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Interview: Lennie Niehaus (Part 2)
Growing up in Los Angeles in the mid-1940s, alto saxophonist Lennie Niehaus found himself rubbing elbows with other hungry young talented jazz musicians. In college in Los Angeles, Lennie studied composition with the West Coast's brightest and most advanced classical teachers and theorists. Everything was falling into place. When Stan Kenton called in late 1951 and ...
Interview: Lennie Niehaus (Part 1)
Lennie Niehaus is one of the giants of the West Coast linear ft=0,top=0' ); return false"> jazz sound. Along with Bill Holman, Shorty Rogers, Gerry Mulligan and Pete Rugolo, Lennie arranged prolifically for West Coast small groups and big bands in the 1950s, introducing a new dynamic, swinging approach. A highly trained classical musician, Lennie by ...
Interview: Marian McPartland (Part 2)
Pianist Marian McPartland never assumed a hipster or cool mystique like many of her male jazz peers. Throughout her 70-year career, there was no brooding, no puzzling behavior, and no legendary binges or tantrums. Just a good-girl smile as wide as Piccadilly Circus and knowing eyes that bore a steely determination to stand out with graceful ...
Interview: Marian McPartland (Part 1)
Marian McPartland is probably best known today as a pioneering jazz radio host (NPR's Piano Jazz) and the grande dame of the jazz piano. But starting back in the 1950s, Marian was one of bebop's most graceful and nimble messengers. Equally well versed in Dixieland, stride and other forms of early jazz that she grew up ...
Photostory10: Dizzy and Duke
On September 18, 1970, Paul Slaughter was at the Monterey Jazz Festival photographing the performers for Transworld Features when he captured the image you see here (click to enlarge). I love Paul's photo of Dizzy Gillespie and Duke Ellington. In their expressions, you see all of the joy, confidence and playfulness of jazz and jazz-entertainment history. ...
Artie Shaw: Making of a Box Set
I don't know about you but I've always been curious about how Mosaic Records remasters recordings for its box sets. A long-time fan of Mosaic's restorations and attention to detail, I favor the “Producer's Note" that appears at the back of each set's calendar-size liner-notes brochure. Written by Scott Wenzel, Mosaic's award-winning producer, the note often ...
Artie Shaw: 1938-45 RCA Sessions
You can hear it in virtually everything Artie Shaw recorded in the late 1930s and early and mid-1940s. There, in track after track, is the restlessness, the confidence, the envelope-pushing and the Shangri-La search for a sound only Shaw could hear. Today, it's hard to understand why Shaw grew so peevish and dissatisfied with every band ...
Interview: Marty Sheller (Part 3)
Many people think jazz went into a tailspin in the 1960s. In fact, out of commercial necessity, jazz hitched its wagon to many different music forms, from pop and soul to r&b and Latin. Each merger produced different genres. Soul-jazz resulted in organ-tenor sax combos like those recorded on Prestige. Funk-jazz was pioneered by Horace Silver ...
Interview: Marty Sheller (Part 2)
Three forces transformed Latin music in the fall of 1962. First, the grittier, slinky funk of Horace Silver, Bobby Timmons and Art Blakey had a big impact on artists, shifting Latin music away from popular Cuban dances. Second, waves of Puerto Rican immigrants to New York in the 1950s had created a new youth market for ...
Interview: Marty Sheller (Part 1)
The name Marty Sheller may not ring a bell. But anyone hip to Latin-jazz is aware of his enormous contribution to the music. First, that's Marty's trumpet solo on Mongo Santamaria's 1962 hit recording of Watermelon Man. The single helped launch the boogaloo, a dance beat that merged Puerto Rican and Cuban rhythms with jazz and ...
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