A young James Taylor arrived on the crowded late ‘60’s musical scene a mature, fully formed artist. His voice was unique, rich-sounding and immediately identifiable, as was his acoustic guitar playing. His songwriting was accomplished both lyrically and melodically well beyond his 20 years.
Alto saxophonist, improv great Lee Konitz who was associated with every style from bebop to avant-garde and especially cool jazz died today at age 92 a victim of the coronavirus.
Speakers Corner has unearthed an unlikely gem here: a 1957 blues set by a stellar assemblage of jazz musicians that's been obscured by time—at least I've never seen or heard of it before.
Jazz vocalist Karrin Allyson’s tenth Concord release and her most recent to be issued on double 180g vinyl by Pure Audiophile, is yet another pleasing, eclectic and elegant set from the young, refreshingly unaffected vocalist.
During the late 1940s, ‘50s, ‘60s and ‘70s American jazz musicians and groups toured Europe and the world, usually to greater appreciation and acclaim than they received back home. Sad but true. Some moved overseas where they were treated with greater respect than they received at home but that’s another story.
In the mid-‘70s when Joni Mitchell applied the glossy red lipstick and abandoned the bucolic but spent Laurel Canyon hippie scene, it was the end of an era, and for some fans, the end of the their love affair with Joni Mitchell. Many felt betrayed—as if she’d decided to grow up while they desperately clung to their youthful, Peter Pan-ish ‘60’s idealism. The sense of abandonment and estrangement was palpable. Thirty years later artists like Neil Young prove it is possible to maintain the ‘60s zeal and ideal—at least esthetically—while this superb DVD documenting Mitchell’s musical growth and her ability to keep up with and indeed lead some of the best jazz artists of the time, proves that it’s also possible for an artist to shift musical directions 360 degrees while remaining true to core values.
If you are too young to remember but want to experience the turmoil and dread that marked the end of the tumultuous 1960's and you want to view it through west coast music that veers from bucolic to anarchistic, from sublime to self-indulgent with a force and power rarely heard in today's noodling rock, here it is.
This 1957 set spotlights the obscure Chicago alto sax hard bop player John Jenkins who led but one Blue Note session and three altogether in his short recording career, which he ended in the early '60s.