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School For Cool
by David A. Orthmann
School For Cool: The Academic Jazz Program and the Paradox of Institutionalized Creativity Eitan Y. Wilf 268 pages ISBN: #978-0-226-12519-0 The University of Chicago Press 2014 Anthropologist/trumpeter Eitan Y. Wilf's School for Cool is an ethnographic study of institutionalized creativity in two highly regarded academic jazz programs: the ...
The Amazing Bud Powell, Volumes 1 and 2 – Blue Note 1503 and 1504
by Marc Davis
In the pantheon of bebop's Founding Fathers, there are three giants. Everyone knows Charlie Parker and Dizzy Gillespie. Everyone forgets Bud Powell. Like Bird and Diz, Powell could spit out notes faster than anyone before or since. Also like Bird and Diz, Powell sometimes fell in love with his own speed, so some recordings ...
Sonny Rollins + Thelonious Monk
One of jazz's big turning points came on October 25, 1954, when Sonny Rollins altered the direction of the tenor saxophone at Rudy Van Gelder's studio in his parents' Hackensack, N.J., house. The session for Prestige featured Sonny, Thelonious Monk on piano, Tommy Potter on bass and Art Taylor on drums. Up until then, Sonny's sound ...
Victor Lewis: The Drummer's Spirit
by Victor L. Schermer
For several decades, Victor Lewis has been one of the most in-demand drummers of the post-bop era and beyond. He has performed with Stan Getz, Dexter Gordon, J.J. Johnson, Chet Baker, George Cables, Woody Shaw, Kenny Barron, Bobby Watson, and others of similar stature. On account of his exceptional ability to push the envelope of musical ...
Thelonious Monk: Newport '59
by Mark Corroto
Only with hindsight can it be ascertained that 1959 marked the pinnacle of jazz music as a cultural force in the United States. In 1959, the Mount Rushmore presidents of jazz were recording their definitive statements: John Coltrane's Giant Steps (Atlantic, 1960), Dave Brubeck's Time Out (Columbia, 1959), Charles Mingus' Ah Um (Columbia, 1959), Miles Davis' ...
Big Jazz on SmallsLIVE
by Bob Kenselaar
Since its launch in 2010, the SmallsLIVE record label has been offering a substantial sampling of the outstanding jazz talent consistently featured at Smalls Jazz Club in New York City's Greenwich Village. Musicians who appear on the label range from the great veterans Harold Mabern and Jimmy Cobb to contemporary players at the top of their ...
More Fresh Sounds From Fresh Sound
by Bruce Klauber
The Fresh Sound record label has released another superb batch of late 1950s and early 1960s recordings by jazz legends, greats, near-greats and now obscure artists who, then and now, deserve wider recognition. As detailed in previous pieces, Fresh Sound is the only organization out there issuing these essential works, which otherwise would remain lost.
Take Five With Tyler Mitchell
by AAJ Staff
Meet Tyler Mitchell: Chicago born Tyler Mitchell studied the bass with Don Rafael Garrett (John Coltrane, Archie Shepp, Rahsaan Roland Kirk) and Malachi Favors (Art Ensemble of Chicago). He played with Von Freeman before moving to New York in 1984. In 1985/86, he joined the Sun Ra Arkestra, with whom he played and toured ...
Joe Alterman: Give Me The Simple Life
by C. Michael Bailey
Bruce Lindsey, in his review of Joe Alterman's Give Me The Simple Life, notes that the young pianist has..."the feel of a musician who's been immersed in his chosen music for decades." Citing Errol Garner, Oscar Peterson and Red Garland as influences, Altman betrays influences that further give bona fides to his experience beyond youth. Chief ...
Music Matters and the Blue Note Oddballs
by Greg Simmons
In its heyday, Blue Note records had a relatively stable roster of musicians. Leaders including saxophonist Hank Mobley, trumpeter Freddie Hubbard, pianist Horace Silver and saxophonist Lou Donaldson all released lengthy strings of records during recording relationships that were measured in years. Some players, like bassist Paul Chambers, became de facto house musicians for the label, ...
