• In a critical essay, Matt Sweeney writes how John Coltrane and Dave Brubeck transform the blues into a musical experience way beyond its very simple three-chord structure

     

  • Eight poets connect their poems to the spirit of jazz in this eight page collection

     

  • In this edition, the writer Francis Paudras tells a short story about a backstage encounter between Bud Powell and Charles Mingus following a 1964 performance in Paris

     

     

     

  • “The Wailing Wall” is the winner of the 48th Jerry Jazz Musician Short Fiction Contest

  • "Transcending the Blues" - by Matt Sweeney
  • Poems by eight poets
  • Great Encounters #53
  • "The Wailing Wall" - a story by Justin Short
Interviews

“Jazz in the Modern World” — a Roundtable discussion with Joshua Redman, Bruce Lundvall and Ben Ratliff

What are the boundaries of the jazz idiom? What is the role of jazz in today’s world? To download or not to download? What is the future of retailing and how does that affect the art of making music? What is the value of recorded music?

As ever, jazz faces an array of questions, certainly more than three people can address in an hour. The hour spent in this particular discussion among men at the top of their respective fields focuses on confronting the challenge of marketing a music filled with nuance and passion to a modern audience conditioned by technology for instant gratification, and the issue of competing with its own historic past.

In a Roundtable hosted by Jerry Jazz Musician publisher Joe Maita, Blue Note Records president Bruce Lundvall, saxophonist Joshua Redman, and New York Times critic Ben Ratliff lend their perspectives.
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Interviews » Biographers

Chris Albertson, author of Bessie

Considered by many to be the greatest blues singer of all time, Bessie Smith was also a successful vaudeville entertainer who became the highest paid African-American performer of the roaring twenties.

First published in 1971, author Chris Albertson ‘s Bessie was described at the time by critic Leonard Feather as “the most devastating, provocative, and enlightening work of its kind ever contributed to the annals of jazz literature.” New Yorker critic Whitney Balliett called it “the first estimable full-length biography not only of Bessie Smith, but of any black musician.”
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Interviews

Fire in a Canebrake author Laura Wexler

“Fire in a Canebrake” is a phrase Walton County, Georgians used to describe the sound of fatal gunshots, and the title of Laura Wexler’s critically acclaimed book on the Moore’s Ford lynching of 1946, the last mass lynching in America.

While the book is a moving and frightening tale of violence, sex and lies, it is also a disturbing snapshot of a divided nation on the brink of the civil rights movement and a haunting meditation on race, history, and the struggle for truth. […] Continue reading »

Interviews

Arthur Kempton, author of Boogaloo: The Quintessance of American Popular Music

“Boogaloo” is a term author Arthur Kempton suggests as an alternative to what was conventionally described as soul music, and a word to distinguish black popular music from jazz. Boogaloo encompassed three generations of signal personalities, from Thomas A. Dorsey, the so-called Father of Gospel Music, to Sam Cooke, Motown’s Berry Gordy, Stax Record’s Al Bell, and to the ascendency of hip-hop entrepreneurs Shug Knight and Russell Simmons. Their interconnections and influence on the art and commerce of black American popular music is the theme of his book, Boogaloo: The Quintessance of American Popular Music. […] Continue reading »

Interviews

Gerald Nachman, author of Seriously Funny: The Rebel Comedians of the 1950’s and 1960’s

The comedians of the 1950’s and 1960’s were a totally different breed of relevant, revolutionary performer from any that came before or after, comics whose humor did much more than pry guffaws out of audiences.

“The new post-Korean War comedy poked and prodded and observed, demolishing fond shibboleths left and right; it didn’t just pulverize with a volley of joke-book gags,” critic Gerald Nachman writes in Seriously Funny; The Rebel Comedians of the 1950’s and 1960’s.
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