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Jazz
March 2024
Julie Abbé: Out of the Ashes review – a beautiful expression of the grieving process
Global album of the month
Ganavya: Like the Sky, I’ve Been Too Quiet review – ornate Tamil vocals, flutes and Floating Points
Jazz album of the month
Charles Lloyd: The Sky Will Still Be There Tomorrow review – sax legend shows no sign of slowing down
‘I tell the truth about what’s unknown’: Moor Mother on revealing Britain’s ongoing slavery links
Kahil El’Zabar’s Ethnic Heritage Ensemble: Open Me, a Higher Consciousness of Sound and Spirit – review
One to watch
One to watch: Ganavya
Perfect pitch: the 2024 UK music festivals you can still book now
‘I don’t want to be a legacy performer’: why Britain’s hottest jazz star is giving up his sax for the flute
From the Guardian archive
The sophisticated jazz of Cab Calloway – archive, 1934
Jacob Collier: Djesse Vol 4 review – mind-melting final instalment of vast six-year project
TikTok jazz sensation Laufey: ‘It’s no longer about genre, it’s about feeling and mood’
February 2024
A new start after 60
A new start after 60: after 47 years, I have finally released my first album
Other lives
Laurence Canty obituary
Global album of the month
Amaro Freitas: Y’Y review – transcendent sounds inspired by the Amazon
Ever wanted to play Mario Kart accompanied by a live jazz band? In Oklahoma, you can
A century on from Rhapsody in Blue, debates about cultural ‘theft’ rage still
Kenan Malik
James Brandon Lewis Quartet: Transfiguration review – angular, explosive experimentation
Jazz album of the month
Vijay Iyer/Linda May Han Oh/Tyshawn Sorey: Compassion review – a trio of rare intuition
Jazz composer Maria Schneider: ‘David Bowie cracked me – maybe not in a good way’
‘I think kissing is beneficial, actually’: the whistling prodigy courted by Dr Dre, Barbie and Karen O
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