One of the iconic images of jazz — Chet Baker and wife Halema — is a shot taken by William Claxton during a photo session for the cover of a Pacific Jazz anthology album called The Blues. It was a time of brilliant artistry for Baker, and of course rampant and destructive drug abuse.
A story of their relationship and of this photo session, as told in this book excerpt from James Gavin’s Deep in a Dream: The Long Night of Chet Baker begins with the dark, drug-caused decline of the band Baker played with at the time — Phil Urso, Peter Littman, Bobby Timmons, Jimmy Bond and Bill Loughbrough — who had most recently recorded the album […] Continue reading »
I awoke to the very sad news that a prominent figure in the history of jazz music has died. Orrin Keepnews, whose work as co-founder of Riverside Records forever connected him to the lives and spirits of Bill Evans, Thelonious Monk, Cannonball Adderley, and so many other great jazz musicians of mid-century America, died in California at the age of 91 (a day shy of his 92nd birthday).
Keepnews was a transcendent figure in jazz music, excelling as a journalist, entrepreneur, and producer. The recordings he produced were among the very first to […] Continue reading »
“I’d always thought that the most important thing was to play my horn — to get into this band or that band or Duke’s band, to have my own band, to perform, record. And I did enjoy these things. Worked hard to achieve them. But later on, I had a new dream: helping […] Continue reading »
Tonight, NBC presents a 40-year anniversary show on Saturday Night Live, which, during that time has presented many cutting-edge (and let’s face it, at times very drab) comedic moments and personalities. While the show is known for its comedy, musical performances have at times made the show staying up past normal bedtime hours a worthwhile option. One of those moments was a December, 1976 SNL hosted by Richard Pryor, who hand-picked his musical guest, the soul/jazz poet Gil Scott-Heron. That memorable appearance is reported on by Marcus Baram in this excerpt from his biography Gil Scott-Heron: Pieces of a Man:
In the fall of 1975, Gil got a call from Richard Pryor, who invited him to be a musical guest on an upcoming episode of Saturday Night Live, which Pryor was going to host in a few weeks. Pryor invited him after hearing a story about Gil that impressed the comic: A few months earlier, Gil had been invited by singer Roberta Flack to perform on […] Continue reading »
“When you begin to see the possibilities of music, you desire to do something really good for people.”
— John Coltrane […] Continue reading »
Happy Birthday #104 to Roy Eldridge, who in addition to being one of the great trumpet players of his time, is known as the “bridge” between Armstrong and Dizzy. I loved the brightness of his playing, and for contributing to one of the great moments in jazz — his vocal duet with Anita O’Day, leading into a seldom-in-a-generation trumpet solo on “Let Me Off Uptown.”
When I was a kid, my dad used to tell me stories about his friendship with “Eldridge,” and in particular one eventful experience he had while he was traveling with his band in Pennsylvania. In 1998, two years before his passing, my father wrote this piece for Jerry Jazz Musician about this very special experience in his life. I hope you enjoy his telling of it… […] Continue reading »
“Great Encounters” are book excerpts that chronicle famous encounters among twentieth-century cultural icons. This edition tells the star-crossed story of the 1964 recording session featuring Verve saxophonist Stan Getz and pianist Bill Evans, issued as Stan Getz and Bill Evans.
Excerpted from Bill Evans: How My Heart Sings by Peter Pettinger
In 1961 Metro-Goldwyn-Mayer had purchased Verve Records from Norman Granz. Creed Taylor became the new executive director, and made a number of crucial policy decisions, including the sacking of the majority of Verve’s contract artists. One of a handful to survive was Stan Getz, who had been recording for the company since […] Continue reading »
For those of us who bought it “for the articles,” it was easy to see that few publications supported and promoted jazz music during the 50’s and 60s quite like Playboy magazine. Among its many endeavors involving jazz, Playboy, Inc. produced festivals and concerts, featured artists on its late-night television programs, invited readers to vote for their favorite performers by instrument, and released record albums. The music was a passion of founder Hugh Hefner,who found that its aesthetic fit in well with those of other “products” pitched to the sophisticated and elite male of the era. Jazz conversations were often found within the pages — the first of the now famous Playboy interviews featured Miles Davis in a 1962 conversation with a young Alex Haley.
In February, 1964, Playboy published a remarkable conversation on jazz. Hosted by journalist Nat Hentoff, “The Playboy Panel: Jazz — Today and Tomorrow” included the musicians […] Continue reading »
In his 1993 book Upside Your Head! Rhythm and Blues on Central Avenue, the jazz and blues musician and impresario Johnny Otis writes primarily about the music scene in Los Angeles during the 40’s and 50’s. Otis — who discovered the likes of Big Mama Thornton, Jackie Wilson and Etta James, and who is considered one of the most prominent white figures in the history of R & B — also devotes substantial portions of his book to the toxic white racism so prevalent in American entertainment in the first half of the 20th Century.
The following excerpt — which begins and ends with an homage to Otis friend Lester Young — describes the experience of […] Continue reading »
On the evenings of April 21 and 22, 1961, Miles Davis and his quintet recorded at San Francisco’s The Black Hawk nightclub, a longtime Tenderloin neighborhood establishment described by Bay area music writer Ralph J. Gleason as “gloomy, dirty and unattractive” -– a club kept proudly “repulsive” by its owner, Guido Caccienti, who claimed to have “worked and slaved for years to keep this place a sewer.”
Written by San Francisco Chronicle music critic (and eventual co-founding editor of Rolling Stone) Ralph J. Gleason in a typically witty and often derisible tone, the liner notes to Miles Davis In Person Friday and Saturday Nights at The Blackhhawk, San Francisco are compelling not only because they were authored by Gleason, but also because they are comprised of two distinct biographies -– Miles Davis as “social symbol” of the early 1960’s, and The Blackhawk as an “oblong, corner-saloon-with music” that attracted a “most incredible cross section of American society.”
The recording itself was […] Continue reading »