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Duke Pearson
Born:
Duke Pearson was an American jazz pianist and composer. All Music Guide notes him as being a "big part in shaping the Blue Note label's hard bop direction in the 1960s as a producer. Born Columbus Calvin Pearson, Jr. in Atlanta, Georgia, Pearson first studied brass instruments at the early age of five, but dental issues forced him to pursue another instrument and he started to learn the piano. His budding talent moved his uncle to give him the nickname Duke, a reference to jazz legend Duke Ellington. He attended Clack College while also playing trumpet in groups in the Atlanta area before joining the United States Army in the early 1950s. Pearson continued to perform with different ensembles in Georgia and Florida, including with Tab Smith and Little Willie John, before he moved to New York, New York in January of 1959
Bruce Jones: Growing Up With Jazz
by La-Faithia White
The impact of living in a musical household, witnessing your dad and your uncles jamming in the basement can definitely create a positive and meaningful outlook for a young kid. Stories of growing up jazz come to mind for Bruce Jones, the eldest son of trumpeter, composer, and band leader Thad Jones. Bruce is also the ...
It's Christmas Again
by Marc Cohn
So, we've got our usual group of holiday favorites. But wait! There's more. We've got a new Eight Track Christmas from guitarist Dave Stryker, a stupendous live Jazzy Christmas concert from trumpeter Paolo Fresu (and I mean truly stupendous! I've listened to the CD at least six times while putting this show together). And it's a ...
George Shearing: Quintet Xmas
At JazzWax, 12 is the number of years I've posted annually on my selection for the JazzWax Vintage Holiday Album Hall of Fame. The point of this is to offer up perfect holiday music that conjures up feelings of a time long past or is just superbly executed seasonal music. Combined on your iTunes or Spotify ...
Blue Note releases from November 1969: Hill, Hutcherson, Cox & Pearson
by Marc Cohn
Time for Blue Note 50th anniversaries from November 1969, with released by Andrew Hill (Passing Ships), Bobby Hutcherson (Now!), Kenny Cox (Multidirection) and a short Duke Pearson session that ended up on I Don't Care Who Knows It. There's also BN-15, a 78 from Meade Lux Lewis. Along the way: 13-year-old Brandon Goldberg on the 88s ...
Listeners' Favorites
by Marc Cohn
The number of the day is 5 (as in Show 385), which means it's time for listeners' favorites—the tunes that moved you from Gifts & Messages (Shows 371-380). Some old, some more recent. Enjoy the ride (it's granulated), and thanks for your comments and your ears.Thanks to our most active listeners of the week ...
Mike Allen: Just Like Magic
by Jack Bowers
Mike Allen is another in an apparently never-ending line of talented saxophonists who seem to emerge, from time to time, from the Canadian provinces to ensnare the hearts and earn the admiration not only of their fellow countrymen but jazz enthusiasts in other climes as well. On Just Like Magic, Allen leads a deft and experienced ...
50th Anniversary Blue Notes for May & More
by Marc Cohn
May 1969 saw Blue Note recording some 'Brazilian' jazz, soulful tunes and two 'spiritual' jazz sessions--a very broad palette. Some are fantastic and some mundane. Listen and see what you think. Also a few other 50th anniversary bits, Blue Note #9 and a tad more. Enjoy the show.
April Blue Note 50th Anniversaries & More
by Marc Cohn
This week, we salute Blue Note recordings from April, 1969. In addition, we track both sides of Blue Note 8, sides recorded during Blue Note's first day in business in 1939. It's also the 50th anniversary of the Dexter Gordon Tower Of Power/More Power sessions with James Moody. So hit 'play' and enjoy the show.
Richie Cole: Cannonball
by Rob Rosenblum
Richie Cole and Julian “Cannonball" Adderley. It's as natural as soap and water. In an interview on this site, Cole proclaimed that the famed jazz musician was his favorite altoist. Like Adderley, Cole can cover a wide range of music--from the hardest of hard bop to commercial ditties. And also like Adderley, for Cole the audience ...
