Doug Collette is a journalist at various publications including Seven Days, Sophos, All About Jazz, and Glide Magazine. His work primarily focuses on the arts and entertainment sector, with a particular emphasis on theater and music. Doug's insightful critiques and engaging storytelling have made him a notable voice in the cultural landscape.
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By: Doug Collette
Hindsight certainly helps to appreciate Steve Miller's reflections upon his initial forays into sequencing the tracks he eventually separated into his two biggest selling albums. Taken together, the collection of recordings that would eventually take shape as Fly Like An Eagle (released 5/15/76) and Book Of Dreams seemed like a'gothic nightmare' to the artist.
By: Doug Collette
Among his many other distinctions as a songwriter and recording artist, Brian Wilson is responsible for not just one, but two, of the most famous albums in rock and roll history, Pet Sounds and Smile.
It is certainly no coincidence that Ghalia Volt's adopted moniker suggests power, specifically the electric sort.
By: Doug Collette
Time Out Take Five is a column comprised of pithy takes on recent jazz releases, spotlighting titles deserving attention that might otherwise go unnoticed.
By: Doug Collette
The tenth anniversary of Fallen Angels is a worthy reminder that not everything Bob Dylan does (or has done) is truly provocative. Nevertheless, plenty of speculation arose around the album upon its initial release a decade ago, if only because it was another collection of standards and torch songs like the previous year’s Shadows in the Night.
By: Doug Collette
Originally released on vinyl for Record Store Day in April 2025, the release in other formats over a month later clarifies how, in more ways than one, Neil Young’s live album with the Chrome Hearts is a mirror image of last year’s studio album with that band.
By: Doug Collette
The curators of the GarciaLive archive series have always taken great pains to avoid undue repetition of content, and Volume 22 is a case in point. Nevertheless, September 25th, 1971, at Lion’s Share has its precedents: Betty Cantor Jackson and Bob Mathews recorded at the same tiny San Anselmo, California venue for Volume Six, while Volume Twelve features a similarly novel lineup of musicians accompanying Jerry Garcia and Merl Saunders, most notably vocalist Sarah Fulcher.
By: Doug Collette
One of the main selling points of the large(st) package available for the 50th Anniversary of 's Wish You Were Her e (Columbia, 1975), Live from
By: Doug Collette
If Legacy Recordings’ ongoing Miles Davis Bootleg Series has proven anything, it’s that there can never be too much music from Miles Davis. Beyond simply expanding the catalog, these releases provide a rare window into his creative process — revealing how he interacted with musicians, shaped sessions in real time, and continually pushed jazz forward as a living, evolving art form. Each volume gains its power by deepening our understanding of music we already thought we knew, while also uncovering entirely new layers of invention and spontaneity.
By: Doug Collette
With the late 's photo on such prominent display in Debra Clark's graphic design for Just Stay Live, featuring Garth Hudson, Recorded Live at the
