JazzTimes

10 stories

JazzTimesScenesJazzfest Berlin 2026: One of Europe’s Oldest Jazz Festivals Stays New J azzfest Berlin started in 1964, on the western side of the Berlin Wall. The current artistic director, who has been in place since 2018, …

11.12

JazzTimesScenesHot Sardines Vocalist Elizabeth Bougerol Finds a New Gold Standard on Debut Solo LP I n the world of The Hot Sardines, everything moves quickly, brashly and irreverently to a soundtrack of hot jazz, cool jazz, hard-running stride piano …

11.11

JazzTimesScenesThe Funky Drummer’s Revenge: Two New Books on Clyde Stubblefield and the Ghost Notes Within “U nschooled, but intuitive.” That’s what drummer Clyde Stubblefield told me was the key to his success as the most famous timekeeper in music history, …

11.10

JazzTimesScenesRecollecting/Collecting the Coltrane 100 W here would John Coltrane have been, and what sound would he have lived within, had he lasted past 1967 and reached his way into …

11.09

JazzTimesScenesBook Review – Ed Hazell’s Energy Center: A History of Studio Rivbea B ack in January 2023, this writer attended concerts presented by the Vision Festival organizers in the space formerly housing Sam Rivers’s Studio Rivbea.

11.07

JazzTimesScenesWarm Winds Blow with Flutist Elena Pinderhughes at City Winery, Philadelphia J azz flute innovations come so rarely that when they do, they astound. From the dawn of jazz piping with Sam Most and Wayman Carter, …

11.06

JazzTimesScenesDrummer Lily Finnegan Turns the Heat On, with New Music on Many Fronts A s drummer Lily Finnegan talks about her band Heat On and her recent collaboration with pianist and NEA Jazz Master Marilyn Crispell, she mentions …

11.05

JazzTimesScenesAll at Once: The Improvisational Largesse of Son Lux’s Rafiq Bhatia and Ian Chang W ith 2018’s Brighter Wounds, the fifth album from spooky singer and collage-pop manipulator Ryan Lott’s Son Lux, the group’s sound expanded into one that …

11.04

JazzTimesScenesA Hard Look at Soft Machine: On the New Audio/Video Box Set, Slightly All the Time I t starts with a sinister hum caked in hiss. Soon, gurgles of sound seep through the mist, oscillating in air before, several minutes later, …

11.03

JazzTimesScenesOverdue Ovation: James Emery A fter decades of robust musical output, guitarist and composer James Emery did what is almost always a sensible thing these days: He formed his …

11.02

Three pins, and nearly every signal in this business passes through them.

The magazine is named after the cable: the microphone in the booth, the line to the desk, the DMX run that fires the lights. Studio, stage and rig share the same cable. Most magazines pick one of the three. This one covers all of it, because the people we read do too — the engineer mixing a record on Tuesday is on front of house by Saturday.

More than three hundred sources, in sixteen languages: makers and their release notes, reviewers who put a hand on the thing, studios and touring crews, the producers and collectives surfacing this month and the scenes they came out of. Synths and modular, plugins and DAWs, guitars and drums, microphones, monitors, PA and lighting. What the trade is talking about is counted and plotted. The editor's letter has just started; it will find its rhythm.

For each story: a headline, a short excerpt, one picture and the link out. We never reprint the article, and the picture belongs to the maker or the photographer. A German review appears in German and a Japanese one in Japanese, as the writer published it; the link goes to the original.

Nothing is sold on this site. When a link leads to a shop, it is the maker's shop, not ours.