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 »
This pianist was Billie Holiday’s regular accompanist during her last two years (1957 – 1959), and also played in the Eric Dolphy-Booker Little Quintet that recorded extensively at New York’s Five Spot in 1961. Who is he?
Go to the next page for the answer!
[…] 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 »
Lazy humid Lake Pontchartrain
breezes slip sideways
through turquoise louvered doors
past a cat, on a stool with its legs hanging
like green tangled moss
as the man, deep with pillow worship
lays still, breathing soft, his hands open and flat
holds court with dreams of last night
the jazz holding tight
the band cutting through
[…] Continue reading »