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Al Jarreau holds forth on the art of singing, the decline of radio and the glory of the great American songbook
by Jim Trageser
Note: This interview with Al Jarreau was originally published in 2004 on Turbula.net. Any doubts that Al Jarreau was born to sing are quickly dispensed with by a simple conversation with the man--he is incapable of holding forth on the topic of music without dipping into the subject at hand. Not ten ...
Enoch Smith Jr.: The Quest: Live at the A.P.C.
by Jim Trageser
The Church has long been a cornerstone of African-American cultural identity, as well as musical inspiration. Gospel is the third leg of African-American music, coming of age alongside jazz and blues in the early part of the 20th Century. Pianist Enoch Smith Jr. has managed to keep feet in two of those worlds. As ...
Man of the World: The Peter Green Story
by Jim Trageser
Peter Green Man of the World: The Peter Green Story Henry Hadaway Organization 2016 In an age when a junior high school rite of passage for budding adolescents remains discovering the great blues- rock guitarists of their grandparents' generation, arguing the relative merits of Jimmy Page vs. Eric Clapton (and ...
Hentoff helped pave way for jazz journalism’s acceptance
by Jim Trageser
Nat Hentoff's passing last week left me feeling, well, old. Whenever we lose a mentor--a grandparent, a teacher, someone who encouraged us--it's a reminder of our own mortality, that we are, in the parlance of football coaches, the next ones up. I don't feel anywhere near to ready or worthy or capable of assuming ...
A giant of jazz journalism silenced
by Jim Trageser
Nat Hentoff was an old-school intellectual whose favorite topic—whose very touchstone—was, throughout his life, jazz. At one point in the 1990s, Hentoff—who passed of natural causes on Jan. 7—announced that he was giving up writing about jazz to focus on topics that seemed more critical—free speech and civil liberties, which he felt were under ...
Ian Faquini e Paula Santoro: Metal Na Madeira
by Jim Trageser
For most of us in the United States, mentioning “Brazil" in a musical conversation connotes bossa nova or samba--which is a bit like describing all American music as blues or country. Expertise in the music of Brazil is the work of a lifetime; much as with the United States, each region has its own ...
Ivo Perelman: The Art of the Improv Trio
by Jim Trageser
For the last few centuries, the avant-garde movement has taken for itself the role of challenging preconceived notions of what is acceptable in music, in poetry, in the visual arts. This challenge has, for the most part, consisted of violating accepted rules in order to provoke discussion about the validity of those norms. In ...
Sugar Ray & The Bluetones: Seeing Is Believing
by Jim Trageser
Possessed of a rich timber on both vocals and harmonica, a keen ear for melody, and an unerring feel for the blues, New England's Sugar Ray Norcia had the grand career misfortune to begin breaking nationally just before the pop punk band Sugar Ray came on the scene and sowed confusion among music fans.
John Coltrane: Trane 90
by Jim Trageser
Along with Miles Davis, Duke Ellington and Louis Armstrong, the late saxophonist John Coltrane is one of the most anthologized figures in the history of jazz. He is also one of the most studied, with at least four full biographies on Amazon, and dozens of other books looking at various aspects of his music. The number ...
Pedro Neves: 05:21
by Jim Trageser
It is what it sounds like: West Coast jazz. It's probably worth pointing out, though, that the music found on Pedro Neves' sophomore album comes from the west coast of Portugal, not the United States. You'd never guess that this is Iberian jazz, though, just from listening to it. There's no trace of fado--that ...
