Welcome to the New York Times Popcast, you're, yes I have to admit I'm a failed

music critic and don't listen to jazz nearly as much as I should and this is my

annual come up and it's of music news and criticism. I'm your

host John Cara Monica. Oh, uh, yeah. Oh, uh,

uh, uh, I'm your humbled host this week. It is the end of 2017 well probably perhaps the

end of 2018 when you are

hearing this and we are going to talk this week about the year that just passed in

jazz music both sonically and also politically and this is a great opportunity for me to shut up and not talk very much because I have to be honest

and say that I don't pay nearly enough attention to this as I should.

However, I am blessed to be joined by two people who I know pay a lot of attention and who I trust implicitly.

Sitting across from me, covers Jazz from the New York Times, it's Gia Rousinello.

What's up? To my right, Natalie. covers Jazz in the New York Times, it's Gio Rousinello.

What's up?

To my right, Natalie Weiner, who works for Bleacher Report,

but still isn't some more Jazz, and Mosse you Lames!

Those you Lames can't touch it.

I do what I can.

G. You and Natalie are here. I would like, I don't want to be so self-centered and say, but hope to educate me and by turn educate a bunch of our listeners about what's been going on this year. I can only assume as dedicated popcast listeners that you guys are reading their work.

However, if you haven't, this is a great opportunity to catch up. We opened with

Maciah McCraven. Now of the records I listened to this year, I really

really enjoyed this one. Geo, can you tell us a little about this album and also the city from which it comes?

Macaya McCraven is a drummeries from Chicago which is the font of like a whole wave of new and interesting

...