On the Turntable: Buddy DeFranco and Oscar Peterson Play George Gershwin

. . The 1954 recording Buddy DeFranco and Oscar Peterson Play George Gershwin (Norgran) was produced by Norman Granz, and includes the guitarist Herb Ellis, the bassist Ray Brown, the drummer Bobby White, as well as Russ Garcia and His Orchestra . ___ . …..In his new book, Summertime: George Gershwin’s Life in Music, the … Continue reading “On the Turntable: Buddy DeFranco and Oscar Peterson Play George Gershwin

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December 30th, 2019

“On the Turntable” — June, 2019 edition

  . .   . _____     . .   New Jazz Music Recommendations . .     While much of the listening for this month’s edition of “On the Turntable” took place, as always, while walking the sidewalks and paths of Northeast Portland neighborhoods and parks, much of it also took place during … Continue reading ““On the Turntable” — June, 2019 edition”

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May 31st, 2019

“On the Turntable” — May, 2019 edition

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

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May 4th, 2019

“On the Turntable” — April, 2019 edition

This month, 22 recently released jazz recordings are recommended, including those by Chris Potter, Sons of Kemet, Joey DeFrancesco, Stephan Crump, Julian Lage, Antonio Sanchez and Brittany Anjou

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April 4th, 2019

On the Turntable — March, 2019 edition

A month of walking the dog around the (often frigid) park, ear buds in place, resulted in lots of interesting. discoveries from artists known and unknown (at least to me).   This month, an eclectic blend of 18 recently released recordings from all over the globe.

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March 5th, 2019

On the Turntable, February, 2019

Recommended listening…20 recently released jazz tunes by, among others, Brad Mehldau, Matt Penman, Ethan Iverson/Mark Turner, Ben Wendel, Julian Lage, and Don Byron

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February 5th, 2019

On the Turntable — “Sophisticated Giant,” by Dexter Gordon

I will soon be interviewing Ms. Maxine Gordon, author of Sophisticated Giant:  The Life and Legacy of Dexter Gordon, whose biography of her late husband is a creatively and beautifully told account of the essential mid-20th century saxophonist.

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January 22nd, 2019

On the Turntable — January, 2019 edition

. . .   . I am having time to listen to new music more regularly these days, and finding great pleasure in many of the “grooves.”  (Full disclosure…investing $10 per month in a Spotify account — while not the sensual experience of laying the needle on the vinyl — effortlessly gets your ears to … Continue reading “On the Turntable — January, 2019 edition”

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January 7th, 2019

“It’s Too Darn Hot”

In June of 2017, the American president chose to leave the Paris climate agreement because, he said at the time, it is an agreement that “disadvantages the United States to the exclusive benefit of other countries.”  It seems that climate change knows no borders, and nobody benefits from our dear leader’s willful ignorance — witness the record heat and fires across the U.S., and indeed now all over the globe.

Oh well, we too can willfully ignore climate change today by finding a cool corner of our world and cranking up Cole Porter’s “It’s Too Darn Hot,” a song written for the Broadway musical “Kiss Me Kate” in 1948, and made famous by

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August 9th, 2018

On the Turntable — Miles Ahead

I have been fortunate – thus far – to have avoided the many summer colds going around this season, but I have been afflicted, once again, by “Miles Fever.”  Every so often, I am struck by an irresistible urge to dig into the catalog of this artist so present during virtually every season of my life, and rediscover the thrill of his sound, and of his cultural significance.   

I contracted the virus this morning, and spent the morning (in bed, of course) listening to Miles Ahead, the 1957 recording featuring Miles Davis and 19 musicians under the direction of Gil Evans – his first collaboration with Miles since the Birth of the Cool sessions of 1950, and one of his earliest recordings for Columbia Records.  An early example of

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July 23rd, 2018

“Kenny Dorham: Be-Bop royalty from East Austin”

      Being retired allows the occasional opportunity to lay around and revisit favorite music.  Today was such a day…

     My key takeaway from today is a reminder that the late trumpeter Kenny Dorham’s music absolutely smokes!  For evidence of this, revisit his 1961 album Whistle Stop (including Hank Mobley on tenor) which jazz critic Gary Giddins calls “one of the great jazz albums,” and Una Mas from 1963, featuring the recording debut of tenor saxophonist Joe Henderson.   

      In the midst of all this listening, I ran across a colorful and short web biography of Dorham, a native of Austin, Texas.  Written in the late-2000’s by

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August 15th, 2017

“Peace Piece” — for musical escape

To understate the obvious, our world has not been the same since January 20.  Science has become fiction, democratic institutions are being threatened, global relationships that have been nurtured for generations are devalued and misunderstood, and our world is in complete turmoil.  Like Hillary or not (and God, how I liked her – her grace, intelligence, experience, resilience, strength, and compassion – all qualities we are starved for today), it is tough to argue with what is now clearly the most honest assessment of Donald Trump during the campaign, when she said, “A man you can bait with a tweet is not a man we can trust with nuclear weapons.”  Alas, this most basic and obvious warning — which should have elicited a major national conversation before the election — got lost in the noise of campaign coverage more concerned with her oh-so-scandalous emails!  

So this is where we are, living on the brink of catastrophic war due to our man-child president’s narcissism, his endless lies, and his addiction to

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August 10th, 2017

Revisiting “One For Daddy-O”

I’ve been revisiting some favorite recordings this week, among them the classic 1958 Cannonball Adderley-led session Somethin’ Else, with Hank Jones, Art Blakey, Sam Jones, and, in a rare appearance as sideman, Miles Davis. The tune I have been stuck on is “One For Daddy-O,” a blues written by Cannonball’s brother Nat that features a flawless blues solo by Miles.

I dug into the liner notes and was reminded of how the critic Leonard Feather used this particular solo as a platform on which to describe the essence of the “deeper and broader blues of today,” refuting a “misinformed” Ebony piece of the era that suggested that

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November 5th, 2015

In this Issue

Interviews with three outstanding, acclaimed writers and scholars who discuss their books on Irving Berlin, George Gershwin, and Cole Porter, and their subjects’ lives in and out of music. These interviews – which each include photos and several full-length songs – provide readers easy access to an entertaining and enlightening learning experience about these three giants of American popular music.

Poetry

The winter collection of poetry offers readers a look at the culture of jazz music through the imaginative writings of its 32 contributors. Within these 41 poems, writers express their deep connection to the music – and those who play it – in their own inventive and often philosophical language that communicates much, but especially love, sentiment, struggle, loss, and joy.

Interview

NBC Radio-photo by Ray Lee Jackson / Public domain
In a Jerry Jazz Musician interview, acclaimed biographer James Kaplan (Frank: The Voice and Sinatra: The Chairman) talks about his book, Irving Berlin: New York Genius, and Berlin's unparalleled musical career and business success, his intense sense of family and patriotism during a complex and evolving time, and the artist's permanent cultural significance.

Interview

Library of Congress, Prints & Photographs Division, Carl Van Vechten Collection
Richard Crawford’s Summertime: George Gershwin’s Life in Music is a rich, detailed and rewarding musical biography that describes Gershwin's work throughout every stage of his career. In a Jerry Jazz Musician interview, Crawford discusses his book and the man he has described as a “fresh voice of the Jazz Age” who “challenged Americans to rethink their assumptions about composition and performance, nationalism, cultural hierarchy, and the racial divide.”

Interview

photo unattributed/ Public domain
In a Jerry Jazz Musician interview with The Letters of Cole Porter co-author Dominic McHugh, he explains that “several of the big biographical tropes that we associate with Porter are either modified or contested by the letters,” and that “when you put together these letters, and add our quite extensive commentary between the letters, it creates a different picture of him.” Mr. McHugh discusses his book, and what the letters reveal about the life – in-and-out of music – of Cole Porter.

Book Excerpt

The introduction to John Burnside's The Music of Time: Poetry in the Twentieth Century – excerpted here in its entirety with the gracious consent of Princeton University Press – is the author's fascinating observation concerning the idea of how poets respond to what the Russian poet Osip Mandelstam called “the noise of time,” weaving it into a kind of music.

Short Fiction

photo Creative Commons CC0
Short Fiction Contest-winning story #53 — “Market & Fifth, San Francisco, 1986,” by Paul Perilli

Poetry

photo by Eric Frommer (transformed from color)/CC BY-SA 2.0
Two poems of reflection and remembrance, by Michael L. Newell and Russell DuPont

Art

"Speaking in Tongues" by Charles Ingham
Charles Ingham’s “Jazz Narratives” connect time, place, and subject in a way that ultimately allows the viewer a unique way of experiencing jazz history This edition’s narratives are “Released from Camarillo State Hospital, Charlie Parker Plays Jack’s Basket Room,”“Diz Railing at the Cosmos,” and “Speaking in Tongues”

Book Excerpt

A ten page excerpt from The Letters of Cole Porter by Cliff Eisen and Dominic McHugh that features correspondence in the time frame of June to August, 1953, including those Porter had with George Byron (the man who married Jerome Kern’s widow), fellow writer Abe Burrows, Noel Coward, his secretary Madeline P. Smith, close friend Sam Stark, and his lawyer John Wharton.

Interview

photo by William Gottlieb/Library of Congress
Con Chapman, author of Rabbit's Blues: The Life and Music of Johnny Hodges discusses the great Ellington saxophonist

Jazz History Quiz #134

Photo by Brian McMillen/Brian McMillen Photography
Influenced by Charlie Parker and Phil Woods (pictured), before forming his own group this alto player got his start in Buddy Rich’s Big Band, and shortly thereafter played with Lionel Hampton. While leading his own band, he was famous for playing bebop covers of songs such as “The I Love Lucy Theme,” “Come Fly With Me,” and “Hooray for Hollywood,” and often performed with singer Eddie Jefferson. Who is he?

Book Excerpt

This story, excerpted from Irving Berlin: New York Genius by James Kaplan, describes how Berlin came to write his first major hit song, “Alexander’s Ragtime Band,” and speaks to its historic musical and cultural significance.

Pressed for All Time

In this edition, producer Tom Dowd talks with Pressed for All Time: Producing the Great Jazz Albums author Michael Jarrett about the genesis of Herbie Mann’s 1969 recording, Memphis Underground, and the executives and musicians involved

Interview

photo by Bouna Ndaiye
Interview with Gerald Horne, author of Jazz and Justice: Racism and the Political Economy of the Music

Photography

photo of Stephane Grappelli by Veryl Oakland
Veryl Oakland’s “Jazz in Available Light” — photos (and stories) of violinists Joe Venuti, Stephane Grappelli, Jean-Luc Ponty, Zbigniew Seifert, and Leroy Jenkins

Great Encounters

photo of Sidney Bechet by William Gottlieb/Library of Congress
In this edition of "Great Encounters," Con Chapman, author of Rabbit’s Blues: The Life and Music of Johnny Hodges, writes about Hodges’ early musical training, and the first meeting he had with Sidney Bechet, the influential and legendary reed player who Hodges called “tops in my book.”

Book Excerpt

In the introduction to Jazz and Justice: Racism and the Political Economy of the Music, author Gerald Horne writes about the severe cultural and economic obstacles jazz musicians have encountered since the music's inception

“What are 4 or 5 of your all-time favorite Blue Note albums?”

"What are 4 or 5 of your all-time favorite Blue Note albums?"
Dianne Reeves, Nate Chinen, Gary Giddins, Michael Cuscuna, Eliane Elias and Ashley Kahn are among the 12 writers, musicians, and music executives who list and write about their favorite Blue Note albums

Humor

photo by William Gottlieb/Library of Congress
"Every Soul is a Circus," by Dig Wayne

In the Previous Issue

photo by Carol Friedman
“The Jazz Photography Issue” features an interview with today’s most eminent jazz portrait photographer Carol Friedman, news from Michael Cuscuna about newly released Francis Wolff photos, as well as archived interviews with William Gottlieb, Herman Leonard, Lee Tanner, a piece on Milt Hinton, a new edition of photos from Veryl Oakland, and much more…

Contributing writers

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