HeyJaredJazz Notes
The liner notes they didn't want you to read. Exploring the unsung legends and off-the-record history of jazz.
- Indexed issues, last 90 days
- 16
- Latest publication
- Sep 30, 2026
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- Aug 15, 2026
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Trio Logic 24/52: Dishwashing & Free Jazz (opens the original)
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On September 14, 1956, Cecil Taylor recorded seven tracks for a debut that remains unique in his catalog: it sounds like a jazz piano trio. Three standards, a Monk tune, three originals.Taylor was 27, a few years out of the New England Conservatory, and already certain about where he was going. Jazz Advance documents a pianist inside a form he was about to leave. You can hear the departure in the displaced rhythms, in voicings that press against resolution, and in phrase endings that don’t land
The Hammond on Trial (opens the original)
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In 1937, inside the Rockefeller Memorial Chapel at the University of Chicago, a panel of musicians and students listened to two instruments they could not see. One was the chapel’s E.M. Skinner pipe organ, worth about $75,000. The other was a Hammond, an electric console that cost around $2,600 with its speakers. Their job was to tell which was which.The question was not about taste. The Federal Trade Commission had accused Laurens Hammond’s company of false advertising, because its brochures cl
Trio Logic 23/52: Unprofitable Genius (opens the original)
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We’re 23 weeks into Trio Logic, a 52-week curriculum tracing the history, form, and evolution of the jazz trio. The full series is reserved for paid subscribers. Each week begins with a free preview—offering a substantial look into the core arguments—while the complete analysis, listening guide, and curriculum thread are available to those who support this work. If you haven’t joined us yet, I would love to have you on board. My goal is to ensure the depth and utility of this series make the inv
Nobody Chose This (opens the original)
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A ten-inch 78 held about three minutes of music. The average song on the Spotify charts in 2024 ran about three minutes.One is a physical limit: shellac, a groove of fixed width, a disc turning seventy-eight times a minute. The other is a payment threshold and a recommendation engine. Different centuries, different mechanisms, different money, arriving at the same duration by unrelated roads.I spent several months tracing who paid for Dizzy Gillespie’s music across fifty years, and what happened
Behind the Cheeks 6/6: Dizzy’s Garbage (opens the original)
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If You’re Just ArrivingEveryone knows what Gillespie sounded like. Almost nobody has asked where the money came from, and the answer explains the shape of his recorded legacy as well as any analysis of his solos.Five times he tried to build something big enough to hold his music. Four of them died, and none of them died of bad music. They died of a tax code, a labor dispute, a credit market, and a congressional appropriation. He got it right once, at seventy-one, with five years left to live.1/6
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