May 10, 2012. Posted by Alex Ariff.
This week in JazzSet History we'll hear clips from two legends: bassist Ron Carter and drummer Jack DeJohnette. Carter and DeJohnette have known each other for years, and continue to perform side by side. This past January, DeJohnette was inducted as as 2012 NEA Jazz Master. The two shared the stage at the awards ceremony to perform "When Will The Blues Leave" by Ornette Coleman. All of the clips in this post come from JazzSet's extensive Festival Internatiaonal de Jazz de Montréal archive.
Ron Carter turned 75 last week (born May 4, 1937), so I thought it fitting to feature him first. Standing 6'4'', Carter is nearly the height of his bass. He has influenced nearly every bassist of the past 50 years. Rob Hurst is one. In an interview with JazzSet host Branford Marsalis, Hurst recommended Picello as one of Carter's best albums as a leader, and Miles Smiles and ESP as his favorite albums featuring Carter as a bassist. I personally love his playing with Miles Davis' second quintet and on Wayne Shorter's Speek No Evil. The following clip certainly justifies his stature. Feel free to leave your favorite Ron Carter musical moment at the bottom.
Carter performed in one of the small theater, living room concerts at the 1994 Festival Internatiaonal de Jazz de Montréal. Here is Carter's bass solo on “My Funny Valentine.” Listen closely at 2:06 for the "Bohemia After Dark" quote!
Let's fast forward to the 2003 Festival Internatiaonal de Jazz de Montréal. Artistic director, André Ménard selected Jack DeJohnette as the festivals artist in residence. DeJohnette created a series of concerts with a different band: one show, every night, for four nights! The first clip we'll hear is a dangerous trio: DeJohnette, drums; Herbie Hancock, piano and Dave Holland on bass. I was honored to witness this band back in 2010 at Herbie Hancock's "Seven Decades: A Birthday Celebration." Here is DeJohnette's solo on "One Fingers Snap."
Finally, here is a duet between DeJohnette and vocalist Bobby McFerrin. The two freely improvise for a few minutes, then DeJohnette begins to play a funky back-beat. This is the moment when McFerrin enters, scatting a mumble-jumble of words, syllables and jargon.
I will be back in two weeks to present a special recap on JazzSet's trip to Cuba in 1998. JazzSet presented three consecutive weeks of Cuban jazz in 1999, so look forward to a large amount of professional and field recordings!
Alexander Ariff is a Master's student in Jazz History & Research at Rutgers University. In celebration of 20 years, he digs up and shares special gems from the JazzSet archive.
© 2012 WBGO
May 2, 2012. Posted by Tim Wilkins.
The Jazz Stream is back!
Now online listeners can enjoy our new 24-hour showcase for emerging jazz artists and styles, which has been on the air in the at 88.3 HD2 in the New York Metro area since January. We will introduce you to fresh jazz talent and offer insights into their creativity and inspirations.
In coming weeks, we'll roll out new features on The Jazz Stream, including exclusive interviews and music every week that you can only hear at WBGO. On the web, we'll have concert and album reviews, columns and special content from invited guests.
The Jazz Stream plays three tracks by emerging artists, such as vibraphonist Warren Wolf and drummer Kendrick Scott, for each track by a jazz “icon,” such as John Coltrane or Thelonious Monk. We will also feature highlights from WBGO interviews, live broadcasts and studio sessions.
Pianist Robert Glasper was the first featured artist on The Jazz Stream during our online "sneak preview" back in March. He stopped by our studios to talk with Tim Wilkins about his new album, Black Radio, and his band's original fusion of jazz with hiphop and soul. Your can click here to hear highlights from Glasper's album and our conversation.
© 2012 WBGO
April 27, 2012. Posted by Simon Rentner.
Nobody doubts Dan Morgenstern’s storied life. His 8 Grammy awards, NEA Jazz Master honors, and other laurels back up this fact. But when we see him at WBGO – every time he co-hosts Jazz from The Archives – we witness his character. All of the awards and compliments in the world could never turn him into a blowhard. His friends and close peers all know about his sensitivity in his writings and compassion for his subjects, and they also rely on his insight and analysis.
That lightness of being is reflected in WBGO’s recording studio, the way he smiles, bobs his head, and dances to the music he plays on the radio. His enthusiasm for jazz is “Olympic” in its brightness and scope. His work ethic -- unyielding. The torch within just keeps burning, and he passes all of that fire and knowledge to the next person so effortlessly.
As Morgenstern prepared to step down from his longtime role as director of the Instutitute of Jazz Studies at Rutgers University-Newark's Dana Library, he sat down with me in our studios for an extended conversation. We talked about his childhood, growing up Jewish during World War II. He hesitatingly talks about when he was saved by the Danish how that experience shaped him.
He also talked about his early musical encounters, one with composer Albam Berg, who befriended Morgenstern’s father. And, he shared the epiphanous moment that changed his life, the moment he saw Fats Waller. He also spoke candidly about being the editor of Down Beat Magazine in the 1960s, when America was being torn apart by civil rights unrest, and how he, as “Mr. Whitey” – was perceived by some as a symbol of America’s institutional racism.
His story, as rich as it is layered, is well worth telling and hearing. And it may be fully told one day. Now that he’s stepped down from the IJS, he told me, he may find time to write that autobiography.
In the meantime, Dan, thanks for sharing your thoughts with us, so we can share them with our listeners here. We featured a segment of our conversation on Friday's WBGO Journal, and are happy to share our conversation in its entirety with you now. Enjoy! – Simon Rentner
© 2012 WBGO