Originally published on Thu April 24, 2014 1:30 pm
Yesterday, the Doris Duke Charitable Foundation announced the recipients of its 2014 Performing Artist Awards, including 13 jazz and improvising musicians, who will receive at least $1.7 million in unrestricted grants in total.
Originally published on Wed April 30, 2014 9:39 am
He's widely acknowledged as one of the best jazz drummers in the world. But he's also a singer-songwriter; a session man for Bob Dylan and Joni Mitchell; the son of a singing preacher man from Louisiana. And though a man of such experiences is, as you might expect, quite busy, he's also keeps his own signature band: Brian Blade & The Fellowship Band.
In one corner, you have Metallica's Robert Trujillo. The most popular heavy metal bassist alive, he prowls beast-like across arena stages, rumbling guts with the low B on the 5-string instrument he slings to one side like a battle ax.
He's not 40 yet, but Jason Moran is a 2010 MacArthur Fellow, the Artistic Advisor for Jazz at the Kennedy Center, and a Resident Artistic Director at SFJAZZ in San Francisco. He grew up in Houston, teaches at the New England Conservatory of Music and lives in New York, home to an early 20th century piano tradition of which he is more than aware. Moran has led this trio, The Bandwagon, for more than a dozen years.
Originally published on Fri April 18, 2014 10:59 am
Marie Marcus was a remarkable stride pianist and a protégé of Fats Waller. A native of Boston, Marcus played in all the jazz hot spots before settling down in Cape Cod, where she became known as the Cape's "First Lady of Jazz." On this 1983 program, she talks about Waller, her mentor, and performs a medley of his most famous tunes.
Marcus died in 2003 at age 89.
Originally recorded May 5, 1983. Originally broadcast Oct. 15, 1983.
Poetry and song were once the same: The first poems were recited to music played on the lyre. (It's the source of the word "lyric.") Today, poems are published in books and journals, while songs are heard but seldom read. The poet Robert Pinsky tells of a successful songwriter-singer who said, "A little poetry can really help a song, but too much poetry will sink a song."
Fifty years ago today, Andrew Hill recorded what would become his signature album: Point of Departure. Fifty years later, it still sounds like it could have been recorded yesterday. Assembling a murderer's row of horn players (Eric Dolphy, Kenny Dorham, Joe Henderson) with a rhythm section for the ages (Hill, Richard Davis, Tony Williams), Hill juxtaposed complex, layered harmonies with charged grooves. The result occupies that rare territory between the comfort of the familiar and the allure of the perceptibly unique.