Like syrup on pancakes,
His solos pour out,
Languid and melodic,
Effortless at any tempo.
A sweetheart tone,
Like syrup on pancakes,
In this June, 1964 Down Beat Blindfold Test hosted by pianist, composer, producer and journalist Leonard Feather — who created this famed feature and first published it in the late 1930’s in Melody Maker — the ears of Miles Davis are tested.
Although Feather writes in the introduction that Davis “does not have an automatic tendency to want to put everything down,” he appeared to be in rare form on this date. His remarks are brilliant, blistering, biting, sarcastic, insulting…and that’s just in his comments on the first record! Miles take aim at artists and record companies, musical styles and
“Great Encounters” are book excerpts that chronicle famous encounters among twentieth-century cultural icons. This edition tells the star-crossed story of the 1964 recording session featuring Verve saxophonist Stan Getz and pianist Bill Evans, issued as Stan Getz and Bill Evans.
Excerpted from Bill Evans: How My Heart Sings by Peter Pettinger
In 1961 Metro-Goldwyn-Mayer had purchased Verve Records from Norman Granz. Creed Taylor became the new executive director, and made a number of crucial policy decisions, including the sacking of the majority of Verve’s contract artists. One of a handful to survive was Stan Getz, who had been recording for the company since […] Continue reading »
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 […] Continue reading »
After playing a 1950 concert with a pick-up rhythm section, Stan Getz hired the trio. The trio included Walter Bolden on drums and Joe Calloway on bass. Who was the trio’s pianist?
Horace Silver […] Continue reading »
It is a photo of the arrest of one man — and Stan Getz’s career is fortunately not defined by this arrest — but it is an image of a generation of jazz musicians hooked on drugs, and would cause Martin Torgoff, author of Can’t Find My Way Home: America in the Great Stoned Age, 1945 – 2000 to devote an entire chapter of his book on the scourge, calling it “Bop Apocalypse.” “The craving necessity of a constant supply alone would drive many to crime and humiliation and self-destruction,” Torgoff writes. “Sonny Stitt would steal and pawn every musician’s horn he could get his hands on; Red Rodney would invent elaborate criminal scams […] Continue reading »
So Much To Do, So Little Time To Do It In
For Michel Petrucciani
A little man, glass bones disease.
A la Lautrec: two prodigies.
At thirty-six his lungs gave out.
We cried, we would not be consoled.
[…] Continue reading »
Excerpted from Deep in a Dream: The Long Night of Chet Baker by James Gavin
On August 12, the (Baker) quartet made its earliest known live appearance in a concert at LA’s Carlton Theater. But not everybody trusted Baker to stand on his own. With (Gerry) Mulligan in jail, John Bennett had paired Baker with Stan Getz, another baby-faced wunderkind whose feathery, cascading solos, even more detached than Baker’s, had made him a fellow prince of West Coast cool. Getz had won the 1952 tenor polls in Down Beat and Metronome by a landslide, while Baker still ranked low in the trumpet categories. The two addressed each other politely enough, but they loathed each other almost on sight, as their live duo recordings suggest: […] Continue reading »