JAZZ CLASSIC OF THE MONTH George Bruns (1914-83),no relation to George Brunies, was the musical director and a major arranger for Walt Disney Studios from
Joe Mares, the younger brother of cornetist Paul Mares of the New Orleans Rhythm Kings, played clarinet but did not record himself. More significantly, in
1944 was a rather busy year for pianist James P. Johnson (1894-1955). Johnson, if not the first (although he was the earliest on records), was
The brilliant clarinetist and tenor-saxophonist Ken Peplowski has largely overcome (or at least learned to live with) some very serious health problems to resume his
In her two previous recordings, The Night We Couldn’t Say Good Night and Love For Connoisseurs, Angela Verbrugge made a strong impression as both a
For the last year, along with an active tour schedule, appearing on recordings for others, and contributing his great column with Jeff Barnhart analyzing choice
Reader, you know I love a good pianist. And you know I love anything to do with France. So let me cut out the fluff
I was at Oxford Lindy Exchange last weekend, where British swing supergroup The Shirt Tail Stompers provided Sunday’s live dancing soundtrack. Before their set, bandleader
The New Wonders’ Steppin’ Out is out with thirty-nine minutes of delight and ten tracks of marvelous melodies! After observing hints of this imminent project
On the first track of his first album as a leader, Bobby Hutcherson doesn’t solo until four minutes into the song. It’s “If Ever I
JAZZ CLASSIC OF THE MONTH Cornetist Wild Bill Davison (1906-89) recorded prolifically during his career from 1940 on, whether with Eddie Condon, all-star groups, or
Eyal Vilner, who plays alto, clarinet and flute in addition to writing arrangements, has been leading his ten-piece band (counting singer Imani Rousselle) in New
I recently featured Adrian Rollini as the subject of one of my Jazz Profile columns along with Frank Trumbauer. Rollini was the king of the
Ford Dabney (1883-1958) is just a footnote in jazz history. A long-forgotten figure, if he is remembered at all it is for composing the jazz
When exploring 1920s jazz it is easy for today’s musicians to be a little too reverential of the past, seeking to recreate aspects of earlier
I love the Mills Brothers. Any time I see one of their LPs in a charity shop I do a little “shoop-de-whoop-whoop,” accompanied by a
The Toddies are something of a supergroup. Led by celebrated stage composer Patrick Soluri on drums, the outfit boasts veteran bandleader Gordon Webster on keys,
Ed Clute’s relationship with this paper goes back about as far as is possible. He was profiled in our very first issue, our publisher, Andy
Returning to my notes on an album before writing a review I often find more exclamations than insights but sometimes they point me in the
Of the numerous Turtle Bay releases this one will especially resonate with TST readers. Not trying to be hip or current, these are men with
Jazz Classic of the Month Oscar Aleman (1909-80) was born and raised in Argentina but is best-known today for his work in Europe in the
Bobby Leecan (1897-1946) was a fine banjoist and guitarist who straddled the boundaries between jazz, blues and hokum during his relatively brief recording career. What
Upbeat recently reissued a collection originally put out by Big Bill Bissonnette’s Jazz Crusade label that was titled Rare Cuts – Well Done, Volume 8.
When Jack Teagarden (1905-64) arrived in New York in 1927, he created a bit of a sensation in the jazz world. Sounding years ahead of
