Roads Less Travelled

ROADS LESS TRAVELLED

Rio de Janeiro’s shrine to Brazil’s fabled Bossa Nova

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While CD stores have virtually disappeared in most countries, Brazil remains a notable exception. In most large cities, specialty shops featuring contemporary and historic recordings by the country's legendary music-makers are still prospering. Visitors from abroad will delight in finding so much entrancing Brazilian sound at their fingertips. Enter the multi-level Bossa Nova & Companhia store in jny: Rio de Janeiro and one is transported to a magical time and place. Enveloped by sultry bossa nova grooves and surrounded by furnishings and artifacts of the early 1960s, patrons of this one-of-a-kind store are made to feel like they ...

ROADS LESS TRAVELLED

Eric Dolphy: A Deeply Dedicated Musician

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In the forty years since his death Eric Dolphy's career has taken on a kind of substance that it never had in his lifetime. Partly this is due to the course jazz has taken within those forty years, one of the end results of which is a scene that in many ways is more conservative now than it was then.

Brian Morton has referred to Dolphy's career as a series of transitions1 and there is something in this, hinting as it does at a more fundamental truth about Dolphy's music, namely that it didn't stay in one place. Certainly Dolphy ...

ROADS LESS TRAVELLED

Art Pepper: West Coastin'

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The last article in this series discussed the most significant strand in the recording history of Sonny Criss , a musician who was unjustly neglected during his lifetime. By contrast, Art Pepper might have been overexposed during his. If so, then this was a process helped in no small part by his autobiography1 in which he candidly discloses what loathsome traits were to be found in his personality. None of these, however, have any bearing on his abilities as a jazz musician, and The Hollywood All Star Sessions brings together a number of dates, all of them not originally put ...

ROADS LESS TRAVELLED

Sonny Criss: Catching The Sun

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There have sometimes been itinerant qualities to the jazz musician's life, not only in terms of where they've lived, but also where and when they recorded. Sonny Criss spent the best part of his life in Los Angeles, and the sad fact is that the devotion he showed not only to the city and its people but also to his music brought him little reward, a fact only compounded by what posthumous acclaim he has been afforded.

The albums he cut for Prestige in the mid- to late 1960s amount to the most significant strand of his recorded legacy, and ...

ROADS LESS TRAVELLED

Buddy Tate From Texas State

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By the end of the 1930s both the Count Basie and Duke Ellington bands had established signature styles of music making that were in some respects antithetical. Whilst the latter was dependent on composition as an integral part of its musical output -and arguably no-one before or since has married composition and the making of jazz so successfully, the former had developed a kind of inner momentum from which its music flowed and which was shaped in no small part by the way in which the different sections of the band functioned and related to each other.

Such is the ...

ROADS LESS TRAVELLED

Peter Brotzmann: Der Kaput Play

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The cultural life of post-war West Germany was always subject to significant American influence, and though this may seem surprising on the surface it says a lot about American hegemony in this period and the means through which it was acheived. Julian Cope has quite rightly highlighted the presence of American service personnel as a agent for cultural change1 particularly with reference to rock 'n' roll radio and the allure of plenty for people living in austere times. But by the end of the 1960s -and in a reflection of international trends- musicians were offering takes on idioms of American ...

ROADS LESS TRAVELLED

Albert Ayler: Backwards And Forwards

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By March of 1965, when the first of the Village Vanguard recordings were made, Albert Ayler's career as a leader was less that five years old. He'd covered a lot of ground. It was also only thirteen years since he'd worked in Little Walter's band, yet in that time he'd moved as far away from the mainstream of African American popular music as it was possible to be, at least that was an impression. The reality of the situation was rather different.

Ayler's take on the avant-garde was not of the same form as John Coltrane's. By comparison he sidestepped ...



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