Kevin Whitehead

Kevin Whitehead is the jazz critic for NPR's Fresh Air with Terry Gross.

Whitehead's articles on jazz and improvised music have appeared in such publications as Point of Departure, the Chicago Sun-Times, Village Voice, Down Beat, and the Dutch daily de Volkskrant.

He is the author of Why Jazz: A Concise Guide (2010), New Dutch Swing (1998), and (with photographer Ton Mijs) Instant Composers Pool Orchestra: You Have to See It (2011).

His essays have appeared in numerous anthologies including Da Capo Best Music Writing 2006, Discover Jazz and Traveling the Spaceways: Sun Ra, the Astro-Black and Other Solar Myths.

Whitehead has taught at Towson University, the University of Kansas and Goucher College. He lives near Baltimore.

When Michele Rosewoman was growing up in the Bay Area, she played piano from childhood and congas from her teens. After moving to New York in the late 1970s, she began making music in two areas: modern jazz and traditional Cuban music. Before long, she started combining the two in her New Yor-Uba band.



This is FRESH AIR. With so much contention in air around holiday get-togethers, jazz critic Ken Whitehead wonders if music might help bring together folks with opposing views. He has some listening and viewing recommendations for seasonal dinners.


Drummer Chick Webb's 1930s orchestra terrorized competitors in band battles and sent dancers into orbit at Harlem's Savoy Ballroom. They could be similarly explosive on record, but only rarely. Early on, they did have some hot Edgar Sampson arrangements that Benny Goodman would soon turn into hits, like "Blue Lou" and "Don't Be That Way." But the Webb band also had an old-school crooner, Charles Linton, with pre-jazz-age enunciation.

Steve Lacy used to say that the right partner can help you make music you couldn't get to by yourself. Take the quartet William Parker founded in 2000, for example. Parker's bass tone was always sturdy as a tree trunk, but power drummer Hamid Drake gives him lift. The upshot is that free jazz can swing, too. The quartet's front line is another firm partnership: quicksilver alto saxophonist Rob Brown and flinty trumpeter Lewis Barnes.

Tenor saxophonist Booker Ervin came to New York in 1958. Pianist Horace Parlan heard him and invited Ervin to sit in one night with a band he worked in. That's how Ervin got hired by bassist Charles Mingus, who featured him on albums like Blues and Roots and Mingus Ah Um.

Trumpeter Amir ElSaffar grew up near Chicago, playing jazz trumpet. In the early 2000s, while in his mid-20s, he began investigating the music of his Iraqi heritage, studying in Baghdad and with expatriate musicians in Europe. Then he began combining the two.

Jazz pianist Ahmad Jamal started playing when he was 3 years old in Pittsburgh, which means he's now been playing for 80 years. His new album, Saturday Morning, often recalls his elegant trios of yesteryear, with its tightly synchronized arrangements, plenty of open space and deceptively simple charm.

The quartet on jazz bassist Dave Holland's new album Prism is more electrified, and usually louder, than bands he's led before. Some reviewers see its music coming out of his early work with the electrified Miles Davis, but the parallel doesn't go far. Holland played bass guitar with Davis, not his usual bass violin. Plus, early electric Davis was gloriously unruly, while Holland loves the elegance of interlocking rhythm cycles, wheels within wheels.

Jazz pianist Art Hodes, born in Russia in 1904, grew up near Chicago. His recording career really took off in the 1940s in New York, where he also hosted a radio show and wrote for the magazine The Jazz Record. Later, he moved back to Chicago and the atmosphere that nurtured him.

In 1958, at an arts festival in Yorkshire, Duke Ellington was presented to Queen Elizabeth II. They tied up the reception line for a few minutes, exchanging royal pleasantries; our Duke politely flirted with Her Majesty. Soon afterward, maybe that very night, Ellington outlined the movements of The Queen's Suite. He recorded it with his orchestra the following year, sent it to Her Majesty, and declined to release it to the public in his lifetime. It's not clear whether Queen Elizabeth has listened to it.

On Philadelphia pianist Orrin Evans' trio version of Ornette Coleman's "Blues Connotation," drummer Donald Edwards and bassist Eric Revis set a New Orleans second-line groove tinged with vintage hip-hop. A beat like that is catnip to Evans, who gets right down and rolls in it.

In jazz, the clarinet went into eclipse for awhile, drowned out by louder trumpets and saxes. The instrument has long since made a comeback, and the modern clarinet thrives in settings where it doesn't have to shout to be heard.

Take "Spindleshanks," a little out-of-sync boogie-woogie for Darryl Harper's clarinet and Kevin Harris' piano. It's from Harper's The Edenfred Files. In his long-running Onus Trio, the spare unit Darryl Harper features on most of his new album, he can sing softly as an owl in the night.

Portland, Ore. tenor saxophonist Rich Halley's quartet album Crossing the Passes on his Pine Eagle label commemorates a week-long trek over the Wallowa mountain range in Northeast Oregon, where Halley's been climbing since he was a boy. We could talk about his dual obsessions with music and nature as cultivating a love of wide-open improvisational spaces; he's got one band that only plays outdoors. But all that climbing also has practical benefits: It builds lung-power.

At the keys, Duke Ellington abstracted from stride piano, which modernized ragtime. Ellington's own spare percussive style then refracted through Thelonious Monk and Cecil Taylor, as well as a generation of freewheeling pianists active in Europe, like Aki Takase. Her new solo piano album is My Ellington, on which she plays some stride bass herself, as in "In a Mellow Tone."