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Buck Clayton
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Buck Clayton first rose to national fame as the lead soloist with the first great Count Basie band that roared out of Kansas City in late fall, 1936. Ironically, while Clayton’s understated, bell-like sound is associated with the hard swinging Kansas City style, he actually spent little time in Kansas City. By the time he arrived at the famed Reno Club, a small dive on 12th Street, Clayton had already led a colorful career as a band leader, ranging from Los Angeles to Shanghai. Born in Parsons, Kansas, Clayton grew up in a musical family. Clayton’s father, a minister, taught him the basics of music
Phil Schaap: A Life in Jazz
by Daniel Gould
Phil Schaap, a jazz historian, radio host, record producer, archivist, six-time Grammy Award winner, and 2020 National Endowment for the Arts Jazz Master, called himself “a Johnny Appleseed through the transmitter." Of course, the subject of his proselytizing was jazz, and few did it as long, or through so many different media--broadcasting, teaching, audio engineering, and ...
Charlie Parker, Count Basie, Jay McShann, Mary Lou Williams & Bennie Moten
by Joe Dimino
In celebration of Con Chapman's 2023 book Kansas City Jazz: A Little Evil Will Do You Good, we spin a full-throttle hour of Kansas City jazz--saluting the sound, the swagger, and the city that helped shape America's music. We light the fuse with the brilliant Eddie Durham, then roll straight into the blues-soaked brilliance of Buck ...
Gravity and Resurgence: The Many Dimensions of Dexter Gordon
by Arthur R George
Long Tall Dexter; swinger, bebopper, saxophone balladeer; acting the dissipated genius expatriate who was not unlike himself in the movie Round Midnight; his dressed-up persona “Society Red;" the laconic elder statesman of his later years. Dexter Gordon is all those things, but more than a kaleidoscope of caricatures. Those who trace their lineages through ...
Jazz Fest Deemed A Success (Three Years In A Row): A Look Back At The Virginia Beach Jazz Festival 1959-1961
by Troy Hoffman
They say that music is the “great communicator," and if so then jazz is the most fluent. Just a few miles away from the famous jazz club, The Jolly Roger, in Virginia Beach, the Robert E. Lee Amphitheater was newly built to seat 2,000 and was the location of the area's first Virginia Beach Jazz Festival ...
Kansas City Jazz: A Little Evil Will Do You Good
by Andrew Hunter
Kansas City Jazz: A Little Evil Will Do You Good Con Chapman 358 pages ISBN: # 978 1 80050 282 6 Equinox Publishing Limited 2023 In January 1920, the Eighteenth Amendment to the United States Constitution came into effect, ushering in 14 years of Prohibition and, inadvertently, a golden ...
Basie All Stars: Live At Fabrik Vol. 1
by Chris May
Such are the glories of his band's recorded legacy from the 1930s through the 1950s, that the mere mention of Count Basie's name will trigger a Pavlovian response from his fan base. Like no other, the Count Basie Orchestra epitomised big-band swing at its most sublime; reefer fuelled, riff based, loose and louche Kansas City jazz ...
Rich Halley: Boomslang
by Mark Corroto
Jazz has, to some extent, always been about making connections and pointing out interrelations. Ever since Buddy Bolden blew his cornet in New Orleans around the start of the twentieth century, listeners have been playing connect the dots, linking Bolden's innovations to King Oliver and Oliver's to Louis Armstrong, likewise Buck Clayton to Dizzy Gillespie and ...
Jon Raskin: Book 'P' of Practitioners
by Hrayr Attarian
Saxophonist Steve Lacy was famous for writing music dedicated to artists who inspired him. Some of his rarely heard etudes for solo saxophone are divided equally into three books, each named by a letter. Of these, he only recorded one set in his lifetime, Hocus Pocus—Book 'H' of “Practitioners" (Crépuscule, 1986). Equally idiosyncratic saxophonist Jon Raskin, ...
That Slow Boat to China: How American Jazz Steamed Into Asia
by Arthur R George
A kind of jazz was already waiting in Asia when American players arrived in the 1920s, close to a hundred years ago. However, it was imitative and incomplete, lacked authenticity and live performers from the U.S. Those ingredients became imported by musicians who had played with the likes of Joseph “King" Oliver, Louis Armstrong, Earl Hines, ...
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