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...Mingus and others, jazz is far more than music. It is a shared heritage, a symbol of achievement, a language in which to tell what Negro Drummer Max Roach calls "the dramatic story of our people and what we've been through." It is also a private language. Through jazz, Negro Pianist Billy Taylor points out, the Negro has always been able "to say many things musically that would never have been accepted by a white American had he verbalized them...

Author: /time Magazine | Title: Music: Crow Jim | 10/19/1962 | See Source »

...says Impresario George Wein. White Pianist Paul Winter, 22, who has three Negroes in his sextet, agrees: "We're right in the middle of a Crow Jim period. Out in Chicago they told us, 'Don't go to New York-you're ofay.' "* Echoes Drummer Cal Tjader: "I don't think I'd very much like to be a white boy just starting out in New York...

Author: /time Magazine | Title: Music: Crow Jim | 10/19/1962 | See Source »

...Drummer James Bradley Jr. looks like the very spirit of the sideman-brow intent, eyes unsmiling, face masked in hazy boredom. When Los Angeles television station KTLA signed him to a 26-week contract last month, no one was surprised: Bradley is an exceptional drummer. He can play three-beat rhythms with one hand while he plays four-beat with the other. He can switch hands instantly to travel from the bone-dry clatter of the wood block to the rich depth of the snare...

Author: /time Magazine | Title: New Faces: I'm Gene Krooper | 8/24/1962 | See Source »

...piano, father on drums), James learned most of his art on his own. His father bought him his first set of real drums only a few months ago, and though James is still too short to sit down behind them, he has already surpassed his father as a drummer. On his television debut he appeared with his mother to play Caravan, treated his listeners to a long solo break that sounded like Krupa. "He's a great little ham," said the station's delighted program director, who stole time from Lionel Hampton's band to make room...

Author: /time Magazine | Title: New Faces: I'm Gene Krooper | 8/24/1962 | See Source »

...Harvard Coop" has possibilities, but they are not explored. The words don't make much sense, but rock 'n roll that is often a virtue. Throughout the song we hear of the wonders of sets of "monopoly, opolyopoly" and "refund checks a-heck heck." An echo chamber, a good drummer, a bridge tune, and slightly less repetition would have helped immensely. Still, it is possible that the does capture the atmosphere of favorite cooperative store, and that is important. For if rock 'n roll has value, it is in its ability to the flavor of contemporary life...

Author: By Joseph M. Russin, | Title: Close Harmony, Few Notes | 3/23/1962 | See Source »

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