Archive

Nat King Cole: Pop Goes the (Jazz) Pianist

JAZZIZ Magazine, December 2007

Nat King Cole was not the first, nor would he be the last, jazz artist whose success as pop singer nearly eclipsed his brilliance as instrumentalist. Consider Louis Armstrong and, a generation later, George Benson, just to name two prominent examples.

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Hear the World. The Globalization of Jazz

Jazziz NguyenLe

JAZZIZ Magazine Editor’s Letter May, 2005

“Jazz is known all over the world as an American musical art form and that’s it. No America, no jazz,” said drummer and bandleader Art Blakey. “I’ve seen people try to connect it to other countries, for instance to Africa, but it doesn’t have a damn thing to do with Africa.”

Blakey knew a thing or two about the music and educated several generations of musicians in his rolling graduate school the Jazz Messengers. He was, of course, right.

In the beginning, there was America.

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Ken Burns’ One-Note ‘Jazz’ Goes Flat Without A Latin Beat

Machito

 The Washington Post, January, 2001

Popular music offers a window into the society that creates it. But in “Jazz,” the 10-part, 19-hour documentary that winds up its PBS run next week, filmmaker Ken Burns peered at life in the United States through a narrow window.
He has construed jazz — and the society that created it — almost completely in terms of black and white. In the United States of “Jazz,” the Latin music and musicians who were so important to the development of this art form — and Latinos and their culture in general — barely merit a footnote.

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Jazz Should Be Wary Of Moving Uptown

JaLC

The Boston Globe, November, 1992 

Proclaiming the death of jazz every so often has been, well, a jazz tradition. It has been part of the ritual of renewal that is at the heart of the music. Now jazz seems to be in its best shape in decades and no one talks about death. Carnegie Hall has added a jazz season, Lincoln Center has made jazz part of its regular programming, the Lincoln Center Jazz Orchestra, featuring Wynton Marsalis, recently passed through Boston playing Duke Ellington’s music, and even The Smithsonian has organize d a repertory orchestra. And last year, the Lila Wallace Foundation granted $3.4 million to fund a national jazz network, the largest grant ever for jazz. But the renewal has stopped.

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Esteban, the debut of Cuban director Jonal Cosculluela being premiered at The Miami Light Project tells the story of a 9 year old, living in Havana with his mother, who’s raising him as a single parent, and his perseverance following his dream of becoming a musician...

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