Category: jazz


Any list of the greatest jazz artists of all time includes the legendary Charles Mingus. Bassist, composer, outspoken jazz pioneer, Mingus was an innovator whose legacy continues to inspire us. Over a 100 years after his birth year, we still celebrate his genius.
This tour de force live performance from the 1964 Monterey Jazz Festival captures Mingus at the top of his form and the height of his powers. Out of print for more than 40 years, this landmark recording was originally released on Mingus’ own Jazz Workshop in 1966.
This explosive set features career-defining performances of “Orange Was the Color of Her Dress, Then Blue Silk,” “Meditations on Integration,” and a searing Duke Ellington tribute medley.

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When rock music from Germany gained international recognition under the label “krautrock” in the 1970s, it was far more than a mind-expanding phenomenon. In basements, youth centers, and improvised studios, a vibrant scene emerged-shaped by fearless curiosity and a strong will to transcend traditional musical structures. Some bands produced only a single recording; others became experimental platforms for established musicians or transient fixtures in local underground milieus. What united them was a desire to cross boundaries: rock met jazz, folk merged with electronics, soul touched the avantgarde. These intersections produced soundscapes that remain powerful documents of a creatively restless era.

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Gilles Peterson presents International Anthem is a double-LP-length compilation of tracks from Chicago-born record label International Anthem curated by legendary London-based radio host, DJ, label head, and cultural impresario Gilles Peterson.
The twenty-nine tracks on this compilation chronicle Peterson’s long-standing affinity for and connection to International Anthem’s expansive creative music community, and were chosen by an extensive review of playlists from his broadcasts on BBC 6 Music, Worldwide FM, and various syndicated radio programs.
The compilation includes a previously unreleased track recorded by Ibelisse Guardia Ferragutti & Frank Rosaly at Peterson’s Brownswood Basement studio in London.

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Australian trio The Necks have consistently made music that is at once mesmerizing yet never static. Whether it’s a single piece or the span of an entire album, their musical approach is always captivating. Disquiet is the band’s 20th album. It contains four works spread across three discs and three hours. Keyboardist Chris Abrahams, upright and electric bassist Lloyd Swanton, and drummer/percussionist Tony Buck on drums and percussion have always been considered a jazz trio, but in actuality, the Necks’ music is unclassifiable.
The first two discs contain a track each, the third contains two. Opener “Rapid Eye Movement” offers a spectral, minor-key piano pattern answered by a strummed bass chord as drums adorn the margin sans pulse. Abrahams adds his…

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Groove in the Face of Adversity is Don Was’ very first solo album. The A-list producer, composer, arranger, bassist, radio program host, and Blue Note Records boss co-founded Was (Not Was) with David Weiss, but this is his thing. His Pan Detroit Energy Ensemble is composed of players from in and around the Motor City: saxophonist/flutist Dave McMurray, keyboardist Luis Resto — both were in Was (Not Was) — trombonist Vincent Chandler, drummer Jeff Canaday, trumpeter John Douglas, guitarist Wayne Gerard, percussionist Mahindi Masai, and vocalist Steffanie Christi’an (Inner City vocalist and Kresge fellow). The band’s M.O: “We are on a mission to promulgate the music of our hometown.” Was was approached by Detroit Symphony Jazz Creative Director…

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Trailblazing saxophonist Charles Lloyd casts an enchanting Southern spell with his latest double album, Figure in Blue, another formidable triumph affirming his boundless creativity, ancestral roots, and deep spirituality. He leads a new trio with longtime collaborator Jason Moran on piano and guitarist Marvin Sewell as the unpredictable wild card. Together, they excavate authentic Delta blues from compelling harmonic designs while honoring Lloyd’s many influences.
Duke Ellington, an early inspiration, receives three dedications. Lloyd’s original “Figure in Blue, Memories of Duke” contrasts happy guitar strums and shimmering piano with reflective passages, all threaded by improvisations that ripple with tension and beauty. The trio also…

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Groove of ESSR III marks the next chapter in highlighting the musical heritage trapped behind the Iron Curtain during the Soviet occupation.
The tracklist curated by Henrik Ehte and Ingvar Kassuk spans recordings from 1971–1983 by Estonian artists, most of whom were born under a foreign regime after the war. Nevertheless, they had relatives in the West and antennas tuned in to Finnish radio signals. In a closed-off world, they had the courage to explore the groove without borders.
Many performers and songwriters became the most sought-after players throughout all of Soviet Russia, not because they blindly followed the communist party’s canon. On the contrary, the sheer brilliance of their compositions,…

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In her latest album, Sounding Line, pianist Carmen Staaf probes different lineups and approaches, reimagining the music of pianists Mary Lou Williams and Thelonious Monk as intimate ‘conversations’. Inspired by their friendship and shared musical sensibilities, Staaf revisits two Monk pieces and three Williams gems — respectful but never slavish — while adding two of her own.
Duets with the incomparable trumpeter Ambrose Akinmusire bookend the album. Williams’ “Scorpio” is stripped down to a six-beat piano bass figure over which Akinmusire unfurls his rich lyricism and unmistakable tone before the duo slides seamlessly into a 4/4 blues. The closer, Staaf’s “The Water Wheel” conjures magic. There’s nowhere to hide in a piano/trumpet duet and yet…

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At nearly 85, saxophonist and bandleader Gary Bartz releases Damage Control, his first leader date in 12 years. It’s the first volume in a proposed trilogy titled The Eternal Tenure of Sound. Bartz highlights another side of his musical persona here: the love of popular soul and R&B. These are the jams he sings in the shower. It contains songs associated with artists including Earth Wind & Fire, Curtis Mayfield, Anita Baker, Patti LaBelle, El DeBarge, Dexter Wansel, Norman Connors, and McCoy Tyner.
Damage Control was produced by drummer/percussionist Om’Mas Keith (Sa-Ra Creative Partners, Erykah Badu, Frank Ocean). It was recorded at his Los Angeles studio. Bartz wrote startling charts that transform these covers…

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In 2019, New York-based multi-instrumentalist Cochemea set out on a trilogy of albums. The first, All My Relations, proved to be an eclectic collection of free-form jazz, whose tropes crumbled under the pressure of the musician’s ambitions. With Vol. 2: Baca Sewa, Cochemea focused on deep percussion swings, adding streaks of wind instruments to produce flares of whimsy to the unassuming yet potent grooves. These first two outings proved that the artist had intentions far past an impressive discography. Cochemea wanted to bridge worlds and generations using the connective tissue that has always been present but never fully utilized: Jazz.
Cochemea, as ready as an artist can be, prepares for the finale of his ambitious…

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…expanded edition features 14 tracks of alternate versions and studio takes.
When Sun Ra released his debut Saturn release in 1957, he signaled the Arkestra’s mission for the future. The cover declared the album a “21st Century Limited Edition.” The compositions on Supersonic Jazz conveyed optimism and hope, bringing a message auguring the World of Tomorrow. Ra declared this the first dimension of a fresh art form, as he set about evolving a new American music — a composite of the past and future, the known coalescing with the unknown. The album, not very well received upon release, reveals a vibrant universe of sound, with highly developed arrangements and sophisticated musicianship, especially Ra’s…

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It has been a five-and-a-half year wait since the debut of this large ensemble co-led by Anna Webber and Angela Morris on saxes and flutes. Both Are True, released in early 2020, was an album of the year. So did they do it again with Unseparate? Yeah, they did.
Webber and Morris lead their outfit through a varied set of harmonic and rhythmic structures, including drones, staccato blasts, soaring melodies that become spiky, and dense contrapuntal passages. The Big Band includes four additional players on woodwinds, four on trumpets, four on trombones, and individuals on vibraphone, guitar, piano, bass, and drums. A group of this size adds a richness and depth to the compositions, with Webber and Morris taking measures so that…

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…Listening to Living Being IV: Time Reflections, we are immediately struck by the range of dynamics, the intimacy and extroversion at play in every detail, the rich textures, and the arrangements that allow for riveting moments of surprise. It’s worth remembering that, from the outset with Living Being, Vincent Peirani brought to the fore the concept of chamber music: a small number of performers, with each one playing a unique part, but with the emphasis on the collective rather than the individual.
From the start, with ‘Le Cabinet des énigmes’, the melodic intelligibility is impressive. A sort of children’s song sublimated by the art of superimposing transparencies. Everything is played out in a myriad of details that create…

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Although the title of saxophonist Jordan VanHemert’s fifth album, Survival of the Fittest, may elicit images of a crash course in self-defense, that is not at all what he had in mind.
The music is thematic, he says, and represents the twin lodestars of adversity and resilience. Even that, however, becomes largely irrelevant once VanHemert and his supporting cast launch what is at its heart a narrative of contemporary post-bop jazz.
It is a cast that varies in size and makeup from track to track but whose nucleus is comprised of pianist Helen Sung, bassist Rodney Whitaker and drummer Lewis Nash. Trumpeter Terell Stafford and trombonist Michael Dease are listed in the starting lineup, even though Stafford…

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A powerful intergenerational trio emerges on Murasaki, featuring Wadada Leo Smith on trumpet, Marcus Gilmore on drums, and Jakob Bro on guitar.
Recorded at Power Station (formerly Avatar Studios) in New York, this exploratory session unfolded spontaneously-no retakes, no discussions, just a shared musical language rooted in intuition and trust. “It felt as though this music already existed before we started playing,” Bro reflects. Murasaki captures the creative summit of three visionary artists, each pushing beyond the boundaries of form and genre. This marks Wadada Leo Smith’s final European tour appearance, with select live dates in Berlin, Antwerp, Reykjavik and Copenhagen in November.
“…the material is spacious, devoid of any…

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Wadada Leo Smith describes his music not as “jazz” but as “creative music.” He rejects the term “improvisation” in favor of “creation.” These specific word choices reflect his unique approach, which is deeply rooted in his early experiences with blues and R&B.
Smith uses the full range of his instrument and plays at his own pace, with a profound understanding of the power of silence and space. For him, space is as important as the notes themselves, allowing the resonance of each sound to linger. His phrasing and melodic ideas carry the emotional and spiritual weight of the blues, a testament to his musical heritage. His style is a synthesis of diverse influences, including African-American, Native American, and…

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