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.

BLUE: The Murder of Jazz

BLUE: The Murder of Jazz
by Eric Nisenson
St. Martin's Press, $22.95
262 pp.
Reviewed by Don Rose

To paraphrase my friend Garry Wills, I'm willing to believe a dozen bad things about Wynton Marsalis before breakfast, but this hysterical, sloppily written, badly argued, error-ridden, self-contradictory rant almost makes me want to join his defense team.

LIVING THE JAZZ LIFE: Conversations with Forty Musicians about Their Careers in Jazz

LIVING THE JAZZ LIFE:
Conversations with Forty Musicians
about Their Careers in Jazz
W. Royal Stokes
Oxford, 278 pages, $27.50
reviewed by Don Rose

Ever wonder how Slam Stewart began humming along with his bass-fiddle bowing?

The Future of Jazz

The Future of Jazz
By Will Friedwald, Ted Gioia, Jim Macnie, Peter Margasak, Stuart Nicholson, Ben Ratliff, John F. Szwed, Greg Tate, Peter Watrous, K. Leander Williams;
edited by Yuval Taylor
A Capella (Chicago Review Press), May 2002, 241 pages, $16.95
reviewed by Don Rose

Yuval Taylor, who did such a fine job at Da Capo Press with its program of reissuing jazz books, has come up with one very neat idea: get an interesting assortment of jazz critics and writers (some of whom are musicians) and have them interact on a series of issues relating to where this music may be going.

THE OXFORD COMPANION TO JAZZ

THE OXFORD COMPANION TO JAZZ
Edited by Bill Kirchner
852 pages, Oxford. $49.95
reviewed by Don Rose

There's something for everyone in this fat volume of jazz writing, from sophisticates like you and me to the newcomer just getting interested in the music. It's the latest in Oxford's notable "companion" series on history and the arts and a welcome addition it is.

Luiz Ewerling and A Cor Do Brasil: Our Earth

Luiz Ewerling and A Cor Do Brasil: Our Earth

Greg Fishman and Paulinho Garcia: Two for Brazil Plays the Standards

Greg Fishman and Paulinho Garcia: Two for Brazil Plays the Standards

On this session one of Chicago's favorite duos continues implementing their multi-CD master plan with their third recording and gives us a huge 16 tune set of standards, jazz standards, and a couple of bossa novas for good measure.

Scott Rosenberg: IE

Scott Rosenberg: IE

Originally from the San Francisco Bay Area, reedist Scott Rosenberg relocated to Chicago a couple of years ago, and has been very active in promoting his music since. "IE" is an ambitious project for a 27-piece orchestra which focuses on Scott Rosenberg as a composer (as an instrumentalist, he is only featured on contrabass clarinet on the opening track).

Judy Roberts: Circle of Friends

Judy Roberts: Circle of Friends

Judy Roberts is a Chicago treasure. She plays great piano, has an innovative approach to singing and has the charisma that everyone enjoys and wishes they had some too. Judy's consistently draws listeners to her gigs; it seems that there is no end to Judy's energy. A friend of mine once told me that if Judy gets on a bus, the bus would fill with friends and fans!

Eddie Higgins: Speaking of Jobim

Eddie Higgins: Speaking of Jobim

Pianist Eddie Higgins has been in Florida for many years but a great deal of his career was spent in Chicago. He still returns, most every year, to play for those that he touched at London House and numerous other Chicago clubs. This album showcases the compositions of Antonio Carlos Jobim, sans “Ipanema” and the other well-known hits. The point is that although Jobim composed hundreds of tunes, the masses only remember one or two of the hits and most musicians only a few more.

Paul Wertico Trio: Don't Be Scared Anymore

Paul Wertico Trio: Don't Be Scared Anymore

A versatile drummer, Paul Wertico summarizes his various musical experiences on "Don't Be Scared Anymore", a trio date with guitarist John Moulder and bassist Eric Hochberg. Despite the variety of styles and the fact that compositional duties are shared, Mr. Wertico must be credited for making a coherent record with a unique sound. Paying tribute to the power trios of the late sixties-early seventies was surely on Mr. Wertico's mind, but he manages to avoid the pitfalls of the genre: no purposeless solo or battle of the egos.

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