In his earlier sets of home recordings, Armstrong would line the front of the tape box with photos from his life, often of obscure origins. They were photos of him on the road, with other famous musicians, of his wife Lucille and family, and some of fans who had visited "pops" at home. When he started this set, he didn't decorate the boxes, presumably because he was still too weak.

The mainstream press was quick to celebrate the concert and Ellington’s legacy, but danced around the merits of “Black, Brown, and Beige” itself. Praising the piece for being jazz’s longest-running tone painting, Time magazine concluded nonetheless that the composition “often seemed too ambitious. Likewise, the New York Times, while admitting “Black, Brown, and Beige” had “many exciting passages," stated that it was the shorter dance numbers where Ellington, as a bandleader, "seemed most himself."

Armstrong’s dual career as a jazz player and vocalist continued through the remainder of his life. He sang with other jazz legends, such as Ella Fitzgerald and in cameo music roles in movies. He continued performing with his group and core members, Barney Bigard, Jack Teagarden, and Earl Hines into the 1950s. Armstrong was also immensely popular in Europe, often referred to as America’s Jazz Ambassador. He is said to have considered himself a “performer of music.”

Charlie Parker was a legendary soloist, inspiring bandleader, daring composer, ingenious innovator and a source of inspiration for many generations still. A jazz idol, full stop. But his off-stage personality revealed a more tragic figure: a drug addict and alcoholic. Bird lived hard and lost his performance license, several jobs and attempted suicide twice. All in all, his physical and mental health were already waning at an early age.

Eventually, Hodges left for the money and the opportunities in New York.  In the City That Never Sleeps, bars could serve liquor until 4 in the morning, while last call in Boston was a puritanical 11 p.m.  With so many more hours in the day to play, it is no wonder that New York pulled jazz musicians away from Boston like an outgoing riptide. After stints with Bechet, Chick Webb, Willie “The Lion” Smith and others, at the age of 20, Hodges was hired by Duke Ellington, with whom he would be associated for the rest of his life. 

I met fellow New Orleans transplant, Ellery Burton, 12 years ago, when we were fellow New York transplants, she hailing from Los Angeles. In the city we both attended The New School University; after graduating I stayed in New York and she immediately bee-lined to New Orleans, where she’s been living ever since. Though she’s only been living here for eight years, walking through the Bywater with her makes it seem as though she’s lived here forever. I recently sat down with her at her house in the Lower Ninth Ward to discuss how the city has changed over the past eight years, what makes New Orleans so unique, and what it means to “hustle.”

Jazz in a concert hall? It’s a trend and can appear contrived and devoid of the spontaneity that’s the essence of jazz music. This was Redman’s challenge as he and his quartet performed at the Maison Symphonique de Montreal, an acoustically rewarding venue that on most dates is the home of Montreal’s acclaimed Symphony Orchestra. Backed with strings and performing from his latest release, Walking Shadows, Redman’s quartet made use of the acoustics by playing compositions that employed an orchestral landscape. 

John Coltrane, for example, told of his religious awakening through his four-part suite A Love Supreme in 1965. Two years earlier, Charles Mingus released The Black Saint & The Sinner Lady, a masterful composition in six movements (or dances) which he described in the liner notes as his “living epitaph from birth ‘til the day I first heard of Bird (Charlie Parker) and Diz (Dizzy Gillespie).” Of all jazz composers, Charles Mingus understood best the capacity for jazz to delve into the mind and spirit of the musician.