Dan Weiss’ innate understanding of tradition picked up from key influences made it possible to move forward in the salient, discriminating way that he did for ‘Dedication.’

Living up to its name, Jacob Garchik’s ‘Assembly’ artfully puts together improvised parts to create structured pieces, only to place it back against its loose origins.

Sublime simplicity comes from attention to detail, a Bill Frisell hallmark found all over ‘Valentine.’ It’s another fine entry point into his massive discography.

Bill Frisell and Thomas Morgan play with the intent to extract every honeyed drop from these rich melodies, a hallmark of both artists.

Ron Miles deconstructs through his accomplished art the complex emotions of protracted strife both within society and within a person, and makes compelling music from it. The added sense of purpose propels ‘I Am A Man’ to the upper echelon of his discography.

DuBois’s desire to blur the lines between creative jazz, chamber music and folk forms is a quest others before him have taken on, but the challenge of putting it all together both coherently and provocatively is where many have fallen short. Not so with ‘Autumn Wind,’ it excels at that.

With his composing pen, leadership and guitar, Scott DuBois has painted a Monet with ‘Winter Light’.

Fourteen (March 25, 2014, Pi Recordings) isn’t Dan Weiss’s fourteenth record (it’s his fifth), nor is it the number of tracks on the album, nor does it pertain to the year it’s out (as in “’14”). You May Also Like: Dan Weiss Starebaby – ‘Natural Selection’ (2020) Dan Weiss TrioRead More

One of the most diversely talented pianists of today can make just about any kind of record he wants, and make it good. So why did Craig Taborn choose to make an acoustic jazz trio record with bassist Thomas Morgan and drummer Gerald Cleaver for his second ECM project? YouRead More