Interview with Thomas Brothers, author of Help! The Beatles, Duke Ellington and the Magic of Collaboration

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.

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February 5th, 2019

Reminiscing in Tempo: “What are 3 or 4 of your favorite jazz recordings of the 1940’s?”

Photo William Gottlieb Charlie Parker is frequently found on the lists of noted critics and musicians answering the question, “What are 3 or 4 of your favorite jazz record recordings of the 1940’s?” __________ “Reminiscing in Tempo” is part of a continuing effort to provide Jerry Jazz Musician readers with unique forms of “edu-tainment.” As … Continue reading “Reminiscing in Tempo: “What are 3 or 4 of your favorite jazz recordings of the 1940’s?””

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December 4th, 2018

A Black History Month Profile: Louis Armstrong

In an interview originally published on Jerry Jazz Musician in 2014, Louis Armstrong biographer Thomas Brothers talks about his second volume devoted to the most eminent jazz musician’s life, Louis Armstrong:  Master of Modernism.

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February 21st, 2018

Louis Armstrong – the genesis of his “crossover” appeal

Breaking into the white market without losing his African-American vernacular identity was an amazing achievement for Louis Armstrong — particularly during his era. I talk about this in an excerpt from my recent interview with Thomas Brothers, author of Louis Armstrong: Master Of Modernism.

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JJM In the winter of 1925 – 26, while making a name for himself at classy venues like the Dreamland Café and the Vendome Theater, Armstrong was also extending his reputation thanks to the Hot Five series on OKeh Records. The recordings sold in Chicago, but the main target audience was African Americans in the Deep South, where “race records” were immensely popular. What was OKeh’s marketing strategy for this series?

TB Yes, they certainly sold in Chicago, and they sold in all northern cities where there were African-American communities from the Great Migration. The target of these “race records” was of course to appeal to the African-American mass audience, and to do so in a low-budget way. They were not interested in paying musicians any royalties – they would get a flat fee

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June 25th, 2014

Interview with Thomas Brothers — author of Louis Armstrong: Master of Modernism

In Louis Armstrong: Master of Modernism, Thomas Brothers picks up where he left off with the acclaimed Louis Armstrong’s New Orleans, following the story of the great jazz musician into his most creatively fertile years in the 1920s and early 1930s, when Armstrong created not one but two modern musical styles. Brothers wields his own tremendous skill in making the connections between history and music accessible to everyone as Armstrong shucks and jives across the page. Through Brothers’s expert ears and eyes we meet an Armstrong whose quickness and sureness, so evident in his performances, served him well in his encounters with racism while his music soared across the airwaves into homes all over America.

Brothers discusses his book with Jerry Jazz Musician publisher Joe Maita in an April, 2014 interview.

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June 15th, 2014

A snippet of our upcoming interview with Thomas Brothers, author of Louis Armstrong: Master of Modernism

A week or so ago I had the privilege of interviewing Thomas Brothers, the eminent Louis Armstrong scholar whose recently published Master of Modernism focuses on Armstrong’s most creative and essential era, beginning with the time he left New Orleans for Chicago in 1922, and ending with his experience in Hollywood in 1932.

What follows is a very brief exchange about new resources Brothers used for this book…

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April 28th, 2014

Louis Armstrong and “Gage”

In “Louis Armstrong: Master of Modernism, author Thomas Brothers writes about Armstrong’s early fascination with marijuana — an interest that began in Chicago, 1928, while playing the Savoy Ballroom. This interest led to a marijuana possession arrest on November 13, 1930 in the parking lot of Los Angeles’ Cotton Club. “Armstrong was allowed to finish out his night work before they hauled him off to jail around 3:00 A.M.,” Brothers writes.

The following book excerpt begins with a rather humorous transcript from his trial, and then

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March 25th, 2014

Book excerpt from Louis Armstrong: Master of Modernism, by Thomas Brothers

On the heels of terrific books on Bud Powell, Charles Mingus, Charlie Parker and Duke Ellington comes Louis Armstrong, Master of Modernism, author and Duke University Music Professor Thomas Brothers’ follow-up to his revered Louis Armstrong’s New Orleans.

In the book’s introduction, Brothers reports that his book picks up where Louis Armstrong’s New Orleans left off, with Armstrong’s 1922 Chicago arrival, and ends ten years later. He writes, “My main thesis is that the success of this nimble-minded musician depended on his ability to skillfully negotiate the musical and social legacies of slavery. Indeed, his career can be understood as a response to these interlocking trajectories.” I have just begun reading it and have been taken in by “Welcome to Chicago,” the book’s first chapter that tells the story of what Armstrong would have seen as he entered Lincoln Gardens for the first time in August, 1922; for example, the racially inflected floor show whose “centerpiece of the presentation is a row of light-skinned dancing girls;” dancing couples in an environment where “correct dancing is insisted upon” (to keep immorality charges at bay); and the local white musicians — “alligators” — described as “the little white boys…motivated to learn the music and cash in.”

I had the privilege of interviewing Thomas Brothers following the publication of Louis Armstrong’s New Orleans, and he has accepted my invitation for an interview about his new book. It is

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March 7th, 2014

Thomas Brothers, author of Louis Armstrong’s New Orleans

New Orleans at the turn of the twentieth century was a complicated city, a rough and beautiful place bursting with energy and excitement. It was a city marked by racial tensions, where the volatile interactions between blacks and whites were further confounded by a substantial Creole population. Yet it was also a city of fervent religious beliefs, where salvation manifested itself in a number of ways. Perhaps abolve all else, New Orleans was a city of music: funeral bands marched through the streets; professional musicians played the popular tunes of the day in dance halls and cabarets; sanctified parishioners raised church roofs with their impassioned voices; and early blues musicians moaned their troubles on street corners and in honky-tonks, late into the night.

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June 12th, 2006

In This Issue

Michael Cuscuna, Mosaic Records co-founder, is interviewed about his successful career as a jazz producer, discographer, and entrepreneur...Also in this issue, in celebration of Blue Note’s 80th year, we asked prominent writers and musicians the following question: “What are 4 or 5 of your all-time favorite Blue Note albums; a new collection of jazz poetry; “On the Turntable,” is a new playlist of 18 recently released jazz recordings from six artists – Joshua Redman, Joe Lovano, Matt Brewer, Tom Harrell, Zela Margossian and Aaron Burnett; two new podcasts by Bob Hecht; a new “Jazz History Quiz”; a new feature called “Pressed for All Time,”; a new photo-narrative by Charles Ingham; and…lots more.

On the Turntable

This month, a playlist of 18 recently released jazz recordings by six artists -- Joshua Redman, Joe Lovano. Matt Brewer, Tom Harrell, Zela Margossian, and Aaron Burnett

Poetry

In this month’s collection, with great jazz artists at the core of their work, 16 poets remember, revere, ponder, laugh, dream, and listen

The Joys of Jazz

In this new volume of his podcasts, Bob presents two stories, one on Clifford Brown (featuring the trumpeter Charlie Porter) and the other is part two of his program on stride piano, including a conversation with Mike Lipskin

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 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

Pressed for All Time

In an excerpt from his book Pressed for All Time, Michael Jarrett interviews producer Creed Taylor about how he came to use tape overdubs during the 1957 Lambert, Hendricks, and Ross Sing a Song of Basie recording session

Art

"Thinking About Charlie Parker" -- a photo narrative by Charles Ingham

Jazz History Quiz #128

Although he was famous for modernizing the sound of the Tommy Dorsey Orchestra -- “On the Sunny Side of the Street” was his biggest hit while working for Dorsey (pictured) -- this arranger will forever be best-known for his work with the Jimmie Lunceford Orchestra. 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

Maxine Gordon, author of Sophisticated Giant: The Life and Legacy of Dexter Gordon, discusses her late husband’s complex, fascinating life.

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

"The Photography Issue" will feature an interview with jazz photographer Carol Friedman (her photo of Wynton Marsalis is pictured), as well as with Michael Cuscuna on unreleased photos by Blue Note's Francis Wolff.

In the previous 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…

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