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Herbie Mann
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The world according to flutist and composer Herbie Mann was a utopian musical paradise where jazz is made up of of Afro-Cuban, Middle-Eastern, R&B, and nearly every other kind of music. In the 1960s, he discovered Brazil's bossa-nova; in the 1970s, he even found disco rhythms in jazz. Unlike most of his contemporaries in jazz, when Mann began playing flute in 1940s he had no forefathers to learn from, no pioneers of jazz flute to idolize. He was forced to look elsewhere—both inside and outside of jazz—to develop his approach to jazz and the flute. Among numerous musical influences, Mann was particularly drawn to rhythms and melodies from South America and the Caribbean. Herbie Mann was born Herbert Jay Solomon in Brooklyn, New York, on April 16, 1930
All About Music—My AAJ Experience
by Alan Bryson
Music & Taste Music and food have a lot in common. Variety is the key--without it, even the best prepared food loses its appeal. It is telling that we speak of “musical taste," even though we experience music through our ears. Genres like jazz and classical music weave together themes, patterns, harmonies, and mathematical ...
ZurHub: Countryside Motorways
by Edward Blanco
Israeli flautist Mattan Klein and fellow Jerusalem native guitarist Ezequiel Hezi Jait, based in both Tel Aviv and New York, present a stunning musical portrait on Countryside Motorways, blending the rhythms of Brazil with Israeli folk and classical music while drawing influence from legendary composers such as Hermeto Pascoal and the incomparable Chick Corea. The co-leaders ...
Dug and Jazz Spot Intro in Tokyo
by Sanford Josephson
I owe my love of jazz to the time I spent in Japan in the mid-1960s when I was working as a writer in the public information office of the American Red Cross' Far Eastern Area headquarters, located on a U.S. Army base about 45 minutes from Tokyo. While there, I saw Duke Ellington, Ella Fitzgerald, ...
Piano Four-té: Keyboard Masters Delight On A Quartet of ECM Luminessence Vinyl Reissues
by Joshua Weiner
Blue Note. Verve. Impulse! Prestige. Just saying the name of such storied jazz record labels immediately conjures up each one's distinct aesthetic, from the music to the cover art. Over the past half century, the German ECM label has earned its place in this pantheon by steadfastly following its own vision, perhaps best summed up by ...
Two hours of Roy Ayers as a sideman, and his earlier work as a leader
by Andy Crowther
A real journey of discovery and education for me here, I learnt so much and hope you do too. Two hours of Roy as a sideman, and his early work as a leader. Playlist Curtis Amy Featuring Victor Feldman “A Soulful Bee, A Soulful Rose" from Way Down (Pacific Jazz) 00:00 Gerald Wilson Orchestra ...
McCoy Tyner, George Colligan, Herbie Mann & David Watson
by Joe Dimino
From one of the freshest voices in the Kansas City jazz scene, we kick off the 895th episode with David Watson and his smooth vocal stylings from his 2020 album, The Ludlow Affair. Then, we take a nostalgic turn with the legendary Herbie Mann, whom David had the privilege of knowing during his time at The ...
Lonnie Davis: Lighting Up Charlotte with Jazz
by K. Shackelford
In the '90s, fierce jazz curator, flutist, and educator Lonnie Davis found herself as the only female in The University of New Orleans jazz program. Prior to that, she studied under jazz patriarch Ellis Marsalis while a high school student at the highly selective and musically rigorous New Orleans Center for Creative Arts. The brilliant music ...
Perfection: Herbie Mann - Manteca
Herbie Mann was a fascinating artist. Not only was he a masterful jazz flutist but he also crossed over to Latin, funk, soul, bossa nova and rock and pioneered world music. His curiosity and ability to adapt to various styles was almost unrivaled during the 1960s and '70s. One of his most popular Latin-jazz albums was ...
Steve Marcus, Miroslav Vitous, Sonny Sharrock, Daniel Humair: Green Line
by Joshua Weiner
Several decades into the jazz reissue boom, first on CD and now increasingly on vinyl, one might imagine the bottom of the barrel is being scraped, and that any newly rediscovered obscurities might at this point have been best left alone. Yet so vast are the archives of recorded jazz that diamonds remain in the mine, ...
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