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Album

The Hemphill Stringtet Plays the Music of Julius Hemphill

Label: Out Of Your Head Records
Released: 2025
Track listing: Revue; Mingus Gold: Nostalgia in Times Square; Mingus Gold: Alice in Wonderland; Mingus Gold: Better Get Hit in Your Soul; My First Winter/Touchic; Choo Choo.

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Article: Album Review

The Hemphill Stringtet: The Hemphill Stringtet Plays the Music of Julius Hemphill

Read "The Hemphill Stringtet Plays the Music of Julius Hemphill" reviewed by Troy Dostert


One of the most multifaceted saxophonists to come out of the 1970s-80s jazz avant-garde, Julius Hemphill exuded both fervid power and delicate sensitivity, always with an underpinning of swing to help anchor him within the jazz tradition. While his iconic releases like Dogon A.D. (Mbari, 1972) and Flat-Out Jump Suite (Black Saint, 1980) are rightly considered ...

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Article: Album Review

The Hemphill Stringtet: The Hemphill Stringtet Plays the Music of Julius Hemphill

Read "The Hemphill Stringtet Plays the Music of Julius Hemphill" reviewed by Mark Corroto


Let us borrow a famous tagline from the dairy industry: Got Hemphill? If not, it is time to take a closer listen. Julius Hemphill (1938-1995) was a towering figure in the creative music scenes of both St. Louis, where he co-founded the Black Artists' Group (BAG), and New York's vibrant loft jazz scene of the 1970s ...

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Article: Album Review

The Hemphill String Stringtet: The Hemphill Stringtet Plays the Music of Julius Hemphill

Read "The Hemphill Stringtet Plays the Music of Julius Hemphill" reviewed by Glenn Astarita


The Hemphill Stringtet's debut album, Plays the Music of Julius Hemphill is a vibrant tribute to the late jazz composer and saxophonist Julius Hemphill (1938--1995). This string quartet, featuring violinists Curtis Stewart and Sam Bardfeld, violist Stephanie Griffin and cellist Tomeka Reid, reimagines Hemphill's compositions with a fresh chamber music perspective. Formed in 2022, the ensemble ...

Album

The Other One

Label: Pi Recordings
Released: 2023
Track listing: Movement I: Sections 1-2; Section 3; Sections 4-4A; Sections 5-6; Sections 6A-7A; Sections 8-8A; Sections 9-11; Section 11 (Trapset Interlude); Finale; Movement II; Movement III: Section 11A; Sections 12-12B; Section 12B (Violin Interlude); Section 13; Section 14; Section 15; Section 16; Section 17; Finale.

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Article: Album Review

Henry Threadgill: The Other One

Read "The Other One" reviewed by John Ephland


Listening to Henry Threadgill's music, the bobbing and weaving doesn't maintain a continuity but can jump from one strand to another, one scene to another, as in a dream. It is tonal and not, just as dreams are, perhaps, rhapsodic or unkempt, the story or plot being as tangible, fungible as a summer breeze.

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Article: Album Review

Henry Threadgill Ensemble: The Other One

Read "The Other One" reviewed by Troy Dostert


Now that Henry Threadgill has begun receiving the accolades he has long deserved--the Pulitzer Prize he won in 2016 for In for a Penny, In for a Pound (Pi Recordings, 2015) being just the most prominent example--it is impressive to find him still relentlessly stretching himself as a performer and composer. Since his first forays into ...

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Article: Album Review

Gordon Beeferman: Other Life Forms

Read "Other Life Forms" reviewed by Troy Dostert


A keyboardist and composer with ambitious reach, Gordon Beeferman creates music designed to surprise and challenge. He specializes in avant-garde contexts, whether with his Organ Trio (alongside guitarist Anders Nilsson and drummer Ches Smith) or in a larger septet format, with Music for an Imaginary Band (Generate Records, 2009). And then there's his work writing operas ...

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News: Festival

11th Annual Red Hook Jazz Festival To Be Held Sunday, September 16 From 2-6 PM — Marc Ribot And The Jazzbeens To Headline

11th Annual Red Hook Jazz Festival To Be Held Sunday, September 16 From 2-6 PM — Marc Ribot And The Jazzbeens To Headline

“The Red Hook Jazz Festival exists contentedly on the margins, like its namesake neighborhood and much of the music on its bill…The mood in the audience was neighborly, with a higher ratio of small children to youngish adults than I’ve seen at any musical event not expressly pitched as a kids’ show.” —Nate Chinen, New York ...


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