On this Piano Jazz from 2008, bassist and singer Esperanza Spalding brings her neo-soul style to a set of standards with the aid of pianist Leo Genovese. Spalding is one of the most talked about artists in jazz today.
Originally published on Fri April 19, 2013 4:42 pm
The advent of bebop added a fresh sound to American music. It also added new voices to some metropolitan radio stations: the late-night jazz DJs who specialized in presenting this new music to their fellow hipster nightflies.
To recognize the work of the groundbreaking DJs who lent them critical exposure, jazz musicians of the period would occasionally write songs in their honor. Here are five of those songs.
Originally published on Thu September 26, 2013 2:00 pm
Money Jungle has a story.One day in 1962, Duke Ellington, Charles Mingus and Max Roach recorded an album and gave it that provocative title. The repertoire was new blues by Ellington, who was in his 60s, while Roach and Mingus were each about 40.
Originally published on Sat April 13, 2013 1:51 pm
Pianist and 2010 Grammy winner Laurence Hobgood was born in Salisbury, N.C., and grew up in Texas and Illinois. He took up piano at age 6 and showed a knack for improvisation early on, playing his own versions of pieces by Bach and Chopin. In 1988, Hobgood relocated to Chicago, where he met an up-and-coming vocalist named Kurt Elling.
On this episode of Piano Jazz, pianist and 2013 NEA Jazz Master Eddie Palmieri brings along bassist Hugo Duran and percussionists Jose Claussell, Richie Flores, and Mark Quinones for a raucous set of original tunes with an Afro-Caribbean flavor.
Originally published on Mon November 25, 2013 10:11 am
The Umbria Festival in Italy turns 40 this summer. Umbria presents jazz indoors and out in two historic cities — Perugia in summer, Orvieto in winter. Marching bands parade; gospel choirs sing. Concerts start at noon, midnight and all the hours in between. (The New Year's Eve show in Orvieto begins at 1 a.m. on New Year's Day.) And the musicians can be delightfully unfamiliar, at least to American ears.
By 1928, Earl Hines was jazz's most revolutionary pianist, for two good reasons. His right hand played lines in bright, clear octaves that could cut through a band. His left hand had a mind of its own. Hines could play fast stride and boogie bass patterns, but then his southpaw would go rogue — it'd seem to step out of the picture altogether, only to slide back just in time.