Jazz

Jazz critic Kevin Whitehead reviews two new albums by drummer Mel Lewis. Lewis has been leading a New York based band for more than 25 years.

Jazz critic Kevin Whitehead reviews a new CD by drummer Cecil Brooks III, "The Collective."

Jazz critic Kevin Whitehead reviews a reissue of a 1957 album by bassist Wilbur Ware. Kevin says that year was the highlight of Ware's career--he recorded with Sonny Rollins and Thelonius Monk as well as recording his only album as a leader.

Jazz critic Kevin Whitehead reviews the new album from pianist Dick Hyman and cornetist Ruby Braff. The pair have been playing together off and on since the mid 70s. This time they've teamed up and revived an old jazz tradition, playing tunes from Broadway. The album's called "Music from My Fair Lady," and it's on Concord Jazz.

Jazz critic Kevin Whitehead looks back on jazz in the 80s...the big figures, the big trends, the big albums, and he takes a guess as to what the 90s will bring.

Jazz guitarist Jim Hall. In the 50s, Hall was part of the West Coast jazz scene. Several years later he was touring South America with Ella Fitzgerald when the Bossa Nova craze hit. That music's been a lasting influence on Hall. In the 70s, Hall recorded with free-jazz player Ornette Coleman and made several albums with jazz's best bassists. In all, Hall's made more than 100 albums, his latest, with his quartet, is called "All Across The City." It's on the Concord jazz label.

Rock critic Ken Tucker reviews Quincy Jones' new album "Back on the Block." Jones produced the album, co-wrote some of the numbers and performs a bit, but mainly it's a showcase for some of his favorite performers, ranging from Dizzy Gillespie to the rapper Ice-T.

Jazz critic Kevin Whitehead reviews a reissue of music by singer and pianist Fats Waller from 1940-1943, the years just before his death. Although this period is considered by many to be his least productive, Kevin says Waller was great at any time.

Arranger and baritone saxophonist, Gerry (pronounced "jerry") Mulligan. He's been an innovator in modern jazz orchestration. Early in his career he was staff arranger for Gene Krupa's big band. In 1949 he collaborated with Gil Evans and Miles Davis in the Nonet. The nine-piece band shook up jazz arrangers and launched the era of so-called cool jazz. He achieved international acclaim when he started a "pianoless" quartet with trumpeter Chet Baker in the early 1950's.

A live stereo concert with Lenny Pickett and the Borneo Horns. Pickett says the Borneo Horns play rhythmically compelling music using wind instruments, not percussion, to track the rhythm. He formed the band with horn players he met in David Bowie's band. These days, in addition to leading his band, Pickett is an accomplished composer and arranger, and he plays in the band on Saturday Night Live.

Jazz critic Kevin Whitehead reviews "Fractured Fairy Tales," the new album by alto saxophonist Tim Berne and his septet. Kevin says Berne started out by putting out his own records and eventually worked his way up to a deal with Columbia. Ironically, they dropped him at the same time he was winning his largest critical acclaim.

South African pianist/composer Abdullah Ibrahim (E-bra-HEEM). His music is influenced by South African vocal and popular music, early American Jazz, church music, and American Jazz of the 1960's and 1970's which was influenced by African music. One of his songs, "Mannenberg is Where It's Happening (Capetown Fringe)," a vocal, was a hit in South Africa and became the anthem for the Soweto uprisings of 1976. Ibrahim formerly went by the name Dollar Brand, and has several albums under that name. Ibrahim lives in New York in self-imposed exile from South Africa.

Jazz critic Kevin Whitehead takes a historic look at boogie-woogie piano music. Includes such piano players as Meade Lux Lewis, Albert Ammons, Pete Johnson, and Jimmy Yancey.

Jazz critic Kevin Whitehead reviews clarinetist John Carter's new album, "Shadows on a Wall." The album concludes Carter's 5 album musical saga of the African-American experience. Kevin says the series doesn't recreate history, but it DOES reimagine it.

Rock historian Ed Ward reacquaints us with the music of Louis Jordan. In the late 1940's he was one of the highest-grossing black acts in the country.

Bandleader, singer, songwriter, and talent scout Johnny Otis. His musical career spans the big band era, rhythm and blues, and rock and roll. In the 40's he played and traveled with the big bands, with the Ink Spots and Louis Jordan. Later, with a pared down band, he was on the forefront of the rhythm and blues. He's credited with discovering Etta James, Big Mama Thornton, Jackie Wilson and Ernestine Anderson.

Jazz vibraphonist Lionel Hampton. He introduced the vibes to the jazz world and remains one of it's undisputed masters. In the 1930's he played with the Benny Goodman's band -- being one of the first blacks to play with a white band. He's just written an autobiography, "Hamp." Al Capone and Louis Armstrong also play surprising roles in his life.

Jazz composer/clarinetist John Carter. He has just completed a five part music series chronicling the black migration experience from Africa to America: "Roots and Folklore: Episodes in the Development of American Folk Music. The final program in the series, "Shadows on A Wall," premiered recently as part of the New Wave Festival at the Brooklyn Academy of Music. The festival celebrates performers working on the edge of classical, rock, and jazz styles. Carter's performances are also out on disc.

Jazz critic Kevin Whitehead reviews "Warm Evenings," the new album by cornet player Warren Vaché (pronounced va-SHAY). On this album, Vaché teams up with classical music's Beaux-Arts String Quartet.

Jazz critic Kevin Whitehead reviews a new 16-CD box set by alto saxophonist Art Pepper, called "The Complete Galaxy Recordings."