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JazzDoc: Byrds to Eagles
Source:
JazzWax by Marc Myers
In the mid-1960s, Los Angeles and its surroundings became a haven for emerging folk-rock musicians. New York's Greenwich Village—the heart of the '50s folk movement—had grown hostile to folk artists who embraced the electric guitar and other rock trappings. Resistance by the old guard was largely political. The generation of Depression-era folk artists who came up in the late '40s and '50s had created protest music reflecting the struggles of union workers, farm laborers and other groups advocating for workplace ...
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Tunecore Co-Founder Peter Wells Speaks out on Jeff Price Exit and Company's Seismic Shift [exclusive]
![Tunecore Co-Founder Peter Wells Speaks out on Jeff Price Exit and Company's Seismic Shift [exclusive]](https://s3.amazonaws.com/allaboutjazz/photos/logo/hypebotlogo2015.jpg){kind=logo}
Source:
HypeBot
In May, co-founder Peter Wells exited TuneCore followed earlier this month by CEO and co-founder Jeff Price. Since then, the company has not named a successor, issued a statement or responded to inquires regarding these seismic changes to their executive team. For the first time, one of the co-founders, Peter Wells, speaks out in an exclusive Hypebot interview. HYPEBOT: You co-founded Tunecore in 2005 with Jeff Price. What was your position in the company when you left? PETER WELLS: I ...
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Israeli Jazz Musicians Make Mark
Source:
Michael Ricci
Some two decades ago, bassist Omer Avital stepped off a plane from his native Israel and into a jazz scene in Manhattan’s West Village that was nearly devoid of his countrymen and their music. It was a lonely time, he said, and when he set up shop in Smalls, a dark and slightly tattered basement club that was, like Avital, struggling to build a reputation, he inevitably found his bands populated by Americans and his sets dominated by well-worn standards. ...
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Pat Metheny Unity Band Week at All About Jazz!
Source:
All About Jazz
With the release of Unity Band (Nonesuch, 2012), guitarist Pat Metheny has delivered one of the best records of his career, and his first to feature tenor saxophone since his already classic-status 80/81 (ECM, 1980). With both Michael Brecker and Dewey Redman sadly deceased, the mantle falls upon Chris Potter, and in a career that has seen the barely 40 year-old saxophonist go from triumph to triumph, the guitarist couldn't have picked a better foil for this set of nine ...
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Pat McAllister's Jazz Photos
Source:
JazzWax by Marc Myers
In the 1950s, JazzWax reader and painter Pat McAllister was in the right place at the right time. Back then, Pat was a teen living in Los Angeles and had the opportunity to see quite a few famous jazz artists perform. Fortunately he took along his camera. [Photo of Dave Brubeck by Pat McAllister] Let Pat fill you in... “Centuries ago, when I was in high school in Burbank, Calif., I went to poetry and jazz readings by Lawrence Ferlinghetti, ...
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"Beka Gochiashvili" as Told by Bill Milkowski
Source:
Two for the Show Media
By Bill Milkowski At a recent showcase in New York, long-time friends and collaborators Stanley Clarke and Lenny White introduced 16-year-old piano phenom Beka Gochiashvili to an unsuspecting crowd of jazz fans at the Blue Note. In simple terms, the kid completely blew me away. His time was flawless, his technique impeccable, his touch and intuitive sense remarkably developed. And as a soloist, he had a killer instinct that belied his gentle demeanor. Truly this was an old soul living ...
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Machine Gun
Source:
Ars Nova Workshop
In May, 1968, the German saxophonist Peter Brötzmann brought together seven emerging European experimental musicians for what is now considered to be one of the most critical recording sessions in the history of improvised music. The “Machine Gun Sessions” featured several improvisers whose soon-to-be-celebrated careers were just beginning: the British saxophonist Evan Parker, the Dutch reedsman Willem Breuker, the German bassists Peter Kowald and Buschi Niebergall, the Swedish drummer Sven-Åke Johansson, the Dutch drummer Han Bennink, and the Belgian pianist ...
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Marvin Stamm on Uncle Albert
Source:
JazzWax by Marc Myers
Jazz fans are quicker than most to slap around other forms of music. Some fans are convinced that rock destroyed jazz (not so) while others insist that jazz sold out for commercial reasons (not so, either). New music comes with each generation, and that's how it played out in the mid-1950s and into the '60s. [Photo above of Marvin Stamm by Marvin S. Orling] Here's another revelation: Rock (and soul and disco) kept many jazz artists employed and meeting college ...
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