Jazz aficionados generally have little use for various-artist anthologies. They’re seen as gateway collections for beginners, whereas hardcore veteran listeners tend to want all-inclusive single-artist monoliths replete with alternate takes, unissued masters, etc. (Sony/Legacy’s Miles Davis series is an excellent example–even though the later electric boxes have drawn in some younger, non-aficionado buyers.) Exceptions are made, of course–particularly for comprehensive label overviews like Mosaic Records’ Commodore trilogy and sets that document lesser-known but important milieus or periods, such as the Wildflowers collection that captures the mid-1970s New York loft scene.
Two of longtime bandleader Gerald Wilson's finest orchestras--his progressive, modernistic 1940s outfit and his 1960s West Coast band.
Jimmy Giuffre--a clarinetist, saxophonist, and composer-arranger has passed away at the age of 86.
Saxophonist Phil Urso passed away yesterday at the age of 82.
Pete Candoli, a trumpeter whose Superman-caped solos with the Woody Herman orchestra captured the exuberance of the swing era, has passed away at the age of 84.
We'll hear a clip from trumpeter Shorty Rogers' appearance on the too-hip-to-last early-1960s TV show, Jazz Scene USA.
Based on the true story of accused murderess Barbara Graham, the 1958 movie I Want to Live! employed a jazz soundtrack written by Johnny Mandel.
In the early 1950s musicians Roy Harte and Harry Babasin, eager to document the ascending West Coast jazz scene, started a Los Angeles label called Nocturne Records. Babasin and Harte said they wanted to “broaden the nation’s views of our activities out here in Hollywood…
In 1957 a young Robert Altman (future director of Nashville, MASH, and The Player) co-directed a documentary about James Dean, with a soundtrack written by Leith Stevens (who also scored The Wild One…