Blog - Jazz Spectrum

On Tommy Flanagan (born March 16, 1930)

By Fritz Byers    At the end of the 1950s, John Coltrane surveyed the departing decade and its admixture of swing, bebop, cool (and its sibling/cousin/offspring, West Coast jazz), hard bop, and whatever Miles Davis was up to that week, and thought it was time to say goodbye to all that (even to Miles’s modal masterwork, Kind of Blue, to which Coltrane contributed indispensably.)  So he wrote “Giant Steps,” a tune whose chord structure and harmonic invitations are so dense, complex, and hectic that it would be difficult to play even if ‘Trane hadn’t chosen the br Read More

This Week on Jazz Spectrum: Ornette Coleman

Read this week's Jazz Spectrum blogs on Ornette Coleman by Fritz Byers and contributing writer, Kim Kleinman. Read More

This Week on Jazz Spectrum: The Music of Gregg Hill

By Fritz ByersLast night, a friend and I saw the trumpeter Dave Douglas perform with the Bowling Green State University Lab Band. Read More

A Supreme Act of Love

By Fritz ByersA few weeks ago, Kim Kleinman wrote, elucidatingly, about his struggle, not easy but ultimately successful, to pierce the often-overwhelming image of The Great John Coltrane and to hear Trane’s music – “as music,” in Kim’s characteristic phrasing. Kim’s right – that’s the best way to hear music. But now we’re back at the shrine – the centerpiece of this week’s show is the Master’s A Love Supreme, the suite he recorded with his Classic Quartet in one inspired session on December 9, 1964. Read More

A Day for Wine and Roses

By Fritz ByersThe first version I heard of “The Days of Wine and Roses” was Perry Como’s. For some reason, one of my parents – I’m being discreet here – decided the household had heard enough of Frank Sinatra, and it was time to diversify. A quick check reveals that Perry’s album, The Songs I Love, was released in 1963. So that’s probably when this downgrade occurred. Read More

Remembering Andrew Hill

By Fritz ByersI saw the pianist Andrew Hill in performance only once. In the late 80s, pure luck put me in New York at the same time Andrew was scheduled to perform with a quartet. I knew his music only slightly at the time – only the 1964 recording Point of Departure had caught my attention more than in passing, and that was primarily because the multi-reed wizard Eric Dolphy and the tenor saxophonist Joe Henderson were on it. Read More

The Alternate Universe

By Fritz Byers The evolution of streaming-music sites, and their current dominance, have changed many things about the business of making music, and about how we consume it. I don’t believe it’s merely a nostalgia-drenched generational cavil to observe that the notion of buying an album, and then listening to it as a unit conceived by the artist, is another sad casualty of the digital revolution and its ancillary technologies.  Of course compact discs changed how we listen. Read More