“Transcending the Blues” — a critical essay by Matt Sweeney

     Mac’s Restaurant and Nightclub in Eugene, Oregon is where the blues aficionados in Central Oregon congregate to enjoy Cajun type bar food and dance joyously to pounding, power guitar driven blues.  Our friends Alan and Susan go there a couple times a month to satisfy their boogie dance cravings.  Whenever my wife and I pass through Eugene, we end up at Mac’s with Alan and Susan.  They also attend a lot of blues festivals around their neck of the woods and can be considered connoisseurs.

     I too love the blues.  I also love jazz.  Susan loves the blues.  She does not love jazz, “modern” jazz to be specific.  Susan explains that when she’s dancing at Mac’s, she feels the pounding bass and drums and screaming vocalist and Fender Stratocaster vibrating her bones and muscles and eyeballs.  That’s her heaven.  That’s how she wants to

...

September 3rd, 2018

John Coltrane — musical innovator “with physics at his fingertips”

In a 2016 Business Insider post, the physicist Stephon Alexander – author of The Jazz of Physics:  The Secret Link Between Music and the Structure of the Universe – writes about the connections between John Coltrane, described by Alexander as a “musical innovator, with physics at his fingertips,” and Albert Einstein, who “was an innovator in physics, with music at his fingertips.”

Coltrane’s music, particularly his final three records, helped Alexander realize that improvisation is a characteristic of both music and physics.  “Much like Einstein working with his thought experiments, some jazz improvisers construct

...

July 2nd, 2018

Great Encounters #52: Monk, Hawk, and Coltrane in the studio, 1957

“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.

...

April 19th, 2018

Miles and Coltrane’s final tour together

     In a March 29 post on Slate, Fred Kaplan writes about the newly released bootleg recording of Miles Davis’ quintet (featuring John Coltrane), The Final Tour, a four-CD box set of live concerts in Europe from 1960.  The tour happened a year after the release of Kind of Blue, so many of the tunes played during it is from that classic album.  According the Kaplan, the music found on this Columbia/Legacy set is “radically different” and such a “jarring departure” from the album that “it demands we revise the conventional wisdom about these two musicians (Miles and Coltrane) and fills in some blanks…in the story of jazz, and where it was going, in those pivotal years.”

     Kaplan’s essay includes a critique of the music itself – but of particular interest is his reminder of the

...

April 1st, 2018

Dylan, The Byrds, and John Coltrane

In Robbie Robertson’s entertaining biography Testimony, the rock guitarist tells a short story about a conversation he overheard Bob Dylan having with The Byrd’s Jim (a.k.a. “Roger”) McGuinn concerning John Coltrane’s influence on McGuinn when he wrote “Eight Miles High.” 

The setting was Los Angeles, 1966, during a Dylan tour that employed Robertson and, among others, bandmates Rick Danko and Richard Manuel, who are referred to in the excerpt.  The “Levon” in the story was the drummer Levon Helm, who left the tour after a month out of frustration of playing with Dylan during his initial “electric” period, when folk music purists routinely

...

January 7th, 2018

“The Runner” — a poem (for John Coltrane) by Freddington

The purpose of motion begins,
A clear mind, aware and in focus,
Ahead, the optical pathway lies empty and silent,
Slow at the start, breathing steady,
Stepping through the changes,
Favouring a motif,
Blowing hard,
As the intensity builds,

...

June 18th, 2017

“Alabama: Jack DeJohnette, Ravi Coltrane, Matthew Garrison” — a poem by John McCluskey

                Yes, it is hot,
     night sweats beneath
     Spanish moss and the terror in trees
     now knowing no cover of darkness
     to greet a Sunday morning

     10:22 a.m.
                      under the stairs
                                     16th Street Baptist Church.

     “Three minutes”
     and the siren wails

...

February 19th, 2017

“The Quick Hands of Hampton Hawes” and two other poems by Daniel Shapiro

For years, the autobiography proved elusive,
speeding east like the double-jointed run
that skipped from white keys to black,
soldiers chased from Central Avenue battles.
Then the book took a rest, hiding out
in a nondescript store among academic texts,
tomes whose covers bore geometric shapes.
Cardboard screamed orange, red, and white,
the slow burn of a

...

September 13th, 2016

“Psalm” — a short story by Ian Rictor

     I watch my hand remove the phone from the wall above the couch’s arm and there is a sweat in my ear as I hear a distant Miles Davis. I am called by the distorted voice of Miles Davis rasping my name.

     John, he says, are you busy?

     I let my eyes blur into my mother’s sofa, melting a monotonous no out of my mouth toward the receiver. I feel the room sloshing peacefully in waves around me and the buzzing of my lips from my mouthpiece and reed. My saxophone sits strewn across the floor along with my

...

September 3rd, 2016

Ben Ratliff on John Coltrane

Longtime accomplished New York Times music critic Ben Ratliff has left the paper. He was a terrific writer who had the ability to pique my interest in an artist in short, reliable, and often brilliant reviews.

I had the privilege of meeting him a few times over the telephone and in person. He joined me in a 2003 conversation with Bruce Lundvall and Joshua Redman about the business of jazz music, talked with Paul Morris about his book Jazz: A Critic’s Guide to the 100 Most Important Recordings, and in 2008, we talked about his book on John Coltrane, The Story of a Sound, which is published

...

August 12th, 2016

Universal Consciousness: The Spiritual Awakening of Alice Coltrane

In a brilliant piece titled “Universal Consciousness: The Spiritual Awakening of Alice Coltrane,” Britt Robson writes that “the closer one examines the genuinely phenomenal life, music and spirit of Alice Coltrane, the more inevitable it seems that she will also someday receive her proper due. The most striking aspect of her biography is that she became a master musician and a spiritual guru in the same way, by carrying forth all her accumulated wisdom in a welcoming synthesis, rather than shedding, judging and discriminating her way to ‘growth’ and ‘maturity.'”

This extensive biography focuses on Alice’s musical path, her marriage to John Coltrane, her ensuing spiritual awakening, and her influence on

...

May 23rd, 2016

Liner Notes: The New Wave in Jazz, by LeRoi Jones and Steve Young

On March 28, 1965, a concert benefiting the Black Arts Repertory Theatre/School was held at New York’s Village Gate. Featuring John Coltrane, Archie Shepp, Sun Ra (he played but his music didn’t make the album) and Albert Ayler – artists described by Black Arts Music Coordinator Steve Young as “The Beautiful Warriors” and “magicians of the soul”– the performance was recorded and subsequently released on Impulse Records as The New Wave in Jazz.

This recording is significant for its brilliant “free jazz” performances, but also for Amiri Baraka’s (known as LeRoi Jones at the time) liner notes’ connection of music and politics. It is a reminder of the historic, turbulent times in which this music was created. The Selma to Montgomery marches took place in March, 1965. Malcolm X was assassinated in February. The war in Vietnam was dramatically escalating. And, jazz music was continuing to evolve, the most obvious example being the

...

February 1st, 2016

Gil Scott-Heron and the influence of John Coltrane’s A Love Supreme on his life

Yet more evidence demonstrating the influence John Coltrane’s A Love Supreme has had on musicians…This book excerpt from Marcus Baram’s excellent biography, Gil Scott-Heron: Pieces of a Man demonstrates how Coltrane’s legendary recording “inspired Gil with his mercurial independence in the face of criticism” at a time when the creative artist was contemplating his future as a novelist, poet, musician, and

...

May 13th, 2015

“Traveling Magic” — a short story homage to John Coltrane, by Kay Sexton

In anticipation of the publication of our soon-to-be announced Short Fiction winning story, I reached back into the archives and re-discovered this excellent story by Kay Sexton, “Traveling Magic,” which is a series of scenes all linked by train travel, and an homage to John Coltrane.

_____

Frannie Moore lifts the sax. In the moments before they swing in behind her, the band hear the train sliding its way through the windy city. The noise is subliminal, visceral: if you play here much it becomes part of the music. Frannie breathes deep and opens her heart to the world …

...

February 27th, 2015

Masters of Jazz Photography — Esmond Edwards

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

...

February 19th, 2015

Jazz historian Ashley Kahn wins a Grammy

Congratulations to jazz historian Ashley Kahn, who won a Grammy over the weekend for the liner notes he penned for John Coltrane’s previously unreleased recording, Offering: Live At Temple University. Kahn has mastered the art of telling a story about famous recordings. His Kind of Blue: The Making of the Miles Davis Masterpiece was described by Publisher’s Weekly as “a masterpiece in its own right,” and drummer Elvin Jones wrote that Kahn’s A Love Supreme – The Story of John Coltrane’s Signature Album “reaches a

...

February 10th, 2015

A Moment in Time — John Coltrane and Eric Dolphy, 1961

In 1960, Eric Dolphy told Down Beat magazine, “At home I used to play, and the birds always used to whistle with me. I would stop what I was working on and play with the birds.” This imitation of birds (who, according to Dolphy, sing in “quarter tones”) was embraced by none other than John Coltrane, who said that the addition of Dolphy — and his philosophy — to his quartet “turned [the quartet] all around.” Dolphy’s playing helped set the stage for the music Coltrane would create later.

Also critical was their friendship, which was especially important to Coltrane since he was so consumed at the time by his alcohol and heroin abuse. Quoting a Coltrane friend, John Fraim writes in his 1996 biography Spirit Catcher: The Life and Art of John Coltrane that “outside of Sonny Rollins, Eric Dolphy was his [Coltrane’s] only true

...

December 12th, 2014

“Peace on Earth” — a poem by Michael Harper

Tunes come to me at morning
prayer, after flax sunflower
seeds jammed in a coffee can;
when we went to Japan
I prayed at the shrine
for the war dead broken
at Nagasaki;
the tears on the lip of my soprano
glistened in the sun.
In interviews
I talked about my music’s
voice of praise to our oneness,
them getting caught up in techniques
of the electronic school
lifting us into assault;
in live sessions, without an audience
I see faces on the flues of the piano,
cymbals driving me into ecstasies on my knees,
the demonic angel, Elvin,
answering my prayers on African drum,

...

December 11th, 2014

It was 50 years ago today — the anniversary of the A Love Supreme recording date

Ask just about any jazz musician, scholar or fan for a list of the greatest jazz albums ever recorded, and John Coltrane’s A Love Supreme — recorded 50 years ago today — resides on it. My own first experience with it was in 1975, on a late evening in a dark, smoke-filled, back alley cottage on North Oakland’s Alcatraz Avenue. My listening was guided by a dear friend who understood that this was not just music — it is what happens when musical genius meets intensity, sensitivity, and spirituality. So many details of that evening remain with me 40 years later, not the least of which was how I sunk into the couch, eyes closed, the worn Impulse album jacket never leaving my grip. I was amazed and I was hooked.

Over the years, I have found that a favorite discussion among jazz fans is their recollections of their first experience with this album. When I began developing content for Jerry Jazz Musician, one of the first ideas I had was to interview people who were either

...

December 9th, 2014

A Moment in Time — Monk and Coltrane at the Five Spot, 1957

The Five Spot Café, a club located in New York City’s Bowery neighborhood, was the site of a six month gig for the quartet of Thelonious Monk, John Coltrane, drummer Shadow Wilson, and bassist Wilbur Ware. This engagement — coming on the heels of Monk’s cabaret card reinstatement — marked the merging of two of the most original voices in American music, Monk and Coltrane, in a space where cheap beer and good music attracted some of the city’s most influential artists and writers. Regulars included Larry Rivers, Willem de Kooning, Franz Kline, Jack Kerouac, Frank O’Hara and Allen Ginsberg.

In Thelonious Monk: The Life and Times of an American Original, author Robin D.G. Kelley quotes Five Spot co-owner Joe Termini remembering the impact Monk’s quartet had on his club: “Once we hired Monk, all of a sudden the place was crowded every night. And frankly, in the beginning, I just didn’t understand any of it.”

...

October 30th, 2014

Masters of Jazz Photography — Chuck Stewart

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: Chuck Stewart

...

October 18th, 2014

Masters of Jazz Photography — Herb Snitzer

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: Herb Snitzer

...

August 15th, 2014

Liner Notes: Miles Davis’ ‘Round About Midnight — by George Avakian

For the five years prior to the 1955 recording of ‘Round About Midnight, Miles Davis had, according to John Szwed, author of So What: The Life of Miles Davis, “gained the reputation of an unreliable junkie who blew gigs, missed notes, and couldn’t hold a band together.” It was also a time that Miles would regularly try to convince Columbia Records producer George Avakian to sign him to his label — the era’s gold standard of recording companies. After sorting out his contractual obligation to Prestige Records, Avakian was able to do so. Now, Davis had to put a band together. It is what led to the collaboration of Miles and John Coltrane. Szwed tells the story:

On Tuesday, July 19 [1955], Miles met with Avakian for lunch, bringing along his friend Lee Kraft and his lawyer, Harold Lovett. Bob Weinstock (president of Prestige) had bought the idea of Miles recording for Prestige and Columbia simultaneously. As part of the arrangement for signing with Columbia,

...

June 6th, 2014

Masters of Jazz Photography — Jim Marshall

The great improvisational American jazz musicians of the mid-20th century inspired a generation of photographers to develop a looser, moodier style of visual expression. That evocative approach is on striking display in The Jazz Image: Masters of Jazz Photography. Covering six decades of performers — from Louis Armstrong and Duke Ellington to John Coltrane and Miles Davis — this unique collection is as much a comprehensive catalogue of jazz greats as it is a salute to the photographers who captured them.

Jerry Jazz Musician presents a number of editions of “Master of Jazz Photography,” featuring a work by one of the photographers featured in The Jazz Image

This edition: Jim Marshall

...

February 28th, 2014

Liner Notes: LeRoi Jones on John Coltrane’s Live at Birdland

Political, fiery, critical, poetic, inspirational…All of this shows up in Amiri Baraka’s brilliant liner notes to the 1963 recording of John Coltrane’s Live at Birdland. At the time known as LeRoi Jones, Baraka’s liner notes to this album were the first time the jazz writer Stanley Crouch “had seen that kind of poetic sensibility brought to the discussion of jazz. It was as new to me as the way Coltrane and his band were reinventing the 4/4 swing, blues, ballads, and Afro-Hispanic rhythms that are the four elements essential to jazz…His was the first Negro voice that sailed to the center of my taste by combining the spunk and the raw horrors of the sidewalk with the library, for an elegant manhandling of the form.”

These notes were written at the time of Jones’ 1963 Down Beat essay “Jazz and the White Critic,” which, in the words of Blowin’ Hot and Cool: Jazz and its Critics author John Gennari, was a “challenge to jazz writers of all backgrounds to reckon with the lived experience of black Americans and to consider how this experience had been embedded in the notes, tones, and rhythms of the music.” Keep that in mind when reading these notes…

...

January 31st, 2014

Great Encounters #32: The night Bill Cosby and John Coltrane played Birdland together

As told by J.C. Thomas in Coltrane: Chasin’ the Trane


Bill Cosby used to hang out at Birdland in the days when he was known as the young black comic who didn’t tell racial jokes and specialized in comedy sermons such as his hilarious, poignant version of Noah.

When Cosby walked into the club, he’d often joke with manager Johnnie Gary; sometimes the two of them would still be talking when Coltrane arrived. The saxophonist then pulled out peanuts from his pocket, still in their shells, and offered them to both. Then Coltrane would continue on to the dressing room,

...

January 28th, 2014

“Coltrane, Dig?” — a poem by Ed Coletti

Coltrane, Dig?

I suppose what it is with trane and me is
he takes all the time he wants to take
even outside of time, sidereal time,
stardust time, bessie blue time,
through-and-through-him time,
trancey groove time, even arranged time.

...

October 19th, 2013

Ben Ratliff, author of Coltrane: The Story of a Sound

What was the essence of John Coltrane’s achievement that makes him so prized forty years after his death? What was it about his improvising, his bands, his compositions, his place within his era of jazz that left so many musicians and listeners so powerfully drawn to him? What would a John Coltrane look like now — or are we looking for the wrong signs?

The acclaimed jazz writer Ben Ratliff addresses these questions in Coltrane. First Ratliff tells the story of Coltrane’s development, from his first recordings as a no-name navy bandsman to his last recordings as a near-saint, paying special attention to the last ten years of his life, which contained a remarkable series of breakthroughs in a nearly religious search for deeper expression.

...

June 9th, 2013

“ON GREEN DOLPHIN STREET” [after Miles Ahead], a poem by Michael Harper

“ON GREEN DOLPHIN STREET” [after Miles Ahead]

by Michael Harper

Even before R.B.S.’borrowed’ his mother Ann’s &nbsp Jazztrack album
I’d given this Miles “signature piece” to my own mother & father

She’d smile as I plucked the “repeat button” avoiding”his” baby grand piano
then I switched to “Stella By Starlight” in the slowest of tempos &nbsp so they

...

March 22nd, 2007

Stanley Crouch, author of Considering Genius: Writings on Jazz

Stanley Crouch — MacArthur “genius” award recipient, co-founder of Jazz at Lincoln Center, National Book Award nominee, and perennial bull in the china shop of black intelligentsia — has been writing about jazz and jazz artists for over thirty years. His reputation for controversy is exceeded only by a universal respect for his intellect and passion. As Gary Giddins notes: “Stanley may be the only jazz writer out there with the kind of rhinoceros hide necessary to provoke and outrage and then withstand the fulminations that come back.”

...

September 10th, 2006

Ashley Kahn, author of The House That Trane Built: The Story of Impulse Records

Following the path of its star musician John Coltrane, Impulse Records cut a creative swath through the 1960s and 1970s with the politically charged avant-garde jazz that defined the label’s musical and spiritual identity. Ashley Kahn’s The House That Trane Built tells the story of the label, balancing tales of individual passion, artistic vision, and commercial motivation.

...

July 29th, 2006

Great Encounters #2: When Miles Davis hired John Coltrane

Excerpted from A Love Supreme: The Story of John Coltrane’s Signature Album, by Ashley Kahn

Miles Davis was desperate. He was in the midst of preparing for his first national tour arranged by a high-powered booking agent, and Columbia Records — the most prestigious and financially generous record company around — was looking over his shoulder, checking on him. “If you can get and keep a group together, I will record that group,” George Avakian, Columbia’s top jazz man, had promised. To Miles, an alumnus of Charlie Parker’s groundbreaking bebop quintet, “group” still meant a rhythm trio plus two horn players, but he still had only one: himself.

...

February 22nd, 2004

John Szwed, author of So What: The Life of Miles Davis

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.

...

January 27th, 2003

“The A Love Supreme Interviews” — Ashley Kahn, author of A Love Supreme: The Story of John Coltrane’s Signature Album

A successful recording generally entertains and communicates passion on an earthly, mortal level. We typically respond to an effective performance by humming the melody, tapping our feet, and sharing it with friends. It might even “stomp the blues,” as the critic Albert Murray suggests.

Few recordings, however, actually challenge a listener to address one’s personal essence.

...

September 16th, 2002

Jazz Photographer Lee Tanner discusses his life in jazz

Lee Tanner began using a camera as a teenager in New York City. An avid jazz fan from the age of eight and inspired by the jazz photography of Gjon Mili, Bill Claxton, Herb Snitzer, and Herman Leonard, he turned to documenting the jazz scene with a love for the music comparable only to his creative drive for visual expression. Photography, however, was only an avocation.

...

July 29th, 2002

Conversations with Gary Giddins: on John Coltrane

Village Voice writer Gary Giddins, winner of the National Book Critics Circle Award, and who is the country’s eminent jazz critic, joins us in a June 21, 2002 conversation about jazz great John Coltrane.

...

June 21st, 2002

The A Love Supreme Interviews: Poet Michael Harper discusses John Coltrane

Brown University professor Michael Harper, the first Poet Laureate of the State of Rhode Island, and author of the National Book Award nominated collection, Dear John, Dear Coltrane, discusses John Coltrane and reads his poems.

...

January 24th, 2002

The A Love Supreme Interviews: Saxophonist Joshua Redman on John Coltrane

Joshua Redman entered the jazz world with tons of expectation and perhaps an unreasonable amount of hope. Pat Metheny went so far as to suggest Redman is “the most important new musician in twenty years.”

While Metheny’s point can be argued, Redman has created some of the most consistently compelling jazz during the last ten years. His music borrows from a storied past and experiments with an elegant future.”

While Metheny’s point can be argued, Redman has created some of the most consistently compelling jazz during the last ten years. His music borrows from a storied past and experiments with an elegant future.

...

December 12th, 2001

Francis Davis on his career as a critic, and on John Coltrane

Philadelphian Francis Davis is the author of several books, including The History of the Blues, Bebop and Nothingness and a forthcoming biography of John Coltrane. A contributing editor of The Atlantic Monthly, he also writes regularly about music for the New York Times, among others.

...

December 10th, 2001

Nat Hentoff: on his life as a jazz critic, and memories of John Coltrane’s A Love Supreme

Nat Hentoff was born in Boston in 1925 and lived there until he moved to New York City at the age of twenty-eight. For many years he has written a weekly column for the Village Voice. His column for the Washington Times is syndicated nationally, and he writes regularly about music for the Wall Street Journal. His numerous books cover subjects ranging from jazz to civil rights and civil liberties to First Amendment issues.

...

November 20th, 2001

The A Love Supreme Interviews: pianist McCoy Tyner

Few musicians have had the impact on the world of music that McCoy Tyner has. His sound has influenced pianists in each of his six decades as a performer. Noted jazz critic Scott Yanow says, “Along with Bill Evans, Tyner has been the most influential pianist in jazz of the past 40 years with his chord voicings being adopted and utilized by virtually every younger pianist.”

While his career continues to move ahead, he will forever be best known as the pianist in John Coltrane’s famed Quartet of the early 1960’s, a group long since recognized as the ultimate jazz combo, whose eclectic, spirited work constantly demanded listeners to reach well beyond their safest star. A Love Supreme, recorded in 1964, is a landmark in music, and to this day the centerpiece to the Quartet’s vast, unparalled universe.

...

November 8th, 2001

John Fraim, author of Spirit Catcher: The Life and Art of John Coltrane

Author John Fraim is a very interesting man. Taking on a subject like John Coltrane is not a left-brain experience. He knew wisdom and historical perspective were required before writing about a complex, musical prophet, and wrote this biography the way Coltrane lived his life…In his award-winning book, Spirit Catcher, The Life and Art of John Coltrane, he presents Coltrane’s life as spiritual quest, and in it creates a piece of art not often found in biographical form.

...

October 29th, 1999

In This Issue

Jeffrey Stewart, National Book Award and Pulitzer Prize-winning author of The New Negro: The Life of Alain Locke, is interviewed about Locke (pictured), the father of the Harlem Renaissance.

Also in this issue…A new collection of jazz poetry; "On the Turntable," a new playlist of 19 recommended recordings by five jazz artists; three new podcasts by Bob Hecht; a new “Great Encounters”; several short stories; the photography of Veryl Oakland and Charles Ingham; a new Jazz History Quiz; and lots more…

On the Turntable

This month, a playlist of 19 recently released jazz recordings, including those by Branford Marsalis, Joe Martin, Scott Robinson, Allison Au and Warren Vache

Poetry

In a special collection of poetry, eight poets contribute seventeen poems focused on stories about family, and honoring mothers and fathers

The Joys of Jazz

In this new volume of his podcasts, Bob Hecht presents three very different stories; on Harlem Stride piano, Billy Strayhorn's end-of-life composition "Blood Count," and "Lester-ese," Lester Young’s creative verbal wit and wordplay.

Short Fiction

We had many excellent entrants in our recently concluded 50th Short Fiction Contest. In addition to publishing the winning story on March 11, with the consent of the authors, we have published several of the short-listed stories...

“What are some of your all-time favorite record album covers?”

Gary Giddins, Jimmy Heath, Fred Hersch, Joe Hagan, Maxine Gordon, Neil Tesser, Tim Page, Veronica Swift and Marcus Strickland are among the 25 writers, musicians, poets, educators, and photographers who write about their favorite album cover art

Art

“Thinking about Homer Plessy” — a photo narrative by Charles Ingham

Jazz History Quiz #127

Before his tragic early death, this trumpeter played with Max Roach, Abbey Lincoln, and John Coltrane, and most famously during a 1961 Five Spot gig with Eric Dolphy (pictured). Who is he?

Great Encounters

In this edition, Bob Dylan recalls what Thelonious Monk told him about music at New York’s Blue Note club in c. 1961.

Art

Jerry Jazz Musician regularly publishes a series of posts featuring excerpts of the photography and stories/captions found in Jazz in Available Light by Veryl Oakland. In this edition, Mr. Oakland's photographs and stories feature Stan Getz, Sun Ra, and Carla Bley.

Interviews

Romare Bearden biographer Mary Schmidt Campbell discusses the life of the important 20th century American artist

Cover Stories with Paul Morris

In this edition, Paul writes about jazz album covers that offer glimpses into intriguing corners of the culture of the 1950’s

Coming Soon

Michael Cuscuna, the legendary record producer and founder of Mosaic Records, is interviewed about his life in jazz...Award-winning photographer Carol Friedman, on her career in the world of New York jazz photography

In the previous issue

Maxine Gordon, author of Sophisticated Giant: The Life and Legacy of Dexter Gordon, talks about her book, and the complex life of her late husband.

Also in this issue…A new collection of jazz poetry; "On the Turntable," a new playlist of 22 recommended recordings by seven jazz artists; three new podcasts by Bob Hecht; a new “Great Encounters”; several short stories; the photography of Veryl Oakland and Charles Ingham; a new Jazz History Quiz; and lots more…

Contributing writers

Site Archive