Latest Post
On the web since 1999
The author talks about his book, an intensely researched, spirited, and beautifully told story – and an important reminder that Armstrong, Ellington, and Basie all defied and overcame racial boundaries “by opening America’s eyes and souls to the magnificence of their music.”
...September 12th, 2024
In Becoming Ella Fitzgerald: The Jazz Singer Who Transformed American Song, the book’s author Judith Tick writes that Ella “fearlessly explored many different styles of American song through the lens of African American jazz, [and] treated jazz as a process, not confined to this idiom or that genre,” and who “changed the trajectory of American vocal jazz in this century.” Ms. Tick. who is professor emerita of music history at Northeastern University, talks with about Ella – and her book – in this wide-ranging October 23, 2023 interview.
...December 6th, 2023
“Put it this way: Jazz is a good barometer of freedom… In its beginnings, the United States of America spawned certain ideals of freedom and independence through which, eventually, jazz was evolved…”
...July 20th, 2023
Best known as the trumpeter who replaced Cootie Williams in Duke Ellington’s orchestra, he was also one of the finest jazz violinists of the 1940’s. Who was he?
...July 13th, 2023
This excerpt from the highly regarded biography of Henry Threadgill – one of the most original and innovative voices in contemporary music – tells the story of Threadgill’s backstage encounter with Duke Ellington in July, 1971.
...June 29th, 2023
The poet Alan Yount and son Arlan write about a live 1964 performance by Duke Ellington and His Orchestra
...June 18th, 2023
Poet musings on Ellington — and big band music, by the poets Claire Andreani, Russell duPont, Laurinda Lind and Terrance Underwood
...May 4th, 2023
The authors describe the circumstances surrounding the creation of an extended version of Duke Ellington’s little-known 1953 composition “Janet”
...June 30th, 2022
The poet writes of the collaboration of Ellington, Roach and Mingus on the 1962 album “Money Jungle”
...May 13th, 2022
. . Richard Brent Turner is Professor in the Department of Religious Studies and the African American Studies Program at the University of Iowa, and the author of Soundtrack to a Movement: African American Islam, Jazz, and Black Internationalism [New York University Press] . . ___ . . …..In Richard Brent Turner’s … Continue reading “Interview with Richard Brent Turner, author of Soundtrack to a Movement: African American Islam, Jazz, and Black Internationalism“
...April 1st, 2022
Duke Ellington, Dizzy Gillespie, Quincy Jones and Toots Thielemans are featured in this edition of photographs and stories from Veryl Oakland’s book
...February 26th, 2022
This lifelong friend of Duke Ellington co-wrote “Sophisticated Lady,” played clarinet, violin, baritone and alto saxophone during his first stint in Ellington’s band (prior to leaving in 1928), and, following time in a band that also included Fats Waller and Chu Berry, returned to Duke’s orchestra, where he would play until 1946. Who was he?
...November 12th, 2021
water
cold
pleating
over
against
rock
planted
August 5th, 2021
“Eerie Moan” is a flash improv off the haunting 1933 Duke Ellington track…
...July 26th, 2021
An interview with The Art of Jazz author Alyn Shipton, whose book is an exploration of how jazz influenced sheet music art, album art, posters, photography, and individual works of fine art.
...April 25th, 2021
no wars
no greed
no famine
no disease
just rainbows
and blessings
May 31st, 2020
. . . . photo by Bouna Ndaiye/used by permission of Gerald Horne Gerald Horne, author of Jazz and Justice: Racism and the Political Economy of the Music . ___ . . …..Jazz music — complex, ground breaking and brilliant from its early 20th century beginnings — would eventually become America’s … Continue reading “Interview with Gerald Horne, author of Jazz and Justice: Racism and the Political Economy of the Music“
...February 12th, 2020
I could make the argument that jazz being marketed as a “popular music” officially died on January 12, 1975. Why? Because that was the date of the last Super Bowl halftime show that featured jazz music, in this case a “Tribute to Duke Ellington” performed by the Grambling State University Marching Band and Mercer Ellington.
...February 1st, 2020
In a Jerry Jazz Musician interview, Con Chapman, author of Rabbit’s Blues: The Life and Music of Johnny Hodges – the first-ever biography of the immortal musician – talks about the enigmatic man and his unforgettable sound.
...January 5th, 2020
Upon replacing Cootie Williams (pictured), this trumpeter’s very first night with Duke Ellington’s Orchestra was fully documented during the band’s famous November 7, 1940 Fargo, North Dakota concert. Who is he?
Ray Nance
Rex Stewart
Cat Anderson
Lawrence Brown
Shorty Baker
Johnny Coles
Go to the next page for the answer!
...March 16th, 2019
In Help! The Beatles, Duke Ellington, and the Magic of Collaboration, Duke University musicologist Thomas Brothers – author of two essential studies of Louis Armstrong – tells a fascinating account of how creative cooperation inspired two of the world’s most celebrated groups.
The following interview with Mr. Brothers about his book — hosted and produced by Jerry Jazz Musician. publisher Joe Maita — was conducted on December 10, 2018.
...February 5th, 2019
I could make the argument that jazz being marketed as a “popular music” officially died on January 12, 1975. Why? Because that was the date of the last Super Bowl halftime show that featured jazz music, in this case a “Tribute to Duke Ellington” performed by the Grambling State University Marching Band and Mercer Ellington. Sure, in subsequent years there was the occasional Pete Fountain/Al Hirt exhibition to pump local tourism when the game was held in New Orleans, but Madison Avenue officially ended all attempts at presenting jazz to a mass audience at the conclusion of the halftime show for the ’75 Steelers/Vikings game. What followed was an era of musical malaise for
...February 4th, 2018
I.
All those good times
might’ve been what Duke
had in mind when vamping
his silky-fingered B-flats,
letting Coltrane counter
until tenor notes cluster
close to the
...January 9th, 2018
After you indulge on Thanksgiving, consider giving Duke Ellington’s “simply steak” diet a try! In his 1973 autobiography Music is My Mistress, from a chapter titled “The Taste Buds,” Duke Ellington writes about his special diet, losing thirty pounds while on it, and the resulting onstage antics.
__________
In 1955 my doctor, Arthur Logan, told me I would have to take off twenty-two pounds. I tore up his suggested menu and made one of my own. Mine was simply steak (any amount), grapefruit, and black coffee with a slice of lemon first squeezed and then dropped into it. With the exception of a binge one day a week, I ate as much of this
...November 23rd, 2017
Tomorrow is opening day of the 2017 baseball season. The first day of major league baseball always provokes simultaneous thoughts of renewal and nostalgia – the return of sunshine (at last!) and an optimistic spirit is coupled with the thoughts of days gone by, when the likes of Mays and Mantle and Aaron roamed the outfield and Ellington and Armstrong and Miles set the rhythm of our culture.
Baseball and jazz are well connected, as theorized by trombonist Alan Ferber, who wrote that “baseball players and jazz musicians both strive for a perfect balance between disciplined practice and spontaneity.” They also shared the spotlight in popular culture, when
...April 1st, 2017
I could make the argument that jazz being marketed as a “popular music” officially died on January 12, 1975. Why? Because that was the date of the last Super Bowl halftime show that featured jazz music, in this case a “Tribute to Duke Ellington” performed by the Grambling State University Marching Band and Mercer Ellington. Sure, in subsequent years there was the occasional Pete Fountain/Al Hirt exhibition to pump local tourism when the game was held in New Orleans, but Madison Avenue officially ended all attempts at presenting jazz to a mass audience at the conclusion of the halftime show for the ’75 Steelers/Vikings game. What followed was an era of musical malaise for halftime shows (Up With People performed in four of the next 10 shows, for chrissakes!) and then Michael Jackson’s 1993 show opened the eyes of big business to the value of that time, and things were never the same.
Hard to believe, but I found a clip on YouTube of the 1975 halftime show. It is very raw and the sound makes early recordings made in the Gennett Studio sound pristine in comparison, but it is a remarkable piece of history. The introduction by NBC’s veteran (and very square) sports reporter Charlie Jones of the “Tribute to Duke Ellington” is shortly followed by
...January 31st, 2015
In his 1973 autobiography Music is My Mistress, from a chapter titled “The Taste Buds,” Duke Ellington writes about his special diet, losing thirty pounds while on it, and the resulting onstage antics.
__________
In 1955 my doctor, Arthur Logan, told me I would have to take off twenty-two pounds. I tore up his suggested menu and made one of my own. Mine was simply steak (any amount), grapefruit, and black coffee with a slice of lemon first squeezed and then dropped into it. With the exception of a binge one day a week, I ate as much of this and as often as I please for three months.
When we returned to the New York area, my first date was
...September 20th, 2014
In 1929, this trumpeter replaced Bubber Miley in Duke Ellington’s band. Who was he?
Red Allen
Rex Stewart
Ziggy Elman
...March 24th, 2014
Richard Boyer’s entertaining and candid New Yorker profile of Duke Ellington first appeared in the June 24, 1944 edition under the title “The Hot Bach I.” (Parts “II” and “III” were published in subsequent weeks). Described by Ellington biographer Terry Teachout as “the most comprehensive journalistic account of Ellington’s life and work to appear in his lifetime,” the feature is filled with now well-known Ellington history (for example, his approach to composition and his appetite for food, women and the Bible), social history (Boyer’s casual description of the racial discrimination the band encounters on the road is notable), and some humorous interplay between Ellington and writing partner Billy Strayhorn, described at the time by Boyer as a “staff arranger.” The piece is a terrific companion to Teachout’s book, and another reminder of how important The New Yorker has been to the arts over the years.
...December 10th, 2013
Although it only encompasses about six square miles, the New York City neighborhood of Harlem has played a central role in the development of American culture. Originally rural farmland, then an affluent suburb, since 1911 Harlemhas been predominantly an African American community. Its residents havehad a disproportionately large impact on all aspects of American culture,leaving their mark on literature, art, comedy, dance, theater, music, sports, religion and politics.
...March 18th, 2013
Sam Bishoff, a high school student from Bainbridge Island, Washington, is the 2012 Jerry Jazz Musician “Accent on Youth” writer. His passion for jazz and the challenges he faces as a youthful fan of it is the focus of the column.
...February 26th, 2013
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
Excerpted from Myself Among Others: A Life in Music by George Wein
Nineteen fifty-six was the Newport debut of the Duke Ellington Orchestra. I had struck an agreement with Irving Townsend, Columbia Records’s A&R man, earlier in the year. It would be good publicity to have some recordings from Newport. Our arrangement seemed like a good deal: for each artist recorded, the record company was to pay us an amount equal to that artist’s performance fee. As it turned out, it was a terrible deal, because the record company got exclusive rights and all of the royalties.
Columbia recorded the equivalent of four LPs during the 1956 festival:
...November 29th, 2004
Excerpted from Lush Life : A Biography of Billy Strayhorn by David Hajdu
Shortly after midnight on December 1, 1938, George Greenlee nodded and back-patted his way through the ground-floor Rumpus Room of Crawford Grill One (running from Townsend Street to Fullerton Avenue on Wylie Avenue, the place was nearly a block long) and headed up the stairs at the center of the club. He passed the second floor, which was the main floor, where bands played on a revolving stage facing an elongated glass-topped bar and Ray Wood, now a hustling photographer, offered to take pictures of the patrons for fifty cents. Greenlee hit the third floor, the Club Crawford (insiders only), and spotted his uncle with Duke Ellington, who was engaged to begin a week-long run at the Stanley Theatre the following day.
...September 29th, 2004
”Every Time” by Michel Krug
The Sunday Poem is published weekly, and strives to include the poet reading their work.... Michel Krug reads his poem at its conclusion
Click here to read previous editions of The Sunday Poem
Click here to read more short fiction published on Jerry Jazz Musician
Click here to read more book excerpts published on Jerry Jazz Musician
Dear Readers:
Reader funding helps support the expense of publishing this website, and to keep it free of advertising – which is a rarity in the dot-com world. Many thanks to those who have recently contributed, and to those who have done so multiple times. Your support is very much appreciated.
If you are able, please consider making a contribution? Information regarding how to do so is found by clicking here.
For viewing my long range vision for Jerry Jazz Musician, please click here.
Thank you!
Joe Maita
Editor/Publisher
,
