Results for "Milt Hinton"

Milt Hinton

"The Judge" Milt Hinton was widely regarded as the dean of jazz bassists. This master bassist was one of the consummate sidemen in jazz history. His career very nearly spanned the gamut of jazz generations and he was one of those rare musicians who exhibited minimal ego and had an ability to make a contribution to any setting he found himself in, no matter the style. He once said, according to the New York Times, that he had made "more records than anybody," and at the peak of his recording career he kept instruments at each of several major recording studios so that he would be ready to play at a moment's notice. Like so many African American families in the early part of the 20th century, his family migrated from Mississippi north to Chicago, where he was raised

Erroll Garner: That's My Kick

By MIKE JURKOVIC

Great good luck, even in this news weary day, that Erroll Garner remains the personification of that mythical vaudeville buoyancy that can hold us in its sway, lifting us from all our daily unrest. We're fortunate to be in a time when we can re-explore, rediscover and perhaps even re-imagine Garner's continued impact and influence.

Pete Coco: Lined With A Groove

By DAN MCCLENAGHAN

Bassist Pete Coco tips his hat to his fellow four-stringers with his debut recording, Lined With A Groove, in a piano-trio setting, with New Orleans-bred Sullivan Fortner on the eighty-eights, and Matt Wilson sitting in on drums. The setlist is drawn from the compositions of fellow bass men Charlie Haden, Ron Carter, Paul Chambers, Ray Brown, ...

Take Five with Pete Coco

By PETE COCO

About Pete Coco A mainstay on the New York jazz scene, bassist Pete Coco recently released his debut album as a leader, Lined with a Groove, featuring drummer Matt Wilson and pianist Sullivan Fortner. The LP is an homage to his mentors and influences, with fresh arrangements of tunes by bassists including Ron Carter, ...

Sonny Buxton: Strayhorn’s Last Drummer, A Radio Master Class Mid-Day Saturdays

By ARTHUR R GEORGE

Sociologist, anthropologist, historian: storyteller, raconteur, entrepreneur and griot, in the guise of a deejay. Registrar, dean, professor: The jazz class of Sonny Buxton is barely concealed as entertainment within his weekly radio program every Saturday 10 a.m. to 2 p.m. Pacific time on San Francisco Bay Area FM station KCSM 91.1, streaming live on kcsm.org.

Big in Japan: A History of Jazz in the Land of the Rising Sun, Part 1

By KARL ACKERMANN

Part 1 | Part 2The music market in Japan--second only to the U.S. in terms of revenue--generates more than two-billion dollars in sales annually. Enthusiasts and collectors of jazz recordings had long ago discovered that Japan's robust music scene, and the now virtual accessibility to products have made the country a go-to resource for ...

Bruno Raberg: Tailwind

By GARETH THOMPSON

In a 2005 interview, double bassist Bruno Råberg discussed how Scandinavian music reflects the country's vast mountains and forests. “You can see very far and that calmness and meditative spirituality comes through," he says. Born in Sweden, but a longtime resident of Boston, you sense Råberg still carries his homeland close to the heart.

Val Wilmer: Dues And Testimony

By IAN PATTERSON

Free-jazz, which marked the first revolution in jazz since bebop, and, some might say, the most significant revolution in the entire history of the music, was controversial and divisive. Still today, over half a century later, free-jazz is sometimes dismissed out of hand as just so much noise, or worse, finds itself simply airbrushed from the ...

Dot Time Legends Series: Is Every Night New Year's Eve Around Here?

By RICHARD J SALVUCCI

Soon after The Embers opened in New York City in late 1951, Joe Bushkin and His Quartet spent 16 memorable weeks there. With Milt Hinton and Jo Jones, Bushkin was joined by Buck Clayton on trumpet. Astoundingly, Art Tatum had a solo piano gig there at the same time. Bushkin and Tatum listened to each other ...

State and Mainstream: The Jazz Ambassadors and the U.S. State Department

By KARL ACKERMANN

The Cold War that began in 1947 and ran for forty-four years, had jazz music as its primary deterrent to global tensions, and it did more to foster good will between the U.S. and global citizens than any previous program launched by the U.S. Department of State. Jazz music, even in its Golden Age, was seldom ...