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Ben Goldberg: Everything Happens To Be.
by John Chacona
The music of Ben Goldberg seems to come from a place outside of time--or maybe it comes from several times simultaneously. Maybe it's the instruments he chooses; while the clarinet family has been on the comeback trail in jazz for a quarter century, it's a sound that invariably invokes the New Orleans of a century ago. ...
New Releases, Birthday Shoutouts As Women's History Month Continues
by Mary Foster Conklin
Now in full swing, Women's History Month continues—this broadcast features new releases from Jane Monheit, Rebecca Dumaine, Yelena Eckemoff, Roni Ben-Hur and Kenney Polson with birthday shoutouts to Keely Smith, Shirley Scott, Nicki Parrott, Judy Niemack, Anat Fort, Miki Yamanaka, Bobby McFerrin and Mark Murphy, among others. Thanks for listening and please support the artists you ...
The Soul Jazz Organ of Jimmy Smith, Baby Face Willette, Shirley Scott (1957 - 1965)
by Russell Perry
Rarely has a jazz instrument been so completely redefined as the organ was at the hands of Jimmy Smith. In his wake, the Hammond B3 organ gained wide-spread popularity and attracted a suite of talented adherents. B3 players Jimmy Smith, Baby Face Willette and Shirley Scott in this hour of Jazz at 100 as we continue ...
8 Clips: Boss Tenors
Boss tenors take charge. I don't know how else to put it. When a boss tenor plays a ballad, a mid-tempo tune or a barn-burner, the saxophone's sound is assertive and commanding, with a deep, forceful push in the lower register and a bluesy wail up top. Let me illustrate with eight clips: Here's Ben Webster ...
Results for pages tagged "Eddie "Lockjaw" Davis"...
Eddie "Lockjaw" Davis
Born:
Eddie Lockjaw Davis was one musician who provided a link from the big band era through to the soul jazz phenomenon of the late 1950s and early 1960s. Davis developed one of the most unmistakable tenor sax sounds in post war jazz. With a full bodied yet reedy tone that was equally at home in rhythm & blues settings as more modern contexts, his playing always had a direct, singing quality that was a huge influence on the next generation of sax men. Davis began to make his mark on the jazz scene in New York when he worked at Clark Monroe's Uptown House in the late 30s. Despite this establishment's close ties with the emergence of bebop a few years later, Davis' tenor saxophone playing was rooted in swing and the blues, and early in his career he displayed a marked affinity with the tough school of Texas tenors
Ow! Live At The Penthouse
Label: 2xHD
Released: 2019
Track listing: Intermission Riff; Blues Up And Down; Ow!; Bahia; Blue Lou; Second Balcony Jump; How Am I To Know; Sophisticated Lady; Tickle Toe; Intermission Riff;
Jazz Musician of the Day: Eddie "Lockjaw" Davis
All About Jazz is celebrating Eddie “Lockjaw" Davis' birthday today! Eddie Lockjaw Davis was one musician who provided a link from the big band era through to the soul jazz phenomenon of the late 1950s and early 1960s. Davis developed one of the most unmistakable tenor sax sounds in post war jazz. With a full bodied ...
Cory Weeds Little Big Band: Explosion
by Jack Bowers
The size and makeup of a “little big band" depend above all on what the leader has in mind. In this case, leader Cory Weeds patterned his ensemble (four brass, four reeds, three rhythm) after similar groups led by tenor saxophonists Eddie “Lockjaw" Davis and Gene Ammons, and what he had in mind was a mid-sized ...
Cory Weeds Little Big Band: Explosion
by C. Michael Bailey
Renaissance Man Cory Weeds has the Midas Touch. Since attaining Vancouver-local escape velocity with his Cellar Jazz Club and then his record label with the same imprint, the musical entrepreneur has parlayed his notice worldwide with excellent recordings of himself and other noted artists. Weeds' Cellar Jazz focus is what would be defined as an “Arbors ...
The Jason Klobnak Quartet/Quintet: Friends & Family
by C. Michael Bailey
Trumpeter/composer Jason Klobnak is one of those artists who creeps up on you. His debut recording, Mountain, Move (Self Produced, 2013), inauspiciously crossed my desk on its way beneath the laser, where it impressed me as just progressive enough to be interesting, but not so much to be a turn off. Klobnak takes the classic Miles ...
