A finely judged treatment of David Bowie’s music, done without hewing too closely to the old sides — and without fear of going too deep into his catalog for material. You May Also Like: How David Bowie’s ‘Reality’ Stood Out For What It Was Not

For a moment, all you hear is James Westfall, playing a plaintive shape on the piano. Then jazz singer Sasha Masakowski slips in behind him, performing in another tongue – sounding like a passing thought that brings you all the way out of a daydream. You May Also Like: FutureRead More

Photo from www.SashaMasakowski.com by Nick DeRiso Sasha Masakowski, at once fearless and charming, is featured on two new EPs, one as a leader with Musical Playground (a sampling from the forthcoming next-gen jazz recording Wishes on Hypersoul Records) and another as part of the New Orleans indie rock/electronic band BionicaRead More

by Pico “The world’s most vicious vibes-led threesome” That was the big impression I was left with from the self-described “post-punk jazz trio with vibraphone,” aka the Wee Trio, back when they released their debut record in the late summer of 2008. Capitol Diner Vol. 1 was hell-bent on bustingRead More

“The best post-punk jazz trio with vibraphone ever.” That’s the bold declaration you’ll find when you click on the link at the bottom of this article to purchase their CD. It’s also very hard to argue with that statement. James Westfall (vibes), Dan Loomis (acoustic bass) and Jared Schonig (drums)Read More