By chriskelsey on December 27, 2009
For the first time in jazz’s brief century, many leading artists are staying active beyond their eighth decade. OctoJAZZarians is an on-going series celebrating these living legends, pioneers who were first hand participants in the e…
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By ted on December 22, 2009
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By ted on December 16, 2009
In conjunction with Christian McBride’s Guest Artist Dozens, focusing on classic tracks by bassist Ray Brown, jazz.com is publishing Ted Panken’s conversation with the two bassists from 1996. T.G.
…
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By Ted Panken (editor) on December 16, 2009
An apropos torch-passing occurred last May, when Christian McBride took possession of an acoustic bass that had belonged to Ray Brown [1926-2002], his prime influence, mentor, and frequent employer in the ‘90s ensemble Super Bass, along with John Clayton. “We had a very fatherly relationship,” McBride said in the cover feature in Downbeat’…
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By ted on December 16, 2009
Even before I got a chance to really thoroughly understand what Ray Brown was doing, if there was one record everybody knew, and knew well, it was Way Out West. That was kind of the gold standard for pianoless saxophone trios. I remembe…
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By Jazz on December 11, 2009
Pianist Beegie Adair is known for an impeccable sense of swing and her smooth yet intricate playing. The Nashville resident has been an in-demand pianist for the town’s best country musicians, but her heart belongs to those classic tunes from the Great American Songbook.
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By chriskelsey on December 11, 2009
By Ted Panken
Jazz .com’s Ted Panken sat down this past summer for two extended interviews with composer/trombonist/scholar George Lewis. Their conversations centered around Lewis’ 2008 book, A Power Stronger Than Itself: The AAC…
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By chriskelsey on December 11, 2009
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By ted on December 9, 2009
I’ve been making a list, and checking it twice. Okay, I admit it, I made two lists, and only checked them once. In any event, you know what that means – it’s time for the best of year picks.
First up, my selections for t…
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By # on December 7, 2009
While conducting research for a Steely Dan concert review that I wrote
for jazz.com, I read a headline published in Wired that called
Pitchfork, “the most influential tastemaker on the music scene.”
Later, I discovered a Pitchfork column in which the adjectives
“lengthy,” “indistinguishable,” and “putrid” describe the group’s
Grammy winning album Two Against Nature. The writer, who shall remain nameless, asked readers, “Why are you even curious about Steely Dan in 2000,” continuing, “Only their 20 year absence gives them any press or
assumed credibility.R…
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