Gerald Wilson has been leading big bands and recording albums for more than 60 years now, and this week he celebrates his 90th birthday. “Last of the Lions: Gerald Wilson” features two of his most significant outfits: a modernistic 1940s powerhouse that included up-and-coming musicians such as trumpeter Snooky Young and trombonist Melba Liston, and an all-star 1960s West Coast unit that highlighted soloists such as tenor saxophonist Harold Land and guitarist Joe Pass.
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At the end of World War II Duke Ellington was coming off one of the most commercially and artistically successful periods of his career–the so-called Blanton-Webster years of the early 1940s. He had managed to keep much of his orchestra intact during the war and had maintained a high public profile with concerts and broadcasts during the 1943-44 recording ban that kept him and other artists out of the studios. In late 1944 he’d scored a smash hit with “I’m Beginning to See the Light”…and with service men and women beginning to return home as the war wound down in 1945, it seemed that the big bands would keep riding the wave of popularity that had sustained them since the mid-1930s.
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Jazzwax master blogger Marc Myers’ mention of the late arranger Bill Finegan yesterday reminded me that I did a show about Tommy Dorsey’s post-World War II orchestra a couple of years ago when I hosted WFIU’s The Big Bands. As Marc points out, Finegan crafted some fantastic arrangements for that particular Dorsey ensemble. In an e-mail followup exchange he asked if the program was still available…
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Gil Evans, a Canadian-born pianist and composer, “enormously expanded the vocabulary of the jazz orchestra,” as writer Gene Lees pointed out, reducing the standard big-band instrumentation, restraining its vibrato, and adding flutes, oboes, English and French horns, and tubas. Self-taught as an arranger, he created a quietly dramatic, dark-hued sound-world that drew on a multiplicity of influences ranging from Spanish music and the French Impressionists to Duke Ellington and…
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Duke Ellington’s 1941 musical Jump for Joy was a cultural milestone, an assertive, satirical riposte to the servile depictions of African-Americans in both film and the theater, and a forerunner of later extended Ellington works such as Black, Brown and Beige. Though the show ran only in Los Angeles and never made Broadway, Ellington cited it as one of his proudest achievements, and in his lifetime it occasionally resurfaced in one way or another (Cannonball Adderley’s…
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In part 2 of American Popular Song and World War II we’ll hear music from Louis Jordan (”You Can’t Get That No More”), Kitty Kallen with Jimmy Dorsey (”They’re Either Too Young or Too Old”), Sam Donahue’s Navy band (”Convoy”), a rare recording of Bing Crosby with Glenn Miller’s…
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In honor of the holiday weekend, we’re posting both parts of last year’s “American Popular Song and World War II” Afterglow program, featuring special guest Michael McGerr, author, cultural historian, and Indiana University professor. We’ll hear some of the martial-spirited songs from the early months of America’s entry into the war (”Remember Pearl Harbor” and “Praise the Lord and Pass the Ammunition”), as well as pre-war songs about the draft, songs about…
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Word is that we’ll probably see the following reissues from Nessa Records in several months: Roscoe Mitchell’s Nonaah (with bonus material), Charles Tyler’s Saga of the Outlaws, and…
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The inspiration came from a late-night party, a convergence of Hollywood glamour and nascent civil-rights activism with one of America’s greatest jazz orchestras. In the summer of 1941, as Americans warily regarded a world war that seemed to be edging ever closer to their shores, Duke Ellington staged what he would later call “the first ’social significance’ show,” Jump for Joy. Jump for Joy was an all-black musical revue that Ellington said “would take Uncle Tom out of the theater and say things that would make the audience think.” It featured the Ellington orchestra in its so-called “Blanton-Webster” years, playing at the peak of its powers, and up-and-coming African-American…
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