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Jazz Monthly

“The past few years have seen a decline in the standard of jazz writing and criticism that is almost catastrophic.” So the editor Albert J. McCarthy introduces the first issue of Jazz Monthly (March 1955), in which he decries a state of jazz journalism hobbled by accusations of heresy, feeble writing, and factionalism. Yet this perceived paralysis occurred at a time when great numbers of recordings were appearing in the UK and McCarthy perceived a desire for “an intelligent and well-produced jazz magazine” among jazz fans and readers. The resulting publication would have a nearly 20 year run: as Jazz Monthly to 1971, then as Jazz and Blues for three additional years, before merging into Jazz Journal in 1974.

Albert J. McCarthy (1920-1987) was at the time of Jazz Monthly already a well-practiced jazz writer and critic. Having began in 1943 with Jazz Music, he was then editor of The PL Yearbook of Jazz (1946) and Jazz Forum (1946-1947). During the early 1950s, he worked on the Jazz Directory, a discographical publication, left incomplete. However, his most sustained contribution to jazz journalism were the 192 issues of Jazz Monthly.

Each issue opens with an editorial by McCarthy on a particular aspect of the jazz world, followed by articles on specific musicians, record labels, historical aspects, or other topics connected to jazz and blues. Issues of race and racism thread through many articles, owing to McCarthy’s strong political beliefs; these were often connected with an interest in the American south. Keeping with McCarthy’s editorial desires, articles in Jazz Monthly were well-written and researched, though not afraid to display an author’s perspective and opinion, and often contain well-reproduced photographs. Contributions came from a group of regular writers, including Alun Morgan, Max Harrison, Jack Cooke, Michael James, John Postgate, Paul Oliver, G. E. Lambert, Mark Gardener, Valerie Wilmer, and Brian Priestley, among others. 

The central aspect of each issue was a lengthy record review column in which all genres of jazz and blues were considered, from the latest recordings to historic releases. Hard bop, big bands, swing, West Coast, cool, free jazz, piano blues, mainstream, avant garde, and everything in between and much beyond fell within the purview. Some 6,097 recordings were reviewed across Jazz Monthly’s run. 

Ultimately, economic concerns appeared to create problems in the early 1970s. Later issues contained few advertisements; when the magazine was reborn as Jazz and Blues greater amounts of advertising appeared in an effort to bolster the publication's finances.

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