Where does the data come from?
Every publication names its sources, scope and the rights governing reuse.
JazzMesh stories
Project journal
JazzMesh methods, editorial choices, limits and corpus updates.
The project journal documents how JazzMesh is made: corpus choices, identity work, visual design, corrections and limits. It exposes decisions hidden behind an apparently simple visualisation.
What the journal makes verifiable
What the journal makes verifiable
How is a relationship produced?
The journal describes the selection, grouping and calculation rules that turn credits into visible links.
How are errors handled?
Uncertain cases are isolated, documented and corrected without presenting them as editorially validated facts.
Stories
Methods and project updates
How JazzMesh builds a traceable path
From data dump to visualisation: the decisions that make an exploration explainable and revisable.
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All stories
Miles Davis in JazzMesh: a career revealed through its connections
From bebop to the electric groups, the graph reveals less a sequence of styles than an exceptional ability to bring together, separate and recirculate communities of musicians.
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How to explore Miles Davis collaborations
A four-movement guide to starting with a familiar name without remaining inside one discography.
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From record to session: building a listening journey
Start with a record you love, read its credits and branch into another musical story.
Read the storyHow to read bridge artists in a jazz network
Why some musicians connect distant-looking communities—and what the graph can genuinely support.
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Understanding discographic credits without over-reading them
Leader, collaborator, group and role: what metadata can support—and what it leaves unsaid.
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Following a line-up from record to record
Read continuity, arrivals and returns without confusing release chronology with studio chronology.
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Reading a label through the musicians in its catalogue
Compare catalogues without reducing their identity to a volume ranking.
Read the storyAnalysed editions and distinct records: why two totals?
Understand the difference between 659,484 observed editions and 334,465 grouped discographic objects.
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