Hot Club Of Cowtown makes its sixth visit to Mountain Stage, recorded live at the Culture Center Theater in Charleston, W.Va. The band formed in 1996, when guitarist and singer Whit Smith answered an advertisement placed by singer and fiddler Elana James. After moving to Austin, the pair added upright bass player Jake Erwin, and the trio quickly made a name for itself by fusing hot jazz and Western swing. The band has since become a favorite at fairs and festivals across Europe, and has opened stadium shows for Bob Dylan and Willie Nelson.
Originally published on Thu April 16, 2015 1:03 am
The Hammond electronic organ was developed with churches in mind, as a lower-cost alternative to pipe organs. But in Philadelphia, a keyboard player named Jimmy Smith was inspired by early jazz experiments on the instrument, and found a devastating way to adapt the new bebop style to the Hammond B-3. It seeded a new tradition of organ players in Philadelphia — major figures like "Groove" Holmes, Jimmy McGriff, Papa John and Joey DeFrancesco, and Trudy Pitts — and kickstarted a new sound in jazz at large.
One hundred years after she was born, Billie Holiday remains iconic in American music, not to mention jazz singing. Cassandra Wilson has made her career in jazz singing by embracing a wide range of American music, and it holds true on her latest project: a new album rearranging the Billie Holiday songbook. The new Coming Forth By Day, created with rocker Nick Cave's producer and rhythm section, reshapes songs like "Good Morning Heartache" and "Strange Fruit" with fresh textures and resonances.
In South Africa, the major art of resistance during apartheid was jazz: a melting pot where folk songs and hymns defiantly mixed with influences from South Asia, America and West Africa. South African jazz's central formula — its equivalent to the 12-bar blues — is a buoyant, four-chord progression that even seems to evoke a blending motion.
Jazz vocalist and pianist Dardanelle Hadley was born Marcia Marie Mullen, the daughter of vocalist and pianist Marcius Mosely "Buck" Mullen. In the 1940s, she formed a trio that played regularly at the Copacabana Club in New York, and she went on to work with jazz greats such as Bucky Pizzarelli and Grady Tate.
The genre choro — a word which means "cry" in Portuguese — is often described as "the New Orleans jazz of Brazil." Like its U.S. counterpart, both are Afro-Western hybrids which emerged in the early 20th century; both call for jam sessions showcasing improvisation and virtuosity. Both jazz and choro are also the domains of clarinetist and saxophonist Anat Cohen. Her newest band, the quartet Choro Aventuroso, culminates an affinity and intense study of Brazilian music — one which began as part of an international community of jazz students at Berklee College of Music in Boston.
The late, distinctively melodic jazz composer Kenny Wheeler was also a great trumpet player, though, being famously self-effacing, often declined to toot his own horn about his talents. Many musicians sang his praises, though, and when he died in 2014, saxophonist Steve Treseler and trumpeter Ingrid Jensen were inspired to revisit his music. As they traded notes and arrangements, they realized they had to record these tunes which had been so influential to their growth as musicians.
Pianist, composer and bandleader Marian McPartland was a renowned jazz artist who performed for seven decades. She was also one of the music's great champions, as host of NPR's Marian McPartland'sPiano Jazz for 33 years.
In our first 19 Jazz Night In America webcasts, we've presented over 150 musicians from 13 venues in six cities — with many more musicians and locations on the way. Whether in huge concert auditoriums like Jazz at Lincoln Center's Rose Hall to tiny basement salons like Mezzrow in New York, we've heard from living legends, rising stars and very, very talented artists somewhere in between.
Originally published on Thu March 26, 2015 1:37 am
The SFJAZZ Collective, an all-star octet representing the SFJAZZ institution in San Francisco, has an intriguing approach to repertoire. Each year, each member writes a new piece for the Collective, and also rearranges a composition by a modern jazz master. For the 2014-15 season, that master was tenor saxophone titan Joe Henderson, a longtime San Francisco resident.