“Great Encounters” are book excerpts that chronicle famous encounters among twentieth-century cultural icons. In this edition, Art Blakey tells a story of Thelonious Monk, Coleman Hawkins and John Coltrane that took place during the 1957 recording session of Monk’s Music.
In Martin Torgoff’s brilliant new book Bop Apocalypse — an extensive exploration of the connections of jazz, literature and drugs, and how drugs impacted the lives and work of people like Charlie Parker, Jack Kerouac, Lester Young, William Burroughs and Allen Ginsberg — Torgoff devotes a chapter to Billie Holiday’s struggle with drug abuse, and the public airing of it when her 1956 autobiography Lady Sings the Blues was published.
While her book had errors that have since caused critics and biographers to cast doubt on the book’s veracity, as Torgoff writes, in many respects, “the book is remarkably frank about her early years in Baltimore and her time as a prostitute. It is also replete with information about her
“Liner Notes for ‘Stardust’ — In Seven Choruses” is a cycle of short poems framed as imaginary liner notes and prompted by poet Doug Fowler’s favorite musical covers of Hoagy Carmichael’s “Stardust.” In essence, according to Fowler, they are “imaginary liner notes for a real song about an imaginary song about love.”
The cycle is also partially a tribute to Chu Berry, who died as the result of a car accident in Conneaut, Ohio, in 1941, not far from where Fowler lives.
In honor of the late jazz photographer Lee Tanner, Jerry Jazz Musician presents a number of editions of “Master of Jazz Photography,” featuring a work by one of the photographers featured in Tanner’s book The Jazz Image.
This edition: Esmond Edwards […] Continue reading »
Thanks to this week’s public airing of the racist thoughts attributed to Donald Sterling — the Neanderthal owner of the Los Angeles Clippers — bigotry, hatred and ignorance have been on full display this week. Sterling’s discussion with his equally insipid companion is most obviously insulting and hurtful to African Americans, but it is also abhorrent to everyone who had the courage to challenge the thinking of fellow members of the boomer generation — as well as (and especially) those in our parents’ generation — who grew up in a world of segregation, taking part in or witnessing the insensitivity and bigotry that is a product of it on a daily basis.
At times like this it is helpful to be reminded of moments in our history when heroic community leaders and artists encouraged our society to rise above the Donald Sterling’s of the world […] Continue reading »
In cooperation with Lee Tanner, author of The Jazz Image: Masters of Jazz Photography, Jerry Jazz Musician presents “Master of Jazz Photography,” featuring a work by one of the photographers featured in The Jazz Image.
This edition: Herb Snitzer
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If Benny Goodman was the “King of Swing,” then Fletcher Henderson was the power behind the throne. Not only did Henderson arrange the music that powered Goodman’s meteoric rise, he also helped launch the careers of Louis Armstrong and Coleman Hawkins, among others. In Fletcher Henderson and Big Band Jazz: The Uncrowned King of Swing, Jeffrey Magee offers a fascinating account of this pivotal bandleader, throwing new light on the emergence of modern jazz and the world that created it. […] Continue reading »
Excerpted from Lester Leaps In: The Life and Times of Lester “Pres” Young, by Douglas Henry Daniels
(Lester) Young earned recognition for being not only a stylist but a saxophone “freak” – not a pejorative term at all but rather a comment on his unparalleled virtuosity. He “could make a note anywhere” on his instrument. Certain notes were usually produced by depressing specific keys or combinations of keys on the saxophone (or valves on the trumpet and cornet), but “freaks” found ways to defy convention and orthodoxy by means of “false fingerings” and adjustments of the mouth and lips, or embouchure. The trombonist-guitarist Eddie Durham explained that “Coleman Hawkins and Chu Berry and those guys, they fingered it correctly with what they were doing.
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More than half a century after his bebop debut, and more than eleven years after his death, Miles Davis lives on. His music is used to pitch jeans, shape films, and personify an era. To this day, he is revered as the archetype of cool.
While several books have been written about Davis, including his own autobiography, due to his passion for reinvention and his extreme reticence the real story of Miles Davis has been obscured by the legend and widely misunderstood. […] Continue reading »
In Stardust Melodies: A Biography of Twelve of America’s Most Popular Songs, author Will Friedwald takes these legendary songs apart and puts them together again, with unprecedented detail and understanding. Each song’s history is explored — the circumstances under which it was written and first performed — and then its musical and lyric content. […] Continue reading »