Joel Ross, the young vibraphonist from Chicago is no longer an aspiring musician. He is a qualified, daring rhythmic independent, who brings his own perspective to the vibraphone.
The play “Paradise Blue,” written by the award-winning playwright Dominique Morisseau (“Skelton Crew” and “Pipeline”) gets its title from Detroit’s Paradise Valley entertainment district that was prominent in the Black community known as Black Bottom during the 1940s through the ...
Long before the outspoken voices of Miles Davis, Nina Simone and Thelonious Monk, who were determined to forge their own musical paths, there was bandleader, composer and arranger James Reese Europe.
For 23 years, the Vision Festival has been the mecca where enthusiasts gather to salute avant-garde’s future, present and past.
Miriam Makeba and Nina Simone (2018 Rock & Roll Hall of Fame) were the unapologetic revolutionary voices of the people of South Africa and America, both on and off the stage.
When young people and jazz come together, one can be assured it’s going to be a joyous fun-filled coaster ride.
The cellist and songwriter Marika Hughes is a stirring musician who might cover a variety of genres in one show.
The New York City-born vocalist and composer Allan Harris inherited a hip jazz cat street suaveness that simmers in every song he sets in motion.
The Jazz Foundation of America’s annual fundraiser held at the Apollo Theater (253 W. 125th St.) is one of the most varied musical events in Harlem.
Cecil Taylor, the pianist whose music was an intentional sound of revolutionary freedom, died April 5 at his home in Brooklyn. He was 89.
The 2018 Uncharted Concert Series, now running through May 12, is one of those unique jazz experiences multilayered with an assortment of possibilities to be explored.
St. Nick’s Pub had been a resounding jazz voice since its 1940 inception. It was known as Luckey’s Rendezvous, owned by Charles Luckeyeth Roberts, a pianist, composer and band leader.
When it comes to expressing the sounds of jazz as it relates to the African Diaspora, no one is more capable than the pianist and composer Randy Weston.
If music were mandatory, everyone would be required to listen to Henry Threadgill’s music at least once or see him perform live.
With my friend and colleague, and this paper’s eminent jazz authority, incapacitated the past several weeks, he has permitted me to substitute for him temporarily.