-fever\/untitled-5\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Untitled-.jpg?fit=1084%2C723&amp;ssl=1\" data-orig-size=\"1084,723\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Untitled\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Untitled-.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Untitled-.jpg?fit=1024%2C683&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-triple-fever\/\">Review: &#8216;Triple Fever&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Just when you think we\u2019ve reached peak piano trio, a new recording arrives to demonstrate the infinite elasticity of the venerable formation. It happens so often as to become routine. Yet surprises still abound, and this is one, a digital-only EP from a hitherto unknown label &#8211; to me, at least &#8211; that is one\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-triple-fever\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: &#8216;Triple Fever&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/mary-halvorson-store-20231.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/mary-halvorson-store-20231.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/mary-halvorson-store-20231.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"7700\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-mary-halvorson-cloudward\/mary-halvorson-store-20231\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/mary-halvorson-store-20231.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"mary-halvorson-store-2023(1)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/mary-halvorson-store-20231.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/mary-halvorson-store-20231.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-mary-halvorson-cloudward\/\">Review: Mary Halvorson&#8217;s &#8216;Cloudward&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Mary Halvorson gives a wide range of effects and musical roles to her guitar, and the result is always idiosyncratic. The guitarist&#8217;s compositions have a complex, innovative edge, and&nbsp;Cloudward&nbsp;(Nonesuch, 2024) is more evidence as to why she deserves all the acclaim that comes her way. The intensity and progression of &#8220;Desiderata&#8221; is a fantastic display\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-mary-halvorson-cloudward\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Mary Halvorson&#8217;s &#8216;Cloudward&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/11\/71QCq2bG-wL._SL1500_55.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/11\/71QCq2bG-wL._SL1500_55.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/11\/71QCq2bG-wL._SL1500_55.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"7316\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-lucas-pinos-covers\/71qcq2bg-wl-_sl1500_55\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/11\/71QCq2bG-wL._SL1500_55.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"71QCq2bG-wL._SL1500_55\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/11\/71QCq2bG-wL._SL1500_55.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/11\/71QCq2bG-wL._SL1500_55.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-lucas-pinos-covers\/\">Review: Lucas Pino&#8217;s &#8216;Covers&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">There are recordings that dazzle you from the first few bars\u2014or conversely, put you off\u2014with their audacity. Then there are the agreeably conventional releases that, over time, yield their secrets by degree. Put Lucas Pino\u2019s&nbsp;Covers&nbsp;(Outside In Music, 2023) in the latter category. Notwithstanding some evident drollery, the title proudly advertises Pino\u2019s rejection of conceptual ambition.\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-lucas-pinos-covers\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Lucas Pino&#8217;s &#8216;Covers&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?w=1500&amp;ssl=1 1500w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?resize=1024%2C683&amp;ssl=1 1024w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?resize=750%2C500&amp;ssl=1 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"6675\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-diatom-ribbons-vanguard\/img_6674\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?fit=1500%2C1000&amp;ssl=1\" data-orig-size=\"1500,1000\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"IMG_6674\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/08\/IMG_6674.jpg?fit=1024%2C683&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-diatom-ribbons-vanguard\/\">Review: Kris Davis&#8221;Diatom Ribbons Live at the Village Vanguard&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">On February 17, 2018, pianist Kris Davis played in the second of two concerts at Harvard University to honor the late jazz pianist Geri Allen. It was a fantastic night of music worthy of Allen\u2019s tremendous talent. Davis took the stage in various ensembles, with some featuring drummer Terri Lyne Carrington, who had also curated\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-diatom-ribbons-vanguard\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Kris Davis&#8221;Diatom Ribbons Live at the Village Vanguard&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/David-Ake-Green-Thumb-cover1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/David-Ake-Green-Thumb-cover1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/David-Ake-Green-Thumb-cover1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"6260\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/green-thumb-ake\/david-ake-green-thumb-cover1\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/David-Ake-Green-Thumb-cover1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"David Ake &amp;#8211; Green Thumb cover(1)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/David-Ake-Green-Thumb-cover1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/David-Ake-Green-Thumb-cover1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/green-thumb-ake\/\">Review: David Ake&#8217;s &#8216;Green Thumb&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">It takes daring for a producer to lead off a recording with a ballad. When that producer is Marc Free of Posi-Tone Records, a label known for scorching hard bop, the album particularly demands attention. With&nbsp;Green Thumb&nbsp;(Posi-Tone Records, 2023), pianist David Ake generously provides a varied program of surprising, even eccentric, choices that resolve with\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/green-thumb-ake\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: David Ake&#8217;s &#8216;Green Thumb&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/05\/AvramFefer_JubaLee_By-Daryl-Tilman.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/05\/AvramFefer_JubaLee_By-Daryl-Tilman.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/05\/AvramFefer_JubaLee_By-Daryl-Tilman.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"5818\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/avram-fefer-juba-lee\/avramfefer_jubalee_by-daryl-tilman\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/05\/AvramFefer_JubaLee_By-Daryl-Tilman.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"AvramFefer_JubaLee_By Daryl Tilman\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/05\/AvramFefer_JubaLee_By-Daryl-Tilman.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/05\/AvramFefer_JubaLee_By-Daryl-Tilman.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/avram-fefer-juba-lee\/\">Review: Avram Fefer\u2019s \u2018Juba Lee\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">F\u200b\u200bor the last quarter of the 20th century, Italian labels Black Saint and Soul Note issued an influential series of recordings by Black American artists, including the World Saxophone Quartet and its members Hamiet Bluiett, Julius Hemphill, Oliver Lake, and David Murray. These records were hardly blowing sessions, but their loose-limbed vibe brought the expressive\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/avram-fefer-juba-lee\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Avram Fefer\u2019s \u2018Juba Lee\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/artist_photo-Thumbscrew-2022-1-credit_Brian_Cohen.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/artist_photo-Thumbscrew-2022-1-credit_Brian_Cohen.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/artist_photo-Thumbscrew-2022-1-credit_Brian_Cohen.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"5550\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/thumbscrew-multicolored-midnight\/artist_photo-thumbscrew-2022-1-credit_brian_cohen\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/artist_photo-Thumbscrew-2022-1-credit_Brian_Cohen.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;11&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;X-Pro2&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1628505718&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;35&quot;,&quot;iso&quot;:&quot;4000&quot;,&quot;shutter_speed&quot;:&quot;0.004&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"artist_photo-Thumbscrew-2022-1-credit_Brian_Cohen\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/artist_photo-Thumbscrew-2022-1-credit_Brian_Cohen.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/artist_photo-Thumbscrew-2022-1-credit_Brian_Cohen.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/thumbscrew-multicolored-midnight\/\">Review: Thumbscrew\u2019s \u2018Multicolored Midnight\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">The fourth cut on Thumbscrew\u2019s\u00a0Multicolored Midnight\u00a0(Cuneiform, 2022) is entitled \u201cShit Changes.\u201d You don\u2019t have to be a climate scientist or Sam Bankman-Fried to appreciate the truth of that phrase, and it could just be another of bassist Michael Formanek\u2019s cheekily subversive titles. Yet despite ten years of consistently provocative and satisfying music making, the cooperative\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/thumbscrew-multicolored-midnight\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Thumbscrew\u2019s \u2018Multicolored Midnight\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/JussiReijonen_Oud_ByLuisZavaleta_21.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/JussiReijonen_Oud_ByLuisZavaleta_21.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/JussiReijonen_Oud_ByLuisZavaleta_21.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"5466\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/juss-reijonen-three-seconds\/jussireijonen_oud_byluiszavaleta_21\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/JussiReijonen_Oud_ByLuisZavaleta_21.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;1.4&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;NIKON D800&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1539867801&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;85&quot;,&quot;iso&quot;:&quot;200&quot;,&quot;shutter_speed&quot;:&quot;0.0015625&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"JussiReijonen_Oud_ByLuisZavaleta_2(1)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/JussiReijonen_Oud_ByLuisZavaleta_21.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/JussiReijonen_Oud_ByLuisZavaleta_21.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/juss-reijonen-three-seconds\/\">Review: Jussi Reijonen&#8217;s &#8216;Three Seconds | Kolme Toista&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">&#8220;From the snowy, windswept peaks of Lapland to the desert of the Empty Quarter, Three Seconds | Kolme Toista is an adventure unlike any other!&#8221; Okay, that\u2019s not Jussi Reijonen\u2019s stated program behind\u00a0Three Seconds | Kolme Toista\u00a0(Challenge Records, 2022), which is at once more ambitious and more personal. Yet the music conceived by the Boston-based\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/juss-reijonen-three-seconds\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Jussi Reijonen&#8217;s &#8216;Three Seconds | Kolme Toista&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/11\/11.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/11\/11.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/11\/11.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"5218\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/once-around-bro-lovano\/attachment\/11\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/11\/11.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"1(1)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/11\/11.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/11\/11.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/once-around-bro-lovano\/\">Review: Jakob Bro and Joe Lovano\u2019s \u2018Once Around the Room: A Tribute to Paul Motian\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">In an interview with Ethan Iverson on his Do the M@th blog, writer Ben Ratliff related an anecdote that Paul Motian once told him. \u201cHank Jones said to [Motian] one day, after they\u2019d been playing, \u2018I know your secret.\u2019 [Ratliff] said, \u2018Oh yeah? And what do you think he meant?\u2019 And [Motian] said, \u2018I don\u2019t\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/once-around-bro-lovano\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Jakob Bro and Joe Lovano\u2019s \u2018Once Around the Room: A Tribute to Paul Motian\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/882c1d56-da2d-49c7-a2c8-5afb42cb944c.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/882c1d56-da2d-49c7-a2c8-5afb42cb944c.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/882c1d56-da2d-49c7-a2c8-5afb42cb944c.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"4820\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-tyshawn-sorey-trios-mesmerism\/882c1d56-da2d-49c7-a2c8-5afb42cb944c\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/882c1d56-da2d-49c7-a2c8-5afb42cb944c.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"882c1d56-da2d-49c7-a2c8-5afb42cb944c\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/882c1d56-da2d-49c7-a2c8-5afb42cb944c.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/882c1d56-da2d-49c7-a2c8-5afb42cb944c.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-tyshawn-sorey-trios-mesmerism\/\">Review: Tyshawn Sorey Trio\u2019s \u2018Mesmerism\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Did any artist have a better 2021 than Tyshawn Sorey? The 2017 MacArthur Fellow was the subject of a New York Times Magazine profile, premiered recordings of two large ensemble compositions, and received acclaim for albums with saxophonist Hafez Modirzadeh, DJ\/producer King Britt. Not to mention his role in the powerful trio with pianist Vijay\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-tyshawn-sorey-trios-mesmerism\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Tyshawn Sorey Trio\u2019s \u2018Mesmerism\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/016728166423.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/016728166423.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/016728166423.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"4763\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/healing-power-bley\/attachment\/016728166423\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/016728166423.jpg?fit=750%2C499&amp;ssl=1\" data-orig-size=\"750,499\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"016728166423\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/016728166423.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/016728166423.jpg?fit=750%2C499&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/healing-power-bley\/\">Review: Steve Cardenas, Ben Allison, and Ted Nash&#8217;s &#8216;Healing Power &#8211; The Music of Carla Bley&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">If Wayne Shorter is widely acknowledged as the most important living composer in jazz, who is the runner-up? Guitarist Steve Cardenas, bassist Ben Allison, and reedist Ted Nash on&nbsp;Healing Power &#8211; The Music of Carla Bley&nbsp;(Sunnyside Records, 2022) present a strong case for their album&#8217;s namesake. That Bley&#8217;s work should need any advocacy proceeds from\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/healing-power-bley\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Steve Cardenas, Ben Allison, and Ted Nash&#8217;s &#8216;Healing Power &#8211; The Music of Carla Bley&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/unnamed-2.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/unnamed-2.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/unnamed-2.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"4086\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/fujiwara-march\/unnamed-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/unnamed-2.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"unnamed (2)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/unnamed-2.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/unnamed-2.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/fujiwara-march\/\">Review: Tomas Fujiwara&#8217;s Triple Double&#8217;s &#8216;March&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">The debut recording of Tomas Fujiwara&#8217;s Triple Double was extraordinary. The two-drum (Fujiwara and Gerald Cleaver), two-guitar (Mary Halvorson and Brandon Seabrook), and two-horn (Taylor Ho Bynum on cornet and Ralph Alessi on trumpet) structure of the band is something rarely seen. Even in the bold avant-garde scene that Fujiwara frequents. After the release of\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/fujiwara-march\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Tomas Fujiwara&#8217;s Triple Double&#8217;s &#8216;March&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/HKPS-Irreversible-Entanglements-6796.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/HKPS-Irreversible-Entanglements-6796.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/HKPS-Irreversible-Entanglements-6796.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"3966\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/irreversible-entanglements-open-gates\/hkps-irreversible-entanglements-6796\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/HKPS-Irreversible-Entanglements-6796.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1531475148&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"HKPS-Irreversible-Entanglements-6796\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/HKPS-Irreversible-Entanglements-6796.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/02\/HKPS-Irreversible-Entanglements-6796.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/irreversible-entanglements-open-gates\/\">Review: Irreversible Entanglements&#8217; &#8216;Open the Gates&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">&#8220;I\u2019m so close,&#8221; poet Camae Ayewa, a\/k\/a Moor Mother, intones on &#8220;L\u00e1grimas del Mar&#8221; off of Irreversible Entanglements\u2019\u00a0Open the Gates\u00a0(International Anthem\/Don Giovanni, 2021). The hope in her voice is so palpable you can almost see her eyes widen with expectation. &#8220;I\u2019m so close to the good news, the silver and gold, the daily bread.&#8221; A\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/irreversible-entanglements-open-gates\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Irreversible Entanglements&#8217; &#8216;Open the Gates&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/01\/William_Parker_AUM-18-RS-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/01\/William_Parker_AUM-18-RS-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/01\/William_Parker_AUM-18-RS-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"3655\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/migration-silence-william-parker\/william_parker_aum-18-rs-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/01\/William_Parker_AUM-18-RS-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"William_Parker_AUM-18-RS\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/01\/William_Parker_AUM-18-RS-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/01\/William_Parker_AUM-18-RS-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/migration-silence-william-parker\/\">Review: William Parker&#8217;s &#8216;Migration of Silence into and Out of the Tone World [Volumes 1-10]&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Has there ever been a musician whose musical imagination is as universal and as omnivorous as William Parker&#8217;s? Perhaps Alexander Scriabin, a composer and virtuoso instrumentalist whose unfinished &#8220;Mysterium&#8221; was conceived to be performed over a week&#8217;s time by an orchestra, choir, dancers, visuals, and incense in the foothills of the Himalaya. Or possibly Don\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/migration-silence-william-parker\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: William Parker&#8217;s &#8216;Migration of Silence into and Out of the Tone World [Volumes 1-10]&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/11\/wallpapersden.com_kristen-stewart-s-spencer-movie-poster_3000x1875-scaled1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/11\/wallpapersden.com_kristen-stewart-s-spencer-movie-poster_3000x1875-scaled1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/11\/wallpapersden.com_kristen-stewart-s-spencer-movie-poster_3000x1875-scaled1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"3452\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/jonny-greenwood-spencer\/wallpapersden-com_kristen-stewart-s-spencer-movie-poster_3000x1875-scaled1\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/11\/wallpapersden.com_kristen-stewart-s-spencer-movie-poster_3000x1875-scaled1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"wallpapersden.com_kristen-stewart-s-spencer-movie-poster_3000x1875-scaled(1)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/11\/wallpapersden.com_kristen-stewart-s-spencer-movie-poster_3000x1875-scaled1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/11\/wallpapersden.com_kristen-stewart-s-spencer-movie-poster_3000x1875-scaled1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/jonny-greenwood-spencer\/\">Review: Jonny Greenwood&#8217;s Soundtrack to &#8216;Spencer&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Jonny Greenwood is primarily known as the guitarist of Radiohead, but he also has a superb discography of film scores. Based on the sublime Phantom Thread (Nonesuch, 2018), and the alluring anxiety of The Master (Nonesuch, 2012), in many ways Greenwood was the perfect composer for Spencer (Mercury KX, 2021). These brilliant compositions do a\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/jonny-greenwood-spencer\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Jonny Greenwood&#8217;s Soundtrack to &#8216;Spencer&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/threadgill.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/threadgill.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/threadgill.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"3294\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/threadgill-zooid-poof\/threadgill\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/threadgill.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"threadgill\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/threadgill.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/threadgill.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/threadgill-zooid-poof\/\">Review: Henry Threadgill Zooid&#8217;s &#8216;Poof&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">As some artists approach their late careers they become ruthless self-editors, paring down their style to remove everything that is unnecessary or extraneous. Because the unnecessary is seldom granted admission to Henry Threadgill&#8217;s compositional world, Poof (Pi Recordings, 2021), the sixth recording from his Zooid band, and the first since 2015, is about something different.&nbsp;\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/threadgill-zooid-poof\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Henry Threadgill Zooid&#8217;s &#8216;Poof&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/FOy-kXt.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/FOy-kXt.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/FOy-kXt.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"3181\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/blanchard-absence\/foy-kxt\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/FOy-kXt.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"FOy&amp;#8211;kXt\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/FOy-kXt.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/FOy-kXt.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/blanchard-absence\/\">Review: Terence Blanchard&#8217;s &#8216;Absence&#8217; featuring the E-Collective and Turtle Island Quartet<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Wayne Shorter is among the best composers of the second half of the Twentieth Century. Several of his compositions including, \u201cFootprints\u201d and \u201cInfant Eyes,\u201d have become standards. But in performing these songs, many musicians often miss what makes the saxophonist\u2019s work so extraordinary. Yes, the pieces are beautiful and well-written, but they are merely jumping\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/blanchard-absence\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Terence Blanchard&#8217;s &#8216;Absence&#8217; featuring the E-Collective and Turtle Island Quartet<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/07\/0025161566_10-1.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/07\/0025161566_10-1.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/07\/0025161566_10-1.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2904\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/lrain-fatigue\/0025161566_10-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/07\/0025161566_10-1.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"0025161566_10\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/07\/0025161566_10-1.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/07\/0025161566_10-1.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/lrain-fatigue\/\">Review: L&#8217;Rain&#8217;s &#8216;Fatigue&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Multi-instrumentalist Taja Cheek, who records under the moniker L&#8217;Rain, creates a unique experience in Fatigue. The album is kaleidoscopic and unpredictable. Cheek envelopes the listener in her world with a combination of impressive musicianship, production, and field recordings. The album is full of beautiful moments, an early one being how Cheek embellishes a live gospel\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/lrain-fatigue\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: L&#8217;Rain&#8217;s &#8216;Fatigue&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/20210315_CeramicDog_EbruYildiz_41.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/20210315_CeramicDog_EbruYildiz_41.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/20210315_CeramicDog_EbruYildiz_41.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2837\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/ceramic-dog-hope\/20210315_ceramicdog_ebruyildiz_41\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/20210315_CeramicDog_EbruYildiz_41.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"20210315_CeramicDog_EbruYildiz_41\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/20210315_CeramicDog_EbruYildiz_41.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/20210315_CeramicDog_EbruYildiz_41.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/ceramic-dog-hope\/\">Review: Marc Ribot&#8217;s Ceramic Dog&#8217;s &#8216;Hope&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Nobel physicist Erwin Schr\u00f6dinger once noted that \u201c[i]f a man never contradicts himself, the reason must be that he virtually never says anything at all.\u201d Perhaps no finer quote could describe Ceramic Dog\u2019s Hope (Northern Spy, 2021), a recording full of paradoxes.&nbsp; Approaching the album from afar, one sees an optimistic title coupled with a\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/ceramic-dog-hope\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Marc Ribot&#8217;s Ceramic Dog&#8217;s &#8216;Hope&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Impulse-60-Sons-of-Kemet.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Impulse-60-Sons-of-Kemet.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Impulse-60-Sons-of-Kemet.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2756\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/impulse-60-black-to-the-future\/impulse-60-sons-of-kemet\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Impulse-60-Sons-of-Kemet.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Impulse 60 Sons of Kemet\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Impulse-60-Sons-of-Kemet.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Impulse-60-Sons-of-Kemet.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/impulse-60-black-to-the-future\/\">Review: &#8216;Impulse! Records: Music, Message &#038; The Moment&#8217; and Sons of Kemet&#8217;s &#8216;Black to the Future&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">In 1960, Creed Taylor founded Impulse! Records, which he dubbed &#8220;The New Wave in Jazz.&#8221; While over time, Impulse! established itself as one of the premier labels in the genre, it was always happiest around categorical edges. Ray Charles\u2019&nbsp;Genius + Soul = Jazz&nbsp;(Impulse!, 1960) blurred lines between the two styles. Later, Yusef Lateef &#8211; as\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/impulse-60-black-to-the-future\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: &#8216;Impulse! Records: Music, Message &#038; The Moment&#8217; and Sons of Kemet&#8217;s &#8216;Black to the Future&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/unnamed6.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/unnamed6.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/unnamed6.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2734\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/tony-allen-no-end\/unnamed6\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/unnamed6.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"unnamed(6)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/unnamed6.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/unnamed6.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/tony-allen-no-end\/\">Review: Tony Allen&#8217;s &#8216;There is No End&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">An artist\u2019s final recording is often an unusual gift to the world. In large part, this derives from the fact that no one truly knows when they will leave. Even so, some can sense that their time is near, and this shows in their works. For David Bowie, his parting thoughts came through on Blackstar\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/tony-allen-no-end\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Tony Allen&#8217;s &#8216;There is No End&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/03\/Logan-Richardson.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/03\/Logan-Richardson.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/03\/Logan-Richardson.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2639\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/logan-richardsons-afrofuturism\/logan-richardson\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/03\/Logan-Richardson.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1579468071&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Logan Richardson\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/03\/Logan-Richardson.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/03\/Logan-Richardson.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/logan-richardsons-afrofuturism\/\">Review: Logan Richardson&#8217;s &#8216;Afrofuturism&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Memorial day weekend 1921 started just like any other day in the Greenwood District of Tulsa, Oklahoma. One of the wealthiest communities in America, this segment of the city was such an economic powerhouse it would be dubbed \u201cBlack Wall Street.\u201d By the end of the weekend, the prosperous region would be turned to rubble.\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/logan-richardsons-afrofuturism\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Logan Richardson&#8217;s &#8216;Afrofuturism&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/thumbscrew.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/thumbscrew.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/thumbscrew.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2561\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/thumbscrew-never-is-enough\/thumbscrew-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/thumbscrew.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;10&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;X-T1&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1435755169&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;32.6&quot;,&quot;iso&quot;:&quot;6400&quot;,&quot;shutter_speed&quot;:&quot;0.004&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"thumbscrew\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/thumbscrew.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/thumbscrew.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/thumbscrew-never-is-enough\/\">Review: Thumbscrew&#8217;s &#8216;Never is Enough&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">It hasn&#8217;t even been a year since Thumbscrew released their superb record in tribute to Anthony Braxton, but the trio is already back with Never Is Enough (Cuneiform Records, 2021). Braxton&#8217;s influence is still apparent, especially in the more rigid moments, but this album is a completely different experience. For much of the runtime, the\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/thumbscrew-never-is-enough\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Thumbscrew&#8217;s &#8216;Never is Enough&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/mitchell-westerlies.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/mitchell-westerlies.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/mitchell-westerlies.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2509\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/joni-mitchell-theo-bleckmann-westerlies\/mitchell-westerlies\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/mitchell-westerlies.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"mitchell westerlies\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/mitchell-westerlies.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/mitchell-westerlies.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/joni-mitchell-theo-bleckmann-westerlies\/\">Reflections Through Geography with Joni Mitchell and Theo Bleckmann and The Westerlies<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Fifty years ago, Joni Mitchell released the most iconic album of her career, one that changed the trajectory of music forever:&nbsp;Blue&nbsp;(Reprise, 1971). Writing uniquely warm, evocative lyrics and integrating folk guitar, piano, and dulcimer with adventurous harmony,&nbsp;Blue&nbsp;was widely successful upon its release and continues to influence new works today. However, part of its excellence derives\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/joni-mitchell-theo-bleckmann-westerlies\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Reflections Through Geography with Joni Mitchell and Theo Bleckmann and The Westerlies<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/r_r_now.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/r_r_now.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/r_r_now.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2504\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/rr-now-live\/r_r_now\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/r_r_now.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;10&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 6D&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1524099711&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;24&quot;,&quot;iso&quot;:&quot;1600&quot;,&quot;shutter_speed&quot;:&quot;0.00625&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"r_r_now\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/r_r_now.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/r_r_now.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/rr-now-live\/\">Review: &#8216;\u200eR+R=Now Live&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">If 2020 has shown us anything, it is how quickly circumstances can change. One day you are living your \u201cnormal\u201d life. The next you are unexpectedly shut-in for the foreseeable future. So when R+R = Now &#8211; a band intended to reflect upon and respond to the events of the current moment, not weeks or\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/rr-now-live\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: &#8216;\u200eR+R=Now Live&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2486\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/shepp-moran-let-my-people-go\/shepp-moran\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1591739591&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Shepp Moran\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/shepp-moran-let-my-people-go\/\">Review: Archie Shepp &#038; Jason Moran&#8217;s &#8216;Let My People Go&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Albert Murray once noted that \u201cthe blues is not the creation of a crushed-spirited people [but rather] the product of a forward-looking, upward-striving people.\u201d Throughout his career, Archie Shepp has explored the connection between the blues and aspiration for a brighter future. He\u2019s done so significantly by branching the sonic qualities of the form to\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/shepp-moran-let-my-people-go\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Archie Shepp &#038; Jason Moran&#8217;s &#8216;Let My People Go&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/brubeck-evans.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/brubeck-evans.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/brubeck-evans.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2479\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/review-dave-brubecks-time-outtakes-and-bill-evans-live-at-ronnie-scotts\/brubeck-evans\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/brubeck-evans.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"brubeck evans\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/brubeck-evans.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/brubeck-evans.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-dave-brubecks-time-outtakes-and-bill-evans-live-at-ronnie-scotts\/\">Review: Dave Brubeck&#8217;s &#8216;Time OutTakes&#8217; and Bill Evans &#8216;Live at Ronnie Scott\u2019s&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Dave Brubeck and Bill Evans were the twin Great White Hopes of jazz piano at the apex of the Pax Americana. Born on opposite coasts at the opposite ends of the 1920s, both men achieved great popular success. Brubeck, the elder of the two, became a cult figure on college campuses during the 1950s and\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/review-dave-brubecks-time-outtakes-and-bill-evans-live-at-ronnie-scotts\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Dave Brubeck&#8217;s &#8216;Time OutTakes&#8217; and Bill Evans &#8216;Live at Ronnie Scott\u2019s&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/2685-Joe-Lovano-Trio-Tapestry_PF22.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/2685-Joe-Lovano-Trio-Tapestry_PF22.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/2685-Joe-Lovano-Trio-Tapestry_PF22.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2413\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/trio-tapestry-garden-of-expression\/2685-joe-lovano-trio-tapestry_pf22\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/2685-Joe-Lovano-Trio-Tapestry_PF22.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"2685 Joe Lovano Trio Tapestry_PF2(2)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/2685-Joe-Lovano-Trio-Tapestry_PF22.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/2685-Joe-Lovano-Trio-Tapestry_PF22.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/trio-tapestry-garden-of-expression\/\">Review: Joe Lovano Trio Tapestry&#8217;s &#8216;Garden of Expression&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Neo-traditionalists like Wynton Marsalis and Stanley Crouch have long desired the classification of \u201cjazz\u201d as \u201cAmerica\u2019s classical music.\u201d While this idea may bring more stature to the art form in certain social circles, it also largely marginalizes significant works by artists that do not fit their set preconceptions, particularly those in the avant-garde. Ironically, since\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/trio-tapestry-garden-of-expression\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Joe Lovano Trio Tapestry&#8217;s &#8216;Garden of Expression&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"203\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/12\/0019603255_10-e1609135962476.jpg?fit=300%2C203&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" data-attachment-id=\"2237\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/moor-mother-billy-woods-brass\/0019603255_10\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/12\/0019603255_10-e1609135962476.jpg?fit=740%2C500&amp;ssl=1\" data-orig-size=\"740,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"0019603255_10\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/12\/0019603255_10-e1609135962476.jpg?fit=300%2C203&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/12\/0019603255_10-e1609135962476.jpg?fit=1024%2C692&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/moor-mother-billy-woods-brass\/\">Moor Mother and billy woods&#8217; &#8216;Brass&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">The first song on BRASS (Backwoodz Studioz, 2020), \u201cFuries\u201d, was the beginning of something special. Although Moor Mother and billy woods had connected before on \u201cRamesses II\u201d by Armand Hammer (woods and ELUCID), \u201cFuries\u201d was the first time they recorded as a duo. The track was originally released as part of the Adult Swim single\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/moor-mother-billy-woods-brass\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Moor Mother and billy woods&#8217; &#8216;Brass&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"203\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Dezron-Douglas-Brandee-Younger-force-Majeure-new-lp-vinyl.jpg?fit=300%2C203&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Dezron-Douglas-Brandee-Younger-force-Majeure-new-lp-vinyl.jpg?w=1600&amp;ssl=1 1600w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Dezron-Douglas-Brandee-Younger-force-Majeure-new-lp-vinyl.jpg?resize=300%2C203&amp;ssl=1 300w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Dezron-Douglas-Brandee-Younger-force-Majeure-new-lp-vinyl.jpg?resize=1024%2C691&amp;ssl=1 1024w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Dezron-Douglas-Brandee-Younger-force-Majeure-new-lp-vinyl.jpg?resize=768%2C518&amp;ssl=1 768w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Dezron-Douglas-Brandee-Younger-force-Majeure-new-lp-vinyl.jpg?resize=1536%2C1037&amp;ssl=1 1536w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"2066\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/younger-douglas-force-majeure\/dezron-douglas-brandee-younger-force-majeure-new-lp-vinyl\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Dezron-Douglas-Brandee-Younger-force-Majeure-new-lp-vinyl.jpg?fit=1600%2C1080&amp;ssl=1\" data-orig-size=\"1600,1080\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Dezron-Douglas-Brandee-Younger-force-Majeure-new-lp-vinyl\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Dezron-Douglas-Brandee-Younger-force-Majeure-new-lp-vinyl.jpg?fit=300%2C203&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Dezron-Douglas-Brandee-Younger-force-Majeure-new-lp-vinyl.jpg?fit=1024%2C691&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/younger-douglas-force-majeure\/\">Review: Brandee Younger &#038; Dezron Douglas&#8217; &#8216;Force Majeure&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Black\u2019s Law Dictionary (8th ed.) defines force majeure as \u201can event that can be neither anticipated nor controlled.\u201d A party to a contract may be discharged of their duty to perform under said contract upon showing the occurrence of some unforeseeable event outside of their control which rendered their performance impossible or impractical. The concept\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/younger-douglas-force-majeure\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Brandee Younger &#038; Dezron Douglas&#8217; &#8216;Force Majeure&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/0021677624_10.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/0021677624_10.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/0021677624_10.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"1951\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/alcorn-pedernal\/0021677624_10\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/0021677624_10.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"0021677624_10\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/0021677624_10.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/0021677624_10.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/alcorn-pedernal\/\">Review: Susan Alcorn&#8217;s &#8216;Pedernal\u2019<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Geography isn\u2019t destiny, but it might explain some things about pedal steel guitarist Susan Alcorn and her new release, Pedernal (Relative Pitch Records, 2020). Alcorn is based in Baltimore, a place where the strange, unexpected and contradictory thrive. It is the birthplace of Edgar Allan Poe, Frank Zappa and John Waters, who wrote, \u201cYou can\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/alcorn-pedernal\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Susan Alcorn&#8217;s &#8216;Pedernal\u2019<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/2700_Keith-Jarrett_Daniela-Yohannes2.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/2700_Keith-Jarrett_Daniela-Yohannes2.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/2700_Keith-Jarrett_Daniela-Yohannes2.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"1947\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/jarrett-budapest-concert\/2700_keith-jarrett_daniela-yohannes2\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/2700_Keith-Jarrett_Daniela-Yohannes2.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"2700_Keith Jarrett_Daniela Yohannes(2)\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/2700_Keith-Jarrett_Daniela-Yohannes2.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/2700_Keith-Jarrett_Daniela-Yohannes2.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/jarrett-budapest-concert\/\">Review: Keith Jarrett&#8217;s &#8216;Budapest Concert&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">On January 24, 1975, Keith Jarrett sat, in pain, at the keys of a decrepit and horribly out-of-tune piano. The instrument\u2019s pedals did not function properly, giving both a dampened lower register and a harsh upper one. Even after several hours of adjustments, it was still defective.&nbsp; Anyone rationally analyzing this situation would see these\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/jarrett-budapest-concert\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Keith Jarrett&#8217;s &#8216;Budapest Concert&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EYOT-Photo-by-VANJA-KESER-scaled-e1594289079795.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EYOT-Photo-by-VANJA-KESER-scaled-e1594289079795.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EYOT-Photo-by-VANJA-KESER-scaled-e1594289079795.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"1918\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/eyot-557799\/eyot-photo-by-vanja-keser-scaled-e1594289079795\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EYOT-Photo-by-VANJA-KESER-scaled-e1594289079795.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;10&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;NIKON D610&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1582035933&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;35&quot;,&quot;iso&quot;:&quot;50&quot;,&quot;shutter_speed&quot;:&quot;0.005&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"EYOT-Photo-by-VANJA-KESER-scaled-e1594289079795\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EYOT-Photo-by-VANJA-KESER-scaled-e1594289079795.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EYOT-Photo-by-VANJA-KESER-scaled-e1594289079795.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/eyot-557799\/\">Review: EYOT&#8217;s &#8216;557799&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">American musicians have been experimenting with Balkan-esque rhythms since at least 1959 when Dave Brubeck brought the 2 + 2 + 2 + 3 pulse back from a folk song he heard in Istanbul and composed Blue Rondo \u00e0 La Turk. Since then, unusual note groupings have become standard fare in jazz, fusion, and art\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/eyot-557799\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: EYOT&#8217;s &#8216;557799&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EmiMakabe_RGB.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EmiMakabe_RGB.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EmiMakabe_RGB.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"1903\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/emi-makabe-anniversary\/emimakabe_rgb\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EmiMakabe_RGB.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"EmiMakabe_RGB\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EmiMakabe_RGB.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/EmiMakabe_RGB.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/emi-makabe-anniversary\/\">Review: Emi Makabe&#8217;s &#8216;Anniversary&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">The title cut of Emi Makabe&#8217;s debut full-length release, Anniversary (Greenleaf Music, 2020), is a graceful, bittersweet waltz about the kind of partings and reunions that form the bar lines in the lives of touring musicians. It&#8217;s a spare duet for voice and bass made all the more poignant by the empathetic accompaniment of the\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/emi-makabe-anniversary\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Emi Makabe&#8217;s &#8216;Anniversary&#8217;<\/span><\/a><\/div><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Small-Bills-E-L-U-C-I-D-The-Lasso.jpg?fit=300%2C200&amp;ssl=1\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" style=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Small-Bills-E-L-U-C-I-D-The-Lasso.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Small-Bills-E-L-U-C-I-D-The-Lasso.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"1854\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/small-bills-dont-play-it-straight\/small-bills-e-l-u-c-i-d-the-lasso\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Small-Bills-E-L-U-C-I-D-The-Lasso.jpg?fit=750%2C500&amp;ssl=1\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Small-Bills-E-L-U-C-I-D-The-Lasso\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Small-Bills-E-L-U-C-I-D-The-Lasso.jpg?fit=300%2C200&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/Small-Bills-E-L-U-C-I-D-The-Lasso.jpg?fit=750%2C500&amp;ssl=1\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/postgenre.org\/staging\/4567\/small-bills-dont-play-it-straight\/\">Review: Small Bills&#8217; &#8216;Don&#8217;t Play It Straight&#8217;<\/a><div class=\"wp-block-latest-posts__post-excerpt\">Ten tracks into E L U C I D&#8217;s Valley of Grace (Backwoodz Studioz, 2017), the rapper declared that &#8220;nothing&#8217;s broken, this is how it\u2019s supposed to run&#8221; on &#8220;Talk Disruptive For Me&#8221;. At that point in the EP, if the listener did not know that he was talking about systemic racism, they had not\u2026 <a class=\"wp-block-latest-posts__read-more\" href=\"https:\/\/postgenre.org\/staging\/4567\/small-bills-dont-play-it-straight\/\" rel=\"noopener noreferrer\">Read more<span class=\"screen-reader-text\">: Review: Small Bills&#8217; &#8216;Don&#8217;t Play It Straight&#8217;<\/span><\/a><\/div><\/li>\n<\/ul>","protected":false},"excerpt":{"rendered":"<p>REVIEWS<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":2,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"iawp_total_views":314,"footnotes":""},"class_list":["post-103","page","type-page","status-publish","hentry"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/PeRkRR-1F","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":115,"url":"https:\/\/postgenre.org\/staging\/4567\/contact\/","url_meta":{"origin":103,"position":0},"title":"Contact","author":"Rob Shepherd","date":"February 13, 2020","format":false,"excerpt":"Questions? Comments? Want to Share Something? Feel free to contact us! Musicians\/PR\/Labels: If you are submitting an album for consideration, please make sure to include links to a press release, a biography, the album in MP3 format (and a streaming link if applicable), press photos, and a link to a\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":113,"url":"https:\/\/postgenre.org\/staging\/4567\/about\/","url_meta":{"origin":103,"position":1},"title":"About","author":"Rob Shepherd","date":"February 13, 2020","format":false,"excerpt":"Welcome to PostGenre.Org, the home of PostGenre Media. Started by Rob Shepherd in February 2020, we strive to provide our readers with the opportunity to consider, hear, and appreciate music beyond traditional categories. In the era of primarily physical recording formats, categorization was king. This was more to adapt to\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"Rob","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/rob.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/pages\/103","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=103"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/pages\/103\/revisions"}],"predecessor-version":[{"id":2473,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/pages\/103\/revisions\/2473"}],"up":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/pages\/2"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}