Yusef Lateef: Detroit (Latitude 42° 30′ Longitude 83°)

Jazz history tends to focus on albums that announce change clearly. Records that sit between eras or styles can be harder to place and easier to overlook. Yusef Lateef’s catalogue contains several such examples. When the career of Yusef Lateef is discussed, attention usually centres on one part of his work: the early-1960s recordings that …

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Black Byrd: The Donald Byrd Album Jazz Critics Dismissed — and Listeners Made a Classic

When Black Byrd was released in 1973, it didn’t sound like the Donald Byrd many jazz critics thought they knew. Byrd had built his reputation in the 1950s and 60s as a serious modern jazz trumpeter, recording for Blue Note alongside figures like Jackie McLean, Herbie Hancock and Hank Mobley. Albums such as Byrd in …

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Listening To ‘A Love Supreme: Live in Seattle’

If you haven’t heard the 1965 live recording of John Coltrane playing A Love Supreme in a Seattle club, you’re in for a treat. Released in 2021, if provides a fascinating perspective on that iconic album—as you can hear below… For more than half a century, A Love Supreme existed in two forms:the 1964 studio …

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Charlie Parker in Sweden, 1950: A Brief Moment of Light in a Turbulent Life

In the autumn of 1950, Charlie Parker boarded a plane for Scandinavia. By then, he was already a towering figure in modern music — a revolutionary whose ideas had transformed the language of jazz. But away from the bandstands and recordings, Parker’s life was increasingly marked by instability, illness and financial difficulty. His health was …

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Joe Pass: Sounds of Synanon

Jazz history is full of unlikely recordings: tapes captured on borrowed machines, studio sessions made in a single afternoon, and live sets preserved only because a fan happened to bring a microphone. Yet even among these stories, one stands out. In 1961, a group of musicians living inside a drug rehabilitation centre in Santa Monica …

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Miles Davis 1973–75: How Pete Cosey Helped Redefine Jazz Guitar

In 1973, Miles Davis reshaped his band. Gone were the strings, sitars and keyboards of his early-1970s experiments. In their place: raw electricity, funk rhythms, and a guitar sound unlike anything heard before. At the centre of that transformation was Pete Cosey — a Chicago-born guitarist whose fearless use of effects, unconventional tunings and sheer …

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