Interview News

Interview: Phil Ramone (Part 2)

Source: JazzWax by Marc Myers
November 10, 2010

Back in the late 1950s, New York was peppered with recording studios. Most were on the West Side of Manhattan, between 39th and 58th streets—within striking distance of the Brill Building on Broadway, the television networks on Sixth Ave. and record distributors on 8th and 9th avenues. When Phil Ramone began his career as a recording engineer, he learned the ropes at JAC Recording, which was in the heart of what was still the city's nightclub and entertainer-hangout district. In ...

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Notes from the Net: The Miles Davis Radio Project Reissued; Sanborn Plays Through Pain; Plus News, Reviews, Interviews and More

Source: St. Louis Jazz Notes by Dean Minderman
November 10, 2010

Here's the latest compilation of assorted news briefs and links related to jazz, improvisation, and creative music in St. Louis, including news of musicians originally from the Gateway City, recent visitors, and coming attractions, plus assorted other items of interest:

Let's start, as we usually do, with news of Miles Davis. Via Miles Davis Online comes word that Davis, who in the 1970s recorded an album called On The Corner, soon may have an actual NYC street corner named after ...

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Interview: Phil Ramone (Part 1)

Source: JazzWax by Marc Myers
November 9, 2010

Phil Ramone has won 14 Grammy Awards as a producer. Known for his warm sound and intimate recording clarity, Phil engineered or produced dozens of jazz, pop and Broadway classics, including Ray Charles' Genius + Soul = Jazz, Leslie Gore's It's My Party, Stan Getz's Getz/Gilberto, Paul McCartney's Ram and Paul Simon's Still Crazy After All These Years. He recently completed producing Paul Simon's So Beautiful Or So What, the guitarist's new bluegrass-influenced album due for release in early 2011. ...

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Ken Thomson Turns His Reed Work to Chamber Jazz

Source: All About Jazz @ Spinner
November 7, 2010

Improvisation is a big, if not the biggest, pillar of jazz music. For many, it's what gives the music its unique identity, separating it from pop and the rest. Musicians wax poetic about the experience of playing that way, and I've written extensively about it through the years, particularly applauding those groups that practice free playing in which little if anything is written out or composed ahead of time. But in recent years I've become more ...

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A Moody Update

Source: Rifftides by Doug Ramsey
November 7, 2010

The November 4 post below and coverage elsewhere about James Moody's illness generated so much concern that it has created a problem in the Moody household. Here is part of a message from Moody's wife Linda.Would you mind posting that people should leave Moody messages on Facebook? Our computers and two e-mail addresses are about to crash. I have had my computer guy here a couple of times in the last 3 days to keep them from crashing. Moody has ...

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Interview: Fats Domino (Part 2)

Source: JazzWax by Marc Myers
November 7, 2010

Like a parent playing favorites, New Orleans dotes too heavily on its jazz heritage. I know this sounds like heresy, but it's true. The airport is named for Louis Armstrong, there's a 150-foot trompe-l'oeil mural of a clarinet running up the side of a Holiday Inn, and you don't have to look too hard for the Dixieland sound. All of which is wonderful and good for jazz. The problem is jazz isn't the only form of music that was born ...

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Under Your Skin Interview: Laura Lopez Castro & Don Philippe interview

Source: underyourskin
November 5, 2010

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Pat Metheny on Paolo Angeli

Source: Voll-Damm Festival Internacional De Jazz De Barcelona
November 5, 2010

By Pat Metheny In my opinion, Paolo Angeli has developed a significant new direction for the guitar with his innovations in design for our instrument. When I first heard him play his guitar, it was clear to me that the implications of what he and his instrument were offering were challenging and important. His solo concert was impressive not only for the unique sounds that he was manifesting, but also for the raw creative energy that it invoked. I admire ...

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