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1

Article: Profile

Adrian Younge e Ali Shaheed Muhammad : Jazz Is Dead

Read "Adrian Younge e Ali Shaheed Muhammad : Jazz Is Dead" reviewed by Angelo Leonardi


Hanno scelto un marchio provocatorio, Adrian Younge e Ali Shaheed Muhammad per l'etichetta discografica e la piattaforma di musica dal vivo che gestiscono a Los Angeles da alcuni anni. I due musicisti e produttori vengono dalla scena hip-hop: il primo ha lavorato con artisti di fama mondiale come Wu-Tang Clan, Souls of Mischief e ...

43

Article: Album Review

Neil Swainson: Fire In The West

Read "Fire In The West" reviewed by Jack Bowers


It's hard to believe that 35 years have flown by between the release of bassist Neil Swainson's debut album, 49th Parallel (Concord Jazz), and his second, Fire in the West, recorded in November 2021 and released nine months later. But Swainson was hardly in hibernation during those years, as he has been one of Canada's busiest ...

Album

Live New York Revisited

Label: Ezz-thetics
Released: 2022
Track listing: Song For My Father; African Queen; The Natives Are Restless Tonight; Que Pasa; African Queen; Tokyo Blues; Señor Blues.

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Article: Year in Review

2022: The Year in Jazz

Read "2022: The Year in Jazz" reviewed by Ken Franckling


Current events impacted the jazz world in significant ways throughout 2022. In its third year, the coronavirus pandemic continued to lurk in some settings, while others recovered in robust fashion. Russia's war on Ukraine was felt by musicians and triggered an outpouring of support for its victims. Initiatives to ensure greater equity in jazz advanced. The ...

News: Birthday

Jazz Musician of the Day: Woody Shaw

Jazz Musician of the Day: Woody Shaw

All About Jazz is celebrating Woody Shaw's birthday today! Woody Shaw, Jr. was born in Laurinburg, N.C. on December 24th, 1944 to Rosalie Pegues Shaw and Woody Shaw, Sr. He grew up in Newark, New Jersey, and began playing trumpet at the age of 11. Shaw attended Arts High School in Newark where he studied trumpet ...

2

Article: Album Review

PJ Perry: No Hugs

Read "No Hugs" reviewed by Pierre Giroux


PJ Perry is a survivor. Now, in 2022, eighty-one years old, he has been playing saxophone since he was fourteen, when he joined his father's dance band as a baritone saxophonist. During the course of his lengthy career, he has lived in Vancouver, Montreal, Toronto and a couple of European cities, before settling in Edmonton, Alberta. ...

7

Article: Album Review

Tito Carrillo: Urbanessence

Read "Urbanessence" reviewed by Paul Rauch


Trumpeter Tito Carillo's second bite of the apple on Origin was more than a decade in the making, following up his outstanding first release, Opening Statement (Origin, 2011). With Urbanessence (Origin, 2022), the Chicago-based artist is truly up to the task, producing a work which is an homage to everyday life in the city. The narrative ...

6

Article: Book Review

On Jazz: A Personal Journey

Read "On Jazz: A Personal Journey" reviewed by Richard J Salvucci


On Jazz:A Personal Journey Alyn Shipton300 Pages ISBN: 978-1-108-83423-0 Cambridge University Press 2022 Alyn Shipton is a distinguished jazz journalist, bassist, BBC radio presenter and biographer who may be best known for his A New History of Jazz (Continuum, 2001). In some ways, the present volume is a ...

8

Article: Album Review

Henry Franklin: Jazz Is Dead 14

Read "Jazz Is Dead 14" reviewed by Chris May


Adrian Younge and Ali Shaheed Muhammad's Jazz Is Dead label is a moveable feast when it comes to consistency. In its fourteen albums date, there have been some great ones, some not so great ones and a couple of duds. With bassist Henry Franklin, however, the label has come up with a blinder, its most satisfying ...

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Article: 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."


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