It’s not just that Chicago doesn’t sound like old Chicago anymore. In fact, nobody does. Or, more correctly, nobody did. What’s left of the original band, having now issued just one original album since 1991, has been supplanted. You May Also Like: Chicago, “Questions 67 & 68” from Chicago TransitRead More

Don’t cry, indeed. For Ben Sidran — producer of Van Morrison and Rickie Lee Jones, co-writer of “Space Cowboy” with Steve Miller, sessions man with the Rolling Stones, NPR radio voice — being a hipster seems like such an effortless thing. You May Also Like: Jeff Berlin, Ben Sidran, JeffRead More

I’m a sucker for the storyteller. Sure, the swinging hooks and catchy riffs are great, but for all the various attributes that make an artist or band stand out, the bard card is generally what lures me into month-long catalog benders. You May Also Like: ‘Memories of a White Magician’Read More

Serendipity is, to put it succinctly, a forty-three minute improvisation among Ivo Perelman, Matthew Shipp, William Parker and Gerald Cleaver. You May Also Like: Ivo Perelman, William Parker, Gerald Cleaver – The Art Of The Improv Trio, Volume 4 (2016) Daniel Carter, Matthew Shipp, William Parker, Gerald Cleaver – ‘WelcomeRead More

Touring behind Momentum, a rare, mostly secular solo effort after years of focusing on Christian prog, Neal Morse connects the dots between what has often been perceived as two separate portions of his career. You May Also Like: Neal Morse Did It All (Again) on ‘Songs from November’

With her assertive It Matters To Me, the final disc in a three-EP series, Kat Parsons moves beyond more recent successes within quiet folkie settings and sweetly conveyed pop tunes. You May Also Like: Alan Parsons Project somehow remains faceless, despite hitting big with Eye in the Sky

It was only about a year ago when we last apprised a new album by the restless improvisational saxophonist from Sao Paulo, Ivo Perelman. Since that time, Perelman had put out another three albums, all trio records. You May Also Like: Ivo Perelman, William Parker, Gerald Cleaver – The ArtRead More

This song, a new live interpolation of a Miles Davis cut from 1961’s Someday My Prince Will Come, might be the best argument Nicholas Payton has ever made for the use of the term Black American Music (or #BAM) instead of jazz. You May Also Like: Nicholas Payton – ‘SmokeRead More

Todd Rundgren’s State ping pongs between electronica and full-on rock — sounding like a mash up of the synthesized experiments of 2011’s (re)Production and the grinding riffs of 2008’s Arena. You May Also Like: Why Todd Rundgren’s ‘Back to the Bars’ Remains So Powerful

After losing founding member Jon Lord, Deep Purple emerged with the twilit reverie of “All the Time in the World,” a ruminative song that spoke to passages. With “Hell To Pay,” however, they return to the locomotive glories of the band’s youth. You May Also Like: No related posts.