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Hawk and Rabbit: Vogue Sessions
Coleman Hawkins never stood still creatively. No matter what recording date the tenor saxophonist was on, you hear a slightly different artist each time. To be sure, Hawkins' gruff attack and take-charge sound are always present and unmistakable. But if you listen carefully, you'll hear his phrasing shift depending on the year and musicians on the ...
Sarah Vaughan: 1958 and 1964
"The records don't do 'em justice," is a line I hear frequently from musicians today who had the privilege of playing with jazz greats from the 1940s and 1950s. The point being that what you hear on LP and CD is nothing compared to having seen or played with those artists back then. For the longest ...
Art Blakey: Like Someone in Love
August 1960 was a grueling month for Art Blakey and the Jazz Messengers. When the hard bop quintet went into the studio to record on August 7th for Blue Note, the Messengers completed five tracks, each requiring a greater number of takes than the previous one. When time ran out, the group and producer Alfred Lion ...
C'est Si Bon (It's so Good)
When I was a kid in the late 1960s, my artist parents used to take me and my brother to Paris in the summers. My bohemian folks weren't wealthy. They had lived there in the 1950s and loved returning each year when my brother and I were off from school. We'd stay with their friends out ...
Hidden Jazz Downloads (Vol. 6)
Every couple of months or so, I spend a few hours running my e-fingers through the iTunes' “bins" looking for jazz gems that have been quietly added to the store's inventory. At iTunes, it seems, albums are flipped in abstractly, like baseball cards, barely promoted and sometimes even mislabeled. That happened with a James Moody collection I ...
John Bunch and Frank Wess
During down time with Count Basie's band in the 1950s, Frank Wess recorded on flute for the Commodore and Savoy record labels, among others. A gifted arranger, player and session leader, Wess' small-group flute recordings during this period are standouts on the instrument. Some of the albums are still in print on CD while others, like ...
Three Little Bops + Two Peppers
One of jazz's wiliest mysteries involves a Looney Toons cartoon released in January 1957. The animated short is called Three Little Bops, a hep-cat jape of The Three Little Pigs. Instead of a straight retelling of the children's fable, the cartoon features three porkers as hat-clad hipster musicians who struggle to fend off a tin-eared, trumpet-playing ...
Must Dig: Morley's "Seen"
The last time I raved about an unknown singer at a dinner party was back in 2005. I had just bought a CD from England and was telling anyone who'd listen how incredible the artist's lyrics and singing were. The import was Frank, and the singer was Amy Winehouse. No one knew who I was talking ...
Candoli and Holman: 1955
As laid back as West Coast jazz sounds, the genre wasn't a static art form. While cool jazz was predominantly linear in structure, with melody lines offset by contrapuntal harmony, the music continued to evolve during the early 1950s. Among the big influences shaping the scene were rising East Coast jazz stars and the advent of ...
Bill Evans: Solo Sessions 1963
Back in October, I wrote about Bill Evans' Alone (Again), which I said at the time was my favorite solo album by the pianist. I have since reconsidered and have a new entry (two, in fact). More in a moment. It has been well documented that Evans was not completely comfortable playing solo piano. He preferred ...
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