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ARTICLE: RADIO

Jazz Singers in the 1950s – Sarah Vaughan, Helen Merrill, Dinah Washington and Abbey Lincoln (1954 - 1962)

Read "Jazz Singers in the 1950s – Sarah Vaughan, Helen Merrill, Dinah Washington and Abbey Lincoln (1954 - 1962)" reviewed by Russell Perry

Many jazz singers of the 1950s continued the tradition of recording with major instrumentalists who were given the space to improvise, feeding off the collaboration. In 1954, EmArCy records matched three of their singers, representing the wide range of their offerings--Sarah Vaughan, Dinah Washington and Helen Merrill--with jazz ensembles featuring their rising star, trumpeter Clifford Brown. ...

ARTICLE: MULTIPLE REVIEWS

La nicchia del canto jazz maschile

Read "La nicchia del canto jazz maschile" reviewed by Angelo Leonardi

A eccezione di pochi nomi--in particolare Kurt Elling, Gregory Porter, Bobby McFerrin e il veterano Tony Bennett--il canto jazz maschile è nettamente sottoesposto rispetto a quello femminile. Esempi eclatanti di questo sono stati Jon Hendricks e Mark Murphy, scomparsi di recente senza aver avuto la considerazione che meritavano. Allan Harris e Fred Farell ...

ARTICLE: RADIO

The Ascent of the Tenor - Coleman Hawkins (1929 - 1939)

Read "The Ascent of the Tenor - Coleman Hawkins (1929 - 1939)" reviewed by Russell Perry

The clarinet dominated the reeds throughout the 1920s. Sidney Bechet made a stand with the soprano sax and Frankie Trumbauer celebrated the lightness of the C-melody sax. And then there was Coleman Hawkins. Our guest in this hour is Jeff Decker—saxophonist, composer, educator and member of the jazz performance faculty of the University of ...

ARTICLE: ALBUM REVIEW

Carl Michel: Music in Motian

Read "Music in Motian" reviewed by Mike Jurkovic

Late drummer, texturalist, bandleader, and composer Paul Motian holds a revered space in the post-bop of the last half century. From early stints with Lennie Tristano and Coleman Hawkins to his seared-into-legend work with Bill Evans on Sunday at the Village Vanguard (Riverside Records, 1961), and Waltz for Debby (Riverside Records, 1962)); through his fiery live ...

ARTICLE: BAILEY'S BUNDLES

Six on Cellar Live

Read "Six on Cellar Live" reviewed by C. Michael Bailey

Cory Weeds' record label Cellar Live has become a welcome home to straight-ahead mainstream jazz in the same way that Arbors Records has been the beacon for traditional jazz and swing. Think Norman Granz's Pablo label tele-transported deep into the 21st Century. Six recent releases illuminate Cellar Live's importance to jazz as a whole and to ...

ARTICLE: ALBUM REVIEW

Michael Blake: Tiddy Boom

Read "Tiddy Boom" reviewed by Maurizio Comandini

Michael Blake cita espressamente tre sassofonisti nelle rarefatte note di copertina di questo album: Coleman Hawkins, Lester Young e Ross Taggart. I primi due sono la fonte di ispirazione di questo eccellente Tiddy Boom, mentre Taggart viene menzionato soprattutto per ricordarne la figura, di recente scomparsa. Ma non sarebbe sbagliato tirare fuori dall'armadio anche ...

ARTICLE: BAILEY'S BUNDLES

The Jazz Ballad Gauntlet: Rebecca Parris and Beat Kaestli

Read "The Jazz Ballad Gauntlet: Rebecca Parris and Beat Kaestli" reviewed by C. Michael Bailey

bal * lad :noun \'ba-ləd\ A slow popular song that is typically about love. The ballad remains one of the most durable vehicles in any music genre. In jazz, it is a make-or-break format capable of revealing the haves and haves not in the jazz vocals department. There have been ...


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