Jazz Institute of Chicago

Welcome to the Jazz Institute of Chicago Journal, an archive of jazz writing. You'll find incredible articles about the history of Jazz in Chicago, as well as interviews with a variety of musicians and jazz related figures and reviews of recordings and live shows.

Why can't they get it right?

Why can't they get it right?
By Don Rose

The music world was saddened by the recent death of composer-arranger Ralph Burns, whose remarkable career led him from Woody Herman's two great Herds of the mid-'40s and early '50s, all the way to major successes in Hollywood and on Broadway, where he won a Tony Award for "Fosse."

Margo (Mrs. Jack) Teagarden

Margo (Mrs. Jack) Teagarden
by Jim Beebe

The Chicago Jazz scene has always been a rich and flavorful one with wonderful musicians and bands of every stylistic description. This has been made possible by the many venues—from nightclubs to dance halls—that have used jazz music as for entertainment. From bands that feature very early traditional-classic style jazz to very contemporary jazz modes, all seem to find venues in which to strut their stuff.

Britt Woodman

Britt Woodman
by Steve Voce

Duke Ellington always claimed that whenever he needed a musician he simply hired the best player available locally. He certainly made an exception when Lawrence Brown gave two weeks' notice, and Ellington cabled the young trombonist Britt Woodman in Los Angeles to come out to join the band for a season at the Thunderbird in Las Vegas in February 1951.

"Thank God I've got a fortnight to learn the book," Woodman said to Lawrence Brown when he arrived. "To hell with that," said Brown. "I'm taking off in the morning."

J.J. Johnson 1924-2001

J.J. Johnson 1924-2001

Several years ago, Erik Moseholm (THE guy in Danish Jazz) and I were having dinner and, somehow, the subject of "who is still here" came up. After compiling a frighteningly short list, he looked at me and said "there aren't many left."

Meade Lux Lewis (1905-1964)

Meade Lux Lewis
(1905-1964)
by Joel Simpson

Boogie-Woogie
The driving left-hand blues style known as boogie-woogie was probably invented around 1900 (Eubie Blake's broken octave, descending bassline in the "Charleston Rag" from 1899, is highly suggestive of a boogie pattern). It began to surface in saloons, honky-tonks, bawdy houses, and "barrelhouses" in the South and Midwest around 1912.

1999 Jazz Awards

1999 Jazz Awards
by Howard Mandel

The 1999 Jazz Awards, held Monday, June 14, in New York City, came off splendidly—celebrating all jazz musicians and jazz music, as well as some worthy jazz journalists. It was a loose event, hot and humid in the draperied hall where about 500 members of the jazz corps convened on folding chairs.

A Conversation with Damon Short

Damon Short
interviewed by Lazaro Vega
Blue Lake Public Radio

Mingus Big Band Rocks Hancher—Preserves Legacy

Mingus Big Band rocks Hancher— Preserves Legacy
concert review by Dr. William S. Carson

Unlike classical music, jazz is an art form with the emphasis primarily upon the performer, rather than upon the composer. The rise of be-bop in the 1940s increased the emphasis on improvisation, and further diminished the importance of the composer. It should come as no surprise, then, that only a handful of the most significant jazz musicians are known as great composers. Three names stand above the rest: Duke Ellington, Thelonius Monk, and Charles Mingus.

And one thing led to another, and...

And one thing led
to another, and...
by Harriet Choice

I suppose the Jazz Institute of Chicago began during a phone conversation with Art Hodes last spring. I had just returned from New Orleans where Art's band was among the groups that had performed at the first New Orleans Jazz Festival. There had been so many places to hear traditional Jazz there and so few here in Chicago. We talked about the possibility of getting an old store and turning it into a kitty hall similar to those in New Orleans.

Most Valued Player: Edmond Hall

Most Valued Player: Edmond Hall
by Nic Jones

Before Coleman Hawkins more or less single-handedly created a role for the tenor sax in jazz, the clarinet was the only reed instrument that had a home in the music. Edmond Hall, along with Johnny Dodds and Sidney Bechet, was one of its ablest exponents.

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