Mark Kozelek’s Sun Kil Moon has teamed up with the Hungarian band Amoeba for a remarkable cross-continental collaboration simply titled Sun Kil Moon featuring Amoeba. The album was recorded in Hungary throughout 2022 and 2023 and marks Kozelek’s first major international studio partnership in several years.
Initially released outside of North America in September 2024, the album later arrived on CD and vinyl in October 2024. It blends Sun Kil Moon’s introspective storytelling and spoken-word style with Amoeba’s rich, jazz-infused instrumentation, resulting in one of the most atmospheric and emotionally charged records in Kozelek’s recent catalog. The follow-up, Sun Kil Moon and Amoeba Vol. 2, features eight tracks that stretch…
Category: jazz
Ledisi‘s second album of 2025, For Dinah can also be seen as a follow-up to Ledisi Sings Nina, her Grammy-nominated homage to Nina Simone. The singer’s bond with the music of Dinah Washington began to form when she heard it through her mother. It was strengthened through her jazz studies at UC Berkeley and has continued throughout her career, culminating in this thoughtful interpretive set she produced beside top-tier bassist Christian McBride and Rex Rideout, her longtime collaborator. Like Ledisi Sings Nina, For Dinah is both reverent and creative. Although brass and string sections fill out the sound in all the right places, this is considerably more intimate with Ledisi backed primarily by a trio: McBride on bass, McClenty Hunter on drums,..
Supergroup Los Cinco Cardones met playing music in Los Cabos, the southern tip of Mexico’s Baja California peninsula – a location whose cultural diversity and balmy climate both make themselves felt on this debut album. The project unites bandleader Sebastian Maschat, drummer of German group The Whitest Boy Alive, Chicago-born multi-instrumentalist Howard Clifton and Argentinian duo Diego Sole (guitars) and Sebastian Dimarco (bass); the ‘fifth Cardón’ of the quartet’s name appears to be identified as the record itself.
There is certainly a strong sense of some intangible magic at work here, El Quinto Cardón transcending genre and structural conventions throughout: tracks such as…
Trio of Bloom is the first studio meeting between pianist/keyboardist Craig Taborn, guitarist Nels Cline, and drummer Marcus Gilmore. It was facilitated by producer David Breskin, who, in the mid-’80s, brought together guitarist Bill Frisell, bassist Melvin Gibbs, and drummer Ronald Shannon Jackson. All admired one another despite different approaches to jazz. That idea yielded the 1987 one-off Strange Meeting by Power Tools. Breskin has produced Decoding Society dates, several Frisell recordings, and has worked with Cline since 2010.
Set opener “Nightwhistler” was composed by Jackson, and it appropriately begins with an intensely lyrical and poetic drum solo from Gilmore. A minute in, Cline starts delivering…
In an interview with David Joez Villaverde from March 2024, Fred Moten considers crossing out the world. Building upon the writings of Brazilian philosopher Denise Ferreira da Silva, he positions the pursuit of justice as requiring not just “the end of the world as we know it, or the end of the world, or this world, as such” but “the end of the very idea of world.” Less than a year later, the feeling of the end – or, at least, an end – is in the air, with Western liberal ideals of a stable existence, which only ever applied to some anyway, swiftly swept aside to the rhythm of executive orders.
While the sort of destructive accelerationism we’re witnessing is unlikely to be conducive to Moten’s interests in “the preservation of earth”, his works, past and present, seem prescient in…
The ever-exploratory composer Henry Threadgill is more restless than ever at 81 and, thank goodness, shows no signs of slowing down. Listen Ship is his latest long-form composition and, like some of his more recent recordings, features him as a conductor and composer, not as a soloist. This 16-part suite was composed for four acoustic guitarists, two bassists, and two pianists. The lineup includes guitarists Bill Frisell, Brandon Ross, Miles Okazaki, and Gregg Belisle-Chi, with bassists Jerome Harris and Stomu Takeishi, and pianists Maya Keren and Rahul Carlberg. Ross has been working with the composer since the early 1990s, and Takeishi and Harris have worked with him sporadically for decades. Listen Ship is linked to 1994’s Song out of My Trees…
Each album by Swedish composer Sven Wunder masterfully opens a door into a different sonic mise-en-scene, from the East-meets-West psychedelia of Eastern Flowers, to the painterly restraint of Wabi Sabi or the midnight-jazz hush of Late Again. Daybreak could be his most radiant yet: a slow-blooming, analog-toned instrumental voyage that charts the emotional arc of a single day from pre-dawn shimmer to golden hour contemplation. Throughout, recurring musical themes appear in multiple instrumental, rhythmic and textural guises, almost like sunlight refracted through the waters of Lake Vänern.
As ever, Wunder draws from a global palette of woodwinds, strings, hand drums, fingerpicked acoustic guitar and brass, and arranges…
Saxophonist Donny McCaslin and his band’s collaboration on David Bowie’s final album Blackstar marked a pivotal moment in McCaslin’s career. Following Bowie’s death just two days after the album’s release, McCaslin transitioned from being a well-respected jazz musician to achieving international recognition. His band’s innovative contributions helped make Bowie’s final album a critically acclaimed late-career highlight.
Since then, McCaslin’s brand of innovative, contemporary jazz fusion has continued breaking through barriers to define a distinctive sound that draws on electronica, rock, and sophisticated production techniques. He is supported in this endeavor by a rotating cast of musicians, including key Blackstar personnel keyboardist…
Piotr Kurek plays it stone-faced. His music teems with strangeness, yet even his most outré pieces have a lulling effect; it’s uneasy listening that casts a blissful spell. Make no mistake: The Warsaw composer’s music is way out there. His records are miniature worlds where the usual laws don’t hold. Kurek loves to blur the line between authentic and ersatz, natural and synthetic, cause and effect; resolutely tactile instruments like vibraphone are balanced by ethereal wisps of Auto-Tune. Drop the needle anywhere, and you might hear cybernetic bagpipes; holographic harps; voices that might be cellos, or vice versa. For someone who frequently writes for theater — an art form based on real people moving around in three-dimensional space — he’s got an uncanny knack…
The late-career success of legendary Ethiopian musicians Mulatu Astatke and Hailu Mergia have brought new audiences to classic Ethio-jazz. The surge of attention has been aided by reissue labels that have made it their business to preserve decades-old recordings of snaking horn play, elegant vibraphones, and mesmeric grooves. But right in the Bay Area, you’ll find a contemporary artist in the same lineage, recording music with a rhythm and style that honors these righteous predecessors.
Singer and educator Meklit Hadero was born in the Ethiopian capital Addis Ababa to an ethnic Kambaata father and Amhara mother. Journeying to America as a refugee, she settled in San Francisco during childhood, and since the late…
On November 23, 2024, Avishai Cohen and his Quintet gathered at the world-renowned Little Big Beat Studio for a special Studio Live Session. In the intimate setting of this legendary space, Cohen was joined by Roni Kaspi (drums), Itay Simhovich (piano), Yuval Drabkin (saxophone), and Yonathan Voltzok (trombone). Together they created a performance that was both powerful and delicate, marked by spontaneity, deep interplay, and the unmistakable energy of musicians fully attuned to one another.
The session captures Cohen at his most inspired: lyrical, inventive, and rooted in the rich tradition of jazz while reaching far beyond it. Each composition unfolds like a conversation, with the Quintet’s dynamic shifts, subtle textures…
The list of “bitchin’” things in music is select: Camaros, summers, pretty lives. Meditative, drone-filled music built on synths, drum machines, and woodwinds usually does not fit the bill. Yet the Chicago trio Bitchin Bajas (possibly named after the late, lamented Subaru coupé utility vehicle) makes a strong case for the bitchin-ness of their aggressively subdued sound. Cooper Crain, Rob Frye, and Dan Quinlivan may not shred, but they can carve, shaping layers, loops, and live instruments into dazzling, dizzying constructions.
Inland See, the Bajas’ ninth album not counting some collaborations and a soundtrack, continues the band’s heavy-duty minimalism, with closing track “Graut” clocking in at over 18 minutes while barely breaking a low boil.
Wolfgang Muthspiel and his trio with Scott Colley on bass and Brian Blade on drums (“Together they have something of the empathy of the Bill Evans trio” – Downbeat) goes into its third recording-venture swinging, setting the stage for what may be the group’s most adventurous trio recording with a delicate reading of Keith Jarrett’s “Lisbon Stomp”. Throughout the album however, the Austrian guitarist and his American cohorts turn the spotlight towards Wolfgang’s captivating originals, touching on balladic lyricism (“Pradela”, “Traversia”), subtle folk infusions (“Strumming”, “Flight”), as well as oblique chamber jazz (“Weill You Wait”) and twangy rock and roll (“Roll”). As has become custom, Wolfgang alternates between acoustic and electric guitars fluently and…
If only one name comes to mind when you think of Ethio-jazz, it’s almost certainly that of Mulatu Astatke. A vibraphone and percussion virtuoso, Mulatu has also been prolific on the keys, releasing records under this stylistic nomenclature since the 1970s. Inspired by Ethiopian melodic modes and the rhythms and instrumentation of Latin and other American jazz traditions, Mulatu studied at Berklee College of Music. Ethio-jazz is as cool now as it was then, if not cooler for the vintage air that surrounds it; even its use in NPR music breaks can’t undermine its radical complexities.
That’s not to say, though, that Ethio-jazz is a genre of the past. That much is clear on Mulatu Plays Mulatu, the newest release from the octogenarian musical giant. He frames it as…
Tenor saxophonist Eric Alexander‘s release, Chicago to New York, is a masterclass in modern hard bop that pays homage to the vibrant musical exchange between two of jazz’s most storied cities. This is not just a geographical nod but a conversation across time and space, framed by a quartet whose cohesion and shared sensibilities transcend geographical lines.
Alexander, one of the most consistent voices of his generation, joins forces with pianist Mike LeDonne, both standard-bearers of the New York scene. From Chicago, drummer George Fludas and bassist Dennis Carroll offer an equally seasoned and sympathetic rhythm team. What’s immediately striking is how organically the group functions. This is no throw-together session or…

After two albums under her belt, Berlin-based harmonica player