The Buzz: The JJA Podcast

This episode of The Buzz comes from the JJA archive. In 2010, Django Reinhardt's centennial year, the JJA's Jazz Matters series at The New School in New York presented a panel titled Jazz Scholarship: The Next Generation. It opened with guitarist Paul Brady, then a member of the Hot Club of Detroit, who had written his master's thesis on Django.

Brady argues that Django was, in his words, "in the truest sense, a jazz guitarist," and that writers spent too much time on the legend and too little on the playing. He builds the case from the records: Django landing on thirds and ninths in "Django's Tiger" before he had heard Dizzy Gillespie, the "Salt Peanuts" quote in "Babik," and voice leading in "Moppin' the Bride" that Charlie Parker would have recognized. Along the way he takes issue with Gunther Schuller's view that Django's style grew out of folk traditions, and he closes on two players who honor Django in their own voices, guitarist Biréli Lagrène and saxophonist James Carter.

In the Q&A that follows, moderator David Adler and Howard Mandel ask about Thelonious Monk, the soundtrack of Woody Allen's Sweet and Lowdown, and how Carter imitates Django's picking on the saxophone. Host Lawrence Peryer bookends the talk with a look at what has changed in the sixteen years since, from new research on Django's injured hand to Siv Lie's work with the Manouche musicians who play this music in France today.

Musical excerpts heard in this episode: Django Reinhardt, "Babik"; Django Reinhardt, "Moppin' the Bride"; Dizzy Gillespie and Charlie Parker, "Shaw 'Nuff"; Biréli Lagrène, "Coquette"; Biréli Lagrène, "Incertitude" (Electric Side, 2008); Django Reinhardt, "Diminishing"; James Carter, "Diminishing" (Heaven on Earth, 2009).

Buzzworthy Notes

Guest & Host

• Paul Brady: guitarist, formerly of the Hot Club of Detroit; now winemaker, Paul Brady Wine
• David Adler: moderator
• Howard Mandel: JJA President Emeritus
• Lawrence Peryer: host; managing editor of The Buzz

Discussed

• Django Reinhardt: https://en.wikipedia.org/wiki/Django_Reinhardt
• Michael Dregni, Django: The Life and Music of a Gypsy Legend (Oxford, 2004): https://books.google.com/books/about/Django.html?id=V4fujovyvCYC
• Gunther Schuller, The Swing Era: The Development of Jazz, 1930–1945: https://en.wikipedia.org/wiki/Gunther_Schuller
• Dan Morgenstern, Institute of Jazz Studies at Rutgers: https://en.wikipedia.org/wiki/Dan_Morgenstern
• Rex Stewart: https://en.wikipedia.org/wiki/Rex_Stewart
• Stéphane Grappelli: https://en.wikipedia.org/wiki/St%C3%A9phane_Grappelli
• Quintette du Hot Club de France: https://en.wikipedia.org/wiki/Quintette_du_Hot_Club_de_France
• Eddie Lang: https://en.wikipedia.org/wiki/Eddie_Lang
• Joe Venuti: https://en.wikipedia.org/wiki/Joe_Venuti
• Dizzy Gillespie: https://en.wikipedia.org/wiki/Dizzy_Gillespie
• Lewis Porter, Jazz: From Its Origins to the Present: https://en.wikipedia.org/wiki/Lewis_Porter
• Sweet and Lowdown (1999): https://en.wikipedia.org/wiki/Sweet_and_Lowdown
• Howard Alden: https://en.wikipedia.org/wiki/Howard_Alden
• Ken Peplowski: https://en.wikipedia.org/wiki/Ken_Peplowski
• Hubert Rostaing: https://en.wikipedia.org/wiki/Hubert_Rostaing
• Biréli Lagrène: https://en.wikipedia.org/wiki/Bir%C3%A9li_Lagr%C3%A8ne
• Babik Reinhardt: https://en.wikipedia.org/wiki/Babik_Reinhardt
• James Carter: https://en.wikipedia.org/wiki/James_Carter_(musician)
• Julian Bream: https://en.wikipedia.org/wiki/Julian_Bream
• Benjamin Givan, The Music of Django Reinhardt (Michigan, 2009): https://press.umich.edu/Books/T/The-Music-of-Django-Reinhardt
• Michael Wininger and David J. Williams, "More with less: A comparative kinematical analysis of Django Reinhardt's adaptations to hand injury" (2014): https://journals.sagepub.com/doi/10.1177/0309364614523173
• Siv B. Lie, Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (Chicago, 2021): https://press.uchicago.edu/ucp/books/book/chicago/D/bo114656860.html

Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.

This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

Don’t miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. 

For more from the Jazz Journalists Association, go to JJANews.org.

For John Coltrane's hundredth birthday, this episode of The Buzz has host Lawrence Peryer delivering a solo monologue tracing how critics heard Coltrane while he was alive, and how that judgment has shifted, or hasn't, in the sixty-five years since.

The piece opens with discussion of John Tynan's 1961 Down Beat review calling Coltrane and Eric Dolphy's playing "anti-jazz," then turns to LeRoi Jones (later Amiri Baraka), who used the same root word, "anarchy," that Tynan had used derisively, but as praise, in his essay "Jazz and the White Critic." From there it follows Ira Gitler's "sheets of sound," coined to give critics language for what Coltrane was doing instead of dismissing it as noise, and Miles Davis's On the Corner, hated at release and reclaimed twenty years later.

The heart of the episode is Coltrane's relationship with Albert Ayler: the phone calls, the shared bills at the Village Vanguard, Coltrane pushing producer Bob Thiele to sign Ayler to Impulse, and Ayler's quartet opening Coltrane's 1967 funeral with a set built from their own compositions. Coltrane is close to a saint today. Ayler is still a name that has to be explained.

The episode closes on a live critical fight: Phil Freeman's recent Brooklyn Rail case that Coltrane's real peak ended in 1965, against guitarist Nels Cline, drummer Jack DeJohnette, and saxophonist Peter Brötzmann's defense of the late recordings Freeman dismisses. The same argument that split critics in 1961 is still unresolved in 2026.

Musical excerpts heard in this episode: John Coltrane, "Chasin' the Trane" (Live at the Village Vanguard, 1961); Miles Davis, "Black Satin" (On the Corner, 1972); Albert Ayler Quartet, "Truth Is Marching In," from the album, In Greenwich Village.

Buzzworthy Notes

Guest & Host
Lawrence Peryer — host and managing editor of The Buzz

Discussed
John Coltrane · Eric Dolphy · John Tynan (Down Beat critic who wrote the 1961 "anti-jazz" review) · LeRoi Jones / Amiri Baraka ("Jazz and the White Critic," collected in Black Music) · Ira Gitler (coined "sheets of sound") · Miles Davis, On the Corner (1972) · Albert Ayler · Ornette Coleman · Phil Freeman (critic, Brooklyn Rail / Burning Ambulance) · Nels Cline · Jack DeJohnette · Peter Brötzmann · Meditations (1966) · Interstellar Space (recorded 1967) · Saint John Coltrane African Orthodox Church, San Francisco

Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.

This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

Don’t miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. 

For more from the Jazz Journalists Association, go to JJANews.org.

For this episode of The Buzz, Lawrence Peryer talks with 2025 JJA Jazz Hero Ruth Griggs, longtime director of the Northampton Jazz Festival, about the trade-off facing a fifteen-year-old, mostly-free festival built for a loyal, older jazz audience: book an artist who can pull in a younger crowd, or keep playing to the room you already have.

Griggs traces the festival's history from its accidental start in 2011, when five men more interested in reviving a defunct food fair backed into a jazz festival almost as an afterthought, through its 2017 relaunch as a genuinely jazz-focused event spread across Northampton's churches, galleries, and the eight-hundred-seat Academy of Music. No food trucks, no vendors: the festival sends people into the town's own restaurants and shops instead, which Griggs credits as much as the music for its financial health.

This year's headliner, saxophonist Lakecia Benjamin, is the pressure test. Benjamin plays jazz, hip hop, R&B, and funk in the same set, and Griggs, a marketing strategist by trade, has been restructuring the festival's outreach around her: shifting weight from Facebook to Instagram, hiring an intern to research college radio stations and newspapers across Albany, New Haven, Hartford, and Worcester, and reaching out to other festivals with more diverse audiences to help promote the booking. Griggs is candid that she doesn't yet know what will work, only that the old methods won't.

Griggs also talks about what keeps out-of-town artists coming back, and why the festival's pipeline into UMass Amherst, Smith College, Amherst College, and now Northampton's public schools gets equal billing in Griggs's account of what keeps the thing alive.

(The musical excerpts heard in this episode are “So You Want to Be a Woman” by Somi featuring Lakecia Benjamin, and “RonJackRuba,” an unplanned improvisation from Ron Carter, Jack DeJohnette, and Gonzalo Rubalcaba’s 2021 album Skyline. A companion playlist for this episode featuring those songs and other artists mentioned is available on Spotify.)

Buzzworthy Notes

Guest & Host

Ruth Griggs — director, Northampton Jazz Festival

Lawrence Peryer — host; managing editor of The Buzz

Discussed

Northampton Jazz Festival — official site

Lakecia Benjamin — this year's headliner; saxophonist, six-time Grammy nominee

Academy of Music — Northampton's 800-seat theater, festival's largest venue

BOMBYX Center for Arts & Equity — Florence, Massachusetts venue, where Bill Charlap performed after the festival

Bill Charlap — pianist; praised the festival's hospitality after a BOMBYX performance

Miki Yamanaka — pianist; performed a solo set at last year's festival

Bonnie Johnson — WICN's Colors of Jazz host, Worcester; interviewed Yamanaka after her festival set

Springfield Jazz & Roots Festival — the single-stage model Griggs says she's studying

Max Roach and Yusef Lateef — among the jazz musicians who taught at UMass Amherst, part of the festival's regional lineage

Ron Carter — cited alongside Lakecia Benjamin as an example of the festival's range

Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.

This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

Don’t miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts.

For more from the Jazz Journalists Association, go to JJANews.org.

Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.

This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

Don’t miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. 

For more from the Jazz Journalists Association, go to JJANews.org.

 For this episode of The Buzz, JJA Book Committee chair Bob Blumenthal speaks with the winners of the 2026 JJA Jazz Awards’ two Book of the Year categories: pianist Matthew Shipp, honored for Black Mystery School Pianists and Other Writings (Autonomedia), and pianist and critic Ethan Iverson, honored as the writer behind Oceans of Time: The Musical Autobiography of Billy Hart (Cymbal Press).

Shipp and Iverson are both working musicians who write, and the conversation keeps circling back to what that dual life costs and gives them. Shipp traces his path from commissioned blog pieces to a book collecting essays on David S. Ware, Paul Bley, and Wayne Shorter, plus prose poems on boxing, decadence, and the New York club scene he came up in during the 1980s. Iverson describes fifteen years on the road with Billy Hart before finally getting the older drummer on tape, reading him the manuscript twice, and watching Hart pull stories back out both times. Both men also discovered, mid-conversation, an unlikely shared history: each once worked as a dance-company music director, Shipp for a small post-Cunningham troupe in the 1980s, Iverson for the Mark Morris Dance Group decades later.

The episode also catches Shipp and Iverson comparing notes on a much more recent flashpoint: the online reaction to André 3000’s ambient flute album, which briefly made Shipp’s own criticism go viral. But the conversation’s real center is a shared argument about criticism itself. Both reject the old line that music writing is “dancing about architecture,” insisting instead that jazz criticism, done by people who actually play the music, is inseparable from the playing.

(The musical excerpts heard in this episode are “Iverson’s Odyssey” from the Billy Hart Quartet’s 2006 album Quartet and “Nu Bop,” the title track from Matthew Shipp’s 2002 album on Thirsty Ear.)

Buzzworthy Notes

Guest & Host

• Matthew Shipp — official site
• Ethan Iverson — official site and Do the Math archive
• Bob Blumenthal — JJA Book Committee chair; two-time Grammy winner for album notes

Discussed

• Black Mystery School Pianists and Other Writings — Matthew Shipp (Autonomedia, 2025); introduction by Yuko Otomo
• Oceans of Time: The Musical Autobiography of Billy Hart — Billy Hart, as told to Ethan Iverson (Cymbal Press, 2025)
• Billy Hart — NEA Jazz Master; Iverson has played in his working quartet since 2003
• David S. Ware — saxophonist; Shipp played in his quartet for sixteen years
• Paul Bley — pianist; subject of one of Shipp’s essays
• Wayne Shorter, “Night Dreamer” — the 1964 Blue Note album Bob Blumenthal cites as still holding up on repeat listening
• Steve Dalachinsky — poet; longtime friend and collaborator of Shipp’s, referenced throughout the book
• Dewey Redman — saxophonist; the first musician whose stories convinced Iverson of the value of oral history
• Nasheet Waits — drummer; source of the “start playing like I’m teaching” line Iverson cites
• Robin D. G. Kelley, Thelonious Monk: The Life and Times of an American Original — the Monk biography both guests recommend; Kelley also blurbed Shipp’s book
• Thelonious Monk / Joe Turner, "In Paris" - the 1954 album both Matt and Ethan enthused over near the end of the discussion
• Arthur Taylor, Notes and Tones — 1977 collection of musician-to-musician interviews Shipp calls a formative read
• J. C. Thomas, Chasin’ the Trane — early Coltrane biography Shipp says changed his life at twelve or fourteen
• Hampton Hawes with Don Asher, Raise Up Off Me — the memoir Iverson used as his model for pacing and length while writing Oceans of Time

The 2026 JJA Jazz Awards

• Oceans of Time is Book of the Year, Biography or Autobiography
• Black Mystery School Pianists and Other Writings is Book of the Year about Jazz: History, Criticism and Culture
• Full list of 2026 winners: JJA Jazz Awards · announcement

Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.

This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

Don’t miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. 

For more from the Jazz Journalists Association, go to JJANews.org.

For this episode ofThe Buzz, JJA President Emeritus Howard Mandel speaks with Zan Stewart, the JJA's 2026 Lifetime Achievement in Jazz Journalism honoree.

Zan Stewart spent thirty-five years covering jazz as a beat reporter writing weekly features, overnight reviews, and club listings through long-term runs at the Los Angeles Times and the Newark Star-Ledger. His liner notes to Eric Dolphy: The Complete Prestige Recordings earned an ASCAP–Deems Taylor Award. He is also a working tenor saxophonist, and the two roles were always intertwined: Stewart came to jazz journalism as an advocate with a reporter's eye and a player's ear. In this conversation, he retraces his path from a hi-fi in Ojai to the clubs of San Francisco, with a lot of music in between.

They cover his early formation in the music (his father was at the Palomar Ballroom in 1935 the night Benny Goodman kicked off the swing era), two decades at the LA Times under Leonard Feather, his move to the Star-Ledger in Newark, his 2014 debut recording The Street Is Making Music, and his current work writing liner notes after a medical battle with oral cancer and osteonecrosis that has sidelined his playing. He also describes the box of cassette tapes in his possession containing unarchived conversations with Wayne Shorter, Herbie Hancock, Sonny Rollins, and McCoy Tyner, that he hopes to get out into the world.

(The musical excerpts heard in this episode are "Hampton's Pulpit" from the Hampton Hawes Quartet's 1991 reissue All Night Session and "The Street Is Making Music" from Zan Stewart's 2014 album of the same name.)

Buzzworthy Notes 

Guest & Host

• Zan Stewart
• Howard Mandel

Discussed

• Leonard Feather — jazz critic, Los Angeles Times; mentor to Stewart
• Eric Dolphy: The Complete Prestige Recordings — liner notes by Zan Stewart; recipient of the ASCAP–Deems Taylor Award
• Hampton Hawes — pianist; subject of Stewart's first published interview
• Hear Me Talkin' to Ya — edited by Nat Shapiro and Nat Hentoff (Rinehart, 1955); a formative text for Stewart
• Sonny Rollins — official website
• Oliver Nelson, Straight Ahead — Prestige, 1961; features Eric Dolphy on bass clarinet
• Albert Dailey — pianist; performed with Stewart's early band in Santa Barbara

The 2026 JJA Lifetime Achievement in Jazz Journalism Award

• Other nominees: Dan Ouellette, Nate Chinen, and Ben Ratliff
• Learn more about JJA Awards

Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.

This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

Don’t miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. 

For more from the Jazz Journalists Association, go to JJANews.org.

Miles Davis would have turned one hundred this year. The centennial has brought the somewhat predictable wave of reissues, retrospectives, and tributes. But which Miles keeps coming back? The suit-and-narrow-lapels Miles of the fifties. Kind of Blue as sonic wallpaper. The Second Great Quintet as the canonical high point.

In this episode, Howard Mandel - JJA president emeritus and author of Miles Ornette Cecil: Jazz Beyond Jazz - sits down with three guests who've spent serious time inside the music: bassist and author Melvin Gibbs, pianist and scholar Bob Gluck, and journalist Martin Johnson. They push past the myth and talk about what the centennial framing gets right, what it flattens, and why Miles keeps mattering even when the cultural idea of 'cool' has largely moved on without him.

Learn More About: 

• Miles Davis 
• Howard Mandel
• Melvin Gibbs
• Bob Gluck
• Martin Johnson

Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.

This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

Don’t miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. 

For more from the Jazz Journalists Association, go to JJANews.org.

Jazz criticism has always operated in close quarters: small rooms, tight communities, artists who become sources and sometimes friends. That proximity is part of what makes the writing worth reading. It's also what makes the ethics complicated.

This episode explores that tension. The guests have significant experience between them navigating exactly these questions, and the conversation goes to some candid places, including a few confessions that probably took some time to make.

Featuring:

• Rick Mitchell
• Hannah Edgar
• Paul de Barros

Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.

This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

Don’t miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. 

For more from the Jazz Journalists Association, go to JJANews.org.

JJA Board Member Andrew Gilbert hosts a discussion with Steve Smith (Substack “Night After Night,” former Time Out New York music editor) and Chrys Roney (editor in chief and publisher of Hot House Jazz Magazine) about the past, present, and future of jazz listings. 

Inspired by Gabriel Kahane’s Atlantic essay “A Love Letter to Music Listings,” they recall how outlets like the Village Voice, the New York Times, The New Yorker, and Time Out New York once provided expansive calendars that helped audiences discover scenes, neighborhoods, and emerging artists. They describe the decline of print and mainstream media listings, the labor-intensive nature of curating accurate calendars, and how even insiders still miss shows. 

The conversation contrasts journalistic authority and “crit picks” with transaction-driven event discovery platforms, discusses the need for trusted curators to sift through thousands of gigs, and explores evolving models such as nonprofit-supported listings, presenter-fed CMS tools, Instagram-based calendars, micro-subscriptions, and Hot House’s efforts to preserve its 45-year archive and develop a beta “JazzGPT” product.

Explore:

• A Love Letter to Music Listings (paywalled)
• Andrew Gilbert
• Hot House Jazz
• Steve Smith's Night After Night

A special 'thank you' to Terri Hinte for her help in making this episode happen. 

Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.

This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

Don’t miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. 

For more from the Jazz Journalists Association, go to JJANews.org.

Lawrence Peryer, managing editor of The Buzz, hosts a discussion about what it takes to build a sustainable career covering jazz in 2026.

Chicago Tribune critic Hannah Edgar and Earshot Jazz editor Rayna Mathis discuss the realities of working in this field, from the fellowship programs that make full-time journalism possible to the complicated ethics of critiquing people you see at shows three nights a week. They talk about punching up versus supporting vulnerable venues, whether social media is worth the mental health cost, and why a career that keeps you up until 2 AM can still feel like a blessing. 

This is not a straightforward "how-to" episode. The conversation moves beyond career advice into the actual practice and philosophy of making it work.

Learn more about:

• Hannah Edgar
• Rayna Mathis
• Lawrence Peryer

Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.

This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

Don’t miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. 

For more from the Jazz Journalists Association, go to JJANews.org.

Howard Mandel is an author, educator, journalist, and, since 1993, president of the Jazz Journalists Association. Howard's career crosses more than five decades of music journalism, from his early days writing for the Chicago Daily News to his current work as a contributor to publications worldwide.

As Howard prepares to step down from his role as JJA president at year's end, we found time to explore the story of the birth and evolution of the JJA and to talk through just some of the topics of interest to our community today.

Whether you're a longtime reader of jazz criticism or new to the conversations that shape how we understand this music, Howard's insights offer a window into our organization and the often invisible work of documenting and contextualizing America's most important cultural export.

Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.

This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

Don’t miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. 

For more from the Jazz Journalists Association, go to JJANews.org.