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Charles Mingus: Mingus Ah Um: 50th Anniversary Legacy Edition
by Stuart Broomer
This special edition marks the 50th anniversary of bassist Charles Mingus' 1959 Columbia masterpiece, one of the great records in a year that included Miles Davis' Kind of Blue (Columbia), John Coltrane's Giant Steps (Atlantic) and Ornette Coleman's The Shape of Jazz to Come (Atlantic). The Legacy edition is a two-CD set that also includes Mingus' ...
Take Five With Actual Proof
by AAJ Staff
Meet Actual Proof:Actual Proof is a fusion quartet based in Charlotte NC. Main Instruments are vibes and malletkat. The group draws on jazz, funk, and world-beat to create a unique approach to jazz-fusion. Instrument(s):Vibes, keys, drums, bass.Teachers and/or influences?Gary Burton, Joe Locke, Steve Smith.
Emile Parisien Quartet: Original Pimpant
by Jean-Marc Gelin
It's almost incongruous to write about Emile Parisien's Original Pimpant, considering the importance of its collective dimension. This is not only about the soprano saxophonist's quartet. Parisien--young prodigy, pupil and proof of the good reputation of France's Marciac jazz school--is not looking for individual recognition here. His is a distinctive approach that's about a collective construction ...
Large Ensembles: Is There a Place in This Large Music World?
by R.J. DeLuke
The big band in jazz has a long and glorious history. It was a prevalent form in jazz music in the '20s and '30s, comprising a substantial part of America's popular music heard on radio, spun on gramophones and record players, and enjoyed in dance halls. It gave rise to iconic band leaders like Fletcher Henderson, ...
Amiri Baraka: Perspectives on Music and Race
by Lloyd N. Peterson Jr.
Amiri Baraka is the author of the insightful and comprehensive book, Blues People. It is a book that has opened many minds and readers to the African American Diaspora along with the history and roots of African American music. Baraka has now published a new book of essays titled, Digging (The Afro-American Soul of American Classical ...
Very Early: Bill Evans 1956-58
In the mid-1950s pianist Bill Evans was still a relative unknown, not yet the jazz-piano giant he’d become on the strength of recordings like Sunday at the Village Vanguard and Conversations With Myself. Evans had a strong influence on post-1960s jazz pianists—an influence some have found fault with, for certainly Evans had what’s been called a ...
Why George Russell Will Always Live in Time
by Raul d'Gama Rose
A measure of just how underrated a musician he was in his lifetime is reflected in the fact that even three days after he passed on most of the major publications had not even reported his death, much less celebrated his life in the glowing terms that he so richly deserved. Perhaps this was because oddly ...
Grant Stewart: Plays the Music of Duke Ellington & Billy Strayhorn
by George Kanzler
Here's a refreshing take on Ellingtonia, one that doesn't rely on the overdone ("Take the A Train," “Perdido") or easy ("C-Jam Blues"). Canadian native Grant Stewart brings a post-Swing, combo approach to his Ellingtonia, even going so far as to reference Max Roach, Sonny Rollins, Charles Mingus, Thelonious Monk{{ and the {{Duke Ellington/John Coltrane collaboration. The ...
Live from Cafe Bohemia: Hardbop in the Heart of Greenwich Village
In the mid-1950s Cafe Bohemia was one of the most happening jazz clubs in New York City—a Greenwich Village club that caught the vibe of Manhattan’s thriving art and intellectual scene. On any given night a visitor might hear Charles Mingus, Art Blakey, or Kenny Dorham holding down the stage, with future cult figure Herbie Nichols ...
Jacksonville: Big City, Big Band, Big Plans
by Jack Bowers
Almost everyone who's even mildly interested knows that the big band scene in the US isn't what it used to be. On the other hand, the big bands aren't yet dead, as some alarmists have claimed, or even on life support. Thanks in part to college and armed services programs, there are perhaps as many or ...
