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234

Article: Book Review

Chet Baker: His Life and Music

by C. Michael Bailey
September 9, 2011

Chet Baker: His Life and Music Jeroen de Valk Paperback; 296 pages ISBN: 189316313 Berkeley Hills Books 2000 The legacy of jazz trumpeter/vocalist Chet Baker, particularly that developed after 1980, has largely evaded detailed analysis. In the 25 years since Baker's death, following a fall from an Amsterdam ...

198

Article: Book Review

Daniel Beaumont: Preachin’ the Blues - The Life and Times of Son House

by C. Michael Bailey
August 27, 2011

Preachin' the Blues: The Life and Times of Son House Daniel Beaumont Hardback; 224 pages ISBN: 0195395573 Oxford University Press 2011 Some of the new millennial writing about blues music, such as Elijah Wald's Escaping the Delta: Robert Johnson and the Invention of the Blues (Amistad, 2004) ...

209

Article: Book Review

Brian Morton & Richard Cook: The Penguin Jazz Guide - The History of the Music in the 1001 Best Albums

by C. Michael Bailey
August 27, 2011

The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums Brian Morton and Richard Cook Paperback; 768 pages ISBN: 9780141048314 Penguin Books 2010 Attention: The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums does not equal The Penguin Guide ...

237

Article: Reassessing

Ornette Coleman: This is Our Music

by C. Michael Bailey
August 25, 2011

Ornette ColemanThis is Our MusicAtlantic1961 This is Our Music is the militantly expressed jumping-off point for alto saxophonist Ornette Coleman on the way to the epochal Free Jazz: A Collective Improvisation (Atlantic, 1961). Coleman picks up exactly where he left off on Change of the Century and never ...

204

Article: Reassessing

Ornette Coleman: Change Of The Century

by C. Michael Bailey
August 12, 2011

Ornette ColemanChange Of The CenturyAtlantic1959 Change Of The Century was an audacious album title, to say the least. On his second Atlantic release--and second with his most like-minded ensemble (trumpeter Don Cherry, bassist Charlie Haden and drummer Billy Higgins)--alto saxophonist Ornette Coleman pushed the freedom principal farther. At ...

275

Article: Reassessing

Ornette Coleman: The Shape Of Jazz To Come

by C. Michael Bailey
August 5, 2011

Ornette ColemanThe Shape Of Jazz To ComeAtlantic1959 Ornette Coleman's Contemporary Records releases Something Else!!!! (1958) and Tomorrow Is The Question! (1959) documented the alto saxophonist's development from the last vestiges of bebop toward a harmonically freer jazz language. Coleman's album titles became more prophetic as they were ...

187

Article: Album Review

Sasha Masakowski and Musical Playground: Wishes

Read "Wishes" reviewed by C. Michael Bailey

by C. Michael Bailey
August 2, 2011

The field of female jazz vocals is somewhat bigger than 40 acres...like, a universe bigger. So congested is the musical ether with this flavor of jazz that it is nearly impossible for an artist to carve out a useful niche. Not that a niche is necessary, but it is nice to have some unifying element or ...

418

Article: Album Review

Levon Helm: Ramble at the Ryman

Read "Ramble at the Ryman" reviewed by C. Michael Bailey

by C. Michael Bailey
July 30, 2011

The Arkansas delta grit is gone from his voice, replaced by age and disease with the well-sanded twang of an American Southern Isaiah, if Johnny Cash were a stern Elijah. Levon Helm was the first voice among equals in The Band, sharing vocal duties with the equally distinctive vocals of bassist Rick Danko and pianist Richard ...

324

Article: Reassessing

Ornette Coleman: Tomorrow is the Question!

by C. Michael Bailey
July 29, 2011

Ornette ColemanTomorrow is the QuestionContemporary1959Shaking out of the contractual obligation forcing him to employ a pianist on his debut, Something Else!!!! (Contemporary, 1958), alto saxophonist Ornette Coleman dispensed with the instrument altogether on 1959's Tomorrow is the Question!, causing a bit of consternation on the part of the ...

403

Article: Reassessing

Something Else!!!!

by C. Michael Bailey
July 21, 2011

Robert Louis Stevenson noted that, “The mark of a good action is that it appears inevitable in retrospect." The middle-to-late 1950s in jazz were populated with several “good actions," all considered inevitable evolutionary reactions to earlier genre, specifically swing and bebop--the latter the complex and elevated jazz style that had dominated the creative American musical structure ...