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Chembo Corniel: Wanting and Doing
While hanging out with Harry Sepulveda last week, I had to interrupt him mid-sentence. Pointing to the speakers high up on the walls of his Latin-jazz record store, I said, “Hold it, who's this playing?" “Ahhh, Papa, you dig?" Harry said. “It's Chembo Corniel. A monster." I wasn't aware of Chembo [pictured], who plays conga and ...
Jazzwax Mindblowers (Vol. 6)
quarter I gather the best quotes from interviews I conducted over the last three months and place them in a single post. I call this feature “JazzWax Mindblowers," because the quotes I choose contain revelations or shed light on a period of music or recording session. I do this in case you missed the interviews and ...
Grant Stewart: Plays Ellington
In early 1943, the Duke Ellington Orchestra began an extended stay at the Hurricane Restaurant in New York on 49th St. and Broadway. During the orchestra's engagement that June, the band performed Tonight I Shall Sleep for the first time, a song Ellington had composed only weeks earlier. The ballad was written to spotlight tenor saxophonist ...
Interview: Bob Brookmeyer (Part 5)
Over the past 25 years, Bob Brookmeyer has worked tirelessly to develop as a composer, teacher and conductor. While his recent recorded works can be classified as modern classical, they retain a rich jazz orchestral feel and flow. What's particularly fascinating about Bob's recent works is their massive scope and honesty. The more expansive Bob's canvas, ...
Interview: Bob Brookmeyer (Part 3)
By the late 1950s, Bob Brookmeyer was one of the most dynamic forces in jazz. His reputation for playing the valve-trombone with enormous force and passion was established, and his writing was equally smart and engaging. But Bob also was emerging as one of the most sought-after orchestral arrangers in the business. Known for his inventive ...
Interview: Bob Brookmeyer (Part 4)
The rise of the studios in the late 1950s and early 1960s created enormous opportunities for jazz musicians. With the proliferation of visual media such as movies and television along with TV advertising, more instrumentalists were needed who could sight-read music perfectly the first time. But while live and recorded studio work provided jazz musicians with ...
Interview: Bob Brookmeyer (Part 2)
Bob Brookmeyer's early childhood was bleak--until he discovered music and jazz. Then he threw himself into learning the clarinet and trombone, quickly becoming a whiz sight-reader. By age 14, Bob was already a professional arranger and musician, rushing off after high school to play on local recording sessions. Not a fan of the slide trombone, Bob ...
Interview: Bob Brookmeyer (Part 1)
Before I interviewed Bob Brookmeyer several weeks ago, I was warned. “If you don't have it together, he'll take your head off," said one journalist friend. Another wagged a finger, saying “Bob can be very, very gruff." Well, I'm here to report that Bob Brookmeyer is one of the nicest guys in the world. We had ...
Bob Enevoldsen: Smorgasbord
Back in the early 1950s, jazz musicians were impossibly gifted. A good number not only could play their primary instrument with enormous skill and flair, they often could play quite a few others. This was particularly true on the West Coast, where studio work was abundant but your share depended largely on how many axes you ...
John Coltrane: Sheets of Sound
If you love listening to John Coltrane, then you know that the phrase “sheets of sound" refers to the tenor saxophonist's cascades of arpeggios. The term is so closely linked to Coltrane that it's hard to find an article or book about the jazz giant that doesn't use it somewhere to describe his massively energetic style ...
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