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The Boombox Project
Music and technology have always behaved like two escapees from a Georgia chain gang. Battles were routine, but the shackled pair eventually came to their senses and realized that they weren't going to get far unless they learn to compromise and accommodate each other. Since the 1920s, American music has changed repeatedly with the development of ...
Ross Barbour Said It
"In August 1955, we began rehearsing the Five Trombones charts during the day. Those songs were very difficult for us. We were not used to doing the charts as they were written, and we weren't free to change these. Some of his chords were written so our notes fit in among the notes played by the ...
Photostory: Bill Evans, May 1980
Viewing photos of pianist Bill Evans in the 1970s is like watching a mighty oak turn color in the autumn. Little by little the bursts of yellow, red and orange start to fade, and the majestic tree's leaves drop off, leaving bare branches bracing for winter. In this image of Bill Evans from May 1980, photographer ...
Frank O'Hara on Billie Holiday
If you're unfamiliar with Frank O'Hara, you're in for a treat. O'Hara was part of the New York School of poetry that emerged in the 1950s. What made this school singular is how its poets used words. Rather than stick rigidly to traditional form and meter, they expressed themselves freely and often journalistically. They also prized ...
Interview: Louis Hayes (Part 3)
In 1960, when drummer Philly Joe Jones was asked by jazz writer and critic Ralph J. Gleason for the name of his favorite drummer, Jones answered “Louis Hayes." Just 21 years old at the time, Louis had just ended a three-year stay with the Horace Silver Quintet to join the Cannonball Adderley Quintet. The parting was ...
Interview: Louis Hayes (Part 2)
The more you listen to recordings by the Horace Silver Quintet in the 1950s, the more you realize that the group had two drummers: Silver's funky, rhythmic left hand on piano and Louis Hayes' sticks. As they played together, Silver and Hayes tended to feed off each other. Both kept time, but each tried to throw ...
Interview: Louis Hayes (Part 1)
During the hard bop era of the 1950s and early 1960s, the Horace Silver Quintet was the most sublime expression of the movement. While Art Blakey and the Jazz Messengers and the Clifford Brown-Max Roach Quintet certainly were spectacular ensembles, what both groups lacked was Silver's spirited writing, arranging and verve. From the summer of 1956 ...
Gary Burton on His New Quartet
Late last week I caught up with vibraphonist Gary Burton to chat about his new quartet, featuring guitarist Julian Lage. The group will be making its club debut tomorrow night through Sunday at New York's Blue Note before heading off to Europe. Gary taught himself to play the vibes at age six. After high school he ...
Interview: Dionne Warwick
Two weeks ago, the phone rang and the voice on the other end said, “Hi, this is Dionne Warwick." Though the call was expected (we were due to talk for my Wall Street Journal profile that appears today here), I was still taken aback. There, on the phone, was that signature husky voice that had racked ...
The Making of Second Chance
Yesterday I posted on the new Irene Kral album, Second Chance (Jazzed Media), recorded in 1975 with Alan Broadbent on piano. Albums pairing Kral and Broadbent are too few in number, and it's gratifying to see another one surface. What is particularly remarkable about the album, in addition to the musicianship and how these two artists ...
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