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Buddy Tate From Texas State
by Nic Jones
By the end of the 1930s both the Count Basie and Duke Ellington bands had established signature styles of music making that were in some respects antithetical. Whilst the latter was dependent on composition as an integral part of its musical output -and arguably no-one before or since has married composition and the making of jazz ...
Peter Brotzmann: Der Kaput Play
by Nic Jones
The cultural life of post-war West Germany was always subject to significant American influence, and though this may seem surprising on the surface it says a lot about American hegemony in this period and the means through which it was acheived. Julian Cope has quite rightly highlighted the presence of American service personnel as a agent ...
Ellen Christi: Diverse Materials
by Nic Jones
All jazz singers worthy of the name have been able to draw upon a depth of interpretive power sufficient to make something out of frequently trite lyrics. The most extreme example of this, that is to say the example who could draw from the deepest well of such power, was of course Billie Holiday, and there ...
Albert Ayler: Backwards And Forwards
by Nic Jones
By March of 1965, when the first of the Village Vanguard recordings were made, Albert Ayler's career as a leader was less that five years old. He'd covered a lot of ground. It was also only thirteen years since he'd worked in Little Walter's band, yet in that time he'd moved as far away from the ...
Herbie Hancock: Vive La Difference
by Nic Jones
The emphasis on Miles Davis's 1960s quintet as a role model for musicians in the present day has ensured perhaps that Herbie Hancock's move away from that band's style has been overlooked. The two albums discussed here encapsulate how his musical outlook changed. The move from acoustic to predominantly electric instrumentation is profound enough in itself, ...
Spontaneous Music Ensemble: Coming Together
by Nic Jones
Although the jazz vocabulary is undoubtedly American in origin, with the passing of time and the evolution jazz has arguably become a pejorative term for the making of improvised music. The improvisational element reaches its logical conclusion in music that is freely improvised, that is to say music that is free of all predetermined elements and ...
Nights At The Keyboard: Connie Crothers & Mal Waldron
by Nic Jones
Solo jazz piano playing is an area of the music fraught with risks at the same time as the piano is the instrument best suited to solo music making. In the past, Bill Evans circumnavigated some of the problems inherent in the medium through overdubbing, a course which neither Connie Crothers nor Mal Waldron has opted ...
Oliver Lake: Upwards & Outwards
by Nic Jones
Oliver Lake has always had an innate grasp of musical tradition that extends beyond jazz to encompass other areas of African American musical expression, and the effect of this on his music has always been beneficial. Allied to this have been two other virtues, namely his abiding fascination with the work of Eric Dolphy, perhaps unsurprisingly ...
Albert Ayler: Forwards And Backwards
by Nic Jones
By March of 1965, when the first of the Greenwich Village recordings were made, Albert Ayler's career as a leader was less than five years old. He'd covered a lot of ground. It was also only thirteen years since he'd worked in Little Walter's band, yet in that time he'd moved as far away from the ...
Harry Beckett: Wide Open Roads
by Nic Jones
As discussed in the last article in this series, the dissemination of jazz on record, together with the abilities of musicians from outside of the USA, ensured that the jazz language was relatively quickly assimilated on a large scale. So far as the British jazz scene was concerned, the Jamaican trumpeter Dizzy Reece, born January 5, ...
