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ARTICLE: ALBUM REVIEWS

David Amram: Classic American Film Scores 1956-2016

Read "Classic American Film Scores 1956-2016" reviewed by Alberto Bazzurro

Nato a Filadelfia nel 1930, David Amram è una figura tutto sommato non particolarmente nota nel vasto panorama del jazz legato al lavoro negli studios cinematografici, per cui assolutamente benemerito arriva questo box, da lui fortemente voluto, che ne riunisce organicamente le colonne sonore (non tutte, ma una significativa selezione) per cinema e -più episodicamente -teatro. ...

ARTICLE: ALBUM REVIEWS

Buster Bailey: All About Memphis

Read "All About Memphis" reviewed by Andrew J. Sammut

Buster Bailey's skill as both an improviser and section man made him a shoo-in for some of the best gigs in jazz history. Starting, from his teenage years, with W.C. Handy, steady employment under King Oliver, Fletcher Henderson, John Kirby and Louis Armstrong also left the clarinetist little time (perhaps need) to record as a leader. ...

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 ...

NEWS: RECORDING

"Complete" Louis, Duke, Bessie and Charlie Boxes Coming in October

The ultimate year-round jazz festival of Legacy Recordings continues to set a new industry standard with four more Complete Album Collections from the Sony Music archives family of labels, by the greatest names in jazz and blues: LOUIS ARMSTRONG – THE COMPLETE OKeh COLUMBIA & RCA VICTOR RECORDINGS 1925-1933 (OKeh/Columbia/RCA/Legacy) 10 titles, 10 CDs; CHARLIE CHRISTIAN ...

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, ...


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