“The half-hearted support of jazz by American broadcast TV, be it commercial or PBS or cable, has been an insult not only to the artists, but to the public as well.”
I did want to use this CD as a springboard to engage with the question of how using material of a certain age tends to pre-select — and limit — listenership.
Coders had nothing in their intellectual toolbox that would help them understand people.
Despite the fact that clarinet (and occasional sax) player Pee Wee Russell was one of the most distinctive voices in jazz history, his name remains unknown outside of infra jazz circles.
Far more people would recognize Chet Baker’s name than Jack Sheldon’s — and that is unfortunate.
Rarely does a book leave me questioning the ways in which I understood, or thought I understood, the construction of some of the most formative solos in jazz history.
When it comes to jazz, you can be pretty confident that when you put excellent players together — whether they know each other or not — something very good will happen. And it did.
1917 was an important year, but perhaps not important enough to justify the sweeping title of the book.
Smartly, Vanessa Ruben has gathered a strong group of collaborators, a number of whom knew Tadd Dameron personally and all of whom knew his music well.
Path of Totality is a distinctive recording, put together with great attention to form and detail — and performed with enormous skill.