Posts Tagged ‘Sonny Rollins’
October 23, 2013 | by Aaron Gilbreath
In 1965, celebrated jazz trumpeter Lee Morgan released the song “Speedball” on his album The Gigolo. A year earlier, the title track from his album The Sidewinder had become the biggest hit in Blue Note Records’s history, reaching number twenty-five on the Billboard LP charts, even appearing on a Chrysler TV commercial during the World Series. Although “Speedball” never attained the commercial success of “The Sidewinder,” it endures as one of Morgan’s best-known originals, and, with the possible exception of Art Pepper’s album Smack Up, its title serves as the most barefaced allusion to the monkey on midcentury jazz’s back.
Drugs, risk, rebellion—this unholy trinity seems more evocative of rock-and-roll longhairs than clean cut men in suits, yet these dark elements remain central to the jazzman archetype established by Charlie Parker. Between the midforties and early sixties, tons of talented players were strung out: Art Blakey, Hank Mobley, Sonny Rollins, Miles Davis, Grant Green, Dexter Gordon, Jackie McLean, John Coltrane. If Coltrane later provided a countervailing archetype—the sober, spiritually aware, gentle genius—then Parker embodied creativity’s menacing, consumptive side. Morgan got lost between these poles. A promising, prodigy it-kid, he received his first trumpet at age thirteen. Five years later, he joined the Dizzy Gillespie Big Band. That same year, in 1956, he recorded his first Blue Note album as a leader, and soon after played on now legendary recordings such as Coltrane’s Blue Train, at age nineteen, and Arty Blakey’s Moanin’, at twenty. His own early output ranks as nothing short of astonishing—eleven albums as a leader by age twenty-two—which is why his 1961 departure from Blakey’s Jazz Messengers takes on the sinister weight of an omen. Read More »
December 8, 2011 | by Sam Stephenson
It’s sixty-two degrees and raining in downtown Durham, North Carolina, on a Tuesday in mid-October. At noon members of the Branford Marsalis Quartet gather at the former St. Joseph’s African Methodist Episcopal church, built in 1891, now converted into the Hayti Heritage Center, an arts-and-community nonprofit. Their goal is to record a new album over the next few days.
When Marsalis moved his family to Durham from New York a decade ago, the local press assumed he was replacing the retiring director of Duke’s jazz department, saxophonist Paul Jeffrey. But Marsalis, who'd grown up in Louisiana, simply wanted to return to the South and picked Raleigh-Durham because the area had an airport large enough to get him anywhere he needed to go. Later, he began teaching part-time in the noted jazz program at the historically black North Carolina Central University, which is a mile down the road from Hayti.
The original St. Joseph’s sanctuary remains intact: a wood-plank stage, hardwood pews, a balcony, chandeliers, and lots of stained glass. Marsalis began recording albums here in 2006 when he noticed that the room had a unique quality: there is no reverb at low decibel levels; it grows gradually with the sound.
September 15, 2011 | by Dawn Chan
It’s late August in Brooklyn, and two men are trying to figure out how to hoist a piano up to a third-floor window and then release it so that it smashes onto the sidewalk below. “I think the major issue is just balancing out its weight,” says one. They push open a door to the roof to explore their options. A security alarm goes off; they’re undeterred.
The two men, director Chris McElroen and “professional problem solver” Dan Baker, are part of the team behind Chaos Manor, a multimedia performance inspired by the unconventional life of W. Eugene Smith. In the 1950s, Smith, celebrated for his front-line World War II photography, found himself increasingly at odds with his Life magazine editors. He quit his job and, several years later, embarking on what some might call a midlife crisis and others a visionary project, left his wife and children and moved into a dilapidated Manhattan building frequented not only by “derelicts, hustlers, and thieves” (in the words of his biographer) but also by some of the “biggest names in jazz.” From his fourth-floor apartment, Smith spent the next eight years relentlessly documenting the sights and sounds around him. His forty thousand photographs and 4,500 hours of audio reels captured hundreds of musicians, including legends such as Thelonious Monk, Sonny Rollins, Bill Evans, and Roy Haynes. Read More »