In the 1930s, as the country struggled through the Depression, households buckled under the strain of poverty and the creeping fear of darkening world events. What kept most people from being swallowed by nagging pessimism and despair was the radio. The dramas and music that came over the airwaves provided much-needed relief from anxiety and worry. The first and finest female singing voice during these bleak years was Mildred Bailey. A warm and upbeat swing-era beacon, she not only forged breaks for singers like Bing Crosby but also influenced a generation of singers who followed, including Frank Sinatra, Tony Bennett and Rosemary Clooney.
Bailey is credited with being the first female big-band vocalist. She was the earliest female vocalist to sing ahead of and behind the beat and did so with relaxed charm (Ivie Anderson began recording with Duke Ellington in 1932). Born in 1903, Bailey grew up on the Coeur d'Alene Reservation in Idaho up until she was 13. Her mother was part Native-American. Then the family moved to Spokane, Wash., where her younger brother, Al Rinker, met Bing Crosby.
Bailey had a musical childhood and, in the early 1920s, she headed down to Los Angeles for work opportunities. Her brother and Crosby came down mid-decade, and Bailey helped them get their start with Paul Whiteman in 1926 as two of the three Rhythm Boys (Harry Barris was the third).
Bailey joined the Whiteman Orchestra at 26 in 1929 thanks to her brother and Crosby, who engineered an audition at a Los Angeles party. Back then, a woman singing in a dance band was unheard of.
Inspired by Bessie Smith, Bailey sounded both white and black, which allowed her popularity to grow on the radio, since her voice appealed to virtually everyone. Bailey left Whiteman in 1933 after marrying xylophonist Red Norvo. They moved to New York and recorded extensively in the 1930s, but the couple divorced in 1942, remaining friends. She worked solo at New York clubs, and in 1944 CBS gave Bailey her own network radio show.
Large in size, Bailey was a victim of destructive compulsive behavior—particularly when it came to food and shopping. She suffered from diabetes and was hospitalized multiple times. Bailey's excessive spending and an inability to manage her income and savings caused her strain. Crosby came to her financial rescue several times, especially in her last years. Bailey retired in 1949 and died of heart failure in 1951. She was 48.
Sadly, Bailey was forgotten in the 1940s as music styles shifted, her look was less and less photogenic, and her voice became a relic of the Depression. It should be noted that her hit singles were all in the late 1930s. Yet Bailey remained a favorite of singers who encountered her at Hollywood and New York clubs. Re-listening to her recordings now, her voice is remarkably contemporary for its time—a gentle, swinging marvel that relaxed listeners as if she had been singing lullabies. Every singer today should study her style and phrasing.
JazzWax tracks: Bailey's Columbia recordings were gathered on The Complete Columbia Recordings of Mildred Bailey on Mosaic in 2000. The box is out of print now. The extensive biographical and discographical liner notes by Will Friedwald that accompanied the box are exceptional.
If you don't want to spend $500 on the 10-CD box, Bailey's complete Columbia recordings are available from Columbia/Legacy as digital downloads on a three-volume set here, here and here.
Or there's Mildred Bailey: The Rockin' Chair Lady (on the British Retrospective label), a two-CD set featuring 52 of her songs recorded between 1929 and 1947 here.
JazzWax clips: Here's Mildred Bailey singing Never in a Million Years in 1937 with an Eddie Sauter arrangement...
Today in the U.S. we are celebrating a national holiday honoring Presidents George Washington and Abraham Lincoln. Originally conceived in the 1880s as a day of tribute to George Washington on his birthday, February 22, the holiday was moved to the month's third Monday in 1968 when Congress shifted most holidays to Mondays and decided to use this one to honor two presidents instead of one. [Photo above of Lester Young in 1940 by Charles Peterson]
Here at JazzWax, President's Day has a different purpose. On this day, we celebrate Lester "Prez" Young, arguably the most significant transformative tenor saxophonist of the post-war era up until his death in 1959. At that point, John Coltrane influenced a new generation of players as he began to break new boundaries on the instrument.
Here are video and audio clips of Lester Young, whose relaxed, seamless improvisational style launched an entire school of players (Stan Getz, Bob Cooper, Dave Pell, Bill Perkins, Richie Kamuca, Phil Urso, Al Cohn, Zoot Sims, Brew Moore and many others) and greatly influenced the West Coast jazz sound of the 1950s:
This week in The Wall Street Journal, my "Anatomy of a Song" column for the arts section was on Huey Lewis and the News's The Power of Love (go here). The 1985 hit nearly didn't happen when Huey balked at writing a song called Back to the Future and was a little uncertain about writing for a movie, something he had never done before. The movie's team told him not to worry, that all they wanted was a News song. So he co-wrote one. Huey came up with the lyrics for The Power of Love while on a run and while thinking about his new wife and two kids.
Also in the WSJ, I interviewed actress-comedian Judy Greer (currently in Showtime's Kidding) for my "House Call" column in the Mansion section (go here). We talked about her miserable time in junior high and high school. From malicious bra-snapping to mean names, Judy endured it all. Does she dream of driving by her old school and yelling "Hey, look at me now?" And if the school asked her to come back to give a talk, would she? I don't want to spoil it for you. [Photo above of Judy Greer from YouTube]
The first thing you need to know about Judy is that she's hysterical. Here she is in action...
On Monday, I'll be on SiriusXM's Feedback from 9 to 10 a.m. with co-hosts Nik Carter and Lori Majewski to talk about my Huey Lewis and the News "Anatomy of a Song." Tune in to Chanel 106. I'll have another terrific Hot 10.
René Urtreger. Following my post on the French pianist, I received an email from Claude Neuman:
Hi Marc, nice article on René. In 2016, the French writer and translator, Agnès Desarthe, wrote a biography of Urtreger calledLe Roi René. He somehow coaxed her into singing, which she had never done before, and they recorded a CD together (go here). Here they are together on French radio (go here). Not so bad an amateur chanteuse in English, for a French writer, I think.
Billie Eilish. Here's Eilish's (pronounced EYE-lish) new theme for the upcoming James Bond film, No Time to Die, due in April. I can't quite make out the lyrics, which is part of its charm. But the song itself is fabulous. And love that last chord!
After sharing it with arranger Roy Phillippe, Roy hipped me to the last chord's construction: "It's an E-minor 9th with the major 7th—the last chord of the James Bond Theme going all the way back to Dr. No."
John Boorman. Last week I received the following email from director Raymond De Felitta:
Hey, Marc, don’t know if you dig John Boorman’s films or not—Point Blank, with Lee Marvin (1967) is in my pantheon. Also Excalibur, Hope and Glory, etc. I recently found this documentary that his daughter, Katrina, made for the BBC. It’s quite touching and an unusual portrait of a filmmaker and father. Their whole vibe as a family was unique, and it's captured very well in he doc.
Beverly Kenney. On Sunday (February 16), WKCR-FM's Sid Gribetz will host Jazz Profiles from 2 to 5 p.m., which will showcase vocalist Beverly Kenney, a marvelously sensitive jazz singer who suffered secretly from mental illness and committed suicide in 1960 at age 28. The albums she recorded remain stunning. You can listen from anywhere in the world on your phone, iPad or computer by going here.
Euro-pop. After posting on Euro-pop and film of the 1960s, I received the following email from Rémi Carémel:
Hello Marc. Do you know the Polidonobre channel on Youtube (go here)? It's the best easy-listening channel, library music, Italian pop orchestras, etc. There is even a "bossa nova" playlist and a "yé-yé" playlist.
Curious about Chicago soul? Then you'll love this site, courtesy of Vincent Degiorgio (go here).
Jimmy Cobb is in need of funds for medical care. The drummer who appeared on dozens of great jazz albums, including Miles Davis's Kind of Blue, Sketches of Spain, Someday My Prince Will Come, Miles Davis at Carnegie Hall, In Person Friday and Saturday Nights at the Blackhawk, Porgy and Bess and Sorcerer. For information and to donate what you can, go here.
In New York next week? Go hear pianist Joe Alterman with his trio at Birdland, from Wednesday through Saturday, with sets at 7and 9:45 p.m. Joe has a glorious touch that pianists such as Ahmad Jamal, Les McCann and Ramsey Lewis admire. For more information and tickets, go here.
What the heck:Here's Donald Fagen with Steely Dan performing his I.G.Y. (What a Beautiful World), off of his Night Fly album...
Oddball album cover of the week.
Wow, Midtown's East Side in the 1950s, when the Empire State Building and the Chrysler Building were the standout towers. Naked city!What does this view look like today? See below, from 2019...
It's kick-back Friday, when my thoughts turn from music to cars and racing. The 2019 film, Ford v. Ferrari, details the 1966 24 Hours of Le Mans race in France, when American engineers built the revolutionary Ford GT40 with the goal of beating the established Ferrari racing team.
To give you a feel of what Le Mans was like back in the '60s and why it was so Euro-sexy, here'sNever Start Something You Can't Finish, a 30-minute documentary about the 1968 race, when the Ford GT40 went up against the Porsche team...
If you're not smiling broadly as Tony Bennett sings in a video, something is off. In addition to being a terrific pop and jazz singer (coming in behind and ahead of the beat and improvising along the way), Tony was a visual explosion of joy. This was especially true in the 1960s, when he was often on TV at the top of his game.
Here are videos of Tony in action from 1960 to 1969, many of which may be new to you:
Here's Tony in 1967 on an NBC Bob Hope special, featuring the Les Brown Orchestra and strings...
Here's Tony in 1968 on a New York-area Muscular Dystrophy Association telethon...
And here's Tony in 1969 (yes, times had changed) in perhaps his oddest clip ever, soldiering through a surreal production in which he was asked to sing to a collection of mannequins...
Stanley Turrentine was a more sizable force on the tenor saxophone than many jazz fans realize. His tone on the instrument was big and broad, his attack was powerful and his soulful feel was largely unmatched. There was a bluesy brashness and satiny swagger to Turrentine's sound, and his "peel out" just before launching into a solo was always exhilarating. And yet, he's not taken as seriously as, say, Hank Mobley or Joe Henderson. [Photo above of Stanley Turrentine by Francis Wolff (c) Mosaic Images]
His first leadership album for Blue Note was Look Out! Recorded in June 1960, the album is a superb entry point for those looking to explore the Turrentine catalog. The session featured a fabulous trio—Horace Parlan (p) George Tucker (b) and Al Harewood (d). The inclusion of Parlan, alone, makes this an exceptional album. I'm hard-pressed to think of another saxophonist and pianist who were as perfectly suited as these two. On their albums together, Turrentine's bossy tenor invariably gave way to a solo by Parlan, who, like Red Garland, would unleash bluesy motifs with his right hand and punctuating chords with his left, building to a dense, block-chord release.
The blues came naturally to Turrentine, who began his career in R&B bands of the early 1950s. He entered the military mid-decade, where he was exposed to his sole formal music training. After his discharge, he joined Max Roach's band and recorded several albums with the drummer. In 1960, Turrentine married organist Shirley Scott, which became a musical union as well. [Photo above of Stanley Turrentine by Francis Wolff (c) Mosaic Images]
By 1971, the pair divorced and Turrentine began recording for CTI, releasing Sugar, Gilberto with Turrentine, Salt Song, The Sugar Man, Don't Mess With Mr. T and other albums that became major hits with the advent of FM radio and more affordable stereo systems.
With Scott, Turrentine recorded a string of superb albums in the '60s, including Hip Soul, Hip Twist, The Soul Is Willing, Soul Shoutin' Queen of the Organ and others. Also top-notch were Midnight Blue with Kenny Burrell, Donald Byrd's Up With Donald Byrd, Duke Jordan's Flight to Jordan, Jimmy Smith's Back at the Chicken Shack and Horace Silver's Serenade to a Soul Sister. But for me, albums such as Look Out!, with Horace Parlan on piano, remain sterling examples of jazz at its best in the 1960s and beyond.
Stanley Turrentine died in 2000; Horace Parlan died in 2017. [Photo above of Horace Parlan by Francis Wolff (c) Mosaic Images]
JazzWax tracks: You'll find Stanley Turrentine's Look Out!here.
Bud Powell arguably had the most significant influence on jazz pianists of the post-war modernist era. You'd have an easier time making a list of those not influenced by Powell than compiling the names of those who fell under his bebop spell. Among the most accomplished of Powell's disciples (a group that includes Al Haig, Sonny Clark and Claude Williamson) is René Urtreger. Born in Paris in 1934, Urtreger began studying piano formally at age 4, taking private lessons before entering the Conservatory. In his teens, Urtreger began playing Parisian jazz clubs, influenced by Powell's recordings and the many American bebop musicians who played in Paris after the war. [Photo above of René Urtreger]
Urtreger began recording in early 1954 for the newly formed French Barclay label. By then, a growing number of African-American jazz artists had moved to Paris to escape segregation, racism and a general lack of appreciation. They were joined by an expanding community of left-leaning American artists and writers who moved to Paris following their blacklisting after being summoned before state legislative committees on un-American activities. Many were fired after their names appeared in local papers and then couldn't find work.
As a result, French musicians in Paris were exposed to American artists and jazz musicians, including expats Don Byas and Buck Clayton and performers Miles Davis and Lester Young to name just a few. [Photo above, from left, Miles Davis, René Urtreger and Barney Wilen listening back to music for the film Ascenseur Pour L'échafaud in December 1957 at Le Poste Parisien studio in Paris by Jean-Pierre Leloir/GAMMA-RAPHO]
In 1955, Urtreger recorded René Urtreger Joue Bud Powell (the French word is "plays") on a 10-inch Barclay album. He was backed by Benoit Quersin (b) and Jean-Louis Viale (d). When Powell moved to Paris in 1959, Urtreger befriended the pianist. Urtreger's bop piano is impeccable. His improvised solo lines and timing are stunning. Both of your knees will wind up swinging back and forth to his playing. His feel for Powell is remarkable but there's also a French twinkle in his bop approach as well.
René Urtreger is still with us; he lives in France.
JazzWax tracks: You'll find René Urtreger Joue Bud Powellhere. It's part of René Urtreger Early Trios 1954-1957 (French Sound), a superb album.
The liner notes by Jordi Pujol are detailed and excellent.
The CD includes two live tracks from 1954 as well as trio tracks recorded in 1957 after Urtreger was discharged from the French Army.
Fleet-fingered and an ear for the saxophone, Chuck Wayne was one of the first guitarists to play bebop. He recorded with Joe Marsala and Dizzy Gillespie in January 1945 and then with the Gillespie Sextet in February on Groovin' High and Blue 'n' Boogie with Dexter Gordon. He also was in Woody Herman's First Herd in 1946, the George Shearing Quintet in 1949 and was Tony Bennett's musical director and accompanist in the 1950s, starting in 1954. Throughout his career, Wayne was known for his enormous taste and unusual picking style. Along the way, several of his songs were hijacked by other players. For example, his Sonny, written in tribute to trumpeter Sonny Berman but unpublished, was later lifted by Miles Davis, who renamed it Solar when he published it under his name. And Wayne's Butterfingers and Prospecting were incorrectly attributed to tenor saxophonist Zoot Sims. [Photo above of Chuck Wayne by William P. Gottlieb in the late 1940s]
Here are 11 YouTube clips of Wayne in action:
Here's Wayne with the George Shearing Quintet, with Don Elliott on vibes, John Levy on bass and Denzil Best on drums, playing I'll Be Around in 1950...
Here's Wayne in 1984 in Buenos Aires with guitarist Mario Andreola, Jorge Gonzalez on bass and Roberto "Junior" Casari on drums playing Blue Bossa...
Here's the same group playing On Green Dolphin Street...
Here's Wayne playing with Caesar DiMaruro on tenor saxophone, and Gary Mazzaroppi on bass at the "Dock of the Bay" in Staten Island, N.Y. playing Stella by Starlight...
Here's Wayne with trumpeter Mike Morreale playing Bernie's Tune with Earl Saul on bass and John Trentacosta on drums...
Here's Wayne with Morreale, Saul and Trentacosta playing Body and Soul...
In The Wall Street Journal this week, I interviewed Mandy Patinkin for my "House Call" column in the Mansion section (go here). Mandy talked about growing up in Chicago, the reason he hated school and why he lowers his voice when playing Saul Berenson on Showtime's Homeland series, which returns for its final season this Sunday (February 9). [Photo above of Mandy Patinkin on the New York set of Homeland byMark Seliger/courtesy of Showtime]
Here's Mandy as Saul, with Clare Danes in season 2 of Homeland...
Must-see documentary. Recently, in my "Anatomy of a Song" column on Redbone's Come and Get Your Love and during my appearance on SiriusXM, I wrote and spoke about the significant influence Native-Americans had on the development of R&B, rock 'n' roll and hard rock. For more, you must see Rumble: The Indians Who Rocked the World (2017), directed by Catherine Bainbridge. The film is illuminating and deeply informative, adding the Native-American into pop music's evolutionary equation. You can buy the DVD or stream it at Amazon Prime here. Here's the trailer...
Joe Pass. Following my post last week on Joe Pass, I received the following from David Chilver, son of British jazz guitarist Pete Chilver:
Hi Marc. I really enjoyed the post about Joe Pass. I have the recording Tudo Bem! (or rather, my late father, guitarist Pete Chilver, had it and it's now with me ). Your post reminded me of some nice anecdotes about Joe Pass which you may find of interest.
In his later years, Joe and my dad became good friends. They first met in the 1970s, and whenever Joe was on tour in the U.K., they'd meet up. On several occasions he stayed overnight at our home in Edinburgh, Scotland. I was lucky enough to be there some of those times, not least as I had the great pleasure once of hearing the two of them play together privately in our living room.
I recall Joe talking about his visit to Brazil, which inspired Tudo Bem! and how impressed he'd been with some of the music and musicians he heard there. He made the point (more than once) that his touring schedule was so busy that he normally had very little spare time or opportunity to listen to new things. As an example, I remember one evening my dad played him records by Weather Report and Keith Jarrett. Joe was very impressed but said he really hadn't heard much of their work, which seemed hard to believe.
Another revealing comment was one he made on a later occasion while listening to Art Pepper's Living Legend album, which featured Charlie Haden on bass. Joe said he had played once or twice with Haden in a club in L.A. but wished he'd played more often with him. Joe said that Haden's personal approach made him play outside his comfort zone, which he found risky but very rewarding. He drew a comparison with Niels-Henning Orsted Pedersen, whose playing he really loved and who he performed with a lot. He said that he and Niels had a similar approach and conception that made playing with him a great pleasure but a little more predictable than it would have been with Haden.
I have a couple of more recollections to share which are more lighthearted: The first happened at our home in Edinburgh. Joe was staying over and was playing an early evening date in the city. My mother expected him and my dad to be back for a late dinner. But they ended up not getting home until well after midnight. She was a little annoyed, as she had made a big dish of lasagna for them. She put it in the fridge, just in case, but feared it would go to waste.
She needn't have worried, since Joe had a big portion cold for breakfast first thing in the morning. He confessed that cold lasagna was one of his very favorite dishes (who knew!) and when he left after breakfast, he took with him what was left over in a sandwich box to snack on later in the day. So I guess he wasn't just being diplomatic; he really did love cold lasagna!
The second amusing story is a musical one and occurred at Ronnie Scott's club in London when Joe was part of Oscar Peterson's quartet (the other members being NHOP and drummer Martin Drew). On one night of the engagement, Dad took me along. In the interval after the first set, the band (but not Oscar) retired to the bar for a drink, where my father and I joined them for a few minutes. One of the numbers they'd played was Waltz for Debby, and Joe happened to observe that he felt that one of the chords that Oscar used in the melody was "wrong." The others agreed and suggested Joe should draw this to Oscar's attention.
Joe declined, saying that as he was the "new boy" in the band, it wouldn't be right for him to raise the matter. Instead, he nominated Martin Drew. Drew immediately declined and replied with words I will always remember, " Are you kidding, man? I play drums. Drummers don't do chords!"He turned to Niels and said it had to be him, as he was the only one who had actually worked with Bill Evans on tour in Europe and had played Waltz for Debby with him on several occasions.
So he was clearly best-placed to raise the point with Oscar. Niels was not persuaded, however, and said that if he raised it, Oscar might take it the wrong way and think that Niels was implying that he preferred playing with Bill Evans. The matter being unresolved, Joe then turned to dad and suggested he should tell Oscar. Dad replied that he had never even met Oscar, to which the others almost unanimously said "Perfect! You're the man to do it!" Needless to say, he didn't.
Catching a wave.Time for a surf break, in Malibu, Calif., thanks to a drone...
Brian Torff, the bassist who also teaches at Fairfield University, was interviewed by Chris Cowles on Chris's weekly radio show, Greasy Tracks. Here's his show—on soul, Stax Records and civil rights—in its entirety on WRTC-FM in Hartford, Ct. (go here). [Photo above of Brian Torff]
Here's Chris's track list:
Hour 1
Water—Steve Cropper, Pops Staples, Albert King
Down Don't Bother Me—Albert King
Brian Torff Interview
On a Saturday Night—Eddie Floyd
Carry On—Jean Knight
Running Out—Mable John
Soul-a-lujah—Johnnie Taylor, Eddie Floyd, William Bell, Carla Thomas, Pervis, Mavis & Cleotha Staples
The Hawg, Part 1—Eddie Kirk
Which Way—The Leaders
Backfield In Motion—Mel & Tim
What It Is—Little Milton
Brian Torff Interview
Soulsville—Isaac Hayes
I Don't Know Where We're Headed—The Sons of Truth
Sometimes I Feel Like a Motherless Child—Calvin Smith
I Like the Things About Me—The Staple Singers
Hour 2
Pygmy—Booker T & the MGs
Brian Torff Interview
Funky Mississippi—Rufus Thomas
Doin' Our Thing—The Soul Children
Jody Got Your Girl And Gone—Johnnie Taylor
Knucklehead—The Mar-Keys
Brian Torff Interview
I Take What I Want—Sam & Dave
Are You Lonely For Me Baby—Otis Redding & Carla Thomas
Love's Sweet Sensation—William Bell & Mavis Staples
Don't Pass Your Judgment—The Memphis Nomads
Pop-Eye Stroll—The Mar-Keys
Brian Torff Interview
Banana Juice—The Mar-Keys
Melting Pot—Booker T & the MGs
Brian Torff Interview
Do Your Thing—Isaac Hayes
Booker-Loo—Booker T & the MGs
Brian Torff Interview
Time Is Tight—Booker T & the MGs
Mark O'Connor, on violin, joined the Wynton Marsalis Quintet and guitarist Frank Vignola in 2010 for Sweet Georgia Brown. In addition to O'Connor (above), Vignola and Marsalis, they were joined by Dan Nimmer (p), Walter Blanding (saxophone), Carlos Henriquez (b) and Ali Jackson (d). Les Johnston in Australia sent along this clip...
Talking movies. Director Raymond de Felitta, who started a Movies 'Til Dawn podcast several months ago in which he interviews top directors, this week offers a fascinating two-part conversation with iconic indie filmmaker Mary Harron (above), director of Charlie Says (2018), American Psycho (2000) and I Shot Andy Warhol (1996) among others. To listen, go here and click the "Apple podcasts" tab at the bottom of the page.
What the heck:Here's an amazing clip of Count Basie and his band playing One O'Clock Jump in 1943...
Oddball album cover of the week.
The United Nations Singers—how quaint. Clearly, when global institutions had fat budgets. Also what happened to the rest of Manhattan?
YouTube is an amazing jungle. It's a thick, expansive forest of video fauna and species of all shapes and sizes. No matter what obscurity you're into (German reggae, Swedish metal with a Motown feel or Italian pop from the early '60s, which I posted on here), there are plenty of recordings and videos that can keep you occupied for months.
Recently, I stumbled across a "soft tempo" genre featuring the most chilled lounge music ever. It's largely comprised of European easy listening from the late 1960s and '70s. Naturally, people out there have taken this a step further by matching these recordings with color clips from Euro-romance films and model shoots from the era. And within this category, there are subgenres, such as Euro-pop matched to specific European cities. All of this is meant to provide you with the ultimate travel fantasy—going back in time and abroad without ever leaving your desk.
Let me whisk you away with four videos illustrating this microgenre:
Here's Sophia Loren and Marcello Mastroianni driving through Milan in Yesterday, Today, and Tomorrow (1963). The music is Vida Bandida (Longe de Você), from Mario Albanese's album Jequibau...
Here's London in the mid-1960s, winding up at the Playmate Bar of the Playboy Club at 45 Park Lane in Mayfair. The music is Judy, by Martin Böttcher...
Here's more of Alfie's London in the 1960s, with music courtesy of Syd Dale. It's Leisure Complex by Dale's European Soundstage Orchestra...
Here's Paris, with film of Catherine Deneuve. The music is Cookout Society by Dominic Frontiere on the album, Hammersmith Is Out...
And here's Rio de Janeiro in the mid-1960s, with Telsco Del Rey by Vigil...
Marc Myers writes regularly for The Wall Street Journal and is author of "Anatomy of 55 More Songs," "Anatomy of a Song," "Rock Concert: An Oral History" and "Why Jazz Happened." Founded in 2007, JazzWax has won three Jazz Journalists Association awards.
