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Allen Eager: Land of Oo-Bla-Dee
Jazz appreciation is a lifetime pursuit. Point being that no matter how many years you spend listening to this music, you will never run out of artists and recordings to dig. The sheer volume of jazz greatness that was created, particularly in the fertile 1940s and 1950s, is extraordinary. What's most astonishing, of course, is how ...
Brettina: New Sound of Jazz
What defines a female jazz vocalist today? Is it someone whose albums feature at least three American Songbook standards? Must the singer be backed by well-known jazz musicians? What about her sound? Does she have to be bluesy? Or is this checklist outdated? There's probably no concrete answer to these questions. I do know that I'm ...
Interview: Paul Bacon (Part 4)
I should have told you this from the start but Paul Bacon has had a second career that has been even bigger than his first. Paul is perhaps best known today not as an LP-cover art director but as the inventor of book jacket design as we know it. Starting in the late 1950s, he has ...
Interview: Paul Bacon (Part 3)
In the early years of LP cover design, there were no rules. The only driving force was that a cover had to be graphically gripping. Designers then often worked with just two colors, and much rested on typeface solutions and the integration of motion, dimension and excitement. As one of the early jazz-album cover designers and art ...
Interview: Paul Bacon (Part 2)
Paul Bacon is modest and soft-spoken. Since the late 1940s, jazz musicians have sensed in the album illustrator, designer and art director a wise and gentle soul. This was particularly true of Thelonious Monk, who saw Paul as an unpretentious artist and sensitive thinker. For his part, Paul saw in Monk a creative genius who was ...
Interview: Paul Bacon (Part 1)
Even if the name Paul Bacon doesn't ring a bell, his covers for more than 200 jazz albums will. Paul helped set the mood and mystique for modern jazz back in the early 1950s at the dawn of the LP jacket. Back then, Paul was the illustrator and art director of many early Blue Note albums ...
Illinois Jacquet: Jumpin' at Apollo
In the mid-1940s, Illinois Jacquet was one of only a few tenor saxophonists who played in the styles of both Coleman Hawkins and Lester Young. Most tenormen of the period picked one influential approach or the other. Jacquet's ability to swing between both styles allowed him to chop away like Hawkins on r&b sides and sail ...
Studio One and the Ska Scene
Whenever I tell someone I dig reggae, I typically get a quizzical look followed by, “Isn't reggae pretty much the same thing over and over again?" Not quite, since one could pretty much say the same thing about the blues, swing or bebop. As we know, each of these genres is just a category in which ...
Jazzwax List: 6 Broadway Swingers
Fifty years ago, jazz and Broadway were friends. Jazz artists routinely recorded swinging versions of the latest musicals or released roundups of new Great White Way tunes. Broadway was a more powerful influence on the culture then, of course, especially when shows destined for the silver screen had movie studios behind them. During this crossover period, ...
Ira Gitler on Parker's Moods
Ira Gitler is a national jazz treasure. Each time we talk (which is often), the esteemed author, liner-notes writer, reviewer and historian sheds light on a jazz recording, artist or event with fresh detail and stories. Like Woody Allen's Leonard Zelig, Ira seems to have been at every major turning point in jazz history, an eyewitness ...
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