Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

Final Chorus: Bridging Generations

Having known jazz musicians off the stand from my teens on, I was struck-contrasting with most of the adults I knew-by their dedication to their life’s work. Louis Armstrong, for example, distilled how he and the music were one in an interview long ago with Gil Millstein of the New York Times. Armstrong said, “When I pick up my horn, that’s all. The world’s behind me. I don’t feel no different about that horn now than I did when I was playing in New Orleans. That’s my living and my life. I love them notes. That’s why I try to make them right. Any part of the day, you’re liable to see me doing something toward playing that night. You got to live with that horn.”

I thought about that essence of the jazz calling when I heard a penetrating interview with Sonny Rollins on National Public Radio on April 28. It was by Howard Mandel, the seemingly tireless engine behind the Jazz Journalists Association and a valuable historian of the music. His conversation with Sonny ought to be anthologized (it can be downloaded at

Start Your Free Trial to Continue Reading

Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music's best journalists and critics.
Originally Published
Nat Hentoff

Nat Hentoff

Over more than 60 years, Nat Hentoff (1925-2017) wrote about music, politics, and many other subjects for a variety of publications, including DownBeat (which he edited from 1953 to 1957), the Village Voice (where he was a weekly columnist from 1958 to 2009), the Wall Street Journal, and JazzTimes, to which he regularly contributed the Final Chorus column from 1998 to 2012. Of the 32 books that he wrote, co-wrote, or edited, 10 focus on jazz. In 2004, Hentoff became the first recipient of the National Endowment for the Arts’ Jazz Masters award for jazz advocacy.