Before Gospel, the Spirituals tradition

Modern Gospel has had a huge impact on jazz.

Not so coincidentally, Thomas Dorsy, one of its primary pioneers was living, working, and playing in Chicago at the same time as King Oliver, Louis Armstrong, and Bix Beiderbecke.

Of course, the music’s roots go way back before the 1920s.

A beautiful historical survey of the Spirituals tradition and how its impact is still felt and heard today.

– Ken McCarthy
Jazz on the Tube

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Saxophone Colossus- The Life and Music of Sonny Rollins

Three creative miracles here:

1. The life of Sonny Rollins
2. The unprecedented way Sonny documented his life…including among other things EVERY practice session throughout his long career
3. The new biography of Sonny by Aidan Levy which gathers the superabundance of Rollins material into a fascinating page turner that goes deep into the creative life of one of the music’s grand masters.

A must for Sonny Rollins fans, musicians, jazz lovers, and everyone interested in the creative process.

Click here to order Saxophone Colossus

– Ken McCarthy
Jazz on the Tube

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What we mean when we say “Gospel Music”

Listeners with savvy ears know you can hear a lot of “gospel” in jazz and rock and roll.

But what do we mean when we say “gospel music”?

Unlike other forms of roots music whose origins come from the distant mists of time, we know when and where the music we call gospel started.

Meet the highly underrated Thomas A. Dorsey.

Born in Georgia and settled as an adult in Chicago, he broke the cultural logjam between “church” and “honky-tonk” music and helped light a creative fire, we’re all still warming ourselves on today.

– Ken McCarthy
Jazz on the Tube

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Country, blues, jazz, gospel

This is a continuation of my country, blues, jazz, gospel – and a lot of it came from the countryside and country people – rant from a few months ago.

We all know about the roles big cities played in the advancement of jazz. How much do we know about the role country people played?

By good fortune, I found a resource where two people, a brother and sister, who are representative of this story, go into the details of their musical life being raised in a small town in rural parts in the 30s and 40s.

My previous video on this subject

– Ken McCarthy
Jazz on the Tube

P.S. Our unique programming is made possible by help from people like you. Learn how you can contribute to our efforts here: Support Jazz on the Tube
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Artists House history: Emmanuel Ghent, Ornette and Electronics (1969) (article and music)

From Valerie Ghent:

The avant-jazz single Man on the Moon by Ornette Coleman, released in 1969 in response to the first moon landing, features my father, Emmanuel Ghent, on ‘electronic devices’ jamming with Ornette & an all-star band: Ornette Coleman – alto sax; Don Cherry – trumpet; Dewey Redman – tenor sax; Charlie Haden – bass; Ed Blackwell – drums; Emmanuel Ghent – electronic devices.

I was delighted to find this out of print recording on YouTube this week:

 

 

My father shares a writing credit w/ Ornette on the tune:

It is curious that the B-side of “Man on the Moon” is named “Growing Up”. For me personally, listening to “Man on The Moon” evokes memories of my childhood. When I was a child growing up in SoHo, Ornette lived in our building. In those years, artists (including my parents) were living in, working out of and renovating entire floors of empty factory buildings in SoHo – all before zoning allowed residential use.  In 1970, our building became known for a few years as ‘Artist House‘. Ornette intended Artist House to serve as a live-work performance space for ‘artists of all kinds’. According to jazz.com, residents of Artist House included Anthony Braxton, Leroy Jenkins and Truvenza Coleman, Ornette’s sister.

Ornette lived on the third floor and used the ground floor to rehearse and perform. He would come upstairs to my father’s electronic music studio from time to time and they would jam. Apparently my father recorded a few of these sessions, because there are a few reel-to-reel tapes in my father’s archive with Ornette’s name on the spine. Wonder what is on them! Can you imagine? I hope they are still transferable.

A few years after the release of Man on the Moon (on Impulse), my father performed some of the electronics and studies used for this recording at The Kitchen, on January 17, 1972:

As you can imagine, as a young child I was fascinated by the electronics. Between falling asleep to Ornette’s rehearsals and having (albeit limited) access to the tape machines, who could resist? It was in my father’s studio, on 2-track and 4-track tape machines, that I began to learn the basics of recording.

This material comes from the site of Valerie Ghent: https://valghent.com/emmanuel-ghent-ornette-coleman-man-on-the-moon/


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