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Bebop
dizzy-gillespie

Jazz Ambassador

Dizzy Gillespie by Armand Lewis In the early 1950s, with the Cold War heating up to a fevered pitch, rhetoric on both the U.S. and Soviet sides ratcheted up the propaganda as well as the weaponry, with literally every aspect of...
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Bebop
Jaki Byard and Tommy Flanagan

Piano Magic

Tommy Flanagan and Jaki Byard By Armand Lewis usic may be the universal language, but jazz is a conversation — a conversation between the musicians as well as with the audience. A special subset of these musical conversations...
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Wynton Kelly Lost in Boston

BY ARMAND LEWIS In the 1950s and early ‘60s, Miles Davis had the band in modern jazz. If a musician played with Miles, it was practically automatic that record contracts would follow almost immediately. John Coltrane, Bill Ev...
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coltrane-featured

Coltrane’s Latest Offering

BEBOP AND BEYOND by Armand Lewis~ In what turned out to be the last years before John Coltrane’s untimely death in 1967, the tenor saxophonist discarded the bebop and modal styles that defined such classic albums such as Blue...
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Moondog — On the Sidewalks of New York

BY ARMAND LEWIS LOUIS HARDIN WORE MANY hats: composer, poet, street musician and in the words of composers Phillip Glass and Steve Reich, “the founder of minimalism.” But Hardin’s favorite hat was a leather Viking helmet...
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four-brothers-featured

Four Brothers in Europe

By Armand Lewis In 1947, tenor saxophonist Jimmy Giuffre wrote a composition featuring a four-part harmony arrangement for the saxophone section of the Woody Herman Orchestra. Though Giuffre was not a member of Herman’s band ...
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Bebop
Wayne Shorter Without a Net Jazz

Wayne Shorter Returns to Blue Note

Time And Age Can’t Diminish Wayne Shorter By Armand Lewis ayne Shorter is one of the few chameleons in jazz. Adaptable to any musical setting he finds himself in, the saxophonist’s career spans everything from the hard ...
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oscar-ben

Ben Webser and Oscar Peterson

Ben Webser and Oscar Peterson — One More Time By Armand Lewis The nature of musical partnerships is not a permanent one. Musicians will work together until a better gig comes along or contractual (or geographic) differences r...
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Bebop
Joe Pass, 1974 Wikimedia Commons, Hans Bernhard (Schnobby)

Joe Pass – Encore in ’64

BY ARMAND LEWIS It’s often said that practice makes perfect. There are few better examples of that fact than the music of guitarist Joe Pass. At his father’s insistence, Pass practiced for roughly six hours a day starti...
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