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Interview: Leon Ware (Part 1)
The post-1970 recordings of Marvin Gaye really can't be considered purely soul. There's too much jazz-influenced sophistication in Gaye's delivery and accompanying orchestrations to sum up these albums that simply. Each of Gaye's LPs from this period was a concept album, and Gaye's artistic independence and socio-romantic messages were daring and groundbreaking. Of the eight albums ...
Interview: Herman Leonard
Herman Leonard's photographs of the 1940s and 1950s can be credited with building a national appetite for jazz. Early on, Herman grasped jazz's drama and genius, and he began spending as much time as possible in New York's clubs and recording studios documenting jazz artists at work. Herman's goal was twofold: to preserve the expressive poetry ...
Bill Perkins: On Stage
Tenor Saxophonist Bill Perkins' first album as a leader was On Stage for Pacific Jazz Records. In February 1956, “Perk" or “Phineas" assembled an impressive octet and reached out to California's leading arrangers of the day for charts. What makes On Stage special is Perkins' saxophone sound, which is strong, eloquent and smoothly sculptured. As legendary ...
Interview: Sonny Rollins (Part 2)
Way Out West is a jazz concept album. It was conceived by Sonny Rollins in 1957 as an homage to the Wild West and the Westerns of his youth. But for years, some thought the recording was an imposition on Sonny by kitschy West Coast commercial interests. Nothing could be further from the truth. On tour ...
Interview: Sonny Rollins (Part 1)
To truly understand Sonny Rollins, you need to know something about Westerns. The simple ones from the 1930s that weren't big productions and didn't have elaborate musical scores. Just terse dialogue, tough looks and lots of justice. Sonny loves them. He grew up in Harlem during the Depression and regularly tuned into Westerns on the family ...
Mindblowers (Vol. 7)
At the end of each quarter, I reach back into the interviews I've conducted over the past three months and re-post my favorite quotes. I do this so that those of you who are new to this blog and those who weren't able to read the interviews in full have a chance to sample them. Many ...
Interview: Al Stewart (Part 5)
By the late 1950s, trumpeter Al Stewart was performing relentlessly with top bands, recording on a range of notable big band albums and playing in orchestras supporting televised events such as The Jerry Lewis MDA Telethon. By 1958, television had created enormous opportunity for many big band musicians, especially as jazz's popularity began to wane and ...
Interview: Al Stewart (Part 4)
By the mid-1950s, trumpeter Al Stewart was appearing as a sideman on a growing number of top big band dates and recordings. With the rise of the 12-inch jazz LP in 1956, album production ramped up as the larger format required more music per disc than had appeared on the smaller 10-inch LP releases. The change ...
Interview: Al Stewart (Part 3)
When Benny Goodman and Louis Armstrong tried to iron out how their 1953 joint tour would play out, egos clashed and Goodman dropped out. Goodman's decision proved to be a stroke of luck for trumpeter Al Stewart. As the Goodman band without Goodman fell under the direction of a more laid back Gene Krupa, Al found ...
Interview: Al Stewart (Part 2)
Trumpeter Al Stewart spent much of 1948 and 1949 touring with Benny Goodman's bebop band. Al was classically trained, and Benny appreciated his hard work and rock solid sound in the trumpet section. But by late 1949, Goodman was fed up with bop. So he folded the band, assembled a quartet and went on a tour ...
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