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Listen to the Bass Player: Part 5, Red Mitchell
In the first paragraph of Part 3 of this series, it was not by random choice that I included Red Mitchell's name in the short list of important bassists who emerged in the 1940s. He discovered ways of playing the instrument that made a difference in the bass's role in jazz. Bill Crow, the hero of ...
Photostory10: Dizzy and Duke
On September 18, 1970, Paul Slaughter was at the Monterey Jazz Festival photographing the performers for Transworld Features when he captured the image you see here (click to enlarge). I love Paul's photo of Dizzy Gillespie and Duke Ellington. In their expressions, you see all of the joy, confidence and playfulness of jazz and jazz-entertainment history. ...
Listen to the Bass Player: Part 4, Paul Chambers
For the new segment of our adventure in letting bassists be our guides, author, critic and sometime Rifftides commentator Larry Kart has a fine idea. May I suggest, for Part 4, Paul Chambers behind Miles Davis, John Coltrane, Wynton Kelly and Jimmy Cobb on “So What." Like Heath and LaFaro in their various ways, where Chambers ...
Listen to the Bass Player: Part 3, Bill Crow
As you may recall from parts 1 and 2, our theme in this series is that by concentrating on the lines played by a good string bassist, you can gain an understanding of the shape and structure of a piece of music, feel its heartbeat, sense its soul. Duke Ellington's Jimmy Blanton in the early 1940s ...
Paolo Fresu: i mille volti di un musicista completo
by AAJ Italy Staff
Cittadino del mondo, ma profondamente radicato nella sua Sardegna, appunto da buon sardo è determinato e caparbio; iperattivo su mille fronti, mantiene sempre una calma imperturbabile e invidiabile; jazzista completo (compositore, leader, interprete...), ma anche scrittore e organizzatore di eventi; impegnato politicamente tanto da rischiare di venire candidato nelle ultime elezioni politiche e amministrative; alla mano ...
Listen to the Bass Player: Part 2, NHOP
Let us pursue the music appreciation method outlined in Part 1 (see the following exhibit). The theory is that concentrating on the bass lines of superior players can sharpen your perception of the music. Today's lesson is from another great bassist. It's Niels Henning Orsted-Pedersen in 1971 at the Cafe Monmartre in Copenhagen. Niels Jorgen Steen ...
Artie Shaw: Making of a Box Set
I don't know about you but I've always been curious about how Mosaic Records remasters recordings for its box sets. A long-time fan of Mosaic's restorations and attention to detail, I favor the “Producer's Note" that appears at the back of each set's calendar-size liner-notes brochure. Written by Scott Wenzel, Mosaic's award-winning producer, the note often ...
John Law: Deeper into the Music
by Jakob Baekgaard
Classical music and jazz are often perceived as two radically different art forms that cannot be merged. Historically, the idea of a so-called “third stream" that is able to combine the language of jazz and classical music into a coherent whole has proved rather difficult to translate into praxis, and yet it is undeniable that a ...
Ben Neill: Starting a Dub War
by James Taylor
To say that Ben Neill plays the trumpet--the instrument of such jazz legends as Miles Davis and Clifford Brown--is an epic understatement. “I think electronica is like a new form of jazz--it's an instrumental form of music that plays out in popular culture but has musical ideas that go beyond the expectations of pop music," says ...
