Jay nash flutes across the world

This page lists all papers published at the NIME conferences, organized in reverse chronological order.

• Peer review: All papers have been peer-reviewed (most often by three international experts). See the list of reviewers. Only papers that were presented at the conferences (as presentation, poster or demo) are included.
• Open access: NIME papers are open access (gold), and the copyright remains with the author(s). The NIME archive uses the Creative Commons Attribution International License (CC BY ).
• Public domain: The bibliographic information for NIME, including all BibTeX information and abstracts, is public domain. The list below is generated automatically from a collection of BibTeX files hosted at GitHub.
• PDFs: Individual papers are linked for each entry below. All PDFs are archived separately in Zenodo, and there are also Zip files for each year in Zenodo. If you just want to download everything quickly, you can find the Zip files here as well.
• ISSN for the proceedings series: ISSN . Each year’s ISBN is in the BibTeX files and are also listed here.
• Impact factor: Academic work should always be considered on its own right (cf. DORA declaration). That said, the NIME proceedings are generally ranked highly in, for example, the Google

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  The best jazz albums of (so far)

  In every issue ofJazzwise, Editor Mike Flynn chooses a selection of the most outstanding new releases as his Editor's Choice. Below, you will find all of the albums selected as Editor's Choice in – so far

  To find out more about subscribing toJazzwiseand our Reviews Database, please visit:

  LesGo!

  Sam First Records 

  Devin Daniels (as), Julien Knowles (t), Chris Fishman (p), Jermaine Paul (b) and Benjamin Ring (d). Rec. February

  Devin and his cohort met at UCLA’s Herbie Hancock Institute of Jazz Performance, and Mr Hands himself has personally mentored the young alto prodigy and taken him on tour. The title track of this, his second album, shows us why: Daniels simply explodes out of the gate with a flurry of creative phrases before the theme, a sort of Ornette-ish gospel chant, kicks in – then he’s away, his poky, acidic tone burning over a tricky dotted rhythm bassline. In a similar vein to the Immanuel Wilkins quartet, Daniels and his band operate at the forefront of the US acoustic jazz tradition - there are versions of Monk’s ‘Ugly Beauty’ and the evergreen ‘Scrapple From The Apple’, and the soloists’ language is rooted in bop and it’s more free-ranging successors, but the rhythm arrangements are furiously contemporary