April 2019

Our April issue is on sale now!
Highlights include:

ART ENSEMBLE OF CHICAGO
Fifty years after the formation of their groundbreaking group, Roscoe Mitchell and Famoudou Don Moye—the last members of the Art Ensemble still standing—discuss fallen comrades, new music, and their continuing mission: to take Great Black Music forward. By Shaun Brady

BRIGHT MOMENTS: WILLIAM PARKER
He’s been an avant-garde titan for decades, and he’s got the discography to prove it. But with hundreds of recording credits to his name, where do you begin if you want to hear this bassist and composer at his best? Evan Haga sat down with Parker and went on a guided tour through some career highlights.

LIONEL LOUEKE
The astonishing Beninese guitarist’s latest release is called The Journey. As Ted Panken learned, the album can be interpreted on at least two levels: as a commentary on the plight of African migrants and a reflection on Loueke’s own winding path as an artist.

ELECTRIC MILES
In 1969, with In a Silent Way and Bitches Brew, Miles Davis established a new direction that arguably changed not only jazz but all music. Seven veterans of Miles’ post-Silent Way bands got together at the 2019 Jazz Congress to share their memories of this still-misunderstood era and gauge its modern significance.

BONUS! GUIDE TO SUMMER JAZZ PROGRAMS!

+
New York’s Winter Jazzfest celebrates its 15th anniversary
Larry Klein on bass playing and production
Michael Wolff’s triumph over cancer
Joe Martin, Adam Hopkins, news and farewells
JT Notes: The Art Ensemble celebrates 50 years

+

A Before & After listening session with Carlos Henriquez
An Overdue Ovation for Melvin Gibbs
AudioFiles: What receivers mean in 2019
Chops: A visit to Barry Harris’ bebop workshop
GearHead: The view from the winter NAMM show
Artist’s Choice: Reggie Washington gets bass-intensive

+
Album reviews: Cyrille Aimée, The Comet Is Coming, Wadada Leo Smith, and many more