Featured Jazz Articles



Quiet Knowing: The Music Of Gentiane MG

Read "Quiet Knowing: The Music Of Gentiane MG" reviewed by Kerilie McDowall

My first impression upon hearing Gentiane MG's work for the first time was that her writing is phenomenally brilliant. She is a standout talent. Michaud-Gagnon's music flows masterfully with poise and grace. She commands the piano with elegance, subtlety, and a refined quiet knowing. Her music and artistry are mysteriously intriguing, with the enchanting deep influences of the great impressionistic French composers like Ravel and Debussy from cultural roots lying deep within Gentiane's sublime approach. Phenomenally arranged sound ...



Lew Tabackin: On Becoming and Barolo

Read "Lew Tabackin: On Becoming and Barolo" reviewed by Kristen Lee Sergeant

"You looking for Lew?" a waiter standing outside Gennaro, a homey Italian restaurant on the Upper West Side, asks as I scan the outdoor dining area for a sign of my interview subject for the evening. “He's inside." They definitely know him here. Ushered into the dining room, the staff graciously points me towards a table in the back, where Lew Tabackin, comfortably ensconced at a corner table with a promising bottle from his cellar, is ready for ...



Krantz / Carlock / Lefebvre: Touching The Stars

Read "Krantz / Carlock / Lefebvre: Touching The Stars" reviewed by Mike Jacobs

Guitarist Wayne Krantz has had a long, interesting and (some would say) iconic career. Along the way, he has reshaped his own style, delved heavily into the compositional and improvisational ends of the spectrum (often blurring the lines between them), and built a catalog that redefined what is possible both on his instrument and as a part of a group. But even in a career rife with left turns, reinventions and revolutionary periods, his KCL trio with bassist Tim Lefebvre ...


Record Label Profile

We Jazz Records: Finland's indie label shaking up the global conversation

Read "We Jazz Records: Finland's indie label shaking up the global conversation" reviewed by Rob Garratt

The past decade's genre-bending jazz renaissance has been well-documented, but between the trailblazing players taking improvised music to increasingly hip places, and the ever-growing audience queuing up to hear them, sits the homegrown labels bottling these brave, thrilling (r)evolutions for all to hear. In conversations about the state of jazz today, it's often easier to distil the music's disparate scenes and sounds by referring to the labels who document them, instead of the musicians who play it. And it's not ...



BigSpoon's Chris Engel: Intention... And Spontaneity

Read "BigSpoon's Chris Engel: Intention...  And Spontaneity" reviewed by Ian Patterson

So much goes into a debut album--a lifetime of learning, experiences and myriad influences. The music that springs forth is also often shaped in subtle and unfathomable ways that are sometimes not entirely clear even to the composer. Some musical reference points may appear obvious, others much less so, and so it is with The Return of the Prodigal Son (Diatribe Records, 2022) by Dublin four-piece BigSpoon. It's a visceral affair, hewn from jazz and improvised traditions, electronic ...


Out and About: The Super Fans

Meet Abe Goldstien

Read "Meet Abe Goldstien" reviewed by Tessa Souter and Andrea Wolper

You can have your “Dry Cleaner From Des Moines"—we're putting our money on our latest jazz Super Fan from Des Moines. Former adman Abe Goldstien lists his passions as his wife, his two children, and jazz. Retired though he may be, Abe doesn't show any signs of slowing down, keeping up a busy schedule volunteering for various organizations, freelancing as a writer and consultant, and doing everything in his power to make sure jazz thrives in Des Moines. As if ...


Building a Jazz Library

Horace Silver: His Only Mistake Was To Smile

Read "Horace Silver: His Only Mistake Was To Smile" reviewed by Chris May

In his sleeve note for the audio restored Horace Silver album Live New York Revisited (ezz-thetics, 2022), British writer Brian Morton cut to the chase. “[Silver]'s only mistake," he wrote, “was to smile while he was playing... a challenge to the notion that jazz should be deadly serious and played with a pained rictus." From a historical point of view, Silver's cheerful face—his natural, default expression on stage--has done him no favours. It has fostered a perception ...


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