Welcome to Brooklyn...A Jazzy Place

[...] in jazz-themed art, and their work is selling better than ever. For them, the desire to create jazz art stems from a deep affinity with the music and its visual interpretations. And galleries across [...]

[...] , as soon as he began to listen. But I mean, it’s always seemed to me that Armstrong and Duke Ellington, who was so very different, are the two titanic figures in the history of the music. There [...]

[...] called “The American Songbook”–short pieces by legendary composers like Duke Ellington, George Gershwin and Cole Porter. Blues is to jazz what the sonnet is to poetry-a distinct [...]

[...] , was an important social affirmation of black beauty and racial pride, one echoed in Duke Ellington’s “Jungle Band” and in the many black revues advertising “brown- [...]

[...] example, exhibits this preference in his review of James Lincoln Collier’s biography of Louis Armstrong: “Armstrong, the creative artist, remains a puzzle to Collier, whose sober, serious, [...]

[...] figure. Yes, but there was something in that music that spoke to me, and still does. I play Louis Armstrong 10 times a week. When I want to feel better, that’s what I play. I think you do the [...]

[...] greatest innovators. They did for jazz in the late forties and the fifties what Haydn did for classical music in the eighteenth century, ushering in the modern era. Technically, bebop is extremely [...]

[...] in the long run, both jazz and classical music show every sign of thriving. During the 1950s Thelonious Monk sold pitifully few records [...]

[...] was somewhat similar. I was in New Orleans when I was 15, and I had grown up listening to classical music and then rock, and then rock turned into Fabian and so there wasn’t much to listen to. [...]

[...] , McKay writes, ” . . . the atmosphere of Madame Suarez’s was fairly Bacchic and jazz music was snake-wriggling in and out and around everything and forcing everybody into amatory states [...]

[...] keeping people out. And there’s a much more subtle kind, which is the idea that somehow jazz music is–at least when played by blacks–somehow an instinctive, raw, natural, primitive [...]

[...] found in the work, which artists usually employ to capture the vibrance and spontaneity of jazz music. This style is evident in the work of Paloma Editions artist Gil Mayers and Arnold Thompson of [...]

[...] because they did not bother to have the “jazzy” bits performed by experienced jazz musicians. But these “neoclassicists” were fight about one thing: the best way to flush [...]

[...] your life. That’s exactly right. These are consummate professionals. One of the first jazz musicians I heard as a kid was Dave Brubeck. I kind of put him aside for a long time, but I fell in [...]

[...] and agonies” of slavery. And the open sesame to this Shangri-La? Music – a jazz pianist who has “wandered” into “a sensual dream of his own.” How [...]

[...] a check and a week later had it in my living room. Trudy Silver, a former child prodigy, was a jazz pianist with a respectable reputation among experimental New York artists like the late bassist Fred [...]

[...] Grover Sales for this article, he made the commonsense observation that “There’s classical jazz and there’s romantic jazz.” He’s right. Within every kind of music [...]