Blessed are the iconclasts for they do not give a damn...

Ask me anything/Archive/RSS


Sonny Rollins - Why Don’t I (1957)
Album: Vol. 2 


(via jazzrelatedstuff)


McCoy Tyner Trio Inner Glimpse f. Freddie Hubbard & Joe Henderson (fragment) | Jazz Ost-West Festival in Nürnberg, Germany (1986)

McCoy Tyner - piano
Freddie Hubbard - trumpet
Joe Henderson - tenor sax
Avery Sharpe - bass [*solo* 12:23 - 14:35]
Louis Hayes - drums

(via jazzrelatedstuff)


Herbie Hancock by Francis Wolff

(via jazzrelatedstuff)


Alice Coltrane—“Shiva-Loka”

Journey in Satchidananda (Impulse! 1970).

(via jazzrelatedstuff)


Dizzy Gillespie & Chano Pozo - Manteca

"Manteca" is one of the earliest foundational tunes of Afro-Cuban jazz. Co-written by Dizzy Gillespie, Chano Pozo and Gil Fuller in 1947, it is among the most famous of Gillespie’s recordings (along with the earlier "A Night in Tunisia") and is “one of the most important records ever made in the United States”, according to Gary Giddins of the Village Voice. “Manteca” is the first tune rhythmically based on the clave to become a jazz standard.

In 1947, Gillespie asked Mario Bauzá to recommend a Cuban percussionist for his big band. Bauzá suggested Pozo, a rough-living percussionist already famous in Cuba, and Gillespie hired him. They began to work Pozo’s Cuban-style percussion into the band’s arrangements.

The band was touring in California when Pozo presented Gillespie with the idea for the tune. It featured a bridge of two eight-bar trumpet statements by Gillespie, percussion patterns played by Pozo, and horn lines from Gillespie’s big band arranger Walter “Gil” Fuller.

According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: “If I’d let it go like [Pozo] wanted it, it would have been strictly Afro-Cuban all the way. There wouldn’t have been a bridge. I thought I was writing an eight-bar bridge, but after eight bars I hadn’t resolved back to B-flat, so I had to keep going and ended up writing a sixteen-bar bridge.” The rhythm of the ‘A’ section melody is identical to a common mambo bell pattern.”

Same root, many branches! I love learning about Afrodescendants from all over creating together. 

(via jazzrelatedstuff)


Cannonball Adderley on Jazz Casual

This 12-minute segment of Ralph Gleason’s mid-‘60s program Jazz Casual includes an interview with Cannonball Adderley sandwiched between quintet performances of Joe Zawinul’s “Scotch And Water” and Eddie Cleanhead Vinson’s “Arriving Soon.”

-Michael Cuscuna

Follow: Mosaic Records Facebook Tumblr Twitter

(via jazzrelatedstuff)


 Mitt - A Netflix Original

This man could have been president

What a badass

(Source: kanyedoin, via showmetoaspookyshipwreck)