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Mahalia Jackson: A Little Higher
In the 1950s, R&B and rock 'n' roll was aimed squarely at the bottom half of the body while gospel took care of the rest. Blues shouting came out of gospel in the 1940s. So did the passion and conviction of jazz solos and jazz vocals. In the world of gospel singing in the 1940s and ...
Roland Kirk - Cuckoo Serenade
On Sept. 16 and 17, 1964. Roland Kirk recorded tracks for an important album for Mercury called I Talk With the Spirits. It's important because of its instrumental eclecticism, its spiritual qualities and its original compositions by Kirk and playing by the group. The music holds up gloriously. It's independent-minded, it's melodic and it's soulful. On ...
Video: Sonny Rollins, 1959
For me, what sets Sonny Rollins apart from all other tenor saxophonists in the 1950s is how he makes you feel as soon as he starts to play. For some reason, Sonny's sound hits my heart and mind, making me more emotionally aware. A feeling of seriousness comes over me and I pay hard attention to ...
Jan Lundgren: Styne and Young
In 2001 and 2002, Swedish pianist Jan Lundgren released songbook tributes to Jule Styne and Victor Young, respectively, with his trio and special guests. Within a few years, the prized releases recorded in Copenhagen on the Sittel label disappeared and were available only through independent sellers for upward of $155. Now, The Jan Lundgren Trio Plays ...
Sco: Country for Old Men
Earlier this year, guitarist John Scofield won a Grammy for his album, Past Present. Released in 2015, Past Present came on the heels of tough times for Sco—the 2013 passing of his son, Evan, to sarcoma at age 26. Sco's music on the album was haunting and pained, the ache of a father and a family ...
Alto Summit: Four Saxes, 1968
In the spring of 1968, Joachim E. Berendt (above) of Germany's MPS label caught wind that alto saxophonists Lee Konitz, Phil Woods, Pony Poindexter and Leo Wright were all in Europe touring separately. Berendt took a chance and reached out to all of them, inviting them to MPS's fabled recording studios in Villingen, in the Black ...
Ed Joffe: 'Contrasts'
Recording engineer Jim Czak is a dear friend. I've stood behind him numerous times at the old Nola Studios on New York's 57th St. when he's been in charge of sound, and the results on jazz recordings have always been spectacular. So when Jim reached out a couple of weeks ago to let me know about ...
Rob and Earl Swope: 'Bone Bros.
Rob and Earl Swope were brothers, with Earl three years older. Both played a gorgeous, deft and spirited trombone. In the late 1940s, Earl played with Woody Herman while Rob played with Buddy Rich, Chubby Jackson and Gene Krupa. The brothers from Washington, D.C., were in the same trombone section on only a handful of recordings: ...
Doc: Pete Fountain
Most people who grew up in the rock era viewed clarinetist Pete Fountain the same way they did Al Hirt—a bearded New Orleans traditional jazz player who turned up on lots of variety shows in the late 1960s and '70s, and whose pop and honky-tonk albums were marketed largely to older folks with a bland taste ...
Rugolo, Kenton and Bardot
When I posted last on Pete Rugolo (here), I left out two major albums in my survey of the arranger's work in a leadership role. They are Rugolo Plays Kenton (1958) and Behind Brigitte Bardot (1959). Both are exceptional for different reasons. Rugolo, of course, began arranging for Stan Kenton in 1944, starting with Opus a ...
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