Roy Haynes: I’m Not a Metronome
Talk about living history—Roy Haynes played drums behind Bird, Monk, Prez, Sassy, Trane and Satchmo, too! Bassman Christian McBride asks the questions.
Sonny Rollins: Colossus Comes Home
To mark the 50th anniversary of his historic Carnegie Hall debut, Sonny Rollins returned to the venue in September for a once-in-a-lifetime trio performance. Photographer John Abbott had exclusive access to shoot the story behind the show.
Do The Write Thing: Drummer-Composers Trade Their Sticks for Pens
Someone forgot to tell Paul Motian, Jack DeJohnette, Jeff “Tain” Watts and many other drummers that writing is the job for their harmonic/melodic bandmates. Josef Woodard reports.
Latin Jazz: The Latin Tinge
Latin jazz is a continually growing phenomenon, as musicians from the Americas and beyond recast the boundaries. Bill Meredith chats with several Latin bandleaders who are defining the music’s future.
Louie Bellson: The Go-To Guy
Louie Bellson pounded the skins for Ellington, Goodman and dozens of other jazz greats. Now 83—and still drumming—the legend gives Don Heckman a tour of his life.
At HomeJeff "Tain" Watts
Audio FilesMike Quinn on turntables and vinyl reissues.
Before & AfterMatt Wilson
Cadenzaby Gary Giddins
Final Chorusby Nat Hentoff
GearheadParker PJ14N guitar, Eastman El Rey ER2 guitar, plus Gig Bag
NewsJohn Scofield, Dee Dee Bridgewater, David King & Happy Apple, Jazz Icons DVDs, Stacey Kent, Harlem Experiment, Max Roach tribute, news and farewells and more.
Soloby Josef Woodard
The Gigby Nate Chinen
Remarkably, though, Klein has managed to take one of the most distinctive and interesting vocalists of the post-millennial era and reduce her to a dull study in soporific mewing. What could possibly be considered “new,” apart from the fairly contemporary vintage of most of the songs, about a dozen tracks wrapped in tepid bossa arrangements with nary a spark of freshness or originality (apart from dollops of brilliance whenever trumpeter Chris Potter manages to break through the ennui)?
There are some terrific tunes here, including Mitchell’s “Down to You” (sharp as Wisconsin cheddar when handled properly, which Souza, despite the obvious Mitchell-ness of her delivery, doesn’t), James Taylor’s “Never Die Young” (rescued only by Taylor’s presence as Souza’s far sager and definitely more alert singing partner) and Brian Wilson’s “God Only Knows” (one of the finest, and most admirably adult, love songs of the rock era). A fine half-dozen others, from the likes of Leonard Cohen, Walter Brecker, Donald Fagen, Elliott Smith and Sting, are reduced to pleasant innocuousness. Most astonishing, the sole Brazilian track, Antonio Carlos Jobim’s effervescent “Waters of March,” stripped of the ebullient mysteriousness that dozens of other singers have managed to capture, is as flat as day-old tap water".