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In celebration of JazzTimes' 50th anniversary, we present the fifth of five top-10 lists by our critics, one for each decade of our existence.

Henry Threadgill & Zooid - So Pleased, No Clue              mfish618                                                                                                                                 From the 2012 release Tomorrow Sunny/ The Revelry, Spp                                                                                                                                                                  Mike Shanley, “Henry Threadgill Zooid: Tomorrow Sunny/The Revelry, SPP”, jazztimes : While the previous two Zooid albums, This Brings Us To, Vol. 1 and Vol. 2, provided a revealing portrait of Henry Threadgill as a composer and bandleader, one aspect of the AACM veteran seemed to be lacking: Threadgill the soloist. Especially on the second volume, his alto saxophone and flute felt active more as devices to set scenes or wrap up ideas than to lead them. Heard blindly, the album could be mistakenly attributed to guitarist Liberty Ellman. Even though Threadgill still steps back to let the rest of the band color most of the sound, his performances sound much more present this time out. His thick-toned alto wail on “So Pleased, No Clue” stands as one of the album’s highlights. During “See the Blackbird Now,” an odd voice enters after a few minutes, and it sounds like Jose Davila vocalizing through his trombone. Eventually it becomes clear that the mystery player is actually Threadgill on bass flute, simply blowing but very much resembling a human voice and adding significantly to the soundscape. Cellist Christopher Hoffman has joined the group, making it a sextet, and Threadgill exploits the new addition by giving him a prominent place in the most tracks. Hoffman strums, bows and occasionally scrapes at his instrument, sometimes alone and at other times in tandem with Ellman or trombonist/tuba player Davila. While some might conclude that the entire band often solos at once, the level of interplay gives the impression that they might actually be playing composed, overlapping parts. Everything has a strong sense of direction, even during moments when things sound spare and minimal. As a result, the album comes off as the most focused Zooid release yet.                                                                                                                                                  Henry Threadgill Zooid: Tomorrow Sunny/The Revelry, SPP - JazzTimes

The Jazz Journalists Assocation has announced the winners of its 25th annual JJA Jazz Awards—including Carla Bley, Terri Lyne Carrington, and JazzTimes.

The director tells JazzTimes about Miles Davis: Birth of the Cool, coming to theaters this fall

"The swell of influences pulls in listeners as it moves beyond genres," Mike Shanley writes in a JazzTimes profile of trumpeter/composer Ambrose Akinmusire and his new album, honey from a winter stone. Akinmusire says: "There are no more imaginary ladders for me to climb. I’m just trying to inspire the next generation to be themselves authentically and show people that you can do that." You can read the article here.

Brad Mehldau has shared excerpts from his forthcoming memoir, Formation, due March 1 on Equinox Publishing, with JazzTimes. In them, he shares stories from his early years in New York City in the late 1980s, finding his way in the club scene, and in 1990, as he becomes more comfortable in the city. You can read them here.

JazzTimes' critics chose their favorite new releases of the year, and the result is our Top 40 Jazz Albums of 2022 list.