Podcasts about West Coast jazz

Tonight's Jazz Feature is an atypical recording by multi-instrumentalist/composer Jimmy Giuffre. He had been mostly associated with "West Coast Jazz" or "Cool Jazz", a style prominent in the 1950's that combined tight arrangements with Jazz solos. Giuffre in 1958 had gigged with his "folk Jazz" trio in New York and while there he was impressed with the harder, more emotionally outgoing Jazz of Thelonious Monk, Sonny Rollins and Art Blakey's Jazz Messengers and returned to L.A. where he was based a bit of a changed man as he wanted to be more outgoing and emotional in his playing. He had great technique on his horns, clarinet and tenor saxophone and changed his approach. Hence tonight's recording which is a quartet date with minimal arrangements and featuring Giuffre on his two horns backed by a solid rhythm section with the great Jimmy Rowles on piano, Red Mitchell on bass and Lawrence aka Larence Marable on drums. The album is a mix of standards and original simple compositions by Giuffre. It all adds up to a fine date representing a different approach to the music by a very talented man who left an amazing legacy of music of many styles. The Jimmy Giuffre Four: "Ad Lib" should be a treat for your ears.

Book ReviewTed Gioia has written 11 books on music, many of them on jazz. Simon wrongly said that the first book of Ted's he read was West Coast Jazz forgetting that it was actually  " Jazz : An Imperfect Art" from 1989 - one of the four books of  Gioia's which won the ASCAP Deems Taylor Award.How to listen to how to listen to jazz - click here Subscribe to his Honest Broker Email Here

Hello Groovers, Welcome to some beboppy Late Night Sunshine. Lots of horny horns, booming bass and trampling pianos. Oh yeah, good times! Deejay Maarten Vlot QC Tracklist Cal Tjader - A Minor Goof Red Holloway - Monkey Sho' Can Talk Tony Fruscella - Salt Kenny Dorham - Minors Holiday Eddie Lockjaw Davis - Wild Rice Harold Vick - If I Should Lose You Chico Hamilton - For Mods Only Sonny Red - Bluesville Jackie McLean - Bluesnik Charles Mingus - Moanin' Yusuf Lateef - A Night In Tunisia Put on your boogie pants and dancing shoes and come on down for some Liquid Sunshine. It's sexy music, for sexy people. Liquid Sunshine is a weekly radio show on 2XX FM in Australia, and The Face Radio in Brooklyn, USA, playing the best Deep Funk, Rare Groove, Disco & Beats - All The Good Stuff. And we also DJ out in the wild! We regularly do shows in Canberra, Sydney, Melbourne and along the Australian East Coast. 2022 will see us on the stages of the European summer festivals and in the booths of the European night clubs. We are also a full service law firm to the music industry, providing advice to DJs, Producers, Musicians and Event Organisers. Link up, tune in and shake ya booty with Maarten Vlot - podcast, browse the socials, or get in contact via this link: https://linktr.ee/liquidsunshineradio or Stream live at https://thefaceradio.com or www.mixcloud.com/live/sasmancometh Liquid Sunshine Sound System on Mixcloud Live | Mixcloud every Tuesday from 10 PM – Midnight Brooklyn / 3 – 5 AM London / 2 - 4 PM Oz or Stream live at https://2xxfm.org.au, or tune in to 98.3 FM in Australia every Thursday from 7:30 - 8:30AM New York / 12:30 - 1:30PM London / 9:30 - 10:30PM Oz

Sonny Clay was an outstanding pianist who led bands in California all through the 1920's and 30's. After a period playing drums with Jelly Roll Morton and Kid Ory, he put together groups to play at some of the better nightclubs in Los Angeles and made a handful of recordings that run the gamut from New Orleans style jazz to hot dance music. There is a healthy dose of New Orleans here with cornetist Ernest Coycault, who was a contemporary of Bunk Johnson and Freddie Keppard and some other outstanding players like clarinetist Leonard Davidson, trombonist W.B. Woodman, Sr., and trumpeter Yank Porter --- Support this podcast: https://anchor.fm/john-clark49/support

This album came about as a result of a gig Stan Getz had in Los Angeles at a high-end club called "Zardi's" in July 1955. Getz put together this ad hoc band of some of his favorite players living in L.A. and fortunately they were available of this long gig. The people were trumpeter Conte Candoli, pianist Lou Levy, bassist Leroy Vinnegar and drum great Shelly Manne. The band gelled on the first night at Zardi's and as word got around the club did a land office business. It was decided at mid point of the gig to bring the band into the studio and record an album and this is it! Getz of course needs no introduction as he was one of the major voices of the tenor saxophone and unequaled in his flowing, melodic improvisation. He is at ease at any tempo and a great ballad player. The rest of the band is obviously inspired by Stan and this album was one of the best from this period. It was recorded on August 9 and 15, 1955. The title of the album is "West Coast Jazz" but that only refers to the fact that everybody at the time was living in L.A. They were all from somewhere else. The band has a New York kind of energy and flow. Enjoy Mr. Getz and co., tonight's Jazz Feature.

The Benny Goodman Quartet [00:27] "Stompin' at the Savoy" Made in Japan Capitol Records ST 2282 1965 A recording of a performance from February 25, 1964 in Tokyo. Rounding out the quartet are Dick Shreve on piano, Colin Bailey on drums, and Monty Budwig on bass. Madness [04:32] "Night Boat to Cairo" Madness Geffen Records GHS 4003 1983 The boys 1979 single added here to their 1983 US self-title compilation. Madonna [07:47] "Lucky Star" The Immaculate Collection Sire 1-26400 1990 Number smash hit on the dance club charts, and number 4 on the Hot 100 in 1983. Badfinger [11:24] "Come and Get It" Magic Christian Music Apple Records ST-3364 1970 Badfinger do a fine job with song that Paul McCartney originally recorded as a demo during the Abbey Road sessions. Pearl Charles [15:11] "What I Need" Magic Mirror Kanine Records KR242LP-C1 2021 Easily one of my favorite albums this year on magical blue vinyl. Super dig the electric piano vibes on this track. Sarah Vaughan [18:34] "That Old Black Magic" The Magic of Sarah Vaughan Mercury Wing MGW 12280 1959 (1964 reissue) A fine rendition of the Arlen/Spencer classic from Sarah Vaughan's last album on Mercury Wing. Zamfir [21:26] "Just the Way You Are" The Magic of Zamfir Heartland Music HL1017 1984 Master of the Pan Flute! Probably the only time you will hear either Zamfir or Billy Joel on Vinyl-O-Matic is when this album comes up in rotation. Deerhoof [25:46] "The Devil and His Anarchic Surrealist Retinue" The Magic Polyvinyl Record Company PRC-315 2016 Lucky number 13! Yes that's right, this is the 13th studio album from one of my favorite bands on awesome white and purple starburst vinyl. Thou [30:16] "The Changeling Prince" Magus Sacred Bones Records SBR205 2018 One of my favorite tracks from one of my favorite albums from 2018. An awesome silver vinyl release with wax-sealed screenprinted sleeve. Gerry Mulligan and his Sextet [36:43] "Ain't It the Truth" Mainstream of Jazz EmArcy MG 36101 1956 A fine West Coast Jazz rendition of a Count Basie number. Recorded January 25, 1956 in New York featuring Mulligan on baritone sax, Zoot Sims on tenor sax, Bobby Brookmeyer on trombone, Jon Eardley on trumpet, Bill Crow on bass, and Dave Bailey on drums. Wham! [42:04] "Careless Whisper" Make It Big Columbia FC 39595 1984 Number one hit from a number one album with an iconic sax riff. Burt Bacharach [49:53] "I'll Never Fall in Love Again" Make It Easy on Yourself A&M Records SP 4188 1970 For you photography nerds out there: cover photo by Gary Winogrand. Leon & Mary Russell [52:59] "Now Now Boogie" Make Love to the Music Paradise Records PAK 3066 1977 Ok... I'm boogie-ing! Charley Pride [55:55] "Above and Beyond (the Call of Love)" Make Mine Country RCA Victor LSP-3952 1968 A mighty fine rendition of this Harlan Howard's classic from Charley's 4th studio album, which also happened to reach the number 4 spot on the country charts. The Bobbleheads [58:02] "Turn the Radio On (the Perfect Song)" Make Yourself Happy Poppop Records poppop 14002 2014 Some outstanding power bubblegum from San Francisco. Turn it on! Music behind the DJ: "Come and Get It" by Terry Baxter and his Orchestra

Inspired by the great valve trombonist Bob Brookmeyer, Barry Mosley is keeping the legacy of playing  jazz valve trombone.  The first important jazz valve trombonist were Juan Tizol and Brad Gowans in the 1930s and 1940s, setting the stage for others. The valve trombone has a unique place in jazz history.  Barrys first great jazz credit as a young artist was performing many times with jazz legend Chet Baker in the mid-1980s by Chet's invitation. The lyrical qualities of Bob Brookmeyer and Chet Baker has been a major influence on Barrys approach to jazz improvisation.  Playing as a leader and jazz soloist, Barry has been performing at top Los Angeles jazz clubs for many years as well as performing for special Los Angeles society events. Barrys valve trombone style has also been greatly influenced by the cool sounds of California's WEST COAST JAZZ providing for a unique and always swinging jazz experience. Barry moved to Los Angeles in 1989 from the California Bay Area to be involved in the great music scene in Los Angeles. Being mentored by two great trombonist Slyde Hyde and Bill Watrous, Barry soon began playing in the top Los Angeles jazz clubs a leader and jazz soloist on valve trombone. Some Los Angeles jazz club credits include VITELLOS, SPAZIOS, RED WHITE and BLUEZZ, COLES, JAX BAR AND GRILL, THE HIP KITTY in Clairmont, CAFFE 322,, LEFT COAST WINE BAR, CHADNEYS, COLOMBOS,  THE SQUASHED GRAPES in Ventura, EDWIN MILLS in Pasadena and many more. Barry's trios and quartets have been popular for special events such as the Hollysooc Annie Awards at Royce Hall, Riviera Country Club in Pacific Palisades, Marina Del Rey Yacht Club, and more. Two CD's released as solo artist, JAZZ TIME  and SPEAK SOFTLY have recieved jazz radio air play in the USA and Europe. Barry also has thousands of YouTube hits as a jazz performer and educator.  Learn more about Barry Mosely at www.barrymosely.com Learn more about The Brass Ark at www.brassark.com Learn more about Bob Reeves Brass at www.bobreeves.com The show notes for this episode can be found at www.trombonecorner.com 

Hoy nos detenemos en 4 grandes figuras blancas del cool jazz (o West Coast Jazz). Dos pianistas, Tristano y Brubeck y dos saxos altos, Konitz y Desmond. Lennie Tristano (1919-1978), pianista ciego de Chicago, adelantado e innovador, idiosincrático y poco comprendido. Crea una escuela en la que estaba Lee Konitz (1927-2020). Konitz ya figura en el noneto de Davis y hace estupenda carrera, de los pocos que no se inspira y/o copia a Parker. Dave Brubeck (1920-2012), pianista de Concord, Northern California, de formación clásica y toque bombástico, tiene mucho éxito con su cuarteto donde hace uso de elementos clásicos y de tiempos impares. Brubeck tenia swing o no? En su cuarteto esta Paul Desmond, de San Francisco (1924-1977), un saxo alto lírico, etéreo, fluido e inspirado, autor del clásico Take 5. El Concerto Grosso alla Rustica de Les Luthiers se inspiró en el Blue Rondo a la Turk de Brubeck?

In this episode of Crate Digging, JAZZIZ Editors Brian Zimmerman and Matt Micucci share their favorite albums from the West Coast jazz scene, then and now. --- Support this podcast: https://anchor.fm/brian-zimmerman/support

This is the first podcast episode of In The Groove produced entirely on the West Coast. To celebrate, I play a set of music of "West Coast Jazz". I can't shake my Hartford roots that easily, so we also represent new music from guitarist Andrew Renfroe and drummer Jonathan Barber. Artist ~ Track ~AlbumAndrew Renfroe ~ Chemirocha ~ ChemirochaMulgrew Miller ~ Joshua ~ Live At Yoshi's Volume TwoKarrin Allyson ~ West Coast Blues ~ In BlueStan Getz ~ Four ~ West Coast JazzChristopher Hollyday ~ Everything Happens ~ TelepathySonny Rollins ~ Way Out West ~ Way Out West Sonny Rollins ~ Without A Song ~ The BridgeJonathan Barber & Vision Ahead ~ Find My Way ~ Legacy HolderKenny Burrell ~ Isabella ~ Soulero

En este episodio, hablamos sobre el West Coast jazz, un estilo del jazz que se desarrolló en Estados Unidos, en la ciudad de Los Ángeles, California, en la misma época en que el hard bop se desarrollaba en Nueva York, en los años cincuenta y sesenta. Dale play! Más información: www.radioborder.com.ar

En este episodio, hablamos sobre el West Coast jazz, un estilo del jazz que se desarrolló en Estados Unidos, en la ciudad de Los Ángeles, California, en la misma época en que el hard bop se desarrollaba en Nueva York, en los años cincuenta y sesenta. Dale play! Más información: www.radioborder.com.ar

Jazz Northwest is celebrating Canada and US national holidays this first weekend of July. We have a brand-new rendition of "O Canada" in a virtual performance from all ten provinces played by the O Canada Jazz Orchestra arranged and conducted by Daniel Hersog for an opener. Then, an extended performance of "America the Beautiful" by the Lighthouse All Stars at Centrum's Jazz Port Townsend in 1991. The group includes some of the best L.A. musicians from the heyday of "West Coast Jazz" co-led by Shorty Rogers and Bud Shank. Shank was artistic director at Jazz Port Townsend at the time of this appearance. Other bits of Americana on this week's show include the folk song "Shenandoah" given a unique treatment by Bill Frisell at Yoshi's in Oakland, and Frisell also teams with Jovino Santos Neto for some Brazilian music. There's also a song by Kelly Eisenhour, The Ramsay/ Kleeb band plays a "Summer Serenade" and Woody Herman's Thundering Herd plays an "American Medley." Jazz Northwest is

Jazz has been a prominent fixture in Craig's collection for decades, yet little has been discussed regarding the genre...until now. This #TuesdayTriplePlay is one of improvisation & unmatched talent.Kenny Dorham – Trompeta Toccata (1965)Sample Track: "Trompeta Toccata"Grant Green – Idle Moments (1965)Sample Track: "Jean De Fleur"Joe Henderson – Tetragon (1968)Sample Track: “Tetragon"

One of the world's finest trombonists was the late Frank Rosolino. He was a mainstay in Stan Kenton's best bands of the 1950's and later became in integral part of the Los Angeles Jazz scene. Our Jazz Feature album was Rosolino's favorite but although recorded in Dec. 1958, for a variety of unknown reasons never came out until 1986. Many years after Rosolino's death in 1978.Frank picked the great Harold Land as his front line partner on tenor saxophone. Victor Feldman plays piano and Leroy Vinnegar plays bass and the swinging Stan Levey is on drums. The tunes are a mix of known standards arranged by Rosolino and two Rosolino originals. One by Feldman and one by Levey make up the rest. The date is a solid classic and really reflects and changes the idea that so called "West Coast Jazz" is dry and bloodless.....this album burns and swings like any date made in New York. "Free For All" is tonight's Jazz Feature.

Today's episode goes back to some musical basics, with several live recordings with global artists from my home to yours. Opening with the glorious Aristarain & Lewkowicz Duo of Sophia Aristarain and Javier Lewkowicz, who rocked the house last Spring with their concert of traditional and original music from the native Argentina, as well as music from Brazil and all over South America. We then jump to a concert of traditional music from Greece and Turkey and the Ufki Bobowski duo of Fatih Ermete (Lute of Istanbul, Ud) and Borys Slowikowski on the frame drums. While Fatih is from Istanbul and Borys from Poland, the two met in Crete and were drawn together by their mutual love of these musical traditions. We then slow things down with a stroll in Southern India with Dr. Vijay Kannan, whose Haunting Bamboo: Nada Yoga with Indian Bamboo flute event at The Willows Nest just happened back in October. This truly haunting and beautiful musical recording includes the moment when he asked a friend in the audience, a wonderful classical singer in this tradition, to improvise with him on the flute! Finally, we hop the Red Eye 2 Tokyo, a new musical project by composer and multi-instrumentalist Shih-Wei Wu, that fuses the raw energy of Japanese Folk music with the cool sounds of West Coast Jazz. So sit back, relax, and travel the globe without ever leaving the couch - from our little global Nest perched high atop Boxhagener Strasse... If you like what we do and want to support our mission, please consider joining The Willows Nest Patreon over at www.patreon.com/TheWillowsNest Audio installation under voiceover: Felix Blume, "Wind singing in an old tube on the top of the mountain" https://freesound.org/people/felix.blume/sounds/447375/ More Aristarain-Lewkowicz on YouTube: https://youtu.be/2oFVmkg7bZc Ufki Bobowski on YouTube: https://youtu.be/wryTr0BLsWU Vijay Kannan has his own very successful YouTube channel over at: https://www.youtube.com/channel/UCZ6QWInwx5uN4frT6_tHRiQ Finally Red Eye 2 Tokyo can be found over at www.shihweiwu.com. You can find their single over at https://store.cdbaby.com/cd/redeye2tokyo and look for the new album soon! If you are in the Los Angeles Area, consider stopping by the RE2T album release party at Angry Horse Brewing Company in Montebello on November 19, 2019!

Explore the music of Stan Kenton, Lionel Hampton (with Charles Mingus at 25) and Woody Herman.

Today, Peter, Adam, and LA drummer, Dave Johnstone, sit down to list their 7 favorite west-coast musicians. See acast.com/privacy for privacy and opt-out information.

At World Cup Coffee and Tea at NW 18th and Glisan for another OMN Coffeeshop Conversation. Very happy to have the perpetually cool, recently named 2018 PDX Jazz Jazz Master and fellow KMHD host Art Abrams. His Swinging Machine Big Band will be appearing at the Festival on Thursday, February 15 at Revolution Hall playing with singers Ernie Andrews and Barbara Morrison in a program called “West Coasting,” devoted to West Coast Jazz. We’ll find out Art’s interpretation of that moniker, too. They’re going to They’ll recast arrangements by Lenny Niehaus, Terry Gibbs, Bill Holman, Lou Levy. How does one remain cool after age 80? For Art Abrams, just keep on with what you’re doing. Art has never stopped. Why should he? Let’s meet Art Abrams.

This week we start a new series of episodes focused on great music cities.  We discuss the history, the bands, the venues and the events that make a place special for creating, playing and recording music.  For this inaugural episode we discuss Los Angeles in two parts.  This part 1 starts with the West Coast Jazz movement of the 1950’s and takes us into the 80’s when Black Flag and the like were raising hell in the beach cities along Pacific Coast Highway.      Spotify Playlist:  https://open.spotify.com/user/1298220429/playlist/4gy1wWwypkoFS2lUztvZ44   huntsmanhill.com

Edición 150 de La Gran Evasión, 19/9/2017, el sonido de un saxo alto atraviesa la noche, Clint Eastwood nos trae a Charlie Parker, a Bird, la pantalla en negro, del escenario una figura recortada por las sombras eleva el Jazz a otra dimensión, un músico adelantado a su tiempo, un hombre destruido, envejecido, con apenas treinta años...en 1988 Eastwood regalaba a melómanos y cinéfilos una de sus primeras obras maestras, el retrato de una leyenda, Charlie Parker, su gloria y su derrota, asesinado en 1955, por el alcohol, la benzedrina, la marihuana, la heroína....por Bird...por la soledad y la angustia que acompañan a los genios, murió con 34 años pero su legado es eterno. Charlie Parker: Talento visionario, mezcla de técnica y velocidad, lógica y lirismo, pasión e inteligencia, iba mucho mas allá del terreno puramente experimental, el Jazz moderno nace de su búsqueda, de su saxo, de la otra mitad de su latido, de la trompeta de Dizzy Gillespie, de un puñado de jóvenes revolucionarios, Max Roach, Miles Davis, Monk, Powell, Potter, Jordan... Eastwood tuvo la ayuda de Chan, la viuda de Parker, que le entregó muchas grabaciones inéditas de solos del genio, Clint recurrió a su amigo y compositor habitual, Lennie Niehaus, un gran arreglista, además de un soberbio saxofonista que dominó la escena del West Coast Jazz, y sobre todo un admirador de Parker, para el reto que le propuso Eastwood consiguió algo fabuloso, unir ayer y hoy, rescató esas grabaciones antiguas, las aisló con un descomunal trabajo de ingeniería musical, y se regrabaron los temas con músicos actuales de primer nivel. El trabajo es extraordinario, asistimos en primera fila a las actuaciones de Bird, literalmente volamos con él. Sartre: “Los genios no conocen su propia valía” Bird si conocía la suya, pero esa conciencia nunca fue suficiente para espantar los demonios, o tal vez, la frustración de saberse el mejor y no recibir todo el reconocimiento que merecía fue lo que no le permitió salir de la espiral de autodestrucción que fue su vida. La fotografía es simplemente impresionante, el trabajo de Jack N. Green es increíble, una iluminación bajísima, prácticamente sombría. La oscuridad actúa como una gran metáfora de la visión trágica que Charlie Parker tiene de su propia vida, unas sombras que sólo se dispersan cuando el foco del escenario se enciende para él, o mejor dicho, la luz emana de su propia figura....Eastwood debe estar orgulloso de haber hecho realidad un viejo sueño, quizás, haya sido demasiado fiel al guión de Oliansky, pero el resultado es magnífico. Forest Whitaker era prácticamente un desconocido cuando Eastwood le ofreció ésta gran oportunidad, su interpretación es soberbia, llena de matices, contenida, es capaz de mostrarse frágil, sensible, encantador, un auténtico seductor y a la vez ser un tirano miserable, hundirse en el agujero de la heroína y el alcohol, dejarse arrastrar por sus demonios, incapaz de conservar aquello que más ama por culpa de sus propias debilidades....transformándose en el escenario, al instante siguiente, canalizando sus emociones y ese dolor a través de su música. Diana Verona, Chan, da la réplica a Whitaker con soltura, compone a esa compañera que lo ama profundamente, el refugio al que volver después de cada descenso. Extasiados por el vuelo de Bird, dejamos que la torre de Radiopolis gima con la negrura de Parker, a la dirección José Miguel Moreno, contertulios, Raúl Gallego, Gervi Navio, y desde el sanatorio de Camarillo, transcribiendo Jazz y Cine mientras el sol se oculta, nuestro crítico César Bardés Charlie Parker leía a Dylan Thomas, pero su poeta preferido fue siempre Omar Khayyam, os dejamos unos versos del alfarero persa y un Bonus track para los fieles que escuchan los podcasts hasta el final, el tema Embraceable you de las grabaciones para Dial Records en 1946, no hacen falta más palabras, dejen que Bird los arrastre y los envuelva con sus alas.... "Ven, llena la copa y arroja al fuego de la primavera tu invernal ha?bito de penitencia; el pa?jaro del tiempo esta? volando, y tiene corto camino para aletear." Gervasio Navío Flores.

Cuarta entrega del especial dedicado a Stan Getz en HDO con música grabada en la Costa Oeste y publicada en las grabaciones West Coast Jazz, Stan Getz And The Cool Sounds y The Steamer, e incluida en East Of The Sun. The West Coast Sessions. Acompañan a Stan Getz el pianista Lou Levy, Leroy Vinnegar, Shelly Manne o Stan Levey, y Conte Candoli. Tomajazz: © Pachi Tapiz, 2017 HDO es un podcast editado, presentado y producido por Pachi Tapiz. Toda la información de HDO 256 en http://www.tomajazz.com/web/?p=29989. Toda la información de HDO en http://www.tomajazz.com/web/?cat=13298

Tony Austin was born and raised in Los Angeles. He is one of two drummers (the other being Ronald Bruner... The post 105 – Tony Austin: Playing with Kamasi Washington, The West Coast Get Down, Redefining West Coast Jazz appeared first on Working Drummer Podcast.

William "Sonny" Criss had a career that seemed to go in fits and starts. Sonny emerged early on the 1940's L.A. Jazz scene with his full-bodied sound and passionate approach and played with all the important players then went on to play with Norman Granz' Jazz At The Philharmonic travelling jam session and shared the stage with Charlie Parker, Fats Navarro, Hank Jones, Shelley Manne and others. He made his first recordings under his name for Granz in 1950. His career was stifled by changing styles in L.A. and Criss was brushed aside by the West Coast Jazz cool players. Sonny was a hot, passionate player with a sweeping sound all his own. We turn to one of his 3 albums he made for the small Imperial label in 1956. The title tells it all "Sonny Criss Plays Cole Porter". Ten great Porter songs played with beauty and originality with Sonny's alto in the lead and backed by Larry Bunker on vibes, Sonny Clark on piano, Buddy Clark (no relation) on bass, and Lawrence (aka Larence) Marable on drums. Criss was born in Memphis on October 23, 1927 and died by his own hand in Los Angeles on on Nov. 19,1977 at age 50 after a diagnosis of terminal cancer of the stomach. A great voice was lost and Sonny still seems under appreciated and we hope tonight's Jazz Feature rectifies this a bit. Sonny was a great player and always delivered!

Drummer Chico Hamilton is considered a voice of West Coast Jazz. He found success in movie soundtracks and eventually formed his own ensemble. In the late ’50s and into the 1960s he performed with many jazz greats like Lena Horne, Nat King Cole, Charles Mingus and others.

Drummer Chico Hamilton is considered a voice of West Coast Jazz. He found success in movie soundtracks and eventually formed his own ensemble. In the late ’50s and into the 1960s he performed with many jazz greats like Lena Horne, Nat King Cole, Charles Mingus and others.

Drummer Chico Hamilton is considered a voice of West Coast Jazz. He found success in movie soundtracks and eventually formed his own ensemble. In the late ’50s and into the 1960s he performed with many jazz greats like Lena Horne, Nat King Cole, Charles Mingus and others.

Ben Cawthra‘s Blue Notes in Black and White: Photography and Jazz (University of Chicago, 2011) discusses the way images of jazz and the musicians who played it both reflected and influenced our racial perceptions during the period between the 1930s and 1960s. Cawthra reveals the complex interactions between socially conscious photographers, magazine editors, record producers, jazz critics and the musicians themselves. From swing to bebop to cool, to West Coast Jazz to hard bop, Cawthra’s book gives the reader fascinating photographic and biographical portraits of Duke Ellington, Dizzy Gillespie, Miles Davis, Sonny Rollins, and John Coltrane among others. The photographers, too, including Charles Peterson, Gijon Mili, Francis Wolff, William Claxton, Herman Leonard, William Gottlieb, and Roy DeCarava had nuanced and unique photographic styles. Cawtha also gives insight as to how African-American jazz musicians such as Gillespie, Davis, and Rollins attempted to control their own economic and image destinies within the ever-changing political economy of the record industry. Cawthra also explains how Life Magazine, the development of the Long Playing Record (LP), and the concurrent milestones in civil rights all influenced the photographic culture of jazz – and there is a fascinating section on the very conscious marketing of “West Coast Jazz” to emerging white suburban markets in the 50s and 60s. The complex confluences of such a wide depth and breadth of social history is bound to stimulate much thinking and raise many additional questions. Rich, thought-provoking, and with images and insights that stay with you: read it, look at the photos and think long and hard…there’s no end to the combination and permutations of analyses….like jazz itself. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ben Cawthra‘s Blue Notes in Black and White: Photography and Jazz (University of Chicago, 2011) discusses the way images of jazz and the musicians who played it both reflected and influenced our racial perceptions during the period between the 1930s and 1960s. Cawthra reveals the complex interactions between socially conscious photographers, magazine editors, record producers, jazz critics and the musicians themselves. From swing to bebop to cool, to West Coast Jazz to hard bop, Cawthra’s book gives the reader fascinating photographic and biographical portraits of Duke Ellington, Dizzy Gillespie, Miles Davis, Sonny Rollins, and John Coltrane among others. The photographers, too, including Charles Peterson, Gijon Mili, Francis Wolff, William Claxton, Herman Leonard, William Gottlieb, and Roy DeCarava had nuanced and unique photographic styles. Cawtha also gives insight as to how African-American jazz musicians such as Gillespie, Davis, and Rollins attempted to control their own economic and image destinies within the ever-changing political economy of the record industry. Cawthra also explains how Life Magazine, the development of the Long Playing Record (LP), and the concurrent milestones in civil rights all influenced the photographic culture of jazz – and there is a fascinating section on the very conscious marketing of “West Coast Jazz” to emerging white suburban markets in the 50s and 60s. The complex confluences of such a wide depth and breadth of social history is bound to stimulate much thinking and raise many additional questions. Rich, thought-provoking, and with images and insights that stay with you: read it, look at the photos and think long and hard…there’s no end to the combination and permutations of analyses….like jazz itself. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ben Cawthra‘s Blue Notes in Black and White: Photography and Jazz (University of Chicago, 2011) discusses the way images of jazz and the musicians who played it both reflected and influenced our racial perceptions during the period between the 1930s and 1960s. Cawthra reveals the complex interactions between socially conscious photographers, magazine editors, record producers, jazz critics and the musicians themselves. From swing to bebop to cool, to West Coast Jazz to hard bop, Cawthra’s book gives the reader fascinating photographic and biographical portraits of Duke Ellington, Dizzy Gillespie, Miles Davis, Sonny Rollins, and John Coltrane among others. The photographers, too, including Charles Peterson, Gijon Mili, Francis Wolff, William Claxton, Herman Leonard, William Gottlieb, and Roy DeCarava had nuanced and unique photographic styles. Cawtha also gives insight as to how African-American jazz musicians such as Gillespie, Davis, and Rollins attempted to control their own economic and image destinies within the ever-changing political economy of the record industry. Cawthra also explains how Life Magazine, the development of the Long Playing Record (LP), and the concurrent milestones in civil rights all influenced the photographic culture of jazz – and there is a fascinating section on the very conscious marketing of “West Coast Jazz” to emerging white suburban markets in the 50s and 60s. The complex confluences of such a wide depth and breadth of social history is bound to stimulate much thinking and raise many additional questions. Rich, thought-provoking, and with images and insights that stay with you: read it, look at the photos and think long and hard…there’s no end to the combination and permutations of analyses….like jazz itself. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ben Cawthra‘s Blue Notes in Black and White: Photography and Jazz (University of Chicago, 2011) discusses the way images of jazz and the musicians who played it both reflected and influenced our racial perceptions during the period between the 1930s and 1960s. Cawthra reveals the complex interactions between socially conscious photographers, magazine editors, record producers, jazz critics and the musicians themselves. From swing to bebop to cool, to West Coast Jazz to hard bop, Cawthra’s book gives the reader fascinating photographic and biographical portraits of Duke Ellington, Dizzy Gillespie, Miles Davis, Sonny Rollins, and John Coltrane among others. The photographers, too, including Charles Peterson, Gijon Mili, Francis Wolff, William Claxton, Herman Leonard, William Gottlieb, and Roy DeCarava had nuanced and unique photographic styles. Cawtha also gives insight as to how African-American jazz musicians such as Gillespie, Davis, and Rollins attempted to control their own economic and image destinies within the ever-changing political economy of the record industry. Cawthra also explains how Life Magazine, the development of the Long Playing Record (LP), and the concurrent milestones in civil rights all influenced the photographic culture of jazz – and there is a fascinating section on the very conscious marketing of “West Coast Jazz” to emerging white suburban markets in the 50s and 60s. The complex confluences of such a wide depth and breadth of social history is bound to stimulate much thinking and raise many additional questions. Rich, thought-provoking, and with images and insights that stay with you: read it, look at the photos and think long and hard…there’s no end to the combination and permutations of analyses….like jazz itself. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ben Cawthra‘s Blue Notes in Black and White: Photography and Jazz (University of Chicago, 2011) discusses the way images of jazz and the musicians who played it both reflected and influenced our racial perceptions during the period between the 1930s and 1960s. Cawthra reveals the complex interactions between socially conscious photographers, magazine editors, record producers, jazz critics and the musicians themselves. From swing to bebop to cool, to West Coast Jazz to hard bop, Cawthra’s book gives the reader fascinating photographic and biographical portraits of Duke Ellington, Dizzy Gillespie, Miles Davis, Sonny Rollins, and John Coltrane among others. The photographers, too, including Charles Peterson, Gijon Mili, Francis Wolff, William Claxton, Herman Leonard, William Gottlieb, and Roy DeCarava had nuanced and unique photographic styles. Cawtha also gives insight as to how African-American jazz musicians such as Gillespie, Davis, and Rollins attempted to control their own economic and image destinies within the ever-changing political economy of the record industry. Cawthra also explains how Life Magazine, the development of the Long Playing Record (LP), and the concurrent milestones in civil rights all influenced the photographic culture of jazz – and there is a fascinating section on the very conscious marketing of “West Coast Jazz” to emerging white suburban markets in the 50s and 60s. The complex confluences of such a wide depth and breadth of social history is bound to stimulate much thinking and raise many additional questions. Rich, thought-provoking, and with images and insights that stay with you: read it, look at the photos and think long and hard…there’s no end to the combination and permutations of analyses….like jazz itself. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bud Shank was one of the major figures in West Coast Jazz before his death in April 2009. To commemorate Bud and his music, Alyn Shipton selects Shank's key recordings, with the help of a 1992 archive interview with the man himself, covering his work with Stan Kenton, Shorty Rogers, the LA Four and many of his own groups.

Jazz innovator Bud Shank passed away April 2, 2009 at the age of 82. Shank carved out a fascinating career as a jazz saxophonist and flutist. He came of age musically in Los Angeles in the early 1950s, helping develop the West Coast Jazz style. He also helped popularize the fusion of Brazilian music with jazz. JazzCorner.com's Jazz Perspectives producer and host Reese Erlich interviewed Shank about his life and music in 2000 when Shank was still living in Seattle. He passed away from natural causes at his home in Tucson.

Bassist Curtis Counce was one of the first African-American musicians to be part of what was called in the 1950's "West Coast Jazz".....as part of the scene in Los Angeles, Counce worked with Shorty Rogers, Jimmy Giuffre and was for a couple of years a member of Stan Kenton's band. Counce died in 1963 at the young age of 37 of a heart attack but will be remembered for forming and recording with this band called "The Curtis Counce Group" The great Harold Land was featured on tenor saxophone, Jack Sheldon on trumpet with some of his best work, the legendary Carl Perkins, who also died young in 1958, on piano and the incredible Frank Butler on drums. They recorded during their time from late 1956 to April 1958, a whole series of albums for the Contemporary label. Their sound was not the cool "West Coast Jazz" style but "New York tough". One great band that made Jazz history.