Smoke dreams, sorcerers, stalking monsters, and strange exits: paranormal jazz encounters on this edition of Night Lights.
In the 1970s Xanadu Records chronicled bebop and hardbop musicians who'd become overshadowed by the bright, loud light of fusion. Now the label's LPs are back.
In the late 1960s, young musicians such as The Free Spirits, the Fourth Way, and other now-forgotten fusioneers made the first attempts to blend jazz with rock.
In 1961 saxophonist Sonny Rollins returned from a two-year sabbatical, forming new musical alliances as he plunged into a shifting and vibrant jazz landscape.
Sauter's innovative and challenging arrangements gave the big-band sound an artistic sophistication that anticipated the rise of the Third Stream.
At the end of 1967 one of the most popular groups in jazz, the Dave Brubeck Quartet, disbanded. What did its star alto saxophonist Paul Desmond do next?
In the 1960s Herbie Hancock seemed to be everywhere on the jazz scene, recording both as a leader for Blue Note and as a sideman with Miles Davis and others.
In 1952 Billie Holiday began her last great period on record with a series of small-group sessions that capture the twilight glow of a jazz star.
Long before the rise of the black-pride movement in the 1960s, Ellington was writing music that celebrated African-American culture, personalities, and history.
Wilson's records blended big-band and small-group elements with pop orchestration and doses of soul that could be both big-city hip and suburban cool.