Reviews that mention Ed Blackwell

January 1, 2019

Jazz Worlds/World Jazz

Edited by Philip Bohlman/Goffredo Plastino
University of Chicago Press

By Ken Waxman

From its very beginnings in the African American communities of the 20th century, through is subsequent spread throughout the United States and world-wide, the definition of what constitutes jazz has been as slippery as trying to hold onto a handful of Jell-O. Imagine then the conundrum that exists when the concept of jazz arrives in other counties and takes on other identities as locals players strive to adapt it. This nearly 500-page volume presents the work of 18 academics exploring this interface between jazz and musical cultures in Europe, the Middle East and Africa. MORE

December 6, 2014

Creative Music Studio

Archive Selections, Vol. 1
Innova 805

By Ken Waxman

Brainchild of Ornette Coleman, Karl Berger and Ingrid Ingrid Sertso, the Woodstock, N.Y.-based Creative Music Studio (CMS) has had an influence that continues to resonate past its physical presence from 1971-1984. Dedicated to erasing the false barriers among different musics, its workshops and concerts not only helped spread freer sounds among players identified with jazz or so-called classical music, but with participants from overseas welcomed, it helped birth a sophisticated variant of world music. MORE

March 29, 2002


Cadence Jazz Records CJR 1119

Tenor saxophonist Bill Barron (1927-1989) was one of those musicians born just slightly out of time. Known today, if at all, as the older brother of better-known pianist Kenny Barron who made his recording debut with him in 1961, Barron was one of the close-knit group of Philly saxophonists, including Jimmy Heath and John Coltrane, who made their mark in the late 1950s.

In New York after 1958, Barron held his own in the heavy company of masters like pianist Cecil Taylor, bassist Charles Mingus and drummer Philly Joe Jones and recorded a series of his own LPs in styles ranging from hard bop to quasi-experimental. MORE