Oh, did I mention that the Who’s ‘Live at Leeds’ is extremely LOUD?

Bill Summers shares thoughts on a new album, his rejuvenated collaboration with Irvin Mayfield and some of those classic Headhunters sides.

Since Tom Cora’s tragic passing in 1998, there might not have been a more adventurous cellist on this planet than Erik Friedlander. You May Also Like: George Crotty Trio – ‘Chronotope’ (2022) Tim Berne – ‘inSOMNIA’ (2011): On Second Thought

by Tom Johnson I really wondered what the move to Capitol Records would do to the Decemberists. Would they turn in something less than stellar, as happened with Death Cab For Cutie on their major label debut, Plans? Or would they stick to their guns and thrive with a biggerRead More

by Mark Saleski I’m not one to quote Wikipedia, but this time around it makes perfect sense: “Smooth jazz is a sub-genre of jazz which is heavily influenced by R&B, funk, rock, and pop music styles (separately, or, in any combination).” This is an interesting definition because it highlights theRead More

One of the more contentious issues in Ozzy Osbourne’s career may have finally been laid to rest with the release of a pair of reissues on Sony Legacy — Diary of a Madman and Blizzard of Ozz. You May Also Like: Why You Should Count ‘No Rest for the Wicked’Read More

Too often, it was like Jon Anderson didn’t want to make a solo record that sounded too much like Yes. As interesting as these sideroads no doubt were, they gave few clues to how his own voice fit into the wider topography of the band. You May Also Like: JonRead More

by Mark Saleski I already owned 1991’s Great Big Boy, and it’s a fine one. The album was allowed to go out of print for the usual reasons (which I won’t waste our time on), only to reappear in a likeably presented two-fer in 2007 with Peculiaroso from 1994, whichRead More

by Tom Johnson I really admire trumpeter Dave Douglas. Not only is he world-renowned as one of jazz’s best, he has taken the high and difficult road by setting out to create his own little sanctuary for musicians, a label in Greenleaf Music where they get treated fairly and whereRead More

by Mark Saleski Normally, I’m not a particularly skeptical person. But when I see things in album credits like “hair,” “makeup,” and “dresses,” it’s tough to not tighten up a little. The good news is that Leonhart and Escoffery can bring it. She has a voice that manages to seemRead More