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Happy Birthday! Jazzwax Turns 3
On August 3, 2007, I started JazzWax on a dare. I vowed not to make the site about me but about the recordings and the artists, keeping myself in the background as much as possible. Rather than e-yammer about what I did each day, I decided to tap into my background as a journalist and historian ...
Hidden Jazz Downloads (Vol. 14)
Well, iTunes has redesigned its store, making life even more difficult for fans of jazz from the 1950s and 1960s (if that's possible). Now, seeing what older, out of print jazz albums have been added to the store is trickier. Same goes for figuring out which tracks on compilations belong to which original albums. This means ...
Interview: Gary Burton (Part 4)
Gary Burton remained with the Stan Getz Quartet for three years, from 1964 to 1966. Even after the group's sound gelled, Getz was an emotional handful for Gary. Off stage, Gary went out of his way to avoid triggering the saxophonist's dark side. After Gary left Getz in 1967, he formed his own quartet and prepared to ...
Jazzwax List: 28 Aces of Clubs
Live albums make up a good chunk of any good jazz collection. Many of the best ones were recorded at New York jazz clubs that are long gone. Some clubs even made their way into jazz album titles--like Wes Montgomery's Smokin' at the Half Note, Clifford Brown and Max Roach at Basin Street East, Thelonious Monk's ...
Interview: Gary Burton (Part 3)
By the time Gary Burton left the George Shearing Quintet to join Stan Getz in 1964, he had perfected the art of the short, concise solo. But while a compact solo was essential for Shearing's group, Gary needed a completely different approach that rested more heavily on comping--the art of accompanying a soloist--for Getz. [Illustration of ...
Interview: Gary Burton (Part 2)
Between 1960 and 1963, Gary Burton went from a kid who practiced the vibes with a tape recorder to a musician who recorded with established jazz artists. Gary came of age at just the right moment. Many of these artists were seeking a cooler, more contemporary sound, and Gary, in his late teens, represented the future. ...
Interview: Gary Burton (Part 1)
In the 1960s, vibraphonist Gary Burton bridged three jazz gaps. In 1960 he was the link between jazz and country. In 1964 he helped link jazz and bossa nova. And in 1967, he began to link jazz and rock, becoming one of the earliest exponents of jazz-rock fusion. [Photo by Karlheinz Kluter] From his earliest recordings, ...
Jazzwax List: 6 Tunes For 'Toons
Years ago, cartoons were wry and played a role imparting important life lessons about hard work and fairness, from Cinderella and Bugs Bunny to Little Audrey and Casper. What's more, cartoon theme songs were immensely hummable and became ingrained in the popular culture. Cartoons' widespread popularity had something to do with their showing in movie theaters ...
Paul Slaughter: Jazz Photographs
Long-time readers of JazzWax are familiar with Paul Slaughter's images (see “PhotoStory" in the right-hand column). Like the other generous photographers on the list, Paul has graciously provided JazzWax with images he took of jazz legends over the years and shared his stories about them. Now Paul has published a new book, Paul Slaughter: Jazz Photographs ...
Mad Men and the Wall St. Journal
When I was a college intern at The New York Times in the late 1970s, I worked for the editors of the Op-Ed and editorial pages. One of the editorial board editors was architecture critic Ada Louise Huxtable, who had already won a Pulitzer Prize. [Pictured: Jon Hamm as Mad Men's Don Draper] Each day I'd ...
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