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Nate Chinen

"There is never any end," John Coltrane said sometime in the mid-1960s, at the height of his powers. "There are always new sounds to imagine; new feelings to get at." Coltrane, one of jazz's most revered saxophonists, was speaking to Nat Hentoff about an eternal quest — a compulsion to reach toward the next horizon, and the next.

Electric Miles. Few word pairings in the jazz lexicon are apt to inspire so much contention and challenge and ferment. What the phrase refers to, of course, is a period in the career of trumpeter Miles Davis, spanning the last third of his life. And while there are other important antecedents, the big bang of this period is an album recorded 50 years ago by the name of Bitches Brew.

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For as long as Esperanza Spalding has been in the public eye, she's been defined in part by her hair.

A wave of shock and sadness moved through the jazz community on Sunday, with news of the death of Lawrence Lo Leathers, a drummer with a steadfast presence in the modern jazz mainstream.

Leathers was 37. He was killed on Sunday in the hallway of an apartment building on East 141st Street in the Bronx neighborhood of Mott Haven, according to Detective Martin Brown of the NYPD. The police have arrested a suspect in connection to the incident.

Two eminent avant-garde elders, a chameleonic vocal improviser, and a pioneering community organizer and presenter will make up the 2020 class of NEA Jazz Masters, according to an announcement this morning by the National Endowment for the Arts.

The four incoming inductees — saxophonist Roscoe Mitchell, bassist Reggie Workman, vocalist Bobby McFerrin, and jazz advocate Dorthaan Kirk — will officially be recognized next April 2, during a tribute concert and ceremony at the SFJAZZ Center in San Francisco.

If you're even a casually observant jazz fan, you might think you know a thing or two about Joe Lovano. A tenor saxophonist with dozens of albums to his name, most of them made during a roughly 25-year tenure on Blue Note Records, Lovano is one of the most instantly identifiable musicians on the jazz landscape and on the New York scene. But he didn't come from nowhere.

Herbie Hancock took a moment during the International Jazz Day All-Star Global Concert to address some fraught geopolitical realities.

Not that Hancock, in his dual capacity as UNESCO goodwill ambassador and chairman of the Herbie Hancock Institute of Jazz, got into specifics, or really needed to. Speaking from a podium at Hamer Hall in Melbourne, Australia on Tuesday night, he just extolled the spirit of cooperation and exchange in jazz, "at a time when internal and external relationships among so many countries are unsettled."

Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.

Betty Carter, the adroit and unsurpassable jazz singer, was 61 when she took the stage at Aaron Davis Hall in New York for The Music Never Stops on March 29, 1992. Presented by Jazz at Lincoln Center, a newly formed organization at the time, it was a concert of grand, unabashed ambition, celebrating Carter's magnificent prowess in the context of a specially assembled big band with strings, as well as three all-star rhythm sections.

For more than 30 years, the Thelonious Monk Institute of Jazz has been a nonprofit working at the intersection of music education, jazz appreciation and public policy. Beginning in the new year, it will continue those efforts under a new name: the Herbie Hancock Institute of Jazz.

Roy Hargrove, an incisive trumpeter who embodied the brightest promise of his jazz generation, both as a young steward of the bebop tradition and a savvy bridge to hip-hop and R&B, died on Friday night in New York City. He was 49.

Every year around this time, the jazz community takes the measure of its highlights and bright moments — along with a tally of its losses. And while it's true that important jazz artists leave us every year, 2017 was tougher than most.

This was an excellent year for jazz on record, across every possible iteration of style. (If you're seeking evidence for the claim, consult the 2017 NPR Music Jazz Critics Poll.) But it's always worth pointing out that albums only tell part of the story, which often assumes different dimensions at street level, where the music pulses in real time.

Chris Dave possesses innumerable gifts as a drummer, but chief among them is the ability to make a groove just feel ... right. This isn't as simple or straightforward a feat as it sounds. And it can be a recipe for invisibility, at least among the general listening public.