Ornette Coleman, an inscrutable genius, gave jazz its freedom
There were technical things that made Ornette Coleman’s work great. But stressing that gives away the one thing that really mattered: Its freedom.
There were technical things that made Ornette Coleman’s work great. But stressing that gives away the one thing that really mattered: Its freedom.
As Steve Cropper watched Jeff Beck at work on 1972’s ‘Jeff Beck Group,’ he’d focus on his hands and think: “You can’t get that there.” Then, Beck would.
‘Back to the Egg,’ released on June 8, 1979, showed Paul McCartney could plug into the new wave zeitgeist. Well, when he wanted to, anyway.
John Idan, long before he joined the Yardbirds the first time, was into the harder-edged music of the day. Then, something happened.
The Monkees TV show was designed toward improvisation. But not every guest star meshed with the Monkees’ gonzo approach.
Pete Townshend breaks down the Who’s individual strengths when it comes to recasting their music in an orchestral setting.
How did Hall and Oates become hip again after years as too-often-overlooked hitmakers? John Oates explains.
At the peak of their powers, the Beatles considered recording an album at Stax Records in Memphis. Steve Cropper sorts out why it never happened.
Micky Dolenz says some people never accepted the latter-day Monkees as a creative force – until Mike Nesmith came up with a creative idea.
Mavis Staples says her appearance as a guest on the the Band’s ‘Last Waltz’ film forever reshaped not just her life but her setlist.