Some say I’m dumb
But that doesn’t mean
That you know where I’m coming from
Butterfly stride piano genius James Booker invented the sound that influenced Dr John, Professor Longhair and so many more. I heard ‘Classified’ played for the first time by a pianist called Dom Pipkin at Ronnie’s. As the parlance has it: it blew me away. Pip pip, ta ta.
Welcome to the latest selfie of a podcast from Marlbank, your regular jazz blog and podcast bringing you fresh musical insights and weekly listening.
A Fresh New Look for Marlbank
If you’ve visited the site recently, you might have noticed things look a little different. We’ve rolled out a brand-new website refresh featuring a sleek 4-grid column layout. Categories are now conveniently placed at the top, and when you dive into a story, they’ll remain accessible right on the side. The imagery is sharper, making the overall browsing experience much cleaner and easier on the eyes.
Our Philosophy on Album Reviews
As we navigate a busy season of new releases, I want to pull back the curtain on how reviews are approached here. I get a steady stream of emails requesting reviews, and while I can’t reply to them all, please know it’s because a proper review takes real time – usually around six hours per album. Between deep listening and the sometimes tortuous writing process of finding the right words, it is a labour of love.
Our focus is on delivering the core details of an album paired with honest, experienced opinion. You are always welcome to disregard the opinion, but the goal is to give you a strong sense of direction. Crucially, Marlbank is entirely independent.
- No paid promotions snuck in without saying so: No one is handing over envelopes of cash or buying up ad space to influence coverage. We’re not like those channels on TV where pensioners are thought to watch and the ads interrupt you constantly with attractive looking ads for the local crematorium
- Grounded in experience: Decisions are backed by decades of listening to jazz, aiming to provide a justified, constructive framework rather than random social media commentary.
What Makes a Reviewable Record?
When analysing a performance or release, two major elements come into play:
- Technique vs. Meaning: Incredible, acrobatic technique is impressive, but if it leaves the listener feeling emotionally empty or “blinded by science,” the music misses its mark. Conversely, if technical execution is too weak, it’s simply not reviewable, and I prefer not to write hatchet jobs.
- Emotional Resonance: The records that truly matter are the ones that move you, whether through the comfort of a familiar piano trio setup or an incredibly executed arrangement.
Moving Beyond the Marketing of “Genre”
While Marlbank covers a massive umbrella of music under the jazz rubric, I try to avoid fetishizing micro-genres. Terms like “acid jazz” or “trad” are frequently just clever marketing labels for styles that have evolved or been redone over decades. A great record doesn’t need to fit neatly into a cardboard divider in a record shop.
Artists should have the freedom to experiment outside their comfort zones. For instance, Cécile McLorin Salvant’s new collaboration with the Metropole Orkest (featuring stunning arrangements by Darcy James Argue) is excellent, even if her electronic experiments last year didn’t quite hit the mark. Stepping outside of a comfort zone is vital for growth, even if it occasionally confuses the audience.
Get in Touch. What are your thoughts on genre, labels and musical experimentation? Drop us a line to stephen@marlbank.net and let us know what you think of the new site layout and anything that springs to mind.
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