Highlights of the annual Jazz Education Network event
Students, educators and pros mingle in Atlanta
March 2008 Artist Profiles
He recorded with Jelly Roll Morton, opened the Apollo Theater in 1934 (with Benny Carter) and played with Duke Ellington at the Cotton Club. On December 17, the eve of Lawrence Lucie’s 100th birthday, friends, fans and fellow musicians gathered at Musicians’...
Although Dizzy Reece has been living in New York since 1959, he has worked so infrequently in recent years that many jazz fans thought he had passed away. Friday, January 5, 2007 was the trumpet legend’s 76th birthday and he marked the occasion by making...
October 2006 Features
Scottish music and jazz seem unlikely bedfellows, but as Ed Berger found out, trumpeter Warren Vaché isn’t afraid to surprise his fans—or his critics.
September 2006 News
New York’s Blue Note was packed on June 5 to celebrate the 45th anniversary of Impulse Records. The centerpiece of Impulse’s anniversary is The House That Trane Built: The Story of Impulse Records (W.W. Norton) by Ashley Kahn, whose previous works focused...
May 2006 Features
Once Wynton Marsalis tapped him to play in his band, trombonist Wycliffe Gordon was on his way. He's since made a name for himself as a contemporary musician with a strong feel for the past.
July/August 2005 Artist Profiles
His tall stature and serious demeanor are imposing at first. But rather unexpectedly pianist David Hazeltine's erupts in a wide grin, often with a giggle, several times as he recounts his circuitous path to becoming one of New York's top keyboardists. And...
June 2005 Features
Despite a variety of ailments threatening to knock him off the bandstand, the legendary, prolific bebopper is still going strong. Ed Berger catches up with the alto saxophonist at his home in the Poconos.
January/February 2005 Overdue Ovation
On the opening track of Ray Bryant's 1995 album Solo Live in Tokyo: Plays Blues and Boogie (EmArcy), part of the audience begins clapping on "two" and "four," part on "one" and "three," and a third faction somewhere in between. Bryant continues unfazed...
September 2003 Overdue Ovation
For a time, it seemed that trombonist Grachan Moncur III was destined for jazz stardom. In demand both as a soloist and a composer, he was one of the most original voices to emerge in the early 1960s. Moncur's recordings for Blue Note as leader and sideman...
October 2002 Features
Indiana University has a jazz tradition going back to the 1920s when Hoagy Carmichael matriculated and brought his friend Bix Beiderbecke to play with him there. But by 1966, traditional jazz was far from the most commonly heard music on campus. So in the...
June 2002 Features
“I try to listen better all the time,” says Bill Charlap. Indeed, the word “listen” ranks high in the pianist’s lexicon. He listens to music of all types and believes the key to success in any musical situation is to listen to his fellow artists. That listening...
May 2002 Features
George Shearing is seated at the beautiful Bösendorfer in his living room on New York’s Upper East Side. He depresses the keys so gently that the ensuing sound is barely audible. He then lightens his attack even more, so that each note is somewhere between...
October 2001 Overdue Ovation
It can be dangerous to equate a musician’s style with his persona. In the case of Joe Wilder, however, the warmth, lyricism, humor and sophistication of his music are an extension of the man himself. Just mention his name to almost any professional musician...
About Ed Berger
Ed Berger took his first jazz photos at a Louis Armstrong concert he attended at age 16 and has been hooked ever since. Berger is an atypical JazzTimes contributor, acting as both a photographer and writer. Of his verbal duties in the magazine, Berger says, “JazzTimes gives me the chance to highlight musicians whose work I’ve admired, especially those who may not have received the attention they merit. Some of them, like Warren Vaché, have been friends for years,” says Berger.
Ed Berger took his first jazz photos at a Louis Armstrong concert he attended at age 16 and has been hooked ever since. Berger is an atypical JazzTimes contributor, acting as both a photographer and writer.
Of his verbal duties in the magazine, Berger says, “JazzTimes gives me the chance to highlight musicians whose work I’ve admired, especially those who may not have received the attention they merit. Some of them, like Warren Vaché, have been friends for years,” says Berger.