Paul Morris is an avid Portland, Oregon record album collector who, in his words, will “share his enthusiasm for the artists who created album covers in the ‘40′s and ‘50′s.” In addition to being a collector of the art, he is a scholar of it. This edition retruns to the work of Alex Steinweiss, when he used the pseudonym “Piedra Blanca.” […] Continue reading »
It’s light on silver-black and white,
Grainy footage of a smoky room,
A woman at the keys. A spotlight
As perfectly round as the moon
Frames her form. She picks at a tune.
This is jazz, now, it’s uncertain.
Her fingers stop, hover, resume.
She stands, walks behind a curtain.
Years later — in color now –her
Faith allows her to break that long
Silence, permits her to […] Continue reading »
As part of its 75th Anniversary celebration, Blue Note records has announced that it has “donned our lab coats” and worked with “a team of dedicated and groovy engineers” in an all-out effort to release 100 “essential remastered jazz albums” on vinyl, beginning with the March 25 release of Art Blakey Free For All, John Coltrane Blue Train, Eric Dolphy Out To Lunch, Wayne Shorter Speak No Evil, and Larry Young Unity. Future vinyl releases are expected on a monthly basis, and will feature “modern classics” as well, including Joe Lovano Quartet: Live At The Village Vanguard, Jason Moran Soundtrack To Human Motion, Terence Blanchard Flow, Medeski Martin & Wood Combustication, and Cassandra Wilson Traveling Miles.
The vinyl release is just part of the news reported in their February 28 press release. “On the same date,” the release states, “the GRAMMY Museum in Los Angeles will launch Blue Note Records: The Finest In Jazz, a one-of-a-kind exhibit offering visitors an in-depth look at the legendary record label through music, album artwork, photographs, artifacts, […] Continue reading »
What sax player initially turned from the alto to the tenor sax in a purported effort to escape his image as a follower of Charlie Parker?
Growing up in the San Francisco Bay area in the 1960′s and early 1970′s afforded me access to incredible, cutting-edge radio. It was the height of the progressive FM radio era, and no station in the country understood its market opportunity better than KSAN, rock radio legend Tom Donohue’s creation that gave a musical platform to breaking local and national acts who remain the backbone of the “classic rock” radio format.
international acts who remain the backbone of the “classic rock” radio format.
While the bulk of the programming exposed rock and roll recordings introduced by the local hip DJ (the voice of Bob McClay referring to KSAN as the “Jive 95″ lives on in my unconscious), for a year or two I looked forward with great enthusiasm to the Sunday evening jazz show hosted by Orrin Keepnews, the co-founder of New York’s Riverside Records — by then long in bankruptcy but whose recordings were already a staple of recorded jazz history. His shows weren’t solely responsible for introducing me to the artists on his labels (including Milestone at the time — an offshoot of Berkeley’s Fantasy Records, where Keepnews was head of A & R), but they were a culprit for perpetuating my curiosity of them.
[…] Continue reading »