John Coltrane had already decided to leave Miles Davis when he reluctantly agreed to make a 22-city European tour with the trumpeter in the spring […]
When I posted a feature (linked below) about Scott Hamilton on his 60th birthday two years ago, Duke Robillard wrote a note of appreciation for […]
What are the odds that on the day Rudy Van Gelder died, I’d already scheduled for Jazz à la Mode an album– Wayne Shorter’s Adam’s Apple– that was recorded at his studio?
The latest edition of Jazz Beat delivers some great music along with an appreciation of the great jazz saxophonist Houston Person. Person, who frequently plays in Western New England, is an exemplar of why the role of “keeper of the flame” is essential to the tradition and future of jazz.
Notwithstanding his promising start on the hotly competitive New York scene, Smith left after three months with Silver to begin a career as a teacher, first in the public schools in Atlanta, then on to his alma mater Tennessee State University, and finally to the University of Michigan, where he taught music and served as band director.
Bobby Hutcherson died on Monday, August 15 at his home in Montara, California. He was 75 and had battled emphysema for several years. McCoy Tyner […]
As listeners to Jazz à la Mode know, Rene Marie is one of the most frequently heard singers in the show. I usually need to […]
Max came to prominence as a counterpart to Dizzy Gillespie and Charlie Parker in the development of modern jazz, and he may be the most influential drummer of all time. To watch Max play the trap set, which he preferred calling a “multiple percussion unit,” was to behold a marvel of human agility and inventiveness.
Benny Golson, whom I had the pleasure of interviewing on July 25, said he was profoundly affected by the experience of seeing Lionel Hampton’s Orchestra with […]
On Jazz Beat 23, Tom Reney speaks with Benny Golson about his memoir, Whisper Not: The Autobiography of Benny Golson. In their conversation, Golson vividly recalls the impact of seeing Lionel Hampton’s band with Arnett Cobb when he was 14; the challenge of composing I Remember Clifford for his “friend forever,” Clifford Brown; and his friendship with John Coltrane and other aspects of his Philadelphia boyhood. He expands upon a previously undocumented night when Louis Armstrong sat in with Tadd Dameron’s band in Atlantic City and engaged in a “time battle” with Clifford Brown. And he shares anecdotes about Bill Evans, Herb Pomeroy, and Miles Davis; expresses respect for the jazz writer Nat Hentoff; and discusses working with Steven Spielberg and Tom Hanks on the movie The Terminal.