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Stuff Smith
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In the era of early jazz and swing, the violin was often an instrument that carried a hint of an old-fashioned sound—a suggestion of classical music, of the high-society dance orchestra, of the gypsy café music of Europe. But Stuff Smith, considered one of the most important jazz violinists of his time, made music that told a different story: Smith's violin was raucous, rhythmically daring, and bluesy, looking toward the future, not the past. Like most great jazz players, Smith pushed the envelope in his playing, and later in his career he adapted with little difficulty to the new musical language of bebop
Chris May's Best Albums Of 2023
by Chris May
Another great year for recorded jazz. Fourteen of 2023's most special albums are presented here. Eight are new recordings and six are reissues or previously unreleased archive items. Joint Number One Best New Albums Of 2023 Irreversible Entanglements Protect Your Light Impulse! There are two contendors for the slam-dunk ...
The Jazz Doctors: Intensive Care / Prescriptions Filled
by Chris May
Beyond its initiates, the so-called New Thing which emerged in mainly, but not exclusively, Black US jazz in the 1960s/70s, was perceived so amorphously that prairie-wide distinctions between its practitioners went unregarded. Among the general jazz audience, the musicians were lumped together as a horde of crazed zombies who lacked all technique, and who had replaced ...
Marshall Gilkes, Trevor Dunn and Others
by Jerome Wilson
This show has an eclectic mix of jazz that encompasses swing, jazz-rock. jazz-folk, and the experimental. Musicians heard on the program include Marshall Gilkes, Trevor Dunn, Kurt Elling, Stuff Smith, and Nels Cline. Playlist Henry Threadgill Sextett “I Can't Wait Till I Get Home" from The Complete Novus & Columbia Recordings of Henry Threadgill ...
Groove Town: Buffalo Jazz And Its Legacy - Historical Insights
by Barbara Ina Frenz
From early on, Buffalo attracted musicians as a place to live and pursue their artistic endeavors—and they were excellent ones: Lil Hardin Armstrong, Jimmie Lunceford, Pete Johnson, and Stuff Smith. Dodo Greene, two masters of polyrhythm, Frankie Dunlop and Clarence Becton, as well as pianist and bassist Wade Legge grew up here. Two distinctive voices on ...
Fit As A Fiddle: How The Violin Helped Shape Jazz, Part 1
by Peter Rubie
Part 1 | Part 2 That was then... Considering jazz is an art form that mostly makes it up as it goes along, it's ironically appropriate that printed records--i.e., data--from the days of its birth are decidedly sparse. We know, at least, that during the 18th and 19th Centuries in New Orleans white plantation ...
Johanna Burnheart: Burnheart
by Chris May
The violin has an eventful history in jazz. But it is still a niche instrument, despite a line of singular players stretching back to Stephane Grappelli and Stuff Smith (who deserves some bonus points for composing the immortal “If You're A Viper"). There are no schools of jazz violinists, simply a succession of one-off stylists, with ...
Stuff Smith: Swing Violinist
by AAJ Staff
From the 1995-2003 archive: This article first appeared at All About Jazz in 2002. When Hezekiah Leroy Gordon “Stuff" Smith picked up the violin, the house began to rock. The second major popularizer of the violin in jazz after Joe Venuti, Stuff received great success with his small high energy swing band in the ...
Gabe Terracciano: A Constant State Of Arriving
by Ian Patterson
It may seem strange that a jazz violinist should admit to hating jazz violin, but Gabe Terracciano is not your run-of-the-mill jazz violinist. For starters, what other jazz violinist plays Ornette Coleman tunes in a bluegrass band? Nor are there too many jazz violinists who have taken first prize at an old-time fiddle competition, toured Ghana ...
Dominic Ingham: Role Models
by Ian Patterson
Jazz violinists' role models tend to follow a familiar continuum that runs roughly from Stuff Smith and Stéphane Grappelli to Jean Luc Ponty and Didier Lockwood. British violinist/singer Dominic Ingham, however, paddles his own canoe. With a technique that draws as much from his folk and classical upbringing as it does from jazz, Ingham's idiom is ...
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