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Nathan Irving Hentoff (June 10, 1925 – January 7, 2017) was an American historian, novelist, jazz and country music critic, and syndicated columnist for United Media. Hentoff was a columnist for The Village Voice from 1958 to 2009. [ 1 ]
The Jazz Review was a jazz criticism magazine founded by Nat Hentoff and Martin Williams in New York City in 1958. It was published till 1961. Hentoff and Williams were co-editors throughout its brief existence (23 issues). Many issues of The Jazz Review are available at Jazz Studies Online, which assesses its quality as follows:
Jazz critic Nat Hentoff recalled that during rehearsals Holiday and Young kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday. During the performance of "Fine and Mellow", Webster played the first solo.
A Rare Live Recording Of Billie Holiday is a live album by jazz singer Billie Holiday, compiling material recorded over two nights at Boston's Storyville Club in 1951, and released by the small Recording Industries Corporation label in 1964. [1] [2] The material was originally broadcast on the radio station WMEX. The album documents one of the ...
Storyville was a Boston jazz nightclub organized by Boston-native, ... — Nat Hentoff, 1953 (WMEX Announcer, host of Storyville broadcasts [13] [14] Recordings.
The Oklahoma City Blue Devils was the premier American Southwest territory jazz band in the 1920s. [1] Originally called Billy King's Road Show, it disbanded in Oklahoma City in 1925 where Walter Page renamed it. [2] The name Blue Devils came from the name of a gang of fence cutters operating during the early days of the American West. [3] [4]
Today's NYT Connections puzzle for Saturday, February 15, 2025The New York Times
We Insist! is an avant-garde jazz album and a vocal-instrumental suite on themes related to the Civil Rights Movement. [8] It incorporates aspects of avant-garde trends during the 1960s, including the use of a pianoless ensemble, screaming vocals on "Protest", and moments of collective improvisation, such as at the end of "Tears for Johannesburg". [9]