Jazz

Jazz trumpeter Lester Bowie. Bowie is considered one of the most original trumpeters in jazz, and a master of horn effects. Bowie started out playing with Saint Louis R&B bands. In 1969, he helped found the Art Ensemble of Chicago as an outlet for more eclectic and avant-garde jazz. Bowie also heads his own band, Lester Bowie's Brass Fantasy. They have a new album, called "Serious Fun."

Jazz critic Kevin Whitehead reviews two new albums by composer, saxophonist and clarinetist Anthony Braxton. Although Braxton's music has been much criticized, Kevin calls him one of his heroes. Braxton's new albums are "19 Solo Compositions 1988" and "Seven Compositions (Trio) 1989."

Jazz critic Kevin Whitehead reviews reissued 1957 recordings by acoustic guitarist Eddie Condon. Condon was a fine musician, and also promoted the music from the 20s to his death in the early 70s. Condon organized early recording sessions that brought black and white musicians together, promoted concerts at New York's Town Hall, and ran a famous club.

Jazz critic Kevin Whitehead reviews the album, "Blue John," by organist Big John Patton. Paton cut a series of progressive jazz organ albums for Blue Note records in the 60s, then dropped out of sight for a decade, recently re-emerging on some of John Zorn's albums. Patton actually recorded "Blue John" in 1963, but it's just been released on CD and it's the only example of Patton's Blue Note work that's currently available.

Jazz critic Kevin Whitehead tells us about a milestone in jazz history -- the 50th anniversary of tenor saxophonist Coleman Hawkins' recording of "Body and Soul." He says Hawkins was the best tenor saxophonist ever...and "Body and Soul" was his greatest masterpiece.

Jazz critic Kevin Whitehead reviews "Straight, No Chaser", the new documentary on jazz pianist, Thelonious Monk.

Jazz pianist Kenny Barron pays tribute to jazz great Thelonious Monk.

Jazz critic Kevin Whitehead reviews "Covert Action," the new album by french horn player Tom Varner.

Kevin Whitehead reviews composer and saxophonist John Zorn's new album "Spy vs Spy."

Jazz Critic Kevin Whitehead reviews the new album by electric guitarist John Scofield. Scofield has recorded with a wide variety of musicians, including Kansas City pianist Jay McShann,, trumpeters Chet Baker and Miles Davis, and Charlie Mingus, but Scofield is also comfortable playing rock.

Jazz Critic Kevin Whitehead reviews the first album by the trio New Winds, whose members have experiences in both jazz and classical music. Clarinetist J.D. Parran has played with an improviser's collective called The Black Artists Group, saxophonist Ned Rothenberg plays with a band that does covers of 60s songs, and flutist Robert Dick has played primarily with classical ensembles.

Rock and roll historian Ed Ward profiles Memphis soul musician and producer Willie Mitchell. Mitchell was a trumpeter whose own tastes ran to jazz and soul. But Mitchell enjoyed his greatest success as a producer and talent scout. He launched the careers of Al Green, Ann Peebles and O.V.Wright.

Jazz Critic KEVIN WHITEHEAD reviews the latest album by jazz drummer and big band leader Louie Bellson. Bellson, the husband of Pearl Bailey, has been drumming since three. When he was 17, he won a nationwide competition sponsored by Gene Kruppa that launched his career. He's played for Benny Goodman, Tommy Dorsey, Harry James and Duke Ellington.

Guest critic Milo Miles has a primer on world music, and he examines why it should, by all rights, be more popular in the U.S. than it is. Miles is the former rock critic for The Boston Phoenix.

Jazz Critic Kevin Whitehead reviews "Bayou Magic," a new album by clarinetist Alvin Batiste. Since the 50s, Batiste has been a key figure in the modern jazz movement in New Orleans. Under the auspices of the State Department, he has toured the world extensively, and is also a teacher at Southern University in Baton Rouge, where his students have included Branford Marsalis and Donald Harrison.

Pianist and singer Hadda Brooks. In the days following World War II, Brooks was a key figure in the West Coast jazz and blues scene. Her singing led to roles in movies and to a stint hosting a television show; she was the first black woman to earn that distinction. When her style of jazz and boogie woogie piano went into decline in the 50s, Brooks lived and performed overseas. She resumed her career in America in 1987, and was an immediate hit. She's currently appearing at Michael's Pub in New York City with singer Thelma Carpenter. (Interview by Sedge Thomson)

Jazz Critic Kevin Whitehead profiles the young alto saxophonist Christopher Hollyday. While still in his teens, Hollyday toured with bandleader Maynard Ferguson and headlined at New York's Village Vanguard. Hollyday plays in the style of Charlie Parker, the great bop alto saxophonist.

Jazz critic Kevin Whitehead reviews the new reissue of Ella Fitzgerald's 1961 album, "Clap Hands, Here Comes Charlie." Kevin calls the album an amiable mix of jazz and pop standards, novelty numbers and maudlin torch songs.

Jazz critic Kevin Whitehead reviews a new reissue of the late tenor saxophonist Albert Ayler. A key part of the free jazz movement of the 1960s, Ayler's sound has been likened to speaking in tongues.

Jazz Critic Kevin Whitehead reviews "Goin' Home," the second album by tuba player and composer Bob Stewart. Stewart, who stresses that the tuba is a world instrument, heard everywhere from New Orleans to Surinam, mixes genres in this album, jumping from "Sweet Georgia Brown" to Thelonius Monk's "Bemsha Swing."