Recent interviews with members of the All-Stars and articles appearing in both jazz and general interest periodicals during the fifties also indicate that the All-Stars were not playing in a different style. The recordings do not support the view that the All-Stars were playing an identifiable West Coast or Cool style that was different from an East Coast or Hard Bop style favored by players based in New York. The recordings contain a variety of modern or post-swing approaches to jazz improvisation, composition, and arranging similar to those found on recordings produced in New York. The band produced both live and studio recordings over a period of seven years. The Lighthouse provided a stable working environment for jazz musicians with few, if any, commercial restraints. This study examines the music produced by Howard Rumsey's Lighthouse All-Stars at The Lighthouse nightclub in Hermosa Beach, California between 19 and its relationship to music recorded by New York-based groups during the same period. However, by the mid-sixties when jazz was dominated of the Avant-garde or New Thing, this variation on modern jazz was discredited and frequently forgotten. It also appealed to many casual listeners, some as attracted to the provocative album cover art as they were to the music. The visual art of jazz helps account for jazz’s ability to transport artistic hipness from the enclave of modernist art into the everyday.ĭuring the Fifties, a musical style frequently called West Coast jazz became popular with both critics and serious jazz fans. In particular, this essay focuses on the photographic and illustrative work artists like William Claxton and Andy Warhol created for the newly emerging format of the record cover. The essay also follows German sociologist Andreas Reckwitz, whose history of creativity allows for interpreting the impact of the jazz art world as a chapter in the rise of a creativity dispositif. In the jazz art world, the article suggests, sound becomes intermedially embedded in visual culture and textual repertoires. Becker’s method of reconstructing “art worlds,” i.e., the networks of cooperation that include the institutional structures of marketing and distribution. This article draws on two approaches within cultural sociology to explain the historically specific cultural force of jazz: it follows American sociologist Howard S. By the late 1960s, however, this “second jazz age” had come to an end. Pianist Ray Bryant's playing is also impeccable throughout.In the early 1950s, American jazz entered a phase of artistic blossoming that was accompanied by widespread popularity and unprecedented cultural influence.
Even on the more relaxed tempo of "There Are Such Things," Rollins' exploration of the changes combines a classic tenor's warm breathy tone with a bebopper's determination to leave no possibility unconsidered. Rollins and Roach also work off of each other to great effect on "Raincheck," trading fours on this imaginative selection from the from the Billy Strayhorn catalog. He takes his first chorus on "Show Business" with only bassist George Morrow for support, then when the drums come in, he blows ferocious double-time before giving way to Roach's extremely musical solo. Not that the tenorist needs much spurring - he comes flying out of the gate on the opening tune, "There's No Business Like Show Business" and doesn't let up for the duration of the session. Roach is on hand in the drummer's seat, spurring Rollins along every step of the way.
After he was coaxed out of seclusion in Chicago to replace Harold Land in the Clifford Brown/ Max Roach quintet in 1954, this 1955 release was Sonny Rollins' first album as a leader since the conclusion of his first self-imposed sabbatical.
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