His compositions include popular music songs such as I Should Care, Day by Day, and Shrimp Boats. He wrote pieces, including Crescent City Suite and religious music, authoring several hymns. Born Paul Wetstein in Springfield, Weston had a keen interest in music from an early age and he was educated at Springfield High School, attended Dartmouth College and Columbia University. At Dartmouth he formed his own band and toured with the college band and he joined Columbias dance band, The Blue Lions, but was temporarily unable to perform following a rail accident, and he did some arrangements while he recovered. Weston sold his first musical arrangements to Joe Haymes in 1934, after Haymes requested more material, Westons music was heard by Rudy Vallee, who offered him work on his radio show. Weston met Tommy Dorsey through Haymes and in 1936 became a member of Dorseys orchestra, Weston persuaded Dorsey to hire The Pied Pipers after hearing them in 1938, and the group toured with the bandleader.
After leaving Dorsey in 1940, Weston worked with Dinah Shore, in California he met Johnny Mercer, who invited him to write for his new label, Capitol Records. Weston became music director at Capitol, where he worked with Jo Stafford, Stafford moved with him to Columbia Records in 1950, and the couple were married in 1952. Weston worked extensively in television from the 1950s to the 1970s and he helped start the Grammy Awards, which were first presented in 1959. He was honored with a Grammy Trustees Award in 1971 and spent three years as director of Disney on Parade. Weston and Stafford developed a routine in which they assumed the guise of a bad lounge act named Jonathan. Their first album was released in 1957, in 1960, their album Jonathan and Darlene Edwards in Paris won the Grammy Award for Best Comedy Album. Westons work in music is honored with a star on the Hollywood Walk of Fame, Weston was born Paul Wetstein in Springfield, Massachusetts, to Paul Wetstein, a teacher, and Anna Annie Grady.
The family moved to Pittsfield when Weston was two, and he spent his years in the town. His parents were interested in music, and when Paul Sr taught at a private girls school, he was allowed to bring the schools gramophone home over the Christmas holidays. Weston remembered hearing Whispering Hope on it as a child, at age eight, he started piano lessons. He was a major at Dartmouth College in New Hampshire. During his college days, Weston had his own called the Green Serenaders
Alfred Lion, was a Jewish German-born American record executive who co-founded Blue Note Records in 1939. Blue Note recorded many of the biggest names in jazz throughout the 1940s, 1950s, Alfred Lion was born to a German Jewish family, at Gotenstrasse 7 on the Rote Insel in Berlin, just two minutes walk away from Marlene Dietrichs birthplace. His lifelong fascination with jazz began at the age of 16 when he saw a concert given by Sam Woodings Orchestra in his native city. In 1926 Lion emigrated to the United States, but while working on the New York docks, he was attacked by an anti-immigrant fellow worker, from 1933 Lion was based in South America, working for German import-export companies, only returning to New York in 1938. Lions presence at one of the concerts given under the From Spirituals to Swing banner at Carnegie Hall inspired him to start his own record label, in partnership with communist writer Max Margulis Lion founded Blue Note in 1939. In the labels first record session on January 6, Lion recorded two musicians who had impressed him at the concert, the boogie-woogie pianists Albert Ammons.
The companys first hit, recorded in the year, was Sidney Bechets recording of Summertime. It was notable for being issued on a 12 78rpm record instead of the standard 10 owing to its length, Blue Notes involvement with modern jazz was not total for several years, and Lion continued his labels association with Bechet and clarinetist George Lewis into the 1950s. Wolff would supervise few sessions himself until after Lions retirement, concentrating on the business affairs. What became known as the hard bop style would predominate in Blue Notes output during the 1950s and 1960s, musicians such as Art Blakey and Horace Silver among others epitomised this style. Three significant elements make Blue Note releases stand out, the work of recording engineer Rudy Van Gelder, the photographs of Francis Wolff and Wolff were respected by musicians for their straight dealing and for hanging out in the jazz scene. Blue Note recorded avant-garde musicians like Andrew Hill and Cecil Taylor, duke Pearson, whom Lion appointed after Quebecs death in 1963, helped to ensure that the labels roster remained fresh as a whole.
In fact the popularity that Horace Silvers Song for My Father, having suffered from heart problems for some years, Lion retired in 1967 having sold the Blue Note label and catalogue to Liberty Records in 1965. Wolff stayed with the label until his death in 1971, Liberty Records in turn was acquired by United Artists, and the Blue Note imprint went dormant until it was revived by record executive Bruce Lundvall under the ownership of EMI. From his early days in Harlem, Lion fathered a son Raymond Abrams with Ike Quebecs younger sister, Mary Francis Abrams of Newark, Lions only son Raymond Abrams had several children with his first wife Shalga P. Finley. Alfred Lions granddaughter, Randy Anita Rutledge, loves music just like her grandfather and she is a singer/songwriter and has an extensive song catalogue. Blue Note Records Rudy Van Gelder Category, Albums produced by Alfred Lion Michael Cuscuna, Michel Ruppli, colin Larkin, The Encyclopedia of Popular Music. Donald Clarke, The Penguin encyclopedia of popular music, barry Dean Kernfeld, The New Grove Dictionary of Jazz
Julian Priester is an American jazz trombone player and composer. He is sometimes credited as Julian Priester Pepo Mtoto and he has played with many artists including Sun Ra, Max Roach, Duke Ellington, John Coltrane and Herbie Hancock. Priester attended Chicagos DuSable High School, where he studied under Walter Dyett, in his teens he played with blues and R&B artists such as Muddy Waters, and Bo Diddley, and had the opportunity to jam with jazz players like saxophonist Sonny Stitt. In the early 1950s Priester was a member of Sun Ras big band, in 1958 he joined Dianah Washington. In 1959 he settled in New York and joined the band of drummer Max Roach who heard him playing on the Philly Joe Jones album, Blues for Dracula. While playing in Roachs group Priester recorded two albums as a leader, Keep Swingin and Spiritsville for Riverside, both of which came out in 1960. During that period he took part in John Coltranes Africa/Brass ensemble. In 1969 he accepted an offer to play with Duke Ellingtons big band, after leaving the Hancock group in 1973, Priester moved to San Francisco, where he recorded two more albums as a leader, Love in 1974 and 1977s Polarization.
In 1979 he joined the faculty of Cornish College of the Arts in Seattle, where he taught composition, performance. In the 1980s he became a member of the Dave Holland quintet, the 1990s saw the addition of Charlie Hadens Liberation Music Orchestra to his schedule. Julian performs on the album Monoliths & Dimensions by the metal band Sunn 0))). His major contributions were to the track of the album, Alice. In addition to teaching and touring, Priester continues to record albums under his own name and he released Hints on Light and Shadow in 1997 and followed it in 2003 with In Deep End Dance. Records 1005 Julian Priester & Aaron Alexander Conversational Music
Park Frederick Pepper Adams III was an American jazz baritone saxophonist and composer. He composed 43 pieces, was the leader on eighteen albums spanning 28 years and he worked with an array of musicians, and had especially fruitful collaborations with trumpeter Donald Byrd and as a member of the Thad Jones/Mel Lewis Big Band. Pepper Adams was born in Highland Park, Michigan, to father Park Adams II, both of his parents were college graduates, with each spending some time at the University of Michigan. Due to the onset of the Great Depression, Adams parents separated to allow his father to work without geographic dependence. In the fall of 1931 Adams moved with his mother to his familys farm near Columbia City, Indiana. In 1933 Adams began playing piano and his family moved to Rochester, New York, in 1935 and in that city he began his musical efforts on tenor sax and clarinet. Two years Adams began deepening his passion for music by listening to Fats Wallers daily radio show. He was influenced at an age by listening to Fletcher Hendersons big band radio broadcasts out of Nashville, Jimmie Lunceford, Duke Ellington.
Adams would describe time up until the age of eight or so really just traveling from one place to another, as early as 4th grade, Adams sold cigarettes and candy door-to-door in order to contribute to his familys income for essential items. Initially Adams chose the trumpet, the trombone, but eventually settled on the clarinet, Adams classmates saw a resemblance between the two, and the nickname stuck. Later in his career, Adams attained the nickname the Knife for his slashing and chopping technique, in 1943 Adams skipped school for a week in order to see Ellington play local gigs. He eventually met Rex Stewart, who introduced him to Harry Carney. This led to Adams being able to take lessons from Skippy Williams, Adams first steady gig came in 1946 with a six-piece group led by Ben Smith, which caused him to drop out of school in the 11th grade due to working six nights a week. At age 16, Adams and his moved to Detroit, where he soon began playing with Willie Wells, who he had heard play for Fletcher Henderson, Fats Navarro, Tommy Flanagan.
He had received instruction from Wardell Gray and Billy Mitchell. Through the employee discount from his job at Grinnells, a store in Detroit, Adams purchased what would become his main instrument. He initially purchased a used Bundy baritone saxophone, but traded it in for a new Selmer Balanced Action E-flat baritone in 1948 and this switch proved to be successful, as he was soon playing in Lucky Thompsons band. In Detroit, Adams met jazz musicians who would become future partners
The alto saxophone, referred to as alto sax, is a member of the saxophone family of woodwind instruments invented by Belgian instrument designer Adolphe Sax in the 1840s, and patented in 1846. It is pitched in E♭, and is smaller than the tenor, the alto sax is the most common saxophone and is commonly used in classical music, military bands, marching bands, and jazz. The alto saxophone was commonplace in music from the 1980s. The saxophone fingerings are all universal, so a player can play any type of saxophone. The range of the saxophone is from concert A♭3 to concert A♭5. As with most types of saxophones, the standard range is B♭3 to F6. Above that, the altissimo register begins at F♯6 and extends upwards, the saxophones altissimo register is more difficult to control than that of other woodwinds and is usually only expected from advanced players. By covering or partially covering the bell of the saxophone when playing B♭3, of note is Kadri Gopalnath, a pioneer of Carnatic music, plays a modified alto saxophone.
Some companies that currently produce saxophones are Buffet Crampon, KHS/Jupiter, Conn-Selmer, Selmer Paris, Leblanc/Vito, Cannonball, new alto saxophones range in price between €250 for lower quality student models to over €6000 for professional models. The alto saxophone has a classical solo repertoire that includes solos with orchestra, piano. Two of the most well-known solo compositions are Jacques Iberts Concertino da Camera, the alto saxophone is part of the standard instrumentation of concert bands and saxophone quartets. The alto saxophone is used in orchestral compositions. Several orchestral examples are listed below, georges Bizet features it in the Minuet from the second suite of music from LArlésienne. He includes it in his Suite No.1 and Suite No.2, maurice Ravel uses the saxophone prominently in his orchestration of Modest Moussorgskys Pictures at an Exhibition, most notably as the soloist in Il vecchio castello. Alban Berg uses the saxophone in his orchestral works, most notably Der Wein, Lulu.
Sergei Rachmaninoff uses the saxophone in his Symphonic Dances as a soloist in the first movement, george Gershwin includes it in a few pieces, such as Rhapsody in Blue and An American in Paris. Pierre Boulez wrote for 2 alto saxes in his composition Pli selon pli, benjamin Britten calls for an alto in his Sinfonia da Requiem and The Prince of the Pagodas. Leonard Bernstein includes an alto sax in his Symphonic Dances from West Side Story, vincent dIndy enlists two altos in his opera Fervaal
The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the players vibrating lips cause the air column inside the instrument to vibrate, nearly all trombones have a telescoping slide mechanism that varies the length of the instrument to change the pitch. Many modern trombone models utilize a rotary valve as a means to lower pitch of the instrument, variants such as the valve trombone and superbone have three valves like those on the trumpet. The word trombone derives from Italian tromba and -one, so the name means large trumpet, the trombone has a predominantly cylindrical bore like its valved counterpart the baritone and in contrast to its conical valved counterparts, the euphonium and the horn. The most frequently encountered trombones are the trombone and bass trombone. The most common variant, the tenor, is an instrument pitched in B♭, an octave below the B♭ trumpet. A person who plays the trombone is called a trombonist or trombone player, the trombone is a predominantly cylindrical tube bent into an elongated S shape.
Rather than being completely cylindrical from end to end, the tube is a series of tapers with the smallest at the mouthpiece receiver. The design of these affects the intonation of the instrument. As with other instruments, sound is produced by blowing air through pursed lips producing a vibration that creates a standing wave in the instrument. The detachable cup-shaped mouthpiece is similar to that of the baritone horn and it has the venturi, a small constriction of the air column that adds resistance greatly affecting the tone of the instrument, and is inserted into the mouthpiece receiver in the slide section. The slide section consists of a leadpipe, the inner and outer tubes. Modern stays are soldered, while sackbuts were made with loose, the slide, the most distinctive feature of the trombone, allows the player to extend the length of the air column, lowering the pitch. To prevent friction from slowing the action of the slide, additional sleeves were developed during the Renaissance, and this part of the slide must be lubricated frequently.
Additional tubing connects the slide to the bell of the instrument through a neckpipe, for example, second position A is not in exactly the same place on the slide as second position E. Many types of trombone include one or more rotary valves used to increase the length of the instrument by directing the air flow through additional tubing. This allows the instrument to reach notes that are not possible without the valve as well as play other notes in alternate positions. Like the trumpet, the trombone is considered a cylindrical bore instrument since it has sections of tubing, principally in the slide section
Blue Soul is the third album led by American trumpeter Blue Mitchell recorded and released in 1959 on the Riverside label. The Allmusic review by Michael G and its a must-have for all serious mainstream jazz fans. All tracks written by Blue Mitchell, except where noted, recorded in New York City on September 24, September 28 and September 30,1959. Blue Mitchell - trumpet Curtis Fuller - trombone Jimmy Heath - tenor saxophone Wynton Kelly - piano Sam Jones - bass Philly Joe Jones - drums