Jazz That Scratches, Swings and Pops

Daily articles carefully curated by the All About Jazz staff. Read our popular and future articles.

How (Not) To Listen To Early Jazz

Read "How (Not) To Listen To Early Jazz" reviewed by Andrew J. Sammut

Jazz listeners may admit that early music got things to where they are now, similar to how the Model T made the Lamborghini possible. Most just prefer not to drive anything too old. For most listeners, early jazz remains an esoteric and even a strange experience. Perhaps it's all that monochromatic footage of tuxedoed fox trotters. Maybe it's those parades of straw-hatted, red suspendered and often white-haired Dixieland groups at amusement parks. It might be the kick ...

Steve Brown: Atlas Slapped

Read "Steve Brown: Atlas Slapped" reviewed by Andrew J. Sammut

The word bass means bottom. It means support. That's the prime requisite of a bassist, support. Architecturally, it has to be the lowest part of the building, and it has to be strong, or the building will not stand. Musically, it is the lowest human voice. It is the lowest musical voice in the orchestra. It's identifying. If it's a B-flat-major chord, I have to play B-flat, or you won't know it's a B-flat-major chord. We are like Atlas, standing ...

Love Is Just Around The Chorus

Read "Love Is Just Around The Chorus" reviewed by Andrew J. Sammut

In Lost Chords (Oxford University Press, 1999), Richard M. Sudhalter describes a humorous but powerful image of the working class jazz musician circa 1933: That most broadcast work was surely, in [Artie Shaw's] words, “boring, mind- numbing garbage" is more than substantiated by a photograph recently unearthed by the Institute of Jazz Studies, at Rutgers University. It shows an orchestra led by veteran saxophonist Bennie Krueger...it's the brass, in the back row that catch the eye. Trumpeters ...

Turn Up Those Footnotes!

Read "Turn Up Those Footnotes!" reviewed by Andrew J. Sammut

Even if the names William Shakespeare and Wolfgang Amadeus Mozart ring some bells for contemporary audiences, chances are Thomas Marlowe or Giovanni Paisiello might not get a chime. Yet, Marlowe's plays drew droves of theatergoers in Elizabethan England, and Paisiello's operas packed 18th century houses. It doesn't take an English scholar or the Metropolitan Opera's management to explain what popular taste amounts to historically. Aside from being popular, Marlowe and Paisiello were also gifted. They just never ...

Blackboard, Lit Screen and Red Hot Jazz

Read "Blackboard, Lit Screen and Red Hot Jazz" reviewed by Andrew J. Sammut

Teachers must find it hard to leave their job in the classroom, like Olympic runners find it hard to take their time. The best teachers educate out of reflex, and for Michael Steinman that reflex transcends classroom or course listing. Whether it's English at Nassau Community College or hot jazz on the World Wide Web, passion and pedagogy are one and the same for Steinman. Steinman's blog, “Jazz Lives," honors the traditional jazz he's loved his whole ...

Vince Giordano: Toe-Tapping and Timeless

Read "Vince Giordano: Toe-Tapping and Timeless" reviewed by Andrew J. Sammut

Welcome to the inaugural column “Jazz That Scratches, Swings and Pops We've all heard King Oliver, Jelly Roll Morton and Bix Beiderbecke on the Smithsonian Jazz Collection. We know the names because they're “important," but do we ever listen because they're just plain good? What about Papa Celestin, Red Nichols or Jabbo Smith? Not exactly names jumping out of the radio or iTunes. Save for a precocious thesis or specialty store, the musicians ...


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