A few years ago, a great guitarist from the Midwest went back to the soothing pop melodies of the mid-60s to the mid-70s — his formative years — and in doing so took us all back, too.
Two years after Heads of Tales , a searing date backed by Jared Gold, Mark Ferber and David Allen, tenor saxman Tom Tallitsch returns with another strong crew for Ride
Perhaps the most compelling thing about Sheela Bringi’s Incantations is how the Indian-American artist crosses all sorts of melodic lines and never sacrifices the spiritual integrity of the recording. The disc is prayerful and stylish in its mingling of ancient Indian music, devotional chants, jazz, and even blues traditions. “My music is about accessing a place of mystery and divinity,”Read More
Forget everything you know about Brad Mehldau, who rose to fame via contemplative classical-leaning reimagingings of pop songs at an acoustic piano. This isn’t that. It isn’t even jazz
When people hear that a horn player employs “extended techniques” on their instrument, what often comes to mind are things like valve clatter, ostinato, vocalizations, and circular breathing. With Colin Stetson, we get all of that, very often at the same time.
Billy Hart had made a name for himself quite a long time ago drumming in bands or recording dates led by Wes Montgomery, Jimmy Smith, Herbie Hancock’s Mwandishi, Shirley Horn, Miles Davis, McCoy Tyner and Sten Getz,
Father and daughter unite to make beautiful music on Better Than Anything, the lovely new release from vocalist Rebecca DuMaine and the Dave Miller Trio.
It’s easy enough to focus on the initial dry-ice fluidity that guitarist John McLaughlin brings to this advance track from the forthcoming Boston Record, recorded live at the Berklee College of Music. Instead, take a moment to let Etienne Mbappe’s chocolatey sweet bass line envelop you.
Wayne Escoffery returns to his hometown New Haven, Connecticut to tape a live performance with his latest quintet and the feels right at home during the gig, captured on his upcoming album Live At Firehouse 12.
Though my mind sometimes likes to classify all “big band” jazz into that Benny Goodman/Glenn Miller/Paul Whiteman box, doing so ignores the innovations in working with larger groups brought by Fletcher Henderson, Sun Ra and, mostly prominently, Duke Ellington.