Inhumankind – Self-Extinction

More than perhaps in any other genre of music, the potential for exploration, innovation, and experimentation in metal is limitless. Whether it’s a focus on the seamless melding of metal subgenres into new and exciting forms or the constant push of metal’s thematic heart and soul into bold horizons, this…

Live at the Jazz Factory – The Latest and Greatest in Free Improvisation & Solo Performance

Free improvisation—and relatedly, solo performance—is one of those genres that’s both self-explanatory and defies classification. As you can imagine, the setup is pretty simple: one or more musicians performing improvised or composed music, to varying degrees. Yet, our understanding of most genres is defined by multiple musical motifs and instrumentation…

Merkabah – Million Miles

The saxophone has become an increasingly en vogue addition to the extreme music formula. Ever since John Zorn bleated and honked over grindcore and avant-garde metal with Naked City and Painkiller, a growing crop of younger bands have demonstrated how to masterfully incorporate a jazz staple into heavier compositions. The sparsity of such bands should come…

Hey! Listen to Sly & The Family Drone and Dead Neanderthals!

Ever press send on an important email only to glance it over and find a glaring typo? That’s roughly how I felt when the name “Colin Webster” popped in my head right after we published our second Jazz Quarterly of the year. For those unaware, Webster is a prolific saxophone madman whose constantly challenging his instrument and ever-widening group of collaborators (for more on Webster, read Bandcamp’s excellent piece on him, Travis Laplante and other essential modern saxophonists). With Webster’s name in mind, I reluctantly pulled out my phone over my morning cup of coffee and checked his Bandcamp. I knew full well I’d find a new, exceptional album worthy of inclusion in our latest Jazz Quarterly, and sure enough, Molar Wrench fits this description perfectly. The four-track maelstrom pits together sax, percussion and electronics for abrasive free jazz that’s harboring a voyeuristic obsession with noise.

Jazz Club Quarterly // April-June 2017

We’re back with more fantastic jazz from the second quarter of 2017! Unfortunately with the departure of staff writer and our friend Jimmy Mullett from Heavy Blog, it’s left a hole in our Jazz Club trifecta. Thankfully we were able to fill that void quickly with our buddy Dave Tremblay of Can This Even Be Called Music? Dave is constantly finding interesting and original stuff in the way of jazz and elsewhere, and we’re excited to have him join and help us recommend jazz of all stripes that demands your attention.