December 2008

Transitional periods of jazz are hard to determine. One innovation is always tied to the next. It then becomes really difficult to understand the difference between a bop style solo in the context of a big band setting as opposed to that same solo in a trio or quartet.

And that’s why the history of jazz is so fascinating. Well, that and the fact that most of the well known players had enormous personalities – Mingus for instance.

But bop players all did time in some big band configurations. Usually, it’s found the Billy Eckstein, Count Basie or someone of that ilk in some way touches, inspires or herds a player into their full recognition of style and ability. Read more

Probably best known for her sultry small screen version of Catwoman, Eartha Kitt, who was 81, has passed away – on Christmas no less.

In addition to her acting acumen, Kitt spent the majority of her entertainment career as a noted singer. Kitt first rose to prominence as a cabaret style singer during the ‘50s. She scandalized listeners with her suggestive, alluring and all too unique style.

Using her accumulated fame, Kitt frequently made her political beliefs well publicized. She was a vocal anti-war spokesperson during the ‘60s and made it a point to condemn apartheid in South Africa during the ‘80s. Read more

I figured as a companion piece to my original post about Pharaoh Sanders, I would write a little about one of my favorite recordings that he's done

The title, which is in Arabic, Summun, Bukmun, Umyun translates to Deaf, Dumb, Blind. It comes from the Qur’an and is in a passage that talks about enlightening those that need to see the way. Obviously, the passage initially had the intention of gaining converts and perhaps that was Sander’s intention as well. However, the recording includes a few players not oft associated with the late ‘60s and early ‘70s shift in jazz to an Afro-centric, Islam influenced art. That, of course, doesn’t mean that the players don’t sound like fervid adherents to the sax mastery of the Pharaoh. Read more

Easily one of my favorite fusion records of the ‘70s, In Concert displays Freddie Hubbard and Stanley Turrentine backed by Ron Carter, Herbie Hancock, Eric Gale and Jack DeJohnette. I can’t say that the two tunes, each takes up a side on the record, are drastically different or forward thinking in comparison to other such releases of the time. They’re just good. And sometimes competence goes a long way.

The line-up alone was reason enough to pick it up, but the frequent listening is as a result of the ability of Hubbard and company to hold a groove down. Read more