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Jon Hendricks, Genre-Pushing Jazz Vocalist, Dead At 96

Nov 22, 2017

One way or another, you've heard Grover Washington Jr.'s saxophone. Perhaps on "Mister Magic" or another of his instrumental hits, like "Winelight." Or on "Just the Two of Us," the smash hit featuring Bill Withers.

Unfathomable. Unimaginable. These are among the words used to describe the recent mass shooting in a rural Texas church, which left more than two dozen parishioners dead, eight of them children. For many of us, the inhuman horror of this act literally defies comprehension. The dimensions of the tragedy are all too familiar for Jimmy Greene.

Louis Hayes spent his youth creating the pulse of hard-bop, as a top-shelf drummer with artists like Cannonball Adderley and Horace Silver. He turned 80 this year, marking the occasion with his own Blue Note Records debut as a leader, Serenade for Horace.

The blues have traveled far and wide over the last century — exerting a vast cultural influence worldwide, yielding myriad offshoots, and generating fortunes for some of the biggest musical acts of our time. But it's also still the product of local conditions, and bound by hardscrabble local concerns.

On this episode of Jazz Night in America, we'll go to Clarksdale, Miss., to get a temperature reading at ground level, where struggling musicians are finally beginning to reap the benefits of a recent wave of blues tourism.

The music of pianist and composer Abdullah Ibrahim conveys an extraordinary depth in stillness. More than perhaps any other improvising artist, he knows how to turn the solitary act of introspection into a communal experience that's both transporting and immersive.

Jazz singing has always been a tree with firm roots, but a wild entanglement of branches. Its sound and shape are mutable, prone to outside influence and local inflection. Take the two artists featured in this week's episode of Jazz Night in America, recorded at the 2017 San Jose Jazz Summer Fest — each a cultural ambassador as well as a cosmopolitan, with the elusive ability to bring any audience along for the ride.

Esperanza Spalding — the multiple Grammy-winning bassist, singer-songwriter, bandleader and composer — maintains a fierce commitment to the unfolding moment. Spontaneity is her watchword and her discipline, the condition to which she aspires.

Kendrick Scott opened his first set on Tuesday night, at the Jazz Standard in New York City, with a pensive new composition titled "Home." It had a bittersweet melody, a waft of dark harmony, and a beat defined both by chop and flow. "I'm just going to send this out as a meditation for everybody in Houston, Texas right now," said Scott, a drummer, as he introduced the tune.

For those who haven't had the good fortune to attend a jazz festival this summer, Jazz Night has a ticket just for you — section A, row 1 for The Robert Glasper Experiment.

There's an emblematic photograph of Herbie Hancock on the back cover of his album Sunlight, which he began recording 40 years ago this month. He's depicted against a red backdrop with a Sennheiser vocoder headset on his cranium, which is bowed in deep focus.

Almost exactly 30 years ago, guitarist John Scofield recorded an album he evocatively titled Loud Jazz. Not quite a decade later, he made one called Quiet. Both albums were statements of intent, widely embraced and justly acclaimed. And despite the obvious differences between the two, both were genuine expressions of Scofield's musical personality, which has always been more flexible than those extreme dynamic markings would seem to suggest.

"I've got a pocketful of blues here still, you know?" says Charles Lloyd, the saxophonist-flutist-composer-bandleader who, at 79, has become one of jazz's enlightened elders.

Denise Eileen Garrett was only 3 years old when her family moved to Flint, Mich., from Memphis, Tenn. This was long before she became Dee Dee Bridgewater, jazz-vocal superhero — to say nothing of a mother, a Tony- and Grammy-winner or an NEA Jazz Master. But Memphis left an impression on the little girl, subtle but persistent, somewhere in her psyche.

Yes, Ravi Coltrane is the son of the John Coltrane, one of the most famous and important jazz saxophonists and composers of all time. He's also the son of multi-instrumentalist, composer and spiritual leader Alice Coltrane Turiyasangitananda. (In fact, all members of the band here are performing artists in their own right and come from artistically rich families; drummer E.J.

The National Endowment for the Arts (NEA) Jazz Masters award, which comes with a $25,000 prize, is widely described as United States' highest honor for jazz. Today, the NEA announced its four newest recipients of the prize: pianist Joanne Brackeen, guitarist Pat Metheny, singer Dianne Reeves and producer Todd Barkan.

For a long stretch of his early performing career, vibraphonist Gary Burton was always the youngest man on the bandstand. A child prodigy from Indiana, and then an onrushing force on the scene, he apprenticed with the great Nashville guitarist Hank Garland before going on tour with pianist George Shearing, followed by tenor saxophonist Stan Getz.

William P. Gottlieb/Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress
William P. Gottlieb/Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress

At the time of this interview Lionel Hampton (1908 – 2002), vibraphonist, band leader and composer, had been a working musician for 62 years when he spoke with Ross Reynolds.

Hampton introduced the vibraphone as a jazz instrument, wrote jazz standards (“Flying Home”), performed with jazz greats Louie Armstrong, Benny Goodman, Gene Krupa , Duke Ellington, Dizzie Gillespie, and discovered Dinah Washington and Joe Williams.  He also recruited Seattleites Quincy Jones and Ernestine Anderson for his bands. 

Sonny Rollins wasn't really thinking about the formation of an archive as he went about his life and career over the last 60 years — as a tenor saxophonist of unsurpassed stature, an artist of active spiritual and social engagement, and an embodiment of jazz's improvisational ideal.

The low end has always been terra firma for Buster Williams, one of the all-time great bassists in modern jazz.

A newly released, not-quite-reissue album has shed some very eagerly awaited light on rarely heard music music made by one of the most fascinating — and even arguably misunderstood — musicians in jazz: the late pianist, organist, harpist, keyboard player, composer and spiritual leader Alice Coltrane Turiyasangitananda.

Moses Boyd Exodus ended its performance at the 2017 South by Southwest music festival with a rampaging take on its trademark tune, "Rye Lane Shuffle." Drummer Moses Boyd, the band's young founder and namesake, rumbled freely on his toms, joined by a fervent-sounding Binker Golding on tenor saxophone. The groove that emerged was Nigerian Afrobeat by way of a modern jazz metropolis — one with every resource at hand.

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