Detroit-bred trumpeter Donald Byrd, one of the leading figures in 1950’s jazz, and a prominent participant in pop music and academia in the years after that, has died at the age of 80. The Detroit Free Press ran one of the more lengthy obits yesterday. Read it here. In contrast to the esteem in which […]
In our last few posts, we’ve begun a lament about the demise of individuality and easily recognized styles among musicians. Here’s a suggested playlist to support what we’ve discussed thus far. As usual, hit the song titles, which are Amazon links, to listen to a sample, and to purchase the songs individually. We mentioned Count […]
We mentioned in our last post that individual style, wherein a musician’s general sound is so unique and recognizable as to be unmistakably his alone, is a dead commodity in modern American music. We went on to say that one of the most fruitful periods and environments for this sort of individuality was that transitional […]
To an attentive jazz listener, and one who’s into arcane and archaic music, the tenor saxophone playing of Ben Webster is immediately recognizable, and sounds nothing like that of Lester Young. Or Sonny Rollins. Or even like a less-ambitious player such as King Curtis. Similarly, none of the these players sound like any of the […]
(continued from part 1) Gioia’s book begins to make the point that pop standards, which are now ambitiously and pretentiously called “The Great American Songbook” by most historians of 20th century American music, and jazz are inextricably linked. Although Porter, Arlen, Kern, Gershwin, Berlin and company relied heavily on an African-American musical vocabulary that included […]