By Michael J. West In the early ’70s, Freddie Hubbard was paralleling Miles Davis in going electric and funky. Unlike Miles, though, Hubbard’s recordings were increasingly defined by his label, CTI, which immersed him in ever-larger ensembles and lush …
WeFreeStrings: iLove in the Form of Sacred Outrage/i (ESP-Disk’)
By Mike Shanley From their name to their album title and the dedications of the compositions within, WeFreeStrings takes inspiration from fearless activists. The album’s title track is dedicated to civil-rights icon Fannie Lou Hamer. “Propagating the S…
Marco Benevento: iBenevento/i (Royal Potato Family)
By Philip Booth Bubbling, exotic sounds à la the beer-bottle percussion bookending Herbie Hancock’s 1973 version of “Watermelon Man”; banks of tightly clustered keyboards a bit reminiscent of Joe Zawinul; wordless vocals deployed on a catchy sing-song …
Justin Morell
By Client Services Composer and guitarist Justin Morell is originally from Los Angeles where he developed his craft working with some of the finest musicians in the area, including Bob Florence, John Daversa, Todd Sickafoose, Alan Ferber, and the Dave …
Caili O’Doherty: iQuarantine Dream/i (Posi-Tone)
By Dan Bilawsky Dreams—some born of illness and isolation, others bound to artistic aspirations and hope for the future—cohere to form a reality for Caili O’Doherty. Leading a trio with bassist Tamir Shmerling and drummer Cory Cox and bringing saxophon…
A Before & After Listening Session with Gilad Hekselman
By Ted Panken Gilad Hekselman (photo: Josh Goleman) In line with many resourceful jazz practitioners, Gilad Hekselman responded to the enforced isolation of the COVID-19 pandemic with a turning-lemons-to-lemonade attitude that ultimately eventuated in …