If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
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Mezz Mezzrow was the hippest of white hipster jazz musicians in 1920s Chicago and 1930s New York. He was a respected player as well as a scenester who hung with both black and white musicians. Mezzrow's autobiography Really the Blues was a real discovery for me. It has a vibe of authenticity I've not found in other accounts of those timeshe captures what it was really like to hit the clubs and late-night jams, to hang out offstage after hours, and the effects (up and down) of various substances on the music. Mezzrow paints a gritty, colorful picture of Chicago and New York (especially Harlem) in their prime years for jazz.
In future podcasts I will tell stories of musicians and important periods in jazz, of photographers, authors, editors, labels, and music execs who promoted this under-appreciated music; and I will spotlight some of my favorite CDs. I'm an advocate for underdog musicians, lesser known recordings, and odd historical details. My goal is for each podcast to contain an element of discovery.
I love Jazz because of its freedom.
I was first exposed to jazz in my teenager years.
I have met Art Blakey in Juan-les-Pins, my drum teacher Orphelia took us to his concert, it was magical!
The best Jazz shows I ever attended were Art Blakey, Michel Petrucciani, Miton Nascimento, Naná Vasconcelos.
The first jazz record I bought was Jazz from Hell by Frank Zappa.