Jazz and beyond recommendations
2 Blues For Cecil brings together three legends of modern improvised music in a tribute to the late, great pianist and bandleader Cecil Taylor. Although the three played together for the first time, they share a common bond through their separate time spent performing and recording with Taylor.
Each subsequent interrogation was like looking through a different porthole on a spaceship, allowing you to discover new and sometimes twinkling objects somewhere far away, and sometimes only marking their presence with a single flash.
Hand to Earth is a call to open ears: eluding genre, traversing continents and fusing ancient and contemporary. At its heart are Yolgnu manikay (song cycles), a 40,000+ year-old oral tradition from South East Arnhem Land, northern Australia.
In the world of creative music, solo saxophone records are fairly common. Josh Sinton’s “b.”, his first solo saxophone album, is a record that took two days to record but thirty years to prepare for.
Harpist Jacqueline Kerrod delves boldly into new territory on her debut solo release. “17 Days in December”, features an expansive set of solo harp improvisations.
On her new self-titled album, Schoenbeck reconnects with several of her most intrepid collaborators – peers, mentors, inspirations and even family – for an adventurous and captivating set of dialogues.
Half a world away from each other, pianist-composer Satoko Fujii and vibraphonist Taiko Saito recapture the delicate intensity of their duo, Futari, on their new CD, Underground
The Chicago Symphonies represents another magnificent collection of extended compositions by Wadada Leo Smith leading his Great Lakes Quartet in a celebration of Chicago and the rich contributions of the Midwestern artistic, musical and political culture to the United States of America.
A Love Sonnet For Billie Holiday by Wadada Leo Smith, Jack DeJohnette and Vijay Iyer brings the three artists together for the first time. The recording is a unique artistic collaboration featuring compositions by all three of its participants.
”Live In Bremen 1974“ documents Oregon at their mesmerizing best. The interplay between the four players is stunning and on each piece mood and texture are ever-changing, yet always following an aesthetic logic that seems irrefutable.
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