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Lift Every Voice And Sing: Twenty #BlackLives Albums That Matter
by Chris May
Jazz has been inextricably linked with social and political protest since at least the late 1930s, when Billie Holiday made famous the leftist songwriter and poet Abel Meeropol's “Strange Fruit." The song, which has a power to move that is undiminished by familiarity, likens the bodies of lynched African Americans to fruit hanging in trees.
Michael Thomas: Event Horizon
by Jerome Wilson
Jimmy Katz seems to really be onto something with his Giant Step Arts label. Begun in 2018, the label has established a tradition of recording live performances by modern jazz musicians given complete freedom of repertoire and personnel. That approach has produced several outstanding releases including, earlier this year, The Concert: 12 Musings For Isabella, (Giant ...
Highlights of Jazz in the Late 2000s (2004 - 2010)
by Russell Perry
This is the 98th of 100 programs in the Jazz at 100 series. The programs have chronologically followed the history of recorded jazz and, as we approach the present, the question of historical perspective becomes relevant. Just how well can we predict what will endure? What will have lasting importance? We are in the ...
Anna Hogberg Attack: lena
by John Sharpe
It is a well known gambit to start an album with one of its strongest tracks. But it must have been a difficult choice for Swedish band leader and saxophonist Anna Högberg when programming her group Attack's second release. That she chose “Pappa Kom Hem," which opens with a sustained stentorian bellow from tenor saxophonist Elin ...
Atlantic Records: More Giant Steps: An Alternative Top 20 Albums
by Chris May
Ahmet and Nesuhi Ertegun's Atlantic Records differs in one key respect from Prestige, Riverside, Impulse!, Strata-East and Flying Dutchman, the most prominent labels covered so far in this Building A Jazz Library series. Those labels' discographies consist almost exclusively of jazz. Atlantic had parallel interests in soul and rhythm-and-blues and, later, rock. This had consequences, as ...
Dave Bryant: Night Visitors
by Dan McClenaghan
Free jazz pioneer Ornette Coleman didn't record much with piano players. Exceptions were Geri Allen on Sound Museum: Three Women and Sound Museum: Hidden Man, released simultaneously in 1996 on Harmolodic / Verve, and Dave Bryant on Tone Dialing (Harmolodic / Verve, 1995), during Coleman's Prime Time days.Bryant's immersion in Coleman's sound—he has conducted ...
Tom Lawton: Not Less Than Everything
by Victor L. Schermer
Not known, because not looked for But heard, half-heard, in the stillness Between two waves of the sea. Quick now, here, now, always-- A condition of complete simplicity (Costing not less than everything) --T.S. Eliot, Four Quartets; “Little Gidding" This poetic quotation ...
Throttle Elevator Music: Emergency Exit
by Karl Ackermann
The sub-genre of “punk jazz" has existed—on paper— since the 1970s when Patti Smith proposed a collaboration with Ornette Coleman. That partnership did not materialize. When all the moving pieces are pulled together there is little substance to suggest that the category ever shared specific practices or conventions. Then, in 2012, Throttle Elevator Music emerged with ...
New York Contemporary Five: Consequences Revisited
by Mark Corroto
This 2020 reissue of the New York Contemporary Five recordings from 1963-64 can't help but draw one's attention to the social unrest occurring in America in 2020. In 1964 the riots in Harlem and Philadelphia over police brutality were followed by similar riots a few years later in Watts, Newark, Detroit, etc. In the growing civil ...
Paul Flaherty / Randall Colbourne / James Chumley Hunt / Mike Roberson: Borrowed From Children
by Mark Corroto
Let's misquote a Rolling Stones' lyric here, with the music of Paul Flaherty “you can always get what you want," and maybe to a greater extent, “you get what you need." For more decades than he might want to count, the saxophonist has been making his self-described 'hated music.' We're talking hate as in a bugaboo, ...
