JazzTimes2 min citite
JT Notes
For more than three decades—ever since Leonard Feather started writing them for us in 1989—our Before & After listening-session articles have been a firm favorite of JazzTimes readers. Sometimes the sessions were conducted in front of audiences on fe
JazzTimes3 min citite
On the Road Again
Our Highway, the new album by New York-based quintet Cowboys & Frenchmen, invites listeners to recall busier days. The 43-minute suite harks back a couple years to a time when a jazz quintet was safe to pile into a minivan and hit the road, soaking u
JazzTimes3 min citite
Return to Ithaca
Nobody can do this but you.” Those were the words of encouragement received by Jacques Schwarz-Bart when he first brought his compositions mixing jazz and Gwoka music to a Berklee professor in the early ’90s. The instructor meant to light a fire unde
JazzTimes2 min citite
Tobias Meinhart
The Painter Sunnyside Over the past year, saxophonist Tobias Meinhart spent significant time discussing the analogous nature of music and visual art with painter Igor Sokol. He became fascinated with similarities and parallels, in part because he exp
JazzTimes2 min citite
Greg Abate
Magic Dance: The Music of Kenny Barron Whaling City Sound The success of Magic Dance is fueled by the capable execution of three brainstorms from Rhode Island hard-bop stalwart Greg Abate. The first was deciding to showcase his facility on a variety
JazzTimes8 min citite
Not The End Of The Line
After months of suffering from the impact of COVID-19 on the jazz economy, things got worse for alto saxophonist Vincent Herring: He contracted the disease itself. “It felt like the flu,” he recalled in a recent interview. “I was tired all the time,
JazzTimes4 min citite
Meeting of Lions
In the wake of the stunning commercial success of Wynton and Branford Marsalis, record companies rushed to put out more hip and swinging product from a generation of ferocious Black talent. They were marketed as “The Young Lions.” If some of those la
JazzTimes23 min citite
Adventures Through Time and Space
Uneasy ECM A stark, black-and-white, distant photo of the Statue of Liberty; composition titles that reflect crises of infrastructure and systemic racism; an underlying tension in the music throughout; all these elements suggest that Uneasy, the new
JazzTimes3 min citite
Mark Whitecage, a saxophonist and clarinetist who started out as a bebopper but became a key contributor to the free-jazz movement from the 1970s on, died March 8. He was 83. In groups such as INTERface, Gunter Hampel’s Galaxie Dream Band, Liquid Tim
JazzTimes4 min citite
An A for Oakland
In the late 1960s, the San Francisco sound was all the rage. Local rock bands like Jefferson Airplane, the Grateful Dead, Sly and the Family Stone, Santana, and Big Brother & the Holding Company (with Janis Joplin) were already famous or about to be.
JazzTimes3 min citite
Wynton Welcomes Bucks County Back
For JazzTimes’ (and this writer’s) first time back to physical, face-front-to-the-stage live performance in more than a year, one thing was certain: It was spooky. George-Romero-Night-of-the-Living-Dead-flesh-eating-ghouls-spooky-meets-Dustin Hoffman
JazzTimes1 min citite
Michael J. West explores the best of New Orleans jazz in our latest JazzTimes 10, with nods to (among others) Jelly Roll Morton, Kid Ory, King Oliver, Sidney Bechet, and some guy named Louis. Plus album and book reviews, obituaries, and much more. Th
JazzTimes11 min citite
Camille Thurman
Camille Thurman blowing tenor with the Jazz at Lincoln Center big band behind her. Fronting the quartet co-led by drummer Darrell Green. Switching from saxophone to flute, then to singing a standard like “Nobody Knows,” revealing her various talents,
JazzTimes10 min citite
A Virtuous Cycle
There are four of us on the Zoom call. Sometimes five, depending on whether Ayní, María Grand’s 10-month-old son, has crawled onto her lap. Grand explains the exercise, a “breath of reciprocity” that she says she learned from a Lenape grandmother. “L
JazzTimes4 min citite
For the Conn-O-Scenti
It was the peak of the Roaring Twenties, and a great time to sell saxophones. More than a million of the instruments were already in circulation in the United States, with at least one apiece being used by each of an estimated 60,000 dance bands perf
JazzTimes5 min citite
Steve Slagle
Optimism is an unlikely through line for a jazz statement born, reared, and recorded during a pandemic. But alto saxophonist and composer Steve Slagle can explain the surprisingly cheery tone of his latest album, Nascentia (Birth), in one succinct se
JazzTimes2 min citite
Masabumi Kikuchi
Hanamichi: The Final Studio Recording Red Hook You wouldn’t guess, from the distilled elegance enclosed here, that the pianist was sick, unsure of himself, so weary in body and mind that he slept two hours in the middle of one session. You also would
JazzTimes1 min citite
Editor Mac Randall | mrandall@jazztimes.com Contributing Editor Lee Mergner Contributing Writers David R. Adler, Dan Bilawsky, Shaun Brady, Philip Booth, Brent Butterworth, Nate Chinen, Sharonne Cohen, Thomas Conrad, J.D. Considine, Morgan Enos, Brad
JazzTimes3 min citite
Temper, Temper
Hafez Modirzadeh was surprised when he translated a Russian review of Facets, his newest album, which features a piano meticulously retuned so it can play eight pitches not heard in Western music. Although the article was positive, it posited that th
JazzTimes3 min cititeTechnology & Engineering
In a Mellow Tone (or Not)
Back in the 1960s, tone controls were considered a must-have feature for audio gear. But in 1974, their reputation sank when famed audio entrepreneur Mark Levinson introduced his JC-2 preamp, which omitted the controls. The pitch was purity—audiophil
JazzTimes10 min citite
Jazz Is Not Dead
For a certain generation of listener, the sound of Gary Bartz’s alto saxophone doesn’t trigger memories of his indelible playing on Miles Davis’ Live-Evil or McCoy Tyner’s Expansions. Instead, that sinuous sax instantly evokes the chorus of “Butter,”
JazzTimes3 min citite
Child In The Hand
If the obvious titans of 1960s jazz—Miles, Coltrane, Mingus, Ornette—are fingers that point the way forward, Eric Dolphy is the webbing at the base of the digits that provides the formal unity. In sports, they’d call him a “glue guy,” only instead of
JazzTimes3 min citite
Bursting Through the Mire
If the red lily signifies passion, then the melodic acuity and rhythmic dexterity displayed by the James Brandon Lewis Red Lily Quintet seem to have been collected under the proper auspices. For Jesup Wagon, the ensemble’s first recording, Lewis aime
JazzTimes1 min citite
Lara Solnicki
The One and the Other Outside In On her third recording, composer, poet, and vocalist Lara Solnicki continues to map new intersections for literature and improvised music. The classically trained Toronto native works with an impressive group of music
JazzTimes4 min citite
Effecting Change
About four years ago, saxophonist Sam Gendel appeared in the YouTube-verse blowing raging solos with Louis Cole’s Knower project. Since then he’s been videoed in a variety of musical situations, including performances with Ry Cooder, Blake Mills and
JazzTimes13 min citite
Music, Incorporated
The rock world takes a lot of credit for what’s known as the “indie ethos,” or “DIY.” Circumventing the corporate music industry with small labels and self-pressed and -promoted records is often thought of as a postpunk-era notion, exemplified by the
JazzTimes3 min citite
Rudy, Don’t Fail
If nothing other than John Coltrane’s A Love Supreme had been recorded there, Englewood Cliffs, N.J.’s Van Gelder Studio would still indisputably qualify as a jazz shrine. But that cornerstone album was only one of thousands cut within the spacious r
JazzTimes2 min citite
2020 Expanded Critics' Poll
Maria Schneider Terri Lyne Carrington Shabaka Hutchings Rudresh Mahanthappa Immanuel Wilkins Artemis Micah Thomas Ted Poor JD Allen Jason Moran & the Bandwagon Fred Hersch Trio Ambrose Akinmusire* Charles Lloyd* Bill Frisell John Scofield Mary Halvor
JazzTimes3 min citite
808 State
The Roland corporation of Japan only manufactured its TR-808 Rhythm Composer drum machine for three years, from 1980 to 1983, but that short time was long enough to alter the course of music. Although it was originally intended as a basic tool for so
JazzTimes11 min citite
Dafnis Prieto
“We played the first week of March at the Jazz Standard with a sextet and went into the studio on the Monday and Tuesday right after,” composer, bandleader, and master percussionist Dafnis Prieto recalls. “My plan was to stay a few days extra just to
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