DownBeat Editors' Picks - October 2019

Live in Tokyo '91

French saxophonist Barney Wilen’s a relatively unknown figure in the States; it’s perhaps his Zodiac or Moshi that obsessive diggers and avantists best know him for. But Wilen’s career stretched from the 1950s, when he recorded w... (Read More)


The most compelling thing about the sound of Caroline Davis’ alto saxophone is the way it lingers. She doesn’t just play notes, but inhabits them. So, even the briefest of passing tones is given its due as it progresses to a phrase&rsq... (Read More)

Diatom Ribbons

In a recent Q&A with Wendell Berry, The New Yorker’s Amanda Petrusich asks the poet and naturalist about his output being connected to the past, if “all new work is in conversation with everything that preceded it, that language it... (Read More)


On his Blue Note Records debut, veteran guitarist Bill Frisell documents his latest project, a reflection on the near-magical musical kinships he’s forged with various artists during his career. Produced by his longtime collaborator Lee Town... (Read More)

Slow Play

In the liner notes to his new quartet album, Slow Play, pianist Ben Markley proudly cites pianist Cedar Walton (1934–2013) as one of his key influences. The disc is a follow-up to the Ben Markley Big Band’s Clockwise: The Musi... (Read More)

Good Hope

On the bandstand, Zakir Hussain is an intense listener deeply committed to meaningful conversation. That’s true whether he’s performing with a septet edition of Crosscurrents or scaling the band down to a trio version with two other vi... (Read More)