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Writer and columnist Nat Hentoff has been a tireless advocate for jazz for much of his life. Born in Boston in 1925, Hentoff had his first encounter with jazz when he was 11 years old. |
He remembers passing a record store and hearing Artie Shaw's "Nightmare" -- a sound that made him shout out with joy. Soon after, he began buying albums from the jazz stars of the day.
Hentoff attended college in Boston at Northeastern and graduate school at Harvard. While in school, he became deeply involved in his hometown jazz scene taking in shows at local clubs and getting to know the musicians. He took his love of jazz to the airwaves, hosting a local jazz radio program on Boston’s WMEX.
After a Fulbright Fellowship abroad in Paris, Hentoff joined the New York editorial staff of Downbeat in 1953. Four years later, Hentoff joined the short-lived Jazz Review serving as the co-editor. In his final year with Jazz Review, Hentoff got into the record business as an A&R director for Candid records, where he produced records with such jazz stars as Abbey Lincoln, Charles Mingus and Phil Woods. As his reputation as a writer and jazz enthusiast grew, Hentoff was recruited to write a number of liner notes for such artists as John Coltrane and Miles Davis.
Hentoff continues to writes about jazz for such publications as The Wall Street Journal, The New Yorker and JazzTimes, where his monthly column, "Final Chorus" wraps up each edition. Hentoff has also written a number of books on jazz including The Jazz Life, Hear Me Talkin To Ya and his most recent work, American Music Is.
Hentoff is also considered an expert on civil liberties, the Bill of Rights and the constitution. He's written numerous books on the subject and his articles have been regularly featured in the Village Voice, Atlantic Monthly and The New Yorker.
Hentoff does not consider himself a music critic. Much of his writing on jazz has instead focused on the artists who make the music. He also weaves in history, politics and social criticism, finding a strong connection between the liberties inherent in the U.S. constitution and the freedom of jazz improvisation. For his commitment to jazz and his unique contribution to the music, Hentoff was honored in 2005 by the National Endowment for the Arts as a Jazz Master -- the first such honor bestowed on a non-musician.
Set List for Nat Hentoff on Piano Jazz:"Nightmare" (Shaw)
"What Am I Here For" (Strayhorn)
"Take the A Train" (Ellington)
"Goodbye Pork Pie Hat" (Mingus)
"Round Midnight" (Hanighen, Monk, Williams)
"Portrait of Nat Hentoff" (McPartland)
"This Time the Dream's On Me" (Arlen, Mercer)
Hentoff attended college in Boston at Northeastern and graduate school at Harvard. While in school, he became deeply involved in his hometown jazz scene taking in shows at local clubs and getting to know the musicians. He took his love of jazz to the airwaves, hosting a local jazz radio program on Boston’s WMEX.
After a Fulbright Fellowship abroad in Paris, Hentoff joined the New York editorial staff of Downbeat in 1953. Four years later, Hentoff joined the short-lived Jazz Review serving as the co-editor. In his final year with Jazz Review, Hentoff got into the record business as an A&R director for Candid records, where he produced records with such jazz stars as Abbey Lincoln, Charles Mingus and Phil Woods. As his reputation as a writer and jazz enthusiast grew, Hentoff was recruited to write a number of liner notes for such artists as John Coltrane and Miles Davis.
Hentoff continues to writes about jazz for such publications as The Wall Street Journal, The New Yorker and JazzTimes, where his monthly column, "Final Chorus" wraps up each edition. Hentoff has also written a number of books on jazz including The Jazz Life, Hear Me Talkin To Ya and his most recent work, American Music Is.
Hentoff is also considered an expert on civil liberties, the Bill of Rights and the constitution. He's written numerous books on the subject and his articles have been regularly featured in the Village Voice, Atlantic Monthly and The New Yorker.
Hentoff does not consider himself a music critic. Much of his writing on jazz has instead focused on the artists who make the music. He also weaves in history, politics and social criticism, finding a strong connection between the liberties inherent in the U.S. constitution and the freedom of jazz improvisation. For his commitment to jazz and his unique contribution to the music, Hentoff was honored in 2005 by the National Endowment for the Arts as a Jazz Master -- the first such honor bestowed on a non-musician.
Set List for Nat Hentoff on Piano Jazz: