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The Secret Music Of Herbie Nichols
Between 1996 and 2001, The Herbie Nichols Project (a superb band with Ron Horton, Ted Nash, Frank Kimbrough and Ben Allison) researched and recorded three albums of Herbie Nichols’s innovative compositions, some of which were recorded nowhere else. David Brent Johnson’s “Night Lights” devotes an hour to these recordings.
Don Byas Returns
JazzWax sends an intriguing documentary our way about the great Don Byas and his return to New York from Europe to perform at the Village Vanguard in 1970. This Dutch film called “Homecoming” is a wonderful close-up on Byas’s life and music. – Scott Wenzel
Duke Ellington Meets
Coleman Hawkins & John Coltrane
In this excerpt from his book on Impulse Records “The House That Trane Built” Ashley Khan writes about two of the most unusual and musically successful album projects: Duke Ellington Meets Coleman Hawkins and Duke Ellington & John Coltrane, both done in 1963. Despite their long careers, it’s amazing that Duke and Hawk never made music together before this session. Hawk is in great form and fits comfortably with the Ellington small group on the album. The summit meeting of Ellington and Coltrane defies category and contains many moments of genius, especially on Duke’s “Take The Coltrane” and “In a sentimental Mood.” – Michael Cuscuna
Even though we are not totally out of the woods yet with this pandemic there have been signs of life…and life to many means the Satchmo Summerfest! The festival returns with two days of some outstanding live music plus seminars including Ricky Riccardi devoting one of his seminars to our new Louis Armstrong Columbia and RCA Victor Studio Sessions and It’s streaming live on the Satchmo Summerfest Facebook page. – Scott Wenzel
NEA Names Its 2022 Jazz Masters
Drummer Billy Hart made his mark with his compelling playing for the likes of Herbie Hancock, McCoy Tyner, Miles Davis, Charles Lloyd, as an anchor for the Cookers, and and now, at age 80, as leader of one of the most intriguing ensembles in the art form. His colleague in the Cookers, saxophonist Donald Harrison Jr., has been recognized or his advocacy, campaigning tirelessly for the music and young musicians of his native New Orleans. Bassist Stanley Clarke led a generation of bassists as a leader and collaborator with Chick Corea in both acoustic and electric music. And Cassandra Wilson, a bona fide vocalistic original, has fashioned a potent amalgam of jazz, blues and folk and country forms. Congratulations to all the recipients of this year’s awards, which must seem especially welcome to these musicians, however celebrated, as they navigate the peculiar challenges posed by these times.- Nick Moy
“ain’t none of them play like him yet”
Back in the 1980s when video taping was new and the rage, I was ecstatic to record off of cable television a documentary I heard was being shown: “Bix: Ain’t None Of Them Play Like Him Yet”. It remains to this day one of the greatest of all jazz documentaries as it is one thing to document someone who is in the present, but this was of a true LEGEND and remarkable interviews with family members, fellow musicians from the 1920s was all brought together in meticulous fashion. Directed by writer-director Brigitte Berman, this magnificent documentary is being presented at the Film Forum (209 West Houston St. in NYC) that will include a conversation with Berman after the screening along with jazz critic/historian Will Friedwald and Film Forum repertory director Bruce Goldstein. – Scott Wenzel
Bix’s great solo and nice arrangement on Sorry is shown here along with some real nice graphics supplied by major collector Tim Gracyk. – Scott Wenzel
A Selection of Big Band Albums
The best big band jazz albums are a testament to the durability and growth of the genre from swing masters like Count Basie and Duke Ellington to the expanded big band efforts of Stan Kenton and Don Ellis to the electrifying freedom of Mingus’s large ensemble. The body of work created by the masters of the big band is one of rich textures, driving rhythms and the sound of surprise.
1960s Modern Jazz Classics
The ‘60s in jazz was a crystallization of so many streams in the music. Hard bop reached its heights with composers like Wayne Shorter, Hank Mobley, Freddie Hubbard and Cedar Walton. The freedom principal was shaped by ensembles like the Ornette Coleman and Charles Mingus quartets. Miles Davis, John Coltrane and Randy Weston were among the pioneers who constantly evolved. What a period!
Jazz Album of the Week
WRTI – Temple University
One of Mosaic’s most recent offerings is the Louis Armstrong Columbia and RCA Victor recordings he made in the studios from 1946-1966. The detail and research that went into this release was truly overwhelming, but four dedicated souls and Armstrong fanatics serving as co-producers made it all possible. This set was recently highlighted on public radio station WRTI out of Temple University by Matt Silver and they injected the knowledge, passion and even some humor of Ricky Riccardi in a series of videos explaining and reliving the painstaking but ultimately divine outcome of this package. – Scott Wenzel
Joe Lovano & Dave Douglas Sound Prints
Despite their hectic solo careers, Joe Lovano and Dave Douglas found time in 2013 to form their challenging quintet Sound Prints with Lawrence Fields, Linda Oh and Joey Baron. Their third album Other Worlds was just reviewed very favorably in London Jazz News.
Benny Goodman vs Chick Webb
The Fertile Mind of Andrew Hill
In August 1986, I produced the first Mt. Fuji/Blue Note Jazz Festival outside of Tokyo. The affair was mostly all-star bands playing music from Blue Note recordings of the fifties and sixties. I invited Andrew and put together an ensemble of Joe Henderson, Woody Shaw, Bobby Hutcherson, Ron Carter and Billy Higgins. Don Sickler transcribed a set’s worth of Andrew’s tunes that Andrew and I had agreed upon.
Of course, he arrived in Tokyo with a suitcase of new music, all of it gorgeous, and all of it intricate. We managed a couple of rehearsals before the outdoor festival began. The winds were high that first day because a typhoon was heading straight for us. So all of Bobby Hutcherson’s parts blew away three minutes into the set. He winged it as best he could. Andrew kept getting up during tunes, running around to everyone’s music stands. Finally, Joe and Woody came over to me in the wings and said, “This music is hard enough to play. Can you get him to stop rewriting it while we’re playing it?” – Michael Cuscuna
15 Unique Voices of the Avant-Garde
The so-called avant-garde began to emerge in the mid ‘50s with work by Charles Mingus, Cecil Taylor and Sun Ra among others. What united these artists along with John Coltrane, Ornette Coleman, Paul Bley, Archie Shepp, Pharoah Sanders, Albert Ayler, the Art Ensemble Of Chicago and others was the desire to take the jazz aesthetic and move the music beyond the rules of be-bop and hard bop. They were unified more by purpose than by style. In the intervening decades, fresh, original artists have added their voices to this unique quest and we’ve compiled a list of these artists and featured tracks.
DownBeat Archives 1964
One of the ways to describe Benny Goodman’s persona is that jazz and the clarinet was of paramount importance and foremost in his mind. To back this up, this article, from a 1964 Down Beat written by Marian McPartland, is a most insightful and thoughtful expose of The King of Swing. There are quotes from many of Benny’s sidemen with examples of his quirky personality.
An Unissued Gem
Here’s a taste of what (because of contractual reasons) is not on our Mosaic set of Bill Savory recordings. This clip has a dream gathering of Benny Goodman, Lester Young, Teddy Wilson and Roy Eldridge. It comes from the outstanding jam sessions put together by DJ Martin Block of WNEW in NY.
Blue Note Records
National Public Radio has an interview by Liane Hansen’s in 2003 with the late Richard Cook upon the publication of his book “Blue Note Records – The Biography.” Richard’s title was the first book devoted entirely to Blue Note Records and its unique story.
Live Music Is Back!
Charles Mingus Big Band
The Mingus Big Band celebrates the music of composer/bassist Charles Mingus. Stocked with many alumni of Charles Mingus’s various groups, this ensemble brings new life to the bassist’s volatile yet beautiful compositions. On July 29, they reconvene at Drom in the lower East Side for their fist live performance since the Covid 19 outbreak.
Small Group Swing
The Complete CBS Buck Clayton Jam Sessions
George Avakian created and produced the Buck Clayton jam sessions for Columbia in the mid ‘50s. The recording ensembles are full of great swing musicians. Jam sessions? – yes. Wasted notes – not at all. Dan Morgenstern’s annotations cover this music accurately and vividly.
50 Small Group Swing Albums
The big band defined the style and economics of swing. But the all-star sextets and septets that drove small group swing were not scaled down big bands; they were their own genre with a new sound and a new orthodoxy. Here we’ve assembled and commented on 50 Small Group Swing gems.
Columbia Small Group Swing Sessions 1953 – 62
Small group swing was an outgrowth of the big band era and hard financial times. Independent labels like Commodore, Blue Note and HRS documented the music and dozen of clubs on 52nd Street brought it to life. By the ‘50s, modern jazz had become the standard and small group swing had less recording opportunities. Columbia Records was the largest American record label. Many of its executives were full-blown jazz fans, resulting in choice small group sessions being recorded from time to time.
This is an amazing clip of Freddie Hubbard at his fluent and volcanic best from the Blue Note Club in Tokyo in 1990. He’s playing Cedar Walton’s “Bolivia” with a powerful band that includes tenor saxophonist Don Braden, pianist Benny Green, bassist Jeff Chambers and drummer Carl Allen. -Michael Cuscuna
Live At Carnegie Hall – 1974
Originally recorded in January 19, 1974, Mingus At Carnegie Hall was released as an LP that only featured 2 long tracks. Yet the original concert in January of 74’ included 2 hours of performances, but nearly 70+ minutes were left on the cutting room floor. After 47 years Rhino has issued the complete 1974 Mingus At Carnegie Hall album with over 72 minutes of unreleased material and is available at Amazon. Michael Cuscuna provided liner notes.
New York in the 1920s
The United States in general and New York in particular have often been idealistically described as melting pots and to some degree, that rings true. In the case of the jazz world, New York has been its hub and its mecca for the last hundred years. Neighborhoods of all ethnicities have shifted and blended over the decades and Jazz has always been the beneficiary of these blended cultures. The essay “Duke Ellington – New York in the 1920s” from JAZZ by Gary Giddins and Scott DeVeaux details the beginnings of New York as the jazz capitol. – Michael Cuscuna
Steve Swallow Remembers Pete La Roca
Unsung Great on Drums
Ethan Iverson reached out to Steve Swallow for his April 7, 2021 Jazz Times column on Pete La Roca. Steve and Pete were inseparable in the early to mid ’60s. Pete was one of the unsung greats on the drums. Swallow’s memories and observations are priceless. – Michael Cuscuna
What Thelonious Monk’s Most Famous Composition
Owes to Dizzy Gillespie
Pianist-author-historian Lewis Porter tackles the evolving history of Thelonious Monk’s “’Round Midnight.” There were plenty of claims and variations of Monk’s most famous composition. I think my favorite story is Miles Davis getting off the bandstand at the 1955 Newport festival, complaining to no one in particular that Monk played the wrong chords on the bridge, to which George Wein responded, “Ah for Chrissake, Miles, it’s his tune!” – Michael Cuscuna
Terry Teachout takes an in-depth look at five of Duke Ellington’s’ greatest compositions
Sketches of Spain
The rapport between the two men was unique and deeply felt. Gil Evans was Miles Davis’s best friend, mentor, and musical alter-ego. He was one of the first musicians who recognized Davis’s unique gifts and was perhaps the only one who could match the trumpeter’s insatiable need for change and growth. – Bill Kirchner
Lester Young & Billie Holiday
Billie Holiday had a small voice but she made every note count, expressing her emotions quite effectively in subtle ways and phrasing behind the beat. Lester Young had a light floating tone and while he could play fast, he preferred to create pretty melodies. They also had complementary viewpoints on life, particularly in the early days. – Scott Yanow
Louis Armstrong & Duke Ellington
The Ed Sullivan Show
Both Duke Ellington and Louis Armstrong were no strangers to the Ed Sullivan Show. Here we get a glimpse of the Sunday, December 17, 1961 “really big shew” with the Armstrong All Stars performing “In A Mellotone” which also features Joe Darensbourg on clarinet. – Scott Wenzel
“In a way I feel like a billionaire”
It should surprise no one that Anthony Braxton I remains vigorously at work giving voice to his brilliant musical vision. In this delight of an interview with Stewart Smith in The Quietus, Braxton is eager to dispel an image held in some quarters that he’s a dispassionate intellectual. Many of his lifelong musical proclivities, he tells us, don’t differ so much from those of many more mainstream enthusiasts; and we should keep an eye on his latest small group project exploring standards. Yet one constant permeates this interview: through it all, Anthony Braxton remains as exploratory as ever. – Nick Moy
Chasin’ The Train
“I was living in a loft in the East Village in 1962. I heard my neighbor’s record player booming and I knew it was Trane. – Archie Shepp
John Coltrane’s November 1961 recordings at the Village Vanguard were a road map for various paths that his quartet would take over the next four years. “Chasin’ The Trane” was an exercise in freedom, intensity and the phonics of the saxophone. Coltrane said that it was inspired by the work of John Gilmore. When it was released on “Live At The Village Vanguard,” it was hailed as a brilliant step forward for contemporary jazz and the death knell for jazz itself. Sixty years later, we are still exhilarated by this performance. – Michael Cuscuna
An Outsider Cracks the Egg
Steve Provizer’s essay on the impact and art of Ornette Coleman is thoughtful and informed. He even delves into the reasons that, as controversial as he was when he arrived on the scene, Ornette proved to be more famous and infamous than Cecil Taylor or Sun Ra. Listening to early works like “Ramblin’” and “Lonely Woman” tell the story. – Michael Cuscuna
The Captivating Harlem Swing Rhythms
From AcousticGuitar.com the guitarist Nick Rossi really digs deep in this brilliant essay of early jazz guitar with examples and descriptions of chordal technique and fingerings possessed by these masters
Hawk’s Variations Solo Session
Harry Lim, a Javanese jazz lover who came to America in 1939, first produced jam sessions in Chicago and New York and then founded Keynote Records, a premier small jazz label. In an article for Metronome magazine in May, 1944, Lim dubbed Hawkins the Picasso of Jazz.
Black, Brown And Beige
Duke Ellington’s Historic Jazz Symphony
David Brent Johnson’s “Nightlights” program re-visits the origins and success of Ellington’s extended work “Black, Brown and Beige” that “premiered” at Carnegie Hall in 1943 (it actually premiered at my alma mater Rye High School the night before). Wynton Marsalis, Harvey Cohen and Ellington himself shed light on this important piece. – Scott Wenzel
Redman, Blade, Mehldau, McBride
Defy Notions Of The Genre
The quartet of Josh Redman, Brad Mehldau, Christian McBride and Brian Blade, all rising stars at the time, first came together in 1992 and stayed together for another 6 years. for Redman’s “MoodSwing” album. Gary Fukushima at DownBeat delves into their history, 2019 recording reunion and the planned tour that was postponed by the pandemic. – Michael Cuscuna
Earl “Fatha” Hines
Earl “Fatha” Hines was one of the greatest jazz pianists of all time. His solos were consistently exciting and he had an innovative approach of his own from virtually the start of his career. With his dazzling technique and constant delight at playing the unpredictable even on familiar songs, Hines was always a joy to hear. – Scott Yanow
Louis Armstrong & Earl Hines
“Teachout delivers a taut and well-paced work that is astute in its critical judgments and gripping in its chronicle of the trumpeter’s life and times.” —The Weekly Standard
In this excerpt from his critically acclaimed biography “Pops: A Life of Louis Armstrong, Terry Teachout explores the relationship between two of the great jazz pioneers.
The Randy Weston Songbook
Randy Weston was a jazz giant in every regards. His compositions are varied and appealing. His pianistic ability used Basie and Ellington as a foundation for his singular, all-encompassing style. He was also one of the most patient and compassionate humans to walk the earth. This episode David Brent Johnson’s Night Lights is a one-hour joyful journey into the remarkable music of a remarkable man.
– Michael Cuscuna
A Makeover for Rudy Van Gelder’s Studio
Steve Harvey’s article in Prosound about the late Rudy Van Gelder’s Englewood Cliffs studio and its recent innovation includes an amazing 1959 photograph of the studio under constructions. It was built to Rudy’s specs and design. He even found “cement” blocks made with a special acoustically favorable compound. The blocks were only made in the state of Washington and Rudy paid the railroad charges to bring thousands of them to his New Jersey property. – Michael Cuscuna
Bob Blumenthal’s essay on the Blue Note albums “Art Blakey Quintet: Live At Birdland” volume 1 & 2 cover their historical significance in pioneering live location recording, introducing new jazz giants to the public and setting the hard bop style in motion. The track “Quicksilver,” is featured and is the first of many Horace Silver compositions to become a jazz standard. The Quintet mix the virtuoso velocity of be-bop with bluesy, earthy attitude and phraseology. – Michael Cuscuna
Jason Moran Journeys to the Dawn of Jazz Cinema
Pianist-composer Jason Moran has joins the ranks of outstanding jazz artists with a talent for scoring film; he recently wrote the music for “Selma” and “13.thThe Criterion Channel is showing a library of film shorts on jazz made between 1929 and ’39 and talks with Jason about their content and sociological and historical significance in this fascinating interview. – Michael Cuscuna
A Presidential Moment: Lester as a Band Leader
Albert “Tootie” Heath, who very early in his career had shared the stage with Lester Young, gives his impression of Pres’s band leading technique. – Scott Wenzel
Impressions Of Art Tatum At The Grand Piano
George Duning, a Down Beat reporter and quite possibly the man with the same name who later became an Oscar winning conductor, gives the reader an idea of what it was like to see and hear Art Tatum in 1935, a breakthrough year for the musician who was taking the jazz world by storm and leaving mouths wide open and jaws dropping. – Scott Wenzel
Lee Konitz interview on John Coltrane
This 2007 interview is from Andy Hamilton’s “Lee Konitz: Conversations on the Improviser’s Art.” Lee was always a creative artist with his own unique perspective on music and art. Beyond his incredibly dry wit, he was always a straight shooter with his opinions. His comments on Trane (and Bird) here are intriguing. – Michael Cuscuna
I’m In The Mood For Swing
Track analysis by Loren Schoenberg
Lionel Hampton hits pay dirt for the first time with arrangements and players that are of equal quality. Benny Carter, 30 years old and just back after three years in Europe, announced his return to his native country with brilliant writing and playing. Texas is represented by 22 year-old Benny Goodman trumpeter Harry James and 28 year old Herschel Evans, featured tenor saxophonist with Count Basie…
History of this Jazz Classic by Scott Yanow
It was a fairly simple swing tune that in a classic three-minute recording by Lionel Hampton virtually gave birth to rhythm and blues. Quite a few early r&b tenor players based much of their careers off of Illinois Jacquet’s two-chorus solo, and it became a must in virtually every performance by Hampton, Jacquet, and his successor Arnett Cobb…
Miles Davis Quintet
This version of Jimmy Heath’s Gingerbread Boy by Miles Davis, Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams in Karlsruhe during their 1967 European tour is not to believed. That mere mortals can achieve this level still amazes me. -Michael Cuscuna
Bud Powell at Birdland: 1953
Bud Powell’s life had many ups and downs, and so did his playing. His trio work in the ‘50s ranged from sublime (the Blue Notes and some of the Verves) to dismal. Marc Myers highlights a 3-CD set of Bud live at Birdland issued on ESP-Disk. I haven’t hear the music but this review makes it incredibly enticing. -Michael Cuscuna
Conversation with Richie Beirach & Dave Liebman
One of the latest installments of David Schroeder’s NYU Steinhardt Jazz Studies interviews is with Dave Liebman and Richie Beirach. Dave is well known as one of the great storytellers, but Richie has always been his equal and steps in on this in-depth conversation. -Michael Cuscuna
In Jazz History, 1957 belongs to
Thelonious Monk and John Coltrane
Bob Blumenthal provides an in-depth look at the special relationship and extraordinary music they produced. Includes the momentous 2005 discovery by the Library of Congress and analysis of the full Carnegie Hall concert.
“Working with Monk brought me close to a musical architect of the highest order I felt I learned from him in every way – through the senses, theoretically, technically. I would talk to Monk about musical problems, and he would sit at the piano and show me the answers just by playing them. I could watch him play and find out the things that I wanted to know. Also, I could see a lot of things that I didn’t know about at all.” – John Coltrane, Down Beat 1960
Teddy Wilson & His Orchestra
Roy Eldridge (tp), Benny Morton (tb), Chu Berry (ts), Teddy Wilson (p), Dave Barbour (g), John Kirby (b), Cozy Cole (d), Billie Holiday (vcl). NYC, October 25, 1935
There’s no mistaking Chu Berry’s influence on Charlie Parker (who named his first son for Berry) and every other bebopper, John Coltrane, and a host of other saxophonists today who may not even know from whom the ideas originated.
Spirits, Ghosts, Witches & Devils
The Life and Death of Albert Ayler
Magnet has republished Mitch Myers’ 2004 superb, well-researched story of the life and death of Albert Ayler, a musician who drew his inspirations from the early 1900s and created a unique path into the future. His life and his music remain mysterious and otherworldly.
Best Jazz Recordings
Hotter Than That
December 13, 1927
By Ricky Riccardi
By the time we get to “Hotter Than That” from late 1927, the New Orleans ensemble sound is mostly gone. It is now a string of solos from start to finish, Armstrong opening the proceedings and setting the bar high on this romp based on the chord changes to “Bill Bailey.” Clarinetist Dodds and trombonist Ory contribute exciting outings but both sound primitive after Armstrong’s seamless brand of swing.
In the middle of the record, we hear Armstrong’s distinct voice for the first time in a stunning display of scat singing. Armstrong had put scat on the map with his 1926 record of “Heebie Jeebies” but he turns the “nonsense singing” into high art here during his duet with special guest Lonnie Johnson, another New Orleans native and a pioneer guitarist.
In the final chorus, Armstrong uncorks a spiraling ascending phrase before hammering home a two-note riff over and over, foreshadowing a decade’s worth of big band writing that would follow in the 1930s.
Armstrong’s playing was now stimulated by younger contemporaries who grasped his concept on how to solo and how to swing. Having transformed jazz from an ensemble-based music into a soloist’s art, Armstrong bid adieu to the original Hot Five shortly after this session.
“We’re listening to Blue Train, which to me is one of the most beautiful pieces on one of the most beautiful records that Coltrane recorded in the fifties. – Michael Cuscuna, Traneumentary podcast
Christian McBride: How Jazz Will Return
Before the world went into lockdown, few musicians could match the Christian McBride for the sheer range and ferocity of his activity. Eric Easter of the Washington Post elicited some of McBride’s thoughts on what will happen in jazz, and in particular, live jazz, as the world braces to return to normal — or whatever normal will mean– and what will be different. -Nick Moy
Read from the Washington Post…
A Blues Surrealist
Adam Shatz has researched and written a brilliant essay on the life and music of Julius Hemphill, an extraordinary composer and alto saxophonist who never really attained the level of acceptance that he so richly deserved. -Michael Cuscuna
By Bob Blumenthal
Among its many exceptional qualities, it marks the first Blue Note appearance of the Butch Warren/Billy Higgins rhythm section that would also be heard on the label behind Jackie McLean, Sonny Clark, Hancock, Don Wilkerson and Dexter Gordon.
Count Basie Kansas City Seven
Lester Leaps In
September 5, 1939
By Loren Schoenberg
Lester Leaps In became the saxophonist’s own signature number for the remaining two decades of his life. It is based on I Got Rhythm a composition that he had already long used as a showcase. Here we get a glimmer of what John Hammond was referring to when he wrote:
La Plus Belle Africaine, 1969
Thanks to Scott Yanow and Jazz on the Tube for bringing this Ellington gem to the forefront: the band’s performance of La Plus Belle Africaine, from Tivoli Gardens in Copenhagen. Russell Procope’s clarinet kicks off the solos, Victor Gaskin adds an arco bass solo, Ellington comments and Harry Carney sums it up. -Nick Moy
The Thelonious Monk Orchestra
At Town Hall
By Bob Blumenthal
Unlike fellow modern pioneers Dizzy Gillespie and Charlie Parker, Thelonious Monk did not pay substantial dues in the big bands. While Monk held the piano chair briefly in Gillespie’s orchestra, and had heard his “Round Midnight” introduced by Cootie Williams’ band, his music seemed resolutely small group oriented.
At the close of 1958, however, with his quartet disbanded and yet another licensing hassle temporarily keeping him out of New York City clubs, Monk embraced his advisors’ idea of presenting a concert featuring both a reorganized quartet and a larger ensemble.
The Rajah Reviewed
LondonJazzCollector does an excellent review of Lee Morgan’s The Rajah, now released on the Blue Note Tone Poet audiophile LP series. Unfortunately, they make one bizarre assumption that the catalog number of its first release in 1985 (BST 84426) was assigned in 1972 when Lee Morgan was killed. Actually we assigned the number in 1985 when we were still able to carry on the BST 84400 series in releases. -Michael Cuscuna
Clifford Brown & Max Roach
By Michael Cuscuna
Although he had only three years on the national jazz scene before his tragic death in an automobile accident in June, 1956, Clifford Brown managed to cast a large presence as a trumpeter and composer. His originals like “Minor Mood,” “Tiny Capers,” “Daahoud” and “Joy Spring” signified the arrival of a composer of substance with his own identity.
Much like Benny Golson, he had an enormous melodic gift and structural sense. Most of the tunes that he introduced during his all too short recording career have become jazz standards.
Three of his Greatest Compositions
By Michael Cuscuna
Misterioso has been one of Monk’s most influential recordings, and small wonder. It is a summation of Monk’s work up to that time, and, in both composition and solo, a wondrous example of his artistic maturity and his awareness of the challenge of discipline and economy.
Count Basie And His Orchestra w/Lester Young
February 4, 1939
This is the Birth of Something New
A musical analysis of Lester Young’s famous solo would include his use of fourths, an unusual choice of interval for the time and one that presages much of later jazz; Gunther Schuller has noted Young’s scalar approach set the stage for what has been called “modal jazz,” as well as for George Russell’s various theories of tonal organization. Furthermore, there is the sheer “coolness” of his sound and general approach to what had been a “hot” art form. – By Loren Schoenberg
Columbia Records (1962–1968)
By Bob Blumenthal
While Thelonious Monk had not brought a working band into a recording studio since 1959, his current quartet of Charlie Rouse, John Ore and Frankie Dunlop on drums had been together for two years, including a European concert tour. In contrast to the practices of independent jazz labels, where budgets dictated that entire albums be taped in one or two sessions, Columbia employed an approach more to Monk’s liking, scheduling several visits to its famed studios and settling for one or two master takes per visit, with any additional material saved for future release.
This is how Criss-Cross, Monk’s second Columbia album, was assembled from four sessions in November 1962 and February 1963. It became one of Monk’s most popular titles, and remains the best overview of what his music had been about to that point in his career.