Page 43 - Ben Webster News Today : Breaking News, Live Updates & Top Stories | Vimarsana

Rick Laird, bassist at the forefront of fusion, dies at 80 “The Inner Mounting Flame” (1971). by Giovanni Russonello (NYT NEWS SERVICE) .- Rick Laird, a bassist who played a central role in the jazz-rock fusion boom as a founding member of the Mahavishnu Orchestra, then retired from music to pursue a career in photography, died on July 4 in New City, New York. He was 80. His daughter, Sophie Rose Laird, said the cause was lung cancer. Guitarist John McLaughlin called Laird in 1971 with an invitation to join a group he was forming with the goal of uniting the jazz-rock aesthetic — which McL...

Listen to the varied, explosive, resonant sounds of instruments struck, shaken, pounded, scratched.

Houston Person But Beautiful Mean To Me Time After Time Re-Release Date: 10/20/1998 | 06/11/2001 (5 out of 5 stars) "Houston Person can wail with the best of them, but he also may be the best tenor saxophonist since Ben Webster when it comes to presenting soulful, romantic ballads. In just under an hour, he works his magic on nine standards, including "But Beautiful," "Laura," "Time After Time," "Mean to Me" and the title tune. Richard Wyands, Ray Drummond and Kenny Washington provide the rhythm on piano, bass and drums. Another late-night listen from High Note Records!" Great late night ...

Karel Reisz & Tony Richardson, 1955 One of the foundation stones of British Free Cinema, this 22-minute short shows trad antics at Wood Green Jazz Club, with the Chris Barber Band featuring Lonnie Donegan. Years later, Absolute Beginners (Julien Temple, 1985) would be derided for its high-gloss reimagining of the London jazz scene in its heyday, but with input from Gil Evans and a dazzling fantasia on Charles Mingus’s Boogie Stop Shuffle, it’s not to be dismissed. The Connection Shirley Clarke, 1961 Jazz was as vital to the new American independent cinema of the 1950s and 60s as it wa...

Del Marsalis (5 out of 5 stars) "It's a wonder that Ben Webster and Harry "Sweets" Edison didn't record more albums in this format, but we are quite fortunate to have this classic. It has all the essential qualities of great jazz: relaxed, swinging, soulful and well executed. Edison shines on the blues and medium bounce songs, while Webster plays some of the most romantic saxophone ever heard on the ballads. Hank Jones, whose playing adapted to both the swing and bebop worlds equally, accompanies and solos with masterful elegance. The recording quality is excellent as well, in keeping...