2,984 research outputs found
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Interview with Jon Hendricks
No full textTim Owens interviews Jon Hendricks at the 1973 Monterey Jazz Festival. The interview lasts about 15 minutes, and the recording contains it twice, possibly from two recorders. Hendricks discusses why he performs, Charlie Parker and why he disputes calling Parker "revolutionary," Parker's performance in Toledo and inviting Hendricks to New York, why Hendricks chose music over law, why he disputes that there is a resurgence of interest in Parker, the current state of jazz, a brief historical narrative of jazz starting in New Orleans, Hendricks' thoughts on the primacy of the Catholic Church, religious differences in the treatment of enslaved peoples, the Haitian Revolution and the Louisiana Purchase, the relegation of jazz to "whorehouses" and "gangsters and thugs," commercial pressure to compromise, how the United States treats its own culture, and his extensive activities at that time. At the end of the first recording, an unidentified voice says "Far out, that was really nice!
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Interviews with Stanley Crouch, Chico O'Farrill, and Jon Hendricks
No full textSeparate interviews with Stanley Crouch, Chico O'Farrill (rather than Hamilton, discovered post-digitization), and Jon Hendricks on the subject of Dizzy Gillespie for NPR's "Dizzy's Diamond." The interviewer is not audible, but O'Farrill addresses "Eugene" (Holley). Crouch discusses Gillespie and the blues, his harmonic sophistication, the tune "Wheatleigh Hall," the tune "Hello Little Girl" on Duke Ellington's Jazz Party, Ellington's importance and connection to the blues, Gillespie and latin bands, Gillespie playing the bass drum in marching bands as a youth, Gillespie assimilating currents around him, what Crouch sees as Gillespie's southern sensibilities, Gillespie in the context of his contemporaries, bebop's innovations, the American Federation of Musicians (AFM) recording ban, landmark performances like Massey Hall, the tune Bloomdido, Gillespie in 1951 at Birdland and on radio broadcasts, Gillespie's big bands and small groups, Gillespie's band in the 1960s, concept albums such as Gillespiana with Lalo Schifrin and Perceptions with J.J. Johnson, Third Stream music, Gillespie's importance to the bebop era and bringing diverse rhythms into jazz, Crouch's assertions on bossa nova's contribution to jazz (there is a roughly 30-second gap in the recording here), Gillespie raising the profile of John Coltrane and as a talent scout more generally, how Gillespie changed the rhythm section, his rhythmic flexibility on trumpet, Gillespie reworking his own material, the Electrifying Evening with Dizzy Gillespie album, the tune "Con Alma," Gillespie's compatibility with a wide range of players, and his emotional lyricism as seen in "Upper Manhattan Medical Group" (UMMG) on Duke Ellington's Jazz Party. The interview with Crouch concludes at 32:46, and the interview with Chico O'Farrill begins at 32:59. O'Farrill discusses when he met Dizzy Gillespie, Gillespie asking him to write "Carambola," what kind of jazz Cubans were listening to when he was there, becoming aware of Gillespie through "Things to Come," wanting to concentrate on writing in the United States, first hearing Gillespie with Cuban bands, the tune "Manteca" as a fusion of latin and jazz idioms, writing the Manteca Suite, writing for Gillespie, how he sketches and writes, how his first ideas are usually the best ones, Gillespie and bebop's influence in the #11 in the I Love Lucy Theme, Babalú with Miguelito Valdez and Xavier Cugat, the magnitude of Gillespie's contributions, Machito and Mario Bauzá, Three Afro-Cuban Moods originally being written for Clark Terry, including a "subconscious current" of rock rhythms, and the last time he played in Cuba. The interview with O'Farrill ends at 56:45, and the interview with Jon Hendricks begins at 57:16. Hendricks discusses how Gillespie extended the range of the trumpet in common practice and moved jazz from the swing era to bebop, Gillespie's uncanny ability to hear, first hearing "Salt Peanuts" by Gillespie on a U.S. Army transport ship and paying the disc jockey to keep playing the record, Gillespie with Cab Calloway and Billy Eckstine, Roy Eldridge giving the trumpet a "pianistic flow" and Earl Hines playing like a trumpet on the piano, chord substitutions, Billy Eckstine and his influence, singers who "cultivate the attention of jazz musicians," a demonstration of scat singing, slang including "cool," "hip," and "cool it," bebop structure, Sarah Vaughan and Ella Fitzgerald, Dave Lambert and Buddy Stewart, Hendricks' returning to Toledo, Ohio after the war and enrolling in law school at the University of Toledo, seeing Gillespie and Charlie Parker on separate occasions in Toledo and singing with them, favorite bebop tunes, Babs Gonzales, Jon Hendricks and Company singing the Gillespie big band arrangement of "Oo Pa Pa Da," Hendricks' creating Gillespie "presidential campaign song" to the tune of "Salt Peanuts," critics and "criticizers," whether Gillespie has evolved, what to do if you want to become a jazz singer, Detroit jazz singer Kenny "Pancho" Hagood, Billy Eckstine's influence on singers, and the last time Hendricks sang with Gillespie at the Blue Note
Jon Hendricks Blindfold Test--Monica Zetterlund Blindfold Test
No full textAn unidentified woman participates in one of Leonard Feather's blindfold tests. Jon Hendricks participates in one of Leonard Feather's blindfold tests. Jon Hendricks was an American lyricist. Monica Zetterlund participates in one of Leonard Feather's blindfold tests. Monica Zetterlund was a Swedish jazz singer. 16:30 Jon Hendricks blindfold test; 26:41 Music; 30:30 Monica Zetterlund blindfold test
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Billy Taylor's Jazz at the Kennedy Center
No full textRecording from NPR's "Billy Taylor's Jazz at the Kennedy Center" series. Taylor interviews Jon Hendricks and Hendricks and the Billy Taylor Trio play several Jazz tunes in front of a live audience
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[Majestic Jazz, part 5]
No full textA video of part one of the Majestic Jazz concert with guest artist Jon Hendricks, the One O'Clock Jazz Band, and UNT Jazz Singers, held at the Majestic Theater in Dallas, Texas. In this video, the One O'Clock Jazz band, directed by Neil Slater, performs several songs by themselves and with Hendricks
[Majestic Jazz, part 2]
No full textA video of part one of the Majestic Jazz concert with guest artist Jon Hendricks, the One O'Clock Jazz Band, and UNT Jazz Singers, held at the Majestic Theater in Dallas, Texas. Hendricks sings various jazz songs with the accompaniment of the One O'Clock Jazz band, the Jazz Singers, and a quartet made up of Hendricks, Dr. Billy Taylor, Fred Hamilton, and Ed Soph
[Majestic Jazz, part 3]
No full textA video of part one of the Majestic Jazz concert with guest artist Jon Hendricks, the One O'Clock Jazz Band, and UNT Jazz Singers, held at the Majestic Theater in Dallas, Texas. Hendricks sings various jazz songs with the accompaniment of the One O'Clock Jazz band, the Jazz Singers, and a quartet made up of Hendricks, Dr. Billy Taylor, Fred Hamilton, and Ed Soph
[Majestic Jazz, part 5]
No full textA video of part one of the Majestic Jazz concert with guest artist Jon Hendricks, the One O'Clock Jazz Band, and UNT Jazz Singers, held at the Majestic Theater in Dallas, Texas. In this video, the One O'Clock Jazz band, directed by Neil Slater, performs several songs by themselves and with Hendricks
Recommended from our members
[Majestic Jazz, part 2]
No full textA video of part one of the Majestic Jazz concert with guest artist Jon Hendricks, the One O'Clock Jazz Band, and UNT Jazz Singers, held at the Majestic Theater in Dallas, Texas. Hendricks sings various jazz songs with the accompaniment of the One O'Clock Jazz band, the Jazz Singers, and a quartet made up of Hendricks, Dr. Billy Taylor, Fred Hamilton, and Ed Soph
Recommended from our members
[Majestic Jazz, part 3]
No full textA video of part one of the Majestic Jazz concert with guest artist Jon Hendricks, the One O'Clock Jazz Band, and UNT Jazz Singers, held at the Majestic Theater in Dallas, Texas. Hendricks sings various jazz songs with the accompaniment of the One O'Clock Jazz band, the Jazz Singers, and a quartet made up of Hendricks, Dr. Billy Taylor, Fred Hamilton, and Ed Soph
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