Black Radio 2 is a highly anticipated new album by one of the most talented jazz keyboard players out there, released on a label that is arguably jazz’s most iconic brand. Yet it might not belong in this magazine. It’s a terrific modern R&B album-willfully intelligent, tastefully produced-but, like Bill Frisell at his most Ry Cooder, it brings up a specific and difficult question: If a jazz artist ceases to play jazz on a project, is it still part of the jazz dialogue? If it’s informing the larger culture in jazz’s name, you should probably at least be curious.
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