Word: bebop
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...preparation is paying off. Since his first gig, in 1990, he's had steady work. "I'm like a snowball rolling downhill," he says. He can even afford his own apartment now. Gettin' to It showcases his wide-ranging skills-in swing, bebop, blues, free jazz-and his full, throbbing sound. McBride may be the most promising and versatile new bassist since Charlie Mingus. To some people, that may not sound so sexy, but for jazz fans, it sure is exciting...
...ebullient age of bebop and charades and Sea Breezes and the new cellophane-wrapped cigarette packages; of returning soldiers and their wives conceiving the first baby boomers; of the goods and services that grew up around those families, from Levittown to Dr. Spock's baby book to frozen orange juice. But 1946 was a troubled time for Truman. His failed health plan was just a small part of an ambitious attempt to continue Franklin D. Roosevelt's activist domestic agenda. Truman found himself blocked by Roosevelt's nemesis: a coalition of Republicans and conservative Democrats. The economy, although sound...
...orienting anyone coming to him fresh, that Powell did for the piano what Charlie Parker did for the saxophone. Together, and with no small assist from Thelonious Monk and Dizzy Gillespie, they took a hand in fearlessly turning jazz inside itself, then inside out, as they created bebop. But Powell found distinctive melodic nuances on his keyboard. He wasn't as witty and romantic as Nat Cole or as exuberant a geometrician as Art Tatum, both non-beboppers. But he could find a secret, personal vibrancy on a standard like Jerome Kern's Yesterdays, or combine a dark heart with...
...abandon. He was so good and so graceful, he could realize his inspirations with tremendously controlled dexterity. The earliest of the Verve recordings are from 1949, and they end with a 1955 session in which Powell, his bass player and drummer close out with a heavyweight combination: Gillespie's Bebop and Monk's 52nd Street Theme. The Capitol compilation ranges a little further, giving a last glimpse of Powell in Paris, where he lived much of his later life, cosseted and honored. His version of Like Someone in Love has a reckless majesty that seems to draw a circle back...
...parting was amicable: Becker went off to produce a series of jazz records and Rickie Lee Jones' Flying Cowboys album; Fagen released 1982's The Nightfly, a consummately crafted solo effort that echoed with the bebop percolations of his East Coast adolescence. Then came an 11-year hiatus, which Fagen attributes to a serious bout of writer's block. "I was kind of depressed at the time," he explains. "And it took me a while to figure out what I wanted...