by Mark Saleski Why do people hit a musical wall at a certain point in their life? They stop listening to anything put out after their high school (or college) years. Worst of all: they just stop listening. Music is no longer a part of their life. You May AlsoRead More

In the twisted, sound-bending world of Garage Á Trois, it’s well beyond finding that rare groove, it’s about finding sounds that are even more fundamentally rare. You May Also Like: Garage A Trois – ‘Calm Down Cologne’ (2021) Nolatet – No Revenge Necessary (2018)

by Tom Johnson Tortoise alum Rob Mazurek had a big concept behind this project. As we all know, sometimes big concepts pay off, sometimes they simply lead to big letdowns. You May Also Like: Rob Mazurek & Exploding Star Orchestra – ‘Lightning Dreamers’ (2023) Rob Mazurek – Chants And CornersRead More

During the first year or so of my post-college life, I developed a habit of visiting my local record shop every Saturday afternoon (it goes without saying that I already had this habit, maybe not so firmly attached to a particular day). It was an unassuming little store hiding inRead More

Part of the genius of Miles Davis (aside from the incredible compositions, insanely great trumpet work, and spooky ability to play just the right notes) was his amazing talent for selecting band members. You May Also Like: How Bennie Maupin Left Mwandishi Behind on ‘The Jewel in the Lotus’ WhyRead More

Pardon me as I continue on the topic of Bill Frisell The Sideman on an interpretation of a Miles Davis fusion deep cut You May Also Like: Bill Frisell’s Timeless ‘Live’ Opened Up a New Musical World for Me Cuong Vu 4Tet with Bill Frisell – Ballet (2017) Bill FrisellRead More

Some time ago…two years and three months ago to be more precise…we raved on the double-bass mastery of the Norwegian ECM Records mainstay Arild Andersen, and noted then that he “may not be the first name that comes up when one thinks of the greatest living acoustic bassists, but he’sRead More

by Mark Saleski Back in the late 1980s, there was a backlash of sorts against the new traditionalist tendencies in mainstream jazz. Wynton Marsalis and his cohorts had come along to celebrate (and honestly, expand upon) the early strengths of bop and, as usual, the major labels started releasing likeRead More

Yet another product from Moppa Elliot’s Hot Cup Records, which already says a lot about a record that shares the same label as Bryan And The Haggards, Puttin’ On The Ritz, and Mostly Other People Do The Killing. But we were already saying things — nice things — about Lundbom’sRead More

by Mark Saleski Jazz fans have always been sort of coy with the word ‘fusion.’ We like to make jokes about it, even applying a nickname of sorts — The F-Word — because we’d hate to admit that we’re ever serious about the genre. Yeah, fusion seems to get theRead More