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Commentary 02.25.18

Jazz Artistry Now Editorial
Commentary 02.25.18

JAN REVIEW: “Fukushima”

Jazz Artistry Now – As we approach concluding the second decade of the 21st Century, I am coming to another place of appreciation for the information available to humanity via digital technologies and the Internet.

The Internet changed the music industry in some of the ways people make money as professionals.

Some would argue the changes have been for good, others would say for bad, and some would say there has been a bit of both.

The Internet brought digital distribution capabilities to the private people in all walks of life – personally and commercially.

Having equal access to the public marketplace is actually what has changed everything – in almost every field or endeavor.

Arguments used to be made that access to so much information would be overwhelming and chaos would be commonplace.

Actually, having access to so much information is just simply different in context.

We’ve had access to enormous amounts of information prior to the advent of the public Internet. We accessed only those things we wanted to utilize and typically only when we needed to utilize them.

The same thing is beginning to happen now. Nobody reads every post on social media platforms. We choose.

Another example is that music students have access to several lifetimes worth of information because of digital distribution (University of Helsinki study).

We have a generation of artists who can play lots of notes and quote the greats. Such study is hopefully just a means to an individually unique artistic end. Nonetheless, even this particular dynaminc is actually great in many ways because it shows that jazz artistry now remains a viable concern for all generations.

Thanks to the Internet and digital distribution, having access to jazz artistry now is not based on corporate marketing and branding. New artists and music are relatively easy to find.

Another generation of masters is taking its place organically.

Get to know them and their work. ♬


Satoko Fujii Orchestra New York

Satoko Fujii Orchestra New York

JAN’s Scott Yanow reviews the latest release by Satoko Fujii Orchestra New York. Formed in 1996, Satoko Fujii Orchestra New York personnel has changed very little since its founding. Comprised of an all-star line up that represents the most adventurous improvisers and creative jazz artistry now, this developed ensemble personality is refreshing in an era where established groups have become the exception. Ms. Fujii is a prolific artist and composer who has truly developed a unique voice as both. Learn more here.

Satoko Fujii Orchestra New York – Personnel: Oscar Noriega, Briggan Krauss – alto sax, Tony Malaby, Ellery Eskelin – tenor sax, Andy Laster – baritone sax, Herb Robertson, Steven Bernstein, Dave Ballou, Natsuki Tamura – trumpet, Joey Sellers, Curtis Hasselbring, Joe Fiedler – trombone, Satoko Fujii – piano, Stomu Takeishi – bass, Aaron Alexander – drums

1)………… – Satoko Fujii Orchestra New York

1)………… is the first track from pianist and bandleader Satoko Fujii’s monumental album-length composition Fukushima. It’s a deeply moving and personal response to the nuclear power plant disaster that shook Japan and the world in 2011. Featuring the 13-piece all-star Satoko Fujii Orchestra New York – Tony Malaby, Ellery Eskelin, Nels Cline, Dave Ballou, Natsuki Tamura, Joey Sellers, Joe Fiedler, Curtis Hasselbring, Stomu Takeishi, Ches Smith, Andy Laster, Oscar Noriega, and Herb Robertson – the album runs the emotional spectrum from despair to hope.
*Video and Description Courtesy: Braithwaite & Katz Communications

The Mark Taylor Interview, 2.4

Mark Taylor, recording artist and composer

JAN Editors continue the 4-part interview series of jazz French horn virtuoso and composer, Mark Taylor. Part 2.4 explores Mr. Taylor’s years after leaving the conservatory. Articles in this series are listed below. Read Part 1.4 as a primer.


  • Part 1.4 provided JAN readers an introduction to Mr. Taylor.
  • Part 2.4 explores Mr. Taylor’s years after leaving the conservatory.
  • Part 3.4 covers Mr. Taylor’s years with Threadgill, etc.
  • Part 4.4 brings us to Mr. Taylor’s career as a composer, solo and recording artist.

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