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Lennie Niehaus Said It
"Jimmy Giuffre used to play mostly in the lower register on the clarinet and rarely went above the break--the end of the first register. We used to kid him by saying, 'When are you going to play above the break?,' which is a big step when you're learning the clarinet. Jimmy laughed and said, 'I'm working ...
Duke Pearson's Big Band: 1967
The story of jazz is filled with behind-the-scenes guys who contributed mightily to the music but are little known today. One of these invisible hands was Duke Pearson. In addition to being a fine composer, hard bop pianist and Blue Note record producer, Pearson briefly led a compelling big band in the late 1960s. Top musicians ...
Hampton Hawes: Bird Song
One of Hampton Hawes' finest recording sessions spent 43 years gathering dust on a shelf. Though Bird Song was recorded on January 18, 1956, the nine tracks captured that day went unreleased until 1999, when they were accidentally discovered by producer Eric Miller and issued on CD. At this session for Contemporary Records, Hawes was backed ...
JazzWax List: 10 for Starters
Last week a friend asked me to recommend a jazz compilation for someone new to jazz. I resisted, telling him that they're all death traps. First, they're loaded with old things (pre-World War II) that are great later but certainly would turn off a newcomer. Second, compilation song choices often stink. Instead, I urged him simply ...
The T.A.M.I. Show: 1964
On October 29, 1964, about 3,000 high school students--some with their parents--jammed into the Santa Monica Civic Auditorium in California to hear a concert. The event would be filmed with new Electronovision technology that its developers claimed produced more vivid results than standard TV cameras. The concert was billed as The T.A.M.I. Show--which stood for Teenage ...
Interview: Nancy Wilson (Part 5)
In 1966, a shift began in Nancy Wilson's choices for Capitol. Like many pop-jazz artists who were striving to stay current in a market overrun by young radio-listening record-buyers, Nancy began to include rock and soul hits of the day. But unlike most pop artists who awkwardly tried to seem with it, Nancy was naturally comfortable ...
Interview: Nancy Wilson (Part 4)
As Nancy Wilson's visibility and popularity grew in the early 1960s, so did her workload. In the days before scandals were built into marketing plans and stadium concerts provided artists with instant mass exposure, pop singers had to work tirelessly in hotel supper clubs and recording studios. They also hoped their singles would win AM-radio airplay ...
Interview: Nancy Wilson (Part 3)
No other jazz-pop singer is as fluent in post-War American music as Nancy Wilson. She has always understood that a Tin Pan Alley standard requires a different approach and attitude than a jazz standard and that Broadway showstoppers have a different sound than a pop, rock or soul hit. Remarkably, Nancy approaches each genre with a ...
Interview: Nancy Wilson (Part 2)
Nancy Wilson's eyes and eyebrows are a big part of her act. From a young age, Nancy intuitively knew how to use them to dramatic effect, allowing her to put more meaning behind a song's lyrics than the original lyricist probably intended. In a single song, Nancy's eyes convey confidence, innocence, vulnerability and passion. But just ...
Interview: Nancy Wilson (Part 1)
Nancy Wilson is the last great female song stylist of the 1950s and the first American female pop-soul singer of the 1960s. Though she began by performing locally in her hometown in the 1950s, her Capitol career started at the tail end of 1959, just as one era was ending and another was beginning. Throughout the ...
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