Remembering Wilbur
by Stu Katz

Remembering Cy Touff
by Marty Clausen

Bird with Strings:
My gig with Charlie Parker
by Kenny Fredrickson

by Steve Voce

My philosophy is to have a really good time and never to let anything stop me from doing what I want to do.
—Michel Petrucciani

Classic recordings—Chick Corea
by Stuart Nicholson

Now He Sings, Now He Sobs
Blue Note CDP 7900552.
Chick Corea (p); Miroslav Vitous (bs); Roy Haynes (d).
New York City, 14, 19 & 27 March 1968.

Matrix. My one and only love. Now he beats the drum—now he stops. Bossa. Now he sings—now he sobs. Steps—what was. Fragments. Windows. Pannonica. Samba yantra. I don’t know. The law of falling and catching up. Gemini.

Selections from the San Franciso Jazz Festival 2000
reviewed by Rahsaan Clark Morris

Day 1
Wednesday, October 25

The Chicago Daily Blues
by Bob Koester

Several years ago the editors of Blues Unlimited in England got wind of a 45-rpm record on the Bluestown label. Wanting to learn more about the firm, they asked friends going to the United States for summer vacations to try to locate the manufacturer in Chicago. They were surprised to find that the firm was located in the Boston area. Their first assumption was natural--because blues fans the world over do think of Chicago as Bluestown. It's been the major center for contemporary blues activity for decades.

by Jeff Lindberg

Artistic Director, The Jazz Members Big Band of Chicago

Ernie Wilkins
By Steve Voce

This article first appeared in The Independent of London.

The trumpeter Clark Terry was responsible for Ernie Wilkins’s success as a musician and then for lifting him up when he fell upon bad times.

Most Valued Player: Buddy Tate
by Nic Jones

There have been two dominant approaches to playing the tenor saxophone in the history of jazz. The trailblazer, not only in terms of approach but also in terms of making the saxophone a legitimate instrument of jazz expression, was Coleman Hawkins; his hardness of tone was combined with harmonic sophistication. Lester Young has come to embody the other approach, although Bud Freeman was the first on record with a lighter, more supple tone and a slipperiness of phrasing by comparison with Hawkins.