It used to be easier to pretend that an album was its own perfectly self-contained artifact. The great records certainly feel that way. But albums are more permeable than solid, their motivations, executions and inspirations informed by, and often stolen from, their peers and forbearers. It all sounds awfully formal, but it's not. It's the very nature of music — of art, even. The Six Degrees features examine the relationships between classic records and five… more »
Ask a jazz fan about Herbie Nichols, and the reaction is likely to be either, "He's a genius," or "Who?" The pianist and composer is the paradigm of a genius neglected in his own time. Nichols's classic mid-'50s sides for Blue Note were all but forgotten when he passed at 44 in 1963. A.B. Spellman memorialized him with a chapter in 1966's Four Lives in the Be-Bop Business, but he didn't get much respect till… more »
A few years ago, Italian saxophonist Daniele D'Agaro was visiting Chicago, and a critic friend put on a fairly obscure record to stump him. D'Agaro listened for about three seconds, said: "Lucky."
Good ears. He knows the distinctive sound of Lucky Thompson after he started hanging out in Paris and playing sumptuous tenor saxophone ballads recalling old idol Don Byas's Parisian sides. On "Solitude" and "We'll Be Together Again," from Lucky in Paris 1959, his tenor's… more »
Can a musician's reputation be harmed by the persistent paying of a compliment? Clark Terry has a warm, plump, utterly distinctive sound on trumpet and its chubby pal the flugelhorn. He's rhythmically assured at any tempo, and has a deep feeling for the blues. But some writers fixate on how he has "the happiest sound in jazz," as if one trait defines his art.
To be fair, it's not a rep he's run away from, having… more »
Much of the music on this two-LP set is quite essential for any serious jazz library (all of it is also included in Monk’s giant 15-CD box set The Complete Riverside Recordings). Although Thelonious Monk and John Coltrane played together for several months in 1957, until the discovery of a live tape (which has been issued on Blue Note), the music on this two-fer (which includes several tracks with a larger group that also features Coleman Hawkins, “Monk’s Mood” by a trio with bassist Wilbur Ware, and three outstanding tracks with a quartet) was all that existed of their historic collaboration. Coltrane developed rapidly during his period with Monk and he is heard in brilliant form on “Trinkle, Tinkle” and “Nutty.” – Scott Yanow