As a musician and a man, Thelonious Monk must have provided easy inspiration for the title-namer of his 1956 Riverside album, The Unique Thelonious Monk. His singular sound on the piano, his inability to perform in New York City for several years (due to NYC’s cabaret laws), and his unorthodox compositions that sounded like urban spirituals filtered through stride and bop, nodding at some strange deity of cool, all contributed to a relatively low profile until the late 1950s, when his star suddenly began to ascend into a wider popular culture. Monk’s style was so strong that it’s not surprising that he rarely performed as a sideman…

Continue Reading »

Last year Night Lights began an annual Bastille Day-week salute to the convergence of all things French and jazz with Paris Noir, a program about post-World War II expatriate African-American musicians in France. This year our tribute show focuses on jazz interpretations of the many songs that have been written about the City of Light.

Continue Reading »

Word is that we’ll probably see the following reissues from Nessa Records in several months: Roscoe Mitchell’s Nonaah (with bonus material), Charles Tyler’s Saga of the Outlaws, and…

Continue Reading »

A couple of weeks ago Bernard Gordillo, who writes the WFIU early-music show Harmonia, mentioned a recent interest in Pannonica de Koenigswarter, also known as Nica, the Jazz Baroness, or simply the Baroness. The Baroness was a sort of jazz patron, a woman well-liked by the jazz musicians she befriended on the mid-20th-century New York bebop scene; she counted Charlie Parker and Thelonious Monk among her closest companions from that community. As a wealthy white woman spending time…

Continue Reading »

1957 was a prolific year for Art Blakey, the volcanic drummer and leader of the Jazz Messengers. The Messengers were one of jazz’s most-noted and longest-running collectives, and young musicians such as Freddie Hubbard, Lee Morgan, Wayne Shorter, Woody Shaw, Keith Jarrett, and Wynton Marsalis all pulled tours of duty with the group, sometimes called “the hardbop academy.” Its bop-and-funk-driven history stretches from the late 1940s to the beginning of the 1990s; the lesser-known 1957 edition included…

Continue Reading »

As a musician and a man, Thelonious Monk must have provided easy inspiration for the title-namer of his 1956 Riverside album, The Unique Thelonious Monk. His singular sound on the piano, his inability to perform in New York City for several years (due to NYC’s cabaret laws), and his unorthodox compositions that sounded like urban spirituals filtered through stride and bop, nodding at some strange deity of cool, all contributed to a relatively low profile until the late 1950s, when his star suddenly began to ascend into a wider popular culture. Monk’s style was so strong that it’s not surprising that he rarely performed as a sideman–as pianist Ran Blake noted, “There’s never any doubt who’s at the keyboard…it may be a delayed attack on a chord…

Continue Reading »

In the liner notes to his 1964 masterpiece A Love Supreme, John Coltrane wrote, “During the year of 1957 I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life.” 1957 has become Year Zero in the Coltrane legend, a key turning point for the tenor saxophonist, then 30 and still in the throes of a debilitating drug addiction that had led Miles Davis to twice boot Coltrane out of his group. Throughout the course of this year Coltrane would…

Continue Reading »

The Monterey Jazz Festival is coming up on its 50th anniversary, and I’m assuming that’s why a series of CDs featuring performances by Thelonious Monk, Louis Armstrong, Miles Davis, Dizzy Gillespie, Joe Henderson, Sarah Vaughan, and others is coming out next week. I’m listening today to a highlights promo…

Continue Reading »