JazzTimes3 min letti
Braxton and Beyond
In homage to Anthony Braxton, the collective of five New England Conservatory graduates called Tropos titled their debut release on Biophilia Records Axioms // 75ab. Besides acknowledging the saxophonist/composer’s 75th birthday this past June, and r
JazzTimes25 min letti
Thank the Janitor
Palo Alto Impulse! The back story makes this album irresistible even before you’ve listened to it: In 1968, a 16-year-old jazz fan at Palo Alto High School in California decides to hold a concert in the school’s auditorium to raise funds for its Inte
JazzTimes3 min letti
JT 50
This month: December 2001 (Sex Sells—or Does It?) Most of our special themed issues are planned well in advance, but in a few cases a theme arrives accidentally, from stories that were assigned independently yet somehow coalesce into a shared idea. F
JazzTimes1 min letti
Blackbirds Verve No argument here if you thought Things Have Changed, Bettye LaVette’s 2018 tribute to Bob Dylan, deserved its two Grammy nominations, and perhaps even a mantle-size trophy to boot. Still, for all its merits, that album is no match fo
JazzTimes3 min letti
Acoustic Horizons
“Honestly, at first I was a little worried about it coming off as trite,” says Ike Sturm, bassist for the acoustic duo Endless Field, about recording their new album, Alive in the Wilderness, live in the dramatic outdoor setting of Utah’s Escalante N
JazzTimes2 min letti
Gregg August
Dialogues on Race, Volume One Iacuessa Bassist/composer Gregg August could not have known at what an auspicious moment he would release Dialogues on Race, a double-disc, large-ensemble statement that he originally premiered in 2009. He even writes in
JazzTimes5 min letti
Christopher Loudon, the Canadian writer whose features, columns, and reviews appeared regularly in JazzTimes for nearly 20 years, died May 17 in Toronto of complications from ALS (Lou Gehrig’s disease). He was 62. Loudon spent most of his career work
JazzTimes2 min letti
Matthew Shipp
The Piano Equation Tao Forms Matthew Shipp turns 60 in December, and albums—as a solo performer, leader, and sideman (with the late David S. Ware’s quartet, most notably)—have documented his career for more than half of his life. Nevertheless, it’s h
JazzTimes4 min letti
Playing the Dream
From the late 1950s until the early 1970s, Ornette Coleman’s most euphonious music was the product of a unique group of like-minded geniuses. The style was scrupulously avant-garde yet also melodic, bluesy, and swinging. Ornette’s original quartet in
JazzTimes3 min letti
Eddie Harris: A Primer
I Need Some Money (Atlantic, 1975) I was overseas in a study program—I think it was in China—and they had a music store out there. I found Electric Ladyland by Jimi Hendrix, Miles Davis’ Bitches Brew, and Eddie Harris’ I Need Some Money. The psychede
JazzTimes18 min letti
Sullivan Fortner
The weeks that preceded this online Before & After were sheer worldwide overload—murders and marches, more deaths and outrage, widening protests, all during a continuing pandemic. Finally, as people kept speaking out, there was a degree of hope; the
JazzTimes6 min letti
Kenny Washington
Kenny Washington, the jazz vocalist (not to be confused with the drummer of the same name), has always taken his time. After a 35-year career in which he has often been a featured guest on others’ records, this summer the 63-year-old singer is finall
JazzTimes11 min letti
Liberation in SWING
If jazz polls don’t become collateral damage of COVID-19, Erroll Garner: The Octave Remastered Series (Mack Avenue) is the odds-on favorite for best reissue of 2020. It’s a 12-CD release, one for each LP that the Pittsburgh-born pianist (1921-1977) a
JazzTimes3 min letti
MORE Than A Manager
In a holiday telegram to Martha Glaser, Erroll Garner asked about “my little princess.” He was referring to Glaser’s niece Susan Rosenberg. “My aunt was very present in my life growing up, as was Erroll,” Rosenberg says. “She was committed to jazz an
JazzTimes9 min letti
History at 300 BPM
It is November 26, 1945 in New York City, the Monday morning after the Thanksgiving holiday weekend, and producer Teddy Reig has arrived at the apartment of Charlie Parker to fetch the alto saxophonist—who required some looking after—and bring him to
JazzTimes10 min letti
You Never Heard Such Sounds In Your Life
The offices of ESP-Disk’ have moved many times over the years. A quick scan of the label’s 1960s album covers reveals the various addresses where founder Bernard Stollman set up shop, from Brooklyn to Manhattan to Krumville, a hamlet close to Woodsto
JazzTimes1 min letti
Ulysses Owens Jr. offers tips on pandemic entrepreneurship for musicians; Colin Fleming draws a line between “St. James Infirmary” and COVID-19; Ashley Kahn conducts a Before & After listening session with guitarist David Gilmore; and Ken Micallef pi
JazzTimes2 min letti
Free Five
Albums by Albert Ayler (Spiritual Unity, Spirits Rejoice) and Patty Waters (Sings, College Tour) are oft-referenced gatekeepers of the ESP-Disk’ aesthetic, but the label released more than 100 remarkable albums during its first run, with dozens more
JazzTimes1 min letti
Editor Mac Randall | mrandall@jazztimes.com Contributing Editor Lee Mergner Contributing Writers David R. Adler, Dan Bilawsky, Shaun Brady, Philip Booth, Brent Butterworth, Nate Chinen, Sharonne Cohen, Thomas Conrad, J.D. Considine, Morgan Enos, Brad
JazzTimes10 min letti
From ‘Ask’ To ‘Demand’
On May 30, the Saturday after George Floyd’s death, hundreds of (socially distancing) people from the community where the killing took place gathered in Minneapolis’ Powderhorn Park. Among them were multi-instrumentalist Douglas Ewart and vocalist/co
JazzTimes2 min letti
We Insist
Sixty-one years ago this August, Miles Davis was brutally attacked by white policemen on 52nd Street in New York for the crime of standing outside the club where he was working while being confident, well-dressed, and Black (and possibly for having t
JazzTimes3 min letti
Belly Up To The Bar
For the last decade, soundbars—simple, elongated speakers designed to fit elegantly under a TV screen—were considered a poor man’s home theater. But thanks to technological innovations and improving designs, today’s soundbars have become viable repla
JazzTimes6 min letti
Help Us Help Us All
JOHN COLTRANE AND GEORGE FLOYD ♦ BILLY CHILDS ♦ TROPOS ♦ JT 50 ♦ ENDLESS FIELD ♦ FAREWELLS There is a motivic whirr to the blade of a helicopter that makes me think of the rhythmic pulses in John Coltrane’s music. This is perhaps because a chopper ov
JazzTimes4 min lettiTech
2020: The Year of Playing Telematically?
As the COVID-19 pandemic rages on, musicians of all stripes have repeatedly, whether in interviews, in casual conversation, or on social media, said the same thing: What they miss the most is playing with other people. That familiar refrain has led t
JazzTimes4 min letti
Words From The World Stage
Los Angeles-born and bred, Billy Childs has built a remarkable career as a pianist, composer, and arranger largely away from the New York jazz scene. The child of two teachers, he was classically trained both in high school and at USC, where he studi
JazzTimes4 min letti
The Shape of Sax to Come (and Gone)
Music technology changed a lot after World War II. Postwar introductions included the solidbody electric guitar, electric bass, seven-inch single, multitrack tape, transistors, and much more. On paper, it would seem like an ideal era to launch a new
JazzTimes2 min letti
Seven Steel Guitar Albums You Should Hear
Asleep at the Wheel: Still Swingin’ (Capitol, 1994) – This box set contains three CDs: a greatest-hits disc, a Bob Wills tribute, and a 1977 live show that captures an 11-member version of the band at its jazziest, most powerful peak. Various Artists
JazzTimes1 min letti
Colin Fleming reviews a new collection of classic photographs by Blue Note Records co-founder Francis Wolff; Lee Mergner interviews Kurt Elling’s longtime bassist and leader of the Ba(SH) Trio, Clark Sommers; and Michael J. West chooses essential Joh
JazzTimes11 min letti
INTO THE Out World
AS Thurston Moore stepped onto the narrow stage at Philadelphia’s Boot & Saddle last December, it wasn’t exactly clear how many people in the audience knew what they were in for. A large percentage of the crowd was likely most familiar with Moore fro
JazzTimes1 min letti
Jazz Times
Editor Mac Randall | mrandall@jazztimes.com Contributing Editor Lee Mergner Contributing Writers David R. Adler, Dan Bilawsky, Shaun Brady, Philip Booth, Brent Butterworth, Nate Chinen, Sharonne Cohen, Thomas Conrad, J.D. Considine, Morgan Enos, Brad
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