My favorite version of the Louis Armstrong-Jack Teagarden staple “Rockin’ Chair” is from a 1957 television special seen below. Armstrong had first recorded this homespun lament by Hoagy Carmichael on December 13, 1929, with the composer in the voice of the aging father and Armstrong as the dutiful son.
I’m still buzzing from the double dose of New Orleans-in-New England that highlighted Saturday’s Springfield Jazz & Roots Festival. Performances by Donald Harrison and Henry Butler brought the one-day, twelve-hour festival to a rousing conclusion at Court Square, where an estimated 5000 people from every walk of life gathered downtown for the second annual festival.
“If you don’t love him, I don’t think you really know how to love.” Mahalia Jackson on Louis Armstrong I assume the Danes who filmed […]
Saturday marked the 50th anniversary of Bob Dylan going electric at the Newport Folk Festival. The milestone is being widely commemorated, and it follows the sale two years ago of the Fender Stratocaster he played that Sunday night, July 25, 1965.
What a pleasure it was hearing Sheila Jordan this week at the Northampton Jazz Workshop. She’s nearly 87, which she makes no secret of, and why should she? Sheila’s a bonafide survivor: of a harsh, Depression-era childhood shuttled between her teenage mother’s digs in Detroit and her grandparents’ home…
I enjoyed a conversation about the recently deceased Gunther Schuller over lunch with my former NEPR colleague John Montanari on Tuesday. (Click here for my memorial to Gunther.) A few hours later, I heard the Jazz at Lincoln Center Orchestra’s concert at Tanglewood, which Wynton Marsalis dedicated to Schuller’s memory.
Sometimes even a glimmer of open-mindedness can spell good fortune. For a preternatural cool cat like Hampton Hawes, it took the form of allowing himself to think that the man he watched deliver the Inaugural Address on January 20, 1961, had “soul and might listen.”
Leonard Feather, one of the most powerful critics in jazz history, declared Hank Mobley “the middleweight champion of the tenor saxophone” in his liner note essay for Hank’s 1961 release…
Before it slides deep into the archives of NEPR News, here’s the commentary I voiced in memory of B.B. King on May 21.
Few harmonica players announce themselves by tone alone quite like James Cotton. The great bluesman, born 80 years ago today in Tunica, Mississippi, has a huge, vibrato-laden sound that’s instantly recognizable, and while he’s influenced many harp players, no one else sounds like him.