Love For Sale - Stanley Turrentine - Up At "Mintons", Vol. 2 (CD, Album)
The artful duets of Houston Person and Ron Carter contained on this release epitomize jazz in its purest form. Herein you will find two consummate musicians, each one neither leading nor following the other. Rather, they listen, compliment, support and comment upon their musical utterances, each making statements of equal importance.
This is the third duo outing for Person and Carter. Their earlier collaborations on the Muse label were among the most popular titles in that extensive catalog. Here they are, several years later, more world-wise and even more in-sync than in the past. Performing eight popular and jazz standards, including Ron's lovely "Mr.
Bow Tie," these two masters of their craft define the art of musical collaboration. On the Sunny Side Of the Street. Mack the Knife. Without question, Houston Person is today's senior statesman of the tenor saxophone. Ray Brown said of Houston, "he's one of the few left with any real grease.
Houston is not one of those artists who leaves the melodic path to travel into the forest of improvisation without leaving a trail of breadcrumbs behind him.
Rather, he chooses not to second-guess the composer, using the melody as a direct means of communication with the listener. Blame It On My Youth. Too Late Now. Be My Love. You have to hand it to Houston Person. In a time where jazz has become either mind-numbing, vacuous elevator music or a product of Emperor's-new-clothes pseudo-intellectuals passing off squeaks and squawks as music, Houston Person is content to make jazz that satisfies the basic need of audiences everywhere - communication.
Knowing full well that great tunes become associated with memories of our life, Houston has programmed a selection of tunes that people have consistently requested around the country, tunes that mean something to the listener.
Beethoven himself once said, "Great music should go from the heart, to the heart. Don't Get Around Much Anymore. Good Morning Heartache. Richard Wyands is on hand at the keyboard and guitar great Russell Malone joins the top-flight rhythm section of Ray Drummond and Grady Tate. As one radio veteran said about "My Romance": "This isn't 'smooth jazz,' this is real jazz; it's real smooth jazz.
Here's That Rainy Day. With an all-star trio of Richard Wyands, Ray Drummond and Kenny Washington backing him up, Houston's big-toned tenor seems perfectly suited for this repertoire of the finest melodies. Houston tours both domestically and internationally and this recording, in particular, will garner huge amounts of radio airplay, both late-night and at peak hours, such. Destined to be Houston's biggest-seller, this will be snatched-up quickly by his legion of devoted fans.
Mean to Me. Stairway to the Stars. Houston's impeccable taste is evident in every bar and his sense of swing is something to marvel at. You're My Everything. I'll Never Stop Loving You. There's a Small Hotel. Midnight Mood. Lullaby Of Birdland. Heard here for the first time in a trio setting, Ponder shows a more introspective side but still manages to serve up a tasty concoction consisting of jazz tinged with his trademark blues-funk overtones.
Featuring such great standards as "love for Sale", "Body and Soul", and Legrand's great "Watch What Happens" Ponder, in the company of bassist Dave Pellow and percussionist Cecil Brooks III, offer a program of great jazz, played with Love For Sale - Stanley Turrentine - Up At "Mintons", technique and no small amount of swinging heat.
So, to quote the vernacular, "Kick it up a notch! Thumbs Up. Watch What Happens. Put Pittsburgh guitarist Jimmy Ponder in a recording studio and he acts like a magnet for the best names in jazz. Three Little Words. Jingle Bells. Have Yourself a Merry Little Christmas. Merry Christmas Baby. Magic and three new Ponder originals, this session finds Ponder still rooted in the good earth of straight-ahead blues and the after-hours groove.
Magic; NYC. September Song. James Street. An amalgam of goodies to continue the HighNote series of live Woody Shaw recordings, this one recorded live at the famed Keystone Korner in San Francisco.
In attendance here is the great trombonist, Steve Turre. HighNote is extremely proud to have been able to bring to light this three volume collection that helps to fill the noticeable void in Woody Shaw's discography.
As carefully as his studio records from that era were constructed, those who were fortunate enough to see him perform know that they didn't show the passion and spontaneous creativity that Woody brought to the stage. These CDs are essential to a proper evaluation of a great talent at the height of his powers. Organ Grinder.
Little Red's Fantasy. The tragically short career of Woody Shaw is fairly well documented on records. There is, however a dearth of live material on this most creative of trumpeters.
From the people who brought you his critically-acclaimed Muse recordings, comes the second installment in a Love For Sale - Stanley Turrentine - Up At "Mintons" of live material recorded as Woody was developing the vision that came to full fruition with the late 's quintet.
This volume features some material that was commercially recorded by Woody but here, in "the heat of battle" so to speak, Woody stretches out and gives free reign to his creative and improvisational talents.
Hear Woody Shaw has you have never heard him on CD before. Rahsaan's Run. From the people who brought you his critically-acclaimed Muse recordings, comes this first installment in a series of live material recorded as Woody was developing the vision that came to full fruition with the late 's quintet.
Love Dance. Light Valley. Sickler and his co-horts breathe new life into each of these tunes and show that, in addition to being great players, these men were also composers of substance, each adding immeasurably to the modern jazz spectrum. When bebop, hard bop, call it whatever you wish, is played with Sickler's kind of feeling, authenticity and ardor, it speaks to both the past and the present.
And for most jazz fans, that's about as good as it gets. Bee Tee's Minor Plea. The Grand Valse. Swing Spring. Miles Ahead. Carol Sloane, on the other hand, is a "musician's singer" - one who possesses superb innate musicianship and a voice unmatched for sheer Album) beauty. Her unparalled technique allows her to interpret the lyrics of a song by allowing the shape of the vocal line, be it the written one or her own extemporization, underline the true emotional content.
Jon Hendricks knew it when he asked her to sing at the Newport Jazz Festival. Entrepreneur Max Gordon knew it when he asked her to open for Oscar Peterson. Discover it for yourself now with Carol's first record for her new musical home, HighNote Records. Superbly accompanied by Norman Simmons, who knows perhaps better than anyone on the scene today which substitutions to lay down to support a singer's musical conception, and the filigree reed-work of Bill Easley, Carol offers eleven tunes - some thrice familiar, some rarely-heard gems.
What all the tunes have in common is the fact they all take on new life and meaning from the Carol Sloane treatment. I See a Million People. I'm Not Alone. Coleman Hawkins- Tenor Saxophone. John Hicks possesses a very unique talent as a pianist, and that is the ability to assimilate the essence of other players and merge it with his own creativity and come up with a sound that is totally his own, yet reminiscent of the other player. John Hicks is one of the true titans of the keyboard.
John Hicks is one of the real heavy-hitters of the keyboard, ranking right up there with the likes of Kenny Barron, Mulgrew Miller, et al. Red Holloway went into the Van Gelder Studios and came out with one of the hottest tenor quartet recordings in a long time. Billie Holiday serves as the inspiration for any good jazz singer. Perhaps more Christmas trees have been decorated to the music of Houston Person and Etta Jones than any other jazz record.
Grammy Nominee Etta Jones stepped in front of the microphone again with a batch of tunes by the American songsmith Sammy Cahn under her arm. Buddy Johnson is one of the true unsung heroes of jazz. Backed by a first-class ensemble of musicians, lead by the ubiquitous Houston Person, Etta sings with a sincerity and sense of lyricism which is unparalleled on today's jazz vocal scene.
Sheila Jordan is one of the world's leading exponents of vocal improvisation. Not content to sing the same well-planned 'improvisation' on a tune night after night, Sheila's skill at extemporizing makes each performance something new and truly exciting.
Hereafter BU. Hereafter MA. There are some who will make the case that early s fusion albums like Agartha and Dark Magus used the timbres of rock and roll, but to such dissonant and atonal effect, the results were anything but sell-outs. Thomas Pynchon, V. New York: Harper and Row, I transcribed these remarks from Derrida, dir. Kirby Dick, Zeitgeist Video, Samuel and Shierry Weber.
Cambridge, Mass. Albertson, Chris. New York: Stein and Day, New Haven: Yale University Press, revised edition. Appel, Alfred. New York: Alfred A. Knopf, Baker, Houston. Chicago: University of Chicago Press, Baldwin, James. New York: Dial Press, Toni Morrison. New York: Library of America, Baraka, Amiri as LeRoi Jones. New York: Morrow, Black Music. Barthelme, Donald. Marcela Breton. London: Bloomsbury, Bergreen, Laurence. Louis Armstrong: An Extravagant Life.
New York: Broadway, Berliner, Paul. Berman, Paul, Ed. Blacks and Jews: Alliances and Arguments. New York: Delacourte, Birkerts, Sven. Brazeau, Peter. Parts of a World: Wallace Stevens Remembered. New York: Random House, Broyard, Anatole. Kaf ka Was the Rage. New York: Vintage, Carby, Hazel. Charters, Ann. The Portable Beat Reader. New York: Penguin Books, Chinitz, David. Lisa Rado. Garland,— Eliot and the Cultural Divide. Clarke, Donald. New York: Viking Press, Coleman, Janet, and Al Young.
Berkeley: Creative Arts, Collier, James Lincoln. Benny Goodman and the Swing Era. New York: Oxford University Press, Cook, Eleanor. Harold Bloom. New York: Chelsea House, Crane, Hart. Brom Weber. London: Oxford University Press, The Letters of Hart Crane, — New York: Hermitage House, Crouch, Stanley. Notes of a Hanging Judge: Essays and Reviews, — New York: Pantheon, Personal communication. September, Davis, Angela Y. New York: Pantheon Books, Davis, Francis. Davis, Miles, with Quincy Troupe.
Miles: The Autobiography. New York: Simon and Schuster, Dearborn, Mary V. Mailer: A Biography. DeVeaux, Scott. Berkeley: University of California Press, Dickstein, Morris. Leopards in the Temple. Douglas, Ann. Terrible Honesty: Mongrel Manhattan in the s. New York: Noonday, Eliot, T. The Waste Land. New York: Boni and Liveright, Inventions of the March Hare. Christopher Ricks. New York: Harcort Brace, Selected Prose of T.
Frank Kermode. New York: Harcourt Brace and Company, Ellison, Ralph. Invisible Man. Collected Essays. New York: Modern Library, Trading Twelves. Living With Music. Elledge, Jim. Ann Arbor: University of Michigan Press, Feinstein, Sascha.
Jazz Poetry: From the s to the Present. Westport, Conn. Feinstein, Sascha, and Yusef Komunyakaa, eds. The Jazz Poetry Anthology. Bloomington: Indiana University Press, The Second Set. Ferguson, Otis. The Otis Ferguson Reader. Dorothy Chamberlain and Robert Wilson.
Highland Park, Ill: December, Finklestein, Sidney. New York: International Publishers, Fisher, Clive. Hart Crane: A Life. New Haven: Yale University Press, Forrest, Leon. Gabbard, Krin. Jazz Among the Discourses.
Durham, N. Duke University Press, Gates, Henry Louis. Thirteen Ways of Looking at a Black Man. Gillespie, Dizzy, with Al Fraser. To Be or Not to Bop.
Garden City, N. Giddins, Gary. New York: Doubleday, Gooch, Brad. Gourse, Leslie. New York: Schirmer Books, New York: Schirmer, Hajdu, David. Positively Fourth Street. New York: Farrar, Straus and Giroux, Hammer, Langdon, and Brom Weber, eds.
Hamilton, Ian. In Search of J. Hammond, John. John Hammond on Record. New York: Summit Books, Hartman, Saidiya V. Lady Sings the Blues. Homans, John. Howley, Kerry. Hughes, Langston. The Collected Poems of Langston Hughes. Arnold Rampersad. Weary Blues. Verve,Originally released in Jackson, Lawrence. Ralph Ellison: Emergence of a Genius. New York: John Wiley and Sons, Directed by Ken Burns. PBS Home Video, Jemie, Onwuchekwa. Langston Hughes: An Introduction to the Poetry. New York: Columbia University Press, Johnson, James Weldon.
Autobiography of an Ex-Coloured Man. Kelley, Robin D. Komunyakaa, Yusef. Blue Notes: Essays, Interviews, and Commentaries. Radiciani Ciytus. Neon Vernacular: New and Selected Poems. Hanover, N. Lahmon, W. Washington, D. Leeming, David. James Baldwin: A Biography. New York: Henry Holt, Lehman, David. The Last Avant-Garde. Litweiler, John. Ornette Coleman: A Harmolodic Life. New York: William Morrow, Lott, Eric. Krin Gabbard. Maggin, Donald L. Stan Getz: A Life in Music.
Mailer, Norman. Advertisements for Myself. Mann, Thomas. Doctor Faustus. Marsalis, Wynton. Robert Walser. Maynard, Joyce. At Home in the World. New York: Picador, Melnick, Jeffrey. Meltzer, David, Ed. Reading Jazz. San Francisco: Mercury House, Mezzrow, Mezz, and Bernard Wolfe. Really the Blues. New York: Citadel Press, Mingus, Charles.
Nel King. More than a Fake Book. New York: Hal Leonard, Mingus, Sue. Tonight at Noon: A Love Story. Morgernstern, Dan. Moten, Fred. Minneapolis: University of Minnesota Press, Murray, Albert. Stomping the Blues. New York: McGraw Hill, Nicholson, Stuart. Billie Holiday. Boston: Northeastern University Press, New York: Cambridge University Press, North, Michael.
The Dialect of Modernism. New York: Oxford, Donald Allen. New York: Arcade Publishing, The Jazz Cadence of American Culture. Porter, Eric. Porter, Lewis. John Coltrane: His Life and Music. Posnock, Ross. Powers, Richard. The Time of Our Singing. New York: Farrar, Straus, and Giroux, Pynchon, Thomas.
New York: Penguin, Slow Learner: Early Stories. New York: Little, Brown and Company, New York: Harper and Row, Rampersad, Arnold. The Life of Langston Hughes, Vol. Rampersad, Arnold, and David Roessel, eds.
New York: Knopf, Richardson, Joan. Wallace Stevens: The Later Years. New York: Beech Tree Books, Rosenberg, Deena. New York: Dutton, Rollyson, Carl. The Lives of Norman Mailer. New York: Paragon House, The Human Stain. Salinger, J. The Catcher in the Rye. Boston: Little, Brown and Company, Santoro, Gene. Personal correspondence, June 17, Saul, Scott. Savery, Pancho. Joseph Trimmer et al. Urbana: NTCE, Schuller, Gunther. Early Jazz. Schwartz, Charles. Cole Porter: A Biography.
Searles, George J. Conversations with Philip Roth. Jackson: University Press of Mississippi, Sollors, Werner. Southern, Eileen. The Music of Black Americans. New York: Norton, Spivak, Gayatri Chakravorty. Standley, Fred L. Conversations with James Baldwin. Stevens, Wallace. The Collected Poems of Wallace Stevens. New York: Alfred A Knopf, Letters of Wallace Stevens.
Selected and edited by Holly Stevens. Samuel French Morse. Holly Stevens. Sudhalter, Richard M. Szwed, John F. Jazz New York: Hyperion, Tolson, Jay. News and World Report, July 8,40— Tracy, Steven C. Urbana: University of Illinois Press, Tucker, Mark. The Duke Ellington Reader. Unterecker, John. Voyager: A Life of Hart Crane. Vendler, Helen. Walser, Robert, Ed.
Keeping Time: Readings in Jazz History. Weatherby, W. Squaring Off: Mailer vs. Werner, Craig Hansen. Woodward, Richard B. Yaffe, David. The Bear Comes Home. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. Jazz music has always overwhelmed me with its charm and uniqueness. I owe my first encounter with this music to my father who once told me that jazz, like poetry, has no social or national borders and it accompanies us on the span of our life.
There is an alchemy in jazz music. There is no bond so special as that between music and human spirit. Jazz music was born at the dawns of the 20 th century in New Orleans, representing a break from traditional music alongside with the use of improvisation, and despite racial restricted freedoms typical of the age, jazz emerged as a free expression of creation of the black community, playing a major role in the history of arts in the United States of America.
I also approached this subject because I have always been fascinated by negro spirituals, expressions of religious faith, of spiritual devotion and a yearning for freedom from bondage originated by enslaved African-Americans in the United States. The spirituals made me dream of human solidarity and dissolution of racial discrimination, made my heart throb with emotion and side with the tempests of those enslaved as if an universal grief Jazz has been called America's classical music, and for good reason.
Along with the blues, its forefather, it is one of the first truly indigenous musics to develop in America, yet its unpredictable, risky ventures into improvisation gave it critical cache with scholars that the blues lacked. At the outset, jazz was dance music, performed by swinging big bands. Soon, the dance elements faded into the background and improvisation became the key element of the music. As the genre evolved, the music split into a number of different styles, from the speedy, hard-hitting rhythms of be-bop and the laid-back, mellow harmonies of cool jazz to the jittery, atonal forays of free jazz and the earthy grooves of soul jazz.
What tied it all together was a foundation in the blues, a reliance on group interplay and unpredictable improvisation.
Throughout the years, and in all the different styles, those are the qualities that defined jazz. It brought together the elements of Ragtime, marching band music, and the Blues. What made Jazz different from the other earlier forms of music was the use of improvisation. Jazz represented a break from tradition music where a composer wrote an entire piece of music on paper, leaving the musicians to break their backs playing exactly what was written on the score.
In a Jazz piece, however, the song is simply a starting point, or sort of a starting point for the Jazz musicians to improvise around. The song being played may have been popular and wellknown that the musicians themselves didn't compose, but Vol. 2 (CD they had finished, the Jazz Musicians had more or less written a new piece of music that bore little resemblance to the original piece.
Actually, many of these early musicians were bad sight readers and some couldn't even read music at all. Regardless, their superb playing amazed audiences and the upbeat music they played was a different but well-liked escape from the traditional music of that time. Buddy Bolden, a cornet player, is generally considered to be the first real jazz musician, possessing an incredible sound. Most of these musicians may seen unknown to most people, their ideas are still affecting the way Jazz is being played today.
Generally these early musicians could not make very much money and were stuck working menial jobs to make a living. These men formed small bands and took the music of earlier musicians, improved its complexity, and gained greater success.
This music is known as 'Hot Jazz' due to the enormously fast speeds. He soon grew to become one of the greatest and most successful musicians of all time, and later one of the biggest stars in the world. The impact of Armstrong and other early Jazz musicians changed the way we look at music, and their work will forever be studied and admired. Ragtime Piano ragtime began to be published in the late s. It was immediately successful and subjected to various kinds of popularization, almost all of which have continued.
It was and is sometimes played fast and shallow, with deliberately still rhythms, on a jangling prepared piano -- so much so that it is difficult to convince some listeners that the early ragtime composers were highly gifted melodists and serious craftsmen who produced an admirable body of musical art.
Ragtime was basically a piano keyboard music that Gilbert Thomas said was an 'Afro- American version of the Polka. In ragtime, these themes were sixteen measures like their European counterparts. There is every reason to believe that a rich body of Afro-American inspired music preceded ragtime, although there are no recordings from those years.
Certainly the cakewalk, an AfroAmerican dance initially based on an elegant, stylized parody of Southern white courtly manners, preceded it, and there was published cakewalk music, although publishers in those 4 days were not quite sure how to indicate its rhythms properly. The first true ragtime composition was published by William Krell called 'The Mississippi Rag' in Little is known of development of however it is clear surfaced after evolution in the of the nineteenth the early Ragtime, that it years of latter part century.
Billy Strayhorn, Paris Ragtime has been traced to minstrel shows and cakewalks as early as Hawkins admires Adrian Rollini.
Jimmy Harrison is playing saxophone for Fletcher Henderson. Jimmy is beginning to create an influential Jazz trombone style that will rule for awhile. Tommy is one of the most underrated trumpeters of early Jazz. He is now setting whole phrases ahead or behind the beat, not just pulling single notes. This will set the stage for Swing. Armstrong is now a star and because of him, New. Orleans style ensemble playing is disappearing and is being replaced by Chicago and New York style solos.
In short Jazz is becoming a soloist art primarily. In May, Warren. He'd heard a teenaged Art Tatum do this and was quite impressed. Up to this time all. At first, this new style seemed somewhat incoherent but it will eventually lead to modern forms of Jazz.
Johnson is now playing Jazz with his release of "Snowy Morning Blues". The stride style at this point is analogous to the former rag players swinging the rags like Jelly Roll did about a decade earlier.
It opens on October 6. Already on Gennett. Poor Seller. They take names of everybody that is caught with alcohol. They had already. This is all part of a "get tough on booze" policy of the new Republican mayor William Dever Big Bill. Thompson's successor. Chicago will soon fall as the Jazz capital. Landmark recordings are made by. Armstrong with Earl Hines on piano.
Hines is almost the equal of Armstrong in terms of Jazz talent and the result is such memorable recordings as "West End. These and others can be found on Columbia. CD Louis Armstrong Vol 4. This coincides with a general shift of the Jazz mainstream from Chicago to New York. Bigger Swing type orchestras will begin to dominate. He is becoming more commercial. This will cause later Jazz artists to say that he sold out. Place Pigalle in Paris.
The music is spreading. Dave Tough will later become one of the few players to successfully switch from Swing to Bop - most could not. Recall that the cornet was king in New Orleans Jazz. The faster changes which a sax allows begins to push the trombone out of Jazz. He will be reared in poverty. He will also record Mood Indigo and Rockin' in. He was never recorded. Jazz has lost a disproportionate number of artists to drug and alcohol addiction. This was a great loss to Jazz.
This was the start of what. Suzy with L'Orchestra du Theatre Daunon. Lang's influences are showing. The stride is very evident on Tea for Two. Art is currently the biggest draw on 52nd Street. Tatum who has a better grasp of harmony than anyone currently in Jazz claims Fats Waller as his inspiration. Jazz moves out of the speakeasys. Speakeasys become legal bars. Joe Helbock's Onyx on 52nd Street in N. However, much competition moves in. A new breed is emerging. This new breed is the Swing musician.
Benny Goodman has his own orchestra which supplies the Jazz portion of a popular radio show Let's Dance sponsored by Nabisco to advertise the Ritz Cracker. He is replaced by. Lester Young. The band members do not like Lester's light style.
They prefer the bigger sound of Coleman Hawkins or even Ben Webster. Benny's band toured the U. The band had played the late night Jazz portion of Nabisco's radio show. But when they played elsewhere they flopped in front an older. They switched to Jazz and the rest is history. Stardust with Coleman Hawkins. It is clear the Django understands Jazz rhythm. For instance, Paul Robeson has. This will set the stage for the "Bop Rebellion".
Leonard will eventually settle here. This is the first Jazz journal in the world. Some examples of Jazz related slang at this time follow: Billie Holiday Lester's good friend begins to record with various small bands usually lead by Teddy Wilson and usually containing Lester Young.
She has already discovered the two secrets which will make her the greatest Jazz singer of all with Did I. They are 1 lift the melody away from the beat like Armstrong and 2 employ great balance. He came from a musical. He acquired the nickname "Lux" because as a child he would imitate the excessively polite comic strip characters Alphonse and Gaston, calling himself the Duke of Luxembourg.
His father, a Pullman car porter, insisted he play the violin as a child. At age 16, when his father died, Lewis switched to the piano after. Lewis was entirely self-taught on piano.
He was a boyhood friend of Albert Ammons. Together they studied the music of Jimmy Yancey and other Chicago blues pianists. They also drove taxis together around InLewis recorded his boogie "Honky-Tonk Train Blues," a driving boogie based on the sounds of the trains that rumbled past his boyhood home on South La Salle Street in Chicago as many as a hundred times a day.
The record was released 18 months later inbut attracted little attention. The recording company, Paramount, went out of business, and the record became almost impossible to obtain. Lewis did various things to survive at the time, the beginning of the Depression: he dug ditches for the Works Progress Administration and he returned to taxicab driving.
He was so impressed with it that he embarked on a two-year search for the pianist. Hammond found Lewis inthrough Albert Ammons. Hammond found Lewis washing cars in a Chicago garage. Following the concert Lewis performed at Nick's in. Greenwich Village for six weeks, then returned to Chicago and applied for relief as an unemployed car washer. Then in Hammond invited Lewis back to New York to perform in his. The performance was an. The boogie-woogie craze was on.
The three pianists got together with blues singer Joe Turner and held down a long-term engagement at the Cafe Society Downtown. Style Lewis had the most pianistically complex style of the three major boogie pianists.
He had a vast repertoire of bass patterns and right hand riffs and figures. He was more intense and quicker than his mentor Jimmy Yancey, and he frequently. He had a fertile musical imagination and technique to match. He could keep a single boogie going for 20 or 30 minutes.
He used the whole range of the piano. Sometimes choruses would be linked developmental and. He utilized dynamic variety and cross-rhythms much more than the other boogie pianists. Lewis was an excellent whistler and could whistle the blues with the ease of a trumpet-like style. He recorded "Whistlin' Blues" in He also recorded blues played on the celesta and the harpsichord.
After the Peak. In Lewis moved to Los Angeles, where most of his appearances were relatively low-paying solo gigs. He made a number of short films in an excerpt from one is included with this program and appeared with Louis.
Lewis's weight hovered around pounds until he underwent medical treatments, gave up alcohol and restricted his diet. He died in a car accident June 6,in Minneapolis after a performance.
Rear-ended at 80 miles per hour, his car was thrown into a tree, and he was crushed to death. The driver of the other car was seriously injured but survived. This moves the ground beat completely away from the bass drum and makes faster Bop-type rhythms possible. Clarke found that he. He also was then free to use the bass drum in a new manner, to "drop bombs".
He said that. Bessie Smith dies in a car accident in Clarksdale, Mississippi on September The old is dying in Jazz and the new is coming on strong. He will grow up in Philadelphia, Pa. She lived across the street. Taylor will become big in the Free Jazz movement. This would be the first time race music and an integrated band. Vanguard would eventually release a multi-LP collection and then a CD.
Hammond intends to answer "Where did jazz come from" with his choice of styles and artists. Artists on the bill included: Count. It all started with The Onyx. Now, in the block between 5th and 6th Avenues, six Jazz clubs offer a high level of Jazz.
Three Dueces. Because of space limitations, the small house band with one major soloist like Coleman Hawkins is the thing at these clubs. These books tend to paint a storybook picture of New Orleans Jazz and help to promote the. Dixieland Revival. This presents as close as we can get to a realistic view of the early days of Jazz. At this point the Earl Hines influenced Wilson is the most influential pianist in Jazz. Jess Stacy is also of the Hines school. It is virtually an exercise in chromatic chord.
This is a precursor to Bop harmonics. Coleman understands harmonics very well and he will have no problem with Bop harmonics. The Bop rhythm will however elude him. Small band. Jazz is evolving along two distinct and opposing movements. The first is the New Orleans Revival or Dixieland. This produced little that was new musically. It was a white movement to revive and exploit the black New Orleans music of the 's. Some notable legends resurface including Jelly Roll Morton, Sidney.
Bechet, Kid Ory and Bunk Johnson. Some memorable records result. The other movement is distinctly new musically and sociologically. This movement is called Bebop, Rebop or simply Bop.
This trend is called Progressive. This will eventually influence what will become Cool Jazz. They are called Machito and his Afro-Cubans. They start as a completely Cuban band and slowly assimilate Jazz into their repertoire.
They introduce more complex rhythms to the world of Jazz, however, they are. There is a Trad Jazz revival in Europe. It played the music of Oliver and Armstrong. A number of Jazz musicians are now playing Bop. The class consists of fifteen. It was repeated later in the year.
Thus is born the Esquire Jazz Band Poll. At Esquire publisher David Smart's suggestion, a concert performed by the winners will be given at the Metropolitan Opera House on January 18, Other winners include Coleman Hawkins for tenor sax and Billie Holiday for vocals.
The concert date is January The concert is recorded but never released in America. A Japanese release becomes available years later. By now, the sax is king even forcing trumpeters to take notice. These tunes which are the. Lenny Tristano is currently one of the most thoroughly schooled musicians in Jazz.
These are some of the landmark recordings. The Swing era is truly over. Big band Jazz will not die out entirely though. Cool on the piano arrives in NYC and takes Jazz into more coolness and complexity. His primary source of income is teaching. He quickly develops a reputation as a crazy genius among musicians. He has a lot of new musical ideas. He is consciously trying to weld Jazz and Classical. Bop currently rules.
This is the first Jazz degree to be offered in the United States. Ornette gets fired in Natchez for trying to interest other players in Jazz. Their music fits in with New Orleans revival. Many people attach more importance to the "et al" than to Davis. Nevertheless, a. Latin influences become more important in Jazz. He takes part in the Paris Jazz festival. Rodney on trumpet. He will stay with Gillespie untillater doubling on tenor sax. During his tenure with Gillespie, Coltrane plays on George Russell's.
In addition, he begins work at this time in pioneering. Rhythm and Blues bands playing a new music which might easily be called Rock and Roll. He will eventually work with Johnny Otis and others. An interesting. Talk about irony.
Johnson is now the premiere trombone player in Jazz. His name is now Abdullah Ibn Buhaina and his work becomes some of the most imaginative in Jazz. Jazz musicians The tunes are Intuition and Digression. The players are Lee Konitz on alto sax, Warne Marsh on tenor. Tristano is interested in complicated systems of chord changes and he wants to create pure melodic lines with shifting meters or without meter. This music is close to Free Jazz and is 5 to 10 years early.
Each instrumentalist plays in a melodic system of his. The Tristano group is playing Free Jazz about ten years before its time and musicians and record company execs are puzzled. The record is not issued for quite some time. Hawkins was another displaced Swing idol. He was as capable as anyone of understanding Bop. Since he had been improvising on the chord structure longer than anyone at this point.
However, like many Swing musicians, the Bop rhythms completely escaped him. This is a switch. Usually, it was the Jazz bands which hired cuban musicians. The del Campo band had five rhythm men including three drummers, a piano and a bass.
The popular style pianist is an instant success. Audiences are finally somewhat indifferent to a mixed black and white band. Del Campo is inclined to turn the band loose and then dance with the ladies.
He very dramatically dies on the dance floor while doing this very thing. The cause is a bad heart. This festival precedes the first Newport Jazz Festival by almost three years. In his early teens, a relative lent him some jazz records that got him interested in jazz. During the s, he followed the trend and. Inafter graduation from upper secondary school, Lars moved to Gteborg and started studying at a dental college, but after a year and a half he.
Lew Sollof, and Bohusln Big Band, among others. Lars was also a member of The Jan Garbarek Group in While saxophone legend. Of course, the title track is the main attraction of the disc, garnering its reputation with gorgeously delicate work by the entire ensemble.
Bop is getting old. Lewis insists that group members wear tuxedos to dignify Jazz. Ron Crotty: bass Lloyd Davis: drums I find it hard to believe that when I arrived on a college campus in the Album) sixties I was quickly indoctrinated by the "insiders" among the jazz players into. Both were deemed not only too commercial but too West Coast, too white, too fay, too unaffected by the Bird revolution.
Let the Oberlin record speak for itself: it represents improvisation of the highest order by two musicians at the very peak of their creative powers. Take Paul's solo on "Just the Way You Look Tonight": He quotes from Prokofief, Stravinsky, and at least three American composers while building an emotional, pyrotechnical, beautifully structured solo spurred on by the audible vocal.
Who could follow that? Brubeck does, not only matching but possibly topping it, with thunderous, wildly inventive yet. To the contrary, the most spirited and swinging jazz always happens when players know their roles and listen to each other. Before your jazz collection numbers more than 10 albums, make certain that this is one of them.
Modal jazz will become a major movement over the course of the next decade. A good LP results. Listen to The Quintet:. He begins to use chords, not as building blocks, but as swatches of color like the French Impressionists. Pianist George Wein is responsible for inviting the musicians. On the same day he. Both are labels founded by jazz impresario Norman Granz. Blue notes are disappearing from Jazz.
They are being replaced by minor notes. For instance, the blue seventh becomes the minor seventh, etc. The sound will continue to define Hard Bop. Smith's Hammond will become a Jazz force. Rollins says that. Clifford showed him that it is possible to lead a good clean life and still be a good Jazz musician.
Free Jazz is not far off. After Ellington's. The climax of the performance was 'Diminuendo and Crescendo in Blue' where Paul Gonsalves played a tenor sax solo for Following the concert, Ellington appeared on the cover of Time magazine. The concert recording became the best-selling Duke Ellington album. Quirky yet rigorously logical, Brilliant Corners is a triumph of composition and performance, a set heavy on Monk.
Even its title describes Monk's angular genius. This recording. Mingus uses unusual saxophone cries and hollers to simulate the human voice. Newer forms of Jazz are being explored. Thomas," one the first crossroads between Jazz and the Caribbean. Richie's wife Nancy head west on the Pennsylvania Turnpike. In the early hours of June 26, their car veers off the road killing all three. It was a great loss for Jazz. This is Bill's first effort as a leader. Woolf describes the scene, "It was at Small's in January of He was a stunning sight.
A man in convulsions, face contorted, crouched over in apparent agony, his fingers flying, his foot dancing over the peddles. The air was filled with waves of sound I had never heard. A few people sat around, puzzled but impressed. Jimmy came off the stand smiling That's all I could say. Alfred Lion had already made up his mind. The record which they make is not a commercial success, but musicians take notice.
The music exhibits most of the devices that would later become Free Jazz. Duke's band devises a landmark performance which is capped by an amazing tenor saxophone solo by Paul Gonsalves on Diminuendo and Crescendo in Blue.
Duke gets a new record contract with Columbia. The Beatles owed a lot to the Trad Jazz which was played in England during their childhood and adolescence.
They will eventually have their influences on Jazz also -- "the child is father to the man. All future Jazz should follow from it. Monk is rapidly becoming a leading figure in the world of Jazz. His detractors are most Bop musicians who are afraid of being pushed aside as they pushed aside the Swingers only a decade or so before. Cannonball's Sharpshooters. The remaining tracks for the album were recorded two days later. It's one of the first examples of modes in modern Jazz. Piece, is available on Original Jazz Classics.
I hope that Bill didn't come up with this title! Just kidding. Riverside came up with the title to promote Bill in the. The cover is a unique "all quotes" design featuring complimentary blurbs from various people including Miles Davis, the first time the trumpeter allowed himself to be quoted in such a manner about a fellow musician.
Some of the legendary musicians who showed up for the a. Jazz's most explosive drummer debuted his third version of the Jazz Messengers with this instant hard-bop classic. It's way too funky in here, thanks to compositions and. Shack and Midnight Special, and defining moment of organ jazz. Smith, Lee Morgan and Curtis Fuller testify on the side-long title track.
The band itself is extraordinary proof of Miles Davis's masterful casting skills, if not of God's existencelisting John Coltrane and Julian.
Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm. It was the key recording of what became modal jazz, a music free of the fixed. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny.
It is also recognized, in the broader context of American photography, as a major. Originally commissioned by Esquire magazine, the underlying concept was simple: to create a group portrait of living legendary jazz musicians on a Harlem street. However the photograph's.
This was Art Kane's first assignment as a professional photographer. This is probably the first important text on Jazz theory. Modal Jazz will soon emerge in full force. The best-selling jazz recording of the era and a perfect introduction for the jazz newbieKind of Blue helped introduce a new sound for jazz.
Working from relatively simple structures, the musicians here lay out wonderfully lyrical. Generally considered the best Jazz album ever and still sells 5, copies a week.
Polytonality involves playing a melody in one key over a chord sequence in another. People think that he's off inventing a new kind of Jazz. At this point in time most people believe Sonny to be as important to Jazz as Coltrane.
Saxophonist Ornette Coleman solidified his group in to the working quartet recorded here. They broke convention and provided a major stepping stone on the road to free jazz Bill Evans forms trio with brilliant young bassist Scott LaFaro and drummer Paul Motian. What was conceived by pianist Brubeck as an adventure into unusual time signatures ended up one of the most successful records in jazz history, due in large part to its beautiful.
Adderley is so impressed he calls Riverside producer. Red Garland records his solo album "Red Alone" for Moodsville. Bud Powell performs at the Essen Jazz Festival. The concert recording is released by Black Lion. In fact, Dixieland players at this point may be producing. The heyday of Soul Jazz a popular form of Hard Bop is beginning. The album features Ornette on alto sax, Don Cherry on pocket.
This album can be found on Atlantic CD. The original album cover featured an appropriate Jackson Pollock painting. This was one of the most important albums in the Free Jazz movement. The first one released, My Favorite Things, features his recorded debut on the soprano saxophone. Barry records Barry Harris at the. The rhythm. How could you go wrong with these four first-rate musicians? This points out the lag between fan and musician appeal.
This transitional group, between Miles' first great quintet with Coltrane and his second with Wayne Shorter, is the equal of the first ensemble and more satisfying than the second. Miles' chops were never better, and as if to make up for the. Many drummers would do well to listen just to Cobb's ride cymbal, noting how little else is required to keep the music fresh and flowing.
The laid-back character of Bill Evans's piano playing here masks a serenely beautiful touch and wonderfully innovative. This is the best piano trio music ever recorded and it's all live.
The personnel on Impressions, released in. The title tune is modal, but other pieces, such as "India," approach Free Jazz. Critic Leonard Feather characterized it as "one of the most logical and successful collaborations of the year. A genuine masterpiece that has inspired musicians and arrangers for decades.
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