Johnathon Ford discusses his band’s latest release, ‘High Remembrance,’ the one-album-a-year discipline that has defined Unwed Sailor’s second act, and why the bass guitar is the closest thing he has to a singing voice.

In conversation about ‘Fallows,’ an album made alone in a Wyoming cabin, Caroline Davis reflects on the ancestral figures who accompanied her during the residency, the saxophone techniques she invented in solitude, and an advocacy practice devoted to carceral justice and gender equity in jazz.

Drawing on Adorno, Satie, and a German headphone company’s unusual take on ear-cup geometry, Kallie Marie argues that the rituals we build around listening are a form of cultural self-determination.

Veterans of Gong’s Canterbury-meets-French-freaks psychedelia, Steve Hillage and Miquette Giraudy discuss how forty years of dance music obsession culminates in ‘Flower of Life,’ System 7’s most fully integrated album to date.

Korean gayageum player DoYeon Kim discusses how her apprenticeship in traditional music led her to improvisation, her instrument-damaging technique, and why she occasionally screams at her audience.

Composer Maria Schneider on her EP American Crow, jazz as democratic practice, the 2026 Rolf Schock Prize, and decades of music advocacy on The Tonearm.

Saxophonist Caroline Davis discusses Fallows, her debut solo album recorded in Wyoming, prepared saxophone, the Organelle, and her work as a prison abolitionist.

Composer and conductor Miho Hazama discusses her new album Frames, studying with Jim McNeely, and leading the Danish Radio Big Band.

Cellist and composer Tomeka Reid discusses dance! skip! hop!, twelve years with her quartet, Wyoming family history, and the Chicago Jazz String Summit.

Saxophonist Ben Wendel discusses his new album BaRcoDe, teaching, the Village Vanguard, and a career shaped by musical curiosity.