In an essential jazz history book Jazz, co-written by Gary Giddins and Scott DeVeaux, the authors describe Ornette Coleman as being “universally revered as one of American music’s most original figures,” and whose influence is “beyond calculation.” In addition to his musical significance, his six albums recorded for Atlantic Records from 1959 – 1961 “generated a cultural storm, not least for album titles that continued to lay emphasis on the group’s challenging attitude, which — without once mentioning the civil rights struggle — seemed to incarnate the authority of the New Negro: The Shape of Jazz to Come, Change of the Century, This is Our Music, and Free Jazz.” Those Atlantic albums are creative and emotional landmarks, and for open-minded musicians and listeners, continue to be indispensable material for measuring our respective aesthetic boundaries.
The importance of these recordings heightens the influence of their liner notes. But, which liner notes best characterize Ornette Coleman’s work on Atlantic? Focusing on the first three of the recordings, in the liner notes to the first, […] Continue reading »
I am in the early stages of reading pianist Hampton Hawes’ 1972 autobiography (written with Don Asher) Raise Up Off Me, which Gary Giddins called, in his introduction, “the first book to give an insider’s view of the most provocative and misunderstood movement in jazz — the modernism of the ’40s, bebop.” It is incredibly entertaining and a witty, lucid, and smart read.
In a paragraph representative of the book’s quality, Hawes writes about his respect for and appreciation of his instrument’s dependability:
The piano was the only sure friend I had because it was the only thing that was consistent, always made sense and responded directly to what I did. Pianos don’t ever change. Sittin’ there every day. You wanna play me, here I am. The D is still here, the A flats still here, they’re always going to be there and it don’t matter whether it’s Sunday, Ash Wednesday or the Fourth of July. Play it right and it comes […] Continue reading »
O you sweet be-
you’re too cool for me
sitting there perched
in your wild catbird seat
with your sleek black
beatnik goatee &
pulled down low over
your hot orange
djellabiya while you
spill out shrill jazz
riffs and raffs
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“Perhaps the hours of greatest pleasure in my life have come about as a result of the capacity of the piano to be in itself a complete expressive musical medium. In retrospect, I think that these countless hours of aloneness with music unified the directive energy of my life. At those times when I have achieved this sense of oneness while playing alone, the many technical or analytic aspects of the music happened of themselves with positive rightness which always served to remind me that to understand music most profoundly one only has to be listening well. Perhaps it is a peculiarity of mine that despite the fact that […] Continue reading »
This popular music singer once sang backup with her vocal group the Pied Pipers in Tommy Dorsey’s band and occasionally performed under the pseudonym “Darlene Edwards.” By 1955, she had sold more records than any other female artist, and one of her songs was the first record by a woman to reach #1 on the U.K. Singles Chart. Who is she?
[…] Continue reading »