Make sure to tune in to Jazz at 100 every Thursday night from 7-9! These are the two hours that aired on January 25.
In this hour we will survey the 1950s contributions of Stan Kenton and his orchestra, Count Basie and his New Testament Band, Duke Ellington at Newport, Gil Evans studio band, Quincy Jones and the adventurous Dectet of Teddy Charles.
Bebop had its roots in the big bands of the late 1930s and was nurtured in jam sessions during the war and the musician’s strike of the 1940s. By 1950, the prescient Coleman Hawkins, and the pioneers – Charlie Parker, Dizzy Gillespie, Bud Powell, and Max Roach were well-established stars at risk of the music moving on and leaving them behind. Yet, they all had much more to offer in the 1950s.
Make sure to tune in to Jazz at 100 every Thursday night from 7-9! These are the two hours that aired on January 18.
Pianist Lennie Tristano was a very visible participant in the modern jazz innovations of the mid-1940s through the early 1950s, winning polls and participating in all-star jam sessions. Yet his music was always a little outside the mainstream and was increasingly so as he began to experiment with fully improvised performances by 1947. While his focus on low dynamics and long flowing lines has been seen as a precursor of the cool school that arose early in the 1950s, the better argument may be made that Tristano created an intellectual setting for the free jazz to come.
The torrid pace of bebop improvisations reached a point in the late 1940s that prompted a musical reconsideration and Miles Davis was there at the conception. Davis had been with the Charlie Parker Quintet since 1945, when he began to woodshed with composer/arrangers John Lewis, Gerry Mulligan and Gil Evans, all of whom would become major long-time contributors to the music. In three recording sessions starting in January 1949, this arrangers’ super-group created a body of music which, when rereleased at the beginning of the LP era, was known as the “Birth of the Cool.”
Make sure to tune in to Jazz at 100 every Thursday night from 7-9! These are the two hours that aired on January 11.
Duke Ellington was the well-spring that flowed through many decades of jazz. In 1938, Ellington found his soul-mate in composer/arranger Billy Strayhorn. By the early 1940s, Strayhorn combined with bassist Jimmy Blanton and tenor saxophonist Ben Webster to reinvigorate both Ellington and his band. In the next hour, we will feature the compositions and arrangements of Ellington’s most important collaborator, Billy Strayhorn, from Take the A Train and Chelsea Bridge through Satin Doll and Lush Life to his dying lament – Blood Count – from 1967.
In the 1940’s, some twenty-five to thirty years into the history of recorded jazz, the sometimes violent reaction against the bebop revolution caused a hard look into the rear view and the jazz world focused on its own history. Many of the players who led the first jazz revolution were still alive, ready for prime time, and welcoming of another chance at center stage. The outside forces that led the small ensembles of bebop and R&B into prominence, also supported the resurgence of quintets and sextets playing New Orleans-style jazz.
Make sure to tune in to Jazz at 100 every Thursday night from 7-9! These are the two hours that aired on January 4.
In this hour, we will continue to present bebop innovators – pianist/composer Tadd Dameron and his frequent (but short-lived) collaborator Fats Navarro, the next great bebop trumpeter after Dizzy Gillespie, and two of the greatest and longest-lived bebop soloists, Bird’s rival – alto saxophonist Sonny Stitt who recorded until 1982 and the first significant bebop trombonist JJ Johnson, who was active in music until 1996.
Most of the pioneering bebop musicians we have featured in the past several programs were centered in New York – Bird, Dizzy, Monk, Bud Powell, Coleman Hawkins, Fats Navarro, JJ Johnson, Max Roach. While New York may have dominated the modern music scene, it wasn’t the only scene. The wartime economy in southern California brought an influx of African-American workers, not dissimilar to Chicago in the 1920s, and with them musicians, nightclubs and dance halls