Below are links to some of the highlights from the jazz.com blog.
Life on the Road: The Journal of a Traveling Jazz Musician: Frøy Aagre’s three-part article may be the most insightful account you will ever read about the realities of road life for most jazz musicians. It is not a pretty picture, but it was a story that very much needed to be told.
Jazz and Hip-Hop: Can They Really Mix? Jared Pauley presented a smart mini-history of the courtship between jazz and hip-hop in this two-part article. And he also stirred up a mini-war on our blog pages. Alan Kurtz stepped in to annul this unholy union, responding with his typical rebarbative repartee in a memorable piece entitled Hip-Hop is to Jazz as Termitz R2 Wud. Both articles are well worth reading.
Life at Gypsy Jazz Camp: One of the most interesting developments in the jazz world is the great resurgence of interest in Django Reinhardt and Gypsy jazz. Bill Barnes took us into the heart of this subculture in his three-part article on his experiences at a jazz camp devoted to jazz Manouche.
A Jazz Success Story in Vermont: In a series of articles for jazz.com, Willard Jenkins presented case studies on the people and organizations that are keeping the music alive in various communities around the United States. In this installment, Jenkins explored a jazz success story in Burlington Vermont , and talked with Arnie Malina, the man behind it.
Ornette: The Blue Note Years: In this two-part article, Chris Kelsey looked at a controversial period in Ornette Coleman’s career. Blue Note’s move into the avant-garde was a symbolic moment, and produced music that critics are still debating almost a half-century later.
On Discography: If the jazz world is a subculture, then the most cultish members of all are the jazz discographers. Will Friedwald peers inside the universe of the experts who keep tabs on all of the songs.
Where Copyright Goes Wrong: Jazz.com’s Alan Kurtz is best known for his curmudgeonly critiques and the controversies these engender. But he could have been a lawyer (or at least played one on TV) judging by this convincing assault on the current state of US copyright law.
The Once and Future Strings:When electric guitar first showed up in the jazz world, most fans treated it as a novelty effect. But after the impact of Chicago blues, rock-and-roll and other related styles, the plugged-in guitar has become the defining sound of contemporary music. Bill Barnes looks at the state of the guitar in jazz. This three-part article offers historical perspective on the current situation, and assesses the future potential for this instrument.
The Secret Jazz Festivals: These private events allow a small group of insiders to hear a range of up-and-coming artists. Casual fans are not invited, but concert promoters, booking agents and critics get a glimpse of the new generation of talent. But here's the catch: you won't find them in the US. Thierry Quénum, a leading jazz critic based in Paris, offers an inside look.
read more: http://www.jazz.com
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