Miles Dewey Davis III was an American jazz trumpeter and composer. He is among the most influential and acclaimed figures in the history of jazz, with his ever-changing directions in music, Davis was at the forefront of a number of major stylistic developments in jazz over his five-decade career. In the early 1950s, Davis recorded some of the earliest hard bop music while on Prestige Records, after a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album Round About Midnight. It was his first work with saxophonist John Coltrane and bassist Paul Chambers and his million-selling 1970 record Bitches Brew helped spark a resurgence in the genres commercial popularity with jazz fusion as the decade progressed. In 2006, Davis was inducted into the Rock and Roll Hall of Fame, Miles Dewey Davis III was born on May 26,1926 into an affluent middle class African-American family in Alton, Illinois,15 miles north of St.
Louis. The second of three children, he had a sister, Dorothy Mae, and a younger brother. His father, Miles Dewey Davis II of Arkansas, was a dental surgeon who earned three college degrees, and his mother Cleota Mae Davis, of Arkansas, was a music teacher. They owned a 200-acre estate near Pine Bluff, Arkansas where Davis and his siblings would ride horses and hunt. In 1927, the moved to East St. Louis, Illinois. From 1932 to 1934, Davis attended John Robinson Elementary School, an institution, followed by Crispus Attucks School where he performed well in mathematics, music. It was in East St. Louis and Pine Bluff that the young Davis developed his earliest appreciation for music, Davis suggested that his fathers instrument choice was made largely to irk his wife, who disliked the trumpets sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato, Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, I prefer a round sound with no attitude in it, like a voice with not too much tremolo.
If I cant get that sound I cant play anything, in 1939, the family moved to 1701 Kansas Avenue in East St. Louis. For his 13th birthday held that year, Davis father bought his son a new trumpet, around this time, Davis took additional trumpet lessons from Joseph Gustat, first chair of the St. Louis Symphony Orchestra. In 1941, the 15-year-old Davis began at East St. Louis Lincoln High School where he joined the marching band directed by Buchanan. Davis claimed the contests he did not win was largely down to prejudice over his race and it was at Lincoln High where Davis met his first girlfriend, Irene Cawthorn. Davis had formed his own group by this time, performing in local venues such as Huffs Beer Garden with hits such as In the Mood by Glenn Miller
Kai Chresten Winding was a Danish-born American trombonist and jazz composer. He is well known for a collaboration with fellow trombonist J. J. Johnson. Winding was born May 18,1922 in Aarhus and his family emigrated in 1934 to the United States. He graduated in 1940 from Stuyvesant High School in New York City, subsequently, he played with Sonny Dunham and Alvino Rey until he entered the United States Coast Guard during World War II. After the war, Winding joined Benny Goodmans band, and moved on to Stan Kentons orchestra, Winding participated in the first of the Birth of the Cool sessions in 1949, appearing on 4 of the 12 tracks. Winding arranged and/or composed many of the tracks he and Johnson recorded, during the 1960s, Winding had a long stint at Verve Records and under producer Creed Taylor made some of his most memorable jazz-pop albums. He released the first version of Time Is On My Side in 1963 before it was recorded by Irma Thomas and his best selling recording from this period is More, the theme from the movie Mondo Cane.
Arranged and conducted by Claus Ogerman, More featured what is probably the first appearance of the French electronic music instrument the Ondioline on an American recording. He served as Musical Director for the Playboy Club, in mid-sixties New York, while at Verve, Winding further experimented with various ensembles, made solo albums, and even an album of country music with the Anita Kerr Singers. In the late 1960s, Winding followed Creed Taylor to his new recording label at A&M/CTI, in the 1970s and early 1980s, Winding recorded for a number of independent record labels. During this time, he continued to give clinics, play jazz concerts and he was a member of the all-star jazz group Giants of Jazz in 1971-2. He wrote instructional jazz trombone books that included transcribed solos, Winding died of a brain tumor in New York City in 1983. He was survived at the time by his wife, the accomplished painter Ezshwan Winding, and his son, the session keyboardist Jai Winding. Kai Winding Mondo Cane #2 Modern Country Rainy Day The In Instrumentals More Brass Dirty Dog Penny Lane & Time Israel with J. J.
Johnson Betwixt & Between with J. J. Johnson Stonebone with J. J
Coleman Randolph Hawkins, nicknamed Hawk and sometimes Bean, was an American jazz tenor saxophonist. One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained, there were some tenor players before him, but the instrument was not an acknowledged jazz horn. While Hawkins is strongly associated with the music and big band era. Fellow saxophonist Lester Young, known as Pres, commented in a 1959 interview with The Jazz Review, As far as Im concerned, I think Coleman Hawkins was the President first, as far as myself, I think Im the second one. Miles Davis once said, When I heard Hawk, I learned to play ballads, Hawkins was born in Saint Joseph, Missouri, in 1904. He was named Coleman after his mother Cordelias maiden name and he attended high school in Chicago, in Topeka, Kansas at Topeka High School. He stated that he studied harmony and composition for two years at Washburn College in Topeka while still attending high school. In his youth he played piano and cello, and started playing saxophone at the age of nine, by the age of fourteen he was playing around eastern Kansas.
Hawkinss first major gig was with Mamie Smiths Jazz Hounds in 1921, and he was with the band full-time from April 1922 to 1923, in the Jazz Hounds, he coincided with Garvin Bushell, Everett Robbins, Bubber Miley and Herb Flemming, among others. Hawkins joined Fletcher Hendersons Orchestra, where he remained until 1934, sometimes doubling on clarinet, Hawkinss playing changed significantly during Louis Armstrongs tenure with the Henderson Orchestra. In the late 1920s, Hawkins participated in some of the earliest interracial recording sessions with the Mound City Blue Blowers, during his time with Henderson he became a star soloist with increasing prominence on records. He was featured on a Benny Goodman session on February 2,1934 for Columbia, which featured Mildred Bailey as guest vocalist. In a landmark recording of the era, captured as an afterthought at the session, Hawkins ignores almost all of the melody. In its exploration of harmonic structure it is considered by many to be the next step in jazz recording after Louis Armstrongs West End Blues in 1928.
Hawkins time touring Europe between 1934 and 1939 allowed many other tenor saxophonists to establish themselves back in the U. S. including Lester Young, Ben Webster, and Chu Berry. After an unsuccessful attempt to establish a big band, he led a combo at Kellys Stables on Manhattans 52nd Street with Thelonious Monk, Oscar Pettiford, Miles Davis, he toured with Howard McGhee and recorded with J. J. Johnson and Fats Navarro. He toured with Jazz at the Philharmonic, after 1948 Hawkins divided his time between New York and Europe, making numerous freelance recordings. In 1948 Hawkins recorded Picasso, a piece for unaccompanied saxophone
Nathaniel Nat Adderley was an American jazz cornet and trumpet player who played in the hard bop and soul jazz genres. He was the brother of saxophonist Julian Cannonball Adderley, whom he remained close to in his career but under whose shadow he lived for most of his life. Nat Adderlys Work Song is a standard which became a success on the pop charts after singer Oscar Brown. Nat Adderley was born in Tampa, but moved to Tallahassee and his father had played trumpet professionally in his younger years, and he initially passed down his trumpet to Cannonball. When Cannonball picked up the saxophone, he passed the trumpet on to Nat who began playing in 1946. He and Cannonball played with Ray Charles in the early 1940s in Tallahassee, Nat ended up attending Florida University, majoring in sociology with a minor in music. He officially switched to cornet in 1950, and he never turned back, from 1951-1953, he enlisted in the army. He played in the band under his brother during this time. Upon return, Nat attended Florida A&M with the hopes of becoming a teacher, shortly before Nat was expected to begin student teaching, Lionel Hampton played a concert at Florida A&M.
Very confident in his abilities, Adderley played for Hampton, Hampton must have enjoyed what he heard because he invited Adderley to join his band. Putting school on hold, Adderley played under Hampton from 1954 to 1955, upon his return, he intended to go back to school to become a schoolteacher. The turning point in both Nat and Cannonballs careers occurred on a trip to New York in 1955, the brothers stopped by the Café Bohemia in Greenwich Village while bassist Oscar Pettiford was playing. Both of them showed up ready to play, should the chance occur, Cannonball was asked to sit as the regular saxophonist was out, and he blew away the musicians with his dexterity and musicianship. Then Nat was pulled on stage, and as he played everyone was impressed with him. This single appearance was enough to both of their careers. Recording and gig offers began pouring in, Nat recorded for the first time that year. Together and Cannonball moved to New York to pursue their music careers, founding the Cannonball Adderley Quintet.
Due to lack of popular interest, the decided to disband the group in 1957
J. C. Heard
James Charles Heard, better known as J. C. Heard, was a United States swing and blues drummer, Heard was a supportive drummer, versatile enough to fit comfortably into swing and blues settings. He obtained his first important professional job with Teddy Wilson in 1939, in 1946–47, he recorded with top bop musicians, led his own band at Cafe Society, was a member of Erroll Garners trio, and toured with Jazz at the Philharmonic. In the years 1953 through 1957, he spent time in Japan as a singer/entertainer, mentoring young Japanese singers and musicians like Yukimura Izumi, George Kawaguchi, during 1957–66 he freelanced in New York. In 1966 J. C. Heard moved to Detroit where he worked as a bandleader, in 1983, he again recorded an album as leader, accompanied by saxophonist George Benson, pianist Claude Black, and Dave Young on bass. In 1981, JC started a 13 piece big band played around the state and various festivals often featuring Dizzy Gillespie. This group recorded in 1986 and continued performing regularly until JCs passing, as leader/co-leader 1958, This is Me, J. C.
Heard 1983, The Detroit Jazz Tradition - Alive & Well 1986, Some of This, - JC Heard Orchestra 1988, Mr. B. with J. C
Genius of Modern Music: Volume 2
Genius of Modern Music, Volume 2 is the name given to at least four different compilation albums by jazz pianist Thelonious Monk. Each version comprises some of Monks recordings as a leader for Blue Note. The original LP with this title was compiled in 1952, two different CD compilations have been given this title. Both redistribute the material from the two volumes in different orders. All compositions by Monk, except where noted, side 1, Four in One Who Knows. The cover art for the original 8-song LP was used, while the earlier CD grouped all takes of each title together, the recompilation put the alternate takes at the end of each session. The July 2,1948 session featuring Evidence, Epistrophy, I Mean You, All The Things You Are and I Should Care was released on Blue Note CD Milt Jackson, Wizard of the Vibes
Thelonious Sphere Monk was an American jazz pianist and composer. Monk is the second most-recorded jazz composer after Duke Ellington, which is remarkable as Ellington composed more than a thousand pieces. He was renowned for his style in suits, hats. Monk is one of five musicians to have been featured on the cover of Time, after Louis Armstrong, Dave Brubeck. Thelonious Sphere Monk was born two years after his sister Marion on October 10,1917, in Rocky Mount, North Carolina and his badly written birth certificate misspelled his first name as Thelious or Thelius. It did not list his name, taken from his maternal grandfather. A brother, was born in January 1920, in 1922, the family moved to 243 West 63rd Street, in Manhattan, New York City. Monk started playing the piano at the age of six, and was largely self-taught and he attended Stuyvesant High School but did not graduate. He toured with an evangelist in his teens, playing the church organ, in the early to mid-1940s, Monk was the house pianist at Mintons Playhouse, a Manhattan nightclub.
Much of Monks style was developed during his time at Mintons, Monk is believed to be the pianist featured on recordings Jerry Newman made around 1941 at the club. Monks style at this time was described as hard-swinging, with the addition of runs in the style of Art Tatum. Monks stated influences included Duke Ellington, James P. Johnson, in the documentary Thelonious Monk, Straight, No Chaser, it is stated that Monk lived in the same neighborhood in New York City as Johnson and knew him as a teenager. So, the worked out a music that was hard to steal. Ill say this for the leeches, they tried, ive seen them in Mintons busily writing on their shirt cuffs or scribbling on the tablecloth. And even our own guys, Im afraid, did not give Monk the credit he had coming, they even stole his idea of the beret and bop glasses. In 1944 Monk made his first studio recordings with the Coleman Hawkins Quartet, Hawkins was one of the earliest established jazz musicians to promote Monk, and the pianist returned the favor by inviting Hawkins to join him on a 1957 session with John Coltrane.
Monk made his first recordings as leader for Blue Note in 1947, Monk married Nellie Smith the same year, and in 1949 the couple had a son, T. S. Monk, who became a jazz drummer. A daughter, was born in 1953 and died in 1984 from cancer, in August 1951, New York City police searched a parked car occupied by Monk and friend Bud Powell
Callen Radcliffe Cal Tjader, Jr. was an American Latin jazz musician, known as the most successful non-Latino Latin musician. He explored other jazz idioms, even as he continued to perform the music of Cuba, the Caribbean and he was accomplished on the drums, congas and the piano. He worked with musicians from several cultures. He is often linked to the development of Latin rock and acid jazz, although fusing jazz with Latin music is often categorized as Latin jazz, Tjaders works swung freely between both styles. His Grammy award in 1980 for his album La Onda Va Bien capped off a career spanned over forty years. Callen Radcliffe Tjader, Jr. was born 16 July 1925 in St. Louis and his father tap danced and his mother played piano, a husband-wife team going from city to city with their troupe to earn a living. When he was two, Tjaders parents settled in San Mateo and opened a dance studio and his mother instructed him in classical piano and his father taught him to tap dance. He performed around the Bay Area as Tjader Junior, a tap-dancing wunderkind and he performed a brief non-speaking role dancing alongside Bill Bojangles Robinson in the film The White of the Dark Cloud of Joy.
He joined a Dixieland band and played around the Bay Area, at age sixteen, he entered a Gene Krupa drum solo contest, making it to the finals and ultimately winning by playing Drum Boogie. The win was overshadowed by that event, Japanese planes had bombed Pearl Harbor. Tjader entered the United States Army in 1943 and served as a medic until 1946, upon his return he enrolled at San Jose State College under the G. I. Later he transferred to San Francisco State College, still intending to teach and it was there he took timpani lessons, his only formal music training. At San Francisco State he met Dave Brubeck, a young pianist fresh from a stint in the Army, Brubeck introduced Tjader to Paul Desmond. The three connected with more players and formed the Dave Brubeck Octet with Tjader on drums, although the group only recorded one album, the recording is regarded as important due to its early glimpse at these soon-to-be-legendary jazz greats. After the octet disbanded and Brubeck formed a trio, the Dave Brubeck Trio succeeded and became a fixture in the San Francisco jazz scene.
Tjader taught himself the vibraphone during this period, alternating between it and the drums depending on the song, Brubeck suffered major injuries in a diving accident in 1951 in Hawaii and the trio was forced to dissolve. Jazz pianist George Shearing recruited Tjader in 1953 when Joe Roland left his group, Al McKibbon was a member of Shearings band at the time and he and Tjader encouraged Shearing to add Cuban percussionists. Tjader played bongos as well as the vibes, Drum Trouble was his solo feature