In a 2017 interview on Marc Maron’s Wtf podcast, Metallica’s James Hetfield discussed what compels him to channel his darker emotions into songs. “What it is, is, if I can get it out of my head, it makes it better,” he said. “Better out than in.”
That often goes for the listener, too. There’s something cathartic about hearing an artist purge their anger, grief, or frustration — or some combination of all three — in a song. As Hetfield says, that mere act of releasing the feeling from your head...
That often goes for the listener, too. There’s something cathartic about hearing an artist purge their anger, grief, or frustration — or some combination of all three — in a song. As Hetfield says, that mere act of releasing the feeling from your head...
- 7/24/2020
- by Hank Shteamer
- Rollingstone.com
Marzette Watts: Marzette Watts & Company (Esp-Disk')
In the brief period when I did a little work for Esp-Disk', this was the album the most people (especially record store owners and musicians) enthusiastically nominated for reissue. And now, here it is!
This album is distinguished by a number of factors, not least the fact that this is its first issue on CD in the U.S. (a few European reissues are in inferior sound). Recorded on December 8, 1966, it was Watts's first session as a leader (though, not released until 1971, it was his second album to appear, following a now-rare Savoy LP). Watts (1938-1998) never made any more albums after those two, alas, nor did he record as a sideman, though he appears in the credits on some albums from the free jazz scene as the engineer.
Watts is heard here on tenor and soprano saxophones and on bass clarinet; Byard Lancaster (b.
In the brief period when I did a little work for Esp-Disk', this was the album the most people (especially record store owners and musicians) enthusiastically nominated for reissue. And now, here it is!
This album is distinguished by a number of factors, not least the fact that this is its first issue on CD in the U.S. (a few European reissues are in inferior sound). Recorded on December 8, 1966, it was Watts's first session as a leader (though, not released until 1971, it was his second album to appear, following a now-rare Savoy LP). Watts (1938-1998) never made any more albums after those two, alas, nor did he record as a sideman, though he appears in the credits on some albums from the free jazz scene as the engineer.
Watts is heard here on tenor and soprano saxophones and on bass clarinet; Byard Lancaster (b.
- 7/12/2012
- by SteveHoltje
- www.culturecatch.com
The Jazz Loft Project. Video by Lauren Hart and Sam Stephenson. Photographs by W. Eugene Smith. From the new book, The Jazz Loft Project (Knopf). (Soundtrack: “Avalon,” recorded January 29, 1960 - Zoot Sims, sax; Eddie DeHaas, bass; Dave McKenna, piano; Roy Haynes and Ronnie Free, drums.) In 1957, pioneering Life photo-essayist W. Eugene Smith walked out on his family in suburban Croton-on-Hudson, New York, and moved to Manhattan, occupying a loft at 821 Sixth Avenue where he could live a full, degenerate, bohemian life. On the fourth floor of the building was a music studio (and sometime drug den) in which Thelonius Monk and other jazz artists of the day would jam well into the morning. So many top-flight musicians would congregate there—Blakey, Coltrane, Mingus, and scores more, from Bill Evans and Hall Overton to Henry Grimes to Zoot Sims—that the haven began to attract a circle of curious artiste-confreres such as Henri Cartier-Bresson,...
- 11/24/2009
- Vanity Fair
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