The convergence of poetry and jazz has long been a part of the counterculture, and it has always interested me. An early interview I did for Jerry Jazz Musician was with David Amram, once known as Jack Kerouac’s musical collaborator. In the interview he talked about Kerouac’s love of music, telling me that “he had an enormous memory for music and for jazz and the classics. He could sing the melodies from different Haydn and Beethoven string quartets. He was like an encyclopedia of music and classic literature from Europe. He also had an enormous knowledge of Buddhism. He had a tremendous knowledge of Judaism, as well as the writings from the Old and New Testaments as well as from the Mass. He had this knowledge of so many different things. When he was reading, I would submerge myself into whatever it was he was reading, and I tried to anticipate what would happen next.”
So, the collaboration of words and music is fascinating, and has deep and intellectual roots. It was the basis for my interest in an email I received a while ago from reed player Kevin Flanagan who, like Kerouac, is a Lowell, Massachusetts native. Flanagan’s Riprap Quartet recordings, he informed me, “feature compositions by the band setting the works of Pulitzer Prize winning-poet Gary Snyder” and is […] Continue reading »
Breaking into the white market without losing his African-American vernacular identity was an amazing achievement for Louis Armstrong — particularly during his era. I talk about this in an excerpt from my recent interview with Thomas Brothers, author of Louis Armstrong: Master Of Modernism.
JJM In the winter of 1925 – 26, while making a name for himself at classy venues like the Dreamland Café and the Vendome Theater, Armstrong was also extending his reputation thanks to the Hot Five series on OKeh Records. The recordings sold in Chicago, but the main target audience was African Americans in the Deep South, where “race records” were immensely popular. What was OKeh’s marketing strategy for this series?
TB Yes, they certainly sold in Chicago, and they sold in all northern cities where there were African-American communities from the Great Migration. The target of these “race records” was of course to appeal to the African-American mass audience, and to do so in a low-budget way. They were not interested in paying musicians any royalties – they would get a flat fee […] Continue reading »
In Louis Armstrong: Master of Modernism, Thomas Brothers picks up where he left off with the acclaimed Louis Armstrong’s New Orleans, following the story of the great jazz musician into his most creatively fertile years in the 1920s and early 1930s, when Armstrong created not one but two modern musical styles. Brothers wields his own tremendous skill in making the connections between history and music accessible to everyone as Armstrong shucks and jives across the page. Through Brothers’s expert ears and eyes we meet an Armstrong whose quickness and sureness, so evident in his performances, served him well in his encounters with racism while his music soared across the airwaves into homes all over America.
Brothers discusses his book with Jerry Jazz Musician publisher Joe Maita in an April, 2014 interview. […] Continue reading »
For years, we have published exclusive interviews with prominent historians on a variety of figures and topics essential to American history that can also be put into the “American American History” category. Some examples:
Biographers discuss John Coltrane, Miles Davis, Charlie Parker, Louis Armstrong, Fletcher Henderson, Thelonious Monk, W. C. Handy, Cab Calloway, Sam Cooke, Lena Horne, Dizzy Gillespie, Dinah Washington, Robert Johnson, Bessie Smith, Lester Young, Charles Mingus, Bud Powell, Jelly Roll Morton, Billie Holiday, Sonny Rollins, and Josephine Baker
Historians — including National Book Award and Pulitzer Prize winners — talk about the lives of Rosa Parks, Ralph Ellison, Madame C.J. Walker, Zora Neale Hurston, Richard Wright, Reverend C.L. Franklin, Bayard Rustin, the Reverend Ralph Abernathy, and the events of the Tulsa race riots of 1921, 1960′s Birmingham, Alabama
Including interviews about Satchel Paige, The Harlem Globetrotters, Joe Louis, Negro League Baseball, Jack Johnson, Curt Flood and Jacke Robinson
There are countless other interviews and subjects to be discovered…If you are looking to do research for papers or to simply enjoy a favorite topic of history, we invite you to click here to get to a comprehensive list of interviews. Alternatively, you can find these interviews by doing a basic search. […] Continue reading »
Marc Myers is a busy guy…In addition to being a frequent contributor to the Wall Street Journal (where he writes about jazz, rock, and other culture), he also posts daily on his award-winning blog Jazz Wax and travels around the world promoting his pursuits. Perhaps his most important contribution is his book Why Jazz Happened, described by his publisher (University of California Press) as “the first comprehensive social history of jazz.” Myers’ perspective is fresh and thorough and wonderfully entertaining. For those who love the history of this music, it should be on your night table.
I recently interviewed Myers about his book, which he took the time to converse in great detail about — topics like how the G.I. Bill altered the direction of jazz; the advent of the extended jazz solo that came with the introduction of the LP; and how the suburbanization of Southern California ushered in a new harmony-rich jazz style in contrast to the music played in urban markets. It is a great read!
What follows is part conversation/part history class about Myers’ fascinating cultural study of why, in his opinion, “jazz happened.” […] Continue reading »
Described by the New York Times as a “bebop Beowulf,” Stanley Crouch’s Kansas City Lightning: The Life and Times of Charlie Parker is a love song to the life and times of Bird, one of jazz music’s most critically important figures. Mr. Crouch, himself an essential participant in both contemporary criticism and in the delivery of live performance (through his work with Jazz at Lincoln Center), discusses his long-anticipated biography with Jerry Jazz Musician in a recently conducted interview. […] Continue reading »
I am delighted to report that I have scheduled an interview with Stanley Crouch, author of Kansas City Lightening, The Rise and Times of Charlie Parker, and for many years one of jazz music’s most outspoken and influential intellectuals. The interview will take place later this month, and my hope is to publish it over the holidays.
We recently published an excerpt from the first chapter of his book…In case you missed it, here it is again. Crouch describes the scene in New York’s Savoy Ballroom when Jay McShann (Parker on alto) dueled Lucky Millinder’s band, as well as Parker’s need for getting high, and doing so prior to the evening’s performance… […] Continue reading »
Marc Myers is a busy guy…In addition to being a frequent contributor to the Wall Street Journal (where he writes about jazz, rock, and other culture), he also posts daily on his award-winning blog Jazz Wax. Perhaps his most important contribution is his book Why Jazz Happened, described by his publisher (University of California Press) as “the first comprehensive social history of jazz.” Myers’ perspective is fresh and thorough and wonderfully entertaining. For those who love the history of this music, it should be on your night table.
I recently interviewed Myers about his book, which he took the time to converse in great detail about — topics like how the G.I. Bill altered the direction of jazz; the advent of the extended jazz solo that came with the introduction of the LP; […] Continue reading »
We recently published an interview with Guthrie Ramsey, author of The Amazing Bud Powell: Black Genius, Jazz History, and the Challenge of Bebop, a thought provoking read that explores the history of jazz and jazz criticism through the life of the bop legend. In this interview excerpt, Ramsey discusses the concept of jazz manhood and how bop’s move from Harlem to 52nd Street impacted the way the music was critiqued. […] Continue reading »
Bud Powell was not only one of the greatest bebop pianists of all time, he stands as one of the twentieth century’s most dynamic and fiercely adventurous musical minds. His expansive musicianship, riveting performances, and inventive compositions expanded the bebop idiom and pushed jazz musicians of all stripes to higher standards of performance. Yet Powell remains one of American music’s most misunderstood figures, and the story of his exceptional talent is often overshadowed by his history of alcohol abuse, mental instability, and brutalization at the hands of white authorities. […] Continue reading »