There’s a difference between revivalism and lived-in soul. Plenty of artists can recreate the textures of old lowrider ballads, rocksteady grooves, and sweet soul harmonies. Joey Quiñones, the lead singer of Thee Sinseers, understands how those sounds actually breathe together because he grew up inside the collision. On Inna Soul Steady Situation, which drops on […]
There’s a fine line between revivalism and reanimation. Plenty of artists know how to recreate the sound of vintage blues-rock, but far fewer know how to make it breathe like it belongs to the present tense. On Let The Night Begin, Troy Mercy doesn’t merely revisit the ghosts of electric blues, garage rock, and late-night […]
Colin Hancock isn’t just a musician; he’s a time traveler with a cornet and a clipboard. On A Texas-Sized Band, his Austin-based Joymakers expand to a ten-piece powerhouse, digging deep into the “territory band” sounds of the 1920s and ’30s. Hancock, hot on the heels of his collaboration with Catherine Russell last year (Colin Hancock’s Jazz Hounds […]
There’s a difference between an album that collects sounds and one that moves through them. Wavelength is the latter—fluid, searching, and quietly ambitious. Shane Sato doesn’t just blend jazz, indie R&B, and soul; he treats them like currents in the same body of water, shifting tempo and temperature without breaking the surface tension. Wavelength finds […]
Preston Frazier: Welcome back to the Slang of Ages.com. We have a very special guest here: Bobby Broom, to discuss his trio’s new album, Notes of Thanks. The album is already out. You can find it on Bandcamp or through Bobby’s website at Bobby Broom Official Website. I think the last time we had you […]
There’s something quietly disarming about Willingness. Paul Kahn doesn’t posture as a late-career revelation—he leans into lived-in truths, letting the songs breathe with the ease of someone who’s done the long walk. With Catherine Russell steering the session, the record feels less like a comeback and more like a gathering of stories, of players, of time itself. The Grammy-nominated Kahn […]
There’s a difference between tribute and testimony. Plenty revisit the canon. Bobby Broom rewrites his relationship to it. Notes of Thanks isn’t about playing Sonny Rollins—it’s about tracing the imprint Rollins left behind, one line at a time. Broom has been on a quiet run: Jamalot Live (2024), the poised Keyed Up (2022), plus production […]
This isn’t just a label history—it’s a pressure map of postwar jazz, where heat, hustle, and happenstance collide. Artist, poet, and writer Tad Richards packs a lot of story into twenty-five chapters, covering highlights and not-so-highlights in his examination of Prestige Records. The captivating story of the label’s founder, Bob Weinstock, isn’t framed as mythology, […]
Fernando Perdomo continues with a dazzling selection of releases for 2026. He recently released his ‘Canyon Trilogy from the forthcoming Perdomo/Kravitz album. This highly anticipated project features songs written by Perdomo with drums, percussion, and soundscapes by Andy Kravitz. Also, Perdomo released a brilliant and unanticipated cover of “Days We Left Behind”. The song was […]
Some albums hit you on beat one. ‘Niebla’ rolls in like fog. NYC-based, Puerto Rican-born guitarist/composer/visual artist Gabriel Vicéns built a world here, not just a record. He fuses Afro–Puerto Rican bomba and plena with New York School experimentalism a la Morton Feldman and John Cage, free jazz, and Cuban changüí. The result is boundary-pushing […]
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