All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
I am retiring my column "Nights at the Turntable". Like many of the writers at All About Jazz I have a day job, one that interferes greatly with the pursuit of my bliss (in the grand parlance of the late Dr. Joseph Campbell) of music writing. It is difficult for writers to maintain one column, much less two, much less individual reviews. Thus, I am going to pursue a more realistic path of a single column and an occasional review.
One of the first columns developed at AAJ was "Bailey's Bundles" (as it was titled by our publisher, Signore Michael Ricci). I have moved all of my "Nights at the Turntable" articles to other classifications, mostly " Bailey's Bundles ," " Extended Analysis ," and "Highly Opinionated." I intend to continue my contribution to AAJ , hopefully in a more thoughtful, brief, and crystalline manner. Like Bird, all I am looking for is "the pretty notes."
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.