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John Jenkins
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John Jenkins is from Chicago where he was born on January 3, 1931 and has been another pupil of the famous Capt. Walter Dyett of Du Sable High. Johnny Griffin, Clifford Jordan and John Gilmore were among his schoolmates. Jenkins began on clarinet and six month later switched to alto. His baptism of fire came in 1949 at the Roosevelt College sessions promoted by Joe Segal and he continued to play at these swinging affairs during his next seven years in Chicago. He also played at local clubs like the Bee Hive. In 1955, John did a week apiece in Chicago and Cleveland with Art Farmer when Gigi Gryce was unable to be present
John Jenkins & Kenny Burrell
Alto saxophonist John Jenkins never recorded a bad album—as a leader or a sideman. When you hear him, the first person you think of is Jackie McLean. Both had an urgent, insistent edge, particularly on the saxophone's upper register. Remarkably, Jenkins recorded just 11 albums, only three of which were leadership dates. Given how special Jenkins ...
Music Matters and the Blue Note Oddballs
by Greg Simmons
In its heyday, Blue Note records had a relatively stable roster of musicians. Leaders including saxophonist Hank Mobley, trumpeter Freddie Hubbard, pianist Horace Silver and saxophonist Lou Donaldson all released lengthy strings of records during recording relationships that were measured in years. Some players, like bassist Paul Chambers, became de facto house musicians for the label, ...
Mike Reed's People, Places & Things: Clean on the Corner
by Troy Collins
Originally founded in 2008 to commemorate the lesser known “people, places & things" that have historically supported Chicago's progressive jazz scene, Mike Reed's ensemble of the same name continues to ply its bold interpretations of lesser known covers and swinging originals on Clean on the Corner, their fourth recording for 482 Music. Although this session breaks ...
Mike Reed: People Places and Things: Clean On The Corner
by Mark Corroto
The fourth installment of drummer Mike Reed's People, Place & Things project departs from his original modus operandi of paying tribute to the Chicago jazz and improvised scene circa 1954-1960. Despite this, Reed could not divorce himself of his heritage; Clean On the Corner bristles with the legacy of Chicago's broad sounds and the inspiration of ...
Music Matters: The Blue Note Reissue Series
by Greg Simmons
Music Matters has been reissuing classic Blue Note jazz records since 2007. It has dug deep into the catalog, remastering lesser known, infrequently heard titles, and done so with passionate attention to presenting the highest possible sound quality. Offering an analog solution in a digital age, this exceptional series is available on 45rpm vinyl records only. ...
Mike Reed's People, Places & Things: Stories And Negotiations
by Martin Longley
This third album by Mike Reed's People, Places & Things (PP&T) takes its position as the most direct manifestation of the combo's agreed purpose. The Chicago drummer has begun a journey of rediscovery, or even introduction, to the old jazz sounds of that city's late '50s period. Reed's concept is not to reproduce, but to respond ...
Mike Reed's People, Places & Things: About Us
by Mark Corroto
The saying might go something like, “Those ignorant of history are doomed to repeat it." For composer/bandleader Mike Reed, his knowledge of jazz history allows him the freedom to cherish and exalt the past. Reed's prior disc, Proliferation (482 Music, 2008), revitalized Chicago jazz music from 1954-1960, covering tracks by under-appreciated artist Wilbur Campbell, ...
Lorraine Feather: You're Outa Here (a neo-soundie)
by Carl L. Hager
If, like Bruno Ganz's character in Wim Wenders' 1987 film Wings of Desire, Frank Sinatra happened to magically return to life this summer, the Chairman of the Board would not only have a cup of coffee with a cigarette, he would enthusiastically charter a committee of jazz fans to search the world over for the earthly ...
Jeff Rupert: From Memphis to Mobile
by Nicholas F. Mondello
Sound and swing. It seems that these two elements of the very DNA of jazz are sadly absent from much of what is offered up in some of today's recorded music. It might be smooth or contrived, but much that's heard doesn't seem in synch with the very essence of the art form. Happily, with From ...
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