The Chicago drummer remembers his Die Like A Dog bandmate and close collaborator

Roy Ayers and Fela Kuti each explored Pan-Africanism and diasporic solidarity their own way before their meeting in 1979, which represented a crystallisation of ideas. By John Morrison

The late producer's biographer Noel Hawks writes an appreciation

The Wire’s Japanese flute specialist finds himself improvising on the soundtracks to two video game blockbusters

In 1971 Cecil Taylor joined the University of Wisconsin to lecture on Black music history and lead its student jazz ensemble. Budding photographer and student Paul Ruppa shares his photos and memories of Taylor at work and play in Wisconsin and New York

Ken Hollings maps the late Italian composer’s use of power chords and psychedelic rock tropes to crack open his crime and horror soundtracks

Byron Coley chronicles the life of prolific East Coast guitarist, lap steel player and chess freak Marc Orleans, of Sunburned Hand Of The Man, Spore and many more

The harpist and bandmate pays tribute to a musician who always set the bar high

The Wire publisher asks: What is wrong with this industry? Why is it such a monoculture? What is wrong with the white people who run it, work in it, report on it, study in it?

Julian Cowley on the life of the UK bassist and composer who died on 28 June

As lockdown begins to ease and protests over the killing of George Floyd fill the sonic landscape, Alan Licht examines the value of New York Public Library's anthology of nostalgic field recordings

The Wire contributor, musician and Decolonise Fest co-founder asks white readers: “Does the diversity of your record collection reflect the diversity of your real social life or approach to the world?”

John Morrison traces the new world routes mapped by the Philadelphia musician, promoter and Star’s End presenter

John Morrison on how the 1980s black music scene gave Kraftwerk the club-wise edge

“The truth is that Tony could keep better time than any drum machine, but his emigration to Europe coincided with the increasing mechanisation of dance music.” Allen’s biographer and some time musical collaborator Michael Veal traces the ever evolving work of the heart-steady Afrobeat drummer

“Henry was not hired to fill the role of a bass player; he was hired to be Henry,” declares fellow bassist William Parker

“Hal came up in a music industry that no longer exists,” observes Alan Licht, in his tribute to the US producer

The pioneering 1960s free jazz saxophonist learnt the high cost of freedom playing for change in New York's subways and parks before his late period rediscovery by William Parker, Cooper-Moore, and others. By Pierre Crépon