Interview News

The Journey of Sean Jones Continues...

Source: DL Media
July 19, 2009

THE JOURNEY OF SEAN JONES CONTINUES... THE SEARCH WITHIN NYC CD RELEASE EVENT AT JAZZ STANDARD, AUGUST 11 & 12 WHITE HOUSE JAZZ STUDIO CLINICIAN AND NEWLY APPOINTED INTERIM ARTISTIC DIRECTOR OF THE CLEVELAND JAZZ ORCHESTRA Trumpeter-bandleader and Mack Avenue Recording artist Sean Jones has embarked on a series of quests, passionately plumbing the depths of different wellsprings of his life as a musician. Recorded when he was 24, Eternal Journey was his awakening, “my first step out into the ...

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Photostory5: Louis Armstrong

Source: JazzWax by Marc Myers
July 17, 2009

I love this photo of Louis Armstrong. I've long admired Herb's work. His perspective has always been radically different from his peers'. Rather than mimic the glossy style that was common during the late 1950s and beyond, Herb sought a different expression in his subjects, a new more authentic feel. It's almost as if Herb knew exactly how important these jazz artists were going to be and how many photos would look exactly alike years later. So he held out ...

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Earl Coleman: Social Call

Source: JazzWax by Marc Myers
July 16, 2009

Before Johnny Hartman and John Coltrane in 1963, there was Earl Coleman and Sonny Rollins in 1956. Coleman had a rich, romantic deep baritone that was similar in some respects to that of his idol, Billy Eckstine. But Coleman was less showtime, less photogenic and less talented. He also wasn't as lucky, which can be heard in his voice and today is the integrity of his charm. While Eckstine had enormous power and slick consistency in big band and small ...

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Interview: Jon Hendricks (Part 2)

Source: JazzWax by Marc Myers
July 15, 2009

Jon Hendricks thinks like a saxophonist curled up in a bass drum. His sense of timing has always been rooted in his early skills on the snare and cymbals. His gift for wordplay comes from curiosity and a deep passion for literature. And his swing? Well, that's a New York thing--an early 1950s marinade of uncertain ingredients that includes interactions with showboats, corner hipsters, bop braggarts and nocturnal nihilists.

When I saw Jon at the ASCAP Wall of Fame Awards ...

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Interview: Jon Hendricks (Part 1)

Source: JazzWax by Marc Myers
July 14, 2009

Jon Hendricks' pure sense of swing, poetic word-play and conversational vocalese remain unmatched. Truth be told, Jon' s splendid contribution to jazz has never been fully acknowledged or appreciated. Jon not only has written the words to dozens of songs based on famous jazz solos, he also has perfectly captured their infectious intent by singing every nuance of the original instrumentals. Which requires enormous skill, sensitivity and depth. If you wave off Jon's gifts as nothing more than a vocal ...

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On Her First CD, 13 Year Old Jazz Flutist is Accompanied by World Renowned Bassist Ron Carter

Source: All About Jazz
July 13, 2009

By Rich Monetti 13 year old Rachel Rodgers of John Jay Middle School can offer an opinion on the flute player that most readily comes to mind for those of us raised on classic rock. Ive only heard him a few times, says the eighth grader of Jethro Tull, and hes really good. Sounds a little light on the Ian Anderson and makes you wonder what theyre teaching these kids in school today? In this case, it doesnt really matter ...

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Photostory4: Big Jay McNeely

Source: JazzWax by Marc Myers
July 11, 2009

From time to time, I spot a jazz photo that moves me so much I have to know what happened the moment the camera's shutter came down. As a fan of 1950s jazz photography, I have long admired the high-contrast black-and-white work of Bob Willoughby.

If you're unfamiliar with Bob [pictured], his stunning photos of jazz musicians between 1948 and 1954 are all classics. You'll find them at his site, Willoughbyphotos.com. Bob has published 18 books and has 9 projects ...

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Interview: Buddy de Franco, '49-'52

Source: JazzWax by Marc Myers
July 10, 2009

For clarinetist Buddy De Franco, the years between 1949 and 1952 were experimental and disappointing. After spending the 1940s in Tommy Dorsey's band, Buddy decided in 1949 to try his hand at leading an orchestra. But his move came at a time when music tastes were shifting rapidly. Big bands no longer had the same power they once did to excite the imaginations of dancers or listeners. There were exceptions, of course, like Stan Kenton and Woody Herman. But these ...

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