Caldeirada Rica: Livros de jazz

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11 de maio de 2024

A idade de ouro do jazz

The golden age of jazz
William P. Gottlieb

Duke Ellington photographed by William P. Gottlieb

5 de dezembro de 2023

Blue Note Photography

Blue Note Photography
Francis Wolff and Jimmy Katz

Al Grey photographed by Jimmy Katz

Grant Green photographed by Francis Wolff

19 de setembro de 2023

Três desejos #1

Three Wishes - An intimate look at jazz greats
Pannonica de Koenigswarter

Thelonious Monk

"To be successful musically.

To have a happy family.

To have a crazy friend like you!"

12 de setembro de 2023

Conversas com jazz

Notes and Tones - Musician-to-Musician Interviews
Arthur Taylor

"Has New York changed much since the early days when you were on Fifty-second Street?"

"They don't have anyplace to experiment for young guys who start playing and who play their own stuff. It's because of all those records they make nowadays...you know, the guys copy off the records, so they don't have anything original. You can't find a musician who plays anything different. They all copy off each other. If I were starting out again, I wouldn't listen to records. I very seldom listen to jazz records, because they all do the same thing. I only listen to guys that are original, like Ahmad Jamal and Duke Ellington, guys like Dizzy Gillespie, Sonny Rollins and Coltrane."

Arthur Taylor and Miles Davis - New York, 1968.

11 de abril de 2020

História(s) do jazz

A New History of Jazz
Alyn Shipton

You could tell whenever the band was playing, because the audience would be outside on the sidewalk, and then when the intermission came, they’d go into the club for a drink.

Paul Bley describing the debut of Ornette Coleman at the Hillcrest Club, Los Angeles, in 1958.

It was my night off from my regular gig, and I went to an after hours jam session based around Gerry Mulligan’s band at a place called the Haig.The room was jam-packed, and you couldn’t even walk in there, but a man came up to stage, took out a plastic alto sax, and began to play. And the room lit up for me. I’d never heard anything so brilliant, because I’d gone to a lot of jam sessions myself and been hearing a way in which I could play without using chord structures, but staying on a certain part of the tune, or staying in a mode, or even creating an entirely new structure. Whenever I tried it, people would get upset, but here I heard somebody actually doing all that. It really startled me, but almost as soon as he started to play, they asked him to stop.

Charlie Haden on Ornette Coleman.