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Paul Chambers: Bass on Top – 1957
by Marc Davis
In the world of 1950s hard bop, there is no more prominent bassist than Paul Chambers. The man was absolutely everywhere. He shows up on an astonishing number of jazz classics, including Miles Davis' Kind of Blue, John Coltrane's Giant Steps, Thelonious Monk's Brilliant Corners, Sonny Rollins' Tenor Madness and Oliver Nelson's The Blues ...
Greg Osby: Saxophone “Griot”
by Victor L. Schermer
The griot is a West African historian, storyteller, praise singer, poet and/or musician, a repository of oral tradition who is often seen as a societal leader. Saxophonist Greg Osby recently was excited to meet some griots on his travels. While he is originally from St. Louis, he himself is a griot in many senses of the ...
Benny Golson: Horizon Ahead
by Jack Bowers
At age eighty-seven, saxophonist Benny Golson is one of the last surviving links to the Golden Age of modern jazz, ushered in by the likes of Charlie Parker, Dizzy Gillespie, Bud Powell, Kenny Clarke and others in the early '40s. Golson came on the bop scene about a decade later and has been a force ever ...
Jazz: The Sacred and the Profane
by Victor L. Schermer
“As above, so below" --Hermes Trismegistus A warning: this article is worth reading only if you believe, as I do, that jazz is not just a form of entertainment, but an art form that has deep significance for our lives and contributes to our search for meaning. I fully appreciate the value of “digging ...
Cannonball Adderley: Somethin' Else – 1958
by Marc Davis
Is there anything new to say about a jazz classic that features one of the greatest two-horn tandems ever to lay down a blue note? How about this: You must own this record. Period. I suspect that everyone with even a passing interest in jazz owns Miles Davis' Kind of Blue, the best-selling jazz ...
Michael Dease: Father Figure
by David A. Orthmann
Never underestimate a jazz musician's capacity for drawing on material from vastly different sources, deflating the ostensible dissimilarities, and producing vibrant sounds that don't hew to convention or expectations. From the music's early years, resourceful artists have been confounding audiences and critics alike by putting their stamp on anything that strikes their fancy, from gutbucket blues ...
The Evolution Of Hipness With Gary G. Vercelli
By Beth Ruyak We travel to the Crocker Art Museum for this week’s Sound Advice with CapRadio's jazz music director Gary Vercelli. “Cosmic Rays” by Charlie Parker Charlie Parker and other cutting edge bebop musicians had a profound influence on the beat poets. Parker was idolized by Kerouac and Ginsberg and Kerouac’s spontaneous prose was likened ...
Take Five with Michael Joseph Harris
by AAJ Staff
About Michael Joseph Harris Michael Joseph Harris began playing guitar at age 12. At 16 he won accolades as a jazz guitarist with the Downbeat Magazine award-winning Chantilly High Jazz Band. He studied with guitarist Rick Whitehead during high school and Jack Petersen at North Texas State University. Soon after, as a young guitarist in ...
Charlie Parker: Old Folks
It all started with Charlie Parker's walk-on solo during Neal Hefti's recording of Repetition at the tail end of 1947 just hours before the start of the second American Federation of Musicians' recording ban. Producer Norman Granz loved the results of Parker's bop backed by Hefti's moody strings. So in November 1949, Granz brought Parker into ...
Stan Levey: Jazz Heavyweight
by David A. Orthmann
Stan Levey: Jazz Heavyweight Frank R. Hayde 224 Pages ISBN: #13-978-1-59580-086-2 Santa Monica Press 2016 During the course of Stan Levey: Jazz Heavyweight, Frank R. Hayde integrates Levey's personal perspective by frequently including excerpts of interviews released with the cooperation of the drummer's family. In a little over ...
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