Bassist Max Johnson gives us a traditional bop album recorded with two veteran musicians and a contemporary jazz LP with two younger but no less adventurous artists.
For those who enjoy jazz improvisation, jam-rock, or ambient electronics, Anteloper’s Pink Dolphins has a lot to like, including Jeff Parker’s production.
Avant-jazz saxophonist Travis Laplante and the weather can be equally hard to predict. His latest stunning album, Wild Tapestry, combines both.
When Eucalyptus move away from clearly-defined genres, they really come into their own. You’re not likely to encounter an album like Moves anytime soon.
Charles Mingus’ The Lost Album From Ronnie Scott’s is right there next to his most blistering records from the 1960s. It’s that good.
Experimental jazz outfit Secret People’s sense of syncretism justifies their wacky list of influences on their debut album. You’re in for a treat.
Veteran jazz bassist Tyler Mitchell joins forces with fellow Sun Ra Arkestra alumnus on Dancing Shadows, a delightfully enjoyable sonic experience.
Matthew Shipp, Allen Lowe, Gerald Cleaver, and Kevin Ray are East Axis, a free improvising jazz band that never sound harsh or lost on Cool with That.
Every drum stroke and every breath blown on Wadada Leo Smith’s A Love Sonnet for Billie Holiday and The Chicago Symphonies carries multitudes of meaning.
Mephisto Halabi’s The Arabic Room blends eastern exoticism, circuit-bent electronics, and some of the heaviest free improvisations you might ever hear.
Soul Food is a stepping stone for Christopher Parker in finding his voice as a bandleader. It’s impressive that jazz this free can be played with so much restraint.
Whit Dickey, William Parker, and Matthew Shipp push, pull, and roll their weight around in equal measure, making Village Mothership as unique as it is difficult.
