Kevin Whitehead
👤 PersonAppearances Over Time
Podcast Appearances
Late in life, he criticized young musicians for straying from the true jazz path. In the 1960s, though, with family to support, Donaldson started making populist records long before David Sanborn. Danceable music aimed at party people, not jazz snobs. And that's okay. On his 1969 cover of Johnny Taylor's Who's Makin' Love, Donaldson gets credibly funky.
He puts his own stamp on a prevailing style once again. Baritone saxophonist Claire Daly, who died in October, sang a little also, as if to remind us the jazz horn is an extension of the human voice. The baritone has a larger and more commanding range to explore, but the same capacity for personal expression.
He puts his own stamp on a prevailing style once again. Baritone saxophonist Claire Daly, who died in October, sang a little also, as if to remind us the jazz horn is an extension of the human voice. The baritone has a larger and more commanding range to explore, but the same capacity for personal expression.
He puts his own stamp on a prevailing style once again. Baritone saxophonist Claire Daly, who died in October, sang a little also, as if to remind us the jazz horn is an extension of the human voice. The baritone has a larger and more commanding range to explore, but the same capacity for personal expression.
Claire Daly got a fat, gritty, classic bari sax sound and danced it around, light on its feet. You hear it on her jazz calypso version of Hoagy Carmichael's Little Old Lady. .
Claire Daly got a fat, gritty, classic bari sax sound and danced it around, light on its feet. You hear it on her jazz calypso version of Hoagy Carmichael's Little Old Lady. .
Claire Daly got a fat, gritty, classic bari sax sound and danced it around, light on its feet. You hear it on her jazz calypso version of Hoagy Carmichael's Little Old Lady. .
And finally, on December 10th, we lost one more musician jazz could barely contain, the irrepressible downtown New York brass man Herb Robertson, who played some of the wildest trumpet around, a wizard at using mutes for outlandish effects. But he'd also get deep into the contours of a melody, infusing it with deep feeling to match.
And finally, on December 10th, we lost one more musician jazz could barely contain, the irrepressible downtown New York brass man Herb Robertson, who played some of the wildest trumpet around, a wizard at using mutes for outlandish effects. But he'd also get deep into the contours of a melody, infusing it with deep feeling to match.
And finally, on December 10th, we lost one more musician jazz could barely contain, the irrepressible downtown New York brass man Herb Robertson, who played some of the wildest trumpet around, a wizard at using mutes for outlandish effects. But he'd also get deep into the contours of a melody, infusing it with deep feeling to match.
His friend Andy Laster's composition, Devotional, sparked that side of Herb Robertson's personality. So let that be our recessional hymn to bring this memorial session to a close. ¦
His friend Andy Laster's composition, Devotional, sparked that side of Herb Robertson's personality. So let that be our recessional hymn to bring this memorial session to a close. ¦
His friend Andy Laster's composition, Devotional, sparked that side of Herb Robertson's personality. So let that be our recessional hymn to bring this memorial session to a close. ¦
Pianist Sun Ra called his sprawling orchestras orchestras, and like Noah's Ark, they crammed in an improbable amount of vibrant variety. He had his earworm melodies like that one, Watusi, with its percolating Afro-Cuban percussion.
Pianist Sun Ra called his sprawling orchestras orchestras, and like Noah's Ark, they crammed in an improbable amount of vibrant variety. He had his earworm melodies like that one, Watusi, with its percolating Afro-Cuban percussion.
Pianist Sun Ra called his sprawling orchestras orchestras, and like Noah's Ark, they crammed in an improbable amount of vibrant variety. He had his earworm melodies like that one, Watusi, with its percolating Afro-Cuban percussion.
The orchestra played squalling free jazz barrages and sang genial vocal chants connected with Sun Ra's personal cosmology involving space travel and an interplanetary exodus.